Even if you already have Lifestylez ov da Poor & Dangerous, The Big Picture (1974 - 1999), Live in Amsterdam ft. A.G. & Roc Raida, D.I.T.C.’s Worldwide, The Children of the Corner’s Collector’s Edition, Harlem’s Finest: A Freestyle History Parts I & II, The Archives and The Unseen Picture bootleg...you still don’t have everything. These extensive mixtapes contain extremely rare and exclusive tracks. Big L Rarities presents…The Tommy Gibbs Collection!
01. Yes You May (Remix) (Produced by T-Ray) 02. Devil’s Son (Produced by Showbiz) 03. Put It On (Produced by Buckwild) 04. MVP (Produced by Lord Finesse) 05. No Endz, No Skinz (Produced by Showbiz) 06. 8 Iz Enuff (Produced by Buckwild) 07. All Black (Produced by Lord Finesse) 08. Danger Zone (Produced by Buckwild) 09. Street Struck (Produced by Lord Finesse) 10. I Don’t Understand It (Produced by Showbiz) 11. Fed Up Wit’ the Bullshit (Produced by Lord Finesse) 12. School Days (Produced by Lord Finesse) 13. Times Iz Hard (Produced by Lord Finesse & Buckwild) 14. Put It On (Remix) (Produced by The L.G. Experience) 15. Put It On (Remix) (Produced by Alchemist) 16. MVP (Remix) (Produced by Lord Finesse)
01. Thick (Produced by DJ Premier) 02. Get Yours (Produced by Showbiz) 03. Way of Life (Produced by Showbiz) 04. Day One (Produced by Diamond D) 05. Stand Strong (Produced by Lord Finesse) 06. Thick (Remix) (Produced by Rockwilder) 07. Get Yours (Remix) (Produced by Showbiz) 08. Day One (Remix) (Produced by Showbiz) 09. Dignified Soldiers (Produced by Showbiz) 10. Dignified Soldiers (Remix) (Produced by Showbiz) 11. Internationally Known (Produced by Lord Finesse & Showbiz) 12. 5 Fingas of Death (Produced by Kid Capri) 13. Ebonics (Produced by Ron Browz) 14. Size ‘em Up (Produced by Ron Browz) 15. Deadly Combination (Produced by Ron G) 16. ’98 Freestyle (Produced by Lord Finesse) 17. Holdin’ It Down (Produced by Pete Rock) 18. The Heist (Produced by Ron Browz) 19. The Enemy (Produced by DJ Premier) 20. Flamboyant (Produced by Mike Heron) 21. Platinum Plus (Produced by DJ Premier) 22. Flamboyant (Remix) (Produced by Roddy Rod & Jay Dee) 23. Platinum Plus (Remix) (Produced by DJ Ex Cool & The Voodoo Child)
01. Bring ‘em Back (Produced by Lord Finesse) 02. On the Mic (Produced by Roc Raida) 03. Raw and Ready (Produced by Showbiz) 04. Still Here/I Know the Name (Produced by Hi-Tek) 05. Thorough Fam (Produced by Lord Finesse) 06. We Got This (Produced by ?) 07. Work Remix (Produced by DJ Premier) 08. Work Is Never Done (Produced by DJ Spinna) 09. American Dream (Produced by Digga) 10. Dangerous (Produced by Beatminerz) 11. Dangerous (Ghetto Pros) (Them Games) (Produced by Domingo) 12. Furious Anger (Produced by Shyheim, E-Blast & Jimmy Swag) 13. Harlem N.Y.C. (Produced by Wayne B) 14. ’93 Freestyle (Produced by Erick Sermon & Redman) 15. ’95 Tim Westwood Hot 97 Interview Part One (Produced by DJ Premier) 16. ’95 Tim Westwood Hot 97 Interview Part Two (Produced by Salaam Remi) 17. Who Shot Ya (Produced by Nashiem Myrick & Sean ‘Puffy’ Combs 18.’97 DJ Clue Freestyle (Produced by Nashiem Myrick & Sean ‘Puffy’ Combs) 19.’97 Live at Subterranea Freestyle (Produced by Track Masters) 20. Tru Master Freestyle (Produced by Pete Rock) 21. '98 Halftime Freestyle (Produced by C.J. Moore) 22. Fat Beats Freestyle (Produced by Jaz-O) 23. Rock N. Wills Hardpack Tape Hard to Handle (Produced by Otis Redding) 24. Rock N. Wills Hardpack Tape Blind Alley (Produced by The Emotions) 25. ’92 Freestyle (Produced by The Honeydrippers) 26. ’93 Don’t Front Freestyle (Produced by Diamond D & Buckwild) 27. ’96 Children of the Corn Motherless Child Freestyle (Produced by RZA) 28. ’95 Freestyle (Produced by Mufi) 29. 139 Freestyle (Produced by DJ Premier) 30. Universal New York Freestyle (Produced by DJ Premier) 31. Doo Wop (My Niggaz) Freestyle (Produced by Spencer Bellamy) 32. Kay Slay Freestyle (Produced by Organized Noize)
01. Put It On ft. Kid Capri 02. MVP 03. No Endz, No Skinz 04. 8 Iz Enuff 05. All Black 06. Da Graveyard 07. Let ‘em Have It L 08. MVP (Clean) 09. MVP (Summer Smooth Remix) ft. Miss Jones
01. Thick ft. A.G. & O.C. 02. Get Yours 03. Way of Life 04. Thick (Rockwilder Remix) ft. A.G. & O.C. 05. All Luv 06. Dignified Soldiers ft. Lord Finesse 07. 5 Fingaz of Death 08. Size ‘em Up 09. Deadly Combination ft. Tupac Shakur & The Notorious B.I.G. 10. Holdin’ It Down 11. The Enemy 12. Fall Back 13. Flamboyant 14. Platinum Plus ft. Big Daddy Kane 15. Who You Slidin’ Wit’
01. Bring ‘em Back ft. Big Pun 02. Nigga Please 03. On the Mic 04. Work is Never Done ft. N.O.T.S. Click 05. Back Up Off Me 06. American Dream ft. Herb McGruff, Killa Kam, Murda Mase & Bloodshed 07. Furious Anger ft. Shyheim 08. Dangerzone ft. Murda Mase 09. Let Me Find Out 10. ’93 Stretch & Bobbito Don’t Front Freestyle 11 Live in Amsterdam ft. A.G. 12. Live at The Tramps Freestyle ft. Lord Finesse 13. Universal/New York Freestyle
The beat for the ’93 Freestyle is Redman’s Tonight’s Da Night. The beats for the '95 Tim Westwood Interview & Who Shot Ya Freestyle are Group Home's Supa Star, Da Bush Babees' Remember We (Salaam Remi Remix) & Notorious B.I.G.’s Who Shot Ya, respectively. The beat for the ’97 DJ Clue Freestyle is Faith Evans’ You Used to Love Me (Remix). The beat for the ’97 Live at Subterranea Freestyle is Notorious B.I.G.’s One More Chance (Hip Hop Remix). The beat for the '98 Tru Master Freestyle is Pete Rock’s Tru Master. The breaks for the Rock N. Wills Hardpack Tape are Otis Redding's Hard to Handle and The Emotions' Blind Alley, respectively. The break for the ’92 Freestyle is The Honeydrippers’ Impeach the President. The beat for the ’93 Don’t Front Freestyle is Diamond D’s You Can’t Front. The beat for the ’95 Freestyle is Miilkbone’s Keep It Real. The beat for the 139 Freestyle is Notorious B.I.G.’s Ten Crack Commandments. The beat for the ’96 Children of the Corn Freestyle is Ghostface’s Motherless Child. The beat for the Roc Raida Mixtape and ’98 Freestyle is Pitch Black’s Show and Prove. The beat for the '98 Halftime Freestyle is Kool G Rap's Foul Cats. The beat for the Fat Beats Freestyle is Ras Kass' H20 Proof. The beat for the Doo Wop (My Niggaz) Freestyle is Sauce Money's Pre-Game. The beat for the Kay Slay Freestyle is Cool Breeze's Watch for the Hook.
All Love ft. Fat Joe, Lord Finesse & A.G. All Love (Remix) ft. Fat Joe, Lord Finesse & A.G. All Love (Remix Instrumental) (Diamond D) I Flip Styles ft. Grand Puba & Sadat X
(D.I.T.C.) Intro Day One ft. Diamond D, A.G., Lord Finesse & O.C. All Love ft. Fat Joe, Lord Finesse & A.G. Internationally Known ft. O.C. & Fat Joe (A.G. & Diamond D) Put It In Your System (A.G.) A Different World (Molecules from The Legion) Revenge (Ghetto Dwellas) Feel the Beat The Enemy ft. Fat Joe (Ghetto Dwellas) Make It Official (Terror Tongue) Lyrical Threat (Ghetto Dwellas) Style is Ill Day One (Remix) ft. Diamond D, A.G., Lord Finesse & O.C. All Love (Remix) ft. Fat Joe, Lord Finesse & A.G. Internationally Known (Remix) ft. O.C. & Fat Joe
Alone ft. Stephen Simmonds (Lord Finesse Remix) Alone ft. Stephen Simmonds & Marquee (Lord Finesse Club Remix) (Stephen Simmonds) I Can’t Do That ft. Swinga (Athetes Clean Remix) (Stephen Simmonds) I Can’t Do That ft. Swinga (Athetes Club Remix)
American Dream ft. Herb McGruff, Killa Kam, Murda Mase & Bloodshed American Dream ft. Herb McGruff, Killa Kam, Murda Mase & Bloodshed (Clean) American Dream ft. Herb McGruff, Killa Kam, Murda Mase & Bloodshed (A capella) (Killa Kam & Bloodshed) Harlem USA (Uptown Version) (Killa Kam & Bloodshed) Harlem USA (Harlem Version) (Killa Kam & Bloodshed) Harlem USA (Harlem Version) (Clean)
Yes You May (Remix) ft. Lord Finesse (Lord Finesse) Party Over Here (Remix) (Lord Finesse) Return of the Funky Man (Remix) (Lord Finesse) Hip 2 Da Game (Buckwild Remix) (Ground Floor) Dig On That ft. Lord Finesse (Trends of Culture) Off & On ft. Lord Finesse (Freestyle Remix) (Mesanjarz of Funk) ft. L Boogie & Lord Finesse (Lord Finesse) Fuck ‘em
Back Up Off Me Back Up Off Me (Clean) Back Up Off Me (Instrumental) (Xperadó) Watch Ya Step ft. O.C. (Xperadó) Watch Ya Step ft. O.C. (DJ Creativity Remix) (Xperadó) Watch Ya Step ft. O.C. (DJ Creativity Remix Instrumental)
(O.C.) Can’t Go Wrong (Remix) ft. Changing Faces (O.C.) Can’t Go Wrong Dangerous the Sequel (Instrumental) (O.C.) Can’t Go Wrong (Instrumental) (O.C.) Dangerously Makin’ Money ft. Lord Tariq, Peter Gunz & Fat Man Scoop Dangerous the Sequel ft. O.C. & The Lost Boyz Dangerous ft. O.C.
(The Notorious B.I.G.) Mr. Cee - The Wickedest Freestyle (The Notorious B.I.G. & The Crustified Dibbs / R.A. the Rugged Man) Cunt Renaissance (Tragedy Khadafi & Havoc) Funk Mode (Kool G Rap & NaS) Fast Life (Vinyl Reanimators Remix) (Noreaga) Dopefiend (Kool G Rap) Check a Bitch (Ol’ Dirty Bastard) Dirty & Stinkin’ (Mobb Deep) Cop Hell (Kool G Rap) Hey Mister (Kool Keith) Yo Black (De La Soul & Common) The Bizness (Vinyl Reanimators Remix) (Sadat X) Straight East Coast Let Me Find Out
Dangerous ft. O.C. (Clean) (O.C.) M.U.G. ft. Freddie Foxxx (Clean) (O.C.) War Games ft. Organized Konfusion (Clean) Dangerous (Instrumental) (O.C.) M.U.G. (Instrumental) (O.C.) War Games (Instrumental)
Deadly Combination ft. 2Pac Shakur & The Notorious B.I.G. (Clean) Deadly Combination ft. 2Pac Shakur & The Notorious B.I.G. Deadly Combination (Instrumental) Nigga Please ft. Stan Spit & Herb McGruff
Flamboyant (Clean) Flamboyant Flamboyant (Instrumental) Flamboyant (A capella) On the Mic (Clean) On the Mic On the Mic (Instrumental) On the Mic (A capella)
Get Yours ft. O.C. & Diamond D (Clean) Get Yours ft. O.C. & Diamond D Get Yours (Instrumental) (Big Pun & Milano) Where You At? (Clean) (Big Pun & Milano) Where You At? (Big Pun & Milano) Where You At? (Instrumental)
(Bootsie) Harlem N.Y.C. ft. Herb McGruff (Clean) (Bootsie) Harlem N.Y.C. ft. Herb McGruff (Bootsie) Harlem N.Y.C. (Instrumental) Harlem N.Y.C. (Beats 2 Blow Remix) ft. Big L & Herb McGruff (Bootsie) Harlem N.Y.C. (That Cat Nat’s Mix) ft. Mo’ Money & Herb McGruff
Holdin’ It Down (Original Version) ft. Party Arty & A.G. (Clean) Holdin’ It Down (Instrumental) Holdin’ It Down (Original Version) ft. Party Arty & A.G.
Internationally Known ft. Fat Joe, Lord Finesse & O.C. (Clean) Internationally Known ft. Fat Joe, Lord Finesse & O.C. Internationally Known (Instrumental) The Enemy ft. Fat Joe (Clean) The Enemy ft. Fat Joe The Enemy (Instrumental)
(Lord Finesse) Intro (Lord Finesse) Set It Off Troop You Know What I’m About ft. Lord Finesse (Lord Finesse) Kickin’ Flava Wit’ My Man ft. Percee P (Lord Finesse) Da Freestyle King (Lord Finesse) Isn’t He Something (Extra P Session Mix) (Lord Finesse) Show ‘em How We Do ft. Shel-Rumble & Harry O (Lord Finesse) Check Me Out Baby Pah ft. Page the Hand Grenade (Lord Finesse) Peace to the Brothers
(O.C.) M.U.G. ft. Freddie Foxxx (O.C.) M.U.G. ft. Freddie Foxxx (Clean) (O.C.) M.U.G. (Instrumental) Dangerous (Instrumental) Dangerous ft. O.C. (O.C.) Dangerous ft. Lord Tariq, Peter Gunz & Fat Man Scoop (Making Money Mix) Dangerous ft. O.C. & The Lost Boyz
MVP MVP (Instrumental) MVP (Clean) MVP (A capella) MVP ft. Miss Jones (Summer Smooth Mix) MVP (Summer Smooth Mix Instrumental) MVP ft. Miss Jones (Summer Smooth Mix Clean) MVP ft. Miss Jones (Summer Smooth Mix A capella)
(Red Eye Rum) Get This (Biz Street Mix) (Brian Desind) Love Inside (EZD, Muzalini & Noreaga) Worldwide (EZD) XfilEZD (Rebel Check) Slide Show Platinum Plus ft. C-Town
(Lord Finesse) Party Over Here (Remix) (Lord Finesse) Party Over Here (Lord Finesse) Party Over Here (Remix Instrumental) (Lord Finesse) Party Over Here (Clean) Yes You May ft. Lord Finesse (Funk Flow Mix) Yes You May Remix (Instrumental)
Platinum Plus ft. Big Daddy Kane (Clean) Platinum Plus ft. Big Daddy Kane Platinum Plus (Instrumental) Still Here ft. C-Town (Clean) Still Here ft. C-Town ’98 Freestyle Pt. 2
(A.G. & Diamond D) Put It In Your System Day One (Remix) ft. Diamond D, A.G., Lord Finesse & O.C. All Love ft. Fat Joe, Lord Finesse & A.G. (A.G.) A Different World (Diamond D) I Flip Styles ft. Grand Puba & Sadat X (A.G.) Underground Life ft. D-Flow, Party Arty & Fat Joe All Love (Remix) ft. Fat Joe, Lord Finesse & A.G. (A.G. & Diamond D) Put It In Your System (Instrumental)
Unexpected Flava (Lord Finesse) Praise the Lord (Diamond D Mix) (Lord Finesse) I Like My Girls With a Boom (Original Version) (The Notorious B.I.G.) Come On ft. Sadat X (Demo Version) (Lord Finesse) Hey Look at Shorty (Original Version) (Lord Finesse) Fat for the ‘90s (Alternate Beat)
(Lord Finesse) Fat for the ‘90s ft. A.G. (Demo Mix) (Grand Puba) Untitled (Lord Finesse) Show ‘em How We Do Things ft. Shel-Rumble & Harry O (Original Version) Principal of the New School (Lord Finesse) Awakenings Interlude ft. Marquee (Lord Finesse) Awakenings Interlude (Instrumental) (Caron Wheeler) Soul Street (Funkyman Remix)
(Lord Finesse) Keep the Crowd Listening (DJ Premier Remix) (Lord Finesse) Stop Sweating the Next Man (Unreleased Remix) (Lord Finesse) Vinyl Athletes ft. A.G. & Muro (Original Version) (Lord Finesse) Muro Freestyle I Can’t Understand It (Original Demo Version) (Lord Finesse) Isn’t He Something (Unreleased Mix) (Brains) From Me 2 U (Funkyman Version) (40 Oz.) Just One of the Those Days (Original Version) (Lord Finesse) Outro Verse (Awakenings Interlude)
Raw and Ready ft. Party Arty (Clean) Raw and Ready ft. Party Arty Raw and Ready (Instrumental) (O.C. & A.G.) Chase Game (Clean) (O.C. & A.G.) Chase Game (O.C. & A.G.) Chase Game (Instrumental)
(The Lost Boyz) It’s Da Mr. Cheeks Freestyle (The Lost Boyz) It’s Da Mr. Cheeks Freestyle (Clean) (The Lost Boyz) It’s Da Mr. Cheeks Freestyle (Instrumental) Big L’s Big (Sandman 118) Freestyle (R.A. the Rugged Man) Hated By Everyone Freestyle
Thick ft. O.C. & A.G. (Clean) Thick ft. O.C. & A.G. Thick (Instrumental) (A.G., Diamond D & O.C.) Time to Get This Money (Clean) (A.G., Diamond D & O.C.) Time to Get This Money (A.G., Diamond D & O.C.) Time to Get This Money (Instrumental)
We Got This ft. Mr. Cheeks (Clean) We Got This ft. Mr. Cheeks We Got This (Instrumental) The Heist The Heist (Instrumental) Day One ’99 ft. A.G. (Live from Amsterdam)
Work is Never Done Work is Never Done (Instrumental) Work is Never Done (A capella) (N.O.T.S. Click) Larger Than Life (N.O.T.S. Click) Larger Than Life (Instrumental) (N.O.T.S. Click) Larger Than Life (A capella)
(Lord Finesse) Ya Better Recognize ft. O.C. (Lord Finesse) Ya Better Recognize ft. O.C. (Clean) (Lord Finesse) Ya Better Recognize (Instrumental) Thorough Fam ft. Royal Flush Thorough ft. Royal Flush (Clean) Thorough Fam (Instrumental)
Big L Affiliates is the lesser known brother/sister site of Big L Rarities, featuring discographies and exclusive unheard material from the likes of B.B.O., Big Twan, Buddah Bless, Children of the Corn, C-Town, Grand Daddy I.U., Herb McGruff, Mike Boogie, N.O.T.S. Click, Stan Spit & Trooper J.
One of hip hop’s illest MCs. Big L’s demo tape contained the following four tracks: Rock N. Wills audition freestyle, Principal of the New School, Unexpected Flava, Devil’s Son. Unexpected Flava I had since ’97 on a DAT. I was lucky enough to have met L and spoke with him when he dropped his first album. I got my info from L himself, he had done an in-store with us at Upstairs Records when he dropped Lifestylez. L was a very cool and humble cat, I only met the cat that one time. Real chill and soft spoken, he seemed to enjoy signing autographs for his fans. All I can say, L was a quiet and humble cat, he transformed into a beast when a mic was put in front of him.
Our Big L did not produce The Lost Boyz track, discogs(.com) is wrong reverting back to our Big L. Big L the MC did not produce the track for Lost Boyz, the Big “L” was a big dude named Latrell, again, discogs is incorrect. What a lot of people don't know is that the beat they are rocking over in Deadly Combination was actually produced by Louie Vega (yes Little Louie Vega). It was on his break beat series Phat Kat Breaks. Real short vinyl press, maybe a thousand copies of each title were available.
A lot of the older unheard stuff was heard and played before on the underground radio shows here in N.Y., we had Stretch & Bob, Mayhem & Martin Moore, DJ Riz & Wildman Steve. Cats like L were on shows a lot with Lord Finesse. I don’t think there is much if anything else out there aside from some freestyles he did on the Underground Railroad and Riz & Wildman Steve, I’m cool with Riz so I’m a see what he has in the stash.
I’ll be returning to the mixtape game and I brought one of the game’s pioneers along, the one and only cat from Uptown, DJ Showtime. Myself and the legendary Showtime have something special in the works. Showtime and L lived in the same building and Showtime was in the store with Finesse when L did his audition. Showtime was also telling me about L battling cats at the pool hall on 125th. Videotape exists of Big L battling cats and we are trying to obtain it.
DJ Showtime (from the original Hardpack) and myself are doing a very special tribute so stay tuned. We’re about to tell a tale of history with Once Upon a Time in Harlem, a tribute to Big L and all the cats he associated with, such as: Kam, Mase, McGruff, N.O.T.S. Click, C.O.T.C., etc. I’m bringing out the heavy ammo on this one, lots of rare demos and unheard material, coming soon. If you’re a fan of Big L, Children of the Corn, Killa Kam, Mase Murder, McGruff, this mixtape gets no iller. Certified classic material. I’ve been bumping this since Showtime and myself laid it down and this has to be one of my most favorite mixtapes I’ve done. Showtime and myself will be in the lab, part two is being worked on.
Big Sleep, good looking out, as always. L, hip hop still mourns you. You’re dearly missed, especially by underground fans worldwide. The L.G. Experience, Patrick Harvey, Easy Mo Bee's Younger Brother
What up. I have no problem talking about a legend like Big L.
I met Big L through Scoob Lover, Big Daddy Kane's dancer. Scoob had L come meet me at Soundtrack Studios in '93 where I used to record at. He was looking for beats. He picked some beats but we never recorded anything.
About a year and change later Faith Newman, Columbia A&R, wanted a remix from me for Put It On. I did the remix at the original Chung King Studios. Nobody knew it was my brother Easy Mo Bee doing the scratches on the record.
I hooked up with L again in '96. My cousin was seeing a chick who lived in L's building on 139th. We talked about doing some shit but it just never happened. I was outta town when I heard he got killed. The game could use that dude right now.
Anyway, as far as your question about my name L.G., that's the name of the housing projects I grew up in. Lafayette Gardens in Bed-Stuy Brooklyn.
If it's anything else I can help you with, just holla at me. Anything associated with some real hip hop, I'm fuckin' wit' it. I'm still doing my grizzly on them beats so if you know somebody looking for hip hop, holla.
Mic Geronimo July 2008 Interview for Big L Online
(Interview by Soobax, questions and transcription by The Big Sleep.)
BigLOnline: Okay Mic, let’s jump right in. Way back when, you started out DJing before you began MCing. Can you tell us what got you into the rap world in the first place?
Mic Geronimo: Hip hop was always a part of my life. I grew up with Large Professor out in Flushing. Matter of fact, he is like an older brother and was one of the first people I knew in life when I was old enough to go out and hang in the playground. We all did graffiti and breakdancing, so it was always there. I was just telling my wife about how the first time I heard Eric B. & Rakim's Eric B for President, it changed my life. I think I was like eleven or twelve years old.
BigLOnline: You were discovered by Irv Gotti, of Murder Inc., from a high school talent show. What were you doing at the time that caught his eye and made him single you out?
Mic Geronimo: That is not entirely true. I went to Bayside High School and had a friend by the name of Chuckie Madness. He was a mutual friend of Irv and I. He told Irv about me and that I could spit. I met Irv once, but did not really feel him. The second time I met him, was at a talent show on Liverpool Ave. in Southside. I was the only MC people did not throw bottles at that night. I got off stage and came up on Irv and Chuck. I started buggin’ on Irv by freestyling. He asked me if I ever been in a studio, I told him nah. He told me he had a studio and wanted me to come through. I told him nah and he said, "I'll come and get you". The rest is history.
BigLOnline: You’ve said that your mindset for your first album, The Natural was more laid back and that you were just about making music when you were younger because you didn’t know as much about the industry. Did you have a feeling early on what kind of sound you were creating? Or was it more of a spontaneous process that simply happened?
Mic Geronimo: I'd say it was an untainted process with making The Natural. It was music being made in the spirit of being able to just make music. It wasn't done with the intent of capturing a certain crowd or vibe. It was just beats, rhymes and my life coming together to make a album.
BigLOnline: What knowledge or insight into the music business did you gain during the time between when your debut came out and when you started recording Vendetta? Something that may have influenced a change in your formerly more causal style.
Mic Geronimo: I guess the period of time between albums showed me the "business" of music. It was me learning BDS, the importance of first week sales, mom and pops as compared to chain stores, marketing, promotion, which quarter to drop in, all the bullshit that has nothing to do with a good song.
BigLOnline: So you spun records before you ever took up rhyming, but you didn’t start to produce until your second release. Why did you wait until your sophomore album to decide to start making beats? And what was the transition going from rapping to both producing and rapping like?
Mic Geronimo: It was always something I wanted to do because music always spoke to me. I just wasn't sure if I was ready to reveal that side of myself. I was also not sure that if a beat I made, would be able to stand alongside a Pete Rock, or a D-Dot, or a Havoc beat. But in the end it all worked out.
BigLOnline: You grew up listening to LL Cool J and yet you were there for the now famously historical Canibus response to the LL feud, documented in the ’97 Shades of Hip Hop video. How did you feel about that at the time when you heard it?
Mic Geronimo: The same way I do now. It was a legendary moment, so aside from it being negative, I was privileged enough to have a "front row seat". I think they both showed dexterity and lyrical skill.
BigLOnline: And how did that discussion and cypher session ever come about to begin with? I know you are good friends with X but why did that whole group gather as it did, why was it that group of artists (Mic, Canibus, DMX, John Forte, Mos Def and Big Pun) and why did you guys decide to film it all?
Mic Geronimo: You know…I have no idea who assembled us. I was cool with each of the MCs there. Pun was like my peoples on the block. Me and John Forte was always cool, the same with Mos Def. And Cani was from the hood so, I was cool with all of them.
BigLOnline: What do you personally think can be done to revive the current state of hip hop or do you hold the position that this is just part of another cycle we will get through?
Mic Geronimo: I think everything works in 360. Hip hop has to go from one stage, to the next. And each time it revolves, it picks up a quality it did not have during it's last revolution. Each region plays a part, as does each style. It is what makes the stew taste so good, the different ingredients so…I don't trip. I don't think it was dead, it just got lazy and the importance of certain components changed is all. But it all comes back to the Sun in the end.
BigLOnline: Recently you’ve mentioned possibly going back to school and also that you are doing a project with Roc C, Madlib and Oh No. Is that still in the works? Is there anything else you are working on at the moment, current projects, future plans?
Mic Geronimo: I definitely want to go back to school, but my hands are full. I started a media group called Massbaum with my best friend about a year and a half ago. We are currently working to get Oh No & Roc out there, producing an indie film and I am working on my next LP. And I still perform here and there when I can.
BigLOnline: Now both L and you first came out in ’95 influenced partly by Big Daddy Kane and both of you had a relatively unknown Jay-Z on your albums. You both also knew Royal Flush, O.C. and The Lost Boyz. There’s a lot of overlap between the people in both of your circles. Doo Wop, DJ Premier, Pete Rock, Kool G Rap, NaS, Cam’Ron, Fat Joe, Big Pun…Gruff worked with The LOX…Ma$e worked with Puffy and L mentioned how he respected M.O.P. in an interview. You guys have got a lot of affiliates in common. So how did you and Big L get to know each other, how did y’all meet? Maybe talk about the first time y’all met, if you remember and how y’all got introduced.
Mic Geronimo: Me and L were cool as hell. I don't remember the first time we met, but we both were running with a crew called Children of the Corn. How I got with them is, my family was Uptown as well as in Queens, so I knew Loon, Ma$e, Infa Red, L, McGruff already.
BigLOnline: We all know L and Pun were affiliated, but how did you get to know Big Pun?
Mic Geronimo: I met Pun through Cuban and Triple Seis. They were and are my boys to this day. The minute Pun and I met we clicked.
BigLOnline: Have you ever seen L and Pun together? Maybe you were there and could fill in something about their connection. Got any stories like that?
Mic Geronimo: My memory is foggy…but I can remember seeing everyone together. Can't remember the details, but definitely remember everyone being together somewhere in the city. At that time all the lyricists were like a fraternity, we all hung together.
BigLOnline: You actually ended up meeting L two days before he was killed, is that right? What was L up to when you met him?
Mic Geronimo: We were at this spot called "The Body Shop". It was a strip club that was located Uptown. L was giving out flyers promoting a party he was doing. He had a couple drinks with me and told me to come through. Two days later, he passed away.
BigLOnline: We all know Big L mastered freestyling, do you have any stories about any Big L battles, or freestyles that you might have witnessed, or about y’all doing a cypher?
Mic Geronimo: None in particular I can remember, but he definitely got busy.
BigLOnline: How would you describe Big L as a person?
Mic Geronimo: L was cool as hell and a hustler.
BigLOnline: Being that you and Big L knew each other, both being incredible MCs, did y’all ever talk about doing a song together?
Mic Geronimo: Yeah actually we did. But do to us both having crazy schedules it did not happen in time. We spoke on it the last night I saw him alive.
BigLOnline: What is your most memorable moment with Big L?
Mic Geronimo: I think that was my most memorable moment with him.
BigLOnline: What do you think made L stand out as an artist?
Mic Geronimo: I think what made him stand out is that he was not the typical Uptown rapper. He kind of reminded me of the flow and cadence that came from Queens. His vocab and flow were more technical, it wasn't dumbed down. But at the same time, he was able to mesh intelligence with style.
BigLOnline: And what’s your favorite Big L track?
Mic Geronimo: Ummm...it's too hard to say. He had so many that were ill. I liked MVP.
BigLOnline: Anything else you’d like to say that hasn’t been covered already?
Mic Geronimo: Nah, just R.I.P., peace to my dude we’ll never forget him and thanks for the support I've gotten out in this world. It means the world to me.
Smoothe Da Hustler May 2007 Interview for Big L Online
(Transcribed by The Big Sleep.)
BigLOnline: To the people who don't know you, could you give us some of your history?
Smoothe Da Hustler: Smoothe Da Hustler, Brooklyn Brownsville, my brother Trigger Tha Gambler, I came out in '95, actually in '94, independent, with a company called Next Level, put out a record called Hustlin', My Everyday Lifestyle Ain't Nothin' But a Hustle and the b-side was Broken Language with Action Jackson. Took off and…changed hip hop. (Laughs.) So that's who I am. Smoothe Da Hustler, Brooklyn Brownsville, BK representer. That's truth, that's true to it, I've been busy, between tryin' to balance family time and balance the shows actually, to who's doing Europe and Paris and you know, a few countries, but I'm ready to hit the road again. I got some shows lined up in Toronto, I got some shows lined up out here and in Baltimore and a few in Seattle. So I mean I'm just tryin' to grind, I gotta keep this money flowin' in so I can keep pressin' up these records and keep creating awareness that Smoothe Da Hustler is phat. Like a lot of cats are doin' me, I might as well do me.
BigLOnline: Are you signed to any label right now, at the moment?
Smoothe Da Hustler: Not at all. No label. No label. Feelin' me. Feelin' myself out, so I mean they played, the hip hop game as a whole, played a major influence on me.
BigLOnline: What are your favorite moments of your career throughout the years?
Smoothe Da Hustler: Wow. My favorite moment was, I think it was my after release party. And everybody came out. I mean all of the rappers. Just Brooklyn in general, I know Brooklyn was crazy. It was at this place called Palladium on 14th Street and like everybody came through. KRS-One came through. I was downstairs all amped up in the dressing room, I'm gettin' knocks on the door and KRS-One is comin' in like "Yo I love your record, it's great, it's real essential for hip hop at this time", real great words. And it was a real, real nice time. We was playin' Monopoly for hundreds of thousands. It was crazy but it was all love. I think those were like my real coolest, fliest moments. And then hookin' up with Ice [T], I mean that's another one. Because he's no doubt a pioneer, from the west coast and he's over here, out here in New York on the radio like "Yo, who is this nigga Smoothe Da Hustler, this nigga is crazy, I need to see him." And the connection when we hooked, it was genuine, I respected him already, loved his shit already and just him being genuine, we kept it thorough, I went to L.A., did some shows, he came through, brought like fifty niggas. He ain't have to but it was all good. And then just from that point it was more friends.
BigLOnline: How would you describe yourself as a rapper, in three words?
Smoothe Da Hustler: Ready, willing and able, three words.
BigLOnline: What do you think of the current state of hip hop? What do you think of hip hop these days?
Smoothe Da Hustler: Oh man, I think the game is repetitive, I mean there's a lot of things I can say that's wrong with the game, which in turn helps the game so I'd be shooting myself in the foot but as far as the game itself, the rappers, the creativity of it is gone, I think it's a bunch of copy cats, recycling. Everybody's hustlin', everybody a hustler now, I'm like damn, I don't even wanna come out sayin' Smoothe Da Hustler no more, call me Shotgun Slim. (Laughs.) Change it up. I mean like everybody's a hustler now, I'm like damn. Which I was tellin' 'em back then in '92 but aight, besides that, I think the hip hop game is still alive and there's still a lot of underground cats that're crazy dope but mainstream ain't pushin' that so we gotta love the internet but at the same time kinda hate the internet 'cause it kinda tore the labels down but at the same time, it's since built the independent artists up so it's a balance, there's both sides of the spectrum.
BigLOnline: You mentioned to us that Big L used to be the only uptown cat to come through and show you love, like in the Broken Language video, how did you get to know Big L?
BigLOnline: What role did you play in his life, were you a friend or more of a rap partner?
Smoothe Da Hustler: Well I'm quite sure I became a little bit more like a friend, you know, I would talk to him and holla at him.
BigLOnline: Did you have any plans of making a track with Big L?
Smoothe Da Hustler: That's something we talked about, that was definitely gonna happen. I asked him to come to Brooklyn for the video shoot and the night before the video shoot he called me, told me he was comin' down and he came down by himself and the crazy part he said "Yo I ain't gonna even drive, I'ma jump on the train and just meet me at the train station. Every time we hooked up, he was by himself, or some cat that just walked off and you know, it was more on some cool shit, so yeah that was definitely in the works, we talked about doin' a record at the Broken Language video shoot, it was in the works but it just never happened.
BigLOnline: Are you in touch with any of L's old affiliates?
Smoothe Da Hustler: Shit, yeah well, yeah on MySpace I spoke to A.G. and I know Lord Finesse.
BigLOnline: If Big L was still alive, where do you think the rap game would be?
Smoothe Da Hustler: I think it would be less whack and more true.
BigLOnline: What do you think made Big L stand out from most cats?
Smoothe Da Hustler: I don't know…I think it was just like his wordplay. His wordplay was crazy. And he was a solo artist, he had features but he was more like, loyal to himself, he could actually shine on a record, without nobody, he ain't need nobody to help him shine on a record. I mean just his style, his vocals and shit, pretty much stood out and he did it all.
BigLOnline: Did he ever mention about his future plans?
Smoothe Da Hustler: He was talkin' about comin' out with another album and that we was actually gonna do somethin', you know, he was gonna do somethin' on my album, I was gonna do somethin' on his album and that was pretty much it.
BigLOnline: This is something we ask every artist, what's your favorite Big L track?
Smoothe Da Hustler: Favorite track, damn, I gotta few, I like Ebonics, on the Big Picture album. (Starts rapping:) "A burglary is a jook, a wolf's a crook, Mobb Deep already explained the meanin' of shook. If you caught a felony, you caught an F, if you got killed, you got left, if you got the dragon, you got bad breath…" (Laughs.) "If you seven-thirty that mean you crazy, hit me on the hip means page me…"
BigLOnline: Okay, ready for some word association? How 'bout…your fans?
Smoothe Da Hustler: Loyalty.
BigLOnline: Brooklyn?
Smoothe Da Hustler: The last blocks on Earth. (Laughs.)
BigLOnline: George Bush?
Smoothe Da Hustler: Oh, the devil.
BigLOnline: Hip hop?
Smoothe Da Hustler: Alive again. (Laughs.) Resurrection.
BigLOnline: B.E.T.?
Smoothe Da Hustler: Wow…motherboard.
BigLOnline: Big L?
Smoothe Da Hustler: Legend. Gilda "Pinky" Terry, Lamont "Big L" Coleman's Mother's 2005 Tribute Interview for the German Magazine Juice
(Original article scanned by Soobax, provided and edited by The Big Sleep and translated from German into English by noeamvp / noeanazareth.)
Six long years have gone by since Lamont Coleman a.k.a. Big L passed away. On February the 15th, 1999 the legendary Harlem MC was shot in the streets. The anniversary of his death isn't known by the public like Biggie's or Pac's and while they've been praised like gods, ever since, L's name has been a footnote under the topic the ones we lost. It's true that his records sold after his death, but it's also a fact that L couldn't sell more than Pac's album Loyal to the Game did the first week. What's the reason? This story will attempt to explain why...
"L is the rebel type, I'm rough as a metal pipe, fuck a Benz, 'cause I could pull skins on a pedal bike."
In '92, two lines were enough to catapult Big L to the top of the list of the most promising MCs in New York. His verse on Represent (which you'll find on the Runaway Slave album from Showbiz & A.G.) was of course longer than two lines, but showed what characterized him in the early years, just like "it ain't where you from, it's where you at" could be the headline for what Rakim accomplished in his twenty years as an MC. Unlike rap philosopher Rakim Allah, L earned his first props as a live freestyler and battle rapper. To put himself in a good position and make the opponent look ridiculous was his mission since day one. In his best times L would end an already impressive show with a killer line that could destroy everyone at any time. A rhyme like the two quoted lines, which been there half an eternity and still live on, while the man behind them has been laid to rest years ago.
Big L was born on May 30th, 1974 in Harlem, New York. Even though the northern part of Manhattan was known as the Mecca of black culture 'til the '70s, it has nearly lost its importance with the birth of hip hop. Unlike classic rap boroughs like Brooklyn, Bronx and Queens, Harlem was secondary. Big L choose the traditional path as entertainer, which you had to choose if you wanted to have success in Harlem. He performed at amateur competitions at the legendary Apollo Theatre on 125th street, like generations of jazz, soul, blues and gospel musicians did before him. The Apollo was known for its critical audience; if you don't make it there, you get booed from stage immediately. Big L made it there that evening and won the winner's trophy, the start of his career as Harlem's number one MC. It's said that even his mom and grandma wanted to see the show, but L dismissed them because he wanted to hide his rhymes from them. The performance at the Apollo was his first big break as a young and unsigned artist. In the early '90s Big L won more freestyle competitions than any Harlem MC had ever before and he was the only one from his high school clique who thought about a career as a professional musician. Killa Kam and Murda Mase (later to become Cam'Ron and Ma$e) with whom he created the group Children of the Corn, started years after he began to take this music thing serious, knowing that they celebrated the success which had been refused to their mentor.
"I only roll with originators, chicks stick to my dick like magnets on refrigerators."
The Legendary Lord Finesse was the first one who gave the super talent from Harlem a play on his record. Finesse released his second album and for the first single Showbiz changed the moderate track Yes You May into the best remix of the early '90s. Today on eBay it's worth approximately a hundred dollars. Whoever has heard the track with Finesse and Big L knows why. In the same year L signed his first deal with Columbia Records, about the time NaS and MC Eiht signed with Sony. L's first single caused so much trouble that its remarkable there was even an album coming out at all. Devil's Son was released in '93 as a promo twelve inch and landed on the map because of its glorifying violence and its sexist lyrics. Hanging enemies on a chandelier and raping nuns? Killing bitches, shout outs to serial killers, insane crack heads and niggas with AIDS? Looked like speaking taboos and breaking barriers was his first aim (but nowadays you can say for sure that he didn't take the whole satanic stuff seriously). This was important because it showed that L clearly knew he needed a trademark, something that made him unique, unmistakable. He also knew that a rapper has always to develop, never stand still even if the direction may be false. Columbia Records liked the scandal arising from Devil's Son and in '95 L's first album Lifestylez ov da Poor & Dangerous was released, continuing with the same lyrics on Da Graveyard where another talented rapper named Jay-Z had his hardly noticed first major label guest appearance.
"I'm from Harlem and we all were there at the same time, Kam, Mase, Big L, me. We all were rappers but he was a true MC. There's nothing more to say. Big L, my nigga, rest in peace." ~ Black Rob
"I'm known for snatchin' purses and bombin' churches, I get more pussy on accident than most niggas get on purpose."
Lifestylez ov da Poor & Dangerous, Big L's only major LP was a commercial flop, although the top producers and the top MCs of the early '90s were on it, there was not enough promotion or it was false promotion. Of course there's been a lot of speculation about the reasons why the record failed. Some important and probably on point reasoning was quite often ignored. First: the record came at least one year too late, in '95 other names and styles were leading New York City. There was Biggie, Wu-Tang and Dr. Dre with his people on the West Coast. Second: L, the freestyle king, actually had problems holding his own on a full length. From today's perspective you'll recognize that he had his best moments with someone besides him on a track. He shined the brightest among other MCs; the competition situation was his home and in this situation he was able to put out the best of himself. Alone on a track he seemed stuck. Big L left Columbia Records shortly after releasing Lifestylez ov da Poor & Dangerous. The career which started so promising had its first big low. Showbiz, member of the D.I.T.C. crew, said about this time: "L wanted to quit rapping after that. He said the fire in him was gone."
"I remember the sessions at Lord Finesse's place. First we picked a beat; most likely a classic and then everybody touched the mic. Fat Joe, Big L, Diamond, A.G., Finesse, me, etc. We would hang in a deteriorated basement and spit the illest rhymes for hours. I'm sure Big L would be bored nowadays, because the game isn't the same now. It's all about fake shit. He was too real for this game." ~ Milano
"I know you like the way I'm freakin' it, I talk with slang and I'm a never stop speakin' it."
From '96 to February '99 shortly before he died, L didn't release any new solo material. One reason was his failing at a major label, another not having any structure in the background. Flamboyant Entertainment, his own label, was one reaction but it took nearly four years before any new songs were released. Before that L was only seen as member of his crew D.I.T.C. In the second half of the '90s several singles were released by Fat Joe, O.C., Showbiz, A.G., Diamond and L. They've became collectors items shortly after they dropped. The Era of D.I.T.C. had its sad climax with the releasing of the album Worldwide, on Tommy Boy. When the record was released in 2000 Big L was already deceased and the release date was delayed once again for recording the song Tribute, a dedication to L. Big L's parts on Worldwide were similar to his older tracks. He developed, to some extent, the lyrics from older freestyles he dropped before. His last solo twelve inch is perfect when comparing to his developing as a lyricist. It seems he found what he lost after failing with his first album: enthusiasm for the art of MCing. On his single Ebonics L broached his slang. He created a street lexicon. That may sound boring on paper, but on vinyl the track is a little masterpiece. Tragically his last single gives you the feeling that here is an MC who prepares to take this thing to a whole other level. The Heist is a classic storytelling track; L tells a typical story about murder and death like never before on his tracks. There was no doubt he had been able to do this, but he never showed it before. And this versatility emerged just before he died. It's said that Damon Dash offered L a contract signing to Roc-A-Fella, but L declined because Dash wouldn't sign the Flamboyant MCs McGruff and C-Town too. Other rumors say that Big L, McGruff and C-Town planed to form a crew together with Jay-Z called The Wolfpack. They were few days away from signing the contracts.
"Of course I miss him as an MC, but more as a human. I miss his attitude, his slang, his street stories, all that. L, when you hear me: I miss you nigga, may you rest in peace, fuck the rest." ~ Large Professor
On February 15th, 1999, Lamont Coleman a.k.a. Big L was shot to death at 139th street in Harlem. His murderer shot him in the chest and face. There are rumors that Gerald Woodley was the killer. But nobody was ever convicted for the murder.
Family Ties: A Dialogue with Big L's Mom, Gilda Terry
Even if in the mainstream Big L is ignored most of the time and all the respect only goes to Biggie, Pac, Eazy E and Jam Master Jay, the MVP lives on in the hearts of all true rap fans. For the sixth anniversary of L's death Lord Finesse put together a tribute concert in Manhattan's S.O.B.'s. Treach, Freddie Foxxx, Black Rob, Grafh, Wordsworth, Immortal Technique, Large Professor and old school pioneer Jesse West touched the mic. Besides Fight Club winner Axel, Alchemist, Easy Mo Bee and Masta Ace, there was also Gilda Terry in the audience, Big L's mother, who was overwhelmed with tears at her first rap concert. We met her with Renata Lowenbraun (a kind of business adviser who conducted all the discussion of L together with Lord Finesse) in M&G. L had gone into the twenty four hour soul food spot with chicks he met to eat his Big L specials: eggs and cheese, grits, fishcakes and orange juice, freshly squeezed.
Juice Magazine: To end all the rumors, what were the exact circumstances your son died under?
Gilda Terry: Lamont was shot in front of our house on the 15th of February, 1999. He was shot out of a moving car. Several bullets hit him in the upper part of the body and face. He was killed immediately.
Juice Magazine: It's been said that the assassin didn't even want L. Is that true?
Gilda Terry: Yes, everything points to his brother Leroy as the main target. He was involved in several drug deals.
Juice Magazine: How many children do you have?
Gilda Terry: Three sons. Lamont, the youngest, Leroy and an older brother.
Juice Magazine: Did they all live together with you in your house?
Gilda Terry: No, only Lamont. After work I wanted to watch a movie on TV on the evening he was shot. Lamont was in his room and wrote lyrics, like every day. Whether he was going out to the drugstore or if they called him on the cellphone and trapped him I don't know. When he was about to leave the house he said: "See you later mom"…that was the last time I heard his voice.
Juice Magazine: On almost every track L gave shout outs to his "big brother Big Lee", how was the relationship between them both?
Gilda Terry: Leroy was eight years older. Lamont saw him as his mentor, some kind of father he never had. Unfortunately...otherwise I wouldn't be sitting here right now. Without Leroy my baby would be alive. Leroy was the troublemaker, not Lamont. He had good grades; I never had to pick him up because he did something stupid. Actually he sat most of the time in his room and wrote lyrics.
Juice Magazine: You said Leroy was the troublemaker?
Gilda Terry: Yes. Only a few know that Leroy died in March, 2001. Two years before they had killed Lamont, because he was the nearest person to him and an easy target. 2001 they reached their aim.
Juice Magazine: Renata, do you think the same person did these two murders?
Renata Lowenbraun Esq.: Honestly I've got no idea. There is a suspect but not enough evidence. So...
Gilda Terry: The case isn't closed yet. And I'm not giving up. I know that there were witnesses on the streets who saw everything out of their window. They must have seen the car and shooter. Now or later somebody is going to call the police to get their conscience clean.
Juice Magazine: What about Gerald Woodley? We hear that name very often.
Gilda Terry: That's the name of the suspect. But he was convicted in the Bronx because of drug dealing and not murder. They let him go, because there wasn't enough evidence. It's a fact that he got something to do with this murder. But nobody can say if he pulled the trigger. Yes, not even if he was there around the time of the shooting.
Juice Magazine: Does the police keep you up to date with information about the investigation?
Gilda Terry: Bullshit! I had to go out for myself for information. And to show them that I won't stop, I'm calling the police regularly. Because if I didn't do that, they would close the case.
Juice Magazine: Thats's hard. On the other side it's not really remarkable if you think about how little clarity was brought into the cases of Tupac and Biggie.
Renata Lowenbraun Esq.: …and those cases were discussed all over the media. Lamont was too underground; his death didn't reach the public media. You have to realize that the more famous the victim was, the more engagement police put into their investigation. There's more pressure caused by the public to solve the case. At the end of the day it's all about money.
Juice Magazine: You are not known to try to profit off of Big L's name.
Renata Lowenbraun Esq.: Finesse and I want to bring out another posthumous album. But we are aware of the ethical problems that'll bring along. The last thing we want to do is put out a compilation album, filled with feature songs including artists L would never have worked with in the studio. We feel the pressure. The material we got is rich in content and it absolutely proof of L's artistic line when he was alive. But of course it's not exhaustless and not reversible. An artist can make mistakes while recording a track and say: no big deal, I'll do it better the next time. In the case of L that's no longer possible. Don't forget, all the labels nowadays got enough problems to promote their artists and they're able to shot videos, do interviews and go on tours. How should that work with someone who has passed away? Let's not be blind: the general public doesn't even know L, especially the young audience. If you want to keep his memories alive you've got to reach the general public. But that's a game of luck!
Juice Magazine: How do you split the work with Lord Finesse?
Renata Lowenbraun Esq.: I'm dealing with the business and administration side of things. Finesse takes care of the development of the songs until they are finished. He's upgrading L's vocals and is using his connections to other MCs and producers.
Juice Magazine: Are all the beats produced by the D.I.T.C. crew?
Renata Lowenbraun Esq.: Mostly. Certainly I'm fighting to get the actual big names involved in the project. But it's not easy to spark the interests of the producers.
Juice Magazine: There were a lot of rap heroes at the tribute concert at S.O.B.'s. How do you feel seeing these big names coming to honor your son with a concert?
Gilda Terry: I was really flattered. But if you believe it or not: it was my first rap concert.
Juice Magazine: You never saw your son perform?
Gilda Terry: Never. Actually he forbid me to come to see his shows. He knew it would drive me crazy hearing all the dirty things him and his friends rapped about. It's nice to hear from all that my son stands for real rap, but I see no different between him and other gangster guys on TV. I never was a fan of his music. In 2003 I heard "The Big Picture" full length for the first time. Of course I was aware of his lyrical talent and I'm flattered that fans adore him as the artist he was. But to tell you the truth: it's not my taste.
Juice Magazine: Because of the music or the language?
Gilda Terry: The first song I heard was Devil's Son. I couldn't believe the words coming out of the mouth of my baby. I said: My god, Lamont, are you aware of what you're writing? You'll incite our whole community and all chapels in Harlem with that enormity. But I liked singles like MVP or Put It On.
Juice Magazine: Because they were clean, radio edits?
Gilda Terry: (Laughs.) Yes, maybe that's the reason. I've had enough of all this violence and tackiness. I would wish that all the artists clear up that this stuff is only entertainment and the images seen in their videos have got nothing to do with real life.
Juice Magazine: As we asked Mrs. Terry for a picture of her son, she was going in the kitchen and came back with a picture showing Lamont in church clothes. "He was as sweet as he was young", Terry said with a sad voice. "He always wanted to be photographed like this to look like Don Corleone. By the age of six he didn't like cartoons anymore; he only wanted to watch The Godfather and other mobster movies". In a sad moment six years ago he came close to his role model. This moment took from the rap world, one of its biggest talents. Big L, rest in peace.
Requests: To those who wish to contribute, I'm currently still looking for audio of the Oxygen FM '98 interview, information on other official or unofficial Big L beats or better yet, The Big Picture Instrumentals vinyl. To help out or let me know anything, you can get at me by leavin' a comment here or by hittin' me up on the BigLOnline or PhilaFlava forums. Thank you.
