For the second installment of our sit-down with Big Scoob, we’re given insight into his thoughts regarding his role at Strange Music, being misunderstood as an artist, influence, and more.
Throughout his career at Strange Music, Scoob has always brought that traditional gangster rap, a sound that is left of center when it comes to the label. In the interview, Scoob touches on his struggle while attempting to appeal to both the streets and the Strange Music fan base, giving eye opening insight for all fans to think about.
Check out what all he had to say below!
People look at you and they go, “Okay, that’s Big Scoob. Gangsta rap.” They don’t know how in tune with music you are.
The streets don’t give a shit. The streets just want to hear some shit to slap. They want to hear some shit to make you feel good while drinking. They want you talking that talk that you’re living. If you talking that shit that I’m seeing everyday, I’m fucking with you. Strange Music fans are a bit different. Strange Music fans are into the music. A lot of them come from heavy metal or rock-and-roll. When they hear Big Scoob, they think gangsta rap, they’re like, “Ah, I don’t want to hear that shit” before they hear it. They think, “He doesn’t do what I want to hear.”
I always said this from the beginning. When I used to go to the Gathering or when I would meet juggalos, they would automatically assume I’m pre-judging them. But once they would meet me and I’m drinking beers and we’re having fun, me and Makzilla out in the crowd, the same people are like “Damn, Scoob’s cool as a motherfucker.” It’s the same shit. Same way I give you a shot, you need to give me a shot.
Now, if you listen to my shit and you don’t like it, I’m cool with that. Everyone isn’t going to always like it. To answer your question, I don’t think anyone understands how in tune I am with music because of the projects I put out. I haven’t really had a chance to showcase it yet. I’ve been away from music for seven and a half, eight years, so my confidence was shook when I came back. For my first album, I did, in my opinion, a lackluster project, couple tracks on there were banging, but I didn’t get out the message that I was trying to get out. The second album, I was so worried about going on tour with Tech and people coming to me saying something like, “Yeah, man I got your album in the VIP pre-order. I haven’t even opened that shit. I don’t know why you’re on Strange”. That’s the shit I’m listening to every night. Without snapping, I’m taking it. Listening to that shit, I figured the only thing that connected with Strange fans was my humor.
When I’m out here, I’m making people laugh without trying. I’m serious as a motherfucker and everyone laughs. I’m like, “Hold up, motherfucker, that wasn’t a joke!” My humor connects with people everywhere, so that’s what I tried to do with Damn Fool. I wanted to lighten it up a bit. I didn’t really give it my best shot. This one here, H.O.G., I was stubborn saying, “Nobody’s gonna fuck with it anyway. Trav’s not gonna push it. It’s gonna fall on deaf ears, so I’m gonna make this for me.” Now, I’m in meetings with Trav and he wants to push it to the radio. I was like, “Goddamn! You should’ve told me this shit at first!” So now, let’s see how the fans take to this one.
Next project should be even better. I’ll be able to show a lot more of my talent, a lot more of where I draw from. I’m talking about 60s and 70s music, soul music – it’s such a big part of my life. It’s the soundtrack to my life. I’m always playing Curtis Mayfield. I always have that playing in the background. I just want to show that. The same way Tech does with Jim Morrison – he lets you know that’s what inspires him. This is why I do what I do. I would love to show Curtis Mayfield, all my influences, the reason why I’m so into this music. I have a track on this album called “Soul Musik” that kind of dives into that a little bit.
I haven’t heard that track, but I imagine that you went into that like, “This is the sound I need.” Who produced that and how did that come together?
“Soul Musik” was a track produced by Boogieman. I was supposed to get Lyfe Jennings. I was going to send the hook to his baby brother Jay Rush Jennings to sing it. I tried to sing it myself – it didn’t go well. I was gonna send it to Jay Rush but I gave Boogie a shot. Boogie sang it and I couldn’t change it. I was like, “Damn!” Basically, I set out on the Fourth of July. I don’t celebrate holidays, but I sat out on the Fourth of July, pulled my Old School out, parked it in front of my house, and turned my music on. I just let my playlist play – I have probably 8,000 songs on my playlist and I just let it play for probably 8 hours.
My daughters got off work and came over, my wife’s mother, my wife’s auntie, and all my partners pulled up and we just sat in front of the house and I just let my playlist play. From 65-70 year old women dancing to 16 year olds dancing to my partners, I have so much music. It’s for everybody. So, that’s where the concept came from. If I push my playlist, I have enough music for everybody. That was the message in the song – that I have something for everybody, you just gotta give it time. I can’t give it to you all at once, but I can show you. I have something for everybody.
“Walk The Line” – you brought it up the other day, so I know it’s an important song to you – walk me through the concept of that song.
Again, fans don’t believe I’m really a team player for Strange Music. I was reaching out to all the Strange Music artists. I wrote a hook for Stevie Stone, got Stone in the lab with me. He came and I heard another one that Boogie and I were working on. He added a little piece to that. So, I was reaching out to Wrek. I’ve actually reached out to him before when he was on tour, but he didn’t have time to get back to me. He reached back to me, like “I have time now.” I told him, “I don’t want to change who I am. I want to blend what you do with what I do.” I gave him concepts and told him what I’m feeling. So, he sent me this one, “Walk The Line”.
When he sent it to me, I knew immediately. I was like, “That’s it! That’s it!” It gave me hell, though, because I was trying to do too much on the track. I finally came to a point where I just relaxed and did me. I watch the news and see all this bullshit that’s going on with race relations. I remember something Tech’s mom had said when she was passing. She said, “Liberty and justice for all.” Tech said she kept repeating it, “Liberty and justice for all. Liberty and justice for all.” He didn’t know what she was saying. His auntie had to call and say, “She’s saying ‘liberty and justice for all’.” He got it tatted on himself. From that right there and what I’m watching on TV, I was like, “that’s what I need to write about.” That’s how the song came together. I’m writing the treatment to it right now. I want to shoot a video for it. So, then you really see what I was on with it.
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