Homegrown UK Hip-Hop artist Jamie Westwood has just landed a recording deal with UMG (Unanimous Music Group) and we caught up with the Surrey based MC to talk about his plans to take over the UK and US with his unique style and multinational connections.
JD: OK Jamie, Can you start off by telling us about how you got into Hip-Hop and what you have done to date?
Jamie: I got into hip hop properly once the second Coolio LP dropped in “95”. I was 8 or 9 at the time. I remember her hitting the top 20 thanks to the Gangster’s Paradise singles #1 spot. My dad was actually a big fan and had purchased the album on cassette. There’s a tune on that LP called “Too Hot” and it blew me away. It was like “this dude doesn’t even sing his own hooks but damn this is a tune!”. Of course the track had some fancy pants female throughout the majority of the chorus. It was this song that made me realize that hip hop wasn’t just “thug music”, it was an art and I wanted in!
Since then I was hooked on it 7 days a week. By fifteen I had produced an entire album and had independent artists on there from Australia to Eastern Europe. At the time, my production skills were very limited. It was understandable because you don’t really have the money in your pockets at that age to start buying up satisfactory equipment. It was at this point I first learnt the value of effective communication. Every collab on this album was produced by the participating artist. I didn’t have the tools to create the beats I wanted so I went out and asked permission to use those from whom I was working with. If you don’t ask, you don’t get. I had 200 pressed and sold the lot by hand. I’d made some dosh and had learnt an important lesson.
I pressed a professional 4 track EP in 2005 which I titled “fresh”. I got rid of 1000 copies and paid off all of my studio time in full. When 2006 came along I decided that I wanted to stop playing around and take things a lot more serious. I had a collection of unrecorded material that I desperately wanted to take into the studio but was 1k short L. I finally convinced myself to cash in my insurance and sell my car (and I really loved that Vectra SXI). I took a long walk to the studio that week and paid for 5 days straight. It was this material that I put out to labels.
In 2006 I increased my networking time by a substantial amount and successfully signed a 5 year deal on my options with a record label in the States. The label (Unanimous Music Group) now work closely with the company responsible for my management (MEM) and lately we have been pulling off a few stunts. We’ve been working closely with the large commercial radio station, TIME FM in London and I have been performing my 3 track promotional set to huge capacity crowds at their events. I headlined one of their shows before Christmas that had pulled in a 5000 capacity. I was also doing the odd show before I started working on my project with Unanimous.
JD: Who or what would you say are you main influences in your music?
Jamie: Musically, there are obviously a variety of artists that I have learnt a lot from. There is an artist on Roca-Fella call Beanie Sigel. His distinguished sound is consistent throughout every track. As soon as he hits the mic you know its him. “Kano” Really did it for me in 04/05. It was evidence that the UK scene could blow up big if a label played the artists cards the right way. I’m a big fan of C-Rayz Walz, Black Twangs new material, Kyza’s LP, Dilated Peoples, Oh No, Slick Rick and am partial towards most dirty south artists taking charge of the overground right now.
Nevertheless, the majority of my influences are not through music. I obtain all my passion and drive through life’s negatives (“a blessing in disguise” as I like to put it). I am a firm believer that pain is fuel for success. Without pain you have no motive to dig deep inside yourself and excel all of your own expectations. Its common knowledge that an individual in perfect harmony with their surroundings will not attempt to elevate themselves in regard to achievement. For examples sake, before every show my vocalist pulls a picture of my ex GF out of his wallet. It infuriates me and places my mind in this truly livid yet energy driven place! I can’t perform without seeing that photo. I also love my manager to bits. “Steve Tucker” from MEM. I wouldn’t be where I am if it wasn’t for his companies movements with my project. He represents, motivates and protects me from the evil of the industry. He takes a lot of hits for me and that I respect! To be honest, anyone who knows what they want and won’t stop at anything to get it, is and always has been a real influence on everything I have achieved so far.
JD: You say your music is for people who are tired of manufactured music, but what are you going to offer them that is different?
Jamie: Manufactured music is audio and visual designed for the sole purpose of generating large profits. I want to prove that it is possible to stay true to the game, never forget those who helped you up, pay your dues and stick to your roots in the process of becoming a successful artist. There are a lot of fake acts out there with pretty faces and an incredibly large lack of talent.
Artists like Skinnyman for example should be larger than life but the UK scene can be quite restrictive. This is the part of the music industry that is exceedingly frustrating. To be honest, I want to show the US what the UK is capable of and tread down a few fakes on the way!
JD: How would you describe your style?
Jamie: If you listen to the way I lay my verses down you will notice that I am very well spoken in rhyme and will constantly slip in a large selection of vocabulary. I have labeled it the “educated approach” to British hip/hop. I am producing material now that is intermixing Southern US “crunk” with this “educated approach” I have developed. The majority of beats for my new LP are being professionally produced by Kino Watson down in NC and shipped over for me to play with in studios over here in the UK. For this reason, most my new material is “UK crunk” (crazy I know).
My vocalist, “Jonny Attridge” also does a lot of production for me over here in the UK. He was the brains behind tracks like “Blue Sky”, “If I Leave Tonight” and “I Don’t Mean To Impose” (All three of which are on my tour set). Jonny’s productions provide me with these remarkably well structured musical compositions which compliment my “educated” flow. If you listen to If “I Leave Tonight” you will notice it has this crazy classical piano arrangement running right through the middle 8. We keep everything dead hip/hop with the vocal energy and tough percussion but ascertain that every track has that intellectual feel to it.
JD: So when you hooked up with Kino Watson's American record label Unanimous Music Group how did that deal come about?
Jamie: I was in the process of doing a distribution deal with one of the labels contacts in the states. I was told to shoot some of my material over as I was planning on dropping an EP at the time. The label wanted to check the audio was on point before everything went ahead. Kino got hold of Blue Sky and jumped straight on the phone and offered me the opportunity to drop my album with UMG. Everything went from there.
JD: You have a debut album due out in September 2007, what can we expect from it?
Jamie: You can expect a record that is like no other. I can guarantee something special within every tune on this LP. Big names, a complicated flow from myself which had derived from every inch of the dictionary. Plus huge, respected production which never leaves the studios in NC without that element of perfection.
Jamie Westwood tracks don’t just compromise genre styles so the media remains at “opinion equilibrium”. I’m doing something completely off the wall and it’s generating an implausible, yet incredible response. It’s innovative, its “fresh”, its distinguished and glazed with imagination. It’s a major market product that still gains respect from the underground. At the end of the day, Jamie Westwood is working on big projects with big names. Its big boy noise!
JD: How is it progressing?
Jamie: Its progressing well. I have got used to sleeping on the studio floor ;). I am currently taking 6 weeks out from “Jay Day’s” production to spend a bit of time fully preparing the single I’m dropping with Skinnyman. After this hit’s the shelves I will be spending my time between show dates implementing the rest of the ideas I have composed. I am doing work in a lot of studios all over the UK. Its a lot of traveling but these journeys are perfect for generating new ideas.
JD: I hear you have your first few singles planned already, can you tell us about those?
Jamie: I am dropping a tune with Skinnyman in late April entitled Ooh Wee and it’s the first time Skinny has really hit a proper crunky production. It’s a big step for UK hip hop in a way because I got one of the games biggest Brit hop artists jumping on a proper American style concept. We are shooting the Video next month and I can guarantee some impressed faces. A swanky club, plenty of half naked models and a lot of free champagne. Its gonna be off the hook!
The label also plans to release a summer tune in June this year entitled Blue Sky. I have a very silky vocalist who is a fantastic friend of mine singing the hooks (Jonny Attridge). UMG are in current negotiations to push this with a major. We believe this tune will be a summer anthem once it is finally unleashed to the appropriate radio sources.
These are the big two going down right now. There are other singles I will spray out but we are directing a lot of our budget towards Ooh Wee and Blue Sky.
JD: So Skinnyman is on the album, but are you planning to work with any other UK acts?
Jamie: I am unable to drop names in just yet because there is still paperwork which hasn’t returned. I can tell you now though that you can expect a big tune featuring Blade on there called “We Don’t Do It”. It’s a track about expressing yourself musically for the sole reason of pure enjoyment.
We don’t do it for the money baby, we don’t do it for the sexy ladies, we don’t do it for the fancy cars, we just get up on the mic, spit, take what’s ours.
I selected the topic for Blade himself as a thank you for everything he has done in the industry. It’s a fact that he has poured his blood sweat and tears into the game and there are a lot of artists out there who followed his projects for many years before he decided to take some time to himself (including me). I wanted to help him let people know just how much respect he has for hip hop.
I don’t do it to be petted like a pedigree, or to have another model lying next to me, I don’t do it so my bank can be the horde to see, another check from my record company, And we don’t do it for the drop top pricey coops, or the chance to wear another Armani suit, We don’t do it to get every MC’s salute, or to have these interviewers up in full pursuit.
JD: What about some US artists?
Jamie: I have Kino Watson in a tune I got called “Double Tap” as well as the odd Kino vocal scattered throughout the LP. I have been in negotiations with Prince Po from Organized Konfusion over in New York a lot and you can expect a collab from him (his LP drops in August so be sure to check it out). There are artists that UMG have brought in also but again I’m not name dropping on these just yet until final decisions have been drawn.
Patience is a virtue. I can guarantee you won’t be disappointed though.
JD: How do you view the UK and US Hip-Hop scenes at the moment?
Jamie: Separated and extremely divergent. They are two completely different sounds now. UK hip hop is doing its own thing and it makes me proud to be British!
Things in the US are moving away from New York slowly but progressively. Crunk is taking over. The thing is, I have so much love for both the UK and the US scene. Its all hip hop to me and I would never spend my time trying to favor one over the other. If it bangs, bumps and flows then I will listen to it with a smile.
JD: What do you think when artists like Nas say Hip-Hop is dead?
Jamie: It’s a publicity stunt. Look at the drama it caused. When you work so hard to get somewhere like he has you would never say something like that out of your heart. He knows full well it isn’t dead and that it won’t ever be. He was simply trying to cause an uproar which was picked up by the media and exaggerated. I respect his work but not his choice of words. In fact I’d like to be able to say I’m disappointed. The truth is, I was just confused that such a large industry cat was saying something so unreasonable.
JD: Going back to your album, is it right that you handled some of the production on it?
Jamie: I have co produced some material yes. When we get in the studio it is my job to make the best use out of my resources. Whether I am directing a musician who has come down to lay a bass line for example or chopping and changing around raw files that I have received from the UMG studios.
Most production is executed by Kino Watson and Jonny Attridge also has a large involvement. The majority of productions are completed by Kino in NC and mailed over. Jonny drafts his ideas in his own studio then if I like them, he takes it to a professional suit to complete for me. After I lay my vocals, everything is shipped for mastering in one of New York’s finest luxury studios.
JD: What sort of creative control do you get over at UMG?
Jamie: I get a lot of creative control. Lyrically especially. When it comes to laying down my verses I am in complete isolation from those above me. I have a lot of respect for my label boss and usually we share similar ideas anyway. The people I work with are not just a team. We are a loyal family who truly respect and appreciate everyone’s input and efforts (“Unanimous as we live, Unanimous till we die”). If I do something and another team member advises against it then it is for a valid reason based on educated experience. I appreciate criticism. Not Many artists will tell you that. Your enemies are your best friends in this game because they highlight your weak points. Everyone has areas for improvement but the successful artist will swallow his pride and take these opinions into deep consideration rather than just sit there and say “Fuck it, I am what I am and if you don’t like it then blah etc blah boring blah….”.
JD: Have you got a tour in the works to promote the album?
Jamie: I got UK tours planned this year and according to our schedule, will have show dates coming out of my ears! I’m scheduled to jump on a selection of Skinny’s 2007 tour dates as well as touring the majority of UK universities with my own headlined show. MEM is also in current negotiations with a large Leisure brand to tour all of their venues nationally. I have a lot of respect for what skinny does on stage and we have also invited him to support some of my dates which I was very happy about. Its gonna be crazy. Everyone can keep updated on the shows movements through the Jamie Westwood website -- www.jamie-westwood.com --
JD: How do you think your album will be received in the US and UK? A lot of UK acts have trouble cracking the states. Do you think being signed to an American label with give you an advantage?
Jamie: UK artists have had trouble hitting the US scene because of their refusal to adapt. People need to remember that the two markets are so very different! Not just in regard to the music, but the culture also. Yes they are both hip hop, but they grew and blossomed on different sides of the globe. If you are aiming to hit a scene that you are not familiar with then you need to make sure you bring only 50% of your style with you. The other 50% comes from those who have lived and breathed the scene. But it not just meeting in the middle. That way you lose your image consistency. You need to highlight your audiences favored qualities within your marketing plans. You can still put out the same material but you must make sure you present the right audience with the right aspects about you as an artist.
I have a fantastic producer shooting out top notch US productions. On top of this I over pronounce a lot on tape. This is part of my rhyming style. It is a well known fact that the US love the English accent. I walked into a club in New York a few months back and all you had to do was ask where the “rest room” was. It was that easy.. “Oh my god your English.. Say would you like a cup of teeeee”. My educated flow concept works in synergy with the accent. It portrays me in a good light to the Americans and backs up all of their positive stereotyping. I’m still staying 100% true to the UK game though. Besides if I wasn’t respected in the UK, artists like Skinnyman and Blade wouldn’t be by my side pushing tracks.
JD: And finally, what are your favourite 3 tracks doing the rounds at the moment?
