Mit großem Marketing Aufwand ist es jetzt erschienen, das neue Album "Anarchy" von Busta Rhymes. Dieser weilt zu Zeit hochbeschäftigt in den USA und steht deshalb leider für keine Interviews zur Verfügung. Deshalb haben wir uns entschieden, hier das Original Interview Script der Plattenfirma Eastwest zu veröffentlichen. Dabei ist natürlich klar, dass das Bumbanet sich nicht unbedingt mit den Inhalten identifiziert, aber lest selber - und seid kritisch...

1. BUSTA's MASTERPLAN: (02:03) Q: The whole thing is a growing process, even with the records, from "The Coming" to this (new album). It seems like there was a concept behind them, going all the way. So, what was the idea, were you already thinking of the "Extinction Level Event" and "Anarchy", not as titles, but as concepts, as a build-up, when you made your first record ("The Coming")?

B: I think I got the whole picture of the albums and how they follow oneafter each other as I got into it, do you know what I'm saying? I didn't really have it all pre-planned. I had a plan as I started to make each album, I started to figure out what I was doing by accident, do you know what I'm saying? Once I realized what was going on I started to see that I was capturing something that nobody else was. Even if somebody else was touching the surface of it, it wasn't in the way that I was doing it. And it just felt like...I think to those directions that I was taking it with them albums and everything coinciding with one after each other, it almost felt like you had you had to have one in order to understand the one after. You had to have the one... if you got the one after you had to get the one before it to understand why the one after is the way it is. It all just seemed like a puzzle that kept painting a bigger picture. Each piece that I added to the collection, it ended up starting a creative visual that I started to become one with and start to find a comfort zone in and I just felt like I gotta take it to a climax before I take it into another zone. You know, all of the zones of these four solo albums are similar but they all sound very different, to show and represent the growth in each LP. But "Anarchy" is definitely gonna be the last album to deal with theses issues, do you know what I'm saying? The thing that comes after "Anarchy", without me giving it away, would have to be something that takes you in a whole 'nother place to start something else, so... you'll see!

2. ABOUT THE NEW ALBUM (02:23) Q: Bu then, the way the album flows, it has its high moments and its darker moments, but it's like one piece of work, one piece of art.

B: At the end of the day, just because the name of the album is "Anarchy", that doesn't mean that every song is supposed to be about anarchy, do you know what I'm saying? You create a tone and a concept that's the underline of the whole LP, so that even when you make songs that aren't necessarily relevant to "Anarchy", the energy from these songs feels as intense as "Anarchy" itself feels when you hear it, do you know what I'm saying? So it coincides in one way, form, shape, fashion or another. Ultimately though I always make songs that gonna captivate people from what they can relate to the easiest and the most. So I give people your feel good energy records, party records, go to the club and break the club up records, and your happy records, and your vibe-feeling, real energetic records. And then I give you those records that are more hardcore, street oriented, and just pretty much giving you that edge that's just straight every day trivial life that we can pretty much identify with or see a part of ourselves in. Then I give you the songs that's the conceptual songs, and the creative songs, just to always show people that, you know, besides doing album songs or songs that are relevant to the concept, besides giving you the traditional Busta Rhymes records which are the hardcore, high energy records, I can also give you records that are gonna introduce the next level of my creative zone. I'll do things like the song with Lenny Kravitz where the style on that record is going exactly how the guitar is playing. Just to show people that the lyrical performance is gonna always advance. On songs like "C'Mon all My Niggaz, C'Mon All My Bitches", you hear the performance lyrically with the speed rapping and the tones and the different flows, where I slow down in the lyrics and then speed back up again, just to give people variety and just show people that, despite (the fact) that I'm just trying to paint one picture about one specific thing, which is anarchy, I'm also giving you everything else that makes you appreciate the album as a full package, as an entertainment package, and as a thorough street hip hop underground classic LP: Busta Rhymes in his latest greatest.

3. BUSTA's STYLE (00:58) Q: It's also that you seem to be experimenting with your voice more. I mean, you're changing up your voice.

B: Yeah, I mean, when you do as much as you can do, and as many things as I have been able to do, lyrically, you gotta start exploring other areas, where you can do different things at. I felt like everything from "Whoo-Ha!" to "Put Your Hands Where My Eyes Can See" to "Dangerous" to "Fire It Up" to "Gimme Some More" to the Janet Record to "Get Out", I've pretty much tapped into every lyrical flow, style, you know, performance whatever it is that you could do. Not that I've ran out, I'm not giving you that clue at all. I'm just saying, you have to start exploring other areas of your own creative abilities to show people that it's a neverending process of creative growth. You can go anywhere you want, you can do anything you wanna do, you can take it anywhere you wanna take it, just as long as you allow yourself to go there and it will still be you. Because you ain't necessarily changing, you're just advancing.

4. THE PRODUCERS OF THE NEW ALBUM (03:23) Q: The record sounding like a "unit", how do you go about selecting the different producers? I mean, everything is different producers but it all sounds "Busta Rhymes".

B: Well, first of all, Busta Rhymes knows what he need to maintain his love from the people that have grown to love Busta Rhymes, who always want a certain thing. And at the same time I always have been able to create an edge of introducing new things. While I give them things that they still love. So in the process in order to continue that kind of legacy or that kind of repall with the consumer where I can satisfy them as well as welcome them into new areas of creative worlds, I gotta always find those new producers, that have something new to offer but still capture that energy that I consider intense energy, that's gonna always transpire as the traditional Busta Rhymes eruptions, do you know what I'm saying? I like to definitely give people that feeling that if you would think of a volcano, or if you would think of an earthquake, if you would think of a hurricane or a hailstorm, the intensity and the hecticness that comes behind these things transpires. So as long as you can capture that energy, it don't matter which way you take to get there. We can get down, if at the end of the day the destination is that the energy that we're capturing is the one destination that I like to reach all the time, which is making people feel that high, intense energy. So, you know, it's like, we're all saying we're gonna go to a club tonight, but we all live in different places and we all got to take different routes to get there, do you know what I'm saying? Each producer gonna be a different producer just like each people that live in different places. And we're all knowing that because you gotta all get to this club, which is get into Busta Rhymes, they gotta all come with a energy that impacts so that that destination is reached and that I'm satisfied with the end result. So, you know, however the way that the producer chooses to take their route. I leave it in his hands. That is the blessing in why you get credited producer on my album, you have to offer that creative element, to get that producer credit on my album. So, you know, I definitely give props to the producers: DJ Scratch, Rocwilder, JayDee from the Ummah, Knots (?) from Teamsters, Pete Killer, Swizzbeats Pt.2, DJ Shop from Ruff Ryders, Jus' Blaze, a new producer, Scott Storch, also a new producer, coming up, defintely doing his thing, he worked with DR.DRE and The Roots, Jeff Schimmel, he's the guy that creates my intros for the last two LPs, yeah, this is definitely a major collective effort and I'm happy to see that everybody coincides with what it is that I'm looking for on every LP. And I guess working with people after a while they all get to learn what you need, they know what you want, they study what you've been known for and they try to figure out the new ways of giving me that same result.

5. BUSTA ON INNOVATION, UNDERGROUND AND MAINSTREAM (03:27) Q: Every time you come up with a record you not only fullfil expectations but you take it a step further. But still there must be that kind of pressure, obviously we're all reading "The Source" and everything else, people are writing stuff like: "He's so big now, he can't be underground no more". You're running a magazine, what kind of underground are you talking about? Do you even care about this shit, I mean, does it get to you at some point, or is it more like: "that doesn't even correspond with my artistic vision"? Do you fade it out?

B: At the end of the day, I never had - with or without that criticism - it ain't gonna change or alter what I'm gonna give people creatively, do you know what I'm saying? When I go in the studio, I go in the studio based on how I'm feeling and how I'm thinking and what my experiences are and what I'm seeing and there ain't no criticism involved in that process, do you know what I'm saying? The only thing that happens really in that process is what I'm dealing with and what I'm concerned about. What's going on around me directly, do you know what I'm saying? Whatever indirectly has an effect at that time that I go in the studio feeling or driving on it, that's what inspires the songs. Also, you know, those things don't really do anything for me, even when I hear, when people say: "Yeah, the music is incredible". I know that everybody don't feel the same way. That don't mean that my music still can't be done in the way that I feel it and that I see it. Don't get me wrong, I appreciate tremendously when somebody feels my music, that's what I do it for, I do it to make people appreciate what I'm feeling or how I'm feeling at the time or what I'm going through. Actually music is therapeutic for me to deal with a lotta dumb shit that I don't like dealing with, you know what I'm saying? I go in the studio and I vent in a song. You know, at least my song ain't gon' argue with me, I know my song ain't gon' fight back, I know my song won't give me no unnecessary grief and stress that I don't need to deal with. So, when I make my songs it's a therapeutic way of me dealing with what's going on in life and at the end of the day I just hope that people are sharing whatever it is that I'm feeling and are gonna appreciate it the way I appreciate it. If you don't like the song, and you feel like I ain't underground no more, I can give a fuck, do you know what I mean? At the end of the day I look at people like: "Damn, if you say that mainstream success doesn't make you underground no more, I don't ever wanna be underground. Fuck Underground, then! Do you know what I'm saying? Because Underground isn't supposed to mean that you're broke! Underground is a sound, Underground is a feeling, do you know what I'm saying? It's a certain style in hip hop, that categorizes you as underground, do you know what I'm saying? Like for example Pharohe Monch sold 5 Million records, does that mean he's not underground anymore, do you know what I'm saying? Pharoahe Monch is not an underground MC because he's not successful on a level of mainstream success. He's very successful as a hip hop MC, because he's very respected as a hip hop MC. An underground MC. And it wouldn't matter if I heard him on a record with Janet Jackson tomorrow, that wouldn't change that. If I heard him on a record with Britney Spears tomorrow, it ain't gon' change that, just as long as the record is banging at the end of the day, and he wouldn't have to compromise how he always represented hip hop from a street level, then I'm thoroughly satisfied with Pharoahe Monch blowing as mainstream as he possibly could blow because I'ma still look at him and respect him as one of my own, which is thorough underground hip hop. And that's it.

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