Basically, our album "The Rhyme Monopoly" is what's good. We're just
trying to get that shit out there. Other than that, there really ain't nothin'
sweet. It's too much bullshit on the radio and on TV for shit to be good with
me right now as far as music goes.
Can you give everyone a brief 101 as to who Watch City is?
Watch City consists of two MCs: Man O' War and Money Mike. Man O' War's my brother
and we both love hip-hop and started fuckin' around writing lyrics one day and
then BOOM! we got nice and made an album. We're from the "Watch City"
aka Waltham, MA, which is right outside of Boston. Bottom line with us is that
you won't get no fuckin' nursery rhymes in our lyrics on some old "My name
is Money Mike and I like to fuck dikes" shit.
How would you describe your style?
Straight Grade A steak packed with protein. No power bar shit with fake nutrition
in it. Our music ain't for chicks eatin' salads, it's for fat fucks that can
handle the whole cow. For real though, our style is intellectually rugged similar
to the quality hip-hop of the mid 90's era. To be perfectly exact, we have lyrical
cynicism overlaying theatrical orchestral production creating a unique sound
contrary to the tedious, commercial formula of modern hip-hop (for all the grammatically
correct mutha fuckas out there).
How do you think being brothers affects the group chemistry?
I think it has a real positive effect on our chemistry because of the fact that
we're so close and so similar, especially in our tastes of hip-hop. It's like
if Man O' War thinks a verse of mine is wack, he'll tell me straight up that
the shit sucked and I'll fix it. (Not that I'm writing any bullshit, that was
some strictly hypothetical shit right there.) It's good though because we're
able to really build on concepts together and speak freely about everything.
If we get in fights about shit, I'll knock him out and then we'll be cool the
next day 'cause we're brothers.
What music did you grow up listening to?
We've been listening to hip-hop since 4 and 7 years old. I'm the older brother
so I got Man O' War listening at a really young age. As far as artists, we started
off listening to a lot of Kool G Rap, Rakim, Big Daddy Kane, EPMD, Das EFX,
and Run DMC. Then in the 90's we really got into a lot of Queens Bridge hip-hop
like Nas, Cormega, Nature, and Mobb Deep. We listened to a lot of Big Pun, Terror
Squad and AZ too. Our biggest influence by far though was the Wu-Tang Clan.
When they came on the scene, hip-hop changed for us as listeners. They raised
the bar with production and lyrics. They actually talked about shit worth listening
to. A lot of our inspiration came from their albums throughout the 90's.
What projects have you put out on your own?
Man O' War:
We've put out our debut album "The Rhyme Monopoly" and a DVD "Watch
City - The Music Videos Vol. 1" this year. We're also featured on Clear
Vision Entertainment's "Industry Heat Vol. 2" mixtape, which was just
released on April 29. You can peep it at www.clearvision-ent.com/mixtape/music_vol2_listen.htm.
Can you talk about the "The Rhyme Monopoly?"
Man O' War:
The Rhyme Monopoly boasts 20 tracks with a total of 74 minutes worth of quality
hip-hop. We got production from Matteo Getz (CEO of Get A Life Ent.), Golden
Child, Young Prophet, and the Jerm aka Ronnie Rey-Gun from Anger Bangers (who
produces for Thirstin Howl III). It ain't one of those underground albums with
wannabe commercial club songs on it. It's strictly rugged and we push the envelope
of social and religious norms by constantly questioning societal standards.
The Rhyme Monopoly showcases a variety of rhyming talents, from battle rap to
story telling or social commentary to humor. We got a variety of topics on there
with the highest quality of sound. Ronnie Rey-Gun is a genius behind the boards
and Cyber Sound Studios in Boston is top notch. If anybody wants to listen to
the album check www.watchcityhiphop.com to stream some tracks and if you like
it, hit our store to make a perfectly legal purchase.
What was your recording process like for that?
Man O' War and I started writing mad lyrics in our notebooks just on some battling
shit. We kinda competed with each other every day to see who had the illest
verses. Next thing you know we had enough verses for a fuckin' Watch City anthology.
That's when we decided to get serious and mold these verses into fluid songs
and then into a thorough album. Most of the shit we had got cut when we really
started molding the album into form 'cause we were really shooting for a solid
album, not just freestyle verses like most other shit. We ended up linking with
Matteo Getz from Get A Life Ent. 'cause he had the most blazing production we
heard in all of Boston. We'd be in the studio every day snatchin' new beats
and just writing rhymes to them. What we came up with was The Rhyme Monopoly
'cause we feel that there ain't too many cats that have lyrical flow anymore.
It's like we got a fuckin' monopoly on quality lyrics in the market with embedded
double rhyming in every line.
What's your favorite track off that album?
My favorite track off the album is "Where's Your Mind At" cause the
beat is sick and lyrically we really let heads know where the fuck we're coming
from. It's a good track for the listener to know what type of shit we're on.
Man O' War:
Yeah, I like that track too, but I also think Closer To God, Watch City by the
Sea, and Tears into Rhymes are right up there with that shit. Our solo songs,
Point of View and World in a Track, are also some crazy tracks that have to
What's the biggest obstacles you've faced being independent?
Definitely marketing our music and being able to reach mad people is difficult.
Without a major marketing budget, it's tough to get our name out there. We really
appreciate an opportunity like the one you're giving us now for more heads to
become aware of the fact that there's a Watch City on their navigation systems.
What labels would you consider signing with?
That's a tough question right there 'cause we're always hearing traumatic stories
from the industry. I'd really have to be presented with a contract first to
know what it is I'm looking for or not looking for. Right now all I know about
these labels is the bullshit that the media prints about them. I tell you right
now I wouldn't fuck with no Bad Boy or G-Unit shit the way they've been exploiting
artists and making bands and shit. I mean, ain't a band gotta have a fuckin'
guitar player and drummer that's fuckin' a porno star?
What would a perfect label have to have for you?
A perfect label would have to be one that was owned by me. Other wise, no matter
what way you look at it, the label would be out for themselves and their bottom
line. Honestly, they'd have to be able to offer me a steady form of payment
and most importantly some health benefits. Shit is real out there. I don't want
to get an ill advance and then get hit by a car or shot the fuck up like all
these other "artists" nowadays and have to spend every last dime I
have on hospital bills. Maybe not shot up, it seems like these "artists"
are just drawing their guns in their album cover artwork.
Man O' War:
To me, the perfect label would let us have control over the songs that make
it on the album. I would need to have creative control over a large part of
the album without the label telling me that I need a Neptunes or Scott Storch
What DJ's have supported you so far?
DJ Golden Child and DJ Matteo Getz of Get A Life Entertainment and DJ 1-N-Only
of Clear Vision Entertainment.
What producers have you worked with so far?
Man O' War:
We've worked with Matteo Getz, Golden Child, Young Prophet, and the Jerm from
What producers would you like to work with?
Definitely the RZA. He's a genius on the boards. Also, Alchemist, DJ Premier,
9th Wonder, Tru Master, 4th Desciple, Stoupe, Kanye West, and Just Blaze.
What do you look for in a beat?
We're really into beats that use samples of classical music or soul music. I
can't stand those 1985 Casio keyboard beats that got 2 kicks and 2 snares every
bar with some bullshit organ melody that my grandmother could have made. I like
my drums to be thickly laced and up-tempo with an ill vocal sample that's chopped
and looped throughout the song. A good example of a drum line I like would be
from the song "Mighty Healthy" off of Ghostface's Supreme Clientele
How do you know when you've made a good song?
That's easy. The shit is hot when I would bump it in my own ride and not be
embarrassed. The real litmus test is when all of my boys sweat the track and
all the chicks I know hate it. That's when I know I made a quality track.
There's a lot of biting in Hip Hop, as a new artist, how do you make sure
that you don't sound like anyone else?
Man O' War:
Right now, it's easy to not sound like anyone else that is out there. All you
gotta do is get some good beats and write some good lyrics. Don't fuck around
with some keyboard sounding shit and talk about clubs and bitches in every track.
As for us, when I hear that our shit reminds someone of rap from the 90's, I
take that as a compliment. If I hear that I sound like Eminem, just cause I'm
white, or that I sound like some other asshole that is on the radio these days,
then I'll get pissed.
What do you
think is the best thing in Hip Hop today?
That's tough 'cause there's a lot of terrible shit in hip-hop right now. I'd
have to say J-Love mixtapes right now. Almost everything coming out commercially
is wack and most of the mixtape DJs are pumping songs on the strength of an
artists name or label or marketing campaign as opposed to the strength of a
quality song. J-Love is the only mutha fucka out right now that actually screens
the fuckin' songs and puts quality music out. I mean you don't see no fuckin
J-Kwon on a J-Love mixtape. My deck is full of J-Love mixtapes right now and
it's the only thing that keeps me inspired.
Man O' War:
Yeah, I listen to a lot of mixtapes too. This is where rappers can do the shit
they actually want to do and not worry about a label. I've also been listening
to a lot of the newcomers out there like Saigon, Stimuli and Cory Gunz.
What about the worst?
The worst thing is that mutha fuckas can say "Big Mac" in a song and
get paid for it. Heads get shot in a radio station and can sell millions 'cause
they're fuckin' thugged out. DJs play the same fuckin' song all day. I was in
New York in the beginning of March when the 50 and Game beef was at its peek.
Hot 97 literally played 50 and Game songs all day every day the whole week I
was there. Then he pushes over a mil the first week when the fuckin' radio plays
his whole album for free every day. Who the fuck pays for free shit? Honestly,
I can't even blame the labels or artists at this point. It's the fuckin' fans
that create the demand for wack shit. There's kids out there that have never
heard Only Built 4 Cuban Linx and think they know about hip-hop.
What's coming up for you?
We were just selected to be featured on "Industry Heat Mixtape Vol. 2"
hosted by Major League Hustlaz and mixed by DJ 1-N-Only from Clear Vision Entertainment.
That shit is out right now. We're currently recording an exclusive Watch City
Mixtape with all brand new songs from Watch City on industry beats. It's scheduled
to be released this summer. We're also currently recording our sophomore album
"The Last Rhyme Slingers" which will have all brand new original tracks
from Watch City. This album will be out by the end of 2005 and will have production
from Matteo Getz, Golden Child, and the Jerm. We're also gonna be performing
in the summer, but check our web site for details www.watchcityhiphop.com. We're
still grindin' and promoting our brand new album "The Rhyme Monopoly"
and heads can check our site to listen to tracks and purchase the album.
Finally, when people hear Watch City, what do you want them to think?
I want them to think of struggle 'cause it hasn't been this tough in years for
quality music to get played to the masses. In the 90's mutha fuckas sold millions
of records with no commercial airplay. Loud records was pumpin' groups like
Mobb Deep, Big Pun, and Wu-Tang with no "hit singles" with singers
on the hooks. I want people to associate us with hip-hop from the golden era
of the mid 90's when hip-hop actually said something to its listeners. I want
them to think of us as the needle in the haystack that's hard to find but once
it's found the shit is definitely still on point.
First off, we'd like to especially thank 730 for giving us this ill opportunity
for an interview 'cause we really appreciate it. Good looks. Big up to our whole
production crew, Matteo Getz and Golden Child at Get A Life Ent. Big up to our
engineer and producer the Jerm for Anger Bangers over at Cyber Sound Studio
on Newbury Street in Boston (www.cybersoundmusic.com). Big up to Dirty Skillz
and Jaxn from Havoc House for featuring on The Rhyme Monopoly. And of course
we wanna holla at our man Ronzilla from The Boar's Head Mafia for keeping shit
tighter than a fuckin' Chinese finger trap! Be sure to check our web site for
all our frequently updated Watch City news and new material at www.watchcityhiphop.com
and be sure to cop The Rhyme Monopoly at www.cdbaby.com/watchcity.
Contact us at: email@example.com.