"E-40"  Interview With "The Source.com."
(Video & Article Bellow)

The Source.com Interview

"E-40"  Interview With "The Source.com."
E-40 remembering his favorite Nate Dogg moment and describing his personal view on what 
The Source means to hip-hop.

With over two decades of clockin’ in for the West Coast, any and all true rap fans know the large impact and loony vernacular that Bay Area legend E-40 has brought to the game. Since first setting foot on the scene as the lead member of The Click in 1988 and then delivering his debut EP, Mr. Flamboyant a year later, the Vallejo, CA veteran has had success on both indie and major labels alike. His most well known hit to date “Tell Me When To Go,” produced by Lil Jon’, was almost single handedly responsible for bringing the Bay Area’s local Hyphy culture to the national spotlight. Now back with the second installment of his Revenue Retrievin’ album series, the Gouda getter spoke with TheSource.com about his brand new double album, today's class of West Coast artists, his upcoming LP with fellow Bay Area legend Too $hort and re-educated us about some of the more popular vocabulary that he’s sparked on wax over the years. With 40 records between his two new chapters of the Revenue Retrievin’ saga, it’s evident that 40 has no plans to leave the game anytime soon and nobody is goin’ to tell him when to go.

Words By Nate Santos (@nMiddz)

As a seasoned West Coast hip-hop artist, which new West MCs are you a fan of?

E-40: I just got off twitter with Kendrick Lamar, but before that I knew that boy was raw. I’m gonna say my son (Droop-E), the whole Slick Wid It camp, a rapper out of the Bay Area named DB Tha General, Turf Talk, Cousin Fik.

Have you gotten a chance to work with many of those newer artists?

E-40: All of them are on my album except Kendrick. By the time I was done we was on tour so it would’ve been too late. We do got a couple songs but you know how it go, it didn’t fit the format of my album. I got love for Kendrick Lamar. There’s a whole bunch of talent out there. I got love for all the lil’ youngsters doin’ they thing.

The title of your current series of albums, Revenue Retrievin’, is that any type of commentary on the current state of the economy?

E-40: You remember a song called “I Got 5 On It”? Remember when I said “Why you treat me so bad? 40 make it happen, fives get slapped, revenue grossin’ jus a lil' bit of lightweight flamboastin.”? Revenues is money. That’s my way of saying money cause I don’t like sayin’ what everybody else say. So revenue retrievin’ means paper chasin’. I’m goin’ to get that money, I’m Gouda collecting. That’s the whole theme of the series is trying to make a way of life, trying to get that money man. I got all kind of angles where I show people how to get it, whether it’s illegal or legal. And if it’s illegal be prepared to try to get up out of that and do like the corporate people do, don’t be in and out (of jail).

The two discs of your new album are called Graveyard Shift and Overtime Shift. How does that play off of your last release which had Daytime Shift and Nighttime Shift?

E-40: The Revenue Retrievin’ series continues. All it is is me with 20 brand new tracks on each album touchin’ down on all angles of the game. When you been in the game for almost 24 years, I been rapping since I was 11, and you’re still here that means you have different fan bases. You got ol’ school and you got the new school fan base. I got something where I found my happy medium. I’m still satisfying my ol’ school fan base while satisfying my new school fan base and spittin’ the shit that I like to spit. It ain’t no goofy shit.

Is there any distinct difference to the sound and the feel of the records from Overtime Shift to Graveyard Shift?

E-40: Put it like this, Overtime Shift is in the middle of the night as well as the Graveyard shift. So what we did was, me and my son Droop-E and the rest of the Sick Wid It organization sat up there and listened to the songs and said this song can go on the Overtime Shift and this one right here needs to go on the Graveyard Shift cause it has a more club environment and this one right here got a more grimy environment, this one is for a hustler environment. You know what I mean? That’s how we did it.

You have Dr. Cornell West appearing on a track. Did the two of you get to meet and politick about anything other than the record?

E-40: I actually seeked his permission. He’s a positive dude, he loves the inner city. He’s our spokesperson. I got a song called “Born in the Struggle.” So I found a couple of things online when he was doin' his seminar. I didn’t wanna' just do something disrespectful and not get his permission. I called him and I sent him the record. He said he loved the record and said “Brother, do whatever you want to do with this.”  I’m going to do some panels with him too. The song really do represent the inner city. The first time I ever had a hip-hop quotable in The Source magazine ever was on one of them struggle rap, heartfelt songs called “Happy to Be Here” off my Ghetto Report Card album that sold 540,000 records. A lot of people that’s not familiar with E-40 music they only hear radio songs that are watered down. I got ghetto anthems.

Are you and Too $hort putting your History Channel project into motion?

E-40: We’re working on that now. That’s way overdue. We tried to do it years ago when we was with Jive Records but for some reason they didn’t want to do it at the time. Now we’re free to do whatever we want. We’re not on no major label or nothin’.

You’ve got the Paid Dues concert coming up on April 2nd which is in fact sponsored by The Source. There will be a lot of notable performers there. What are you most looking forward to about that concert?

E-40: It’s a certain type of environment. It’ll be my first time doin’ Paid Dues. I’mma just go up there and be E-40.

The hyphy movement was in the national spotlight a few years back and then it faded out. Why do you believe it died down and is it still very relevant in the Bay Area today?

E-40: To keep it one hundred with you a lot of that hyphy shit was real shit. Trends leave and go anytime as far as apparel and big stunna’ shades and all that, that’s not in but as far as the whole movement they still ghost ride, they still smoke up the block turnin’ donuts and 360s. Hyphy just really wild motherf**kers. The industry hyphy is played out but the real definition of that shit is a wild ass motherf**kers.

Who do you feel still represents hyphy?

E-40: Ain’t nobody sayin’ it in they words, but as far as they lifestyle it still goes down in the hood. There’s so many different styles of music from the bay, we hit ‘em from all angles. Some people talkin’ bout gangsta shit, some people talk about the dope game, some people talk about more positive rap, some people talk about every angle, which is me.

You’re featured on “My Fucn House” off of Snoop Dogg’s album, Doggumentary which releases on the same day as your double CD (March 29th). How’d you end up on the project?

E-40: Oh you know Snoop a hip-hop legend. He gave me a call. Whenever I give him a call he get on my shit and I do the same. We don’t exchange money, we do favor for favor. We shot a video for it to so look out for that.

Snoop is probably the most beloved rapper in hip-hop and has a seemingly never ending career. What’s your opinion on why he achieved that status?

E-40: He came in the game doin his thing. Dude is a character, people latch on to him. People fuck with him from all walks of life, White, Black, Filipino, Armenians, Hispanics, everyone. The boy is one of the most recognizable faces on Earth period.

You’re also appearing on a record called "Knockin'" on Travis Barker’s newly released collaboration LP featuring Ludacris. That’s a very different kind of record for you. What drew you to do that cameo?

E-40: I be talkin’ to Travis he’s good peoples, we both Scorpios. Me, him, DJ Skee all of us we pow wow about that Scorpio thing. Music wise it was like “Let me know when you need me.”  He had a record with Ludacris and Snoop on that thing and then they hit me and I hit them right back.

You’ve always had this crazy vernacular which is not only unique to the Bay but to you personally. What’s one term you would hand pick that you think other regions need to know?

E-40: One that’s made a big impact in hip-hop period? Shit, “It’s all good.” I’m the first rapper that ever said” it’s all good.” I’m the first rapper that ever said “you feel me?” on wax. 1992, you can go get all that shit from Federal. “Player hater,” we put that out there. A boy by the name of Filthy Phil from Richmond (CA), he had a song called “Player Haters” in ’88-’89, but that’s him. What about “Popo,”  “Captain Save A Hoe,” you smell me? Every hip-hop artist in the world has probably put “Captain Save A Hoe” in they lyrics. I did that (“Captain Save A Hoe”) independently and sold over 200,000 records.

After a storied career does E-40 have any goals left?

E-40: Man, I want to do movies. I want to be a producer, me and my brother D-Shot. We can make movies for much cheaper now compared to back in the day. I wanna’ do voiceovers, that’s what I’m into right now.

If you could change one thing for the benefit of the rap scene in the West, what would that one thing be?

E-40: If we could change all of the crossover radio stations. I don’t care if they play crossover music but they could play urban music, cause we don’t have no urban stations on the West Coast. That way everybody can be themselves. Now, in order to get on the radio you gotta' switch up your whole style. Me personally, I’ve learnt my lesson on trying to make a radio song. I just go in the studio and now make nothin’ but just straight up slaps and how I feel. And then I let the streets decide if this should be a radio song, cause they gon’ make sure that they can request it in the club. So I wish we could change all of radio. Radio has a lot to do with it because radio and video has a lot to do with people not being able to be who they really wanna' be and how they really wanna’ come in the game. Then you do a song for the radio and when other people hear it they like “Man that’s wack, he aint got no game, he corny.” But they don’t understand that, you ain’t never bought my album so you don’t know. Like my shit, I cater to the hood. I speak for the people in the penitentiary. I speak for everyday life. So if I could change anything, it would have to be radio.

Revenue Retrievin’: Overtime Shift and Revenue Retrievin’: Graveyard Shift are in stores March 29th. Bonus Video:
Watch the clip below to catch E-40 remembering his favorite Nate Dogg moment and describing his personal view on what The Source means to hip-hop.


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