ukhh.com | features | interviews

D-Lyte Interview

interview 0032 added 08.10.00 words 2-hip

Whilst in 2000 the uk scene isn't really living up to the 'wider-commercial' expectations after a good '99, it has seen the rise and establishment of self-financed labels and artists who are sure to be heard from in years to come. Wolftown, Tongue Tied, Y'N'R, Titan Sounds & Gem Toy to name a few. The last of these has slowly released a few artists onto the scene, notably Malarchi (soon to release his debut LP) and D-Lyte-1. 2-Hip caught up with this London MC for a long and informative chat.
Could you introduce yourself to those who haven't heard of you before
My name is D-Lyte-1, Rameses, I am a Hip Hop artist based in East London. I released a single in early 2000 entitled 2000X ( pronounced 2000 times ) on Gem Toy Records
To what extent do you exercise control over what you do?
Well right now I am setting up my own Urban Music Label called Khemistry Records so I guess you could say I am the one in charge of everything. Before 2000X was licensed to Gem Toy I was in the final stages of planning my project anyway so all that did was to move the schedule forward slightly. At times it is difficult to stay objective when I am also the artist performing the tracks but on the whole it is the best way because I feel when I am in the driving seat I see things from a unique perspective whereby I am able to make the right decisions which will affect and take account of my artistic concerns and the health of my new company.
What are your views on the UK rap industry?
On the real there are now a lot of talented individuals who are increasingly realising that rather than waiting around for some A&R on a white horse to come riding out of the distance they need to start investing in themselves. The recent success of the Garage scene should also act as inspiration to the rest of us as it shows what is possible when a group of guys work together and refuse to compromise their identity. One of the problems we have as a music form is built into the Rap psychology. Hip Hop by its very nature is a very competitive fraternity where the most coveted prize for a rap artist is to be the best. In us attempting to be the best over here in the UK in the past it appears we have neglected the fact that only by working together can we take this to the next level. Recently though with a new influx of talent dedicated to making this work we are now seeing less emphasis placed on battling and more attention paid to the bringing out of singles and completed albums. Another development is the increase in the number of DJ's actively respecting and representing UK Hop Hop. Although some of the more commercial and so-called 'Urban Music' stations have been reluctant to support the scene London and some of the outlying regions have begun to witness a resurrection of club nights where talent can display their skills and meet other like minded people at regular nights such as MUDLUMZ, SCALA and THE MASS. To put it bluntly things can only get better if the trend continues to move away from less talented people lamenting about no support for UK Hip Hop and more towards newer more talented artists and record companies doing something about it.

what were the skies like when you were young?

What has influenced you to become the MC you are today?
Well I come from quite a musical family and from when I was born I remember my Dad's records spinning, music that was blasting through the sound systems at family gatherings, and being forced to sit through Top of the Pops (for the record I was much more interested in Tiswas, OTT and Benny Hill). I also used to enjoy watching people dancing on Soultrain and other TV programs when I was younger. As I was growing up Hip Hop started to filter into the country and I remember my very poor first attempts at breakdancing and body-popping. In fact I was so bad my family used to tell me I danced like a white man! (no offence intended). This had such a horrifying affect on me that I proceeded to practice dance steps I saw on the Chart Show, Five Star Videos, Solid Soul and stuff every morning noon and night until I got a good sense of rhythm. Once my Mum bought me my own radio I also used to stay up all night listening to pirate radio's that were playing the latest Soul, House, Hip House and New Jack Swing. This led me to buy records (financed by starving myself of school lunch money) and set up my own small DJing sound with friends from school. We used to raise money for charity by DJing and it was here where I first experimented with rapping. To be honest the first rap I ever wrote was a rendition of Juicy by Wreckx'N'Effect. I made it for a girlfriend I had back then and from then on I just used to rap along to the Kane, Rakim, Gangstarr, and EPMD records my friend used to play at his house. Although my first love was still dancing (around this time my obsession not to dance like a white man had made me good enough to be hired to dance for Dance Energy on BBC2) once I really got into Public Enemy, Paris and Ice Cube in the Early 90's I was compelled to start writing a few conscious raps of my own. Numerous concerts at Brixton Academy, Wembley Arena, Docklands Arena, and all-dayers taught me the importance of the art of performing and I then joined up with a rap crew in East London. To cut a long story short and numerous rap crews later I decided it would be better to go it alone. Along the way I had linked up with Femi X and Hard II Kill at one of my performances and these guys influenced me by helping me develop my freestyle skills. Although I do consider myself fully developed as an artist I still regularly listen to the radio and keep up to date on what's happening as you never can stop learning.....
What is the story behind the name Rameses?
Well to start off with D-LYTE actually stands for 'De Livering You True Edutainment', while the '1' that was added along the way came to symbolise my high aspirations within the rap industry. I first used the name DLYTE in 88 when I used to stay out all night with friends form around the local area and got into graffiti for a short time. With regard to my adoption of the title Rameses there were in fact numerous Egyptian Pharaoh's who shared this name though I refer to 2 in particular. Both were 18th Dynasty Pharaohs that played pivotal roles in the development of the Egyptian civilisation. Rameses II (also known as the Great) was both a famous warrior and monument builder who brought great wealth, peace and prestige to his country living to nearly 100 years of age. I feel my adoption of his name represents my aim to actively contribute to the building of a credible British Rap Industry that is durable and vibrant while speaking out for my race as a positive role model. Pharaoh Rameses III was important for Egypt in that he was able to stem the tide of invasions that threatened his land by a people that came from Crete and the Eastern Mediterranean. My reference to this great Pharaoh accurately reinforces my ability to stand up for my race in this great time of strife while also sending a clear message to all would be rap contenders.
Who are you checking for in UK rap right now?
At present
-57th Dynasty - they do it for themselves and are unashamedly from Brixton, I particularly enjoyed their video as I know a lot of the places in it.
-Blak Twang - It is no secret that Taipanic inspired a lot of people to rap again in their own accent. This is a man who has a good flow and is not as one-dimensional as many of his peers. A true pioneer 'Real Estate' for me has the best skills of any UK rap tune to date (minus mine HA HA HA)
-McD - This guy is truly up there amongst raps great intellectuals. I still remember back in the day when I first heard him rapping that tune 'Psychological Enslavement' over KRS 1's track as Silent Eclipse on 279's show. An All-time great
-Mr45 - For me 'Radford You Get Me' is up there in my Uk rap top ten, I think this is the best rap tune to come outta Northside to date
-Icepick - This guy has got skills, he is one of the few people who was originally dissing that fake Yankee shit when we were back in the day. Rough voice too. Way Back
-London Posse - I don't care what nobody says I rated London Posse regardless of where they were from cos they made good tunes. I danced more when they were on Dance Energy than anyone else and that's a fact. Rodney P and Bionic were exceptional on 'Money Mad' and 'Jump Around'. I still reminisce on how we used to do it at Westwood and the Fridge when those tunes dropped.
-Cookie Crew - 'Come on and get some' was a tune I went straight out and bought as soon as I saw that video with FDM Dance troupe all dressed in white busting bare moves (all of which I knicked and passed off as my own of course). 'Got to keep on' is also up there amongst the all time greats. They set a standard for video's that has never been surpassed in UK rap.
-MC Duke and Overlord X - To be honest I could have liked these 2 for their legendary beef alone proving that you can make it if there is a story and personality to go with it. I did like the Duke track 'I''m Riffin' and X's '40 Day's in May', one of UK Rap's first conscious rap tracks.
-Derek B - I know a lot of them Under-the-ground people will diss me for saying this but Derek B had a good following and charted successfully. Even I liked him and forgot he was British and just liked his good music regardless because it was easy listening and accessible.
-Others - Rebel Mc, Mc Merlin, Silver Bullet, Demon Boyz,........
Who are you checking for in the world of hiphop?
Well it is not like before where I could say I can pick somebody and wholeheartedly like at least 70% of their tracks. With the majority or rappers at the moment I can honestly only say appreciate the odd single and that's it. It seems these days to be more important what producer you work with and who you have in your video. This has resulted in less attention being paid to lyrical content and skills. However I must say I like Mos Def, Pharoah Monch, Talib Kweli, Canibus (some of the time), Busta Rhymes (for originality), and anyone else who has got interesting lyrics, good skills and flow, nice production and something constructive to say.

Positive thinking and positive action can only bring positive results.
Why do you think the industry doesn't support UK hiphop?
The priority of a lot of the people at the top has changed. Gone are the days when they first got their jobs and wanted to make moves, change the scene, and make their mark. The years have taken their toll on a lot of them and their aim is now to keep their jobs and retain that security that keeps the pay cheques rolling in. To be fair to some of them if you had a wife and kids and your boss was breathing down your neck 24 hour a day to retain and improve show figures it would be much easier to take the safer and attractive option. By that I mean to take the safer 'tried and tested' route where you support a mainstream artist with a guaranteed following rather than to give an opportunity to the more 'risky, unpredictable' UK artist. The more we demonstrate that we do have a market that wishes to hear what we have to offer the more they will give us a chance. This means us going out there setting up our own club nights, companies, promotion companies, web sites, management agencies, etc just like the Garage people did so by the time these people catch on they will be dealing with us on our own terms. We also need to infiltrate places where our potential markets are. Is useless just holding our own shows where only our friends will come and expect to get in free anyway. What is a good idea is going to these mainstream clubs and 'persuading' the DJ's to play a more active role. Then at least people will know we are around and will not be so quick to throw our records away.
Do you think UK hiphop will ever be successful?
Positive thinking and positive action can only bring positive results. We are already seeing some changes. In the UK we should have the advantage due to the fact that we speak English which is a Universal language. The world already looks to England for style and fashion so I think that if we are able to infiltrate the charts then the rest will be easy. American artists don't work with us because we have nothing to bring to the table. Once we start making sales (the true international language) they will be begging to work with us. Us going over to New York without no homegrown support will only get us laughed at and at best a sympathy vote. Unfortunately we will have to be more open minded and start working with other British artforms in order to broaden our fan base. I am not talking about selling out I am simply referring to developing our core market because at the moment we seem to be preaching to the converted. People I have seen and heard are making good music so all things being equal if we strive to continue that trend we can't fail because the gap between the skills of British/French and American rappers seems to of all but disappeared. Another problem is that unlike America where the rest of the world has seen many films depicting their culture we in England have a small film industry which results in not many people outside this country having any idea of what we are talking about when we chat in our own slanguage. If somehow we can get the Europeans and Americans to become accustomed to our experiences and the way we talk over here then we will be dealing with them on more of a level playing field. Another dream of mine while we are on the subject is the day we start making short films, seeing UK rappers on screen in the odd role or two and possibly we could see a return to what happened a decade ago where we had programs like Dance Energy providing a platform for Homegrown artists to display their skills live to the masses. If we can start working together and looking at the big picture rather than continuously gossiping, competing and fighting over the crumbs left over then we will definitely be a force to be reckoned with.
What's happening in East London right now?
Well for us down in East London we have a nice little community of artists whereby everybody knows or at least knows of each other. For a while I feel the Eastside had been slightly overlooked when it came to Hip Hop and although we have had notable residents like Kele Le Roc and some members of Nine Yards, the Hip Hop scene has been relatively noneventful in recent years.... that is until recently. 3 of the rappers who are, or will be making a great deal of noise in the near future came from a camp known as GHC (Glass House Click). This team of producers and rappers got together sharing a common goal of showcasing their unique talents to the Industry. I am of course talking about D-lyte-1 (who you may of heard of HA HA HA), Malarchi (of Gem Toy fame), and Femi-X (founder member of Hard II Kill). Also from GHC is a Producer by the name of Roy the Dark Disciple (who created the organisation). Outside of this group of friends are other notable rappers like Iceberg Slimm (who has a deal with Polydor) and B Sharp (who is also in the process of completing his Album.) Expect Albums in late 2000 / early 2000 from Malarchi (Forgotten World / Gem Toy Records), Femi X (In the beginning there was.../ Hard II Kill Records), D-lyte-1 (1AD-UK Living / Khemistry Records) and Dark Disciple (The New Street Testament according to Roy the Dark Disciple / Gem Toy Records)
What would you say is your particular style?
I think my style in notable by it's non-conformity to any particular genre of music. True, I am essentially rapping on most of my tracks but I feel I have managed to draw influences from a variety of sources. I grew up listening to R n B so that's obviously there, I originally raved at ragga blues so there are references to dancehall, I used to buy House records so I felt it was only right to stay up to date with Garage, the newest phenomenon to hit the streets, and there are definitely the straight up Hardcore hip hop tracks for the Rap faithful. Being a Gemini some people may say I have a split personality so as a true reflection of myself I have attempted to make this LP difficult to pigeon-hole and type-cast. On a lyrical level I feel my skills are up there with the best of them in the present day state of hip hop. Drawing on my own personal experiences I have attempted to achieve an interesting balance in terms of the subject matter, varying flows , and the technique I use to put my point across. Some tracks are storyline, a few are approached in a simple educational format while others are straight up skills and battle tracks. When I perform my tracks my philosophy is 'anything goes'. The memories I have of the concerts I most enjoyed are that they stood out by their spontaneity. Basically whenever I am on stage, on radio or in the studio making tracks my main priority is to enjoy myself, because that vibe will always reflect in the work.

Rapping gives me an opportunity to express my opinions in on a way nothing outside politics can
What can you bring to hip-hop?
To be honest my main priority is that people appreciate and respect what we are doing on this album. Although there are issues that I have wrote about with a deliberate and obvious particular slant towards Black People in the UK and throughout the Diaspora I suppose this music is universal now so I hope anybody can pick it up and at least like the odd track or two. I do not want to reveal too much until the album is done but there will be a noticeable moving away from the 'Thuggish/Player' psychology and more of a return to the intellectually-sound, thought-provoking, more-than-one-syllable-based rhyme style.
What difference do you think the internet will make for the UK scene?
I am a person who only does things where I know something worthwhile will result which may be the reason I have been through so many groups and organisations to get to this stage. However I have done this interview because I recognise that the Internet is and is increasingly becoming a powerful tool in the worldwide music industry. It appears the majority of companies have been slow to recognise the potential the web has to offer but for smaller companies like Khemistry the web provides access to a worldwide market and could help people in countries abroad to get to know about people like me who they otherwise never would have heard about. Rather than doing an interview on a radio station which is good for that instant and lost forever the web enables people to read my point of view and absorb what I am saying at their own pace. If people agree/disagree or whatever they also have the advantage of replying to what I have said and comparing my opinions to those of my peers. One thing I like about the web and particularly this interview format is you can see word for word, answer for answer who the real idiots are and if people really know what they are talking about. Sometimes a DJ can get caught up in the hype of a particular artist and I have seen cases of people being made to look better than they really are (or worse in the case of us UK artists) because of a DJ's subjective interviewing techniques. I like the web because it just levels the score a little. There are more and more sites popping up as it only takes one man to create and retain a site enabling people with a real interest in UK Rap have a chance to do their thing their way rather than chasing around a few Industry insiders who have no love for us anyway. The only problem I see at the moment is the need for more advertisement for the new sites so the average fan can hear about them but I am sure we will get our act together soon.
What obstacles have you had to overcome to get to this stage?
An important lesson I have learnt recently from my personal experiences in music is that things can only hold you back if you allow them to. It sounds ridiculous but it is true. Problems I have had in the past have been largely due to me when I really analyse each situation in turn. The best thing to do is to rely on as few people as possible. If you can do something you are better off in the long run just doing it yourself. Not everybody is in this Hip Hop game for the same reasons and I am sure a lot of other rappers will tell you, so-called-friends will show their true colours when they feel you are vulnerable and need them the most. The best advice I can give is to get a few people around you that you truly can trust and deal with everyone else with caution and that even (especially) includes the new girls with big booty you are suddenly getting that look better than the ones you used to get. I have had particular problems when there are large groups of people in group or company situations. It is not anyone's fault but democracy never works when important decisions are to be made and the resulting jealousy, envy and backstabbing will always ruin the project in the end. Other problems I have experienced personally include the DJ politics situation where you have to give your product to some DJ's first while another issue I have encountered is the differing responses to UK hip hop you receive from varying Radio Stations when compiling their play lists. To sum it all up I sincerely respect anyone who has managed to get to the stage where they have actually made a track and got it played on the radio because I can guarantee you they must have gone through a lot of grief to get there....and that's just the beginning.
What are your aims and objectives?
My immediate objective is to get Khemistry Records off the ground and make it work. My long-term aim on the other hand is to make a positive difference to people lives and to this music. If possible I would be overjoyed if I could make a living out of this with people appreciating what I do and respecting my work and point of view. Even if they don't agree with everything I say
What do you enjoy about rapping?
Rapping gives me an opportunity to express my opinions in on a way nothing outside politics can. In some ways music is more important that politics now because it is apparent to me that the music form a person listens to usually dictates their dress, the way they talk and in some cases even their decision making process. People like Public Enemy, Ice Cube and a lot rappers in the late 80's caught on to this and we witnessed a lot of movements like the Zulu Nation, BDP and Flavour Unit where positivity brought groups of artists together to make a difference. One of the most exciting tunes I remember actually had no girls or dancing in it but was 'Self Destruction' by KRS One. The fact that there were so many names and role models in that video made you pay attention to what they were saying. Rap nowadays has lost that and in some respects has gone in full reverse. It is now more respected if you used to sell drugs, kill people, rape your mum or whatever other stories they think of these days. Being that I am quite opinionated as you may of realised by now rap gives me an opportunity to tell things how I think it is. One of the reasons I am rapping today is because I always had something to say about what was wrong here, or was missing there until my friends finally got sick of me and said 'If you think you can do better go on then-just do it but please shut the ......up'. To their surprise I actually did and here I am. Rapping is good because it also means that other people who feel the same way you do about something can relate to what you are saying. It is a good feeling when you see people reciting your lyrics and dancing to your track and joining in when you are performing. If I can give people pleasure by my work or help them express what they feel and make the right decision the pleasure is all mine. This is something I share with Roy and some other people I have worked with. Hip Hop means more to us than just a source of income. Although I maybe don't dress in a stereotypical manner and say everything people expect me to say Hip Hop is close to my heart and has helped me though difficult times, has laughed with me, cried with me, danced with me, fought with me, learned with me, and even sexed girls with me. Hip Hop has been there and helped me do all these things and more so I enjoy the thought maybe my work can help someone else do the same.
Can you tell us anything about what to expect from your album?
Expect the Unexpected.

why's my hand this pink colour?

How do you approach your tracks?
Well like I said before, I have the advantage of knowing most of the producers who are working on this album anyway. Even when working with people who are not part of my inner circle I always make it a number one priority to get on with them and make sure we understand each other and what we are doing. Due to my budget and just the way things have worked out there are no 'big name' producers on this LP which means every one of us already realises we have to work twice as hard as people in the US. Unfortunately due to our situation over here I have seen that people will use the most ridiculous of excuses not to support you and give you a chance so we have to ensure that from every high hat to every syllable on every track each ingredient is on point. It is a good idea to always be your most uncompromising critic because my money is being spent here and I don't want to waste it. One thing us artists have to continuously bear in mind is once you leave that studio every mistake or imperfection is there forever and will definitely come back to haunt you. To a degree you could refer to me as a paranoid perfectionist, which is the reason some people who are used to doing jobs half-baked have always had a problem with my attitude to this. In life and especially in music I feel it is always a good idea to approach things objectively. People are free to give constructive criticism because nobody knows everything though sometimes I have found that individuals are quicker to give than to receive. Anyway, in most cases on this project the producers have had a slight advantage in that I have written and conceptualised their tracks already so it has been relatively easy for us to interpret the tracks musically. A good balance has also been achieved by the fact that we all have a good perception where each track fits within the overall structure of the album so songs are usually started with the conclusion already worked out.
Who is your target audience?
This question is easy. I make most if not all of my stuff for the clubs. 90% of the tunes I love the most have been because I remember some dance, fight, girl or whatever other experience I had while the tune was playing in a club or party. This is music after all and music is there for people to move to. That is true from whether it is an Opera where people nod their head, Church music where the congregation claps along, or Tribal rhythms where everybody stamps their feet. Being that I got deeply into Hip hop from watching the dance video's and our attempts to copy what we saw when we were in the clubs I have decided to reflect this and create a basic formula for tracks we have done. There will be tracks for slamming, tracks for breakdancing and just tracks for letting yourself go and messing around on the dancefloor. Clubs have a very important role to play, especially in the British Charts and due to the fact that us at Khemistry do not have the million dollar budgets of Sony, Warner or EMI we have to rely simply on the quality of our tracks and their playability.
Talk about the importance of freestyling
Well I don't feel I am the best freestyler in the world but my main concern is that I have enough knowledge of the sport so I am able to defend myself when called upon to do so. Like I said before Rap is very competitive, especially UK rap and people will not respect you if they feel you have not earned what you have got and don't deserve it. To put it another way you have to be better than them and be able to do something they can't do to justify your position. Another advantage is that freestyling gives you more depth and possibilities when you perform. I have seen many people on TV and Radio limited to simply regurgitating lyrics I have already heard and I feel it makes them look quite sad. There are many people out there trying to do this and I even myself admit I have often heard some of these guys on the radio and thought to myself, 'I am better then him'. If you can freestyle you are able to give people something different to the norm and make your show more exciting with crowd participation or even making up a tune on the spot. The best use of freestyling for me is when you are on radio and can create an on-the-spot jingle for the DJ or give love back to people listening in that town.
How do you think the general public views the UK hiphop scene?
The public quite frankly doesn't know anything about UK rap. If you go to the average person in the streets with RnB or Hip Hop playing on their walkman Artists like Puffy, Biggie or Jay-Z are household names to them and they could probably rap you a verse or two of one their tracks. This demonstrates the power of the DJ because if people are not able to hear something they have been cheated out of the option of deciding if they actually like it or not. Most people are not ignorant of UK rap, they are just not aware that it exists. To illustrate my point, Derek B, Cookie Crew, Rebel Mc, Silver Bullet and Mc Merlin done Ok because they were recognised. If we start doing more video's then people like T-Max and Fusion will be able give us the support we need on shows like MTV Base and you will see some changes.
What are your personal views on the garage scene?
Straight up, I used to have a real problem with Drum and Bass and Jungle back in the day because I felt that these music forms took away all the best girls and producers from Hip Hop just when we seemed to be getting somewhere. However I have come to see things differently over time. A lot of these people were trying to do their thing whether it was dancing, DJing, Producing or Rapping and at that time, just as now, there were people there who were getting in their way and not allowing them the break they needed. What they did was to create their own music form and now they have surpassed all those people who were getting in their way which is both ironic and amusing. I remember a lot of these guys back at Westwood, Maximus, Dance Wicked and Starlight and to be honest when you meet them even now they still talk the same and act natural which I think is something some of us Rappers should take on board.
Any words of advice for would-be MCs or producers?
Before you start anything it is always a good idea to know these things, I don't claim to know everything but these are a few words that will crop up and now I think about it every one of them has the potential to ruin your career if you don't take good care to get them sorted. There are more but there isn't enough room or I don't even know about them myself which is highly likely, but I am sure you get the picture
-what it is you are doing (image?, are you rapping/singing/dancing?, plans and objectives? Be realistic and honest)
-why it is that you are really doing this (money?, girls?, respect?, love of the music?, want to be like Nas / Wu-tang / DMX? Be realistic and honest)
-who it is you are going to do this with (friends?, group?, solo?, producers?, company?, trustworthy?, contracts? Be realistic and honest)
-where it is you are going to do this (studio?, practice?, price?, percentages?, quality? Be realistic and honest)
-when it is you you are going to do this you (schedule?, are you ready?, is your work ready? Be realistic and honest)
D-Lyte-1's first EP might still be available from gemtoy.co.uk. Watch out for new material in the future.