“The Civil Rights movement taught us to pursue what we want. Just like Dr. King fought for what he believed in, we fighting for what we believe in. And we think our music can help people. We’re still living the same dream of helping someone else.” - Snipe group garnered, thus they were unable to capitalize completely. Add this to the fact that R.O.A. was indeed living out the gangsterized parables that they spat and you have Birmingham’s first crack at national recognition put on hold. “We was living like New Jack City times ten,” remembers Kano who went on to work with No Limit Records and the likes of B.G., Roy Jones, Jr. and The Last Mr. Bigg. “Loc went to jail, and other members like Calm Down and Killa were killed.” Proving that Birmingham artists could seriously have a run in the music industry, R.O.A. ignited a fire that would lead to more artists pressing up professionally packaged and quality sounding music. Among them were Red Light District and then-Chip Records artist, Attitude. It was around this time, the mid-90s, that Birmingham began to formulate, or at least try to, their own sound. Many say that Red Light District’s sound was reminiscent of the Native Tongues era, thus making their music more viable for local radio to support. At the same time, most Birmingham artists infused the sounds of neighboring cities like New Orleans, Memphis, Houston and Atlanta; adding their own sense of struggle into the mix. “We do ‘hood music,” implies show promoter Superking who hosts the Last Sunday Showcase at city hodgepodge The High Note. “We make music that comes from the community. We don’t do snap, trap or crunk. Alabama artists gonna have something in their music, like the Goodie Mob did. We exemplify the Black struggle.” “I can’t say that Birmingham has a sound, which is what makes us so dope,” says former Timbaland protégé Attitude who is currently signed to Atlanta-based Aphilliates Music Group. “We’re the pipeline, everything comes through here. Since we’ve been forced to listen to everyone else, our city is a melting pot now.” “Musically, Birmingham is so brand new,” says Lil Homie of 95.7 Jamz. “I’ve seen the culture here change a lot in just the past 5 years. Being so close to Atlanta, its easy for the artists to latch on to them. But I see people trying to get their own identity. Because of that, the city’s music scene is leaving its incubation stage and is maturing into a vibrant industry.” While Birmingham’s music scene is starting to grow legs and crawl, they are careful not be too self-contained. Which is why you see new up-and-coming artists like Mista Mal working with Houston-based producers Mr. Lee, groups like B.A. Boys making moves with Lil Flip and
Bohagon or rappers like Gunnz signing with Jimmy Rosemond’s Czar Entertainment. “The music has to be bigger than Birmingham, we have to be respected on the level of the bigger artists,” says Big Magic, CEO of B.O.M.B Records. “Our competition isn’t each other, it’s the big guys.” From day one, its been “the big guys” who have played a role in Birmingham not getting recognized yet. Whether its labels overlooking them, or not looking period. But unlike other cities, you won’t find a lot of anger in Birmingham when it comes to them being one of the last cities to enjoy the Southern hip-hop explosion. In fact, when you ask about it, you get practically the same answer from almost everybody. “You can say we was overlooked, or u can say that we wasn’t. But what’s first shall be last, what’s last shall be first, it depends how you look at it,” says Kano. “I believe that the last should be first and the first should be last,” adds Derrick Webb, CEO of Ncyte Records, home to the Gator Boys and female R&B duo Lyrsis. “I can’t say we been overlooked, what’s last will come first,” says the increasingly popular Modest XO. Attitude sums it up by saying, “It’s good that all of us aren’t frustrated. This way, we can keep our focus and do better to get noticed.” Frustration and anger took its toll on Birmingham decades ago during the Civil Rights movement. Perhaps that’s why you get that feeling from the artists when you meet them. Because lets face it, the city has lived through worst times than record labels not paying them attention. “The Civil Rights movement taught us to pursue what we want,” says Snipe, one half of Big Gen & Snipe. “Just like Dr. King fought for what he believed in, we fighting for what we believe in. And we think our music can help people. We’re still living the same dream of helping someone else.” “We are the children of the Civil Rights movement so we got the strength and fight in our blood,” says Kano. “You remember Bull O’Connor, this city was built for us not be together. But this music is bringing people together.” He pauses and laughs, “Look at Taylor Hicks and Snoop Dogg.” If Birmingham’s hip-hop artists stay on track, America will be idolizing all of them eventually.
(l to r); Qousto, PR of the Gator Boyz, Handsome King, Entruda, Lucci of the Gator Boyz, DJ Blaze, Anthony, Thedweller, Kid, Big Reese, Reque, Sam Addams, Doc6, Kami Dee, Sonny Blac, Lil Booh, Shawt, Miss Katt, Hustle All Day, Chucky Chuck, Gee, Venus, Jus Chris, Big Gen, and Snipe OZONE
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