The Science of Dizzee Rascal
Dizzee Rascal: "Respect Me"
from Showtime
Here is part two of my interview with Dizzee Rascal, who recently released his third album, Maths and English (XL), in only digital form in the United States, for some Godforsaken reason.
SF: On “Da Feelin” I noticed you used a sped-up sample, a soul sound. That seemed odd.
DR: Yeah, that’s Shy FX. It’s a Peabo Bryson sample. I wanted that feel good factor on this album. I wanted to make tunes that could make you feel good, that you could ride around in your car to. I didn’t just want to do angry, depressed music. As much as I put that out, that ain’t just me. When I have a good time I have a fucking good time. Ask Bun B. I was with Bun B in the club, standing there with Rap-A-Lot real Gs and I’m there doing the Laffy Taffy.
SF: So you’re not intimidated by those guys, huh?
DR: Nah, they were real cool. I’m not intimidated in that situation. I want to get down, dance, have a good time. I wanted to really put that sound out as well, I felt it was important.
SF: I hear that, but what about “Paranoid”? Is that about the alleged kidnapping plot? That’s a much more serious song on the album.
DR: Yeah, the song was about my situation and how paranoid I was of the fear or danger. No one’s ever gonna kidnap me and there was no big kidnapping plot. That’s The Sun newspaper doing what tabloids do. And fucking sensationalizing things, takings out of context. There was no big kidnapping plot. People you grew up with, some of them, that’s just the type of thing that comes out of their mouth. When you see dem, they’re not really gonna do that. I saw them and it was never that. You know how people just talk, it’s just something that came out. When I was writing I was pissed and I was angry. That’s what I was writing about. There wasn’t no kidnap plot.
SF: Where does something like that come from? Do you have a mistrust of people?
DR: Yeah, it is what it is. When you’ve got shit there’s people that don’t like it and that’s it. Don’t mean I ain’t gonna get on with what I’m doing. And like I said in the song, I like the track to cover as much human emotion as possible. If I’m feeling that way, a hundred other people are gonna feel that way as well. And I’m making music for them, I ain’t making it just for me, I’m making it to entertain people, to make them feel good about themselves.
SF: Can you tell me if you were targeting American audiences before now?
DR: Definitely, the home of hip hop. The more and more I’ve been there, the more and more I understand how different it is to England. There’s some things that are just never gonna translate. So I’ve accepted that. American culture is a whole lot different. It’s big, bold, in your face, loud, vibrant. It’s all about the biggest and the best. In England things are more refined, attention to detail. That’s the culture in general. And just the fact that people don’t even know what the fuck I’m saying out there when they listen to my music. You kind of get a vibe, but they don’t know what I’m saying.
SF: But did you think you needed to make it more accessible?
DR: Definitely the biggest goal was to break America. When I came to America and people here knew I came to America they started to think that’s your biggest achievement. “You reached America” Cuz the influence is ridiculous as far as American rappers. It’s the biggest selling thing, American rappers.
SF: It’s funny because this is your third album and people know who you are and yet all these guests are on here and it’s more fun — it seems like American audiences will understand it more. And maybe even latch onto it. Do you think that’s possible?
DR: Yeah hopefully, man. I think it’s the widest album I’ve done so far, not even just reaching America, but the world. I think it’s more open-sounding. It’s still brand new to me as well. It just sounds like a more complete album. Songs themselves, the structure, little things, like there’s bridges on songs. Whereas Boy in Da Corner it’s just verse-chorus-verse-chorus. Showtime sometimes there isn’t even a chorus. Cuz that’s me experimenting with music, but now it’s me wanting people to have a good time. Just to go that extra step with it. Some songs on Boy in da Corner might have taken an hour to make. On this album there’s songs that took months. That attention to detail. “Sirens,” that took a while. Changing my mind. Getting people to play the end part. The first part is me playing the drums and Cage playing guitar. I was doing a lot of live shows and like most shows we’d switch it up to a different beat. We were doing a Korn track “Here To Stay.” But then we kept it on there, especially at the festivals, they went crazy. I was on tour with the Red Hot Chili Peppers, I did it there. Then the clearance and percentages [got in the way], so we just decided to play it and that takes a few months. We got Joss Stone on “Da Feelin,” but then thought nah take it off it sounds too poppy.
SF: Is that something you’re conscious of, sounding too poppy?
DR: Yeah, I didn’t really get good responses from that, but it was Joss over a drum n bass tune. It just didn’t turn out right. It sounded better without the singing thing.
SF: Tell me about the Lily Allen track.
DR: That came about because people kept getting in my ear about working with these guys Future Cut. So I went to see them, a production duo from the UK. They used to do drum n bass. But now they’re making pop. I did it, went in with them. They brought up a tune with the Bugsy Malone sample, “So You Wanna Be a Boxer,” do you know that song? We were thinking of ways to flip it, and it was obviously ‘gangsta’ innit? And we laid it down. She was really professional about it. I didn’t really have no plans to work with her. It just turned out good.
SF: Are you surprised by her success over here?
DR: No, no she makes good songs, man. I’ve learned to accept pop more now. With her, she’s feisty innit? She’s got edge to her still, she’s not singing your typical shit, she’s cheeky with it.
SF: Tell me about “The World Outside”?
DR: I still got basic human requirements. Like food, water, fuckin’ love. I still care. My life ain’t…some people might say your life’s perfect and that’s so stupid. Obviously people are gonna think that. Outside everything looks rosy. Anyone doing better than you, they’re gonna think that.
SF: Is it strange for you to be confronting your own fame?
DR: Nah, I’ve always rapped about what’s around me. Fame is nothing you can ignore. So it’s gonna come out.
SF: Is it fun for you to be where you’re at? Is it what you thought it would be?
DR: Sometimes it ain’t. Sometimes it’s shit. When it’s good, it’s good but when it ain’t, it’s fucked up. Not anything else though, man. Cuz everything’s enhanced. Everyone’s in your business, everyone thinks it’s good for you so no one wants to help, no one cares. On the other side you’re partying and drinking champagne. Having a good time. It’s normally one or the other though. It’s hard work, that’s the other thing. It’s maintenance. It’s all good getting it, but maintaining it, I don’t necessarily want to do promo, loads of promo, I don’t necessarily want to be in the studio till 8 o’clock in the morning going over the same loop driving myself crazy trying to get it right.
SF: Do you have designs on giving up music?
DR: Nah, I love it, man. I’ve never been told to do this. This is shit I chose to do myself and I got this far doing it. I’ll fucking do it forever. Every now and then you feel like quitting just like anything that’s hard. But you wake up and realize how stupid you’ve been.
SF: is there any other rapper-hyphenate thing you want to do, clothing line, be an actor, etc.
DR: I think about it. It’d be nice. But seriously putting the effort into it…like my mind is fully on the music. The business side…my mind is on that, I have a good mind but for that but the multi-tasking is tough to get your head around.
SF: What are you listening to that’s inspiring you right now? You mentioned D4L and DFB. What else?
DR: Young Jeezy’s album, that excited me. To the extent where I actually, when I was in Virgin in New York, it was crowded, and I did the whole go-to-the-shop at midnight thing as soon as it comes out. I’ve never done that before. I wanted to feel like a fan again. It was good for me to understand what it feels like for fans. It’s good to do that even though you’re a successful artist, to feel it.
SF: What is it about Jeezy you like?
DR: It’s not even that technically he’s the greatest rapper. He just says what needs to be said, nothing more, nothing less. But his spirit is embodied in the music. You can tell by watching him. He means it.
SF: Let's talk about “Pussy’ole”? Can you address the Wiley controversy?
DR: Uh, that song’s about Pussy’oles. Fuckin’ yeah. I love hip hop and I wanted to show I know a thing or two. Even though I’m doing some weird quirky shit. Some people might think it's is weird and off-key. I’m educating myself on how it started. Old school hip hop to me is fuckin' Snoop Dogg. That’s my era. But learning about how it began and who it started with. So to do something over that Lyn Collins “It Takes Two” break, it felt good for me to do that and also to educate my generation, who don’t know nothing about it.
SF: Do you think you’re doing a quirky weird thing?
DR: A lot of people think it’s weird. UK hip hop weren’t accepting me. They see me as weird. It takes time to get around to everyone.
SF: I know you said you started the whole grime scene. Do you feel like you’re a part of it now, or do you feel distant?
DR: I feel it’s a part of me. There wouldn’t be no grime without me and that’s that. That’s the truth. But I still see it as a thing I’ve done, a musical…it’s one of my achievements when I was young. But now I feel like I’m moving on. I have to move on. The better I do, the more people get to know about it. I’m not on pirate radio and I don’t do raves no more. But that’s like being angry at David Beckham for leaving the youth team. Everyone left to go and carry on their lives, man.
SF: But do you miss that stuff?
DR: Yeah, sometimes, like I miss chasing the ice cream man when I was 5.
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