Tech N9ne

Tech N9ne

Brotha Lynch Hung, Krizz Kaliko, Ces Cru, Stevie Stone, Slo Pain

Sun · April 9, 2017

7:00 pm

$30.00 - $35.00

This event is all ages

Tech N9ne
Tech N9ne
While crafting what would be one of the most important albums of his career, Tech

N9ne thought back to some of his early material. Before Strange Music became the

No. 1 independent rap music label, the Kansas City rapper released The Calm Before

The Storm. The acclaimed collection included songs that hinted at the type of artist

he would become, from the conceptually rich “Questions” to the devilishly clever

“Mitch Bade.”

So for The Storm, Tech N9ne wanted to revisit and build upon his musical

foundation. “I knew if I named it The Storm, it would push me to do the best music

I’ve ever done,” Tech N9ne explains. “I’m coming off of Special Effects, which

featured songs with Eminem, Krizz Kaliko, 2 Chainz, B.o.B and T.I. But it’s not just

the features. It was a big record, period. I just couldn’t come with a title that wasn’t

going to push me. It actually pushed me to do some damn good music, man.”

The resulting The Storm features Tech N9ne delivering 20 stellar songs that fit into

three sonic worlds. The Storm kicks off with the “Kingdom” section, a showcase for

the rapper’s narcissistic side. He then travels to “Clown Town,” which finds him at

his darkest. The set closes with the “G. Zone,” a nod to the gangster side of his

personality.

Longtime Tech N9ne fans will recognize this type of layered artistry, something he

introduced on 2001’s Anghellic, his first national release and the first album

released on Strange Music. Anghellic features Tech N9ne navigating through “Hell,”

“Purgatory” and “Heaven.” The conceptual master later explored his “The King,”

“The Clown” and “The G” personas on his 2006 album, Everready (The Religion).

With The Storm, Tech N9ne reintroduces “The King,” “The Clown” and “The G” to his

longtime listeners. He also introduces them to his new fans, people who may have

become Technicians thanks to his more recent material, including the gold certified

singles “Fragile” with Kendrick Lamar and ¡Mayday!, as well as “Hood Go Crazy”

with 2 Chainz and B.o.B.

The Storm’s first single “Erbody But Me” fits perfectly in the “Kingdom” section of

The Storm. On the kinetic cut, Tech N9ne deflects detractors and salutes his swag,

while the percussive “Wifi (WeeFee)” trumpets Tech N9ne’s status as a plug as he

delivers some intricate alliterative rhyming. Elsewhere, the raucous “Sriracha”

features Logic and Joyner Lucas, both of whom asked Tech N9ne to appear on the

cut after hearing an early version of the Michael “Seven” Summers-produced cut.

Thanks in part to his guests on the song, “Sriracha” evolved into something different

from how Tech N9ne first imagined it.

“It was not mean to turn into a chopper song, but Joyner Lucas, whenever he gets on

anything, he has to kill everything,” Tech N9ne explains. “Almost nobody ever sends

me tracks for real, so the people that send me ones are brave. Joyner Lucas sent me

one because he’s a brave soul. That’s cool ‘cause I’m usually the one always sending

tracks out. So what I did on ‘Sriracha’ is what the beat needed.”

Things get confrontational on the mesmerizing “Get Off Me,” a collaboration with

Problem and Strange Music’s recently signed new artist, Darrein Safron. The three

showcase their braggadocio side with high-powered lyricism, something that was of

particular importance to Darrein. Tech N9ne says that because Safron in known as

an R&B singer, people don’t think he can rap. “He’s a product of his environment,”

Tech N9ne says. “He’s not trying to act like nobody. He’s like, ‘These people don’t

think I can rap.’ So he rapped and he killed it. I love that. Problem did what he does

and he killed it to. Everyone’s going to love this song when they hear it.”

Tech N9ne descends into “Clown Town” with “I Get It Now,” the darkest portion of

the album, which details the rapper’s longstanding struggle with not fitting into the

traditional rap world, while “Hold On Me” features him taking a sobering look at his

relationships with women. Then there’s “Poisoning The Well,” which showcases a

bluesy sound. As Tech N9ne emerges into the “G. Zone” section of the album, he

laments that he’s not as successful and acclaimed as he should be on “The Needle”

and he imagines getting away to find peace on “Anywhere” with Marsha Ambrosius.

Tech N9ne’s creative prowess shines throughout The Storm, as does the work of

primary producer Michael “Seven” Summers. “We’re a great team,” Tech N9ne says.

“We bounce ideas off each other all the time. Seven is just so diverse that he can do a

song like the one I did with Jonathan Davis on here called ‘Starting To Turn,’ which

is super metal, and then turn around and do ‘Get Off Me’ with Problem and Darrein

Safron. He’s also able to do ‘No Gun Control’ with Gary Clark Jr. and Krizz Kaliko and

then do ‘Buss Serves,’ the Too $hort remake of ‘CussWords.’ If I had a word for

Seven, it would be ambidextrous.”

For his own work, Tech N9ne has a high standard. “I have to rap against Tech N9ne

every time I do a record,” he says. “And that’s hard to do.” Tech N9ne has been doing

just that since he emerged in the mid-1990s. Subsequently, the visionary rapper has

become as one of the genre’s most prolific and acclaimed artists. He and business

partner Travis O’Guin have built Strange Music into the industry standard with

robust music, touring and merchandise components. Even though Strange Music

remains fiercely independent, Tech N9ne still enjoys major label level success. He

earned his second and third gold certifications in 2016 for his “Fragile” and “Hood

Go Crazy” singles, testaments to O’Guin’s and his dedication to the company.

“Reinvest, reinvest, reinvest,” Tech N9ne says. “That’s how you build. That’s how we

built this empire.”

As Strange Music grew into a music industry force, it developed a reputation over

the last decade-plus as one of the only reliable businesses in the field. All of that

made the The Storm so striking to Tech N9ne’s fans and Tech N9ne himself, but the

workload is not easy. “It’s hard, but I make sure that I have some happiness around

me at all times” Tech says.

Revisiting his roots and overcoming adversity helped shape The Storm, Tech N9ne’s

most powerful musical moment. Brace yourself.
Brotha Lynch Hung
Brotha Lynch Hung
Hip-hop ambitions are often described in terms of "hunger", but no known MC has an appetite quite like Brotha Lynch Hung. This is not simply the peckishness of a seasoned artist still making music while his former contemporaries have long passed their sell-by date. This is the ravenous hunger of Mannibalector, Brotha Lynch Hung's flesh-chomping, gore-streaked altered ego and the antagonistic protagonist at the dark heart of Coathanga Strangla, the genuinely stunning new album by Brotha Lynch Hung.

Coathanga Strangla re-introduces listeners to the not so nice but strangely sympathetic guy they met on Lynch's 2010 album Dinner and a Movie. The "autocratic automatic reaper" instantly joined the entertainment biz pantheon of indelible killers like Mannibalector's cinematic predecessor, Silence Of The Lambs sicko Hannibal Lector. "I watch a lotta horror movies and I really love meat," says Lynch, "so I put that together and out came Mannibalector."

Longtime fans will, of course, recognize these deviant tendencies. Brotha Lynch Hung's 1993 debut, 24 Deep (Black Market Records) found his "human meat pot luck" already underway (who can forget the image: "find your brain cookin' in a barbecue pit"?). The 1995 release of the Sacramento (CA) native's certified Gold classic, Season of da Siccness, followed and Lynch has released a steady stream of music ever since, making him an ideal match for the do-or-die work ethic of his current label home, Strange Music.

Kansas City-based Strange Music is currently the most successful outfit in independent hip-hop and home to Tech N9ne. Dinner and a Movie was Lynch's first album released by Strange, but Tech N9ne and Brotha Lynch have history: Tech appeared on "187 On A Hook" from Lynch's Blocc Movement in 2001, and in 2006 Lynch delivered a standout verse on "My World" from Tech N9ne's Everready album. "Strange Music understands me, they've really given me a fresh start," says Lynch. "As strange as it sounds, I feel like I'm just getting going with my career."

Make no mistake however: what feels like a fresh start for Lynch is coinciding with a high point in his artistic evolution. Always one to look to movies for inspiration, Lynch says that repeated viewings of the Hostel films had a direct effect on Coathanga Strangla. "Some horror movies are too ridiculous," he says, "but Hostel has a very realistic feeling. It's not scary like boo! — it's more like this could happen. That's an authenticity I'm going for in my music."

It's that sense that gives Coathanga Strangla its compelling core. With its bowel-bothering bass line and toothpick percussion (courtesy of producer Michael "Seven" Summers), "Mannibalector" is a cannibal lecture (replete with requisite slaughter) the reveals the crucial facet of Lynch's artistry: his alter ego is not a two-dimensional creation but a character full of humanizing doubts, fears and paranoia. Allmusic.com's David Jeffries has noted Lynch's facility at going "from gross to scary to sympathetic and personal, and then back again, all without losing a step or trying your patience."

When it comes to digesting Lynch's art however, it helps that his raps are leavened by what can only be called "gallows humor." Who else would refer to his manner of cooking victims as "Operation McPasta", as Lynch does on the new album's "Mannibalector"? While Brotha Lynch Hung is often credited as the originator of the rap genre known as "horrorcore", most so-called horrorcore rappers would be content with a standard disemboweling; Lynch goes all the way, a meal plan immortalized on the new album's "Spit It Out" wherein Lynch chortles: "If anything taste funny spit it out."

"Friday Night" features Lynch's fellow rap madman C.O.S., thumping production by Michael "Seven" Summers, and Brotha Lynch's "body sweatin' like a Juggalo." "I love the Juggalos man," says Lynch of the cult-like, face-painted fans who have embraced him. "They're good people with good hearts who are looking for an outlet from life's pain. I can relate to that." Standout cut "Blinded By Desire" is a sadistic travelogue following Lynch as he drives from California's Bay Area southward towards Los Angeles ("524 miles to SoCal..." begins Lynch) where mayhem will undoubtedly ensue.

Coathanga Strangla is the middle album in a conceptual trilogy, which began with Dinner and a Movie and is slated to conclude with 2012's Mannibalector. Each of the three albums has spawned three videos, which together will comprise the visual document of the terrifying times of Mannibalector. "The three albums and nine videos are about a rapper who's having a bad life and is about to give up on the world," explains Brotha Lynch Hung. "You can hear he's about to walk the thin line, past the thin line, and then go way over it."

Join Brotha Lynch Hung as he continues to obliterate that line like no other artist can do.
Krizz Kaliko
Krizz Kaliko
There are two kinds of crazy in this world — crazy you stay away from and crazy that manifests itself as

brilliance. Krizz Kaliko knows both ends of that extreme, whether by design or not.

Born Samuel William Christopher Watson, at age two — well before becoming musical co-conspirator to

Midwest rap legend Tech N9ne — he developed vitiligo, a skin disorder that causes loss of pigmentation.

His eyelids and lips are splotched white and he cuts an odd figure; in a crowd or alone, he’s impossible to

miss.

“Growing up, kids would pick on me and kids would bully me,” he says. “They’d throw rocks at me and

chase me home, because I looked different. It hurt. It changed me. Made me sad. But then, also, it made

me do things to alleviate that sadness. I learned to sing. I learned to dance. I learned to rap. I was a fat

little kid that didn’t look like anyone else — naturally, that became my biggest asset. Somehow, I became

pretty popular.”

Kaliko was reared in the racially-diverse suburbs of South Kansas City, Missouri. His mother was a

singer of local renowned gospel group; father, the superintendent of a Sunday school. He first stretched

his vocal cords in the choir, and, had it been up to his parents (they divorced when he was just 4-years-

old), he’d have gone on to a fine career as an attorney. After two years at Penn Valley Community

College he quit school. Something else was tugging at his soul. Something from his youth.

“My stepfather used to whoop on me,” Krizz says, “He was fresh out of the pen, and he was a terrible

dude. He was physically abusive and crazy, institutionalized crazy. Not only was he crazy, but also a

criminal. He made his bones robbing banks and committing other serious crimes. For Kaliko, step-pops is

an enduring source of much psychological pain.

“He terrified me” he says. “When people weren’t around and my mother wasn’t there, he’d abuse me.

And nobody believed what I said. It was like I was the crazy one. I thought about killing him all the time,

I’d think about it endlessly. Visualizing it, how I’d do it, I was that mad. I would get weapons from my

friends — bats, knives, or whatever it would take. I thought: I will kill him in his sleep. And then

miraculously the boogie man disappeared, he and my mother split up.”

Carrying his childhood scars, Kaliko spent his teens and early twenties drifting, not especially successful

or unsuccessful at anything, he opted to not continue with college. He went on to hold a series of odd

jobs. He was a grocery store clerk, corrections officer and even a customer service rep for VoiceStream

(later to be known as T-Mobile) meanwhile, he quietly pursued music by rapping and singing, not hewing

to any conventional standard for what it should sound like.

“I was just a fan,” he says. “And that allowed me to go in many different directions. I could identify with

country songs, gospel songs, Christian rock songs, songs that were meant for dancing, commercial songs,

non-commercial songs. I was and still am, a liberal thinker. I enjoyed everything, and through music I

could do anything, be anything. Most importantly, I could be myself.”

One artist who appreciated Kaliko’s approach was rapper Tech N9ne. The pair met in 1999, through DJ

Icy Roc, who once dated Kaliko’s sister. After paying Tech the whopping sum of $500 to feature on his

solo album, the Strange Music co-founder discovered Kaliko’s diverse skill set. He asked him to appear

on “Who You Came To See,” from his 2001 album, Anghellic, and then they began performing together

locally. It lead to a years-long series of collaborations — Kaliko writing, producing, featuring on, touring

with and generally being a musical wunderkind in the Strange Music family.

“It was like I was his musical muse, and he was mine,” says Kaliko. “We learned from each other. On

stage, in the studio— nobody has believed in me, wanted more for me, wanted the entire world to hear

and know and understand my talent, more than him.”

In 2007, Kaliko officially linked with Strange Music. Since then he’s released five albums, each one more

confessional, more expressively oddball than the previous. Songs in his oeuvre include: “Bipolar,”

“Misunderstood,” “Freaks,” “Rejections,” and “Scars,” as well as appearing on many others, endearing

him to society’s misfits. In recent years, he’s also become more clear-headed about who he is and what he

wants to do musically.

“For years I rapped and rapped well,” he says. “The fans enjoyed it, I enjoyed it. I made some good

music, but it was time to try some new things.”

That much is clear from his new album, Go, where he ditches rapping almost completely. Instead he

commands listeners to the dance floor, belts out melodies, softly croons, plaintively coos while generally

seeming to enjoy himself more than he ever has before. Yes, nearly a decade into his career, Krizz Kaliko

is rebranding, rebirthing — or as he’d say, returning to his roots — as a full-fledged singer. Pop, rock,

R&B, trap, funk, no genre is off limits, no scale unsung.

“I just wanted to make timeless music, songs that could play twenty years from now,” he explains. “Go is

a roller coaster ride. It starts out as dance, but then there are other parts where one might listen on a pair

of headphones, because it’s very meaningful. Other songs you might turn up in your car. Through it all,

I’m speaking from the heart.”

The album is chock full of earworms, songs both aesthetically-appeasing, yet also immediately

captivating and catchy. Case in point: the brooding “Stop The World;” folky anti-depression ode,

“Happy-ish;” or the shout-along “Didn’t Wanna Wake You.” Not completely abandoning hip-hop, songs

like “More,” featuring labelmate Stevie Stone, and “Orangutan” — with Strange Music all-stars Tech

N9ne, Rittz, Ces Cru, JL, and Wrekonize — invoke the crew’s knowing, trusty Midwestern flavor.

Mostly though, Go is a new sound; all frenetic, inspired energy. It’s the biggest, broadest, most accessible

project Krizz Kaliko has ever made.

“The truth is I’m an unlikely guy to be a pop star,” he says. “Look at me— I’m a big dude, I have vitiligo,

I get anxiety attacks, and I’m bipolar. But Top 40 radio and a global audience, that’s what this music is

worthy of. I’ve always been an unlikely dude to do anything, whether it’s music, working with Tech N9ne

or even being alive. Frankly, the odds being against me, that’s good, I like that. I have trust that the music

will ultimately reign supreme.”
Ces Cru
Ces Cru
Ces Cru knows that drastic times call for drastic measures. So the duo of Ubiquitous and

Godemis decided to focus its third Strange Music LP on the chaos consuming the world,

everything from the United States’ recent presidential election and the mindset enslaving

millions of people to the rap industry’s state of flux. Hence the title of the Kansas City

duo’s new album, Catastrophic Event Specialists.

“It felt like the right time based on the situation with the world,” Ubiquitous explains of

the album’s title and theme. “It feels like what time it is. There are so many things going

on. There’s some political stuff and some worldview stuff in the music. It plays into the

theme of the album.”

Catastrophic Event Specialists is anchored by “Purge,” a scintillating song on which

Ubiquitous and Godemis discuss police brutality, terrorism, international wars and the

internal power inherent in each of us. The piano-accented track soars thanks to its

intriguing mix of negative and positive imagery when depicting the state of the world.

“I didn’t want to pose questions without answers,” Ubiquitous says. “Not saying that I

necessarily have the answers, but I didn’t just want to paint this situation and then just

leave you there. I don’t want to drag people into the darkness and just let them sit there.

There’s a route out.”

But the suffocating progress can, at times, feel almost too overwhelming to overcome,

even for the most optimistic among us. Ces Cru addresses what it sees as America’s

unfortunate status quo on the gloomy “Gridlock.” Here, Ubiquitous and Godemis take the

government to task for incarcerating innocent people, for running fixed races and for

allowing the fat cats to rule without taking the needs and desires of the underclass into

consideration.

“It’s polarizing that the one side, rather than focusing on trying to do what they can to

work with the other side, is more intent on stopping the other side,” Ubiquitous opines.

“They’re sort of working against each other than with each other. That causes the

gridlock, so nothing gets done. It’s a frequent situation and we’re coming into a time with

this new administration where everything went red, all the branches of government. A lot

of stuff is probably going to happen because the blue side won’t be able to stop it for a

little while, for two years. But gridlock is the state of rest for the government. It’s almost

always in gridlock.”

This system creates a group of people that Ces Cru believes is under mind control. On the

solo song “Slave,” Godemis examines the role the media plays in conditioning this

segment of the population, as well as the role the government has in the process.

“I was speaking to the whole narrative of a person who advocates voting and the belief in

a ruling class of something and are really quick to say, ‘If you don’t vote, whatever

transpires after that,’ then that’s what it is,” Godemis notes. “There’s a lot of people that

say, ‘Well, if I don’t vote, then I absolutely can complain based on my not taking a side.’

It’s just a weird little mind game people use to win that argument.”

Ubiquitous and Godemis shift thematic gears on Catastrophic Event Specialists with

“The Process.” Backed by a darkly atmospheric soundscape, the Kansas City rappers pay

homage to De La Soul and Jeru The Damaja as they examine the way rap evolves by

placing Biggie Smalls and Iggy Azalea in the same category.

“I think that there’s a lot of purists that are like, ‘If Biggie Smalls or 2Pac were alive, rap

would be better,’” Ubiquitous says. “They want to wait on 2Pac and Biggie, but they

can’t save us and Iggy can’t save us. The Iggy portion paints the other side of the picture

to me. I feel like those are the two sides of the game and that the one side doesn’t accept

the other side and that it’s very similar to the government. The popular hip-pop or

whatever you want to call it, that side is as relevant as the pure side, the underground

side, the lyrical side. They co-exist. I acknowledge both sides. It’s all relevant and

necessary.”

Ces Cru remains focused on the rap world on the funky “Average Joe.” On this cut,

Ubiquitous delivers a testament to his lyrical acumen. Elsewhere, Ces Cru and Strange

Music labelmate Rittz partner on the melancholy “Rubble” to examine people who

criticize music they don’t like without taking action of their own.

“If you are better, then don’t just say that,” Godemis says. “Rap better. Outrap these

fools. I wouldn’t tell these mumble rappers that they can’t do their thing because I don’t

want anybody to say that I can’t do my thing. I encourage people to just make a better

song and get more views, move more units. I think it’s really important to not only say

that, but to display that at the same time.”

Since Ces Cru began making music in the early 2000s, it has made a point to make the

type of music that can propel rap forward. As break-up treatise “DYT,” the braggadocio

“Float” and the politically-minded “Teeter” bubbled in the Kansas City area in 2009, Ces

Cru caught the ear of Strange Music co-owner Tech N9ne. The following year, Tech

N9ne featured Ubiquitous and Godemis on his Bad Season mixtape, paving the way for

the duo to join the imprint in 2011.

After dropping the 13 EP in 2012, Ces Cru released its debut Strange Music album,

Constant Energy Struggles, in 2013. Singles such as “When Worlds Collide,” “Seven

Chakras” and “Juice” established Ubiquitous and Godemis as artists who represented

classic rap and who could make the potentially esoteric relatable to the masses.

With 2014’s Codename: Ego Stripper, Ces Cru flexed its remarkable rapping abilities on

“Sound Bite” and examined socio-political issues on the astounding “Axiom.” This type

of artistic balance and superiority is again demonstrated throughout Catastrophic Event

Specialists, an album brimming with creative excellence.

“Just doing us and outrapping fools, that’s what I came to do,” Godemis details. “Outrap

everybody. That’s what I’m into doing now, making good music, man, that we can stand

behind, convincing people to buy music that I have fun performing, music that they don’t

have a problem spending their money on. People work hard for their money, so they

deserve quality material from the album to the stage.”

With Catastrophic Event Specialists, Ces Cru has certainly met its goal.
Stevie Stone
Stevie Stone
For Stevie Stone, the release of Rollin' Stone, his debut album on Strange Music, signals a move
beyond his past and his arrival with the premier independent rap company. "The album is all
about progression," he says. "It's about my shift from Ruthless Records over to Strange Music.
Everything about Strange is about getting out and touching the people. Everybody's in tune
with the music and with what I'm doing. I've got their undivided attention. They make sure they
know and understand their artists."
Stone backs his words up on the explosive, bass-heavy lead single "808 Bendin'," which features
a remarkable verse from Strange Music honcho, Tech N9ne. The two bonded early on regarding
their mutual love for the 808 drum machine that was a signature of many classic rap songs
created in the 1980s.
"I'm 808-driven," Stone says. "I love that pulse, that backbone. Without pulse, there is no life.
That's what Tech is always saying. I heard the beat for '808 Bendin',' did the verse and the
hook. I thought it was something way, way different for Tech."
Stone keeps the energy at a fever pitch on the confrontational "Raw Talk", featuring Hopsin and
SwizZz, the menacing "Get Buck" and the stark "Keep My Name Out Your Mouth", featuring
Kutt Calhoun.
Elsewhere, Stone showcases his storytelling abilities on the tremendous "Dollar General."
Inspired by the 2007 film, Street Thief, Stone flows with a controlled fury about robbing a series
of businesses. WillPower's somber, piano-driven beat and the whispery chorus, delivered by
Yelawolf, create a potent, otherworldly, sonic ambiance. "I put it like it was a dream," Stone
explains. "I'm not saying that I'm the one that's robbing. It's almost like I'm watching the movie
and fall asleep. It's about my dream."
Music has enabled Stone to live out his dreams and escape his problems. On the soulful "My
Remedy," he details how his problems fade away as soon as he hits the stage. Nonetheless,
music has not provided a total escape. The wistful "2 Far" reveals how Stone's love for music
has created tremendous struggle in his relationship with his woman.
Then there's the dramatic "My Life." On this emotional cut, Stone details the challenges he's
created for himself and his family by pursuing his music career. Although the emotions were
raw, the song took Stone nearly two years to write. "I was wrestling with how much I want to
give to the people," he says. "It's revealing a lot of stuff. I'm talking about my being away from
my kids, my family and loved ones. I'd been writing it for a year or two because I had the beat
for a minute, but I didn't know how much I really wanted to put out there. I just let go and let the
music take me."
Music has taken Stone on the road. Given his love for touring, it makes Stone a natural fit on
Strange Music, as one of the company's key components is its touring enterprise. Add in Stone's
bond with Tech, his high quality music and his dedication to his craft and it's no wonder Stone
is the latest addition to the Strange Music roster. It's also why Stone wrote the song "Perfect
Stranger."
"My first show ever, when I was in high school, was with Tech. Eleven years later, it comes full
circle," he says. "I'm on the label. It's something that I've always wanted. I think I'm a perfect
fit with them."
Born and raised in Columbia, Missouri, Stone has been surrounded by music his entire life. His
mother was a singer and choir director who played piano and organ. One of his sisters also sang
and played instruments. While his mother favored gospel, blues and the work of Marvin Gaye,
Teddy Pendergrass and Luther Vandross, his sisters listened to rap and R&B, providing a wide
range of sounds, styles and artistic influences.
By the time he was five, music consumed Stone. When a beat would start playing, Stone would
be instantly compelled to dance. He later started playing the piano and practicing on the drums.
Stone was simultaneously developing his basketball skills. He received an offer to play
basketball at a junior college in Des Moines, Iowa, and was going to pursue the opportunity.
A few weeks before he was slated to report to school, Stone landed a performance as an
opening act at a concert at the Fulton Fairgrounds. "When I hit that stage, I got the bug," he
recalls. "There was no doubt about it. Music was what I was going to do. I've never turned
back."
Within a few years, Stone secured a production deal in St. Louis with Fly Moves Productions,
requiring he relocate from Columbia. Stone jumped at the opportunity. "You should never be
content with where you're at," he says. "I've got the shoot-for-the-moon-end-up-in-the-stars type
of attitude."
Stone signed in 2007 with Ruthless Records, the label founded by the late gangster rap pioneer
Eazy-E and the recording home of N.W.A. While signed to the imprint, he learned the work ethic
needed in order to succeed in the music industry. He realized that an artist has to do as much as
possible for themselves and not rely on a label.
So, when Stone parted ways with Ruthless a few years later, he was poised for success. He
reconnected with Tech N9ne and Strange Music, which had developed into rap's biggest
independent success story.
Now, with Rollin' Stone about to arrive in stores, Stevie Stone realizes that his climb to success
isn't over. "After every ladder, there's another ladder. You've got to keep climbing the ladder,
keep moving. That's what I'm doing right now."
Slo Pain
Slo Pain
Troll, also known as SLO PAIN, started rapping in a jail cell in 2002.
With nothing to do but read books or write songs he developed a taste of rhymes similar to what he listened to while growing up. Troll thrives on music! Some of his most inspiring artists are Ice Cube, ICP, Tech n9ne, twisted, Sugar Free and even old school Easy E, 2pac and Brotha Lynch. When he got out of jail he went straight to a halfway house. While in the halfway house he would go to school and use the computers to look up other local rappers on Myspace and found the scene that best suits his genre. The Horror Core scene in Denver has a lot of underground talent and a huge fan base, but it was hard for Troll to adapt with such a large amount of underground rappers. Fans wouldn't listen to just anybody. That's when he started changing his style so he could gain a fan base and start making his name and record label (Slo Pain Reckordz) more known in the state of Colorado.

Troll calls his style of music Dark rap or murder music.
Dark rap is a compilation of several different styles of rap, such as Horror Core, Hip Hop, Gangster Rap and even Club rap. After a year and a half of promoting his name and his style of music he gained a fan base. As his fan base grew he booked more and more openings for shows. Troll has opened for many artists, such as Esham, Any Body Killa, Black Pegasus, Liquid Assassin Scum and more. He has also played at the Gathering Of Juggalo's 2008. Troll is known for his very hype and energetic stage performance and for the ability to get the crowd motivated to the point where the venue shacks and walls crack. He is also known to open and close the show all in one set due to draining the energy from his fans.

Troll now has 2 other artists on his record label, several different lines of merchandise, one CD produced and another CD about to drop in mid 2009 titled "HIGHWAY EIGHTY SICKS"! The new CD HIGHWAY EIGHTY SICKS is going to blow the doors off the hinges and knock any other CD off the shelf with its new flavor and fresh collabs with Colorado's sickest and biggest names in the game. Troll is currently seeking out-of-state shows that will get him promotions and more Colorado opening slots with bigger named artists. For more info on Troll or Slo Pain Reckordz please visit the myspace links listed below. For booking info please email us at: slopainreckordz@yahoo.com.
Myspace.com/trollslopain
Myspace.com/slopainreckordz
Venue Information:
Mesa Theater
538 Main St
Grand Junction, CO, 81501
http://www.mesatheater.com