MVRemix: Celph [Titled] was telling me how the album was complete, so I asked if I'd be able to get a copy. And he replied "It's definitely not that we don't trust you, because you're a good friend but it's because of what happened with the previous release... He(Louis Logic) is so damned sketchy about anybody having a copy about it being leaked and to be cautious. That it just isn't safe for anybody to have a copy apart from him (Celph)
Louis Logic: Right, right, that's basically what has happened. So some guy ruined it for all the people I wanted to give copies to even before we had it manufactured and shit, you know what I mean? Like straight out of the studio. We were going to do that for people who were close to the camp, important reviewers that I thought should know about it before it's ready to hit the public and let me know what they think. I just wanted some opinions while still not totally out of the creative process. This asshole, with his computer, basically made it so I can't get that feedback now, and get those CDs out to people. Because I don't know what's going to happen. The sad thing is, it might not be somebody that I gave the actual CD to. Maybe somebody's friend came over and fucking burned a copy of it, you know what I mean...Or whatever. I can't really say for sure how it happened, but I do know, loosely who the original CDs I gave copies to were. And I have a pretty good idea, a short list of who are the people that could be responsible for the leakage. So, there's definitely some people whom I would never give anything to again. Once again in the grand tradition of someone trying to be a nice guy, motherfuckers mistake kindness for a weakness. This is no exception. That's what I have to say about that man, it's never gonna happen again.
MVRemix: I mean, about two weeks before it was ripped, Celph played 'Mischievous' for me over the phone, which I liked...A couple of weeks later I check on the net and see that the whole damned thing is there. Which was kind of weird. I didn't think it was a proper release because it had a few original versions, then a few newer versions and stuff.
Louis Logic: Yeah, yeah, right. That was basically it, somebody put together...See, that's why I think I know who it was because there's a certain person whose name will go unmentioned. But, I had sent them a copy of a five-song sampler that had three joints on it that were intended for the album, work versions. And two joints that were just "loosey's." I didn't know what I was going to do with them. But, I knew I didn't want them on the album though I thought they were pretty good. Stuff that I would throw out as singles. Actually, we remixed one of those two songs and it became the new A-side, 'Guilty As Charged.' So this person, I sent a copy of that to and a copy of the six-song sampler. I think I have an idea as to who might have done it because this person also made me an offer for a record deal that I turned down. I think maybe it was a vindictive maneuver. I can't say that's for sure, what happened, and I won't say any names because I'm not trying to blow up people's spots, but that's what I think happened. To explain the story of how stuff got on the net to begin with or whatever. My theory.
MVRemix: So, was the reason that the 'Guilty As Charged' was a remixed version on the 12" because you didn't want it the same as the MP3 version or were there other reasons?
Louis Logic: There were other reasons. I actually liked the other beat better, it was just that I moved away from the area where that producer was and I didn't want to go through the headache of trying to transfer from his studio sound quality to our studio sound quality. We have a big problem with that. JJ does a really good job of making beats sound like they're done in much cooler places than they actually were. We have a tendency when I get beats or other finished products from other people's studios, even if they record them in expensive studios. JJ's stuff always sounds better. So, then we have to go through this nightmare process of trying to run people's stuff through JJ's system by mailing back and forth with each other or whatever. The elements of the beat, and reconstructing the songs. Stuff like that. We didn't want to go through that again but I needed to throw together a single because I had another Buds[record distribution] option coming up, so...Although I didn't have anything else to give the guy, he kept calling me and so I was like "Alright, you know what, lets do this." Plus I moved to New York so I needed to throw together some dough for an apartment.
MVRemix: Your full length album is done, right?
Louis Logic: All the recording is done. All the beats are chosen and obviously recorded over, it's just there are three songs right now that are being mixed and JJ's running his home mastering software over them. Two of them are produced by Memo from the Molemen. We just got, actually, his MPC materials to add to the mixture. Once we put those into JJ's system, they'll show all the changes and everything. Then JJ will do a mix down and run it through his software, then those songs will be done. Then there's another joint, that the producer for The Odd Couple produced - The Avid Record Collector, and Apathy's on it. That joint still needs to be mixed down, but it's all done. It just needs to be mixed.
MVRemix: So, are you pleased with it?
Louis Logic: I think people are really gonna dig that. Because it actually goes together with one of the Memo songs. It's a two-song story. I wrote this other joint for the album that I hadn't had in the works when we last talked. And, it's the most ruthless thing I ever wrote. I have a good feeling that I'm going to get in a lot of trouble for it, like maybe even real touble - FCC type trouble. But, I think it's intelligent, I think it's funny. As well as truthful, I really don't give a fuck if people get upset about it because for art's sake, it was worth it. It's a joint which deals with the subject of racism, but I won't say any more than that. Be on the lookout, I think this will be my - you love me or you hate me song. Some kids will be like "He's the best ever." Some will be like "That fucking cocksucker, I can't believe he did that. You can't do that, that's fucking wrong." But, whatever, either way it goes down I really don't care because it made me feel good.
MVRemix: On 'Postal' you talk about working at the same time as rapping, "despite the fact that you're as live as any jerk-off cat that's signed to Jive." Now, what do you do and what have you done work wise?
Louis Logic: My first job ever; I scooped Ice Cream at Baskin' Robin's. 31 flavours baby. The hot Greek chicks that worked at the place were afraid of the cockroaches and mice - so, I would come into work and scoop Ice Cream. They'd yell at me for giving too many toppings and then they'd send me in the back to clean up the dead cockroaches. Or the mouse that was still alive, kickin' its little legs on the glue trap. That was kind of a wack job, but it was funny though. I can't say I didn't have some good times there. And like I said, those Greek chicks were hot yo. My first real job was...I worked at The Gap. Which I don't know, it might be a credit or a dis-credit.
MVRemix: I think that might be a dis-credit.
Louis Logic: Haha. I worked at The Gap for about two years actually while I was in College. As soon as I graduated from school I went into the social services field. I worked at a group home. A residential setting for boys who are felons. That was pretty crazy because it would be me for an entire weekend locked up in a group home with 14 teenage felons who were as big as me...I'm a skinny fuck. I only weigh about 150 lbs. I got to hang out with some really cool kids, but some of them were arsonists and rapists. Shit like that, attempted murders and all kinds of shit. But it was a trip, I liked it, it would have been better if I wasn't going through my own personal stuff at the time. Which I was. Then after that, I tried the educational field, but also working with kids. After school programs, alternative school programs for "bad" kids. After that, I found something called TSS. Which basically is like being a glorified babysitter, but it pays pretty damned well. You have one client, that you go to school with, or in the home. Wherever they are, you are. You follow them around all day. They're usually kids who are so severely emotionally disturbed that you constantly have to restrain them and shit like that. I did that for like two and a half years because it was so easy. All I did was sit around, write rhymes and read books. And then recently, when I moved to New York. My best friend from College hooked me up and got me a position for a case management in the Bronx, which is what I'm currently doing. That job, I think it's dope. I've got around 12 clients, I basically visit them at their homes, their schools, stuff like that. Four times a month for each client, and I just see how the family is doing, how the kid's doing. I'd say most of the kids are pretty mellow, they're pretty base lined. They're not bugging out like you're constantly chasing them down the hallway, "Johnny, put down the scissors...." Ain't nothing like that. It's a good job and I make enough of a living that I can live in New York, on your own which is my style. I don't believe in the whole rooming thing. I've got my own pad, I just bought a new car. I guess you could say I'm doing pretty well. This isn't of course what I'd love to be doing, but in the mean time - who knows what I'll end up doing next year.
Lâ€™Orange and Stik Figa â€“ The City Under The City album review
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