Interview with
Obie Trice
By David Friedman
From Murder Dog Vol. 10 #4
How has everything been going for you since your debut album was released?
It’s been good. It’s been working the album, doing shows here and there. We just did the Power 106 in California, in L.A. In San Bernardino, it turned out good. I rocked that bitch, showed them some Detroit flavor. They showed me a lot of love out there, man, in Cali. That’s like my biggest selling area right now. You know, 20,000 CDs came out of there in the first week. So it was a good thing.
Other rappers from Detroit have said they get more support from fans outside of the city than
they
do in Detroit. Is that the case with you as well?
I think I get more support at home than anything. A lot of people show me love at the crib. A lot of people went out and bought the CD and are getting a feeling of who Obie Trice is and knowing that I’m here to keep putting out good music.
What does it mean to you to know that you represent Detroit, as opposed to any other city?
Detroit, I think, is still brand new as far as hip-hop. So it’s a good feeling to represent Detroit and come out as a Detroit artist. It’s brand new to the world. Not to be tootin’ my own horn or nothin’, but I’m one of the pioneers. Eminem started, D12, Slum Village — you know, these are all pioneers. Myself, Paradime, Royce. It’s a good thing, you know?
With the title of your new album, “Cheers.” Are you kind of saying hello to fans as they pick up your CD and basically meet you for the first time?
I got that a lot overseas! You know, saying hi or whatever. ‘Cheers’ is like a celebration. It’s a privilege for me to be here. You know, it’s crazy. I was on a plane, me and Em. D12 was coming back from overseas and I just thought, ‘I drink beer, I’m into bars and it’s a celebration to be here. I’m proud to be here, man. I’m gonna name my album Cheers.’
Before your album came out, you opened for 50 Cent and Jay-Z on the summer 2003 “Roc the Mic” tour. How did that work out for you?
‘Roc the Mic’ went good. I was the first act. We had 10 minutes on stage. People were still walking in, but the crowd that was there showed me love. Sometimes we would start the show later, being on the curfews of the different venues. When I’d come out later and it was packed, I really got love because a lot of people got to hear me. And it was dope.
Did your previous experience of taking the stage with Eminem and D12 come in handy when it came time to perform at “Roc the Mic?”
I think I always had stage presence. I always brought energy to the stage. At the same time, though, being that I was on stage with Em and D12, people could recognize who Obie Trice is. I’ve been on big tours like the Anger Management Tour. Hell, yeah, that helped out.
What I like about Eminem, D12 and your songs is that, in addition to being good music skill-wise, it’s very. Do you try to make fans laugh and to entertain them when you’re making your songs?
I think that’s just my personality. I write whatever I’ll be feeling at the moment. I don’t give a fuck. It’s not no particular aim or direction for the album. It’s just whatever I’m feeling, wherever that music takes me, wherever that beat goes. That’s how I format that shit.
What are some of your favorite songs from your new album?
Truthfully, I like all 17. All 17 are my favorites. It’s my first album, my freshman year in high school. That’s your best year. I think all the songs are dope.
The first single is called “Got Some Teeth.” You talk about all sorts of women who you meet in clubs on there. Do you really know a lot of women who have no teeth?
(My daughter Kobie), she’s the only chick that has no teeth. She don’t like that though. No. ‘Got Some Teeth’ is a glorified way of saying a chick that’s not cute, that’s not cut like that. She ain’t necessarily got to have no teeth. We were in the studio, me and Em, real late that night. He made the beat from scratch and we were just up in there drunk, crazy. He was freestyling and the engineer, Steven King, he would interrupt and be like, ‘And hopefully she got some teeth.’ So it was just a light bulb flashed over my head. So I ran with it.
It’s cool how you’ve got some big name collaborations that add to the CD but don’t take the focus from the fact that it’s an Obie Trice album. How did you like working with Eminem, Dr. Dre, D12, Nate Dogg, 50 Cent, Timbaland and Busta Rhymes?
Of course, I worked with Eminem before. I was on ‘The Eminem Show.’ D12, I worked with them plenty of times on mix tapes and the D12 album, ‘Devil’s Night.’ 50, I worked with him before. G-Unit, it’s all a family thing — Shady. Dre, that was my first time working with him. It was mad respect to Dre for doing vocals on my first album. You rarely see Dre even touching something with his own voice, so he had to respect me as an artist in order to do that. And I definitely respect him. I appreciate what he did for me growing up—just putting out N.W.A., doing things with Pac, starting Aftermath, doing Eminem, creating Eminem and making him out here to be who he is. I have a lot of respect for that brother.
The first time I heard you rap I thought that you’d fit in perfectly as a member of D12 if they needed another member. How come you came out as a solo artist rather than as a part of D12 or another crew?
D12 is like a dope-ass, crazy-ass group. They all come with different flavors. They’re a group that really have been in this since back in the day. They’re like the forefathers of Detroit hip-hop. That was Em’s thing. Growing up with them and coming together and making it happen with them, they’re definitely Detroit music. I come up from my neighborhood and I want to speak on my neighborhood and I used to go to the Hip-Hop Shop and watch them do their thing when I was younger. So I do have a vibe off D12.
Did D12 inspire you to start rapping?
No. What drew me to rap was a passion for hip-hop in general—just growing up and loving the music. I always wanted to be a part of it. Seeing Detroit artists that were on the same type tip coming up, yeah, that did make me think, ‘Yeah, I could do this shit, too.’
Did you ever listen to the wicked rappers out of Detroit—Esham, Natas and Insane Clown Posse?
No. I never, ever listened to none of that shit. I was never a part of that. I never got my hands on none of that. Where I’m from, we never even listened to Insane Clown Posse or Esham. Not to hate on them or nothing. I just was never part of that music upbringing.
Which Detroit rappers did you listen to growing up and which national rappers did you listen to?
Shit, growing up I was listening to A.W.O.L. from Detroit, Smiley from Detroit, Detroit’s Most Wanted, Biz Markie, Big Daddy Kane, Run-D.M.C., Kool G Rap, a gang of people, man—Biggie, Pac, Jay-Z. There’s a gang of them. Whatever I was feeling, man.
You were discovered by Bizarre from D12. What were you doing before you met him?
I was just solo rapping, doing my own thing. I pressed up some independent music, like ‘Well Known Asshole,’ ‘Give Me My Dad Back,’ ‘Mr. Trice.’ I got distribution through Landspeed and did the underground thing.
Was the “Well Known Asshole” song referring to you?
The ‘Well Known Asshole’ was like, I used to be called the asshole all the time in my neighborhood because I’d snap on people. I’d just be doing crazy shit for no reason, just to make my day go better. I just incorporated it into a song. I was getting them to DJ pools, getting them to all the DJs that I could. And it went like that.
Have you always rapped under your real name, Obie Trice?
I used to be Obie 1, back in the day. One day, I went up to the Hip-Hop Shop and Proof was the host and I got off the mic and he asked me, ‘What’s your name?’ I told him Obie Trice and he was like, ‘That’s what I’m gonna introduce you as from now on.’ It just stuck with me.
Were your parents together when you were growing up?
No. They separated when I was (about 5). My mother, we’re cool. My father, we’re cool. It’s all good. My old dude, he’s church-going. So he’s on that clean version shit. But my mother’s feeling my music. My mother is like my No. 1 fan.
How did you end up meeting Bizarre of D12?
Bizarre wanted to get in touch with me and someone I knew knew him and he set it up. We hooked up together and we sat down and kicked it and got a rapport. He called me to be on a song called ‘Detroit Niggas.’ I got on that with him and it’s just been on and popping from then on.
When you met Eminem through Bizarre, did you think anything would come out of the meeting?
Hell, no. When I met Em, I spit for him and it was like, ‘All right.’ At that time, my vision was just distorted. I didn’t think that I’d get the blessings that I got. My mind was just somewhere else and shit. So I didn’t think nothing of it.
How long was it before Eminem called you to talk some more?
It was probably a couple of months and we got it going.
Being an artist on Shady/Interscope, you’ve got one of the best deals any rapper could hope for, right?
It’s a blessing, man. I mean, I’m gonna run with this shit. That’s what it means to me—no looking back. Keep moving.
Will you be touring soon?
The album just came out. Once we get build up and get out of here, I’m out the door. I’m on the solo joint, doing my thing. We don’t really know when right now. We’re taking offers and everything. We’re waiting around, about to go overseas and do a promo tour and keep it moving.
Eminem sells millions of albums each time he releases a new CD. Then, you’ve got D12 going double platinum and 50 Cent going five-times platinum for Shady Records. But it actually takes a lot of work to achieve those sales figures.
You’ve gotta work. You’ve gotta work your album. I mean, 50 Cent, he was blessed to have been shot... Well, not blessed. But, you know, he had the momentum behind him. He had been shot nine times. He came out of the gates dissing Ja Rule, one of the biggest stars at that time when he came out. And he just had the momentum to go where he went with it. Me, on the other hand, I’m a new artist who’s coming out and they’ve gotta know who Obie Trice is. They see me featured on Eminem’s songs, they see me featured on songs with 50. But who is Obie Trice alone? It’s definitely a work ethic you have to have to become a star.
Is it difficult to stay patient rather than constantly thinking that you have to go platinum like the other rappers on Shady?
When it comes, that’s good. I’m here for the longevity of it. I just want to keep moving. A gold record, a million records, three million records, two million records—whatever the case may be—I’m happy. I’m doing something other than the hood. That’s all I’ve got. This is all I have with me. I don’t have no education. I dropped out of school. My work ethic, as far as working for somebody, is terrible. I hate authority, muthafuckas who don’t know how to talk to you and shit. This is basically my life, my dream. And I’m happy with it.
Lots of rappers would be happy to sell a few million units, even if they fell off soon afterward. Why is longevity so important for you in terms of your rap career?
I want to have albums under my belt. I want to say, you know, I came in the game and I pumped out lots of albums. Whenever I retire, I want to be like, ‘OK. Obie came and hit you with as many dope albums’ as it was that I dropped when I retired. He came and brought you good music. That’s how I want it to be.
Many of the Detroit rappers I’ve talked to have said they really like your new album and that they’re really happy for you these days considering the success you’ve already had. How does it feel to know that you’ve got that kind of support amongst your peers?
It feels good because I want to see other artists from Detroit do their thing. I want to be a part of making sure it happens for other artists in Detroit, getting out there in the industry. That’s why when you see me on TV, I’m always giving shouts out to Detroit’s artists. I don’t care if it’s MTV, BET or whatever TV. I’m making it my personal obligation to say, ‘Yo, look for such and such from Detroit. Look for such and such.’ Because it takes something extra for us to win here. We can’t have cats getting in where they fit in and forgetting about the home front. Some people do.
Why is it harder for a rapper to make it out of Detroit than it would be to make it big out of New York City or Los Angeles?
We’re not known as a hip-hop based city. Em did his thing. We’ve got artists that are doing their thing here. But, at the same time, you look at Atlanta and all those dudes network. Lil’ Jon, East Side Boyz, YoungBloodz, Outkast, the Dungeon Family — they’re sticking together and that’s how they’re winning. To me, that’s what it’s about.
What was it like working with Timbaland, Nate Dogg and Busta Rhymes on your new album? Were you in awe of those guys?
Hell, yeah, I’m in awe. I’m a fan first. I’m always a fan of this music. I can never see myself getting to where I don’t respect the game. All these dudes I’m working with, I grew up to their music. Their music influenced me some way, somehow. I’m really in awe.
Do you already have a second single chosen from “Cheers”?
The second single is “The Set Up,” produced by Dre, featuring Nate Dogg. It’s about a chick that I’d known that, she’ll set that ass up. It’s a good song. We’re shooting a video. She would set anybody up if you’ve got something. She would get you robbed. That’s what that’s about.
What are your goals with the “Cheers” album and in general?
I want this album to make them look forward to the second album, to check for Obie Trice whenever Obie Trice drops a CD.
What do you want fans to know about you that they might not already know?
I want them to know that I’m gonna bring them good music. I’m gonna bring them a good story, I’m gonna bring them dope lyrics, I’m gonna bring them dope beats, I’m gonna bring them well-rounded music—whatever they’re feeling, there’s something on the album that they can vibe to.
You told me once that you don’t have a particular style. How come you’d rather not classify your rap style?
Because, to me, that limits you. I don’t look for style in my shit. I just do what I’m feeling. However I’m feeling, that’s how I go with it. If I want to do some crunk music, I can do it. If I want to do something more West Coast, I can do it. I just want to be all over the place.
What have you learned so far from being on Shady/Interscope?
I learned work ethic. I learned that this is real. This is not just bullshit where you think you can rap and you can go in there and make hits. It’s a lot behind this music. It’s not just rapping, getting on stage and performing. There’s a lot of interviews, a lot of flying here and there, a lot of meeting people when you don’t feel like it. You’ve gotta prioritize it. It’s a lot of responsibility. That’s what I learned.
Would you say that all the work you put in is worth it?
It depends on the individual, man. Be careful what you wish for because everything ain’t peaches and cream. I know me, growing up, I thought being in the music business was everything. I love it, but there’s some things about it that’s a muthafucka. It’s worth it, though, for my case, because I didn’t have shit else but the music. There’s a realization that this is my job and this is what I attained and this is what I’m gonna do for my life. This is my career. I’m gonna go down in history as being an artist. So it’s worth it for me. It’s either this or the block. And I definitely don’t want to be on the block.
By David Friedman
From Murder Dog Vol. 10 #4
How has everything been going for you since your debut album was released?
It’s been good. It’s been working the album, doing shows here and there. We just did the Power 106 in California, in L.A. In San Bernardino, it turned out good. I rocked that bitch, showed them some Detroit flavor. They showed me a lot of love out there, man, in Cali. That’s like my biggest selling area right now. You know, 20,000 CDs came out of there in the first week. So it was a good thing.
Other rappers from Detroit have said they get more support from fans outside of the city than
they
do in Detroit. Is that the case with you as well?I think I get more support at home than anything. A lot of people show me love at the crib. A lot of people went out and bought the CD and are getting a feeling of who Obie Trice is and knowing that I’m here to keep putting out good music.
What does it mean to you to know that you represent Detroit, as opposed to any other city?
Detroit, I think, is still brand new as far as hip-hop. So it’s a good feeling to represent Detroit and come out as a Detroit artist. It’s brand new to the world. Not to be tootin’ my own horn or nothin’, but I’m one of the pioneers. Eminem started, D12, Slum Village — you know, these are all pioneers. Myself, Paradime, Royce. It’s a good thing, you know?
With the title of your new album, “Cheers.” Are you kind of saying hello to fans as they pick up your CD and basically meet you for the first time?
I got that a lot overseas! You know, saying hi or whatever. ‘Cheers’ is like a celebration. It’s a privilege for me to be here. You know, it’s crazy. I was on a plane, me and Em. D12 was coming back from overseas and I just thought, ‘I drink beer, I’m into bars and it’s a celebration to be here. I’m proud to be here, man. I’m gonna name my album Cheers.’
Before your album came out, you opened for 50 Cent and Jay-Z on the summer 2003 “Roc the Mic” tour. How did that work out for you?
‘Roc the Mic’ went good. I was the first act. We had 10 minutes on stage. People were still walking in, but the crowd that was there showed me love. Sometimes we would start the show later, being on the curfews of the different venues. When I’d come out later and it was packed, I really got love because a lot of people got to hear me. And it was dope.
Did your previous experience of taking the stage with Eminem and D12 come in handy when it came time to perform at “Roc the Mic?”
I think I always had stage presence. I always brought energy to the stage. At the same time, though, being that I was on stage with Em and D12, people could recognize who Obie Trice is. I’ve been on big tours like the Anger Management Tour. Hell, yeah, that helped out.
What I like about Eminem, D12 and your songs is that, in addition to being good music skill-wise, it’s very. Do you try to make fans laugh and to entertain them when you’re making your songs?
I think that’s just my personality. I write whatever I’ll be feeling at the moment. I don’t give a fuck. It’s not no particular aim or direction for the album. It’s just whatever I’m feeling, wherever that music takes me, wherever that beat goes. That’s how I format that shit.
What are some of your favorite songs from your new album?
Truthfully, I like all 17. All 17 are my favorites. It’s my first album, my freshman year in high school. That’s your best year. I think all the songs are dope.
The first single is called “Got Some Teeth.” You talk about all sorts of women who you meet in clubs on there. Do you really know a lot of women who have no teeth?
(My daughter Kobie), she’s the only chick that has no teeth. She don’t like that though. No. ‘Got Some Teeth’ is a glorified way of saying a chick that’s not cute, that’s not cut like that. She ain’t necessarily got to have no teeth. We were in the studio, me and Em, real late that night. He made the beat from scratch and we were just up in there drunk, crazy. He was freestyling and the engineer, Steven King, he would interrupt and be like, ‘And hopefully she got some teeth.’ So it was just a light bulb flashed over my head. So I ran with it.
It’s cool how you’ve got some big name collaborations that add to the CD but don’t take the focus from the fact that it’s an Obie Trice album. How did you like working with Eminem, Dr. Dre, D12, Nate Dogg, 50 Cent, Timbaland and Busta Rhymes?
Of course, I worked with Eminem before. I was on ‘The Eminem Show.’ D12, I worked with them plenty of times on mix tapes and the D12 album, ‘Devil’s Night.’ 50, I worked with him before. G-Unit, it’s all a family thing — Shady. Dre, that was my first time working with him. It was mad respect to Dre for doing vocals on my first album. You rarely see Dre even touching something with his own voice, so he had to respect me as an artist in order to do that. And I definitely respect him. I appreciate what he did for me growing up—just putting out N.W.A., doing things with Pac, starting Aftermath, doing Eminem, creating Eminem and making him out here to be who he is. I have a lot of respect for that brother.
The first time I heard you rap I thought that you’d fit in perfectly as a member of D12 if they needed another member. How come you came out as a solo artist rather than as a part of D12 or another crew?
D12 is like a dope-ass, crazy-ass group. They all come with different flavors. They’re a group that really have been in this since back in the day. They’re like the forefathers of Detroit hip-hop. That was Em’s thing. Growing up with them and coming together and making it happen with them, they’re definitely Detroit music. I come up from my neighborhood and I want to speak on my neighborhood and I used to go to the Hip-Hop Shop and watch them do their thing when I was younger. So I do have a vibe off D12.
Did D12 inspire you to start rapping?
No. What drew me to rap was a passion for hip-hop in general—just growing up and loving the music. I always wanted to be a part of it. Seeing Detroit artists that were on the same type tip coming up, yeah, that did make me think, ‘Yeah, I could do this shit, too.’
Did you ever listen to the wicked rappers out of Detroit—Esham, Natas and Insane Clown Posse?
No. I never, ever listened to none of that shit. I was never a part of that. I never got my hands on none of that. Where I’m from, we never even listened to Insane Clown Posse or Esham. Not to hate on them or nothing. I just was never part of that music upbringing.
Which Detroit rappers did you listen to growing up and which national rappers did you listen to?
Shit, growing up I was listening to A.W.O.L. from Detroit, Smiley from Detroit, Detroit’s Most Wanted, Biz Markie, Big Daddy Kane, Run-D.M.C., Kool G Rap, a gang of people, man—Biggie, Pac, Jay-Z. There’s a gang of them. Whatever I was feeling, man.
You were discovered by Bizarre from D12. What were you doing before you met him?
I was just solo rapping, doing my own thing. I pressed up some independent music, like ‘Well Known Asshole,’ ‘Give Me My Dad Back,’ ‘Mr. Trice.’ I got distribution through Landspeed and did the underground thing.
Was the “Well Known Asshole” song referring to you?
The ‘Well Known Asshole’ was like, I used to be called the asshole all the time in my neighborhood because I’d snap on people. I’d just be doing crazy shit for no reason, just to make my day go better. I just incorporated it into a song. I was getting them to DJ pools, getting them to all the DJs that I could. And it went like that.
Have you always rapped under your real name, Obie Trice?
I used to be Obie 1, back in the day. One day, I went up to the Hip-Hop Shop and Proof was the host and I got off the mic and he asked me, ‘What’s your name?’ I told him Obie Trice and he was like, ‘That’s what I’m gonna introduce you as from now on.’ It just stuck with me.
Were your parents together when you were growing up?
No. They separated when I was (about 5). My mother, we’re cool. My father, we’re cool. It’s all good. My old dude, he’s church-going. So he’s on that clean version shit. But my mother’s feeling my music. My mother is like my No. 1 fan.
How did you end up meeting Bizarre of D12?
Bizarre wanted to get in touch with me and someone I knew knew him and he set it up. We hooked up together and we sat down and kicked it and got a rapport. He called me to be on a song called ‘Detroit Niggas.’ I got on that with him and it’s just been on and popping from then on.
When you met Eminem through Bizarre, did you think anything would come out of the meeting?
Hell, no. When I met Em, I spit for him and it was like, ‘All right.’ At that time, my vision was just distorted. I didn’t think that I’d get the blessings that I got. My mind was just somewhere else and shit. So I didn’t think nothing of it.
How long was it before Eminem called you to talk some more?
It was probably a couple of months and we got it going.
Being an artist on Shady/Interscope, you’ve got one of the best deals any rapper could hope for, right?
It’s a blessing, man. I mean, I’m gonna run with this shit. That’s what it means to me—no looking back. Keep moving.
Will you be touring soon?
The album just came out. Once we get build up and get out of here, I’m out the door. I’m on the solo joint, doing my thing. We don’t really know when right now. We’re taking offers and everything. We’re waiting around, about to go overseas and do a promo tour and keep it moving.
Eminem sells millions of albums each time he releases a new CD. Then, you’ve got D12 going double platinum and 50 Cent going five-times platinum for Shady Records. But it actually takes a lot of work to achieve those sales figures.
You’ve gotta work. You’ve gotta work your album. I mean, 50 Cent, he was blessed to have been shot... Well, not blessed. But, you know, he had the momentum behind him. He had been shot nine times. He came out of the gates dissing Ja Rule, one of the biggest stars at that time when he came out. And he just had the momentum to go where he went with it. Me, on the other hand, I’m a new artist who’s coming out and they’ve gotta know who Obie Trice is. They see me featured on Eminem’s songs, they see me featured on songs with 50. But who is Obie Trice alone? It’s definitely a work ethic you have to have to become a star.
Is it difficult to stay patient rather than constantly thinking that you have to go platinum like the other rappers on Shady?
When it comes, that’s good. I’m here for the longevity of it. I just want to keep moving. A gold record, a million records, three million records, two million records—whatever the case may be—I’m happy. I’m doing something other than the hood. That’s all I’ve got. This is all I have with me. I don’t have no education. I dropped out of school. My work ethic, as far as working for somebody, is terrible. I hate authority, muthafuckas who don’t know how to talk to you and shit. This is basically my life, my dream. And I’m happy with it.
Lots of rappers would be happy to sell a few million units, even if they fell off soon afterward. Why is longevity so important for you in terms of your rap career?
I want to have albums under my belt. I want to say, you know, I came in the game and I pumped out lots of albums. Whenever I retire, I want to be like, ‘OK. Obie came and hit you with as many dope albums’ as it was that I dropped when I retired. He came and brought you good music. That’s how I want it to be.
Many of the Detroit rappers I’ve talked to have said they really like your new album and that they’re really happy for you these days considering the success you’ve already had. How does it feel to know that you’ve got that kind of support amongst your peers?
It feels good because I want to see other artists from Detroit do their thing. I want to be a part of making sure it happens for other artists in Detroit, getting out there in the industry. That’s why when you see me on TV, I’m always giving shouts out to Detroit’s artists. I don’t care if it’s MTV, BET or whatever TV. I’m making it my personal obligation to say, ‘Yo, look for such and such from Detroit. Look for such and such.’ Because it takes something extra for us to win here. We can’t have cats getting in where they fit in and forgetting about the home front. Some people do.
Why is it harder for a rapper to make it out of Detroit than it would be to make it big out of New York City or Los Angeles?
We’re not known as a hip-hop based city. Em did his thing. We’ve got artists that are doing their thing here. But, at the same time, you look at Atlanta and all those dudes network. Lil’ Jon, East Side Boyz, YoungBloodz, Outkast, the Dungeon Family — they’re sticking together and that’s how they’re winning. To me, that’s what it’s about.
What was it like working with Timbaland, Nate Dogg and Busta Rhymes on your new album? Were you in awe of those guys?
Hell, yeah, I’m in awe. I’m a fan first. I’m always a fan of this music. I can never see myself getting to where I don’t respect the game. All these dudes I’m working with, I grew up to their music. Their music influenced me some way, somehow. I’m really in awe.
Do you already have a second single chosen from “Cheers”?
The second single is “The Set Up,” produced by Dre, featuring Nate Dogg. It’s about a chick that I’d known that, she’ll set that ass up. It’s a good song. We’re shooting a video. She would set anybody up if you’ve got something. She would get you robbed. That’s what that’s about.
What are your goals with the “Cheers” album and in general?
I want this album to make them look forward to the second album, to check for Obie Trice whenever Obie Trice drops a CD.
What do you want fans to know about you that they might not already know?
I want them to know that I’m gonna bring them good music. I’m gonna bring them a good story, I’m gonna bring them dope lyrics, I’m gonna bring them dope beats, I’m gonna bring them well-rounded music—whatever they’re feeling, there’s something on the album that they can vibe to.
You told me once that you don’t have a particular style. How come you’d rather not classify your rap style?
Because, to me, that limits you. I don’t look for style in my shit. I just do what I’m feeling. However I’m feeling, that’s how I go with it. If I want to do some crunk music, I can do it. If I want to do something more West Coast, I can do it. I just want to be all over the place.
What have you learned so far from being on Shady/Interscope?
I learned work ethic. I learned that this is real. This is not just bullshit where you think you can rap and you can go in there and make hits. It’s a lot behind this music. It’s not just rapping, getting on stage and performing. There’s a lot of interviews, a lot of flying here and there, a lot of meeting people when you don’t feel like it. You’ve gotta prioritize it. It’s a lot of responsibility. That’s what I learned.
Would you say that all the work you put in is worth it?
It depends on the individual, man. Be careful what you wish for because everything ain’t peaches and cream. I know me, growing up, I thought being in the music business was everything. I love it, but there’s some things about it that’s a muthafucka. It’s worth it, though, for my case, because I didn’t have shit else but the music. There’s a realization that this is my job and this is what I attained and this is what I’m gonna do for my life. This is my career. I’m gonna go down in history as being an artist. So it’s worth it for me. It’s either this or the block. And I definitely don’t want to be on the block.
