In a time when hip-hop is dominated with “ringtone rap”,  there are still producers who still respect the esssence of  hip hop and continue to supply quality production. Say hello to Joey and Bravo, better known in the industry as Sid Roams.

The beat making duo have produced classic material for various rappers including Evidence from The Dilated Peoples, Mobb Depp's Prodigy and Jean Grae, among others. The duo epitomize the gritty sound that is becoming a rarity in hip hop. Sixshot.com caught up with the production duo to discuss their creative process and what they feel is missing in today’s hip-hop scene.

Sup fellas, what’s good?

Joey: Basically just trying to stay busy, making beats and finishing up these Prodigy joints before he goes in.

So tell us, how did you guys get into production?

Bravo: We started when we were about 15 years old.  We both lived in Venice CA and were obsessed with analyzing tapes and trying to figure out how producers were making beats.  We knew that it came from old records, so we started digging in our parent’s collection and got an old S900 sampler and a 4 track.  With this 100-dollar Yamaha keyboard we would trigger the samples and basica lly just do it all by hand. 

Joey: They were like sloppy audio collages but it was a start.  We all lived on the same street, including Evidence from Dilated Peoples.  At the time, we were trying to learn about music and Ev happened to live next door to this producer named QDIII (Quincy Jones' son).  That was everyone's first glimpse of a real studio.  We would just watch and observe and try to figure out what went in to the process.  Later, another LA producer named Red Foo (Kendall Gordy) gave Joey a lesson on the EPS 16+ and from then on, that piece became a staple.
 
You guys produced Evidence's "Mr. Slow Flow" which was crazy, what was it like making that track?

Joey: If you heard where that sample came from, you would barely recognize it.  But basically, Joey grabbed like two stabs off this prog rock record and chopped them up.  From there, we layered some stuff into it and focused on making it sound extra big.

We sent it off to Ev on a beat tape and he bugged.  Ev came with the concept and some disgusting verses and got DJ Revolution to lay the cuts and it was a wrap.  To us, Rev's cuts were the icing on the cake.  We built with Eddie Sancho on the mix and that was that.  We were surprised when Ev used it as his buzz song because there were so many ill contributions to that album but it made sense because it was conceptual and introduced the Mr. Slow Flow title.

What is it like working with Prodigy?

Bravo: To be honest, working with P is nothing short of incredible.  We both feel like this is some of the best music we've ever done and it is a definite high point for both of us.  P is a true hip-hop legend so it’s an honor to be collaborating with him and, as far as work ethic; he's a beast in the studio.  When he hears the beat that he wants, he just goes in and stays focused on every detail until the song is done.

Joey: From the very beginning, the chemistry has been right so we've been able to record a lot of material with him and the process we got is crazy efficient.  It also has been inspiring to be able to make beats with his voice in mind.  When the vocals get laid down, the vision becomes complete.

What is the creative process like for a Sid Roams beat?

Bravo: Man, we build beats in so many different ways.  We are always collecting samples and digging for sounds and building on our studio set-up.  When it comes to the process, either one of us may start the beat or we'll create it together but we always finish them with both sets of ears.  We've found that it's really valuable to be able to bounce ideas around at every stage: the raw beat, the arrangement, and the mixing.

How would you describe your sound?

Joey: We definitely were raised on classic hip-hop so our roots are in that tradition.  But our music, both individually and together, has always been moody.  For whatever reason, we gravitate towards that dark sound.  Living in NY has enhanced that aspect somewhat but it has always been a big part of what we do.  There's just a certain sound that we feel like we can donate to the culture.  It partly comes from what we have created over the years with Ev and Alchemist, and has a lot in common with that true-to-the-streets sound of NY, specifically Queensbridge. 

Recently someone left a comment on our MySpace page saying we're the "kings of that throwback 80s synth prog hip hop shit."  Well, whether we're kings of it or not, it definitely kind of hit the nail on the head.

Who are some of your musical influences?

Joey: Damn. That’s always a really hard question to answer.  There are so many ways that we get inspired and from so many different musical styles.  To mention the legends might be redundant but you know Primo, Pete Rock, Dilla, EPMD, Large Pro, Havoc, Dr. Dre, those producers really set the stage that we all work on.  But the people around us are probably just as influential.   Just being around Ev and Alc and Jake1 and DJ Khalil and Sebb is inspiring and that’s all from pretty close to home.  There's so much dope music out there, we're always listening.

Strictly Nstrmntl was hot, what was the response like?

Bravo: Well, you know, that was a super limited run CD so its not like we were advertising anywhere or doing a promotional push but the response to the music has been incredible.  We really just did it to showcase some of the beats that were never available or were hard to find and then threw some exclusive joints on there to give it more bang for the buck.

Joey: It was fun to put together and we get hit up for beats so often, we figured rap-dudes could use some of them for their mixtapes and all that.  We're really just selling em through our myspace page and on a couple internet sites but even with such small exposure, they are definitely moving and the feedback has been overwhelming.
 
How do you feel about hip-hop today?

Joey: It seems like hip-hop is in a transitional period right now, but the whole music industry is going through the same changes.  Everyone's trying to figure out how to move units in a new era where the market is free and production can be done entirely at home.

It’s crazy for us because we grew up having to hustle to piece together a studio and then try to use the archaic equipment to make beats.  Now, every kid has a beat-making application on his computer.  In a certain way, it’s frustrating, but at the same time its also exciting because it means there's a ton of music getting made. 

Bravo: The same is true of mixtapes.  You have this return to the do-it-yourself mentality where everyone can make an album, brand themselves, and distribute their own music online or out the trunk.  In the end, there's this massive over-saturation on every level of the game but we have more choices about what we listen to as well. You really have to work on building a devoted fan base and that’s a serious challenge amidst all the chaos. Fortunately, we are seeing the real cream rise to the top and artists are more in control of the product.  But creatively speaking, hip-hop is going through a lot of changes as well. 

We're finally leaving the period of southern domination and though you can see the imprint it left on hip-hop, it won't be the monolith that it once was.It feels like there's a return to old school aesthetics but with a modern sound that has fewer boundaries.  Technology opened a lot of doors and we're finally seeing the right combinations take place.  The next five years should be groundbreaking in every way.  Our only hope is that there is still a focus on quality control while artists are scrambling to make more and more records.
 
With major artists flopping left and right, do you feel this is a good time for the indie hip-hop scene?

Joey: Well, as we were saying before, there is definitely room to make a mark from an independent standpoint.  The masses have access to so many different ways of hearing music now.  But the grind is just as tough because there's so much competition.  And being independent, promotion and marketing is totally in your hands so you really have to go hard to stake your claim out here.

Musically, working with and running indie labels is a liberation from the major label program (we don't have to make "their music" anymore), but it still has to live up to their standards of quality or it just sounds amateur.

If artists can create quality product and not try to scramble for advance-money by releasing 15 albums a year, a good balance can probably be found.  Meanwhile, the indie labels just have to face the challenges of working the new market in the right way.

How do you guys manage to keep your style so diverse?

Bravo: For one, we enjoy so many types of music.  We both grew up in households where music was a constant. It was sometimes even the glue for the family in trying times.  Pretty much the most consistent therapy! If our parents were not listening to Stevie Wonder, Burning Spear, or Thelonious Monk they were listening to Steely Dan, Yes, Talking Heads or Brahms.  Like all youngsters, we were like sponges!  And so, between the two of us, we cover most of the spectrum with our musical taste. And in turn, that lends itself to our own creative output.

Joey: In our opinion working with Dilated Peoples or working with Prodigy is not so different.  Our process does not change.  All we are focused on is being able to consistently deliver the right emotion for the artist.

You guys have worked with Evidence, Purple City, Jean Grae, Infamous Mobb, Phil Tha Agony, and the list goes on. What is it like to work with so many great artists?

Bravo: It's been a growing experience to say the least. Each instance has it's own dynamic. Working with Ev is like working with our homeboy from way back. Good vibes!

Infamous Mobb and Hard White is total gutter, a bit on the serious side and a little more stressed out and blunted up!  Purple City, we didn't record with them except for the Agallah track.  In fact, we had no idea they were using one beat until the cd was in the stores, which was a lot of fun, psych, that shit was weak!  And so you have these totally differing processes for each release; the stuff you don't see, behind the scenes. 

Joey: But one thing we notice, in all the artists we've worked with, is this relentless hunger or ambition.  Like these people have to be doing what they are doing.  This is what their lives are about.  And that is a necessity in having any chance in this over-flooded game.  We're very lucky to have worked with people that are truly meant to be making this music.

What projects do you guys have coming up?
 
Bravo: First and foremost we did 5 joints on Prodigy's H.N.I.C 2 coming out in April.  Including the singles "ABC's" and "Real Power".  We also have a record label called Dirt Class with a third partner, Benny Needles from LA.  In 2008, we have a pretty dope line-up.  First we're releasing an official mixtape from Prodigy (like Return Of The Mac), which will feature Big Twins of Infamous Mobb and Un Pacino of Hard White.

Following that will be Big Twins solo LP, followed by the Hard White LP.  We've been working on both these records for the past 2 years.  Honestly, with the exception of Dilated or Prodigy, we haven't been shopping/selling beats actively for at least 2 years.  Its pretty crazy but we just really wanted to put our best foot forward with these 3 projects. Also contributing on the production will be Jake One, Alchemist and some other beat guys that are sick in their brain too.
 
Anything you'd like to say to the fans out there?

Joey: For sure. We would like to thank everybody out there who has been listening and supporting Sid Roams via mixtapes, MySpace, etc.  Like so many creative people out there -it's a living struggle for us to be 100% devoted to this music. And when it's not adding up in numbers financially, the one thing that keeps us pushing forward is hearing all the positive feedback, and just knowing that people can dig what we do. Keep ya ears peeled yall, more to come!