Remembering Nate Dogg (10+ Artists Speak on Nate Dogg -- Hittman, Ras Kass, etc)

[kuruptDPG]

props luna....very gd...im suprised sam didnt hav anythn more to say tho

[dubsmith_nz]

Props Luna, good read. A bit off topic but what's Hittman up to these days?

[MarshColin]

Latoiya Williams:  Nate Dogg, I just want to say that I love you and I miss you. Thank you for all of the great advice you’ve given me about the industry and hip-hop business throughout my career. I wish we could have brought out the song that we did together. Hopefully one day I can. I love and miss you so much.

I assume she's talking about "So Young." You should see if you can get her to put it out there for us Luna!

Thanks for the great read as always.

[dubsmith_nz]

Ms. Toi ft Nate Dogg - Sumthin I Can Go Home With
http://www.mediafire.com/?he4xv8gcs99zgbo

Sounds like an old Dre beat

Or a cheap imitation of one. Good looks on the hook up though

[Lunatic]

Props Luna, good read. A bit off topic but what's Hittman up to these days?

Hittman is working on a few projects. He remains very good friends with Mel-Man actually. They are working together.

[Will_B]

Props Luna, good read. A bit off topic but what's Hittman up to these days?

Hittman is working on a few projects. He remains very good friends with Mel-Man actually. They are working together.

Yeah that interview he did recently, showed his album not coming in in a different light.

Seems Hitt didn't want Dre's left-over beats for his own project and that he was kinda insulted that's all Dre was prepared to do with him..

I'm sure he got heavily cheques comin from 2001 and he's just been doing his own thing since. Probably a lot more writing for other artists we don't know about..

[D-e-f-]

Props Luna, good read. A bit off topic but what's Hittman up to these days?

Hittman is working on a few projects. He remains very good friends with Mel-Man actually. They are working together.

Yeah that interview he did recently, showed his album not coming in in a different light.

Seems Hitt didn't want Dre's left-over beats for his own project and that he was kinda insulted that's all Dre was prepared to do with him..

I'm sure he got heavily cheques comin from 2001 and he's just been doing his own thing since. Probably a lot more writing for other artists we don't know about..

interview?? where? do you have a link? would be much appreciated!

I hope to hear something new from Hitt AND Mel Man soon. I really miss their stuff.

[Will_B]

http://issuu.com/dbicmag/docs/dbic_magazine-december_2010_issue__3

[dubsmith_nz]

Props on that link bro was a good read, ended kinda suddenly though. I would love to hear a Mel man and hit project

[D-e-f-]

http://issuu.com/dbicmag/docs/dbic_magazine-december_2010_issue__3

thanks

[Will_B]

Props on that link bro was a good read, ended kinda suddenly though. I would love to hear a Mel man and hit project

It's a 2 part interview. Did you find the second part?

[Lunatic]

Here's the raw transcript of MY ENTIRE interview with Hittman (since a few of you are discussing it and having difficulty finding the whole thing)


DBIC: We’re right here with Hittman. Now it’s been a while since anyone has heard from you. What you have you been up to?

Hittman: I’ve been on hiatus for the most part but I’m always writing. I have a few things coming out in the near future. I’ve been talking about it for a minute but I’m still working on “the Last Days of Brian Bailey” on my man Ron Hills’ L.A. imprint. It’s all a work in progress so I will keep you posted as we approach completion. The second I project I have brewing is called “K.H.I.T. 187.9” produced by Zaro Dynamic aka Eazy Z. Zaro produced  my “Big Hitt Rising” EP and we’re looking to drop this project next summer.

DBIC: The first one you mentioned “The Last Days of Brian Bailey”, a few things need to be worked out. Is it on the business side or the music side?

Hittman: It`s on the music side. We’re still trying different things here & there as well as adding some bells & whistles.

DBIC: Which producers have you been working with?

Hittman:  It’s being produced by me, Pomo, Ron Hill, Pretty Tone, Stuntman and more. Basically  a bunch of talented guys that no one has heard of yet.

DBIC: You’re producing now as well?

Hittman: Yeah, I’m really new at it but it’s going down! I’ve always been involved in the production process but before it was from a vibing stand point. Now I’m more hands on.

DBIC: You’ve been around some great producers. I imagine you picked up a thing or two (laughs)

Hittman: Oh yeah, a thing or two from that matter! (laughs)

DBIC: Exactly. Let’s reflect a bit on the “Big Hitt Rising” EP. What do you think of it today?

Hittman: It’s still moving. That EP was very experimental for me because the music was totally different than the music that I normally do. Zaro Dynamic has a sound of his own. Even my approach to the EP, he would have a beat and if he called the beat “Hittin’ up the Club” then boom, that’s what I called the song. Normally when a producer gives me a beat, I take the music and title it what it says to me. But on this particular project, I played the role of an actor. He told me what vibe he heard on the beats he gave me and I ran with it his way.

DBIC: Ok. For you personally, which do you think is more effective? When you run with what the producer has in mind, or when you let the music speak to you?

Hittman: I think it just depends. That music was so different; I didn’t really have a direction of where I wanted to go with it. For him to have the titles already, it was cool. It was guidance for me. When I laid the lyrics, I was like ok, that’s what it is.

DBIC: Maybe it would have been too risky to try otherwise on that project.

Hittman: Yeah. Well I’m not signed so I’m gonna’ take risks. When you’re signed to a major label, it’s the same cookie cutter shit. As long as I’m not signed to anybody, I’m gonna’ step out on a limb because it tests you as an artist in general.

DBIC: That’s one thing you’ve always done. Do you still carry your infamous rhyme book from back in the day?

Hittman: Yeah (laughs). It’s a bag of rhymes now, no longer just a book. People call it the tragic bag of hits.

DBIC: I remember you doing photo shoots with it and everything.

Hittman: Yeah no doubt (laughs).

DBIC: How many of those lyrics do you think you’ve actually put to song?

Hittman: Dating from 1991 to now?

DBIC: Let get me this straight. All the raps you wrote in 1991, you still have them documented on paper?

Hittman: Yeah, I keep them to marvel at my progression as an artist. I like to see where I was at with my rhymes in those times. Which brings me back to "The Last Days of Brian Bailey", the albums concept is based on me in the mid 90’s trying to artistically navigate through the drama of the coast wars, needy girlfriends, negative opinions, unemployment, fronting ass A&R’s, hood politics and so on. It`s the audio biography of a struggling artist trying to reach his ultimate goal of getting signed. Pretty much HITTMAN 2 to 3 years before my Aftermath endeavors.

DBIC: Some rappers can’t find the lyrics they wrote last week and you still have everything form 1991.

Hittman: Absolutely. I still have that all. You’re gonna’ hear a lot of history on “The Last Days of Brian Bailey.” I still have the message tape. When answering machines used to have mini cassettes, I still have a tape of when my boy called me and told me Biggie didn’t make it [Notorious B.I.G. had been gunned down]. My man Todd is married to Faith [Evans]. Bud who used to manage me, him and Todd are God brothers. I got this information right when it happened. You can hear people in the background talking on the phone. It’s eerie to hear.

I’m mad because I can’t find my 2Pac messages when that even happened because I use to have both of them. It’s like mysteriously gone.

DBIC: That’s crazy. So “The Last Days of Brian Bailey” may have more of an old school feel to it.

Hittman: 73-83 is the True School, 83-89 is the Golden Era; 90-94 was the Next School, 95-2000 was the Platinum Era and so on. I’m trying to re-create the vibe & feel of the Platinum Era; specifically 95-97 because that was a time of transition in Hip Hop as well as my personal life. Plus some of my favorite Hip Hop came from those eras’s that I just mentioned. When I’m driving around, I listen to what`s out now for a minute, then I resort back to Hip Hop made from 86-97.

DBIC: It sounds like you’re more of a raw, east coast hip-hop type of fan.

Hittman:  I just like raw shit in general. The west coast had raw shit too! CMW’s Straight Checkin’ ‘Em, King Tee “The Triflin` Album”, Del Tha Funkee Homosapien, AMG, early Death Row shit like RBX’s “High Powered”, Lady of Rage’s “Afro Puffs” and so on. Tha Dogg Pound “Dogg Food” was in heavy rotation because I loved "New York, New York". First Biggie ripped it for a St. Ides commercial and then Tha Dogg Pound made it a hot song & video kicking down buildings & all that madness. (laughs). Shout out to my man Black Henderson who directed that video by the way. He had us tripping off the drama that went down in New York while they was filming that joint.

DBIC: That was a crazy time in west coast hip-hop

Hittman: Oh my God.

DBIC: Hip-hop in general

Hittman:  I used to get angry when I would hear about Suge’s tactics back in those days. I felt like it wasn’t a good look for Hip Hop culture. But then I got in the game myself & all of a sudden Suge’s ways made all the sense in the world. I often get the urge to go on a sucker D.J. strong arm campaign! (laughs)

DBIC: (Laughs) Suge had the right idea back then.

Hittman: He knew what he was doing and he has the success to show it.

DBIC: People can talk all the negativity they want about Suge Knight but Death Row had the success and he built that from the ground up.

Hittman: Damn sure did. He took all of the risk. And his tactics are necessary to this very day. It’s a shame you have to use intimidation to move good product, but you do. I’ve tried to be professional and keep a cool head & it got me nowhere. Now I have to lean on cat’s to remind them of the promises they have yet to make good on. (laughs)

DBIC: Suge understood there were no hand outs and that’s what he operated his business around.

Hittman:  There are no hand outs at all! Even when you know people who are in a position to help out, they seem hesitant to make a move on your behalf. Or they just totally flip the script once they obtain a bit of power. I was just watching K-Ci & JoJo’s reality show the other day. In this one scene they go to meet up with a guy at Interscope who used to roll with them. All of a sudden, this cat starts talking down to them as if he was never involved with the antics that took place back when K-Ci & JoJo was doing their thing real big. The craziest thing about that is I’m sure he name checked them to show Interscope that he had experience in this game. Like Slick Rick said "this type of shit happens every day".

DBIC: Power trips

Hittman: Total power trips

DBIC: Did you ever experience something like that when you were with a major label?

Hittman: I constantly had to deal with people and their power trips. It was discouraging, because I only got in this shit to do music. All of that ass kissing shit that comes along with it could miss me. It made me not want to fuck with it at all. It made me stop loving doing music.

DBIC: And I imagine this happened to you by people behind the desks instead of the musicians you were working with.

Hittman: Definitely. There was great comradery between me & the other artist. Everyone from Knoc-turn’al to Snoop, Kurupt to Devin the Dude, Ms. Roq, Six-2,Nate Dogg etc. We had a ball! But those industry cat’s behind the desks, oh my God. that`s a whole different story.

DBIC: I don’t want to talk too much about those days because I’m sure you’re used to being bombarded with questions about that.

Hittman: (Laughs) my story is a mystery and his story is history. What happened with…?

DBIC: (whispers) you and Dre?? What happened with you and Dre? (laughs). You can correct me if I’m wrong, but I remember you being quoted in an interview where you said it came down to the music. There weren’t any real issues with Dre, but you said the sound of your Aftermath album was going in a different direction than you wanted. You and Dre had different ideas of what your album should sound like, correct?

Hittman: That’s totally correct. It clashed.

DBIC: And that’s where it fell apart?

Hittman: Yep. See, I’m what one would call a catalyst. A catalyst speeds up the process of things while staying true to form. I sped up the recording process of “2001” while remaining true to self. Dre was already working on “2001” prior to me arriving at Aftermath. I was signed July 8th 1998 & by July of the next year, the album was pretty much in the bag. Now once it got around to my album I was ready to do me so I needed background music that matched me & my subject matter, not what suited Dre & “2001’s” subject matter. I wanted to step into the unknown. I was pushing for innovation out here in the Wild Wild West.

I would get upset sometimes. I would hear other artist getting that next shit and meanwhile, the beats that were given to me were basic. And for the work I put in on the
“2001” project, I felt like basic beats from Dr. Dre was an insult.

I also felt like in order for the west coast to stay competitive we needed to be progressive. This whole new west movement that’s going on right now is beautiful and is based off of lyricism showcased on “2001”. So being stagnate or going backwards was something I was not willing to do.

As far as west coast Hip Hop goes I feel like the pimps, gangster’s, killers, hustlers & weed heads all have representation. But everybody in the in between never had anyone to speak for them from a platform that someone of Dr. Dre’s status could provide. I wanted to be that dude. Similar to 2Pac’s Lost Tribe political party, I wanted to rep for all those who didn’t feel represented by what was already labeled west coast, hence the term new west.

So the more progressive I tried to be, the more me & the good Dr. clashed. Years later after analyzing the Game’s debut album “The Documentary”, I realized that was the direction Dre wanted me to go in, which was great for Game because “The Documentary” is a good album. But it just wasn’t Hittman.

DBIC: It wasn’t Hittman

Hittman: Exactly. I just wanted to do me.

DBIC: I think that’s where the confusion lies. A lot of people don’t know what happened between you and Dre. They would think “well what could Hittman possibly want that Dre wasn’t giving him? He didn’t want those ill beats from 2001?” Well, no he didn’t.

Hittman: I understand why the masses would ask those kinds of questions. But I also know that they have not heard what I heard during my years at the Math. I just wanted to be the artist that Dre showcased his newest sounds with. Similar to what Aaliyah was for Timberland. On the “One In A Million” album, he laced her with the doubled up beat patterns. Then on her single “Are U That Somebody”? He used beat boxing, crickets & babies cooing for percussion & sound effects. Then on the “Try Again” single, he used sounds that you would normally hear in Techno music & he put it to R&B.

It got to the point where people would always be excited to hear a new tune by Aaliyah because they knew they would hear what Timberland was on at that moment. And I thought that would have been a clever way to market the HITTMAN product.

DBIC: I think that’s really cool, the fact that you thought about that back then. Who knows, maybe if he could go back, he would have been more co-operative because a new sound needed to come eventually. That was evident because after “2001”, too many people tried to re-create what Dre did, and it got stale after a while.

Hittman: It burnt out because Dre doesn’t put out albums every year so his new sounds don’t get introduced right away. In Dre’s absence, the clones do what they do, they bite. And in that event, Dre’s sound loses integrity. My albums executed the way I saw fit could have combated all of that. When it didn’t seem to be going that way, I lost interest.

As far as working on “2001”, we had a fucking ball. That was some of the best times ever.

DBIC: I’ve heard some great stories about that. Dre would be working on a beat and all the artists in the studio, whether it was you, Snoop Dogg, Knoc-turn’al, King Tee or whoever, would just start picking up pens and start writing instantly.

Hittman: Yep, that’s how it would be. When the vibe was right & the beat was banging, there was no room for hating. Plus there was so much riding on "2001" from a career standpoint for Dre as an artist as well as everyone involved with him at that time. The critics were starting to say that Dre was losing his touch due to his first two releases on Aftermath. We were feeling that pressure so we responded by making sure that he had the most potent product possible because if it wasn’t, none of our shit was gonna’ come out anyway. I think that’s where the comradery was created. Everybody was pushing towards the same goal. Win or go home.

Eminem drops and boom. That was the C4 that blew the door open. The process of “2001” began and we’re all trying to make sure that shit was official because if not, none of our shit is gonna’ come out. I think that’s why that comradery was created. Everybody was pushing towards the same goal.

DBIC: I think we’re on the same page here. I remember speaking to Timebomb about two years ago and he mentioned that it was a friendly competitiveness and it promoted positive energy.

Hittman: Right, exactly. Xzibit would drop something and we would be like “oh shit, I have to change my verse now because it’s not fucking with that.” It made you raise your level at all times. And it still wasn’t hate. Motherfuckers would come out of the booth and we would give them a pound like “you just ripped that shit, I gotta’ go re-write my shit.” It was that type of thing.

DBIC: And that’s probably why it turned out so great.

Hittman: It came out beautiful because of that.

DBIC: Whether it’s Dre or anyone, I think it’s rare to be able to bring in so many talented artists like he did and create that sort of comradery. A common goal was set and everyone pushed for it.

Hittman: Totally. It’s very difficult. I don’t know how he did it to be honest.

DBIC: I think what surprises people are that it was such a positive comradery and such a beautiful result, and many of the artists who were instrumental to the project hadn’t made it yet; You, Six-2, Knoc-turn’al, Timebomb and so on – they hadn’t hit it big yet. Outside of Xzibit and Eminem who were just starting to catch onto the mainstream, there wasn’t much of a resume with success there already.

Hittman: Well we were pretty much like the team assembled for “The Chronic” in that right. I think what made our team special is that we were able to make a cohesive record even though the majority of the personnel that were not signed to Aftermath. We knew that “2001" would be our launching pad, we just could not foresee the drama that came with the success that sometimes destroys friendships.

DBIC: Do you keep in touch with any of those guys?

Hittman: I haven’t, but I do have Knoc & Timebomb’s former label mate Slip Capone on a song called “New West Affiliates” that will be on my “187.9 K.H.I.T.” album. I`m trying to get Crooked I on there to close it out but he is a very busy man. And now even busier due to Slaughter House signing with Shady which is a great look for them. 

I’m rooting for Crooked because I always wanna’ see the true west coast lyricist win. Straight up! I get angry at times because if he was from any other region he would already be a household name off of his Hip Hop weekly series alone. People don’t seem to embrace the west coast lyricist like they do emcee’s form other places. And I have never been able to figure out why.

DBIC: It has worked for him in some ways though. He’s gained a lot of exposure from it, especially the first time he did it. Now he’s doing Hip-Hop weekly again. But I know what you mean.

Hittman: He`s on that progressive shit I was talking about earlier. Him, Bishop Lamont, G. Malone, Nipsey Hussle, Jay Rock, Blu, Fashawn, Mykestro and so on.

DBIC: So you’re feeling the whole “new west” vibe?

Hittman: Of course, it’s something that was spearheaded on "2001". Unorthodox rhyming scheme`s, vivid storytelling, land marking and so on. It’s the norm now but it wasn’t prior to the release of "2001". I remember Chris Rock was hanging out with us backstage one night and he said "when I first heard the record it was kind of strange to me". Dre gave me that look like you know he`s talking about you right? And I gave him a confident grin like "yep" (laughs).

I also remember Dre telling me that he played Nas a few songs off of "2001" while we were still working on it. And he said Nas asked him "where were the songs like Bitches Ain`t Shit & Nothin’ but a G Thang”? I took it like he was saying that the only thing the west coast is good for is gangbanging war stories or backyard boogie type subject matter. It`s like every rapper that comes out of Southern California needs to have some type of gang backing or street cred to be accepted as real. And that just trips me out. Street cred or gang affiliation has nothing to do with what comes out when a niggas in a cipher or in that booth!

DBIC: I was interviewing E-A Ski earlier and he mentioned that he feels like the west is flying under the radar. He feels as if the west coast is facing a backlash from the industry and maybe it has to do with the violent stereotype reputation it has.

Hittman: Well for one, the last time I checked violence happens everywhere. It`s not limited to the west coast. And secondly, I don’t see that violence keeping the out of towners from recording out here, filming their video’s out here, buying property out here, stunting in the clubs & malls out here. You know what I`m saying? That just sounds crazy to me.

DBIC: I can agree with you on that. Was “Bloww” featuring Dr. Dre and Knoc-turn’al supposed to be the first single for your Aftermath album?

Hittman: No actually. “Bloww” was supposed to be one of the “2001” songs. But when it didn’t make “2001”, I was like fuck it, put that on my album. That probably would have been the street single. There was this other song called “Front Page” that I did with Battlecat that was starting to sound like the first single off my album.

DBIC: What do you have up next? What do you want our readers to look out for?

Hittman: I plan to start leaking freestyles here & there for this holiday season. I’m calling the campaign "Shooting the Gift". I will be dropping a song called “R.N.A.D.W.” very soon off the BIG HITT: The Last Days of Brian Bailey" album. I`m also working on a mixtape with my original crew the Smoke Skwod called “Skwods Honor.” Aside from that, I will have a few songs on the instrumental album that my man Mel is workinh on

DBIC: And that would be Mel-Man?

Hittman: Yeah!

DBIC: It’s cool you’ve kept in touch with him.

Hittman: Yeah man, Mel-Man is like a brother to me. He’s a good dude and very talented. We clicked almost instantly. When I first came around I kind of felt out of place. Here you have this guy that’s pretty much an underground emcee trying to get where I could fit in a house built by a man who pioneered Gangsta Rap’s signature sound, and with it he obtained a major amount of mainstream success. Mel would pull me to the side and put me up on key things and give me advice on how to approach certain situations. After that it was on.

Me and Mel-Man bonded. I told him when I first got there, shit, I don’t know if my rhymes are gonna’ fit; I’m more of a Kool G. Rap and Rakim type of rapper. Special Ed; that was the type of shit I liked. From the day I said that, me and Mel-Man linked together. We went record shopping together; all that shit.

DBIC: And that’s right before you became the catalyst so to speak.

Hittman: Yes, because up until that point I had not written anything for Dre yet. The personnel at Aftermath were shifting too. Eve, The Last Emperor, Fish, Punch & Diesel, one of Mel’s boys from Pittsburgh were on their way out of there. So before I could really feel out the other artists they were gone.

Mel-Man remained as a producer & Eminem had been there for a minute. He was already knee deep in the “Slim Shady LP.” You should have seen the shocked look on my face when Dre revealed to me that Eminem was a white dude. I thought he was either a black guy from the suburbs or a black skater dude that ran with white boys. And since Em’s vocal tone & spitfire delivery reminded me of Opio from the Souls of Mischief back then, there was really nothing about hearing his material for the first time that said white guy.

Seriously, Em & Scott Storch totally fucked my head up. When I first met Storch I thought he was a runner or something. Then Dre said "no dog, that’s the dude that’s been playing the grand piano for the last 10 minutes. I was like "get the fuck out of here"! (laughs). Later I learned that Scott was the original keyboard player for The Roots and that he was mentored by some serious musicians from Philly. I was impressed to say the least. So many stories man, I might have to write a book someday (laughs).

DBIC: Speaking of Eminem, you were telling me quite an interesting story earlier about Proof of D12 and J. Dilla. Tell our readers about that.

Hittman: Yeah man, Proof was a big ball of energy. Wherever he was at in a room that’s where the most fun was going on. Much like me & Mel-Man, me & Proof clicked instantly. He reminded me of my Skwod brother Spektacular Show that’s been locked down since 95. Like my man Spek, Proof was a spark plug. God bless him. Few people knew about this but me, Proof, Mel-Man, & the late great J. Dilla were planning on forming a group call Real Niggaz Revenge. Proof had been telling me & Mel that we should all do something together, an EP or something.

Mel said if we do we gotta’ include Dilla because me & Mel had great admiration for Jay Dee’s talent on the drum & mic. Proof would tell Mel that Dilla had mutual respect for his choice in samples and that he was digging what I brought to the "2001" project. So he told Proof that he was down to do it. Once we found out Dilla moved to L.A. we were geeked up. It was just a matter of tracking him down and finding time to start the vibing process.

One of the things looming over us is what will we call ourselves. In late 2005 I was driving around the city listening to music. N.W.A.’s Niggaz4Life & Jay Dee’s Ruff Draft were two of the CD’s in my 6 disc changer. Then bam, it hit me - Real Niggaz Revenge!

And since all four of us were unsung heroes in the industry, that name made all the sense in the world. I called Mel right away & told him the name. Mel loved it. He called Proof while I was on the line to see how he felt about it. Proof didn`t answer so we left it on his voice mail. Sometime later Proof called me & left me a message free styling saying that he was with Pauly Shore (yes that Pauly Shore) and that we should hang out & make a toast to Real Niggaz Revenge. I don’t know where the hell I was but we didn’t get to hang that night. 

Next thing you know, February of 2006 had rolled around. Grammy time in L.A. and that’s when I got the sad news that Dilla had passed away. We were fucking devastated. I had a day job at the time. The next day I called in sick, bought a dozen donuts, put one in the air, drove to Zuma beach, popped in my “Donuts” CD by Dilla and rolled south bound down PCH. I was free styling all teary eyed at times wondering` why him and what could we could have accomplished as a group.

And if that wasn’t enough heartache, months later of course, Proof was killed. I was at a loss for words. I met up with Mel and we hit the bars hard drinking and reminiscing about all the fun we had with that dude. To this day, I turn off the documentary BEEF IV when it gets to the segment about Proof. He and Dilla left here entirely too soon. R.I.P. to them man.   

Oh, I almost forgot. The other idea we were playing around with was adding Devin the Dude to the group so the south could be represented as well. And with him added there would have had a three way concept going on. Both producers can rhyme and two of the emcees can hold notes (me and Devin) and the Funky Cowboys (Proof and Dilla) would’ve been reunited as a special treat for all the Detroit Hip Hop heads. But due to the turn of events we never got around to contacting Devin about it. And therefore the Real Niggaz never got their Revenge.

DBIC: Wow, what a story. That’s crazy. I appreciate your time Hittman. Do you have any last words before I let you go?

Hittman: First of all, I’d like to thank you for lending me an ear. Also, “Hittmanic Verses” & “Big HITT Rising” are available at www.CDBaby.com. Go get them if you haven’t yet.

And to all my fans thank you, thank you, and thank you again for your support. Yall are the greatest! And I wanna’ give a special shout out to the Hittmaniacs in Australia, Germany, The U.K., All the heads in Oregon, Arizona, New Mexico, Seattle, Washington, Las Vegas and Reno, Nevada. I’m planning to hit your areas up real soon. Stay tuned. And remember, look both ways before crossing the street because you might get HITT.

[k1000]

props Luna for those testimonials.

[Lunatic]

props Luna for those testimonials.

Thank u

[Okka]

Thanks for that Hittman interview Lunatic, it was a good read.