A gig with us should feel like an emotional Rockercoaster!

Old heroes never die! They live strong in the hearts and dreams for everyone who live and breathe for music. Every once in a while they spring to mind, and we'll go.. " yeah... THAT was music..!"
This is the kind of feeling a show with MudRod should bring about. 

References: Deep south in the US, with a flare of modern California and a great touch of 60/70's British Rock scene. 

What do we sound like? Well.. The newly invented term "Mudrock" spring to mind.. It's gritty, hard working, melodic and dirty rock'n roll! With emphasis on roll..

MudRod.

En konsert med oss skal føles som en emosjonell rockercoaster!

Fra de tunge bluesinspirerte riffene til den lette køntrytwangen skal trangen til å trampe takta presse seg inn i ryggmargen. Aller helst mens du klamrer deg til noe å drikke og en god venn.

Vi blir ofte spurt om hvordan sjanger vi spiller. Det er vanskelig å svare på. Ofte lander vi på begrepet Gjørmerock. Noen låter bare MÅ ut. Vi har låter som for eksempel "Ironhorse", som fort ramler innenfor sjangeren countryrock. "River Dead", som flørter vilt med gammel rock ala Zeppelin og småsint Creedence. Eller hva med "Sweet Charlot" som kan virke som om gamlegutta i Stones kunne hatt en fest med de gjenværende Skynyrds og ZZ top.. Kort fortalt: Vi plasserer oss nok dypt i de Amerikanske sørstatene med en touch av California og 60/70-tallets Storbritania..

Vi deler de samme røtter som den musikken som vokser på verdensmarkedet for tiden, frontet av band som Rival Sons, Blackberry Smoke og Monster Truck..


https://www.facebook.com/mudrodband/
https://youtu.be/ihN3pP09plE?t=13

Medlemmer:
Ray
Jørgen
Erik
LT

I'm a folk blues guitar playing singer/songwriter
 I'm signed to malicious damage records both my albums (THREEFOLD RETURN) and (ALL THIS IS THAT) are available on line at http://www.maliciousdamage.co.uk/ or at the usual outlets.
 what the press say:.......
 Bridging the great divide from South London to the Deep South, Bob Meyer is one of those individuals who, while showing no desire to crave the spotlight, assimilates and homages his influences to emerge with statements of unadorned and unrelenting honesty.Sounding like they could be recorded in your front room, the songs on his second album, Threefold Return, intimately straddle anyone from Nick Drake to Blind Willie Johnson but what shines through is the man’s honest and restless, questing musical passion.Bob’s also a shit-hot guitar player, first picking up the instrument at the age of ten courtesy of his older brother, who built them. Maybe put off by his own left-handedness, Bob didn’t touch a guitar again until the age of 31when he did a Hendrix by turning the instrument upside down along with his teach yourself handbook. Within a month he was writing songs, later recording his 2006 debut album All This Is That in one afternoon at the Chocolate Box in Wood Green – all tracks first takes with no overdubs. AmericanaUK described the album as, “Primordial blues, tough and dirty, that harks back to Robert Johnson's template and at times comes close to being as powerful. Meyer has a real feel for the music and delivers real blues in a classic style.” Guardian Unlimited called Bob, “an extraordinarily talented acoustic blues guitarist, a man who sings like his heart is buried in a Mississippi swamp…”.Although the album didn’t catapult him into a position to give up his day job as a truck-driver it paved the way for a second outing which throws out an uncanny timeline with America’s 60s troubadours lashed with the stark guitar stylings of the blues musicians he reveres, particularly Blind Gary Davies, Leadbelly and Son House. This blues fixation surfaces on tracks like Tilt and the stridently atmospheric I’m A Fool. Southwark Bridge recalls the drowsy observations of Nick Drake while As She Flows and When I’m Gone recall Greenwich Village singer-songwriters like the Tims Rose and Hardin.The most enthralling excursions are instrumentals like Rollin’ Part 3 and stunning Fast River Of No Return which recall nobody so much as the late John Fahey, the mysterious American genius who revolutionised the six-string steel guitar in the early 60s, inspiring names like Leo Kottke and Robbie Basho to develop their own individual styles. It seems as if Bob’s quietly become one of the few contemporary UK guitarists to do the same, emerging as Streatham’s answer to Blind Joe Death while as equally at home on the dark blues holler of Mary Lou as the gentle instrumental Escondedo. By the closing Time To Go the album has simply cemented itself as a modern folk album without hype or unnecessary trimmings: these days something of a rare beast, as is its creator. you'll be hard pushed to find another artist like him this side of the Mississippi. If the blues is about anything, it's about the raw passion that flows into both the voice and guitar. "Threefold Return" is imbued with that passion and spirit. The loose, deceptively simple guitar drags you right back to the basics, get the notes right and the rest follows. You don't need layers of instruments if one guitar and a voice is enough. It's bang on the mark....... www.fatea.co.uk Threefold Return has manifold rewards, This is a hypnotic slow burner that demands repeated listening. Bob speaks of deeper truths than mere plastic materialism and is touched by the left hand of God...... JDC He is a musical extremist, a radical player, somebody from whom the music simply flows and allows us to participate in it....... BLUES NEWS Even Nick Drake would have been proud of the sense of ominous portent Bob Meyer creates on this acoustic offering. A simplistic description of Threefold Return would be miserabilist. These, most certainly aren't songs of joy designed to electrify...... BLUES IN BRITAIN "...primordial blues,tough and dirty,that harks back to robert johnson's template and at times comes close to being as powerful ...meyer has a real feel for the music and delivers real blues with classic themes.....from south London maybe,but unadorned and untarnished the real thing"....AMMERICANAUK "Bob's songs are modern folklore,backed up by guitar picking of a different age....it is unpretentious,and allows for your mind to move through the songs...his music rises and dives with assurance and manages to create bonafide country blues out of his obviously fresh brain....." BLUES IN LONDON "one undoubted star at the recent clock machine gig was the extraordinarily talented acoustic blues guitarist bob meyer.a man who sings like his heart is buried in a mississippi swamp".....NEIL PERRY THE GUARDIAN


I'm a folk blues guitar playing singer/songwriter
 I'm signed to malicious damage records both my albums (THREEFOLD RETURN) and (ALL THIS IS THAT) are available on line at www.maliciousdamage.co.uk/ or at the usual outlets.
 what the press say:.......
 Bridging the great divide from South London to the Deep South, Bob Meyer is one of those individuals who, while showing no desire to crave the spotlight, assimilates and homages his influences to emerge with statements of unadorned and unrelenting honesty.Sounding like they could be recorded in your front room, the songs on his second album, Threefold Return, intimately straddle anyone from Nick Drake to Blind Willie Johnson but what shines through is the man’s honest and restless, questing musical passion.Bob’s also a shit-hot guitar player, first picking up the instrument at the age of ten courtesy of his older brother, who built them. Maybe put off by his own left-handedness, Bob didn’t touch a guitar again until the age of 31when he did a Hendrix by turning the instrument upside down along with his teach yourself handbook. Within a month he was writing songs, later recording his 2006 debut album All This Is That in one afternoon at the Chocolate Box in Wood Green – all tracks first takes with no overdubs. AmericanaUK described the album as, “Primordial blues, tough and dirty, that harks back to Robert Johnson's template and at times comes close to being as powerful. Meyer has a real feel for the music and delivers real blues in a classic style.” Guardian Unlimited called Bob, “an extraordinarily talented acoustic blues guitarist, a man who sings like his heart is buried in a Mississippi swamp…”.Although the album didn’t catapult him into a position to give up his day job as a truck-driver it paved the way for a second outing which throws out an uncanny timeline with America’s 60s troubadours lashed with the stark guitar stylings of the blues musicians he reveres, particularly Blind Gary Davies, Leadbelly and Son House. This blues fixation surfaces on tracks like Tilt and the stridently atmospheric I’m A Fool. Southwark Bridge recalls the drowsy observations of Nick Drake while As She Flows and When I’m Gone recall Greenwich Village singer-songwriters like the Tims Rose and Hardin.The most enthralling excursions are instrumentals like Rollin’ Part 3 and stunning Fast River Of No Return which recall nobody so much as the late John Fahey, the mysterious American genius who revolutionised the six-string steel guitar in the early 60s, inspiring names like Leo Kottke and Robbie Basho to develop their own individual styles. It seems as if Bob’s quietly become one of the few contemporary UK guitarists to do the same, emerging as Streatham’s answer to Blind Joe Death while as equally at home on the dark blues holler of Mary Lou as the gentle instrumental Escondedo. By the closing Time To Go the album has simply cemented itself as a modern folk album without hype or unnecessary trimmings: these days something of a rare beast, as is its creator. you'll be hard pushed to find another artist like him this side of the Mississippi. If the blues is about anything, it's about the raw passion that flows into both the voice and guitar. "Threefold Return" is imbued with that passion and spirit. The loose, deceptively simple guitar drags you right back to the basics, get the notes right and the rest follows. You don't need layers of instruments if one guitar and a voice is enough. It's bang on the mark....... www.fatea.co.uk Threefold Return has manifold rewards, This is a hypnotic slow burner that demands repeated listening. Bob speaks of deeper truths than mere plastic materialism and is touched by the left hand of God...... JDC He is a musical extremist, a radical player, somebody from whom the music simply flows and allows us to participate in it....... BLUES NEWS Even Nick Drake would have been proud of the sense of ominous portent Bob Meyer creates on this acoustic offering. A simplistic description of Threefold Return would be miserabilist. These, most certainly aren't songs of joy designed to electrify...... BLUES IN BRITAIN "...primordial blues,tough and dirty,that harks back to robert johnson's template and at times comes close to being as powerful ...meyer has a real feel for the music and delivers real blues with classic themes.....from south London maybe,but unadorned and untarnished the real thing"....AMMERICANAUK "Bob's songs are modern folklore,backed up by guitar picking of a different age....it is unpretentious,and allows for your mind to move through the songs...his music rises and dives with assurance and manages to create bonafide country blues out of his obviously fresh brain....." BLUES IN LONDON "one undoubted star at the recent clock machine gig was the extraordinarily talented acoustic blues guitarist bob meyer.a man who sings like his heart is buried in a mississippi swamp".....NEIL PERRY THE GUARDIAN

An interview with DJSoS:

How did you get into dj'ing / producing?

A long time ago, in a galaxy far...far... away Actually Thunder Bay, Ontario, 1989 ; I saw a local DJ at an all ages night. His name was "DJ El Sid" (now known as Ryan7) and a Canadian top 10 DMC finalist. His ability to mix, scratch and perform - all the while playing danceable music - floored me. I have a vivid memory of asking him if he had "Behind the Wheel - by Depeche Mode" (it was 1989 don't forget), he smiled at me - reached over to one of the ten bins of records he brought - pulled out two copies - and went to work. From that moment I knew what I wanted to do - period. In 1991 I got a job with a local DJ service and started out my career. This experience was invaluable, as it gave me the confidence and skills to stand in front of a room - talk on the microphone - and to be an entertainer as well as a music programmer. In 1994 I moved to Toronto and lived with Ryan7, along with a group of Thunder Bay Dj's who left the small mill town. The group of us were eventually known as "The Barrie Bunch", named after the street we lived on. I had gone from listening to old ZZ Top and playing harmonica... to Depeche Mode/New Order/Front 242... to record shopping once a week in Toronto for the newest dance music I could find. At first I relied on Ryan for guidance when it came to music, he was an authority among us as to what was new, and the "Yoda" figure of the group. Eventually we went on to create "The Entertainment Network" or as it was known "E! Network". For three years we put on events in Toronto and ran an underground club called "ThE! SpacE!". It's fun to look back and remember the path that I took to progress from just a local small town rookie to being in demand across North America. As for producing my own music now, I feel that it is the natural progression of any artist to convert the ideas in thier head into a media that can be shared. This is my goal now as a producer; to take the ideas I have accumulated - using the knowledge I have gained over the years and to make them real...and share them.


What was it like trying to get into scene when you first started?

When I first arrived in Toronto, I had the advantage of being close friends with people already in the scene. I spent nearly a year holding back from promoting myself, so as to learn "what was what". I was aware that being from a small town made me a little ignorant to what a Dj "really" was. I was lucky to come when I did, as the summer of '94 was the peak of the rave scene in Toronto. Experiencing the vibe at 5,000-15,000 single arena events in Toronto at that time is something that I cannot put into words. This experience made it possible to become known for who I was before it was known what I did. I made connections in the scene that continue to this day with people that got to know me as a person before they became interested in my talent. Exactly how i got discovered is a great true story: In the summer of 1994, a group of friends and I went to a party called "Aqua: A family affair". I had played a gig at a club the night before, through a DJ service here in T.O. to make some extra cash. My records, which included a stack I had borrowed from Ryan7, were still in the truck we had driven to the event. In the morning the downstairs room was shut down. Most everyone was uninterested in the music being played by the previous DJ, and he gave up spinning. I approached the promoter and proposed that since the room was closed, but the equipment was rented until the end of the party... why not let me play for free. I could do no harm since no one was dancing, or listening for that matter - and he could kick me off at anytime. The promoter (named Carlos) agreed. I found my friends, went out to the truck and got my milk crate full of records. No one (except my friends) knew that I was a DJ, they only knew me as a dancer (famous for dancing with a 4ft inflatable Snapple bottle) and I started to play. Within the hour I had a dance floor, which grew... and grew... until the downstairs room was rocking. Then, to my surprise - Dr. Trance came downstairs. (***I later found out that the main room he was playing in, was shut down because everyone left. Word had spread that some DJ had started to play downstairs and the room was going crazy - he thought that maybe John E or Mark Oliver had shown up and went downstairs to investigate). As a rookie, I was further motivated to play now that a promoter of large events (Atlantis - at the time) and a DJ/radio icon was watching me. After a few minutes he came up and asked me who I was. "I'm a roommate of Ryan7" , to which he replied "Oh, that explains it - well... make sure I get your number... I want you to play for us." You can't imagine how exciting that moment was. Taking a room from nothing - to closing the party with everyone lighting sparklers - cheering - and Dr.Trance right there to see what I was capable of. I will never forget it. Since then Don Berns (Dr.Trance) has helped my career, by hiring me for his events - having me participate in his radio shows and by offering guidance. After that, I put a lot of effort into giving away tapes, shaking a lot of hands - and listening to what other DJ's were doing. I learned a lot from Ryan, and since then I have worked at developing my own style of spinning.


What do you think are the most important elements involved in being a successful Dj / Producer?

I feel that any successful DJ/producer should also be a "performer", because that is what (good) DJ's are: performers. I have always believed that being a performer means providing people with a "package". In my opinion, one component alone doesn't make up how good a performer is - but the whole. Being someone who stands on a stage and says "look at me" should do something that people want to look at. Too many DJ's pull down their Ball cap and stare at the mixer for an hour. I've spent plenty of time on the dance floor, as well as on stage - and I know that I expect more from any type of performance - as should anyone who pays to see me play. Now more than ever the crowd is educated (on a general level) as to what is a good set and what is a poor showing. I try and supersede what is expected of a "DJ set" by not only doing my best to give a great performance on stage, but to also provide people with a package that backs it up. I once had a shirt that said "This is Me", and that is still true. I enjoy the music I play and it shows. But more importantly, I enjoy playing that music for people; and the people themselves. I think this is what sets me apart. A couple years ago I was involved in a serious accident, so I am unable to "go off" on the dance floor like I used to - but I do still try and stay in touch with what the "dance floor" is doing. I meet people, watch dancers and I am a part of what is happening the best way I can. By spending time interacting with the crowd they are able to see that I care about what I do. As a result, I can put emphasis on how we are connected. I say "we" because I feel the DJ and the dance floor are a collective, only possible when the DJ/performer interacts with the audience. People are often overwhelmed by the fact that I put that kind of effort into a show, and I am rewarded ten fold by their response. It is a true gift for anyone to make a living doing what they love. To me, that is one of the few real goals in life. I am able to do what I love, be appreciated for it - and most important of all: be able to make a difference.

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In no time this ambitious djane made a name for herself by making a step in the belgian hotspot " La Rocca " where she got her first residency for the John Denis promoted concept 'Electrosa'.
This party known for its elaborate music plays out one sunday a month and has been doing so with huge success for over two years and she leads the crowd with her female touch, energy and musical universe which she calls - SexyMiniProgroovy House -
A music freak since birth, passionate &amp; a perfectionist, she's extremely rigourous in her selection to ensure the highest quality of her sets.
Distinguishing herself by her unique musical style which can be described as Progressive-Tech House with a slight touch of Minimal,refreshing and never giving in to the mainstream.
This rigour led her to create her own concept: "Minimalove".
With her success international gigs started showing up, first the Private Parties in Gran Canaria
(Canary Islands),the Panama Club, then the Queen's Day in Amsterdam and the N°5 Cavendish Sq. in London.
End of 2007 she was invited to play New York clubs "Le Souk" and "Guest House" and in 2008 she got 2 major residencies, NOXX and Club 3000 every sunday,
A short time later she joined the line-up of Diamond Vibes a bimonthly trendy concept @ Motel in Antwerp
September 2008 she was seen behind the decks of the City Parade Truck in Luik playing with TC Brain,Fabien V &amp; Murvin Jay.
She just finished her first track ''Lawana'' in collaboration with Lawrens (Faith Music) which will be available soon on beatport.
Some remixes are on the way.
She's now mostly occupied with productions &amp; Compositions, but is keeping up with her busy DJ schedule.
Her first release will be out soon!


INFO BOOKINGS : 


<A href="mailto:Anaelledeejay@gmail.com">Anaelledeejay@gmail.com</A>


<A href="http://www.anaelle.be">http://www.anaelle.be</A>


<A href="http://www.larocca.be">http://www.larocca.be</A>


&nbsp;



Skin'N'Bones20 was born on January 25th, 1991. his real name is Steve "Chummy" Claiborne. Claiborne was the 5th of six kids, having four brothers and one sister. As a child growing up, Claiborne and his family moved around often, so his ties to a certain city varies. He grew up mostly in Waukegan, IL, a city north of Chicago. He also has family ties in Chicago, North Chicago, and Zion. In 1999, Claiborne was involved in a near fatal car accident in where he was struck by a moving truck while riding his bike. After being rushed to the hospital, he was fortunate enough to only sustain a broken leg. After playing varsity basketball in high school, too many injuries halted his career as an athlete so Claiborne decided that his original love "music" was his real calling. After recording his first song in his friend's basement, Claiborne began taken his craft more seriously, sculpting his sound over instrumentals of already accomplished artist in hip-hop today. 

In 2011, Claiborne was rushed again to the emergency room after complications with breathing. A bad reaction to medicine he was taking at the time had caused his airway in his throat to swell up. He was immediately rushed to a nearby hospital, where he was placed into a medically induced coma and hooked up to a machine to help him breathe. Waking up the next day, it took a full two weeks to recover and build back muscle memory.

Around late 2011, Claiborne moved to Aurora, Colorado after wise words from his mother told him to see something different. Now, in a new city, Claiborne linked up with Yo Hood Entertainment and released several street mixtapes: "Choices Ep" Smokin Dope, Watchin Martin" & #Squad!!" on the mixtape website Datpiff.com.

In early 2013, Claiborne began work on his first official mixtape, "Change For A 20." On that project will be his debut single to the world titled "Hammer Time" Featuring Tennessee rapper Cainam A.D. and fellow Yo Hood Entertainment alum and Chicago native, Da Hoodfather. the single also contains a short sample from 90s rapper Mc Hammer and his global hit "Can't Touch This."

Claiborne is partially French creole on his mother's side and has some roots in the Caribbean, most specifically Barbados, a island located in the west indies.


There are some whose talents need to be cultivated, and then there are those whose talents are innate. Music is quite an elaborate scale in itself. The art of being able to follow the highs and lows and tempos and pitches can be somewhat of a challenge. However, for Kristopher Lamont, these challenges are nothing but a stepping-stone. Each action, taking him closer and closer to his goal at hand – to create and perform his music, music set to garner your attention and touch your soul.

Kristopher Lamont was born and raised in Detroit, Michigan, a city known for its hard edge and uncompromising way of life. The change in surroundings from the projects, to an area where frequent break-ins occurred, to the ever-popular West Six Mile Road were in the cards. And like every other move, it was taken in stride as he continued down his set path. Kristopher did not have to go far to interject music into his life. His first musical influence is someone very dear and close to his heart – his mother. She not only sang around the house, but was in a singing group for a time as well. The other musical influences in the family run deep, “My Nana played in an all-female band called The International Sweethearts of Rhythm. She played in the band during the 1940s and my Papa was very close friends with Mercer Ellington - Duke Ellington’s son. My Papa and Mercer would travel with Duke at times during their summer breaks from school. I got a chance to meet Mercer when I was ten years old. I was also able to meet the great Betty Carter that night. I was on a musical high and looking back I’m glad it meant so much to me.”

While at a young age, Kristopher was always exposed to different forms of creativity, whether it was performing in plays, singing with the Glee Club, writing poems and short stories or playing the drums in a band. His mother, always being the primary musical influence in his life, gave Kristopher the upper hand in attending shows, unlike his fellow younger counterparts. “If I could name you a concert that I remember from a young age, then it would be the Patti LaBelle concert I attended with my Mom. I believe I was around 12. That show was inspiring! From then on, Patti became my barometer of whether or not I thought someone else’s concert was good. She delivered so much energy!” Was it the concert experiences that added fuel to the fire that was simmering in the depths of his soul? Or perhaps, was it the singer/songwriter in him slowly emerging? Whichever it was, it surely was no surprise Kristopher’s talent and gumption landed him an opportunity with Rachelle Ferrell he just could not pass over.

While attending a jazz show in 2008 in Detroit, Kristopher was asked on stage by the prodigious artist. ” I was in shock. At home before the show, I honestly hoped I would be magically asked to come up on stage, but this was really happening. I made my way to the stage along with a woman from the audience. We sang the hook from “Welcome To My Love.” After the occasion, Kristopher took the matter into his own hands for an unforgettable show-stopping moment. “I figured it was my chance to sing with one of my greatest vocal inspirations. I went for it! I went up to Rachelle with the mic and sang to her. I let her know she was everything I aspired to be vocally and that I practiced to her everyday. I sang to her, then I ad-libbed some more and the crowd went wild! Rachelle gave me the biggest hug and was full of nothing but praise for me. She told me I ‘have a gift that [I] have to protect and share with the world.’ She encouraged me while I was on the stage and after I got off the stage. I will never forget that experience.”

That performance was a catalyst to where we find Kristopher Lamont now. From truck driver to aspiring singer, the transition was a life altering one, nonetheless nothing was standing in Kristopher’s way to achieving his dream. “I’ve always sung and have been musically inclined from as far back as I can remember. But I guess it wasn’t meant for me to be in music as a young person. I stepped out on faith by pursuing my music full-time. There are things from my driving career that I’m sure I will be able to translate over into my music career.” With an arduous work ethic, perseverance and passion Kristopher is sure to catapult to another stratosphere.

“Change” is Kristopher’s first track as an independent artist and was recorded with Maurice “Moe” Whitsett. Presently, work is being put in with Keith “Bubby” Webb on Kristopher’s debut album looking to be released in the winter. His voice is buttery, velvety and quite polished and there is already a buzz about town for this upcoming act from Detroit. “I want to touch people with my voice. I came to bring love to all through my music. Even when I’m singing about things that might not make one smile, it’s to say, - hey, I’ve been through that too and I hope this song gets you through.” Still continuing along the same path that brought him here, knowing it will take him further along to an intersection he has foreseen in his dreams, Kristopher Lamont’s name will arise; he will be a singer and songwriter you will come to hear about. It has only just begun.

iDiezel's name is as much an ode to his hometown, Detroit, where goons roam the streets just like Italian cars swerve through Beverly Hills, as it is to his character. The rapper's voice, grizzled from experience in the streets as well recording studios in Motown, Atlanta and Los Angeles, can sound like that of a diesel-powered truck.
"I grew up as a mean kid," iDiezel says. "I was one of those kids that never liked to smile all the time.That's what my character was, this rough-edged kid who really didn't care about much."

With a knowledge of self like that, iDiezel just may be appreciated for his authenticity as much as the automobile, that symbol of America that gets assembled in the city of Detroit, one of the hardest hit by the current economic climate and globalization.

The artist persona aside, the man behind the moniker has a rather fascinating background as well.Michael De'Irvin Folmar, born and raised on the Eastside of the D, didn't have it easy from the jump. His pops was known as "Money Mike" and his uncles were more familiar to the DEA as the Chambers Brothers than they were to their own families. With that type of background, music became the only palpable escape route. Slowly but surely, Michael began a transformation into iDiezel. It wasn't long before his special gift was discovered.
That gift, quite simply, is that his pen had a platinum touch. Here's a fun story: pulled in by his veteran, songwriter uncle to write on then-upcoming rapper Lil Zane's debut album."My uncle was schooling me, giving me the update on everything that was going on.We would exchange rap verses over the phone to help him gather hot ideas for songs, while he was working with Lil Zane," iDiezel explains, nonchalantly adding, "I've been my uncle Irvin's ghostwriter since day one!"

That kind of firepower is all that was needed to get iDiezel trucking into the music industry.With the Atlanta music scene thriving, Diezel was fortunate enough make it there at the tender age of 14. In the A's effervescent cesspool of talent, he earned his stripes through emcee battles and in the summer of 2007 found himself in the lab with Darrius "Dmac" Rogers and Don Cannon, who helmed the release the Hustling Magnet mixtape.

Fast forward to the present day,he is on the verge of the ultimate dream come true for an artist."There's nothing finalized, everything is still up in the air," iDiezel says of the rumored business arrangements with multiple major labels.He now is the Co-CEO of Blockrunner Ent,alongside Co-CEOs Irvin Folmar and Jemarrlowe Sykes.

Applying his grizzled voice and writing talent to tracks for himself and others is iDiezel's M.O. these days.The World is mine for the taking",he says,as he steps into the recording booth,maximizing his God given talent

Antonia Lavern is following