Before we start let me ask you something. Of all the nicknames you’ve had over the years, which do you prefer/still use?

Sadat X: I don’t know… I’ve been called lots of things, Dat, Datty, Dat X, Derek X, it don’t matter to me, whatever’s good I’ll answer.

You’ve got your new LP out this month, and I was wondering why did it take so long to materialise? You’ve been talking about it for a few years.

SX: Well I was signed to Mad Records and basically that deal didn’t work out so I had to bid my time and get out of the contractual duties with them before I could do my thing and find somewhere else.
Some of the songs were done by the time I got out of it, and I did the rest of them after I was out of it. So it was done over a period of time.

So this is the true follow up to ‘Wild Cowboys’ then? Because the ‘State of NY vs Derek Murphy’ EP/LP that came out a few years ago wasn’t really a full LP was it?

SX: Well that was basically put together from loads of tracks that had been floating about, it wasn’t really me going in the studio and bringing it where as with this I’ve put the effort in. Spent time with the music, writing and putting energy into it so that it shows.

And did the events of 9/11 and subsequent political and social atmosphere in the US inspire you for some of the lyrics? Because there are a few quite biting lyrics about the war on there…

SX: Yeah… well actually no. I wasn’t thinking about 9/11 when writing, I was thinking about my stuff, focusing 100% on me, the music, the beats, what I wanted to put through. I don’t think I looked elsewhere you know? I didn’t have a plan when writing some of the tracks, I just want the music to stand on its own.

Did your extensive travelling affect some of the work then?

SX: Yeah that did for sure. Travelling changes you, you can’t help that, you go to new places, see new things, meet new people and you have to let these things have an impact on you. It’ll change your view point, influence you, and it’s all good really.

So are you taking it back to the Bronx on this one?

SX: That’s the hometown! I wanted to make a record that was steeped in New York, a Bronx, New York record, something personal that people who know me can go, ‘yeah that’s a Sadat track’, but also something where the beats and music sound like me. And I think it worked. I want people to hear this and go ‘yeah this is him’ even before I drop a rhyme.

Moving on to the production and featurings, there’s quite a lot of them on this LP. Notably for UK heads you’ve got the P Brothers on there. How did that connection happen?

SX: I’ve always known them dudes, I’ve always known them as dudes who know their music, they’re good people too and you’re not gonna get much past them if you don’t know your music, you know?

Yeah that’s for sure, they’re like walking encyclopedias…

SX: yeah that’s it, they know their shit inside out and I’ve always respected that about them. But yeah they had beats, sent me a tape and so we helped each other. That’s one thing I believe has got lost in hip hop, helping each other. These days everyone’s too afraid of helping someone else out in case they get on top before them or something, and that’s not right. Some might say why have I not got Neptunes on here and it’s like ‘well I can’t afford Neptunes’ you know? These dudes wanna make a living off this shit so they sell their stuff and when they blow it’s not accessible to people like me. I’d love to get a Scott Torch beat, or whoever else but fact is I don’t have the money so instead I got people who I’m friends with to help me. And this way I prefer it too, because the beats are more personal, they’re better for me then some dude selling me the latest hot beat.

And how did you get Heltah Skeltah on this LP too? We ain’t heard them in years!

SX: Well same thing, I’ve known them for years, from their beginning and one day I was in the studio working on that beat and Rock came through. I was a bit stuck on it and he was giving me some advice so I said ‘why don’t you jump on it and make it your rhyme?’ So he did and we called Sean Price and they got back together for this track, which is like the first time in years they’ve rhymed together. It was great. Like I said I’ve know these dudes for time, I remember Buckwild when he was a kid, back in the days, he would hang out at the jams in the park and he learnt his craft by observing us and the others around at the time. And then he followed his dreams and made it, became someone and that’s dope. So it was great having them on there because they’re also part of my history anyway.

And Money Boss Playas?

SX: I’ve known them for time too, since they were young kids, through Minnesota I hooked up with them when he introduced me to the group. I watched them grow and saw them develop and come up. And they’ll be coming with me on tour as well, I’m taking them with me on some of the travels.

Do you feel like a fatherly figure of sorts for all these people? Like you said you’ve watched a lot of them grow and become artists when you were starting and becoming an artist yourself.

SX: Yeah I guess so. I’m older so they look to me for advice sometimes. You know rap is a baby still, music wise. Like classical music has been around for centuries, but rap and hip hop have been around for like 30 years or so. The people that were listening to it from the beginning are probably still listening to it, and there’s people out there making music for young cats, stuff for the club, for the streets etc… I see how young people live, through my work as a Basket Ball coach I see young people all the time and I know how they live today but the thing is I know my music might not reach the balers, or some others… I can’t reach all the sides of this music so I don’t. I know that I can reach the average man tough, the one that goes home after a day’s work to have a spliff and sip a beer while listening to some old Brand Nubian or something like that. I’m the average man in this game, so I make music for the average man because someone has to and these are the people who you don’t hear about.

And there are a lot of them

SX: Exactly, and they need this. It’s good to be able to go home and listen to music you like and chill with your weed and your beer.

That’s it, I’m glad you’re doing that. Well actually going back to the label thing, how did you end up on Female Fun?

SX: I’ve known the guy who runs it for a while and he saw I was having problems with my deal so he told me that we could work something out when I got out of it. And the thing is I knew he would be honest with me so that’s why it happened once I got out of the Mad Records deal. Shit happens at the end of the day and that’s fine but I wanna know what happens, just tell me truth, I can handle it and I can only respect someone who tells me the truth, especially when it’s hard, because you can’t fault a man for telling the truth.

So I take it the people at Mad were being a bit shifty?

SX: Well I don’t wanna say anything bad because it’s in the past but they didn’t know what they were doing, plain and simple. They didn’t have their heads screwed on properly and when you’re running a label you have to, because it’s hard work. People don’t realise that but it’s not an easy thing to do and they didn’t know how to run a label.

Does the Zulu Nation and its teachings still play a part in your life?

SX: Always… I’ll always been down with them, because of history. Jazzy Jay is the one who was responsible for putting Brand Nubian together, if it wasn’t for him we may never have happened and so for that I’ll always be grateful to the Zulu Nation. He’s always had love for us and for me and I’ve got love for him. And as for Bam, well who can’t respect Bam, you know? This is the dude and you know you just wanna always keep these guys and what they say and do close to you.

How has your status as one of hip hop’s legends, or at least one of the defining MCs from the 90s, impacted on your life would you say? It’s been 15 years since Brand Nubian first came out, does it still play a part in your life?

SX: It’s been an experience man, and one I wouldn’t change for the world. I wouldn’t change anything that I’ve done or that’s happened. I’m glad for it all. It was meant to be and the thing is from the start I was never into this rap shit for the money, this was never the goal for me. I just wanted people in the Bronx and New York to hear my music, and I had no idea it would become so big overseas and make me who I am today. It’s been a blessing in many ways and for that I’m grateful, I’ve got my health still, my daughter’s health, my family’s health and so all is good.

And how do you look back on some of the views and teachings from the Five Percent Nation and Black Power?

SX: I’ve evolved since then, and those views and opinions have evolved too. You have to judge people on their own merits, that’s something I’ve learnt. You have good white people and bad white people, and good black people and bad black people and good and bad people of all races and colours. Like the P Brothers is white dudes but they’re my boys and I know they got love and they know I got love. Colour was never a factor with them. They’re people that I know if I was stranded in the UK tomorrow with nowhere to go but the streets, I can call them up and they’ll put me up in their spot. And they know it’s the same with me when they’re in NY. Life is too short to dwell on hate, time moves on and I’d rather be happy and feel good.

Do you still live in the Bronx?

SX: Well actually I’m across the river in Manhattan, just across the bridge.

Oh ok, because I wanted to ask you how life was in the Bronx these days?

SX: When people ask me I always say that a lot of people go to Brooklyn, or Queens or Manhattan, because they got stuff popping, they got the nice hotels, the clubs, but the Bronx still only has the Bronx Zoo and the Yankee Stadium. It’s still a very family and community orientated borough you know? People stick together, and there are many different backgrounds, languages, heritages etc... In one building floor you might have a Mexican family, next to a black family, next to some Puerto Ricans, and upstairs might be some white dudes and everyone sticks together, the spirit of community is still strong. Whereas somewhere like Manhattan is all hustle and bustle. The Bronx is more homely, but you got to know where you’re going cos you don’t wanna get lost in the Bronx, it’s a big borough!

And are you still teaching at school and being a coach then?

SX: Yeah though I haven’t done much teaching this year as I wanted to wrap up this album properly. I’m still doing the Bball coaching too, and I do want to go back to teaching as soon as I can, probably once the album is out and the tour is done. It’s been such an experience so far, seeing the kids in their everyday environment, watching them grow, seeing how what you say and do influences them. You realise how fragile and powerful at the same time a kid’s mind is, how they’re able to do anything they want, they have formidable minds and these can be shaped so easily, that’s one thing you learn. And so if a kid sees and is taught hate, he’ll become full of hatred. So it’s a fine line and it’s great to be a part of their lives and be able to help shape them for the future. It’s been so interesting to be a part of this, both at school and as a coach.

And do some of the kids know who you are, your history as Sadat X?

SX: Some know, it’s funny because I’ve taught a lot of kids whose parents I know. Like Puba’s grand daughter, or even Spoonie G’s kid. He’s in my Basket Ball class, so he came up to me one day and said ‘you know my dad’ and I said ‘who’s he’, he replied ‘Spoonie G’ and I smiled. It’s weird too because you see resemblances to their parents, you can tell when they have the same behaviours, like ‘your dad did that too’ and it’s great to be able to teach them and have a relationship with them on that level. It’s crazy though too and the funny thing is in a way they respect me more because they know I know their parents, so if they mess up they know I can speak to them!

Wicked. And is it true you’ve once worked as a fireman?

SX: I did take the test and pass so they’ve put me on the list. And basically I’ve never been called up but I took the test and so one day I may be called up to help.

Going back onto the subject of hip hop, who are you feeling these days?

SX: Well I’m loving Juelz Santana, I like his confidence, he radiates it on the mic and I think that’s good, I like to see that in an MC. He knows he’s good and he’s cocky enough to get it across and I like that. I like Black Rob too, that’s my boy, I like some of 50’s stuff, some of the new G Unit stuff, Mike Jones, Outkast also, I’ve liked from the beginning, since Elevators, that’s my tune…

That’s a classic for sure

SX: Yeah bona fide one. I still love AG too, can’t believe I didn’t manage to get him on this LP, that’s a real shame. Of course my man Diamond D, NORE, all these cats.

So you’re still in touch with Diamond D aren’t you? He’s got a track on the LP I saw.

SX: yeah we were out in Amsterdam a few weeks back together. We stay in touch because we’re old friends and we got love for each other. In the 90s we’d hang out, take the car out and smoke some weed and check out his beat tapes, so he’s a friend as well as a partner and it’s normal he’s on the LP.

Well actually I also wanted to ask about the track you recorded with Biggie, Come On. How was that experience?

SX: It was great, the thing is the original beat was made by Finesse, and that was such a banger but the label didn’t want to take it. If Biggie had still been alive I’m sure he would have gone for it. But working with Big was cool, I used to see him all the time, we always spoke and the thing was my girlfriend at the time was a big fan of his, her name was Regina Hall, she became an actress and Big and I would always talk about her when we saw her together. The day we did the track, we just got to the studio, took out a box of blunts and sat down and did the track there and then. Puff was there too and he got me to redo my verse a few times till it was perfect, because he was a perfectionist when it came to that. The main thing with this track though was that I was really glad I got to do it in the studio with Big, it wasn’t like my voice was added afterwards or anything like that which happened on some others. For that I’m glad.

And the track you did with Jay-Z over the Neptunes beat for the Blueprint 2, do you know what’s happened to that?

SX: No man, never found out what happened, I really wished I could have got a hold of it, maybe for my album even, it would have been great. Again I’ve got a lot of respect for Jay, he’s a business man and he knows his shit so it’s cool, I’m sure he’s got it somewhere and may do something with it some day, it’s not like he needs me to help him up or anything but it would have been nice to get him on this LP or do something else with him properly. I love his flow.

How do you feel about hip hop today, with the divide between mainstream and underground and the way the culture has become such a part of popular music and everyday life?

SX: Times change and so the music changes as well. I don’t hate on it, I’ve no time for that. Hip Hop changes and goes through different periods. A few years ago there was some stagnation and I think it’s moved on again now to a better period. The thing is a lot of good songs are being made, have been made, but no or very few classics. And that’s the main difference which I think a lot of people who know their history, know the music, realise. For example Jay Z is someone who still makes classics I believe, but the majority of tracks today, they’re big, they’re good but they’re not classics, you won’t be pulling them out in 10 years. Back when I came up though there were a lot of classics, all the time from lots of artists. De La Soul dropped classics for years, Tribe dropped classics on every album they did in the early 90s, where as now it’s hard to hear one group make one classic. But then people like Kanye have started coming through, Little Brother as well and they’re taking it back to that era of classics I think, they’re coming up and showing that it’s still possible and that’s good.

And from all the travelling you’ve done, which local/national scene has impressed you the most would you say?

SX: Germany has always been impressive for me because they’ve embraced hip hop and made it their own. They have big German groups who pull crowds and their own festivals. The artists are themselves too and they show it through their music, they don’t try to replicate the latest fads, they talk about German issues and problems. Tokyo scene has always been good as well I think, they’re real connaiseurs of the music. Tokyo and Germany are my two biggest I’d say. Brasil also, I was very impressed with what I saw there.

What about France, you had a chance to check them?

SX: Yeah same as well, they’re very unique in ways and have their own style, indigenous to their country. The clubs in Paris also are quite sticky, from what I’ve seen!

Ok well we’re nearly done, but one more thing I wanted to ask was about your rapping style. A lot of people would say that you’re one of these rappers who has a very unique flow and style, and I was wondering if you had any influences or how you’d come to such a style?

SX: Well I was influenced by all the people I saw growing up, Grandmaster Cash, Fantastic Romantic Brothers, Puba, Kane, LL, Slick Rick, MC Shan etc… my style is an amalgamation of all these people’s style and their influences on me. I took all this and made it mine. That’s it.

And will there be another Brand Nubian album in the future?

SX: For sure, for sure. We’re getting it in the works now so look out for it.

Cool. Thanks for your time. Any last words?

SX: Just to tell everyone in Europe to look out for the LP. Experience because of all the time I’ve spent on this earth doing this thing and learning from it, and Education for the learning and blending of culture, travelling and all these things I’ve seen and learnt since doing this. This album was a real journey for me, it’s personal like never before but also for the people like never before. This was the outcome and I hope you enjoy it.