Fat Tony

http://weworemasks.com/2009/02/25/interview-fat-tony-february-25-2009/

fat tony, born anthony lawson obi, is a local rapper from my hometown of houston, tx. he’s well-known around here for his live shows and has been deemed one of URB magazines ‘next 1000 artists.” not to mention, he was the winner of the 2008 houston press winner for the hottest underground hip-hop act in houston.

he’s currently writing and recording for his upcoming album, RABDARGAB. most of you outside of houston probably don’t know what the fuck this is, but there used to be a kid’s commercial to promote reading lists in schools and shit that basically stated:

RAB = READ A BOOK
DAR = DO A REPORT
GAB = GET A BUCK

wild as hell. i got the chance to ask him a few questions to introduce you guys to some southern knowledge. hit the jump for the interview and a download of tony’s 2008 mixtape.

Roshan Bhatt, weworemasks: First off, what’s the significance behind your moniker, Fat Tony? For the record, you don’t look very fat.

Fat Tony: I was birthed Fat Tony Obidiyah Geofferey Jones. From the vagina to the recliner, I was blessed with the name from day one. Never let go of the it even though I rapped under other aliases from time to time such as “A.O.” and “Hamster Cunt.” If I had a $1 for every time I heard someone say “Nigga you ain’t fat,” I’d be reasonably wealthy, and most likely ballin’ the fuck out.

WWM: What was it like starting a hip-hop career in Houston?

FT: It was like waking up out of a surreal, lucid happy dream and being dropped into a juvenile detention center. Saw and felt much immaturity & inexperience, some egos, a few inspirational helpful fellows and a lot of wishful thinking. Definitely helped get my feet wet as a much younger Fat Tony and was well-received (plus motivated) by some memorable friends. It took being involved in a few different groups and styles to grow into what I do these as Fat Tony. The only constant is change.

WWM: Are you a fan of Houston hip-hop, as far as what got popular back in 2005? What about the stuff that stayed underground (i.e. Z-Ro)?

FT: I love Houston rap. 2005 pop Houston rap was cool and all (every major artist had at least one single I was pretty into), but it never hit me as hard as southside Houston music did during the late 90’s and early 2000’s. The local favorites like Z-Ro and Slim Thug have been tight to me, but I’ve always been into pretty much the same group of Houston affiliated folks. UGK, Screw, Devin would be my top favorites far as albums go, but it’s a bunch of singles I fucked with very tough. Yungstar’s “Knockin Pictures Off The Wall,” Fat Pat’s “Tops Drop,” Hawk’s “You Already Know,” Scarface’s “Fuck Faces”… All the hits.

WWM: Do you feel the need to distance yourself from this type of hip-hop? Judging by the sound of your music, you’re going for a more intelligent and positive approach — is that true?

FT: I’m going for a more tight ass music approach more than anything. I’m not distancing from anything, just making what I want to express. It’s “positive,” but making a big deal out of such a thing is a bore. I’m here to entertain and wreck.

WWM: What do you feel that you have to bring to the table of the hip-hop community?

FT: A different voice and good artistry in my character, a will to fuck things up and make beauty out of boredom…but more than anything I feel I’ve got to bring good records. Actual songs that people can enjoy whether they relate to, just get entertained by it, learn something new from it, or (if I’m lucky) all 3 of those things.

Also, The fight for tight ass music. The fight for more originality and individuality. The fight for less preaching on rap records. Pretty much an all-out war for music that doesn’t blow.

WWM: Who or what are your biggest influences in hip-hop? This could be emcees, producers or even non-musical.

FT: UGK, Q-Tip, Nas, Jay-Z, Houston rap singles and E-40. Rappers that are just straight characters like Lil Wayne and Ghostface. Even Busta when he was in his heyday.

Production wise — Pimp C, Q-Tip, Three 6 Mafia, The Neptunes, Kanye, Timbaland and J Dilla on the Slum Village “Fantastic” albums. My tastes have changed throughout my life but these folks have always been consistent favorites.

WWM: Your last mixtape was a joint venture with The Tipping Point (note: a local Houston sneaker boutique) and Fly 68. How was it working with them?

FT: Titillating. All night sessions. A few friends came through bearing gifts. Really helped get our spirits in order to make a rad CD. Everyone involved in it had a good ol’ time making it pop off. Especially with the skits!

WWM: Considering your music is more positive lyrically, (see: Love Life EP) who would you like to collaborate with most that’s making music currently?

FT: The throwed musicians. The real artists that actually write songs and want a wide audience to get with it. Those that understand completeness and song writing - we wore masks.

http://www.tinymixtapes.com/Fat-Tony

Fat Tony
Love Life [EP]

[Same Struggle; 2008]
OOO/x (3.5 / 5)

----
Styles: hip-hop, soul-pop, EDM
Others: its own thing
Links: Fat Tony - Same Struggle

Look up Houston hip-hop on Wikipedia, and the impression you may get is of someplace between crunk and just dank, full of clubgoers half-crazed on syrup and hard beats. If your hip-hop education has you relying on the geographic schemas many critics use to write lazy opening paragraphs like this one, you might crack Love Life by acclaimed rapper Fat Tony expecting to hear a lot of chopping and screwing.

But Love Life is a different thing, and very much its own thing. True, there are touches here and there that could be called psychedelic — the murky, synthy outro, for example — but for the most part, the record seems split between soul-pop and EDM. “Faith” draws the strongest soul comparison with its bouncy, airy beats and wall-of-falsetto vocal production. “Stand High” even goes a bit overboard with chimes and jazzy piano licks. Easy-listening-hop isn’t as gauche an idea as you might think, but whereas MF Doom (for one of many examples) leaves the seams of obvious turntable abuse highly evident in his productions, Fat Tony makes it sound more like a performance by live musicians, and that makes some of the unflattering comparisons less avoidable.

By way of total contrast, “She Glows” and “Much Accomplished” are built around stark electronic loops and sharp, mic-swapping raps. Actually, the style and texture changes so much from the beginning of the record to the middle that one wonders if the decision to finish with the fade-out “Goodbye” is meant to contribute to a sense of cohesion that’s otherwise lacking. Actually, it can be hard imagining the kind of sensibility that would assemble sounds as disparate as the ones on Love Life. Versatility is an almost unqualified virtue in an artist, but in the absence of formats set by the limitations of physical media, channeling versatility into wholes is the chief reason to put out records instead of just songs.

That said, Love Life is a good handful of songs. “Faith” and “Love Life” are excellent, addicting productions; the latter, in particular, makes brilliant use of insistent, repetitive samples that build up to a head-rush and a very catchy chorus. If he can translate the versatility of this EP to a longer player with a brighter through-line, someone will have to update the Wiki for lazy critics like myself.

1. Faith (You’ll Never Know)
2. Stand High
3. Love Life
4. She Glows
5. Much Accomplished 6. Goodbye

by Joseph Hale - Tiny Mix Tapes

http://www.thedailycougar.com/2.9463/1.1287939-1.1287939

Fat Tony helps keep local sound original
UH rapper stresses importance of roots and freshness to standout in modern music scene

by Mike Damante

Published: Monday, September 8, 2008

Updated: Thursday, January 8, 2009

Public relations sophomore Anthony Obi isn't your average student. By day he spends his time going to class, but at night he is Fat Tony, one of Houston's best local rappers.

Fat Tony began rapping at the age of 14 and hasn't looked back since.

"I grew up in the hip-hop age. I was always jamming that as a youngster," he said. "First time I thought I could rap was when I saw Kris Kross and they had a real cool presence and style. They were like 12 and I was 10. I was like, 'Damn, I can do that!'"

The Houston rap scene has been steadily growing, peaking in 2005 with artists such as Paul Wall and Mike Jones scoring hits across the country. To go even further back, The Geto Boys put Houston on the map in the rap world. Fat Tony hopes to make his mark on a scene where some big names paved the way.

"I got love for every artist out there," Fat Tony said. "Especially Bun B. B and Devin The Dude really hold it down for Houston. The Geto Boys are legendary, kind of before my time even. I appreciate them, but I really came up on Scarface's solo music," he said.

Houston's music scene has come under some scrutiny. While there are plenty of local acts, Houston remains in the shadow of Austin. But Fat Tony sees a city rich with talented acts, such as Smash Bro. and Satin Hooks.

"I think people (complain) too much about the music scene here in Houston, which makes things lame," Fat Tony said. "If people would stop and make something happen it would be cool instead of saying, 'This band sucks, no one comes to the shows.' I think Houston needs to have more event-oriented stuff - Keep it fresh."

Fat Tony is all about being new and progressive in his thinking and music. He is currently wrapping up work on his latest project, slated for spring release.

"Every record I'm going to try to do something different," he said. "I'm not about having the same old (stuff) every time. It is a good mix of real electric-touch type songs and a lot of songs that are mellow. All kind of different rap styles are on it, all types of different songs. It is going to be a solid record."

The Love Life EP was released last year by Austin-based independent label Same Struggle. Love Life was full of vibrant energy and positive rhymes that Fat Tony has been known for.

"I don't strive for (the positive vibe), but it is in every song," Fat Tony said. "That is just the type of dude I am; it is just going to come out. I'm all about coming with some righteous stuff, but not being preachy about it and telling people what to do. I'm pretty positive. I love life, and we don't need all this negativity."

Every young rapper has aspirations of someday making it. Fat Tony is working hard on making it both in music and academically, juggling both.

"I don't care for the system. I think college is a big hustle, but I do it because it is has got to be done," he said. "I like being around the people. I like getting my lessons right. Music is important to me. Being a student is important to me."

Emcees are popping up everywhere as everyone wants to make it as the next big rapper out of "H-town." Fat Tony offers some words of wisdom to newcomers, a message he tries to practice himself, too.

"Come with something cool, unique, fresh and fly," he said. "Be you, and be a good artist and understand music. You are making art, you are making something that is very important to people."

Fat Tony can be heard at www.myspace.com/fattonyrap. - The Daily Cougar (University of Houston)

http://blogs.houstonpress.com/rocks/2008/07/2008_hpma_winner_list.php


2008 HPMA Winner List
By clampdown in HPMA
Wednesday, Jul. 30 2008 @ 10:00PM

Well, here it is. Congrats to nominees and winners alike.
- Chris Gray


Best Local Album: UGK, Underground Kingz

Best Local Song: UGK feat. OutKast, “Int’l Player’s Anthem (I Choose You)”

Local Musician(s) of the Year: UGK

Best Mainstream Hip-Hop: UGK

Best Songwriter: John Evans

jenna%20-%20Tontons1.jpg
Tontons/photo by Jim Bricker

Best New Act: Tontons

Best Male Vocalist: Felipe Galvan (Los Skarnales)

Best Female Vocalist: Katie Stuckey

brandon%20-%20sideshow%20tramps.JPG
Sideshow Tramps/photo by Brandon K. Hernsberger

Best Neo-Folk: Sideshow Tramps

Best Drummer: Shane Lauder (Born Liars, Sideshow Tramps)

Best Miscellaneous Instrument: Geoffrey Muller (Sideshow Tramps, Umbrella Man, Pistoleros de Tejas)

Best Bassist: Nick Gaitan (Umbrella Man, Billy Joe Shaver)

Best Guitarist: Tony Vega

los%20skarnales.jpg
Los Skarnales/photo by Daniel Kramer

Best Punk: Los Skarnales

Best Rock en Espanol: Los Skarnales

Best Experimental: Studemont Project

Best Latin Traditional: Mango Punch!

Best Latin Contemporary: Karina Nistal
************
Best Underground Hip-Hop: Fat Tony
************

Spain Colored Orange/photo by Brandon K. Hernsberger

Best Indie Rock: Spain Colored Orange

Best Keyboard Player: Gilbert Alfaro (Spain Colored Orange)

Best R&B/Funk/Soul: Fondue Monks

Best Zydeco: Zydeco Dots

Best DJ: DJ Red

jenna%20-%20DRUM2.jpg
D.R.U.M./photo by Jim Bricker

Best World Music: D.R.U.M.

Best Cover Band: Molly & the Ringwalds

Best Tribute Band: Beetle

brandon%20-%20black%20math%20experiment.JPG
Black Math Experiment/photo by Brandon K. Hernsberger

Best Unclassifiable Band: Black Math Experiment

Best Metal: Golden Axe

Best Alt-Rock Band: Skyblue 72

Best Country: Katie Stuckey and the Swagger

Best Roots Rock: Flamin’ Hellcats

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Flying Fish Sailors/photo by Brigitte B. Zabak

Best Traditional Folk: Flying Fish Sailors

Best Jazz: Free Radicals w/Harry Sheppard

Write-in Categories

Best new club: Boondocks

Best Live Music Venue: Warehouse Live

Best Record Store: Cactus Music

Best Instrument/Equipment Store: Guitar Center

Best Radio Station: KPFT (90.1 FM)

Best Local Music Radio Program: Rod Ryan Show, KTBZ (94.5 FM)

Best Local Label: Mia Kat Empire
- Houston Press

Setting aside the fact that merely entering the hideously opulent front doors of Rocbar ensures you nothing - including making it back out alive; the place is fucking terrifying - it's a decent enough place to see a show. Sure, the sound guy couldn't get his shit together in time to keep the place from becoming a breathing sonic blast of sound bombs (some guy's ears were bleeding, true story). And yeah, maybe there were just as many boom mics as there were people.

After waiting nearly an hour for the sound to sound like sound, not torture-chamber thunder, Fat Tony took the stage and promptly doped the shit out of the rhythm. He's Houston's house band, we swear. Tony brings people together in a way no entertainer Aftermath has ever seen, and he's ours, Houston's, and thank God for that. Known for legendary freestyle battles with some of the city's most feared and respected MC's, Fat Tony shocked the shit out of rhyming alphabeticals. Sunday, there was no one even close to his level of brilliance.

http://blogs.houstonpress.com/rocks/2009/07/hpma_aftermath_glenna_bell_bee.php - Houston Press

Fat Tony (8 p.m.)

Nominated in: Underground Hip-Hop

Dirty is to messy as crazy-cool style is to Fat Tony. Playing somewhere in Houston almost every night (or it sure seems like it), he's no newcomer. What makes Tony so great aren't his beats or his rhymes — though they are something to listen to — but his style and delivery. There's nothing sloppy about his flow; it's clear-cut and even, so not a single word can be missed. Also, he doesn't demand his audience give him respect, or even ask. Instead he proves why he deserves it, and it's surrendered to him.

- Kim Douglass

http://www.houstonpress.com/2009-07-23/music/52-pick-up/5 - Houston Press

Night before Christmas? Nah, man. Night after Christmas.

“It’s a good time to get shit poppin’ because all the kids got money from their parents… and they got nothing to do,” says local rapper/promoter Fat Tony, who plans to get the house stirring with the clatter of in- and out-of-towners: “B L A C K I E because he’s my favorite rapper from Houston, Speak! because he’s my favorite rapper from California and Caddywhompus because I think they’re the best band in town,” he says.

Naturally, Tony is also on the roster along with the evening’s host, Houston’s own Misfit of R&B, You(Genious). Fat Tony will undoubtedly use his time on the mike to unwrap some of the latest tracks from his album RABDARGAB, which he promises will soon have a release date that does not include the acronym TBD. But those looking to take a trinket home can grab the latest (cassette) tape release from local anaerobic rapper B L A C K I E; you’re sure to have some change in your pocket thanks to the $5 suggested donation.

Fat Tony says the point is to include as many people as possible, even those who can’t spare a green Lincoln. “Some kids can’t even afford that,” he says in a nod to the reason for the season. - Dusti Rhodes; Houston Press

Apostle of Hustle


Fat Tony attempts to embrace hip-hop's material pleasures while keeping his music pure.

by Dusti Rhodes


Fat Tony has seen the light.

"It's about money, it's about hoes and it's about being respected and being really cool and really, really fly," says the 21-year-old rapper born Anthony Obi. "That is it. That's what rapping is about."

This isn't exactly a groundbreaking revelation, but it's a common obstacle for up-and-coming rappers struggling to find their own voice and style.

"A lot of times people get into the hip-hop thing and focus too much on what is real hip-hop and what is fake, and what is commercial and what is underground," Tony says.

"As I got older and I rapped more and I got better, I realized all that is complete bullshit — none of that matters," he adds. "All that matters is getting this money, being fly and making good music. That's what it was when that shit started, and that's what it will be when it ends."

Fat Tony's answer, then, is to surrender to the vices...but focus on the music.

"Once I got into the real shit of rap I discovered, 'Okay, this is what I need to tap into myself to really bring out my true character,'" he says.

Thus was born the Fat Tony who didn't give a fuck about shit.

"I went from being myself and wanting to appease a mass group of people to being myself and wanting to appease a mass group of people without giving a fuck or giving in or wording things differently to fit somebody's ear," he says.

On "Home," the only single thus far released from Obi's forthcoming full-length, RABDARGAB, he raps about a night of bar-hopping through his preferred hot spots Mango's and the Mink. These places might be unfamiliar to fans who have seen Obi sharing the stage with bigwigs like Devin the Dude, but Obi makes it known he goes for the "right" reasons.

Money: "Got an occupation making hot shit blazing."

Hoes: "I am at Mango's hanging with some dang hoes."

Respect: "Nigga back up, you fucking my mack up."

Being cool: "Looking muy guapo, stunting in my mustard-colored poncho."

But Obi simply uses these as talking points. "Home" isn't about being fly in da club, it's about an identity crisis. Obi is surrounded by familiarity, but still stands outside of it. He describes those Mango's hoes as "23 but act 16 years old." He's an outsider wondering if he should be participating in the life around him, or if he already is — or if he already is, if it's believable.

"On the daily basis I am raiding spaces that belong to racists," he raps. "Making funny faces in places I have no place in."

Obi's music all comes back to struggle to accept the hip-hop trinity of money, hoes and clothes, where such claims catch up with his barely legal experience (which is not a slight). "Home" and other RABDARGAB songs depict the youthful battle to admit that being bad isn't necessarily wrong, and being good isn't always preferable.

"He is an art-tist" says Shaka Girvan, the producer responsible for most of the beats on RABDARGAB. "An artist [is someone] who can see the world through their eyes and then show it back to you and you want to look."

Girvan is a self-admitted hater of ­project-seeking MCs. This is why it was surprising for the Atlanta producer, known to hip-hop heads for his work in Supreeme, to give Obi a ring after receiving his demo (along with countless others) while on tour.

"In my scene, in Atlanta, all these young kids, and some older ones too, wanted to work with me, and I haven't worked with nobody because I didn't think anybody was worth working with," he says. "With me and Tony — you ever see The Fox and the Hound? Sometimes it just clicks like that."

It clicked, but took awhile to stick. Girvan and Obi have been working on the album since 2007. The pair fleshed out tracks together in Atlanta and Houston, where Girvan's family lives a block over from Obi's mother's house — where he still lives — in the Third Ward.

"Frenchy's is responsible for about two inches of my growth — I've chilled on Scott; I've done it all," laughs the producer.

However, the pair found they worked best apart.

"It allows him to be at home and do what he has to do without me being behind his back, and it allows me to be over here doing what I do without the artist being on my back," says Girvan. "I hate when I'm making a track and the artist is in the room like, 'Could you raise that, what is that called, the tambourine?'

"But really the influence is, I hear what he's saying," Girvan adds. "He hears what I'm doing and I hear what he's doing."

Whatever they were hearing, it comes together in a way that shows a focus lacking in Obi's past. His earlier songs were impressive and definitely crowd-pleasing, but seem scatterbrained when held up next to the mixes on RABDARGAB, which draw upon multiple genres.

Girvan plays on Obi's preference for diverse mixes, but slows them down to accentuate the rapper's organic - Houston Press

Phresh Mentality: Where are from and how long have u lived there?

Fat Tony: I'm from Third Ward, one of the oldest and predominately black neighborhoods in Houston, Texas. Lived here all my life, only changed houses twice. Best hood in the H if you ask me or anyone with sense.

Phresh Mentality: How has living there affected you as an artist from your writing to your opportunities?

Fat Tony: Totally influenced me. This neighborhood has a big connection to Houston's art and its contributors. The museum district of the city is located here in the tré (3rd Ward) as well as a bunch of art venues like Project Rowhouse and Midtown Art Center. I've recorded a mixtape at the Midtown Art Center and spent a bunch of time connecting with artists in this area - my age & older.

Plus my whole fam is from here. My mom's dad had his doctor's office around the corner from the hospital she was born at. He graduated from the same school I did. My mom went there too. Third Ward runs deep. Plus we've put out some of the best Houston artists like BIG MOE (RIP).

PM: So this area is full of family and relationships for you.



"I can say this over & over but the real test lies in what you and other tastemakers and the fans think... "
-Fat Tony


FT: Totally. No matter where I live in this world I can never forget or let down my hood.

PM: You’re nothing short of a role model. I definitely commend you for that. But yes, how did u come up with the name Fat Tony?

FT: When I started rapping in middle school I put out a bunch of names like A.O.—which stood for my initials. Even silly shit like O-Murder and Hamster Cunt [chuckles], Fat Tony was just the one that stuck. Over the years I expanded it into Fat Tony Obidiyah Geofferey Jones.

PM: A man of many names I must say, a mouthful indeed, but at least one finally stuck.

FT: Hell yeah. I love aliases. I admire dudes like Pimp C and David Bowie for that.

PM: Indeed. A persona that you create and go wild with.

FT: Yes dude. What's this artistry shit for if you can have fun and be creative? I'm into appealing to your imagination.

PM: Exactly. Imagination is where the individuality lies. It’s beautiful.
You mentioned that you've been rapping since you were in middle school, what triggered this in you at such a young age?

FT: I loved music. Got into pop music as a wee boy thanks to my parents and grandmama's record collections. Lots of Michael Jackson, Beatles, Bob Marley, Whodini... every pop genre spread throughout the house. Started getting into punk rock in middle school and that showed me anybody can pick up this shit and make something beautiful.



PM: With this ever rising population in the indie community with rappers and other artist, what’s your motivation to stay with it?

FT: I think there's still a void for originality and boldness. I'm the one to fill that. I dare to do whatever I please long as its jammin’ while many (even the "indie") want to hop trends and bite styles.

Above all I love music and always will do this. I know I'll always have a fan base that rides with me cause people can't be bullshitted all the time. They know good music when it hits them.

PM: True. How does it make you feel when you see other artist bopping trends and not remaining true to the art of music, but still make it through the cracks?

FT: Makes me feel shitty-- only as a fan, not as an artist. I'll have my comments but I support anyone making a living from doing music because this isn’t easy. But it disappoints me as a fan of good ass rap music; makes me feel more assured in doing me.

PM: You are currently an unsigned artist, are you seeking to sign with any major label or are going to continue to be an independent artist?

FT: I want a deal!!!
I'd go towards a major if the deal was worthwhile but realistically I'd rather get with a good indie that knows what they're doing, has a good history, and has their shit together.

I can say this over & over but the real test lies in what you and other tastemakers and the fans think... but this next album I'm releasing titled RABDARGAB is incredible. Production like you've never heard before and throwed rhyming galore. Complete songs, hooks, no mixtape-ish b.s.

Its just me and one producer goin' in for the win. Its the longest record I've worked on so far and I believe in it.

PM: How many tracks can we expect and can we get a break down on the title?

FT: Between 12 & 14. Its getting mixed and arranged next month.

PM: What does the title of your album mean?

FT: RABDARGAB stood for "Read a book. Do a report. Get a buck." back in my day. It was a way for the public school system to con little kids into reading more cause all we cared about was Sega genesis and Tiny Toons. I wanted to rep for my Houston roots with that album title.

PM: I see. Nice. I learn something new everyday. That's a good message.

FT: I updated it a little bit with a new slogan "roll a blunt. Drink - Phresh Mentality

http://blogs.houstonpress.com/rocks/2009/07/the_2009_houston_press_music_a.php

Mainstream Hip-Hop: Bun B/UGK

Underground Hip-Hop: Fat Tony - Houston Press