From cutting his teeth at the legendary Good Life open mics in the early ’90s to rocking shows all over the world, Pigeon John has made a name for himself as one of hip hop’s most consistently outstanding live performers. Beyond the enthralling energy inherent on stage, Pigeon crafts witty, humorous records tackling the pitfalls of the human condition in his own unique way. His new album Dragon Slayer, a collaboration with Herve Salters, is void of any guest rappers or producers for the first time. The uncharted waters of Pigeon’s new music will be further explored as he takes the show on the road this fall alongside Dark Time Sunshine and DJ Abilities. Read on as we discuss the origins of his career, De La Soul, and the finer points of Taco Bell.
URB: Describe your first live performance. What was going through your head?
Pigeon John: My first live performance, doing stuff solo, was a youth group for junior high in Whittier, California, as far as a show. Before that I was just doing songs at The Good Life. And what was going on in my head was, “What in the world am I doing here?” Straight from the open mic audience to a kid audience was kind of weird. But it helped me to adapt I guess. You know? Hanging on for dear hope pretty much.
URB: Were it not for The Good Life, how do you think you would have gone about trying to make your way into the music business?
PJ: I think I would have done it the traditional way, like making demos and shopping for a record deal kind of vibe. Almost like in a dreamy aspect, kind of in the way where it’s like, “Oh that would be nice.” Then after a couple of years, I kind of gave up on it I think. And the thing with The Good Life, not only did it instill the reason why I do it in the first place, but it helped me through some rocky years and stuff, like when things don’t work out or even when things do work out. The Good Life kind of made it a little more personal and less dreamy.
URB: Do you feel the Christian side of your music made it more difficult to get recognized on a larger scale?
PJ: Looking back I really don’t think so. It forced me to say “Okay, I have to try my best, I can’t be totally weak… ‘cause these motherfuckers will kill you.” So it kind of geared me up. But in all instances it really hasn’t held me back. I guess in one way it might have as far as the thought of how to make it and what type of music I would do… that might have mixed me up. The religion and the hardcore hip hop I thought, those two things kind of being rebellious in the first place, kind of set me up not to get a deal regardless. You know? It’s like, “God dang, I only took two wrong roads.” As far as I know, it really hasn’t held me back and I never felt any bad vibes towards it ‘cause I think people are people and I think when they see that, they know it’s not like a gun in a bullet or a mission or a statement or anything like that.
URB: How old were you when you wrote your first rhyme? Do you remember what it was about?
PJ: Yeah I was 14 or 15 and it was about skating… when I first started skating and stuff like that. It was about the Inglewood Skate Dogs, my skate crew, and it was set to BDP’s “The Bridge Is Over.” It was the very first BDP record. But we replaced BDP with ISD and it was about where I just skate and try to talk to girls. Militant package but Souls of Mischief underneath.
URB: Who were your major influences as you began recording?
PJ: My very, very first demos it was definitely De La Soul. And definitely Trugoy. The Dove. His peaceful vibes… you know what I’m saying? One of those first groups that just smacks you in your head like, “Oh shoot! YES! YES!” Gets you excited and stuff, you know? De La Soul.
URB: You’re notorious for having one of the most wildly energetic live shows in hip hop. Do you have any pre-show rituals to get yourself amped?
PJ: No man. I used to walk around the block at The Good Life but I try not to practice and get geared. I like to wind up on stage on accident, like it could not be an act. Just straight from the bar, two steps and I’m up. It’s not like me looking in the mirror doing cocaine going, “YES, I CAN DO IT! THIS IS WHY I’M HERE!”
URB: Your touring band absolutely kills it. Can you tell us a little bit about those guys?
PJ: I tour with Peter Daily, who’s a singer-songwriter. He plays drums. I linked up with him while he was drumming for a group called Ill Harmonics out of Texas. And then Mike Matias out of Chicago, I linked up with him and he moved out to LA a couple years back. He’s a dope bass player/percussionist. And then Peter Rocks, from years and years ago doing shows locally, playing the keys. So mostly they’re friends or accidents bumping into each other, but I think we all talked about the same thing in the Motel 6 room. We all kind of had the same goals and we all got along and wanted to do hip hop in our own way.
URB: Your new record Dragon Slayer is dropping next month. What can you tell us about it?
PJ: Dragon Slayer is 40 minutes of power, perfect amount of time to get you to work and back. This record’s produced by Herve Salters and it’s my first album with me approaching it writing everything and being introduced like a pop record or rock record on the outside looking in. And it was great for him to get in there and us recreate the beats that I made on the MPC or the Triton, the demo versions. And it kind of took the songs and the record out of my hands giving it to a producer that was ahead of me. And it was great. It was almost like De La Soul with Prince Paul producing the record and they always had the co-production, but then years later you realize they were the kids coming with the beats. But I think Prince Paul overseeing it kind of made it bigger than them… kind of took their song out of their hands and let it breathe. So it’s very exciting and this is the first record that I feel like it’s doing that… that’s a group effort. But at the same time it’s solely written by myself, so it’s a little bit scary with no guest appearances or no guest producers or anything like that. But I know I had to do it and I’m very happy with it. I think that we accidentally made something that doesn’t sound like anything, for better or for worse.
[...] The Chapin Sisters shed a half-sister between the appearance of the local outfit’s 2008 debut and the just-issued Two. But even minus Jessica Craven (on maternal leave), Lily and Abigail Chapin — daughters of children’s-music star Tom Chapin and nieces of “Cat’s in the Cradle” folkie Harry Chapin — weave a lush fabric of voices in their new songs, many of which seem less concerned with sounding old-timey than did the group’s earlier ones. (The appealingly spooky “Digging a Hole” actually reminds me of Suzanne Vega’s oddball industrial-folk outing, 99.9F. At least some credit for that should probably go to co-producer Jesse Lee, of New York’s avant-jam crew Gang Gang Dance.) In addition to playing their own shows, the Chapins have spent time this year as part of the She & Him live band, a high-profile gig that’s likely tightened their stagecraft. Oh, and make sure to yell out for their cover of Britney Spears’ “Toxic.” – LA WEEKLY [...]
[...] From cutting his teeth at the legendary Good Life open mics in the early ’90s to rocking shows all over the world, Pigeon John has made a name for himself as one of hip hop’s most consistently outstanding live performers. Beyond the enthralling energy inherent on stage, Pigeon crafts witty, humorous records tackling the pitfalls of the human condition in his own unique way. His new album Dragon Slayer, a collaboration with Herve Salters, is void of any guest rappers or producers for the first time. The uncharted waters of Pigeon’s new music will be further explored as he takes the show on the road this fall alongside Dark Time Sunshine and DJ Abilities. – URB [...]