Young Chris Comes Alive For New EP

Philly rapper Young Chris is anxious to prove himself again. After being introduced to the world on Jay Z’s infamous “Takeover” back in 2001 ("Chris and Neef, we runnin this rap shit"), he and his rhyming partner Neef–together known as the Young Gunz –were labeled the next big thing on Roc-A-Fella Records. Shortly after, the duo hit it big with their bouncy debut single, “Can’t Stop Won’t Stop,” and connected with both the street and female crowds on their debut album, Tough Luv. Chris was considered the more lyrical of the two, and, based on his cadence and skills on the mic, often drew comparisons to Jay. Many believed him to be the next great East Coast MC in hip-hop.

But things didn’t quite work out that way. He eventually hooked up with famed producer Rico Love and signed a deal with Universal Motown, but that fell apart when Love decided to take his Division 1 imprint elsewhere. As a result, Chris was left in label limbo and hasn’t released a proper album since 2005. That will soon change, however, when he releases the Vital Signs EP on E1 Entertainment today (November 19). The project’s first single, "I’m Alive," is a return to the gritty Philly street music that Chris specialized in as a youngster. The song also serves as a reminder to those who have forgotten that he still has something left in the tank.

Chris sat down with XXL to talk about his new EP, having Jay as a mentor, the glory days of Roc-A-Fella and the different mindsets of recording. —Reed Jackson

On Being A Solo Artist
I never wanted to do a solo [album]. I got the rap thing from Neef. One day he started writing and shit, and I didn’t know what he was talking about. We just kept the rap thing going, and [people started coming up to me and saying], “Yo C, spit this.” That turned into the beauty salon talk, the barbershop talk.  [Neef and I were] already so tight...we did everything together. People assumed we were a group already, before we actually came up with the name Young Gunz. For a while, we were called Trouble Makers. But it was actually Jay who came to me with the idea for a solo project back in ’05. I was in the studio with him and Young Guru, and he was like, "Yo, you got that solo album up next." Once I heard it coming from Hov, I started working on three verses and a hook, and I started to get used to it. Neef is my brother so he’s always been cool with it.

Jay seen my work ethic; I would sometimes come to the table with a song with three verses already laid out. He saw that I could make songs and have a real structure to it. To have him as a mentor, a boss—that’s the best shit ever.

On The Glory Days of Roc-A-Fella
Of course [I miss it], but it’s history. What we did—that’s forever. When I was at Hot 97 earlier today, that’s all they was talking about. [They said], "Yo, nobody coming through and doing freestyles like y’all did." I was 16, still going to high school, fresh off the block, and I get that text from Carling, who was Jay’s assistant at the time, and it said, "Be ready. Jay said come with y’all’s raps and come prepared." I always [compare] us to the ’96 Chicago [Bulls], when Jordan and them were winning their rings. Everything was in-house; we didn’t go outside for nothing. If it wasn’t Roc-A-Fella, we wasn’t doing it. We had a hell of a run.

On Performing Old Material
I sing all my old classics like I just dropped them. ["Can’t Stop Won’t Stop"] was nominated for a Grammy right there. That’s me—that’s a part of me. When we perform, I like to go from the old to the new or the new to the old. If I’m out there by myself, I might have Neef as a guest and bring him out to play some old joints. You got your new fans and then you got your core fans that still want to hear that.

On The Different Mindsets of Recording
Tough Luv had 17 [songs], and on Brothers from Another we had 12. On Tough Luv, we was in the basement recording it with Chad 'Wes' [Hamilton]; he had nine records on there so I always make sure to mention him. We did the body work with Chad. Jay always said, "When you start, work with Chad. Do what you do and make that body and then you go for the hit records." We was in the jungle on Tough Love.

Brothers from Another was recorded on the road. We were on tour with Jay and after every show we were going to the hotel to record our shit. We were partying, going to after parties and hanging with girls, so that explains the difference in the albums. It was just the space we were in while we were recording. The environment that surrounds you has a lot to do with not only your music, but you as an individual. I’m back in the jungle for Vital Signs. Street shit.

On Being In Label Limbo
I was at Division One/Universal, and then Rico left Universal and the way my deal was structured, I was a free agent immediately. I waited about 10 [or] 12 months before I made a move and came over to E1. And I actually had a heart to heart with Rico, and he was 500 percent behind it.

That’s why it took a little longer. I was ready to go. I got joints right now—had 14, 15 records. I was ready to bomb, but [Rico leaving Universal] put it dead. After that, it was like, if we’re dropping it, we’re just dropping it ourselves—it’s not really an official album. I was a free agent again, and we just had to wait for the best position. [My situation with E1] is a setup for another situation. As of right now, I’m just focused on this. E1 came up with the idea for an EP, and I agreed because I felt I had to create that awareness. It’s my first baby.

On "I'm Alive"
I was down in Miami working with Rico Love; this is one of the first records I recorded. I remember coming back in the studio and hearing for the first time, and it was just like, "Yo, this shit is so hip-hop. They need to hear it from me.” Everybody know I can make the female records, [and] they all know we can make the rap records. But I felt like it was important for me to deliver to my core fans before I jump out the window and go straight to the radio. That explains why "I’m Alive" was released first. It’s my life; it ain’t hard. When you’re telling your story, it’s authentic. [It’s about] being out of the game, left for dead, just surviving in the streets of Philly.