This interview with Tableek was conducted by email in April 2003. Like a lot of artists we work with, Tableek epitomizes the savvy independent artist. He's experienced the industry from top to bottom. Though initially signed to Elektra, Maspyke has taken the independent path by releasing music through a number of independent labels, including Rawkus, Om, Groove Attack, and Fat Beats. Thanks Tableek!

Who is Maspyke?

Maspyke is Tableek, Hanif "h-bomb" Jamiyl and Roddy Rod

Who handles production?

Roddy Rod is the foundation, and myself and hanif arrange and mix things

When did the various members get involved with hip hop and/or music in general?

Roddy and I started in junior high deejaying parties, then moved into making beats and performing while freshmen in high school, where we were able to open up for cats like EPMD, A Tribe Called Quest, and Leader's of the New School, etc. Back then we had a group called School of Hard Knocks.

How and when did Maspyke form?

Maspyke actually started with myself and Roddy Rod. We had been making beats and performing, but wanted to add someone to the crew. One night I saw Hanif opening for Guru (during the first Jazzmatazz tour), and he was flippin some real ill shit. After the show, I asked him to get down with us.

What obstacles a nd/or advantages have you had being from Springfield, MA? What is the scene like in Springfield?

Springfield is a very competitive place, to the point where people really don't work together much. In addition to that, its so close to NYC, that, whatever is hitting in NYC is going to be duplicated by 95% of the artists. There have been a lot of rock bands/artists/producers,etc. That have come out of the area (Staind, Taj Mahal, Allstar, etc.), but hiphop-wise, I would have to say we are one of the more well know groups, as far as the underground is concerned

Who are some of the other hip hop pioneers from Springfield?

There was a cat that, ironically, was related to us that was around during the early eighties here in the Bronx that did some things. I believe his name was Love-bug or some shit. I can't call it. I can't say there are any "pioneers" in the sense of performers that I can recall. But there were definitely DJ's that kept hip hop alive on the radio. Cats like Easy Lee, Doc Nine, Boomer, Woo Bear Productions, and DJ Scope. Roddy Rod actually taught one of the most influential DJ's in the field how to DJ!

Is there much of a hip hop scene in Hartford?

Of course! But if your thinkin a scene as in one spot where people congragate on the regular, I don't know. Places like Springfield and Hartford have always had a difficult time cultivating a "scene" because of the racist attitudes of the clubs. Their thinking is a "hip hop" event will bring elements into their clubs that they don't want (i.e. black and latino youths). Growing up, when we weren't opening up for cats, we really had to create opportunities. So we'd make shit happen at parties. I'm sure it was the same in Hartford for cats out there.

Springfield is about equal distance from both Boston and New York... tell us about your relationship with both of those cities.

I was born in Brooklyn, and since my mother's family is from Queens, I've spent literally half of my life in NYC, usually during vacations from school and during parts of the summer. Back then, things wasn't as safe as they are in many areas of the city now. As far as Boston is concerned, I can count on two hands the number of times i've been there. It's fucked up too, because I've read in mad magazines, and we've been introduced at shows as being from Boston. I'm sure some cats from there have been like "What the fuck? THEY'RE FRONTING!!" ...when really it wasn't us.

Who are your vocal influences? production influences? career/industry role models?

Now I'm speaking for myself (Tableek) but I would say as far as Hiphop just about everything from 83 till today, including A Tribe Called Quest, Gang Starr, NWA, King Tee, Run DMC, Public Enemy, Wu Tang, etc. I also get alot from other music like jazz or rock, so definitely John Coltrane, Miles, Thelonious Monk, Led Zeppelin, Jimi Hendrix, etc. I discover something new all the time that makes me like "Damn when did THIS shit drop?" My wife is Puerto Rican, so I'm even getting into some Salsa and Merengue shit too. I'm feelin some of the Cuban music that's coming over here

Street corner cipher, freestyle battle, or poetry open mic... where are we more likely to find you?

Find me performing and on wax. I'm hitting the studio HARD in 2003!

How often do you do shows?

We just finished a tour, and I'm looking to go back out in July. It comes in cycles, and although i'd prefer to be on the road A LOT more, life puts things in your way sometimes. I'll be doing some spot date in June too, mostly in the Northeast.

Where (and with whom) have you done shows?

Both coasts, the mid-west, down south, and Canada. I haven't been overseas because I have a passport issue, but I KNOW we have a big following over their if someone could reach out and pull some strings. As far as people we've performed with... damn, we're talking everyone from the Clipse, Tha Liks, Xzibit, Planet Asia, Dilated Peoples, Kwame (back in the day peoplez!), Mos Def, Helta Skelta, C-Rayz Walz, The Crest (Madison, WI cats that are dope), The list can literally go on for a minute.

What are some of the places where you get your best crowd response?

NYC, Buffalo, Amherst (MA), Atlanta, Detroit. I think the more places that people have been exposed to what we do, is where the crowds have been most frantic.

What do you think of the current state of independent hip hop?

It depends on what side of the fence your talking about. There's what I would call the more "ghetto" underground scene, and the more national/international scene. I think both are sticking it the majors in a big way. The problem that i see though, is that A LOT of the independents are trying to be majors, not in any money hungry sense, but more in what they are willing to put their money into. Majors are dropping people left and right to try and maintain a profit, and the "independent" distributors/labels are basically grabbing these cats up and giving them deals. Business-wise its a great look since they're working with cats that more than likely have fanbase created using major label funds. Music-wise, it can get shitty because no one wants to take a risk. On the flip, you also have a WHOLE WHOLE lot of underground shit that is really wack. Its like there's no longer any criteria for what's dope and what's not. cats save up their school loan money, and drop some vinyl, calling it underground when they should be calling it quits. that's killing it, because it floods the market making it difficult for stores to know what they should stock and what they shouldn't on the retail end of things. I could write a book on this shit, but in the end, I has to come down to the music, and whether or not you see through the bullshit or not.

What do you think of hip hop on the radio?

Things are changing so much on the radio, but at the same time they're staying the same. I was just at a radio conference, and that shit was really twisted! As far as "underground" (i.e. non-major label music) is concerned the outlets are college radio and the internet. Big radio stations, despite all the lip service will ALWAYS cater to where the $$ is, and that's just the way its going to be. All the closed door decisions will take place, and depending where you live, independent music will either have the door closed, or slightly opened (in terms of airplay). When you create your own market, you really don't need commercial radio though. Fuck Clear Channel, if I can sell 40,000 independent, eventually big radio will come to me (if that's what I'm after). I like the fact that underground is NOT being played like that, just so people know the difference. I do feel that it needs a time slot on the big stations, just because that's only right. But its not about the music to those types of people, its about the skrilla.

What's the story behind Bukarance? Where does the name come from?

Bukarance is name that I came up with as a metaphor for the US. It was a song that can be heard on The Maspyke Vol. 1 CD (www.sandboxautomatic.com), that basically details a place that is God-less, sense-less, moral-less, etc. We decided to call the label that ironically because our music flips that whole way of thinking. The Bukarance is a place where chaos and anarchy rules. We are the yin to the bukarance yang (or is it the yang to the yin?)..

Do you feel you Maspyke can accomplish its goals with an independent label?

Honestly, I've been thinking over the last year that some "independent" labels are too scared to fuck with us! Independent means independent thinkers, and being that we are that, its been an uphill battle trying to work with people that are willing to let us handle things. I think as aritsts, its difficult to let go of something that you've spent so much time creating, nurturing, and seeing grow. It's like growing a cannabis plant, and then having cats smoke your shit without really appreciating what it took to get that high you know?
We've worked with Rawkus, Om, Groove Attack, Fat Beats, etc. and in each situation we've had to give up something in order to make the deal happen. Plus, most independents are working with small budgets, so its hard to reach a point where your finacially cool, and they're able to make money. At the end of the day though, it's all about the $$, even for "independent" lables/distributors, so let's not get it twisted. "independent" doesn't mean conscious, nor does it mean they have a market on what "real Hip Hop" is supposed to be. I hear some of the most wackest shit coming "independents" as I do from the majors, but because its independent niggaz think they supposed to be supported?!?

Have you ever considered major label backing?

Qe got signed to Elektra out of High school. Shit didn't work out, but it taught us a serious lesson while we were with them over those 2-3 years. one thing more than anything else that I learned was to make them come to you once you've established yourself on your own terms. That way when you reach the negotiating table your equals (or as equal as it can get!). the days of sending demos to majors has BEEN over.

Could you give us a brief discography?

2000-2003:
"The Gong SHow" b/w "Far East Politics"/"Definition of a Snake" "54th Regiment" "Truth In Position" "Played List" b/w "Umpire" "Afraid of the Light" "Get Lifted" "All Things Fall" b/w "Spirit of 92'" "Umpire (RMX)" "Absent Without Leave" "THE BLACKOUT" LP there's something else but I forgot..

How did you hook up with DJ Spinna?

I've respected Spinna from the Jigmaster days. We basically just opened up for him in Burlington, Vermont. He's never done any production or anything for us yet. I'd like to see that happen though real soon. GET AT ME SPINNA!!!

Any thoughts on the war in Iraq?

Damn, I could write a book on this for real. I'm a Muslim, and so it truly breaks my heart to know what the people there have been through, are going through, and will continue ot go through with all that's going on. I send them my thoughts daily.

Final comments? Shout-outs? Thanks-yous?

Big up to Stink Zone for the opportunity to do this! Also look out for the TABLEEK 12inch "Game Over" b/w "Kill Somethin (Snake Charmin)" coming soon. Also The BLackout re-release in 2003 (www.bpdistribution.com), "STEP" white label (for the clubs!),and new stuff from Roddy Rod and possibly H-Bomb. Other than that hit me up at bukarance@hotmail.com!!! ONE.