Classic Williams

Classic Williams of SMH, The Soul of Nigger Charlie and re(FLEX)tions is back with a new album Epic Win. Now available for streaming, the Nashville native’s release will drop on all digital retailers very soon. - Neighborhood Watch Word Wide

From his “Epic Win” album, Nashville artist Classic Williams drops visuals for his “#Repeat” single. Take a journey with Classic on his “Asian Persuasion” inspired video, above. - Mechanical Dummy

Classic Williams, an upcoming rapper, released “The Fall,” video from his latest project. Head over to http://classicwilliams.bandcamp.com/ to download more music from this outstanding Nashville artist. - Mechanical Dummy

I'll be real and say when I first heard Classic Williams I had the "Here go another MT Rap nigga" Syndrome but "The Soul of Nigger Charlie" has changed my whole view of this dude as an artist.

Projects like this is what my site is about, finding hip-hop Music in Tennessee thats unique to the area and seriously DOPE. The name is disturbing as hell but the Mixtape is hot especially the production. I recommend if you respect my opinion at all you give this a listen/download its worth it REALSH!T. Comment, Share, ENJOY - Boy You Don't know Nothing

Nashville, TN native Classic Williams is an underground rapper currently picking up steam. He released the mixtape #SMH (Shake My Head) in 2010, and this year he released The Soul of Nigger Charlie, which is one of the best rap albums I've heard this year. Currently working with a group of likeminded DJ's, vocalists, rappers, and designers known as the "Klowd Krowd", Williams is putting out some of the best raps that you haven't heard...yet. Williams' two efforts are the prelude to his official debut album Epic Win, which Williams put together with producer Klassix Jones. Jones also collaborated on The Soul of Nigger Charlie. Although the album's title could offend some listeners, Williams raps tell the story of his life from an outcast as a child to a confident performer in his adulthood. Jones' production is top notch and leaves each song sounding unique for Williams to drop bombs over. - 411 Mania

Classic Williams - The Soul of Nigger Charlie (2011) – 5 Out of 5 Stars

Based on the abrasiveness of its title, The Soul of Nigger Charlie, I expected Nashville, TN native Classic Williams' to lyrically attack my senses with rhymes built upon brash thuggery and inflated egotism. However, as the narrator of the album points out, maybe I'm too square to allow my first impression of the album be negated by its title. Instead, Williams' rhymes are carefully constructed verses telling stories about his life, beginning with his childhood – attending private school as nearly the only black kid in his class – and entering into his adulthood as a confident entertainer eager to accomplish his dream of becoming a well-respected hip-hop star. Classic, you have my respect.

Williams is aggressively dedicated to his dream. He's currently a Recording Industry major at Middle Tennessee State University and is at the forefront of group of up and coming genre lovers known as the Klowd Krowd. Together they've created a spark in Nashville's hip hop world. Williams is the group's current star having released a mixtape in 2010 #SMH (Shake My Head) and this year's The Soul of Nigger Charlie. Both mixtapes are a prelude to Williams upcoming album Epic Win, a debut of sorts; although, I consider The Soul of Nigger Charlie a solid album and a great introduction to Williams' music.

For a self-released album, its production is top notch. Its beats and music beds feel unique in each song allowing Williams to spit verses that leave a lasting impression rather than get lost in dull repetitive percussion-heavy spaces. The superb production can be credited to producer Klassix Jones, who will also be bringing his talent to Williams' upcoming Epic Win. Jones' production style is similar to Kanye West's at time using samples from forgotten records to create an old-timey sound while Williams drops bombs from the sky. “Sometimes Day” and “Head To The Sky” are two songs sharing this quality and are easily attachable for the most casual hip hop listener.

Elsewhere, Jones also lays beats that feel modern, and Williams' rhymes are anything but outdated. Williams possesses one of rap's more articulate voices, and his rhymes are easy to follow and allow for piggy-backing from listeners. “For The Win (#FTW)” is particularly one of catchiest tracks on the album and played on repeat through my head during the day. For the win / Everything in life comes back around again / For the win / If they ever hate it / Success is the best revenge sings Williams in the song's chorus.

Williams' positive thinking is challenged as he recalls struggles in his childhood – mostly feeling like he didn't have a place in the world. Growing up in a nearly all white school, Williams was not fully accepted by his white classmates because he was black, but the black kids discriminated against him as well, saying that he wasn't black enough. And then he grew into a young man / Been there so long the kids had accepted him / Having a nigger as a friend still didn't feel right / Tried to take his blackness away / Said he spoke white. raps Williams on “Sometimes Day”.

Despite feeling isolated in school, a distant family connection to Oprah Winfrey allowed Williams' to take paid trips to Australia, France, and England. On “Look Up” Williams raps, All around the world / Traveling the skies / Can't worry about tomorrow / Because I'm only here tonight / They wanna know where I am / So give me second / I'll give you direction / You wanna find me? / Look up, look up, look up. Williams credits the trips for expanding his songwriting ability as well as opening his mind to the world around him. Perhaps, they also molded William's outlook on life into a positive mindset.

Williams' storied raps are interesting and paint a vivid picture of the young star's life. Throughout the album, a narrator speaks to the listener and presents the album as this 70s blaxploitation/grindhouse movie. The cuts go along with the album's funny artwork painting the album as some action packed adventure. However, I would suggest that the album falls more into a drama category with Williams overcoming adversity of not fitting in but then finding himself as this confident entertainer set on destined superstardom.

Williams' rapping is a definite change-up from hip-hop's boasters and inflated egos. Whereas many rappers ease their way into the game aided by auto-tune and friendships with other established stars, Williams is cutting his teeth in the underground without any tricks, just pure talent. And he's surrounding himself with a crew of equal ability, building a brand that's likely to propel him into the spotlight and ahead of some of the game's bigger names. Perhaps, other than The Weeknd, I haven't heard a better or more interesting hip hop album this year than William's The Soul of Nigger Charlie. Pick it up for the win. - Ear Buddy

Classic Williams has been around for a minute, but his new tape The Soul of Nigger Charlie: A) bins points for riffing on one of the more random moments in Fred Williamson's film career, and B) is really, really good. Hard deep funk seems to be percolating out of every studio in the city at the moment and I can't say I mind. - Nashville Scene

Here’s a music post for you. I don’t do that too much on here unless it’s old but I’ll make an exception. I like seeing an artist hungry and outside the norm of I just rap…plan your shyt you know. Well I will admit this too while we’re at it, if I don’t know you and you don’t even attempt to say hi to me and tweet me a song. I look past it…HARD. That’s like coming in my house and drinking my apple juice without speaking.

Ok, enough of that. Today I got a link tweeted to me and said here we…nooo It’s Nigger Charlie, I’ve kind of been waiting for this to drop because I was intrigued by the catch and wanted to see what Classic was talking about. Also, he’s been supportive and I genuinely appreciate it so I had to return the favor and check it out.

Cool introduction, a 70s flare was the ultimate shocker. But thinking back the name classic…you think classic. So let’s get deeper, beat selection sounds like lights flashing extreming fast, I can see performances with a lot of people jumping up and down with no rhythm. I can’t dance to the “Got That Soul” but the words mean something…I get it. The stick outs are “Day to Day” & “Head In to the Sky” and it sounds like it’s something that he’s been working on for more than a day. You know when you can tell when someone has recorded their whole mixtape in a day…yeah that…this not. I would say more but I don’t review music on here…but Culture Shock Mag is coming out with it’s first print issue…finally so keep your eyes pealed…Nigger Charlie may have something to do with that:) - Eye Piss Glitter

The Soul of Nigger Charlie by Classic Williams has finally arrived. At issue with the title? Then, I suggest you cruise over to CultureBully for the rundown and explanation. As far as the actual content, I am more than pleased with my Murfreesboro brethren, Classic Williams. Just recently, I was able to watch his live performance and damn does the guy give it his all. CW has motivation written on his forehead…not literally and unless he goes bat-shit insane like Gucci then it shouldn’t happen but you catch my drift. Hard work and talent pays off. It’s only a matter of time before CW will be doing college tours across the nation.

Recommended Tracks: “Day To Day (Legend)”, “Got That Soul” - Break on a Cloud

“Hip hop’s vitality is directly related to its rebelliousness. You can tame it if you like (or try to), but whatever the result, it won’t be hip hop.” This statement comes from Hip Hop America author Nelson George in a 2007 Salon article titled “Is rap racist?” While that particular roundtable feature examined the core values that were tested during the Don Imus fallout, of any musical genre none has been so perpetually caught up in racial conflict as rap and hip hop. This isn’t to negate issues surrounding sexism and homophobia and their well documented places within the genre’s history, but race continues to be one of the leading topics which lends rap this “rebellious” connotation.

Everyone’s starting point in terms of this discussion is different, which is why everyone will have a unique perspective on the matter. Depending what effect racism has had on your life, that will leave you with a different starting point than I have. Racism isn’t foreign to me, but my history is limited to that of an outsider. I’ve never been the target of hate-speech, nor violence or physical harm based on the color of my skin. The starting point for Nashville MC Classic Williams is however very different, and he is releasing a new album tomorrow which tells his story. This past February the young MC first revealed his plans for The Soul of Nigger Charlie to CB in an interview, however the album title carries with it connotation far beyond the simple words which comprise its title and lyrics.

Through one of our various email exchanges over the past couple of weeks Williams revealed why he felt it was appropriate to dive into such rough waters. “Me using the word ‘nigger’ in the title is obviously controversial, but it’s more than just that. It’s me freeing myself from the bonds the word placed me under growing up in the circumstances that I did. It’s one thing to look at the word and to fear it, but to actually experience being called the word on a regular basis for several years makes it a realer experience. As an artist, authenticity is everything — especially being a hip hop artist — and that’s about as real is it gets.”

The album itself bulges with bravado, opening with a female voice-over ripe with Blaxploitation-era reference. Adding to the idea that the album is in fact a soundtrack to his story, Williams offered note on the significance of the skits, “Honey Simmons is a character I created to narrate the progression of the album. I based her character off of the movie The Warriors. There was a women in the movie who announced what was happening in the street, in a sultry voice; extremely ’70s inspired. I felt like her presence on the project was necessary in order to make it sound more like a soundtrack rather than just a mixtape.” Despite using such methods to help relate his story however, during the album Williams wisely resisted stepping into the role of satirist. This isn’t to say that Charlie isn’t likely to become the source of misinterpretation, however.

One of the most challenging portions of the album comes in the form of recurring segments featuring another character, Lame Dodges. The recorded phone messages seem at first to be poorly guided skits featuring a stereotypical redneck aggressively tossing out slurs. But Williams explained that they are not as they might first appear. “Lame Dodges is not a fictional character. He is a real person, and these are actual calls that he left on my voice mail. I changed his name and turned him into a caricature. By turning him and all people who say racists things into a character that people can laugh at I negate the negative energy. People will find it funny, but really it’s sad.” They are, however, not funny in the slightest.

The backwoods drawl of Dodges lashing out at Williams is sad, the repeated taunts of “stupid nigger” reinforcing the hatred that lurks behind the words themselves. This is where intent and execution begin to blur. Even when given context the clips are unforgivable in their crass nature. While they project a mindset which I simply don’t understand, they do raise an issue which stands at the heart of why the discussion of race remains relevant in the genre (and in our society): the problems that persist don’t begin with the music or an artist’s volatile lyrics, but in the actual issues that remain prevalent in real life. In “Changes,” 2Pac once rhymed, “Misplaced hate makes disgrace to races.” It’s such misplaced hatred as these Lame Dodges clips which beg the question which follows: Do these bouts of realist interjection detract from the album’s success?

In attempting to put personal ghosts from his past to rest Classic Williams has created an album which is sonically endearing while it also challenges personal comfort levels. Musically the production by Klassix Jones helps to further establish Williams as one of the most promising young voices in Nashville, but for every bit of good that can be gained from the album, its subject matter points to a focus which might potentially be misinterpreted or overlooked in the process. Perhaps The Soul of Nigger Charlie will leave an impression on people, perhaps it might simply go unnoticed. Regardless, the album suggests a willingness to approach a daunting subject matter in a serious way which many would immediately back down from. Is art at its best when it genuinely reflects the world around us? For better or worse, I feel that it is. Throughout his new album Classic Williams might be projecting a sample of the ugliness that remains in our world, but in doing so he’s reminding us that the word nigger isn’t simply a weightless term, but one which still carries with it a very serious impact, and one which cannot be taken lightly.

Starting Tuesday, April 19 The Soul of Nigger Charlie will be available on ClassicWilliams.com as a free download. - Culture Bully

Having just recently dropped his #SMH mixtape last month, Nashville’s Classic Williams is now inching his way closer to the release of his full length debut, Epic Win. Serving as an introduction to the MC, #SMH includes a wide range of genres reaching all the way from club-focused dance to no fuss hip hop. It’s a mixed bag of tracks, and it’d be disingenuous to suggest that they all come strong, but there are some cuts that are genuinely tight enough to stand behind as singles. Keeping that in mind, Williams himself calls the tracks on “throwaways,” insisting that #SMH won’t hold a candle to what’s yet to come. Recently speaking with the MC via email he explained his focus with the release, his perspective on the Nashville rap scene, and his fascination with Japanese anime. Until Epic Win drops, #SMH is available as a free download via Classic’s Bandcamp page.

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Chris DeLine: Off the top, what does #SMH stand for?

Classic Williams: #SMH stands for “Shake My Head,” usually on Twitter people commonly use the expression #SMH as a way of looking down on other people or when someone or even themselves says something outlandish. I wanted to call my mixtape this because for one: music obviously makes you shake your head, for two: I wanted to use the power of the phrase trending to gain listeners. Also I felt like I was personally shaking my head at my many naysayers, haters, and perpetuates of negativity, because some people truly don’t know who I am, what my role and purpose to the Nashville hip hop scene is. But that will soon change.

CD: You get things going strong on the mix real early on with “Who’s Doin’ That?” and “Sorority Girls” leading the way. The latter toys around with some hyper synth, a club-happy beat & Sebastian Garcia brings the track over the top in its club appeal with his vocals. What’s your connection to Garcia & how did you come to collaborating on the track?

CW: Sebastian Garcia was a classmate of mine at MTSU. We are both in the Recording Industry program. I heard that he did tracks so I told him about my music and the people that I knew. We knew some of the same people around Murfreesboro who did music, namely Jeff Cyrus, who I collaborate with heavily. I told him about this song that I had already done two versions of called “Sorority Girls.” Sooner or later me, him, and his producer/roommate Louis Magnotti came together to make the track. They own a production company called LIV Productions.

CD: As far as the sound is concerned, that track sounds nothing like anything else on #SMH. Will we hear more of that sort of thing on Epic Win and how’s work coming along on the album? Also, will that be your official debut?

CW: As far as sound is concerned #SMH doesn’t have a particular sound. It’s got a little bit of everything, it’s like a grab bag of whatever you can think of from rock elements to R&B elements to even techno and pop. All of these records are, just to put it simply, “throwaways” just to show people I’m out here working. “Sorority Girls” sounds different from everything else because I’m going to be using that song to gain listeners in other areas. It’s basically just a really powerful hit I have under my notch I plan on taking advantage of, but that’s not where you get the full scope of what “Classic Williams” does. I Love Sorority Girls is up now and will fully launch later on in the spring and will have a whole plan for that song. The Soul of Nigger Charlie is my next project which will be helmed by Klassix Jones… billboard producer (“Walk with a Dip” by Louisiana Cash). It’s going to tell the story of my life. Then Epic Win, my official debut, which is already recorded; I’m just holding it back until it’s time. Expect it to completely blow your fucking face off, that’s all I’ll say (lol).

CD: “Sorority Girls” is sandwiched between “Darlin’,” which utilizes a tender hook, and “Who’s Doing That?,” which is more of bass-heavy banger. Do you go through stages where you write certain types of songs or do you tend to mix it up along the way?

CW: However I feel at the time is what I write about. Sometimes it can be influenced by a situation that happened to me, other times it could be an extension of how the music makes me feel. I can go into the beat with somewhat of an idea, but what I did with a lot of the songs on #SMH was just get extremely intoxicated and zone the fuck out and freestyle it. That’s what I did with “Azzhole.” Matic threw on the beat and I was just like okay here it go “People always ask me… why you such an asshole” and I just built it up from there. Everything I write or freestyle about are real situations that have happened. “Darlin’” is about my ex-girlfriends—one in particular—I freestyled all the singing on that song. One of the reasons it varies so much is because, like I said before, #SMH really is a grab bag of songs. Some of those songs I’ve had under my belt for a long time I just never released like “Blue Magic.” It’s kind of a great metaphor for my life though, there’s so much going on and all you can really do is shake your head at it.

CD: “Azzhole” is one of the stronger tracks on #SMH; what can you tell me about Matic Lee? Who worked production on that song and how did you bring it all together?

CW: Matic Lee is cool with my neighbor Anais Briggs who is a singer/songwriter. Matic has done a lot of production for Strange Music and Tech N9ne. He made the beat to “Azzhole” and spit a verse on it as well. He has a studio at his house and I went over there after work one night and bam! Studio magic.

CD: Tell me a bit about what “#Hateraid Tweetsyle” is.

CW: The “Hateraide Tweetstyle” kind of makes up the guts of the project. It was basically just like a big fuck you. People have so many opinions about my place in the “Nashville Rap Scene” and niggas really don’t know my magnitude. I made a song for my friend’s fraternity my freshman year of college that still gets views from all over the world. People from Poland, the Netherlands, the west and east coast of the US, and all over the south, have heard the name Classic Williams. People try to compete with me when we aren’t even geographically close to being competition. So lines like “fans all over the world and I ain’t even on yet,” these are all real statements. Niggas try to compete with the rapper next door. I’m competing with my favorite rappers in my head. I ultimately outshine them in the end.

CD: On the Twitter front: is there a story behind your Twitter handle?

CW: AstroBoyClassic is my Twitter name because I’m a huge Otaku (Japanese anime nerd douchebag) and AstroBoy is this anime about this boy robot. I like the “AstroBoy” handle because frankly I’m fucking crazy and out of this world so it just fits. My other nickname is Otaku Steez Ichigo… which basically means im like the #1 nerd douchebag with swag, so to speak. I might go watch Fullmetal Alchemist or DragonBall Z or something really childish like that, turn around, get your bitch really high and fuck the shit out of her. Who’s Doing That?

CD: Stepping away from the album a bit, on your site you say “The same artists that a few years ago were championed as ‘the next big thing’ are still being championed.” What was the thought you had when you first wrote that? Was it aimed at anyone in particular?

CW: It wasn’t necessarily aimed at anyone in particular. The Nashville hip hop scene is all flash but the camera doesn’t have any film in it. Niggas just use the whole music thing as a hustle to make money and be that nigga in the club and fuck girls who want to be famous. The same people in Nashville rapping have been doing it for years and haven’t gotten anywhere other than Nashville besides Young Buck. Niggas either getting fucked deals, or just disappear over time. It’s time for something different! I’m tired of people lying about their lives and mainly I’m sick and tired of Nashville being called the “Music City” but they only cater to one genre of music: country. There are so many talented individuals in the city and it’s NOT JUST COUNTRY MUSIC. We have more studios than any place else in the world, every major record company, every major publishing company, every performance rights organization within a two mile radius. It’s ridiculous! They tried to rewrite our history… when urban or black music is just as much apart of Nashville than ANY other genre. Google the Fisk Jubilee Singers.

CD: What is the Klowd Krowd and who’s all involved in that?

CW: Kloud Krowd was an idea my friend Brandon Clark thought of. Him and my cousin DJ Rawtune formed a blog. It’s kind of like our version of Taylor Gang, very much inspired by the Taylors, but it’s really just like our clique name, and the name of my fanbase. We’re trying to expand it into a full fledge brand with clothes, etc. Every good rapper needs a movement. My grandfather always told me never to follow the crowd. So instead we created our own. Now the crowd follows us. Anyone can rep Kloud Krowd. It’s about embracing your uniqueness and doing your own thing and not giving a fuck what anyone thinks about it. Praising God and looking towards to the sky, following your dreams. - Culture Bully

I had to face a tough reality earlier in the week: the summer is almost halfway over. And while that means less humidity, that also means shorter nice and significantly less sun dresses. Gotta take the good with the bad.

Thank God for tracks like “It Go Down!” One listen is all you need to pick up what the Nashville-based Fli Gang crew, composed of Classic Williams, Drupyflimusik and Tanya Ali, is putting down: fun, fun and a lot more fun. Play it in the car, on your way to a barbecue. Play it at the barbecue. Play it in the car, on the way home from said barbecue. The versatility is staggering (so long as you’re in that kind of mood) thanks be to a riding beat (concocted by SykSense, partially responsible for Drake’s “Draft Day”) and a perfect hook. Oh, and bars. Lots of ‘em.

A nice little package that serves to remind us that everybody’s favorite season is far from spent. There should be no hesitation to hit play. - Smoking Section