Back2DaSource are back for the end of this year with an album from 1996, which at the time was released only on cassette by a Boston-based MC called UNO The Prophet. The album contains 19 tracks, including one produced by Charlemagne (of Natural Elements).
"MEGA rare album that was only pressed on tape at the time (1996), only a very few know about this cassette tape album. UNO The Prophet's debut album from 1996 is now for the first time pressed on Vinyl and CD, after almost 30 years! Dope Conscious, Boom Bap Hip Hop album, from start to finish no fillers, Brilliant Original Productions, Prophetic Lyrics (Truth!), it can't get no better.
Who's the Prophet ? Jamarhl Crawford (UNO The Prophet) is a Writer, Poet, MC, Activist and Organizer. He is the Author of two books 1996 "Prophecy: Reflections on Life & Love from a Black Perspective" and the 2008 "Prophecy: Exemption & Redemption" as well as two CD's "Prophetic Visions" and "Beware of False Prophets" under his Hip-Hop pseudonym UNO The Prophet." courtesy of Back 2 Da Source Records
- UNO The Prophet, could you tell us where this name comes from ?
UNO : " Give Thanks. First of all it is UNO technically an acronym from back when all the Hip-Hop MC’s had acronyms like KANE (King Asiatic Nobody's Equal) and KRS-ONE (Knowledge Reigns Supreme Over Nearly Everyone). So UNO stands for Undeniably Nubian Outspoken. Later on as I got deeper into my consciousness some of my friends used to make fun of me always having books or listening to speeches and watching documentaries and it was like “Whatchu think you a Prophet or something?” So it stuck and became UNO The Prophet ever since the mid 80’s. "
- When did you fall into hip-hop exactly ?
UNO : " I am a child of the 70’s. I was born in 1971 at the merger of Black Power Movement and Black Music and Black Culture all intertwined. I wrote my first rhyme in 1981 as I put in one of my earliest lyrics “I remember way back, way back when… I wrote my first rhyme I was ten then” So for me Hip-Hop was the new thing and everyone was trying to recite Rapper’s Delight and then came Whodini and Run-DMC and Slick Rick and Dougie Fresh with La-di Da-di and then later Rakim and by that time I was already hooked but guys like Rakim and Kool G Rap and Kane and MC Shan and Run used to amaze me with their lyrical dexterity. So like everyone else I was swept up in this new art form still with the basis of everything I grew up on like James Brown and Parliament Funkadelic so it was very familiar and kind of a continuity. I tried to do everything but sadly I can’t dance and if my Grandmother saw me trying to scratch her records on her turntable with the big arm that dropped vinyls LOL I would have never made it to adulthood. If you saw my chicken scratch you would know that Graffiti was also out of the picture. So basically I tried everything but I was no good at anything but Rapping or MCing or Emceeing. So I stayed in my lane. "
- How did everything start for you as an MC ?
UNO : " Building on what I was just saying, it was the one thing that I was good at. I am a natural born communicator and I have always been talkative with a gift of gab. Before I started “Rapping” I was already doing poetry as a child, which I continue to this day as a Spoken Word Artist with 2 books. Like everyone else I started off trying to mimic what I was hearing and my first raps were very much like the message and rappers delight and me and my buddy had a little back and forth routine like Run-DMC. It took me a few years from my “childhood” rhymes starting at 10 years old to my teenage years where I started finding my own voice and becoming original. My first rap names were stuff like J-Smurf and Jammy C so when I became UNO The Prophet around 1984-85 is when it became more real doing local talent shows and performing at schools and community centers. Also I cannot forget the numerous freestyle sessions in the lunchroom on the school bus or on the public transit train/bus. Folks would set up battles and you would have to stand against another MC from wherever. Nothing like the Battle Rap of today but MCs would show out and also Give Thanks for all the Beat Boxers out there who held it down with no sound system! "
- Were you affiliated with a group at that time ?
UNO : " No. I have always pretty much been an independent individual. I always liked the structure of “The Juice Crew” where there were always multiple opportunities for collabs with infinite variables. Each Juice Crew member although they were “together” they maintained their own individuality and careers and each one was different. In my own life I have collabed with friends and peers but never an “Official” group. I think Wu-Tang has done that successfully as well with everyone maintaining their own lane but also they can come together and do whatever.
It’s kind of like a Boston thing too. We never had “Gangs” like other cities structure. There were a lot of individual “crews” and “cliques” but they were based on childhood friendships and neighborhoods but nothing like the gangs of LA or Chicago, etc in terms of organization and hierarchy. We were more individuals but folks could always come together for a specific project or purpose if that makes sense."
- Red, White & Blue (Remix) was produced by Charlemagne (of Natural Elements). Could you tell us how the connection first happened between both of you ?
UNO : " I have been traveling back and forth to New York City since maybe 1989?? I can't remember maybe 1990? My good friend and producer was Scot Huggins from Boston and he had family who lived in NYC and he started bringing me back and forth. I met his good friend Miles Williams who basically became my manager or as I like to call him my Man-Ager. To this day Miles is one of my best friends and everything that happened in NYC circles around him. The places we went, the people he introduced me to, etc. So in any event, Miles linked me up with these guys from “Fortress Entertainment” which was mainly Vidal and Charlemagne.
At the time they had a deal with Crazy Cat Catalogue owned by Deric D-Dot Angelettie aka the Mad Rapper. Charlemagne at the time was also one of the producers for Puff Daddy’s Bad Boy “Hitmen” production team. Charlemagne had produced for Biggie Smalls, Jay Z, Mary J Blige, Dipset, Talib Kweli as well as Natural Elements and I remember at the time they got placement on the soundtrack for the film “Black Mask.”
It was a big deal for me to be in that midst with a bunch of other MC’s and groups getting the true NYC Hip-Hop experience. I also was a graphic designer back when it was like Photoshop 1.0 and was able to do some logos and other graphic images. We were able to record at Crazy Cat Catalogue and had sessions sometimes right after Biggie left studio time on the table. So at the end of the day, Fortress had a bunch of artists but I was basically the only “conscious” one. We had a lot of discussions at the time about style and direction and ultimately Charlemagne blessed me with some of the best beats I have ever had. I have fond memories of that time and am still in contact and communication with the Fortress fam. Great & Solid people. I hope to work with Charlemagne again before I hang up the mic. "
- Your style leans more toward conscious lyrics. Do you think that kind of lyricism is lacking in today’s hip-hop scene ?
UNO : " So that’s a yes and a no. For my own personal tastes I would like it if there was MORE socially conscious music in Hip-Hop but I also don’t want to further the myth as if there are no conscious voices out there. First of all a lot of the original heroes are still doing it. Public Enemy just released a project, Professor Griff has a new project on the way, Wise Intelligent and Bro. J from X-Clan are still active. Kool Kim from the UMCs aka NYOIL remains productive and active. There is a new crop of MC’s from the Nation of Islam who are also spitting. The new young brother Dee-1 even though his rhymes seem to have more of a Christian component. Jay Electronica dropped his material from a Muslim/space theme. Dead Prez is supposed to be releasing new material soon as well. Black Star just dropped something and then there is a slew of new voices that may not be STRICTLY conscious but they have conscious elements like the brothers from Coast Contra or Tobe Nwigwe or Jidenna or even Kendrick Lamar. "
- Are you still signed to Revolutionary Hip-Hop Icon Paris’ Guerrilla Funk Recordings ?
UNO : " No I am not. I have a lot of love and respect for Paris and I hope that we can work together in the future. Paris has A LOT going on. Most folks are unaware of all the things that Paris does. He is deep into production for TV and the internet and also maintains his West Coast presence and has remained true to himself and his convictions. While I was on Guerilla Funk he re-produced several of my tracks and included them on his Hard Truth Soldiers compilation and at the time he was working on a nationwide tour with an impressive list of some of Conscious Hip-Hop’s greatests. Unfortunately, we never put out my next feature length project and the tour never got going as intended. The only upside to all this is that I know Paris is a straight laced guy so my biggest concern was where am I going to smoke on tour or in the studio??? LOL
The beauty of any label type situation whether it is a multi-national corporation or an independent is that you have a team instead of trying to do everything yourself. I am old school and prefer the label model as long as the deal is fair and non-exploitative. I think artists such as myself can benefit from the business infrastructure provided by a label and therefore the artist can focus more on the creativity.
So if Paris sees this interview… let’s get back to work Brother! "
Available on vinyl (2LP, Album w/ insert - 300 copies) & CD (300 copies).
Release date: December 25th 2025
Pre-Order : Bundle / 2xLP / CD
Christmas is coming, so here is a special gift dropped by Back2DaSource Records, a second album titled "The Serum" originally released in 1997 on cassette tape by an MC called Al Katraz The Xile a.k.a Roq Z, and entirely produced by Antlive (of MF911)
"Let's announce the second Bomb release here ; and yo! this one is much darker and hardcore. We are proud to announce we have Al Katraz The Xile & Antlive (of MF911) in the house for/with their supa heavy album called The Serum (1997), that was only released on tape format at the time, and now, for the first time ever, pressed on Vinyl & CD formats!
This one is 100% Hardcore, street shit, with some incredible Boom Bap productions (cooked by Antlive). You can't beat this, Ill Release. And nice contrast with the UNO's album, but still you will hear some conscious lyrics in this one.
On a side note, for those you knew this album you will notice we have removed a track, that was less good in our humble opinion, to replace it with an mid 90's unreleased Heat that fits the project better. The Serum Album is Detroit Gem !!! Don't Sleep Fam !!!" - courtesy of Back2DaSource Records
Antlive, what was your equipment in the studio back then ?
Antlive : "I started working with Roq around 1995, fresh off my MF911 record deal with Next Plateau. I was using the same setup I had used on the MF911 album: primarily the Ensoniq ASR-10, with a Roland JD-800, and an MPC on the track “We Got the Funk.”
My main weapon was the ASR-10, which I’d had since 1992 — the same board used by RZA, Alchemist, and other elite producers. It let me play keys and sample at the same time, which really opened up my creativity during the Alcatraz / Roq Z sessions.
We also had the big Tascam Mixport setup operating out of the historic David Whitney Building. The Alcatraz album dropped in 1997. Everything we worked with was fully analog. I’ll send a video so you can see the equipment shots we used to accompany the album. (For instance, yes — this is the same equipment used to produce The Serum album.) "
What were your hip-hop influences as a producer at the time ?
Antlive : "My biggest influences then were Wu-Tang Clan, Gang Starr, and Mobb Deep. Roq wasn’t heavy into Mobb Deep, but my production leaned toward that raw, sample-driven feel. My skill and technique blended naturally with Roq’s voice and cadence.
Detroit wasn’t known for boom-bap at that time. We didn’t have one unified sound with national visibility. But even back in 1993 on MF911’s Idol of Bloodsport, you could hear that East Coast edge in our work. That energy carried into everything me and Roq built."
Are you still active? Some say you’re about to tour the UK — is that true ?
Antlive : "Yes, I’m very active. I’m still working with Roq and still building music. I’m currently on tour in the UK from November 27 to December 2, hitting Liverpool, Manchester, Wolverhampton, and London (twice).
I also have a new solo album out titled Eternal Grind — because that grind truly never stopped, even before I met Roq Z."
Could you give us more info about Al Katraz The Xile a.k.a. Roq Z ?
Antlive : "Alcatraz is an anomaly — very reserved, speaks more through his art than through conversation. I chose to work with him out of all Detroit artists because he had a natural East Coast feel, very intellectual, articulate, and his cadence was unique.
Roq wasn’t the first artist or group I produced, but he was the first one I took to the next level — pressing CDs, doing shows, promoting with intention, and stepping into a new phase of hip-hop beyond just creating music.
It was a grassroots renaissance era, and even without a real budget or label backing, we pushed forward."
Do you know where his moniker came from? Any story behind the name ?
Antlive : "The name Alcatraz came partly from the movie, but mainly from his style — raw, hard, and impossible to escape. Very few rappers delivered the velocity, energy, and grit Roq brought.
His bars stuck with me, even out of all the artists I’ve worked with. The Alcatraz album came out during a time when hip-hop was splitting between Puffy’s shiny-suit sound and the raw underground. Roq and I moved in the same lane as the Ghostface/Raekwon approach — rugged, layered storytelling that fit our chemistry."
How did the connection first happen between you and Al Katraz / Roq Z ?
Antlive : "I met Roq around 1995–96. My studio operated like a public studio — you could call and book time. My brother, who was my partner then, actually recorded Roq before I ever met him. When I went to mix the track from that session, I heard his voice and immediately wanted to work with him.
He paid us for that first session and never paid again — because by then, we had become partners working toward the Alcatraz album."
Who managed the record label Eternal Dynasty ?
Antlive : "Eternal Dynasty was Roq’s subsidiary, but the actual label behind our work was Antlive Studio Records / BoomBapKings — though I didn’t have a logo for it yet.
I was managing multiple groups at the time — The Foundation (which Roq was part of), MF911, other artists, and my solo material. Management was tough without a budget, but having a studio was more valuable than gold. It let me control direction and sales."
Do you remember how many copies of the album were released on tape in 1997 ?
Antlive : "We pressed about 100 copies of the single, with the B-side being The Serum. We even shot an underground VHS video, but had nowhere to play or promote it at the time. The video didn’t surface publicly until YouTube years later.
During the album’s completion, I was going through a personal transition and fell off the grid. Roq ended up with a box of wax he had invested in, and he had to move them on his own — understandably, he was frustrated."
Why didn’t the album come out on vinyl at the time ?
Antlive : "We didn’t release vinyl because we weren’t linked with any one-stop distributors, and we weren’t functioning as an official label connected to Detroit’s distribution network.
The album was well received, but we had very limited outlets. Unless you were selling out the trunk like Master P or had a big local following — which Roq didn’t yet — moving vinyl was tough.
Still, when we did hustle, we moved over 100 copies straight out the trunk."
Al Katraz was a member of the Detroit collective "The Foundation." Who were the members, and what’s the story ?
Antlive : "The Foundation was a crew I put together — artists I believed were talented but lacked direction. Some were past studio clients, some were artists I produced, and some were just dope to me.
The first version formed around 1995. My friend Darnell Murphy connected me with Fat Father’s uncle; he brought Fat Father (who appears on my new project for the first time since ’95) along with Playboy D and Lovejoy. I was a fan of Kaos & Maestro, so I added them too. Members of MF911 also contributed, and that energy created what became The Foundation.
The concept was “form like Voltron,” similar to Wu-Tang — not copying them, but applying the blueprint: many styles, one movement.
Next Plateau was interested in giving me a demo deal for The Foundation. But when I completed the album, Kaos told the other artists not to sign my one-year contract. Without signatures, I couldn’t secure the budget.
After that, I shifted fully into the Alcatraz project and didn’t look back — until later forming Foundation Part 2 with Roq. The full story will continue on the upcoming Foundation album."
Available on vinyl (2LP, Album w/ insert - 300 copies) & CD (300 copies).
Release date: December 25th 2025
Pre-Order : Bundle / 2xLP / CD
