Everyone roots for the underdog.
Lacey’s unique style on the microphone, and his desire to bring something different to the scene, is rooted in the unique story that he can call his own.Taken from his parents in childhood, being placed on the child protection register, and being peddled to various homes and carers in East, West, North, andSouth London, he had a hard upbringing but still recognises the positives.
‘Living with different families and having different carers exposed me to a variety of cultures and influenced me in a huge way as a kid, I loved listening to Greensleeves’ albums, Techno music, Rock, just whatever waspopular at the time, by age 10/11 Jungle was getting big so I'd get my hands on whatever Jungle tapes I could and primarily listen to Jungle and Hip Hop. AsI got older sounds changed and so in myteenage years after being kicked out of school one too many times I'd spend my days with other heads just getting leanand listening to radio: Supreme FM, Mission, Upfront and then of course Delight FM. Pretty much from 97-01 all I'd listen to was Garage and Drum AndBass’.
The UK garage sound took its hold, superseding hip hop giants Biggie, Dre, Snoop, Jay-Z, and Nas as musical preferences from Lacey’s younger years. Baitdecks were purchased, piss-poor mixers were located, So Solid and Heartless got wheelies and, for Lacey, the start of a roller-coaster journey.
The allure of garage and the culture of the music was a focus for Lacey after having his own problems. Drinking, pill-popping, and a near-fatal overdoseamongst other things eventually led to Lacey being homeless, with his clothes being his sole possessions.
At an all-time low and with nothing to lose, Lacey began to write properly.
'Social Services whacked me in a supported lodge in Camberwell and I started going College, I met a few singers and MCs, one of whichintroduced me to Jak Shak, a young producer in Finchley. And so with some of the singers from college, I worked with Jak, we got itinto our heads that we'd get a deal no problem and so we just waltzed into Sony Records and demanded an A + R. The receptionist told us it wouldn't happenbut gave us the number to an A+R anyway and we called him on the spot. He eventually granted us a meeting, but told us to get real and take our music moreseriously'.
Rejected.
Knowing that setbacks are a part of any success story Lacey kept putting the work in, writing new material.
'I started working on solo material with Jak. I'd be at Jaks house everyday writing music, starting off proper shit but gradually getting better. We helpedeach other get better. Amy (Winehouse) lived 5 minutes down the street and so myself, Amy, Jak, Juliette and DJ formed this little circle of music headswhere we'd showcase our new music to each other. We formed a solid friendship from that and so, in early ’03, I made the 'Get Over It' track with Amy, shedecided to take the track as well as some others I had recorded to her management and they decided they wanted to be involved'.
With a firmer idea of his music, in addition to the help of Winehouse, Lacey was in a decent position and, with wealth of material, knew what he wanted.No-one was going to help. It had to be done on his ones.
‘Fuck it, the management were involved but were yet to make it offcial so I'd still keep in touch with Sony personally. I had just wrote a few new tracks,one of which being 'Pop Idle' it was just a joke ting written and recorded in like 5 minutes but it was catchy as fuck and I remember leaving the cd alongwith a postcard of S Club and it said 'Check this, you know I'm better than these lot' or something along those lines'.
‘Pop Idol’, including its artificiality and general ‘swagness’, along with and a little Blazing Squad sendage, caught the eyes and ears of the Sony bigwigslooking for a quick buck and Lacey was signed instantly, the contract referred to Lacey as 'John The White Boy Rapper' and thename stuck. Initially wanting to sign Lacey on a single deal for 'Pop Idle' he then showcased some deeper tracks such as 'The Real Me' in which he openly talked about his troubled childhood and violent parents. Having seen a deeper and brutally honest side to Lacey's music Sony opted for an album deal.
'I was just so happy to be off JSA innit, from 43 pounds a week to big sums of cash standard and so me not knowing any better I just went along with whatever the label said'.
It was a case of more money more problems – the young MC wasn’t ready for such a commitment despite the necessity for extra income. The lack of time neededfor such a project, the eventual falling-out with A + R, and Sony merging with BMG affected the current politics on which Lacey wasdependant.
'I pissed bare cash on fake friendships and gambling, I fell out with my A+R, there's no hard feelings now we just wasn't seeing eye to eye at thetime, I still hold a grudge with the label in general for lying to EMI about album acceptance, hence EMI owing me money. I ended up having to file forbankruptcy. I can't just blame the label though, I pissed through more than enough cash. I was naive and it was a harsh learning curve'.
Dropped.
Lacey left the label in greater need than which he originally approached them. The roller-coaster was spiralling down, after great personal achievements suchas supporting ‘The Future’, ‘Public Enemy’, touring with Amy Winehouse and the adventures he had with his tour partner Ricky 'The Alcoholic' DJ, it had allcome to an end. Disillusioned, he quit music from 2004 to late 2006.
'Most people just faded away but big up JC, the Jags, Ricky and just those that were thereinnit. And ofcourse I met my Mrs innit who I'm now living with in South Central LA lol so it's all good'.
Things are now on the way up again, and a newly refreshed Lacey is steadily making a name for himself in the grime scene, the music that emanated from hisfirst passion, UK garage. With plenty in the pipeline for 2008, watch this space!
'I'll never 100% restrict myself musically to one genre, I'll spit on whatever the fuck I feel but Grime is a personal favourite, the energy is amazing andGrime emanates from various scenes all of which had huge impacts on my life at different stages. I'm hoping to bring something new to the scene and makemusic that not only the scene feels but people not normally associated with the scene can get into as well. I can only be myself and so I hope people likewhat I come with, we'll just have to wait and see innit'.
- Fullygrown, 2008!
Download 'Get Over It featuring Amy Winehouse here.
Leave me a comment by clicking here.
