In the words of 1st Corinthians - 1:27-29 "But God chose the foolish things of the world to shame the wise; God chose the weak things of the world to shame the strong. He chose the lowly things of this world and the despised things?and the things that are not?to nullify the things that are, so that no one may boast before him."

VULTURES aren't considered clean birds, but actually the urine from a vulture can destroy germs as powerful as anthrax...they are natures sanitation dept. Lyrically, I think the world is tired of the "Garbage" they are constantly fed from mainstream and underground hip hop. Isn't it time that sanitation came to the Hood, and cleaned out our ears?

Also being considered on of the weaker birds of pray, they have to really on the power of their beaks more than their claws...

God is so merciful, even often uses the weak (by the worlds standards) to shame the wise (as in 1st Corinthians 1:27-29). Economically, hip hop is not considered strong or a force to be reckoned with in the venue of political or spiritaul change...MANY OF US OUR OUT TO PROVE THEM WRONG (LORD WILLING)

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VULTCHA: "Sniffing out the dead in sin, since 2002"

I PLAY WHEREVER I'M ASKED TO PLAY (WITHING REASONABLE TIMEFRAME AND TRAVELING DISTANCE)

The moment most special to me is when I visually see the surprise on the listener's faces at the message. Most of the time, people haven't heard of me, and have no idea what I'm going to say when I grab the mic...God seems thoroughly glorified after I perform, and it's no boast to my skills as a performer, I know the message rings home with some one (even if it's just one, that's special to me)

Technology has made the creation of music accessible to anyone with a mic and the willingness to learn the software. Sadly, this has created a flooded marketplace with indie music, and the art of mixing and mastering seems to be quite lost on the average producer/artist, but all in all - it has changed the industry for the better, as there are less roadblocks to artists who wish to release music outside of the traditional record deal.

Sure, but the circumstances behind my deal would be so narrow-minded (creative control issues) that it would have to be blessing from God for them to consider signing me, or it would have to be after I've sold over 15,000 units on my indie label RVG RECORDS - after I have some leverage and a bargaining position to attract better deals.

Since the age of 14, East New York's own VULTCHA, has been the myth-buster to the paradox of rhyming producer's. With a natural ear for music, he has been producing albums and demo?s for countless unsigned R&B and rap acts in the New York/Tri-State area. Frustrated with his efforts to attain production fame or fortune, he went awol on his ex-rap groups and he has found more industry doors opening to the efforts of his solo artistry.

Once found interning in the control room of New York City's (now defunct) Firehouse Studios, he sat under the tutelage of Hip Hop engineer
Yoram Vazan (Ganstarr,Das Efx) and assisted Ethan Rhyman on select cuts off Wu-Tang Clan's 36 Chambers.

And, after verbally tasting the thrill of the hunt on Golden Cartel's 1996 Beenie Man Remix of Dis Da Program, he was the featured artist on the score and soundtrack to the 2000 Oscar-nominated documentary,
?On The Ropes?.

With the success of the film, The Passion of Christ,
one can only image the potential for Christian Hip-Hop in a world where it?s becoming P.C. to talk about God. Song?s like Kayne West?s (Jesus Walks) have unknowingly blazed trails rarely seen in this industry that lead to the coming of the mainstream Christian Emcee. And if that is one who has put his artistic faith in GOD, is self contained musically and uncompromising in the message of Salvation ? consider the VULTCHA ready and willing, to fill the big shoes of evangelizing the rap game.

As a born-again-Christian, VULTCHA can now be found giving away his "tracts" (a 6 song promo CD) to anyone willing to receive the Gospel (delivered via Christ inspired Hip-Hop masterpieces).

Formerly, he has ?performed? at Medgar Everts College, New York Technical College, Long Island University, Adelphi University, Napnoch Correctional Facility, and countless other showcases and venues. But in 2006, he is itching to ?Minister? the message of hope and has through Church youth groups, outdoor events, club showcases, prison ministries.

During the "golden age" of hip hop, I was a heavily influenced by Run-DMC/Jam Master Jay[RIP] . Scratches by JMJ, Eric B. on the end of Paid in Full, UTFO's "Roxanne" created the fascination with DJ'ing...that was the jump-off to me wanting to learn more about mixing, which led to producing. Kurtis blow (who I've met), beats from Davey DMX, Tee La Rock, Spooney Gee, Beastie Boys (for the crazyness)and of course the Sugar Hill Gang, Melle Mel(the message is one of my all-time favorites), Furious Five, Fat Boys(cause they from East New York like me), T Funk (original inspector Gadget beat), Doug E. Fresh, Slick Rick, Public Enemy, Ultramagnetic Mc's(kool Keith, beats from Ced G), Audio Two, Biz Markie, Eric B. and Rahkim, Big Daddy Kane, Mc Shan, Kool G. Rap, Marley Marl (the bridge and Eric B. for pres...they made me want to produce)Masta Ace, Jungle Bros (I use to swear I was one of them...they had all the break beats), Q Tip and the Tribe, De La Soul, which really sums up my training years. I was already producing in 1987, but I only had a drum machine (Casio RZ-1) and turntables. I'm basically a fan of almost any joint your heard before 1994. After that, it gets really sketchy, and I was already doing a lot of shows and in the studio, so my fandom was at it's end by then.

These are my new favorits (my peeps): Mahagoany Jones, Simian Child, Conquest (aka dreadlocks slimmm), Blahzee, sean faith, Da Truth, Cross Movement, Excelsius, K=Drama, Young Ray (E2's survivor), Sean Slaughter, Lavoisier, Redeemed thought,Todd Bangz... And many, many true Christian Hip Hop musicians, and ministers.

I'm from NYC, so this is what I know and my expertise stops here. But, my favorite spot to take life as easy as possible would be Marion, South Carolina--that's where my family is from and is currently.

The Gear With Which I Create/Harness/Spread the message and music:

Roland Super JV1080
-Orchestral Card
-60&70's Card
-Session Card (piano and guitars are great)
-Vintage Synth Card
Rolanbd MC-50MkII SEQUENCER
(for the ease of use when playing the keyboard)
Roland VS1680
(16 tracks is all I need, like the classic record companies and artist cause I know what I'm doing)
Akai S-2000
- for the drums and samples
(still miss my Akai S900 for the gritty DJ Premiere/Pete Rock/Underground hip hop sound!
Mackie HR824's
(these are the best and most expensive pair I've owned)
2 Event 20/20's
Steinberg Wavelabs 4.0
REASON 3.0
Alesis Studio 32
(this board sucks, I actually sold a Mackie CR1604 for it...I didn't know any better back then)
Sony PCM-r300 Dat
Philips CDR775 (Never buy this thing, it's picky about the CDR's it will use)
Antares AVP-1
(for the can't singing)
Alesis Midiverb 4
(best for the drums)
Focusrite Platinum Twinpak pro (for the mics)
Audio-Technica AT3035
AKG 535 EB (Best for "my" voice)
RADIUM 61 MIDI Controller
Dela 66 Audio Card (temporary)

To all the budding producers, Less is more! It's cool to have a ton of toys, but when you are working with limitations there is something about that--it leads you to be more creative with what you have. You can have all the equipment in the world and still be wack, so use what you got, and you'll learn more that way...then you can graduate to more stuff when your ready. I started out with a Casio RZ-1 (very rare) drum machine and an Akai X7000 (no sampling time, mad, mad, mad gritty!!). Just having those limitations made me a better artist/musician/producer - made me more creative than I would've been if I had started with 5 minutes sampling time and sequencing...LOL. Back then we were still doing audio triggers, I used to hook the outputs from the RZ-1 into the trigger input on the X7000. Then I had to lay all those tracks down on a Roland Portastudio 1. 3 tracks of music, and one track of vocals...you talking about limitations, every posse cut had to be extremely well planned just to pull it off and have it sound like something.