Exclusive: Joell Ortiz’s Sobriety Gives Way To Creative Freedom & Lyrical Sharpness

For Joell Ortiz, getting sober, eating clean and losing weight meant a new sense of self, a refurbished set of eyes with which to view the world and, ultimately, a rediscovered freedom that helped peel back the layers as he moved his pen across the pad.

House Slippers, Ortiz’s third studio LP, signifies a new chapter, an unlearning and relearning –– an invaluable evolution that has inevitably led to fresher content.

On the other end of the line, he details sobriety and the impact it had on the recording process this time around, describing it as nothing short of incredible. One can only imagine that there’s a different kind of high that comes with being abstinent from alcohol. The feeling lifted because your second wind’s kicked in.

Having stepped inside the booth clearheaded and stronger than ever before, one quarter of Slaughterhouse waxed poetics that moved him. His 12-track project, backed independently by Penalty Entertainment, debuted fifth in the country – an accolade Ortiz is purely overjoyed with considering he’s yet to compromise himself or his sound.

Yaowa.

—

Hip-Hop Wired: The underlying feeling of House Slippers makes me think you’re more comfortable in your own skin. Is this a new sense of self?

Joell Ortiz: What I meant as far as “house slippers” and “comfortable,” I really meant being sober for the recording of this album. I lost a ton of weight, I got healthy and for the first time in a long time I felt comfortable in my skin as a human being –– not recording wise. It was more so that I didn’t feel sluggish, overweight or hungover, all the issues that often come into play when you’re in Hip-Hop and touring.

This time around, I was waking up in the morning ready to get to work, as opposed to lamenting the fact that I had stuff to do that day. Does that make sense?

—

Photos: Penalty Entertainment

Hip-Hop Wired: Of course.

Joell Ortiz: I got rid of those yucky feelings. When I went to record this album, I went in with a completely different mentality. It was a whole different mindset and feeling. I just felt so at home. Hence the title, House Slippers. For the first time I felt like I wasn’t leaving home to go to work, I was bringing my house into the studio. It was an amazing recording process.

Hip-Hop Wired: Congratulations, I commend you on that. And speaking of being at home, what’s it like being at Penalty?

Joell Ortiz: Penalty was great. Shouts to Neil Levine for giving House Slippers a home. It was only a one-album deal, however. So once again, Joell is a free agent [laughs]. I’m free to do what I want to do, but I love being like that. I love being non-committed; everything is always on my time. You know what I’m saying? However I wake up and however I’m feeling, I get it done according to that.

Don’t get it twisted, Neil and the guys over at Penalty would love to do another album. We debuted fifth in the country. It was great for an independent project. I’m not ruling them out as of yet. But right now, my obligation to the label is done and I could do what I want. I just feel good going into this winter and the holiday season.

Hip-Hop Wired: Is there a specific entity that you want to work with or a record label with which you want to collaborate?

Joell Ortiz: In a perfect world, I’d probably lock in with maybe one or two top producers and figure out the sound together. I’m not talking about where the album would live, I’m talking about recording the best album that we as a collective could record, with just two or three. And then figure out where we’re going to take it.

Hip-Hop Wired: Are you concerned at all about mainstream?

Joell Ortiz: I think “mainstream” and “underground” are just words for “a little bit known” and “more known” [laughs]. That’s all I associate those words with. People get it confused and think that underground and mainstream is different as far as finances go. And that’s so not the case. There are a bunch of underground artists that people have never heard of that are millionaires –– that would never give their brand to a major label, because it would just be another hand in their pocket.

We’re talking about a cult following. It’s tough to be mainstream. You’re either a really huge act, or you’re someone who’s fly by night. You have a dope record and then it fizzles out. Or you have something that was tediously worked on and then it blew up.

I say all that to say: when I record music, I go in with the intentions of recording the best stuff. I don’t cater to anyone except me. As long as I stay me, then my cult following will follow me. If a record catches and blows up, so be it. Me and my YAOWA army, that’s been following me for the last nine years, we blew up already. We’re on a main stage. But I won’t tailor a record to try and suit radio or what’s popular right now. I can only do what I do, as best as I can.

Hip-Hop Wired: You have a few tracks laden with R&B. You spliced them in between more solid songs, so to speak. Was that your way of giving an inch to popular culture?

Joell Ortiz: On this album, I was going to do whatever I wanted to do because I felt comfortable. When I record music, I never ever ever think about where it’s going or who it’s for or why this or that. If it feels good, I lay it down. If it gets my pen moving, I write it and record it. Some stuff makes the cut, some doesn’t. But whatever feels good as a collective in the studio, I go with.

This time around, it was more like ‘oh, this is funky. It’s a little poppy, but I like it.’ I took chances, but none that sacrificed or compromised who I am. I was just talking about different things, on different music. I’m happy. Those records have been received really well, especially at the shows. Sh*t – my mom likes these new songs [laughs]. So, I don’t care.

Hip-Hop Wired: Haha, nice.

“Brothers Keeper.” Talk a little bit about that song. How did it come about, what was it like recording it?

Joell Ortiz: “Brothers Keepers” was awesome. Shout out to Slaughterhouse, my brothers for real, man. I love those guys. They’ve been really supportive with my album and solo career. And I’ll reciprocate that love moving forward.

I basically just called the guys up and told them I couldn’t put out a solo album without featuring them. I didn’t want to put too much thought into it or try to come up with something conceptual, the “never been done” thing. I just wanted something real, organic. I told them to say whatever they felt –– about the group or an individual. Something real, tangible, that when people hear it they go ‘oh, these dudes are not just rap partners, they’re really brothers.’

Royce chose to talk about his sobriety and why he did it not only for himself, but for the betterment of the group. Crook made it a point to say that this music was just the start of our friendship, and whether or not it pans out, it won’t signal an end to our friendship. And Joe responded to what I said in my verse. I was apologizing for how I had handled something in the past between him and Wu-Tang. He chose to respond back saying love is love.

Hip-Hop Wired: Amazing.

When is the next Total Slaughter rap battle and who would you want to go against?

Joell Ortiz: We’re not sure. We’re in talks with it now. In moving forward, we’re trying to figure out exactly what we want to do. Everybody under the sun wants me to battle [laughs]. I’m considering it. I haven’t said yes, I haven’t said no. And it’s not about money or anything like that. It would just be something I feel I want to do. It’s definitely not something any one of us needs to do.

I’d definitely want to battle someone who is in the music game as well as a recording artist.