What up yall its hella late and im very tired!  Ive been working very hard on putting together human decency prevails for your ipods and zunes!!

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Thank you so much for the support

D/

A lot of emcees talk about making it. They rhyme about flossing and shining, but D/Will is a man of action. A producer in every sense of the word, when he's not creating beats, he's writing bars.

Kansas City hip-hop is the rose that grew through concrete. Battered but beautiful, its petals grow stronger and stronger, and D/Will is a part of its evolution.

Born Denzel Williams in 1982, he doesn't have the stereotypical hard-knock life emcees and producers often fabricate to make it in the game. He grew up in suburban North Kansas City, in a two-parent home with his brother. He's proud of his good childhood, college education and faith in God. And none of it kept him from falling in love with hip-hop.

He'd always been a fan, but it was the summer of 1993, things got serious between D/Will and hip-hop. "Chief Rocka" by the Lord of the Undergrounds was inescapable, its infectious hook and funky, raw production intrigued him. He collected cans and bottles and did yard work and odd jobs to save up $18 so he could buy the tape. "Here Come the Lords," was worth every penny, because the seamless, sample-based production on that album planted a seed within D/Will.

It would take seven years for that seed to bloom: when D/Will finally got a drum machine — the Akai MPC2KXL. At the urging of friend and underground emcee, CN-N, D/Will began to study the art of beatmaking. Inspired by Dilla, Madlib, Pharrell and Timbaland, D/Will started to craft a sound of his own: soulful, honest and bass heavy. Together, they pushed each other, bars for beats.

In 2003, CN-N moved away, leaving D/Will without an emcee to produce for. So he began to write on his own, mastering the marriage between beats and rhymes. In 2006, his cunning lyrics laced with his soulful sounds created a buzz in Kansas City when he released "The OH NO! Mixtape." A year later he smashed the scene with another mixtape, "Just Add Water," earning acclaim from Okayplayer, local media, fellow emcees and producers alike.

For a lot of artists, hip-hop is a dream, a goal, something to aspire to and talk about. For D/Will, it's more than that. This is his calling, something he was born to do. It's already written. And this is just the beginning.

super big up to trevan and all the folks @ ink!!!

www.inkkc.com

Denzel Williams, henceforth referred to as D/Will, has a had a big summer. His workmanlike approach to beat-making earned him notice within the Kansas City hip-hop community and with the release of The Heir of Abraham mixtape, a collection of some of his best work between 2007 and 2008, earned him national notice from XXLmag.com and giantmag.com. And with the upcoming release of The Battery Effect, D/Will's first full-length album, and a few shows in the greater Midwest, it doesn't look like he'll settling down anytime soon.

Ink's Trevan McGee spoke with D/Will days before his The Battery Effect Preview Party at Crosstown Station about organic instruments, growing up in the Northlands and the meaning behind his album titles.

Download the entire Heir of Abraham mixtape here for free.

Ink: You've been making the rounds lately. It looks like you've got some good buzz built up for the album.

D/Will: Yeah, it's going to be pretty good. I'm getting excited about it and it's a long time waiting for it.

Ink: Are you still making five beats a day?

D/Will: It's not five beats anymore. At first the only reason I was doing so many beats, man, was because I wanted to ... I was building quantity just to show people I was making beats, so I wanted to be able to do joints with everybody. So I had to have a big stash. But anymore, it's about two to three and I'm more-or-less building for projects and for artists as opposed to building for anybody. I'm actually beginning to build songs and put a little more time into my beats.

 D/Will: "Ramon Saul Freestyle" Heir of Abraham Mixtape

Ink: You're starting to get more selective.

D/Will: Yeah. Definitely being more selective with emcees. I think I found my niche, so I kind of know what kind of vocalist I want when I'm making a beat or I know what type of emcee I want. Because at first it was like, "If you rap and you were good, let's do it," because I wanted business cards, you know?

Ink: What do you think your niche is?

D/Will: Right now, I would say that I think I'm a very –– I don't want to say Neo Soul because I don't think that works anymore –– I would say definitely sample-based and definitely Soul-driven. Soul, not like Aretha Franklin or Diana Ross, or nothing, although I do sample them, but Soul as in more organic.

I'm finding myself buying live instruments, like I just bought a bunch of different percussion instruments and I'm micing them. I bought a high hat, an open/close high hat a couple weeks ago and I'm just micing it and then running it into the NPC. Opposed to sampling those sounds I'm beginning to be more –– a band could translate these beats. And I think that's where it's going now.

Ink: Did any of that influence make it onto The Battery Effect or is that or is that where you're looking to go next?

D/Will: Oh, no. When you listen to the album, towards the end you can definitely tell it's transforming into something you're not quite sure. Because it gets really electronic towards the middle of the album and things get really synthetic. The first half of the album is pretty much picking up where The College Dropout left off. A lot of sample stuff and then it goes into this crazy synthetic part and then towards the end it kind of opens up and just becomes music. A couple of the songs I'm only rapping for maybe a verse and maybe a hook. It kind of turns into an instrumental disc.

Ink: What influences your choice of samples? Is it something you like yourself or is it something that fits the album or song?

D/Will: A lot times I'm digging for sounds rather than artists. If I'm looking for a Jazz music or a Fender Rose type of sound or a certain type of trumpet or keyboard, I'll go digging for that. And on the back of these LPs they have the musicians and who-played-what. Back in the day they did all that type shit. Normally I go digging for that. But obviously I enjoy Soul music so the bulk of what I own is Soul music, so I guess kind of both.

But whenever the needle goes on the record, I know instantaneously if I'm going to sample that or not. It's a matter of seconds.

Ink: What are some of your go-to studio artists that you like to sample?

D/Will: I find myself falling into modes. There for awhile I only was doing joints off of Motown eras, like '60s, '70s Motown, I would only sample music from that era. I don't know why, but I just get into a niche where I'm like really digging a style of music, and then I begin to seek out that music.

But I would say a lot of the classic joints I stay away from because they've already been touched so many times. Like Luther Vandross. I haven't sampled any Luther because he's an amazing artist and I can't think of a way to do with giving him any credit for that. I don't want to take a classic and mess it up, so a lot of times, if it's a super, super Soul classic, billboard charted –– I probably won't touch it, I'll probably leave it alone. I might flip to the B-side and pick something else.

Ink: What kind of state of mind do you have to be in to make music?

 D/Will "Magic Mic" Heir of Abraham mixtape

D/Will: For me –– and as corny as this may sound –– for me, it's a part of what I do. It's a part of me and my personality. Honestly, if there's a couple of days that go by and I'm not able to work or listen or create, I'm not the same. I'm in a whole different type of mood, so I feel like it's an extension of life that I have to do for the day, so when I get up there's really no need for a lot of inspiration for me to walk over to the machine and turn it on. It's almost like it's innate at this point, so I walk over, I put the record on and I'm relaxed and it's fun and it's easy.

As of late I've been challenging myself, it's like a game. I'll take the NPC and I'll turn off the metronome, you start the sample with the tick and I'll find the rhythm that I want in a sample and I'll get close to the beats per minute and I'll turn the tick off and I'll just feel out my loops and I'll feel out my loops, just to see if I can do it. Because a lot of cats really depend on the metronome just to keep on time, but as of late I've been turning it off just to see if I can do it.

It's a real awesome thing if I can get motivated by life, like my nieces or something aweseome in my day or something pisses me off. Of course those things motivate me, but they don't drive me, necessarily.

Ink: Here's one you've heard plenty of times lately: What can we expect from your preview party at Crosstown Station this Saturday? Will it be an average D/Will show or will it be something different?

D/Will: I'm going to approach it the same because I think I can only approach shows in one manner, but what I'm going to do for this show and some of the songs is strip out some of the instruments and I'm going to have some of my friends come in and do it. [Leonard] D. Stroy is going to add some drums to some tracks and Miles [last name] may bring his trumpet and accompany that.

I want the show to be like the The Battery Effect. The reason why I called it that was because you either work or die. That's the lifespan of batteries –– they're working or if they're not, people cast them aside, so I wanted people to see like, "This is what I've been doing." This is almost like a party, so I called it a preview party because we're celebrating the work I've done to this date, so I'm going to play all these you joints and you guys are going to enjoy this shit and then you're going to leave.

Ink: And hopefully buy the record.

D/Will: [laughs] And buy the record, of course.

Ink: What comes after that?

D/Will: I've got a couple of dates. The 28th I'll be in St. Louis, the 29th I'll be in Chicago, the 30th I'm in Cincinnati and then early September I'm back here doing this thing at UMKC, so I'll be spreading myself kind of thin on like the mini –– I don't want to call it a tour –– mini spots at different cities.

But then it's back to post production. I've got some awesome things lined up for me on the production side, so i really need to get into the lab and begin to build tracks.

Ink: What do you have coming up?

D/Will: I've got Outasight from New York City, he is working on something right now that I promised I wouldn't say anything about. But he's working on something and an album is going to be coming soon.

And a few other spots, I'm just going to let you see. I don't want to jinx myself either. [laughs]

Ink: Fair enough.

D/Will: I'm running into some awesome opportunities, even with local artists. There's a few local artists that I'm still excited about, like Hozey-T and Stik Figa and IZMORE, those are the three guys from here that I'll be working with more than others, I think.

Ink: Could you talk about a few of the songs you're proudest of off The Battery Effect and Heir of Abraham?

 D/Will "Good Evening (dream big) (Featuring Outasight)" Heir of Abraham mixtape

D/Will: Heir of Abraham, all of those joints are collective joints from the year, stuff I've done in 2007 into 2008. The "Good Evening" track with Outasight is pretty token, although I don't really like that beat very much, we both joke about how much we don't like that beat. It's not bad, but it's not my favorite and when I made it, I made it in, like, five minutes. But everybody seems to love that song. And when we finished it he began to use his press avenues he created and he got it on giantmag.com, it was like Five Songs That Don't Suck and there were tons of bulletin posts about it. And then he got it on XXL.com, everything was just working out. He got the review on OK player and they talked about that song, so I was like, "Hell man, I've got to put that on the mixtape," so that was a media segue for me because now giantmag and XXLmag.com are coming back to me to see what I got.

There's a joint on The Battery Effect called "The Scene" and the song about being seen and how people lust for that almost and they get in their little cliques and they are only in that clique so that people look at them and think that they're cool or think that whatever. And so the song is about "You're in this small, little scene, but are you being seen? You still could be overlooked. You done sucked ass and kissed ass to get into this little clique and then people still don't like you."

Ink: What motivated that song?

D/Will: That song came from a lot of different experiences that I went through in high school and college because I was an athlete in college and in high school, so that kind of gave me the cool card, but I hung out with the band geeks and the skater punks and the people that wore black and shit. I was cool with them because they were really cool people and some of those cool people from high school that were all in all black and gothed out, those would still have my back right now, if I called them now and asked them for something, so it was interesting to see everything, to see every little clique form. I wrote that song because it was something I experienced first-hand.

Ink: What about "Childhood"?

D/Will: "Childhood" is on the album. That "Scene" song and "Childhood" four and five on the album and they blend right into each other. And "Childhood" is the same thing. Just because I live in The North Land and my dad busted his ass for 30-plus years at the railroad to create for me, cats automatically had something to say like "He thinks he's too fresh," or "He thinks he's too fly." "He ain't even black. He ain't got no hoodie and he has no soul because he lives out where the white people live." That lead to me wearing headphones all the time and that made it worse because then it was, "Oh, he's too good to talk to us now. He's too good to listen to us."

It's a sample-based song. And the "Scene" song is when the album gets very sythn-based and very bass-driven. It's going to be an experience for the listener, I think.

 D/Will: "Glory" Heir of Abraham mixtape

Ink: The way Heir of Abraham ends by explaining the album's title and the pursuit of personal inspiration. Are you accomplishing that?

D/Will: I hope so. I hope people, and my peers, but more or less consumers, I hope they're listening and really feeling like they want to do what they love too. And that was the whole point of me putting that spiel on the end is because we all have a certain talent. Some of us, like you, are blessed to have a job doing it. Others we have to do something else. I work for a railroad, but I still make time to come home and do what my soul is providing for me. I just want people to focus on they do well and not what others do well. My gift is music and I'm going to do it to the fullest.

big shouts to everybody at the kc star!! tim what up!!

Not too many hip-hop producers or rappers drop names like Johnnie Taylor or Bobby Bland when they talk about their influences, but Denzel Williams isn't your typical producer/MC.

For the past two years Williams, who goes by the name D/Will, has been developing a reputation as both a go-to beatmaker and a unique live performer but without indulging in the kinds of themes heard in so much commercial rap.

"It's a lot more like the '90s era of hip-hop where there was a lot of sampling and not necessarily knowledge rap but a lot of real, live, down-to-earth-type of natural experience stuff from an MC as opposed to flashy things or gangsta killing-spree material."

Williams, 26, is a graduate of North Kansas City High School and holds a degree in psychology from Park University — a product of the suburbs and a tight-knit, supportive family. He does not hide from his upbringing or pretend he was raised in a rougher environment.

During a recent performance in Westport his mother was in attendance, and he respectfully warned her about the profanity he was about to unleash. Then he performed the track "Childhood," which includes the lyric: "Had a good childhood, now they want to take my black away / I ain't from the 'hood, now they want to take my rap away."

That track is on his upcoming CD, "The Battery Effect," which he expects to release in late September. Saturday night, D/Will will host a preview party for the CD. It starts at 9 p.m. at Crosstown Station, 1522 McGee. Admission will include a sampler CD comprising snippets of several tracks from "Battery Effect."

From his apartment in the Northland, which houses his home studio, Williams talked about his music influences and his rising reputation in the hip-hop underground.

Q. What will Saturday's show be like?

A. I'm going to bring my sampling module out, my MPC (music production center) — the joint I make my beats on. I've stripped all of the drums out of the songs, and Leonard D. Stroy of the Deep Thinkers is going to play drums — he's classically trained — so he's going to come out and play drums. Miles Bonny is going to come out and perform; so is Stik Figa from Topeka. And CN-N, the guy I started doing all of this with back in college, is coming back from California, and he'll do some stuff.

Talk about what the music is going to sound like. What will people hear?

They'll hear some live music. It's for ears open to new sounds. My style is to re-create old classics, but it's a bit modern because of the technology I use. If you have an open mind and you enjoy hip-hop, I think you're going to enjoy it. I tell novice ears that if they enjoy Lupe Fiasco or Kanye West or Common, they should come and check me out. It's along those lines.

Who most influenced your music?

I'd have to say a lot of old-school acts — of course Marvin Gaye and Stevie Wonder and throwbacks like that. But also blues artists, like Johnnie Taylor, Tyrone Davis and Bobby Bland. They were blues artists because they talked about their life experiences, but they were also soul musicians. They made music with the feeling of soul but with the B.B. King kind of experience of the blues.

That's all I listened to growing up, plus other popular music like Luther Vandross and other music of the '80s. But my dad played a lot of blues/soul musicians.

As an MC, I try to make my music sound hip-hop but with the same kind of knowledge and delivery of blues artists, who tell it like it is. I've always loved hip-hop, especially early Tribe Called Quest and Lords of the Underground. I picked up on that stuff in the early '90s.

Q. How long have you been creating your own music?

I didn't start doing anything myself until about 2000. That's when I started experimenting with crafting and producing my own music. It wasn't until about two years ago, in 2006, that I felt accomplished enough to come out and perform and release music.

Q. In just two years, you have developed a name for yourself in certain pockets of the underground. Talk about that.

I'm a producer, too, which has really helped me out as far as my name and the spread of my name. I've been on some hot spots, especially this summer. There's a New York City artist called Outasight, and he's got a pretty big following in New York. He released an album this summer called "Radio New York." I did a couple tracks on that album. We got a couple thousand downloads the first week. I'm not sure where it's at now, but it's been getting a lot of national attention. He was on the front page of XXL.com.

Here is an okayplayer review from last year!!!  Just wanted to put yall up on it!!!  holla at me yo. 

http://www.okayplayer.com/content/view/5274/5/

If you wanna download this mixtape i have a link to it on my page or you can search for this mixtape on datpiff.com

Learn a lil about ya boy.

Nadia what up!!

http://www.pitch.com/2008-06-26/music/hip-hop-newcomer-d-will-gets-cerebral-on-two-new-releases/

i’ve gotten a handful of inquiries from people here who are interested in purchasing beat(s) from me... if you sent me a message, but never got a reply, i apologize.. it is hard to keep up with everyone who is interested and wants to do business..

if you still want to get at me about beats, DO NOT HESITATE TO CONTACT ME! you can shoot me a message on myspace... of course, inquiries that are not serious will be ignored.. but don’t be afraid to try.. i MIGHT be more affordable then you think...

GET AT ME

-D