As street-certified DJ Big House, his boisterous baritone boldly broadcasts today’s hottest underground rappers and producers on his Gorillaz In Da Trunk mixtape series. As CEO and founder of well-respected digital media firm MisVision Graphics, the uncanny creations of famed graphics artist Gregory Spencer reach millions of viewers on a daily. And as an independent rapper and label owner, Dub-G amassed a strong regional following that stretches from Texas through Mississippi to Georgia.
Now after a four-year hiatus from the frontlines, Dub-G returns with a red hot upcoming single “Back On That” from the fourth coming EP and mixtape Adieu. With a brand new style that merges a melodic, sing-song flow with New Orleans bounce-inspired energy and his original trill-pimp trappings, Dub-G’s return is an evolution of greatness.
“This project started out to be my last project. I wasn’t going to rap anymore,” Dub admits. “I was going to get it out of my system and be done with it.”
That all changed midway through recording the project when Dub put the music on hold and enrolled in school at the Art Institute of Atlanta. He wouldn’t step back in the booth until after he graduated with a degree in graphics and web design in December 2014. Since then, his life and his music have advanced in multi-dimensions.
“As soon as I get out of school and got back to recording, I let people hear it and everybody told me that I didn’t lose my touch. They told me the music got better!”
As a result of his life-changing transition, Dub aptly titled his new EP and mixtape Adieu, meaning “goodbye” or “to bid farewell.”
“The title transitioned from goodbye to the game,” he shares. “Now, I’m saying goodbye to the old me, the one who didn’t want to be educated, the one who may have been negative, the one who didn’t want to learn new things.
He continues, “I’m saying goodbye to all the old and headed toward the new, saying goodbye to all of the negativity and pushing it out of my life. It feels brand new right now.”
Born in Inglewood, California and raised in Pass Christian, Mississippi, Dub learned right from wrong at an early age. His small, tightknit neighborhood was a place where everybody looked out for one another. But the devout poverty and lack of real job opportunities provided fertile ground for illegal activity.
What kept Dub on the straight and narrow and away from the street life was music. In his early 20s, he founded Big House Music and released his underground debut LP Datz Me. “I thought I was big time when the CDs got back to my house,” Dub warmly recalls.
He sold over 1,000 copies of Datz Me out the trunk of his car. At ten dollars a pop, it didn’t take a genius to see that there was real money in the rap game. From there Dub went in on the rap game full steam.
In addition to good money, Dat’z Me won him critical acclaim in several regional and national magazines including a write up in Murder Dog magazine.
In 2003, he dropped an EP Executive Status and shot a video for the single entitled “Holla At Me.” Both the single and the EP created a significant buzz for him, taking him from being a mere local artist to regional act. Suddenly Dub finds himself working with top notch national and regional artists like David Banner, Choppa, Beelow and his cousin XVII with UGK Records.
In late 2005, Dub relocated to Atlanta. He started doing production and graphics for various underground Atlanta artists. And as word about Dub’s skills got around, he soon found himself with a long list of steady clients willing for his services. He also got involved in the mix tape game and launched his own mix tape series Gorillaz In Da Trunk under moniker DJ Big House. His work as a DJ made him popular that soon many underground artists asked him to host their mix tapes plus do guest appearances on tracks.
In 2011, he released the hit single “Strike A Match” from mixtape Tha Final Call, featuring Big K.R.I.T., XVII, Lil Atlanta and Big Sant.
“My music is authentic. It’s organic. I like to play around with words. I like to play with lyrics. I like to play along with word patterns,” says Dub. “You steadily get contrast in the lyrics. It’s just different.”