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Minnesota-based hip-hop soul artist opens up on new song and breaks out classic dance moves in the video.

 

Wanting to know about about “Baby Gots Venom,” and the album it will be on, we caught up with Morrison to ask him about both.

Let’s talk about “Baby Gots Venom.” What inspired the song?

What inspired the song was my unwillingness to let people in. I had a tendency to omit my heart, and the truth, from a lot of my life when people would ask questions that went beyond the surface. I had my act down pat, and would simply deflect or deny anyone access to the vulnerable parts of me.

What propelled the song was the cyclical nature I found I had fallen into. It was a "different year, same scenario" situation for me for nearly a decade, and I was just devastated that I had been emotionally unmoving for so long.

I wrote the first verse to the song in 2014, and then didn't pick it up until late 2016. I sat down with guitarist Edward Folly, who I had worked with back in 2003 on the first recording I was ever part of, and given him a guitar riff that I had fallen in love with. We toyed with the riff, and constructed the blueprint for “Baby Gots Venom.” I then wrote the second verse a few days later.

Tell us about the concept for the video, and the unique way in which it was shot.

I had a visualization to keep the camera rotating at all times in the same direction. I came to director Kevin Obsatz with the proposition of having him shoot the video, and at first he was like, "Toussaint, I'm a documentary guy, I don't know if I'm the guy you want for this." I immediately knew then that Kevin was the right guy for the job!

I storyboarded the whole film down to the second, and then brought it to him with locations already negotiated. Kevin said yes, and the next step was scheduling Brittany (Benjamin) into the film and purchasing a stabilizer for Kevin's camera to give us the smooth fluid movement we needed throughout the film.

The style of the film is definitely unique to me, and the visualization I initially had for it was something I didn't want to compromise in any way, so it was either film it, or don't do it at all, and anyone who knows me knows I usually take action over inaction, so we went for it.

“Baby Gots Venom” is from your upcoming album, Lesser Restoration. What can you tell us about the project?

Lesser Restoration is one of those long-time-coming albums that will initiate a bevy of music to be released over the course of the next two years from myself and (producer) Dr. Wylie.

The Lesser Restoration project is a catharsis of music that I used for healing, revenge, and resolution. As any gamer will tell you, "lesser restoration" is usually an object that heals a character for a moment or so.

In the release of this album, each song will have artwork behind it from The Paper Prophet, who has done the artwork for all of my mixtapes. It drops on Friday, May 19, will go for CMJ radio adds on Monday, May 22, and will be celebrated vehemently on Friday, May 26 in Minneapolis, MN, at the Icehouse.

How would you define, or describe, your artistic growth from your previous album, to Lesser Restoration?

I'd describe my artistic growth over the past year as an act of letting go. I let go of what I perceived hip-hop, spoken word, or singing, to be, and went after the sounds I loved best.

I began to trust my visualizations, and writing, more, and then have the work engage with Wylie as openly as possible.

I used to hold to a stubborn view of the way I wanted my songs to sound, or be, and wouldn't waver in any way once I set on the path to make that specific song. Now, I write, and hum out the sounds of what's in my head to Wylie, or Edward, and we get moving.

Finally, watching “Baby Gots Venom” … where’d you learn those dance moves? Share your secrets, sir!

Ha! I think I stole a shimmy or two from John Travolta via Pulp Fiction!

 

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