Wednesday, July 15, 2020

Powerule's Off the Wall

I got a very nice email a couple... weeks ago?  I don't know, it's a pandemic; time has no meaning anymore.  But anyway, he suggested I should do something about Powerule; and my first instinct was to go to my site, find one of the multiple posts I've written and forward it to him in a nice reply.  But holy cow, he was right; somehow I've never done anything on Powerule over all these years.  So yeah, definitely time to correct that.

Powerule basically had three stages in their career.  1)  Their major label period, where Interscope picked up their indie single "Revenge" and put their album Volume 1 in every shopping mall in the country.  2)  Their raw 90s indie era, where they were putting underground 12"s on labels like Hydra and Stretch Armstrong's Dolo.  And 3) their recent internet-era comeback, which includes their second full-length album and a 7" through Red Line and Fat Beats.  Except for the fact that most groups don't have the tenacity to hang in there that long and go through each stage, it's a pretty typical, predictable story.  I don't mean that in a bad way, just that we've seen this path taken so often; if you were to fabricate a backstory of a hoax rap group, this is exactly how it would go.  Except there's one curious anomaly that doesn't make sense in the narrative.

"Brick In a Wall" is a 1990 single that came out on Revenge Records.  That's the same label as their 1989 indie debut, "Smooth."  When Interscope signed them, they included "Smooth" on that album, made a video for it and everything.  Then they put out the first single they recorded for Interscope, "That's the Way It Is" in 1991, which of course is also on the album, as is their next one.  But for some reason, that one single right in the middle, isn't.  It's not on any album, it's an outlier 12"/ cassingle-only single, with an equally exclusive B-side.  Why?

I suppose because of the sample?  This song is easily best known for being heavily based on a Pink Floyd sample, "Another Brick In the Wall."  Me being a purely Hip-Hop guy, I grew up with this single, completely unfamiliar with the source.  I recognized the "Big Beat" drums, but had no idea about the Pink Floyd.  I mean, I did notice it was making heavy-handed use of some kind of rock sample.  Besides the looped guitar riff, they even sample vocal chorus for the hook, which sounds like some distorted bunch of kids mumbling "[something something something] brick in tha wall!"  It didn't exactly sound like something Powerule orchestrated themselves.

So it makes sense that Interscope just couldn't clear the sample.  Except, then, why didn't they use the B-side?  I wouldn't think it's any kind of conflict with Revenge Records, since "Smooth" was on Revenge, too, and they grabbed that up no problem.  Oh well, guess we'll never really know.  Either way, I'm not mad at having some exclusive bonus songs from their Interscope era that they felt were strong enough to be a single.

That said, it might only be a single for the novelty.  I don't care about the Pink Floyd connection, but a lot of people seem to.  Personally, I don't think this is half as dope as "Smooth" was.  Still, a classic break beat turns it into something more credible than just a rap version of a rock song.  Ax provides a nice scratch breakdown in the middle of the song, and Prince knows how to capitalize on the mood of the instrumental.  But the rhymes include a lot of trite and easy platitudes, like "There's plenty of ways to get paid, so pursue it.  Just do it.  (Get into it!)  Be somethin', somebody, yo, anybody.  It's better than nobody.  Find yourself or you might take a fall and be another... brick in the wall."  His heart's in the right place, but he sounds like he's biting Ms. C. "Rappin" Pittman, The Rappin School Teacher: "in the school of cool, the first thing to learn is somethin' that brings me great concern.  This lesson can bring you tons of wealth.  Lesson number one is to love yourself.  Some of you say 'I love myself' and this just might be true; but you can't just say it, you have to prove it, by doin' the best you can do."  I also don't know why they title the song "Brick In a Wall," when both Powerule and Pink Floyd are clearly saying "the wall," which makes more sense metaphorically.

The B-side is actually sample-reliant as well.  "Let the Years Roll" is a nostalgic look back at how Powerule came up in their early days, "let's step back further in the Price Power's path, take a long look deep inside the hour glass.  'Cause years back, I wasn't down in videos, or even thinking of going to the studio."  It's got a decidedly funkier track with big looped horns, and each hook consists of the DJ playing a medley of classic breaks and samples.  "Brick" is always going to get the most attention, but I think "Years" holds up as the better song.

The cassingle pictured above just features the two songs in a cool picture cover.  The 12" has the same cover but also includes instrumentals and acapellas for both cuts.  There are definitely singles in their catalog that I prefer (the Erick Sermon-produced "Rock Ya Knot Quick" is a killer).  But this one's not rare or expensive at all, so if you're a Powerule fan, there's no reason not to have it in your collection.

Sunday, July 12, 2020

Bla.Zé the Live Homie

Here's one that's grown on me.  And by that, I don't mean I thought it sucked when I first heard it - it's inarguable that dude can rap right at the top.  But if this hadn't been on vinyl, and it was just another mp3 or youtube video, I would've listened to it the once and forgotten about it just like the bajillion other up-and-coming artists on the internet who you barely catch in passing and instantly forget.  But since I've actually got it on wax sitting here next to me, I ran it back a second time, paid a little more attention...  And then later that night, without expecting it, I've got the flow in my head and I find myself feeling the urge to go back and play it a couple more times.  I know springing for physical releases is a luxury we all can't afford, especially right now; but there's something palpable that makes audiences meet you half way when you commit your music to tangible form.

Hell, if you've been following this blog just a tiny bit you know we're still discovering obscure rarities from decades ago, while digital-only tracks by recent cats that had serious backing have completely vanished.  Did you know Grand Daddy IU, for example, had an EP called Long Island's Finest, back before Stick To the Script?  It's gone now; you can't find it on the 'net or anywhere else anymore.  And that's a crazily talented, established artist who's been signed to major labels and made great music for decades (apparently he has a new album called The Essence coming soon!).  Very few have that kind of staying power, so if his mp3s don't stick...

Well, with that indulgent tangent over and done with, let's get back to Bla.Zé.  The point I was dancing around up there is that this newcomer's debut single was good enough to draw me back, though he's fortunate he got Hip Hop Be Bop Records' backing to make that possible.  HHBBR made a name for themselves giving new voice to old school greats like Silver Fox and Sugar Bear, but now they seem to be investing in new artists.  But they're still given the full HHBB treatment... And I don't just mean that it's a small hole 45 7" in a slick picture cover, but they're bringing him in-house with production by Clandest and cuts by DJ Credit One.

But if you're guessing this is another UK rapper, you're mistaken.  Bla.Zé is from Wisconsin (I do believe that's the St. Louis Arch on his cover there) and his two-song single is "Never Give Up (Man On a Mission)" b/w "Awaken'd."  The A-side, as you could surely surmise from the title, is an aspirational song.  It's got a breezy, smooth summertime groove that's an ideal panacea for these depressing times, with a cheerful, throwback hook: "I'm all around the world, hangin' with the fly girls, feelin' like the Fresh Prince.  Shout out to Will Smith."  The beat's got a cool early Tribe/ later Jazzy Jeff vibe to it - my favorite part's probably the "Dis Be the Def Beat"-style shakers that come in on the chorus, along with Credit One's subtle but infectious cuts.

"Awaken'd" has a similar feel, but comes with a little more energy thanks to a combination of some catchy, rolling drums and a more tongue-twisting flow from Bla.Zé.  This is more of the skill flexing calling card track.  The one thing that might be a little divisive are the Rocky-like key-horns.  They're pretty catchy and definitely take you along for the ride.  Personally, I don't mind them.  But if you find the artifice cheesy, they might put you off at first... It doesn't help that they're associated with almost every corny battle rapper's debut CD from the last 20 years.  Still, the fast-paced bassline that has to hustle just to keep up with Bla.Zé's complex rhyme scheme ("I awaken from my slumber to the sound of the thunder; and I don't know how long that I've been sleepin' down under. I need some nourishment to calm my spiritual hunger, my astrology's a lottery and I'm playin' them numbers.  I'm searchin' for the missing piece of the puzzle; they think that I'm trouble, don't need no more, no need for rebuttal. They leave in a huddle, they're measly, they're needin' more muscle. I'm just speakin' what's on my mind, no longer needin' a muzzle"), and some more showy cuts by Credit One should keep anyone's head nodding.  Just stick with it.  Like I said, it was immediately obvious this record wasn't bad, but it wasn't until my second or third listen that I was able to get fully on board with what these guys have created.  But now I'm glad that I did.

Monday, July 6, 2020

2020: Year of MC Mechanism

(DJ Too Tuff's recordings with MC Mechanism the Articulate One have finally been secured on vinyl thanks to Chopped Herring Records. Youtube version is here.)

Friday, June 19, 2020

Willie D On Juneteenth

You'd think there would be considerably more Hip-Hop songs about Juneteenth, or at least mentioning it.  But outside of stuff released in the last few years, say before 2017, it's surprisingly rare.  I've been racking my brains, and have come up with one: Willie D's "U Still a aggiN" from 1992 of his second solo album, I'm Goin' Out Lika Soldier.  Rap-A-Lot was pretty stingy with singles in those days, but this did make it out on 12", too, as the B-side to the album's sole single "Clean Up Man."  There it's spelled "You Still a Zaggin," but if you think about it, I'm sure the album spelling is correct.

Looking at the cover suggests this was meant as more of a split single for "Clean Up Man" and "Rodney K," as in Rodney King.  Both titles are on the cover and you've got a sexy lady's hand with a cigarette holder and a hand-written letter on the left, while there's a black man screaming as police cars descend on him on the right.  Apparently, there was a 7" single with the full "Clean Up Man" imagery released in full by itself.  But whether you consider it a "double A-side" or whatever, "You Still a Zaggin," which isn't even hinted at on the cover, is a B-side.

"Clean Up Man" is a fun, gender-flip of the classic 70s record "Clean Up Woman" by Betty WrightJhiame (here spelled Jiame) sings roughly the same hook with reverse pronouns, and they both loop the same funky guitar riff.  It's the quasi-radio friendly joint about stealing girlfriends they made the video for and everything.

Then "Rodney K" was more the real lead single for the streets.  Besides going considerably harder musically, with a killer track, "Do It Like It G.O." energy and cuts by DJ Blaster, it was super controversial.  Because the hook repeats "fuck Rodney King," not "fuck the Rodney King incident" or "fuck the police who beat Rodney King," but actually Rodney King himself.  I remember having to explain that one to my mother back when I wanted to buy this single in the store as a kid.

Of course, the reason he's saying this is because the song didn't come out in 1991, when he was attacked by police; but in 1992, right after he spoke out against the protestors who had taken to the streets following the police officers' acquittals.  I mean, it's not fair to say he spoke out against them, but his famous "can't we all just get along" call for non-violence was understandably taken by many, including apparently Willie D, as asking black people to simmer down in the face of this terrible injustice.  Of course, he explains it better himself in his song, "I'm tired of you good little niggas saying 'increase the peace and let the violence cease,' when the black man built this country, but can't get his for the prejudiced honky.  Rodney King, god damn sell out, on TV crying for a cop?  The same motherfuckas who beat the hell out ya!  Now I wish they would've shot ya.  'Cause this shit is deeper than Vietnam; and ain't no room for the Uncle Tom.  Let the white man dress you up, and mess you up; I wouldn't be surprised if he sexed you up.  'Cause you look like a gay, letting them white folks tell you what to say."  I'm pretty sure I didn't even attempt to tackle the homophobic angle to my parents.

But I'm here to talk about the third song.  Sorry, it's easy to get distracted by a number like "Rodney K."  It's actually interesting, I was just writing about how the message of one of Chubb Rock's songs was essentially neutered in its clean edit by the removal its critical, repeated line "you're still a nigga."  Now here's Willie D making the same point with the same line five years earlier.  That point being, the systematic racism built into our country is still going to mistreat minorities with racism no matter what they say or do in terms of appeasement, playing along, etc.  Of course, Willie D puts it a little less gently, "Now even if you're light, and damn near white, you'll get smoked because you're in the same boat.  Surroundin' yourself with white folks in your video; like Paula Abdul, she's a silly ho. Although you might only be one percent black, troop, they still consider you a mook. But she says she ain't black. Now how the fuck she figure? Yo bitch, you still a nigga." 

There's a common theme here of laying blame on victims of racism, not just the perpetrators.  Willie D didn't title his debut album Controversy for nothin'.  But didn't I start out this post by saying this was a Juneteenth song?  Yep!  In fact, this is where I first learned about Juneteenth as a kid.  So say what you want about the negative aspects of his music, but Willie was demonstrably successful in communicating positive messages with his music - I'm living proof.

So, let's set the scene.  This is a slower song, especially coming after "Rodney K," with Willie in his smoother mode.  He's rhyming over a classic Sly Dunbar sample, and we've got that reggae element amplified by K-Rino delivering a tough ragga chorus (a style I was disappointed he didn't continue with on his own albums).  Willie lays it down, "mama's outside, barbecuing ribs and links. It's Juneteenth, but to me it don't mean stink. It's a date of emancipation, but everybody wonder why Willie ain't celebrating. But things ain't perfect. I'm looking beyond the surface. So instead of drinking beer and playing dominoes, I'm sitting in the room with my eyes closed."  Again, I can't think of another Hip-Hop song that ever named Juneteenth once [please, leave them in the comments if you guys can], let alone make it the topic.

Actually, I called K-Rino's part the chorus, which they sort of act as in that they come between each of Willie D's verses with a more sung vibe.  But he's actually dropping full complex verses himself, which differ each time, going off on those he considers to be "white man in the middle yet them black outside" and imploring, "black man, get the government's dick out your eyes."  So overall, the point is that he can't bring himself to celebrate Juneteenth when things are still so unfair; and unfortunately, that message reverberates as strongly now as it did twenty years ago.

I was surprised when Rap-A-Lot wound up releasing a video for this song, too (though not surprised that they didn't attempt one for "Rodney K").  It's a strong, black & white representation with the slightly scrubbed title "Still Black" and some re-recorded cleaner vocals.  There were even promo 12"s of "Still Black," which I've never heard, but apparently have a radio friendly version of "Rodney K" on 'em, too.  The main retail single of "Clean Up Man" b/w "Rodney K" and "You Still a Zaggin" features the explicit, album versions of all three songs though, plus their instrumentals.  They're retitled "Fuck Rodney King" and "You Still a Nigga" on the vinyl single, but I believe this cassette is the only one with the picture cover.

Friday, May 29, 2020

X-Clan Says "F.T.P."

Gee, I wonder what brought this song to mind tonight?  If you're not immediately hip to what "F.T.P." stands for, X-Clan removes any doubt with their shout and call hook, "F.T.P. means? (Fuck the police!)"  Now, Hip-Hop songs protesting the police go way back, and of course this isn't the first "Fuck the Police."  NWA's is the most famous, and it was also abbreviated to "FTP" on the 12" to code the title enough for stores to sell it.  Then Jay Dilla had a single called "Fuck the Police" many years later, and acts like Success-N-Effect had "Fuck 1 Time;" and again, there's a million great songs critical of corrupt police from "Coffee, Donuts and Death" to "A Dirty Cop Named Harry."  But the one I've gravitated to right now is X-Clan's.

It's from their second album, 1992's Xodus, but it was also released on a 12" single, as the B-side to "A.D.A.M.," which is the one they did the video for and everything.  And unfortunately there's no sweet remixes or alternate versions here, not even an instrumental.  You just get the album version and a Censored one where they flip the curses.  But at least it comes in a classic picture cover and gives the song a little more breathing room than the LP.

A lot of people I've talked to seem to hold this image of X-Clan as one-note and humorless, but the inventive way they marry the classic bassline from Special Ed's "I Got It Made" with En Vogue's "Hold On" is a creative, and despite the context, fun blend.  But of course, the context does turn it into a dead-serious call to arms.  Brother J's cadence and flow is very similar to his classic "Grand Verbaliser, What Time Is It?" on this one.  But now he's here to settle some very specific scores:

"We the people that are strong and able
Remember Yusef onto Gavin Cato,
Eleanor Bumpurs, Steven Biko, Huey P,
Murderers of Malcolm and death of brother King.
Government’s producing that white Kryptonite,
Making sun drinkers into zombies of the night.
So now I walk the street, more or less discreet,
‘Cause the one to take me under might sing the same beat.
But how many brothers must a brother see
Shot in the street by dishonorable defeat,
By a silver badged chump uniformed like a redcoat?
I might just catch a flashback and tighten up your collar.
Don’t scream a whiff, I won’t help you if you holler."

That last line will strike as especially pertinent to anyone who's seen the video of George Floyd's murder.  But of course the whole song's just as pertinent now as it was nearly 30 years ago, which is both its power and the problem.  For a while it seemed like we were making at least some progress, but the way this song feels like it was written explicitly for today says otherwise.

Wednesday, May 27, 2020

Monday, May 18, 2020

What's Chubb Rock Hiding From Us!?

Sometimes I still think about Chubb Rock's last album, specifically the long time between when it was initially promoted and finally released, and how it presumably changed along the way.  I wrote in a past post about an interview where he said the then upcoming album was going to feature a number of up tempo tracks, which we never seemed to get.  Initial albums titled the album Clear the Decks, but looking back at the interview now, I forgot that it was also at one stage going to be titled Don't Sleep.  ...The Mind was the final title, in case you've lost track.

He talks in that interview about how it had never taken him so long to finish the album, and puts the blame on Select Records being slow to give him a proper budget.  But the fact that it was advertised like it was basically finished, only to be pushed back and delayed repeatedly makes me think multiple versions of the album were probably completed and then re-worked.  There must've been some push-back on those up-tempo joints, and he probably wasted time trying to talk Erick Sermon into appearing on "Beef."  Another big clue is that this album features a song called "East Vs. West (Remix)" when there was never an original "East Vs. West" released.  It's always begged the question: what else was left on the shelf?

But we did eventually get to hear the original "East Vs. West," thanks to sweet little white label 12".  The remix is a pretty cool track with a dark, moody beat produced by Domingo.  Rock makes the concept of the song pretty clear: "I don't understand all this east/ west bullshit."  Like his opening single "Beef," and a couple other points throughout the album, he laments the current state (at the time) state of Hip-Hop.  That material hasn't aged as well as much of his other stuff, since it's not all quite so relevant (is the genre really divided by coast much anymore?), but there's no such thing as a bad Chubb Rock album.

Anyway, this white label features "DomingoClean," "DomingoDirty" and "DomingoInst." on one side.  And on the other side, there's just regular "Clean Mix," "Dirty Mix" and Inst. Mix."  And by the way, listening to the Clean version really cripples the song, because it cuts out the whole point he's making (which, unfortunately, is still poignant in 2020).  But anyway, the Domingo side is obviously what we heard on the album, right?  And it's cool, but it doesn't really fit the song.  It sounds like it was made for a gritty crime story from the Raidermen, not Chubb trying to unite the Harlem Uptowners with the "Country Grammar" kids.  So it's great to finally hear the original concept.

And this one is more mellow, using the same sample Premier did for his famous "Shit Is Real" remix.  Perhaps it was a little too famous, and that's why they nixed it?  Maybe every single person he played it for mentioned the Fat Joe track so he decided he had to take it back to the drawing board.  Because otherwise I don't know why you'd drop it.  It still sounds good, and fits the tone a little more.

A little more.  It still doesn't quite feel like the lyrics and the beat are on the same page.  It's almost too much of a summertime vibe rather than stressing over this unwanted conflict.  And remember on the album, where Chubb Rock goes, "whether it's _____ or _____.  Whether it's ______ or ______?"  It sounds incomplete, like the instrumental was supposed to drop signature east coast and west coast samples in there.  Like: "whether it's ["Impeach the President" break] or [Roger Troutman G-funk whistle]," right?  But it's just blank, like they decided that part didn't get with Domingo's beat, so they just left it strangely vacant.  It reminds me of when they bootlegged Big Daddy Kane and 2Pac's "Untouchable" before Snoop could record his hook for it.  Like we're glimpsing the song's exposed bone.

Well, it's left blank in this other mix, too.

So is this even the original version?  Or is it just another scrapped alternate version by some other uncredited remixer?  And who's the DJ cutting up "Scenario" on this?  He's on this other version, too, so I'm thinking it's probably not Domingo, though the album credits don't name anybody else.  And what other tracks are still sitting in Select's vaults?  I bet there's a bunch, and it kinda drives me crazy still not knowing 23 years later.  😬😬😬

Wednesday, May 6, 2020

The "Don't Believe the Hype" for Our Current Administrations

There's a lot to be said for an artist who keeps a consistent schedule... one who doesn't keep overloading fans with slightly varied reissues featuring one exclusive new song every month, but who also doesn't disappear for half a decade leaving you to wonder if it's all over and done with.  It's 2020 and Whirlwind D is back with a new vinyl single called "M.D.M," and even before placing it on our turntables for the first time, there's a consistent level of quality we can count on, in terms of everything... the production, the writing, the physical product.  We already know we're not going to be let down.

"M.D.M.," which we're told at the end of the first verse stands for Modern Day Media (don't feel dumb; it's not an abbreviation in common parlance) is a topical stance against news and social media outlets pushing false narratives.  Rather than calling out names, it makes both the more general and nuanced point that the risk isn't just the obvious danger of believing and acting on obviously fake news, but how the proliferation of disingenuous takes can subtly shift the Overton Window to mislead even the savvier among us.  Or perhaps worse, it'll still reach the strongest holdouts through the society we share:

"False media, welcome to reality, a gallery of flattery based on big salaries ... Liberal views are extinguished invisibly.  Newspaper editors, now trained predators, brainwash a nation with lies and sedatives.  Alternative truths through arguments reduce.  Experts arrested while the rest are seduced ... Soon public policy plops from the sky like astronomy."

This song has D venturing a little further than usual into Public Enemy territory, and that's definitely not a bad thing.  D's delivery is a little more aggressive, and Djar One's loud, fast-paced guitar loop and horn stabs definitely feels like a blend of the lusher musicality we're used to from B-Line family (although technically, this 7" is being released by AE Productions) and the sort of thing Terminator X used to cook up.  I mean, it's an obvious connection to make, since the hook literally features Specifik cutting up some classic "Don't Believe the Hype" vocal samples, so no points for me there.  But the connections definitely run deeper.

If I had a complaint, and I guess I do, it's that the busy instrumental competes with the vocals making it hard to follow the lyrics.  Like, if I were to attempt to transcribe the whole song, I'd have several "[??]"s, which would be less of an issue with a simpler or more cliched song where we can fill in the predictable blanks even when we miss a syllable here and there.  But when it's fast paced and complicated, any little hiccup can make you lose the thread.  And this is a compelling topic where you absolutely want to get every detail, so it can be a little frustrating.  On the other hand, I don't think I'd want them to lessen the impact of the instrumental, so maybe I'm just saying an acapella track or even a lyrics sheet would've been nice.  You know, you only need to be told once that Erick Sermon's saying "Samurai Suzuki" to hear it right in your head for the rest of your life, but until that day, it's like a little jolt of static constantly disrupting the message.

Anyway, the B-side, "Time Waits For No Man," is Djar One's take on a six year-old track, originally produced by Phil Wilks.  In fact, it was D's first 7" single (as opposed to his previous 12"s), which I wrote about here.  It's a fitting companion to "M.D.M." as its themes feel more timely than ever.  Sonically, Djar One swings in the opposite direction, giving this one a calmer, more mellow vibe than the original, with slower drums and a dominant funk guitar loop.  Specifik's cuts seem to be the same ones from the original version, where they may've felt a little more at home, but they still work just fine here.  Pushed to choose, I do prefer the original, but this one's different enough to stand on its own.  And again, paired specifically with "M.D.M," it does form a cohesive whole that's somehow more than the sum of its halves.

If you're only in the market for escapism during this lockdown, this may not be the record for you.  This is for audiences who want their art to stand up and look them in the eye.  And like I said, the physical record's an attractive product in its own right, with a stylish picture cover.  It's a small hole 45 and as you can see above, also comes with a sticker.  If you've been collecting Whirlwind D records all along, this definitely isn't the one you're going to want to miss out on.  And if you haven't been checking for him yet, you might want to give this one a cursory check just for its immediate cultural relevance.

Monday, April 27, 2020

The Slept On and Shelved Works Of Supreme C

(A proper look at Supreme C's body of work has been a long time coming... so here's my crack at it.  Youtube version is here.)

Friday, April 17, 2020

A Nightmare On Elm Street rap, part 8

(Wow, there's more!  Freddy Krueger is back on the mic, in this series' first answer record, and this time he's out for MC ADE's blood... again!  Youtube version is here.)

Wednesday, April 1, 2020

Chevy Chase On the Mic Gettin' Physical

It's April Fool's Day, gang, and once again, I'd like to present to not waste your time with a fake gag post but present you a very real, incredibly silly Hip-Hop record.  How about, oh, I don't know... Chevy Chase's stab at rapping from 1980?  Yes, that Chevy Chase, from Vacation, Fletch and Caddyshack.  1980, of course, is quite early in the days of rap records, and his song is called "Rappers' Plight," which, of course, is a riff on The Sugarhill Gang's "Rapper's Delight."  Now Sugarhill's record had been such a phenomenon that Chase was hardly in original territory to take a stab at "Rapper's Delight."  Female rappers Xanadu and Sweet Lady had already released a female version in 1979 on Joe Gibbs Music and there was a Canadian parody 7" released in 1980 called "Rapper's De Feet," where yes, they rap about feet.  There's also a curious cover version from Panama by a group called the Yimiyon Gang, but I'm not sure quite when that was released.

Anyway, it's not that surprising to see Chevy Chase take a stab at releasing an album.  This was after his time at SNL, and The Blues Brothers had already blown up.  Plus, he already had a history in the music industry before he became the Chase we know today.  He started out in a band called Chameleon Church, who released a major label album in 1968, and he was even the drummer for Steely Dan before they became famous.  So it was almost inevitable when he released his own self-titled album on Arista Records, which was even produced by one of the major musicians behind the Blues Brothers, Tom Scott.  And unlike some other SNL alumni who went on to release records, Chase was at least smart enough to stick to joke songs.

Such as it is.  I mean, "Let It Be" is just a straight cover of The Beatles' original, except his voice is pitched up, a la The Chipmunks.  And it doesn't get much funnier throughout.  A lot of the humor just comes from inserting drug references, and I think it's fair to assume this was all recorded under a variety of influences.  So his version of "I Shot the Sheriff" goes, "after toking all the PCP."  He has a parody record of "Short People," which was already a joke record, but he just inverts it.  So instead of "short people got no reason to live," he lists reasons why they're actually better off.  He does a version of "Wild Thing," where the whole joke is that he's crying as he sings the lyrics, and in the chorus he blows his nose.  I think one of the problems is that like when other comedians release albums, they want to prove that they’ve got genuine musical ability, too.  So the clever lyrics we're hoping for often take a back seat to indulging these guys' jam sessions.

But we're here for "Rappers' Plight."  And the good news is that you don't have to cop the whole Chevy Chase LP to get this on vinyl if the perverse sensation ever takes you.  The only single released for the album was "Short People" b/w "I Shot the Sheriff," and that was only on 7".  But there's a promo-only 12" called Three Cut Rebate From the New Fall Chevy, which as you can see comes in a sticker cover.  The first two songs are just "Short People" and "I Shot the Sheriff" again, but the third song is "Rappers' Plight."

And it's interesting.  Because he's got Scott and the whole band, it's got a well-played disco groove that definitely emulates the famous Chic bassline, but is otherwise distinctly original.  It starts off with Chase making fun of Wonder Mike's famous scatting, "a hip hip diggity dog and a bibbity bobbity boo, zippity do dah, coo coo ca choo."  Then we get into the first verse, where again, the joke is Drug References.  "The party don't stop if you wanna bop, I got uppers, downers, LSD.  Don't be low, have a blow, a little get-up-and-go, Joe.  Have yourself a little freeze."  And through the rest of the song, he does characters: a smokey drug dealer, and most memorably, a milquetoast square who's somehow wandered into the wrong party, "excuse me fellas, I hate to be a bother. I was wondering if any of you happened to have seen a little alligator purse; it belongs to my wife. She left it on the corner of the sofa over there."  This plays almost exactly like Bobby Jimmy's stock broker bit in his parody of Ice-T's "Colors" nearly a decade later.

Eventually the characters are talking over each other as the song devolves into chaos and it all wraps up in a weird sort of skit where Chase has walked out with everybody's stolen property.  I don't know if I'd say it's really actually funny, but it's amusing and easily the best thing about Chevy Chase.  I don't recommend the album, but if you're the kind of person who likes to mix a few quirky options into your crates, the 12" isn't terribly rare or hard to find, so it could make a fun, cheap score for the holiday.

Saturday, March 21, 2020

Anybody Remember Illa-Dapted?

Illa-Dapted was a cutting edge Bay Area group from the 90s and early 2000s.  It consisted of MCs Elyoptics (who also released a couple solo projects), Tendai, Pic Riley a.k.a. Pic-Vicious, DJ BullShit and producer Froilan Ramos.  A bio on their long-dead website contains a particularly apt description, "While their urban contemporaries comment on the harsh realities  of inner-city life and provide escape through “ghetto fabulous” fantasies, Illa-dapted comments on the emotional vacancy and shallowness of mid-American life and capitalism." And what I've got for us today is a 2-song promo tape of theirs from around late '99, early 2000.

The first cut is "Unfortunately," as in: "unfortunately, the world's full of people like me - frightening!  We live with no apologies!"  And while most of their music was produced "in house" by Froilan, this particular one was produced by Anticon's Matth.  The instrumental is dominated by a metal guitar riff; but the loop is so short, it no longer resembles a rock song and plays more like a gritty bassline.  The drums are being smashed as hard as they can, and it's all off-set by a subtle, repeating ringtone-like sound.  And the lyrics are pretty slick.  "Who could get us in?  I'm with the right crowd right now; I could get us in and no shame, we're perfectly sane.  I could get us some ill shit to smoke for the ride down, and I could get us out the small frame we're stuck in.  Fuck it, I could get us through the flames without burning our brains.  I could get us all paid without workin' all day.  I could get us to get and stop gettin' words in the way; and I could get us livin' when it's all gray.  But I think we're paranoid..."  Finally BullShit gets on at the end for some swift flare scratches.

The B-side is called "Mainy," and it's definitely calmer with Ramos back behind the boards and a decidedly more west coast feel.  Even the accents sound more pronounced.  "It's lookin' lovely; it's lookin' ugly.  Got my mind on somethin' mainy, somethin' mainy on my mind."  It's a bit of a nostalgic trip just to hear the term "mainy" being used on a record again.  This one's got a smoothed out playalistic vibe to it, though lyrically, of course, they're up to something deeper.  "It's good to suffer every now and then, 'cause taken in moderation, pain is a medicine.  And since I know the pain, and Hip-Hop's my Novocaine, see rainbows every day as I walk in that acid rain.  I rap for fame with the mentality of a dick, I'm here to fuck the world since life is just a bitch.  I must admit my clinical depression's in my cynical expression with subliminal suggestions."  I think they were looking to take some mainstream heads by surprise with this one.

Illa-dapted were pretty prolific for a while there, but it's been a good fifteen years since we've heard anything from them.  I think they were pretty well respected in their scene but never really broke out to audiences outside their niche.  Anyway, this is a pretty rare tape, but if you feel you must have this, don't stress.  Both songs wound up being included on their 2002 album, Youthful Indiscretion, with a bunch of other great songs, including one produced by Vrse Murphy.  "Mainy," was even pressed as a vinyl single.  And both of those are much easier to come by, so if you missed out on these guys the first time around, it's not too late.

Wednesday, March 11, 2020

ATL To the 2nd Power

I'm in a nostalgic mood tonight, so I went digging through my tape collection to find something I haven't listened to in ages.  Preferably something that never gets written about online either, so I'd also have something good to blog about.  And I landed on 2nd Power's sole album, Da Soul Man from 1991 on WRAP/ Ichiban Records.  Their whole history's been pretty much slept on... perfect!  This'll be fun and educational.

Like I said, this album came out in 1991, but you know WRAP/ Ichiban.  They liked to scoop up indie artists that are already making noise and give them broader distribution.  They weren't great about marketing and pushing their artists into the big leagues, but they'd buy some half-page Source ads and get your tape stocked across the malls of America.

So yeah, then as you can guess, 2nd Power first came out with an indie single.  It was called "Don't Rush My Beat" on a little label in Georgia called So Low Records in 1989.  That's the one with the orange label.  So Low repressed it with a yellow label in 1990.  Either way, it's a fun, hype bass track with an MC named Boxx getting busy with his DJ Reggie Reg.  It had fast, but stripped down 808 beats, energetic MCing and some nice cuts.

I think (though I'm just guessing) they were called 2nd Power because there was two of them, but by the time they came out with their Soul Man album, you can see their roster expanded.  One of them is a second rapper named Hype-One... and I believe the other two are the dancers T-Rock and B-Rock.  We'll circle back to them later, because on this album, I don't think they do much besides contribute to some shouty background vocals.  In fact, I'd say the group is still mainly the original pair, since Boxx gets sole writing credit on every single song and is clearly doing the bulk of the rapping on this album.  But Hype-One does pop up to kick some verses and he manages to keep up on some high bpm tracks, so let's not sell him too short.

Their production's pretty tight, too.  I suppose credit is to be shared between 2nd Power themselves and a trio called Ain't It Bunky Productions, made up of Rock, G-Man and La Paco.  Their liner notes are a little unclear about exactly who did what, but Bunky and Power were working together before WRAP/ Ichiban and continued on with each other after, so I like to imagine it was a fairly loose, family affair.

Now, I don't know if it was the group's idea to try and prove their versatility, or (more likely IMHO) the label pushing them to expand in more commercial directions, but Da Soul Man weakens itself by trying to offer a little bit of everything.  They delve into street tales on "Livin' Like a Gangsta" and "People B Trippin," and sexy/ sappy love balladry on "Private Freak."  And every time they try that, they come up short.  Like the beat to "Livin' Like a Gangsta" is still okay, but these guys don't exactly stack up alongside the masters like CMW.  Songs like "Make It Fonkay" and the title cut have some fresh break-downs but the lyrics just feel like they were written to fill the space.

But fortunately, there's more material that sticks to their core strengths.  "Get Busy" has the two MCs exchanging verses on a hype track with Reggie Reg stealing the show with some slick turntablism, and "Funkay Drunk Ghetto Bass" relies a little too heavily on Luke-style shout & call responses for my tastes, but it lives up to its title.  They only came out with one more single through WRAP/ Ichiban, "People," which doesn't quite click, mixing P-Funk with smoother new jack swing vibes and unengaging rhymes.

And that was it for 2nd Power... technically.  But in 1993, an Atlanta group called Zone 4 dropped a single called "Drop That Pussy" on Pot Belly Records.  Who were Zone 4?  Why just Boxx, T-Rock and B-Rock with DJ Reggie Reg and co-production from Ain't It Bunky's Rock.  Plus a new guy called Money Mose.  It's presumably inspired by "Pop That Pussy," but this one's a little harder.  Then, in 1995, Boxx changed his handle to T-Mac (not to be confused with the T-Mac that's down with Indo G), and dropped another album with Ichiban called T-Mac and the P-Squad.  This time it's more blandly generic booty music; they that single "Jig-A-Loosie:" "come on, come one, come on, jig-a-loosie!  Come on, come one, come on, jig-a-loosie!  Come on, come one, come on, jig-a-loosie!  Git git git jig-a-loosie!"  And it's noteworthy that the squad seemed to consist primarily of a new partner named Krazy T and, you guessed it, DJ Reggie Reg.

So, yeah.  Even though there was just the one 2nd Power album, their legacy continued.  Reggie Reg also produced a couple other ATL artists, like Creep Dog and the G Boyz.  Anyway, Da Soul Man's pretty decent.  It's something you're probably going to want to skip around rather than play all the way through, but there's some really fun stuff on here.  I enjoyed my evening diving back in.

Tuesday, February 25, 2020

File Under NJ Deep Cuts: Scott Lark Meets PRT

Okay, I was feeling lazy today.  I wanted to go back and listen to a Poor Righteous Teachers song without actually getting up and fetching the record.  So I searched it up online, and it doesn't appear to be anywhere on the 'net.  I mean, there's a listing for it on discogs, the 12" is for sale on a few online shops, and of course it's listed on my PRT page.  But not only does the music not seem to be available anywhere, but there's virtually no information out there about it, including the fact that it's a rare Scott Lark guest spot.  Well, I guess this is the exact kind of situation I started the site for, so hey world, let me tell you about this record.

"Save Me" b/w "Dangerous" is PRT's last record together (Wise Intelligent is, of course, still very active solo), having come out in 2001 on Fully Blown.  Or maybe that should be "Dangerous" b/w "Save Me," since if you look closely at the label scanned above, the "Save Me" side is marked both Side A (on the left) and Side B (at the top).  That's not the only error on the label either (the also list the Street version as Clean and vice versa).  Anyway, "Save Me" / "Dangerous" is the Teachers' only record for them, but Fully Blown was a nice, albeit short lived little label, having put out collectible singles by artists like Chubb Rock, Paula Perry, Prince Po and was responsible for pretty much Scoob Lover's entire post-Big Daddy Kane career.  Throw in the fact that I like this substantially more than PRT's previous indie single on Exit 7A, and yeah, Fully Blown was good stuff.

One thing that might be helping this rise above their 7A stuff is that it's entirely written and produced by PRT, whereas their previous indie material was often credited to unknowns like Mr. Mims and Masada.  Admittedly, you might've spotted The Almighty Scratch Devastator Lyvio G.'s name on the label, but he's just listed as an Executive Producer, which I think just relates his connection to the label overall rather than any musical involvement in the song itself.  Besides the main "Produced and Written by Poor Righteous Teachers" credit, those proper names under the song title are the three members of PRT.  Of course, one would assume that Scott Lark wrote his own verse, so who knows.  I doubt anybody's getting screwed out of bajillions in royalties here no matter how it breaks down.

So yeah, "Save Me."  This definitely sounds like it's from 2001 alright, with this kind of smooth studio pop sound and Culture Freedom's verse especially sounding rather Bad Boy inspired.  And I know, that probably sounds like the last thing you want to hear about a PRT record.  On paper, it's a left-handed compliment, but as a one-off, they make it work for them surprisingly well.  They way each verse rides the rhythm is super catchy, and everybody's wordplay is clever without being saddled with dated punchlines.  Plus, the hook is this brilliant vocal sample loop of Olive Oyl from the Popeye cartoons crying out for help that adds a real, classic/ quirky 45 King element to the song. No, it's not as great as their classic Profile singles, but it's honestly pretty dope.

And Scott Lark has the freshest verse of all, which is saying something, because Wise Intelligent very rarely gets shown up by anybody on a record.  It's all silly lyric bending, with the focus on sounding good rather than saying anything particularly witty or insightful: "bananas, I kick ill stanzas in my pajamas."  That's just the playful nature of the song, and it's hard to be mad at hearing the Teachers cut loose and having a little fun for once.  There's also an uncredited female MC on here (I mean, both guests are uncredited, but I know Scott Lark when I hear him), who probably comes weakest of the bunch, but she still holds up her portion of the song well enough.  If anybody has any idea who that is, please comment; I'd love to know.

Anyway, flip this over and we get another nice one: "Dangerous," which lets them bring back their reggae side.  It's got a more natural sounding instrumental, a sung chorus, and Wise Intelligent deftly bouncing billions of syllables.  If "Save Me" was an amusing excursion, this feels more comfortably at home in the Teachers' wheelhouse.  Who else could reference Amadou Diallo while spitting game to a girl?  It all makes you wish they'd managed to get that Declaration of Independence album they'd been working on out there (were these two songs meant to have been on it, or were they recorded exclusively for Fully Blown? I have no idea), if only to prove they could still do it even without Profile's backing.  And maybe Scott would've received some more shine if his name was actually printed on the jacket credits of an album that made its way into peoples' homes.  Oh well.  That's indie record collecting for ya.  At least this neat little 12" is out there and inexpensive.

Monday, February 10, 2020

It's Already February and I Haven't Written About Father MC Yet?!

Sure, I've already made a post for every single Father MC 12" single there is - all seventeen(!) of 'em.  But that doesn't mean there aren't more 12" singles out there that dedicated Father MC fans ("fathns?" We're still work-shopping it) need in our collections.  In fact, here's one from 1993, which would place it right in Father's final stage as an MCA/ Uptown artist, when he was in his "player" mode, though this particular record's on Ruffhouse/ Columbia and he's actually rhyming more from the perspective of his previous albums, as an earnest lover.  The song is called "Innocent Girl" by Four Sure, the lead single off of their sole album, We Can Swing It.

Yeah, the main motivator for me to buy their tape back in the day was Father MC's appearance, but there's a good chance I would've come around to it anyway, because in 1993, I was eating all that new jack swing R&B stuff up.  And Four Sure were pretty good.  It's funny, if you look 'em up on discogs (they're not even on wikipedia), they only list three members, but obviously they're a four-man group.  Look at their covers, look at their name, come on.  So the complete line-up is actually Joey Elias, Carlos "Budd" Ford, Livio "Anthony" Harris and Rudy Rude, and what's interesting about these guys is that they actually wrote and produced most of their own stuff.

So, real quick about the rest of their album.  Not bad.  They definitely excelled more at the upbeat new jack swing material than the sappier, pure R&B ballad stuff, which just played a little dull.  Like "Try and Find a Way," their only other single, just lacks the passion to get off the ground.  But their ragga intro track "Rough and Wicked" and their title track, which features the only other guest rapper, Def Jef, are pretty fresh.  These guys were at their best singing over hard breakbeats not smoothed out synths.

And "Innocent Girl?"  Well, it's kinda both.  Nice beats and Casio keyboards.  The riff on the chorus is both catchy and cheesy at the same time.  The breakdown's dope, but it was probably too middle-of-the-road to be their introduction to the world.  I mean, I was interested in it as another Father MC vehicle, but it makes the group feel pretty forgettable.  Budd takes the lead vocals, which are nice but unexciting, and the group comes together for the chorus, but they never get the chance to really belt it out or show off any particularly impressive vocal talents.

The song's just about compelling a girl who's "innocent" to take a chance on love.  The music video had a hot model in a bathing suit on a beach wearing glasses and reading a book.  For some reason, the hook said "she wants to rock my world," despite the whole point of the rest of the song seemingly being the exact opposite.  She won't rock Budd's world but he really wants her to.  I'm guessing I've already thought more about this than they ever did.  But then the beat breaks down and Father comes in over tougher part of the track with a contrarian view:

"Well, I'm the love daddy, Father MC,
Here to speak about this L-A-D-I-E.
You wanna know: do I kiss on the thigh?
I said yes I do, but you, hmm, I pass by.
You try to play innocent but I know ya flavor,
I know your whole style and your gimmick as a player.
You wanna seem to be Ms. Nice, but ya fallin',
Your day is here, so prepare to start crawlin'.

What you to do others ain't funny.
I know you ain't pleasin', to me you're teasin', my money.

My sista, can I get a witness?
Strictly for the business, playin' innocent is a sickness."

Now, okay, I know the line "your day is here, so prepare to start crawlin'" is a little too hostile to fall under "romantic."  But that aside, seeing Father come from the PoV as a victim of a woman who's dishonest with his feelings, rather than the uber-pimp fantasy of the ultimate player of women, definitely feels like a return to the more interesting 1991 Father MC.  Of course, the ideal would be a return to the 1988 Stupid Fresh Father MC, but 1991 Father is my second choice.  Not that I'm holding this up as some great verse, don't get me wrong.  It's full of flavor-of-the-month pop slang that sounded dated even when they were current, a cowardly attempt to reference oral sex without actually saying it, and that embarrassing spelling error could rival Warren G's infamous "What's next, what's N-X-E-T?"  But it's still the best part of the song, where it finally wakes up from aits saccharine slumber.

But fortunately, this isn't the whole story.  The 12" has remixes, including one that yes, is superior to the main one in the video and on the album.  Specifically, there are five mixes.  The A-side is your basic stuff: Album, Radio and Instrumental.  The B-side is where it gets interesting.  There's the "Somethin' 4 the People (Innocent Girl Club Mix)" and the "Hip-Hop Mellow Mix."  Well, it says "Mellow Mix" on the sleeve, and "Yellow Mix" on the label, but I assume "Mellow Mix" is correct.  Anyway, the "Mellow/ Yellow" mix is just a shorter edit of the Club Mix that removes Father MC's verse, so we can forget all about that one.

Somethin' For the People were an R&B/ New Jack Swing group that actually have had a much longer career than Four Sure did, and they produced a couple of songs on We Can Swing It (though Four Sure produced the original version of "Innocent Girl" themselves).  And this mix is much funkier, using the classic JB's bassline from "Soul Clap," "Fudge Pudge" and plenty of other bangers ...though for some reason, the example that always pops first into my mind is The Redhead Kingpin's "Dave and Kwamé."  It's more of a genuinely Hip-Hop track than the very 90's R&B original, with the R&B verses spaced further out over the longer, sparser track.  And yes, Father sounds better over it.  There's even a cool piano solo at the end.  I only wish Four Sure had changed up their vocals to go with the track - maybe even tried their hand at rapping - since their parts clash.  But if you just play the second half of the song, it sounds like a proper Father MC record; and in the end, isn't that what we really want?

Friday, January 31, 2020

Bad Rap?

Today I watched Bad Rap, a 2016 crowd-funded "feature documentary about the obstacles and successes of Asian-American rappers."  It starts out with a little history... Yes, they briefly summarize Jin and The Mountain Brothers, but they never even mention Fresh Kid Ice, Lyrics Born, Dragons of Edin, Key Kool or any of those Up Above cats, let alone Hip-Hop artists in Asia who've broken out here like DJ Honda or DJ Krush.  And it would be perfectly fine that their backstory was just so short that they breezed over most of the important figures, but their point was that the two or three artists they did name were all there was, as if they'd just thoroughly covered all there was to know.  So it got my back up that they were skipping over so much.  I mean, say what you want about Fresh Kid Ice, but 2 Live Crew were larger than all the guys they discussed put together.  A history of Asian-American rappers that doesn't seem to have even heard of the world's most famous Asian-American rapper?  Weak.  But you already knew I was gonna get hung up on this part, right?  Really, it's a small matter, because that part of the film turns out to be there only to serve as an introduction.

Because the film quickly devolves into a reality TV-style show where we follow four up and coming unknowns where we're asked to pick who to root for.  They only missed one trick by having them training for an "ultimate rap battle" that squares them off as the climax of the movie.  They get close, though, as we follow one of them through a tedious battle rap tournament that grinds the film to a halt for almost half an hour.  There are a couple interesting, genuine seeming moments, like one rapper struggling to convince models to sexualize themselves in his music video, or another who seems to find more success making cooking videos from his apartment.  There's a section where they show their four rappers to some prominent industry people, like Ebro and Riggs Morales, and they mostly seemed to be sincere and give legit criticism.
What'll make this doc of interest to most people today, though, is that one of those unknowns did break out and become a big celebrity - Awkwafina.  Even though this is only four years old (though I'm guessing most of this was shot at least a couple years earlier), it's already a historical artifact: pre-Crazy Rich Asians, Oceans 8, Comedy Central and all that, where we find her performing in local clubs and just starting to get noticed with Youtube videos.  On Netflix, they've changed their thumbnail to a giant close-up of her, even though her role's actually probably a little bit smaller than several of the other unknowns.  She's really a secondary character, even in terms of screen time; so if you're just coming to this as an Awkwafina fan, you're going to be disappointed.

Overall, the doc's pretty short and seems to end kind of arbitrarily.  I definitely would've been more interested if they just expanded the opening history into a full, rich discussion of the legacy and challenges facing Asian MCs, instead of trying to turn it into another sports-style "pick your favorite" doc.  But even if you dig that kind of thing, it gets meandering and sluggish with low stakes and zero tension.  Had the filmmakers kept rolling until after Awkwafina turned into a pop star and could've included that, they would've had more to work with.  Instead, this is the rise and fall of four aspiring rappers who never really rise or fall.

They also never explain why the film is called "Bad Rap."  It's tempting to make the crack that they're just telling on themselves; but to be fair, I wouldn't say any of these rappers are bad (leaving the jury out on how you feel about Awkwafina's skills, since she's clearly aiming for easy-to-follow joke songs).  I guess they mean it in the sense of Asian rappers consistently getting a bad reputation.  But that doesn't actually seem like the picture they've painted?  The movie presents them as being overlooked and ignored, but not exactly treated like hoods or whatever. 

So yeah, Bad Rap is streaming on Netflix.  It's on some other services, too, like Amazon Prime and Youtube, but for a fee.  If you really like the film, it's worth looking into the physical release, since that includes exclusive extras like deleted scenes and extended interview clips.  There are DVD and blu-ray options, though they're both Made On Demand burnt discs, which have shorter shelf lives and have trouble working with certain players.  Still, the blu is definitely the ideal option.  But that's only if you feel like this film is worth it, which I can't say it was for me.

Wednesday, January 29, 2020

Natural Elements' 1999, Give Or Take a Few

Hey, remember when Natural Elements were finally releasing their long-shelved Tommy Boy album on vinyl for its tenth anniversary through Traffic Entertainment?  And then Traffic dropped out, and they wound up releasing a CD-only version that included about two thirds of the album and filled the rest with a bizarre, patchwork mix of older material?  Well, now it's their twentieth anniversary and they're here to do it  It's still kinda screwy.  But they've made genuine improvements.  It's definitely good news overall.

So let's start on the positive side.  1999: 20 Year Anniversary is on vinyl!  Yes, you can now finally, after all these years, get these songs on wax.  A double LP even.  And it comes in a cool gatefold cover, and if you really want to splurge, you can order the more limited colored vinyl options.  Specifically, there are 100 copies pressed on three striped color vinyl, 100 pressed on blue, white (white) and orange splatter vinyl (the stripes are the same three colors), and another 300 on your basic black.  Oh and there's also a CD version.

Now let's step into the disappointing... it's still mostly the same weird track-listing they made for the tenth anniversary CD, where they leave off several of the still unreleased Tommy Boy songs and fill that space with their most common, greatest hits material most NE fans already have (the credit in the liner notes saying, "all tracks recorded in NYC in 1999" is just wrong).  And the ones that don't could get them if they chose, unlike the still unreleased songs, which none of us can get.

But I said "mostly," because they did make an interesting change or two.  First of all, they've re-arranged the track-listing to put the intro back at the beginning, a nice little correction of the tenth anniversary, which curiously stuck it at the end.  But more critically, they've taken off the song "MTV (More Than Vocals)" and replaced it with the never officially released "Life Ain't Fair."  To be clear, this is the original version with the hook sung by Bridge that I first wrote about in my article for Hip Hop Connection and that wound up on that hard to find bootleg with the Truck Turner songs.  This is not the version Chopped Herring gave a proper release to on the first of their amazing Demo EPs.

This is a strange decision, which on the scales I suppose leans more to the pro than the con, but could've easily been a lot more pro.  This is the first official release of that "Life Ain't Fair," and it's on vinyl, so that's pretty sweet.  And taking "MTV" off makes sense, since it was never intended to be on that Tommy Boy album (it was recorded years later).  But "MTV" has never been released on vinyl, and it would've been nice to get it on wax now, even if it's not really a proper 1999 track.  After all, about a third of what's on here, including "Life Ain't Fair," isn't a proper 1999 track.  And again, there are plenty of songs on here that have been readily available on vinyl already for decades that they could've swapped off instead.  "Bust Mine" or "Paper Chase," for example, are super easy to find on 12", nice and inexpensive, and they weren't from 1999 either.  With that said, though, since "MTV" was at least on the CD, and "Life Ain't Fair" has never seen a proper release, I do prefer getting "Life" to "MTV."  It's a change for the better.  It's just a Sophie's Choice we shouldn't have had to make.

But don't let my criticisms land too hard.  A new double-LP of incredible Natural Elements music, most of which has never been released on vinyl before?  That's awesome news and everyone reading this should cop it.  I just wish they had the courage not to buoy these up with their greatest hits.  They definitely don't need to, and it means those last six songs from their 1999 Tommy Boy album are still abandoned in the vault.  Of course... just one more, little wafer-thin 12" EP could fix all that for all time, and we fans would gobble it up.  Just sayin'.  😉

Tuesday, January 21, 2020

The Fat Boys' Hardest Gangsta Raps

(I hate when critics of Hip-Hop lay "Cop Killer" on our doorstep.  That's a heavy metal song on a heavy metal album by a heavy metal band.  I don't listen to that noise!  But, to be fair, it's not like we haven't got a few violent gangster tales of our own... like these, told by The Fat Boys.  Youtube version is here.)

Friday, January 10, 2020

U521 - The Comeback Of the Decade, and More!

You might say that "the comeback of the decade" is a pretty left-handed compliment to throw at somebody on January 10th, 2020.  Well, allow me to be "that guy" for just long enough to point out that there was no year 0 in our calendar, so the decade doesn't roll over until next January.  So me declaring somebody just made the comeback of the decade, I'm talking about on the last ten years, not ten days.  Or, to put it in a less irritatingly nerdy way, hell yeah, I'm excited about this!  Just who's back?  Unique!

Just a couple months ago, I wrote about how DWG had unearthed and released a little bit more from Unique's vault of lost recordings.  It had been a long time since they first brought him back into the scene.  And I guess now in retrospect, the timing was because Unique was planning this all along.  Maybe/ maybe not, but it's all good news for Hip-Hop fans regardless.  First we get more vintage 80's material, and now we get all new music from him!

"Lyrical Assault" is a 2-song 7" from Hip Hop Be Bop Records, the same label that brought us the equally dramatic returns of Silver Fox and Sugar Bear.  And thankfully, producer Clandest does as good a job of capturing the spirit of the original artist as he did on those previous efforts.  It doesn't quite have the polished, 80s vibe of his earlier material, the main loop of "Lyrical Assault" feels has more of an indie 90s vibe, but it still suits Unique to a tee.  And the man himself?  He definitely has a raspier voice, but otherwise, hasn't skipped a beat, in his lyrical styling or delivery, since '88.  He certainly sounds older, but when he hits the line, "hold your ear, I'ma press the detonator, creepin' like a sniper, sorta like a terminator," this is unquestionably our Unique, just like he never left us.

"I'm a Always Shine" is a bit slower, but has the best scratches (as always, by DJ Credit One).  Except for his smoker's voice, "Lyrical Assault" sounds like a song he would've recorded for his classic, essentially unreleased '89 album.  And this sounds like the slightly more relaxed and mature kind of song he would've recorded for a second album in 1990.  Like, to put it in Kool G Rap terms, the A-side is from his "Men At Work" phase and the B-side comes out of his "Bad To the Bone" era.

This is a 45 7" (as I recall, the Sugar Bear was 33 1/3) and as you can see, comes in a picture cover designed, like the interior label, to match the classic New Day color scheme of his original 12"s. I'm not sure what the exact numbers are, but according to the HHBB's site, "limited press photos included while stocks last, some signed by Unique."  So if you're interested in bonus swag, you might want to jump on this sooner than later.  And while you're at it, Hip Hop Be Bop has another new record for you at the same time.

05:21's "Without Warning" represents HHBB's first release by a contemporary artist.  In fact, even by contemporary standards, they're kinda brand new.  05:21 is a UK duo comprised of MCs Koba Kane and T1 Vega.  This is their first physical release, and their "debut single" online seems to've just been released three months ago.  So yeah, they may as well have just popped out of nowhere, though they are managed by Blade (because T1's his son).  Blade's an MC with a deep history, dropping his first single back in 1988 and making albums ever since.  But I'm definitely not as up on my UK Hip-Hop as I should be... I think the only records I actually have of his are a Herbaliser appearance or two.  Maybe that'll be my homework after this post, to track down at least one of his early records.  But anyway, management isn't generally up there with writer or producer in terms of being a strong creative influence, so I'm not sure it's even particularly relevant here.  Like, Professor X used to manage Positive K, but "Quarter Gram Pam" sounds nothing like an X-Clan record.  So let's just take these guys on their own.

This one's just the one song, not produced by Clandest but by somebody named Sinikal (who also does his own scratching).  The 05:21 guys have pretty strong, aggressive flows and deliver well constructed rhymes at a steady pace.  Despite being new, you can hear a lot of the sensibilities of their old school label-mates in how they attack the mic.  I don't know if they're deliberately taking an influence from them or if HHBB picked 'em because they fit in with the rest of their roster despite the different generation.  Either way, it means if you've liked their previous singles, you should be happy with this one; they just don't come with the established reputations of the other artists' legacies.  Not that I'd quite put them on the level of a Silver Fox; these guys get a bit silly with their nonstop "like a" similes, but for 05:21, the emphasis seems to be more on their impressive deliveries than whatever freestyle lyrics they happen to be spitting.  Instrumentally, my only criticism is that the main twangy loop is mixed a little too loud over the break and vocals.  I would've liked it a little more subtle, but it still works, and the cuts have a slick DJ Premier feel when they come in for the hook.

Like the Unique single, "Without Warning" is a 45 7" in a picture cover, with the instrumental on the B-side of this one.  You can just cop the Unique or 05:21 singles by themselves, but they take a few extra £s off if you order them together.  I have to admit, 05:21 is not one I would've selected for myself (having never heard of 'em and all) - unlike Unique who I'm thrilled over - but now that I've got 'em, I'm glad to have both, and I can't wait to see what Hip Hop Be Bop comes up with next!