Werner von Wallenrod's Humble, Little Hip-Hop Blog

The Lyrical One

2012-02-01T23:54:00.007-05:00

Papoose gets a lot of shit on the internet. Mostly because he tries to walk that fine line between backpacker and thugged out gangster, resulting in a lot of tough talk and attention-getting punchlines which are sometimes clever ("I serve my beef with shells like a fuckin' taco"), sometimes silly ("set fire to y'all ass like heated car seats") and sometimes.... just trying too hard ("If Kay give me the nine, then I'ma go squeeze off. That means I had K9 like a police dog").* ...Also because he gets in the news for doing stupid shit like this. Through it all, though, he maintains a consistent fanbase. After all, he has a mean flow if you don't scrutinize his lines too hard, and he can probably out rap most of his critics.

Plus, a lot of us heads still have this memory of the young, lyrical cat who made his debut on Kool G. Rap's underrated Roots of Evil album (to clear things up; there's no relation to the west coast Papoose who was down with Chunk years earlier). Unlike the 5 Family Click, who you knew G Rap put on only because he married into the family; Papoose and Jinx da Juvy were these two hardcore but lyrical younger cats who G Rap was bringing out like the next generation. Not that he was ever in any danger of them taking the crown, but they at least earned the right to sit by the throne. And it's that tiny place in history I go back to every time I revisit the only Papoose record I own, his debut.

"Thug Connection" dropped on Select Records in 1999 (this was right around the end of Select, when they signed one last small circle of underground MCs). At the time, he was going by the longer name, Papoose the Lyrical One, sort of like how AZ went by AZ the Visualiza on his first single. Maybe sharing that connection is what convinced AZ to appear on this track. Not really, I'm sure it was the fact that he and G Rap were working a lot together around that time, and he was appearing because he was also on this. So, you've got a hardcore, lyric flexing showcase track featuring Kool G Rap, AZ and produced by DR Period (for some reason, under the alias The Lab Kats)? Hell, even if Papoose was complete garbage, I'd own this record. But this is 90's Papoose; when he was a seriously respected MC, so this was a crate essential.

One gimmick came dangerously close to ruining the whole outing, though. And no, it's nothing corny Papoose says on the mic (in fact, he doesn't spit any bad punchlines and manages to show and prove here). The instrumental is a synth-heavy reworking of the theme song to that crazy 80's show, The A-Team. But you know what? It make be a little bit cheesy, but works. It's high energy, it hits pretty hard (despite being all synthy... a testament to whoever composed the original theme song), and it feels like an anthem - perfect for three MCs spitting with the specific intent to impress. And the cuts definitely help.

Considering Papoose's album never came out on Select (and, in fact, while he's still an active musician putting out music; he's yet to drop a debut album), it's great to these tracks on vinyl, and not just tucked away on a crappy mix-tape blended into other shit. You get Clean, TV Track (instrumental with ad-libs) and most importantly the untampered with Dirty Version.

Then, flip it over, and you've got Main and TV Tracks of "Alphabetical Slaughter," also produced by DR, er... The Lab Kats. This one doesn't hold up so well for me, but it seems to be generally considered his masterpiece amongst his fans. It's reasonably clever; he raps his way through the alphabet, using words that start with A for a few lines, then B, and so on... Naturally, he skimps on letters like Q, X, Y and Z. His flow is nice, but when you look past the gimmick, the lyrics are empty, plus we've all seen this alphabet schtick done several times before, and it's nowhere near as smart as "Vowel Movement," or even as catchy as KMC Kru's "Alphabet Rhyme." The beat just feels like a heavily watered down version of "Broken Language" ... those Nexx Level cats tried to recapture that lightning in a bottle a bunch of times, but they should have just let it go. Still, though, it's not bad - Papoose's flow saves it. But I'd rather just lift the needle up and restart the A-side again than flip this over to the B-side.

So, I don't know if I'd go so far as to fuck with his other records, or his seemingly never-ending saga of mixtapes; but I definitely recommend going back and giving this one a listen. It's a fun one.

*I just grabbed all those lines from his "Otis" remix.

Juice Crew Thugs

2012-01-31T05:07:00.002-05:00

(Youtube version is here.)

Meet Mood At the Lounge

2012-01-25T02:12:00.004-05:00

The vaults of Cincinnati's Mood are truly bottomless! Some time ago, I blogged about a demo or two of theirs that was full of unreleased tracks. Then, a demo appeared online (also referred to in that last link) with other unreleased Mood tracks that weren't on the ones I had. And now they've come out with a new vinyl release featuring two more previously unreleased tracks that no one'd ever heard before. It's like a magician's hat; no matter how much they pull out, there's still more!

So, what is this release exactly? Well, it's sort of a repress of their first two 12"s. See, their debut 12" in 1994 was "Verbal Stampede" b/w "Hustle On the Side" on their own label, Below Zero Records. Both of those songs are repressed on here, as well as the remix of "Verbal Slaughter," which was also on the original 12". They dumped the Edited versions, to which I say "good riddance," but they also dumped the Instrumentals, which is a little disappointing... but only until you hear what they took them off to make room for.

Mood's second 12", from 1995 and their only other release on Below Zero, was a remix of their original B-side, "Hustle On the Side." This was the debut production of DJ Hi-Tek, producer for Kweli/ Reflection Eternal. And yep, they've included that mix on this record as well.

But this 12" isn't just a repress - even a pretty sweet one that cherry picks their first two singles - it also features two previously unreleased tracks from those aforementioned vaults: "Can't Fuck With My Crew" and "Not Goin' Pop." And everything is up to par. If you dig Doom's style, you'll definitely dig the stuff you haven't heard... creative, backpackery lyrics and jazzy, moody samples over traditional, boom-bap drums. Everything except the Hi-Tek remix is produced by Doom's own Jahson.

The price of entry will surely disappoint some fans ($40)... You all know the limited game by now. So you'll have to decide just how big a Mood fan you are. But, if you are that Mood fan, your expectations will be fully met. And they also didn't skimp on the presentation. When you order, you have your choice of marbleized green, orange or classic black wax. It comes in a tight picture cover, it's hand-numbered (mine's 72 of a total 250 pressed), and it's even signed by Donté. The sound quality is excellent, all remastered from the original recordings. This is the third record on the GoodFelons label, following Roc Marciano's EP and Labtekwon; and can be ordered here. It's a first class release all the way - these guys do good work.

This Whole Enterrpise Is BONE'd

2012-01-23T03:25:00.008-05:00

The release of lost rap music and shelved hip-hop demos didn't start with Freestyle Records and the current limited scene. Thankfully, there have long been the few, dedicated individuals determined to see vaulted art see the light of day... or at least cash in on a sudden explosion of popularity by a previously unregarded group. The latter was probably the case in today's instance, but whatever the motives, the results are the same for us listeners - old, forgotten music finally sees the light of day.

In 1994, the difficultly named B.O.N.E. Thugs-N-Harmony exploded on the scene through Eazy-E and Ruthless Records. They just came out of seemingly nowhere to become one of those break-out popular sensations that suddenly became inescapable in the media. But, of course, they didn't actually come out of nowhere. They came out of Cleveland, where they'd been recording music and trying to find the attention they eventually achieved in spades. The instant success of their hit single "Thuggish Ruggish Bone" and debut EP Creepin' On ah Come Up convinced Eazy to immediately push them back into the studio to record and get a full-length album out in stores. But he wasn't the only person convinced of the wisdom in getting a B.O.N.E. album out in stores.

So the same year that brought us E. Eternal and the even huger single, "1st Of tha Month" also brought us a strange, independent album (Stoney Burke Records) called Faces of Death by BONE Enterprise. BONE Enterprise was B.O.N.E. Thugs-N-Harmony before they went to Compton and developed the sound that hooked so many fans - the unique blend of fast raps, hard g-funk tracks and some old school harmonizing thrown in. On Faces of Death, you still get some fast raps and some harmonizing, but it's not at all mixed with that Compton sound. Instead, the production is handled by... Cleveland guys you've never heard of, except Archie Blaine, who did a couple tracks. Hardcore BONE fans may know him because he stuck with the group and did a few things after they got popular. But otherwise, it's all pretty random and low budget.

For the most part, that means, yes, you get cheap, inferior stuff that fails to live up to the Ruthless Records material everybody was loving. Many fans were surely disappointed. But it also meant you got some interesting experiments and compelling bits you couldn't find on their more official releases. So we got some at least interesting failures (that's more than you can say for a lot of artists already), plus a couple genuinely dope moments.

We also get one less member. See how there's only four guys on the album cover? This album was recorded before Flesh was down, so the line-up was just Krayzie Bone (Leather Face), Layzie Bone (#1 Assassin), Bizzy Bone (Rest In Peace) and Wi$h Bone (Strate Jacket!). Yeah, they all had Gravediggaz-style nicks. Anyway, I think that may be why Flesh has the most contrived "Bone" name (Flesh-N-Bone, how awkward): because he wasn't originally part of the concept, so they had to shoe-horn him in later.

Perhaps the most interesting element here is the reggae vibe that gets incorporated into a number of the songs, both instrumentally and occasionally even in the vocals. Sometimes there's reggae style percussion, sometimes there are soft (as in mixed low) James Brown samples. The subject matter ranges from sex songs to a downright horrorcore track called "Hell Sent," which starts out using the Phantasm theme and winds up with them singing a silly yet familiar "Murder, Murder" hook - it's fun in a very campy sort of way:

"Sold my soul to the devil,
But I changed my mind; now I want it back.
But he won't cooperate, so now it's time to jack.
Called RIP and Strate Jacket,
Number One Assassin is fully strapped.
We bailed through hell in khakis, locs, and black skully caps.
So Satan called his posse full of demons and witches,
We met up at the Abyss ready to slaughter the bitches, yo.
But wouldn't you know, Satan went out like a sucka;
So I left a message in blood: 'to be continued, motherfucka'!"

That might almost be too jokey to even be considered horrorcore, though other verses are a little more straight-forward. But the highlight of the album is surely "Flow Motion," which showcase their fast rap abilities over a fun, if very un-BONE-like track featuring reggae-style percussion and the loop from Candyman's "Melt In Your Mouth." In fact, supposedly, this is the track that got them signed to Ruthless. Disappointingly, however, it's a Clean, edited version. The rest of the album is dirty (at some points, very dirty); but this one track - the best one - is censored. :(

It looks like we can largely thank a rapper named K-Chill for this release. He's executive producer, a featured artist (you hear him briefly on "Everyday Thang") and he even did the graphic layout. The liner notes even make sure to point out that his other albums, Get Ya Funky Off and Chill Factor, are also available. K-Chill has stuck around in the game, and even worked with the guys after they signed with Ruthless. Here's his myspace.

There's no LP of this, only cassettes and CDs, but like the limited game of day, that often puts out black and limited colored vinyl pressings, this was available on cassette in standard clear plastic, and (pictured) limited red. A lot of this album is forgettable; but the highlights should work for BONE fans, and maybe even people who don't like BONE because of their Compton, gangsta rap influences. I mean, yeah, there's a song here that clearly owes a lot to NWA; but this definitely doesn't feature the slow g-funk of their famous stuff. It's more conventional, which for some people is probably a good thing. It's like BONE Lite.

Bring Me a Shrubbery!

2012-01-20T03:21:00.007-05:00

You may remember a time, back in 1994, when a label called Wrap/Ichiban, home of artists like MC Breed, Kilo and Success-N-Effect made a major bid to bring the old school back to the new. They signed and put out brand new albums by The Fearless Four, Kool Moe Dee, Kwamé, MC Madness (as in "DJ Magic Mike and _________"), Doctor Ice. MC Shy D... they even threw their own MC Breed into the mix, giving him the signature white on orange spined release, since it had been a while since he'd had a hit. And the flagship group of this short-lived movement was The Treacherous Three.

They were the flagship in that they were pretty much the first, and easily the most heavily-promoted. I've read recent interviews, where members of T3 (as Ichiban liked to abbreviate them) complained that their album flopped because of poor promotion, but they actually got a pretty good deal: big ads in The Source, press interviews, etc. I mean, it may not've been the kind of promotion Def Jam gives Jay-Z with giant subway billboards and big endorsement deals. But compare what T3 got to all the other old schoolers on Wrap, who you usually found out about by being surprised to see them in the store ("MC Madness? Could this be that MC Madness?") and these guys were super stars.

They squandered a lot of that by making their big, lead single a remake of their classic "Heartbeat" called "The New Heartbeat" which used the same beat, hook, and many of the same lyrics... it was so similar, it was downright pointless. And maybe, for most not-terribly0interested fans, that's about where it ended. A pointless single and a lackluster album. But there was another single that snaked out, like most singles by most of these guys, completely unheralded 12" that most heads - including serious fans of the artists who would've been quite interested - didn't find out until they started popping up as bargain bin listings on the internet many years later. And in the Treacherous Three's case, it included an exclusive shrubbery.

Now, the single was for a not-particularly exciting album track called "We Come Phat." The deliveries are very old school, pass the mic back and forth mid-sentence kind of party rhymes. It appeared early on the album and was a nice sign that these guys weren't going to try and copy the latest gangster rappers or whatever other trends they could latch on to; they were going to be the same Treacherous Three we remembered from ten years ago. But it was just meh. It featured vocal sample from The Fat Albert Show, and the main loop that Nice N Smooth used on "Early To Rise," but flipped into a duller mix... with live bass, apparently, by Jimmy O'Neil. I don't even hear any additional bass, though. I guess they're replicating the main loop instead of sampling it, which might help explain why it doesn't sound as good as it did for Nice N Smooth. This is no "Action;" the production almost seems determined to counter-act the effort the MCs are making to inject energy into the song.

And for some reason, on that 12", it's referred to as The Shruberry Mix. Besides being one of the most screwy, peculiar names for a traditional hip-hop track, it's also odd because they're just labeling the album version. Well... I think that's accidental. See, the next track on here is an exclusive remix, and that's just labeled as a Full Mix. So, I assume the label screwed up and reversed the two subtitles. And that's not the only gaff. The production, according to the album, is by someone named Joseph Carne. According to the 12", however, it's produced by Steve Philips and Edd Miller. I'm inclined to believe the album credits over this 12"s labels, just because the 12" seems to be on unreliable in a number of areas. Those two names (Miller and Philips) don't appear anywhere in the album credits.

Anyway, let's talk about this version that's probably meant to be called The Shruberry Mix. If the last beat failed to deliver the appropriate amount of energy, this beat, by O.C. Rodriguez, is like the intentional antithesis: dark and ominous. The bassline's pretty cool and all, but it's the sort of instrumental where you'd expect some shady, independent MC to tell you a slow, somber tale of how his man got shot in an alley during a drug deal gone bad, and that's why crime doesn't always pay. But instead it's set to:

"Down... down... down... down!
I can't get off the ground; the heavy weight's holding me down.
I'm caught up in the groove, got me hemmed up in the bass,
Kickin' like the 808, resonate, wait wait!
Listen to the zoom... zoom... zoom!
Put the needle to the groove,
Now watch it phatten up the room!
I hear the beat, I catch the Moe, I flow;
I'm off and runnin', black;
I rhyme to the P to the H to the A to the T;
God, I'm phat!"

And it's still got that crazy Fat Albert sample. It's actually interesting, and I like it better than the album version for sure. While the album/Full Mix just feels dull, here the difference is extreme enough that it makes for an interesting contrast. I mean, it's still no "Action," but this could've fit in well on Terminator X's second album, say.

Then flip this over and there's a couple album tracks. There's "The Mic Wreckers," which is produced by Rahiem of The Furious Five, but it's pretty underwhelming. Far more interesting is "We Wit It" which is by far the stand-out track of the album. It features Big Daddy Kane, Chuck D, Grandmaster Tito, Grandmaster Caz, Heavy D (who they credit on the album, but they forgot to here... like I said, the labels are all kinds of sloppy), and Grandmaster Melle Mel. It's a massive posse cut (especially when you consider T3 brings three solid MCs of their own to the mix), and the track is a good but not great mix of ever-changing, familiar breaks by someone named Ken Fambro.

"We Wit It" is pretty much the sole reason for anybody other than hardcore T3 fans to buy the album (some of the MCs really come nice on this track)... so it's nice that you can just get it on this single instead. And the ridiculously titled Shrubbery Mix is better than most of the album tracks as well. So it's no masterpiece, but you don't have to explicitly share my fetish for obscure releases by known artists to appreciate this one.

Martin Luther King Jr and the Holiday Crew!

2012-01-17T03:21:00.003-05:00

(Youtube version is here.)

Hidden Bustdown Remix

2012-01-16T03:40:00.004-05:00

So, I recently picked up Bustdown's single "Pissin' Razor Blades" from his 1991 Effect album, Nasty Bitch (Chapter 1). I'd never picked it up previously, 'cause I already had the album and I don't generally sweat picking up every 12" single that has nothing new to offer besides a Radio Edit and maybe some kind of Dub mix. But it was cheap; plus, as you know, a boy can't really become a man until he's completed his Bustdown collection. So I finally broke down and bought it along with some other stuff. Well, three cheers for wasteful spending, because this 12" turned out to be a Bustdown essential!

There's four tracks on this promo-only 12" (I'm pretty sure there is no non-promo version). "Was It Worth It" is the B-side - a pretty cool album track. It's surprisingly mellow for Bustdown as he kicks a serious message. But he sounds sincere, doesn't come off as too corny and the instrumental's pretty interesting, so, while it's not a highlight, it gets a pass.

But then there are three versions of "Pissin' Razor Blades:" the Nasty Version, which is the one from the album, and the Club Mix are on side 1, and on the flip you have... also the Club Mix. Well, that's redundant. But if you look a little closer, you'll see the label lists two different running times for the two Club Mixes. These are actually different versions. Presumably one is mislabeled, because the Club Mix on the A side is a full-blown remix.

Now, it's a little difficult to say who produced what, here. the label credits everything, collectively, to the trio of Mike Fresh, DJ Toomp and Rodney Terry. Well, Toomp is dope and Mike Fresh is one of the greats... Rodney Terry I don't really know, but still, that group of producers is all promising. However, there are shenanigans afoot.

This 12" credits the production for all four tracks to those three. But having spoken to Ice Mike - Bustdown's original producer - personally, I know that's not entirely accurate. "Was It Worth It" was one of his productions, along with several other tracks Bustdown recorded before he signed with Luke/Effect and hooked up with those producers. But then, as Ice Mike explains, "on the record, my name didn't come out. I mean, it's on the 12" that Luke first pressed up ["Putcha Ballys On"], but the CD has another guy's name, Mike Fresh."

But he didn't name "Pissin' Razor Blades" as one of his... and even if he did that beat, by the time they got around to making a remix for this Effect single, he was probably fully in the camp of the Fresh/ Toomp/ Terry team, so they probably did that one. But regardless, Ice Mike, Mike Fresh, Toomp... they're all ideal producers for Bustdown, so either way we're in good hands.

The album version that we all know and love is a gritty tale (as all of Bustdown's tales are) of the dangers of STDs. It takes a liberal dose of Parliament's "Mothership" (the same killer loop Sweet Tee used in "On the Smooth Tip"), and sweetens it with the dash of the famous whistling from Eric B & Rakim's "My Melody." All that supporting Bustdown's cocky, no bullshit flow - probably inspired by Willie D - makes for a great little record that makes you wonder why so many people slept on Bustdown causing us to never get a Nasty Bitch (Chapter 2).*

The new version, smooths things out a bit, with an emphasis on a super funky, rolling bassline. But it's kinda quick and upbeat, giving a more humorous tone to Bustdown's angry condemnations of the girl who burned him. The "Melody" whistle is still here on the hook, along with that crazy riff from The Fearless Four's "Rockin' It." It's a little less dynamic than the original, and so it feels less "signature." But it's real cool. It won't replace the original, but it's a great companion to it. And considering we're so starved for Bustdown records, we can't afford to pass these things up.

So, that's the Club Mix on side A, what I consider to be the mislabeled remix. The actual Club Mix, on side B, is a slightly tighter edit of the album version, but with a few interesting changes. It has a new skit for an introduction, with a guy sounding like an advertisement asking, "has this ever happened to you?" that sort of reminds me of the silly sketches NWA used to do. And, more compellingly, during the breakdown in the middle of the song where Bustdown argues with his girl over the phone, they add a really smooth horn sample that breathes some fresh life into the whole proceedings, possibly making it the preferred definitive version.

So, if you're the Bustdown fan who thought he had everything, make sure this one's in your collection, too.

*The answer, of course, is that he was associated with Luke, and thus the bass music stigma that was prevailing outside of Florida.

Rap Scholar

2012-01-15T05:16:00.003-05:00

Das EFX dreamed up the concept... Deadly Venoms bit it... but I have made it a reality!

Yep, those are actual, legit college credits from a fully accredited, non-fly-by-night college. In Rap/Hip Hop Music.
...Once I found out it was possible, how could I not do it? ;)

Bump'n Bump'n, World Renown's Bump'n

2012-01-14T12:10:00.004-05:00

(Youtube version is here.)

The First Hot Release of 2012

2012-01-10T06:22:00.006-05:00

The music world may be going digital - or, really, it may've gone fully digital years ago - but hip-hop hasn't run out of good vinyl projects yet. It's just the beginning of January, and there's already a hot new release. Specifically, Grand Invincible are back with a new single called "Winter 365" on Revelation Records, a long-standing punk label dropping their first venture into the hip-hop genre.

"Winter 365" has a tight, atmospheric groove with some really nice vocal samples cut up into the hook - very Premierish. All in all, it's a perfect landscape for Luke Sick to kick the kind of Bukowski-inspired raps only he can: "Scaredy-cat MCs, they get no dap. Scared to come to the dives, thinkin' they ain't that. I can drink a shot of Jameson and not even flinch. Got a street crowd open so you know its intent. And if you be where I be, then you know it's intense. No tellin' 'bout tomorrow, so we don't make sense. Told a true-ass story, but forgot how it went."

The B-side is a posse cut featuring Agentstriknine, Eddie K, and of course Z-Man. The beat is good, but not as good as the A-side, and the verses are a little all over the place. No one manages to share the spotlight with our host, who steals his own show. That's a little disappointing in Z-Man's case... I hope he isn't mellowing out on us in 2012.

As you can see above, this is pressed on orange vinyl and comes in a pretty great picture cover. It is a 7" rather than a proper 12", but at just $5, you really can't argue about the value. It's limited to 300 copies, and can be ordered directly from the label here.

The Wizard

2012-01-09T03:30:00.003-05:00

Up until a couple months ago, all I knew about The Wizard of Rap is that his 12" was on a couple hardcore collectors' wants lists and he was known for sounding like Rakim. So, when Dope Folks announced that "Escape From East New York" was their next release, they had my attention. Finally, I'd be able to hear just how good this record is. So I listened to their clips and, oh shit! I couldn't order it fast enough!

Of course, it was a pre-order, so I had to wait. But now it's here and wow! It's even better than the sound-clips had me expecting. It's amazing what hip-hop managed to get lost in the sands of time and relegated to the infamous "random rap" category.

"Escape From East New York" is a four-song (or three songs and a remix, strictly speaking) 12" that was originally released in 1989 on Renegade Records. Apparently, only 100 were pressed, which is why I never saw one of these pass by before. If it ever did show up on the 'Bay, you can bet it'll come with the label "Holy Grail" and a price tag starting in the triple digits.

So, I said this guy kinda sounds like Rakim, right? Well, not only does his boice and flow sound similar enough to Rakim that you could fool some serious Rakim fans, but it sounds like Rakim at his peak. You could put this on his greatest hits album - it's better than a lot of his singles, and I'm not talking his post-Eric B days. I mean, it doesn't top his very best singles... "Microphone Fiend" remains untouchable, and "Follow the Leader," etc etc. But it beats out some of their singles, for sure.

This single works because Ra... uhh, The Wizard is on fire, for one thing. He's coming fast and furious with a real "take no prisoners" flow. But beyond that, it's a total package. The beats are hard... fast but still dark, taking samples you won't recognize from other hop-hop records, mixed with a few familiar elements, and twisting them into tracks that could have been straight up hip-hop classics if they'd gotten the right attention at the time.

Oh, and did I mention the scratching? Jay Swift kills it, especially for 1989 - he could challenge DMC champions with the kinds of cuts he has on here. Like I said, total package. Both mixes of "Escape From New York" and "Murder By Death" are "Jack the Ripper" steez. The other song, "Excuses," is good too; just not as good. You could put the others on the greatest hits album, and "Excuses" would just be a nice little album track you could tuck away on Let the Rhythm Hit 'Em or something. Certainly a respectable outing and an enjoyable cut, but not the one to get you amped.

As usual, Dope Folks has pressed up 300 copies and is selling them for $20. There's nothing "new" here, either in the sense of newly recorded music or unreleased vintage stuff - but it does carry over everything from the original record, and considering there's only 100 of these on Earth, I think it's a more than justified repress. Unless you happen to have one of those on Renegade, this is a must-have. Dope Folks always releases really good stuff, but this is top tier even compared to the rest of their catalog. If it sounds like I'm gushing, you haven't spun this wax yet.

The Return of Hot Chillin'

2012-01-04T22:33:00.011-05:00

Back in 2007, the early days of the "limited" game, a new record label entered the scene, run by none other than the man himself, Marley Marl. One of the greatest, if not the greatest, hip-hop producers of all time releasing unreleased Juice Crew classics restored from the original masters from his very own vaults? There's no reason to ask questions - anything Hot Chillin' puts out is an immediate essential.

Like with 2009's Juice Crew EP, though, Hot Chillin' is more of an imprint than the actual label doing the releasing. It's still a never-before released, vintage Juice Crew hit directly from Marley's vaults, but this time the pressing, distribution etc are being handled by a new partner, Roots Forward Records, marking their first release. And for a beginning label, you can't ask for a better first release than a cracking, unreleased Craig G song from 1987.

But is it vintage? Other sites covering this 7" are playing it safe and just skating entirely around this issue, but fuck it; I'm going to tackle it. It's been brought up by multiple heads that this song "sounds too new" to be legit (remember Top Shelf 8/8/88 ?). Of course in many ways it sounds old - his flow is straight out of "The Symphony" rather than anything he's kicking nowadays. And the drums (more on them later) are classic Marley alright - right down tot he fact that he's used them before. And Marley has 'fessed up to reusing drums on multiple records that did get released, so it's hardly unlikely that you'd hear the same break in an unreleased joint from his vaults. If it's newly recorded, it was definitely meant to fool us.

But the argument is that it sounds "too clean," too "glossy" to be 25 years old, and to be honest it really kinda does. I mean, you gotta remember, 1987 would put this right after "Oh! Veronica" and "Transformer," which are absolutely primitive by comparison. And now, nothing on Roots Forward's site, Facebook, Soundcloud etc. state exactly what year this song is from... they just say "pulled from the vaults of the legendary Marley Marl;" but that doesn't mean anything date-wise - he could've recorded it and put it in his vault yesterday. Bloggers and vloggers are saying "'88" a lot, but I can't figure out where they're getting that year from. I found an old facebook announcement from Roots Forward that specifies, "from the golden era," and that's it.

Well, the controversy was enough for me to take it to Twitter and ask the man himself, @MC_Craig_G. And he replied back, "Nah it's a song from 1987." Assuming for a minute that it's not a Top Shelf-style hoax, Craig shouts out "buyin' records on Cold Chillin'," so it's gotta be before 1989, because Craig signed to Atlantic, not Cold Chillin' like the majority of the Juice Crew. At the end of the day, it still has an unexpectedly smooth sound to it, but I don't see firm enough grounds to accuse anyone of faking the funk (and, after all, Marley has tons of genuine unreleased heat is his vaults, why would he mock one up?). And, just like with Top Shelf 8/8/88 - even if it IS a fake; it's an awesome fake that sounds great and I'd have to have it in my collection even if it was newly recorded! :)

Now, until some new, concrete info comes forward, I'd say the case is closed... even if that may not to be everyone's satisfaction. So let's put it behind us and talk about what a neat, little record this is!

The joint's a banger, with - as I said - Craig G in full "Symphony" mode over a hot break-beat from Dexter Wansel. You surely remember "Theme From the Planets" being used to awesome effect in records like "In Control" by Sway and Tech, "Last Night" by Kid N Play, "Gutfest '89" by Digital Underground, the "Understand Me, Vanessa" remix by Anttex and "Tuffest Man Alive" by The Fila Fresh Crew. But unlike those songs which take practically the whole instrumental - which always sounds incredible - this one stops short, only using the opening drum loop. Like I said before, it's one Marley used famously elsewhere - after the big programmed drums at the opening, which Eric (cough cough, Marley) B keeps on top for the whole song - this is the drum loop he brings in for Eric B & Rakim's "I Ain't No Joke."

But then he flips it to a whole new direction, and brings in a smooth, head-nodding piano loop, helped quietly along by some atmospheric synth sounds in the background. And there's just some very simple, subtle scratching of a Rakim vocal sample ("tear it - tear it up") for the hook. In fact, it kinda sounds too subtle for '87... Uh-oh, wait; let's not go there again!

This record is limited to 300 hand-numbered copies; 100 pressed on clear (clear) vinyl, and 200 on black. As you can see, mine's clear and #17. It's not too unreasonably priced at $20, though that's a bit high considering this is just a 7", as opposed to a proper 12" (probably the only reason they haven't already sold out by now). Those of us who pre-ordered it over the holidays also received a nice, little bonus: a mix CD of disco-era Christmas rap songs,, including even one or two I wasn't hip to. Definitely appreciate that.

After all due consideration, this record has both my support and recommendation. And there seem to be both clear and black copies still available, so if you haven't already, I'd suggest dropping by the Roots Forward store and grabbing yourself a copy.And as for the future, Roots Forward has already announced four upcoming vinyl projects, including "the 2nd label release which will be an early 90?s gem being released again as a limited edition 7" single." And Hot Chillin'? Well, it's been ages, but they still have a page promoting their next release, HC003: Marley and Premier mixes of that wonderful tribute to Mr. Magic that was released mp3-only in 2009. Man, I hope that still happens!

Update 1/6/12: - Just heard from Roots Forward. According to Marley, the song is from 1988.

Secret Album Diss Revealed!

2012-01-01T04:23:00.002-05:00

(And there's a Youtube version here!)

Sluts, Muppets and MC Craig G

2011-12-31T03:34:00.007-05:00

In 1985, a B-side took off that almost managed to rival "Roxanne, Roxanne" in infamy. The Bad Boys featuring K-Love dropped their second single, "Mission" on Starlite Records. But it was the B-side, "Veronica," with the timeless "Oh, Veronica, Veronica; oh, Veronica girl" hook that everybody spun. Everybody except the radio stations, that is, because the song was filthy:

"She's a lovely lady, and she loves to fuck;
So I said, 'yo, Veronica;' she said, 'what's up?'
Said, 'girl, tell me something, if you're not a slut,
Then what's that thing, sticking up your butt?'"

And that's probably the only reason it didn't totally eclipse the "Roxanne" saga it was no doubt inspired by (it dropped in the middle of the whole "Roxanne wars" saga). Remember, 1985 was well before NWA and The 2 Live Crew*, and just after the controversy with Prince that lead to explicit lyrics warning stickers on albums. This is the original "talking nasty about a girl over a human beatbox" track that really changed the whole direction of hip-hop, from blatant rip-offs, like Just-Ice's "That Girl Is a Slut" to... a whole legacy of dirty raps. The fact that they spit it all over a crazy hip-hop version of Sesame Street's "Mahna Mahna" song just made the whole thing that much more bugged out and attracted more attention. Really, you had to feel sorry for any teenage girl named Veronica back in 1985.

So of course there had to be an answer record.

In 1986, Pop Art Records put out the female spin on the story of Veronica with "Oh! Veronica" by a duo called The Glamour Girls (their first and last record). And they actually got the same guy who produced the original, Tony D (not Tony D from NJ who produced The Poor Righteous Teachers, but the Tony D who Serch dissed on "Gasface"). But I guess they figured, if you're make the opposite of record featuring a group of guys rapping with a female beatbox, you didn't just need female MCs, but a male beatbox. So, even though Tony D regularly worked with K Love on his records, he brought in someone else for this one... he brought in MC Craig G.

Yes, that MC Craig G, the Juice Crew All Star. He's featured on this record, but only as a beatbox. The rapping is left entirely to the girls, who recount their own version of what happened when The Bad Boys met Veronica: "we were chillin' with Veronica, just hangin' out, When we met The Bad Boys - nothin' to brag about." But, interestingly, while they do use the opportunity to take a playful shot at the original "Veronica" rappers, they actually offer the same opinion of the fictitious Veronica that the Bad Boys had: she's just a huge slut. The verse ends, explaining what happened, "they thought they were slick; they all started illin'. Laid Veronica, now they're getting penicillin!"

I mean, usually when you have an answer record to a song like that, the idea is: sure, that's how so and so told you it was, but here's how it really happened! But this is an unusual case we're they're on message - they actually agree with the initial group's assessment. But then they wind up turning an easy excuse to tell "that girl's so slutty" quips into something a little more fun: hiking on the Boys for their inability to handle her:

"Bizzy walked in and he was coppin' a plea.
He said, 'I'm still a virgin; please don't hurt me!'
He went into a panic, and started to cry;
She said, 'it's okay, Bizzy, send in the next guy."

This version forgoes the Muppet music, and replaces it with a fresh whistle (sort of along the lines of the famous Good, Bad and the Ugly whistle) over a big, programmed beat (this was 1986, after all) and a lot of simple but loud scratching. And, no. No human beatboxing.

Craig G isn't on the Radio, Long or Instrumental versions of the song... the ones that most people are probably familiar with and that wind up on all the compilations. They save his contribution for a specific Beat Box mix which eschews the whole instrumental. It's all just Craig's mouth-made beats and Tony's cuts.

So, yeah, like I said, this was the one and only Glamour Girls record. At least together - the girls themselves both went on to other things. One of the MCs, Glamorous, went on to become an official Juice Crew member herself, featuring on the songs "Evolution" and "Juice Crew All Stars." She's still around, too, check out a track she dropped this year. And the other girl? She went on to release a string of hits by the name of none other than Sweet Tee; and more recently came back as Suga on The Show soundtrack. And if I have to tell you what Craig G went on to do, I think you're on the wrong blog. ...That's the (other) great thing about sluts - they wind up giving birth to so many interesting people! ;)

*Actually, technically, the 2 Live Crew was around back then... But it was before they hooked up with Luke & Brother Marquis and became controversial by rapping about sex.

How Awesome Is This? Original Guru Demo Tape Release

2011-12-26T01:14:00.000-05:00

Man, I can remember a couple years ago, when a rap blogger (damn, I wish I could remember which blog it was!) posted pics of a cassette he found in a shoebox full of old cassettes: A crazy looking, handmade demo tape by Guru, back when he was going by the name of Keithy E. Man, that was the source of some serious online envy! But then it was nearly forgotten, as news broke of Guru's hospitalization, the beef between Solar and Premier and Guru's family, and eventually his tragic passing.

But it wasn't completely forgotten, because The X Label got a hold of it and is releasing replica copies of that original cassette, with the original music and artwork. The X Label is run by Justin Elam, Guru's nephew, who you probably remember from these videos.

Now, I talked before about the early, pre-Premier recordings of Gangstarr on wax, starting in 1987, and the different sounds they had with DJ 12BDown on the boards. Well, this is even before that - this tape dates back to 1986, and it's even further removed from the sounds we know as Gangstarr's. There's no Premier or 45 King, but Beatmaster Jay providing the music (as well as DJ 12BDown on the turntables and Damo D providing some human beatbox).

And I'm not going to front, it's really rudimentary. While those early 12"s showed us a birthing Gangstarr looking for its signature sound, this tape brings us them learning how to make rap records period. I'm not saying it's wack, but it's definitely very amateurish and clumsy, with cheaply recorded vocals over drum machine loops. And sound quality? Well, I think their focus was more on preserving than restoring here. It sounds like the hand-made demo tape they're presenting it as, not original recordings restored from their masters. And while other early demo releases by classic artists we've seen released (i.e. OC's on No Sleep, or Main Source's on DWG) have been as good if not better than most of their classics, this is definitely not the case here. This is a tape to be listened to and appreciated as a piece of history by a classic artist, but not so much for being a gripping musical masterpiece.

But it's still a pretty dang awesome release. It's a six-track EP, with five songs. The opening track is a radio interview with Guru and DJ 12 B Down as guests, which is pretty great to have, too. And one of the songs should sound familiar - it's "The Lesson," the first 12" they released on Wild Pitch. But, this is a completely different mix. The lyrics are the same, but the music is different with lots of keyboards, and in general it's kind of lighter, more pop.

The other four tracks are "Epitome Spree," "Cold World," "Not You" and "People Unite," none of which have ever been released before. Interestingly, in the radio interview, one or two other early Gangstarr songs are discussed that we don't hear here. So that means there's actually even more vintage, unreleased Guru music left to be unearthed (possibly 12 B Down has it?), "So What" and "Fresh Avenue." X Label, maybe that could be your next release. =)

This EP is only available on cassette, a full-on replica of the original tape, including the labels on the tape itself. There is one interesting change however. On the back of the original, it said "COPYRIGHT 1986, K. Elam, J. Johnson," with J. Johnson's name crossed out. In the pic to the right, the original is on top, and the new version underneath. I assume J. Johnson is Beatmaster Jay. Not only did The X Label add their own logo, which you'd expect; they also 'shopped out J. Johnson's credit. A little touch of rewriting history, I guess.

Anyway, these are reasonably priced at $15 - just slightly more than what you'd've paid for a tape release back in the day; and they're available directly from the label's site: thexlabel.com. Really, I don't know how anybody could look at that picture and not just immediately decide, "I need that!" But seeing it online does bring up some questions, so I hope I answered them all, and if this is your first time hearing about this release... pretty awesome, ain't it?

Have a Very Disco Rick Christmas

2011-12-24T01:48:00.002-05:00

(And the Youtube version is here. Happy holidays!)

A Record 4 All the Suicidalists

2011-12-20T03:31:00.008-05:00

If you're only familiar with Esham from his material made in the last... fifteen years or so, you're not familiar with Esham. It's like only knowing Kool Keith as a solo artist, only having heard EPMD after they reunited or only being with Guru's material with Solar. To say you've missed all his best shit doesn't even begin to explain it. You're just witnessing the pale shadows of artists that embarrasses the fans who knew these guys back when.

Let's build out the Kool Keith comparison. Esham's earliest releases are like those pre-Next Plateau recordings Ultramagnetic put out. There's some good material and they show promise, but they're still young and amateurish, and not living up to their potential. Kkkill the Fetus and Esham's crossings with the horrorcore boom would be the equivalent of Ultra's time on Mercury and Wild Pitch - dope shit for the fans, but the beginnings of a downhill slide were evident. By the time Esham was doing Natas and Maggot Brain Theory, that's like the Cenobite days. Still some good stuff, but you've got be willing to sift through the lesser releases. And by the time Esham and Kool Keith actually were making records together*... the less you hear of it better.

The Judgement Night albums are the Critical Beatdown and related 12"s. Seriously, I think even the purist of hip-hop purists would have to say the track for "How Do I Plead To Homicide," with its many change-ups, is pretty fresh, for example.

"Fallin' Angel" is the only single off of either Judgement Night album,. specifically volume 1. Or 2, depending which format you place your faith in. I'll explain.

Judgement Night vol 1 and 2, were released in 1992 and, like all of Esham's stuff until wayyy later, by his own label, Reel Life Productions. This was, I believe, the first double album in hip-hop, however unlike double albums by guys like Biggie, 2Pac or No Limit; these were sold separately. And most fans today are familiar with the Judgement Night CDs with the fancy painted covers, but back in '92, tapes ruled the scene. There was basically no artwork on these bad boys, just text... Vol 1 was subtitled Day and written all in red; and 2 Night, all in black. But besides tapes and a few CDs, Esham did manage to get some very limited vinyl pressed on his early releases, including today's 12" and one - just one - of the Judgement Day albums, Day.

At least, it says it's Day. But it has all the songs from Night on it. So, which is "correct," the vinyl or the cassette and CD track-listing? Well, since Esham re-released these albums in 2000 and stuck with the CD/cassette track-listing, I think we can say that's what he considers to be the proper one.

So since "Fallen Angel" (as it's titled on the album) was on Day, and the Day songs were all left off of the Day LP, that means this 12" is the only way to own the song on vinyl. So any Esham vinyl is already a rare collector's item, but that fact makes this 12" even more so.

"Fallin' Angel" takes the bulk of it's instrumental from some creative sampling of Funkadelic's "Cosmic Slop." What I like about it especially is that, although it uses a lot of the song - including an entire sung passage for part of the hook ("I can hear my mother call... I can hear my mother call. Late at night I hear her call; Oh lord, lord, I hear her call. She says, 'father, father it's for the kids. Any and every thing I did. ...Please, please don't judge me too strong. Lord knows I meant no wrong. Lord knows I meant no wrong.' You know the devil said"), it completely removes the zany P-funkiness of the song. If I didn't recognize the source, I'd swear the singing was from some old, Sam Cooke-style religious, R&B/blues song lifted off some ancient 45 nobody would ever hear of unless they found it in a dusty attic down south. The bass guitar notes sounds really organically smooth, and the use of snaps and bells in the percussion brings it all to life.

Lyrically, despite the predictable Devil and "I'm a crazy murderer" references ("'thou shall not kill' was my first, but then I broke all ten commandments"), it's barely a horrorcore track. The best way to put it is that it's removed enough from the worst elements that most heads don't have to dismiss it as cheeseball horror movie rap, but still true enough that fans of the genre won't feel like they were tricked into buying another one of those "we're only acting horrorcore on the surface to tap into the market, but really we're trying to be something different and safe" songs. Hell is clearly used here to mean the depression and poverty of a miserable but entirely Earthly existence, and references to the devil sound less like the way you'd expect Flatlinerz to use them, and more the way Poor Righteous Teachers would ("livin' in the ghetto, the devil is now a black man. I saw him standing on the corner with a crack man"). Combining that relative maturity of the darker and serious subject matter with the effective production manages to make this quite an effective well-rounded song. "My mother sings the blues and drinks the booze, and then she prays to save her soul from bad news. Tears fall; I hear my mother call on the Lord. At night, I be playing in my room on the Ouija board." See? It's like a serious, personal song that anyone can relate to... but still just horrorcore enough if that's what you're looking for. In interviews, he's said he made Judgement Night while going through a serious depression, and you can tell. Effective stuff.

The B-side, "Cake Mix" (titled "Finger In the Cake Mix" on the album) is one of Esham's many sex raps. He was good at making them sound sleazy, but otherwise, I never felt they fit in well with the rest of his material, and that goes double here, because the lyrics are so childish and goofy. The premise is just turning the act of baking a cake into a series of sexual innuendos and puns ("upside-down cake, rattle and roll; the cake mix runs down the side of the bowl. I dip my face in the bowl just to get a sniff; kinda smells fishy once I get a whiff"). It's just... you're not going to listen to this really except to laugh at it (as opposed to with it), and that's a shame, because the instrumental actually makes great use of another funky sample that really could've been something more in the hands of another rapper.

"Finger In the Cake Mix," by the way, was on Night, and as such is also available on the LP.

One downside of this 12", however, is that despite the big "PARENTAL ADVISORY: EXPLICIT LYRICS" sign on the label, these are actually clean versions that reverse the curse words. There's only one instance in "Fallin' Angel" ("fuck the teacher and fuck the preacher"), so it doesn't totally ruin the track, but it's definitely sub-optimal. And of course, there's more on the B-side. Still, though, it doesn't stop be from recommending this record to any head who's open to somethign a little off the traditional, beaten path.

*Yeah, they actually did a couple together. Esham even signed Keith to his label briefly, for the Spankmaster album.

She Drank Champagne... and I Drank Milk!

2011-12-17T01:55:00.008-05:00

Little Shawn's career has flown kinda under the radar. People may remember him as a crossover, love-rapper kinda guy who was clearly trying to appeal to a more mainstream audiences with his singles "I Made Love (4 da Very 1st Time" and "Hickeys On Your Chest." Sort of like a Candyman or Mellow Man Ace without that break-out hit to get his brand emblazoned into the fleeting attention-spans of the MTV audience. He certainly managed to garner some fans, and I'm sure there are people who will big up his only album, Capitol Records' The Voice In the Mirror. But even they probably think of him as a flash in the pan who made a little noise and then disappeared.

But, actually, Little Shawn's was contributing to the game for a good chunk of time. Did you know he's one of uncredited guest MCs on Special Ed's "5 Men and a Mic" or that he had a song out with Maxi Priest in 1992? But more than that, after his brief stint on Capitol, Puff Daddy brought him into the Uptown camp where he wrote for everybody from Father MC to Mary J Blige. He even recorded a song for the NY Undercover soundtrack that got enough buzz Uptown turned it into the single. But despite the fact that the label promised the original version would appear "on the upcoming Little Shawn album," Uptown never found the time in their schedule for him and eventually it all seemed to fizzle out.

So those are the two big phases in Little Shawn's career, but there's actually a third, from back before he "came out of nowhere" and started putting out big budget videos through Capitol. Five years earlier, he dropped an obscure record on Select Records. See, back then, he was one of Howie Tee's acts (in fact, Howie produced that whole Capitol album), and just about all of Howie's acts came out through Select. So, in 1987, this little 12" came out (co-produced by Chubb Rock, no less), testing the waters.

Despite it's title, "Heartbreak Hotel" isn't the smooth, romantic song you might expect from Little Shawn. I mean, granted, it's about love (sort of... basically, the premise is that he gets involved with a girl who he doesn't realize is a prostitute), and it's even got a girl crooning the chorus, "Heaaaartbreak Hotellll." But musically, this is pure old school Howie with warbly synths over huge, programmed drums that bang as loud possible. And Shawn's flow goes right along with it... He sounds like Kool Doobie on the angry, rap side of the second Whistle album. And, lyrically, the emphasis is on being funny rather than trying to placate the ladies - one line that genuinely makes me laugh every time, "when I kissed her in the car, she couldn't behave, 'cause I had on my father's aftershave!"

This song has everything 80's you can imagine in it: stuttering vocals played on the keyboard ("hea-hea-hea-hea-hea-heart heartbreak!"), hand-claps, a rock guitar (by Spanador of Lisa Lisa and Cult Jam!) that only appears for a big solo on the breakdown, keyboards, a punchline stolen from The Fresh Prince, references to Donahue and Janet Jackson, a moment where he sings an old song to an almost ragtime-style piano. You could dismiss this as some corny-ass, outdated rap... or you could say, this is one of the greatest, ultra-outdated rap songs ever!

It's followed by a Dub, mixed by Omar Santana, that's almost as fun to listen to as the song itself. And if that's still not enough, there's a B-side called "My Girl's Mother." And this song's just as good/terrible as the A-side... it's like a cross between Whistle's "Just Buggin'" and "Barbara's Bedroom," with some super catchy synth lines, big beats, and a silly chorus. And it's another fun story, this time about Shawn trying to ditch his girlfriend ("send her to McDonald's to get a large order") so he can spend time with her sexy mother.

I enjoyed Shawn's album (at least, I remember liking it the last time I listened to it, which was probably ten or so years ago), and I don't hate on his later stuff... but it's a damn shame Little Shawn couldn't stay in 1987 forever. He could just keep making records like this, without feeling compelled to change with the times, and it would be like living in Santa's village where Christmas never ends.

Dimples D, Bewitched In Germany

2011-12-14T02:36:00.008-05:00

Dimples D has earned a place for herself in hip-hop history with just one record, her classic "Sucker DJ's (I Will Survive)." Yes, it was an answer record to Run DMC's first hit, "Sucker MC's," and it's full of vocal samples that DJs have used for decades like, "he cuts the records with so much class." but it's more than that - it was a change in style and attitude, especially for female MCs, and it was a signature ode to scratching. It helped immensely that her DJ she was bigging up was the legendary Marley Marl, essentially making his debut as a DJ and producer (though technically, that honor goes to an obscure break dance record from the previous year, where he worked on the B-side dub mix). Dimples released her record in 1983 on Partytime Records. And then she disappeared, never to make another record again - she changed the game up and then vanished in a hot second.

At least... that's how the story's generally understood to have ended. But actually, she came back. In 1990. In Germany. She signed with ZYX Records, a label that has an surprisingly deep history of signing old school US artists who'd otherwise dropped off the scene. She dropped three or four singles (depending how you count it... more on that later) and a full-length album, mostly but not always with a new partner MC, collectively known as Dimples and Spice.

They recorded all new songs and released them as singles... but before that, Dimples tested the waters with her first (since 1983) single by remixing her hit. She called it "Resucker DJ."

Lady Spice is not featured on this 12", and Dimples doesn't spit anything new; she just uses her original acapella. And she didn't produce it either. You could almost call this a separate remix project - one of crappy those Run DMC Vs Jason Nivens-type dance singles that flooded hip-hop in the later 90's - except this was released by the same label, around the same time, and wound up on her Dimples and Spice album.

Now, if you're looking at the picture cover, you may've noticed the big "REMIX" and the small note underneath, "Original produced by Ben Liebrand." And you're probably thinking - wait, I thought Marley produced the original? You're right; he did (along with Andre Booth). What I eventually figured out this cover means is that there are two remixes on this 12"... the "original" remix of "Sucker DJ" on the B-side, which Ben Liebrand did produce, and then another remix, which actually pops up first on the A-side.

So, let's start with the A-Side. This is "Resucker DJ (Remix)," and it's not entirely clear whether they mean to say that this is a remix of another mix of "Resucker DJ" or just to generally inform us that "Resucker DJ" is a remix of "Sucker DJ's." Welcome to the world of ZYX; you'll get used to confusing labels like this if you stick around. Regardless, this is just a pretty enjoyable, very busy, more modern-sounding remix of "Sucker DJ's." It's pretty much what you'd expect, except that it doesn't suck. This version is mixed by Sanny X, an old school Swedish hip-hop artist. The fact that they keep it pretty hip-hop, as opposed to getting all trancey/ ravey like they usually do - is a huge boon. i mean, it's nothing essential, and it doesn't replace the original, but you definitely won't be mad at it - it's good times.

Then, flip it over, and you've got "Sucker Drums," which is essentially just a Dub Mix of what we've just heard, and then finally, "Sucker DJ (A Witch for Love)" (note, not "Resucker"... and why did "DJ's" become singular?). This is the one Ben Liebrand, and this one's pretty catchy. In fact, I understand it was a bit of a hit in Europe. So much so, that this B-side was also released as a separate, stand-alone single (which is why I said you could say Dimples either released 3 or 4 singles depending on how you keep score). Again, the acapella is just the original "Sucker DJ's," and again, they thankfully keep it to a regular, hip-hop beat that doesn't forget the scratches (after all, that's what this song is all about). But this time around, they add a few extra little samples and elements, but the body of this remix is the theme to "Bewitched." Yes, exactly the same silly sitcom refrain that DJ Jazzy Jeff & the Fresh Prince used for "Girls Ain't Nothing But Trouble." And, yes, it's a pretty transparent gimmick, but dammit... it just works perfectly with Dimples' voice and flow - perhaps more so than Will Smith's. I won't argue with any criticism you care to level at it - you'd probably be right - but damn it, it sure is fun to listen to.

I really picked this 12" up on a whim - hardcore collector that I am, of course I need a horrid, useless dance remix of an old Dimples D record that I just randomly stumbled across - but I wound up being quite pleased with it. It might rile purists a bit, but hey; it turned out she was directly involved with it, and even wound up making a whole album of new material to go along with it. If you like "happy rap," I think you'll be pleased with it, too.

And the Award for Most Pleasant Surprise Goes To

2011-12-11T01:45:00.005-05:00

CSJQ is one of the many groups we've never heard of who us bloggers only find out about when we get promotional e-mails in our inboxes. But this one immediately made me take a second look because of the line up: Clayton Savage and JayQuan. And if those names didn't make you take a second look just now, I'll explain.

The email (and their website, press-kit, etc) claim Clayton Savage is one of the Furious Five. Probably, your first reaction is: hey, I can name all of the Furious Five - Mele Mel, Scorpio, Rahiem, Kid Creole and Cowboy - and Clayton ain't one of them!" Ah, but what about after they split up and formed two separate groups? There was a new Furious Five line-up then, right? Well... you're closer. Rahiem and Creole stuck with Flash and formed a new five-man group of MCs with new members Broadway, Lavon and Larry Love (of the famous "Larry's Dance Theme"). And Mel had his new Furious Five, which was made up of Scorpio, Cowboy and new members King Lou, Kamikaze and Tommy Gunn. All of whom... still don't include Clayton Savage. So I daresay they're stretching the truth a bit by calling him a member of the Furious Five.

But it's not entirely bogus claim or anything. When the original Furious Five were making records on Sugarhill, they recorded with The Sugarhill Band (Fats Comet)... and when the groups divided and Mel's new formation of the Furious Five started putting out records on Sugarhill, one of the key musicians they worked with was Clayton Savage. In fact, on one single ("We Don't Work for Free") he's downright competing for the title of lead vocalist with Mele Mel. He also put out a solo album in 1986. So while he may not technically have ever been one of any of the Fives, he's certainly an established old school artist with a genuine legacy. And he's someone who perks my interest when I hear he's got a new hip-hop project coming out.

And that's just one of the guys - the other's story is just as interesting. Jayquan is the founder of The Foundation website. You've heard me sing its praises before... if there was a nuclear war and I could only save one hip-hop website, it would probably be The Foundation. And hes an MC who I've covered before with his 12" featuring Mel and Grandmaster Caz. He has a musical legacy that goes back, too - during the heyday of the indie 12" scene in the mid 90's, he was a member of The First Sons, and even put out a record as far as back as 1987 as one of The Too Def Crew. ...So, if nothing else, this new collaborative project is going to be an interesting footnote in hip-hop history.

But, fortunately, it's not nothing else. Like the title says, their four-song debut EP, The Life, turns out to be quite a pleasant surprise. Yes, after all that back-story, we're finally getting to the music; and I'm happy to report that the music lives up to the back-story. What I like the best is how they manage to make something that takes elements from every era of hip-hop, bridging the gap from the Sugarhill Band days to Pink Friday; and it all works. It's got rich and varied instrumentation thanks to Savage, who also sings in a couple different styles, that has a lot of old school integrity but sounds modern enough that if you replaced Jay with Drake (for Drake's name, not his MCing skills), most of the songs could easily be one of those break-out hit singles on Youtube with the kids. But one difference is that Jay stays a straight rapper on here - not in terms of his sexuality, but in the sense of pure MCing without all that sing-songy autotune, computer generated stuff (though they do utilize ALL of those tricks and more for Clayton's vocals).

Not that it's entirely flawless... sometimes Jay's rapping might be a little too straight, by way of being generic. A little boost in the writing, Kool G Rap or Rakim style might go a long way. And one of the songs on here, "Beautiful Girls," feels under-cooked. Musically and lyrically, it's just not quite up to par with the other tracks on here. I think they maybe should've kept tweaking this one in the studio for a while before releasing it alongside the others. Of course, that's not because it's bad, but because they set the par pretty high with the other songs.

And there's a reason I thought of Pink Friday when I first heard this, and not just because they share some really engaging musical vibes. The hook to the EP's title track, "The Life" ("I wanna live the life... the life... the life") sounds so much like the one for "Moment 4 Life," that if this song ever did become a break-out hit, I'd be quite worried about hearing from Nicki's lawyers. But, hey, that hook sounded good then and it sounds good now, so as a listener and not a copyright attorney, I'm not mad..

So, you get four songs total on this EP, plus a Clean Version of the song "F.U.N." The language censored from the Clean Version runs right through the chorus as well as the rap verse, however, so I'd skip that one. Kinda ruins the whole thing. Fortunately the Explicit Version's here too, so it's not a drama. This is primarily an mp3 release (boo!) but you can get CD hard-copies from CDBaby.com, which is what I recommend.

The Doorbell Rap

2011-12-10T01:09:00.006-05:00

Black, Rock and Ron released a hard, highly regarded album in 1989 on RCA Records (in fact, it's recently been released). They mostly produced their own material, but they did have that Midas-like connection with Paul C, plus a famous remix by Prince Paul. They had several singles and videos, but I guess they didn't quite break that mainstream sales barrier for their label to commit to a second album.

But their legacy isn't entirely limited to their all-too brief time RCA. See, before RCA, they were signed to Next Plateau, and even appeared on one of Red Alert's famous mixtape albums. Now, the single they released on Next Plateau ("That's How I'm Living") was carried over to their RCA album, but there's more to the story than that. Because they were signed to Next Plateau before they even became Black Rock and Ron. They released their first single under the name Vicious Four.

"Hard Rap" was released in 1986, and here's the first thing you'll surely notice about this. They sampled a doorbell. It's got your traditional programed drums, hand-claps and other funky sounds - it's a dope beat. But the signature tune they play on the hook is obviously the chimes of Big Ben as played by a doorbell. The people I house-sit for have this doorbell; it sounds exactly the same! It's even got that slight distortion towards the end of the refrain. I mean, this was the mid 80's, where it wasn't at all uncommon to have rappers rhyme over interpretations of cartoon and sitcom theme songs, so it doesn't sound that ridiculous (at least, comparatively) to hear these sorts of tunes in a rap track - they do actually pull it off, I have to say - but I'm still pretty sure these are the first guys to rap over a doorbell.

Now, this record does bring up a question I can't answer. Black, Rock and Ron are obviously a three man group. So who is the fourth on this track? Lord Black and Master Rock are the lead and only MCs here just like they were on Stop the World, and they repeatedly shout out Ron Scratch as their DJ. ...They don't name anybody else. Only Black and Rock get writing credits, and Rock did the production. It seems to be a very clear-cut three man operation. But they're calling themselves Vicious Four! Who the Heck is the fourth?? I think it can only be the doorbell.

They've also got another song on here called "Huffing N' Buffing," a more narrative-style song, where they relate various anecdotes of people working harder rather than smarter. It's fun, sort of a bemusing precursor to "You Be Illin'," with a slow, bassy keyboard riff over a beat that's otherwise very reminiscent of "Hard Times," particularly in its use of aggressive, isolated hand-claps. It's fun, but these little story raps are never (with the admitted, rare exception) as engaging as songs like the A-side, where they just spit their hardest.*

If you listen closely to the track, you will hear some silly, out-of-breath human beatboxing mixed into the track. I assume it's to illustrate the "huffing and buffing" of the title, but possibly whoever performed this is the mysterious fourth guy? Ha ha. I mean, I'd assume it's just one of the three members who recorded it real quick, but damn it, somebody's gotta be the fourth!

Anyway, this isn't a hard record to track down, and it's well worth it. It's definitely got that Hollis sound. And while it does sound more "old school" than their RCA material, it's no less fun for that fact. Both instrumentals are included on the flip.

Shanté's Tape

2011-12-08T04:24:00.004-05:00

(Youtube version is here.)

The Year Of the Hip-Hop

2011-12-04T05:04:00.002-05:00

(Youtube version is here.)

Queens of Civilization are On the Mic.

2011-12-01T03:20:00.008-05:00

Since the very beginning, hip-hop has had its share of strong sisters. From Invincible today to Lady B back in 1979 - hell, we can take it back even before hip-hop was recorded music, with the likes of Sha Rock and the Mercedes Ladies - forward-thinking females MCs have been spitting hard enough that I believe they can take genuine credit for advancing the feminist movement in the global culture. But interestingly, when you say "feminist rap song," the exact same rap will immediately come to everybody's mind. It's not the first, and it's not the most recent, it's just... the one.

"Ladies First" dropped in 1989, and it's as terrific now as it ever was. It made the careers of both its MCs, Queen Latifah and Monie Love. Eleven years later, Latifah even titled her book Ladies First. Latifah showed us a whole other side to her from her previous, clubby dance tracks, proving she could be the lead vocalist on a rap song equal to the genre's all-time greats. And while "Monie In the Middle" is a fun crossover record with a brilliant instrumental, this is easily Monie Love's best performance of her career.

But as much, if not more, credit needs to go to the DJ Mark the 45 King for laying down one his best, all-time instrumentals. In many ways, it's right out of the King's playbook: a funky break with random, dusty horn samples he unearths and brings to the table over and over again, always to the our delight. But here he takes different horn samples, from different records of different styles, and together they form something even stronger than most of his other records. Some are blaring, turning the hook into a rallying cry, and others are funky loops that couch the vocals. All that paired with a live, thumping bassline played by engineer Shane Faber, adds up to one of hip-hop's all-time great instrumentals. And then it's really no surprise to see the great Paul C's name turn up in the credits for this one as well, since he seemed to have a hand in nearly every true classic from this period.

Now, I've heard it said a few times, on the internet, that "Ladies First" was written by Apache. This is usually pointed out by a male making the bigger point that: ha ha, these women needed a man to write their big, feminist anthem. I don't know if that's true or not, but there are writing credits on this 12", which credit several people, not including Apache. Specifically, they credit Latifah, Monie, The 45 King and Shane Faber. So, I would assume Latifah and Monie wrote their own lyrics, and 45 King and Faber are getting credit for the instrumental, and dismiss the Apache thing as internet rumor, except I was able to find something to support it. According to discogs, two pretty random compilation albums* credit Apache as a writer, alongside Latifah, Love and 45 King (but, interestingly, not Shane Faber). Of course even in those cases, Monie and Latifah are still credited as writers, but it does lend some credibility to the notion that he at least had a hand in it.

Still, there's at least one lyrical moment Apache night not have wanted to take credit for even if the ladies were willing to give it to him. That's because this song is one of those rare, infamous examples of misspelling in a rap song, ranking right alongside Warren G's "What's Next," when he famously asked, "what's N-X-E-T?" In this case, Monie Love ends her final verse by saying, "And next up is me, the M-O-N-I-E L-O-V-E; and I'm first 'cause I'm a L-A-D-I-E." I hope nobody reading this actually needs me to point it out, but the singular of "ladies" is in fact "lady."

That embarrassing gaff aside, this is one of hip-hop's purest, most perfect song. I mean, how could anyone ever hope to improve on it? What more could you ask for, a Crazy Extended 45 King Remix? Oh shit. The 12" has a Crazy Extended 45 King Remix on it!

Wisely, this 12" doesn't replace the already ideal 12"... it just adds a few things. Stab scratches, Malcolm X vocal samples, an extended opening (the famous "muuuusic 45 King, muuuuusic Latifah and the King, muuusic from a nation supreme" acapella that King would re-use regularly), all just help make the proceedings even hyper. It's over a minute and a half longer, and while it may seem a bit excessive during the opening - the chorus repeats and the beat rides for almost too long before the MCing kicks in. But you'll be glad for the extra length at the end of the song, when it allows for an extra, all-new verse by Latifah:

"Step out into the night;
Queens of civilization are on the mic.
The scene is ripe; the crowd is hype.
I expel the wack and those who bite.
Why? 'Cause I'm that type.
Swaying with beats 45 King style;
He wants me to sing but I'll swing, so meanwhile,
A footnote for the opposite sex:
Monie ripped the mic; I rock it next.
Flex - you'll never catch me at my worst.
You catch the drift? It's ladies first!"

Latifah's debut album was already a crate staple thanks to songs like this; but the remix makes this an essential 12" as well (plus, picture covers never hurt). And what else is on here? Well, there's the LP and a slightly tightened Radio Version. The Instrumental is on here, and if you care about instrumentals at all, this is definitely one to own. And finally, there's the Queen Latifah - Monie Love Bonus Beat, which has the pair shouting out the top female MCs of the day over the break, with Latifah using her silly French accent from her cameo on De La Soul's record. It's short, and they could've just edited into the ending of the Remix, to make it even more Crazy and Extended. But whatever - this is definitely one of those 12"s you just can't complain about.

*1990's Tanz House 2 on BCM Records from Germany and 2004's All That Urban on Warner Bros from Australia.

Jersey Engineering

2011-11-29T01:56:00.003-05:00

The latest release from DWG is finally here, and this time it's... Emskee The Complex Engineer? Who's that? Well, if you've been picking up the Nick Wiz double-CD compilations (and if not, you should be), he's already been introduced to you, "this was my first artist I produced for when I started making beats." On volumes 1 and 2 (Emskee isn't on #3), the Emskee tracks were demos they recorded together for Emskee, who was looking to get a deal. ...But it turns out those tracks weren't the the sum of his demo material.

DWG has unearthed a whole boatload of additional, vintage material from Emskee, Nick Wiz (then going by the name of Kayzee the White Soul), and their DJ, Slyce. And the first record they pressed up is DWG011, The Complex Engineer EP - six killer demo tracks (none of which repeat the tracks from the Nick Wiz albums... even though that would've been welcome, anyway, just so we could have them on vinyl, too). Most are produced by Wiz, but one or two are actually by Kid Capri... See, Emskee was hired to ghostwrite for Capri's second album on Cold Chillin'. But that album wound up getting shelved, so he used that material for his own rhymes (these were just demo tapes, after all, so it's not like he was screwing over Capri or anything).

So, here's what you'll notice as soon as you lay this on your deck. First, Emskee has a direct, forceful flow. Not that he's all Waka Flocka on here; but he has a distinctly tough way of enunciating every syllable. And the other thing you'll notice is that the beats here sound busier than Wiz's usual, minimalist tracks, where he seems to boil everything down to one smooth loop and a drum track. Here shit's always happening, and it goes a long way in keeping the tracks energetic and alive.

So that's DWG011, which is limited to your standard (these days) 300 copies. It comes in a sticker cover and, as always, comes with an informative press sheet. Naturally, I recommend it. ;)

But that's not the whole story here. For the more hardcore collectors, they also released DWG012 at the same time. This one's extra-limited (175 copies), is pressed on dope, marbleized dark blue vinyl, and also comes in a sticker cover. This one was off the market already even before it was released, so you'll have to go a little further out of your way to track it down now, but it's cool.

DWG012 doesn't consist of more demo tracks, exactly. It's actually eight radio promos that he recorded for different hip-hip DJ shows. There are demos for Funkmaster Flex, Stretch Armstrong, Doo Wop, etc. And they're not just radio drops or anything, but full, proper songs recorded for (and about) the shows... like Ultramagnetics' "Chuck Chillout" or those classic, exclusive cuts on Red Alert's albums. Again, it's all produced by Nick Wiz (one beat is even kinda recycled here), and while these maybe aren't quite as objectively good, uniquely written songs as the ones on The Complex Engineer EP (and a lot of time is spent on redundant, name-dropping shout-outs on every track), The Radio Promos EP is kinda more fun. I mean, if you're only going to get one release, The Complex Engineer EP is the way to go (which is surely why DWG gave it the wider release); but this is a neat little treasure for collectors.

By the way, the Nick Wiz CDs and these new 12" EPs aren't the only releases from Emskee... in more recent years, he put out an indie album and 12" on Goon Trax; and he's also one half of a group called The Good People, who got my attention back in 2006 for doing an EP featuring guys like Kool Kim and Cadence. So, if you've been bitten by the Emskee bug, you'll surely want to track all that material down as well - he still sounds the same.

Rock La France

2011-11-25T01:22:00.003-05:00

Let me be the first to admit that there is something to the story of the following 12" I just do not understand. Now, I have been ranting about Rock La Flow since Dope Folks Records re-introduced him to the world. Thanks to them, and also Jamille Records, we've been given a whole catalog of fantastic music by this dope Milwaukee MC, and his equally impressive producer Tory Tee, that would've otherwise been completely lost to the ages. But what about the music that hasn't been issued from decades old vaults? What about his music that was actually released when it was meant to be?

To that end, I bring you today's record, "Proud By Choice" by F³. Who the heck is F³ and what do they have to do with Rock La Flow? Nothing, really, so far as I know; but it's a split 12"'; and the B-side is an original Tory Tee produced Mister Rock La Flow jam from 1990 called "The Harder the Better (Extended)." Where is there a non-Extended Mix for this to be in relation to? I don't know... as far as I know, this is all that's ever been released. Maybe he sold some cassette tapes of an original mix locally?

Here's a more compelling question about this record. Look at the label... Made in France? How/ why is a local, virtually unknown Milwaukee rapper making his vinyl debut in France? Ya got me. This record is on a label called Square Biz, a label that seems to otherwise only release club/ dance/ electro-type records in Europe, like this. But in 1990, apparently they dipped their toes in the underground Milwaukee rap scene, before the underground movement in hip-hop even took off. Either they were suddenly and briefly very progressive, or there's an interesting story there we don't know.

But why look a gift horse in the mouth? It's a banger! Interestingly, it opens with that same crazy vocal sample Raw Produce later used for "Mister Dope America." Then a hot, fast-paced track with a fresh rolling bassline - that sometimes switches up to a classic guitar sample - and non-stop scratching (uncredited, as Rock declares in the song, "my DJ, until further notice, remains unknown!"). And Rock just spits the same, non-stop, engrossing flow we've come to know him for. If you've been loving the Dope Folks releases, you'll want to have this one just as much; it's easily up there with the best songs on those releases. And the fact that this came out in 1990 means this is actually several years older than his Flowgram EPs or even The Ultimate LP; but that's definitely not a bad thing. Interestingly, this extended version is basically just the song from beginning to end which then blends into the instrumental replayed, replete with the same ad-libs and cuts. It's like the equally curious "Paper Thin" by MC Lyte.

Oh, and as for the A-side? It's pretty dope, too. F³ is a female group that comes nice and hard, with a serious message, "we have to send our love to the continent of Africa." The track, by somebody named D.A. Rock, outshines the MCing, with a nice blend of familiar samples (there are a lot of elements here previously used on Doctor Ice's "The Chillologist") mixed with new ones to form something original and edgy. It's bumping head-nodder, and these girls are kicking something serious - especially by 1990 standards. It would make for a pretty nice little pick up even if Rock La Flow wasn't on the flip side, but he is; so this record ends up being a real treasure. If you can fin it, I highly recommend it.

Disco Rick Goes Bankrupt (Luke Diss)

2011-11-23T08:52:00.005-05:00

(Youtube version is here.)

Dead Presidents To Represent Ace

2011-11-21T02:35:00.006-05:00

In 1995, The Southern Conference put out their only album, Who Am I?, and this is the first (of two) singles off of that album. But Southern Conference aren't just some random nobody group that came and went in a quick minute. In fact, it was just the latest step in a hip-hop career that started back in 1989, and continued on his last album (to date) in 2005. The Southern Conference is none other than Dr. Ace, of Young and Restless fame - who also put out records under the names of Da Real One and Mr. Charlie - backed by a couple other guys collectively known as The S.C. Mafia.

Yeah, you remember Young and Restless, surely - "B stands for Broncos, Benz, BMW, bass, bangles, and a pair of bars!" They actually had a long and varied career after they broke up (I say "broke up" because they stopped putting out records as the group, but they remained friends and continued to work together). And in 1995 they both dropped their first solo projects: Prince of Power dropped "Give Me 50 Feet" under his new monicker, P.O.D., and Ace dropped this record, "Dead Presidents."

And this is a solo record, make no mistake. Despite it being credited to "Southern Conference," Ace is the only one rapping on here (though Alvin Rodgers adds the occasional background vocal and a strange Bugs Bunny impression), the song's sole writer and the song's sole producer. It starts out with a quote from the Christian Slater film Mobsters, "What's the secret of America? MONEY! Everything is money, Charlie." "Charlie" is an extra little in-joke, because, in addition to being the name of the main character in the movie, it's Dr. Ace's real name.

Anyway, it's a nice little record... Young and Restless meets 90's random rap indie vinyl. It's a fresh, but low-key instrumental with a super funky bassline - not a Miami bass ridiculous bassline, but a straight funky one - and a little live guitar by Rich Serrotta. There are some subtle, female background vocals by Grace, who's allowed to flex at the end of the song. And there's a cool little routine where Ace does some back and forth with her, very reminiscent of the records Grand Puba used to do with Mary J. Blige.

While P.O.D. went to the obvious route of making a pure dance track for the clubs, Ace made a slower, reflective hip-hop track. It's got enough live rhythms to still feel lush and upbeat, and there are still hints of the Ace's wit in his writing, but for the most part he plays it straight (though not too deep) with a mature song about the ups and downs of his financial issues. And just for the record, this came out the year before Jay-Z's "Dead Presidents."

This 12" just features the one song, but it is fully loaded, coming in Radio, Ride Out, Club, Instrumental, and Acapella Versions. The Ride Out mix isn't a remix with a new instrumental - it's just a slightly extended mix where the beat rides out. This record can usually be found pretty cheap - even though it's kinda rare - just because most people don't seem to know what the heck it is. But I recommend it - it's not exactly a random rap classic that should be commanding insane prices, but if you appreciate good hip-hop, you'll like this. It's just good.

Terrific Bizzie Boyz record!

2011-11-18T09:10:00.002-05:00

(Youtube version is here.)

Mel's Message Week, Day 5 - The Last Message

2011-11-15T03:18:00.000-05:00

It took ten years to get from "The Message" and "Message II" to "The New Message," and we would have to wait another fifteen years for the next installment. That's right, I don't even know how many people realize this, but Melle (sorry, Mele) Mel's last single, "M-3" is actually a new "Message" record. Yup, the "M" stands for "Message." And he's labeled it part 3, which I guess means that he's decided "The New Message" didn't count. Sort of like when Halloween part 7 (a.k.a. H20) came out, and they made it a direct sequel to Halloween part 2, and we were just supposed to pretend parts 3-6 didn't happen, so Jamie Lee Curtis's character never had a daughter and there was no crazy cult. You've got "The Message," "Message II (Survival)" and now "M-3." Anything else isn't canon, so forget about it.

"M-3" dropped on the 25th anniversary of "The Message," the first and only single off of Mel's most recent album, Muscles. The famous hook from the original and "New Message," has been shorted from the famous, "don't push me 'cause I'm close to the edge..." to just the simple and declarative, "don't!" I'm not sure if abbreviating it like the title is meant to disguise the fact that this is the new "Message" or not, but it all ties together when Mel kicks the final verse, which is entirely "don't" themed:

"Don't act like you know so much;
You ain't cute enough to prostitute - don't try to ho so much.
Don't write a rhyme like the rest of your boys
'Cause them niggas is on stage making a bunch of goddamn noise.
Don't be so wild and loose; don't fall for the half truths,
'Cause it might be child abuse.
Pro-black ball player, yo man, don't marry a white woman,
Go and give your sister a chance.
Don't be afraid of the word 'nigga,'
Be a strong, rich, proud, healthy, well-educated nigga."

The rest of the song's a little more straight-forward, what you'd expect from a "Message" rap:

"Broken dreams over the triple beam,
Go for the cream, niggas sellin' dope to the fiends
Young juvenile killers in jeans and white tees
Sayin' 'freeze!' Nobody can hear you scream.
...
Coulda swore that my broad was a normal chick,
Rented a video; the ho was in a porno flick."

Now I don't know, but that sounds like kind of an unfair double-standard to me. I mean, if he's so against porn, what's he doing renting them? I guess it's okay for the goose, but not the gander, huh?

But, seriously, it's interesting. He's switched the flow up from previous messages, where he's now kicking more, faster rhymes {"dreams, beam, cream, fiends, jeans") packed into the lines - it's an energetic, hyper flow, more like Kool G Rap (except with mostly just single syllable rhymes) than the kind of stuff he made history with. I wouldn't say it's an improvement, but it's certainly an acceptable change that works, though I could see some people being disappointed because they wanted to hear a "Message" that sounded more like the original. This one certainly doesn't.

But on the other hand, this lacks the power and imagery of the original. Some of that is definitely in the writing - he just doesn't say anything here that hits you as hard. In fact, I can't even really tell what on Earth he's talking about sometimes (what the Hell are the half-truths that "might be child abuse" in the portion quoted above, for example?) And the style change, which puts more of an emphasis on "clever" than "earnest" probably plays a hand as well. But the biggest point this one catches flack on is surely the production.

Of course, the previous "Message"s have always had the benefit of great, live musicians supporting the rhymes - even "The New Message." Here you've got a track produced by Joey Mekkah (a new alias of Romeo JD from The Boogie Boys), which just isn't very good. Part of the problem is that the music, along with Mel's different flow, makes it seem like they're chasing after "what the kids are doing these days." I'm pretty sure they listened to some new, corny rap songs, said, "this sucks" and then, "we gotta make a track like that to be relevant." I mean, it's not terrible; but it sounds like a leftover from a lame Hot 97 freestyle.

The 12" has our backs here, somewhat, with an exclusive remix by Kamanchi Sly. If you don't know, he's a member of Hijack, the British group that was a member of The Rhyme Syndicate (Mel was a member of the Syndicate, too, remember). It sounds a little more hip-hop, and the bass is deeper - it's a definitely improvement. Still, some of the musical elements sound a little too much like your typical, staccato "computer-made bloops and bleeps" of modern hip-hop production (the whole Muscles project is obviously crippled by not being able to afford to sample), and the hook sounds worse over this new track - they should've replaced it with something else. But, overall it's still an upgrade, and you can really appreciate Mel's MCing better on this mix.

"M-3" also comes backed with another album track, "Hip Hop 101." It's not a great song, but it's a fun homage to old school classics. He spits famous lines from hip-hop's most famous tracks over a classic breakbeat, and leaves the audience to finish the refrains in a shout-and-call kinda thing. It's like those medley records Doug E. Fresh put out around 2000, although he does spit a new, original verse towards the end. It's okay.

Ultimately, it's a disappointment. Reactions online (here, read some) seem to vary from "utter shit" to "the legend is back - all praise!" But I don't think anyone will say that this stands up to his previous outings. Mel proves he still has potential as an MC, and I appreciate the effort here; but this project ain't it. Not only do I naturally prefer the records from '82, but if I want to listen to a third, honestly, I'll play "The New Message." Just like when Halloween 7 came out, they arrogantly dismissed the earlier entries because of their flaws, and declared "we're making the only real, important sequel!" But fans prefer parts 4 and 5. ;)

Mel's Message Week, Day 4 - The Silly Message

2011-11-14T00:32:00.006-05:00

So, for a long time, "The Message" was done. Sure, there were remixes (Sugarhill's 1990 remixes... "The Message '95"... "The Message '97"... that 12" on P-Vine with a bunch of Japanese artists trying their hand at it, or the one on DeepBeats, which had a whole bunch of newjack remixes... jeez, there have been a lot), and compilation appearances. But there were no new "Message" records for a decade. Finally, all that would change on "The Message"'s tenth anniversary, when Danish pop rocker Nikolaj Steen came to New York in search of new, American audiences.

"Now, wait a minute, Werner," you may be thinking, "I thought you said in 'Day 1' that you weren't going to be posting about silly covers and junk; just the real, authentic stuff by Mel." Yeah, but this isn't one of those. This is Melle Mel (who'd now inexplicably changed his name to Mele Mel) back to record a whole new "Message" song. And while Duke Bootee didn't come along for this ride, Mel now had fellow Furious Fiver Scorpio in tow.

I used to watch Yo! MTV Raps (and Rap City, and Video Music Box) religiously in these days. I can only remember Dre and Ed Lover singling out two videos as being personal favorites of theirs, and this was one of them (the other was Rappin Is Fundamental's collaboration with Miles Davis). Now, that may be overhyping it a bit, but if you can get over the fact that they've got this corny rocker adding his voice to the proceedings, it's really not bad. And it was certainly pretty awesome to see Grandmaster Melle Mel back in the saddle again after having been pretty much out of the picture since the Furious Five's failed reunion album in '88.

If you've only seen the video for this (either back in the day or on Youtube), you've seen a bastardized edit of it. See, this song can essentially be broken up into three acts. In act 1, they reprise material from the original "Message" with a few updated twists. One twist is that Nikolaj jumps into to perform some of the lines, and the other is that they alter some of the lyrics. So,

"Rats in the front room, roaches in the back,
Junkies in the alley with a baseball bat.
I tried to get away but I couldn't get far,
'cause a man with a tow-truck repossessed my car."

...becomes...

"Rats in the front room, roaches in the back,
Junkies in the alley just smokin' that crack.
I tried to get away 'cause life is a drag,
But the tow-truck man came and took my Jag."

This is admittedly the worst part. I mean, the changes aren't awful, but they are a small step down, and surely nobody but Nikolaj was thought it was important for him to make arbitrary changes to put his spin on it. It's not that he says anything embarrassing or especially wack, but so far it's pretty pointless. We're obviously better off just playing our old copies of the original "Message."

But the second act is more compelling, and stupidly, that's the one that gets chopped in the music video. Because in the second act, Mel and Scorpio (who have 100% of the writing credit on this song) write and kick all new material for the majority of the song. You did get some of that in the video, including:

"Took the train 'cause a cabbie got gunned down.
A water main broke; can't go downtown.
I shoulda stayed off,
Cops gettin' paid off;
Pops got laid off,
He tried to play it off.
Up at dawn, home at dusk; he's flippin',
Mad at the world so he gave me a weapon.
He ran out of cigarettes;
He went for another pack.
It must've been a good smoke,
He never came back!"

But, either for time or due to a politically incorrect reference to AIDS by Scorpio (probably both), they trim out a good chunk of the middle of the song, like:

"I'm in the bleachers with the Yankees fans.
Sayin', 'yeah, yo, you sucker,' as your boys got slammed!
DEA rolled up on the block,
And two little kids watched as their mother got knocked.
Didn't get bailed out, didn't have no clout;
Been locked up twice, now it's three strikes, she's out.
The city took the kids right quick;
Moms is upstate, sleepin' with a broomstick."

Then act three, predictably, is Mel kicking his "a child is born" verse. This time Steen jumps in and does a couple lines of it, but mostly it's just Mel doing his tried and true thing. And what can I say? Hearing Mel bring it back in '92 was pretty effective.

Now, this single actually has several mixes. Steen produced them all, but he has several co-producers, from punk rock guys (including a member of The Vomit Pigs) to house DJs working with him, and it's not really clear exactly who did what, especially since the credits seem to differ whether you're looking at the cassette single or the 12" label. So, we'll just say a mess of these guys collectively worked on these various versions. So there's talent on hand, but none of them are really hip-hop producers, which means, naturally, the results are mixed.

Surprisingly, it's not the Album version you hear in the video. That version's okay, but kinda boring until the guitar solos kick in - those are effective, and appear in pretty much all the mixes. The one in the video is the Smooth Mix, and I actually think that one's the best. It relies on a lot of drawn out synth notes, which is pretty cliche, but actually works surprisingly well with the harder elements of the song. Then you've got the Close To the Edge Mix, which is the most traditionally hip-hop of all of them, and that's pretty decent, but for some reason it just doesn't jive well with the vocals. Someone would need to go back in and rejig some of the elements to really make it work right; but as it stands, it's a little off. And finally there's the Hot Mix, which is more of a dance track and definitely the worst of the bunch.

So, how to call this in the end? The song obviously gets dismissed a lot just because it's got a corny rocker guy in an otherwise dead serious rap video... That would have a hard time flying today, much less back in 1992. And some of his input really does come off as silly, regardless of the times (hey, at least he doesn't human beatbox!). It's certainly not a song you'd proudly drive around blasting out of your jeep; and obviously it's not as good as "The Message," or even "Message II." But Steen is a genuinely talented musician. And having Mel and Scorpio on the mic giving an earnest go at hard MCing with socially important lyrics is certainly a good thing that real heads shouldn't entirely be sleeping on. This was a comeback I really wanted to happen, but unfortunately it took a bunch more years for Mel and Scorpio to get more projects off the ground. And this is definitely better than a lot of those.

If you appreciate Mel, you'll be down with this. But "The New Message" is certainly no substitute message.

Mel's Message Week, Day 3 - The Sequel

2011-11-12T23:40:00.008-05:00

Still 1982, Grandmaster Flash and the rest of The Furious Five have come around to "The Message" - it's a runaway hit, the title of their album. But now that it's time for the sequel, Melle Mel and Duke Bootee are still doing it on their own. Flash and the Five aren't even credited on the label this time, though Sylvia and Joey Robinson are still taking writing and production credits.

It's called "Message II (Survival)," and once again it's just Mel and Bootee rapping on this. But there's another MC who should have writing credit on this record. Check out these lyrics:

"In jail they got a game and they call it 'survival,'
They run it down to ya on your first arrival.
They tell ya what you can and can not do,
So if you ever go to jail, watch your (mm mm)."

Duke Bootee kicks that short verse near the beginning of the song. But now check out these lyrics to another rap classic, and see if you notice anything familiar:

"For you sucker sucker crews who commit the crime,
You wanna do bad but don't do the time.
I say you wanna be this but then you wanna be a crook,
You find and old lady and take her pocket book;
And then you steal your mother father's money on the sly;
You can run, but you can't hide.
When the cops grab you, your face turns pale;
And I'ma tell you a little story about the jail:
You see, in jail they got a game and it's called 'survival,'
And they run it down to ya on your first arrival.
They tell ya what you can and can not do,
But if you go to jail, watch your poo poo."

That's right. That's from Spoonie Gee's debut single "Spoonin' Rap" on Sound of New York (1979). Of course, Spoonie took it a little further...

"'Cause when you go in the shower, he's a-pullin' his meat,
And he's a-lookin' at you, and say you look real sweet.
And at first there was one, now ten walked in,
Now how in the hell do you expect to win?
I said you better look alive, not like you take dope,
And please, my brother, don't drop the soap.
And if you get out the bathroom and you're alive,
Just remember: only a man can survive."

For ages, I just assumed the lines were bitten. After all, Bootee is a musician first and foremost. He rhymed on these records, but he never really made any claims of being a serious MC. The original intention was for his vocals to be replaced on the original "The Message," and he was only rapping on this one because of the success of the last one (and the growing divisions within the group over the whole mess). So I assumed he had a little trouble coming up with some rhymes and figured he could sneak a lifted passage or two under the radar.

But, actually, in an interview with The Foundation (by the way, have I mentioned that The Foundation is fucking awesome, and if you haven't gone there and ready every single interview than you're really missing out?), Rahiem, explains that, "Spoonie G wrote that song to get out of his contract [with Sugarhill]."

The beat should be familiar, too. There's some new instrumentation by the usual players on top, but the basic track is Grandmaster Flash & The Furious Five's earlier hit, "Scorpio" with the fast, electronic sounding beats and sound effects.

Still, this is a pretty great song. Some of the added music, especially the super funky bassline, really elevates this above "Scorpio" IMHO, which gets kind of monotonous and dull. And it sure doesn't hurt that Mel's simple vocoder effects have been replaced by some great new lyrics by Spoonie, "you've got to lock all your windows, chain up all your doors, to protect what's inside of your houses, stores. Beware of the food - it might be no good, 'cause there's someone trying to poison the whole neighborhood! Today they found something in somebody's store they said, killed ten people, and hurt four more."

Mel also changes up his flow for majority of the song, and instead of giving his usual, ultra-aggressive delivery, gives a very earnest, softer, almost pleading delivery for most of his lines. You might almost think it was another member of the Five doing his parts, but no, that's Mel. He only really switches back to his traditional style for the ending, when he brings back a portion of his famous, "a child is born with no state of mind" verse for an encore performance.

Of course, this record didn't have quite the impact the original did. A lot of the recycled elements feel like quick cash-grabs, and you just can't have an important, musical and cultural First twice. The hook, while effective, didn't become the anthem that "The Message" or even "New York, New York" did. But it's still a really great record that stands up to the test of time a lot better than many other records from that era, even other hits by Flash and the gang. If this record had gotten formulaic, it was at least a terrific formula.

Mel's Message Week, Day 2 - The Actual Message

2011-11-11T23:53:00.009-05:00

So, three years later, Grandmaster Flash and the Furious Five built a song around that famous verse from "Superrappin'." Or, rather, Melle Mel did, almost on his own. Apparently the rest of the group weren't convinced at all of this bold concept: to make a hip-hop record that was serious and political as opposed to light and bouncy. Little could they imagine the world of Public Enemy, NWA and Edutainment that hip-hop was about to define hip-hop - "the black CNN" as Chuck D famously described it - for the latter half of the decade.

So Melle Mel hooked up with one of the members of Sugarhill Records' house band, Duke Bootee, and they crafted this song on their own (note the billing on the label... Flash and the Five developed a long history of confusing and ever-changing billing on their records like pretty much no other group). Bootee didn't just work on the instrumental for song, he actually wrote and performs one of the verses - the only one not by Mel. In fact, it even goes further... according to an interview with Bootee at The Foundation, he wrote all of Mel's verses, too (except for that famous, final verse).

While "Superrappin'" may've had the famous verse first, and other rap records managed to make some social and political points, "The Message" turned out to be revolutionary. While the instrumental is still by The Sugarhill Band and contains your standard disco/ funk elements, it's much darker and atmospheric, and it's set to a drum machine instead of live percussion. Instrumentally and lyrically, it lead hip-hop into a whole new direction. Not that every rapper took it (care free party rap remains a staple of the genre to this day), but it opened the door to so much, from the post-Run DMC era of stripped down beats to pretty much the whole concept of serious and "hardcore" MCing.

I have a fun memory of this record. In high school, we had to do a presentation where we typed up the words to a song, played the song in class, and discussed the lyrics. Most of the kids were surprised I listened to stuff like this, considering it was so old school - I'm not so old that I went to high school in the 80's, guys. But one of my best friends had already called dibs on The Geto Boys' "Chucky," so I figured I had to go in a different direction.

Anyway, my English teacher was impressed I figured out Duke was saying "sacroiliac," but marked me wrong on another line of the song, where Mel tells the tale of the "Zircon princess" who, "seemed to lost her senses. Down at the peep show, watchin' all the creeps so she can tell her stories to the girls back home. She went to the city and got so, so siditty, she had to get a pimp; she couldn't make it on her own." She was convinced the song had to be saying she got "social security." So, since I'm looking back at this record, I decided to do a little research and see what the rest of the world thinks about this line.

The original hip-hop anthology, Rap: The Lyrics actually has it as "social security." But the later Anthology of Rap agrees with me. Being on the side of "the big book of plagiarism" was almost enough to make me rethink my stance on the subject, but it occurred to me that whatever they had must have originally come from the internet, so I checked The OHHLA, and they also have it as "siditty". Actually, they have it as "seditty." In fact, googling around, I've found literally over a dozen spellings of this word. But however you spell it, I'm convinced they meant the term found in this Urban Dictionary link. This is just one of those old school slang words everybody was using back in the days, and it hadn't even occurred to me that they could be saying anything else.

I mean, I can understand the logic of wanting to think it must be "social security." Rapgenius has it as "seditty," but then if you click the word, they say, "My guess, from listening to the song and given the context ('she couldn’t make it on her own'), is that what’s actually being said is 'Social Security' — which maybe is being used euphemism for welfare, or disability given that she’s a 'crazy lady'" - it makes sense. But I think that's just a case of us trying to re-edit the song afterwards. I mean, just listen to the song: there aren't enough syllables for it to be "social security." I can hear "so so" as "social," but "security" has a whole other, distinct syllable with a definite "your" sound in there. And Mel's not exactly a midwestern mumblemouth-type rapper. He comes from the old school tradition of enunciating the Hell out of whatever you're trying to say. Hell, Maya Angelou even uses the term in I Know Why the Caged Bird Sings: "St. Louis teachers, on the other hand, tended to act very 'siditty' and talked down to their students from the lofty heights of education and whitefolks' enunciation." ...I wish I had that Angelou quote back in English class; I think that would've gotten that incorrect mark off my paper! hehe

Anyway, I apologize for the long tangent. It's a powerful song, from Mel's dynamic opening, "broken glass everywhere!" to the mature and heartfelt lyrics of all the verses, including Bootee's, talking about, "the bill collectors that ring my phone and scare my wife when I'm not home." It works and holds up on every level. Even today, you're not going to find many rappers with metaphors and imagery like, "rows of eyes disguised as windows, looking down on the poor and needy." And, of course, it has one of the most famous and bitten hooks in hip-hop history: "don't push me 'cause I'm close to the edge... I'm tryin' not to lose my head. It's like a jungle sometimes, it makes me wonder how I keep from going under."

There are multiple pressings, of course, but pretty much only the one version of the song (not counting remixes made by other artists long after the fact), about seven minutes long with the instrumental on the B-side. Unlike songs like "Superrappin'" or "Rapper's Delight," no one really pares this one down. I mean, maybe a compilation or two will shave a bit of the extended instrumental at the beginning or the skit at the ending (that Newcleus famously imitated on their classic, "Jam On Revenge"), but you'd be hard pressed to find any versions that cut any of the verses, all of which are iconic and essential. This song is one of the few real game changers, even moreso than other songs that managed to set trends. And Grandmaster Flash and the rest of the Furious Five, who originally didn't want to get down with this song, wound up making it the title of their debut album.

Some Unearthed Sah-B Shit

2011-11-11T00:03:00.013-05:00

Whoa - we interrupt 'Mel's Message Week' to bring you a breaking post on Sah-B! Fifth Element Online has just posted an in-depth review (and a complete mp3 rip) of her unreleased '94 album for Reprise Records, Some Ol' Sah-B Shit! Go check it out. I'll wait here. Come back when you're done.

Okay, so here's the cover of the tape he posted (you already saw it there, but I'm re-posting it here for comparison's sake).

I've been on the hunt for this album ever since it was announced on the back of the "Summa Day" cassingle as coming soon. Of course, it never did. But I knew that promo tapes existed, and I've seen a few fly by on EBay. In fact, six or so went up relatively recently. I never got 'em because they wound up going for ridiculous money. But what's interesting is that they're not all the same.

First of all, there's this version:

It's not really too different from the one FE posted, except that it's four tracks shorter. Those missing tracks are just the skits, and otherwise the track-listing is identical, so no big deal.

Okay, but how about this:

If you look, it's dated about three months earlier than the one FE posted, and has an entirely different (and shorter) track-listing. This definitely looks like an unfinished version. "Funkmaster Flex" might just be a radio freestyle or a drop/skit. But some titles like "Tell Me Something Good" and "Don't Stop" seem to have gone missing from those later versions posted above.

The same could be said for this 3-song tape:

"Do You Love Him Enough To Do the Time" persists through all the versions we've seen, and ties it to the Reprise album; but the other two songs, again, seem unique to this tape. Somebody must have some pretty deep vaults of unreleased Sah-B shit.

Especially since it looks like Reprise was also considering releasing some singles that never saw their way out the gate... check these out!

...That last one, of course, did come out as the B-side to "Summa Day." I just included it because it includes an Acapella version that was never released.

But how about those other songs? "Merciless" (plus a possibly alternate "Final Mix"), "Sah-B Show" and "Can't Let Go?" And these look like singles, too - so there's a good chance they're hotter than many of the album filler songs. Apparently they made a lot of passes trying to please Reprise, and none of them succeeded.

Now, it's important to note, I don't actually have any of these tapes... Is it possible that one or two of these seemingly different songs are actually the same but alternately titled? Sure. Maybe the song on the single "Sah-B Show" is "Sah-B" on that eight-song tape.

But one thing's for sure. There is a crap-ton of unreleased Sah-B material - much of which we can now hear thanks to Fifth Element Online and much we cannot; but all of which needs to be given a proper, official release. Who can make this happen?

(By the way, I love it that there can be "breaking news" on Sah-B's album in 2011. hehe)

Mel's Message Week, Day 1 - A Verse Is Born With No State of Mind

2011-11-10T22:36:00.004-05:00

Grandmaster Flash & the Furious Five's classic record, "The Message" is easily one of the most important rap records in hip-hop history. And that's why I'm dedicating a whole week to it - or, rather, its many iterations. And I'm not even talking about funky remix 12"s, like the one by Stunt Nuts, where they turn it into a trance/ Euro/ electro/ whatever/ dance record, or random covers by unrelated artists like Motiv or this guy. This week is dedicated solely and specifically to Melle's Mel's "Message." ...You'll see, by the end of the week, it'll all have made sense. ;)

Now, the primary reason "The Message" is held up as so important is because it's known as the first record to have, well... a message. It's regarded the single to take the hip-hop from hip-hoppin', show-stoppin', body-rockin', poppin' and lockin' party rhymes to rebellious street music with a serious bent. And it did. But to be fair, it's not really the first rap record to have any kind of socially conscious message in it. In fact, Melle Mel had already done it a few years before. In fact, he did it with many of the exact same lyrics before.

"The Message" is a great song with many great verses from the Five, but certainly the signature, most memorable verse is the final one - hell, I don't even need to play the song now to type it out:

"A child is born with no state of mind,
Blind to the ways of mankind.
God is smilin' on you, but he's frownin', too,
Because only God knows what you'll go through.
You'll grow in the ghetto livin' second rate,
And your eyes will sing a song of deep hate;
And the places you play and where you stay
Look like one great big alleyway.
You'll admire all the number book takers,
Thugs, pimps and pushers and the big moneymakers,
Drivin' big cars, spendin' twenties and tens;
And you'll wanna grow up to be just like them.
Smugglers, scramblers, burglars, gamblers,
Pickpockets, peddlers, even panhandlers.
You'll say, 'I'm cool, huh, I'm no fool,'
But then you wind up droppin' outta high school.
Now you're unemployed, all non-void,
Walkin' round like you're Pretty Boy Floyd.
Turned stick-up kid, but look what you done did:
Got sent up state for an eight-year bid.
Now your manhood is took and you're a Maytag,
Spend the next two years as a undercover fag,
Bein' used and abused and served like hell,
'Till one day you was found hung dead in your cell.
It was plain to see that your life was lost,
You was cold and your body swung back and forth,
And your eyes sang that sad, sad song
Of how you lived so fast and died so young."

That's a hard verse. But another reason it might stand out as being particularly memorable is that we'd heard it before. Melle Mel kicked that exact same verse three years earlier on "Superrappin'."

"Superrappin'" dropped in 1979 on Enjoy Records, before they made their move to Sugarhill Records where they released the majority of their hits. It's often referred to as their first record, although strictly speaking, they released another single earlier: "We Rap More Mellow," under the alias of The Younger Generation. The version pictured here, by the way, is the second pressing Enjoy put out after their small initial run was such a success. I don't actually have this pressing but I stole the picture from discogs because I love the spelling error on this pressing - they title the song "Supperrappin'," ...as in the meal after lunch.

Now "Superrappin'" is one of those classic, marathon golden age rap records where the MCs just spit and spit for well over ten minutes to the accompaniment of a live band. Man, they don't really don't make records like that anymore. But I especially bring it up to point out that, because it's so long, many (most, in fact) hip-hop compilations over the years would edit this song and all the others like it to a more manageable 5-minute or so length. That way they could fit a lot more songs on the album and it'd be more marketable. But that means a whole lot of you may've grown up knowing "Superrappin'" in an abbreviated form without that final verse (and plenty of other parts).

Now, "Superrappin'" isn't a particularly message-y song for the most part. In fact, after this verse, Melle passes the mic right back to Rahiem who rhymes about how, "all the fly girls, you got to beware, because Rahiem will be in your hair!" But you can't deny that any song that has that verse in it has a serious (albeit homophobic) message in it... years before the actual "The Message." It also features tons of memorable lines, including the famous count up, count down hook that so many other rappers have borrowed over the years, "one, two, three, four, five, six, seven, rappin' like Hell but make it sound like Heaven. Seven, six, five, four, three, two, one, come on, _____, come and get some!"

I have one little anecdotal memory about this record... when I was working at The Source, I had to write a brief biography for Grandmaster Flash & The Furious Five for their awards show. It was just a couple short sentences, like, "responsible for such influential songs as 'The Message,' 'White Lines' and 'Superrappin'." But the owner of the mag contacted me, indirectly through my supervisor, like, "what is this kid doing? Grandmaster Flash didn't do Superrappin'!" You couldn't contact this guy directly, his door was always locked and you couldn't call him... so I had to run out, buy a copy of this record that day, and fax him a label scan. I never heard back from him; but I saw "Superrappin'" was in the final copy of the bio when it came out.

Anyway, "Superrappin'" was followed up by "Super Rappin' No. 2" on Enjoy the following year. But it's really just an abbreviated version of "Supperappin'" that cuts about five minutes of (great) material out of the song and adds nothing except very minimal instrumental changes - the body of the music is the same. And no, it doesn't have the famous, "a child is born" verse.

Money Earnin' Mt. Vernon (R.I.P. Heavy D)

2011-11-09T02:53:00.004-05:00

(Youtube version is here.)

Premier Commits Sewaside

2011-11-05T02:52:00.005-04:00

I don't have any Das EFX posts yet, so I figured I should make one. I mean, I'm not a HUGE Das EFX fan, but I've always liked 'em enough to pick up their albums as they dropped back in the day, and they definitely had some nice singles. But it's just one of those things where I look at the increasingly long list of artists featured on this blog in the right-hand column and see all these crazy names like Dr. T and the Klinic, Bobby Jimmy, Sabado Gigante, MC Frontalot, two entries for Tricky Nicky and so on... and none for the artists who've been basic hip-hop staples of the genre. I feels like I gotta patch some of these guys in. So here we go: Das EFX.

So the obvious choice would probably be to grab something off of Hold It Down, or maybe go ultra-purist and take it all the way back to their first single or two. But I figure I'll shoot somewhere for their more neglected zone, a dope single from their second album, Straight Up Sewaside. Straight Up Sewaside is interesting, because it did much better overseas... here in the US, most heads were already sick of their "diggity riggidy" gimmick and had written them off as copied and played out, one album wonders, even the source of punchlines by other MCs.

But before the days of the internet, kids in other countries didn't know know about their declining rep and still ate it up. I remember a segment, I think it was on Video Music Box, about how kids in Europe still loved Das EFX and considered them the #1 rap group, and it was like "wha?" We'd all moved on to The Wu-Tang Clan and didn't pay Das anymore mind. But those kids held them down long enough for the duo to re-invent themselves with the Premier-laced "Real Hip-Hop," and their Hit Squad association during the Erick and Parrish rivalry; so they got some of their buzz back. But Straight Up Sewaside is one that's usually left to the hardcore fans.

More interesting than most of the stuff from that album, though, is this little single. See, after their bigger singles off that album, "Baknaffek" and "Freakit," they snuck out one last single, a little more underground and actually one of the best in their whole careers: "Kaught In da Ak." It was already one of the better album tracks, darker and more serious - even "BakNaffek," which showcased a deliberately harder instrumental, was still full of "diggity wiggity" lines and references to Chris Kringle and Beavis and Butthead. This is more on some street shit:

"I check this nigga that I used to snatch jewels wit' back in the day; but nevertheless the kid's ass' slingin' gas to pay bills to afford some pills that kill stress."

Compare that to "Freakit:"

"Hot damn! I got more props than that Fox, Samantha. The hickety-dick slickest nigga wit the raps that sound nifty. Weight around a pound sixty."

...and it's no competition. The only pop culture reference they make here (if you can even call it that), is a comment on the infamous Tawana Brawley case.

But the real selling aspect of this one is the remix - an unheralded production by Premier that pre-dates their celebrated single "Real Hip Hop" by two years. The main "bomp bomp" sample sounds just like the stuff Premier would overuse in years to come, but it was fresh and new in '93. Plus, anyway, the way he chops the drums and lays in the more subtle elements (is that the sound of a toy laser gun laid in there?) sound great in any decade. And the way he starts the song off with the infamous "Bum-stiggidadee bum, stiggadee" vocal sample suggests Premiere was already consciously trying to move these guys away from their limiting reputation, or at least playing with it.

On the B-side, you get another album track, "It'z Lik Dat," and another exclusive remix. Again, it's another one of their better joints, with a darker, atmospheric beat and some more straight-up battle-style rhymes. The remix isn't by Premier this time, however, but by Solid Scheme, who also produced the original versions of both tracks, and most of the rest of EFX's stuff. It's okay, and a nice bonus; but in this case, the album version's better.

But even just the album version makes a nice companion piece to "Kaught In da Ak," two highlights from an otherwise forgettable album that's usually left to the hardcore fans. So even if you dismiss the group as generally being too corny, this is a respectable piece for your crates. ...And I apologize for the stupid pun in the title - couldn't help it. lol

Rap Artifact On Wax

2011-11-03T03:35:00.004-04:00

A self described "archival record label" by the name of Numero Group has released the latest (ninth) 12" in their disco series, "Practitioner Of Rhymes" by Doc Rhymin'. Their first release was in 2006, so apparently they don't rush these things. Anyway, only a handful of these releases (four, I believe) are actually hip-hop records. And of those, only this one has (probably) never been released before on wax. The label speculates on their site, "we're comfortable assuming this came out on maxi-cassette in 1987."

This single comes from the vaults of a tiny Cleveland label, essentially a one-man recording store set up in the back yard, of Boddie Recording Company. After years of trying, Numero was able to persuade the widow of BRC's founder, Thomas Boddie, to let them release music he'd recorded from the 60's to the 80's - there's a terrific article on the whole story of the BRC here - including this one rap single.

So, here we have three practically unreleased songs by one virtually unknown MC. How is it? It's pretty good. It sounds super dated, but so much so that it might almost add to its appeal. The Doc rhymes like a simpler version of T-La Rock, and the beats are all super sparse, drum machine creations with no samples and lots of snare, echoey handclaps and reverb. They're so similar and his flow is so unchanging, that the three songs might as well be one long song, really, with the drum patterns just slightly changing around the 33% mark.

But they've got a great non-stop rappin' quality. dude doesn't even have hooks on his songs. He just kicks brag/battle raps with a respectable, hardcore delivery. Lyrically, by 1987 standards, he's actually pretty good - "Dictionary Rap" is an effective exercise in alliteration. Two of the songs, "No Title Can Describe" and "Dictionary Rap," also feature an uncredited female MC, who adds some welcome diversity to the proceedings. This isn't a great record - even if a lot more heads heard it in '87, they probably would've just ignored it in favor of more dynamic and exciting mainstream records. But if you want some no frills, no gimmicks, pure old school rap, this is it in spades.

Unfortunately, the sound quality leaves a lot to be desired. It's very flat and hissy. Fortunately, the music is simple and hard enough that it all comes through pretty okay, but it does rob the songs of a lot of their potential energy. I don't know if this problem roots back to how this material was originally recorded, if Numero Uno just did a poor job mastering this, or even if they just ripped this from a cassette. In any case, the music of Doc Rhymin' isn't likely to pop up a second time,s o get it while you can if you're interested.

Dracula A.D.

2011-10-31T03:16:00.003-04:00

As any Hammer aficionado can tell you, Alucard is "Dracula" written backwards, the alias he uses when he returns in modern days - obvious, but still enough to defray suspicion from members of contemporary society who'd never suspect a centuries old vampire could in our modern times. The term comes up again and again in vampire lore, from anime to video games, and it always means the king of all vampires is not far behind. So, I'm just suggesting you might want to have a clove of garlic or two on hand before playing Alucard's debut album, Watch Them Fall.

Watch Them Fall dropped on Creative Juices in 2009. But many of you may've already been familiar with the album by then, as there was an earlier, "mixtape" version in 2008. Of course, it wasn't a real mixtape (or mixCD even), with a DJ expressing his artistry through blends, scratches, juggling, etc - it was one of those "we don't want to market it as a proper album" mixtapes all rappers put out these days, where they just cut out the 2 second gap between each song, stick it in a slimline case and declare it a mixtape so label politics, sample clearances, etc somehow won't apply. But I digress.

So, who is Alucard? Alucard is a Brooklyn MC who's been down with Creative Juices since the beginning, dropping guest verses or full-length songs to their compilations since the early 2000's. He also does most or all of their album covers, including, yes, this one. And Watch Them Fall isn't so much an all-new album, but a collection of his music from over the years, which could partially explain why the album's so uneven.

To be honest, he feels like a horrorcore MC who lacks the conviction to go full-fledged horrorcore, and instead hedges his bets by just acting thug whenever he's in danger of being ridiculed for breaking too far free of the generic rapper mold. So lots of horror references and samples, and lots of "I punch MCs in the face until I break my hands... I fuck your girl and let the rest of my boys molest her"-type lines. So he can wind up feeling like a budget Vinnie Paz (and let's face it, Vinnie Paz is already a budget Vinnie Paz). But also like Vinnie, he has some excellent, compelling production, so when Alucard gets it right, the combination can be a lot of fun. Plus, to be fair, Alucard's flow is a lot less clumsy than Paz's, and his rhyme schemes are more clever.

It's songs like "Hatchling" that make it all worth it. Producer Real 6 loops up the main theme to House By the Cemetery with a hook consisting of crazy quotes from the Werewolf TV series. And Alucard kicks a perfectly bugged out, creative rhyme:

"The metamorphosis mega-force exists
Complex transformation process
Fingers elongate, the song makes
Rivers split to form lakes
Inform hate, violence at high res
Creatures with hind legs
Develop inside eggs
Hatclings
With webbed toes and bat wings
That swoop down to the ground and catch things
Like grapplings
Swings back and forth with chains
From attached rings
And attack kings
Brooklyn-bound Stood on a cloud that floats five hundred feet above the ground
Lookin' down
???
Lick the MDA off the back of a slimy toad
And dread the windy road
Until the trail ends
Scorpion tail bends
You better have a strong stomach
When the storm cometh
My mouth opens and thousands of hornets'll swarm from it
Form current, leave patches
Heat rashes, deep gashes
I pull the arm from the shoulder until it detaches
And the bones snap like tree branches!"

So, it's a fun album. The lyrics are often engaging, and the production always is. There is one really annoying skit, that consists of a never ending George Carlin quote played over a beat for three minutes. But apart from that, it's good times, and there's plenty of good guest spots by Creative Juices regulars like IDe, Critical, UG (fittingly), Savage, Jise, etc.

So, the 2009 album is just the 2008 mixCD without the endings of all the songs clipped? No, actually not. The 2009 album adds five new songs, which is cool. But the album has 22 songs, and the mixCD had 23. Which means the mixCD has seven songs not on the final version - both versions have unique content. Now, I bet you're thinking, "if only there were a detailed breakdown of the differences between the two versions available online somewhere, so I knew which one was preferable." Man, what're you new to this blog? Sit down and read. ;)

Exclusive to the mixCD:

Oh No - This is a fun, upbeat freestyle produced by IDe. Nothing spectacular, I can see why it was considered expendable, but it's nice to have.

What They Gone Say, featuring L.I.F.E. Long - The beat by IDe is kind of head nodder, but apart from that, this one's kinda boring, complaining about the typical underground rap gripes (what plays on the radio, NY police, etc). Not sorry to see this one go.

Full Of Hate -Another one produced by IDe, the lyrics and instrumental really fit the theme, so I was surprised to see this one go, but some of the rhymes are a bit corny ("church I never go, heterosexual dressed in black from head to toe. Fuck, I let 'em know so fast.")

Octane, featuring IDe, L.I.F.E. Long & Sav Killz - This is an okay posse cut, produced by Alucard himself; but nothing better. It's been replaced by a much better posse cut.

Altitude, featuring Savage Messiah - The track by Ide is cool, but they're trying a more playful delivery that comes off as a cheesy attempt to follow some bad trend, and the lyrics are lame ("I fuck a broad without the bra like Ron Jeremy"). A good choice to remove.

Order Of the Dragon, featuring Deep, IDe, L.I.F.E. Long & Relz - This is a better posse cut, produced by Felony (I don't know who he is, really, but he's done a couple other tracks for CJM). I was sorry to see this one go.

Daisy Cutters - I liked this one, too. Dope beat (by Benefit), good flow. Should've kept this one, I think.

Exclusive to the proper album:

Haunted Cathedrals, featuring IDe - I really like this track, with some tight scratches by DJ Bonus1 on the hook. This really has the more polished, finished song quality that something like "Oh No" lacks; so the change makes perfect sense. Good addition.

Voice Of Reason - The beat, by 2 Hungry Bros, is perfect for this project, and Alucard comes harder than usual. It's kind of short, but adds a lot.

Hatchling - This is the one I singled out above as one of the stand-out songs. This being an exclusive makes a big difference.

Loose Screw - CJM regular DJ Connect provides a perfect beat for one of Alucard's best vocal performances. Clearly influenced by UG, but I'm happy with that.

Cyclone, featuring IDe - The upbeat, old school organ track provided by somebody named White Shadow is fitting, but lyrically it's disappointing, at times even downright stupid ("music's postal. I ship priority, tracking preferred. A hierarchy of words, binary codes. We're all bare beanth our clothes"). Could've done without this one, frankly.

Boom, featuring Critical, IDe, Jise & UG - This is the much better posse cut I mentioned earlier. And of course, you have to get UG on an album like this if you can!

So, final tally? The final album is predictably better. Ideally, I would've swapped around a few different songs and made some different choices ("Cyclone" out, "Order Of the Dragons" in), but it's clearly the more consistent of the two. So I'd say just get the 2009 edition - it's not worth getting both unless you're seriously Alucard's #1 fan - if you want something appropriate for the Halloween season.

Nick Wiz - UGHH Exclusive?

2011-10-30T12:18:00.004-04:00

Nick Wiz is back, with another double CD - 43 full-length tracks - of unreleased goodness from his vaults. Interestingly, Cellar Sounds volume 2: 1992-1998 is a ughh.com exclusive. That's fine with me, because they're a good, reliable store, and if more places carried it, I'd've still probably ordered mine from them. But it does make me worry about the future of this series... if only one website is carrying Volume 3, can we be secure in the hopes for a Volume 4?

But enough gray skies for now, let's just enjoy what we've got - another excellent collection of 100% previously unreleased songs. All your old favorites are back: Cella Dwellas, Shadowz In da Dark, Ran Reed, Pudgee, N-Tyce, Milkbone. And, like last time, Nick hits us off with brief notes explaining every single song in this comp. One small disappointment is no Lord Have Mercy. I was enjoying the idea of him having one show-stopper at the end of every disc #1. Also, artists we'd only been first introduced to in previous volumes of this series, like The Native Assassins and Tross, are back with more lost demos.

Highlights this go around? Well, UG comes pretty nice on a couple tracks, including the album's opener... It's titled "Intro," but it's a full song. N-Tyce brings a different style than we've heard from her before on "Bet You Didn't Know." Pudgee comes with a tight, but politically incorrect, sex track called "Sex Ghetto Styles." A group called Pure Sinister from North Carolina recorded a fresh, hardcore demo track called "You Know My Style." And my personal favorite is an oldie from Madhouse - Shabaam Sahdeeq/s first group from even before Shadowz In da Dark, called "The Boom Bip" that has the MCs and the producer both going outside of their normal lanes for a really funky, aggressively upbeat track.

I mean, don't get me wrong - I don't want to oversell this album. Sometimes the formula here can wear a little thin. A lot of the MCs here are good, but wouldn't particularly stand out in a crowded cypher; and they're often hampered by the need to kick a few too many corny 90's punchlines. Plus some of Wiz's lesser tracks can feel a little formulaic, especially if you're listening to this double disc set end-to-end. And while these compilations have taught me to appreciate a couple of these MCs a little more than I did when they were first coming out - cats like Milkbone or N-Tyce, they still fall more than a little short of genius.

But everything here is good, some of it's really good, and there's a lot of stuff here heads have been waiting to get their hands and ears on since the 90's. Plus, two CDs packed with over twenty full-length songs each is a hell of a lot of material for $14.97. I think you'd be really be cheating yourself to pass it up.

So, whither Volume 4? Man, I hope so! I'm still dying to hear those original Cella Dwellas tracks when Lord Have Mercy was a member, and the fact that Wiz keeps hitting us off with tons of material we've never even heard of means you just know he's got a lot more to go from almost these artists. So I'm sitting here with my fingers crossed that "ughh exclusive" isn't a bad sign. And, in the meantime, the liner notes of this set tells us what's on deck from Nick Wiz and No Sleep Records: Nick Wiz Presents Ran Reed "Respect the ARchitect."

Give Extra P the Key To the City

2011-10-29T09:21:00.002-04:00

(Youtube version is here.)

New Masta Ace Wax

2011-10-23T03:48:00.006-04:00

With "Nostalgia" by Marco Polo and that killer song on Top Shelf 8/8/88, Masta Ace is exciting again. I mean a lot of MCs who were great at one time keep putting out records or guest appearances that are OK. But they're nothing like their heydays, and you can't help thinking somebody needs to give these guys a serious shot in the arm or put them out of their misery, because this endless succession of half-ass material where they're just cashing in on the last few remnants of their name are depressing. Well, either somebody gave Ace that shot in the arm, or being a master of constantly re-inventing himself and staying well ahead of the curve, he never needed it. Whichever way, Ace has still got it, and this is his new 12" single.

"Let It Be" comes to us from producer Ras Beats, a Danish producer who lives in Queens. He's put out several other releases like this one - that is, on his own label, Worldwyde; but this is his first release with big name MCs.

And while Ace has clearly taken the time to craft lyrics more substantial than just the quick throwaway guest spot freestyle - this is a proper song with a concept that matches the chorus - one of the biggest reasons Ace stays exciting this time around is that he's got production worthy of him. I'd love to know what's being sampled hear, ha ha. It's got a deep, slow, bassy feel crisp drums and a sung/ sampled hook. I love the decision to reverse the vocals on the last go 'round of each hook.

And this 12" would be impressive enough if it was left as just that; but it's also got a dope B-side, by Ras and Sadat X. It's called "Survive" and it's pretty interesting, because at first it sounds like just a lot of thoughtful but typical, non sequitur stream of consciousness-type rhymes. But it all ties back to the theme/hook - "how you can survive this year?" - of it getting harder and harder to stay in the game.

Both songs come in Vocal, Clean Vocal and Instrumental versions. And both sides also have a Bonus Beat. These aren't your typical Bonus Beats entry on a 12"; they're actually completely different breakbeats Ras also produced. I actually thought the Bonus Beat on side B might've been a more suitable beat for Sadat to spit over than the one they use for the song; but it's all solid production all around.

This is limited to 300 hand-numbered copies... plus, apparently, a couple extra for promo purposes; because in my case, I won my copy in a contest (see, kids, it pays to pay attention to those things), and my copy is numbered "COMP." It comes in a sticker cover, pictured above, and if you were lucky/quick enough to score one of the first 25 copies, you got it signed by Ace and Beats.

"Let It Be" also comes with a colored promo sheet, a la DWG, with a few notes on each song from Ras. More impressively, it also features a download code and password, so everyone who purchases the vinyl gets a free digital copy. I really appreciate it when labels do this... it's not so important for CDs, but for vinyl it's really handy. Unfortunately, as of this writing, the link no longer seems to be working - I guess it was more a bonus for pre-orderers **UPDATE 10/26/11 - it's back! Worldwyde hit me up and said they re-activated the link, so if you get the vinyl now, you can still get the free download. :) ** Regardless, it's a first class release suitable for anyone who wants to get their grown man rap on. It's not available too widely, but you can still order it directly from his website, rasbeats.com. There's also a digital-only release for the kids.

Mixmasta "D" Meets Big Daddy Kane

2011-10-22T00:25:00.009-04:00

Mixmasta "D", of the Bizzie Boyz and that killer EP on Dope Folks Records last year made a record with Big Daddy Kane in 1996. Yup. And if you're like me when I first found out about it, the two thoughts running through your mind are, "why didn't I know about this?" and "I've gotta get it!" Well, it wasn't the easiest record to find, but I tracked it down and now I'm able to tell you guys about it and spread the word.

After dropping Turntable Scientist (the first iteration), Dana Mitchell changed his name from the 80's-style MixMasta "D" to the 90ish Dana Lucci. He and the MC from that EP, Flipsyde, (who also changed his name - in this case to Celinski), cliqued up with two other cats from NC: brother and sister O. Shabazz and Rasheedah. They called themselves Da Pit-Stalkaz (named after D's studio, Da Pit), and released this 12" single in '96.

It's hard to say which is the "A" side, since both sides of this record are labeled "Pit Side," but we'll start out with the most exciting one - the song featuring Kane. It's called "Pit-A-Strofik" (a play on the word catastrophic), and even if you didn't know the story behind it, you can tell it's descended from the same origins as Bizzie Boyz and Original Flavor. It's all about fun, lyric-flexing rhymes - think the NC version of Tha Supafriendz (who were dropping "Vowel Movement" the same year). The beat's kinda slow and atmospheric, with that very stripped-down sound of the indie hip-hop vinyl movement of the 90's - it's all about putting the attention on the MCs' rhymes, as each MC kicks a freestyle verse. Some punchlines are witty, some are corny, but they manage to make them all work by keeping the flows light-hearted and engaging.

So, Kane's not actually on "Pit-A-Strofik," but he is on the remix that follows. It uses exactly the same beat, but all the MCs kick new verses. And yeah, this time Kane gets on the mic to spit right along side them. Disappointingly, though, it turns out to be a verse we heard before. Well, not really. At the time it was new. This record dropped in '96, remember. But he brought this verse back in 1998 for his own single, "Hold It Down" (off of the underrated Veteranz Day). I guess he figured nobody'd heard of this North Carolina local record. And I guess I have to concede he was right - even I didn't find out about this until recently. But,. anyway, at least it's a really killer verse, and he sounds good over this beat.

So you get both versions of that song plus the Instrumental, which again, was the same for both versions. But flip this over and you get another dope song: "Represent." It's another, kinda smooth, atmospheric but raw beat, taking its hook from a choice Lost Boyz sample. Overall, this song sounds better - the sound is a little richer, the MCs come off better, and the hook is a big improvement. It just doesn't feature Kane. Essentially, "Pit-A-Strofik" felt more like a live, down-the-line freestyle recorded in the moment (which is, in a way, a plus to be sure), and "Represent" sounds more like a finished studio song. This is definitely the one that'll catch your ear if you do a quick in-store needle drop; but still... "Pit-A-Strofik" has Kane. haha

Fortunately, we don't have to choose; we get 'em both, making for a pretty nice little indie find. "Represent," by the way, comes in EP Mix, Radio and Instrumental versions. The only thing different about the EP Mix is that it doesn't have the curses edited out like the Radio version.

Since this record, Dana Lucci and co. have stayed busy... He and Celinski first put out a CD called Da Pitz: Greatest Hits, and then Dana dropped a vinyl EP in 2001 called Urban Legend. In 2009, he released an mp3 album called Klassic Truck Musik. And obviously, most recently of all, he's linked up with Dope Folks, who're releasing the best of his unreleased vintage material. Their next release has been announced to be some unreleased Bizzie Boyz songs from even before they were on Yo! Records. I seriously can't wait.

The Other Classical Jam

2011-10-19T03:31:00.007-04:00

The Classical Two is one of those mid-80's hip-hop groups, like The Fresh 3 MCs or The Showboys, that are often written off as one0hit wonders, but in actuality they actually made... two good records. They're known for their debut single in 1987, "New Generation," largely because it's one of the earliest productions (though definitely not his first) of Teddy Riley, who was about to rule the latter half of the decade. It really makes distinct use of his signature funky percussion style and even a touch of the keyboard style from all his later #1 hits, and it features straight b-boy style rapping, so it's often a favorite amongst heads who appreciate Riley.

...And that's usually where the conversation stops when it comes to The Classical Two. But as I said, there's a continuation to their story. The Bronx duo, K-Born and LA Bru (R.I.P.) had originally come out on Rooftop Records through Brucie B, but the single was quickly scooped up and rereleased by Jive Records. And in 1988, Jive and Rooftop decided to put out another record from these guys even if they didn't have Teddy on the boards this time, and they dropped "The Classical Two Is Back."

Now, you can see from the black and white label and the "NOT FOR SALE" admonition (oops - somebody sold it to me!), that my copy is a promo version, but there's no difference in the track-listing. In either case you get two songs in vocal, Instrumental and Dub versions. And in my opinion this single does just what it set out to do: prove The Classical Two didn't need Teddy to carry them to be a viable rap act. Unfortunately, however, the increasingly commercialized industry took the opposite stance and opted to dead their careers rather than backing them for a full-length album. Oh well, even I have to acknowledge that while it probably would've been a fresh, quality album that I would still be enjoying to this day, it probably wouldn't've been a huge money maker if they didn't have at least some kind of gimmick and a new name.

"Classical Two Is Back" is just a fun, upbeat, funky record with just enough soul to keep it from sounding too pop. It's co-produced by Greg B of the Disco Four - a group I was always been a big fan of back in the day - and someone named Robert Wells, who worked on a lot of Kool Moe Dee's early Jive stuff. Possibly it got a little lost in the shuffle because the hook echoes their first single, saying, "we are rap's new generation" ...that shit confuses fans when you're only known for one song! They think, oh, I think I got that record already.

But this one is entirely different, with a completely dissimilar groove and rhythm. "New Generation" was great, too; don't get me wrong. But this is like the textbook definition of a head-nodder, and it does it without sounding half as poppy as Teddy's jam. The looped vocal samples, the subtle groove they don't bring in until the halfway mark, and the cuts by DJ Prince all come together, and the no-frills flows of the MCs just all come together to make one of those perfect rap songs that seem to only exist on old, overlooked 12" singles.

The B-side is interesting, too; but the magic isn't there like it was on the A-side. It's called "New York Is On Fire," and I appreciate their inclination to make a harder, street-oriented track, with rougher flows and a more atmospheric beat... but it just doesn't seem to be their area of expertise. The keyboard instrumentation sounds chintzy and cheap. The MCs go for a clearly Run-DMC-inspired style where they double-up each other's key words, that sounds like it's meant to be serious and intimidating, but they don't pull it off. I mean, it's okay; and the bassline is catchy; but unlike the A-side, this is one of those many 80's records that could slip comfortably into obscurity and not be missed.

But the A-side? That's some hip-hop definitely calling out to be revisited and appreciated. And if you're wondering whatever happened to K-Born, apparently he's been writing for mags like The Source and Hip-Hop Weekly and is/was working on a comeback album. I don't know if he checks in anymore (does anyone?), but he has a myspace page here.

Palestinian Hip-Hop

2011-10-18T01:06:00.007-04:00

What do you know about the Palestinian hip-hop scene? Me either. Or at least I didn't before I decided to check out this recent documentary on the subject, Slingshot Hip Hop.

Slingshot Hip Hop spends most of its time with the first and most influential hip-hop acts to come out of Palestine, DAM (Da Arab MCs), but also manages to be a pretty definitive look at the entire movement there. We hear how they first discovered hip-hop and get to see some preserved footage of their awkward first attempts at recording an English language rap song in the 90's. And it follows their career as they meet Chuck D, perform illegal rap shows, freestyle, meet with and inspire new groups... it's really everything you could want in that regard.

But more important than just being the story of this crew who persevere in an unfriendly environment is the insight into what the hip-hop scene, and modern life in general is like in Palestine - both inside and out of the Israel controlled areas. Interviews are stopped by police because they're speaking Arabic in public, or because gunfire breaks out. One of the most moving moments is when a Palestinian rapper is being interviewed on the radio, and a caller asks if he'd met any international rap stars, and he says he's really just hoping to meet a fellow Palestinian rap group, who live just 15 miles away, but it's been impossible because they're not allowed to cross borders within their own country. At another point, DAM teach a couple aspiring rappers how to write a rhyme about a friend of theirs who was killed... after their performance, DAM hears that those kids were arrested and their trial won't be for at least a year.

How are they as rappers? It's a little hard to judge since they're not rhyming in English. Production doesn't seem to be their strong point, as they're mostly just rhyming over jacked beats. Their biggest single, "Meen Erhabi" ("Who's the Terrorist?") just uses the instrumental to Atmosphere's "If I Was Santa Claus." Though, to be fair, I checked out the end credits, and they do credit "Music by: Atmosphere" for that song.

But this isn't your typical hip-hop mini-doc that's really just a dressed up DAM showcase; it's a surprisingly deep exploration of these peoples' lives. The filmmakers must've spent a lot of time there, because they cover everything you could hope to see, from struggling artists showing you the very first hip-hop CDs they were able to purchase to putting on major concerts and television appearances. We talk to their families. And while the occupied people cannot cross borders (although we do follow a few people making illegal crosses and going through checkpoints), the filmmakers seemingly manage it, so we see everything from different sides including the outbreak of breaking and graf (especially poignant when you realize they're writing on the giant walls constructed to oppress and isolate them) movements in Gaza to the first female rap group. They must've spent years filming this, and it pays off - it's a surprisingly rich film.

This film's available on DVD - though unfortunately with no extras. A small update or what happened to the artists since the film finished, extra interviews, or even a music video might've been nice. It's not carried by many mainstream outlets (i.e. it's listed but unavailable from amazon), but you can order it direct from the film's official website, slingshothiphop.com or from Invincible's site, emergencemedia.org.

Screwball Week, P.S.: The Return of Rockwell Noel

2011-10-14T23:25:00.003-04:00

(Youtube version is here.)

Screwball Week, Day 7: KL's Last Record

2011-10-13T03:24:00.008-04:00

So, I really don't know how or precisely when Kamakaze stopped being KL and Kyron and became just KL, but at some point it did. It was always the two guys until it became just the one guy. And perhaps that change is largely responsible for this record's under-performance... people were like, "Kamakaze with no Kyron? On a new label with new producers? No thanks!" That's why you see this record on sale everywhere, $.99, $.69... But, hey, I'll take a KL solo record. Don't throw those out, give them to me!

This is "It's All Good" on Traffic Entertainment. It dropped in 2004, the same year as the Screwed Up compilation and Hostyle's solo record. It's the last year anything came out from Screwball as a group. Poet had already started coming out on Premier's label... Screwball may've already been tough for the guys at Hydra to wrangle together, but this is when they really just went off and did their own things.

So, you've got two tracks, with the full break-down: Dirty, Clean, Instrumental and Acapella. Both tracks are produced by E. Blaze, who may not be a name you recognize, but he produced "Underworld Operations" for Lord Finesse, "Fire Water" for Fat Joe, and just recently a track for Show and Krs One's new project; so he's actually a safe bet. It's a little smoother than your average Screwball track, but it thumps and has some hard samples. And similarly, while KL's flow is a little more relaxed, his scratchy voice still has that distinctive Screwball edge.

And speaking of that Screwball edge, the crew may've split, but it's still held down here. You've got the signature "Hu-haaa!" in both songs, and a guest appearance by Blaq Poet himself on the second one.

"Right Here" is the B-side, and the hook defiantly assures us, "Screwball, we ain't goin' nowhere; we're right here!" It's still a bit smoother than Screwball fans would expect maybe, but it's a lot closer to the traditional formula. The exploitation strings sound just like something Don would've hooked up for 'em two years earlier. The echoey, bongo-style percussion is a new element that E is bringing to the table, but it's funky, so it's impossible to complain. And just to seal the deal, there's some Premier-style scratches at the end, shouting out Queensbridge.

To boil it down to a real simple assessment, the A-side is good and the B-side is great. I guess I can see why people might've been reluctant to mess with this, since it seems like a new, less desirable direction for Screwball. And honestly, an entire album of KL somewhat smoothed out does sound disappointing - I didn't pick this one up right away myself for that reason. I waited until it became one of those records I saw everywhere I turned, super cheap. But if you forget about what it was supposedly foretelling (there never was an album follow-up to this single, anyway, so it's a moot point), and just take this record on its own merits - it's good shit! And the fact that even cheaper and easier to add to your collection than when it was new is just a bonus. Usually it works the other way: you hold off on buying a record because you're not sure about it, and then years later you realize how dope it was, and what an essential piece it is for your collection, and the only way to get it is to pay exorbitant prices on EBay. But for once, cynicism at least pays off a little bit.

And of course, now knowing that it's KL's last record... though not his last appearance. A graf crew he was down with at the time, The Grim Team (that's a Grim Team shirt he's wearing on the picture cover, above), featured him on their album in 2007. But knowing how that it's the last record in his sadly limited body of work, makes it all the more essential.

R.I.P. Kenneth Lewis, KL, a.k.a. Legacy.

Screwball Week, Day 6: H-O-S-T-Y-L-E

2011-10-11T03:21:00.009-04:00

"We on the same page, same stage - same shine.
Feelings I've been holdin' back from speakin' my mind:
I helped feed ya kids, woulda bust my nine,
Protected ya life, woulda sacrificed mine.
Held you down on stage when you fucked up ya rhymes,
'Cause you was too bent up to remember your lines.
But you really hurt our hearts the most, 'cause you was close,
Stabbed us in the back over bullshit contracts.
Befriend me, befriend us, now you're disliked;
Caught up in your own hype, feelin' your own snake bite."

Most heads were understandably caught up in the drama of guest star Cormega taking on his former crew, The Firm, on the title cut to Screwball's second album, Loyalty. But within Screwball's camp, a much bigger controversy was brewing in that song, with KL directing his verse to fellow member Hostyle.

That;s right, he was expressing his feelings about the crew slowly splitting apart after the stint at Tommy Boy, where that label expressed interest in working with Hostyle if he'd split from the crew. They'd already pressured the crew into using his solo joint, "H-O-S-T-Y-L-E" for the lead single to their album, but that was just the beginning. Hydra Records founder Jerry Famolari explains the situation in his Unkut interview, "[Hostyle] went and did some management deal with some girl, and KL and the group and I went crazy, and that’s where that song came about." So if Loyalty sounds a bit disjointed compared to Y2K, that's because the group was already breaking apart. Famolari explains, "I was kind of holding it together. A lot of that stuff was flown-in as well. A lot of verses were flown-in, and I convinced the guys to come in and do certain things, but it was tough. That album was like pulling teeth."

And explanation pretty much goes for Hostyle's solo album, One-Eyed Maniac, too. "It was certain old songs and a lot of stuff I flew in. I created 75 percent of that. Same thing with the Screwed Up. There was a lot of songs that would not have ever come out. I just took pieces from different things and cuts, whatever I could do to make the album as strong as possible. We had so much money already invested and so much stuff sitting there, I’m like, 'Before I sit on it and have to put out a song here, a song there, a song here, a song there, I might as well just get rid of it.' There was no marketing behind it because there was no group. I don’t even know where Hostyle is. I haven’t spoken to Hostyle in a good eight months." So when you see a record like today's record, we may know when it was released; but we really can't say for sure when it was recorded or for what project.

In this case, Hostyle's "Live From New York" was released on Hydra Records in 2000. It may've been recorded for his Tommy Boy project, or just something he recorded later for Hydra. Who knows? But in any case, it's a cool, obscure little record.

The beat's produced by A Kid Called Roots, and it features one of those "randomly banging on a piano" style loops like Premier used on "D. Original." But that's one of those styles where you've really gotta get it just right, and A Kid Called Roots doesn't quite get it to Premier-level perfection. But it's nice and hardcore, and it sounds pretty good.

More essential to the song than the instrumental is the duo of Hostyle and his guest, Quik. No, thankfully, that's not DJ Quik from Compton - not that I dislike DJ Quik, but those kinds of East/ West collaborations never wind up working out, so I'd just as soon never see him appear on a Screwball record. No, this is actually the debut of Joell Ortiz ...as in Slaughterhouse. After this record, he changed his name to Jo-Ell Quikman for his first single on Rawkus, and then it eventually became just Joel Ortiz. And the pair of 'em just keep passing the mic back and forth kicking freestyle rhymes. It's just one of those rugged joints with zero radio potential that only a serious head can appreciate.

And if this record isn't random enough, instead of having another Hostyle track on the B-side, it was a Godfather Don joint, featuring Prince Po and RA the Rugged Man. Also produced by Don, it's one of those tracks that make you wonder what the Hell he sampled. It also shows that maybe RA should hire Don as a regular producer, because he better here than he usually does. Po comes slick, too; but it's Don himself who comes the tightest. You might have Ill Funk Freaker and The Nineties Selections, but your Godfather Don collection isn't complete if you don't have this one.

And what of Hostyle today? Last I read, he'd changed his name to Ken Kade and had an album in the works called Under the Influence, and he also has some music online where he's partnered with a guy named Rap P. And as for his part of the group? The beef is supposedly squashed, but he's obviously still not part of Screwball today. In an interview this time last year, Poet simply said, "Hostyle, I don’t know what’s going on with him. He’s going through a couple of personal issues. He’s out there and he’s still doing his thing, but I’m not really in touch with him right now." Of course, even back in "Loyalty," KL said, "I don't plan on dissin' you in interviews," so I'm not sure if anything's really progressed since then. But I certainly hope so. Though of course it's nobody's fault, it's already a tragedy we have to accept a Screwball without KL; so I know there's not a Screwball fan in the world who doesn't hope the rest of the guys can pull it together. It just ain't the same without Hostyle.

Screwball Week, Day 5: Who Shot Rudy?

2011-10-10T02:04:00.004-04:00

Screwball's second record, again on a pre-Hydra white label, this is their most famous song; and interestingly, it's a solo song. I mean, some of the other members might be adding their voices to the chorus, but the rap verses are all Kyron. He wrote the song while he was in jail, and the controversy it generated nearly bought him back. A DVD I reviewed last year, Legends Of the Hip Hop Cop, talk about how the police targeted him after the song came out. Of course, it was his own damn fault that he already had an open warrant; but according to the documentary, they specifically went out to arrest him and the police even went so far as to go into the label and take all of their songs.

Just in case you didn't already know, the "Rudy" of the song's title is the then mayor of New York City, Rudy Guilliani. He had a very controversial term, because he took a very strong-arm approach to cleaning up the city. He was largely successful, in that he made a lot of notoriously crime-ridden areas safe and tourist-friendly, and had most of the porn, etc removed from Times Square. But he accomplished this by using very brash and ethically questionable methods that seemed to persecute many of the city's poor. The nation got much more unified behind him after 9/11, but at the time of this record - 1999 - he was definitely one of those, you loved him or you hated him-type political figures.

And this song lets you know what Screwball's attitude is towards the man right out the gate with the opening vocal sample of Esther Rolle's "If You See a Devil Smash Him" from Don't Play Us Cheap. Then the strings kick in, and it's another perfect Screwball track by Mike Heron. Screwball worked with a bunch of producers - and some quite regularly, like Godfather Don, who was another great match. but Heron was so plugged into Screwball's sound that he should probably be considered Screwball's fifth member.

According to Blaq Poet, Tommy Boy's nervousness about this song was also responsible for delaying the album, Y2K... in fact, he says in his interview with Unkut, Guilliani had ties to Time Warner (who actually owns Tommy Boy), "Yeah, they held-up the album. Coulda dropped that shit and went platinum if they woulda dropped it at the right time, when we had all that free publicity off the 'Who Shot Rudy?' shit. We was all on the news, in the newspapers and all of that, but they don’t roll with it ’cause they were scared of Time-Warner, and Rudy Guilliani at the time had ties with Time-Warner, who were the distributor for Tommy Boy, so they slowed down with dropping that." On the other hand, the big buzz off this tiny, independent release, may've been instrumental in getting Tommy Boy to mess with Screwball in the first place.

According to the infamous article in The New York Daily News, Kyron came up with the song in a dream: "The taxi drivers were protesting, the frank vendors were protesting, and I just vibed off that... some things are for the better [in the city under Giuliani] but there's a lot of people who are being wrongly picked up and arrested." And there is a somewhat dreamlike quality in how the story is narrated - rather than coming off an angry incitement to violence or the bitter tale of a victim, it's told by a nearly impartial third party:

"Ay-yo, who shot Rudy in broad daylight for cash?
I woke up this morning and heard the newsflash:
They said it happened down at City Hall;
He had his wife with him. Five shots from the crowd made him fall.
It was chaos and pandemonium, blood covered up the podium,
Covered his face, and wouldn't show me him.
I had to see if it was true;
Secret service was mad nervous. So was the boys in blue."

The way he drifts from being at home, watching the events on news, to right there on the scene asking to see the mayor's face on the scene is certainly straight out of a dream. But the incident really just serves as a set-up for the meat of the song: the details of the shooting's aftermath and, of course the final statement that there's an awful lot of potential suspects due to the way the mayor ran the city:

"Sharp lawyer suit-breasted, double-breasted; reporters
Was mobbin' daughters and other mourners,
Pushin' cameras away, blockin' the sights.
Had the riot squad at Washington Heights.
Kennedy Airport stoppin' flights. Niggas was tight,
'Cause they couldn't sell a dime all night; but that was ahright.
The devil died and nobody cried,
They was real like some Jews celebratin' when the pharaoh got killed.
Glasses of Henny were spilled and we got twisted,
Smokin' blunts on the corner like we used to 'cause we missed it.
Knowin' he was gone for good, dead and stinkin', it got me thinkin',
Ay-yo, where the fuck Dinkins?
And Harlem World, Shaolin to Brownsville,
Did Sharpton and Farrakhan make the shit real?
Was it Khalel? You know he keep mad steel.
Did the Bloods or the Crips smoke Rudy on the hill?
Who shot Rudy?"

The B-side... Or rather, the A-side, if you look at the actual record label, is another Screwball hit that's sure to be familiar, "You Love To Hear the Stories." Here they pay tribute to the original ode to Queensbridge, "The Bridge" by MC Shan, and it even features him reprising one of his classic verses from that record. But this isn't the version most heads know from the Y2K album. This is the rare, original version, produced by the aforementioned Godfather Don. I don't know if I can say this is better than Pete Rock, because that's damn good. It's more lush and musical - basically just what you'd expect Pete Rock to bring to the table but this version is harder and a more natural fit into Screwball's catalog. Certainly, it's a good enough song, and the production styles are hot and different enough, that a serious Screwball fan will want to have both.

This is a little bit rarer than most Screwball singles, since Tommy Boy opted not to press a version of this as one of their own singles, which Screwball probably initially expected them to. So you've just got however many copies Screwball pressed up themselves promotionally. Still, none of Screwball's records are really that hard to find, and there's a couple of relatively inexpensive copies sitting on discogs as of this writing. Dirty, Clean and Instrumental versions are provided for both tracks.

Screwball Week, Day 4.5: Screw Nuts

2011-10-09T04:03:00.005-04:00

So, here it is, Screwball's underground debut single: 1996's "Screwed Up" on Screwball and Hydra Records. The debut of their trademark screwball logo, and their signature "Hu-haaa!" call. The four members artists finally united as a group.

And they come with some surprisingly big-shot guest producers for their first release, The Beatnuts. The 'Nuts come with a sound not too far removed from their usual production style, but it also manages to anticipate Screwball's hardcore sound that would be provided by their future regular producers. Maybe part of that, though, is just that Screwball bring their signature, hardcore flows to the track and make what would've sounded different in another MC's hands unmistakably their own.

You've got a funky little guitar riff sample, which on its own is quite soft. But married with a single deep bass note, hard drums and these strange, atmospheric wailings, it becomes pure, rugged hip-hop. As great as the material Marley's fam was coming with on Warner Bros., this record made it clear that Screwball was the real street shit, but with no loss in musical richness. Everything that makes Screwball Screwball is right here.

"Screwed Up" eventually turned up on Screwball's compilation album of the same title. But the B-side, "They Wanna Know Why," has never been released anywhere else but here.

This one's produced by Screwball regular Mike Heron, who's a pro at complimenting their style. This track's a little unusual for them, though, with a slower, smoother vibe. It's dark and still hard, especially with Screwball's angry flows on top of it - they almost sound like Onyx at times on this. But it's a real cool, head-nodder at the same time, and you don't find a lot of that in Screwball's catalog. There's also a fuckton of nice scratching by an uncredited DJ (unless it's Heron himself?), just to take the song up one final notch. All elements together, this is a monster of a track - a brooding dragon in a cave that you don't want to piss off.

This 12" is a little rarer than most of theirs, but not much, and it's damn sure worth it. Dirty, Clean and Instrumental versions are provided for both tracks. Apparently some were sold in sticker covers and some in plain covers. Unfortunately, mine was one of the later - d'oh! - so if you're after this, make sure to get one with a sticker.

Screwball Week, Day 4: The Origin Story

2011-10-09T00:19:00.005-04:00

So, yesterday we looked at the the roots of Screwball's origins, the earliest releases by any of its members, specifically Poet. But there's an eight year gap between those records and the debut of Screwball itself. What happened during all that time? After all, the exact make-up of Screwball can be a bit confusing for more casual fan... I remember back in the days, myself, wondering, "wait, are KL and Kyron the same guy, or is that Solo? Which one's Kamakaze, and didn't someone leave the group?" And I'd feel pretty remiss in my Screwball Week duties if I still left anybody with an unclear idea of just who they are or how the group came about. I was going to just jump into a look at one of their 12" singles today; but instead I figure I'd better do something a little more explicitly biographical first.

So, after those singles with Noel Rockwell, Poet hooked up with a new DJ and producer, Hot Day, and formed PHD (Poet and Hot Day). Hot Day was already down with Marley Marl and The Super Kids, putting out records on Tuff City; so when PHD formed, that was their natural home. Their big album was Without Warning in 1991, but they actually kept putting out records on Tuff City all the way up until 1996.

It's some of these later PHD records that really tie it all together... 1995's "Set It Off Part 3" is a posse cut featuring Havoc (yes, of Mobb Deep - pretty much right before "Shook Ones" blew up), Hostyle and Legacy of Kamikaze[sic]. This was the debut of Hostyle, who would go to be a core member of Screwball. And Legacy also became a core member after changing his name to what he's better known as now, KL. In 1996, PHD put out their final single, which featured another collaboration with both Hostyle and Legacy, "The Grand P.O." It's also worth noting that, by this time in their career, Marley Marl had taken production duties over on PHD's records. And its these singles that transitioned directly to the debut single of Screwball later that year.

But what about the fourth member? Okay, we have to back up a bit. You notice Legacy was credited as being "of Kamikaze." So who were Kamakaze? They were a two man team that Marley was working with, consisting of KL and Solo. Kamakaze was going to come out with an album called Head On on Warner Brothers, along with other acts Marley was working with at the time. But this is right at the time all of that ended - Warner Bros shut down Cold Chillin' in '96, and Marley's acts who were going to come out on through different divisions of Warner, including Sah-B, World Renown and De'1, all got cancelled, including Head On. A few indie 12"s leaked, but basically the group Kamakaze were killed before they came out. And so Solo changed his name to Kyron (his real first name) and became the fourth and final official member of Screwball.

There's more reason why people and rap magazines often confuse Kamakaze with a specific single member of Screwball - because they're not wrong. In the 2000's, KL put out two singles - one through Hydra and then a later one on Traffic - both under the name Kamakaze, just using it as a personal alias. So if you bought "It's All Good," it tells you right on the cover that Kamakaze is one guy: KL of Screwball. So, sometimes Kamakaze means the group, and sometimes it just means KL. ::shrug::

Anyway, it's hard not to notice the similarity of their story with The Wu-Tang Clan's and Gravediggaz': dope disenfranchised artists who'd all had it rough coming up in the music business in the past coming together to form a stronger super group. In that sense (and possibly in others), Screwball is the Queensbridge Wu.

So Screwball took the name of a mutual friend of theirs who'd tragically passed on well before his time (R.I.P.), and and put their debut out themselves, "Screwed Up" on Screwball Records. Yeah, it was in affiliation with Hydra and their parent label, Sneak-Tip Records; but Screwball Records was its own thing which put out a couple other Screwball singles down the line... note the catalog number: SC-001.

After generating some serious buzz with Hydra Records, they signed to Tommy Boy's Black Label, where they released their debut album, Y2K and a bunch of hot singles. When The Black Label shut down shortly thereafter, they didn't skip a beat and went back to Hydra, releasing a ton of material, both collectively and individually with solo projects. It was a flurry of great music until 2004, when they all stopped rather suddenly. Only Poet kept putting out solo material.

Tragically, in 2008, KL passed away due to long-term health issues with asthma. R.I.P. A great MC from one of hip-hop's rawest underground crews; it's a great loss for us all.

So that's the key Screwball line-up. Those four men, pictured above, are the MCs who made up Screwball from their first record to their most recent in 2004. Buuuuut... That's not the very end of the story.

In 2008, an mp3-only album called Screwball Classics* was released. It was a largely just a collection of their past hits, but it also featured new music from a Screwball with an updated line-up. Hostyle is disappointingly out, leaving original members Blaq Poet and Kyron plus new members Scape Scrilla, Ty Nitty of The Infamous Mob (brother of the original man known as Screwball), and Versatile a.k.a. VS (she was that female MC on the NYG'z album). Since then, mp3s and Youtube videos have been popping up here and there, promising a new Screwball album. So we'll see what the future holds, but the Screwball MCs have a long legacy of coming back every time heads counted them out.

*Yes, since day 1 it's been referred to as a CD... and every place from Unkut to Screwball's own myspace page refers to a CD, but I do not believe such a thing exists. I have never been able to track one down, and believe me, I have looked. Even CDBaby, who have CD in their frikkin' name, only carry the mp3s. I mean, maybe if you met Blaq Poet after a show, he would burn you a CD of it... But I'm pretty convinced Screwball Classics was never actually released in any physical format.

Screwball Week, Day 3: Blaq Poet Beats Krs Down

2011-10-08T01:02:00.005-04:00

(Youtube version is here.)

Screwball Week, Day 2: Screwed Up Set Straight, part 2

2011-10-07T00:47:00.001-04:00

...And we're back! We're continuing directly from yesterday's post, in case you missed it, so you'll want to read that one first. And now let's not waste any time and jump right into CD #2:

Like a Gangster [CD exclusive] - Except for the fact that they spelled "Gangsta" as "Gangster" here, this is a direct life from Loyalty.

The Operation [CD exclusive] - Taken from Y2K.

Gorillas [CD exclusive] - Taken from Loyalty.

F.A.Y.B.A.N. [CD exclusive] - Taken from Y2K.

What the Deal? - This features Cormega and was previously released as a 12" single in 2002.

Where You At? [CD exclusive] - Taken from Loyalty.

On Point (RMX) - The original release came out back in the 90's, and this remix - by Godfather Don - was also included on the "I Ain't Saying Nothing" single.

Heat Is On (RMX) - Okay, the original "The Heat Is On" was on Y2K, and this isn't that version. Both versions feature Prodigy and are produced by Mike Heron, but this is distinctly different remix with a new instrumental. It's not unique to this album; though, it was originally released as a 12" single, b/w "Suck My Dick."

I Ain't Saying Nothing - This was released as a single in 2004 with a remix and a couple other dope B-sides.

Somethings Gotta Give [CD exclusive] - Taken from Hostyle's One-Eyed Maniac LP.

Crime Unit - A hot exclusive produced by Godfather Don quintessential Screwball, high energy and crazy hardcore at the same time.

Ride For Free - Another cool exclusive, produced by someone calling himself FBEE.

Who Shot Rudy? [CD exclusive] - Of course this isn't an exclusive; this is pretty much their most famous song. It was first released as a 12" single, and then featured on Y2K.

Taking All Bets - This was released as a 12" single in 2002, but not under the name Screwball. It's Kamakaze featuring Offdamental, and has a Royal Flush song on the B-side.

Screwed Up [CD exclusive] - You might think this is an exclusive, considering it's the title track and not featured on Y2K or Loyalty. But actually, it's their very first 12" single from 1996, and produced by The Beatnuts.

On the Real [CD exclusive] - This is an infamous song, known for existing in a couple of different versions. However, disappointingly, this is the least rare of the bunch: the version from Y2K, where they replaced Nas with Cormega and Havoc. Check out this post I wrote in 2007 for the full story of the different "On the Real"s.

Shouts [CD exclusive] - This is an exclusive; but it's just 45 seconds of shout-outs over the "On the Real" instrumental.

And thus ends the 2CD set of Screwed Up. But what about the 2LP? There are three tracks on there that aren't on the LP. Let's look at those:

You Love To Hear the Stories (Godfather Don Mix) - This is that original version I mentioned yesterday, from their infamous "Who Shot Rudy?" single.

Return Of the Hu-Haa - Taken from Hostyle's One-Eyed Maniac LP.

Be Careful What You Wish For - This is also taken from Hostyle's One-Eyed Maniac LP.

So, after all that, where are we? Well, there's a total of 5 new songs/ remixes that are only available on Screwed Up. The CD definitely has the better track-listing (boo!), with twenty-one songs not on the LP. Both versions have some of the exclusive songs, but only the CD has them all. The only unique stuff the LP has is the old, previously released mix of "You Love To Hear the Stories" and two more Hostyle tracks. Hostyle's album was released right around the same time as Screwed Up, by the way, which is why I think so many songs from that album are featured here - they were trying to sell us on his solo album.

I could see buying the vinyl version just to have some of these exclusive songs on wax, of course. But even though it's padded with way too many songs from Y2K and Loyalty, ultimately the CD remains essential for the exclusives that aren't even on the LP. And they're good, too; you'd be missing something to just ignore them because they're CD only. I know Poet and Solo were putting together a new Screwball group; but we'll never have another album by the original line-up (R.I.P. KL). So we can't afford to let material like this fall through the cracks.

Screwball Week, Day 1: Screwed Up Set Straight, part 1

2011-10-06T00:44:00.007-04:00

It's been ages since I've done a "Week," huh? Well, here's one I've been intending to do for a while now: Screwball Week. Now, with all the vinyl Screwball managed to put out, collectively and separately, I could easily do Screwball Month, and with just a bit of stretching, I bet I could pull off Screwball Year. But I'll try to control myself, and keep this to just Screwball Week. heh heh

In 2004, Screwball had two albums in their pocket (not counting all their variant solo and side projects) and were working on their third, the unreleased (and never completed?) Return Of the Hu-Haaa. And since it had been a while since that second album, 2001's Loyalty, Hydra Records put out this interesting, and somewhat confusing, compilation album of their material: Screwed Up.

Screwed Up (mostly) avoids delving into any of the members' solo material, but still manages to be a double album's worth of stuff. It consists of tracks from the past two albums, sort of a Greatest Hits. But two albums can't make up a double album's worth of Greatest Hits on their own (you'd have to include every single song, basically, and then you'd just have a reissue on your hands), so in addition to being a Greatest Hits, it's also a B-sides and rarities collection, where they feature a lot of remixes and songs originally released only as the B-sides to their 12" singles. But, Screwball are still pretty underground, so their market was just heads who probably already had most of those 12" singles, so a necessity for the hardcore fans, they also threw in some unreleased mixes and stuff.

...None of which is distinguished between in the album's liner notes. And what I've read about this album online over the years shows that a lot of people are confused over just what's what on this album, beyond it being "just a bunch of Screwball songs." So, me being me, I've decided to break it down track-by-track, and see what came from where, and what's actually exclusive to Screwed Up. And finally, to answer the question: for the Screwball fan who has everything, is this worth picking up? So, get ready, it's gonna be a long list...

Oh shit, wait, there's an extra complication! The vinyl version of Screwed Up isn't the same as the CD version. The vinyl version is a double LP with sixteen tracks, and the CD is a double disc set with a whopping thirty-four tracks. And even though that means there's eighteen extra tracks on the CD set (trust me, I just took a math course), there's still stuff on the 2LP that isn't on the 2CD! I'm starting to see why people are confused.

Ok, the CD has the most tracks, so let's start there:

Stretch Armstrong / Poet (Intro) - This is new, presumably recorded for this compilation.

Urban Warfare (RMX) - Okay, "Urban Warfare" was on the Y2K album, produced by Mike Heron. This version is also produced by Mike Heron; in fact it's the same beat. So what's so "RMX"'d? It's a vocal remix, with entirely new verses. This is pretty kick-ass; the beat was one of the best on Y2k and it's just as awesome here. And they come just as tight on this version as the other.

Dirt Thugs - From the title, this seems like a brand new song. But it's really "First Blood," their collaboration with Godfather Don from the B-side of "H-O-S-T-Y-L-E" mistitled.

Torture [CD exclusive] - Featuring M.O.P.; this was taken from Loyalty.

Who? - An exclusive song produced by Ayatollah - fire!

That Shit [CD exclusive] - A banger taken from Y2K.

Take It There [CD exclusive] - Also from Y2K.

Guilty - This is from Hostyle's One-Eyed Maniac album. In fact, it was the single.

Seen It All [CD exclusive] - Taken from Y2K.

Loyalty [CD exclusive] - Taken from Loyalty... obviously.

The Blocks [CD exclusive] - Taken from Y2K.

HOSTYLE [CD exclusive] - Taken from Y2K.

Real Niggaz [CD exclusive] - Taken from Loyalty.

Greatest On Earth - This was the B-side to their 2002 single, "What the Deal."

Attn A&R Dept [CD exclusive] - Taken from Y2K.

You Love To Hear the Stories (Pete Rock RMX) [CD exclusive] - Ooh, a new remix of that dope track with MC Shan from Y2K! wait a minute... wasn't that version also produced by Pete Rock? So, I guess he did both versions? No, actually, the original version was produced by Godfather Don and was a 12" only release, but they remixed it for the (Y2K) album. So, really, this is just another direct lift from Y2K.

Be On Your Way [CD exclusive] - Produced by Mike Heron and featuring Fred Fowler from Shango (remember them? From Beat Street?) singing the hook, this is a Screwed Up exclusive.

And that's the end... of CD #1. There's still a-whole-nother CD to go. This is exhausting... I'm sitting here with the CD in my computer and a huge pile of 12"s and LPs over by the record player, running back and forth, figuring out which mixes are exclusive or taken from which release. So I'll take a break here, and return on Day 2 with the second disc, plus the LP's exclusive tracks, and my summation. (Continuation here.)

Wall Street Rappin'

2011-10-04T05:13:00.015-04:00

There's a lot of competition in today's hip-hop blogosphere, and in order to stay ahead, one of the things you've really got to be is "relevant." The internet moves fast, and you've got to really be on your game to stay alive out here. And Werner von Wallenrod's Humble, Little Hip-Hop Blog is all about being relevant. Like, what's the biggest, hippest, underground edgy news story going on in this country right now? The #OccupyWallStreet movement. Protestors, riot cops, the end of capitalism... Some news organizations aren't even up on the whole unfolding story yet, but I see it happening and I act fast. I bust out my copy of a rare 80's rap record about Wall Street that nobody's ever heard of before! Brace yourselves, Huffington Post, you're being scooped.

"Wall Street Rap" by Dr. T. and the Klinic dropped in 1988 (not long after Oliver Stone's movie, which I'm sure is no coincidence) on Prescription Record Inc. It's the label's only release, though not Dr. T's, who in fact dropped a couple other records on different labels. And considering the thematic ties between their names, I'd assume Prescription is the Dr.'s own label, and this is a self release. This wasn't done on the cheap, though. It comes in a cool picture cover where they're dressed in full medical regalia, they've got a full band providing the music (though I'm not sure if they're considered The Klinic - judging by the cover, I'd guess the Klinic are his dancers and back-up singers), and they even had an elaborate music video for this.

It's super corny, of course - this is bordering right on the edge of novelty rap. He rhymes like a cross between Hurt 'Em Bad and MC Hammer, and the music by the band - which consists of a keyboardist, horn player, guitarist, three people credited with drum programming/ percussion, and bass played by Dr. T himself - sounds very much like outsider musicians taking a stab at making some rap music without being familiar with classical styles of hip-hop production. But in a light-hearted, old school kinda way, it all sorta works. All the live instrumentation gives this record an old Sugar Hill Band feel, the hook gets stuck in your head, and the lyrics are actually pretty smart. It almost plays like an education record for kids - think Kurtis Blow's "Basketball" for the financial district.

Now, the track-listing on this single is a little odd... The cover suggests you've got the T.V. Mix on one side, and the Club Mix on the other. But the actual label on the record says you've got the the Radio and Instrumental versions on side A and the Dub Version on side B. Listening to it, I think the truth might be somewhere in the middle... I think it's the Radio and Instrumental versions on side A and the Club version on side B, and there are no T.V. or Dub mixes... but you get into the shady area of what specifically constitutes a dub versus a TV mix and all, for which there really aren't constant and concrete definitions. But somebody, somewhere involved with the making of this record definitely got confused.

If that isn't enough Wall Street rapping for you, luckily, there's one more record out there: "Wall Street Rapper" by Awesome D. Now, while Dr. T.'s single rode the fence, Awesome D's falls squarely on the side of novelty rap. Awesome D is David Lawrence, and on this record he plays the character of a big-shot CEO. When an investor calls, his secretary informs him, "I'm sorry, Mr. Lawrence now wants to be referred to as Awesome D." The CEO has decided to become a rapper and cut his first rap record - and this is it.

It's all about business on Wall Street, of course, and the similarities to "Wall Street Rap" don't stop there. This one's a bit newer, 1992, but still features a lot of live instrumentation - most notably a very prevalent saxophone. It's also got a simple hook sung by two girls and big guitar solos. Plus, it's another self-released, record label one-off (Awesome Records), and comes in another glossy black & white picture cover. This one's got wonky (but listenable) scratches, and a really stilted flow... Dr. T's flow, again, was pretty simple and old school; but Awesome D has a serious, "I honestly don't know how to rap" thing going on... think Barney and Fred Flintstone rapping in that old Fruity Pebbles commercial and you get the idea.

Again, though, the instrumentation isn't bad in a studio musician/outsider kind of way - the bassline's effective - and this one uses a lot of vocal samples of Michael Douglas from the film Wall Street. And while D could never pass as a legit rapper, even in market that gives kids with flows like Kreayshawn a pass, the concept and lyrics are genuinely amusing for a one-off gag single like this. It's not a dope rap record, but then I don't think their aspirations were ever that big, and it accomplishes what it sets out to do.

So, there you have it, hip-hop's two Wall Street rap records. You won't find these covered on many other blogs, I bet. And CNN, if you'd like to invite me to speak on the air as a leading Wall Street rap authority, just remember: hip, young bloggers with our fingers on the pulse of America's youth like us don't come cheap. So, uh, "serious offers only," dig? ;)

Almighty Trenton

2011-10-03T03:04:00.002-04:00

(Youtube version is here.)

Hip-Hop: Beyond Violence, Misogyny & Homophobia

2011-09-29T00:17:00.009-04:00

So, the InstaRapFlix series is now dead. It had a good run of 35 entries. But now that Netflix's streaming movies are no longer free to watch, the fun and concept of the series has been defeated. But that doesn't mean I won't be reviewing any more hip-hop docs! I've always done non-Insta reviews alongside that little series, and they will be continuing as of... right now.

Hip-Hop: Beyond Beats and Rhymes is a short (approximately 1 hour), 2006 documentary by independent filmmaker Byron Hurt. As far as I know, he hasn't done anything else, but I bring him up first because brings himself up first. This film is ostensibly about the issues of violence, misogyny and homophobia in hip-hop; but it's really about Byron dealing with hip-hop's issues with violence, misogyny and homophobia.

On the one hand, this is effective because it personalizes the subject matter: how does this imagery affect a listener on an individual basis? But on the other hand, it feels pretty self-indulgent - for instance, while he does attach it to his themes of masculinity, I can't help feeling like we're shown footage of him playing college football because he wants to show people he played college football. There are points in the film where I just couldn't help feeling, "who cares about you?" He just seems to spend more time - in an already short film - giving us his own back-story and feelings than delving into the more universal aspects, artist interviews, etc. Until the end, where he surprisingly drops that angle, leaving the film feeling a bit unresolved... except fortunately, we don't care anyway, so it's not a disappointment.

But it also manages to come with some surprising insight - how many treatises on misogyny and homophobia in hip-hop are insightful enough to draw its roots back all the way to the 1946-1963* construction of the Cross-Bronx expressway? One particularly compelling segment at BET's summer festival, starts with J-Hood pointing out some nearby, under-dressed women and calling them "bitches." Then Hurt calls those women right over and asks them how they felt about being called bitches. At that point, I really feel like the filmmaker's getting stuck deep into the topic.

And there are a few other compelling moments like that, where you get the sense, okay, now the we're dealing with a substantive film here, that's touching on some real issues. There's a scene where he interviews three transsexual women who confess that misogyny in hip-hop turns them on "because it's so aggressive." There's another where Busta Rhymes seems genuinely afraid to discuss homophobia and high-tails it out of the room when asked about the possibility of a gay rapper being accepted in the hip-hop community. And hearing a Def Jam executive speak with disdain and disappointment about Public Enemy's producers going over to produce Ice Cube's album was certainly eyebrow raising.

But these moments are few and far between, accomplishing a unique feat of making this film feel both way too short and way too long at the same time. Too short because we feel like he's just beginning to get to the heart of some deep matters when he moves on, ending the interview or just changing the subject. And too long because this film feels padded out with a lot generic interviews repetitively stating the obvious or expressing the most bland and common opinions.

It's really a shame that InstaRapFlix is dead, because this would have been perfect for it - a 60 minute movie with about fifteen to twenty minutes of meat, and the rest filler. Worth watching for free, but hard to justify paying $20-$25 to purchase on DVD. But if you have got that extra dough to spend, it has been released through PBS' Independent Lens documentary series and is available here.

*Well, those are the dates this film gives.

Rock La Flow Is Back!

2011-09-27T06:21:00.006-04:00

Rock La Flow is back - in spades! You may remember me gushing about the virtually unknown Milwaukee MC back in January, when Dope Folks Records put out his killer EP, The Flowgram Pt. 1. Well, I opened my front door today to find awaiting me Pt 2 - it's here! And that's not the half. A full-length Rock la Flow LP, The Ultimate, dropped the same day.

Flowgram Pt. 2 finishes up the collection of songs he recorded in '94 and '95 with his producer (who definitely deserves 50% of the credit for how great La Flow's material is) Tory Tee. I don't think I like it quite as much as the first volume, but it's definitely a worthy follow-up. There's a remix of a cut from the original EP ("Partytime") which is just as good, if not better, than the original. And the track that easily stands out as my favorite, "Illwaukee," which showcases a couple of his local brethren, Spoon and Kerse One along with Flow, and they all kill it over a nice beat perfect for passing the mic. Fans of the first entry will definitely be happy with this one, too.

But still... I'm not 100% sure of the story behind these EPs, but they sort of feel like large chunks of a not quite finished album. A kick-ass album, mind you, but still sort of incomplete in how the pieces would've all assembled together.

That's not the case at all with The Ultimate, which actually pre-dates the Flowgram EPs. These songs were recorded in 1992-93, and again are entirely produced by Tory Tee. This album was recently discovered by Dope Folks and feels like a finished album. More importantly, Rock La Flow is amazing on this, and the beats are hype. Sometimes you'll hear familiar loops or breakbeats, but they're all flipped differently or merged with other samples and turned into something fresh you've never heard before.

Man, heads would have loved this album if it came out back when it was recorded! This is one of those albums where, I've got the record spinning while I'm typing up work on the computer, and I just have to stop what I'm doing to pay close attention to the perfect blend of beats and rhymes coming from across the room. These releases are just the perfect match of an MC and producer who were each completely on top of their game at the same time. You know, one of those pairings that artists seem to manage to hit for one brief period and then spend the rest of their careers trying to recapture, like - to re-use an apt comparison - Nas when he made Illmatic.

Getting these right on the heels of Natural Elements' EP on Chopped Herring is a bit of a mind-blower. If anyone was thinking the limited game was winding down, think again. It should be pointed out, though, that Dope Folks' records don't cost the infamous "limited" prices. They're $20 each, which, for full-length LPs, is right in-line with the cost of standard new releases.

Oh, and The Ultimate comes with a phat, glossy art piece as a little bonus. I won't post a scan, so it can still be a surprise when your copies arrive in the mail. They're both limited to 300 as usual, so don't sleep.

Western HemisFear Classics

2011-09-26T05:44:00.003-04:00

(Youtube version is here.)

Natural Elements - NOW We're Talking!!

2011-09-23T22:19:00.008-04:00

Man, I have been waiting at the door for this one to arrive...!! As you may recall, I've been documenting and pining for Natural Elements' brilliant yet unreleased demo tracks (see here, mainly, but also here and here)... And now, thanks to Chopped Herring Records, six of those vintage tracks are no longer unreleased!

The Lost Demos EP Vol. 1 ("Vol. 1?" "VOLUME 1?!" That implies there will be a "Vol. 2!" Woohoo!) is just shipping now on "very limited vinyl." Specifically, that breaks down into three unique pressings: 75 copies on gold vinyl, 75 copies on white (white) vinyl, and 150 on traditional black, for a grand total of 300 EPs. And they all come in a phat sticker cover.

So what have we got here?! Let's look at it track by track:

1) I Got Your Heart - I wrote about this one in my HHC article. It's also known as "What My Crew Do To You" and features the early line-up of Voodoo, KA (instead of A-Butta) and L-Swift. Thanks to the record label, we now this was produced in 1995 by (just like you'd expect) Charlemagne.

2) Triple Team - Another one I wrote about in the HHC article, another one featuring KA instead of A-Butta, and another one produced by Charlemagne in 1995.

3) Every Day - Now here's one I've never even heard of before! According to the label, it's again from 1995 and produced by Charlemagne. Fucking nice.

4) Life Ain't Fair (Original) - Another '95 one produced by Charlemagne that I wrote about in my article. It's interesting that this specifies "Original." That's because it's completely different from the version I have a snippet of. There's no R&B chorus, and this beat is much harder, giving the song an entirely different feel.

5) Machine Gun Prayer - This one's a Mr. Voodoo solo song, produced by LDR Louie Ortiz - the same guy who produced Voodoo's later EP, Let the World Know. The year of production is said to be unknown on this one, but if it's by Mr. Ortiz, it might be a little more recent than the other material on here.

6) Puttin' In Work (Demo Tape Version) - Another song that specifies this as a specific version, implying that there are others... This one is an L-Swift solo track, and the oldest one on the EP, dating all the way back to 1993; and it's again produced by Charlemagne.

Poor A-Butta isn't on here at all. The first four tracks are so old they feature the KA version of the line-up, and then he doesn't get a solo joint. I can't complain, though, everything here is great, and KA brings a unique element - if you'll forgive the pun - to the crew that works great. A-Butta and L-Swift, after all, sorta rode in the same lane. Voodoo was complex, L made it smooth and KA came with the ruggedness. Butta and Swift were both smooth. They were also both fantastic at it, so it was all good, but it's cool to experience more of the original line-up.

You may've noticed, I haven't really addressed how good the songs are... that's because this is from Natural Elements at their prime - it goes without saying that everything on here is must-have level material. And the sound quality ranks an A+, too. You may've heard shoddy radio rips of a couple of these songs before, but you can throw them shits out now! These are the clean, clear and unabridged original recordings sounding perfect (except the L-Swift song seems like it may've been sourced from an actual cassette; but it still sounds surprisingly good) on brand new vinyl.

Now Chopped Herring as already begun taking pre-orders on their next release, and it's not Natural Elements Vol. 2. It's Grimm Teachaz, an interesting group with some dope production that got jammed up in Jive Records back in '93. But if Vol. 2 isn't their current release or even their next release, we can hopefully expect it relatively soon. So, what might we have to look forward to?

Well, my HHC article covered the nine (total) known NE tracks that have yet to be recorded; and that didn't cover solo material, which Chopped Herring is clearly open to including. So, that means 5 of the tracks I wrote about there are still pending, plus the version of "Life Ain't Fair" with Bridge. Now "Survive" was released, albeit unofficially, on the Word of Mouth EP, so we're not worried about that one. And "Supreme Domination" was on the 10 Year Anniversary album - BUT that was a CD only release, so it would still be a very welcome inclusion on any vinyl Chopped Herring was willing to put out.

And that also leaves us with the great demo tracks "Knick Knack," "Freak Freak Y'All," "My Nature," and the more contemporary unreleased song, "MTV (More Than Vocals)." Plus we know Mr. Voodoo, at least, has a bunch more killer solo joints that haven't been released (he could have a solo EP all to himself, which would be awesome), and there's always the non-Demo Tape Version of "Puttin' In Work." And of course, there's no telling what jewels might be in their vaults that nobody at all has heard of, but could still come out and blow us away. After all, "Every Day" was certainly a new one on us. Who knows? Maybe there's even going to be a Vol. 3. I'm giddy.

Fresh BusDriver For the End of Summer

2011-09-21T00:57:00.002-04:00

BusDriver's back with a new 7" single, released this past Record Store Day. It's a two track single from the Polyvinyl Record Co, a sort of indie hipster label that's taking it's first dip into hip-hop. The title is tastefully abbreviated on the cover as "ATM," but the actual full-length title is revealed on the inside record label: "Ass To Mouth."

Of course, this is BusDriver, so youths expecting a 2 Live Crew-style ditty about their favorite porn move* to shock everyone within hearing range of their school parking lot will be disappointed. But then again, it's still vulgar enough to have the phrase "ass to mouth" be the chorus, so assuming nobody's paying strict attention to the lyrics, it may be close enough.

It's actually a first-person narrative about a celebrity's fickle and ignorant fan-base who never give him a break, with the final twist being that he's as shallow and rotten as anybody in his audience. In other words, the vapid celebrity culture (the mouth) can't stop going on about the stupid shit their dumb stars (the ass) does. At least, that's how I took it.

It's a little harder to pin down the B-side, "Colour Wheel," because he sings on this one (it's as dubious as it sounds), and you can't decipher much of anything he's saying.

Both songs here are produced by Loden, a Belgium producer who 's been putting out spacey electronic music for a while now, and who probably connected with BusDriver through signing with Mush Records. Apparently, Loden will be producing the entirety of Bus's upcoming album (for which this is the opening single), which... after hearing this, I can't say I'm too against. It's all about synths, keyboards and spacey computer sounds - so I definitely suggest heads try before they buy - but I like it. It may not be a preferred style, but I don't think anyone could say that Loden isn't quite expert at playing it. Plus BusDriver's all-over-the-place vocal stylings are able to complement the crazy, rising and falling rhythms like nobody's business. I imagine the catchy chorus (is he doing all the back-up vocals, too? I bet he is) will manage to hook a lot of listeners who don't even generally give hip-hop their ear.

Now, this is limited to 1000 copies, but really... calling any hip-hop vinyl run of 1000 "limited" is a bit of a stretch. I'm sure even the producers behind a Kanye/Outkast split LP wouldn't expect to sell more than a thousand copies of wax to today's audiences. Bit I digress. "ATM" is pressed on a marbleized blue vinyl which matches nicely with the abstract imagery of the picture cover. Polyvinyl must also be commended for the inclusion of a download slip, which allows purchasers to download mp3 versions of both tracks and the cover art from their website when you enter your unique code.

So this is a nice little package, but still pretty much strictly for hardcore collectors rather than general music enthusiasts. For one, because it's a 7" after all; and they just scream novelty collectors' toys - proper releases are 12", damn it. And two, because both of these songs are slated to be on the upcoming album that any fan who's serious enough to consider buying this single will surely be picking up in a month or so when it drops anyway. So hardly essential, but a it's fun, high quality and can be had cheap. Oh, and the actual music's pretty good... at least the A-side.

*Don't bother denying it; I've seen your download history!

Searchin' for Two From the Def Connection

2011-09-20T02:38:00.004-04:00

"Searchin' for Love" is often mistaken for a single taken off of Too Def Connection's classic'92 album, Runnin' With the Lyrics, but it's really not. This single, from 1996 on Too Def Music, is "Searchin' for Love," while the song on Savage Records album is "Searching for Love." And I'm not just being pedantic about the title's grammar, they really are completely different songs.

Oh, you've never heard of the Too Def Connection? Let me back up. Too Def Connection are MC Sav and DJ Kid Cut, an ill duo from Delaware. They're a quintessential example of "random rap," in that they're obscure but their stuff is highly sought after by collectors, mainly for the killer title track to their Runnin' With the Lyrics album, a hyperactive freestyle rampage over a hype beat, with some quick cuts and barely any hook.

But this isn't that. This is one of their love songs, which I realize nobody really goes in for. Don't worry, there's a more appealing B-side, and we'll get to that. But first let's take the lead track.

"Searching for Love" was kind of a sequel to the other love song on Runnin' With the Lyrics, "Love Is Like a Game" - note the opening lines, "Love is like a game, yeah, that's what I told to you. But at the same time, I didn't even know you. I thought you were the one for me... I musta been dreaming, some kinda fantasy." So, the girl from that last song didn't really work out, but he's not gonna let it keep him down, he's gonna keep on searching for love. Both songs feature a vocalist named Theresa Spruel on the hook, and feature Sav in a slow, spoken-style, definitely influenced by legacy of token love songs started by LL's "I Need Love." "Love" features a lot of (actually effective) keyboards, and "Searching for Love" features a deeper, richer sound... I don't recognize it, but I assume it's mainly a soul sample loop.

"Searchin' for Love," on the other hand, is quite different. For one thing, it features two MCs. Sav comes on second, but first is a somebody who's only named in the writing credits, Jerome Cephas (and no, that's not Kid Cut). Jerome's got a gruffer voice, and they're both kicking more of a flow on this one - not to mention completely new lyrics. The instrumental is also quite different, too, with a loop of bells or chimes. The whole thing feels more like a hip-hop song about love rather than those old "love raps" that felt like a whole different genre. The hook this time is sung by Stacy Savage, who I assume is a sister or cousin of MC Sav (real name: Wayne Savage). So really this song has nothing in common with the original except the basic phrase and concept of searching for love.

The B-side is "Lyrical Cypha," and this time Sav is back to flying solo, and it's much more in-line with the kind of hip-hop Too Def collectors are looking for - lyrical freestyling over a stripped down beat. It's got some keyboard stabs on it, but it's mostly just the drums and a little bass. Stacy's on the hook again here, singing a variation of Rick James' "Mary Jane:" "I'm in love with MC Sav, hip-hop is what he brings..." It's definitely not as tight as the best Too Def songs, it's a little more mellow and unfortunately Kid Cut no longer seemed to be involved; but it's pretty cool, Sav still has some rhymes and fans of mid-90's random rap won't be disappointed.

So, all in all, it's not their masterpiece, but worth picking up if you can find it cheap. Or if you already have their other, better stuff, then this certainly at least makes for another interesting piece of the puzzle.

The Fresh Prince of the United Kingdom

2011-09-18T04:12:00.006-04:00

The records by US rappers aren't just released here in the US... They're generally released by different labels in different countries all around the world at the same time. For example, while Spyder-D was released here on Telstar cassettes in the states, it was released on ZYX Records in Germany. Usually, they featured the same trick-listings and are generally just less desirable alterations of their original US counter-parts. Sometimes, they'd be a little different... like Cooltempo used to release all the Kid 'N' Play 12"s with exclusive remixes - however these remixes did little to up their long-term value, as they generally sucked.

But every once in a while, a foreign pressing manages to be preferable. As is the case with today's record: "Will 2K" by Will Smith - the UK version.

Now, like most of his post-Fresh Prince output, "Will 2K" isn't a terribly good or interesting song. It follows the Puffy/Pras formula of taking a dated major label pop hit, sampling it in a heavy-handed, uncreative way, and selling it as a new pop song to kids too young to remember the original. In this case, the TrackMasterz have used "Rock the Casbah" with ex-Jodeci man K-Ci on the hook. Nothing special there. But look on the picture cover (I took a nice, high quality photo so you can enlarge and read it), right under the song title in tiny text...

It says, "COMES WITH SO FRESH (FEATURING SLICK RICK AND BIZ MARKIE)." Your version doesn't say that, because your version just has the same song on both sides.* And, really, "So Fresh" is probably the only song most of us heads care about from Will Smith. I mean, none of the verses are amazing (in fact, when you think of what Slick Rick has shown he's capable of, it's a little disappointing), but it's just a fresh, cool-out vibe produced by Jazzy Jeff (who also provides some nice cuts), and Darren Henson.

Now, don't get too excited about this UK 12" - "So Fresh" is a Willenium album track; it's not some super rare 12" exclusive. And, if you can find a copy, there's a nice, promo-only 12" of "So Fresh" that also features the Instrumental and Acapella. That's the ideal one to won IMHO (unless you're just a "Will2K" fan - maybe you've been waiting decades for a rap version of "Rock the Casbah;" it is kinda fun, after all). But this is a nice 12" to pick up, and an easy and cheap one to order online - if you can't find that. And it's just a nice example of that rare case where the foreign 12" is preferable to the domestic.

*Or, if you have the 12" from The Netherlands, you actually get these two songs, plus two more ("Miami" and "Just Cruisin' (Remix)")!

Random Rap 3! The CDs

2011-09-16T07:04:00.003-04:00

(Youtube version is here.)

The Purple Tape... On No Limit Records

2011-09-15T01:23:00.008-04:00

Apparently, when you crazy kids today talk about "the purple tape," you're thinking of some funky ol' Raekwon thing glued together out of left over Cella Dwellas plastic. But I'm an old school cat. When I hear "purple tape," I go back even a little further... to Sonya C's Married To the Mob.

Married To the Mob dropped in 1993 (two years before OB4CL2 if you're keeping score) on In-A-Minute Records. No Limit, at that time, was really more of an imprint that went through In-A-Minute for the distribution, 'cause they could get albums like these out on CD and (purple) tape into stores all across the country when No Limit was just up and coming.

Sonya C, it's worth noting, is really the first female rapper on No Limit. Apparently, Mia X likes to make that claim, but she didn't drop anything on No Limit until much later. And while Mia was a member of TRU for a while, Sonya is a founding member from back in the days when they were still going by their full-length name, The Real Untouchables. This is back when No Limit was representing CA before signing all those New Orleans acts; and Sonya was all over their debut album in 1992, Understanding the Criminal Mind.

And even before the TRU album, she'd appeared on Master P's very first albums, Mama's Bad Boy, Get Away Clean, The Ghetto's Trying To Kill Me... She wasn't just a member of his crew, in fact. She was his wife. Yes, that means she's also the mother of Lil Romeo and Young V. In fact, I'd just like to take a moment to point out that she named her three sons Percy Jr, Vercy and Hercey, which is downright silly.

So, anyway, what about this album? Well, since it's still in No Limit's CA days, the majority of it is produced by EA Ski & CMT, with a few tracks produced by Master P himself.

In fact, the first song (after an intro) is produced by P and it's the strongest. It sounds great because it heavily, heavily samples Betty Wright's "No Pain, No Gain" - not just the break, but the vocals and everything. They use Betty's crooning as an excellent backdrop for Sonya to slow it down and give a somber, autobiographical story about her own life. Unfortunately, on the other hand, Sonya's flow is pretty horrible on this, kicking the kind of rudimentary delivery, struggling to stay on beat, that gave No Limit such a bad name on the east coast. It almost feels like one of those stories you used to see on television where some chintzy producer would got to a halfway house in an inner city and get them all rapping as a exercise in self esteem. But damn if the music isn't effective. Couple that with how earnest Sonya sounds, and you've got an effective song that's managed to stick with me since high school - analytical criticism be damned.

The rest of the album is, thankfully, substantially harder and Sonya's flow - while never amazing - gets stronger along with it. Following a skit where a bunch of guys see Sonya and approach her on the street, "yo, Sonya, what's up?" "This what's up, mother fuckers!" she yells and it ends in machine gun sound effects. And EA Ski and CMT are acknowledged masters of gangsta rap production. There's a host of recognizable, funky samples, which help a lot - the groove of "Bitches Die In the Dope Game" is great, and the clever collection of vocal samples on the hook are really fresh. The Untouchables also drop in a couple appearances, most notably on the posse cut finale, "I Ain't To Be Fucked With," but not so many that they overshadow Sonya's solo endeavor.

Unfortunately, one downside is that this album feels like an EP they stretched out to full LP length. Half the songs on this album are skits, and one of the tightest beats on this album, "Gankers," is just an instrumental. A full-length instrumental song might fit in on a DJ Shadow album or something, but on a gangsta rap tape? It feels like the engineer just lost the vocal track. You also get two versions of the title cut, "Married To the Mob Part 1" and "Married To the Mob Part 2," but really "Part 2" is just a radio edit of "Part 1." You really only get six proper, full songs; the rest is all filler.

Bottom line, this is a dope tape if you like these kinda albums, but if you think all that No Limit-type shit is straight garbage, nothing here's gonna change your mind. These are not the kind of MCs who were ever going to elevate the art form or flex freestyle skills. But if you just want to shed your backpack and listen to some pure early 90's gangsta rap, this tape delivers. And it's purple.

P.s. - If you can't quite make out that message written underneath the Parental Advisory sticker on the album cover, it reads, "This Album is Proof, it's no honeymoon being married To The Mob. Cause Sonya C is quick to get the gat peel your cap, Miss Alcapone."