The Capital K P-O-N-C-E

So, I was going back over my Fresh Kid Ice review I wrote for Hip Hop Isn't Dead, and I realized I made a pretty obscure reference without any kind of explanation. Basically, I started talking about K Ponce (who appeared on a track on that album) as if everyone would know who he was. But don't feel bad if you didn't, because that's a pretty obscure reference even for me.

K Ponce was a Miami rapper signed to Never Stop Records in the late 80's. In fact, besides the Fresh Kid Ice appearance, the only songs I know he had was "Go Like This" on a label compilation, and this, his 1988 single, "It's Time, Shake It Down." It's pretty good, though. :)

This is a very Miami-sounding track, alright, with deep (though not of the Magic Mike subsonic variety) bass, fast drums and a variety of upbeat samples. There's two versions on here (three, if you count the instrumental), but they're not very different from each other. K-Ponce is a solid MC - his lyrics won't blow you away, but they're fast and well-enunciated, with a clean, direct flow.

The strange part, though, is not his rhyme pattern and delivery sound like they're distinctly patterned off of "Ice, Ice Baby." And the background vocals (shouting back the last word of key lines, etc) are, too. And I mean, it's obvious enough that it has to be deliberate. Except... "Ice, Ice Baby" didn't come out until 1990, almost two years later. So I submit to you that actually Vanilla Ice had to've taken the flow from K Ponce (not surprising, that the only good thing Ice has managed in like 10 albums would be borrowed). And it follows, since they're both from Miami; and over the course of his career, originality has always been Ice's weakest point. But seriously, the lyrics are different, but listen to the two songs in a row and tell me one didn't come from the other. I don't think you could do it. Either he stole it, or K Ponce ghostwrote it or something.

Anyway, the track isn't much like "Ice, Ice Baby," and as a whole this record is a pretty different animal. So don't let Vanilla Iceophobia keep you away from this (though you will notice the similiarities).

On a related note, Max recently forwarded a message he received from my review (which is why I got to rereading it... see? it all comes together), "My Name is Tesfa Baruch. I'm the Tesfa featured on this track. Thanks for the review. I still make music." So, based on that, I did some googling and found out all about Daddy Tesfa. It seems like he's mostly performed live, rather than putting out records, but he released an independent album in 2007 called Familyman. He's now going by the name Waryah Priest, and here's a link to his myspace.

Oh, and finally on an unrelated note, one of the members of China Down, an old school Boston-based hip-hop duo, has been commenting on my Boston Goes Def post. They're the ones who did the song I referred to as being possibly the weirdest hip-hop song ever, which is no small thing. So, check out the comments, she breaks down a lot of nice history that even Boston heads will probably find educational.

Stranded On Def Row

If you're into hip-hop history, there's a lot to be read about the compilation Boston Goes Def, the first full-length rap album of all new, original material released out of Boston. It's talked about in interviews with Slick Rick (of FTI; not that Slick Rick):
"If given the opportunity, everyone should get themselves a copy of the first rap albums to come out of Boston." 

Top Choice Clique: "When the compilation Boston Goes Def (EDO G’s debut) dropped, it showed people in the game that Boston was definitely an untapped resource." 

Ed O.G: "The song FTI played that night was 'Suzie Q,' and it was one of the highlights of Boston Goes Def -- the 1986 compilation that also featured Boston rap pioneers like Rusty the Toejammer and Body Rock... 'It was a beautiful vibe!' Ed enthuses. 'In the late '80s, you could do an all-local show and people would come out to see it. You could have a show with RSO, FTI, the BK [Boogie Knights] Crew, and RCC [Roxbury Crush Crew], and you could fill up 4000 seats! They did shows in all these grimy places -- places where you could smoke weed. It was an ill, ill time."

Cadence of Raw Produce (taken from a discussion we had in the DWG forums): "I remember hearing the hype about that record for months and getting really amped for it to drop. Then when it did, my main complaint about it was that the studio recordings lacked the rawness of the home demos--many of which literally sounded like they were made in one take standing in front of a portable tape recorder... hearing the songs in (relatively) polished studio form just didn't sound right to me at the time. But I remember being really proud on behalf of Boston area hip hop when it dropped. And I felt like from that moment on you could see the development of local artists taking off, from homemade demos, to studio recordings. From beatboxing to drum machines and samplers. And from demo tapes to records. In retrospect, maybe it doesn't represent the best music our scene has produced, but that record, along with Lecco's Lemma were such big parts of a movement that was going on in the mid-late 80's that laid the groundwork for the Boston scene that emerged in the mid 90's. And that's a scene that launched Guru, Ed OG, the Source Magazine (for better or worse), to name a few and paved the way for a whole raft of 90's indie hip hop that you all know and love. And those are the guys who made Boston area artists BELIEVE we could do this. So to me, it's one of those records that also has to be judged in it's historical context."

...and it garnered full articles in The Boston Herald and The Boston Phoenix.

But no one ever talks about the sequel.

Def Row came out the following year (1988) on the same label (Beautiful Sounds), though this time none of the proceeds seem to have been going to any charity. Once again, it's all produced by Mr. Beautiful and features some of the same artists, as well as some new ones. It gets a little confusing, though, because they don't always use the same names. For example, the White Boy Crew is back, but this time going by U.S.A. I wouldn't have even been sure it was the same guys (since there's another group that sounds just like 'em on this compilation called D.F.O.) except they helpfully refer to themselves as the White Boy Crew in the song. Ed O G (Edorock in those days) is back again, with not one but two songs. But this time, instead of his group being called The FTI Crew, they're credited as A-Train (which, extra confusingly, is also the name of the other MC who rhymes with Ed on one of the two songs).

So, why doesn't it ever get talked about? Well, partly probably because of that damn goofy album cover (credited to "D.B. Velveeta") scaring audiences away by making it look like a novelty joke album like The 2 Live Jews. The other reason is probably because a lot of it's, well... wack? But here's the thing about this album... have you ever tried to play a hip-hop classic to a younger head, like "The Show" or something off of Just-Ice's first album, and you can't really explain to them why it was so great at the time? It's like, "you don't understand what it was like when this first came out in the 80's; it was so new and wild. I guess it just doesn't age well as some other stuff." Well, this album ages wonderfully. Big, 80's beats, cuts, human beatboxes... stuff that when we heard it new we were like, "what is this? So corny!" now holds up in an era where nobody makes music like this anymore. It's like the Jurassic 5's concept, only genuinely authentic material.

But most of it is wack/corny even for it's time. The 3D Crew feature a really sappy R&B hook (sung by "Special Guest" Meg Lyons) and keyboard hook on their love song, "Trust Me." The girl group China Down's rhymes on "Just Rockin' the Mic" sound like they were written by Mrs. Johnson's Third Grade English Class, with every word said in unison by both MCs:

"You know it's right.
Right?
Right.
Or do you wanna fight?
We'll battle you from dusk till dawn,
And even through the night.
The night?
The night.
Oh, go and fly a kite!
Because if you want to battle us,
You must have all your might.
Your might?
Your might.
Oh, sure you think you're right.
You battle us against your friend,
And it will be delight.
Your friend?
Your friend.
Oh, now it is the end."

And the Run-DMC-inspired "No Punks Allowed" and "The Boston Sound" feature embarrassingly rudimentary shouted rap lines over guitar-riff driven tracks. Actually, the guitar tracks (by Bruce Owens, P. Mullford and Mr. Beautful) aren't too bad, and hold up pretty well - that is until the breakdown, when the guitar player goes for his solo and kicks a little "Yankee Doodle Dandy" (seriously).

But hearing Ed O G or The Dilemma Crew kick some fun (if datedly simple) freestyle rhymes over old school beats the world will never create again is easily worth the price of admission. On The Rapmasters and DJ 2's "The Beat Please," a different, O.G. breakbeat is played over the hook each time.

So, some of it's great, some of it's terrible but in a great/fun way if you're prepared to not take it at all seriously... and some of it's just weird. First of all, between every song, there is a random soundbite, roughly 10 seconds long. There's a clip of classical music, a car chase, a porno movie, a country song, the signature theme from The Good, The Bad and The Ugly... and none of these clips have anything to do with the songs that follow. Like if the porno clip came before a song about sex, it would sort of make sense... but none of them do. It's like the producers said, "these rap kids like samples!" and reached into their bag of public domain.

Looking in the liner notes, the 3D crew dedicate one of their songs to Scott LaRock. Listening to the song, it's obvious why: it's a beat-for-beat, syllable-for-syllable remake of "The Bridge Is Over," called "The Battle's Over," where the lyrics have been changed to be about how Boston crews all get along now (or something). They even sing the same tunes Krs did in his song, in the same key; but they've replayed all the music on their own instruments and equipment, using light keyboards in place of BDP's classic piano loop; making the instrumental version sound like a Fisher Price remix.

And just like Boston Goes Def had the silly "Popeye Rap," Def Row also has a rap about children's material, this time about The Wizard of Oz. And it possibly takes the prize of the weirdest rap song of all time... ever... seriously. China Down return for a second song, this time with the Noble Villians, to record "Yellow Brick Road." One of China Down sings an acapella rendition of "Somewhere Over the Rainbow," but changes the lyrics to refer to MC Land; then they rap about the place, telling us it's "where the beats are always def... Where the party's always always thumpin'; and the MC's are the best." They talk about how a mysterious man materialized to stop time so their funky rap party could last forever. The beat features some keyboards, a kinda fun bassline, and a lot of vocal samples from The Wizard of Oz movie. They use the sound effect of the Wicked Witch laughing constantly - and it's not in the background. At one point, it comes between every line of an MC's verse, like an insane commentary. It also uses the theme from The Twilight Zone on the hook. And while China Down told us how fresh MC Land was, the Noble Villains have an entirely different take on the place. One of raps about how he was a superstar MC until one day he was pulled into a fiery pit during a party and sucked into MC Land, where he lost his soul and his mic skills ("I am a victim of a real crazy prank; first I was rockin' a party and somehow I got yanked. Fell through a big hole full of smoke and flame. The man with no soul would be my new name."). Why it's a great place for China Downa nd a terrible place for The Noble Villains I have no idea. It ends with him crying, disgraced, "with the word 'shame' written across my face." Then the other guy also raps (whispering his entire verse) about having no soul, in this case after getting struck by lightning in his apartment. He eventually encounters a troll and finds a monster's castle, and the monster tells him (in a fully processed, scary monster voice) that he can escape if only he can believe: "BELIIIEEEVVVVVVVVVEEEE!!!" Then the girl from China Down comes back to reprise "Somewhere Over the Rainbow." Top that, if you can!

Is it a classic? Noooo sir. But it's a delightful, historic look into the 80's and Boston hip-hop scenes that's a lot of fun... just so long as nobody's around to overhear what you're listening to and laugh at you. ;)