Get On the Short Bus

The 90s was the decade of "the soundtrack movie," where some film deals were structured as much or more on the accompanying soundtrack album, and the profits that could make, than the film itself.  Having trouble getting your movie financed? Buy a couple original songs from some popular rappers and parlay that into a studio pick-up. It started with some hip-hop-related films having hugely popular soundtracks into films that didn't even necessarily have to exist because they were just an excuse to make high selling compilation albums. From Above the Rim to Tales From the Hood, the album's have longer lasting legacies than the movies themselves. Even Warren Beatty put one together (remember Bulworth? Or are you just picturing the music video for "Ghetto Superstar?"). The movies got cheaper and cheaper (consider Master P movies, and their knock-offs) because it became more and more apparent the movies were just excuses for record labels and Hollywood to cross-pollinate funds and eventually the well ran dry.

Now, it would be unfair to say every soundtrack movie is a poor film; but there was an ever increasing stigma attached to them, and it's hard to call that undeserved. And that stigma is probably why Spike Lee never really made a film with a fully hip-hop soundtrack. He was classier and careful to project the image of a higher profile film-maker. But because he was always in tune with hip-hop and working with some of its best artists, it put us heads into a regularly recurring rough spot: do I want to buy this full album of stuff I don't care about just for one or two good songs? If you're not a jazz fan, the buying the full soundtrack to Mo' Better Blues just for that (excellent) Gangstarr song was a tough pill to swallow. At least "Crooklyn Dodgers" and its sequel from Clockers were released as singles. Bamboozled had about four songs and one of them was a Charli Baltimore track; so you really felt like you had to grossly overpay anytime you wanted just one or two songs.

Get On the Bus is another perfect example. Anytime a Spike Lee joint comes out, you have to run and check the soundtrack to see what we've gotten; and in this case there were three rap songs amidst a see of R&B, from Curtis Mayfield to Earth, Wind and Fire. But what tempting rap songs... A Tribe Called Quest, Doug E. Fresh and Guru. And remember, this was 1996, back before seeing Guru's name meant "produced by Solar." Every time I went to a music store I'd pick it, reread the track-listing and consider it; but I never pulled the trigger. And I'm glad I didn't. Because when I got older and hipper to getting my hands on DJ vinyl, I found otu about this ideal promo EP.

Get On the Bus Sampler is an official promo release from Interscope which features all three of the hip-hop tracks. Plus the D'Angelo song, because I guess they wanted to fill out the side with something and they figured he was "pretty hip-hop." But let's get into the rap songs because all three are nice and exclusive ...though Tribe's would turn up on a compilation album or two down the road.

The Tribe song is "The Remedy." Again, even if you never heard the soundtrack you're probably familiar with this song; but this is where it originated from. The label (to the EP or the full soundtrack) doesn't mention it, but it also features Common. This was from Tribe's fourth album era, when the group was starting to split, so there's no Phife on here, and the track is co-produced by Jay Dee. Fortunately, Jay's talents were enough to rescue what might have otherwise been a sinking ship; and the fact that this is on the soundtrack of a film about the Million Man March seems to have inspired some extra thoughtful and substantive lyrics from Tip and Common. So troubles or no, this winds up being a very compelling, funky little Tribe song that could fit easily onto any 'greatest hits' compilation.

Doug E. Fresh's song is either called "Tonite's the Nite" or "Tonite's the Night," depending on whether you believe the label to the EP or the full soundtrack. Personally, I prefer the EP's dual-'Nite" titling, just for the consistency. 1996 would put this well after Doug's New Get Fresh Crew phase, but this song still features Miss Jones on the hook. It's definitely on the pop side, and the hook is a bit much, but it's nicely produced by Clark Kent who's made a really suitable track for Doug to rock over. with some fresh and catchy samples and an upbeat but funky vibe. It definitely sounds more modern, but none the less captures the spirit of The World's Greatest Entertainer album, especially when the Chill Will and Barry B start scratching over the funky bassline.

Finally we have Guru's "Destiny Is Calling." And no, DJ Premier isn't on the boards. It's actually produced by... Permanent Revolution. Whoever the fuck that is. They've made a sitar-heavy track which is interesting but doesn't really click. It's okay, and Guru tackles some serious topics. But then again, his lyrics and delivery are pretty simple and choppy, with forced rhymes like "dollars" and "swallow." It's not bad, but definitely disappointing for all of us who've heard album after album of Gangstarr before this. You know this could've been a lot better and a really powerful call to change our society, ut instead it's just "meh."

But even with that little disappointment, this is a very sweet little EP. I mean, it's a must-have for the Tribe song alone, everything else is just gravy. And while I could see other heads not getting on board with it, I was pleasantly surprised by the Doug E. Fresh song. I'm really happy to have this in my crates, and extra pleased that I never wasted more money on the full soundtrack. And you know, eighteen years later, I honestly can't remember if I ever saw Get On the Bus or not. I can picture flashes of it, but those might just be from the trailer...? I'm not sure. But I'll remember "The Remedy" for the rest of my life.

How Awesome Is This? Original Guru Demo Tape Release

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?

Gangstarr Without Premier

(Youtube version is here.)

Gangstarr Adjusted

Gangstarr's "Gotta Get Over (Taking Loot)" was originally released as part of the soundtrack to Trespass, one of those movies made during that brief time-period where soundtracks were so lucrative, that whole films were produced on the cheap just so they could market the albums. I did see it at the time - as I recall, it was about a couple of guys (including a less famous Bill Paxton) who discover gold in the middle of some drug dealing gang's territory... eventually everybody shoots everybody, and the deep message is "greed is bad and some people really shouldn't have guns."

But forget about the movie (the rest of the world has); the important part, as I say, is the soundtrack, on Sire Records. Now, it's mostly a west coast affair, featuring artists like Ice-T, WC and The Penthouse Players' Clique (which I'm not saying is a bad thing, mind you - I'm a PPC fan), but it includes two stand-out east coast songs, Lord Finesse's "You Know What I'm About" and Gangstarr's "Gotta Get Over." Sire Records put out a single or two (AMG's "Don't Be a 304" was the big one), but "Gotta Get Over" was such a stand-out track that Gangstarr's label, Chrysalis Records, picked it up and released it as a single themselves.

"Gotta Get Over" features one of the most memorable basslines in hip-hop history. Couple that with Guru being on a more hardcore, street edge than usual, and Premier's pro cuts and horn samples, and you've got a Gangstarr classic that rivals any of their greatest singles. But this 12" takes it further, and includes, in addition to the album version, a brand new Large Professor remix. Now on a song this great, a remix really isn't needed - who's going to stop playing the original, which nailed it perfectly, to spin an alternate version? But now many years have passed, I think we can go back and this excellent production by Extra P. No, of course it doesn't top the original; but taken on its own, it's a great track. It keeps the aesthetic of the original, dominating the tune with a dope, memorable bassline. It's not the same bassline at all, but it's used in the same spirit and is similarly accentuated by Guru's voice. But in this case, the remix really comes to life on the hook, when these ill samples come in... it actually reminds me of the kind of stuff RNS provided for the first UMCs album.

So you've got both versions of "Gotta Get Over" on here, plus the remix instrumental. But turn it over and you've got another Gangstarr cut. This time it's for "Flip the Script" off the Daily Operation album. You've got two mixes on here: the Album Mix and the "Remix/ Minor Adjustment Mix," also by Premier. "Flip the Script" was always one of my favorite cuts off that album, the loop has this really hard chop to it that's almost broken but sounds great. And this new version maintains that. In fact, considering the name, you might think that the "Minor Adjustment" remix would be one of those where you have to keep your ear to the speaker just to suss out the distinction; but actually it's apparent. The piano keys that make up the bassline are switched out with new ones comprised of more notes, giving the song a richer vibe, almost more like live music. The other big difference is the addition to a new high-pitched, heavy metal guitar sample being scratched and looped into the track. It's hard to single out one as better than the other, really; I think it just boils down to a question of whether you prefer a busier, more complex beat or the rawer, simpler original.

Regardless, this is a pretty sweet 12", and right up there with Gangstarr's classics. It's a good thing Chrysalis was smart enough to license the song and commission release, or we fans would've really missed out.

Remembering the Gifted

Following the recent loss of one of hip-hop's most esteemed MCs, Guru, we're celebrating his work over at DWG with a series of reviews of classic Gangstarr 12"'s. Mine just went up now. I picked a more recent one than you might expect, but hopefully you'll find it a fitting choice.

(Werner Necro'd) DWYCKypoo

Ah, elusive "DWYCK." Seminal, quasi-underground hip-hop classic first released on Chrysalis Records in 1992, as the B-side to "Take It Personal," and then again, as the B-side to "Ex Girl To The Next Girl" that very same year, until finally being released as its own Chrysalis single in 1994, off the album Hard To Earn. With your internally unreferenced title and seemingly random, non-sequitorial lyrics... what do you really mean? In interviews, members of Gang Starr and Nice & Smooth (who collaborated on this piece of eternal, yet bafflingly mesmerizing song-writing) were known to claim in interviews that "DWYCK," meant "dick," as in one's happy Johnson, meatstick, or schlong. Still others believe it to be an acronym for "Do What You Can Kid" or possibly "Diddle Widdle Yiddle Cibble Kiddle," for why else would it be all in caps? Compelling, yes, but I have another interpretation.

I propose that "DWYCK" is in fact a modern re-imagining of the 1881 Oscar Wilde poem, "Amor Intellectualis," though I have vague memories of Smooth Bee later confessing in a Rap Pages interview that he drew, as ever, most of his inspiration directly from Sylvia Plath (who, herself, has got to be the sure shot). I'm not sure; maybe I dreamt that. Still, compare these lines, and I think you'll see the inherent parallels are unmistakable:

"Oft have we trod the vales of Castaly
And heard sweet notes of sylvan music blown
From antique reeds to common folk unknown;
And often launched our bark upon the sea
Which the nine Muses hold in empery"

"I'm feelin' satisfaction from the street crowd reaction.
Chumps pull guns when they feel afraid, too late;
When they dip in the kick, they get sprayed.
Lemonade was a popular drink and it still is.
I get more props and stunts then Bruce Willis.
A poet like Langston Hughes can't lose when I cruise
Out on the expressway."

...Updating the reeds of Wilde's "common folk unknown" to the guns of Guru's "chumps," may whisk us away from the vales of Castaly to our decidedly more urban, and therefore more accessiblely contemporary "expressway," but the sentiment remains clearly and remarkably unchanged. As Wilde says we "had freighted well our argosy" in that we "ploughed free furrows through the wave and foam... spread reluctant sail for more safe home," so, too, did Greg Nice get "way uptown," as he "took deuce to the tre."

Perhaps it is futile to attempt to grasp the full meaning behind and within this song until the "Horny Instrumental" is finally heard married to its text in the elusive "Mix #2" - promised, but never delivered, on its "Take It Personal" debut. One can merely speculate. And yet, it's hard to ignore how deeply reminiscent Greg Nice's calling upon the names of Red Alert (the legendary DJ), Kid Capri (another DJ) and Muhammad Ali (boxer guy) is to Wilde's drawing up the spirits of Sordello (the early thirteenth-century troubadour, perhaps best known for being the subject of Robert Browning's famous 1840 poem), young Endymion (the perpetual youth of Greek myth and subject of poems by Lyly, Drayton and Keats1), and lordly Tamburlaine (as in "Tamburlaine the Great," by Christopher Marlowe, 1590) to complete his vision. And, indeed, stirringly unforgettable as it was when Nice ended his verse by calling upon Premier's fader to "take [him] out," so it is hauntingly familiar to all of us for whom Wilde's final line, wherein he calls to "grave-browed Milton's solemn harmonies" for his graceful exit, still echoes in our ears.

1And later Longfellow and Wilde himself.

This was written in 2001... In 2003, HipHop-Elements.com finally put the question of what "DWYCK" means to rest in an interview with Guru. "T.JONES: What does 'DWYCK' mean? Some people on the Internet say it means 'Do What You Can Kid.' What does 'DWYCK' really mean? GURU: No, but that's pretty good though, actually. 'Do What You Can Kid.' It probably could've meant that. It was just a slang that we used to use back then. It was like a slang thing we used to do. Greg Nice used to do it to everybody. Biz Markie started it actually. You used be in a crowd and say someone's name and go 'Yo! Son!' The person would turn around and go 'What? What?' and you would say: 'Dwyck!' It's like 'My dick!' It means the male genitalia. We switched it up to 'Dwyck.' It was just some sh*t to psyche eachotherout."

...That still doesn't explain why it's all in caps. But even more noteworthy, it struck me, was the similarity between that anecdote and this excerpt from the Wilde biography written by Sir Isaac Horton, "while studying classics at Trinity College in Dublin, from 1871 to 1874, he was well regarded as an outstanding student, winner of the Berkeley Gold Medal - the highest award available to classics students at Trinity - and while typically referred to as 'serious' or 'earnest' by his schoolmates, one of his juniors' memoirs recalls a common schoolboy prank he would pull on his mates. 'Oscar would stand behind a fellow during the headmaster's address and whisper into his ear, "sir! Sir!" When the dupe would turn to face him, "pardon?" Oscar would exclaim "cock!"' However it would seem Wilde's penchant for sudden outbursts of joviality was not to not stand in the way of his teachers' high regard, who awarded him full scholarship to Magdalen College, Oxford, where he continued his studies until 1878."

...It's possible I dreamt that part, too.

Tags: Gangstarr, Nice & Smooth, Oscar Wilde, DWYCK