Showing posts with label Lovebug Starski. Show all posts
Showing posts with label Lovebug Starski. Show all posts

Friday, May 30, 2014

Return Of the Veteranz

I called my last post a "later release for somebody like DJ Hollywood," but you could still consider that the first round of musical recordings for somebody who just happened to manage to have a long run.  This on the other hand, is a straight-up comeback record by some of the oldest school artists our genre's got. The Veteranz is kind of 1997 "super group," consisting of DJ Hollywood, Lovebug Starski (here spelling it Luvbug Starski) and The World Famous Brucie B. And they've come back out on the strength and production of "The Original 'Shake Dat Ass' Man" DJ Mister Cee. It seemed to be largely compelled by the attention Doug E Fresh got for his song "The Original Old School" featuring Hollywood and Lovebut Starski alongside members of The Furious Five and The Cold Crush; but of course there were a lot of instances of hip-hop's original forefathers getting put on records throughout the 90s.

This was pretty much just a one-off single inspired recording session rather than an earnest attempt by The Veteranz to sign a deal and start re-enter the music industry as a consistent group. But it was released twice, with an all-new remix retitled and kinda packaged as if they'd come back again with a second song. So let's start with the first release.

"Da Medicine" was originally released on Tape Kingz with two versions - not including the Instrumental and Accapella - the Party Version and the Regular Version. The difference is pretty simple: they're exactly the same song except the Party Version features additional "party voices" added throughout the track, just like many of the classic disco-era rap records used to have. To me this adds to the fun adn effect of the record and detracts nothing, so while it's not a huge difference (they're mixed pretty low anyway), it's the definitive version and you can pretty much forget about the Regular Version as more of just an incomplete bonus mix to pad out the 12".

But here's the thing about The Veteranz. All three of these guys are more like DJs and party rockers and strictly lyrical MCs. You know, it's not like we have Melle Mel, Grandmaster Caz and Kool Moe Dee here. I mean, at least Hollywood and Starski were experienced recording artists, but Brucie never even made records. And they definitely opted to play it safe here, because theyr eally don't rap at all. I mean Hollywood and Starski did rap on their old records, so it's not like they didn't know how. But they just don't here. I mean, there's a bit in the middle I guess you'd consider more traditional rapping, but the way they keep going back and forth and shouting, it doesn't much feel like it. They just do a succession of hooks and chants over a blend of hot and ever changing breakbeats by Mister Cee. In fact, this almost feels like a completed Mister Cee party record - you know, those instrumental 12" singles just bl;ending a mix of the latest and old school breaks for a couple minutes that all the NY DJs used to press up in small runs? It's like Mister Cee had made this record and then just had these guys talk over it as an after-thought.

So, as a result, it's okay... the beat selection is solid and the added layer of the Veteranz does help. But ultimately, it's boring. It's like you're just waiting and waiting for the song to start, right up until it ends. It's fine, for one of those generic party records, but it needed actual verses to feel like a proper, finished song. The Veteranz names' carry a lot of weight, but that's about the only weight they bring to the record. Their voices are pleasantly recognizable and there are references to their past work to catch; but talent-wise, any three guys you pulled off the street could've recorded these vocals.

But their name value at the time was strong. This collaboration was getting write-ups in music mags and press well beyond what any of these other party records got. The rest of the world wanted to hear it, and so Select Records picked it up and reissued it.

This time you got "Da Medicine" in Party, Regular and Instrumental versions just like the Tape Kingz single. But then, on the flip, you had "Da Remedy (Da Medicine Remix)" also in Party, Regular and Instrumental versions. Like I said earlier, it's the same vocal recoding, but the original instrumental has been switched out for an entirely new one. Here, Starski, Brucie and Mister Cee (no, not Hollywood) share production credit. It's a pretty cool, alternate version, which feels a bit more like a consistent song than a party mix, with a more old school feel thanks to some big programmed beats and conspicuous hand claps.

It's hard to pick a favorite between "Da Medicine" and "Da Remedy," but thankfully with the Select single, you don't have to. You only miss out on the Accapella. So it's a fun record, but it still doesn't have any real rapping. So it winds up feeling like a lot of Miami bass or indie NY party records. Listenable but nothing you'd really keep going back to.

And It's interesting to note that The Veteranz reunited in 1998. On the Flip Squad All Stars album, the final track is by DJ Mister Cee featuring Brucie B, Hollywood and Lovebug Starski. "How Ya Like Us Now" is a straight-up second Veteranz song. I mean, I'd consider any modern pairing of Brucie, Hollywood and Starski a Veteranz song, but with Mister Cee still on the boards? It's incontrovertible. They even refer to themselves as The Veteranz, even though they're not credited that way on the label. And, yes, it features all new vocals - albeit in the same, "many choruses and no verses" style, as well as a new instrumental. And party vocals. :)

Thursday, February 18, 2010

Doug E. Fresh 2000, part 2: Yawn

So, in the summer of 2008, I blogged about how Doug E. Fresh made an under-publicized comeback in 2000, releasing two rare white label 12"s I discovered from that year. Well, it turns out I'd underestimated that comeback - I've found two more! There's no dates on these, so I can't say with any certainty that they came out precisely in the year 2000. But they seem to've come out at roughly the same time - heck one is a remix 12" of one of the records I reviewed last time, so they must've come out pretty close to each other.

That remix 12" is "He's Comin (Mayham Party Mix (Special Edition)." Like "He's Coming (Party Rocker Vocal)," this is a live recording... of the same performance... over all the same beats. So the difference is... he's performing it in front of a different crowd? Except, it's not even that. I bust out my first 12" of "He's Coming" and it's exactly the same recording, with the same crowd responses. So there is absolutely, 0% difference between the Mayham Party Mix and the Party Rocker Mix. That's a bit of a rip, huh?

Then, like you'd expect, the instrumental for both is exactly the same, too. Well, at least this "Special Edition" 12" comes with a "Beat Box Bonus," right? No, that's on printed on the label, but it doesn't actually appear here! I think it was intended to be, but the pressing was screwed up, because actually, there's a short, unlabeled track on this 12" with a few beeps and tones and a guy saying, "this is the instrumental mix, mix two." Clearly that was meant to be left off the final recording, but instead they left that on and chopped off the Beat Box Bonus. Jeez!

Still, at least this 12" has a B-side, so let's check that out. There's two more songs here called "The Show" and... "La Di Da Di." Waitasec; these aren't new at all. These aren't even live performances or anything - they're exactly the same tracks as pressed on Reality Records in 1985. They've even included "The Show (Instrumental)" from that 12". Well, ok. So this is really just a combo of two pre-existing Doug E Fresh 12"s merged together. I guess that's handy if you didn't already own "He's Coming" and "The Show;" you could buy this 12" and save a little money. I guess that's what they meant by "Special Edition." Ok.

That's a little disappointing, but I'm not phased. I've still got this fourth white label 12", "Who Run This." And it features old school legends Busy Bee and Luv Bug Starski - yeah, now we're talkin'! This is an all-new studio recorded track (as opposed to a live performance). It's a lot like "He's Coming" though, in the sense that they're basically just doing various shout and call responses ("Do the ladies run this?" etc). But it's all over just one, original beat... a boring, lifeless beat. And Starski and Busy Bee just sound kinda tired, randomly ad-libbing for a minute or two. Curiously, Busy Bee does all of his shout-outs and stuff from the end of his 1992 song, "Busy Bee's Block Party" ...right down to thanking us for giving him his block party. Huh? That's weird.

So yeah, nobody raps. The beat is weak. The shout and calls sound somnambulistic. Sorry, guys, but this joint sucks. ...Not that it seems like anybody on this record cared if it would be any good or not in the first place, so I'm not sure why I'm apologizing for that remark. It makes you appreciate why he records these shout and call tracks live, though. I mean, this song would've sucked either way, but at least a live audience infuses the proceedings with a little more energy.

Well, now my enthusiasm's thoroughly sapped... I don't even feel like flipping this over to check out the B-side to this one. But I will. It's "Where's the Party At?" If that title sounds familiar, that's because he had a song called "Where's da Party At?" on his 1995 album, Play. There was a video for it and everything. And this is it. Yeah, just like he threw "The Show" on the back of "He's Comin'," he's thrown "Where's da Party At?" on the back of "Who Run This." Again, there's no difference... this isn't a live recording or anything. It's just the same songs repressed. He includes the instrumental here as well, which was also included on the 1995 Gee Street single. Meh.

So all in all, this was pretty disappointing. There was actually only one new song across these 12"s (not even an alternate mix), and that song was half-assed and lifeless. If you're a hardcore completist collector, then I'm glad to let you guys know these records are out there. But otherwise, guys, do like Dionne and walk on by. No wonder these 12"s were so obscure.

Wednesday, October 31, 2007

A Record for Halloween

Happy Halloween, everybody! I thought I'd come with a haunted holiday-themed blog entry today (and I hope to see other hip-hop bloggers have done the same when I check my bookmarks later)... the spooktacular "Amityville (The House On the Hill)" by the man who actually coined the term "hip-hop," Lovebug Starski.

If you're too lazy to click enlarge on the image in the top left there, I'll tell you what it says on the front cover, "Record comes with a free >>Black~Hole<< for the time~shift appearances of Horror and Inter-Stellar guest~stars!!!" This came out in '86 on Epic/CBS Records and is actually a 45bpm 12" (not unheard of, but certainly a little less than usual) single off of his album, House Rocker. The song is produced by Kurtis Blow, and it did pretty well for itself... charted on Billboard's Top 100 and was a Top 20 dance hit in the UK. Heck, it oughta if it comes with a free Black Hole. ;)

Anyway, this is a "monster mash"-style record, in the tradition of Whodini's classic "Haunted House of Rock." That's of course the unfuckwithable original Halloween hip-hop record, but this one is really great, too. Granted, it's dated - I mean, even for it's time, it's dated. Kurtis Blow's rock & disco inspired production, and Starski's "radio DJ" style of rapping weren't scoring him any points with the kids fiending for more stripped down and hardcore Run DMC and LL beats. Honestly, by this time, all of the Lovebug's real hits were behind him; and he never put out another record after House Rocker.

But now that it's ALL old school, we're no longer hung up on what's keeping up with the latest trends, and we can simply appreciate all of these records at face value, this is a just a damn good time. The production is really upbeat and very catchy, with a crazy mix of syntheizers and live instrumentation, combining Sugarhill Records style funk guitars with 80's rock guitar solos. And Starski enhances his stories of partying with crazy monsters in the Amityville house by going so far as to do full-on impressions of his characters, from Dracula to Captain Kirk. As the other great Starski would say, "you can't beat that with a stickball bat."

So, yeah. Dig this one out of your crates and give it a spin before you go trick or treating with the kids today. And if you've got a little time, drop by Starski's myspace page (although there's not a lot there right now except for some cool pics) and wish him a Happy Halloween, too.