A Quick Nip Before the Show

"Sambuca" is a track from D's last album, Libra; but this is an all new Smoove Mix - that is to say, a remix by UK producer Smoove - for the vinyl single.  This isn't the first Smoove remix D's released on 7", following the "Labels" Smoove Mix in 2021.  The only other track they've done together is "Do It Now," the B-side to his "Lucky Number" single in 2022.  For whatever reason, he's become his exclusive 7" remix guy.

And like their last two collaborations, this one has a high energy, 70s vibe to it, almost like a foreign funk band recorded it live.  In my Libra review, I wrote that "'Sambuca' slows things down a little, but is still full of life, a light-hearted anthem for D's liqueur of choice."  It might've been a bit funny to say "slows things down," since it actually has a pretty high bpm; but it immediately followed "When It's Fast," and that whole side of the album was pretty hyper.  Anyway, this remix is basically the same speed, but this live party sound is quite distinct from the original, like a completely new song: a second ode to Sambuca, which just happens to have all the same lyrics.

The first two verses are about D preparing for a performance and stopping for two precious drinks first, "dashing through the town, clutching a wealth of wax and vinyl from many years gone by/ We arrive at the club about ten minutes shy/ Of the time to go on. What rhymes like 'bazooka?'/ You know what?  Just time for Sambuca!"  Finally, uh-oh, he's maybe a little too drunk to go on...  But sure enough, the show goes well, so to celebrate?  More Sambuca!  It ain't deep.  In 2Pac terms, "Sambuca" was an "I Get Around" moment, not a "Trapped;" and now Smoove's turned it into more of a full-blown "Doowhutchyalike."

The blaring horns are easily the first thing to grab your attention, but it's the groovy bassline that really locks you in.  To blow up the party element even further, Smoove adds a chorus of additional voices shouting out "SAMBUCA" on the hook.  More subtly, he also adds these little snippets of 90s R&B style vocalisms that sound really fresh.  The one drawback is just, in order to gain all of that, we have to lose Djar One's killer Premier-style scratch hooks from the original.  But that's alright; we still have the Libra version on the album, still perfectly viable.

So as you can see up top, this B-Line Records 7" comes in a sticker cover with a stamped label.  Oh, and the B-side is the instrumental; the vinyl is the only way to get that.  It's out now, and is apparently limited to just 100 copies, so if you're interested, act fast!  Because the only thing worse than FOMO is AMO (actually missing out).  I've been there plenty; it sucks.

Libra D

Whirlwind D is a really prolific artist, particularly on vinyl, which we especially appreciate here at Werner's.  He's basically been dropping a new vinyl release every year for a long time.  So it's surprising to think this is basically only his fourth album even when you include his rare 90's cassette.  He's been releasing singles, EPs and that nifty compilation that included his demos and stuff.  But this is actually his first album in seven years.

This album is split into two distinct sides, "Grey Matter" and "Dark Matter," which kind of mirrors the light and dark sided theme of his single, last year's "Lucky Number," which is featured on here (though its B-side, "Do It Now," remains exclusive to that 7").  It suggests two sides of the artist and also presumably is meant to suggest the two sides of the scales of justice that portray the Libra Zodiac sign, suggested in the cover image of the split brains on the two turntables.  Grey Matter consists of upbeat songs celebrating Hip-Hop, etc (we'll delve more into specifics as we proceed) and Dark Matter has another six with a more ominous sound and more serious subject matter.

Besides Dark Matter's "Lucky Number," the only other song returning to us is the ever-popular "Labels," which is naturally on the Grey Matter side.  "Labels" debuted on his 2018 EP Beats, Bits and Bobs, was featured on the aforementioned 2020 comp, and was later remixed for the B-side of his "Without Music" single.  You may recall that was the Smoove Mix 7" Edit.  Well, here we finally have the Smoove Extended Mix, which adds about 35 seconds, including some nice build-up at the start and letting the horns fade out at the end.  No extra verse or other elaborate additions, but it's a super catchy instrumental, so just letting it ride a little more is a welcome touch.

Grey Matter starts with a short instrumental Introduction with some nice little scratches.  Scratching, as ever in D's catalog, is going to play a major, hype part of this album, especially on Grey Matter.  In fact, the very next track, "When It's Fast" has Specifik going nuts on the turntable, totally living up to the title, D's ode to his love for fast, high energy production.  Of course, that can be setting yourself up to fail if you don't have a killer instrumental, but Djar One does, with a sample set that harkens back to the late 80s and early 90s, but put together in a way that feels fresh and not at all trapped in the past.

"Sambuca" slows things down a little, but is still full of life, a light-hearted anthem for D's liqueur of choice.  It definitely reminds me of Gulp City's celebratory hedonism, but D brings his own personality to it.  The beat has a real smooth touch, this time by Specifik, with Djar One (they've switched places) slicing in a collection of choice vocal samples for the chorus.  In fact, it's all Specifik and Djar One for the rest of side A (apart from Smoove's remix of "Labels," but even that was originally produced by Djar with cuts by Spec).  "Everyday Hustle" has an especially catchy rolling piano loop and twangy funk guitar sample on the hook with another upbeat track and plenty of cuts as D talks about maintaining positivity in his daily struggles ("whatever the challenge ain't really a trouble; pick myself; it's an everyday hustle").  It reminds me of the best tracks by artists like Kwamé or Groove B Chill in the early 90s.

Finally, "Ocean's Breeze" is pure mood with some crazy flute and a brilliant horn sample on the hook, plus of course more cuts, but they're more subtly used on this track than the others, because they know they've already got such killer instrumental samples.  There's even this crazy little laserblast sound effect they quietly mix in that makes everything feel so full and alive.  This song brings to mind the vibes Brandon B was able to capture on his solo albums.  In fact, I could totally see Brandon and D working together someday.  The energy on this whole side is off the hook.

Not that the fun's all over when we flip this over.  Well, maybe in a way it is, but I like dark stuff in my music.  Let's have some real talk.  To that end, first up we have "Flames" featuring and produced by Farma G, who's one half of Task Force and a prolific solo producer.  Right from the opening notes, it's slower and heavy, could be the soundtrack to the tragic scene in a Mad Max movie with Whirlwind D starting off saying, "I see pictures of places and people dying in flames."  This isn't science fiction, though, it's about contemporary wartime, displaced refugees and the world being "on fire and we're all shrouded in flames" right now.  Specifik's cutting in the sounds of screams and news reports for the otherwise wordless chorus.

"False Prophet," with its extended bass notes feels like a Paris track.  Jazz T cutting in lines from K-Solo and Lone Catalysts adds some welcome glimmers of light to the grim tones.  "The Deep" starts with Sista Souljah's famous "we are at war!" line.  It's actually a posse cut, with Junior Disprol, B-Line labelmate Chrome and Specifik each taking turns on the mic.  But that doesn't make things any less political; each MC takes the opportunity to slam the far right and authoritarian ruling classes: "a true king in my own world, never cared about the royals.  Which god can save the queen?  The answer's obviously none of them."  "Sweat," with beats and cuts by Mr. Fantastic, picks up the pace again, which is appropriate as it's a first person narrative about pushing your physical limits in a marathon, "pressure pushes hard on my muscles and limbs, every step cries hard, washes away the sin."  That is exactly why I never exercise.

We conclude with "The Music (Dirty Mix)."  As far as I know there's never been a previous mix of "The Music" released anywhere, but maybe we should stay tuned for a Clean Mix on a future project.  Anyway, when I first heard it, I was driving myself nuts asking myself where do I recognize that from.  The next day it hit me: he's clearly paying homage to the underrated Just-Ice/ Grandmaster Flash collaboration of the same name.  I thought I was the only person who Stan'd that song!  Anyway, lyrically, it seems more like it belongs on the Grey Matter side, but it's got a deep, oddly chopped horn loop and deep beats by Simon S that sonically fit on this side.  Plus it kind of bridges the gap if you wanted to flip this album back to side A and start all over right away, which is something I've found myself doing several times already.

So Libra is a single LP in a full-color picture cover, co-released by B-Line and Hip Hop Be Bop.  It comes out on September 1st, which is just two weeks from now, so get ready.  It could be a long wait 'till the next one.

The Duology of Whirlwind D

You might be surprised when "Lucky Number" kicks off with a slow, somber instrumental.  The latest single from Whirlwind D is really nothing like "The Magic Number," the happy jingle this title evokes about the number 3 because the crew had three MCs.  This song seems more to be about an unlucky number and the misfortunate who suffer under incredible odds.  "It's that one in a million moment in a billion, where trillions of voices are all silenced in an instant.  ...Lucky number is a death like a bullet to the head."  The back cover reveals that this single is dedicated to Del Soulcondor [slight correction: just the B-side is dedicated to Del], a Scottish artist who we tragically lost after a long bout with cancer.  But I wouldn't say it's a song about him or his troubles specifically; it feels more like a bleak commentary on the state of humanity as a whole.  "Love for mother nature, but for humans: an erasure. Death and destruction, malfunction is our nature."

The cover also describes this song as featuring Lewis Parker and Specifik, but that could be a little misleading.  D is the only guy rapping on this song; Parker produced it (and is possibly doing the hook?) and Specifik provides the cuts.  Said hook is a riff on BDP's "Stop the Violence," which could feel like it's operating at cross-purposes with the tone of the song.  But it's tastefully downplayed in a nice bit of subtly, keeping the emphasis on D's dark imagery.  Specifik's cuts don't come in until the end of the song, but when they do, they serve as an expert denouement, breathing extra life into the music, which feels like a suspense scene in a blaxploitation flick... real Let the Rhythm Hit 'Em vibes.

The B-side (or "AA-side" as they label it), on the other hand, is a real catchy, upbeat track with a beautiful funk/ soul hook and a bouncy bassline.  There's even more of a 70s energy to this beat.  And D flexes a more playful delivery, like he couldn't hit us with the nihilism of "Lucky Number" without also leaving us the antidote.  "Throw back your troubles, emerge from the rubble, beat back the monster, rise from the struggle."  Producer Smoove's rich use of samples makes this one feel even richer instrumentally, but I prefer D's lyrics and concepts on the A-side.  There's something a little perfunctory about the positive, self-help messaging here, though it would be tough for any song to follow the creative heights D already reached with the poetic imagery on the flip.  And I really like the yin and yang double-header of this single as a whole.

"Lucky Number" arrives this summer from... no, not B-Line Recordings but AE Productions.  Though that's not totally out of left field; he's done one release with them before.  It's a 7" single and comes in an impressive, full color picture cover.  It's already sold out on Whirlwind D's bandcamp, but don't panic; it's still available at Juno, HipHopBeBop and a number of other online retailers.

Whirlwind D and the Music That Binds Us

Just like I couldn't let the year end without one more Father MC review, Whirlwind D couldn't let it end without lacing us with a new record.  He's consistently put out at least one new vinyl release every year for the past decade, and not even these crazy hard times have been able to stop him.  So let's dig in.

Produced by Djar One, "Without Music" has a lush, funk/soul vibe with packed samples, replete with (non-verbal) looped, female vocals and big horns.  It has an addictive, uplifting vibe - it's the kind of instrumental you want to put on repeat as soon as it's over, like Large Professor's "Key To the City."  It makes perfect sense that this is the backing for a literal ode to music itself.  "Without Music," is all about what music has meant to them and their gratitude for never having to have gone through life without it.  I say "them" because the D's joined by guest MC Micall Parknsun, who lays it all out in the end, "this is all I got to give. Struggling to pay this rent, 'cause we don’t even own our shit.  But this made it all make sense.  And even when I’m deep in debt, and we ain’t even broke even yet, you were always there, when nobody even cared.  You’re the reason that brought me here, 'cause you’re always near.  Every bar is so sincere, so every word in the verse must be crystal clear.  Every line in between each kick and snare.  I’m defining my life what I hold so dear."  But it's still D who lands the deepest hits, "when I hit my lows and my first family broke, bars and beats tapes my heart and mind spoke solace in a verse, unrehearsed, just a burst... In the good times too, not just when I’m blue, rhymes add color and definition to every hue; paint pictures of my past in the ether that will last: reminders of the journey and the places that I’ve passed."

For the B-side we have "Labels," the Smoove Mix 7" Edit.  Originally produced by Djar One, you may recall "Labels" was originally the lead track on D's 2018 Beats, Bits and Bobs EP, and it was also featured on last year's Original Breaks To B-Lines compilation.  This one's produced by a UK producer named Smoove a.k.a. Ultragroove, who goes way back (though I think this is his first collaboration with D): he produced the UK remix of Digital Underground's "No Nose Job."  And that explains the title, because when I first saw "Smoove Mix," I was fully expecting some low key, Smooth Ice, Grand Daddy IU, "How Kool Can One Black Man Be" type of vibe, and this mix is definitely not that.

It's actually another lavish, 70's funk-soul explosion, this time with more of a faster disco vibe, with even more big horns (there's a great, subtle line he only slips in near the end of the second and third verse) and major replayability.  Now, I've already talked about the lyrics and concept in my Bits and Bobs video, so this is an excellent opportunity to talk about scratching.  Anyone familiar with Whirlwind D knows his records are some of the most reliable sources of killer scratch hooks; he always works with amazing DJs.  On this record, it's Specifik on both the A and B sides.  And like I'm sure most of you guys reading this feel, I love scratching.  I love complicated DMC Championship routines, and I love super basic, slow "zugga zugga" rubs on early 80s records.  This is Hip-Hop, I want it all!  A rap song with scratches is automatically one letter grade higher than one without.

But what deserves extra credit here is how well it fits into the music, like Specifik was somehow part of the bands they've sampled back in the 70s.  And that's even more impressive with "Labels," since these are the same scratches as the original mix which had a very different instrumental bed.  Like, if you think of some classic 90s DJ Premier scratch hooks, they always sound brilliant, but they also sound like him doing his cuts on top of a beat.  What's extra dope here is how it all feels of one, pre-designed piece.  I guess part of that is just down to the style of music they're sampling, which is busier, giving the turntablist something to repeatedly disappear into and then dynamically pop out of.  But I also the producers had to have known what they were doing.  There's a part in "Without Music," where they drop the bass out as D's second verse starts, and it sounds like Specifik's last scratch cues it.  Maybe it's just fortunate happenstance, but either way, the result is a pair of instrumentals you're going to love.  I actually prefer this "Labels" to the original, which is saying something, as it was one of D's stand-out tracks the first time around.

So this is a 7", specifically a small hole 45.  It comes in a stylish full picture cover, and a plain white inner sleeve that I only mention because a lot of 7"s seem to skimp out on those.  As of this writing, it's already sold out on D's bandcamp; but it's available at most of the usual online retailers like Juno, HipHopBeBop and RareKind, so there's still time to join the celebration.

Juice Crew All Stars Was My Boys

Here's an interesting one!  It's a "Juice Crew Law" remake by the All Stars, but not the Juice Crew All Stars you'd think.  There's a new Juice Crew in town, yes even newer than Juice Crew 3rd Millennium: a Shanghai-based B-boy crew.  And this is a record by DJ DSK, a British expatriate now based in China who's assembled a pro tem super-group of English Hip-Hop artists collectively known as the All Stars, released as a tribute to the crew.  The All Stars and "Juice Crew Law" are obviously throwback references made to the original crew in fun, but the connection runs deeper than some punny names.

Musically at least, this is indeed a remake of MC Shan's original "Juice Crew Law," with the All Stars rocking Marley's original instrumental.  Well, at least they use it as the base.  DSK mixes in additional musical samples, and the All Stars layer a wealth of turntablism over the top.  Not only are there cuts in the hook like you'd expect, but the segment that would traditionally be the third verse is dedicated to just a killer stuttering slaughter of The Choice MCs' "Beat Of the Street." Yep, the All Stars aren't all MCs.  Specifically, they're MCs Chrome and Whirlwind D (who I think I might've mentioned here once or twice before) and DJ/ producers Specifik and Mr. Wonderful.  I'm not 100% certain, but from what I've been able to glean, I believe DSK produced the track and Specifik and Wonderful do all the scratches. 

This is a pretty fun update on a classic.  You might ask who needs a new "Juice Crew Law" when we have the original, a question that usually brings most remakes to their knees.  Even assuming the remake's good, why listen to it when you can listen to the classic, right?  Well, this one adds a lot, with additional instrumentation flushing it out and the cuts are killer.  Not that the original didn't have any good ones, especially the 12" version.  But there's definitely enough fresh elements in the mix to make you yearn to relisten to the this version specifically.

Plus, let's be honest, Shan wasn't above the occasional corny line ("my rhymes say more than a tasket, a tisket. Too clever, yo, I never go out like a biscuit." "The same theory if the words don't fit; got the nerve to get on stage and wanna sing that ____? Wait a minute, wait just a second. You know that's not my style.  'Sorry, just checking!'").  While rhymes praising break-dancers by their nature don't hit as hard as aggressive battle rhymes directed towards Krs-One, I'm happy to report the verses are 100% free of cringe moments.  And I don't know about you, but while I have been able to overlook some infamous examples in my childhood favorites, that's a pretty crucial standard to meet for my listening enjoyment of any song at any time.

Still, if all of this isn't enough to compel you to seek out a copy for your own yet, let me tell you about the B-side.  DSK has another song for us, "Check Out the Technique" featuring Akil of Jurassic 5 (making this a tri-continental effort) and London MC Mystro (here billed as Mysdiggi).  This has similar themes, but is more of a general tribute to Hip-Hop, rather than any specific crew.  As Akil details, "no matter the element, the culture pushed excellence, dedicated freshness, hard work and messages.  We pushed the limit: go all out to win it.  From start to finish, we get in it, we created our own lane of genre, built it up proper, B-boys and poppers, DJs and lockers, MCs and graf writers, Soulsonic fire fighters; we loved it, we lived it, built it like an empire."  This time I assume the cuts - which tend more towards rhythm scratches and some Premier-like juggling of a line from Jay-Z's "Threat" on the hook - are by DSK himself.  This track's a little slower and funkier; a cool head nodder though lacking the dynamic energy of the A-side. 

"Juice Crew Law" is a 7" record that plays at 33 and comes in a plain black sleeve.  It's released by DNA Records, DSK's own label, not to be confused with the famous NY label.  The A-side also names B-Line Recordings, Specifik's label, so I gather this is a joint release to some degree.  I'm not sure if this is limited to a specific pressing amount (they don't say as much).  It's already sold out from DSK's bandcamp even though it just dropped like two weeks ago, but a lot of the usual online record shops seem to still have it, at least as of this writing.

Unlocking the Whirlwind Demos

I've been covering the vinyl releases of Whilrwind D for a long time on this site; but this is something different.  His latest LP, Original Breaks To B-Lines, is a collection of rare, mostly unreleased tracks, remixes and demos, spanning the run of his solo career, from 1990 to 2019.  So some of these tracks are repeats, but many will be new to us, even if they're not brand new recordings, or at least appearing in new versions.  I imagine keeping track of what's new could be pretty overwhelming if you're not a seriously dedicated fan, so this is absolutely the kind of album I'll have to break down track by track... although I am happy to report that he writes some personal notes about each song on the back cover, so listeners and follow the narrative.  And for the record, the sequence is largely, but not completely, chronological, taking us essentially on the journey of his career.

1) 'How I Get Ill' Live at the 02 Bournemouth supporting P.E. - We start out with a live recording, the only one on this album.  It's pretty short, and though it does give us a full verse over a nice head-nodding beat, it acts more as an intro to show what the kind of artist he is and what he's stayed up to even when he wasn't putting out records than a song to collect for its own sake.

2) Battle Tipped Rhyme - long unfinished Solid N Mind (his collaborative effort with producer Johnny F) track that was eventually completed and released on 12" in 2010, which I've detailed here.

3) Centre Stage - Another Solid N Mind track, made for 1991, but not released until 2009 as a Liberty Grooves 12", which I covered here.

4) Butta Funk (Pt. 2) Demo - This is an essentially unreleased track, only put out on an incredibly rare cassette from 1997 entitled Son's Rise.  According to D, there was only "around 50" made, so I think it's safe to say you've never heard this before even though, technically, those tapes are out there.  This one finds him kicking flirtatious love raps and a more light-hearted flow over EPMD's "It's My Thing" instrumental.  And no, I don't know where or what Pt. 1 is.

5) Son's Rise Demo - Another one from Son's Rise (obviously), although apparently this is an "alternative edit," so even if you are one of the fifty people with the tape, you haven't heard this version.  This one sounds a bit muddy, but that might just be the low mix, as this features super deep, Cheetah Records-level bass notes rolling over a bucolic strings sample and some abrasive cuts at the end.  His style here sounds surprisingly Slick Rick-influenced, though not his lyrics: "Sun arrives early in the morning; I'm mourning over time and a new day is dawning.  Words yawning, tired of tireless texts, others always fighting and knowing what's best.  But what's best is a matter of judgement, different assumptions and life's great sentiments.  And then feelings are borne from these; sharks infest murky waters, and seized, diseased, bereaved families lose belief."  This was probably a fairly experimental excursion for him, and it turned out pretty cool.

6) Brainwash Demo - Now we're back to the Whirlwind D we know and love with an early, never before released SnM track from 1990 with some slightly pitched up vocals and a wailing "UFO" sample.  The liner notes say the production was "never really finished," so I don't know if that means this is a reconstruction, or if it's missing some elements and tweaks that were meant to be implemented before it was finalized.  But hey, either way, no complaints here.  This is the kind of candy we rap kids clamor.

7) Carpathian Dreams Demo - This is a slower, more thoughtful track with some heavy bass (though not quite at "Son's Rise" levels), lyrics laden with vivid imagery and some subtle instrumental recurrences of "It's My Thing."  This definitely feels more clean and polished following the previous songs.  And that's because this demo is much newer, an unreleased originally intended for his 2012 WD40 EP, which I wrote about here.  We're definitely shifting, rather dramatically, from era 1 to era 2 here, although we discover a foundational consistency throughout this album, too, which is impressive since it covers nearly thirty years and some deliberate shifts in style.

8) Stronger - This is an album track from his 2014 Nomansland LP, which I covered here, itself an update of the song "Strong" from WD40.

9) Labels - Comes from 2018's Beats, Bits & Bobs EP, which I made a video about here.

10) B-Line Business Remix - This is an unheard remix of the song originally released as a Tru-Tone 7" single (which I covered here), that was also included on the 2016 album Other Side (which I covered here).  Again produced by Specifik, it features the same strumming bassline, lyrics and cuts, but essentially lays some extra instrumentation on top of things, making it both busier (as you'd expect) and hyper (which you mightn't expect).  You can permanently replace the original with this superior version as far as I'm concerned.

11) Doin' It Again - This is a new remix of his 2019 7", "Doin' It," that I wrote about here.  This time Beattrix is reworking Djar One's work, keeping some of the fundamental elements, but slowing things slightly and making it a little funkier.  "Again"'s production fits the vocals a little more naturally and is probably the better version of the song in a vacuum, but the original has a more hectic energy that's still fun to go back to.

12) Written In Pen - This is an unreleased track from 2017, produced by Specifik.  It's another nostalgic homage to his recording history with his label ("B-Line history written in pen"), which feels like we've heard from him several times already.  But the rhythm rides nice and tight and Jabba the Kut creates a really fresh hook.

13) Creature - But if you want something more interesting lyrically, you only have to wait for the next number, another unreleased song, this one written as recently 2019.  Produced by Crease, this has a slow and murky beat as D literally takes on the persona of some kind of creepy swamp monster.  But we slowly begin to realize it's actually some kind of anthropomorphic metaphor for the rise of the alt right: "rising from the deep like a beast no longer asleep, scales and fish tails mark the menace from the keep.  Rising, thrashing, churning, churning.  A creature from the deep, that's what we're all observing.  The horror of the scene is complete capitulation, poshest ones' greed now scorched upon the nation.  Jingoistic, nationalistic attitudes reign.  Every politician has to fall in line and do the same."  I'd call the song great fun except the subject matter is a grim reality.

14) Falling Down - Finally, we have a song taken from his 2017 EP Falling, that I already covered here. A bit anticlimactic, but it is some really great, moody production and a grim exploration of modern times stood out as a highlight when it was first released.

So that's eight new songs or remixes (if you count "Butta Funk") and just five repeats.  Those five make this album a stronger, "greatest hits"-like listening experience, but fans who've been copping his releases all along would probably have preferred five more demos.  Still, if you're a big enough fan to have all those old, limited edition singles, then the unreleased material will make this a must-have anyway.

Original Breaks To B-Lines is a single LP on the German Britcore Rawmance label, limited to 200 copies.  100 are pressed on white (white) vinyl, the other on standard black; and both come in a stylish black & white picture cover.  It also comes with an insert, illustrating his entire discography and a Britcore Rawmance banner ad illustrating their own.  The sound quality is pretty bold and clean.  Only the demos are a little rough.  "Butta Funk" sounds like it's from a rough source and has a good deal of background noise, and even then, the vocals sound pretty clear on top of it.  "Brainwash" has some definite hiss behind it, but not enough to sap any of its energy.  Suffice to say, this is a high quality pressing of some high quality music.

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

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

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

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

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

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

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

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

Doin' It Well

It's been seven or eight months since we've heard from Whirlwind D, but he's back in 2019 with a new record, and like he tells us in his very first line, he's "still doin' it."  This is a single, released on 7" by his regular label, B-Line Recordings, and I think you could say it's a bit of a personal anthem.  The title is "Doin' It," but "Still Doin' It" might've been more fitting since it seems to specifically be about keeping thee enthusiasm and passion for the music over the years and challenges, "my knees getting battered, hairs out my nose and my hearing's all shattered, six pack's gone and complexion's all tattered, but the funk's still fresh and you have to admit Specifik, Djar One and D, we're still doin' it!"

If you're at all familiar with D, or my coverage of him, Specifik should be a very familiar name to you by now.  He's been a regular producer and DJ on D's projects who consistently does good work.  In fact, he runs B-Line Recordings.  But on this track, he's just doing the (essential) cuts.  The producer is that other guy, Djar One.  But you should recognize him, too.  He produced the lead track off of D's last EP, "Labels" (which Specifik also did the cuts on).   This is a much higher energy, hyper track, but it's just as much of a killer beat, and the cuts are a big part of its drive.  It's also got a sweet little breakdown; the perfect kind of instrumental for an anthem; you can definitely see why this song was picked to be a single.  Though you can see from just the few lyrics I cited, it runs a little deeper and more personal than just your average "I love Hip-Hop" theme.

And of course there's a B-side.  This one's also by Djar One and Specifik, but this time they switch roles, so Specifik's the producer and Djar One does the cuts.  And as you'd probably guess, this one's a bit slower.  It's called "Sometimes" and tackles online issues.  Now I have to say, usually I'm fairly put off by internet-themed rap songs, because it typically feels like a cheap novelty.  Like "hey, I made the first song about reddit!  The rhymes you wrote get a downvote while your mama gives me Karma."  Or worse, it'll be some kind of corny nerdcore flow over a Halo sample.  But this is a serious discussion:

"Centralized views peddlin' fake news
Shuttin' down all arguments by shoutin' abuse.
Confused by the profuse researchers who reduce
the internet searches to hunches and views.
The age of information, later greater integration,
Proliferation nation right back to segregation.
When will it stop?  When will we see the truth?
Am I just as bad, falling victim to abuse?
...
So what's the conclusion in all this confusion?
Intrusion of illusion leaves seclusion and delusion.
Excusin' the fact that I'm hit with so many views,
Where should I go for my daily fix of news?
I just want the truth, a healthy dose of debate.
Analysis paralysis some people who equate;
Freedom is a right to speak when not bullied.
Acceptin' the fact that I might never not fully
Understand other thoughts, whether bought or sold,
Despite middle-aged a fixed mindset folds.
Scold myself hard for not reading all the cards
As they fall to the table leaving other suits barred."

I like the way he eases in and out of dense, almost "New Rap Language" wordplay and more earnest, direct communication with the listener.  It syncs up perfectly with the funkier, but still rather bouncy track.  It's serious subject matter, but lightened up by the hook, which is an ever-changing collection of rubbed in vocal samples of classic rap lines containing the word "sometimes."  You could just as easily ignore the message and just play the game of trying to pick them all out.  Depending on your mood, you can engage with the song in completely different ways.

Anyway, as you can see above, this comes in a full color picture (and sticker) cover.  Again it's a 7".  I'm not sure if this single is leading up to another album per se (nothing's written on the back cover like "from the forthcoming..."), but knowing Whirlwind D, even if it is, at least one of the tracks here will remain an exclusive to this particular record.  So don't let this one pass you by.

Labels and Other Bits and Bobs

(Ready for something new? Check out the latest "EP" by Whirlwind D. Youtube version is here. And the "Labels" music video mentioned in my vid is here.)

How Does Hip-Hop Grow Up? Falling

In the past, I've referred to Whirlwind D's particular take on Hip-Hop as adult, mature, "grown man rap," etc.  But what does that really mean?  Traditionalism?  Some balding rapper talking about break dancing, or beats that sound like they were made in the 90s (for some reason, Hip-Hop producers are scared to throwback farther than that)?  Just anything by anybody who still picks up a mic after 40?  I don't know about all that...  Like, I don't care how old Ice-T gets; I think we can all agree that this isn't what we mean.  But I think we can find it here on Falling, Whirlwind's latest vinyl release.

I haven't really gone on record saying this yet, but I've been pretty disappointed by the lack of political commentary in our Hip-Hop lately.  Now wait before you start posting contemporary rap songs with some political content (actually, don't wait... I'd love to get a little list/ discussion going of some good 2017 political Hip-Hop going on in the comments and get put onto something dope), I'm not saying there hasn't been any.  Of course I've heard "FDT" and that Joey Badass song, and guys like Scarface have done material commenting on Ferguson.  Sole and DJ Pain 1 have been pumping it out.  And sure there's been plenty of social commentary stuff (i.e. everything from "Swimming Pools" to "1-800-273-8255," and material straddling the fence like "What If It Was Me"), but that's not really the same thing.  It's great and important, but giving us more of one doesn't add to how much we have of the other.  So coming from the age of Public Enemy, "Bush Killa," Dead Prez, "the black CNN" and everybody being influenced by the Five Percenters, I feel a little let down by the current string.  Back in the 80s, everybody from Melle Mel to Biz Markie had Reagan's name in their mouths, but now we've got kind of the biggest red flag PotUS yet, and yet you'd never know it listening to any of the Hip-Hop hits we've had since the inauguration.

Anyway, I say all of that just to say that tackling more important, worldly topics like the politics that are pulling everybody's communities apart might be a key factor in what defines "adult" Hip-Hop moving forward.  And that's just one of the areas D jumps into on his new, 3-song EP*.  The song's called "Minutes and Hours" (though, how/ why it's not titled "Stop Look and Listen" is beyond me), and being from the UK, the content's not as Trump/ America-centric as you might expect - be prepared for references to Parliament rather than Congress - but it's no less relatable for being a global take on the rise of modern fascism: "fires lickin' Great Britain/ livin' vision of indecision/ slowly crept up by a smidgen/ inchin'/ the hand draws closer... Doomsday is tickin'/ while most people are just flickin'/ pictures on their phones/ oblivious to their position."

"Falling Down" shifts from the political to the personal, but manages to be even darker and more demoralizing, poetically illustrating what it's like to have your life fall apart.  It's got a fantastic hook, just a vocal sample of a woman saying, "I don't think anybody cares what happens to you. Drop dead in the street, nobody helps you." It reminds me of the kind of nihilistic despair those Sacred Hoop guys would explore, albeit without the punk, ironic celebration.  This is a bit more on the nose gloomy.

And speaking of that, the final song is about the oft-ignored modern plight of male depression and suicide.  Again, I started questioning, how many Hip-Hop artists tackle the topic of suicide, especially when you rule out the irresponsible stuff like Gravediggaz and Esham.  "Nothing's Better" treats it as a tragic mental illness.  It also features the sole guest vocalist, B-Side labelmate Uncle Mic Nitro, whose work I'm honestly not very familiar with; but he does a great job bolstering D's voice here.

The production duties are split across D's usual and always welcome collaborators Specifik, Mr. Fantastic and a newer guy named Crease.  But they manage to come up with a very unified sound.  Definitely dark, of course, but also generating this kind of rolling rhythm that isn't immediately catchy like a good ol' Phase & Rhythm instrumental or something (which we know guys like Mr. Fantastic are fully capable of), but a feeling that pulls you back for repeated listens.  And when you return, you'll find yourself increasingly appreciate the subtle intricacies.  Plus, there's the one thing you can always count on in a Whirlwind D project, tons of great, expert scratching.  Four different DJs are brought in for just three songs: Sir Beans OBE, Jabbathakut, DJ Tones and Miracle, and they bring so much life and energy that it can never descend into simple gloom or melancholy.

Because I could see this release being so serious that it wards people off for simply being depressive, but it didn't have that effect on me at all.  I hope D continues moving in this direction.  I love it when shit gets real.  And, as always with Whirlwind D, this is a very attractive vinyl release.  Great-sounding wax in the stylish picture cover above, including a nice press sheet with notes on each song by D himself.  All three instrumentals are also included, as well as "selected acapellas," which basically comes out to one verse from each song.  And I think, if you haven't been following Whirlwind D, or he's been on your radar but you've been on the fence about actually biting the bullet and ordering one of his records, this one would make for a really good starting place.  I think we might be leading into his best album yet.


*They call it an EP; but I think we can all agree that three songs = 12" single.  Would you call Express Yourself an EP just because it had "Straight Outta Compton" and "A Bitch Iz a Bitch" on it?  No, right?  100 Miles and Running is an EP, Straight Outta Compton is an LP, and Express Yourself was as a 12" single.  I think you've got to have at least, like, five songs to qualify as an EP.  Maybe four if one is an eleven-minute "A Day Like Any Other" monster jam.  But these are just three perfectly regular length songs.  And I know it's the peak of nerdiness to rant about categorization, but come on.  There's nothing wrong with 12" singles; just admit that this is a 12" single.  😜

The Other Side of Whirlwind D

Whirlwind D is back with, actually, only his second album. He's been steadily releasing vinyl singles and building a pretty full catalog, especially if you factor in the Solid 'N' Mind 12"s, it feels like this must be around his fourth album. But no, this is the sophomore LP. And I think we find him coming into a more confident veteran sensibility. There's more of a feeling that instead of just doing the best hip-hop that he can and throwing it together to make an album (which is in itself a pretty great way to make a record, mind you), he's got a more refined cohesion to the material. There's a lot of variety on this album, which I'll certainly get into, but it feels more like everything was carefully selected and designed to form an album with a purposeful mood, rather than just being "here's what I got!"

The elements I always look for on any of D's projects are happily here again. First and foremost, that means some really slick scratching my some clearly skilled DJs. Basically every song has some really hot scratches that could almost carry the beats by themselves on an purely instrumental album. Sir Beans OBE, Jabba the Kut, Mr. Fantastic, Miracle, and DJ Tones all put in great work on this LP. Seriously, not a single song doesn't have a turntablist cut loose on it; I love it.

Another element you can always count on D for is some solid production. It's all top quality craftsmanship here. Anytime I see Mr. Fantastic's name in the liner notes, I know not to worry. And he pops up a lot here. There's not a lot of guest MCs, though. D takes most of that weight on his own shoulders. He has one duet with Oxygen of Sputnik Brown, and he's got a posse cut with his crew. But most of Other Side consists of more personal, conceptual material with D on his own, and I raises to that level with more natural, nuanced rhymes and definitely an uptick in creative imagery from his last album.

Like, the title cut has a really dark, slow beat. It's by Specifik, but it's almost feels like one of those crazy tracks Vooodu would make for Ras Kass when he wanted to get really serious. It's about the ills of the world as viewed through the lens of our looming mortality. So yeah, it's painting all these dark pictures, but on the other hand it's kind of a traditional message joint. In fact, Whirlwind D is now officially the first rapper I've heard use the word "transphobic" in a song.

Then "Hate Makes Hate" puts a cool aggressive spin on message songs. Not quite 2 Black 2 Strong, but getting there.  heh  Don't get the wrong idea, though. It's not a big preachy album; Other Side is full of all kinds of stuff. D pairs up with a live guitarist, both going hard to create a rock/rap song a la the 80s' "The D.O.C. and the Doctor," "S&M" or "Beautiful But Deadly."  It's called "7 Eyed Monster," which is a clear metaphor for anger, but going hard about rage is pretty much the ideal subject for this kinda song. It's cool even that he tackled this type of song, plus the cuts at the end amp the tone up perfectly; but I'm glad he only did one like this. These rock 'n' rap songs are fun once in a while, but you wouldn't want a whole album of "Rock De La Stet"s. One and done, get back to the real hip-hop instrumentals. Actually, there is one more song with that guitarist, but it's got a totally different, non-rock vibe.

You've also got a more traditional hip-hop-referencing track called "Pioneers," and a trippy one called "Avenger of Death." Conceptually, I can't even figure out who the titular avenger is supposed to be, but it's really about the grim, nighttime crime scene he describes anyway. And I like how D opens with that kind of classical hip-hop clever wordplay into his lyrics, but not for a punchline fueled battle rap. Instead he's using it for this moody crime piece. More like this please! But I think my favorite cut might be just the a light-hearted one he saves for the end. A few rappers have done that turn-your-closing-shout-outs-into-an-actual-rap-song before, but have any ever made it a posse cut? The mic is passed over an upbeat jazzy track with a deep groovy bassline, horn stabs and, of course, finishing with more tight scratching.

As you can see above, Other Side comes in an attractive color picture cover and also includes one of those old school inserts, like you used to see a lot in the day, with credits and thanks on the other reverse. This album includes his last single, "B-Line Business," but not the B-side, "Battle Tip 2015," leaving that exclusive to the 7". And everything else here is all new. If you haven't heard any of his material yet, I'm not sure I'd start out with this album... maybe the WD40 EP would be a better introduction. And then come back to this album later to hear the interesting direction he's taken since then. But if you've been following him all along, you're definitely going to be pleased and will want to jump on this right away.

Back On the Battle Tip

Whirlwind D is back once again, with a new vinyl single (his last one was just a few months ago) of contemporary Classic Hip-Hop. And yes, once again he's got some fantastic scratching and strong production along with him. It's another 7", but it comes in a high quality picture cover; and it's always great to see the b-boy vinyl game marching on.

This one's called "B-Line Business," referring to his label, B-Line Records, even though Tru-Tone Records is the name printed in giant text on the actual record. It's pretty much an anthem for the roster, where everybody's name-checked and mission statements are codified. It's the style that really brings you in, though: quick and high energy with tough cracking beats and rhymes mixed with a instrumental produced by Specifik. Specifik's been making records in the UK for a while now, but you guys will probably remember him mostly from having contributed to Whirlwind D's last couple records. It's got a bumping, head-nodding bassline; but once again it's the ill, dynamic turntable choruses that really steal the show, this time vigorously provided by JabbaThaKut, who uses at least a dozen different records for a single hook. Those scratch breaks just make you want to listen to the song over and over again, but it wouldn't work if all the elements weren't coming together and firing on all cylinders as they are here.

The B-side is "Battle Tip 2015," a follow-up to his killer Solid 'N' Mind single that was pretty much lost in 1991 and remastered and re-released in 2010. When I first heard it, I assumed it was a sequel song, with with D spitting similarly themed rhymes over a new but reminiscent track. But as it played on, some of the more creative, colorful imagery started sounding awfully familiar, and I realized it's all the same lyrics as the original. So this is basically just a remix, produced by Waxer this time instead of Johnny F (interestingly, the back cover specifically adds "based on an original Liberty Grooves production" to his production credit).

I feel a bit funny dismissing it as "just a remix," though; 'cause it's pretty great. It naturally retains the rapid-fire drum style of the original, since that's key to the song; but it's otherwise quite different, giving it a dark and freshly atmospheric tone with dark, ominous bass notes straight out of a horror movie. And Waxer's name is dubbed in over Johnny's name during the line that originally went, "Johnny F cuts with blaze of fury," but not, curiously, the line "Johnny F drops an original break." I wonder what the motivation was to redo this in 2015? On the one hand, I feel like the original knocks just a little bit harder, and if I had to choose which one to take on the lifeboat with me, that's the one I'd choose. But on the other hand, this is really fresh. Where the original was comprised of samples we'd heard on other rap classics already, this is unique and unfamiliar, made with sounds I've never heard before. After his impressive work on Whirlwind's previous projects, I'm always up for another Waxer original, and when it's for a fast, hardcore rap track like this, all's the better. But why "Battle Tip" instead of an all new song? Oh well, both versions are different and good enough to be worth owning anyway, and since Whirlwind D's records are always so reasonably priced, there's no reason to make a Sophie's Choice scenario out of it.

Yeah, it's only £6.00, which I guess is still standard for a 7", but it feels like a bargain now that we've gotten used to paying "limited" prices for our wax in recent years. It's a small-hole 45 (the preferable option, unless you're that dude with a jukebox in his man-cave), and like I said it comes in an impressive picture cover. Fans of D's previous work will definitely be pleased with this release, and probably already had it on pre-order since it was first announced on forums anyway. But even if you haven't been following his work, this wouldn't be a bad one to cut your teeth on: maybe not his ultimate masterpiece, but an engaging, slick little record.

A New Release for a New Year

After dropping his debut full-length LP earlier this year, Whirlwind D is back with a brand new single. ...Not from the album, but two new cuts. Still on B-Line Recordings, D has a nice, little 7" single, pressed on white (white) vinyl in a cool picture cover and limited to 250 copies. And there is no mp3 download or streaming alternative this time - it's vinyl or nothin', kids.

The A-side is "Time Waits for No Man," produced by Phil Wilks, the guy who did the "Star" refix on his last album, and features some especially nice cutting Specifik. D always has the best scratching on his records; I love it. The track's a great blend of funky percussion, a cool, headnodder bassline and a fresh 80s-style stuttering guitar riff. And the cuts. They mostly come in for the hook, switching between a few, fun time-related vocal samples; but they really blend into the instrumental nicely. They're an integral part of the track, not just a DJ getting busy over a beat. And lyrically, the song's got an appealing - if a little self-helpy - message with a nice, off-bar rhyme scheme: "Time to/ Make a plan, look around and scan/ Your peers, woman to man, every single damn/ Detail. Never fail to cover your trail/ In search of life's treasures and the holy grail." And it's hard not to notice, again, falling nicely into the "grown man rap" niche.

Comparatively, the B-side, "One, Two," is more of a casual, back-and-forth freestyle song with Rola (of the Numskullz), who also produces. Once again, Specifik provides cuts, this time saved for the end. It's fun, with a funky, slow beat and breezy punchlines (although I'm not sure what it means to "glow like Eddie Deezen?"). But the A-side's the one you're going to latch onto; this one's more like filler. Enjoyable, high quality filler, but still filler.

You can't argue with the price; just £6 direct from B-Line. You can hear sound clips here and judge for yourself. The presentation's great; and it's hard to deny he's got a good sound.

Whirlwind LP

Now on B-Line Recordings (a young but prolific UK label), Solid'N'Mind's Whirlwind D returns with his first, full-length LP, Nomansland. This doesn't carry over any of his earlier singles; it's all new material, except it features a new remix (or "Refix" as it's labeled here) of "Star" off his Bristol Built 12" from last year.

I've talked about D's adult approach to our genre of hip-hop which is sadly typically written off as a genre for and by kids before, and he certainly hasn't put that down. "Old man rap" are literally the first three words we hear on this LP. But fortunately, he stops short of entering Pitman territory (ha ha). In fact, while he certainly has a variety of topics and things to address over the course of this LP, the energy seems more directed at just making a bumping, mass appeal album.

As such, it sort of rises and falls based on its production. Not that it really "falls," mind you. It's lowest points are still good stuff. But the waves of how much it pulls you in are generally based on how funky the beats you are. For example, "How I Get Ill" doesn't really come alive until Beatrix's scratches at the end. In fact, this album is filled with excellent scratching, which really elevate the proceedings. Then you also have "Gain My Perspective," which, lyrically, is one of the message-iest songs on here: "children die each day because of another man's cause."  That kind of song by almost any other artist would be a drag, but it turns out to be a real high point, thanks largely to the super deep bass funk groove sampled and hooked up by Mr. Fantastic.

It's songs like "Run Fast" where D trades verses with Phill Most Chill over a hyper, high energy cut or the aggressively paced posse cut "Stronger" that really grab you. Or "Stories From the Battlefield," where DJ Spatts' production (including some excellent use of "The Bridge") and DJ Tones' cuts fuse perfectly together to create a track so alive it wouldn't even need vocals. I really can't say enough about the turntablism on here. There are multiple DJs contributing to different songs: Theory 77, Sir Beanz OBE, DJ Tones, Specifik, Beatrix, Mr. Fantastic and Miracle; but they all feel perfectly at home. Seriously, if you're into the art of scratching, this album is a must-have. Other recent artists have pulled it off on a track or two, but across a whole album? I think this is the best example of how it should be done that we've had in years.

"Night Time" feels the most like a classic Whirlwind D song, in terms of his previous work. It's got another deep, compelling groove (and yes, more nice scratches); but this time they really feel like they're there in support of D's song-writing, where he narrates nightly visitations of anxieties and regrets like ghosts when he can't sleep. It's evocative and atmospheric, like a more sophisticated "Play This Only At Night."

Oh, and that "Star" refix? It's okay. Produced by someone named Phil Wilks, it's driven by a computery bassline which will have your head-nodding. But it just doesn't feel as organic or... necessary as the original. It's the weakest spot on the album, and I kind of prefer to think of it as just a "bonus track" stuck on at the end. It's not bad, but it does sort of undercut the superior tone of the rest of the LP and probably could've been left off. Save it for an extra 12" B-side for the completionists. It's not that it's bad, but that everything else all along had been better.

And if we were grading records strictly on physical presentation, this would have to be contender for album of the year. It comes in a full color, picture gatefold cover with all the lyrics inside, and includes a glossy insert with more artwork and the man's discography. At £15.99, you're certainly getting the most bang for your buck in terms of the physical product. At a certain point, there must be a lot of pressure on you as an artists just to make music of high enough quality just to live up to the record you're putting it on. You know, for a thin little white label EP in a generic black sleeve, you can feel comfortable spitting any ol' guff over a crappy beat; but when you're putting together a big, fancy gatefold, I know I'd be thinking, damn, am I capable of creating what it takes to live up to this packaging? But fortunately, Whirlwind D is. and he's assembled a line-up of DJs and producers who go above and beyond. This is an album you'll not only appreciate on the first listen, but want to go back and play again and again.

Hip-Hop On a Work Night

When you hear the phrase "grown man rap," you probably think of Jay-Z flexing over how he turned MCing into a corporate gig, Nas dropping sitcom-levels of insight on parenting or Grand Daddy IU lamenting how he pimps fewer hoes now because he gets tired earlier*. But the problem with this stuff is that it's being made by people submerged and isolated so far up celebrity culture that it becomes a stunted conception of adulthood as seen through the warped telescope of perpetual adolescence. Think MTV's The Real World as opposed to the real world. Peter Pan was actually super old, right? But in Never Never Land, he and his friends stayed lost boys forever, and they probably thought "Open Letter" was really mature.

Back to show us how it's really done is WD40 himself, Whirlwind D. His latest record is a straight forward, two-song 12", titled Bristol Built. The opener, "Late Night Rhyme" is simply described as "tales of late night digging," but it's really a slice of life-style manifesto on the genuine experiences of a hip-hop fiend who hasn't forsaken his devotion in favor of the safe R&B or classic rock of your average middle-aged conformist.

"Passing time as I nod my head,
Interrupted by a child who won't go to bed.
Read another story or a glass of milk
Then back to the beat that's smooth as silk.
The needle skips in the run-out groove;
Choose some more wax; my mind's in the mood.
Classic Cold Chillin' is the order of the day,
Shan or Kane, can't decide which way.
...I hear the door slam;
Four hours in the room when I had planned
To spend an evening with my dearest wife."

This song is a very breezy listen. It feels really short even though it's a full three plus minutes, because D's just kicking a non-stop rolling flow over an uptempo but soulful beat by Mr. Fantastic. There's no hook except for the briefest scratch interludes which pay homage to the classic records he references in his verses, a perfect choice.

So as the A-side is a portrait of life as it is for a grown head now, the B-side is a look back at the way we were. "Star" is a cleverly misleading title... clever in that it's actually perfectly straight-forward and descriptive once you realize it doesn't mean what you think it means, plus the way it subverts the meaning of the staple vocal sample, "the star of the show." Anyway, this time around Whilrwind D shares the mic with Truck of Beat Route 38 (Mr. Fantastic's old group), to relive their pasts. They start with their childhoods as they discovered the genre ("BMX bikers, rough rhyme reciters, poppin' really badly, hangin' out with the writers. Biters we were, always buyin' ninja weapons") and ultimately document their origins as MCs.

I don't think WD needed the assistance of a second narrative on this song; he's more than compelling enough on his own. But Truck's voice does sound quite nice when he jumps on the instrumental. So the only real flaw I found is how Sir Beanz OBE just gets on at the end to add some super fresh scratches. Those scratches aren't my complaint, don't get me wrong; they're great. But he should've been on the track all along, for each hook. Because as it is, the hook is kinda flat, repetitive and lacking exactly what he's providing. It's still a very solid song, but that's no small detail.

Another thing we can always rely on WD for is presentation. Bristol Built comes on a high-quality pressing, fully loaded with instrumentals and acapellas in a phat picture cover. Each copy also includes a poster, a sticker and a press sheet. And it's only £8.99, so support. Because it's more responsible to listen to a record about staying up all night playing rap songs than actually doing so when you know you've got to get up for work in the morning.


*But in all seriousness, IU, you're on fire right now and we don't want you to change a thing. Just press it on wax.

UK Hip-Hop for Adults

Previously, I've made a couple of posts about the early 90's UK hip-hop duo Solid 'N' Mind releasing top quality vinyl 12"s of their vaulted material from back in the day. Well SnM's MC, Whirlwind D, is back... this time with new material. But the quality's just as high.

The release is titled WD-40, as it embraces Whirlwind's new role as a representative of grown man rap. In other words, Whirlwind D is turning 40, and it's time to celebrate with a limited release of 300 slabs of wax in a smart picture cover.  WD-40 is a three song 12", plus instrumentals, so let's jump right in.

Regardless of which side you decide to start on, the first thing you'll notice is that the production is really vibrant. Solid 'N' Mind's Johnny F may not be along for this ride, but the relatively inexperienced Waxer (who, appropriately enough, is also turning 40) proves himself more than ready to take the wheel.  Music starts out sounding like a Phillip Glass film score, then explodes as crisp old school break drums drop like dynamite. Instrumental samples are rich and original, sometimes jazzy and sometimes cinematic; and they combine forces with instantly recognizable vocal samples for the choruses (from the opening to "The Adventures of Grandmaster Flash On the Wheels of Steel" to Ferris Bueller), giving us an an epic sense of the old school returning without simply retreading old ground. It's the old school back on new terms.

"32 and Tea" is a nice, concise moment of reflection over some rich piano. But just in case that's too mature for you, "Stronger" takes it back to the rough, fast-paced battle delivery. Lyrically, however, it's an ode to UK hip-hop, including short (non-rhyming) appearances by MC Duke, Original One and Bandog of Killa Instinct. And "Hunter" has a nice PM Dawn vibe going for it.  That might not be a comparison anybody involved would embrace [there's an ocean between us, though, so I can say what I want  haha], but I'm talking about that all too brief period before Prince Be and Minute started lean towards house and pop music (much less that sappy, new age-y R&B stuff further down the road), and they were actually producing some nice, innovative hip-hop that made you chill and think.

Oh, and on "Stronger," they've enlisted a DJ named Theory 77 to provide the needle work. His work is really sharp and  precise; I could've done with a scratch mix, with just him cutting up over the beat. And I want to hear this guy on a lot more records in future.

If you're into UK hip-hop, this has gotta be one of the best new releases in a while. It's a limited, and the pre-orders have shipped, but you can still order copies (and listen to clips) from D's bandcamp page for a reasonable 6.99.  ...That's pounds, though, not dollars.