No Brotherly Love Over Here

I first saw this one in Armand's Records in Philly on cassette around '95 or '96, in their clearance bin. At the time I didn't pick it up, and I've later regretted it and always wondered about it. I was beginning to question if I'd dreamt it (wouldn't be the first dope release that turned out only to exist in my subconscious); but I asked around at the Vinyl Exchange message boards and a couple people knew what I was talking about... turns out it's not even that hard to find; so pick it up if you're interested.

Steady B's "Bogardin'" came out on Feature Recording in 1994... For the record, that would make it post-CEB; and the last record he would release before being convicted of second degree murder and getting life without chance of parole. "Bogardin'" is probably Steady B at his hardcore grittiest. We're actually presented with the remix first, and on this version Steady is joined by Brom of Tainted Mindz (a pretty ill, underground Philly-based crew that released the singles "All In the Flip" and "Killidelphia"), who drops a quick verse. The production is simple but solid: a rumbling bassline, hard drum track, slow horn samples and a scratched in Method Man vocal sample for the hook. Steady drops lyrics like:

"Suckers tryin' to jump in my grave and get comfy;
But I bring the pain like the monthly,
And Bogard like Humphrey.
Lovely,
Suckers need to study,
Observe me;
I keep the tracks dirty,
Filthy;
Comin' out of Philly.
No brotherly love over here;
You get smacked by the nine milly."

Both the lyrics and instrumental are different on the original mix. The beat is switched up, though it's similar in tone... a little simpler without the horns; and the same sample is used for the hook. Unfortunately, only the radio edit is provided for this mix, with the curses covered up by an annoying electronic BRREHHPPP sound.

The B-side (Unfortunately also only presented in Radio Edit form) is a little different. "Let It Go" uses a very familiar loop (heard in Ahmad's "Back In the Day" amongst many others) to slow the pace and let Steady (who's voice still sounds harder than any of his past releases, though... almost like Kool Rock Ski here) introspect and reminisce about coming up in Philly. It's a fitting, albeit often painfully ironic, final song to commemorate a quality career:

"What happened to the good old days?
Can you tell me?
Passed on high school
When I knew they would've failed me.
Gotta blame it on the streets;
That's where they kicked it.
Now I gotta kick it,
'Cause I'm addicted.
...
I give ya what ya want,
'Cause them suckers can't give it.
Comin' with the real,
So don't get it twisted.
Time to throw on the timbos. When I wreck
Flava like this,
All I want is my 'spect.
Steady!
You know me from a long time ago,
When I used to kick the 'Bring the Beat Back'
type of flow.
But now it's '94, and I can still get it up;
And I'm the same nigga
That don't give a fuck.
And I got some brothers that feel the same way;
So you best strap on your vest
When you come to play.
Ok?
Damn!
Who said I wouldn't slam?
It musta been a pig with a heart made of ham.
So all props due to Hip-Hop...
For keepin' me out of the pen
With the use of a pen.
Because sometimes I get evil with my thoughts:
Picturin' me slumpin' judges in court.
I think I better let it go.
(Can't let it go.)
The streets is in my heart
Like a double K.O."

Oh yeah. I was googling around trying to find any info on this record (again, there's essentially none... which is partially why I chose to write about this one), but I did find a tiny scan (from a Japanese online record store) of the original cassingle picture cover I'd seen over 10 years ago:


So, the answer to "where is he now?" is of course an easy one: in a Pennsylvania State correctional institution, and he ain't comin' out (and before anybody says "free Steady B," you might be interested to learn that the Philadelphia police officer who responded to the bank's silent alarm, Lauretha Vaird - a single, African American mother of two children - was the first female Philadelphia Police officer slain in the line of duty). He does still have a myspace page, though, which is maintained by his brother, MB McGlone... there's a great story of how Steady B wrote "I'll Take Your Radio" on there, so definitely have a look.

The Lost King of New York

Once again, I'm making a blog post in conjunction with an all new artist's page I've been working on. There's a lot of white labels and unofficial releases, so now I've made a page dedicated to sorting it out and celebrating his hip-hop career in general... ladies and gentlemen, Pudgee tha Phat Bastard.

After releasing a very underrated LP and 12" single on Giant Records, the label folded and Pudgee was set to come out on Perspective Records. He released a couple of dope singles ("On the Regular," "Money Don't Make Your World Stop," and a white labeled collabo with Biggie Smalls and Lord Tariq entitled, "Think Big"), but then that label folded, too. Bloody bad luck for a talented MC and song-writer.

Looking at the liner notes for "On the Regular," we can see that his second album was originally going to be titled Niguz fa Life, and then looking at the notes for his next single, we can see that proposed title was dropped in favor of King of New York. With three official singles (well, two official, and one more or less), we already have a good taste of that sadly never released album... apparently promo copies do exist, though; because it was reviewed. ...Yes, this also means a few people, at least, have copies! Collectors, tape traders, hip-hop bloggers... your mission is now laid before you. ;)

Anyway, a bunch of white label 12"s followed over the years, and it's unclear A) how much Pudgee had to do with their release and B) whether these are tracks originally intended for King of New York or if they were recorded later. The review I have mentions a few song titles by name: specifically including "Whatever," "For My Daughter," "Hustler's Anthem" and "Tha Hold Up" and neglects to mention any of the big-name guest stars featured on the white labels (including Digable Planets, DMX... look, just go to my new Pudgee page for the full & proper list), so presumably they were recorded later*. We can be sure, at least, that "Angel Dust" was recorded afterward, as it's a tribute to 2Pac, who was shot in September of 2006, and The Source had already reviewed KoNY in May of '06). So, I'm guessing most - probably all - of the white label releases are post-Perspective recordings.

So, that brings me to this particular one. I'm sticking with my notion of writing about records that there's next to no info online about... no blog posts, not on discogs.com, etc. So here we have "Get Over" b/w "Money & Hoes" a white label release from 2000. as you can see from the scan, there's basically no information on the label, so I've no idea who produced either cut.

Despite it's R&Bish nature (relationship rap, girl singing the chorus, the whole nine... die hard Give 'Em the Finger fans might be disappointed, but I won't begrudge the man a little maturity), the A-side wins on this one. His delivery is still quick and tight, the lyrics are smart and engaging:

"I never considered the fact
I was breaking your heart.
Maybe when it happened,
I was high, I won't lie;
But you know I wanted to die
When you started to cry.
But you see,
I had to stop it before it got any deeper.
...
Said you never wanted to see me again;
And even then,
Ten minutes later you was New Edition
Singin' 'Is this the end?
Can we begin again?'
All you wanted was a chance,
Even if we was friends.
And I'm steady tryin' to think
How I'ma make this right;
Tryin' to make it less lonely,
On those endless nights."

The B-side, "Money & Hoes" is a little blander. It's another take on the subject matter of "Money Don't Make Your World Stop," ("Money don't make you; you make it," he says again) but not as good in any respect. It's not bad, mind you - with a downbeat bassline and slow, scratched-in drum track; and I don't think he's ever released a rap that won't make you listen closer to what he's saying - but it's not up to his usual standard; and the chorus is especially limp. It's the kind of song you'll listen to when you first get it, think, "eh, ok," and then file away in your collection and forget about forever.

Now, before I leave you, I've got one more Pudgee/ white label thing to talk to you guys about. An online catalog that seems to be very accurate (checking against their other detailed white label info they provide that I'm personally sure about), lists two other Pudgee white labels I've never seen or otherwise heard of. Specifically:

1) Pudgee "Say Goodbye" b/w "Can't Get Over You" (catalog #TS0009) 1998

2) Pudgee ft. Pretty Boy "Tell Me You Don't Care" (catalog # TS0013) 1999

I'm not sure if these were ever actually put out, and are just now super rare, or if they were intended for release but it never happened. I did ask Pudgee about them... at the time, I wasn't even sure if they were by him or possibly another artist with the same/similar name, like DJ Pudgee P, though the catalog numbers match up with some of his previous white labels. He apparently hadn't heard about these releases until I mentioned them to him, and answered, "Those are my records but i never released them...WEIRD!" So, I don't know if they in fact exist; but I'll definitely be keeping an eye out. And if anyone reading this has them or knows of any avenues one could run these releases down, I (and Pudgee) would really appreciate it. :)

So, where is he now? He does have a myspace page, and he was recently featured on an mp3-only (BOO!! Press it up, guys... at least on CDR) album by Grand Daddy IU called Long Island's Finest. Apparently he's working on a new album for a new label, called Seven and Seven Entertainment. They have a myspace page, too, but at the moment it's still sealed off as "Private" while it's under construction.


*Update 8/11/7: I just dug up the old Rap Pages review of this album (which gave it an 8 out of 10, by the way, and called it, "a solid, original work that's never afraid to go where less royal MCs fear to tread"). They also don't mention any of the white label song titles or guest stars, and do mention the following song titles: "King of New York," "Talk Behind Your Back," "Whatever," "Make Em Die," "Things Ain't Changed," "Hustler's Anthem," "For My Daughter" and "Money Don't Make Your World Stop."

The Land Of the Lost vs. The Land Of the Found and Over-Explored

Now, I'm not one of those horrorcore fanatics. For the most part, it was a brief, misguided fad that's perpetuated today only by obscure and terrible underground rappers from small towns. For most people, it came and went with The Gravediggaz, and while Big L claimed to've started it with his "Devil's Son" 12" in '93, groups like Esham, Insane Poetry and the ICP had been doing it for a fair few years earlier (the Geto Boys dipped their toes in it as well). I don't mourn the loss of The Flatlinerz' crappy LP, and while I'm mildly curious what happened to Half Pit & Half Dead, I'm pretty well fine with the entire subgenre being dead and buried.

But god damn, I miss the Cella Dwellas! And not the f'ing Dwellas, I miss 'em with the Cella.

When these guys first came out, they were just two super-talented, underground MCs who got signed purely off the basis of their ill, creative lyrics and deliveries. Listen to Phantasm get ill on the old Underground Airplay tapes, kicking wild, inventive rhymes on "Cypha Session III" with MCs like Kool Kim and Lord Have Mercy (another lost music career tragedy... but that's a subject for another post) - that's what NY underground hip-hop was all about when it was at its best.

But LOUD Records sat on these guys for a long time (I remember being quite frustrated as a fan at how long it took for a proper release after first hearing their joint), and by the time they came out, the fad was just about deceased, and everybody was embarrassed by the painfully corny stabs less talented artists took at horrorcore. They were changing their style before their first album was even released (which makes one wonder what great, original Cella Dwella recordings there are locked away in a vault somewhere that we'll never hear), getting into gangsta rap with "The Good Dwellas" parts 1 and 2 and even a radio-friendly love rap, called "Perfect Match." Still, these guys were talented, had a good producer (the up and coming Nick Wiz, with some help from Lord Digga and Megahurtz), and songs like "Advance To Boardwalk" let them show off a bit of their creativity, so Realms 'N Reality, when it was finally released, wasn't so bad. But there's really only three tracks on there that represent the great and original contribution the Cella Dwellas had to bring to the rap game: the great "Mystic Freestyle," "Realm 3," which was ok but the beat was kinda boring, and "Land of the Lost," their debut single which was only thrown on the CD version as a "bonus track" (that's right, it's not even on the LP) because it was already so far removed from their new musical "direction."

A quick divergence, if you will: Their second album, The Last Shall Be First, was even further removed... as a symbolic gesture of this, they even dropped the Cella from their name; now only calling themselves The Dwellas. After getting a bit of notice for their fairly generic, punchline-heavy contribution to the Soul In the Hole soundtrack, "Main Aim," they adopted that style as their own... the entire LP is one basic freestyle rap filled with bland punchlines (this was the mid 90's, let's remember) after another. Only one song, "Ill Collabo," which was released as a single on the strength of guest appearance by Organized Konfusion (hence the title), features the Cella Dwellas in their element, kicking the kind of inventive rhymes they excelled at. Even today, they still have the flows and killer voices to get me excited when I hear about another one of their new, indie 12"s (like "Who Killed the Hip Hop" and UG's solo stuff) but ultimately, their fierce desperation to fit in with their under-talented peers makes each record they put out more boring than the last.

The same thing happened to Cage, AesopROCK and The Atoms Family when they signed to Def Jux... Or just about every old school hip-hop group that gets you excited when they announce their comeback: "oh boy, finally a new record from Whodini (when they became mini-Jermaine Dupris)/ Run DMC (Down With the King was Run DMC disappearing into a sea of guest producers and rappers... sure, the single was good, but only because Pete Rock & CL Smooth were just taking over the scene at the time. they even gave up their signature hats and Adidas in favor of the hoodies and Timbs every nobody was wearing at the time)/ Melle Mel (Die Hard anyone?)/ etc etc etc!" ...only to find they've left us with another lame-ass attempt to sound like the crappiest, most uninspiring MCs of the present day. Attention every MC making a comeback, please have the courage to do what made everybody fall in love with you in the first place, back when you were creative, original and bringing something new to the scene. We have enough no-hit-wonder clones.

Ok, sorry about that... now back on topic: That single was great, though. A mellow, head-nodding jazz sample-laced beat produced by Digga (an underrated producer in addition to being the pretty nice MC everybody knows him as), and The Cella Dwellas taking turns kicking increasingly weird and complex verses steeped in fantasy and even wit... it's the kind of song that really takes you someplace and you can't help but enjoy listening to (unless you're really bent on condemning "corniness"... in which case, as always, it's your capricious loss). Check out this verse; but remember: without hearing UG's fantastic voice and crazy flow, believe me, you'll only be getting a fraction of the appeal:

"Dark clouds form
When I raise my staff in the air;
Lightning strikes my structure
And I disappear.
I leap through portals;
I'm immortal - call me Blacula.
I'm spectacular;
UG the spellcaster!
I move objects by the use of telekinesis;
When I dianoetic rhymes,
MCs regret it.
My... ill... skills... be.. mystical,
A relic from whence wizards fought over orbs of magical crystals.
In my basement,
Humans are used for experiments like rats:
I inject raps
And their brain splats!
I jump from body to body like Quantum Leap;
When I speak,
I rip cheeks, and ya mouth bleeds.
So enter the center of this mystical... inventor.
I change summer to... winter.
I can't control my... temper.
Gusts and winds rip off roofs, and I scream,
'The chemical in my bloodstream makes my blood green!'
Blood hits the screen in my video,
My mind's off course...
I'm from the Land Of the Lost!"

The heck with it. It may be excessive, but here's some more just because I like it:

"In the Land of the Lost,
My identity's feared my many.
I jump in bodies to hide from authorities,
'Cause I'm wanted
For haunting villages;
They turn to ashes!
My tongue lashes
The skin and then the blood splashes!
I incinerate states
When I radiate beams of heat
That originate from dreams in my sleep.
I make willows weep when I sweep
Through the area
Like an epidemic.
My blood type is Kemit.
My DNA (hey!) got mixed with deadly toxics.
My dagger rips
People from their toes to their hips.
The hideous... lurks in the blackness.
Store water in my toe like a cactus;
And my rap rips
Tracks, and conjures up spirits when I'm thinkin':
Relatives, old presidents, Abe Lincoln!"

This 12" is of particular note, too; because of the Radio Edit. Now, there's no curse words in this song, and the potentially offensive lines ("I stick needles in ya body like a chink doin' acupuncture," an irreverent reference to Jesus, and all the violent bits) are left in... so what's so different about this mix? What's the point of it? Well, it's a bit shorter, some lines have been removed from each of the verses. In fact, the vocals have actually been rerecorded, and new lyrics have been added(!). For example, the opening of the song goes from:

"In the Lost Land,
I break many limbs like twigs;
When I take swigs of the red rum,
I get crazy like Briggs.
Then I start the murderin' and mutilatin'
Skin and bones and
Building tomb...stones...!
Stay back!
Lyrics is unhealthy like plaque.
I bomb and weave on a track
Like a flock of bats."

...becomes:

"In the Lost Land,
I light lanterns to explore the corridors,
Then use portals to emerge
To the surface floors.
Stay back!
Lyrics is unhealthy like plaque..."

And an alteration in one of UG's above verses transforms:

"My DNA (hey!) got mixed with deadly toxics.
My dagger rips
People from their toes to their hips."

...into:

"My DNA got mixed with deadly toxics,
So my soul sits on old ships
Sunken by pirates."

There are other curious little changes, too, like theline, "I'm immortal - call me Blacula" has been changed to, "I'm immortal like Dracula." Considering how starved we are for the fun, "horrorcore" Cella Dwellas songs (I count six total: "Land Of the Lost," "Realm 3," "Mystic Freestyle," "Ill Collablo," "Cypha Session III - Has Words" and "4 Da Mind" from Masta Ace's Sittin' On Chrome album), any fan will want to have both versions for sure.

The b-side, "We Got It Hemmed," is their first "we can do it, too" statement (which would later become their entire career)... a respectable but unexceptional take at a straight, no frills rap song. The fact that they took the chorus out of a line from a recently released Nas song as he was just blowing up ("Halftime") perfectly illustrates their desire to jump on the popular bandwagon. It's got another mellow, jazzy beat (this one by Nick Wiz), a little bit of nice scratching at the end (more would have helped), and they ride the beat just as well here as on the previous song, but lyrics like:

"The illest -
Words fill this;
Time to let my rhyme blow like Willus
Jackson's afro.
Diff'rent Strokes for different folks.
And eh-eh-eh-eh,
That's all folks,
Like Porky Pig.
Peace to my nig."

...are at least as corny, and not nearly as inspired. If this is what "real heads" prefer, then "real heads" need to get the "real sticks" out of their "real asses."

By the way, the cassingle version of this release was actually purple. 8)

So, where are they now? Well, following up the handful of indie 12"s mentioned earlier, UG is continuing to do his thing solo, now under the name of Lan Outlaw (I think he held a contest... most forgettable name wins some tickets or something). He's already put out one mix-CD and is about to release his second on his new label, Spaz Out Entertainment. Hopefully there'll be a proper, non-mix release sometime eventually. Now, don't be fooled by the unofficial, fan-made Cella Dwellas myspace page... here's his actual myspace page, and here's his label's official site. The Dwellas still seem to be recording together sometimes, too. Nick Wiz has an exclusive new track from them on his myspace. But, no, it doesn't hail from The Land Of the Lost.

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The Second Stand Out Album of 2007?

In April, I made a short post saying that in a very dry year for hip-hop albums that appealed to my personal tastes, I found Sacred Hoop's Go Hogwild album to finally be the first stand out hip-hop album of 2007 (excluding older stuff that's just now getting released, like Ultimate Force or Mikey D & the LA Posse's albums). And, really, it's hot. You should check it out.

Well, now in June, I've found the second stand-out album of the year for me. Finally: some new material that I'll actually listen to more than once or twice before putting it away in favor of some old school 12"s. Awol One and Josh Martinez's double EP, Splitsville, on Camobear Records. I'm gonna keep this write-up short like the last one, but basically you've got two solo EPs (though each artist appears at least once on the other's "EP"), both produced by DJ Moves, buttressed up against each other as one LP. This is quality work from both artists (sometimes it seems each of them can get a bit lazy with their releases, but not here), primarily on the theme of - you guessed it - broken relationships. It's all new material except, interestingly enough, Awol One's cut from Camobear Records' 2004 New Recruits label sampler, "Shake Yer Eywind," seems to have found a home here. I always liked that one anyway. :)

So yeah. Now there's two albums I'm genuinely pleased with... halfway through the year. Hopefully there'll be a couple more before the new year, ey?

Rapping Is Fundamental

This is the alternate UK 12" of Rappin' Is Fundamental's debut 12", "Rapping Is Fundamental" (the song title has the "g" at the end; the group name does not), touting two original remixes by DJ Streets Ahead (who did a lot of this type of work at the time), not featured on the domestic version. The idea of taking Rappin' Is Fundamental signature stylings and doo-wop sensibilities and trying to turn it into a European dance club hit seems a bit, umm... what's a fitting term... hopeless? And it is. Easy Moe Bee's soulful, sample-based production is replaced on the "Brighton Daze 12" Remix" with a simple, high-tempo drum track that really works against RIF's signature harmonizing - I can't imagine this being an anthem of the UK nightlife scene anymore than I can see any Harlem crate diggers attempting to nod their head to this rhythm.

The second "Ubiquity 12" Remix" uses the same basic track but adds some more instrumental samples/effects, creating more of an original, alternate take on the song. It also takes out all the singing, leaving just the raps (the hook is replaced with a few vocal samples, which would have been helped a LOT if they'd actually been scratched in, but que sera sera). Like the first, it's still misguided and decidedly inferior to the original, but this mix is cool enough to merit some spins for serious RIF fans who've overplayed the original to the point where they'd welcome an alternative.

On the b-side you've got the "Extended Remix" that's also featured on the domestic 12"... The fact that this 12" includes this as well as the two exclusive mixes makes this the one to own in my book (unless you're particularly after the instrumental), even if those mixes are subpar. This remix is by Easy Mo Bee, so already you know it's going to be the best of the remixes; but unfortunately it's not all that different from the LP Version. It strips away a bit of the original music, and drops in a few pieces of familiar, faster bpm breaks in from time to time... but essentially it's the same as the LP version (including the super cheesy introduction with the super villain laugh) but not quite as engaging. I guess the idea for this mix was to make it more dance-floor friendly, too, which - as talented as they are - just doesn't work for these guys. I could see A&M Records and Streets Ahead making this mistake, but Easy really should have known better.

Finally, there's the "Radio Version" which is the same remix as the "Extended Remix," only not the extended length. I think this is the one they made the video for.

Easy Mo Bee has his own site at: easymobee.com, but for all it's fancified Flash animations, there's really not a lot of worthwhile content there. He's also got a myspace page, of course; but perhaps more interesting is the myspace page for his and AB Money (who's also got his own myspace page)'s new label/project - check out the track with AB, Smooth Bee and some others(?) called "VIP." They've also got an official site at: platinumicerecords.com. Whew. That's a lot of links. Doesn't seem to be one for JR, though.

The REAL Hip Hop

I'm going with another record I've seen next to nothing written about on the web to date... I think that's a good, general standard for reasons to cover a record in this blog: if one can't find info on it anywhere else.

This is The Crash Crew (this blog is being posted in conjunction with a new artists' page on my site - woot!)'s comeback record from 1996. I don't think it went over really well, because it sounds nothing like the classic Crash Crew records of the past. There's no harmonizing, no Sugarhill band... definitely a disappointment to all the fans hoping for a return of the Cool Romantic Amazing Super Heroes they remembered and loved. But, if you can put those expectations aside... if you can say to yourself, "okay, this is just a new, indie rap record from some anonymous group," it's actually pretty tight.

They each (even DJ Daryl C gets on the mic, and they added an unnamed female MC to the mix on the flip) come with hardcore raps - we're talking a LOT of threats of violence, here - and deliveries that would be more at home on Fat Joe's first album than alongside anything else from their past catalog. Here's a sample:

"Nineteen years,
I thank God I'm still breathing.
Day after day, son,
I see my peoples leaving.
Now why the fuck they put me on this Earth
If I can't stay?
That kind of shit
Makes me wanna bust my AK.
...
No time for babies,
I'd tryin' ta make it on my own;
Stressed the fuck out,
Smoking bone after bone.
And even worse,
They even caught my man for a body:
Jake fucked him up, son;
They caught him in the lobby."

Yeah, that's the other difference you'll notice; these verses are filled with curses (the radio edits replace them with sound effects, which is kinda fresh and kinda corny at the same time), especially the b-side, "Champagne Flights." The production is cool on both tracks; very dark and moody... I prefer the A-side, but the choppy piano loop and slow bassline on the b-side are pretty nice, too. Like I said, if you can get past "this ain't how the Crash Crew is supposed to sound" (I mean, let's face it - "the infrared is gonna hit you between the God damn eyes; steppin' to the Crash Crew - another suicide" - you wouldn't exactly be wrong), the guys can still flow and; all-in-all, you've got a pretty nice, gritty underground 12" here.

Oh and, as to official sites and myspaces... yes, I have one for ya: EK Mike C's myspace page. Be forewarned, it is loaded with glittery flash animations that could implode your browser if you're on an older system.

SF12002?

^Video blog!!
(Original content created for this blog; not just linking something by somebody else.)

Ain't U Shawn Conrad?

Right now, Shawn Conrad, the MC formally known as Freshco is selling a CD of ten previously unreleased songs he recorded with DJ Miz on EBay. If you already know who he is, I'll cut right to the chase - it's dope! I believe the first track, "N All Dat" is better than anything they've ever released before. Here's what you get (taken right form his auction description): "These CD quality songs are directly from the original DAT tapes and studio pre-mixes! These songs span from 1989 to 1992. Some of these songs were created while Freshco & Miz was on tour with Ice Cube, Too $hort, Yo Yo, D-Nice, Kid Rock and Poor Righteous Teachers in 1990. Also, you get never before heard songs from "the No!ze" (Freshco, Miz, Cory and Jiv)."

If you're not as up on your hip-hop history as you really ought to be, Freshco was an upcoming battle MC and former break dancer from Philly who had a pretty decent self-produced 12" ("4 At a Time" b/w "Are You Ready") on Tommy Boy in 1989. That year, he entered and won the World Champion title at the New Music Seminar. And another Philly native, DJ Miz, won the World Champion DJ battle at the same event.. Tommy Boy Records decided to put them together; and they produced and released the classic 12" single "We Don't Play" b/w "Ain't U Frescho?" & "Now Ya Know" in 1990. They toured around, had a video, but sadly, despite critical raves and underground props, Tommy Boy apparently decided that Frescho & Miz lacked the commercial potential to merit release of their full-length album. So Freshco and Miz split up.

Frescho stuck it out in the game for a little while. You can hear him dropping a nice guest verse on Original Flavor's second album, Beyond Flavor, and a quick freestyle on DJ Enuff's Freestyle Collection white label as Freshco da Flowa, both in '93. Then he put out a fairly rare/ sought-after indie 12" in 1995, called "Bring the Funk Thru" b/w "Da Soundz" and "Planet Brooklyn" on Street Level Records. It was booted later, on Empire Records, as "DJ Premier Introduces Freshco," because he produced the one track, "Planet Brooklyn." And that was the last the hip-hop world heard of Freshco.

Until, that is... through the modern day miracle of the internet... he was discovered back on the scene in 2004! Putting aside the Frescho moniker, he put up a nice site at ShawnConrad.com to herald his new musical direction: "Revolutionary Urban Gospel Music!" [his exclamation point] As his bio said at the time, "In October 2003, God suddenly re-awoke Shawn’s rapping abilities. This time, Shawn would use his skills not for the benefit of himself but for the benefit of building God’s kingdom." He put out a full length album called Heaven Yeah! on Dvoted Records, which you can still buy new at CDBaby.com or TowerRecords.com.

Which brings us to today, with Freshco selling the aforementioned CDR on Ebay (just do a search for "Frescho") for $15. Be wary of the excessive shipping costs pork-barreled into the price tag ($10 + another $2 for "sales tax"), though, before you rush onto that BIN button and get blind-sided. But if you do decide to "support the artist" and pay the cost, I can assure you, you won't be disappointed in the music.

You may've noticed, if you clicked the link above, that his ShawnConrad.com site is still active... But it's no longer about his music (though you can still order Heaven Yes! off it). It's been remade into a blog and venue for his new career as a motivational speaker (or as he puts it, "Total Self Development for Life" from a "youthful counselor/speaker who has ... his wisdom filled messages coupled with his non-PhD approach"). It strikes me as being a bit weird, frankly, but maybe I'm just out of my element there.

Finally, you knew it was coming... the question of questions... does Frescho currently have a myspace? You bet he does! And so does DJ Miz! Woot!

Bust My Style - Get Wild!

I first heard this song on 7L's '96 mixtape The Sure Shot, back when he was going by the name of G-Swift. The classic Rebel Alliance LP was out, the buzz about alla those guys was crazy, and everyone was searching Napster for "that song with the Transformers sample." When I contacted Esoteric in the late 90's about writing about them for The Source, and I asked about this song, he was shocked I'd heard of it.

A lot of people get confused about this record since it's clearly marked with a 1995 copyright on the label. That's when the song was recorded, but this 7" record was actually pressed and released in 2002. It was a freebie Brick Records made for Sandboxautomatic.com (back when they sold vinyl), for anyone who ordered $25 or more. Here's the write-up they posted in May of '02 (the same month God Complex member and Brick Records' graphic designer Karma released his solo debut 12", "Art of War" on the Australian label, Nuff Said Records):

"Laid down way back in 1995, these are previously unreleased recordings from the God Complex trio of 7L, Esoteric and Karma, produced by Fresno aka Madsol-Desar (best known for his work with Laster and Last Emperor). Only 500 copies were made of this release (numbered BRK000 - pre-Rebel Alliance!) and the artists have selected Sandbox to be the primary distributor of this highly collectable[sic.] 'big-hole' 45. While we can't guarantee 100% that this will be the only place that will have this record, we can at least say that a) it is not likely you will see this record available anywhere else anytime soon, if ever and b) even if you manage to locate it elsewhere, it is not likely that it will be FREE with only a $25 purchase like our copies are. Once these are gone, well, you know..."
After a quick sound byte from the movie Wild Style, "Bust My Style (Remix)" kicks into one of the hardest, catchiest beats from the God Complex catalog (we know this because Brick Records released an mp3-only album collecting all their material, entitled The Strontium 90 Years, which I believe was meant at one time to get a proper release, but sadly, it never happened). The original version was cool, too... more of a mellow, "intellectual" head nodder, with completely different lyrics... but this remix, with the harder beats and more intense scratching of some Kool Keith vocal samples, is clearly the crowd-pleaser of the two. The MCs go back and forth, with Esoteric (then known as Seamus the God Awful) kicking the complex, SAT word-heavy verses we know and love him for:

"My mind activates
To eradicate
A rapper's fate;
Done at a rate
You cannot calculate.
Sea captivates
Mental states.
Vocals penetrate
And multiply.
Result is:
Skulls get pulverized."

...While Karma kicks something a little simpler and more traditional:

"What's your mentality?
I wonder how you think
You see us when we bust;
Sweat our shit like calories.
You can't challenge me;
It's all a fallacy.
My talents be
Pervertin' your reality.
You can't retort
Once the punks get taught.
It just ain't for show,
Head to toe in the Lo, sport.
I fuck up kids like a pedophile.
All those who sweat a style,
Bust mine!"

The b-side is "Seek & Destroy," another bid for the more mainstream underground crowd (freebie for Sandbox... makes sense), using a deep bassline, piano loop and slow horn sample on the hook. 7L is scratching between verses again, but this time it's mixed lower, placing it more subtlety in the background of the driving bass and piano lines. The MCs are back to kicking more hardcore battle raps (as opposed to their more lyrically creative output, with more sci-references and what-not, a la "Strontium 90" or "Secret Wars"):

"Seamus is back in line,
Crackin' spines,
Wrackin' minds.
Attack the rap track;
Crabs get waxed from behind.
Hearts palpitate
At accelerated rates,
When I calculate
And take scalps of fakes,
I evaluate: They're faulty.
And the God Awful's more disorderly.
A judge stormed on me.
My style's crooked like deformities.
I'm chokin' raps with ropes,
Leavin' kids roped with slit throats,
Quotin' me; I'm schoolin' them like Cliffs Notes.
Rip folks out their cherished whip,
And tell them they will perish quick
From the terror stick of the heretic."

Today, Karma seems to have put his rapping behind him, but he's still down with Brick Records and doing graphic design for a lot of hip-hop artists. Here's his myspace page... and while we're at it, here's Brick Records' myspace, and here's their official (but woefully out-of-date) site: brickrecords.com. 7L & Esoteric have their own website, which is fairly substantive and definitely worth a look (though also out-of-date), at: 7l-esoteric.com, as well as the obligatory myspace page. And finally, producer Fresno has a myspace page, too.

Sole Bonus Disc

This is a bonus CD that came free when you ordered Sole's Selling Live Water album from Sandbox. I'm pretty sure this stopped being a part of the package even before they had their virtual collapse; but it was available for a while.

The first track is a joint from The Babylonianz' unreleased second album, Da Boom Baptism called "Keep It Raw." The Babylonianz were a gangsta rap send-up group consisting of Sole and Pedestrian (a.k.a. Blazefest & Whitefolk, respectively), following directly in the footsteps of Anticon's previous gangsta rap send-up group, Bludd 'N' Gutz. The album was never released because, well... I'll let Pedestrian explain it (from the SoleOne.org forums), "we never released the second album, Da Boom Baptizm, because it wasn't that good. The title track, 'Da Boom Baptizm,' actually came out on an Amoeba compilation. The problem was basically this: between the first and second albums, the Babylonianz were saved by evangelicals and became very conservative politically. For instance,Why Murder [Why?'s Bludd 'N' Gutz alias] joined Whitefolks and Blazefest on 'Attack Iraq,' which was prophetically finished a few months before the war began. The hook: 'You want jihad, come and get it, boy!' anyway, the problem... because every Babylonianz song is drunkenly freestyled, we found it really difficult to stay in character. freestyling in the character of a once thug turned militantly conservative Christian was fucking confusing." Here's a taste of "Keep It Raw:"

"The Palestinian poet,
The Israeli bomber,
Call yo' momma, or Osama,
You better pick someone for drama.
Rappers don't want it 'cause they flaunt it and they gonna (trick!)
Get bent. When I broke it,
Leave a mic and represent 'cause I spoke it (Ch-ch!).
I'm too dope it;
You can't diagnose it.
You better take some Novocaine,
Get over my name: Whitefolk.
I came to Blazefest like a rhyming death threat,
The best bet since death! (What's next?)"

Next you've got two "serious" songs: both unreleased Sole duets with Why? (though "Idiot's Guide," later appeared on Sole's Songs That Went Tin compilation as "Idiot's Guide To the Universe"). These songs came just around the time Why? was moving out of rap and into his more alternative/pop rock singing style, which makes for an interesting mesh of styles when put up against Sole's strictly hip-hop rapping (though he leans towards Why?'s direction on "I'd Rather Broil"), since neither goes for the obvious "I'll rap and he can sing the chorus" formula.

There are no production credits given for any of the tracks, but we know from the Songs That Went Tin notes that "Idiot's Guide" - a pretty cool, mellow track - was produced by DJ Mayonnaise w/ Why?. The lyrics are reasonably solid and straight-forward here, but take a turn to the kind of abstractions which seem to drive non-Anticon enthusiasts up the wall on "I'd Rather Broil," as Why? sings, "I'm going to the movies with a pair of parakeets in my pocket, one of whom has its mouth sewn shut, the other one a whistler; oohhh... Ohhhhh my god, I'm going." while Sole goes on about "the Hillary Clinton foundation posing as lesbian activists, selling tickets." The track's got a cool, heavily distorted bassline and some live guitar... Thanks are due to W_e_s on the SoleOne forums for finding an archived page from the old Anticon site (where the song is titled "I'd Rather Boil") that gives us the production credits: "recorded dec '99. produced by odd nosdam. mixed by an intoxicated why? 'I liked how the bass sounded and we ate brownies, dude.' - why?"

Finally, you get a 36 minute interview, with Sole answering questions that were submitted through the old Anticon.com forums in front of a "studio audience" consisting of some sampled laughter and applause tracks, Odd Nosdam, Baillie, Passage, Alias, Pedestrian and Colin. As the hand-written note that came with the CD explains, "people asked the internet questions as absurd as possible, and I answered as straight as I could. ...We left in between dialogue, and my frustration with the questions in, to give people a more in depth view of what went into the CD." It makes for a pretty weird listening experience... first a question is asked in a funny voice, then Sole stumbles for a while on his writing process or the war in Iraq, while a laugh track is cut into every pause, and his label-mates snicker and interject comments like, "you said Jose One!" Fake questions (like "is my television staring at me?") are thrown in, too, and there's some human beat-boxing and very half-hearted freestyles. After about the twenty-minute mark, your brain starts to warp... and you're only halfway through it.

And these are the kinds of treasures you people are missing out on if you don't buy your music off the internet. You've taken a good first step by reading this blog... now go get a Paypal account!

The Boyz Are Back In Town

Here's another one that very little has ever been written about... "The Boyz From da Hill" b/w "Here We Go" by The Sugarhill Gang, on Diamond Head Records from 1994. I don't know much about Diamond Head Records, except that they were based out of Englewood New Jersey, and the following year, they put out a solo 12" by Sugarhill Gang member Kory-O, entitled "One Never Knows."

"Wait a minute," you exclaim, "Everybody knows the Sugarhill Gang is three guys - Wonder Mike, Master Gee and Big Bank Hank!" Yeah, well, guess what. This is '94, and things done changed.

Back in 1985, Master Gee left the group, to release one solo 12" on Atlantic Records (called "Do It," and it's actually pretty good) and ultimately retire from the music scene. He was replaced, in turns, by Kory-O (he was featured on tracks like "Work, Work the Body" before the group initially stopped recording) and another MC who decided o call himself Master Gee: former West Street Mob member Joey Robinson Jr. - son of Sylvia Robinson, president of Sugarhill.

In an interview with AllHipHop.com (click to read the whole thing), Master Gee had this to say about his imposter, "What me and Mike are doing now is working to get out and let people see the real deal, because some people aren't even sure about who's who. They think that this other guy is Master Gee. ... First of all, you're not supposed to use someone else's name. There was never an agreement made between him and I. As far as performing, he didn't write the lyrics, he didn't record the songs. He's not really entitled to say that he's me. There's only one original member performing as the Sugar Hill Gang right now, and that's Hank. The rest are stand-ins and they're duping the public. When people go out to see them, they're not getting the real deal. ... With me stepping away from the group, [The 2nd Master Gee] felt that it was his opportunity to go on the road and take my place. He was involved in all the sessions, but he never performed on any of the hits, 'Rapper's Delight,' 'Apache,' '8th Wonder.' That's all me."

But on this single, Hank isn't the only original member. The line-up here is: Wonder Mike, Kory-O, the 2nd Master Gee and Big Bank Hank... hence the four people on the album cover (by the way, that's the CD single you're seeing pictured above... the 12" single is a plain, white sticker cover, with only text). They've updated their flows and styles somewhat, partially to keep up with the faster beat and partially with the times. It kinda works, though:

"Come get a damage[?] of more delight
Coming from the hyper than hype wonder, the Wonder Mike,
The party rocker, smooth hip-hopper,
Whole house shaker, big fly money maker
In the house. Yeah, you know the sound.
The original, lyrical, biggest on the mic around:
(Sugarhill) back in full effect,
Hits the spot, mic's checked and flexxed - next!
Yo, we took hits and start stackin' 'em...
We're the first MCs to go platinum!
Mad props to the crew first on the scene;
We set it off and went and got the CREAM.
The name's the same, the fame, the aim, the claim;
The tracks are fat, and it's all that.
We gon' take a strip and start pimpin' it.
Stand back as the boys start rippin' it!"

Perhaps even more interesting than the MC line-up is the musical line-up. Continuing Sugarhill's tradition of getting great studio musicians to lay their tracks, the first one is by Kool & The Gang(!), along with George Mena and Reggie Griffin (it's essentially the "Jungle Boogie" instrumental). And despite their label change, they're still produced by Sylvia Robinson, Joey Robinson Jr., and David Gunthrope for West Street Productions. All in all, it's a pretty lively, enjoyable tune, with a catchy hook: "It's the boys from the hill! The boys from the hill! With the pow pow boogie; Never ran, never will!"

The B-side, "Here We Go," is a bit of a more traditional, "smoother" hip-hop number, with all musical tracks performed by Reggie Griffin, and co-produced by Reggie Griffin and Sylvia Robinson. It's got that pseudo-g-funk sound that some indie midwest group might produce. There's also a "Jeep Version" of "Here We Go," which really isn't much different from the first. It's ok if you like that sort of thing, but it's the A-side that makes this worth the purchase for Sugarhill fans.

Today, the Sugarhill Gang is fairly broken up, though sometimes certain members (originals and replacements) will tour as the Gang. Wonder Mike and Master Gee have formed a new group called MG Squad, with some of their friends. Here's a link to their myspace page.