SFLO12002!

^Video blog!!
(Once again, this is pure, original content created for this blog; not just me linking something by somebody else.)

Think Big Even If You've Lost Biggy

When Pudgee was due to come out with his second album, King of New York, one of the singles was called "Think Big" and featured Notorious B.I.G. and Lord Tariq. It pretty much only got a limited, white label release (though it's since been repressed as a proper Perspective 12" and is easily found) because the label was folding just as this was coming out. And it probably only saw the light of day at all because it featured Biggy, who's of course a very big name.

It was a dope record and others have written a fair amount about it already (DWG wrote an excellent review of it here), but people generally overlook this second version of "Think Big" that was released three years later on DMD Records. They probably overlook it because Biggy's been removed from the track(!). I've no idea why... some kind of painful label politics must've been involved, I'm sure. But he's been replaced by Sadat X, and hey - he's no one to sneeze at either.

The original Minnesota-produced instrumental has been swapped, too (for sampling issues... explained in the DWG review linked above), and while this mix isn't quite as classic with it's infamous "Womp, Womp, A-Womp" bassline; this one, produced by The Co-Stars (whoever the heck they are), comes with a hard-hitting horn sample that's almost used like a drum track. Again, Sadat's verse is tight (Pudgee's and Tariq's are the same as on the original, and that's not a bad thing), talking about how, "My contract is wack, and my label's even wacker. So now I play the streets, and watch for drug sweeps." So, while this may not be the version everyone's after, it's definitely not a version to be slept on.

...Ok, there is one other drawback. The 12" only features the Radio Edit. This is especially distracting on Pudgee's verse, who's in nasty, hardcore mode and has a curse flipped practically every other word... it's almost like he's rhyming backwards! But the silver lining is that, since this is so over-looked, you can pick the 12" up dirt cheap... Amazon and EBay both even have multiple copies of the CD single (pictured; note the fancy picture cover) for a penny - new. ...Shit's definitely worth a penny, guys. 8)

Where They Are Now

This Is It, Y'all. Mp3s have been floating around the 'net for a while, but the actual record finally just came out: "Where Are They Now," the remixes. In fact, it's a Japan-only limited edition 12" on Ill Will Records (Nas's sub-label imprint), so snatch it while you can.

So, what's the big deal about a remix 12" of a mediocre (at best) Nas song? After all, Hip-Hop Is Dead is just one more in an increasingly long series of dull and disappointing follow-ups to Illmatic, and "Where Are They Now" was one of the worst songs on there. The beat was dope, but very familiar: James Brown's "Get Up, Get Into It, Get Involved," which has been used in about a bajillion previous hip-hop records, from Kool G Rap's "Poison," to the most similar that I can think of, Professor Griff's "Pawns In the Game" (let's face it: essentially, this is the instrumental to "Pawns In the Game"). It's still damn good, though; and this beat would be fine - one of Nas's best even, though that's saying very little - if it wasn't for the rhymes. Yes, "Where Are They Now" is another one of those boring, lifeless name-dropping songs; where an MC does nothing but list the names of other MCs in the hopes that some of their "street cred" rubs off on them. 2Pac did it, Big Daddy Kane did it, Bahamadia did it, Edan did it; everybody's done it. It's not original, engaging, entertaining or thoughtful; it's just... a list. It's like when hip-hop albums had those boring shout-out tracks at the end, only here they're right smack in the middle and the artists think it makes them cool or something. Who the heck wants a remix of that?

Of course, most of you reading this already know the punch-line... As I say, this has been on the internet for months. But now the actual record has been released. Why is this such a must-have? Because of the line-up!

"Where Are They Now (90's Remix)" features Redhead Kingpin, Rob Base, Spinderella, Father MC, Monie Love, Mike G of the Jungle Brothers, EST of Three Times Dope, Positive K, Krazy from Das EFX, Mr. DoItAll from Lords of the Underground, Chip-Fu from the Fu-Shcnickens and Dres from Blacksheep! Nas doesn't even rap on this; he just "hosts" it, saying a few words between every couple of verses. Instead he's just found all (well, not all... but a lot) of the MCs he name-dropped on the album cut and gave them eight bars each to shine on this new, massive posse cut. The instrumental keeps the James Brown track, but blends in the instrumentals form each MC's greatest hit - sometimes more than one, even - during their verse (most of the time it works really well, though a few times they don't gel together as well as the rest... for example, "Monie In the Middle" mixes in hot, but trying to get "I Got a Man" in there feels a little awkward).

So, you've got the 90's remix, plus the instrumental, then you flip the record over and damn! "Where Are They Now (80's Remix)," which is formatted the same way and features MC Shan, Raheem of the Furious Five, Doctor Ice and Kangol of UTFO, Kool Moe Dee, Sha Rock of US Girls and The Funky Four + One, Tito of the Fearless Four, Grandmaster Caz, LinQue, Dana Dane, Pebblee Poo (remember? She did "Fly Guy," the answer record to the Boogie Boys' "Fly Girl") of the Masterdon Committee and Just-Ice!

Then there's "Where Are They Now (West Coast Remix)," which gives up on the decidedly east-coast sounding James Brown foundation in favor of a more mellow track for the West Coast MCs: Breeze, Kam, King Tee, Candyman, Threat, Ice-T, Sir Mix-A-Lot and the Conscious Daughters. It's a definite head-nodder, but they've also forgone the technique of blending in each MC's previous hit(s) to the instrumental, which is a little disappointing. Guess they got a little lazy by remix #3, but it's still cool; you won't really miss it.

Now, I say how can you not need this record just looking at those line-ups? And most of the MCs come off well, too (even the ones that don't instill much faith based on their past output). Stand outs for me would be: Redhead Kingpin, Shan, Doc Ice, Kool Moe Dee and Breeze; but I'm sure everybody will have their own favorites. I made two previous posts (here and here), naming what I feel are the two essential, full-length albums of 2007 to date. Well, this would be one of the two essential 12" singles of 2007 (the other being Master Ace & Marco Polo's "Nostalgia;" except, lamely, it only features the clean/edited version), definitely a necessity.

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.

aoljpictureUpload, aoljpictureUpload_1

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!