Buck 65 Vinyl Week, Day 2 - Sebutonedef

It's Day 2 of Buck 65 Vinyl Week, and today I'm drinking chocolate milk and listening to The Sebutones' only vinyl release, the "Sebutonedef" 12". It dropped on Four Ways To Rock Records in 1997. This is the single off of SixToo and Buck's first collaborative album, Psiorasis, and it has some nice vinyl exclusives.

The first track, of course, is "Sebutonedef (Original Mix)." The first thing you'll hear is the looped stand-up bass, in the style of Digable Planets' "Cool Like Dat," playing acappella. Soon some phat drums, scratching, and a horn sample that sounds like it's coming out of an old David Lynch soundtrack kick in. Buck 65 describes the song in his own words in his Psioriasis review on his own site, buck65.com, "'Sebutone Def' has a huge, frantic sound. It's death-jazz hip hop. The drums are outrageous. The bass line is on crack. There's even a catchy hook! The turntable work is also interesting. I remember recording it without listening to the track and then flying it in randomly. It's crazy, but it works. This is the best song the Sebutones ever made. It's not saying much on the surface, but it was something very fresh in hip hop and it was a good song." He may be right about it being the best thing the Sebutones have done (collectively, at least)... it's realtively simple, but it just works.

That's followed up by "Industrial Arts Remix" of the same song. There's some new horn samples and abrasive sound effects, and the bass from the original mix is flipped backwards. It's kinda cool, but not as effective as other remixes (like Pumpkinhead's "Dynamic") were using the same gimmick. This remix is good, mind you; but the original just sounds better; and that's the one you'll keep going back to unless you're really deadset on an alternative.

That's followed up by a rare treat for any DJ or remixer: "Sebutonedef (Accapella)." Like Buck said, the song's not really saying a whole lot, but Six manages to not only hold his own, but compliment Buck's unique delivery. It's really like some classic Ced Gee and Kool Keith shit, back when they were both kicking some nice verses.



The first track on the B-side (pictured above... check that out, huh?) is "Flux Capacity (Vocal Version)," another album track. Buck and Six both kick some hip-hop history over a moody head-nodder. Both are nice, but the beat outshines the vocals on this one... so it's perfect that the following track is "Flux Capacity (Instrumental)." They kind of remind me of a dark Raw Produce here... one can't complain about that.

The 12" rounds off with another non-album exclusive, "To Mock a Killing Bird" (two punny titles on one 12" is dangerously close to overload, but I think they just manage to get away with it). After about 40 seconds of sound effects (no doubt intended to stir up even more atmosphere, but you'll probably want to just needle drop a few rings in once you've heard it a couple times), a really catchy-but-ominous piano loop comes in that sounds like it could be lifted from the score of an old episode of Nigel Kneal's Beasts or something wakes you up. The drums kick in and suddenly you've got a really good song playing. Lyrically, Buck 65 just bugs out with his content and his rhyme scheme:

"In a position
Where I'm wishin'
The conditions weren't so miserable
The movers and shakers
With the visceral maneuvers
The designated minimal
Effect upon the educated
Criminal mind
And I never need religions
When I can always feed the pigeons
Rather than going to catechism
Born Catholic with the crack addict's jizzm
I'm telepathic
You paid to see the blue suede shoes
Stamp on my soul
And swallow a used tampon
Vandalize churches
My alarm signals me to scandalize disciples
And then to purchase firearms
And as we layer the ammo
And sing battle hymns
Along with the player piano
We dress up in cattle skins
Stockpile supplies
One eye on the clock dial
And, uh, one on the executioner
For the mock trial
Cut with precision
We make a final decision
Maybe we should pull the plug
On a television baby
But it's debatable
'Cause it's the ego andthe onus
Truth is still inflatable
He's scared to die
All we need to do is cut the air supply
Tamper with the remedies
The veins feed the poison
From the heart to the extremities
Beyond potential
We command a force
The non-essential ones
That ponder the causes
And also honor the losses
And prophets
What's that?
Beg your pardon, historian?
Spill your blood upon the dust
To make a garden for scorpions"

SixToo has a tough job to follow that verse up, but he does alright... his flow stands up better than his actual lyrics (we're back to the Keith and Ced vibe here). He's bouyed greatly by a hot X-Clan vocal being cut up for the hook - you really can't miss sampling the Grand Verbalizer. And they don't miss at all on this 12" - an underground classic of its time that still holds up today. Absolutely one for the crates.

Tags: Buck 65, Sebutones

Buck 65 Vinyl Week, Day 1 - Stolen Bass

It's time for another "week" of posts (I put that in quotes, because I don't really stick to a proper calendar week when I do these), this time looking at of some the most interesting Buck 65 vinyl pieces out there. And where better to begin than at the beginning?

"Stolen Bass" (the title of this 7", but interestingly, not the name of either song on the single) was his first vinyl release, on Murderecords in 1994. It came in a picture cover (as you can see in the image to the upper left) with an insert detailing the production credits, etc. and in two versions: black or red vinyl. The combined photo shoot (front and back cover and both sides of the insert) form some kind of visual narrative where Buck (or Stinkin' Rich as he was known at the time) goes to a hotel with a bunch of music executives (I'm guessing) and shoots them all - possibly an homage to his label? You'll notice my copy is signed, as it came from Buck 65 himself... he also threw in an autographed picture and some stickers. :) Here's his own description of the record:



"[T]his is my first vinyl-only musical release. It's from 1994 and it's called Stolen Bass. It was released by a label called Murderecords which was/is run by a band called Sloan. It's rare as hell. There never were many of these made in the first place and there never was a second pressing. I had recorded and sold a few little things before this sucker, but for all intents-and-purposes, this is my first proper record. The music on this record is rather silly. Let's just say I've come a long way. But it's scrappy. It's got oomph. Lo-fi oomph. It's dusty. It's 14 years old. I was around 20 when I recorded these songs (on a 4-track). I was living in a log cabin at the time and hadn't yet developed my fine taste in films. So having no girlfriend, I was watching lots of shlocky movies over and over again. This sort of life has a way of rotting one's brains. But all criticisms aside, this is an important piece of my 'story.' Now I've written close to 1,000,000 songs, but this is where it all began."

I usually find myself disagreeing with artists' takes on their own work, but in this case I think he's right on the money. Like most (but certainly not all) of his music, these two songs are all him: the vocals, production, writing and the scratching (they're credited in the notes to DJ Critical, another of his aliases). The A-side is "Who You Frontin' For," which uses simple but catchy battle rhymes over a very 90's-style track that still has the power to instantly draw you in:

"Stinkin' Rich is X-rated,

Complex, ill-fated;
But I still made it.
I concentrated
On phat rhymes;
It's not a past-time.
Now at last I'm
Gettin' two thumbs up.
If a challenge comes up,
It's goin' down.
Now this is how flowin' sounds,
'Cause I'm the only pro in town.
I'm lookin' for a chump for me to rob;
But I don't need a job;
I'm deadly like Marquis de Sade.
So don't bite or jock,
Don't even try to talk.
If I decide to rock,
You'll end up on the sidewalk
With a lot of chalk
Traced around your carcass.
You'll be slipping into darkness
When I reach way back
And smash
You in your teeth with more weight, then
You'll be picking up the pieces
Like The Average White Band.
I got a flight plan
For any sucker who be wantin' more;
You ain't got a chance in Hell...
So who you frontin' for?"

The b-side is "Chin Music." The beat is a little less effective, but when he starts cutting in the horn sample (plus a nice little "7th Chamber" vocal courtesy of Inspectah Deck), it's all redeemed. His delivery is a lot more playful, changing his style line-by-line, like a laid-back Fu-Schnicken. It's interesting, and the rhymes are fun; but I'm glad it's an experiment he concluded by the end of this song.

Only the most extreme purists would call this 7" his best work, but it's definitely a stellar example of the indie hip-hop movement of the mid-90's. Pick it up if you can find it.

Tags: Buck 65, Stinkin' Rich

King Amper Rock's Lost album

You may remember King Amper Rock (or King Amperock... it's always fun when even the artist can't decide how we should spell his name) for his opening joint on Red Alert's 4th tape (or 5th if you count the reggae one), Kool DJ Red Alert Presents, "Check Me Out Baby." One of the stand-out elements of those tapes were the exclusive tracks. Well, on the earlier ones it was for the great rare records, but then as the track-listings got closer and closer to volumes of MTV Dance Party, it was the exclusives that kept us coming back.

Not a lot is known about Amper Rock. A single listen of "Check Me Out Baby" will forever imprint upon your brain the fact that he's from Uptown, and I know his real name is William Brown; but that's about it. Like pretty much all of the Red Alert exclusives, it was a hot joint; but disappointingly Amper Rock never seemed to follow it up with any of his own records.

A 5th Ave party announcement in 2003 (do a google search for "King Amperock"), promised that he'd drop his new single, "Bobble Head," but it never happened [if anyone can prove me wrong and unearth a copy, I'd love to hear about it!]. He seemingly just disappeared forever.

Except I've found a copy of this demo tape album of his from 1998! It's called Mob Wars on 145 Hun Forty Fif Recordings. It's eleven tracks deep (plus some skits), and it's damn nice. The production, all handeled by a cat named Brown Eyes, may sound a little low-budget; but if you're in the market for gritty, NY street rap, this is it in spades.

It opens up with some straight east coast criminology rap, with a delivery as smooth as Nas or AZ in their heyday:

"Tuesday, around two thirty,
There was a beef about bandits movin' on our territory.
I locked the spot up, jumped into the Expedition,
Venturin' towards my man on a kill 'em all mission.
These niggas threatened my life, my moms and my wife.
I gotta do this cat personally: an eye to the knife.
A term used by crews when you're slayin' dudes who fronted:
Look 'em in the eye, stab 'em in the stomach.
This I wanted while gettin' blunted - their days are numbered,
Without authorization or properly bein' funded.
So I'm doin' 85 on the Harlem River Drive,
Headin' down the Concourse then change my course.
Parkin' between One Eighty Third and One Eighty Fourth,
Right at the top of the hill where Cubans down with Rastas,
The crack vial kings, Seventh Ave mobstas,
The hitmen representin' the cash flow,
Intendin' to blow, dealin' the snow; and a-yo,
The connect is on tomorrow, at one oh oh."

On other tracks like "9ins in Rhymes," he just represents with verses of freestyle lyrics between a hardcore hook, "I got nines in rhymes that blast off as chrome shines/ Smack bitch-ass niggas on gates for shortin' weight/ Move keys in states from New York to Delaware/ Prepare to shoot with this gansgta shit here." The subject doesn't vary much from those two subjects (though he gets into some gritty sexual conquest tales on "Bag Dyme Pieces"), but he flexes over some different type tracks as the album goes on... "Laid Back Smooth Shit" is exactly what it says it sis, and his voice blends as perfectly with the slower drums and sparse piano as it did over the tougher, hardcore tracks earlier. By the time you get to "Take It Uptown Ampe!" which features a hype track with a DJ constantly rubbing in the drums and blaring horn-like sounds, the production grows from low-fi-but-rugged to straight hip-hop perfection. Sometimes the quality dips a bit, but if he could've just afforded one or two Premiere and Large Pro beats to fill in the potholes, you'd practically have Illmatic 2 on your hands.

So now, if Amp disappeared forever, I guess I wouldn't have a myspace link or anything for him, right? No wai! I found him [that's why this post took so long.]- he's changed his name to Frank Villain (or F. vLN) and started a clothing line ("Frank Villain is an original stylish clothing line, specializing in apparel for men, women and children. Frank Villain is the name of tomorrow and the face of what's new in fashion. We strive to be the best there is in clothing design."). So, yeah, he actually has two myspaces: this one is fuller, with two tracks (good stuff, too), but hasn't been logged into since May, 2006; and this one which is newer but has less content.

Tags: King Amper Rock, King Amperock, Frank Villain, F. vLN

Cancelled Delivery

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Update 8/28/08: Turns out Carlos Bess produced this O.G. version of the track; he sent me this message: "Wow! I produced that song Deliver by Chino Xl. Quincy did not clear the sample because of what chino said about Woopie Goldberg. Thats crazy... good find." And that Whoopie Goldberg line in the song ("Did I do that? Not Whoopie Goldberg or Steve Urkel but I'll leave ya grill the color purple"), isn't even a diss to her, just a play on words with the title of her film.

Tags: Chino XL

The Real Crazy Like a Foxxx

Ok, this post is about the recently released, long awaited Crazy Like a Foxxx album by Freddie Foxxx. And before I go any further, let me just ask: where is the vinyl LP of this? Seriously, Fat Beats, what the fuck?

Ok, that just had to be said. Now onto the real point of this post: the Crazy Like a Foxxx double CD that Fat Beats just released is not the same as the old Crazy Like a Foxxx album that's been in circulation since it was sent out to the press for review back in '94 (3 mics in The Source if you're interested)... not the Jailhouse version on disc 1 or the DITC demo on disc 2.

The differences start right at the intro. In fact, "Intro" on the original version is essentially two intros in a row, neither of which are on the CD set. The first is a brief welcome to the album by Foxxx, where he tells us every song has a hidden message. Then there's a second one where he and his partner Shorty Dog talk shit for a while over a beat. And midway through the original, there's another "Intro #2," where he talks about the concepts of the album and gives his message to all MCs, which was also left off this release. Now, none of these are great losses, but I can't help feeling like it would've been nice to be completist on a project like this.

Anyway, playing a little further into the album we find another skit that's not on the Fat Beats release, of a violent highway shoot-out. Then, just one song later comes another unused skit, where Shorty Dog brings two Chinese gangsters to meet Freddie, who demands to be cut into their operation. And leading up to "Step" is yet another skit absent from the Fat Beats set. Here a narrator asks us about dreams over the signature Twilight Zone theme, followed by a look into one of Freddie's gangster dreams, where Italian mobsters threaten to drop him out of a window. It's kinda odd. All in all, the original version of the album was definitely going for more of a "cinematic" skit-heavy vibe that I can't really say I'm so sad to see go.

But there's more absent here that I actually do miss, including "Raw Skill:" a pure, acapella rap. And it's no quick freestyle verse, but a full, political and angry track that just happens to not have a beat or hook. Dope stuff.

And the unreleased album also included the superior "Mellow Mix" of "So Tough" (in addition to, not instead of, the "Video Version" present on the CD). This isn't as big of a loss though, since it was already featured on the 12" single, which was properly released back in the day. And that single also features an exclusive, third mix of "So Tough," so you'll be wanting to pick that up if you haven't already got it, regardless.

Finally, the O.G. version concluded with a full-length shout-out track over a hot beat called, "Mr. Microphone," with his DJ getting busy cutting up some vocal samples at the end. That's been removed as well.

But the changes here aren't all subtractions. Besides, of course, the delightful inclusion of the DITC Demo version on the second disc, Fat Beats also sneaks a couple of extra tracks into the Jailhouse version. In fact, that was the first thing that occurred to me when I saw the track-listing for this release: "I don't remember a track with Tupac on it...!"

Track 8 on the Jailhouse disc, "Killa," sure wasn't on the album any of us heard before. And in addition to 2Pac, it also features an uncredited Ray Benzino. It's not hard to imagine why Fat Beats might've decided to leave his name off of their CD and press-kits. But of course it's only natural he's present, as The RSO was part of Latifah's reinvented/defiled Flavor Unit at the time. Now, this is really a reworking of an unreleased track that's been floating around the internet for a while called "Tryna Get Through This." The beat is different (it's better, and doesn't feature the sappy R&Bish hook), and Foxxx and Benzino kick different lyrics, but it's definitely the same 'Pac verse. ...I'd love to hear the full story behind this song.

Also new to the Jailhouse version is "Do What You Gotta Do," a song originally released on a rare 12" single I blogged about some time ago [Update 8/25/08 - the version on the CD is a bit different. The basic beat, hook and bassline are the same, but the piano and some of the change-ups you hear on the CD are new... it sounds like the 12" is the original, and they did some tinkering for the version on the CD.], and the "Crazy Like a Foxxx (Alternate Mix)." The Jailhouse version also adds a new "Interlude" skit of a guy picking up a prostitute... it would've really fit in perfectly with the ones from the old version, but it's actually being released here for the first time.

So, all in all, what would have been better? The real O.G. version with its crap-ton of skits and a few exclusive bits, or this remade version with all its odds and ends thrown in. Ideally, of course, it would have been nice to have it ALL included... but there's no denying that this is a must have 2-disc set of never-before released material no matter how you look at it. Even if it's not on vinyl.

Update 5/22/09 - The versions of "Step" and "Pressure On the Brain" (both the Demo and Jailhouse versions) in this set are also substantially different than the ones on the original (and the originals are better!). The original mixes were made available, however, on a limited 1996 white label 12" that I review here. This review gives detailed coverage of the differences in the versions.

Update 7/30/09 - Newly added pictures of the O.G. tape and sleeve, courtesy of Noz of Cocaine Blunt$.

InstaRapFlix 11: Beef

It's been a minute since I've done one of these (at least compared to how fast I expected to churn these out), but here I am with another one. Tonight I watched Beef (Netflix rating: 1 & 1/2 stars) a roughly 90 minute doc about... beef. As in contention, not the cow meat. :P

As the annoyingly long opening sequence rolled on (I recommend skipping ahead about five minutes), I had a bad feeling about this one... we were gonna lots of footage of rappers at their most embarrassingly ignorant and hammy coverage of pop rap star he said/she said-type junk. And the narration from Ving Rhames is pretty cheesy; but apart from that, this film came a lot deeper and smarter than I was expecting.

First of all, it takes it all the way back. They cover Kool Moe Dee versus Busy Bee, and both Dee and Bee are on hand to tell the story in their own words. And Krs, Kane, and all these other rappers are talk about it in a knowledgeable, historical perspective. They've got footage of the event... everything.

Then they cover Krs versus MC Shan, again all in their own words, with Marley and others there, too. It covers the basics for new school head s who have no idea who's who, but also gets detailed enough to keep the fans who already know all about it interested.

They go into Ice Cube splitting from NWA, and everything that lead to (Dre moving to Death Row, etc)... they've got archival interview footage from back when it was happening, everything. I was impressed.

And the film, which goes in chronological order, also successfully illustrates how beef transformed from the friendly competition of MC battles to stupid, violent fights like Tru Life's issues with Mobb Deep, and of course 'Pac and Biggie, etc. They even include the press's role in building the east vs west beef into the ridiculousness it became, interviewing Vibe editors, etc.

Towards the end, it does slip down some, becoming partially what I feared at the beginning... more stories of rappers glorifying fights (stay tuned after the credits to hear one photographer go on and on about some stupid fight for like fifteen minutes or some equally crazy length of time). And another problem is that the second half suddenly becomes the 50 Cent show. Now, don't get me wrong... he belongs in this film. Nothing against the guy, and he's certainly been involved in enough beef to warrant inclusion... but it's obvious the film dwells on every little thing he's ever been involved with and gives him heaps of interview time purely because he was the biggest star when the DVD came out. I mean, heck... just look at the cover. It starts out interesting; he has a fun anecdote about Jay-Z taking it to him after he released "How To Rob" (with footage from the event as well). But after a while it just got damn sick of hearing this dude, and his stories got pettier and pettier

So, yeah. Not an amazing film as a whole... but there's a lot of quality coverage, with a lot of interesting artists (I couldn't even count everybody they got on camera) from all time periods telling their stories in their own words. Definitely worth the view for any hip-hop fan.

Now, there's three sequels (or maybe there's even more, but Netflix just has the three)... My first instinct is that this is just going to be more of the worst of part 1. But hey, I was pleasantly surprised by this entry, so I'll definitely be giving those sequels a shot (each and every one of 'em), and report back. Watch this space.

Tags: Beef

Opening Your Records

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Tags: records

aoljembedAdd, aoljembedAdd_1

Don't Interrupt Me When I'm Whippin’ On My Bitch’s Ass

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Arrest the President, 14 Years Later

Now that we're under the administration of Bush #2, The Arrest the President All-Stars dropped a sequel to Intelligent Hoodlum's original "Arrest the President" in 2004 on Anticon, with a pic cover (enlarge the image and find Rev Rhyme!) riffing on the old We're All In the Same Gang album cover. The All Stars were made up of Pedestrian, Sole and Jel, who rhymes as well as produces on this one.

The whispered hook is the same; and the instrumental echoes the original... you hear hints of the signature sirens, but Jel fades them out quickly as he's actually crafted an all new instrumental for us, though roughly in the same energetically angry vein. It's a bit closer to the remix, I suppose, in that it has a proper bassline and is generally a bit more "musical," though it forgoes the scratching that Marley did in favor of a variety of vocal samples of everybody from Bobby Seale ("the long arm of fascist surveillance, reaching from the '60s into the present") to LL Cool J ("guilty, face down on the pavement!"). For the most time they alternate kicking four bars, but for the second "verse," they rhyme in unison, which kicks the energy up another notch. Then they split back up again for the final segment:

"Sole:
Blood against blood, he threatens neighbors with nukes
When he's reading his cue cards and punching the camera.
Don't look at the forest, he's burning it down for
The royal family and the prison landlords.

Jel:
We ain't the band for no campaign tour;
We rap to distract in these times of war.
We're not righteous, but might just make you want to listen...
Yo, I'm Elvis with the words of wisdom.[<--3rd Bass quote, kids]"


This single was actually one of those "double A-sides," and the flip is a Pedestrian solo cut called "The Toss and Turn"(both this and "Arrest the President" appear on his debut album, Unindian Songs vol. 1). Pedestrian describes the tune better than I surely could, "[f]ormally, 'The Toss & Turn' is all about appropriation: jel's music is essentially modeled after raw, early '60s novelty dance tunes (like 'The Funky Penguin') and the rapping is in the late-'80s, New York vein. Thematically, the lyrics modify and in some cases invert the associations of those two genres, so that it becomes a swingy, up-tempo song about loss, a conscientiously clubby song about solitude, and a clearly, coldly rapped song about anxiety." Maybe that'll strike you as a bit pretentious, but I gotta say it all works for me... Ped's staccato flow over Jel's funky beat is perfect; the theme is substantive enough to relate to, but simple and catchy enough to just enjoy as fun, too.

This record also comes with a formal, written apology [I can't be bothered to scan it; it's double-sided. Just buy the record.] for his past discography, which is pretty silly. I mean,. if he wants to apologize for something, he'd be better off apologizing for the vinyl exclusives that also appear on this 12".

There's three (not including the instrumental for "A.T.P."). There's "Resurrection Morning Sermon," a five minute literal sermon in his preacher character (continuing a series of skits from off the album). It's actually set to a dope beat by Jel, and there's occasionally some nice scratching during the breaks. But essentially the sermon is one long, self indulgent drag.

Then there's this weird thing where some guy named Adrian Bayless (I've no idea who he is, but apparently he owns a computer!) takes the "Toss and Turn" acappella and distorts it unto an indistinguishable series of noises for about a minute and a half. Then some sound effects fade in, and this continues on for a total of roughly four minutes. If you make it that long, god bless ya.

Finally, producer Odd Nosdam takes another stab at distorting "The Toss & Turn." He basically takes the chorus and one verse, turns the drums into some kind of awful, piercing mess, and lays it over an actually kinda funky organ loop. This one would be pretty catchy if it wasn't literally painful to listen to.

Anyway, you can't really complain since they're just "bonus tracks" on a 12" with two great songs on it. So cop that shit... right after you've copped the Tragedy, of course. Do it for yourself... Do it to support good music... Do it for your country. 8)

Unfortunately, I've no idea what Pedestrian is up to nowadays. I know he left the country for a while, and that he has a very uninformative myspace for his preacher character (Evangelist J.B. Best); but that's about it, and that's seriously old news. I think he did a little writing for one or a couple Anticon-affiliated projects recently ("cbf" as the kids say), so if you find him, remind him he owes us an Unindian Songs vol. 2 soon. He takes way too long between projects, and should be chastised at every opportunity.

Tags: Pedestrian, Arrest the President All Stars

Arrest the President

This was the third and final single off of Intelligent Hoodlum's debut album - after the understated "Black & Proud" and the commercial bid, "Back To Reality" with that whole Soul II Soul vibe - and undoubtedly the best. It seemed like the album had run its course, not unsuccessfully, when Trag and Marley snuck in this one final blow, which was easily the best track off the entire album (and his entire career, I'd say, despite my special soft spot for "Live and Direct from the House of Hits").

The production was like "Marley does The Bomb Squad." High pitched sirens, fast, banging drums and the occasional, gritty horn stab. And Trag just spits hard, fast and angry, only briefing stopping to repeat the line "arrest the president" a few times before kicking the next verse. It was the last song on the album, too; the perfect way to end was a little bit of a mixed bag... on one hand his most progressive track, on the other, a sort of a throwback to the sound of the raw, underground collaborations of Marley and the man then known as MC Percy.

There was a video, but it hardly got any play. The label and media had pretty much moved on already after "Back To Reality," which is a shame because it was a good video, too. The unapologetic message probably turned off some higher-ups, but with the proper promotion, I think this could have been a really big record in 1990. It's like this i the record they put out just in case they never got the chance to make another one. And it remains a classic to those Juice Crew fans in the know; but it definitely never became what it should have. In fact, the single never even got released.

The 12" was a promo only, with its hand-written label well-known to hip-hop collectors worldwide. Three tracks: "Assault Mix," "Predicate Felony Mix" & "Convicted Mix," and one crossed off: "Album Justice Mix." Despite throwing the word "Justice" in there, I'm going to assume that was just the album mix, so no big loss... we've all got it on the LP (and if you don't, get it now... I'll wait).

So we've got three mixes here. Two aren't anything to get excited about - despite the fancy monikers, they're just the instrumental and TV tracks ...although, this has to be on everybody's short list of must-have hip-hop instrumentals, so go ahead and get excited about that, too. Now, that leaves us withjust the one, basic (also Marley-produced) remix. You might ask yourself, why would you really want a remix to one of hip-hop's potentially greatest all-time beats?

Because they actually made it better. This isn't some crappy "New Jack Swing" remix, or just a slightly reworked "Blue Mix." It keeps the signature sirens, and even the same drum track. But now Marley is constantly cutting and scratching throughout the whole song (mostly a horn sample, but sometimes a vocal sample or two get cut in for a split second as well), and it's all laid down over a great, rolling bassline. Flat out, it doesn't get any better than this, folks.

As you might imagine, this record doesn't usually go for cheap... the combination of scarcity + greatness will do that. And, strangely, Traffic didn't see to fit this, or the other important 12" single tracks, on their reissue of the album... instead throwing on stuff like "Live Motivator?" So, anyway, definitely grab it when the opportunity presents itself.

I'm afraid I have no myspace links or anything for ya. After releasing his slightly presciently titled eighth album The Death of Tragedy last year, our man got locked up on a drug charge. According to sketchy online sources (hey, what do you want from me?), he's scheduled to be released in 2011. But that doesn't mean they still shouldn't arrest the president, too. :P

Tags: Intelligent Hoodlum, Tragedy, Marley Marl

Unreleased Slick Rick, Chapter Eight

My series that started in April 2007 and was last heard from that September is back! Though this time it's a little different. In all the previous entries we unearthed previously released Slick Rick releases that J-Love used for his barely mixed mix-CDs and called "Unreleased." But this time we're hit with a double LP that came out after the mix-discs (I think I prefer that term better) - it's brand new.

So, yeah, A.K.A Ricky D: The Further Adventures of Slick Rick is a just-released double Slick Rick LP featuring a boatload of rare/unreleased tracks. It comes in a picture cover (see image) and the track-listing is as follows:

A1. A LETTER
A2. CAPTAIN CAVEMAN
A3. CAN’T SHAKE US FEAT. SPECIAL K (KENNY DOPE MIX)
A4. FEELS LIKE

B1. WOMEN LOSE WEIGHT (ALCHEMIST REMIX)
B2. SLEAZY GYNACOLOGIST
B3. GAMBLING

C1. TROUBLE (J-LOVE REMIX)
C2. SAMPSON
C3. WORLD RENOWN (PETE ROCK MIX)
C4. GET A JOB

D1. IT’S A BOY (LARGE PROFESSOR REMIX)
D2. WOMEN LOSE WEIGHT (MORCHEEBA SPARE TYRE MIX)
D3. STAR TREK
D4. PRACTICE OVER AT CHILL WILL’S CRIB (1984)

So the first thing you should notice is that "Captain Caveman," "Trouble (J-Love Remix)" and "Practice Over At Chill Will's Crib (1984)" are first-time vinyl releases [edit: Whoops! Actually, the "Trouble" remix is from the earlier white label 12", so only the other two are first timers]. So, that already makes this a must-have. And, yes, these are all the full, unmixed songs... even the J-Love remix is free of J-Love's name tag being shouted all over it.

The sound quality, like the Ricky D EP, is a bit of a mixed bag. It sounds like a lot of post-production filtery-type work was put into making some of the poorer quality tracks sound clean, which makes the volume levels on stuff sound a little low or distorted. Some of the tracks sound perfectly fine (and they ALL sound better than on those mix CDs), but a couple tracks, like "Feels Like," do suffer.

Some of the titling is also borderline misleading... calling "Can't Shake Us" the "Kenny Dope Mix," while accurate (it was indeed produced by Kenny Dope), kind of suggests that this is a rare remix by Kenny Dope. But, actually, there's only one version of this song, which was always produced by Kenny Dope, and this is the exact same one that was on the original 2002 12". The same can be said for the "Pete Rock Mix" of "World Renown"... I defy you to find me a non-Pete Rock version. And just to clarify, both of the "Women Lose Weight" remixes on this album were on the original Morcheeba 12".

But the nicest surprise I found is that the "Star Trek" included here is actually the Large Professor remix that was featured on Legends 2.2; and not the original version as heard on the Ricky D EP. So rack up another exclusive for A.K.A Ricky D (and also a reason you'll need to hang onto your Ricky D EP).

Now there's still a few tracks I wish were on here, namely: "He Kills," the Marley Marl remix of "Kit, What's the Scoop?" and the unreleased version of "I Own America." And I'd've happily forgone the perfectly common stuff - like the "It's a Boy" remix, which has already been released and rereleased several times over, and the Morcheeba remixes - in their stead. But I can't pretend that I'm not very happy to finally have "Captain Caveman" and Extra P's "Star Trek" remix on wax... and that Chill Will practice session is a fun, vintage exclusive. Good times.