Louie Louie Conveys!

You might remember me talking a bit about the early 90's Chicago group Ten Tray before, on my post about the underground Chicago posse cut, "Put Down Your Guns." Unlike some of the acts on that single (including its headliner, JG), Ten Tray did manage to put out an album of their own, titled Realm of Darkness on Smash Records in 1992.

Well, that album spawned this single, "I Convey!" It's a good choice, as it's one of the better album tracks... lead MC Crunch comes with a very hardcore, practically yelling flow, in his angrily righteous way ("The oppressor helped me intimidate; Martin Luther helped me articulate; Huey Newton helped me to protest; and Elijah helped me rise above the rest"), sort of like a prototypical Freddie Foxxx. And DJ X-Ray provides some nice cuts. The beat's pretty dope... nothing that'll make you say, "oh, I need that 12"!" but, you know, the sort of track you'd expect MMG or someone to rhyme over.

But the jewel of this single is the remix. They managed to enlist Priority One's Louie Louie (a.k.a. Luis "Phat Kat" Vega), The 45 King's right-hand man, and man does he do these guys a hell of a favor! The beat is funked up a little, and at its core, it's not too drastically different (essentially the same bassline and all), just a bit toned down. But then he lays on top of that a few vintage jazz loops... that come and go throughout the song. The second verse as some nice funk guitar licks, and the hook features a very chunky sax riff, that extends into a full-blown solo after the final verse, played in tandem with X-Ray's cuts. And everything marries perfectly together - nothing sounds tacked on.

If they had this level of production on Realm of Darkness, they'd have a really sought-after banger. As it is, at least we've got one seriously under-rated single, easily available super cheap 'cause it's entirely slept on.

Hip-Hop On Your iphone part 2

(And the Youtube version.)

Hip-Hop On Your iphone, part 1

(And here's the link to the Youtube version.)

The Fresh 3's Fresh 2

The Fresh 3 M.C.'s were a cool but short-lived crew signed to Profile in the early 80's. Comprised of Unique aka Supreme GQ, Mr. Bee and Jay Cool, they were featured on as a part of Pumpkin's Profile All-Stars line-up for his well-known hit, "Here Comes That Beat!" in 1984.

But they're easily best known for their debut single, "Fresh," from 1983. It's been featured on, oh, only about half a million or so old school compilation albums throughout the decades, and one listen makes it obvious why. It's got everything. It has a classic, true school-style harmonized hook, which is instantly memorable: "F-R-E-S-H; fresh, fresh, yo, that's fresh!" And it's got some catchy, hardcore keyboards (can keyboards be hardcore? Apparently so!), and a funky beat full of hard drums and hand claps. The rhymes are fun:

"A girl walked up;
She gave a wink;
She said, 'I bet that your girl
Could use a new mink.'
I agreed with her;
She said, 'what size?'
I said, 'you'll do just fine.'
I had her hypnotized.
I then took her to the crib,
And with one last yell,
I had her and the coat
That she tried to sell.
'Cause I'm (F-R-E-S-H)!"

...But the delivery is tough. Remember, this is before Run DMC's first album made the hip-hop scene do a 180 (though their first singles were just coming out around the same time), so these guys were giving you the hardcore, pure rap style that the heads were fiending for. It also has some (not terribly impressive) scratching and it also gets at least a novelty mention in the Rap Hall of Fame for an amusing First: it's the first rap record to feature backwards rapping. This would be a lot more impressive if they actually worked out some backwards rhymes; but instead, after announcing, "we're so fresh, we don't have to rehearse. We can even rap to you, in reverse!" they just play the regular vocal tracks backwards. Still, despite being a cheap cop-out, I promise you, there's no one who was listening to hip-hop back in those days who doesn't remember that moment.

Not nearly as well remembered, but still kinda neat, is their follow-up single, "Have Your Heart" b/w "A Few Minutes More." It's produced by the same guys - oh, did I not mention them? Dave Ogrin, who did a lot of big-time production throughout the 80's and on into the 90's, co-produced both Fresh 3 M.C.'s records with Bill Moore, who did a few other things... but "Fresh" was pretty much his pinnacle. So, the production team is back, the 3 MCs are all back, still on Profile, ready to make another hit. What went wrong?

Well, probably that they went in the completely wrong direction, and made the A-side a love song. Now, this pre-dates LL Cool J's "I Need Love," so it's not that ultra-sappy whispered-word delivery kinda love song. Actually, the beat is pretty funky. But for a crew that boldly displayed a proto-typical boom-bap style the previous year, this just sent the wrong message. If they'd held out long enough to get an album, and then stuck this on there, I think it could've found its audience, but as it is; it's a pretty obscure follow-up from a veritable 1-hit wonder group.

But, really, it's pretty (dare I say) fresh. They come with multiple, short upbeat verses over another a very head-bodding beat. Again, it's full of funky synths, handclaps and tough drums; and the hook is harmonized again "We're gonna have your heart, have your heart, have your heart, girrrrl... we're gonna tear the place apart!" In fact, except for really veering off on the subject matter, they're sticking pretty doggedly to the formula, but it still sounds different enough to be more than just a sequel.

Still, someone must've known a love song was going to alienate some fans, 'cause the B-side features a simpler, more rugged beat: no synths and the hand-claps are tweaked to almost sound like additional drums. And they just spit freestyle rhymes, passing the mic back and forth without even a hook. And it probably would work, to some extent, to appease fans they annoyed with the A-side. But considering the A-side went in the wrong the direction, and the B-side is too raw to really have gotten much radio play, most "Fresh" fans just didn't hear it.

Fortunately for us, though, both records are cheap and plentiful. So hindsight being what it is, it's easy for us to go back and:
A) enjoy a true classic
and
B) appreciate a funky little sleeper that's really a lot better than it's given credit for.

Yo, that's fresh!

Live & Direct From the House of Hitz

Just put up a new review for Diggers With Gratitude, check it out here (direct link). Apparently, this is also their 50th review, so woot! =)

By the way, for anyone still curious about that Teac GF-350... the sound samples on this review (and my previous DWG reviews) were taken from it... then just tweaked a bit in Audacity when I uploaded 'em.

B.K.N.Y.

This is a pretty cool, little 12" that's usually found pretty cheap.  It's by the production team known as The Heatmakerz, who've done work with The Diplomats (primarily), Melle Mel & others.  It's a 2-song 12" (plus clean versions and instrumentals), but it's pretty much all about the A-side.

Like you can see in the labelscan there, it's an unlikely - but effective - between M.O.P. and Big Scoob (as in Kane's former dancer, yes).  Fortunately, by this point, Scoob was past doing the cartoon-voice schtick he adopted around the time of Daddy's Home, and has actually put out a series of underrated, indie 12"'s.  Including this one.

Taking a gripping, head-nodding sample from the Conan the Barbarian soundtrack, and laying it over some slamming drums, The Heatmakerz make a solid foundation for M.O.P.'s high energy - well, shit; you don't need me to tell you how M.O.P. do.  The Heatmakerz almost ruin the hook, though with a super annoying chorus sung by... female singers? Kids? I can't even tell. Fortunately, M.O.P. do their own hook right over that shitty one, so once you get used to it, you can readily ignore it.  And for a while, it looks like Big Scoob is just gonna be relegated to playing back-up to M.O.P. (who definitely don't need it), but eventually at the end of the song he kicks a slick verse.  Flat out, the song's a banger that sounds good the first time and grows on you even more with repeated listens.

The b-side is kind of a throw away: "Back In the Building" by Hell Rell of The Diplomats.  The beat's alright and tries to inject some energy, but after the A-side, it's pretty underwhelming.  Hell Rell's flow is pretty simple and punch-liney, but without any particularly clever lines to back it up.  The hook is so subtle, you won't even realize when he switched between hook and verse unless you're paying close attention to the lyrics.  He does have fun with the delivery of a couple lines, though.  I mean, his verse is okay... the instrumental is okay... the hook is okay... you could ride along to it if someone played it in the car or on a mixtape.  But in a world where there's, like, eighty bajillion rap songs in existence now, and more being made every day.  It's not worth your time going out of your way to listen to it.

So forget the B-side, but pick this up for the A-side.  ...Not every producer can make a record that supports M.O.P.'s high-energy delivery, but these guys did it right; and Big Scoob's involvement just sweetens the pot.

WARNING: Not for the Feint of Heart!!

Today's mail:And inside::(

Fear Of the Rap!

Update 9/27/11: The HHC site seems to be down, so I've posted the article below... Click 'em to enlarge 'em to a readable size.

The latest issue of HHC Digital dropped today (here's a direct link), and with it the premiere of my new HHC column, Fear Of the Rap! (I'm page 13). It's all about focusing on the overlooked in hip-hop... the dope, the obscure, the not-so-dope-but-still-interesting... In other words, probably exactly what you'd expect from me in a monthly column. 8)

Helluva FInd

This is a testament to the record collecting truism: whatever you're searching for, just wait long enough, and eventually you'll find it. I have been looking for this one for-freaking-ever, or more specifically, since December 1994.

That's the month that Rap Sheet printed a review of Rappin' Is Fundamental's independent comeback single on "Sole Survivor Records."  Now, this was back before you could just dial anything up on the internet, so it was pretty damn tricky to find an indie 12" if you didn't live in a key city with a dope hip-hop minded record store in it. So, it's no grand statement to say that I wasn't able to find this in stores when it dropped (though, believe me, I was checking).

Finally, in the early 2000's, I posted on the Vinyl Exchange boards in a thread where we discussed if rumored records even actually existed.  Somebody actually had a copy, and though he was hanging onto his, he hooked me up with label scans and sound clips, which both proved it existed and helped set me straight on some key details.  See, I had been looking for a record of "Helluva Guy" (see the review, right).  But that's actually the B-side.  The A-side is "You Ain't Really Down."  They also list the label as being "Sole Survivor Records, rather than the correct Soul Survivor Records... which isn't a huge deal, but will certainly mess up any online searches if you're looking for one and typing in the other.

Well, anyway, I finally got my hands on a copy this past week.  And, in the end, it wasn't even too expensive (thank goodness, considering the current state of economic affairs).  Oh yeah, and it's great!

Now, I don't know why the reviewer is carrying on about how "RIF hooked up with Producer Easy Moe Bee," considering Bee is a founding member, and has always been one third of the group.  But he's spot on with his praise, "carefully singing along with the rap while the slow funk beat rolls smoothly. Fat bass and pure 1960 sounding soul music combined with '94 hip-hop sets it off lovely."  This is some of the best work by everybody involved, and when it comes to production from Easy Mo Bee, that's really saying something.

This 12" features two killer, soulful tracks and two perfect performances by RIF. "You Ain't Really Down" was my immediate favorite, but "Helluva Guy" has grown on me to be right up there. The different flows and voices, the harmonizing, the super smooth jazz samples... shit is killer. The rhymes are a bit simple, but who cares? It sounds great. And they don't stick to a simple "rap the verse then sing the hook" formula. They kick new, different harmonizing routines throughout the song, sometimes for just a single line. And yet it's still straight, 100% hip-hop... no lame-ass "neo-soul vibes" here.

It's really a crime that these guys never put out a second album. But at least there's this. And this is great. Seriously, this is some of my favorite shit ever. RIF, if you're reading this, you need to reunite. ...And also put out any older, unreleased material you've got in the vaults. I know you've got some, dammit!

The Capital K P-O-N-C-E

So, I was going back over my Fresh Kid Ice review I wrote for Hip Hop Isn't Dead, and I realized I made a pretty obscure reference without any kind of explanation. Basically, I started talking about K Ponce (who appeared on a track on that album) as if everyone would know who he was. But don't feel bad if you didn't, because that's a pretty obscure reference even for me.

K Ponce was a Miami rapper signed to Never Stop Records in the late 80's. In fact, besides the Fresh Kid Ice appearance, the only songs I know he had was "Go Like This" on a label compilation, and this, his 1988 single, "It's Time, Shake It Down." It's pretty good, though. :)

This is a very Miami-sounding track, alright, with deep (though not of the Magic Mike subsonic variety) bass, fast drums and a variety of upbeat samples. There's two versions on here (three, if you count the instrumental), but they're not very different from each other. K-Ponce is a solid MC - his lyrics won't blow you away, but they're fast and well-enunciated, with a clean, direct flow.

The strange part, though, is not his rhyme pattern and delivery sound like they're distinctly patterned off of "Ice, Ice Baby." And the background vocals (shouting back the last word of key lines, etc) are, too. And I mean, it's obvious enough that it has to be deliberate. Except... "Ice, Ice Baby" didn't come out until 1990, almost two years later. So I submit to you that actually Vanilla Ice had to've taken the flow from K Ponce (not surprising, that the only good thing Ice has managed in like 10 albums would be borrowed). And it follows, since they're both from Miami; and over the course of his career, originality has always been Ice's weakest point. But seriously, the lyrics are different, but listen to the two songs in a row and tell me one didn't come from the other. I don't think you could do it. Either he stole it, or K Ponce ghostwrote it or something.

Anyway, the track isn't much like "Ice, Ice Baby," and as a whole this record is a pretty different animal. So don't let Vanilla Iceophobia keep you away from this (though you will notice the similiarities).

On a related note, Max recently forwarded a message he received from my review (which is why I got to rereading it... see? it all comes together), "My Name is Tesfa Baruch. I'm the Tesfa featured on this track. Thanks for the review. I still make music." So, based on that, I did some googling and found out all about Daddy Tesfa. It seems like he's mostly performed live, rather than putting out records, but he released an independent album in 2007 called Familyman. He's now going by the name Waryah Priest, and here's a link to his myspace.

Oh, and finally on an unrelated note, one of the members of China Down, an old school Boston-based hip-hop duo, has been commenting on my Boston Goes Def post. They're the ones who did the song I referred to as being possibly the weirdest hip-hop song ever, which is no small thing. So, check out the comments, she breaks down a lot of nice history that even Boston heads will probably find educational.

Sing Along With The Jaz

Remember, back in the day, when Jaz used to give interviews and he'd say, well, he was only so invested in this hip-hop thing, because he was also a singer? You know which Jaz I'm talking about, right? Jay-Z's sometimes partner/ sometimes bitter rival, "Hawaiian Sophie," D&D Project, "The Originators," later changed his name to Big Jaz and Jaz-O? Yeah, him. Well, this is that singing record.

This comes well before "Hawaiian Sophie." It's his first solo record, although he did do the High Potent record the year (rapping). But this is the first record flat out by The Jaz. It dropped in 1987 and was actually put out by Tommy Boy Records. And, yeah, he's straight singing through the whole thing... he doesn't even drop in one of those perfunctory Bobby Brown mini-raps during the breakdown.

So, how does he sound? Well, his voice sounds just the same as you've heard on all his hip-hop albums. And he doesn't have great range... plus, he's a little atonal. Or maybe just off-key. I think it's safe to say when he went back to rap he found his true calling.

But wait; I like this record! No, I really like this record. It's co-produced by The Jaz and Fresh Gordon, who's always been hit or miss. And it's straight 80's, no doubt. It's almost freestyle, but not quite. So, don't get me wrong; you might really hate this. But if you like records like Dino's "Summer Girls" or "Barbara's Bedroom" by Whistle, then this is right up your alley, and a really nice example of how this style of record was done. It's a funky bassline, bongo drums, hand claps, keyboards, sound effects played on a synthesizer... There's even a little electric guitar at key points. I guess the word for this one would be "bouncey."

Lyrically, the concept's simple, too. He's in love (natch) and isn't willing to share her with another guy who keeps coming between them.

If you're in your 20's or younger, you should probably just steer clear. Check out "I Believe In Music" instead. But me? I've got this cued up right after DJ Stef's 80's freestyle mix on my ipod. =)