Shadez of Brooklyn

It's a shame that a crew like Shadez of Brooklyn, who sounded so ill and had such break-out success with their debut single - I think I could safely use the word "beloved" in relation to their hit, "Change" - only managed to put out three 12" singles before disappearing. Well, in 2010, Chopped Herring Records has finally rectified that situation with the release of their Pandemonium EP.

To be clear, this isn't new material by the group reunited; this EP consists of 5 previously unreleased tracks recorded in 1996 and '97 (which means they actually predate Shadez' second and third singles). And like their previous singles, all the tracks here are produced by Da Beatminerz, so don't expect any disappointments. Only one of the tracks, "Everyday Livin'," has ever been heard in any capacity before - it was included on an Evil Dee mixtape. But, like the other songs, this is the first time it's being released in a full un-edited/blended capacity.

Really, if you're familiar with the Shadez of Brooklyn's previous output (and you really ought to be), all I need to tell you is that this is every bit as good as their past singles. Production-wise and lyrically, any one of these songs would have fit perfectly on their previous 12"s. The voices, the flows, the way the MCs play off each other going back and forth over hot beats with killer piano loops and fresh cuts from crazy comic book records... it's all here. In fact, the opening track, "Now a Dayz," seems to be a sequel to their original B-side, "Survival Wars;" with a hook that goes, "Now a days/ You've got to live in a certain way/ Watch what you say/ Here comes the gun spray/ East to west, South Shore to North Shore/ We told you before/ This is the time of survival wars." And "Pandemonium" is presumably the song they named their record label (Pandemonium Wreckords) after, so it's nice to finally get to hear it.

And in addition to those five unreleased joints, they also threw "Change" on here as a bonus. I can't imagine many people who'd buy this wouldn't already have "Change" on vinyl, but just in case, here it is.

As you can see in my scan, this comes in a nice sticker cover, and it's limited to 300 copies. It's still available (mine just landed today) as of this writing directly from the label's website: choppedherringrecords.com. The limited releases don't get much more essential than this one.

Remembering the Gifted

Following the recent loss of one of hip-hop's most esteemed MCs, Guru, we're celebrating his work over at DWG with a series of reviews of classic Gangstarr 12"'s. Mine just went up now. I picked a more recent one than you might expect, but hopefully you'll find it a fitting choice.

Mad Child's Early Days In a Jazzy Hell

What the Hell is the group Mad Child was in with DJ Flipout before he created Swollen Members. They dropped this single, followed by an album, on Tandem Records in the early 90's. Now I'm not gonna front like I was rockin' this back in '93. Like a lot of indie hip-hop fans, my head was blown when Swollen Members came out of seemingly nowhere with a series of amazing 12"'s (and eventually albums). So I looked into them and found out about this earlier project, and thanks to the miracle of the internet, picked up used copies of the album and single cheap.

Predictably, he sounds younger here, and the Swollen Members atmosphere that's especially present in their best work, is absent here. But his distinctive voice is unrecognizable, and while this doesn't sound like a Swollen Members-minus-Prevail record, it's still pretty nice. Imagine Pharcyde kicking naighty rhymes ("oh yeah, it's really important that you don't fill out a statement!") over DITC production, and you've got a rough idea. It features a nice Beastie Boys sample cut up on the hook: "The girlies I like... are underage!"

We're then laced with two exclusive remixes of "Young Girls," the Rogie Mix and the Manooshi Mix. The Rogie Mix is so named because it's produced by a guy named Rogie Swan; and the Manooshi Mix is called that because it's produced by a guy named... David Christian. haha I dunno. Anyway, the Rogie mix is pretty cool. It uses the same crackly old horn sample, but slows it down about 50% and adds a little extra instrumentation (vibes especially)... it gives the whole thing a moody, soulful feel. That kinda clashes with the subject matter, but it works if you don't think about it too hard.

Conversely, the Manooshi Mix speeds things up. It uses a cool bassline that kinda sounds like "Cool Like Dat" or "Juice (Know the Ledge)" but played at triple time. Even the vocals are sped up considerably, giving the MCs cartoony voices (think Big Scoob when he rapped with that awful accent or B Real)! If you just heard this song on its own, you might think you'd accidentally set your turntable to 45. This one's jazzy, too, with some more scratchy old samples and nice drums. Long story short: the production is surprisingly good, and the rhymes are juvenile but fun.

Finally, the B-side rounds out with two more tracks taken from the album, "Summer Styles" and "Down Like This." After "Young Girls," "Summer Styles" is more of the same (which is good). Classic, jazzy style production and high-pitched raps about the summertime. There's a lot more scratching provided by a DJ Ajax which is nice, cutting up the same vocal sample 3rd Bass used for "Steppin' To the AM" ("What time is it?!"). And everything I just said about "Summer Styles" can be said about "Down Like This" except this time they're kicking harder battle raps.

Seriously, the production on this 12" is surprisingly good. In fact, I would say great. Even if you're thinking "ah, I don't care about this indie, art fag rap type shit. Just give me Freestyle Professors' '94 and leave me alone," check this out. I think you'll be really surprised and have to add this to your collection or wishlist.

1, 2, 3, the Crew Is Called Jam Rock Massive

What we have today is "Stop the Violence" by Jam Rock Massive & Krs 1 (not to be confused with "Self Destruction" by his Stop the Violence Movement, which was named after this song). This was released independently on Massive Records on 1988, and has that classic B-Boy Records feel.

Now, you may remember that "Stop the Violence" was featured on Boogie Down Productions' second album, By Any Means Necessary (also 1988). Of course you remember: "I say: one, two, three/ the crew is called B-D-P/ And if you wanna go to the tip-top/ Stop the violence in the hip-hop/ Y-Oh!" In fact, they released it as the second or third single (not sure if "Ya Slippin'" came before or after it), with a colorful picture cover and everything. But this is the original version, that didn't wind up getting put out by Jive/RCA Records.

Well, this mix is the one for sure. I don't know why Krs bothered to remix it for the album, except possibly they felt every song on a Boogie Down Productions album should be produced by them on principle? Because production here is credited to an R. Stafford... which I guess is a government name for one of Jam Rock Massive? Anyway, it's still got that funky, reggae vibe, but this version has a different, much funkier bassline; and while it doesn't include the horn section from the album version, which was decent, this one has an ill horn clip that sounds like it was sampled off a turntable with a busted belt. Fortunately, both versions feature that silly Caribbean library tune that comes in after he says "the president's on vacation," though. :)

This 12" just has the one song, but it's fully-loaded with all the elements: Extended Version, Radio Version (which is about a minute and a half shorter), Instrumental and Acapella. There's no picture cover like the major label version, but it does come in a bright red sleeve, which is coming close.

I wish I had more info to impart on who Jam Rock Massive is exactly... All the vocals are pretty much Krs-1's except possibly some back-up on the hook. And they never released any other records that I've ever heard of. It's also possible it's a fake name... in the May 1988 issue of Spin Magazine, where they write, "the single's sparse underproduction and relaxed pace make it more exciting than anything on the album," Krs-1 replied that it was just "a bootleg of a demo recording." But whatever it is, it's dope.

InstaRapFlix #27: Black and Blue: Legends of the Hip-Hop Cop

It's been over two months since my last InstaRapFlix review, but I'm still workin' it. Today's is a little different than the ones I've been looking at lately (using the term "lately" loosely, I admit)... It's not a vanity piece for a Southern rapper, it's not approximately half an hour long. This looks like a real hip-hop focused documentary film. Black and Blue: Legends of the Hip-Hop Cop has a rating of 2.5 stars on Netflix, which is high for an InstaRapFlix movie. What can I say? Guess I'm usually attracted to the trash. But have I elevated my standards this time, or is this really just more of the same?

Well, it's a QD3 (he did the Beef DVDs) Productions from 2005, and it's narrated by Saul Williams. It's from 2005 (though Netflix dates aren't always the most accurate) and opens with a clever credits sequence.

It starts out with a sequence about how rappers are profiled by cops. It features a pretty impressive line-up of rappers addressing the topic - everyone from 50 Cent to Biz Markie. But it gets more interesting when it gets into how The Miami Herald [Hey; I once wrote for them!] first caught word of a police department specifically gathering info on hip-hop artists. Impressively, they interview the staff of the Herald, the cops, lawyers... this is a thorough doc. Anyway, it all eventually boils down to the fact that almost all these hip-hop related police efforts are directly connected to one retired police officer named Derrick Parker, who calls himself the hip-hop cop.

Soon (and we're only about 15 minutes in), the film transforms into a glorified vanity piece on Derrick, who gives a series of interviews, drives us around in his patrol car (retired officers still drive patrol cars? silly movie fakery), and they even do a cheesy 70's cop-show sequence for him. Any airs of this being a "legit documentary" breaking any kind of important story soon blow away, and we're left with a silly puff piece of Derrick boasting about what rappers he's performed security for.

After about the first half hour, it gets pretty dull. It's a Derrick shows us pictures of him at Jack the Rapper with Heavy D, his dad shows us around their apartment, his former boss talks about what a good cop he was. All that's cute, but the bulk of the film is just Derrick talking and talking with not much to say. It was a real test to my dedication as a reviewer not to start fast-forwarding through a lot of this.

Oh well. Started out promising, and slid down hill, slowly but surely. I can't even say it's worth the free watch, because it IS long. And goes nowhere, flailing around without a point. Blah. Maybe the next one.

Fat Joe da Gangsta

It's DITC Week over at Diggers With Gratitude, where each writer is reviewing a classic DITC album. Mine just went up today... an album I hadn't played in a while, but enjoyed going back to: Fat Joe's Represent.

Masta Ace's Lost Tapes

(Youtube version is here.)

Sharper Than Your Kitchen Shit

You know a label is rugged when they misspell their own name on their record label. Well today we've got Stratus (or Sratus, depending where on the label you look) bringing us the raw with a dope, indie NYC 12" from the 90's. This is the first and I believe only release by Strippoker (and indeed the only release on Stratus), titled "Reign Supreme." To be honest, I hadn't heard of it until I stumbled across it being sold cheap online. It features Craig G, so I figured worst case scenario, I'd be padding out my Juice Crew collection a little more. But no, turns out this is hot.

It's a three-song 12", and all three are produced by Art Well Smart, a name I've never heard of and that does not inspire confidence. But whoever he is, he's provided three simple but solid street-level beats. The A-side, "Reign Supreme," features Craig G, DV Shines, and DJ Sinista - possibly Mista Sinista from The X-Men? Anyway, it comes in three versions: Street, Radio and Instrumental, and it's a winner. The beat features your standard hard drums and bass with a cool Spanish guitar loop, some atmospheric samples, and killer, creative scratches on the hook. All three MCs come nice, but Craig G steals the show with some surprisingly tough lyrics:

"My words are sharper than your kitchen shit.
I'm a Mac-11, fifty shot clip in it,
Hollow point rhymes blazed down your block -
Nobody witnessed it!"

The first B-side is "QB To CO" [I believe that's referring to Corona in Queens NY, not Colorado], which also comes in Street, Radio and Instrumental versions. It's not quite as good as "Reign Supreme" - it's short a killer verse from Craig and without the nice cuts from Sinista, the track isn't quite as compelling - but it comes close. It's got a dope piano loop which reminds me of some early Jedi Mind Tricks material, but with a nice scratchy old sax sample on the hook. The label doesn't credit anybody, but there's a second MC on this song as well (maybe DV Shines again?). Whoever he is, he and Strippoker actually comes a little tighter on this track than the last one, I think:

"I be where the crooks and the thieves rest,
Crackin' St. Thug and puffin' on mad bless.
If you got beef, we be comin' to your address,
Runnin' in ya crib with the gats, 'causin' madness."

The last song is a little bit lighter, and only comes in one version: "Black James Bond." In the tradition of classic songs like "I Go To Work" and "I'm Large," this is another hip-hop track that incorporates James Bond theme music into a hip-hop beat. Lyrically, he's mostly just busting more ill freestyle rhymes ("I wet niggas up like girls' drinks") rather than any crazy "The Mission"-type Bond stories, but it's a fun track regardless.

It's a shame this 12" seems to be so slept on, 'cause it's a definite winner. So it's a real disappointment there was no follow-up. But considering most people (myself included) didn't even know this one existed, I guess we should just add this nice sticker cover to our crates and be happy. :)

Juicy '89

(Youtube version is here.)

Malcolm McLaren In 1990

I just found out that Malcolm McLaren passed away earlier today... He's not necessarily "a hip-hop guy," in that he's surely better known for his work with rock, punk and pop bands. But thanks to his involvement with The World Famous Supreme Team, he does share credit for some cornerstone hits in the genre, including "Buffalo Gals" and "D'ya Like Scratchin'." But instead of the obvious, I thought I'd take a look at one of his more overlooked hip-hop projects.

Now, it's not news to say that a Malcolm McLaren project is kinda weird, but this one is really weird. It's an album he recorded on Virgin Records in 1990 called Round the Outside! Round the Outside! It's credited to Malcolm McLaren Presents the World Famous Supreme Team Show he title is of course a reference to the chorus of their 1982 hit "Buffalo Gals:" "all buffalo gals go 'round the outside, 'round the outside, 'round the outside!" The title is a throwback and the reference to the WFST is a throwback; but the throwback content of this album is relegated to just two tracks that come towards the end of the album, "Buffalo Gals II (Remix)" and "World Famous Supreme Team Radio Show (Remix)." Both are a lot of fun... they're never gonna replace the originals, but they're good mixes with some new scratches and breaks that make for fun alternatives. The most marked difference in "Buffalo Gals II" is the addition of an R&B singer (Seduction, apparently, from the credits) who enthusiastically belts out a epic rendition of the "it's a pity that you're so dirty" portion. It's a lot of fun.

Those two remixes, however, mark the only appearances by The Supreme Team as we know them: See Devine and Just a Lot of Superstar [as their names are spelled here]. The rest of the album is a collaboration of a new hodge podge of artists, both known and unknown - would you expect anything less from Malcolm?

The first song was also the first single, "Operaa[sic.] House!" As you might not expect even though they're pretty upfront about it in the title, it's a house track with opera-style vocals provided by Mona Lisa Young, best known for her songs with The World Class Wreckin' Crew. Some of her vocals are original and kind of your typical club diva style, but further into the song, she gets into covering some actual, classical opera arias. But if that isn't out there enough, just wait! There's also a rap duet on this song, performed by none other than the great Grandmaster Caz and Sparky D. Yes, the original Caz and Sparky.

That's Sparky's only appearance, but Caz and Mona Lisa Young are actually all over this album, contributing to several songs apiece. The other most prominent recurring artist on this album is Low Profile's DJ Aladdin. He even has a solo song at the end of this album, "Aladdin's Scratch," and unlike Aladdin's own albums, this album really showcases why he's a world champion DJ, adding killer cuts throughout the album (for some reason, on his own albums, he never once touched the turntable!).

So that's your main line-up. Some other singers, a spoken word poet, and a rapper named MC Hamlet also appear. I suspect Hamlet may be an alias... he only appears on a song called "II Be Or Not II Be," and outside of this album, I've never heard of any MC Hamlet. Actually, there are short bios in the liner notes. Will that shed any light on this mystery? Well, his reads, "Dancin Black Indian Poet. II Be Or Not II Be!! From Alaska to Venice Cali that is the question: 'is it more noble of mind this decision to die and lie still for lifes ills and torture.'"[again, sic.] Yeah... sounds like a made-up bio for a made-up rapper to me; but who knows? It doesn't help that whoever wrote the bios doesn't seem to be terribly well-informed... did you know that Grandmaster Caz was "part of the TREACHEROUS THREE?" Me either.

So what else is on this crazy album? Well, there's the aforementioned "II Be Or Not II Be," where MC Hamlet turns a section of Shakespeare's Hamlet into a rap. There's "Romeo and Juliet" (which was the second single) a Grandmaster Caz solo song (essentially... there are some uncredited R&B vocals on the hook), which is basically a play on his classic "Yvette," but changing the name Yvette for Juliet. I mean, literally, he kicks the exact same lyrics including the infamous "somebody's comin'" line from "Yvette."

There's a song called "World Tribe" which has basically the same instrumental as Special Ed's "The Mission," but with female R&B singers and some extra instrumentation instead of any raps. And there's "Un Coche De Agua Negra," which is a combination of singing, spoken word poetry, Aladdin scratching a lot of records and none of it's in English (though I could male out another reference to "Romeo and Juliet" in the lyrics). Crazy.

The rest of this album is padding. In fact, if you count the classic Supreme Team records being remixed as padding (which really they are), more than half of this album is padding. "Diva Loves Operaa House!" is just another version of "Operaa House!" minus the raps, and "Wherefor Art Thou?" is another version of "Romeo and Juliet." Even "Aladdin's Scratch" is him getting busy over the "World Tribe" instrumental (Aladdin's version is awesome, though). So, really, basically, there's just five original songs on here.

So it's really not hard to see why this didn't catch on... a crazy mix of house, rap, and r&b with VERY pretentious, heavy-handed attempts to get the kids into opera and Shakespeare. Then add in the fact that most of this album is unnecessary remixes and filler, and you've got yourself a pretty tough sell. Oh, plus MC Hamlet is corny as hell.

But the good moments: Aladdin getting busy, fun (if recycled) raps by the one and only former Cold Crush Brother (you hear me, liner notes guy??) Grandmaster Caz, and Malcolm McLaren's insane musical flourishes makes for a pretty enjoyable listening experience. I mean, you know what? Mona Lisa sounds pretty damn good singing opera over a funky house track. This album should be a huge disaster, but it's not. Quality production and genuine talent from the artists involved turned even this colossally bad idea into a damn enjoyable listening experience. And that was the magic of Malcolm McLaren.

Girl, You Know You Want It!

It's time for another DJ Magic Mike single, I think. Today's is "Get On It Dog Gon' It" from 1994 on Mike's own Magic Records. That's right, no more Cheetah Records. This is the year Magic Mike struck out on his own, releasing his music on his own label. This is the single off of the album Bass Bowl, a generally disappointing album overall, going a bit overboard on the speaker-testing rumblings and light on the incredible scratches and the rhyming.

Fortunately, however, "Get On It Dog Gon' It" has both. This is one of the few tracks not produced by Mike himself, but rather one of his Royal Posse members, DJ Chief, who also provides some of the scratching (along with Mike himself). Unlike a lot of the mainly instrumental content of the album, this song is a more traditional number, with three verses by Posse member Daddy Rae, broken up with a shouted hook ("Get on it, dog gone it! Girl, you know you want it!") and some nice scratching of Salt-N-Pepa's "Push It" ("Ow!"). For the most part, it's not a stand-out song in Mike's catalog... it's a very standard Miami bass cut, with very the staple samples every Miami bass artist had already been using for years... the bulk of the instrumental. In fact, is the same as The 2 Live Crew's "Move Something" but with ultrasonic bass notes. And Rae's rhymes dedicated simply asking the girls to shake their booty to the song. There's a fun moment, though, where Mike himself takes the mic to spit his own verse at the end ("I'm like Jenny Craig 'cause you know I knock off the pounds").

But the highlight comes on hook and especially the breakdowns. The cuts are are fast and furious - of the "holy shit!" variety - and he changes the flavor by bringing in some classic old school breaks. And the effect is amplified on the 12" exclusive Club Mix, which doubles the length of the song. This mix really turns a good song into a great song, sometimes just letting the beat ride, and other times providing extra cuts.

But if you're bored 'cause the beats are too familiar, the B-side has Mike's Funk Mix, which swaps out all the samples for ones you've never heard before. Personally, I prefer the original - there's a reason the old tried and true standbys became the tried and true standbys - but it's a cool alternative. The B-side also includes the instrumental of the original version.

This isn't necessarily one of Mike's best songs... the breakdowns are a real highlight but otherwise he plays it too safe. But hard drums, deep bass, competent rhymes, fast breaks and wicked cuts always add up to a winner. And Magic Mike himself must've liked this one a lot. Not only did he pick it for the single, but he returned to it a few years later with "Get On it Girl" on The Ghost Is Back album (his reunion album with Vicious Bass) and again with "Get On It ('98 Style)," on Scratch & Bass.