Answer Record Week Day 6, Finale: Crucial's Conflict

(Youtube version is here.)

Answer Record Week Day 5: The Streetz Take Over Jay-Z

(Youtube version is here.)

Answer Record Week Day 4: If Dre and Snoop Were Truckers

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Answer Record Week Day 3: Kid 'N Play vs Run DMC

(Youtube version is here.)

Answer Record Week Day 2: LL Ain't That Type of Girl

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Answer Record Week Day 1: Bad Boys and Girls

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PMD's Original Squad

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Get On the Short Bus

The 90s was the decade of "the soundtrack movie," where some film deals were structured as much or more on the accompanying soundtrack album, and the profits that could make, than the film itself.  Having trouble getting your movie financed? Buy a couple original songs from some popular rappers and parlay that into a studio pick-up. It started with some hip-hop-related films having hugely popular soundtracks into films that didn't even necessarily have to exist because they were just an excuse to make high selling compilation albums. From Above the Rim to Tales From the Hood, the album's have longer lasting legacies than the movies themselves. Even Warren Beatty put one together (remember Bulworth? Or are you just picturing the music video for "Ghetto Superstar?"). The movies got cheaper and cheaper (consider Master P movies, and their knock-offs) because it became more and more apparent the movies were just excuses for record labels and Hollywood to cross-pollinate funds and eventually the well ran dry.

Now, it would be unfair to say every soundtrack movie is a poor film; but there was an ever increasing stigma attached to them, and it's hard to call that undeserved. And that stigma is probably why Spike Lee never really made a film with a fully hip-hop soundtrack. He was classier and careful to project the image of a higher profile film-maker. But because he was always in tune with hip-hop and working with some of its best artists, it put us heads into a regularly recurring rough spot: do I want to buy this full album of stuff I don't care about just for one or two good songs? If you're not a jazz fan, the buying the full soundtrack to Mo' Better Blues just for that (excellent) Gangstarr song was a tough pill to swallow. At least "Crooklyn Dodgers" and its sequel from Clockers were released as singles. Bamboozled had about four songs and one of them was a Charli Baltimore track; so you really felt like you had to grossly overpay anytime you wanted just one or two songs.

Get On the Bus is another perfect example. Anytime a Spike Lee joint comes out, you have to run and check the soundtrack to see what we've gotten; and in this case there were three rap songs amidst a see of R&B, from Curtis Mayfield to Earth, Wind and Fire. But what tempting rap songs... A Tribe Called Quest, Doug E. Fresh and Guru. And remember, this was 1996, back before seeing Guru's name meant "produced by Solar." Every time I went to a music store I'd pick it, reread the track-listing and consider it; but I never pulled the trigger. And I'm glad I didn't. Because when I got older and hipper to getting my hands on DJ vinyl, I found otu about this ideal promo EP.

Get On the Bus Sampler is an official promo release from Interscope which features all three of the hip-hop tracks. Plus the D'Angelo song, because I guess they wanted to fill out the side with something and they figured he was "pretty hip-hop." But let's get into the rap songs because all three are nice and exclusive ...though Tribe's would turn up on a compilation album or two down the road.

The Tribe song is "The Remedy." Again, even if you never heard the soundtrack you're probably familiar with this song; but this is where it originated from. The label (to the EP or the full soundtrack) doesn't mention it, but it also features Common. This was from Tribe's fourth album era, when the group was starting to split, so there's no Phife on here, and the track is co-produced by Jay Dee. Fortunately, Jay's talents were enough to rescue what might have otherwise been a sinking ship; and the fact that this is on the soundtrack of a film about the Million Man March seems to have inspired some extra thoughtful and substantive lyrics from Tip and Common. So troubles or no, this winds up being a very compelling, funky little Tribe song that could fit easily onto any 'greatest hits' compilation.

Doug E. Fresh's song is either called "Tonite's the Nite" or "Tonite's the Night," depending on whether you believe the label to the EP or the full soundtrack. Personally, I prefer the EP's dual-'Nite" titling, just for the consistency. 1996 would put this well after Doug's New Get Fresh Crew phase, but this song still features Miss Jones on the hook. It's definitely on the pop side, and the hook is a bit much, but it's nicely produced by Clark Kent who's made a really suitable track for Doug to rock over. with some fresh and catchy samples and an upbeat but funky vibe. It definitely sounds more modern, but none the less captures the spirit of The World's Greatest Entertainer album, especially when the Chill Will and Barry B start scratching over the funky bassline.

Finally we have Guru's "Destiny Is Calling." And no, DJ Premier isn't on the boards. It's actually produced by... Permanent Revolution. Whoever the fuck that is. They've made a sitar-heavy track which is interesting but doesn't really click. It's okay, and Guru tackles some serious topics. But then again, his lyrics and delivery are pretty simple and choppy, with forced rhymes like "dollars" and "swallow." It's not bad, but definitely disappointing for all of us who've heard album after album of Gangstarr before this. You know this could've been a lot better and a really powerful call to change our society, ut instead it's just "meh."

But even with that little disappointment, this is a very sweet little EP. I mean, it's a must-have for the Tribe song alone, everything else is just gravy. And while I could see other heads not getting on board with it, I was pleasantly surprised by the Doug E. Fresh song. I'm really happy to have this in my crates, and extra pleased that I never wasted more money on the full soundtrack. And you know, eighteen years later, I honestly can't remember if I ever saw Get On the Bus or not. I can picture flashes of it, but those might just be from the trailer...? I'm not sure. But I'll remember "The Remedy" for the rest of my life.

Disco Rick Meets The Grumpy Ole Man

(Youtube version is here:)

Raheem the Vigilante Raps for King Ad Rock

In 1989, when The Beastie Boys had just exploded into mainstream popularity with their Def Jam records, corporate America was watching. And just like they've attempted to cash in on young pop stars' popularity by casting everyone from Elvis to Vanilla Ice in their own films, so too did King Ad Rock get to star in his big budget star vehicle. And really, if you watch any of these movies - from Britney Spears' Crossroads or Eminem's 8 Mile all the way back to Mamie Van Doren's Untamed Youth and before - they're essentially the story. Underdog youth has major family issues and runs counter to the status quo/ authority and usually specifically the law, only to discover the specialness within themselves, choose good friends over bad friends and overcome their circumstances. It's pure teen pandering, of course, since that's who these movies are aimed at, since their casting their heroes.

Well, Lost Angels is no exception, it's got every cliché in spades. Ad Rock comes from rich Californian parents who don't understand him. They're divorced and treat him like an outcast because he's in a gang (who strangely pretend to be Latin), even though he really doesn't want to hurt anybody and is just following along because of peer pressure. He falls in love with a bored rich girl (her mom tells her to clean her car, so she drives it into their swimming pool), who seems out of his league, but really she's just another troubled teen in with the wrong crown. He gets into a gang fight and there's some legal scenes which really make no sense if you think about them (his father walks into juvenile court with a paper bag full of pills his mother is abusing, dumps them on the floor, and so Ad Rock is sentenced for having them, even though nobody even suggested he they were his). So he's sentenced to a silly juvenile detention center, where Donald Sutherland is the one good doctor who cares about the kids and teaches Ad Rock to be a good person, while ironically learning the same lessons apply to his own life as well... essentially the Robin Williams role in Good Will Hunting.

It's all dopey and trite and very 80s. It's full of voice-over monologue of Ad Rock pontificating about what jerks adults are, and gang members who look like the cast of Fame. Despite it all, some scenes are well directed: well shot, dramatically staged and with good use of music, probably because it's directed by Hugh Hudson who directed Chariots of Fire, as well as some more questionable films. But his talents are usually evident even if his stories are sub-par. Sutherland is easily the best actor in the show, when we finally get to him. Other cast members seem to be struggling with just how straight or broadly to play it: are they satirizing clueless parents and doctors or playing real people? Some seem to have chosen A while others tried for B. And Ad Rock himself? It's a pretty bland, low key performance, but for a non-actor, he manages to slip through most of the drama without embarrassing himself.

Lost Angels is a fairly obscure film these days, and most people who know of it only do because they're diehard Beastie Boys fans who've tracked it down .But in 2012, it was finally released on DVD... or at least DVD-R, in its proper widescreen aspect ratio through MGM's MOD program. So you can at least order it in its OAR from places like amazon.

Still, If you're going in hoping for any Beastie Boys music, prepare to be disappointed. He doesn't rap at all in the film. They do show that he's a graf writer and so still kinda hip-hop, and his gang always hangs out in a big nightclub. So there's heaps of opportunity to shoehorn in the ol' typical scene where his buddies shove him on stage and he shows us how he's this artistic phenom, and at the same time makes the girl fall for him (he instead does this just by dancing with her). But no, there's none of that. There's also no original Beastie Boys song written for the title theme, or even a teensy clip of "Fight for Your Right To Party" playing in the background.  No Beastie music at all.

There is a lot of pop music and even a soundtrack album, but it's all stuff by groups like Happy Mondays, The Cure, Soul Asylum and The Pogues. There's only one rap song on there at all, and it's actually by Raheem. The Raheem who used to be in The Geto Boys. Fortunately, it was also released as a single, so you don't have to buy the whole crappy soundtrack album to check it out.

The song is called "Self Preservation," and it's not on either of his albums, though it's still been released by A&M Records and Rap-A-Lot. 1989 would put it a little closer to The Vigilante than The Invincible, and it has more of that vibe to the song. Produced by Bryan New, who did a lot of big stuff for Jive Records, and Rap-A-Lot regular Doug King, it's pretty hard and message-oriented, though a little too guitary for my hip-hop purist tastes. But it's got nice, huge drums and the guitars are at least scratched in samples (Jimi Hendrix, I believe), not some studio musician noodling around. It's sort of like early Paris or Esham would use guitars in their early work - in fact, I'm pretty sure they both have sampled these exact same riffs - and they're cut up during the hook; so overall it's actually pretty strong.

Raheem raps from a more negative perspective of a disenfranchised youth fed up with the system... I'm not sure I fully subscribe to this theory, but it's possible that he's specifically written this song for the film and is rapping as the main character. But he does refer to himself as a "vigilante," and he doesn't really follow the film's plot or get too specific with the references. In other words, he doesn't rap, "my crazy girlfriend actin' the fool, just drove her car into a swimming pool," which is good not just because that line would be awful but because it makes the song relatable and effective outside the context of the Lost Angels movie.

The 12" features a couple different mixes. They're all essentially the same music and lyrics, but you get an Instrumental and a couple different edits of the track. Most notable is the Dirt Cheap Edit, which is a pretty substantially extended version, doubling the length of the song. So that's just another reason you're better off with the 12" rather than the full soundtrack album. Because "Self Preservation" is definitely at least worth checking out, which is more than I can really say for Lost Angels.

Neila and Vrse... Finally in 2014!

Holy cow - it's finally here! That Neila and Vrse Murphy EP they've been promising for years and years... Here's a post I wrote in 2009 saying that it had been so long, I guessed the EP was never coming. So it's been five years since I was giving up hope on it, I don't even remember how many years it's been coming in total. And it just dropped now. I'm still mentally processing it.

Undedicated (or Udnedicated, as it's spelled on the front cover) is an eight-song EP, though the intro and outro are under two minutes each, so maybe you could count it as seven songs. They're not just little skits, though. The closer is a full vocal and instrumental song, the title song in fact, and it's actually one of the best songs on the album. It's got a really rich sound, a simple but effective hook... it's just based around a single verse as opposed to the traditional three. The intro, on the other hand, really is more on an "intro" than a full song. Again it features some of the strongest production, but instead of Neila rapping it just features a fascinating spoken word poem over the track, which does a great job setting up the tone for the album.

If you're a hardcore fan, you've heard two of the songs before. Neila shared her then unreleased collaboration with Vrse, "Stone," on her Youtube channel four years ago... Something else I took as a sign that this full EP would never come out. A moody track that reminds me of Neila and Vrse's first song together from her debut EP all the way back in 1998. And at another stage, a song called "Felt Again" (sometimes titled "Felt Dos") was set loose on the internet. It's an updated version of their stand-out track on Neila's 2004 album For Whom the Bells Crow, naturally called "Felt." I call it an update more than a remix, because it essentially retains all of the same music from the first version, but adds new instrumentation and singing to it, fleshing it out even further. It's also about double the length. The original vocals are carried over to this new version, but she's also sneaked an all new verse into the middle. Anyway, it's great that these two songs have finally found a home besides simply "out there" on the 'net.

And so that leaves four more songs, and some of us might've been a little apprehensive, expecting some half-assed studio scraps culled together to fill out an album. But no, these are all top shelf songs that stand alongside the best of their work on past albums. Well, mostly. Personally, I wasn't really feeling the music for "Swamp," which stands far afield from the rest of the EP, replacing the lush musicality with a main loop that sounds like it's made out of computer sounds from some 80s sci-fi movie. Don't get me wrong, over the years Vrse has already proven himself a master of more than just the one style heard on the rest of this EP. Plus, there's a funky little breakdown where the beat changes up for the last verse, giving the song some life for the finale. And it's all technically done well enough, with a fresh drum break underneath it all. Neila's still rocking it. It's just not... enjoyable? It's just the kind of loop to make you think, eh, what else is on this album?

But that's alright, because the answer is plenty.  When Neila raps about feeling hung over in "Blue," it feels like she's crossed over into Hoop world. Meanwhile, the pair is never more in sync than they are on "Fence." And "Black" may be the break-out song everybody falls in love with like "Felt" was for the Bells Crow album.

Taking all these years to release an album is really setting up your audience for disappointment. It's why Dre is scared to release Detox. And as a fan who's been touting Vrse and Neila as one of the best possible match ups since Jeru and Premier, I'm thrilled and relieved to report that this is it. This is in no way a let down, but exactly what we've been waiting for. An Illmatic not a Stillmatic, and finally having it in my hands has me smiling like the drawing on the CD cover.

Oh yeah, that reminds me... The difficulty is that it's apparently an extremely limited CD, so you'll have to put in some serious due diligence to actually obtain a copy. Neila's been selling copies to her fans through facebook; but I haven't seen them available anyplace else yet. But if you're a Neila and/or a Vrse fan, I can assure you that it'll be worth the effort.  =)