The Masta Ace Pic Disc U Missed

(Youtube version is here.)

It's Broaden Your Horizons Day!

Remember Cheese Steez? It was a mixCD of hip-hop from the Netherlands I reviewed a couple years ago by Chris the Wiz and DJ Fozx. It was a fun mix of stuff most of the world wouldn't have been familiar with, and a nice upbeat education. Well, they did a sequel in 2013, called Cheesesteez Vol. 2, and anyone who appreciated that one should be just as happy with this one. This one, which also goes in chronological order, encompasses a shorter period of time: 1988-1993, which gives the disc a more consistent tone.

This volume is also free of skits and has zero Dutch language songs (the last mix had 1), so there's even less reason for English listeners to feel left out. Admittedly, there was a song or two where I had to listen pretty closely before I realized they were rapping in English, because the cadence was so un-American. But yeah, it's 100% English friendly.

Another interesting aspect of this mix is that they've broadened the scope of music they've included from Dutch hip-hop released on vinyl to include rare cassette and demo tracks. So this time even the most plugged-in Dutch listeners won't have heard it all before. Speaking for myself, I'm sure I wouldn't have recognized anything they might've included unless it was "Holiday Rap." And no, this time Miker G and Urban Dance Squad aren't on hand, so they're pretty much all unknown acts (in the USA) this time around. But even having never heard of any of these guys, I'm sure you'll find a lot of familiar elements here, with the artists often rhyming over familiar beats, like D.C.O. using the same base sample as Partners In Kryme's "Undercover" (though they laid a little extra music on top of it), DJ Knowhow and Rudeboy Remmington freaking Kool G Rap's "Talk Like Sex" break, the Pleasure Posse rocking the classic "It Takes Two" loop, or Next of Kin spitting over the bassline to "Groove Is In the Heart."  Plus, as you may've noticed from that last sentence, some of the acts are recurring from the first Cheese Steez mix.

I'm not sure how many of the records spun here will actually inspire you to run out and track them down for your crates, but to hear as a part of a mix full of interesting songs you've probably never heard before, they're consistently compelling. There's less silly stuff this time around, like the last CD's song about pizza, although the Zombi Squad's ainti-Nazi song will probably sound over the top to audiences where neo-Nazis never achieved any traction or credibility. Maybe the strongest selling point is all the nice scratching on hand. Couple that with some high energy deliveries and hype tracks, it's a really dope mix even if rappers aren't quite up to your favorite MCs. Seriously, even if you're like, "ah, I don't give a crap about Dutch rap," I recommend giving it a listen - I think you'll be pleasantly surprised.

Like the first volume, this CD is a limited edition. But you can still cop it, as they're selling brand new copies directly through its discogs listing. And if you have any interest in Dutch hip-hop at all, you should check out their site cheesesteez.com, as it's a pretty great database, including bios, photos and songs from the Netherlands' old school hip-hop scene.

Doug E. Fresh Vs. Masterdon and Friends

(Youtube version is here.)

The Complete Return Of Omniscence, part 2

Okay, so we're back with our coverage of Omniscence's new material. After Sharp Objects in 2013, GRR released a second EP, 2014's The God Hour. It's structured pretty similar to the last EP in that there's an EP of new songs - this time bumped up to 6 - and then that's doubled to LP length with all new remixes. This time the production feels a little tougher, with more emphasis on the boom bap. It's a little more New York, with a slightly darker, more serious tone all around, although Omniscence is still kicking punchlines and clever, complex rhymes. And Debonair P's still on the production and scratch hooks.

So on the one hand, you've got "The Return (Of the Oneliner)," on this EP, but you've also got lyrics like, "while they pay for love, ours' genuine, And I see it each and every venue we in. Put your O's in the air and hold 'em there, then close your eyes as we hold a prayer for the soldiers. I ain't talkin' Uncle Sam; I'm talkin' bout the ones holdin' that contraband. I'm talkin' bout the ones workin' that graveyard, 'cause they couldn't make enough on their day jobs." It's close, but I expect heads will wind up preferring this to the previous EP.

Once again, you've two versions of the vinyl, 150 on a clear gold and black mix, and 150 on a red and blue splatter. And they both come in the very cool, full color picture cover. The EPs have all 6 of the new songs, and remixes of four songs. Then there's an extra limited orange cassette with all six songs plus remixes for all six songs (the vinyl is missing the "Purge" and "Show and Prove" remixes). This time there's no instrumentals, though, on vinyl or tape.

And we have to take a quick pit stop here to look at another EP that GRR put out at the same time as The God Hour: Truck Jewels and Filters by K-Hill. K-Hill, you may remember, was the other North Carolina MC who did a guest appearance on Omniscence's Sharp Objects. It's also produced entirely by Debonair P, though it's got a distinct feel from Omni's stuff. Omniscence does a guest appearance, though, so fans will want to check this out for that. I mean, heads should check it out anyway, because it's good. But even if you're only here for the Omniscnece, then completists will need this.

It's a four-track EP; and like the other EPs we've been looking at, it also features an alternate remix version of every song. I feel like Debonair's cutting is given a stronger emphasis on this release, which is definitely a plus. And there's also a guest verse by Prince Po I should point out. K-Hill himself actually has sounds a little more old school than Omni, with that kind of "super lyrical" backpacker-style flow. But you know, not the super nerdy sci-fi type; definitely more down to Earth. That's probably for the better, although one song about quasars might've been nice. haha

The K-Hill EP also comes in a dope picture cover, as you can see, and is available on 150 copies of clear (clear) and black vinyl, and 150 randomly colored copies. I got a random one and it turned out to be pink with blue streaks. All four songs and all four remixes are on the vinyl. There's no cassette this time around, but there is a CD, which also has all eight tracks, plus hidden bonus track, which is a second, alternate remix of "Whenever I Write."

So those EPs came out right at the end of 2014 or so. Now, in 2015, there's a double CD compilation album, also called The God Hour, that has the same cover and title, but it's actually a little misleading and selling itself short. The CDs actually sum up the original God Hour EP and the Sharp Objects EP and even the original "Raw Factor 2.0" 7". It It lists 22 tracks, but there's actually 2 unlisted bonus tracks on each CD for a total of 24.  Edit: Derp, 22 + 2 + 2 = 26, not 24.

It basically breaks down to the original version of every song from each EP, including "Raw Factor 2.0" on disc 1, and then the corresponding remix to each song on disc 2. That might be a little confusing, since the original version of "Raw Factor 2.0" wasn't on the Sharp Objects EP, it had a new remix. But on here, it's the original from the 7" single. Then, on disc 2, the version they use is the remix from the 7" B-side. But don't worry, you get that jazzy third remix from the EP, too, as one of the uncredited bonus tracks on disc 1.

The other bonus track on disc 1 is the bonus remix of "Ease My Mind" that was only on the cassette and instrumental EP.  Back over to disc 2, and the two extra tracks are the bonus remixes of "Letter To the Better" and "Welcome," the other ones that were only on the Sharp Objects cassette and instrumental EP. So that means, this CD set gives you the full "Raw Factor 2.0," Sharp Objects and The God Hour packages (well, minus the instrumentals), with every song and every single remix that was featured on any version of those releases. Believe me, I'm sitting here with a pen and notebook paper, writing down every single uncredited bonus track, in case anything was missing or exclusive to a particular release. I've got 'em all on my desk and I can confirm, it's all 100% there.

So obviously, if you're a vinyl head, you'll still prefer the three EPs, and some of us old school collectors will want the cassettes. But if you're happy with CDs, this release is way more than just The God Hour pressed on CD, it's a complete archive of everything Deb and Omniscence have collaborated on for GRR Records. Oh, except that bit on the K-Hill EP; you'll still have to get that separately.

The Complete Return Of Omniscence, part 1

So, I've pretty thoroughly covered all the great releases that've resurrected Omniscence's lost 90s material, both rare and unreleased. But apart from his initial "Raw Factor 2.0" single in 2012, I'd been kinda putting off getting into all the new stuff he's been doing in the last couple years. If you've been missing it, the resurgence of his music has basically propelled a full throttle comeback, which has been running right alongside the reissues this whole time. But with the arrival of his latest double CD collection, I think it's time to finally break it all down.

The first record - or cassette, which is what I went for - to follow up the "2.0" 7" was the Sharp Objects EP in 2013. It's essentially a five-song EP to start us off on the idea of new, modern Omniscence music. But Gentlemens Relief Records packs it so generously full of bonus tracks, remixes and instrumentals, it (depending on which version you get) winds up being longer than most LPs. And really, the first thing to address even before we get into specific songs or colors of vinyl, is just this: how is new Omniscence? Does it sound like his old stuff? Will fans of his classic material really want to hear this, or is it just gonna piss 'em off and disappoint people.

And the answer to that question is pretty much exactly what you want it to be. It sounds like he never went away. This isn't some low-fi recording of him trying in vain to imitate Bobby Shmurda or some other popular teenage rapper over awful, computery tracks emailed to him by some random myspace producer.  He sounds like himself, he's got production to match, and yet he's not completely stuck in the 90s either. He's got rhymes for now. And sure, this is somewhat throwback rap. He's definitely trying (and succeeding!) to recapture the magic of the singles that made him famous in 1995. So this EP would sound out of place in a Youtube Playlist of Fetty Wap and 2 Chainz videos. He's embracing the style he mastered - which I think is what we want all artists making a comeback to do, rather than chasing fads.

A big, big chunk of the credit has to go to his new producer, Debonair P, who conveniently runs his label, GRR. In the past, I raved about how much I loved his production style for his group Low Budget. Well, this shit sounds nothing like that stuff; but it's great in another way. It's way more mellow, smoothed out and subtle... and very much in keeping with the kind of music Fanatic and them were making for Omni back in the day. I've heard that remix EP Deb released long before he started working with Omniscence, though, so I know he didn't just pull this sound of the air when that collaboration started; it was always in his wheelhouse. It's just with, with Omni, he's finally found a home for it. 'Cause this style fits Omniscence more than it did those other songs he was remixing. Deb P is also nice enough on the turntables to provide a lot of very Premier-like scratch hooks.

So this EP features four brand new songs, plus a new remix of "Raw Factor 2.0." And just to clarify, I mean a NEW remix, because the "2.0" single had a remix on the B-side. But that remix isn't the one on here either; it's a third, exclusive remix. This one's much jazzier, especially thanks to the big, summery horn sample that opens the track up. I feel like it takes it further in the direction the first remix was going in a cooler, more laid back alternative to the original.

"Welcome," as you might expect, is an introduction to Omniscence. HE tells the story of his life, lays down where he's coming from, and eases us into lyrical style by keeping it subtly rather than showy: "my world off the rocker but I keep it within. Fuck a spoon, I'ma show ya how to eat with a pen." "Ease My Mind" feels like a sex song he wrote in the 90s and just never recorded 'till now. It's basically built on the same loop as Gangstarr's "Gotta Get Over," which is sure to make it a fan pleaser. "Letter To the Better" is the kind of old school reminiscing track we've heard many times by now, and it's got an R&B girl on the chorus which is a little on the nose, but Omni manages to keep it authentic and respectable. "Church and State," from it's title, sounds like it's going to be the preachy message song of the record, but it's actually his hardest, most skill-flexing song. It features a guest verse by a fellow NC native K-Hill who sounds pretty good and holds his own alongside Omni, which isn't easy.

So, in a way that's the whole EP... But then you've got the remixes. Every single song on here is featured a second time, with an entirely new instrumental. There's actually two remixes here for "Welcome," "Letter To the Better" and "Ease My Mind." For the most part, I tend to prefer the original versions; but the remixes are all distinct enough that you can basically listen to the whole EP like it's twelve different songs. And I do prefer the remix to "Ease My Mind," both because it has a funkier, bouncier track, and because it replaces the sung chorus with a new scratch hook with a sick Big Daddy Kane vocal sample. Another cool thing which keeps the remixes fresh is that "Church and State" replaces its second verse, K-Hill's, with a new one by a new guest MC named Paul Bunyun. That's a terrible name, but his verse is alright. He sounds like one of those guys you hear on a Detroit posse cut when they have a million MCs on it.

Sharp Objects came out in a couple different versions. There were two vinyl EPs, 150 pressed on purple translucent wax and 150 pressed on blue swirl, both of which came in picture covers. The only downside is that two of the bonus remixes - the second "Welcome" and "Letter To the Better" remixes aren't on them. They're only included on the very limited cassette version, which has the same cover art and is made of gold plastic. What's more, all twelve of those songs fit on one side of the cassette, so all of the instrumental versions are included on the B-side. But if you think it sucks that vinyl lovers had to miss out on the instrumentals, a separate instrumental record. Limited to 150 copies, it also featured the two bonus remixes from the cassette. So yes, if you copped both vinyl EPs, you could have everything, just like with the cassette.

...And jeez, I didn't expect my coverage of just the first EP to run so long. I wound up having more to say than I anticipated. Well, I'm just going to have to break this up into two posts. So come back tomorrow (or, latest, the next day) for Part 2, because there's a lot more of Omniscence's return to get to.

The Critters Without Bobby Jimmy

(Youtube version is here.)

Izniz Is Back With the Ill Behavior

So, having just gone through the elaborate history of Ghettolandz and The Madness, you might think that was the end of the story. But not quite. Producer Izniz has one more unreleased project getting resurrected: Ill Behavior. Ill Behavior is another group Izniz was a part of/ producer for, and unlike Ghettolandz and The Madness, they never had any records out. But with the interest in his work now generating from those other groups, he's putting Ill Behavior's lost demos out now, too, this time through Heavy Jewelz.

So Ill Behavior is a 3-man group with Izniz and two MCs: Homicide & Zoo Man Crash. Days Of Sin is a vinyl EP of demos recorded in 1994, which means it actually predates all those Ghettolandz and Madness records. This is the earliest and rawest material.

Heavy Jewelz points out how Wu-Tang inspired they are, and that's certainly hard to deny. But they don't sound like another Sunz of Man/ Killarmy spin-off group. They're just another very hardcore east coast indie hip-hop group. I don't see how they couldn't be inspired by 36 Chambers at that time, but they also lean a bit more to the Onyx side with their wild, grimy, sporadic shouting deliveries. But they're thankfully less cartoony than most of those Onyx knock-off types (nobody yells, "Captain Caaaaaaaveman!" although Zoo Man does come dangerously close to a "yabba dabba doo" at one point), and Izniz provides some really gritty but high quality production. Like, "Pushed Up," with banging drums and sparse horn samples and a subtle piano loop... If Onyx had production like that, they would've stayed popular through the late 90s.

Oh, except for the title cut "Days Of Sin." That totally sounds like a Wu spin-off group cut. Certainly the ODB-vocal sample in the background brings it home, but it totally sounds like a Wu-song anyway. The instrumental sounds like classic Wu, and I think they've even subtly shifted their delivery style to be a bit more Wu-like on this one. Oh, and "Assed Out" sounds like Homicide is channeling a little Meth. And that's not a criticism at all, they really capture everything that was great about vintage Wu without any of what bogs down modern Wu.

That includes brevity, which gives this EP a tighter feel. I mean, the three songs on side A combined are less than 10 minutes, and side B isn't much longer. They're in and out pretty fast, leaving you wanting more. If they could've cut Better Tomorrow down to this length, they might've had something there. Just sayin'.

So, like all Heavy Jewelz releases, this is a limited pressing, with 100 copies on white (white) vinyl, 100 on black, and 75 on a black and white split. It comes in a really awesome, black on black embossed cover, with raised letters. It looks very cool in person but unfortunately doesn't scan or photograph that well (look really closely at the picture above, though, and you can spot it). It also has something we rarely see even with these fancier limited runs, an inner sleeve with full, double0-sided artwork. Anybody who sees one of these in person is going to be impressed.

Still, if you're more of a CD/ cassette person, I have to point out that Cross Market has your back. They've released Days of Sin on both formats with an extra, seventh bonus track called "Who Wanna Do What," and it's another banger. Fortunately, Cross Market's prices are quite reasonable, so you could cop the vinyl EP and pick up a CD or cassette on the side just for the bonus track without feeling hard done by. Recommended if you like that raw, early 90's east coast street sound... and who doesn't?

The Madness Over The Madness

It's time... no, it's past time that I talk about what's been going on with The Madness. The Madness is a group long known for releasing one rare and sought after "random rap" 12" in the 90s: "Sad Songs" on Royal Madness Records. It came in a sticker cover with one of the best logos for a hip-hop group ever. It's often been referred to as a NY 12", but the area code of the phone number on the label notes tells us they're actually from New Jersey. And thanks now to the internet, we actually know a whole lot more about them and their unreleased stuff has even been released on CD, vinyl and cassette in recent years. So let's dive in.

"Sad Songs" was Royal Madness's first 12", but not their only one. They also had a couple singles by a group called Ghettolandz, and if you read the label credits carefully, you noticed that they seemed to have a couple members in common. Well, the short version is that Ghettolandz is a 2-man group, consisting of the MC Naji and the producer/ DJ Izniz. Ghettolandz actually came out before The Madness, but on a different label: Ghettolandz Music. Then The Madness single came out, and then some more Ghettolandz joints, and that was it for their 90s releases.

So, essentially, Ghettolandz was the core, and The Madness was their extended posse. You know, like The UMCs and the Ill Demonic Clique, or a bajillion other examples. And the "Sad Songs" label wasn't too helpful telling us who all the other members were, but they did have a co-production credit for "Naji I God I Right," just like that with no breaks or punctuation. So it wasn't even clear, how those names broke down. Was "I God I Right" all one guy? Was Naji billing himself here as "Naji I?" There were a bunch of  possible combinations, but thanks to their reemergence on the internet, we now know line up is: Izniz, Naji, I God, Original Blackman, Shyheed, and I Right. Both songs here are produced by Izniz and written by Naji, I God and I Right.

To think, years ago I almost sold this record very cheap, and now it's a $250-300 record. I actually reviewed it for DWG years ago (with soundclips 'cause that's how those reviews went), and I think that may've been at least partially responsible for the revival of interest in their music. Sadly, DWG's reviews are no longer up, so I'll quote from it here:

This is exactly the kind of music you think of when you think rare, indie NY 12”s from the 90’s… rough, slow drums and a sparse piano loop; and hard, no frills rapping.  Think Shadez of Brooklyn meets Mobb Deep, minus the flash.  It’s got a simple but engaging hook, and each verse is another story of a young life gone wrong by a different member of Madness.  [Naji] starts things off:

“I was thirteen years old when I wanted Nintendo.
I asked my old earth and she said, ‘no.’
Her only excuse was you, ‘needed school clothes,
A roof over your head; you need to start settin’ goals.’
But I chose
To run the streets and skip school;
Shoot pool at the arcade, actin’ cool.”

This track only comes in a Radio Version and Instrumental, but it’s okay, since none of them seem to do any cursing here anyway.  The B-side, comes with a Radio Edit and LP Version (but no instrumental).

And that’s good ‘cause they curse a lot on the B-side, “Punishment.”  Where “Sad Songs” was a “concept song,” with a narrative and a message, “Punishment” is just each MC catching wreck.  The deep and thudding bassline stands out above all else, though there are a few atmospheric samples in the mix keeping things lively.

So, since that time, a lot has been going on with The Madness music. While they only released this one 12", apparently they had more in the vaults to release. Lost Records made a deal with them and released an EP called Undaneath The Sun, an EP which repressed the original 12" but also included three previously unreleased tracks recorded in the same time period, "Strictly Madness," "95 Was Live" and "So Many Suckas." They put it out on cassette and different colored vinyls... a really nice release.

Unfortunately, Lost Records got lost: not filling orders, not responding to customers, not responding to the artists... I've reviewed a couple of their releases, but unfortunately, they seem to be no more and there's a lot of bad business in their wake.

So, Izniz started his own label called The Cross Market and has released the material on vinyl, cassette and CD on his through their own bigcartel store. You can even get a special "Fuck You Ivan valuepack," which includes all three formats plus a hoodie.  ...Ivan is the guy who ran Lost Records.  And Izniz has taken things even further, also releasing more Ghettolandz material and a full length Madness LP called Rays Of the Sun.

Rays Of the Sun features all the songs on Undaneath the Sun, both the original "Sad Songs" cuts and the demo songs. Plus, it has six more vintage, unreleased Madness songs: "Imagine This," "Rain Storms," "Strictly Madness," "Remedy," "Intergalactic Tactics" and "Exposed To the Game." They released it on CD and cassette, both of which are still available as of this writing. They've also got some nice tees and hoodies with their logo, plus signed versions. The only downside? No Rays Of the Sun vinyl.

No vinyl until Chopped Herring jumped in. They've put out a six-song vinyl EP called Intergalactic Tactics 1995-1996, which features five of the songs from Rays Of the Sun, specifically: "Intergalactic Tactics, "Rain Storms," "Remedy," "Imagine This" and "95 Was Live." So that's one of the demo cuts from Undaneath the Sun and four of the exclusives from Rays. And, making it more exciting, the sixth song is another vintage Madness song that hasn't been featured on any of those past releases, "Won't Be Around This Year," based on the Craig Mack line.

It's worth pointing out, too, that Chopped Herring has also put out two vinyl EPs of the Ghettolandz material, called  Ghetto Conspiracy Vol. 1 & 2, to go alongside the Cross Market CD and cassette release of the Ghettolandz album, The Concrete Jungle '95.

So it's been a long, twisted journey, but The Madness's music is finally properly released, and available in every format you could ask for. Who could have predicted all of this would jump up after I reviewed that one, little random rap single those years ago?

The Overlooked Comeback of Rob Base and DJ E-Z Rock

(Youtube version is here.)

Cold Chillin' Terminators, part 2 - Toasting With MC Shan

So yesterday we looked at a couple Terminators from the very beginning of Cold Chillin'. Now today let's look at a Terminata from the last days, 1994. Not counting represses and those Traffic reissues, Cold Chillin' stopped putting out music in 1996, ending with singles by their last few hanger-onners, Big Scoob and Shanté. But 1994 was kind of the last year they had a broad roster, signed new artists and still generally seemed interesting in putting out a variety of artists like a legit label. All their big Juice Crew artists had moved on, but '94 was still the year of The Genius, King Sun and Madame Starr. Essentially, it was the last year they were trying new things. And that included the first and last single by Terminata, "Get Bizi."

So most people probably have no idea who he is by this point, however Terminata wasn't a complete nobody, and in fact had worked with Cold Chillin' before. You might remember a short lived subsidiary Cold Chillin' started in 1992 (and ended in 1993) called Livin' Large Records. And one of the artists they signed to that imprint was YZ, making his post-Tuff City comeback. He'd changed his style drastically, but it was actually a really hot album. Instead of the smooth, calm flow over the more melodic Tony D production, he came back rough and ragga over some really phat, hardcore instrumentals. And the first big single off that comeback album was the song about his comeback, 1992's "The Return Of the Holy One." And if you look at the credits on that 12", the Fonta Leaf Splif Mix says it's featuring Terminator. In fact, he can be heard on the Original Flavor/ album version, too. And yep, that Terminator is the "Get Bizi" Terminata.

So, if you remember "The Return Of the Holy One," you might be saying to yourself: I thought YZ was the only guy rapping on that track. And you'd be right, and he's also the guy saying, "it's the return of the holy one, return of the holy one" over and over on the hook. But the guy doing the rugged ragga chatting in the background? That's Terminata.

And so yes, "Get Bizi" is more of a reggae record than a rappity-rap one. But it's definitely meant to fit into that mid-90s hip-hop/reggae blend that was going on. He even got an American rapper, and Juice Crew All Star, to produce and write the music for him: MC Shan. Shan had also put a couple singles out on that Livin' Large imprint - good ones, too - and was surely feeling confident making a reggae record after he turned "Informer" into one of the highest charting reggae hits since Bob Marley in 1992.

But "Get Bizi" was never going to be a big hit, and not just because Terminata wasn't as white as Snow. It's basically just really simple and repetitive. It's got a funky, old school reggae bassline and Terminata's voice sounds great once the the NY hip-hop drums kick in. But musically it's very understated and when you try to get into it, there's actually very little to the song. He has some short verses, but the hook is like 75% of the songs, where he just keeps saying "_____ get bizi 'pon the flex." It doesn't help that his verses are mixed pretty low, but I really think this was meant more as to be just a quick something for DJs rather than a song to blow up. Like a modern day "Shake It To the 61st," where they expect a DJ to just sample the line that applies to them, so like a New York DJ would cut up "New York posse get busy," and a west coast DJ could cut up "LA posse get busy," or just let the rest of the unassuming song play as filler. That probably explains why the only other version on this 12" is the Acappella.

The B-side, "Sex" is a little more of a full, lush song. It's got very New York hip-hop drums with another old school reggae-style bassline, though this time it's less prominent, played under some screechy horn samples and stuff more reminiscent of the YZ stuff. But it's still bouncier and more reggaeish than that album. If you're a fan of hip-hop styled reggae from this era, I'd say "Sex" holds up pretty well alongside the stuff that was actually getting the airplay in 1994. Again, it would never be another "Informer," but if it hadn't been buried as the B-side to a completely obscure, un-promoted 12", I think it would've gotten some spins.

I mean, personally, I would've liked it a lot better if it had a verse or two from YZ or Shan, but I'm admittedly a total hip-hop guy who listens to rap pretty exclusively. Still, though, I think this record would've lasted, at least in knowledgeable hip-hop circles, if it had a credible rapper or several alongside Terminata. I mean, lyrically, he's not saying anything anyway, just "champgagne-ah, that's what I sip." So there's definitely room to cut some of his stuff and get some names on there. But oh well.

Like The Terminators' record, Terminata's "Get Bizi" is more of an interesting detail in Cold Chillin's history than a great, must have record. But his story doesn't end here. Terminata still performs under then name of Terminator Six, and before I end this post, I think it would be interesting to take a quick look at his press bio (which can be found here, here and here), since it has a few interesting claims, including:

"Terminator Six is the first Reggae entertainer to sing a duet with a Rapper." and "the first to connect Reggae Artists and Rappers together." Well, that doesn't seem right; but let's see... Shabba Ranks' duet with Krs-One was 1992, the same year YZ and Terminator came out. So maybe Terminata was first. Super Cat with Heavy D was '92, Likkle Wicked and 2 Live Crew was '93. He did seem to be at the forefront of the trend. I mean, certainly hip-hop and reggae had blended earlier, if you think of guys like Daddy Freddy, or Shinehead being produced by Jam Master Jay. Or guys like Special Ed doing little reggae songs on their albums. But a reggae artist with a rapper? Well, Sly & Robbie's BDP album dropped in 1989, but I guess you could say they only did the music... Oh, Third World did "Forbidden Love" with Daddy-O in 1989. That's one, and it was a big single even. So yeah, no. I knew that couldn't stand up to scrutiny. Oh and wait, that Shabba Ranks/ Krs single came out in 1992, but it was already on the album which dropped in 1991.

"Terminator became the newest member of the Juice Crew which consisted of Big Daddy Kane, Biz Marke, Kool G Rap, Mc Shan." Well, he did sign to Cold Chillin', but so did plenty of non-Juice Crew artists, like Kid Capri and Too Bad To Be True. Who decides who isn't an official Juice Crew member? Marley Marl? I could see Shan telling him "you're official Juice Crew now," though.

"The Return of the Holy One by Terminator & YZ was released & Terminator was only 9 years old." Wow. So that guy in the video was only nine years old? Or somebody else was lip-syncing to his voice? He sure doesn't sound like a kid on that song...

"Terminator wrote Shabba Ranks first Grammy album for Epic records" and "Terminator Six is the Ghostwriter for Shabba Ranks first Grammy Album (Epic), Terminator Six is also responsible for connecting Shabba Ranks and KRS1 Boogie Down Productions." When he was eight?! Shabba's first Grammy was for as Raw As Ever, which dropped in 1991, a year before "The Return Of the Holy One," which we just read dropped when he was nine. So, yeah. I don't think so.

"Terminator Six is the creator of the Hip Hop Reggae Fusion," and "Terminator Six is responsible for connecting Notorious B.I.G.(Biggie Smalls) with Super Cat and enforcing the launch of P.Diddy (Puff Daddy) Bad Boy Entertainment." Oh man, I'm done. I don't even know what "enforcing the launch" means, but I think we can safely say some embellishing has been done here. I'd be interested to find out the exact 100% truth of all that. You know, I bet he meant 19 instead of 9; so it may not be a total pack of insane lies. haha

Anyway, I bet most of you guys didn't even know the Terminator from YZ's song had his own record. And he was on Cold Chillin'! Pretty interesting, huh?

Cold Chillin' Terminators, part 1 - Dissing Run DMC

"We're walking tall and we're called The Terminators" is a memorable line from Kool G Rap & DJ Polo's classic "It's a Demo" in part because of G Rap's ill delivery, but also partially because, as far as anybody knew, they weren't called The Terminators. I mean, you could probably take it as simply a general reference to being so bad ass that people consider them to be like Schwarzenegger's robotic hitman character from the 1984 film. And the fact that the line could be taken that way is probably by G Rap left the line in there, sort of like a subliminal diss, but not a diss. Because the line is actually a reference to something more. It's about DJ Polo's first group, The Terminators.

The Terminators had one record, "Forever Dis" in 1986 on Snowflake Records. My copy here is a 2004 repress. You can tell 'em apart 'cause on the original label the big "Snowflake" is written in blue, not white. Anyway, Snowflake Records was a division of Prism, which of course carried all the early Juice Crew records and changed its name to Cold Chillin' Records a couple years later.

The group was really just a duo, like Kool G Rap and DJ Polo, except the MC was Polo's old partner, Frost. I got to ask G Rap how Polo made the switch and why he cited their name on "It's a Demo" in my 2011 interview, "Polo and Frost started together first. They were the team first, before I even got in the picture with Polo. Once I got in the picture, to my understanding, Frost was having differences with Polo. Because Polo wanted to do promotional stuff that Frost didn’t necessarily want to do… things they weren’t getting paid for. So when me and Polo linked up, I was for anything to accomplish my dream. Whether it was something we gotta do for promotion, get ourselves out there or get paid, it didn’t matter to me. I was gonna do it because I was hungry and I wanted it that bad, because I knew what I was capable of doing poetically. When I mention Terminators, it was out of respect for the name Polo had before I even got into the picture. If you notice, I didn’t really use that name anymore other than just using it as a punch line or a metaphor. But I did not affiliate myself and Polo as the Terminators after that. The first time I did it was just out of respect, like, this is your thing you got going before I even got into the picture, I’ma wave that flag."

So how is the actual record? I mean, you could probably predict that Frost isn't the amazing innovator that G Rap turned out to me - almost nobody could be expected to play on that level. But how does it compare to most other '86 rap records, and who are they dissing on "Forever Dis?"

Well, you already know from the title of this blog that they went after Run DMC. Nothing subliminal here, it's a very straight forward attack. It's not clear what their beef with them comes from - quite possibly they just went at them to make a name for themselves - but it's perfectly evident Frost doesn't like 'em:

"You may think I'm cruel, but that's okay;
I've got a job to do, so let me earn my pay.
Run DMC, somebody really don't like
The way you MCs be yellin' on the mic.
...
Both of you are crazy, you've flown the coup.
Wearin' all this sayin' that you're souped.
Now that I say it, it wasn't real groovy
When I saw your face when I went to the movies!
You think you've got something to prove?
The name of the movie was Krush Groove."

The entire song from first to last is very specifically going at Run DMC.  But you might've gotten the feeling, reading the above sample, that the rhymes are a little stilted. They are, and Frost's deliberate, plodding delivery doesn't help. The beat is okay, it's pretty hard and stripped down, but it's a bad match for Frost's style, and Polo doesn't really do much. There isn't really any actual scratching, they've just got "Pee Wee's Dance" vocal sample, "get busy" on a sampler and play it at different pitches. You know, like "(Nothing Serious) Just Buggin'" and all those 80s songs.

Overall, the song's okay. The beat's too simple, but at least it's hard. It's really just the fact that they're dissing Run DMC that anybody would go back and revisit it.

There is a B-side, though, which is a little more lively. Simply titled "Polo," this one actually features some scratching. It's a little rudimentary, but of course it's from '86. They also stutter a sample like on the last song, this time just Frost saying "Polo." It's a similar, hardcore big drum machine beat with horn stabs, and Frost raps about how great his DJ is. Well, except for the last verse, where he digresses to tell us how stylish his girlfriend is, "she'll put you in a trance, make you do a stupid dance. Make you act like a fool, make you wanna go to school seven days a week, ooh the girl is so sweet." The song concludes with somebody doing a cheesy Mexican accent playing the part of Jose, a promoter looking for the great DJ Polo.

Neither song is that great, but they're listenable enough. Both instrumentals are also included on the vinyl, though I doubt many heads would be picking up the wax for those. Their historic value is certainly the most compelling aspect of these songs, and in that regard, they certainly satisfy a lot of curiosity.  Come back tomorrow for another nearly forgotten Cold Chillin' Terminator.