Ed O. G & da Bulldogs Week, Day 5 - Da Bulldogs

Ed O. G's compelling solo comeback did beg one question: what happened to da Bulldogs? And for that matter, who were da Bulldogs? Well, both answers are pretty interesting. According to his liner notes and album cover photos, Ed O. G & da Bulldogs were a 4-man team when they were signed to Mercury/Polygram/ Chemistry Records: Ed O. G (duh), T-Nyne, Gee Man and DJ Cruz. Though in the dedication notes of his first album, he gets a bit more inclusive, saying, "Special thanks to the Bulldogs, who are: T-Nyne, Smooth Ice Gee, DJ Cruz, Black, Bulletproof Brett, Slim Dog, Shawn Booker, Lorenzo, Bruzer, Mo, Tyrone, Money 1, Muff K. Diamond, Dream Nefra, etc." "Etc?" Isn't that enough? Well, I suppose this possibly draws a distinction between two "versions" of da Bulldogs: the smaller group being the guys he went on tour with, that got checks from the label and actually somehow contributed musically (though they don't seem to have done much), and the other being just an inclusive list of everyone down with his clique of friends. Or something. What's more, apparently, da Bulldogs are pretty much just a later iteration of Ed O.'s old Dorchester group, The FTI Crew (DJ Cruz was one, and I believe T-Nyne is the artist formerly known as Spoony T).

And as for question #2, what happened to them? Well, they started putting out their own records! They put out a couple 12"s on different labels in 1999, and finally settled on Needlepoint Entertainment (their own label, I believe... they certainly never put out anybody else), where they put out a full-length entitled Almost Famous. So let's look at one of their records and see what's going on there.

This is "Bounce" b/w "Livin It Up," which dropped on Needlepoint in 2001... neither song on this 12" is on their 2003 album. The credits on the label aren't terribly telling, just informing us that both songs are produced by a guy named Flipside. But a quick listen tells us that there's two MCs and one DJ at work here, so I'm guessing this is the basic line-up of T-Nyne, Gee Man and DJ Cruz. One of the MCs does refer to himself as Terry... I suppose that's what the T in T-Nyne is short for?

The production is simple - essentially just one endless loop per song - but dope, with a cool, slow drum track and some calm, head-nodding samples. They really feel like the sort of beats you'd expect Ed O. to rhyme over (minus any change-ups), so the territory's nice and familiar. Lyrically, "Bounce It" is pretty empty (as if you couldn't tell from the title) and can be summed up in the line, "my favorite thing's fat booties with the thong between." But they impress more on "Livin It Up," where they take turns rapping to a hypothetical girlfriend who's only interested in expensive things. Each song features a little bit of scratching which is nothing show-stopping, but adds to the atmosphere. So "Bounce It" is ok, you won't be mad at it; but B-side definitely wins, and deserves a home on anybody's mixtape.

The 12" comes in a plain sleeve, but it's bright red, so that's gotta count for something, right? "Bounce It" includes Radio, Street, Inst. and Accap. versions; and "Livin It Up" has the same, minus the accapella.

So, what it boils down to, I guess, is that if Ed O. G is Gangstarr, then Da Bulldogs are Group Home. You could do worse. And if nothing else, after all these years, it's nice to finally hear these guys rap for themselves.

Ed O. G & da Bulldogs Week, Day 4 - Laster

Ok. So Ed O. G made a dope comeback EP in '96 (and a cameo on a Big Shug single), but was that it? Was it a last hurrah? Would Ed O. be interested in staying in the game with no major label support, or like so many artists, would he give up when his indie record didn't make him a superstar?

Well, for almost two years, it looked like the latter was true. Ed O. came back, made a flash in the pan, and was out. But finally, at the tail end of '97, a new artist appeared. An artist named Laster, who nobody knew crap about... but his debut, indie 12" on his own starter label, Dark Records, featured a prominent guest appearance by none other than Ed O. G, so everybody checked it out.

And oh shit, it was a KILLER! "Off Balance" featured one of those ominous, atmospheric, banging indie tracks that really served to define the decade. Produced by Madsol-Desar; it features a familiar boom-bap drum track, but is dominated by this sort of science-fictiony industrial sounding sample that serves serves as both a bassline and a string section as it shifts pitch. There's also a fresh horn sample that sounds like it was taken from some Marvel superhero cartoon show when the DJ starts cutting up the phrase "knock-knock-knock you off balance" on the hook. In fact, it sounds an awful lot like the early God Complex stuff that was getting a lot of buzz at the time, which Madsol also just so happened to produce.

What-the-fuck ever, it certainly worked. It helped that Ed O. and Laster both brought their A-game, spitting a pair of nice verses (Laster coming in a little mellower, and as a consequence, less dynamic; but both come off admirably). And soon this record was everywhere in the indie-rap scene. It was even included on DJ Premiere's classic New York Reality Check major label mixtape, which pretty much solidified every song on there as a 90's staple.

There's two more cuts from Laster on the B-side, which are also not to be slept on. Laster does alright on the solo tip with a serious song about hard times on "Misery," but he's eclipsed by another killer instrumental (this time produced by Dialek). Finally, he enlisted another MC named Deplus to spit with him on "Da Outro," where they take turns freestyling over another Madsol beat, with a gripping piano sample.

So, Laster had a genuinely great 12" on his hands, but were audiences truly interested in Laster, or just the return of Ed O. G? Would his next record take off like his first with the partnership of one of Boston's biggest names? Well, Laster answered that question by playing it smart, and heeded all the demand for a remix of his hit. In 1998, Laster was back with two brand new tracks and his ace in the hole: "Off Balance (RMX)." And, to play it extra safe, the original "Off Balance" is included on the cassette version of this single (pictured - unlike the 12", it comes in a PC so you can actually see what he looks like).

To Laster's credit, it may've been a smart commercial move; but from a head's perspective, he didn't need to play it so cautious. His new tracks are dope. Laster sounds a little more confident on the mic this time around, and thankfully producers Dialek and Madsol each return for a track. And the "RMX" is pretty good - it's by Madsol again - with a similar (the same) drum pattern, but a new sample that sounds like it's taken off a classic Hollywood soundtrack. Most notably, though, is that it's a vocal remix. Laster kicks several all-new (and more dynamic) verses, this time on the solo tip. That's right, Ed O. G's not featured on this single... except the cassingle, which as I said, includes the original "Off Balance."

Well, I'm not sure how much credit goes to the break out success of this single (some at least, I'm sure) and how much was already in the works behind the scenes. But, while Laster never came back with another single (boo! Why?), "Off Balance" turned out to be just the tip of the iceberg for Ed O. G, who began a string of guest appearances and compilation tracks after '98. His return wasn't just a cheap one-off, he was back.

We Interrupt Ed O. G Week To Bring You This Breaking DWG Review

My latest review over at Diggers With Gratitude just went live today; so check that out and enjoy. A recent test-press-only discovery... gotta love the internet!

We now return you to Ed O. G week... next update coming shortly.

Ed O. G & da Bulldogs Week, Day 3 - Dedicated

So, Ed O. G & da Bulldogs followed up their debut album with another, Roxbury 02119, on the same label(s) in 1993. The main difference between this and the last one is that it featured a lot of Diamond D production (certainly nothing to complain about) and it's decidedly less commercial (no kid friendly song, no love song, etc). That fact, and the poor choice of a lead single ("Skinny Dip (Got It Goin' On)?" Really?), seemed to seal another short but dope hip-hop artist's career.

But then came the 90's independent boom, a gratifying time to be a hip-hop fan; and everybody was pressing up their debut 12" or making a comeback. Rumors circulated that Ed O. G was to be no exception and sure enough, he returned in 1996 on his own, one-off label called Solid Recordings. He dropped a six-song EP with a nice, understated soulful feel, thanks to his continued collaboration with The Vinyl Reanimators, who produced the whole thing (goodbye, Awesome 2!).

By the way, this is the first (I'm pretty sure) pressing, with the more dramatic red labels. There's another pressing, which is exactly the same, except with white labels. Solid Recordings also issued a 12" single featuring two of the songs on here ("Dedication" and "Acting"), which is worthwhile if you're interested in the instrumentals. Apart from these, Solid Recordings has put out no other releases.

As "Streets Of the Ghetto" (off Roxbury 02119) played like a sequel to "Life Of a Kid In the Ghetto," "Dedicated" could be the third installment. Ed O. tells us anecdotes of the Boston ghettos dedicated "to all the killers and the hundred dollar billers," we're told by the Mobb Deep sample cut up on the hook. "What U Got," "Showing Skills" and "Actin'" are just about kicking some freestyle rhymes, and "304's" takes the typical shots against the women he perceives to be after his money. It ends gracefully with "Nights Like This," a mellow mood piece.

The production is simple but perfect... basically every song features a slow, fat drum track, a couple head-nodding samples, and a vocal sample nicely cut up as the hook (except "Nights Like This," which has an uncredited female vocalist; but she plays it smooth and relaxed, too). That, combined with Ed O. G's calmer delivery, makes for a smoother, more "adult-sounding" record. I want to say "mature," but I just can't with a song called "304's" on here. Ed has also absorbed some of the 90's obsession with "punchline" similes, giving us lines like:

"I get open like doormen,"
"So dark where George couldn't see Scott" (get it? Actor George C. Scott? 'Oy vey),
"Don't get yourself scarred like Seal,"
"Fuckin' around with more dangerous minds than Michelle Pfeifer,"
"My shit be bangin' more than Little Rock" (Bangin' In Little Rock was a popular documentary on HBO at the time),
"I got Faith in myself like Evans,"
"They get no wins like the caliber of teams that's expansion"
or
"Ed O get ya jumpin' like Tourettes."

...To pull out a few at random. And yes, he even has one about Christopher Reeves' being paralyzed (smh). But he plays them down and they never really stand out as being too out of place.

Basically, Ed's never been exceptional on the mic, but he shows on this EP that he's still able to get nice with his. And he has a good voice that meshes perfectly with Reanimators' flavorful production. He came with exactly the right tone and vibes that heads were hoping he would at the time (strictly underground), and even to this day, I just get a warm feeling of gratitude that this EP dropped and we hadn't heard the last of him in '93. Yeah, there's valid criticisms to be made (mainly lyrically), but Ed O and the Reanimators (notice? no Bulldogs) managed to create a nice, inconspicuous little gem for our crates.

Ed O. G & da Bulldogs Week, Day 2 - Bug-A-Boo

"This is the meaning of a bug-a-boo: it's a person that's constantly buggin' you."

Now that you've got a handle on the concept, we're ready to begin our discussion of "Bug-A-Boo," Ed O. G & da Bulldog's third single (following "Be a Father To Your Child" - wanna talk cringe-worthy lines? How about that "ladies, can I hear it?" "Thank you!") off their debut album.

As the new guy on the scene, you could see Ed O. was trying to cover all his bases. He had his freestyle song, his ghetto stories song, his serious message song, and now his kid-friendly song; and as such, this could just as well be performed by Kid 'N' Play or Young MC. So, it's easy to see why many of his fans would just as soon have it that this song never existed. But for what it is, it's rather excellently crafted. It's got a simple, and instantly relate-able premise that's always bemusing without straining to be funny; and the hook just invites you to rap along.

More than that, though, it's just got "one of those" beats. One of those beats that's instantly addictive on the first listen and that you could still hear playing in your head even if you haven't heard the record in twenty years. It's produced by the same trio again, of Special K, Teddy Ted and Joe Mansfield of the Vinyl Reanimators. The beat is hot, with slick drums and really effective use of handclaps (how often can you say that?), but if you've ever heard the song, you know what crucial element I'm leaving out, the funky, "bump, bump-a, ba-bump-a, bump-a, bump!" bass. It's also got a nice, underplayed "Mr. Welfare" scratch on the hook. But you, me and our future grand kids will basically just remember the bass.

Well, this 12" has just the one song, but it's still pretty loaded. First we've got the basic, O.G. version you remember from the album. Next we've got the Shout-Out Version. This is exactly the same as the original until we get to the end. Now, I'm not one to get all excited about some shout-outs tagged onto the end of a song, but in this case, they really enhance the tune, because they feature a lot of extra scratching. Basically, the DJ constantly stuttering the phrase "bug-a-boo" as Ed O. G shouts out people one by one, "DJ Doc is not a" and the DJ finishes "b-b-b-bug-a-boo!" Granted, hearing it for the first time isn't an "oh my god" revelation, but it's a genuine improvement. It's just fresh (in the old school sense of the word), and once you get this mix, you won't wanna go back to the album version.

Then the A-side rounds itself out with the Instrumental.

Now flip it over, and we start out with The Awesome Remix, which is presumably named after The Awesome 2 ...who maybe did more of the production rather than Joe this time around? Mind you, I'm just guessing here. Anyway, it's a pretty solid beat, but I think they'd've been better off saving it to remix a different song. It removes the signature sound of the original version (i.e. that bass, though they do bring it in for a few moments towards the end of the song); and while it's a solid track in its own right, it's just never going to be the version you want to hear when you decide you want to listen to "Bug-A-Boo."

Also, this is clearly not the beat Ed O. was rapping over; it just feels like they sloppily threw a beat under an acapella and said, "done!" Not that it's off-beat or anything, but all of the fun interplay between Ed and the beat, where he changes his delivery to match when it cuts out or switches up... all of that is lost here. But again, it is pretty good if you're looking for an alternate version (maybe, especially back in 1991, you'd heard the OG version so often it'd played itself out for you and you were getting sick of it). And to its credit, this remix does at least use the shout-outs version with the extra cuts. Also included is the Awesome Instrumental.

Finally, there's Bass Dub Vocal 1 and Bass Dub Vocal 2. These might sound like some short, throw-away dubs with the hook left on them or something, but they're really full-out remixes, which use elements of both versions of the song, and also add in some new samples (less so, #2 is more stripped-down). They're pretty cool, and certainly make you feel like you're getting some extra value for your 12", but they of course run into exactly the same problem the Awesome Remix does: the original instrumental is already inherently definitive.

"Bump, bump-a, ba-bump-a, bump-a, bump!"

Ed O. G & da Bulldogs Week, Day 1 - I Got To Have It

This is where it all began. Actually, it isn't. Ed O. G, or Edo Rock as he was known at the time, actually made his debut on wax back in 1986 with the song "Suzi Q" on the Boston Goes Def compilation. He was part of a group called the FTI (that's Fresh To Impress) Crew. Heck, I even owned the 1988 follow-up, Def Row, which also included two of their songs, back in the days. But let's face it, if you weren't living in Boston (and possibly not even then), the name Ed O. G didn't really mean anything to you until 1991.

That's when Ed O. G & da Bulldogs released their stunning debut single on PWL/ Polydor/ Mercury Records, "I Got To Have It." When that video turned up on the regular shows, it was a given: a new crew was on the scene and everybody was going to pay attention. How could you not, with that fantastic, ahead of its time, pure crate digger's beat (and that incredible sax breakdown!)? The track was co-produced by the well-known pair of Special K and Teddy Ted, The Awesome 2; so pretty much all credit was given to them at the time. But looking back on it with 2000's eyes, the other co-producer's name stands out, Joe Mansfield. Don't know who that is? Well, if I told you he was now better known as Rhythm Nigga Joe of The Vinyl Reanimators, making his major label debut (he did produce an indie 12" or two prior to this), I think you'd suddenly see where most of the credit for finding and blending these incredible samples probably belongs.

Of course, Ed O. was noticeable on the mic, too. He had a somewhat deep, smooth voice, easy enunciation and a fun, freestyle-type of flow that effortlessly dipped in and out of non-sequitors and serious topics. He goes from making anti-violence statements to battle rhyme disses in the same sentence and it sounds like one coherent thought. Still, he did contrive a few awkward rhymes and clumsy phrasings ("When you're in like food in your stomach they wanna stick with you").

Now, this version comes in the standard Hard Version (read: album version) and Clean Version. What's interesting is that, while the Clean Version does use a bleep and sax sound to censor the words "ass" and "rectum," he also re-raps some other lines. "I stay hard like an erection" becomes "Ay yo, brown is my complexion." And "jerkin' ya jimmy but you still can't come off," becomes "step back, relax, 'cause Ed O.G's about to come off." Why, if he's replacing the vocals to get rid of "erection," does he still leave the word "ass" in there, requiring a bleep? It's oddly inconsistent, but oh well. There's also some funky bonus beats and a proper instrumental version on here.

There's a hot B-side, too (produced by all the same guys); the title track to their debut album, Life Of a Kid In the Ghetto. The hook is a nicely scratched line from EPMD's "Big Payback" ("A young kid from the ghetto, kiddie from the city") that leaves in the devastating horn jabs of the original instrumental. And the rest of the instrumental is as expertly assembled: snapping drums, the rugged bassline most famously used in K-Solo's "Fugitive" (in a context that's so different here, it's almost unrecognizable) to a super smooth piano line and whistle. Other elements - a funk guitar loop that sounds like it's straight off an NWA record or a dusty horn sample - fade in and out of the track, too.

Lyrically, it's not quite as catchy, because it's a narrative of his youth in the ghetto rather than freestyles. But on the other hand, that helps him iron out some of the awkward bumps. There's still a few questionable lines ("in the ghetto, there wasn't no horses, no lake and no meadow"), but it's easier to let it all slip under the radar in the service of a consistent story. And, for every line that's slightly cringe-worthy (in either song), there's a fresh line where his delivery and the choice of words makes it sound really dope.

This is a serious contender for 1991's single of the year, and still holds up as one of the all-time greats to this day. As soon as I saw that video for the first time, I knew: this new jack was gonna be one to watch out for and explore whatever catalog he had. Fortunately, over the years, he's had a pretty extensive one. So join us again for Ed O. G Week, Day 2. 8)

Pro-Black Radical Raps Upliftin'

Though he's been relatively consistent over the past 20(!) years he's been recording, Paris's later material is often met with skepticism and disinterest in the hip-hop community... probably due to his going a bit overboard with the P-funk. But you'd be hard pressed to find somebody who'd front on his debut album, The Devil Made Me Do It.

And 1989's "Break the Grip of Shame," the second single on Tommy Boy/Scarface Records (the latter being Paris's own label), is as strong as anything on the album. Hard beats, deep, ominous bass notes, a little rhythm guitar, a fast-paced, angry delivery from Paris with something serious to say, and some tight scratches by Mad Mike? It's hard to improve on that formula.

Not that he's saying anything too complicated or profound. Basically, all three verses boil down to a declaration that he'll say whatever he wants and take no shit:

"With a raised fist I resist;
I don't burn, so don't you dare riff
Or step to me; I'm strong and black and proud,
And for the bullshit I ain't down."

And it's not necessarily expressed positively:

"Life in the city's already rough enough
Without some young sucka runnin' up.
You don't know me, so don't step;
I roll to the right and then bust your lip."

It's just that straight up, hardcore flexing you want from a rough hip-hop record:

"I stomp sixteen solo,
Straight for the jugular. Hope that I don't
Swarm and bust a cap by night, so
You just keep your place, 'cause I won't stop."

So, you can see from my photo that this comes in an ill picture cover (which may've misled you into believing this was going to be a song about police brutality). It features two mixes: the Radio Mix, which we don't care about, and The Final Call, which we certainly do.

The Final Call clocks in at 8:10, which makes it more than double the length of the original version, which is about three and a half minutes. This is an extended mix, alright; way extended.

You'll notice the first difference right at the first second. You know how the album version features a clip from a Malcolm X speech between Paris's second and third verses? Well, this version opens with another speech clip. I miss the days when hip-hop did this semi-regularly. It sounds dope.

Anyway, from there you've got some typical "let the beat ride" moments that you'd expect in an extended mix. But after Paris's last verse is when the bulk of the new material kicks in. The beat keeps on as Mad Mike takes over the rest of the song for the next four minutes. Sometimes he busts some serious, fresh scratches and other times he just drops in various vocal and instrumental samples over the track (including a P-funk breakdown to herald things to come in Paris's career).

The only downside is that The Final Call uses the censored, Radio edit of the song. Now, Paris doesn't curse as much as a lot of his contemporaries, so it's not like it renders the song as unlistenable as many radio edits do. But it's a definite flaw; and it's a frustrating shame we can't get a "proper" version of this. Still, there's no alternative; and this record's definitely worth your time regardless.

Whodini's Haunted Houses

(Youtube version is here.)

Happy Halloween!

The Origins of No Face

(Youtube version is here.)

What Jazzy D Did

This is a fun one. "That's What I Did (For You Baby)," by Jazzy D on Unknown's Techno Hop label from 1986. This was surely intended to be a reference/answer to Janet Jackson's "What Have You Done for Me Lately?" that was a huge hit in '86. But besides the title and the loose theme, there's not a lot, lyrically or instrumentally, that really ties it to Janet's record, and it stands better now on its own.

At a few points, the beat actually uses the melody from the Green Acres theme song; but wisely, for the most part, it just sticks to some fast, old school west coast style beats, hand-claps and funky bass notes. There's also a funky (live?) guitar breakdown and some keyboard horns. Jazzy kicks light-hearted narrative raps about all the things he does for his girl but still goes unappreciated, like a prototype Fresh Prince. And lyrically he has a fast, high pitched delivery with a voice that sounds similar to Rodney O.

Now, if you notice on the label, it says this record features The Organization, which seemed to be a loose collective of various West coast artists and producers associated with Techno Hop. On this record, it mainly boils down to an appearance by Cli-N-Tel, who comes on to spit a verse of helpful game as a master in "wack womenology." ...In that way, you could say this is as much a follow-up to his own, debut single (1985's "Wack Girl") as it is to Janet's. Towards the end, Vice Lord also comes in and kicks a short human beat-box routine, including some cool, mock scratching.

This 12" isn't gonna appear on anybody's top 10, but it's a heckuva fun record, and it's a nice piece of west coast history. It even includes an acapella (pretty rare back in those days), as well as an instrumental version.

Jazzy made another record or two before seemingly disappearing from the game. He's actually still around, though, now on the management end. He has a myspace here, and one of his acts is Kam.

(Blaq) Poet & Hot Day, Cassette-Only Remix

Before The Blaqprint, before Screwball... way back in 1991, Queensbridge soldier Blaq Poet was part of a 2-man crew known as PHD, signed to Tuff City Records. They had an album (Without Warning), an EP and a bunch of hot 12"'s through the first half of the 90's.

And they also had this cassingle with a killer picture cover. I mean, holy cow! Look at those guns they're holding. Don't ever let anyone tell you size doesn't count for anything.

So this is actually their debut single (1991) off of Without Warning. "Do It Any Way You Wanna Do It" is an album track off of that; but this single also includes an exclusive remix (also produced by Hot Day). The album version was already hot, but this one bumps even harder. It's got some choice, hard, deeper drums and a serious, head-nodding bassline. It's also got a classic, old school echo-y bell loop cut in and out of the track. The Instrumental Remix and Original Mix are also included. The original is fresh, with some cool rolling drums and a nice sample; but this one will definitely make your system thump harder.

The B-side is "I'm Flippin'" in Vocal Remix, Instrumental Remix and Original Mix versions. This remix isn't so exclusive - it later turned up on the 1992 "I'm Flippin'" remix 12" (which you'll still wanna pick up for the other "I'm Flippin'" remixes), labeled as the Video Remix. And curiously, the Original Mix isn't the album version, but Vocal Remix from the 12" (not to be confused with the Vocal Remix on this tape).

So I don't know how rare this was back in the day... probably not very (at least in New York). But today, a Tuff City cassingle? Most people probably don't even know it's worthwhile (though you'd be hard pressed to pass up that cover if you saw it); but now you've been hipped to it, so keep an eye out.

Lady Tigra in 2009

OB4CL2? Not on vinyl. Lady Tigra's new "Switchblade Kitty" remixes? On 12" vinyl. So, hey Raekwon's business manager, guess which one I purchased?

For those of you who slept late, L'Trimm's Lady Tigra is back on the solo tip... And thankfully, she still sounds just like her old self (and if you don't know, check out her "Sorry, Ice Cream" song for Pinkberry to get an idea). You may remember me mentioning in a blog nearly two years ago that she had an mp3-only album? Well, now there's been a proper CD release (it's called Please Mr. Boombox, and it even features MC Lyte), and now she's released her debut single off of that album. It's called "Switchblade Kitty" on Grease Records.

So the first thing I thought when I saw this was, "why 'Switchblade Kitty?'" I mean, it's ok, but definitely not one of the more compelling songs on the album. It's interesting, though. The main sample for the soundtrack seems to be lifted from an 8-bit video game, and like a lot of her songs on her album, she's got a lot of really nice scratching by an uncredited DJ. Maybe it was chosen because, lyrically and stylistically, it kind of exemplifies her style... ultra girly but edgy, a little odd and running over with tongue-in-cheek superficiality. But she adopts a slow, stop & start list-like delivery song that really makes this duller than most of the rest of her album. ...Well, I guess that's why they've remixed it, right? Keep all the best signature elements and replace the parts that didn't really jump off the CD?

Well, let's see. First of all, the 12" starts off with the album version I've just described. Then we come to the Ruckus Roboticus Remix. Well, two seconds into it and you know this is clearly made for the clubs. It's got that cliche thump, thump, thump bassline and a lot of distorted industrial/computer noises that are constantly changing and looping. I'm not sure if this song really lends itself for that... it kinda does, and Lady Tigra's voice is perfect for that kinda thing; but this isn't gonna be any DJ's "drag 'em onto the dancefloor" secret weapon. So, it's a fairly well done mix if you want a song that you can mix into your 1AM strip-club set... but this is hip-hop, so we don't. Let's move on.

There's actually only one other remix (because the other track is just the Ruckus Roboticus dub version), this one by William Russell. It's really just another approach at the same thing, with the same mediocre results. In fact, it's even more far-gone, removing all of Tigra's verse in favor of just sampling and looping some lines from the hook over and over again, while the music stutters and relapses. Fuck. This. Shit.

...I know. What did I expect, right? Oh well. I can actually kinda recommend picking up her album, though. I mean, if you're an old school L'Trimm fan, you won't be disappointed. Nothing on there sounds like it was produced by Large Professor during the 90's or anything, but it's fun times. But as for this 12", I blame Raekwon.

Charlemagne's Eva Bomb

In 1998, when it looked like Mr. Voodoo, L-Swift and A-Butta were hitting it big with their Tommy Boy signing, Charlemagne was making short-lived power moves of his own. Since Natural Elements were no longer his label's showcase act (and Raidermen and Nightbreed were being sadly neglected), Charlemagne signed a pretty impressive deal for Fortress Entertainment.

Fortress Records was merging with Nervous Records, to become a separate subdivision (like Wreck or Weeded Records). And Charlemagne was going to be the signature producer. They even made one of those cool, Nervous cartoon variation logos (right). They ran big, full-color ads in The Source and all the other rap mags. The big debut was going to be two 12"'s, recorded by the label's first signees - both produced of course, by Charlemagne - released at the same time in January, 1999.

Since both records came out on the same day, we'll go by catalog number and look at NE-FS 20340 first. Speaking of catalog numbers, you'll notice they started special, new hyphenated catalog numbers for this sub-label.

Ok, so NE-FS 20340 was the debut (and final, to date) 12" by an MC named K-Bomb, called "Bump This." It's got a pretty funky percussion line, with a lot of snaps and what-not mixed in with the drums, laying underneath an echoing horn loop. Lyrically, it's on the freestyle tip, and is kinda underwhelming, especially to anyone who might've picked this up hoping for some NE-style wizardy. The B-side, "Stories I Know (Chico)," works a little better. The two verses are separate street stories (one about a guy named Chico and one about a girl named Alexandria, who apparently needs a better agent), with a strong Kool G Rap influence in his rhyme pattern. The beat's a bit better, too; though very similar. It's got simpler, straight New York-style drums like you'd expect from Charlemagne, and a similar, but harder, echoing horn loop. B-side definitely wins, and while K-Bomb isn't amazing, this is a pretty good 90's 12" by anybody's standards.

NE-FS2031, then, is Eva Flo(spelled "Eva Flow" on the snippet tape)'s "I'm the One." It's a little more on the funkier, off-beat tip, with a head-nodding collection of short samples, and Eva kicking fresh rhymes, with a voice and flow sort of like a less extreme Scott Lark. It's definitely more playful. The B-side, "Whut You Smokin," on the other hand, is more of a disappointment. It features an unappealing synth sample and some generic rhymes about smoking weed. I mean, it's ok, and he tries to do something a little different on the hook. But this is definitely a song you'd talk over if you heard this come up on a mix-tape.

Both 12"s came with Vocal, Clean Edit and Instrumental versions of each song, but I guess they didn't perform like expected - and they were pretty underwhelming, though the better song on each record stood the test of time rather well - because that was the end of "The Nervous/ Fortress alliance." And these wound up being the last records released on Fortress in any capacity. Oh well. Charlemagne clearly landed on his feet in his production career; but it was definitely sad to see Fortress come to an end, especially without much of a bang.

Battlefields

So, the vinyl pre-order packages of Sole and the Skyrider Band's Plastique album (as mentioned in my recent interview with Sole) are landing today, and with them the limited (to 500 copies) vinyl EP, Battlefields.

Battlefields is a 6-song EP on Fake Four Inc. (not Anticon); the title track of which is taken off the Plastique full-length. It then includes three new, unreleased songs and two exclusive remixes.

Surprisingly, the stand-out cut is the "Battlefields" remix. And I say surprising, because it's by someone named Tobacco of Black Moth Super Rainbow, a name which just screams sloppy, emo, made-on-a-laptop suckage. But damn if he doesn't just kill it. Especially considering "Battlefields" wasn't exactly one of my favorite tracks on the LP in the first place... though with its slow, mellow-ish vibe and sleepy hook sung by Marcus Archer (of 13 & God), it works better here as an alternate mood piece, sort of like a reprise to the Tobacco version. This remix replaces the original industrial collage with a funky guitar loop, a groovy bassline, and soft, thumping drums. An ill keyboard solo kicks in during the breakdown, too. The other version may've come first, but this really feels like the definitive version "Battlefields" was meant to be, and this cut alone not only justifies the EP's existence, but makes it more of a must-have than Plastique.

I prefer the other EP remix here - B.Fleischmann's remix of "Black" - to the album version, too; but it's not the stand-out highlight that Tobacco's "Battlefields" is. I think mainly I was just glad to have the cymbal-smashing, garage-band-jamming feel of the album version (enhanced by the fact that Sole is using that distorted, low quality microphone sound on this song, a la The Beastie Boys' "So Watch' Cha Want") replaced by... anything. And so this mix has more of a relaxed feel, with a more traditional drum pattern and lots of slow organ-like keyboards. It's also easier to hear Sole on this mix, where before you had to really concentrate to make out his words through all of the noise. Fleischmann's made Plastique's skip-over track into a very listenable experience.

Of the original songs, "Cut Off Moon" is both my favorite and, again, the least grunge band-y. The cover says this song features Telephone Jim Jesus (of The Restiform Bodies), but there's nobody on this track vocally besides Sole, so I guess it's him providing a lot of the instrumentation, accounting for the difference in sound. Again, it's got a more organized, polished feel to it, with a deep but slow and simple drumline and a lot of science fiction-like, warbling synths, which are appropriate given Sole's lyrics. It's superficially a first person science fiction narrative from a guy sitting on the moon lamenting humanity's future condition; but of course it's essentially a commentary on our own current one:

"Millions fought over the Great Lakes,
And poisoned its water with shrapnel waste
And cooked limbs.
Needless to say,
That was a real tough summer for some.
But few care about those forgotten nations.
History began
When we left and filled the stars like ants. In space,
The only enemies we found were each other."

The other two songs, "This Bad Reputation" and "Good Bacteria" kinda go together... they use the same basic sample for their instrumentation, which again is along the lines of melodic, science fiction soundtrack keyboards. Lyrically, well... Sole told me in our interview that he never was abstract like some of the other Anticon members, but maybe he'd like to take a crack at explaining the lyrics to "Good Bacteria" for us? "This Bad Reputation," a more straight forward song about Sole's struggles with artistic identity, takes the same basic music several steps further, by having the band increasingly rock out over the track as the song progresses. But it's still grounded by the underlying melody, which again seperates the feel of EP from the LP.

Plastique is more about discordant guitars, rock & roll and bashing cymbals - seriously, did I mention all the cymbals? - whereas Battlefields is smoother and more focused, with a consistent sonic theme. So, yeah, the LP's cool - it feels more like a natural follow-up to the original Sole & The Skyrider Band album - but the EP is the real gem that I'll still be spinning six months or six years from now. It's definitely worth going out of your way to find someplace still selling the Battlefields bundle as opposed to just quickly picking up Plastique on its own.

Now, remember my post in July about the free mp3 ticket that came with BusDriver's latest album? Well, I'm happy to report that Sole's album(s) came with one, too. It has a link to the Battlefields EP download (which also includes a handy .pdf file with all the lyrics) and a code to download the entire Plastique album. What's more, the card includes another password for a bonus "beats" album, which includes all of the Plastique instrumentals. People who ordered the pre-order package also got a signed poster and a sticker for each album.

Now that's how you handle an album release in 2009.

InstaRapFlix #23: Nerdcore Rising

So, it had been such a shamefully long time since my last InstaRapFlix update, that I figured I better do another one before I get lax and let it drift away again. So here we go, kids, #23!

Now the film's promotion and title might lead you to suspect that Nerdcore Rising (Netflix Rating: 2.5 stars) is a comprehensive look at the tiny, novelty sub-genre of hip-hop known as "nerdcore"... and it sort of is. But it's really more of a glorified promo DVD for one nerdcore MC in particular, MC Frontalot (who, according to this doc at least, invented the term "nerdcore"). This was probably infinitely more obvious to hardcore MC Frontalot fans, since it turns out Nerdcore Rising was also the title of his 2005 album.

Interestingly, nerdcore hip-hop (at least as shown here) is really no different than a lot of underground hip-hop... typical, punchliney battle rhymes with a pop culture reference thrown in every so many lines. Everyone seems delighted that, well heck, I'll directly quote one example, "anytime you can work the name Ralph Macchio in a song, you have to respect that!" As if hip-hop wasn't already plagued with rappers throwing cheap pop culture references like Ralph Macchio into their music already. What I learned most in this documentary is that, except for one song about Magic: the Gathering, nerdcore hip-hop isn't as compellingly different or interesting as I imagined it might be.

The movie has some Frontalot performance footage (I'll give him credit, he does attempt some styling in his delivery), brief soundbites from fans, and a few other nerdcore rappers and other celebs (Weird Al Yankovich, Prince Paul and J-Live, most notably), which it keeps cutting back to every so often. And for the rest of the time, about 98% of the film, it's basically a behind-the-scenes tour documentary of MC Frontalot and his band, which means a lot of footage of them bantering in parking lots or hamming it up in hotel rooms. At one point, Frontalot admits to the camera that he's "not that good at rapping," which is refreshingly candid on one hand, but on the other just makes you wonder why am I wasting my time with this foolishness?

Unsurprisingly, the editing is enhanced with a lot of random computer graphics. Basically every single effect in the Final Cut Pro package was probably used, possibly going directly down the list in perfect order. And while, unlike a lot of other InstaRapFlix DVDs I look at, this is a proper, full-length film, that really works against it when you keep checking the clock and it's like, oh my god, we're only 30 minutes into this! There's just not enough substance or content to sustain a feature film, and so it's all padding and random footage of the band chatting about nothing. By the 45 minute mark I really, really wanted to turn this off; but stuck with it for the sake of writing a completely fair review here. But now that I have made it through to the end, I can look back and say I really wouldn't have missed out on anything but more of the same.

So I can't recommend this unless you're a serious Frontalot fan, because really, this movie just boils down to spending 90 minutes with him and a little of his music. And I can't even recommend "nerdcore" as a whole unless you're endlessly amused by the juxtaposition of gansgta rap cliches and computer geek memes. If these guys weren't such "outside artists" to begin with, they'd realize they're not nearly as novel or refreshing as they seem to think, as hip-hop's already been packed with all the stuff these guys bring to the table for ages. While Frontalot himself seems like a nice guy, the bottom line is: I was expecting a fun time with this Instaviewing, but just wound up disappointed, bored and annoyed.

Kool G Rap In Space

Remember Unkle? It was the collaborative duo of James LaVelle, owner of Mo' Wax Records, and DJ Shadow. Their album, Psyche Fiction, was one of those post-Dr. Octagon spacey/ electronica/ college radio/ hip-hop/ trip-hop/ whatever albums that were really in vogue at the time (late 90's). It was originally touted as a one-off collaboration only, but later they wound up bringing in new members from all different countries, doing new albums and blah blah blah. I don't care either.

But that one-off album did have one compelling guest spot on it. And thank goodness, they released it as a separate 12". And so Kool G. Rap's 1998 "Guns Blazing" single was born.

At first G Rap seems to be phoning in a lackluster, half-hearted performance ("more reservoir dogs than Tarantino"), but by the time the second verse kicks in, he's cooking with gas, spitting his standard post-Cold Chillin' syllable-massacring freestyle mafioso raps:

"Your whole frame laid in the white chalk.
You got the smoking section
First-class ticket to resurrection,
Forever destined to a place where niggas never restin'.
Headed in Hell's direction,
Lost at the crossroads and intersection;
Should've wore a vest for chest protection."

Update 10/20/09: Krisch pointed out in the comments section, and I've just confirmed, that Kool G Rap used this same verse for his guest spot on B-1's Rawkus single "Cardinal Sins" that same year. And G does sound a little more natural over that beat. Still, though, the second verse is definitely original to this song... he even mentions Shadow ("G Rap and DJ Shadow leave your bones squashed") in it.

The music, which is apparently entirely handled by DJ Shadow on this one, is ok, and interesting in that it's a little different from your average Kool G record. But at the end of the day, it's (predictably) not really suited to him, and you'd be better off putting one of his Giancana Stories beats behind him ...which you can do, because this 12" conveniently comes equipped with an acapella. It's not bad, though. Once you get past a really tedious two minute introduction of random sound effects (pro-tip: skip past this bullshit and start the song at the 2 minute mark), it's got a grumbling bassline and hectic drum beat, which feels a little all-over-the-place, but it's pretty hard and generally appropriate. Of course, there's also a ton of spacey sound effects that come and go throughout the song, and vocal samples involving dog-fighting spaceships (hey, don't look at me) during the hook, which are a little less fitting.

Interestingly, the 12" credits mention additional vocals by Latryx. They must just be doing the back-ups where they double-up one or two keywords in Kool's verses, 'cause otherwise I don't hear them anywhere. It's just a G Rap solo record... which is preferable anyway. Also, am I crazy, or does he say you'll be "surrounded by pedoforks" in the second verse?

Well, anyway, yeah. You get the LP version, a shortened version called Vocal Street (which I prefer because it shaves off a lot of Shadow's doodling and cuts right to the G Rap action), the aforementioned acapella and an instrumental (dramatically titled "Drums of Death") of the shorter version. This is no "Road To the Riches" or even "It's a Shame," but as with basically every G Rap record, the lyrics and delivery are must-haves, and it's better than Click of Respect.

InstaRapFlix 22: Mac Dre: Ghetto Celebrities vol. 2

Dang, it's been a while since I've done one of these... But it's 'bout time I stopped slacking, and bring you InstaRapFlix #22.

Today's movie is: Mac Dre: Ghetto Celebrities vol. 2 (Netflix Rating: 2.5 stars). You may remember I had some generally positive things to say about Ghetto Celebrities vol. 1, on Brotha Lynch Hung,when I reviewed it this time last year, so let's see how vol. 2 holds up.

Well, today's Ghetto Celebrities is about Mac Dre (RIP), and fortunately, pretty much everything that was good about vol. 1 is back in vol. 2. Specifically, I mean, there's no cheesy computer graphics, MTV-style editing, or any of the general BS padding we're used to seeing in the InstaRapFlix ...consequently, the running time is a rather short 44 minutes... but you'd be hard pressed to find 44 minutes worth of quality material in most full-length rap DVDs, so don't dismiss it based on the running time. Instead, what we get is just Mac Dre candidly talking to the camera for the entire film.

There is a downside however. This entire interview was conducted outside, and so the sound quality sucks. Sometimes you can barely (if at all) make out what he's saying, and even when you can, it's a very unpleasant listening experience. It's not so much that there's background noise (although there certainly is), it's that his mic sounds like it was set way too high so everything he's saying is coming in way too loud and breaking up. The interviewer has redubbed his questions (those must have sounded extra terrible on the original tapes! haha), but that voice sounds so unnaturally not present, that it's almost comical. But that little part we can overlook. Unfortunately, the Dre's crap sound quality we just can't.

Several Netflix commentors refer to this as a "home movie," and that's exactly what it feels like. So the technical quality has definitely dropped since vol. 1 (which wasn't that great to start with). BUT it's a 44 minute straight, uncut, unfiltered interview with Mac Dre, and we'll never have a chance to see another one. So why wouldn't you watch this one as a free Instaview? Bottom line: recommended despite serious technical flaws.

Dead Wrong Dubplate

Remember dubplates? They were all over the place in the 90's. Cheap, vinyl compilation EPs that were definitely bootlegs, but instead of duplicating an actual, rare release or putting out some unreleased music like most bootlegs, they were just compilations of previously available stuff. They would include rare, indie 12" tracks, harder to find old school tracks, or just whatever was big at the time. They were often just really random, putting The Fugees, Biz Markie and The B-Boys all on one EP or something. They were cheap, full of typos, had goofy titles and all the underground vinyl spots had a bunch of 'em.

So this is one of those.

There's no date (it's not like they could print a copyright... though they did have the nerve to write "all rights of the manufacturer and of the owner of the recorded work reserved" on the label's small print), but this would've come out in about 1999, the same time as the music they're jacking. It's called The Killah Kuts, and I kinda like this one, because it's more like a proper 12" than a random EP assortment of songs.

The A-side is a complete rip of Biggie Smalls' "Dead Wrong" 12" A-side. Club Mix (which they call the Main Mix), Radio Mix and even the Instrumental. The label's slightly incorrect, in that they switch the order of the Main and Radio Mixes around; but, hey, it's a dubplate. But the B-side ditches the original B-side (Club, Radio and Instrumentals of "Real Niggas") in favor of compiling the two, rare "Dead Wrong" remixes. Remix #1 is the one with Busta Rhymes and Eminem from the Unreleased Joints EP, and Remix #2 is the one with just Eminem from the Unreleased and Unleashed double LP, both of which were promo-only releases that are typically pretty hard to come by (Remix #2 later found its way onto the Born Again album, making it considerably less rare).

So if you've somehow forgotten, "Dead Wrong" is Biggie's where he raps about hitting underage girls, beating women, robbing them, stabbing a gay guy with an ice pick, etc. Essentially it's him kicking raps that are "dead wrong:"

"Biggie Smalls for mayor, the rap slayer,
The hooker layer. Motherfucker, say your prayers:
'Hail Mary, full of grace.' Smack the bitch in the face,
Take her Gucci bag and her North Face
Off her back, jab her if she act
Funny with the money. Oh you got me mistaken, honey.
I don't wanna rape ya, I just want the paper,
The Visa, capiche-a? I'm out like 'The Vapors.'
Who's the one you call Mr. Macho, the head honcho?
Swift fist like Camacho. I got so
Much style I should be down with the Stylistics.
'Make up to break up,' niggas need to wake up,
Smell the Indonesia. Beat you to a seizure
Then fuck your moms, hit the skins 'till amnesia.
She don't remember shit; Just the two hits:
Her hittin' the floor and me hittin' the clit."

...and it's the ideal track to bring Slim Shady in for an extra verse:

"There's several different levels to devil worshippin'.
Horse's heads, human sacrifices, cannibalism, candles and exorcism,
Animals: havin' sex with 'em: camels, mammals and rabbits;
But I don't get into that; I kicked the habit. I just
Beat you to death with weapons and eat through the flesh;
And I never eat you unless the fuckin' meat looks fresh.
I got a line in my pocket. I'm lyin'. I got a nine in my pocket,
And, baby, I'm just dyin' to cock 'im.
He's ready for war, I'm ready for war;
I got machetes and swords for any faggot that said he was raw.
My uzi's heavy as yours. Yeah, you met me before;
I just didn't have this large an arsenal of weapons before.
Marshall'll step in the door, I'll lay your head on the floor,
With your body spread on the bedspread: red on the wall,
Red on the ceiling, red on the floor. Get a new whore;
Met on the second, wed on the third,
Then she's dead on the fourth. I'm dead wrong."

And while Busta Rhymes does come with lyrics on par with the first two, he proves surprisingly willing to play along for his guest verse:

"Watch him die slow and his skin start to change color.
My goons made a flood, leavin' you layin', droppin' blood,
Then ended up finger-fuckin' your mother at a strip club!
We dead wrong for how we gutter like Howard and Stutterin'
Fascinatin' how all of this street shit be straight butter.
Fuck it. We thug rugged to the tenth power,
Like we was listenin' to 'Gimme the Loot' for the past ten hours!"

Now to make room for both Emzy's and Busta's verses on Remix 1, they removed Biggie's second verse from that version. And since Biggie > Busta, that's a real step down. Remix 2 with just Eminem & B.I.G. keeps both of Biggie's verses and just adds the third. So to me, that's the ideal/definitive version. But it's fun to spin Remix 1 once in a while, just as an alternative.

Anyway, the beat's essentially the classic Al Green drum break that's been used a bajillion times in hip-hop ("Lyte As a Rock," etc) paired with a slow, thumping horn/bass loop dominating the whole track. Because it was Bad Boy, though, three producers wound up sharing credit (Chucky Thompson, Mario Winans and, of course, Sean "Diddy" Combs). And the instrumental is the same for all of the remixes.

So the sound quality's pretty good, and it makes for a handy little, completist "Dead Wrong" 12". Too bad it's a bootleg, 'cause otherwise it's a better release than the official 12".

Poor Righteous Tape Repairs

And remember, if the B-girls don't find ya handsome, they should at least find ya handy.


...with apologies to Paul E. Lopez.

(Youtube version is here.)

'Cause He's the Overweight Lover, Heavy D

This for me is one of those absolutely essential remixes that just completely ruined the original album version for me. And the album version was fresh. In fact, the album version is almost the same as the remix. But that "almost" is a real deal breaker.

After making a respectable name for themselves with their first album, including a plethora of singles, Heavy D & the Boyz returned with Big Tyme. They made a huge smash in the clubs with their Teddy Riley produced single, "We Got Our Own Thang," and followed that up with a poppy, pure New Jack Swing love song with Al B. Sure called, "Somebody for Me." Finally it was time for a "real" song, to keep from alienating the purist heads completely, and so they came dropped the Marley Marl produced "Gyrlz, They Love Me."

The raps are simple but catchy stories of Heavy coolin' in the club and getting the girls. There's an amusing hook of girls praising "the overweight lover Heavy D!" The beat is pure, old school Marley with funky horn sample in the background, dwarfed by light, snappy drums and a funky bassline. DJ Eddie F cuts up the vocal sample "funky" on the hook and just randomly during Heavy's raps. It might not stand out as a banger, but it's an undeniably appealing number for any hip-hop lover.

So, that's the album version (which is also included on this 12"). But like I said, I'm done with that version forever now. It's all about the "12" Version" (which is the one they used in for the video, too). The beat is the same, the vocals are the same, the hook is the same, and Eddie F's cuts are the same. So, what's the difference?

Well, first of all there's a new intro, of a guy flabbergasted that someone who's "big, big! That boy is big!" can get all the ladies. When the song kicks in, there girls' singing is layered echoed (as if more girls were singing). The drums are the same but mixed louder, and so is the bass. And that's also echoed; making the whole record feel much deeper and just plain louder. Really, play them back to back and you won't be able to not notice - you sound like you're in the club with Heavy himself.

But that's not the crux of it for me. They added keyboard horns, like really fake sounding ones. Think Slick Rick's "The Ruler's Back" (in fact, it's a similar riff). Yeah, they're corny I guess, but fuck they make the record a million times funkier! It's a sound that pretty much only existed in 1989, and I love it. They mostly play on the hook and then at the end, whoever's playing (the label doesn't say, but Marley Marl is credited with the remix) goes all out for a solo. I can hear you thinking to yourself, "I can live without some chintzy keyboards playing over the top of my records. In fact, I prefer it." But no; it's great! It's magical. And after having grown up with the music, it's an integral part of the song. Twenty years after this song came out, you could still stop me on the street and ask me to hum the "horn" solo for you.

Younger fans may know this only as the record that includes the line "Pete Rock & CL Smooth were on the stage drinkin' Sisco," but as far as I'm concerned this is signature 12" of the period. The B-side features the Instrumental and a Dub version as well, plus you get a glossy picture cover. And because it's a big, major label, underrated release, you can find plenty of copies for cheap. Gotta love that.

The Unclean Flip

(If you've been following me on Twitter, you know I've just finished re-organizing all of my cassette singles... which pretty well explains why the cassingle update posts yesterday and today. But I think I've selected good ones to hold your interest. :) )

The Tainted Mindz were a tight little crew from Philly at the height of the indie hip-hop movement. They only actually released two singles (as far as I know... I sure wouldn't mind being hipped to another release I haven't heard of), but they were pretty plugged into the scene, putting in production and appearances on Lux's classic The Man They Call Lux EP, and Steady B's last single, "Bogardin'." Who knows? Maybe if Steady and Cool had left their nines at home and stuck to making records, all these guys could've blown up and made some noise outside of PA.

But it is what it is, and we've got what we got, which in today's case is "All In the Flip," Tainted Mindz' second single on Aphillyated Records, following up their underground hit "Killidelphia." You'll notice it makes a point of proclaiming the "Killidelphia Remix" on the cover, there. There's no date on this one, but "Killidelphia" dropped in 1995, so that would make this '95 or '96.

So, the A side is "All In the Flip," and features 55th Amendment, whoever that is. Now, as you can see, this is the cassette tape version. The 12" has the same track-listing, except (and the label doesn't mention this), it's only the clean edit. Only this cassette seems to have the original, unedited version, which is damn annoying for vinyl heads. It also has a (sort of) picture cover. Interestingly, the liner notes credit a photographer (Antione Stewart), even though there is clearly no photograph used in the artwork here. Oh, anyway, the song... almost forgot. It's dope! It's kind of slow, street level shit but with a super smooth, addictive violin loop and a simple but catchy hook. All their stuff is self-produced, and vocally these guys are definitely influenced by early Wu; and that of course can only be a good thing.

Ok, so now we flip['cause it's all in the flip, get it? huh, huh? "Flip" like the song! Bah ha ha!!] it over to the B-side for "Killidelphia (Remix)." They actually include the original here, too (but if you don't have it, you still need it, 'cause it features two exclusive B-side songs), which is good, because the original "Killidelphia" single only featured the radio edit. So even though it comes up second, let's cover that one first.

The beat is banging, it's a much harder track with more flat-out freestyle rhymes. It's got deep, horror movie style piano chords, snaps and even like a theramin sound. The format of the song is interesting... three or four MCs kick a sick verse before they drop the hook, which uses a Master Ace vocal sample from "Crooklyn Dodgers, "my mentality is gettin' iller, killer." One of the verses is an ill reggae verse that starts out sung, then twists into a flavored rap.

Then the remix takes roughly the same beat, but just alters it, with a deeper, distorted bassline and grittier samples. It's a vocal remix, too, with all new lyrics, though in the same format. The Master Ace line is still there, but now they use a classic Wu vocal sample on the hook too ("from the badlands of the killa" which winds up pulling in the piano chords from the original Wu record with it). Like the A-side, though, the "Killidelphia (Remix)" on the 12" is censored (and kinda heavily, since they go pretty hard on this song). Again, the cassette version has our backs, though, with the original unedited version instead.

So, yeah. Definitely a hot single by any standards. Unfortunately the 12" version kinda screws you over with radio edits, so fans should be happy to learn that unedited versions do exist, if only on cassette. Otherwise, the track-listings are identical (both also include instrumentals for "All In the Flip" and "Killidelphia Remix"... the original "Killidelphia" instrumental was on the first 12"). The only really sad part is that this was apparently the final chapter in the Tainted Mindz' saga.

Getting Off At the Ground Floor

Bandoola Records was a short-lived record label that used to run a whole ton of full and half page ads in The Source, Rap Pages, etc. It was a record label (Bandoola), management company (Ambitious, who had Show & AG and Organized Konfusion) and promotions team (Marquise), which was basically the same guys under one umbrella (BAM). They sponsored shows, they did this and that... but the one thing they never really got around to doing was putting any albums out, and so they folded.

Their first two releases, that they always advertised in every single one of their ads, were meant to be EPs by Lord Finesse and a new act called Ground Floor. Again, those EPs never surfaced (fans are still frustrated about that, 15 years later), but Bandoola did at least manage to press up a little run of promotional records and tapes of Ground Floor's teaser single, "One, Two." And it's pretty fucking terrific, which on the one hand, makes Bandoola's lack of releases all the more frustrating; but on the other hand, hey, at least we have this killer single.

There's not a lot of info to share about Ground Floor. They're three cats from Newport, Rhode Island who unfortunately never resurfaced after Bandoola went bottom up. There was a video shot for "One, Two," so we got a look at 'em, but I don't even know the members' names.

Anyway, "One, Two" is a killer song. It's a perfect example of 90's NY hip-hop at it's finest. Cracking drums, insanely fresh distorted hooks, an old school guitar sample, vocal samples cut up on the hook, and a deep piano loop. It's produced by Ground Floor themselves, so it's crazy that these guys didn't at least go on to make beats for other artists. Lyrically, it's not amazing to pull quotes from; they were just kicking nice, freestyle flows that were all about riding the rhythm and sounding fresh.

The B-side features, and is produced by, Lord Finesse. So you know it's a winner. It's somewhat darker and grittier than the A-side, with a super low bassline and sparse horn samples, plus a smoother one for the hook. They're kicking the same kind of fun, simile-heavy freestyle rhymes, "I see a mic and I'm a hungry man like Swanson. When I rap it's like magic, 'cause niggas be on my Johnson." And you can rest assured that those aren't the only two uses of the word "like" in the song. ;) These guys were a perfect match for Finesse in every way... one can't help wondering what other collaborations they would've come up with had their albums dropped.

So, this is the cassette version you're looking at, with Dirty and Radio versions of both songs. The vinyl doesn't have a picture cover with the cool Ground Floor logo, but it does have both instrumentals. This one's a favorite among collector's, but it's not too rare, so you should be able to find it for a reasonable price if you poke around a little.

Further Whoridin'

Have you ever looked at your copy of The Whoridas' debut album and wondered: how is there a "True Playas (Remix)" on here, when there never was an original? For that matter, there seems to be only one version of "Talkin' 'Bout Bank," the "Funk Mode Mix." But why do they specify the mix title if it's the only version? Well the answer, my friend, lies in this release, 1997's Whoridin' Advance Cassette.

Ok, the full track-listings for both versions are on my Hobo Junction page. But the long and short of it is, besides the fact that the songs are in a different order, the Advance has five songs not on the official release, and the official release has three songs not on the Advance. So, even if you have the Advance, you'll want to scoop up a retail copy for the songs, "Never Heard," "Keep It Goin'" (although this one was released as a single anyway) and "World Wide Whoride." Ok, so now let's get to the much more interesting stuff: the songs only on the Advance.

Well, two of the five aren't such a big deal. "Town Shit" and the "Shot Callin' & Big Ballin' (Remix)" (the track-listing doesn't specify, but it's the "Merg 1 Remix" included here) were both previously released on singles. So, while it's always nice to have more songs than fewer, especially two dope ones like these, they're not hard to find elsewhere. The same can't be said for the next three, though.

First up, "Talkin' Bout Bank." Now the "Funk Mode Remix" is featured on both versions of the album (it was also released on 12"), but only the Advance also includes the original. The original doesn't have the familiar P-Funk samples or the ultra thick bass. It's more upbeat, with a very catchy, almost bouncing bassline, distorted samples and clapping drums. There are even some nice DJ cuts at the end. The remix is one of the few tracks on the album not produced by a regular Junction producer... Unfortunately, this Advance cassette doesn't have production credits, but I bet it's one of their own.

Next up is "True Playas," or as it's titled on the Advance tape, "True Playaz-N-the-Game." It's the same deal here as with the last one... both album versions feature the Remix, but only the Advance also includes the original version. The familiar (Remix) version really stands out on the album... it's the only track produced by Shock G, who's on a different, more smoothed out vibe than the Junction members, and it features a female R&B singer (Kinece Senegal - look, I found her on myspace!) on the hook. This version sounds very sample driven... I don't actually recognize the sample, but I wouldn't be surprised to learn this one was shelved for clearance issues. It still sounds pretty unlike the typical Whorida, twisted bass-heavy funk sound; but it's not so smoothed out, doesn't feel as radio/MTV friendly and there's no singing on the hook. Not that I'm knocking Shock's work... it sounded pretty cool here, and meshed well with the Ridas' deliveries. But the Advance tape clearly had it right in including both.

Last up is "High Cappin'," a completely original, separate, never-been-released-in-any-other-capacity song. It's got a Pete Rock-style sleigh-bell line and some slow, banging bass drums. The down beat sounds like someone's just smashing a metal garbage can with a baseball bat. Saan and Chop take turns setting it off on anyone who talks shit, while the hook features a tortured horn sound and Saafir ominously intoning, "What's up, nigga? You be lyin'!" It ends with Saafir shouting, "J-Groove!" So I'll take a wild guess and say that's who produced this one.

So I don't know how rare this is... I don't know if there's a vinyl edition (that'd be nice)... I don't even remember where I got this. But it's definitely worth keeping an eye out for.