Doug E. Fresh 2000, part 2: Yawn

So, in the summer of 2008, I blogged about how Doug E. Fresh made an under-publicized comeback in 2000, releasing two rare white label 12"s I discovered from that year. Well, it turns out I'd underestimated that comeback - I've found two more! There's no dates on these, so I can't say with any certainty that they came out precisely in the year 2000. But they seem to've come out at roughly the same time - heck one is a remix 12" of one of the records I reviewed last time, so they must've come out pretty close to each other.

That remix 12" is "He's Comin (Mayham Party Mix (Special Edition)." Like "He's Coming (Party Rocker Vocal)," this is a live recording... of the same performance... over all the same beats. So the difference is... he's performing it in front of a different crowd? Except, it's not even that. I bust out my first 12" of "He's Coming" and it's exactly the same recording, with the same crowd responses. So there is absolutely, 0% difference between the Mayham Party Mix and the Party Rocker Mix. That's a bit of a rip, huh?

Then, like you'd expect, the instrumental for both is exactly the same, too. Well, at least this "Special Edition" 12" comes with a "Beat Box Bonus," right? No, that's on printed on the label, but it doesn't actually appear here! I think it was intended to be, but the pressing was screwed up, because actually, there's a short, unlabeled track on this 12" with a few beeps and tones and a guy saying, "this is the instrumental mix, mix two." Clearly that was meant to be left off the final recording, but instead they left that on and chopped off the Beat Box Bonus. Jeez!

Still, at least this 12" has a B-side, so let's check that out. There's two more songs here called "The Show" and... "La Di Da Di." Waitasec; these aren't new at all. These aren't even live performances or anything - they're exactly the same tracks as pressed on Reality Records in 1985. They've even included "The Show (Instrumental)" from that 12". Well, ok. So this is really just a combo of two pre-existing Doug E Fresh 12"s merged together. I guess that's handy if you didn't already own "He's Coming" and "The Show;" you could buy this 12" and save a little money. I guess that's what they meant by "Special Edition." Ok.

That's a little disappointing, but I'm not phased. I've still got this fourth white label 12", "Who Run This." And it features old school legends Busy Bee and Luv Bug Starski - yeah, now we're talkin'! This is an all-new studio recorded track (as opposed to a live performance). It's a lot like "He's Coming" though, in the sense that they're basically just doing various shout and call responses ("Do the ladies run this?" etc). But it's all over just one, original beat... a boring, lifeless beat. And Starski and Busy Bee just sound kinda tired, randomly ad-libbing for a minute or two. Curiously, Busy Bee does all of his shout-outs and stuff from the end of his 1992 song, "Busy Bee's Block Party" ...right down to thanking us for giving him his block party. Huh? That's weird.

So yeah, nobody raps. The beat is weak. The shout and calls sound somnambulistic. Sorry, guys, but this joint sucks. ...Not that it seems like anybody on this record cared if it would be any good or not in the first place, so I'm not sure why I'm apologizing for that remark. It makes you appreciate why he records these shout and call tracks live, though. I mean, this song would've sucked either way, but at least a live audience infuses the proceedings with a little more energy.

Well, now my enthusiasm's thoroughly sapped... I don't even feel like flipping this over to check out the B-side to this one. But I will. It's "Where's the Party At?" If that title sounds familiar, that's because he had a song called "Where's da Party At?" on his 1995 album, Play. There was a video for it and everything. And this is it. Yeah, just like he threw "The Show" on the back of "He's Comin'," he's thrown "Where's da Party At?" on the back of "Who Run This." Again, there's no difference... this isn't a live recording or anything. It's just the same songs repressed. He includes the instrumental here as well, which was also included on the 1995 Gee Street single. Meh.

So all in all, this was pretty disappointing. There was actually only one new song across these 12"s (not even an alternate mix), and that song was half-assed and lifeless. If you're a hardcore completist collector, then I'm glad to let you guys know these records are out there. But otherwise, guys, do like Dionne and walk on by. No wonder these 12"s were so obscure.

A REAL OUTLAW IS A MUTHA FUCKA

When K-Rob is outlawed, only The Outlaws will have K-Rob production. Y'all know who K-Rob is, right? He's best know for his classic old school duet with Ramellzee, "Beat Bop," a record known for adding off-beat funk (featuring unusual instruments and echo effects over a slow bassline) to hip-hop when everybody else was still doing the pure disco sound, and for having a famous picture cover painted by Basquiat. Then in the mid-80's, he did a couple records for Profile, and finally resurfaced in the 90's as a producer... mostly underground, though he worked with Jay-Z several times.

And I don't suppose you get much more underground than this. I'd never heard of it until The Old School Rap King hipped me to it, and there's not a single mention of it online anywhere. In this day and age where the most obscure random rap singles have countless message boards and blogs on fire, how many albums can you say bring up zero hits on Google?

So yeah, this album is called Super Heroes Of the Ghetto by The Outlaws, for whom K-Rob seems to be the sole producer and lead MC. There is another rapper who appears less often, and a reggae guy... think The Crusaders Of Hip-Hop, where K-Rob is Tony D and you get the picture. This came out on Bad Azz Records in 1993, a label which I'm guessing is K-Rob's own (the only other record I know of on this label was also produced by K-Rob: "Who You Be?" by Bro-N X).

So how is it? It's pretty raw. K-Rob's got a pretty tough but sample-heavy sound... Most of said samples are pretty original, though "Give the People What They Want" is essentially the exact same instrumental as Grand Daddy IU's "I Kick Ass," but filtered so heavily the horns are all but inaudible, sunk deep beneath a roaring sea of heavy, heavy bass. Like, "WHOMP!! Whomp, whomp, whooomp!" And a few other songs use some very traditional hip-hop samples, but in every case they're flipped uniquely or paired up with something fresh and unheard. K-Rob is definitely a producer who can stand next to the greats.

Lyrically, it's even rawer. There's some really angry content here... with songs dedicated to their hatred of white rappers ("No Frosted Flake") and rape victims "She Cried Rape (Dedicated To Mike Tyson)." They lighten the mood a bit to talk about their hatred of the media "(Kill the Media"), killing cops (an untitled skit about Rodney King), how much it sucks to ride the subway ("Hopping Trains"), and their resentment of Yo! MTV Raps ("Fuck MTV (Doctor Dre and Ed Lover Dis...)"). They even squeeze the line "fuck the Pope," into "How a Black Man Feels." This album is so much like the New York equivalent of Disco Rick's first album, they even have a similar manifesto in their liner notes:

"A REAL OUTLAW IS A MUTHA FUCKA WHO HOPS TRAINS, DON'T GIVE A FUCK ABOUT BITCHES AND COULDN'T GIVE A FUCK ABOUT MTV ...... CAUSE DRE AND ED LOVER ARE NOTHIN BUT UNCLE TOMS. A OUTLAW HATES THE DAILY NEWS, THE POST, NBC, ABC, CBS, TED KOPPEL, DAN RATHER, MARK KRIEGEL[a sports columnist lol] AND PHIL DONAHUE (THE WHITE LIBERAL).
CUZ WHEN IT COMES TO A BLACK MUTHA FUCKA THEY NEVER TELL THE TRUTH! SO KILL THE MEDIA AND GIVE THE PEOPLE WHAT THEY WANT OR YOU'LL HAVE RIOTS ALL OVER AGAIN, CUZ THAT'S THE WAY A BLACK MAN FEELS! SO SUCK MY DICK AND LICK MY NUTS AND LISTEN TO THESE FAT ASS CUTS."

Yeah, this album isn't for the squeamish. But then neither is this site; we love the hardcore here! And this album is pure good times. This album gets a full, all-around recommendation from me... if you can find it any place!

Hip-Hop on 8-Track with 2XL!

(Youtube version is here.)

Marley In the Mirror

"Check the Mirror" is pretty much the track used to illustrate how far In Control vol. 2 fell from vol. 1. After all, vol. 2 had a lot of dope tracks: Tragedy's "America Eats Its Young," Ak B and Kev E Kev's "Out for the Count"... Hell, even Marley Marl's own rap track, "No Bullshit," was alright. But Marley went for a wider scope on that outing, with a little more new jack swingy moments and giving his R&B group The Flex a solo track... and the flagship of What Went Wrong was Portia's "Check the Mirror." So of course he chose it for the single!

Actually, I remember thinking back in the day that this track wasn't so bad, and today it gives me a nice feeling of reminiscence for all the time I spent watching BET after school. I mean, I kinda like new jack swing, and the track is well produced if you go for that sort of thing. Portia was an dancer turned R&B singer "who also rapped." Her singing's okay... I doubt anybody came out of this eager for her solo album; but the track, with a funky piano line, bouncy beat, boards and synthesized back-up vocals made for an upbeat good time.

Now, this is the CD single (the 12" only came in a plain sleeve as far as I know), but it has essentially the same track-listing but with two extra mixes, totaling SIX different versions of "Check the Mirror." So strap yourself in for some serious neo-pop soul swing!

Actually, it's a lot to listen to, but it's not too complicated to break down. You've essentially got two key mixes, the Mirramix and the Reflection Mix, and both of those come in regular, extended and instrumental versions (the 12" only has the extended and instrumental mixes). And neither of these versions are the same as the album version, which isn't included here.

The album version was a little more hip-hop, and the remixes are a little more dance. The drums, stuttered hook ("ch-ch-ch-ch-check the mirror, y'all") and all the vocals are retained, but the remixes go for more of an almost house music feel. The album version had harder drums and old school samples (horn stabs and such), not to mention some scratching, that are all dropped for the single.

The Mirramix adds some vocoder and some additional keyboards. It starts out with a nice little acapella lick (sample?), that recurs once or twice throughout the song. There are more little touches and changes, especially on the extended mix, but the main distinction is that it downplays the deep bassline of the original, playing up instead a new, lighter keyboard line that plays throughout the song. The main piano loop is the same as the album version, though, so this mix doesn't feel too far removed. This is the version they used for the video (yeah, there was a video for this).

The Reflection Mix, then, is even more club-oriented with more new keyboards and spacey disco sound effects. The extra acapella lick is back on this version, too. The signature of this mix is that the keyboard player is really allowed to shine here, getting a couple solo numbers and everything; and the piano riff of the album version is completely dropped.

But even if you don't give a fig for Portia and her dance music, this single's worth picking up for the B-side: "At the Drop Of a Dime" by MC Cash. This is a pure hip-hop track, with Cash kicking freestyle rhymes over a fast but very hard hitting track. It's pretty much all rugged, layered percussion, a lone horn squeal and a bassline until the hook, when the "UFO" riff screeches in the background and Marley gets on the 'tables and cuts up his signature like from "The Symphony." It's a fast, unrelenting experience with a seamless blend from verse to scratching to verse.

"At the Drop Of the Dime" was also on the album, but this single features an exclusive extended mix. It's not a remix - the instrumental's completely unchanged except where the album version would end, this one keeps going into a whole new third verse! The beat's allowed to ride out more at the end, too... but a whole new verse? That clearly bumps this up into Definitive Version status. It's more furious freestyling just like the other two verses ("now watch ya step, no beef, no Rambos; the Cash just keeps 'em souped like Campbells"). Oh, and the instrumental is also included for a final treat.

So yeah, another worthwhile single that can be had pretty cheap. Buy it for the MC Cash, but the Portia stuff's at least a fun bit of nostalgia. Kinda wish they'd included the album track, too, but oh well. They already included a lot, so can't really complain. Oh, and if want some more Portia nostalgia, she's got her own channel on Youtube, with her music video, an interview, and footage of her dancing for LL Cool J and EPMD. Check it out and relive the early 90's. :)

Triggerman 2000

Last time I did a post about The Showboys, I talked about their lesser known debut single that dropped the year before their big hit, "Drag Rap." Well, I'm gonna keep dancing around their classic centerpiece, and this time talk about their under-the-radar follow-up, "Triggerman 2000"/ YIIG'$.

The Showboys are from Queens, but in 1986, "Drag Rap" became a huge hit in the South, and is one of the most important records in the history of bounce music. "Drag Rap" was often mistakenly referred to as "Trigger Man," since Trigger Man's name is used so often in the song. In fact, when Profile repressed it in the 90's, they retitled it "Drag Rap (Trigger Man)." So know that, it's obvious that "Triggerman 2000" is their sequel to "Drag Rap," Orville “Bugs Can Can” Hall and Phil “Triggaman” Price's colorful gangster narrative about being pursued by the infamous real-life crime-fighter Elliot Ness. But "Trigger Man 2000" is actually just one song on their debut full-length album, YIIG'$ which they dropped on album, CD and tape on their own label Papergame Records.

There's no reference to their debut single (or their Christmas rap song from 1987), but this song is all about "Drag Rap." Seriously, the entire album is one giant ode to that song. It opens with one in a series of well-produced skits telling us how Bugs and Trigger are still on the run from Ness. Then they play the original "Drag Rap" (exactly as it was released in 1986) and after another skit where a judge sentences them to prison, they hit us with "Triggerman 2000."

Now, you'd be forgiven for thinking this song and album would be one huge piece of crap, but actually it's pretty dope! "Triggerman 2000" plays it very close to the original, using the same instrumental, including the crazy whistling and human beatbox breakdowns, but provide a very updated hook and all new lyrics. These detail the further exploits of Bugs and Trigger as they organize a jailbreak. They sound older (and Trigger sounds grimier), but otherwise this could easily have been a lost 1986 B-side:

"Triggerman!
Yeah, I'm in jail.
My boys ain't raisin' no bail;
Them niggas raisin' HELL!"

Oh yeah, they do curse a bit more than they were back in the 80's. But this whole song, in fact the whole album, is all about being a fun throwback... both to their 80's sound and to the old school style of 1920's era gangsters.

The rest of the album doesn't sound quite as old school as "Trigger Man"/ "Trigger Man 2000," but the samples of that record return in different forms and styles through-out the album. One song will have the same drums, another the same bassline. And the whole album continues the narrative of Bugs' and Trigger's escapades with elaborate skits and songs that continue the theme. For example, there's a skit called "Da Hideout" where some old girlfriends let them hide out at their place and lay low, which is immediately followed by the song "Ladies Luv Gangstas." The title says it all, I think.

Sure, it's a bit corny - The Showboys incorporating modern Southern elements to their old school styles - but it's surprisingly well produced, and the whole album feels much more like a "rap opera" than The Fugees' half-assed attempt at it (or The Fat Boys, who did it first). The only disappointment is that it peters out on side 2. Instead of building to a climax, the skits just kinda stop, and there's a remix and a song or two that don't quite fit in with the whole theme as well. So that's a bit of a let-down.

But seriously, when you hear that some old school rappers are coming out of retirement after fifteen years to do a sequel to their biggest hit, you hope for one thing and expect another. And I'm happy to report that more often than not, this is a lot more of what you hope for than what you'd expect.

Cuttin Gets the Paper, Heltah Skeltah Still Gets the Props

This is one of Heltah Skeltah's nicest and most slept on singles. It came out in 2000 on Blahzay Music, a small label owned by PF Cuttin, the former DJ/producer of Blahzay Blahzay (hence the label name). This is BLAH002. BLAH001 was an indie comeback track by Blahzay Blahzay and BLAH003 was another pairing with Sean Price. I'm pretty sure that's the label's full run.

So, yeah, this is Heltah Skeltah's first comeback 12" after their run on Priority... It took them 'till 2008 to come out with their comeback full-length. And by that time, I guess they figured the material'd been out for too long, 'cause these songs didn't wind up being on it. So they're only on this 12", meaning most people missed out on 'em, which is a shame.

The A-side, "The Crab Inn" is just some fun raps about girls over the Kool G Rap's "Truly Yours" instrumental, being stuttered and mixed up a bit by Cuttin, who produced both songs on here. It's light hearted material, kinda amusing... you can't go wrong with classic Juice Crew beats... but the real highlight is the interplay between the two MCs. They're not just each kicking one verse with a hook in between them, but constantly passing the mic back and forth, like a dirty Kid 'N' Play with street cred.

But the real stand out here is the B-side, "Caca Gosa Vixen (Fuck All Y'all Niggas)." The beat is hardcore, but funky as hell. The drums are rugged and there's a cool violin sample, but it's all about the ultra-head nodding bassline. And Ruck and Rock just go back and forth (I think there's like nine or ten verses total) kicking crazy, semi-battle freestyle rhymes, along with their frequent collaborator, an uncredited Illa Noyz.

"Break North! ...When the Ruck rippin' the stage;
My nickel gauge rip your face off like Nicholas Cage.
Fuck the front page, nigga; I need the main article,
On how me and my crew blew niggas' brains into particles.
So don't start if you can't ...finish,
'Cause I will be sure to end it - whatever you created.
I hate it when the MC blow up like a helium balloon,
But soon to be deflated, 'cause my niggas ain't feeling your tunes."

There's no hook, and a lot of adlibbing by the MC's who aren't rapping at the moment. It has that unique blend of playfulness and ruggedness that really brings to mind "Leflaur Leflah Eshkoshka" ...which frankly, is what I think we're all always hoping for but only occasionally find in any BCC-related record.

Both tracks come in Clean, Dirty and Instrumental versions and comes in a nice sticker cover. This is a real gem, and fortunately isn't rare at all. I picked up my copy for 99¢, which just goes to show that cost and value aren't nearly the same thing. Happy days.

He's Little Run

Here's another fun one from the annals of Virginia rap history, again courtesy of The Old School Rap King (see my Fayze review). It's Little Run "I'm Little Run" on So-Def Records from 1990. I've never heard of the label before - don't get it confused with Jermaine Dupri's So-So-Def Records - and judging from the catalog number (001SDR), this is their first and quite possibly only release.

Like his name suggests, Little Run is a kid rapper (and presumably meant to call to mind Run of Run DMC, though there's no direct connection), which is interesting since it pre-dates the pig kiddie rapper phase that came about with acts like Kriss Kross and Da Youngsta's who debuted in 1992. Not that he's the first - for example, T. Omar dropped "I'm Only Nine Years Old" back in 1985 - but he's at least ahead of the curve.

But anyway, more interesting than the fact that he's a kid rapper is the fact that he's a pretty good kid rapper. He's got a pretty hardcore flow, but without getting into ridiculous Quo territory. If Basically, if you appreciate a good LeJuan Love record, you should like this. The lyrics are simple freestyle, over-the-top boasting; but they're fun and engaging enough:

"How can you rhyme and persist to diss,
And then be talkin' a lot of junk and be rhymin' like this?
'Comin' straight out the projects but I'm harder than him;
My name may begin with 'Little,' but I still get trim.
This rhyme'll get mad - furious!
The young Einstein of rhyme, you can call me Yahoo Serious.
No bad influence, girls be thinkin' I'm sweet;
Others think I'm a hoodlum 'cause I come from the street.
A new jack, I got something you lack, Mack.
Get in my face and get smu-smu-SMACKED!
I got back, yes my brothers is black;
Black folks ain't no jokes 'cause we got it like that.
When I went in 7-11, I created a fuss,
'Cause all the cashiers was lookin' at us.
Lookin' at the brother thinkin' I'ma steal a Slurpee,
Or a Big Gulp.
So tell me, what's up?
...'Cause I'm Little Run."

And, you know, I say he's a good kid rapper... but like any kid rapper, it's probably all really comes down to his production and handlers. In this case, he seems to brainchild of M.C. Tony T (not that Tony T... this one's real name is Tony Austin), who produced the track. It's a rugged, bass-heavy beat that uses a good chunk of "Atomic Dog," but also has enough unique, funky elements that it doesn't sound tired and played out like "Atomic Dog" based beats often do. The instrumental's also provided.

Then M.C. Tony T turns the spotlight on himself for the B-side, "Tony's Groove." No instrumental's included this time, but that's ok, because more than half the song is just instrumental. It's cool, kinda funky, kinda cheesy and pretty new jack swingish. He refers to the corniest synth riff as "horns," I literally laughed out loud when I first heard it. There's some Miami-style percussion and some girls singing, "let me see, let me see ya groove," and various vocal samples and ad-libbing by Tony. Finally, about midway through, he does grab the mic and rap for a single verse. He's ok, and has clearly at lest put in the effort to come with something impressive; but again it's kinda corny. "Tony's Groove" is an amusing old school tune if you're open-minded and in the mood for a throwback, but nothing more.

The A-side is worth going out of your way for, though; at least if you see it cheap. Anyway, I enjoyed it. 8)

When Kurious Was All Great

Kurious released just one record since his last single on Columbia in 1994 until his return in 2008 with his awesome demo EP and lackluster comeback CD, II. And that record is the single "All Great" on Stonegroove Recordings, which dropped in 2001.

Predictably, this is middle-of-the-road Kurious material... not as funky as A Constipated Monkey, but better than most of the material on II. It's a single song 12" with two mixes of the one song "All Good," both coming in Clean, Dirty and Inst. versions. The A-side is produced by Celph Titled; and while it lacks the rich, soulful samples of his early work, instead sounding like it was made out of studio-created sounds. But despite that, it's catchy. It's got some very upbeat percussion, a head-nodding bassline and some fresh horn stabs. The hook features some very Premiere-like scratching by DJ Cheapshot (of Styles of Beyond). Lyrically, it's pretty solid, with Kurious doing his usual style of thoughtful freestyles:

"On a lifelong search for what's divine;
It's gettin' kinda hard to find an openin' line.
I met a wise man who said it's all in the mind.
I'm feelin' like I'm God and the devil at the same time."

Solomon comes on at the end to kick a short sing-songy verse:

"Players get played on;
We're gettin' sick and tired of the same song.
You're talkin' all this and that - whatcha sayin', dog?
Look at all them cats that ya paid off.
You niggas ain't sellin' dimes and ya ain't raw,
You don't do crimes and you afraid of law.
Now people tell me what y'all came for?
You want more, you only get what you paid for."

Then the B-side is remixed by Cheapshot. Conceptually, the instrumental is pretty much the same... catchy studio sounds. It's a little harder, but still bouncy. I think, personally, I marginally prefer the A-side, but it's a narrow distinction. Which isn't to say that they sound too similar, though. They sound different enough that it's worth having both mixes. It's just that they come in at a photo finish.

So yeah... this single lacks the deep production sound of his early work, but if you like Kurious, you'll like this. It's not must-have status like his debut or his demo, but it's not like we've got hundreds of Kurious records to choose from either.

Still Another 1-4-U-2-N-V

(Youtube version is here.)

The link I mentioned in the video is: http://www.another14u2nv.ning.com and their e-mail is another14u2nv@gmail.com.

OB4CL2 - FINALLY!!

(Youtube version is here.)

3rd Bass 2000

3rd Bass has to be one of the most request - and promised - reunions in hip-hop history. Fans beg, the artists say they'll do it... but then nothing happens. I remember reading an interview in The Source where Serch was saying that they were finally reunited and that their long-awaited and unfortunately titled third album, Icabod's Cranium, was in the works. He asked us to be patient, however, because they were taking their time, indulging in the fact that a label wasn't pressuring them with deadlines, so they could take their time and do it right. I think now, in 2010, I can finally say that my cynicism was justified - it ain't coming.

A small run of one promo single did sneak out, though, in 2000, on Serch's own label, Serchlite Music. It was called "Hail To the Chief."

"Hail To the Chief" is not the incredible comeback song you might be hoping for. It's not up to par with the material on their previous albums. But it sorta wasn't meant to be - this is more of a mixtape teaser. It's a simple, concept-less track (except loosely that they're running for best the position of "street chiefs") with 3rd Bass kicking freestyle rhymes over a simple track. It's further tarnished with appearances by Stone Rivers (a mediocre MC Serch was managing at the time) and DJ Corey Hill. But fortunately, they're both relegated to just the hook and intro/outro.

So that's the downside.

But the upside is that it was a new 3rd Bass in a world where it seemed certain there would be no new 3rd Bass songs, the track isn't bad or anything, and the rhymes are solid. Damn it's good to hear new material from Pete Nice, and Serch is always nice with his. Daddy Rich doesn't seem to've been involved, though in interviews, they always said he'd be a part of Icabod's. Certainly his involvement could've helped this song enormously, but like I said... it's still good.

Serch comes with some humor: "yes, I inhaled and real deep. yes naked when I sleep - trust me, you don't wanna peep;" and manages once again to say something uncomfortably racist, "all my life, only rode between a pair of black thighs. Word to my sister and my mother, the only white lips I kissed. You should know before you vote I fuckin' hate white chicks. Not racist I just say this so your vote is not jaded." Well, gee, I guess if you say "not racist" afterward, nothing you say is racist? lol Meanwhile, as ever, Nice comes with the stylish, more abstract wordplay, "'ey yo, illuminatin' on your frequency: the high level and degree of the epitome. Master of the subterranean in your cranium; auditory outlets feelin' like a stadium. If ya got the fluid on the brain, I got a method to relieve it; unscrupulous minds aiming to deceive it. I’m mischievous, devious, hittin' never missin'; got a pocket full of nitroglycerin."

It comes in a sticker cover (above), and features five mixes: Album Version (what album? sigh...), Radio (which is about a full minute shorter), Instrumental, TV Track and Acapella. So it's just that one mix of that one song, but at least it comes fully loaded.

So that's about it. Eventually, in 2008 or so, MC Serch released an mp3 only album (he promised vinyl, but it never happened) of tracks he recorded for a second solo album that never got finished. As two bonus tracks, he included the only three songs (besides "Hail To the Chief") 3rd Bass got recorded for Icabod's Cranium, "Cats In the Cradle," "Commute" (a Serch solo track) and "Out the Back," two of which (the latter two) were released in part back in 2000 on a Serchlite snippet tape[pictured right]. Again, "Hail To the Chief"'s not the best, but it's respectable; and there's no use in holding out for anything more from them.

Remixes Against Phony Entertainers

This is an interesting, alternative UK version of a common US 12" with an extra remix. Now, UK versions of 12"s with extra remixes aren't all that uncommon in hip-hop... but usually they're dreadful CJ Mackintosh or Norman Cook things that are best ostracized. But how about an extra SD50s' remix on a 3rd Bass 12"? Yeah, I was pleasantly surprised, too.

The 12" in question is 1991's "Pop Goes the Weasel," the debut single of 3rd Bass's second (and sadly final) album, Derelicts of Dialect. It's their anti-old to pop music... you surely remember the music video where they beat down a Vanilla Ice look-a-like and giant weasels terrorize the city? "Hip-hop got turned into hit pop the second a record was number one on the pop charts."

Now the US version came in a cheerfully colorful picture cover and featured Radio, LP and Instrumental versions of "Pop" plus four versions, including an SD50 Remix, of "Derelicts of Dialect." Well, this version comes in a sticker cover and features just two versions of each song: LP and SD50 Remix versions - which means an all new SD50 Remix of "Pop Goes the Weasel." Oh, and just to keep you on your toes, this 12" plays at 45 rpm and is mislabeled, listing the songs in the wrong order.

So yeah, the "Derelicts" remix isn't exclusive here, but if you haven't heard it, it's dope. It's smoother and mellower than Prince Paul's original, but features a bunch of extra samples and different instruments - organs, piano, flutes, scratches of crazy vocal samples... all drift in and out over a similar, but much more low-key, softer drummed track. It's more Midnight Marauders.

Well, so like how the "Derelict" remix keeps a lot of elements of the original, the "Pop" remix (called the "Weasel Remix," but the label credits tell us it's by the Stimulated Dummies, who also produced the original) keeps even more. It starts out with an old storybook vocal sample saying, "let's sing 'Pop Goes the Weasel'," and then it sounds kinda like the LP version at first - it's the same drum and bass lines, even the same sleigh bells. But the key distinction is that the signature Peter Gabriel sample is removed. You might say, "but that sample was hot!" Yeah, but it's been replaced with a new, tight horn sample. There's a few other little bits, like a little funk guitar, sprinkled into the mix sporadically to spice things up, too. But the main difference is the replacement of the signature horn sound with another.

I wonder if this is maybe an alternate version they created just in case they couldn't clear the Gabriel sample, and that's why they just threw it away on this little 12"? At any rate, I'm not sure which one is better... they're both worthwhile, and the remix has the added benefit (or weakness, depending on your PoV) of losing that instant pop tune recognizability. So I'll leave you to make your own judgments, but whichever version you consider to be definitive, it's worth picking this up to have both on call.

Missy Elliot's Non-Demo

(Youtube version is here.)

A Missing Piece from Several Puzzles

The internet is awesome for finding things. Things like great music that's been lost for a decade and a half. And that's what I've just found on the internet. Five pieces (plus five more snippets) of great, unreleased music that tragically sank on the same ship: Perspective Records.

Janet Jackson left Perspective Records, and the label was done. Despite having signed a killer line-up of hip-hop acts who all recorded complete, excellent albums, which to this day remain unreleased. And this promo tape, the '96 College Rap Sampler, features nothing but unreleased gems from that line-up, one complete song and one snippet per artist.

The first artist is probably the least interesting, only because his shelved album was at least released in a mediocre-quality dub that's spread well through the tape-trading and internet circles over the years. So let's start there. Young Zee. Most of you have heard it already, so I'll just briefly state that the full unreleased song on here is "Tonsil Check," featuring Yah Lovah... and I have to say, hearing it in proper quality has increased my appreciation of this slick sex rap. The snippet is one of my favorites from the album, "Electric Chair."

Next up are The Black Spooks. These guys made a name for themselves as Digital Underground affiliates (a good legacy there!), and a couple of them went solo after their album was swallowed up by Perspective. I have an underground 12" or two by these guys, but I have to say, the tracks here feature some solid production but also really display some ill lyricism I hadn't properly credited these guys for in the past. The song is "Mad Black Spooks" and the snippet is "Make Up Your Mind," neither of which seem to've been included on any of their subsequent post-Perspective releases. Until I heard these, I can't say I was too disappointed their album never dropped, but now I am.

Now we get to the really exciting stuff. How about some lost material from Pudgee's King of New York album? If you read my 'The Lost King of New York' post on the subject, you know I had found an old catalog title of a song called "Say Goodbye." When I asked Pudgee about it, he said he never released it. Well, I just found out it was a song intended for the Perspective album, 'cause here's a snippet of it on the sampler. The full length song is also mentioned briefly in that past blog entry, where I list some song titles mentioned in a King Of New York album review in The Source. The tape has no production credits unfortunately, but from a line in the intro, I gather this one was produced by The Beatminerz. It has a very similar feel to his single, "On the Regular."

Next is the highly under-rated artist The Almighty Arrogant. It doesn't help that his absolute weakest joint, "Lay Tight," was the only song Perspective ever put out by him. The tracks here are much better... he's like a west coast Young Zee, with a bugged out song called "Toxic Urb," which is about just that. The snippet is called "Arrogant Wayz (Remix)" and is pretty hot, too. Man, I just want to shake the Perspective tree and have all his material fall out already!

Finally comes Rufus Blaq. Now, if you're clever, you might point out that unlike the other four artists you've covered, Perspective did put Blaq's album out. And that's true, but for whatever reason, these two songs aren't on it. The full song is called "NRG" and the snippet is "Make It Last," and both show Blaq as a more rugged yet punch-liney MC than I remember him being. I like these tracks... I may have to go pick up his album which I never copped. If it's as good as these songs, I'll be happy.

It's great to have these songs, but it just makes me wish even harder that someone would give these albums their proper releases already. That way everybody can hear these tracks, and all the other ones still unheard; and the artists can finally get their due. So, I gotta thank the internet for a nice treat, but that's what really needs to happen. Sigh. ...If only hip-hop fans still bought music.

Missin JMJ

Everyone knows that Rev Run kept up a healthy solo output post-Run DMC, but DMC's 2006 solo CD, Checks, Thugs and Rock N Roll, seems to've rolled in well below most fans' radar. And that's just as well, considering what a mess of generic rock, country and R&Bish production mish-mosh this is. Lots of boring studio instrumentation and ill-advised guest spots by artists like Kid Rock, Sarah Mclachlan, Aerosmith (but not the lead singer), The Cars, Buck Cherry and other pop and rock bands I know nothing about. There was a single ("Freaky Chick") and everything, all of which can be yours for the price of a penny on Amazon.

So maybe you never heard of any of that, or maybe you did and just pushed it out of your mind like me, but you might be a little more encouraged to hear that the Japanese disc featured a new, decidedly better song, as a bonus track. And better still, that bonus track received a small run on vinyl as a promo-only 12".

Now, don't get me wrong. When I say "decidedly better," you still have to be feeling pretty sappy and forgiving if you're gonna give this a spin. But if you are, then you'll find a pretty respectable - even touching - dedication to Jam Master Jay called "Missin My Friend." DMC, who's at the verge of losing his voice around this time, doesn't sound like we knew him back in the day, but his sounding softer and muted works much better on this dedication track than it does on the rest of his album. The production (uncredited) is on the light, R&Bish side, but not bad for what it is, and it features a well sung hook, which is also uncredited. According to an interview in The Source, this is the first song DMC wrote without writing any lyrics down, which is interesting, since his lyrics are much better here than on the rest of his album, where they often sound simplistic and kinda dopey. Here he's sincere, authentic and really kind of touching:

"I seen you on the bus playin' video games;
You beat all of us, I ain't sayin' no names.
You was a real cool cat; you never caused trouble;
You would relax your mind doin' a crossword puzzle.
You and Run would argue: who's better in ball?
And I would sit back and just laugh at y'all.
I miss ya, Jay, I ain't gonna front,
I'd give anything to see you smoke one more blunt.
So when asked who's best, we all will say:
Jason Mizell, Jam Master Jay.
When asked who's best, we all will say:
Jason Mizell, Jam Master Jay!"

The label to this 12" gives us practically no info (just a defunct url), but playing through the record tells us the track-listing is as follows: A1) Clean Version A2) Instrumental B1) Dirty Version B2) Acapella. There's not much distinction between the clean and dirty versions since, as you'd imagine, there's not much cursing on here, but there is a single usage of the word "nigga" silenced out.

So, while steering as far clear of the album as possible, you still might want to add this 12" to your crates. Even if you're realistically not gonna break it out and spin it too often, it's just nice to have it in there as a tribute to the great Jam Master Jay.

Kick In the B.A.S.S.

(Youtube version is here.)

Party, Party!

What's not to love about this record? This is Ice-T's epic Rhyme Syndicate posse cut from his album, Freedom Of Speech... Just Watch What You Say that dropped in 1990 on Warner Bros/ Sire Records. It's got an exclusive B-side remix, and as you can see it comes in a spiffy picture cover.

So yeah, the song is called "What Ya Wanna Do?" It's produced by Ice-T and Afrika Islam and is, as the back cover puts it, "CUT THE !&*!&%!! UP" by DJ Evil E. It features the full-length LP Version (a whopping 9 minutes) and the shorter Edit (the one they used for the video etc.). There's also an instrumental, which is a little bit longer than the radio edit, but shorter than the LP version.

It's a super fun joint, with a cracking break with hand-claps and a little Miami-style percussion, a deep groovy bassline and a funky guitar loop. It's a pretty simple but entirely effective beat that plays the background for a plethora of MCs to just drop freestyle rhymes. The entire line-up is: Randy Mac, Nat the Cat (with a sick fast rap style), The Syndicate sniper Donald D, who kicks the infamously fun rap about his rodent problem:

"There's a mouse in my house, so I bought a cat.
The cat ran away, 'cause now there's a rat.
I'm on the attack with my baseball bat...
That one rat brought many others back.
All through my house I set up traps;
It seem like the rats have a map.
But nowadays I don't know how to act,
So now I feed the rats crack."

...Bronx Style Bob ("Life ain't nothin' but a piece of existence"), Hen Gee, Shakell Shabazz, old school legend Toddy Tee, Everlast (who lazily recycles a verse from his single, "I Got the Knack"), MC Taste and Divine Styler. In the Edit, each MC kicks 1 verse (except Ice, who kicks 2), but in the full-length version, everyone comes back for a second verse (third in Ice's case). What's interesting is that the Edit doesn't just play the first "round" of verses or the second, but selectively picks what I guess they consider to be the best verse from each MC, so you get, for example, Randy Mac's first verse, then Nat the Cat's second and then Bronx Style Bob's first verse again.

Finally, we hit the exclusive remix, a Radio Remix of "The Girl Tried To Kill Me." Remember the over-the-top rock & roll style sex anthem Ice ended his album with? Well, this is that, but this remix was clearly made for the heads who thought the original wasn't hip-hop enough. This one still has some of the same guitar riffs (and a big solo finish), but the emphasis is much more on the drums and all than the album version, which was a pretty substantial genre cross-over. Which version you'll prefer will probably depend on how tolerant you are of rock music... the original probably lends itself more to the subject matter and Ice's yelly style, but this is definitely on a more head-nodding B-Boy tip. So I gotta go with the remix.

So, you know, if you've already got the album, then getting "What Ya Wanna Do?" isn't such a coup... the Instrumental is nice, but the Edit doesn't add much value, except maybe for historical purposes. But it's also got the remix of "Girl" and the pic cover and all, so it's a worthwhile crate staple considering it can usually be had for peanuts.

Do the Many Varied Right Things

This has to be the seminal union of new jack swing and conscious rap: Redhead Kingpin & the FBI's 1989 hit "Do the Right Thing." The song was originally meant to be a Teddy Riley joint for Wrecks-N-Effect to appear on the soundtrack to Spike Lee's film of the same name. But it wound up being left off the soundtrack and going to Redhead instead; but that didn't stop it from being a huge hit. And it should be pointed out that while Teddy Riley gets arrangement credit (and Joe the Butcher mixed it), "Do the Right Thing" was actually written and produced by Markell Riley (a.k.a. Marky Mark of Wrecks-N-Effect) and Redhead himself.

This is just one of those timeless rap hits... the music, the hook... Having grown up in the time this came out, I don't even have to play this song to quote you guys the lyrics:

"Brothers are stealin' and dealin' and big wheelin',
And to a younger mind, that stuff is appealin'.
So what do they do? They gather up a crew,
Go out and steal and rob, instead of getting' a job.
Now your mother tried to bring you up better than that;
The same way she loved you, you loved her right back.
But now you think you're grown and you argue a lot
Over money you got from dealin' stuff on the block.
Now you're not the only one in the world that has problems;
Keep your head straight, and you can surely solve them."

And I call this new jack swing 'cause of the artists involved, the hook, and a few sparse keyboard riffs... But this is pretty hardcore for new jack swing with it's aggressive "UFO" ringings, a lot of cuts that aren't played soft on the mix, and a driving funk guitar sample taken right off an NWA record (It shares George McCrae's "Rock Your Baby" with MC Ren's rugged solo cut "Quiet On the Set"). Even those distinctive Teddy Riley horns (somebody needs to bring that sound back!) sound harder than ever here; and it's all laid over "Impeach the President."

So it had a hot animated video, a ton of radio play and while it didn't wind up in Spike's movie, it did eventually find a home as the final anthem in Wes Craven's The People Under the Stairs. Wait; what? I asked Kingpin about this in my interview with him back in 1998 and he answered, "Yeah. I didn't understand that, though. I went to the movies and saw that, and I'm like, 'Ok. They're chasin' monsters through walls, they're killing monsters, and then they're doing the right thing?' I don't get it. It was a check, though. I just didn't get it, personally."

So with a hit this big, you wind up with a lot of versions of the single... little 7"'s, white labels with fewer tracks (though that's the only way to get the proper album version or the instrumental), etc. But really, there's basically two proper singles, with matching picture covers (shown above). First is the yellow.

The yellow 12" has five mixes: US Street Mix, 12" Mix, US Radio Mix, A Capella and the Butcher Mix. And the A Capella is self-explanatory. So let's compare the other three mixes.

The US Street Mix is like the version you're familiar with, the album version, the version they use in the video, etc. Except they remove the sung hook and replace it with a vocoder version. And there's additional scratching - some during the hook, and especially at the end, where the DJ is really allowed to go for solo. The back-up singing is also removed from the shout-outs at the end.

The 12" mix is similar, but a lot more chopped up. It opens with just the "UFO" sounds, and the whole instrumental is constantly being scratched and juggled around by a DJ (I presume WildStyle is doing all the scratching on all the mixes, but it's not specified in the credits). Even Red's vocals are sometimes stuttered. We also get to hear more from the singers (Guy?) who do the hook, and some extra funky bass at the end of the song. Labels like to remix hit records, because it's easy to sell a record that's already a hit. But records that are already perfect the first time also don't need remixing; and we're given a bunch of inferior versions for no good reason. But this mix is actually an interesting, compelling alternative. I can't see it replacing the original, as that's the most clean and natural sounding version, but this is a funky extended mix that shows off everybody's talents. So if you like "Do the Right Thing" at all, you'll have to appreciate this mix.

So, ok, there are no curse words in the any of the mixes; so what is the US Radio Mix? Well actually, surprisingly, it's not just a slightly trimmed version of the Street version. In fact, it's substantially longer. It's like the US Street Mix, but the singing is brought back (though we hear the vocoder briefly, too), including the extra vocal flexing we heard in the 12" Mix. Oh, and this mix also features a little vocal introduction with someone saying "yo Red, kick that one;" and there are a few other little added details like that throughout the extra couple minutes.

Finally, we have the Butcher Mix. The label doesn't say so, but I think we can safely assume this remix is performed by Joe the Butcher. This is as broken down as it gets. Joe is mixing up just the drum and bassline, sometimes juggling the bass note for note for the short duration. That's it; no vocals or anything else. It's pretty cool as a bonus track.

Ok, now we come to the green cover, which I actually prefer... not just because green is my favorite color, but because the green and the red border jive with his African medallions much more than a giant swath of yellow. So I prefer the cover... not the music.

This 12" has four mixes: Jazzy 12" (in the UK, which is actually the version I've got, this was released as Happiness Remix; but it's the same thing), Jazzy 7" (just a shortened version of Jazzy 12"), Sky 12" (or 212 'Sky' King Remix in the UK) and Sky Instrumental. So basically there's two new remixes.

The Jazzy Remix really isn't so jazzy... it's called that because it's remixed by Jazzie B and Nellee Hooper. It's got a funky congo break, and a cool little bassline... but the rest: thumping dance club claps, and a piano loop that doesn't really fit with the rest of the song, don't work. This is listenable, the bassline starts to get pretty catchy by the mid-point, and it's neat that Red changes up the shout-outs at the end (calling out different countries instead of US cities), but it's nothing to go out of your way for.

The Sky Mix by Gail 'Sky' King is weirder... it features some old school horn stabs and stuff, some clubby elements, and some percussion (and "ooh ahh" vocals) that sound like an old Egyptian Lover record. As Redhead raps, the beat changes to other breaks and sample sets. It's... interesting, and surely not what you'd expect to stumble upon on a Redhead Kingpin record. I don't know if I can say it's really any good, but somebody's at least trying to get creative with it, and bring in some funky new scratches and elements.

All in all, I've gotta call the green remix 12" a miss. Dedicated Redhead Kingpin fans will get some enjoyment out of this (I did - heh), but it's really nothing I can recommend. The yellow 12" is definitely better... but casual hip-hoppers should note that the straight up album version, which will probably be your ideal mix, isn't on either of these. So you're probably better off just picking up Redhead's album or this nice little white label. But if you're a fan of some good new jack swing, I think the yellow 12" will be worth your time.

Sport "G" & Mastermind's Addictive Vinyl

Vinyl Addicts isn't just a site for dope reviews, interviews and such on dope, rare hip-hop... it's also a kick-ass little record label specializing in digging up unreleased gems and giving them the first class vinyl treatment. They put out Lord Finesse's demos, and more recently a pair of records by the indie NJ duo Sons of Sam. But to me, this is their crowning achievement (to date).

You probably know Sport "G" & Mastermind for their pair of highly sought-after 12"'s "Live" and "Louder." If you're not familiar, I'll summarize: Long Island, stupid fresh, late 80's, Paul C.-related, big bucks on EBay. Dig? Well, VA has put out a 6-song EP of vintage, unreleased tracks by them, called Let the Rhythm Roll. It's all produced between 1985 and 1988, songs that got shelved when their label, Streetwalk Records, went under.

And did I mention "First class" vinyl treatment? Yes sir. This here is a hand-numbered, limited release (mine is #205 out of a total 250 pressed). As you can see in the pic above, it comes in a nice sticker cover, with a 2-sided press sheet - including notes on each song by Sport "G," a glossy 8x10 press photo, and another glossy full-color photo of the group (if you're wondering who the third guy is in pictures, that's Dramatic A), in a plastic sleeve. Oh, and 50 copies of these were signed by Sport "G" himself! And my photo doesn't really do it justice, but VA has some of the best looking labels in the limited game, hands down. Like I said, first class.

So ok, the presentation's nice, but how's the actual music? More good news! Shit is super fresh, and definitely one of those releases you'll want to revisit over and over again. Sport "G" has a dope, somewhat deep voice, clear delivery and a penchant for fast-paced battle rhymes (though he switches up the subject matter for "I Used To Be a Hustler" and "Don't Do It To Yourself"). And Mastermind keeps dropping classic breaks. Now, it's a common misconception that Paul C produced the duo's classic 12"s, but actually he just mixed them. Mastermind produced those tracks, and the same is true of all six songs here. But once you know he produced their earlier singles, then you already realize he's a master behind the boards (and has some nice cuts as well). All six tracks are instant head-nodders; but the last two especially, the title track (my personal favorite) and "Don't Do It To Yourself" (which flips a classic KMD sample years before they got to it) are a little denser and more impressive.

If you haven't already gotten this, I think a few copies may still be available ...if you're lucky, so head on over to vinyladdicts.net and ask nice; you definitely won't regret it. Seriously, I'm lovin' it. And of course this just leaves one final question: what will they come out with in 2010?

Murder Fam "Exclusive"

You know, I've given J-Love some (well deserved) shit on this blog for his mix-CDs, but I do have to give him his due. He's not a bad producer who's worked with some of the best MCs and facilitated a lot of music from them. He's got his fair share of criticisms coming to him, but the hip-hop scene would not have been better off without him.

Case in point: this little under-the-radar white label, titled "Murder Fam." It's one of a series of split 12"s he did with production partner Ric Nice. It's got no year on it, but other entries in the series came out in 2001, so it's safe to say this came then, give or take a year. It's just two mixes of one song (albeit with Dirty, Clean and Instrumental versions of each), one produced by J and one by Ric.

It's not "Greatest Hits" material or anything, but it's a a rugged little gem by Kool G. Rap, Jinx da Juvy (not Sir Jinx, as discogs would have us believe) and an underground MC by Ike Infa Diamond. Jinx had done a couple collaborations with G Rap around that time for his Giancana Stories album... in fact, I wouldn't be at all surprised if this is another one of the many outtakes from that album.

It's a simple drum and bass line with a couple hot samples on it, a pure example of the New York crime rap genre. G Rap easily spits it sickest verse (and no, I'm pretty sure it hasn't been recycled anywhere), but the other two MCs try hard enough to copy his violent-mafioso-raps-twisted-into-mindbending-exercises-of-ill-wordplay style to hold up the rest of the record. The hook's just a simple vocal sample repeated a few times ("a man's gotta live up to his word") and a short, chanted refrain.

The Ric Nice mix is essentially the same but with a different sample or two. It's got a cool barrel drum sound, but otherwise the doesn't really hit as hard, especially the hook that just uses a high-pitched violin loop behind the chorus. It's good, though, and I'd be perfectly content with it if the A-side didn't exist.

Of course, J-Love recently threw this on one of his hacky mix-CDs, if you feel like hearing it in terrible sound quality with lazy radio blends at each end and J's "exclusive" name droppings all over it. Personally, I hope to never ever hear another song in that excruciating manner again in my life though; so I was happy to pick up this 12". I suggest you do the same. 8)

WARNING: UNAUTHORIZED ULTRAMAGNETIC BOOTLEG RELEASES

In 1994, Tuff City released The Basement Tapes 1984-1990 by The Ultramagnetic MC's (which Ced Gee refers to as volume 1 on the CD), a pretty self-explanatory compilation of some dope unreleased material. And in 1996, they released they released a second volume, New York What Is Funky. It was then that Kool Keith felt compelled to speak out, issuing a statement on the label of his Big Willie Smith 12" "Prepare" on his own Funky Ass Records. In fact, he did it twice, following up the message with a similar one on his "Don't Crush It" single (from Sex Style).

"WARNING: DO NOT BUY ANY ULTRAMAGNETIC RELEASES ON TUFF CITY RECORDS THEY ARE UNAUTHORIZED BOOTLEGS." And, yes, those are some interesting labels.

Tuff City kept on anyway, releasing albums until 1998, totaling four (and a fifth announced, but it was just a live album, so it would've been nice, but probably not such a great loss). Now, I mentioned "On the CD" above, because the CD version of each album is different than the vinyl versions. Sometimes the sequencing is different, but the key difference is that each CD has at least two bonus tracks not included on the LP. Here's a proper breakdown of those:

*The Basement Tapes 1984-1990: "Ced-G, Tim Dog (Lab Free Style)" and "Ya Not That Large"

*New York What Is Funky: "Tim Dog Live On Capital Radio" and "I Like Your Style" (an alternate mix of the song that was featured on Funk Your Head Up)

*Mo Love's Basement Tapes: "Kool Keith Wild," "Wack MC's," "Freestyle" and "D To the N"

*Smack My Bitch Up: "Nervous" and "Talkin' Out Your Ass (Remix)" (the original of which was on Mo Love's Basement Tapes)

There were also two 12" singles on Tuff City with songs from these releases, one of which included the otherwise CD-only bonus track, "Ya Not That Large." (Remember, you can get the full track-listings for both 12"s and both versions of each album on my UltraMagnetic discography page).

Another key difference is that the first two volumes featured intermittent narration by Ced Gee, telling you (briefly) the history of some of the songs. If you're a vinyl purist, but want to get a sense of what that was like, check out that aforementioned "I'm Fuckin' Flippin'" 12" with "Ya Not That Large On" on the B-side... they include Ced's explanation narration for that song there, where he explains why the song cuts out in the middle (because the engineer was "gettin' weeded").

And the last difference is that, on the back cover of the 1998 Smack By Bitch Up CD (it's not anywhere on the LP), Tuff City finally responded to Keith's label shots with one of their own:
"Don't Believe the Gripe: Kool Keith Cashes Tuff City Checks." From what I recall, there was never any question that they might actually be straight up bootlegs, but that Ced Gee perhaps sold the material to Tuff City without including the other members. Davey D paraphrased a radio interview, where Keith explained, "producer Ced Gee had fallen onto some hard times [he's hooked on crack] and had done some very hurtful things to the group in an attempt to satisfy his habit. One of the things he did was sell the groups old studio out takes and practice songs to Tuff City Records. Tim Dog explained that the label owner Aaron Fuchs then put out a 'fake' Ultramagnetic MCs album. Not only was he issuing old studio out takes as songs, but he also scanned some pictures and with the aid of adobe photoshop had created an album cover which depicted the group alongside a guy they didn't even know. Kool Keith explained he had no idea when the photos were taken... and what's ironic the 'unknown' member of the group was just as shocked as Kool Keith to see himself on the cover. Entitled 'New York What Is Funky'.. Tim Dog explained as he shook his head that the lp with it's sub par recording made the group look bad and it's sad that folks will go so far to make a buck..."

I believe Kool Keith has since recanted the "crack" comment. Certainly, Tim Dog told Vinyl Addicts that, "to my knowledge Ced Gee was never on crack. But I once made a reference to the way he sold the music to Aaron Fuchs like a crack head. Basically a crack head would sell your moms TV which costs 500 euro and sell it for 50 because they’re desperate. So I made that reference to Ced Gee," which I think explains that rumor away.

But it's worth noting that while Tuff City responded that Keith had indeed gotten paid, they didn't say that 'till 1998 (remember, Keith called them out in 1996), so it's possible they only finally squared it away with Keith and them after two years. Anyway, TR Love gave a less sensationalistic account of what happened years later in an interview with Unkut, which I'm inclined to believe is a little more accurate, "Actually, those tapes had gotten stolen and got in to the wrong hands, and when Ced found out he immediately thought he needed to get it out there, so he started doing The Basement Tapes. There was rumour goin’ around that Ced was on drugs, this, that and the third, that’s why he was sellin’ the tapes – but it wasn’t that. It was just the fact that we wanted to get those songs out, but we were gonna do something like a compilation of our greatest hits, but when the first couple of songs started leaking, everything just snowballed. So we just let it go. Aaron Fuchs was just a lucky person to buy into the situation and be able to do what he had to do to produce it."

At any rate, if you've allowed Keith's remarks to make you write off and dismiss these albums, you've really missed something here - there's a lot of nice material on all of these. Granted, the sound quality was varied, and one song ("Smack My Bitch Up" which was also made the title of one of the compilations) was doubled up and included on two volumes - did they think heads were really that excited that some punk/dance band sampled that same "Give the Drummer Some" phrase that it would be some kind of goldmine? Oh well. There's still a crapload of great material here, from a sick demo track to radio promos to a superior alternate O.G. version of "Message From the Boss" from their second album. Some songs are better than others and you could nitpick all day, but there albums blow anything the group put out themselves at the time.

But even across all these volumes, this doesn't encompass all the ill, unreleased UltraMagnetic tracks... Unkut has posted some smoking hot radio rips of alternate mixes of "MC Champion" and "Message From the Boss" (different than the one I mentioned from Mo Love's Basement Tapes) that I'd love to hear cleaned up and properly released. Kool Keith's own website also lists some unreleased UltraMagnetic songs on his discography page, but you can't tell from the titles if these are vintage songs or stuff from one of their many reunions in the 2000's. I know it's been over ten years since their last volume, but maybe we could convince Tuff City to take one more look into their vaults for a fifth Basement Tapes album? And if there's not enough material for a full album, I think we'd be exceedingly happy with a 12" of the remaining songs.

It's a(n Alternate) Force Thing

Ok, I have to start by saying that I'm surprised JVC Force released "Intro 2 Dance" (or "Introduction 2 Dance," as it's written on the album) as their first and only single off of their second LP, Force Field. It's the literal introduction to the album, and though it's the proper length, it feels more like an intro/skit kind of thing than a "full" song. They start of talking on it, while the DJ spins their classic instrumental, Strong Island." They reference some of their old lyrics ("Listen to the situation, my son. Ah yeah! You remember that, A? Remember back in them days?") and then freestyle over the beat, and then have a long shout-outs sequence. It's very cool on the album, but this was their choice for the single?

Well, regardless; that's how it went down, with Radio and Instrumental versions. But of far more interest, I believe, is the B-side.

We're given "It's a Force Thing," which, yes, is one of their two house songs. "An Intro and a house song... great," I can hear you say, but wait. First of all, I think the JVC Force did some of the very best house songs in hip-hop... their voices and styles sound funky over any type of beat, and so lend themselves much more to being laced over dance beats then most MCs (see their "Strong Island" remix single review). So, while it's house, it's still pretty dope, and comes in Radio, Club (which is really a dub, with just the back-up vocals on the track) and Instrumental mixes.

But what really makes this 12" worth having is the "A Force Thing" track. It's written as if it were a whole new song that just happens to be very similarly titled to the other song on this record, but really it's a remix. A not-at-all-house remix (which is always the best kind). In fact, they're rhyming over "Rapper's Delight" (not, not just the "Good Times" groove - there's even samples of Wonder Mike's voice, so they're definitely using "Rapper's Delight"). They do mix a few other records into the music, including some funky vintage horns; but basically it's JVC's ill flow over a super old school rhythm.

Now, I must point out that this 12" was released before the album (1989 and 1990, respectively). So there's that and the fact that some of the vocals that are repeated or otherwise played with on "It's a Force Thing" ("guys they beef with us, 'cause girls they rock for us... 'cause girls they rock for us... 'cause girls they rock for us.") are spit just normally on "A Force Thing." Both of these things make me think that "A Force Thing" is actually the original song they recorded, and "It's a Force Thing" is just a house remix that wound up being included on the album probably at the behest of the label.

But whether "A Force Thing" is the official, proper, original version of the song (as I believe it to be) or not, it's certainly the superior one. And that makes this 12" a must-have. Plus, hey, the other songs are still good, after all.

Kweli Demos

I've liked Talib Kweli since I first heard him. Mos Def I could do without, but Reflections Eternal and all were killing it. So I don't know why I never blogged about him yet - I guess there's a bunch of artists I'm a fan of I still haven't gotten to, really - but I'm about to rectify that situation now.

Before Rawkus and all that, I first heard Kweli when he was down with a crew called Mood, out of Ohio. If you haven't heard their 1997 album Doom, I suggest you go a little out of your way and cop it. They dropped some nice 12"s and stuff, too. And during those early years (though not their earliest; they dropped some stuff as far back as '94), I copped these two demo/promo tapes of theirs.

So let's start out with the less exciting of the two. This promo tape of Mood's album Doom is largely the same as the commercial release. The sequencing is completely different, but almost all of the songs are exactly the same, and this tape is missing a couple tracks that appeared on the final product (though, interestingly, it features the bonus track, "Insights," that was only included on the 1998 UK press on Cup Of Tea Records).

But here are the highlights. First, an alternate mix of "The Vision" featuring a completely different beat (a little funkier and less ethereal) and someone making a wind "woosh"ing noise on the hook. Then a final song that wasn't included on the album, titled "Infantry." Unfortunately, as the last song on the tape, it's cut off before it ends. But that's ok; the next tape's got our back... its appearance here at least tells us that track was originally meant for the Doom album.

The more exciting tape is labeled Mood Sampler, and is essentially a 10-track demo of Mood and its associates (including a lot of Kweli). Now, a couple of the tracks aren't a big deal: "Cincinatti" and "Karma" are exactly the same as you hear on the Doom album, and "Millionaire," by Kweli featuring Rubik, wound up being released on 12" in 1999. So that leaves seven exclusive songs.

First we get "Intro," produced by DJ Hi-Tek. This is pretty short, and I wouldn't be surprised to learn if it was just one sample from one record being played.

But now we get into the real meat of the matter. Track number 2 is "Overstand," an unreleased demo track by Talib Kweli. He starts out, "from where I'm standing/ I got a nice view of Venus/ Fly traps inside my raps catch the wack/ You might've seen us/ perhaps/ in premonitions of lyrical genius." Over a nice smooth track featuring a deep cello line, sparse piano keys, rugged bass notes, snapping drums and a little rhythm scratching throughout. He does a little sing-songy thing for the hook, which isn't amazing, but gets a pass for keeping the groove.

Next we have another unreleased demo track; a song called "Treasures In Heaven" by Mood affiliate HolmSkillit. It opens with a biblical quote from Jesus, advising us, "Do not store up for yourselves treasure on earth, where it grows rusty and moth-eaten, and thieves break in to steal it. Store up treasure in heaven, where there is no moth and no rust to spoil it, no thieves to break in and steal. For where your treasure is, there will your heart be also." Holm flows a lot like Kweli but with a softer voice, and the beat's a smooth head-nodder with slow drums and what sounds like a a xylophone riff with a few harpsichord stabs (who knew harps stabbed?).

Track six on this tape is the aforementioned "Infantry" from the Doom promo tape. It's presented here in it's entirety; and we learn now it's unreleased solo cut by Sikko of Mood. It's the hardest track on here, with a dope track that sounds like it could've come from an old Sunz of Man record (before they signed to a major and tried to crossover), and Sikko flows like early Canibus. Pretty sick.

Main Flo is up next with a solo song of his own. Another unreleased song, this one's called "Roman Empire." This has one of the nicest beats on here, and Flo's lyrics are on point, "ancient Aztec, I rise like the NASDAQ, think from a killer aspect 'till it's fast respect. Narcs and cases, deaths over parking spaces, I stopped going to Smitty's 'cause their parts were basic. How could I waste it? My own time, surrounded by signs and evil minds." If you're thinking this is a case of Kweli and his weed carriers, think again. The whole crew's on this par.

Still, if you're only interested in Kweli, he comes back with another song of his own now. It's called "Black Love," a subtle, low-key track (but with a thudding bassline) that features a slightly irritating hook; but Kweli's delivery on his verses is in top form.

Finally, the Mood Sampler rounds itself out with a DJ track. It's called "Man," produced by Mood's DJ Jahson, and features the scratching of DJ Rampage.

Now, I know it's frustrating to read about demos when you can't hear them for yourself... So I'll do something I don't normally do - because this is a demo and not a proper release - and point you to a GrandGood article linking to a rip of a 13-song Mood/Kweli demo tape. That download is marked as being from 1995, but I personally suspect that is wrong and should read 1997. Interestingly, while a bunch of our songs overlap, he's definitely got some tracks on his tape that aren't on either of mine, and some tracks on mine aren't on his. So, if we exclude songs like "Millionaire" that later got a proper release, I'd say there's 15 unreleased songs or alternate mixes that we now know of between us. That sounds like it'd make a sweet official release to me, if somebody involved with the Mood guys were up for putting this out.