The House Party Bully

So, I mentioned in yesterday's post, that Full Force reprised their characters as the bullies in the first two House Party movies on their latest record. But what I didn't mention is that this isn't actually the first time they did that. Way back in 1990, on UTFO's fifth album, Bag It and Bone It, Bowlegged Lou joins EMD, The Educated Rapper on "If You Don't Wanna Get Pregnant..." But he doesn't join him as himself. Instead he raps in character as Pee Wee, easily the most memorable of the bullies thanks to his unreal, cartoonish voice.

Bag It and Bone It was a weird album for UTFO. Doctor Ice had left the group to pursue his solo career, so EMD takes the front seat here. And, while there are some clean and even positive messagey songs; the bulk of it is dirty to the point of almost mean spiritedness. It's like they decided hip-hop was no longer going to support an old school group like UTFO anymore, so the answer was to become the east coast 2 Live Crew. A group that basically never cursed even in the late 80s. and just talked about sex through winky innuendos suddenly produced an album that could rival Willie D's, with lines like "I'm greedy, I want ALL the punanny; I don't give a damn if it's sister or mommy." Bushwick Bill rapped about killing a girl and having "sex with her corpse before I left her," but I'm not sure The Geto Boys were even prepared to cross the incest line. And back in 1990, this type of stuff was still shocking. Especially since nobody saw it coming from the guys who released "Bad Luck Barry" and "Fairytale Lover."

So, anyway, UTFO was missing Doc Ice, but they were still an official Force Organization. The Force still has co-writing and production credit for the bulk of the album. And, yes, Bowlegged Lou takes the mic to record a proper duet with EMD on this one song. As Pee Wee.

On the album, the song is preceeded by a long-ish skit where EMD says, "I wanna do this with that character you was playin' in that movie." That's followed by EMD and Pee Wee calling in a "bitch" and talk her into sucking their dicks. Because that's the unwritten second half of the song title... "If you don't wanna get pregnant, suck the dick." It ends with sound effects, like that Biggie skit, except with the added bonus of Pee Wee getting off in his crazy high-pitched voice.

Then the song starts and the production consists of an actually really funky loop with tight, jazzy horns. The raps (and yes, Pee Wee has full rap verses; he's not just here as a background character) are angry and x-rated (really, just call up that crazy Pee Wee voice in your head aa you read the following lines, "you mean to say my dick's hard for nothin'? Well, spread your butt cheeks 'cause I'm fuckin' somethin'!"), but the music is surprisingly upbeat and cheerful. There's an amusing breakdown where the girl voice sings "I'm sucking it baby" to the tune of LL's "Jingling Baby."

Surprisingly, they released this as a single. I mean, instrumentally I could see it warranting it a single, but there's no way this song could play on any radio or TV station. Amazingly, there is a Clean Version on here, but it's useless. There's not a five second span of this song that isn't curse-filled and x-rated.

The b-side is the album track "Hoein' for the Dough." In contrast to the A-side, this is a slow, calm song, with EMD's flow sounding downright Southern. It's got a really funky bassline, though, and some nice, underplayed scratches by Mixmaster Ice. Lyrically, well, the title tells the whole story; but EMD does manage to breathe some extra life into it with colorful details and an extra smooth delivery.

And this 12" has an exclusive, too: a Slammin' Remix of "If You Don't Wanna Get Pregnant..." It completely replaces the original instrumental elements with a hype and very 80's track. Interestingly, they cut out the part of the girl singing "I'm sucking it, baby" but replace it with Ice scratching in LL's line, "go 'head, baby." You'd never get the reference if you weren't intimately familiar with the album version, but there it is. It's a pretty dope mix, though the original has the advantage of sounding more original, whereas this sounds like multiple songs we've heard before. But it's all kind of wasted, anyway, since x-rated Pee Wee basically turns the whole thing into a novelty track.

As such, even though there's clearly a lot of talent evident, it's hard to actually recommend this single to anyone beyond a quick, "can you believe this exists?" listen. I guess that's why it's one of the most common bargain bin fillers in the genre ...not to mention the end of UTFO's recording career. But curiosity seekers ought to know that this dark side to the House Party soundtrack is out there in the world. And I wonder how close Jive Records was to asking Lou if they could just sign Pee Wee to a solo deal.

UTFO, Roxanne Shanté & Full Force - Roxanne, Roxanne (The New Chapter)

If you're under thirty, just go ahead and skip this post.

Now, for everybody still here - holy shit!

Where to start? Well, okay, Full Force is back with a new album. Not excited yet? Neither was I at first. I mean, I remember buying their first comeback album, Sugar On Top, and just thinking "bleh." I didn't even bother to pick up their second comeback LP in 2001, Still Standing, which featured mostly live recordings of their old hits. Who needs echoey, inferior renditions of records I already have? The ship had sailed on these guys, and I'm not even sure how big I was on their past albums. They were at best uneven. And this is a hip-hop blog, not an R&B fansite.

Well, it's still a couple months off, but on August 26, Full Force's With Love From Our Friends, which is finally their first comeback album to capture everything that was so great about these guys in the first place. And it's not just a new album, it's a reunion album with basically everybody they've ever worked with ever. I mean, granted, a couple of the superstars they've produced, like Justin Timberlake aren't here. And Lisa Lisa is conspicuously absent. But it's seriously an overwhelming list. Here's just some of them, the ones I'm not going to delve deeper into further below: Faith Evans, motherfuckin' Shiela E, Raphael Saadiq, Shanice (remember her?), Tisha Campbell-Martin, Tevin Campbell, Naturi Naughton, Silk, Troop (now that's takin' it back!), Next, 112, Allure, Regina Belle, Howard Hewett and Raymond Luke Jr. (star of that Broadway show Motown: The Musical). That's just the ones I'm not gonna talk about.

I said this is a hip-hop blog, not an RB fansite. So rest assured I wouldn't be covering this if there weren't also rappers on hand as well. And I'ma get to that, but for everybody who group up with The Full Force Family, let me finish geeking on the other stuff first. The roster is overwhelming, but what really stands out is that the production, instrumentation and arrangements are really strong here. This isn't a washed up group cashing in on their name and industry connections. This is a really impressive album.

It's also all over the map. Their press sheet says this album "reflects the group's broad range of sounds and styles." That's always been how Full Force rolls, but seeing as how this song features the entire planet, it's even more wildly all over the place. Ce Ce Peniston and Freedom Williams (our first rapper) come back to make a club hit. Of course Cheryl Pepsi Riley is back, and she has a great classically R&B song with Meli'Sa Morgan and Vivica A. Fox, who actually provides a killer intro. And there's a great duet with The Force MD's. With Love is often religious - this album even features a childrens' choir - but they manage to make it all sound great.

Okay, now get this. Remember how Doctor Ice ended his album with a crazy half skit/ half song with a cameo by Blair Underwood, as his character from LA Law? They even brought HIM back on here! He's on this posse cut where a bunch of guys, including Malcolm Jamal Warner, Omari Hardwick and Big Daddy Kane do spoken word poems about Heaven over a choral song by the Force and Najee. Actually, Kane's appearance is the most disappointing on this album, since the spoken word stuff is corny ("her persona would make Malcolm Jamal want her") and un-engaging on the most skippable song. The production still makes it very listenable, but Kane is just wasted here.

And okay, I'm almost done; but I've just got to talk about the craziest song on here, "Dance Dance, Throw Ur Hands Up In the Air Air" by The Force and Samantha Fox. Yup, they brought everybody back! And they're on full-on autotune mode; she sounds like Ke$ha; and unless you absolutely hate these kinds of songs (a lot of people do; couldn't blame ya) it actually works. This song really continues The Full Force tradition also of the crazy, silly B-sides, because The Force revive their characters from the House Party movies. You know the bullies with the crazy voices? Well, they're back in full "I smell.... PUSSY!" mode. And if that's still not enough for you, there's a bonus verse by Flavor Flav, yes also rapping in autotune. And man, he totally should've been on "Blah Blah Bla;" forget those wack 3Oh3 guys.

Look, this album was designed for a very particular audience whose minds are gonna be blown. But anybody else who checks for it will at least find very well made, eccentric album. And yeah, I haven't even gotten to the final, most important track yet.

If I didn't feel the need to fangasm over this project, I could've just skipped to writing baout this one song, because this is the one readers of hip-hop blogs should care about: "Roxanne, Roxanne (The New Chapter)." Of course, you know Full Force had to bring UTFO, the UnTouchable Force Organization back, and this is a whole new song all about that same old girl, with Force singing a new hook and the guys kicking all new verses. There have been a couple UTFO albums without the full line-up, so I guess I should specificy that yes, all four are back, Mixmaster Ice even has some nice scratching moments. The instrumental is a really cool blend of that original 1984 feel with all new, modern elements; and yes they hold true to the original by changing the instrumental for each verse. Bow Legged Lou's son is on here, and yeah, that feels like some forced nepotism, but he sounds fine on here for his short part, so it's alright. I remember tweeting to a fun, 2014 "Roxanne, Roxanne" update by some random internet rapper which was pretty fun; but this is a real deal follow-up by the original guys and actually given a physical release. Oh, and did I mention that Roxanne Shanté is on here, too? And she sounds great kicking it in total '84 mode, still setting it off on the EMD:

"Let me tell you the story I think that they forgot;
It was downtown Brooklyn,
It was really, really hot.
The day-a it was sunny,
He told me he had money;
He was broke and a joke
And he thought that it was funny.
He said he was a rapper,
I told him 'I should slap ya,
Start running sown the block
And them boys gonna cap ya.'
He went running down the block
But he didn't get far.
They caught him and they did 'im
Like it was WorldStar."

Thirty years later, they're all parents now; and they're finally having it out on a Roxanne record together. Whether you care about the rest of the album or not is one thing - just how many of your developmental years were soundtracked by all these people - but all you old school heads gotta at least check out for this new "Roxanne, Roxanne." It's good times.

Omniscence's Tri-Factor

It's been a minute since the last one, but the third chapter of Omniscence's Raw Factors has just landed. And I'm excited to say that this time around I've never heard any of 'em. We haven't heard low quality, mis-titled portions on the online mixtape versions, none of these songs appeared on my promo EP. It's all completely brand new. ...Except, you know, that it's from the 90s.

So, like the previous entries, this is a simple three-song 12" with the instrumentals on the reverse. No sticker cover, no frills. Just top quality remasters of three long-lost joints that we've been waiting decades for. It's not fancy, just essential.

Factors 3 opens with its hardest joint, "Represent." It features a young MC I've never heard of named Lil Kalef, but he more than holds his own. Both of them come off rougher on here than any of the Omniscence material we'd heard back in the day - it kind of reminds me of when Kool G Rap debuted Jinx the Juvy. It helps that the track has a serious New York vibe, though of course it's actually by Fanatic as usual.

The next track, then, has a smooth, nighttime vibe. Om's punchline style hear sounds a little more forced and dated here. If this was a new song, I'd say it's a little corny; but any heads picking up this release are surely fiending for the old 90s shit they've been missing out on. So you're gonna be happy to hear it, and Om sounds good enough over this track that even if it rhymes did rub you the wrong way, you'd have to give this song an overall pass.

And we finish up with "Dick Suck." We might lose female listeners here, or just mature ones, who don't particularly care to hear Omniscence brag about how he's going to get girls to give him head over and over again. But it's not actually a sex song. It's just all about how he and his crew finally made it, putting out a record (little did he know), achieving success, and so "this year, we're gonna get our dicks sucked."  This song actually sounds feels the most like the classic Omniscence material we've heard in the past, and it even features an uncredited Big Kap, who also hosted the original snippet tape most of us heard on those booty "mixtape" versions of Raw Factor. Oh, and he performed "Amazin'" with Omni on the Illstyle Live album. This is the song that will really fit all your expectations of what an unreleased Raw Factor track is gonna sound like... and that's definitely a good thing.

Look, you already know if you're one of the people that needs this in your life. If you were a backpacker in the 90s, reading the monthly Hip-Hop Quotables and tracking down the indie hip-hop projects you couldn't hear on the radio. If you're one of us, all you need me to tell you is that this volume doesn't disappoint. It's every bit as good as the previous entries. So don't let the facts that this is the third in an ongoing series and there's nothing fancy or glossy about the packaging to resell you on the concept let you lose steam and miss out on this. Because you'll regret ti down the line when you don't finally have the complete, original Raw Factor in your crates.

Before Cool V Was Biz Markie's Main Man

This one reminds me a lot of that Brothers Unique record, for some obvious superficial ways... It's an old school, PSA-like message song about the importance of education by a rapper who only put out one record. And it's produced by genre outsiders who usually make non-hip-hop records. Plus it's on Sutra Records.

But Abdul Tariq's record is also quite different. This time, it's not made by a bunch of jazz guys but disco guys. Specifically, it's produced by Bert Reid of Crown Heights Affair. And it's several years more modern, 1986, so it's got a much more electronic feel. Spacey sound effects, loud handclaps and multiple keyboard lines. It's super upbeat and happy, basically, with girls singing "got to get your education!" and Tariq joyfully shouting "pop pop pa-pa-pa-pop pow!" When he's not rapping to tell you to "keep your eyes in your books." What he lacks in skills he makes up for in sheer enthusiasm. And during all this, there's also a male singer on a funkier, almost Keith Sweat tip going off in the background.

The record label credits the R&B girls as Jamaica Girls, and that's not just a fun way to describe the neighborhood girls he brought into the studio to sing for him; they were an established disco trio who put out several records throughout the 80s. And they actually play a big part on this seven and a half minute song. They don't have a lot of lyrics, but they're singing more "pa-pop pa-pop"s and "educaaaayshun,"s through the whole song, even while Tariq steps away from the mic for breaks. The male singer isn't credited... perhaps it's Tariq himself. That would be a little odd, since he almost duets with him at one point; but it's certainly possible. And the keyboards are provided by Jeff Smith, who's apparently better known as a saxophonist. But here he's playing futuristic keyboard riffs.

But for us hip-hop heads, the most interesting name in the credits is easily Cutmaster Cool "V," who's credited with scratching on the B-side. Yeah, he's not on the main song. But on they have a Dub Mix and Instrumental on the reverse, and he scratches on both of those. I mean, you'd expect the Instrumental to be exactly like the A-side, minus the voices, but it's not. It's a couple minutes shorter and.... features Cool V.

And it's certainly the same guy. I mean, I could accept two "Cool V"s existing in this world as just a coincidence; but both calling themselves "Cutmaster Cool V?" It's gotta be the same guy. And this is 1986, the same year Biz Markie debuted on wax beat-boxing for Roxanne Shanté. In fact, the Dub mix features a small sampling of human beat-boxing, which could actually be a clip of the Biz. ...I mean, it's probably not, but hey you never know. Update: according to Cool V himself, it's him doing the beat boxing, inspired by Biz.

So yeah, the Dub Mix is the more hip-hop oriented of the two. It doesn't have most of the lyrics from the A-side, naturally, but it does have some vocals by Tariq unique to this version. And it has Cool V's cuts and that that really brief beatboxing moment I mentioned.

The instrumental has some scratching, too; but it's just for a little bit. Despite being called the "Instrumental," it's got a good deal of vocals, including a lot of singing by the Jamaica Girls. The most notable unique element of this version is that it has a huge saxophone part. Nobody's given credit for that on the label, but it's surely got to be Smith, right?

Anyway, this whole record is fun. It almost feels like one giant song, rather than three versions of one song; and that's the way I'd recommend listening to this one. Just rock it all the way through like a huge monster jam. Lyrically it's pretty light and preachy, but it's just so hyper you won't even notice. It's too bad Tariq didn't make any other records, because I'm sure they would've been fun. But I guess Reid had his non-hip-hop career to get back to, and of course Cool V was called away to make all those classic Biz records; and we wouldn't want anything to have stood in the way of those. So this winds up being just an entertaining one-off, as well as an interesting historical footnote.

The Push It To the Limit Rapp

Hip-hop, what took you so long? It wasn't until 2006 that Rick Ross sampled the epic "Push It To the Limit" song from Brian DePalma's Scarface. I mean, Scarface is like #1 iconic movie associated with gangsta rap. The Geto Boys made so many great songs with its crazy vocal samples and took so much inspiration, to the point where one of their lead members changed his name to Scarface. Clips of it have been heard on literally countless rap records - go ahead and try, you won't be able to count them all. And just about every inch of the soundtrack has been combed through for usable hip-hop loops.  Remember that killer Kool G Rap and CNN collabo "This Is My Life?" They flipped that peppy tropical music from when Scarface went to Havana to score and turned into a sick track.

And yet, midway through the movie, one song in Scarface is put front and center. It's a big, 80s pop rock monster. And they play it during a montage of Scarface's rise to power, so you're really listening to the full song play front and center, rather than behind dialogue and sound effects. It's not score, it's a massive song with lyrics and energetic background vocals and everything. But nobody looped it until 2006. I mean, technically, somebody may've used a little snippet and merged it into their track; but nobody made a real "Push It To the Limit" song before Ross.

And he really uses it. Like, I can remember an interview where DJ Ready Red talked about how he mixed multiple samples creatively in every track he made and didn't respect producers who would just loop the main thrust of a song and call it their own. Well, by that standard, he must hate "Push It," because this is doing nothing but rocking that song.

Not that I think there's anything inherently wrong with that (sorry, Red). I mean, hip-hop comes from a long tradition of making "rap versions" of existing songs... Spyder-D's "I Can't Wait (To Rock the Mic)" is one of my all-time favorite hip-hop songs; but I certainly can't praise its instrumental originality - it's just Nu Shooz's "I Can't Wait," turned into a rap song. After all, it all springs from the original hip-hop house parties where MCs were rapping over spun records, not newly created beats; and it's not like anybody was trying to claim they wrote those disco tracks. And just like Spyder-D called his version of "I Can't Wait" "I Can't Wait," Ross is totally up front about calling this what it is: "Push It."

Production credit is given to JR (although, interestingly... they don't credit anyone on this 12"; only in the album notes), and to be fair, it's not like Ross is just literally rapping over original instrumental. They loop just the main chorus portion and throw on some typical Miami bass studio sounds in there to flesh it out with more of a proper 2000s hip-hop feel. But they certainly use the signature, most identifiable moments, including the original "push it to the limit" line from the original hook. And, rather boldly, they actually keep that vocal part rocking throughout all of Rick's verses. Ross actually has to add his own "push! I'm pushin' it. Push! I'm pushin' it" hook on top of that just to separate it from the rest of the song. The only thing it's missing (and probably would've had if this version was made twenty years earlier) is a breakdown that uses even more lines from the original song as a bridge.

You can front if you want to, but this sounds dope, and the rest of the day after hearing it you'll eb walking around your office singing "push it to the limit" to yourself. How could it not work? It was a total freebie, a  a gimme for the first rapper to come along and scoop it up. Plus it's thematically perfect for Ross as he lays done his typical bars about, of course, pushing weight. That was the unintentional(?) pun of the song in its original context, so it's too obvious for Ross not to do it here. That's actually the song's weakest point, since a lot of his lyrics are too generic to really be compelling, and the only lines that stand out are kinda corny ones, like that "who ever thought that fat girl would grow into Oprah" line. A little more time spent on the writing could've made this song one of the greats; but as it is, it's more just a fun 12" to keep in your collection that you can always go back to for an easy, head-nodding amp session.

This was his second single after the platinum hit "Hustlin'," so it probably gets overlooked a little more than it deserves. And like that one, it's featured on his debut album, Port Of Miami. This Def Jam/ Slip 'N' Slide/ Poe Boy Records 12" comes in a sticker cover and just features Dirty, Clean and Instrumental versions on both sides. And even DJs who don't like Rick Ross may well have this one in their crates just for that instrumental. But come on, it's quintessential Rick Ross; this beat waited decades for this guy to come along. Even if you're a die-hard backpacker, you've gotta give the man this one.

Crazy L'eggs, Not Crazy Legs

You may've noticed I have a keen interest in exploring the fresh, under-appreciated rap records from the 80s and 90s Miami scene. I've found myself often saying, "now, this isn't your typical..." But what is the typical? I figured it's time I wrote about a "generic" bass release, if only as a reference. This is the kind of record that had most of us shaking our heads on the east coast whenever we heard mention of Miami bass.

Right off the bat, let's be clear. Crazy L'eggs is no relation to the hip-hop icon Crazy Legs, of the original Rocksteady Crew break dancers. Crazy L'eggs (named after the brand of pantyhose) is best known for making a club record out of the kindergarten song, "If You're Happy and You Know It" ...which stayed surprisingly true to the original.

Crazy L'eggs is one of those rappers who didn't rap. Like Luke. His earliest singles featured Aim To Please, who did his rapping for him. But his later releases did away with rapping entirely and just relied on L'eggs doing a bunch of shouty hooks. And also like Luke, he didn't do his own production either; which always had me wondering why a label had signed him to make records in the first place. I guess he was a local DJ or something with a name to cash in on?

Anyway, this particular single is "Doin' His Own Thang" from 1993 on Pandisc Records. Pandisc picked him up after he did the admittedly distinctive hook to a successful Prince Rahiem song ("Loose My Money"), and put out all his records through the early 90s. He only released a handful in his full career, actually; and he never had a full length album, though Pandisc would sometimes sneak out more unreleased Crazy L'eggs songs on random compilation albums which were probably intended for an an unheard LP.

You generally don't see his picture on his 12"s or anything (the sticker cover to this one doesn't include his image, just the same blue background), so my cassette picture cover is interesting in that regard. It's produced by Devastator X, who of course had a hefty career in Miami bass, and so this has a very heavy instrumental. If you've heard both, you might've noticed that parts of it are actually pretty similar to 1994's "Happy and You Know It," which X also produced; and which featured several identical musical elements. In fact that's because "Happy and You Know It" actually recycles this instrumental completely - it's the same track, only with the children's song chanted over it in place of some of the original chants. In fact, some pressings of "Happy" included "Doin'" on the flipside. But between the two, this is the one I have to go with, if only because it's impossible to listen to "Happy and You Know It" without feeling like a huge goofball. But even if you put that factor aside and unselfconsciously rock out to either song, I think I'd still say L'eggs sounds better on this one.

The instrumental is ever-changing and replete with dope sounds and samples. I brought this up as an average record, but instrumentally it's actually better than average. But with no rap verses, the beat had better change up a lot; because otherwise it's nothing but a litany of unending and completely generic bass music phrases for the full duration: "whatcha wanna do? Ride it! Whatcha wanna do? Ride it! Whatcha wanna do? Ride it! Whatcha wanna do? Ride it! Whatcha wanna do? Ride it! Whatcha wanna do? Ride it! Yeahhh! To where? In the middle! To where? In the middle! To where? In the middle! To where? In the middle! To the flo', let's go! To the what? To the flo'! To the what? To the flo'! To the what? To the flo'! To the what? To the flo'! To the what? To the flo'! To the what? To the flo'! One more time, let's do it! Whatcha wanna do? Ride it! Whatcha wanna do? Ride it! Whatcha wanna do? Ride it! Whatcha wanna do? Ride it!"

Now, don't just skip that highlighted bit. Read it carefully. That's a literal transcription of just thirty seconds of this five minute song. And it just goes on like that. When he said, "one more time," I just thought oh no, please! I understand that this was meant to be played in clubs where you can just rock out to the instrumental; and I'm sure everyone who actually enjoyed this song in 1993 probably just tuned this guy out. But it's fucking tedious to actually listen to; and what does it say about a MC whose music is best enjoyed by tuning him out?

It turned out, Crazy L'eggs really needed Aim To Please. Or any MC or singer who could carry the vocal portion of a record. Oh, and a solid, established producer to make his instrumentals. When he had that combination, his records worked, and when he only had one or the other, they only half-worked, as in this case. So it's obvious why L'eggs needed those guys, but the question is, why would any of them need him?

Doug E Fresh and the Lost Naughty By Nature Diss

(Youtube version is here.)

Back When Everything Was Alright

In 1992, Father MC returned with his second album, Close To You; and it was heralded by this lead single, "Everything's Gonna Be Alright." This was his big reunion with Jodeci. He made them famous with his (major label) debut single, "Treat Them Like They Want To Be Treated" in 1990. But since then they'd blown up in their own right. This was after "Stay" and Forever My Lady; Jodeci were two of R&B's biggest rising superstars, alongside Mary J. Blige, who'd also blown up by singing on Father's first album.

So when Father returned, everybody was asking if Jodeci and Mary were back, and indeed they were. Father MC released two singles off Close To You, first this one and then "One Nite Stand" with Mary. The downside was that Father was getting eclipsed by his back-up singers; and once he tried releasing an album without them, his career on Uptown/ MCA Records was done. But in 1992, who cared? Everybody was still working together and we were all happy.

"Everything" is produced by Mark Morales and Mark C. Rooney - in other words: Prince Markie Dee and the Soul Convention. This was the heyday for Markie Dee's smooth, R&B-heavy New Jack sounds, and Father MC's albums were the perfect fit. They'd done a big chunk of his debut album, including his three biggest singles, and the majority of Close To You. In fact, separating from the Fat Boy may've been as key to Father's downfall as separating from Mary and Jodeci.

But while the Soul Convention brought a lot of musicality and instrumentation to their records; there's not much to credit them with here, instrumentally, besides the core idea. Because on this record, they're sampling Chic's "Good Times." And they're basically using it exactly the same way The Sugar Hill Band replayed it in 1979, to the point where they could basically just be performing over the instrumental version of "Rapper's Delight" whole hog.

Of course, Mark and Mark also co-wrote the song (along with Hasan, also of the Soul Convention) and Father himself, so they presumably did more than just bring an old Sugarhill Records 45 into the studio. But here's where this record really falls short of their debut success - lyrically, it's not nearly as well written. I've talked about the impressive, even genuinely touching, songwriting show-cased in at least parts of "Treat Them Like They Want To Be Treated." Well, there's just none of that here. There's nothing particularly wrong with Father's rhymes here, mind you - he doesn't say anything stupid or cringe-worthy, which is a lot more than you can say for a lot of rap records today - he's basically just saying a lot of fluffy filler that amounts to nothing. This song isn't about anything except that Father and his boys are here and isn't that nice?

But the upshot is that giving "Rapper's Delight" a 90's new jack spin works wonderfully. It has a whole new life here, sounds great with its old school hand-claps and more modern (though still vintage) syrupy keys, and Jodeci kill it. Revisiting this song over twenty years later, and it's immediately evident why Jodeci were going on to a huge career outside of Father's shadow. They stand out far and above all the generic R&B singers you'd hear providing hooks and bridges on countless other rap songs of the decade.

The 12" single, besides coming in a glossy picture cover; also provides a couple extended mixes. There's your Radio Version, which is basically indistinguishable from the album version, and it's Instrumental. Then there's a Club Joint, which really extends the track, almost doubling its length. There's no new verses from Father, but a lot more of Jodeci and plenty more "Good Times." The Club Version has an Instrumental, too. And then, finally, there's the misleadingly titled Soul Convention Dub Joint. I say it's misleading, because it's really not a Dub Mix, but a full vocal version with all of Father's raps and Jodeci's singing. It's just... even a little bit longer than the Club Joint.

And for my money, The Soul Convention Dub Mix is also the ideal version of the song. It puts more of an emphasis on Jodeci. I mean, obviously they have to sing a lot more just to fill up the extra running time (we've gone from three and a half minutes to six and a half), but they also have a different acapella introduction and perform a few more routines, including some "baby yeah"'s sung in the style of "Treat Them Like They Want To Be Treated." Father's verses sound good just by virtue of them being rap verses that sound good over a track like this; but Jodeci are the absolute stars of this song, so turning this into a Jodeci monster cut that just happens to have some appearances by Father MC works to this record's advantage.

There's nothing especially different here. There's no version with a different sample set or versions by other big name producers. It's just one song spun out to longer versions. But in this case, that's enough. If you wanted to show somebody who'd never heard of Father MC, just what he was about; this encapsulates him perfectly. All of his strengths and why people bought his records back in the day, and his weaknesses and why he hasn't had the longevity of Kane or Biggie. Including the fact that Jodeci are totally stealing his show here.

One Man's Ultramagnetic Treasure...

I shouldn't have to tell you how amped I was when I first saw this pre-order pop up online. Black Pegasus was finally(!) releasing a real, vintage unreleased Ultramagnetic MCs recording on vinyl Limited to just 200 copies, this is a never-heard-before Paul C mix and edit of the great "Ain't It Good To You." As you can see, it comes in a nice looking picture cover, it has the instrumental on the flip, and at $35 a piece, sold out pretty quickly through Black Pegasus's bigcartel store.

So this is a new mix and edit; but there's a reason it's being phrased like that. This isn't a "remix" in the popular sense people think of remixes today, where it's been given a whole new instrumental with different samples and instrumentation. It's just been mixed differently. The biggest difference you'll notice instantly is that a very subtle percussion line on the album version (that rapidly and repeatedly goes "thudda thudda DUM!") has been super deepened. It's now like a big phat bassline. It also has a new intro, playing in with more of the softer sounds from the original sample's context. And the other elements have been pieced together a little differently. For instance, there's a part now on Ced's verse where all the music cuts out except for that one "DUM!" down beat at the end of each bar, like a Miami bass mega-drop, giving a cool emphasis to his delivery.

And just to be clear, this is not at all the "Ain't It Good To You" remix that was included as the B-side to "Simple Metaphor" on that mysterious bootleg release. That version is totally different.

Unfortunately, this release loses a lot of its luster once you actually put it on your turntable and get to listening. Not that I dislike this version, not at all. This new mix is dope, however the sound quality is pretty poor. The bass is all broken up. You know when you turn the bass up on your stereo to where the meters are in the red and everything sounds staticy and fuzzy? That's this. It sounds better if you turn your bass down so it doesn't totally blow out; but even then it's still not great because it's blown out in the recording itself. But if you don't lessen it, it blows out a lot worse.

More problematic still, the record plays too fast. It's a 45, but when you bump it up from 33, it's too much of a jump forward. The good thing is that you can correct this if you have a turntable with pitch control. I found somewhere around 4.5% to be the sweet spot to take it down to. I mean, you might be tempted to argue that it's meant to be a faster remix - in their description, Black Pegasus writes that this mix is sped up as if that's a good, intentional thing - but you'd only say that if you hadn't actually heard the record. It's just off, the vocals sound rushed and trashy; and once you slow it down, it sounds good and natural. That's the silver lining here. If you do have a turntable with pitch control (and many don't), you can correct this problem to the point where it's not a problem at all.

Unfortunately, that still leaves you with the muddy sound from the previous paragraph. And yes, the instrumental has the same issues.

I'm not really sure what the deal is here. The label credits "additional edits" to DJ Ves 120, who's down with Black Pegasus. So is this just some contemporary reworking of the original? Ves 120 couldn't have been working with Paul back in 1988, right? Is this another faux-vintage thing?* Or perhaps they did find a vintage re-edit, but because they thought it might not be different enough to capture fans' interest, they decided to mess with it more to distance it from the original? Or maybe the speed-up is a result of Paul just experimenting with the track for fun, never intending for audiences to hear his tinkering. But then that still leaves open the question of what Ves 120's additional edits actually are. ...Either way, I'm not mad at this edit (minus the fixable speed up); I just wish it was a better quality master of it.

So, anyway, this record is supposedly the first in an "Ultra 7" series from Black Pegasus. $35 was already excessively pricey for a 7" before we knew what the quality was like, and now I'm really wary of what the future volumes will be like. As it is, I can't recommend this to anybody except those of you who read all of this and are thinking "I don't care, I need it anyway!" I see you out there; I feel you guys. Hell, I might still pick up the next one. But I have to stress that, unlike some other records I write about here that more casual listeners might want to try dipping their toes into, this is for very seriously hooked Ultra collector fans only. Everybody else can just feel relieved that they're not missing out on much at all this time.


*TR Love specifically explains that this is vintage in their promo video, though.

Previously Unreleased Lakim Shabazz?

In the last couple years, Tuff City has released "Rare and Unreleased" compilation albums from several of their signature hip-hop artists including Priority One, Grandmaster Caz, The Undefeated 3 and this one right here by Lakim Shabazz. As you might expect, the records lean pretty heavily on the "rare" half of that promise, but there are still some genuine, sweet unreleased tracks to be heard, so let's have a look.

The Ol' Skool Flavor Of... Lakim Shabazz dropped in 2006 as a single LP only (i.e. no CD counterpart, although it is on ITunes). According to the label's website, "Tuff City delves into its vaults to come up with some rare and unreleased recordings." It comes in a nice picture cover which handily labels exactly which of the tracks are "PU" (Previously Unreleased). Specifically, there are three. But before we get into those, let's look at what else is on here.

"Arms Too Short" - This is an abridged retitling of "Your Arms Too Short To Box With God," the then B-side exclusive to Lakim's greatest single, "Black Is Back" from 1989. This is a great song and saves somebody who owns both of Lakim's albums the trouble of needing the 12" single as well. Nice one.

"Smash Him" - This is an abridged retitling of "When You See a Devil Smash Him" from Lakim's second album. Nothing particularly rare about this one.

"Need Some Lovin (Lakim Remix)" - This is one out of a couple remixes featured on the "Need Some Lovin'" 12" single from 1990. Dope, though completists will still need the 12" for Anttex's remix.

"Notes Of Def" - Is another one from the second album.

"Style Wars" - Is... another one from the second album.

"No Justice No Peace" - Is another one from the second album, and worse yet, it was the other single from that album.

"Style Is Free" - Is actually not from the second album, but The 45 King & Louie Louie's 1990 album, Rhythmical Madness. A final welcome addition.

Seriously, what the hell is going on here? Why is half the album just a solid chunk of Lakim Shabazz's second LP, Lost Tribe Of Shabazz? Anyone familiar with Lakim Shabazz knows the dude has a huge list of genuinely rare songs that have been peppered on other peoples' albums (mainly the 45 King's) over the years. He's an artist just dying for a compilation of this nature; but they totally fuck it up by just repressing half of his second album. And what's more, the overwhelming majority of these rare, uncollected tracks are on Tuff City records!  It's not like anybody actually expects them to incur licensing fees making the perfect Lakim collection.  But if they'd just filled it with cuts like "Raw Dope Rhyme," "Master Of the Game," "Hands Of Fate," "Horns Are Horny" or so many others, it would've been a much more worthwhile collection. And even a better listening experience. How utterly stupid.

But, whatever. A better compilation may've been better, but we're all here for the PUs anyway, so let's get to the important stuff.

"Africa" - This is... so god damn good. How had this gone unreleased all these years? It's obviously vintage, has a dope bassline and classic 45 King horns, and a great sampled hook. Then add the fact that it's a serious song with something to say on top of all that.

"Swiftness (Instrumental)" - A short but dope instrumental. Not sure why it's on here as opposed to one of the King's infinite breakbeat albums. Lakim has never released a song called "Swiftness" before, but alright. Kind of disappointing that this eats into our count of 3 PU's, though.

"Love Spell" - What the fuck? This is just "Need Some Lovin'!" This was one of his biggest singles, and yes... from the second album. Pretty much the least "rare" song in his entire recording career, and certainly not "PU." What kind of bullshit is this? They got the title "Love Spell" from the Fatback vocal sample that plays during the hook, which at least suggests this happened due to complete incompetence... as opposed to outright, unadulterated dishonesty.

Fuck you, Tuff City. This isn't exactly the first time we've seen a cheap cash-in from them, but that "Love Spell" shit is the worst. I didn't cover this years ago because I didn't want to support this. But at the same time... "Africa" is pretty essential for any Lakim fan. Please, somebody comment and tell me that it's really just a mis-titling of something that is legitimately available somewhere else so I can just write this LP off entirely. But I'm pretty confident that it's not. I have all those scattered Lakim songs I was saying would've made far superior compilation fodder, and "Africa" ain't one of them. So you're basically just buying the whole LP to add one song to your vinyl collection.  But, damn it, it's worth it.

The Original Hick-Hop Record

(Youtube version is here.)

Frankenstein Unbound

In the 90s, Frankenstein came out of Nowhere, Canada to win the hearts of the underground. He was that guy who get rave reviews in Rap Sheet, Vinyl Exchange and the emo Anticon forums all in the same month. He crossed all these borders and then kind of quietly faded away; and you could just tell as a fan that he'd never really unleashed the full fury of his catalog on us. He just hit us off with a few little tastes of what he was capable of, and then left us wondering.

But thankfully Ill Adrenaline Records have unburied his lost creations and are bringing them back to life. This right here is The Ill Laboratory EP, by Frankenstein and AZ, together known as Delphi Oracle. No, not Nas's famous compatriot from Queens, and not the AZ from Mobstyle either. This is the AZ that, well, pretty much only appeared on Frankenstein's earliest singles. See, because Frankenstein rose up so unexpectedly on the scene, most heads missed out on the first 12" or two, and most people weren't fully up to speed until "Frankenstein's Pain" or "the Pain Remixxx," and just sort of hearing that there had been past bangers like "Peace and Quiet." Consequently, many may still not be aware that his first release was actually as part of the duo Delphi Oracle, where AZ was his partner both on the mic and in production credit.

So this EP - which, at 9 full-length tracks, they could've gotten away with labeling an LP - collects all of the Delphi Oracle material... both tracks off the debut 12", the remix that was the B-side to Frankenstein's first solo 12", and most excitingly, six never before heard unreleased tracks from '93-'94. And it's interesting to note that while they Frankenstein and AZ constantly share the mic and writing credits, only Frankenstein has production credit here, even for the previously released songs. So I guess Frankenstein was always the sole producer, and he was just generous in sharing the credit originally as Delphi Oracle? That's what we're left to assume, and anyway it makes sense as Frankenstein went on to produce on his own making instrumentals similar in style (albeit with a usually darker tone) and quality to what we hear here.

Anyway, the thing to know here is that the unreleased material sounds great. Not only is the sound quality top notch (a thing to check for in the case of unearthed demos like these), but the music is every bit as good as the ones we all know. Like I said, the tone is a bit lighter than his later stuff, but otherwise the production sound and the vocal stylings are right alongside their best work. It's a bit more light-hearted, and Frankenstein trading verses back and forth with AZ only enhances that more fun aspect, compared to Frankenstein's later stuff. Admittedly, lyrically it's not much to write home about; but they're all about just making their verses sound good and fun to listen to, and that they pull off without a hitch. There's even a song ("Sympozium") with a sampled hook as catchy and engaging as "Peace and Quiet."

This is a great release at a great price, and if you copped one of the first 100 copies, you got it pressed on opaque violet vinyl. And it's just the beginning. Ill Adrenaline has also released a CD called The Science of Sound, which compiles all of the material from Frankenstein's various 12" singles over the years, including two of the unreleased tracks from this EP. Handy if you don't already have his past singles, but otherwise Ill Laboratories is the one to pick up between the two. But even that's not all, Ill Adrenaline has also announced plans to release Agony To Ecstasy, Frankenstein's shelved album from the mid 90s. So 2014's shaping up to be a banner year for Frankenstein fans; but even if you only pick up one of his this year, this should probably be it.

A Shaped Slice of Real Live

(Youtube version is here.)

Return Of the Veteranz

I called my last post a "later release for somebody like DJ Hollywood," but you could still consider that the first round of musical recordings for somebody who just happened to manage to have a long run.  This on the other hand, is a straight-up comeback record by some of the oldest school artists our genre's got. The Veteranz is kind of 1997 "super group," consisting of DJ Hollywood, Lovebug Starski (here spelling it Luvbug Starski) and The World Famous Brucie B. And they've come back out on the strength and production of "The Original 'Shake Dat Ass' Man" DJ Mister Cee. It seemed to be largely compelled by the attention Doug E Fresh got for his song "The Original Old School" featuring Hollywood and Lovebut Starski alongside members of The Furious Five and The Cold Crush; but of course there were a lot of instances of hip-hop's original forefathers getting put on records throughout the 90s.

This was pretty much just a one-off single inspired recording session rather than an earnest attempt by The Veteranz to sign a deal and start re-enter the music industry as a consistent group. But it was released twice, with an all-new remix retitled and kinda packaged as if they'd come back again with a second song. So let's start with the first release.

"Da Medicine" was originally released on Tape Kingz with two versions - not including the Instrumental and Accapella - the Party Version and the Regular Version. The difference is pretty simple: they're exactly the same song except the Party Version features additional "party voices" added throughout the track, just like many of the classic disco-era rap records used to have. To me this adds to the fun adn effect of the record and detracts nothing, so while it's not a huge difference (they're mixed pretty low anyway), it's the definitive version and you can pretty much forget about the Regular Version as more of just an incomplete bonus mix to pad out the 12".

But here's the thing about The Veteranz. All three of these guys are more like DJs and party rockers and strictly lyrical MCs. You know, it's not like we have Melle Mel, Grandmaster Caz and Kool Moe Dee here. I mean, at least Hollywood and Starski were experienced recording artists, but Brucie never even made records. And they definitely opted to play it safe here, because theyr eally don't rap at all. I mean Hollywood and Starski did rap on their old records, so it's not like they didn't know how. But they just don't here. I mean, there's a bit in the middle I guess you'd consider more traditional rapping, but the way they keep going back and forth and shouting, it doesn't much feel like it. They just do a succession of hooks and chants over a blend of hot and ever changing breakbeats by Mister Cee. In fact, this almost feels like a completed Mister Cee party record - you know, those instrumental 12" singles just bl;ending a mix of the latest and old school breaks for a couple minutes that all the NY DJs used to press up in small runs? It's like Mister Cee had made this record and then just had these guys talk over it as an after-thought.

So, as a result, it's okay... the beat selection is solid and the added layer of the Veteranz does help. But ultimately, it's boring. It's like you're just waiting and waiting for the song to start, right up until it ends. It's fine, for one of those generic party records, but it needed actual verses to feel like a proper, finished song. The Veteranz names' carry a lot of weight, but that's about the only weight they bring to the record. Their voices are pleasantly recognizable and there are references to their past work to catch; but talent-wise, any three guys you pulled off the street could've recorded these vocals.

But their name value at the time was strong. This collaboration was getting write-ups in music mags and press well beyond what any of these other party records got. The rest of the world wanted to hear it, and so Select Records picked it up and reissued it.

This time you got "Da Medicine" in Party, Regular and Instrumental versions just like the Tape Kingz single. But then, on the flip, you had "Da Remedy (Da Medicine Remix)" also in Party, Regular and Instrumental versions. Like I said earlier, it's the same vocal recoding, but the original instrumental has been switched out for an entirely new one. Here, Starski, Brucie and Mister Cee (no, not Hollywood) share production credit. It's a pretty cool, alternate version, which feels a bit more like a consistent song than a party mix, with a more old school feel thanks to some big programmed beats and conspicuous hand claps.

It's hard to pick a favorite between "Da Medicine" and "Da Remedy," but thankfully with the Select single, you don't have to. You only miss out on the Accapella. So it's a fun record, but it still doesn't have any real rapping. So it winds up feeling like a lot of Miami bass or indie NY party records. Listenable but nothing you'd really keep going back to.

And It's interesting to note that The Veteranz reunited in 1998. On the Flip Squad All Stars album, the final track is by DJ Mister Cee featuring Brucie B, Hollywood and Lovebug Starski. "How Ya Like Us Now" is a straight-up second Veteranz song. I mean, I'd consider any modern pairing of Brucie, Hollywood and Starski a Veteranz song, but with Mister Cee still on the boards? It's incontrovertible. They even refer to themselves as The Veteranz, even though they're not credited that way on the label. And, yes, it features all new vocals - albeit in the same, "many choruses and no verses" style, as well as a new instrumental. And party vocals. :)

Too Hot To Handle, Too Cold To Hold

DJ Hollywood's "To Whoever It May Concern" was the biggest record Posse Records ever put out. That's according to Van Silk's introduction on the 1988 compilation album Posse All-Stars Rap Classics. That fact is made all the more interesting when you remember that DJ Hollywood's "To Whoever It May Concern," nor any other DJ Hollywood record for that matter, was ever released on Posse Records. It was first released on World To World Records, and then reissued on Spring Records for broader distribution, both in 1986. Well, the connection must be between Posse and Spring, since the same compilation features a couple other Spring singles sprinkled throughout the actual Posse releases as well.

So 1986 is a later release for somebody like DJ Hollywood, but this is a solid record. It's produced by Donald D... not The Syndicate Sniper, but the guy who made "Don's Groove" and produced those old school cats like B-Fats and Cheryl the Pearl. It's got big, bombastic horns, a funky electro-style keyboard riff, and a super funky bassline. Especially on this Spring Records version. Because the Spring Records release is actually an uncredited remix of the first version put out on World To World. It's basically more of a re-record, where they take another pass at recording the same basic track. But it all sounds more professional and, frankly, catchier. It's just better, plus over a minute longer. The older version is interesting as a historic alternative (and if you're curious, you can hear it on the Tuff City album Rarities from 1995, where it's been retitled "To Whom It May Concern"), but the Spring version is the definitive version. It's actually my favorite Hollywood record.

Have you ever heard the Busy Bee song "Poon Tang?" It's really an extended tribute to a routine Hollywood did during his live sets and in this record, sort of like Biz Markie's "Let me Turn You On."  Where he goes, "poon tang, oon tang, I don't wanna go, slept all night with my honey bun. Give me some of that yummy yum yum before I go to bed. Of all the animals in the world, I'd rather be a squirrel - climb up on the highest tree and do it all over the wor-orld." Of course, you can bet Hollywood didn't say "do it" live in the clubs.  Here's a great clip of Hollywood performing it in 2008 in Central Park.

Well, Busy Bee adds more animal rhymes to his song, but otherwise he's just doing the same routine that Hollywood does here. It's a pretty memorable segment, especially if you were hearing it for this first time on this record - in fact, the song is even titled "Um Tang, Um Tang (To Whoever It May Concern)" in other parts of the world. But while that routine makes up the entirety of "Poon Tang," it's just one part of "To Whoever It May Concern," which has Hollywood rapping multiple verses and singing multiple fun hooks and choruses.And yes, the "too hot to handle" line appeared in this song long before Bobby Brown got to it for his Ghostbusters song.

The Posse All-Stars Rap Classics album only features the Short Vocal Version that's on the B-side of this 12". It basically fades the song out super early, cutting in into less than half. The proper A-side version is a full seven minutes long, and the seven minute Instrumental Version is also included. And perhaps the best thing is neither version of this record is rare or hard to find. So if you're a serious head, you can get them both super cheap and easy. But you should at least have this one in your crates; it's a damn good time.

Jevin the Dude

Okay, here's an interesting EP by somebody entirely new. "Entirely new" meaning none of the other blogs have even discovered this guy yet. And sure, usually when I find myself checking out an artist none of the other blogs have ever featured, it's because they're terrible and I've gone far too deep down the rabbit hole of the internet. But no no, this guy hasn't been discovered yet, and his EP is actually pretty good. I mean, I'm not predicting he's gonna blow up and be huge... Because if I was going to seriously predict who's going to blow up, I'd put on my cynical hat and guess that, now that Kreayshawn's pregnant, her team's just going to take that girl who looked exactly like her in that music video and slide her into her spot like they're interchangeable mannequins.* But I at least expect to see this guy on NahRight, 2DopeBoyz and more of my Feedly list in future.

I'm talking about There Can Only Be One, the debut EP from Front Ground Entertainment by Jevin June, produced by somebody named Mad Knocks. Mad Knocks isn't credited anywhere on here; I had to do some internet sleuthing to figure out who actually made these beats. But he definitely recognition for this, since it's really the pairing that makes this EP work. Their styles really fit together.

It opens with "The One," which isn't the strongest song, but makes for a good intro with its big, royal horn sounds. I'm a sucker for those lush openers, going all the way back to "The Ruler's Back." Sure it's over-selling, but it's a lot of fun. "The Theory" hits the chipmunk soul button a little hard, but I can't deny that it sounds good. A couple of the other songs don't work quite as well, but everything here is at least interesting. The stand out track is "Knights With the King," and clearly Jevin realized this as well, as it's the one he shot a video for. 

And Jevin's got one of those flows that just makes everything sound easy, sounding very natural on the track like he belongs there. And lyrically, he's got a nice rhyme pattern. But here's where the road gets bumpy. He's got the voice, the structure, the flow - especially for a young cat - but the actual content of his lyrics are kind of a mess. And that might be fine for him, career-wise, since pop audiences clearly don't pay any attention into what's being said in the music they listen to anyway. But discriminating listeners are going to have some questions.

I mean, it's mostly just a lot of cliches strung together. He's "far from pop," "ran through your bitch," "so clairvoyant I can see you haters comin'," "pops champagne," "walked on the sun," "needs more money to cop these black Porches," etc etc. And I just took those all from the first song. There's never any clever lines, which is actually fine; because I think punchline rappers have worn out their welcome anyway. But there's nothing else interesting to take its place either. And it sounds alright because he has some nice multiple rhymes; but in terms substance, it's like you could write these songs with a randomizing computer program.

And sometimes it gets more awkward, like where he says, "Notorious, see me: the illest since B.I.G. No disrespect to the late great Wallace." Like why are you even bringing his name up if you're just going to put yourself on his level and then immediately backpedal? Just cut the line. And he constantly makes these non-sequitur sex references. "I need some bad brain," is a line from the first song. "I need me a freak, I need me a freak, some thorough bitches that suck vicious, that's addicted to fellatio feelings," is from his second. "My thoughts spillin', I so want you: sexy beast in high heels," is from his third - although to be fair, it actually fits the theme and context of the rest of the song in that case.  On four he says, "I need an orgy, sexual exploratory, got some stallions waitin' for me," And in the fifth, he says he needs, "a thick chick who takes a slow ride on the P. When she's done, she smiles and calls me God." That's every single song on this EP; and does anyone really want to hear that? Maybe save this stuff for your PlentyOfFish profile. They just sound like thoughts he should've kept in his subconscious. And you could argue that that's a potentially good way for a rapper to go, voicing the ideas that most people are afraid to; the unspoken, suppressed truths of the id. But there's nothing "Fight the Power" about throwing in an uncomfortable remark about who he wants to have touch his penis on every song.

But I'ma stop because I'm zeroing in on all the weakest points here. Honestly, most of his verses are just fine. Unremarkable, but also nothing wrong with them. And when combined with all of the other elements that he's got mastered, it still makes for a good listen. Especially if you don't pay super close attention.

I've got a CD here, but I'm not sure where any of you reading this could get a copy outside of probably a merch table at one of his shows. The push here seems to be to send you to just download this for free (it's available here), which is about right. Because I don't recommend this for a purchase, but I do for a free listen online. Especially since then you can just focus on the best songs, and those really do sound good. Honestly, that "Knights With the King" video should really get some blog attention, and I think both Jevin and Mad have the potential to advance a lot further in the industry. Especially if Jevin is willing to start going through his rhyme books for one last editorial pass.


*Oops, too late. That already happened.

RumpleTwoSkinz

Today I'm going to take a long-deserved look at (the only) two singles by The Rumpletilskinz. To put it dismissively, The Rumpletilskinz were The Leaders Of the New School protege "weed carrier" group. They made their first appearance on LONS's debut album, and came back again on their second. In between that time they were signed - let's face it - largely off the Leaders' buzz and released one album, What Is a Rumpletilskin?, which had these two singles. When the Leaders split, they 'Skinz were dropped and they were never heard from again. Well, collectively. There were a couple indie solo 12"s.

[Note: for the following five paragraphs - the indented blue ones - I go on kind of a rant on their name. It makes this post pretty long and is probably a little self-indulgent. So, it's up to you; but if you're not feeling it, you might want to skip down to where the formatting returns to normal for a more concise, solid read.]

I always thought these guys - Jeranimo, LS, Sha-Now and RPM - had one of the dumber group names in rap history.  I mean, first of all taking the name from a children's fairy tale character Rumpelstiltskin to a group whose angle seemed to be that they were the harder, "realer" version of LONS, which was more mainstream with their more fun and cartoonish personalities. Dinco was more upbeat, Busta was wild and eccentric and Charlie Brown was Charlie Fuckin' Brown. These guys brought more of a darker, slightly Onyx-ier tone to the music. And again, continuing with what's becoming the theme of the week for me: purer journeymen rap artists as opposed to their more colorful, media playing counterparts.

I mean, it always kinda made me wince when hip-hop groups started getting marketed to kids like Ninja Turtle toys, where each member has one defining, identifiable personality trait each. Genius is the leader, like Leonardo, Method Man is the angry one, like Raphael, ODB is Michelangelo, and so on. Then, they'd take on new personas when the first ones had already sold through... Meth became "Johnny Blaze," RZA became "Bobby Digital." Just like when the original wave of Batman figures had gotten old, so they'd release a second line with "Winter Knight Batman" in a white suit with skis or "Deep Sea Batman" with a Blue Suit and scuba gear. I'm going off on a real tanget here, so I'll reel it back in and get back to the Skinz. But you know what I mean, right? You've seen it. That's rap marketing, and it was at its worst, I think, in the 90s.

So, first of all, it's already hard trying to explain to your friends that you're buying a tape buy a crew named after Rumpelstiltskin because they're hard and real. Plus, there's the whole weak, lack of originality in modern hip-hoppers' penchant for taking their names from pop culture... I'm a fan of the Cella Dwellas, but I've always had to admit it was cheesy that they took their name from a silly Charles Band flick about a killer comic book and their individual names from another 70s horror flick and the silly bounty hunter from space in the Critters movies. What? What? was a silly name, and I can understand her impulse to change it as she got a little older, but Jean Grae naming herself after an X-Men comic is actually a slight step down in my opinion. And taking your name from drug dealers and foreign dictators isn't much better. I mean, what happened to naming yourself based on some aspect of yourself? And HOLY CRAP, I'm even further off on another tangent. So, reeling it back in again, because I really do have a lot to get to about The 'Skinz still.

So, okay, they're named after who they're named after, no more about that. But then on top of that, they're applying the "intentional misspelling" schtick to it, where you can't be sure they're doing it because they're just trying to show you how hip-hop they are, or if they just didn't know the proper spelling. And this was in '91/'93, you can't argue that they were doing it for SEO. But no, it didn't really get dumb until you heard their explanation for the name (thought up by Busta Rhymes, apparently). It might've been a bit clever if they were saying that they spun gold out of their lyrical wordplay, just like their namesake from the fairy tale. But no, according to their interview in The Source magazine (October '93 issue), it's actually meant to be read as a three word phrase. LS explained, "The beats are 'rump.' They're chunk fat 'rump.' It won't stop 'til' death. It's definitely deeper than the 'skin,' and the z makes it plural." Then Jeranimo (also a poor name choice) elaborated, "Everybody wants to be 'rump,' you know what I'm sayin'? Rump is a form of ghetto terminology for being the best at what you can do. 'Til death' means I love my music and I'm striving for longevity. 'Skin deep' because it's in the heart. It's sacred." See how the logo on the cover above helpfully separates the "Til" so you can see it as three words?

But apparently everybody loved this concept and was fully on board with using it as their name. I mean, they didn't even just use the name and move forward, they made it a huge issue. Their album was titled What Is a Rumpletilskin? and it opened with a minute long skit talking about the meaning of their name. Look at that 12" cover again. A big question mark is popping out of his cup thing because you're supposed to be wondering about the mystery of their name. It's one thing to have kind of a hokey name and keep it moving, but they're trying really hard to make you think about it constantly. That had to have worked against them, career-wise.

But moving past the questionable nature of their name, I actually think these guys deserved more, because they did some really nice work here. "Attitudes" is my favorite of the two. The production is pitch perfect, dark but not too moody, jazzy but not too fancy, with varying riffs from horns that sound like they've been stepped on and flattened. It's subtle and just sounds really good.  And they just landed on a really good concept for a song, with the hook that simply repeats, "My attitude is fucked up ...and real shitty!" I mean, I don't quite understand why it's titled "Attitudes" rather than "My Attitude," but whatever. It just captures that raw, rebellious attitude of youth music by ironically quoting what's surely been repeated to them their whole adolescent lives and turning it into an anthem. Everyone can relate to that... it just works perfectly as a hook. And while lyrically, their goal seems to be to pack their verses with as little substance as possible - I think they idea is that they're displaying their bad attitudes, but it doesn't really come off as much more than random rhyming words loosely strung together - it's refreshing to hear a more straight-forward, rugged alternative version of the LONS style.

The only disappointing aspect of this single is that there's not much to it. You get the Original Mix, a Clean Version and the Instrumental; and that's it. On the one hand, it does come in a pretty cool picture cover, but then again the comic book-style monster drawing gives the whole thing a high school horrorcore vibe that really doesn't fit the song at all.

Their second single I only have on CD-single, as you can see; but whichever version you get, it increases its value by having an exclusive remix not featured on the album. But, on the other hand, it's not as good a song. This one is called "Is It Alright?" It features the same kind of strained jazzy production, which, like all their other material, is handled but the 'Skinz own RPM. I'm surprised he didn't continue on after the group died, because I would've loved to hear more production like this behind other artists. Not that it was particularly original, but he was damn sure expert at it.

But this time they're going for a slightly softer feel - not actually soft, mind you, but less hard than "Attitudes." And this time the hook and song concept just doesn't stand out like their last single. It all sounds too generic. I know I was just kind of praising "generic" as a positive quality earlier, but it can definitely go too far. There's just nothing to really latch on to here. It reminds me of the disappointment I felt when I first What Is a Rumpletilskin? and I realized the reggae guy from the Leaders' songs wasn't actually a member of the group or featured here.

The remix helps a bit. It's better. It's a bit tougher and doesn't lean on a keyboard riff underlying the album version. Both versions are fine, though, and neither is amazing. But between the two, I give it to the remix, which also supplies a bit more energy. Considering these guys' style consists of shouting and twisting their voices constantly, you wouldn't think energy would be a problem for these guys, but it is. That's where they come up shorter than LONS, and it shows here more now that they don't have a phat hook and concept. Now you really feel how it's just a bunch of young guys with nto much to say.  Don't get me wrong... it's still pretty good. When you hear it, you'll say it's dope for sure. But then you probably won't bother to go back and relisten to it for a long time.

This single also includes both Instrumentals, an A Capella, as well as another album track called "Hudz," This one has a cooler, ever-changing production style that's really interesting. Overall, you can see why it wasn't chosen to be a single itself, but it's a pretty compelling listen instrumentally, and work to distinguish themselves more as individual stylists, compared to their other songs where they can sound like just an indeterminate number of guys. It actually makes a pretty good advertisement for the album if all you'd gotten was the single. Again, it's disappointing that RPM never broke out of confines of his group, because I feel like his work had a real future to it, even if their MCing didn't.

But either way, if you're a 90s head, these guys are going to be right up your alley. And their flows and production combined should make these must-haves, even if they were a little lyrically light. While their LONS connection certainly got them through the door, it's a shame they couldn't get out from under their protective wing fast enough to survive after it collapsed. Not that I could see a group like this surviving on to today (and again, I don't think their name did them any favors), but at least a little more from these guys would've been very welcome.

Hawaiian Magnetic B-Boys

Sticking with interesting, indie 90's 12"s, today's record is Walkman Classic by a Hawaiian group called Invisible Inc. For a minute there, Hawaii seemed to have a pretty lively hip-hop scene, mostly by joining forced with indie artists and labels in Cali. In this case, they're being put out by IPO Wax, primarily known for being Tony da Skitzo's label.

My personal copy is a test pressing (that's an actual handwritten label, bit a creative design choice), but there's a proper, retail pressing with the same track-listing. They call it an EP, but filled with just three songs and their instrumentals, I'd be more inclined to classify it as a 12" single. But either way, it's pretty good.

This dropped in 1999, and it's actually their second release. It's also pretty much their last release, at least with as a unit. Akira 8, Ha'o, Mr. Rios and Syze-1 seemed to break up after this record, though  some of them did go on to work and cameo on other Hawaiian projects around that time. That was all pretty short lived for most of them, however Akira 8 changed his name to Emirc and went solo for a couple years. Then he changed his name again, to Tassho Pearce (his real name all along), and continues to work this day, including a new song with Kid Cudi and No I.D. released under a month ago.

So it's a pretty long and twisty career that traces back to this more traditional, 90s 12".  I almost said "boom bap;" but you know, it's more of that indie backpackery kinda vibe that's almost as influenced by Project Blowed as it by their devotion to traditional New York B-Boyism. It's not too artsy, though. Slick flows and  intelligent lyrics over very traditional beats with just enough interesting instrumentation and scratches on the hook to make it a little more compelling than the norm.

I wrote recently that I tend to prefer talented journeymen hip-hop artists over the showy larger-than-life personalities that usually capture the larger audiences' attentions; and that's what we find here. It's smart, a very effective head-nodder; but also very forgettable.  I can never remember the loops and sounds of this record until I put it back on the turntable for another revisit. And I've revisited it a bunch of times now over the years. But it really holds up every time, which is more than I can say for a lot of the 12"s I collected back in the 90s. It;s a pleasant surprise that keeps paying off.

And who knows, if Tassho's star rises high enough, maybe he can bring the gang back for a fun reunion track. I'd download that for nothin'.*


*What? That's all new music asks of us anymore, isn't it?

Black Sheep Meets Tha Alkaholiks ...and Some Other Guys

Since long-lost, unreleased tracks are finally being released on vinyl by both Black Sheep and Tha Alkaholiks, I thought it would be a good time to take a look back at this fun but mostly forgotten 90's record where they collaborated. This is "Dirty Money," by J-Ro and Dres, on PAC Records. Oh, and some guys known as The Flowmastaz Click.

Yeah, this is actually The Flowmastaz' single, and J-Ro and Dres are their special guests on this one song, though I've often seen it listed on line as if the Flowmastaz was a mini "super group" consisting of J-Ro and Dres. But, no, there's actually a whole Flowmastaz Click album, appropriately entitled Flowmastaz Click, and J-Ro and Dres are only on this one song. It's just that the star power of their guests outshone them.

In fact, The Flowmastaz have a bit of a history, albeit an obscure one. They're a Californian Latino trio consisting of Echo 1 aka Bout It, T-Swoop and Nome. They released their album and an earlier single, "Who's To Blame," the year before in 1998. They owned their own label, PAC Records, which also put out releases by a couple other groups. That album didn't feature "Dirty Money," though. That was only released on this one 12".

But the Flowmastaz story didn't end there. A few years later (2002), The Outsidaz' label RuffLife signed them under a slightly different name, Flow Click. And they didn't just drop 1/3 of their name but 1/3 of their roster, as Nome was out, and it was just Bout It and T-Swoop left; and their album was titled, appropriately, Flow Click. I wonder if Rufflife even realized they were releasing the Click's second self-titled "debut" album? Anyway, they dropped one single ("Pretty Lady") and of course we all know what happened to Rufflife, so that was pretty much it for them.

I can't say The Flowmastaz deserved any better than they achieved... Their first album was one of those sort of G-funky west coast albums where the MCs were kind of more on an east coast lyrical tip, but not very much. You know: all very soupy and a middle-of-the-road mash of the popular styles at the time, kinda like DPG-lite. Then their second album catered more to the niche Spanglish audience. But, given that, they pull their own weight on "Dirty Money" surprisingly well.

It's a funky but tough little beat, produced by some guys named Lamark and J. Crumb, with some nicely rubbed in percussion by an uncredited DJ. There's a little bit of a hook, but mostly it's just a lyrical free for all with the MCs trading the mic back and forth.So it's not like a single verse from each guest and then they're done. They keep getting back on the mic for more. J-Ro - dubbing himself "J-Ro J. Simpson" here - mostly steals the show, but Dres has an impressively tight little rhyme scheme - though his voice is probably the most exciting aspect of his bars. And like I said, the Flowmastaz really hold up their end of the bargain as well (T-Swoop really sounds good on his last verse). If they'd recorded an album like this single, I probably would've checked for these guys' material even without J-Ro and Dres on it. But as it is, this is the only Flowmastaz record you really need in your crates.

But you really should have this one, because it's surprisingly fresh. It's just got the one song but complete in Dirty, Radio, Instrumental and even Accapella versions. And again, this is a vinyl exclusive (though I'm sure this found it's way onto more than a couple mixtapes in its day). It's just one of those awesome little 12" singles that could've only appeared in second half of the 90s.

Werner's R&B Quiz Show Challenge Spectacular - Special Vinyl Edition!!!!

(The Youtube version is here, contestants.)