Saturday, October 14, 2017

Early Atoms Family Appearances Week, Day 3: The Persecuted Artifact

This is going to be the most obvious in Early Atoms Week: The Persecution of Hip Hop.  It's a compilation album like Public Exposure, where a whole bunch of indie, mostly east coast artists get a track to shine.  But this one's a double LP vinyl release on Centrifugal Phorce, Da Cryptic One's label.  And because it's his label, The Atoms Family gets a lot of extra representation here.  Like seven song's worth.  It almost feels like an Atoms album.  The majority of the album still consists of other artists, but nobody even begins to tip the scales like the Atoms.

They cover it up a little bit but giving a bunch of the Fam solo songs.  So it doesn't look like a whole bunch of songs by the same crew but one song by Vast Aire, one by Cryptic, one by Alaska, and so on.  A really great side effect of this, though, is that this album is really where I learned to recognize all the individual members.  'Cause The Atoms Family is a big crew with a whole bunch of MCs; and it didn't make things any less confusing when their first album consisted of a bunch of members who quickly dropped out and were replaced by the current roster.  So all of these guys having distinctly credited solo songs spread across the compilation really taught fans to recognize, "okay, this is Vast Aire," and "Windnbreeze is the guy who raps like that."  Up until Persecution, The Atoms Family was in danger of being a giant collective of anonymous dudes who rap together.

There aren't any songs, in fact, credited to The Atoms Family.  It's just ____ of The Atom's Family.  And a couple songs even leave that off.  That's how the first song is billed: it's called "One 2 Your Ear" by Kasm and Alaska.  It's a pretty smooth cut, produced by Kasm, with a super cool bassline and a nice mix of Guru vocal samples for the hook.  Kasm and Alaska just pass the mic back and forth kicking some relaxed freestyle rhymes.  It's a real head nodder.

Vast Aire is up next with a solo song called "Adversity Strikes" produced by Cryptic One.  Cryptic's beat is an ill, atmospheric sci-fi influenced beat that heralded their best work.  This is pretty much the song that introduced Vast to the world and he sounds great.  It has a classic hook, "I'm from the Atoms Fam, and it's the small things that count 'cause the atom's a small thing with a large destruction amount."  A remix of this song appeared on The Atoms Family compilation album, The Prequel; and they later made a sequel to this song called "Adversity Struck" for a 2003 compilation called Embedded Joints.

Alaska's solo song "Who Am I?" is next.  It's got a compelling track by Cryptic that draws you in with more choice Guru for the hook ("who am I? I'm the substance that'll make your third eye cry").  Alaska definitely spits the hardest rhymes of the crew, almost yelling for his delivery, but he's still spinning fast-paced, complicated wordplay in his lyrics.  And it's around this time on the album that I started to realize The Atoms Family guys are noticeably tighter than almost anybody else on this album.  Not 100% everybody, but by and large, they're stealing the show.  A new remix for this song later appeared on The Prequel.

Da Cryptic One comes up next.  He produces and raps "Sexual Harassment (Case #file#050971)."  There's a lot of wordplay that makes it a little confusing to follow, but I think the basic idea is that it's an angry, sexually graphic extended metaphor for the music industry using people: "some cool dude wraps his lips around your plastic smooth tube until you've been blown up. The vision made me throw up.  You dumb sluts continue to suck shit; I told you to slow up.  Dumb fucks!  I guess that's why you're fresh out of luck.  Your ass lasts a year, only a mere minute, fool; left in the cold naked, holding on your miniature tool.  You shake and twitch, your life slips through the cracks in the pavement, amazing how quick you got pimped into that mental enslavement with no future.  Wonder where your past went?  I find this industry guilty of rap sexual harassment."  Cryptic later produced a sequel to this song called "Sexual Harassment (Casefile #031272)," on the Atoms Family Prequel album, with Alaska on the mic this time.

Finally comes the one and only Atoms Family crew song on the album: "Not For Promotional Use" by Vast, Cryptic and Vordul.  Again produced by Cryptic, the energy is really high on this one.  The production is incredible on this one, and the guys gel perfectly over it.  It's like the perfect middle ground between back packer nerd rap and hardcore battle rhymes.  Lyrically, the subject matter's maybe a little basic compared to other Atoms' songs, but you could still put this their greatest hits album.  It's one of those songs you want to replay as soon as its over.

This brings us to the last solo song, WindnBreeze's "Nothing Really Happens."  It's a very playful unspooling of wordplay for wordplay's sake.  He's saying basically nothing just because it sounds good, over a simple but supportive beat by Cryptic.  "like a grasshopper hopping over blades of grass while I cut blades of grass with two cut blades of grass attached at the end to make a blade of grass scissor."  Okay.  It's just amusing nonsense that sounds nice, showcasing the kind of flow Wind was experimenting with.  It kind of feels like a lyrical version of those Skratch Picklz practice tapes, where they'd just cut up one vocal sample over another over the same break beat for minutes on end.  It's less of a proper song than an exercise, but in the end it sounded so good, they'd sell it to the public.

And that's mostly it for the Atoms Family songs on here, except the last song on the album is "Outta My Head" by The Imperials with a guest verse by Cryptic.  He kicks some packed punchlines and battle rhymes on a solid track alongside the other guys.  It's not as tight as the previous six Atoms song, but it ain't bad.

Apart from that, the album's alright.  At the time, it was also noteworthy for putting out the indie super group Deep Puddle Dynamics before they came out with any of their own records.  It's a slightly rough, early version of "Rain Men" without some of the scratching that was on the records later released by Anticon.  Other noteworthy acts include Dragons of Edin, Octavious (I have his old Descent and Dissention EP... I need to revisit that one day) and a cool track by Dr. Strange of The Lenzmen.

The only thing that makes this less than absolutely essential for Atoms fans is the fact that more than half of these songs were later re-released on their Prequel album.  "Not For Promotional Use" is on there, as well as both "Sexual Harassment,"s, "Who Am I?" as well as its remix, and "Adversity Strikes" and its remix.  It also has two remixes of "Nothing Really Happens," but not the mix on here.  Besides that, all it's missing is "One 2 Your Ear" and The Imperials track, which isn't really an Atoms Family song.  So this is a cool album for completists and historians, but for most Atoms fans, it's probably more of an artifact than an essential.  Although it is cool that it's on double vinyl, whereas The Prequel is CD only.  So there's that.

Thursday, October 12, 2017

Early Atoms Family Appearances Week, Day 2: Blatantly Weightless

Most people who read this blog would be familiar with Weightless Recordings, right?  Actually, looking at my "Find Posts About..." column, I'm surprised I never blogged about at least Illogic before.  Although, I suppose if any you've really been with me for the long haul, I did write about them for The Source way back when.  But real quick, just in case, Weightless Recordings is the official label of Ohio underground family of Greenhouse Effect, Iskabibbles, Blueprint, Zero Star... a lot of the groups are same guys kinda shuffled around.  Like Blueprint is a member of Greenhouse and Iskabibbles as well as having plenty of solo albums, being a part of The Orphanage, etc.  You have to get really dug into them as a fan to sort it all out, but in short it's a small but strong collective of underground Ohio MCs who've been in the game a long time now.  Because yeah, they're still doing it.  Illogic and Blueprint put out new albums on Weightless as recently as last year.  Blueprint's was on vinyl.

And this is an early album from them, called B-Sides Volume 1: Blatant Battle Raps released in 2001.  There never was a Volume 2.  The concept is explain on the inside cover, "[t]his is a collection of songs that we probably would've never put out for one reason or another.  Some were done without any project in mind, others belonged to side-projects that got put on the back burner.  Nevertheless, we've been enjoying them ourselves for a while a[sic.] figured you might also get a kick out of them."  The liner notes also promise an Iskabibbles LP that never happened.

So yeah, it's a nice collection of otherwise unreleased songs by the whole family.  There's only one group of outside artists on here, and if you've read this post's title, you know who that'll be.  There's a big posse cut with The Atoms Family called "Pen Relays" on here.  The full line-up of MCs on this track is Cryptic One, Alaska, Windnbreeze, Vast Aire, Blueprint and Inkwel.  Cryptic also produced the track.  And it's easily one of the most exciting moments on the album, if only by virtue of it being the big posse cut.  Like Day 1's entry (and you'll note: Greenhouse Effect were on that album, too), it's another one that clocks in at over 7 minutes, with each MC just trying to showcase their skills as best they can over an atmospheric, industrial-sounding track.

Despite the subtitle of the album, we're not really getting battle raps here.  Well, maybe a little bit of it is.  It's actually a strange mix of mind-bending imagery meshed with seriously extended metaphors for basic skill flexing ("see me at the back of the class, 101 iconoclast, making all of my professors laugh. Who knows what evil lurks in the ugly hearts of men?  I throw darts at men, tips dipped in carcinogen.  I raise cities out of bottomless pits.  Man, it's all in the wrists.  I can tell a snake by the lisp, because MCs are pathetic"), along with the occasional, perfunctory corny punchline ("me and the mic's best friends like Blossom and Six").  Yeah, it feels a little dated and the punchlines definitely sell the rest of the material short, but overall it's still an impressive display of lyrical prowess sixteen years later.

Then the Fam comes back for an encore on the very last track of the album, a freestyle "Live From Time Travel Radio (Chicago, IL)."  This time we've got Cryptic, Alaska, Vast and Vordul alongside the Iskabibbles crew.  At least that's what's listed on the track-listing.  It gets a little confusing because it lists twelve songs, including Interludes, but the CD is broken up into 25 tracks.  Most of the extra tracks are these very short freestyle snippets, plus an dope unlisted bonus track at the end called "Sun Rise" by Blueprint and somebody named Shabazz of The Commandos.  But there's eight tracks between the last song and the bonus song, and it's not entirely if they're all from the Time Travel Radio session or just other bonus freestyles they're sticking on the CD.  Some obviously are part of the Time Travel bit, because they feature Atoms Family members, but track 20, for instance, could really go either way.  They really do make this album feel like a collection of scraps.

Anyway, it's a bunch of fun freestyles.  There are some surprising punchlines in there ("you're wack like Nas is now"), and you can feel that a lot of these are entirely off the head, while others are more prewritten.  The tracks are very "scrappy," in that we sometimes jump in or out in in the middle of an MC's verse.  Overall, it's cool if you take it as a bonus; but none of it packs half the value of "Pen Relays."  That's the song that's going to really please Atoms fans.  ...And Weightless fans, too, of course.  If you're into these guys, this is a solid album for your collection.  Illogic's got a couple tight tracks, and there's a cool remix of Greenhouse's song from the Foolblown compilation.

This CD was later released with full color artwork of The Thing fighting The Hulk, but I've got the original, scrappy black & white release.  Looking on discogs, the repress has the same track-listing, but I'm not sure if it has all the little bonus filler cuts. 

Tuesday, October 10, 2017

Early Atoms Family Appearances Week, Day 1: Just Rhyming With Eternia

You know what?  It's been a while since I dipped into some really underground Hip-Hop on this blog.  Indie, sure, and lots of old school.  But it's time to dig deeper.  Not obscure/ rural.  Something straight up, New York, real purist stuff.  And who fits that bill better than The Atoms Family?  And I don't mean any of that Cannibal Ox, Hangar 18 Def Jux material - that stuff is too commercial!  It's too well known for what I want to do this week.  It's time to really get stuck in.

So let's start off with a compilation album called Public Exposure, presented by DJ e.s.e. and TES.  They say "present," because they don't do any of the music or anything on here.  Well, TES has a verse on one track, and DJ e.s.e. does produce a song near the end; but by and large, it's on a real DJ Khaled, "I just made some calls; I didn't do any of the music or anything" tip.  This came out in 2000 on... no credited label.  It's briefly described on discogs as an "East Coast underground hip-hop compilation released on a 60-minute Maxell[sic.] tape with no labels; full color insert with full tracklist."  Well, I can tell you there's also a CD version, because that's what I've got.  It's got a fold-out front cover but no back.  I ordered it from Atak or Foolblown back in the day, and that's how it came new.  At least it looks more official than a Maxwell tape (I bet it was a Type I, too, right?).

Anyway, this is a compilation album of all original, never previously released music by all sorts of obscure, underground artists.  I don't even know some of them: Yazeed, Steve Austin (presumably not the celebrity wrestler), The Bronx Monx, Unipod Particles?  Honestly, I'm just barely familiar with DJ e.s.e. and TES outside of this album.  But there are some recognizable acts, too, including Mike Ladd & Rob Sonic, Greenhouse Effect and of course The Atoms Family.

They have a song here called "Hip Hop for Dummies" and it's rather long, clocking in at over seven minutes.  That's partly because it's padded out by a skit in the middle of the song.  See, the song pretty much tells you the premise; it's a sort of tongue-in-cheek class for new jacks on how to make real Hip-Hop, with each verse acting as an example, I suppose, of how to rip a mic.  Jest1 and somebody named Sunspark talk like teachers addressing a classroom.  But really, the skit's pretty short, and it would be an unusually long song even without it.

And who's kicking these verses?  Cryptic One, who of course also produced the track, Vast Aire, and Atoms outsider Eternia.  You know the one who generated all that publicity for her album with Moss on Fat Beats a couple years ago?  This is the first time I heard her, and honestly, I like her a lot more here than I do on her new stuff.  Her voice sounds the same, but lyrically, it feels like she's dumbed it down to find her audience over the years.  On "Hip Hop for Dummies," Eternia spits fast, syllable-dense verses, full of creative imagery, and keeping right up with the Atoms members.  Admittedly, there's a bit of that familiar but awkward feel of backpackers still fine-tuning their flows on this song.  I could see some listeners writing the song off because of their unrefined youth.

Except for Vast.  His flow and distinctive voice are impossible to resist.  He could just read from the phone book and you'd be leaning forward to catch every name he lists.  And that's fortunate, because what he's actually rapping is a bit of a word salad: "I got my eyes on the prize like Olympians flipping when instant replay screws them over.  That's why I hold the mic like a four-leaf clover.  So I can determine what lies at the rainbow's end.  After our reign is over, of atomic dynasty, claymated pottery, air and water; here to fuse life, or create order, and start my apocalyptic dietary, 'cause hysterically[mispronouncing "historically"?] I am known as Teddy Ruxpin, the horizon denter that evolved from an army that never stood at ease."

...Like, what?  I'm with him through the first punchline, and the rain/reign wordplay.  The atomic dynasty is presumably the Atoms Family and I get how claymation and clay pottery wind up fused together.  But after that it's just spinning out of control.  Maybe he's equating himself to Teddy Ruxpin (the talking teddy bear toy) because he's an orator, but how did we get there from talk of fusing life with air and water?  I don't know.  One of my favorite aspects of early Atoms Family material (especially the Centa Of the Web EP) is all the wild imagery and atmosphere they evoked in their bars.  But I feel like there's some cohesion missing here.

Anyway, that's the only Atoms Family credit on this album, but the whole CD is pretty cool.  Despite each song being produced by a different artist, there's a real cohesion to the sound.  Like, maybe they all used DJ e.s.e.'s equipment?  Some guys named RC and Deep have a really catchy loop, there's an early appearance (the first?) by Creative Juice's I Am Many; and the album ends with some fun radio freestyles by an MC named Filli.  He must've passed away around that time because the album's dedicated to him, which is a shame because he came across as talented and funny.

"Hip Hop for Dummies" later turned up on the Atoms Family compilation album The Prequel as "Rhyming for Dummies," but it's the exact same song.  Still, the album's worth it for everything else. I imagine it wouldn't be easy to find an O.G. copy these days (although there seems to be one available from some German seller on discogs as of this writing); but if you see it around, it's definitely a nice pick up, particularly if you're a fan of this era and scene.

Thursday, October 5, 2017

How Does Hip-Hop Grow Up? Falling

In the past, I've referred to Whirlwind D's particular take on Hip-Hop as adult, mature, "grown man rap," etc.  But what does that really mean?  Traditionalism?  Some balding rapper talking about break dancing, or beats that sound like they were made in the 90s (for some reason, Hip-Hop producers are scared to throwback farther than that)?  Just anything by anybody who still picks up a mic after 40?  I don't know about all that...  Like, I don't care how old Ice-T gets; I think we can all agree that this isn't what we mean.  But I think we can find it here on Falling, Whirlwind's latest vinyl release.

I haven't really gone on record saying this yet, but I've been pretty disappointed by the lack of political commentary in our Hip-Hop lately.  Now wait before you start posting contemporary rap songs with some political content (actually, don't wait... I'd love to get a little list/ discussion going of some good 2017 political Hip-Hop going on in the comments and get put onto something dope), I'm not saying there hasn't been any.  Of course I've heard "FDT" and that Joey Badass song, and guys like Scarface have done material commenting on Ferguson.  Sole and DJ Pain 1 have been pumping it out.  And sure there's been plenty of social commentary stuff (i.e. everything from "Swimming Pools" to "1-800-273-8255," and material straddling the fence like "What If It Was Me"), but that's not really the same thing.  It's great and important, but giving us more of one doesn't add to how much we have of the other.  So coming from the age of Public Enemy, "Bush Killa," Dead Prez, "the black CNN" and everybody being influenced by the Five Percenters, I feel a little let down by the current string.  Back in the 80s, everybody from Melle Mel to Biz Markie had Reagan's name in their mouths, but now we've got kind of the biggest red flag PotUS yet, and yet you'd never know it listening to any of the Hip-Hop hits we've had since the inauguration.

Anyway, I say all of that just to say that tackling more important, worldly topics like the politics that are pulling everybody's communities apart might be a key factor in what defines "adult" Hip-Hop moving forward.  And that's just one of the areas D jumps into on his new, 3-song EP*.  The song's called "Minutes and Hours" (though, how/ why it's not titled "Stop Look and Listen" is beyond me), and being from the UK, the content's not as Trump/ America-centric as you might expect - be prepared for references to Parliament rather than Congress - but it's no less relatable for being a global take on the rise of modern fascism: "fires lickin' Great Britain/ livin' vision of indecision/ slowly crept up by a smidgen/ inchin'/ the hand draws closer... Doomsday is tickin'/ while most people are just flickin'/ pictures on their phones/ oblivious to their position."

"Falling Down" shifts from the political to the personal, but manages to be even darker and more demoralizing, poetically illustrating what it's like to have your life fall apart.  It's got a fantastic hook, just a vocal sample of a woman saying, "I don't think anybody cares what happens to you. Drop dead in the street, nobody helps you." It reminds me of the kind of nihilistic despair those Sacred Hoop guys would explore, albeit without the punk, ironic celebration.  This is a bit more on the nose gloomy.

And speaking of that, the final song is about the oft-ignored modern plight of male depression and suicide.  Again, I started questioning, how many Hip-Hop artists tackle the topic of suicide, especially when you rule out the irresponsible stuff like Gravediggaz and Esham.  "Nothing's Better" treats it as a tragic mental illness.  It also features the sole guest vocalist, B-Side labelmate Uncle Mic Nitro, whose work I'm honestly not very familiar with; but he does a great job bolstering D's voice here.

The production duties are split across D's usual and always welcome collaborators Specifik, Mr. Fantastic and a newer guy named Crease.  But they manage to come up with a very unified sound.  Definitely dark, of course, but also generating this kind of rolling rhythm that isn't immediately catchy like a good ol' Phase & Rhythm instrumental or something (which we know guys like Mr. Fantastic are fully capable of), but a feeling that pulls you back for repeated listens.  And when you return, you'll find yourself increasingly appreciate the subtle intricacies.  Plus, there's the one thing you can always count on in a Whirlwind D project, tons of great, expert scratching.  Four different DJs are brought in for just three songs: Sir Beans OBE, Jabbathakut, DJ Tones and Miracle, and they bring so much life and energy that it can never descend into simple gloom or melancholy.

Because I could see this release being so serious that it wards people off for simply being depressive, but it didn't have that effect on me at all.  I hope D continues moving in this direction.  I love it when shit gets real.  And, as always with Whirlwind D, this is a very attractive vinyl release.  Great-sounding wax in the stylish picture cover above, including a nice press sheet with notes on each song by D himself.  All three instrumentals are also included, as well as "selected acapellas," which basically comes out to one verse from each song.  And I think, if you haven't been following Whirlwind D, or he's been on your radar but you've been on the fence about actually biting the bullet and ordering one of his records, this one would make for a really good starting place.  I think we might be leading into his best album yet.


*They call it an EP; but I think we can all agree that three songs = 12" single.  Would you call Express Yourself an EP just because it had "Straight Outta Compton" and "A Bitch Iz a Bitch" on it?  No, right?  100 Miles and Running is an EP, Straight Outta Compton is an LP, and Express Yourself was as a 12" single.  I think you've got to have at least, like, five songs to qualify as an EP.  Maybe four if one is an eleven-minute "A Day Like Any Other" monster jam.  But these are just three perfectly regular length songs.  And I know it's the peak of nerdiness to rant about categorization, but come on.  There's nothing wrong with 12" singles; just admit that this is a 12" single.  😜

Tuesday, September 19, 2017

The Final Father! The Secret, Nasty One Nite Stand

Citizens of the world, we did it!  With this very post in September 2017, we have officially covered every single Father MC 12" single!  From his obscure indie debut to his major label peak to his early indie comebacks, to his test-pressing only Luke Records single to his obscure later comebacks and so many in between.  We did it all.  And now, today, we look at the last remaining hold-out: 1992's "One Nite Stand" on MCA Records.  And I've got three different pressings for ya.

"One Nite Stand" was the lead single off of Father's second album, Close To You, and featuring his reunion with Mary J. Blige.  His only other single off the album would feature his reunion with Jodeci, showing how he was already becoming overshadowed by his more famous back-up singers.  People were coming to Father MC records to hear what Mary J. and Jodeci were going to do more than Father himself.  But this time, Mary J. isn't really what's interesting here.

Produced by DJ Eddie F of Heavy D and the Boyz, the instrumental for "One Nite Stand" is a simple but addictive merging of "Microphone Fiend" with the bassline from "Funky Sensation."  Yeah, there's a little extra new jack noodling on top of that, but it's basically just those two loops synced up into something fresh.  And the hook, of course, is sung by Mary J Blige.  But unlike her previous records with Father, or Jodeci's records with Father, where they sing their hearts out and steal the spotlight, all Mary does here is sing the one line with two different inflections, and it's looped.  Honestly, it sounds like Eddie F made a chorus out of a studio outtake Mary intended for some other record.  And it's alright; she certainly doesn't reach any dramatic notes.  It's the kind of performance any random back-up singer could cough up, but it's catchy enough over the funky track.

And lyrically, this is before Father adopted the player pimp persona, so he raps some nice verses about how he's interested in more than just one thing ("I wanna get to know ya because I don't want to do you," "sex ain't my appetite; I just wanna treat ya right").  It's a novel concept that he spends the song disagreeing with his hook: "all you want from me is a one night stand," Mary implores, which Father always rejects with a simple, "Nah, baby."  That doesn't come around too often.  He even ends the song with a special, spoken word message to all the women of the world.  "One Nite Stand"'s not exactly a heady, intellectual rap ("I'm all about fun, honeybun, so come and check me out"), but it's a well produced, upbeat song with a positive message.

And now, looking at the different pressings, we've got the basic promo 12" with the black and white label and plain yellow sleeve on the left, and the retail release with the full color label and glossy picture cover in the center.  Musically, though, those two 12"s are the same, with the Radio Version and Eddie's Instrumental on side A and Eddie's Mix on side B.  Is Eddie's Mix some new, 12" exclusive remix?  No, it's just the album version.  The Radio Version (also the one used for the music video) is exactly the same as the album version/ Eddie's Mix except it fades right out after Father's message.  So it's about a minute shorter.  The fuller version has an extra horn solo, where they play the famous fake horn riff from Slick Rick's "The Ruler's Back."  Admittedly, it's pretty kitschy, but I like it.  Mary actually comes back, too, to sing another line ("'cause you don't care") a couple times, and this is actually where she sounds the most vivacious and breathes some extra life into the song.  So stick around for the full version of this song.

That's the basic promo version, which there's a billion copies of on vinyl and CD all over the world.  But on the right is a very different promo 12" with a different track-listing and a genuine, exclusive remix.  A vocal remix, even, with an all new rap; how about that?  Bet you didn't know about this one, Father MC fans!

The Tone Capone Mix, co-produced by Tony Dofat and Puff Daddy, features a moodier, much tougher beat with hard drums, sparse bass notes and sporadic jazz stabs.  It's a pretty good track, but it really doesn't jell with Mary J's hook.  It feels like this beat was made for a different song.  Except for Father's new verses; those sound tailored to this track, and the vibe of the song is totally flipped.  This could be considered more of a sequel song, e.g. "One Nite Stand Pt 2" than a remix.  A bitter, angry sequel.  "My Nubian sista, I wanna get wit cha" has become "my Nubian sista, I wanted to get wit ya," and instead of saying "nah, baby" to every accusation of only wanting a one night stand, he says "yeah, baby."  

But don't get me wrong, that's not all that's changed.  All the rap verses have been completely replaced with new ones.  Now he says, "baby, don't play me like you're all of that, sugar; you should slow down and realize where ya at."  We're not exactly talking Ice Cube here, but he's definitely coming harder, "so now, I know where you're comin' from, honeybun, ya tongue is callin' for the dark one. I got flavor, forget what other's gave ya.  My name is Father so, honey, don't bother."  And this time, yeah, he definitely does want to do you.  "I want panties on the floor, and your bras unstrapped, because Father MC is gonna taste your cat.  No nappin' allowed because it's time to work your body.  No need to drop your panties if the dug-out is knotty.  I'm in the mood to get a kiss - thank you.  Grab you, lay you on my knee and then spank you."

It's not amazing, but it's not bad; and it's fun how he reverses his stance from the original version.  It's like a dark secret version of the song.  And I guess they really liked the idea of changing his saying "nah, baby" to "yeah" in answer to Mary J. Blige, but I think they should've really should've gone the extra distance and gotten a new chorus that fits the beat, which is otherwise kinda hot.  That miss-match is what holds the song back from working entirely on its own terms and probably kept it off the major DJs' mix-tapes back in the day.

This promo also has the album version and the Instrumental, which in this case is Tone Capone's new instrumental... a reason for heads to track this down even if they don't like Father or any R&B/ new jack rap stuff.  And finally there's "Daddy's Radio Remix," which is just a shortened, radio edit of Tone Capone's Mix.
Father's closing message from the Close To You cassette J-card.
So, now that I've covered every single Father MC single, where do we go from here?  Well, I don't think we've totally seen the end of Fam Body on this blog.  He's still got more guest appearances in his oeuvre that I'm sure I won't be able to resist.  And hey, maybe I'll decide to go super deep, and examine every single album track that never got released as a single.  Although, you know, I might hold out for a book deal before going that far.  😂  Plus, hey, this is only the end of Father MC's 12"s to date.  He could still put out a new one!

Saturday, September 9, 2017

Lost Under Will Smith's Shadow

video
(Taking a look back at some pretty strong NY/ Philly rap acts that got overshadowed by the popularity of DJ Jazzy Jeff and the Fresh Prince.  Youtube version is here.)

Tuesday, August 29, 2017

The Lost Rappin Is Fundamental (and Craig Mack) Song(s)

video
(An obscure promo cassette of Easy Mo Bee's 2000 album reveals unreleased material by Rappin' Is Fundamental, Craig Mack and The Soul Survivors.  Youtube version is here.)

Sunday, August 13, 2017

Did You Know Urban Dance Squad Recorded a Tribute To Scott La Rock?

Hey, did you guys know the Urban Dance Squad recorded a tribute to Scott La Rock?  I sure didn't; I just found it now.  That's largely because I never really listened to them.  The only real impression they made on me was back in 1990, when their video for "Deeper Shade Of Soul" used to play on Yo! MTV Raps constantly.  Lots of skateboarding in a swimming pool, the guitarist mugging to the camera, and a DJ shown doing scratches you didn't actually hear in the music.  That's what I remember.  It was a catchy sample, and they made major use of it; but I never liked the rapping even as a kid, so I never bought their album.

For me and most of us in the US, they were a little one hit wonder act that released one album on Arista and then disappeared.  But they're actually a Dutch band (they popped up on Cheez Steez vol. 1), and they apparently they were big over there, releasing six or seven major label albums on Virgin Records throughout the 90s.  Rudeboy's the MC, and the other guys are drummer Magic Stick, DJ DNA, and guitarists Silly Sil & Tres Manos.  The only other memory I have of them was back when I was working at The Source, and we were making an online database of every Hip-Hop artist.  Dave Mays sent a memo saying he looked at it and three artists on the list weren't actually Hip-Hop and should be taken off: Marky Mark & the Funky Bunch, 7L & Esoteric and the Urban Dance Squad.  I replied that if we're just taking off artists because they're wack then we'd have to remove the Made Men, too, and I never heard back about it and all the artists stayed.  ...The only other time I got a memo from Mays was when he sent one to correct me that "Super Rappin'" wasn't a Grandmaster Flash and the Furious Five song, so I had to fax him a scan of the record label showing him that it was.

Anyway, the point is, I'd never listened to their one album that really sold here in the US, Mental Floss for the Mind.  That title's another thing that put me off it.  ...Never listened to it until this week.  And it's mostly what I expected.  Hip-Hop mixed with live rock music, which isn't bad, though all the live drums and guitars feels a little sloppy for a guy used to loops.  It definitely has a rock and roll vibe to it that doesn't appeal to me, and I still don't like the rapper.  There are some cool samples, like, the first song heavily uses the instrumental from "Strong Island," which sounds good, but guess what?  The JVC Force song is still a ton better, so why bother with this one?  That's kind of the album in a nutshell, and most of the best bits are front-loaded to the beginning of the album, so it gets weaker as it goes on.  But apparently they later really embraced the 90s rap/ rock thing on their later albums, and Mental Floss at least has a funkier vibe to it.

Anyway anyway, near the end of the tape, I was surprised to hear them suddenly rapping about Scott La Rock.  And there's no question that they mean the Scott La Rock.  They specifically go out of their way to sample "South Bronx" right after they say his name for the first time.

The song's called "Famous When You're Dead," and the whole thing isn't really about him.  They start out rapping about themselves, "our aim: we entertain to gain a place, maybe, in a hall of fame.  And If we don't reach this, the world's to blame."  And they slowly get to the overall concept of the song: tragically, a lot of great artists don't become famous until they're dead, "the people and the critics in the biz are impressed 'till my death, so make an album: 'The Best of Rudeboy's Raps.'  Yeah, twice as much money behind my back, now that's lame; too late to get, yeah, you're famous when you're dead. ... Now they fake it, when they try to weep.  Like a family scene, they all just wish it: to bury your body; they won't miss it. like a wife who is wicked.  She inherit, then you know her real spirit."  So there you go; if Rudeboy turns up dead, the police know who to look at.

But then the rest of the song suddenly becomes about Scott La Rock, starting out, "9 AM again, I wake up.  A cold shower, breakfast, time for pop.  Then I be in the mood for some lyrical rock.  I pop in a tape in my deck: Scott La Rock."  Because that's what Scott La Rock's known for... his lyrical rock.  I guess "rap" wouldn't have rhymed as well with "Rock" as "rock" does.  And yeah, he did actually rap at least once or twice in his career, but wouldn't it make more sense to reference his cuts or production rather than his lyrics?

He continues, "superstar status he never lacked, but the words of mouth were final on wax.  The extravagant life came to an end, a nine millimeter and a glock went bang."  Get it?  Because BDP had a song called "9mm Goes Bang," so they're imagining that the gun that shot him was a 9mm.  I'm not sure that's in such great taste.  And again, more about his "words" on wax.  I know they're not from New York, but they had to know Krs-One was the vocalist, right?  It's kinda weird.  The whole song's kinda weird.  Rudeboy keeps mispronouncing words, which makes his verses hard to decipher (he turns "recognition" into a six or seven syllable word); I'm guessing English was not his first language.  And instrumentally, they loop a sample of Biz Markie beat-boxing then pack it with electric guitars.  In fact, the first thirty or so seconds is just a guitar and drum warm-up/ noise jam before the song starts proper.  Then they end it with an electric guitar riffing the famous opening notes to Chopin's "Piano Sonata No. 2" funeral march.

Plus, I'm not sure how much the song's premise even applies to Scott.  Like, his records were big when he was alive; "The Bridge Is Over" was a monster when it dropped.  And since his passing, Hip-Hop purists have been keeping his name alive, none more so than Krs himself.  But it's not like anything he did went on to become a mainstream, crossover success after he died.  Teenage girls around the globe didn't flock to "P Is Free" once they about him on the news.

So, I don't know.  I'm not really knocking it; it's a good thing that they're honoring Scott.  In fact, for me, it's kind of the best moment on the second half of the album.  And when he says, "some act like they were his best friends. those hypocrites, they make me mad!"  That sounds like a real sentiment; that's a good song-writing moment.  It's just an interesting little discovery I thought I'd share, because I'd bet a lot of heads had no idea this was a moment in our history.

Friday, August 11, 2017

Even More Elusive Mr. Voodoo Demos From Our Heroes At Chopped Herring Records

Two years ago, I wrote about a tight Chopped Herring EP of unreleased Mr. Voodoo demo tracks.  Well, this summer, they're re-releasing New York Straight Talk: The Elusive Demos on CD.  But what's interesting about it is that the track-listing's different.  And I don't just mean that the songs are in a different order, although that's a little true, too.  But the original vinyl EP was seven tracks long, and this one's nine.  So, two new bonus tracks?  No, three in fact, because one song has been taken off.  And all three of these new tracks are previously unreleased; they didn't just throw "Come Off Hard" on here to fill up space or something.

So the track that isn't here is "Betta Duck," which kind of makes sense, since it was labeled as a "bonus track" on the 2015 version.  It was still dope, but far from the best song on there and was newer than all the vintage '94-'95 era stuff that comprised the rest of the EP.  And this way I guess vinyl heads don't feel burned, because their original EP still has something exclusive.  But, really the big question is what's new on the 2017 version?

1. Live It Up (Original Version) - This one's interesting, because "Live It Up" was a Natural Elements song from their stint on Tommy Boy; it was even on the Black Mask soundtrack.  But this one here is a Mr. Voo solo track, and he doesn't even kick his bars from the Tommy Boy version (or "Live It Up Part 2").  But this does have a rough, solo version of the same chorus, so I guess this is where they took the concept from.  It has a much slower, calmer feel, with Voo basically rhyming over the instrumental to Red Hot Lover Tone's "#1 Player," with some deeper bass.  On the one hand, it's definitely not as dynamic as the Tommy Boy version, but on the other hand, it's basically an all new song, not just like a demo version with a different drum track or something.

2. Unknown Demo - Yup, I don't know what this is either.  It sounds more like 2000's material than 90's material, though.  I guess "Betta Duck" and all three of these new tracks are essentially more modern bonus tracks, as opposed to their classic era material.  It's a kind of basic but respectable, slower NY street beat kind of track, and Mr. Voodoo comes off well like he always does, with some nice rhymes and a pointed Special Ed reference; but he doesn't use the sick, staccato flow his fans love him for.  The hook is just an extra instrumental sample, so it doesn't give you much to even guess at a title.

3. Let the World Know (Demo Version) - Now, this is one of those Mr. Voodoo demos we've all been waiting for.  "Let the World Know," of course, is the title track of his 2004 EP, and it's okay.  But there's always been a rough sounding (presumably a radio rip) of a tighter original version over Nas's "On the Real" beat.  And this is it.  Longer and in restored sound quality, finally sounding like a proper song.  Why is it longer?  Well, comparing them now, it's obvious the leaked version was clumsily chopping out the hook and other little sections (maybe for one of those old NE mixtapes?).  Uncut, the Chopped Herring version restores about two minutes.  So that's great to finally get, and the most exciting of the three.  It sounds a little slow, though?  I pitched it up a little bit, and it sounded better to my eat, but maybe I'm just forcing it to match the pitch of those old demo rips that could well have been wrong to begin with.  Either way though, I recommend experimenting with speeding it up and see what you think.

Update 8/13/17: Thanks to KayeMPee for pointing this out in the comments! There's another nice bonus to this CD: the track "Pen Hits the Paper," which is on both the vinyl and CD, is a little longer and restored on the CD.  On the old rips that we've had for ages, it's a three verse song (the last verse starts, "when my pen hits the paper, MCs disappear into vapor..."), but every version I've ever cut stops abruptly at the last word, before the hook can start again, cut off.  And I guess the source material CH had to work with had the same problem, so they faded out after the second verse like that was the end of the song.  Well, this CD version restores that last verse, but still fades out around where the other rips "break."  The sound quality is immensely improved (on both the vinyl and CD), so they're obviously working with a much better source than those rips, but that source must be damaged, too.  To be clear, this CD ends awkwardly, too, cutting off the very end of the song... but still restoring the third verse missing from the vinyl.  So it's not perfect, but it's a big improvement.

So yes, this CD is definitely good news.  And now you know, even if you bought the 2015 record, don't think there's no reason to scoop this up, too.  We just got three more lost demo tracks restored, which is also a nice sign that the well still isn't dry and there's still hope for more material, that we both have and haven't heard of before, coming to light.  Right on.  Every time Chopped Herring recovers another lost Natural Elements track, an angel gets its wings.

Sunday, August 6, 2017

Yole Boys Number Zero

So, a couple years ago, I wrote about a killer album by Luke Sick's Gurp City Crew, collectively known as The Yole BoysOwe. Reep. Out. was a limited cassette-only album that came out in 2011.  But there was actually something before that album.  Not a previous album, or even a single or EP, but a sort of prelude tape.  Yolemagmix #1 and 2.  It's also, by the way, the very first release on the Megakut label, prominently labeled Megakut #1 on its spine.

Before anyone gets too excited or disappointed, let me just tell you know, this is an entirely instrumental tape.  So no crazy Gingerbread Man verses here, sorry folks.  But it's not just the instrumental version of Owe or anything.  The tape consists of two, roughly twelve and a half minute long megamixes, produced by the Boys' own Fatees, and furiously cut up by DJ Quest.  There are a few ad-libs, including a chant of "too gurp to get in," at the beginning of side 2, plus plenty of choice vocal samples to set the decadent mood; but this is strictly a DJ mix tape.  And it's a killer.

Expect anything between old school references to cocaine and Quest cutting up Biz Markie's "Pickin' Boogers" over a deep, throwback mix of what the Boys fittingly call "Bay-ami Bass."  Classic bass loops mixed with electro samples and a tougher, Philly edge; this tape has a hyper, higher energy than Owe, thanks in part to Quest's quick cuts, but also just in the beats they select.  Owe had a number of slower jams, but here, not so much.  There's one moment where I did feel they let a single beat ride unvaried a bit too long, but apart from that, it's all a great, little ride.

Still, this is an old and quite limited release with only 250 copies (mine has #144 lightly penciled inside the J-card) having been created six years ago... which is still considerably more than the Owe tape, which only saw a miserly 100 pressed (but, unless it's an error, it still seems to be available direct from Megakut!?).  And let's face it, that vocal album is definitely the one you want to track down if you have to choose.  But if you're a fan of these guys - and you should be - than it's worth keeping an eye out for both.  And as of this writing, there are still copies up on discogs, so it's not a hopeless scenario or anything.

Sunday, July 30, 2017

Big L Grail On Record Store Day

video
(This past Record Store Day, we got one killer release, with some very long-awaited music by the great Big L.  Youtube version is here.)