Big Scoob Vs. Superman

(Youtube version is here.)

Happy 4th, Everybody! American and Proud!

Big Scoob dropped this anthem in 2002 on the underrated label, Fully Blown (they did a full run of 12"s with Scoob, plus Chubb Rock's last 12", PRT's last 12", etc). It's produced by a DJ by the name of L. Supreme, who also produced Scoob's "The Way They Go" single. He does a good job, but really it'd be pretty hard to screw this one up.

The concept is pretty simple... it changes James Brown's epic tune "I'm Black and I'm Proud" to "I'm American and Proud!" The hook is basically the same, with a chorus of children shouting it out, and the instrumental liberally takes from all its elements - the funky horns, etc - from the original. This is hardly the first time that song has been used in this way - think Tragedy or Kool Moe Dee - but since when has cribbing from James ever been a bad look? It's not breaking any new ground (even slightly) but like the "Impeach the President" breakbeat; it still works perfectly every time.

And this is well after the period, thankfully, where he was doing that high-pitched B-Real knock-of voice... here he's back to his natural, engaging voice and flow. His rhymes are witty without being punchliney, clear, and they move at a consistent pace but without ever spilling into "fast rap" (not that I mind fast rap at all; but it ain't mainstream if soccer moms can't rap along) Honestly, I think Big Scoob is like the second Jay-Z who just never got that big break. You see it somewhat here, but not quite as strongly as on some of his other records, since he's a kinda tied down to the stars and stripes talk here.

There's nothing else here besides the song and the instrumental on the flip, but it's a good song. If Fully Blown was larger and had wider distribution, I could easily see this being one of those records DJs break out at the same time every year; and when they did, it would get the crowd open.

B.K.N.Y.

This is a pretty cool, little 12" that's usually found pretty cheap.  It's by the production team known as The Heatmakerz, who've done work with The Diplomats (primarily), Melle Mel & others.  It's a 2-song 12" (plus clean versions and instrumentals), but it's pretty much all about the A-side.

Like you can see in the labelscan there, it's an unlikely - but effective - between M.O.P. and Big Scoob (as in Kane's former dancer, yes).  Fortunately, by this point, Scoob was past doing the cartoon-voice schtick he adopted around the time of Daddy's Home, and has actually put out a series of underrated, indie 12"'s.  Including this one.

Taking a gripping, head-nodding sample from the Conan the Barbarian soundtrack, and laying it over some slamming drums, The Heatmakerz make a solid foundation for M.O.P.'s high energy - well, shit; you don't need me to tell you how M.O.P. do.  The Heatmakerz almost ruin the hook, though with a super annoying chorus sung by... female singers? Kids? I can't even tell. Fortunately, M.O.P. do their own hook right over that shitty one, so once you get used to it, you can readily ignore it.  And for a while, it looks like Big Scoob is just gonna be relegated to playing back-up to M.O.P. (who definitely don't need it), but eventually at the end of the song he kicks a slick verse.  Flat out, the song's a banger that sounds good the first time and grows on you even more with repeated listens.

The b-side is kind of a throw away: "Back In the Building" by Hell Rell of The Diplomats.  The beat's alright and tries to inject some energy, but after the A-side, it's pretty underwhelming.  Hell Rell's flow is pretty simple and punch-liney, but without any particularly clever lines to back it up.  The hook is so subtle, you won't even realize when he switched between hook and verse unless you're paying close attention to the lyrics.  He does have fun with the delivery of a couple lines, though.  I mean, his verse is okay... the instrumental is okay... the hook is okay... you could ride along to it if someone played it in the car or on a mixtape.  But in a world where there's, like, eighty bajillion rap songs in existence now, and more being made every day.  It's not worth your time going out of your way to listen to it.

So forget the B-side, but pick this up for the A-side.  ...Not every producer can make a record that supports M.O.P.'s high-energy delivery, but these guys did it right; and Big Scoob's involvement just sweetens the pot.

Juice Crew 3rd Millenium

I grew up as a Juice Crew junkie, so what better way to start my new blog than to look at my favorite hip-hop crew as a teen? I also chose it because I've never been able to find (and believe me, I've looked), any information about this record anywhere online. I'm guessing this just flew under a lot of peoples' radars, and if it's not entirely unheard of, it's at least thoroughly forgotten.

Of course, it's no "Symphony;" but 1999's "Thug Money" by Juice Crew 3rd Millenium ain't bad. The line-up here doesn't quite feature the All-Star line-up of your dreams either; but it's not a bunch of completely unrelated new jacks using the name, like say "The Unit" who Latifah was putting out around the same time. It features MC Shan (Juice Crew Allstar), Big Skoob (yeah, he counts as a Juice Crew Allstar), Grand Daddy IU - who also produced the track (he's almost a Juice Crew allstar... he just came a couple years too late), Oz-Born (who I believe is the Oz of IU's "Oz's Track," which he put out independently that same year) and D-Low (new jack who sings the hook).

"Thug Money" is the only song on this 12", with Dirty, Clean, "Super Clean," Instrumental and Acapella versions. The instrumental is a slightly understated but effective track for a thuggish posse cut. It won't blow you away, but it's pretty good; and every MC comes with a reasonably tight, hardcore verse ("Our projects stand alone; I represent the zone: Pickett Avenue, you get robbed on the payphone.").

It was pretty surprising to see the Juice Crew turn up as a collective on Universal Records(!) as late as 1999, and it's easy to dream about a full-length project that never was to be, reuniting all the Juice Crew members for a collective album to finally follow In Control vol 1. But this joint, while not bad, doesn't exactly scream "summer hit sure to lead to a major label contract." Indeed, this was actually due to be featured on (as can be clearly read on the label) a Mr. Magic sampler album (all originals? Or lots of prereleased material? We'll never know) called Mr. Magic's Greatest Flavors, an album which never wound up happening. All we have is this. It's no must-have if you're not a die-hard Juice Crew enthusiast, but if you're thinking you'd like to check this out based on the line-up, you won't be disappointed.

Update 1/31/12: see this new video post I made on this same record.