The Missed Step

This has to be Freddie Foxxx's (or, "Freddy Fox"'s, as it's spelled here) second rarest record, after this one. And they both have some key elements in common: they're both white labels of tracks Freddie did for his Flavor Unit period, which he put out himself when the label dropped him, and they're both different mixes than what ultimately wound up appearing on Traffic's Crazy Like a Foxxx restoration. By the way, I did a pretty detailed, comprehensive post already comparing the many differences between the Traffic version and the version of the album that leaked back in the 90's, so you might want to catch up there if you missed it the first time (The Real Crazy Like a Foxxx), and then rejoin us. Basically, between that post and the "Do What You Gotta Do" write-up, this 12" is the last piece in the puzzle. And I finally got it, so let's rock. 8)

"Step" dropped in 1996, making it the last in the series of Crazy Like a Foxxx singles, even counting "Do What I Gotta Do," which wasn't on the original Crazy tape, but was included on the Traffic mix. Oh, and interestingly, this 12" plays at 45 rpm. Anyway, this is pretty similar to the version you heard on the Traffic album in a lot of ways... lyrically, it's exactly the same, Chuck D's part is the same, the samples used are the same, etc. But you'll hear the difference instantly - there's a DJ doing some wicked cutting throughout Chuck D's introduction on this 12" version that's sadly absent from the Traffic version. The scratches come back on the 12" for each hook, and are definitely a strong factor to the song. Both versions are also mixed differently... the Traffic version is a slower (you can even see it in the running time!) and places more emphasis on the bassline, while the 12" mix puts more on the drums. What's more, the 12" version also features a tight horn sample, that sounds sort of like a cross between something The 45 King and Showbiz would use. I don't know why Traffic chose the mix they did, because hands down, this one is the winner.

And for the record, this 12" mix is the version that was on the old tape, too.

Oh, but it ain't over. Because unlike the "Do What You Gotta Do" record, this is no single-sided 12"; this has a B-side: "Pressure On the Brain." And it's different, too. And just to make things a little bit more complicated, Traffic released two versions of "Pressure On the Brain" in their 2-disc set, giving us another version to compare. So let's jump right in:

Straight up, I almost wonder if Traffic didn't make a mistake. The two versions of "Pressure On the Brain," they released sound kinda similar. Don't get me wrong... they're different; you can tell just from listening to 'em. But they're much more alike than the 12" version to either of them. So, let's see, where to start? Well, first of all, like "Step," the 12" mix has some nice scratching on it that's missing from both Traffic mixes. Also, both Traffic mixes have essentially the same bassline. The 12" mix has a different bassline and, yes, it's better. One difference between the two Traffic versions is that the Jailhouse version has these keyboard tones in them, which makes the whole thing sound more like a polished studio product, as opposed to the grimier demo mix. The 12" here is in line with the demo mix, it doesn't have those keyboards (and just to be clear: I don't miss 'em).

Finally, I'll say that the 12" mix and the promo tape are essentially the same. They do sound like they're mixed differently (and the 12" is a tiny bit faster), but it's hard to tell how much of that is an inherent difference in the source material, and how much of that is just the format difference between a copy of promo cassette and an original 12" pressing. They're certainly "close enough," I think, even for a really serious fan not to care.

So, in the end, I don't know whether to scold Traffic for a dumb move or praise them for a good one. On the one hand, they clearly released the inferior of their options, so my first instinct was to say, "well, Traffic sure screwed up here!" But on the other hand, as rare as it is, this 12" is out there, available to the public (they just have to be die-hard enough fans to track it down). In putting out these (admittedly weaker) versions, Traffic has released versions that have never ever been released before, not even on the leaked promo tape. So their shit's 100% exclusive. So, ultimately it's a win for the serious collector/fan, who will ultimately get all versions, and the more casual fans or are missing out on the better versions of the songs wouldn't know what they were missing anyway. So, I'm leaning in favor of Traffic and giving 'em props. Now, if they really wanna make me happy, all they gotta do is press up this awesome 2-disc set of theirs on to vinyl! =)

Literally Literary Literature

Let me start by saying that, yes, this is an actual, real comic book. Landspeed Records put this out in '99 to promote Freddie Foxxx's upcoming (at the time) album, Industry Shakedown. You'll notice the cover image is virtually the same as his "A Part Of My Life" 12", but with a different background. He's depicted in the same style on his other 12" singles off of this album, and with this comic, you can learn the story behind it all.

It's written by Foxxx himself (illustrations by Dino Cerillo), and starts out in a nightclub called The Turntable. Foxxx is am "outcast... an outsider, an enemy to the major league, Cristal-poppin' playa' party goin' Benz rentin' keep up with the Joneses type suckas that make up and listen to the sound we know as rap music today." He robs some guy and makes him dance with his friend "like he was your broad" at gunpoint... a weird scene by anyone's standards, I'm sure.

Foxxx tries to break out but, just then, as we learn it's midnight on New Year's Eve 1999: "A numb screeching noise breaks the sound barrier. Bottles of booze shatter, confetti mizes with plaster as the ceiling slowly caves in; the dj's turntables explode; human flesh begins to melt. Thirty seconds into the New Millenium and the world reknowned 'city that never sleeps'... ...Manhattan - is destroyed." Damn, this is some heavy shit!

A mad scientist named Dr. Personality comes and takes Foxxx's body to The Lab, where he's been storing the dead body of every black gangster of the 50's and 60's (you never know what you're going to need if the city blows up, I guess). He uses all those parts to resurrect Freddie and transform him into his alter-ego, Bumpy Knuckles. There's also Knocko, a victim of an old African witch doctor who transformed him into "an ugly small man with a huge head and even huger heart," unable to speak.

I don't think there's too many of these around as it was just given out promotionally. You should be able to sleep at nights without it; but it's a fun addition to the collection of a Foxxx fan. My copy came with a Bumpy Knuckles sticker, postcard and bumper sticker as well.



Good times. :)

Update 7/30/09: I just recently picked up the Industry Shakedown CD (late pass lol), and found out it comes with a miniaturized version of this comic. Pretty cool! Just to clarify, though, the comic book I'm talking about above is full-sized (meaning: the size of a standard comic book).

Tags: Freddie Foxxx

The Real Crazy Like a Foxxx

Ok, this post is about the recently released, long awaited Crazy Like a Foxxx album by Freddie Foxxx. And before I go any further, let me just ask: where is the vinyl LP of this? Seriously, Fat Beats, what the fuck?

Ok, that just had to be said. Now onto the real point of this post: the Crazy Like a Foxxx double CD that Fat Beats just released is not the same as the old Crazy Like a Foxxx album that's been in circulation since it was sent out to the press for review back in '94 (3 mics in The Source if you're interested)... not the Jailhouse version on disc 1 or the DITC demo on disc 2.

The differences start right at the intro. In fact, "Intro" on the original version is essentially two intros in a row, neither of which are on the CD set. The first is a brief welcome to the album by Foxxx, where he tells us every song has a hidden message. Then there's a second one where he and his partner Shorty Dog talk shit for a while over a beat. And midway through the original, there's another "Intro #2," where he talks about the concepts of the album and gives his message to all MCs, which was also left off this release. Now, none of these are great losses, but I can't help feeling like it would've been nice to be completist on a project like this.

Anyway, playing a little further into the album we find another skit that's not on the Fat Beats release, of a violent highway shoot-out. Then, just one song later comes another unused skit, where Shorty Dog brings two Chinese gangsters to meet Freddie, who demands to be cut into their operation. And leading up to "Step" is yet another skit absent from the Fat Beats set. Here a narrator asks us about dreams over the signature Twilight Zone theme, followed by a look into one of Freddie's gangster dreams, where Italian mobsters threaten to drop him out of a window. It's kinda odd. All in all, the original version of the album was definitely going for more of a "cinematic" skit-heavy vibe that I can't really say I'm so sad to see go.

But there's more absent here that I actually do miss, including "Raw Skill:" a pure, acapella rap. And it's no quick freestyle verse, but a full, political and angry track that just happens to not have a beat or hook. Dope stuff.

And the unreleased album also included the superior "Mellow Mix" of "So Tough" (in addition to, not instead of, the "Video Version" present on the CD). This isn't as big of a loss though, since it was already featured on the 12" single, which was properly released back in the day. And that single also features an exclusive, third mix of "So Tough," so you'll be wanting to pick that up if you haven't already got it, regardless.

Finally, the O.G. version concluded with a full-length shout-out track over a hot beat called, "Mr. Microphone," with his DJ getting busy cutting up some vocal samples at the end. That's been removed as well.

But the changes here aren't all subtractions. Besides, of course, the delightful inclusion of the DITC Demo version on the second disc, Fat Beats also sneaks a couple of extra tracks into the Jailhouse version. In fact, that was the first thing that occurred to me when I saw the track-listing for this release: "I don't remember a track with Tupac on it...!"

Track 8 on the Jailhouse disc, "Killa," sure wasn't on the album any of us heard before. And in addition to 2Pac, it also features an uncredited Ray Benzino. It's not hard to imagine why Fat Beats might've decided to leave his name off of their CD and press-kits. But of course it's only natural he's present, as The RSO was part of Latifah's reinvented/defiled Flavor Unit at the time. Now, this is really a reworking of an unreleased track that's been floating around the internet for a while called "Tryna Get Through This." The beat is different (it's better, and doesn't feature the sappy R&Bish hook), and Foxxx and Benzino kick different lyrics, but it's definitely the same 'Pac verse. ...I'd love to hear the full story behind this song.

Also new to the Jailhouse version is "Do What You Gotta Do," a song originally released on a rare 12" single I blogged about some time ago [Update 8/25/08 - the version on the CD is a bit different. The basic beat, hook and bassline are the same, but the piano and some of the change-ups you hear on the CD are new... it sounds like the 12" is the original, and they did some tinkering for the version on the CD.], and the "Crazy Like a Foxxx (Alternate Mix)." The Jailhouse version also adds a new "Interlude" skit of a guy picking up a prostitute... it would've really fit in perfectly with the ones from the old version, but it's actually being released here for the first time.

So, all in all, what would have been better? The real O.G. version with its crap-ton of skits and a few exclusive bits, or this remade version with all its odds and ends thrown in. Ideally, of course, it would have been nice to have it ALL included... but there's no denying that this is a must have 2-disc set of never-before released material no matter how you look at it. Even if it's not on vinyl.

Update 5/22/09 - The versions of "Step" and "Pressure On the Brain" (both the Demo and Jailhouse versions) in this set are also substantially different than the ones on the original (and the originals are better!). The original mixes were made available, however, on a limited 1996 white label 12" that I review here. This review gives detailed coverage of the differences in the versions.

Update 7/30/09 - Newly added pictures of the O.G. tape and sleeve, courtesy of Noz of Cocaine Blunt$.

If You've Been With Us for a Long Time, You Might Remember This One

Ok, I'm going to defend another oft-maligned album that's not really all that great, but it's in no way the travesty it's made out to be, and it's certainly not the ridiculously misguided mess DJ Polo's solo venture was around the same time (although I might have something to say about that one in a future post, so stay tuned...). The production is pretty solid and consistent, and as an MC... well, that's the album's weak point, sure... but is he really any worse than "producers on the mic" like Diamond D, Pete Rock or Ant Banks? I don't really think so.
 
For those who can't see the big jpg at the top of this blog entry, I'm talking about Eric B's self-titled solo album on his own 95th Street Recordings. When news of Eric B & Rakim's split came out, it was all hip-hop fans could talk about for a while. And while we all anxiously awaited Rakim's long-delayed return, Eric actually beat him to the punch with this universally panned venture.


(the full-page ad he ran for his album... same as the album cover, but uncropped)

The reasons for the poor reception are pretty obvious: it's full of love songs, the stories of Eric B's shady behind-the-scenes tactics and tales of how almost all of his beats were actually produced by Marley Marl, Large Professor, etc were getting more and more press daily, and it could never stand up to fans' expectations after his records with Rakim. Even though he got Freddie Foxxx to co-write the album with him and help him with his flows, there was no way all of the fans who'd been lead on a strong by reports of both solo outings would be satisfied with Eric B's soft voice and cheesy lyrics on the mic. Honestly, I think if he'd just waited and let Rakim come out with HIS disappointing solo material first, fans would've been more understanding/ appreciative of this album... but I guess he wanted to be the first to capitalize on all the press and get what he could while he could (this attitude towards his career is also evidenced by the fact that Eric B dropped out of the music game right after this).

But, really, once you get past hating on him for all the... well, perfectly valid reasons.to for hating on him, this album is actually a rewarding experience. He plays it conservative, only slightly modifying soul classic after soul classic into hip-hop beats that you really can't help but get into, from The Commodores' "You're My Painted Picture" to Cameo's "Candy," even if they've been used once or twenty times before.

The first song is the single (yes, there was a single), "I Can't Let You," the fifty-millionth song to use Maze and Frankie Beverly's great, "Before I Let Go." And unlike some examples (like K-Solo's "Ya Mom's In Our Business" or Keith Murray's "The Rhythm"), Eric B doesn't just take the infamous bassline, he uses the whole instrumental. But you can get into this groove and enjoy it just as much as The Funky Four Plus One, Lakim Shabazz, The Outlaw 4, Steady B, and everybody else's version of this song.*

The second track, "Love Trap," uses the same loop from Foster Sylvers' "Misdemeanor" that The D.O.C. used for "Funky Enough." If he wasn't already at enough of a massive disadvantage being compared to Rakim, setting himself up against The D.O.C. only makes him look even weaker. And on another song, he takes Run DMC's "Peter Piper" break, setting himself up for yet another unflattering juxaposition. Unfavorable comparisons did this man in, I tell you.

It's worth pointing out that not every song on here is a love song, by the way. On "Louis Burrell - Theme Song," over the same classic piano and drum loop (an all-time personal favorite of mine, by the way) used by Melle Mel on "Piano," Tragedy on the "Grand Groove" remix, etc., Eric B answers his critics and former associates,

"I wake up in the morning and the phone is ringing.
Yeah, Tony's on the phone and the song he's singing
Is the same old song about money:
'Gimme, gimme, gimme.' Man, it ain't funny.
I try to be a straight up man and do my business right,
But everybody's so game tight, it makes me wanna fight.
A black man with his own -
People lookin' at me like I'm doing something wrong.
Everybody's got their opinions. I ask, what is this?
Now everybody's a professional in the business.
Eric do this, Eric do that;
But only Eric B made the record sound phat.
I gave a lot of jobs to people I know;
Took 'em on tour, showed 'em what to do.
But all I ever got was a knife in the back.
Is that what I get for tryin' to stay black?"

The album ends with the only non-Eric B.-made track, "Why Oh Why," an R&B ballad written and produced by Prince Markie Dee & The Soul Convention (who were a really big thing for about five minutes back then), sung by...? I don't know. Could it possibly be Eric B himself? Anyway, it's awfully cheesy and a big mistake to close the album with. But even with this song and Eric's lyrical faults throughout the album ("You see, I think about high school, when I was just a young tyke... trying to chase the mic. But now there's more than a mic to chase; I gotta stand and be your man, and let no one else disgrace. This ain't your average Pebbles and Bam Bam jam; I'm really trying to tell you how I am"), there's enough can't-miss breaks to make this worth picking out of the dollar bin. Sure, it's no Follow the Leader; but it's no Shaq-Fu either.

Update 8/27/07: Today, Eric B is pretty much out of the music biz, I guess... But yes, he does have a myspace page. Interestingly, he doesn't mention this album in his bio, but he does have this to say about his former frontman, "Rakim, out of view for five years, re-surfaced in 1997 with The 18th Letter but, with Pete Rock and DJ Premier's productions lacking the symbiosis of the Eric B collaborations, it bore the unmistakable whiff of nostalgia a legend resting on his laurels, rather than a new rap blueprint."
 




*By the way, in the interests of protecting you guys from the mass amounts of misinformation littering the internet, I'll just point out briefly that this song does not feature Freddie Foxxx like it says on discogs. He cowrote all the songs (except "Why Oh Why") and raps on none of them.

Do What You Gotta Do!

There used to be a good interview with Freddie Foxxx on a Gangstarr/ DJ Premier website, which seems to no longer be online (if I'm wrong, let me know and I'll add a link to it in this article... but I've looked, and I'm really pretty certain it's gone). In it he talks about how, after Epic decided not to follow through with the release of his second album, Crazy Like Foxxx, he pressed up an independent 12", drove down to Atlanta (at least I think it was Atlanta... I'm trying to remember an interview I read a couple years ago), and sold it out the trunk of his car. That record turned up on a lot of DJ's wishlists after that.

Well, this is it. And it's pretty darn good. "Do What You Gotta Do!" - a single-sided 12" (if you've never seen one, nothing is cut into the other side at all) from '95, featuring only one version of one song. The self-produced instrumental is just what you'd want for a Freddie Foxxx record, a gritty drum track, a rumbling bassline and a very sparse (guitar?) sample. The hook is sung by an unnamed R&B group (an influence of his recent time spent at Epic, no doubt), but it's actually quite good and effectively matches the earnestness of Foxxx's delivery, and managing not to detract from the record's hardcore sensibility. Lyrically, Foxxx is in first-person narrative mode, telling about an ex-con who returns to his hometown...

"I go to check my moms,
And notice that the neighborhood is so bad my old dad is bearin' arms.
He's got an uzi with a long clip,And when I knocked on the door, papa dukes almost let it rip.
He told me that mom died last year."

...and gets caught back up in the crime life when he bumps into the dealer who snitched on his brother to the feds. A morality tale, of course (our narrator winds up murdered by crooked cops who were in it with the dealer he killed), with a message made palatable by Foxxx's imitable "believe me, I was there" style.

Freddie Foxxx has a new album coming out soon, by the way. At least that's the plan according to his myspace page (hey, man; you gotta update that discography you cut & pasted from my site - it's outta date now! hehe). Gotta love all the old school & underground MCs putting up myspace pages with new material when you thought they've disappeared from the scene. But, then again, Foxxx has a great knack for hanging in there and coming back where you least expect him (he was, after all, the best thing about Latifah's hi-jacked "Flavor Unit" 2.0); I don't think anyone ever expects him to really disappear from the scene.