So, would you believe I'm not even through my Legacy of the Hoop Week thing, it's only been a month since my annual recap of all the Luke Sick projects he's released since my last video, and... dude's already released two more full-length albums?! Well, alright, let's hit it.
First is a follow-up album I never would've imagined coming in a hundred years. Brougham was a seemingly short-lived collaboration between Luke and 3rd Eye Blind (a 90s rock band even I've heard of)'s Jason Slater. They started with a song for the Can't Hardly Wait soundtrack in 1998, which was sort of the peak of that Limp Bizkit/ Bloodhound Gang rap/ rock hybrid period, and Elektra wound up signing them for a full album with a couple of singles. At the time, I remember thinking they were just another one of those MTV tween-bait groups that happened to get super lucky in tapping the credibility and talents of Sacred Hoop's own, and even up until this year, their album is one of the Luke projects I've been least likely to revisit. But having just gone back to it now to discuss the new album, I have to say it holds up surprisingly well. They had a music video full of guitars, motor cycles and porn stars, but unsurprisingly they didn't crossover to mainstream popstar success, and Elektra ended the experiment in 2000.
And in 2020, Jason sadly passed away from liver failure.
But apparently, as Luke told HipOnline in a 2008 interview, he and Jason grew up together and were lifelong friends. So now Megakut Records has released a second Brougham album, Bateh Bros. If you're worried you've failed to keep up with California slang because you don't even know what a bateh brother is, don't beat yourself up. Bateh Bros. was a family-owned Cupertino liquor store that closed in 2020; that's not a cute 'shopped photo on their cover. I believe we're paying tribute to two losses here, and more so the representative passing of their era on a larger scale. As Slater said in that same interview, even their first album was "pretty literal. It’s about how no one ever looks at the
underside of Palo Alto. Either you’re rich or you’re
broke.” You'll hear "the PA" on this tape a gazillion times, and they're not talking about Pennsylvania.
Bateh Bros. is a full length album at ten tracks, though one is essentially a skit, albeit a powerfully ironic one: a snippet of an interview with Slater lamenting the notion of people issuing his unreleased music after he dies. And it really isn't a "rap rock" album. Only one song, "Hemet," sounds like that, with electric guitars grinding behind Luke and Jay (I'm assuming that's him doing the hook) spitting about how they've "got a bad girl to keep me right." Honestly, a lot of their 2000 album really didn't fall into that style either, though their "Murked Out" single certainly sold that image. "Doin' It With the Ham" (as in Brough-Ham) is a play on the classic Eric B & Rakim record, using essentially the same instrumental, even cutting up one of its most famous lines for the hook. "Unfadeable" even features a fun throwback to "Rappin' Blow"-style background voices. "Motel Room" rocks a slow, dark reggae groove until it flips it up mid-song with a Too $hort vocal sample and slides into the infamous "A Thing Named Kim" bassline as he declares he's "all alone, holdin' a grenade with the pin pulled out... plottin' on yo' bitch ass!" "Everybody Keed" closes things out with the kind of subversively mellow production that would occasionally pop on classic Sacred Hoop albums.
Then, as if that wasn't enough, The Yole Boys are back! The Yole Boys, if you'll recall, are a more loosely defined group. Luke, producer Fatees "and friends" might be the best way to put it. Their first instrumental tape was the debut release of Megakut Records, but their 2011 album was the prize. That's also been their last release until now, eleven years later, as they've returned with a new full-length entitled Saran Twister Bump Tape.
This time, they helpfully list out the personnel on the back cover: Luke Sick, Brandon B, Eddie K, QM, Wayne & Wonda (are they putting us on with a Muppet Show reference?), D-Styles & DJ Hypnotize. And of course "Slaps by Fatees." And it feels somewhat like a hybrid
between the two previous Yole releases. It's definitely got that old
school Miami-style programmed drums and handclaps feel to the
production, and a lot of it is instrumental, although there are
definitely vocal tracks as well. "7 Bellos" is a play on As Nasty As They Wanna Be's "My 7
Bizzos." "Supernova Bassdrop" is like an 80's club DJ remake of "Jam On
It" with nothing but adlibs and scratches over the track, until finally
two and a half minutes in, Brandon B jumps on the mic for a verse. There's a sparse feel to the album, almost feeling unfinished. "Cru Jones" is a catchy Luke Sick track that just suddenly ends on a broken loop. "Owe Mega" starts out as a hype vocal track for the first minute, but then just winds up letting the beat ride for the next two and a half.
So yeah, the album could probably stand to be trimmed. It often lets loops cycle on their own for pretty long, which can be a bit of a patience and endurance test to get all the way through. I find it hard not to just skip through to the highlights. But that was the style of the music they're paying homage to, too. I can remember copping my first Boyz Wit da Bass tape, or any of the Dynamix II albums, and thinking: it just goes on like this? You know, sometimes Magic Mike and the Royal Posse were going nuts cutting, scratching and passing the mic down the line, and sometimes they were taking a break and letting the speaker shaking bass rumbling speak for itself. For better or worse, this album captures that, too.
But it's sixteen tracks long, with no skits or interludes, so if you
feel at all short-shrifted by any of the more barren tracks, like "Nettie Pot" or "Beat On the Drum," don't worry, there's still plenty more music around
every corner, with big samples and your favorite Gurp City MCs. There's even some 80's freestyle singing on "Maybe In My Dreams" and funky vocoder effects on "The Reep." Casual listeners might prefer a cut-down EP to this hour-long LP, but hey, kids today know how to program a playlist.
Because, yeah, despite having Tape in the title, Saran Twister Bump is on CD. Bateh Bros. is limited to 100 red cassettes and as of this writing is still available from Megakut's bandcamp. The Yole Boys is more elusive so far, but will probably pop up for sale online soon.
Showing posts with label Yole Boys. Show all posts
Showing posts with label Yole Boys. Show all posts
Thursday, September 1, 2022
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 Boys. Owe. 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.
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.
Friday, August 8, 2014
Luke's Sick Friends
Today's post is about two albums; and I'm starting out with this brand new one: Mutual Daps. It just came out through the usual download, streaming/ bandcamp and ITunes kinda jazz. But there are also legit, physical copies which seem to be, short of catching these guys at a show, available exclusively through accesshiphop. Mutual Daps is the latest group project from the great Luke Sick, who's collaborating this time around with White Mic of Bored Stiff - who you might remember just did a collaborative album with Sick's regular cohort Z-Man - and TC Bonelocs, who handles most of the production.
I say most of the production, because several of the tracks are actually handled by a couple of Luke's other regular cohorts: DJ Eons One, who's in Underbucket/ Grand Invincible with Luke, and Brycon, the other half of Luke's Grand Killa Con group. And just about everybody else from the camp is on here for at least one appearance: Eddie K and Brandon B (who form Trunk Drank), Topr, the aforementioned Z-Man, Agentstrik9 (also of Bored Stiff), that Lightbulb guy from the Grand Killa Con album, and several more I don't recognize. DJ Quest also drops by to add some nice cuts on a couple of tracks. It's not even worth trying to keep track of who's in a group with who, really; and this particular album doesn't feel so much like a focused project by a defined trio so much as just a big ol' family album, where Luke and White's voices happen to feel the most prominent.
This is a good album with some nice production and a bunch of solid MCs flexing their raps. But its nobody's masterpiece. Fans of these guys will definitely be satisfied and happy as I was to get another album. Especially since it's pure hip-hop, unlike some past projects a la Motel Crew, Brougham, One Block Radius, etc where they experimented and crossed into other genres... This is the good, real hip-hop shit we want from these guys. And there are some choice samples and moments to be found here when you really delve in. But nobody's written their best songs here. If you were assembling a 'greatest hits' album of Luke or the whole Gurp/ Megakut/ whatever crew, there's no "wow" songs you'd pick from here. The best instrumental moments tend to line up with the least exciting verses. Like "Hard Sound" has a great track and some hype cuts by Quest, but then White Mic's just talking about "your ITunes sales." There's definitely some dope, solid songs on here ("Gimme Back My Slurpee," "That's War," "Hard Times"); but it doesn't feel like a ton of sweat and stress were poured into this. They probably recorded it pretty quick and casually, maybe threw in a few odds and ends from other projects that hadn't found a home yet, and called it an album.
It's an easy recommendation for those of us who are already fans of these guys. But if you're on the fence, I'd say pass it over in favor of some of Luke's stronger projects... like, oh say:
Owe. Reep. Out. by The Yole Boys. I'd seen this album on Megakut's site but always passed over it because I didn't really know who the the Yole Boys were or what this project was about. But I was finally put onto it and damn, if only I'd known! The Yole Boys is essentially just another Luke and the whole damn posse kind of album. It's hard to make out, but I'm pretty sure that's Luke on the left and holy shit! ...The illustrated Gingerbread Man character coming out the back seat.
The cover sets you up for what to expect, but you still won't see it coming. It's a throw back to those old rap tapes you used to have to play at low volume so your parents couldn't hear the filthy stuff we all secretly listened to. Imagine pre-"Me So Horny" 2 Live Crew (of course) blended with pre-Jive Schoolly D, but with even more inappropriate lyrical content. Filthy sex, coke and misogyny. Instrumentally, it's a crazy 80's blend, very much like Rime Force Most Illin' (which came after), but with a more specific aim at a certain seedy atmosphere. There's a great DJ track with the vibe of Arabian Prince's "Professor X," and one song has Luke updating Too $hort's "Freaky Tales" to be darker and trashier. There may be a moment or two, like an entire verse patterned after Cool C's "I Gotta Habit." that might feel a little too homage-y as opposed to original; but over-all this project really works as intended.
And again, the whole gang seems to be here, although nobody is properly credited. Even the song titles are just cryptically titled by their initials: "STC," "FYB" etc. But in addition to Luke, you'll definitely recognize Z-Man (both in character as the Gingerbread Man and out), the Trunk Drank guys, and plenty more. Beats are by Fatees, who also produced for Rime Force, so you can imagine how capably he's recreated the incredible, low-fi pro sounds of the 80s. If your favorite UGK album is still Banned, then this is the tape for you.
And I mean tape literally, because this is a small, cassette-only release, limited to only 100 copies. Unlike Mutual Daps, this isn't brand new; it actually came out in 2011. But because it's been so under publicized and nobody really knew what the fuck it was, there are still cheap copies available (check out Megakut's store here, and see if you can still cop a Rime Force tape while you're at it). This is on some "Top Ten Year End List" level, except it came out in 2011 and I've already forgotten what was great in that year. But this would get a mention for sure.
I say most of the production, because several of the tracks are actually handled by a couple of Luke's other regular cohorts: DJ Eons One, who's in Underbucket/ Grand Invincible with Luke, and Brycon, the other half of Luke's Grand Killa Con group. And just about everybody else from the camp is on here for at least one appearance: Eddie K and Brandon B (who form Trunk Drank), Topr, the aforementioned Z-Man, Agentstrik9 (also of Bored Stiff), that Lightbulb guy from the Grand Killa Con album, and several more I don't recognize. DJ Quest also drops by to add some nice cuts on a couple of tracks. It's not even worth trying to keep track of who's in a group with who, really; and this particular album doesn't feel so much like a focused project by a defined trio so much as just a big ol' family album, where Luke and White's voices happen to feel the most prominent.
This is a good album with some nice production and a bunch of solid MCs flexing their raps. But its nobody's masterpiece. Fans of these guys will definitely be satisfied and happy as I was to get another album. Especially since it's pure hip-hop, unlike some past projects a la Motel Crew, Brougham, One Block Radius, etc where they experimented and crossed into other genres... This is the good, real hip-hop shit we want from these guys. And there are some choice samples and moments to be found here when you really delve in. But nobody's written their best songs here. If you were assembling a 'greatest hits' album of Luke or the whole Gurp/ Megakut/ whatever crew, there's no "wow" songs you'd pick from here. The best instrumental moments tend to line up with the least exciting verses. Like "Hard Sound" has a great track and some hype cuts by Quest, but then White Mic's just talking about "your ITunes sales." There's definitely some dope, solid songs on here ("Gimme Back My Slurpee," "That's War," "Hard Times"); but it doesn't feel like a ton of sweat and stress were poured into this. They probably recorded it pretty quick and casually, maybe threw in a few odds and ends from other projects that hadn't found a home yet, and called it an album.
It's an easy recommendation for those of us who are already fans of these guys. But if you're on the fence, I'd say pass it over in favor of some of Luke's stronger projects... like, oh say:
Owe. Reep. Out. by The Yole Boys. I'd seen this album on Megakut's site but always passed over it because I didn't really know who the the Yole Boys were or what this project was about. But I was finally put onto it and damn, if only I'd known! The Yole Boys is essentially just another Luke and the whole damn posse kind of album. It's hard to make out, but I'm pretty sure that's Luke on the left and holy shit! ...The illustrated Gingerbread Man character coming out the back seat.
The cover sets you up for what to expect, but you still won't see it coming. It's a throw back to those old rap tapes you used to have to play at low volume so your parents couldn't hear the filthy stuff we all secretly listened to. Imagine pre-"Me So Horny" 2 Live Crew (of course) blended with pre-Jive Schoolly D, but with even more inappropriate lyrical content. Filthy sex, coke and misogyny. Instrumentally, it's a crazy 80's blend, very much like Rime Force Most Illin' (which came after), but with a more specific aim at a certain seedy atmosphere. There's a great DJ track with the vibe of Arabian Prince's "Professor X," and one song has Luke updating Too $hort's "Freaky Tales" to be darker and trashier. There may be a moment or two, like an entire verse patterned after Cool C's "I Gotta Habit." that might feel a little too homage-y as opposed to original; but over-all this project really works as intended.
And again, the whole gang seems to be here, although nobody is properly credited. Even the song titles are just cryptically titled by their initials: "STC," "FYB" etc. But in addition to Luke, you'll definitely recognize Z-Man (both in character as the Gingerbread Man and out), the Trunk Drank guys, and plenty more. Beats are by Fatees, who also produced for Rime Force, so you can imagine how capably he's recreated the incredible, low-fi pro sounds of the 80s. If your favorite UGK album is still Banned, then this is the tape for you.
And I mean tape literally, because this is a small, cassette-only release, limited to only 100 copies. Unlike Mutual Daps, this isn't brand new; it actually came out in 2011. But because it's been so under publicized and nobody really knew what the fuck it was, there are still cheap copies available (check out Megakut's store here, and see if you can still cop a Rime Force tape while you're at it). This is on some "Top Ten Year End List" level, except it came out in 2011 and I've already forgotten what was great in that year. But this would get a mention for sure.
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