Cuttin Gets the Paper, Heltah Skeltah Still Gets the Props

This is one of Heltah Skeltah's nicest and most slept on singles. It came out in 2000 on Blahzay Music, a small label owned by PF Cuttin, the former DJ/producer of Blahzay Blahzay (hence the label name). This is BLAH002. BLAH001 was an indie comeback track by Blahzay Blahzay and BLAH003 was another pairing with Sean Price. I'm pretty sure that's the label's full run.

So, yeah, this is Heltah Skeltah's first comeback 12" after their run on Priority... It took them 'till 2008 to come out with their comeback full-length. And by that time, I guess they figured the material'd been out for too long, 'cause these songs didn't wind up being on it. So they're only on this 12", meaning most people missed out on 'em, which is a shame.

The A-side, "The Crab Inn" is just some fun raps about girls over the Kool G Rap's "Truly Yours" instrumental, being stuttered and mixed up a bit by Cuttin, who produced both songs on here. It's light hearted material, kinda amusing... you can't go wrong with classic Juice Crew beats... but the real highlight is the interplay between the two MCs. They're not just each kicking one verse with a hook in between them, but constantly passing the mic back and forth, like a dirty Kid 'N' Play with street cred.

But the real stand out here is the B-side, "Caca Gosa Vixen (Fuck All Y'all Niggas)." The beat is hardcore, but funky as hell. The drums are rugged and there's a cool violin sample, but it's all about the ultra-head nodding bassline. And Ruck and Rock just go back and forth (I think there's like nine or ten verses total) kicking crazy, semi-battle freestyle rhymes, along with their frequent collaborator, an uncredited Illa Noyz.

"Break North! ...When the Ruck rippin' the stage;
My nickel gauge rip your face off like Nicholas Cage.
Fuck the front page, nigga; I need the main article,
On how me and my crew blew niggas' brains into particles.
So don't start if you can't ...finish,
'Cause I will be sure to end it - whatever you created.
I hate it when the MC blow up like a helium balloon,
But soon to be deflated, 'cause my niggas ain't feeling your tunes."

There's no hook, and a lot of adlibbing by the MC's who aren't rapping at the moment. It has that unique blend of playfulness and ruggedness that really brings to mind "Leflaur Leflah Eshkoshka" ...which frankly, is what I think we're all always hoping for but only occasionally find in any BCC-related record.

Both tracks come in Clean, Dirty and Instrumental versions and comes in a nice sticker cover. This is a real gem, and fortunately isn't rare at all. I picked up my copy for 99¢, which just goes to show that cost and value aren't nearly the same thing. Happy days.

He's Little Run

Here's another fun one from the annals of Virginia rap history, again courtesy of The Old School Rap King (see my Fayze review). It's Little Run "I'm Little Run" on So-Def Records from 1990. I've never heard of the label before - don't get it confused with Jermaine Dupri's So-So-Def Records - and judging from the catalog number (001SDR), this is their first and quite possibly only release.

Like his name suggests, Little Run is a kid rapper (and presumably meant to call to mind Run of Run DMC, though there's no direct connection), which is interesting since it pre-dates the pig kiddie rapper phase that came about with acts like Kriss Kross and Da Youngsta's who debuted in 1992. Not that he's the first - for example, T. Omar dropped "I'm Only Nine Years Old" back in 1985 - but he's at least ahead of the curve.

But anyway, more interesting than the fact that he's a kid rapper is the fact that he's a pretty good kid rapper. He's got a pretty hardcore flow, but without getting into ridiculous Quo territory. If Basically, if you appreciate a good LeJuan Love record, you should like this. The lyrics are simple freestyle, over-the-top boasting; but they're fun and engaging enough:

"How can you rhyme and persist to diss,
And then be talkin' a lot of junk and be rhymin' like this?
'Comin' straight out the projects but I'm harder than him;
My name may begin with 'Little,' but I still get trim.
This rhyme'll get mad - furious!
The young Einstein of rhyme, you can call me Yahoo Serious.
No bad influence, girls be thinkin' I'm sweet;
Others think I'm a hoodlum 'cause I come from the street.
A new jack, I got something you lack, Mack.
Get in my face and get smu-smu-SMACKED!
I got back, yes my brothers is black;
Black folks ain't no jokes 'cause we got it like that.
When I went in 7-11, I created a fuss,
'Cause all the cashiers was lookin' at us.
Lookin' at the brother thinkin' I'ma steal a Slurpee,
Or a Big Gulp.
So tell me, what's up?
...'Cause I'm Little Run."

And, you know, I say he's a good kid rapper... but like any kid rapper, it's probably all really comes down to his production and handlers. In this case, he seems to brainchild of M.C. Tony T (not that Tony T... this one's real name is Tony Austin), who produced the track. It's a rugged, bass-heavy beat that uses a good chunk of "Atomic Dog," but also has enough unique, funky elements that it doesn't sound tired and played out like "Atomic Dog" based beats often do. The instrumental's also provided.

Then M.C. Tony T turns the spotlight on himself for the B-side, "Tony's Groove." No instrumental's included this time, but that's ok, because more than half the song is just instrumental. It's cool, kinda funky, kinda cheesy and pretty new jack swingish. He refers to the corniest synth riff as "horns," I literally laughed out loud when I first heard it. There's some Miami-style percussion and some girls singing, "let me see, let me see ya groove," and various vocal samples and ad-libbing by Tony. Finally, about midway through, he does grab the mic and rap for a single verse. He's ok, and has clearly at lest put in the effort to come with something impressive; but again it's kinda corny. "Tony's Groove" is an amusing old school tune if you're open-minded and in the mood for a throwback, but nothing more.

The A-side is worth going out of your way for, though; at least if you see it cheap. Anyway, I enjoyed it. 8)

When Kurious Was All Great

Kurious released just one record since his last single on Columbia in 1994 until his return in 2008 with his awesome demo EP and lackluster comeback CD, II. And that record is the single "All Great" on Stonegroove Recordings, which dropped in 2001.

Predictably, this is middle-of-the-road Kurious material... not as funky as A Constipated Monkey, but better than most of the material on II. It's a single song 12" with two mixes of the one song "All Good," both coming in Clean, Dirty and Inst. versions. The A-side is produced by Celph Titled; and while it lacks the rich, soulful samples of his early work, instead sounding like it was made out of studio-created sounds. But despite that, it's catchy. It's got some very upbeat percussion, a head-nodding bassline and some fresh horn stabs. The hook features some very Premiere-like scratching by DJ Cheapshot (of Styles of Beyond). Lyrically, it's pretty solid, with Kurious doing his usual style of thoughtful freestyles:

"On a lifelong search for what's divine;
It's gettin' kinda hard to find an openin' line.
I met a wise man who said it's all in the mind.
I'm feelin' like I'm God and the devil at the same time."

Solomon comes on at the end to kick a short sing-songy verse:

"Players get played on;
We're gettin' sick and tired of the same song.
You're talkin' all this and that - whatcha sayin', dog?
Look at all them cats that ya paid off.
You niggas ain't sellin' dimes and ya ain't raw,
You don't do crimes and you afraid of law.
Now people tell me what y'all came for?
You want more, you only get what you paid for."

Then the B-side is remixed by Cheapshot. Conceptually, the instrumental is pretty much the same... catchy studio sounds. It's a little harder, but still bouncy. I think, personally, I marginally prefer the A-side, but it's a narrow distinction. Which isn't to say that they sound too similar, though. They sound different enough that it's worth having both mixes. It's just that they come in at a photo finish.

So yeah... this single lacks the deep production sound of his early work, but if you like Kurious, you'll like this. It's not must-have status like his debut or his demo, but it's not like we've got hundreds of Kurious records to choose from either.

Still Another 1-4-U-2-N-V

(Youtube version is here.)

The link I mentioned in the video is: http://www.another14u2nv.ning.com and their e-mail is another14u2nv@gmail.com.

OB4CL2 - FINALLY!!

(Youtube version is here.)

3rd Bass 2000

3rd Bass has to be one of the most request - and promised - reunions in hip-hop history. Fans beg, the artists say they'll do it... but then nothing happens. I remember reading an interview in The Source where Serch was saying that they were finally reunited and that their long-awaited and unfortunately titled third album, Icabod's Cranium, was in the works. He asked us to be patient, however, because they were taking their time, indulging in the fact that a label wasn't pressuring them with deadlines, so they could take their time and do it right. I think now, in 2010, I can finally say that my cynicism was justified - it ain't coming.

A small run of one promo single did sneak out, though, in 2000, on Serch's own label, Serchlite Music. It was called "Hail To the Chief."

"Hail To the Chief" is not the incredible comeback song you might be hoping for. It's not up to par with the material on their previous albums. But it sorta wasn't meant to be - this is more of a mixtape teaser. It's a simple, concept-less track (except loosely that they're running for best the position of "street chiefs") with 3rd Bass kicking freestyle rhymes over a simple track. It's further tarnished with appearances by Stone Rivers (a mediocre MC Serch was managing at the time) and DJ Corey Hill. But fortunately, they're both relegated to just the hook and intro/outro.

So that's the downside.

But the upside is that it was a new 3rd Bass in a world where it seemed certain there would be no new 3rd Bass songs, the track isn't bad or anything, and the rhymes are solid. Damn it's good to hear new material from Pete Nice, and Serch is always nice with his. Daddy Rich doesn't seem to've been involved, though in interviews, they always said he'd be a part of Icabod's. Certainly his involvement could've helped this song enormously, but like I said... it's still good.

Serch comes with some humor: "yes, I inhaled and real deep. yes naked when I sleep - trust me, you don't wanna peep;" and manages once again to say something uncomfortably racist, "all my life, only rode between a pair of black thighs. Word to my sister and my mother, the only white lips I kissed. You should know before you vote I fuckin' hate white chicks. Not racist I just say this so your vote is not jaded." Well, gee, I guess if you say "not racist" afterward, nothing you say is racist? lol Meanwhile, as ever, Nice comes with the stylish, more abstract wordplay, "'ey yo, illuminatin' on your frequency: the high level and degree of the epitome. Master of the subterranean in your cranium; auditory outlets feelin' like a stadium. If ya got the fluid on the brain, I got a method to relieve it; unscrupulous minds aiming to deceive it. I’m mischievous, devious, hittin' never missin'; got a pocket full of nitroglycerin."

It comes in a sticker cover (above), and features five mixes: Album Version (what album? sigh...), Radio (which is about a full minute shorter), Instrumental, TV Track and Acapella. So it's just that one mix of that one song, but at least it comes fully loaded.

So that's about it. Eventually, in 2008 or so, MC Serch released an mp3 only album (he promised vinyl, but it never happened) of tracks he recorded for a second solo album that never got finished. As two bonus tracks, he included the only three songs (besides "Hail To the Chief") 3rd Bass got recorded for Icabod's Cranium, "Cats In the Cradle," "Commute" (a Serch solo track) and "Out the Back," two of which (the latter two) were released in part back in 2000 on a Serchlite snippet tape[pictured right]. Again, "Hail To the Chief"'s not the best, but it's respectable; and there's no use in holding out for anything more from them.

Remixes Against Phony Entertainers

This is an interesting, alternative UK version of a common US 12" with an extra remix. Now, UK versions of 12"s with extra remixes aren't all that uncommon in hip-hop... but usually they're dreadful CJ Mackintosh or Norman Cook things that are best ostracized. But how about an extra SD50s' remix on a 3rd Bass 12"? Yeah, I was pleasantly surprised, too.

The 12" in question is 1991's "Pop Goes the Weasel," the debut single of 3rd Bass's second (and sadly final) album, Derelicts of Dialect. It's their anti-old to pop music... you surely remember the music video where they beat down a Vanilla Ice look-a-like and giant weasels terrorize the city? "Hip-hop got turned into hit pop the second a record was number one on the pop charts."

Now the US version came in a cheerfully colorful picture cover and featured Radio, LP and Instrumental versions of "Pop" plus four versions, including an SD50 Remix, of "Derelicts of Dialect." Well, this version comes in a sticker cover and features just two versions of each song: LP and SD50 Remix versions - which means an all new SD50 Remix of "Pop Goes the Weasel." Oh, and just to keep you on your toes, this 12" plays at 45 rpm and is mislabeled, listing the songs in the wrong order.

So yeah, the "Derelicts" remix isn't exclusive here, but if you haven't heard it, it's dope. It's smoother and mellower than Prince Paul's original, but features a bunch of extra samples and different instruments - organs, piano, flutes, scratches of crazy vocal samples... all drift in and out over a similar, but much more low-key, softer drummed track. It's more Midnight Marauders.

Well, so like how the "Derelict" remix keeps a lot of elements of the original, the "Pop" remix (called the "Weasel Remix," but the label credits tell us it's by the Stimulated Dummies, who also produced the original) keeps even more. It starts out with an old storybook vocal sample saying, "let's sing 'Pop Goes the Weasel'," and then it sounds kinda like the LP version at first - it's the same drum and bass lines, even the same sleigh bells. But the key distinction is that the signature Peter Gabriel sample is removed. You might say, "but that sample was hot!" Yeah, but it's been replaced with a new, tight horn sample. There's a few other little bits, like a little funk guitar, sprinkled into the mix sporadically to spice things up, too. But the main difference is the replacement of the signature horn sound with another.

I wonder if this is maybe an alternate version they created just in case they couldn't clear the Gabriel sample, and that's why they just threw it away on this little 12"? At any rate, I'm not sure which one is better... they're both worthwhile, and the remix has the added benefit (or weakness, depending on your PoV) of losing that instant pop tune recognizability. So I'll leave you to make your own judgments, but whichever version you consider to be definitive, it's worth picking this up to have both on call.

Missy Elliot's Non-Demo

(Youtube version is here.)

A Missing Piece from Several Puzzles

The internet is awesome for finding things. Things like great music that's been lost for a decade and a half. And that's what I've just found on the internet. Five pieces (plus five more snippets) of great, unreleased music that tragically sank on the same ship: Perspective Records.

Janet Jackson left Perspective Records, and the label was done. Despite having signed a killer line-up of hip-hop acts who all recorded complete, excellent albums, which to this day remain unreleased. And this promo tape, the '96 College Rap Sampler, features nothing but unreleased gems from that line-up, one complete song and one snippet per artist.

The first artist is probably the least interesting, only because his shelved album was at least released in a mediocre-quality dub that's spread well through the tape-trading and internet circles over the years. So let's start there. Young Zee. Most of you have heard it already, so I'll just briefly state that the full unreleased song on here is "Tonsil Check," featuring Yah Lovah... and I have to say, hearing it in proper quality has increased my appreciation of this slick sex rap. The snippet is one of my favorites from the album, "Electric Chair."

Next up are The Black Spooks. These guys made a name for themselves as Digital Underground affiliates (a good legacy there!), and a couple of them went solo after their album was swallowed up by Perspective. I have an underground 12" or two by these guys, but I have to say, the tracks here feature some solid production but also really display some ill lyricism I hadn't properly credited these guys for in the past. The song is "Mad Black Spooks" and the snippet is "Make Up Your Mind," neither of which seem to've been included on any of their subsequent post-Perspective releases. Until I heard these, I can't say I was too disappointed their album never dropped, but now I am.

Now we get to the really exciting stuff. How about some lost material from Pudgee's King of New York album? If you read my 'The Lost King of New York' post on the subject, you know I had found an old catalog title of a song called "Say Goodbye." When I asked Pudgee about it, he said he never released it. Well, I just found out it was a song intended for the Perspective album, 'cause here's a snippet of it on the sampler. The full length song is also mentioned briefly in that past blog entry, where I list some song titles mentioned in a King Of New York album review in The Source. The tape has no production credits unfortunately, but from a line in the intro, I gather this one was produced by The Beatminerz. It has a very similar feel to his single, "On the Regular."

Next is the highly under-rated artist The Almighty Arrogant. It doesn't help that his absolute weakest joint, "Lay Tight," was the only song Perspective ever put out by him. The tracks here are much better... he's like a west coast Young Zee, with a bugged out song called "Toxic Urb," which is about just that. The snippet is called "Arrogant Wayz (Remix)" and is pretty hot, too. Man, I just want to shake the Perspective tree and have all his material fall out already!

Finally comes Rufus Blaq. Now, if you're clever, you might point out that unlike the other four artists you've covered, Perspective did put Blaq's album out. And that's true, but for whatever reason, these two songs aren't on it. The full song is called "NRG" and the snippet is "Make It Last," and both show Blaq as a more rugged yet punch-liney MC than I remember him being. I like these tracks... I may have to go pick up his album which I never copped. If it's as good as these songs, I'll be happy.

It's great to have these songs, but it just makes me wish even harder that someone would give these albums their proper releases already. That way everybody can hear these tracks, and all the other ones still unheard; and the artists can finally get their due. So, I gotta thank the internet for a nice treat, but that's what really needs to happen. Sigh. ...If only hip-hop fans still bought music.

Missin JMJ

Everyone knows that Rev Run kept up a healthy solo output post-Run DMC, but DMC's 2006 solo CD, Checks, Thugs and Rock N Roll, seems to've rolled in well below most fans' radar. And that's just as well, considering what a mess of generic rock, country and R&Bish production mish-mosh this is. Lots of boring studio instrumentation and ill-advised guest spots by artists like Kid Rock, Sarah Mclachlan, Aerosmith (but not the lead singer), The Cars, Buck Cherry and other pop and rock bands I know nothing about. There was a single ("Freaky Chick") and everything, all of which can be yours for the price of a penny on Amazon.

So maybe you never heard of any of that, or maybe you did and just pushed it out of your mind like me, but you might be a little more encouraged to hear that the Japanese disc featured a new, decidedly better song, as a bonus track. And better still, that bonus track received a small run on vinyl as a promo-only 12".

Now, don't get me wrong. When I say "decidedly better," you still have to be feeling pretty sappy and forgiving if you're gonna give this a spin. But if you are, then you'll find a pretty respectable - even touching - dedication to Jam Master Jay called "Missin My Friend." DMC, who's at the verge of losing his voice around this time, doesn't sound like we knew him back in the day, but his sounding softer and muted works much better on this dedication track than it does on the rest of his album. The production (uncredited) is on the light, R&Bish side, but not bad for what it is, and it features a well sung hook, which is also uncredited. According to an interview in The Source, this is the first song DMC wrote without writing any lyrics down, which is interesting, since his lyrics are much better here than on the rest of his album, where they often sound simplistic and kinda dopey. Here he's sincere, authentic and really kind of touching:

"I seen you on the bus playin' video games;
You beat all of us, I ain't sayin' no names.
You was a real cool cat; you never caused trouble;
You would relax your mind doin' a crossword puzzle.
You and Run would argue: who's better in ball?
And I would sit back and just laugh at y'all.
I miss ya, Jay, I ain't gonna front,
I'd give anything to see you smoke one more blunt.
So when asked who's best, we all will say:
Jason Mizell, Jam Master Jay.
When asked who's best, we all will say:
Jason Mizell, Jam Master Jay!"

The label to this 12" gives us practically no info (just a defunct url), but playing through the record tells us the track-listing is as follows: A1) Clean Version A2) Instrumental B1) Dirty Version B2) Acapella. There's not much distinction between the clean and dirty versions since, as you'd imagine, there's not much cursing on here, but there is a single usage of the word "nigga" silenced out.

So, while steering as far clear of the album as possible, you still might want to add this 12" to your crates. Even if you're realistically not gonna break it out and spin it too often, it's just nice to have it in there as a tribute to the great Jam Master Jay.

Kick In the B.A.S.S.

(Youtube version is here.)