Werner von Wallenrod's Wack Attack #1!

(Youtube version is here. Witness the wackness in 1080p!)

Don't Sleep On the REAL I.C.P.

This is an album that flew so under the radar, it probably managed to hide itself from 90% of its core audience, thus becoming a failure. Which is a shame, because it's good stuff. See, it looks like just another generic bass compilation of marginal bass hits we've all heard a million times before, probably all owned by the same label. Masters Of the Bass, on Joey Boy Records. What a bland title, and look at that generic cover - another boring compilation you wouldn't even bother to focus your eyes on when you saw it your local Sam Goody's.

But it's actually an original album of all new music by the ICP crew. No, not the Insane Clown Posse. I'm talking about Ice Cold Productions, Fresh Kid Ice's team, probably best known for encompassing Balli and the Fat Daddy. The year between their Master Plan album, and Ice's solo debut, The Chinaman (an album I gave a surprising recommendation for as a guest post on Hip Hop Isn't Dead), they released this crew album, like The Juice Crew's In Control Volume 1 or First Priority Music Family's Basement Flavors. I mean, okay, it's not as incredible as those two albums, but it's good stuff.

In my Chinaman write-up, I talk about their compelling display of their proficiency in all types of production styles: classic old school (even disco era) throwback, traditional bass styles, metal influences, and even some pop themes. This album doesn't really go for any of that, it's a lot more street. It has some bass elements to it, especially in a couple songs; but most of it's just gritty and hardcore stuff. This isn't the lost prequel to The Chinaman; it's just a showcase for all their artists, most of whom got too little chance to shine elsewhere.

There are three songs generally billed as being by I.C.P.; then the rest are specifically credited to the individual artists who perform them. You might expect that means these are some sweet posse cuts, but no. These are Fresh Kid Ice's solo songs. I assume they're only labeled this way because Ice was still signed exclusively to Luke Records at the time. Anyway, not surprisingly, these are pretty much the worst songs on the album. The ICP were able to elevate Ice to levels on The Chinaman that he doesn't reach here.

Don't get me wrong - they're not bad. Despite its title, "Dick In Ya Mouth" features a surprisingly tough, gangster beat. Seriously, it would make a hot NWA track. Unfortunately, once Ice starts rhyming, it sounds... like you'd expect a single member of The 2 Live Crew to sound on his own. Tired, cliched sex raps, even recycling some of his lines from past songs that weren't appealing the first time ("nibble on this dick like a rat does cheese"). Damn it, I want to hear Fat Daddy on this cut! Oh well...

"Hey Ho" is a more traditional Miami bass song with lots of "Planet Rock," and a shout and call chorus. More cuts would've helped, but it's still a solid Miami staple. "Ice Cold," then, has Ice trying his hand at harder, freestyle rhymes more in line with the rest of the album. He's still the weakest MC here, but he manages to just squeak by. The instrumental is awesome enough. And there actually is another MC on the mic with Ice on these cuts, but Ice gets the majority of the mic time. More importantly, they sound pretty similar and lyrically they're interchangeable.

Actually (disappointingly), Fat Daddy doesn't rhyme at all on this album. He was definitely down with ICP at the time - he's even listed as being on their roster in the liner notes - but for some reason he doesn't check in. No, the real star of this album is Shake G. He's tied with Ice for having the most songs on this album (three), and they're pretty much the three best. We heard Shake G on The Chinaman, too; but not like this. He's on some Willie D meets JT Money roughneck gangsta shit on here. And the production matches - like "Dick In Ya Mouth," "Grand Larceny" and "Niggas From da Crib" are some seriously hard shit with banging beats and wailing sirens, except this time the vocal tracks live up to the instrumentals. Think "Do It Like a G.O." Good shit! And "Fuck You" is some lighter, bugged out shit, that still actually sounds the most Willie D-ish. Damn, why didn't Shake G ever get an album?

Who else is on here? There's a crew called Underground Regulators, featuring an opening verse by an MC from one of Dem Boyz (or "Dem Boiz," as they spelled it on their Critique single), which is pretty funky yet tough. A group called Da Big Boyz has a song called "Smokin Head." It's got heavy bass and the deep voiced MC from "Christmas Freestyle" on Luke's Christmas album - it's a bit ridiculous, but still dope. An MC named Top Rank closes the show, coming with a hardcore delivery and early 90's backpacker rhymes (expect to hear a lot of words like "electromagnetic" and "ninety-degree angles") on "Immortal." He brings a different style, welcome to the album, but the lyrics haven't aged so well. I remember him being impressive in '91, but listening to him now, he's pretty corny. It's still enjoyable, though. Again, the production raises it to a higher level than it perhaps otherwise deserves.

Oh, and there's one more song on here. I lamented the lack of Fat Daddy on this album, but his partner Balli has a solo joint. It's a dance track called "The Overtown Hop." This came out the same year as Eerk and Jerk's single, "The Overtown Hop," and it's not the same instrumental, but they're definitely in the same lane. I bet there's a story there. Anyway, the two are definitely similar enough that if you liked E&J's "Overtown Hop," you'll like this one; but they're different enough that you don't feel like you're just listening to a minor variation of the same song. Balli sounds nice on the mic (and a little Larry Larr-like), and there are some nice cuts.

Seriously, do yourself a favor and track down a copy of this sleeper. You'll be surprised.

Finsta Bundy's Unreleased LP EP

Midsummer, I blogged about how Finsta had not only reissued his rare, debut single, but he'd also included an unreleased track from that same period as a bonus track. That was pretty awesome, but it still left his vaults with some gems left to be excavated. Thankfully, Chopped Herring - the label that blew my mind with their Phase N Rhythm 12" released at the same time - has taken care of that.

Tracks we knew existed, because they'd been released in part on Finsta's Neva Say Never mixtape from the 90's are here, along with tracks we'd never even heard of before.  Now, these are Finsta Bundy tracks, meaning they were recorded after that first 12" (1996-1999) and Finsta'd hooked up with his partner, so these are all two MC songs, just like their most enduring classics. Most of these tracks were meant to part of a full-length Finsta Bundy album that, sadly, never happened - hence the title, The Unreleased Album EP.

So, if you remember Neva Say Never, you'll recognize "Who Wanna Rock" and "Love and Hate;" and it's great to finally have these bangers, complete and unblended (into other songs) on vinyl. But whether you've heard these songs or not, the pattern is consistent, gritty, minimalistic soul sampled tracks produced by exactly who you'd expect: Rich Blak, Baby Paul, Mr. Walt and Finsta himself, plus a track each by lesser known producers Chocolate Ty and Fatal Son, whose work blends in seamlessly. If they're not just as good as The Beatminerz' crew stuff, they at least come close.

I have to say, though, there were no real head popping surprises - the best songs I found were the ones I went in already being familiar with. The other tracks are still quality Finsta Bundy material, with both of them coming consistently nice on the mic at all times; but you can see why these weren't chosen as singles like the songs we've all come to know. It's probably also no coincidence that these are the more modern songs ('98-'99, as opposed to '96-'97). No doubt Finsta fans will be quite pleased with this EP (and, come on, who isn't a Finsta fan?), but don't expect Greatest Hits material.

Sound quality-wise, it's terrific.  Six of the songs come from their original D&D Studio masters and sound perfect.  The other two (marked as such on the label) are old 4-track mixes, so they do sound a bit rougher and more "tapey," but that's how they were originally recorded. ...It's just an unfortunate coincidence that those two 4-Track Mixes happen to be "Who Wanna Rock" and "Love Or Hate." But, still, it's the best they're ever going to sound.

Just like it's sister release, this one comes in a smart sticker cover and limited to 350 copies. 200 on black, 75 on clear (clear) wax and 75 red. Chopped Herring is doing amazing things these days, and I'm constantly at the edge of my seat for what they're going to release next.

The Simple Mystery That Is Flo Rida

This post is essentially a response to this video. Hopefully it can also be a larger, more open discussion on the artist known as Flo Rida, and even some hip-hop principles in general.  But you probably won't fully appreciate it if you don't go and watch that video first.  And I have to begin by saying that the chorus to "I Cry" doesn't match the rest of the song because it's just another line from another big 80's song (like "you spin me right 'round" etc) - specifically "Piano In the Dark" by Nina. Flo's just sticking with his pattern of taking the most memorable pieces of older dance hits and turning them into contemporary club jams.
 

"Let It Roll"'s hook comes from "Let the Good Times Roll." "Turn Around" is using "Din Da Da" by George Kranz, which is a song I only know because so many hip-hop artists before have sampled it over the years. "Good Feeling" samples an old Etta James line for its hook - and not just any Etta James song, but predictably, her biggest hit. "Run" uses Bryan Adams' "Run To You." I'm not gonna break down every single Flo Rida song ever - because that would require listening to every single Flo Rida song ever, which is simply asking too much - but you can tell that this is a recurring theme.

 
Now, I'm not trying to play "music trivia one-up-manship" here.  You guys know I'm terrible at naming samples, for one thing, because hip-hop is pretty much the only genre I know.  So I can't exactly throw stones. Heck, I don't mind admitting that I had to google who did "Piano In the Dark" just now.  But it's kind of essential to know the origins if we're going to discuss "I Cry," because it's the missing piece of the puzzle presented in the video.  We're not just talking about some sampled riff buried deep in a layered track; this is a song built as a direct play on another song, essentially an uncredited remix. You can't just breeze over it. I mean, the question that's asked is why this song is a hit despite Flo Rida's lack of fanbase, lyrical credibility, crew association, etc. And the simple answer is that people just like hearing that "Piano In the Dark" line freaked in a club.

 
And don't get me wrong, I'm not even mad at that practice. One of the core elements of hip-hop is how it re-purposes music from other genres, taking the elements that a hip-hop fan would enjoy and removing all the crap we, frankly, don't want to listen to. Is there an awesome break in an otherwise cheesy dance song? Hey, that's how the whole genre started!  Did you find an awesome riff in an otherwise rambling, unappealing funk song, or an apropos vocal snippet in a feature film?  Sample 'em!  Who among us didn't love "Jackin' for Beats?"

 
One of the cool things about hip-hop is that I know if I hear a cool sound in an otherwise wack song, all I have to do is wait, and that sound will come around again in a new, hopefully better, song. People like when hip-hoppers sample "Din Da Da" because everybody enjoys that line of the song, but nobody misses the stuff where he shouts incoherent nonsense for three minutes. Take that piece, and streamline it, and give it some verses which have some flow. Mr. Rida may not be an amazing lyricist, be he's adept at different styles and matching them to the instrumental... and thankfully he doesn't have that affected nasal drawl that seems to be in vogue these days. I'll take him over a lot of current successes.

 
All he's doing is following a long tradition. I love 'em, but I doubt many people knew who The Future MCs were. They just got amped when they heard rap lyrics to Prince's "Erotic City" in the club.  When the Fugee men all started releasing rap versions of "Stayin' Alive," "Electric Avenue" and "99 LuftBallons," I certainly wouldn't have given them props as bold artistic visionaries; or even considered myself a fan of theirs; but I was happy to have rap versions of all these songs.  So I bought the singles, just not their crappy albums surrounding it.  Flo Rida is making his entire catalog with these songs, and forgoing most of that filler, which I definitely appreciate.

 
The only thing that really separates Flo Rida from, say, the King MCs of back in the day, is that Flo Rida actually works with/ for the labels that own these songs.  Back in the days, the labels might've released them as dance remix singles of the original songs (what percentage of the songs he revamps do you think are under the umbrella of the label he's signed to?). Now they're packaged as Flo Rida original works. And why not? He does write (I assume) all his own verses, etc. I mean, it would be nicer if those verses were more deft, substantive or interesting... I'm always on the market for another Rakim. But he really doesn't need to be. Not for millions of music fans, clearly, or for sales or airplay. What he's doing is working for him. Not every successful MC has to be a brilliant urban poet. In fact, there's not even that much overlap. And the secret to his success? Not so mysterious.

Holy Grail Obviated!

For ages, one of my absolutely most wanted records was - like pretty much every other hip-hop enthusiast - Phase N Rhythm's "Hyperactive" 12". Growing up, I loved their big Tommy Boy single "Swollen Pockets;" it was one of those videos I was always dying Rap City/ Yo!/ Video Music Box to play again. And it blew my mind that their subsequent album never came out, and they were essentially a one-hit wonder.  So when I got older and found out that had a rare, earlier 12" from '88 on their own one-off indie label called Funky Tune Records, I was amped.  When I finally heard it online, and it was even better than "Swollen Pockets" my mind was blown.  But it was super rare, a very small run, most copies of which seem to have been lost or destroyed - after all, nobody had heard of them when they were trying to shop it at the time. And the fact that it wasn't just great but a Paul C.-associated production, meant that this was one of the most expensive, hard to obtain "holy grail" rap records of all time.  It might be the definitive one, in fact, that set the standard for what a hip-hop holy grail is. It was certainly at the top of my list.

But now I don't need it anymore.  I mean, I'd still like it as a collector's item. If anybody is reading this and no longer wants their copy, I'll happily take it off your hands.  Heh.  But the thing is, Chopped Herring Records has just rendered it obselete.

See, they didn't just reissue it - although they've done that.  Both songs from that 12" have been pressed up on a nice, new 12" that's can be ordered new for a nice 2-digit price, as opposed to the frightening four-digit cost of the original.  But they've gone and rendered it essentially obselete*. Not only did they go back to the original masters it to make it sound rich and clean; but because they did that (as opposed to just taking a rip of the old 12"), they were able to fix a major problem with the original pressing,

See, the original pressing played the song too fast - several BPMs higher than the way the song was supposed to sound.  Now, it's not bad - and it's not entirely inappropriate to have a song called "Hyperactive" play a little zippy - it certainly didn't hamper my love of the songs all these years.  But this new release, finally issuing the songs as they were supposed to be heard after so many years, does definitely sound better. It kinda took me one spin to get used to it, but I definitely prefer this version now.  I mean, it's not hugely different, but Phase's voice sounds noticeably more cool and natural.

You're never going to bother listening to the old version again.

But that's still not all!  They've also included a previously unreleased, never before heard Phase N Rhythm track record at the same time as "Hyperactive" and "Brainfood." And they've got the Dub version for it, too.  It's called "The Force Of the Matrix" and it's as funky and kick ass as you'd expect a lost Phase N Rhythm song to sound.  Crazy fresh beats, scratches, horn samples (of course!), and Phase has that same staccato yet smooth style he flexes on their other songs.  I'm talking serious rapgasm here!

As we've come to expect from Chopped Herring by now, it's a top notch presentation, with a fresh ticker cover and limited to 350 copies.  75 copies are pressed on a "Pearl mixed color" (whatever that looks like lol), 75 are pressed on a red/yellow mix, and the rest are your classic black.   If you're not a member of their new subscription plan, it's become even harder than before to secure a color copy, but at the end of the day, it's all about just having this magnificent record on wax. If anybody out there isn't deliriously happy with traditional, a black copy... remember, I'm here to take any of this stuff off your hands.  hehe

Postscript #1: If you're anything like me; you're wondering "what about their Tommy Boy stuff? I bet there's most, if not all, of a complete album they recorded for Tommy Boy, that never got released, too!  Well, CH as looked into it, and yes, that's true but... get ready to be saddened... all of those reels were destroyed in a flood, so the world will never get to here it. The DATs with "Force Of the Matrix" and the restored songs presented here are the sum total of the unreleased Phase N Rhythm music we'll ever get.

Postscript #2: Chopped Herring is running one of the coolest contests ever.   The titular "Matrix" of the song is actually a big medallion Phase used to rock when they performed back in the day.  Well, Chopped Herring actually has it and is giving it away to one randomly selected lucky soul who orders this 12" - the original, not a reproduction. I'm in the running, and so is anybody else who... wait a minute.  I take it all back!  Don't buy this record!  It sucks, just forget all about it.  Stay away; leave it for me!


*I say "essentially" because, strictly speaking, it is missing the Dub and Acapella mixes of "Brainfood" (those mixes are here for "Hyperactive" however), so if those are important to you, that is a legit reason to hang on to your original record.

The Amazing(ly Disappointing) Hip-Hop Jukebox!

(The equally disappointing Youtube version is here.)

The End Of the Dogs: Learn Along With Werner, part 5

I've explained the history of The Dogs on this blog before; but it's really pertinent for this post, so let me give a quick refresher. In the beginning, The Dogs were just Disco Rick's dancers.  He released a trio of albums on JR Records, one as Disco Rick and The Dogs, one as The Dogs featuring Disco Rick and one as simply The Dogs. All three, however, were essentially solo albums, where he did all the beats and rhymes. But then, when he left the label over financial issues, the label decided to make his dancers rappers and continue the group without him. While Disco Rick moved on to make Back From Hell for Luke Records, The dancers, Ant D and Peanut, released the album K-9 Bass. Ant D then recorded a solo album in 1993, featuring the Miami bass child act, The Puppies, and then their career ended pretty definitively when Ant D was sentenced to death row for a brutal double homicide.

At least, as someone with a pretty strong interest in the crew (reading this blog, you may've noticed heh), I thought that was the end. But recently I stumbled upon an online listing for a Dogs title I'd never heard of before. It's not on discogs or anything, and it was new to me, but it was sitting right there on Amazon: "Do da Dogs." Just one third party seller copy. Now, The Dogs is a pretty generic name for a crew, so my first instinct was that this was just another group, probably a midwest punk band or something, that had the same name. Except, while the listing was bereft of comments or info, it did specify a label: JR Records.

Well, obviously, I had to order that shit, and now I've got it. I thought it might be a cheap, cash-in "greatest hits" kinda tape; but no, it's new material. From 1994, making it the last recording The Dogs ever released. It's a single, presumably from a scrapped follow-up to K-9 Bass. Oh, and Amazon got it wrong. It's not "Do da Dogs," it's "Doo da Dog."

Like most everything on JR Records (especially after Disco Rick left), it's produced by the duo of Calvin Mills II and Carlton Mills. And... I'm actually not sure any of The Dogs are actually featured on here?  The liner notes credit two writers: Terrence Edwards Sr and Calvin Mills II. Now, it wouldn't exactly be shocking that Ant and Peanut didn't write their own song... or get writers credit even if they did; but they were repeatedly and plainly credited on their past outings with JR Records  as having written all their previous stuff. And not only do Labrant Dennis and Keith Bell (the Dogs' real names) not appear here, but there's a "featuring" credit, which names Terrance Edwards Sr (who I will assume is the same guy who got the writing credit, despite the alternate spelling of his name) and Kevin Williams. Are they perhaps the real performers on this song? It's tough to call, since they never had the most distinctive voices... at least one of them definitely sounds different. I think. There are two rappers here, that much is certain. And one guy refers to himself as KD (or "KayDee," whatever), and despite the suggestive cover and title, they don't actually curse at all on this song, which isn't the real Dogs' m.o. So, despite the fact that they gleefully, repeatedly refer to themselves as The Dogs... I'm pretty sure it's not actually them.

But it's not actually a bad song. The Mills brothers are reliable producers, and this is a catchy dance song, that doesn't devolve into verseless shout & calls, or all that other junk that plagued Miami bass hip-hop. If you liked K-9 Bass, you'll like this, imposters or no. It's a simple song about a dance (see the cover; that's the whole idea), but while the lyrics aren't saying anything of note, the MCs flow well over the track and manage not to say anything awkward or embarrassing, which is more than a LOT of rappers can say. And, production-wise, this would be even one of the stronger, moving songs on that album.

You've got four versions on here: Radio, Club, The Mutt Mix and The Bone Mix. The Radio version is naturally just a shorter version of the Club version. The Mutt version is a slightly funkier mix, which uses mostly the same track and vocals, but adds a few samples and makes minor improvements. And the Bone Mix is just an instrumental. So the Mutt Mix is the one; but really, the song works well enough that I find myself just listening to the whole tape through every time. A song's gotta be working pretty well for that to be the case. I just wonder who made it.

Kurtis Blow Meets 2XL

(Youtube version is here.)

Diggin' for Beat Diggers - Jesper Jensen Interview

Beat Diggin', the original beat digging documentary from the 90's, is available now, for the first time on DVD. I've just posted a detailed write-up on the disc, and even more exciting now, I've interviewed the director (and writer, and everything else) Jesper Jensen to get the whole story.

So, how did this film get started?  Did you know right off you were making a film on beat digging, or more just videoing an interview, or what was the genesis?

Yes, i wanted to make a documentary about digging and beat making right off. I had worked with local TV here in Copenhagen, Denmark, interviewing US rap acts touring in Europe, and made a couple of short documentaries and stuff. I was a hip-hop fan and record buyer, and got the idea to make a documentary about how the renowned producers like Show, Diamond, Beatnuts, Q-Tip etc. actually did their craft.

My brother Ras Beats worked at a record store in NYC called Second Coming; and he was telling me these stories about name producers like Havoc, Premiere, Evil Dee and Godfather Don shopping there, hanging out and telling stories. So I started imagining how to attack it from there.

Did you come to NY for the movie, then, or were you staying here anyway?

Yes, I flew over for two or three weeks to film it., and stayed with my brother there. I did everything myself: planning, filming, interviewing, editing, promotion etc. I had some help with contacts, ideas and inspiration from Ras, but that was it. One man indie guerilla filmmaking!

Nice!  What would you've been shooting on at that time? Digital, DV tapes?

Semi-pro DV cam and tape as far as I remember. I remember Evil Dee said "that's not a real film camera!" I answered "no, its a VIDEO camera!"

Ha ha So, you and Ras basically just reached out to the artists you wound up interviewing when they came into the store?

I contacted some from home via their labels and publicists. Others Ras prepped via the record store. Some were really forthcoming and accessible, others were almost impossible to just get in contact with. Some didn't show up.

Yeah, one of the great things about the film is that some of the guys, especially The Beatminerz, seem pretty open about what they're doing, records they're using... You used to think of old school DJs soaking their records to get rid of the labels and producers keeping their all their samples top secret.  Did you have a hard time getting everyone to go "on the record" or were they all pretty open?

Everybody who appears in the film was very open and happy to talk. Even back then in 1997, Evil Dee said: people used to be secretive but now they all had all the same records anyway, so it was about how you used the samples and stuff. Which was cool for me as a filmmaker 'cause then they would show certain sampled records on camera and stuff. But more than just records, they would also talk about their broader approach to beat finding and producing tracks.

One thing I notice is the Beatminerz mention their work on the Shadez of Brooklyn album... which never wound up coming out. Did you get to hear any hot, unreleased material?

Hmmm... No, just the joint "How It's Done" they recorded that night, which came out as a 12" on Pandemonium around 1998. Wouldn't mind a full album of songs like "When It Rains It Pours," though!

When I first heard of the film, it was pretty exciting, because no one was really approaching hip-hop producers from that kind of angle before... Like really asking them what are they buying, etc.

That's the reaction I was hoping for when I made it. As rap fans and rap record collectors we all have some knowledge of breaks, samples, old funk etc. But I wanted to explore how these renowned producers actually crafted their individual sound. Like how individual producers can make the same sample sound different. Or how they seek out different unknown styles and develop their sound that way.

Yeah, it felt like it went beyond other takes on hip-hop producer, which were more like "for beginners" type interviews. This was in the in-depth look for heads who already knew something.

Thanks..I remember reading an interview with The Beatminerz in Rap Pages' DJ issue sometime in 1996 and a couple other interviews which were inspiring, too.

Ah yeah, I've still got that issue! How hard was it, then, getting the film out there once you'd filmed it? What avenues did you pursue?

It was definitely a labor of love. It felt like an adventure to travel to the home of Hip Hop to film some of your heroes and having creative control over it. Even though it sounds like a cliché, I didn't think that it would reach that many people, so I didn't plan a massive promotion strategy.

First I got the film shown in a few art cinemas and on a few local TV stations. Then over the years, I got interest from film and music festivals both in the US and Europe - more art cinemas and public TV stations. And there's been a lot of requests for a DVD from people. It's definitely gratifying that something you did as a labor of love and out of personal interest over a decade ago still mean something to people.

Yeah, for a real long time, I'd only seen short clips of the film... like 90 seconds of Godfather Don in a record store, never the whole thing. ...I also remember, after clips of Beat Diggin' had come out, another film (Deep In the Crates, then pt 2) came out, definitely in the same lane as yours... I think a lot of heads were probably even confused that they were two different films.  Did you ever talk to those guys directly, or when did you first find out about those movies?

I heard about Deep Crates though the grapevine, and talked to Beat Dawg who made it via email once or twice when he was working on it. I still see cats confusing Beat Diggin' with other beat making-themed films online now! Kinda funny, but it also tells you that your're kinda never finished promoting your stuff, especially if you work independently. There's  always potential audiences who haven't seen your promotion clips etc.

So, now this disc has two versions on it... the original, and the expanded.  I feel like all the content in the expanded version is strong... did you just cut it initially for length? I know it can be tough to place a short film, the longer it gets.

I was happy with the original version but when the feedback and requests for a DVD started coming, I felt it could use some more "weight" or "length." The original was only 22 minutes! But I also rewatched some unused footage of Buckwild and other things that somehow didn't make the first cut. So then I made the 2003 re-edit, which has a better flow and better quality, plus Buckwild and Baby Paul.

Well, the DVD's definitely got more weight now, because it's also got two of your other films on there, and there's some good stuff. Master Ace kicks a killer freestyle in Beats, and Rise's appearance made me want to go through my crates and see what I had by him!

Yes, Ace is a giant. See, as a longtime rap fan I felt confident that if I approached the films as a rap fan they should resonate with other rap fans. So that's great.

To me, it's interesting to see Who's Next? 10 years on and see who's still active and who's not. But also just the hunger of up-n-comers and their attitude towards keeping with the tradition and values of this Hip Hop thing.

I like that you followed up with Queen Heroine (someone who we barely got to see much of in the media, too, by the way) after the Juggaknots performance of their "Dreams of an R&B Bitch" update.

Ha ha, yes that was a funny cut. Breeze kills it with the cocky sex rhymes for 2 minutes and then we cut to his sister for a comment. Haha...

Yeah, you could tell her opinion was divided on that one.

Juggaknots are dope! They released a CD of some of the songs they performed, "M.O.N.E.Y.," "Dreams of an R&B Bitch" and more. All their stuff is great in my opinion. The Use Your Confusion album from 2006 has some joints!

So how did you wind up linking up with Crate Escape for this DVD? Were you looking for someone to put this out now, or did they come to you...?

I came to them. I liked the Kurious and Soundsci releases Crate Escape had put out, and it seemed like a suitable partner for a limited hip-hop documentary DVD! It was sorta in the same category as those records.

Yeah, it's great that this is finally out. I think it was an important film in that it kind of redirected a lot of the dialogue that was happening about hip-hop production at the time... even though a lot of us were just seeing clips from it.

What do you mean by "redirected?"

Just getting deeper into it, or taking a stab at it from another PoV. Even up into the 90's, a lot of hip-hop coverage would still be really basic.  But this film came at a time, also with stuff like Vinyl Exchange, to kind of usher in our little scene, taking the conversation in directions vinyl heads really wanted to go. Like asking Mr. Mixx how he made the beat for "Throw tha D" instead of all the "The 2 Live Crew's raps make parents want to cover their ears!" kind of articles.

Thanks. YES!! I wanted to explore the craft seriously and also show an insights into the mentality and attitude of our heroes who often remain faceless and talk with their hands. There's definitely a trend recently of exploring craftsmanship and history in Hip Hop. Like your blog which is really comprehensive, the Diggers With Gratitude board, my boy Andreas' blog othersounds.com and stuff. I liked your old post about truly random rap where you picked out some forgotten Profile 12"!

Ha ha, yeah I should do that again. Before we finish out, I want to mention too, that I know you've got other films besides these... Tape Masters, Vinyl Heaven... Is there a way for heads to see those films?  Or is anything pending?

No plans for those two. I made Tape Masters before Beat Diggin' and I'm not sure it's up to par, even though we interview Kid Capri and Ron G about mixtapes. And Vinyl Heaven focuses on Danish record dealers, in Danish language. But if there's interest who knows? Right now we're focusing on making Beat Diggin' available to anyone interested. Anyone who watched a bad rip on Youtube or requested a DVD now has the chance to own it on crispy DVD.

New Life for Beat Diggin'

A couple years ago, I reviewed the original hip-hop documentary about hip-hop production from a crate diggers' angle, Beat Diggin'. Well, I'm reviewing it again. Why? Because it's finally been released on DVD (for the first time ever, even though it  was made back in '98). And what's more, it's an all new, substantially different version of the film.

In my initial review, I bemoaned the fact that there was no legit, "purchasable option;" Beat Diggin' was only available to be seen via crappy online streaming and dodgy downloads. So I'm very happy now that it's finally got a proper release. And before I get into the "new version" here, let me address some of you skeptics out there as a fellow purist.  The original version of the film is on here, too.

So, how do the two versions differ? Well, again, for my basic review of the film, I'll refer you to my first post on the subject. But I should point out that the version I reviewed was actually neither version here. In fact, my biggest criticism of the film - that the performance footage in the middle really seems out of place - applied only to that weird, online version. Both of the versions here are much tighter watches. The original is 22 minutes of just the diggin' and production talk. And the new version expands on that, adding an additional 12.

The more superficial changes include new, English credits (the original were in Danish, because while this was filmed in NY, interviewing all NY producers, the director is actually from Denmark). So there's that, new music and interstitial shots that give the film a more polished, professional feel. It's also been upgraded to stereo sound and re-framed/cropped for widescreen. That last one's the only potentially controversial alteration, but again, remember purists, the original version is on here, too.

So those are the little things. The big thing is the sizable chunk of new (shot at the time, but unseen 'till now) interview footage. None of this new stuff feels superfluous or tacked on. The film's been re-edited to incorporate the additional material, which is all strong. It's cool having the original here, but it winds up becoming more of an artifact, because the new version not only improves on, but essentially replaces, the original.

Then this DVD also includes two of director Jesper Jensen's other films: Beats, Rhymes and Videotape (shot from 1994-2001, but only completed in 2009) and 2003's Who's Next? To be honest, Beats feels like the weakest of the films... almost more a collection of footage than a film with focus and drive. But it's dope footage, so it's still a real treat to have. There's interviews with acts like Gangstarr, The Pharcyde,.. Master Ace in particular kicks a really awesome freestyle.

Then Who's Next? feels more like another, proper film, with more on the MCing side (rather than Beat Diggin's production), looking at up and coming, underground NY hip-hop acts of the time (now ten years ago). This one's notably longer than the others (54 minutes), with a good mix of interview and performance coverage. There's a lot of great freestyling on-hand (Rise impressed me in particular), and what's great is that we get a nice in-depth look at a lot of dope artsists who we otherwise don't see nearly enough of, like Ge-Ology, Juggaknots  Poison Pen, and J-Live.

So, Beat Diggin' is really the most important film here, but the whole thing adds up to a really nice package. And while this was shot on the pure, indie low budget tip years ago, so you can't expect the image quality to rival your Avatar Blu-Rays, I have to say it looks noticeably better than the stream I watched two years ago. This disc is order-able direct from Crate Escape Records - the same label that brought us Kurious's demo four years ago.  It's Region free (R0), but US heads should be aware that it is PAL, not NTSC, so you might have to watch this one on your computer. And it's limited to 200 hand-numbered copies, so don't wait too long.

And if you're a fan of this film, stay tuned... I've got a special treat coming right up for you guys - an exclusive interview with the director himself!

Finally, an Obtainable Oneliner

So I mentioned earlier that we were in the midst of an Omniscence triumvirate; and here, finally, third part: Dope Folks Records has rereleased his incredibly rare and sought after EP, The Funky Oneliner. The Funky Oneliner originally came out in 1993 on 6th Boro Records - a small run on an indie label, making it one of records you rarely see, and when you do, it goes for hundreds and hundreds of dollars. So basically, unless you were rich or incredibly lucky, you couldn't have one. Until now, of course.

1993 means, yes, this came out before his all too brief stint on East/West Records. He was a virtual unknown, who only had one compilation appearance under his belt, so most the world slept on this at the time. It was only after he started making "Rhyme Of the Month" that heads went back and tried to track copies down.

Like the title suggests, dude had punchlines for days. And fortunately, they were more along the Big L/ Notorious BIG-style punchlines, focusing on wit rather than just pop culture references for their own sake. coming with a scratchy voice and smooth flow, he was accompanied by jazzy, understated production that was the perfect compliment for his style... not showy, just pure head nodders. With some nice, subtle scratch hooks by his DJ, T-Luv.

Of course, you know the production's gonna be hot just looking at the label. It's produced by Fanatic, The Funké Leftover. The same Fanatic from Bizzie Boyz and all those Payroll classics. The "Funké Leftover" part of his name is a reference to a project he was coming out with at the same time, being half of a crew two-man crew called The Funké Leftovers. I really wouldn't be surprised to see a Dope Folks release on them one of these days.

This EP actually isn't very long. It's just four songs, plus instrumentals. The original EP version also included Radio Edits for all four songs, but I'm happy to see them gone in favor of more vinyl space (quick rule of vinyl: the more music you cram onto a single side of wax, the worse the sound quality gets, which is why heads are often seeking out rarer, 2LP versions of albums). These songs sound great here. It's worth noting that one of the songs, "I Gotta Maintain" is the same as "Maintain" song I wrote about that was intended for his Rhyme Factor album. It's great to have it here, since that album never came out; but it's just interesting that he was intending to include an older track on his major label debut.

...Also, he takes a shot at Kane on this EP. What's the story behind that?

Anyway, as always, this is limited to 300 copies, and I think Dope Folks sold out even before they shipped. So if you see a copy, snatch it up quick. You don't want to have to end up paying through the nose like heads did for the OG pressing.