Buck 65 Situation Demos

So, a few months back, DJ/producer Skratch Bastid posted the original demo versions of Buck 65's Situation album (which he produced - it was a collaborative project between the two of them; though DJ Signify did add a couple extras on there). As of this writing, the link still works\, so go for it, Buck fans. But you all know me; I'm not just here to post a link that's already been around, I wanna break down exactly what's there and explore this more deeply.

Situation, to me, was always a good but underwhelming Buck 65 album. Buck is a lot of things - a great lyricist, nice on the turntables... whatever you think of his aesthetic choices or artistic decisions; he's a damned talented hip-hop artist. And one of those talents, too, is production. So when I hear that an album of his is going to be produced by somebody else, that's already a red flag. And predictably, this album, while still undeniably good in a lot of ways, disappointed me on the production end. ...Although, I have to say, revisiting it now for the sake of comparing it to the demos has given me a stronger appreciation for it. I think I was getting spoiled by all the great work he'd been putting out, that music that would ordinarily be graded a solid B felt more like a C-. But, still, as a full-length, it doesn't rank among his greatest hits.

So when I read about this original demo version, I was amped. Here's a truncated version; be sure to read the whole story on SB's blog, "[Warner Bros] liked it and wanted to put the record out as Buck’s next major label release... Until we told them that pretty much the entire record was made from samples. Without a massive budget, the record was not going to come out in the style that we had initially made it," So yeah! This must be why the album never quite clicked! Now we're going to hear the rich, uncleared instrumentals that will sound so much more natural and better, right?

Well, first of all, the song titles and sequencing are completely different, so if you're used to the official release of Situation, it can be a bit confusing. It's easy to guess that "FiftySeven" is "1957" or even that "Photographer" is "Shutterbuggin'," but other songs you'd never guess from the titles alone. "Battered" is "Cop Shades," "TheCity" is "The Outskirts," "TheLaws" is "Heatwave." But basically, every song is accounted for and has an alternate version, except for "Intro," and the single "Dang," which I guess was recorded a bit later.

But here's the thing... most of these songs are pretty much the same. Often, the only noteworthy difference is that they're missing some scratching elements. "OldDays"/ "Back In the Days" is just missing the "All the Way To Heaven" vocal sample being mixed in to the hook. "Benz," too, is missing all the frantic cuts throughout the song, and it just winds up feeling duller. Listening to this underwhelming revelation, I was beginning to wonder why they bothered posting it.

Rereading SB's blog offers some explanation, "I went back to the studio a few times with some session players and made new versions of most of the songs." Yeah, so some of the songs I guess are exactly the same, or just less polished... but the main difference is that samples have been replayed to sound like the originals. So the differences are barely perceptible. It's most obvious on "The Rebel," where the main riff is similar in tone and vibe, but distinctly different if you play them back to back. Actually, the official, cleared version kinda sounds better to me. So much for my visions of a lost, masterpiece version of Situation; what a let-down. I mean, he's just releasing free mp3s of something fans have been asking for, so I'm not mad at it; but it's pretty disappointing.

Only one song sounds really different: "Cube," or as you know it: "White Bread."  That piano and all that music (even the underlying drums, though the same rough bpm, are different) on the album version are gone on the demo. Instead, you've got a plodding but atmospheric instrumental. It's  darker, and fits the lyrics better. Still, the newer version sounds rich and really nice, so I'm reticent to declare a definitive winner. But both versions are are definitely worth your while.

So, if you're a curious, amateur producer and really want to analyze the details to see how a major label release can rework its instrumentals to make them clearable, then check this out. It's a pretty compelling educational experience if you're that into the inner-workings of hip-hop production. But for everybody else, even serious Buck 65 fans who have all his tapes and records, I'd say download it, save "Cube" in a folder with your other rare Buck 65 mp3s, and delete the rest. There's just the one song to get excited about here.

Top mp3-Only Albums I Wish Came Out On CD

The title says it all... these are the mp3-only albums would press up on wax... or more realistically, at least CD! It's great that the artists released all these (with one exception) for free... but the material is so damn good, I would definitely pay to have a more permanent copy. Hell, I'd go to Hot Topic to pick any of these up Kreayshawn-style. Surely, at least a small number could've been made as some kind of promotion? Maybe a label like DWG, Dope Folks or Fat Beats could start a budget CD label, where they're limited pressings in cardboard sleeves?  Make it happen, somebody!

Grand Daddy IU: Self Made Man - You can download this album for free off his site... It consists af all the incredible bangers he'd been posting on twitter for like a year and a half, plus some brand new stuff. A couple the tracks come up a little short, but for the most part this is all incredible material. All told, I'd say this is better than his last couple albums (which did get CDs). So give us this one! He also seems to have another mp3-only full-length already, but it ain't free. Oh, and there's a lost EP called Long Island's Finest that he had up on ITunes a while back.  Never heard it, and I doubt hardly anybody caught it... Now that IU's got more of an online presence, maybe it needs a second chance to find its audience.

Buck 65: Dirtbike 1-3 - Great, triple mega album, which again were just released as mp3 freebies.  But they were some of the best work of his life.  Granted, it was three very long albums, so I can't say it's all 100% the very top shelf, but overall, I (and most Buck fans, I believe) would rank this higher than many of his official albums of more recent years. Realisitcally, it's probably too much music to even consider for wax, but a couple CDs? This is some of his best work, so it would be nice if it was a "real" album.

Chubb Rock & Wordsmith: Bridging the Gap - Alright, I might just want this one 'cause I'm mad. This was SUPPOSED to come out on CD. You might remember me blogging about it. And holy crap, a new Chubb Rock album? If it exists, I need it! But then, apparently the distributors stuffed up and there was a long delay, and Wordsmith said fuck it, the mp3 release was enough (after all, I think he just made Bridging the Gap to promote his solo album that was coming out at the time). I even lost $15 ordering this from FYE, who to this day have refused to send me a refund (#BoycottFYE). Being honest with myself, a new Chubb Rock album that's only half a Chubb Rock album, and watered down with Wordsmith's lesser material probably wouldn't have been too exciting. I never did bother getting the mp3 version. I want that CD or nuthin', bro!

Snagglepuss: Legendary Throwbackz - The only mixtape on this list, because usually I don't have time for mixtapes. Crappy DJs messing up songs with useless radio blends, material we've already got elsewhere... Sure, there are the rare stellar mixtapes: created by the great DJs to actually showcase their amazing DJ talent. But 99% of mixtapes are the lowest quality bootlegs or cheap, half-assed mini albums. Pass. But not this time. First of all, it's suited to be a mixtape - it's a collection of freestyles (mostly) originated on and for mixtapes. And it's all killer material that's (mostly) never seen a more official release. It's the classic Snaggapuss freestyles from the old Doo Wop mixtapes (and a couple tracks from his last CD)! I mean, Hell, this collection was my idea, so of course I'm all behind it! The only thing that could be better? Press these babies up for posterity!

Kool G Rap: Offer You Can't Refuse - I almost like this better than Riches, Royalty and Respect. There are definitely some tracks on here that are better than some tracks on there. This would've made a great EP exclusive, which you could only get if you ordered the album direct from Fat Beats' website or something. Now the EP's mostly been forgotten as a freebie advertisement for the album. But only one song was repeated ("American Nightmare"), the rest were some really nice, exclusive KGR tracks. I still have it on my phone; but this would make a sweet collector's item.

All those wild, early Anticon projects that never quite made it out the gate - I know North American Adonis was never finished and the sound quality sucked because the original DATs got damaged or whatever. But I'd still love a CD of the best I could get, and I know from the old Lunchroom forums that I'm not alone! Also Stuffed Animals, Pick me for President... even "Digital Lydias"... All that stuff Anticon knows they've got rotting away in their vaults. Run that shit, bitches! 

Father MC: Fambody - It's a sickness, I'll admit it. But if there were a physical release, I would buy this in a heartbeat. And then blog about it. Which reminds me, I have other Father MC records waiting to be blogged about...

Edit 1/12/2013: Whoops! Can't believe I forgot this one!

Earl Sweatshirt: Earl - Can't believe this isn't purchasable. Somebody missed out on a lot of money there. I'd love to see a legit, physical release of this one. I'd even happily trade any of the other Odd Future releases that did get nice, physical releases for this one. Even better than a CD, though... I want this on cassette! If you forget that this came out in 2010, it fits in so perfectly with the those great, ultra-underground 4-track tapes from the 90s. You might consider that a lost era now (though those Gurp City guys are keeping it alive), but actually Tyler and co. have brought it to a whole new audience without even realizing it... no wonder 2Mex dissed 'em! Couldn't you just picture this as an Atak exclusive?

Restoring Honor To the Fam

The internet can be an excessively snarky place. I'm all for taking the air out of the ridiculousness that increasingly pervades hip-hop... but the tide shifts from completely undue reverence to an utter lack of appreciation of real talent with dizzying abandon. Blogs will hail every teenager with a glossy Youtube video as the Second Coming the first week, and then a few months down the line, they're just the punchline to a joke, "ha ha, remember him?" This isn't about old school artists who can't equal their 80's and 90's material anymore; it's just about trendy trends and the culture letting clueless teens with no analytical ear determine what's "relevant."

Kool G Rap has definitely fallen victim to this... I think his insistence on plumbing the depths of gangster rap after it stopped being a fad because he still mining great art from it cost him a lot of fair-weather fans who really need to go back and rediscover what they've been missing. But while the scales may be tipped unfairly towards his older material versus anything he's done after the mid 90s, he still gets his respect. But what really gets maligned? His 5 Family Click album.

Back when this dropped, it was a pretty under-the-radar little gem, which Jay-Z famously called his favorite album of the year on the radio. Now it's regarded the way Ramones fans regard Dee Dee King's rap album. Granted, Click of Respect isn't G Rap's best long player - it's probably in the running with Half a Klip for his worst - but there is no wack G Rap album. Mediocre artists today get so much praise for going back and recapturing the spirit of material like this, when their bars aren't half as viciously, multi-syllabically ingenious as the ones on this album:

"Giacana gambino wit it.
Rollin' with gorillas 'n' chrome
Ballers stand tall like the pillars in Rome
Still a stone, still prone to kill alone
Still in zone, chest stuck out like they filled it with silicone
Killer, it's on
Retaliate like Italiano
Leave a hollow slug lost in your head like the Econo
Too live Five Family shit, clique of black Sopranos
You get the money, roll through your hood
You ain't thug cause you dress grimey, nigga; I'll put a hole in your hood
Wanna cop somethin'? I'm holdin' the goods
Pop a shotty, drop a body, snatch my hottie and lay low in the woods
Somebody violate my premises, some shells spit off
Pitbulls in the yard, nigga get his tail bit off"

And yes, I admit that a song with a verse by G Rap and two of his friends isn't as desirable as a song with three verses by G Rap on his own. But let's be real... you know G Rap had to have had a big hand in the writing of everybody's stuff on here. And G Rap is all over this album; it's not like one of those projects where you're starved for the real artist and given nothing but inferior weed carriers. There's tons of great G Rap material on here... and when he passes the mic, everybody holds their own. Again, that's presumably because he's carrying them in the writing department, just like he's done for so many artists he's worked with in the past; but 40 Cal and Hammerz carry their weight better than a lot of bigger name collaborations have in the past, that's for sure.

But maybe the production is really to blame for the reception this album got? Granted, this isn't Wanted: Dead Or Alive; but what's so disappointing here? Tracks by Buckwild and DR Period? Hard drums and sped up soul that everybody still sweats Kanye for (when did we stop crediting RZA for this style, by the way?), even though these guys sound infinitely fiercer spitting over it?

Again, I'll acknowledge the flaws... some of the instrumentals do feel a little undercooked, and the less compelling songs can sound too similar. There's also a track or two that try to emulate the poppy, in vogue club styles of the time that should've been cut. And a little less Ma Barker would've gone a long way. Every G Rap fan, including myself, was starting to get pretty sick of Ma Barker jumping onto every single record by the end there. She was never a bad MC, and with G Rap behind her, she even managed to spit some crazy impressive bars.  Yeah, she really over-saturated his records with herself, and indeed, "no Ma Barker" might've been the biggest selling point of Riches, Royalty and Respect. But at least a couple of her (probably ghostwritten) verses here are fucking killer, and you're seriously missing out if you let her online media image get between you and the material.

So it's not his penultimate masterpiece; but this album still belongs in your crates, or at least a cheap copy of the CD. I'd much rather replay this than the latest, half-as-skilled knock-off just because his mixtape is on the front page of datpiff this week. You don't impress me when you take cheap shots at this. Albums this good are too rare, no joke.

More Thawed Out Saafir

Years after Unreleased Boxcar Sessions, Saafir cooked up another self-released collection of unreleased material that had been left in the freezer. This material was more modern though, so less exciting; but Saafir's always been a compelling talent, so I jumped in with enthusiasm. And this release is notable because, unlike Unreleased Boxcar Sessions, this one came out on two formats: CD and vinyl. That might not sound terribly noteworthy at first, but the thing is: both versions feature completely different track-listings, with actually only two songs in common. ...So, of course I had to get both.

So let's start with the CD, since that was actually released first. The title for this EP (both versions) is One of the Hardest and the cardboard sleeve helpfully explains that this is "Limited Edition Archived Material 1997-2002."  Right off the bat, this doesn't have the jazzy feel of the UBS, but still has the rugged, bass heavy style of production The Junction's been rocking since the beginning. It does feel trendier, rocking elements of west coast production of its time... but I guess you could say Boxcar Sessions only had the jazzier elements because that was the style of its time. Fair enough, but that style was better - more sample based and less studio sounds.

There's still some good stuff on here, though. "Bad Bitch" might not grab you off the bat, since it's a concept song rather than a battle rap; but it's a pretty well-written twist on both pimpin' and relationship songs.  "Touch Somebody" is harder, with an effective appearance by Xzibit. And since the sleeve promises in big text that this EP features Golden State, yeah there's another track with X and Ras Kass. It's no "Plastic Surgery" or "3 Card Molly" (hell, Xzibit's verse is about Brittney Spears!), but it's still a respectable outing.

The stand out track is "King Sizzle," though. This is one of those songs that, still to this day, I'll put on repeat and listen to multiple times in a row. In some ways, it's the Hobo Junction version of "The Ruler's Back." It's even got a silly voice member of court talking about "Sire" at the beginning.  But this song's version of royal instrumentation is deep, west coast thumping sounds as opposed to Casio horns. It's not quite a masterpiece; Saafir doesn't kill it lyrically like he does on his greatest hits, but he still spits thoroughly enjoyable braggadocio rhymes over a really fun track with a super catchy hook.

So now let's look at the vinyl. One weird thing you'll notice right off the bad is that the first three songs - "Crispy" "Cash Me Out" and the title track of this set, "One Of the Hardest" - are also the first three songs on Saafir's 2007 album, Good Game: The Transition. I mean, let's just count the ways that this is weird. One, I'm guessing this means all the tracks - on the vinyl at least - aren't strictly from 1997-2002. Two, "Crispy" was even the single... and "Cash Me Out" was the B-side! Yeah, given the concept of the Good Game album, it's possible that we were meant to see some of the songs on that album as old material, but did his label realize they were previously-available-on-wax material when they pressed it up as their 12" single? Also, the title track of this EP isn't even on the CD version, which is a little weird, too.

But it gets deeper than that. The version of "Cash Me Out" on here is actually different than the version released in 2007. The instrumental's exactly the same, but this earlier version features an nncredited (most of the MCs on this set of dual EPs are uncredited, so that's no surprise) female MC. To be honest, though, her verse was corny (you might think lines like "I'm not a hater but a congratulater," haven't aged well, but I for one always thought that shit was terrible), and I believe Saafir did the right think getting rid of it. Especially since he replaced it with a new verse of his own.

So the OG "Cash Me Out" might me worth having for the die-hard completists. But basically, they're three tracks taken off the already unremarkable Good Game album. Also, I mentioned at the beginning that two songs here were also on the CD version. "Left Work" on the vinyl and "Less Work" on the CD are actually the same song... and I think they're both actually supposed to be titled "Let's Work," given the context of the song. Also the Golden State posse cut, which was probably considered the big deal selling point even though it's pretty meh, is on both.  So that doesn't leave a whole lot exclusive to the vinyl version.  The final track, "The Day," about judgement day, is pretty cool, though.

We're not given much by way of production credits here. There's nothing on the vinyl, and the CD slip case credits the producers: J-Z, Jelly, Protest, Saafir himself, and Khalil; but doesn't say who did what. And like I said, the guest MCs aren't credited either, except to tell us that Golden State appear somewhere on the CD and the vinyl credits their appearance on "Back Up." So it's all left pretty muddy.

Overall, I'd say the wax is for the hardcore collector. However, even if you're a vinyl head, or already have the other version, you should try and track down the CD. It's not his best work, but it's solid Saafir. And you're missing out if you haven't heard "King Sizzle."

Finally, 2002 Rapped Up

(Happy New Year! Youtube version is here.)

2012's Top Fives

No intro; you know what it is. The ones with links are the ones I've blogged about in depth already, so clicky to read more.

Top Five New Albums:

Young Zee - One Crazy Weekend is easily the album of the year for me.  I feel like I'm one of only a handful of people who even know this actually came out, which is a real shame, because it's delightful.

Low Budget - Poolside I wasn't expecting to like this album nearly as much as I did. It's pretty great and I urge you to check that out.

Freddie Foxxx - The Kolexxxion I didn't blog about this one during the year, but it's pretty obvious combining Freddie Foxxx with DJ Premier is going to be a rewarding endeavor; and they came through like we knew they would.

Mad Child - Dope Sick There was a period where Mad Child turned into a Christian rapper and Swollen Members were a mess, but that period is long gone and their stuff is worth checking for again.

Rime Force Most Illin' Perhaps the only release more slept on than Young Zee's; but it's a must have little EP.

(Also Noteworthy New Music:)

MA Doom - Son of Yvonne I saw an interview where Ace said this was meant to be a mixtape and that explains everything. Ace is a top MC... the beats are old, previously released Doom tracks (his Special Herbs and Spices stuff), which are still good, but it all feels undercooked. A solid mixtape-level venture, but don't expect it to stand alongside Ace's other albums. Kane's appearance is a let-down, though.

Nas - Life Is Good People seem to get amped for every Nas album, shouting "next Illmatic," and then a few months later, everyone looks back on it like, "okay, not really."  But like his last album, there was some nice stuff on here, like "Loco Motive." Leaving off "Nasty" was just stupid, though.

Large Professor - Professor @ Large I'd put his single as a best of for sure (it's not here, though, because it was 2011). The full-length is not so mind-blowing, but still a very respectable outing, with some highlights like a posse cut with Grandy Daddy IU and Cormega.

Craig G - Ramblings Of An Angry Old Man Not a masterpiece to hold up next to his Atlantic stuff, but a pleasant surprise for sure. Even if you've been bored with Craig in the last, oh, decade or so; I recommend giving this a try.

Kendrick Lamar - good Kid, m.A.A.d city He deserves all the attention he's getting for lyric writing, but his production (and sometimes his voice/flow, depending on the song) are keeping me from putting this on regular rotation. But you should at least listen to it once.

Sole - A Ruthless Criticism of Everything Existing Kind of a mixed bag, but an interesting, compelling one. Unless you're a hardcore, dedicated Sole fan, you can skip a bunch of Sole projects without missing out on anything important. But for the rest of you, this is probably the one it's worth checking in on. A little (lot?) too preachy this time around, but the production makes up for it.

Jay-Z and Kanye West - Watch the Throne Didn't expect to see this here? Hey, I dug the "Otis" beat as much as everybody else. The album would be a million times better without Kanye rapping on it, but you still can't really sleep on this.

The Top Five New Releases of Previously Unreleased Music:

Phase N Rhythm - The Force Of the Matrix I'm still doing the happy dance over this.

Craig G - I Can't Stop This one got a lot of flack, and I'm probably surprising a lot of people by including it in the Top 5 above other possible titles. Well, I do agree that 7"s are a disappointment; but regarding the questions about this song's authenticity? This track's great, and it's a nice little presentation. Even if it's a "Top Shelf"-style phony (which I'm not convinced about), it's still great. Just like Top Shelf 8/8/88 was.

Natural Elements - Lost Demos & Instrumentals Not as amazing as the previous release; as this is more instrumentals, promos and solo stuff than the classics on the last EP. But this is still some brilliant, vintage NE material we've never heard before.

Jorun Bombay - Instrumentals DWG totally sneaked this one under the radar... hip-hop's all-time most important, unreleased instrumentals perfectly recreated, and it was just a bonus record in a set. Wow.

JVC Force - The 1992-1993 Unreleased EP Chopped Herring was winning in 2012, no doubt. Seriously fantastic material finally sees the light of day.

The Top Five New Releases of Previously Released Music:

Def Rhythm Productions - Back To the Lab The defining assets of records on this list is the rarity and, of course, the quality of the music. Well, Back To the Lab was on everybody's wishlists for a reason, and this reissue did it right.

Payroll Records - Rare Tracks Just like Chopped Herring was winning in previously unreleased vinyl this year, Dope Folks definitely owned the category of previously released reissues. A terrific compilation of very desirable material.

Lord Finesse - Signature Sevens Series It's frustrating when releases you really want are stuck out on 7" rather than 12", but Slice of Spice did the best 7" job possible with their collection of super rare Finesse tracks that had previously been cassette only, or otherwise in dire need of a vinyl release.

Wizard of Rap - Escape from East New York Seriously, Dope Folks cleans up in this category; this is an amazing record that, let's face it, we were never going to find an OG copy of.

Danger Zone Mobb Sqwad - TL Back To Yell I feel like I should put something other than another Dope Folks release here; but who amongst us hasn't been on the edge of their seat for a reissue of this material since it was first hinted at years ago?

I'm not gonna do a noteworthy list for the unreleased and reissue stuff, because it's pretty much everything... certainly, if you somehow missed DWG's Latee release, or the nice little 7"s from The Legion, you'll want to catch yourself up. The Fat Boys in a pizza box looked pretty cool.

All in all, I'd say not a bad year. New music seems to be experiencing a bit of an upswing, and the issuing of "lost" hip-hop still seems to be growing, when years before I would've assumed we'd plateau by now. All in all, I'm optimistic for what we'll see in 2013.  :)

Ice-T Meets The Grinch

(Happy holidays, everyone!  Youtube version is here.)

Nu News Is Good News

A few months back, I blogged about how The 2 Live Crew passed off a bunch of Balli and the Fat Daddy songs as rare 2 Live recordings from back in the day. One of those songs wasn't a Balli and the Fat Daddy song, though, it was by some group I'd never heard of called The New Born Clan. Well, now I know who they are, too. I just got their record!

See, Macola got their name a bit wrong (fairly minor compared to everything else they got wrong!); it's actually The Nu Born Clan; and like Balli and the Fat Daddy, they're another act down with Fresh Kid Ice's Ice Cold Productions crew. They're not on the Ice Cold Productions' collective album Masters of Bass that I just recently reviewed, but they are mentioned in its liner notes as being on their roster.

This here is their (I'm reasonably confident) sole outing, a four-song 12" on Underground Records It's also, as far as I know, the label's sole outing. There's no year here, but considering the ICP's history, I'd say circa 1992 is a fair guess. And, combined with "Serious Conversation" from those "Rock On Crew" albums, this seems to constitute their entire discography on wax.

Who makes up the Nu Born Clan? Well, the jacket is very helpful in that regard. It's a picture cover showing five people, and right on the front it lists the members, sort of... the way it's laid out, it looks like they're saying I.C.U. is the name of five members. But "I.C.U." is the first song on the 12", and I think it's actually just supposed to be the title of the 12". Actually only two of the people on the cover seem to be actual members...  the girls are just models, I guess. They're named on the back cover: Sherry Bogle, Ava Bogle and Colleen Vieux. So I think that leaves the Clan's line-up as Double *07, Dyce, D.I. and 40 Dog (possibly the same 40 Dogg from that Silence record?). Double * 07 (I'm using an asterisk, but it's actually a big dot floating in the center like a hyphen) and Dyce are the MCs, and presumably the guys on the cover.  40 Dog is referred to in one of the songs as DJ 40 Dog, though the only scratching on here is provided by a guest DJ named DJ Altimate. So I guess their role in the Clan's a little more vague (maybe why they didn't get to be on the cover), probably involved in the instrumental aspects... though they're not the producers either, because the producers of this record are spelled out as Darren Moise, Shawn Pittman and L.O.S. Production, plus an executive producer named Rebel T.

Okay, I'm finally done overwhelming you with names we've never heard of. So, how is the actual record? It's pretty good... They sound a bit too low budget, especially on the title track (which apparently just means "I see you" in the context of this song), so you wind up with a bit more of an amateur vibe than you'd normally like. They also go a bit overboard on the "diggity diggity" Das EFX rip-off delivery, which certainly can't be accused of having aged well. Fortunately, they hang that up quick, and most of the rest of the 12" sounds better. "Let's Run It" is a lot like the first song, only little tighter with deep bass drops and hectic scratching, and "Hot Nut" is just about kicking some amusing stories over "The 900 Number" loop. "Pussy Bent" is in some ways the best song, though they lift a large chunk pretty shamelessly from The Ohio Players' "Rollcoaster." But with a fun dirty hook by Sherry (maybe the same Sherry from the picture cover?), Gene Ann and Adrian Jones, and even nicer cuts than "Let's Run It," this just feels the most like a richly produced rap song that works on all levels, leaving behind the amateurish vibe from earlier. It also shows they're not the preachy church nerds you might've assumed from hearing "Serious Conversation."

Overall, their hearts are in the right place, with semi-fast, hardcore deliveries over pure hip-hop tracks, rebelling against the booty music expectations that's become sadly inseparable from the Miami stereotype. They're not the best MCs, and the production isn't terribly innovative, but it's solid stuff. I could easily see "Let's Run It" turn up on a random rap mixtape, a la DJ Ivory's Hear No Evil series, turning this record into a really expensive collector's piece. Personally, I'm glad I got in early.

Unreleased Boxcar Sessions

We're living in a bit of a golden era (hopefully just the beginnings of even greater things to come) thanks to labels Freestyle Records, Chopped Herring and DWG... but even before, we have occasionally seen otherwise lost hip-hop from a bygone era get thankfully released many years later. Today's case in point: Unreleased Boxcar Sessions, by Saafir.

Now Saafir's been in the game for a minute, and released a bunch of albums and projects both on his own and collaboratively. But he did kinda peak with his legendary full-length debut, Boxcar Sessions, on Qwest Records in 1994. Even when he releases something hot, you have to add the disappointing caveat, "but it's no Boxcar Sessions." Just like Nas with Illmatic, he'a great MC; but he can just never escape that looming shadow of his first album. So when you see "Unreleased Boxcar Sessions" pop up for sale on your favorite little indie hip-hop retailer site, you do a spit take on your keyboard, spin around in your chair a few times, and then quickly paypal them before they sell out.

This is a completely self-released LP from Saafir, a CD-R with black and white paper artwork, though at least a professional sticker label. 2002, Hobo Records. "For promotional use only," it says; but I doubt many copies exist that weren't sold commercially. Eight full-length songs from 1993-1994, produced by his usual Junction crew who made Boxcar Sessions, plus a bonus new song to show you that Saafir still had it.

I guess let's talk about that bonus track first.  It's called It's called "Whomp 2000." Like several other tracks here, it's produced by J-Groove, but it sounds nothing like the Boxcar Sessions material. That's okay, though, because it's dope. The production is rugged but funky, with a big "whomping" bass sound, and Saafir spitting crazy, freestyle battle rhymes:

"I love rappin'; it's just like scrappin', and when you burn a nigga, it sounds like fire when it's crackelin'... in the millennium I'm a get 'em like a pit with rabies on my tongue and sores from eating my dung, I'm spitting bacteria, I'm sic'ing for you niggas in the cafeteria. That's it, give me your lunch money, quarterback. I'm about to intercept and have these fag rappers dressed in drag strippin' on the internet. Is it winter yet? Nah." 

...If only Good Game was like this!

Okay, so now the actual Boxcar sessions. We have three tracks that are earlier mixes of songs from the main album: "Light Sleeper," "No Return:" and "Joint Custody." Of course the original "Light Sleeper" is better... or I should say, the version we've all come to know, as this is actually the original, strictly speaking. There's a reason they picked that one as the lead single. But this is still a tight alternate version, also produced by Jay Zee, that would've been a very welcome B-side in '94 - moody and tough.\

J Groove handled both versions of "Joint Custody," which use the same basic samples. The drums sound different though, and the vocal samples on the hook are completely different. You'll hear instantly why it's referred to as the "Spliff Mix" in the track-listing.  It's hard to one better than the other, and this version isn't a huge revelation; but it's cool to have this as a point of interest.

The instrumental to Jay Zee's "No Return," on the other hand, is completely different. I liked how the album version used the atmospheric photograph sounds from the opening of The Texas Chainsaw Massacre to open that version; but I like this (very dusty) piano sample even better than the final mix's, and in the end probably prefer this mix.

Now that leaves us three, four... five more songs. These were all recorded for Boxcar Sessions, but left off the album. In other words, they're entirely unheard, vintage material - the most exciting stuff. Production is divided by J Groove, Jay Zee and fellow Junctioneer Big Nous. The tracks all feature that chunky, broken jazz 90's style that also feature Saafir kicking his crazy , staccato, unpredictable flow and abstract battle rhymes: "Another flick of the wrist, I'm pissed, gotta look at the statistics. Ballistics have... no report of a body because watch tower just watched me pass a flower bath. I don't bathe. I'm narrariater[sic.] by trade, I pave... graves."

The track "In the Future..." is a rhyme we've actually heard on one of the first Wake Up Show Free Style LPs, and it was one of the stand-out moments there. Now we get to finally hear it as a fully produced song with a sick, bass-heavy Big Nous beat - it's a killer. These songs aren't just cuts that didn't quite make the roster on Boxcar Sessions... these would have been some of the best moments! Granted, this disc errs on the inclusion side... some of the remixes are just sorta interesting rather than mind blowing. But I always prefer extra over less. And the mind blowing is in here.

This disc is pretty rare... the kind of thing, as soon as you see it, you know you'd better snatch it up quick because you might never get another chance. Well, that goes double now that it's a decade old; so if you come across a copy snatch it up and bark like DMX at anybody how tries to wrest it away from you. Because we may've had to resign ourselves to the fact that we'll never see another Illmatic; but we did get additional Boxcar Sessions.

The Fake Snagglepuss

(Youtube version is here.)
Update 12/19/12: Snaggapuss himself hit me up on twitter to fill us in on this mystery: "wc is my dude when i met him we talked about it he didnt know till preemo told him!lol"

Return of the Green Won

Pace Won and producer Mr. Green are back with their follow-up to The Only Color That Matters Is Green, titled The Only Number That Matters Is Won. If they make a third album, they're going to have to come up with a new title gimmick. But this album's dope enough that I hope they do.

The Only Color had some strong tracks, but it started to sink downwards about halfway through. Frankly, all of his solo outings have been kinda mixed... at first I assumed, to quote Canibus, "motherfuckin' Wyclef spoiled it." But then I thought Telepathy was pretty flat, and that Team Won album was kinda cool, but it didn't exactly knock me over either. Maybe Pace got too much of his power from his Outsidaz crew, and without them...?

Well, to some extent, I'm not sure that isn't true... Pace Won seems to have been struggling to find his role in "grown man rap" since his first solo endeavor, where he's just not spitting wild line after wild line on sick posse cuts. He still has clever rhymes, but they're always spread a lot thinner an Outz fan would like. Not many lyricists can really raise above the level of generic... I mean, we often give those rappers a pass anyway, because they still sound good over a dope track. But when Pace isn't spitting vicious battle rhymes - which is most of the time on all of his solo albums to date - you start to wonder how much longer until we have to revoke his pass? I feel like half of what's holding his albums up for me is my compulsion to want to like them as an Outz fan. And so when I hear his hook to "Fresh Air:" "these rappers are nondescript," it's tempting to suggest he not throw stones.

And seeing that his guests include Snoop Dogg, Elephant Pelican (a nondescript label mate), Freeway and Rival - who for some reason goes uncredited here, but he has a verse on "My Song" - doesn't exactly inspire confidence. Of course, Master Ace is on here too, so you know this album will at least have a highlight or two.

Anyway, I'm happy to report that, while he hasn't completely shed his growing pains yet, he's made progress. Relationship raps mixed with excessive pop culture references and name dropping for name dropping's sake still abounds, but he's.definitely more consistently compelling here.

Of course, that might be because Mr. Green has really stepped it up after their last album. The last album had definite moments; but this one is one giant moment. No downward sinks here, and thankfully he's finally stopped dissing Eminem (not that I'm defensive of Emzy or anything; but after three songs and only one worthwhile line between them, it's time to call it quits). Even when they're just updating Chaka Demus's "Murder She Wrote," it works. Granted, I still had more fun with Mr. Green and Young Zee's album (which was released practically in secret); but honestly, every song's a head nodder and I do recommend it.

Specifically, I recommend the vinyl. Not just because vinyl > CD any day of the week, but because this wax version features six exclusive bonus tracks. Two of them are just instrumentals, but the other four are proper songs completely up to par with the rest of the album. There's even some noteworthy guests (Tek of Smif N Wessun and Malik B of The Roots) hidden away on the vinyl exclusives. It's a nice, double LP in a full color picture cover, and it's limited to a run of 500, available exclusively from vinyl-digital.com. Good stuff.