Last Nite's Dope

Here's a release from my period of having to buy everything on Young Black Brotha Records. It came from discovering Mac Dre when his What's Really Going On? EP. That was actually on Strictly Business Records, but that was essentially the same label, which gracefully morphed into YBBR. Mac Dre followed up What's Really Going On? with a long full-length that featured some tracks from What's, called Young Black Brotha; and then before you knew it, that Young Black Brotha was the label, with the same roster and owner. So, on top of fiending to get all Mac Dre's other stuff, my friends and I were getting releases by Mac Mall and Ray Luv just by virtue of their being on the same label. The blind buying paid off, largely thanks to the fact that they all featured the music of producer Khayree, who was also said label owner.

Now, "Last Nite" was kind of the mainstream debut of Ray Luv in 1994. He'd already had an earlier, rarer EP on Strictly Business, but this was his first single on YBBR, set to introduce him to world at large. It featured a track from his upcoming YBBR full-length debut, Forever Hustlin', and one from his debut EP, Who Can Be Trusted?

This was really the big push for Ray - they even got 2Pac to direct the video for it. And the lyrics are all about establishing just who Ray Luv is. Sure, ostensibly, it's a laid back cut about "last night," a smooth, universally relate-able song where we reflect on the party and drama of the previous night. But Ray's craftily using that framework to lay the groundwork of his own identity: "Last night, somethin' about the sky being overcast, and the doja had me thinking bout the past, let me see, when was all cool? April fifteenth, nineteen seventy-two. That's when Izza gave birth to me, and life gave the whole damn Earth to me..."

See? Just two sentences in and he's already spilling his origin story. And when he's not telling us that, he's laying down his ethos... and at the same time, expertly dropping in atmospheric portrayal of what life's become today; so you can bob your head to a descriptive account of an authentic kick back without even realizing you're being told anything of substance. You can just take it completely on surface level, as a slightly less hedonistic version of DJ Quik's "Tonite" (I suspect the similar misspelling may have been an intentional association), and it works perfectly thanks to the subtle yet lush musical backdrop by Khayree, one of the most under-appreciated masters of the kind of G-funk that didn't rely on heavy-handed P-funk samples, but just smooth instrumentation. There's a simple - unimpressive but effective - hook sung by Steffany Miller; but it's really all about track. As the liner notes make a point of saying, "No Samples Nuttin But Real Black Music."

The song from his old EP is "Smokin Indo." A short and funky little first-person story that quickly turns into a gangstas and guns-style tale before concluding with a surprisingly strong message about "the result of black on black violence," when Ray himself gets shot and killed. Ray Luv later remade this song into a fuller track (the original is just a single verse) called "Still Smokin' Indo;" but there's something more compelling about this rawer, short version.

But still, if you've got Ray Luv's albums, you've got those songs, right? Wouldn't an exclusive B-side be just the thing? Well, that's on here, too! It's called "Mo Careful," and it's an even harder track, with a (small) appearance by Mac Dre. It's still got some Dre-style whistling keyboards in the background; but the real driving force here are some big, "Atomic Dog"-type drums and tough scratches. Yeah, these guys had scratches; DJ Cee was a key member of the YBBR family; and he lent them some serious hip-hop authenticity - and just good music. He was killed (apparently in a tragic case of mistaken identity - see here) in 1995. And while Khayree has certainly able to keep pumping out quality music throughout the years since, and of course Mac Dre's biggest years were still ahead of him; YBBR never quite had the same feel after the his loss.

The A-side concludes with "Mo Dope On da Way," a skit detailing future releases on YBBR. It's interesting to note that the track and the liner notes announce Ray's upcoming album as Nuttin Move But da Money, rather than the title it actually became. Anyway, as you see, it's a pretty full single; and it's also got the instrumentals on the flip (even for the skit), which is nice because there's a reason producer Khayree gets credit right up there on the front picture cover. Not that Ray Luv doesn't hold up his end - he certainly does, with smooth flows that merge seamlessly into the grooves. But it's all thanks to the beautiful production that kids like me could safely buy anything on his label before even knowing who the artists were.

Questionable Lyrics #1: Sweatin' Keith

Yeah, I'm startin' a new thing on this blog.  'Cause I think it'll be fun, and this blog could stand a little freshening up, I think. I'm not gonna explain it; I think you'll catch on as soon as we begin:

So, Monie Love's "Monie In the Middle" is a great, early pop rap record. Lyrically, it's like the female version of Young MC's "Principal's Office," a school-based narrative perfectly suited for mainstream, middle-class kids. Hell, acts like Souljah Boy and Lil Mama are still doing music videos just like it. But the production is incredible, some real hip-hop shit, and the concept is more universally relatable than Young's - the hallmark of a good pop song. Who can't relate to the dilemma of being caught in a romantic... straight line, where someone likes you but you don't like them because you're too busy liking someone else who doesn't like you. It's the story of everybody's life. And who can forget the memorable like where she disses the guy who likes her,

"My name's not Keith, so stop sweatin' me."

For all my millennial readers, Keith Sweat was an R&B superstar in the late 80s.

It's not really clever; it's just catchy. Quick, cute, immediately memorable and just begging to be repeated. Of course, if you were familiar with more hip-hop than the just the crossover stuff MTV carried over to your door, you probably also remember Big Daddy Kane's "Another Victory" from around that same time. Here, he's rhyming on a far more serious topic: racial profiling, before that even became a phrase. The second verse is a quick narrative about being pulled over by a cop because he's driving a nice car: "the first thing they ask me is, 'where'd you steal her?' And then they assume that I'm a drug dealer." With completely justified righteous indignation he says to the nation's police:

"My name ain't Keith, so could you please stop sweatin' me?"

This blew my mind as a kid. It's one thing to be able to point to two generic love songs that both have the line, "baby, I love you." But this decidedly cheesy pun on Keith Sweat's name was a unique and distinctive line. Well, distinctive... but not unique, because it was in two different songs by two different rappers. I mean, you hear rappers talking about biters all the time, but I didn't really expect two major label artists to be throwing the same punchlines on their internationally distributed releases.

Well, "Monie In the Middle" the single, and the Down To Earth album it was featured on, both dropped in 1990. And Big Daddy Kane released "Another Victory" on his 1989 album, It's a Big Daddy Thing. So Kane came first. And again in 1990, Scrap Lover recycled a variation of the line on BDK's third album, Taste of Chocolate, saying:

"Save the sweat for Keith and the beef for Charlie."

This was on the 1990 posse cut, "Down the Line," which also featured Scoob Lover, Mister Cee (on the mic!), Ant Live and Little Daddy Shane. It's not quite the same pun, but maybe having his dancer call that reference back was Kane's way of reclaiming the line from Monie. It was his first, and he was taking it back. I guess Monie's just a big ol' biter, huh? It seems pretty cut and dry... except for one thing. The following line appears in another song:

"Not rhymin' 'cause you're lettin' me, or that you threaten me... yo I'm not Keith Sweat, boy, stop sweatin' me!"

And that song came out in 1988! It's "We Don't Play" by Dev IV, a highly underrated crew who, despite being on Rap-A-Lot Records, were straight out of Brooklyn. Nice and Hard, their album which features this song, has incredible production and perfect deliveries. Sometimes their subject matter was a little wonky ("School Boy Crush," "Obsession"), but when they were on, they were on fire; and even when they were off, they were displaying talent out the ass. And, um... I guess Kane bit them?

I find that hard to believe, too; but there's no arguing the chronology. And you might say, yeah, but that's just a silly thing everybody was saying on the streets, in the schoolyards... Not a major thing, but something they all probably picked up individually. Well, maybe. I kinda remember that, but I also remember everyone I knew had picked it up from the records (mainly "Monie"), not the other way around.

I don't think there will be any earlier examples to find... Keith Sweat didn't really break until 1987, after all. If there are any more examples of this line floating around hip-hop, please post 'em in the comments. And what is it about this weird, little pop culture pun? Such a silly line, with a quirky appeal. Gucci Mane even brought it back it in 2010 on the song "You Know What It Is," saying:

"Smokin' weed in a leaf; bitches sweat me like I'm Keith."

A man after my own heart.  I always figured, if I were to record a rap song [don't worry, I never will], I'd have to bring that line back; so it's great to see that somebody's done it for me. By the way, I should clarify that Gucci actually has two songs named "You Know What It Is." One features Young Joc and is on his earlier The Movie: Gangsta Grillz mixtape from 2008. But the one with this line features Waka Flocka Flame and is off his subsequent Mr. Zone 6 mixtape. Except for having the same title, the two songs are totally different, with completely different verses, hooks and instrumentals. And only this one explicitly breaks down whether Gucci is in fact R&B legend Keith Sweat, and if he should therefore be sweated as such. So, say what you want about Gucci, but that's one of the realest, most authentic... cases of biting ever.

Buck! Buck! Buck! part 2

...And we're back. And it's still 2001 and. Josh Martinez & Low Pressure Records have put out his second version of Buck Up Princess, now sub-titled The Touring CD. It's got a pretty memorable cover of Josh in a mud pit (this photo appears on the inside booklet of the final album), and a black and white back cover with some funky artwork.

This version is only eleven songs long, the shortest of all of them. We no longer have any songs by completely unrelated artists; it's all Josh, building towards the album proper. "Rip Rap," "Theories," "BC Trees," "Nightmare," "Rainy Day" and "Women Loving Women" all return from the previous version, albeit with slightly altered spellings "Nightmare" is "Nightmarezzzz..." and "Sushi/Rip Rap" is now "RAP (r.i.p.?)." Even "Nova Scotia Baby" is back. Oh, and these are still the "demo" versions, by the way, though a couple songs (like "Nightmare") never really differ.

So those songs were carried over, others were taken away... that leaves us with four new songs. Or at least, four new titles. "The Long Way Home" turns out to be the song we now know as "Walk In the Park," though again, it's an early recording of it, missing Josh's opening chatter and the brief turntabelism by Scratch Bastard at the finish. And "Munks Inna Bunka" is actually "End Of the World," which I wrote about in part 1.

That means there's only two new songs. First we have "Never Say Die" featuring Hanni Hotstepper.: actually Logic from The Aboriginals using a silly name.  It's a pretty smart, back-and-forth duet with a funky guitar loop, even better than a couple songs that wind up making it to the final version. And finally we have "Another DAY, Another DOLLAR," produced by Logic. Now, you may recall the final album has two mixes of this song, one titled "Another Day," which opens the album, and then "Another Dollar," which is the last song. Well, this is "Another Dollar" - for some reason, Logic uses another alias - Cills - on there, but it's him again and the same track. And yes, it's another "missing the scratches demo" version.

So originally, this disc hit us with two new songs.; they were the selling points for fans to buy this CD  But now that time's passed and more versions have been released, there's really no exclusive music on this version, making this the least desirable in the series today. You don't need this in your collection unless you're a diehard completist.  But, uh.... no, I still won't sell you mine  :P

Now we enter 2002. Josh is still promising us that his new album is just around the corner, but in the meantime, he's got some more rough drafts we can buy to tide ourselves over. He released Buck Up Princess!!! (The Touring CD Vol. 2) on Low Pressure and then released it again as Buck Up Princess, Volume: Whatever on Good Luck Records. These CDs have exactly the same, identical track-listings. So that's how I came up with a half when I said there was 4.5 versions of Buck Up Princess. I just can't bring myself to call these two separate versions, and even I couldn't bring myself to purchase both.

So this one has essentially the same cover as The Touring CD, though if you notice the fonts are different, and of course the subtitle is, too. The back cover and CD itself are completely different, though, so they're easier to tell apart that way. Ten of the eleven songs from the last CD are on this one(!) - "Nova Scotia Baby" has finally been retired and "Never Say Die" has been retitled "These Pillllls!" But this album's longer, clocking in at 16 tracks, meaning we get 6 new songs.

So, what's new? "Hard Fall," "Uphill Climb," "Forged," "Blaze of Grey," One More Coffee" and "Deep End." All of those are also on the final retail version, and they aren't really "demo" versions. A couple songs, like "Uphill Climb," do feature some additional vocal samples at the beginnings and ends, but it's hard to say whether they're updates to the songs or just skits between the tracks that get blended in (the final version of the album uses a lot of snippets from movies). So in 2002 it was another six new songs to compel you to buy this next CD; but looking back on it now, it's not adding much. "These Pillllls!" never made it onto the final version, so you'll want to get one of the "mud pit covers" for that exclusive track. That paired with the demo versions (though the differences are just academic, not preferable) make them version reasonably collectible. I'd recommend either one - not both - for the dedicated fan, but no one else.

And finally, in 2003, the actual finished album dropped. And god damn is it good. It's got the new, final mixes of just about everything we've heard before, plus a couple additional tracks: "Hobo's Lullaby," "Bermuda Shorts" and the new version of "Another Day" that's even better than the old one (which is also here, anyway). This is indisputably the best version, and as I've said, the best album Josh has ever done. The production is fantastic, and Josh is on fire with both his flows and his song-writing. If you just swapped out a couple songs from other projects with the weakest three or four from here, Buck Up Princess would be a greatest hits collection all by itself. It was a slow and tortured journey, but the destination was surely worth it in the end.

I do have a few last notes, though, before I leave you. First of all, the track-listing on the final version is all screwed up: "Nightmare" is listed as "Blaze of Grey," "Uphill Climb" is listed as "Deep End;" and if you notice, the numbers jump from 5 to 8. This has only added to the confusion over what songs are and aren't unique to each version over the years. Then, the other thing I have to say, is that not only did most of this album get released years earlier on these tour CD versions (and label samplers) I've been talking about, but Josh had released many of these songs on other projects as well. There were two EPs: Rumble Pie (2002) and The Good Life (earlier in 2003), which were full  of Buck Up Princess songs, too. I think the man set some kind of record for selling the same songs to his fans the most amount of times. It was seriously ridiculous; and it's only because the album is so good that I've forgiven him.

Buck! Buck! Buck! part 1

Somebody recently tweeted me a question about one of the many, varying versions of Josh Martinez's Buck Up Princess album, which made me realize what an ideal blog post this album makes, what with all its obscure, different versions. There's a couple listed on discogs, and a couple others will turn up if you google around enough... Well, I think I have them all.  It's really hard to confirm that, though, considering how rare and unknown some versions are. See, for years before the main, commercial version of the album was released, Josh used to put out "rough versions" on the indie tip.* These were made to sell at his shows on the road and online, where the rest of us could snag them if we were quick and on the ball enough.

Buck Up Princess is, to my mind, Josh's best album; and one of the time period's best (and most under-valued) hip-hop albums all around. It had better be pretty f'ing good, after all, for me to have kept buying it over the years. But thanks to the fact that I did, I'm now in a position to break down every single version, compare them, and see what's special and unique about each one. Ready? By my count, there are... four and a half.

We begin in 2001, with this very homemade edition on Low Pressure Records, the precursor to Camobear. It's a hand-written CDR that comes in a slimline jewel case, and the artwork is a simple, black and white print out, folded in half to give cover and interior artwork, wherein the old Charles Atlas comic book ad meets airplane safety instructions.  All of these are strictly CD releases. by the way, except the final LP, which came out on both CD and wax. This version is fifteen tracks long, and you can see the complete track-listing for this and all the iterations on my Maxwell page. But as a short summation, this is the most removed from the final retail album of any version, not just chronologically, but content-wise.

This Buck includes some songs that had been previously released by Josh and Low Pressure, on sampler compilations and such, and a bunch of songs I suspect weren't ever intended to actually be on the official Buck Up Princess album. "Theories," for example, is credited both here and on its earlier sampler appearance as being by InkOps featuring Josh Martinez. I'd bet you two dollars that it was initially planned to be on InkOps' Low Pressure album that never wound up coming out. So it was stuck on here along with some other random tracks - a couple of these don't even feature Josh! - but slowly became an integral Princess element, lasting through every tour CD and eventually landing on the real album.

The track-listing is a bit screwy. "Rainy Day" and "Energy Crisis" (a duet with mcenroe that's didn't make it to the final version of Buck) have their titles swapped. One entry is left blank - they don't give a title for it - but we know from later versions that it's "Walk In the Park." And did I mention songs on here that aren't even by Josh? Yeah, there's a couple Governor Bolts songs on here that were never otherwise released, a Kaboom (of InkOps) song from his first album, and a DJ Moves-produced instrumental called "Boy Sex With Knowself."  I'll guess that it's maybe an instrumental version of a track off one of Knowself's albums; but I don't have those, so I'm not sure. There's also a song by Stubs, Seriph and B-Side... whoever those guys are, and a weird, instrumental/ skit called "Nova Scotia Baby."

It's important to note, too, that some of these songs are essentially early "demo" versions of the better known versions on the final Buck Up. At first glance "Sushi" sounds like an exclusive; but it's actually an early version of "Rip Rap" under an alternate title. The instrumental and lyrics are the same, but they seem to have been re-recorded a little cleaner for the later version. Josh's adlibs before he starts rapping are completely different, and this early version doesn't have the scratching at the end. "Rainy Day" is also missing the scratches from the later version, but instead has an exclusive outro with Pip Skid talking about healthcare. "Nightmare" is missing the scratch breakdown (sensing a trend here?) and the opening vocal sample. And "Walk In the Park" is missing, yes, the scratches... but it also doesn't have the distinct echo effect on Josh's vocals, making it sound decidedly more ordinary.

Finally, there's "End Of the World," a Josh solo song (produced by Moves) that never made it to the final version of Buck Up Princess. Josh raps a literal narration about the end of the world over a dramatic, low-key instrumental (with some cool cuts, presumably by Moves). "I nearly died that day when I was carried underground; thinkin' fightin' why can't I follow all these people I've seen fallin' down?" Although I wouldn't rank among my favorites, it's a good song. I suspect it may've been removed from later versions simply because of the darker tone.

So ultimately, only seven songs from the final version (which has 17 total) are on this early disc. That means there are eight "exclusive" songs, though many of those appeared on other releases, and again, several don't even feature Josh. This feels like half a Buck Up Princess album and half a Low Pressure sampler. A pretty neat collectors' item for the serous fan, for sure.

And golly, that was long... and we only covered the first disc. Looks like this is gonna have to be a two-parter.


*This isn't the first time he'd done this. There are at least three incarnations of his previous album as well.

Father MC World!

(Take a journey with Werner into the world of Father MC and his... mostly debut single, "Treat Them Like They Want To Be Treated."  I get a bit silly on this one; see it before I think better of the whole endeavor and delete it! Oh, and the Youtube version is here.)

Spittin' Game In the Vegetable Garden

So, I've done a couple posts on Z-Man's side projects on this blog; but, to varying degrees, none of them have really been to his strengths. The Motel Crew, that pink 12" with Automator... And the One Block Radius stuff was especially disappointing. Through it all, it was still evident that this was a really great MC; but they just didn't hold a candle to his regular stuff. It was frustrating to see him experimenting with different genres or artists who weren't on his level, because it just felt like it was all wasting time he could've spent doing a real, dope album just by himself. Well, here's a Z-Man side project that happily breaks that trend; a side project that's just as good as any solo releases, albeit a little bit weirder.

It's called The Vegetable and the Ferret, and it's a collaborative album with White Mic of Bored Stiff, an underground San Francisco crew that dates as far back as Z himself. It's a limited edition cassette available pressed in Finland, for some reason; but since most copies were surely sold online or at shows, that doesn't make much difference in the long run. Only 100 hand-numbered copies were pressed (mine's #37), so that makes this harder to find than its country of origin.

There are no production credits on here, but whoever did what did it right. The tracks are really funky and thumpin'; just like the best of the indie, west coast underground scene from back in the 90s. And lyrically, it's just as refreshingly sick. One song is a surprisingly sincere examination of their roles in underground hip-hop, at once complaining that nobody supports the real, credible MCs, while at the same time not buying the tapes of their fellow artists themselves. Then another song is a bugged out extended metaphor about vegetables in a garden:

"Check it, ok;
The vegetable wasn't genetically modified;
He was organically grown
Without the pesticide.
I could testify:
His plant life wasn't the easiest,
He was a whole different strain
Around a gang of devious
Hedonists; mischievous,
Weavin' through the garden,
Hustlin' that sweet cream,
Not one fiend starvin'.
Rats and raccoons
Plottin' on how to rob 'em
For every little bit he had
Kill 'em than gobble 'em
Up, everything but
His big golden heart
He was known for;
What he built they try to pick apart.
But that's the homeboy,
Sippin' corn whiskey with the crows
Talkin' shit, cappin',
Blowin' broccoli smoke;
Talkin' to these folks like they relatives,
'Fuck the competitors,'
Goin' through his big lettuce head
It's Brussel Sprout
Lookin' out for the fat-faced farmer.
And these chocolate chickens
Tryin' to be his baby's momma;
But a really, really jealous rooster
On the barn top
I got beef wit',
Fuck him up and bare - why not?
Hot like a pot of grits
Killin' watermelons,
Duckin' buckshots,
Blood hounds tryin' to get rid of
The buh-buh-booty.
Me and vegetable have so much in common;
We're smarter than they think
And bigger than this garden."

And that's just one verse! I mean, the rhyme scheme is pure Kool G Rap, and the delivery is classic Z spittin' game, just a little bit slower over a track that's oddly mellow and smooth, with whistling and birds chirping over a cool bassline. It's totally crazy and wonderful. The whole tape's vibrant and lively, with crazy sound bites between the songs; it would fit right at home on Beneath the Surface, though its sound actually reminds me a lot of old Raw Produce.

There's a number of guests, including several appearances by other Bored Stiff members. There's also Akil (of Jurassic 5) and a couple names I don't recognize. There's not so many that it ever feels like White and Z have lost the wheel; and they all feel right at home on this production with their mates. Really, everything just works. Every time it starts to too crazy, they bring it down to Earth. And well before things get dry or generic, they get creative again. If you remember fiending for those ill 4-track tapes they don't make anymore, this is exactly what you've been missing.

You can find this on mp3 everyplace, and the label will sell you CD-Rs which is better, but this feels absolutely designed for cassette; so if you can find a copy (I got mine from accesshiphop), I urge you to listen to it the right way. Otherwise I'm sure it would still be fresh; but the charm and the magic would still be diluted. White Mic has gone on to release two more solo tapes on this label (Hiss Tapes... though their sound quality is actually quite clean and well mastered). And while I really picked this one out because of Z-Man, after this tape, I'm gonna have to check for those others and look at some of those other tapes. I'll need something to tide me over while I wait anxiously for a sequel.

Master Ace From the Parallel Dimension

Anybody who grew up in hip-hop has to have a lot of "what if" scenarios running around in their head... What if Ice Cube had never lefr NWA? What kind of records would they have made after 100 Miles & Runnin'? What if The Beastie Boys stayed with Def Jam and Rick Rubin? What if The DOC had never lost his voice? What would a new Biggie record be like in 2013? You know he'd be making millions just ghost writing for Nicki Minaj alone. Or what if Duval Clear never moved to Delicious Vinyl and went from being Master Ace and Action³ to Masta Ace Inc? How would that have sounded?

Well, thanks to Chopped Herring Records, we can finally get a glimpse into that last alternate reality. Shelf Life vol. 1 is an EP worth of tracks (mostly) recorded for his second Cold Chillin' Warner Bros album that never happened. Their website tells the story, "sales were dipping slightly and Warner Brothers, who were responsible for Cold Chillin's distribution, in true management consulting style came in and started making cuts. Literally cuts were made - a line (not a figurative line an actual line) was drawn (probably with some kind of square/un-hip fountain pen or possibly a quill!) between the keepers and the ones who had to go! Ace was the first name under the line. Above the line were the usual (and entirely guilty) higher selling suspects: Kool G Rap & DJ Polo, Biz Markie, Big Daddy Kane and below were the new signings and Ace. Ace was offered the chance to drop his second album on Prism but declined - why downgrade?. It was at this point his manager began shipping his talents to other labels and it wasn't that long before Delicious Vinyl bit. Unfortunately all his work for the second album was not part of the new deal so had to be discarded at the time." And so yes, Chopped Herring has just un-discarded it for us.

To be honest, I've always been a bit on the fence about Ace's Delicious Vinyl years. I mean, sure, who couldn't love "Saturday Night Live," the introduction of Lord Digga, "Jeep Ass Nigga," that crazy cut with the Cella Dwellas, and all the great highlights? But still... the experiments with production style and flows, some of the more extreme concept songs... sometimes he started to get a little weird; and to be honest, I just wasn't ready to let Juice Crew-era Ace go. And, now granted. You can't put everything on Delicious Vinyl and leaving Marley's nest... a lot of his musical evolution probably would've taken place no matter where he was at. And again. the changes weren't all bad... one of the most exciting aspects of Ace is how he's proven himself able to not only adapt but be a stand-out MC in all different eras. But some of those shifts were frustrating, and that theoretical Cold Chillin' MastER Ace has always been in the back of my mind.

And now, holy shit, he's on my turntables! It's not totally Take a Look Around sounding, though... The production on that album was all Marley (and a couple songs by Mister Cee), and this material is mostly self-produced, just like a lot of Ace's Delicious Vinyl stuff.  Like I said, a lot of his musical evolution was gonna happen regardless. But it does certainly bridge that gap. Also, the stuff here sounds more raw, but I'm not sure how much of that is due him being to a different creative head space, and how much of it is just these tracks not being fully polished, final versions meant for the public. Some of these might be rough versions he planned to re-record or who knows what. Certainly the sound quality suggests these aren't fully mastered reels a big budget label would've put out.

How much that's a plus or minus will probably depend on your own taste, but I think that raw feel definitely works in the favor of the opening track, "Kick It On the One." It's just an ill, hardcore freestyle track with Ace trading rhymes back and forth with a very young sounding Paula Perry. Her voice doesn't sound fully developed yet here, but that doesn't hurt the track at all. It's a killer and would've been a highlight on any Ace album.

Speaking of young sounding, the next song features the EP's only other guest, Sha Stimuli. Then known as Kid Dynamite, I don't know just how young he was; but he sounds like he easily qualifies as "kid rapper." That doesn't spoil anything, though, as "Hell Up In Harlem" is a hot track and a radical political salvo. ...It also doesn't seem to be at all faithful to premise of Larry Cohen's original Hell Up In Harlem film, but who cares? It's dope.

There's a couple other unreleased tracks (including two surprisingly produced by Delite of Stetsasonic), and an original, unheard early version of "Jack B, Nimble," which was an album track on Slaughtahouse.  Some of the elements are the same, including the fresh "Jack of Spades" cuts on the hook; but this one is definitely higher energy, matching the frenetic energy of the story, Jack on the run. I like it better.

And finally, I said this EP was "mostly" recorded for Ace's second, shelved album, right? That's because the last track is an instrumental for "Ace Iz Wild." That was a Marley-produced cut from his first album that was never put out as a single or any other method that would've given us the instrumental version. So here it is now, for the first time. Personally, "Ace Iz Wild" was never one of my favorites... when I used to listen to Take a Look Around back in the day, I'd often flip the tape over after "Four Minus Three" to skip it. I mean, it was good, but the hook was goofy and it just never quite caught on with me like the rest of the album. And unfortunately, that hook is included on instrumental track. But, still, I know a lot of heads will be happy to finally get their hands on it, so I'm happy to see it here. Just not as happy as I am to see the parallel dimension Master Ace material.

Now, who's going to release the record telling us what we would've gotten if Queen Latifah stayed with DJ Mark the 45 King?

Prince Paul + Chill Rob G = Greatness

Chill Rob G is definitely one of those artists who should've had more albums. It's one of those "the music industry screwed up" stories that he only put out one album in his heyday, because he definitely had the critical and fan following to support a fuller career. But because his output is so limited, it makes every rare B-side or remix all the more essential. Especially when it turns out he ventured outside of his safety zone of making incredible tracks with The 45 King to record with the one and only Prince Paul.

Yeah, this is his 1990 single "Let Me Show You," which features two tracks from his classic album, Ride the Rhythm. But they're not the album versions, they're subsequent remixes. It also comes in a fresh picture cover and includes instrumental versions, so it's pretty sweet.

So, yeah, the A-side: the "Let Me Show You Ultamix" is remixed by Prince Paul and Pasemaster Mase, a.k.a. Maseo of De La Soul. Now, it's hard to say that this is better than the album version, because we're talking about prime 45 King production here. But as you can imagine, their Ultamix is zanier, and uniquely fresh. While the original was tough with a killer horn sample, the Ultamix is upbeat, with a new horn sample, a piano riff that Paul used for somebody else and a crazy cartoon sound effect in the main loop. They two versions are totally different and don't feel like the same song at all... If Chill didn't have some memorable lines on this song ("the truth will set you free, let you see the light; there's no need to watch TV tonight"), they probably could've slapped a new title on this and nobody would've noticed (just like they did with "The Power!").

Now you're probably less excited for the B-side remix, the Midnight Remix of "Make It" by Nephie Centeno. That's understandable.  First of all, "Make It" is the album's token house track. And secondly, who the fuck is Nephie Centeno? But come on, you can't front on 45 King's house tracks. He had a way of making some of the few hip-house tracks that could stand alongside the purest of hip-hop tracks. Younger heads might not quite get it, but if you were their age back in the late 80s, I don't believe you were skipping over these tracks.

And as for who's Nephie Centeno? I have no idea (though he has a couple other credits on discogs); but he plays it smart by not spoiling DJ Mark's work. While Paul and Mase essentially made a whole new instrumental for the acapella; Centeno keeps pretty much all of the original version's elements... same key sample, same funky bassline, same vocal sample on the hook... he just adds some elements, freaks it a bit, and makes an even more club-friendly version of the track. He also extends it by an extra two minutes, repeating the second verse (just like they did with "The Power!") to make it a proper, three verse song.

A fun note about the Instrumental version of this remix, by the way... While it's naturally missing most of Chill Rob's vocals (being an instrumental and all), they've included some new vocal samples to flesh it out, including Mel Brooks' sleazy "come on, do it... you know you do it" as King Louis XVI from History Of the World, Part 1 (plus, I guess if we're naming vocal samples, that "okay, chaps, take it from the top" line The Fat Boys used on "Rapp Symphony (In C-Minor)").

Now, how essential this 12" is depends on which pressing of Ride the Rhythm you have. The original pressing just has the original 45 King versions of both songs. But later pressings added the "Let Me Show You (Remix)," transferring a lot of the value from the single to the album (just like they did with "The Power!"). The "Make It" remix is still exclusive to the single, though. So if you've got an original LP, you'll definitely want the 12"; but otherwise, it depends how highly you rate a tweaked house track.

Wack Attack #2! Tone De(a)f

(The wack Youtube version is here.)

Introducing... Dr. Dre!

Shout out to Darrell for this hooking me up for this post. :)

A couple years ago, I talked about Ice Cube's first appearance on wax... not as part of NWA, even before The CIA. So now I'm going to do the same for Dr. Dre... again, before NWA. Even before The World Class Wreckin' Kru: this is "Scratchin' 100 Speakers" on Saturn Records from all the way back in 1984.

Saturn was a cool, early West coast label that released stuff like Captain Rapp, Ice-T's earliest B-boy singles, etc. And on this record, they actually managed to score a couple of important debuts all on one 12": not just Dr. Dre, but also the great DJ Unknown, and also DJ "Gee."

Now, if you look at the label scan I posted, you'll see how the billing's kind of confusing. It says "Arranged and performed by Daniel Sofer," then the 12" is collectively titled "A Dr. Dre Scratchmix: 'One Hundred Speakers'," and then it goes on to list the specific tracks on the 12", which credits individual artists. Also, one side is labeled "side A" and the other "side AA," so we all get to decide for ourselves which should be considered the true "A" side of this record. The only way to really sort out what's what is to give it a proper listen and work it out.

For all the artists making their debut on this single, one guy who wasn't appearing for the first time on wax is this Daniel Sofer guy. He'd been involved in funky electronic music since the 70s, and already had another 12" of his own under his belt. He did a lot of synths and drum programming for west coast artists who were transitioning from DJing to making records, including Ice-T, Arabian Prince, the Wreckin' Kru and DJ Unknown. He did the drums and bass on this record... In fact, he's the guy who wrote the manual and recorded the internal sounds for the DMX machine they all used. I highly recommend this interview with the man over at westcoastpioneers; a really important person in the development of west coast hip-hop who most people have probably never heard of. About this record specifically, he explains, "Cletus Anderson of Saturn Records had me come to the studio -- I'm not sure how I hooked up with him, probably he heard my demo -- but I was there in the studio and Unknown and Dre were rapping and scratching."

So, what we have here are essentially three variations of one song.  Not variations like on most 12"s where you'd have an Dub Mix, a Radio Edit and a TV Version, but three versions that could each stand on their own, which other early west coast singles did, too. Think of the Rappers Rapp label 12" of "When Doves Cry Rapp," which had essentially three different covers of Prince's "When Doves Cry" by different hip-hop acts from the same crew. Except in this case, the track they're all using is original to this 12", and it's by Daniel Sofer. And since this 12" is a double A side, I'll just arbitrarily decide which version to start with.

To make it interesting, I'll start with Dre's version, "Scratchin' 100 Speakers." Specifically, this is credited to Dre and Unknown (who, remember, was also making his debut here); but as he has his own version coming up, I'm pretty sure this version is mostly Dre's. The record is labeled as being his scratchmix, after all; and that's what this is, Dr Dre getting busy on the turntables over Sofer's track. The instrumental's exactly what you'd expect if you're familiar with west coast hip-hop from this era: big hand claps, cool electronic bass notes and big yet subtle drums. There are no vocals, just Dre (and Unknown?) laying some nice cuts for 1984, and bringing in a constant variety of fresh sounds. The cuts are played a little light in the mix, unfortunately, which places too much emphasis on the under-laying beat; but if you pay attention, you can hear he's already light years ahead of "The Adventures of Grandmaster Flash On the Wheels of Steel" in terms of turntablism. The second half of the song features less cuts and lets the beat ride and change up a lot more (I suspect parts of this might be Unknown's contribution, rather than the scratching); it's never just simple loops repeating, but a very alive track, altering and bubbling all the way through.

After that we get the other artist making his debut. He's not nearly as famous as Dre, and didn't have the long or influential career of Unknown, but he still merits a mention. He's DJ "Gee," also known as M C G, who released that funky "Friday the 13th" record I blogged about a few Halloweens ago. He uses the same Sofer beat but provides his own raps and scratches to his track, "Rappin' 100 Speakers." To be honest, his rapping is a little sloppy, but his cuts are cool. This is the weakest version on the 12", but I don't think it's all about Gee being wack (I like his style in general), so much as the track is just too staccato for him. Some smoother keyboards or something behind his vocals would've really held him up, and he probably should've re-recorded some of his lines.

Then, finally, we get the "Rhythm Rock Rapp," which is ostensibly Unknown's solo version. But if you look carefully, you see Dre is credited as a writer on this version, too. It actually uses a lot of the same scratches from Dre's version, but this time they're regularly interrupted to allow for full rap verses by Unknown. Perhaps these are Unknown's cuts, and the repeated cuts are the ones he's credited for on Dre's version, or more likely, he's rhyming with Dre's already recorded cuts from "Scratchin' 100 Speakers," which would be why he gets credited for this mix, too. Either way, the ultimate effect is that this turns Dre's instrumental scratch track into a "proper" song. Unknown's raps are okay - he sounds decidedly softer here than he would on his later projects, which of course used a lot of vocoder. Nothing fantastic, but since, like I said, Dre's version downplays the best elements in the mix, this version winds up with the most energy and feeling the most compelling.

So, yeah, this is where Dre got his start - the first time he went from DJing at Eve After Dark to working in the studio. Later that year, he'd start making records as a member of Telesis and of course the World Class Wreckin' Kru... then the rest, of course, is history. And while it might at first appear to be a humble debut, he actually acquits himself quite well and demonstrates a talent to watch out for.

Man, I can't believe this is my first Dr. Dre-related post on this blog.

How Young Zee Could Just Kill a Man

(Youtube version is here.)