I been in this game for months, now I’m an A.D.D. animal
It’s rules to this shit, I wrote me a manual
A step by step booklet for you to get
your Twitter game on track, don’t Wale yourself Jack
Rule nombre uno: let everyone know
every efin’ thing you do, cause you know
Hundreds of followers breed jealousy ’specially
if that update fucked up, suck your teeth up
Number two: never let em know your next move
Twitterati hate silence but heart text violence
Eat a dick hipster rappers (uh-huh)
I done typed mad updates while driving state to state
Number three: never trust no-bo-dy
Your moms’ll follow ya Tweets, that’s type corny
PR’s spam ya shit, for that fast buck
try to game a dame to tear that ass up
Number four: know you heard this before
Name-dropping is frontin’, shit’s a straight bore
Number five: never Tweet about biz in the street
I don’t care if it sounds tough, someone’ll call ya bluff
Number six: that god damn phone credit, dead it
If you’re not on unlimited browsing then forget it,
Seven: this rule is so underrated
Keep your blog and Twitter account completely seperated
Updates and posts don’t mix like two dicks and no bitch
Find yourself in serious shit
Number eight: never reveal your plans to you-know-who
Them cats that follow your feed can start blogs too
Number nine shoulda been number one to me
If you’re drunk out your mind stay off the updates homey (uh-huh)
If Twitters think you lyin’, they ain’t buyin’
They be sittin on your RSS, waitin to text more mess
Number ten: a strong word called obsession
Twitter will get you hit by a bus at the intersection
Tap out the Crackberry while you crossing the street
Facebook lost, that dame shit can’t even compete, uhh
Sometimes there’s more to being a legendary rapper than classic records. You might have heard Silver Fox on one of the three 12” singles he released as part of the Fantasy Three, but his legacy runs a lot deeper than a mere mid-80’s footnote. Having established a reputation as formidable MC through battling at parties and clubs all over New York, this Grant Houses resident from Harlem would soon go on to mentor two of hip-hop’s greatest lyricists – LL Cool J and Kool G Rap. Considering that the lyrical techniques Fox passed onto Kool G Rap were adopted by everyone from Big Daddy Kane, Big L to Nas, it’s clear that his influence is still being felt to this day.
Robbie: How old were you when you started writing rhymes?
Silver Fox: I was an old head – I was 21 years-old. When I started, the only people older than me were Melle Mel and them. I had went to Alaska in ‘75, when hip-hop had already started – but I wasn’t really into it then. I was into the Funk era – Brass Construction, BT Express. When I came back, I went back to the projects where I grew-up at. Then I see these guys out here with these turntables and this music and stuff, and they were swiping the electricity from the lamp posts. I was like, ‘Man, what are these guys doing?’ It was amazing to me. So I came out there and I listened to ‘em, then I went to the crib, wrote a rhyme down and I came down the next day like, ‘Yeah! I got it!’ And it was butt! I mean my rap was pure garbage! I made some ol’ Mickey Mouse rhyme – and I mean that literally! My brother snatched me off the stage like he was saving my life – like somebody was throwing a bomb at me or something. He grabbed me, ‘Nooooooo!’ He literally took me off of there. My brother Wes, he took me in the staircase and he’s like, ‘Man, I don’t know what you was doin’, man – but that’s not it! That was garbage.’ I was like, ‘Well, OK. How is it done then? What you think I should be doing?’ One of them type of numbers, right? So then he started bangin’ on the staircase, going, ‘Boom-bap! Ba-boom, boom-bap!’ And he started going, ‘The W-E the S-S-U and when I be on the mic I play it real cool/They call me Wessu, so I’m tellin’ the tale – the bad, bad brother that likes to throw down!’ I was like, ‘I’m the R-E double G-I-E…’ At first I was calling myself Reggie Reg, but then I found out that somebody else name was Reggie Reg. There was three of ‘em. So now I had to think of another thing. There was a thing for the Audi ‘Fox’, and it was the silver edition, and they called it the Silver Fox! I said, ‘Oh man! That is bad! I like that, man’. So now I was Silver Fox. Now I’m writing, I’m spending all my time writing and writing and memorizing. I got this crazy memory, man – things just stay up in my head, like books and stuff – so all these rhymes, I just started memorizing. (more…)
Thanks to Freestyle Records, I’ve just gotten the Showbiz & AGBroken Chains demo LP. Amongst the alternative original versions (including a sick mix of ‘Diggin’ In The Crates’ with a different Show verse and an extra horn break) is this piece of vintage D.I.T.C. material – an unheard Show & AG song produced by Diamond D.
If you’re quick, there might be a couple of copies still available.
Any cheeseball can make a song about how great their mother is, but why should we give a shit? Here are six songs that may make your old earth cry a river (or at least get off the pipe).
Audio Two - ‘Get Your Mother Off The Crack’
Milk D has been something of a role model to me as I’ve grown up. Thanks to his sage words, I try and eat cherries, drink milk and keep ma duke away from my stash of whoolas. (more…)
So I get back from a short holiday in the great outdoors and amongst the hundreds of shitty mass emails from MySpace rappers which begin, “Love the blog, please post my song” I actually find two items worth posting!
For starters, Brooklyn resident Combat Jack – who previously dropped classic anecdotes about Puffy beating up Pos K and Pete Rock getting snuffed by the YG’z, has got his own spot and has already knocked out four posts. This discussion of Easy Moe Bee’s woe’s in the industry is a good place to start.
This is already everywhere but how can I resist a compilation with a demo version of Kane’s ‘Ain’t No Half Steppin’”?
It’s only a matter of weeks before someone, somewhere decides that it’s time to record ‘The Bridge 09′, so as we like to do here at Unkut every couple of years, let’s take a look back at all the current incarnations of MC Shan’s ode to his hometown… (more…)
There’s not much that Freddie Foxxx hasn’t done in his long career. Whether it’s working with all your favorite producers, stealing the show from big name MC’s with his legendary cameo spots or just plain knocking rappers out for charity, Bumpy Knuckles has got you covered. Fresh off the release of his shelved Crazy Like A Foxxx album through Fat Beats last year, Foxxx was ready to talk about his ups and downs in the rap game, as we discussed everything from the early days of Long Island to his battle with Kane.
How did Supreme Force come together?
We were just trying to emulate the Cold Crush 4. We were puttin’ together a crew of young, talented guys who ended-up sounding really good together. We used to do backyard parties, we had battles with other crews and were buildin’ up our stamina. When we heard Run-DMC it was a whole ‘nother level right there. I wanted to make records professionally at that point, and we all felt the same. We started off with two DJ’s and five rappers, then it ended up bein’ the two best crews who always battle in our town – we ended up merging those crews together – the best of each of each one. One of my DJ’s actually started rapping, so it was him – which was Cool C – Easy E and myself were rappers, and we kept two DJs. Then I ended up gettin’ rid of the two DJs and goin’ to Queens and finding another DJ, and that’s when we made the first record.
What kind of a response did you have when that record came out on NIA? Did you get good feedback?
Not really, because we didn’t really have no promotion behind the record. Local cats knew it, everybody was happy we had a record out. We knew we existed at that point, and that’s what utilized it for.
Had you already known Eric B. before your solo album?
Nah. Eric wanted to sign me initially and I didn’t think that Eric was serious at first, but he kept sending the message to me that, even though he ended up working with Rakim, did I still wanna sign? So we finally ended up getting in the studio together. I actually produced Freddie Foxxx Is Here. Eric gave me a platform to produce it – it was his studio time. He used to tell me, ‘Just work until Rakim show up’. There were a few times that Rakim didn’t show up at all, for whatever reason. I just kept working and I ended up doin’ the album in a month. (more…)
Attention all G Rap stans – straight from Marley Marl’s master reels – and via DWG’s incredible Juice Crew EP – I present to you a never-before heard slice of KGR brilliance from the Road To Riches sessions. In case you needed a reminder of who the GOAT of rap is….
Kool G Rap & DJ Polo - ‘I Declare War’
The vinyl’s already sold out, but you can still catch the Lungbutters CD, mixed by DJ Format, from DWG for £12 GBP (OR £17 GBP with the Main Source 7″) by emailing here.
Dennis “Cutty” Wise (aka “Coach”) doesn’t take shorts. Whether he’s doing a 14-year stretch or working the heavy bag at his gym, this dude don’t eff around. That’s why he was the only possible contender to host Unkut’s 2008 Rap Round-Up. If you remember Bobitto’s Blindfold Test column where he plays records and asks for a response then you know the deal here.
Prodigy -H.N.I.C. 2
Cutty: Mmm hmm, this boy curses too much, man! Got a real unsociable attitude, too. Kinda like that boy who done put two in me when I was tryin’ to talk to Michael on that corner. That song with some Spanish in it was OK, though. You know I picked up a few of those Spanish curse words from doin’ them lawns, sonny. (more…)
After forming meeting at high school out on Long Island, Curt Cazal, B Luv and AJ Rok (who was originally from Mt. Vernon) would spend three to four hours every day rehearsing their routines. It wasn’t until they were all in college that the J.V.C. F.O.R.C.E (Justified by Virtue of Creativity For Obvious Reasons Concerning Entertainment) began to send their demo tapes out to labels. They now admit to being a little surprised when B-Boy Records offered them a deal on the strength of ‘Nu Skool’, which the group considered to be their weakest song at the time. According to AJ Rok: “Rock Candy Records was the label. Scott La Rock approached them about doing a label, and B-Boy Records was supposed to be – on paper – the joint venture between Scott La Rock and Rock Candy. That’s originally how it started. But what happened is, the people that owned the label – I think it was two Jewish guys, and a black dude – because Scott never put no money up, they let him say you’re an owner…but the paperwork didn’t reflect that.” J.V.C. Force’s debut single for the label, ‘Strong Island’, was originally recorded as the B-side to ‘Nu Skool’, but once it was laid down there was no denying the power of that song and it went on to become a huge hit as the A-side in 1987, and was quickly adopted as the anthem for the still-emerging hip-hop scene in Long Island. By sampling Chuck D’s rallying cry of “Strong Island!” from Public Enemy’s ‘Bring The Noise’ ‘Rebel Without A Pause’, J.V.C. were the first crew to really stand-up and represent Long Island to the fullest. (more…)
So you saw this a while back and thought, “Why should I give these humps money when I can watch it all on the interwebs?” Fair question. It just so happens that my copy arrived today so allow me to guide you through the HD experience, episode-by-episode, in all it’s glory via my all-new, 2009 edition WIN/LOSS review system.
‘Bodega’
Win: I can now clearly make-out the use by 11/20/05 stamp on the Lay Linda Original Iced Honey Bun on this HD edition. Eff you, YouTube!
Loss: I saw a close-up of Rafi’s teeth. Are those poppy seeds?
ROFLCOPTER: Dallas: *Holding st. Ides 40* “This will have you ready to smack your mama” Rafi: “That’s the main objective!” (more…)
Meyhem’s been putting it down on every J-Love tape since I can remember. Here are a couple of cut’s from his Self Induced Illness mixtape project. ‘Timeless’ is some late night action shit, while ‘Got The Fever’ is the best graff song since Tame and El were pals.
