Bobby Simmons [Stetsasonic] – The Unkut Interview, Part Two
Continuing my discussion with Stetsasonic drummer Bobby Simmons, we discuss touring, Flavor Flav ethering Prince, the rivalry with EPMD, beef with WreckX N Effect and vaulted tracks.
Robbie: Touring must have been essential back then.
Bobby Simmons: The best tour I’ve ever done was that Run-DMC Run’s House tour. Every night I would sit on the side of the stage and I couldn’t wait to watch Run and them’s show. Run and them were just amazing to watch. When you watch Krush Groove and you saw Jam-Master Jay cut that “Run! Run!” You were like, “Oh shoot! They getting ready to do something!” It was really that kind of intensity in the air, waiting for Run to come on, and DMC just standing there with his arm’s folded. You just couldn’t wait to see Run walk out! Then when he came out, Run really controlled you with what he said. You didn’t see that in the movie. You didn’t get to see people take their Adidas sneakers off and put it in the air. When I saw that, I said, “This is it. It’s finished.” Who in the world can get everyone in Madison Square Garden to take off their sneakers and put them in the air? All you saw was different colored Adidas in the air. It was amazing to see that command. It was beautiful.
Ten EPMD Deep Cuts
Erick and Parrish made some dollars, then “someone” robbed P’s crib and E Double “fell” out of a window. We’re all familiar with their many hit singles, but here are a selection of worthy album tracks from the seven group albums, plus a couple from when they went for “delf.”
Track By Track: Diamond D Breaks Down The Diam Piece Album
Diamond D is releasing his latest project, The Diam Piece, on 30 September so I caught up with him to find out the stories behind each track and get a little bit of insight into the process of constructing a production project with so many guests.
Diamond D: It’s more or less a production LP, about two and a half years it took. A lot of tracks I didn’t even use. I had about 27 tracks but I only used 18. Some of the artists I was in the studio with, and others – because of their touring schedule and my touring schedule – I just sent them music and they sent me the session back. If the track that I give them has a sample in it that’s giving it direction then they’ll follow that. If there is no sample or concept at the beginning I just let the MC’s paint their own pictures and try to figure out how can make it connect. I use a lot more live instrumentation now. I still chop and manipulate samples, but my sound just sounds bigger now. Just using better equipment so the sample frequencies are better.
Bobby Simmons [Stetsasonic] – The Unkut Interview, Part One
Bobby Simmons is best known as a member of Stetsasonic, the original “Hip-Hop Band,” but during an extensive conversation with him last week he also shared some classic memories about Melle Mel trolling new rappers in the late 80’s, a two-year stint as a DJ at the Latin Quarters and the escapades of Eric B. and Rakim‘s main muscle, the original 50 Cent. This is part one of a three part interview, so get comfortable…
Robbie: Did you study drumming at school?
Bobby Simmons: I self-taught myself drums, I was six years-old. My brother was in the music business too, he was a session guitarist for groups like Sister Sledge and Dan Hartman in the mid-70’s, so I kinda self-taught myself listening to a lotta the records that he would play and trying to figure out the drum – what does what. The first record that I actually learned how to play – that took me from when I was six to when I was seven – was the Ohio Players. The drummer, Diamond, I was so fascinated how he played drums on ‘Skin Tight’ and ‘Fire,’ I wanted to learn to play how he played. The drum sounds were heavy, the snare was fat, the kick was fat, and Diamond used to do all this fast foot [work] on the pedal.
From there I played in my brothers local band and just kept myself active doing that. Deejaying also helped me how to play drums too, cos in the early 80’s it helped me how to blend timings and beats, with the disco records and the Chuck Brown records and the James Brown records helped me keep great timing. Knowing how to keep timing and knowing what the kick and snare and the hi-hat do, I self-taught myself. I kinda wish I was taught and went to schooling to read for it, but my father took me to drumming school and I never went back. It was taking too long! “I wanna get to this part!” [laughs]
Great One-Shot Wonders
These aren’t one hit wonders, since none of these records were technically “hits” in the traditional sense. This is more of a collection of rappers who only got one chance to shine before they got a steady city job with a pension or dangled in record company hell for all eternity.
Ten Essential 80’s Rap B-Sides
These are ten essential 80’s b-sides, from the time when the 12″ single truly reigned supreme. “La Di Da Di” isn’t included as it’s basically a double A-side single for all intents and purposes. Technically “Ego Trippin'” also started out as a b-side on the second pressing of “To Give You Love,” but those are so scarce it barely warrents a mention.
Download: A Salute To Duke Bootee
Perhaps best known for providing Melle Mel with the beat to “The Message” while working as a Sugarhill Records session player, Duke Bootee went on to unleash a series of DMX/Linn Drum driven speaker smashers for Profile and his own Beauty and the Beat imprint, as well as his own solo album. When combined with a great scratch DJ and some effective Shout Rap (Word of Mouth‘s “King Kut”) or the hardcore b-boy stance of one-time Rammellzee rhyme partner and a razor sharp Latin Rascals edit (K-Rob‘s “I’m A Homeboy”), the trademark Duke sound was unstoppable. Here’s a collection of his production and vocal work, including that time that Bootee was recruited to record a guest rap in Ewok…
Download: A Salute To Duke Bootee
Ten Album Tracks From The 90’s That Deserved To Be Singles
A selection of tracks worthy of twelve inch status on the grounds of how great they are. The fact that I don’t own proper instrumental versions of any of these kills me a little bit inside every day.
Domingo – The Unkut Interview
Domingo‘s latest album, Same Game, New Rules dropped this week, featuring a mixture of veteran MC’s (AZ, Kool G Rap, KRS-One) and new jacks (Chris Rivers, Kon Boogie, Joey Fattz), so I took some time out to discuss some of the highs and lows of his long career in the music game, and found out some amusing trivia about some LL Cool J and G Rap songs in the process.
Robbie: What sparked you off to start making beats?
Domingo: My uncle used to go to radio personality college and he started deejaying for a radio station in Chicago as an intern and then became a radio personality there. He would send me cassettes back of him deejaying and I was always fascinated. When he finally came back home to Brooklyn, he threw his equipment in the basement of my grandma’s house where I was living and he would DJ down there and play the drums. My uncle was very multi-talented, I would just sit there and watch him. I always remember him playing “King Tim” and then he played “Rapper’s Delight” and Kurtis Blow. When “Rapper’s Delight” came out, that’s when I was hooked. One day I started deejaying and then it transcended into me wanting to do demos and write my little raps and do battles in the street. I did my demos with two tape decks, back and forth how it used to get done, then I went on to four tracks.
What was it like growing up in East New York back then?
East New York was homicide central, like Jeru said. I grew up with Jeru, Lil’ Dap – childhood friends. A good friend of mine, his nickname is Froggy, and he’s like family to me. We always say that we “graduated.” We were lucky to live to 21. I could take you to the cemetery and show you a row of all my friends who are dead. East New York was a very rough neighborhood, man. Early childhood memories is gunshots, trains running past my house – the L train, cos my house is right near the corner on Sheppard Avenue. Growing up with my friends – my friends are still my friends to this day! And the fact that one of my good friends named Edison, who I grew up with, if it wasn’t for him putting me in his father’s Chevy Caprice Classic and telling me, “Domingo – this is you all the way! Let’s go see Marley at ‘BLS, he’s looking for people.” If he didn’t drag me there, I would’ve never met Marley.
Download: Debonair P – Debonair Blends 11 [1990-1992 Megamix]
The eleventh volume of Debonair P‘s blend mixes has just dropped, this time covering the first two years of the 90’s. You can download or cop a bundle of CD’s from his Gentleman’s Relief site, which includes the exclusive Hydra Beats megamix.
Ten 90’s B-Side Deep Cuts
The good thing about actual singles was that it was possible to keep track of b-sides and such. These mp3 folders are far too confusing for old folks, so I’ve been told.
EPMD - “Brothers From Brentwood, L.I.”
Sermon’s rapping fell off seriously after the third album, but this beat and Greg Nice hook can’t be denied.
Spoonie Gee – The Unkut Interview
Thanks to Will and Aaron from Tuff City records, I had the chance to speak to pioneering Harlem rapper Spoonie Gee last week, who set the standard for street tales and slick talk on his earlier work for Enjoy and Sugarhill before he enjoyed a late 80’s comeback with Marley Marl and Teddy Riley providing the cutting edge beats. After enduring some rocky times for most of the 90’s, he’s currently in the process of recording one last project before he retires from music for good.
Robbie: Being from Harlem, in the early days before records, did you have to travel to see shows?
Spoonie Gee: I went to The Bronx, that’s the first place I saw Grandmaster Flash and The Furious Five. First time I seen him, I think it was P.A.L on Webster Avenue. I used to go see the Funky 4 + 1, Fantastic Five.
How had you heard about them?
I heard a tape of Grandmaster Flash and the Furious Four MC’s at the time, this was before Raheim joined them.
The Science: What Is The GOAT Rap Beer?
Ever wondered what the most popular beer in rap is? For scientific purposes, I assigned my crack team of weed carriers to compile the drinking habits of
76 78 rapper dudes based on lyrics from actual tracks (and ignoring the dozens of paid St. Ides advertisements) to establish which brand is the undisputed king of beers. While the result is certainly no surprise, you can examine the data below and enjoy the wonders of the Interactive GOAT Rap Beer Pie Chart (c) CRC. Next level, yo. Except if you’re on your celly, in which case you won’t see jack, Jack. The genius of the pie chart means that I can keep adding entries as they’re suggested, which automatically makes this whole thing a million times more useful than Rap Dummy.
Stream: Four Hours of Conservative Rap Coalition Radio
The good folks at PBS-FM in Melbourne gave me a Saturday night graveyard shift to spread the CRC gospel. You can hear the results below:
Stream: Four Hours of Conservative Rap Coalition Radio
CRC-Approved Rap: July 2014 Edition
Here’s that monthly round-up of six tracks that slipped through the cracks of getting posted this month but still delivered that non-progressive rap feel that we appreciate around these parts. Don’t miss out on the new CRC crew necks and tees either…
Download: Counterstrike 2 – A Decade of Unkut Mixtape
To celebrate ten years of cold gettin’ dumb on you crumbs, Unkut Dot Com is proud to present over 50 minutes of new, exclusive Conservative Rap Coalition approved rap, plus a few bonus snippets from some of my favourite interview moments. With contributions from veterans such as Grand Daddy IU, Chubb Rock and Craig G, as well as new favourites like Willie The Kid, Him-Lo and Mr. Muthafuckin’ eXquire. With original beats from producers such as K-Def, Ahmed, Marco Polo and Confidence, this mixtape also brings the first new material from K-Otix and Real Live (K-Def and Larry-O) in years. Counterstrike 2 has been mixed by Crate Cartel‘s Discourse, with the artwork designed by Flick of BURN Crew.
Download: Counterstrike 2 – A Decade of Unkut Mixtape
Free CD version now available with every purchase of our new range of t-shirts and crewneck sweaters.
You can still grab 2010’s Counterstrike from here, by the way,
Back cover/track listing:
DJ King Shameek – The Unkut Interview
Having returned to the music game five years ago after an extended hiatus, DJ King Shameek is back rocking clubs on a regular basis in New Jersey and beyond, but you most likely first saw him do his thing with Twin Hype for their dance floor classic “Do It To The Crowd.” Shameek took some time out of his schedule to talk about his roots as a DJ and early production techniques, King Sun vs. Ice Cube and his involvement with the mysterious diss record “The Truth” in 1999, which may have inspired 50 Cent‘s “How To Rob.”
Robbie: What made you want to take deejaying seriously?
DJ King Shameek: I was living in California at the time – I’m originally from New Jersey – but my uncle was at a legendary club in Newark, NJ called The Zanibar, so every time he used to come to California he would always bring a couple of records and give me some stuff, and I would see photographs of him deejaying. That’s when I really started trying to persue it a little more, get turntables and stuff like that. This is when they didn’t even have a mixer with a cross-fader yet. I was getting these microphone mixers that just had the faders up and down, so I would just sit there with a left and a right, putting one up and then putting the other one down! It was hilarious if you think about it now. I was always collecting records and I inherited records from my parents – they brought me up on a lotta Motown stuff and some Spanish stuff here and there. I was preparing myself in my adolescent years, toying around with my father’s record player, trying to scratch on them! [laughs] I would try to do that when he wasn’t watching. I ended up leaving California in ’87. Before that I was just doing a few gigs by being featured here and there, it wasn’t until I came here that I started producing and deejaying professionally.