Stumbled upon this nugget of rap trivia during a follow-up interview with Dr. Butcher earlier this year – the brief story of a New York MC named Lazy who was carving out quite the name for himself on the street level in the late nineties before some he vanished from the music game altogether. These are the only four examples of his work I could find, but apparently he was at his best when freestyling or battling. I’d be interested to hear some of his appearances on The Stretch Armstrong Show if anyone has them.
Robbie: Any good Eric B stories?
Dr. Butcher: I remember me, him and Tito [Fearess Four] linked up and he told us he had a deal with Sony. He said, ‘I wanna sit behind the scenes, I want you and Butcher to be the faces of the label. Let me handle the business and we’ll put in motion.’ In the meantime I rounded up three of the best rappers that I knew about – Joell Marquis, William Millions and Lazy. Fat Joe and everybody was trying to get Lazy at the time, he was the hottest dude in New York. Battle-wise, he was destroying everybody on the streets, no one could touch him. He was like fifteen, sixteen years old. C4, who did [Akinyele’s] ‘Put It In Your Mouth,’ was doing a lot of the tracks and putting stuff together but then Eric wasn’t coming through and he just disappeared. He stayed in contact with Lazy, I guess he felt like he had his next Rakim, he was like, ‘Yo, Eric’s promising to fly to Miami and this and that.’ Things just never manifested into anything. (more…)
If you were a rap fan outside of the USA in 1987, it was in your best interest to collect the Street SoundsElectro/Hip-Hop albums, which were compilations of an often eclectic mix of current singles, mixed together by a selection of UK DJ’s. The one that really stood out for me was Hip Hop 18, which was mixed by a fellow named R.J. Scratch [Roger Johnson] and was a particularly mixed bag of great, obscure and just plain weird rap tracks from New York. I was eventually able to find copies of ‘You Know How To Reach Us’ and ‘We Have Risin”, but the two Marley Marl produced tunes on this volume remained out of reach. As it turns out, what would have been Frick ‘N Frack’s second single was never actually released, only existing on a couple of acetates. This was annoying since it means there was no way to hear the complete, unmixed versions of these tracks – until now. Turns out that Frick ‘N Frack have uploaded some of their old songs to iTunes for those of us who have waited for 28 years to hear the last minute of ‘Who’s On Mine.’ From the preview it sounds like they’ve been dubbed off cassette from when they were played on WBLS, but for 99 cents each I guess it’s worth taking a gamble.
UPDATE: The iTunes version is just a recording of the version on the Street Sounds compilation that cuts off when the Kings Of Pressure comes in. Guess we’ll be waiting another 28 years until Marley presses it up on Hot Chillin’… (more…)
The longest serving member of the Mobb Deep crew not named Havoc or Prodigy is Big Noyd, who was along for the ride through all of the highs and lows that the music industry had to throw at them, as well as surviving his fair share of challenging experiences as a soloist. Currently living in North Carolina, Rapper Noyd is currently working on his fourth official solo album with his old QB buddy Ron Artest aka Metta World Peace, and he took some time out to speak in detail about his long career in the rap game.
Robbie: How did it all start for you?
Big Noyd: We all were friends first, before rap. I used to be up in Queensbridge, then I moved to Brooklyn to stay with my aunts for a couple of years. Before I left, we used to listen to rap but we wasn’t really doing it. When I came back to visit on the weekend, Scarface Twin [Gambino] was like, “Yo, Havoc and Prodigy are in the studio. They signed with 4th & Broadway and they working on a rap album.” I was like, “Get the fuck outta here! Wow…cool.” I went there just to hang out in the studio and they were working on “Stomp ‘Em Out” and I was rhyming in there, I liked the beat. I was just doing what I liked to do, my own little rhyme, and then they heard it and they were like, “Yo, repeat that rhyme again! That’s perfect for this song we working on.” I was like, “Well if anything I’ll write a new verse.” Cos this verse was on something I was working on just for myself at the time – no record companies or anything like that – I had to be about fourteen years old. They were like, “Can you write another one? It won’t take that much time?” I write faster now, but back then it took me about an hour. I laid down the sixteen bars and it was perfect – history begin. (more…)
Born and raised in Bedford-Stuyvesant/Crown Heights, Sir Ibu cemented a place in rap folklore with a record called “Holy War (Live)”, which still stands as one of the rawest examples of beats and rhymes ever recorded, so much so that Ghostface recreated a portion of it on his own modern-day remake named “Mighty Healthy”. Beyond being an influential microphone god, it turns out that Ibu may also have been the first ever Conservative Rap Coalition member, as well as having an obscure connection to Australian culture. Salutes to BK Thoroughbred for connecting me with Brooklyn rap royalty and helping this interview happen…
Robbie: What sparked your interest in rhyming initially?
Sir Ibu: It was my cousin – I think it was back in ‘79. I heard him rapping, and I was like, “Wow! What is that?” So he told me what it was and then let me hear this record. I think it was by Spoonie Gee? I kinda liked that, so ever since then I just started writing. I just used to write about girls – all my raps were about girls. Girls this, girls that, just bragging about how I am with the girls. So then when I ran into Supreme – I would say was about ‘83, ‘84 – he told me, “Listen, you’re good. But you could be better if you changed your subject matter. Instead of talking about how good you are with girls, talk about how good you are on the microphone. How good you are with your lyrics and your music and your rhymes and your vocabulary. Just anything but girls!” I’m like, “Alright.” So I did it and I came back to him and I said, “How ‘bout this?” And he said, “That’s perfect! Do you wanna be part of my group?” I’m like, “Alright, let’s do it.” And that’s how I got with him and his sister. It’s interesting, ‘cos his sister – her name was Ice-T originally when we started – but Ice-T from the west coast started making a name for himself, so it was like, “Listen, you’ve gotta change your name.” So she changed it to Nefertiti. (more…)
Holy shit…Kenny Parker finally got around to ripping some of those old tapes of KRS-One rapping over breakbeats courtesy of DJ Scott La Rock and Kool DJ Red Alert , as he told us about back in 2006. While there was no sign of the one with the dog barking over Kris’ verse, there’s an incredible ‘La Di Da Di’ style track which I’ve never heard before that will make your year. Shouts out to the Frozen Files crew over at East Village Radio for making this happen.
For the past three years, a guy in Miami has been fooling tourists with claims that he’s Harlem rap legend Spoonie Gee. Hopefully the guys who have filmed his antics give him a Newport loosie or $5 for his troubles, since he may or may not be homeless despite still managing to rock a different Ralph Lauren polo in several of the clips. Here is the story of Fake Spoonie Gee, according to shitty iPhone footage: (more…)
We don’t really fux with R&B here at the Conservative Rap Coalition, but here are twelve reasons why Rich Harrison needs to resume chopping up old 45’s for folks to sing over instead of all that Eurotrash mess that seems to be running things. Nullus on posting Beyonce songs though.
In news that shouldn’t be particularly surprising to anybody who watched the extensive Dateline report on Tim Dog‘s numerous “bad business deals” with a series of lonely ladies he met through internets dating, one of his “rubes” is so thirsty to get her $100 a month repayment plan continued by Timothy that she’s hired a private investigator to prove if the Dog actually died earlier this year. The story has even been picked-up by a local news show, despite the fact there is no actual proof that he’s still alive.
After being informed by a longtime Bronx resident that, “most Webster Ave niggas are con artist”, I think I may have a lead. Over at Discogs, a lone seller is offering a copy of Tim Dog’s final album, BX Warrior, on CD for $91. Since I’m pretty sure nobody actually bought that album, or even knew it existed, there’s a good chance that this is Tim’s latest hustle. I put to you that he left Atlanta with a briefcase full of BX Warrior CD’s, hopped the red-eye to Germany and is currently living with his latest online dating conquest in Berlin, who is helping him prepare the next Tim Dog Greatest Hits box set/all-black strip revue/movie project with Denzel Washington.
However, if it turns out that Esther Pilgrim is completely wrong about this crackpot theory, I hope she gets hit by a bus for continuing to drag the great man’s name through the mud. I mean she did get to experience a romantic night in Atlanta with the guy who made “Fuck Compton”, after all. You can’t put a price-tag on that kind of experience!
Back in 2010 I received a recording of a TJ Swan demo recorded from Tim Westwood‘s show in 1988 titled “Mellow Love”, although someone claiming to be affiliated with Swan then contacted me and demand that I remove the track on the grounds that: “This was a practice session. Swan wrote and sang the song to get a feel for it”. He also claimed that a bunch of TJ Swan music was about to drop, but three years later we’re still waiting.
In the meantime, Rap Blog Godd noz recently blessed me with a few more cuts which may have been intended for Have No Fear Swan Is Here. or are simply more “practice sessions”. The first track, “Sensitive Love” features Swan flexing his microphone techniques and busting some rhymes, while “Love Is Blind” is more of an uptempo number on the Al. B Sure tip. Was Marley Marl involved with these tracks? Are they finished LP cuts or just demos? Sadly, there’s also no sign of the lost Big Daddy Kane/MC Shan cameos that I hoped for…
Thanks to a tip from DJ 7L (who himself was tipped-off by DJ Eclipse), it seems that the mystery of T-Ray’s disappearance from the music game has been solved. Thankfully he wasn’t involved in a fatal knife fight with Joell Ortiz‘s manager Mike Heron following the interview I did with him, it seems that Todd has become the ringmaster for a freakshow, which now has it’s own reality TV show launching in 2013, complete with his wife and two teenage kids: (more…)
File under ‘Stuff I Missed in 2011′. Turns out Scaramanga returned from a four year bid last year and promised a bunch of new material, as well as announcing plans to shoot videos for a lot of his older material.
Here’s the clip of Scara from last June where he gives out his email address, Twitter handle, Facebook link and mailing address. Also features a cameo from A-Butta. (more…)
Earlier this summer, Kool Keith was standing up at a dive bar in Midtown Manhattan nursing a glass of chardonnay in his hand. I was there to interview Keith, which turned out to be a process that largely involved listening to a bunch of lengthy speeches phrased in the rapper’s own kooky way. At one point Keith mentioned Godfather Don, and I managed to ask him what happened to the cult producer and rapper. Keith obliged with an answer that involved “night-time gangster jazz,” Chinese food, and a kennel of rappers. (more…)
As Rakim tells it in the above video with RA The Rugged Man (who looks ‘like a teenage girl on her first date’ according to the YouTube comments ), he agreed to remove his four lines aimed at Big Daddy Kane from the first version of ‘Let The Rhythm Hit ‘Em’ after Ant Live played like Sir IBU on some ‘I’m The Peacemaker’ shit.
Rakim, from what I understand – I didn’t hear it – but I know he had made a record called ‘Cut The Kane In Half’, and it was gonna be a diss record for Big Daddy Kane but he didn’t put it out. But if you listen to his rhymes, he says little slick stuff on the Follow The Leader album that was directed at Kane. Because there was a lot of stuff goin’ on about how was better and who was the best. Rakim was pretty quiet, he never talked about. Kane was a little more verbal about it. They never really made it publicly known, but he definitely was gonna do something.
It’s the most common accusation leveled against Tri-State Rapper Dudes – ‘They’re so boring!’. Non-progressive hip-hop can seem that way to kids raised on Outkast and Freestyle Fellowship, because…well, there are a lot of bland, generic rapper’s hailing from the Rotten. What one listener considers ice-cold nonchalance is boring monotone to the next. Instead of me spending the time and effort to actually devise the list myself and then have to read a stream of comments complaining that I forgot to include Lloyd Banks, I thought I’d open the floor to nominations. If you include a reason why the Rapper Dude in question is so coma-inducing then you’re more likely to get them through into the short-list for voting.
Hardknocks delivered something unique when they dropped the School of Hard Knocks album in 1992. It stood-out both musically and lyrically as a sophisticated blend of hardcore rhymes and groove-heavy beats that sounded nothing like any other record of the era. Then they promptly vanished…leaving a lot of unanswered questions for rap fanatics who knew little about the crew itself, save for their earlier incarnation as 3 Da Hard Way. While I’d always assumed that The Spearchuckas, who were credited as the producers, were in fact Hardhead and Stoneface, it turns out I was wrong. When I had the chance to speak to J-1, who was half of the Spearchucka team, I jumped at the opportunity to fill in some of the blanks regarding this outstanding album.
Robbie: How did you start out?
J-1: I’ve been involved in music ever since I was 9 or 10. I played drums, my father played drums, played bass guitar…my family was musically involved. As far as hip-hop is concerned, I was in New York deejaying from 1978 all the way until about five years ago. I grew-up in Long Island. We did all those block parties. The C.B.S. crew. I moved to Atlanta in 1984. I started meeting people and this guy Mike California knew Henry Lee, who was from Noon Time Music. He helped us get started. Now he does Jazzy Pha and Ciara and that kind of stuff. (more…)
A few weeks back I asked if anyone had any ideas for the Wild Card Round, but after going through the list I decided to go back to the drawing board and pick eight essential remixes that haven’t been covered yet. Once this is decided, the winners of this and the previous eight rounds will battle it out for the title of The Greatest Remix Of All Time, at least according to Unkut’s Conservative Rap Coalition (aka The East-Coast Rap Elitists). Whether on the strength of the new lyrics or just taking an otherwise shitty track and making it sound good, these eight remixes all win in their own way. (more…)
Let’s be honest – it’s all about the ‘Best Kept Secret’ remix. That shit is a monster! That being said, I’ve always had a lot of time for the ‘Knock ‘Em Out Sugar Ray’ remix as well. The ‘Posse Is Large’ remix is included simply as a reminder of the lost art of conga loops… (more…)
Hip-hop was the music of the twelve-inch single up until the ’87-’88, when the rap album became it’s own animal, as opposed to a collection of singles. But the Maxi-Single wasn’t going to just lie down and take that shit lightly, and it struck back like CAP-One, “the object is more…not the biggest or the beautifulist – but more”. Once having remixes out the ying-yang caught on, that shit went nuts. It was almost as if some of these A&R kids were competing to see how many big-name producers they could get on one single! Either that, or dudes were just too blunted to make a concise decision, so they figured, ‘Fuck it, throw ’em all on there!’ Next thing you know, there are seven different mixes of the same song to choose from. (more…)
Let’s get this decided…it’s pretty clear that this is basically ‘Spit’ vs. ‘Sound of Da Police’ based on previous results. If I was a betting man, I’d have my cash on the Blastmasta. But I’ve been wrong before – maybe one of the wild card entries will seize victory? (more…)
Truth be told, the entire Runaway Slave album should be nominated for Show‘s greatest work with Andre The Giant, but since I’m sticking to the script of ten per round, that’s not going to happen. I don’t want to sway the votes here, but you’d be hard-pressed to find better beats than ‘Medicine’ and ‘Stand Strong’ in any producers discography. (more…)
Mistakes were made in the last ‘Search For The Best Beat’ feature…namely, Alchemist has too may cot damn tracks! This time I’ve selected a producer who is a little more restrained in terms of his musical output, but still a beast on the beat – the Bronx Bomber himself, Show. While his early work featured a signature sound that was easily identifiable, Show’s style developed into a tighter, more refined minimalism by the time Goodfellas was released. While the majority of his work has been with his Diggin’ In The Crates crew and Wildlife, he’s contributed tracks for a select few over the years. The first round is dedicated to production outside of his immediate D.I.T.C. circle. Hopefully we can get this one sorted out in three round this time. (more…)
This risked dragging on forever, so let’s quit while we’re ahead. I’ve taken the top two from each round and added a couple of wild card entries. I also can’t understand how only seven people voted for the perfection that is the beat for Big Twins’ ‘Wanna Be Down’…regardless, let’s get this get this over and done with.
There have been a lot of tracks suggested that I haven’t included because…I just like these shit’s better. As Shakespeare once said, ‘My bad’. Here are another ten winners from the brother with a haircut you can set your watch to. (more…)