Download: A Salute To Noise

Gold-miners-in-China-007

There was a brilliant period in hip-hop and electro records where the engineers seemed determined to warp and distort the original track to near unrecognizable forms, splattering echo and gated snares on the walls of some long-forgotten underground cavern. Let’s call it the Spelunker Period. The labels often provided not so subtle clues about what we could expect, announcing ‘Zootie,’ ‘Stubb,’ ‘Burnt’ and ‘Psycho Dust’ versions of their vocal counterparts. The following are selection of abrasive, dusted drum machine and scratch experiences that demonstrate the beauty of that thing sometimes referred to as The Dope Noise.

Download: A Salute To Noise

Track listing:
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Eight Amusing Sugar Hill Records’ Performances
Monday June 29th 2015,
Filed under: Features,Jersey? Sure!,The 80's Files,Video Vault
Written by:

Sugarhill-Gang-Hot-Hot-Summer-Da-430167

If in need of mild amusement, please proceed with caution as we look back at this selection of ten dollar videos and hooky live performances.
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Breakbeat Lou – The Unkut Interview
Friday June 19th 2015,
Filed under: Features,Interviews,Non-Rapper Dudes,Not Your Average,The 80's Files
Written by:

breakbeat-lou

Here’s the full version of my Breakbeat Lou interview, some of which was used in my Ultimate Breaks and Beats: An Oral History feature.

Robbie: How did you meet Lenny Roberts?

Breakbeat Lou: Lenny I’d met at Saul’s Record Pool, back in the early 80’s. There was a feedback committee meeting that we had and everyone was talking about regular rap records and regular music. That wasn’t what he was really into, he was more or a less a ‘in the house’ kinda DJ. There was a comment about a particular record and I said, ‘Yeah, I know that record.’ He said, ‘How do you know that record? You don’t seem like you’re into that particular thing.’ I was already DJing regular stuff. I’ve been in the game a long time – a DJ since ’74, hardcore digger since ’78, producer since ’80. That’s where the connection with breakbeats came in between him and I. He was already involved in going to the jams, ‘cos Lenny used to hang out at Bronx River. First it was bootleg 12’s that were being released – we released ‘Big Beat’, before that was ‘Funky President’ and ‘Long Red’ on Sure Shot Records. We also released the guava ‘Apache’ copies, ‘Chinese Chicken,’ ‘Impeach The President,’ the [Magic Disco Machine’s] ‘Scratchin” one sided 12′, the ‘Rocket In The Pocket.’
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Download: A Salute To The Sugar Hill Band

sugarhill-band

For a jam-packed four year stretch, The Sugar Hill Band was the most powerful force in recorded rap, providing the beats for The Furious Five, Funky 4+1, Treacherous Three, Crash Crew, Spoonie Gee, The Sequence and more. With it’s core membership consisting of guitarist Skip McDonald, bassist Doug Wimbish, drummer Keith LeBlanc, percussionist Ed ‘Duke Bootee’ Fletcher and arranger Clifton ‘Jiggs’ Chase, the Sugar Hill Band were assigned to replay and re-arrange the hot breaks of the day, as advised by the likes of Grandmaster Flash based on what the crowd responded to when he deejayed. Unfortunately, some of their finest work such as ‘Funk You Up’ and ‘It’s Nasty (Genius of Love)’ was never issued in instrumental versions, but I’ve done my bets to cobble together what I could from the vaults.

Download: A Salute To The Sugar Hill Band

Track listing:
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Stetsasonic – Just Say Stet [Demo version]
Tuesday May 26th 2015,
Filed under: BK All Day,Crates,Demo Week,Steady Bootleggin',The 80's Files
Written by:

stet_rapmaster7902
Scan courtesy of Press Rewind

I didn’t get hip to Stetsasonic‘s brand of BK brilliance until I heard KRS-One shout them out and tracked down their In Full Gear album, but On Fire is worth your time for the classic ‘Go Stetsa’ and ‘My Rhyme.’ Here’s the stripped down demo version of their debut single, ‘Just Say Stet,’ which eagle-eyed Unkut reader P_gotsachill just put me up on. Now with added Human Mix Machine Wise!



Def IV – Sample Pioneers?
Friday May 08th 2015,
Filed under: Features,Rap A Lot For Life,The 80's Files
Written by:

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The Def IV Nice & Hard album was always something I went back to when it was released in 1988. As the fourth album released on the Rap-A-Lot label, this group of New York transplants, which consisted of two brothers – Vicious Lee and Jon B – beat maker and DJ Lonnie Mac and vocalist Prince E-Z-Cee (DJ Ready Red was apparently an early member before being recruited by the Ghetto Boys). Given that three quarters of the group were DJ’s, it’s no surprise that there is a lot going on musically, with many tracks delivering a layered, sophisticated sampling style, constant scratches and extra breaks thrown in all over the place to keep shit moving.
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Akshun aka Scarface – Another Head Put To Rest [1989]
Tuesday May 05th 2015,
Filed under: Crates,Rap A Lot For Life,The 80's Files
Written by:

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What with Brad Jordan releasing his biography, Diary of a Madman recently (which he discusses with ego trip’s Gabriel Alvarez here), it seemed like a good time to take another listen his first single, released on Lil’ Troy‘s Short Stop Records back when he was still calling himself DJ Akshun. The a-side would later be slightly reworked for the Grip It! On That Other Level album when Scarface became a Ghetto Boy, while ‘Put Another Head To rest’ was relegated to the crates of Houston locals and ebay borks until Lil’ Troy pissed off ‘Face by including the song on his Sittin’ Fat Down South CD and things degenerated from there.
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Aaron Fuchs [Tuff City] – The Unkut Interview, Part Two
Saturday May 02nd 2015,
Filed under: Features,Interviews,Non-Rapper Dudes,The 80's Files
Written by:

tuff city

Concluding my discussion with Tuff City Records founder Aaron Fuchs, he talks about working with The 45 King, Lakim Shabazz and the Flavor Unit, the ‘Crack It Up’ single, the Ultramagnetic compilations and the highlights of his discography.

Robbie: The 45 King had a big impact on the Tuff City discography. How did that relationship begin?

Aaron Fuchs: He was R&B driven, which I loved. Red Alert was a DJ of rare honesty, he played a record if he liked it. You didn’t have to pay him. He was partial to The 45 King so making records with The 45 King wasn’t rocket science. Where I made my contribution was my role in the creation of the Lakim Shabazz persona. Listening to hip-hop shows, so many dedications came from prison – people with Islamic names – so it was like, ‘Let’s get a rapper like this.’ So MC La Kim became Lakim Shabazz, with all due respect to his legitimate involvement with his Islamic faith. But we played it up.

How successful was Lakim Shabazz’s Pure Righteousness album?

I think that that was the first hip-hop album that ever came out without a hit single. At that time, the wall of a record store called Music Factory in Times Square was an international communications medium. I had first seen that wall’s responsibility for the transition of west coast hip-hop, from being years behind the east coast, to catching up. In ’84 they came to the New Music Seminar and they were just ripping records off that wall, and it caught them up with the east stylistically. I knew that was happening and that European tourists shopped there too, so I made the Lakim Shabazz album just so I could put him in a picture with a kufi and a dashiki. It broke the album internationally.
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Aaron Fuchs [Tuff City] – The Unkut Interview, Part One
Thursday April 30th 2015,
Filed under: Features,Interviews,Non-Rapper Dudes,Not Your Average,The 80's Files
Written by:

5625

Aaron FuchsTuff City label was the David to Def Jam‘s Goliath in the early 80’s. The label would go on to deliver important records from the Cold Crush Brothers, Spoonie Gee, The 45 King and Lakim Shabazz, to name but a few. Aaron talked extensively about how to keep your head above water in the record game and offered some interesting opinions about where hip-hop might have ended up if Harlem hadn’t gotten involved.

Robbie: What’s the longest that you’ve been in one location?

Aaron Fuchs: Five, six years. In New York City, no matter what business you’re in, you also have to be in the real estate business. It’s just chaotic keeping an office address for more than a few years at a time.

What are your proudest achievements as a record label so far?

I was very proud to be on the scene around ’82, when the electronic drum machines came on the scene. I described it as ‘a thousand flowers bloomed.’ You previously had all your DJ’s just looping or sampling beats from the same body of records, and when the electronic drum machines came in, all of a sudden it seemed like the unique sub rhythms of the DJ’s ethnic backgrounds – because hip-hop is a very Pan-Caribbean music-came to the forefront – it was wonderful to be working with Charlie Chase and Master OC, who were Puerto Rican; Pumpkin, who was Costa Rican;and Davey-D who was American black. It was really reflected in their different approaches to rhythms. What a wonderful time to be making music.

How had you met all these guys?

Hip-hop was incredibly small when I got into hip-hop, circa ’78. The communications medium for hip-hop was a 7 x 5 sheet of paper called The Phillip Edwards Report. He was the guy who had the bright idea to list all the stores in the metropolitan area and create a list of records that they were selling and distribute them around the boroughs. When I told Bambaataa, I wanted to sign an MC crew, I didn’t know he’d bring me the greatest of all-time, the Cold Crush Brothers. When I befriended Barry Michael Cooper, because we were both music critics for the Village Voice, I had no idea that he had cultivated a friendship with Spoonie Gee, who was the most influential of hip-hop artist of the old school era.

What can you tell me about your experiences as a music critic?

Criticism started because of Dylan and John Lennon. All of a sudden, lit. majors had something to write about with rock & roll. I always had a niche because I was one of the very few guys writing about black music, so while the review of the new Beatles or Dylan album was always taken, the review of the Wilson Pickett album or the Aretha Franklin album was always available.
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Documentary: Revolutions On Air – The Golden Era of New York Radio 1980 – 1988

Red Bull Music Academy smashed it out the park with this one. There’s also a written feature over here.



Cosmic Force – Cosmic Punk Jam [unreleased 1981 acetate]
Tuesday April 07th 2015,
Filed under: Crates,Steady Bootleggin',Tape Vaults,The 80's Files
Written by:

Unlike Cold Crush Brother‘s ‘Punk Rock Rap,’ this vaulted Cosmic Force entry into the ‘punk rap’ canon is redeemed by a lack of fake cockney accents, the always reliable vocoder and the fact that it interpolates Michael McDonalds’I Keep Forgetting‘ 13 years before Dr. Dre’s stepbrother Warren G enlisted Nate Dogg to give it that extra ‘G’ quality.



How might rap have evolved without the record business?
Thursday March 26th 2015,
Filed under: Bronx Bombers,Features,Not Your Average,The 80's Files
Written by:

Cold_Crush_Brothers__public_domain__1

After transcribing my video interview with Tuff City founder Aaron Fuchs recently, I came across this intriguing quote:

Aaron Fuchs: The Bronx and Harlem were worlds apart cultural by the time the 70’s happened, because Harlem’s a community and The Bronx was burnt-out, but they were geographically very close to each other. You had hip-hop evolve like a weed, like top seed and bang! The Harlem record guys take over. You had Spoonie Gee, who was really an R&B guy who was rapping instead of singing. You had this truncating of what hip-hop was into the constraints of the Harlem record business. These couple of [Cold Crush Brothers] records actually reflect what hip-hop was before it was a record business. This crazy, formless, sprawling kind of music. You wonder sometimes would would have happened to hip-hop had The Bronx had not been so close to Harlem and was so quickly engulfed by the vastly deeper traditions of Harlem.

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Download – The CJ Moore Collection

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As a member of The Chosen Few, Trio Connection and Black By Demand, CJ Moore did his thing as a rapper in the 80’s while honing his skills as an engineer and mixer. Here are some examples of CJ in action on the mic and behind the boards.

Download – The CJ Moore Collection [Zippyshare Records and Tapes, 2015]

Track listing:
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DJ Cash Money Explains The Echo Scratch
Tuesday March 24th 2015,
Filed under: Great Moments In Rap,Non-Rapper Dudes,Philly Jawns,The 80's Files
Written by:

Realistic mixer

DJ Cash Money broke down the story behind this timeless piece of audio on Facebook yesterday.

DJ Cash Money: Wow my man Too Tuff just sent me this…I haven’t heard this in years…The Cash Money Echo Scratch on Lady B’s Show…..Talk about taking me back? I remember the day after this was on the radio..I would hear everyone blasting this out of their cars…”Jerome is the King”…JJJJJerome is the jigajigajiga King….Hahahahahaha….I have to show what i did that scratch on….Classic Times!!!!

I used this machine to do this scratch…I turned this sideways and put masking tape on the delay fader so i couldn’t go up on the volume….Those were the days when you had to really think on being creative…The technology wasn’t there yet..So hearing this will always have a special place in my heart because this was the beginning of me starting to get recognized for what i do today….This was late 80’s….



Chill Rob G – The Unkut Interview, Volume Two

chill rob g 2

While I was staying in New Jersey mid 2013, I attempted to shoot some footage of the original Flavor Unit crew. As it happened, I only managed to get Chill Rob G on film, and after watching the video back I’ve decided that this plays better as a written piece. While some of the same stuff from our 2006 conversation is covered, Rob also went into a lot more detail on some topics, making it a worthwhile piece on it’s own. Not to mention that Ride The Rhythm still stands as one of the strongest and most original releases of 1989.

Robbie: You mentioned that you went through a few different names when you were younger?

Chill Rob G: When I first started I had an identity crisis, I had a bunch of different names. It was Jazzy B, it was Bobby G, it was Killer B – cos my name was Robert. I was down with a couple of different crews too. I was down with The World Rap Crew and I was down with the Dignified Almighty Magnificent MC’sThose D.A.M. MC’s. When all of that fell apart I just kept rapping on my own. I used to practice with my man Michael Ali, be up at his house every single day, making tapes. When I said that on the record it was true!

Were these beats that he’d made?

He tried to make beats but they was [blows raspberry]. I would just rap over popular rap records. He would try to cut the break. He wasn’t really that good a DJ either – but that was my man back then. [laughs] We would make tapes and try to get it out to the drug dealers, cos they’d be out all night. They would play that music and people would get a chance to hear me rap.
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Download: A Salute To Mantronik
Tuesday March 17th 2015,
Filed under: Compilations,Free Ninety-Nine,Steady Bootleggin',The 80's Files
Written by:

mantronix

Beat machine wonder kid Kurtis Mantronik had a nice little run over at Sleeping Bag Records, where he split his time between hard hitting electro hip-hop beats for T La Rock and Just-Ice and Freestyle/dance music for artists such as Joyce Simms. After three Mantronix albums with MC Tee on the mic, Tee decided to join the airforce and Kurtis recruited Bryce Luvah from Queens Brooklyn Connection to fill his shoes for the next two LP’s before moving onto to dance music for good. Shout out to Chep Nunez and Omar Santana on some of those razor blade edits.

Download: A Salute To Mantronik [Zippyshare Records and Tapes, 2015]

Track list:
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Deconstructing The Classics: Eric B. & Rakim – Follow The Leader
Monday March 16th 2015,
Filed under: Deconstructing The Classics,Features,Strong Island,The 80's Files
Written by:

Rakim_RickyPowell_FRANK151

Despite being one of the greatest rappers to ever enter a recording studio, Rakim‘s four albums with Eric B. were pretty patchy, mainly due to the abundance of filler and sub par scratch showcases. This wasn’t such a big deal on Paid In Full, since every with vocals was amazing and 1987 rap LP’s usually consisted of a few strong singles and plenty of filler, but this formula really didn’t cut it by the time Follow The Leader dropped in ’88. I’m not sure if anyone noticed at the time though, because the first three tracks are so powerful that you’ve already been won over before you even get to the second side of the album, much like NWA’s Straight Outta Compton.
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Ultimate Breaks and Beats: An Oral History

streetbeat
Photo: K-Prince.

This one has been cooking up for long time now, but it’s finally out of the oven and ready to throw on your plate with a side of mash – the history of the Ultimate Breaks and Beats series told by the people who put them together and some of the DJ’s and producers they went on to influence:

Ultimate Breaks and Beats: An Oral History

Shout out to Shecky Green and the design team at Cuepoint for turning it into a multimedia masterpiece and whatnot.



Strong City Released Four Videos?
Wednesday March 11th 2015,
Filed under: Bronx Bombers,The 80's Files,Video Clips,Video Vault
Written by:

Four of Jazzy Jay‘s Strong City groups released an album during the Uni Records distribution deal – Ice Cream Tee, Busy Bee, Don Baron and Nu Sounds. I vaguely remember owning the Mackin’ album at some stage but not really enjoying anything off it, and listening back now it’s clear that these guys were totally run-of-the-mill. Still, considering their modest talents they did well to have two videos shot, get Afrika Bambaataa to chant the hook, rent some colorful suits and still have enough left over to hire some hawt cheerleaders and video skeezers. ‘Condition Red’ is a slightly better track if you enjoy distorted phone crank callers, otherwise notable for being Skeff Anslem‘s first production credit.
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Mixtape: DJ Dee-Ville – All Hail The King Mixtape
Monday March 09th 2015,
Filed under: Mix Tapes,Rap Veterans,Steady Bootleggin',The 80's Files
Written by:

13z1ic0

This is a collection of King Sun winners from a couple of years ago, which is still as relevant as ever.

Track listing:
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Cut Chemist and DJ Shadow – Renegades of Rhythm Show Review

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The prospect of getting a guided audio tour through Afrika Bambaataa‘s record collection by two lifelong music geeks is appealing to even the most cursory of music fans, if the jam-packed crowd that squeezed into Melbourne’s Forum Theater on Friday night is anything to go by. It certainly didn’t hurt that it was helmed by music festival darlings Shadow and Cut Chemist, which made the whole thing easier to digest for those in the audience who haven’t memorised Bam’s original Blues and Soul list of his favorite breaks.
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Video: Mantronix, T La Rock and Word of Mouth Live In The UK [1986]
Wednesday February 25th 2015,
Filed under: Great Moments In Rap,London Blokes,The 80's Files,Video Vault
Written by:

Thanks to Drew Huge for spotting this classic clip of Rock Around The Clock, a hip-hop event broadcast on UK TV in 1986 featuring performances from Word of Mouth and DJ Cheese, Mantronix, T La Rock and local lads Phaze One, with commentary from Morgan Khan, Dave Pierce and John Peel (who was able to squeeze in a quick appearance in-between bedding underage school girls). There’s also some break dancing and graffiti action going on, but I pity the fool who would rather watch someone doing a headspin on a chair than witness the microphone techniques of the great Terry La Rock backed-up by Kurtis on the decks!



Tape-Only Treats: 5ive-0 Posse – To The Max
Tuesday February 17th 2015,
Filed under: BK All Day,Features,Steady Bootleggin',Tape Vaults,The 80's Files
Written by:

The original 5ive-0 Posse, not to be confused with the weak 5ive-0 crew from 1994, dropped an entertaining LP in 1989 on Sue Records which dealt with the concerns of a rapper and a DJ who just happened to work for the New York City Police Department. Making it clear that they weren’t soft just because they were the fuzz (cutting in the Jungle Brothers ‘Shot and killed by an off duty jake’ line as a warning to anyone who stepped to them), while boasting of being able to ‘carry all the guns that I want and be legal.’ In case you were concerned that the duo were walking around like a couple of cowboys, we’re reminded that they never ever got a civilian complaint. Prince Rashaad and DJ Brother Lee-Luv broke down their statement of intent on the back cover:

“During the day to protect and serve, during the night to create and project an image that Police Officers are human and can be down to earth like anybody else.”

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The Unkut Guide To Greg Nice’s Human Beatbox Career
Thursday February 12th 2015,
Filed under: Bronx Bombers,Features,The 80's Files,The Unkut Guide
Written by:

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There once was a time when the human beatbox was an entertaining addition to 80’s rap songs, rather than something that you could do on into an iPad on your late night talk show. One of the unsung practitioners of this humble talent was Greg Nice, who lent his vocal percussive skills to no less than three crews before he teamed-up with Smooth B to make history. As revealed in my interview with CJ Moore, Greg Nice was down with the Nasty Comedians crew, which was originally Greg and Cool Nate-T. Their first single was released on Home Boys Only Records in 1985, the same label that CJ’s Small’s Chosen Few 12″ appeared on. As it turns out, the guy who owned HBO Records was Larry Davis, who would later rise to worldwide fame after he shot six cops in self-defense when they raided his sisters apartment in the Bronx.
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Def Dames: Frick ‘N Frack
Tuesday February 10th 2015,
Filed under: Def Dames,Features,In Search Of...,Steady Bootleggin',The 80's Files
Written by:

frick n frack

If you were a rap fan outside of the USA in 1987, it was in your best interest to collect the Street Sounds Electro/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’
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