Filed under: Harlem Nights,No Country For Old (Rap) Men,U Mad,Uptown Kicking It,Web Work
Written by: Robbie Ettelson
It was all good just a year ago…
It was all good just a year ago…
Photo: Michelle Grace Hunder
Following the always entertaining festivities surrounding the Carbon festival (which I’m under strict orders never to speak of publicly), heading to the A$AP Ferg show at the Corner Hotel seemed like the perfect way to cap off a week-long bender. The venue was filled with excitable kids eagerly throwing-up ‘bows to the sounds of the local androgynous “It’s a Trap” Lady known as Mafia, before the curtains were drawn to prepare for the main event.
Following the mixed blessings that were McGruff‘s deal with Uptown, where Heavy D tried to Sean “Puffy” Combs’ Herb’s sound for something smoother, with decidedly mixed results, the Crime Dog took it back the gutter with this self-released 1998 single featuring the mighty Mob Style, Loon and Meebo over a gritty piano loop. “They thought it was over? Own label!”
Miss Info (aka Queen of the Rap Internets) reported on this basketball game between members of The Diplomats and some of the roster of Fool’s Gold Records. This isn’t exactly surprising considering that Cam’Ron and A-Trak are recording a project together (not to mention that A-Trak’s song with JR Writer, Hell Rell, & 40 Cal in 2007 wasn’t too shabby at all), but the idea of the former Kufi Slapper Jim Jones sharing the court with the likes of Nick Catchdubs is the rap equivalent of finding out that there’s no Easter Bunny or that Kanye didn’t write “Jesus Walks.”
Here’s some promo-only b-side action intended for McGruff‘s underwhelming Destined To Be album, courtesy of a vinyl rip from The Martorialist’s comment section, which reveals that Isaac Hayes was a hater on a certain level, since he deaded this from retail release.
Why is it that The Heatmakerz, Swizz Beatz nor Dame Grease never snatched up this Giorgio Moroder 80′s epic from Stallone’s arm-wrestling magnum opus Over The Top? With it’s action packed synths, cock-rock geetar, tinny drum rolls and built-in chorus stabs, this could have been the tipping point for one of the numerous
Dimplomats Diplomats weed carriers who never quite broke through.
Killa season continues with a salute to Harlem’s finest since Spoonie Gee.
Having already conquered the theme songs of Hill Street Blues, Nightcourt, Magnum, P.I., Facts of Life, Gimme A Break and now The Golden Girls, it’s fair to say that Cam’ron still has dozens of 80′s themes that require his unique talents to bring them into the present day. Here are ten contenders:
Rapping over 80′s sit-com themes? Check. Hilarious skits? Check. Effed-up Roy Ayres remake? Check. No sign of former weed carriers such as Vado? Check. It’s like it’s 2001 all over again.
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:
As the first rapper from Cleveland signed to a New York label, MC Chill made history not only as a recording artist but later as the leader of a crew of local battle MC’s who had a major impact on the New Music Seminar in the late 80′s. From the days where it actually was about “where you’re from”, MC Chill brought his own signature sound to the streets of NY and gave the locals a run for their money.
Robbie: How did you first get your appetite to grab the mic?
MC Chill: When I first heard “Rapper’s Delight”, I thought it was a guy I knew that was on the mic, he was a DJ. I became friends with this guy kid who became DJ Finesse, and he was from Queens. He used to make these tapes of all the good songs that weren’t being played over the air, like the Crash Crew and the Funky 4+1, Spoonie Gee and the Treacherous Three. I just really got down like that and was saying rhymes soon after that.
What the scene in Cleveland like back then?
When I started, it was one major crew, that was the crew I was down with. We were called The Bomb Squad. It was two DJ’s – this one kid named Cochise and the other kid, Kid Finesse. We had about three other MC’s – myself, Wayney G, and this young lady, who we called The Mellow Ice T at the time. Finesse and Cochise both rhymed they were DJ’s and they rapped. From us going on the radio, we kinda started the hip-hop scene in Cleveland. We were the first cats on Cleveland radio – one of the first supreme rap crews in the city. Sometime after that, I started doing some solo stuff and ended up getting a record deal out of New York.
Here’a a cut from Milano‘s next mixtape, Alfa Romeo, which is dropping in a minute.
Having cut his teeth working with the Diggin’ In The Crates crew at the beginning of his career, Milano Constantine went on to sign a deal with Warner Bros. but was let go before the project was released. Thanks to a handful of independent singles, four mixtapes and notable guest spots with The Beatnuts and the P Brothers, Milano has continued to rep that classic Uptown style with his witty wordplay and vocabulary spill. Following an extended leave of absence, ‘Lano is set to return the rap game with three new projects. He took a little time out to speak about how he came up, working with Big Pun, Showbiz and T-Ray and how the late Party Arty taught him his most valuable lesson as an MC.
Robbie: What are you working on at the moment?
Milano Constantine: I’ve got the Alfa Romeo mixtape. It’s a vintage feel, I’ve got some unreleased, uncut raw stuff from the lab on there, and some new stuff that I’ve been working on. I had to take time off, but I feel very blessed, and now is time for me to go back into it with full force. Now I’m just feeling more comfortable with everything, you can’t put forth any good material if you have to get your life situated, everything has to go in line correctly. This is a great time in my life, I just had a daughter. My mother is in good health – she was really sick. You’ve gotta take care of your family first and music will come secondary. I wanted to reach out to y’all guys for always keeping that platform for me. God bless you guys always keeping me alive. I thank you guys for that.
New Drum Free Rap which ironically uses a loop from former Genesis drummer Phil Collins. I see what you did there, Vado!
Attack of the old moufs as the the great man Kool Moe Dee has his story told in full in this Unsung episode.
Some poor sap makes the mistake of heckling Grandmaster Caz and yelling out “I’ll give you a dime if you get off the stage!” The result? A verbal ass-whuppin.
When I caught Black Rob on a patchy phone line this evening, he was in the studio recording new material for Life Story 2, and as a result was only able to spare ten minutes. Nevertheless, I was able to fill in a couple of the blanks in regards to his history in the rap game and future plans.
Robbie: How old were you when you started rhyming?
Black Rob: About eleven? Twelve? Around that time. What inspired me was what was going on around me – the music! When I heard that, I wanted to be in.
Did you have a group back then or were you always a soloist?
I was in a rap group when I was like 22, 23. We was called Schizophrenics. It was me, my man Alto and my man Godzilla.
Here’s an old Black Rob burner that’s been liberated from the archives.
Best track off Vado‘s Slime Flu 3 tape. It’s be nice if he would throw a few more of these type of songs on his shit for variety.
You can stream or download the whole mixtape below: