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.
If, by some tragic turn of fate, all rap released prior to the year 2000 was somehow obliterated from the face of the earth and you were given the opportunity to take twenty CD’s to pass the time while I wasted away in exile on some deserted island (stay with me here), then what would you take? I considered the options this afternoon and devised the following list of hip-hop platters to bring along. (more…)
Finally, we have an entry into the Gentrification Rap genre! Interesting to note that Droog seems to share the same singing voice as the little homey as well. Produced by DJ Skizz, from the Kinison EP.
This morning I had a quick chat with DJ, producer and record collector Freddy Fresh about B-Boy Records, Breakbeat Lenny, The Rap Records book and the correct storage of 45’s. Freddy’s latest album, Play The Music, is out this March.
Robbie: How did you get involved in remixing a track for BDP’s Man and His Music album?
Freddy Fresh: That was ‘88. My first recorded work was that remix with one button pause switching and broken turntables. That was me hanging out at the offices in the South Bronx of B-Boy Records. The plaque on the Criminal Minded album – there’s a plaque between Kris and Scott – I made that plaque. If you look at the back of the album it says, ‘Freddy Fresh, thanks for the plaque.’ I got name-checked on a lot of those albums – Public Enemy thanked me, MC Lyte, Audio Two – all those guys said ‘thanks Freddy Fresh’ on their album, because I was engraving name plates and sending them out to my favorite hip-hop artists in the Bronx and Brooklyn and stuff in 1985, 6 and 7. (more…)
Kid Rap became a fad in the early 90’s, but youngsters rapping has been going on since the beginning of hip-hop. Matter of fact, some of them had more to offer than shaved heads and shouted choruses. Tragedy and LL were sonning their peers back when they were 14 and 16, respectively. Meanwhile, Jeff from the De La Soul skits never made an album while those Quo clowns got Redman and Aaron Hall features on their album. Where’s the justice? (more…)
The following are a collection of remixes that where perhaps only an extra horn, new drums or a rearrangement of the samples differentiates them from the original version, but they’re still significantly better. You could add most of the 80’s Cold Chillin’ 12: mixes to this list, natch.
Concluding the three part interview with Black By Demand front man CJ Moore, he covers working with Paul C, Ultramagnetic MC’s and Super Lover Cee, the importance of engineering and chopping, getting ripped off on the ‘Rump Shaker’ single and his deep crates of unreleased material.
Robbie: What was your involvement with Super Lover Cee and Cassanova Rudd?
Super Lover Cee lived in the building behind mine. He has a group called Future Four MC’s, which was Super Lover Cee, myself, DJ Rudd and there was another DJ named Tiny Tim. We did shows around the neighbourhoods and then we disbanded. I was the guy doing the beats and the choruses and putting the track together. When I did ‘All Rapper’s Give Up,’ I had not gotten a deal just yet. He was hanging out of his window, cos he lived on the first floor, he was playing some stuff and he said, ‘Yo C, listen to this!’ I’m standing by his window and I said, ‘Let’s put it together.’ He wound up putting it together and I wound up tightening it up. When I brought him to the studio to do the session and introduced him to Paul and Mick, Paul C. didn’t want to do the session. He couldn’t hear it, he didn’t see anything pleasurable about it. He wound up doing it. As far as the entirety of the project, when he did their album Girls I Got ‘Em Locked, I did not do any of those records. But a lotta those routines we had in the Future Four? He wound up using them. (more…)
Engineer all-star CJ Moore delves into the behind the scenes events of Kool G Rap‘s Roots of Evil and the infamous Rawkus album, heading out west, working with the Live Squad and much more in the second part of this interview trilogy.
Robbie: What happened after the Akinyele sessions finished?
CJ Moore: When money started coming into play between Dr. Butcher and myself, things started getting funny. I went out to California and I teamed-up with Ed Strickland again and we was with a guy doing a project called The Reality Check – a guy named Michael Harris – Harry O. He’s the guy who funded Death Row Records. Ice Cube, Ice-T, Dub C, all those guys were involved. I produced a couple of records with Ice-T with me and him rapping back and forth. I was doing the east coast stuff, Battlecat was doing the west coast stuff. I went to Big Daddy Kane, talked to him on the phone, I said, ‘I need you to be out in California. I’m doing this project, it’s kinda merging the east coast with the west coast. Let’s talk about what it’s gonna take to get you on the project.’ He asked me who was on the project, and I explained to him. There was guy named Black Ceasar on the project, he was from Pittsburgh, real talented guy, but Kane had a problem because his name was Black Ceasar. I said, ‘But your name is Big Daddy Kane!’ ‘Yeah, aka Black Ceasar.’ I said, ‘What kind of bullshit is that?’ He couldn’t do the project because of that. I stepped to Method Man and I was trying to get to Redman and everyone was kinda busy, so the east coast/west coast thing never did the proper merge. There was so much money on the table, more than these guys have ever made. For some reason it just backed-out. I guess the whole Harry O thing might have scared people to a degree, if you know the homework on the whole Death Row situation. But we can’t get into that.
Biz Markie apparently makes up all his rhymes on the spot in the studio and then learns them later – except for when he gets his pals to write songs for him. Big Daddy Kane wrote the first side of Goin’ Off, as was clearly stated on the back cover (therefore not a case of ‘ghostwriting’) and for his next LP he enlisted GMC to lend his storytelling prowess for this entertainly tasteless tale of transgender luh gone wrong.
Seeing as though Caz’s original reference track was eventually issued with a 45 King remix, we can now compare the two. Who rocked it better? (more…)
This is the ultimate rap addict dedication – the fantasy league lost Ultramagnetic album that we might have enjoyed if they’d released a follow-up to Critical Beatdown in 1990. Sure, it’s a collection of b-sides and vaulted tracks from between 1987 and 1990, but this sums up everything that makes Ultramagnetic MC’s the greatest rap crew of all time. All praise due to Ced-Gee, Kool Keith, Moe Love and TR Love – the best to ever do it. Shout out to James aka BadNewz of 100X Posse for dropping that ‘MC Champion’ verse.
Continuing my interview with Kool-Ass Fash, we discuss him leaving The Beatnuts, meeting Kanye West, forming Missin’ Linx, getting beat-jacked by Dr. Dre and his ill-fated experience signing with Dante Ross.
Robbie: At what stage did you decide to do a solo album?
Al’ Tariq: While we were out on tour doing The Beatnuts joint, we were doing a show close to home at a school, maybe in Long Island or some shit, being on stage and then somebody started heckling us. Talking shit, ‘Yo, you fuckin’ aargh!’ I finally look and it’s Juju. Then he comes and hops on stage and joins in on one of our songs and shit. I was so mad, and I could never understand why Les and Peter Kang didn’t get mad with this dude. I had a few serious run-ins with him. (more…)
Not sure how my extended interview with The Mighty V.I.C. from 2008 slipped through the cracks, but after using a couple of parts of it I never got around to transcribing the entire three hours that we spoke over a couple of days while Vic ran errands. As before, the full version will be in the Unkut book, but here’s an edited version which covers the major points in his career. V.I.C. discusses how he began interning as a recording engineer at Power Play in the late 80’s, before joining The Beatnuts and working with Godfather Don under the Groove Merchantz banner and later recruiting Mike Heron to create the Ghetto Pros.
Robbie: How did you get started in music?
V.I.C: I started deejaying when I was fifteen years old. I was at the local bagel shop and one of the local kids who worked at the bagel shop showed me a mixer. I was in the tenth grade and I remember being home, sick at the time, and the guy came over after school – and after he was done at the bagel shop – and showed me how to DJ. From there, I found out you can actually go to school for engineering. I was like, ‘You can go to school to edit?’ So I did that a short time after. I went to an engineering school in the city, which I learned zero from, and I started interning at Power Play. That’s where I met Ivan ‘Doc’ Rodriguez, I met Norty Cotto, Patrick Adams – the guy that used to play on all those Eric B. & Rakim albums. At that time there were guys like Just-Ice recording there, you had KRS-One, you had EPMD. Hurby Luvbug used to record there too, Salt ‘N Pepa, Dana Dane, Kid ‘N Play. (more…)
Classic material from The Source as Reginald C. Dennis breaks down the 1991 White Rap Invasion. Please note that Lavar kid is a Conservative Rap Coalition pioneer with his sensible haircut and crisp polo shirt.
DJ 7L has put together a sampler of material from the new Ghostface album over production from The Revelations, Lil’ Fame and The 45 King, with a numver of guest spots from AZ and Kool G Rap. You can pre-order the exclusive Get On Down deluxe edition here.
At long last, I got around to interviewing the great Lord Finesse officially. I’m also deep into completing the first proper book of Unkut interviews, so I’m saving the second half of this piece for print, along with a whole bunch of recent follow-up interviews that I’ve been doing. That being said, I didn’t want to hold back everything, so I had to drop a chunk this discussion with the Funkyman to keep your ears ringing until the print edition is released in early 2015. Lord Finesse needs no introduction, as he’s the man who built on the punchline foundations laid down by Big Daddy Kane and paved the way for the next generation of MC’s. We kicked it about his experiences with record labels, his love of the SP-1200, plans for the future and the and the infamously misunderstood Mac Miller lawsuit.
Robbie: Did you feel like you were prepared when you started making Funky Technician?
Lord Finesse: C’mon man, you can listen to that first album and it was dope, there was structure, but nobody was telling me, ‘You should do sixteen bars here, you should do sixteen bars there!’ I was rhyming forever on some of those records.
Nothing wrong with that!
[laughs] Most of that album was written while I was going to the studio or the day before. Some of it was freestyle stuff, but connecting it and doing it all together I had to write rhymes around some of the stuff and make ‘em songs. If you listen to the battle with me and Perc you’re hearing a nice amount of Funky Technician in that ‘89 battle.
So they were your stock battle rhymes?
When it’s time to make records you take ‘em and you re-craft them for the record.
Did any labels try to make you compromise your sound or image?
I didn’t even get that far. I went from Wild Pitch, which was a label with really no money and no promotion to take artists to the next level at the time, to being at a label with a lotta money. They got everything to take me to the next level, but they don’t understand who Finesse is as an artist! It’s like the popular gun that everybody’s talking about, you’ve gotta have the gun, not because you’re a shooter or you go to the gun range. You just want the gun because everybody else got the gun. Then when you get the gun, you don’t know nothing about the gun, you don’t know how to shoot it! You don’t know the mechanism’s of the gun so you kinda toss the gun to the side cos you don’t what you purchased! That’s how I feel when it comes to Giant. I’m there, but they don’t really know what they got! ‘This is the dude everybody was talking about! OK, we got him! Now what do we do with him?’ (more…)
After speaking to Dr. Butcher again the other week, he revealed that he’d located a copy of the song he produced for LL Cool J in 1993, which went on to be remixed by QDIII and included on his fifth album, and generously agreed to allow me to share it with the world.
Dr. Butcher: I produced a song called ‘The Soul Survivor’ for him on the 14 Shots To The Dome album, with C4. Me and C4 – the guy who did [Akinyele’s] ‘Put It In Your Mouth’ – were production partners. I was going to C4’s house one day to work on some music, and LL was shooting his first video from that album on Farmer’s Boulevard, and C4 lived on Farmers Boulevard at the time. I got off the bus and saw him and I was like, ‘Yo! What’s up!’ We was always real cool, whenever he had time he would always come see me, but he had been so busy we hadn’t seen each other in a while. So he’s asking, ‘Where you going?’ and I’m like ‘To my production partner’s house right down the street’. When we originally did the track, we sampled JDL from the Cold Crush Brothers saying, ‘The L baby, baby, the L baby, baby!’That was the first song I ever produced, I didn’t know how to use machines at the time. We had just got an Ensoniq and was learning what to do. It was rough around the edges. As soon as he heard the track he just sat down, got a pen and pad and wrote the song right on the spot. He was like, ‘Yo, we’re goin’ to the studio tomorrow, gimme your information.’ So I had to go get attorney’s and set-up publishing companies and we were in the studio the next day, recording. It happened that fast. (more…)
Remember how the music industry decided that vinyl was more trouble than it was worth and that the profit margins on tapes and CD’s were far more lucrative so they began cramming 70 minute albums onto one LP? The thing that really grinds my gears is that even when they did bother to press double vinyl, they would often neglect to include the best songs. Here are some notable examples: (more…)