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…)
Here’s a late entry into Pos K‘s discography where he calls in a solid from Jesse West to freak a trusted Bob James break and get belligerent on all the herbs, suckers and chumps out there on the alphabetical slaughter tip.
It’s taken me ten years to interview a female rapper on these pages, which either means this marks the onset of ‘progressive’ thinking in my old age or I’m a natural born rap misogynist. Either way, during the limited window of time I had to talk with Angie we kicked it about her days in The Sequence and she shared an eye-opening story about her involvement with The Roxy.
Dr. Butcher, who you may remember as the guy who did all the scratching on Kool G Rap‘s second album (as well as rapping at the end of ‘Jive Talk’), has also contributed a number of wonderfully brooding soundtracks for MF Grimm, Akinyele and G Rap to unleash speech over. Here are fifteen of my favorites.
The always under-appreciated role of the engineer, both in the studio and on tour, is always a fascinating one. Akili Walker, who has worked with everyone from hip-hop production legend Larry Smith to James Brown, Eddie Kendricks, Kurtis Blow, Prince, George Clinton and LL Cool J, took some time out after the release of his new book, Turn The Horns On, to recall some of his best memories behind the boards.
Robbie: Where about did you grow up?
Akili Walker: I grew up in Freeport, Long Island, right next to Chuck D and Flavor Flav. We were like a mile from each other, they grew up in Roosevelt, but they’re a little younger than I was.
Are you a recording engineer by trade?
I’m an audio engineer, I switch between the studio and on the road. I was a musician at an early age – I was a drummer when I was thirteen. I won the ‘Battle of the Bands’ with my band and we was in the Musicians Union of New York at the age of thirteen. My father was an audiophile, he loved music and he had a large jazz collection and an expensive stereo. My drumming career ended when I was sixteen. I stopped drumming to join the hippy generation and do drugs. (more…)
Empire Music have posted the new Diamond album on their YouTube channel for your enjoyment. Here’s a re-up of D-Squizzy’s track-by-track breakdown of the album here while you listen. Available now on CD and digital.
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.
“Dramatic soul, Soundtracks, Library Records, Blaxploitation Radio spots, Cartoons, a GANG of samples, Drum Breaks, Super Mario Reggae, Video Game Music, Bongos, Latin, Cassette and VHS rips, Jazz, James Last, Dirty Disco, Glam Rock, Pinky Violence, Duck Funk, a RAER cassette recording of Australian rock group Spectrum and, if all that wasn’t enough, there’s a demo version of EPMD’s Rampage, a RAER 80’s TV skit by Biz Markie, a bunch of scratching and your usual dose of doubles and skills flexed!”
When it comes to burning bridges, O’Shea Jackson may be the most accomplished hip-hop artist in the history of the music. It seems as if everyone who has ever had even the slightest involvement with him on a professional level has either gone on to record a diss song about him or made a series of angry Facebook posts filled with furious anger. Is Ice Cube really the “modern day Jerry Heller” as his former musical partner Sir Jinx insisted during a now deleted series of venomous status updates which implied that Cube continued to exploit musicians and actors working in his movies all in the name of pinching pennies? (more…)
Inspired by this MartorialistAkineyele Deep Cuts compilation, I began to revisit some of Akafella’s later work, and it turns out that it’s a lot more entertaining now that the bitter taste of disappointment of him abandoning the genius of songs like “Exercise” and “Outta State” for endless variations of songs about poon have since been blotted out by years of excessive liquor consumption.
You may have read a few years back that Ak opened a strip club in Las Vegas called Lollypops and claimed to have clocked $5 million in the first week. According to some comment section gossip, which I always take as fact, “Last I knew he owns a strip club on Queens Blvd. in Queens, NY. He got he start due to a an accident he had years ago & won the lawsuit.” This was followed up by another blog of questionable validity posting this:
“Akinyele made up the story that LolliPop’s strip club made $5-Million in one week for press. His planned worked, but the dude who put up the money is pissed because Akinyele didn’t mention his name in the press. How the fuck can LolliPop’s make $ 5-Million in a week? The place is as big as a cupboard. Dude kicked Akinyele, out of the club and banned him from the spot. He ripped up the contract between him and Akinyele, but Akinyele is going to fight him in court. They did have an agreement between them.”
“Akinyele: Aww man. My first club I started in probably 1995. I got introduced to that whole game by a friend of mine. I did it first just for fun. Just thinking, “Hey I can probably get girls to come in here and dance,” and I did it for straight up p****y. Then I realized it was a business.”
As for his film work, of Aktapuss: The Sexcom, Amazon customer W. Curtis Mcdonald Jr. wrote:
“This movie was’nt even worth the postage…A few scene with some tight Sistas is the only reason I did’nt throw it out of the window !!!!”
According to this story from last month, Akinyele Adams can now be found working as the general manager of Disco Rick‘s infamous King of Diamonds strip club. Sadly, the reality show that was talked about a few years back never came to fruition… (more…)
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-DMCRun’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. (more…)
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.” (more…)
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] (more…)
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. (more…)
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.
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…