I purposely waited for the album & mixtape to drop before putting this up, there were alot of tributes but NONE can ever compare to mines. Heres the 2hr Tribute I did, no Tracklisting, Enjoy the music for what it is. If you take this mix and try to sell it in any way shape or form, you will get sued! I miss you P. Love u brother
Sean Price exemplified everything that the Conservative Rap Coalition stands for. He was a fan of self-depricating humor, blocking people on Twitter for the slightest of infractions and refused to catch buses since they’re basically for old people. He was also one of the few MC’s who managed to improve with age. As much as I enjoyed the music of Heltah Skeltah, I can’t quote a line from either of their first two albums from memory. Sean P solo, however, was a cot-damn quotable machine. I saw him perform twice, and both times he delivered a strong, no gimmick display of great rapping. The first time in Melbourne, backed by PF Cuttin, and then at S.O.B.’s in 2013 for the Statik Selektah album launch. Later that evening Dallas Penn introduced me to Mr. Price, who appreciated my firm, man-style handshake and kept it moving, just as it’s supposed to be. (more…)
Just got put onto this by the homie Konny Kon. Produced by QB Rap P, it’s sounds as if the One-Eyed Maniac may have suffered a minor stroke since I don’t recall him having a speech impediment last time he rapped. Or maybe he just drank a lot before he recorded this. Either way, it’s great to hear from the former Screwball soldier again.
As most of you already know, long-time indy rap champion Pumpkinhead passed away this week at only 39 years old, tragically leaving behind his pregnant wife and two kids. I’m not really qualified to speak on the man’s numerous contributions, but Chaz Kangas has put together a fitting tribute to the man for Complex, while some of his friends shared their fondest memories on Facebook:
DJ Eclipse: Some of us spend countless hours, days, months, years and even decades promoting others more so then we do ourselves. PH was one of those guys. Even though he made a name for himself in the battle scene and even made some records, it was his work here in NYC that I’ll remember even more. An integral part of the 90’s indie movement as well as today’s battle scene and a promoter of authentic acts and events, PH cared about the culture of Hip Hop. For him it was about your skills and how to improve on them. He was one of the ones that helped keep the foundation strong for others to go on and build careers. (more…)
Editor’s note: The following interview was conducted by Bill Zimmerman in 2007 for the now defunct print edition of Modern Fix magazine prior to the release of Guru’s Jazzmatazz, Vol. 4: The Hip Hop Jazz Messenger. This Sunday marks the fifth anniversary of Guru’s passing.
The self-proclaimed “king of monotone,” Guru possessed one of the most unmistakable voices in hip-hop. Honest and authoritative, he delivered music over three decades, most notably in Gang Starr with DJ Premier as well as through genre-bending Jazzmatazz solo efforts. What follows are excerpts from an unpublished interview with Guru and Solar in 2007. It’s a snapshot of Guru’s late 2000s, post-Gang Starr career. It shows two men focused on making their own lane and taking creative chances in the leadup to what would be Guru’s final Jazzmatazz project. Despite all the drama and confusion that would ensue, Guru made a mark on hip-hop. That’s indisputable.
Bill: Guru, one the previous Jazzmatazz projects you were working with multiple producers. What was it like just sticking with Solar on this one?
Guru: Actually, the only one with multiple producers was the third one (Street Soul). The first one (Vol. 1) I produced, the second one (Vol. 2: The New Reality) I produced and then the third one multiple (producers). Actually, after the third one I said I wanted to go back to working with just one producer because I left like the third one – even though I had like a lot of big name producers – it came out more like a compilation than it did an organic work. It’s still one of my favorites joints, but it was something about the cohesiveness of one producer bringing everything together. After teaming up with Solar – first of all when I first started hearing his music that was after we were friends already for two years. Then we decided to do the label. We were introduced six years ago – he took me to his lab so I could hear some tracks, and it was crazy because it was almost like he read my mind because I was looking for a future sound, a new sound for myself. All my favorite artists are able to do that – to recreate and renew and then reinvent. So, when I heard his tracks, I was like, “Oh, man.” I was blown away and actually took some stuff home right then. Our first release came out in 2005 on 7 Grand. That was called Guru Version 7.0 The Street Scriptures, and that was just the tip of the iceberg. That was just the introduction to this new chemistry. Now, at this point, the chemistry is just more intense, so this album is definitely proof of that. (more…)
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’s – Those 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. (more…)
The Original Gangster of Hip-Hop remade his classic ode to rap history for the Deadly Dragon Sound System last December. I wonder if he’d do a version for the Conservative Rap Coalition if we asked very nicely?
Here’s a heart-warming tale of drinking too much from Grand Daddy I.U. from the interview I conducted with him in the carpark of a bar in Long Island, circa 2013. Living proof that doctor’s don’t know shit a lot of the time, and that drinking non-alcoholic beer really is a fate worse than death itself.
Robbie: Any good drinking stories?
Grand Daddy I.U.: Back in the days I used to drink Bacardi Dark. I must’ve been an alcoholic, cos I would go to sleep drinking that shit and wake up drinking that shit. One day my stomach was feeling so fuckin’ crazy I thought I had to shit or something. I’m sitting on the toilet and ain’t shit coming out – I start throwing up, throwing up – the shit started becoming yellow! I didn’t eat no shit that was yellow! Come to find out it was my stomach lining. This shit became so painful I called my moms, ‘I don’t know what this shit is, but you gotta come get me!’ She came and got me, the whole time I keep throwing up. (more…)
A few years back Grand Daddy I.U. released an EP of his early work (this time with the right production credits) on the appropriately titled Cold Stealin’ label. As a bonus, he included this shelved track he recorded in 1992 with Biz Markie on the hook, which contains gems such as “For that you get a smack, while I’m sticking my one-eyed jack in your ass crack.” The perfect compliment to I.U.’s classic ‘Girl In The Mall.’ (more…)