You Should Know Better - QNC

QNC - For Da' Love & Hype, Fresh, Live feat. Aim
taken from Duo Dynamic (Grand Central, 2005)

Grand Central was at one stage the darling of the UK beats/hip hop scene. Founded in '95 by Mark Rae, a DJ/producer based in Manchester, it went on to unprecedented successes with acts such as Rae's own Rae & Christian and Aim (I'm gonna have to do a post on this guy soon). Grand Central was in many ways a more palatable and accessible version of Ninja Tune: the label was still left of centre and would have been considered 'cool' by both underground and mainstream audiences, but it lacked the edginess of arguably the most successful 'beats' outfit that the UK has ever seen. As a result, their discography is a little variable in quality with some excellent releases and others that feel tired, obvious and in the worst of cases, downright dull. Still, they were a welcome presence within British music and it's a shame that the label is now defunct due to issues relating to unpaid royalties and a few other legal bits and pieces that sent it into liquidation towards the end of last year.

QNC first came to my attention on Aim's 'Cold Water Music' and Rae & Christian's 'Northern Sulphuric Soul', both released in the latter stages of the '90s. They posted a couple of guest appearances on these works and impressed me enough to keep an eye out for any full length release that they may put together in the future. Sure enough, in 2005 they dropped their first and only album entitled 'Duo Dynamic' which is an enjoyable affair that also features some guest spots from a couple of big hitters in the shape of M.O.P. and Camp Lo. Although the album is short at twelve tracks, there really isn't much filler here and it goes down in my book as a little known work that I know most serious fans of the genre will appreciate.

Standouts for me are the laid back groove of 'For Da' Love' with a pleasingly melodic piano sample, tidy drum track and Guru chorus adlibs; 'Hype, Fresh, Live' featuring some upbeat, horn-based production by Aim which bumps along with substance and energy and I also like 'Polaroid Dimepiece' that sees Easy Mo Bee flipping Bob James' often sampled drums and bells break from 'Take Me To The Mardi Gras' (most famously used on Run D.M.C.'s 'Peter Piper'). This last track is a demonstration of the fact that QNC are clearly steeped in the history of the genre and there is a pervading sense with 'Duo Dynamic' that they are trying to stay true to hip hop's essence whilst creating a clean and contemporary audio aesthetic. For the most part they achieve this goal admirably, but my criticism of the album would lie in the fact that although it'll get your head noddin', it does feel a little flat in places and I would suggest that replay value is not at its greatest here. Still, I'll take what I can get from rap's relatively dire landscape over the last decade or so...

I really didn't know very much about the crew until a little research today, but coincidentally I was looking at J.V.C. Force's 'Doin' Damage' reissue only this afternoon whilst on a short break back in London and as it turns out, Curt Cazal used to be a member. I'm surprised at this connection, as I would have perhaps expected Curt to go on to slightly wider fame simply off the back of 'Strong Island' alone, but it seems that it did not propel him to the stardom that perhaps fans would have expected all the way back in '88. Given this fact, it is similarly surprising that he has managed to release a record seventeen years later that feels genuinely contemporary. This isn't their only claim to fame either, posting a track on the second D & D Studios compilation album and I believe that they even scored a Jay Z collaboration towards the end of the '90s. The conclusion from my brief meanderings through these various bits and pieces of information is that Q-Ball and Curt Cazal seem to be just the type of guys who have kept a relatively low profile in the game despite a presence that has spanned a period of time that would put most of today's more prominent artists to shame. Good work fellas.

Let's wrap this one up. 'Duo Dynamic' is by no means a brilliant album, but it has enough to keep long term fans of the genre happy. The beats are good, the rapping is enjoyable and the overall feel of the album is admirable, but it ain't going to blow your socks off. However, it's worth a purchase both for the music and the feeling that you are paying your respects to a couple of figures who have just got their heads down and got on with it over the last twenty years, a far cry from the flash in the pan wonders that have come to dominate hip hop during the same period of time: a dynamic duo indeed.

So Many People, So Many Places - Abdominal & DJ Fase

Abdominal & DJ Fase: A Tale Of Two Bitties & Sewmehnee (Times Fly)
taken from Flowtation Device (PIAS, 2004)

Although groups like J5 and Ugly Duckling often come under fire as a result of their soft image and clear audience accessibility, I'm not ashamed to admit that I like both of them, albeit in small doses. OK, so their music isn't exactly going to set the world on fire, but it is good, clean hip hop that effectively draws on the past and incorporates it into their upbeat party aesthetic without too many cringe-worthy moments and with the undeniable ability to put a shuffle in your step and a smile across your face (come on, admit it). Abdominal and DJ Fase, despite lacking the commercial successes of the aforementioned crews, clearly embrace a similar ethos and I would argue deliver it with just as much style and perhaps a little more substance than either J5 or Ugly Duckling on their debut release, 'Flowtation Device'.

I first came across the duo during my first year of university when I heard 'Fly Antics' on the compilation album put together by the legendary London hip hop night 'Scratch'. I instantly liked its incorporation of well-delivered rhymes, beats, scratch sections and beatbox breaks, and the track became a relatively widely known cut despite Abdominal and Fase's lack of reputation at this stage. I don't quite know what happened in the intervening five years between this and the album's release, but I assume that the same old industry issues may have gotten in the way (or perhaps they just really didn't want to rush it). Around the same time, Abdominal began teaming up with Brighton's DJ Format, and they toured relatively extensively across the UK in the lead up to Format's own debut LP, 'Music For The Mature B-Boy'. Their live show was excellent: filled with energy and with the clear intent to ensure everyone had a good time (Abdominal used to do a helium balloon/'Fly Antics' instrumental at 45rpm routine that was funny as well as technically impressive), and that's more than can be said for a lot of well-established crews that I have seen over the years.

DJ Format feat. MC Abdominal: The Hit Song



[This is taken from Format's 'Music For The Mature B-Boy' release.]

The reason that 'Flowtation Device' succeeds in my book is that it does a pretty good job of delivering worthwhile content with both beats and rhymes. Fase's production style is nothing ground-breaking, but it is littered with enough original touches to make it feel lively and engaging. 'Sewmehnee (Times Fly)' is a case in point with its interesting drum track, subtle vocal loop floating behind Abdominal's chorus hook and the brief moment just before the two minute mark where the cut grinds to a steady halt only to wind back up into the groove ten seconds later. It's a classy and infectious piece of production work that demonstrates more thought and care than the standard four bar loop, bassline and heavy drums formula, and is a good example of the subtleties of Fase's work behind the boards across the album as a whole.

Abdominal's vocal delivery on the album is impressive, and although I am not entirely convinced by his voice in itself, he does enough with dexterity and subject matter to make up for shortcomings elsewhere. Topics covered include his love for greasy fast food, the complexities of a man's approach to a long-term relationship, odes to his girlfriend and the odd bragging verse for good measure. He is an accomplished narrative spinner who is able to incorporate humour, intelligence and honesty into his words without seeming too try-hard, and the result is a varied and original set of verses that are undeniably enjoyable. At times it does verge on the corny: I like the beat on 'Elizabeth', but Abdominal's sung lyrics are hard to take even if the sentiment behind the track is heart-warming (the guy loves his girlfriend; ain't nothing wrong with that).

If you are solely intent on pulling your finest screwface and throwing your hands in the air only to find yourself waving them around like you just don't care, then 'Flowtation Device' is perhaps best avoided. However, if you feel like a break from slammin' snares and uncompromising street narratives then there may be something of interest for you here. This is unlikely to be an album that receives heavy rotation in your stereo, but for those moments when you do dust it down and throw it on, you will be rewarded with happy, upbeat and mature hip hop music that is capable of the near impossible feat of getting your head nodding whilst warming your soul. Hats off to that.

Request Alert!

With my current obsession with 'Nostalgia' I'm rediscovering my love for Masta Ace, so any 12'' rips will be gratefully received (don't worry about the LPs). I'm also interested in hearing the Marley Marl produced Sah-B vinyl single entitled 'Summa Day b/w Some Ol' Sah-B Shit'. Thank you in advance...

Feels Like Hip Hop - Marco Polo

Marco Polo: Nostalgia feat. Masta Ace & Go Around feat. Buckshot
taken from Port Authority (Rawkus/Soulspazm, 2007)

So here it is. After building up a significant amount of expectation and wild hopes for what 'Port Authority' may deliver musically as well as what it may represent in terms of hip hop culture in wider terms, it is now in my hands, in heavy rotation and awaiting dissection. I purposefully resisted the temptation to download an advance copy of Marco Polo's much hyped solo debut in an attempt to recapture what I love about buying music in the first place: although 'previewing' records is a true joy of our digital age, there is nothing quite like buying something that you have been eagerly anticipating and are yet to hear, strolling home with a skip in your step (unfortunately this came directly from Amazon...) and unleashing it for that all important first listen where you begin to form your initial impressions and poise yourself for debate with like-minded friends in the near future. Ultimately, I was hoping that 'Port Authority' would give me that elusive buzz that is reluctantly fading in my memory as I grow older and increasingly cynical in my approach to music. So, has it managed it? Although this may not be a truly great album in musical terms alone, there is something special about this release that makes me feel warm and fuzzy inside, and for that reason if nothing else, I'm rapidly falling in love with it: here's why.

Let's start with the music. 'Nostalgia' has been my tune of choice for well over a month now, and as one of the leading cuts from the album, it couldn't have come much better. I love everything about this song: the beat, Masta Ace's sensational vocal performance, the wonderfully crafted scratch chorus section that reeks of hip hop's boom bap era and the video all contribute towards making what I believe is one of the best single hip hop tracks since the dawn of the new millenium. Every time I listen to this cut it gets better, and at the moment I simply can't get enough of it (I've already killed it for my girlfriend). But let's not get carried away. This is only one small element on an eighteen track release, and it would be a fallacy to let the greatness of this song alone cloud a judgement of the album as a whole. Do, however, treat yourself to the video:



Fortunately, there are other standouts here to savour. The soulful horns and downtempo pace of 'Go Around' make it one of the album's most successful cuts, with Buckshot's lyrical delivery supplemented by Tek and Steele's chorus adlibs ('Bucktown!'): it's a banger that recalls the Boot Camp sound of the early to mid '90s with great success. It certainly helps that I'm a big fan of O.C., but 'Marquee' is also one of my initial favourites, with Omar Credle encouraging the listener to 'get lost in the moment [as] this is feel good music', a fitting description of the track and indeed of 'Port Authority' as a whole. I know that people front on Large Pro's mic skills, but I also really enjoy 'The Radar' which additionally features some incredible scratching by turntable veteran DJ Revolution and even comes complete with its own Pete Rock style beat skit as the track fades out to make way for the bouncy 'All My Love'. These sort of reminiscent touches litter the album, recapturing the boom bap spirit of old with style and serious flava.

Somewhat expectedly, there are some throwaway cuts as well. Tracks such as 'Low Budget' and 'Heat' aren't bad by any stretch of the imagination, but they lack punch and are easily forgettable. Marco's cover of 'Electric Relaxation' also feels like a bit of a waste of time for me, and he even acknowledges in the liner notes the potential difficulties that lie in 're-making a classic'. Although it's an enjoyable rendition and continues to tie the album's music in with the latter stages of hip hop's golden era, you're left asking what we really gain from it: it's never going to be as good as the original, and doesn't deviate away from one of Tribe's finest moments enough to warrant its existence. Still, it's hard not to appreciate the sentiment, and although the track's success is limited, I'm not going to front on Marco for its inclusion on one of the most consistent releases of recent times.

So what does this album represent in terms of the culture as a whole? For me, there are three key issues that 'Port Authority' raises in relation to the genre's existence in 2007. Firstly, in a world that is now dominated by the presence of the MC, the album contributes to the shift back to producer-led efforts where overall consistency is distinctly more viable than on the fifteen track/five producer efforts that we have grown accustomed to over the last decade and a half or so. Don't get me wrong, Marco is by no means the first person to do this is recent memory (Dilla probably being the most prominent example), but this is a prime demonstration of a producer based effort that straddles the line between the underground and commercial viability, and which is also genuinely worthy of praise. The beatmaker is back firmly in the limelight: MCs out there, you'd best beware...

Secondly, 'Port Authority' recalls Rawkus' successes towards the end of the '90s, and although the label has a long way to go before it reaches its previous status as the number one choice for those artists who are keen to represent themselves as genuinely 'keeping it real', there is a hope generated by 'Port Authority' that Rawkus may yet recover from its demise around the turn of the century and deliver some material of serious quality in the future (last year's Kidz In The Hall joint wasn't too shabby either). Hip hop is in desperate need of a reliable and consistent label where the stamp on the back of new releases actually means something: perhaps Rawkus has got the ability to do so once again.

Finally, and perhaps most importantly, this album fits into a growing movement of 'throwback rap' that is beginning to gain real momentum, with artists drawing heavily on essential elements of the music from the past and updating it for a contemporary audience. Some may criticise 'Port Authority' for offering nothing new to the genre, labelling it a pastiche of hip hop from a forgotten era, but I find this attempted rejuvenation of the music encouraging and refreshing. In times of trauma, it is no surprise that we are looking back in an attempt to inform the future, and as a certified mid '90s head, I can only hope that this trend continues with increasing vigour.

Ultimately, I'm willing to forgive this album's shortcomings because it represents something sadly lacking from today's hip hop scene: passion. There is a sense with this release that it is made by someone who genuinely loves hip hop and who wants to stay true to an essence of days that are now sadly fading into obscurity. It is made by a fan, for the consumption of similarly like-minded individuals who miss the heady days of the early '90s. With its host of big name guest appearances and clear reliance on boom bap influences, there is a purity to 'Port Authority' that is infectious. I can only hope that we see more albums like this in the future: Marco Polo has managed to pay homage to the past in a fresh (cough) and engaging manner that hints towards a resurgence of the culture in the wake of its proclamation as 'dead'. Or perhaps I'm just getting carried away... get yourself a copy and decide for yourself: I believe that 'Port Authority' is the finest album of the year so far.

Links to check out:
Marco Polo interview
Marco Polo's website
Marco Polo's MySpace

This Stuff Is Really Fresh! Prime Cuts

In posting Big Kwam's 'Verbalise' 12'', it took me back to '99 when I copped the final edition in the 'Hip Hop Don't Stop' series mixed by one of the Scratch Perverts' finest DJs, Prime Cuts. At the risk of having my ghetto pass revoked (again), this really was my first proper introduction to a lot of these classic cuts at a time when my passion for the genre took a significant leap forward, and it opened my eyes to over a decade of hip hop music that awaited my research and joyful discovery (check the tracklist on Amazon). I don't imagine that anyone reading this blog will be unfamiliar with any of the tracks on this two-disc extravaganza, but it is put together with such fine craftsmanship that I doubt you will be able to resist its charms: this is a perfect party mix.

I've spoken before about the impact of the Scratch Perverts on the UK scene towards the latter half of the '90s, but I feel it necessary to reiterate that at this stage they were peerless within the British turntablist movement. They killed the British DMC heats, killed the finals and ranked amongst the top three in the world in both team and individual events on a number of different occasions. Now of course, you have to take the DMC results with a pinch of salt, but it is truly indicative of their dominance of the UK turntable scene at this time. Whenever I attended a DMC event, there was simply a sense of something extra taking place whenever one of the Perverts performed: they had the attitude, funky but highly technical routines, and they pioneered feedback techniques that ultimately changed the game on a global scale. Although Mr Thing was always my favourite of the original line up, Prime Cuts came a close second, and this mix is a testament to his abilities.

One thing to make clear is that this is not a live mix. Rather, this is a highly considered multi-track mix that incorporates lengthy transition periods between cuts, extended scratch sections and a juggle thrown in for good measure (and not just any juggle, this is Prime Cuts' 'Jack Of Spades' juggle that he rolled out in the DMCs and ITFs at the time). By using these extended instrumental passages between selections, he creates an amazingly fluid mix where tunes gradually seep into each other over minutes instead of the standard eight bars or so. In some ways it suffers from losing some of the immediacy of a live performance, but as studio mixes go, they really don't come much better than this and both discs will have you bangin' your head for their duration. If you are in any doubt about his skills, peep the video and then hit the link.



Hip Hop Don't Stop - The Greatest


Clean Guns - Living In Harmony Mixtape

Floodwatch has covered this in much more eloquent detail than I intend to do here (check out the review and interview at floodwatchmusic.com), but I also feel it necessary to shine a little light on these Philadelphia cats who are starting to make waves amongst the online hip hop community. Zilla Rocca had the good grace to send me a copy of their recently released 'Living In Harmony: The Mixtape' (thanks!) and despite briefly 'misplacing' it after a heavy night of drinking at my mate Geoff's house, it is now back in my possession and in rotation. This is quality material, and if you haven't checked these guys out yet then do so: you can find their mixtape for a very reasonable price here. Oh, and don't forget to check out their obligatory MySpace as well. Philadelphia is most definitely in da house.


Streaming Audio Update

Thank you for the feedback so far on the streaming audio posted the other day, but it does seem that there are issues for some people. I'm working on resolving this in the near future (saved once again by Depleted of BLAR fame), but would still appreciate it if people could check the links I have set up below and just let me know if they are working for you. There are going to be some changes to the site in the coming weeks, and I need to ensure that everyone who visits is going to have the opportunity to check out selected tracks. It's for your own good people!

Are You Ready To Party? Brainfreeze

To my mind, there are two types of DJ in this world. On the one hand, you have your crate diggers who rely on exceptional and original musical selections, and then on the other, you have those whose technical skill and dexterity is their defining feature. I love both with equal measure, but there are few that manage to combine the two roles with as much flava as DJ Shadow and his wild-haired partner in crime, Cut Chemist. Both are prime examples of DJs whose knowledge and material ownership of music is staggering, as well as the fact that they both possess top level skills on the cut (those sessions around Q Bert's house obviously did the trick).

The premise behind the 'Brainfreeze' release was simple. Shadow and Cut were rehearsing a 7'' only set (although a few 12''s were used as well) that was due to debut at the legendary hip hop fiesta in L.A. known as 'Future Primitive', and decided that they might as well hit the 'record' switch whilst doing so. 'Brainfreeze' is the result of two takes of rehearsal sessions, and it is a fantastic mix of soul, funk and a little hip hop (they drop 'I'm Not Playin'' in the first half of the mix) with a chunky slice of turntablism thrown in for good measure. My knowledge of the selections made is limited, but this a good times party mix that can't fail to put a smile on your face and a wiggle in that ass.

It's a shame that part of the enjoyment of this release, and those in Shadow's wider discography, are now somewhat tainted for me by the direction which he has taken in recent times. To be honest, I'm not even as bothered by the shift in musical orientation as much as I am by the attitude that he had towards it at the time of the release of 'The Outsider'. He seemed very defensive of the record, and even went as far as to suggest that he really didn't care about how existing fans felt about his new sound. I'm sure this wasn't the intention, and I can understand a knee-jerk reaction to criticism, but it leaves a slightly sour taste in my mouth when I consider the fact that Josh Davis essentially dissed some of his most long-standing followers. Maybe I'm just sore that the brilliantly atmospheric and dark, moody vibe of 'Endtroducing...' is unlikely to ever see the light of day again.

Back to the matter at hand. Amazingly, I didn't buy this when it was released as I was in a phase where myself and a friend bought a lot of music on trips out together, and this just happened to be one of the CDs that he copped and I didn't. I'm kicking myself about it now, because it's limited release and cult status mean that it is now worth a nice wad of cash, so adding it to my collection will be a struggle.

With the summer rapidly approaching, my advice is as follows. Get some friends around, bust open a crate of beers, fire up the barbeque and enjoy 'Brainfreeze' in the true context in which it was meant to be appreciated: a party.

Brainfreeze

[Shouts to my mate Tim for lending me a copy]

Showing Lotsa Stamina? The Don

I picked this up whilst on a random tangent through Discogs, and the fact that there were a couple of Large Pro beats on here sold it to me (and the fact that it was only a cent on Amazon). Unfortunately, this is a prime example of excited anticipation giving way to a perhaps inevitable disappointment: this ain't great. However, for Large Pro completists and those interested in the more commercial side of hip hop in the very early '90s, this may be something that you will be interested in hearing.

To be fair, the cover art alone did ring a few alarm bells, featuring The Don in various 'party' style poses (his get-up is straight wack), but then you can't judge a book by its cover. There is very little information out there on this release which doesn't surprise me as I had never come across it before or even heard of it, and this is perhaps indicative of the fact that this is indeed a lukewarm release at best (and I mean at best). I assume that this may have been attempting to reach a similar audience as releases such as the UMCs' 'Fruits Of Nature', although this record pales in comparison to what is in my opinion one of the strongest pop rap/daisy age records of the era.

The Large Pro contributions are worth hearing, although relatively forgettable. Given that this was released in 1991, I had high hopes of 'Breaking Atoms' style beats that would compensate for below par skills on the mic, but this was not to be. 'On Tour' bops along pleasantly enough with a funky little guitar loop and a nice variety of interpolations as the song progresses, but it lacks punch and the necessary depth to get you hyped. 'Step Aside' is the other Extra P contribution, and its passable, although spoiled by almost two minutes of shouts and 'heys' at the beginning of the cut. Once it finally gets into it, the snares are crispy enough to maintain your interest and as with the aforementioned track there is a nice variety of samples that keep the groove moving.

Elsewhere on the album there is some production from Wolf & Epic, but in all honesty, none of the other cuts have drawn my attention and I do not anticipate this being an album that I come back to regularly, if at all. Still, as a relic of a time gone by in hip hop and with the added bonus of the two Large Pro cuts, I guess I can't complain for a cent plus shipping: let me know what you think.

Wake Up The Party

Marco Polo ft. Masta Ace - Cut Of The Year So Far?

Obviously there is loads of hype surrounding the forthcoming Marco Polo 'Port Authority' album that sees a release in mid May on a rejuvenated Rawkus Records. I got put onto this track via WYDU, so you can check in there for the video. Whilst doing a little time on YouTube, I did unearth a little 'making of' video of 'Nostalgia' which means I can put this up without feeling like a total biter:



I love this track, and it has got me seriously amped about a release that I am unsure about at this stage: is it going to be as good as the hype suggests? I've avoided getting an advance internet download because I want to cop this when it's released and pass judgement at that stage. For the moment though, 'Nostalgia' is in heavy rotation: the big drums, chilled out summery vibe, Ace's deep verses and fantastic scratch chorus section have plastered a smile to my face for at least the last 48 hours. Definitely my favourite single of 2007 so far, and almost reason enough in itself to get the album when it is officially released.

When They Reminisce...

I haven't given a heads up on any new blogs on the scene for a while now, but Eric and Rasul's new blog is one of the best out there and deserves a special mention. Indepth writing, tons of albums drops and an honest and knowledgable approach to hip hop without any of the bullshit mean that this has quickly become a part of my daily rounds. Big up fellas, keep it going.

Pay 'Em A Visit

Kick 'Em In The Grill - MC Serch

'Return Of The Product' is one of those albums that has been on my hit list for a long time, and which I finally acquired a couple of months ago. Having read a bit of negative press regarding the album on the net, I wondered if my 'this is going to be great' hunch would be wrong, but I am glad to say that although this is by no means a sensational album, it is still a quality release that I would argue should be held in the same regard as his former bandmates' joint venture 'Dust To Dust', which also seems to get largely ignored by even the more educated of hip hop fans (I'm no exception, having slept on these until only recently).

In some ways, you can see how 'Return Of The Product' was doomed to failure. With the success of 3rd Bass (both of their full length studio albums went gold) and the critics behind them, it is no surprise that the slightly more hardcore aesthetic on Serch's first solo outing would be resented by those that had held the group in such high esteem. To be perfectly honest with you, I'm no expert on 3rd Bass and so don't want to get too heavily into drawing comparisons between Serch's earlier work as a member of that group and his own solo work: let's get down to a discussion of the album.

The lead single here was of course the excellent 'Back To The Grill' featuring Nas, Chubb Rock and Red Hot Lover Tone which essentially acts as a sequel to the undisputed classic 'Live at the BBQ'. I remember first hearing the former cut on a J Smoke mixtape around 2001 and was instantly taken by its bangin' drum track and upbeat party vibe. I also love the album opener 'Here It Comes' which features some creative and interesting layers (check the African chants in the verse section and the bell during the chorus... quality) and the funky drum track means that this cut easily gets your head nodding. The remix that appears at the end of the album is also excellent, with an aggressive and seriously upbeat flava. 'Can You Dig It' is another favourite, with live drums and a multi-layered chorus hook that works very well. Serch handles co-production on the majority of the tracks, with T-Ray and Wolf & Epic chipping in, and the result is a pretty consistent album that successfully utilises live instrumentation whilst maintaining a relatively gritty vibe.

Match the beats with Serch's unquestionable skills on the mic and you've got a winning formula. I have always liked his flow which feels relaxed and fluid, and his voice has a powerful quality that means he resonates over the music below. The content is also pleasingly varied with comments on society, bragging verses and I think he even kicks a little bit of 5% wisdom at one stage (!) although I can't remember what track this appears on. Here's the man himself talking about the upcoming album release at the beginning of 1992:



If you've been sleepin' on this album like me then I think you will be pleasantly surprised. Although it is by no means an exceptional album, it deserves far more props than it has ever garnered, slipping off the hip hop map for all but the most dedicated of fans. Right this wrong: hit the link.

Return Of The Product

Spreading Like Infection - Xzibit

Although my sensibilities lie firmly in the east, I'm trying to open my mind a little bit to stuff from the other side of the US in an attempt to expand my hip hop palette. Despite 'At The Speed Of Life' being a relatively high profile release, I only got a hold of it the other day and have been so impressed with it that I thought I'd throw it up almost immediately. To be fair, I feel like I'm cheating a little on the 'broadening my horizons' front here, as although Xzibit hails from California, there is no denying that this album is musically closer to counterparts from the five boroughs than from the so-called 'City of Angels'. Still, it's a step towards branching out a little bit, and I'm happy to be so pleasantly rewarded. Who knows, I may be bumping some low-riding, gun-toting G Funk before the year is out...

As an affiliate of the Likwit Crew with King Tee and The Alkaholiks, the east coast influence found in this album is hardly surprising as both of the aforementioned artists also lean towards a more New York oriented sound. Indeed, it also seems significant that this was released by Loud, who traditionally had always handled the business of those representing those on the Atlantic coastline. Favourite cuts for me at this stage are 'Eyes May Shine' which incorporates some sweeping strings with heavy drums to produce a serious banger, and this is followed by 'Positively Negative' which continues in the same rugged vein with a verse from King Tee to add to the lyrical side of the track. Diamond D's contribution 'Bird's Eye View' is also solid and as with 'Positively Negative' benefits from guestspots, this time from J-Ro and Tash of The Liks. Although I don't feel like I know the album inside out yet, the overall impression I am left with is that the production is pretty consistent from start to finish, and I had no problem in giving the album a full listen through straight out the blocks.

I also enjoy Xzibit's work on the mic, which is characterised by his deep voice and raw delivery. The content of his verses is relatively standard, but there is an intelligence here that means his street narratives work well (perhaps 'The Foundation' is one of the best examples where he details the struggles of street life by relaying the information to his son). It seems like 'Paparazzi' is often cited as the standout cut, but X's brutal dismantling of those artists in it for the money feels a little ridiculous now given his current profile in the game: 'Pimp My Ride' ain't exactly street level. Still, it is an excellent track, and the video is worth checkin':



All in, I have been genuinely impressed with this release and I regret sleeping on it due to my irrational prejudices against the west. This is gritty, rugged hip hop that easily stands up against east coast releases of the era, and it goes down as another quality release from the Likwit Crew that is opening my eyes to the west in more depth. If you're sleeping like I have been then who knows, it may do the same for you.

At The Speed Of Life

Eliminating Lies - The Boogiemonsters

Although the vast scale of hip hop means that the music is inevitably broken down into numerous sub-genres, the category of 'Christian Hip Hop' has always filled me with a vague sense of dread. The thought of somebody ramming their religious ideologies down my throat is not exactly desirable, and as such, the tag often has the effect of putting me off a work. The Boogiemonsters do fall into this sub-genre, and the religious aspect is more present on their second release 'God Sound' than on their classic debut, but it avoids being overly preachy and although it is not an astonishing album, it is well worth a listen.

The group are perhaps best well known for their single 'Recognized Thresholds of Negative Stress' and deservedly so. This is a fine example of mid '90s hip hop at its best, and although it was the clear album highlight, the rest of the release kept pace with a chilled, summery vibe and well delivered verses. Peep the video:




Their sophomore release is definitely not as strong, losing the sense of fun that categorised the first album in favour of a darker, more monochrome sound, but in places this does work well. 'The Beginning Of The End' has some tight rolling drums and brooding samples that make for an effective album opener. 'Whoever You Are' has a spacious feel and some atmospheric strings, and 'Whistles In The Wind' has a seriously laid back flava with echoing rim hits and, you guessed it, some whistling. These tracks are the highlights for me, and I rarely delve much deeper into the album. The beats lack impact overall and I do not feel that there is enough to keep a listener engaged properly over the album in its entirety.

MCs Vex and Mondo are effective on the mic, with nice flows and intelligent lyrics, but as with some of the beats, there is something lacking here that means my attention is not completely held. Don't get me wrong, their deliveries are accomplished, but if you asked me to detail their work content-wise, I would struggle to tell you as the verses do not demand that you take notice. There are of course references to their religious beliefs, but thankfully these do not feel overly preachy and avoid detracting from the quality of the album in some places, although as already mentioned, this is rather spasmodic.

If you are expecting something as good as 'The Underwater Album' then you will be inevitably disappointed, but there are moments on 'God Sound' that warrant a good listen. This is intelligent hip hop that despite its shortcomings will reward you in small doses. Enjoy.

God Sound

White Man's Burden - Miilkbone

When I was thinking about a name for this blog back in December, I didn't really labour over the task too heavily. I knew I wanted to reference the first LOTUG album in some way as it holds a special place in my heart, and I also wanted something that sounded good. Whether I achieved the latter or not is down to personal opinion, but I still like it and I enjoy the fact that it hints towards the urban nature of the genre (bricks = buildings, get it?!). What I didn't really consider was the reference to Jersey (Newark is 'The Brick City'), and it is only really as a by-product of writing this blog that I have fully realised the significance of 'Da Bricks' within the culture as a whole. Redman, Naughty, Artifacts... the list goes on. Of course, I wasn't unaware of its role in hip hop, but I just hadn't really thought about it that much and given it the full credit that it deserves.

With this in mind, today's post focuses on Miilkbone, a Jersey resident whose debut release 'Da Miilkrate' seems to get overlooked despite a satisfying combination of beats and rhymes. A Naughty By Nature affiliate, it is no surprise to see Kay Gee popping up on the production credits a number of times, and generally speaking, the beats are solid with a classic mid '90s flava: big drums and well chosen samples. Mufi is the lead producer on the album, putting together no less than seven of the cuts here, and this surprises me as he is a relatively unknown entity whose only other major production credit is on Queen Latifah's Grammy winning track 'U.N.I.T.Y.'. Highlights for me are 'Keep It Real' with its jazzy piano sample (the remix is also excellent), 'Move Wit' Da Groove' which has a real 'party in the summer' vibe and 'Check Me Out' that features some classic sleigh bells and an enjoyably broody soundscape. This is not to say that the production is exceptional as there is some filler here, and I do find myself reaching for the skip button on a number of occasions when listening to the whole album: they're not awful, but some of the beats lack punch and are easily forgotten.

Miilkbone can handle his business on the mic, with a flow reminiscent of his Naughty By Nature affiliates but without the finesse that make Treach and Vinnie so engaging. The lyrical content essentially falls back on the staple diet of boasts, brags and parties, but he carries the style off well enough over the course of the album. What really grates for me is his relatively consistent reference to the colour of his skin, and many of the skits revolve around the idea of his rejection of the 'traditional roles of the white male' as a result of growing up 'next to the projects... with just flat out hoods'. If Miilk was so keen to prove that the colour of his skin was irrelevant to his music, then why the hell did he choose to bang on about it all the time? The irritatingly simplistic vision that he puts forward with regards to notions of race and identity in hip hop end up coming off as superficial at best, and at their worst, highly ignorant. Perhaps this is overly harsh given that this was released in '96 when issues of colour in relation to hip hop had not been addressed in the same depth that they have been in more recent times, but there is no doubt that these overly earnest 'justifications' of his place within the genre feel heavily played out over the album in its entirety.

However, putting this issue to one side is worthwhile, as 'Da Miilkrate' is a solid release that contains enough highlights to keep the majority of heads happy. Don't expect to be blown away, but in places this will have your head nodding and feet tapping: show Jersey some props and hit the link.

Miilkbone - Da Miilkrate

Here Come The Hicks - Down South

I've said before that there is always a satisfaction in finding early works by artists who have subsequently made a big impression on the genre. 'Lost In Brooklyn' is not only a slept on and enjoyable release from '94, but it is also the album on which we find Shawn J. Period's first production credits (highlighted in the picture). If you don't know Shawn J. by name, then you will inevitably know the tracks from the late '90s that saw him become a major player in the Rawkus boom, providing beats for Mos Def, Blackstar, and a host of other artists at a time when hip hop was still in the wake of the golden era.

Featuring production from Shawn J. himself as well as T-Ray, The Beatnuts and Stretch Armstrong, the beats here are what you would expect: horn loops/stabs, big drums and funky basslines. The album is in fact split between a 'south' side (the first six tracks) and the 'north' side (the rest of the album) but to be honest this split is rather arbitrary as the sound throughout the album is relatively consistent. Beat-wise, this is clearly oriented in the east, although there are some nice 'southern' touches with the odd country and western guitar appearing that provide a little twist on the stock New York sound. Favourite joints for me are 'Southern Comfort' (which interestingly features the same sample utilised by Da King & I on the 'Crak Da Weazel' chorus hook) which has a nice summery vibe to it and a slightly cheesy chorus vocal; 'Lost In Brooklyn' is a straight up banger with infectious horns and tight snares; and I also like the album closer 'Open Sesame' which features classic Beatnuts production and verses that revolve around cracking open a brew and indulging in some fine liquor (content that the Beatnuts are no strangers to).

MC Soda Pop does a good job on the mic, although I think it would be fair to say that his verses are nothing sensational. The southern influences in production carry over into the rapping with multiple references to their roots in the lands of 'tractors, rakes and hoes', and Soda's flow is capable enough to be carried by the quality of the production work underneath him. The presence of DJ Myorr is also felt on the record, handling all scratch duties and even scoring himself a DJ only cut, 'Oh My'. Ultimately, the trio work well together, and any weaknesses in specific areas of the work are easily forgotten by the cohesiveness of the record overall.

'Lost In Brooklyn' is unlikely to blow your mind, but it is a solid effort that stands up relatively well amongst the plethora of quality releases that '94 witnessed. From my Google searching for images and a bit of info, it also seems like this may have gone pretty much unnoticed, as the pickings were slim. This is a shame, as this album deserves to be dusted off and given a little bit more recognition than it seems to have done since its release: give it a listen and help it along its way.

Lost In Brooklyn

The Accapella's An Instrument - Da King & I

It doesn't take much thought for me to realise that I am essentially a music addict. Through the purchasing of CDs and with the revelation of hip hop blogs, I am in the enviable position of simply having too much of it on my hands: there are literally not enough hours in the day to listen to everything that I acquire with the due care and attention that I would ideally like to. The upshot of this is that I regularly buy albums, give them a quick listen and then do one of three things. If it instantly grabs me, it will stay in rotation for a period of time that equates to how much I like it and in all probability I will dip in and out of it as the years pass by. If I don't like it, it simply goes up on the shelves with the rest of my ever-increasing collection and may or may not see the light of day again for a significant period of time. Finally, and perhaps best of all, there are occasionally albums that I listen to and enjoy, but for whatever reason, I do not fully appreciate their greatness at the time and it is only at a later date that I am struck by their true quality.

Da King & I's 'Contemporary Jeep Music' is a perfect example of an album that falls into this latter category of my music-listening habits, and has ultimately become one of my favourite albums of the era combining slammin' production with masterful wordplay that perhaps contradicts the image of the band presented by the album artwork and title: this is fun, uplifting, positive, party hip hop at its absolute finest.

The crew is made up of MC Izzy and DJ Majesty and although Izzy makes some contribution on the boards, the majority of the beats are produced by Majesty. Released in '93, the album is horn heavy, featuring squealing saxophones and trumpets that root this firmly in the early '90s era. However, there is a subtlety to the beat crafting here that takes it beyond the simple drums and loops formula. With each track, various samples come and go throughout four, eight and sixteen bar sections, seamlessly weaved into the compositions to create a highly engaging sonic landscape. The marvel of the album is that these transitions do not feel forced, each coming at exactly the right moment in time to keep your head noddin' and the smile plastered firmly across your face. It is a signifier of the work's brilliance that all too often I find myself reaching for the rewind button as a track ends: at times, I feel like I just can't get enough of it. Just check out 'Mr. All That' and 'Let's Take A Trip' and you'll see what I mean.

Incredibly, MC Izzy is more than up to the task of matching the beats with his skills on the mic. The subject content here is varied, swinging between more reflective numbers like 'Tears' where Izzy details the trials and tribulations of lost love with heart-warming honesty all the way through to straight up braggin' verses such as those found on 'Flip Da Script'. His uptempo delivery is highly accomplished, splattered with internal rhymes and complex rhythmical patterns that carry the listener along the paths of his intricately spun narratives. Perhaps one of the tracks that captivates me most is the album closer 'What's Up Doc' which takes the standard 'shouts' track to another level:

I give thanks to my Pops for being around,
Used to be seeing a frown when I let him down,
But on this day I apologise,
I'm 20 so I don't see things through a child's eyes,
I was rough but I wasn't bad,
I had more of a relationship with my Mum than with my Dad,
'Cos I was used to seeing Daddy stressed,
Which means that I wasn't seeing Daddy's best,
If I could turn the clock back ten years I would,
I guess it was for my own good,
'Cos I believe that God gives you what you can stand,
You're only in training to be a better man,
I thank God for my loving family and I plan to be
A family man myself, what else, check it,
When I blow up, my boys blow up,
I ain't selfish, thinking of yourself you better grow up
And get off that foul mentality...

Far from coming across as corny, these lines feel so genuine and heartfelt that I would challenge anybody to resist their charms. In a genre that is all too often associated with the darker sides of ghetto existence, Izzy makes you bop your head and feel warm inside with wonderful eloquence, steering well clear of the stereotypical gangsterisms that were beginning to take a firm hold of hip hop during this period. At the ripe old age of 20, the maturity and fun that he brings to the album are invaluable, and help to set it apart from other works released during the second half of golden era rap.

I could honestly rant and rave about this album until the cows come home, but the bottom line is that 'Contemporary Jeep Music' comes highly recommended here at From Da Bricks. Unfortunately, this was the only output by the crew save a few production credits scattered here and there, but I like to think that Izzy and Majesty may have fulfilled their dreams of comfortable and soul-enriching family life and look back on their time in hip hop with happiness and nostalgia. What they have left behind is a demonstration of how wonderful, uplifting and musically creative hip hop can be, and I know that this is an album that I will continue to enjoy for many years to come. I can only hope that it brings you the same amount of joy that it has brought me: check it.

Contemporary Jeep Music

Long Live The Rugged Female - Heather B.

Hip hop is such a male dominated musical genre that there is no denying that women have struggled to make a credible impression upon it. Of course you've got your Foxy Browns and Lil' Kims, but I think it would be fair to say that their rise to fame may have been due to a little timely arse shaking here and there as much as it has been about their musical prowess. Bottom line, they're marketable: they look good (if that's your thing), can hold a microphone and deliver some verses all at the same time. Imagine that! The scope for genuinely talented female artists within hip hop is regrettably limited, and as such, there have been very few quality releases from the fairer sex that are on par with their male counterparts.

Heather B.'s 1996 release 'Takin' Mine' is an exception to this rule, pairing quality production with Heather's tight flow that makes for an enjoyable, if not mind-blowing, release. Da Beatminerz pop up on the production credits for a track, but the majority is handled by BDP affiliate and brother of KRS One, Kenny Parker. 'All Glocks Down' was the lead single off the album, and does a good job of flipping the well used 'People Make The World Go Round' sample that has appeared on numerous cuts within the genre. It is without doubt the highlight of the album and sees Heather B. in strong form advising all comers to be aware of her role as the 'bulletproof lyricist':



There are other good cuts here too, but it is really the consistency of this release that wins me over. There really isn't a bad beat on here and although Heather's style is nothing phenomenal, she carries the material well over the course of the album. 'Takin' Mine' can be played from front to back with no need to skip, and this is more than can be said for a lot of albums released during this period. Thankfully, she also avoids over-playing the 'female card' and instead sticks to some boasts and brags that she pulls off with a gritty and accomplished delivery. You go girl!

The great thing about this album is that it does not feel like a novelty. This in itself is a success: when I listen to 'Takin' Mine' I am simply enjoying a decent quality hip hop album that removes itself from the 'female rapper' tag. With no sign of breasts or an arse in sight, this goes down as a slept on release that I imagine most heads will appreciate: cop it and find out.

Takin' Mine

Can't Go Wrong? O.C.

Living just across the street from Pharoah Monch in Queens, O.C. began his career in hip hop as a friend and collaborator of Organized Konfusion. Contributing a verse to the O.K. classic 'Fudge Pudge', Omar Credle ultimately landed himself a deal with Wild Pitch and this led to his certified classic 'Word...Life' being released in '94. This is one of my favourite albums of the era with banger after banger, not least the incredible 'Time's Up' produced by none other than Buckwild:



However, today's post is focussed on his sophomore release 'Jewelz'. Understandably I couldn't wait to check this after O.C.'s debut and the production roster promises much: Premier, Ogee, Buckwild and Da Beatminerz. This is an impressive team to say the least, and it should should mean that this release is every bit as good as 'Word...Life'. Unfortunately I have always felt that this album lacks something, despite solid beatmaking and O.C.'s intelligent and well delivered rhymes; ultimately 'Jewelz' leaves me feeling a little disappointed.

Of course, this is not to say that the album doesn't have some highlights. 'M.U.G.' sees O.C. team up with Freddie Foxxx and the pair rip through their verses with style over my favourite Premier beat on the album. I like the rolling pianos of 'You And Yours' which are paired with a crisp snare hit that give the track a pleasingly eerie feel. Despite it's cheesy chorus hook, I do also like 'Can't Go Wrong' although I would expect that this may just be one of those instances of personal preference that is not matched by popular opinion. Generally the beats are good but they just aren't great, which is a disappointment given the pedigree of beatmaker on this album.

O.C.'s rhyming ability is formidable matching a measured and fluid delivery with content that is engaging and intelligent. He sounds best on the more laid back cuts such as 'The Chosen One' where his eloquent verse feels like it floats above the beat below. You can hear a definite link between O.C.'s style and his old rhyming buddies Prince Po and Pharoah Monch: the lines weave around each other in complex rhythmical patterns and there are phrases like 'the ancient ruins of rap' that give his rhymes a vaguely mystical feeling that is entrancing.

Ultimately it is a shame that Credle was not able to duplicate the sheer quality of his debut with 'Jewelz'. Don't get me wrong, this is a good album, but I think that the benchmark had simply been set so high by 'Word...Life' that this was always going to be a disappointment. It's still one of the better releases from '97, but if you're expecting another dose of classic material then be warned: you may not find it here.

Jewelz

Funky Like A Monkey - Intelligent Hoodlum

As we all know, making your mark on hip hop and staying relevant as times inevitably change is no mean feat. I've spoken before of the comings and goings of those involved in hip hop and as we all know, the genre has had its fair share of casualties along the way who were unable to build sustainable careers from the music. The Intelligent Hoodlum, now better known as Tragedy Khadafi or simply Tragedy, is one of the lucky few who has managed to go against this trend, going back as far as the Juice Crew days in his home of Queensbridge to build a career in hip hop that has spanned seventeen years and six full length albums.

Tragedy's 'Intelligent Hoodlum' moniker back in the day clearly hinted at his personal history of crime and violence. Indeed, his first album was released after he had completed a sentence on Riker's Island for robbery in 1988 (I saw this go up recently over at Biff Hop in Alley's massive 300th post). Whilst doing his time, he immersed himself in literature concerning the teachings of Islam and African-American culture (hence the 'Intelligent'). This is clearly reflected in the rhyme content throughout 'Saga Of A Hoodlum' which comments on life on the streets with eloquence, insight and intelligence but whilst steering clear of being overly preachy: these are the words of a man who has been there and done that, simply stating his experiences of his time on this planet without ramming it down your throat or falling into self-loathing or glamourisation. This is matched with an engaging flow that means the Queensbridge MC manages the near impossible feat of combining both content and style.

The beats don't disappoint either, with K-Def assuming responsibility for the majority of the production here with Marley pitching in from time to time as well. Given that this was released in 1993, I'm sure that you can hazard a guess at the type of sound we're looking at here: straight up NYC boom bap. Samples are well chosen and beautifully simple, the drum tracks are heavy and have real momentum and basically speaking the production is flawless. Having said this, I would argue that K-Def has produced better work (check www.kdef.biz for a full discography with samples that you can listen to), but given his pedigree this should not be seen as a criticism of 'Saga Of A Hoodlum': this is still bangin' from front to back.

Apart from this and his debut, I haven't really checked out much of Tragedy's other releases as I suspect that they will only serve to be a disappointment. Still, you have to admire a man who has built such a successful career in hip hop and however you feel about his later work, his first two albums are fine examples of early-mid '90s hip hop and should be regarded as essential material for any discerning fan of the genre.

Saga Of A Hoodlum

London's Finest - Blak Twang

Blak Twang has been involved in the UK hip hop scene for well over a decade now, and like so many artists in the game has had his fair share of trouble and strife. 'Dettwork South East' was pencilled in for a '96 release, but issues with the label meant that it never saw a proper release. Unfortunately, his sophomore album fell victim to a similar fate although seemed to gain some level of distibution. All in all, you have to admire the determination of any artist who manages to come out of an experience like this still intact as surprisingly Blak Twang has gone on to see some crossover success on the UK scene whilst still staying relatively true to the music. His first album is gritty, well produced and demonstrates his skills on the mic; in my opinion it is a fine example of how good UK hip hop can be.

I know very little about the production credits on the album although I think that much of it was self-produced along with involvement from DJ Rumple. Whoever is responsible, the beats here are top notch: big heavy basslines, crisp drum tracks and dark, brooding samples. The title track is one of the highlights as well as 'Fearless' but generally speaking the consistency here is exceptional, with only a couple of tracks potentially leading you towards the skip button.

Lyrically, Blak Twang's verses are steeped in London culture. Although I no longer live in the nation's capital, listening to 'Dettwork South East' makes me feel proud to be a Londoner, and has me bowling around town with swagger (this is of course a highly romanticised vision that is pretty far removed from the suburban Finchley where I grew up). Numerous references to London hotspots and Twang's cockney/patois slang mean that this is unmistakably from these shores, and it is delivered with an easy and confident style. There is also a guestspot with Roots Manuva on 'Queenshead' which is worth checking particularly due to Manuva's subsequent career successes.

Overall, this comes highly recommended. Although I have my gripes about the UK scene there are some records that have me questionning my feelings towards British hip hop: this is one of them. Both production and the rhymes come correct and this really is a release that oozes quality from start to finish. Cop it, get your London attitude firmly fixed in place and appreciate British hip hop at its best.

Dettwork South East

Knowledge Of Self - Poor Righteous Teachers

Although Poor Righteous Teachers' influence within the genre of hip hop is undeniable, I am the first to admit that I have slept on their material somewhat. They are one of those groups that I know are great, like almost everything I hear and yet have never been lucky enough to come across their albums on used CD hunts and am unwilling to pay the often extortionate prices that they go for on Amazon/EBay. I did have the good fortune of stumbling across their fourth album 'The New World Order' though, and in response to a request from Vlandro over at Underrated Hip Hop, I'm throwing it up.

The group's roots lie in the teachings of The Nations of Gods and Earths, more commonly known as the Five Percent, and this conscious outlook permeates the majority of their material. 'The New World Order' is no exception, with lyrical content often surrounding the progress of the ignorant, the semi-enlightened and those that have true knowledge of self. Wise Intelligent is definitely the strongest of the group's two MC team, and in fact, Culture Freedom contributes relatively little to the album other than joining in for chorus hooks and the odd verse here and there. There are some pleasing guest spots on here as well, with Nine, Brother J, The Fugees and KRS all making appearances.

What I like about this album is that the production still comes off relatively hard; there are enough kicks and snares to satisfy any fan of the mid '90s era. There is also a strong reggae influence on some of the cuts with appearances from reggae legend Jr. Reid and Sluggy Ranks which are generally successful (I find 'Dreadful Day' a little bit cringe-worthy). The rap/reggae standout for me is 'They Turned Gangsta', which is about as good as any cut that I have heard that has combined elements of the two genres.

Very few hip hop artists have managed to make the turbulent transition between eras within the genre without coming off as behind the times, overly try-hard or in the worst of cases, straight wack. Considering that this was the group's fourth album, it is remarkably consistent and feels uncontrived. There is a sense that PRT were still following their own musical course here without feeling the pressure to adhere too closely to contemporary trends within the genre. For this reason, 'The New World Order' is a success, and it is a demonstration of the talent and longevity of the crew. Just writing this has made me realise that I need to wake my sleepy arse up and get a hold of their earlier material: any links and comments greatly appreciated.

Links

Apologies to all of you whose links have yet to materialise. I haven't forgotten, but am having a few technical problems adding other blogs to my list due to the computer that I am using. Hopefully this will be resolved in about a week or two so if I said I was going to add you, please don't hesitate to remind me in the not too distant future if I have forgotten. Big ups to all the quality blogs out there: you know who you are.

The New World Order

Oh My God - Blahzay Blahzay

Although DJ P.F. Cuttin and MC Outloud initially formed their alliance as far back as 1985, it was not until '96 that they realised the full potential of their union, releasing one of the finest albums in the latter stages of hip hop's second golden era: 'Blah, Blah, Blah'. It is rare that I unequivocably recommend an album on From Da Bricks, but if you have a penchant for big bangin' beats and dope rhymes then you would be hard pushed to find anything better within the genre that is not already widely known. This is pure hip hop in its undiluted state: a DJ/MC team that paid their dues, threw together some choice snares and samples and recorded a straight up banger at D&D Studios, one of the homes of the genre. Don't let this fool you into thinking that this means the group are simply the purist's choice: this is high quality material that will appeal to anybody who holds an interest in the genre. Can you tell that I'm a fan of the album yet? Check out one of the highlights:

Pain I Feel



If you are new to the group then your most likely point of reference will be their breakthrough single 'Danger', the Jeru sampling banger that recently cropped up on Jazzy Jeff's 'Hip Hop Forever II' mix. This cut epitomises hip hop of the era and is a worthy representative of the album as a whole, which consistently delivers with crisp snares, big bass kicks and well chosen samples. There really isn't a bad cut on 'Blah, Blah, Blah' and it is definitely an album that is best enjoyed in its entirety. If I had to offer a criticism, it would simply be to state that the crew are better off on the slightly more upbeat cuts; the slower songs lack the immediacy of the more uptempo numbers.

Outloud's mic skills work well with the production, although the lyrical content is nothing revolutionary. Still, his delivery carries the subject material well: it is a confident and engaging flow that complements the beats rather than detracting from them. To be perfectly honest, given my tendency to focus on the production as opposed to the rhymes, Outloud's flow almost constitutes another instrument for me in these songs, merging into the overall sonic effect. Bottom line, it's dope.

Whilst having a look for some video material to add to this post, I stumbled across a recent interview with P.F. Cuttin that highlighted the strife that hip hop is currently facing. Speaking in the back room of a club where he's put on a set, he explains his selections in relation to the industry today:



Although I can understand that the man deserves to get paid, it may well be this defeatest attitude which is now holding the culture back. I mean, if you are going to state that '85% of the records I play in the clubs, I hate them shits', you can't exactly hope to re-engage the audience that he is explaining are no longer present in the club scene. Perhaps hip hop may be dead after all. Anyway, if you're interested, there are another two sections to this interview that you can catch on YouTube.

Don't let P.F.'s negativity get you down. If hip hop is struggling today, there are still plenty of fine examples from the past to savour and enjoy: 'Blah, Blah, Blah' is most definitely one of them. Cop it, forget about the crisis of the culture and remember what quality mid '90s hip hop was all about.

Blah, Blah, Blah

Who's On The Microphone? Heavy D

Heavy D is a little bit of an oddity to me. On the one hand he is the incredibly well connected and, if we go by liner note shouts, highly respected cousin of Pete Rock whose recording career started as early as 1987. On the other, he has produced some of the fluffy nonsense that any serious hip hop fan would instantly condemn as garbage. Indeed, when I think of Heavy D, I am transported back to being thirteen years old standing beside a fairground round with 'Now That We've Found Love' pumping out of a sound system and feeling rather out of place at the carnival that used to come to my part of London every year. To be fair, I don't know his first two albums at all despite some Marley Marl work on his sophomore effort, but it does seem strange that an artist who crossed over with such vigour was able to maintain credibility throughout a career that spanned two decades.

'Blue Funk' was an obvious attempt to re-engage a more street level audience, pulling together the production work of DJ Premier, Tony Dofat and of course Pete Rock: a highly impressive array of producers. In general the beats are pretty bangin' and if you're up on this era of hip hop you will recognise a lot of the drum breaks and samples as they crop up elsewhere on other recordings regularly. The title track is perhaps my favourite, although apart from 'Girl' the album really is pretty consistent. Having said this, I would not expect 'Blue Funk' to blow you away. There is no doubt that it is an enjoyable album but it is by no means classic material.

Perhaps most surprising are the Overweight Lover's skills on the mic, which are remarkably competent. At times, and I say this with caution, he could almost pass as Biggie (who turns up on the posse cut 'A Buncha Niggas' along with Rob-O, Guru and Busta... weird eh?). Temporarily dropping his usual fluffy image for a decidedly more hardcore edge, he boasts and brags his way through the album with efficiency. The only real gripe with his presence on the microphone for me are the pseudo-therapeutic sessions that precede each of the tracks where Heavy tends to ponder his role in the game and the legacy he may leave. These are at best cringe-worthy and at times laughable; you can't help but wish he'd kept these musings to himself.

Ultimately, 'Blue Funk' is a pleasing discovery for any fan who may have dismissed his music due to his more obvious commercial successes. If you didn't know it was Heavy D, you would be easily excused for the mistake as this sounds very similar to other works of the era particularly albums like the Rough House Survivors 'Straight From The Soul'. Cop it and pay your respects to one of the largest (literally) figures in hip hop of the '90s.

Blue Funk

Hip Hop With A Cause - America Is Dying Slowly

Hip hop is not generally considered to be the most socially conscious of musical artforms, particularly in the mass media. Guns, drugs, bitches... these would probably be the type of subject matter that the majority of people would associate most closely with the genre. Of course, those of us in the know realise that although these may be undeniable symbols associated with the music, it would be ridiculous to state that hip hop does not engage in serious social issues and in this case, charity. Part of the Red Hot Organisation's series of releases that cover a wide range of genres, all of the proceeds from this release went directly to the struggle against AIDS in the US. Judging by the statistics listed in the liner notes, there is no getting away from the powerful grasp that the disease has taken in America: in 1996, 'AIDS was the leading cause of death for young black men and the number one cause of death for all Americans aged 25-44'. Alarming stuff.

Given that the primary reason for this release was to raise money and awareness of HIV and AIDS, you would not necessarily expect that much from it musically, but this is an enjoyable if somewhat uneven album that features some of underground hip hop's true heroes. Providing a cross-section of the genre at this time, the album joins together artists from east, west and the south and avoids being overly preachy, with Biz and Chubb Rock informing us that without a rubber, you won't get a 'backstage pass' and Domino reminding us to 'sport that raincoat'. The fact that these songs can make you dance, laugh and be reminded of a serious issue all at the same time is testament to the power of hip hop and the the artists involved in this project.

Highlights for me are the Prince Paul produced 'No Rubber, No Backstage Pass', Wu Tang's 'America' which delivers the message of the album with an intelligent and thought-provoking eloquence and 'What I Represent' which sees both OC and Buckwild make a thoroughly enjoyable contribution. Despite a few skips here and there, this is pretty consistent over its sixteen track selection: I was suprised by its overall quality when I got a hold of it recently. Click the link and enjoy.

I had intended to put some decent hours into the blog over the weekend but it doesn't look like it's going to happen. Hopefully within the next week I will be dropping the 'FDB Guitar Mix' as well as an Alley Al inspired post on the issues surrounding the infamous crossover from underground artist to mass media darling. These to come and more in the future: stay locked and drop some feedback if you're feeling it.

America Is Dying Slowly