FDB Hits NYC - A Holiday Round-Up

It’s amazing how much a holiday can throw you out of your regular routine, hence the lack of posts around these parts since my arrival back from NYC last Friday. I’m now off to the south of France to spend a week with my family whilst relaxing in the Mediterranean sun, and just to put the icing on the cake, my parents have now added a wireless connection at our certifiably middle class home abroad. The upshot of this is that I’m not only blessed with the opportunity to indulge myself in copious amounts of food and wine in great company, but that I can also allow the contents of my hip hopping think-tank loose with a view of the sea. It may seem like a sweet little number, but I promise that in the depths of term time these moments seem a very distant memory, but rest assured, I’m gonna enjoy it before the mob of knowledge hungry teenagers (yeah, right) take a hold of me in just a couple of weeks time.

Anyway, enough of my personal situation: let’s get into some music. There were more than a few bits and pieces that myself and my girlfriend enjoyed music-wise whilst dwellin’ in the rotten apple, so here’s a rundown of things that we checked out that may interest you.

Check The Technique Launch Party @ Rewind, Manhattan 9/8/07

I don’t imagine that anybody reading this has not yet devoured Brian Coleman’s excellent new book that details the stories behind 36 classic hip hop albums, but given that it has not yet seen a release in the UK, I was busting to get my hands on a copy to enjoy whilst in the birthplace of hip hop. It goes without saying that if you haven’t got this yet it is an absolutely essential purchase for any self-respecting hip hop geek (or junkie as Coleman would prefer us to be known), and I was fortunate enough to meet him at the launch party where he listed another ten or so albums which are already set for a place in the sequel. Unfortunately, a mixture of a considerable amount of alcohol and an impending ‘disagreement’ with aforementioned girlfriend means that this list has now leaked from my memory, and I can only recall him mentioning Critical Beatdown. Still, I do remember being distinctly excited, and if the first installment is anything to go by then the sequel will be a joy.

Mr Walt and Evil Dee supplied the music for the evening and in conversation with the latter he mentioned a couple of projects he’s working on at the moment including a new Black Moon album and a full length collaboration with O.C., both of which I feel could be great or incredibly disappointing: we’ll have to wait and see.

Hush Tours – Manhattan & The Bronx 11/8/07

Hush Tours have been going for four years now, the brainchild of a woman called Deborah who along with various pioneering legends of the genre will show you around some places of hip hopping significance in NYC for a mere $55 (I’m not sure it warranted the price tag). Led by Grandmaster Caz, the tour took in various spots in Harlem and the Bronx, and is worth doing if you don’t know the city well and need a helping hand in finding some of the less obvious spots that have played a part in the development of the culture. I’m not sure how ghetto it is getting on a tour bus and wandering around Harlem with a collection of other people who ranged from the cool to the downright strange, but it was enjoyable nevertheless. Perhaps the most poignant moment for me was when I asked Caz which period in the culture he thought was the best, and rather predictably his reply was a categorical “in the beginning”. Looks like we’re doomed: young or old, the general consensus is that hip hop was always better ‘back in the day’. But then I guess we knew that already… let’s keep on reminiscing people.

Brand Nubian @ Sputnik, Brooklyn 11/8/07

I was understandably excited when I realised that Brand Nubian were going to be playing whilst I was in NYC, and the boys did not disappoint, with an hour long set that genuinely rocked the crowd. Apart from DJ Alamo, all original crew members were present and correct, storming through a set that included all of their classic early material as well as the odd Puba solo joint thrown in for good measure. In a venue that held only 97 people, there was an intimacy to this gig that was electrifying, and despite the slightly weathered look of Puba, Sadat X and Lord Jamar, their delivery was as fresh and as on point as it was in 1990. Surprisingly they didn’t play any of their new material from their soon to be released LP, but in some ways the gig was all the better for it, steeped in a sense of nostalgia and a straight up, feel good vibe.

What surprised me most about this event was that such concrete legends of the genre could be playing in such a small venue in the home of hip hop for a mere $15. Check yourself New York: where the love at?!

Zap Mama @ Central Park, Manhattan 12/8/07

There were a whole host of free outdoor gigs on the go over the course of my stay as well, and perhaps the biggest treat of them all was Zap Mama, a group who I had heard nothing of before. Turns out their lead singer has done collaborations with a variety of Badu infected hip hop artists including Common and The Roots, and the band’s live show was excellent, taking in influences from soul, jazz, samba and other categories of world music that I can never really get my head around. Suffice to say the end result was highly enjoyable, and I’ll be checking for some of their material in the future: I suggest that you do as well.



Leela James @ Jackie Robinson Park, Harlem 16/8/07

Our final night in the Big Apple was filled with the delights of Leela James whose live performance was captivating, taking in blues, funk and a few soul covers to keep the party rockin'. Nothing particularly original here, with Leela falling into the pitfalls of soul cliche a few too many times for my liking ("we've all been hurt y'all..."), and I have since downloaded her debut LP A Change Is Gonna Come which unfortunately fails to capture the grittier edge of her live show and feels a little too polished, but it still felt great standing in a park in Harlem for free and soaking up the atmosphere. If she can pull a Sharon Jones and translate some of this energy onto record, she could be an artist to look out for in the future. There's also a Pete Rock connection here, with her featuring on a track from Soul Survivor II and with some mysterious PR adlibs on the track 'Good Time' from her debut, so you know that's always going to keep me enticed.

Apologies if this post has felt a little self-indulgent, but it really did feel great to be in the home of hip hop, if only for a brief time: it really is one of the most exciting and culturally rich places that I have ever visited on the planet. I'll be hitting you with a special series of posts this week which will focus on my usual beat deconstructions and straight up hip hop, so forgive the brief digression and brace yourselves: it's gonna be big...

Ah, Oui... FDB Parisian Playlist

41 kids + 5 adults + thriving European city = hard work. I had a great time this week, but it's amazing how dependent on adult guidance 12/13 year olds are: I swear they would soil themselves if somebody didn't explicitly tell them that they should consider a toilet trip at some stage during the day. But I'm not bitchin', as mighty fun was had by all, and I left with a feeling of warm sentimentality that makes me proud to be a teacher.

One feature of the week was extended periods of time on a coach, so of course, it was a good opportunity to get into some music. I know Bobbito has expressed serious reservations about the iPod phenomenon (I'm killing hip hop apparently), but the best thing about my Shuffle is that it forces me to listen to things that otherwise may have passed me by as a result of the too much music/too little time issue. Having loaded it up with some trusty old faithfuls as well as some recent acquisitions, these were the songs that left an indelible mark on my listening habits from Monday to Friday.

Ak Skillz - One Life Ta Live (Instrumental)
taken from One Life Ta Live 12'' (Tru Criminal, 1996)

I first became aware of Ak Skillz when Sconeboy hipped me to the Lord Finesse produced 'Check Da Flava' which is dope, but it wasn't until I cruised passed Time 4 Sum Aksion (thanks ILLustrious) that I got a hold of this song which in my opinion is the strongest track that Ak ever put together. It's not that I don't like his mic skills, but it was the instrumental that really got me amped this week, particularly whilst sat at the front of a coach with seemingly infinite stretches of motorway laid out before me. Produced by a man called Eddie James (if Discogs is anything to go by then his output is extremely limited: additional information welcome), this beat perfectly captures that tail-end golden era sound, with warm, melodic samples paired up with big drums that will get your head nodding and that warm fuzzy feeling going in your belly.

I have no idea why Ak didn't make a greater impression on the scene with cuts like this, and particularly given the fact that he worked with both Lord Finesse and Buckwild during his irritatingly brief career. Like the Rawcotiks, this is another artist who I would love to have seen an album from, but who will now only be remembered by a hardcore minority of vinyl junkies and nerdy internet types (that's you and me). Still, he left us with a certified banger here, and this easily qualifies as my most listened to track of my time abroad.

Walkin' Large - Who Will Go Down (...Times Like These)
taken from Riverside Pictures (Groove Attack, 1995)

As with the Ak Skillz joint, I've got another blog to thank for coming across this, which goes down in my book as a seriously slept on gem. Head over to Magga's spot at Golden Age if you're interested in the album in its entirety (you should be: it's killer). Unfortunately there is very little information out there on these guys, but from what I can gather they're from Germany, which seems extraordinary, because the whole album executes that east coast, boom bap sound so perfectly that it seems almost impossible that DJ Ara and Ono didn't grow up in Brooklyn. 'Who Will Go Down (...Times Like These)' is definitely one of the strongest cuts on the album, and I'm confident that listening to it will immediately send you over to Magga's blog to cop the album. Delayed horns, booming drums and tight rhymes... you know the deal. Don't sleep on this one folks.

Double XX Posse - The Pure Thing
taken from Put Ya Boots On (Big Beat, 1992)

For whatever reason, I've never got that heavily into 'Put Ya Boots On' which is ridiculous, because it's right up my alley. I'm positive that the majority of you will be very familiar with their debut release, and 'The Pure Thing' is just one of many bangers from the album that captured my imagination this week. The rolling piano loop and rim hits of the opening four bars lead you smoothly into the often used Lou Donaldson 'Ode To Billy Joe' drums, and the track has a nice bouncy feeling that is complemented perfectly by Sugar Ray's gritty vocal delivery. With a shouty chorus refrain in tow, this is classic early '90s hip hop with enough complexities production-wise (check the breakdown at 2.15) to keep it interesting, and I'll be correcting the error of my ways and giving the whole album some serious play over the next few weeks. If you're guilty of the same fallacy as me, then take this as a jumping off point to enjoy a classic album from '92 that perfectly represents the sound of the era.

Jackson 5 - 2,4,6,8
taken from ABC (Motown, 1970)

With my current interest in sample sources, the Jackson 5's '2,4,6,8' rose to dominate some of my listening habits as well this week having been jacked by Pete Rock for one of the strongest tracks on 'Soul Survivor II', 'Appreciate'. It's astonishing to think that little Michael was only twelve years old at this stage given the power of his vocal performance, and the uplifting guitar track and momentum of the track make this a perfect choice for the summer. This song was so infectious, that at one stage on Wednesday I thought I might never get it out of my head, and I was only able to remedy this situation by repeated plays whilst ignoring colleagues and students alike at the Palace of Versailles: a man's got to have a little alone time every now and again.

I've got a few collaborative writing projects in the pipeline at the moment which I plan to devote some time to, so as stated at the end of last week, I suspect things will be a little slow here at FDB during the month of July. Apart from anything else, I realised the other day that I haven't done a full album review in a while, so I need to commit myself to a little digging time as well in an attempt to unearth something worthy of the treatment. Take it steady people.

FDB Takes A Well Deserved Break & Some Belated Props

Looks like July is going to be a slow month around this little corner of the internet. I'm off to Paris for a week with school, so unfortunately I'm not going to have a chance to update until Friday: tune in then for more of that goodness that you've come to expect from From Da Bricks. I'm sure you'll make it without me...

Biggie Got The Hype Shit (nah, not that one):

Total - 'Can't You See' feat. Notorious B.I.G.
taken from New Jersey Drive OST (Tommy Boy, 1995)

My mate Geoff (a.k.a. Biggie) rightly pointed out to me on Friday night that I had failed to give him credit for his help with the musical terminology that appeared in the Schifrin post towards the latter end of last month. Geoff's 'Biggie' nickname is derived from Scottish dialect rather than by any reference to one of Brooklyn's finest, but it still feels fitting to acknowledge his contribution with a verse from Christopher Wallace that I know he probably hasn't heard, and which may have passed you by as well. In the wake of Weiss's post over at Floodwatch Music, I've been delving back into a few soundtracks this week, and had forgotten about Biggie's guest spot on Total's 'Can't You See', taken from the New Jersey Drive soundtrack. Despite my penchant for the odd R 'n' B hook in a harder edged rap song, I struggle to make it into more than a minute of this cut because it gets seriously cheesy once Biggie's appearance comes to a close. I could also happily do without the Diddy adlibs as well, but I can't help but enjoy this tune for what it is, and Biggie pulls off his verse with his classic and seemingly effortless sense of style. Thanks for the help Geoff.

I'll catch you in less than a week: take it easy.

The Greatest Crew That Never Was - Rawcotiks

Rawcotiks - Hardcore Hip Hop (Freeze, 1996)
DJ Honda - For Everyday That Goes By feat. Rawcotiks
taken from HII (Epic, 1998)

Hip hop is a culture plagued by the typically brief careers of all too many of its most promising artists. Notions of the 'sophomore slump' are rampant in the genre's golden ages, as are crews who managed one of two popular singles before fading rapidly into obscurity, never to be heard from again. Washington Heights' Rawcotiks crew avoid falling into either of these categories, but they do so somewhat by default. Having never released a full length album means that they dodge the pitfalls of the troublesome follow-up LP, and they have done enough in terms of 12'' releases and guest spots over the years to become a part of the collective hip hop conscience, but for me, they are one of the genre's greatest underachievers. Even with decent mic skills, some heavy hitting affiliations and a classic single all in their favour, they still failed to make a serious impression on the game, and will largely only be remembered by enthusiasts. Bottom line, it's a damn shame.

I first came across the crew around '99, when I copped Kenny Dope's first installment of the 'Hip Hop Forever' series which featured their smash single 'Hardcore Hip Hop'. There is no doubting the quality of this track, and I believe it ranks amongst the best cuts of '96. The sweeping strings, rolling yet subtle drum track and anthemic chorus loop make for an absolute banger, and Buttah Lee and Jeff Valentino come correct with the rhymes as well. They even scored a Primo remix, making this a 12'' of serious stature.

Of course, this wasn't the last of their appearances on wax, albeit in small doses as guest MCs on other artists' releases. Affiliations with the Beatnuts meant that they cropped up on Al Tariq's much slept on 'God Connections' LP as well as a couple of Nuts' remixes that feature on 'The Spot (The Remix EP)' that saw a release in '98. Their reputation even saw them hook up with Japan's DJ Honda who subsequently became one of their most regular and long-standing affiliations for whom they provided verses on several tracks in the run up to the millennium. On the solo tip they put out a few decent 12''s spanning a five year period that took them up to 2001, but these made relatively impact and are the reserve of committed hip hop heads and vinyl addicts. Ultimately, their actual output never seemed to match up to the air of significance that the crew undoubtedly radiated towards the end of the '90s.

So what exactly went wrong? The connections were in place and their profile was large enough to warrant being picked up by a label to record a complete album. You can even picture it: '97/'98, Beatnuts production with a couple of Premier joints thrown in for good measure and Jeff and Buttah kickin' it with some Dominican flava. It could have been a banger, but for whatever reason, it never materialised. Indicative of their 'underachievement' is the fact that their presence on the internet is also incredibly limited. I've spent hours trying to find out a little bit more about these boys, but with little success beyond Discogs and the odd mention of the Premier 'Hardcore Hip Hop' remix here and there. Don't get me wrong, it's not that I don't like the bulk of their material because I really do, but my point here is that there remains a lingering sensation that they could have achieved so much more given their pedigree. There are of course plenty of groups that have followed a similar path, but very few have seemed to promise quite as much. According to their MySpace they 'are ready to go all out in 2007', but I can't help but feel that to some degree, their moment has passed. Maybe they'll prove me wrong, but Rawcotiks go down in my book as a crew that could have been significant players in the rap game, but who ultimately failed to deliver in the manner that I would have anticipated. Just another factor in the trials and tribulations of being a hardcore rap fan... ain't it a bitch?

100+ Posts, 60,000+ Hits: Time For A Change

It's funny that there has been a brief uproar over the last couple of days relating to Def Jux and their threats to Google/Blogger, and that Travis over at WYDU wrote something today on the subject, as it relates strongly to changes here at FDB. I've been thinking about these for a while, and actually wrote this post over the weekend, but held back whilst I was trying to sort out some of the technical issues surrounding the change. Anyway, here's the lowdown in all its glory...

One of the issues that has continued to plague me in relation to From Da Bricks is that of the dubious nature of file sharing. I believe strongly that in many ways the sharing of albums in their entirety is worthwhile, particularly when they are out of print or representative of an under-exposed or forgotten artist. I hope that in posting whole albums in the past, people will have gotten a hold of music that they either couldn't find, lost, or didn't know about in the first place, and that can only be a good thing. Having said this, it does still concern me that I may be in some way damaging the industry or artists in some way (not to mention the legal issues of course), and I wouldn't want to take anything away from something that brings me such continual joy (or get shafted by a lawyer).

As a result, I will now be streaming tunes on FDB, as well as giving you the option to download a couple of tracks for a limited period of time (likely to be the previous five posts) instead of posting up the whole albums. I hope that this will give you a flavour for the artist featured in each future post to accompany the words, verbs and pronouns, and may encourage you to purchase some of their music and research their body of work further. I intend to post two cuts from each album that I write something about, and provide a link to a place in which it can be purchased, predominantly Amazon.com. If you're interested, here are some of the reasons why as well as a few comments on the change in general:

1. With the plethora of blogs now out there as well as online resources such as Albumbase, it really is incredibly simple to find pretty much anything that you want on the World Wide Web in its entirety. In fact, I don't imagine that I have posted anything that can't be found on Albumbase or other blogs with relative ease, and so it feels like a bit of a waste of time for me to upload the albums themselves when there really shouldn't be any problem finding them anyway. Conduct a search on Blogger or Albumbase and I can almost guarantee that what you are looking for will be there.

2. From my own downloading habits I know that sometimes I download ten albums in a day just to get an impression of what they are like, only for them to sit on my hard drive for months with little to no airplay. I appreciate it when I can listen to songs directly on a blog or website, so I assume that you will too. Although the downloads will be functional immediately, it may take me a little while to get the streaming up and running with total consistency, so bear with me and let me know how it's going for you.

3. Aforementioned moral/legal dilemma concerning file sharing. I want to make it clear that my feelings here are very mixed, and that I have no beef with anyone offering complete album downloads on their blogspot. Is it right, is it wrong... whatever, I have just chosen to go down a slightly different route from here on in and it's as simple as that. FDB was never meant to be a statement about the current state of the music industry or an attack on record labels and the status quo, and I have never shared anything in the past with the intention of changing the way that it is structured or functions (as if this little blogspot could have that effect anyway). My file sharing was never intended to be taking a stand against evil, money grabbing corporations that rob the consumer of choice and exploit artists (if that's what they are and do). Oh, and I don't want any lawyers breathing down my neck any time soon either.

4. I am still willing to send people links for whole albums via e-mail, but there are several conditions. Other blog owners, those people who I would consider online friends (you know who you are) and people who regularly comment on the site are more than welcome to drop me a line if there is something featured that they want, and as long as you don't then spread that link any further, then it will be a pleasure to oblige. If I send someone a link and then discover a week later that it has been accessed 100 times, the original recipient will never receive the same privilege again... but I know you good people wouldn't do that anyway. If you have never commented on the site and I have no idea who you are, I'm unlikely to respond to a request: don't take it personal.

5. I hope that one of the reasons that people visit the site is because of the chance to share a passion and interest in hip hop and discuss artists/albums/issues rather than simply to hit the links, and that the majority will still find FDB a friendly and inviting place to do so whether I offer full albums or not. Maybe this is naive and somewhat arrogant, but I hope that these feelings are not entirely misplaced and that regular readers will still find worth and enjoyment in visiting the site.

6. There will of course be exceptions to the rule. I still intend to post 12''s in their entirety because there is rarely more than two tracks on a vinyl single anyway, and I assume that if you download 12''s, it's probably because you collect them and are simply previewing the record in case you find it somewhere. The bottom line is that the digital format does not match the physical product, whereas if you have downloaded a whole album and have it on your hard drive, there really is little difference between that and owning the CD, as you can burn one easily yourself. Sconeboy mixes, compilations, and the odd bits and pieces will still be uploaded in their entirety, and essentially choices will be made based on the issues involved in each individual case. I'm sure that there are a mass of contradictions here, but I can only do what I feel is right. Essentially, I reserve the right to be a hypocrite.

So there you have it. The links that are currently on the site will be removed early next week, so this is your last chance to plough your way through the archives whilst there's still music there to grab. One of the positive things for me in all of this is the fact that I can now comment on/review new releases due to the two track/limited time policy which I would have previously avoided when offering whole album downloads.

Thanks for all of the support so far over the last six months or so, I still love doing it, and I hope that this only serves to improve things here at FDB. If there are any technical issues that arise from this change, e.g. the tracks aren't streaming properly (as I said, the streaming may not be immediate), then let me know and I will find a way around it. I hope that this blog continues to be a source of pleasure for all involved, and I thank you once again for all of the comments, feedback and props that, perhaps a little tragically, really do make a difference to my small and insignificant time on this planet. Peace.

Warning: List Making Is Bad For Your Health

I don't want to bore anyone with my rambling personal bullshit, so I'll keep this brief. If you are planning to compile a 'Top 25' list be wary: I haven't been able to stop thinking about mine for 24 hours. 'Should have I included that?', 'but what about...', 'how could I forget!': honestly, I'm concerned I may not be able to let it go that quickly. I'm not going to change anything or nominate those that didn't make it as that kind of defeats the point of the list in the first place, but be warned: you may experience some forms of stress in the process.

Check in tomorrow for something a little different here at FDB. I promise I'll leave it with the list for now...

Top 25? I Want A Go!

With prompting from Passion Of The Weiss, Straight Bangin’ and various other blogs that have thrown down the gauntlet, here is my list detailing my favourite 25 albums in hip hop history. I wanted to play this all cool and simply nominate the first 25 that came into my head (with a little tinkering), but inevitably the geek in me has taken over and I have toyed with the selections and ranking for quite a while, much to the detriment of my day job…

As with everyone else who has been taking part in this mass blogger ballot, I feel it necessary to preempt any backlash with a few clear ‘disclaimers’:

1. These are my favourite albums: this is not a list of the most important albums in hip hop history.

2. The order in which these are placed is somewhat arbitrary, as I love each one of these albums for different reasons. Still, I have attempted to weigh up all the different factors and rank them.

3. I am fully aware that this list does not include anything from the ‘80s and omits several extremely important artists in the genre’s history. Please bear in mind that in 1988 I was six years old and still occasionally needed help going to the toilet. Although I would love to have been born in the Bronx in the late ‘60s/early ‘70s and seen Kool Herc spin records out in the park back when this all started way back when, I can’t be blamed for circumstances beyond my control. To all you old school b-boys and b-girls out there, rest assured that I am working my way back through the wide spectrum of hip hop and am committed to expanding my knowledge of it in all of its colourful phases.

4. If I were asked to compile a list tomorrow, it would probably be different to this one. Indeed, this is slightly different to the one that I did last night.

5. I would usually only include one album by any one artist in lists like these, but I have made an exception here… it should be obvious why.

Phew… onto the list.

1. Nas – Illmatic
Boring I know, but is there a more perfect hip hop album? Coherent, bangin’, beautiful, concise: absolutely timeless.
2. A Tribe Called Quest - Midnight Marauders
Difficult to pick a favourite from the Tribe catalogue, but ‘Midnight Marauders’ wins it for me, just beating ‘The Low End Theory’.
3. Organized Konfusion - Stress: The Extinction Agenda
This album seems to get overlooked in these type of lists somewhat, but the combination of top class beats and exceptional mic skills firmly cement this in my top three picks. Pharoah’s verse on ‘The Extinction Agenda’ is absolutely astonishing.
4. Mobb Deep - The Infamous
The production on this album is crazy, and combined with highly articulate and quotable rhymes, I don’t think anyone could front on this classic.
5. Lords Of The Underground - Here Come The Lords
This may not be everyone’s cup of tea, but I had this on a recorded tape when I was only 11 years old. Its influence on my musical tastes is unquestionable, and I still bump it to this day. I felt I had to get some K-Def production into this list as well, as I deem him to be one of the most underrated producers in the game.
6. DJ Shadow – Endtroducing…
This blew me away when I first got hold of it. It takes me back to drives with friends around London late in the evening with ‘herbal’ cigarettes firmly in hand (the London Transport Police would have been appalled). Shadow: I know you could still do it like this… please don’t desert us totally in the search for some new ish!
7. Showbiz & AG - Runaway Slave
Banger from start to finish. The beats are quality and A.G.’s rhymes easily do them justice. I would give anything to have seen them live with Roc Raida behind the tables back in the day: oh, to be a native New Yorker c. 1992!
8. Wu-Tang - Enter The Wu-Tang
So many killer tracks and such a fantastic overall coherence make this an undeniable classic. Surely this one is on everybody’s list, isn’t it?
9. Smif N Wessun - Da Shinin’
It was a toss up between this and ‘Enta Da Stage’, but ‘Da Shinin'’ just wins out due to extended play whilst I was in Chile in 2003. A great album that reminds me of great times.
10. Notorious BIG - Ready To Die
So many choice cuts and Biggie rips through verses with such an amazingly captivating style: this album’s charms are impossible to resist.
11. Pete Rock – Petestrumentals
The first Pete Rock installment on the list. This may not be his most celebrated work, but this is a pure, funky slice of Pete Rock genius without any rhymes to get in the way. I don’t think I’ll ever get bored of ‘Pete’s Jazz’: despite thousands of plays, I just can’t kill it.
12. Diamond D - Stunts, Blunts & Hip Hop
One of the first true crate digging albums featuring brilliant production and enjoyable rhymes. Granted, D Squared ain’t the tightest on the mic, but I like his laid back flow and it complements the beats here perfectly: this still feels fresh and it’s fifteen years old.
13. OC - Word...Life
The Buckwild numbers are particular favourites, but the album as a whole is exceptional. OC is without a doubt one of the best MCs in the genre’s history. ‘You lack the minerals and vitamins’: the hairs rise on the back of my neck every single time.
14. INI - Center Of Attention
A double dose of the Chocolate Boy Wonder at numbers 14 and 15. This is such a great album with some of Pete Rock’s best production work as well as some great verses from Rob-O and Grap Luva.
15. Pete Rock & CL Smooth - The Main Ingredient
Honestly, I really struggled to not include their debut as well, but this is my favourite of the two albums and this list is already a little bit Pete Rock heavy (can you blame me?).
16. Pharcyde – Labcabincalifornia
‘Runnin’’ goes down as one of my favourite cuts of all time, and although I know most people feel differently, I prefer this to their debut. Dope beats and a more mature lyricism make this a wonderful album.
17. Rawkus Presents Soundbombing II
OK, so not an ‘album’ as such, but it’s my list suckas. I was in sixth form, Rawkus was flying high and although I had been listening to hip hop for years, it was around this time that I started to take it more seriously, placing a foot firmly on the ladder towards my current geeky state. The intro juggle to ‘1-9-9-9’ is one of the most amazing pieces of turntablism I have ever heard.
18. Mos Def - Black On Both Sides
Similar reasons to ‘Soundbombing II’, but this is not to take away from the quality of the album. ‘Umi Says’ is being played at my funeral (although the ‘I want black people to be free’ line at the end might seem a little strange at a white, middle-class North Londoner’s farewell bash: fuck it).
19. Genius - Liquid Swords
Another album that I had on tape when I was still in the very early stages of my obsession with hip hop. I remember coming home from my parents’ friends’ house in the summer and rocking this on my walkman. Easily my favourite Wu solo effort.
20. Gangstarr - Hard To Earn
Very difficult to pick a Gangstarr favourite, but this wins it because it was the first album of theirs that I really got into. The best DJ/MC team in hip hop history?
21. Jay Z - Reasonable Doubt
I remember listening to this on a school trip to Hadrian’s Wall in the north of England and other people taking the piss out of me for it (I don’t think Finchley, North London was quite ready for Mr. Carter in ‘96). I didn’t care: I loved it then and I still love it now.
22. Common - Like Water For Chocolate
I probably prefer ‘Resurrection’ but this was another seminal album in my sixth form years that cemented a love for hip hop and made me hunger for more in a way that I hadn’t done previously. I also caught him with a full live band on the tour that year, and it was one of the best gigs I’ve ever been to. For this reason, I’m nominating this fantastic album instead of the indisputable classic, ‘Resurrection’.
23. Main Source - Breaking Atoms
I was so surprised when a discussion on my blog revealed that some people don’t see this as a classic, as I think it’s incredible. Great, great beats, and although Extra P may not have the greatest flow in the game, I think he deserves more credit for his mic skills than many are willing to offer.
24. Naughty By Nature - Poverty's Paradise
By no means would I expect this to be deemed a universal classic, but once again, this is an album from my youth that carries personal significance. I used to love playing ‘Lemmings’ and rocking out to ‘Craziest’. How my parents despaired…
25. Da King & I - Contemporary Jeep Music
Although this is only something that I have gotten into relatively recently, I’m chucking it in there because it is one of the only albums that I have acquired in the last five years that has genuinely blown me away. I can’t believe that this is not more widely appreciated, as it is an album of incredible beats and wonderful rhymes that includes absolutely no filler. How many albums can you say that about?

There you have it. I can hear the cries of ‘what about PE?’ and ‘are you kidding: no De La?!’ resonating across cyberspace already… deal with it. I’ll look forward to seeing the final results go up at Straight Bangin' and Passion Of The Weiss. If you haven’t compiled your own list yet then get on it: the more people that take part, the more complete an overview we will end up with. Unleash the geek: you know it feels good…

Flea & J-Zone - Separated At Birth?

Unfortunately I don't have time for a full post today, as laziness over the Easter holidays has bitten me on the arse work-wise. Instead, I am tentatively suggesting that Flea of Red Hot Chili Peppers fame and J-Zone may in fact be long lost brothers, separated at birth only to find their own separate paths to musical fame. The similarity struck me whilst watching the video du jour, Marco Polo's 'Nostalgia'. Check J out in the chorus sections miming the scratching: replace those itchy fingers with a bass guitar, remove the man's clothes, chuck in a healthy dose of time at the tattoo parlour and pop a sock on his... you know... and I think we may just be onto something (or am I on something?).

I'll get back to it properly later in the week; hold tight for some Sconeboy drops tomorrow.

1994... The Year That Killed Hip Hop?

1994. Whenever discussions of the best years in hip hop are raised, '94 inevitably crops up, and with good reason. Along with a plethora of fantastic releases ('Hard To Earn', 'The Sun Rises In The East', 'The Main Ingredient', 'Stress: The Extinction Agenda', 'Word...Life' being just a handful), the hip hop world was of course rocked by two of the finest albums in its history: 'Illmatic' and 'Ready To Die'. When approaching every music fan's arbitrary 'best albums of all time' lists, it would seem nearly impossible for any hip hop head to not consider either of these two releases such is their consistent quality (beats and rhymes) and the way that they influenced the game. But in the long run, could it be tentatively argued that these albums specifically had a detrimental effect on the genre, and that a steady decline in quality was inevitable from this point? Let's see...

I remember a chat that I had with my friend Geoff a year or so ago in which we were discussing the work of John Coltrane whilst listening to 1957's 'Blue Train', a staple of the jazz canon that I imagine is celebrated by aficionados of the genre in the same way that 'Illmatic' or 'Ready To Die' are within hip hop circles. During this talk, Geoff regaled a story that feels fitting in line with the subject matter currently at hand: it is rumoured that Coltrane essentially killed jazz, such was his ability on the saxophone. His musical genius was beyond question, but in unleashing it to the world at large, he set a benchmark that was simply too high for later artists to match. Now I don't know enough about jazz to know whether this is true or not, but even with my limited subject knowledge, it seems that this era in jazz's history is celebrated much in the same way as hip hop's golden years, and I can imagine jazz purists approach anything that followed with the same sense of scepticism/disappointment that plagues devotees of hip hop who long for joints like the ones they heard 'back in the day'.

In applying this theory to hip hop, Biggie and Nas seem to be the most obvious figureheads, but it would be foolish to treat them in exactly the same way as each contributed something very different to hip hop. However, what they both achieved was a maintenance of underground credibility teamed with massive commercial success that was relatively unprecedented. Although rap albums of the past had achieved platinum sales figures ('The Great Adventures Of Slick Rick' as just one example), none had done so with the New York-centric hardcore aesthetic put forward by Nas and Big. It still astounds me that 'Ready To Die' reached such a wide audience: there is no disguising the brutal, violent and misogynistic message that Christopher Wallace puts forward on this record and yet it went on to sell over four million copies before the dust around its release had even settled. Of course, this was not the first time that ghetto music had made it into so many American homes, as earlier successes from the west coast and elsewhere had proven, but this was hardcore, unabashed NYC hip hop at its finest being blasted out of homes, cars and clubs in places where it had struggled to find relevance before.

Nasir Jones is a slightly different kettle of fish. Whereas Biggie was the living, breathing incarnation of the darkest elements of ghetto existence, Nas was the urban poet weaving highly literate narratives that detailed the world that he saw around him and his journey through it. Backed by an impossibly impressive production team, 'Illmatic' is my preferred record of the two under discussion, a perfectly contained and cohesive work that has inevitably ended up as the albatross around Nas' neck. What its success provided him with was the opportunity to access a more commercial audience, his role as 'ghetto poet' highly marketable and intensely alluring, and it doesn't take me to tell you what he has achieved as the years have rolled by.

The dawn of the 'superrapper' was now well and truly consolidated. Both Nas and Big embodied the street savvy attitude and elusive sense of style that have proven to be the hallmarks of a successful and commercially viable rap artist, and they represented a city that was the home of hip hop. This establishment of a rap superstar laid the foundation for the less than great rappers of the future, and changed the game forever. In this sense, Big and Nas could be held responsible for the decline of hip hop and its transformation into a multi-billion dollar industry that feels so far removed from the 'realer' days of old.

Let's not blame them though. I prefer to think of them in line with the theory put forward with regards to Coltrane: these releases were simply so good that it would prove nearly impossible to replicate their genius in the future. Coming at the right time in the genre's history, you can almost sense that hip hop was destined to reach this point (although perhaps this is only with a retrospective eye), and both are representations of the genre at the pinnacle of its creative output. Maybe Nas and Big did kill hip hop, but what they left in their wake were two sensational works that still sound fresh, inspiring and raw to this day. Dig 'em out and treat yourself: hip hop is unlikely to ever be this good again.

Holiday Hits Part 2 - Marvin, Gil & Amy

Not one to disappoint, here we go with part two of FDB's 'Holiday Hits'. I've been trying to get into a little bit more soul and jazz recently, inspired by blogs such as Souled On Music. Of course, this is also the breeding ground of samples for hip hop, so the enjoyment is two-fold: I get to check out some great records as well as pick out the constituent parts that may have come to be utilised at a later date and in a different musical context. As a result, I picked up a few bits and pieces whilst away.

(Forewarning: more holiday gloating ahead)

Whilst sunning yourself on a terrace that overlooks the Mediterranean, the hardest of the hardcore rap music seems a little inappropriate, and I got a lot of pleasure out of the following records as the evenings set in on the Cote D'Azur (sick of it yet?). Allow me to share...

Moving Down The Line - Marvin Gaye












'Trouble Man' has always been one of my favourite Marvin Gaye tracks, and it is only recently that I realised that the song was part of a soundtrack, scored by Gaye, for the blaxploitation film of the same name. What this record shows is his ability to embrace a range of musical styles beyond his earlier output, and the music lies more within the realms of funk and jazz here than with any other work that he recorded. Very few of the cuts feature Marvin's beautiful voice which I feel is a shame because it would have worked well soaring over the dramatic soundscape below, but of course this is a soundtrack to a film. The title song is still my clear favourite, but 'T Plays It Cool' gets itself into a tasty funk groove and 'Don't Mess With Mister T' is atmospheric and spacious. Dim the lights, sit back and soak it up..

Trouble Man

Ever Feel Kind Of Down And Out? - Gil Scott-Heron
















I feel relatively ashamed that I haven't got into Gil Scott-Heron earlier, and his influence on hip hop is undeniable (could he be considered the first 'rapper'?). What's particularly interesting about this record, recorded in just two days in 1971, is the range of musical textures and subject matter here, with Gil ranging from angry and revolutionary ('The Revolution Will Not Be Televised'), positive and uplifting ('Lady Day and John Coltrane') to pensive and tortured ('The Sign Of The Ages'). The musical backdrop is similarly varied, and it makes for an exciting and engaging listen. I think I prefer the more upbeat numbers, but the album in its entirety is excellent.

I don't know much about the context of this album within his career as a whole, and would greatly appreciate any information on similar works within his catalogue or any other recommendations. I'm at the beginnings of my soul journey: point me in the right direction brothers and sisters.

Pieces Of A Man

Around The Way Girl - Amy Winehouse
















The musical cynic in me generally avoids big album releases, the hype too often overwhelming the music itself. It's ridiculous I know, and 'Back To Black' is a fine demonstration of why this policy does not always work. I'd seen a few people mentioning this album on the hip hop blogs, so during one of my afternoons in Fnac I thought I'd give it a try and was absolutely blown away by it. The manner in which Salaam Remi and Mark Ronson have captured the essence of Motown records from the '60s is staggering, and such is the quality of the album that it goes beyond a simple rehashing of the past and feels fresh, warm and lively.

Winehouse's voice is sensational, full of emotion and power. My Dad noted a similarity with Dinah Washington whilst we were away, and I read this afternoon that she actually states Washington as one of her main influences (well done Dad). Check her out in full swing:



I'm not even going to post a link for this as it is so widely available that it feels pointless, but you should definitely track this down and enjoy these little slices of perfectly crafted pop soul. She's a North Londoner as well: she must be great.

Back onto regular album reviews and the like from here on in; I'm back in work on Friday so reality is gradually starting to creep in... take it easy.

Catching Wreck With Intellect - Nasty Nas

Quick heads up on a tune that I must have listened to at least 30 times today (still on school holidays), the original demo version of Nas' 'It Ain't Hard To Tell'. I got this care of Stretch Armstrong over at Konstant Kontakt: if you haven't visited yet you should get your arse over there because Stretch has got loads of audio from shows back in the day that epitomise the quality of hip hop in the early '90s. I downloaded all three of these original demos, but the clear favourite for me is 'It Ain't Hard To Tell' with completely different lyrics and a slammin' beat which still utilises 'Human Nature' as its key sample source. Cop it here and get a load of it.

FDB Returns - Holiday Hip Hop Hits

Having spent the last week and a half on the sunny shores (most of the time...) of the south of France, I'm glad to be back at home and have been itching to get back into the cosy world of hip hop cyberspace. I had quite a few ideas for posts whilst I was away, but I'm going to kick things off with a post split into two parts that will detail my holiday listening/buying habits. Of course, I listened to loads of stuff, but these are the albums that for whatever reason received more airtime than the others. Tomorrow's focus will be on soul/jazz, but for now, let's get into the hip hop...

Flippin' Like Species - LL Cool J
















Man, where do you start with LL Cool J? James Smith has seen it all in hip hop, and along with only a handful of others, has managed to carve out a career of serious longevity in rap music. It's fair to say that his output has been a little hit and miss, but LL was there all the way back in the innocent mid '80s, still kicking it through the more hardcore aesthetic of the early and mid '90s and then onto teaming up with R 'n' B female vocalists and suchlike as the jiggy era dawned. The man is still recording as well, although I'm not really interested in checking out any of his material beyond 1995's 'Mr. Smith', the first of today's albums. Granted, this is by no means a sensational release, but it is rewarding in places and had me bopping my head whilst basking in the rays of the Med (it's a hard life I know).

Let's take this one step at a time. Of course, the album has the obligatory radio hits in the form of 'Hey Lover' and 'Doin' It', the former of which is trash, but 'Doin' It' is pretty much as good as any crossover hit from the era with bangin' production and a pleasingly hard edge. The overly sexy shit on the lyrical side of things does grate, but I don't have a problem with this song and although I'm a little loathed to admit it, I like it. The strength of these hits commercially was phenomenal, and amazingly pushed the album to double platinum status. Even I had it on tape when it was released: the exposure was substantial due to these two cuts (to put this in context, I was a spotty thirteen year old at this stage who had had little proper exposure to hip hop and was only just beginning to go out and buy it for myself).

What I genuinely enjoy about this album is that aside from these crossover hits, there is some pretty solid production elsewhere that is largely handled by the Trackmasterz. Naturally, there is a fairly large dose of cheesy chorus hooks, but the beats themselves are pretty dope: the 'Who Shot Ya (Remix)' being the most agreeably hard-hitting. Other tracks are well worth a listen as well: 'Mr. Smith' features some era-defining sleighbells; 'Life As' won't fail to get your head nodding and 'God Bless' does a good job of flipping the heavily used Vickie Anderson break. Beyond these, my personal favourite is 'Hollis To Hollywood', where LL muses on the use of metaphor in the rap game and cleverly weaves together references to films backed by the best Trackmasterz's beat on the album. I love the way that the double bass kick in the last quarter of the bar in the intro leads you into the verse section, and the lightly crashing cymbals in the background give the track depth and flava.

In addition to this, LL's verses over the album are enjoyable, if not sensational. Again, the sexual references do grow tiresome after a while, but the delivery is complex enough to keep you engaged and there is no denying that the man has charisma and style, the hallmarks of any great MC. You have to admire his ability to stay current, and even appearances from Fat Joe, Keith Murray and Prodigy demonstrate that even though 'Mr Smith' was released ten whole years after LL's first release, he could still hold his own alongside his big name contemporaries in '95. If you haven't heard this album in its entirety then give it a go: it ain't going to rock your world, but you may find some joints that tickle your fancy.

Mr Smith

The Most Underrated Album Of All Time?

I've already done a post on Da King & I's slept on classic 'Contemporary Jeep Music', so no need to go into any detail here. However, I was still killing this album on the holiday: fun, witty, funky, amazingly consistent, intelligent... this is my current nomination for most underrated album of all time. From front to back this is an absolute banger and if you're still sleeping on it then resolve the situation immediately and hit the link.

FDB Da King & I Archives
Contemporary Jeep Music





Que La Force Soit Avec Toi - Cut Killer














France's equivalent to HMV/Virgin Megastore is Fnac, and every time I visit the continent I enjoy a couple of hours flicking through their selections and listening to bits and pieces as you can walk up to listening posts, scan the barcode and check out 30 second clips of each of the songs on the selected albums. I also like to try to walk out with at least one or two French releases as well, otherwise I may as well be surfing Amazon from the comfort of my own home. Cut Killer has already featured here on FDB, and this is another of his mixtape series that is well worth owning. There's isn't much to say here that I haven't said already, but this is a two disc mixtape of quality boom bap beats blended with style. The tracklisting (click the second picture) only tells half the story as there are plenty of other instrumentals and acapellas dropped throughout the course of the mix and the result is a bangin' selection from front to back. Enjoy.

Cut Killer Mix Disc 1
Cut Killer Mix Disc 2
FDB Cut Killer Archives

C'est Pour Toi - Onra & Quetzal

The final album for today is something that I had never come across before and I imagine will be totally new to the majority of you. The great thing about actually flicking through racks of CDs rather than just surfing on the net is that something can catch your eye that would have otherwise have passed you by entirely, and these can often turn out to be some of the most exciting things that you buy. I am not suggesting that this is a sensational release, but it is certainly a demonstration of well-crafted beat-making that will receive very little exposure outside French shores. Ostensibly, the 'tribute' in question is to soul records of the sixties and seventies that form the basis of the samples here, but this could also be seen as a Dilla tribute, as this clearly draws its influence from 'Donuts'.

Featuring 35 beat skits with plenty of chopped up soul vocals and a progressive edge, Onra & Quetzal do a very effective Dilla impersonation here, clearly in line with the current trend for rich, soulful samples and slightly more abstract constructions care of a big stack of records and an MPC. This lacks the creativity of 'Donuts', but it is an enjoyable listen that demonstrates some real talent, and I hope to catch wind of more of their production work in the future. Although this was only released at the end of last year, I'm throwing it up because these guys deserve exposure and as yet, this is only available on the Fnac website and not on Amazon. I've put the link to the website below to make it as easy as possible: if you like it, bumble your way through the registration process and cop it.

Tribute
Onra & Quetzal - Fnac website

That's it for today, tune in tomorrow for the second installment of my holiday hits series which will focus on some soul and jazz... laters.

At Long Last... FDB Guitar Mix & Nick Drake

For those of you new to FDB, I did start a series of instrument themed compilations back in January that I intended to keep up relatively regularly. However, what with work and other commitments, the 'FDB Guitar Mix' has been on the back-burner for a while and is only now seeing the light of day. I've had a tracklist planned for ages, but I've scrawled it down on various bits of paper that have inevitably ended up going astray and as such it has been through a number of different incarnations. Anyway, here it is:

1. Prince Ali - Incistroduction
2. UMCs - Woman B Out
3. Red Hot Lover Tone - Lil' Boy Blu
4. Main Source - Atom
5. Ultimate Force - C'mon
6. Brand Nubian - Slow Down
7. Show & A.G. - Next Level (Original Mix)
8. Q-Tip - Let's Ride
9. Mad Skillz - The Nod Factor
10. PUTS - Plunken 'Em
11. Oktober - NYC
12. Danger Mouse & Gemini - The Only One
13. Ed O.G. - Love Comes And Goes
14. INI - What You Say
15. Lord Finesse - Bud Mutha
16. The Roots - What They Do
17. Common - I Used To Love H.E.R.

What I love about a good guitar sample is that it clearly harks back to hip hop's foundations in funk, and as a result, tunes that utilise them often have an upbeat and positive vibe that feels fitting as we head into Spring (finger's crossed) in the UK. Although I'm not going to break this down song by song, there are a few cuts here that deserve a special mention. I've already commented on P.A.'s 'I Miss 1994' release on FDB, but given that I have been killing the intro so regularly of late, I felt it fitting to kick off the compilation with the album opener, 'Incistroduction'. Although the release as a whole is not mind-blowing, I think this beat is excellent and does a good job of incorporating a mellow guitar loop into a heavy beat. Oktober's 'NYC' is a straight up banger off his 'Projekt: Building' release which in all honesty I was a little disappointed with, but there is no question that this joint has that infectious head nodding factor that should appeal to the majority of readers here at FDB. Finally, Ultimate Force's 'C'mon' is off their shelved album 'I'm Not Playin'' that sees an official release at the end of this month: 1990, Diamond D production... need I say more? Get it when it drops.

All in, I'm pretty happy with this compilation and indeed the series as a whole (I've included the links for all four in case you missed them first time around), and I hope to continue with this idea in the future, time-permitting. If you're feeling it, drop a comment and I may just set aside a bit of time to do the series justice over the coming months... it's in your hands.

FDB Guitar Mix
FDB Piano Mix
FDB Strings Mix
FDB Horn Mix

Nick Drake

As with the other FDB compilations, I'm taking the opportunity to throw up something a little different that falls in line with the theme of the mix. Nick Drake has garnered a massive cult following here in the UK, perhaps in part due to his tragic and untimely death, but also because his music is of such beauty that it still holds resonance close to 40 years after its initial composition. I remember seeing 'Pink Moon' at the top of numerous music press lists of 'great albums that never make the top 100 albums lists' and as a result I bought it in my third year of university. Drake suffered from depression, and it is said that he recorded this album facing a wall during late-night solitary sessions only to walk into Island records one day and dump it on their desk. This is reflected in the album's stripped down purity: this is largely Drake's voice, his guitar and little else. I'm not usually a massive fan of folk, but this is undeniably beautiful music that I strongly recommend. It's pretty far removed from hip hop and may not be your bag: give it a try and let me know.

Pink Moon

Speak The Hungarian Rapper

Although there are many things that I love about life on the continent, there is no doubt that they are capable of making some serious mistakes when it comes to music. My friend Matt at work pointed this video out to me, and it is so laughable that I thought I would share it with you. I'm sure Speak's heart is in the right place, but this is embarrassingly cringe-worthy 'rap' that deserves to be laughed at. Unbelievably, this is not a parody...



Needless to say, I won't be checkin' for any more of his material.

That about wraps it up for today. Work looks like it may be calming down a little now so hopefully you'll see a slightly higher frequency of posts over the remainder of this month. Stay locked and keep dropping comments: it's always appreciated.

Top Notch Bloggin'

Man, work is stressful at the moment. Loads to do, not enough time... dry one. Wanted to point you in the direction of two of the best posts that I have seen recently, each taking apart works with an incredible depth of detail and display of knowledge. Travis at WYDU drops some science on people who need to learn their history by providing an overview of all of the artists name-checked on Nas' 'Where Are They Now?' '80s mix and it's dope (part 2 to follow which will cover the remainder of artists not covered today). Meanwhile, Jaz at ColdRockDaSpot has worked through all of the samples used on the first half of EPMD's 'Business Never Personal'. Both of these posts demonstrate the commitment that a selected few bloggers put into their work and demand that you check 'em. What you waiting for?

WYDU - 'Where Are They Now?' Overview
ColdRockDaSpot - 'Business Never Personal' Sample Post

Bomb With The Boom Bap - Prince Ali

Just a quick heads up today rather than a full length post, and mad props go out to Kazeiro over at Rap Dungeon for putting me onto this. I would usually try to avoid posting something that I had seen elsewhere recently, but this is slightly different as this is another album that is being released for free on the internet, a growing trend that has seen some quality releases this year.

Prince Ali's 'I Miss 1994' is one of the best records that I have heard this year, and as the title suggests, it harks back to days gone by in the rap game. All the information you need to know is on Prince Ali's myspace page as well as the link to download the album. I have been heavily into this today, particularly the album opener that features one of the best beats that I have heard on any album that I have bought recently, new or old. The mellow guitar loop has had me reaching for the rewind button countless times today. Don't sleep on this: grab it while you can.

Right Or Wrong? The Morality Of Blogging

Just this evening I've read a few comments/posts where the issue of whether providing access to whole albums is a good thing or not. This is something that I have thought about a lot and would be interested to know what people feel about it.

On the one hand, posting these albums provides exposure to an artist and may encourage people to buy their records, go to see a live performance or spread the word amongst their friends. Word of mouth is a powerful force and it could be argued that bloggers provide a kind of advertisement for recording artists that ultimately provides them with financial rewards. Many of these albums have been long forgotten about by the masses (if they knew that they existed at all) and blogging provides them with a fanbase that perhaps they may not have had. Recently, one of the members of Yaggfu Front dropped a comment after I had posted the album showing love for the exposure of his music, so it is clear that some artists are more than happy for this behaviour to continue.

On the other hand, it is of course providing people with decent quality copies of music that they may not subsequently buy. It could be said that blogs harm an artist's financial growth and limit them in the future. Perhaps online file sharing IS killing music, and we should not shoot ourselves in the foot by harming the genre by sharing it so freely.

What are the rules exactly? Does something have to be out of print to be 'postable'? Should it be more than ten years old? Does posting new/old albums work in or against the favour of the artists in question? Should record companies step their game up and make their products more desirable? Is file sharing going to bring down the record industry and destroy music? I would be very interested to know people's thoughts on this one: you know what to do.

Orchestral Flava - FDB Strings Mix and Vaughan Williams

Back up in it. Man, nothing worse than non-compliant technology. Anyway, I'm back from a nice weekend and fingers crossed blogger seems to be back on side: thanks for your patience. Planned to hit you with this compilation on Saturday but here it is to lift you out of your Monday blues: the 'From Da Bricks Strings Mix'. I have been happy with all of the entries in my compilation series so far, but I think this might be the best. A string section can add untold flava to a hip hop joint, and is perhaps the most versatile of sample choices. Depending on its usage, it can either provide a dark and moody vibe or contribute to a straight up banger; I hope that this provides a cross-section of both. Here's the tracklist:

1. Nas - Nas Is Like
2. Nine - Whutcha Want?
3. Society - Yes 'n' Deed
3. Royce Da 5' 9'' - Boom
5. Gangstarr - Code Of The Streets
6. Pete Rock - Tha Game
7. Real Live - The Gimmicks
8. KRS One - A Friend
9. Mobb Deep - Animal Instinct
10. Heltah Skeltah - Letha Brainz Blow
11. Black Moon - Shit Iz Real
12. Jay Z - Bring It On
13. Supreme NTM - Tout N'est Pas Si Facile
14. Pharoah Monch - The Truth
15. AZ - Mo Money, Mo Murder 'Homicide'

The majority of these cuts are string-heavy in that they feature very prominent samples, although some are more subtle, particularly 'Shit Iz Real' with its creeping strings at the end of every bar during the verse sections and 'Tout N'est Pas Si Facile' which features sweeping strings in support of the horn loop and vocal refrain during the chorus section of the track. All of the big producers feature here: Showbiz, Diamond D, K-Def, Premier and Pete Rock, although Primo deserves a special mention providing the beats for no less than four of the selections made. This happened as a total accident: I had a few tracks in mind, but then just listened to a few albums over the weekend and made my selections. Perhaps this demonstrates Premier's dominance in the field of string samples, or perhaps it is simply a coincidence. Any nominations for the 'King of Strings' gratefully received. I also want to mention that at the end of the AZ cut there is a non-strings track: I can't do anything about this as it is added onto the end of 'Mo Money...' on 'Doe Or Die'. However, the strength of this track warrants the brief deviation from the theme. Hope you enjoy it.

Ralph Vaughan Williams

As with the previous two mixes, I'm taking the opportuniy to throw up something a little different to complement my compilation. I know next to nothing about classical music, although my Dad has a relatively extensive knowledge of the genre (although this is of course an exceptionally broad musical spectrum). One of the pieces that has always left an impression on me has been 'The Lark Ascending', an incredibly beautiful piece of music that is led by a violin, hence its inclusion in today's post. Composed in 1914, it is one of Vaughan Williams' pastoral works, and there seems to be something quintessentially English about this piece. Anyway, I'm not going to pretend I know much about this at all, and it may not be something that you are interested in listening to. However, if you feel like something drastically different from your regular hip hop fix and want to appreciate the emotional power of strings in an orchestral context then give it a go. Who knows, you may never look back...


My Daily Blog Run

I thought I would also briefly give props to a selection of the blogs that I check out every day. Given that I spend a fair amount of time writing my own, I have had to streamline my time spent on other blogs. Of course, there are a load of quality blogs out there, but these are the blogs that I check out daily without fail. The key distinction for me here is that these blogs feature extensive, intelligent and unpretentious writing; a real pulling factor for me.

Wake Your Daughter Up - wakeyourdaughterup.blogspot.com
This was one of the blogs that really got me into the idea of starting my own, and it remains one of the best in the world of cyberspace. Although there are other contributors this is mainly run by Travis who has an extensive knowledge of hip hop and he loves sharing it. It is also one of the longest standing blogs out there. If you haven't been there already, wake your sleepy arse up and peep it.

Poisonous Paragraphs - poisonousparagraphs.blogspot.com
Dart Adams has only recently come onto the scene, but it is a fantastic addition to the blogging community. Dart drops science on loads of classic ish as well as the wider world of hip hop, with articles covering film, music videos and the culture in general. His knowledge is extensive and he writes well. If you are into reading some decent hip hop literature then check it out.

Cold Rock Da Spot - coldrockdaspot.blogspot.com
Jaz has only recently started up his blog, but it is dope, with some phat compilations and written material to boot. Again, there is a lack of pretence about this blog that appeals to me: this is somebody sharing their knowledge and passion for the genre with no front whatsoever. Check it out and show some love.

Biff Hop - biffhop.blogspot.com
Another veteran of the scene, Biff's hip hop spot is also one of the best blogs out there. Of late it seems to be run mainly by Alley Al who regularly comments here at From Da Bricks. Alley has been dropping some big posts recently linked by a theme, and like all of my favourite blogs, he drops knowledge whilst doing so. This is yet another example of the quality available to those of you surfing the hip hop blog scene: get there!

sām'pəld - sampuhld.blogspot.com
I also want to briefly shine some light on a brand new blog that should turn out to be excellent. Depleted, Moyinka and The Gosub Routine have just started up sām'pəld that will feature original breaks and some comment on their usage. If the quality of basslinesanglesrhymes (Depleted's original blog) can be replicated then this is sure to join my daily rounds. Good luck boys!

I want to reiterate that this is by no means an exclusive list of the blogs that I frequent and want to send a shout to everybody who spends time and effort in a quest to keeping real hip hop alive in 2007. I have gained a substantial amount of knowledge and pleasure from the blogging community over the last four or five months and am happy to be a part of it. Keep doing your thing people!

From Da Bricks Strings Mix
The Lark Ascending