EVERYBODY GOTTA EAT

This is some record-for-record Screwball battle shit (a contest I realize going into I have little to no chance of winning). No rules. You got a record with Screwball on it, post it, and let the duns judge which shit kills it (but obviously album cuts get less points).

I'mma spark it with Cookies-N-Cream 12". "The milky white crys-tals protected by the pis-tals." This was produced by Ghetto Pros and put out by Screwball Records in conjunction with Hydra Ent. in conjunction with Sneak Tip Records. Sneak Tip was the distro right? Is that shit still around? Eons what you got son!!???! Bump Queens.

Cookies-N-Cream

Cookies-N-Cream Instrumental

Beat'em On The Head

Beat'em On The Head Instrumental

LAWS ARE FOR THE RICH

I discovered this 12" through my buddy Ken Prank (locals may know Ken as a record swap regualr as well as the mastermind behind the killer punk/hc label Prank Records). I snagged a few cheap lp's off one of Ken's recent set sale lists and he warned me that they were not in the best shape. To make up for that and the fact I was paying for him to ship them 20 miles, he said he'd throw in a rap 12" he'd found a bunch of sealed copies of at Goodwill. It "isn't a heavy," he told me, but I still curious to see what it was as Ken digs for records in the Bay harder than most dj's and producers I know (if you put an ad on craigslist with the word "records" in it, you can almost guarantee a response from Ken). I wasn't sure what to expect, but when the package arrived and I saw the DFTC 12", the cover hit me like a ton of black bricks: a dope line drawing of a b-boy with a gun to the head of a fat pig cop. Damn! What a sick cover! I flipped it over to see who drew it and low and behold it was Dug One TMF. I glanced over the credits and none of the names rang any bells except for Ken Lee being the mastering engineer. I threw it on and the first thing that popped in my head was PARIS. MC Mike P., "The Mex In Effect", was obviously feeling P-Dogs black empowerment vibe and flipped it Mexican style for DFTC (Down For The Cause). From the Black Panther samples to the tempos to Mike P.'s cadence -- Paris. "Bring It On" is an uptempo call for revolution: "This is war / and I'm in it to win it / I'll drop the mic and grab a gun in a minute". The 808 on this is relentless and I can't help but imagine that co-producer J-Spina was using a Nissan minitruck as his monitor speaker when laying this down. And the drums hit hard, really hard. The kick rhythmically knocks a wheezing robot in the chest, apparently hanging on just to bust a fresh rhythm scratch and let everyone know that, while the revolution will not be televised, it will indeed test the engineering of various imported chassis rolling Vogues up and down Mission St. The flipside, "Laws Are For The Rich" is a bit slower and has more of a Public Enemy with it's Bomb Squad style production. That fucking 808 is still there, booming like a mother fucker, upsetting uppity neighbors all over the 415. "Go ahead and call the cops on me and my boys for beatin' out my Maxell copy of this 12. I got my 9 stashed in my Kangol under the seat." At least, that's what it sounds like the song is telling me. And check that breakdown out, this track megamixes itself! So after wiping the drool from my chin, I set out to google this lil guy. I was already bugging because there is no date printed anywhere on the sleeve or label (I'm guessing 1991), but when I discovered there wasn't even a discogs entry for this I was further intrigued. In fact, the only mention on the web I could find was an old Hip Hop Slam post by Billy Jam which mentions "writer/emcee Michael Perry (formerly of DFTC)" as author of the childrens book Turntable Timmy. Suddenly I flash back to the last bookstore job I held (working for one of the biggest assholes I've ever had the displeasure of working for) where I was consistently trying to stretch three hours of work into an eight hour day, the only male working in the store, trying to down out the menopausal crying and ex-husband phone calls of my worker who sat behind me. One day I was doing some mindless data entry at my desk when I overheard "...and the artwork was done by Doug Cunningham, a local graffiti artist." My ears pricked up and I started eavesdropping on the conversation. Turns out it was Michael Perry (aka Mike P.) trying to hustle his book to our childrens book buying mess of a human. I waited till he was done with his pitch, she agreed to buy a few books and got up and introduced myself. I told him I overheard him talking about Dug One and Q-Bert to which he responded, "You write?" We chopped it up for a bit before and Mike was mad cool. I wished him luck with his book and went back to my desk, realizing that I just let my annoying ass coworker in on some shit we typically keep secret. I wish I would have been hip to this DFTC 12" then. That would have added a bit of extra irony since the owner of the store was a filthy rich former attorney who probably grimaced the minute he saw the Turntable Timmy books The Mex In Effect had just snuck in through the back door!

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OOH THE DEW DOO MAN

This promo came out in 1991 to launch Prince Paul's Rush Assciated Labels imprint, Dew Doo Man Records.  Definitely top-notch Paul admist the De La Is Dead era, and I think the "I've been expecting you" was re-used by KMD on Mr. Hood.  Or is it the other way around?  The Dew Doo Man logo is the classic smiling cartoon blob of shit with a cape on.  The MC (or MCs??) is Resident Alien, and I don't know too much about him/them, but apparently this isn't his/their only record.  Who could forget Mr. Boops? I love this beat.  Used to open our radio show, "The Monday Night Hype" on KSCU in Santa Clara circa 1992 with the instrumental every week.  Discogs got this for sale for like $34 or something.  It's a bueatiful 2 minutes and 10 seconds of dew doo.  I spun this at a cannabis club parking lot party where I got paid with a chemdog Medi-cone, and Brian Rich the rap-buyer from Streetlight Records in SJ, came up and checked the label and gave me the thumbs up.  Straight dap.

OOH THE DEW DOO MAN by Resident Alien

song

instrumental

a cappella 

ASPHALT LEGION TAPE

Santa Cruz in the HOUSE! In 1994, producer, emcee, b-boy and DJ, Coolie Bee (one half of Asphalt Poetry) took it upon himself to document the little known hip-hop scene in Santa Cruz, California. With the ambition of releasing a compilation featuring various crews who were representing Santa Cruz down to Monterey Bay, he produced and released the album on tape in 1995. There were only 300 copies of the tape made, and these were only sold locally. To support the full-length release, a 12” single was also pressed to promote the album and the artists. There were 100 copies of the 12” pressed, given out on a promotional basis (See what Kutmasta Kurt, also a Santa Cruz native, had to say about that). Recorded and engineered at the Glue Factory by Dan “The Automator” Nakamura, the compilation and 12” have sat largely unknown to people outside (and inside!) Santa Cruz and the Bay Area.

Nearly 16 years since the original Asphalt Legion tape was released in late 1994/early 1995, New Medina Music is proud to annouce the re-release in association with Imperial and Asphalt Records. Taken from the original DATs, the sound, style and rawness of the sessions have not lost their spirit in the 15 years since. A full-interview (over 10.00 words in entirety) was conducted with Imperial (formerly DJ Coolie B) documenting the Santa Cruz scene from the early 80s thru the mid 90s [YO OH!!! When can we get our hands on that???]. The EP's (Volumes One and Two) are 200-copy, limited pressings, not to be repressed. Test pressing have been approved, and shit's been shipping since June 1st, I think (shit, it might already be sold out, there were only 2 hunski).

Special thanks to DJ Oh from New Medina for the content above and the promo below.

Here's my burn of both whole sides of the original tape that I got from the Mt. View Tower Records in like '96, and it's best described like the "baby's blanket" hash oil that's dripped on the bud before assembling this post: an intelligent lifeform in and of itself, rolling freely like mercury, losing and regaining form at will, exploring the dank terrain, until sparked to sparkle and sizzle, then inhaled as a conduit to uncharted levels. Master-eschelon hip hop skills presented by true connoisseurs of the dusted era. THIS is the art-form currently on the brink of extinction we so dearly cherish. "Punked Like The Rest" and "Stamina" are my go-to joints. Don't mind the hiss.

asphalt legion side a: straight from the asphalt, punked like the rest, buddah funk, put it to a stop, fact of the matter, stamina, south bay clout part one

asphalt legion side b: concrete rhymes, brain blast, check my temper, deliberate, big bhang theory, south bay clout part two

LABOR DAY WEIRDO POINTS

Cappadonna's the flyest stylist of the weird shit, breaking it down with other weirdos: Wizone and Lork LaRock over a J.Mob dirt beat. This is a weird 12", but the beat is just so dirtball! It came out in '96 and the only person thanked in the liner notes is Jesus Christ. Word Billy.

TAKING DRASTIC MEASURES (Cyphamix)

TAKING DRASTIC MEASURES (Cypha Instrumental)

Bonus: Here's also the original demo of "Sandwiches" by the Beatnuts where JuJu says, "I smoke roaches with basketball coaches..." Props to Vrse Murphy of Sacred Hoop for digging this out for me:

BEATNUTS-Sandwiches (Original Demo)

NOMADIC PRINCE LIVING LIFE AS A HEDONIST

1995- Most heads first become aware of Queens' rapper B-1 on Kool G Rap's "Take 'Em To War," also featuring MF Grimm and produced by T-Ray for G Rap's "4,5,6" album. "Shit ain't never gonna change, fuck it!" B-1 and Grimm also appear on the song "Money On My Brain" from the same album, produced by Dr. Butcher.

1996- MF Grimm drops his Dr. Butcher produced debut 12", "Get Down" on Dolo Records. The b-side, "Emotions" features raps by a QU soldier from Farmers Blvd. named B-1.

1997- Rawkus gives one of the streetest of street MCs his provebial break by releasing ONE a.k.a. B-1's debut 12", "Verbal Affairs" b/w "Empire Staters." The big orange sticker on the all black center-hole sleeve boasts a Large Professor (as Extra P) guest appearance that thirteen years later I've finally realized amounts to simply "Eh yo, One! We got 'em right where we want 'em, baby! Yo! It's official" right before the last chorus that itself gets cut off, abruptly interrupted, an audio fuck it. Track was produced by Yusef Lewis for Large Productions. I would love to hear more from this guy for sure, but I think this is one of only two beats he's ever released to the public. Respect the triumphant non-prolific. The J.D. Salinger award. B-1 lets us know he's the "rap Arafat with coke inside a travel bag." The b-side, "Empire Staters," produced by grimemaster Chuckie Madness, also found its way on to the Soundbombing comp released later that same year on Rawkus as well.

1998- ONE goes back to being B-1, and Rawkus releases the sophmore 12": "Cardinal Sins featuring Kool G Rap & B.O.M.B." [even though the cover only lists G Rap... note: that might be the cutty-est underground rapper move ever: the liner notes only rapper! talk about bottom billin'! Some mixtapes list this track as "Against the Grain"] b/w "The Life We Lead" produced by Chuckie Madness (murderous bird chirps!) and DJ Kool G, respectively; and recorded and mixed by that ill engineer Large Professor in the Queens Lounge. B.O.M.B's Shan accents and influence hammers home that these artists rise from one of the strongest legacies of rhyme technique on the planet (and can anybody find another recorded rhyme by B.O.M.B.? That's a challenge). And to even further thicken the obscurity: As far as I know, DJ Kool G produced the b-side, "The Life We Lead," track to this 12", "Ms. Fat Booty" for Mos Def in 1999, another 12" for B-1 that same year, and then disappeared. Somebody tell me, is that really Kool G Rap?

1999- UK label Stonegroove Recordings releases the hard to find B-1 and Large Professor single, "Put Yo' Self In My Place" b/w "Hustle" both produced by DJ Kool G. (or is this Red Alert's son?).

2000- FatBeats releases, "How We Live" b/w "Built Like That" produced by the elusive Yusef Lewis and Chuckie Madness, respectively.

I can't really speak on the first Grimm or these last two 12"s, because I don't own them... yet. Best believe I got my lazy eye out, though! Didn't ANY real 90s hip-hop heads that didn't fall off become millionaires?? Not even just one? Why can't someone find it in them to financially back the reunion of B-1, Yusef Lewis, Chuckie Madness, DJ Kool G, with Large Professor on the boards to finally create the album that all these 12"s wholeheartedly anticipated but never came to fruition. I really wish I could hear that... and throw in some demos by B.O.M.B., thanks spanks!

VERBAL AFFAIRS

EMPIRE STATERS

CARDINAL SINS

THE LIFE WE LEAD

GRIMEBUILDER VS. BOOZEKILLER: DON’T CALL IT A SLUMPBACK

Dear Grimies, Crimies and Burnouts:

Here’s two mixes I made when preparing for RPM at Mardi Gras (the monthly EONS ONE has held down in Redwood City since the start of this year). I can’t mix records, but he invited me play my records at his b-day party in Feb. and at the Black Stamp vs. Spareorgan show in June and this is what I pulled out. You’ll notice that BOOZEKILLER is quite a bit shorter and ends in a very predictable, almost to the verge of mind-crippling disappointment, fashion, much like many a recent night of drinking for this old bingemeister. The difference is I was already drunk when I started BOOZEKILLER, and I kicked off GRIMEBUILDER by sparking an L of Casey Jones grinded with Candy Purple, so it turned into the type of songs that I like to flip a razorblade from beneath my tongue, catch it between my teeth and smile at high school girls on Caltrain to and then it gets surprisingly nostalgic, then slightly rare, then commonly nostalgic, and then… Wayne Wonder starts singing… and yer like, “Prop 215 is turnin’ Californians fucking retarded, yo…” What can I say? “My mind be seein’ crazy visions and goin’ on mad journeys when I’m keefy, ock.” Personally, if I was piffy and came across it, I’d download it for the Mr. Supreme beats alone, if I didn’t already have the record.

I know me and EONS been in deep isolation this spring and summer, but hopefully the reasons for that will make the high-ate-us seem worth it very soon. But anyway, I’mma try an’ keep shit movin’ on ROBME again. A rare 90’s tape from the NorCalifornian Coast up soon and other gems, so stay tuned. I hope you enjoy listening to the records, ‘cause it’s all I ever wanna do anymore.

TRY TO KEEP A PMA Y’ALL,

LUKE SICK (SMOOTH TRIUMPH)

GRIMEBUILDER PIFFCAST (FEB 2010 RPM): >>>>

So Wassup – Gangstarr

Gab Gotcha featuring JuJu of Beatnuts – Angels

Gravediggaz – Freak the Sorceress

DJ Quest featuring Eddie K – Let The Bass Go (Slow N Sick)

Godfather Don – Properties of the Steel [Cut up by DJ Premier]

Brainsick Mob – Mixmaster [Cut up by DJ Premier]

Gravediggaz – The Reincarnation of Freud

Nat The Cat – While You’ve Been Waiting

Dark Sun Riders – Time To Build

Crimson League – One Time

2 Live Crew – Ghetto Bass

Public Enemy - Get the Fuck Outta Dodge

Chrome Kidz – Livin’ My Life

Mr. Supreme – Bonus Beat #3

Krumbsnatcha – Strike Back (Closer to God Pt. II)

Cella Dwellas – Good Dwellas

Rakim – Uplift

Anything Goes – CNN, Wayne Wonder, Lexxus

Cash Money and Marvelous – Ugly People Be Quiet

QB Finest – Da Bridge 2001 (instrumental)

Screwball – Cookies-N-Cream

2 Live Crew – Trow The D

BOOZEKILLER PIFFCAST (JUNE 2010 RPM): >>>>

Booker T & The MGs – Summertime

20^th Century Steel Band – Revival

Bad Brains – I Luv I Jah

3rd Bass – Jim Backus Flippin Off the Wall Like Lucy Ball

Volume 10 – Where’s The Sniper?

Lord Sear – Alcoholic Vibes

Alkaholiks – AA Meeting Intro & Likwidation

Schoolly D – Saturday Night

Lord Digga – Crazy Drunken Style

Alkaholiks - Only When I’m Drunk

UNRELEASED DJ RAW B Maxi-12" FEAT. PEP LOVE, AZEEM & LUKE SICK

Recorded much earlier this decade, but never released, here's a Maxi-12" packed with raw underground hip hop power that hit the cutting room floor, but can now be released digitally like it was aged whiskey. Raw B of KUSF Beat Sauce (R.I.P.) cred is a minimalist beast on the MPC. He was raised by the old school and brought it to radio every week for the true heads to absorb. That's Bambatta sitting down in black peeping the vet's skills in the top pic. Respect.

DJ RAW B/PEP LOVE-- BOX CHEV
DJ RAW B/AZEEM-- 21 CANNONS
DJ RAW B/LUKE SICK-- ERIC BENEMY

MEGAKUT RADIO #1

Here’s a non-progressive, retroactive, radio-style mix from our friends over at Megakut. What’s impressive is that it captures the vintage sound quality that was signature for the time period. When people, not directly involved in the scene that created it, first experienced this “electro-megamix-style-rap” music back in the late-80’s it was usually via some radio station that you could barely tune in or off a seventh-generation cassette of the same radio show. This is getting closer and closer to how it was. You just turned it up loud and listened to the bass! Sound like a weak excuse for having fucked up records? You may be right, Fletch. If you were born after ’79, it probably can’t help but sound fucked up. Not my problem, you need to obey the Mistress of Boom and just "Let It Go".

MEGAKUT RADIO #1: “PLAY LOUD IN A RESIDENTIAL AREA”

THE UNKNOWN DJ—“808 BEATS (club mix)”—Techno Hop—Produced by Andre Manuel

MCS OF RAP—“THIS IS THE JAM”—Rap Records—Produced by DJ Cox and Cool CP

YOLE BOYS—“SPREAD THOSE CHEEKS”—Megakut—Produced by Fatees

KYNA ANTEE (AKA THE MISTRESS)—“LET IT GO”—Techno Kut—Produced by Unknown DJ and Arabian Prince

DJ BATTERY BRAIN—“808 VOLT MIX”—Techno Hop—Produced by Unknown

DJ SLICE & KOOL ROCK JAY—“SLICE IT UP”—Dunk Yer Funk—Produced by L. Ramsey & M. Brown

BOOKER T. AND MUGGS VS. BOOKER T, ME AND SD50 (AND MUGGS)

Here’s some rap and break record nerd-ery that didn’t amount to much but was nevertheless entertaining and pays tribute to the cut-up some how I'm sure, rearranging audio recordings in an effort to decode the material's implicit content, hypothesizing that such a technique could be used to discover the true meaning of a given composition. William S. Burroughs also suggested cut-ups may be effective as a form of divination saying, "When you cut into the present the future leaks out."

It all started when I was listening to “Lickshot” produced by the SD50s on the b-side of Grand Puba’s “Ya Know How It Goes” 12” from 1993. I misinterpreted the main loop as a chop of Booker T and the MGs “No Matter What Shape” off their 1966 Stax album “And Now!” When I got out my Booker T record and rocked it, I realized that “Lickshot” must’ve have been made with a different record because it sounded only slightly like “No Matter What Shape.”

Then I remembered that Grandmixer Muggs had used “No Matter What Shape” for his Main Mix on House of Pain’s “Shamrocks and Shenanigans” remix 12” with that Butch Vig monstrosity on it. Upon listening to the HOP plate, I was reminded that Muggs had been lazy and simply snatched the first bar of the groove after the vamped intro and then let it loop (the most obvious use of the break—the Main Mix and the Booker T song are the exact same bpm an’ e’rythang). Muggs definitely didn’t chop it and speed it up like I thought the SD50s had done for “Lickshot” even though as it turns out I'm pretty sure*** they didn’t do anything of the sort, though my stoned curiosity remained undaunted. So I decided to use GarageBand and my below rudimentary knowledge of breakbeat editing to chop the Booker T break to resemble what I wrongly thought the SD50s did on “Lickshot.” I stole Muggs' drum loop from a breakdown in his Main Mix to expedite the process, and what resulted sounded nothing like “Lickshot,” but perhaps you can tell how I tried to rearrange Muggs' straight forward Booker T loop in an attempt to make it sound stimulated dummie-esque by jankily incorporating the snare in the intro just before the one of the groove drops instead of letting the guitar stab double up in the second half of the measure. No great feat, I know, just a noteworthy subtle nuance. A waste of time? Perhaps. Muggs’ production is vastly superior to mine, and I never should’ve thought him lazy (his loop is flawless and those horns that come in on the chorus make it deluxe). Yes, perhaps it does sound like a waste of time to some, but I’m addicted and for me it beat the shit out of updating my Disgracebook status so my cyber “friends” could be informed as to the consistency of my last bowel movement or some other banal tid-bit concerning my worthless existence. Listen in order and literally time travel at the speed of implicit thought… decoded.

Booker T and the MG’s “No Matter What Shape”

Grand Puba “Lickshot” LP version

House of Pain “Shamrocks and Shenanigans (Muggs Main Mix Instrumental)”

Here Comes the Break (No Matter What Sham-Lick Death Edit)

***= if I'm wrong and the SDs did use parts of "No Matter What Shape" for "Lickshot," please correct me... but maybe you should just whisper it to me, 'cause it's not listed as a cleared sample in the liner notes and we don't want to snitch on anyone and get them busted now do we? Shit, now I gotta go back and make sure I didn't just snitch on Muggs... in the modern world where music is essentially free these sampling laws seem stupider and stupider don't you think?... praise the edit, cut shit up and reuse it, to hell with the man and his law, it's the only way we'll get to the future.

DEEP LIKE A SOCRATES, FOUL LIKE ATROCITIES

At the urging of Smooth Triumph, I've vowed to only post 12" rips till 2010. Let's go back to 1997 with one of my all time favorite MC's: the God, Percy Chapman aka Tragedy Khadafi. The Iron Sheiks 12" served both as vehicle to get some Noreaga disses into the hands of mixtape djs as well as an introduction to Trag's next QB protege, Imam T.H.U.G. "Allumaniti" is pure grimey 90's perfection, just listen to that fucking snare! Could it get anymore desparate? Imam comes nice with his on what I believe is his vinyl debut. But it's a pissed off and mad hungry Foul Mahdi who devours the beat, giving a diamond encrusted, J.G. Ballard style glimpse into the future as only Khadafi could. "True Confessions" brightens things up about .2% with it's r&b hook, but it's still winter 365 as far as the Iron Sheiks are concerned. Imam disses the shit out of Noreaga while Tragedy kicks more of his illuminati hologram shit with a fiery helping of religious imagery. I'm gonna guess Tragedy produced both of these. The flipside has a bunch of mixtape stuff: Tony Touch, 25 and Bad Boy on a DJ Clue freestyle, but the real winner is the gutter as fuck 914 freestyle that sounds like it was recorded on a 4 track that had been left out in the snow for a week straight. I think MC Stinkweed put this track on every mix he made at my house for a couple years straight. "That track with all the barking, kid!"

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I KNOW I WON'T SUCCEED, BORN A BAD BREED

Alright kids, here's another Phil Blunts banger. This time around he goes under the Philly Bathgate alias. One of only 2 releases on the short lived Harvey Records label manned by one Harvey L. Frierson Jr. aka Harvey Jr who seems to have had his hands all over construction of the infamous 360° 12"! And to get even more gully on your ass, this 12" was recorded at Keith Shocklee's crib!! This record is all about the L's as both beats are minimal loops with a bit of added percussion. "Trapped In The Game" has Phil lamenting the ups and dows of the crack game while "2 Minutes" is a quick lil freestyle drop (that doesn't even hit the 2 minute mark). It's not a mind blowing 12" by any means, but Phil is nice with his on the mic and the ill legacy of all involved in this 12" cannot be denied. Which leads us to the almighty question, whatever happened to Phil Blunts?

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THIRD SIGHT “MURDER DEATH KILL” LIVE VIDEO

To further honor Spiderman, here’s a clip of one of his favorite local rap groups, Third Sight, performing their anti-social 12” single “Murder Death Kill” for the Fuck Pop Convention at Maritime Hall sometime between 2001 and 2002 (I forget when exactly). Third Sight’s onstage line-up at that point consisted of Jihad (lead emcee), Sir Limpdic (aka Fat Flash) and Palo Alto’s own Insomniac (as the back-up emcees), DuFunk (on production), and the prince of darkness himself D-Styles (from ISP/Beat Junkies/Gunkhole) on the 1s and 2s. Ken and Juan (Jihad the Roughneck) were good friends, and for a while Jihad (when between brief moments of actual employment) was somewhat of a fixture on the Monday Beatdown and always ready with a grimey 15 min.+ freestyle whenever Ken gave him the cue (anybody got tapes of that?). This performance is deadly and the 12” is even better. These long-dreaded brothers used to stalk Bay Area stages like ring-wraiths with lyrics culled from the minds of serial killers, and cheesy kool-aid-smiling, and all that jokey-smurf shit, was NOT part of the program. Watch how fast Jihad puts all that party-good-time shit to a cease when he steps on the set. Ken wasn’t around to see this performance in person, but his spirit is right there in the front row yokin’ up posers and punchin’ ‘em in the face.

murderdeathkill

SNAFU!: RANDOM BAG CHECK - CHARLOTTE, COMPTON

I found this one while digging in San Diego with the Funeral Shock guys. The store (the name escapes right now) had a bunch of hip hop 12"s priced at .50 and dude was saying all hip hop was half price. Shit. For .25 I couldn't pass up a private press looking joint from Compton with a song called "Blunt Smokers". What I heard when the needle hit the wax had me bugged though. Rugged East Coast hip hop with mad cuts and samples. The stoned as fuck horn in "Blunt Smokers" is on the same vibe JVC Force was when they chopped Freda Payne till she sounded like a psych-fuzz guitar guru straight whylin'. PLUS you get a remixed version that's basically whole different track and no clean versions! This is programmed for the late night, incense and weed radio show crowd. The B side "Light It Up" continues down a hazy path of 8 bit chops. "Light it up and drink a brew with Snafu!" AND they hit you with a remix of this one too, damn. Why waste the space with radio edits? These guys knew their shit was in that piffed out, late night college radio zone.

Since I couldn't find it on Discogs (or anywhere really), I took to googling everyone listed on the label. First thing I found was I found was rapper S.C. Miles giving producer Ron B. a shout out on a page on his website. Well, I started this post about a year ago and I just checked the bookmark for S.C. Miles' website and the site no longer exists! Eventually I found Ron B.'s Myspace page and sent him a message to see if he would be down to enlighten me on the creation of this 12". In spite of not having logged into that page for months, I eventually did receive a response:

Sorry to just get back to you but I have been really busy workin and trying to make beats and be a dad but, YEAH!! thas sounds good to me!!! hit me with the questions and we can go from there....SNAFU is not together anymore but we still talk on the regular...just hit me up!!

Ron B: Ghost in the Machine

I sent some questions and to this day have not received a reply. This was in January so I'm assuming Ron either forgot or is just too damn busy. He did up some new tracks on his page since I last checked it so at least he's still making beats. My main question was how did a rap group from NC drop a 12" on a Compton, CA label in 1995, on the cusp the full blown East vs. West era.

Further searching revealed the Compton connection: co-executive producer Scotty Spencer (aka Scotty D) is a LA hip hop LEGEND who apparently was the first person ever to play a young King Tee tracks by the likes of Mixmaster Spade and Uncle Jamm's Army. Damn, shit is all coming together! King Tee would later give Scotty a shout out on his Mixmaster Spade collab "Ya Better Bring a Gun". Scotty says he was the equivalent of Dapper Dan on the West Coast making custom sweatsuits for OG LA hip hop crews. Unfortunately there isn't a whole lot of info on the web regarding Scotty D, however that may all be changing with the release of the forthcoming documentary (put together by Lemonlime from the OG West Coast Crew) "How the West Was 1". Check the trailer:



So how did LA's Scotty D link up with North Cackalack's Snafu? Apparently that is a story for another time and place. It's good to know Ron B. is still making beats and Scotty D is still out there reppin' real hip hop.

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JUNKIN' WIT JERRY PART 3: JUNKER'S HIGHWAY

Here's the final installment of our 3 part series presented by our ace in Chico, Heathakilla, aka Hardcore 'Miah. We recommend that you crack a bottle of Racer 5 and click the title link before you start reading and let Jerry's own mixed sounds of the excavations mentioned below enhance the experience, ya junky!

The end of Highway 99
The end of last week I was housesitting. I decided to use it as an opportunity to get away from the computer. I've found just not using a computer for a few days can be pretty therapeutic for me. The problem was the house I was at didn't have cable. I brought over a few magazines, but after a while I didn't know what to do with myself. So I started looking at the books at the house. Big mistake.

I revisited the re/search books, Incredibly Strange Music vol. 1 and 2. It's been a long time since I thumbed through those books and I realized they still influence the aesthetic of what I am looking for in a record. The 2 interviews that kind of blew me away were Jello Biafra and the Cramps. A lot of the music Biafra mentions is just now getting reissued and despite the rise of the internet a lot of it seems just as obscure as when the book came out. The Cramps blew me away because they were in Sacramento the same time my folks got together. I wonder if my dad knew them/of them. The story of them driving from Sac to Memphis for the Sun going out of business sale blows me away. Here I am thinking it's a big deal to drive 45 minutes to look at some records.

Next up, the re/search books on zines. I read the interview with the girl who did thrift score and instantly wanted to move to Pittsburgh. There was another interview that compared Kent State university in the late 70's to Chico State though and that made me want to move back home.

After reading all of this I was fiending to look at some records. I broke down and turned on the computer and located some yard sales in Chico and thrift stores in Red Bluff.

Saturday, I got up early, grabbed an instrumental Brian Eno cd (bad choice), and cut. First was a yard sale in Durham with “hundreds” of records. False. Not to mention I was there last week. Lame. I did a drive-by. I wish I had a better memory. Next yard sale advertising records had about 10. I got the Crimson and Clover lp and took off to a nearby parking lot sale. It was pretty sketch. Just me and the seller. He kept trying to talk me into getting my friends to come and buy his 4 foot by 3 foot display tables that were one step up from the scrap wood work bench in the shop at my work. He also had packaged plastic sandals for sale, sizes 3-8, for 99 cents. A bunch of other weird stuff too. Rest assured, if I had friends, they wouldn't want to buy this junk. I asked him if he had records and he showed me about a dozen in a corner, mostly without covers. There was a Pentagle with cover in decent shape. They are one of my favorite folk bands, but I couldn't bring myself to make the transaction. I think I have it anyway. Damn memory.
The last yard sale in town was pretty good. Two older gay guys with about 5 crates of records. The sale started on Friday but didn't look very picked over. Mostly thrift staples like Babs and Bette Midler, but a decent amount of disco 12 inches too. I don't know much about disco so I just got the ones with sexiest song titles.

Then it was off to Red Bluff. This is the town where highway 99 turns into I-5. The end of the road. I guess around here it's best known for having redneck events like speedboat racing, monster trucks, and rodeos. That and for some reason Bob Dylan plays there every few years.
I was thinking I might find some decent country albums. Driving, listening to Eno, trying not to fall asleep, I discovered something. The road to Red Bluff is paved with junk. Well junk and fruit. It seemed every mile was a new gift shop/fruit stand/junk barn. Every crossroad had a yard sale sign. Unfortunately, it was already getting late in the morning and I was running out of gas. I tried to stay focused. I couldn't help stopping at what I can only describe as a junk compound. Several small rundown houses surrounding a huge makeshift flea market style maze of tables, clothing racks, bookshelves, boxes, and tarpaulins. I half expected Red Foxx or Lamont to come out to greet me. Unfortunately, there was no greeting committee because according to the signage this place was both “closed” and private property. They were however “accepting donations”. Wow, I've got to figure out when this place is “open.”

Red Bluff was hard to figure out. I already knew where the Salvation Army was so I went there first.

In Butte County, all the Salvation Armies suck. I don't know why. I suspect there are antiquers making backdoor deals to get all the good stuff before it makes it onto the floor. The Red Bluff Salvation Army was a whole different beast. Don't get me wrong, I didn't see anything outstanding, but I think this had more to do with the ecomony of the Red Bluff rather then somebody making off with all the good stuff. The shoppers were all retired and working class regulars. It's refreshing to see this in small towns. None of the opportunist hipsters. Except for me of course.

There were a lot of records for a Salvation Army. They were positioned in a way that was really hard to browse but I trudged through. I was pretty excited to find a Kak s/t even though it didn't have a cover. I have been wanting to hear that record for a while. Other then that, I found some (I suspect) turkish 7 inches. Not at all what I was expecting. I saw one cool looking mexican 7 inch that had a song with the word space and the word disco in the title, but while I was going through lp's, a retired looking white gentleman started flipping through the 7 inches. I was afraid he was going to pick up “my” Kak record which was alongside the seven inches so in an obsessive panic I grabbed it and moved away from him. He left and so did the 45. I guess I should have put it in my pile. Now I'm totally curious about that record and that guy.
I couldn't find any of the other thrift stores that google told me were in Red Bluff. I also couldn't find the flea market. I saw a couple of antique shops, but from the outside they didn't look junky enough, so I just decide to head home. On my way out of town I saw this cool storage place where they let people sell things out of there storage units. There were about 5 people set up to sell stuff. Most had a handful of records. I found a clean mono pet sounds in one. I was scared the people were going to charge me a collectors price on it, so I grabbed a monkees album too. She asked me what I got and I told them beach boys and the monkees. The sellers all had a nostalgic laugh about those bands and charged me 2 bucks. Then they went on to tell me about how I missed the Micheal Jackson record that sold first thing.From there I stopped by the place I saw on the way into town that had homemade jerky. It turned out to be a restaurant. Two Buds Beans and BBQ. Four slow cook bbq's and smokers going in the parking lot. I got lunch. They served tea out of a pickle jar, which already had me sold on the place. UFC fighting on the big screen. Animal heads on the wall. Pulled pork sandwiches with mayonnaise. Red Bluff is alright. I just wish I gone last weekend so I could have seen the 4th of July riding lawnmower races.

ON THAT JUNK PART 2

Once again our man in the field, Hardcore Jerry a.k.a. Heathkilla, breaks you off something proper, and Eons and I put in our two cents. This post is true to the lifestyle. In this junkin' life we must cherish the adventures as well as the treasures they bring, because a digger spends 99% of his time looking and about 1% finding, and how depressed would we be if we viewed that 99% as wasted, unnecessary-to-mention, time. Sometimes the true treasure is found in simply looking; seckle, it's just fuckin' junk. And sorry about the formatting issues here; it was a lot of cut and paste from emails & message boards as well as that fucked up Mac-to-PC cross-mojo shit. Take it away, Jerry:

this weekend was pretty bad. i was on call at work and since i don't have any type of cell phone or morse code or cb radio device, i figured i shouldn't venture too far in case there was a emergency i had to tend to. chico junking sucks. sometimes yard sales are good, but the thrifts are pretty dismal. also all the decent "tweeker warehouses" seem to have gone under or turned into antique malls. i hit most of the spots by my house on friday (because everything was closed saturday) and went of a couple of yard sales. i found a pretty cool looking surfer record with a stock cover and some good liner notes and i got a really cheap tape deck which enabled me to bump public enemy and licensed to ill on the 4th. how come cassettes sound better then my ipod? i must be nuts.

also i picked up this promising looking tape which didn't end up doing much for me.
here is the songs from this tape. Another rare demo from a forgotten Bay Area hip hop pioneer! The first song on side B wins for Smooth Triumph here, because it has traces of a Paris, the Black Panther of Hip Hop, influence, and I can never be mad at that. But be warned, Jerry has this to say about it:

Jerry: the lines "like a salad menu you'll get tossed" and "it's time to bring back the track and act like a bozack" in the first song [on side 1]... it's really not a good look.

Eons: damn is jayswift rocking pajama pants ala mc stinkweed? shout out to wee wee.

Hardcore Jerry responds: damn, you've got good eyes. i'd like to think he picked the pj pants for the photo cause they are good for crouching and would blend nice with the brick backdrop. this tape is signed (again!) by jayswift and money mike on the other side of the j-card. there is no contact info whatsoever. i can't figure out if that is a sign of lack of hustle or some sort of superhustle where dudes could just be "found."

smooth triumph's two cents:
I have a Jayswift 12" from '93 put out by Nu Deal Records. It's the second of the two that Jay and Nu Deal put out. Jay probably got signed to Nu Deal on the strength of that demo tape that Jerry found. Oh shit! I guess the label pressured him into dropping DJ Pep from the moniker, 'cause it didn't fit in with their LL Cool J marketing scheme. Ha! But that's pure conjecture. This 12" is called "What'cha Gonna Do" but the b-side, "Street Life," wins every time, so that's the only one I had Eons rip for y'all. Jayswift's from San Mateo right here on the West Bay Peninsula! And this is actually some pretty rare shit. The guy definitely gets props for getting two 12"s released out of San Mateo way back in the early nines; I'm sure shit was a bitch to pull off. I think this is the first rap 12" to come out of San Mateo ever, KegsOne at San Mateo Zoo could probably clear that up for me. Also makes me wonder if Jayswift and DJ Pep were at that contest at San Mateo City College I first saw Troop 187 (aka Cult of Isis) at. To reiterate Jerry's point though, one has to wonder about "Matty-Oh!'s" understanding of the slang term "bozack" back then. At the start of "Street Life" Jayswift says, "Pay attention while Jayswift drops the bozack," and then at the end of the track he says again, "pay attention when the niggas drop the bozack and I'm out, uh!" Which wouldn't be that necessarily off if it was a sex rhyme, but this rap is about "drug money and ridin' on gold ones." He shouts out DJ Pep at the end too to show that he's still down, and he also shouts out: "MJ behind the set, gettin' busy on the motherfuckin' tracks." MJ is none other than Mark Jarvis, the producer of these beats. If you are a serious Bay Area demo freak you know of Mark Jarvis' sound from when he co-produced the song "Triple Orgasm" with Ajent Orange and Kiilani for the Nitrous Ox demo recorded at the B-Street Recordings studio in San Mateo, I think. I am currently looking for that demo, if anybody has that shit, please upload it right here. That would be dope! Soon as I find that shit in the shed, y'all gotta hear it! Those dudes were from Pacifica, I think; I used to rock that tape a lot; "Tekillya Sunrize" was my gettin' fucked up soundtrack for many months during one of those years I can't remember. There was an emcee on there named Messy Flesh who Z-Man mentions as being "nice as hell" to this day. Ajent Orange, a dope emcee in his own right, is also an old friend of Z and me. His real name is Matt Chang, but he later morphed into the moniker Matth and did some of Anticon's iller shit, beatwise. I'mma call Z and find out what Matt's up to these days, haven't talked to him (Matt) in ages, but I bet he's still concocting dusted shit. And Jerry you're right, being able to just be "found" does = superhustle.

Jayswift "Street Life" (Street Mix) Nu Deal Records, 1993

So see: going junking and buying what you think is bullshit, reminds your friend of some similar bullshit which he re-examines and re-labels "rare" bullshit, and then he connects that rare bullshit to some nostalgia that inspires him to track down a long lost acquaintance to reveal yet another lost-in-obscurity dope as fuck Bay Area demo tape whose local roots trace back to the rare bullshit and original bullshit aforementioned. Kinda makes you rethink what you originally thought was bullshit, huh? And you're not the only one that thinks so...

Look what Jayswift's debut 12" from '92 is going for in euros at the record inspector. (Is that euros? What monetary symbol is that? What's that in dollars? I'm unworldly, help.)

And look at the this weird fucking place that'll sell you the record and a burned cdr of it for quite a pretty penny.

I think Matt Chang would agree with me on this one: Respect out to Jayswift a Bay Area trailblazer for the in the independent rap 12" frontier. We have to respect our predecessors no matter their EPMD-vernacular shortcomings, because we don't exist without guys like this. And big up to San Mateo for producing an intrepid soul such as his. The risk was his to take and he faced it like a G. Part of the forgotten impetus, our forefather.

But kids don't be fooled by those added expenses for easy access. Go junking and see what 50 cents gets you. It's hardly a risk; 50 cents isn't exactly putting your neck on the line. You can do it!

Eons says: Getting home and playing a record and finding out it's dope is the shit I live for, but sometimes you can find an almost equal exhilaration in staring stoned at the sleeves and labels of your finds on the car ride home, trying to find some hint of their dopeness or wackness, because the mystery is still there at that point and that's when my hopes are at their highest.

And our story today proves that even if you are disappointed at first: Disappointments can easily become gems, simply by what they lead you to. Well, sheeeeee-it! If junking isn't the only religion that continually pays off directly and increases your appreciation for the stuff you already have at the same time, I don't know what is. Like my sister always says, "What you appreciate appreciates." She's right y'all. You gotta believe.

"I'LL BE THE ONE TO SMOKE THE COPS IN THE COURTS"

First time I recall hearing Black Mafia was deep in the not so dark basement of 90.1FM KZSU. My grindcore homies Noisear were in town to play a couple shows and work on a recording with Portland's Superbad. I caught wind that Big Chief was attempting to have both bands perform live during during a shorter than usual time slot. Seeing that they would need all the help they could get, I extended my engineering services. Both bands wanted to use their own drums which meant remic'ing and soundchecking the second drumset inbetween performances. It was war.

Sometime during chaos of that night, Noisear bassist Joe mentioned he had a mix cd of some obscure rap 12"s he wanted to see if I knew. Now, those who have been around Joe and I when we're getting drunk can attest to the fact that we can argue over some rap shit! You name it, we disagree: who produced the track (it's a Madlib beat!), what crew that mc rolls with, what record came first...you get the picture. But we do it old school, no iphone, no laptop google shit - just dank singed memories of Rap Pages writeups and hissin-ass TDK pause mixes.

So we hit the listening station tucked in the corner of KZSU's library and Joe busted out the CDr. The sound was distorted beyond belief. "I like it all distorted and fucked up. It sounds better," Joe said. What I could hear through all the noise was a few tracks I didn't know. Namely a Phil Blunts track and a track from Black Mafia. Joe said he'd make me a CD and we exchanged mailing addresses. Joe is from the old school tape trading days. He doesn't have a facebook page let alone an email address I know of. Folks like us correspond with packages of the dopest shit. Either way, that night at KZSU ended up coming out pretty flawless with super engineer Josh at the helm. But I never did get a CD from Joe!

So I was on the hunt. Phil Blunts was easy, but Black Mafia was a bit tougher. There's all these Black Mafias and this Black Mafia and Above The Law's classic "Black Mafia Life", I kept fishing off the dock of the 'bay (wastin' time). I wasn't even sure what the record was really called. One day I stumble across this cassingle and fucking EUREKA! Of course, I find the 12" version a few weeks later. When it rains it pours. The tape version has a sick, felt tip marker rendition of some sort of stick up swamp zombie, looking more like private press metal release than a hardcore rap tape.

The casual listener will sit befuddled by the fact that the first version of "Gotta Get Paid" is the instrumental. College radio DJ's likely lost it in they're shorts seeing how the instrumental is immediately followed by the radio version. Mic break city, duke! But jus wait a sec here, we gotta go back to the beat. Raw as shit drum loop, bass line, horn squeal, a twinkle in Showbiz's eye. Oh shit, he drops the sax stab. Proof right there that producer/MC The Driva had been listening to quite a few D.I.T.C. platters prior to this session at Tommy Boy OG Fresh Gordon's Brooklyn studio. Driva is one cutty producer, I dug six feet and came up with nothing. The radio version switches it up adding a hi hat and a familiar piano stab to the mix. The street version obviously wins, adding a nice holdup skit. Driva, Shank, and Mr. Hood kick some straight forward 9-4 Brooklyn street shit.

"Revenge on F--k N.Y." is a more keyboard driven production based around John Bonham's famous breakbeat. Here we find The Driva on the synth, controls set to B3, replaying Pete Rock's sampling of some sublime Tom Scott horns from his "Shut Em Down" remix. Driva's production makes this record more of a homage to classic hip hop than the gangster rap record it was striving to be. The subject matter here is pretty simple, talk shit on NY and Black Mafia will body you.

Gary Williams wrote both these songs even though 3 different MC's spit the lyrics. This is actually Black Mafia's 3rd record. The first being a 1992 release on DNA International that was produced by Gary and (his brother?) Derrick Williams (who's engineered for everyone from the Alkaholiks to Outkast). Gary recorded a second Black Mafia 12" called "Ghankstazwhalk" for Crimewave Records in 1993. The label on the record says "From the upcoming album 'From Brooklyn With Love'." I wonder if that was ever finished? "Gotta Get Paid" was released by Mascot Records who also released Wu affiliates K.G.B. who had 4th Disciple on the boards early on. Mascot was owned by dance label C&S Records. Unlike Derrick, Gary stayed true to the underground and produced a 12" for Ilfunction in 1998. Anyone got that? Also, if anyone out there has any of these other Black Mafia records, please share!

At the request of Smooth Triumph, y'all get the tape rip.
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THAT'LL BE $500, $WEETHEART

The Mac: predecessor to other rhyme virtuosos from Vallejo like Mac Dre and E-40. Super producer Khayree’s first beats on wax. Khayree would go on to concoct a slew of Bay Area classics for legends like Mac Mall, Mac Dre, Young Lay and Ray Luv (just to name a few), but it was mainly Mac Dre who kept The Mac’s name in the street for at least a decade after the pioneer was gunned down in cold blood in a case of mistaken identity shortly after his second release "Enuff Of This Shit" which I think only came out on tape (anybody got it?). An "R.I.P. The Mac" patch was on every Mac Dre jacket I ever saw him wear, and one of his final releases before that fatal day in Kansas City was "The Game Is Thick #2" in honor of his mentor.

The Game Is Thick, as far as I know, is the first Vallejo rap song to appear on wax, and the first 12” single from Vallejo as well.

"But I Get Nasty!!" is essentially the instrumental version of the b-side “But I Get Paid!!” I should say q-side because the sides are labeled G and Q in honor of the turf jacket fashionistas, GQ, that kept the nuttin’ nice Vallejo crew in fly gear. Look closely at the front cover and you’ll see a white GQ hat on the dash of the root beer brown ride on the right with the trues and vogues and the mustard and mayonnaise. On the back cover The Mac’s personalized GQ-made jacket is worn by a homegirl named Nikki who has her back to us, but you can tell she’s not wearing anything else but the jacket, because her bare ass cheeks are hangin’ out the bottom of it. Loved it more than Ice T "Power" and the SI swimsuit issue combined. Anyway… I guess Khayree didn’t want anybody jackin’ his beats, because instead of just muting the vocals, he had The Mac record a phone sex conversation over the top of it with a chick who fakes an orgasm at the end of it. I especially dig the way he incorporates the sound effects from the vocal version to make sense with the convo. “Hold up, I gotta piss.” Listen to it; you’ll catch my meaning. I salute both Khayree and The Mac for going this extra yard, and adding some signature spice to their 12” single selection. Artists don’t give that same effort anymore; these days, it’s always just: street version, radio version, instrumental. What happened to bonus beats? What am I saying? People don’t even put out 12” singles anymore. That’s an argument I should’ve made in ’95, but I was too drunk to give a fuck. And now I’m caught in a time warp.

If you ever overhear a group of so-called Nation of Thizz-lam tried-and-trues referring to some “OG Shit,” quiz ‘em about this record. If they’ve never heard of it, they don’t know what the fuck they talkin’ ‘bout—pull they fuckin’ card and vic ‘em for the blue pills!

P.S. If you didn’t think og bay area macks thought real hip hop skills were important back in the day, check the liner notes: “ Scratches: The Mac.” Then check what DJ Universe did for Too $hort on “Born To Mack.” You thought wrong, Jack. Now download it and soak game.

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HUB CITY ROCK!

My favorite handdrawn 12" cover evar! Currently searching for more artwork by Earl M. Duffy... searching... searching... sear--

This record came out on Dunk Yer Funk (a label that has recently peaked the fuck out of our interest here at ROBME as of late) in nineteen eighty crack (1988). Apparently, Dunk Yer Funk (with the sick ass donut being dipped in a cup of coffee logo) was manufactured and distributed by a company out of San Pedro, CA called JDC, a dance label that distributed, among other dance shit from 1976-1990, a 12" by Cerrone called "Trippin on the Moon." Two other logos adorn the back cover: Hub City Records and 9MM Took Over, both with simple but ill graphics, but I think all that is a part of the JDC sub-label for rap, Dunk Yer Funk.

Engineered by longtime Dr. Dre cohort Donovan Smith, Drums programmed by Dre himself, mixed by DJ Pooh, scratched by Joe Cooley, and crooned by the precursor to Nate Dogg: the one and only Mixmaster Spade.

The briggety breakdown of Toddy Tee and Mixmaster Spade's ode to Olde English 800--"Do You Wanna Go To The Liquor Store (And Get An Eightball)":

Helium-ish "I've smoked too much crack" vocal effect-- Check.

Roland 808 or 909 (which one is it? who gives a fuck? hell, I don't even know if it's a Roland, an early model drum machine with a righteous cowbell sound anyway)-- Check.

Three or four records from your uncle's funk collection-- Check.

Which three or four?

1. Ronnie Hudson and the Street People's "West Coast Poplock" (12" single/Birdie/1982)-- used for the vocal cut: "City Of Compton" which would go on to grace various Dr. Dre productions most famously when Dre and Roger Troutman got together and re-made Ronnie Hudson's song into Tupac's "California Love." It's worth noting that Roger didn't bite shit, Eons pointed out to me that him and his brother were apparently two of the Street People and probably wrote the whole original tune for Ronnie Hudson or some shit.

2. Funkadelic's "Knot Just (Knee Deep)-- Prince Paul could've learned a thing or two about using a sample sparingly from the conservative method that DJ Joe Cooley (or is it Dance-O-Lot Kid???) applies here, just the hits, kid! Or could Joe not get it to mix with the drum machine so he just stabs out the last part of it to finish out the bar instead? However it went down, it works like a charm.

3. Brick's "We Don't Wanna Sit Down" (self-titled album/Bang/1977)-- used for the vocal: "Do you wanna sit down? Or do you wanna get down?" I like the way the drums on this loop clash/coincide with the programmed drum machine, to me that's like a signature sound of LA swap meet hip hop.

4. Who the fuck knows???-- what record's that funky wah-like guitar loop they bring in after the Brick one goes off and then plays till the jam fades out? I just don't know, son. To be fair, there were probably also three other auxilary records in the studio that day for scratching a vocal snippet, a stab for the bridge, and the comic book record sounding "Oh Lord! What's that!"

Downest white cat mentioned in the back liner notes: Funken-Klein

Lamest white cat mentioned in the back liner notes: Vanilla Ice

Right above the Dunk Yer Funk logo, it says: "Also available on CASSETTE at the Hub City Base in Long Beach 591-2349"

I wonder what else one could pick up at the HUB city BASE? Hubs and base I assume. I also love the phone number with no area code, back when all LA county was 213. Call that number right now and ask for a copy of "Under Fire" (The Toddy Tee album this 12" promised was forthcoming) and a "double up of ready rocks" and see what the person who answers has to say. You never know you might just get hooked up.

The other two tracks on this 12" were "Gangster Boogie," where Toddy Tee encourages dancing in front of the police station and "This Beat Be Smooth." Also enjoy Eons rip of Ronnie Hudson's classic.

Didn't King Tee use "Do You Wanna Go..." for a St. Ides commercial or as a skit on the Triflin album (was that the orange and white striped one?) or someshit?

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