Showing posts with label Excavation. Show all posts
Showing posts with label Excavation. Show all posts

Thursday, January 14, 2010

MALICIOUS MISCHIEF

For those keeping track, I gave a brief mention of the Wreck Shop awhile back on here. During one of my trips there I picked up an unassuming graffiti video called Malicious Mischief put together by the TMF crew. Little did I know how much of an impact that tape would have on my friends and I for the years to come. After seeing all the East Coast folks in Video Graff, it was nice to see some of the home team shining through our cathode ray tubes. Eventually it seemed as if I was the only person in my circle who actually owned a copy of the tape and most people who had seen it had seen my copy. I'd always wanted to run a post on it here, but being the luddites we are, I had no idea how to convert my vhs tape to the interweb. One morning while hazily sipping coffee I got the bug up my ass to search for it on youtube. Of course it's on there, right? So I posted a clip on facebook to have my homie certone inform me "It's from your video!" So it's here that I present to you, the OG San Francisco graff video, MALICIOUS MISCHIEF (most of it, at least):

Nice intro montage of early-mid 90's Bay ish. These were the days, boyee! Seemed like the entire City looked like this. Then some mellow felon's let you follow them on a journey to play in the land of forgotten Munis. Peep the OG SF Derby.

Wim FSC drops some science on the art of letters. Nice montage, so much history there. Then, the highlight of the video, UFO and Bum bomb a freeway sign during the day. I remember seeing that run and then to see it being done, during the day, in the video blew me away. "To the extreme," as Bum puts it.

The format of the footage of Bum and UFO bombing with the interview audio going is really dope. "Making your mark on the system" in the spirit of Koch's famous flub. Then we have a production that really sums this scene in the 90's, which included Twist, Dean, Bisaro, Dug, KR, etc. Cypher interview with some bombing footage. "The new wave is old wave." Another montage, some BART lurking, etc. And then, that's it. At least that's all that certone has up. Hopefully we'll have a chance to up the remainder at some point in the future.

I should also mention that the original beats were provided by UFO. Years later I would buy a DJ Marz tape at Cue's that included those very same beats as well as a UFO penned cover.

Thursday, August 27, 2009

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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Sunday, August 23, 2009

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.

Tuesday, August 4, 2009

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.

Wednesday, July 22, 2009

JUNKIN' WITH JERRY...

This is a guest post from our cohort out in Chico, CA, Hardcore Jerry (AKA Heathakilla)... the man is simply an excavator extrordinaire! Reap the junk whirlwind! Oh, yeah and this is one in a series of three, so be checkin' for the next two, yo...

i went to oroville today and bought some records. i did better then last time, which was the time i copped the kimmy fresh and the people cassette that white$auce was rolling with at the farewell to the ranch party, and the sound effects record that steel pole bath tub ripped off (or was it a tribute) the cover for a miracle of sound in motion. the best part of oroville though was stopping by a yard sale in the historic looking part near downtown and looking at some of the remarkable things that were for sale. including a amateur's framed "painting"(one or two colors, maybe pen, i was embarrassed to look too close) of a girl in a bustier with her nipples exposed. likely a vehicle to get the "model" undressed. and a a-frame bar sidewalk chalk board sign that still had st. patrick's day drink specials chalked on it. i was told the good stuff is up in the yard, where a teenager was selling off some of his bebee guns, baseball cards, and knives. the topic of conversation in the yard was how good something he was selling, that i couldn't see, would be to beat somebody up with. as i left empty handed i noticed two large ladies in a nearby apartment chatting, observing the yard sale, and keeping watch over there young kids. it looked like they were about ready for refills on their quarts of miller high-life. it was about nine in the morning. oroville is pretty fucking real. i haven't checked many of the records yet but i got: -i'm ready by kano for about 40 cents (and some other promising looking disco)-lyn christopher for a dollar at thrift mart. that place is fucking raw...thrift store slash food that fell off trucks market. i wanted to go to the soul food place across the street but was scared by the proximity and the 99 cent special advertised in the window. -and a hopefully better copy of the willis alan ramsey lp i already have and like-no rap, but a couple of things that look really good even though i haven't listened yet. i'll try to get a couple of mp3's up of some of the highlightsnext week....red bluff(?)

here are a couple of disco mixes i couldn't find anything out about on google. there is quite a bit of surface noise on each of them which just makes me think about how ugly a oroville disco party could get. one is labeled fusion disco. i'm not sure if it is related to the fusion record label in sf because i also found the menergy 12 inch on that label.

http://www.zshare.net/audio/61967792d3f90137/


the other is labeled hollywood disco sound and is mixed by ben and benny.



i think these are kind of cool just to hear what the pre rap dj's were doing. other then that though disco isn't really my thing.

there is some info about these on discogs, but it won't tell you about the sweet grandma who sold them to me in the shop where "we like loitering" and encouraged it by offering cold water to drink and a thomas kinkade puzzle to work on.

Wednesday, July 15, 2009

"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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Thursday, April 16, 2009

THE BOOM BAP ARCHIVE


I meant to post this awhile back but I lost the link and just rediscovered it this morning. A cat from the UK started up a Youtube channel called BoomBapArchives and dude is posting analog goodies from the foundation like Henry Chalfant's "All City" (1983), Euro hip hop documentary "Big Fun in the Big Town" which features some amazing live footage, West Coast b-boy doc "Breakin N Enterin" (1983), Dick Fontaine's "Beat This" (1984) (check out a sailin' Bambaata in full zulu gear) and "80 Blocks from Tiffany's" a 1979 doc that looks at the gangs in the South Bronx, among others.

Sunday, March 29, 2009

A.C.D. -- THE WORLD TERRORIST

M-O-B-B D-E-E-P, A.C.D. burn somethin
Let's get lifted, Queens is you wit me?

Prodigy's first 2 lines from "Street Life" left my brain scarred back in 1996. The Mobb Deep, L.E.S. and A.C.D. team up track from the AIDS benefit album "America is Dying Slowly" has always been one of my favorite Mobb collabos. L.E.S.'s production sounds like he was using the same William Cooper schematic Havoc referenced for "Hell on Earth". Another eerie, paranoia inducing street banger from The Bridge. But just who were A.C.D. and what did it stand for? I wouldn't come across anything else by them for quite a few years.
Fast forward to 2000something: While digging around on th'bay I discovered a sealed copy of an A.C.D. 12" from 1998. I won the record and when I finally got a chance to listen to it I was amazed I'd never heard the 2 tracks before. Vintage late 90's QB material that, while not as dark as "Street Life", contains enough grimy record scrape to send 41st side addicts scrambling out into the cold night, ceremoniously gutting dutches. A-Dog and C. Sonfiorenzo (What is his real MC name? Dude is so gully you can only lift his publishing credit!) bring that real QB house science. This was the first release on the short lived Hit List Records label out of Corona, NY. The only other Hit List release I could find is another A.C.D. single titled "Kings of New York" which features fellow QB resident, Nature (hit me if you got one to trade).
The Rick Rude and Megabucks co-produced A side, "In the City", lifts the breakdown from The Lovin' Spoonful's "Summer In The City", which you can find on "Hums of The Lovin' Spoonful" (Kama Sutra, 1966) as well as various 45 issues. This grim piano loop sets the tone for ACD's grim portrayal of inner city street life.
The B side is the A-Dog produced "Mos Niggaz" which is based on 2 bars from Henry Mancini's version of "Theme from 'Love Story'" (RCA Victor, 1970). If it sounds familiar to you, Immortal Technique recently used the same loop (although lifting 4 bars instead of 2) for his track "Dance With The Devil". A-Dog's use of only 2 bars creates a tense, snowballing effect that really keeps the track moving along and leaves IT's endeavor sounding a bit like he's rapping over his grandma's favorite soap opera theme.

TRACKS

Thursday, February 26, 2009

NON PHIXION: ASK MICKEY KNOX WHO WE ARE

Non Phixion will always be remembered as one of the ruggedest crews to emerge out of the mid 90's indy scene. While many of their contemporaries were flirting with sci fi language or introspective themes, Non Phixion were the straight hoodied up, drugged out maniacs from the slums of Brooklyn. Here's a pre-Non Phixion freestyle from DJ Riz and Wildman Steve's WBAU show circa 1994. This is Necro, Ill Bill, Goretex and Captain Carnage performing as Goons. (Note: this is a different rip and is a bit longer than the version contained on Necro's rare freestyles release):

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Next is an early
Non-Phixion freestyle from a 1995 Stretch & Bobbito show. At this point the line up is Ill Bill, Sabac Red and Goretex and they go verse for verse over Primo's "Livin Proof" instrumental. Ripped from an old tape:

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Friday, January 16, 2009

COPYRIGHT CRIMINALS: THIS IS A SAMPLING SPORT



Here’s a trailer for a new documentary chronicling our sport of sampling. The Clyde Stubblefield footage looks dope. Shots to Toph One for the link.

http://www.copyrightcriminals.com/

Wednesday, December 24, 2008

IDRIS MUHAMMAD MEETS KRAZEE KALI STYLEZ

Drummer Idris Muhammad (aka Leo Morris) is probably best known to beatheads for his concoction of one of the illest breaks of all time, Bob James' "Nautilus". That and his contribution (along with fellow beat king Bernard "Pretty" Purdie) to Galt MacDermot's HAIR soundtrack. "There were certain guys who couldn't pick up on what I was into. And there were certain ones who did. The ones who did, I used - like Billy [Butler] and Idris." If you're a drum minded cat, flipping a sleeve over and spotting Idris' name typically results in that record coming home with you. When you start digging beats, you cut your teeth on CTI and Kudu releases and Idris slowly becomes and old friend who'll always drive you home when you've done a little too much. His 1974 debut Kudu release as leader, "Power of Soul", contains the epic "Loran's Dance" which while it has been sampled by the likes of DJ Shadow, Beastie Boys, Fatboy Slim(e), etc. ain't no drop the needle for 4 bars and jet track. In all it's glorious 10+ minutes, "Loran's Dance" is basically a live band playing a hip hop instrumental. Before Breakestra, before white dudes with dreads wanted to rap over a live band and before The Roots put that ridiculous notion into their heads, Idris was laying down the sound that would eventually be ringing in producers like Primo's ears at D&D in 95 (check Group Home's "Inna City Life").

Loran's Dance (Kudu, 1974)

Here are two 90's tracks from the Bay Area that both draw their
source material from "Loran's Dance":

First up is Various Blends with the title track to their 2nd single, "Krazee Madeo Stylez". Producer/MC Friz-B deftly lifts portions of Bob James' Rhodes intro to create a loop that is instantly recognizable as "Loran's Dance" yet manipulated enough to make you wonder just where the chop starts and stops. A great example of what we at ROBME like to call complex minimalism. Lyrically, Eb.F and Friz-B trade verses about their home town San Mateo, CA while both DJ Rasta Cue-Tip and DJ Apollo share time on the scratch. Oh from New Medina Project is working on a more in depth Various Blends piece that will be running here in the near future. Stay tuned.

Krazee Madeo Stylez (Baraka Foundation, 1999)

I never really knew very much about City Side Crew other than the obvious fact they were from the Bay and that they eventually released a 2nd 12" that I'm still looking for (is it as good as this one?). Both tracks on this record are dope, but for the sake of this post we'll focus on their ode to the best dankweed in the states, "Kali". While Various Blends pulled back on their copy of "Power of Soul" after a couple bars, City Side Crew was too busy prepping the blunt and didn't notice anything worthy of their sampler till the kali hit their systems about 7 minutes and some change into Idris' jam. Another great exercise in the K.I.S.S. aesthetic, the uncredited producer sticks to the loop and an 808 kit. Perfection.

Kali (Sound Judgment, 1996)


[RS link]

Saturday, December 20, 2008

CATALYST RECORDS

1976 catalog found in a copy of the Michal Urbaniak Group's "The Beginning" 2xLP.

Tuesday, October 14, 2008

TEN G'S TO THE GRAVEYARD

Once a year the Record Man in Redwood City, CA holds his parking lot sale. They set up a bunch of tents and tables and pile boxes filled with tens of thousands of lp's and twelve inches on em. Obviously, shit is a total feeding frenzy and is not for beginners or the faint of heart. It starts at 8, but real junkies are pacing around out front hours before. The only notification for the date of the sale is an email. I sign up for this fucking email every year and I NEVER get it. This year I ended up calling the store to find out the date and wouldn't you fucking know it, I'd already committed to working the night before which meant getting home the day of the sale. FUCK! I tried to get out of it but the best I could do was wake up as early as possible, finish work and get the fuck out! By the time I'd arrived there was a huge group of dudes in crisp New Era's sitting around sorting through all the shit they'd just dug. I went straight for the jazz lp's and all the boxes were half full. Damn. Sometimes you gotta give someone else a chance, right? I did end up scoring some nice stuff after digging for a few hours. My pops showed up and was digging around for awhile.

At one point Jake came up to me with this 12" by DJ Swift & the Mob Boss asked if I knew about it. 93? San Jose, CA? "If you ain't gonna get it I will." Unfortunately for me, I had just sold him on it. What we discovered later over a couple beers and a couple spins is that this self released 12" was like a lost In-A-Minute Records demo. Instantly we were transported back to the days of Totally Insane, R.B.L. Posse, Chunk and the like. The A side is a fast track that mixes Lyn Collins "Think (About It)" with John Carpenter's theme from Halloween that ends up sounding like "It Takes Two" on dust. I guess this was their attempt at a club track, but when Mob Boss says, "I move like a fly and hit hard as a brick" I picture him running into a packed nightclub, hockey mask strapped to the face with the machete swinging (I think I just made it sound better than it really is). But in the tradition of all great rap 12"s, the B side wins again. "What's Really Goin On?" is even more dusted with it's backward snare hits, 808 kicks and an almost megamix style arrangement that uses a grip of familiar samples like Average White Band, Bob Marley, ESG and I swear I can hear "Mardi Gras" being spun backwards underneath it all (could be the dust). DJ Swift sounds like he studied under T.C. around the time of RBL's "A Lesson To Be Learned" and I'm not mad at that. If anyone knows more about this 12" or whatever happened to these cats, leave a comment.


DJ Swift & The Mob Boss - What's Really Goin On?

Thursday, February 28, 2008

LIBRARY SCIENCE: THEMES FOR DRAMA, MYSTERY & WEIRD

Another book post? Yep. Seems like recently I've been able to spend more time reading books than I have been able to spend listening to records. My homie Jake Won just hooked me up with an early b-day gift - a copy of Jonny Trunk's book, The Music Library (Fuel Publishing, 2005), which is a really slick looking hardcover that serves as a primer for the world of sound library LP's. For those not in the know, sound library records were created for use in the film, television and radio industries featuring music performed by various studio musicians for all types of moods. Because they were never issued for retail sale, they are very rare and often go for big bucks on the ebay machine (especially for us in the states since most of the heavy library labels based in Europe). Stories of Euro diggers stumbling upon boxes sitting out for trash have been the stuff of many sweatily read record nerd message board threads. Check out this article from the SF Weekly for a nice background on sound libraries. The book is organized alphabetically by label and each label gets 1-2 pages (some of the heavies like De Wolfe and Chappell have bigger spreads) with full color cover scans. While the book's primary focus is on the cover art, there are some basic notes on each label and it comes with a 17 track CD sampler of some rare library cuts. Check out some of the covers:




Master Won also threw me a copy of Luke Vibert's "Nuggets" CD which is a collection of his favorite library jams. Here's a small sampling of tunes from both these discs:

Richard Demaria - Next Episode

Midas Touch - Intimations

David Holland - Zouche Drums 3

Raymond Guiot & Guy Pederson - Flutes Ad Libitum

Jean-Jaques Debout - Pop Bazaar

Guy Pederson - Kermesse Non Heroique

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Bonus for latecomers (when do you ever see that?), complete rips:

NUGGETS

THE LIBRARY MUSIC

Thursday, January 24, 2008

KNOWLEDGE ME

Steven Hager is probably not the first name that comes to mind when you think of old school hip hop and I'll admit that I didn't even know who dude was until I read this interview with him on Jayquan's The Foundation website. Hager was the written equivalent to Henry Chalfant and Martha Cooper. In a perfect world, Hager's classic Village Voice article on the roots of hip hop would be revered by every wannabe MC and DJ just like every aspiring toy sleeps with copies of Subway Art and Spraycan Art under their pillows during their formative years. Another mind blowing read is Hager's essay here about how his movie script for a film entitled "The Perfect Beat" was scraped of all it's realistic griminess and polished up into the the squeaky clean flick we all know as "Beat Street".

Hager's book
Hip Hop: The Illustrated History of Breakdancing, Rap Music and Graffiti (St. Martin's Press, 1984) is unfortunately out of print (WHY??), but you should definitely pick up his other book, Adventures in the Counterculture: From Hip Hop to High Times (High Times Books, 2002), which reprints the aforementioned early 80's Village Voice article where he was the first to use the phrase "hip hop" in print. Hager goes back, way back, back to the Bronx in 1955 and traces the formation of hip hop from it's earliest squeaks, scrawls and pops up until the release of "The Message". Although his hip hop piece only makes up 55 pages of 247 page book, this thing is a must own (shit, you can cop it used on Amazon for under $1!). Just ask Jeff Chang who refers to it as one of the two foundational texts on hip hop (along with Toop's Rap Attack). The rest of the book is filled with some other great essays - how an ex-junkie becomes one of the world's top marijuana seed dealers, the story of seriously mentally ill cop who shoots a man at point blank range for transporting a few plants, the conspiracies surrounding JFK's assassination and the ATF's failure at Waco, TX. and a lengthy history of CBGB's and the punk, no wave and art scenes surrounding it. Ill shit. My only complaint is that the original publication dates or sources of these articles are not listed anywhere.
When I was reading Hager's article the one thing that really struck me is how much emphasis he put on the gang lifestyle that predated hip hop. Other hip hop books tell you that Bam was in the Black Spades and eventually formed the Zulu Nation and act like that's all you need to know. Hager delves much deeper into the gang aspect and shows that long before the term "gangsta rap" even existed, gangsterism was the lost 5th element of hip hop. It reminded me of a book I read early last year by cult sci-fi author Harlan Ellison entitled Memos From Purgatory (1961, Jove/HBJ) which is based on Ellison's own experience joining a gang in Redhook, Brooklyn in 1954. Ellison assumed the name "Cheech" Beldone and infiltrated a gang called The Barons. While it really has no relation to hip hop at all, Ellison's book is a realistic portrayal of teenage gang initiation, recreation and warfare. Back then it was all about switchblades, razors and homemade zip guns. Though the Barons were a gang made up of mainly white kids, when reading Hager's article I couldn't help but draw parallels between the two based on what both groups of kids went through.

No music this time. Go read a fucking book!