KZSU SUMMER 1994 PROGRAM GUIDE

Unearthed a dope flier by Kool DJ Rize TMF.

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.

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!"

>>>>