Shouts to Indoe from Rugged Ones for providing me with an ASAP-free version of this outstanding Method Man verse.
Update: Here’s an edited version of the video as well…
The Groggy Pack and Bambi Rose are gafflin’ for left-overs on this cut from Marco Polo‘s PA 2: The Director’s Cut, which has a series of collectible vinyl editions available through Slice of Spice soon.
A Frozen Files radio exclusive from last month, this is destined for the UN Or U Out re-release next year with a few other cuts that only did the rounds on bootlegs.
It’s not “Rainy Dayz 2″ but it works regardless. Actually, let’s just avoid any rap part two’s not involving Mobb Deep.
During my road trip to Boston in June to visit the Get On Down HQ, I happened apon an incredible collection of drum machines, which I filmed for my nausea-inducing video set to MCA & Burtoozie’s “Drum Machine”. The reason that this world-beating collection of rhythm machines were on display was for a book titled Beat Box – A Drum Machine Obsession, which features a portion of Traffic Entertainment founder and noted Beantown beat maker Joe Mansfield’s personal collection.
I received a digital review copy of the book a month ago, but as is the case with PDF’s it was lost in the recesses of my laptop until today when I suddenly remembered I needed to read the thing. As it so happens, this is lovingly constructed ode to the beauty of wood, plastic and metal, melded together for the purposes of getting that church dance popping to a sweet dance rhythm, providing Phil Collins with the essential “In The Air Tonight” percussion or allowing Kurtis Mantronik to break some bells.
Sadly, my request for “a four-hour discussion on how great Duke Bootee’s drum programming is on K-Rob’s ‘I’m a Homeboy’”, as immortalised in Dave Tompkin’s foreword didn’t come to fruition, but this magical mystery tour into the wacky world of consumer electronics and studio staples is nevertheless a fascinating exploration of the evolution of audio technology, equal parts technical factoids, anecdotes (courtesy of Brian Coleman Q&A’s) and glamour-style photography of these mighty beasts. Who knew that Australia’s greatest export, the Bee Gees, had their own Rhythm Machine manufactured by Mattel? Or that Schoolly-D bedded several skeezers on top of his prized Roland TR-909?
By the time you’ve finished, you’ll be pissed that you don’t own at least a quarter of these machines yourself, so that you might attempt to recreate “P.S.K” or “One For The Treble” in the comfort of your own basement. It also validates anyone who has ever been publicly vilified for obsessing over audio equipment of any kind, because those who stay the course can perhaps one day boast of a collection of 150 drum machines and dedicate as wonderful a book to them as Joe has. Tip of the hat to you, sir.
When Nas dedicated “Loco-Motive” to “all my 90’s dreaded N-word”, he had no idea of the floodgates that were about to open. Not that throwback rap is anything new, but things have apparently gotten to the stage where the Pro Era crew are now claiming that no one outside of the Beast Coast collective is allowed to shamelessly pander to nineties hip-hop nostalgia. After A$AP Mob dropped a track called “Trillmatic” the other day, over an a-typical vibed-out beat and featuring a blistering contribution from Method Man, Joey Bada$$’ manager felt a type of way and aired out the following on Twitter: “Love to see more rappers bite the pro era swank. Good shit Nast. Smh lol whats new with these “New York” negus?” To which Nast replied: “style jacking who my nigguh. 1990 born up you got us fucked up my g need to talk whatchu know” , followed by this more incenidary remark: “I GOTTA SHOW DEZ LIL NIGGUHS HOW TO REP THE 90′s FOR REAL” Roffle Harris.
The very idea that Pro Era/Beast Coast pioneered the idea of rapping over old MF Doom beats and channeling early Mos Def songs is laughable. Considering that pretty much every major crew releasing music in the 90’s recorded some type of 80’s rap dedication/throwback seems to have been completely lost on these kids. Perhaps they’re just mad that the otherwise rubbish A$AP guys managed to actually do a throwback song correctly by enlisting the golden boy of the Wu himself, Mr. Meth, and finding someone in their camp who can stay on beat properly. As much as I’ll admit that Joey seems like a polite young dude with good business sense, his rhyme style still hasn’t fully developed to the point that his idols were when they began dropping twelve-inch singles at Fat Beats.
Does this mean that we can look forward to a few months of lyrical warfare as A$AP and Beast Coast sling verbal barbs at each other about who copped the Snow Beach piece from Etsy first and who has Mike Zoot’s beeper number? If so, we can only hope that Pro Era serves up something with a little more kick than those lukewarm responses to Lil’ B and Trinidad James, and if anyone in Rocky’s corner has the slightest bit of common sense they’ll send the Trap Lord to Milan for a few weeks to prevent him from being involved in any of the responses.
Which raise another valid point – perhaps the solution is for theses two crews, who were sharing the bill on at Rock The Bells as recently as September, to forget about the whole rapping aspect of this conflict and settle it in their true area of expertise – the catwalk. Let these dudes swag-out in their finest 90’s throwback streetwear in a fashion show battle set to Shawn J. Period instrumentals and let a room full of Tumblr Hypebeasts vote for the victor, preferably using some kind of smartphone app. Think of the countless listicle posts that the resulting photos could generate over at the TMZ Rap Blogs?
Failing that, I suggest the Beast Coasters buy a 90’s beat from Buckwild, enlist Sir Menelik, Lace Da Booms and Da Bush Babies to feature and shoot a video in the old office of Fondle ‘Em Records while decked-out in head to toe Nautica, Avirex and North Face gear while rapping about how shiny suit rap is evil and they’d rather “be broke and have a whole lotta respect”, with Pharoahe Monch and Busta Rhymes providing the hook. The only way A$AP could come back from that is to reunite Mobb Deep, Nas and Raekwon for “Eye For An Eye Pt. II” with an unreleased Biggie accapella and a video shot in a Brooklyn sewer. Far more likely is that this whole storm in a teacup will play out on Twitter, Tumblr and Youtube without a single memorable bar to show for it, in another episode of 2013 SMH Rap.
Aaron Fuchs discusses working with Pumpkin, addresses the Ultramagnetic Basement Tapes controvery, names his three favorite Tuff City records and reflects and how the music histroy books will view his legacy.
Melbourne meets Brownsville for this track from the forthcoming Land of the Crooks EP from Sean Price and M-Phazes.
This shameless attempt to pander to the CRC crowd actually works on the strength of Meth’s superb contribution. That being said, an A$AP Mob song being posted on Unkut may just signal the coming of the apocolypse.
Having become a one of the most requested demos ever played on the Stretch and Bobbito show, Terror Green‘s “45 Stitches” now has an animated video and a vinyl pressing, along with three other tracks. Sounding a lot like Jemini The Gifted Child, this is some of that good old BK ’95 indy action to catch a flashback to. Cop the vinyl here, courtesy of the good people over at Heavy Jewelz.
’45 Stitches’ video:
If you’re in Melbourne on 14 December, swing past the laucnh party for the new issue of Acclaim mag where I’ll be stunting in a CRC polo, creeping out interns and aiming for my usual “World’s Drunkest Man” award, while checking out if these Underachievers characters qualify for New Rap That Doesn’t Suck status. RSVP here.
The Visualiza doesn’t miss a step as usual. No info on who provided the music but I’m happy to let AZ cook regardless.
Since I threw out the statement that “I respect Jay Dee but he doesn’t crack my top 25″ comment earlier, it’s only right that I back it up by providing the Unkut top 30 in no particular order. Send all hate mail to the usual address.
His work with King Tee, Threat and Ice Cube cemented his place is the history books.
The sound of the first three Cypress Hill albums reminded New York of something that had been lost for a minute.
Scientific drum programming that was five years ahead of his time.
His work with Special Ed, Real Roxanne and Chubb Rock was running shit on the dancefloors in his day.
Easy Moe Bee
Defined the sound of the times at his prime with Bad Boy.
Efil4Zaggin was the most state of the art release of it’s day, and The Chronic changed rap forever.
Made flipping dollar bin 80′s R&B records work in 1999 and reminded us what this shit is all about – making something out of nothing.
Brought the Spanish influence into the game and provided some of the best drinking music ever.
Their work on Da Shinin’ is flawless.
Took it back to the weird and obscure without sacrificing the thump.
Future shock sampling before samplers were even up to the task.
Took us back the dungeons of rap and made some of the dirtiest music major label rap ever.
Made Run-DMC and Whodini into the powerhouses of 80′s rap that they became.
Mastered the Linn drum like no one else before or after.
Technical wizard who took the drum machine to new hights with his work for Mantronix and T La Rock.
Pushed the SP-1200 to previously unimaginable levels with Mecca and the Soul Brother, while he built on the 45 King’s horn science and made it his own.
Defined the raw New York sound for most of the 90′s with a stripped-down, unorthadox approach.
He’s got so much soul, he don’t need no music.
Unfinished Business was the most sophisticated production of 1989, and that was only one of their four incredible achievements.
Took rap to it’s rawest form and conquered it with “P.S.K.” and “Gucci Time”, and evolved into the sampling era with equal aplomb.
Studied under Havoc from Mobb Deep and has since overshadowed his master by taking the essence of QB back to the west.
Proved that less is always more with “It’s Yours”, the first LL album and the Beastie Boys debut.
Kept Bambatta’s dream of experimentation alive.
Changed the sound of thug rap forever with soulful, desolate loops and masterful snare work.
The epitome of crate culture on record. “Sally Got A One Track Mind” cannot be touched.
The essence of The Bronx sound who made big band samples pop like no one had before.
On the strength of “Time’s Up” and “Woah” alone, Buck has the versatility that most lack.
So far ahead of his time that the world still hasn’t caught up, Ced took production into orbit with his advanced programming science.
The first producer to kill horns on hooks and loop the stuff you’d never think to flip.
Invented the concept of sampling drums from records instead of using drum machines, and therefroe the most important hip-hop producer of all-time by default. Not to mention he gave us “The Bridge”…
A decade ago, the magic of the Blogger platform allowed many an aspiring rap message board warrior step into the big leagues and pull themselves up by their bootstraps to become the media big dogs that they are today. The characters covered here have risen to the ranks of published authors, college professors, internets celebrities, Tumblr cult leaders and even presidents of important international movements. Let’s take a look back at some early rap blog gawds…
On 3 Novemeber 2003, Bol set it off with some Fantasy Basketball action, which also included his high school pal Fitz, aka the guy who originally coined the term “weed carrier”: Fantasy Basketball Week 1. Later that month, we get more of a glimpse into future Crawford musings with this, which reveals the rather disturbing fact that Byron once enjoyed those retarded Final Fantasy games. Nullus.
3 September 2003 marked the first DP drop, titled JUVERT Death March a/k/a West Indian Day parade, which is headed by a now trademark Outfit Architecture style pic of Dallas sporting some candy striped Nike socks to rep for the Red Sox, accompanied by his usual mix of party scene fuckey with social commentary on whatever fucked-up shit just went down in his hometown. The second post, of course, is about wacking-off to Vanessa Williams.
Although Oh Word started in September 2005, it wasn’t until 8 October the same year that the blog section was added. The first real post was To the tick-tock, ya don’t stop, which was an indicator of the type of left-field snarky commentary the site would provide in the following years, peaking with the genius that is Cambougini.
Technically his first post from 17 December 2003 included references to McGriddles and Flavor Flav alarm clocks, but Yung Noz’s first real drop was a rant about the future king of rants Kanye West which ends with a declaration that David Banner is a far more interesting rapping producer, indicating Noz’s perchent for backing the underdog in much of his future work.
Nah Right set sail on 24 May 2005, and the first week consisted of news posts and references to man-style drinking, but it was this rant against Shaq’s snitching on weed smokers that gave us a real insight into where eskay’s priorities lay. Not to mention his first shots at the little homie…
Despite having had a strong online presence years earlier, 12 June 2003 marked his adoption of the blog format, with Soul Sides. His debut post for the new spot was a write-up about Patti Drew’s I’ve Been Here All The Time LP and an analysis of the whether or not Gang Starr‘s “Too Deep” deserved a European 7″ release, reflecting the diverse and detailed music coverage Oliver would continue to provide.
My first attempt at dropping word bomb’s on your mom’s was The Start of Your Ending on 11 February 2004. Featuring a typo and no header image, it did however indicate my appreciation for Godfather Don and QB rap. This was followed by an embarressingly backpackerish rant against DJ Clue tapes in June, followed by the beginning of my long-standing shade cast against Nas.
Here’s the guide to acceptable sanging according the to Conservative Rap Coalition guidelines, which are as narrower than the street of Spreuerhofstraße in Reutlingen, Germany.
All praise due to grandgood for unearthing this piece of YouTube gold. As you see, I learned everything I know about interviewing rapper dudes from the host of Lift Off.
As I predicted last week, Pap took the opportunity to make a song about Trinidad James, proving that he is officially BK’s answer to The Game in that he loves to make records about people that are never going to bother to respond to him. Guess there really is something to that “minor league” shade after all.