Bring That Beat Back

Ganjah K is Going Official

2012-01-29T01:42:00.000-08:00

Oh, Happy Day

Ganjah K and Bombay Recordz sent Bring That Beat Back this message today, followed shortly after by a copyright infringement notice from Ganjah K and Bombay Recordz' lawyer. Here's the Ganjah K note:

Ganja K is releasing unheard tracks, flows, B-Sides and entire neverbefore released records in Exclusive Limited Volumes through Bombay Recordz! These volumes will include ALL tracks from the acclaimed and highly sought after, Harvest For The World and the NEW albums, Possession Of Sales and Dankster Life. The unheard will now be heard by the masses.

Stay tuned

That is cool as shit. I can't wait. The Harvest tracks I had up were unlistenable due to the hideous sound quality, and it's been a quiet, quiet Hell waiting for a chance to get to hear that album as it was meant to be heard. I just thought all y'all should know about it.

The old links I had up for Harvest and Danksta life were removed as of yesterday morning.

Damn, but I can't wait for this stuff to drop!

KQNM

2012-01-24T22:59:00.000-08:00

Burning Hot In London On A Saturday Night

This is a bootleg out on Minty Fresh showcasing two radio sets the Quannum crew performed on British Radio from 1999 and 2000. Great, live in the studio shit, no wasted space or thoughtful lip smacking here. Latyrx stand out to me as the stars of the show, with Gift only really stepping out for the freestyle sessions with the three emcees at the end of each set. Joining them on the 2000 set is Vursatyl from Lifesavas, on a brief freestyle as well. 2000 set is almost 50 minutes and features mostly old Solesides material, and the 1999 set is a half hour, focusing on the material from the Quannum Spectrum comp from the same year. Crucial listening for those fans of the early days of Quannum/Solesides.

Live On British Radio

Dead Men Don't Download

2012-01-24T15:59:00.000-08:00

Another one goes down... Watch your backs.

Bring That Beat Back Vol. 1

2012-01-15T03:27:00.000-08:00

A 206 Hip Hop Compilation

It's no mystery that I love to hype my town's hip hop past, but Seattle's current roster of talent is equally brilliant. Now more than ever before, the hip hop of 206 is shining. So I thought it would be fitting to throw together a comp of current (and by "current" I mean in the last 10 years) notable acts that have been in my rotation lately.

Track List:

1. Everett - Foscil and Specs

2. L's Up - Spac3man

3. HeadCrack - Tulsi

4. Gunwise - Jace Ecaj

5. Yesterday feat. Marissa - D. Black

6. Be Easy feat. Yirim Seck - Silas Blak

7. The 1-2 - Beyond Reality

8. It's That feat. Geologic - Gabriel Teodros

9. Crushes Heaven feat. Macklemore - Abyssinian Creole

10. Until The Day I Die feat. Tone Capone - The Naturals

11. Escape Society - Khingz

12. Chuch - Shabazz Palaces

13. Caution feat. Mari Sol - Piece

14. Paper Cutz - Specs One

15. Demons - Felicia Loud and the Soul

Slats

Request... Still Making Tracks

2012-01-10T16:01:00.000-08:00

Doing His Dang Thang

As requested, here is the limited edition album in Abby Rude's "Making Tracks" series, called Still Making Tracks. Limited to 1000 copies and only pressed on vinyl, I'm not sure if this has any exclusives or not, but it's a dope listen one way or another.

I really love the limitations vinyl brings. At only 37 minutes, this record is concise and to the point. There are no half-assed songs or fillers, and I don't get tired of listening before the last song comes. On the other hand, the 18-track Steel Making Trax, although full of great songs, is over 60 minutes in length - it's too much to sit through all at once without the mind and ears wandering. Unfortunately a lot of songs worth hearing are lost in the bombardment of music - and really, who has time to sit for over an hour and focus on music? I can't remember the last time I had that luxury.

Anyway this is a great collection of tracks. This is new-school Ab; harder and more direct than the days of Mood Pieces or Thynk Taynk, and better suited for a varied album such as this. Production credits include BNA, Kenny Segal, Moka Only, Nucleus, ESP, Dave Dog, Blunted Stylus and Fat Jack. He is joined by Aceyalone, Moka, Maya Jupiter, Bukue, Dj Drez, and Nikko. Fresh.

Still Making Tracks

Homeless Tea Party

2012-01-05T09:48:00.000-08:00

Tommy V and Imprints

This short release had been on my want list forever until the homey Bychar (thanks!) let me know it had been posted up at the excellent blog Til Infinity (even if it's in hibernation). It's short but sweet, featuring three tracks and one instrumental. EX2 and Awol One guest, as well as Noname, Hedgehog, and Slopoke. Link can be found below.

Homeless Tea Party

Beyond Reality - The Revival (2001)

2012-01-04T00:27:00.000-08:00

Without A Doubt, They Turn The Party Out

Hindsight, as they say, is 20/20. For example, check this great live document I slept on. The group is Seattle's Beyond Reality, playing a hype show from way back in April 2001. Back then, Source of Labor's Wordsayer (also the business and romantic partner of Beyond Reality's Kylea) used to put on a weekly hip hop workshop and jam session at the local live venue Sit n' Spin, called Sureshot Sundays. Every Sunday afternoon, the local hip hop community would congregate at the cafe/club/laundromat(!) to spin, break, emcee, and just get together. Being the shut-in hermit that I am, I regrettably never attended, although I used to try to screw up my courage every Sunday to head on down the hill from my apartment to the Belltown spot to get my muddy-ass beat tape heard. However, since I was just starting out I felt like I'd be in over my head amidst all the "true" hip hoppers.... like I said earlier about hindsight...

In any case, Shureshot Sundays closed up shop probably a decade ago now, but this release is a snapshot of what it must have been like. Kylea is joined on the decks by Topspin and Kamikaze, and Wordsayer joins on the mic here and there. Incredibly live and overflowing with solidarity and positivity (not to mention the stellar flows of Kylea), this album just makes me regret more not getting my burned-out ass down the hill to the Sit n' Spin to be a part of it all. It's a dope record, full of tracks never released otherwise, in professional sound quality. Beyond Reality was supposedly set to drop a studio record in 2001, and as far as I know that never actually happened. Apart from a few early singles and compilation cuts, and the 2008 A Soul's Journey CD, this is as close as you get to the classic BR sound. Listen and enjoy! Thanks go again to the generous homey Kaliyuga Pro for hooking me up with this treasure.

The Revival

...Of Proliteariots

2012-01-03T01:23:00.000-08:00

Trying To Maintain The Real

This one was sent my way a while back from Daniel in Berlin - thank you again, kind sir! ...Of Proliteariots is a Hawaii indie supergroup consisting of John Tsunam, Nocturne, Wimbly Smallfry (of Lightsleepers) and StapleMouth. My knowledge of the HI underground is extremely limited, but what I have managed to hear has always hit me in a particular way. Like the state itself, the music has a immediately identifiable tranquility and peacefulness to it. Not that Hawaii is all luaus and relaxing on the beach, but there is a definite sense of isolation from the insanity and brutality the rest of the world so loves to indulge in.

Sonically this release is what I crave - lofi recording quality, sample-based grooves, drums, and tight, inspired emcees. What more needs to be said? Just that Amos, Omega 6, and Ceschi show up as well. From 2002

Blue Collar

P.S, check out the great blog The Thirdman, for the Of Proliteariots 7", also from 2002!

Closet Manifestos

2012-01-02T00:04:00.000-08:00

This Is Just An Intro To The Album

But what an intro it is. Silas Blak from (Black Stax, Silent Lambs Project, and Blind Council) spits the most brain-stimulating abstract metaphors you can imagine, in a delivery so dark and jarring it causes hiccups. He leaves you hanging on to every grimy word he speaks, while your head-nod slows to nothing and your feet forget to dance. He's the rarest kind of poet; one that is able to speak the most eloquent stanzas you wish you could think up, but in plain rap, straight to your brain. There's nothing frou-frou here, no self-absorbed coffee-house spoken word crap or tired-out boasting. There's no wasted space. Every word is what he means - even on these 7 tracks that didn't make the full-length. On beats, Silas is joined by Specs One, King Otto, Dropcast Music, and Vitamin D (who also lends a verse on one track). From 2006, released on CD-R. Unfortunately the full-length album Silas Sentinel has recently gone out of print. A darker and heavier hip hop record has yet to be heard. For now listen to this and yearn. Thank you to Kaliyuga Pro over at Ghettotyylit for this invaluable work from a true poet.

1986 (Closet Manifestos)

Asmarbeats Vol. 2

2012-01-01T22:32:00.000-08:00

This, That, And The Other

Happy New Year Everyone! I'm going to start 2012 off with a few goodies that folks have sent me over time, either because the albums were on my want list or because the folks thought it would be fitting for me to post it up. The first is the second 12" in the Asmar Beats series, aptly titled "Asmar Beats Vol. II". Sent to me from Straight Outta Dot Com, an excellent blog with a lot of Northwest gems, Vol II showcases two trippy tracks; the first being "The Force" (Also on his full length Zombeats joint), and the flip being the non-album track "MM". If you only listen to one Asmar beat in your life, make it "The Force." With it's extended vocal drone, movie samples, and low-fi, Mo'Wax-style beat, it's a perfect head-trip. "MM" isn't as immediately ear-catching, but it's still worth the fifty or so listens I've given it. Mellow and happy, the track plays reminiscent of Aphex Twin or Wagon Christ - Good, irreverent times. From way back in 1999... time flies.

Vol II

Dk No Deal (aka Dk Toon) Sets the Record Straight: The Beetbak Interview

2011-12-15T00:36:00.001-08:00

Acey, Dk, Mikah

Dk No Deal, aka Dk Toon, has been an artist long-speculated over in the hip hop community. He's an OG at the Good Life and Project Blowed, he's a member of the "Mass Men", he's been on tracks from everybody from Minister Too Bad to Snoop. His contributions to albums such as the Project Blowed compilation, Beneath The Surface, Cater To The Dj, and Dead Homiez, are legendary; as well as his long sought after, but never heard, album Folk Hop Blues. This has only increased the aura of mystique and reclusiveness surrounding Dk. In 2007 an album under the name Dk No Deal was released entitled Fuck Yo Label, Sue Me, which was reviewed over here at beetbak. Dk got wind of it via his son, rapper Mac Flossy, and he felt it necessary to set the record straight about a few things. We got in contact, and Dk opened up about his long and varied career, from his rap beginnings with Smooth 7 in "Ghetto Gods", the Mass Men, his time at the Good Life; and his albums Folk Hop Blues, Fuck You Label, and beyond. "I feel like anyone who's genuinely into hip hop should really know what happened," he told me. I completely agree, as his story is fascinating.

"I've always been A little misunderstood," Dk speaks over the phone from LA. "My mentality don't fit my physical." It's late November here in Seattle, and I'm standing outside under a pine tree in the wind and the rain, because my cell phone doesn't get decent reception in my house. I'm hunched over from the cold, and my recorder is pressed to my phone's speaker, hoping that some of what Dk's saying will be legible on tape over the wind gusts and constant dripping from the rain. From Dk's end, it sounds like he's got a crowd with him, and he's mentally juggling three or four things at once. Yet he is cool, composed, and speaking freely and clearly despite the other noises coming through the receiver. On the other hand, on my end, my teeth are chattering so much from the cold I can barely get the questions out.

The dichotomy between mental and physical he referred to can be demonstrated in the contrast between his smooth, soulful delivery on his well known tracks like "Solo is So Low" and "Sunny Side Up" against the imagery on the cover of Fuck Yo Label - showing a Dk dressed head to toe in blue, decked out in ice, posing in front of a car that costs more than some people make in a lifetime. And Fuck Yo Label is an album that fits the cover. Loud and violent, It paints an intimidating picture of Dk. However, as he explains, you can't judge a book by its cover. "I'm actually quiet. You may have seen me before, I don't know how many times, at shows just chillin' in the back. Because I'm not that kind of person. I'm not aggressive like that. I'm not aggressive unless I need to be. I only speak if I need to speak."

I, and probably most of us, figured that Dk was another hip hop child prodigy, who had been freestyling since he was a sperm. Surprisingly that's not the case. He opened up about his rap upbringing, and it was a shock from the get go. "I'd never rapped in my life," he explained. "I'd never wanted to be in entertainment. I had never desired to be an entertainer like all the other rappers you hear, that have been rapping since they were six. Man, I was 22 years old before I even picked up the mic, before I ever thought about rapping! I came home from prison and one of my homeboys' younger brother wanted to be rapper. That was Smooth 7. I used to run with Smooth 7's bigger brother. I didn't run with Smooth, but I loved him to death because this was my homeboys' little brother. So I came home, and he was like, 'Man, you know, I'm a rapper now.' I was like, 'Is that right?' I'm kinda like laughin', but he was like 'I want you to help me get my album together.' He knew that I was going out of town getting money. I said 'OK, I'll help you.'"

As Dk explained it, Smooth was initially the rapper, but with Dk's input it became apparent that the two should have equal footing in the group as emcees. Dk went on, "Smooth was like, 'Man look, why don't you just be in a group with me?' I'd never even thought about rhyming. But he was my homeboys' little brother; I'm like 'Well, what do I gotta do?' He said, 'Well, rap on some songs with me and we'll put a record together and sell it and then we'll blow up.' And you know I kinda laughed, but you know I loved the young dude, I felt like alright let's do it. And that's how the "Ghetto Gods" was formed. I never wanted to rhyme, until that day. And I only did it because Smooth 7 asked me to.

When I commented that it was incredible that he began rapping at the late age of 22, and sounded like a seasoned veteran, Dk was quick to respond "Because what I was saying, I'd experienced for real. You know what I mean, when I say I got shot, I've been shot, three times, by three different neighborhoods. I've been in I don't know how many shootouts, with people trying to rob me or whatever. It's basically a short story when you listen to my songs."

Once again the misconception of who Dk really is comes back to haunt him like a bad memory. This was a recurring theme in the interview, only because it has shadowed him throughout his entire career, including the second musical endeavor he undertook, that being the legendary Folk Hop Blues album.

"[People] don't realize that I'm really from the street," He explained. "If you listen to any of my songs, or anything from the Folk Hop Blues album that I was working on, all of the songs are street songs. They're all songs about doing your thing on the street to get money. So a lot of people [misunderstood] me. They think that I'm a different type of person [that I'm not from the street] because of the way I deliver my vocals. But the Folk Hop Blues album, I was never even supposed to work on that record. I was with Smooth 7 in the Ghetto Gods. This was back during the "Good Life" time. But Smooth 7 called me while I was out of town, and said that Motown wanted to sign us. But I was out of town doing my thing. So I didn't need the type of money that they were talking about. I was like, no. But Smooth 7 was like, 'Dang, you know, I'm not getting money like you're getting money, you're going to mess it up for me.' So I told Smooth, 'OK, well, sign yourself. Go solo.' So he ended up signing to Motown, and he ended up getting robbed in that deal. Off the top they took $70,000 off his budget, just to sign! And I didn't understand that. Everyone else we were dealing with were dealing with us for free because they loved us or because we were down with them. There was Fat Jack, Dj Slip, Big Deon, Touch, and Battlecat. Those for the most part were the only producers we would deal with. And then Massive came in, and he was a real good friend of Fat Jack and Touch. And so I started working with him a lot after Smooth 7 had signed. I didn't mind [that Smooth had signed] because I was already getting money on the street."

Which was a good thing for Dk, because as he explains, "When I went to the labels to talk to these people, they weren't talking about the money I was talking about, and they were always telling me that what I was doing wasn't rap. They didn't know how to market me. But then Bone Thugs, and after that Domino, then Skee Lo, then Ahmad, all these people started coming out with these deals. So I'm saying You don't know how to market me? Well all these people are sounding like me and Mikah 9 and you're signing them! So basically what it was in a nutshell is, they looked at me and people would tell them, 'You can't take his money and he's not going to do nothing about it.' You know what I'm saying, they couldn't do me like they did Smooth 7. You take $70,000 from me and I'm not going to just sit there, I'm coming in there to talk to you about it. And they knew that. So you know, they had to tell me something. The only one who really told me for real was Paul Stewart. When I went and talked to Paul Stewart, he was at Def Jam West. This is where I first recorded "Solo", - this was the end of '92, the beginning of '93. And he was like, 'Man, I don't even know how to market you. To be honest I don't even know what this is.'"

Dk's treatment by the record labels at the time mirrors that of other OG Good Lifers, and causes him to have mixed feelings about the whole time spent there. "It was hard in the Good Life," he continues. "Because people would come listen to us then go out and get a deal. That's how it was working out. We were so happy when Volume 10 got his deal and Freestyle Fellowship got their deal, and why I was cool with the Skee Lo's and the Ahmads getting their deals. Because then, [when labels starting expressing interest] I was like, naw. I was like, naw, I'm cool. I just couldn't understand that when I wanted a deal, it was before any of them and the industry wasn't down. So that's kinda been the whole theme of my life in terms of music. I've been ahead of the crowd, when the industry ain't ready for it, but when they're like 'Alright I'm ready for it,' I'm on to something new. It's been the theme of my whole career."

After the solo endeavors of the Ghetto Gods and the unfinished Folk Hop Blues project, Dk moved his focus away from hip hop and rapping. "I kind of stayed away from all that for a minute, then Fat Jack started working on Cater To The DJ. He was like, 'Come on man, give me something.' So I did "Yo Attitude Shows". In between [Folk Hop Blues and Cater] I was working, going in and out of town. But like Abstract would call me, with 'I need you to do a verse on this,' or Too Bad would call me, or when anybody would call me from Mass Men asking for a verse then I'd go do the verse because I'm from Mass Men. But really I wasn't working on no projects. I was in the street just doing my thing.

"As far as the career and all that, because I was getting money on the street and because I saw myself as an independent artist, I couldn't see paying for tracks. Fat Jack and those dudes, it's not just like they're here to make beats, Fat Jack is like a brother to me. Like I call him and Touch when a new movie comes out. I bought Fat Jack his first MPC! That's how far we go back." Returning to the subject of his musical career, Dk said, "My thought process is a little different. I've turned down [what seems like] over two million deals, man. First there was Motown, turned 'em down. Another one from Warner Bros, turned 'em down. Black Wall Street, turned 'em down. It wasn't that I didn't appreciate the gesture, I loved it, I was flattered. But at every instance that these people offered me a deal, I was done with music. I was just [involved in music] because everyone around from Mass Men was rapping or making music. So I was like, 'I'm gonna do me a song,' and I'd call up Fat Jack, 'Hey give me a track,' and I'd do a song. But it wasn't really like I set out and said you know, 'Folk Hop Blues gonna be finished by this day, Fat Jack, we need to finish this.' Fat Jack was telling ME we need to finish this. But I never finished it, because I was in the streets."

When asked if he ever had plans to finish and release the record, DK simply said "To me, that's ancient history."

From here the interview turned towards the subject of the Mass Men. "When [The Mass Men] first got together, it was a lot different from what you may think. We actually had to earn it. I mean Fat Jack, he wouldn't get no play at the Good Life at all. They was not trying to hear Fat Jack. You gotta understand though, these are the dudes who made us what we are, the CVE's, the Hip Hop Kclans, Freestyle Fellowship. You know my first encounter as an emcee - and I wasn't into rapping and stuff - my first encounter was vs. PEACE! I had to learn the hard way" (laughs). I hadn't seen anything like that in my life.

"So at the good life, Fat Jack wasn't getting no play, we wasn't getting no juice on the microphone, none of that. but Rifleman (Ellay Khule), was like 'These dudes are kind of dope, I like what they saying.' Because he's really, what you'd call, militant. So he heard Smooth 7, and he heard the Ghetto Gods and he kinda dug the name, and I think that's what kind of sparked his interest. so he listened to our stuff, so you know that kind of opened it up. That, and PEACE attacking me had people saying these guys are kinda dope (laughs). You know Smooth 7 just had it from the start, he would rap and rap and rap and rap, and never even stop. he can go for EVER. It's ridiculous. one night we were all at Medusa's house, and Medusa was spinnin' records. And he and PEACE were going back and forth, like forever. It literally felt like it was for an hour. Back and forth, just back and forth. but none of this stuff is recorded, it's just a memory, you know? But I know Medusa and everybody remembers it. When we get together it's still something we all talk about."

From there DK logically moved to the topic of "Project Blowed": "On the inside cover [of the Project Blowed album], that's me, Ab and Acey. When the concept was created we were doing a song at Grand Royal. Me, Acey, Ab, PEACE, Mikah 9. That was when we were all deciding we were done with the Good Life. I really don't have a good understanding of what went on with B. Hall or whatever, but they were saying we couldn't do things that we wanted to do, (run people off stage by heckling). And supposedly things were being done that we didn't have any control of with our music. I didn't have no proof of any of that so I kinda stayed out of it. But we all decided we were going to move on. So that was the birth of Project Blowed. I knew business, because I did business in the street, but I didn't know business as far as cd's, or internet, or any of that. It seemed kinda small. I didn't understand fully what we were really doing. All I knew is that we were creating stuff, and that we owned it, and nobody could tell us what we could or couldn't do with it."

Dk then shed some light on his name change, a topic that had baffled me and probably kept a lot of his fans in the dark about his album Fuck Yo Label: "The whole thing with [the name change to] DK No Deal - I was done with Dk Toon. The 'Toon' comes from my neighborhood name. My neighborhood name was Li'l Cartoon, and I was trying to step away from that musically. You know, I'm older now, I'm really not trying to present myself in that manner. People may look at me and see the same dude but really I'm not the same. I'm not really trying to push the same thing, you know what I mean? Plus, when I was doing songs, people weren't trying to hear what I was trying to say. I looked different than the way I wrote. If you got a hundred thousand dollar Benz, and another two hundred thousand in jewelry, and people know you from this type of lifestyle and you're not talking, like, street talk? How you going to talk about shit that's real heavy, like you have it and you shouldn't be doing what you're doing? It really wasn't fitting. When I got hit by men like yourself and the Blowdians they want to hear the other side, they want to hear the Folk Hop Blues style. But fools that I affiliate with every day, they don't want to hear that. That's some weird stuff. So I'm walking a fine line. Because a lot of people in the underground have no idea who I am. If I go to the Blowed tonight ten people would know who I was. But if my song came on they'd all know every word.

"There are instances when I'd be with Ab and Fat, and people wouldn't know my mentality. So I'm sitting there sagging with jewelry on, and they'd speak to both Abstract and Fat Jack because they were both dreads. And because I was bald headed, and I look how I look, they wouldn't even speak to me! Fat Jack will tell you this, there was this one time, when I said, "Man, you call yourself positive or conscious or whatever, but you speak to them because they got locks and you said nothing to me, that shows me that you put out negative energy. Cuz motherfucker, you say I don't look like you so I don't deserve recognition?!' Basically that's been my whole life throughout this entire industry!"

We then moved on to the Fuck Yo Label, Sue Me album, the one reviewed here at beetbak. I had written that it suffered from repetition and length, and when he initially contacted me regarding explaining the record, I admit I thought he was going to verbally cave my kneecaps in. Totally not the case, Dk was only looking to set straight the details of the album's creation and content. "As for the Fuck Yo Label album," continues Dk, "that album was never supposed to exist. The reason a lot of the songs sound similar is because I was just recording. I was in the studio with these dudes and they were like 'You're hard, I wanna do something with you.' So I did something with them. I was just in the studio hanging out with my boys and they was recording. There ended up 25, 30 songs. And one of my partners (Kompari Rudisson) who I have a distribution company with, called 1-Stop Distribution, she's from Texas and she put out UGK, Slim Thug, Paul Wall, she put out a lot of people in the underground before they got their major deals. She heard my stuff on Myspace, and she was like 'What is that album called?' And I was all, 'Well that album never really gonna come out,' you know, I was just recording. And she said, 'Well, put up everything you got on MySpace for me,' so I put all the songs up, she downloaded the songs, took some of my pictures from Myspace, then made the album! I never put that together like that's how I present myself. Because I agree with what you said 100%, a lot of the songs never would have seen the light of day. Kompari is a businesswoman and refuses to hold on to or waste material so she moved forward. I would have used four or five songs out of the entire 22 songs. This mess is really complicated, this is my whole career. This is the way I've been treated over and over.

Dk's personal life also effected the album's creation. A proud father of a grown son and daughter, as well as two more sons (eleven and eight), a lot of his creative energies were funneled into his children. "At the same time I was recording Fuck Yo Label, my daughter Bre Roca was signed to Roc-A-Fella. So when she signed to Roc-A-Fella, I was helping her put her record together. And I'm flyin all over the place, cuz she's doing shows with Jay and them, she doing the touring/modeling and all that. So that kept me pretty busy. And then my son [Mac Flossy] decided he can rhyme now, and Warner Bros wanted to sign him. My children ended up putting a children's group together called the "Giggle Club". do you remember School House Rock? Dame Dash acquired the rights to do all of those, they were going to have these children redo them in a hip hop style. Then I ended up hooking up with QD3 and Ray Brown, and that pushed me more into working with film. Then with him, we ended up creating a show for Nickelodeon with Nick Cannon called "Star Camp", and this was surrounding the children and all that. So that pulled me further and further away from what I was doing [with the album]. You know, this is about my children, so that's more important than any record that I'm even thinking about. So in between those days at Nickelodeon I'm recording the songs on Fuck Yo Label, but i'm not really serious about it because all my energy is really going into my children. But of course, they killed Roc-A-Fella Records, so my daughter's crushed mentally. Everybody want her but she doesn't want to go nowhere. And then the show we did for Nickelodeon, it was the first show to ever premier on the internet by a major network. Now at the time that it premiered the writer's strike began! I didn't have nothing to do with that stuff, I'm still independent. I'm not a member of any unions, So the writer's strike, that don't apply to me. But what it was about, was that nobody had an idea of how the writers were supposed to be payed for showing their stuff on the internet. So I'm stuck directly in the middle of that. To this day I still do not know where I fit in to that, because I'm not signed to Nickelodeon, I'm not signed to nobody. When we (QD3, Ray, Dk) created "Star Camp", it was on our own time and our own dime. But since it came out on Nickelodeon it fell under [the network] and I just got caught up." Frustration is apparent in his voice over the phone. "With all of these ideas that I came up with, whatever I wanted to do, on account that I was one of the first ones that was doing it, it didn't pan out. So I still stayed in the street."

It's clearly evident that Dk's dealings with the entertainment industry have all ended in a struggle, so it was very surprising the response I received when I asked him if he ever planned on making another record. "It's funny you should mention that," he replied. "I'm about to start working on a record now. I'm actually really starting a real record now. Because I got the time to do it. You're gonna see a lot of the old me on the new record. It's easy because it's really me. I got my own studio, so there's no reason for me not to do it." But Dk's not the only one that has plans for recording in the future. "Do you know Novelist?" he asked me. Novelist was a name I wasn't familiar with, so he filled me in. "Novelist is another member of of the Mass Men. He's actually talking about doing a Mass Men album. All the Mass Men are working on putting a record together, and after that we're gonna do the movie. That's going to tell the whole story about [the Mass Men], kinda clear it up."

At that the interview was basically at a close. I thanked him for his time and generosity in explaining so much about his life, trials and tribulations as an artist. He had said in an earlier email to me that astonishingly he had no idea he'd even be missed as an artist. He said that when he first heard that his music was coveted not only by a few oldschool heads in Cali, but by generations of fans in places as diverse as Japan, Finland, and Germany, he was surprised. He said over the phone, "I had no idea our stuff was even out there until Rifleman (Ellay Khule) came back from Germany and told me he met two more Dk Toons! And he was like, 'This is how it was, I met some Riflemen while I was out there too!' Out there to show you flattery, they don't take your song, they take your name. And they start doing something like you. I've never been anywhere like that. I've never been out of the States. I've never, ever, been on tour. I've never done a video. I've never put anything that I've done out, ever. For most people, all they know of me is my music - They don't really know me. When they meet me, they're like, 'Wait a minute - physically he don't fit what I have in my head what he's supposed to look like.' You know, like I'm supposed to look like a backpacker! But you know I'm just different. I guess in business, it sends a mixed message. So that makes it really hard for me to do a record. You know, because physically I would be marketed with Ice Cube and them. But in terms of the record, I'm supposed to be on tour with Ab Rude."

Summing it up, Dk explained, "When I went to Fat Jack's house, we'll have dinner, I'll play with his kids or whatever, we up to two or three in the morning. I shut up and read the Koran, the Bible, and the Kaballa side by side till five, six in the morning. I'm a little more ecclectic than people think. But it's all mental, when you see me physically, you'd never know it was me."

Thanks again, Dk! Beetbak with be sure to keep all the heads posted about future developments or news regarding this legendary emcee and artist.

Overcast from B-Self

2011-12-14T02:07:00.000-08:00

Garfield Alumni

Here's a brand-new video B-Self put up of a short track he did back in '96 or '97. Classic Ghetto Chilldren flavor, Vitamin D on the cuts, Felicia Loud on vocals. Wonderful, as to be expected.

Respect Is Due

2011-11-22T01:53:00.000-08:00

Show Respect Here, Oh Completist

The 12" EP that came out prior to the full-length CD a few months later. The first time I dropped my poor, abused needle on this I remember feeling something close to heartache hearing the tracks from PSC and P.E.A.C.E. To this day I think that those are two of the best beats Jizzm ever made. Other tracks come from Jizzm, LMNO, Mykill Miers, and the one and only Otherwize. Damn, he always comes through. No exclusive cuts here, just 6 songs from the then-forthcoming cd. Yes, a fool and his money are soon parted. But for all you completists out there, go ahead and give this an ill listen. It's meta-quality material.

Show Respect Here 12

Narcotik Remastered

2011-11-14T22:51:00.000-08:00

The Note of Narcotik released this remastered edition of Narcotik's debut classic on his blog Gunz & Butta as a free download a few days ago. Featuring the full album, plus compilation tracks and working versions, he effectively expanded the album to twice its original size. This is a bittersweet goldmine... It's going to take me a while to be able to listen to this without aching, but I'm gladdened nonetheless that this has been released finally in somewhat of an official capacity. RIP Tizzy T.

Intro To The Central

Imp

2011-11-10T01:49:00.000-08:00

Where I'm From Sampler

From 2004, here's an interesting curio from Imperator. It's not actually an official album - this is a sampler Imp released beforehand that features 7 tracks from the Where I'm From album, plus a 26-minute "Screw Mix" tacked on at the end. this mix inexplicably features a bunch of tracks of Imp's in one long file, tape style, while he gives endless shout outs over the top, all slowed down a bit. It doesn't really go over as well as what was happening with the chopped and screwed scene that was so huge at the time, but whatever. I guess the whole Houston thing must have rubbed off on him. These tracks find Imperator's delivery more polished from his debut Evolution of a Man, and although it doesn't feature the million and a half guests that Evolution had, this sampler still a damn good record. Imp brings that oldschool vibe as only he can, Goodlife OG that he is. According to his website, there's a new Imperator album due to drop shortly. I'm eager to hear how he's sounding these days. For now, though, I'll just listen to this.

Where I'm From

Nomad Da Nomadic - Worldwide

2011-11-04T23:51:00.000-07:00

Shining like Folgers Crystals

Nomad's third 12", 2001. Here we find him a much more commanding presence on the mic compared to his earlier releases, and he instantly grabs your attention. Thanks to this, "Worldwide" is definitely one of the dopest tracks he ever blessed. It doesn't hurt that Jake One's production is spot-on either. The flipside, the J. Freeze- produced "Divine Rhymer", has that classic Nomad sound; slow, nocturnal beat, sentimental strings, brilliant organ touches here and there. I had forgotten about this 12; I remember now that I used to see it sitting there in the stacks at Tower Records (RIP), but I never picked it up (on some poverty shit). Low and behold I came across it while digging through the crates at a local independent last week, still in the shrinkwrap even! Sweet. I have absolutely no idea what Nomad's up to these days, but I hope he still finds the time to do his thug shizzle now and again. Peep this Northwest nugget - Street, radio, and instrumental versions of the A-side; with radio, instrumental, and a cappella for the B-side.

Worldwide12"

Request... Dactovision

2011-10-31T22:50:00.000-07:00

Rollin Up In An '81 Corolla

Request... From 2003, this is Pterra's debut cd. More classic illness from Hip Hop Kclan and Afterlife. No more need be said for you to start drooling.

Dactovision

Request... Pterradacto!

2011-10-31T22:38:00.000-07:00

Moving Mountains Dragonball Z Style

Request... Why is this guy's name not in everyone's mouf? Pterradacto steps out of his cuz's shadow on this release into the spotlight where he belongs. An overlooked Afterlife masterpiece, short but sweet, demonstrating and rendering mad styles obsolete. One of the best emcees you never knew.

Primal Rage

Black Anger: Damn Da Demo

2011-10-28T01:26:00.000-07:00

Wicked

Extremely rare and equally as dope, this is the legendary Black Anger Movement's "Damn Da Demo" tape. Apparently only around 10 copies were produced of this, and I have no idea what year it dropped but from the sound of it I'd guess it was prior to their "Maxed Out Singles" record from '96. Five tracks deep (4 tracks plus a remix). Hi-energy tru-school hip hop. A million thanks to the big-hearted homie Dawhud for reaching out with this gift to all of us. Listen to this unheard greatness.

Damn Da Demo

Return Of The Artist

2011-10-24T23:14:00.000-07:00

Changing His Name To "Who Diss?!"

This album was recently posted up by the cats at Know This, but I feel so strongly about this guy that I wanted to review it over here. Specs One, the mastermind behind the legendary 206 acts the Elevators, The Crew Clockwise, and Original Space Neighbors (among many, many others) dropped this album in 2001. Return of the Artist is a fitting name for this album, as it heralded a rebirth of Specs as a rhyme artist and producer. For years Specs had been legendary as the most underground of underground heads in Seattle, releasing shit at shows and at the mom and pop stores on cassette and through mail order, and this was his first "official" release (on CD!), as far as I know. Released on the Abduction label, this was also a change stylistically from his projects up to this point. The songs here, whether vocal tracks or instrumental, are solid, distilled to the prime elements, and no-nonsense. On his various tracks from his salad days (Numerology, American Music, Balcony, Etc) his work had a distinct experimental vibe, which although always fascinating and inspired, sometimes could be a little, well, long-winded and self-indulgent. Don't get me wrong, I revere his early stuff (well, all his stuff) with something like adoration. What I want to say is, Return was a decidedly more accessible record than his previous efforts since the Elevators' Transitions EP. Here, Specs goes as straight-ahead hip hop as Specs gets, which means it's still underground and experimental as most cats never dare to go, but it's all systems go with beats to make the head nod and lyrics that are always engaging. No track ever lasts too long, and there's never any lag between the musical/lyrical action. This is a classic Northwest selection, ranked at the top. Released in 2004, this is still available to purchase, but if you're poor and fiending, you can track it down via the blog I linked to at the beginning of this post. Long live the Green Lover!

R.I.P. Tizzy-T of Narcotik

2011-10-19T13:07:00.000-07:00

Tizzy T and C-Note: Narcotik from '95

Just learned about this tragic news today. Tizzy T died in a house fire in Seattle on October 16th. It broke my heart to hear this, he was an incredible talent and a living legend out here in the 206 region. I had heard that Narcotik had been working on new material, merely adding to the tragedy. Check out Raindrophustla and Swan Lake for more.

Kombo's New Horizons

2011-10-16T23:46:00.000-07:00

Pure Knowledge

What ever happened to this guy? For about 6 years I'd see his name pop up here and there - the first place I remember him was on the Connect the Dots comp from '99, and the last I heard of him was on Self Scientific's "Balance" from '05. In between he made various guest spots and put out a few singles, but since then he's been quiet. Truly unfortunate for us all, because the man can rock the mic. This release show us that - the "New Horizons" 12". Produced by Pete Rock's brother Grap Luva on the A side with Mum's the Word on the flip, and featuring J-Rocc on the cuts, it's a solid and accomplished effort from beginning to all-to-quick end. Out on Up Above back in 2000. Let's hope Kombo picks up the mic again some day soon.

New Horizons

A Fact Of The Matter

2011-10-13T01:40:00.000-07:00

See It All From A Universal Perspective

Scarub and Elusive from 1999. The sophomore slump doesn't apply here. Truly a more intense album would be hard to come by. Scarub manages to cram a lot into his rapid-fire and intellectual delivery, which speeds through the perfectly-sized empty spaces in Elusive's minimalistic beats. Both originally from the infamous Log Cabin crew, rhyme sayer and beat maker had a long history together at this point, and that's probably why everything seems to meld together so tightly.

Few guests appear on this album. I get the feeling Scarub had a lot to get off his chest here, and didn't want his vision diluted. Like Aceyalone's sophomore record, this is the artists' magnum opus, with a carefully chosen musician to spark the poetry to life. Definitely a high point in Scarub's catalogue, as well as that of the Living Legends.

A Fact Of The Matter

Cyphalliance

2011-10-09T00:51:00.000-07:00

Nomad Nosirrom, Khazma 247, El Guanaco, HNS, Elohim, WD4D

Here's some forgotten greatness from the Northwest: Cyphalliance, a group of emcees, producers, and deejays spearheaded by Khazma 247, also known as the one and only Khazm. This was a relatively early project he and his MAD Krew was involved in (2003). Executive produced by 247 and Nosirrom, many of the tracks also give Khazm a producer and emcee credit as well. Stylistically this is some high energy, youthful consciousness mixed with a healthy dose of battle attitude. It's some refreshingly energetic left coast music in the same vein as JKC or EX2, except that it's so obviously from the 206. The grayness that permeates so much of the tonality of Northwest music (both hip hop and otherwise) is truly in effect here. The cover sums the music up perfectly - a group of young men standing in front of a cloudy sky backdrop, as seen in the reflection of a rain puddle in a drab parking lot. Perseverance in the face of the mundane. I was next to ecstatic when I found this long out-of-print chapter in Northwest hip hop history, and I hope you enjoy it at least a tiny bit as much as I do.

Industreets

I Love This Game

2011-10-06T23:12:00.001-07:00

Imagine This

Thanks to the chroniclers over at Ghetto Tyylit who generously posted up an old Cuf tape, I dug this up out of the stacks and have had it spinning on the turntable on a daily basis. This EP from '98 is one of my favorite records. The Cuf are Sacramento legends, with their hold-steady lyrical delivery and dusty production. Nothing flashy or showy here, this is just solid hip hop on all levels. They are as essential to underground Cali hip hop as anything from the Bay or LA, and deserve to be recognized as such. A whole bunch of Living Legends guest on one track.

I Love This Game

No Introdeezy....

2011-10-02T23:53:00.000-07:00

Let All These Suckaz Know The Name

A classic among classics... Here is Jake One and Kutfather's iconic 12" "No Introduction" from Conception Records back in 1998. The A-side features Jake's signature production - a driving, airy, infectious loop over a minimal, but effective beat; while side B is no less head-nodding with a smooth, subdued remix. The final track, "One Man Band", shows off Jake's formidable beat-making and chopping skills. Even back in '98 he had the gift. Conception released some of the illest Northwest hip hop, both past and present, and this 12" ranks at the top. Just as notably, this slab of wax shows what an accomplished beatsmith Jake was even before he became an industry name. Crucial sides from Conception.

No Intro...

Goodvibe 2000

2011-09-20T01:14:00.001-07:00

Once Upon A Time

Here's a great little promo compilation that Good Vibe Recordings put out at their height in 2000. At just shy of 45 minutes, it economically showcases some of the formidable GV talent with both well-known album and single cuts, as well as harder-to-find mixtape tracks and remixes. Big names like Slum Village, Defari, Aceyalone, Bahamadia, Pete Rock and Xzibit appear, as well as lesser-known cats like Big Dro, Saukrates, Mirage, and Tee Double. It's no surprise that Good Vibe mainstays Animal Pharm and Spontaneous lend a couple of my favorite tracks on this, as does Neb Love and Nuthouse. However the album topper has to be Mystic's "Ok...Alright" from her classic Cuts For Luck & Scars For Freedom record, arguably the best thing Good Vibe ever released. It's a seriously haunting track courtesy of producer Angel. It gives me goosebumps. All tracks are here in their clean versions. Good stuff from a great label in a lost era.

Good Vibe Recordings 2000

Request... Traumakazee

2011-09-06T23:51:00.001-07:00

Miss Cleo Lives On Through the Kclan

Request... Solid F'ing effort by the Kclan. Khule holds it down while Pterradacto steps up and stretches out as the stylistic focus. For some reason I never really listened to this one, preferring its rough-ass predecessor Kclandestine Kclassics, but listening to it now, I regret not giving it the attention it so apparently deserves. It's as sinister as Afterlife gets, with that signature beat style all their own, and both Khule and Pterra have never sounded so tight. This came out around the same time as the "big budget" Afterlife comps, and this one's got that same mastered sound. Mr CR and Daronnic guest, as well as other cats. Great, great shit.

Kazee...

Request... Kaos Cou De Ta (Dusty Vinyl)

2011-08-27T00:29:00.001-07:00

Afterlife Legion

I received a request for this Kclassic recently, so I thought I'd dig up the old vinyl version. What an awesome record. It's condensed and over the top; high-energy as hell. Mostly this is a CVE production, but Chu's live band Legion provides a ton of musical accompaniment, along with Ebow, Hip Hop Kclan and Click the Supah-Latin. All the cooks in this kitchen give this short record a consistently different sound than the usual oldschool Afterlife releases, and although I love those old cd-r's to death, it's always cool to hear artists branching out. Lyricist-wise, there are a ton of emcees, but Ridd?, Fsh, Chu and Khule seem to be on the tracks the most consistently. Wreccless, Pterradacto, Otherwize and JXL also appear here and there.

Like the title of this post says, this is some dusty, crackly shit. I didn't do anything to clean it up, cuz that's how I like it. I hope you like it too.

Kaos Cou

On Some Old Missing Link Shit

2011-08-22T01:37:00.000-07:00

Acidic Funk

This classic tape from '99 was my introduction to Neila, who I consider to be among the best emcees in existence, so it would be dope in my book just for that, except that it's also just a compelling and raw release. Acid Reign expanded on their sound with this tape, cleaning up the beats a little, extending the song lengths, and enlisting outside talent. Besides long-time collaborator Neila, Express, Ali, and Indiginuz lend their lyrical skills; and Pilot Rase, Rappin Ron, and El Nino join Dert on beats. This was also the first release that Olmeca rapped on as part of the Acid Reign crew.

I always focus in on Neila's contributions here. She's still honing her talent, which to me just makes Missing Link all the more fresh and vibrant. This is experimental music on every level - Acid Reign and Neila are exploring uncharted territory.

Missing Link

Acidi...

2011-08-20T01:14:00.000-07:00

Now We See Further

Coming a year later and almost twice as long as "A Journey To The...", Acidicompositions finds the Acid Reign Crew more honed and confident of their craft. Gajah and Beond are once again accompanied by DJ E.S.P. and producer Dert, along with Awol One and Adlib and Zagu of GPAC. Coming out in 1998, this tape was my introduction to the Reign, and it blew my mind wide open. More than a decade on, it still gives me a feeling of excitement and anticipation for what's on the horizon whenever I listen to it. This is new-school hip hop, in the best possible sense of the term, even today. Besides that, it's just a great tape. Give your brain a treat.

Acidicompositions

A Journey To The...

2011-08-19T00:59:00.000-07:00

Free Music

Short and sweet, this tape clocks in at just over 11 minutes, but what a great 11 minutes it is. Lyricists Gajah and Beond worked beautiful chaos with producer Dert and D.J. ESP on this rough cassette, distilling the music to the essential elements, making full-fledged songs only a minute in length, keeping the ever-changing sound collage going. There isn't a second of wasted time here. From 1997 (I still can't believe this came out back then, it's so forward-thinking). Check it out, and for all those who want to know what's going on with these cats today, check out The Thirdman, and also peep the review I had the pleasure of writing on Gajah's new joint over at Blown Upp Music.

Acid Trip A Journey To The...

The Brink

2011-08-17T02:22:00.001-07:00

Rockin Sectors

The quintessential Goodvibe Release. Panda, Statik and Jaleel present something fresh for '98. This is solid music. The beats are clean and proper, and the flows are tight, thought provoking and clever; invoking hip hop's golden age. So why didn't they wind up on Master Card commercials or the Vans Warped Tour like other comparable acts? Rhetorical question. Just listen, appreciate, and catch Panda at a Plant Life show next time one comes your way. Here's "The Brink", along with "Flylingual", "Along The Pavement", and various acapellas and instrumental tracks. Good shit!

The Brink

Request...Smokin Suckas Wit Logic

2011-08-15T00:20:00.001-07:00

We Love You

Request... This is one of my all-time favorite records. It's got that classic GPAC sound, and Sach has always had the tendency to bare his soul when he spits. He obviously gave his all with this release, and didn't budge an inch from his vision. He gets support from a bunch of talent, including J-Sumbi, Zagu Brown, Medusa, Suga B, Imeuswi Aborgine, and his late rhyme partner Yusef. Sach produced most of the album, with Adlib on one track and Omid on a remix. From 2002

Suckas

Request...Science!

2011-08-15T00:04:00.000-07:00

Sach and Inoe

Request... More GPAC! This is Sach and Inoe Oner, collectively known as Name Science. Great latter-day work from members of one of the most underrated crews out there. From 2006. It isn't always as murky and scratchy as you'd expect, and it isn't always as abstract either. Sach's distinctive, abstract-meets-oldschool vibe works really well with Inoe's slicker, more menacing approach; and together they present a full-bodied project that is a lot more than just an outgrowth of Global Phlowtations. Hopefully they pair up again some time.

Name Science

Vincent Van Specs

2011-08-11T23:54:00.000-07:00

Flyin' The Flannel

I'm on a strict diet of Specs these days. He's all I've been listening to; I can't get enough of his music. Surprisingly, there's almost nothing to be found of this phenomenal cat on yoo tooob, but I did find this live clip of him at the Rendezvous here in Seattle from a few years back. It's a great and fitting example of a truly unique artist in hip hop. Lanky, dressed like a logger ('cuz it's cold in the Northwest), alone on the stage (no hype man, no DJ), stomping around in a circle while he spits - this is about the most fitting clip of Specs One that I can imagine. He's a Northwest cat through and through, a true frontiersman and artist in all things he pursues, and he stays true to his convictions. You will probably never hear an industry beat behind this guy; his standard of what's cool is his and his alone. Pure artistry, subscribing to no genre, style or trend. Completely doing his own thing, I find myself thinking of him as the rap Neil Young (or Van Gogh), and the world's a better place for it. Like he's said numerous times before, "Hip hop, rap, I could care less. All these categories mean shit to the S."

By the way, this track, "Gogh", is off of his wonderfully scratchy record Green Lover and the Northwest Hits. Pick it up, why don'cha?

H-Bomb

2011-08-09T00:15:00.001-07:00

H-Bomb, Jake One, Vitamin D, Topspin, Wordsayer

I know that you know that I know that you didn't know that H-Bomb dropped a record. While you're still figuring that out, let me expound upon it.

H-Bomb, part of the legendary Tribal Productions crew Sinsemilla (H, Topspin, sometimes Infinite), is one of the most distinctive emcees in the Northwest's formidable roster of talent. His style makes him instantly recognizable; the slick, slightly nasal delivery, the stiff and angular flow, the rapid-fire punchlines, all work to create an emcee like no other. While part of Sinsemilla, he was among the top tier of Seattle's talent. H-Bomb worked well with emcee/producer topspin, and I was sad indeed when I learned that they had parted ways. Topspin has continued to spin and produce, but I had lost track of H until I came across this record by chance. Called either "The Ruff LP" or "Spontaneous Combustion", (I'm not sure which) this is quite a departure from the established sound of Sinsemilla. With Top at the helm, Sinsemilla was mellow, jazzy, dusty and stoned. Just listen to "Confrontations", my favorite track on Untranslated Prescriptions, to get my drift. With his solo LP, H-Bomb is able to stretch out, exploring new ideas and themes, presenting varied sounds and styles. Bean One is in the producer's chair for the entirety of the record, catering to H's style and lyrical subject matter for any given track. His production is crisp and clean, a far departure from Topsin's scratchy loops, and actually is better suited to H-Bomb's lean delivery.

As an emcee, H comes with track after track of witty and creative punchlines. He references everything from Pikachu to the Israeli - Palestinian conflict to Tony Blair, causing me to drop my jaw like a mouth breather in wonderment. Unfortunately his repertoire is somewhat limited (quite a bit of time is spent on the record either schooling wack emcees or having dirtay drunk sex in the backs of clubs with the honeys). But if that's how he rolls, that's how he rolls, I'm not going to fault him that.

From what I understand, H still works in the music industry as a musician, but I get the feeling he's retired from emceeing. I've heard rumors that there's a Tribal Music rumble in the works, but in what capacity I don't know. Hopefully H is going to be part of that, and if he ever returns to the mic, I know he'd be welcome. For now, listen to this barely-dropped lp, and enjoy. From circa '06 to '08.

Ruff Combustion

Dynomite D

2011-08-07T00:17:00.000-07:00

You'll Love It

Back in the day I used to live up the road from this oasis of cool in West Seattle known as Easy Street Records. I'd literally spend hours in a day there. They had imports, singles, a barrel of tapes to sift through, t-shirts, bootlegs, stickers, pins, and an entire upstairs dedicated to used vinyl. Famous acts would, and still, show up there and do free shows. They shared a wall with a cafe or a pool hall or something, and eventually they broke the wall down. Add to that it lies on the corner of Alaska and California, known as "The Junction", on several major bus routes. It's a hopping locale and caters to a diverse crew.

So when I was a teenager I'd save up all my money from whatever shitty job I had and go spend nearly all of it down at that shop. I spent most of my time upstairs in the used record section. At the time I was infatuated with hip hop, especially producing, but I had yet to really dip my feet into it. But years before I ever bought a sampler or turntable I was there sifting through the used jazz and soul records, digging for breaks.

Dylan, the record buyer there, was an immeasurable help to me back then. He was one of the few cats out there who let me know what was up. For example he was the guy who steered me away from Chuck Mangione and towards Herbie Mann. He told me about great musicians like Grant Green and Ramsey Lewis, and about great sources of dopeness like the CTI label. At the end of a long day digging through musty old stacks of records, I'd head downstairs with my purchases and he'd be at the counter pointing out which tracks had the dopest grooves for each record, and what other records to hunt for. At a time when I was young, timid, and had no idea how or where to jump into the vast universe of hip hop culture, he destroyed my preconceptions of the crate-digger who jealously guarded their loops, and made me feel a little more confident that I could do this shit.

By the Way is a record he made back in 2000. From one listen you can tell he's a literal library of loops and breaks. He's worked with diverse acts like Kirk Dubb, the Beasties and 764-Hero, and his current project, The Slew" is a colab with him, Kid Koala and two former Wolfmothers.

For comparisons' sake, By the Way has sounds similar to DJ Frane and the Propellerheads. Among several other tracks "Alki Beach Drive" stands out as the shit. I used to get off work in the middle of the night, blaze, then take the scenic route home. I'd drive along the Alki Beach Drive, stoned out of my gourd, eating 7-Eleven hot dogs, listening to this stoney old mixtape I made that had this track on it. If I ever uncover it I'll post it up...Mmm, hotdogs.

Well, um, thank you Dynomite D, for all the encouragement and knowledge and direction, and for this very dope record you made. It's great instrumental hip hop. By the way, this release and everything else on the Slabco label, is available for free dl at their site here.

The following is a rip from my cd, so it's in higher quality like it should be. Seriously groovy music here. Kirk Dubb co-produces one track, and Kid Koala guests on another.

By The Way

Watch Your Words

2011-08-03T23:34:00.001-07:00

Alienatin' Suckaz

I've been hearing that Dj Shadow is dropping a new record here pretty soon, so I thought I'd post up this 12", which includes the infamous beef track aimed at Shadow from Seattle's Samson and Swift. Apparently Samson took some offense at Shadow's filler track on Endtroducing "Why Hip Hop Sucks In '96". insinuating that Shadow didn't know shit about hip hop and had no right to critique the culture. Actually the song's not just aimed at Shadow, but at all those who hated on 206 hip hop for not sounding like Cali, and those in the game that aren't "real" - aka players, gangsters, and (really unfortunately) underground heads (which he portrays as "god damn tree huggers with backpacks").... Yeah, pretty much dissing his entire fan base right there.

Whatever the reason, Samson and Swift take them all to task with skill. Samson's robust flow is instantly recognizable from his 22nd Precinct days on the old Seattle comps, and his producer Swift crafts a smooth, mellow Northwest vibe. The B-side, "Help" has that classic Conception sound despite the fact that it's Swift in the producer's chair rather that Jake One or Supreme. I actually find myself listening to this song more than "Watch Your Words", even with the notoriety surrounding the latter.

Back in 1998, I was patiently waiting for the Northwest to get their time in the limelight. Now more than a decade later that time has arrived, but sadly I hear that Samson has retired from the mic. And that is truly a shame. Let's hope that Shadow's new release will raise his hackles up enough to step back up where he'd be more than welcome.

Watch Your Words

Black Stax

2011-08-03T03:47:00.001-07:00

Playing The Game Like Marbles

The freshest tracks to come out of the 206 in a minute, which is saying a lot. These three individuals have a lot of history between them. Through them you hear the formation of Northwest hip hop: You have The Fourth Party, you have Blind Council, you have Jasiri. You have Silent Lambs. You hear beats by Vitamin D, you hear beats by King Otto. These are some of the supreme rulers of 206 hip hop, the originators of the style. And like the masters they are, they know how to mould raw materials into something new and unseen.
The Black Stax manage to push the boundaries of hip hop into unknown regions. This has been labeled "avant guard", and for lack of a better term, it works. For although the formula of mixed-gender, jazzy hip hop has been played time and time again with similar results, the Stax turn it inside out and upside down, making it unrecognizable, and ultimately much more pure than past experiments. Listen to the projects of some of the jazz greats - Ayler, Sanders, Coltrane - you listen to their albums and you don't hear songs. You don't get anything that structured. You get impressions. You get feelings, you get swept away by pure emotion. With the Black Stax's music, you are left in similar care. This album isn't a collection of songs. This is more a tapestry of sound and emotion, a Burroughsian cut-up experiment on the sonic level, taking what we knew, deconstructing it, distilling it, and ultimately bringing it back into sharper focus. There is none of the linear progression we've been trained to expect to hear. You are required to unfocus your ears and allow the music to rewire your mind. This is hip hop reaching its maturity.
Buy the record and let it wash over you. Put it on loop. Let it be your soundtrack. Listen to what they have to say and how they say it. With each listen let it blow your mind a little more.

Link

Rum & Coke

2011-07-28T01:41:00.001-07:00

Alcoholism

Sorry again for the cover image; I gotta get a new scanner soon...

From 2001, this is one of the singles from Erule's Cold Currentz album. If you're familiar with that record, you know it's hit-and-miss at best, and this piece of wax is indicative of that. The A-side is probably the weakest track on the album, "Rum & Coke", while the B-side has the superior "Rise", although it's also a little lackluster. The legendary Kingborn Allah produced both tracks, and you'd think that a team-up of such lyrical and musical talent would create a masterpiece, but alas. I won't go into that here; I'm posting this up because Discogs has no listing for it and so maybe some of you Erule fans may not know about it. Both cuts have street, clean, instrumental and acapella versions. Check out a great piece on Erule over at Swan Lake, and check out the 12" below.

Rum & Coke 12"

Drunken Style

2011-07-27T01:57:00.000-07:00

Kingdom Of Wax

Sorry for the shit pic of the album, but my scanner kicked the bucket a little while back and I couldn't find a decent picture anywhere online so...

This is Kingdom of Wax's "Drunken Style" EP from 2000. I don't really have any knowledge to bestow upon y'all about the Kingdom, except that they have that heavy-footed, boy-band-hating, sleazy, inebriated, bullshit-free sound similar to Blak Forest or BassLineXcursionists. Speaking of Blak Forest, Shaydie 3rd Degree from BF makes a tight guest appearance, as well as Tony Da Skitzo, Faxx, Dj JFX, and someone named Timmy. 5 songs, plus 2 instrumentals, 7 tracks in all. If anyone has anything to add about this crew, please feel free to speak up!

Drunken Style

Chronik

2011-07-24T01:54:00.001-07:00

Low Tolerance

2000 vinyl from the Living Legend Eligh. This arrived at the tail end of his hella prolific and productive period ('96-2000). As a solo artist, as a member of 3MG's, Righteous Brothers, G&E and Living Legends, he put out more records and made more appearances than I can even think about right now. And by the end, the strain was beginning to show in his work. The rough spark and creativity of his early tapes like 4 Tracks LA and Back and As They Pass was starting to get mired in what I considered sterile, clean production and relatively heavy-footed flows. 1999's Gas Dream was actually a pretty difficult album to sit through for me. Which is why I enjoyed this single so much: It provided three of the varied high points off that album - and when Eligh's on, he's on - without having to wade through a bunch of mid-tempo drum-machine-and-synth numbers. The title track actually has a great, psychedelic and ever-changing musical score; "Soul-Man" changes things up by including contributions from the Grouch and Pep Love, and "Lifedance" features atmospheric vocals and guitar from Eligh's mom Jo Wilkinson and Robert Miranda, respectively. "Chronik" has an instrumental version as well.

After this, Eligh put out two sick, sick Gandalf's Beat Machine albums in 2000 and 2002, then sat back for a minute before the dope and inspired Poltergeist in 2003. I haven't paid as much attention to his particular path as I once did, but whenever I do hear something new by the Crow I can tell he's keeping his chops up. And seriously, his new joint Grey Crow is the sheeit. Buy it, all of you. But go ahead and listen to this oldie but goodie as well.

Chronik

Khalil Crisis

2011-07-19T23:46:00.000-07:00

Savagery and Majesty

Here's the out of print debut solo effort from Maroon Colony's Khalil Crisis, now known as Khingz. Dropping in 2001, it catches Khalil at a unique crossroads. Known these days for releasing one of the illest albums in 206 hip hop history (the soul-bearing, tell-it-like-it-is exercise in self-actualization known as From Slaveships to Spaceships), this record paints a picture of a young man with one foot still in his violent, gang-land past as an adolescent; and the other just embarking on his personal transformation to becoming a conscientious and honorable man. Indeed, "Khalil Crisis" is an apt moniker here, as it presents the duality of this record: The struggle between the intellectual and the thug over one man's identity. And it's rare when a record has portrayed such a confused individual. With equal amounts he passionately condemns the violence surrounding him, and gleefully takes part in it. He fights for feminism while at the same time using the standard tropes used to degrade women. He acts like a hood and relates it like a poet.

Sonically, the album is much different from the new-school vibe of his later releases. With always-gorgeous, mellow production by Vitamin D, the record sounds beautiful, yet is often times at odds with Khalil's violent and impassioned lyricism. However this just adds to the overall mystique surrounding the record, as it mirrors the opposing forces at the heart of Khalil himself.

When taken alone, the album, despite these two master craftsmen at the helm, can only be a flawed one. There are just too many instances where the music misses the emotional mark, or where the lyrics are just too paradoxical. However, when taken in as the beginning of a long and varied transformation culminating with 2009's Spaceships, it's a fascinating document that should be considered the first chapter in an incredible story.

Crisis

Foxhole

2011-07-17T02:11:00.000-07:00

Revenge Entertainment

Produced by Sunspot/BFAP, this is the Foxhole EP from 1999. Most of it was included on the UHBIV album from around the same time, but there are a couple exclusive cuts on this 9-track EP: "Drunken Masters," featuring BFAP and Mic T from Camp Quest, and the Beatdie Delight "Tony's Theme". All the Living Legends show up (including the quiet one, Arata), as well as Muk-1 and the afore-mentioned Mic T. Classic tracks.

Foxhole

CMA

2011-07-14T23:57:00.000-07:00

The Best

For all the Cali stuff I put up on this blog, the Living Legends has a pretty slim representation. So, here's some Living Legends: The 12" from the Grouch and PSC, collectively known as the CMA, from 1999. The album track "The Best" is provided with instrumental and vinyl only "Quiet Mix", along with "Why I Crew" featuring Pep Love from Hiero. I've always appreciated how encouraging the Living Legends, especially the Grouch, have been for young up-and-comers. He's always had the mindset that you can get something if you really try. He's like the Jimmy Cliff of Oakland. Pep Love is always ill on the mic. Good stuff from the classic era.

The Best 12 (fixed link, sorry!)

R.I.P. Dk Toon

2011-07-13T23:40:00.000-07:00

Everybody Bangin

While we all go a little more crazy every day waiting for someone to finally leak Dk Toon's Folk Hop Blues, his sophomore release from 2007 has gone pretty well unnoticed by the legions of fans of "Sunny Side Up" and "Solo is So Low". This probably has a lot to do with the fact that (seemingly for no reason and without checking with us first) he changed his name, dropping the "Toon" in favor of "No Deal." It also has a lot to do with the musical and lyrical direction he has decided to pursue, that being most definitely industry-quality gangsta (aka overground, aka the great Satan to a lot of underground heads).

I only discovered this record a short while ago, and since then I've been alternately spinning it, then setting it aside in confusion and disappointment, only to feel compelled to play it again soon after. After weeks of this, it's settled in nicely in my car stereo, and I finally feel ready to write about it, which I feel should be done, as it's no doubt a notable release on several levels.

This debut album from Dk No Deal is called Fuck Yo Deal Sue Me, and it's evident that Dk must have been on two different planets for the creation of his two albums. From what I can gather based on early recordings of his, Dk has traditionally been a smooth, soulful and mellow emcee. His delivery was melodic and sing-song, akin to fellow Massmen Abstract Rude or Minister Too Bad. However, no matter how the message was masked in serenity, there was always a strong gangsta element to his music, as was the whole Good Life/P-Blowed scene, as evidenced by acts like Foesum, I Smooth 7, Menace Clan, etc.

For Fuck Yo Deal, Dk has shed any pretence of serenity in favor of a blatant audio celebration of the gangsta lifestyle, more often than not bellowed out or growled in menacing tones. Those expecting anything like "What Is Love" from Folk Hop Blues would probably be in for a shock. Likewise, those hoping for any cameos by the likes of Abby Rude or I Smooth 7 are also in for some bad news. In fact, throughout the entire 22-track album, Dk makes not one mention of his Massmen affiliation or his Good Life/P-Blowed musical upbringing. And instead of the underground representation, Dk enlists some of the top tier industry talent, such as Nelly, Ne-Yo, Snoop, Kurupt, and The Game.

Lyrically, Dk never strays a step from the tried-and-tested gangsta repetoire: Pimpin, hustlin, doing time, fucking the police, murder, and sex. With an album that's nearly 80 minutes long, the subject matter starts wearing pretty thin, but not as thin as you might expect. It's true that you can only hear about booty clapping and rollin' down Crenshaw with the three-wheeled motion so many times, but Dk is so fervent about it. The gangsta cliches are repeated over and over like litanies, that by the end of the record one has no doubt that this album is much more than just a money-making glorification, but a holy testament to his chosen lifestyle, even his entire existence. He apparently eats, drinks, and shits The Life.

The album is absolutely saturated with gangsterism; it doesn't let up for a second. When he says that he really sold crack, pimped ho's, been shot, served time, and killed, you have to believe him. And when he says he's a rich man because of the lifestyle, you believe that too. Ultimately it comes as no surprise that he's left his old name and his underground compatriots in the past, as there was obviously no place for him there. Furthermore, he seems to have his feet planted squarely in this new, higher profile, higher tax bracket incarnation. And from what I can hear, he's completely at home in it.

Like I said earlier, the album suffers from too much time and too little subject matter. The album is frankly top-heavy, with the three best tracks as the three openers. The rest of the album unfortunately tends to repeat itself, going through the same old themes that gangsta has used to define itself for the last 20 years. Notable tracks are peppered throughout the rest of the disc, and I only find myself skipping a few of the songs now (mostly at the end of the album). Dk's flow manages to keep most of the tracks afloat, as well as universally tight and full production from Battlecat, Joseph Leimberg, Rodney Jerkins, Touch, and others. Unfortunately, a little too much of the record is cluttered with mid-tempo booty jams and lackluster r'n'b infected hooks. If the album had been distilled down to a 40 or 50 minutes, it would have been much more effective.

Dk's delivery is as on-point ever, which is great after so long away from performing. Apparently he has been busy behind the scenes in the music industry (as well as Big Cartoon!), and I had honestly assumed he was out of the game or dead under a rock somewhere. It's great that he's continued to be involved. That syrupy voice is unmistakable and his flow hasn't diminished in the least. Fuck Yo Deal is an album that suffers from it's sameness, but ultimately that's the only complaint I have. The same can be said for nearly any record that stretches out as long as this one has. It took some work but I've come to accept Dk's new role in hip hop, and I feel he will do the genre a great service if he continues emceeing in his new capacity. I can't say what caused this change in him, from Massman to gangster high-roller, but it's evident that he needed to put the past behind him in order to reinvent himself. Dk Toon is dead, long live Dk No Deal.

Fuck Yo Deal

Originoo Space Neighbors

2011-07-09T23:34:00.000-07:00

Specs Wizard

New free shit from Specs One aka Specs Wizard aka M.C. Eyeshock aka Mic Mulligan and S.Future! This time he arrives with S. Future as the Original Space Neighbors, coming in peace with a full album, presented as side A and side B. The link below takes you to his Zoundklowd page, where you can dl the album as well as additional illness from the 206 mystic. Not to be slept on. Specs is an incalculable force for why Seattle has flavor, and in all his years pushing the movement forward he's done nothing but get better and better. So peep, damn you, peep!

Es Treq

A Square Peg

2011-07-09T00:07:00.000-07:00

Beatbox Break

While we're here, I might as well throw up Click's second album as well. Basically a direct continuation from his first LP, this record from 2000 revisits much of what was laid down previously: His ample producing and beatboxing skills, his love for family and Latino culture, and his knack for clunky, sometimes humorous, sometimes self-depreciatory, but still on-point lyrics. Oddly enough he reminds me a lot of Source Of Labor's Wordsayer. Stylistically they are probably as far apart as you can get, but like Wordsayer, Click's ernest delivery is all about the message, rather than showmanship or lyrical acrobatics. His entire family guests, as well as Jurassic 5, Medusa, Derek Strong, and a bunch of others.

Square 1

This Iz How I Know

2011-07-08T00:34:00.000-07:00

Family Man

So I'm very happy and very tired here folks, as I'm a new proud papa of a baby girl. Born on July 5th, she's awesome and amazing. Her 20-month-old big brother has been incredibly sweet and loving towards her, and we've been surrounded by our family and friends. So I thought I'd post up an album that I feel is in the same warm, fuzzy vein: Click tha Supah-Latin's debut full-length from '97. He loves his family. He loves his heritage. He loves b-boying and beatboxing and producing and rapping. It's a refreshing, positive, ernest, and so-uncool-it's-cool record. I play it a lot.

Akil from J5, Derek Strong, 2Mex, Big Al, and a few other friends appear; as well as Click's son Click 44 - he guest raps on one cute tune. Even if you aren't feeling as blissed-out as I am right now, give the album a listen anyway, because it's all that I said before plus it's bangin.

This Iz...

Confusion

2011-07-03T00:42:00.000-07:00

Confusion Is A Desert Mirage Illusion

More from the 1,000-year-old M.C. This single, and the album it accompanied, were Awol One's "Breakout" releases. Compared to his earlier records, he all of a sudden sounded confident, relatively polished, and professional. In large part this had to do with his enlisting of Daddy Kev as producer, as Kev's beats were incredibly distinctive and on-point; but equally this had to do with Awol's revised outlook on his role in the hip hop game. Since the mid-'90's he had been steadily building steam as a solo artist, as member of the notable Mass Men, and also of the Shape Shifters; and his atmospheric inclusions on OD's Beneath The Surface were probably the tipping point for him to reach international acclaim. From the moment "Little Piece Of Heaven" broke, he promptly quit being a struggling, raunchy emcee with a penchant for aping other emcee's styles (namely MCA); to become, seemingly overnight, the emcee a hell of a lot of other cats wanted to be.

His releases soon began to reflect this metamorphosis. Souldoubt was jazzy, upbeat, and even jaunty, and Awol's lyrics were confidently delivered in a melodic croon that seemed a far cry from the scratchy freestyles and potty humor of his earlier 4-track releases. Similarly, his past albums were always cluttered with guest artists, making Awol only one emcee among many. On Souldoubt he was very apparently the only voice present.

Awol was definitely aware of this new stage in his hip hop existence, and embraced it in an uncharacteristically fervent fashion. All of a sudden he was rapping without any irony whatsoever that he'd never do another album "without an advance". Sharing the byline with the well-known Daddy Kev seemed to give him more credence as an artist. But the clever title itself ("Sold Out/Souldboubt") perhaps speaks the most clearly on how he viewed his new status as a "legitimate" artist.

It comes as little surprise that this single was, for a long time, the only place you could find the song "Confusion". Here, Awol shares the mic with Abstract Rude (the King of the Mass Men), Gel (The King of EXII), Circus (The King of the Shape Shifters), and Goodlife/Project Blowed OG's Of Mexican Descent. With all this notable talent, Awol's newfound celebrity status might have seemed a little threatened. It's a hella lively track as you might expect, and I think he finally included it on reissues of Souldoubt, as a bonus track.

I have to say I prefer Awol's salad days, but at the same time I readily admit that I played the hell out of Souldboubt. And when I learned that he was actually getting radio play down in LA I beamed with pride for my boy Walrus Eye. But I also felt a little sad for the loss of the old Awol, the one that loved to rap about boogers and toilets. That's why I consider this release the Rubicon in Awol's career: His new-found glory is present, but on the flipside you can still see remnants of his past, when he was still just an emcee among many, still searching for his voice.

Rhythm & Agony 12

Kan You See?

2011-07-01T00:59:00.001-07:00

Down Since The Day He Been Human

The debut 12" by Awolrus Eye from 1995. It's obvious he's still developing his trademark style here, although from the first gravely word out of his mouth you know it's him. That melodic, sing-song delivery is present, but he sounds a lot less beat-up and depressed on this record than he would become later on. At times his energy and sound approximates M.C. A from the Beasties circa License. Beats are scratchy and sloppy, just like they should be.

Can You See?

Forward Motion

2011-06-30T02:37:00.000-07:00

B-Self and Dutch Wordsworth

B-Self was a lyrical giant back in the day when Ghetto Chilldren was active, but after watching this I can safely say that he's just gotten better with time. Here's a video he produced last year or so with fellow Tribal man Dutch Wordsworth, produced by Topspin. It's on point material.

Request... New Cephalic Music

2011-06-29T00:39:00.000-07:00

Zomb The Bass

As requested here is Andre's full-lenth from 2000. Loops and beats are his forte here, although in a usually engaging and spaced-out fashion. I get the feeling these constructions aren't designed to be freestyled over, but rather to be meditated to. Skipping around the sonic landscape between world music, classic Mo'Wax, and dub, A.A.A. stretches out and experiments, letting the music take him where it may. Songs break down to ambient, heavily echoed loops; or become stripped of everything but the drum track, only to suddenly become full-fledged again. There is nothing here quite as complex or atmospheric as his perfect Asmarbeatsvol.1 EP, but nonetheless this is some great instrumental beat music. There are several standout tracks in my opinion, but the top has to be "The Force" (co-produced by Shea Johnson), a chilling, minimal work that utilizes a droning vocal tone propelled by a couple seriously groovy drum tracks. Great stuff, as you might expect from this particular beatmaker.

Night of the Living...

New Vesuveo

2011-06-26T23:27:00.001-07:00

Shine Like It Does

After more than 10 years, Vesuvio is back at it! For those that were there, his old group The Anonymous was heat. Consisting of Vesuvio, Dj Drez, Zinndeadly, and Able, they put out a number of slept-on releases before their EP Green and Gold garnered them some attention. They split up some time after that, and while Drez stayed in the underground spotlight, the rest of the team relatively faded from view.

So I was excited to learn just the other day that Vesuvio has a new record out, called Shine. Listening to it, you definitely hear echoes of The Anonymous; their penchant for dramatic, full scores, impassioned deliveries, and ample use of the turntables, are all present here. Vesuvio himself hasn't lost his lyrical touch, and while he might sound a bit overly-ernest here (he tends to tackle social issue after social issue), it's still fresh to hear his familiar voice after so long. Production-wise, Spanish guitar dominates, the beats hit, and that Anonymous-style orchestral sound is thankfully present. Among others, his old partner Zinndeadly shows up on beats, along with Vesuvio himself. So go show this veteran some love and check out his work!

Get a free DL here

Pick up the 11-track Album here

Request...Mic Check Remixes

2011-06-25T01:48:00.000-07:00

Stop Me If You've Heard This One Before...

As requested, here are the remixes for AceWon's "Mic Check" from 1995. You have the Calistolics Mix (with the CVE intro and the acapella outro - same version as featured in the video), the Kemo Remix (that showed up on All Balls Revisited), The Lakeside Remix, the Doc Love Remix, and instrumentals for all of the above. And that's that.

Mic Check Remixes

Spittin Lingo

2011-06-23T21:47:00.000-07:00

Midevil Who?

Spittin Lingo is a comp of mostly-bay area gangsta from 1995. A lot of it is honestly pretty forgettable. Back then the industry was over-saturated with such acts; you really couldn't get away from it. The original visionaries had already established the artform years before, and their success had opened up the gates for wave after wave of imitators to keep coming out of the woodwork, until I never wanted to hear another whiney synth or fretless 5-string bass for as long as I lived. This collection is unfortunately derivative, for the most part. There are a few surprises, however: There's the high-energy Frankie Cutlass track "Puerto Rico"; and the D.OG'Z track "Back To Yesterday" is compelling with their trade-off rhyming. Then there's the song "30 Feet Unda" at the end of the record. A scratchy, stumbling, drunkenly slow loop carries the song along for the three abstract, underground emcees known as the Midevil Hermits to wax poetic over. Compared to the rest of the album, the inclusion of this track left me scratching my head. Lyrics and styles are the focus on this track, in a very ungansterish vibe. Think backpacks. All three emcees are engaging, and honestly more creative lyrically than anyone else featured so far. The dude that takes the third verse is especially memorable. I think his name is Awol or Walrus or something. I wonder what he's up to these days?

Spittin Lingo

Faceitudelines

2011-06-21T23:44:00.000-07:00

Angular, Rectangular, Perpendicular, Particular

Mumbles creeps me out. His beats just have a sense of urgency and anxiety. I think the lead song off this 12" demonstrates that quintessentially. That sinister, repetitive loop with the hissing cymbals, and the crowded, downward melodic progression, like the player is running out of time. "The Guidelines 94" doesn't give much respite from this vibe: the truncated bass line without resolution creates again a sense of loping, ominous urgency. As a producer, Mumbles was the perfect choice to compliment Acey at this time, as the emcee was growing out of the loose-tongued freestyler he was known for to become a mature poet and social commentator. His second solo record, completely produced by Mumbles, showed a more experimental, angrier, more articulate and soberer side of the artist only hinted at previously. Ultimately this was only a phase for Acey, but it was truly a memorable one.

The non-album track "Fortitude" is produced by Punish, and presents a much different vibe from the first two tracks. It's peaceful and quiet - it doesn't concern itself with exposing the dark underbelly of existence like "Faces" does - and it's a great end to this 12", as it gives the listener a welcome resolution to all of Mumble's nervousness and doom. This 12" is actually quite self-contained and complete on its own - it's good listening when you want to feel a little creeping dread.

Faces

Losdangerous

2011-06-21T23:08:00.000-07:00

Way Up To The Last Days, They'll Still Be Rappin

Something must have clicked when Mikah 9, Stract Rude, and Acey De Uno joined forces on All Balls' sick track "Knownots". It has to be my favorite track on a record full of favorite tracks, and this official debut by the trio now known as Haiku D'Etat did not disappoint in the least. It's evident they put their all into this record; and the same can be said for their debut album as well. This EP from '97 just whetted my appetite for that full length - I remember sitting at home on dial-up waiting for the lousy-ass quality mp3 song snippets to load enough to stream, and then listening to them again and again. It was a great, great feeling when I finally got my hands on a physical copy of this.

"Los Dangerous" is presented here in its vocal and groovy instrumental forms, "Still Rappin" is given a spot, and the exclusive extended version of "Kaya" (featuring P.E.A.C.E.) is present as well. It's definitely a high-water mark in the LA underground, and pointed the way towards future greatness.

Haiku Twelve

A-Team on Wax: 2XLP

2011-06-20T02:21:00.000-07:00

Trust Me, It's Just Better This Way

Here's the vinyl version of this classic album by Face One and A. Baracus Foo'. A few notable differences between the double vinyl and the cd release: All the tracks from the cd are presented here in their clean versions (for those with sensitive ears); "Feet Upon Da Table" from the "Mic Check" 12" is included as a bonus track, and the og version of "Gonna Wanna Spin It" is included as an unlisted track. I have no idea why those two tracks were left off of the cd, since they're both f___ing ill. See? clean versions here, folks.

Who LP (fixed link)

Rally Round The Home Team

2011-06-20T01:56:00.000-07:00

Champion Sound

Here is the 12" off of Acey the Faceman and A.B. Baracus' debut album from 2000. Side A presents the clean, instrumental and acapella tracks, while side B has the clean, instrumental and album cuts. No remixes or exclusive songs unfortunately, but with production by DJ D and Fat Jack behind these two cats, it's a great release just as it is.

Rally/Plan(fixed link)

Request... A.A.A.

2011-06-16T14:03:00.001-07:00

Sucks To Your Asmar

In answer to a request, I tracked down this early EP by the far-out beatman and sometimes-producer for Circus and the Shape Shifters. The three instrumental songs presented here are wildly creative, moody, and infectious. I listened to them over and over and over again last night. Slow, nocturnal beats, vintage vocal snippets, eerie effects, something that sounds like an autoharp - it all coalesces to form a distinct, mature voice apart from the legions of faceless, cookie cutter ProTool robots out there. For comparison's sake, his vibe sometimes reflects that of Nobody, Dynomite D, Grantby, or Frane - good company as far as I'm concerned.

To whomever requested this, thank you for pointing me in this direction! I may have a new name to add to my list of favorite producers...

ABVOL1

Request... Mic/Headaches/Feet

2011-06-15T21:02:00.000-07:00

Better Than A Loaf Of Bread And Some Chicken Backs

Request... Here's the superior version of the "Mic Check" 12" from 1995. Nine tracks in length, this has the clean, street, edited, instrumental and acapella versions of the title cut; LP, CVE remix and instrumental versions of "Headaches & Woes"; and the ill posse cut "Feet Upon Da Table" (w/ Abby Rizzle, CVE, Mark Da Murderah, Vic Hop and Ellay Khule). Whew! Top quality stuff right here. Enjoy.

Mic/Head/Feet

New Colour

2011-06-14T02:00:00.000-07:00

Innaspace Is Good!

2003: Finally the rappers are taking acid. Seriously, a more varied and and free-spirited album in hip hop would be hard to find. I hesitate to use the words "experimental" and "psychedelic", but they approximate the style of this record. There are 2-dimensional club jams that morph into world music-infused trip-hop; smooth jazz and lounge shares space with epic, orchestral soul-bearing pieces; and saxophones battle sitars in a no-holds-barred match to be the instrument of choice brought to the drunken sing-a-longs. Surprisingly, the album is incredibly cohesive. Somehow Innaspace presents the mess of styles as a collage of influences and admirations. As each track plays out, you get the feeling that it was made spontaneously as a reflection of how he was feeling and what he was thinking at that instant. How refreshing: a new-school hip hop album that doesn't try to make a statement or take itself too seriously. Anticon it ain't. Spiral Walls it (Thankfully) ain't. This is more like The Holy Modal Rounders or Captain Beefheart. Space is here to have fun, to experiment, and to let his musical/lyrical wind sock spin in whichever way the wind blows.

If you know Innaspace, then you might expect his brother and Why Knows bandmate Existereo to show up; and likewise his friend Hamburglar. Although they show up, I get the feeling this is all Space. And how fortunate that it is! Wild, fresh music, some of my favorite. The album title, New Colour, is a perfect summation of what this is: It's shit you've never seen before.

New Colour

The Great and Secret Show

2011-06-09T22:49:00.001-07:00

Mix Tape Godz

All props to the Mixtapegodz for upping this one. Here's the OG promo cd for "The Greatest Show" from back in '96. With dark, smokey production from Mumbles, Acey fits the mood with a long, basically chorus-less abstract tangent that ends abruptly without resolution. It's a musical and lyrical combo that always leaves me feeling edgy and a little uncomfortable. Because of the producer/rapper interplay, the vibe of this track fits Acey's second solo record A Book Of Human Language much more than on All Balls, which had a more light-hearted and energetic feel. But I can dig that it was a wise inclusion on All Balls, at least in retrospect, as it pointed the direction that Ace One would take in the following year.

This cd features Fat Jack's great remix of the title track, as well as the remix instrumental, which ingeniously switches the time signature from 6/4 to standard 4/4 time. This is an interesting track, since it's probably the darkest music I've ever heard from the Elephant. He's a masterful producer who knows how and when to cater his beat to the emcee's style and vibe. Jay Supreme and DJ Moe come with the "Bar 9 Remix", which slows the beat down to a crawl, and pushes Ab Rude's vocal contributions up in the mix.

The inclusion of "Show Your Right" (another Fat Jack production) and its instrumental close out the cd. It's a great track (which can pretty much be said about anything Acey dropped around this time) that allegedly features Abstract, but in what capacity I can't tell. But just listen to that beat! I could hear that all day. Most of this showed up on the Revisited version of All Balls, but I don't think the instrumental tracks did. Whatever. It's dope. Listen.

Greatest Show

Just Lettin Yall Know...

2011-06-09T22:20:00.000-07:00

The Chukchee

...The dope site Chuckchee just posted up a gang of wonderfulness for all you LA2TheBay heads. Mostly JKC and Xolo joints. Just passing the information for those not in the know...

Request...

2011-06-07T23:39:00.000-07:00

Beats and Peaces

Request... When I was 20 years old I packed up everything I owned into my Toyota hatchback and drove down I-5 to Venice Beach, California. I found a place to live a block from the ocean, and also a block from Benway Music on Pacific Avenue. I found a job working at a bookstore literally on the beach. I'd spend my days working and hanging out on the boardwalk, and during the evenings I'd haunt Benway's. Some nights I'd drive out to Westwood and hang out at Rhino Records or Penny Lane Records (where my girlfriend worked). Or I'd head over to Aaron's Records or the Penny Lane in Santa Monica. Before long I started hearing the same trippy, nocturnal, murky songs playing at these shops, and I began hearing the same names being dropped again and again - OD, Hive, Dilated Peoples, the Shapeshifters, the Visionaries, and (the only name I was familiar with at that time) Freestyle Fellowship (Who I thought had broken up). All these artists were on this new album that had just come out - Steve and Courtney at Penny Lane would not stop playing it - called Beneath the Surface, and it wouldn't take long before its sound seeped into my subconscious and became my daily soundtrack. I shelled out the cash for the vinyl at Benway's, walked home, and set the needle on the intro track from Alien Nation. The rest is history, at least to me. Any of you who read this blog know what a geek I am over that record to this day. I can safely say that I've played no other record as much as that one. It's perfect.

I consider OD to be the architect of the sound of LA, more so than the Baka Boyz, or Dre, or Fat Jack, or Battlecat. Sure those visionary producers deserve their praises, but when I hear hip hop today I don't hear their influence like I hear OD's. From his four-track beats using his trademark eerie stoned flute loops, to his frenetic, jazzy, drum-heavy beats, to his glitch-infused digital world music, his touch is still audible in the city of angels - I hear his mark everywhere from Deeskee and Nobody, to Daedelus, and Thavius, and a score of others.

I know I'm dating myself here. I was an adolescent and grew into adulthood in the '90's, and I've seen people time and time again fall into the trap where they never quite climb out of their "glory days". It's quite possible that I just tune into what I already like and feel comfortable with, to the exclusion of the rest. But with OD I know that he is special, as a producer, as an organizer, and as the man who elevated a group of amazing, young talent from hometown hero status to a worldwide phenomena. In addition, he gave them a unified sound, a cohesion that for better or worse joined them together (at least in my mind) from more than a loosely-knit collection of like-minded artists into a band, or even a family.

BTS was the sounding board for me to pursue the music of those LA artists. And thankfully, most of them are still active and making great, great music to this day. OD has remained prolific and respected as ever. I may have a hard time doing it but he obviously embraces change. His style continually evolves and stays fresh. This release, which came out in 2003 is in no way indicative of his present style but it does offer a snapshot of a period of growth. Likewise, it isn't as revolutionary as BTS, but then again it isn't supposed to be. This is just a collection of his music, period. Some familiar faces are present (Freestyle Fellowship, OMD, Jizzm, Neila, etc), but mostly OD does it instrumentally. It's beautiful music, from a man who has made my life a whole lot more fascinating and enjoyable than it would have been otherwise. And I know I'm not alone out there.

So Cali life ultimately wasn't for me, and within the year I moved back up to the northwest where the pace is slower and the people are swarthier. But thanks exclusively to OD, I'm still a fanatic over LA underground, and feel blessed to have been there at that time, if only to watch and listen, to observe everything very closely. Here's your chance to do so as well:

Presents

Mic Check

2011-06-05T00:21:00.001-07:00

Everyone Knows Who's The Savior

More Aceyalone, this time his debut solo 12" "Mic Check". This is the promo that has the clean, instrumental, edit, and accapella versions of the track. One of the greatest songs in hip hop, in my humble opinion, as well as being a song that typifies the artist at his artistic, mind-warping pinnacle. Give it a listen for old-times' sake.

Mic Check 12"

New Anacron Album!!!!

2011-06-02T22:07:00.000-07:00

PEACE.
For your listening consideration...

In his first album-length artist/producer collaboration ever, the Unfamous Anacron introduces virtually unknown but immensely talented West Coast producer Josh Jetson. Both active members of the world-famous L.A. Breakers breakdancing crew, Anacron and Josh bonded while facing rival crews in heated battles, prior to connecting in another arena to create this impending underground classic.

Anacron's advanced and constantly evolving flow and songwriting talents pair well with Josh Jetson's neo-futuristic production style, meshing to project a clear vision of what the future of hip hop music will sound like. Covering an array of topics that range from the standard "relationship rap" to an open letter of gratitude to those that appreciate art, Anacron swings into full form on this album, holding nothing back in his lyrical composition and delivery, while performing breathtaking instrumental and vocal arrangements.

Josh Jetson's beat production blends new school craftsmanship with true school structure, creating an edgy and experimental sound while maintaining an open level of accessibility. Whether turning over an up-tempo club track or free-forming an oddly assembled time signature, Josh is without question a mastermind behind the boards. The exchange between these two artists is a perfect match, creating a back-and-forth cohesion of adventurous creativity that is unparalleled by any artist/producer pair in today's hip-hop market.

With an impressive line-up of featured artists from almost every vein of the West Coast's independent music scene, The LAb eXperiment boasts a revolving door of emerging new talents and seasoned musical vets. Notably; stand-out features include Brandon Jordan formerly of the punk-rock outfit KillRadio, as well as west coast underground rap pioneers Megabusive and Himself. Newcomers include Floridian soul/pop singer Sarah Jane, and indie/alt rock group Mirden (with Minni Jo Mazzola of television series "Parks and Recreation").

Stream/buy it here:
http://bit.ly/TheLAbX

Thanks for taking the time to discover something you may not have been previously familiar with. This is how the evolution of artistic originality continues...

Enjoy the music!

Reviews lifted from the press release and from the Bandcamp album site.

Guided By The Mass Men

2011-05-31T01:33:00.000-07:00

It's Airwavable. It's Unbelievable. It's So Flavorful.

Acey and Ab at their prime can't be touched. If anyone tells you different, let them politely know that they're wrong. Take this 12" for example, from back in 1997: Kool DJ EQ's "Me & My Main" - one of the dopest A-Team joints out there. Although it's an A-Team track through and through, Abstract at first listen owns the track. His presence is commanding and strong, plus he takes the lions share of the lyrical space. Despite that, Acey's contributions are what I always find myself focusing in on. This 12" came out during Acey's formative days as a solo artist. He had going it alone for a few years by this point, but on the record he still sounds youthful and naive and fresh, as though he's completely in love with life. His delivery, his voice, his styles, his exuberant "yeah!"- it's like he just can't contain himself. With a voice pitched an octave higher than it is today, the boy could spit like nobody else and make it sound as easy as pie. He was charismatic, quick-witted and cocky, his lyrics a tangential and elliptical abstract acid trip through his introspective musings on everyday life, causing the listener to identify and sympathize while at the same time getting their wig peeled back. His delivery seemed written one moment and styled the next, equal parts mind-bending poetry and tossed-off rhymes for rhymes sake, somehow making everything cohesive and as close to lyrical perfection as you can get. Listening to him then, you can practically hear the bemused, half-bewildered, shit-eating grin on his face - as if he was just as amazed as his audience was at the skill and effortless grace in which he revealed the absurdities of existence. Acey is one rapper who never needed to boast to garner respect - he got it in spades due to raw skill.

Kool DJ EQ's music is perfect for these two rapid-fire emcees; minimal and quick. He works wonders with the mix, creating an almost psychedelic twist to Acey's vocals, which are double tracked and delayed, making him sound like he's jumping around spitting in the room without regard to the mike, just letting the words and energy flow.

I know that Abby Rude is conspicuously absent from this commentary, but I'd be up all night if I was going to continue. I know one of these days I'll give him his praises due as well. For now just listen to this holy trinity creating perfection on wax. You get vocal, radio, instrumental and acapella - which is great if you really want to focus in on the lyrics here.

Me & My Main

It's Just Funky

2011-05-29T23:02:00.001-07:00

Nastymix

Nasty Nes, the legendary DJ who brought hip hop to Seattle radio on KFOX AM 1250, started Nastymix records with local emcee/producer Sir Mix-A-Lot back in 1985, releasing Mix-A-Lot's "Square Dance Rap" that same year. For the next 7 years, Nastymix was a monster, releasing platinum records, hosting names like Mix-A-Lot, Crimial Nation, and Kid Sensation, throwing lavish parties, and generally being the image of Northwest hip hop. Tacoma's High Performance was on Nastymix's roster, releasing a number of releases in 1989 and '90. As hip hop goes, this is definitely a golden-age release: it's a sign of the times, sonically falling somewhere between the Bomb-Squad and NWA-era Dre. Great music for the summertime. Hilltop represented.

It's Just Funky

Illasophic

2011-05-26T22:31:00.001-07:00

The All Deadly

This file was originally posted in the comments of an earlier post, but then that file expired, and then when I tried to re-up it, that file was corrupt - and since it's so damn fly I figured I might as well give it its own post. Here are the cassette-only tracks to Jizzm's Illasophic Vol. 1, from 1998. These gems are wonderfully raw and distorted and murky, taking you back to the good old days. It's truly a shame that they didn't get re-released on CD - these leftovers are easily an equal to the greatness that was on the CD reissue. If they had been included, Illasophic 1.5 would have made a great double disc release. In fact, I think it would be cool if someone took the initiative, compiled Vol. 1 and Vol 1.5 together, and posted it on up. Call it Illasophic Vol. 1.75 or something. But at 38 minutes, this collection could basically be considered an album in itself. Guests include Otherwize on the og version of "Warriors", Dj Drez on "Drezolution", Rob One, Rifleman, Puzoozoo Watt, CVE, Cali Ragz, and others. This was when underground was still underground. An amazing document. Thanks once again to the folks at Ghetto Tyylit for providing some rare-ass stuff and for originally sending the tracks my way.

Illasophic Vol. 1

Request...Welcome To The West

2011-05-25T22:26:00.001-07:00

As requested...Here's another 12" from the 'Lifers. This is the classic track "We're Here To Stay" from CVE, Rifleman, and Busdriver, with Party N My Trunk" from Tray Loc on the flip. As with the Hip Hop Kclan/Easty Boys 12" from a few posts back, each side features an album track, its instrumental, and a non-album track . In this case, CVE's dark and sinister "Welcome To The West" is every bit as good as their album cut, while "Blood Is Thicker Than Water" is your typical 3Loc track - which means it's an over-sexed freak out. I swear that guy has a one-track mind.

I'm sorry about the variable quality of some of the tracks. I have a feeling this file was cobbled together from more than one source. But the music is all there. Here you go:

CVE/Tray Loc 12

Diaries of a Mad

2011-05-25T01:47:00.000-07:00

Notes From a 206 Zulu

Khazm is one of Seattle's biggest hip hop movers and shakers. He's a true hip hop scholar and activist. He's a performer both solo and with his crew Cyphalliance, as well as being in the super-group The Building Project with Dume 41, Specs One, and Khingz. His grasp reaches much further into hip hop culture, as he is a co-founder of the MAD Krew production company, as well as being a co-host of Zulu Radio. Most impressively, he founded 206 Zulu, the Universal Zulu Nation branch here in Seattle. He was even awarded a community leadership award from Mayor Nickels! If that ain't hip hop, I don't know what is:)
This 12" is a stark and heart-wrenching testament to Khazm's own personal resolve and strength in the face of adversity. Recorded at the University of Washington Hospital by fellow MAD Krew affiliate and 206 hip hop guru Gabriel Teodros, "Life Line" cuts to the quick. You can't help but tune in, and stay riveted until the end. "Rhyme Artist" isn't as intense, perhaps thankfully, but it's truly a dope track that is made even more dope by appearances from King Kamonzi and DJ Scene. Sadly, this 12" only provides those two tracks in their vocal versions, but in addition, "Buddafly" and "Summertime", presumably off Khazm's full length, are included as well as the instrumental versions of the vocal tracks provided.
This is a 206 hip hop document that is as important and crucial as it is riveting and entertaining. Beats and lyrics by the powerhouse known as Khazm. 2005 ish, do not sleep.

Diaries of a Mad

Beyond Space Presents

2011-05-17T21:57:00.000-07:00

1937, the airship age ends.

I found this at the Goodwill a few months back: Beyond Space Presents Vol.1, from 2003. Following in the footsteps of noteworthy releases like Music For The Advancement Of Hip Hop and Ropeladder 12, this compilation presents many of the artists you'd expect to hear from that side of the hip hop avant garde. Sole, Alias, Passage, JD Walker, Adverse, and others all lend their distinctive vibe. Several instrumentalists also appear, (Telephone Jim Jesus, Odd Nosdam, Emynd, the Bomarr Monk, Ognihs) who actually provide some of my favorite tracks on the comp. As you might expect based on the talent involved, it can be a bit of a dour and cerebral listen, except for the inclusion of what caused me to shell out the duckets for this in the first place: "a lil bitch from da kuntree" from the Shape Shifters. Lifting the music and lyrics of Pink Floyd's classic "Fearless" and running with it howling and naked through the streets, Circus, Transducer and Awol do what they do (which is awesome) for almost seven minutes (even more awesome). I know I tend to go a little overboard where Circus is concerned, but he never disappoints me. The dude is insane. So when is he going to drop some new material already??

Beyond Space Presents: Vol.1

2011-05-15T21:53:00.000-07:00

Word Perfect in 1999

This is a great compilation showcasing that Cali underground sound from the genre's golden age. Back in the day before file-sharing went supernova, the compilation record was my primary means of discovering new acts to obsess over. I would name OD's Beneath the Surface as the little earthquake that got the boulder rolling for me, but this comp, which came out a year later, certainly opened my eyes a little more (along with other notable comps The Funky Precedent, Connect the Dots, Strength Magazine's Subtext, Graffiti Kings, Ropeladder 12, etc, etc, ad nauseum).

OLC is a strong collection both beat-wise and lyrically. Produced entirely by D.J. Desue, this comp showcases the formula of a fine and varied selection of lyricists paired with a single beatmaker (Like Elusive's records, or OD's for that matter). What attracted me to it initially was the array of talent present that I had already heard about. Medusa and Aceyalone provide a track together, as do Rakaa of Dilated, Tash of Alkoholiks, and Defari. Akil and Charlie 2Na from Jurassic also represent, as well as Styles of Beyond. And the cherry on top, which would have made me fork over the cash no matter what, was the inclusion of the exclusive Freestyle Fellowship track "Hungry". Once again, Jupiter proves himself as a lyrical and stylistic madman, with P.E.A.C.E. not far behind. Acey and Mikah are okay too, I guess :)

With any compilation, the greatest strength lies in opening the listener's ears to new sounds, and OLC certainly didn't disappoint me here. I was still pretty green to the whole scene at that time, and OLC helped me discover a few new notable talents. Surprisingly Desue presents quite a varied musical palate, sculpting his sound to compliment each emcee: dramatic string arrangements carry Chase Infinite's "Kinetic Energy", while in contrast a solitary, reverbed harp loop pushes Phats Bossilini's "The Boss" (Truly a track worth pushing the repeat button). Blak Forest (who I already knew about and obsessed over) represent with two characteristically strong tracks from Shaydie Third Degree (using brass loops to impressive effect) and Otherwize. Wize is of course brilliant, and Desue's smooth, driving beat causes a serious head nod. Divine Universal made his only known appearance to me on this comp, and it was truly a memorable one. I'd love to know if he ever released anything else. Left (of Frontline), the hella dope Peeps Game, Phil Da Agony of the Likwit Crew, Kontaijuss, and the Barbershop Emcee's also represent with high-energy tracks.

See? Strong from beginning end. Definitely worth listening to a few hundred times. Peep, pimp.

OLC

A Poignant Post

2011-05-01T22:16:00.000-07:00

Amerika 911

I'm not sure when this compilation was released, but I'm thinking that likely it was '03. It's a short, but brave Ep featuring Northwest/Fresh Coast stars such as Vitamin D, Silas Blak, Kylea, H-Bomb of Sinsemilla, Castro and Specs One, on a few crew cuts; as well as as many instrumentals from Moka Only, E-Real Asim, Surge Spittable and Zachary Self. It's a gutsy little anti-war testament; as it examines the U.S. motives for engaging in war with the Middle East, and dares to point fingers in directions other than at the obvious motives (i.e. September 11th and the late (as of today) Osama Bin Laden). Just listen to Kylea's verse on the first track, "A Call To Arms" for an apt summation of this record's contents. If it had been widely distributed it probably would have caused quite a stir among all those of us blinded by pain, bigotry, patriotism and nationalism. But of course it didn't, since it was an unpopular view from an unpopular (at the time) corner of the hip hop map - and that's too bad in my opinion. It's dope on many levels, musically, lyrically, politically and consciously. Bottom line, we're all fam. Don't let any of the powers that be tell you diff'rent.

Peace.

Amerika 911

Easty Boys and Hip Hop Kclan

2011-04-20T23:11:00.001-07:00

While We're On The Subject...

I thought I'd wipe the digital dust off this one and stick it on up. Back around 2000 Afterlife Records made their big push to get out from under the weight of thankless cd-r peddling at shows and through online sites and go legit as an actual business. They started by releasing a couple mastered artist compilations commercially, on actual cd's with well-printed inserts and everything (the classic Declaration of an Independent and Welcome to the Afterlife). A few split twelves from those releases came out too, meant to showcase the many sides of the Afterlife sound. This 12" is one of them, featuring Hip Hop Kclan and Easty Boys. Both sides feature one track from the comps, plus an exclusive, vinyl-only track. Both exclusives are frankly a little lackluster compared to the album tracks, and the Kclan's track "Flowlife" has one of the goofiest hooks imaginable (although only the Kclan could actually make it endearing). "Don't Wanna Hear It" from the Easty Boys is a mid-tempo drum machine and synth bass number (that Afterlife sound) that allows ample space for their insane, machine-gun tongued deliveries. I can't believe this came out over a decade ago. Damn I feel old.

Easty Boys/Hip Hop Kclan

Request... Get Ready To Rumble

2011-04-17T00:27:00.000-07:00

Rumble Pac

Request... I honestly can't offer too much info on Rumble Pac, except that Cali Ragz AKA Mister CR was a member. I think another member of the Eastside Badstads, maybe Misfit, was a member as well. I'm not sure though. From what I can tell, they're no longer in effect as a unit. Apparently there's some name-calling involved. Sigh. The album's tight though, sounding like only an Afterlife production can. From 2002. Lend them your ears.

Ready To Rumble

Edit: Anonymous said: From what I understand, Misfit went to prison (he's doing a 40 year bid for some reason or another) at which point CR and Versatyle (CR's brother, I believe) started calling themselves the Easty Boys. They did one 12" on Afterlife (can of man/don't wanna hear it) and shortly after, Versatyle quit rapping. So Rumble pac is CR plus a bunch of other dudes.

Request...Halloween Poison Candy

2011-04-16T23:52:00.000-07:00

Dang.

As Requested... Z-Man's surly alter-ego Gingerbread Man! He and Quas need to record together. I'll let the excellent, mind rotting filth speak for itself here.

Halloween Poison Candy

This Is For A Time Called Think...

2011-04-06T01:01:00.000-07:00

Heroin Hip Hop

One of the sickest 12"s I've ever had the pleasure of hearing, this is Silas Blak and King Otto's "Time Called Think" b/w "How Obnoxious" and "I Know Why" from 2000 (I think). As a lyricist and stylist, Blak is unique; a true artist unlike any other. His dark, abstract imagery is only made more vivid by his deep and off-beat delivery. Otto comes with a set of beats that are equally impressive. "Time Called Think" is haphazardly carried along by a chopped, stumbling bass loop with little else to fill the empty space; while in contrast, "How Obnoxious" utilizes a big band. Always a fan of the b-side, my personal favorite is the epic and atonal dirge "I Know Why". If ever a track was too short, it's this one.
These tracks were meant for an album that I don't think ever made it to the store shelves, and if this 12" was any indication of the quality present, it's truly a shame nothing else materialized. Silas Blak finally dropped a full-length for mass consumption in 2007. Check it here. It's as dope as you think.

Time Called Think 12

Better Days

2011-04-03T01:58:00.001-07:00

Conception Records Drop The Beat One Time.

I wish I had some insight to this release, but this guy has flown under my radar since I first heard this back in '98. I can't tell you where he's from, or if he's still in the game, or anything else. Not to be confused with Shaydie Third Degree from Blak Forest, this guy definitely sounds like he's East Coast, but he could easily be from Seattle. The dude's not dropping any hints either, as he name-checks Seattle, South Carolina, LA, and a few other spots along the way. I don't think he ever released anything else, but then again, maybe he did. Yep. I know nothing.
In usual Conception fashion, Mr. Supreme provides the beat for the excellent "Better Days", while Jake One handles produc duties for the flipside ("Uprising"). Third Degree definitely broadcasts his influences in his delivery (think Smif N Wessun), and Jake and Supreme cater their beats to fit. Actually, listening to Supreme's music you can tell he's a big fan of Boot Camp as well. In any case, the record is dope: This is timboot-stomping and infectious music. Once more, I beseech: If anyone out there has more info on this dude, please let me know!

Better Days/Uprising

A Great Piece On Tribal

2011-04-03T00:57:00.000-07:00

Deven Morgan over at Swan Lake recently wrote a wonderful piece about Tribal Productions from the outsider's perspective, their impact, and the state of hip hop at the time. As his story mirrors mine to a certain degree, and as he's a hundred times more eloquent a writer than I am, I felt compelled to let y'all know about it. There are some nice videos posted, and some great images as well. Here it is.

Sounds of Armageddon

2011-03-30T02:12:00.001-07:00

Ubiquitize Yo Earballs

Two of my favorite tracks of the era on one handy 12". This side features the phenomenal Medusa paired with producer extraordinaire Nobody on "Fiend and the Fix", with a slightly different vocal mix from the album track. The instrumental version really showcases the layers of sound Nobody used to create this dark swampy masterpiece. That side features the great, late Darkleaf with their appropriately named "Sounds of Armageddon". The apocalypse will be heralded by a mariachi band, no doubt. Abstract vocal and instrumental versions included. One of the best Ubiquity 12"s in my opinion.

Sounds/Fix

Request... Mirage

2011-03-26T00:27:00.000-07:00

Kinetic In Efec

Request... The Kinetic crew really needs to rerelease some of their old tapes, because everything I hear by these Austin cats is quality. Here we have Mirage aka Big Soul's 2000 EP, featuring Tee Double and Icon from the Kinetic, and DJ Drez on the decks. Entirely produced by Mirage and Tee Double (I think), 5 full tracks are included plus the obligatory Goodvibe beat snippets. Another strong GV release - But then you'd never expect anything less from the label or the crew, would you?

Liar

Request... The Associates

2011-03-25T02:22:00.000-07:00

From The Ground Up

A couple ill tracks from a gang of talent. Produced by Rhettmatic, the two tracks showcase T-Love, Ev and Rakaa from Dilated, Divine Styler, Key-Kool from Kozmonautz, and LMNO and Shaydie of Blak Forest. Good times, good times. Instrumental, accapella, and bonus beats included. From '98.

Ground/Ubiquity

Head Trip

2011-03-23T00:44:00.000-07:00

Hey Kid, I'm a Computer. Stop All the Downloadin! Help Computer.

Key-Kool and Rhettmatic, aka the Kozmonautz, from 1995. Side A features the Remix of "Head Trip" as the first cut, produced by Ras Kass; along with the remix instrumental. The Original version is also included, produced by Rhettmatic. The og cut is entirely different, with completely different lyrics.
Side B features the vocal and instrumental versions of "Reconcentrated," a grim and shameful American history lesson with appropriate sonic backdrop courtesy of Vooodu! and Ras Kass. It's a sick, sick beat. Dope sounds all around.

Head Trip 12"

Professor Macklemore

2011-03-20T21:32:00.001-07:00

Liks

I don't know shit about Macklemore, so I won't go on about him too much. I will say this, though: Damn, but he just makes good music. It's universal. This is his 2000 album Open Your Eyes, as has been requested. Do as he commands. Orko appearance!

Open Your Eyes

General Inna Penetentiary

2011-03-19T02:36:00.001-07:00

Selassie I Soldier

From Conception Records back in 1997. Dj Sureshot and Mr. Supreme on deck. Sureshot produced the A-side, while Supreme provided his ample programming skills. The Diamond Mercenaries show up to add flavor on the b-side, where Supreme handled all production duties. This dancehall-infused 12" is sadly all Selassie I Soldier ever released commercially. I say sadly because both the original and remix are truly infectious tracks. More dope Seattle flavor that went under the radar.

General 12"

Radio Sole 1

2011-03-17T10:21:00.000-07:00

Make Way For The Originals

This tape produced a Pavlovian response with me every time I thought of it for years. Thanks to the Unheard Music, I finally get my kibble: The Legendary Radio Sole 1 tape from Solesides. Get the link and check out the dope review here...

Intro 2 The Central

2011-03-16T00:24:00.000-07:00

Tribal's Lost Classic

Maybe the most criminally hard-to-find record to ever come out of the Northwest, this is Narcotik's Intro 2 the Central tape from '95. With nocturnal, soul-inflected beats and flat, emotionless delivery, C-Note and Tizzy T may seem on paper like Seattle's answer to EPMD. However, where E Double and PMD were all about good-natured bravado and boasting (at times to the point of self-ridicule) Narcotik take the formula in a completely different direction. No doubt this tape is straight-up sinister, presenting the ominous and dangerous side of Tribal Productions and Seattle hip hop.

DJ Topspin produced, and Vitamin D almost certainly provided beats as well. From even the first listen it's evident that it's the most cohesive release from Tribal Productions, and definitely deserves to be heard and applauded as much as Do The Math or Untranslated Prescriptions. Thanks go to a very generous soul for providing this release, for awakening Tribal to a new generation of heads, and for making old geezers like me (who've been fiending for this release for 15 years) very, very happy. Thank you!

Intro 2 The Central, + Bonus og cuts!

You Will Lose

2011-03-14T23:25:00.001-07:00

Choose Your Opponent

Animal Pharm ended strong with this release, the classic "You Will Lose" 12" from 2000. With the well-known remix (along with the much-different original version) Spontaneous and Aceyalone join Panda One and Statik on some of the dopest battle verses uttered by any of these four emcees. Spon's verse is especially clever and tight. Statik quite capably goes solo on the b-side, "Out of Bounds." It's an ill track to say the least, with a spacey beat reminiscent of Aphex Twin at his more mellow moments. Another landmark Goodvibe release.

You Will Lose

Constylations

2011-03-14T02:50:00.000-07:00

Where's My Victory Gin?

Consisting of the South Bay's Daysmen Empire (A-O.N.E., Esoin, Diverse, and Style M.I.S.I.A.) and New Moon (Piseas and L.E.F.T.), Constylations is something of an underground hip hop supergroup, if only in retrospect. The Daysmen are mainly known today as being the sounding board for production biggie M.I.S.I.A.; while New Moon, now known as the Bash Bros, are busy working with notable west coast talents like Planet Asia, Afro Classics and the Living Legends.
In contrast to what these disparate artists may sound like today, Constylations presents a mellow, jazzy, Bob James-ish vibe. Pianos, horns, scratchy drum loops, and other organic sounds dominate the mix, and the lyrics are the epitome of consciousness. Almost sounding like a throwback to the classic Native Tongues sound at times, this is some great, hazy music for a sunny afternoon. From circa '99-01. Give a listen.

Thought Crimes

Request... Mr. Aeks

2011-03-11T11:49:00.000-08:00

Request... This is Savagery's Blunted Blade, a dope bay area tape produced by Mr. Aeks back in '99. This features a gang of talent on the mic, such as Megabusive, Dave Dub, Constylations, Axeom, Persevere, Zest, and many others. I really don't know much else about this tape, except that Aek One is a great beatmaker. It hits from beginning to end.

Info

Blunted Blade

Psypilot Rase

2011-03-10T08:40:00.000-08:00

Grabbing The Mic And Giving Them The Old One-Two

As far as I can tell, this Rase's only solo outing. As a Full Time Artist og, Rase released this tape back in '99 on his own Highground record label. It's some wonderfully rough and creative stuff. Deep, murky 4-track production compliments some truly weird and creative beats, utilizing distortion, found-sound instrumentation, and overdriven analog. Rase produced many of the tracks himself, with help from Dick Jones, Marlon, and the wildly strange acid casualty Triangulum.

As a rapper and lyricist, Rase keeps it personal and basic, which allows the strength of the music to shine through. He isn't out to wow anyone with his lyrical dexterity, he wants to tell a story. And as a storyteller, he excels. Lending support lyrically are fellow storytellers Smash Adams, Joe Dubbs, Dick Jones, Unbreakable Comb, Triangulum, and Neila. Gas One and Sidus Idiom (AKA Tapemaster Steph) also appear to lend their dextrous hand on the decks.

It's a great release, and just makes me wish more FTA goodies were readily available. These days, Rase is more known for his graffiti fonts than his musical output. Lets hope that some day he makes a return.

Threatening Myself

Droop Capone

2011-03-06T23:28:00.000-08:00

Basically He Busts the Dialect On You

From Dr. Oop and Black Love Crew's Mad Hueman Disease album from 2002, this is the 12" for "9 To 5" and "One Life". This is some classic L.A. underground that sadly didn't get as much hype as it deserves. Oop comes with a strong delivery made even more impressive by the sick, loop-driven beats he employs. Small-J produced those two tracks, Midas produced the cut "Def Kiss", and I'm pretty sure that Mum's the Word produced the non-album track "Generation Epps". In all instances it's a winning combination, coming with a no-nonsense vibe reminding me of cats like PUTS or Blak Forest. Music without a trace of bullshit, basically. Feast your ears.

Droop

Dominant Styles

2011-03-06T22:16:00.000-08:00

This Ain't Polygram

Kirby Dominant, member of about a million bay area colabs, dropped his debut solo single "Microphones" in 1998. This wax showcases the title track, plus "Time Is Tickin" and the great "Underground Game" in their clean versions, plus instrumentals. Apart from Kirb's hilarious cameo on Murs' F'Real album, this was my proper introduction to the skillful dude. Eclipse 427 appears and produces on "Microphone", while Kamal Hasan Hood and Konceptual Dominance (Kirb and King Koncepts) work the other tracks. Hella nice hip hop, period.

Microphones

Request...12 Kommandments

2011-03-01T11:57:00.001-08:00

Feed Your Thoughts On Some Space Shit

As requested... Shamen 12, aka Atom 12, was a member of the ill San Diego crew Masters of the Universe, along with other notable talents Orko Elohim, Odessa Kane, Gonjasufi, and many others. This tape, released in 1996, is a fine example of the unique aesthetic employed by the Masters. Imagine an unholy combination of Sun Ra and Ice Cube. Shamen's lyrical style is all over the map - it runs the gamut from creative battle raps down to spoken word. There are even times on this tape that he seems to be chanting more than rapping. The beats are also on some other shit. Eerie and abstract sci-fi loops and bass-heavy drums rumble under Shamen's delivery, made even stranger due to the murky 4-track production and tape abuse. Absolutely this is strictly for the 4-track lovers out there. Guests frequent the tracks, but as I have yet to fully dip my feet in the 90's San Diego underground, I can't identify them yet.
I beseech thee, check out this wonderfully weird-ass release in the MOTU canon. And if anyone out there has any of his other releases, would you mind posting that ish up? :)

Shamen 12

Nairb Jones's Herb Session

2011-03-01T02:11:00.001-08:00

I never thought I'd get to hear this one. Probably one of the rarest GPAC fam releases out there. And from what I can gather after the first listen, it comes tight to say the least. All praises to the cats at Ghetto Tyylit for this. Thank you, thank you.

Get it here...