GalaXXXian is one half of the double release from DJQbert[Invisibl Skratch Piklz, SF]. It appears that Qbert has partnered up with his homies. The artists & MCs obviously have a mutual respect for Qbert’s obvious skills. Emcee Roscoe Umali[1,12] has a vocal style and sound that I thought sounded along the lines of AWOL One, so it was no surprise he is out of LA. Kool Keith drops the sci-fi freak out. Del delivers galactic ganja raps. Use caution with the sexually illicit track, Kooty Kat ,courtesy of P.E.A.C.E., of Freestyle Fellowship. Mr. Lif rocks the mic while El-P mixes up some nostalgia reminiscent of Blue Flowers. Beats go from classic bboy breaks[12, 8] to hard hitting bongo bangra-esque  beats. Launch GalaXXXian and take a journey with astronomical MCs and scratch commander Qbert. FCC: 3,4,6,7,8,10,12 Intro:11
Instrumental hip-hop, short and upbeat, slip the needle
scratch the service. The dance floor is denied in these
short cuts with long memories (did I hear Flip Wilson as
Geraldine on “Discovery”). “Eternal Lee” has some pretty
majestic moves inside, “Ow!” doesn’t hurt (although a
cartoon baby bird was crushed by the heavy drum and piano
drop on top), a French discussion gets woven in between the
beats on that. The lead-off track makes you think DJ Shadow
meets comedy, samples are less ear-popping after that, but
definitely a fun and creative vibe. Yeah, there’s cowbell
sampled and apparently some organic elements as well
(behold the Old Nasty Organ), hard to pull everything
apart. T-White is a Chicago operative…damn shame KFJC’s
Spiderman is not around for this House Shoes party mix.
god damn is this a collaboration to write home about. Odd Nosdam stands at the helm of hip-hop’s avant-garde with his crooked, broken, bottom heavy beats pickin hard at the heart strings; add Jessica Bailiff’s distant dream-laden vocalizations to open and close and a lethal injection of instrumental beauty from herself and her partner in pageantry Jesse Edwards (not to mention local cat Dax Pierson cutting deep with the melodica and other goodies on a particularly moving track), and you get some of the most gorgeous production I’ve heard on anything that can claim street cred. passionate, raw, but dare i say ethereal? definitely not
Hip-hop/brass-band/psych/noise orgy! MC Sub-Zero Permafrost spits raps overmusic from the project LYDSOD (a very sarcastic acronym for Live Your Dreams Stay Off Drugs), an acid drenched psych coalition from Brooklyn.
Very high pitched vocals, not sure if it spins correctly at 33 or 45 (I think its 45). The tuba and trombone add a zesty spice to the hip-hop flavor. The B-side wanders a bit into the noisy side of things, which I know a lot will enjoy. Throw it on the turntable and enjoy..
FCC: Both sides :(
rare 1989 early tracks from bay area legend bringin us filthy fresh cuts of classic boom bap soul clap hip hop. old skool Emu emulations and scratch happy samplage with fluid rhyme schemes on Funky Sound and Dance, Murdered the busiest on the production. Bonus Noise dropping into instro tracks and a run in with APV Patrol along with some fine scratchables on the short track. throw on your Reeboks and Get Down to that triple-threat Jenny homicide
Aleister X has a British accent and performs in New York City, wearing black face paint and strange robes (hints of Cy Thoth, sans the voice). Rap is the most dominant medium here, although there are other elements to vary things. Lots of references to Beach Boys songs (“Bad Vibrations” and “California Gurls”). He worked with Lee Scratch Perry on the 2008 Repentance album.
SO GOOD! Just SO GOOD!
It’s 1989. Some of you might still have your high top fade and some crazy baggy pants. You probably bought twelve inch vinyl singles. You may have even bought this by Fresh Finesse. Distributed by Trumpet Records from Fanwood, New Jersey, which kind of says it all, Finesse’s “You Ain’t Sayin’ Nothing” is the perfect sample of 1989 MCs, flyboys, breakbeat culture. Four versions of “You Ain’t…”, the story is pretty much about why FF is the one to listen to because he is the best and anyone else is going down. FF’s MC style is smooth and sure, easy to hear, clear and to the point. This is when fighting was done with words and the winner got to wear the biggest “gold” chain. Great beats. Sample from Gaz’s 1978 Salsoul recording “Sing Sing”. And there is a Bonus track that is all about FF sweet talking a girl, using so many lines to try and get her home and to be his. FF even rhymes “relinquish” with “extinguish”. Refrain is a male soul singer going on with FF’s message. Essential stuff. And when you all leave the station, I’ll lock the doors, put this on, pull out my piece of cardboard and breakdance the night away.
???He do the cuts She do the beats??? DJ Romes and Georgia Anne Muldrow
A cool LP with funky beats and samples. Some tracks remind of of city sidewalk breakdancers bustin
moves on the cardboard. Others are deeper and stonier. Drop the needle and pick your potion.
My only regret is that some of the tracks are short; they get to the hook, roll on it a while and then fade
out. Wish they went further with some of these grooves, or bridged a few together.
Still good, still dope.
I liked the title track and the B-side most.
When America crashes and burns, we’ll all be in the Blackhouse.
Chrystal Oaks is Swedish rapper, Prosperous. According to his bandcamp page, Prosperous has been on the Swedish Rap Scene in crews PLANT OF TRAILS, ASSIMILATED SPECIES, and BRIEFCASE ROCKERS. This release is from the Finnish Hiss Tapes cassette label. Considering that Prosperous has collaborated with Subtitle, it’s no surprise that the tracks are experimental and alternative hip hop. There isn’t little to interpret, his skills rapping in English are clear. There are noisier elements in several tracks, begging the question as to what is used in production. With a growing trend in indie hip hop heading towards angst/rap/scatter/assault, this cassette is refreshing. It’s more palatable for those fearful of the more aggressive sounds. I am looking forward to learning more about Prosperous, his previous releases, and the Swedish rap scene.
This is RP Boo’s first solo release. Previously his work has been featured on Planet Mu comps. He is known as a pioneer of the Chicago electronic beat movement known as footwork. Footwork is truly a genre of it’s own. The dance that accompanies these sounds blends house and breakdance into it own spastic footwork based style, hence the name. It is frenetic, repetitive, disjointed, rhythmic, anti-rhythmic, and much more or less. Boo is a zeitgeist for this scene.
Hip hop sounds from Queens, NY. This is his release from 2013. FCC on track two. Cool, fresh lyrics, sometimes funny, sometimes real. Awesome use of samples, dig in..
japanic 2/3/2014 Hip Hop
As a supporter of local (Bay Area, CA) sounds there’s something that I find really satisfying about listening to import releases by your favorite hometown heroes. This cassette tape release limited to 100/100 comes to us by way of Hiss Tape of Finland. In 2014 do yourself a solid and peep this effort from 408 representatives (San Jose, CA) Mr. Aeks & Opski Chan. If you don’t know your South Bay underground rap timeline, Aeks has been doing dirt on underground rap joints since the 90’s – with his hand on production of some favorite classic & contemporary projects. Op has been dropping jewels on tracks since the 00’s – both on solo projects and collaborations. Pushers & Prophets is made up of the necessary ingredients for a classic underground SJ release – one part rugged rhymes & one part dope beats that will make your head nod; have you light one up or both. If you are unable to get your hands on a cassette copy you can find the digital version at http://opskichan.bandcamp.com/album/pushers-prophets
This is the cassette release of the 2012 album. This cassette comes to KFJC via Hiss Tapes a label out of Finland. White Mic is one of the original members of Bored Stiff. White Mic delivers a direct take on aging in the independent hip hop world. With little effort he takes strides approaching the subject. There is no burden to carry in his endeavor to articulate this paradigm. He is clear in his delivery. This is a refreshing voice from a man in an genre in which the artists or MCs don’t get infinite opportunities to withstand the changing of the culture. The sound is filled with nostalgic but innovative beats and delivery while remaining grounded. Tune in to this and turn it up.
Rap and Punk???? It???s Happened before, check out DeeDee King! Murs, Darryl Jenifer (Bad Brain???s Bassist), and Sacha Jenkins (former Rolling Stone journalist and VH1/MTV Producer) hit the ground running with this ???Fuck You??? to the music industry. Comprised into a concept album about a man named,Tyrone White. Who is a black man that is looked down upon in the Black Communtiy for loving Punk Rock and White Women. He starts a band and gets a deal, falls in love, battles the evil racism of the major record labels, and learning to except what you are/never bowing down to what other want of you. Kind of has the ???Tommy??? or ???Lola Verses Powerman??? vibe going. A lot of this album feels like filler, but the gems on here shine very bright. Nice mix of Hip Hop, Punk, Classic Rock & Reggae. Samples from harDCore Washington DC bands (Bad Brains and Minor Threat)! This was a pleasant surprise!
Crossing over borders by way of musical hip-hop forces are the duo Fresh Kils and Mad Dukez. On Gettin’ Gatsby , Buffalo based rapper Mad Dukez explores some of F. Scott Fitzgerald’s classic novel by way of free-flowing lyrics about sacrifice, success , money and excess. His vocal style and charismatic flow shines on tracks like “Decadent Dilemma” and “Brother Bookie”. The album could not be complete without Toronto’s Fresh Kils operating the decks and setting the scene with fresh beats & well placed production to compliment Mad Dukez freestylin’ gab. Try and stand still while the funky drums set the stage for “Bootleg Bartender” but be ready to listen to this cd more than once to really start to like it.
East-coast white-boy juvenile-delinquency flop-hop freestyling from Colin L and his ragtag team of suburbanites. Skillfully offensive in both content and delivery, sloppily spewing bumblefuck lyricism about premature ejaculation, racial preconceptions, substance abuse, social awkwardness and much much more. FCC ALL TRACKS!! (except 13) No point cleaning up here… as it says on the cover, this SHIT IS NASTY: gratuitous language throughout often dabbling in obscenity (AVOID TRACKS 4, 9). The production is the highlight here with all sorts of rip-off sampling and old school boom blap beats that’ll get you bumpin for sure. This is ghetto streets like sippin Natty Ice 40s in your mom’s basement and smoking crystal in the backyard. Self indulgent silliness. Hip-Hop purists can suck it.
**A brief disclaimer – This is not a music compilation release by KFJC, nor does this radio station or its staff claim ownership of any songs herein.
Debut full-length (2011) from San Jose native Opski Chan, a disciple of classic hip-hop purity. Old school, stripped down beat-heavy production with smooth spooky samplage that verges on haunting its so dark, cinematic at times. Fresh, rapid-fire lyricism ranges from the typical ego tripping to more contemplative and introspective, with the intellect increasing as the album progresses. Creative wordplay from all (rhyming Elmo with elbows, money makin and cuttin bacon) that incorporates plenty of off-rhyming and alliteration, keeping our ears perked throughout. Production by Barry Bones with cameos by Cutso, Antwon, D-Styles and Tape Mastah Steph, all local legends of sorts. Load up your backpack with walkman and paint cans and hit the streets, this is your B-Boy soundtrack.
Originally out in 1995, so this tickled my Spider senses, and
I remember KFJC’s Spiderman playing Tha Realness from the 12″
single, and Ken always extolled the virtues of DJ Premier who
is on most of the cuts here. For Premier fans, one of the three
records in this a set of “instrumentals” (which for DJ’s please
note may still have some vocals scratched in on the chorus
sections). Group Home on the mic are two guys from Gang Starr
Lil Dap (with lip twisting slight lisp quipping synapse
slipping grammar damage) and Melachi the Nutcracker (with
the well-enunciated thin-but-not-emaciated more logic locked
and glock cocked cliche clicking in the pocket). On “Sacrifice”
Melachi starts things out with a Morris-Minor sped up intro
that makes him sound like an angry infant, but then that beat
has some killer junkyard guitar and sax punctuation. Isaac
Hayes? “4 Give My Sins” has cool dramatic tension in the
beats, and horns hiding around the corners. I think the stuff
that has a dark, sort-of-spacey vibe (electric piano samples
turn into stars) and shimmering cymbals is Premier work…and
while much deserved love goes out to the production here, I
have to say that MC’s, I do think add to the flavor of the
pieces more than the flack they get nearly 20 years after the
release of this. Cliches may have been on the way back in the
day, but I think this is how Brooklyn felt and sounded back
then, and here’s Livin’ Proof…