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…
It’s hard to come up to say something new about “Only Built 4 Cuban Linx…” – it’s a legendary album from Wu-Tang’s golden age. Raekwon’s first solo album, heavily featuring Ghostface, the two focusing on themes of crime, drugs, inner city life and growing up in the projects of Shaolin (Staten). It’s a cinematic, huge album that launched an entire generation of rappers into imitating and trying to adopt the mafioso hip hop genre. RZA is at the top of his game here, blending his own raw beats with samples from 70s funk and soul, mafioso and crime films and of course, kung fu movie samples. I’ve always thought this was a Rae and Ghost album more than it is a solo effort, with many members of the Clan and Nas featured on a lot of tracks.You’re probably not going to hear this one getting any play during day time – this is raw and uncut. WuTang forever.
Thes One and Raashan Ahamad have been friends for over 9 years. Their other groups People Under the Stairs and The Crown City Rockers kept them busy until they were able to make this release. “Doin’ It” pours on the 70’s flavor with lots of drum kicks and funk-filled loops. “Good Co.” deals out a smooth beat, while Thes One and Ahmad trade rhyming lyrics like Garbage Pail Kid cards. “Allright” is equally funky with shine and flare and a high-hat beat that is extra crispy. If hip-hop is not your thing, all the tracks have instrumental versions to get your party groovin’ and your booty moovin’. I can dig it. Can youuuu diggg eeeettt?
This is very new york, east coast, big horn, banging, hog style, hip hop. All star packed guests [Smif & Wessun, Tony Touch, Nroeaga, Black Thought, Prodigy, Raekwon, Talib Kweli…] Even the Alchemist makes an appearance. Expect some of the cleanest rpoduction & seasoned sampling, from SS, veteran from the golden era of hip hop. Not anyone can get as close to this sound and the all star cast of MCs. So lock it in on extended play.
Fave tracks: 4, 7, 8, 9, 10, 11
This the latest from the Doomtree Family though it is from 2011. Several of artists are touring this year and have work in cue. This release doesn’t rely heavily on a studio sound. So be thankful. It’s got bang and bass; clever cadences and quick wit. I kind of think this stands apart from the artists’ solo releases because of the team spirit. That energy is clearly what makes the label and the artists stand apart. So keep your ears on the next from this team- solo or collabo: Lazerbeak, Cecil Otter, Mike Mctlan, Dessa, Sims, Paper Tiger, & P.O.S..
Anything that gets my blood moving is good these days, and this rap music definitely does just that, with its soulful, jazzy infusions. My foot taps, my head bobs, and my mind is engaged as I consider the lyrics. Lots of beats and thought go into these tracks, and you’ve got to play a lot of it during Safe Harbor, but it’s worth it. Great outros on 5, 6, 8. 1 has portions of “Come and get your love,” 4 has “Keep it coming love,” and 13 has “Hello it’s me” if you feel like blasting to the past.
What can be said about Method Man’s first solo release “Tical”, from 1994, that has not been said before? The first solo project from a member of the original line up of the Wu Tang Clan. Album/CD goes gold and then platinum in 1995. “All I Need” remix by Puff Daddy sung by Mary J. Blige wins Grammy. Reaches number four on the Billboard 200 and number one on Top R&B/Hip Hop charts. On numerous lists of best rap albums. On two lists of the 1000 records you must hear before you die.
Phew! It’s dark. It’s heavy. Strong beats. Interesting production. Rhymes about shooting, killing, love, smoking, respect and disrespect, life, why he can’t get a record label deal. He mentions on at least three cuts that he’s from the Wu Tang Clan.
It’s almost 20 years old as of this review and it continues to hold it’s place.
Give it a spin….. late at night….’cause it’s all FCC.
If you were to roll by in a pimped-up ride with this album blaring, I would respect you for that. To quote track 5, these are “dense, abstract critiques about modern civilization”. Instrumentals are complex, varied and engaging in themselves. Powerful orchestral backing in track 6. Did you know Emma Goldman was a punk-ass anarchist from 100 years ago? Strong language warning on most tracks.
On August 27, 1987 BDP founder/producer DJ Scott “La Rock” Sterling was shot after intervening in an altercation between BDP associate D-Nice and some folks he may have cuckolded. About a year later, BDP frontman KRS-One and B-Boy Records put together this tribute album of remixes to carry on Sterling’s legacy and released it in limited press. Classic boom-bap beats cut up into collages of all sorts of early BDP tracks including many familiars like South Bronx, The Bridge is Over and of course Criminal Minded. Remixes and medleys with production ranging from early hip-hop breaks minimalism to cluttered and chaotic samplage and some scratch happy antics thrown in for good measure. With KRS-One heading the project you can expect lyrical confidence, consciousness and confrontation; calling out fake rap, street violence and pushing for social awareness (La Rock’s death was a big influence on the Stop The Violence Movement). An awesome collection of busy cut-ups of these early hip-hop pioneers. Turn up the boombox and bump it!
You know, I’m going to have to do a grave in order to play this CD, because it’s really rollicking and fun. Boboso lays down the beats and raps some killer lyrics with references to pop culture of yesteryear: 6 is a namedropping tribute to Star Trek The Next Generation; 7 mentions Ash Ketchum (“I choose YOU!”); 2 has a sample of Carly Simon’s “Nobody Does It Better”); 8 is based on “I’m Your Puppet” from 1966; Joe Esposito’s “You’re the Best” is sampled in 12. This Mexican-born, San Jose-based musician even throws in some references to Santa Clara and the South Bay. On top of the beats there are jazz (3, 9) and big band influences (5). Overall, full of energy and makes you really feel that life’s a gas indeed.
14 hip-hop instrumentals from LA’s Alan Maman The Alchemist released in 2012. These instros eventually became songs and freestyle beds for the rap luminaries like: Prodigy, Capone-N-Noreaga, Rick Ross, Eminem, and Cam’ron. The standouts are Ten Dollars, Microphone, and Deathwish– boom bap beats, heavy synths, and moody keys with occasional vocal snippets. The Michael Mann emotion of it all makes rap vocals unnecessary and allows it to stand on its own as a rugged composition. Mann the General.
**A real brief disclaimer: this is not a music release by KFJC. This radio station and it’s staff do not claim ownership of these songs herein.
The idea for this collection is just to consolidate these various HipHop/Rap tracks (worthy of some spins) and get them onto a single medium – for easy to access airplay. In other words, if it were the 90’s then these were those vinyl/CD singles that were sent to the station (via promotional service from the labels and such) which then made it to the “Currents” library. Blast Beats!
Chock up another genre for my training! Hip hop lyrics are like poetry, yet with a definite cultural snapshot quality to them, and this is what makes hip hop so crucial. I may not understand what they’re talking about, but Dark Time Sunshine have a lot to say, and they say it over pretty impressive, throbbing beats that I can relate to, if I can’t relate to the words. 9 has a nice female vocal and goes into the band’s name; 7 and 16 have catchy bass beats and quirky outros that sound nothing like the rest of the song (some are like samples). I enjoyed this.
During a four year break from MCing, MF Grimm became a respected author of the Eisner-nominated, Glyph Award winning autobiographical graphic novel Sentences: The Life of MF Grimm, and in 2010 he released his 8th studio album in the same vein: You Only Live Twice-The AudioGraphic Novel which includes a 16-page comic book crafted by cartoonist Jim Mahfood (of Kevin Smith’s Clerks fame). Grimm gave birth to his rhyming discog by shouting “Shit ain’t never gonna change, FUCK IT!” on the Kool G Rap classic Take ‘Em To War, then put on the masks with MF Doom and King Ghidorah when he joined up with the alcoholic metal-faced one’s Monster Island Czars, so I guess you could say this graphic novel form of hip-hop would be his third incarnation and his most positive message/attitude-wise to date (funny how becoming an award winning author lets you brush off the thug angst and cruise thru your midlife crisis). Problem is, I think a lot of his original fan base is still bumping Take ‘Em To War and haven’t gotten over it. I mean, I haven’t anyway. But when that hardrock stance leads to you shot in the spine and trapped in wheelchair for the rest of your life, I’m sure a change towards positivity and understanding would be the only move. So I’m a dick for taking that shot; I just really love that G Rap track, b. The wide blend of production on Twice from Twiz the Beat Pro is hit or miss, often not gloomy enough for a guy named Grimm. Return To Eden and the title track go, hell the whole first plate goes, though I lost interest on the second, and the first track is my favorite where he invents a sparse new NY rap style, name drops “blessings from the Elohim” and says “thank you for giving me rap in its purest form to save ’em all.” Maybe even M the G.
The full title of this release is Adrian Younge presents 12 Reasons to Die, and that is important to note. Adrian Younge is LA’s current head procurer of dark soul with his interesting style that sounds like he’s composing 70s movie score type jams on an Akai MPC sampler/sequencer and then having his resident soulburner band, Venice Dawn, replay his compositions (utilizing old timey recording techniques [read: protools plug-ins] I’m sure) with a careful intent not to lose any of the original dirty feeling that a sample-based rap jam has to have to be just that. This style was effective on Younge’s earlier projects (the Black Dynamite Soundtrack, Something About April, and AY presents The Dramatics) and his record remains unblemished here. Only the Roots, Dr. Dre’s Niggaz4Life opus, and Above The Law’s post-Black Mafia Life catalog pull off a live hip hop thing better. Younge is on his shit. Now to the raps. I wouldn’t say this is a GFK career defining lyrical presentation but it is way above par and he gets an A+ for a cohesive story throughout all 12 songs about a ruthless black gangster preyed upon and murdered by the evil DeLucca family with his remains being mixed into melted vinyl and pressed into 12 records to be held by the 12 heads of the family. Problem is when the records are played the spirit called the Ghostface Killah rises for bloody revenge. This is Elmore Leonard-Donald Goines-Blaxploitation on wax. On top of that the CD comes complete with a full instrumental version that should really be filed under dark soul rather than hip hop, it has a really heavy plot even without the crazy vocal vengeance. The CD also comes with a “tape” version of the first 11 tracks where up and coming Detroit producer Apollo Brown remixed the whole shit, which has affectionately been dubbed “The Brown Tape” by real rap heads who prefer Brown’s lo-fi all sample-based compositions to Venice Dawn’s attempts to interpolate Younge.
Independent sample-based hip hop released on vinyl the way it should be done. Philly’s production duo of Drumz and Llingo bring the most out of their SP12 with this one, teaming up with some cutty NY MCs for the perfect blend of streetwise wisdom both sonically and verbally. Heavy on the east coast traditional beat digger vibe and the remix on side B is a bit more spacey. The stand out MC for me is the last in line John Robinson, his gravely voice is reminiscent of Mr. Cheeks of Lost Boyz but his flow is more like a megablunted Keith Murray. KicDrum Products and their Silver Seven Series of indy rap 7″s are the future of the history of this real rap shit. No FCCs, plays at 45. Mann the General.
1998 was arguably the craziest year in this crazy man’s short life. He rescued a 4 year old girl from the burning wreckage of a car crash, snatched the mic and slighted Puffy at the Grammy’s, pleaded guilty to attempted assault on his wife, was the victim of home invasion at his girlfriend’s house in which he got shot in the arm and back with a .357 but the wounds were deemed superficial, was arrested for shoplifting $50 sneakers with $500 in his pocket, and was finally acquitted for weapons and attempted murder charges. In 1999, after being arrested in February for being a convicted felon wearing a bulletproof vest and doing time for possession of marijuana and 20 vials of crack cocaine, he recorded and promoted this album album until he was forced to enter a court-ordered drug treatment program which he escaped from in October of 2000. He was also monitored by the FBI during this time: His FBI file was released to the public after a Freedom of Information Act request. It contains details of numerous crimes, such as alleged connections to three murders, a shoot out with the NYPD, and a RICO investigation against the Wu-Tang Clan. The production on this is handled by three camps: the Neptunes (their best work ever in my mind), Irv Gotti and posse, and Wu-affiliates (RZA, True Master & Buddah Monk). Soulheads will be drawn to the familiar voices of Chris Rock and Pharell on Recognize or the Rick James cover Cold Blooded or the chart-topper Got Your Money that launched R&B singer and rapper Nas’ wife Kelis’ whole career. But the two highlights for me are 1. the album’s soulful cohesiveness aside from the positively erratic and insane vocal performances, though it was not as critically acclaimed as his debut album (Return to the 36 Chambers: The Dirty Version), I think it is more of a complete and discerning work with no filler, and 2. the track Gettin’ High which is a Brooklyn Zoo posse cut where Ol’ Dirty is absent, when it comes to throwing the publishing around the man was a humble genius through and through. There is FCCs through and through also so only for safe harbor unless somebody cleans it up.
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