Brian Cross (aka B+) and Eric Coleman (aka Coleman) are the men behind Mochilla. They are also the masterminds behind this amazing tribute to J Dilla(RIP). And what this is, is a 60 piece orchestra playing the works of J Dilla. Dilla wrote for many artists and was known as a great mc, producer, and jack of all trades in the Hip Hop community. The first CD is the live performance tracks. The second is the dvd of that performance. This release is seminal in really bringing out the essence of hip hop to those who would never be able to pallet Dilla’s original works. A 60 piece orchestra takes on Dilla classics and perform them masterfully. It is hauntingly beautiful to listen to. Read the liner notes for all the musicians featured including some he worked with, and his mother Maureen “Ma Dukes” Yancey.
This cassette release is limited to 250 copies. It’s a mega mix from your faves DJ Quest(SF) on cuts and “records” alongside Fatees(OAK) with his “Bay”ami Bass style. These two hold it down with samples and beats that make you want to whip your hair back and forth. Keep a lookout for Megakut Records. They are takig back cassette culture releasing mixtapes and local side projects from Hip Hop greats, including a slice pulp fiction. Don’t sleep on this!
These recordings were made during a 3 year period when PB Wolf was living with his mom in the east foothills of San Jose. It was between 1990-1992 that PBW made these tracks with the vocals recorded straight into headphones ran through a mixer and into the 4-track. All tracks are produced by PBW but feature several emcees. There is a distinct rap style from this era. that one must be mindful of when indulging into this release. This is post Lyrical Prophecy and you hear Quiz One and Deshee on this release. Charizma makes a few appearances here and transcends the style he was to become known for, as these tracks are a bit rougher. Or maybe it’s just that this whole release is a bit rougher. In the east coast New Jack swing was the style of the moment that was making it’s way to the west. You can hear that on Quiz One’s & Charizma’s tracks. There is a bit of early gangster rap styles on N.O.T.U.’s tracks. Peace Maker has a ragga style that also came to the forefront in the early 90s rap scene. PB Wolf made beats from samples and loops and he details this in the liner notes. That said, PBW didn’t remix or taint these tracks for this release. There is a trajectory that PB Wolf and all west coast hip hop is affected by after these recordings. In 1993, Charizma was murdered while stopped at a light in East Palo Alto. Shortly after, PB Wolf started Stones Throw and put out “My World Premier” honoring Charizma. After Charizma’s passing, PB Wolf had no intention of working with any other emcees. Consider this an archive of an era that had little national attention and spawned the direction of what was to become of Peanut Butter Wolf.
P.S. The sleeve features a picture of a handful of emcees alongside PB Wolf circa 1995, none of whom are featured on the disc, but all of which I have ID’d for yalls.
LANG:4, 9, 12, 13
Rakaa (Taylor) aka Iriscience is one third of Dilated Peoples. This is his debut solo album. Although this is his debut solo attempt, it is full of guest producers and vocalists. The tracks themes and styles are equally diverse yet cohesive. Rakaa is not only an emcee, but a graff artist and advertising student. He shows his roots sharing the mic with Hip Hop’s finest. He keeps his cadence solid and forceful, “calling it how he sees it”. He shows his roots sharing the mic with Hip Hop’s finest. He keeps his cadence solid and forceful, “calling it how he sees it”. He touches on subjects like big business, love, survival, art, & hip hop subculture.
Producers include King Jahzzy, Evidence, Exile, DJ Babu[5,8], Oh No, DJ Honda , Eric Bobo & DJ Rhettmatic , the Alchemist [11,13], El-P . Vocal guests include Aloe Blacc , Mad Lion, KRS-One , Krondon , Noelle Scaggs , Evidence, Fshawn, & Defari , Chali 2na, and a whole lineup of players on track 7.
Lang 1, 2, 5, 6, 7, 11
Raashan Ahmad is from Trenton, NJ ??? he???s known as the MC for the Crown City Rockers. Here???s what he has to say about this album which is his first solo album: ???I have been in a live band for the last 8 years and have learned so much about different rhythms, genres, methods, and musicality??? But this album is a return to basics, that good ol’ boom bap, the beats and rhymes. I needed to get in touch with the other side of me, the side of me who loved Run DMC, BDP and the 808 machine. It was where I started as an M.C. and I needed to touch that again. As an M.C. in Crown City Rockers I try to be as varied as the music that we create. My writing is for myself as well as an audience as diverse as our crew. It is a challenge that I love; one that pushes me out of my comfort zone and inspires me to improve my talent. Without the skills I acquired from being in a group with such talented musicians I never could have made a solo album that is, in a word, selfish. This is a non-collaborative effort born out of my own fears, insecurities, observations, triumphs and tragedies. It is therapy over beats.???
Raashan???s little son sings on track 11. AArbor
Don???t Miss: tracks 8, 13
Language on Tracks: 2, 5, 7, 10 12
Die Antwoord (which means the Answer) is a hip hop group from Capetown, South African. The three members are: Ninja, Yo-Landi Vi$$er and DJ Hi-Tek
Die Antwoord performs music which incorporates many Zef elements and references. Zef is a South African counter-culture movement. They describe Zef as ???modern, trashy and out of date discarded cultural and style elements.??? Zef is, you’re poor but you’re fancy. You’re poor but you’re sexy, you’ve got style.”
The word “Zef” is a contraction of the name of the Ford Zephyr, a car that was popular worldwide from the 1950s to the 1970s. In South Africa, these cars at that time were more often than not owned by working-class people especially from the then-upcoming East and West Rand areas of Johannesburg (due to gold mining activity and the rising price of gold after it was de-coupled from a fixed US Dollar price of USD30 per fine ounce) and when Ford was seen as a high-quality product to aspire to as a car to own. The most distinctive and well-known feature of these cars were their horns that made a peculiar and amusing “A-hooo-haahhhhh” sound.
The music is fun, it???s sung in English, Africaans and Xhosa ??? (Morris Minor says ??? and I agree) ???don???t miss their online videos to get the full sense of this band.???
FCC Language on all tracks.
There is a quote on the inner sleeve that says “..filling potholes in 2011”. And I couldn’t have put it better. This release fills the gaps in Hip Hop from ’96-2010. Next time you want to reminisce on the hard styles of NY late 90s backpack styles or midwest funk grooves pick this. It is almost like a time capsule. And honestly, by the looks of the album art, I wouldn’t be surprised if this was a tape dug up from the wheel well of their car trunk and it turns out they decided to release it now, you know, filing in the gaps. Robust has a laid back cadence that is more classic and laid back. Pore puts together some thick, genuine soul samples and beats that really lay the ground for Robust. I could listen to instro’s of this all day long, The beats will get the jazz/soul audiophiles ears ringing. Vox samples start off a few tracks and some short interludes. Tracks 12, 14 are mostly instrumental with samples. Track 15 ends with a ‘thank you’ outtro
FCC LANG: 4,6, 9, 10, 13
Awol One hails from LA, and Ecid from Minneapolis. Together they collaborated on this release filled with catchy beats and interesting rap lyrics (see 9 and 10). Too bad it???s mostly Safe Haven listening.
Love this! J. Dilla???s former collaborator HouseShoes brings us two percussion-enlivened tracks, one of which is a remix of ???Look of Love???–yes! Jordan Rockswell (aka Snowman) here records three debut tracks full of synth and beats. The lovely ???Winter Warfare??? segues right into ???The Groove.??? Both sides are lush and warm and will set your heart beating again.
I know nothing about hip hop/rap, but the thing that kept me listening to this CD is interest in the stories this Berkeley rapper has to tell. Yes, he???s egocentric, but he???s also got a unique perspective on the life he???s lived (all 21 years of it). Anyone with a healthy respect for women (6) and the earth (7) is worth a listen. The tracks work best when Lil B talks over minimal keys (occasionally he ventures into singing). Do as he tells you in Track 1 and ???just breathe.???
Last man standing from the Hunter’s Point Hit Squad, and
then the RBL Posse. Black C (Chris Matthews) plays a different
kind of hardball but doing it here over some soft 70’s soul
moves. Things move faster now than then, so we find a lot of
samples sped up…including #5,6,10,15 and 17. On “What
Could’ve Been” that ramp up works well, but later on it gets
a little gremlinized. Overall the beats though really capture
the plan, I bet some instro versions would’ve nailed heavy play.
Check the work over Willie Hutch on “I Got Money”, also the
convertible cruise on “The Life” with Moe the Hustla in the
passenger seat. “Why They Hate” starts with a phone call
confession, but has solid producton, wah-wah never fails
and these violin and trumpet trills work really punctuate
C’s short jab rhyme flow. The Cheffz bust out a gremlinized
Al Green for the finer things on “Gave U My Luv”. “Can’t
Go Back” does the best at capturing that 70’s flow. Mandatory
two tracks on herb, “Mary Jane” tips the blunt to both the
Magical Diamonds as well as the Posse’s original spark,
“Don’t Give Me No Bammer.”
While “My Bed Room” is supposed to be for the ladies, the
track after, “I’ll Never Tell” works the X chromosome a
little better, nice rhymin’ Simon. The closer has Martha B
add angel’s wings to the nostalgia of a nearly 40 year old
rapper. I’d say this lp mostly still has the mindset of
youth, but the introspection reflection of rap still alive
and recording beckons. Ruthless ain’t necessarily truthless.
New underground, coming out of Oakland and bursting with
sideshow pride. Three mouths to feed on Smoky’s homecooked
beats, rappers Zipp, Young Truth and Big A leading the way.
The album has its own fun, prank calls, fake radio giveaways,
and an imaginary gig at the House of Blues. These guys are
so new, they don’t even have a song about being screwed by
the record industry. Instead this is homegrown, over the
course of years, but still retaining a sense of the
spontaneous. Even when the prose ain’t purple, the trees
are, a blunt front blowing over the bridge. Probably Smoky’s
and I do think his production is the secret sauce here,
tracks like “We Go”, “Addicted to Da Game” and “Get Money”
just come infectious while the lyrics will play hopscotch
on the roof of your heads. More than a sideshow memento, and
even if they don’t get the money, they’ll still be laughing.
DJ Rhettmatic, aka Nazareth Nirza, began his DJ career in 1983 with the DJ group Double Platinum and was one of the founding members of the legendary Beat Junkie crew. In 2004, he released Exclusive Collection on Up Above Records and included this single, Jay Dee(J Dilla, RIP 2.10.06)’s, Fuck The Police. He was known as a Rapper then a Producer. This single is made for the OG Hip Hop head. The title track includes 3 samples of NWA’s ’88 original. The B side is a ditry & dry, with his original style, from his roots in Detroit to and all the artists he shared the circuit with. This single was released moments before he scored a deal with MCA, a deal that stalled, which produced the collaboration of Dilla with Madlib and named Jaylib. James Dewitt Yancy died(of TTP, a blood disease) with a core audience of mixtape fanatics and much of his work still waiting to be released. We have the first posthumous release, “The Shining”, which was 75% complete when he died.
Philidelphia gave us the Roots. The Roots gave Black Landlord their whole style ten years ago. Vocal delivery is like the call and response. His actual voice sounds simiar to Gift of Gab at times and at others it’s eerily like B Real(Cypress Hill) with his very own Send Dog sounding hype man. However, the rhyme style isn’t like these at all. It’s filled with story telling yelling verses and hooky choruses. I can’t say enough good about the band and their production. If you like the live sound of the JB’s, Crown City Rockers, or the Dap Kings, you will definitely like these tracks. You get the full sound of horns, guitar, keys, etc. Producers Leonard de Leonard and Olaf Hund have done an excellent job giving each member of the band due justice to their instruments.
3WR: Hype Band, Man
UK rapper/graffiti artist Kid Acne grabs the mic, dissing, pissing, ripping, and reminiscing. Req One claims to have “taken old-fashioned records and programmed them in to Fruity Loops”, but don’t write it off. These tracks may be laden with samples in landslides, but they are sequenced with emphasis. Don’t be discouraged by the samples, they are used in creative mentages, sometimes assaulting and other times simple in the breakdowns. I suggest you read the liner notes for the details on them. Vocals are humorous and clever; reminiscent of Kool Keith and his tenure in the UMCs, Beastie Boys, or Audio Two. On Track 5 you will find some of the smoothness of Slick Rick and LL Cool J. Lyrics are aggressive, entertaining, and follow the storytelling styles of the MCs mentioned. The release is consistently held together, intentionally?, by this throwback to the new jack sound of the late 80s early 90s in rap music.
3WR: Neo New Jack
FCC: 1, 2, 3, 4, 7, 10,
Super reliable underground hip hop music. Qwel (emcee) and Maker (beat architect) have been working together for a while now and it shows; the two fit together like a fist and a glove and a punch to the face. As usual, Qwel lets his raw wordy rhymes fly while Maker ransacks the record bin and drops in big beats for just the perfect accompaniment. “Back Stage Pass” kicks the thing off in high energy style, but my favorite track is probably “Lunch Money”, a tribute to poor families trying to get by. This here is a pre-release sampler from Galapagos4 with alternate versions and a couple of bonus tracks: #13 is a DJ Bizkid preview mix of the tracks, and #14 finds Qwel delivering some serious rhyming over a Graham Nash(!) sample.
A batch of moody beats and grooves from this one-man project, a member of the Minnesota hip hop collective Doomtree. It’s instrumental for the most part, except for the melancholy final track, which features Dessa on vocals. The other tracks are decorated here and there with vocal fragments. This CD is well done and enjoyable, but, well, it doesn’t say a whole lot to me; an hour after hearing it, I can’t remember much about it. I’m not really up to speed on the Doomtree thing, but I am definitely interested; I’d like to hear Paper Tiger working with a few different MCs.
Hip-hop: Out of Toronto, Canada comes the unique perspective of Derek Christoff, aka D-Sisive. Through a combination of singing and rapping lyrics that range from touching tributes to family members (5) to daydreams (13) to multiple means of death in this ???wonderful world??? (19), D-Sisive offers songs intended for kids in school and college (at least according to his lyrics). I don???t know much about hip-hop, but the stories on this CD are worth listening to.
FCC: 1, 2, 4, 6, 9, 10, 14,, 15, 17, 18.
Picks: 13, 9, 11, 5, 6, 8, 18,.
PGM: Songs end abruptly.
CD reissue of a 1991 LP that is considered an underground classic and a big influence on the future direction of West Coast rap music. This So Cal crew brings big doses of social consciousness, black pride, and stoned-out goofing around. Not too surprising to hear cool-era Miles Davis sampled on one of the tracks, but FF were probably the first to rhyme over The Turtles, and how are you not going to like that? Production is simple and not overly polished. Rap-wise, Aceyalone and P.E.A.C.E shine brightest here. Several short tracks, like a minute or two or even less.
Cool abstract sounds from under the hip hop underground. Non Genetic (Shadow Huntaz emcee) adds his relaxed poetics to the quietly minimal beat backgrounds of Dawid Szczesny, who is working with turntable, sampler, and laptop. I like the vaguely unfinished feel of the music, which leaves the vocals plenty of room to operate. Non’s laid-back lyrics roll out over Szczesny’s cut-up beats, ping pong electronics, jazzy guitar chords, and soft sax sounds. A live bassist checks in on a track or two. Love this collaboration.
12345 S. El Monte Road Los Altos Hills, California 94022
Public Inspection File