Showing posts with label Long Island. Show all posts
Showing posts with label Long Island. Show all posts

Friday, April 20, 2007

De La Soul : Freedom Of Speak (from Plug Tunnin 12")



De La Soul : Freedom Of Speak (We Got More Than Three) (Tommy Boy, 1987)

From day one De La Soul and Prince Paul always had a little bonus or two on each 12". This was their very first record and you could already feel their genius. Sure at first it seems that it's a regular James Brown loop with some scratches, but it's the little additions to it that made the track so dope. Try to recreate the exact same beat in 2007 and you'll understand.

While talking about De La, I just posted the 5 mics review of De La Soul I Dead at Press Rewind If I Haven't.... Go check it.

Wednesday, March 14, 2007

De La Soul : Skip To My Loop (From Jenifa Taught Me 12")




De La Soul : Skip To My Loop (Tommy Boy, 1988)

Prince Paul genius has been quite heavily documented, and people always credit him for eing the first to put skits on his albums. But what is never mentioned is that he also was the first to put skits on singles. Musicians were doing concept albums for ages, and that sometimes require to link the songs with interludes. Having skits on singles elevate the 12" to the rank of art. With a skit a 12" is not just a promotional tool anymore, it's a piece of art in itself.

I know that the actual skit presented here is not really great, but at least the record has nice artwork. There was also an EP on tape with the same artwork that got released at the time with both the Jenifa 12" and their first record, Plug Tunin. But that's for later.

Saturday, December 16, 2006

Resident Alien : Oooh The Dew Doo Man (From Mr Boops 12")





Resident Alien : Oooh The Dew Doo Man (Dew Doo Man, 1991)

The Dew Doo Man was only 20 when Russel Simmons gave him the opportunity to run his own label under the Rush associated Labels umbrella.

Having produced the first De La Soul album, and a couple of hit singles for Third Bass, Nikki D, Queen Latifah, Big Daddy Kane and Groove B Chill Prince Paul was happy being just a producer. It was a better status than just being a DJ in Stetsasonic, that's why he turned down the offer at first. But After Lyor Cohen insisted he gave the idea a second thought and finally agreed to do it.

He took the $50 000 advance, called three friends who really didn't rhyme, and proceed to record his first concept album, called "It Takes A Nation Of Suckas To Let Us In". From day one there was a big gap between what Russel had in mind and what Paul was doing. He had to fight with him to let him called the label Dew Doo Man records. Russel wanted him to make pop hits, and he was making a concept album.

When this 12" came out in november 1991, The Choice Is Yours and Scenario where still on rotation everywhere, so you would think it would have been quite easy to push this record, but Def Jam's staff was busy pushing more traditional stuff like Nice & Smooth or LL Cool J. So Paul decide to come together with Downtown Science and Nikki D to go and talk to Lyor, but none of them show up at the meeting but Paul. The tall Israeli decided he didn't want to be bothered by a&r who cared about music and pull the plug on the Resident Alien project and Dew Doo Man records was no more after only one 12".

Thursday, July 07, 2005

K Solo : System (from Excalibur 12")






K-Solo : System (Funkology, 1998)

Kevin Madison also know as K-Solo was an original member of the Squad. Even before there was EPMD Parrish invited him to join his Rock-Squad crew in the early 80's. The professional trained boxer and aspirant MC then got involved in an ugly fight with a couple of motorcyclists and K Solo was sentenced to jail. He got released in time to appear on "Unfinished Business" and Parrish soon signed him on his management company and he fully produced his debut album "Tell The World My Name".

His friendship with Parrish Smith didn't last too long since he was the first to leave the Hit Squad and to sever his ties with Shuma Management. Apparently he was pissed off that Parrish did not took time to produce his second album, and he had very harsh words about his business practices. After EPMD's break-up he started working with Dr Dre, but you how it is when Dre works with a talented rapper (Last Emperor, Rakim, King T)...

Around 1997 he briefly reappeared on the scene, trying to diss DMX who supposedly bit his new style exposed in Redman's "It's Like That". There's nothing more pathetic than an underground MC dissing a mainstream rapper who don't even care to answer.

Last time we heard of K Solo, he was throwing chairs at Keith Murray in a club somewhere in NY.

Wednesday, June 22, 2005

Knucklehedz : 5 Hoods In A 4 Door (from Savages 12")





Knucklehedz : 5 Hoods In A 4 Door (Eastwest, 1993)
Knucklehedz :
All She Wanted (Eastwest, 1993)

The Knucklehedz are the group which was the most affected by the split of EPMD. Tom J & Steve Austin were supposed to be the next offspring of the Hit Squad after K Solo, Das Efx and Redman.

You may not remember them, but the very first time I heard the name Hit Squad was on EPMD's "Hit Squad Heist", which had Tom J saying a couple of words on it. Tom J also had a short apperance on K Solo's first LP. Under Shuma Management (Parrish's company that handled the business of all the Hit Squad) they signed a deal with East West just when Erick & Parrish called it quit, they had two singles out in 1993, with production from Erick Sermon, Parrish Smith, Charlie Marotta and Solid Scheme (Das Efx producers) but the Strickly Savage album was never properly released.

It was the first in a long tradition of dope album not released by East West (Juggaknots, Supernatural, Omniscence...).

Knucklehedz : 5 Hoods In A 4 Door (Eastwest, 1993)
Knucklehedz : All She Wanted (Eastwest, 1993)

The Knucklehedz est le groupe qui a le plus perdu avec la séparation de EPMD. Tom J & Steve Austin devaient être les nouvelles stars de la galaxie Hit Squad à exploser après K Solo, Das Efx et Redman.

Peu de gens se souviennent d'eux, mais la première fois que j'ai entendu le nom Hit Squad c'était sur Hit Squad Heist, un titre d'EPMD sur lequel Tom J posait quelques mots. Un peu avant Tom J avait fait une brève particiaption à l'album de K-Solo. Via Shuma Management (la boite de Parrish qui managait les carrières des membres du Squad) ils ont signé un contrat avec East West juste au moment où Erick & Parrish se sont séparés. Ils ont sorti deux singles en 1993, production par Erick Sermon, Parrish Smith, Charlie Marotta et Solid Scheme (les producteurs de Das Efx) mais l'album Strickly Savage n'a jamais été officiellement distribué.

C'est d'ailleurs le premier d'une longue lignés d'albums mis au placard par East West (Juggaknots, Supernatural, Omniscence...).

Tuesday, June 21, 2005

Erick Sermon : Rock Da House (from Stay Real 12")





Erick Sermon : Rock Da House (Def Jam, 1993)

"Stay Real" was the second solo single Erick Sermon put out after EPMD's breakup, and that's when people start to realize how much imput the Green Eyed Bandit had on their final album. When they were doing music together Erick and Parrish simply gave credit to EPMD, so even though you could guess that their engineers DJ Doc and Charlie Marotta were involved in the creative process, people didn't really know who did what. Judging from their post-EPMD career you would bet that Erick was doing most of the production, but actually Parrish was the one bringing most of the samples, at least on the first album (by the way, go buy and read "Rakim Told Me").

I always thought that there was a major change in their sound on "Business Never Personnal". Erick Sermon got more and more into producing by 1992, he produced most of Redman's first album which sound funkier than K Solo's "Tell The World My Name" (an album almost entirely credited to Parrish). On "Rock Da House" you had the same loud crisp drums, almost saturated that EPMD had on "Scratch Bring It Back", "Cumin At Cha" or "Boon Dox". The only problem was that Erick wasn't really able to write three decent verses, the good thing is that "Rock Da House" only had two !

Erick Sermon : Rock Da House (Def Jam, 1993)

"Stay Real" est le second maxi de Erick Sermon en solo après "Hittin Switches", et c'est à partir de ce moment que les gens ont commencé à se rendre compte combien le role du Green Eyed Bandit était crucial sur leur ultime album. Tant qu'ils faisaient de la musique ensemble Erick et Parrish créditaient simplement EPMD, et bien qu'on se doute un peu que leurs ingénieurs Ivan "Doc" Rodriguez et Charlie Marotta devaient être très impliqués, on ne savait pas réellement qui faisait quoi. En écoutant leurs oeuvres post-EPMD respectives on s'imagine que Erick Sermon devait faire l'essentiel de la production, pourtant dans les faits c'est Parrish qui amenait la plupart des samples, au moins sur le premier album (pour en savoir plus allez acheter le livre de Brian Coleman "Rakim Told Me").

J'ai toujours trouvé qu'il y avait une grosse difference entre le son de "Business Never Personnal" et les trois premiers albums d'EPMD. En 1992 Erick Sermon s'était plongé de plus en plus dans la production, réalisant l'essentiel du premier album de Redman, un album carrément plus funky que celui de K Solo (celui là entièrement crédité à Parrish). Sur Rock Da House on retrouve le même type de batterie lourde à la limite de la saturation qu'on avait entendu sur certain titres du dernier EPMD comme "Scratch Bring It Back", "Cumin At Cha" ou "Boon Dox". La grosse différence entre EPMD et Erick Sermon tout seul est qu'Erick a du mal à écrire troiv couplets décents. Ca tombe bien il n'y en a que deux sur Rock Da House !

Sunday, June 19, 2005

EPMD : Brothers From Brentwood, L.I. (from Crossover 12")





EPMD : Brothers From Brentwood, LI (Def Jam, 1992)
EPMD :
Crossover (Trunk Remix) (Def Jam, 1992)

Despite what their recent first album may lead to believe, the Hit Squad was one of the strongest crew ever. Who could think of a harder posse cut than "Headbangers" ?

All week long I'll share some underappreciated Hit Squad members B sides. But let's start with a pretty well known gem. "Brothers From Brentwood, LI" is the epitome of hardcore hip hop, but the funny thing is that it was the B side to EPMD's well titled "Crossover". Being their first track with a sung chorus this single was supposed to attract a new audience (and it did), not familiar with underground hip hop who would buy the 12" for the soft slice of funk on side A, and still expose them to one of the hardest rap song you can think of. The beauty of this tactic is that it works both ways.

When you have songs titled "Underground" and "Hardcore" on your album you would expect that some of your die hard fans will have something to say when you come back with a cross over track titled, ahem... "Cross Over". But fans had to buy that single, or else they whould have miss EPMD best track ever. "Brothers From Brentwood, LI" had everything you love in an Erick Sermon production : an overused sample, loud drum, layers and layers of sounds, and dope vocal hook. The kind of vocal sample that would leave you out of breath if you try to sing along with it.

As I said this single was huge in 1992, it was EPMD's first gold single, and it was released as a CD single with a remix of "Crossover (Trunk Remix)" which was also available as a separate promo 12", very poor quality pressing but I include it for those who didn't buy the CD single.


EPMD : Brothers From Brentwood, LI (Def Jam, 1992)
EPMD :
Crossover (Trunk Remix) (Def Jam, 1992)


Malgré ce que leur récent premier album laisserait penser, le Hit Squad était un des crews les plus forts à son époque. A ce jour personne n'a fait de posse cut plus hard que "Headbangers".

Toutes la semaine je partagerais des faces B peu connues des membres du hit squad, mais pour commencer un morceau incontournable. "Brothers From Brentwood, LI" est le metre étalon du rap hardcore, mais ce qui est drole c'est que ce morceau se trouvait sur la face B du maxi de EPMD "Crossover". Ce titre, leur premier morceau avec un refrain chanté, était censé attirer un public pas vraiment incliner à écouter des groupes underground (et ça a marché), qui acheterai le maxi pour le coté funky innocent de la face A, et ainsi leur faire découvrir grace à la face B ce que le rap a de plus hardcore. La beauté de cette stratégie est quelle marche dans les deux sens.

Quand un groupe fait des morceaux intitulés "Underground" et "Hardcore" sur son album, on peut s'attendre à ce que les fans de longue date soient surpris quand le groupe revient avec un single cross over, justement nommé "Crossover". Pourtant les fans ont bien du acheter le single pour ne pas rater l'inédit en face B, probablement le meilleur morceau de toute la carrière d'EPMD. "Brothers From Brentwood, LI" a tout ce qu'on aime dans une production de Erick Sermon : un sample grillé, une batterie bien lourde, des couches et des couches de sons et une voix samplée. Le genre de voix en boucle qui vous laisse essouflé à la fin du refrain.

"Crossover" a été le premier et je crois le seul disque d'or décroché par EPMD pour un single. Il est également sorti en CD single avec en bonus un remix de "Crossover (Trunk Remix)", disponible en vinyle sur un autre maxi promo, très mal pressé mais le voici pour ceux qui n'ont pas acheté le CD à l'époque.

Sunday, February 20, 2005

De La Soul & Biz Markie : Lovely How I Let My Mind Float (from Ego Trippin' Part two 12")





De La Soul & Biz Markie : Lovely How I Let My Mind Float (Tommy Boy, 1993)
De La Soul : Ego Trippin (part 3) (Tommy Boy, 1993)

De La Soul is hands down the group with the best B Side catalog. I can't think of any other artist who is that generous with his fans. They gave us so much goodies that I almost forgive them for the numerous appaling european remixes that went with it. Even the Beastie Boys who were always willing to drop new songs whenever possible couldn't compete with De La. They could have made a triple album full of their unreleased B sides instead of the disastrous aborted AOI trilogy. They simply have more B sides than A sides, almost all their singles were blessed with at least two new songs and/or remixes.

Moreover they always wrapped them in dope artwork. That may seem a frivolous detail, but quite honestly it's half of the reason I'm doing this weblog. Shit, whatever happened to the pic-cover 12" ? Except for Sony all the major label nowadays sell their rap 12" in generic sleeves. How comes Arista and Aftermath would rather do expensive picture-discs for promo than retail copies with artwork ?

But let's go back to Lovely How I Let My Mind Float a first class b side from an overall dope 12". As I said once a B side is always better with a guest star on it, and in this case the diabolical Biz is making a welcome appearance. This was 1993, when Biz decided to give up his recording artist career and go full time DJ, so any feature slot was highly appreciate by fan of stupid def simple rhymes. In the tradition of unreleased B sides no one bothers to mention the name of the song before Dove last line. I'm lovin it !

Besides this gem Plug One, Two and Three had another new song hiden behind the deceptive title Ego Trippin (part 3), which is not a remix of the main track but a totally different song dedicated to old timers.

The dope cover was one of a long line of Phase II inspired artworks. But don't let the flyer fool you : Shortie No Mass is not dropping a verse anywhere on the record. They put her picture here but she only says a few words on Ego Trippin 2. And by the way, Biz Markie is not beatboxing at all on the song !


Lovely How I Let My Mind Float

Ego Trippin (part 3)

De La Soul est de loin le groupe qui possède le meilleur répertoire de faces B. Je ne connais pas d’autres artistes dans le hip hop qui soit aussi généreux avec ses fans. Même les Beastie Boys qui sont toujours partants pour sortir des inédits dès que l’occasion se présente font pale figure à coté. Au lieu de leur désastreuse trilogie inachevée AIO, De La auraient pu sortir un triple album regroupant leurs meilleures faces B. La plupart des leurs maxis contiennent au moins deux inédits et/ou remixes.

En plus de ça ils prennent toujours soin de les couvrir dans de superbes pochettes. C’est certes un détail, mais qui est une des raisons d’être de ce blog. Pourquoi les maxis n’ont plus de pochette de nos jours ? A part Sony, toutes les majors vendent leurs maxis dans des pochettes génériques. Comment se fait-il qu’Arista ou Aftermath fabriquent des picture-disc pour la promo mais ne sont pas foutu de sortir dans le commerce des maxis avec pochette ?

Bref revenons à ce Lovely How I Let My Mind Float un inédit terrible sur un excellent maxi. Comme je l’avais déjà dit, c’est toujours une bonne chose d’avoir un invité sur une face B, et dans le cas présent la guest star est Biz Markie. Ce maxi est sorti en 1993, à l’époque ou le Biz décida de laisser de coté sa carrière de MC pour gagner sa vie en étant DJ uniquement, ce petit couplet stupid fresh était donc fortement apprécié, et particulièrement bien placé sur ce maxi old school.

En plus de cette petite perle le trio a « caché » un autre inédit sur le maxi puisque derrière le titre trompeur de Ego Trippin (part 3) ne se trouve pas un remix mais un tout nouveau morceau. La pochette est inspirée par les visuels des vieux flyers de Phase II, très souvent repris.

Attention, contrairement à ce que le flyer laisse comprendre Shortie No Mass ne rappe sur aucun morceau. Ils ont mis sa photo mais elle ne dit que quelques mots sur Ego Trippin (Part 2). Et d’ailleurs Biz Markie ne beatbox pas du tout sur ce maxi !

Thursday, February 10, 2005

KMD : What A Nigga Know remix






KMD & Grim Reaper : What A Nigga Know Remix (Elektra, 1994)

The main focus of this blog is not really remixes, but sometimes you may wonder what's the definition of a remix after all ? Literally a remix is supposed to be a different mix of a song, you turn the bass up, add some percussion and flip the sample differently. Back in the 80s it was closer to arrangement than composition. Then in the early 90's most hip hop remixers started to do beats out of scratch and just blended a cappellas over it. Then Sean Combs came and "invented" the remix, very usefull when you know your rapper won’t be around next year but you have a dope beat and you want to extended the longevity of the song. You just cast a bunch of free lance MCs to spit rhymes over the original music. But nowadays you hear remixes with different beat AND different lyrics, so I guess a remix can be anything.

This song is listed as the remix to What A Nigga Know. The beat has nothing in common with the original, the lyrics are totally different, and MF Grimm appears as an uncredited guest on the song. I used to think that it was a typo, or a type of mistake on the 12” artwork, but it seems that this was not a song per se, but really another version of What A Nigga Know. OK, they don’t even say the words What A Nigga Know in the remix, but whatever... That particular song was one of the very first time we heard The Grim Reaper. If memory serves me correct this 12” dropped in april 1994, just a few weeks after Kurious’ album where Grim made his debut on “Baby Bust It”. The remix pitches a strong line from Gil Scott-Heron’s ballad “Pieces Of A Man” as a hook, not a surprise since the Black Bastard album was strongly influenced by spoken word.
I remember buying the record when it came out, and loved it so much that I used the instrumental to open my radio show for a whole year in 94/95, and from 95 I used a beat I made sampling the Constipated Monkey bassline. I was really expecting the album and I was really sad when someone told me they got dropped from Elektra over some artwork argument. I guess artwork was a very sensitive subject for WEA back then because they used the same reason to refuse to distribute more than a few records that same year.

I found a bootleg copy of the album during the summer of 1994 in London, and of course the so-called “remix” was not on it. However it was included as a bonus on the original official pressing of the album, released years later on Subverse. Bobbito also had re-release the 12” on Fondle’em in 1998.

KMD & Grim Reaper : What A Nigga Know Remix (Elektra, 1994)


Le thème de ce blog n’est pas vraiment les remixes, pourtant on doit parfois se poser la question : quelle est la différence entre un remix et un morceau original ? Etymologiquement un remix est un mix alternatif, on remonte un peu la basse, on ajoute des percu, et éventuellement on triture le sample... Dans les années 80 les remixes tenaient plus de l’arrangement que de la composition. Ensuite au début des années 90 les remixeurs hip hop ont commencé à refaire totalement des beats qui n’avaient rien à voir, et à coller les a capella dessus. Et puis Puff Daddy est arrivé et il a inventé le remix… Très pratique quand on a un rappeur non charismatique mais un instru mortel et qu’on veut prolonger un peu la durée de vie du morceau. Il suffit de payer quelques mercenaires de la rime pour leur faire enregistrer un couplet sur le beat existant. De nos jours on a franchit la dernière étape puisqu’on entend des remixes où les beats ET les rappeurs différents, à croire que n’importe quel titre est un remix à partir du moment où on a décidé de l’appeler remix.

Le morceau que voici est censé être le remix de What A Nigga Know. Le beat n’a rien à voir avec celui de la version originale, les paroles du morceau sont différentes, et il y a un invité non crédité, le Grim Reaper connu maintenant sous le nom de MF Grimm. A l ‘époque je pensais qu’il y avait eu une erreur sur la pochette est que le titre de ce morceau avait été oublié, mais il semble que c’était vraiment un remix de What A Nigga Know, même si ni Zev Lov X, ni Grim ne prononcent les mots What A Nigga Know dans leurs textes… C’était une des toutes premières fois qu’on entendait Grim Reaper, il avait seulement posé un couplet sur l’album de Kurious sorti quelques semaines auparavant.

Je me souviens avoir tellement aimé le maxi à l’époque au point que je l’avais utilisé deux ans de suite pour le générique de mon émission Amis De La Poesie Bonsoir, en 94/95 j’avais pris l’instru de What A Nigga Know, et l’année d’après j’avais composé un générique qui samplait la basse de Constipated Monkey. J’attendais l’album avec impatience, et j’étais réélement triste quand j’ai appris que le groupe avait perdu son contrat avec Elektra à cause de leur pochette. Il faut croire que les pochettes de disques de rap étaient un sujet sensible pour WEA en ce temps là, puisqu’il avaient utilisé la même excuse pour se séparer de plusieurs groupes la même année...

A l’été 1994 j’ai trouvé une version bootleg de l’album à Londres qui ne contenait pas alors le soit disant remix. Il n’était pas non plus sur la version sortie en autoproduction par MF Doom en 2000, mais a été ajouté en bonus sur le pressage SubVerse en 2001. Le remix est également trouvable sur la réédition du maxi sorti chez Fondle’em en 19998.

Saturday, January 22, 2005

Public Enemy : B-Side Wins Again (from Black Steel In The Hour Of Chaos 12")




Public Enemy : B-Side Wins Again (Def Jam, 1989)

With this blog I intend to share some of my favourite non-album dope hip-hop tracks, obscure or not.

Of course I have to start with Public Enemy. B-Side Wins Again was first release in 1989 as a B side, before they included it to Fear Of A Black Planet. There are only a few differences between the two versions, they added a couple voices and pitched up the song. According to the back of the cover the song was recorded on January 15th, 1987.

The weird thing is that the Black Steel In The Hour Of Chaos 12" is a melting pot of tracks from their first, second and third albums. While the single was release after It Takes A Nation Of Million To Hold Us Back, they included Too Much Posse from the first album.

Of course the B side is now widely known, the 12" is valuable for its nice artwork, with press clippings claiming the group belongs to a genre known as "Gangster Rap" !

Enjoy, and expect more (and rarer !) soon...


Public Enemy : B-Side Wins Again (Def Jam, 1989)


Je ne pouvais pas commencer ce blog sans ce morceau de Public Enemy. B-Side Wins Again est d'abord sorti sur la face B de Black Steel In The Hour Of Chaos avant d'être inclus sur Fear Of A Black Planet. Il n'y a pas beaucoup de différences entre les deux versions, ils ont juste ajouté quelques cris et acceléré légèrement le morceau pour la version album. Si on en croit la pochette du maxi ce titre aurait été enregistré le 15 janvier 1987.

Ce qui est surprenant sur ce maxi fourre-tout est qu'on y retrouve des titres des trois premiers albums de Public Enemy. Bien que le single soit sorti après It Takes A Nation Of Million To Hold Us Back ils ont remis Too Much Posse, tiré du premier album.

Même si le morceau n'est plus vraiment une rareté, ce maxi est notable pour sa pochette, avec ces vieilles coupures de presse où PE est présenté comme un groupe de "Gangster Rap" !