Big Pun : Wishful Thinking (frrom I'm Not A Player 12")

Big Pun, Kool G Rap, Fat Joe & B-Real : Wishful Thinking (Loud, 1997)
Big Pun vs Hector Lavoe : Never Was A Player

I never was a big fan of Big Pun.

Of course part of it is because he had a terrible taste in beats and that he always picked the most cheesy loop you can think of. It also probably has to do with the fact that I never heard one memorable line from him, not once I thought "hoo, did he just say that !".

But what really makes most of his music barely listenable was his breath. I'm not picking on him, but really, every other line when he had to breathe he made this terrible noise that not only was annoying back then, but which now stays as a dramatic hint of his bad health. And once I hear his "hrrrra" I can't focus on anything else.

But on his very first 12" he was lucky enough to work with engineers like Chris Conway who took the time to edit these noises from the final mix, because that would be really embarassing for him on a track with Kool G Rap.

Also, my man Benoit who runs http://dustytape.blogspot.com/ just did a documentary on latin legend Hector Lavoe, that may or may not hit a tv screen near you soon. I haven't seen it yet, but that should be a good enough reason to play this mash-up of Pun & Lavoe, from the latino version of the Grey album (=an overrated mc a cappellas awkwardly blended over a pop icon samples).

KRS One : Word Perfect (from The MC 12")

KRS One : Word Perfect (1996)
KRS One : Neva Hadda Gun (1997)

This is the actual retail copy of KRS One's "The MC" 12" (technically it's the "Can't Stop Won't Stop" single, since that's the first song on the record). This one also had an exclusive track on it, unfortunately not as good as "Throwdown".

This 12" was released way before the "I Got Next" album, which at that time was supposed to be called "Just To Prove A Point", and the track "Word Perfect" didn't make the final cut. The beat was produced by longtime engineer Gordon Williams, also known as Commissioner Gordon, and it was the first beat he did for KRS One even though he had been making music for many year, since he's also the guy responsible for most of the tracks on Jesse West's album from 1989, and some for dancehall gal Shelly Thunder (who later did a 12" on KRS' own Front Page).

This is not exactly the version you would find on the 12". I made an edit, because Commissioner Gordon had the pretty bad idea to let an uncredited girl sing over the scratching which sounds terrible (both the girl and the cuts !).

So I don't know why KRS didn't keep the song on the album, either he didn't like it that much, or didn't feel like having two songs on the same album with cuts off Public Enemy's "Bring The Noise", which were used on "Neva Hadda Gun" as well.

KRS One & Coldcrush Brothers : The Throwdown (from The MC test press)

KRS One & Cold Crush Brother : The Throwdown (1997)
KRS One : What I Know (1995)

I know this label may look like a joke to some, but it's not. I found this record in 1997, I was randomly listening to a pile of newly released twelve inches when I checked out this one. I was never a fan of the UMC's, but I grab that one because I liked what Essence did when she was with Natural Element, specifically her part on Shine. But instead I was treated with a KRS One track.

I don't know how that happened, but somebody messed up with the DATs at the pressing plant, and somehow, someway the Kool Kim labels end up on this KRS One test press.

Even to this day every time I see the Kool Kim 12" in a dollar bin, I check the etching on the run-out groove, if it reads KRS-001. Unfortunately I haven't found a second copy yet. So, no, I'm not a fan who scratched his name off his record after his recent column in http://www.unkut.com/ (the best blog around these days).

Anyway, so this is the b-side of "The MC" 12", so I assume it was supposed to be on KRS One's last album*. From what i've heard KRS One had a fall out with the Cold Crush Brothers over some royalties he allegedly owed them off of the 12" they did on Front Page two years before. Honnestly, I have a hard time beleving that "Cold Crush Flava" could have generate any profit, so this rumour could be totally untrue.

This is probably the best in the catalog of songs that didn't make the final cut on a KRS album. A lot of tracks that were on the promo copy of his self titled album were not on the retail version. Like What I Know (produced by Diamond D), which was mentioned in the album review in The Source, but was never released officially.

* : yeah, I know about Sneak Attack, Spiritual Minded, Prophets & Profits, Kristyle(s), Keep Right and Life, But I'd rather act like a true fan would : buy them and then pretend none of them ever existed.

Jazzy Jay & Russel Rush : Cold Chillin In The Spot (from Def Jam 12")

Jazzy Jay & Russel Rush : Cold Chillin In The Spot (Def Jam, 1985)

I said I wouldn't, but finally I bought Russel Simmons' biography. You know how it is, one day you'll have 9 hours to spend on a flight and you come across the book in a Half Price Books & Records shop. But guess what ? Life & Def is not as bad as I thought. It's actually way better than DMC's autobiography, much more info in it. Did you know Slick Rick was locked in a mental ward when he signed to Def Jam ?

I could have lived without the 20 pages about Russel goes to Hollywood. I mean, the guy made three movies but he really thinks it's essential to give his opinion on every single guy he ever met in the movie industry. But besides that it's interesting, especially the first part of the book, how he grew up, how he started managing Kurtis Blow etc...

It gives an insightful point of view on the business side of Def Jam, but not so much on the artistic side (Rick Rubin and then Lyor Cohen were more in charge of the artists it seems). For example he doesn't name any artist he signed himself. LL Cool J was discovered by Ad Rock, Rick Rubin "forced" Chuck D to sign with the label, Tracy Waples found Method Man, Lyor Cohen is responsible for Warren G being on the label etc

The only problem I have with the book is that he really doesn't give props to the man who created Def Jam with Rick Rubin : Jazzy Jay. I think he only mention his name once : "one night at a club Jazzy Jay asked me if I wanted to meet the guy who made It's Yours". He barely acknowledge the fact that the name and the logo of the company Def Jam existed even before he got into the picture. And there is no mention of Cold Chillin In The Spot, the only song Russel recorded himself ! This odd track is a filler to be found on the b side of Jazzy Jay's "Def Jam" where Russel Simmons talks about... nothing really. While he had writing and producing credits on numerous tracks I think it's the only track where Russel raps.

I guess if I want to know more about Def Jam I'll now have to read Stacy Gueraseva's book.

Def Jam Inc.
Update : I did, and it's really a good read. Lots of information on acts no one cared about like Resident Aliens !

Boogie Down Production : The P Is Free (from South Bronx 12")

Boogie Down Productions : The P Is Free (B-Boy, 1986)
(fixed)

Like a lot of people I heard the remix of Pussy Is Free long before the original. The version on "Criminal Minded" had that reggae sample while the first recording of the song was straight hip-hop with noting but beat box and some 808 sounds.

The B side to Boogie Down Productions’ first single, South Bronx, was really on some low fi tip. Recorded in one take for the astronomical budget of $ 25 with D-Nice as the human beat-box, The Pussy Is Free suffers from a terrible mixdown, but regardless is historically important if only for the inclusion of KRS/BDP signature line “Fresh for 86, suckas !”

Just Ice : That Girl Is A Slut (from Latoya 12")

Just Ice : That Girl Is A Slut (Fresh, 1986)


Another member of the Boogie Down Crew, Just Ice made his first mark in the hiphop community with this single, especially the hit Latoya. When that record was released (twenty years ago...) I just started listening to hip hop and I didn’t hear anything from him until years later, probably 1989 or 1990, way past his prime. Don’t ask me why, but in my mind I thought of him as a harder version of Fresh Prince. My knowledge of hip hop was very limited then. Being young and stupid I dismissed anyone rhyming over some beatbox as being too soft (the Fat Boys didn’t really help to make beatboxing credible).

A rauchy version of Slick Rick would be a more approriate definition of his style. If you thought that Latoya was misogynistic, wait until you hear its b side ! I don’t know why so many beat box tracks are so sexually explicit, it has to do with the idea of a guy making strange noises and spitting saliva. On this track Just Ice is joined by the Original DMX (well not to be confused with Davy DMX aka Davy D who produced Kurtis Blow, Run MC, Spoonie G or Dr Jeckyll & Mister Hyde). Anyway, I'll have a beat box week, with a few other to share later this week.


Just Ice : That Girl Is A Slut (Fresh, 1986)

Membre du Boogie Down Crew, Just Ice s'est fait connaître de la communauté hip hop avec ce single, en particulier grace au tube Latoya. Quand ce disque est sorti il y a vingt ans je commencait juste à découvrir le rap, et il s'est passé plusieurs années avant que je découvre Just-Ice. Betement je m'étais imaginé Just-Ice comme un clone de Fresh Prince en moins inoffensif. Pour moi tous les rappeurs qui avait un beat boxer étaient assimilés aux Fat Boys et à Fresh Prince. Si je devais définir Just-Ice aujourd'hui je dirais qu'il est un mélange de Slick Rick et Schoolly D. Sur ce morceau il est accompagné de son beat boxer DMX, à ne pas confondre avec Davy DMX alias Davy D, producteur de Kurtis Blow, Run MC, Spoonie G ou Dr Jeckyll & Mr Hyde, et auteur d'un album sur Def Jam.

3rd Eye : 360° (from Reality 12")

3rd Eye : 360° (Sure Shot, 1997)
Jesse West : Renegade (Motown, 1989)
Heavy D, 3rd Eye, Notorious Big, Rob O, Guru & Busta Rhymes : A Buncha Niggas (Uptown, 1992)
3rd Eye : Ease Up (Uptown, 1993)
Trends Of Culture : Valley Of The Skins (Jes Wes remix) (Mad Sounds, 1993)

The post about Nine just made me think that his rhyming partner in 24/7 really deserved some shine. Jesse West, also known as Third Eye, is one of the most deserving unsung heroes in hip-hop. His sketchy career probably suffered from his constant name changes.

So Jesse West signed with Motown in 1989 for his first album No Prisoners, produced by Commissioner Gordon. Obviously the label didn't know how to promote a rap act at that time (not that they do now) so the record didn't go anywhere. Renegade was a favourite of mine at that time.

He kinda disappeared then for a couple of years and came back hard with a bunch of great tracks like, well, A Buncha Niggas , the posse cut from Heavy D's Blue Funk, with a young and hungry Biggie, INI's Rob O, Guru and Busta Rhymes. You gotta appreciate the credit on the sleeve : rap by Busta Rhymes. I guess the other guys are just singing opera or something.

While hangin around Puffy he also did a remix of Supercat's Dolly My Baby where, according to Jay Smooth, he dropped the very first occurence of the phrase bling bling (yeah, I just googled that one). Around the same time Puff gave him the opportunity to cut his own single on Who's The Man soundtrack, co produced by Lord Finesse. He pulled a Large Profesor on Ease Up with his last words, "you want some more flavor ? Go buy the album !". He didn't put out an album until years after that statement.

He kept producing, doing tracks for PMD, Xzibit, Raw Breed, Nine (of course) and most notably KRS One's antepenultimate Jive single "Step Into A World", and then dropped this dope single on the original Sure Shot Recordings in 1997.

This soulful 12" is one of the best thing that Jesse West has recorded. I'm the first to admit that his first album has not aged really well, but the Reality single is good from the first song to the last instrumental. You should know how this site works : I won't give you mp3 of all the songs from the 12", you wil have to dig the record yourself to hear the rest. Both Reality and Circles are on his second album though. With its Milt Jackson loop and 3rd Eye crooning an old Bobby Caldwell tune over it, 360° is smooth, but not in a sell-out way. As far as I know the album called Planets was only licensed to a french label Declic, and I don't think there is any other pressing.

Strangely this rapper who was kinda obsessed with the new millenium hasn't released much in the past 5 years. The aforementioned 24/7 material is the last decent record he did. There was also a yellow 12" with RZA floating around, but it's less than stellar. But who knows, he may be releasing stuff under another name I haven't heard yet.

Nine : Me, Myself & My Microphone (from Whutcha Want 12")

Nine : Me, Myself & My Microphone (Profile, 1994)
Run DMC & Living Color : Me, Myself & My Microphone(Immortal, 1993)
Jesse West, Top Quality, Nine, Lord Finesse & Zone 7 : Troopers Represent (Sure Shot, 1998)
24/7: 24/7 (Franchise, 1998)


Bronx native Nine Double M made his first appearance in 1993 on Funkmaster's first single for Nervous "Six Million Ways To Die", back when Flex was an up-and-coming DJ. Soon after he was signed to Priority and released the underground favourite "Whutcha Want" with the horrorcore inspired "Redrum" on the flipside. Two songs you can find on the Nine Livez album, but the 12" also contained a little known track called "Me, Myself & My Microphone" which borrowed a line from "Sucker MC's", by labelmate Run DMC (who also used that name for a song on the horrendous Judgement Night soundtrack). The funny thing is that Nine went on to throw subliminal diss at them on his second album, with the cut Lying King. At least that's what I understood, but may be he was talking about another Born Again christian group who called themselves kings.

When Profile went out of business, he went back to his old friend Funkmaster Flex, who by then was larger than life. Nine hook up with the legendary Jesse West, aka ICU, aka Third Eye (the first rapper to have an album on Motown) to form the group 24/7. Together they released a couple of records on Franchise, (Flex-owned label) including the eponymous track. They even had a song placed on The Final Chapter of the 60 Minutes Of Funk mix series, but the pair wasn't successful. After the new millenium no one really heard of Nine, nor Jesse West.

Diamond, Sadat X & Lord Finesse : You Can't Front (...It Is Real) from Fuck What U Heard 12"

Diamond, Sadat x & Lord Finesse : Shit Is Real (Mercury, 1992)
Dana Barros & Ced Ceballos feat AG, Sadat X, Grand Puba : Ya Don't Stop (Immortal, 1994)

There is something with the Diggin In The Crates albums. I mean those guys became the most solid crew of the 90's mostly on the strength of their dope name, and they motivate thousands of people who didn't care about the northern soul scene or rare groove movement to go and look for old records wherever possible. So one would think that when they had the opportunity to sign a record deal they would make sure that a clause mention that their work would be available on vinyl. But no.

Their vinyl catalogue is one big joke, Diamond's first album was promo only, Showbiz & AG's "Runaway Slaves" skipped, Lord Finesse's "Funky Technician" is virtually non-existent and "Return Of The Funky Man" never made it to retail. I mean they probably lost sales by not releasing they albums on wax, most of these guys had songs about breaks, diggin, and buyin old records, but the people who would have feel close to them were more likely to buy vinyl. At least I know I didn't buy their CDs ! The younger generation of DITC did the same mistake. Well, Fat Joe's "Represent" was available on vinyl, and it was awarded the world lowest album pressing ever. He held this title only a couple of month, until the release of Big L's first album. I don't even know if OC's "Word... Life" was pressed on vinyl when it was first released, I just never saw an original copy. His second LP "Jewels" was widely available, but the vinyl had the strange property of deleted itself after a couple scratches.

Now that I think of it I think they could have just find it funny to make their own vinyls hard to get.

Anyway, you would think that the 12 inches would be the medium of choice for their fans, but some of them were still very hard to get, especially Diamond D's 12". The fact is that he was on a label that wanted to make it clear that his album was nothing more than a tax write off. The type of label who would print on your album cover a bio with wrong dates (Diamond started as a DJ for Jazzy Jay in 1979 ? Ahahah !), or would shoot a video without him.

Fuck What You Heard was the last single from "Stunts Blunts & Hip Hop", so by that time he had to deliver new material, which he did on Shit Is Real with a little help from Sadat X and Lord Finesse. The combination of Sadat X and Diamond gave birth to so many dope songs that you would wish that they didn't ruin it with that Omen shit. One of the lousiest project the collaborated on was the infamous B-Ball Best Kept Secret, and they manage to pull out a decent song together. Lord Finesse's been down with the self proclaimed best producer on the mic (to be fair, he said that before Finesse start producing, and after Showbiz stopped outshining AG) since day one, but of all the project they did together this is my favourite one.

Diamond, Sadat x & Lord Finesse : Shit Is Real (Mercury, 1992)
Dana Barros & Ced Ceballos feat AG, Sadat X, Grand Puba Ya Don't Stop (Immortal, 1994)


Il y a un problème avec les albums de Diggin In The Crates. Je veux dire, ces gens là se sont imposé comme le crew le plus fort des années 90 grâce à ce nom magique. Il motivé des milliers des gens qui se foutaient du rare à groove et de la northern soul à aller fouiller les bacs de vieux disque juste pour pouvoir se dire crate digger. Logiquement on aurait pu penser que quand ils ont eu l’occasion de sortir des disques ils se seraient assuré que leurs contrats stipulent que les œuvres devaient sortir en vinyle. Mais non.

L’histoire de leur sorties vinyles est un long sketch, le premier album de Diamond n’existe qu’en promo, "Runaway Slaves" de Showbiz & AG saute, "Funky Technician" de Lord Finesse est pour ainsi dire inexistant et "Return Of The Funky Man" n’est jamais sorti commercialement. Ils ont du perdre un nombre considérable de ventes à cause de ça, étant donné qu’ils parlent dans leurs morceaux de leur dépendance aux vieux disques, de breaks, et du diggin, les gens comme eux n’allaient pas acheter leurs disques en CD ! La seconde génération du DITC a répété les mêmes erreurs. "Represent" de Fat Joe est sorti en vinyle, il a même reçu le prix du disque le plus mal pressé de tous les temps, un honneur qui lui a été repris quelques mois plus tard par le premier album de Big L. Quand au "Word... Life" je sais pas s’il est sorti en 33t à l’époque, je n’en ai jamais vu une copie. Heureusement son second album a été pressé en double vinyle, ou plus probablement en double styrène vu la propension qu’a le disque à s’autodétruire un peu plus à chaque scratch.

En y repensant je me dis qu’ils ont peut être fait exprès de rendre leurs disques introuvables.

Bref, avec un tel catalogue on aurait pu croire que leurs maxi allaient être largement disponibles pour satisfaire les fans, pourtant beaucoup sont maintenant assez durs à trouver, notamment ceux de Diamond D. Il faut dire qu’il était à l’époque sur un label qui n’a jamais fait semblant de s'interesser à lui.

"Fuck What You Heard" était le dernier single tiré de "Stunts Blunts & Hip Hop", Diamond devait donc amener quelquechose de neuf, et c'est ce qu'il a fait avec "Shit Is Real" aidé de Sadat X et Lord Finesse, et Buckwild à la prod.

La combinaison Sadat X / Diamond D a donné lieu à beaucoup de grands moments, presqu'un sans faute jusqu'à l'horrible maxi de leur groupe The Omen. Parmi les projet foireux sur lesquels on retrouve Diamond et Sadat on se souvient de la pitoyable compilation B-Ball Best Kept Secret, sur laquelle ils sont parvenu à réaliser un titre correct. Lord Finesse est pote avec le soit-disant meilleur producteur au micro (à sa décharge Diamond a proféré cette énormité avant que Finesse commence à produire et après que Showbiz ai arreté de rapper) depuis toujours, mais "Shit Is Real" reste pour moi un des meilleurs morceaux qu'ils aient fait ensemble.

KRS One : Hip Hop Vs Rap (from Sound Of The Police 12")

Hip-Hop Vs Rap has to be my favourite KRS One track ever (expect to read that again). This joint is a killer from beginning to end. From the fake crowd participation intro you know this won't be a normal song, then KRS makes it an interactive record by talking directly to the MCs and DJs listening, in a way no one ever did ! He then goes on by kicking one of his most memorable verse (sampled many times) that ends up with the famous part made of various lines borrowed from classic rap joints.

A few years later used the same trick on Bring It Back but the song just did not have the same magic.

The fact that the song does not have a chorus is characteristic of the general superiority of a B side (I don't know why, but usually I think that I'm wasting my time when I listen to a chorus). He gets a bonus point from including the accapella of Hip-Hop Vs Rap on the 12". This track was the B side of "Sound Of The Police" and was never made available officially anywhere else (not that I know of at least). Since the record was one of his most popular under his own name it should not be very difficult to find a copy.


KRS One : Hip-Hop Vs Rap


Hip-Hop Vs Rap est probablement un de mes morceaux préférés de KRS One (ce n'est pas la dernière fois que je vais écrire ça !). Ce titre est incroyable de bout en bout. Dès l'intro on comprend que ce morceaux sort de l'ordinaire, KRS démarre avec une fausse crowd participation, puis s'adresse directement aux DJ et aux MC en train d'écouter le disque en leur laissant quelques mesures pour rapper et pour scratcher : c'est un peu le premier disque interactif au monde ! Puis enfin un couplet mémorable qui se termine avec ces rimes empruntées à de nombreux classiques.

Deux ou trois ans plus tard il utilisera la même technique sur Bring It Back mais ce second morceau est loin d'être aussi remarquable.

Comme pour beaucoup de bonne faces B, ce morceau n'a pas de refrain (je ne sais pas pourquoi mais j'ai souvent l'impression de perdre mon temps quand on me répète huit fois un refrain). En plus on a droit à l'accapella de Hip-Hop Vs Rap sur le maxi. Ce morceau est trouvable sur la face B de "Sound Of The Police" sorti début 1994.