FROM DA BRICKS

Heavy D is a little bit of an oddity to me. On the one hand he is the incredibly well connected and, if we go by liner note shouts, highly respected cousin of Pete Rock whose recording career started as early as 1987. On the other, he has produced some of the fluffy nonsense that any serious hip hop fan would instantly condemn as garbage. Indeed, when I think of Heavy D, I am transported back to being thirteen years old standing beside a fairground round with ‘Now That We’ve Found Love’ pumping out of a sound system and feeling rather out of place at the carnival that used to come to my part of London every year. To be fair, I don’t know his first two albums at all despite some Marley Marl work on his sophomore effort, but it does seem strange that an artist who crossed over with such vigour was able to maintain credibility throughout a career that spanned two decades.

‘Blue Funk’ was an obvious attempt to re-engage a more street level audience, pulling together the production work of DJ Premier, Tony Dofat and of course Pete Rock: a highly impressive array of producers. In general the beats are pretty bangin’ and if you’re up on this era of hip hop you will recognise a lot of the drum breaks and samples as they crop up elsewhere on other recordings regularly. The title track is perhaps my favourite, although apart from ‘Girl’ the album really is pretty consistent. Having said this, I would not expect ‘Blue Funk’ to blow you away. There is no doubt that it is an enjoyable album but it is by no means classic material.

Perhaps most surprising are the Overweight Lover’s skills on the mic, which are remarkably competent. At times, and I say this with caution, he could almost pass as Biggie (who turns up on the posse cut ‘A Buncha Niggas’ along with Rob-O, Guru and Busta… weird eh?). Temporarily dropping his usual fluffy image for a decidedly more hardcore edge, he boasts and brags his way through the album with efficiency. The only real gripe with his presence on the microphone for me are the pseudo-therapeutic sessions that precede each of the tracks where Heavy tends to ponder his role in the game and the legacy he may leave. These are at best cringe-worthy and at times laughable; you can’t help but wish he’d kept these musings to himself.

Ultimately, ‘Blue Funk’ is a pleasing discovery for any fan who may have dismissed his music due to his more obvious commercial successes. If you didn’t know it was Heavy D, you would be easily excused for the mistake as this sounds very similar to other works of the era particularly albums like the Rough House Survivors ‘Straight From The Soul’. Cop it and pay your respects to one of the largest (literally) figures in hip hop of the ’90s.

This album always seems to get a lot of good press amongst the ‘real’ hip hop community, and on paper it deserves it. It’s 1995, you’ve got Pete Rock, Buckwild and L.E.S. on the boards and an MC coming off the back of one of the most well-known guest spots in the history of the genre (‘Life’s a Bitch’, ‘Illmatic’: enough said). Despite this, I am not a major fan of this release and find both the production and AZ’s mafioso persona a little bit too corny for my tastes.

There is no doubt that AZ has skills on the mic. He has a distinctive and laid back flow that features lots of internal rhyming patterns and I do like his delivery, but I do not feel that he carries the content particularly well. If you take ‘Reasonable Doubt’ and ‘Only Built 4 Cuban Linx’ as the benchmarks for this particular strand of the genre then in my opinion ‘Doe Or Die’ falls way short. What the aforementioned releases achieve is a dark and harrowing portrayal of a mafioso lifestyle that is matched perfectly with the beats on both albums, and I do not feel that AZ’s debut manages it with the same consistent quality or style. Even the cover art feels a little weak, acting almost as a precursor to the bling era, with AZ flashing some dollars and sipping on some champagne. In basic terms, it doesn’t feel as real as either Jay Z or Raekwon’s first solo efforts.

Of course, this is not to say that this album is garbage by any stretch of the imagination and there are a few choice cuts that make it worthwhile. I like both Pete Rock produced contributions namely ‘Gimme Your’s’ and ‘Rather Unique’, although they are by no means amongst his best work. ‘Mo Money, Mo Murder…’ features a great string loop and Nas returning a guest spot in lieu of AZ’s appearance on ‘Illmatic’. I think that this is perhaps the most successful cut on the album with the two MCs weaving a moody narrative in which they explore the downfall of a powerful crime lord whilst discussing the hold that money has over modern day society. Finally, I like the ‘Sugar Hill Remix’ and feel that it is a significant improvement over its original incarnation with its corny vocal chorus hook and uninspiring beat. Other than that, I don’t think that much of the production elsewhere and find myself particularly disappointed by Buckwild’s contribution that lacks his trademark gritty, dusty sample vibe.

I know that many of you out in blogland have been professing the quality of AZ’s latest release recently, and given that he’s been in the game this long he is doing pretty well to still maintain credibility amongst the discerning online community. The bottom line is that I have slept on his later releases because of my lukewarm feelings about ‘Doe Or Die’. Maybe I’m wrong, but this goes down as one of those albums that whilst widely regarded as classic material, I have never felt it really deserves the high acclaim that it so often receives.

Thanks once again to everyone who dropped a comment on the ‘Right Or Wrong’ debate; felt like we had a really good discussion going there (still a chance to comment though!) that really made me think about the issues involved. One thing is for sure about the world of hip hop blogs: they are a forum for discussion of both the music, history, culture and the issues that have arisen as a result of the dawning of the digital age. Let’s keep this level of thought involved in blogging and it can only lead to good things.

Although I always try to keep my posts fresh in terms of whether I have seen albums elsewhere, the reality is that this is a virtual impossibilty given the sheer number of blogs online. I realise that perhaps my strengh lies in my comments on albums that I post up and not on exclusives or exceptionally rare joints, so although I will try to always provide links to stuff that I haven’t seen elsewhere, I will still persist in commenting on albums that I enjoy and feel are valuable to the culture despite their presence elsewhere in the past. I also assume that many readers of this blog may be new to this online community and so doubling up in places isn’t necessarily that much of a crime, and I hope experienced bloggers will still value a discussion on these releases. Having said this, I haven’t seen ‘Goodfellas’ up recently as far as I can remember, so I’m going for it.

‘Runaway Slave’ is of course an undisputed classic within the genre, spawning great hits like ‘Soul Clap’ and ‘Fat Pockets’ as well as being a consistent LP for its entire duration. Their follow up effort was by no means as refreshing as their debut, falling victim somewhat to the prevailing attitude at the time that you needed to come off harder on the sophomore album, but it still does this better than most and contains some of the best work that the duo ever produced. In fact, if I had to name my favourite Show & A.G. cuts then I reckon there would be an even spread between the two albums.

The most commercially viable single here was the Premier produced remix of ‘Next Level’ which seems to have gained much more exposure than any other song on the album. Of course, it’s a banger (although I prefer the original mix that will feature on the upcoming ‘FDB Guitar Mix’ as well as on this album).

One of the other highlights for me is ‘You Want It’ with Party Arty providing a seriously gritty chorus hook backed by a great bassline and quality horn loop. I also like ‘Add On’ which features a very tasty horn sample, characteristic sleighbells and heavy snares courtesy of Lord Finesse production and ‘Got Ya Back’ which professes the strength of brotherhood amongst friends on the mean streets of the ghettos in the big city. Occasionally, the album goes overboard with its street level approach: ‘Got The Flava’ and ‘Neighbahood Sickness’ are almost too dark for my tastes, and I am by no means faint-hearted when it comes to harder-edged hip hop.

I know that at one time, Roc Raida was the tour DJ for Show & A.G. and in fact provides some of the scratching on the album. I would have loved to have seen the duo during this time; pure and unadulterated hip hop. Alas, I was still barely pubescent and living in London, so the chance most definitely passed me by. To have been ten years older… (not to wish my life away).

In light of the discussion over the last couple of days and given that this goes for up to $150 on Amazon due to its out of print status, I have few qualms in throwing this up. If you’re a fan of their first album then do expect something different, but embrace the sound and enjoy.

Before starting today’s post I just wanted to give a quick shout to everybody who has been leaving comments recently. It it always highly satisfying to get some feedback on the work that I put into the blog and it has been particularly great recently with a debate or two kicking off (props to Alley Al for stoking the fire on the Large Pro post… not sure how well you came off mate!). In all seriousness though, it really is appreciated when people leave their thoughts and feelings on the albums and reviews, keep it up if you’re already on it or get involved if you ain’t there yet.

‘Give ‘Em The Finger’ was one of those albums that I felt genuinely excited about when I stumbled across it on Amazon. I can’t explain exactly what this hunch was based upon as I had never heard any of his music, but I just had a feeling that it would be dope. When I get this feeling it goes one of two ways: I’m either right and elated or I’m wrong and end up somewhat disappointed. I think that my response to this album falls into the second category despite the fact that this is a decent release that is well worth a listen.

Everything is in place if you’re feelin’ that mid ’90s vibe: boasts and brags, a shouty chorus here and there, big snares and some horn loops… there are also some highlights on here as well. ‘Checkin’ Out The Avenue’ has an almost Naughty By Nature feel about it and would work well in a club and both ‘This Is How We…’ (featuring a verse from Kool G Rap) and ‘How You Feel About That’ will get your head nodding. Much of the album’s production is handled by the Trakmasterz and I would be grateful to anyone who could fill me in on their full discography as the internet is a little sparse on detail apart from their more mainstream production for Will Smith, Mariah Carey and a few other bits and pieces.

Despite these standouts and a relatively consistent quality throughout (ignore the horrendously corny ‘Lady In My Life’), this is not an album I listen to particularly frequently and would argue that there is something a little bit lacklustre about ‘Give ‘Em The Finger’. Don’t get me wrong, this is a solid enough release but there is something about it that doesn’t quite do it for me. This also goes for some of the cuts he released later on in the ’90s that I felt also lacked that edge that makes something great as opposed to being just good. You may not feel the same: cop it and find out.

Request Alert!

I mentioned the shelved Freddie Foxxx LP in my Large Pro post as I feel that it is a another example of an industry oversight, particularly given his prominent position in the genre for over 15 years. The version I have of this is of a relatively poor quality with a hiss over all of the tunes. If you have a version of this that is of decent quality then please hit me with a link: I want to here ‘Can’t Break Away’ in all its glory as well as a couple of other choice cuts from the album. Thanks in advance…

Kurious goes down as yet another one of those hip hop artists who showed much promise but who also never managed to translate this into a career of any longevity. Hailing from Spanish Harlem in Uptown Manhattan, Kurious originally appeared on Pete Nice and Daddy Rich’s album ‘Dust II Dust’ before releasing his debut ‘A Constipated Monkey’. Apart from a few appearances on other albums of the era (most notably KMD’s ‘Black Bastards’ and Gravediggaz’s ‘Six Feet Deep’) this is basically the only record where you get a decent flava for the Puerto Rican MC. This is a pity as the album is a strong release that should have at least propelled him onto a sophomore effort.

Particularly note-worthy is the production roster which features work from the Beatnuts, the SD50s (check Jaz’s post at ColdRockDaSpot for more info on the crew) and one track by the Prime Minister himself Pete Nice. This line-up should speak for itself and the end product is by no means a disappointment. Jazzy loops, slammin’ drums… you know the deal. ‘Walk Like A Duck’ was the first 12” to see a release which I find slightly surprising due to its slow pace although it is still a choice cut from the album. ‘Uptown Shit’ followed and for me would have been the better choice of lead off single due to its upbeat party vibe.

His verses over the course of the album are also enjoyable, featuring a relaxed delivery and a sense of wit to boot. This is not to say that he is the most gifted of MCs but he can certainly hold his own alongside some guest spots by Casual and Psycho Les. In all honesty, there really isn’t a bad cut on the album which makes Kurious’ disappearance from the scene all the stranger.

There was a ‘comeback’ single that surfaced in 2001 called ‘All Great’ that I picked up when it was released but it clearly made little impact and there has been nothing heard of him since. For this reason he goes down as yet another casualty of the genre who you can’t help but feel should have been bigger than he was. Still, this is a solid and enjoyable album that definitely qualifies as slept on, although I feel that labelling this as classic material would be a step too far. Let me know what you think.

Although I have seen this around relatively recently, it has been requested and it provides me with the opportunity to voice my opinion on the album and my somewhat controversial views about Def Squad. Originally paying his dues in kiddy rap outfit Illegal, Jamal is one of the few MCs of this ilk to have gone on to solo success. I think that ‘Last Chance, No Breaks’ is a solid effort, but there is something about it that means I rarely listen to it. Surprisingly, this is also the case for me with other albums from the Def Squad camp: more of that later.

The most notable single on the album is of course ‘Fades Em All’ which is perhaps more widely known in its ‘Pete Rock Remix’ format (I’ve included this in the zip). Both of these selections are excellent, with a different feel to them that works well in both contexts. This is matched by Jamal’s verses that demonstrate an obvious maturity that was understandibly a little lacking in his Illegal days; the flow is more comfortable and accomplished. There are other choice cuts here as well. I like the laid back feeling of ‘Keep It Real’ with its smooth piano sample and I also like the darker ‘The Game’ that has a slow but seriously head noddy vibe. If you are into Def Squad then I imagine that you will appreciate the majorty of the production on this album as it is instantly recognisable as Erick Sermon or Redman’s work behind the boards.

Now for the controversy. Although I own some of the seminal Def Squad releases, they have never really done that much for me. I wonder if this is perhaps because I did not have the opportunity to hear this music in the context in which it was originally released, but there has always been something about Sermon’s production style that hasn’t really connected with me. I want to stress that this is not an entirely educated position: I do not know this facet of hip hop music in perhaps the depth that I should. However, this in itself is indicative of the fact that I have not made the conscious effort to do so, and reflects my position on the crew’s output. I think the issue lies in the sample choices and vocoder effects that just don’t really do it for me. I am happy to be proven wrong and as I say this is perhaps simply due to a lack of consolidated knowledge of the crew, but still…

I’m sure that I’m going to get ripped to pieces for this… hit me up.

The kiddy rap phenomenon of the early ’90s produced a surprising amount of quality acts given its gimmicky nature. Illegal, Chi-Ali and Shyheim all released solid LPs during this period in the genre’s history, but no act managed the consistent quality that Da Youngsta’s achieved. Four albums over a period of just three years also makes them one of the most prolific of all hip hop acts, kiddy or otherwise, and the fact that they were able to maintain a high standard over all four releases is relatively astonishing. After ‘I’ll Make U Famous’, their last album, they fell off the hip hop radar and this is a great shame as I consider them to be a seriously slept on group who deserved significantly more props than they got.

‘No Mercy’ was their third studio album and is arguably their best. The group’s debut ‘Something For Da Youngstas’ suffered from being perhaps a little too soft, and their sophomore release ‘The Aftermath’ is excellent in places but lacks coherence over the whole album due to a wide range of production credits (although the pedigree of beatmaker on this album is significant). Produced largely by Marley Marl and K-Def, ‘No Mercy’ features bangin’ beats that combine elements of jazz with hard, gritty drums that complement the MCs consolidated senses of style. Funnily enough, ‘Hip Hop Ride’ was the track that made the most impact commercially although it is not representative of the sound of the remainder of the album where street narratives and bragging verses prevail.

Just flicking through the tracks on ‘No Mercy’ again highlights the point to me that there really isn’t a dud track on here and there are plenty of bangers to boot. ‘Mad Props’ is an upbeat party anthem with a warm and bouncy feel (check the video below); ‘Put Me On’ sees the group delve into a ghetto romance backed by an atmospheric and head noddy beat; ‘Illy Filly Funk’ features some sweeping strings and a subtle horn loop (this nearly made the cut for the strings mix) and ‘In The City’ has a similar ‘cityscape at sunset’ vibe about it. Tajj, Tarik and Qu’ran also do the beats justice, with relaxed and accomplished flows delivered with post-pubescent voices that match the edgier content of the rhymes found on both ‘The Aftermath’ and this release.

Whether this is totally new to you or if you just haven’t got a hold of it for some reason then this comes highly recommended at From Da Bricks. The consistently high standard of the production plus the maturity of the MCs make this an excellent album that you should not fail to add to your collection. Kiddies they may have been, but there is nothing gimmicky or adolescent about ‘No Mercy’: this is quality hip hop from front to back.

I have no idea how Yall So Stupid didn’t make more impact in ’92 than they actually did. I slept on this for a long time and was really happy to cop it a year or two back with the feeling that I had unearthed a little known gem. ‘Van Full Of Pakistans’ is fun, upbeat and light-hearted hip hop that is reminscent of early Pharcyde and similar artists of the era. I would also draw an analogy with the Native Tongues collective in that the album features intelligent lyricism and funky production to boot: a comparison that should demonstrate the high quality of this release to anyone who considers themselves to be a fan of real hip hop.

I actually know very little about the group as information on the internet is somewhat limited. Interestingly, the crew are from Atlanta: not exactly the most high profile city in the universe of hip hop (cue multiple comments to the contrary…) but the sound is east coast, early mid-school through and through. The beats are upbeat and funky, with crispy snares and jazzy loops, and the majority are produced by Spearhead X with Da King & I also making a couple of contributions. I’ve fallen into the pattern recently of picking out and commenting upon individual tunes but I’m going to resist the temptation to do so here as this really is an album best enjoyed in its entirety. The majority of the tracks are upbeat party tunes, but there are also a couple of slower cuts that feature more reflective and thoughtful lyricism (see ‘Family Tree’). In general the rapping is also excellent, with all four MCs possessing nice flows with original spins on the ‘boast and brag’ content that was dominant in the early ’90s.

I’m not sure how many of these cuts made it as 12”s, but Discogs seems to suggest that single releases from this album were limited. The only video available on YouTube is of the song that shares its name with the album itself, and it gives a feel for the crew that should leave you wanting more.

I believe that Yall So Stupid eventually mutated into Mass Influence (check the archives) but beyond that, I really don’t have a lot more knowledge of what became of the crew’s various members. As I said before, the fact that this is not more widely known is slightly bewildering, as it is highly entertaining and accessible for serious heads and more casual listeners alike. Still, as with so many albums found online in the blogging community, this has essentially been forgotten and is no longer in print. Do yourself a favour and cop it.