Although I have a core list of producers who I consider to be the best to have ever taken part in the game, a conclusive winner always eludes me. One day it’ll be Pete Rock, the next I have to go with Premier, the day after that I’ll opt for Large Pro. The realms of the true geek are characterised by list making and endless debate even though a definitive conclusion can never be reached. I guess I might just be that geek.
One name that regularly crops up for me is K-Def who has already featured on From Da Bricks (see ‘Chief Rockas’). He slipped under my radar for quite a while, but I was stunned into one of those ‘how can I not have known about this before’ moments when I realised the full extent of his production credits. His work on the boards has been used by LOTUG, Da Youngsta’s and El Da Sensei amongst many other underground hip hop heroes and he continues to hold influence in the industry today, even appearing on Diddy’s new album (the track ‘We Gon’ Make It’ which is good despite Diddy’s pathetic mic skills). There are very few artists who have managed to build such a strong and consistent discography, and despite having been in the game for over a decade and a half K-Def’s contribution to hip hop seems far from over. If longevity was one of the criteria for the aforementioned lists then K-Def’s position would be undeniably strong.
‘The Turnaround: A Long Awaited Drama’ was released in ’96 and was the result of a collaboration between K-Def and his cousin Larry-O. The lyrical content is somewhat one-dimensional mainly detailing a gangster lifestyle and this feels a little played out over the course of a whole album despite effective delivery. The strength of this work for me lies in (you guessed it) the beats. ‘The Gimmicks’ and ‘Ain’t No Love’ are sensational featuring deep soul samples and soaring strings, ‘Money & Shows’ bounces along with some more of those violins as well as a nice vocal sample on the chorus loop and ‘Real Live Shit’ and ‘The Turnaround’ are truly bangin’. There are a couple of tracks that are not so hot, particularly ‘All I Ask Of You’ which looks like it was the label’s demand for a more commercial joint, but generally the production is flawless. Make sure you listen to the whole of the ‘Real Live Shit Remix’ as it concludes with K-Def on the turntables over a medley of slammin’ loops that demonstrates that the man also has some cutting skills under his belt as well.
The term ‘slept on’ has become a little difficult to define. Lost in an online community of people who clearly have a vast knowledge of hip hop, I would find it surprising if this album was not relatively widely known. Still, in terms of a wider audience there seems little doubt that this album and K-Def himself have not received the props that they deserve thereby qualifying for the ‘slept on’ tag in my opinion. If you don’t own this album, wake your sleepy head up and cop it: this genuinely is some real live shit.
Filed under: Album Reviews
There is something satisfying about discovering early releases from major players in the current mainstream rap game. Jay Z’s verse on Mic Geronimo’s first album comes to mind as does Mos Def’s work on the Urban Thermo Dynamics’ joint. It is not like Leaders Of The New School were ever minor figures in the world of hip hop, but it gives me a warm feeling inside to know that people who now feature in the rap charts and make regular appearances on MTV used to be able to kick it with undeniable style. Of course, L.O.N.S gave birth to one of hip hop’s most instantly recognisable MCs: Busta Rhymes.
Whenever I discuss L.O.N.S. with anyone it seems to be ‘Future Without A Past’ that gets mentioned first. Perhaps this is natural as it was the more commercially successful album, but if I had to keep one and lose the other, I’d go for ‘The Inner Mind’s Eye’ every time. The beats are on point and the MCs exchange verses with skill and an exceptional sense of timing with brief forays into reggae style delivery. Busta is without doubt the most enigmatic of the crew, but this is not to degrade the work of Charlie Brown and Dinco D who also have strong senses of personality along with technical ability. Ultimately it is the effect of the MCs as a collective that proves the key to this album’s success.
Although ‘What’s Next’ and ‘Classic Material’ were the leading singles on ‘T.I.M.E.’ there is very little filler on this release and favourites for me include ‘Quarter To Cutthroat’ and ‘Understanding The Inner Mind’s Eye’. Drums roll with neck-snapping ferocity, the loops are simple yet effective and basslines rumble underneath the roar of the MCs. The album has a straight up, no frills attached vibe with a classic early ’90s feel. As you may now be aware, this is a formula for quality in my book.
Busta was the only member to emerge with a career intact and as soon as he started to make strange roaring sounds every other word I feel like he kind of lost it. Saddeningly, affairs turned sour for the crew post-1993 and they now have little contact with Busta going as far as to call Dinco D a ‘dickhead’ at some stage. This is a pity as the MCs did have such a chemistry that will now never see the light of day again. Still, they certainly had it in 1993 and this album is a must-have for collectors of this era of rap music. As the crew professed themselves, you know you love the way it’s going down…
Back in ’95 the name Mo Wax was synonymous with quality. Early releases promised much and made the label a collector’s dream: limited presses, fantastic artwork and most importantly, bangin’ music. James Lavelle’s outfit could possibly be cited as the originators of the ‘trip hop’ tag (a term that I despise) as the releases around this time were basically downbeat or more abstract hip hop instrumentals. DJ Krush fitted perfectly into this niche, producing brooding sonic landscapes routed in hip hop but with a futuristic and forward-thinking edge. For my money, ‘Meiso’ is his seminal work.
The album features both instrumental joints as well as some impressive mic collaborations. Black Thought and Malik B’s verses on the title track are exceptional and CL Smooth comes correct on the album opener ‘Only The Strong Survive’. I’m not as keen on the Big Shug and Guru track; the beat lacks the moody atmosphere that complements the MCs so well on the aforementioned cuts, and the overall vibe leaves me feeling a little cold. Still, the names speak for themselves: these are well written and expertly delivered rhymes that work well over Krush’s accomplished production skills.
Worthy of a special mention is ‘Duality’. This tune passed me by for a long time as the opening two minutes is some of Krush’s less inspiring work. It simply doesn’t carry the weight of some of the other tracks and lacks punch. However, everything changes after three minutes. Snares break out in an eruption of percussive noise before dropping into the DJ Shadow produced section of the song which is nothing short of sensational. Scratched horns float over rippling drums and the momentum is relentless. This is Shadow at his best: I could listen to this all day and my head would still be nodding as it hit the pillow.
Later Krush works become increasingly minimal and stray away from the drum heavy tracks that constitute the finest beats on this album. In doing so, he loses the sense of rawness that is so compelling on this release. Still, this is a powerful and at times gripping album that demonstrates that it definitely ain’t where you’re from, it’s where you’re at.
Filed under: Album Reviews
So far the majority of my posts have centred around American artists: time to represent for the UK. Lewis Parker is a one man hip hop machine, handling basically all of the duties on this EP sized release himself: beats, rhymes and the occasional scratch. The string sections are moody, triangles tingle in the background and Parker’s image-based lyricism all contribute to an incredibly strong debut: one of the best albums to emerge from the British scene.
Regrettably, I have mixed feelings about hip hop from this side of the Atlantic. There is little doubt that there have been some quality releases from these shores, but there is also a tendency towards rude boy posturing and over the top rants about the difficulty of ‘gettin’ love’. There has been a pressure to form a distinction between American hip hop and that of the homegrown variety that I can appreciate, but often highlighting this difference simply serves to detract from the music itself. Of course, this is an over-generalisation, but as UK hip hop has searched for its own sense of identity it has leaned more towards this rude boy style that I personally feel grows a little tiresome. Perhaps the distance from American hip hop is what allows me to immerse myself in a fantasy world of street narratives and the struggle of a ghetto lifestyle; I can see the inconsistencies and identify a certain front in content that is closer to home. Anyway…
I have no idea whether this has made the long journey over to the States, but for those of you who are not aware of this work it is well deserving of your attention. ‘Masquerades & Silhouettes’ has a grainy and atmospheric feel to it that complements Parker’s rhyme style which often references the natural world: shadows, deserts and the waves of the sea. This is an album suited to late night smoking sessions and moments of self-reflection. Although categorically British, Parker doesn’t feel the need to shout about it and this is perhaps the key to the album’s success for a more global audience. This is not the work of a bitter man struggling for recognition: it is soulful music that has come from within.
Filed under: Album Reviews
Going to give Sharebee a shot today. Seems to make sense as it allows people to download from several different file sharing services. Let me know if it works out for ya.
Originally holding an affiliation with Organized Konfusion, it took a while for Mr Complex to shine on his own. From ’94 onwards he released a series of 12s as well as featuring on other artists’ work, and these releases bring these various works together. ‘The Complex Catalog’ was recorded live on college radio in 2000 with the turntable skills of DJ CrossPhada; ‘Comps and Collabos of Comp’ does exactly what it says on the tin. Both albums represent a strong selection of cuts that prove that you can build a reputable career in hip hop without a major label release to kick things off.
Complex’s lyrical style is similar to that of the mighty Pharoah Monch although it is not as accomplished, lacking the in-depth imagery and rapid multi-syllabic delivery of OK’s foremost wordsmith. Still, he has a nice flow that varies in tone and is rhythmically interesting, falling on and off beat with control and finesse. He is at his best when backed by a nice funky loop and mid-tempo drums as in the ‘C.O.R.E. Mix’, ‘Why Don’t Ya’ or the ‘What Would You Do Remix’. DJ Spinna contibutes a number of beats as well as Pharoah and Prince Po, and generally speaking the production is of a solid but not outstanding quality. Both albums have their gems (‘The Complex Catalog’ is the stronger of the two with a higher level of consistency than ‘Comps and Collabos…’), but these are not releases that I can listen to from start to finish without the temptation to skip a couple of tracks.
He has since released a couple of LPs which I have yet to get a hold of. Although I enjoy his work, it doesn’t grab me in the way that I feel it should do given the pedigree of his affiliates. However, these are worthy albums that document the work of an MC who has obviously waited for the right time to make his move into the limelight. This represents a breath of fresh air in an industry flooded with artists who have jumped on the latest rap fad in the hope of making a quick buck. Respect where it’s due: cop these and enjoy.
Filed under: Album Reviews
Damn: this blogging game ain’t easy. Depletedsoul mentioned that he was struggling to find things to post that weren’t about already and I have to agree. Such is the quality of other hip hop oriented blogs that it is difficult to find original albums to post! Good lookin’ out to all you fellow bloggers out there. Still, I’m going to continue posting albums even if I’ve seen them appear elsewhere in the past; I hope that the comments left by me are motivation enough to keep people locked to From Da Bricks.
It’s Sunday so I’ve picked something in keeping with an end of weekend atmosphere. ‘The Underground Science’ is a chilled album that moves smoothly through its eleven track selection, maintaining a laid back vibe throughout. At times it almost has a live feel to it with smooth, jazzy loops and rim hits that resonate behind the MCs’ smooth delivery. Most of the content revolves around the dismissing of less proficient rappers and professing the ability of the Mass Influence crew themselves: effective, but slightly lacking in originality given that this album was released in ’99. Still, their voices work well with the beats to produce a relaxing and relatively organic sound. For those of you familiar with Ninja Tune, a leading UK hip hop/beats label, you can also check their appearances on Dynamic Syncopation’s first album which are very similar to ‘The Undergound Science’ itself (keep me bookmarked folks as this will be a future post).
Sconeboy mentioned that this may have been what became of ‘Yall So Stupid’; whether this is true and if they maintained exactly the same group dynamic or not I am not sure. It would certainly mean a departure in style given the upbeat tone to ‘Van Full Of Pakistans’ (of course this album was released seven years earlier). If you know, drop a comment either here or in the CBox.
My advice is as follows: finish your Sunday lunch, make yourself a nice cup of tea, grab a newspaper, put this album in rotation and forget about the fact that work begins tomorrow. Five days until the weekend again…
Filed under: Album Reviews
King Sun emerged in the late ’80s as one of the foremost political/afrocentric MCs of the era whilst maintaining a hardcore edge (hence his second album title ‘Righteous But Ruthless’). Although I am not really aware of his earlier work, I consider this seven track EP to be a little known treasure that demands significantly more props than it has ever received. The beats are bangin’ and Sun’s rhyming ability is unquestionable. I have always thought that there is a similarity in his voice and delivery with Rakim; a bold comparison I know, but not one without some legitimacy.
The production on this release is straight up head nodding NYC boom bap. Particularly strong cuts for me are ‘Humm Deez Nuts’, ‘Once Upon A Time’ and ‘Robbin’ Of Da Hood’, but there is a consistency with the beats here that is rarely seen. Basslines rumble, the sample choices are simple yet effective and the snares are as crisp as autumn leaves in the park. This is not to say that it is faultless; although I am a bit of a sucker for the cheesy R ‘n’ B hook chorus, the vocals featured on ‘Humm Deez Nuts’ are a little hard to take, particularly in the adlib section towards the end of the tune. Still, this is a small gripe given the quality of the work in all other areas.
Generally I tend to focus on the beats when listening to hip hop, but King Sun’s flow is highly engaging and the content is varied, steering clear of stereotypical gangsterisms. From being ditched by his girlfriend for another man to ripping off local drug dealers in his community only to return the profits to those that need it most, Sun reflects on a ghetto lifestyle with intelligence and originality. I would be interested to see what others make of the Rakim comparison: there is something in his intonation and the timbre of his voice that instantly brought the legend behind so many classic cuts to my mind.
Filed under: Album Reviews
There seems to be little rhyme or reason behind why some artists make it and others don’t. In the case of Yaggfu Front it could only really have come down to an issue of marketing, as their sound resembles that of true hip hop success stories such as Pharcyde and Leaders of the New School. Admittedly, ‘Action Packed Adventure’ is not as strong a release as either of the aforementioned groups’ debuts but it is still an album worthy of a good listen and a place in your collection.
This was one of those albums that I slept on for a while, and only discovered relatively recently. I know very little about them other than what I have gained from the insleeve. Production seems to have been largely handled by Yaggfu themselves as well as the New Vibe Messengers of whom I know absolutely nothing. The beats have a classic early to mid-90s feel with crisp snares and jazzy horn sections and the majority of the cuts have an upbeat feel to them. The standout track for me is ‘Hold ‘Em Back’ which features one of the most atmospheric opening 8 bar sections that I have heard before dropping into a heavy drum break and bass loop which is ridden effectively by the three MCs. My criticism of the album would be that the rhymes lack finesse, at times disintegrating into shouting/rambling that has the potential to grate against the nerves.
I have always drawn a strong link between this crew and Rumpletilskinz, both in terms of sound and the way in which they both barely registered within the genre as a whole and then disappeared without trace despite worthy credentials. There is another release available entitled ‘The Lost Tapes’ which I have never heard although assume that it would also be worth checkin’. Perhaps the claim that ‘you are gonna get fucked up if you front’ is a little strong, but this is still an example of a quality release that never seemed to gain the props that it deserved.
Really pleased with the comments so far – keep them coming people! Going to stick with Sendspace for the moment but let me know if you are experiencing problems downloading.
Wanted to switch it up with this next post so have turned my attention to the other side of the big blue expanse that separates the US from Europe. DJ Cut Killer is a stalwart of the French hip hop scene and was first brought to my attention in a film called ‘La Haine’ that was originally released in 1995. The film follows three french youths of varied racial/cultural descent and documents their lives in the wake of riots in the outskirts of Paris. It is wonderfully shot and heavily ingrained in hop hop culture featuring breakdancing scenes and a mysterious DJ scratching the shit out of KRS’ ‘Sound of da Police’ vocal over a beat that samples Edith Piaf’s ‘Je Ne Regrette Rien’. That DJ is Cut Killer. Needless to say, it left a distinct impression upon me and I consider the film to be a must-see.
Cut Killer began as many scratch DJs do: battling hard on the DMC circuit. From here he progressed to some of his own production work and is probably the most prolific of all French turntablists in terms of mixtape output. These are of a variable quality (not as a result of his skills which are unquestionably deep) due to some strange track selections which often feature the more commercial side of American R ‘n’ B. If that’s your thang then cop his ‘Cut Killer Soul Party’ series as they are dedicated to exactly that style of content but they have never really drawn my interest. The two albums featured today however are prime examples of a highly skilled DJ blending, juggling and scratching classic beats with the added intrigue of French joints that would otherwise have escaped my attention.
The beauty of these mixes is that they have a live feel. They seem raw and spontaneous: no post-production fiddling here. There is a cohesive mix of the styles from either side of the Atlantic although some of the freestyle sections lose impact after the first couple of minutes. Generally speaking, Cut Killer knows when to stop and let the music speak for itself. Particularly impressive is the Das EFX section of ‘Menage a 3’ that features a variety of boom bap classics linked by lyrical references that hint towards the next beat.
France has always struck me as a country that easily embraced hip hop culture without the crisis of identity that I believe has affected other nations outside of the US. I intend to post other French hip hop in the future: keep me bookmarked ‘mes amis’.
Filed under: Album Reviews
This duo, hailing from New Jersey, need little introduction in serious hip hop circles. Credited as the founders of ‘backpack hip hop’ due to their adherence to the fundamentals of the culture, their influence on mid-90s rap is undeniable. Starting off as graffiti writers and immersing themselves in the world of bombing (which their first album heavily references) meant that they were embraced by purists who longed for the passing days of golden era rap.
‘Between A Rock And A Hard Place’ dropped in ’94 off the back of the underground smash ‘Wrong Side Of Da Tracks’. The production roster speaks for itself with contributions from Buckwild, T-Ray and Redman and work on the boards was also aided by the MCs themselves. The resulting beats are nothing short of bangin’. Highlights for me include ‘Lower Da Boom’ featuring one of the richest, warmest basslines that I can think of in the genre’s history and ‘Whayback’ which tips its hat to the essential elements of the culture that were becoming lost as hip hop crossed-over with increasing velocity. El Da Sensei and Tame One rip through verses with passion and energy, detailing late night visits to train yards and the benefits of smoking large quantities of ‘phat fuckin’ phillies’.
Considering the strength of the debut, ‘That’s Them’ is perhaps an even greater accomplishment. Shawn J-Period contributes heavily with production and an appearance from the funkyman himself, Lord Finesse, is worthy of a special mention. The snares are crisp, the kicks resonate deep within your ear and the basslines raise the hairs on your neck: I love the production on this album. This is not to detract from the highly engaging flow of El and Tame One that treats wack MCs with the respect they deserve; the Artifacts are, after all, ‘the best in this MC fest’.
The two albums featured here represent blueprints for the perfect underground rap album and are an essential addition to any self-respecting follower of the culture’s collection. Amazingly, after a split in ’97, both MCs have continued to produce music of high quality and you should consider it your duty to search these works out. How many other groups can you name that have achieved such a feat in a musical tradition that seems characterised by a ‘fall off’ in the latter stages of an artist’s career? You can’t front on their contribution to the culture in its entirety and if you don’t know, now you know…
FROM DA BRICKS 