Goin’ through some old CDs last night, I stumbled upon this little gem. The Desert Dwellas, straight outta Vegas, released The Killa Fish Prauject roughly a decade ago. I bought it on the strength of a review I read somewhere, back when people used to do things like buy CDs by artists they’d never heard of. I’m glad I did. (Songs after the jump)

DESERT DWELLAS–THE KILLA FISH PRAUJECT

Pain From Memory Lane

Stick It To ‘Em

Lost Episodes  

Shadow Returns

A few of these songs really got stuck in my head, eventually making it on to the mix-cassettes I used to send to my music-starved compatriots back in the day (before the internet ruined everything). This album was produced by Head Stimulata Productions, who are still going strong in LV, and it’s their work I wanna highlight here. Basically, if I like your beat, I like your song…and I liked these beats a lot. I hope you will, too.

Make an enjoyful noise,

Grip Grand

PS–If anyone stumbles across the sample from Lost Episodes, lemme know. I’d love to hear it, that shit is so tight…

1988: The Year Rap Broke. If you caught last week’s installment, you already know what an important year 1988 was for hip-hop, and not just because Yo! MTV Raps saw its debut. The Golden Era brought us classic after classic, and videos were no exception. With so many heaters, I’ve been hard-pressed to select the best. I couldn’t fit ‘em all in last week, so here’s a few more showstoppers from 1988. Check ‘em on out. And watch the video up top while you’re at it. Highlights include the always “foine” Darlene the Syndicate Queen; Ice-T’s classic Raiders script cap (if you didn’t rock this style of hat back in the day, and/or the blocky-letter Starter joints, what the fuck were you wearing? A Kangol?); a snippet of one of the older Yo! theme songs, which includes the classic “Yeeeeeah Boyeee!!” over a beat that just isn’t that tight; and Ice-T describing a summer tour line-up that will make your Walkman weep. Peep it.

Shout out to my man MPE for taking me down Broadway last time I was up in Seattle. And while I would NOT say that “Dick’s is the place that the cool hang out,” they do hook up a mean burger, which they sell by the sack. Posse to the burger stand! Anyway, this beat crushes everything out there, to this day, and anybody who only remembers Sir Mix-A-Lot for Baby Got Back is a sucker. For real. When you’re shopping for a new car stereo, test it with this.

Let’s keep that 808 going, but we’ll take it down the coast a few miles. While he never broke out nationally on the scale that some of his black-hatted peers from Compton did, nobody holds down the West more than King Tee. Fans of The Alkaholiks and Xzibit owe this man a hand, but more than that, he created one of the era’s tightest catalogs of street anthems with albums like 1988’s Act a Fool. Bass reps the LA sound of the time to the fullest, from the sample of Rodney O and Joe Cooley’s Everlasting Bass to the sweet, sweet saxophone. This is another song full of classic lines, my favorite being “How much for the 30-inch dookie?” It also contains the line King Tee sampled for his 1990 classic, Ruff Rhyme. To quote the man himself, “King Tee is back again.”

More saxophone, this time from a whole ‘nother coast. The Biz was always a fashion plate, and his choices here are impeccable as usual. Giant nightshirt? Check. Yellow short-suit with black leather patches on the elbows? Present. Plus, this is one of many “old school” videos where the mix you hear is different than the album version. But, unlike the TV mix of Posse On Broadway (which differs from the album version, beat-wise), the TV mix of Vapors opens with a whole extra verse! A very short verse, but still…extra! In summation, Biz Markie’s Vapors is better than Snoop Dogg’s cover version, although I do like how Snoop makes “Warren” rhyme with “Vaughn.” Whatever your name is, welcome to my store!

One of hip-hop’s first “art film” videos, back in ‘88 nothing else looked nearly as good as LL’s Going Back To Cali. Plus, Rick Rubin is in it. Classic though it is, I must admit that this was never my favorite LL song, but as a video you just can’t beat it. Although the album it’s on, Walking With A Panther, dropped in 1989, this song was originally released on 88’s Less Than Zero Soundtrack, alongside Def Jam labelmate Public Enemy’s Bring The Noise. If you’ve never seen Less Than Zero, check it out…Robert Downey Jr. plays a spiraling-out-of-control drug addict very convincingly.

Who among us can forget I’m Gonna Git You Sucka? Required viewing. Go rent it if you haven’t seen it already. And then forget you ever knew me, herb. Where have you been? If I had a major complaint with this film, it would be that it’s in some way responsible for the existence of films like the Wayans brothers’ White Girls. On the upside, Keenan Ivory Wayans’ character has personalized theme music provided by BDP, who follow him around wherever he goes. So there’s that. Honestly, I haven’t seen this movie in years, so I don’t know how funny it would be now (although it does contain one of Chris Rock’s most memorable scenes). Certainly, jokes about OD’ing from wearing too many gold chains have lost their sting. But there weren’t a lot of movies made for the hip-hop generation back then, and this one delivered the goods in our time of need.

Last but not least! Sometimes I think that Stetsasonic doesn’t get the respect they deserve from today’s youth. You rarely see them mentioned alongside the other greats by anyone under 30, but the influence of songs like Talkin’ All That Jazz, with its hybrid of jazz, hip-hop, and house-y dance music, is far-reaching indeed. Founded in 1981, Stetsasonic was a hip-hop band long before the Roots, and this cut got the dancefloors movin’ for sure. Oh yeah, and they had motherfuckin’ Prince Paul! Not to mention future fellow-Gravedigga Frukwan (great name), gifted producer Daddy-O, and my man Wise (an early beatboxing pioneer). Classic, classic, classic. Go, Stetsa!!

So there you have it. 1988 was a great year to be a rap fan. Hip-hop had never been better, more innovative, or more influential. And while many claimed it was just a passing fad, those of us with our finger on the pulse knew better–it was just getting started. In 1988 rap switched into high gear, and it hasn’t slowed down since. Want proof? They still make it! Here’s a recent cut by a cat who used to get some shine on Yo! MTV Raps himself.

OK, not that recent. But whatever. That song is dope. Alrighty then, folks. If you wanna hear more classic music, why not check out the Rec-League All-Stars ? You’ll be glad you did. Just go to…the website you’re already on. Congratulations! You did it.

I got a def posse, you got a buncha dudes…

Grip Grand

1988–The Year Rap Broke. Minor cultural milestones like the Village Voice’s “Hip-Hop Nation” cover story and the debut of Yo! MTV Raps were part of a creeping but widespread recognition on the part of the mainstream media that hip-hop was here to stay. And while it had begun to make its mark on many of us years earlier, they don’t call this the Golden Era for nothing. Even a cursory glance at the best-loved songs of 1988 reveals one masterpiece after another. In that age of pioneers, new styles were being invented every day–if you even had a style, it was a new one (unless you were rapping like Busy Bee), because none of it had been done yet. Originality was the watchword.

As musical artists pushed themselves to create a new sound, so too did their visual counterparts. The MTV Empire was in full effect, and it was clear that video ruled the day, but hip-hop was still creating the unique visual styles that came to define it. Until Yo! came out, most of the hip-hop material that had been available on the screen (big or little) was from the Old School. Beat Street, Breakin’, Wild Style, Krush Groove–hungry hip-hop shorties like myself devoured these gems when they dropped, but by 1988 their depiction of the culture (both visually and musically) was out of date. The new style of speak needed a new style of seeing to go with it. 1988 was the tipping point, and the styles it gave birth to are still being explored today.

It goes without saying that a lot of classic videos dropped in 1988. The following is just a small handful of hits (with more to come next week), and I hope you’ll watch them all, even if you saw ‘em a million times way back when. Actually, I don’t care what you do, but, especially if you’re an artist yourself, it can’t hurt to study the greats. I’m not going to comment on each song, but suffice it to say that Baby Grip thought every one of these was the truth, and I am inclined to agree. Yo! MTV Raps shaped the way I saw (and wanted to see) the world, and in some ways it still does.

(That last one is especially hot, as the beat for the Alkaholiks’ Hip-Hop Drunkies appears to be a loop from the intro)

Look, I could go on all day with these things. I’ll save a few more for next week, ‘cuz 1988 definitely deserves a “part 2″–but until then, I leave you all to ponder just how far we’ve come in 20 years…and whether we wouldn’t be better off if we had never left in the first place. Now crank that.

Back in the days I knew rap would never die,

Grip Grand

Wait a minute, now. Didn’t Yo! MTV Raps start in 1988? Why would they go back in time to play videos from 1987? Well, there weren’t as many rap videos back then as you might think. But, more than that, 1987 had some songs so large, they’re still livin’ today. In the year of Yo’s inception, here’s a couple of oldies but goodies you might have seen on that 13″ screen. I know I did.

This fuckin’ video is so tight. If it doesn’t have you doing the wop instantaneously, you don’t love hip-hop. As “bad” as this whole mini-movie is–from LL handing out fliers “so these knuckleheads stop taking drugs” to his fist-clenchingly final “Awwwwwwwww…!!!!”–my favorite part was, is, and always will be Cool J “crushing a jellybean” next to a bunch of empty cable reels. Seriously, despite the car chases and gangsters, the best part is LL giving the prototypical “rapping to the camera” performance, dancing and crouching in an empty room, proving for all time why suckers fear and ladies love cool James.

Speaking of rapping to camera, few people showed us how to do it as well as the God, Rakim. There are old songs that sound old, and then there are songs that still rock a party to this day. Sure, I haven’t been to a party in a while, let alone one that was playing old-man rap. But I’m willing to bet this joint still gets the floor jumping. In Brian Coleman’s book Rakim Told Me (or the updated edition, Check The Technique), Rakim says of this song: “Back then I tried to think of slogans that somebody would want to put on the side of their car, or say all day. So that was like the ultimate.” And it still is. Note to Rob Rush: I have an idea for your back piece…

Man, if that don’t make you wanna rap, you ain’t a rapper. And most of the people who read this shit are rappers, so…go to it. If you get stuck, try making up new words, like “imaginate”! It worked for the best, it might work for you, too. If you do a really good job, maybe someone will sample your lyrics and make a new hook, just like they did with seemingly every other line of this song. If that isn’t a testimony to its place in the pantheon, I don’t know what is. And was that Flava Flav as the dancer? Also, don’t lie–you are kind of considering buying a sweatsuit right about now. Don’t. It works on Rakim. It won’t work on you. And neither will a gold rope. But I would still support you if you started rocking one of those. If I ever go platinum, please believe I’ma pick up a 30″ dookie that would make King Tee jealous.

Alright, y’all. 1987 was way too ill a year to be represented by two lonely videos, but I don’t have all night. Just watch those joints and enjoy a bygone era when hip-hop was all good and men still wore clothes that fit them. And stay tuned for the next installment of my court-appointed community service project, Yo!Tube. Until then…

‘87 was my favorite shit,

Grip Grand

When I was a young youth growing up in the video age, Yo! MTV Raps was the most important two hours of my week. Sure, there was Pump It Up, Rap City, The Box, whatever…but all that came later. Yo! was the truth, the first and foremost, and it changed my life (and yours) forever. I remember it like it was yesterday. The year was 1988…

Look, I know this website isn’t all about re-posting other people’s content, but I can’t overstate the significance that Yo! MTV Raps (and rap videos in general) had on my adolescent world. Therefore, the purpose of this series is to highlight the way we were, and to shine a little light into long-neglected corners of the hip-hop classics-bin. But because you can’t just live in the past, I’ll try to find a new song every once in a while that might need your support, just to stay current. I know we all send each other this kind of shit anyway, but I wanted to do it up right, out of respect for the architects. So without further ado, let’s get to the videos…

We better begin at the beginning, so here it is. The first video ever played on Yo! MTV Raps was…

Really, it doesn’t get more classic than that. But for all you completists out there, the first video ever played on a regular episode of Yo! (as opposed to the pilot) was…

And seriously, that was the best version of it that I could find. But it’s all good. I’m just sad I couldn’t locate any clips of the opening credits from this era, which had snippets from the videos for Gangstarr’s  Words I Manifest and 2 Live Crew’s Move Somethin’ (among others), and which still featured the infamous Flava Flav “Yeeeeeah, boyeeee!!!” intro. Good times, good times. Back in the day I knew rap would never die…

And it still hasn’t. So, in the spirit of those words, here’s some new shit. There was a time when I stopped checking for this gentleman, but we all know he was one the greats during an earlier era. And this may be proof that at last he’s back on bars. No real video for this yet, but enjoy the song anyway…

Alright, fam. I hope those videos took you way back, and I promise there’ll be more to come. I’ll try to keep it chronological, so we can grow up on hip-hop all over again. Until next time…

Yeahhhhhhhhhhhhh, boyeeeeeeee!!!

Grip Grand

Let’s say you’re a new artist. You’re offered a guest spot on a more-established artist’s record. Naturally you want to shine. So you kill it. You kill it so hard, in fact, that you never again write a verse with as much raw lyrical fury as this one. Or at least that’s the public’s perception. And it isn’t always a guest spot…sometimes it’s even one of the verses on your first single. But I want to be clear. We aren’t talking about one-hit wonders here. All of the rappers below went on to make quality music after their first memorable appearance. However, they each set the bar so high on their maiden voyage that, in some respects, they’ll never eclipse that mark…at least in our hearts. So, without further ado, let’s bring out the first patient and begin our examination.

Canibus…well known for his lyrical prowess. Equally well known for never quite reaching the level of success (and consistency) as an artist that many once thought he was destined for. This forked dilemma finds both its roots in one song–the Lost Boyz “Beast from the East” featuring A-Plus, Redman, and Canibus. I really can’t over-emphasize the impact of Canibus’ performance on this track. Very rarely is a lyrical monster like this unleashed on an unsuspecting public. One day he’s no one, the next day he’s a spit-tacular force to be reckoned with. Outshining Redman in guest-verse mode (where the Funk Doc himself often does his best work) is a feat all on its own. But to do so in a 50-some-bar crusher with hardly a single wasted line…well, that’s the stuff that legends are made of. Regardless of what you may think of Canibus later output (especially post-Second Round Knockout), this verse cannot be slept on. Accordingly, it was awarded the Source Magazine’s “Hip-Hop Quotable” rhyme-of-the-month honors…as were all of the songs featured here today. Hmmm….

And here are the lyrics. Follow along! By the way, I make no claims that the words found herein are 100% accurate. But they’re close enough,

“The Canibus brings the sickest drama
fierce enough to pierce the thickest armor
I smack bitches for tryin’ to suck dick through a condom
playing with the mic is something I won’t do
my only concern when I approach you, is to roast you
I smoke you and whoever you standing close to
and make every man in your crew deny that he knows you
defeating n***as like Segal, Steven
putting emcees in positions to prevent them from breathin’
I’ll make you question any and everything you’ve ever believed in
by peeping your deepest secrets like psychic readers
what’s the matter with ya’ll, I splatter ya’ll
against the mutherfuckin’ wall with these raw lyrics I catapult
none of ya’ll got the balls big enough to battle
I go On & On like Erykah Badu
a hundred times nicer than the best is
twice as arrogant as KRS is, who wanna test this?
fuck y’all you don’t impress me and no one can test me
an emcee so ill, I got AIDS scared to catch me
all that shit you poppin’ will stop, when I put you in a headlock,
and apply pressure ‘til I crush your muthafuckin’ noggin
I grab mics and push n***as to the left
so fast they hearts end up on the right side of their chests
my hypothesis, is that nobody can see this
lyrical genius, I got it sown like a seamstress
but if you want to battle, I’m down
if you got nine lives, I’ll take eight of them off your hands right now
step up and get your neck cut from ear to ear
if you survive then you can cover your scar with a beard
I’m the illest from Queens to the new Jerusalem briddicks
anyone who ain’t feeling my shiddit can suck my diddick
you need to quit it, if you ain’t spittin’
more than 50 bars per minute cause you ain’t in lyrical fitness
kickin’ boring raps with metaphors that’s wack
all of ya’ll motherfuckers need NordicTrack
to get ya weight up, fuckin’ with Canibus you get ate up
beat down and sprayed up, just for bringing my name up
been rockin’ longer than n***as twice my age
back in the days before Bob Marley was rockin’ a fade
before Honest Abe signed the paper that freed slaves
before Neanderthals was drawing on walls in caves
I existed, in the garden of Eden gettin’ lifted
stickin’ dick to Eve before she was Adam’s mistress
before Christ created Christmas, I been in lyrical fitness
the Canibus’ll spit until he’s spitless
50 bars of total sickness, you won’t forget this
I’m puttin’ every wack emcee alive on my shit list
verbally vicious, telekinetically gifted
took you a minute to exhibit that I’m sick wit it
now you tell me who you think is damaging shit
going once, going twice
sold! to that nigga name Canibus
me and Mr.Cheeks, A-Plus, and Funk Doctor
hopping out the Huey helicopter, it’ll soon chop ya!”

That shit is magical…one of my favorite verses ever. Perfect execution of a battle rap… multiple cadences, punchline after punchline…basically, nonstop heat. Although he does say “lyrical fitness” twice. But I’m letting it slide. As a humorous aside, when the Source ran these lyrics back in 1997, they transcribed it as follows:

“Step up and get your neck cut from ear to ear/
if you survive then you can come and squab with a bear”

…I wish I was making that up.

Alright, time to examine our next victim…I mean, er, patient. We all know Ras Kass is a phenomonal rapper, with numerous fierce verses to his name. But if pressed to pick the best, most heads (at least ancient ones like me) would probably gravitate toward the verse that made him a household name–his breakout, rhyme-of-the-month appearance on 1994’s “Come Widdit”, also featuring Saafir (the Saucee Nomad…great alias) and Ahmad. This classic loosie appeared on the Street Fighter soundtrack, of all places. And it wasn’t the only good cut on there, either…remember The Bums’ “It’s a Street Fight”? Probably not, if you’re under 30…

At any rate, this ridicu-hot verse from Ras Kass got him into the lyricist’s Hall of Fame overnight, and he has continued to strive for a high level of excellence in spit-ography. Still, has he ever been this good again? Is that even possible (and I mean that as a compliment)? Check it and see.

Here’s the words:

“My foramen magnum got 357 calibers
to bust a sucker’s melon like Gallagher (bow!)
Body chemistry consists of Hennessey, toxic melanin
with an adamantanium [sic] skeleton like Wolverine
child, my heart pumps kerosene (ho)
Son I spit butane, burn any bastard you name till I die
And even when I’m maggots, I’ma still be fly
Perpetrator, you’re not the one
Your name’s not Anfernee Hardaway
I’m like a wolf with blood dripping down the fangs
My technique’s foul enough to shoot the flagrant technical
I be comin’ off the head rougher then ribbed-tip receptacles
Expect the exceptional syllables to be the next man’s umbilical cord
Catch distortion, Ras cancels kids like abortions
Sendin n***as to hip-hop hell, ock
Eternal damnation through writer’s block
I rock over the results of Reeboks and sand
stand ill, forget a live band, just my mouth and hand
And even if man wasn’t prehensile,
I’d still find a way to grip mics, hold my tip when I piss
and pick off pubic lice
Cuz’ see, I always been nice but first brothers slept
Now I come back twice like Christ to resurrect the West
Check…”

By the way…Foramen Magnum = the large hole at the base of the skull which allows passage of the spinal cord. I used to think he said “for-rhymin’ magnum”…like, a gun that you rhyme with. Random aside: KRS-One was an early supporter of Ras Kass, and could often be heard praising him in interviews and such, pronouncing his name “Rozz Kozz” or “Ross Koss”…but I guess it’s not nice to correct the Teacher.

Our final patient is an unusual case. Here the song in question is a solo joint. And really, both of its verses qualify for all-time honors. Unfortunately, while poetry pugilist O.C. did manage to follow his first rhyme-of-the-month winner–the opening salvo of his classic “Time’s Up”–with a second devastating verse, he did so on the same song. That gives him twice as many breakout verses, but in the end the story is the same. “Time’s Up” is the ultimate O.C. song…anything since seems to pale in comparison. See for yourself…

And here’s the transcript of fury:

“You lack the minerals and vitamins, irons and the niacin
Fuck who did I offend, rappers sit back I’m ‘bout to begin
‘bout foul talk you squawk, never even walked the walk
More less destined to get tested, never been arrested
My album will manifest many things that I saw did or heard about
or told first hand never word of mouth
What’s in the future for the fusion in the changer?
Rappers are in danger! Who will use wits to be a remainder?
When the missile is aimed, to blow you out of the frame
Some will keep their limbs and some will be maimed
The same suckers with the gab about killer instincts
Will turn bitch and knowin’ damn well they lack
In this division. The connoisseur, crackin’ your head with a 4 x 4
Realize sucker, I be the comin’ like Noah
Always simmer you down, perpetratin’, facadin’, what you consider
a image, to me this is just a scrimmage
I’m feel I’m stone, not cause I bop, I wear my cap cocked
The more emotion I put into it, the harder I rock
Those who pose lyrical but really ain’t true I feel…

“Their time’s limited, hard rocks too”

Speakin’ in tongues, about what you did but you never done it
Admit you bit it cause the next man gained platinum behind it
I find it ironic, so I researched and analyzed
Most write about stuff they fantasize
I’m fed up with the bull, on this focus of weed and clips
and glocks gettin’ cocked, and wax not bein’ flipped
It’s the same old same old, just drainin’ from the anal
The contact is not complex to vex
So why you pushin’ it? Why you lyin’ for? I know where you live
I know your folks, you was a sucker as a kid
Your persona’s drama that you acquired in high school in actin’ class
Your whole aura is plexiglass
What’s-her-face told me you shot this kid last week in the park
That’s a lie, you was in church with your moms
See I know, yo, slow your roll, give a good to go
Guys be lackin’ in this thing called rappin’ just for dough
Of course we gotta pay rent, so money connects, but uhh
I’d rather be broke and have a whole lot of respect
It’s the principal of it, I get a rush when I bust
some dope lines I wrote, that maybe somebody’ll quote
That’s what I consider real, in this field of music
Instead of puttin’ brain cells to work they abuse it
Non-conceptual, non-exceptional
Everybody’s either crime-related or sexual
I’m here to make a difference, besides all the riffin’
The traps are not stickin’, rappers stop flippin’
For those who pose lyrical but really ain’t true I feel…

“Their time’s limited, hard rocks too”

That shit is what rappers should aspire to. I know it’s no “Crank That Batman”, but damn…

So what have we learned today? Well, if you want to appear to grow as an artist, aim low on your first foray! That’s why my debut album was recorded on a 4-track in a semi-conscious stupor…it can only get better from there! In short, sucking on purpose is the new hotness. Remember you heard it here first.

For all you rappers out there, stay on your grizzly bear (but don’t squab with it), and keep in mind that the audience feels like Janet Jackson in the 80’s: “What Have You Done For Me Lately?” To quote Andre 3000, you’re only funky as your last cut. Make it a good one. And you better make it better than the last one, or you too might be a victim of…the Canibus Syndrome!

Go see the doctor,

Old Grip

First up we have a major release from 1992, Brand Nubian’s “Punks Jump Up To Get Beat Down”. This song, long-since certified classic, was kind of a shock when it came out. Grand Puba (the dominant voice on the first Brand Nu album, “All For One”) had gone on to pursue solo stardom with his “Reel to Reel” LP, leaving Lord Jamar and Derek (now known as Sadat) X to carry on the Brand Nubian name. And instead of following up their relatively light-hearted, positive, and god-conscious debut with more of the same, Jamar and Sadat basically said “fuck that” and came back hard. Real hard. And that’s not a switch most rappers make successfully. But, like other positive/aggro acts after them (Dead Prez comes to mind), Brand Nubian simply took the consciousness of their early work in a more militant direction, allowing them to be (to borrow a phrase) revolutionary but gangster. For whatever reason, it worked. “Punks Jump Up To Get Beat Down” solidified the legendary status that Brand Nubian has enjoyed ever since, and both Sadat and Jamar continue to be active in the rap scene.

Now, all that history aside, the real reason we’re talking about this tape today is not the A-side. No, that song is dope, but what really sets this single apart is the B-side remix featuring Diamond D. That’s why you plunked down your dollars on this particular piece of plastic. Diamond D, the self-described “best producer on the mic” (although there’s plenty of contention for the title nowadays), was always good for a memorable (if uncomplicated) guest verse, and this song is no exception. Plus, since he produced the original as well, Diamond’s hot remix is actually that–a re-mix of the beat’s elements, flipped differently and with some added horns…a combination of the new and the familiar. But don’t take my word for it…listen for yourself. Fun fact: A number of samples from this song popped up on other releases. Can you name them?

That shit was from an era when a remix of a Brand Nubian song–or any popular song, for that matter–was a major event. Now, the day after the new Jay-Z single drops, there’s 50 different “remixes” available, and none of them (even if they’re “official” or, rarer still, if they’re actual re-mixes where the beat and/or lyrics flip) has the impact that this one Brand Nubian song had back in 1992.

Alright then. Our second slab of 90’s soul comes to us from the other end of the decade–1999, to be exact. Now, you may know Mr. Dante Smith as an actor (I particularly liked “The Hitchhiker’s Guide to the Galaxy”); as a crooner (I mean, I guess that’s what you’d call it…and if I never hear “Umi Says” again, it’ll be too soon…no offense to anyone’s Umi); or as the former co-owner of a bookstore in Brooklyn. But way back in ‘99, the mighty Mos Def was just a really, really dope rapper (yeah, I know he was a regular on “The Cosby Mysteries” before that, but some things are better forgotten). And he was about to drop his solo LP, “Black On Both Sides”.

Well, we all know what happened after that. The A-side of this tape, “Ms. Fat Booty”, was one of the singles from his “highly anticipated debut”, and it was definitely a success. Matty Eye rapped over that beat for the first Rec-League mixtape, so you know it’s a classic. But, in the immortal words of Chuck D, the B-side wins again. And that’s because of a track labeled simply “Mos Def Freestyle w/ DJ Cipha Sounds, Hot 97″. I really don’t want to say too much about this one…you just have to listen. But after hearing it, I think you’ll agree that Mos Def’s reputation as a lyricist par excellence was well deserved.

Damn!!! Wasn’t that ill? I couldn’t agree (with myself) more. Now if only I could find a store that carried his last album…

Alright then, friends. That oughta tide you over for today. So grab your head cleaner and your Q-tips, get that boombox pumpin’, and stay tuned for another edition of Back in the Day: Cassingles, exclusively at routinefly.com! Until then…

In the PJ’s my blend tape plays,

Grip

Well, that was quite a ride. Despite some minor turbulence, we seem to have arrived at our destination. The year is 1995. The cassingle? The D&D Project “Freestyle Sampler”. You may already know the D&D Studios story: NYC rap-recording-facility, home to countless classic sessions…for a number of years DJ Premier was essentially its in-house producer. It has since gone out of business, been purchased by Premier, and reopened as HeadQcourterz Studios–that’s some crazy spelling, son–but in 1995, the studio released a full-length album on Arista (this was before D&D Studios transformed into D&D Records and started releasing it’s own shit) called “The D&D Project”. The album featured a number of artists associated with (and of course recording in) the D&D facilities. And what better way for a street-savvy studio to get some recognition than to release a cool and crispy cassingle!

Full disclosure: I am not able to listen to this tape. No, that’s not a reflection on its quality. Far from it. It’s just that it broke. I broke it. It’s broken. My machine ate it. All I have left are the memories…well, those, and the actual records that this cassingle was advertising. So it’s those records I’ll reference here, since my sweet cassette will never sing again.

Yes, this was a snippet tape (if I recall). Yes, it had bits and pieces of cuts from artists such as N-Tense, II Unorthodox, and Ill Breed (I’m sure you’ve totally heard of all of them). It also featured a standout performance from one-time Jay-Z “mentor” Big Jaz…and remember, this is 1995 BH (Before Hove). When I first heard the “Dead Presidents” 12-inch in ‘96, ignorant of the connection between the two rappers, my initial impression was that this dude Jay-Z was kinda biting the flow Jaz uses on his D&D song “Stone to the Bone”…I almost thought they were the same guy (the names are pretty close, you gotta admit). Listen for yourself and see.

At any rate, what truly set this cassingle apart is hinted at in its title. The key word here is “freestyle”, and that’s just what these artists did. After a snippet of their respective album-cuts, each artist proceeds to freestyle over their beat, some for what seems like a couple of minutes (I’m looking at you, II Unorthodox…it’s cool that you can rap while simultaneously doing impressions and all–your Sammy Davis Jr. is excellent, one of the 300 best I’ve heard–but enough is enough). The results, like many true freestyles, are uneven but entertaining, providing some shining moments here and there. The beat selection, with its classic mid-90’s sound, doesn’t hurt. True, Premier himself produced only one song for the D&D Project (and that song–an all-star posse cut called “1,2 Pass It” featuring Mad Lion, Doug E. Fresh, KRS-One, Fat Joe, Smif-N-Wessun & Jeru the Damaja–isn’t even listed on this cassingle…but it got it’s own 12-inch release, complete with a ridicu-hot remix over yet another Premo beat…so I guess he produced two songs, technically). But the short list of other producers on this project ain’t too shabby…Diamond D, the Beatminerz, 45 King. Even KRS-One and Guru (Guru?) made beats for this one. That’s a lot of talent right there, especially in ‘95. That said, the Big Jaz song is really the one to watch for…if you managed to get that, the “1,2 Pass It” 12-inch, and maybe the II Unorthodox song for the novelty factor (and the hot Issac Hayes “Look of Love” beat), you’d have the best of the bunch. But you wouldn’t have the freestyles…and for that, you gotta get this cassingle, Kris Kringle. If anyone out there still has a working copy and can clarify, confirm, or correct any of the above, please don’t hesitate to holler.

Now, how could we possibly follow that up? Well, before we come back home to 2008, let’s stop off in 1997 for a visit to a little label called Loud. Ten-plus years ago, Loud Records was on top of the world with an enviable roster including Wu-Tang Clan, the Alkaholiks, Big Pun, Dead Prez, Xzibit, Mobb Deep, and more. Look at those names again. All on the same label, all at one time. Damn. Many of these artists released their best material on Loud (just my opinion, but, c’mon, really…check the discography if you doubt me–http://www.discogs.com/label/Loud+Records). “36 Chambers”, “The Infamous”, “Only Built 4 Cuban Linx”, “21 & Over”…these are among the best hip-hop albums of all time.

The point is, when Loud dropped a cassingle called “The Set-Up” back in nine-seven, heads (or is that headz?) turned. Overall, I wasn’t mad at this sampler of full-length selections. In fact, with 11 cuts on one cassette, this is more like a compilation album. Both sides, entitled “Rising” and “Shining”, have weak spots, but the highs more than make up for the lows.

Let’s look at the track listing, shall we?

“Rising” (Side 1):

Big Punisher–You Ain’t a Killer…classic Pun. You know this one. It was a 12-inch off his debut “Capital Punishment”. Sets the tape off right. Pun was so dope. Even just reading the lyrics (look ‘em up on Google, doofus, I ain’t doin’ it for you), you can practically hear him flow. Killing it. New rappers take note…

Davina–So Good…it ain’t the version with Raekwon, either. I say not so good. For those who hate R & B singing over rap beats, just know that the same shit was going down back in the good old days. You gotta dodge these bullets, son. This one isn’t fatal, though, since the hot “Django” sample (sounds like the Modern Jazz Quartet version, but I’m not sure) makes up for the fact that there’s no rap on this beat.

Dead Prez. [they put the period there, not me]–Food, Clothes, and Shelter…this song is dope. The beat is almost pretty, the material is anything but. Thought-provoking as always, Dead Prez hadn’t yet blown up with “It’s Bigger Than Hip-Hop” when this joint dropped. I think the song may be exclusive to this tape…it’s not on their first album, it’s not the “part 2″ they did later for that one mixtape. But whatever it is, it’s hot beans, chico.

The Dwellas–The Main Aim…I never liked this track. It’s not terrible, the beat is alright…but it’s not as hot as some of the other shit on this tape, so, you know. It got lost in the shuffle. You might like it, though.

Aasim D’Xpicit [actually "D'Xplicit", but whatever]–Fly Shit…I didn’t know who this was back then, and I don’t really know now. Nonetheless, this song is dope. Another rugged but pretty beat (one of my favorite types, fairly common back then), ill lines like “My whole fortress/Seen the god of reason paint portraits/Lyrical forces/Four horses horsemen offense”…or something like that. Track it down if you can. Someone loaded it onto YouTube (and that Dead Prez song, too), so check it out there for now.

“Shining” (Side 2):

Chef Raekwon [That's how it's listed]–Wu Gambinos (Hidden Chamber)…the “Hidden Chamber Remix” of “Wu-Gambinos” (I think the hyphen should be there), sometimes known as the “Shaolin Remix”, is one of the classic remixes of this era, just as dope as the original. And the original was one of the best posse cuts out. This song is notable for being the first example of RZA’s switch to a more wordy, polysyllabic flow than he’d previously rocked, and he never did it better than here: “Local bio-chemical/Universal giant, the black general/Lickin’ shots like Davy Crockett on the Bicentennial!” Everyone comes nice on “Wu-Gambinos”. Well, except Master Killer. Whose nickname for this one is “Noodles”. They yell it out at the beginning. And so do I, every time I hear this track. Noodles!

The Likx [creative spelling on this here cassingle, eh?] feat. ODB–Hip-Hop Drunkies…one of the last great songs the Alkaholiks ever did, and a top-notch performance from Big Baby Jesus as well. This song is retarded (in the best way possible). Go watch the video for “The Symphony” (Juice Crew forever) to see where they got this beat (including the “glass” sound). Then go watch the video for this song, featuring an ODB body-double. And remember when rap music was fun.

Mobb Deep–In the Long Run…not their best, not their worst, features Ty Nitty. Surprisingly, this cut contains a Keith Murray dis…remember that beef? It also has high-quality lines from Prodigy such as “You almost got shot, but that’s alright, though/I’ma catch your ass again, you fuckin’ immigrant”…wait, what does “high-quality” mean again? Anyway, this is some “strictly thug” shit…at least, according to the dude on the outro.

Yvette Michele–I’m Not Feeling You…more singing. You know what I’m not feeling? This song. It’s not how I would have followed up that Mobb Deep track (I would have used either some soothing world music, or a field-recording of illegal dogfights…or maybe a rap song). Still, “I’m Not Feeling You” has a kernel of hidden genius. If you sit through all the verses and choruses (and there’s a lot), you will be rewarded with this closing monologue, spoken by Ms. Michele:

“Hey baby, yeah I’m alright, how you feeling?
Come inside, yeah, come in, close the door behind you
Yeah, I know, I’m home a little early from work today
Yeah, you miss me baby?
Yeah? I missed you too
I missed you so much I followed you today
Uh huh, yo son, yo son, don’t raise up son, chill
Sit down, son, I’m talking to you
But I’m saying, though
Don’t deny it, I saw you
I saw you with your alcoholic secretary
The one with the bad feet
Walking, holding her hand
Playing yourself as usual
And you know you are known for playing yourself
Instead of holding her hand
You shoulda been putting some lotion on them crusty feet she got
But anyway, I ain’t gonna stress that
It’s all good
You know your man Big Mike?
Yeah, the first round draft pick, Big Mike
I know you know him as Mike
But I call him Big Mike
Yeah, why you got your mouth open, boo? Close your mouth!
‘Cuz see, he’s feeling me
And I am not feeling you…”

Wow. All I can say is, thanks Yvette. It was worth it. Now compare and contrast this monologue to that of Oran “Juice” Jones in “The Rain”. Be prepared to discuss.

Xzibit–At the Speed of Life…a dope song from a dope album. Before he did cuts with Dre or hosted “Pimp My Ride”, Xzibit was known as a friend of the Alkaholiks (who themselves were once known as friends of King Tee). But with this album he proved he could stand on his own two. If you don’t already have it, cop this CD. “Papparazzi”, “The Foundation”, “Plastic Surgery” (with Ras Kass and Saafir)…joints!! And the song featured on this cassingle is another one. Pimp my tape!

Sadat X–Game Sober…this song guest-stars the Money Boss Players. Get excited, Minnesota fans! A decent cut to round out this collection.The beat is fresh, Sadat’s voice is tight as always…I mean, it’s not Brand Nubian, but it has some memorable lines, and posse cuts are always worth a spin. This is the type of song you might use as filler on a mixtape (or on a cassingle sampler…hey!), but then you would grow to love it after you heard it a few times. “All your rhymes sound like a car commercial…” Dope.

Well, I hope you enjoyed our last stop. All in all, I think you’ll agree that Loud came through with a banger. I recommend picking this tape up the next time you are back in 1997. And while you’re there, tell Biggie to duck. But for now, it’s time to go back…to the future!

Whew!…2008 at last. There’s no place like home. But stay tuned for another exciting installment of “Back in the Day: Cassingles”. The way-back machine will ride again!

See you then…

I let my tape rock ’til my tape popped,

Grip Grand

(As an aside…in order to do justice to these dusty diamonds, I hooked up my cassette deck and started playing some antique hits. Due to the evidently high-powered rotors on my deck, one of my irreplaceable cassingles took a bullet for the team…but more on that in part three. The end result is this–I just got back from Target, where I got a knock-off Walkman (AM/FM/cassette) for ten bucks. It lacks auto-reverse, but it does have a fast-forward button! If you want to rewind, though, you’re gonna have to flip the tape and throw it in FF, then flip it back. Anyway, I threw out the headphones because, according to a sticker affixed to the ear-piece, the cord was coated in a carcinogenic substance that was a hazard to my reproductive health. Pardon my French, but fuck that. I plugged in my shitty over-ear studio cans instead and let the cassingles play. Not only is the motor not strong enough to snap my tapes, but this is truly the way that shit was meant to be heard. For me, analog tape played through headphones will always be the real sound of rap music. I just needed a reminder.)

First off, we have a classic, classic cassingle from 1996, the Chino XL “Here To Save You All in ‘96″ sampler. New Jersey’s Chino XL (nephew of P-Funk keyboardist Bernie Worrell) was kind of slept on in the final analysis, and, at the time he came out, a number of cats were trying to come with a similar style, regardless of who the innovator may have been…in fact, one of the songs on this tape (“No Complex”) would appear to contain an Organized Konfusion dis (disses–real or perceived–abound on this cassette, including the line “I’m trying not to get fucked, like Tupac in jail” which lead to Pac taking verbal shots at Chino on the ferocious “Hit ‘Em Up”). There’s no denying that Chino and Pharoahe Monch shared a certain sound and approach to the rhyme at the time. Pharoahe may have come out on top, at least in terms of popularity and world recognition, but this cassingle proves that Chino was always a lyrical force to be reckoned with. Stripped of the controversy that surrounded Chino at the time, this tape is almost better now. It’s a perfect snapshot of mid-90’s punchline-heavy East Coast rap shit. Plus it features messages of praise (much like De La’s “Stakes and Potatoes” sampler) from guest spitters such as Ras Kass, G-Rap, KRS One, the Artifacts, and Kool Keith. Snippets of inspired radio freestyles round out the tape (my favorite was KRS and Chino rhyming on what is probably the Wake-Up Show over the beat for “Who Shot Ya”). Interspersed with full or partial versions of “No Complex”, “Riiiot!” (feat. Ras Kass), “It’s All Bad”, “Thousands”, and “The Shabba-Doo Conspiracy” (feat. Kool Keith…this is one of the best song-titles of all time, and it contains pearls of wisdom from Keith such as “remember all the camouflage Tampax”), the bonus material pushes this one into the upper echelon of quality cassingles. So why didn’t Chino blow up? Maybe it’s because, for every line like this–” I write the songs like Barry Manilow/I like my sugar brown like Hugh Grant, fuck D’Angelo!”–there’s another one like this–”I explore a woman’s vaginal region like Lewis and Clark!” That kind of thing just never goes over well. Regardless, fans of ‘96-era lyrical mastery should definitely check out Chino XL and his debut album, “Here To Save You All”.

Next up, we have another beast from the East. In 1996, Company Flow dropped the Funcrusher EP and basically changed the game overnight. With ridiculously hard and abrasive beats, “crazy-ass-space-shit-that-don’t-even-make-no-sense” flows, can-control wordplay, and a minimalist lo-fi aesthetic, that EP (and the Funcrusher Plus long-player that followed it) reminded folks of what real raw rap shit was about. Company Flow’s whole style has been absorbed so entirely by modern urban electronic music that it’s hard to explain how different this sound was when it came out, especially since the group spawned so many followers and copycats. A call to arms for basement producers everywhere, the impact of this material continues to be felt today.

Which brings us to 1997’s “8 Snippets to Perfection” cassingle. Purporting to offer “dusted flashes from the Funcrusher Plus LP”, as well as “the independent representation of what MC’s can and should be”, this snippet tape is just that–snippets of “Population Control”, “Tragedy of War”, “Blind”, “Vital Nerve”, “Krazy Kings”, “Collude/Intrude”, “Last Good Sleep”, “Infokill II”, and “8 Steps to Perfection”. But it also has a hot live-performance intro, plus a dope DJ outro called “Apologies from the Juggaknotz”. If you weren’t up on Co Flow back then and you got your hands on this tape, your head probably fucking exploded. It was like hearing Wu-Tang Clan for the first time in ‘93…you just knew rap music would never be the same. And you were right.

Who’s next? Ah, yes. Tommy Boy’s “TB4″ label sampler. “Invading your area” in 1996, this tape of full-length songs featured staples De La Soul, a post-Ruthless Records Above the Law, and a soon-to-be less-relevant House of Pain. Many others make appearances, including then-newcomer Big Noyd, rude boy Bounty Killer, and Wu Tang’s Master Killer (maybe they’re related) . Here’s the tracklisting…

Side One:

Big Noyd “Usual Suspects” (probably produced by Havoc)…pretty hot. I say “Don’t avoid the Noyd”! Ha ha ha…hrrm.

De La Soul “Itsoweezee (Hot)”…one of many stellar singles from their fourth album, “Stakes is High”. A perfect summer joint…the cherry Kool-Aid cover of this 12-inch is one of the all-time greats.

House of Pain “Fed Up”…unfortunately, not the much-better remix featuring Guru over a flip of the “Just to Get a Rep” beat. This original version was a single from their third album, “Truth Crushed to Earth Shall Rise Again”, and it’s no “Jump Around”. Regardless, the dissolution of House of Pain would lead to bigger and better things for lead-rapper Everlast, who went on to reinvent himself as a sort of rap-rock balladeer…reviving his career with great success.

Bounty Killer “Eyes A Bleed (RZA Remix)”…notable for being a Bobby Digi beat (an extra-hot commodity in ‘96), as well as for the guest appearance by Master Killer. I think it’s safe to say that he’s not the Clan’s sharpest sword, but I guess he handles his own here.

Mac & A.K. “Can I Strike Through?”…representing the funked-up Bay shit that was prevalent at the time, this song is hella proper (despite, perhaps, the crooning on the chorus), and it was first released independently on Mac & A.K.’s hard-to-find “Westbound (For Riders Only) the EP”. With its slinky guitars and bass, this cut has the same vibe popularized by albums like Too Short’s “Get In Where You Fit In” and the Click’s “Game Related”. Shine up the scraper and ride to this one.

Side Two:

Above the Law “Evil That Men Do (Remix)”…the original is on their ‘96 album “Time Will Reveal”, but I don’t remember if the remix was exclusive to this tape (and possibly the 12-inch). Either way, the remix is way hotter. Smooth gangsterism from Pomona’s own Cold 187um and company. By the way, if you think your rap-name is as hard as “Cold 187um”, you’re wrong.

Oran “Juice” Jones feat. Stu Large “Players Call”…yes, the same Oran “Juice” Jones who brought you angry-boyfriend/stalker classic “The Rain” does it again! This is actually pretty tight, since it utilizes the same music as Common’s “Penny For Your Thoughts” (off his debut album “Can I Borrow a Dollar?”). Plus it has Stu Large. To which I say: “Who large?” Now go watch the video for “The Rain”, which is amazing. To quote the Juice, “You’re dismissed.”

Rashun & Skeeta Ranx “Weed Life (Remix )”…sung to the tune of”Street Life”, but it’s about weed! Get it? One of two songs on this tape (along with the Bounty Killer joint) promoting Tommy Boy’s “Big Blunts” dancehall series, this may be my least favorite song on the whole sampler. Oh, well.

De La Soul “Dreams of the Funky Towel”…the real gem on this cassingle. De La’s “Dreams…” could only be found on the soundtrack for the forgotten film “Joe’s Apartment”, a movie about, um, singing cockroaches (and starring the fat kid from “Stand By Me”…you know, the one who married Mystique). In fact, it appears that the soundtrack may never have been released. So was this cassingle the only way to own that cut in ‘96? For me it was. This is a textbook “loosie”, a random non-album song that you really had to hunt down if you wanted to bag it for your collection.

Globe & Whiz Kid “Play That Beat Mr. DJ”…rounding out our sampler is this b-boy favorite from 1983, as featured on “Tommy Boy’s Greatest Beats”. If you use the term “old school” to refer to shit like Biggie and Tupac and the Chronic, you need to check yourself. This shit is old school.

And with that, I’ll take my leave. Stay tuned for part three, when we’ll find out the identity of the mystery tape that my cassette deck destroyed this morning! Plus, we’ll look at more sampler madness, including Loud’s ‘97 street-sweeper, “The Set-up”. Until then…

Put it on tape and in the city I test it,

Grip Grand