Happy 2007 From FDB!

Wanted to quickly wish everybody who has tuned into From Da Bricks over the last month a happy and healthy 2007. I have really enjoyed writing the blog so far and look forward to continuing in much the same vein into the new year. Special shouts to other blog owners out there who have provided me with so much music and knowledge towards the tail end of this year: stay up people! Also shouts to those of you who have dropped a comment at some stage as it is always a pleasure to gauge other people's opinions to my various rantings and engage in discussion relating to the culture that we all know and love with such an obvious passion. Embrace the night and worry about the hangover tomorrow: happy new year!

Back To The Motherland - Zimbabwe Legit

And we're back! Hope everyone has had an enjoyable festive season; I know I have. Still recovering somewhat from over-eating but that can hardly be construed as a complaint. Have had a great week or so catching up with family and relaxing with the girlfriend (who presented me with this here selection: well done Samantha), hit the sales and picked up a bit of music although Oxford Street is not a pleasant place to be at this time of year. Starting to feel the January lull kicking in already but still one night of celebration to go. Have a good one!

Zimbabwe Legit could have been a gimmicky disaster but in fact this release fits in well with other works of the era. Drawn to hip hop via their older sibling, brothers Akim and Dumi involved themselves in as much as the culture as possible in their native Zimbabwe although accessibility to the genre was limited in Africa in the early '90s. Still, through a passion and hunger for the artform as well as the dawn of the afrocentric era they made it to New York in 1990 and hooked up with Dave Funkenklein who was writing for The Source at the time as well as holding connections with the Native Tongues collective. Recognisng their skills, he worked hard to set them up with American producers including Mr. Lawnge and a little known Bay Area DJ who called himself Shadow. The result was a four track EP that was critically acclaimed but a commercial flop due to a lack of marketing and publicity. Sadly, Funkenklein passed away in '94, but this and other works make for a legacy of a man who had a passion and understanding for hip hop that is rarely seen in the culture nowadays.

The commercial failure of this release was a real shame because the 'Brothers From The Mother' were charismatic MCs who had skills and a clear affinity with the Native Tongues sound. Drawing on their African roots as fodder for their rhymes, Akim and Dumi boast and brag with intelligence and insight, even utilising their native language on a couple of cuts. The production is solid, although there are a few joints that are easily skipped over. Favourties of mine are 'Straight From The Mothership' with its crisp snares and juicy horns; 'Doin' Damage In My Native Language' which sees the pair rapping in (you guessed it) their native tongue and 'Shadow's Legitimate Mix' which is nothing short of sensational, employing horns and pianos to create an atmospheric and laid back joint that will have your neck aching by the end of its six minute duration.

As far as I am aware this was never conceived as a full length album and this reissue seems to simply draw together the group's work from that era including all the songs that appeared on the original EP. This goes some way to explaining why this is not perhaps the most coherent or consistent of works, but it is still well worth a purchase. It is also yet another example of a record label not understanding the potential of the artists under their control and the subsequent lack of success being an inevitable consequence of a failure to deliver the vital promotion needed at the final hurdle. As a finger up to all those record company execs who wouldn't know real hip hop if it bit them in the arse, put this album in rotation and pay your respects to a group who can genuinely claim to have helped open the door for international hip hop.

Brothers From The Mother

James Brown 3/5/33 - 25/12/06

I wasn't going to write anything on From Da Bricks over the Christmas period as I am away from my collection and knew I'd be gorging myself on food and drink for a week. However, James Brown died today and I felt compelled to write a short tribute to a man whose music made him an international figure who had an impact on men, women and children for close to half a century. Brown's contribution to hip hop has also been massive: how many tracks can you name that have sampled a James Brown beat?

Funnily enough, I don't feel like I know Brown's music as well as I should do. I guess it is a case of only having so much time on my hands and for the last six or so years I have been committed to listening to as much hip hop as possible to the detriment of other genres, however closely related. This is something that I aim to correct in the near future. James Brown may not have been the most commercially popular or the most naturally skilled of vocalists, but he sure was the funkiest and was undeniably one of the most exhilarating performers to ever grace a stage.

Unfortunately, his life was marked by tragedy from a early age and it plagued him throughout his 73 years on this planet. Failed relationships, battles with drug addiction and prison sentences meant that towards the latter stages of his life he had lost the grace and raw power that he possessed earlier in his career, becoming a parody of himself. However, this video of a performance of 'Mother Popcorn' demonstrates what the 'Godfather Of Soul' was all about. The funky music and dance moves are what he should always be remembered for, and there are very few people who have acted as such an enigmatic and powerful symbol of the African-American male in popular culture.



In the liner notes to 'Endtroducing...' DJ Shadow states that James Brown was the inventor of modern music. His raw and unadulterated sound has influenced musicians across the globe for decades, and there is no denying that hip hop would be a drastically different entity if it wasn't for Brown. Christmas day or otherwise, I'll drink to that.

James Brown R.I.P.

Hey Mr. DJ - Abilities & Fuse One

OK people, the festive season is officially upon us and I'm afraid that this will be my last post until the 31st. My parents still live in London so I'm making the journey home and I'm also staying with my girlfirend for a bit in Reading. Have been really enjoying the blog since I started up at the beginning of the month so I'm slightly concerned about withdrawal symptoms (although should be beneficial to leave the computer alone for a short period).

Decided to throw up a couple of mixes today to see you through the Christmas period. DJ Abilities is based in Minnesota and holds an affiliation with the Atmosphere crew, although tends now to spend most of his time working with Eyedea (hence Eyedea & Abilities). I haven't really checked any of his production work, but if it's anywhere near as good as his technique behind the ones and twos then it must be worth checking out. Winner of the DMC regionals in '99 and '01, Abilities is particularly strong at older scratching styles and his transforms are some of the best I have ever heard. 'For Persons With DJ Abilities' is an excellent blend of boom bap hip hop and some newer stuff with some nice touches throughout that make this exactly what a good mix should be: complex enough to demonstrate real talent but without overcomplicating the issue and making it sound fussy. Check the use of Black Sheep's 'Without a Doubt' beat twinned with De La's 'Itzoweezee' lyrics over the top: pure class.

I know very little about DJ Fuse One other than that he is based in the Bay Area. His 'Metamorphosis' mix is a highly entertaining 60 minute journey through old and new skool hip hop with lots of original break samples used to boot. There is a DJ Shadow section on the album which is jaw-droppingly put together, utilising original source samples and various Shadow releases in an original and exciting way. Fuse One has a purist's approach to the artform claiming in the liner notes that all of the track selections were from original pressings and therefore 'no bootlegs, compilations, re-issues, CDs or anything else you people use to substitute the real' were used. I'm not sure if I agree with this aggressive stance towards beat collecting (if you have the original pressing does it mean that you love the music more?) but you have to admire the commitment it must have taken to have put this album together.

Hope you all enjoy the festive period. There is nothing like getting together with the family, consuming large quantities of food and drink and treating yourself to a Christmas day nap in front of the telly: pure, heart-warming indulgence. Tune back in on the 31st for more of the good stuff. Later.

For People With DJ Abilities
Metamorphosis

L'Esprit de la Soul - MC Solaar

I promised a few more pieces of French hip hop earlier this month, and as a response to a request I saw over at WYDU I thought now was the right time to go continental. MC Solaar has been on the French scene since 1990 and is without a doubt the nation's most highly acclaimed and internationally recognised hip hop artist. He has recorded six albums in the last sixteen years as well as one live album and has worked with a number of influential American figures including Guru on his 'Jazzmatazz' project and Missy Elliot on the single 'All N My Grill'. Not bad for a little Parisian kid who still managed to complete his baccalauréat...


Jimmy Jay and Boom Bass of Le Funk Mob handle the majority of the production on 'Prose Combat' and for the most part it is excellent with a selection of indispensible cuts to boot. The opening to 'Le Free Style d'Obsolete' is strikingly well-produced, building slowly over 40 seconds before a drop into some heavy drums to provide a backdrop for Solaar's charismatic flow. 'Nouveau Western' is moody and atmospheric taking you on a neck-snapping four minute journey and 'Temps Mort' features a slammin' trumpet loop that soars over the rolling drums beneath it. The Roots also feature on the album with the track 'I'm Doin' Fine' which sounds like it could have come straight off 'Do You Want More?!'. The beat works well with Solaar's delivery and he stands his own against The Roots' rhyme section.

Despite the language barrier Solaar is a skilled enough MC to engage foreign listeners over the course of an album. He sounds best on the more uptempo tracks with a smooth flow that occasionally fires out some rapid multi-syllabic phrases. Even though I can't understand what he is saying I feel like I do, which speaks for the strength of his ability: he conveys mood and tone through flow alone. His rhyme style takes in 'wordplay, lyricism, and philosophical inquiry' (says Wikipedia) although I'm somewhat in the dark with the exact nature of the content unfortunately. Should have taken that A Level French more seriously.

Of course, it isn't perfect and some of the slower tracks feel a little dull, and I imagine rely more on being able to understand Solaar's thoughts and observations of the world around him. Still, I think that this stands up with American and British releases of this era and is a shining demonstration that hip hop can work in contexts outside of the US. More French stuff to come in the future. Au revoir y'all.

Prose Combat

It All Comes Together - Cella Dwellas

Booze and work colleagues makes for a potentially dangerous situation. Apologies for lack of post yesterday, I was trying not to embarrass myself at my Christmas do which I am not sure whether I achieved or not. At least the holidays last for two weeks (one of the true perks of teaching) so hopefully it will be a distant memory for all when we return in January. Fingers crossed.

I first came across the Cella Dwellas on Loud's 'Bring Da Ruckus' compilation which featured a bunch of tracks from the label's back catalogue. 'Advance To Boardwalk' took the Monopoly board as its theoretical framework, cleverly weaving references to the game into street narratives. On top of this, the beat was on point, keeping your head nodding throughout its three and a half minute duration. I love the way that the drums drop out after the final chorus, only to return wth a big snare hit after a four bar rest: pure and unadulterated NYC hip hop. Inexplicably, I didn't follow this up by getting a hold of their other work and only recently acquired it. I'm glad that I did.

'Realms 'N Reality' is not a dazzling album but it is consistent throughout sixteen tracks and has a number of standout cuts. The group's first single 'Land Of The Lost' is included as a bonus track here as well as the single 'Perfect Match' which is a guilty pleasure for me; the R 'n' B chorus refrain is cheesy as extra mature farmhouse cheddar but I still love it. 'Good Dwellas' is also bangin', detailing the Cella Dwellas rise to fame whilst facing all the trials and tribulations of the ghetto in the process. In all truth there isn't really a bad cut on here, but then there is something slightly lacking about the album as a whole. Although similar in sound to the early Boot Camp albums it lacks the weight of these releases and just doesn't grab the listener in the same way.

In my Buckwild post I noted that although hip hop of this era is esentially formulaic there is a 'je ne sais quoi' that separates truly great works from those that are just good. I don't mean to sound derogatory about 'Realms 'N Reality' as it is a solid effort with some very enjoyable tunes, but it would be an over-exaggeration to claim that this is classic material. Still, this is well worthy of a place in your collection and will have you happily nodding your head for an hour without having to skip tracks as you do so: you can't front on that.

Realms 'N Reality

True School - J-Live

It is relatively rare that you find a combination of intelligent lyrics, excellent delivery and phat beats in this here game known as hip hop. Take for example yesterday's post: Larry-O can kick it, but his visions of a gangster lifestyle are hardly thought-provoking. I don't mean this to take away from his ability as an MC; he has presence and understands how to deliver a good rhyme, but you wouldn't exactly put him in the 'intellectual' bracket and invite him to a dinner party. Similarly, too much thought-provoking material can feel too try-hard and risks missing out on the party element that could be argued is a core element of the genre. I'm struggling a little to think of examples off the top of my head, but perhaps Saul Williams could be considered 'too wordy'; his work is interesting and valuable but it ain't exactly going to rock a crowd.

Today's post features an artist who has managed to combine these elements in a cohesive package that makes it look all too easy. J-Live has had his fair share of strife in hip hop, with 'The Best Part' going through a five year ordeal where it was shelved on two (!) separate occasions. Amazingly, he emerged from this period seemingly unscathed and in my opinion is one of hip hop's most valuable contemporary contributors. His second album 'All Of The Above' is a gleeming demonstration of the fact that you don't have to talk about guns, drugs and bitches to come off dope.

Handling production, turntable and scratch duties is no mean feat either, and J-Live does the three with style. The beats on this album are exceptionally well produced and range from straight party rockers ('How Real It Is') to late night head nodders ('Nights Like This'). Spinna contributes a couple of tracks as well, although these by no means outshine J-Live's own work. I'm not saying that the production is flawless; I don't like 'Stir Of Echoes' and there are a couple of other tunes that I generally skip, but for an album released in '02 that's not bad going.

However, it is J-Live's skills on the mic that really hold this album together. From flipping the well known call and response catchphrase 'it's like this an' a' into a prophetic warning of what happens to girls who give it up too easy to delivering three different possible endings to the same story on 'One For The Griot', J-Live's lyrics cover a wide range of topics and all are delivered with finesse and flava. I can't think of any other MC around at the moment who has the same ability to combine content with flow, let alone whilst producing bangin' music to provide a backdrop. The debate is open: answers on a postcard folks.

All Of The Above

Doin' It Slick For '96 - Real Live

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.

The Turnaround: A Long Awaited Drama

Some People Don't Understand - L.O.N.S.

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...

T.I.M.E.

Scratch Perverts + Rawkus = Bangin'

Around '98/'99 I was getting into turntablism in a big way and at that time the Scratch Perverts were the kings of the UK scene. They were technically stronger than anyone else as well as keeping it funky, and eventually went on to innovate the artform with feedback techniques that had never been seen before.

Simultaneous to this, Rawkus stepped into the limelight with a plethora of releases that brought quality underground hip hop back to the masses. I remember snapping up almost anything that had the Rawkus name stamped on the cover: it was an almost definite indicator of a slammin' release. Never before had I had such confidence in a contemporary label and I can only imagine what it was like for rap music fans during the golden age when Def Jam and Tommy Boy were at the height of their powers. Of course, things turned sour for the label around 2000, but it seems like they might be making a resurgence; let's hope so.

Given away with HHC, 'The Cleaner' features a selection of the Rawkus classics from this era and lets the Perverts work their magic on them. Featuring cuts from Ripshop, Mr Complex and Common as well as others, this is a seemless mix that demonstrates the skill of the Perverts whilst still allowing the selections to shine. Perhaps the most technically striking moment in 'The Cleaner' is the outro to Shabam Sahdeeq's 'Every Rhyme I Write': pure turntablism genius. I'm not sure what the exact Perverts line-up was at this stage as they have been through several incarnations, but I suspect that this was after the departure of Mr Thing and First Rate but before the re-induction of Scotland's Plus One.

I'm also posting a couple of mixes taken from a John Peel radio session coutesy of Sconeboy. First up is Prime Cuts followed by Mr Thing (my favourite UK DJ of all time). I would estimate that these were recorded c. '98 as the Prime Cuts section features his 'Jack Of Spades' juggle which he was busting out at both the DMCs and ITFs around that time. Both mixes are of an exceptional standard featuring classic hip hop joints as well as the odd well known break.

Hate to sound jaded already, but if you download either of these mixes then please drop a comment. I know that people are downloading on a daily basis and yet only a small selection of people are talking! It's pathetic I know, but it does make a difference to my day...

'The Cleaner' Rawkus Mix
John Peel Sessions

Live From Japan - DJ Krush

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.

Meiso

So Many Roads Ahead - Lewis Parker

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.

Masquerades & Silhouettes

Why Don't Ya? Mr Complex

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.

The Complex Catalog
Comps and Collabos of Comp

Check The Rhyme Placement - Mass Influence

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...

The Underground Science

Humm Deez Nuts - King Sun

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.

I also have a couple of requests today and hope that you will oblige:

Large Professor - The LP
Demon Boyz - Original Guidance: The Second Chapter
Sham & The Professor - Devil's Playground
Masta Ace Inc. - Slaughtahouse
MC Serch - Return Of The Product

As always, thoughts and contributions would be much appreciated and I hope that the addition of a CBox will make this easier (shouts to Boro for the technological wizardry). Enjoy the weekend: Monday is already looming on the horizon...

Strictly Ghetto

Uptown, Downtown, All Around - Yaggfu Front

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.

Yaggfu Front - Action Packed Adventure

Who Got Da Props? DJ Sconeboy

Nice to see a few comments coming. It really makes a difference when I see that people have taken the time to post their opinions and it drives me to keep writing, so good lookin' out to those who have done so.

In my haste to write my piece about Buckwild yesterday I forgot to send shouts to my mate Rory who was the source of those beats (see comments posted). In reparation I'm posting a couple of his mixes today that are perfect examples of a local DJ who knows his way around the ones and twos and who also has a deep and varied record collection. It sounds horrendously arrogant but there are very few people who I interact with on a face-to-face basis that share my passion and interest in hip hop: Sconeboy is an exception.

These mixes are right up my alley, featuring classic boom bap cuts alongside a few UK joints that are blended together with taste and subtlety. So often when I listen to a DJ mix I find myself irritated by over the top turntablism that can often come across as self-indulgent and detracts from the selections made. Sconeboy steers clear of this temptation and lets the beats speak for themselves. 'Mix One' features cuts by Blackstar, De La and Craig Mack amongst others and 'Mix Two' begins sweetly with the Ahmad Jamal break featured on 'The World Is Yours' followed by the tune itself. Gotta feel that.

I'll be posting a few more obscure albums over the next few days so keep me bookmarked and check in over the weekend.

DJ Sconeboy Mix 1
DJ Sconeboy Mix 2

Whoa! Buckwild Remixes

Buckwild. Overshadowed somewhat by the other core set of producers involved in the DITC crew his contribution to mid-90s hip hop and beyond is substantial. When I listen to a Buckwild beat I feel detached from the world around me: I'm flying over New York City; I'm on the London Underground at night in an empty carriage; I'm walking along the street at dusk lost deep inside my headphones. Very few producers have consistently provided me with the sense of space that Buckwild has done over the years and as a result, here is a selection of some of his remix work for your listening pleasure.

Hip hop is formulaic. You take a loop that you like, slam some phat drums and a bassline in the mix and then let someone put forward their view of the world in rhyme form over the top. Simple. And yet there are only a handful of people who have been able to perform this feat effectively, stamping their own sense of identity onto the work that they create and making your head nod uncontrollably at the same time. So what is it that defines a truly great beat? Who knows, but Buckwild has the ability to produce them in abundance. There is a beautiful simplicity to his work that goes beyond analysis and taps into a primaeval sentiment that is the essence of all great music.

There is no doubt that he will appear again on this blog again in the future. Indeed, it would be almost impossible for him not to do so given that he features on so many of the quintessential albums of the mid-90s era ('Word...Life', 'Stress: The Extinction Agenda', 'Lifestylez Ov Da Poor And Dangerous' to name but a few). Although these remixes may not represent his seminal works, each one picks you up by the scruff of the neck, demands your attention and shakes you into submission. He is amongst an elite set of producers who encapsulate what real hip hop should be about. Enjoy.

Buckwild Remixes

Vive La Revolution - DJ Cut Killer

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'.

Cut Killer - Menage a 3
Cut Killer & Lunatic

File Sharing Options

Being new to the game, I would gratefully receive suggestions regarding the quality of the multitude of file sharing services available. At the moment I've started using Megaupload simply because I had the greatest ease with downloads from other sites, but I'm willing to listen to others' more educated opinions. Sendspace seems good: what are your thoughts?

Brick City Kids - Artifacts

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...

Between A Rock And A Hard Place
That's Them

Chief Rockas - LOTUG

With Megaupload under my belt, this is my first official post. Paying respects to the group who inspired the name of this here blogspot, I present the Lords of the Underground's first 2 albums. As stated in my introduction, 'Here Come The Lords' has had a resounding impact on my hip hop taste and is still an album I come back to on the regular. Its strength lies in both the skills of the MCs, covering standard bragging verses as well as more thought provoking content (see 'Grave Digga') in a style which sees Mr Funky and DoItAll trading verses with effortless ease. However, critical to me is the quality of the beats. The massively slept-on K-Def provided numerous cuts on this album including the lead singles 'Chief Rocka' and 'Funky Child' which are certified classic material. Even my Mum feels the strength of the horn loops and stabs on this masterpiece from '93...

'Keepers of the Funk' followed in the same vein although lacked the impact of their first release. Again, K-Def's work on the boards produced the strongest beats on the album namely 'No Pain' and 'What I'm After' and there is very little skipping material here, thereby demonstrating an avoidance of the infamous hip hop slide that struck down many of the artists of the period. However, it is simply an album that I have never connected with in the way that I did with 'Here Come...'. There is a little more polish to some of the production and the consequence of this is that the album lacks the raw urgency of their first effort.

All this seemed to come to an end with the final studio album 'Resurrection' which I have listened to although pretty much discarded. Perhaps this is an unfair judgement, but there is little doubt that the grittiness of the first two albums seemed to have gone. Still, they remain one of my most listened to groups of all time and it feels fitting that they kick off my journey into the blog 'game'.

Here Come The Lords
Keepers Of The Funk

Here we go...

Having recently acquired a taste/addiction for the world of the hip hop blog, I decided it was time to join a community from which I have drawn a lot of knowledge and pleasure from over the last few months. At this stage my understanding of how these things work is extremely limited - although computer savvy, I didn't even really know what a blog was until recently and certainly had no understanding whatsoever of file sharing services like Megaupload and Rapidshare. However, as a result of a new found resource for sharing thoughts, ideas and music I felt it was time to get involved.

I've been into hip hop since around 1993 and the idea for the name came from one of my favourite cuts on the first LOTUG album. I remember asking a school friend to record a copy of 36 Chambers for me and inadvertantly on his part, 'Here Come The Lords' was on the b-side of the tape. I had no idea what it was or where it fitted into the vast world of hip hop music but I knew that I loved it. As time passed by I bought more and more of this music, much to the miscomprehension of my parents, and in 1997 got a set of decks and entered the realm of vinyl and mixing. This phase has now passed: my 1200s gather dust in a corner and the majority of my collection is now CD based. This has come about as a result of the massive financial burden of vinyl and a lack of time (and effort) to practise.

Having missed the first golden era first hand I have spent a lot of time digging back through the history of the culture, and so although unable to talk about the first dubbed tape I had with Percee P freestyles in '88, I continue to pursue as wide a breadth of knowledge as possible. Hopefully this blog will help me do so.

My intention (once I learn how to upload files etc.) is to post fairly regularly a variety of albums that hold importance to me or the culture in general. It is unlikely to feature the seriously rare, but should provide a platform for discussion and sharing of interests. There will be a mix of the more obvious to the more obscure, but I hope to provide some artist biography for each post as well as sharing my opinions on the featured music. I am indebted to blogs such as Crooklyn's Classics, Wake Your Daughter Up and Bust The Facts for providing me with an insight into how worthwhile a blog can be and hope that my blog may become a part of this online community.

I see this as an opportunity to share a love of music and would encourage anyone who enjoys the selections presented here to go out and support the artists by buying their records. If any artist objects to their presence on this blog I will immediately remove you from it - just let me know.

Keep with me at the beginning: at the moment a lack of technical know-how will mean that blogs are slow to appear and somewhat infrequent but hopefully I'll get there in the end. Hold tight y'all...