Label Politics Are A Bitch - Large Professor

I do not generally agree with posting up stuff that I do not actually physically own, as the point of the blog for me is to share things from my own personal collection with others. In doing so, it also encourages me to still go out and hunt down CDs and to avoid relying too heavily on sourcing stuff from the internet alone. Today is an exception, as Large Professor's shelved LP never received a CD release and I imagine only exists as vinyl promos or bootlegs. I also own the 'IJUSWANNACHILL' 12'' so feel that I can justify posting this up.

There isn't much to say about Large Pro that you probably don't know already. With production credits on some of the most important albums in the genre's history as well as a load of remix work he is without doubt one of the most accomplished and prolific hip hop producers of all time. Like others in this category, he has a unique and defined quality to his work that means you know you're listening to Large Pro even if you can't put into words exactly what makes the track his own. Of course, he's had his lower points as well with '1st Class' being a definite disappointment, and I wasn't really feelin' his most recent instrumental LP although haven't given it much of a chance. Still, these are small gripes with such a strong and bangin' discography. By the way, did I mention that he's pretty tight on the mic as well?

I simply cannot understand how 'The LP' was never released. Hip hop seems to have been plagued with these sort of mistakes, with Freddie Foxxx's sophomore LP receiving the same treatment as well as a whole host of quality albums that never saw the light of day. How can these record companies not have realised what they had on their hands? I think this was due to drop in '96 and easily stands up against the strongest releases of the year. There's a guest appearance from Nas that surely would have guaranteed sales and with Large Pro's track record it seems astonishing that this never got a proper release. They even made a relatively high budget looking video for 'IJUSWANNACHILL' (see below), so how could they not have taken that final step and got this out there?



Whatever the reason, Geffen made a categoric error. 'The LP' is an exceptional album that will be appreciated by any fan of the genre. Large Professor in his prime: it doesn't get much better than this.

The LP

Comin' Wit Da Illy Filly Funk - Da Youngstas

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

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

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



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

No Mercy

Orchestral Flava - FDB Strings Mix and Vaughan Williams

Back up in it. Man, nothing worse than non-compliant technology. Anyway, I'm back from a nice weekend and fingers crossed blogger seems to be back on side: thanks for your patience. Planned to hit you with this compilation on Saturday but here it is to lift you out of your Monday blues: the 'From Da Bricks Strings Mix'. I have been happy with all of the entries in my compilation series so far, but I think this might be the best. A string section can add untold flava to a hip hop joint, and is perhaps the most versatile of sample choices. Depending on its usage, it can either provide a dark and moody vibe or contribute to a straight up banger; I hope that this provides a cross-section of both. Here's the tracklist:

1. Nas - Nas Is Like
2. Nine - Whutcha Want?
3. Society - Yes 'n' Deed
3. Royce Da 5' 9'' - Boom
5. Gangstarr - Code Of The Streets
6. Pete Rock - Tha Game
7. Real Live - The Gimmicks
8. KRS One - A Friend
9. Mobb Deep - Animal Instinct
10. Heltah Skeltah - Letha Brainz Blow
11. Black Moon - Shit Iz Real
12. Jay Z - Bring It On
13. Supreme NTM - Tout N'est Pas Si Facile
14. Pharoah Monch - The Truth
15. AZ - Mo Money, Mo Murder 'Homicide'

The majority of these cuts are string-heavy in that they feature very prominent samples, although some are more subtle, particularly 'Shit Iz Real' with its creeping strings at the end of every bar during the verse sections and 'Tout N'est Pas Si Facile' which features sweeping strings in support of the horn loop and vocal refrain during the chorus section of the track. All of the big producers feature here: Showbiz, Diamond D, K-Def, Premier and Pete Rock, although Primo deserves a special mention providing the beats for no less than four of the selections made. This happened as a total accident: I had a few tracks in mind, but then just listened to a few albums over the weekend and made my selections. Perhaps this demonstrates Premier's dominance in the field of string samples, or perhaps it is simply a coincidence. Any nominations for the 'King of Strings' gratefully received. I also want to mention that at the end of the AZ cut there is a non-strings track: I can't do anything about this as it is added onto the end of 'Mo Money...' on 'Doe Or Die'. However, the strength of this track warrants the brief deviation from the theme. Hope you enjoy it.

Ralph Vaughan Williams

As with the previous two mixes, I'm taking the opportuniy to throw up something a little different to complement my compilation. I know next to nothing about classical music, although my Dad has a relatively extensive knowledge of the genre (although this is of course an exceptionally broad musical spectrum). One of the pieces that has always left an impression on me has been 'The Lark Ascending', an incredibly beautiful piece of music that is led by a violin, hence its inclusion in today's post. Composed in 1914, it is one of Vaughan Williams' pastoral works, and there seems to be something quintessentially English about this piece. Anyway, I'm not going to pretend I know much about this at all, and it may not be something that you are interested in listening to. However, if you feel like something drastically different from your regular hip hop fix and want to appreciate the emotional power of strings in an orchestral context then give it a go. Who knows, you may never look back...


My Daily Blog Run

I thought I would also briefly give props to a selection of the blogs that I check out every day. Given that I spend a fair amount of time writing my own, I have had to streamline my time spent on other blogs. Of course, there are a load of quality blogs out there, but these are the blogs that I check out daily without fail. The key distinction for me here is that these blogs feature extensive, intelligent and unpretentious writing; a real pulling factor for me.

Wake Your Daughter Up - wakeyourdaughterup.blogspot.com
This was one of the blogs that really got me into the idea of starting my own, and it remains one of the best in the world of cyberspace. Although there are other contributors this is mainly run by Travis who has an extensive knowledge of hip hop and he loves sharing it. It is also one of the longest standing blogs out there. If you haven't been there already, wake your sleepy arse up and peep it.

Poisonous Paragraphs - poisonousparagraphs.blogspot.com
Dart Adams has only recently come onto the scene, but it is a fantastic addition to the blogging community. Dart drops science on loads of classic ish as well as the wider world of hip hop, with articles covering film, music videos and the culture in general. His knowledge is extensive and he writes well. If you are into reading some decent hip hop literature then check it out.

Cold Rock Da Spot - coldrockdaspot.blogspot.com
Jaz has only recently started up his blog, but it is dope, with some phat compilations and written material to boot. Again, there is a lack of pretence about this blog that appeals to me: this is somebody sharing their knowledge and passion for the genre with no front whatsoever. Check it out and show some love.

Biff Hop - biffhop.blogspot.com
Another veteran of the scene, Biff's hip hop spot is also one of the best blogs out there. Of late it seems to be run mainly by Alley Al who regularly comments here at From Da Bricks. Alley has been dropping some big posts recently linked by a theme, and like all of my favourite blogs, he drops knowledge whilst doing so. This is yet another example of the quality available to those of you surfing the hip hop blog scene: get there!

sām'pəld - sampuhld.blogspot.com
I also want to briefly shine some light on a brand new blog that should turn out to be excellent. Depleted, Moyinka and The Gosub Routine have just started up sām'pəld that will feature original breaks and some comment on their usage. If the quality of basslinesanglesrhymes (Depleted's original blog) can be replicated then this is sure to join my daily rounds. Good luck boys!

I want to reiterate that this is by no means an exclusive list of the blogs that I frequent and want to send a shout to everybody who spends time and effort in a quest to keeping real hip hop alive in 2007. I have gained a substantial amount of knowledge and pleasure from the blogging community over the last four or five months and am happy to be a part of it. Keep doing your thing people!

From Da Bricks Strings Mix
The Lark Ascending

Computer Rage...

For the last couple of days I've been experiencing a few issues with blogger. This has mainly focussed around the publishing of images and videos, with blogger randomly deleting items that I've added to posts or publishing in funny sizes. I am currently deep in a computer rage that is probably one of the main causes of petty stress in modern day society. I take a lot of pride in the presentation of my blog and if I can't get it to look right it really bugs me. It has also put me in a foul enough mood to limit the flow of my creative juices, and as you will be aware, I also take a lot of pride in the text that I post up along with album links. I was going to do a post on Da Youngsta's today in response to a request by Kreative, but I'm afraid that you will all have to wait as I am unwilling to throw something up if it ain't right: apologies to those expecting their daily hit of From Da Bricks.

I had also forgotten that I am out of town this weekend, so this will mark a three day hiatus in posts. Hopefully everything will be sorted by Sunday and I can get on with it as usual. This also means that the 'FDB Strings Mix' will also be shunted back by a few days.

If anyone has any advice on why this might be happening then please let me know: you may just save my sanity.

Maintain The Party - Yall So Stupid

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

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

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



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

Van Full Of Pakistans

Boston Got A Lot Of Jealousy - Ed O.G.

There are only a small selection of artists in the hip hop game that have managed to build a truly reputable and long-standing career. The genre is characterised by the regular comings and goings of performers who despite strong debuts, almost always struggle to stay relevant and credible as time goes by. In the majority of cases one of three things happen: you either opt for the big bucks and go pop; fall off and subsequently fade away; or, in the most extreme of cases, disappear without a trace. Ed O.G. is one of only a handful of artists that have managed the mean feat of staying in the game for more than five minutes whilst retaining their credibility, and although his output over fifteen years may not be sensational from front to back, there is no doubting the value of his contribution to hip hop.

Today's focus falls on his sophomore effort 'Roxbury 02119', a slightly uneven release that I feel should still be considered a vital addition to your collection. The positive social messages of 'Be A Father To Your Child' have taken on a more hardcore edge here, but Ed O.G. manages the transition well without coming across as too try-hard. The insleeve lets you know in no uncertain terms that his intention here was to secure a more street level audience, with himself and crew raising a finger (and in one case a knife) to a camera raised above them. This is clearly reflected in the sound of the record, that follows through this grittier image.

Diamond D contributes on the boards and despite 'Busted', which I have never really liked, his other work here is excellent. 'Streets Of The Ghetto' features a tight drum track and horns at the chorus that provide the necessarily moody backdrop for Ed O.G.'s musings on street life. 'Love Comes And Goes', the standout track on the album, hits you with a great guitar sample and vocal chorus loop that complements Ed O.G.'s reflections on a friend's passing to create a summery and pensive vibe. Finally, 'Dat Ain't Right' sees Ed O.G. offering his view of the wrongs committed by those around him in an attempt to advise them against their played out behaviour with D Squared coming correct once again on the production side of things. Ed himself gets on the production tip as well demonstrating his multi-faceted musical ability: 'Skinny Dip' is also a highlight of the album.

The only bad track here is 'Try Me' which is totally out of sync with the rest of the 'Roxbury 02119' and is truly awful. I am always struck when listening to albums of this era that there seem to be one or two tracks that were aimed towards a more commercial market, my assumption being that there was pressure from the label who demanded something that would potentially appeal to the masses. This seems like a total fallacy to me, as these songs never brought in a wider audience and simply serve to eat away at the overall cohesion of the album. They grate against all the true heads, and if someone were to buy 'Roxbury 02119' off the back of 'Try Me' they would in all likelihood be incredibly disappointed by the remainder of the material featured on the release. I would be interested to know if I am right here about label pressures: let me know if you possess a little insider's knowledge.

Although this is not classic in the way that 'Life Of A Kid In The Ghetto' is, it is still a worthy release that forms part of the discography of one of rap's most enduring artists. Pay your respects to Boston and cop it: Ed O.G. deserves his place in hip hop history.

Roxbury 02119

Lions, Tigers, Bears, Oh My! Original Flavor

Original Flavor were one of those crews that proved to be less than the sum of their parts. Despite the presence of Ski on the boards and competent mic skills all round, there still remains something slightly lacklustre about the group's sophomore release 'Beyond Flavor'. As with all albums of this ilk, it has its moments, but the overall feeling I am left with is one of vague disappointment. Coppin' this off the back of the crew's classic 'Can I Get Open', I was hoping for more of the same high grade mid-school, but it seems that they could not maintain this sort of quality over the length of an LP in its entirety.

'Can I Get Open' is of course excellent, with a phat beat and the verse that catapulted Jay Z into a career that has seen him become one of the figureheads of modern hip hop. Whether this is a good thing or not remains debatable, but his appearance on this track is sensational, clearly overshadowing the other MCs' contributions. Although none of the other tracks live up to the album's opener and group's trademark cut, there are other good tracks on this album. 'Beyond Flavor' rolls along nicely with a piano loop and tight drums and 'Blowin' Up Da Spot' features some early '90s style sleighbells that swing from left to right in your headphones. 'Hit' is also good, although I've spoiled it for myself somewhat because I used to play it at about +6% on my turntables so it now sounds a little slow, and I also dig 'All That' despite its incredibly cheesy chorus hook and bridge vocals.

It isn't that the other songs here are necessarily bad, but they certainly lack something, particularly in contrast to the stronger cuts on the album. The verses are perfectly well delivered and the content is as you would expect for the era, but as with the beats, nothing really stands out and demands your attention like quality hip hop should do. I can understand why the reception towards this album wasn't great at the time, particularly with the plethora of truly great releases that dropped in '93/'94, pushing this into the shadows. Still, it is worth a listen, and if you are a fan of Ski's later production work then it is interesting to hear where he honed his skills back in the day.

Beyond Flavor

Can We Rock? Fu-Schnickens

Building on the groundwork laid down by Das EFX in the early '90s, the Fu-Schnickens had a unique and distinctive style that seems to divide a hip hop audience: you either love it or hate it. With tons of pop culture references, verses built around onomatopeia and perhaps some of the fastest delivery ever recorded, the group certainly possessed flow but lacked thought-provoking content. Although the gimmicky nature of their style can grow tiresome over the course of an album, they should not be viewed as simply a novelty rap act, and there are cuts on their sophomore release that see them demonstrate their impressive mic skills over some dope beats with real flava.

K-Cut of Main Source fame and Diamond D both contribute to production on this album which, although uneven, does have some slammin' tracks. 'Sum Dum Monkey' is little more than bassline, drums and horn loop at the chorus, but it has a real sense of energy and works well with the Fu-Schinickens rapid fire delivery. 'Watch Ya Back Door' is similarly stripped down and effective for the same reason, and the two Diamond D productions are both good, if not examples of his finest work. I also like 'Who Stole The Pebbles' which samples a bouncy little piano loop and heavy snare hit. 'Nervous Breakdown' is also the home of the group's crossover hit 'What's Up Doc?' which is a guilty pleasure for me; it's pretty corny, but I still can't help but nod my head to it.

Chip-Fu is without a doubt the most charismatic of the crew, taking the group's unique style of delivery to its extreme. I remember playing this to a friend recently and she refused to believe that his verse was even physically possible, claiming that there must have been editing work done to piece the rhymes together. At times it does feel like this with Chip-Fu laughing, snorting, impersonating Bugs Bunny and chanting the Batman theme tune all within the space of a bar or two, and although it does feel a little repetitive for a whole album, you have got to admire his original and highly accomplished flow. The other two MCs also hold their own, but are ultimately overshadowed by Chip-Fu's dexterity and ingenuity.

This is by no means a great album, but it is entertaining and enjoyable if you dip in and out of it occasionally. Given their upbeat and head-noddy vibe, these are the sort of songs that work well in a club environment and have an infectious quality that means you won't be able to help your head boppin' along to the beat. The Fu-Schnickens vague silliness is what should be enjoyed about them: they are an antidote to serious, hardcore hip hop that was dominant within the genre around '94. Once you've heard Chip-Fu rip through 32 bars, make sure that you pick your jaw up from the floor and enjoy indulging yourself in some fun and original hip hop that has now been essentially forgotten.

Nervous Breakdown

Blow That Shit! FDB Horn Mix and John Coltrane

My compilation today follows the same concept laid down by the FDB piano mix, except that this time the focus is horn samples. It has been a difficult task to narrow this down to fifteen tracks due to the huge range of hip hop cuts that have utilised either trumpet or sax loops (these two instruments seem to be the primary source for the majority of samples), but I am pretty happy with the final product: let me know what you think.

From simple stabs at the beginning of every four bar sequence to extended live performances, horns and hip hop go together like a cup of tea and a nice digestive biscuit. Whether making the song more mellow and laid back or providing an injection of adrenalin, some of my favourite albums of all time have been horn-heavy namely 'Mecca And The Soul Brother', 'Stunts, Blunts And Hip Hop' and 'Runaway Slave'. There is something so damn funky about a nice horn loop, and laid over some heavy drums, hip hop doesn't come much better. Here's the tracklist:

1. Lords of the Underground - From Da Bricks (of course!)
2. Diamond D - Step To Me
3. Pete Rock and C.L. Smooth - Mecca And The Soul Brother
4. Eric B. and Rakim - Don't Sweat The Technique
5. King Sun - Once Upon A Time
6. Illegal - Illegal Will Rock
7. This Is How We... - Pudgee Tha Fat Bastard feat. Kool G Rap
8. ADOR - Let It All Hang Out
9. Hard 2 Obtain - Ghetto Diamond
10. Main Source - What You Need
11. The Roots - Datskat
12. Dred Scott - Back In The Day
13. Show & AG - You Want It
14. Kurious - Leave Ya' With This
15. Organized Konfusion - Why

Whenever I put together a compilation I never put two tracks by the same artist, although Pete Rock and Diamond D do appear twice with production credits on 'Let I All Hang Out' and 'Illegal Will Rock' respectively. I have tried to get a bit of a cross-section of horn sample usage, so for example on 'Once Upon A Time' there is a simple stab at the beginning of each bar, whereas on 'Datskat' you have an extended live sax solo that brings the tune to a close. As I said before, with such a wealth of material out there this obviously represents only a tiny fraction of what could be put together. Still, I enjoyed compiling these tunes, have had the mix in rotation for the last couple of days and hope that you will too.

John Coltrane

With last week's 'FDB Piano Mix' I threw up Ahmad Jamal's album as it was the source for some of the samples on the compilation. This week, I've kind of gone the other way around, with the horn compilation inspiring me to think of some of my favourite jazz saxophonists. Although my knowledge of jazz is by no means extensive, Coltrane comes top of my list with ease. The album 'Blue Train' was released in 1957 and it is not only one of Coltrane's most important and influential albums but also for the genre of jazz as a whole. In line with the horn theme for today's post, the album features saxophone, trumpet and trombone: a veritable horn-fest. Featuring both smooth, lazy Sunday afternoon tracks ('I'm Old Fashioned') as well as more upbeat numbers ('Locomotion') this is a certified classic of the genre. Apparently, it is said that Coltrane killed jazz: he was so good that there wasn't really any point in anybody bothering in the future as they would inevitably fall short of the mark. This is perhaps a bit of an exaggeration, but there is no doubting the quality of the music on this album and the importance of Coltrane within a genre from which hip hop has drawn inspiration on countless occasions.

SP 1200

As my knowledge of production equipment is limited, this is the last of my brief posts on hardware that is important in the world of hip hop. The SP 1200 revolutionised the way that hip hop could be put together, allowing producers the flexibility required to chop up a sample and flip it in any way that their imagination took them. Briefly re-issued in '93 and '97, these drum machines still change hands for considerable money secondhand due to their legendary status in hip hop circles. This was used by pretty much every hip hop producer in the late '80s and early '90s, eventually being eclipsed by the dawn of the MPC, a more sophisticated and verstaile piece of equipment. Its importance within the genre is demonstrated by the number of lyrical references that it has acquired over the years, name-checked in loads of classic cuts. Ultimately, the trusty SP 1200 allowed hip hop to develop into the beast that we know today: hats off to that.

I plan to post up a couple of little extras now that the equipment series (not particularly extensive I know) is done with. Fashion, graf and some other bits and pieces to come in the future: stay tuned.

From Da Bricks Horn Mix
Blue Train

Representin' For The UK - Plus One Mix

In response to a request this week I'm hitting you with a little more UK flava. Bad Magic, an affiliate of the Wall Of Sound record label, had a spate of releases around the turn of the millenium and then faded without trace. This is a pity because they successfully brought one of the UK's stronger production teams into the limelight: The Creators. Like Richy Pitch (check the archives), The Creators not only produce some bangin' beats, but also are not afraid to invite US MCs to provide the vocals for some of their cuts. 'The Precedent' was a promotional CD given away with HHC that brought together some of the label's releases (the majority of which feature The Creators' production skills) and allowed Scottish DJ Plus One to assemble them into a mix.

There are some nice moments on this mix, although it is not sensational. Highlights include 'The Hard Margin' featuring Mos Def and Talib Kweli which is a moody and intelligent piece of rap music, both lyrically and production-wise. There is also a remix of Masta Ace's 'So Now U A MC?' which is good but acts more as a point of interest for fans of one of the genre's most long-standing and well respected MCs than as a banger in itself. Generally there are some nice beats and some decent verses, more than enough to keep you entertained for its rather short half-hour duration. If you're interested in the tracklist then check it at Discogs.

Perhaps more impressive are Plus One's turntable skills, putting together a cohesive mix with some tight scratching that also features his well-known 'I'm Still No. 1' routine. This is a highly accomplished piece of turntablism that although extremely technical is still musically rewarding. Plus One used this in both DMC and ITF competitions, and in fact it was a part of his winning set in 2001's DMC competition. If you can sit through the first four minutes of the first video below (DJs are not necessarily the most eloquent people on the planet) then he will talk you through the construction of the routine. It is also well worth watching him actually perform it live rather than just hearing it (see the second clip).

Plus One talks you through it...



and then performs it...



More UK stuff to come in the future, although as I said in the CBox my crates aren't that deep. Head over to basslinesanglesrhymes.blogspot.com to fulfil all of your early British hip hop needs.

Crooklyn's Classics:

I was worried that Crooklyn had burnt out in mid-December, with his last post appearing on the 18th of last month. An end to this blog would have been a real shame as the man has loads of quality albums, updates regularly and shares his thoughts on the works posted: my kinda blog. Anyway, he's back up and running and will rejoin my daily journey through cyberspace. Get your arse in gear and pay him a visit.

Big post planned for tomorrow with the 'From Da Bricks Horn Mix', a touch of jazz and my final instalment of the equipment series: don't miss it.

The Precedent

Throwin' Rocks At Your Blocks - Nine

My introduction to Nine came whilst doing a brief stint of voluntary work in a local charity shop in an effort to break the habit of perpetual sitting on my arse whilst at university. This isn't quite as altruistic as it sounds, as this particular branch of Oxfam did have a relatively large store of vinyl which admittedly contributed to my decision to volunteer in this particular shop (no such thing as a selfless act). Granted, the majority of it was absolutely awful, but one afternoon I stumbled across a 12'' that caught my interest. A man with twists in his 'fro, baggy slacks and timberlands was bustin' a hip hop stance which instantly drew me to the record, and given that it featured a Portishead remix, it seemed like 99p well spent. I wasn't wrong.

'Whutcha Want?' is a classic underground gem with soaring strings and the bass hook off 'Sittin' On The Dock Of The Bay'. I couldn't believe that I'd never heard of this guy before and hankered after more. If you don't know the tune, peep the video and enjoy:



Unfortunately, both of Nine's releases are notoriously hard to come by, reaching silly money secondhand on the internet having never been granted the reissue treatment. 'Nine Livez' still eludes me (the album that 'Whutcha Want?' appears on), but I was lucky enough to find his sophomore release for a paltry fiver at a local record shop and it is bangin' from front to back.

Nine's delivery is one of the most distinctive in this era of rap music. His gravelly rumble of a voice is incredibly forceful, but this effect is achieved without shouting or straining. In fact, his delivery feels relaxed and effortless, only adding to the rawness of his vocals which rarely grate in the way that some of the genre's more gritty vocal performances can do. The content is relatively predictable, but Nine carries it with ease, weaving clever street narratives and boasting about his impressive displays of lyrical prowess.

The production side of things doesn't disappoint either, the lyrical rawness matched by stripped down, no frills drums and loops. The beats here are absolutely bangin' and demonstrate the simplicity with which quality hip hop can be successfully executed. Interestingly, the majority of board duties are handled by Rob Lewis, an unlikely looking caucasian whose only other major production credits are on DJ Chuck Chillout & Kool Chip's 'Masters Of The Rhythm' LP and as guitarist on PRT's 'The New World Order' album. It looks like he may be one of those strange anomalies that stepped into the realms of hip hop production, put together some quality beats and then moved onto other things. This is a shame, because the man demonstrates a serious talent for the genre that could have been more heavily exploited. In all probability, I suspect that he is now working in the industry as a studio engineer or multi-faceted producer, makin' waves behind the scenes. Whatever the case, props are most definitely in order.

If this is something that you have struggled to get a hold of or have simply slept on, you are in for a real treat. This is dark, gritty NYC hip hop with an original edge that will have your head nodding for years to come. Peep it.

Cloud 9

Keep Your Mind In The Frame - The Herbaliser

Founded in 1991, Ninja Tune has long been the record label of choice for the UK head interested in straight up rap music as well as more abstract beats. I have little concept of how much of the label's catalogue has been exported, but if you're feelin' hip hop then trawling through their discography is well worth the effort.

Some of their releases are a little too leftfield for me, delving into the realms of electronica and downtempo beats that have grown away from the label's foundation in hip hop. However, The Herbaliser are a UK crew that have managed to stay firmly rooted in the culture whilst adding interest that takes them beyond some of the more superficial rude boy UK hip hop that I have discussed before (see my post on Lewis Parker). 'Very Mercenary', the group's third studio album saw the outfit find their feet, combining elements of hip hop and more left of centre influences that also features some tasty guest spots in the form of What What (now Jean Grae), Blade, Roots Manuva, Bahamadia and The Dream Warriors.

Core members Jake Wherry and DJ Ollie Teeba clearly pay their respects to the foundation of the culture with this release, particularly with tracks like 'Wall Crawling Giant Insect Breaks' which mashes together various breakbeats and features a vocal sample from 'Style Wars'. Elsewhere the album focuses on straight up hip hop that has a spacious and atmospheric vibe. Both of the cuts featuring What What are excellent, the relatively slow tempo and warm basslines complementing her flow well. Ollie Teeba also demonstrates his ability on the ones and twos in the outro sections to both of these cuts with some tight scratching that completes the tunes with genuine style. I also highly recommend 'Starlight' which features one of my favourite UK MCs Roots Manuva. Manuva's voice is relatively unique and the content of his rhymes is well thought out and exceptionally well delivered.

The album also has a choice selection of instrumental tracks which are complex enough to stand alone without the need for rapping over the top. 'Goldrush' has a drum track that drives the song forward with real momentum, and the string and guitar loops work well together to create an eerie yet relatively upbeat vibe. 'Shattered Soul' is along a similar line, but is more laid back than the aforementioned track featuring some more of those atmospheric strings as well as a dope horn track that was arranged by a live orchestra. There are in fact several tracks that utilise live instrumentation, the effect being a sense of warmth and depth to the album that is sometimes missing in more contemporary hip hop.

To wrap up: 'Very Mercenary' will not necessarily blow your mind, but it is a complete album that rarely warrants you reaching for the skip button. If you're in the mood for something rowdy then look elsewhere, but in my opinion this is a fine example of how soulful and intelligent UK hip hop can be.

Very Mercenary

Enterprising, Uprising, Surprising - Afu-Ra

It's crazy some of the things that you sleep on. Despite Afu-Ra's status as a protege of Jeru and production by Primo, Da Beatminerz and Muggs, 'The Body Of The Life Force' slipped under my radar for a considerable period of time. I would not say that this is an outstanding album, but it is a demonstration of the fact that hip hop still had something left to give post-millenium as this was released in late 2000. Having said this, perhaps the key to its success is that it sounds like it could have emerged from the scene in the mid-'90s, with instantly identifiable Premier beats and Afu's rhyme style that covers notions of consciousness as well as more stereotypical braggin'/maintain' content.

Much in the same way that Jeru was brought up by Gangstarr, Afu's come-up was aided by his closeness with everybody's favourite dreaded hip hop MC. Making appearances on both 'The Sun Rises In The East' and 'The Wrath Of The Math' introduced him into the hip hop conscience, and with 1998's 'Whirlwind Thru Cities' he looked all set up to break into the scene with vigour. The album as a whole rarely reaches the standard set by his first 12'' release, but there is enough here to keep your average head interested with a well-timed skip here and there.

'Defeat' is a bangin' track that could not have been produced by anyone but Premier and Afu's intelligent wordplay twinned with a relatively aggressive delivery suits the production well. 'D&D Soundclash' utilises a skanking guitar and roots-style vocal sample paired up with a heavy drum track and is a fine example of how when done well, the two genres can be combined to great effect. 'Mic Stance' and 'Equality' are two of the other Premier joints on the album and as you would expect are highly enjoyable. I particularly like the Ky-Mani Marley vocal on 'Equality' which continues the rap/reggae crossover feel that permeates some of the album with real flava. In fact, given that I feel that these are the strongest cuts on the album, I realise that it is essentially Primo's presence on 'The Body Of The Life Force' that really makes it.

I wouldn't really call any of the tracks genuine skipping material, but there are a handful of cuts here that when sat next to the stronger selections on the album feel a little weak. Still, this is well worth a purchase and is an album that will have you boppin' that head and refuting the notion that hip hop died somewhere in the mid-'90s. For that fact alone it is a work that demands coppin'. Copy and paste the link, hit return and enjoy.

The Body Of The Life Force

Get Your 40 And Your Blunt - Cypress Hill

Although I am not a massive fan of latin rap, there are still of course a few groups that it is impossible to front on. Undoubtedly, hip hop's most famous latin rap outfit are the creators of such killer cuts as 'How I Could Just Kill A Man' and 'Insane In The Brain': Cypress Hill. The albums from which these joints came managed the dual success of commercial viability as well as underground credibility, no mean fit in a genre which so often substitutes one for the other. Although 'Temples Of Boom' may not have managed the same achievement to quite the extent of their previous two releases, it is still a quality example of weed-induced stoner rap and features some of the best tracks that the group have ever made.

The cover art alone hints at a change in style from both their self-titled debut and 'Black Sunday'. A solitary monk walks a long, stone staircase towards a temple that looks like it could have been a propsective location for an Indiana Jones film, and this dark and moody monochrome image is reflected in the sound created by the group over the course of the album. Cypress Hill have little intention of covering up their heavily blunted image, with 'Spark Another Owl' featuring a list of the various strains avaliable of every weed smoker's favourite sticky green substance. This album opener sees the group emerge from a cloudy haze of smoke to deliver a seriously head noddy track that I rate as one of the highlights on the album.

The other choice selections for me include 'Illusions' and 'Boom Biddy Bye Bye', both of which are variations on the same heavily stoned theme. I once remember seeing an interview in which B-Real stated that the crew did not want to be known simply as the go-to guys for every discerning pothead, but this assertion seems slightly short-sighted given their consistent and positive representation of marijuana consumption. Unsurprisingly, this release is best enjoyed late at night with spliff firmly in hand, the beats perfectly complementing an exceptionally chilled vibe (although the evil weed needn't be a prerequisite for enjoying the album).

In my opinion, the album is marred by a lack of consistency, and beyond the aforementioned tracks and 'Everybody Must Get Stoned', I do not feel that this is a particularly strong work. Even though they might try and argue to the contrary, Cypress Hill are at their best on 'Temples Of Boom' when sticking to what they so obviously know best: the creation of beats that are intrinsically linked to 'high times'. Sit back, grab your nickelbag and lose yourself in the weed-induced highlights of one of hip hop's most successful crews.

Shure M44-7

In my continuing series of equipment that is essential to hip hop, I'm sticking with the ones and twos today. The Shure M44-7s are to the cartridge world what the Technics are to the ever expanding range of turntables available in today's market: an industry standard. Given their endorsement by the Piklz, there is little doubt about the quality of these needles; if they can handle the punishment that Q-Bert must give them then you know they must be all that. I love the industrial, no frills look of these cartridges in the same way that I appreciate the simple yet classic design of the 1200/1210s: they are there to do a job and they do so better than any other piece of equipment available on the market. If you watch any DMC competition it is almost guaranteed that 50% of the competitiors have got these running through the grooves of their battle wax, and I don't think I've ever seen them skip in competition (I'm happy to be proven wrong). Of course, there are other cartridges out there that would in truth perform as effectively, but there seems to me an essence to the M44-7s that is distinctly hip hop.

More to come in the equipment series very soon: hope you're feelin' it.

Temples Of Boom

Just Let It All Out - Onyx

Onyx's vision of the realities of inner city life are amongst the grittiest and most terrifying ever laid down on wax. As a collective, they are paranoid, incredibly angry and have resigned themselves to the fact that in all likelihood they are going to die imminently as a result of their lifestyle choices. To add to this, they don't give a fuck. The album begins with a short skit in which one man convinces the other to kill himself, despite the protestations of the soon to be dead, whimpering man with a gun pointing at his own head. The philosophical conclusion here is that 'you're better off dead', and this theme is essentially continued throughout the duration of 'All We Got Iz Us', with various allusions to suicide, guns, drug dealing and murder.

In my opinion, this incredibly hardcore aesthetic cannot be successfully carried over the course of a whole album and it is for this reason that 'All We Got Iz Us' falls down. Interestingly, I really rate the first half of the album and feel that the second half is significantly weaker. Perhaps this is simply because I can't make it beyond 'Shout' before feeling that I have to reach for something else to lighten the mood and remind myself that life is in fact worth living. As with 'Poverty's Paradise', this is also one of the first albums that I ever owned on tape as a young fan of the genre. It is no wonder that my parents struggled to see the appeal of rap music with 'All We Got Iz Us' blaring out of my bedroom, with Sticky Fingaz and co. roaring and growling over neck snapping beats.

Despite its shortcomings there are some standout cuts here that make the album worth owning. 'Shout' is an almost carbon copy of 'Slam', adopting exactly the same structure in composition and with the same message: Onyx are the best that the genre has to offer and you need to get off your sorry arse and unleash your frustrations like there's no tomorrow. I actually prefer this to 'Slam' although this is probably due to the fact that the group's signature tune has been overplayed somewhat and lost some of its original impact. 'Last Dayz' is moody and brooding, transporting the listener to the metaphorical dungeon in which the MCs dwell painting their pictures of violence and the rest of society's ills. Sticky Fingaz's verse demonstrates the recklessness with which the group's on-mic personas handle a ghetto lifestlye, throwing all humanity to one side and embracing the darker side of living in the city:

Thinking about taking my own life,
I might as well,
'Cept they might not sell weed in hell,
And that's where I'm going 'cos the Devil's inside of me,
They make me rob from my own nationality.

I also like the track 'All We Got Iz Us' which features a warm bassline, drums and little else beyond the snarl of the MCs over the top with more details of their experiences on the streets of New York. 'Purse Snatchaz' also comes recommended, featuring some nice strings and more hard hitting drum programming. These four songs are the best on the LP, and because I can't really bring myself to listen to more than fifteen minutes of the album in any one sitting, these are the tracks that I come back to whilst the remainder of the work has drifted away from me somewhat.

In some ways I have to laugh at some of the lines because as a nice middle-class boy from north London, hip hop doesn't come much further away from my own experiences of life. Still, therein lies the appeal of the group. I don't listen to Onyx to engage in a world that I know, I listen to it because it transports me to a fantasy world in which every man fends for himself and faces the world around him with an unerring sense of rage and brutality. Pull your fiercest screwface, raise your hands to the sky and jump around to one of hip hop's darkest and most unforgiving outfits. You might not last more than five minutes, but you'll have a damn good time whilst doing so.

All We Got Iz Us

88 Keys - FDB Piano Mix and Ahmad Jamal

It's a bumper weekend post here at FDB, with my first homemade compilation and something a little different in the form of Ahmad Jamal's 'Awakening' album, the source for countless samples utilised by some of the genre's finest beatmakers. The piano creates such a beautiful sound and is perhaps the most versatile instrument known to man: on what other instrument can you play ten notes all at the same time? As a result of this I have pulled together some of my favourite tracks that feature a piano sample and put them all together in the originally titled 'From Da Bricks Piano Mix'. The tracklist is as follows:

1. UMCs - One To Grow On
2. Nas - The World Is Yours
3. Main Source - How My Man Went Down In The Game
4. Gangstarr - B.Y.S.
5. Miilkbone - Keep It Real
6. Pete Rock - The Boss
7. Jay Z - D'Evils
8. World Renown - How Nice I Am
9. Common - Resurrection
10. Da Youngstas - I'll Make U Famous
11. Lewis Parker - 101 Pianos
12. Mr Complex - C.O.R.E. Mix
13. Group Home - Up Against Tha Wall (Getaway Car Mix)
14. Binary Star - Reality Check
15. Wu-Tang Clan - C.R.E.A.M.

The vast majority of these tunes will be well known by the majority of you but I want to give a special mention to a couple of cuts here. Miilkbone held an affiliation with Naughty By Nature and 'Keep It Real' is a quality example of how well piano samples can be used. With a tasty horn loop and tight snares as well this is a demonstration of how strong Jersey's contribution to hip hop has been. World Renown's 'How Nice I Am' is off their shelved LP and was produced by the mighty K-Def. I first heard it at K-Def's website which is nicely put together with a full discography and some videos to check out as well; peep it at www.kdef.biz. As an aside, if anyone has this album in its entirety then please let me know. Finally, although it is probably one of the most well known tunes on this compilation, 'Up Against Tha Wall' ranks as one of my favourite Premier beats of all time. Back in my less knowledgable days it took me ages to find out what it was after hearing it played in the warm up session of a Souls Of Mischief gig. I was elated when I finally got a hold of it and even the undeniably wack rapping can't take away from the quality of the beat.

The idea for the compilation came from an idea I had back in my DJing days when I thought it would be cool to make a mix that was linked thematically by instrument. This is a concept I plan to continue in the future so stay tuned over the coming weeks.

Ahmad Jamal - The Awakening

I am not usually that up on the original sources for samples as often I find myself disappointed by the tunes in their entirety. There is an interest as a result of their usage in a hip hop context but it doesn't usually go beyond that. However, Ahmad Jamal's album is not only the the root of both 'Resurrection' and 'The World Is Yours' along with a selection of other hip hop tracks, but is also a beautiful jazz album that is worth a listen beyond geeky sample spotting (no hating intended). Jamal was one of Miles Davis' favourite pianists, and his style is subtle yet highly engaging. Check this recording of the the trio in 1959 and imagine yourself in a dimly lit and smokey club with a drink in one hand and cigarette in the other. These old jazz cats had style and grace by the pound.



The track 'Awakening' also features the break utilised by Da Beatminerz on the track 'Change' by Shadez of Brooklyn. If you have the 12'' then please drop me a line. I wanted to include it in the mix but don't own it: help me out people!

Technics 1200/1210

As far as equipment related to hip hop, there aren't many pieces of technology that are as essential as the Technics turntable. Originally manuactured in 1972, these tables have been through several incarnations with the addition of a couple of gimmicky features but basically these industry standard decks have remained the same for over 30 years. Although there are now equally capable turntables out there, particularly the Vestax range as well as the more recent Numark models, no other deck has the appeal of the Technics for me. The design is classic and the durability is untouchable. It could be suggested that the development of scratching and juggling techniques would have been significantly delayed if it wasn't for these babies: if you own some then you know what I'm talking about. In fact, just writing about them brings me back to my torn attitude towards vinyl whereby I would love to own a massive collection but don't have the finances to support the addiction. Who knows, maybe in the future I will return to the format but for the moment I am a CD man. I will be throwing up a few more posts on equipment essential to the genre so once again, keep checkin' into FDB. Enjoy the weekend folks.

From Da Bricks Piano Mix
The Awakening

Straight Ballin' Like Testicles - Naughty By Nature

The thing that I have enjoyed most about this blog is that it has forced me to look back through my collection and listen to albums that have been out of rotation for a long time. As with 'Labcabicalifornia', 'Poverty's Paradise' may not be deemed classic material in the sense that the group's earlier releases are, but personally I regard this as the most consistent and dopest of Naughty's output.

Naughty By Nature are the perfect hip hop crossover group. Catchy hooks and a lyrical focus on the benefits of a good party keep the casual listener happy, but there is also a grittiness to their beats which complements their highly accomplished flow and engages the more serious hip hop fan. The light seems to generally fall on the first couple of albums due to the presence of the classic party anthems 'O.P.P.' and 'Hip Hop Hooray' and as a result 'Poverty's Paradise' does seem to get overlooked somewhat despite a Best Rap Album Grammy. It still has it's fair share of hits with 'Craziest' and 'Feel Me Flow' which build on the groundwork made by earlier hits, but there literally isn't a bad track on here which is perhaps more than can be said for their self-titled debut and '19 Naughty III'.

I love the opening to the album which features a brief excerpt from a live show followed by a piano based cut that introduces the theme for the album. This is followed by 'Clap Yo Hands', a sensational cut featuring a sample from a Sam and Dave song and some slammin' snares. 'World Go Round' features a loop from Michael Jackson's version of 'People Make The World Go Round' sped up and laid over the top of some more dope drum programming and 'Respect Due' is also an absolute belter with more of the same: big beats and dope rhymes. Generally the production is excellent, retaining a strong street feel but whilst keeping a sense of the soulful dusty grooves that went into the construction of the songs.

Treach and Vinnie's flows are amongst the best that the genre has ever seen, varying in tone and intonation with forays into some lines that feel almost as if they are being sung. Clever wordplay and similes mean that they not just a success because of their style of delivery; there is content here to match. The main focus remains the same as earlier releases: parties, women, street narratives and braggin' but it is done with such quality that like all great MCs they forge an incredibly strong sense of their own identity. I can only imagine how great it would have been to see the group at this point in time, with Treach and Vinnie ripping through classic after classic and getting the crowd properly hyped: real live hip hop.

This was also one of the first hip hop albums that I ever bought, and it takes me back to when I was thirteen finishing my homework and playing 'Lemmings' on the PC whilst listening to my 'Poverty's Paradise' tape to death. I loved it then and I love it now, a true indicator of the fact that although I didn't really know it at the time, I had tapped into something that epitomised quality hip hop of the era. As with yesterday's post, this personal history obviously taints my objectivity when approaching the album but I don't care: this is undeniably dope.

Keep locked into FDB over the weekend as I have a couple of special compilations in mind as well as a little bit more stuff on some of the technology that has been so important in the world of hip hop. See you then.

Poverty's Paradise

It's 1995! - The Pharcyde

After posting the Dilla/J Rocc mix I was drawn back to The Pharcyde's sophomore release 'Labcabincalifornia'. I had forgotten how much I get out of this album despite its slightly lukewarm reception in comparison to 'Bizarre Ride II' and controversially I think I actually prefer this to their first effort. What the first album did so effectively was hark back to how fun hip hop could be with hilarious lyrics and upbeat party rockers. The criticism levelled at 'Labcabincalifornia' seems to revolve around the fact that the group got more introspective and serious on this album, losing the aforementioned sense of unadulterated fun that characterised the first release. This has never posed a problem for me and I personally feel that this album has subsequently been slept on a little.

I remember being in a friend's older brother's flat in Camden when I stumbled upon the 'Runnin'' CD single. I guess I might be exposing the fact that I have been involved in hip hop seriously for a much shorter time than other bloggers out there, as I had heard nothing of The Pharcyde until this point. That tune went on repeat for the rest of the night and remains one of my favourite cuts of all time. It is amazing the impact that music can have in that early stage of discovery where it can sound so fresh and new, and your feelings towards it are uncomplicated and totally free of cynicism. 'Runnin'' struck an instant chord with me with it's guitar loop, crispy snares and sung chorus hook. The overall jazziness of the tune coupled with the MCs newfound maturity towards life and the industry still gets me to this day, and it is a classic for both myself and my circle of friends who have all found the same allure in its production and lyricism.



I could talk about 'Runnin'' all day, but there are other highlights here as well. 'Devil Music' lyrically explores issues surrounding the ownership of the band's music when engaged in the modern music industry and is backed by a slammin' beat. Other high points include 'Groupie Therapy' which is produced by Diamond D and features some dope xylophones that form the backbone of the tune and 'Moment In Time' which is a seriously laid back track where the group ponder the nature of our time on this planet. Granted, the MCs do seem slightly jaded over the course of the album but they aren't bitchin', they have simply gained experience and knowledge of the world around them in the three years between this and their first album and they deliver this knowledge with eloquence and style.

This is not to say that this is a totally consistent album and I do find myself skipping a few tracks here and there. However, the strength of individual joints carries the album for me and I am confident that I will come back to this and still enjoy it in the future. I simply cannot separate 'Labcabincalifornia' from a stage in my life when the whole of hip hop was laid out in front of me, waiting to be discovered and cherished. Wouldn't it be great to go back to that time when you got your hands on an album that genuinely changed how you felt about music and perhaps even your perception of the world around you. This represents that phase in my introduction to real hip hop and for that reason it will forever remain a personal classic. I can sit here and deliberate about the pros and cons of albums until the cows come home, but you can't be totally objective about everything can you?

Labcabincalifornia

Let's Get It On - Kenny Dope Nervous Mix

Although the majority of you will know these tunes inside out, there is always something highly satisfying about a mix that brings together some quality beats with skill and finesse. These are the sort of albums that I throw on when friends are around as they appeal to even casual hip hop listeners due to the high standard of cuts throughout. However, there is also something here for your more serious head as the mix puts a unique spin on otherwise familiar tunes. This Nervous Hip Hop compilation fits nicely into this bracket, with Kenny Dope selecting some classic Boot Camp joints and a few other bits and pieces to keep that head nodding.

I love the way that this mix has some extended instrumental sections that blend seemlessly with other cuts that have vocals over the top. Big beats and funky horn loops are the key link between the selections here and the mix as a whole is dope. In all truth I don't have a great deal to say about this album, although perhaps 'Six Million Ways To Die' deserves a special mention. I love Nine's gritty delivery and there are very few non-LP appearances by the man so this is a bonus in a quality mix. There is some nice back spinning at the beginning of the tune that extends the intro and when the vocals kick in it is as good as any track off 'Nine Livez' or 'Cloud 9'. Skip to the bottom of this post for the link and enjoy.

MPC500:

Thought I'd chuck in a couple of other bits today due to the slightly short post. Saw this in a magazine aimed at those involved in the production game today and couldn't resist sharing it with you. As I imagine is the case for many a diehard fan, the dream of delving into beatmaking at times seems all to appealing. This new mobile MPC would be top of my gadget hitlist if I had bottomless pockets and hours of time to kill pressing little rubber pads and pretending that I had moved up in status from avid listener to bangin' producer. Fortunately I have enough awareness of myself to know that I have neither the record collection nor the musical ability to warrant owning one. Still, you can't stop a man from dreaming and this battery powered unit has me sat on a late night train putting together beats that sound like Pete Rock c. '94. Check out the Chocolate Boy Wonder doing his thing, close your eyes and imagine people...



Bass lines // angles and , rhymes:

I also wanted to take a little time out to give a quick shout to my man Depletedsoul over at BLAR. Depleted started his blog up around the same time as me and has been a regular comment dropper since day one here at FDB. Posting a wide variety of hard to find hip hop joints as well as some classic funk, this blog is well worth a visit. Of late he's been throwing up a load of classic UK albums that I have really appreciated being exposed to, as my knowledge of this era of British hip hop is somewhat limited. Pay him a visit at basslinesanglesrhymes.blogspot.com and drop a comment.

Nervous Hip Hop Mix - http://sharebee.com/6a240ac8

Virginia In Da House - Mad Skillz

Amazingly I haven't seen this posted up anywhere else so I'm grabbing the chance and throwing up a true classic of the mid-'90s era. 'From Where???' is straight bangin' from start to finish and is an essential addition to your collection if you're feeling that second golden era flava (of course you are!).

What makes this album really stand out for me is that both production and Skillz's mic handling abilities are as strong as one another; a rarity within the genre. I seldom find an album that combines the two arts with such finesse but 'From Where???' seems to do it with ease and pounds of style. Buckwild, Dilla, Shawn J. Period, The Beatnuts and Large Pro all contribute on the boards, an astonishing dream team of mid-'90s producers that speaks for itself. The beats are polished but retain that gritty straught up vibe that characterises quality hip hop. 'Move Ya Body' is the only cut on this album that I skip as it is a little cheesy, but every other track is absolutely slammin'. From the crazy horn loop on 'Tongues Of The Next Shit' to the summertime flava of 'Get Your Groove On', through the neck snapping 'Nod Factor' and the eerie sounding album closer 'Inherit The World', the beats here are truly on point. Crispy snares, big kicks and simple yet subtly flipped samples mean that this album represents the pinnacle of east coast hip hop production.

Skillz is tight on the mic as well, verbally throwing less accomplished MCs onto the scrapheap and then kicking them whilst they're down. Although the content is essentially made up of bragging verses, Skillz's delivery feels fresh and original. I always thought that there was a similarity in tone and delivery to Big L which in itself should be seen as highly complimentary, but Skillz has a unique and engaging delivery that is all his own. He has also (very publicly) ghost written for a whole host of mainstream rappers which demonstrates his lyrical prowess and ability to switch his game up without selling out his own on-mic persona.

I try to resist the temptation to label albums as 'classic'. As I have said before this term gets banded about a little too much in this here hip hop game for my liking, taking away from those albums that truly warrant the tag. However, I'm willing to put my neck on the line with this one. This is a shining example of how great rap music can be and if you haven't heard it you are in for a serious treat. Get your volume maxed out and bop your head until you can't bop it anymore: this is classic material for all you true heads out there.

From Where???

Spell It With A J! Rocc and Dilla

Neither of these cats need too much of an introduction. J Rocc of Beat Junkies fame spins some of Dilla's greatest instrumentals: if you don't have this then it should be clear that you need it. Shouts again to Sconeboy for this one: live it large in Toronto mate!

Due to Dilla's tragic passing last year, there has of course been a massive amount written about him all over the internet. For this reason I am not going to go into any detail at all about the man himself. Instead, I want to focus on his music and the effect that it has had on me as a fan of the genre. I have to admit that I would not list Dilla as one of my favourite producers of all time, and in fact at stages I have felt lukewarm about his production. This is offset with a handful of songs that I deem to be amongst the greatest that hip hop has ever known.

My first official introduction to Dilla came with 'Fantastic Vol. 2' which I had heard so much hype about that I thought it was going to change my world. It didn't. Apart from a few of the cuts I really didn't connect with the album, and found the production lacking in substance and the rhymes irritating. I never really understood why this album got the credit that it did. I put this down to a simple case of personal preference as I can understand the musicianship behind the album and the way that it offered something different to a more mainstream hip hop audience, but I just wouldn't listen to it very often and certainly not for its whole duration. I was also disappointed in the BBE release 'Welcome To Detroit' which again lacked punch for me and is another Dilla work that I could pass up quite easily.

However, his contributions to both the second Pharcyde release as well as Common's 'Like Water For Chocolate' were sensational. I would have to class 'Runnin'' as one of my favourite hip hop cuts of all time and love 'Labcabincalifornia' despite an awareness that others do not feel as strongly. I copped 'Like Water For Chocolate' during the Rawkus golden era when artists like Mos Def and Kweli were at the forefront of the scene and loved it from the word go. Dilla's contribution here was soulful, jazzy and undeniably cool. His work on the boards matched Common's dope yet thoughtful style and made for a truly great record.

Of course in more recent times both 'The Shining' and 'Donuts' have demonstrated what an original thinker and valuable contributor Dilla was to the hip hop scene. I remember holidaying in the south of France when I got 'Donuts' and I could not put it down. I love the fact that Dilla used to tap out the beats for the whole tune without relying on the MPC to correct his mistakes, and this live and slightly abstract feel translates into a bangin' release. Some of the cuts on 'The Shining' are also excellent and the album as a whole is testament to the talent that has been sadly lost. Of course, there are loads of quality Dilla releases dotted all over the place both under his own name and in collaboration with other artists, but you know that don't you?

Back to the mix. J Rocc doesn't mess about here, creating a smooth blend where each beat gradually develops into the next with nothing in the way of turntable trickery to spoil the mood. This is a late night head nodder that brings together a whole host of instrumental joints with style and grace. Kick back, relax and pay your respects to a man that may not have revolutionised the state of hip hop in the future, but who was certainly in the process of resuscitating an artform that is struggling to stay alive.

J Rocc/J Dilla Mix