Kick 'Em In The Grill - MC Serch

'Return Of The Product' is one of those albums that has been on my hit list for a long time, and which I finally acquired a couple of months ago. Having read a bit of negative press regarding the album on the net, I wondered if my 'this is going to be great' hunch would be wrong, but I am glad to say that although this is by no means a sensational album, it is still a quality release that I would argue should be held in the same regard as his former bandmates' joint venture 'Dust To Dust', which also seems to get largely ignored by even the more educated of hip hop fans (I'm no exception, having slept on these until only recently).

In some ways, you can see how 'Return Of The Product' was doomed to failure. With the success of 3rd Bass (both of their full length studio albums went gold) and the critics behind them, it is no surprise that the slightly more hardcore aesthetic on Serch's first solo outing would be resented by those that had held the group in such high esteem. To be perfectly honest with you, I'm no expert on 3rd Bass and so don't want to get too heavily into drawing comparisons between Serch's earlier work as a member of that group and his own solo work: let's get down to a discussion of the album.

The lead single here was of course the excellent 'Back To The Grill' featuring Nas, Chubb Rock and Red Hot Lover Tone which essentially acts as a sequel to the undisputed classic 'Live at the BBQ'. I remember first hearing the former cut on a J Smoke mixtape around 2001 and was instantly taken by its bangin' drum track and upbeat party vibe. I also love the album opener 'Here It Comes' which features some creative and interesting layers (check the African chants in the verse section and the bell during the chorus... quality) and the funky drum track means that this cut easily gets your head nodding. The remix that appears at the end of the album is also excellent, with an aggressive and seriously upbeat flava. 'Can You Dig It' is another favourite, with live drums and a multi-layered chorus hook that works very well. Serch handles co-production on the majority of the tracks, with T-Ray and Wolf & Epic chipping in, and the result is a pretty consistent album that successfully utilises live instrumentation whilst maintaining a relatively gritty vibe.

Match the beats with Serch's unquestionable skills on the mic and you've got a winning formula. I have always liked his flow which feels relaxed and fluid, and his voice has a powerful quality that means he resonates over the music below. The content is also pleasingly varied with comments on society, bragging verses and I think he even kicks a little bit of 5% wisdom at one stage (!) although I can't remember what track this appears on. Here's the man himself talking about the upcoming album release at the beginning of 1992:



If you've been sleepin' on this album like me then I think you will be pleasantly surprised. Although it is by no means an exceptional album, it deserves far more props than it has ever garnered, slipping off the hip hop map for all but the most dedicated of fans. Right this wrong: hit the link.

Return Of The Product

FDB New Look - The Final Draft

The new look is now complete! Got to give a massive thanks to Depleted over at BLAR (now shutting down: what a loss to the blog scene) and Dale at work for all the help along the way: I really appreciate it. I may still tinker with the colours, but essentially what you see now is the finished product... hope you like it.

The banner picture comes from a shot I took the other day of our local dilapidated building that will soon receive the overhaul treatment. I spent a few nights/mornings going up there with friends after intoxicated evenings and it sent shivers down my spine when I revisited it as it is definitely not a safe place for those under the influence. Still, funny and memorable times. Once again, if you are experiencing any overspill problems or suchlike then get in touch. Onwards and upwards!

FDB Radio Show Week 1

I'm a little disappointed as I tried to listen to my show last night but I seemed to have some technical issues that prevented me from doing so. Was this just me? Did anyone try and check it? If so, did you manage to listen to it? Any feedback would be greatly appreciated by myself and Chad at WGHH Radio as it is still very much in its early stages and we need to try to iron any of these sort of issues out. Anyway, for those that missed it for whatever reason, here's the link to the FDB Radio Show Week 1. It seems a little pointless posting the playlist as isn't part of the fun waiting to see what gets played? Let me know what you think...

FDB Radio Radio Show Week 1

I Hate To Brag... Ninety9 & DJ JS-1

My computer knowledge has increased tenfold since starting this blog. I'm no wiz yet, but I can handle a little HTML now, and more importantly, yesterday I worked out how to rip 12''s to my computer. This can only be a good thing, and now allows me to get some of my rarer singles uploaded in addition to the CD albums... damn I'm good! I'm probably not going to make a regular habit of it as it did take me a while, but in response to a 'conversation' I had with Alley Al over at Biff Hop recently, I'm throwing up a couple of 12''s that may tickle your fancy.

Ninety9 - Willow 12''

I remember copping this when it came out in 2000 after it received some pretty heavy rotation on MTV. I know very little about Ninety9, but judging by Alley's comments, she was a feature on the New York hip hop/spoken word scene around the mid to late '90s and this ultimately resulted in the release of this pleasing, summery single. The lead track is 'Willow', a beautiful string and piano laced beat with sung chorus hook that feels great when the sun is shining and has the effect of making the world around you seem sweet. With lyrical references to an SP1200, you can also be assured that Ninety9 is representing the real hip hop. The b-sides aren't too shabby either, my favourite being 'Last Minute' which has a seriously chilled, late night vibe. All in all, this is a pretty decent 12'' from an artist who I would have liked to see a lot more of but who has sadly disappeared from the scene.

DJ JS-1 - Beyond ft. O.C. b/w Arrogant ft. Substantial, Tonedeff, PackFM & Rise
















I remember seeing Rahzel in my first year of university and being absolutely blown away by him and his DJ sidekick JS-1, so when this 12'' dropped in 2002 I grabbed it without hesitation. 'Beyond' is an almost Premieresque (the man deserves his own adjective) beat with melodic piano loop and crispy drums that will get your head nodding, and O.C. comes correct on the vocal side of things. The two elements combined make for a quality, upbeat track that seems to have barely registered on the hip hop map. I'm not a great fan of the b-side, although there is no doubting that JS-1 can work his way around the boards. Ultimately, whenever I used to buy 12'' singles, one side would always predominate and leave the other in the shade and in this case, 'Arrogant' takes the fall.

The 12'' also includes a DJ track featuring DJ ODY-ROC, who I have never heard of before, but the pair perform some seriously tight scratching over a relatively aggressive beat that makes several transitions over its five and a half minute duration. Overall, a quality 12'' that demands you hit the link.

From Da Bricks Radio Show

Don't forget that tonight sees the world premier of the FDB Radio Show. It's airing at 11pm GMT and will then be repeated at 4am GMT early Wednesday morning over at WGHH Radio, so check it out and let me know what you think. With tracks from Serch, Percee P and Red Hot Lover Tone amongst others, this should be right up your alley...

New Look Update

I went out on a little photo mission this afternoon as well, so hopefully it won't be long until the new look is complete. Again, if there are any issues arising from the changes then please let me know and I will get it sorted: nice one.

New Look - A Work In Progress

I've been getting kind of sick of the look of the site of late, and have intended to do something about it for a while. Anyway, the time has come and I hope it looks, ummm... fresh. I'm going to be trying to sort a different header at some point once I get a little technical know-how/help behind me. I am slightly concerned that although the wider format looks great on my widescreen Mac, it may not look so great on a regular PC monitor. Let me know what you think or if there are any issues arising from the changes.

Spreading Like Infection - Xzibit

Although my sensibilities lie firmly in the east, I'm trying to open my mind a little bit to stuff from the other side of the US in an attempt to expand my hip hop palette. Despite 'At The Speed Of Life' being a relatively high profile release, I only got a hold of it the other day and have been so impressed with it that I thought I'd throw it up almost immediately. To be fair, I feel like I'm cheating a little on the 'broadening my horizons' front here, as although Xzibit hails from California, there is no denying that this album is musically closer to counterparts from the five boroughs than from the so-called 'City of Angels'. Still, it's a step towards branching out a little bit, and I'm happy to be so pleasantly rewarded. Who knows, I may be bumping some low-riding, gun-toting G Funk before the year is out...

As an affiliate of the Likwit Crew with King Tee and The Alkaholiks, the east coast influence found in this album is hardly surprising as both of the aforementioned artists also lean towards a more New York oriented sound. Indeed, it also seems significant that this was released by Loud, who traditionally had always handled the business of those representing those on the Atlantic coastline. Favourite cuts for me at this stage are 'Eyes May Shine' which incorporates some sweeping strings with heavy drums to produce a serious banger, and this is followed by 'Positively Negative' which continues in the same rugged vein with a verse from King Tee to add to the lyrical side of the track. Diamond D's contribution 'Bird's Eye View' is also solid and as with 'Positively Negative' benefits from guestspots, this time from J-Ro and Tash of The Liks. Although I don't feel like I know the album inside out yet, the overall impression I am left with is that the production is pretty consistent from start to finish, and I had no problem in giving the album a full listen through straight out the blocks.

I also enjoy Xzibit's work on the mic, which is characterised by his deep voice and raw delivery. The content of his verses is relatively standard, but there is an intelligence here that means his street narratives work well (perhaps 'The Foundation' is one of the best examples where he details the struggles of street life by relaying the information to his son). It seems like 'Paparazzi' is often cited as the standout cut, but X's brutal dismantling of those artists in it for the money feels a little ridiculous now given his current profile in the game: 'Pimp My Ride' ain't exactly street level. Still, it is an excellent track, and the video is worth checkin':



All in, I have been genuinely impressed with this release and I regret sleeping on it due to my irrational prejudices against the west. This is gritty, rugged hip hop that easily stands up against east coast releases of the era, and it goes down as another quality release from the Likwit Crew that is opening my eyes to the west in more depth. If you're sleeping like I have been then who knows, it may do the same for you.

At The Speed Of Life

From Da Bricks Hits The Airwaves - WGHH

A little while ago a man named Chad got in contact with me and asked if I would be interested in an online radio show slot. Although I have had no experience in this field before I thought it might be fun and an opportunity to spread my love of hip hop even further. The site is now up and running and you should definitely check it out at wghhradio.com, with fat beats being played 24/7 directly into the comfort of your own home. My slot is on a Tuesday night at 11pm GMT and is then repeated at 4am GMT on Wednesday morning in the hope that those of you across the pond can still catch it. I'm trying to keep the talk to a minimum and will be playing a variety of stuff that I know you will appreciate. I'll probably post the show after it has been aired so if you miss it you can still have a listen: check it out and let me know what you think.

As a quick aside, I would like to mention that on the show I state that the 'Rampage (Remix)' comes off 'Business Never Personal'. It doesn't of course: radio nerves already getting the better of me... apologies!

Eliminating Lies - The Boogiemonsters

Although the vast scale of hip hop means that the music is inevitably broken down into numerous sub-genres, the category of 'Christian Hip Hop' has always filled me with a vague sense of dread. The thought of somebody ramming their religious ideologies down my throat is not exactly desirable, and as such, the tag often has the effect of putting me off a work. The Boogiemonsters do fall into this sub-genre, and the religious aspect is more present on their second release 'God Sound' than on their classic debut, but it avoids being overly preachy and although it is not an astonishing album, it is well worth a listen.

The group are perhaps best well known for their single 'Recognized Thresholds of Negative Stress' and deservedly so. This is a fine example of mid '90s hip hop at its best, and although it was the clear album highlight, the rest of the release kept pace with a chilled, summery vibe and well delivered verses. Peep the video:




Their sophomore release is definitely not as strong, losing the sense of fun that categorised the first album in favour of a darker, more monochrome sound, but in places this does work well. 'The Beginning Of The End' has some tight rolling drums and brooding samples that make for an effective album opener. 'Whoever You Are' has a spacious feel and some atmospheric strings, and 'Whistles In The Wind' has a seriously laid back flava with echoing rim hits and, you guessed it, some whistling. These tracks are the highlights for me, and I rarely delve much deeper into the album. The beats lack impact overall and I do not feel that there is enough to keep a listener engaged properly over the album in its entirety.

MCs Vex and Mondo are effective on the mic, with nice flows and intelligent lyrics, but as with some of the beats, there is something lacking here that means my attention is not completely held. Don't get me wrong, their deliveries are accomplished, but if you asked me to detail their work content-wise, I would struggle to tell you as the verses do not demand that you take notice. There are of course references to their religious beliefs, but thankfully these do not feel overly preachy and avoid detracting from the quality of the album in some places, although as already mentioned, this is rather spasmodic.

If you are expecting something as good as 'The Underwater Album' then you will be inevitably disappointed, but there are moments on 'God Sound' that warrant a good listen. This is intelligent hip hop that despite its shortcomings will reward you in small doses. Enjoy.

God Sound

White Man's Burden - Miilkbone

When I was thinking about a name for this blog back in December, I didn't really labour over the task too heavily. I knew I wanted to reference the first LOTUG album in some way as it holds a special place in my heart, and I also wanted something that sounded good. Whether I achieved the latter or not is down to personal opinion, but I still like it and I enjoy the fact that it hints towards the urban nature of the genre (bricks = buildings, get it?!). What I didn't really consider was the reference to Jersey (Newark is 'The Brick City'), and it is only really as a by-product of writing this blog that I have fully realised the significance of 'Da Bricks' within the culture as a whole. Redman, Naughty, Artifacts... the list goes on. Of course, I wasn't unaware of its role in hip hop, but I just hadn't really thought about it that much and given it the full credit that it deserves.

With this in mind, today's post focuses on Miilkbone, a Jersey resident whose debut release 'Da Miilkrate' seems to get overlooked despite a satisfying combination of beats and rhymes. A Naughty By Nature affiliate, it is no surprise to see Kay Gee popping up on the production credits a number of times, and generally speaking, the beats are solid with a classic mid '90s flava: big drums and well chosen samples. Mufi is the lead producer on the album, putting together no less than seven of the cuts here, and this surprises me as he is a relatively unknown entity whose only other major production credit is on Queen Latifah's Grammy winning track 'U.N.I.T.Y.'. Highlights for me are 'Keep It Real' with its jazzy piano sample (the remix is also excellent), 'Move Wit' Da Groove' which has a real 'party in the summer' vibe and 'Check Me Out' that features some classic sleigh bells and an enjoyably broody soundscape. This is not to say that the production is exceptional as there is some filler here, and I do find myself reaching for the skip button on a number of occasions when listening to the whole album: they're not awful, but some of the beats lack punch and are easily forgotten.

Miilkbone can handle his business on the mic, with a flow reminiscent of his Naughty By Nature affiliates but without the finesse that make Treach and Vinnie so engaging. The lyrical content essentially falls back on the staple diet of boasts, brags and parties, but he carries the style off well enough over the course of the album. What really grates for me is his relatively consistent reference to the colour of his skin, and many of the skits revolve around the idea of his rejection of the 'traditional roles of the white male' as a result of growing up 'next to the projects... with just flat out hoods'. If Miilk was so keen to prove that the colour of his skin was irrelevant to his music, then why the hell did he choose to bang on about it all the time? The irritatingly simplistic vision that he puts forward with regards to notions of race and identity in hip hop end up coming off as superficial at best, and at their worst, highly ignorant. Perhaps this is overly harsh given that this was released in '96 when issues of colour in relation to hip hop had not been addressed in the same depth that they have been in more recent times, but there is no doubt that these overly earnest 'justifications' of his place within the genre feel heavily played out over the album in its entirety.

However, putting this issue to one side is worthwhile, as 'Da Miilkrate' is a solid release that contains enough highlights to keep the majority of heads happy. Don't expect to be blown away, but in places this will have your head nodding and feet tapping: show Jersey some props and hit the link.

Miilkbone - Da Miilkrate

At Long Last... FDB Guitar Mix & Nick Drake

For those of you new to FDB, I did start a series of instrument themed compilations back in January that I intended to keep up relatively regularly. However, what with work and other commitments, the 'FDB Guitar Mix' has been on the back-burner for a while and is only now seeing the light of day. I've had a tracklist planned for ages, but I've scrawled it down on various bits of paper that have inevitably ended up going astray and as such it has been through a number of different incarnations. Anyway, here it is:

1. Prince Ali - Incistroduction
2. UMCs - Woman B Out
3. Red Hot Lover Tone - Lil' Boy Blu
4. Main Source - Atom
5. Ultimate Force - C'mon
6. Brand Nubian - Slow Down
7. Show & A.G. - Next Level (Original Mix)
8. Q-Tip - Let's Ride
9. Mad Skillz - The Nod Factor
10. PUTS - Plunken 'Em
11. Oktober - NYC
12. Danger Mouse & Gemini - The Only One
13. Ed O.G. - Love Comes And Goes
14. INI - What You Say
15. Lord Finesse - Bud Mutha
16. The Roots - What They Do
17. Common - I Used To Love H.E.R.

What I love about a good guitar sample is that it clearly harks back to hip hop's foundations in funk, and as a result, tunes that utilise them often have an upbeat and positive vibe that feels fitting as we head into Spring (finger's crossed) in the UK. Although I'm not going to break this down song by song, there are a few cuts here that deserve a special mention. I've already commented on P.A.'s 'I Miss 1994' release on FDB, but given that I have been killing the intro so regularly of late, I felt it fitting to kick off the compilation with the album opener, 'Incistroduction'. Although the release as a whole is not mind-blowing, I think this beat is excellent and does a good job of incorporating a mellow guitar loop into a heavy beat. Oktober's 'NYC' is a straight up banger off his 'Projekt: Building' release which in all honesty I was a little disappointed with, but there is no question that this joint has that infectious head nodding factor that should appeal to the majority of readers here at FDB. Finally, Ultimate Force's 'C'mon' is off their shelved album 'I'm Not Playin'' that sees an official release at the end of this month: 1990, Diamond D production... need I say more? Get it when it drops.

All in, I'm pretty happy with this compilation and indeed the series as a whole (I've included the links for all four in case you missed them first time around), and I hope to continue with this idea in the future, time-permitting. If you're feeling it, drop a comment and I may just set aside a bit of time to do the series justice over the coming months... it's in your hands.

FDB Guitar Mix
FDB Piano Mix
FDB Strings Mix
FDB Horn Mix

Nick Drake

As with the other FDB compilations, I'm taking the opportunity to throw up something a little different that falls in line with the theme of the mix. Nick Drake has garnered a massive cult following here in the UK, perhaps in part due to his tragic and untimely death, but also because his music is of such beauty that it still holds resonance close to 40 years after its initial composition. I remember seeing 'Pink Moon' at the top of numerous music press lists of 'great albums that never make the top 100 albums lists' and as a result I bought it in my third year of university. Drake suffered from depression, and it is said that he recorded this album facing a wall during late-night solitary sessions only to walk into Island records one day and dump it on their desk. This is reflected in the album's stripped down purity: this is largely Drake's voice, his guitar and little else. I'm not usually a massive fan of folk, but this is undeniably beautiful music that I strongly recommend. It's pretty far removed from hip hop and may not be your bag: give it a try and let me know.

Pink Moon

Speak The Hungarian Rapper

Although there are many things that I love about life on the continent, there is no doubt that they are capable of making some serious mistakes when it comes to music. My friend Matt at work pointed this video out to me, and it is so laughable that I thought I would share it with you. I'm sure Speak's heart is in the right place, but this is embarrassingly cringe-worthy 'rap' that deserves to be laughed at. Unbelievably, this is not a parody...



Needless to say, I won't be checkin' for any more of his material.

That about wraps it up for today. Work looks like it may be calming down a little now so hopefully you'll see a slightly higher frequency of posts over the remainder of this month. Stay locked and keep dropping comments: it's always appreciated.

Reppin' Canada - Sconeboy's 12'' Selection

Next up from myself, we have three 12''s featuring purely Canadian artists. Canadian hip hop is as good, and sometimes better, than stuff from the neighbouring USA, and can easily live up to the hype. The 12''s I have picked are representative of the scene here, at least of when the music featured was produced. As with the genre in general nowadays, jiggy club music is preferred, but these 12''s are far from that.

Rascalz - Northern Touch

Firstly, we have a posse cut. This 12" has been a favourite of mine since I heard it here on TV a few years back when I was visiting. It features The Rascalz, Kardinal Offishall, Thrust, Choclair and Checkmate. After reading some background on the release, it seems it is much more than just a record. It came at a time when black-Canadian artists were not recognised in the Canadian music scene, and the collaboration of some of the most prominent artists in Canada was a way of showcasing the fact that there was good music coming out of Canada at that time. Sampling a B.T. express tune (also used by DMX), each MC comes correct over the beat - it's nothing more than a rhymefest put to wax, and it works really well. This 12" touched heads all over the world, featuring in none of other than DJ Premier's DJ box at the time it was released too - if he likes it, you've gotta be doing something right! Just have a listen, it will not disappoint...

Ghetto Concept - Deifitrec b/w Certified

Second up, a great 12" by a crew out of Toronto called 'Ghetto Concept'. Ghetto Concept are Kwajo and Dolo, who met in 1989 and went on to release 12''s and albums under this guise. This 12'' was released in 1992. Deifitrec b/w Certified is one of those 12''s that never leaves rotation: timeless! You can hear the 1992 vibe in this record, the beats are jazz-sampling simple creations, with the two MCs trading bars back and forth. They have a great vibe to them and it fits right in with the era: call and response, rapping and singing the hooks, and always sounding like they are having fun. The 'Certified' remix is my favourite. Deifitrec is also a good cut, but i prefer the other side. I actually featured this 12'' in one of my mixes so check out their other stuff if you like this, it's sure to be of the same standard.



Saukrates/Choclair - Father Time/21 Years

Lastly, a great 12" featuring two different artists and tracks: Saukrates with 'Father Time' and Choclair with '21 years'. The two cuts make for a a solid 12" from the days of indie hip hop. Saukrates represents Toronto, and this piano laced beat works perfectly with his rhymes. Saukrates is probably one of the most widely known rappers from Canada; his 'Brick House' EP features artists like Common which deomnstrates how respected he is as an MC. The best cut on this 12", however, is from Choclair. Featured on DJ Premier's 'New York Reality Check 101', it is an understated piece of work - a simple, bassline driven beat with Choclair and the pianos working well together to produce a great indie masterpiece; as mentioned previously, if DJ Premier likes it, you're onto a winner. Choclair had an album come out a few years back but it wasn't to my liking. I know that a few 12''s earlier were good, so check those out. For now, this is the 12" for me!


Related links:
http://en.wikipedia.org/wiki/Choclair
http://en.wikipedia.org/wiki/Saukrates
http://www.megacityhiphop.com/artists/ghettoconcept/
http://en.wikipedia.org/wiki/Northern_Touch
Check them out for more info!

Next time
3 releases from Fondle Em Records - the best indie label from back then, hopefully some stuff less well known than MF Doom and Siah and Yeshua.

PZ! Sconeboy

Top Notch Bloggin'

Man, work is stressful at the moment. Loads to do, not enough time... dry one. Wanted to point you in the direction of two of the best posts that I have seen recently, each taking apart works with an incredible depth of detail and display of knowledge. Travis at WYDU drops some science on people who need to learn their history by providing an overview of all of the artists name-checked on Nas' 'Where Are They Now?' '80s mix and it's dope (part 2 to follow which will cover the remainder of artists not covered today). Meanwhile, Jaz at ColdRockDaSpot has worked through all of the samples used on the first half of EPMD's 'Business Never Personal'. Both of these posts demonstrate the commitment that a selected few bloggers put into their work and demand that you check 'em. What you waiting for?

WYDU - 'Where Are They Now?' Overview
ColdRockDaSpot - 'Business Never Personal' Sample Post

Chocolate Boy Wonder - Pete's Jazz

Although the one-track blogs of old are now in the minority, I'd thought I'd tip my hat to the old school this evening and hit you with just one joint. The reasons for this are numerous. Partly, 'Petestrumentals' is still in print and easily accessible (pick it up here) and so I do have some qualms about posting the album in its entirety (although I am aware that this has not been a consistent feature of the albums that I have posted). More importantly, this is my favourite Pete Rock beat of all time, and as such, it deserves its own post.

For most die-hard music fans, there will be a large number of songs that have the capability to transport them to another time and place. It may not be your favourite track of all time, but for whatever reason it reeks of a certain moment in your life. 'Ms Fat Booty' transports me to a summer spent with mates whilst my parents were on holiday, whereas Rahzel's 'If Your Mother Only Knew' will always take me back to my first year in university: the list goes on... What's extraordinary about 'Pete's Jazz' for me personally is that it reminds me of innumerable moments over the last five years: it has brought me so much pleasure, so often, that it is impossible to distinguish one single moment in time that it encapsulates beyond all others.

In all honesty, I probably listen to the intro section, first 'verse' and chorus more often than I do the song in its entirety before I find myself reaching for the rewind button. There is something incredibly captivating about this first 32 bars or so that gets me every time. The initial drop into drums and bass, the subtle sax loop, the breakdown and then onwards into a stripped down percussion section before all of the samples weave in and out of the beat collectively on their way to the chorus. When it drops, the song opens out into a spacious sonic landscape that raises the hairs on the back of my neck every single time.

There is a remarkable complexity to this tune and it would be nothing short of criminal to have someone spit over the top of it. Although I generally try to mime various instruments when I am listening to songs that I really love (much to the potential disdain of those around me), the bass kick on 'Pete's Jazz' is beyond my amateur mime act. And yet at the same time, it by no means dominates the music, and instead slips in perfectly alongside the other layers involved in the composition. This 'complex simplicity' is indicative of the track as a whole: the subtlety with which it is constructed is staggering.

Bottom line, I'm never disappointed when I listen to 'Pete's Jazz'. In a discography that has such consistency and quality, favourites will always come down to personal preference, with each head able to argue the case for their particular choice. Whichever Pete Rock track is yours, I hope that it brings you as much joy as 'Pete's Jazz' does for me: this song is one of the reasons that I love hip hop.

Pete's Jazz

Bomb With The Boom Bap - Prince Ali

Just a quick heads up today rather than a full length post, and mad props go out to Kazeiro over at Rap Dungeon for putting me onto this. I would usually try to avoid posting something that I had seen elsewhere recently, but this is slightly different as this is another album that is being released for free on the internet, a growing trend that has seen some quality releases this year.

Prince Ali's 'I Miss 1994' is one of the best records that I have heard this year, and as the title suggests, it harks back to days gone by in the rap game. All the information you need to know is on Prince Ali's myspace page as well as the link to download the album. I have been heavily into this today, particularly the album opener that features one of the best beats that I have heard on any album that I have bought recently, new or old. The mellow guitar loop has had me reaching for the rewind button countless times today. Don't sleep on this: grab it while you can.

Here Come The Hicks - Down South

I've said before that there is always a satisfaction in finding early works by artists who have subsequently made a big impression on the genre. 'Lost In Brooklyn' is not only a slept on and enjoyable release from '94, but it is also the album on which we find Shawn J. Period's first production credits (highlighted in the picture). If you don't know Shawn J. by name, then you will inevitably know the tracks from the late '90s that saw him become a major player in the Rawkus boom, providing beats for Mos Def, Blackstar, and a host of other artists at a time when hip hop was still in the wake of the golden era.

Featuring production from Shawn J. himself as well as T-Ray, The Beatnuts and Stretch Armstrong, the beats here are what you would expect: horn loops/stabs, big drums and funky basslines. The album is in fact split between a 'south' side (the first six tracks) and the 'north' side (the rest of the album) but to be honest this split is rather arbitrary as the sound throughout the album is relatively consistent. Beat-wise, this is clearly oriented in the east, although there are some nice 'southern' touches with the odd country and western guitar appearing that provide a little twist on the stock New York sound. Favourite joints for me are 'Southern Comfort' (which interestingly features the same sample utilised by Da King & I on the 'Crak Da Weazel' chorus hook) which has a nice summery vibe to it and a slightly cheesy chorus vocal; 'Lost In Brooklyn' is a straight up banger with infectious horns and tight snares; and I also like the album closer 'Open Sesame' which features classic Beatnuts production and verses that revolve around cracking open a brew and indulging in some fine liquor (content that the Beatnuts are no strangers to).

MC Soda Pop does a good job on the mic, although I think it would be fair to say that his verses are nothing sensational. The southern influences in production carry over into the rapping with multiple references to their roots in the lands of 'tractors, rakes and hoes', and Soda's flow is capable enough to be carried by the quality of the production work underneath him. The presence of DJ Myorr is also felt on the record, handling all scratch duties and even scoring himself a DJ only cut, 'Oh My'. Ultimately, the trio work well together, and any weaknesses in specific areas of the work are easily forgotten by the cohesiveness of the record overall.

'Lost In Brooklyn' is unlikely to blow your mind, but it is a solid effort that stands up relatively well amongst the plethora of quality releases that '94 witnessed. From my Google searching for images and a bit of info, it also seems like this may have gone pretty much unnoticed, as the pickings were slim. This is a shame, as this album deserves to be dusted off and given a little bit more recognition than it seems to have done since its release: give it a listen and help it along its way.

Lost In Brooklyn

Sconeboy Mixes - Part 2

Just to further extend the welcome to Sconeboy I thought I'd throw up a couple of mixes that he gave me a little while ago. I would talk you through them, but I'm short on time today and I'm sure he'd be more than happy to do so in a future post if asked nicely. Hopefully these will give you a bit of a flavour for his style and leave you wanting more: I know that he intends to hit you off with some new mixes in the not too distant future. If you're sleepin' on the archives, I've also put the link up to one of my first posts which also contained zips for another couple of sets. Enjoy.

Sconeboy Mixes
FDB Sconeboy Archives

The Accapella's An Instrument - Da King & I

It doesn't take much thought for me to realise that I am essentially a music addict. Through the purchasing of CDs and with the revelation of hip hop blogs, I am in the enviable position of simply having too much of it on my hands: there are literally not enough hours in the day to listen to everything that I acquire with the due care and attention that I would ideally like to. The upshot of this is that I regularly buy albums, give them a quick listen and then do one of three things. If it instantly grabs me, it will stay in rotation for a period of time that equates to how much I like it and in all probability I will dip in and out of it as the years pass by. If I don't like it, it simply goes up on the shelves with the rest of my ever-increasing collection and may or may not see the light of day again for a significant period of time. Finally, and perhaps best of all, there are occasionally albums that I listen to and enjoy, but for whatever reason, I do not fully appreciate their greatness at the time and it is only at a later date that I am struck by their true quality.

Da King & I's 'Contemporary Jeep Music' is a perfect example of an album that falls into this latter category of my music-listening habits, and has ultimately become one of my favourite albums of the era combining slammin' production with masterful wordplay that perhaps contradicts the image of the band presented by the album artwork and title: this is fun, uplifting, positive, party hip hop at its absolute finest.

The crew is made up of MC Izzy and DJ Majesty and although Izzy makes some contribution on the boards, the majority of the beats are produced by Majesty. Released in '93, the album is horn heavy, featuring squealing saxophones and trumpets that root this firmly in the early '90s era. However, there is a subtlety to the beat crafting here that takes it beyond the simple drums and loops formula. With each track, various samples come and go throughout four, eight and sixteen bar sections, seamlessly weaved into the compositions to create a highly engaging sonic landscape. The marvel of the album is that these transitions do not feel forced, each coming at exactly the right moment in time to keep your head noddin' and the smile plastered firmly across your face. It is a signifier of the work's brilliance that all too often I find myself reaching for the rewind button as a track ends: at times, I feel like I just can't get enough of it. Just check out 'Mr. All That' and 'Let's Take A Trip' and you'll see what I mean.

Incredibly, MC Izzy is more than up to the task of matching the beats with his skills on the mic. The subject content here is varied, swinging between more reflective numbers like 'Tears' where Izzy details the trials and tribulations of lost love with heart-warming honesty all the way through to straight up braggin' verses such as those found on 'Flip Da Script'. His uptempo delivery is highly accomplished, splattered with internal rhymes and complex rhythmical patterns that carry the listener along the paths of his intricately spun narratives. Perhaps one of the tracks that captivates me most is the album closer 'What's Up Doc' which takes the standard 'shouts' track to another level:

I give thanks to my Pops for being around,
Used to be seeing a frown when I let him down,
But on this day I apologise,
I'm 20 so I don't see things through a child's eyes,
I was rough but I wasn't bad,
I had more of a relationship with my Mum than with my Dad,
'Cos I was used to seeing Daddy stressed,
Which means that I wasn't seeing Daddy's best,
If I could turn the clock back ten years I would,
I guess it was for my own good,
'Cos I believe that God gives you what you can stand,
You're only in training to be a better man,
I thank God for my loving family and I plan to be
A family man myself, what else, check it,
When I blow up, my boys blow up,
I ain't selfish, thinking of yourself you better grow up
And get off that foul mentality...

Far from coming across as corny, these lines feel so genuine and heartfelt that I would challenge anybody to resist their charms. In a genre that is all too often associated with the darker sides of ghetto existence, Izzy makes you bop your head and feel warm inside with wonderful eloquence, steering well clear of the stereotypical gangsterisms that were beginning to take a firm hold of hip hop during this period. At the ripe old age of 20, the maturity and fun that he brings to the album are invaluable, and help to set it apart from other works released during the second half of golden era rap.

I could honestly rant and rave about this album until the cows come home, but the bottom line is that 'Contemporary Jeep Music' comes highly recommended here at From Da Bricks. Unfortunately, this was the only output by the crew save a few production credits scattered here and there, but I like to think that Izzy and Majesty may have fulfilled their dreams of comfortable and soul-enriching family life and look back on their time in hip hop with happiness and nostalgia. What they have left behind is a demonstration of how wonderful, uplifting and musically creative hip hop can be, and I know that this is an album that I will continue to enjoy for many years to come. I can only hope that it brings you the same amount of joy that it has brought me: check it.

Contemporary Jeep Music

Hello My Name Is... Sconeboy

First off, an introduction. Dan has mentioned me a couple of times on his blog, and I was very happy to accept his invitation to start contributing to this site. With albums steadily being thrown up, he has asked me to submit some 12''s from my collection to be profiled on the blog. My ethos is much the same as a lot of bloggers (but not all, which is a shame) which is to only put up music which is hard to get a hold of, promo only or out of print. Hope you enjoy the upcoming selections.

Buckshot Lefonque - Breakfast At Denny's
So with that said, here is 12'' #1. This project is very well known but this 12'' isn't; a promo only release of 'Breakfast At Denny's' written by Branford Marsalis under his collaboration guise of Buckshot Lefonque (pictured above). In addition to Marsalis it was co-produced by DJ Premier whose scratches also feature. What is great about this promo find is the 'Rap' version featuring Uptown: the same Uptown who released the great 'Dope On Plastic'. The beat is (as to be expected) a jazzy affair; my opinion of this track is positive, but with Uptown riding the beat it simply gets a lot, lot better. I can only assume Branford, who is by trade a saxophonist, plays sax on this track. The 12" also features live and album versions. They are good, but as I stated previously, the version with Uptown's verses is the choice cut here.

Rugged Scientist - Shaolin Anthem b/w Lights, Camera, Action
I found this 12" whilst working in a thrift store in Bristol a couple of years ago. Some records are too hard to find/unknown for their own good, and this is one of them. All I can tell you is that Rugged Scientist is GZA's cousin, and passed that, I really cannot help you! Just listen... it has a classic sound (early '90s, at a guess) with simple beats and a simple flow. 'Shaolin Anthem' features the New Born Click, who had a track with MF Doom on one of his projects; again, very little info for you. The other side, 'Lights Camera Action' is more of the same but without New Born Click this time. Rugged Scientist flows and crafts a beat which is everything I like about this time in the genre: it's simple. He produced both beats on this 12" too. I can only find info on one other 12'' that he did, and that's it, so if you have anymore info please let me know!

Reckanize & Mr Sta. Puff - Hip Hop Don't Stop b/w Massive Weight
This is a west coast 12", released in 1996, and it is my favorite and most played of the three. I found it in a Bristol record shop for about £3 a long while ago (Eat The Beat, RIP!) and I have never seen it appear ever again, anywhere. Again, it's unknown by a lot of people. The people who have noticed me with this record have offered me money for it too, so I dunno what the deal is - it's just good rap to me! The A-side is the best track, a demonstration for me of what hip hop should be all about. A sick beatbox laced beat, with a husky sounding rapper running off lyrics from start to finish. I will hazard a guess that the MC on this track is Reckanize. The B-side, 'Massive Weight', features both MCs. This is a slower affair, with both MCs trading bars; I think I prefer Reckanize to the other chap, but he doesn't detract from the cut in any way. This is produced by two guys called 7th Sunn and G-Clef. The latter is actually Joey Cavaseno, who is also a well known jazz musician who did a 12'' with Weldon Irvine (RIP), which as soon as I can find it within my collection, I will do a post for.

That's it for now, please let me know what you think of the writing style and reviews; this is my first go at doing such a thing!

Peace - Sconeboy

FDB Steps Up Its Game

I am proud to announce that From Da Bricks is spreading its wings. I've mentioned Rory aka Sconeboy a few times on this blog, largely because he is the most knowledgable and enthusiastic person I know on hip hop culture. A regular warm-up DJ on the Bristol scene, Sconeboy had established a name for himself by playing great beats with technical ability to match before recently moving to Toronto to explore frontiers new. With a substantial 12'' collection, he is now an official contributor to FDB: no excuses for sleepin' people! His first post will appear shortly and he'll introduce himself: make sure you give up some props to get him on his way.

Long Live The Rugged Female - Heather B.

Hip hop is such a male dominated musical genre that there is no denying that women have struggled to make a credible impression upon it. Of course you've got your Foxy Browns and Lil' Kims, but I think it would be fair to say that their rise to fame may have been due to a little timely arse shaking here and there as much as it has been about their musical prowess. Bottom line, they're marketable: they look good (if that's your thing), can hold a microphone and deliver some verses all at the same time. Imagine that! The scope for genuinely talented female artists within hip hop is regrettably limited, and as such, there have been very few quality releases from the fairer sex that are on par with their male counterparts.

Heather B.'s 1996 release 'Takin' Mine' is an exception to this rule, pairing quality production with Heather's tight flow that makes for an enjoyable, if not mind-blowing, release. Da Beatminerz pop up on the production credits for a track, but the majority is handled by BDP affiliate and brother of KRS One, Kenny Parker. 'All Glocks Down' was the lead single off the album, and does a good job of flipping the well used 'People Make The World Go Round' sample that has appeared on numerous cuts within the genre. It is without doubt the highlight of the album and sees Heather B. in strong form advising all comers to be aware of her role as the 'bulletproof lyricist':



There are other good cuts here too, but it is really the consistency of this release that wins me over. There really isn't a bad beat on here and although Heather's style is nothing phenomenal, she carries the material well over the course of the album. 'Takin' Mine' can be played from front to back with no need to skip, and this is more than can be said for a lot of albums released during this period. Thankfully, she also avoids over-playing the 'female card' and instead sticks to some boasts and brags that she pulls off with a gritty and accomplished delivery. You go girl!

The great thing about this album is that it does not feel like a novelty. This in itself is a success: when I listen to 'Takin' Mine' I am simply enjoying a decent quality hip hop album that removes itself from the 'female rapper' tag. With no sign of breasts or an arse in sight, this goes down as a slept on release that I imagine most heads will appreciate: cop it and find out.

Takin' Mine