You Should Know Better - QNC

QNC - For Da' Love & Hype, Fresh, Live feat. Aim
taken from Duo Dynamic (Grand Central, 2005)

Grand Central was at one stage the darling of the UK beats/hip hop scene. Founded in '95 by Mark Rae, a DJ/producer based in Manchester, it went on to unprecedented successes with acts such as Rae's own Rae & Christian and Aim (I'm gonna have to do a post on this guy soon). Grand Central was in many ways a more palatable and accessible version of Ninja Tune: the label was still left of centre and would have been considered 'cool' by both underground and mainstream audiences, but it lacked the edginess of arguably the most successful 'beats' outfit that the UK has ever seen. As a result, their discography is a little variable in quality with some excellent releases and others that feel tired, obvious and in the worst of cases, downright dull. Still, they were a welcome presence within British music and it's a shame that the label is now defunct due to issues relating to unpaid royalties and a few other legal bits and pieces that sent it into liquidation towards the end of last year.

QNC first came to my attention on Aim's 'Cold Water Music' and Rae & Christian's 'Northern Sulphuric Soul', both released in the latter stages of the '90s. They posted a couple of guest appearances on these works and impressed me enough to keep an eye out for any full length release that they may put together in the future. Sure enough, in 2005 they dropped their first and only album entitled 'Duo Dynamic' which is an enjoyable affair that also features some guest spots from a couple of big hitters in the shape of M.O.P. and Camp Lo. Although the album is short at twelve tracks, there really isn't much filler here and it goes down in my book as a little known work that I know most serious fans of the genre will appreciate.

Standouts for me are the laid back groove of 'For Da' Love' with a pleasingly melodic piano sample, tidy drum track and Guru chorus adlibs; 'Hype, Fresh, Live' featuring some upbeat, horn-based production by Aim which bumps along with substance and energy and I also like 'Polaroid Dimepiece' that sees Easy Mo Bee flipping Bob James' often sampled drums and bells break from 'Take Me To The Mardi Gras' (most famously used on Run D.M.C.'s 'Peter Piper'). This last track is a demonstration of the fact that QNC are clearly steeped in the history of the genre and there is a pervading sense with 'Duo Dynamic' that they are trying to stay true to hip hop's essence whilst creating a clean and contemporary audio aesthetic. For the most part they achieve this goal admirably, but my criticism of the album would lie in the fact that although it'll get your head noddin', it does feel a little flat in places and I would suggest that replay value is not at its greatest here. Still, I'll take what I can get from rap's relatively dire landscape over the last decade or so...

I really didn't know very much about the crew until a little research today, but coincidentally I was looking at J.V.C. Force's 'Doin' Damage' reissue only this afternoon whilst on a short break back in London and as it turns out, Curt Cazal used to be a member. I'm surprised at this connection, as I would have perhaps expected Curt to go on to slightly wider fame simply off the back of 'Strong Island' alone, but it seems that it did not propel him to the stardom that perhaps fans would have expected all the way back in '88. Given this fact, it is similarly surprising that he has managed to release a record seventeen years later that feels genuinely contemporary. This isn't their only claim to fame either, posting a track on the second D & D Studios compilation album and I believe that they even scored a Jay Z collaboration towards the end of the '90s. The conclusion from my brief meanderings through these various bits and pieces of information is that Q-Ball and Curt Cazal seem to be just the type of guys who have kept a relatively low profile in the game despite a presence that has spanned a period of time that would put most of today's more prominent artists to shame. Good work fellas.

Let's wrap this one up. 'Duo Dynamic' is by no means a brilliant album, but it has enough to keep long term fans of the genre happy. The beats are good, the rapping is enjoyable and the overall feel of the album is admirable, but it ain't going to blow your socks off. However, it's worth a purchase both for the music and the feeling that you are paying your respects to a couple of figures who have just got their heads down and got on with it over the last twenty years, a far cry from the flash in the pan wonders that have come to dominate hip hop during the same period of time: a dynamic duo indeed.

Bringin' Style By The Ton - A.D.O.R.

A.D.O.R. - Enter The Center (Pete Rock Mix), Enter The Center (DNA Mix) & Enter The Center (BaBanzi Mix)
taken from Enter The Center 12'' (Tru Reign/Anansi, 1997)

Apologies for the lack of posts over the last week or so. A heavy workload and a bank holiday weekend have occupied my time admirably for the last six days and the unfortunate victim of aforementioned work/frivolities has been the blog. Anyway, the bank holiday is over, it's the half term beak and so I've got some time on my hands again: let's get into it.

The problem with collecting vinyl singles is that they don't exactly offer terrific value for money. Of course, you get a product which has many benefits over other formats, and I am certainly not denying the appeal of vinyl, but when you can quite easily pay £5 - £10 on any one single purchase then the cost per track is extortionate when compared to that of a whole album. On top of this, it was pretty much a general rule for me that although extra cuts on top of the a-side were always enjoyable, they were essentially superfluous and there would always be one standout track that overshadowed the others. At a guess, I would estimate that well over half of my vinyl collection is occupied by records that may have been played hundreds of times on one side and as little as once on the other. Unfortunately, penny pinching and vinyl collecting are not two activities that sit well together.

So what has this got to do with this A.D.O.R. 12'' released in 1997? When I got a hold of this particular slab of vinyl, I didn't really even know who A.D.O.R. was, and was lead to this release for one reason only: there's a Pete Rock beat on here. An enjoyable mid-tempo banger with signature Soul Brother horns, filtered guitar sample and crispy drum hits, the lead single was no disappointment and I was pleased that my random wanderings through EBay had delivered something of genuine quality. What is so impressive about this 12'' though is that included are two other mixes of the song that easily stand their ground against Pete's contribution, and in fact, I have never been able to make a definitive decision as to my favourite as each different version is truly excellent.

The DNA Productions (I have no idea who they are either) mix feels more upbeat than the Pete Rock joint and there are several things that I love about this track. The use of sleighbells never fails to capture my interest, and they work well here, shimmering over the bouncy bassline below to produce the most club friendly mix of 'Enter The Center'. Listen out for my favourite moment which occurs around the 1.05 mark as the synth string loop cuts out, bassline warbles for a half bar on its own only for the sleighbells and drums to be thrown back into the mix: it's so simple, but it's devastatingly effective.

Finally we come to the 'BaBanzi' mix produced by Willie Gunz, a relatively little known figure who seems to have only put together a handful of production credits including a cut or two on A.D.O.R.'s full length album as well as posting a track on the YGz's 'Street Nigga' release in '93 and with Supreme NTM towards the end of the same decade. This is a shame as this mix demonstrates his ability behind the boards and if push came to shove, this would be the version I would favour if I had to pick one over the others. Whereas both the Pete Rock and DNA mixes feel quite light and airy, Gunz flips the script with his version to produce a much more sinister and brooding soundscape. The haunting piano loop works exceptionally well when matched with the heavy drum track, and the chorus vocal loop that also appears in Rock's version feels eerier and more threatening in this context. This is one of those cuts that captures that dark, gritty boom bap sound with great effect and it feels almost epic in its scope: it's a serious banger that will have you nodding your head again and again.

Lyrically, A.D.O.R. has always been one of those cats who I feel a little lukewarm about. I think he does a good job of combining a decent flow with engaging content, but his style is by no means breathtaking and the delivery here is enjoyable but relatively forgettable. The reason why this 12'' is so successful is that each mix puts a different spin on the vocal performance: it feels like A.D.O.R.'s words were meant to go with each beat individually rather than simply being laid over three random pieces of production. So often when you hear a remix of a track there remains a sense that the vocals don't quite fit, but with 'Enter The Center' each track has its own clear sense of identity, working with the MC's performance on the mic to create three coherent and cohesive pieces of music in their own right.

I don't really know what happened with A.D.O.R.'s 'Shock Frequency' release as there seem to have been a few different versions that made it to the shelves. Although they are all basically the same, I know that no single edition contains all three of these mixes so if you already have the album then be sure to pick up the version(s) that you may be missing as each one brings something different to the table. This is one of only a handful of 12''s from my collection that must have suffered from equal wear on both sides, and is still a release that is able to divide my own opinion as to my favourite five or so years after I bought it: hit the link, indulge in some quality hip hop and see which is yours.

So Many People, So Many Places - Abdominal & DJ Fase

Abdominal & DJ Fase: A Tale Of Two Bitties & Sewmehnee (Times Fly)
taken from Flowtation Device (PIAS, 2004)

Although groups like J5 and Ugly Duckling often come under fire as a result of their soft image and clear audience accessibility, I'm not ashamed to admit that I like both of them, albeit in small doses. OK, so their music isn't exactly going to set the world on fire, but it is good, clean hip hop that effectively draws on the past and incorporates it into their upbeat party aesthetic without too many cringe-worthy moments and with the undeniable ability to put a shuffle in your step and a smile across your face (come on, admit it). Abdominal and DJ Fase, despite lacking the commercial successes of the aforementioned crews, clearly embrace a similar ethos and I would argue deliver it with just as much style and perhaps a little more substance than either J5 or Ugly Duckling on their debut release, 'Flowtation Device'.

I first came across the duo during my first year of university when I heard 'Fly Antics' on the compilation album put together by the legendary London hip hop night 'Scratch'. I instantly liked its incorporation of well-delivered rhymes, beats, scratch sections and beatbox breaks, and the track became a relatively widely known cut despite Abdominal and Fase's lack of reputation at this stage. I don't quite know what happened in the intervening five years between this and the album's release, but I assume that the same old industry issues may have gotten in the way (or perhaps they just really didn't want to rush it). Around the same time, Abdominal began teaming up with Brighton's DJ Format, and they toured relatively extensively across the UK in the lead up to Format's own debut LP, 'Music For The Mature B-Boy'. Their live show was excellent: filled with energy and with the clear intent to ensure everyone had a good time (Abdominal used to do a helium balloon/'Fly Antics' instrumental at 45rpm routine that was funny as well as technically impressive), and that's more than can be said for a lot of well-established crews that I have seen over the years.

DJ Format feat. MC Abdominal: The Hit Song



[This is taken from Format's 'Music For The Mature B-Boy' release.]

The reason that 'Flowtation Device' succeeds in my book is that it does a pretty good job of delivering worthwhile content with both beats and rhymes. Fase's production style is nothing ground-breaking, but it is littered with enough original touches to make it feel lively and engaging. 'Sewmehnee (Times Fly)' is a case in point with its interesting drum track, subtle vocal loop floating behind Abdominal's chorus hook and the brief moment just before the two minute mark where the cut grinds to a steady halt only to wind back up into the groove ten seconds later. It's a classy and infectious piece of production work that demonstrates more thought and care than the standard four bar loop, bassline and heavy drums formula, and is a good example of the subtleties of Fase's work behind the boards across the album as a whole.

Abdominal's vocal delivery on the album is impressive, and although I am not entirely convinced by his voice in itself, he does enough with dexterity and subject matter to make up for shortcomings elsewhere. Topics covered include his love for greasy fast food, the complexities of a man's approach to a long-term relationship, odes to his girlfriend and the odd bragging verse for good measure. He is an accomplished narrative spinner who is able to incorporate humour, intelligence and honesty into his words without seeming too try-hard, and the result is a varied and original set of verses that are undeniably enjoyable. At times it does verge on the corny: I like the beat on 'Elizabeth', but Abdominal's sung lyrics are hard to take even if the sentiment behind the track is heart-warming (the guy loves his girlfriend; ain't nothing wrong with that).

If you are solely intent on pulling your finest screwface and throwing your hands in the air only to find yourself waving them around like you just don't care, then 'Flowtation Device' is perhaps best avoided. However, if you feel like a break from slammin' snares and uncompromising street narratives then there may be something of interest for you here. This is unlikely to be an album that receives heavy rotation in your stereo, but for those moments when you do dust it down and throw it on, you will be rewarded with happy, upbeat and mature hip hop music that is capable of the near impossible feat of getting your head nodding whilst warming your soul. Hats off to that.

Request Alert!

With my current obsession with 'Nostalgia' I'm rediscovering my love for Masta Ace, so any 12'' rips will be gratefully received (don't worry about the LPs). I'm also interested in hearing the Marley Marl produced Sah-B vinyl single entitled 'Summa Day b/w Some Ol' Sah-B Shit'. Thank you in advance...

Feels Like Hip Hop - Marco Polo

Marco Polo: Nostalgia feat. Masta Ace & Go Around feat. Buckshot
taken from Port Authority (Rawkus/Soulspazm, 2007)

So here it is. After building up a significant amount of expectation and wild hopes for what 'Port Authority' may deliver musically as well as what it may represent in terms of hip hop culture in wider terms, it is now in my hands, in heavy rotation and awaiting dissection. I purposefully resisted the temptation to download an advance copy of Marco Polo's much hyped solo debut in an attempt to recapture what I love about buying music in the first place: although 'previewing' records is a true joy of our digital age, there is nothing quite like buying something that you have been eagerly anticipating and are yet to hear, strolling home with a skip in your step (unfortunately this came directly from Amazon...) and unleashing it for that all important first listen where you begin to form your initial impressions and poise yourself for debate with like-minded friends in the near future. Ultimately, I was hoping that 'Port Authority' would give me that elusive buzz that is reluctantly fading in my memory as I grow older and increasingly cynical in my approach to music. So, has it managed it? Although this may not be a truly great album in musical terms alone, there is something special about this release that makes me feel warm and fuzzy inside, and for that reason if nothing else, I'm rapidly falling in love with it: here's why.

Let's start with the music. 'Nostalgia' has been my tune of choice for well over a month now, and as one of the leading cuts from the album, it couldn't have come much better. I love everything about this song: the beat, Masta Ace's sensational vocal performance, the wonderfully crafted scratch chorus section that reeks of hip hop's boom bap era and the video all contribute towards making what I believe is one of the best single hip hop tracks since the dawn of the new millenium. Every time I listen to this cut it gets better, and at the moment I simply can't get enough of it (I've already killed it for my girlfriend). But let's not get carried away. This is only one small element on an eighteen track release, and it would be a fallacy to let the greatness of this song alone cloud a judgement of the album as a whole. Do, however, treat yourself to the video:



Fortunately, there are other standouts here to savour. The soulful horns and downtempo pace of 'Go Around' make it one of the album's most successful cuts, with Buckshot's lyrical delivery supplemented by Tek and Steele's chorus adlibs ('Bucktown!'): it's a banger that recalls the Boot Camp sound of the early to mid '90s with great success. It certainly helps that I'm a big fan of O.C., but 'Marquee' is also one of my initial favourites, with Omar Credle encouraging the listener to 'get lost in the moment [as] this is feel good music', a fitting description of the track and indeed of 'Port Authority' as a whole. I know that people front on Large Pro's mic skills, but I also really enjoy 'The Radar' which additionally features some incredible scratching by turntable veteran DJ Revolution and even comes complete with its own Pete Rock style beat skit as the track fades out to make way for the bouncy 'All My Love'. These sort of reminiscent touches litter the album, recapturing the boom bap spirit of old with style and serious flava.

Somewhat expectedly, there are some throwaway cuts as well. Tracks such as 'Low Budget' and 'Heat' aren't bad by any stretch of the imagination, but they lack punch and are easily forgettable. Marco's cover of 'Electric Relaxation' also feels like a bit of a waste of time for me, and he even acknowledges in the liner notes the potential difficulties that lie in 're-making a classic'. Although it's an enjoyable rendition and continues to tie the album's music in with the latter stages of hip hop's golden era, you're left asking what we really gain from it: it's never going to be as good as the original, and doesn't deviate away from one of Tribe's finest moments enough to warrant its existence. Still, it's hard not to appreciate the sentiment, and although the track's success is limited, I'm not going to front on Marco for its inclusion on one of the most consistent releases of recent times.

So what does this album represent in terms of the culture as a whole? For me, there are three key issues that 'Port Authority' raises in relation to the genre's existence in 2007. Firstly, in a world that is now dominated by the presence of the MC, the album contributes to the shift back to producer-led efforts where overall consistency is distinctly more viable than on the fifteen track/five producer efforts that we have grown accustomed to over the last decade and a half or so. Don't get me wrong, Marco is by no means the first person to do this is recent memory (Dilla probably being the most prominent example), but this is a prime demonstration of a producer based effort that straddles the line between the underground and commercial viability, and which is also genuinely worthy of praise. The beatmaker is back firmly in the limelight: MCs out there, you'd best beware...

Secondly, 'Port Authority' recalls Rawkus' successes towards the end of the '90s, and although the label has a long way to go before it reaches its previous status as the number one choice for those artists who are keen to represent themselves as genuinely 'keeping it real', there is a hope generated by 'Port Authority' that Rawkus may yet recover from its demise around the turn of the century and deliver some material of serious quality in the future (last year's Kidz In The Hall joint wasn't too shabby either). Hip hop is in desperate need of a reliable and consistent label where the stamp on the back of new releases actually means something: perhaps Rawkus has got the ability to do so once again.

Finally, and perhaps most importantly, this album fits into a growing movement of 'throwback rap' that is beginning to gain real momentum, with artists drawing heavily on essential elements of the music from the past and updating it for a contemporary audience. Some may criticise 'Port Authority' for offering nothing new to the genre, labelling it a pastiche of hip hop from a forgotten era, but I find this attempted rejuvenation of the music encouraging and refreshing. In times of trauma, it is no surprise that we are looking back in an attempt to inform the future, and as a certified mid '90s head, I can only hope that this trend continues with increasing vigour.

Ultimately, I'm willing to forgive this album's shortcomings because it represents something sadly lacking from today's hip hop scene: passion. There is a sense with this release that it is made by someone who genuinely loves hip hop and who wants to stay true to an essence of days that are now sadly fading into obscurity. It is made by a fan, for the consumption of similarly like-minded individuals who miss the heady days of the early '90s. With its host of big name guest appearances and clear reliance on boom bap influences, there is a purity to 'Port Authority' that is infectious. I can only hope that we see more albums like this in the future: Marco Polo has managed to pay homage to the past in a fresh (cough) and engaging manner that hints towards a resurgence of the culture in the wake of its proclamation as 'dead'. Or perhaps I'm just getting carried away... get yourself a copy and decide for yourself: I believe that 'Port Authority' is the finest album of the year so far.

Links to check out:
Marco Polo interview
Marco Polo's website
Marco Polo's MySpace

Streaming Goes Live!

I owe a massive debt of gratitude to Dale at work for helping me out with all the technical side of things in the move towards the streaming, as well as Depleted for advice along the way (cheers boys!). Having established my own little slice of web space, I hope that there are no problems with streaming/downloading single tracks in the future, but feedback would be much appreciated on the example below:

Marco Polo: Nostalgia feat. Masta Ace
taken from Port Authority (Rawkus, 2007)

Still haven't killed this track... 'Port Authority' review to follow very soon.

If I get no response on this I'll just assume it's all working. Thanks for your patience. Peace!

Are You Sleepin'? Minnesota

FDB Minnesota Compilation
Minnesota's MySpace
Minnesota on Discogs

I've spoken before about the nature of the term 'slept on' and the difficulty in defining it in an era where a wealth of information is literally a mouse-click away. As a part of an online hip hopping community who undoubtedly know a massive amount about the culture, the term becomes even more elusive, and in some ways less valuable. As such, I am not going to claim that Minnesota is necessarily worthy of the slept on tag, but will freely admit that I personally have been sleepin' on his work. After posting up Mos Def's 'Modern Marvel' last week, I felt encouraged to do a little bit of homework into his other production credits (where would I be without Discogs?!), and was surprised to find out that he had played a part in some pretty significant releases dating all the way back to '94. Although his discography is by no means staggering in terms of volume, there is little doubt that he has produced some pretty bangin' beats during his career: the man deserves some shine.

Minnesota started out on Yaggfu's 'Action Packed Adventure' release before entering into his career with the Money Boss Players crew, where he was the lead producer. I know that the group are generally pretty highly acclaimed amongst serious hip hop audiences, but know little of their work beyond the 'Ghetto Chronicle Daily' EP that Sconeboy sorted me a little while back. I was pretty taken with this release, but given MBP's limited output and the scarcity of their work in CD format, I haven't really explored their discography much further. Despite a lack of commercial success with the crew, it is clear to see that it provided him with a platform into production work with more well established figures in the game, subsequently providing beats for Big Pun, Grand Puba, Sadat X, Lil' Kim and Naughty By Nature amongst others before gaining his 'big break' with Ghostface on 'The Pretty Toney Album' and then with Mos Def on 'The New Danger' LP and his most recent release 'True Magic'.

What surprises me about my 'discovery' here is that without really knowing it, I've been enjoying his music for ages. In fact, beyond simply enjoying them, his beats have often ranked amongst my favourites on the various albums of which he has been a part, making my sleepin' on his steez all the more ridiculous. I always loved 'World Go Round' on Naughty By Nature's 'Poverty's Paradise' album, and 'I'm Not A Player' goes down as my favourite cut on Big Pun's 'Capital Punishment'. His use of big drums, soulful loops and heavy basslines creates a classic boom bap sound: Minnesota knows how to get your head nodding.

To make amends for my ignorance I've thrown together a bunch of tracks from the various releases that he has had a hand in. Here's the tracklist (the geek in me took a hold and forced me to put these in chronological order):

1. My Dick Is So Large - Yaggfu Front
2. Jemini - Brooklyn Kids (Remix)
3. Grand Puba - Play It Cool
4. Naughty By Nature - World Go Round
5. Money Boss Players - Games
6. Lil' Kim - We Don't Need It
7. Sadat X - Do It Again
8. Big Pun - I'm Not A Player
9. Ghostface - Beat The Clock
10. Mos Def - Panties

Whether you were already aware of Minnesota's contribution to hip hop or not, he definitely goes down in my book as a producer who seems to have slipped under most people's radar. Don't get me wrong, I'm not suggesting that he should be ranked alongside the 'big boys' of hip hop production, but in times where we dig ever deeper into the past in light of the decline of the culture, we should celebrate those that have made a difference to the music along the way: Minnesota should be considered one of them.

Everything Must Go!

I actually intended to do this earlier in the week, but you now have a mere 24 hours to search through the archives and hit the links if there is anything that you want as this time tomorrow they will be gone. Thanks for the feedback and support in light of the change: it's really appreciated. Bear in mind that links will now only be active for a limited time (the last five posts in fact), so be sure to check in regularly here at FDB if you want music to supplement the write-ups. Onwards and upwards!

YouTube Treats - Skibeatz

Just a couple of nice YouTube finds to tide you over until the next full length post. It seems incredible to me that Ski doesn't get mentioned more often when any discussion of bangin' producers comes up, particularly given his work on 'Reasonable Doubt' and Camp Lo's excellent 'Uptown Saturday Night'. Here's Ski showing you how he works his way around the boards, including a breakdown of 'Dead Presidents' from Jay Z's classic debut 'Reasonable Doubt':

Ski shows you around the MV-8000:



'Dead Presidents' breakdown:



What a killer track... as an aside, if anyone has the original mix of this cut ('Dead Presidents I'), a link would be much appreciated. Let's hope the 'Luchini' breakdown surfaces quickly: I love seeing producers deconstruct their own work.

Beats, Rhymes & Samples: Skibeatz mixed by DJ Raize

There's a nice mix kicking about the internet at the moment by DJ Raize of Brooklyn, where he puts together original sample sources and some of Ski's best known tracks with real flava. Check out his MySpace page for a link to download the album. Raize recently contacted me after I dropped a comment over at Oliver Wang's Soul Sides regarding this mix, asking for some information on London and Paris where he was intending to propose to his girlfriend this month (good luck mate). Who said true romance was dead?







Identity fraud hits the blog scene... beware!

I was just making my daily visit to Travis at WYDU only to find that somebody has posted a comment in the CBox under my name (kind of flattering I suppose). This could have been down to chance, although whoever did it also entered my e-mail address so I'm assuming that it isn't just another random 'Dan Love'. I mean c'mon... if you've got something to say then don't hide behind someone else's identity: that's weak. Apart from anything else, they didn't even capitalise the 'D' and the 'L', a dead giveaway for anyone who knows how geeky I get about the English language. Get a life sucka!

Count Your Blessings - Pete Rock

Pete Rock - It's A Love Thing feat. CL Smooth/Denosh & Appreciate feat. CL Smooth
taken from Soul Survivor II (BBE, 2004)

For any regular visitor of this site you'll know that I am a diehard Pete Rock fan, but I'm not going to lie about the fact that my initial impression of 2004's 'Soul Survivor II' was one of unprecedented disappointment. There used to be a great record shop in Bristol called Imperial Music which has now sadly closed its doors, but it used to be a regular spot for me to pick up my latest slabs of vinyl and check out a variety of bits and pieces in an inviting and unpretentious environment (you can't say that for many record shops). I'd already heard the 'Warzone' track with Dead Prez and was distinctly unimpressed, and on an initial play through the album whilst in the shop, my initial disappointment was so great that not only did I not buy the record, but I didn't actually listen to it again until very recently, instead choosing to blank it out from my memory in the hope that it would not tarnish my undying love for everything that the Chocolate Boy Wonder had previously turned his hands to. Ridiculous I know, but there you have it.

I've since corrected this fallacy and have given the record a proper chance, only to be rewarded in ways that I didn't think were possible. Although this is by no means Pete Rock's greatest work, there are still more than enough quality tracks on this album to keep long-term fans happy as well as those who may be new to his work. There are unfortunately a few low points to deal with as well, not least the aforementioned Dead Prez collaboration that is the nadir of 'Soul Survivor II', but you can't front on Pete Rock's general consistency here, particularly when you take into account that this was released almost a decade and a half after his first appearance on the wax with the classic 'All Souled Out' EP.

It will probably come as no surprise to you that my favourite two cuts on the album are those featuring Rock's old partner in crime and certified mic legend C.L. Smooth. 'It's A Love Thing' is an upbeat, soulful and summery number that sees C.L. waxing lyrical about the charms of his lady friend, and although the R 'n' B chorus hook and mid-verse adlibs may put off the more hardcore heads out there, I love it: a slab of Pete Rock soul in all its glory. In addition to this, the album closer 'Appreciate' is not only the best cut on 'Soul Survivor II', but easily holds its own against the vast number of bangers in Pete Rock's wider discography. The funky guitar and vocal loop, crispy snare hits and warm, filtered bassline work beautifully together and combined they create a trademark Soul Brother sound that is irresistible. On the mic, C.L. delivers three excellent verses that are laced with positivity, emotion and beauty, and the end result makes me yearn for days gone by when the duo were at the height of their powers and hip hop was not under such profound attack by the forces of mediocrity that are ravaging the genre today.

Whether you passed this up when it was first released as I did, or simply haven't gotten around to checking it out, I recommend that you give 'Soul Survivor II' a try. Although it's not going to blow you away, this album goes down as a 'grower' for me, with each listen bringing a slightly reluctant but increasingly large smile to my face. Skip a few tracks here and there and you are in fact looking at one of the more successful full lengths of the last few years, although I'm perfectly willing to admit that this viewpoint is subject to a healthy dose of bias: this is Pete Rock, after all.

Flyin' High - Mos Def & Marvin Gaye

Mos Def - Modern Marvel
taken from The New Danger (Geffen, 2004)

Marvin Gaye - Flyin' High (In The Friendly Sky) & What's Going On
taken from What's Going On (Motown, 1971)

[Streaming not active yet: hold tight for next week]

I doubt that there is anyone out there who wasn't disappointed when 'The New Danger' hit the shelves a couple of years ago. 'Black On Both Sides' was such a landmark record for me that I simply couldn't wait to see what the mighty Mos was going to do next, and after five years of waiting, I guess it was no real surprise when the end product fell significantly short of my overblown expectations. The newly infused rock element seemed a strange direction to go in: although we knew that Mos had a bit of a thing about rock 'n' roll and the way in which it had been robbed from the black man only to be repackaged in a more palatable white version for mass consumption ('Elvis Presley ain't got no soul' don't cha know), something about this record simply did not work. Who exactly was the intended audience here? I can't imagine that many people who had loved his debut were particularly taken with it, and it didn't seem likely that it would draw a new audience in a saturated scene of rock/rap/pop nonsense spearheaded by groups such as Limp Bizkit. The sophomore slump was evidently still in full effect long after hip hop's heyday in the early '90s.

One diamond in the rough saved this release for me: the epic ode to Marvin Gaye entitled 'Modern Marvel'. I can remember angrily skipping through the album when I first copped it, holding my head and muttering to myself something to the effect of 'what's happened?', only to be rejuvenated by the soft sounds of Marvin floating behind Mos' initial adlibs as the album was coming to a close. Clocking in at just over nine minutes, 'Modern Marvel' is not only the standout cut on an extremely mediocre album, but also one of the best pieces of work that Mos Def has ever produced: a high acclaim given the strength of releases in his earlier years.

The track is broken into three distinct sections of around three minutes a piece, each utilising a variety of samples from Marvin's 'Flyin' High (In The Friendly Sky)' (also referenced on Pete Rock's quality remix of Blackstar's 'Respiration') and 'What's Going On', the lead single from his classic album of the same name. The beat is produced by Minnesota, who I hadn't realised had posted production credits on several well known joints from the likes of Naughty By Nature, Big Pun and Sadat X amongst a host of others during the mid to late '90s. The production here is deep, simple, incredibly soulful and wonderfully paced, with each transition raising the hairs on the back of your neck as you are propelled forwards into each section of the track. My favourite moment is undoubtedly at the 5.53 mark when Marvin's vocals fade out with a healthy dose of reverb only to make way for a bangin' drum kick and your entrance into the adrenalin fueled final third of the song: genius.

Mos Def's vocal delivery is highly enjoyable as well. Although he is by no means a match for Marvin's voice, his delicate singing in the opening third of the song is charming, and as the beat opens up so too does Mos, culminating in a couple of the finest verses that he has ever committed to wax in the song's closing section. Calling for the 'ghetto people of the world today [to] get up', Mos begins by drawing direct inspiration from Marvin himself, utilising lyrics from 'What's Going On' as a jumping off point to discuss the ills of contemporary society. However, the crowning moment of Mos' performance lies in the second verse, where he muses on how Marvin might react to the world today given his hopes for peace and unity all the way back in the early '70s:

If Marvin was alive now, wow,
What would I say to him?
Where could I start?
How could I explain to him?
I know the minor world would probably look strange to him,
Would he feel like today had a place for him?
Global imprisonment, sickness, indifference,
When he said, "Save the babies," was we listenin'?
When he said, "Mercy, mercy," did he really know,
That decades later we'd still be killin' folks?
Or did he hope that we would realize,
That we the first, the son of earth,
The moon and stars, the great beyond,
We black and proud, we brave and strong,
We raise it up, we quiet storm, forever fresh,
And keepin on...

I love the way that this imagined dialogue between Mos and Marvin unfolds, ending with references to hip hop songs and lingo that effectively tie the struggles of the past and present together, bridging the time elapsed between Marvin's original words of protest and Mos' own with eloquence, power and style.

Unfortunately, this song alone cannot make up for the shortcomings of the album elsewhere, but it is so epic in its scope that I can almost forgive Mos for his explorations down other musical avenues on the majority of 'The New Danger'. This is soulful, richly textured hip hop at its finest, and although this song may not quite be a 'What's Going On' for the hip hop generation, it is a demonstration of the depth and musical power of the genre. Kick back and immerse yourself in one of Mos Def's finest hours: with his move into Hollywood and an increasing distance musically from his earlier works, we are unlikely to see him ever produce something this good again.

(Thanks for the help Dad - totally!)

100+ Posts, 60,000+ Hits: Time For A Change

It's funny that there has been a brief uproar over the last couple of days relating to Def Jux and their threats to Google/Blogger, and that Travis over at WYDU wrote something today on the subject, as it relates strongly to changes here at FDB. I've been thinking about these for a while, and actually wrote this post over the weekend, but held back whilst I was trying to sort out some of the technical issues surrounding the change. Anyway, here's the lowdown in all its glory...

One of the issues that has continued to plague me in relation to From Da Bricks is that of the dubious nature of file sharing. I believe strongly that in many ways the sharing of albums in their entirety is worthwhile, particularly when they are out of print or representative of an under-exposed or forgotten artist. I hope that in posting whole albums in the past, people will have gotten a hold of music that they either couldn't find, lost, or didn't know about in the first place, and that can only be a good thing. Having said this, it does still concern me that I may be in some way damaging the industry or artists in some way (not to mention the legal issues of course), and I wouldn't want to take anything away from something that brings me such continual joy (or get shafted by a lawyer).

As a result, I will now be streaming tunes on FDB, as well as giving you the option to download a couple of tracks for a limited period of time (likely to be the previous five posts) instead of posting up the whole albums. I hope that this will give you a flavour for the artist featured in each future post to accompany the words, verbs and pronouns, and may encourage you to purchase some of their music and research their body of work further. I intend to post two cuts from each album that I write something about, and provide a link to a place in which it can be purchased, predominantly Amazon.com. If you're interested, here are some of the reasons why as well as a few comments on the change in general:

1. With the plethora of blogs now out there as well as online resources such as Albumbase, it really is incredibly simple to find pretty much anything that you want on the World Wide Web in its entirety. In fact, I don't imagine that I have posted anything that can't be found on Albumbase or other blogs with relative ease, and so it feels like a bit of a waste of time for me to upload the albums themselves when there really shouldn't be any problem finding them anyway. Conduct a search on Blogger or Albumbase and I can almost guarantee that what you are looking for will be there.

2. From my own downloading habits I know that sometimes I download ten albums in a day just to get an impression of what they are like, only for them to sit on my hard drive for months with little to no airplay. I appreciate it when I can listen to songs directly on a blog or website, so I assume that you will too. Although the downloads will be functional immediately, it may take me a little while to get the streaming up and running with total consistency, so bear with me and let me know how it's going for you.

3. Aforementioned moral/legal dilemma concerning file sharing. I want to make it clear that my feelings here are very mixed, and that I have no beef with anyone offering complete album downloads on their blogspot. Is it right, is it wrong... whatever, I have just chosen to go down a slightly different route from here on in and it's as simple as that. FDB was never meant to be a statement about the current state of the music industry or an attack on record labels and the status quo, and I have never shared anything in the past with the intention of changing the way that it is structured or functions (as if this little blogspot could have that effect anyway). My file sharing was never intended to be taking a stand against evil, money grabbing corporations that rob the consumer of choice and exploit artists (if that's what they are and do). Oh, and I don't want any lawyers breathing down my neck any time soon either.

4. I am still willing to send people links for whole albums via e-mail, but there are several conditions. Other blog owners, those people who I would consider online friends (you know who you are) and people who regularly comment on the site are more than welcome to drop me a line if there is something featured that they want, and as long as you don't then spread that link any further, then it will be a pleasure to oblige. If I send someone a link and then discover a week later that it has been accessed 100 times, the original recipient will never receive the same privilege again... but I know you good people wouldn't do that anyway. If you have never commented on the site and I have no idea who you are, I'm unlikely to respond to a request: don't take it personal.

5. I hope that one of the reasons that people visit the site is because of the chance to share a passion and interest in hip hop and discuss artists/albums/issues rather than simply to hit the links, and that the majority will still find FDB a friendly and inviting place to do so whether I offer full albums or not. Maybe this is naive and somewhat arrogant, but I hope that these feelings are not entirely misplaced and that regular readers will still find worth and enjoyment in visiting the site.

6. There will of course be exceptions to the rule. I still intend to post 12''s in their entirety because there is rarely more than two tracks on a vinyl single anyway, and I assume that if you download 12''s, it's probably because you collect them and are simply previewing the record in case you find it somewhere. The bottom line is that the digital format does not match the physical product, whereas if you have downloaded a whole album and have it on your hard drive, there really is little difference between that and owning the CD, as you can burn one easily yourself. Sconeboy mixes, compilations, and the odd bits and pieces will still be uploaded in their entirety, and essentially choices will be made based on the issues involved in each individual case. I'm sure that there are a mass of contradictions here, but I can only do what I feel is right. Essentially, I reserve the right to be a hypocrite.

So there you have it. The links that are currently on the site will be removed early next week, so this is your last chance to plough your way through the archives whilst there's still music there to grab. One of the positive things for me in all of this is the fact that I can now comment on/review new releases due to the two track/limited time policy which I would have previously avoided when offering whole album downloads.

Thanks for all of the support so far over the last six months or so, I still love doing it, and I hope that this only serves to improve things here at FDB. If there are any technical issues that arise from this change, e.g. the tracks aren't streaming properly (as I said, the streaming may not be immediate), then let me know and I will find a way around it. I hope that this blog continues to be a source of pleasure for all involved, and I thank you once again for all of the comments, feedback and props that, perhaps a little tragically, really do make a difference to my small and insignificant time on this planet. Peace.

This Stuff Is Really Fresh! Prime Cuts

In posting Big Kwam's 'Verbalise' 12'', it took me back to '99 when I copped the final edition in the 'Hip Hop Don't Stop' series mixed by one of the Scratch Perverts' finest DJs, Prime Cuts. At the risk of having my ghetto pass revoked (again), this really was my first proper introduction to a lot of these classic cuts at a time when my passion for the genre took a significant leap forward, and it opened my eyes to over a decade of hip hop music that awaited my research and joyful discovery (check the tracklist on Amazon). I don't imagine that anyone reading this blog will be unfamiliar with any of the tracks on this two-disc extravaganza, but it is put together with such fine craftsmanship that I doubt you will be able to resist its charms: this is a perfect party mix.

I've spoken before about the impact of the Scratch Perverts on the UK scene towards the latter half of the '90s, but I feel it necessary to reiterate that at this stage they were peerless within the British turntablist movement. They killed the British DMC heats, killed the finals and ranked amongst the top three in the world in both team and individual events on a number of different occasions. Now of course, you have to take the DMC results with a pinch of salt, but it is truly indicative of their dominance of the UK turntable scene at this time. Whenever I attended a DMC event, there was simply a sense of something extra taking place whenever one of the Perverts performed: they had the attitude, funky but highly technical routines, and they pioneered feedback techniques that ultimately changed the game on a global scale. Although Mr Thing was always my favourite of the original line up, Prime Cuts came a close second, and this mix is a testament to his abilities.

One thing to make clear is that this is not a live mix. Rather, this is a highly considered multi-track mix that incorporates lengthy transition periods between cuts, extended scratch sections and a juggle thrown in for good measure (and not just any juggle, this is Prime Cuts' 'Jack Of Spades' juggle that he rolled out in the DMCs and ITFs at the time). By using these extended instrumental passages between selections, he creates an amazingly fluid mix where tunes gradually seep into each other over minutes instead of the standard eight bars or so. In some ways it suffers from losing some of the immediacy of a live performance, but as studio mixes go, they really don't come much better than this and both discs will have you bangin' your head for their duration. If you are in any doubt about his skills, peep the video and then hit the link.



Hip Hop Don't Stop - The Greatest


Clean Guns - Living In Harmony Mixtape

Floodwatch has covered this in much more eloquent detail than I intend to do here (check out the review and interview at floodwatchmusic.com), but I also feel it necessary to shine a little light on these Philadelphia cats who are starting to make waves amongst the online hip hop community. Zilla Rocca had the good grace to send me a copy of their recently released 'Living In Harmony: The Mixtape' (thanks!) and despite briefly 'misplacing' it after a heavy night of drinking at my mate Geoff's house, it is now back in my possession and in rotation. This is quality material, and if you haven't checked these guys out yet then do so: you can find their mixtape for a very reasonable price here. Oh, and don't forget to check out their obligatory MySpace as well. Philadelphia is most definitely in da house.


Streaming Audio Update

Thank you for the feedback so far on the streaming audio posted the other day, but it does seem that there are issues for some people. I'm working on resolving this in the near future (saved once again by Depleted of BLAR fame), but would still appreciate it if people could check the links I have set up below and just let me know if they are working for you. There are going to be some changes to the site in the coming weeks, and I need to ensure that everyone who visits is going to have the opportunity to check out selected tracks. It's for your own good people!

Streaming Audio - Help!

I want to start streaming audio directly from the site, and I have seen DivShare used successfully elsewhere. However, when I try to stream the mp3 above it stops and starts constantly and seems to take forever to fully buffer. This is an appeal for help: what can I use to stream mp3s on my site that doesn't involve anything too technical (i.e. as simple as DivShare: upload and then embed the code that they provide)? Is there a problem with this mp3 at your end or is it running smoothly? What is the maximum quality that you can expect to stream without the constant stopping and starting? Feedback much appreciated; be a part of developments at FDB!

I think I've cracked it.. please let me know if these work for you.

The Creators: The Music & The Hard Margin
taken from The Weight (Bad Magic, 2000)

Are You Ready To Party? Brainfreeze

To my mind, there are two types of DJ in this world. On the one hand, you have your crate diggers who rely on exceptional and original musical selections, and then on the other, you have those whose technical skill and dexterity is their defining feature. I love both with equal measure, but there are few that manage to combine the two roles with as much flava as DJ Shadow and his wild-haired partner in crime, Cut Chemist. Both are prime examples of DJs whose knowledge and material ownership of music is staggering, as well as the fact that they both possess top level skills on the cut (those sessions around Q Bert's house obviously did the trick).

The premise behind the 'Brainfreeze' release was simple. Shadow and Cut were rehearsing a 7'' only set (although a few 12''s were used as well) that was due to debut at the legendary hip hop fiesta in L.A. known as 'Future Primitive', and decided that they might as well hit the 'record' switch whilst doing so. 'Brainfreeze' is the result of two takes of rehearsal sessions, and it is a fantastic mix of soul, funk and a little hip hop (they drop 'I'm Not Playin'' in the first half of the mix) with a chunky slice of turntablism thrown in for good measure. My knowledge of the selections made is limited, but this a good times party mix that can't fail to put a smile on your face and a wiggle in that ass.

It's a shame that part of the enjoyment of this release, and those in Shadow's wider discography, are now somewhat tainted for me by the direction which he has taken in recent times. To be honest, I'm not even as bothered by the shift in musical orientation as much as I am by the attitude that he had towards it at the time of the release of 'The Outsider'. He seemed very defensive of the record, and even went as far as to suggest that he really didn't care about how existing fans felt about his new sound. I'm sure this wasn't the intention, and I can understand a knee-jerk reaction to criticism, but it leaves a slightly sour taste in my mouth when I consider the fact that Josh Davis essentially dissed some of his most long-standing followers. Maybe I'm just sore that the brilliantly atmospheric and dark, moody vibe of 'Endtroducing...' is unlikely to ever see the light of day again.

Back to the matter at hand. Amazingly, I didn't buy this when it was released as I was in a phase where myself and a friend bought a lot of music on trips out together, and this just happened to be one of the CDs that he copped and I didn't. I'm kicking myself about it now, because it's limited release and cult status mean that it is now worth a nice wad of cash, so adding it to my collection will be a struggle.

With the summer rapidly approaching, my advice is as follows. Get some friends around, bust open a crate of beers, fire up the barbeque and enjoy 'Brainfreeze' in the true context in which it was meant to be appreciated: a party.

Brainfreeze

[Shouts to my mate Tim for lending me a copy]

Rap As Poetry? Pharoahe Monch

Poetry: the classification of this term is so complicated that it is far beyond me to try and do so on this here blogspot (indeed, it's far beyond me in general), but the idea of rap as poetry has always intrigued me. Within the last 30 years the world has been exposed to the musical phenomenon that is hip hop whose figurehead has become the MC, and in turn it has in many ways brought poetry back into mainstream culture with an unprecedented vigour. But the question remains: to what degree can we consider the work of the MC as poetry? Can we approach it in the same way that we would the works of T.S. Eliot, Wordsworth or even Shakespeare? In what ways does it fit into this ever-expanding and increasingly elusive term? Is it possible to identify what classifies as good or bad poetry, or is it an entirely subjective notion?

The issue regarding rap as poetry always circulates around one key point for me: although some of the greatest verses ever written are undeniably poetic when delivered, they often fall down when read on the page. However, the issue of style vs. content is so central to all elements of hip hop that it realistically feels unfair to judge an MC's words when presented in a format in which they were not intended to be appreciated. Delivery, flow, vocal timbre and rhythm are such essential components of rap that we do it an injustice by analysing it without taking these elements into account. In this way, rap music fits into oral traditions that predate literacy where rhyme and rhythm were utilised simply as methods to aid memorisation. In this light, it could be considered to be one of the purest forms of poetry that exists in contemporary society. However, it is easy to see some of the counter arguments for rap as poetry when considering the work of even some of the most celebrated MCs, and the issue is still one that I find contains uncertainties, perhaps due to the difficulty of the term 'poetry' in itself, if nothing else.

One artist who has always blown me away in 'poetic' terms is the mighty Pharoahe Monch, an MC who not only fits into the notion of rap as a continuation of oral traditions, but whose verse also carries the hallmarks of quality poetry when considered on paper. As half of the celebrated duo Organized Konfusion, I believe that Pharoahe is perhaps the closest that we have seen to a true poet in both more traditional and postmodern terms in this here game called hip hop. Perhaps my favourite Pharoahe verse of all time comes from their sophomore release 'Stress: The Extinction Agenda', and from the album's third cut 'The Extinction Agenda':

I'm the poetical poltergeist I heist tracks from the past
And return 'em to the present time in rhyme form
What was once dead is now resurrected on the record
And the physical words are mere residuals for my bidding
For my disposal to dispose of... who are you kidding
Nightfall, I stop the rook, then I'm looking for
the original book which contains the words of God
Six hours until dawn, my quest to capture the queen
without being seen by the pawns
Call me Bishop, bishop takes rook, rook takes pawn
pawn takes knight, knight takes queen
Queen takes the original King James version
I'm surgin up when I'm emergin'
False clergymen you're urgin' me to call you a virgin
wind to save the lease
Who can you trust when a priest is now the beast?
(who? what? why?)
I'm the assassinator of rap
Hit rip rhyme rap ritual hit you with my best shot
Get you sit you down, let you know I never get dropped
When I flip-flop hip-hop, when I wreck shop (nigga)
I move, with the finesse and the smoothness
Even inside of the grooves of a record, check it
Check it again, check it again, check it again
Check the metaphors, make sure they're making sense and then
Gimme one-hundred percent credit
Let it, medi-tate, in your brain, like a seda-tive
I said it and I read it twelve in your bloodstream
Let it live
The verses of curses that burst in the face of the first time offenders
In the realm of the extinction agenda

Even without the delivery element, there is little doubting that this contains many of the hallmarks of what traditionalists would describe as poetry. Imagery: check, rhyme: check, symbolism: check, alliteration: check... the list goes on. What strikes me about this verse is that it seems also to be aware of its place within the tradition of poetry itself: as 'the poetical poltergeist...heist[ing] tracks from the past', Pharoahe seems consciously aware of his indebtedness to his forefathers and his ability to bring verse into a distinctly modern setting. The use of imagery is astonishing, switching between Biblical frames of reference all the way through to the spinning of a slab of vinyl on a platter, and it takes the listener on an almost visual journey that is incredibly captivating. I have at times tried to pin down a final interpretation of these lines, but I find it impossible to do so, instead losing myself in the various word images that flash before my eyes with every listen.

However much I may try to intellectualise the role of rap music in relation to a literary tradition that goes back thousands of years, I am aware of the potential to disappear up my own anus, so I'll leave it here (if you made it this far). Whatever our feelings about the proximity of rap music to poetry may be, the fact remains that it has challenged our expectations of a literary tradition that increasingly struggles to find relevance in the modern world and for this it should be highly celebrated. Pharoahe, amongst a host of other incredibly talented individuals, have effectively revitalised a dying art, and although at times the content of rap music may be at odds with traditional expectations of verse, for me there is little doubt: rap is poetry.

Organized Konfusion - The Extinction Agenda