Initially released as a vinyl onlyEP on the Fondle 'Em label in 1996, the Juggaknots debut is another slept on classic from the uneven mid-90s turning point in Hip-Hop. The group is based around two siblings raised in NYC, Breezy Brewin' and Buddy Slim, with Slim acting as the main producer. The group dropped their 1996 to quite acclaim and didn't receive much notice until the EP was re-released in 2002 with eleven bonus tracks. "Clear Blue Skies" definitely beat Company Flow, El-P and Definitive Jux to the punch with their dark, bass heavy, and near-industrial beats. It's no wonder Company Flow and Juggaknots teamed up together in 1998 for a track on the first Lyricist Lounge comp. Unfortunately, both LP and CD are out of print, but you can scoop it free below.
Continuing on with the goodtime summer hip-hop albums, the debut by Polyrhythm Addicts definitely ranks pretty high in that category. Comprised of 3 MCs--Shabaam Sahdeeq, Mr. Complex, and Apani B. Fly, and producer DJ Spinna, the crew came together after guesting seperately on other hip-hop albums. I'm feeling a little lazy, so I'll let Allmusic describe the MC's styles...
"Each of Polyrhythm's emcees brings different styles, but nevertheless mesh them cohesively to fit a group environment. Shabaam is your quintessential NY battlerapper, full of confidence and skills. Mr. Complex switches personalities and flows mid-verse, and his witty repartee's add another dimension to the groups diverse chemistry. Apani B is the X-factor, a polished female emcee who hands out lyrical beatdowns. Her flavor speaks volumes, as her verses are devoid of sexual overtones, or the materialistic references many of her fellow female counterparts partake in."
The standout in the group, however, is DJ Spinna's dense production. After doing dozens of remixes prior to signing up with the Polyrhythm Addicts, DJ Spinna seemed to save all his best work for "Rhyme Related". The album would've fit nicely along side Tribe's "Midnight Marauders" back in 1993, and almost seemed out of place back in 1999. Another great aspect of the album is it's brevity: 10 tracks (9 if you exclude a brief intro) in about a half hour. Far from the bloated, 80 minutes albums that were popping up everywhere.
The group is apparently back together, though they replaced Apani B. Fly with, yup, a different female MC. You can check their myspace to hear a few dismal tracks. Well, at least we'll always have "Rhyme Related".
Welcoming the rays of sunshine we've been receiving here in Vancouver, Thee Expressway is uploading one of the best summer hip-hop records. The Artificats, made up of New Jersey MC's El Da Sensei and Tame One, started off as graffiti artists before they made their debut with "Between A Rock And A Hard Place." Production here is courtesy of T-Ray and Buckwild, with the latter being on quite the roll (earlier he produced OC's classic "Word...Life" and would later produce some tracks on the Organized Konfusion's "Stress: The Extinction Agenda" and Big L's "Lifestylez Ov Da Poor And Dangerous.) The beat on 'Wrong Side of the Tracks' was so good that Madlib (via Quasimoto) would life the beat for a track, which is about the best compliment you could get for a beat nowadays. The rhyming is just as top notch, especially considering that these two graffiti kids from New Jersey hadn't done much at all before their debut. If you're into early 90s hip-hop and haven't heard this yet, please, do yourself a favor and download the album below.
Download "Between A Rock And A Hard Place" here. Download the Instrumentals here. (via Tuttsu Fruttsi Icecream)
Made up of DJ Royal Rocker and MC Grand-Pubah (not the one of Brand Nubian fame), this duo sprang from the legendary late 80's posse Tuff Crew, and "Paper Chase" is their debut. Well, it may as well have been their lone album, but the duo decided to get back together in 1997 to release the dismal "Back On The Throne". It's no matter because "Paper Chase" is a classic of old school late 80s hip-hop, and their status remains no less damaged for it. The production on this is exactly what you'd expect from a hip-hop album from 1988--booming drum machines, short samples from classic R&B, soul, and funk tracks, and some bragadaccio lyrics. Some of the production here is courtesy of Ced Gee, who was also doing time in the ultra-influential Ultramagnetic MCs. The rhyming here is actually top notch, and I would have to say, at least speed-wise, Grand-Pubah was up there with the almighty Rakim.
Anyone out there who loves that classic minimal hip-hop vibe is recommended to peep this record.
For an incredibly in depth look at the album check out the Rap Reviews post here.
For your own analysis, download "Paper Chase" here.
Quite possibly one of the most influential, yet largely ignored, hip-hop records of all time. 1991 saw the release of Main Source's "Breaking Atoms", which introduced Large Professor and Nas to the world. Nas would obviously go on to become one of the most well known MCs of all time, but it was the Large Professor who would tinker away in the shadows, producing some well loved tracks from the early 90s. In fact, Large Professor went on to produce three tracks on Nas' "Illmatic", including 'Halftime' and 'It Ain't Hard To Tell', with the latter being my favorite beat on the record. Large Professor went on to produce tracks by Kool G Rap, Tribe Called Quest, Mobb Deep, Common, and Organized Konfusion among many others. Compared to his mid 90s production, which was definitely during his peak, the tracks on "Breaking Atoms" are fairly simplistic: drum break, jazz/soul loop, and a few other odd samples layered atop taught beatwork. Easily digestable now, but it was rather groundbreaking at the time and influenced many up and coming DJs and producers.
I have to say that keeping up with the rest of the internet can be difficult. Blogs like Raven Sings the Blues, who I share very similar tastes with, updates almost everyday with whatever new psych/garage/underground gunk has dropped, and usually the second that it does. Other blogs, like Cassette Tape Superstar, 7 Inches, the now-weekly Bull Tongue, Microphones In The Trees (all of which I highly recommend you add to yr daily reads), or the by-the-minute tumblrverse are covering a lot of bases. Regular readers will probably have noticed a slight dip in updates here on Thee Expressway, and it's not for lack of trying...the re-emerging sun and warm weather here in Vancouver aren't exactly conducive to blogging, and neither is the Canucks entry into the playoffs. Hip-Hop Fridays are a mainstay and the occasional obscure-o 90s rock action uploads are still going strong, but, admittedly, it's been difficult keeping up the writing for new jams that are dropping every day. This post is meant to be a quickie run down of the best of '09, with a few relevant oldies added in for good measure. Sure, you've read about it elsewhere, but right here you've got the proof and the pudding that these albums are all worth checking out.
First up are those last few batches from the unstoppable Mexican Summer label.
Managed to nab some copies of the Golden Triangle before it went out of print. For those a little behind, Golden Triangle are 3 ladies and 1 dude who have kicked all those loners outta the garage and brought the party back. Incredibly infectious garage anthems have one this 4 piece some accolades and a solid fanbase, and this is only after a handful of shows, a couple cassettes and a 7 incher. The 12" on Mexican Summer is the next best document to seeing these ladies and dude live, which I can only imagine is the best way to see them. Images of those long-forgotten, turn of the century, party punkers The Rogers Sisters definitely come to mind. Interested parties should get a hold of Thee Expressway for a copy of this out of print 12" parry shredder.
'Red Coats'
Still in print, and very worth getting a hold of, is the newest dreamy drone bliss that is the new Valet 12". Side-long opener 'Angels Can't Sleep' is worth the price of admission alone, and stands as one of the finest concoctions of bliss that Honey Owens has dropped in, well, ever. The flip is comprised of two tracks, including a cover of Boris and Michio Kurihara's 'Rainbow' from their 2007 collaboration on Drag City.
'Angels Can't Stop'
One final Mexican Summer release comes from the blowin-up-all-over-the-place Kurt Vile. Another great collection of songs he'd recorded from 2003-2008. The vibe here is pretty much what I raved about HERE, but maybe a touch on the mellower side of things. Vile also just dropped this 12"er on Philadelphia's Richie Records, which I haven't heard yet, but I would assume is also the bee's knees (wholesale copies on the way...). Woodsist also just dropped that aforementioned "Constant Hitmaker" on LP. Looks like my begging and dreaming to get that sucker pressed to wax helped. Thank you Lord, I knew we had the same taste.
'Beach On The Moon (Recycled Lyrics)'
Speaking of all those loners kicked outta the garage, new-to-the-scene Night Control just dropped a winning batch of loser jams on the wallet busting Kill Shamen label. Hints of shoegaze shimmer, Velvets-y swagger, and a lo-fi aesthetic put this guy up with the best of those other pedal pushin' pop addicts that seem to be infesting the underground right now. Night Control is the next in line, and worthy of any hype bestowed upon him, not that there's a lot right now. I'm sure that's about to change.
'Good Looks'
The very beginning of the year saw the release of the supposed final Hunches jam. I've been a fan for some time now, and when it came time to kiss the band goodbye, admittedly, I shed a tear or two. A gleam or two of pop rises to the surface of 'Exit Dreams', which is a nice respite from their two albums of relentless garage thrash that arrived before this. If the rumours are true, then this will serve as an excellent final document of one of the harsher bands to come out of the In The Red stable.
'Your Sick Blooms'
Not quite out yet, but in heavy rotation, is the new heartbreaker from those two cats that make up the Magik Markers. This time the group make the jump from Ecstatic Peace to major-indie Drag City. Fans of those noisier days will probably be once again disappointed, as the group have advanced on their proper rock debut, Boss. "Balf Quarry" is another lustful push towards the style of avant out-rock that Sonic Youth have helped carve out for countless bands. Not that this is straight up SY homage (you'll never stop hearing comparisons, and I certainly didn't just help matters), but more like the band have taking those distortion and feedback weilding tendencies and concocted their own lustful push to end rock and roll once and for all. Unlikely, but we can dream.
'7/23'
Peaking Lights came through Vancouver late last year and blew the minds of the faithful few that managed to make it out on that dreary night. A few cassettes that night were sold and eventually heard, am infatuation was built up, and, with their LP debut on Night People, this infatuation has become full blown love. This is some top 10 of 2009 material here, and this LP has the eye-crossing packaging to go along with such accolades (beautiful silkscreen job on a wrap around sleeve). Peaking Lights, much like similar-minded groups like Pocahaunted or High Places, have taken their love of seemingly disparate genres like drone, dub, ambient, and space rock and made an irresistible soup that has bloggers and the like scrambling to invent new genres or tags to try and pigeonhole the duo. Peaking Lights are concocting a heady sound for uncertain times. New cassette on Night People is also worth gnawing on. Get hungry, people.
'Silver Tongues, Soft Whispers'
Once again, things are looking pretty grim for hip-hop this year. Sure, new albums by veterans like Doom are excellent and so is this Dalek record, but I haven't heard a peep from any new contenders. Am I wrong on this? Is my head just lost in a cloud that hasn't dissipated since 1994? Either way, Dalek is here to push things forward whether the rest of hip-hop cares to acknowledge it or not. That being said, "Gutter Tactics" isn't exactly re-inventing the Dalek brand of hip-hop, but it has refined it down to their most listenable album yet. Gone are the exploratory soundtracks into post-industrial gloom, and instead we have 11 tracks that have been tightened and worked into a cohesive beast of a record. This is a hip-hop record for those that are angry with the current stagnation of the genre.
'Street Diction'
Here's an oldie but a goody for those vibing on the Crystal Stilts, A Sunny Day In Glasgow, or the incredibly bland and over-hyped Pains Of Being Pure At Heart. I also hear their sound in the long-forgotten KRS group The Slumber Party, who have been unjustly, errrr, slept on since day one. Anyways, got hip to this thanks to the trusty Grimmertown tumblr and, since then, the CD (no vinyl currently available) hasn't strayed far from the headphones. Brief history: Black Tambourine was a short lived project featuring two of the guys who ended up in Velocity Girl, a chanteuse named Pam Berry, and Slumberland label boss Mike Schulman. They only released three singles, contributed a track or two to compilations, and played less than five shows before breaking up in 1991. Complete Recordings anthologizes all of these tracks plus an unreleased single. The group lay somewhere between a hyped-up version of jangle-pop and the oncoming onslaught of 90s shoegaze bands (these tracks were recorded between 1988 and '91). Slumberland has re-issued all available recordings on one convenient CD and I highly suggest you hit up yr local grocer for a copy. Any decent record store should be carrying this by now.
'For Ex-Lovers Only'
Not a lot to add to the already heavily reviewed/revered new album by Tim Hecker, just had to pass along that, yes, indeed this is an extraordinary work that deserves every accolade that it's brushed with. Excellent reviews of the album here and here. Favorite track posted below. Pick this one up on 2xLP for maximum absorption.
'Paragon Point'
Already gave this one the thumbs up way back when it was an uber-limited CDR, and my hope for a larger pressing has also come to fruition, much thanks to Uzu Audio, who also released the magnificent Magneticring LP at the same time. My love of this record hasn't budged much, and blasting this fucker on wax has only increased said love. This one is limited to 500 copies and distros are starting to run out, not to mention the label. This will be gone very soon...
On to albums that may never go out of print, the new collaborative effort between PJ Harvey and John Parish has exceeded my expectations. I've been listening to PJ Harvey since the mid-90s and have been an ardent follower since. Her "White Chalk" LP from 2007 may even be my favorite album of hers, so when I heard her next album would be another collaboration with John Parish my heart sank a little. Out of all of her albums, I would have to say that "At Louise Point", her first collab with Parish, ranks pretty low for me. Much to my surprise, then, when "A Woman A Man Walked By" turns out to be one of the better rock albums so far this year. The difference, perhaps, this time around is that Parish takes care of all the music while Harvey focuses on her vocals and lyrics. Rather than keep the same style of vocals the entire record (ala White Chalk etc.) Harvey runs through each of these tracks like it's a vocal exercise. Her voice goes from that haunting falsetto she created on White Chalk (see 'Leaving California below), and all the way to snarling commands. I try not to devote much blog time to major label albums, but this one is worth the shout out. LP version dropping any day now...
'Leaving California'
It appears as if the new Brainbombs album flew under everybody's radar last year, or maybe it was just totally unavailable until recently. But, really, NEW FUCKING BRAINBOMBS ALBUM! Not much has changed in the 10 years since their last full length. You can expect the same jagged rhythm swagger, violent guitar lurching, horrorscape saxophone, and those ultra-violent and offensive lyrics. Though this time around, unlike the recently re-issued 'Obey' album, the lyrics are buried underneath a a layer of distortion and are rather hard to hear, which is very fortunate for those sensitive types who want to get down with the band but can't get behind those vile lyrics. Looks like Aquarius Records still have some copies...
Coupla' great 7"ers have popped up recently, with the new Crystal Stilts being the clear winner. Considering that most of the material on Alight of the Night was already a few years old, it's good to know these guys have a few new tricks up their sleeve. I await the next full length with white knuckles.
'Love Is A Wave'
Since The Brainbombs are still a little fresh in my mind, might as well bring up Vancouver's own version and their new 7". Sex Negatives have grown from a sloppy punk rock riot and into a well-honed attack machine. Their live shows, as infrequent as they are, have recently tended towards tense build ups that burst into frenzied punk squalls. The 7" is a little different. The first side is dissonant sputter of guitar fumes while the flip is a triple (?) tribal drum assault, completed with several sets of howling vocals. Again, expectations confounded and exceeded by this constantly evolving group. The group starts a huge tour at the end of April. If yr reading this from anywhere in the US, I highly suggest you get to yr local noise hole and peep Vancouver's finest in noise rock. Check the myspace for dates.
First 7" by Real Estate has been gettin' steady spins on the deck as of recently. It's not quite as good as others would lead you to believe, but there is a whole whack of potential in this foursome that also features Matt from Ducktails and Predator Vision, both of whom get much pluggage 'round here. Chiming guitars, buried vocals, and an oh-so-simple rhythm section form to create suburban bliss rock. Can't wait to hear some more...
'Suburban Beverage'
Plenty of other new jams on the way that I haven't exactly had a lot of time to eat up, or just haven't arrived yet, including the newest Wet Hair LP on NNF, the new Pocahaunted joint with Cameron Stallones of Magic Lantern, 5 new LPs on Ecstatic Peace, the next batch in the Hozac Singles Club, the next crop of Sacred Bones 7"s...the list just goes on and on, and my time for listening grows shorter as the sun burns brighter.
Released in 1994, "Fuck What You Think" is the second and final album from Main Source, and, unfortunately, doesn't feature Large Professor, who was a major part of their underground smash "Breaking Atoms". The group, however, still manage to hold their own without Large Professor on the production. K-Cut, who took over production on the album, picks up on the obscure jazz and soul tip that Large Professor had provided for the debut. Check The Breaks sample sources for a taste. Oddly enough, the lead single off the album, 'What You Need', caught the ear of Madonna and she quickly used it as a sample for her 1994 single 'Human Nature' (both tracks posted below), though it failed to crack the top 40. Anyways, consider "Fuck What You Think" a primer for next week's post, which will be Main Source's debut.
'What You Need'
'Human Nature' by Madonna, which samples the above 'What You Need'
Five Deez came out of Cincinnati in 1993 and were part of the Wanna Battle Crew that also included TalibKweli and DJ Hi-Tek. The four members of the group (Fat Jon, Chilly Most, Pase Rock, and Sonic) didn't actually release anything until 2000. The group eventually went on to garner some notoriety, particularly with their 2006 album "Kommunicator", released by Rapster Records. Released at the same time was "Slow Children Playing", which also happened to be my introduction to the group, though I did hear "Kommunicator" immediately afterwards. "Slow Children Playing" is actually an assortment of tracks recorded between 1993 and 1998, and was initially released in Japan only, where they apparently have a large following. "Kommunicator" never really did much for me, I found it a bit formulaic, but "SCP" was very far from that.
The basis of Five Deez (short for Fifth Dimension, changed for obvious reasons) production on "SCP" is jazz. Now, this is hardly anything new for hip-hop, especially considering the years of production (1993-98). By the mid 90s seemingly every decent jazz sample had been mined, sampled, and then sampled again...and again. By 1993 DJ Premier and Pete Rock had perfected what Marley Marl had started back in the late 80s. What makes Five Deez use of jazz a little more interesting was in how many samples they piled together in each track. Rather than finding one horn loop and a drum break and using them as the basis of the track (as was the norm), Five Deez, who's head man on production was Fat Jon, found about a half dozen and mashed them all together to create a dizzying mix. The aptly named 'Cerebral Attax', which heads of this album and is posted below, is a perfect example: funky piano, horn blasts, shuffling drum beats, a little sax in background, and some echo on the vocals turn this into an incredibly heady track that can take several listens to fully absorb. The rest of the album follows suit. There is also a very warm and lo-fi feel to the production that gives "SCP" a restraint that's necessary when combining so many different samples. At times it can almost come off like a demo, but to me this is much more preferable to their slicker, later material.
Over top of this delightful mess is, of course, the MCs, who spin some serious avant-rhyming (ie. there are many lines that tend not to rhyme at all) that can be as hard to keep up with as the thick production. Apparently there are a lot of MCs on these recordings that are no longer with the crew, but these tracks whiz by so fast that it's hard to even bother differentiating between the MCs. It's little matter because what the crew lacks in distinct personalities they make up with in the production.
It looks like this one may still be available on CD, but the LP is long out of print. You may actually have to get yr local grocer to stock this, as I haven't seen this one in a record store in some time. Until then, you can download it below.
Hip-hop Fridays has pretty much been dedicated to uploading and reviewing long lost albums, usually from the early 90s, because that is where my hip-hop lovin' heart lays. Anyways, due to lack of time this week, you'll just have to settle for the new MF Doom, errrr DOOM, which is already all over the internet and has been for some time. Outside of the new Dalek album, "Born Like This" is the only hip-hop record from 2009 that I've had the time of day for. It seems like that's the way the genre has gone--5-6 decent albums a year, at least by my count. It's a sad state for the genre right now, but DOOM is here to the rescue. Not to say this is his best work (that, for me, goes out to the King Geedorah album), but it sure is a breath of the fresh stuff in this increasingly stinky atmosphere. Below is the review I wrote for Color, some tracks leaked on youtube, an interview with Rolling Stone, and a link to a full album download. Of course, I do recommend picking this one up on LP, which should be dropping any week now. The CD is out already and, much like the other CD releases on Lex, this one looks fantastic. Snatch it up any way you can, kiddies.
DOOM, who has dropped the MF and gone all caps, is back after four years since his last release and he's made the wait well worth it. It appears as if he's taken a page from his old ally Madlib because this is a serious kitchen sink effort. The beats and interludes, most of which are produced by DOOM, contain a dizzying array of sample sources, including chopped up exotica and classical, ESG, late night television, and even a Charles Bukowski poem. The brevity of these tracks (most of which are under two and half minutes), the lack of breaks between most songs, and the lack of choruses (a rarity in hip-hop) give the album a kaleidoscopic pastiche feel that keeps the album sounding fresh upon each listen. DOOM has also spent some serious time with the pen and the pad, his verbal dexterity has reached an intensity that you’ll have to rewind so you catch everything. Born Like This proves that DOOM, even four years out of the game, still remains the masked villain at the top.
and finally... 'Batty Boyz', a seemingly homophobic song about gay superheroes. Kind of odd coming from DOOM, and I'm still not sure what to think of it. It also happens to be my favorite beat on the album.
After dropping their frat house anthem, 'Jump Around', House Of Pain had been pretty much relegated to one-hit wonder status, where they still remain. As an 11 year-old kid 'Jump Around' was one of the first hip-hop tracks that was popular enough on the radio for me to finally notice the burgeoning genre. Not exactly the best way to be introduced to hip-hop, but, hey, I was living in the suburbs and my only inlet was commercial radio (Rap City, which aired on Much Music, was still a few years away). The song quickly lost it's flavor and I was well on my to discovering acts like Cypress Hill and Ice Cube, both of whom had a lot more respect and, well, better records. A friend of mine eventually picked up a copy of House of Pain's second album, "Same As It Ever Was", and, minutes into hearing the opening track, 'Back From The Dead' (posted below), I clearly had to change my mind about these guys.
First off, Everlast, who pretty much does all the rhyming here (Danny Boy only makes three appearances), altered his voice into a tougher, coarser version, coming off sounding a lot hungrier than on their debut. His new style perfectly matched the bass-heavy and darker production that dominates the album. It appeared as if HoP were looking to shed their cheesy past and they did so exceedingly well on this follow-up.
Admittedly, Everlast can come still come off a little cliche (see his chorus in the otherwise awesome 'On Point'), and he spends most of his time gloating about his superior mic skills, which can get old after a 15 straight tracks. But it's mostly forgivable due to the top notch production, courtesy of DJ Muggs of Cypress Hill, who was unbeatable at this point (Muggs was in between producing Cypress Hill's two phenomenal albums, "Black Sunday" and "Temples Of Boom"). His style is pretty unmistakable here; high-pitch horn squeals and his trademark ultra-low bass are especially impacting alongside Everlast's delivery. However, the best track goes out to 'Word Is Bond', which features production by the almighty Diamond D of the Diggin' In The Crates Crew. Though I missed most of the DITC action when it first dropped, thanks to House Of Pain, these young ears had their first taste of one of rap's all-time greatest crews. Diamond D even takes the time out to drop a verse on the track.
"Same As It Ever Was" managed to go gold in the US, most likely due to the prior success of 'Jump Around', but the album received little airplay and didn't yield any hits, though it did receive high marks from the Village Voice's head critic Robert Christgau. Also, I can't even seem to find any videos on youtube, and, thinking about it now, don't really remember seeing any videos from this album at all (enlightened readers should let me know if this is the case or not). Needless to say, "Same As It Ever Was" has dropped into obscurity and the group still remain a bit of a joke.
'Word Is Bond' produced by and featuring Diamond D
Hailing from the one-time independent music capital of North America, Olympia, Washington, Karp (which was an acronym for Kill All Redneck Pricks) were seemingly an anomaly in a city that was known for birthing the riot grrl movement, briefly housing pre-fame Nirvana (most of Nevermind was written there), and the birth of independent powerhouse, K Records. Not that the trio didn't have their following, it's just that the muscular and macho attitude in the music didn't really fit neatly alongside the above mentioned attributes of this seemingly sensitive indie rock capital.
The trio concocted a raucous blend of fiery punk and muscular metal, with later Black Sabbath being a particularly strong influence. The Melvins, who also stomped around Washington state before heading to California, are another very obvious touchstone for the band. Though the Melvins comparison is rampant and inevitable, it's hardly the whole story. Melvins always found the time for sludge meditations on most of their albums, whereas Karp were much more relentless. All of their albums grab hold right from the get-go and simply refuse to stop pounding away. Apmed up and buzzy riffs steamed steadily along with dual barking vocals and relentless octopus-armed drumming. The trio could have fit in quite well with many of the math rock bands of the era. The would've stood tall playing alongside a group like Don Caballero.
Needless to say, these albums have been out of print for years now, with no signs of coming back into print. It's a shame because, with the current success of Torche and Big Business (Jared Warren from Karp started this band after Tight Bros From Way Back When disintegrated...more on the Tight Bros here), now would seem like the time when fans of that brand of amped up sludge rock should be hearing Karp. I actually happened across this band through the dollar bin at Zulu, which is where I found three of their albums.
While there doesn't seem to be any reissues in the works, it appears as if there will be a Karp documentary released in the near future. It was supposed to be out in the fall of 2008 but there are no signs of having actually been released. Below is a trailer I managed to find on youtube, which doesn't really supply much info...
Lords of the Underground dropped this classic LP in the dead center of the second golden age of hip-hop. Unlike many of the great albums that came out in that vibrant period, Lords of the Underground were able to capitalize on the rising popularity and growing interest in hip-hop. One of the factors that helped the Lords' success (their debut went platinum!) was having living legend Marley Marl helm the production. Marley had started the legendary Cold Chillin' label in the mid-80s and was the man responsible for many classics of the genre (MC Shan "Down By Law", Big Daddy Kane "Long Live The Kane", and Kool G Rap and DJ Polo's "Road To The Riches", to name but just a few). By the mid-90s he was producing and remixing tracks by TLC and En Vogue, which didn't exactly help his street cred any. But by 1994 he discovered the Lords, helped pave them a path to hip-hop platinum, and .
The Lords themselves were voracious MCs who could spit so fast on the mic that it was hard to hear the lines the first few times around. Marley helped back these talented MCs with some of his best production since his Cold Chillin' days. There were so many great tracks on this debut that the Lords released 6 singles, all of which charted on Billboard.
The trio would go on to make another album, 1994's "Keepers of the Funk", which wouuld go gold. The groups disbanded a few years later only to reunite in 1999 with the dismal "Resurrection."
Fun fact: DoltAll appeared in the final scene of the final episode of the Sopranos. He was one of the many figures that entered the diner, looming as a potential threat to Tony Soprano.
On Aquarius Records' always trusty advice, I snatched up a a copy of the 2nd release by Austin's Silver Pines. The group (appears to be four members, see pic below) have concocted a gauzy blend of country, shoegaze, and, well, a tinge of pop. Most of the 7 tracks here start off with a slow country gallop and eventually build into an aching roar of bliss-fuzz guitars, yawning saws, multi-tracked and sorrow-filled female vocals, and, of course, mounds of breathtaking slide guitar. The result is an atmospheric slow ride down a canopy covered backwoods river. Simply gorgeous.
I believe that this EP is still available. Please contact the band or Aquarius records to obtain a hard copy of this. Note that this is just a CDR, but it is wrapped in a beautiful silkscreened sleeve. Let's hope that someone out there is willing to get these guys on to wax, where they truly belong.
After last week's post on Raw Breed I pulled out my copy of Rumpletilskinz, "What Is A Rumpletilskin?" The two groups share the same style of group-shouted choruses and intense, spitting lyrical flows. Anyone who was into the Raw Breed album from last week will be sure to love this.
Rumpletilskinz hailed from Uniondale, Long Island and were childhood friends with Bustah Rhymes. It seems as if Bustah's hoarse and excitable vocal delivery rubbed off on these 4 cats (or vice versa), as they ooze the same vibe. They first appeared on the Leaders of the New School posse cut 'Sound of the Zeekers @#^**?!', which dropped in 1991 on LONS' debut. The group cut a few 12"s and finally released their debut in 1993 on RCA. Rumpletilskinz didn't make it much farther than cult status, and the group disbanded soon after. I think one of the members had a solo record a few years later, though I can't seem to find any info on that.
Anyways, unlike Raw Breed, who relied heavily on hard/dark funk samples to back up their rough sound, Rumpletilskins tend to use lighter jazz samples, which makes for an interesting juxtaposition. Sorry kiddies, it's getting late and I don't have many more words for this. It's great. Download it. Drop some comments.
"Attitudes"
Leaders of the New School "Sound of the Zeekers @#^**?!"
As regular readers must have now guessed, Thee Expressway is a huge fan of all things related to Detroit's underrated The Go. A close friend introduced me to them a few years back and I've been a huge fan ever since. This close friend also managed to scoop up a copy of their unreleased gem, "Free Electricity," which was supposed to be the Sub Pop follow-up to their garage stomper of a debut, "Watcha' Doin.'" Needless to say, the album has still never received a proper release, a crime if there ever was one, as this is an amazing garage-psych record that deserved the royal treatment. The full story has never been told, but, basically, Sub Pop rejected The Go's second album because it was a little too "different" than their debut, which probably means that the debut had piss-poor sales and the label didn't hear any singles. The band decided to move on and focus on recording their next record, leaving "Free Electricity" a mere myth. Well, luckily, someone close enough to the band (maybe the band themselves?) saw it fit enough to post on the internet.
The album is actually a great intro to the band because it features everything The Go are capable of, from amped up garage anthems to exploratory psych rippers. The opening title track kicks things off proper with one of those above-mentioned anthems, which is very reminiscent of "Machine Head" era Deep Purple. 'Secular Century Man' and 'Peacock Angel' are laid back garage-psych cruisers that'll have you reclined on the couch with a warm wind in yr ears. 'Pharaoh's Tomb,' 'Turnin' On,' and ''All Dimensions Are Loose' will take you back to the first album when Jack White was still blazing away with the band. 'Into Outer Space' see's the band veering into the ethereal space that fit them so well on their last record, "Howl On The Haunted Beat You Ride." Perhaps my favorite track, and possibly the one that saw them dropped from Sub Pop, is 'Blood Red Sun,' an 11 minute psych-jam that relies heavily on a hall-of-mirrors saxophone that recalls "Fun House" era Stooges.
It's really too bad that Sub Pop passed on this, but I suppose the label was leaning towards commercial sales rather than indie cred, which, admittedly, the label already had heaps of. Safe-enough-for-the-mall bands like The Shins, Band Of Horses, Fleet Foxes, and Iron and Wine have been the primary focus of the label for the last few years, so it's really no wonder they passed on this "difficult" second record by The Go. It can now be yours...
Where did it all go wrong, Rascalz? You came out of nowhere in 1992 (originally called yourselves the Ragga Muffin Rascals) and dropped the underground, stoned-out classic that is "Really Livin,'" which has had beat-heads across the globe hunger for this hard-to-find debut. Then you disappeared for 5 years and came out with the over-hyped, over-played "Northern Touch" single, which garnered you a Juno Award that you eventually declined. But it's pretty much been all downhill from there. I suppose that we'll always have this debut.
After Maestro Fresh Wes dropped his two classic singles, "Conductin' Thangs" and "Let Your Backbone Slide," the door was suddenly opened for the lowly Canadian hip-hop artists, though, I must say, we haven't done much better since. Anyways, Rascalz answered the call on the West Coast with their blunted and heady "Really Livin'" debut. The duo are clearly indebted to Cypress Hill here, as fattened horns and thick bass dominate the production, not to mention gratuitous lyrics about THC love. Hardly the most original or inspiring album to come out at the time, but it's still stands as one of the greatest Canadian hip-hop albums, not that there's much competition.
