DJ Step One set it off with this, originally posting this tape back in 2011 with the caption, "There's some great stuff on here, my personal favourite being Treach ripping it over the 'Keep It Thoro' beat, which serves to remind that a solo album from the NBN frontman could've been dope with the right production. Journalist spitting over 'Mass Appeal' is nice, as is Nature over 'So Ghetto'. There's also 2 Prodigy joints, one with him dissing Jay Z over the 'Hail Mary' instrumental and the other a collaboration with E-Money Bags over 'Phone Tap'. If you need any more convincing head for the Lord Tariq and Big Daddy Kane tracks." I was sold on that short Treach jawn, check it out below...
"Brooklyn MC Jeru has never been one to go with trends or mince words. His debut, "Come Clean," was loaded with thought-provoking lyrics and "Ya Playin' Yourself," the first single from his sophomore project, goes even deeper. On this joint Jeru fearlessly faces the one question that many of us in the hip-hop community continue to dance around: do gangsta / criminology type rhymes and videos set a dangerous example, or are they just harmless representations of a violent world, like movies or video games? Jeru's first verse is aimed squarely at MCs who glorify drug dealers. "These so-called playas up in the rap game / got brothas on the corners selling cooked cocaine." The next verses - still delivered in Jeru's penetrating monotone - condemn the drug trade, foul-living females and false prophet MCs, all strung together with a tight chorus." Peep the video:
"The one complaint that always seems to surface against "knowledge" rap revolves around the beat; if it ain't kickin', no one will bother to hear the lyrics. Well, that can never be the case when Premier is behind the boards. "Ya Playin' Yourself" is another of his master creations, propelled by an infectious bass bump that's a flip of Junior Mafia's smash "Playa's Anthem." And that may not be entirely accidental. "Ya Playin' Yourself" is the antidote to the endless materialism currently saturating hip-hop. While others may preach getting paid above all, here's Jeru's philosophy: "Knowledge, wisdom, understanding brings long life and health / Think anything else and you're playin' yourself." - The Source (10/96). You can read (or save a copy) of The Source's review below.
"With airtight lyrics and break-dance-heavy shows, the Arsonists have been fulfilling the cravings of hardcore hip hop-starved backpackers on New York's underground scene for the past three years. But despite their strong street following, the eye-brow raising talent of Arsonists Freestyle, Swel Boogie, Q-Unique, Jise One, and D-stroy has eluded the attention of major record labels. Now signed with super-indie Matador, the Arsonists are poised to blaze trails above the surface. With their potent introduction to the masses, As The World Burns, these mike marauders not only recap their previously released gems - 1996's "The Session," 1997's "Seed," and 1998's "Blaze" - they showcase a handful of just-as-sizzling new songs." Watch "Pyromaniax/Backdraft" cont'd below...
"Tracks like the lighthearted freestyle "Pyromaniax" (which sounds like it was recorded at a circus) and the kinetic "Backdraft" really show the Arsonists at their best, keeping it up-tempo and energetic. Even when they slow the pace on "Flashback," a keyboard-powered stroll down memory lane, the five-man collective are able to spark your interest with vivid descriptions and impassioned stories. As The World Burns is an uncompromised tribute to the Arsonists' subterranean rhyming roots. And hey, even if they aren't heard by the multitudes, the fire that burns in their hearts to rap is one that can never be extinguished." - Vibe Magazine, October 1999 // Save a copy below.
"They're 15 years in and nine albums gone. And though the daisies may be dead, the reinvigorated Long Island trio (Maceo, Dave, and Pos) hasn't sounded this vibrant since they became the spit-kicking, bionic spacemen from their last two releases. On The Grind Date, these pioneers of alternative hip hop have outsmarted the denizens of today's bulletproof-vest scene with sophisticated compositions and insightful lyrics. Appearances from Ghostface ("He Comes") and MF Doom ("Rock Co. Kane Flow"), along with rich production by Madlib, Dave West, Dilla, and 9th Wonder, make this Date notable." - Vibe Magazine, November 2004. Peep De La Soul and MF Doom performing "Rock Co. Kane Flow" live AND check this dope video of Jake One making the classic beat.
The original 4-star review in Vibe Magazine is available below...
"There is no doubt that Bahamadia loves music - This Philadelphia native has lived and breathe it for years. In fact, many musical scholars credit Bahamadia as being one of the original MCs to put Philly on the hip-hop map in a major way. Initially a DJ, Bahamadia switched trades when female MC's such as Lady B, Sha-Rock (Funky 4 Plus More), and Salt and Pepa entered the rap game. By becoming one of the most sought after artists on the Philly underground scene, Bahamadia earned the respect that allows her to declare in song, "Back in Philly, people say I'm Da Jawn." Her formidable rhyme skills, unceasingly honed since the earliest days of rap, and her progressive musical outlook, make her more than just an incredible MC. Bahamadia is an innovative talent recognized in various musical genres as forerunner of tomorrow's music. In 1996, EMI Records released Bahamadia's critically acclaimed debut album entitled "Kollage" on its Chrysalis label. "Kollage," which Bahamadia described as, "various blends and mixtures of my style of hip-hop encompassing different topics that are important to me." "Kollage" showcased eleven classic songs full of her signature soulful delivery with lush and witty rhymes. This album generated the 1996 Soul Train Lady of Soul Awards Nomination for Best New R&B / Rap Artist." - Press Release (2000). The "BB Queen" EP, and more cont'd below...
In 2000, Bahamadia released "BB Queen," her sophomore release through Good Vibe Recordings. It was Bahamadia's first release since her debut album "Kollage" in 1996. With features from DJ Revolution, Planet Asia & Rasco, Chops, Slum Village, and Dwele, the vibe of the project fit nicely with the soft-spoken, but supremely lyrical style of Bahamadia. Although not mentioned nearly as much as Bahamadia's early work alongside Gang Starr's Guru and DJ Premier, it is entirely worthy of a revisit and support here. DJ Revolution kicks it off masterfully cutting MC Lyte vocals, stating "I am the dopest female that you heard thus far," representing from the "Illadelph side."
In Feb, 2009, Puff Daddy shared a video blog called A Message To The DJ, where he said: "The DJ introduced me to Hip-Hop... The DJ took my pain away... The DJ made me dream... The DJ made me forget about my surroundings; my financial state; what society had planned for me... The DJ created hip-hop... The DJ exposed me to things; sounds and visions that I never thought existed... Every DJ had their own style; their own journey they'd take you on... I wanna turn on the radio and get exposed to something fresh and something new. That's why we're all on the internet - we're in search of something new." Diddy closed it out with a reminder to all DJs, saying: "The DJ is and always will be responsible for Hip-Hop!" In today's climate, this is not only true of the DJ but bloggers and playlist curators, A&Rs at labels, etc. It's a responsibility we have to filter through the bullshit and find what speaks to us and amplify those sounds, visuals, and messages. I'm sure Puff wasn't in clubs where J.Rocc or DJ Jazzy Jeff were spinning, so he wasn't speaking for ALL DJs, but there's a reason that The Breakfast Club is broadcasted in countless markets and why geography and regional sound plays such a minor role in music today. It's all the same playlist! It's just some food for thought and something I've continued to consider as I curate this website. The full video message from Puff Daddy is below... Oh, and Happy Birthday to me, Black Thought, and Talib Kweli!
Here’s a nice 12” from 2000, it’s by 90 Proof and was released in Chicago on Guidance Recordings. The B-Side ‘Inner City Prophets’ is the clear winner (to me) on this 12”, although ‘Boutique Freaks’ has grown on me over the years. The familiar ‘Django’ sample on ‘Inner City Prophets’ was used earlier on the ‘You Can’t Stop The Prophet’ Remix by Pete Rock. Naturally, Pete Rock’s drums win over everything, but the 90 Proof version has its own unique appeal with the storyline and mellow flows. The production credit is to T Estes (Tracy Estes from Moab Productions), with writing credits to Andrew Floyd, Steve Scott, and Victor Ramirez. While uncredited, these Chicago artists may have also been involved? Enoch Khepra, Tyrone Reed, Simeon Norfleet, and Aaron Marx. Anyone have more information? Discogs credits Toni Estes with production, she had an album on Priority Records, but I’m not certain what is accurate, so any info is appreciated. Listen to 90 Proof's full 12" below.
Ghost of the Machine is an artist from NYC currently living in MA. His track, 'Last Man on Earth,' features Mello Music's Red Pill (1/3 of Ugly Heroes) and production by James Green. The song is featured on Ghost's solo album, 'It's Lonely Out Here: The Story of J.F.M.' which you can stream along with the single down below, check it out and let me know what you think. I'm keeping an ear out, expecting good things to follow based on the talent I hear already. Give it a listen below...
