No Sleep: NYC Nightlife Flyers 1988-1999

"No Sleep" is a visual history of the halcyon days of New York City club life as told through flyer art - gathered in a new volume by Stretch Armstrong and Evan Auerbach. Spanning the late 1980s through the late 1990s, when nightlife buzz travelled via flyers and word of mouth, No Sleep features a collection of artwork from the personal archives of DJs, promoters, club kids, nightlife impresarios, and the artists themselves. Club flyers were ephemeral objects distributed on street corners, outside of nightclubs and concert halls, in clothing stores and retail shops, and were not intended to be preserved for posterity. Through the 90s, they became both increasingly prevalent and more sophisticated as printing technology evolved. However with the advent of the internet, the flyer essentially disappeared overnight, despite it being common at one time for promoters to print thousands for an event. So let’s take a trip back, back in time. - via Stretch Armstrong.

Da Bush Babees "Microphone Check" (The Source, 12/96)

"Kahliyl, a.k.a. Mr. Man, used to be the "Mayor of Washington Square Park" before forming Da Bush Babees in 1993 - along with Lee Major (formerly Babyface Kaos) and Light (formerly Y-Tee). Mr. Man's cognomen was not given to him by anyone in particular, just those who frequented ciphers in which a million wannabees would gather to battle anyone who was up at the soapbox. The subsequent threesome exhibited a total balance that led to the creation of their first LP, Ambushed. With only a three month life span, the trio blessed hip-hop with two memorable anthems. "Remember We" and "We Run Things." Now, Bush Babees (they dropped the "Da") know each other better and have resisted the Versace and Mafioso cloning playing hip-hop out on their sophomore effort, Gravity. Put simply, they have gone back to the basics with messages of love, religion, grounding and spiritual introspection. And do not think PM Dawn." The interview below continues with info on why they dropped the "Da," the musical direction and messaging on Gravity, as well as their first single "The Love Song," and some label talk for good measure. Check it out... 

Black Thought "Masterpiece Theatre" Interview (The Source, 12/00)

"Tariq "Black Thought" Trotter, voice box of those show mavens, the Roots, has a lot on his mind. His solo debut, Masterpiece Theater, is scheduled for a February release, yet he's only been able to master one track thus far. The other six that he's previewing today are, in his words, "works in progress." Another five songs exist solely in his brain... But that's not the cause of Tariq's pressures. His time management has been complicated by the upcoming OkayPlayer tour that will have the Philly native on the road for two months. But even more telling is the pressure Tariq has been putting on himself. After acting as the consummate team player for 13 years, many of his ideas for the group were shot down. Not because they were sub par, but because they didn't fit the Roots collective. And he understood. So now Black Thought is under pressure from Black Thought to present the Roots' most celebrated vocal instrumental to the world - without the Roots." Cont'd...

"I got a whole discography of shit to get off my chest that is just different from the Roots vibe," he explains of his solo venture. "All those people who wanted to hear me over different tracks will get that chance to hear Black Thought with some different texture. That texture begins with "Water," a track flooded with Timbaland-like hand claps and a sweet crooning tenor sample (produced by Headrush). On the song, Tariq warns those obsessed with the streets to "walk straight and master their high ... I done seen these streets make a lot of guys cry." The posse cut, "Gladiators," featuring EST (3x Dope), Boobonic (Philly's Most Wanted) and Marly G, drops with Philly pride. And the powerful social commentary of "Usual Business," supported by M-1 and stic.man of Dead Prez, will remind you why Tariq, one of hip-hop's lyrical elite, should be included on more high-profile collabos. "A lot of MCs are scared to rock on a joint with me," he informs. "They don't want to have to work harder. But it's like, I ain't trying to kill them, I'm just trying to kill the joint." Hence, Tariq is amped at getting an opportunity to put together a hip-hop junkie's wet dream. "I'm doing a joint with Rakim, Prodigy and Pharoahe Monch," he confidently quips. Those pressures just keep mounting." - The Source, Issue #135. It (still) makes me sad that we never got this album; I even remember the early adverts to promote it. (Updated with a new audio link above). 

AG x Ray West x Roc Marciano 'Red Apple Kings'

This is AG and Ray West, featuring Roc Marciano, on 'Red Apple Kings;' a dope single off AG & Ray West's 2015 project, 'The Nickel EP.' I was working at Fat Beats when AG dropped their first project, 'Everything's Berri,' and I saw firsthand how well they worked together. You should also check out Ray West's projects with O.C., Kool Keith, Blu, and John Robinson, as well as the upcoming Show & AG album, 'Redesigned.' 'Red Apple Kings' is today's selection from the EP, listen below...

Rakim: The Definition of Classic (Video)

This video was released around 4 years ago while Rakim was with Reebok as part of their Reebok Classics series. Working with Complex, they put this mini-documentary together featuring interviews with Rakim, Bill Adler, DJ Premier and others discussing the legendary (ongoing) career of Rakim. From Long Island to hip-hop legend, Rakim changed the game with his flow, delivery, as well as the message in his rhymes. In my life, I've never been one to say much, but I try to make the most of the few words I speak - I believe Rakim is cut from a similar cloth; he doesn't do a lot of interviews, but each one is filled with jewelry. The definition of classic with Rakim, watch it below...

Redman "Muddy Waters" (The Source, 2/97)

"Def Squad lion Redman has no problem blazing up the path between mainstream and the underground with his third Reggie Noble vs alter ego installment, Muddy Waters. Slightly lodging the effort between the musical/lyrical cohesiveness of 1992's Whut? Thee Album, and the rhyme inventiveness of 1994's Dare Iz a Darkside, Redman comes to groove with the masses, but he'll be damned if it's easily digestible for everyone. The fascination with forging new lyrical horizons left many fans baffled and disillusioned when Red zoomed spaceward with the gold-selling Dare Iz A Darkside. Aside from the consistently gloomy, over-stripped arrangements and cryptic space-talk, Red took the path of Mothership pioneers Sun Ra and George Clinton, switching his style in defiance of complacency. The steady, bubbling syncopation on Whut? flipped to a furious flow of hazy metaphors and punchlines, best demonstrated on cuts like "Da Journee," Cosmic Slop" and "Green Island." Passionate about strictly taking the underground to new heights, Red publicly forewarned that Darkside wasn't made for everyone, especially the radio. Now how many rappers can do that shit and still sell units? Waters continues in the same expansive vein, coming down a notch on the comprehensibility meter in order to deal with earthly issues, some of which have been consistent from jump street.... But it's when rallying self-fulfilling causes that Red is most open."

"Displaying maturity as a producer, he resurrects his political commentator skills from '92 on the police-wary "What U Lookin' 4." The spiritually swaying "Whateva Man" finds the funk doctor flying his smokey flag for the underachievers. Groovable cuts like "Pick It Up" and "Da Bump" syllabically mow down underground perpetrators... Simple beat/rhyme frameworks also yield a tour de force when Red trades verses with erstwhile Squad mate K-Solo on the shamelessly banging "It's Like That (My Big Brother)." Even without the radio-accessibility of a hook, the song took off through FM airwaves. His post "How High" duet with Method Man (produced by the Fugees' Pras) may not be so lucky, as the censorship crowd might not take too kindly to Red gems ... but with Red you never know. As usual, the production wizardry is helmed by Squad elder Erick Sermon, smoothing out the Funkadelic soundscape with swirling keyboards and simmering kicks while maintaining a sinister feel with ominous, thematic bass drones. The sonic approach creates a dance floor-friendly vibe which seems perfectly appropriate for the Funk Dr. Spock's return to dry land, although if Sermon had just pushed a tad more for the variety manifested on Whut?, the end result would be perfection. But through all the murky travels, Red can still take what's given to him and aim for higher ground."

Foxy Brown 'BK Made Me' (Unreleased, 2001)

Back in '01, before Foxy Brown's album, 'Broken Silence,' DJ Clue blasted off 'BK Made Me.' The track sounded like Foxy near a breaking point and sharing her most inner thoughts. It was assumed to be on 'Broken Silence' when it dropped, but instead, there was a track called 'The Letter,' equally deep and personal, featuring vocals from Ronald Isley. It's possible they didn't think the album needed both or it was a sample issue, but 'BK Made Me' was left a mixtape-only cut on Clue's 'Stadium Series Pt.3.' Being that I heard it first and it wasn't included on the album, it always made me want a copy. The label wouldn't give it up, but I did track down a studio version a while after. Today, the production is somewhat dated, but my thoughts on the content (especially the first verse) remain as strong today as back then. 'Got dreams of ending this bitch, my life is miserable / Make me wanna end this shit, find my ass in critical...' Yeah, for an album called 'Broken Silence,' this track would have found a good home. “…Wish I was tall I could carry this load / In this cold f#ckin world I want to f#ckin explode / Guess it’s time for me to depart / I know it sounds strange but I / Served my purpose and I made my mark cuz…” Listen below for a tagless version of the track.

ED O.G. & Da Bulldogs "Life Of A Kid In The Ghetto" (25th Ann.)

It's been 25 years since the release of the critically acclaimed "Life Of A Kid In The Ghetto" album. This limited edition cassette marks the anniversary of the album that put ED O.G & Da Bulldogs on the Hip-Hop map with songs like "I Got To Have It", "Bug-A-Boo" & "Be A Father To Your Child". The album produced a number one record on the Billboard Hot Rap Singles chart and two Top 20 singles to follow. This cassette features two unreleased bonus tracks, the thought provoking "Letter To The President" and the anti-establishment "Lik A Shot" that didn't make the original album due to samples and controversial lyrics. All songs produced by Joe Mansfield. Liner notes by ED O.G featuring alternate artwork. I can guarantee these will sell out, so order a copy now via Fat Beats! While the bonus tracks are exclusive to the cassette, you can hear the original LP release below...

Below is the signed letter from ED O.G. about the 25th Anniversary project...