Filed under: 1996, Reviews, Smoothe Da Hustler, Video | Tags: Once Upon A Time In America, Smoothe Da Hustler, Trigger Tha Gambler
Smoothe Da Hustler – Once Upon A Time In America
Year: 1996
Titled after the epic Sergio Leone movie from 1984 starring Robert DeNiro, the debut LP by Smoothe Da Hustler came out 12 years later. If you saw that movie, you would expect a lot from an album named after it and well, what you wouldn’t be is dissapointed. This is a record that captures the whole rough, rugged and raw atmosphere of the golden nineties.
After a little intro, things get started with Fuck Whatcha Heard featuring Smoothe’s brother Trigger Tha Gambler (together they ran as the Smith Brothers). The harmony between the MCs and the beat is flawless. The track got a real menacing vibe, and by that I mean it seems ready to jump right out of your speakers, grab you by the throat and choke you at any time. That goes for most of the other tracks as well, rollin slow, but bearing a highly aggressive energy, not least because of Smoothe’s rough voice. But of course he holds his own on Only Human, one of the songs with a more mellow kinda vibe, too.
Except for his brother Trigger, the only other featured rap artist is D.V. alias Christ, whose trademark style perfects Dollar Bill and Murdafest. No need for other guest rhymers, Smoothe Da Hustler got lyrics for days and kills every track on this fine piece of plastic. Of course, his most famous tune is on here too, Broken Language, and if you don’t know what I’m talking about, then you slept on one of the most original rap tracks of the 90s… This one ist just raw. There is no hook. No R&B. No nothing. Just a hard ass beat by DR Period (who handled the entire production) with Smoothe and Trigger taking turns in doing what they do best: delivering hardcore rap from the streets of Brooklyn. You can bump this one 25 years from now, and it will still be one of the hardest tracks out there; Broken Language represents everything I loved about NYC HipHop back in the days.
Listen to the album, and you will know why Smoothe calls himself Da Hustler. So put on your hoody, light one up and nod your head to this:
Filed under: 1994, Crustified Dibbs, Download, RA The Rugged Man, Reviews, Video | Tags: R.A. the Rugged Man, Crustified Dibbs, Night of the Bloody Apes
Crustified Dibbs – Night Of The Bloody Apes
Year: 1994
There are things you might not know about R.A. The Rugged Man. Yeah, he released an album in 2004, entitled Die, Rugged Man, Die. He was featured on Jedi Mind Trick’s Uncommon Valor: A Vietnam Story which became The Source’s HipHop Quotable of the Month in October 2006. And he contributed to the Soundbombing samplers on Rawkus Records.
But, what most people might not know, R.A. recorded an album called Night Of The Bloody Apes in 1994 as Crustified Dibbs. It was shelved by Jive Records and never came out, and it would be another 10 years until the first official Rugged Man Recording hit the stores. But thanks to the internet, things that seem lost resurface and become known to a wider public again. I remember that I saw the Bloodshed Hua Hoo video on german HipHop show Freestyle, and it was the craziest rap video I had seen to that date, straight madness. But I never heard of Crustified Dibbs again, until a generous person decided to connect his tape deck to his computer, that is. So this rare gem finally saw the light of day.
To call an album Night of the Bloody Apes (borrowed from a 1969 horror movie) might seem weird, but I must say, another title would not do this recording any justice. This is the only title that fits it. It is an like a dirty old school gore flick put on tape, and the bad audio quality just adds to the overall grimeyness. And let’s not forget Cunt Renaissance, where Biggie Smalls himself kicks some low down dirty sex rhymes.
Watch the video and download the album if you dare. This is the perfect soundtrack for all the mental cases out there.
Tracklist
1.You Ain’t Never Been Down
2.Toolbox Murderer
3.Bloodshed Hua Hoo
4.Walking Down The Street With My Nuts In My Hand
5.Every Record Label Sucks Dick
6.R.A. Meets A.R.
7.Hookin’ With The Hookers
8.Bloody Axe
9.R.A.Classroom (Skit)
10.R.A. Be Down
11.Cunt Renaissance ft. Biggie Smalls
12.Back To The Rubber Room
13.Interlude
14.Statchy
15.Bloody Body Parts In Da Fruit Punch Bowl
16.Bloodshed Hua Hoo (Nigga Niles Crusty Remix)
Filed under: 1994, Gravediggaz, Reviews, Video | Tags: 6 Feet Deep, Gravediggaz, Niggamortis
Gravediggaz – 6 Feet Deep / Niggamortis
Year: 1994
“Super Group, that’s what the media called the Gravediggaz, consisting of Rza, Frukwan of Stetsasonic, producer Prince Paul and Poetic aka Grym Reaper. They were portrayed as the creators of a genre called horrorcore, and although other groups (like the Flatlinerz for instance) claimed they invented horrorcore, the Gravediggaz’ debut album cannot be described as anything else but pure horror, in a good way that is. 6 Feet Deep (or Niggamortis, as the LP was named for the European release), is what it would sound like if the four horsemen of the apocalypse grabbed the mic to accompany the world’s demise.
On Constant Elevation with its psychotic piano loop, a “frustrated, mentally aggravated” Poetic and Frukwan, “equipped with a chainsaw” get the listeners in the mood for the hellish trip they’re about to go on.
1-800 Suicide sends cold shivers down ones spine with it’s dark Sunny sample courtesy of Booker T & The MG’s, while the MCs give instructions on how to end ones life, from the usual methods like getting ” a drink from the bar, get behind your wheel and crash the car” to somewhat unusual techniques like locking oneself in the lions den at the zoo, as suggested by the Rza.
Defective Trip (Trippin’) with guest spots by MC Serch and Biz Markie is about drug abuse on the brink of death – smoking cigarettes dipped in sodium pentothal, taking mescaline, and Rza damn near loses his mind on this one (well, not only on this one).
Diary Of A Madman takes us on a journey inside the dark and twisted minds of “raving madmen”, with Scientific Shabazz and Killah Priest delivering some cold blooded verses. The video, heavily influenced by the motion picture Jacob’s Ladder, was boycotted by MTV for obvious reasons. And whoever met this crew in the subway station will certainly wish he had taken the bus:
The whole album oozes of darkness – dark humor, dark beats, dark lyrical content… Entirely produced by Prince Paul, Rza and Frukwan aka The Gatekeeper, listening to this front-to-back is a must. Another true classic.
R.I.P. Poetic.
Filed under: 1993, Mad Kap, Reviews, Video | Tags: Look Ma Duke No Hands, Mad Kap, Madkap
Mad Kap – Look Ma Duke, No Hands
Year: 1993
“Look Ma Duke, No Hands” was released in 1993 on Loud/RCA Records, the label which roster contained the likes of Wu-Tang Clan, Mobb Deep and M.O.P. And at the first listen, one would probably think this is an eastcoast record soundwise. But it was recorded in L.A., and some well-known westcoast names drop bars on this one, like King Tee and Tash on Check It Out, and Tha Alkaholiks as a whole on Beddie-Bye. Daddy Freddy, the pioneer in blending HipHop and Ragga , adds some vocals on Phuck What Ya Heard. Mad Kap’s own Dr. Soose puts icing on the cake by playing the live trumpet on most of the songs. Among my favorites is When It Rains It Pours, where rappers Coke and Motif tell about grieving families, street violence and babies havin babies, while the rough beat with its dark bassline makes your head nod instantly. Dopest Verse, which concludes the album, is straight boom-bap sound at its best, you just wanna put on your Timberlands and jump around to it, while the posse shouts “Who’s got the motherfuckin dopest verse?”.
Unfortunately, I haven’t heard form Mad Kap since, except a guest spot they had on King Tee’s Triflin Album (1993). No solo projects either as far as I know. But, in the spirit of being content with what you have, I’m happy they released this one album. Let the head-boppin’ commence.
Filed under: 1992, Bushwick Bill, Geto Boys, Reviews, Video | Tags: 5th Ward, Bushwick Bill, Geto Boys, Little Big Man
Bushwick Bill – Little Big Man
Year: 1992
Back in the 90s, on my journeys through the record stores, I wasn’t only searching for vinyl and CDs, I was looking for info, too. Not the easiest of tasks, with rap music being generally overlooked, and the internet as we know it today wasn’t invented yet. So, it was all about the printed word back then. World of Music (WOM, a now closed music chainstore here in Berlin) had a magazine shelf with all the goodies, Rap Pages, The Source, etc. Prices were ridiculous, so I had to skip through the pages right there in the store, like an information-thief if you will.
From one of those instances I remember reading that Bushwick Bill’s solo debut only got 2.5 of the legendary 5 mics. Well, I didn’t expect it to get a high rating, but what bothered me were the harsh words of the reviewer. Feces, that’s what he basically called the album. I was a little dissapointed to read that, because for me, it lived up to all the expectations I had when I found out he’s gonna release a solo. I think that was when I saw Ever So Clear on MTV, and it blew my mind. I didn’t rest until I had the album in my hands after that. And from that day, each mixtape that I listened to in my walkman contained at least 3 Bushwick-songs.
The title track, Little Big Man, was the perfect introduction to an hour of heavy funk-riffs and bloody carnage. Sometimes represented by his alter ego Chuckie (the murderous puppet from Child’s Play), Bill kicked his no-holds-barred, evil lyrics on tracks like Call Me Crazy, Skitso and Chuckwick (a reprise to the Chuckie-track contained on the Geto Boys “We Can’t Be Stopped”-album). Listening to the record right now, I still have to say that the beats James Smith and John Bido provided just fit him perfectly. The tracks just got that 90s, 5th Ward Texas vibe going on, really funky beats with disturbing lyrical content.
There was one thing the man from The Source and I agreed upon, though. The standout track on this album is Ever So Clear, the deep, self-reflecting story of how Bushwick Bill lost his eye. Most of the other tracks were too misogynistic and violent for the magazine, with the whole psychopathic killer image that the reviewer thought was dated.
For me, this remains the best solo effort from a Geto Boy since Mr. Scarface Is Back. I listened to that album many times, I still do, and I still think it’s great. I is not a 60 minute murder spree, sometimes Bill even brings positive vibes to the table (like on Letter To The KKK, also acknowledged by The Source).
In the same issue (October 1992), Willie D’s “Goin’ Out Lika Soldier” only got 2.5 mics as well. To each his own, I guess. Me, I put the magazine back on the shelf, went home, and probably listened to some Geto Boys.
Bo$$ – Born Gangstaz
Year: 1993
Female MCs have been a rare thing to find ever since. Looking at my collection, there’s only a handful of names that fit the category. YoYo, BWP, MC Lyte, Hurricane G, HWA… and then, there’s Bo$$.
Today we’ve seen it all. Back then it was different, and there weren’t many female gangsta rappers around, thatswhy Bo$$ from Los Angeles stirred up some controversy when she first stepped on the scene. Dressed in black, beanie, Locs, bulletproof west and heavily armed, that’s how she suddenly appeared on my TV screen in 1993. The track was Deeper, with Bo$$ focusing on themes like murder, marihuana and her tendency towards paranoid insanity. Produced by Def Jef, the track became a hit, the video was frequently played on Yo! MTV Raps, and the album Born Gangstaz climbed to #22 on the Billboard Charts.
Originally from Detroit and signed on Def Jam West, Bo$$’s lyrics lived up to her image, as was shown on tracks like Progress of Elimination, Drive By or I Don’t Give A Fuck. The producers list wasn’t short of big names like AMG, MC Serch (3rd Bass) and even Jam Master Jay. The second single accompanying the album was Recipe Of A Hoe with a catchy Isley Brothers loop and a vocal sample by Willie D who noted that “You gotta let a hoe be a hoe”.
The carreer of the self-proclaimed “Mad Bitch” came to a sudden halt when an interview with her appeared in the Wall Street Journal, where she spoke freely about her Detroit childhood. Apparently she went to Private school and took ballet lessons, so people started asking themselves if Bo$$ was really what she said she was. I don’t know, and I certainly don’t care, but if you wanna read up on that, you can do so here (the interview contains her side of the whole story). I really liked her music, and that’s all that counts in my book.
Filed under: 1991, Comptons Most Wanted, Rap, Reviews, Video | Tags: CMW, Compton, Comptons Most Wanted, Eiht, Straight Checkn'Em
Comptons Most Wanted – Straight CheckN ‘Em
Year: 1991
Does anybody else miss the time when Rap tracks contained cuts and scratches? I do. Just one of the many reasons to get a hold of this Album by CMW. There’s cutting and scratching on almost every track courtesy of DJ Mike T. There are a million different reason to own this album, though. “Growin’ Up In Tha Hood” is one. The groups most successful song to date, due to the fact that it was featured on the Boyz-N-Tha-Hood Motion Picture Soundtrack. I was introduced to this track via Yo! MTV Raps, and I rewinded my copy of the videotape so many times it’s a miracle it didn’t break, now that’s what I call quality. Not only the tape, but the track as well. One of my all-time favorites.
Before I continue, here’s “Growin Up In The Hood“, so everybody knows what’s up.
… dope.
But everything else is classic CMW-material as well. The first Part of the “Def Wish”-Saga”, or “Compton’s Lynchin’”, the latter being very laid back beatwise, while MC Eiht is killin’ fools lyrically. “Driveby Miss Daisy” tells about innocent bystanders getting killed, carried by a heavy drumloop and a piano with Mike T mixing Scarface-quotes and terrifying screams like a true madman.
Compton’s Most Wanted are living legends, and my list of all-time favorites includes more than just one of their tracks, so this won’t be the last time you heard about Eiht’s crew on this blog.
Filed under: 1994, Rap, Reviews, Video, Volume 10 | Tags: Project Blowed, Volume 10
Volume 10 – Hip-Hopera
Year: 1994
“Hip Hopera”, released on RCA Records/Immortal records, is one of the most underrated albums from the west coast, period. I took notice of Volume 10 through his affiliation with Freestyle Fellowship (he was featured on the track “Heavyweights” on “Innercity Griots”), and “Pistol Grip Pump” was kind of a hit back then, so I bought the CD. Money well spent, my friends.
Volume 10 used to battle and freestyle at the “Project Blowed” open mic sessions where regulars included Aceyalone, Myka Nine, Jurassic 5, Abstract Rude and Ellay Khule (founders of the PB Collective), but also rappers like Kurupt.
The mixture of these names can be used as a hint to describe the versatility of Volume 10’s style: skill-laden writtens and freestyles (see Track 3 “A Real Freestyle), hardcore lyrical content with a gangster finish . You can’t put this album into just one category, there is too much going on here. “Pistol Grip Pump” for instance is an uptempo gangster rap tune, typical 90s west coast sound at its best pumping out the speakers. On the other hand, tracks like “Where’s the Sniper” or the tribute “Harderthanally’all” must be heard, or better yet felt – through change of voice and delivery Volume 10 creates an emotional, dark scenery of loss and pain (the only other rapper capable of doing so without sounding corny is Ghostface, can’t think of any others right now). But then, there’s always “Sunbeams” for a positive vibe, or the title track “Hip-Hopera” that makes any Rap-fans heart beat faster with joy, the rugged boom-bap-beat lets your head nod automatically while Volume 10 just goes wild and murders the track.
Nothing much left to say, get this album if you can, it is a goldmine of skills with tracks to keep bumpin’ all summer.
Pistol Grip Pump (one of Chuck D’s favorite tracks of that year as stated in an interview with german Hip Hop Show “Wordcup”):
Mobstyle – Game of Death
Year: 1992
This one is about as real as it gets. Mobstyle was formed by Azie (AZ) Faison, a real life drug dealer. As a matter of fact, the New York drug trade in the 80’s was practically run by him and his friends, Alpo Martinez and Rich Porter. Not to be confused with Brooklyn’s own AZ (who got his name from Faison), Azie is originally from Harlem. He left the drug game in 1987, after being shot 7 times, and formed Mobstyle in 1989 (I got these facts from the wikipedia entry, short but nevertheless an interesting read). So much for the history, if you want to know more, there’s an very interesting interview from FEDS magazine here. You could also go and watch the movie “Paid in Full” or the documentary “Game Over“, all based on the lives of Faison, Porter and Martinez.
The first Mobstyle Album, “The Good, the Bad and the Ugly” was released in 1991, this one, “Game of Death”, a year later. It delivers New York gangsta rap at its finest, mostly slow tunes with a threatening vibe. But don’t get me wrong, this is a very versatile album. You got a song “For the Honeys”, and there are some spoken-word “skits” (hard to call’em that, one is about 5 minutes long) with some real talk from AZ himself about drugs (“Crack the Mack”) and AIDS (“No Answer”) over deep soul loops. Beatwise, they even threw some electric guitars in the mix here and there (culminating in “Streetwise”, which makes me think of Ice T in his Body Count days).
Given the background and all, you know that these sad stories about life and death are authentic tales from the cold and dark streets of NY. My favorite tracks are “Rougher” and the first one, “Rollin Ten Deep”, the nine-minute intro track.
Mostly written and produced by AZ himself, this album gets constant rotation since I got it in the mid-90’s. Try to find a copy and read up on the background information to gain some insights into an era that influenced at least one of your favorite rappers, whoever that may be.
I don’t know about any videos from “Game of Death”, only one I could find was “Mob Style” from “The Good, the Bad and the Ugly”, have a look:
N.W.A – 100 Miles and Runnin’
Year: 1990
This 5-Track EP was released in 1990 on Ruthless Records. 5 Tracks? That’s all? Yes, it is, and guess what, the last track isn’t even a song, but a commercial for the groups follow-up album Efil4zaggin. So, just 4 tracks then, does this mean this is a let-down? Well, let me put it this way, to call this EP a let-down would be downright… what’s the word I’m lookin for? Blasphemous. Yes. Downright blasphemous. This EP carries some of the best N.W.A material ever released, with the title track ranking in my N.W.A Top 3 of all time.
If you don’t know that track (and you SHOULD know it), then stop reading now, scroll down to the video, skip forward to 1:20 and watch. The most action-packed rap video you have ever seen.
What else we got on here? “Just Don’t bite It”, you guessed it, is a little advice for the ladies what not to do.
“Sa Prize (Part 2)” picks up where “Fuck Tha Police” left off, minus Ice Cube, who had already left the group at that point (there are some hints on this record showing that the rest of N.W.A wasn’t exactly happy with that decision). Don’t be fooled by the title, this one is as controversial as the original, with the police gettin ambushed even before the track itself starts.
“Real Niggaz” is an aggressive tune; MC Ren lets you know you’re in for a rough ride when he kicks it off with “you should have covered your motherfuckin’ head like an ostrich… with your ass up high so I can kick the motherfucker”. Gold.
In a time where you buy an album containing 16 tracks and liking maybe three, four of them, I prefer a record like this one. 4 banger tracks out of 4 (commercials don’t count). Time to put my running shoes on now, I’ll leave you with a gem I stumbled upon on youtube, the Yo!MTV Raps Making of 100 Miles and Runnin’ (well, more of an introduction of the video given by the group), hosted by Fab 5 Freddy. The video itself starts at around 1:20, enjoy!
