Category Archives: hip-hop

DJ Z-Trip vs. Run Run Run: “Fade Into You”


I’ve sung the praises here before about DJ Z-Trip, who honed his skills in the Phoenix/Tempe scene and moved on to bigger and better things (Shifting Gears, anyone?) in Los Angeles. Unfortunately, I missed him roll through town this past Saturday, but this track is tiding me over for the time being.

This cut pretty much exemplifies what I admire most about Z (yeah, we’re on a first-initial basis): He mixes a cover of a Mazzy Star song by a group I’ve never heard of, thereby introducing me to a new band while concocting another stellar remix.

I’ve had the opportunity to interview Z a few times, and the one time that stands out most was when I visited a his “office” in Tempe. Basically, the place was wall to wall in records, organized by some insane filing system, like beats per minute, that was beyond my grasp. His willingness to experiment knows no bounds, and if you don’t believe me, you might try listening to some of his mixes. Uneasy Listening with DJ P comes highly recommended.

Z-Trip vs. Run Run Run | Fade Into You

Spank Rock “Sweet Talk” w/remixes


Taking a break from the radio rips (for a day … Elbow on KEXP to come, I promise), I’m introducing you – well, actually myself – to Spank Rock. Seriously, all I know about Spank Rock I learned from Dodge and Ben.

I do know this track Sweet Talk is the hotness. It’s funk, it’s hip-hop, it’s club, it’s bass, it’s beats. If I could dance, I would. Plus, that stuttering guitar line reminds me of something James Brown’s JBs might have whipped up back in the day.

I particularly enjoy the Xxxchange Re-Edit … again, more funky guitar lines, horns and hand claps. I do love hand claps oh-so much. And this is what I love the most: A genre of music I normally might not dig (electronic/club/dance) pulls me in with elements of hip-hop and funk. How do you say no to that?

Pick up Spank Rock’s YoYoYoYoYo (that’s five of ’em if you’re scoring at home) at Big Dada.

Spank Rock | Sweet Talk
Spank Rock | Sweet Talk (Kalbata Remix)
Spank Rock | Sweet Talk (Xxxchange Re-Edit, f. Anthony Barba)

New Swollen Members

Madchild and Prevail
So, we’re doing a 180 from the Neko Case posts, at least in terms of style. We’re going north, to Canada. To Vancouver. That’s the home of Swollen Members, who, aside from having a name that would send Beavis and Butt-head into a laughing conniption, are ready to drop their fifth LP, Black Magic, this summer. (“Uhhhh, you said ‘members,’ huh-huh, huh-huh.”)

At their core, Swollen Members are Madchild and Prevail, but the group extends to the extended Battle Axe Records family: Rob the Viking (producer/DJ) and Moka Only. And they’ve collaborated with some of the best: Hieroglyphics, Chali 2na, Dilated Peoples, DJ Babu.

Madchild and Prevail are the bad boys of hip-hop – they drink, smoke, crowd surf and probably would steal your girlfriend if you’re not careful. They’re the guys your mom warned you about. You’d hate ’em if they didn’t rock it so hard.

Their raps can be haunting and cerebral (watch ’em get all Dungeons & Dragons on ya) or just straight-up party jams. From what I understand, they put on legendary live shows. Just check out their pics on MySpace.

Swollen Members | Black Magic
Swollen Members | Too Hot

From Monsters in the Closet … this is the jam:
Swollen Members | Steppin Thru

The Streets: “Don’t Mug Yourself” remixes

So, you all know The Streets (aka Mike Skinner) has a new album, The Hardest Way to Make an Easy Living, due out for release in the coming weeks; clearly, I’m not in the business of breaking news here.
Anyway, I’m going back to his first LP, Original Pirate Material, for this post. On a recent record-shopping excursion, I plucked a 12″ single for Don’t Mug Yourself that includes the instrumental, acapella and three remixes. Hey, when you’re good, you’re good.


Two of the remixes (the Big$hot and Jammer mixes) are pretty much instrumental reworkings that have more of a dance club feel, thought I sort of like the Jammer mix. The Fusion Remix maintains the lyrical content with a bit of a slower-paced beat.

The Streets | Don’t Mug Yourself (Fusion Remix)
The Streets | Don’t Mug Yourself (Big$hot Remix)
The Streets | Don’t Mug Yourself (Jammer Remix)

Q&A with Doodlebug of Digable Planets


OK, so I’ve had this one in the bag for a while, and I’ve been really excited to post it. After I posted on the Procussions (who opened for Digable Planets last year), I was contacted about an opportunity to interview Doodlebug (aka Cee Knowledge), one-third of the fantastic Digable Planets. Yeah, like I was going to say no to that.

The DPs, as many of you know, reunited last year after 10 years apart. I’m excited about the potential that Doodle, Butterfly and Ladybug can recapture. Even if it feels a bit nostalgic, there’s still a market eager for what the DPs offered in their heyday.

For me, any conversation of hip-hop includes Digable, who blended the cool-cat vibes of jazz with laid-back beats to create a chilled vibe. It’s almost surreal that they reformed, but hip-hop is better for it:

How’s the touring?
“It’s good. … We’ve been touring all of 2005 up until the end of January. Now we’re gonna take a break. I’m gonna start working on a solo project. … I have a new mixtape out called the Cosmic Funk Essentials. Around April we’ll start working to record a new Digable Planets album.”

(mp3) Cee Knowledge (with Giant) | Jazz Is

What kinda people are you seeing at shows?
“I’m seeing a lot of young cats, so they obviously couldn’t have been big fans when we were first out … they’d have been too young. After shows, I’m talking to people that say they’ve been down with us for so long and they went to shows. There’s also cats that are in college that heard about us and liked our music and never had a chance to see us perform and they were excited because they never thought they’d have a chance to see us perform. … I think it’s a mixture of old and new.”

What’s the response been like?
“Yeah, it’s real great. After such a long break, for them to have all those people come out and show support with no new record out … that was awesome, man.”

What sort of response where you expecting?
“I really didn’t know what to expect. You always hope for the best, but I didn’t know what to expect. It’s a blessing that after all this time, we’re still … in some people’s minds. They wanted to come out and pay their hard-earned money to see us.”

What can we expect on a new album?
“I really don’t know … it’s gonna be 10 years’ experience traveling the world, meeting new people. I think we all grew as artists, as producers, as people and producers. That growth should be shown on a new album.”

What led to you guys splitting apart?
“There’s a lot of different things. It would take too long to go into them all. I’m not trying to air no dirty laundry. It boiled down to us being young, rebellious and not really understanding the business. Our record label was starting to fall apart around the time we broke up. Our management company wasn’t together right. A lot of things that were going on, plus personal issues that kinda put us in a corner. … We got into this for fun. And when it stopped being fun, we decided to walk away. ”

Was there regret?
“Most definitely. I can only speak for myself … I didn’t think it was a good idea. But it was the best thing to do at the time. After a couple of years I definitely regretted it, and I stayed in touch with the other two. I did some solo stuff and Ladybug would come in and help me out on some things. Butterfly came in on a show I did in Philadelphia.

“But it took awhile for everybody to get over whatever the issues we had to get over. Finally we were mature enough to talk about those issues. I had an opportunity to do a tour in Europe last February and I thought it might be a good chance to get everyone back together again. And if it didn’t’ work out and if everyone wasn’t feeling it anymore, it would have just been a nostalgia thing, it woulda been over. Halfway through the tour everybody was coming up to me telling me how much they loved it and how they wanted to keep it movin’.”

Was it ever a thought before the tour that you should get back together?
“We had some legal issues that we had to handle that we all had to come together again for. … But that didn’t really need us to be in the same city again. A couple of months after that, I kept in Ladybug’s ear and Butterfly’s ear. Eventually, we got to a point where we sat down and decided after a couple of talks on the phone to sit down in September 2004. We had a meeting for a couple of hours, and at end of the meeting, we decided, let’s try it.

“We hired a booking agent. We were booked up for an entire year. It was amazing that people actually wanted to book us. It was exciting, it was a real exciting time, man.”

What was it like the first time back on stage?
“The first time was kinda nerve-racking a little bit. I wasn’t sure what to expect, I didn’t know what to do. It had been 10 years or more since we were on the stage together. But at the same time, we were all professionals. Individually, we maintained a stage presence doing our solo projects. I was nervous all the way up to the time we hit the stage, but once we hit the stage all the nervousness died away. We just flowed. The first show (in Vienna) was hot. It was real hot. It was real tight.”

What do you think has changed from time you split up to now?
“The music, the artists, the culture that surrounds the artists and the recording. That hasn’t really changed. But the way they market and way record labels are involved, their level of involvement is a lot different than 10 to 12 years ago. They’re willing to put up bigger budgets. Marketing campaigns are outrageous. People are getting a lot more money than back when we were doing it. … The focus in terms of market has changed. The mainstream market is really more focused on the pop, that gangsta rap. It’s different. We’re a little older. I think there’s a market for everything. Going out and doing these shows has really proved it to me. With no record out and not too much publicicty, these shows are packed, people were out there and they were interested. They knew the songs and they would sing along with us. These are songs out in ’94, ’95. So I’m like, ‘Damn!’ There’s definitely still a market for this.”

It shows people are starving for good hip-hop.
“There’s still good music. It’s just that the mainstream doesn’t always seem to focus on the good stuff. Underground has held down a lot of great artists. They just might not have right outlet or right situation that it takes to get there. It’s also a lot of luck.”

Are you nervous that you’ve lost a portion of your fan base?
“It’s probably gonna show in terms of record sales. That’s where there the pressure is more on us. It’s pressure because you have to find a label that’s willing to do it. But as long as you do your thing and be yourself … at the time we did our first album, nobody thought we would have commercial success. Everybody looked at us as group that would be college radio group. A&R signed us took a chance with us. All meetings were concentrated on college marketing. Then the single (Rebirth of Slick (Cool Like Dat) ) came out and it somehow hit a nerve with the fan base. And it went way past their expectations. I don’t think they were even ready for what came with that song.

“As long as you stay true to yourself as an artist and a person and do your thing and do the best you can do, you never know. There’s no guarantee people are going to like you, as long as we do our best I’m happy with that. … I know there’s a fan base that’s going to follow us and grow with us.

“We’re gonna grow. We’re not gonna be the same. There’s gonna be a fan base that’s gonna want to hear to hear another Cool Like Dat. But that might not be something that’s going to come out of us. I don’t know what’s going to come out of us. But whatever it is, it’s going to be real, it’s going to be natural and it’s going to be fly.

You’ve got so many people caught up in nostalgia. There’s got to be a fine line, catering to fans that were with you back in the day but also moving forward.
“Yeah, that is true. The position we’ve been put in, it’s been so long, people didn’t even think we were gonna come back. And now they’ve solidified their ideas of what we’re supposed to sound like. ‘Cause all they had to listen to was the first two albums. They weren’t with us when we grew as individuals when we were apart for those 10 years. So the dynamic of all three of us together, it’s going to be different for all of us … us and our fan base.

“Hopefully it’ll work out. I’m confident that it will, just from energy of the live shows. That was the key to whether or not we were going to be able to do this. After 10 years, you have to regain that vibe and that trust as performers. And on stage, I think we reclaimed that.”

Ghostface Killa

As Chris mentioned Kevin is rockin’ in the City of Angels, so Mr. ‘I swear I’ll post’ is going to step up for a couple of days.

Last night went and checked out the monstrous Ghostface Killah at a local joint, small and intimate enough for Shoalin’s finest to melt my face off.

This will not be an in depth Kevinesque concert review (no playlist), but after settling down and yelling at the ‘Lightman,’ Ghostface launched into a verbal onslaught of tracks from his old records, new release and Wu-Tang classics.

He asked, and surprisingly got from the raucous crowd, ten seconds of silence for O.D.B aka Big Baby Jesus aka etc etc. Then launched into O.D.B’s hit ‘Shimmy Shimm,’ where the crowd screeched out the lyrics.

Overall, a great show, at least until he invited all the ladies on stage for a dance party, reminding of MTV’s great wonder of avant garde The Grind.

Here’s a smattering of solid Ghostface:

Ghostface Killah | The Champ | From the new Fishscale

Ghostface & MF Doom | Iron Maiden | From Operation Ironman

Prefuse 73 Feat. Ghostface And EL-P | Hide Ya Face | From Surrounded By Silence

Bed Rock

Kevin is in L.A. right now (bastard), and since he took care of gorilla vs. bear while I was at SXSW, I thought I’d return the favor and come post at his crib. Even though he didn’t ask me to.

One of my favorite hip hop records of the late ’90’s was Camp Lo’s Uptown Saturday Night. Sonny Cheeba and Geechie Suede took us back to the ’70’s Blaxploitation era, both lyrically and stylistically, and as far as 21 year-old me was concerned, it was the perfect party record.

Camp Lo sort of disappeared after that, but here’s a new track from the duo. While not on par with the material on Uptown…, “Bed Rock” is a straight up sex jam, peppered with Camp Lo’s trademark slang.

It was nice knowing you guys…Kevin probably won’t invite me back after this one:

Camp Lo Bed Rock mp3

The Coup “Pick a Bigger Weapon”


Over the weekend, I received what might be the first Important Hip-Hop Album of 2006: The Coup’s Pick a Bigger Weapon (due out April 25 on Epitaph Records). By “important” I don’t mean good (although Pick a Bigger Weapon definitely is that). It’s important in terms of its message.

I hate to get righteous, but Boots Riley is a voice that needs to be heard. Hip-hop is missing the value of activism that made Public Enemy and KRS-One so vital and relevant. Boots Riley is the natural successor.

Pick a Bigger Weapon calls Bush to task (more than once), especially on Head (of State), in which Boots pictures Bush and Hussein as political (and, well, sexual) bedfellows: “War ain’t about one land against the next / it’s po’ people dyin’ so the rich cash checks.” There’s no reason Boots’ lyrical sedition shouldn’t incite the same fervor as Kanye West calling out Bush on national TV.

Guest spots on the album include Tom Morello (Rage Against the Machine), Jello Biafra (Dead Kennedys) and Black Thought and Talib Kweli (on My Favorite Mutiny).

Peep the Coup on MySpace.

The Coup | My Favorite Mutiny

New AWOL One

Today is special. Why? Because I have new AWOL One to share from his forthcoming The War of Art (great title). Really, I was going to try to hold off on this until next week. But, damn, it’s pretty dope (do the kids still say that?).

You know AWOL is part of one of the hottest LA crews around, right? That’s the Shape Shifters, an eight-man collective of emcees, graf writers and all-around innovative guys. Their album The Shape Shifters Was Here (buy here) was a highly overlooked album in 2005.

AWOL’s got one of the more distinctive vocal stylings out there: His cool, raspy tone calls to mind Lyrics Born of Latyrx. It’s a little more understated – kind of conversational until you realize … oh, snap: He’s rippin’ it! His delivery isn’t very breathy either, one of my pet peeves (see also, Kanye).

For anyone headed to SXSW next week, you can peep AWOL on Thursday at Flamingo Cantina. Get more information here.

Still not convinced? KRS-One makes a guest spot on a track. … Yeah, that’s what I thought. The War of Art drops April 11; use your tax refund check on some good music.

AWOL One | Casting Call (highly recommended; such a great beat)
AWOL One (feat. 2Mex and KRS-One) | Underground Killz

BONUS:
The Shape Shifters | Circuit City
(Yeah, that’s Eddy Grant’s Electric Avenue on the sample.)

Sunday Grab Bag: Jeru “Ya Playin’ Yaself”


My boy K over at Analog Giant gave me a little shite last week for lackin’ in the hip-hop department. So I’m comin’ correct today with one of my favorite 12″ singles from the vinyl department: Jeru the Damaja’s Ya Playin’ Yaself.

For anyone tired of the commercialism and self-congratulatory path some rap has taken, this is your anthem. Jeru calls out the material and superficial traps of the game:

“Knowledge, wisdom, understanding /
like King Solomon’s wealth /
You’re a playa but only because you be playin’ yaself”

For me, this song (1996) was bold because Jeru takes a stand and draws a line in the sand about … well … keepin’ it real.

Jeru the Damaja | Ya Playin’ Yaself
Jeru the Damaja | Ya Playin’ Yaself (acapella)

(Ripped from 12″ single, Payday Records, 1996 … even better, it still has the $4.99 price tag from Fat Beats on it, which means I bought it on my first and only trip to NYC when I was in college.)