Category Archives: hip-hop

Sunday Grab Bag with new E-40

I haven’t made a habit of posting on the weekends, but I decided that various odds and ends warranted a day of miscellany, overlooked items or unsolicited submissions. It’s a good way for me to catch up, and maybe give the readers some breezy weekend material.

The first installment of the Grab Bag starts with the new E-40. I’ll be honest: I’m more of a “backpack rap” (ugh) kinda guy. Gimme some Hiero, some De La, some Digable and I’m a happy dude.

Seems the backpack vs. street rap debate has been heating up, with Pitchfork contributor Tom Breihan staunchly defending placement of certain artists (Beanie Sigel, Young Jeezy, etc.) on P-Fork’s year-end Top 50 list. Breihan calls the indie-rock backlash against mainstream rap “more than troubling, it’s shameful.” He makes a valid point – that “indie-rock supposedly prides itself on open-mindedness and liberalism and independent thought” – though I resent him calling De La Soul “granola-munchers.”

I’m not one for arguing this point, as my grasp on the latest surge in street/mainstream rap is limited. But for some crossfire, listen to Oliver Wang’s excellent commentary on NPR: “Has Hip-Hop Lost Touch With Reality?” In it, Wang states, “As hip-hop gained popularity and power it’s become more enraptured with its self-created worlds and less engaged with the actual world around it.”

To that end, I will say that seeing these videos and MTV’s Cribs, who can relate to this stuff? Breihan argues that there is no discussion of the rap itself, as an art; it’s more “outright dismissal.” But the image some rappers put forth is a turn-off. There’s nothing in the lyrics that strike me personally, and that’s what part of the listening experience is about. (Did I say I wouldn’t argue the point?)

So, with all that as a backdrop, I present Tell Me When to Go, the new track from E-40, who might well fall under that “street rap” category. The song has a cool beat and catchy chorus (loop copped from Run-DMC’s Dumb Girl).

E-40 | Tell Me When to Go

Michael Franti and Spearhead

I was excited to browse local concert listings and see Michael Franti and Spearhead are due for a Feb. 3 date in Tempe. Sadly, I fell out of love with Spearhead when I (probably immaturely) wrote off their second LP, Chocolate Supa Highway. Their debut, Home, was so stunning – in its musical breadth and social commentary – that Chocolate left me a little flat; although, looking back, I can’t quite recall why.

What I do remember is seeing Spearhead in concert for the first time, opening for the Digable Planets in 1995. Coming to that show, I couldn’t have imagined anyone squashing my enthusiasm for seeing Digable, but, quite honestly, Spearhead proved to be (pardon the cliche) a tough act to follow.

Peep the one-time local DJ in fine print.
Whatever the case, Franti (formerly of Beatnigs and Disposable Heroes of Hiphoprisy) is an important voice in hip-hop – and music, in general. When there seems to be a lot of mindless lyrics out there, Franti always seems to have something to say.

Spearhead | Hole in the Bucket (live)
Spearhead | People in Da Middle (the Angel Re-Mix)
Michael Franti | Positive

(taken from Disposable Heroes 12″ of Famous and Dandy / Charlie Hunter on bass, guitar, harmonica; Rono Tse on percussion)

“Does rivalry rewire the rapping web?”: 2.9 Degrees of Snoop Dogg


The last place I’d expect to find a music article would be Nature, a weekly science journal. But that’s exactly where my best friend John, a grad student at UCLA, pointed out a story to me about the social networks of rappers.

In short, Reginald Smith of the Sloan School of Management at MIT “mapped out the network of the rapping community by processing data from online rap and hip-hop archives.” From a collection of 6,552 rappers and over 30,000 songs, Smith discovered that rappers – because of their collaborative nature – are separated by 2.9 degrees of separation. “In this respect, rap exhibits the same spirit as early jazz, where musicians had on average less than two degrees of separation,” the story states.

Also worth noting is that well-to-do rappers tend not to associate or collaborate with those similar to themselves, a trend unlike other human networks. “Smith suggests that this might be partly due to commercial competition between successful artists, who are reluctant to lend their cachet to a rival.”

Smith’s study is filled with frightening equations and algorithms that my pea brain just can’t grasp. But in layman’s terms, Snoop Dogg (natch) claims the crown as most-connected rapper.

Whatever the case, I think we’re on to a new Six Degrees of Kevin Bacon game here: 2.9 Degrees of Snoop Dogg. In the spirit of this article, I’m going to toss out quite the appropriate song – Leaders of the New School: Spontaneous (13 MCs Deep!).

How many degrees will it take to connect to Snoop? It’s helpful to know that the most recognizable emcee on this track is Busta Rhymes. (Get the rest here.) … Game on!

Leaders of the New School | Spontaneous (13 MCs Deep!)

Flashback Friday: The Nonce

It’s been a few weeks since I’ve done a flashback, and this one is special. The Nonce was probably one of the most criminally overlooked hip-hop acts of the ’90s. For proof, check out All Music’s two-sentence bio on the LA-based duo that also lists the genre as rock.

Plus, there’s a scarcity of information about The Nonce on the net. The Broke BBoys had a nice post about ’em in January, including the hazy details of member Yusef Afloat’s death in May 2000.

The Nonce opened for the Roots in Phoenix in 1995.
I ate up everything The Nonce put out; sadly their only full-length was World Ultimate, on Rick Rubin’s American Recordings label. Comparisons to A Tribe Called Quest and Digable Planets aren’t entirely off, but not totally accurate either. I think The Nonce’s style was a little more streetwise, evidenced in the single Mix Tapes, about sellin’ mixes on the street corner. That song has one of the deepest, dopest basslines … and that chorus: “I used to sell mix tapes, but now I’m an emcee / I got the rhymes and beats / I used to rock them tapes.”

Found this promo single in Tucson; trust me, I’m not an “A-list DJ.”
The Nonce | Mix Tapes
The Nonce | Bus Stops
The Nonce | Mix Tapes (1926 Sunday Night Remix)
(From Mix Tapes The Remixes blue vinyl 12″)
The Nonce | Turnin’ It Out

Aceyalone: new track

It seemed to be almost a unanimous verdict around the blogosphere that 2005 was a down year for hip-hop, with the exception of a few standouts: Blackalicious The Craft; Atmosphere You Can’t Imagine …; Danger Doom; Cyne Evolution Fight (which I’ve only heard is great).Ah, but 2006 is poised to start off strong. Aceyalone’s Magnificent City – produced entirely by none other than RJD2 – is supposed to drop Feb. 7. I’m anticipating beautiful work between these two. These supergroup emcee/producer tag teams seem to be all the rage (see also, Danger Doom).

I already dig the first Acey track getting around, Fire, which has a decidedly soulful, 70s-style backdrop.

Aceyalone | Fire

BONUS BEATS
Aceyalone | Headaches and Woes (remix)
(b-side from 1995’s Mic Check 12″ single)

DJ Z-Trip in Ariz. tonight

I’m long overdue to post on DJ Z-Trip. Yeah, he lives in Los Angeles now, but he cut his teeth in Tempe/Phoenix, and we still consider him one of ours. He’s playing Hollywood Alley in Mesa tonight (I’ll be at work … woe is I) with Connie Price & the Keystones.

I don’t need to tell you what’s going on with Z-Trip now: He released his major-label debut Shifting Gears this year and he’s been touring like a madman. In my mind, he was the forefront of the “mashup” trend; his underground classic with DJ P that never was released, Uneasy Listening, Vol. I, is the benchmark of mashups. (Read a Q&A I did with him earlier this year.)

I was lucky enough to be going to Arizona State while Z was playing weekly gigs in town with his Bombshelter DJs crew: Emile and DJ Radar. These sets were — if I may — off the hook. They did solo sets, dual sets or just went nuts with the 3×6. There was dancing, b-boys, drinks, freestyles. Thems were good times, I tell ya.

In all honesty, Z-Trip is one of my favorite artists — and I use that word in the truest sense. He has a keen ability to bridge genres and fans. Where Radar was the technical wizard on the turntables, Z really brought out the best in the party and the vibe; he’s probably one of the most well-rounded deejays out there.

Being a packrat, I saved a lot of the flyers and such from those days. I scanned ’em in for your viewing pleasure.

Z-Trip | Rockstar

Artwork by Jim Mahfood.


Artwork by Jim Mahfood.

A hip-hop x-mas / I&W/Calexico cover art

We hung Christmas lights on the homestead Wednesday night, and it’s starting to feel like the holidays. Hell, the weather is so chilly in Arizona I’m breaking out a sweatshirt!

Before I get to the Christmas tunes, loyal reader Katharine designed a CD cover for the Iron and Wine / Calexico set I posted from a few days ago. So if you burned a CD or just wanna drop it into your iTunes library, check it out here. It’s really cool. Thank you, Katharine!

Well, I’ve seen lots of Christmas tunes, but not too many on the hip-hop tip. Thought I’d rectify that with this post. So maybe the De La Soul track isn’t a typical cheery holiday tune, but it’s got a Christmas theme. And it’s a remix from a cassette single (cassingle?). We all are suckers for remixes. Cheers and happy holidays.


Run-DMC | Christmas in Hollis
Kurtis Blow | Christmas Rappin’ (from 45 vinyl single)
De La Soul | Millie Pulled a Pistol on Santa
De La Soul | Millie Pulled a Pistol on Santa (full mix)

Atmosphere


With the exception of a couple of blogs, I didn’t see too much about the recent release of Atmosphere’s You Can’t Imagine How Much Fun We’re Having.

I just jumped into it yesterday, and I’m starting to feel it. I may have to take back my statement that Blackalicious’ The Craft is the lone standout hip-hop album of the year. I always feel like I have to be in a certain mood to listen to Slug, but I think the guy is a talent sorely needed in the genre. (Despite what Pitchfork says; by the way, I’m giving Pitchfork a 0.4 for that really lame play-on words to open the review.)

Be sure to check the track That Night, which recounts the story of a 16-year-old girl who was raped and killed at an Atmosphere show in Albuquerque. Read a news story about the incident here.

Atmosphere | Get Fly
Atmosphere | That Night

A Friday for The Pharcyde

I’ve been reminicising about The Pharcyde of late now that ex-member Fatlip is releasing his very long-awaited solo LP.

I hate to sound bitter or resistant to change, but I haven’t been excited about The Pharcyde since the group dwindled to two members. And Fatlip’s disc doesn’t rank high on my to-buy list. I’m just not sure if I can take a whole album of Fatlip solo; kinda like when Phife did his own thing after A Tribe Called Quest broke up.

Anyway, it got me digging into the vinyl stacks. So I pulled out some special B-side goodies for ya. (And the new XP-202 arrived in the mail Thursday, which should improve my vinyl conversions.)

The Pharcyde | Passin’ Me By (Fly as Pie remix)
The Pharcyde | Ya Mama (remix)
The Pharcyde | Otha Fish (L.A. Jay Remix )

Samples: Organized Konfusion/Charles Mingus

My last post on sample usage seemed to create some buzz, and my web stats tell me that people were searching for the original track used in Kanye’s Gold Digger. Today’s before and after sample usage comes courtesy of Organized Konfusion’s massively underrated album, Stress: The Extinction Agenda.

The title track Stress takes a fairly high-pitched horn loop from Charles Mingus’ Mingus Fingus No. 2. The loop is the centerpiece of the chorus: “Crush, kill, destroy stress.” Man, this album HAS to be one of the best of the ’90s. If you slept, you need to rewind and pick this up.

My knowledge of Mingus, a bassist, is limited, although I own two CDs, including Mingus Ah Um, which is name-dropped in the Digable Planets song Pacifics: “Checkin’ out some Fromme, some Sartre, Camus/ Mingus’ Ah Um / damn Roach can drum.” Read up on Mingus here.


I think one of the best things about the ’90s era of hip-hop was the sampling of jazz greats. I religiously read liner notes, and it always piqued my curiosity to see who some of my favorite artists were sampling. It inspired me to dig into the music that was inspiring them.

Organized Konfusion | Stress
Charles Mingus | Mingus Fingus No. 2