Nas may have told us recently that "Hip Hop is Dead", and this wouldn't be the first time in its life the rap game has gone through an identity crisis. And it won't be the last for sure. Over the 30 years of Hip Hop on wax, there have always been times when trends have been followed, and the music has taken a new turn. Sometimes its listeners were all for the change, sometimes not. But Hip Hop is always evolving and just when you think the music becomes played out and has reached it's lowest ebb, a phoenix will rise from the flames. Rap started out on wax influenced mostly by Disco, quickly followed by electro beats, the ROLAND 808/909 era, and phases such as the stupid fresh days, james brown samples, afrocentric rhymes, jazzy beats, blunted beats, the indie years, backpack raps, etc. the list goes on. In fact you could say Hip Hop is an innovator of many styles, often leaving behind its musical legacy, and taking on a new form no longer understood by the masses. By doing this it becomes revived and fresh once more! Unfortunately at the moment the industry beats and rhymes are as far from true Hip Hop as they could be....but never say die! Hip Hop will be reborn. Just as before.
Here's an appropriate joint to help us keep the faith!
HAKEEM X - "Hip Hop Reborn" (1990 Freetown) Hakeem X was born J.A. Benton in NYC in 1971, and at an early age has a successful modelling career as well as appearing in two TV adverts with legendary comedian Bill Cosby. At age 10 he wrote his first rhymes, and by the age of 14 producing demos with Dr Freeze and DJ Ross. "Hip Hop Reborn" was mixed by Rod Hui and Eric "Vietnam" Sadler of Public Enemy fame.
Yeah I know this page is aimed at record heads and beat diggers...but we here at the DAILY DIGGERS HQ also have one other vice that cripples our financial stability - buying box fresh kicks!! So for a change we thought we would share with you a pair of the dopest kicks that got us drooling right now, and a pair that have a vintage Hip Hop connection . Namely the newly released NIKE AIR FORCE 1 SAFARI. These are a "must cop" shoe....I'm sure you know what I mean. These dope new AF1s are based on the original NIKE SAFARI from the late 80's which appeared in a funky orange, black and brown cement colourway. Any Hip Hopper who knows his BDP from his EPMD, and his COOL C from his COOL V will tell you that the Diabolical BIZ MARKIE first brought NIKE SAFARI's to our attention back in '88, when he sported a fresh pair on the back of his classic "Goin' Off" LP (see photos above right and below) together with a brown velour NIKE tracksuit. I remember I NEEDED those shoes. Although I have to add it's a shame about COOL V's Le Coq Sportifs on the same cover!! Now back then in the eighties it was nearly impossible to find these sneakers either in the US or UK, and I remember many sports shops telling me that there was "no such trainer made by NIKE" AGGGH!!! .....so the SAFARI became a holy grail for sneaker pimps. Luckily for us they we re-issued a few years back by the wonderful people in Beaverton and we grabbed a few pairs as soon as they hit the shelves, as I'm sure did many other collectors. Now NIKE have blessed us with the AF1 SAFARI special edition - and although I normally couldn't give a damn about the so-called Limited Edition AF1s that NIKE drench the market with over the last few years (most of them have been, well, to put it bluntly f#cking awful). But these SAFARIs look fresh in the box, fresh out the box, and even fresher on ya feet & on the street. And without a ridiculous £100 ($200) price tag too. My only slight gripe is that the brown cement has changed to more of a greyish colour. Oh well. Now my only dilemma is whether to rock 'em or put these babies on ice? Mmmm...
It's about that time for another BREAKS FOR DAYS podcast, and tonight we have just over an hour of beats to start your weekend off with pep! The BEAT DETECTIVE and myself are firstly gonna drop some early 90's Hip Hop action - some joints you may know and some you may not. But 100% funky shiznit all the way including SHOWBIZ & AG, HEAVY D, ERIC B & RAKIM, TO DA CORE, JUSTICE SYSTEM, INTELLIGENT HOODLUM and more. And then in the second half hour a few crispy reckuds from the depths of the archives including LABI SIFFRE, RARE EARTH, KID DYNAMITE, RUFUS THOMAS, THE NEW APOCALYPSE and some more obscure breaks. This is open crate surgery YO!
Track list: skit SHOW & AG - Giant In The Mental ERIC B & RAKIM - Save The Children HEAVY D & THE BOYS - You Can't See What I Can See JUSTICE SYSTEM - Dedication to Bambaataa (DIAMOND D mix) MOE CRAZY ft TONY TONE & CHI ALI - Knock 'Em Out Da Frame INTELLIGENT HOODLUM - Shalom-a-Leck JOMANDA instrumental KMD - A Constipated Monkey INSTRUMENTAL CHIEF GROOVY LOO & THE CHOSEN TRIBE - I Love New York MISFITS OF MADNESS - Peace The Hell Out TO DA CORE - We Got It Goin' On MC CLASS - Hope You're Listening KOOL & THE GANG - Summer Madness LABI SIFFRE - I Got Ta GALT MACDERMOT - Rhinoceros Theme Version A THE SONS - You Can Fly RARE EARTH - I Couldn't Believe What Happened Last Night J. SCOTT - Drama Heights RUFUS THOMAS - Itch & Scratch skit AFRICAN MUSIC MACHINE - Mr Brown THE NEW APOCALYPSE - Stainless Soul KID DYNAMITE - Uphill Peace Of Mind S. CROMBIE - The Build Up
Despite being one of the most heavily sampled records in hip hop, the track "Nautilus" by BOB JAMES is a monster of a tune which I never tire of hearing, even today. The track was originally released in 1974 on his "ONE" LP on Creed Taylor Inc Records, but hey I guess you already have a copy of it in your racks, as do most of the crate-diggers I know. By no means is this a rare or hard to find record - but you would be hard pushed to buy a break quite as influential in hip hop and as beautiful to listen to. BOB JAMES was born in 1939 in Marshall, Missouri - a small farm town with little or no musical activity. His mother, though not musically inclined herself, insisted on her son receiving musical tuition claiming she could see an early talent in him. He started playing piano at 4 years old, and once said he knew early on that he would become a musician, although he did not develop his love for Jazz until the end of High School. He attended University of Michigan where he received a Masters Degree in Musical Composition. During these years he also formed a trio whose first appearance at the Notre Dame Jazz Festival in 1962 caught the eye of a certain Quincy Jones. In 1974 on creating "NAUTILUS", JAMES said "Titles usually come to me after the piece is written. We were working on a theme, using again the layer process whereby several tracks are superimposed on the basic rhythm track. I started using a particular stop on the Yamaha organ which sounded very good., like some underwater effect. Creed (Taylor) thought it might suggest a cavern, with stalactites etc., but I felt it was more like a submarine journey." Hence the title "NAUTILUS".
NAUTILUS, at a shade over 5 minutes long, definitely takes you (the listener) on a trip through JAMES' musical imagination. Beginning with some mystical vibes, then building the mood with melodic and even melancholic keys blending with the subtle yet shuffling drums (courtesy of Idris Muhammed). Occasionally driving strings punctuate the groove and make way for hints of alto flute - oh it's so beautiful! And we haven't even got to the break part yet!
Here is a soundclip of NAUTILUS by BOB JAMES (CTI 1974)
...and below are just a few of the Hip Hop records that used a NAUTILUS sample to great effect. There's plenty more out there, these are just the a few of the dope ones... My Mic Is on Fire by Lord Shafiq (1987) Beats to the Rhyme by Run-D.M.C. (1988) Snitches by Geto Boys (1988) Follow the Leader by Eric B. & Rakim (1988) Ced-Gee (Delta Force one) (Remix) by Ultramagnetic MC's (1988) Children's Story by Slick Rick (1988) Jazzy's Groove by DJ Jazzy Jeff & the Fresh Prince (1989) Doper Than Dope by Salt 'n' Pepa (1989) Everybody Knows Me by K-Solo (1990) Voyage Through the Multiverse by Dream Warriors (1990) Brothers on My Jock by EPMD (1990) You Can't Swing This by Lyrical Prophecy (1990) Let the Rhythm Hit 'Em by Eric B. & Rakim (1990) Anti-Nigger Machine by Public Enemy (1990) Groove to the Sound by Run-D.M.C. (1990) Show Me A Hero by Leaders of the New School (1991) Live at the Barbecue by Main Source (1991) Low Down Nigga by Tim Dog (1991) I'll Wax Anybody by Tim Dog (1991) Bronx Nigga by Tim Dog (1991) Moe Love on the One & Two by Ultramagnetic MC's (1992) Raise It Up by Ultramagnetic MC's (1993) Black Vagina Finda by Onyx (1993) Throw ya Gunz by Onyx (1993) Bust One Fa Me by Threat (1993) Book of Rhyme Pages by Jungle Brothers (1993) What's Next on the Menu? by Pete Rock & CL Smooth (1993) Clap Your Hands by A Tribe Called Quest (1993) The Rhyme by Keith Murray (1994) No Delayin' by Nice & Smooth (1994) My Mind Spray by Jeru the Damaja (1994) Stray Bullet by Organized Konfusion (1994) Sun Won't Come Out by Pete Rock & CL Smooth (1994) Take You There by Pete Rock & CL Smooth (1994) Inna Citi Life by Group Home (1995) Paper Chase by Poison Clan (1995) Daaam! by Tha Alkaholiks (1995) The Rap World by Large Professor (1996) Black Nostaljack by Camp Lo (1997) $cene by Mike Zoot (1998) Correct Technique by Basement Khemist (1998) Double Trouble by The Roots (1999) Torture Chamber by Tame One (1999) Daytona 500 by Ghostface Killah
phew! and then some. Let's look in-depth at some of the less obvious records also using Nautilus....
FOUNDATION*7 - "Compredator" (Ruff Kutt 1992) "WARNING!" In this instance, the name of the label says it all - this track IS a rough cut! It took me ages to get hold of a nice condition copy for a sensible price, but this I think is the one of the best uses of Nautilus samples to date. Here F*7 flip up a different loop to that normally used by Hip Hop artists, and later in the track it changes to a different portion of Bob James's classic. Many people compare the MC's mic style here with the legendary GOD Rakim...and I'm sure you will see why. And if you love Rakim, then I reckon you will dig this track too as it uses a few RAKIM hooks here and there. DOPE SHEEEET from 1992!
KING SUN - "Big Shots" (Profile 1991) KING SUN was one of the most constantly under-rated MC's if you ask me, and has dropped some quality releases on various labels over the years. From "Sippin' Brandy" to "Hum Deez Nuts" he has laced us with some classics. Here is a KING SHAMEEK produced track using NAUTILUS, but in this instance I prefer the BIG SHOTS REMIX on the flipside which uses another BOB JAMES sample, namely "Take Me to The Mardi Gras" from his "TWO" LP on CTI. But the album version neatly incorporates Nautilus whilst SUN preaches about an ex-con released after a 10-year stretch, and his efforts to make it back into a big shot living the high life. This track is featured on his "Righteous but Ruthless" LP.
POOR RIGHTEOUS TEACHERS - "Word is Bond" (Profile 1990) Another dope record on the PROFILE label, this time produced by Tony D and North Side Productions. PRT are Wise Intelligence, Culture Freedom, and Father Shahee and are highly rated by Hip Hop fans as a crew to check. All of there albums have some dope material and let's face it they had a style of their very own! So it wouldn't be right if the trio didn't rock this funky Nautilus joint! And what a cracker it is, featuring on the b-side of "Time to Say Peace" remix 12" but sadly with no instrumental version. Could this be one of the best Hip Hop tracks to use Bob James' classic break??
JUSS BAD - "Freestyle" (Tuff Groove 1987) This UK released stormer of a twelve ranks highly amongst collectors, and for very good reasons. Firstly it's our first chance to hear sister Monie Love and Mc Mellow (before he dropped the w) on the mic, and is produced by DJ Pogo and Sparkie. It also has the dopest cover art by JUMP2. An early release as far as UK Hip Hop vinyl is concerned, and rightly so coming from some of the UK's pioneers. This record is rarely found and highly sought-after...as is the label's other 12" release FRESH-SKI & MO-ROCK "Talkin' Pays" (does anyone have a spare copy pleeease??). "Freestyle" exhibits superb use of a NAUTILUS sample which sounds great when coupled with the WILSON PICKETT "Engine Number 9" stab and beat. Hunt one down if you don't own it already!
ULTRA MAGNETIC MCs - "Bait" (Let's Go 1987) Does this record really need any introduction? A hard-to-find early track by the legendary ULTRA MAGNETIC MCs originally only available on the RED ALERT GOES BERSERK LP, and recorded as an exclusive track for the original propmaster RED's radio show on KISS. Later the track was picked up on in Japan and released as a very limited seven inch single with additional verse for the hardcore collectors. I remember first hearing ULTRAS on radio (John Peel or maybe Janice Long on RADIO 1) back in the day and thinking to myself "what IS this futuristic shit?" - so unique and advanced was their sound. I couldn't fathom or figure out how they got that sound! Their first release on DNA records entitled "To Give You Love" b/w "Make You Shake" was no classic by anyone's standards...but by the time they recorded "Bait" and "Funky" in 1987, their vocal and production skills were above par and they were ready for world domination (well almost!). Ask any hip hopper from back then who was the dopest crew in the late 80's, and nine times out of ten their answer will be Kool Keith, Ced Gee, Moe Love and TR Love namely ULTRAS! Here are the crew "controlled by Gamma light" using NAUTILUS samples and some bugged out drum action (CED GEE) with some classic RED ALERT "yeeeeeeaaahhh" soundbites. Introduced by the REDHEAD ONE himself.
...more Nautilus-using joints coming soon.....
Post inspired by a conversation with my buddy KWOTE ONE down unda in OZ! What's up to you K!
It's suprisingly easy for a beat digger to find breaks or samples when collecting records, mainly because there have been so many hip hop artists using different samples as the backbone of the music in their records. Don't get me wrong I ain't saying this diggin' shit is easy, cuz it certainly ain't......and the record knowledge needed can take years to amass (hell I'm still learning after 20yrs!). And some of the dopest breaks I accept are rare as hen's teeth and we ain't never gonna find those even with all the record spots available; but I guess what I'm trying to say is that there are so many records out there that have been pillaged, the chances of finding something sampled is quite high. But sometimes an unexpected gem can turn up in the most unusual places. As I have mentioned before, every music genre can turn up some classic samples from the past, and even the most surprising of artists...e.g. ELVIS, BRYAN FERRY, LEVEL 42, KENNY ROGERS, ZZ TOP, SERGE GAINSBOURG have all at some time provided the samples or breaks for both DJs and Hip Hop artists.
Although even I wasn't ready for this next record. I had checked out many LPs from the same artist with fruitless results. But then a little investigation lead to a nice find for a tenner (£10) on a recent mission - LITTLE RICHARD's The Rill Thing LP.
There are certain breaks that need very little other than looping up, add a couple of dope MCs with some on-the-point lyrics, and hey presto you have a great hip hop track. But to make a classic hip hop track you need something a little special.....or maybe take a killer beat and someone really special. So say if we take LORD FINESSE and BIG L for example. Let them drop their sh!t over a looped up and seriously funky LITTLE RICHARD beat (track is also entitled THE RILL THING) and you have "YES YOU MAY REMIX" which features on the flip of PARTY OVER HERE 12". This track may be simple but is so effective at showing how much mic skills these dudes have. The track still holds its own today as do the 2 MCs rhymes. And rest in peace to BIG L, self-promoting braggadocious rap ain't the same without ya!
Here's a clip of THE RILL THING and YES YOU MAY remix...
[ Lord Finesse ] Yeah, now check this out. Now what we have here is the "Yes You May" remix, right? But Percee P and my man A.G. ain't here, and I got my man Big L in the house, you know what I'm saying? And we swinging shit for '92
[ Big L ] Ah check it out, yo Ayo everywhere that I go, brothers know my f!cking name I'm flooring ni##as and I only weigh a buck and change I gave a lot of black eyes in my extorting days F!cking with me, a lotta ni##as was sporting shades I grab the microphone and scar jerks N#gg#s running up (Put me on!) What the f!ck, is this star search? I'm relieving rappers like Sudafed And if the microphone was smoke then Big L would be a buddha head Ayo my crew's real smooth like Lopez I was rocking mics since ni##as was wearing Pro Keds I only roll with originators Chicks stick to my dick like magnets on refridgerators I'm a crazy mean lyricist Many are in fear of this, yeah, so they stand clear of this And those that refuse the order, Big L bruise and slaughter Ni##as hear me and take notes like a news reporter I'll bend a rapper like a fender, I'm slender, but far from tender Killing ni##as like a Klan member You can't touch this, your rhyme's to darn weak, front And I'm a introduce your brains to the concrete I keep hoes satisfied, I'm pushing the fattest ride To take me out, troop, even the baddest try But they fell cause my techniques are liver I'm so deaf I need a hearing aid with an equalizer You tried to hit a home run but you struck out My rhymes were released, I'd like to say peace the f!ck out
[ Lord Finesse ] Check it out, it's the brother you have to hear, stand up, clap, and cheer As far as running mine, ain't nothing happening here! Cause I'm on some ruthless shit It ain't over til the fat lady sing? I'm a shoot the bitch I'm swift with this, it's ridiculous to get with this When I kick some shit, I'm a cold flip the script It's all systems go when I start ripping shows I swing and do my thing and I'm coming home with different hoes I got game like Genesis When I finish this I can bag any hoe on the premises I spin into action like a whirlpool Get wilder than a rapist in a Catholic all-girls school Cause I'm scoring mine, never kicking boring rhymes I'm living larger than my dick in the morning time I get paid and laid on a good night Me take a loss? That shit don't even look right Brothers couldn't win against me with their hardest tactics I hang 'em and use their ass for target practice If you think you can troop, go recruit your team or group We can battle for some loot, shit I take you, and plus the rest of your squad Bust your ass and make you all get messenger jobs So write that shit in your column Any rapper who wanna beef, motherf!cker got problems I'm out to make changes It's the Funky Man, you know what my motherf!cking name is!!
Here's a few more essential disco biscuits guaranteed to fill any dancefloor and make every b-boy and b-girl in town wanna get down.
ATMOSFEAR - "Outer Space" (ELITE dist. through MCA '79) This is actually the b-side cut from "Dancing In Outer Space" (which entered the UK top 50 in 1979) and features on the flipside of the twelve inch release. Perfect for b-boys as the drums are more in-your-face and the breakdown part is absolutely insane! The build up is so clever that when it reaches the peak it makes every ageing b-boy wanna throwdown on the linoleum. ATMOSFEAR were a UK group based in London, founding members include Jerry Pike (Percussion & Sound Effects), Lester J. Bachelor (bass), Tony Antoniou (lead vocalist / rhythm guitar), Raymond Johnson (drums). Pike was also the manager of the ALL EARS Record shop in Harlesden, so the group could also practise at the back of the shop. He brought in his friend, Lester Batchelor, who played bass. The group released this, their debut single, on MCA in 1979 - the bassline was particularly notable on the tune and was played by Bachelor on a Gibson RD Artist bass that he bought from Gibson whilst working for the company. The bass had a built in moog synthesiser and only 10 of them were made, and Bachelor later had his stolen. 'Dancing In Outer Space' sold 100,000 copies and is frequently sampled. Atmosfear continued to record throughout the 80's but never revisited the pop chart. Thanks to DJ Leacy and Aidan Orange for first schooling me on this joint!
D.C. LARUE - "Indiscreet" 12" mix (PYRAMID '77) A great classic break as featured on Breakbeat Lenny's Ultimate Breaks & Beats LP series, but the 12" Disco version gives us a little something extra - an edited and extended break section compared to the version that appears on the "The Tea Dance" album. How fantastic that way back in 1977 before sampling technology was available they thought to extend the favourite break section, even adding a "JAZZY JAY" type stab at the end of every couple of bars, giving the impression of a DJ doubling up the music! It is hard to tell whether this was re-recorded, or whether some heavy tape-splicing was going on but the effect is great - have a listen, it is incredible shit no doubt. This makes this twelve a must buy if you can track one down. But it is not easy to find by anyone standards...but I'm sure the eagle-eyed diggers amongst you will have your sources LOL! Props to my brother from another mother SKYE for helping me out with a copy.
EASTBOUND EXPRESSWAY - "Never Let Go" (AVI '78) Now this record demonstrates the "dark grooves in the vinyl could be a break" theory to the fullest. Any serious beat digger knows that on some records, a lighter or darker section within the groove of a track can indicate a possible break part. Now this theory is not 100% accurate...but on this little beauty the theory comes up trumps. At a length of over nine minutes, this disco anthem has the opportunity to breakdown 3 separate times, and the grooves on the wax show this clearly in the photo below. For me the second breakdown is the best with its dual-tone wood blocks punctuating the rigid yet funky disco beat. OK so the lyrics are a little repetitive, but nevertheless this is a bad-ass disco 12". I'm not aware if this record has been sampled by any Hip Hop artists (please tell me if you know any) but if you listen carefully on checking out your old school tapes, no doubt you will recognise this beat being dropped here and there by the pioneers.
Those estute readers amongst you will have previously spotted and downloaded the excellent Cosmo's Crate Volume 2 download in our favourite links down on the right hand side (sorry folks no longer available!). It was there for a reason...cuz it's one of our fave comps for sure.
...and just when you thought it was safe, THE PURIST is back again to lace us with some more of that funky stuff....namely NO FAT CHICKS (great title don't you agree!) featuring some of the sweetest soul sisters on wax (great artwork don't you agree!). The CD is being released in Japan only on a limited 250 press, but in the spirit of goodwill to all fellow dusty vinyl diggers, we are being blessed with not just a promo, but the full DL - a short but sweet mix of rare cuts by female soul artist like Barbara Mason, Mary Love, Vicky Anderson, Laura Lee and Rehtta Hughes.
check it out....once again the girls got it goin' on! Enjoy.
Watching a deejay spin back and forth on 2 turntables, 2 CDJs or using Serrato may not seem overly impressive in a club today. Hell now, there ain't a city or town on this planet that doesn't have it's very own resident turntablists mangling the fader and scraping the needles over their latest battle weapon. But 30 years ago to see the DJ manipulate the music to and fro to extend the break part was nothing short of spectacular. I love the track "Apache" by the Incredible Bongo Band but I prefer to hear the drum part repeated over and over, and hip hop deejays brought this dream to life. Growing up as a kid and seeing this "miracle" for the first time gave me my life purpose, and thirty years on I'm still following that same path and hunting for that elusive second copy of this break or that break..... But even to this day some of the breaks used by the pioneering DJs remain a mystery to many beatdiggers. They (we) can be a secretive bunch, not wanting to give away the hard earned knowledge gained over years of digging missions and dusty funk hunts. And rightly so. London's original Beatmeister SKYE once told me - "Those who know don't say...and those that say, don't know!". Think about it.
Breaks are possibly one of the hardest types of record to collect - being non genre-specific doesn't help much when you're faced with a shop full of 10,000 records and only half an hour until closing time. And the scenario can very often be like that. The obvious place to start is with the FUNK section, but this will mainly lead you the classic breaks and often the most heavily used. Don't get me wrong, we all started collecting James Brown, Sly & The Family Stone, the JBs, the Meters etc. and these records are essential to own. In particular the late 1980's saw a revival of "Rare Groove" strongly influenced by the use of samples in Hip Hop music at the time. As Stetsasonic rightly said "Tell the truth James Brown was old...til Eric and Ra came out with I Got Soul". But drum breaks are littered throughout the years of vinyl whether it be rock, disco, boogie, soul, folk, and even easy listening. So after exhausting the funk, many diggers began to spread the search through their Dad's rock records, or even through the easy listening pile in the charity shop bargain bins. Some of the best drum breaks tend to come from these other genres because they tend to have been less widely used (if at all) and less "played-out".
So then the hunt was REALLY on! With absolutely thousands of different LPs out there to check, everything became fair game for a beatdigger. Every record had to be examined for darker groove sections - one of the the tell-tale signs of a breakdown. Admittedly so the finds were happening less often percentage-wise compared to funk...but some incredible stuff lurks deep in the rock or folk sections believe me.
The thirst for something special pushes the boundaries further and further. And nothing makes a beathead happier than owning a dope beat no-one else has! ;o)
The most prevalent collecting trend amongst beatheads over recent years has been the influx of Library records that began to leak out from within the vaults of music studios and TV stations throughout the 90's. As the studios/stations were migrating their audio soundtrack libraries over to digital format, i.e. CDs, they began to offload their Library Record LPs. KPM, Bruton, Chappel, Themes, De Wolfe to name just a few. Most of these comprised separate scores of music performed by session musicians for the purpose of film or TV background music, jingles etc.. and the highest prices paid have been for the drama scores as these provide the perfect ingredients for Hip Hop beats, and even name the tracks to describe the feel of the piece (i.e. the chase, tension, scary, chilling etc.). Key players on these LPs are Alan Hawkshaw, Keith Mansfield, Alan Tew, and David Lindup but many at-the-time unknown session musicians created these LPs. Expect to pay premium prices if you can find any at all. In particular the early 70's is a good sound for Library LPs...but the 80's stuff can be cheesier than a bag of Wotsits, so choose carefully. An even fresher and still current trend is leaning towards eastern European and Polish rock/folk/funk albums as these LPs now seem to be finding their way west.
But when you think of music of the late 70's (the time when Hip Hop first began) no doubt you think of DISCO as it was the most prolific genre at the time. Hence a lot of old school deejays rocked disco records at their parties, especially those records with extended mixes or breakdowns, or those on 12" inch pressings with the longer edits etc. Despite that fact, many old school DISCO breaks are still to this day lesser known than their funk counterparts. These DISCO records were more readily available to the deejays back in the day because these were new releases, unlike the funk which was even then a rarity and hence the need for the UBB series (which featured very few disco breaks). But since those days most deejays still prefer to rock the funk rather than Disco breaks .... or perhaps they are simply just wanting to say no names?? LOL
But right now I have to break with tradition (pun intended) and spill the beans on a few of my favourite old school DISCO breaks. OK some of you beathheads may curse me for the sharing aspect...but I'm not Bambaataa so I don't take the labels off my records!! If someone loves that shit enough to ask me then I'm happy to spread the love and tell them the title. With the current Hip Hop industry in the state it is in, I figure we need to spread the love, not hold back on it and watch the true artform disappear in front of our very own egos.
So here goes with a few classic DISCO breaks....I have took the liberty to edit and extend some in tribute to Louis Flores, and of course to keep ya heads boppin' that much longer! ENJOY
EASTSIDE CONNECTION - "Frisco Disco" (1978 Rampart) I'm not sure whether this is better known for being stuck on GRAND MIXER D.ST's wall on his "Grandmixer Cuts It Up" picture cover, or for being the sample used on SLICK RICK's "Mona Lisa". For either reason it is well worth remembering, and usually comes on multi-coloured marble-like vinyl, but my copy is the promo on black vinyl with pink label and the superior pressing quality. As mentioned before I have extended the break just to give you a taste of how it sounds on the 1's and 2's. And I have included a clip of SLICK RICK's classic from 1988 "Mona Lisa".
UNCLE LOUIE - "I Like Funky Music" (1979 Marlin) Imminent throwdown alert!! Dust off your Pro-Keds and slide on that mott neck and drainpipe LEE jeans. This record just screams "get down & dance" as you drop the needle into the groove. Straight away we are treated to a pulsating funky beat, then add some groovy keys, followed by an infectious chorus and solid rythmn section with surging horns, just how I like it. But the treat is yet to come. The horn section builds up the momentum before the drum break drops (recognise that breakdown?), and then becomes conga, bongo and handclap heavy before a suggestive b-line carries the groove. A definite b-boy & b-girl favourite.
IN SEARCH OF...ORCHESTRA - "Phenomena Theme" (1977 AVI) This one is a JAZZY JAY favourite, as demonstrated by his use of this record for the cuts on "Go Michael (Air Jordan)" by SCORPIO on CRIMINAL RECORDS in 1986. It's also one of my favourites simply because of the way the break drops in. I love the 3 stabs from the string section prior to the drop - incidentally the same bits JAZZY JAY cuts up. Great intro too with a funky uptempo beat as the strings create a feeling of drama and suspense, then lead into the main portion of the song. Superb string and horn combinations throughout, with a splash of the beautiful-sounding Rhodes in the drop-outs. The build up to the break lasts over 3 minutes, so we become accustomed to the groove unaware the break is gonna hit us followed by feint tribal chanting over the beat. Classic shiiiit! And SCORPIO's "Go Michael" is one hell of a record from 1986 that seems to get little play or mention....so I have added a soundclip for that too. I found my copy for £2 in Golden Discs in Old Street, East London some years ago (unfortunately this little vinyl den is no longer in business) I'm sure you will enjoy "Phenomena" as much as I do. A great record to rock at a party too. You cannot ignore the DISCO effect on the dancefloor!
Kid Dyno
(this post is dedicated to the legendary DJ FROGGY, real name Steve Howlett, who recently passed away aged 57. FROGGY was the first DJ to bring mixing skills back from NY and show them off in the UK, and first displayed this new skill at his residency at the Regency Suite in Chadwell Heath, just 2 minutes from DAILY DIGGERS HQ. It was the first time us Brits had seen it, and he spawned a million and one other deejays to take it up. He will be sorely missed by many friends, record collectors and music lovers alike.)
Hey ya'll. Yeah I know it's been a little light on the post front again recently. I can only apologise to my regular readers and put this down to there not being enough hours in the day, or enough days in the week to do all the sh!t I gotta do. In fact I'm starting a campaign for an eighth day of each week.....it will be added either before Saturday or after Sunday, and this day shall be called "Breakday" - where everyone must stay at home and play breakbeat records all day! ;o) So to make up for the lack of recent blog substance (although I hope you dug the recent Slick Rick remix) here's a mini podcast lasting just over an hour for your eardrum pleasure. It's no super duper big budget mixtape...but there's a little hip hop flavour from 1987 and some illy Funk breaks and even a dash of Disco! Yep that's right I said Disco. But in true BREAKS FOR DAYS RADIO style it's an hour of serious high quality music.
So click play below, put on your dancing shoes and get busy by your bad self....I hope you enjoy it whether you are out in your whip, diggin' for beats, on your skateboard, on the bus, at home, in the lab, or wherever you may be....
Tracklisting Dynomite Intro CHOSEN TWO - This is Talent THE ALLIANCE - Bustin' Loose ERIC B & RAKIM - Eric B for President T-LA-ROCK - Nitro SHOCKWAVE - Games We Play TONE LOC - Cheeba Cheeba INSTRUMENTAL TRAY BAG MC - At A Jam THE BROTHERS - The Brothers LE JUAN LOVE - My Hardcore Rhymes TRAEDONYA - The Boogaloo THOMAS EAST - Funky Music OLYMPIC RUNNERS - Swamp Lizard FESSOR FUNK - Love is Such A Good Thing KEEF JAMES - Find Your Own Way ODETTA - Hit or Miss QUEEN SAMANTHA - Take a Chance FIRST CHOICE - Love Thang EDWIN BIRDSONG - Rapper Dapper Snapper VERNON BURCH - Get Up
"News from the East Sire - Rick the Ruler has returned!"
No doubt Ricky Walters aka MC Ricky D aka Slick Rick the Ruler holds a firm place in many hip hoppers hearts. His eloquent storytelling and the distinctive English twang to his voice made him stand out amongst many MCs enjoying a flourishing career in the late 80's. "La-Di-Da-Di" is still one of Hip Hop's greatest records....and it is even more amazing to hear it performed live. Just imagine 3000 Hip Hoppers who all know every word rhyming alongside Doug E's still even now incredible beatbox....while the Rickster performs one line, and then the crowd perform the next, and so on. It sends a shiver down your spine!
In homage to Slick Rick here's a little 5-minute beat and a Rickster accapella.
By late 1987, and throughout 1988, Hip Hop records began to take on a sound closer to that originally created in the park jams. I still love that "Stupid Fresh" era of 85/86 with crazy cartoon samples and heavy drum programming etc.. but for me the three years from 1987 onwards defined the music in it's truest form - funky break beats laced with classic samples taken from the breakin' days earlier in that same decade!
One of my favourite years in Hip Hop music has to be 1989. It seems in this year many aspiring Hip Hop producers had begun to master the sampling technology available at the time. The days of DMX & TR808 beats had been replaced by the more creative SP12/ SP1200 unit laced up with an AKAI S-950 digital sampler. These amazing pieces of kit, especially the SP1200 (released in late 1987) were set to become the "industry standard" for creating dope beats from audio samples. The crunchy 12-bit sound of the SP gave it a "raw" feeling unmatched elsewhere. E-mu Systems made a number of important upgrades on creating the SP-1200. The SP1200 kept with the 12-bit crunch of the SP-12, as 16-bits was neither necessary nor cost effective in 1987 (the 16-bit EIII had just been launched at $10,000 upwards). The SP1200 did away with ROM based sounds, and relied totally on a floppy disk based sample library which could be loaded into RAM. Now producers could sample their own individual favourite drum noises from records for use in their beats. side note: PETE ROCK obviously loved "Long Red" by MOUNTAIN as he used the drum noises from this break, particularly the snare, almost constantly throughout his "Mecca & The Soul Brother" LP in '92. If you listen closely to your favourite tracks from this era, no doubt it's the SP 1200 keeping it raw! Though this machine was limited in its functionality compared to later drum-machine/samplers.....it is still often quoted as the weapon of choice.
Here's some ball-busting records from 1989...
TWIN HYPE - "Lyrical Rundown" (Profile 1989) Now if like me, you breezed past this record after hearing "Do It To The Crowd" played relentlessly on the radio and in the clubs, then may we suggest you go back to your local record store and buy that battered and torn copy that has sat in their dusty racks since its release? Appearing on the flipside of "For Those Who Like To Groove", it is understandable why one of TWIN HYPE's best tracks is pretty much unheard and under-rated. With superb drum programming throughout, and classic horn samples sounding very much like a Bomb Squad production (actually produced by Hollywood Impact). But the highlight for me is DJ King Shameek's cuts about 4 minutes into the track. DOPE! Now that's funky! And this record is cheap to pick up...just check out the prices here.
SOUL PURPOSE - "Soul Purpose" (Wide Angle 1989) This record seems to be missing from most people's radar...but a definite hype record for it's time. Appearing on Jerry Sylver's WIDE ANGLE label on a 12" in 1989 leads me to believe these guys are from Minnesota, but I'm happy to be corrected on that. Credited to Derek Stevens and Daniel Young, who eventually became MC Skat Kat (see photo below) & Dan Speak (who still DJs in Minnesota). WIDE ANGLE had already discovered one great talent in signing INFORMATION SOCIETY who later went on to sign with TOMMY BOY. ...anyway, the beats are dope on this track, and I especially dig later in the mix where the beat breaks down into a Dennis Coffey sample. Nice use of a STETSASONIC hook at the start too. But it's the funky ass horns and bass groove that get me headnodding throughout this track. And the rhymes are very competent indeed. On listening to this track, you could easily mistake it for a much later release, so good is the production. ENJOY!
ANTOINETTE - "Girl is Off On Her Own (REMIX)" (Next Plateau 1989) Another dope ANTOINETTE 12" release, this time with beats courtesy of I.G. OFF & JAY ELLIS. From the introduction the cuts are super-tight on this track (performed by Mix Master Ice), and it's an obvious banger simply for the fact that it uses some killer JB loops. However I had slept on this twelve until my man A Brother With Soul from Germany schooled me (thanks B!). Hell, he knows how much I love Antoinette, and despite owning the "Who's the Boss" LP I didn't realise a twelve release was out there. Antoinette shows of her mic skills once again...
"...I know they know he know we know you know, Antoinette remains numero uno, you can't front cuz you're on stand-by, I wash a rapper then leave 'em to hang dry, cuz with def rhymes and def tones, this girl is off on her own!!"
BOOGIE-BO GEE - "Skip To My Rhythm" (Jabree 1989) Imagine a mish-mash of "Funky President" and Steve Miller Band's "Fly Like An Eagle" and that about sums up the dope beat on this one. I agree the production is very basic on this joint but with a great effect. The 2 emcees drop their raw rhymes and urge you to "skip to their rhythm" while their DJ cuts up P.E. and Trouble Funk's "Pump Me Up" amongst other classic noises. The label says 1989 COPY but I'm guessing from the catalogue number on the label that this was actually an '88 record....but hey it came from the 89 crates so here it stays. And I'm loving the hand-drawn JABREE logo!
Take a peep at the soundclip. I'm sure a few of you will like this but maybe not for all tastes. Thanks to Ed Catto for supplying the Daily Diggers with a crispy copy.
CRUSH NATION - "It's All About Money" (Select 1989) A real easy piece to find on the well distributed SELECT record label, produced by Craig Bevan before he crossed over to House music production. This joint has a raw feel to it, and is a real good example of how crunchy the SP1200 drums can sound. Nothing amazing production-wise admittedly, but this is a solid beat and samples nevertheless. But what makes this track doper than the average record, are the hardcore rhymes the emcees drop over the top (why didn't these guys record more material??), and the adept cuts and scratches in the chorus and throughout the track. Overall a cool record leaving you feeling like you're back in '89, as the emcees school us on the importance of earning COLD CASH MONEY back in the 80's projects!
FREAK L - "When The Pen Hits the Paper" (Urban Rock 1989) Once again Vandy C showing his skills production skills with the late great Paul C McKasty on the mixing desk. Despite the dodgy intro using "It's Just an Illusion" by IMAGINATION???,it's still an incredible record purely for its heavy use of turntables (how Hip Hop should be). Relegated to the b-side of "Line for Line", the beats are still pretty damn tight use of the SP1200, with some real quiet drum noises keeping the tempo. Based around Marvin Gaye's "T Plays It Cool", Vandy C still manages to cram in as many other classic break records as he can, including the Handclapping Song by the Meters, Before I Let Go by Maze and others. But FREAK L rhymes clever and real tight too on this track, as he does on his "Slammin'" release, making this another worthy purchase on the URBAN ROCK label.
The brief hiatus is over, and we're back with more of the raw! A change of jobs for me was the reason for the lack of recent posts.....but now I'm back with some more vinyl treats for the wax-addicted amongst you. A change of employment doesn't mean we haven't been out on the strength diggin hard. Far from it, the beats have been coming in thick and fast lately, so we have some hell-a-dope material to bring you in the very near future. So pull up your chair, get comfy, and let's get cold break ill with the drummer ....HIT ME! DUKE WILLIAMS & THE EXTREMES - Chinese Chicken (Capricorn 1973) A personal fave of mine, this funky instrumental rock classic builds up the momentum throughout the track, and then hits you with a funky guitar lick and head-nod drum break about two-thirds of the way through. Perfect for b-boys, b-girls and for the DJ to rock 2 copies bronx style. Released in 73 from the bizzarrely entitled "Monkey In A Silk Suit Is Still A Monkey" album, and most famously used by MC PEACHES on her 1988 twelve release of "Treat Her Like a Lady" on Bumrush records, produced by First Priority's very own King of Chill.
ATOMIC ROOSTER - The Rock (B&C 1971) A real funky and sleazy joint here from the excellent English prog rock outfit formed by ex-Crazy World of Arthur Brown members, Vincent Crane and Carl Palmer in 1969. One of their only hit singles came in 1971 with "The Devil's Answer "which reached number 4 in the UK charts, but here we are gonna feature the flipside track called "The Rock" which I think was flipped recently by a Hip Hop artist (Buck 65 ). I hope you enjoy this one as much as I do!
THE TREMELOES - Instant Whip (CBS 1969) Not your usual TREMELOES stuff this so don't breeze past this one 'cuz you will be missing out. From the word GO the drums are hard-hitting on this joint, with psych guitar and freaky screams laced over the top. And a dash of Fender Rhodes maybe? And when the drum break drops after a minute or so, the drummer (Dave Munden) cold gets busy hitting them skins with some funky ass loops and drum rolls, with the screams and whoops still evident in the background and adding to the mood! Incidentally, Munden was born in Dagenham in the UK, only one mile from the DAILY DIGGERS HQ. So if you are reading this Dave, keep getting funky YO! Enjoy...
PEACHES & HERB - Satisy My Hunger (Date 196?) Now if this doesn't satisfy YOUR hunger for a funky drum break then I honestly don't know what will! This seems at first to be a real nice uptempo soul track with great strings and surging horns....but brace yourself because this piece of fantastic plastic is gonna rock your drum break world after about 1.34 mins with some dope drums, followed by a drums and bass riff. Again another record on heavy rotation in the DAILY DIGGERS lab!
JAMES GANG - Funk 49 (Probe 1970) My copy of this is slightly crusty but I'm sure you will still be able to appreciate this mean sounding rock joint. For some reason it reminds me of "Footloose" in some parts of the guitar riff ...LOL... but the drums on this little seven inch are superb and are definitely b-boy and b-girl friendly. This isn't an original 45 here, but I'm sure the hard diggin' cats amongst you will dig out an OG somewhere before I do. Remember where you heard it first!
have always been times when trends have been followed, and the music has taken a new turn. Sometimes its listeners were all for the change, sometimes not. But Hip Hop is always evolving and just when you think the music becomes played out and has reached it's lowest ebb, a phoenix will rise from the flames. 
