Triggerman 2000

Last time I did a post about The Showboys, I talked about their lesser known debut single that dropped the year before their big hit, "Drag Rap." Well, I'm gonna keep dancing around their classic centerpiece, and this time talk about their under-the-radar follow-up, "Triggerman 2000"/ YIIG'$.

The Showboys are from Queens, but in 1986, "Drag Rap" became a huge hit in the South, and is one of the most important records in the history of bounce music. "Drag Rap" was often mistakenly referred to as "Trigger Man," since Trigger Man's name is used so often in the song. In fact, when Profile repressed it in the 90's, they retitled it "Drag Rap (Trigger Man)." So know that, it's obvious that "Triggerman 2000" is their sequel to "Drag Rap," Orville “Bugs Can Can” Hall and Phil “Triggaman” Price's colorful gangster narrative about being pursued by the infamous real-life crime-fighter Elliot Ness. But "Trigger Man 2000" is actually just one song on their debut full-length album, YIIG'$ which they dropped on album, CD and tape on their own label Papergame Records.

There's no reference to their debut single (or their Christmas rap song from 1987), but this song is all about "Drag Rap." Seriously, the entire album is one giant ode to that song. It opens with one in a series of well-produced skits telling us how Bugs and Trigger are still on the run from Ness. Then they play the original "Drag Rap" (exactly as it was released in 1986) and after another skit where a judge sentences them to prison, they hit us with "Triggerman 2000."

Now, you'd be forgiven for thinking this song and album would be one huge piece of crap, but actually it's pretty dope! "Triggerman 2000" plays it very close to the original, using the same instrumental, including the crazy whistling and human beatbox breakdowns, but provide a very updated hook and all new lyrics. These detail the further exploits of Bugs and Trigger as they organize a jailbreak. They sound older (and Trigger sounds grimier), but otherwise this could easily have been a lost 1986 B-side:

"Triggerman!
Yeah, I'm in jail.
My boys ain't raisin' no bail;
Them niggas raisin' HELL!"

Oh yeah, they do curse a bit more than they were back in the 80's. But this whole song, in fact the whole album, is all about being a fun throwback... both to their 80's sound and to the old school style of 1920's era gangsters.

The rest of the album doesn't sound quite as old school as "Trigger Man"/ "Trigger Man 2000," but the samples of that record return in different forms and styles through-out the album. One song will have the same drums, another the same bassline. And the whole album continues the narrative of Bugs' and Trigger's escapades with elaborate skits and songs that continue the theme. For example, there's a skit called "Da Hideout" where some old girlfriends let them hide out at their place and lay low, which is immediately followed by the song "Ladies Luv Gangstas." The title says it all, I think.

Sure, it's a bit corny - The Showboys incorporating modern Southern elements to their old school styles - but it's surprisingly well produced, and the whole album feels much more like a "rap opera" than The Fugees' half-assed attempt at it (or The Fat Boys, who did it first). The only disappointment is that it peters out on side 2. Instead of building to a climax, the skits just kinda stop, and there's a remix and a song or two that don't quite fit in with the whole theme as well. So that's a bit of a let-down.

But seriously, when you hear that some old school rappers are coming out of retirement after fifteen years to do a sequel to their biggest hit, you hope for one thing and expect another. And I'm happy to report that more often than not, this is a lot more of what you hope for than what you'd expect.

Hip-Hop and Religion

If it is one thing the black community is known for is it's churches and ties to organized religion. Hip-hop artists much like athletes and political figures try to incorporate this into their lives. However, most of it seems to be hollow gestures that are done more so just because it is expected. Take a look at songs then look at awards acceptance speeches and album liner notes.You have the

Mullyman

I'm back and once again showing a renewed focus on helping to promote and expose new artists or less familiar artists to those who may visit the blog. Today I'm going to focus on Baltimore artist Mullyman. Mully has been one of the brightest 'stars' of the "Baltimore Movement" (because everything is a movement now). He has been featured on MTV's Hoodfab across from DC's Wale, and also had his

Cuttin Gets the Paper, Heltah Skeltah Still Gets the Props

This is one of Heltah Skeltah's nicest and most slept on singles. It came out in 2000 on Blahzay Music, a small label owned by PF Cuttin, the former DJ/producer of Blahzay Blahzay (hence the label name). This is BLAH002. BLAH001 was an indie comeback track by Blahzay Blahzay and BLAH003 was another pairing with Sean Price. I'm pretty sure that's the label's full run.

So, yeah, this is Heltah Skeltah's first comeback 12" after their run on Priority... It took them 'till 2008 to come out with their comeback full-length. And by that time, I guess they figured the material'd been out for too long, 'cause these songs didn't wind up being on it. So they're only on this 12", meaning most people missed out on 'em, which is a shame.

The A-side, "The Crab Inn" is just some fun raps about girls over the Kool G Rap's "Truly Yours" instrumental, being stuttered and mixed up a bit by Cuttin, who produced both songs on here. It's light hearted material, kinda amusing... you can't go wrong with classic Juice Crew beats... but the real highlight is the interplay between the two MCs. They're not just each kicking one verse with a hook in between them, but constantly passing the mic back and forth, like a dirty Kid 'N' Play with street cred.

But the real stand out here is the B-side, "Caca Gosa Vixen (Fuck All Y'all Niggas)." The beat is hardcore, but funky as hell. The drums are rugged and there's a cool violin sample, but it's all about the ultra-head nodding bassline. And Ruck and Rock just go back and forth (I think there's like nine or ten verses total) kicking crazy, semi-battle freestyle rhymes, along with their frequent collaborator, an uncredited Illa Noyz.

"Break North! ...When the Ruck rippin' the stage;
My nickel gauge rip your face off like Nicholas Cage.
Fuck the front page, nigga; I need the main article,
On how me and my crew blew niggas' brains into particles.
So don't start if you can't ...finish,
'Cause I will be sure to end it - whatever you created.
I hate it when the MC blow up like a helium balloon,
But soon to be deflated, 'cause my niggas ain't feeling your tunes."

There's no hook, and a lot of adlibbing by the MC's who aren't rapping at the moment. It has that unique blend of playfulness and ruggedness that really brings to mind "Leflaur Leflah Eshkoshka" ...which frankly, is what I think we're all always hoping for but only occasionally find in any BCC-related record.

Both tracks come in Clean, Dirty and Instrumental versions and comes in a nice sticker cover. This is a real gem, and fortunately isn't rare at all. I picked up my copy for 99¢, which just goes to show that cost and value aren't nearly the same thing. Happy days.

He's Little Run

Here's another fun one from the annals of Virginia rap history, again courtesy of The Old School Rap King (see my Fayze review). It's Little Run "I'm Little Run" on So-Def Records from 1990. I've never heard of the label before - don't get it confused with Jermaine Dupri's So-So-Def Records - and judging from the catalog number (001SDR), this is their first and quite possibly only release.

Like his name suggests, Little Run is a kid rapper (and presumably meant to call to mind Run of Run DMC, though there's no direct connection), which is interesting since it pre-dates the pig kiddie rapper phase that came about with acts like Kriss Kross and Da Youngsta's who debuted in 1992. Not that he's the first - for example, T. Omar dropped "I'm Only Nine Years Old" back in 1985 - but he's at least ahead of the curve.

But anyway, more interesting than the fact that he's a kid rapper is the fact that he's a pretty good kid rapper. He's got a pretty hardcore flow, but without getting into ridiculous Quo territory. If Basically, if you appreciate a good LeJuan Love record, you should like this. The lyrics are simple freestyle, over-the-top boasting; but they're fun and engaging enough:

"How can you rhyme and persist to diss,
And then be talkin' a lot of junk and be rhymin' like this?
'Comin' straight out the projects but I'm harder than him;
My name may begin with 'Little,' but I still get trim.
This rhyme'll get mad - furious!
The young Einstein of rhyme, you can call me Yahoo Serious.
No bad influence, girls be thinkin' I'm sweet;
Others think I'm a hoodlum 'cause I come from the street.
A new jack, I got something you lack, Mack.
Get in my face and get smu-smu-SMACKED!
I got back, yes my brothers is black;
Black folks ain't no jokes 'cause we got it like that.
When I went in 7-11, I created a fuss,
'Cause all the cashiers was lookin' at us.
Lookin' at the brother thinkin' I'ma steal a Slurpee,
Or a Big Gulp.
So tell me, what's up?
...'Cause I'm Little Run."

And, you know, I say he's a good kid rapper... but like any kid rapper, it's probably all really comes down to his production and handlers. In this case, he seems to brainchild of M.C. Tony T (not that Tony T... this one's real name is Tony Austin), who produced the track. It's a rugged, bass-heavy beat that uses a good chunk of "Atomic Dog," but also has enough unique, funky elements that it doesn't sound tired and played out like "Atomic Dog" based beats often do. The instrumental's also provided.

Then M.C. Tony T turns the spotlight on himself for the B-side, "Tony's Groove." No instrumental's included this time, but that's ok, because more than half the song is just instrumental. It's cool, kinda funky, kinda cheesy and pretty new jack swingish. He refers to the corniest synth riff as "horns," I literally laughed out loud when I first heard it. There's some Miami-style percussion and some girls singing, "let me see, let me see ya groove," and various vocal samples and ad-libbing by Tony. Finally, about midway through, he does grab the mic and rap for a single verse. He's ok, and has clearly at lest put in the effort to come with something impressive; but again it's kinda corny. "Tony's Groove" is an amusing old school tune if you're open-minded and in the mood for a throwback, but nothing more.

The A-side is worth going out of your way for, though; at least if you see it cheap. Anyway, I enjoyed it. 8)

Where are they Now: Tracey Lee

Now this is funny, I showed someone my list of upcoming topics and he asked me why you keep asking about Tracey Lee? I couldn't do anything but laugh because I had the Many Facez album back on tape (do people even know what those look like anymore?) and he was one of the earlier guys to use the multiple personality concept and he worked with it. You remember his single, "It's Party Time"?

When Kurious Was All Great

Kurious released just one record since his last single on Columbia in 1994 until his return in 2008 with his awesome demo EP and lackluster comeback CD, II. And that record is the single "All Great" on Stonegroove Recordings, which dropped in 2001.

Predictably, this is middle-of-the-road Kurious material... not as funky as A Constipated Monkey, but better than most of the material on II. It's a single song 12" with two mixes of the one song "All Good," both coming in Clean, Dirty and Inst. versions. The A-side is produced by Celph Titled; and while it lacks the rich, soulful samples of his early work, instead sounding like it was made out of studio-created sounds. But despite that, it's catchy. It's got some very upbeat percussion, a head-nodding bassline and some fresh horn stabs. The hook features some very Premiere-like scratching by DJ Cheapshot (of Styles of Beyond). Lyrically, it's pretty solid, with Kurious doing his usual style of thoughtful freestyles:

"On a lifelong search for what's divine;
It's gettin' kinda hard to find an openin' line.
I met a wise man who said it's all in the mind.
I'm feelin' like I'm God and the devil at the same time."

Solomon comes on at the end to kick a short sing-songy verse:

"Players get played on;
We're gettin' sick and tired of the same song.
You're talkin' all this and that - whatcha sayin', dog?
Look at all them cats that ya paid off.
You niggas ain't sellin' dimes and ya ain't raw,
You don't do crimes and you afraid of law.
Now people tell me what y'all came for?
You want more, you only get what you paid for."

Then the B-side is remixed by Cheapshot. Conceptually, the instrumental is pretty much the same... catchy studio sounds. It's a little harder, but still bouncy. I think, personally, I marginally prefer the A-side, but it's a narrow distinction. Which isn't to say that they sound too similar, though. They sound different enough that it's worth having both mixes. It's just that they come in at a photo finish.

So yeah... this single lacks the deep production sound of his early work, but if you like Kurious, you'll like this. It's not must-have status like his debut or his demo, but it's not like we've got hundreds of Kurious records to choose from either.