And the 'Album Of the Year' Goes To...

Times are getting tight when it comes to good, new rap albums - this may go down as the year of the unearthed treasures, what with so many labels digging up great unreleased music from the 80's and 90's - but don't sleep on the contemporary output of 2009. I mean, sure, some artists dropped duds this year (Eminem... again), and a lot of over-hyped new jacks proved themselves to be as bland (Wale, Gucci Mane, etc) or even worse (Asher Roth) than we assumed they were gonna be. But the genre still managed to turn out a nice variety of quality albums.

I wrote about many of these over the year, like Neila's aptly titled Better Late Than Never, Busdriver's impressive Jhelli Beam, Pace Won's under-the-radar Team Won album (all three of which were covered in Werner's 2009 New Music Seminar post). The Custodian of Records put out a nice album called The Burton Music, despite what looks like a criminal case of record label neglect (see my column in HHC here). And Sole put out a grip of stuff including a new LP with The Skyrider Band, a superior limited EP (which I covered here), and now his new mixCD, Nuclear Winter, where he revamps pop gangsta rap tunes.

Still other worthwhile albums didn't get a post from me, but that doesn't mean they were or should be slept on. Themselves' Crownsdown didn't quite live up to its preceding mixCD, but it was still good listening, Cormega came nice with Born and Raised earlier in the year, and of course Raekwon's OB4CL2... well, the vinyl doesn't drop 'till 2010, so we'll come back to that next year.

But only one album can be album of the year. I was tempted to give it to Buck 65's surprisingly good collaborative album More Heart Than Brains. You'd think any album with beats by someone named Greetings From Tuskan would be one to skip; but no, it's really tight. Even the superfluous "MC Space" remake has been growing on me.

But, no... Buck 65 has to settle for being Runner Up. The winner this year is an album that defied the painful message board axiom that, "well you can't expect them to sound like they did back then." And no, I'm not talking about Blaq Poet's The Blaqprint album, though it certainly made a lot of headway in that direction and certainly deserves a place in your collection. But the album of 2009, as far as I'm concerned, is Gryme Time by The Freestyle Professors.

First, to clear up any possible misconceptions about this album, this is not some of their previous releases on the same label, in that they're releasing music recorded in the 90's (which is ineligible for Album of the Year), and it's not limited (it's widely available on CD or double vinyl) or priced like a limited release. It's brand new material by The Professors, who have made hot, new music without abandoning the style that made their early 90's EP, Your Pocket's Been P;cked, such a collector's item. And considering the disappointing modern releases by some of their guest producers, it's all the more rewarding to hear guys like Diamond D, Showbiz, Lord Finesse (who also gets on the mic) and Buckwild dropping beats like they did in their prime. Most of the production, however, is handled by the Professors' own Branesparker, whose work is right on par with the contributions by those legends (credit also has to go to the excellent scratching by DJ Grand Wizard Shake). Hip-hop's most elusive mythological beast - the comeback album that lives up to the earlier releases - has finally been found.

Oh, and if you get the package deal when ordering Gryme Time direct from their own site, freestyleprofessors.com, you get a bonus 7" single with two more exclusive tracks (one totally new and one remix). Schweet!

So, this is Werner signing off for 2009. Catch you guys next year!


P.s. - Did anybody out there manage to find a hard-copy of that Chubb Rock and Wordsmith album anywhere at all?

G.L.O.B.E. 2000

If you've gotten to know anything about me at all by now from reading my blog, it's probably that I like obscure independent comebacks by old and true school artists. And I also have a bit of an affinity for the underrated Echo International Records. So when Echo puts out an obscure independent record by an old school artist... oh yeah, it's on!

You all should know G.L.O.B.E. as one of the three MCs from Afrika Bambaataa's SoulSonic Force, responsible for such classics as "Planet Rock" and "Looking for the Perfect Beat." But G.L.O.B.E. has also had some successful solo (or semi-solo) outings, including the classic "Play That Beat Mr. DJ" with Whiz Kid, "Get Ridiculous" and "Celebrate" with Pow Wow (also of SoulSonic). But that was all back in the 80's... In the 90's, he did keep working every so often on projects with Bambaataa, but he didn't come out with any other records of his own.

That is until 2000, when he dropped "The Millions" on Echo/ Breakthru Records, produced by Steven "Boogie" Brown, an old school producer who did "Smurf for What It's Worth" back in '82.

The beat's nothing special, and sounds very studio-made (as opposed to rich samples or live instrumentation), but it's got a cool hardcore bounce with a few layers and change-ups to it. You might not be impressed, but you'll still find yourself nodding along. And it does work effectively as a foundation for G.L.O.B.E.'s rhymes. And G.L.O.B.E. comes pretty nice, with some hardcore freestylings, taking out haters, racists and funk fakers. His wordplay and delivery are solid, though a few lines ("drunk off the Hater-Ade") are a bit cringe-worthy. The hook is simple and effective, too, with a nice little "Zulu!" declaration.

The B-side, "He Can Feel," is an unfortunate attempt to show that he's diverse by following the latest (for 2000) trends in pop rap, with a hot 97, semi-Southern style with a female giving a sexy hook. It's not that G.L.O.B.E.'s terrible at the style, so much as it's just a bad decision in the first place, plus it sounds low budget. Both tracks come in Radio Edit, Street Mix and Inst. versions.

So, this is no must-have (big surprise), but you definitely won't be mad at it ...especially if you avoid the B-side. G.L.O.B.E. proves he's a pro who could still earn a spot on your mixtape decades after his hit records. Respect due.

No Face, the Twilight Years

(Youtube version is here.)

My 'Origins of No Face' post is here.

Have an Insane Clown X Mas

A Carnival Christmas is an Insane Clown Posse single released in 1994 (and reissued in 1997) on Island/ Polygram and Psychopathic Records, featuring two songs: "Santa's a Fat Bitch" and "Red Christmas."

"Santa's a Fat Bitch" has a very west coast sounding, hardcore track, replete with a lot of sleigh bells for that holiday feel, and features a strangely sung, high-pitched hook... I guess it's meant to be a parody of Christmas carols; but I don't know any carols that're song like that. LOL It's about ICP's beef with Santa, that he never goes to the ghetto on Christmas to bring them any toy, so they sing about how much they hate him:

"Santa Claus, Santa Claus, where ya been?
I see ya got cookies and milk on your chin.
I guess you had time to collect your ends;
You always been down for your rich friends.
But Rudolph he don't bring the sleigh my way,
Nothing but coal and dirt for little J.
I guess ya couldn't fit down my chimney shaft;
You need to lose some of that fat ass.
All the little rich boys, they get paid;
Counting their toys and ducats they made.
Me, I got a little half little chunk of dog shit.
I'ma kill that fat bitch!"

"Red Christmas" sounds a little more Detroity, but still has plenty of sleigh bells as well. The beat stops regularly for the Posse to sing dirty versions of famous Christmas jingles, and then resumes for the next verse. The lyrics are appropriately weird... Violent J raps about dressing as Santa Claus and climbing down chimneys to kill people, only to tangle with the real Saint Nick; while Shaggy 2 Dope tells a story about building a snowman because he has no friends, until a really sunny day comes along:

"He was melting and I was just fine.
He got pissed and pulled out a nine;
'If I'ma die, you should come with me,
'Cause we're boys,' (BANG) and hit me.
Damn, I'm dying,
I'm dead, he got his wish;
And all I got is another red Christmas."

These two songs were also included on the ICP's compilation album Forgotten Freshness vols. 1 & 2; though the version of "Red Christmas" on there is missing the screwy "12 Days of Christmas"-parody at the ending. I don't know how great of a loss that is, really; but it's always nice to have the complete versions of stuff in your collection.

So ok, now A Carnival Christmas is the single; but it's taken off the limited edition A Carnival Christmas E.P., which was released and available only in December of '94 from Psychopathic (but not Island/ Polygram) Records. The EP features both songs from the single, plus two additional: "Santa Killas" and "It's Coming."

"It's Coming" is just a bland, repetitive instrumental tracks with a few repeated vocal samples heralding the coming of the next "Joker's Card" album (The Riddlebox). These promos were common appearances at the end of their EPs, and this track should be of interest to die-hard completists only.

But "Santa Killas" is another full-out Insane Clown Posse Christmas song, in fact it's the best one. It features a guest MC named Fink the Eastside G and producer Mike E. Clark (the strongest element of the ICPosse) even takes the mic. It features the best hook, most rugged beat of the lot, with a different set of samples for each verse, and it holds up much better through repeated listenings, since it doesn't rely on "funny singing" and other gimmicks that get annoying fast. The concept is simple: they kill Santa Clauses... J shoots a Santa Claus in the mall for saying he's been too naughty to receive presents, Shaggy jacks him for his sleigh, Mike has an axe to grind about not getting what he wanted for Christmas that year and Fink shares a graphic moment about burning Santa and his reindeer alive:

"Spark up the matches,
And it catches,
And I burnt that MOTHERFUCKER UP!!
'Ho ho (cough cough) what the fuck?'
Cooked his ass with a crackling sound,
Watched as the ash come flickering down.
I smoked their bones and I get much iller;
Fink, the Eastside G, the Santa Claus killer!"

God knows we don't need any more lame anthems to their "juggalo" fans or self-parodying references to Faygo; but when you're looking for a novel holiday tune, the Insane Clowns know how to deliver the outrageous. The rarity has made the EP a bit pricey, but if you come across it relatively cheap, it could be worthwhile Christmas present to get yourself.

Let's Talk About Jesse

"Jesse" is a 1984 release by Grandmaster Melle Mel on Sugarhill Records. It wound up being included on their 1985 album, Stepping Off. And it's interesting for a couple of reasons.

First of all, it's good. That's always a nice starting point. Melle's at his best, with the Furious Five providing back-up vocals and the hook, including a little singing and harmonizing. Mel may be a little inconsistent, but as some serious song-writing ability in his bag of tricks when he wants to use it, and the always dependable SugarHill Band provide a quality backdrop for it all.

It's interesting because it's a political anthem for Jesse Jackson, who was running for the presidential spot on the Democratic ticket that year (though it wound up going to Walter Mondale who lost the election to Reagan). You don't see a lot of pro-politician songs in the hip-hop canon - at least until last year, when Obama inspired a ton of old and new school artists to record some nice mp3 tributes - and this is as pure as it gets, with Melle rapping his praises and a chorus that commands, "vote! Vote! Everybody get out and vote!"

And it's interesting because it's a complete retooling of a previously recorded song, called "D.C. Cab." "Cab" was written for the 1983 film D.C. Cab, although it wasn't featured on the soundtrack album and was never released as a single. The movie was a raunchy, screwball comedy about a crazy taxicab company, starring, among others, Bill Maher and Mr. T. And the song's a beat for beat, note for note rewrite (the aforementioned "vote! Vote! Everybody get out and vote!" was originally, "go! Go! Everybody get out and go!"). Most of the changes really just involving swapping out a few key words. For example:

"Hypocrites and Uncle Toms are talkin' trash
(Let's talk about D.C.)
Liberty and justice are a thing of the past
(Just ride with D.C.)
They want a stronger nation at any cost
(He's riding D.C.)
Even if it means that everything will soon be lost
(Then you'll love D.C.)

He started at the bottom,
Ended on the top.
He proved that he can make it;
They don't never stop.
If you think they won't make it, they gon' let you know:
Every time you get pulled down, you've got to get up and GO!"

...became:

"Hypocrites and Uncle Toms are talkin' trash
(Let's talk about Jesse)
Liberty and justice are a thing of the past
(Let's talk about Jesse)
They want a stronger nation at any cost
(Let's talk about Jesse)
Even if it means that everything will soon be lost
(Let's talk about Jesse)

He started on the bottom;
Now he's on the top.
He proved that he can make it,
So don't never stop.
Brothers stand together and let the whole world see
Our brother Jesse Jackson go down in history."

All of Melle's rap verses 100% identical, too (it helped that he already took a shot at Reagan in "D.C. Cab"). There are even D.C. references still left in "Jesse." About midway through the song, he goes, "But don't think that D.C. just did it first... There's a lotta D.C.'s all over this universe!" That's pretty confusing within the context of this ode to Jesse Jackson. Are we supposed to take that as a reference to Washington D.C. maybe? It doesn't really make sense. Maybe he's talking about how people like the characters in the (otherwise unnamed) movie need us to support Jesse Jackson. Again, it doesn't really translate into sense.

The lyrics to "D.C. Cab" are pretty serious and political, though (surprising, considering the movie itself), a la "The Message." And like I said, it's just damn good song-writing. So except for a few awkward bumps in the change-over, it all feels pretty natural and makes for a damn good song. And best of all, where "D.C. Cab" would be fading out to a finish, "Jesse" comes back with an all new third verse that's completely Jackson-specific:

"The 30th day that's in December
Is a day that everybody's gonna remember.
'Cause on that day a righteous man
Thought about takin' a brand-new stand.
The name of the man is Jesse Jackson,
And his call for peace was louder than action.
'Cause now's the time to change the nation
But not with just another negotiation.
He went to the East for humans' rights,
To free the lieutenant shot down in flight;
Just another statistic, and the government knew it.
They didn't even want the man to go do it.
Before he left, he called the president's home,
And Reagan didn't even answer the phone.
But I'll tell you one thing that's an actual fact:
You can bet he called Jesse when Jesse got back!"

"Jesse" then has an extra chorus and reprisal (including a few new lines, asking us to "join the Rainbow Coalition").

The 12" for "Jesse" follows the standard SugarHill Records layout, with the vocal version on side A and the instrumental on side B. Also like a lot of SugarHill joints, the original 12" version is kinda long (8+ minutes); so you might want to be wary of compilations featuring shorter versions. As for "D.C. Cab," that song went unreleased for ages, until it finally appeared on the 1999 compilation album Adventures On the Wheels Of Steel, released by Sequel Records, which was a nice, exclusive treat from the vaults. Still, in the long run, I've gotta give it up to "Jesse," both for the extra verse and the fact that the subject matter is naturally compelling when it's directed towards genuine hope for a real political candidate rather than a zany ensemble of fictitious Animal House-like cab drivers.

2 Big (new Kane and 'Pac review on DWG)

I'm back up on Diggers With Gratitude with a new review: an unfinished collaberation between Big Daddy Kane and 2Pac that was leaked onto vinyl in '98. Here's the direct link.

Putcha Ballys On... Part 2?

(Youtube version is here.)

My original post on "Putcha Ballys On" is here.