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Wednesday, September 25, 2013

1988 - Classic Hip Hop Albums Celebrating Their 25th Anniversary



When i think of 1988 i think about me getting my license and graduating from high school and being suckered into joining the Army (If i ever run into that recruitment officer i just might slap the shit outta him for selling me false dreams lol ), yeah im ranting and telling my age right now, but 1988 also marked a significant time period in my life that blew my mind. Ask some of my closest friends and they will tell you the times where they used to hang out at my house while i djed for hours and hours. After a while they would either leave, or fall asleep but when they returned or woke up, i was still on those Gemini turntables having fun, cutting up "Im the King of Rock" by Run DMC to "Funky Beat" by Whodini .The music was pure, fresh and raw, and each artist didn't sound like the next one, they all had distinctive flows, styles and the music production was on point. So here we are, 25 years later, and this year these artists celebrated their 25th anniversary milestone debuts. 


So here are the 15 most memorable albums of 1988 in no particular order. I am sure you will agree that the talent of each of these artists reach beyond levels that can never ever ever ever ever be duplicated. 



    The Golden Era of Hip Hop..........  


Monday, September 23, 2013

The Bridge Is Over, created by Marley Marl???


This excerpt was taken from an interview of Marley Marl by Ali Shaheed Muhammad Frannie Kelley
 of Microphone Check

MARL: You know who my hero was before I even got into hip-hop? I just gotta lay it on the line: Giorgio Moroder. I was into Giorgio like you would not believe. See, I was into electronic music. I was into triggering bass lines and making it sequence — I was a sequence head. That's how I beat people in hip-hop early because I was already sequencing. I already knew what a trigger was. I knew how to trigger anything off of anything.

The whole "Bridge" — my song I made with MC Shan — all that was trigger music, triggering samples from a 808 with separate samplers around the room. The pulse from the 808 would go into my sampler and make it react. Once I made that discovery at Unique, guess what I did? I went right around the corner to Sam Ash, bought myself three little cheap samplers. I went home and started experimenting, taking all my drum sounds. Matter of fact, what I would do at that point, I went to my reel-to-reel. I would have leader, snare, leader. Leader, kick, leader. Hi-hat, leader. On the reel.
So I would sit with the artist and say, "So you want to make a song today? Pick out your kick and snare you want." Now this is before disc; that was my disc. I still have that reel, and that is the same drum reel I lost it in Power Play Studios and they made "The Bridge Is Over."

MUHAMMAD: I was just going to ask you about that — so is that story true? I didn't know if it was true.

MARL: Of course that's a true story.

KELLEY: Tell the whole thing.

Marley Marl Discusses LL Cool J's Street Credibility

One of the more notable parts of the interview was when Marley described LL Cool J's comeback in New York, believing that LL's early 90s records were very influential in gaining street credibility.

"That was one of the pinnacle points of LL's return. In a big way," he said. "I think it was a anti-gun rally — matter of fact I did see it was a anti-gun rally in Harlem, and I think PE was performing, They said, 'I want to shout out my boy LL Cool J. He's here!' 'Boooooooo.' I seen a video of his face. I was like, 'wow.' I heard about it but I never seen it until I saw the video.
"His street cred wasn't right," he continued. "Because of the Walking With A Panther album — it was a great album but it wasn't street. Because N.W.A. started coming out at that point. You got Public Enemy fighting the power. It was political or gun shit. He was in the middle and that's just what happened. I guess the hood felt that he wasn't supplying them with what they want, and they booed him. He had to regroup. His grandmother said, 'Go knock 'em out,' and he came to my house and we knocked 'em out."
Finally of note, Marley recalled some of his early recording techniques and the influence those had in New York City when the radio wouldn't play Hip Hop.
"You gotta think: It wasn't on the radio," Marley said when talking about the old days. "There was tapes that people would record right from their box, straight off the microphone, and those tapes would resonate throughout the city. That's how most of the people who loved hip-hop in the early-'80s, late-'70s — this was our smoke signals, those tapes, those early tapes coming out of Harlem and the Bronx."

Read the full NPR interview here.

Tuesday, September 18, 2012

Craig G Feat. Styles P "Heaven & Hell"

By Ralo

Queens Bridge native, Craig G began his career as a teenager in DJ Marley Marls' Juice Crew. Craigs' first release was a parody of Tears For Fears' pop hit "Shout". He was later featured as the first voice on Marley Marls' 1988 Classic "The Symphony". This record set the stage for what became known as the posse track, it was the first of it's kind.

Craig G is back with new full length offering called "Ramblings Of An Angry Old Man". "Ramblings" is the first collection of new songs from him in four years. Craig Gs' career has officially come full circle, he was the youngest member of The Juice Crew and now he considers himself an old man. On This album he grips about what he sees wrong with today's Rap culture.

"Heaven And Hell" is a highlight on the album that features Styles P of D Block with production from DJ Nastee. Hip-Hop pundits  and the usual "reliable" sources agree that "Ramblings" puts Craig G back at the top of the most recognized underground artists.

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