Author Archives: richiesodapop

A boy can make ’em but a man can raise one.

With like one week to go before we get a Jr Styles here at balls towers, here’s some words of wisdom from Boogie Down Boston’s artist formerly known as Ed O.G.

Of course there’s no doubt that Sir Styles will be an excellent father to his child, but I couldn’t think of any good rap songs about being a good father so we’ll stick to the hood stereotypes because that’s where that good rap shit comes from.

And while we’re here, here’s the break.

You lucky people.

Sing it shitface, the source uncovered

Special thanks to Mister in Tokyo for unearthing this for me.

This is one of many versions of Japanese folk song futaatsu, one version of which was sampled by Edan on Sing it shitface.

We go international on our beat digging cos we’re dope like that.

Edan’s new album echo party is out now from Lewis recordings, check it out to see how far he’s come since this.

Be warned that the vinyl is strictly limited to 1000 copies and each has slightly differing artwork all hand done by the boy Portnoy.

Conscious Daughters- Something to ride to

also known as “Fonky Expedition”
Sometimes when it’s pissing down here in the L, ie, all the time,
my mind wanders back to the yay area, not that it doesn’t piss down there too but I get a yearning to cruise the highway with the top down and bust out some fonkiness.
here TCD let us guys know that girls can do G-funk too, even if they do sound like men.

The Conscious Daughters Ear To The Street--f

Bombs Over Baghdad; the best song of the decade?

Those good people at Pitchfork magazine recently compiled a top 100 or something from 2000 to 2009 and Outkast’s crossover hit B.O.B. from early 2000 topped the poll. Couple of things come to mind here, firstly, where the fuck have the last ten years gone? And secondly, hasn’t it been a pretty disappointing decade musically?

B.O.B isn’t a bad song, it’s a pretty good song in fact but when this came out did anybody consider that it would all be down hill from here?

I remember when I first heard it thinking that it would it was a step in the evolution of hip hop music, the beats were hard, the raps were fast and most importantly, the cuts were fierce, I was so pleased to hear some good scratching on Radio 1, I remember thinking that it’s how Ultramagnetics would probably sound if they were still doing it.

But the best song of the decade, best song, not best hip hop song, best song period, that’s a strong statement, trouble is, I can’t think of anything that should have obviously been voted best song, it’s been a decade saturated with cheesy, materialistic, faddy, dance based music. The reasoning for Pitchfork’s decision was that it summed the decade up, influencing the rest of the decades musical output. Whether or not you think that is a good thing is prolly a lifestyle thing.

For sure, the early years of the 2000’s (I refuse to call it noughties) was a time when musical boundaries were blurred thanks to the likes of Outkast, NERD, Gorillaz, The Streets etc. It was a time where “black” music gained mainstream popularity and became the soundtrack and fashion of young City dwellers. Who’d have thunk it that the bloke from Goodie Mob would have had an international chart topper, or the curly top from N Sync would have a massive hit that featured a couple of alleged coke dealing, rapping brothers from Virginia.

It seemed like it was going to be an interesting decade, we had The Strokes, The White Stripes, NERD, BRMC, The Coral, Clipse, however despite a promising start, this decade has actually seemed to lose its initial impact as the musical styles got watered down and actually regressed leading to shit like The Hives, The Vines, Razorlight, Kanye ‘Jack ass’ West, Lupe Fiasco, Kings of Leon,  Crunk, Hyphy, UK Garage, Bass Line, Grime, New Rave, Emo,  Screamo and a whole host of other buzz terms, plumped up with lightweight acts, soon to disappear, just so as the media could have a ‘scene’ to excite morons with. And that’s why even young people are often quoted stating that they don’t like current music.

Aside from that, we also had mediocre albums from other established acts, Eminem never dropped the classic he promised, Stephen Malkmus had a decent solo debut, followed a bunch of others that weren’t as good as the first and not a patch on Pavement, Chronic 2001 was disappointing and Detox never saw the light of day, Chinese Democracy was bullshit, Snoop dropped a series of lackluster efforts, Ryan Adams went from being the new Bob Dylan to the new Sting, Ben Folds lost his 5 and much of his charm, and Rakim never came back to save us.

Time will tell how music from this decade will stand in the future, I have a feeling that in 40 years from now, walls will still be adorned with images of Elvis, The Beatles, Hendrix, The Doors and Nirvana, not Hadouken, N Dubz or Rhianna. But that’s just my opinion, what do I know?

But it doesn’t have to all be negative, this has been the time where artists took the music back for themselves, made their own music, under their own terms and put it out themselves, I like to think that there is so much great music out there that just hasn’t been received yet, some day, digital diggers will plough through old myspace pages, searching for undiscovered gems and either re-working them or trying to bring them to a wider audience.

Is B.O.B the best song of the decade, what would you lovely readers say make the best songs of the decade?

Answers on a postcard to the usual address, or just leave a list in the comments section and please keep it to 10

For what it’s worth, here’s 10 of my top songs from the decade, in no particular order:

1)Little Brother- Whatever you Say.

2) Edan- Fumbling

3) Murs- The Pain

4) Why? Sand Dollars

5) Edan- I see Colours

6) Atmosphere- God Loves Ugly

7)Mercury Rev- Nite & Fog

8) Evidence & Alchemist- So Fresh

9) Devin The Dude- The Briar Patch

10) The Shins- Kissing The Lipless

Bladerunner 2: Rapping Replicants, starring Pharrell and T-Pain

Jigga, Kanyeze, Springsteen, Obama and Madonna are freemasons apparently.

And?….

Not ususally one to advocate conspiracy theories, I believe that if you want to believe something is true then you’ll probably find some kind of ‘evidence’ to support this.

Nevertheless, some interesting points made here.

new Beastie Boys featuring Nas [& Hot Sauce tracklisting]…

I always get a bit worried when I hear about new beasties material, and the same goes for nas making party records (oochie wally anybody?)

Never the less, gotta pay attention when either of these artists have something new to offer as they are among the most important figures in the history of hip hop.

This track is called too many rappers, essentially the flows have been done a million times before but it’s a solid enough track and a fair concept.

Can’t find proper finished audio version so this live rendition will serve as a teaser until the new album “HOT SAUCE COMMITTEE PART 1” is unleashed on the 15th of September.

Full alblum tracklist below:

1. Tadlock’s Glasses
2. B-Boys In The Cut
3. Make Some Noise
4. Nonstop Disco Powerpack
5. OK
6. Too Many Rappers (featuring NASTY NAS)
7. Say It
8. The Bill Harper Collection
9. Don’t Play No Game That I Can’t Win (featuring Santigold)
10. Long Burn The Fire
11. Bundt Cake
12. Funky Donkey
13. Lee Majors Come Again
14. Multilateral Nuclear Disarmament
15. Pop Your Balloon
16. Crazy Ass Shit
17. Here’s A Little Something For Ya

Too Many Rappers with NAS [LIVE at Bonnaroo]

B-Boys in the Cut

Lee Majors

How about some Britcore?

Before the likes of Dizzy and Wiley, there was another homegrown scene of doubletimed raps, 100bpm tracks and tales of urban decay. It was referred to as Britcore, and it was excellent.

“Take this down, circa 1992” (Gunshot, mind of a razor) artists like DJ Krash Slaughta, Depth Charge, Gunshot, Killa Instinct, Hijack, First Down, Hard Noise, Kobalt 60 and First Frontal Assault were truly doing it for the UK.

Here was a generation of hip hop fanatics making music representative of their own lives. Nobody expected to become famous, nobody expected to get rich or attempted to make a watered down version of what the Americans do so well. They just loved hip hop and wanted to make the music, in their own way. As regionalism was irrelevant in a scene that spanned the whole country, the result was a fusion of all elements of hip hop; the vocals, the artwork, the dancing, the production and most noticeably the scratching not only represented but flipped on its head.

The most prevalent themes of this movement were cult movie and heavy metal imagery (from gunshot parodying John Carpenter’s Assault on Precinct 13 on the sleeve of their seminal Patriot Games album to samples of Robocop, Aliens, The Warriors and Let Him Have It throughout the genre and ultimately Gunshot featuring Napalm Death’s Shane on guitar duties), envelope pushing scratch routines that the rest of the world just wasn’t doing, lyrical depth made all the better for its natural dialect and cadence (Hijack and Kobalt excused) and a whole heap of sirens and guns.

Sadly, this scene was largely ignored in the UK but props from Germany, France, Sweden, Denmark, Belgium, Holland, Switzerland, Japan and Korea gave these artists an opportunity to make a humble living and fly the flag for the British hip hop. It’s a damn shame that in this age of UK raps biggest successes, it is also arguably in its sorriest state.

On reflection the production is slightly muddy, it all sounds alike and often it can be difficult to hear what the rappers are saying due to budget recording techniques, but that’s the the beauty of it, it was meant to be raw, it worked best played on a tape, dubbed from the vinyl in a shitty old Vauxhall Nova or through headphones on a crusty walkman whilst riding the number 21 from Shirley to town.

During this period, there were countless debates as to why this music wasn’t blowing up, and when would British rap ever be big? Well now it is, and it’s shit!

But it’s nice to remember those bitter times when all we had was hope that the mainstream would actually understand us.

By far the best ever British hip hop group, Gunshot:

Killa Instinct, Bandog is the best rapper ever to come out of , er, Reading: (Anyone mentioning Tinchy Stryder is reading the wrong blog)

Let’s not forget Hardnoise:

And although Kamanchi Sly is a bit of a tool and these guys went on to make the worst record of all time (Pied Piper, Do Ya Really Like It? No I hate it!) Hijack deserve a mention for the awesome power of DJ Supreme and Undercover. Here it is right from the horses mouth, Hijack influenced the Invizibl Skratch Piklz:

Although modern UK rap is a bit of a joke (aside from the awesome, long awaited Richie Sodapop album) there was a time when we made hip hop you could be proud of.

Fuck grime!

the dopeness of the turtles

following on from Jimmy James (see previous post) here’s the break:

some nice open drums on this excellent track:

The description says “live”, I say beard.

Don’t know if anybody ever used this, maybe they should:

But beware lawsuits as the turtles sued the asses of de la soul for this lift:

The Turtles career was blighted by numerous lawsuits involving a long string of crooked managers apparently resulting in the loss of hundreds of thousands of dollars, so it’s understandable that they weren’t prepared to let somebody use their music so blatantly for free. However I’m sure we’d all rather hear the beasties and de la taking snippets of the turtles music to make new songs than scouse schmindie warbler and all round soccer maniac Ian “Moores murderer” Brodie make god awful turtles covers.