Archive for June, 2006

Boot Camp Clik takes THE LAST STAND

Boot Camp Clik

Trading Places
from upcoming album The Last Stand (2006, Duck Down)

Boot Camp Clik are back with a new album titled “The Last Stand” hitting the shelves on July 18th 2006 thru the Duck Down Imprint. The Great 8 are back in full effect. You have Buckshot, Smif N Wessun, Originoo Gun Clappaz and the return of Heltah Skeltah with The Rockness Monstah and Ruck aka Sean Price. The album is sounding real positive right about now. Production is handled by some heavyhitters like Pete Rock, Large Professor, Da Beatminerz, 9th Wonder, Ill Mind, Coptic and Marco Polo. Check out these 2 cuts, Yeah, and Trading Places. Right off the bat on “Yeah”, The first thing you hear is “That’s why your mother works in a sweat shop…” That takes me back 10 years to some OG Boot Camp styles. The beat is knockin’ with a funky soul melody and the backbone that rattles the 15’s in my ride. BCC is on fire with the lyrical content on this one. On “Trading Places”, BCC slows down the tempo with a haunting, dark thug beat with intricately chopped piano licks. Again, BCC rip the mic. It’s like taking a trip back to the mid-90’s era and these cats havent changed. You even hear the picthed up mic delivery reminiscent of tracks like “The Wiggy” from Heltah Skeltah. Im highly anticipating this album to drop. The Boot Camp Clik do not disappoint on this one.


TY and upwards


Ha Ha
So U Want More (Revox)
from Upwards (2003, Big Dada)

I’ve been half asleep constantly recently and haven’t been able to find the time to post up, hopefully that can change now. Due to the lack of UK hiphop reviewed by our blogging peers, I’m compelled to depict another UK album, overlooked, ofcourse, by the masses.

Upwards (2003) is the name by London MC, TY, released on Big Dada, it’s a follow up to his debut album ‘Awkward’ which hit us in 2001. The album is self produced and arranged with guidance and assistance from Drew (Ancient Records/ DozeGuys Ent) from Psychic Phenomena. This album staples together a plethora of carefully chosen noises, puts hefty drums on top of them andsmothers them in smooth vocals. There’s 20 odd musicians putting it down on this album, from Celloists and trumpetters to DJ’s providing additional cuts. The pace of the album is consistently mellow, ignoring, of course “Oh U Want More”. So the first trackup is “So U Want More?” (revox) featuring fellow UK hiphop veteran Roots Manuva. Secondly – “Dreams” with lovely lovely backing vocals from Eska Mtungwazi, not to mentioned Soprano Sax, provided by Jason Yarde.. The album really follows this laid-back vibethroughout (for the most part), contradicted by the grittyness of the man. Best foot forward first track “Ha Ha” is the last free insightyou’re going to get… With Bass & keys from Drew, chorus vocals from Kwadjo from Beyond The Stars & Michelle Escoffrey and scratches from DJ Bizznizz, This is menacing. Make of it what you will.

Referencing his myspace ( his new album is done and they are “just sorting out politics ….”

Matty B.

A conversation with DJ Butter

Just wanted to give props to my boy Conscious for lettin’ us post up his interview with DJ Butter. It’s got some great insight into Detroit hiphop culture. Enjoy.


A Conversation with DJ Butter
written by Conscious
Source Free HipHop Now Syndicate

On yet another night when I should’ve been at least attempting to get some rest or pretending to be sleep to convince myself that it’s actually possible to do so, I found myself on Myspace denying friend request and emptying out my inbox. There’s one request that I opted not to delete for some unknown reason and proceeded to do some further research. I take a look at the profile and it’s a kat from the D reaching out and quite simply trynah to get his hustle on like everyone else in this cyber world. I checked out what he was doing, shot him an email and asked him if he’d like to be interviewed. He said sure. What follows is a short conversation we had via AIM.

Conscious: Who are you and why should we be interviewing you in the first place?

Butter: I’m one of the main outlets to Detroit’s Hiphop scene.

Conscious: One of the main outlets huh. So without you, I assume a whole lot of kats wouldn’t get heard. What makes you different from the thousands of would be DJ’s throughout the nation. What defines your signature style?

Butter: Detroit has its own sound. Our artists rarely get played on the majority of DJ’s around the world mixtapes or mix circuits. Detroit is one of the birthplaces to music period. We are still the underdogs. From Stevie Wonder to Eminem, we make a difference on music as a whole.

Conscious: Okay but what about you. What makes you stand out amidst the large number of DJ’s putting out mixes. How does one identify your work?

Butter: I take artists to the studio. Make beats, Run my own label, Crazy Noise Productions. I dropped my own albums, Kill The DJ, Shithappens, Welcome To Shitsville on my imprint. These albums show my A & R skills, productions skills and how I bring unity with Detroit artists. I’m not trying to be the next best thing on the turntables or mixtapes. I’m just trying to show the world that Motown has rappers as well as R & B legends. I’m not trying to be the DJ in a rush to play a beef song.

Conscious: So with this grind what methods have you found to be the most successful to get the music in the hands of the listener?

Butter: Doing what the radio station here doesn’t do. Become a home for the rappers. Using the internet, just letting other DJ’s know worldwide that Detroit Hip-Hop exist. I’m working on some mixtapes with DJ’s from Atlanta to New York. I’m trying to beat our music into people’s heads. In every way!

Conscious: How far do you go back, as far as physical cassette tapes?

Butter: I’ve been putting out mixtapes for over 15 years. I was one of the first dudes to throw Eminem and D-12 on my shit. The late Proof used to help me sell my joints out the Hip-Hop Shop. There were only a few cats doing Hip-Hop mixes in Detroit with me, along with DJ Whip, DJ Tony Tone and DJ Dez (Slum Village DJ). My dude, Wesley Valentine was one of the first people to help me dubb my tapes.

Conscious: Aight so you take it back. A real OG. What are you fondest memories back in the days of the cassette?

Butter: Getting Slum Village’s debut album from J-Dilla on tape. That was huge for me. Other than my cousin from New Jersey bringing me DJ Clue’s earlier joints. Those days, we played the whole shit. No skip or fast forward.

Conscious: Yeah, Clue used to have that hustle out the trunk going strong in NY. I couldn’t imagine anywhere else in the country even understanding how crazy the mixtape game was early on. So, you produce. What are you working with?

Butter: I work on a Triton, Motif, MPC 2000. I watch movies for sounds, listen to breaks and samples on albums, and make the sounds hard to trace as much as I can.

Conscious: So with production how would you say you stand out?

Butter: I like to take the oldest sounding drums, and lace some up-tempo heavy bass lines. I may jack some old Steady B or Jungle Brothers drums and make it funky on some 2006 shit.

Conscious: Is it just me or do a lot of producers in the D straight sound like J Dilla clones?

Butter: Naw. You have people like Sick Notes, Whitemike, Nick Speed, Black Milk that make their name known, with their own style. J-Dilla did create a lot of babies under him, because he worked hand and hand with a lot of Detroit folks. (Kanye West took a page from J-Dilla’s book.)

Conscious: Similar to a Large Professor. That’s one dude that doesn’t get enough mention in terms of his contribution to Hiphop music and his coaching producers that grew into well known figures in the game.(Yeah Kayne admits jackin Dilla’s drums. I’m sure a lottah kats did that. Or are still doing that.)

Butter: J-Dilla was ahead of his time—He really put his soul into a drum machine

Conscious: And into the instruments as well. I don’t think folks really, really know that that man wasn’t just a beat maker he was a musician. I think he surpassed his peers on so many levels. He pushed that bar waaaaaaaay up.

Conscious: What’s going on in the D as far as live events? Do you spin anywhere?

Butter: I spin at a few spot dates, hired parties, but mainly the Hip-Hop shows. I’m working on a show now with our old school rappers. I mainly throw my own parties. You can catch me on college radio here sometimes also.

Conscious: I’ve been talking to a lot of folks about emcees and their live shows, and how for the most part a lot of guys just aren’t impressive. Stage shows these days even for some of our favorite artists’ just plain ol’ suck. Who would you say, from all the acts you’ve seen over the years has the most enjoyable on point stage show?

Butter: Gang Starr and Busta Rhymes are the illest.

Conscious: This is probably the worst question I’ve ever asked anyone because it’s so standard and predictable with most interviews, but what artist would you like to one day produce for outside the D?

Butter: Kool G. Rap and maybe Compton’s Most Wanted.

Conscious: Man G Rap is that dude. Are you doing any production that is not Hiphop these days?

Butter: I wanna do some jazz, laid back stuff. Maybe some soft rock stuff. One day!

Conscious: Aight man. It’s time to shut this one down. I just wanted to point some light in your direction. Hope we help you reach some new folks online and off through this interview. Anything you wanna toss out there for we wrap?

Butter: Be on the lookout for my new album, “Badussy” dropping in January of 2007. I’m currently in the studio producing my dude, Wesley Valentine. If you haven’t heard my stuff visit: and

Butter: Thank U

Conscious: No doubt, thanks for your time. Keep making music…

The St. Elsewhere Mix by Ben Lewis

Ben Lewis Vs. Gnarls Barkley
The St. Elsewhere Mix

Download Here (right-click and save)

It seems like a battle between people who are absolutely nuts over Gnarls Barkley and people who hate the project. I wish people actually put some thought into why they dont like this album besides “It sucks” and “This aint hiphop!”… to which I say, “It’s hella more hiphop than most anything on commercial top 40 rap&bullshit radio”… For people who are still sleeping like sheep or need a nudge, Check out this incredibly well put together mix by Ben Lewis outta Baton Rouge, LA… It’s entitled “The St. Elsewhere Mix” and it’s the entire album mixed. Gnarls Barkley should holler at this cat. I know hella people who copped the album after hearing this. I’ve been bangin’ it alot in the ride and on CC-Radio. Ben describes the project in his own words…

“I’ve always wanted to do a full-album DJ mix, but could never come up with inspiration from a particular record. After listening to Gnarls Barkley’s St. Elsewhere for a couple of days, I realized how challenging and fun mixing the entire CD would be. So last night, instead of crunching data for my thesis, I recorded this mix.

Why St. Elsewhere? It’s new, it’s relevant, it’s fun — but it’s short. Really goddamn short. Most songs clock in under three minutes, and Cee-Lo’s vocals often start on the first beat. This makes things difficult for mixing. Fortunately, some quick editing and arrangements make it possible to mix these little ideas of songs into a showcase exactly 30 minutes long. Those who know the original tracks should be able to tell where I constructed instrumentals for this mix. The album’s largely varying tempos provided another challenge; this mix starts off at 112 BPM and ends at 75 BPM.”

There you have it folks. Grab it while its still hot. Many respect to Ben Lewis for the incredible talent. Let’s see what other album he cuts up together… Cop that Gnarls Barkley album and support some next level sound exploration.

“Rock and Roll could never hiphop like this” – Stetsasonic

Ben Lewis Vs. Gnarls Barkley
The St. Elsewhere Mix

01. The Last Time
02. Crazy
03. The Boogie Monster
04. Just a Thought
05. Online
06. Feng Shui
07. Gone Daddy Gone
08. Smiley Faces
09. Who Cares?
10. Transformer
11. Storm Coming
12. Necromancer
13. St. Elsewhere
14. Go-Go Gadget Gospel

VETV – Vinyl Exchange TV: Episode 001


Vinyl Exchange TV: Episode 001 Stream / Download

VETV is a new online interview series for hip-hop vinyl junkies, a spinoff from The Vinyl Exchange website. Download this episode for your iPod or PSP at The premiere episode of VETV features emcee Eddie K and DJ Marz, Future Primitive Sound’s creative director Mark Herlihy with DJ RasCue, and Cool Chris of Groove Merchant, who all call the Bay Area home.

Rashid Hadee – It Ain’t Hard To Tell

Rashid Hadee

It Ain’t Hard To Tell Download (ZIP)
from It Ain’t Hard To Tell EP (2006, Neblina Records)

Name me one moment when Jerry Juliano, Rashid Hadee or anyone from Neblina Records isnt busy at work on some hot new hiphop project? They keep releasing nothing but bangers that rock crowds, jams and just about every ipod from Chicago to Ecuador. You got the rhyming beatslinger Rashid Hadee from Chapter 13 on a dope EP entitled “It Ain’t Hard To Tell” which features 8 new tracks, all produced by the man himself. You got him either on the boards layin down some thick beatwork or sharing mic duties alongside Augustine, Abstract Mindstate and Chapter 13. Check out his ill remix of Pete Rock and CL Smooth’s “Appreciate”. You will definitely appreciate it. Grab it and spread the word on Rashid Hadee, Chapter 13 and Neblina Records. This should keep you over until Rashid drops the highly anticipated “Dedication” album. Fresh quality hiphop music, for free? Dont sleep. and If you aint down, Join the Neblina Records forum and tell em Audio1 sent ya.

Radioinactive In Full Effect


from Soundtrack To A Book (2006, Stranger Touch)

The analog-powered riddims are the perfect complement to Radioinactive’s rapid-fire images and meter-defying cadence. It’s like a chain reaction where pop culture, the Lost Continent of Atlantis, and your girlfriend’s ass collide in a kind of reactor core meltdown of the collective unconscious.

At the age of ten, Radio could be found playing clarinet in junior high band class, break dancing, and studying the fist of Northern Shaolin Eagle Claw in a parking a lot under a surf shop next to a nail salon in LA. Two years later, Radioinactive made his hip hop performance debut in the Los Angeles Unified School District’s Gifted and Talented Students Olympics of the Mind competition. He wore a splatter-paint T-shirt and rapped in pig latin.

In 1993, a young Radioninactive began showing up at The Good Life Cafe, a health food store in south central LA which hosted a weekly competitive showcase for hip hop artists. The Good Life became a catalyst for the (largely under-reported) early 90’s underground hip hop Renaissance in LA. Radioinactive went on to form the Log Cabin Crew with (pre-Living Legends) Murs, Eligh and Scarab and the seminal West Coast Workforce with Subtitle (GSL). He started recording four track stuff with MCs Circus and Awol One that would later become classics of the OG space-hop Shapeshifters. From the Planet of the Shapes (1997) and Know Future to their most recent release Shapeshifters Was Here (2005) on the Cornerstone R.A.S. label, Radioinactive has been a core member of the Shapeshifters.

Radio’s distinctive delivery and humor first charmed the hearts and pens of the hip hop press with the song “Farmer’s Market of the Beast” on the now classic Beneath the Surface (1998) compilation, where he rapped like a goat. He joined the Mush Records roster and released Pyramidi (2001), his first solo record; The Weather (2003), a collaboration with long-time co-conspirator-in-rhyme Busdriver (Ninja Tune, Epitaph); and Free Kamal (2004) with producer Anti MC.

Now with the gifts of analog-mafia-funded Los Angeles label Stranger Touch Records, Radioinactive transcends his impressive credentials and delivers a hook-heavy catharsis of post-ironic hipster hop. Soundtrack to a Book is not a book on tape, but rather a tape on book. Check out the tracks and let us know what you think… Dude’s been on the grind for ages and is still doing his thing proper!