Bloggerhouse Hip Hop

Long time readers will remember this post as a re-run. Not that I’m running out of ideas, but when I started this, I wasn’t planning on almost working 60 hours this week, which is what I’m on target to do. Top that with doing taxes all night last night and a couple late nights earlier in the week and my ass is dragging. But this was a good post, so hey, if you haven’t seen it before, pretend like you didn’t read this and assume that it is new. -Trav

I’m no where near a bass “expert” by any stretch of the mind. I listened to it from ’88 until about ’91, then I got swept up in the new have of NYC material coming out during that time. None the less, I did have my favorite bass and bass related albums. It’d be easy to say any 2 Live Crew album (which were all good in those early years), but I seemed to gravitate to some of the more obscure things, which I have the habit of doing. So, without further rambling, I present WYDU’s Top Five Favorite Bass Albums….

5 (TIE). MC Shy D – Commin’ Correct in ’88 http://rapidshare.com/files/172630816/MC_Shy_D_-_Comin__Correct_In_88.rar

I really can’t remember who or what got me originally into MC Shy D. I want to say it was like a lot of cats in those days did it. Anytime I bought a new tape, I would pull out the liner notes and read the “Thanks To…” from whatever artist. This would usually list a bunch of other rap groups and artists. I can remember reading MC Shy D‘s name being mentioned in those quite often. Or it could have been for the fact he was signed to Luke Skyywalker Records for his first couple efforts and I picked up one of the tapes strictly based on that. Whatever the case, at one time, my next door neighbor neighbor and I had all of MC Shy D’s albums. Shy D was out of Atlanta, which surprisingly had a few groups dropping material in the late 80′s, such as Shy D and Success N Effect (another favorite Bass flavored album, at least their debut effort).

This particular album, my buddy bought and I ripped it off of him (another example of kids always pirating music). I remember I wore the tape out, but of course it was on one of those super cheap tape brands as well. While his first album, Got To Be Tough, and his third album, Don’t Sweat Me, are both very good, it was Shy D’s sophomore album, Commin’ Correct in ’88 that was my personal favorite. From the first track, “I Am Rough”, with it’s stripped down drum track with a nice funk guitar sample and 808 kick drum, it sounds like it might be a traditional 80′s hip hop album. Lyrically, Shy D always reminded me of a southern Steady B, which is probably why I liked his material. “Just My Caddy” tackles the favorite car of most Miami Bass artists, the Cadillac. “I Don’t Want To Treat You Wrong” jumped on the bandwagon of every rapper had to have a love song on his shit. This was Shy D’s attempt, but what makes the track so important is that it’s one of the first times I heard the Isley Brother’s “In Between The Sheets” sample used. Biggie and numerous other cats made the sample famous over the years, but Shy D beat them to it. My two personal favorite songs from the album, “Shake It” and “I Don’t Play” liberally use electric guitar riffs, ala Beasties and Run DMC, but I loved that shit. I guess it was the white boy in me. All together though, this is a great album that has gotten a lot of play over the years from me.

Poison Clan’s “2 Low life Muthas” has long been a favorite “ig’nant” album of mine as well as a favorite bass themed album. They came along the lines of 2 Live Crew, which is obvious by the “Baby 2 Live Crew” moniker the album was blessed with on the cover. Debanior and JT Money were a cross between good ole fashion gangsta rap and the Miami Bass sound. The album was produced by 2 Live Crew’s Mr. Mixx, and contains a lot of familiar breaks and sounds, but it was perfect for 16 year old high school kids back in the day such as myself. Classic album in the WYDU frame of mind.

The lead track, “2 Low Life Mutha F—-s” is as dirty and hard hitting as they come. As I said, the 2 Live influence is all over the album, as they curse out bitches, punks and anyone frontin’ on them over a hard as hell drum track. The only “safe” track, “Dance All Nite” is probably the most traditional when it comes to the Miami Bass genre. It’s all there for a club banger. The rest of the album is pure ignorance, all over that Miami flavor that was mad popular in those days.

Poison Clan – 2 Low Life Muthas (Effect/Luke Records, 1990)

2. DJ Magic Mike & MC Madness – Ain’t No Doubt About It

I going through the blog looking to see if I had written anything about this album before, and surprisingly enough I didn’t see anything. If I haven’t, that’s a shame, because when it comes to the bass genre, DJ Magic Mike & MC Madness’ “Ain’t No Doubt About It” is a great album for many different reasons. First of all, it’s got bass, and a lot of it. This is probably the first “true” Miami bass album on the list, simply because this album will blow up any car system not properly installed. It can rattle dishes in a house from a mile away. Tracks like “Do You Like Bass” and “Feel The Bass III” concentrates on that ultra low bass that will make you pee yourself if not careful.

Also for a bass album, it was wide on variety and MC Madness, who will never be confused for Rakim, could hold his own on the mic. Tracks like “Dynamic Duo” contained the best of both worlds, adrenaline producing music and bone jarring bass. It got your blood pumping and I probably would consider it one of my bass influenced jams of all time. Magic Mike had a string of albums that went gold, with very little airplay and no videos from what I remember. He did that with a cult following and making quality bass joints, and this is the pennacle of it all.

DJ Magic Mike & MC Madness – Ain’t No Doubt About It (Cheetah Records, 1991)

The holy grail of all bass albums, MC ADE’s How Much Can You Take. It is my favorite of the genre. Hard hitting bass, possibly the hardest I’ve ever ran across (I never listened to those car audio joints, so those might have more) that would just roll so hard, but would be so clear. Maybe it was the way I had my system set up or something, but this was the CD I’d use to test out any car stereo. “Hit Harder” was my shit, but “Control”, “How Much Can You Take”, and “Da’ Train” all had crazy crazy bass. Some of the other tracks were traditional hip hop tracks, but still had that kick behind them.

I remember my best friend’s cousin was visiting from Vegas and he played this for us. I fell in love with it. It was something that we couldn’t find in my little ho-dunk town at the time, so I think I ended up trading him a 12 pack of beer (as seniors in high school, getting beer was a bit of a chore) for the CD itself. Somehow over the years I lost it, but it was pretty beat up anyway. I finally got the hook up from my man Tommy B over at Miscreant Productions. This is an ebay and amazon treasure with people paying around hundred bucks and more for the CD and wax versions.

MC A.D.E. – How Much Can You Take (4-Sight Records, 1989)

01 Go A.D.E
02 How Much Can You Take
03 To The Fan’s
04 Sex, Crime, Drugs
05 Hit Harder
06 Da ‘Train
07 A.D.E. Got It Going On
08 Lyric Licking
09 Money Hounding Ho’s
10 Physician
11 It’s Crazy
12 Control

I’m a list junkie, always have been. It’s one of the reasons I love the end of year so damn much. I can write up all sorts of crazy ass lists to cover the years music. It’s the reason I’ve already started on making lists for the grandiose year end post I have coming up in the next few weeks. I look for any chance I have to come up with some hair-brained list. And I found one for this week. My top five favorite bass albums.

I’m no where near a bass “expert” by any stretch of the mind. I listened to it from ’88 until about ’91, then I got swept up in the new have of NYC material coming out during that time. None the less, I did have my favorite bass and bass related albums. It’d be easy to say any 2 Live Crew album (which were all good in those early years), but I seemed to gravitate to some of the more obscure things, which I have the habit of doing. So, without further rambling, I present WYDU’s Top Five Favorite Bass Albums….

5 (TIE). MC Shy D – Commin’ Correct in ’88 http://rapidshare.com/files/172630816/MC_Shy_D_-_Comin__Correct_In_88.rar

I really can’t remember who or what got me originally into MC Shy D. I want to say it was like a lot of cats in those days did it. Anytime I bought a new tape, I would pull out the liner notes and read the “Thanks To…” from whatever artist. This would usually list a bunch of other rap groups and artists. I can remember reading MC Shy D‘s name being mentioned in those quite often. Or it could have been for the fact he was signed to Luke Skyywalker Records for his first couple efforts and I picked up one of the tapes strictly based on that. Whatever the case, at one time, my next door neighbor neighbor and I had all of MC Shy D’s albums. Shy D was out of Atlanta, which surprisingly had a few groups dropping material in the late 80′s, such as Shy D and Success N Effect (another favorite Bass flavored album, at least their debut effort).

This particular album, my buddy bought and I ripped it off of him (another example of kids always pirating music). I remember I wore the tape out, but of course it was on one of those super cheap tape brands as well. While his first album, Got To Be Tough, and his third album, Don’t Sweat Me, are both very good, it was Shy D’s sophomore album, Commin’ Correct in ’88 that was my personal favorite. From the first track, “I Am Rough”, with it’s stripped down drum track with a nice funk guitar sample and 808 kick drum, it sounds like it might be a traditional 80′s hip hop album. Lyrically, Shy D always reminded me of a southern Steady B, which is probably why I liked his material. “Just My Caddy” tackles the favorite car of most Miami Bass artists, the Cadillac. “I Don’t Want To Treat You Wrong” jumped on the bandwagon of every rapper had to have a love song on his shit. This was Shy D’s attempt, but what makes the track so important is that it’s one of the first times I heard the Isley Brother’s “In Between The Sheets” sample used. Biggie and numerous other cats made the sample famous over the years, but Shy D beat them to it. My two personal favorite songs from the album, “Shake It” and “I Don’t Play” liberally use electric guitar riffs, ala Beasties and Run DMC, but I loved that shit. I guess it was the white boy in me. All together though, this is a great album that has gotten a lot of play over the years from me.

Poison Clan’s “2 Low life Muthas” has long been a favorite “ig’nant” album of mine as well as a favorite bass themed album. They came along the lines of 2 Live Crew, which is obvious by the “Baby 2 Live Crew” moniker the album was blessed with on the cover. Debanior and JT Money were a cross between good ole fashion gangsta rap and the Miami Bass sound. The album was produced by 2 Live Crew’s Mr. Mixx, and contains a lot of familiar breaks and sounds, but it was perfect for 16 year old high school kids back in the day such as myself. Classic album in the WYDU frame of mind.

The lead track, “2 Low Life Mutha F—-s” is as dirty and hard hitting as they come. As I said, the 2 Live influence is all over the album, as they curse out bitches, punks and anyone frontin’ on them over a hard as hell drum track. The only “safe” track, “Dance All Nite” is probably the most traditional when it comes to the Miami Bass genre. It’s all there for a club banger. The rest of the album is pure ignorance, all over that Miami flavor that was mad popular in those days.

Poison Clan – 2 Low Life Muthas (Effect/Luke Records, 1990)

2. DJ Magic Mike & MC Madness – Ain’t No Doubt About It

I going through the blog looking to see if I had written anything about this album before, and surprisingly enough I didn’t see anything. If I haven’t, that’s a shame, because when it comes to the bass genre, DJ Magic Mike & MC Madness’ “Ain’t No Doubt About It” is a great album for many different reasons. First of all, it’s got bass, and a lot of it. This is probably the first “true” Miami bass album on the list, simply because this album will blow up any car system not properly installed. It can rattle dishes in a house from a mile away. Tracks like “Do You Like Bass” and “Feel The Bass III” concentrates on that ultra low bass that will make you pee yourself if not careful.

Also for a bass album, it was wide on variety and MC Madness, who will never be confused for Rakim, could hold his own on the mic. Tracks like “Dynamic Duo” contained the best of both worlds, adrenaline producing music and bone jarring bass. It got your blood pumping and I probably would consider it one of my bass influenced jams of all time. Magic Mike had a string of albums that went gold, with very little airplay and no videos from what I remember. He did that with a cult following and making quality bass joints, and this is the pennacle of it all.

DJ Magic Mike & MC Madness – Ain’t No Doubt About It (Cheetah Records, 1991)

The holy grail of all bass albums, MC ADE’s How Much Can You Take. It is my favorite of the genre. Hard hitting bass, possibly the hardest I’ve ever ran across (I never listened to those car audio joints, so those might have more) that would just roll so hard, but would be so clear. Maybe it was the way I had my system set up or something, but this was the CD I’d use to test out any car stereo. “Hit Harder” was my shit, but “Control”, “How Much Can You Take”, and “Da’ Train” all had crazy crazy bass. Some of the other tracks were traditional hip hop tracks, but still had that kick behind them.

I remember my best friends cousin was visiting from Vegas and he played this for us. I fell in love with it. It was something that we couldn’t find in my little ho-dunk town at the time, so I think I ended up trading him a 12 pack of beer (as seniors in high school, getting beer was a bit of a chore) for the CD itself. Somehow over the years I lost it, but it was pretty beat up anyway. I finally got the hook up from my man Tommy B over at Miscreant Productions. This is an ebay and amazon treasure with people paying around hundred bucks and more for the CD and wax versions.

MC A.D.E. – How Much Can You Take (4-Sight Records, 1989)

01 Go A.D.E src="http://photos1.blogger.com/blogger/685/472/200/B000001031.01.MZZZZZZZ.jpg" border="0" />
02 How Much Can You Take
03 To The Fan’s
04 Sex, Crime, Drugs
05 Hit Harder
06 Da ‘Train
07 A.D.E. Got It Going On
08 Lyric Licking
09 Money Hounding Ho’s
10 Physician
11 It’s Crazy
12 Control

1  1

It’s cold, I had to drive to work in the snow, winter is here. It made me wish I was sittin’ on a beach in Miami, sipping a margarita and watching bikini clad hotties walk by. Of course, I would need some music, and for sitting on a beach in Miami, what better than some classic local inspired music, which has a genre named after it. You know what I’m talking about, the thump of 808′s and the rolling thunder of some bass kicking out of two 12′s in the trunk. I’ve long been a fan of the music, I like the basic beats and the louder, thundering bass. It’s kind of come back in the form of The Cool Kids, but I have a hard time sitting through one of their albums, knowing it’s just a fad now.

Anyway, for the rest of the week, we are going to go through some essentials of the genre, all ending in my top 5 all-time favorite bass albums on Friday. Today, we are just going through some of the stuff I have sitting on the blog already. The next couple days after that, we’ll highlight a few of the other albums out there…..

How can you pass up any album with cover art that looks like it belongs on the side of a 70′s van? I was a big fan of the Miami Bass sound back in the late 80′s, early 90′s and this album is one those “classics” of the genre, although it gets a little political in some places as well drops some nasty sex rhymes, which is all good. Disco Rick was part of this group, who you might remember from the Gucci Crew back in the day.

The Dogs – The Dogs (JR Records, 1990)
http://www.megaupload.com/?d=XVPDCGA0

01 Intro (0:50)
02 Where Is Disco Rick At? (3:20)
03 Lets Go, Lets Go (3:26)
04 F..k The President (3:29)
05 Ten Little N……s (4:31)
06 Lick It (3:40)
07 Take It Baby (4:07)
08 Dog Call (4:47)
09 Take It Off (4:10)
10 Crack Rock (4:19)
11 Who Gives A F..k (3:23)
12 Get Loose (4:34)
13 F..k You All (2:10)

Maggotron – The Invasion Will Not Be Televised (Jamarc, 1989)

Some of the Miami bass that I’ve grown to love. This is some weird shit, and honestly I haven’t listened to it forever, so I can’t really say much more about it other than ch-ch-check it out.

1. Autobiography
2. An All Out Bash
3. Motivated
4. Intermission
5. Take Heed
6. I Came Back
7. Motivated Reprise
8. My Bass In It
9. Let’s Get Physical
10. Make It Funky
11. King Of The Swing
12. I Bring The Funk
13. Meeting Of The Minds

Trav’s Note – When you’ve been doing this for almost two and a half years, you build up quite the “portfolio” of posts. I realize that the visitor base has changed through out that time. I have some regular visitors at one time I see much on the site and I know there are some new heads just now checking out the site lately. I like to think I had some pretty good posts in those early days when we were still starting out that might have been missed. So when I’m feelin’ a little lazy and don’t feel like spending the two to three hours after work to crank out post for the next morning, I’m going to toss up one of the old school posts. Tonight, I’m bringing back one of my favorite topics, the Miami Bass sound. I was a big fan of the Miami Bass sound. I loved to hear my little Jetta go “BOOM”. So in effort to bring some more attention to a post I did in September of 2006 (we’d just started building up decent numbers) I figured I’d post it up one more time, along with some of my favorite albums of the genre.

You know the feeling, your car rattling so damn bad that you can’t see out your rear view mirror. You could feel it in your chest and in your gut. You would tie something on your mirror just to see how much you could get it to jump when the 808 kick drum hit. Little kids would run and hide when you came rolling down the block. Old men would shake their fist at you. Cops would pull you over just to tell you to turn it down. As the Masta himself would say in Jeep Ass Nigguh:

“Black boy, black boy, turn that shit down/You know that America don’t wanna hear the sound/Of the bass drum jungle music/Go back to Afrika/Niguh, I’ll arrest ya if you’re holding up traffic/I’ll be damned if I listen/So cops, save your breath and/Write another ticket if you have any left..”

Your trunk was useless with all the speaker equipment in it. A box with Twelve’s or Fifteen’s, an amp big enough that you needed two batteries to run it, if you didn’t, your headlights would be dimming to the sound of the bass. Sure you could play your boom bap shit, but if you were like me in the late 80′s and early 90′s, the music of choice to get the trunk rattling was any Miami Bass artist that had the type of bass that could wake the dead with in a block when you rolled by. Miami Bass, that type of shit every cat had to show off his system.

History Lesson
Now, I’m definitely not the one that should be doing this little write up. Yes, I was into the whole Miami Bass thing for a few years, 89′-91′ or so, but I’m by no means an expert on the whole genre. Even then I was into the more accessible albums such as MC Shy D, Gucci Crew II, 2 Live and those type albums. Only the past year or so, I’ve been trying to catch up on some of the genre that I forgot, missed, or passed over back then, thanks to a lot of help from Tommy B of Miscreant Productions.

The Roots Of Miami Bass

The roots of the Miami Bass movement are very debatable and depending on what source you read, the genre could have had its start in a number of ways. The common perception is that you can trace the Miami Bass sound through the early days of electro grooves of Kraftwerk in the late 70′s and Afrika Bambaataa and the Soulsonic Force in the early 80′s. Kraftwerk was a German group that is kind of hard to put a label on, but they are credited with influencing a major portion of the NY music scene in the early 80′s including Bam and his crew along with George Clinton and the funk scene along with soul and dance music of the time as well.

The Miami bass sound’s backbone is the high BPM’s (beats per minute) and the Roland TR-808 drum machine. The first hip hop influenced song credited with using the 808 kick drum was Afrika Bambaata’s monumental hit, “Planet Rock” that dropped in 82′. Rick Rubin & DJ Jazzy Jay would also feature the heavy bottomed kick drum on T La Rock’s “It’s Yours” in 83′ along with Run DMC’s “Together Forever (Krush Groove 4)”. Rubin would go on to use this blueprint in many of the early Beastie Boys, LL Cool J and Run DMC productions in later albums. The sound started catching a hold around the country as producers/musicians such as NY’s Mantronix, Miami’s Amos Larkin, and the little known west coast group 2 Live Crew started to use this formula in their music in 84 & 85.

The Beginnings

South Florida was in the electro mix from the get go in the early 80′s. Producers such as Pretty Tony, DXJ, Larry Dermer, Freddy Stonewall,Michael Sterling, Eugene Cooper, Noel Williams, Dwayne Omarr and the x-rated Clarence Reid aka “Blowfly” who would go on to serve as influence to 2 Live’s x-rated lyrics. Which Miami artist is credited with first using the 808 in a song is debatable as well. It is thought Double Dose’s “Commin’ in Fresh” in 85′ is often cited as the first Rap album to use the 808′. Miami legend, Amos Larkin produced the song, and by mistake used the 808 and after releasing a test copy to a select few, was convinced to keep the sound. It is said this was the blueprint for the Miami bass sound in the future.

Adrian Hines, son of label/record store owner Billy Hines is also said to have the first “true” bass record with his 12″ Bass Rock Express also in 85′. Billy Hines ran 4-Sight Records out of his record shop which released regional rap and electro acts. For Adrain’s sixteenth birthday, Billy Hines secured studio time for this son, who along with Amos Larkin, would produce “Bass Rock Express” under Adrian’s MC moniker M.C. A.D.E. (Adrian Does Everything). It was styled closely “Planet Rock” and the electro style, but it’s the first to reference the bass in the track and the title.

Trav’s Note - This next part came in form of a comment from a reader. I found it very informative, and although it differs from my account in some ways, I will be the first to admit I don’t know anything. This person might be more on track as of its roots so I thought I’d post it as well……

PappaWheelie said…

As for what the roots of Miami Bass are, m
y research suggests it’s multi-pronged. The first element is simply the end of Miami’s massive TK Records in 1981, yet, the continuation of Tone Distribution. Henry Stone (the man behind both) knew the dollars sold on Planet Rock in 1982 since he helped distribute it — so he hired guns (Joe Galdo, Freddy Stonewall, Larry Dermer, et al) to recreate something similar for the next couple years to be released on his new label Sunnyview. The second element was when the never-released B-Boy film Cry of the City came to town in the Spring of 1984. They (former mob boss Michael Franzise and company) were the first to hire Amos Larkins as a record producer (rather than session man as Henry had been doing prior) for the MC Flex & The FBI Crew release (Rockin’ It). Henry distributed that too, knew the numbers sold, and gave Amos an outlet at Sunnyview’s sublabels in 1984 (leading to Double Duce, which was a string of singles, not an album). The third prong was the success of Rubin’s sustained 808 jams that led to the *Top 40* success of LL’s Rock the Bells in 1985. That hit inspired Amos & Henry, and subsequently MC A.D.E. (who denies the 16th b’day point now). ADE and his dad were selling tons of Amos records from their Royal Sounds store, so he hired Amos to produce a 4-Sight single (Bass Rock Express). That record caused a national trend for bass (Rodney O in LA, Original Concept in NY, T La Rock in NY, etc). Technically, that was the beginning of Miami Bass – but the elements as we know it today all came together as a result of South Florida park DJs in 1985/1986, who knew the crowd wanted the tempo of 1984 era Electro, and the sustained 808 kick of 1985 Amos/Rubin tracks — so they played sets of both. Once 2 Live Crew was beginning to relocate to Florida in 1986, they brought the elements together in one song (Throw the D). Luke was just a DJ/promoter with Ghetto Style DJs at the time (and he invested in/managed 2 Live by then), and his success playing Throw the D at his Pac Jam club showed other producers what to do. By August of 1987, the SP1200 sampler came out changing Hip-Hop to sample based music, however, nowhere outside of NYC was part of the pedigree that produced and used Breakbeat Lenny’s Ultimate Breaks and Beats series of samples — so South Florida (and the West Coast) used the SP1200 differently, giving us “Give it All You Got” and the remainder of the 2nd wave bass (through 1991)[this means Lyn Collins' "Think" was not part of the Miami Bass palette as that was from UB&B initially]. Once 2 Live broke up, Mr. Mixx moved to Oakland leaving Luke Records without an inhouse producer (this is also when the MPC60II took hold to replace the SP1200). Without Mr. Mixx creating hits for Luke, and with Magic Mike having moved onto Hank Shocklee inspired Hip-Hop, the scene needed new inspiration in late 1991/early 1992. That was the reason for Devastator’s extreme uptempo “booty shake” sound (think I Wanna Rock/Doo Doo Brown & Shake Watcha Mama Gave Ya). By 1992/1993, everyone copied Devastator’s sound (and JT Money’s vocal cadence) for the next so many years (or came from outside South Florida, such as Tag Team or Quad City DJs). Later, Luke alumni such as DJ Toomp and other ATL Bass producers such as DJ Smurf (now Mr. Collipark) went on to produce huge HUGE top 40 new school rap hits for T.I. and Ying Yang, which brings us up to date. Despite these clarifications, it’s nice to see much of my sentiments coming back to haunt me though…

MC A.D.E. – How Much Can You Take (4-Sight Records, 1989)

01 Go A.D.E
02 How Much Can You Take
03 To The Fan’s
04 Sex, Crime, Drugs
05 Hit Harder
06 Da ‘Train
07 A.D.E. Got It Going On
08 Lyric Licking
09 Money Hounding Ho’s
10 Physician
11 It’s Crazy
12 Control

This album is my favorite of the genre. Hard hitting bass, possibly the hardest I’ve ever ran across (I never listened to those car audio joints, so those might have more) that would just roll so hard, but would be so clear. Maybe it was the way I had my system set up or something, but this was the CD I’d use to test out any car stereo. “Hit Harder” was my shit, but “Control”, “How Much Can You Take”, and “Da’ Train” all had crazy crazy bass. Some of the other tracks were traditional hip hop tracks, but still had that kick behind them.

I remember my best friends cousin was visiting from Vegas and he played this for us. I fell in love with it. It was something that we couldn’t find in my little ho-dunk town at the time, so I think I ended up trading him a 12 pack of beer (as seniors in high school, getting beer was a bit of a chore) for the CD itself. Somehow over the years I lost it, but it was pretty beat up anyway. I finally got the hook up from my man Tommy B over at Miscreant Productions. This is an ebay and amazon treasure with people paying around hundred bucks and more for the CD and wax versions.

Gucci Crew II – So Def, So Fresh, So Stupid (Gucci Records, 1987) (**VINYL RIP**)

Miami Boyz – Getting Off (On Top Records, 1988)

**Be sure to vote in the new tourney group posted in the post below**

I finally wrote down all the requests and reups people have been asking for (I hope). I’ve noticed a lot of the zshare links have been dying rather quickly. I’m not sure if this is due to zshare cracking down on downloading or if it’s our resident deliquent fucking with them. None the less, I’m going to go back to Sharebee for these, sorry if it fucks anyone up, but I’m not left with a lot of choices (I’m not sold on Mass Mirror yet).

A1 Lex Lugor (3:50)

Deacon The Villian (of the Cunninlynguists) -The Sermon (?)

09) DITC: ‘Dignified Soldiers RMX’
div>

10) Diamond: ‘With The Dope Sound’

11) OC: ‘U-N-I’

12) Milano: ‘Deal With A Feeling’

13) Big L: ‘How Will I Make It’

14) A-Bless: ‘My Life’s On the Edge’

15) The Omen: ‘Do It Now’

16) Diamond: ‘The Hiatus RMX’

17) OC & Showbiz: ‘Showtime’

18) Sadat, Diamond & Finesse: ‘You Can’t Front’

DITC Collection Part 2

19) A-Bless: ‘That’s Bless’

20) Fat Joe & Big Pun: ‘Best Behaviour RMX’

21) DITC: ‘Themes, Dreams & Schemes’

22) Lord Finesse: ‘In The Ghetto’

23) A-Bless, Party Arty & D-Flow: ‘Rap Game’

24) The Omen: ‘Get On Up’

25) A-Bless, OC & Party Arty: ‘Bad Reputation’.

26) John Dough, Big Red, K. Terrobul & Ras Kass: ‘You’re in the Wrong Place’

27) DITC: ‘We Known For That’

28) Milano: ‘Rep For The Slums’

29) Big L: ‘Put It On RMX’

30) Party Arty, A-Bless & AG: ‘Hold It Down’

31) Diamond & John Dough: ‘MC2’

32) DITC: ‘Wildlife Theme’

33) OC & Jay Z: ‘Bonafide’

34) Lord Finesse & Diamond: ‘Do Your Thing RMX’

35) The Omen: ‘Half Steppin’

36) Lord Finesse: ‘Down For The Underground’

I think the links for these were still good, but someone wanted to know if I could re-up them in something other than megaupload and since they caught me on a good day I went ahead and did it. Plus this was back in Nov or so, and I know some of y’all are too lazy to go back that far, so here they are again, and no corrupt tracks thsi time.

Not sure of the story behind these, these were another thing Polarity sent me (damn I need to send him his CD’s one of these days, no wonder he doesn’t post anymore). Mostly comprised of 12 inch releases and the such.

MC Rell & The House Rockers (Mercury/Polygram, 1989)

1. Into the Future

2. Soundwave Sermon

3. Common Knowledge

4. My Vision

5. Life Of an Entertainer

6. Hole In My Pocket

7. Something About It

8. Brainstorm

9. I’m Slammin’

10. The Rell Thing

No one mentions this all this album much and it’s not a bad album for the most part. I had completely forgot about this myself until a year or two ago. It was one of those tapes I had for awhile and disappeared never to be thought of again.

Rell sounds like a cheap rip off of Rakim, but is that really a bad thing?

Menace Clan – Da Hood (Virgin Records, 1995)

1. Aggravated Mayheim
2. Mad Nigga
3. Record Deal
4. Life
5. Runaway Slave
6. Da Hood
7. What You Say
8. Da Bullet
9. Cold World
10. Me By Myself
11. Have You Ever Heard
12. Last Driveby
13. Kill Whitey

Knucklehedz – Strictly Savage, 1993 (Not Offically Released, though seems to be some promos floating around)

1. Hedrush

2. Savages

3. Wuntz Upon A Time

4. Party Wrecker

5. Uglee Picture

6. Girlies Keep Screamin

7. All She Wanted

8. Trouble Makas

9. 5 Hoods In A 4 Door

10. Who Called The Cops

11. Joy Ridin’

12. Merlin

If you don’t know what this, then you proably shouldn’t be downloading it haha…Short story about this since I’ve typed it a million times. These white boys were supposed to be the next in line in Hit Squad releases before the EPMD break up. It never happened, that coupled with the fact they were on East/West records who dropped more balls than Jose Canseco playing Center Field and they were doomed to be never heard from again. Some people say this was released, but I’m 99.9% sure it never was although there seems to be numerous promo copies floating around.

MC A.D.E. – All Out Bash (4Sight Records, 1991)

1. Autobiography
2. An All Out Bash
3. Motivated
4. Intermission
5. Take Heed
6. I Came Back
7. Motivated Reprise
8. My Bass In It
9. Let’s Get Physical
10. Make It Funky
11. King Of The Swing
12. I Bring The Funk
13. Meeting Of The Minds

If you’ve read this blog long enough, you’ll know that I’m a big fan of ADE’s “How Much Can You Take” which I will call the best Miami Bass album of all time. This was the follow up to that release. While not as good, it definately has its stand out cuts. This one is a little more “hip-hoppy” in the terms of music.

I bought this when it dropped way back then the day, only to lose it like probably about 50% of my collection over time. Dread at Bust The Facts hooked me last year but I finally broke down and bought a copy on amazon after searching all the local stores for it.

Audio Two/Alliance Flip Flop EP

1. I like Cherries – Audio Two

2. Chillin’ – Audio Two

3. The Freshest Slow Jam – Audio Two

4. Where’s The Fellas – Alliance

5. We Got A Beat Pt 2 (Rough Rough) – Alliance

6. Why Oh Girl – Alliance