Soaps is what I'm getting at. I first heard that song by Dooley-O a couple of years ago and I really did think I'd found an unearthed gem from back in the day. This was not the case, as Dooley-O, the legendary DJ and producer had turned rapper for a new album. I'm well aware of the high intelligence and knowledge of my fellow hip-hop bloggers, so I will not bore you with the story of how he and Steezo (his brother as I recall) sampled Skull Snaps, fell out over it and such. Anyway, the beat Dooley-O made from it paved the way for many other classic songs to be created using the same break, but the man went into hiding over recent years.
Luckily for us, he re-emerged on Lewis Recordings, home to everyone's favourite old school cat Edan, and a few more random acts such as Andrew Thompson (his song 'Misunderstanding' is fairly wierd, funny though). He dropped his album 'I Gotcha' in '05 and got critical acclaim.
It harks back to the dyas of what I like to call 'proper' beats. Made with old breaks and using the drums as the main weapon of choice. The album is consistent throughout, even with old school rhyme schemes and themes present. It really is a nostalgic experience for the older heads, but for people like me, who were itty bitty babies during the '88 hip-hop boom, its a lesson on how things used to be and should be done.
1. Intro 2. Soaps 3. I Don't Wanna Lose You 4. Monday Night 5. What You Know About Hip-Hop? 6. I Gotcha 7. I'm Comin' 8. Which Way Is Up 9. KGB Warning 10. He's Gangsta 11. Cashed Out 12. I Wish 13. Piano Blues 14. Over You 15. Aahhaa 16. We Ain't Singin' It 17. Rythum's Revenge 18. Drumz
I have just returned from a superb weekend at the Leeds Carling Weekend 2007. In the past three to four days I've seen about 20 great bands and I've enjoyed every minute of it, with absolutely no hint of hip-hop in sight. I know this blog and its friends are strictly hip-hop, and it will stay that way, but I will set out my musical taste here.
I am, of course, primarily a hip-hip head, but I spend only say 50% of my music-listening time with hip-hop on. I listen to metal, indie, soul, rock, funk, dance, all of it. But rock/metal is my second love. And I must say, it was nice to get away from hip-hop for a few days and just be a rock fan for once instead of just towing the line.
I hope that everyone that visits this site loves rock and many other genres as well as hip-hop, because if you just seclude yourself and commit to one genre you're missing out on thousands upon thousands of superb other artists that could change your life. Right about now, I have to bring up a more serious point.
Hip-hop, RIGHT NOW, is not as creative as it used to be (what an understatement that is...). OK, thats no problem, as the creative output from times gone by was at such a high level it would have been impossible for fans to expect our beloved genre to keep on developing and bettering itself at such a high pace. But the problem does not lie within itself. Hip-hop, RIGHT NOW, is nowhere near as creative as many other genres. Rock, indie and metal are flourishing right about now, and even older bands in those genres such as Nine Inch Nails and the like are experiencing a rebirth of sorts, by tapping into new sounds and changing their own perception on what music should sound like. I just feel like hip-hop is stuck in a rut at this moment.
When the Red Hot Chili Peppers were playing the festival out as the headliners on Sunday night, and had well over 100,000 people all singing along and appreciating their artistry I wondered to myself, could this ever happen in hip-hop?
I just don't think hip-hop at the moment is as good a live spectacle as a) it once was, and b) other genres are. I seriously cannot imagine even the best hip-hop artist in the world (whoever that may be depending on your opinion) being able to both draw a crowd that big into a muddy field and support them and have them hypnotised for the whole time they're on stage.
I've been to some great hip-hop gigs. I saw The Roots at Rock City in Nottingham and was almost drooling when Black Thought was rapping constantly for what seemed like 20 minutes. I saw Nas in the Manchester Apollo and sang along with every song he did and felt like I was part of something special when the first few bars of 'It Ain't Hard To Tell' came out of Nasir's mouth. But these are exceptions. Most hip-hop gigs I go to comprise of just the group members or rappers all walking about the stage going through the motions, shouting at the crowd and generally just looking like they cobbled together the set minutes before. I saw Enter Shikari, a trance/metal british group at Leeds Festival and they had an entire light show going on while managing to persuade the crowd to start pit circles and chant choruses and the lead singer got his whole band to stage dive into the crowd and dance like ravers when the trance came in. It was a sight to behold. Most rappers these days just stand and, well, rap.
I would be interested to see a hip-hop festival, because none have ever been staged as far as I know in my region, and none in our country have been staged on a truly huge scale. But one factor remians, both on creative and performance levels, hip-hop as a genre in this day and age is slipping, and needs to step up. It's falling behind other genres so much at the moment due to its insistence to be monotonous to irritating levels in its commercial circles.
A weekend listening to some great guitar music amongst other things has made me truly see hip-hop as a genre that is in a state of crisis at the moment. Granted, this year has been much better than previous years for material so far, but I'm talking interms of commercial artists. Someone spectacular needs to breakthrough. If Kanye West, 50 Cent and Cam'Ron is the best we can do to represent our culture on a major scale then we aren't doing ourselves justice.
Music update coming tomorrow. Hip-hop needs to wake up.
As promised, the Barnsley thug, Doyen-D’s album ‘En-D.Game’. This will be a major culture shock for American down loaders, or even anyone from outside of the British Isles, really. Its one of the most pure, uncut examples of what can only be described as ‘regional’ Yorkshire Rap. Most emcees from Leeds do have a hint of their accent, but its mostly reined in and a generic british tone is created. But this guy, Doyen ‘Mak’ Deezal, who incidentally writes (or has written) for Hip-Hop Connection on the merits of Southern Rap and Bay Area Rap in the US, has just vocalised the northern accent fully for more comedic value.
Its obvious that the whole thing is tongue-in-cheek (well, I hope it is) and there are lots of laughs to be had here. Not only that, but there are some really good songs on here, not least the massive posse cut ‘Thug Energy’, which features everyone from Junior Disprol of Fleapit fame, to Tommy Evans and Cappo.
This is an album that I certainly haven’t seen anywhere in the shops other than the one I bought it at, never mind on the blogosphere or internet, so I’m sure a lot of you will be venturing into the unknown with this one. It will be a little strange at first, but dip your toes in the water and you might find it canny refreshing.
1.Sole Burnz 2. Underestimated 3. Am Doyen-D 4. Impossible 5. Northern Conquest 6. Meglomania 7. En-d.game. 8. Watchmen 9. Thik Az Theevz (feat. Pri-Cee) 10. Dead Again 11. Thug Energy (feat. Lee Ramsay, Scor-Say-Zee, Bungle, Junior Disprol, Cappo, Tomy Evans, Late, Jibber & Usmaan) 12. Love Iz 13. BreakN Tha M.I.C.
Actually, It’ll be interesting to hear your thoughts on this one, especially overseas readers, so feel free to mention it in the C-Box or drop a comment.
I apologise for going a week without a post, I have just got a little too caught up in the start of the football season and the start of a new era at Newcastle United. Also, I have been busy chuckling seeing Manchester Utd (or Manure) fail to win either of their first two fixtures. But anyway, if football and random talk is what you want, head over to Gangsta Jackanory, thats where I spout most of my comic-wannabe-but-never-gonnabe drivel.
An interesting thing happened today. I went into a computer game shop today (no, thats not the interesting thing) for the first time in a while just for a look about while my lass was furiously buying up all of the stock in Primark, and started listening to the music they were playing. Bearing in mind this is Gamestation, a major computer shop, in Huddersfield, I was very surprised to hear the sounds of Jehst booming from their admittedly weak shop speakers. After just lurking about the shop for the sole reason to listen to what was being played (I probably looked like I was going to rob something) I managed to distinguish the album as Jehst's new Menghi Bus Mixtape.
Now, this may not be that wierd in America, but you're lucky if you hear Common in a shop in England, so I must admit I was very impressed with the shop owners for being supporters of UK hip-hop. The only way UK hip-hop is ever going to be established in the same way American hip-hop is in England is if it is heard in shops, played in cars and generally wanders into the ears of anyone who will listen. When you hear an underground british rap mixtape being played in a major store, you know there is still a chance of local hip-hop music taking off bigtime (which is something we all thought it would have done back in about 2002).
In other boring but notable shops-playing-rap news, I was in HMV today and they were playing DM & Jemini's Ghetto Pop Life album, swearwords and all. Some granny complained that she'd heard racist slurs in the record while I was in the queue, when it was actually Jemini during a live freestyle tagged on the end of a song saying 'I'ma bad n*gga, I'm a bad bad n*gga...'. I wonder how the lass on the till explain the use of the word to the elderly lady...
Anyway, this was a short but always sweet post to say I'm back, and the Northern Author, alongside its brother/sister blog GJ are here to stay.
Oh, and if you're lucky I might upload some classic Doyen D for you tonight. Barnsley thugs, eh? Music doesn't get better than a chav from Yorkshire rapping that he'll give you a black eye like a Panda.
Blaxtrix & Junior Disprol - Night & Day
Dirty Diggers - For The Haters (as we all know, a future UK classic)
Someone asked for the second CD from the Son Records compilation, and here it is. This time it just covers the songs brought out in the year 2004, and it includes the song I started this blog off with, 'Jelly Bellied Eels'.
Apologies for the lack of an update for nearly a week there. My excuse? Extrenuating circumstances. Anyway, I did an absolutely massive post over at Gangsta Jackanory so hopefully that should keep your thirst for my writings at bay until the next go-round.
The first in a series - This one is a mixed bag with something for everyone. With the football (or soccer, as you strange people in USA call it) season still not started yet, I’m suffering from withdrawal symptoms from watching my beloved Newcastle United (Toon, Toon, Black N White Army!), so I find myself listening to a lot more music at the moment. It fills the void nicely, and aswell as getting new material, I’ve recently been scouring through my older Cds and listening to them again.
I’ve mentioned ‘Son Records’ before, when talking about both HKB Finn and DPF, but this time I’m going to throw up the compilation they brought out covering most of their major releases from 1998 to 2003. It has some true classic UK material on there, including tracks by Def Tex, a young and not yet P-Brothers-affiliated Cappo, Styly Cee and the once Out-Da-Ville member C-Mone.
Its solid throughout, and really does represent a good cross section of the lesser known hip-hop music from our country in that time period.
1. Styly Cee - Here Comes Son 2. Mad Doctor X feat Quakes, The Brotherhood, Tenor Fly, Voyager & Blak Twang - Deejays & Emcees 3. Styly Cee feat Cappo & Scor-Zay-Zee - No Pain, No Gain 4. DPF - Yadda Yadda 5. Quakes - Neptune 6. Def Tex - Dancehaul 7. HKB Finn- In The Stillness (Dans Le Calm De La Nuit Mix) 8. C-Mone - UK Chant 9. Lost Island - Mic Life 10. Cappo - Gilgamesh 11. HKB Finn - Vitalistics 12. Def Tex feat DJ Plus One - Turntable For Two 13. DPF - Dis Cuss Peace 14. Styly Cee feat Midnyte - Kofi’s Night 15. Lost Island - Lunch In The Limelight 16. C-Mone - Its Bad 17. Midnyte - Them Or Us 18. UK Kartel - UK Yakuza 19. Mad Doctor X feat Frisco, Cappo, Navigator, Don , Voyager, Terra, D-Luv - 7even (Azzurro Remix)
After that I’m going back to the year 2000, and one of the first ever releases on the now cult label and music collective that spawns obsessive fans, Definitive Jux. This was back before Def Jam tried to sue El-P for having a ‘similar’ name, and it was still Def Jux. The album, a bit like Son Records, is a small compilation showcasing artist from the album. Strange thing is, pretty much EVERYONE on this album has gone on to be huge rap stars in their own right. First you have Company Flow & El-Producto, who were already established before the creation of the label, releasing the brilliant ‘Funcrusher Plus’, instrumental album ‘Little Johnny Went To Hospital’ and a handful of great 12” singles. The CD may even act as one of the last recording done by Co Flow as a group because as far as I know they didn’t release any other material on Def Jux and Mr Len went on to do his own thing.
Aesop Rock makes what I assume is his first song for the label called ‘Kill Em All’ pre-empting my favourite album he has ever released ‘Labor Days’. Cannibal Ox, creators of one of the most ‘cult’ hip hop offerings there is ‘The Cold Vein’, contribute ‘Iron Galaxy’ & ‘Straight Off The D.I.C.’, which if I’m not mistaken feature on their album anyway. Finally we have RjD2, who has went mega in recent years with his production and solo albums. He contributes ‘Silver Fox’ to this tape.
The guest spots are kept to a minimum, with only Ill Bill of Non-Phixion fame dropping a verse on a Co. Flow track. This one mini-album paved the way for ALL Def Jux releases that followed, and showed that from day one El-P and his label had already planned out a particular sound for his record company, a sound that it still holds to this day.
1. Company Flow - DPA (As Seen On TV) 2. Company Flow (feat. Ill Bill) - Simian D AKA Feeling Ignorant 3. Cannibal Ox - Iron Galaxy 4. RjD2 - Silver Fox 5. Cannibal Ox - Straight Off The D.I.C. 6. Aesop Rock - Kill Em All 7. Company Flow - Simple
Finally we have an album that I picked up over a year after it was initially released from a small Independent record shop in Nottingham for only a couple of quid. This one does have a smidgin of a connection to the last album, as its writer, rapper, producer Blueprint has ties with RjD2, being the co-star of group Soul Position with him. This album also features a guest spot for Aesop Rock on the song ‘Lo-Fi Funk’.
When I first heard ‘1988’ I loved the whole album’s integrity. Its produced entirely by Blueprint himself, and there are only two guest verses on the whole album, making it a very personal affair. In the liner notes Blueprint says ‘The year 1988 gave birth to lot of classic hip-hop records, so I named this album 1988 to pay tribute to those artist and records’. it’s the man’s own tribute to the golden era, complete with old school beats and a grass roots approach to production. On a side note, the song ‘Big Girls Need Love Too’ is hilarious.
1. Introduction 2. Anything Is Possible 3. 1988 4. Inner-City-Native-Son 5. Tramp 6. Boombox 7. Trouble On My Mind 8. Lo-Fi Funk (feat. Aesop Rock) 9. Big Girls Need Love Too 10. Fresh 11. Where’s Your Girlfriend At? 12. Kill Me First 13. Liberated
Don’t forget that I have two blogs. This one is simply for the music, but ‘Gangsta Jackanory’ is my day-to-day blog that I update all the time. It covers my thoughts on everyday life, my opinions on sports, film reviews and general rants. Basically a place for me to vent or show my opinions on most things. I may even put some music related posts on there pertaining to other genres, in order to keep this blog strictly hip-hop. Anyway, there is a link above the C-Box and that site gets updated as much as this one, so if you’re here for the writing as much as the music, feel free to take a look at that aswell.
Until the next post, enjoy the music you mickey mouse motherf*ckers!
Sometimes I feel like I'm a little out of touch with the general public when it comes to what is quality music and what isn't. While everyone else is busy listening to the new Lil' Wayne album I'm sitting in my room with People Under The Stairs' debut on blast and I'm happy as larry.
I grew up in the North-East of England and have lived there my whole life until the recent past, and the music of choice primarily seems to be either trance music or the obligatory R 'n' B. I don't really have a big problem listening to any musical genre, but I've always been the only one listening to my brand of hip-hop (I say mine...) and it has always puzzled me. People DO listen to hip-hop where I'm from, obviously. But it's not the same. Usually the farthest reaches delved seem to be maybe a Wu-Tang album or at best something by Mos Def and his like. Why is it only me from my region (that I know of, and I've lived there over twenty years) that digged deeper?
My parents are probably as far away from being fans of rap music as any parents could be. My mother loves music by Eva Cassidy and more accessible classical music, along with singer/songwriters such as James Blunt and James Morrison. My father has, for most of his life, been into what I'd call typical 'dad' music. He's a fan of prog-rock such as Jethro Tull and Pink Floyd, and dibble-dabbles with a little bit of straight rock music. The closest you get to a rap star in my house when I was growing up was a Marvin Gaye song here and there.
None of my friends listen to rap music. Not when I was growing up anyway. With a few exceptions, the only reason why a percentage of my mates listened to rap music was because I constantly played it around them and they grew fond of it through time. I would like to say that I put at least a dozen people onto rap, and I'd probably be right. But even at the best of times those people struggle to listen to anything more underground than a Redman CD. Not that there's anything wrong with that. This is not about me 'bashing' any non-hip-hop listeners, because it's all down to taste.
The point is, why do I listen to hip-hop??? Unlike many people reading this, I'm from a place in England where there is little in the way of cultural diversity, and you didn't hear rap music everyday. Yet from the age of about 11 I have been obsessed with this genre and I probably will be till I die. I honestly don't have the answer.
It just happened.
Ever since I heard Jazzy Jeff & The Fresh Prince when I was as tall as a chair leg I've loved it, and my first ever album bought with my own money happened to be Busta Rhymes' debut 'The Coming' at the ripe old age of 10. My parents had never heard of him and I ran to them asking to get it with my saved up pocket money. They thought I'd picked up the wrong CD, or picked a CD at random. The truth was I'd heard 'Woo Hah! Got You All In Check' on MTV earlier that day and adored it.
I followed that up soon after with Cypress Hill's 'Temples of Boom', and listened to it all the time. At 11 years old I had no idea what B-Real meant by 'Everybody Must Get Stoned' or 'Spark Another Owl' but I recited the words from start to end anyway (no wonder I was grounded so much!). As a sidenote despite hearing this language I've never done drugs in my life and never will - and I lose respect for anyone that does (but back to the point).
By the time I was 14 when everyone was dancing about to the Backstreet Boys and Sonique (Don't know why I chose her, like!) I was listening to Company Flow in my room and developing a thirst for knowledge about the genre's history and origins. Swotty I know, but I was a bit of a strange kid.
This brings us to today, and I'm here writing a blog on the music I love, hopefully spreading knowledge to help other people, even ones that are 14 listening to Company Flow or something and wanting to know more, and I still don't know the answer.
Why do I love hip-hop?
I don't know, I just do.
Onto the D/Ls/ First up we have the EP Mummy's Little Soldier, released in 1999 by HuntKillBury Finn (quality name). Its a great piece up british 90s rap and has some great lyrics in it. Well worth a listen.
2nd up is the 2005 producer album from once-Fleapit member Second Son. This album has some astounding music in it, and is helped by the cream of british rappers in Jehst, Lewis Parker, Taskforce & a then not-yet-established Sway. Its a really solid album and shows that Second Son can REALLY make beats. His songs always benefit from having top quality drums in them, whether sampled breaks or produced. Its a great album from start to finish - the only drawback with it is that its not another Fleapit album!
1. Rags - Featuring Humurak D Gritty 2. High Stakes - Featuring Lewis Parker 3. Discovery Channel - Featuring Clarity 4. Defenders Of The Art - Featuring Xeno 5. If I Look Familiar - Featuring Defisis 6. Turn It Up To The Red - Featuring Jehst 7. Valley Of The Crows - Featuring Taskforce 8. Weight Upon My Shoulder - Featuring Rola 9. Stalker - Featuring Swaydasafo 10. Tell Me - Featuring Conrad Watts 11. How Do You Do Yours - Featuring Blaxtrix 12. Famous As Fuck - Featuring GLC
As usual lets wrap this thing up with a vid. In anticipation (or salivation as it is in my case) of Camp Lo's new album, here's the vid to the classic song 'Coolie High' off their absolutely superb debut album 'Uptown Saturday Night'.
The Justus League are pretty highly thought of in underground rap circles as you know. Except for the odd criticism about their sound being ‘same old’, every album released from their collection of artists seems to get at least a bit of fanfare on the internet. From Little Brother, who are easily the most recognisable group from the camp, all the way down to the lesser known artists such as Joe Scudda or Median, they are doing alright for themselves.
One reason for their almost domination of the underground/mainstream crossover scene is because of their in-house production. In times gone by 9th Wonder was THE man. When ‘The Listening’ was released, some people were saying he was the new Pete Rock with his bass and soul heavy production ruling the boom boxes of many fans. But, in my humble opinion, 9th Wonder’s production is eclipsed by that of fellow Justus League beat makers Nicolay and Khrysis. Over time, there’s something about 9th’s beats that have seemed very recycled these days, and his fellow beat creators have managed to find themselves higher on my top producers list of late.
Nicolay is most notably famous for his ‘Foreign Exchange’ album with Phonte (of LB fame), but the focus of this post is on the music of Khrysis. He has quickly took over 9th Wonder’s spot as the go-to guy for Justus League beats, and has made a lot of the music on Little Brother’s upcoming album apparently. In the past he's also produced Big Rapper Pooh's 'Sleepers'
To showcase his music, I’m going back a few years to an album he produces entirely with his partner in crime Sean Boog in the group The Away Team. Their album ‘National Anthem’ was released to a lot of critical acclaim and here it is for you. The album has that classic Justus League feel to it, with the sound they’re famous for dominating it throughout. The guest rappers are primarily in-house, with Little Brother, Chaundon & Joe Scudda turning in a verse. Smif-N-Wessun also make an appearance on the track ‘Come On Down’.
Sean Boog is a talented rapper and sounds right at home over the backdrops created by Khrysis, and the album is a great listen - possibly one of the best album's released by the whole 'Hall Of Justus' crew so far.
1. And Now Folks 2. Competition 3. Likka Hi (Last Call) 4. Shining 5. Come On Down ft. Smif-N-Wessun 6. Blah Blah 7. So I Tells The Bitch 8. Fuck You 9. Let Off A Round 10. Me And My Fellows 11. Make It Hot ft. Phonte & Joe Scudda 12. End Of The Day 13. Upnatem 14. One 'n' Only ft. Percy Miracles 15. Always Be Around 16. On The Line ft. Joe Scudda, Chaundon, and Big Rapper Pooh
For more info on The Away Team & Justus affiliated artists, go to:
After nearly a month of this blog being up I think its time for a new direction. Except for one album (Esau's debut) all artists and releases on the blog have been from good ol' Blighty. Its time for a change, and from now on I won't be discriminatory against other hip-hop. I've got a lot of material to share with thou over the next however-many posts I will do on here, and I don't want to be tied down to UK rap!!!
I'll be honest, UK rap alone would be enough to keep me writing every couple of days on here for the rest of my life, but with so many great albums coming out across the shore in the US such as Senim Silla's The Name, The Motto, The Outcome, and the blogger's favourite of the year (or so it seems when you scan all the other blogs that pretend to be me) Blue Scholars' Bayani, I'm going to get in on the action and try and comment a bit more on where I think hip-hop is going these days, and what's coming out that makes me either pull a sexface or makes me cringe.
Speaking of which, I think it's important for us all to notice that we're doing good here as a blogging community, and not just passing round files and leeching off sites or stealing from artists. Do you really think as many people would have heard Bayani and seen it for the great album it is without all of us here? I think not, and even though some people would argue that a lot of us won't go out and buy the album, I think that the numbers that the album will get in sales will have increased twofold because of the amount of hype that it has got on the internet.
If we simply uploaded, for example, 50 Cent's Curtis on every blog then that would steal from the artist a lot more (not that I'd give a fuck, that prick deserves to brick), as we could hear that album quite easily and finding it in a record store would hardly take a mystical journey. But us bloggers give lesser known artists a lot more coverage, and don't get paid a penny for it. Us, alone, can make someone's career - because there's so many of us these days we actually have that power. And it feels gooood.
Anyway, onto the drop for today, we have an album that came out in 2001, and is somewhat of a greatest hits compilation for the record company Ill Boogie. It covers the main releases from the underground rap label set up by producer/emcee M-Boogie, and has a great line-up.
The LP starts off with a great song by The Associates produced by Dj Rhettmatic. I actually never even knew Rhettmatic was a producer until this album, but you learn something every day don't you? It also has Iriscience & Babu from Dilated Peoples, both halves of the Cali Agents, Freddie Foxxx, Mykill Myers, Grand Agent, Thes One, Buckshot and M-Boogie himself among others making appearances.
The album was released by GrooveAttack records, and has the same sound to it as some of their other compilations such as the Superrappin series. Enjoy '5'!!
1. From the Ground Up - The Associates ---produced by DJ Rhettmatic 2. On Deadly Ground - Iriscience & DJ Babu ---produced by M-Boogie 3. Bringin' it Back - Planet Asia ---produced by Fanatik, Remixed by KutMasta Kurt 4. Subterrain Reign - Dr.Oop Capone ---produced by Thes One of People Under The Stairs 5. Some Other Ish - Other-Wize ---produced by M-Boogie 6. Forever - DJ Revolution feat.Rasheed & Chief Kamachi ---produced by DJ Revolution 7. Lyrical Catacombs - Insane Poetry ---produced by M-Boogie 8. Bustin - M-Boogie feat.Rasco ---produced by M-Boogie 9. Wanna Be an Mc? - Mykill Miers feat.Freddie Foxxx ---produced by M-Boogie & DJ Dusk 10. Patience - Grand Agent & Dj Revolution ---produced by M-Boogie 11. Hip Hop Is - Akbar ---produced by Jun 12. Straight Dirt - Mykill Miers feat.AG & The Ghetto Dwellas ---produced by Amed for DITC Productions 13. Someone to Hate - M-Boogie feat.Born Allah ---produced by M-Boogie 14. The Real - M-Boogie feat.Buckshot (Remix) ---produced by M-Boogie 15. From the Ground Up - The Associates (Remix) ---produced by DJ Rhettmatic, remixed by M-Boogie
As requested, here's the 90s EP from the british hip-hop outfit that once boasted now-household names such as Skinnyman, Mongo and even Chester P & Farma G from Taskforce.
Bury Crew have also boasted other names such as Ransom Badbones (who you may have noticed starred on the '£10 Bag' series posted last week, and also had rapper Intenz amongst their ranks. Mark B (of New Mic Order/Mark B & Blade fame) produced some of their tracks also.
I'm not entirely sure of the year it was released but at an educated guess I'd say maybe 1996/7. You can recognise the voices of some rappers, definitely Taskforce, on some of the songs, and all in all its a good quality EP. It has four songs on it, with two acapellas and two instrumentals to back them up.
