Memoirs Of Redefinition Radio #10: Random Rap Stories

Memoirs Of Redefinition Radio #10

First off, allow me to apologize for my limited posting here. This has been one crazy Summer with work, touring, family time, radio show, and whatever else got thrown my way. However, I'm about to post up a bunch of new entries that I've been working on over the last few weeks so you got a lot of reading to do!! This week's entry is related to the June 10th, 2006 show. Make note that the last set of the show (Jay Z, Lupe Fiasco, Chino XL, Chief Kamachi) was a dedication to "wordplay".

CD III is one those Old School early-mid 80s Hip Hop crews that dropped a few singles and then apparently left planet earth. They released three singles that I know of and I was a big fan of at least two of them. Both "Get Tough" ('83) and "Success" have a similar formula: 808 drum beats, simple but nice melodic keyboard playing, and some conceptual MCing. "Get Tough" is about how hard life can be sometimes and urges you rather than break and collapse under the pressure to instead "Get Tough". "Success" comes a year later as some follow up encouragement with the chorus, "Try your best, never settle for less and we guarantee you'll be a success!" and lines such as "The work is hard but the pay is sweet…". It's one of those many moments in Old School rap were the artists would lead you to believe that releasing a couple singles and doing some local shows was a short quick ride to being a millionaire. In the opening dialog one of them boast that 'I brought myself some golden door knobs'. Ah, the purity, innocence, and over-the-topness of Old School Hip Hop… One of my favorite parts is the harmonizing mid-way thru the song. They honestly don't strike me as having the best suited singing voices, but there's a certain charisma in the way they pull it off that just works for me. The group members kept it real simple with the names Disco, Carlos, & DJ HT. One thing not generally known is that DJ HT is none other than Hip Hop golden age production/DJ genius, Hitman Howie T. Not sure what happened to guys following this but I'm on a mission to make sure they don't go unmentioned in this vast game of Rap.


I am known to regularly speak very highly of MC Smooth B of Nice & Smooth. I mean what isn't to like? He has what the Old School would generally describe as a "golden voice". His flow is impeccable and his delivery is crisp. Lyrically he is very "matter of factual" and that's what really drew me in once all the other elements caught my attention. He says things that just seem logical and relatable. Plus I often give him credit for being the first, or at least a key pioneer, to adding spirituality into Hip Hop lyrics which is something that I can appreciate. "Pump It Up" is from their sophomore LP, "Ain't A Damn Thing Changed" released in '91, and always stood out as a favorite track on the album. Smooth B is sounding as….well "smooth" as ever when drops, "A House cannot be built on weak foundation, strong and I move with motivation". Not to sleep on Greg Nice who first got his name out there as the Human Beat Box for TLA Rock ("3 Minutes Of Beatbox" is some serious recommended listening). Once he touched the mic he instantly became a key pioneer of abstract rap. I mean what do you say to man who suggests, "Gotta be insane in order to be sane, acceleration, hydroplane"….sure there's some sense to be made there, but only in a "string-together-some-scattered-logic-nonsensically" type of way.

Two Kings In A Cipher (a.k.a TKO) are a part of the time in Hip Hop when the 5% teachings were very prominent in lyrical content. They came out of nowhere and dropped a few singles and then an album, From Pyramids To Projects, between '90-'91. I was talking to a fellow Golden Age Hip Hop Analyst/Fan Carnage the other day about them and we both agreed that "Com'n At Cha" is their best offering. It may seem that they rose from the projects, dropped science and then disappeared to the pyramids of Egypt, but not quite… A quick look at the production credits of the album reveals that not only were they nice with the lyrics but also in handling the production duties as well. Seeing the names might also strike some familiarity…D.O.P & Amen-Ra. It was actually only a few years later that they got to really reap in the benefits of their talents, production in particular, by being in house producers for Puffy at Bad Boy. Here's just a few hits they are responsible for over there: B.I.G-Hypnotize, Jay Z-I Know What Girls Like, Outcast-ATliens Remix, Nas-Poppa Was A Playa, Goodie Mob-Chain Swang, etc…. If that wasn't enough, D.O.P (a.k.a D-Dot) also made a return to the mic with the mysterious character "The Mad Rapper".

I have to admit, when listening to Freestyle Fellowships "Inner City Griots" back when it came out Aceyalone wasn't my favorite in the group. I think it was because he was the most "tame" as far as stylistically. The others were so animated and all over the place with how they flipped their verses that Aceyalone stood out as being "plain" to me. There's some serious double irony going on here people… First off, Aceyalone at the time was a closer representation of the type of MCs I liked then the other members (I just think that when I was in the mood for Freestyle Fellowship I wanted something different than my normal taste). Secondly, Aceyalone is anything put plain and while I did still enjoy his performances on that album it wasn't until "All Balls Don't Bounce" that I really got it. After hearing that album once and then dissecting it a few more times my opinion is best described in his own words, courtesy of "Feet Upon The Table", "...I'm the first rapper with no flaws". OK, I won't say he's the "first" but he's definitely on the list. He has pretty much perfect delivery. He can flow to virtually any beat, tempo, and/or time signature. The latter is with what he challenges the competition on "Arhythmaticulas", "Up until now your only concept of rhythm was 4X4 loop, squared as a pool table with not dynamics implanted but you couldn't understand it why all your gigantic rap was sounded so bland but the answer was right your hand, couldn't believe you were so naïve to arrangements, changes, different time signatures…".

Jay Z is easily one of the best rappers of all-time. Honestly, I respect the whole theory of "everyone has an opinion", but I think this could be an exception…I don't really think this is debatable… OK, enough with the dramatics…for now. I first heard the verse from "22 Two's" on one of the Wake Up Show Freestyle CDs. It was Original Flavor featuring Jay Z. He must have been doing some tour dates with them. He had made his big return to the game, since his days of rhyming with The Jaz, on the Original Flavor single "Can I Get Open?". I'm still in shock that I loved that song and I always liked the last verse best and didn't really recognize it was Jay Z and was wondering who this "new kid" was. Then one day while playing it for this High-School Rap group I was managing/producing one of the guys goes, "He sounds like Jay Z". I was like, "Yeah, now that you mention it he does…uh….he is?!?". From there the Original Flavor album came out with a second Jay Z feature on the album highlight, "Many Styles" which also featured another Brooklyn Giant, Freshco. Perhaps the best thing about hearing the "22 Two's" verse on the Wake Up Show first is that he gives no indication of the concept. I just heard it as a really fresh verse and nothing else. It left me very eager to hear more Jay Z. That was in '94 and a couple years and a few more cameos later (ex: Big L, Big Daddy Kane, Mic Geronimo) he dropped his classic debut album "Reasonable Doubt". The album is filled with excellent displays of all that makes up a great Hip Hop song/album; commercial hits, underground bangers, catchy hooks, clever lyrics, great collabos, and a nice variety but balance of producers. It's very hard to pin point a favorite track because I have different favorites based on the moment and mood. However, "22 Two's" is probably picked as the favorite more often over others. It's definitely the lyrical masterpiece of the record. The concept is simple in theory, clever in practice, and incredible in delivery. Quite simply the first verse uses the various meanings of two/to/too 22 different times. It's not so much the concept that makes it what is, that's just the icing on the cake. It's the actual substance of the lyrics and probably most impressively the delivery. I don't know how many of you have tried to rap (no offense but probably too many…ha), but let me tell you something that is rarely mastered…delivery. Specifically in this case articulation and accenting is where he showcases he is many steps ahead of the competition. A key element in precisely conveying your meaning is in the way you say the words and being able to accent certain things to draw particular attention to them. Listening to this verse and hearing how he is able to accent each two/to/too every time he says one is just an early glimpse of all the many ways he would master delivery and charisma over his career which is what I believe help cement his name amongst the greats. If that wasn't plenty he also includes a second verse which abandons the concept but is equally impressive in content, style and delivery. It's really hard to capture the true potency of the lyrics in text form because you need the full ambience of it but I've always really enjoyed,

"I dip, spit quicker than you ever seen administer pain
next a minister screaming your name
at your wake, as I peek in
look in your casket, feeling sarcastic, 'look 'em, still sleeping'".

I gotta admit I almost let the hype make me over look Lupe Fiasco. That's not really completely true because I don't think he's debut single, "Kick, Push" that has been one of summer hits is really a good example of his talent…not even close. Since that I've heard a leaked version of his album, seen him live once and heard one of his mixtapes. "Mean & Vicious" is on the "Che Guevera" Mixtape and that was the one that made me go, "Hold up, this kid is something type nice!". This is as good as it gets with a combination of concept and wordplay. Let's just think about this, it's a 2nd verse about having trouble writing 2nd verses that goes on to describe how the 1st verse tries to intimidate and bully it. The 1st verse goes so far as to get the chorus and beat to help him in his conspiracy. This goes on until the 2nd verse has enough and fights back with a vengeance and of course has the last word because…well, the 1st verse is done. Ah, the art of the personification…a effective weapon in the verbal arsenal when used properly and Lupe Fiasco has certainly done just that. He is definitely one of the best writers in the game right now. I'm eager to hear his new album and that's not something that I find myself saying much these days.

Chino XL is the first MC that I can remember that people either loved or hated. Seriously no one just "liked" Chino. I never heard anyone say, "I'm kind of not feeling Chino". No it was either, "That dude is crazy nice!" or "I Hate that dude!". If I was him I would consider that a complement either way. Clearlywhen you are earning a title of "King Of Punchlines" you are not interested in pulling any punches. When anyone and given enough time everyone is potentially a target you are bound to strike some nerves. This in mind, making some people angry has success written all over it. Since his debut, "Here To Save You All", in '96 he's been dabbling in some acting and occasionally popping up for a guest spot here and there (quite often involving The Wake Up Show). He did sneak in a sophomore album, "I Told You So", in 2001. Then the talk started about a new album called "Poison Pen". In 2003 it had a release date and was supposedly complete but Chino decided to do some re-recording then after a series of other delays it finally has seen the light of day in 2006. "Wordsmith" is pretty self-explanatory. The key focus is manipulating the words as much as possible but using as many multiple meanings as possible. It songs like these that showcase that Chino has much more to offer than the shock value of insulting or offending whichever Celebrity he chooses.


If by some bizarre and unique chance I was forced to only listen to one MC for a undetermined amount of time and then just as I'm debating in my mind…'Kool G Rap….Rakim….KRS One…' they come with the bonus stipulation that it can only be releases past 2000…what do I do? Well, I thank god for Chief Kamachi of course (then pray I can sneak '99s "Nile Nutrition" by them). He owns words…seriously. There is no other way to be able to weave and blend something so well otherwise. Language is his playground, but he's not playing. Actually, he rhymes like he's at war. What is he at war with you ask? Depends on the day I suppose; sucker mcs, the shadiness of the music business, religion, and pretty much whatever he pleases. On "Hating On My Halo" he spits the hook with his trademark intensity,

"They Hating On My Halo if I may say so
let me be the King that I am, energies is natal
penalties is fatal when my enemies disable
DJs please let me spirit spin on the table"

The verses on this track should lend plenty of proof to my comments above on his Word Power. Particularly key in on the beautiful savagery of the last few bars of the closing verse. Quite honestly I listen to Chief Kamachi's albums (yes the sophomore album is out "Concrete Gospel" now!) and songs more than anyone else at this present time. I regularly find myself letting his albums just rock on repeat and never needing much less bothering to stop the verbal onslaught…


There are many more random rap stories to come. This info coincides with the show on June 10th, 2006 and you can hear this show at the webpage:

http://minnesota.publicradio.org/radio/programs/redefinition_radio