Section 1 - One HardC.O.R.E. Vol. 1, Issue 6 42293 Table of Contents Section Contents Auth

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Section 1 -- One HardC.O.R.E. Vol. 1, Issue 6 4/22/93 Table of Contents Section Contents Author ---- -------- ------ 1 Contents 2 Da 411 - 3 Letter - To eMpTV juonsteve@bvc.edu 4 Article - Atlanta Hip-Hop Martay the Hip-Hop Wiz 5 Review - Who's the Man? juonsteve@bvc.edu 6 Review - L.O.T.U.G. mc78+@andrew.cmu.edu 7 Review - Common Sense Martay the Hip-Hop Wiz 8 Lyrics - Roll Wit the Flava Flavor Unit MCs 9 Review - Three Times Dope Janne.Potila@otol.fi 10 Closing - A little reminder Section 2 -- Two The C.O.R.E. creed We at C.O.R.E. support underground hip-hop (none of that crossover bullshucks). That means we also support the 1st Amendment and the right to uncensored music. I'm audi 5 to my doghouse! "I got more rhymes than Madonna gets dick" KRS-One : I Get Wrecked Asalaam Alaikum from MC Flash X Section 3 - Three Stanhope, Iowa May 1, 1993 Music TeleVision 1775 Broadway New York, NY 10019 (212)-713-6400 Dear Sir or Madam: I am writing to express my concern with the actions taken recently by your channel. At this time I would remind you that MTV claims to have made rap music national, and that MTV is invaluable to the hip-hop nation. But I would like to show you the hypocrisy of these statements. On several fundamental levels, you have failed in these regards; furthermore, your station could be accused of racial discrimination. These are not foundless claims; I have the documentation to back it up. I would first like to cite as an example the time scheduling of Yo! MTV Raps. Within the past year it has changed more than three times, leaving many viewers confused. It was moved from a popular afternoon scheduling where it pulled large ratings to late at nights. Then, when Yo! MTV Raps core audience (25 and under) was unable to watch the show at its new time, the show pulled less ratings. When the ratings dropped, you had an excuse to cut back the hours of the show from more than seven a week to just two. These actions as a whole are inexcusable and have convinced the hip-hop nation at large that you intend to kill Yo! MTV Raps despite its popularity. Secondly, I would bring attention to your policies of censorship of music videos. As an example I would cite the top 15 countdown of Yo! MTV Raps from the weekend of July 4, 1992. In the video for House of Pain, a white group, they were allowed to refer to a "punk-bitch" and to say "I never eat a pig because a pig is a cop." These statements would normally cause massive criticism and perhaps even cause the video to be pulled, but several weeks later "Jump Around" was the number one video. Yet the group Das EFX, whose single "They Want EFX" had already gone gold, could not even say "blunt" in their video, nor could Del the Funkee Homosapien say "chronic" in "Dr. Bombay". I understand if you don't wish to promote the use of marijuana, but if this is your policy, why have you done nothing about the Black Crowes? It boils down to this... white groups and rock groups have clout, and black hip-hop gets no respect. So, on behalf of the Committee of Rap Excellence, the alt.rap bulletin board, and the hip-hop nation at large, I state our formal Declaration of War with Music TeleVision, which we refer to as eMpTV. Until your policies change, it will continue you to be eMpTV, and we will do our best to make everyone aware of the fact. If you think the 'Cop Killer' protest was large, you ain't seen nothin' yet. Very sincerely, Steve Juon Founder of C.O.R.E. 2209 350th Street Stanhope, IA 50246 Section 4 -- Four by Martin Kelley The Scene: Atlanta Here we go with a brief introduction to the Atlanta Hip-Hop/Rap scene. Right now Atlanta is enjoying a growing reputation for music of all types, a reputation that is long overdue seeing as the South is where almost all music innovators in America have emerged with the exception of hip-Hop (unless you count James Brown as a Hip-Hop artist). How did Rap start in Atlanta? That's a tough one even for me the Hip-Hop WIz to answer as I was living in New Jersey when I was first introduced to Hip-Hop. However, I believe that it's safe to say that a few isolated old-school songs dipped onto the scene in Atlanta and inspired some young artists to get down with the underground sound. Some of the Atlanta rappers wereThe Duice of Juice "House Rock Tremble", MC Shy-D "Rap Will Never Die", and soon after came Raheem the Dream "Raheem the Dream". At that point, Atlant was not known for much of anything in the world of Hip-Hop. In fact, SPIN magazine once had a feature called the Hip-Hop Map which basically stated that Atlanta wasn't about jack. The most infuriating thing about the article/diagram was that Luther Campbell was quoted in the small inset that represented Atlanta information, as if Luke has a right to speak for Atlanta from his offices in Miami. However, very soon after that Atlanta started to slowly make headway. Success-N-Effect, Silk times Leather, and others started showing up on BET and in records stores across the country. Then came the unbelievable successes of Kris Kross, Arrested Development, and TLC all at the same time. This brought the spotlight to the Atlanta hip-hop scene. What will become of the Scene remains a mystery: will the underground artists emerge, or will the bass-boy wannabe gangsters like Kilo, Duice, and A-town Posse deine Atlanta for the next SPIN Hip-HOp Map. I hope you know who I'm rooting for. Peace to the Underground! Roll Call: Tribal Science, Smooth Stylists, Da King and I, Y'all So Stupid, Too Krazy, Jena See Qua, Reverse, ADW, AWOL, Javier and the Str8Jackets, Reignof Terror, K-I-N, 100 Monkeys, Spidah, BLK, Dr. Stupid's Toybox, Gumbo, HQH Posse, and Me. Martay the Hip-Hop Wiz p.s. More to Come "You ain't Know?" Section 5 -- Five Review - Who's the Man? : Soundtrack By MC Flash X Review scale : 6. Phat - Ten years from now this shit'll still be so dope! 5. Funky - Ownership is the difference between a mack and a mark 4. Fine - If your pockets are fat get it, but don't panic if you don't 3. Fair - It has some potential hits, and at least it doesn't stink 2. Flat - Somebody explain to me why this person even tried?! 1. Flunk - The ultimate diss... PM Dawn sounded better Beatz : Many songs sound like 'Funky', but mostly they are 'Fine'. Lyrics: Some degree of explicitness, but (except for Party and Bullshit) parents could tolerate it. The lyrical flow is in effect on nearly every hip-hop song... no loose ends there. Rating: Another tape that falls between ratings, but I will take the higher end and call it 'Funky'. Opinion will vary greatly on this mixed bag of hip-hop, r&b, and reggae. Side One: Party and Bullshit BIG Let's go Through the Motions Jodeci What's Next on the Menu? Pete Rock and CL Smooth You Don't Have to Worry Mary J. Blige Hittin Switches Erick Sermon Madness Heavy D and Buju Banton Side Two: Who's the Man? House of Pain Lovin' You Crystal J. Johnson Pimp or Die Father MC Hello, It's Me Spark 950 and Timbo King Ease Up 3rd Eye and the Group Home I'm going to try a new style this time. I will rate each song and say what I liked or didn't like about it instead of quoting lyrics. Let me all know what ya think. Party and Bullshit - Funky BIG has gotten wreck in Unsigned Hype, had a slammin cameo on Heavy D's "A Buncha Niggaz", and now proceeds to catch wreck all on his own. This songs has the track goin on, and BIG rips his deeper-toned Heavy-Dish gangsta flow quite nicely. Definetly a man to watch out for. Let's Go Through the Motions - Fine I'm not normally one for R&B cuts, but this one is OK. The track sounds like a diced up sample of the 'Punks' beat, and the drums are snappy, not sappy like most R and BS. Not a FF song! What's Next on the Menu? - Phat Can I help it? I love these guys! Pete Rock proves that less can be more, with a track that went on a diet and came out fatter! And you can't even sleep on the lyrics... forgive me if I quote for a minute... "Got I rhyme so chunky it's amazing G I Make you think the Fat Boys are back on crazy... I want a salary Moriah couldn't Carey" CL is the lyrical heavyweight! This track is pure butter! You Don't Have to Worry - Fair I don't know why, but this track has no juice. Mary J. is my homegirl and all that, but it sounds like the track that was leftover from "What's the 411", with good reason. Nuff said. Hittin' Switches - Fine OK I like it, and the "Off an on off and on it's on" chorus is hype. But every verse I keep wondering, where is Parrish Smith? I'm sorry, to me these guys will always be a group, and Erick just DOES NOT SOUND RIGHT BY HIMSELF!!!! Hotness - Funky It helps that I have been gettin into reggae lately, so this song hit me at just the right time. They do some really strange but funky double layering to Heavy D's voice, and Buju Banton rips the track up. This one is gonna hit hard in the dancehalls and the hip-hop spots. Who's the Man - Fine Biting Dr. Dre's already (better) used sample does nothing for originality, but the lyrics are OK, and the tracks is kinda smooth. House of Pain fans will dig it, but if you didn't already like em you may skip this one. Lovin' You - Fair Just one more diva wannabe. Need I say more? Pimp Or Die - Fine Perhaps the reason it doesn't quite work for me is that to me, Father MC is not a gangsta. But he still flows well, and once again, the chorus will have you hooked "What's the law? Pimp or die!". Kinda flava! Hello It's Me - Fair This track is just pretty average. Pretty average hip-hop artist, pretty average reggae artist, and the song is not that exciting. Ease Up - Funky Two verses is not enough! Damn! 3rd Eye comes off hard! The Uptown posse is gonna be runnin shit correct in '93, no doubt about it! As you can see this album never really dips below Fair, and some tracks are truly slamming. You aren't gonna be dissapointed by having this Soundtrack in your collection. Pick it up, pick it up, pick it up! Section 6 -- Six Review -- Lords of the Underground by the Mack...... Lords Of the Underground "Here Comes the Lords" check it--3 stars out of 5 Now before yall get all down on Marley Marl for doin the similar beats and styles, you should know that K-Def produces about half of the tracks on this solid debut. Marley Marl cuts are distinctive --check out "GraveDigga" and "Funky Child." "Grave Digga" gots some deep creep bass with some funky organs sprinkled over the top and comes off phat. You've heard "Funky Child" which is as close to hype as you can get lately. Anyway, the point is, K-Def product is the average sections of the LP. Formula: rolling bassline, phat beat, some scattered horns, and some sort of chant for the chorus. Songs like "From da Bricks," "Chief Rocka," and "What's Going On," all have the same style, same everything. But its still smooth to listen to because they do have some distinctiveness, as far as lyrics and subtle basslines go. Tracks to check out: "Lord Jazz Hit Me One Time (Make it Funky)," a classic style pure DJ selection in which DJ Lord Jazz flexes some mad wax skills while giving the mic a try. Cool style. "Flow on and on (new symphony)" smoothest track on the LP, but with a kick beat. Some crazy styles and some old school lyrics combine for a solid effort. "Funky Child," Massive large huge, etc...you've heard it. "Grave Digga," mentioned above, gots an edge to it that makes it come off. It's about people digging their own graves. "Mad Skillz," this cut is exactly what it says it is, Doitall and Mr. Funky go flexin.. That's about it. Like I said, K-Def's got to learn to vary his production style a whole lot more. This is a good album to get a dub off of someone to keep for the car.... Section 7 -- Seven Review -- Common Sense "Can I Borrow a Dollar?" *Heidi Ho produced by the Beatnuts All lyrics written by Common Sense Common Sense is gettin' slept on seriously. He collects much props on the inside of Hip-Hop (the Pharcyde among others). Also, Common Sense is a former member of the Source's unsigned hype club. He is starting to get a little more notice with his secong single "Breaker 1/9" that features a nice little remix by the Beatnuts. The thing that impresses me most about Common Sense is his abstracts "Insert crazy similies whenever and wherever I can" style as well as his vocal range (he can screech with the likes of Biz Markie). These two factors add up to mad flavor from Chicago (home of hip-house and Tung-Twista). First I'll go over what I don't like about this LP. The best song on the album is his first single "Take it EZ", this is always a pet peeve of mine because there doesn't seem to me to be a point in buying an album if the rest of the material doesn't measure up to the first single (the rest of the stuff is good no doubt, but if you weren't very impressed with "Take it EZ" then you may want to preview the LP first). Another thing that might turn people off is his style. By that I mean that if you like continuity in your rap songs you might not find much of it here, as Com jumps from simile to simile and sometimes loses the central theme if there even is one. So if you like clean structured Essay-type raps then for you Common might not make Sense. There is a lot of female bashing on the album, not as harsh as your average gangster but nevertheless it is there, which is usually a turn-off for me but coming from Com it's more bearable than most. And finally, white rap fans and artists (especially the alt.rap group) may not appreciate this slight diss that appears on the album "..When we was on the streets, you was at home on your computer..." The beats and samples you've heard before or even later (like the Hip-Hop Hooray beat which Com used before Naughty), even one that an artist from my posse East Coast Tribe used last year. However, Common Sense uses these beats very well and his versatility helps him get over. He can roll-it-up, sing along, and even use a touch of raggamuffin. I like how he uses old school chants and I have a weakness for rappers who use movie lines and titles. As for guests, Immenslope (tha producer) appears on "Two Scoops of Raisins" and he basically sounds like Common Sense-lite. While Rayshell, the female rapper on "Tricks up my Sleever" sounds a lot like Tarrie B. and I was wonderin' if its possible that she's tryin' to make a comeback with a new style a la her ex-boyfriend Everlast (I doubt it though, Rayshell probably just sounds similar). Anyway down to the point of this review, Common Sense is pretty dope with his own distinct styke (somethin' which is far too uncommon these days) and he deserves some props and at least a preview so go check it. I'm out like a Dragon Stout in Red Baron's Mouth. I haven't written for publications in a long while so forgive my rustiness, I'll try to get better as I go assuming they allow me to do more articles. Peace and Love. Martay the hip-hop wiz Section 8 -- Eight Lyrics- Flavor Unit - "Roll Wit the Flava" (I had trouble with the first two verses, so any corrections would be very much appreciated. Hope y'all like it!) Verse One : Treach Once again, it's on Cause where I'm from there ain't no picket fences pickin' straight and rock so you pick it my sticky finger was a glock Many dashed from the fat cat but I like to cap for laughs So I rap till my ass will laugh I'm never trouble but if troops will come and jam me You Remind Me like Mary then I'm scaring your little projects On the prarie I'm hairy and hot like Dougie with a smokie So I boo-boo, just like Fu-Schnicks I'll say F-U-2 Verse Two : Chip-Fu A-bibbedy-bibbedy-bibbedy-bibbedy-bong-gang ultra-king But BBD boxing up yang, giddy-up Didduh-duh, didduh-duh, didduh-dum dum dum I'm coming again and again a Ku-Fu vomit Gosh, darn it! Like we're lyin' to bits The John-John shaker lyrical shaker Yes and doin some heimers-lichs I sings my lyrical style from Flatbush Quick to Greenwich, Finnish I'm strong to the finish When I eats, me spinach I'm one of the lyrical flava My nigga Foxx is stompin fast Check my dum-dum-dum-dum-dum and step Verse Three : Freddie Foxx Now I been breakin rappers down for a while now Now it's time to break, child Rappers get chopped like the head on a fat cow I'm mister micraphone, rappers can't fuck around I'm Freddie the Foxx I'll brake it back and buck em buck em down You know my rep I got a record like the turnpikes When I was young they use to call me Freddie-burn-mics But now they call me big Foxx, daddy boot-knocks With burn marks on my hips from my twin glocks Chorus (Queen Latifah) I got flava for days \ (KRS-One) Flava unit has a title > Repeats four times Roll With the Flava / Verse Four : Queen Latifah Now it's about the time to put you out of sight and out of mind I got the skills to blast you off the mic and out of rhymes Now who the hell-am-I-a?, the L-A-T-I-F-A-H the motherfuckin sire I come in on time You wear a silly grin we like we do when niggaz in We gotta practice so slap the hands off your chinny-chin-chin The Flava Unit's got my back, so I'm quick to start shit Get the short end of a bat, cause we beat him broken sticks Verse Five : Heavy D I-guy-guy-guy-guy-guy bet you never knew That I could flow I flew I grow I grew I blew up the spot, I'm sippin my props And now I am just passin brew Ruff rugged rigid nigga, the one who's quick to figure Some think they're big, but the heavster is bigger The funky flip-flop flava unit, my hip-hop neigbor doin it Came to the studio, check my flow, and ran right through it I bet you thought I wouldn't come, I came I'm never done till I'm done rippin drums like a shotgun, ohh! Chorus Verse Six : D-Nice Now ladies, what's my name? (aaah) That means it's time to go I'm the same muuuhfucker from it's time to flow, so Some might have dissed the way I flow it out Niggaz need to throw it out Simply cause it's somethin you don't know about So watch the Nice man shake the ground And now I'm Rollin with the Flava cause The Flava's what I'm rollin in my sound To make you get down, rippin the sound from Jaycee to Uptown Now Verse Seven : Dres Now if you got a nine, and you got a nine And you got a nine, and you got a nine And he got a nine, and she got a nine Well it's a motherflockin party yo cause I got mine So bust it the Black Sheep are (where?) here (where) Here (where) there, everywhere there's a jeep There's a Sheep sheep beatin up the air Graphic as illustratin frustratin like waitin The Sheep are a joke? Nigga you playin Yo I drink twenty forties, smoke forty blunts Say a hundred rhymes and not sound like you once Twice, three times, nigga never figured You'd be triggered by Dres, that R and B smokin nigga Doin it, screwin it, chewin it, well Done on the weak bun hon can't you tell Unification cells on the flava flingin If a Queen has the balls my Lady is a King So long live the King, and love to my unit Spoon it and you'll croon it, diss it, and yo balloon it Chorus Section 9 -- Nine OLDIE REVIEW """""""""""" Three Times Dope: Live From Acknickulous Land AL-8615 (1990 Arista Records, Inc.) 3xD: """ EST - The Lyrical Father DJ Woody Wood - The Fly Assassin On The Fader Chuck Nice - Da Producer Extraordinaire Production: """""""""" Produced by Chuck Nice for Peace Ya'Self Productions *Produced by LaVaba, Keith Spencer & Dale Hogan for Tabla Productions, Inc. +Co-Produced by Moses "Jr.Splinters" Worrell Side 1 Side 2 """""" """""" The Return Home - Intro-Mission 10 Lil' Sucka Emceez Mr. Sandman *Make Dat Move Mellow But Smooth* I Ain't Try'n 2 Hear It Weak At The Knees +Peace Ya'Self No Words I Got It Make Ya $ Do U Wanna C It In Effect Live!!! From Acknickulous Land Like the name of it already tells, the first track is only some kind of intro. It leads the listener to one of the greatest hip hop records ever made (at least in my books). "Mr. Sandman" is one of my favourites. To be honest, it even seems to have made its way into the best individual rap pieces in my collection. A magical synthesizer line starting this is simple but very good. After few cycles of it and a couple of yawns (listening to this definitely don't make me yawn) the drums start to beat in full effect along with some excellent rapping and BUMMMM: _that_is_something_. I would consider this a perfect lazy-style rap. In spite of the name, using the track as a lullaby is just impossible. How could one go asleep listening to it. I imagine even mummies would snap their fingers along the beat. "Mellow But Smooth" could be the lullaby. This IS very mellow and won't hit me very hard after "Sandman". Style is a little 'crossoverish'. Larry Lar visits here. Next to come is the funkiest track of the LP. "Weak At The Knees" has very funky beat with nice drums and guitar picking. Some parts of this one is not rapped but sung rather. A good tune. Talking about live instruments, in record cover there is a list of players for guitar (Mike Tyler), drums (Andy Kravitz), etc. Doug Grisby is said to play bass, but only on this particular track. Thus, those brilliant basslines in some songs later must be sampled or played with synthesizer. No, I'm the last one to say it's wrong to use computers on music. In my opinion, though, for example real drums sound usually much better. At least in this album. "No Words" has a beat that doesn't compare with some other ones here. Backgrounds and rap are OK but not all of it. If I had to listen to this a lot, it _might_ bore me. I would call this standard material. Two tracks left in side one. I mentioned basslines earlier, meaning these two. Especially "In Effect" has a very good one leaving "Make Ya $" a few inches behind. Both of these are dope pieces of work. In "In Effect" there is this chorus-type-of-thing that I in particular do like. First comes a tasty sample of some wind instrument (sax, I assume) and after that the voice saying those letters E-F-F-E-C-T. Someone could love these two beats on the dance floor. In general, I think 3xD's albums contain a little more 'dancable' songs than other rap artists have on their records. This holds true with both their first and second LP. Well, the guys are Audi 5000 and it's time to flip the vinyl. B-side wins again could a person say and I agree. Although the start isn't best possible. "10 Lil' Sucka Emceez" is a modified version of some nursery rhyme. At least I think it is. The piece is not bad at all, but the chorus lowers level a bit, still leaving LL's later effort with big bad wolf miles away (behind). Larry Lar is also here. "Make Dat Move" is a standard rap too, in my books. The groove is better than in for example "No Words". While listening to this I thought my LP had become overplayed cause I clearly heard some 'unwanted noise'. After more careful listen I found the rasping sound coming from a sample used here. Nice little point. If the party isn't already on, it will start along with "I Ain't Try'n 2 Hear It". Here comes the second highlight of the album. Just a glorious song. Actually, the second highlight will continue four tracks from here. This one has a catchy guitar riff and a terrific background. Wood's scratching is just like it is meant to be. While listening, it becomes clear to me that Chuck Nice is doing better production work alone than Lawrence Goodman and he did in "Original Stylin'". I had this one recorded on a tape (from radio) before I bought the whole LP. So, in the beginning when I wasn't used to other brilliant tracks in it, I thought this was the best. "Peace Ya'Self" also has sung chorus which, though, doesn't dim the shine of this one. So far I have not taken a stance on the lyrics in this LP. Here I make an exception. Chorus goes: "Peace in the world today, and in a hurry". Naive or not but yet true. If everyone just realized this...... "We need less dissin', more huggin' and kissin'" states EST hitting the nail on the head. Whole song is great containing a few cuts from 3xD's first album in the beginning of it. And again we got a masterpiece here. "I Got It" has excellent background and marvelous rapping. By now, I _know_ EST is one of the greatest rapper on the scene. The whole LP proves it to be true. In this one, James Brown claims to got soul and no one on the face of earth is able to contradict with Mr.Dynamite. And if those mummies mentioned earlier missed everything before this one, at least now they are really starting to get the rhythm. "Do You Wanna C It" makes them move even more wildly. The flow of diamonds seems not to end at all in this record. Simply very good bassline again and Tyler's guitar hits me also. Rap is like everywhere in the record just wonderful. A short sample of Sade's "Sweetest Taboo" in the middle is speeded up a little to match the beat. Nice work with that. I love this one like those three before it. I have noticed that it is rare that a rap album contains this many great tracks in a row. Usually a few good ones but the album as a whole not so good (for example Cube's first). That is the reason why I decided to review this precise record. "Live From Acknickulous Land" finally completes the record. After four previous pieces, I'm not going to say anything special about this. That does not, under any circumstances, mean that it is no good. Vice versa. If I only knew what the word 'acknickulous' does mean? Time to sum it up. Like you have noticed, I have been praising the LP pretty torrently. I'm not going to give any specific ranks to music and lyrics. Just overall mark which is, with no hesitation, a full 6 out of 6. After now spinning 3xD a lot on my turntable (because of review), I raise this straight to the top of my rap albums. That drops PE's second LP to number 2 spot. (Let it be known that my rap collection only has about 40 records not containing the latest albums of 1992-93.) OK, that's it. Hope you liked it. I'm backin' left. Pode Section 10 -- Ten Closing This is just a little reminder. I would like to see everybody in C.O.R.E. at least drop the 0.29 to mail the letter to MTV, with your name attached in place of mine. And if you can spare it, mail it to your local media too. Thanks, and I'm audi!

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