Sir Fresh & DJ Critical- Solid Goals (1985-1989)

Sir Fresh and DJ Critical were a rap duo from Brooklyn during the mid to late eighties, under the independent label Solid Goals. DJ Dee-Ville from Bust the Facts has assembled a wicked compilation that highlights the group's body of work over their short career. Much too short. Like DJ Dee-Ville, I had trouble finding almost any information about this crew online, which makes this collection all the more worthwhile.

The production on these songs is great, combining the best of both worlds from newer James Brown samples to older LinnDrum beats, with the loosely coiled snares, hollow "thump-thump" bass drums and sharp high-hats. DJ Critical handles the turntables with the best of them in the 80's, and Sir Fresh proves to be the best rapper you've never heard of. He switches up his flow multiple times, and his style, though distinctly his, is reminiscent of some of the more well-known artists of the era. Think of him as Schoolly D's voice matched with Rakim's and The D.O.C.'s flows. Ehh, maybe not the strongest comparison, but that's who he reminds me of.

My favorite cuts have to be "Sally & Dee," where Fresh describes a series of rap battles with the drama and suspense of a Western (not actually a Western); "Sir-Vere," the most well-known single by the group; and "Sit'em Down," the most impressive lyrical display on the album, with Fresh spitting out of his mind over a tight beat sampling Bobby Byrd's "I Know You Got Soul" (made famous by Eric B. & Rakim). "We Can't Have It" is a short little track that plays out like a poem, raising an interesting question on the cesspool of drugs in neglected inner-city neighborhoods: "The minority / is a majority of users of narcotics / But what authority / allows this to happen?" Sir Fresh is a natural lyricist.

Sir Fresh and DJ Critical are yet another indie rap group from the eighties that torments us with great singles and unreleased tracks, leaving us only to imagine what a full-length LP would have sounded like.

But for now, the comp will do them justice.

Major, major props to DJ Dee-Ville. For additional information be sure to visit Bust the Facts. There is also a great link on the site to Brooklyn photography--a nice complement to the music.

Previews:

Sir Fresh & DJ Critical- "I'm Smooth"


Sir Fresh & DJ Critical- "Sally & Dee"


Sir Fresh & DJ Critical- "Sir-Vere"


Sir Fresh & DJ Critical- "Sit'em Down"


Sir Fresh & DJ Critical- "We Can't Have It"

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Enjoy!

Peace,
— Teddy C.D.

Terminator X Speaks With His Hands

Believe me, no introduction is needed to what Public Enemy has achieved in their long and illustrious career, both culturally and musically. The famous collective of talented, hardhitting and politically-charged hip-hoppers has had their music heard all over the world, from Radio Raheem's stereo to live shows in London.



But the members of Public Enemy have always been an odd, obscure bunch of artists with their own unique backgrounds, skills, and personalities that made them such an exciting group to listen to--and it was their strong personalities that beat us over the head for more than twenty years. We all know Chuck D., the group's frontman, primary vocalist, leader and poet, whose commanding, charismatic voice still resonates in our ears. To this day he has maintained an extremely straight edge life style, resisting meat, alcohol and drugs--the man hasn't even tasted coffee. Flavor Flav, the group's hype-man and arguably most famous member (sadly), has never shyed from showing off his wild and insane antics to the world, from yelling his ass off on stage, to picking up attempted murder and domestic violence charges, to starring on weird MTV reality shows. Professor Griff, once a soldier in the army, started out as a bodyguard of sorts, working for a private security service hired by local hip-hop acts for parties and shows, where he met an aspiring DJ-for-hire by the name of Chuck D. He was (and still is) a proficient martial artist, having studied Chinese Wushu and Japanese Karate among other forms. He was later kicked out of the group for controversy surrounding his ridiculous and odious anti-semitic comments to British media outlets, but later rejoined in the mid 90's.



But where the hell is Terminator X, you ask me? Why haven't you written about him yet? Well, since I'm here pretending like you haven't read the title, good question. Terminator X is and always will be the most overlooked member of Public Enemy. Period. Nevermind the track "Terminator X to the Edge of Panic," in which Chuck D. shouts him out repeatedly over a classic turntable hook that everyone who has or hasn't seen Friday Night Lights knows and loves. Simply put, the success, fame, and influence of Public Enemy will forever shadow the role of Terminator X as the group's DJ, as well as the solo masterpieces he put out during the nineties. His reticent and shy personality has put him at a disadvantage over his bandmates for media glory, and unfairly so. But there is no use to complain about this--every group needs a glue guy in the background doing his damn thing without attention. All the members can't be getting pinched and doing bids in Riker's Island; that wouldn't suffice, would it?



In 1991, Terminator X collaborated with various and mostly unknown artists to create his first solo album, the classic Terminator X & the Valley of the Jeep Beets. On this gem, X demonstrates not only his sublime turntabling skills--maybe the best ever through an entire album--but also his deft handling of production. The head-bobbing drums and heavy basslines on this album will simply kick your ass. Song lyrics are similar in style and theme to the politically-charged, black activism of Public Enemy, but with a wider range in artists and perspectives. Standout tracks include "Buck Whylin'" with Chuck D. and Sister Souljah (yes, that Sister Souljah--who also happens to be an author and contributor to The New Yorker), "Back to the Scene of the Bass" with The Interrogators, and "The Blues" with Andres 13, as well as my personal favorite, "Juvenile Delinquentz" by the Juvenile Delinquentz. Befitting of it's producer and DJ, the album stands as one of the most underrated works of the 90's.



Terminator X has carved out a place in hip-hop history as one of the greatest and most versatile DJ's to ever operate a turntable, up there with Eric B., Preme, Flash, and Jazzy Jeff among other legendary disc-jockeys.



So what weird, otherworldly endeavours could Terminator X possibly be involved in now? What is he up to that we haven't already seen from Public Enemy's other members? Well according to The Guardian, he currently owns an ostrich farm. Yes, I just said ostrich farm. Flavor Flav's bachelor show ain't got shit on that.

Track listing:

1. “Vendetta...The Big Getback"

2. "Buck Whylin'" (with Chuck D & Sister Souljah)

3. "Homey Don't Play Dat" (with Bonnie 'N' Clyde]

4. "Juvenile Delinquintz" (with Juvenile Delinquentz]

5. "The Blues" (with Andreas 13)

6. "Back To The Scene Of The Bass" (with The Interrogators)

7. "Can't Take My Style"

8. "Wanna Be Dancin'" (with Celo of The Casino Brothers)

9. "DJ Is The Selector" (with Dubmaster)

10. "Run That Go-Power Thang" (with Spacey B. Experience)

11. "No Further" (with Section 8)

12. "High Priest Of Turbulence"

13. "Ain't Got Nuttin'" (with The Chief Groovy Loo)

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"Juvenile Delinquentz" is a particularly fascinating song, told from the perspective of three black teenagers condemning the biases shown in America's educational system. Although I don't agree with some of the anti-school messages present, much of what is said holds serious weight. Kids are taught everything in America's "glorious" past from American independence to the World Wars--which are important historical events--yet much of the facts behind slavery, colonialism, and African roots are missing to a people that had their roots taken from them long ago. The educational system has definitely improved, but the song is nonetheless an interesting description of what I'm sure many students must have felt not so long ago.



Yeaaaaa boiii--too much? Alright. But enjoy!



Peace,

—Teddy C.D.

Up North Tip: Canadian Hip-Hop Series

There's no need to skirt the subject: I Am Canadian. Chinese-Canadian, as a matter of fact. And I'm proud of it. My family hailing originally from China, I was born in Toronto, Ontario, the economic and cultural capital of Canada. At around the age of four I moved with my family to New York City (peace to the Upper West Side!), and that is where my brother first introduced me to rap; I bought my first rap album, saw my first rap music video, and basically fell in love with the music. Eventually we moved back to Canada (Western, now) where I currently live. And every day since we left Manhattan, I have cringed at the idea of Canadian hip-hop. Like most American hip-hop fans, I've been spoiled with release after dope ass release of 90's East Coast classics—to the point where I would have ignored everything else a few years ago.



Let me be first to admit that I couldn't have been more wrong.



What I failed to realize was that, for over two decades, artists from my own country were putting in major work on the hip-hop circuit. Right under my damn nose, cats like Maestro Fresh Wes, Michie Mee, and DJ Ron Nelson were establishing hip-hop as a legitimate genre in Canadian music. You want me to be corny and say it's taught me a lesson?—well, it's taught me a lesson. This is my chance to do the right thing like Spike Lee.



So yes, I am doing this as much for myself as I am for the loyal readers at TROY. It's a chance for me to explore the talent of my own country while bringing you fresh records for your own collections. There are so many great Canadian hip-hop acts that deserve shine, I can only hope to do this series justice. Every now and then I will post an album or two from a different Canadian artist, either from my own collection or from our always-reliable contributors at Philaflava. Where the hell would we be without you guys?



I’ve started this series to shed light on a hip-hop scene that’s been overlooked by both mainstream and underground circuits since day one, and it’s been a long time coming for Canadian rappers, old and new. In the mid-eighties Canadian record companies were still reluctant to sign and promote black music, and artists were forced to form independent labels with poor marketing and what started out as an inadequate fan base. There were no Rick Rubins or Russell Simmons’ to jump start the popularity of hip-hop in Canada, and as a result, this has led to widespread ignorance of Canadian talent. And despite KRS-One shouting out “Ron Nelson and the Toronto posse” in the liner notes of Criminal Minded, most fans in the United States still refuse to take Canadian hip-hop seriously.



See, as much as we claim to be open-minded and keen on peeping different styles from different regions, we all know this isn’t always true; shit, search a “Fuck Compton” video from 1991 on Youtube and you still have idiots arguing over which coast is better. The point is, regional biases always exist, and stereotypes are hard to displace.



Well, at TROY we’re here to break your damn biases and your regional preferences. Or at the very least, get you to open up your minds.



Before I delve into specific artists and crews of different eras, our first joint is going to be the quintessential compilation of Canadian hip-hop, a perfect introduction: The Cold Front Rap Compilation. In 1991 various hip-hop acts from Toronto banded together to display the diverse and largely unknown talent of the Far North. On this comp you will find some of the nicest acts of the 80's and 90's, and not just in Canada: Maestro Fresh Wes, Main Source, Dream Warriors and KGB, among others.



Major props to Who_Produced_It at Philaflava for ripping this album from his own collection and sharing it with us. This is much appreciated. Also props to kotep and the rest of the contributors at The Canadian Hip-Hop Thread on Philaflava for inspiring this series. For additional information, check out the fantastic Canadian hip-hop blog: Living Underwater.

Cold Front Rap Compilation (1991):



1. CIUT 89.5 - Master Plan Show Spot (0:16)

2. Maestro Fresh Wes - Black Tie Affair (4:24)

3. Base Poet - When I Went To Buy Milk (4:30)

4. Sweet Ebony - With This (5:09)

5. Dream Warriors - 12 Sided Dice (4:24)

6. Large Professor - CKLN 88.1 Power Move Show Spot (0:32)

7. Main Source - Atom (2:56)

8. Sonyalive - I'm Coming Into Consciousness (3:35)

9. CIUT 89.5 - Master Plan Show Spot (0:11)

10. Kish - Jim Class (4:43)

11. R & R - Having A Good Day (4:42)

12. Nu Black Nation - Soul Vibration (5:21)

13. CHRY 105.5 - Jam Factor Spot (0:14)

14. KGB - Letters Of Three (4:12)

15. Top Secret - Stupid (4:15)

16. Fresh B - This Is For The Record (4:56)

17. CKLN 88.1 - Oblivion Express Spot (0:19)

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Previews



Maestro Fresh Wes- "Black Tie Affair"





Main Source- "Atom"





Sonyalive- "I'm Coming into Consciousness"

Please, do yourself a favor and tune into these cuts—you will not regret it. I know many of the die-hard heads here already have an extensive knowledge on a lot of these artists, but hopefully you will find something new, or just have a good time revisiting some of this nostalgia. Without any reservation, I can say that this is one of the greatest compilations in the history of hip-hop. No other collection of songs represents an entire region of hip-hop like the Cold Front Rap Compilation.



My favorite tracks on this collection have to be Maestro Fresh Wes' "Black Tie Affair" and Main Source's "Atom" (also a bonus on the re-issue of Breaking Atoms). Another favorite of mine came as a pleasant surprise: Sonyalive's "I'm Coming into Consciousness." She has one of the most relaxing flows and thoughtful lyrics out of her peers. I have, however, had a difficult time finding any online information about Sonyalive—her name even comes up blank on Discogs. If any of you have information or additional music from her, please let me know.



As hip-hop heads we should be trying to limit our regional biases. We’re always trying to find the freshest sound regardless of where it comes from. See, it might not always seem like it, but hip-hop is an art form that truly transcends race, ethnicity, gender, and, especially pertinent here, borders.



Now, I still have a long way to go in exploring all the realms of Canadian hip-hop, but there will be a lot of opportunities to learn here. Canadian rappers have been some of the best kept secret, despite what the spoiled New Yorker in me initially thought. I’m sure this series is going to be a long and satisfying ride.



Enjoy, and stay tuned for more! If you have any suggestions don't hesitate to hit me up in the comments or at the Philaflava forums.



Peace,

— Teddy C.D.

It's Goin' Down at... The Lyricist Lounge

By the 19-naughties hip-hop had opened its doors to a wide array of sounds, techniques and styles, both mainstream and underground. While the boom-bap New Yorkers were taking back the rap reins from their West Coast counterparts, the emerging alternative hip-hop collectives on both coasts were laying a foundation for the underground circuit. One of the areas in which rap began expanding was the art scene. Open-mic nights at local cafes and clubs became a hotbed for raw, unadulterated talent, and unknown artists were given the chance to showcase their work to an audience of other young and aspiring lyricists. Like poetry reading circles or songwriter sessions, rappers were organizing themselves in these collective workshops, honing their craft like true artists—true professionals.

On the West coast, the open-mic nights at the Good Life Café became the breeding ground for some of the most impressive lyricists ever caught on wax. One of the acts to emerge from amateur night at Good Life Café was the criminally underrated Freestyle Fellowship, frontrunners for most talented rap group of all time (but they warrant their own piece altogether… hint: stay tuned).

In New York, however, there was no Good Life Café, nor was there a Freestyle Fellowship. Instead, there was the East Coast equivalent to Good Life, a tiny studio apartment on Lower East Side Manhattan which acted as a workshop for artists, new and old, known loosely as the Lyricist Lounge. Founded in 1991 by Anthony Marshall and Danny Castro, the Lyricist Lounge became a hit in the underground New York City circuit, a popular place and hangout for young artists to share their music on the open-mic stage.

Fast forward to the new millennium. It was the year 2000, and the Lyricist Lounge had just gained enough of a following—after a compilation album and two separate tours involving artists from Mos Def to KRS-One to Slick Rick—for a television series. That’s right, MTV agreed to a proposal by Marshall and Castro to bring the Lounge on air—only, a twist of humour would be added to tie the rap acts together. And with a diverse cast of underground rappers and comedy actors, music producers and comedy writers, the first ever hip-hop sketch comedy was born, dubbed The Lyricist Lounge Show.

To those who remember watching the show, it was groundbreaking in its demonstration of how hip-hop could be used as a viable musical media. Most episodes comprised a series of often hilarious sketches, featuring characters conversing only in rapped dialogue—most of it written, some of it even freestyled to a live studio audience—over minimalist and non-invasive background beats. The three artists especially instrumental to the show’s creative direction were Wordsworth, Master Fuol, and Baby Power, all members of the ensemble cast and writers of the show. Frequent guest appearances were made by fan favourite Mos Def, as well as Q-Tip, Cee-Lo, Common, and Erykah Badu, among others. The strong cast of lyricists and All-Star rappers made each episode not to be missed.

Yet sadly, The Lyricist Lounge Show failed to survive beyond two seasons, and like our other favourite hip-hop show Yo! MTV Raps, the program was promptly canceled (another reason to ignore television beyond HBO, Showtime, and the occasional NBC Comedy). Conflict between MTV and the show’s producers—no doubt a creative difference between network and creators—coupled with high production costs and a deflating audience, resulted in the shows termination. In short, we fans were screwed out of what could have been a hit television series, and the first of many forays of drama into hip-hop. I remember staying up late as kids with my older brother, watching Mos Def trade rhymes with characters like “Mayor Fuoliani,” just soaking in all the music with our young ears glued to the tube. For years we wondered where the show had gone after it left the air. I have yet to see another hip-hop based musical production add the same amount of depth and versatility to its lyrical content, while matching the biting wit of The Lyricist Lounge Show.

Today, the Lyricist Lounge has evolved into a rappers’ showcase. An always-changing cast of emcees from all over the hip-hop world, both unknown and established, tour through various venues across the United States to perform live shows. Sponsored by a wide array of companies and hosted by many respectable rappers, these live performances are all we have left after the termination of The Lyricist Lounge Show.

In 1998 before the show was created, members and affiliates of the Lyricist Lounge released a compilation album featuring various artists including Mos Def, Talib Kweli, Common, Ras Kass, Words, Saul Williams, and Jurassic 5, titled The Lyricist Lounge Vol. 1.

The Lyricist Lounge Vol. 1

Disc 1:
1. Wise Guy- “Street Promoters (Skit)”
2. De La Soul & 88 Keys- “Intro”
3. Cipher Complet- “Bring Hip Hop Back”
4. Diaz Brothers with Matrix & Abutta- “Keep Pouring”
5. Sarah Jones- “Blood”
6. Q-Tip, Mos Def, & Tash- “Body Rock”
7. Hazadu, J-Treds, Thirstin Howl III, Kwest, & I.G. Off- “Bathroom Cipher”
8. Punch & Words- “Da Cipher”
9. Word A’ Mouth- “Famous Last Words”
10. Prime- “No Mater”
11. Ras Kass & O.C.- “Action Guaranteed”
12. Mike Zoot- “All in My Own”
13. Wiseguy & Words- “The Phone Call (Skit)”
14. -Black Thought, Common, Pharoahe Monch, & Absolute A.K.A Xtra Kredit- “Live From the D.J. Stretch Armstrong Show With Your Host Bobbito the Barber”

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Disc 2:
1. Saul Williams- “Ohm”
2. Kool Keith & Sir Menelik- “Intro”
3. Natural Elements- “Mayday”
4. Talib Kweli (Reflection Eternal)- “Manifesto”
5. Bahamadia & Rah Digga- “Be OK”
6. A.L.- “Lyrics”
7. Talib Kweli, Shabaam Sahdeeq, Wiseguy, Building Blocks, Mr Metaphor, & Lil Sci- “Outside the Lounge”
8. Lord Have Mercy More & D.V. Alias Khrist- “Holy Water”
9. Jurassic 5- “Jayou”
10. KRS-One, Zack De La Rocha, & The Last Emperor- “C.I.A. (Criminals in Action)”
11. Problemz- “Society”
12. Indelible MCs, Company Flow, Juggaknots, & J-Tred- “Weight”
13. Words, Rise, Punch, Jedi, & A.L.- “After the Show”

During the show’s run, a Lyricist Lounge Vol. 2 was released, featuring more established rappers of the game. It is worth a listen, though it isn’t quite as strong as the first album. Much of the Lyricist Lounge flavor is missing from this set, as the CD tries to cross over into a mainstream sound, probably in anticipation of a growing audience.

Not to be confused as music used on the show, both of these albums were showcases of the diverse talent found in hip-hop, while still leaving fans hungry for more of the actual television series—which, of course, no longer exists.

The Lyricist Lounge Vol. 2

1. Notorious B.I.G.- “16 Bars (Live at the Lyricist Lounge)
2. Mos Def, Pharoahe Monch, & Nate Dogg- “Oh No”
3. Q-Tip & Words- “Makin’ It Blend”
4. Cocoa Brovaz- “Get Up”
5. Beanie Sigel- “Get That Dough”
6. Royce da 5’9- “Let’s Grow”
7. Mos Def & Ghostface Killah- “Ms. Fat Booty”
8. Redman & Saukrates- “W.K.Y.A.”
9. Talib Kweli & Dead Prez- “Sharp Shooters”
10. Kool G. Rap & M.O.P.- “Legendary Street Team”
11. Big Noyd & Prodigy- “The Grimy Way”
12. Erick Sermon & S. Scott- “Battle”
13. Da Cipha, Punch, Cobra Red, Planet Asia, Guilty, & Phil Da Agony (Consequence & Menace)- “Interlude”
14. Big L. & C-Town- “Still Here”
15. Dilated Peoples- “Right and Exact”
16. The Last Emperor & RZA- “He Lives”
17. Master Fuol, J.T. Money, & Pastor Troy- “Watcha”
18. Macy Gray, Mos Def & Gang Starr- “I’ve Committed Murder (Remix)”
19. Q-Tip- “Outro Live at the Lounge”

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Now wherever you may be at, take a few minutes, sit back, relax, and check out these clips from the show:

Enjoy these old clips. If anyone has old episodes of The Lyricist Lounge Show taped anywhere, please feel free to post them in the comments or on the forums, so other readers can experience them too.

Peace,
— Teddy C.D.

ULTRA, Magnetic, Magnetic

ULTRA, Magnetic, Magnetic

Sometimes we never really know how good something is until it’s gone. Often times, especially in this hip-hop game, the greats go unnoticed, and when we’ve finally learned to appreciate their work, poof, they’re done. That’s just the way it is, the way it’s always been in this ever-evolving game. The Ultramagnetic MC’s are one such group. A lot of you probably know of them now, but they never really received the props they deserved until years later, when hip-hop starting going downhill. Well, now we’re bringing them back to you.

Straight out of the Boogie Down South Bronx, Ultramag was a four-man group (five if you include Tim Dog) at the forefront of the new school movement in rap. With their obscure lyrics and groundbreaking beats, these cats were some of the most creative artists to ever step foot in the game. They formed in 1984 with a few unsuccessful singles, until they broke out in 1986 with their quintessential jam, “Ego Trippin’.” The song, with its Melvin Bliss break beat, futuristic sound-scape and polysyllabic rhyme styles, was the first for many to experience the freshness of Ultra. They even had the nerve to get at Run D.M.C. on wax: “Say what, Peter Piper? / To hell with childish rhymes!” and “They use the simple back and forth, the same old rhythm, / that a baby can pick up and join right with them / But their rhymes and pathetic, they think they’re copacetic / Using nursery terms, at least not poetic.” Damn. Neither Run nor D.M.C. later responded to “Ego Trippin’.” That’s heart.

Two years later, Ultramag debuted with the classic LP Critical Beatdown, they’re most well known and acclaimed work to date. At the time of its release the album was pretty unsuccessful commercially, but now it’s just about their only album to receive the props it deserved, from fans and critics alike. Most songs involve Keith and Ced Gee trading verses, acting as foils to one another over a collection of funky samples and ass-shaking break beats. Everything about the album was ahead of its time, from its vocals to production. Even today, the album still stands as one of the greatest in hip-hop.

Kool Keith was the most popular and well-known of the bunch, and his high-pitched voice and bizarre lyrical imagery are still the group’s most recognizable trademarks. When you think of influential lyricists, cats like Rakim and G. Rap come to mind, but to me Keith was just as important in his own, weird way. His wacky and abstract lyrics coupled with his off-beat delivery changed the way people rhymed—he could literally spit about anything and make it work on wax. Over the years his lyrics became even crazier and more obscure, leading many fans to believe he was genuinely insane. The video for “Poppa Large (Remix)” even has him rapping in a straight jacket with a birdcage over his head. All of this led to a popular myth that Keith once spent time in a mental institution at Bellevue hospital; whether or not this is true, I can’t confirm. But crazy or not, he’s always been up there with the best of the best. If you want to know where alternative and underground rap found their roots, look no further than Kool Keith.

As good as he was, though, Keith had a shit load of help. His running mate, Ced Gee, goes down in the rap history books as one of the most underrated and overlooked artists to ever step foot in the game—both as a producer and an MC. While Keith was garnering most of the attention, Ced was the glue guy in the back making it all work. And man did he put in some serious work. A lot of people seem to forget that Ced produced most of the tracks on the classic BDP album Criminal Minded, even though he went unaccredited. KRS-One even stated that he almost became a member of Ultramagnetic back in the day. Most songs from Tim Dog’s classic LP Penicillin on Wax also owed their production to Ced Gee, including the infamous “Fuck Compton.” On Critical Beatdown, Ced traded techniques with the late great Paul C. (R.I.P.), and produced one of the freshest collection of beats ever assembled. His sampling methods with the SP-12 spearheaded the Golden Age style of beatmaking.

Ultramag’s debut album was so good that it overshadowed the rest of their later work, but it really shouldn’t have. Their next two albums were classics in their own right. Funk Your Head Up, the group’s sophomore release, may have been the most overlooked album of the 19-naughties. It was here when Ced Gee’s beats became progressively darker and more complex, while Keith’s lyrical style began to take full form. But at a time when West Coast gangsta rap was pulling away listeners to the opposite coast, the album was commercially unsuccessful, and many fans and critics couldn’t get their heads around the change in sound.

They reached their most creative and expressive peak with their last worthy album, The Four Horsemen. Ced Gee’s beats, with help from The Godfather Don, were at their darkest and most haunting stage. The production on this album was one of the finest ever, a vivid collage of beautiful jazz samples, soulful boom-bap drums and deep bass. And of course, the production was paired with some of the most bizarre and diverse lyrical content 90’s rap has ever seen. Keith and Ced rhyme about everything from their signature sci-fi themes, to comic book heroes and villains on “See the Man on the Street.” One song in particular, “Saga of Dandy, The Devil & Day,” pays an honourable tribute to baseball’s Negro Leagues. Even the bizarre sexuality Keith displays in his later solo work is evidently rooted here, on a few of the cuts.

Something has to be said about the chemistry shared between the Ultramagnetic MCs in their heyday. Ced Gee was more than just a producer, and he consistently held his own on the mic alongside Kool Keith. When you think of the greatest MC duos, it’s hard to picture Tip without Phife, Run without DMC, Rae without Ghost. It’s equally as difficult to picture Keith without Ced, and vice versa. Even TR Love, the group’s second producer and third MC, blended well with the other two. If you heard him rap, his voice was like a middle ground between Ced’s deep bellow and Keith’s nasal pitch. Although TR contributed significantly fewer vocals, the songs on which he did (think “A Chorus Line”) were instant bangers. And of course, enough can’t be said about DJ Moe Love’s operation of the turntables, which was just as much a part of the Ultra sound as the beats or lyrics.

As good as the Ultramagnetic MCs were, however, and as important as they were to the development of new-aged hip-hop, they weren’t perfect. Some of their later releases seemed to lack the creativity they had built upon in previous years, and a lot of their sexually explicit songs—though some hilarious—weren’t as rewarding or fun to listen to. It gets tiresome hearing songs like “Smack My Bitch Up” after a while. Ultimately following The Four Horsemen, the group officially disbanded. In 2007, after more than a decade-long hiatus, they attempted a comeback with The Best Kept Secret. As far as I know, it’s the last Ultramagnetic group effort we will ever hear, and the signature sound that made them great before might already be gone. Here’s hoping it isn’t.

Kool Keith went on to have a prominent and successful solo career, often taking on the pseudonyms of Dr. Octagon and Dr. Dooom. He became even more experimental, weird, and imaginative on his solo cuts, and the loyal fan base he has developed shows that cats are still willing to hear something fresh. Ced Gee has also stayed grinding, and most recently he worked as a producer for Bill Cosby Presents the Cosnarati: State of Emergency. Not too shabby himself.

All in all, the Ultramagnetic MCs will be missed, and, sadly overlooked by much of the hip-hop community. What still appeals to me most about them is how smart they were; here was a group of artists capable of imagining anything in the studio. Through their first three albums, their lyrics covered or referenced such diverse themes as science, chemistry, martial arts and Bruce Lee, literature, comic book heroes, the baseball Negro Leagues, street fighting, mental insanity, and outer space. All while keeping it real, hardcore, and danceable. They were Outkast before Outkast, Wu-Tang before Wu-Tang, the Fu-Schnicks before the Fu-Schnicks, and everything we enjoyed in Golden Age to the 90’s before either really kicked off.

And now they’re finished, like much of the hip-hop we’ve come to love over the years. At least now we can sit back, enjoy the old tracks and reminisce.

Critical Beatdown: http://www.megaupload.com/?d=BA6AB3HI

Funk Your Head Up: http://www.megaupload.com/?d=MGDQN6FX

The Four Horsemen: http://www.megaupload.com/?d=WGDYHWD3

The Basement Tapes: http://www.megaupload.com/?d=8OUR6E7U

The Basement Tapes are a collection of unreleased songs over their initial half-decade span. A good complimentary piece to any fan’s inventory, it’s nice to hear some of the old cuts on here that should have made the LPs back in the day. Others, however, suffer from a lack of sound quality, often because the records were damaged in studio. Ced Gee even points out that the engineer to “Ya Not that Large” got high and erased half of the track—a real pity once you listen to what’s left of the song. It would have been a sure fan favourite.

The B-Sides: http://www.megaupload.com/?d=CH74C1HT

The B-Sides are a compilation of remixes and alternate takes to several of the group’s biggest hits. They are a good listen, but many of the tracks don’t feature that much of a noticeable difference. My favourite has to be “Ego Trippin’ 2000,” an updated layer of instrumental to essentially the same lyrics and beat as the original.

It’s been a pleasure making my debut with T.R.O.Y. Blog. Stay tuned for more.

Peace,

— Teddy C.D.