DaSkaSoundcrew presents> THE NAVIGATORS - Happy

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WINTER 08 QUICKSTRIKE

Heat, from the “Diamond Supply” collab to the “Carmen hates La Coka” joint. To make it even harder for you to choose, we got the David La Chapelle joints, smashed by yours truly. (Not to be confused with Dave Chappelle, “I’m Rick James Bitch”) David La Chapelle is the surrealist photographer to the stars! Do not miss these. When they’re gone, they gone.

Diggin' in the rain

"I'm diiiiiggin' in the rain....just diiiiggin' in the rain! What a glooooorious feeeeeling I'm happy again!"

OK so the weather was piss-poor today but I'm not about to let a drop of rain dampen my beatdigging urges. At the time I didn't realise the trains were also "effed up" in the centre of London. It's not an easy journey into the capital at the best of times, coming from out in the suburbs of the city, but the engineering works at weekends on London's railways sometimes make it a lottery whether you and your wax get home or not! Had I known about the train problems I may have thought again about braving the elements (the natural ones that is, not the hip hop ones.)

....anyway I threw on my goosedown to keep me toasted on the way, with some tunes in my pocket - Soulman's 92-93 beats mixtape to be precise, to get me in the digging mood. Fortunately the weather had kept many people away from the city and I was free to roam the backstreets in search of a dusty vinyl resting place. If all else fails there was always the usual spots which could guarantee a find or two. But today the digging Gods were smiling on me because
it wasn't long before I stumbled on some treats. The first exciting find was in a dusty second hand store just off Oxford Street, namely Jimmy McGriff "Mean Machine" LP on Groove Merchant with the amazing "It Feels So Nice (Do It Again)" on it, and for a mere 4 pounds (approx. 8 dollars). There is some water damage to the cover but the record was virtually mint. Check the soundclip for yourself I'm sure you will agree this was a steal! Such a beautiful track. I think it appeared on one of Kon & Amir's fine mixes.



There are several small record shops scattered around the Oxford Street and Soho area of W1, but to be honest it was pretty much a fruitless exercise other than the Jimmy McGriff LP. I chose to make for the tube and head for Camden Town where the Music and Video Exchange was the next destination for a rummage through their racks in the basement. And that's where I found the next record that made me think the journey today was worthwile - a copy of Johnny Hammond's "Shifting Gears" on 45rpm on Milestone Records. I have the LP already, but I also have a fetish for any Ultimate Break on 7" 45rpm format, so this record and I were destined to leave the shop together!



Thanks to Steve Skye for hooking me up! This little beauty was hiding away under the counter so I could easily have missed it. I have added a soundclip of this gem too because the song is just sooo good! One for the B-Boys.



I also found a copy of D-Nice 12" "Glory" b/w "It's All About Me" on Jive for a quid in their bargain shop across the road near Camden Lock (right next to the marijuana dealers!) It's one D-Nice 12" I didn't own already, and didn't recognise the track names either. But at that price I bought it "blind". I must be totally honest I never realised how dope these tracks were 'til I got back to the lab and threw it on my turns. "It's all About Me" is one of the killer tracks from his LP, so I will leave you with a soundclip of that joint to keep the hip hop heads happy and YOUR head nodding. D-Nice is definitely at his peak here despite the crumby track titles, and visually unappealing picture sleeve. And he definitely "kicks the science" as the scratchin' says!
I won't bore you with a picture, but instead here's a better one of D-Nice with BDP stablemates KRS-One and Scott La Rock (RIP).



Doesn't he look young? Give the soundclip below a blast, and see what YOU think. I'm sure you will recognise it when you hear it, and love it as I did. But do you got it on 12" huh??

MAC & RETNA IN ITALY

KINGS OF DA NU BABYLON

BIG GEEZERS

Flying Fortress killed it with his gangster teddy troopers. The installation was bugged out transforming the space into a demented 4d cartoon carnival. Fun time for all ages. I got there late but they still let me in, I got connections. Thanx evan. I got to kick with some old friends, Blake, Genius, and of course Kenton Parker.

Curated by: The London Police
Original work by: MORCKY TROUBLES (Italy), MISS RIEL (Iceland), GALO (Italy), WAYNE HORSE (Germany), PEZ (Spain), MINIVILA (Croatia), FLYING FORTRESS (Germany), and THE LONDON POLICE (U.K).

ICY GRAPE

NAMES FEST 2008

VERNISÁŽ VÝSTAVY, která proběhne 29.8.2008 od 19.00 v Trafačce, Kurta Konráda 1 a v Hale C, Drahobejlova 17a.
Současně na vernisáži bude koncert Vladimira 518 a vyhlášena soutěž o BEST PIECE, všichni jste zváni!

Více informací o festivalu a doprovodných programech naleznete na oficiálních stránkách www.namesfest.net.

Pátek 29. 8. 2008
Oficiální jízda Prahou festivalovým vozem bez řidiče. Start . 13:00 - MeetFactory, Ke Sklárně 15, Praha 5 Cíl 18:00 - Trafačka, Kurta Konráda 1, 190 00 Praha 9

19:00 VERNISÁŽ VÝSTAVY
- Trafačka, Kurta Konráda 1, 190 00 Praha 9
- Hala C, Drahobejlova, Praha 9
Vyhlášení soutěže o BEST PIECE

20:30
- Trafačka, Kurta Konráda 1, 190 00 Praha 9
KONCERT VLADIMIR 518
AUDIOVIZUÁLNÍ GORILA VS ARCHITECT SHOW
Dj Fstep (RU), Dj Zerwox (CZ), Dj Kashmeer (CZ), Dj Pasta (CZ)

- Hala C, Drahobejlova, Praha 9
Dj Kotanyi (CZ), Dj Filip Týc (R1/CZ), Dj Pasta (CZ)
TAGTOOL jam - veřejná performance – kreslíme a animujeme fasády (pomocí projektoru)

CITY WALKS
Je komentovaná prohlídka města s průvodcem (writerem).
Jedinečná možnost klást dotazy přímo.

Čtvrtek 28. 8. 2008
- 17:00 Trafačka, Kurta Konráda 1, 190 00 Praha 9 - Palmovka
Komentovaná prohlídka jedné z nejstarších zón v Praze, popis historie včetně fotodokumentace.

Neděle 31.8. 2008
- 17:00 Těšnov a překvapení v centru
Komentovaná prohlídka jedné z nejstarších legálních zón v Praze, popis historie včetně fotodokumentace. Dále přesun k přímé instalaci objektu v centru Prahy.

Pátek 5. 9. 2008
o 17:00 MeetFactory, Ke Sklárně 15, Praha 5
Prohlídka v oblasti smíchovského nádraží, dále přesun na nejstarší legální zónu Barandovské mosty.

ANDY KNOWS!

The Joy of Diggin'

As for record buying...I'm not entirely sure whether it's the hunt I love best, or the actual kill, but suffice to say I rarely go home empty handed! And when I'm out searching for beats, I sometimes get the feeling that a dope record is just on the horizon, and today was no different. The weather was foul once again so I needed a good wax find to make my journey worthwhile, but today I just knew I would get lucky.
Now I don't want to sound like a miser here, but any good digger will always raid the bargain bins first on hitting a spot. Don't get me wrong I am happy to pay out for a particular record if it has eluded me in the past, but the bargain bins are mainly the places to find the real gems of the day. I had already gathered some Hip Hop classics into a neat pile on top of the racks (see list below), but then I headed to the bargain corner where a few FUSION records were calling me.
Stuffed at the back I found an LP that I have wanted for some while, after a couple of beat-head friends had put me up on it. I've always enjoyed funky flutes over ill drums so I guess they knew it would be right up my street.
JOE THOMAS was one hell of a funky flautist, and his 1974 Long Player on PEOPLE Records entitled "Joy of Cooking" demonstrates his prowess on the instrument. One track in particular called "Thank You (Fall Etin Me Be Mice Elf Agin)" is a perfect example of this, and it was sampled in the last few years by the very funky crew from Sweden SPEECH DEFECT if my memory serves me right (please feel free to correct me). The drums and horns on this joint are real nice too - take a peep at the soundclip below.....



And the hardcore diggers amongst you will know that MAIN SOURCE also ripped a horn/flute riff from the track "Mike" on this LP for use in "Peace Is Not the Word to Play" off the BREAKING ATOMS LP. Maybe we will feature that track another time?? Who says we don't share the knowledge here on Breaks for Days Beats for Weeks...??

So here's a rundown of today's finds...

HIP HOP
KING TEE - Ruff Rhyme 12" (Capitol)
EPMD - Strictly Business 12" (Fresh)
DE LA SOUL - Buddy 12" (Tommy Boy)
POET - All Hell is Breaking Loose (Nu-Sounds)
UGLY DUCKLING - Fresh Mode 12" (Special)

BREAKS
JOE THOMAS - The Joy of Cooking LP (People)
GROVER WASHINGTON - Reed Seed LP (Motown)
FUNKY JUNCTION - Talking Trash (Stereo Gold Award)
JSD BAND - Travelling Days LP (Cube)
ERIC GALE - Forecast LP (Kudu) has a nice bass and horn sample used by MOBB DEEP on "It's Over" (on Landspeed).

Real Beats and Real Raps

Here at DAILY DIGGERS HQ, we're what you would call Hip Hop Purists. By that I mean that we only buy or listen to Hip Hop that truly represents the art form as it was originally intended. I know many people would call that a "blinkered" view of things, and then proceed to tell us that Hip Hop music should be progressive, but we're simply being honest. We're not haters! If so-and-so rapper has earnt millions from gangsta rappin' then best of luck to him. But for us, Hip Hop music should follow the paths the originators and forefathers laid down for us to follow. Not saying there wasn't violence back in the days, and far from it, but Hip Hop was intended to unite people and discourage gang culture, not glorify it! So all that gun-toting drug-selling bitch-slapping Cristal-drinking sound module-punching rap rubbish don't mean shit to us. Say word!

The period from 1990 through to the late 90's saw some incredible releases which were "must-buys". Both the classic early 90's stuff and in particular the mid 90s Indy rap scene was incredible. But over the last ten years of the so-called "Rap Industry", we found ourselves buying less and less new releases and we readily admit we turned our backs on the industry and its bullshit product. And it wouldn't be the first time either. There have been several periods in Hip Hop's history where the industry and its artists don't know which way to turn. From the very early days the industry thought Hip Hop was a "craze" or "fad" and just decided to milk it for what it was worth while they could. This point shows exactly how "out of touch" the industry can be - they didn't see the Hip Hop culture as a genre with longevity. For them it was here today and gone tomorrow, and even the gangster fraternity wanted a piece of the action to earn extra cash and launder their dirty money. Hence many artists got "jacked" back in the day - labels offered crumby deals, or in many cases just blatantly never paid them. Just ask KRS! But overall these people only ever saw Rap Music as way of making money in the short term. No-one (except the kids involved) ever thought Hip Hop would reach the age of 30 and become a major influence on everything from fashion to TV, music to cinema, art to politics.....and also spread to every continent worldwide.
Despite it's ups and downs, our love for Hip Hop has always kept us connected, and it always eventually rises like a phoenix from the flames to re-birth in a new form, which is truer to the artform. We've seen it happen several times so we were confident things would turn back around.

And luckily for us real hip hoppers out there, the politics of the biz and the constant weak product would again turn round on the industry itself and bite it on its own arse! The whole mp3 over CDs argument has been a major blow for the Record Companies. Despite all the new-millennium technology at their disposal it has still lead to their sales plummeting, whilst illegal downloading and file-sharing have increased dramatically amongst music fans. What comes round goes around I say.
But the artists themselves have used the same technology to their own advantage. Now the lack of respect for the artist from above has lead to bands taking on the whole pressing/manufacturing/distribution thing themselves with incredible results. And with sites like myspace etc., getting your music heard by the people you want has become a reality, without the need for a huge budget and a team of lawyers/accountants etc.. And more importantly the musical composition remains as you want it to be; no label influence or politics to deal with. This is great news for the artists and the fans. So now we're feeling positive about the Hip Hop scene again - we can ignore the weak-ass "rap" we see on TV and hear on major radio station playlists, and investigate the new independent groups out there on Internet Radio, Myspace, & Hip Hop forums for instance. There's even specialist sites like 16pads that runs a monthly beat competition for aspiring producers. Once again it's all good in the Hip Hop hood, and we're enjoying listening to new stuff again.

So when we bumped into a crew online called SPUTNIK BROWN who had a joint called "Gone Diggin'", it is safe to say we were more than intrigued.
After all, diggin' is what we do best! And these guys know their shit - in the lyrics there's a mention of New Heavenly Blue, Dalys Big Band and other secret squirrel drum breaks only hardcore diggers would know. But who are these cats?? Well, read on.....but first here's a few lines from "Gone Diggin'" and you will see exactly what I'm talking 'bout.

"My name's OX I'm a vinyl addict
Started off at 11 with this vinyl habit
Never needed toys cuz wax was all that mattered
When I see the funk in the stash - I gots to have it
45s 33s from 12s to LPs
78s whatever man it's a disease"

SPUTNIK BROWN have already paid their dues in the Hip Hop world. The crew members are...Musa The Penultimate (aka Howard Lloyd), E The 5th, Tre Best (aka Xis10s), Slim Donuts (aka Swagger Official), Oxygen (aka Ox the Architect), DJ Shark (The 'Japanese Import') and Dude Spectacular. Hailing from Long Island (the home of some of hip hop's greats) member Oxygen has been down since way back. Formerly known as Jonzhaft the Psychopath, he is already well known for rocking mics and having some mean records - he started in '88 as a ghost writer for MCs on LaRhon Records, and then dropped his own release "Groove to Get Down" on the same label which featured on DJ Muro & K-Prince's "WKOD: The Golden Era Of Hip Hop". Dues paid! So who are the other members? Musa is a childhood friend of Ox's who also got put on through the LaRhon connection, then known as KID C.H.A.O.S., and went on form House of Reps who dropped "Why It Gotta Be Me?" in 1996, along side a couple of other childhood peers INCLUDING his first cousin Tre Best . Musa also brought to the frame his good friend E tha 5th who is "the man with the beats to cause a disaster" - a cool Brooklyn cat on a mission to keep heads nodding so much we all need a neck-brace! E Tha 5th's genius began in 1991 with a busted Tascam four-track, pause tapes, and a Casio SK-1. Slim Donuts makes up the group - creatively, he and E tha 5th began formulating ideas together in 1994. Collectively, they make up the duo known as NEWSPEAK & Slim was also part of a crew of talent known as Dead Poets Society during the mid-90's. In 2003, Oxygen made his return back to New York from brief stints in Virginia & Cali, and through natural progression these creative souls united to form SPUTNIK BROWN.

Their eagerly awaited first release has just dropped on HIGH WATER MUSIC, and the 12inch features 3 stingers - "U Havin' Fun Yet?" "Brownout" and "Unadulterated". "U Havin' Fun Yet?" begins with great use of Charlie Brown (L.O.N.S.) saying "Brooooown!" and is a snappy, drumbreak-driven track with a hypnotising bassline and perfectly executed funky drum roll. Oxygen, who rhymes on this track has such a unique vocal sound (remember Gangstarr saying "It's mostly the voice"??) and drops some real clever lyrics that have you hooked from the very start. You don't wanna miss a word or beat with these guys, in case you miss something. And once the track's over, it's time to rewind and come again.

BLAAM! Have a listen to the soundclips below and see for yourself these guys got skills. If you love Hip Hop music made by artists with real skills then this crew will blow your head like the JBs! The samples are fresh out the crates, and you just know they have beats TO GO (and some stupid rare records!). "U Havin' Fun Yet?" is taken from the twelve inch, but I've also added exclusive snippets of the unreleased material "Gone Diggin'" (prod. by GENSU DEAN) and "Titles", the latter being Tre Best's incredible rundown of classic Hip Hop records from days gone.....listen carefully and see how many classics YOU can spot. Believe me the lyrics on these tracks will have you buggin'!!! And there's PLENTY MORE where this came from - ENJOY.
You can catch up with SPUTNIK BROWN's antics on their myspace page, as well as order your copy of the wax. Tell 'em the DAILY DIGGERS sent ya. Peep the new track "Hip Hop" which has recently been added, and watch out for the full-length album dropping in April 2008 entitled "THREE SHADES OF BLACK" also on HIGH WATER MUSIC. If it as well received as the twelve has been so far then we are talking "Classic Material". I also hear on the hip hop grapevine that DJ SPINNA is providing a beat for the LP. I think 2008 will be SB's year.
Also look out for Howard Lloyd's Quickie EP on sperm white wax which is also available through myspace. It may have been a quickie EP, but it's also a QUALITY EP and features the other SPUTNIK members performing at their best......if you snooze you lose!


SPUTNIK BROWN - U HAVIN' FUN YET?


SPUTNIK BROWN - GONE DIGGIN'


SPUTNIK BROWN - TITLES


JONZHAFT - GROOVE TO GET DOWN

Beats on Toast

Ahhh yAWn! On a day when I have no work or other early morning plans (of which there are few) I like nothing more than to kick back, switch on the sampler, pull out some dusty records, and flip a few early morning beats. I like to think of it as my "beats on toast" to start the day.

Our first ingredient is a horn burst, followed by a helping of atmospherics, served with a dusty breakbeat chopped in two for easy digestion. OK so this isn't exactly gourmet cooking at its finest, but it will help you start your day bright and cheery.
I follow this with a rich helping of sleazy sax, surrounded by snappy drums, with a hint of flute. Watch out for the hidden stabs!

Mostly, I like to serve it up on the plate within a few minutes. I try never to complicate things when cooking up a selection. Too many ingredients can spoil a dish!

So, pop a couple of slices of funk in yo toaster and enjoy!

breakfast #1




breakfast #2



and if you're still hungry?

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All Hail the Drums!

Let's face it...if we didn't have Drums we wouldn't have Hip Hop music. And without them we wouldn't be here indulging so deeply in this love of Hip Hop in the first place! The majority of musical compositions today rely on the drums as the backbone of the piece, creating tempo for the song and keeping time for all other instruments to follow. The subconscious connection between the rhythmic drum patterns and our own heartbeat of life has meant the drums has become and integral part of music today and no doubt will be in the future. And Hip Hop culture itself was born in essence from the drum beat itself. The scratched and looped patterns of funky drums spun in the parks & community centres of the Bronx seemed to have an incredible effect on the listeners. At first it was the B-Boys and B-girls who took it as an invite to toprock, throwdown, and do the do. And soon after emcees accepted the drums' invite to unleash their rhythmic poetry on the awaiting crowd. Hip Hop's creation had begun, but without that initial spark of those funky drum joints....would it have happened?? I doubt it.

So what we are going to do here is pay homage those artists who blessed us with some of the hardest and funkiest drums on the planet. Without them we couldn't make Hip Hop music the way we do.Some of the records we will feature have been widely used within Hip Hop and sometimes in other forms of music. Some will be lesser known, but we're more than happy to spread the knowledge for the lesser known funky break beat. Hopefully one or two of you reading this will feel the urge to contribute 2 or 3 of your own. Please feel free to hit us off at the usual address, and we will add them to the list and give you your props.

And please remember, the use of drum breaks in Hip Hop spawned a million other musical genres and totally re-defined the way most music would be made for generations to come. There, I've said it!! I'll get off my soapbox now...

So here's a few classic beats to get us started.....Of course we ain't gonna hit you with our stingers straight away, but they will definitely come later LOL! The first three are examples of great drums for looping, and the Locomotiv GT joint is more of a B-Boy break, but still a party rocker!! The drums and vocal chants get busy on that one towards the end, so stick with it and feel the groooove!! First out the drums crate is.....


Fausto Papetti - Love's Theme



JSD Band - Green Fields (of America)




Locomotiv GT - Rock Yourself



Butts Band - Caught In The Middle



Alice Cooper - Public Animal #9




T.Life - Checkin' Out Your Love

Artists of the month...

MEGGS

Golden Era gems

I'm not a great lover of the phrase "random rap", although I do use the term. OK, so I know it's a rap record, and I understand that it's a random one at that (unfamiliar artist, label etc.) but the term doesn't tell me a whole lot. For example, it may be random, but it could also be absolutely shit at the same time! I would much rather refer to quality hip hop records between 87-92 as golden era gems, or "undiscovered gems" if it's one I don't know. Now that tells me much more. I thought we called our genre Hip Hop anway?? After all, rap is something you do, hip hop is something you live.



Nuff of the politics. The GOLDEN ERA did certainly produce a lot of slept-on killer records that didn't register on our hip hop radars back in the day, there's no denying that. And, dare I say it, a lot of it is better than some of the records I DID buy back then. But at the time I, and many others, focused on the big name records like BDP, Public Enemy, Tuff Crew, EPMD, Slick Rick, the Juice Crew and its affiliates, Lord Finesse, 3xD, Ultramags blah blah blah.... My meager budget back then was my pocket money alone, which I spent mostly from GROOVE RECORDS in Greek St in the Soho area of London. Back then I bought music from artists that I was familiar with, or records that were blowing up on radio. Any Hip Hop collector will tell you that eBay and the Internet in general has helped many of us fiends complete the big names' sections in our collections. I have spoke to many hip hoppers who tell me "yeah I got all the Cold Chillin's, everything on B-Boy Records, most of the Tommy Boy releases..." and so on.

Hence it was only natural that sooner or later the true heads were going to start digging deeper (excuse the pun) to find quality hip hop wax. I had already determined that the GOLDEN ERA was where my heart was, and it always amazed me over the years how many lesser-known, killer records I had from that period. So I always looked for more of that stuff, that maybe wasn't played on radio, wasn't played in the clubs, or played to me by friends/other hip hoppers.



I already had certain records in my racks which I bought on issue, which always got other heads asking. SIR FRESH & DJ CRITICAL "Sir-Vere" was one of them. This track was uptempo raw beats and killer rhymes, yet very few knew or owned it? Another was RAW DOPE POSSE "Listen to My Turbo" ). Both incredible records by anyone's standards, and tracks like these spurred me on to search out more of this dope shit!

Of course having eBay at my disposal has enabled me to buy lots more previously undiscovered gems from this period, particularly between 1988-1990. I ain't gonna front on no-one, I use eBay for what it's worth. I know to some diggers eBay is a dirty word and they say shit like "It ain't real diggin'!". But YO! I get around when it comes to buying wax so trust me I have, and still do, put the digging hours in. And as often as humanly possible. But if I can cop some extra-special-off the-wall-dope-raw-shit on the Bay then I'm gonna do that too! And that is where the floodgates opened.

For several years now I've seen the hype machine around "random" rap work overtime. Now it seems anything on a small record label or from an unknown artist gets the hype treatment in the hope of the seller paying off his/her mortgage! And this isn't confined to the web either - I have seen various record spots now have the obligatory "random" section for all the unheard of stuff. I remember seeing a copy of Almighty Marski - "Leader of the Force" 12" make up to 100 US dollars (approx £50.00) purely because of the Paul C connection. However those that have heard or own the record know it's more like a wack house record than a thumping hip hop tune! More and more now I see hip hop wax making well over 3 figures in price, and sometimes hitting 4 figures. Some I know, some I don't.

So what I aim to do here is to separate some of the wheat from the chaff, the goddamn awful from the simply incredible, and the crap from the classics. And more importantly I want to stress that the price of a record does not always determine how dope it is. I have bought handfulls of records over the years for one or two pounds only that are killer tunes. The less hype the better if you ask me!

So here we go - below are some my fave gems from the 87-92 period. This isn't a definitive list by any means, but more a helping hand to those who love decent hip hop from the GOLDEN ERA but don't want to break the bank owning it. For obvious reasons I will not be listing the classics from that time as we could be here all day, and if you don't know your Eric B & Rakim from your EPMD then there's not much hope already! I will also add a soundclip for each for those who want to sip the dopeness. I hope you see something ya didn't know already.



First out the box is THE POWER OF TWO & THE NO JOKE CREW - "We Got The Jam" 12" single on GERMAT records from 1987.
It's not an expensive record to find whatsoever, but this lesser known track encapsulates the vibe created during the NY borough wars made famous by the Juice Crew/BDP diss records. Funky drum programs here rather than sample based drum loops, but funky as hell - think Marley Marl Scratch and you're on the right lines. With some classic funk stabs laced over the beat and a touch of Bob James' "Nautilus"....what more could you ask for? Some scratching? Check! We got some neat transforming courtesy of DJ Steve Thomas. Repping for Manhattan throughout, MC Zinc (Shawn Jenkins) certainly has skills and an interesting vocal sound. With Tim Dog also named in the crew (could this be?) and Keyboard Money Mike in the credits, this is a surefire winner. Click below for a SOUNDCLIP. Mastered by Dick Charles with signature in the run-out. Matrix no. G-347.

Power of Two - We Got The Jam




My second choice is DR. LUV & KEV-SKI - "I Ain't Goin' Out Like That" 12" on Zakia from 1988.
A really strong release from Doug E Fresh's affiliates, which did get some airplay back on it's release, but often missed by the record buying public. The A-side title track is a James Brown influenced stormer, using a "There It Is pt.1" loop to great effect. Plus some famous JB whoops and oowws to hype the track. Trust me this is KILLER! And that's before we've mentioned the bonus cut "Overdose" on the B-side. Kev-Ski rips some seriously dope rhymes while Dr. Luv cuts up 2 copies of Miami's "Chicken yellow"....pure hip hop magic! Cop it or miss out on a great record! Peep the SOUNDCLIP of "Overdose" below, and read more about the duo on www.myspace.com/drluvandkevski. F/W etched in the run-out. Matrix no. PAL-7221

Dr. Luv & Kev-Ski - Overdose




Now for one of my personal favourites - WITCHDOCTOR - "Takin' No Shorts" 12" on Timberwolfe records outta NY from '88. Now this is raw! The follow-up single to "Kickin' It Live" from 1987, this record leaps out ya speakers and cold fucks you up! Much harder than their earlier release, this 3-track 12" kicks off with the title track and has you hooked from the word go. As one MC says...."The element of suprise - the main attraction, Rock Master J is in effect & it's time for action"". Firstly the sounds of footsteps, then a doorbell, leading to a scratched beat intro to die for. When it drops we are talking heavy! Using Sly Stone's "Sing a Simple Song" break, MCs Count Coolout, Rock Master J and the Mellow Nate Dee drop jaw-dropping lyrics while Witchdoctor keeps the beat and rips the cuts.
Track 2 entitled "R.A.P." is also a stormer in its own right, and featured on a DJ Koco Mix (probably the track that made you shout "holy snap!". And the final bonus joint "Bust the Beat Olori" feat Olori Rock puts most human beatbox records to shame. Dope stuff and no slack whatsoever. And personally signed by the WITCHDOCTOR himself, what more could you want, other than maybe a soundclip?.....well it's a pleasure! Just click on the links below. Herbie Jr signature and smily face in the run-out. Matrix No. TW2002.

Witchdoctor - Takin' No Shorts

Witchdoctor - R.A.P.




Unsuprisingly the next record has been much slept-on. Maybe it was the lousy cover art, or the fact that GM Flash, Melle Mel and the Furious had "fallen off" somewhat following their early 80's success? I personally passed up the record for years and years in favour of better looking records. Surely I had heard the best from Melle Mel already? The GRANDMASTER MELLE MEL & THE FURIOUS 5 - Piano 1989 LP on Sylvia Robinson's Sugarhill offshoot NEW DAY RECORDS, not only looks wack, but it sounds wack. But here applies the phrase "never judge a book by it's cover". The beats on most of this 10 track LP were spot-on for the late 80's era. Classic uptempo breaks are looped tight and left for Melle Mel et al to run their shit. Using Babe Ruth, KC & The Sunshine Band, James Brown, ESG and EW&F samples to name just a few. The label doesn't offer many clues to who the production was really down to, but Kid Capri gets a credit for his scratches. If you never really liked Melle Mel and F5 from the old school days then I suggest you do try & check for this LP - it may be a nice change to hear sample-based beats behind the Furious. Kinda refreshing even! MASTERED BY TRUTONE stamp in the run-out. Matrix no. ND-222.



Melle Mel & Furious 5 - Freestyle


Another easy to find and relatively inexpensive twelve is GET LARGE POSSE - "Large is How We Livin'" 12" on Egyptian Empire Records from 1988. A 3-tracker featuring MC Capone on the mic with MC JH, and co-produced by the duo along with General Jeff. As happens regularly with Hip Hop releases, the B-Side wins again. This record for me is all about "No Slippin' Allowed" on the flip using the same O'Jays "Give the People..." break that Gangstarr later used on "Step in the Arena", and EPMD used on "Gice the People...". A lazy horn intro, a quick countdown, followed by some dope drums, a Maceo stab and the instruction is to GET FUNKY! Plus there is some very nice cutting towards the end (check soundclip). This track stands head and shoulders above the others namely "Large Is How We Livin'" and "Dope Stuff". Also check out MC Capone's later release "Smoove Style" which appeared on DJ Ivory's Hear No Evil series. Certainly no slippin' here! S-22567 & 8 etched in the run-outs. Matrix no. DMSR-00886.




I have a particular fondness for this next record. The scenario was as follows - 5 or 6 years ago I'm digging deep in a local wax spot (Rhythm Records in Walthamstow, East London - now closed unfortunately) and have had little joy despite a good 2 hours searching. Then this records pop up into my peripheral vision in the next stack along. I have a few pieces on POSSE Records already so I know to check for this label, & then I notice in the production credits "engineered by CJ at 1212". For any golden era rap nerd these are the words you wanna read!
The record was THE RANGERS - "I'm Hot" 12" on POSSE RECORDS from 1988, and priced at a mere 2 pounds. But was it any good? I was unfamiliar with the group, although "I'm Hot" sounded familiar. And what an apt title it turned out to be, cuz this track is HOT!
Originally released on Woo-Jon Records (sought after record) and picked up later by POSSE, and despite not having "Jack's On Crack" on the flip, the title track is off-the-hook. From the "I know you gonna dig this" intro onwards, Jazzy G's confident rhymes explode over the sample-laden beats (James Brown - The Payback amongst many others) and in typical studio 1212 style the beats are so well crafted and recorded that this track holds your attention from beginning to end. At the time of writing this I can see 2 sensibly priced copies listed on eBay. My advice is to BUY ONE!





...more golden era niceness to come, please check back with us real soon.

Why we love break 45s

There ain't no feeling like copping a drum break on a 45! Whether because it's more of a concentrated hit on your breakbeat senses than an LP, or the fact that small is beautiful, all I know is that I love the feeling it gives me. I regularly play a 45 set when we play out, and yes it does take more skill in ensuring seamless music for the partygoers/dancers than using 12" vinyl. But that feeling I get from these records is definitely passed on to the crowd. Many sevens are just short of 3 minutes long, and I guess that a concentrated burst of good music like this is very enticing. Plus, of course, many of these 7"s are much cheaper to purchase than the corresponding LP.
So now I find myself hunting down dope 7"s from all genres in search of the ultimate artillery. Like arrows for the quiver, or bullets for my 9mm, I need to know I have that knockout punch available when it's most needed!
Below are a few of our favorite breaks on 7", many of which featured on Lenny Roberts' (RIP) unforgettable Ultimate Breaks & Beats series from the 80's. His legendary Street Beats label from Castle Hill in the Bronx gave Hip Hop deejays and producers access to the rarest of break records back when digging was still in it's infancy. Hence his UBB series was pivotal in shaping the way Hip Hop records sounded throughout the late 80's. Many of the breaks are very short in length, so Lenny even had Louis Flores edit some of the original recordings to extend the drum breaks for the compilations. This gave the deejay more wax to play with, but often freaked them out when they eventually found an original pressing and discovered the true break was so tiny in some cases.

We have provided a soundclip of the break in case you are not familiar with it. We hope you enjoy them and feel the need to search out a few killer 7"s next time you're out digging.


BANBARRA - Shack Up / Shack Up pt.2 (1975 United artists)
If it's seriously hard drums you want this next single is a stonker! From the whistle blowing start of "Shack Up pt. 2" onwards, the drums are crisp and heavy, and the pattern is head-nod to the point of being almost jerky. But pound for pound these are some lovely drums to sample - either separately, or as a tight loop. Possibly the most classic use of these drums was by Divine Styler on his 1988/9 single "Ain't Sayin' Nothin'" on Rhyme Syndicate Records, but more recently used on Gnarls Barkeley's smash hit "Crazy".
Pete Rock reputedly once said that he used to add feint "Shack Up" drum noises to his drum programs in order to fatten up other drum noises, and on hearing you can understand why. The drums are so prominent in the mix of this classic breakbeat, and the kicks sound low and wide. Other Hip Hop acts loving the Banbarra sound include 3rd Bass, De la Soul, Del the Funky Homosapien, GangStarr, Public Enemy and I can't possibly leave out Stetsasonic who incorporated the drums into "Talkin' All That Jazz" over a Lonnie Liston Smith bassline extracted from "Expansions". Lovely!




BAD BASCOMB - Black Grass (1972 Paramount Records)
A cross between a funk joint and a country & western hoe-down, Bascomb delivers an all-time classic here, sampled by Special Ed & Doug E Fresh and even Wu-Tang. The plucky banjo and vibrant fiddle don't distract you from the funky drumming throughout this track, and then the drums hit solo with a 3-note breakdown! Great for two copies rocking the stabs. The drum break itself has a low key shuffle feel about it with its prominent high hats, loose kicks & snares with some rhythmic handclaps added. Bascomb urges "Everybody - got to get some!" and the rest is breakbeat history. Below I have provided a snippet of the track and a clip of how the drums sound when looped up. Enjoy!
Black Grass


CAPTAIN FREAK & THE LUNACYCLE BAND - Whatever Happened to Superman (1974 Jamie Record Co)



I could buy this record just for the label - a fishbone with the the words "Phil-LA of Soul" above it. Genius! The bizarre artist name was also an instant attraction - it has to be one of the most ridiculous I've heard. This 45 was a blind purchase, and with this 45 I wasn't to be disappointed. I had never heard anyone play this track when I found it, so to hear the incredible uptempo drum break intro almost knocked me off my feet. Feisty footwork on the kicks and snappy two-tone snares. Damn I think I had the SP1200 turned on within seconds of first hearing it, so eager I was to get the beats rockin'!
I know very little about this record, or who has used the drums,(maybe you can tell me??) but I've since learned that it does appear on one of the Batteria for Beatheads comps.
Whatever Happened...
http://www.zshare.net/audio/310060311563dd/


DAVE CORTEZ & THE MOON PEOPLE - Happy Soul (With a Hook) (Speed Records)
A very much "in-vogue" record of the moment since Premo flipped the beat for Christina Aguillera, and now demanding a fairly high price with collectors, this killer Boogaloo track has beats fit for the purpose to say the least. It's such a suprise that no-one used this for a hit record earlier. The drum breaks are tougher than tough, and have the obligatory stab at the beginning - what more could a hip hop producer ask for? It even breaks down more than once, with different stabs, then continues with some bugged-out Dave Cortez organ riffs. But when the awesome bare drum loop hits home, it sets your spine into tingle mode! RAW!



So who are The Moon People and why is it "with a hook"? I'll try and explain.....
The mid-60s saw rock 'n roll and soul music dominate the charts. However the Latino neighborhoods of New York City took rock and soul and infused it with Cuban and Puerto Rican styles with lyrics in English, and created Boogaloo. During this time, The Moon People (originally called Los Astronautas but this name coincided with an existing artist) made an album for the label Speed, but when the LP was released in 1968, it made zero impression on the charts. Speed took one of the songs, "Happy Soul," and added some ill organ solos by Dave Cortez. In late 1968 this single was released, credited to Dave "Baby" Cortez and The Moon People and now entitled "Happy Soul (with a Hook)".
Happy Soul with a Hook



ALBERT KING - Cold Feet (Stax Records)
When Diamond D said "I took a blues break and I broke it!" - this is the record he was talking about. In '89, Strong City Records released Ultimate Force's "I'm Not Playin'" hit which saw the introduction of Diamond D to the record-buying public (see dope Hip Hop 7"s post below). Rather then use a typical funk or James Brown loop, he and Master Rob decided to flip up Albert King's heavy blues track shown here, and to awesome effect. The track also became synonymous in later years when the "random" genre blew the fuck up, and this hype lead to the Ultimate Force unreleased LP dropping earlier this year.



Albert King provides us with some ill guitar licks and snappy drums in this track, with his woeful tale of recording this music, and even moans how "no-one has had a hit outta this studio since Sam & Dave". Now that's the blues for ya!
I've added a clip below for your listening pleasure, and also a quick loop which demonstrates how easy the Hip Hop classic was created from this funky Stax joint. Props to Diamond D, he spotted that shit first!

Cold Feet loop



AREA CODE 615 - Stone Fox Chase (1970 Polydor)
Possibly the funkiest harmonica ever, and a percussively excellent track. This original B-Boy break from '70 has provided the backdrop for several artists over the years incl. Mantronix & MC Tee, but most notably used for Kool G Rap & DJ Polo's "Trilogy of Terror". The track is taken from the Nashville band's "Trip In The Country" LP.



Simple yet funky shakers introduce the track, with the funky mouth-organ riff continuing throughout. The drum and percussion solo comes early on this one, and continues for several similar yet slightly different bars. At one point the percussion changes and some soft vibes bring an oriental feel to the track.
STONE FOX CHASE also became the theme music for the BBC's "OLD GREY WHISTLE TEST" music show in late 1971. A very easy 7" to find beacuse of its widespread release on Polydor, this funky 45 also features a mellow sample on the flipside as used by The Grassroots on Conception records (Props to Mr. Attic and Mr. Supreme). Enjoy the snippet below and check out my Mantronix-style flip on the loop! LOL
Stone Fox Chase
Stone Fox Chase loop


Z.Z. HILL - I Think I'd Do It (1971 Mankind Records)
A popular record amongst old school beatheads and more recently revered as the drum loop utilised on the Paul C produced classic "Pelon" by 360 degrees. If you check your old school tapes this one appears regularly for good reason - a fidgetty drum roll intro leads into a burst of head nod drums ripe for the picking. One hell of a guitar stab immediately follows the drums and the record just screams at you...."use me for doubles!". No wonder this appeared on the UBB series - it's great for b-boys to get down to, and just as nice for MCs to rock their shit over. But for some reason it always sounds fresh when I hear this tune, unlike some overkilled breaks which can be tiring to hear again. Taken from Z.Z Hill's "Brand New" LP from 1971, the Texas-born Blues & Soul legend has given us a classic!



I found my copy on 45rpm from a local boot sale for £1.00, so it's out there to be found. The bright green and yellow label should help your sunday-morning eyes spot one amongst the piles of dusty rock and pop sevens!
Also used on Eric B and Rakim's "Eric B is on the Cut", Ghostface Killah's "Winter Warz", Jungle Brothers' "Good Ole Hype Shit" and even NWA on "Something Like That". Bonafied classic shit!

Do It loop

Put the Needle on the Record...

During the dark ages, a long time before such inventions as CDs, iPods, mp3s etc. were invented, people played recorded music on circular slabs of vinyl known as "records". Now these could be played at 33rpm (revolutions per minute) 45 rpm and even 78rpm using machines that were very unimaginatively called "record players".
But then in the 1980's some bright spark at Phillips decided to (attempt to) kill off vinyl by inventing the Compact Disc. At that time the buzz was that these CDs were much smaller than records, offered superior sound quality, plus you could cover them in raspberry jam and put them in your CD player and they would still play OK! Well nearly. But I remember in the 80's everyone said the days of vinyl were now numbered, because of this new invention. I freely admit that I hated CDs at first (and still do) so I took great pleasure in the latter stages of the 20th century when mp3s arrived on the scene and began to kick the the CDs arse! It felt like the old school bully finally got his come-uppance.
But however hard the music industry tried, they just couldn't expel the love of vinyl from people's hearts and minds, and now I believe the 7 inch single is making an incredible comeback - Hurray!
The only drawback of vinyl was, and still is, that you do have to handle these babies with extreme care, always replacing the record in it's sleeve carefully after playing, and try not to damage the groove part of the wax. It's a shame, however that so many records over the years were not handled with the same care, and hence condition is paramount when buying a vinyl record. Plus a plethora of deejays and turntablists over the last 20yrs means a lot of Hip Hop/Breaks vinyl can be pretty much trashed. But please do not despair....if you like to treat your wax with a little TLC, and you get annoyed when finding a gem of a record whilst digging only to find out it has a skip or pop this will be of interest to you. In fact maybe you should scrub up, put on your surgical gloves, have nil-by-mouth for at least 12hrs, and then head off to Kid Dyno's Record Surgery!

A month or so ago at our weekly Record Club, my wax buddy the Beat Detective brought with him a CENSORED LP with a funky drum break on it. The problem was that although the vinyl looked to be in great condition, there was a "skip" of all places right in the middle of the drum break itself. DANG! Don't you just hate it when that happens?
But no fear, KID DYNOMITE is here with my tried and tested method of removing jumps and scratches from your highly prized slab of wax. Now I must point out that this method does not work on all record jumps, but if you can spare 10 minutes in the day and you do not want to search for another copy of the record, I suggest you read on...



All you need is one record with a skip on it, an old stylus (preferably not your new one), and a cigarette. For the non-smokers of you out there, may I suggest you ask a friend who smokes for a spare. Or you could buy a box of ciggies, use one and send me the other 19! Puff Puff!!
Seriously though, the cigarette is used to re-cut the groove back into the wax without applying to much pressure to the needle. Fit your old stylus and cue the record up so it is placed just before the skip happens.
Hold the cigarette by the butt, and lean the white part on top of the stylus cartridge. As the record revolves and reaches close to the point of skip, apply light pressure downwards on to the cartridge (don't worry if you use too much force the cigarette will either bend or snap). This may not work the first time, but be patient and try this several times, applying slightly more pressure each time you do it.
Some skips will disappear almost immediately if luck is on your side, but in most cases you will need to repeat the above operation several times in order to "re-cut" the groove as it was meant to be. "Come on KID that won't work!" I hear you cry. Well trust me on this one I have saved many many records from the scrap heap using this method. Don't get me wrong, some records are so obliterated that you will not be able to retrieve a decent playing copy, but if you were to ask me how many times it will work I conservatively reckon you will be successful in at least 50% of your attempts. My success rate is slightly higher than that, but I must have done a hundred or so in the past so I tend to know which ones can be saved and which ones are still gonna be destined for the bargain bin in Oxfam!

As you can imagine, when I fixed Beat Detective's copy of CENSORED LP there was a stunned silence in the room. Damn it was like I had cured cancer or something. But I guess if you are a vinyl lover then a trick like this can only be useful to you. Needless to say we sampled the drum break after the operation and it was virtually impossible to hear any remnants of the skip. Not all cases will be like this and sometimes a faint click or pop will remain, but at least you can play the record through from beginning to end. Give it a try, and don't forget to use an OLD stylus - man I don't want y'all complaining to me that you snapped your £100 stylus on my instructions now do I??
Once the skip has been pleasingly removed, I then suggest giving the record a good clean. While the most common method of cleaning off lightly soiled records is the use of slightly soapy lukewarm water and a light brush or cloth, there are certainly those audiophile theorists that will point out that undistilled water will leave behind mineral traces in the grooves of the disc, and that soap will just generally get in there and have all kinds of drunken, debaucherous parties deep in the groove! Using small amounts of alcohol is also both recommended and frowned upon, because while alcohol can act as a solvent, it will also remove much of the oils within the vinyl grooves. Less oil in the grooves means less lubrication for the needle, which means increased friction, which means increased heat and can obviously result in damage. And don’t even think about using hot water - heat is the mortal enemy of vinyl! But unless you have time to prepare some quadruple-ionized water I suggest you go the soapy water route. Please ensure you clean in an anti-clockwise direction and moving inwards towards the label as you go. But if you remember just one thing from this post, let it be that you should NEVER play dirty records. It will dullen the sound from your all-important (and usually very expensive) stylus, and any dirt that the stylus picks up will be dragged through successive grooves and carve them up like a psychopathic butcher!

...now it's clean your record is ready to play and enjoy! If however you tried in vain to remove the skips, and other scratches and pops are too prominent, I suggest you make a novelty ashtray out of it (see above) and then smoke those other 19 ciggies!

Happy diggin' y'all

Artist of the month...

EL MAC

Since having started painting graffiti as "The Mac" in the mid 90s, he has been commissioned to produce murals around the world, he has exhibited in museums, and his work has graced the cover of numerous publications. Mac has gained increasing notoriety for his almost photorealistic depictions of both ordinary people and ethereal women, in a style that is uniquely his own. Mac's intricate brushwork styles have also gained attention, while some of his murals have become mini-landmarks. Elements, themes and techniques of classic art are often incorporated into a modern context in Mac's artwork, usually with an emphasis on the human face and figure. His work is the result of a life devoted to art. Enjoy!

collabo with Joli Estevan

Get Down with the Goosedown

I can't actually remember the very first time I saw a Leather Goose Jacket being sported by one of Hip Hop's great artists of the 80's but it may have been a certain James Todd Smith looking fresh in 1986, after release of his debut LP "Radio".
If it wasn't Cool J that introduced me to the Goose Jacket then it was possibly the release in 1987 of Eric B & Rakim's "Move the Crowd" 12" on 4th & Broadway records which showed Ra in the background looking serious as ever in a V-stitch Bomber Goose in Black leather. That was it for me, I had to own one of these jackets. Furthermore Run DMC rocked these throughout the 80's and were also seen wearing them on their classic LP from 1987 "Raising Hell" with the shocking green/purple and mindbending orange/blue negative cover prints. (I remember hearing these covers caused some epileptics to have fits!)
However, my favourite Goosedown action has to be from the film "Tougher than Leather" which also starred Run DMC. During the club scene, the camera pans across the dancefloor to reveal several homeboys wearing Gooses in varying dope colours. My favourite being the powder blue with black fur - what an awesome jacket! Another classic record cover showing how dope these jackets is the 12" cover from Public Enemy's "You're Gonna Get Yours". Below you can see a black one, a blue one and even one in red being sported by PE's crew -
they knew what time it was! But it wasn't just the artists themselves to be seen in them - these jackets were widely and cheaply available and worn by hip-hoppers and homeboys alike.



There were many companies in the US producing leather goosedowns, but the first and original jackets were made by GOOSE COUNTRY, and DOUBLE GOOSE COUNTRY. Despite many imitators, some good and some bad, these were the real deal leather jackets available in bomber form, or 3/4 length, and with or without the real fur collars. Available in every colour you can possibly think of (I have seen pink and even bright yellow) and the freshest thing to be seen in when winter draws in. And believe me these jackets were super warm - keeping the average knucklehead toasted as he hit the streets. In NY these were available across all boroughs, and in Manhattan the places to find them were Orchard St and Spring St (just off Delancey Street). Prices were not particularly high because these Korean manufactured coats were designed mainly with the purpose of keeping warm rather than for fashion - it was only that the Hip Hop community did what it always did & took something run-of-the-mill and made it uniquely it's own.



Back in the 80's one of the only places to get your hands on one of these incredible jackets in London was a very small basement Hip Hop shop known as 4 Star General in Carnaby Street. George and Everton, who ran the shop back then, were some of the first guys to travel to NY in order to buy a stock of these Double Goose jackets and return to the UK to sell them. Even back then (circa 1986/87) these jackets were expensive at £350-£400, but where else could you find one of these and dress like your Hip Hop heroes?? Sadly for me I couldn't afford to buy one at that age (16 years old) but the feeling of wanting one never faded, even when the Hip Hop styles changed and rappers stopped wearing them.
Now you don't need me to tell you that life runs in cycles, so I knew eventually these Goose jackets would be in favour once again. So in the mid 90's when I finally could afford to, I made the pilgrimage to NYC - the home of Hip Hop. The Rocksteady Crew were holding their Anniversary Jam and this provided the best excuse for me to hit the streets of New York for a 2 week Hip Hop holiday. My intentions were to take in a few of the Rocksteady events, check some NY Hip Hop clubs, rinse the record spots clean of their dollar bins, grab some really fresh sneakers, and of course continue my search for the elusive Goosedowns!



I travelled to NY in '94, '95 and '96 and despite my best efforts trawling the tri-boroughs no-one seemed to be able to tell me where I could find an old stock of these vintage coats. From Canal Street in Manhattan to Gun Hill Road in the Bronx, I spent days taking the train uptown and downtown, taking in the graffiti spots as I went, but every day ended fruitless. We had a few close calls though - with some store owners taking us through the back only to be disappointed with other moth-eaten stock they wanted to push on us, thinking we were naive tourists! In '95 and the following year my close friend and brother from another mother Break DJ Leacy (RIP) also made the trip to our "mecca" with his brother Aidan Orange. Now if anyone would track down these coats it was him. James Leacy had an unrivalled passion for all things Hip Hop, and his journeys to New York lead him into a career as a break DJ at many of the US B-Boy championships in the late 90's and early noughties. When Jim did something, he did it to the fullest degree, never giving less than 100%, and the same went for his search for the Goose Jacket.
It was the late 90's after Leacy had made many trips over to the capital of Hip Hop (where I had now given up my search) that the phone call that I had been waiting for finally came. Nothing could prepare me for the story I was about to hear. Jim had been going every year since my early visits, and every year he would head over to the same spots and re-visit the stores and warehouses where we had learned that Goose jackets could be purchased back in the days. Jim's connections led him to one warehouse in particular out in the tri-borough, where he had been repeatedly refused access to the back of the store to allow him to search through their old stock. However his persistence had eventually paid off, and the owner who had become sick of the site of him but admired his balls in coming back again, told him he could finally search through the loft space at the very top of the warehouse. Jim told me he had to climb up some rickety ladders to gain access to the storage loft, and under years of dust and some god-awful 80's leather jackets he found a "pile" of original goosedowns still in the polythene covers. HOLY SHIT! Of approximately 20 jackets though, most were rotten or had simply disintegrated over the years, but luckily a handful at the bottom of the pile were still as fresh as the day they were made. Jim being the great friend he was, called me up on his return and took great pleasure in hearing my heart miss several beats when he told me. I must have sounded like a kid on the night before Christmas! He was gonna give me first refusal on them.
So, it took me over 10 years, but eventually I got my sticky hands on 2 original jackets from the 80's. One a V-Stitch Bomber in beige leather with brown fur, and the other a V-Stitch Three Quarter Length in dark blue leather with fox fur. In that very pile he also found the most amazing bottle green example with black fur. My classic old school image was now complete, but little did I know that 10 years later these jackets would become collectable and highly sought after by other old school fools like myself (just watch 'em sell on eBay!). And of course you can now buy the French made Double Goose jackets, which are of amazing quality and designed to be as close a reproduction of the Double Goose Country originals as possible (check out their website and peep their Camo edition above). YMC (You Must Create) also produced a jacket along the same lines but it fell short of looking good in my honest opinion. If you wanna cop an original yourself then I suggest you trawl through eBay's vintage clothing section on a regular basis, and have at least a couple of hundred pounds (approx 400 dollars) at your disposal. You won't regret it! ..and you will never complain of the cold again!

Doublegoose

B-Boy Breaks on 45

OLYMPIC RUNNERS - "Put The Music Where Your Mouth Is" LONDON RECORDS 1974
First out the box was this little beauty on UK London Records. I have been searching for this on 45 for a while now, as I don't even have an LP version in the crates. I had to stop and think for a moment as I was unsure of the track title, but then I recalled Lenny Roberts' Ultimate Breaks and Beats compilation (the one with the records flying through space on the cover). This record was a must.
This track is a stone cold old school killer - I defy you to play this out anywhere and NOT get a reaction. Perfect for MCs (as it is instrumental) and b-boys to do their thing over. Check back on your old school tapes and this one will pop up frequently. Dope shiznit!
Put The Music Where Your Mouth Is


THE TEMPTATIONS - "I Need You" GORDY RECORDS 1973
Once again this track appears on a lot of old school tapes, possibly because the dramatic string section breakdown and funky drums are so f#ckin' intense. If I remember correctly, I have also heard this dropped back-to-back with E.U.'s "Freeze" instrumental as this track also has a similar horn breakdown. I can't remember which old school jam in particular but it raised the roof with the crowd! If I find the said tape I will happily upload a clip for your listening pleasure. Or if you know the one I'm referring to and can find it before I do, then please lemme know?
Getting back to the track, it doesn't actually feature a whole bar of drums, so it's not a "true" drum break in that sense, but the breakdown is so fierce and the drum rolls are so funky that it was spun by the pioneers for sheer crowd reaction. Produced by Norman Whitfield, and also featured on their LP entitled "1990" which is a bargain bin special. Keep your eyes peeled. I personally love this track and have dropped it a few times on our BREAKS FOR DAYS radio download.
I Need You


L.T.D. - "Love to the World" A&M RECORDS 1976
Once again we have another track with "love" in the title, just as with the ZZ TOP post. But please don't take that as a clue to finding a break record cuz it's purely co-incidental. Now at first I thought I had already dropped this funky 45 on you, but I cannot find the post on searching through the older pages (did I really write all these??). So if I am repeating myself, remember like SPOONIE G once said - "I ain't just a fool, I'm an OLD fool!"
My man BREAK DJ LEACY first played me this record, and I believe it also featured on his dope BREAKSPLOITATION break comp series (check 'em out). Once again it's an old school b-boy favourite, despite the fact that producer Larry Mizell makes us wait through three whole minutes of STYLISTICS style singing until the funk eventually drops! But as with all good b-boy records...the wait is worth it. On this break the drums are very much on the downlow, and the plucky electric guitar gives us the melody and rhythm for the dancers. But from the string intro and bass guitar (which I can only describe as sounding like a wobble-board) in the intro onwards it seems a very unlikely candidate for holding a b-boy beat, and the emphasis is definitely on "love to the world". An uplifting disco track if ever I have heard one, mainly due to the seductive string section and catchy chorus. I have yet to find this track on any of my old school tapes, but I have it on good authority that this track was a dancefloor sureshot back in the day (DJ LEACY hung with, and deejayed for PRINCE KEN SWIFT of ROCKSTEADY CREW for a few seasons).
(Great A&M 45 sleeve too - looks kinda like the UBB LP cover I mentioned above)
Love To The World

I see a circle developing...