Seriously, what the fu*k is wrong with people?

Normally, I’m much more reserved and high-brow in my editorializing. But time and time again, I get furiously frustrated at the ability of people to be so easily led astray by this asinine community of amateur “journalists” (I hate to use the word in this case) who continue to simultaneously poison journalism, hip hop and our communities.

How in the holy hell is there a nominees list of MTV’s “25 Hottest MCs in the Game” floating all around the internet, on almost every hip hop blog, all over Twitter, yet there is no list on MTV.com. In fact, MTV articles SPECIFICALLY say to tune in to see who is on the list and MTV’s RapFix Live account and VJ Sway tweeted that there is no list.

READ> @MTVRapFix: MTV’s ‘Hottest MCs N the Game’ kicks off Feb 13 on Hottest.MTV.ComUntil then, there is no official list circulating

— Sway Calloway (@RealSway) February 8, 2012

Yet every headline on every blog, including giant clusterf*#k ones like Russell Simmon’s broke ass Huffington Post wannabe site Global Grind and hip hop staples like RapRadar.com, run by respected hip hop journalist Elliott Wilson, and every tweet from every Tom, Dick and Harry, says “MTV Releases List…” Meanwhile, every blog (including giant clusterf*#k ones like Russell Simmon’s broke ass Huffington Post wannabe site Global Grind… oh, did I use that line already?) copied the exact same list from some other blog, and so on, and so on, from wherever it originated, and now everyone is fu*king arguing about a list that may or may not even exist?!?!

I figured out it was suspect, and may not be official, in about 8 seconds. I found Sway’s tweet in another 6. What is so hard about doing this before simply copying and pasting whatever you see on some other blog?

I wouldn’t be surprised if MTV leaked a fake or modified list, knowing it would spark debate and therefore, ensure people tuned in. If that is the case, people are blindly falling for the deception, gleefully accepting their roles as pawns, unwitting social media carrier pigeons, enlisted to freely do the job MTV once had to actually pay people to do.

I also wouldn’t be surprised that someone just made an arbitrary list, posted it to some no-name bullsh*t blog, and let it ignorantly spread like wildfire among the bloggers, twitterers and facebookers who would know how to fact check something if their life depended on it.

Seriously, people are stupid. And getting stupider. And companies and websites are realizing this and playing right into it. They know that people will believe (and SPREAD) everything they fu*king read on the internet (countless “death hoaxes” have proven this), and there are site owners and bloggers who do NOTHING but perpetuate the idiocy.

It makes me want to continue to try and fix this so-called hip hop journalism industry, or get the fu*k out of this so-called hip hop journalism industry, but watching this so-called hip hop journalism industry continue to deteriorate is nothing but a disgrace. I’ve said it before, and I’ll say it again, one day, this rampant spread of misinformation will result in something big. Something bad.

It’s dangerous, and the sites with the biggest voices, like Global Grind or sites affiliated with or run by industry people, like Funkmaster Flex and Miss Info, need to really decide if their need to spread info to fans and listeners outweighs the inherent responsibility that journalism is supposed to illicit from its participants, in order to protect the very people it is to serve.

You don’t even like rap that much anymore.

Not since the days of De La Soul or Tribe anyway. And you don’t get out much, even though you live in New York City. Definitely not to a rap show.

Hip hop is boring these days. You don’t even really listen to the radio, and anyway, it’s all Southern shit. Some of the new NY guys are good, but overall, nothing you hear really appeals to you. Live shows are usually a two hour waste of time spent standing around.

They just don’t do it like they used to.

But then your buddy calls you up. One of his co-workers is a rapper, and is doing some kind of show at Kenny’s Castaways, a Bleeker Street staple. “Nothing crazy, should be fun,” he says.

You groan, “It’s Thursday.”

He’s playfully dismissive. “Who are you, my grandpa? Look, it’s an 8:30 show,” he tells you, “Plus, these guys are great.”

“Rappers aren’t great anymore,” you remind him, playing up the grumpy old man vibe. “Rap sucks nowadays, especially in NY.”

“Man, we’re in our mid-20s,” he reminds you, “Stop sounding like my dad. I’m telling you, there’s good stuff out here. Come through!”

He’s a good friend. You don’t get to see him much.

So, you go.

Kenny’s Castaways is a railroad apartment-like bar, long and narrow. You walk to the back performance area. It’s no Hammerstein Ballroom, but it’s not closet-sized either. 50 people could hang back there pretty comfortably.

Before you can enter the back area, you are greeted by a young lady at the ticket table. She wears a placard on a lanyard. It’s marked ‘STAFF.’ An interesting bit of professionalism, you think, for such a small venue.

A stage sits at the front, with some seating along the sides of the standing-room area. Overall, a nice, small, intimate space. “Perfect for singer/songwriters,” you think, “but not for having to watch boring rappers standing two feet away. Hope they have breath mints.”

You pay, $10, standard fare (though had you known of the show ahead of time, advance tickets were cheaper). You’re handed a large manila envelope, as if you were a spy, and it, a dossier. You’re used to collecting a  pocketful-worth of 4×6 glossy postcards when out and about, but this is different. You look at the merchandising tables that are set up. There are CDs. T-shirts. One artist is selling a book (!). There are many STAFFs helping out. Other folks are mingling, talking, laughing. Many know each other, some don’t, but all are pretty friendly looking.

Nary a screwface at this well-organized rap event. Refreshing.

The warm up DJ is setting a great vibe. Spinning mainly NY-centric rap classics, DJ M-TRI is composed and casual behind the ones and twos, smiling and nodding to folks on the floor who are also familiar with him as an MC, working alongside partner DJ Leecy T. M-TRI has a swift hand on the cuts and great taste in tunes, handling the pre-game music duties perfectly.

But now it’s showtime.

Ciph Diggy hosting (and refereeing) Tag Team Delux at Kenny's Castaways

The theme to Rocky begins playing. The MC of the event, Ciph Diggy, is also an actual MC, but tonight he is strictly playing the host role. Along with the triumphant trumpets, he begins simulating Sylvester Stallone’s intensive training regimen in the legendary boxing flick, though quickly, and humorously, he succumbs to the effects of a slightly less conditioned body.

The improvisation is for a reason. The theme of the show is a Tag Team boxing match, with headliners Tah Phrum Duh Bush and Coole High, along with opening artist MeccaGodzilla (aka Ravage, also aka Ryu Black), set to trade blows with imaginary and symbolic “wack MCs.”

You do a double-take.

“Wait, there’s a THEME?” you ask your friend.

He nods, knowingly. You smile a little, watching Ciph Diddly flailing around in attempt to regain his physical composure.

“Well, that’s different,” you whisper.

Ciph Diggy energetically introduces the opener. MeccaGodzilla is his name. They say he is big in Japan.

“That’s what she said,” you mutter, to no one in particular.

MeccaGodzilla opened the Tag Team Delux concert

MeccaGodzilla, rocking two impressive multi-finger wooden rings, each spanning the combined width of his knuckles, ignites into a passionate and lucid acapella. He speaks with the crowd. He proudly proclaims his allegiance to Long Island. “That doesn’t happen often,” you think to yourself, recalling with fondness the slew of legends that have emerged from the proverbial 6^th borough.

MeccaGodzilla runs through his set, speaking on his extensive touring experience in Japan (apparently, he IS pretty big in Japan), talks a bit about his feelings, his inspiration for recent work and his involvement with a fundraising event to send aid to Japan after the earthquake disaster. The crowd was tuned in, and MeccaGodzilla finished strong, culminating with his uplifting and inspirational “Unbreakable.”

Getting caught up in the theme, you say to your buddy, “Nice undercard! Time for the main event?”

Indeed. Tah Phrum Duh Bush emerges from the back of the room, adorned in what looks like a boxer’s robe slash smoking jacket and shorts. He moves through the crowd toward the stage, one fist covered by an oversized boxing glove, the other gripping the microphone, his fans, friends and newcomers all cheering him on.

He is clearly ready to do verbal battle.

Tah Phrum Duh Bush

Tah Phrum Duh Bush jumps into an rattling acapella, at once alerting all in attendance that this is no mere gimmick show… There are heavy spitters in this match. As he concludes his opening salvo, and the small but highly engaged crowd claps and cheers, the first tag is made.

Coole High appears, sporting a red robe, also with a single boxing glove and a mic, launching in to his bouncy and enjoyable “Who?” which smartly works his name into the call and response chorus.

After that, you couldn’t forget his name if you tried.

Tag. Back to Tah.

This back and forth, complete with costume changes from behind a shoji-like partition at the rear of the stage, continues for the entire event. Throughout, Tah Phrum Duh Bush is smart and clever, you can tell by his lyrics, especially his punchlines. He is enjoyable even when, or especially when, depending on your squareness, he is playfully vulgar with his lyrics. He’s clear on the mic, catches eye contact with every single listener at one point or another. He walks through the crowd. He changes not only clothing, but characters, at one point imitating a sermonizing preacher. He is always up front and personal, in your face, but never overbearing.

It’s fun.

Coole High, rocking his Tag Team Delux concert with Tah Phrum Duh Bush

Coole High is simply a cool character, charismatically cerebral. His conversations with the crowd, costumes and call and responses are well coordinated. He oozes smooth, with several jazz-influenced tracks that compliment his style and flow. In another era, and indeed even now, Cool High would be as comfortable at a rap show as sipping on a brandy at the Blue Note, and this inviting aura is clearly infectious. He treats the crowd well, and they respond in kind.

It’s cool.

As if good rappers, good music, themes, costumes and a good crowd (which, by the way, had a better male/female ratio than one might expect), weren’t enough, the creativity of these artists came to the forefront several times, as props were introduced into the crowd, stepping audience participation up a notch. From within the manila envelope, you pull out a giant hand cutout from card stock paper, middle finger displayed prominently, and join the rest of the crowd waving it around to complement Tah’s apropos “Middle Finga.” Coole High hands out ping pong ball shakers, in effect crowdsourcing backup acoustics from the eager crowd.

Yes, even you Mr. Rap Show Hater.

As the show closed, it seemed perfectly timed. Not too short, not too long, with a second set to soon start. “Pretty smart,” you say to your friend. “Two medium-length sets, instead of one big long one. Gives people who are late or can’t make the first one, the chance to see the show as it’s intended to be seen, instead of awkwardly catching it in the middle.”

Your friend agrees, informing you, “Even better, the second set won’t be a duplicate of the first, it’s all different. It’s like a reward for diehards who stay for both!”

During the break, you refill your drink and mingle about. You meet a couple random people, one a fellow MC who goes by the moniker E.E. Delrey (the E.E. for Eclectic Emcee).

While rappers, New York rappers in particular, often have a bad reputation of not supporting one another, it’s clear that Delrey is impressed, unintentionally presenting a summation detailing how you felt about your unexpectedly enjoyable night at an underground New York rap show.

“It’s definitely a showman’s show,” the braided wordsmith states, smiling. “They’re great. It’s impossible to leave here and not have been entertained.”

You agree. For most hip hop heads, no matter their particular style preference, this show would pretty much be a hit.

You smile, still adhering to the theme.

A knockout, even.

VIEW MORE PHOTOS FROM TAG TEAM DELUX
(All photos by Kamia Funchess for Phocus Kam Phototgraphy)  

It’s now 2012, and while many of us are in the full swing of things with new music for the new year, some are still stuck in the notion that New York Hip Hop is either stuck in or should sound exactly like 1994.

Fortunately, the new crop of NY’s finest are marrying the home of hip hop’s traditions with a bold look toward the future. Here’s a quick playlist of names you either should know by now or need to know in 2012.

Action Bronson

Dining with Anthony Bourdain one minute and recording tracks with Meyham Lauren the next, Bronson’s taste for fine foods, 80s professional wrestlers and pop culture nonsequitors is only matched by his tireless work ethic and an almost unfair quality control. With two outstanding albums in last year’s Dr. Lecter and Well Done as well as several announced projects in the coming months, the eclectic Energizer Bunny of rap just keeps going as an excited audience keeps listening.

A$AP Rocky

With both a decade long stigma of rejecting outsiders as well as a genocide of its record stores, you wouldn’t expect an NY talent to wear the influence of other regions on his sleeve. Harlem’s A$AP Rocky stands as New York’s first child of the post-Napster generation to combine the hustle and sleekness of his hometown with, among other inspirations, Memphis’s brooding crawl and Houston’s spacey ingenuity. Not merely a revivalist, the tradition he most proudly carries is an unmistakable rugged boldness that only Harlem could manifest.

Brown Bag AllStars

Individually the members of Brown Bag AllStars could account for half of this list, but together they form a Castle Greyskull of boom-bap viciousness. As insular as they are talented, their work ethic and self-awareness allows for release after release of playing to their own strengths. Rappers Soul Khan and Koncept have both recently released projects entirely produced by fellow members and with both J57 and Audible Doctor producing on some of the year’s most anticipated releases, the crew’s upcoming debut album promises to be the best record the crew’s fallen nexus, Manhattan’s Fatbeats Records, was never able to stock.

Dollar Coffee

The duo of BS and Albert Rhymestein know what made you first love rap music and, on their debut Nice Things, bring you right back to that feeling. Catchy, complex and cunning, the duo are as skilled at earworms as they are at rocking a crowd. That includes most recently receiving the rarest of warm embraces from New York’s Apollo Theater. With enough punchlines and hooks to win a fighting championship, Dollar Coffee remain the tag team champions of good time hip-hop.

Homeboy Sandman

Although he now calls Los Angeles’ Stones Throw records home, it’s still same number, same hood for New York hip hop’s archangel. Not satisfied with his already astronomical heights, Homeboy Sandman continues to push boundaries conceptually and constructively with his Subject Matter EP. As bold as it is to base an entire project on the concept of touching topics rap has never covered before, it’s only the beginning. Sandman’s reliability for dope rap music doesn’t stem from his staying the same, but his desire to continue evolving.

Mr. Muthafuckin’ eXquire

Last year’s “Huzzah” turned heads both for how dope it was as well as the promise it held for dirty Fondle ‘Em style hip-hop to be made today. Mr. Muthafuckin eXquire doesn’t give the slightest of fucks about any of this, which makes his music all the more refreshing. The exact midpoint between Camu Tao and Method Man, eXquire’s keeping things progressively dangerous live and on record.

Silent Knight

Intelligent without being overbearing, outspoken without being heavy handed, and brave without being boring, Silent Knight makes the type of hip hop an entire generation of underground revivalists have unsuccessfully attempted to. One of the few MCs to emphasize subtlety over showcasing, Knight brings a fresh sound to the hallmarks of New York underground rap that have for too long been glossed over or forgotten. Along with a stellar album in Busy is My Best Friend, Silent Knight’s live show is among the best today. A showman capable of rocking a party while maintaining an unforgettable intimacy, he’s a rapper’s rapper who will only continue to excel throughout the new year.

New York hip hop is made up of a variety of style and substance that no other rap region can match. From street-styled thug raps to hipster-friendly wordsmithing, from vintage boom-bap sounds to live band instrumentation, this depth is, in part, a reflection of the region’s inhabitants. New York hip hop is uniquely positioned, true melting pot music, as diverse as New York’s never-sleeping city and open-air outlying suburbs. This range can be seen in artists’ music video counterparts, some low budget and artsy, some high-budget, ready-for-BET affairs. Once again, we decided to sift through the dozens of videos from New York-area hip hop artists that cross our path on any given month, sharing some we feel are notable. This batch contains a few videos from late 2011, and a couple that are fresh out of the oven, but all are fairly recent examples that we think do a great job at visualizing the dynamic range of New York hip hop.

Darq ft. Amy Davis – R.A.W.

Let’s start right with this. If you are an underground/indie artist, and you are going to put together a video in an attempt to set yourself apart from the pack, this is one helluva way to do it. Many videos attempt to self-proclaim themselves “motion picture,” and don’t live up to the hype. This project however, directed extremely adeptly by Kristian Kruz, gives Darq Raw, a heavily grinding Bronx MC, a pretty fantastic calling card that should get people asking “Who is Darq Raw?” and certainly should have artists who are looking to make videos asking, “Who is Kristian Kruz?” Well done.

You would think that The Bronx, long considered the birthplace of hip hop, would have a steady stream of shows to whet the appetites of those seeking hip hop entertainment, but you’d often be hard pressed to find a hip hop show anywhere in the borough these days. True there is the occasional show at the Paradise Theater, but other than that, any of the various underground showcases are still so underground, they haven’t yet shown up on the Birthplace Magazine radar.

That being said, we have found one such show providing the raw, underground hip hop that we’ve come to expect from performance venues throughout Brooklyn and Manhattan. Once a month, in the Hunts Point section of the Bronx, Peasant Podium serves up The Art of Lyrics, a hip hop showcase exhibiting some of the best underground acts hip hop has to offer.

Started in 2009 and celebrating its three year anniversary in April, The Art of Lyrics focuses on bringing in artists that deliver on a more socially conscious platform. Prior shows have attracted artists such as Sadat X, Mr. Complex and Soul Khan to The Point Community Development Corporation (aka The Point CDC) location. Slowly, but surely, The Art of Lyrics is building a name for itself as a destination for those in the know to catch quality rap music acts in the borough that started it all.

Hosted by Rhinoceros Funk with DJ sets by DJ FredOnes and DJ Polarity, this, the 28th edition of The Art of Lyrics, featured a diverse mix of talent from across the city. Coole High, Homeboy Sandman and Ciph Diggy of The Sleepwalkas were among the notables in attendance who came through to offer support and to enjoy a night of first rate hip hop.

SEE MORE PHOTOS FROM THE ART OF LYRICS #28

DJ Leecy T

The night kicked off with the Queens based group, Undeniable performing an energetic set featuring tracks off their release, Black Market Artists. Sinnagi and 07 even gave away copies of their CD to some lucky attendees.

Brooklyn’s amazing twosome, M-TRI & DJ Leecy T, rocked the stage with M-TRI dropping “The Grease” and “Suicidal Hype Shit”. DJ Leecy T dazzled on the wheels of steel behind M-TRI’s vocals, taking over the mic at one point and kicking an inspired freestyle with M-TRI backing her up on the turntables.

The always socially conscious Bronx collective, Welfare Poets, presented a dope set dropping knowledge for those that don’t know, in the form of tracks off their new album, Still on Welfare. Rayzer Sharp and fellow producer/emcee, The Legendary MIC dropped insightful rhymes and were backed by an amazing background singer, saxophonist and flutist.

The night included some acapellas by Bronx’s own, NeNe Ali, who commanded with her booming voice. This confident 14 year old’s backing music had been misplaced, but maybe for the better, because she clearly didn’t need it.

Brooklyn-by-way-of-Trenton school teacher, Narubi Selah graced the stage in a surprise appearance that displayed her mic skills and definitely made you start thinking about checking out her latest project, I Am Living Math.

In addition to the performances, organizations, For the People and Guerilla Republik were on hand to facilitate a food and clothing drive, as attendees had been asked to bring in donations.

In all, an entertainingly dope show. Even without advertising, The Art of Lyrics draws a decent size crowd which should increase in size as the weather gets better and word of mouth increases.

SEE PHOTOS FROM THE ART OF LYRICS #28

Before the show, we had the opportunity to speak with generous host and co-founder, Rhinoceros Funk, to break down The Art of Lyrics even further.

Who are you and what is Peasant Podium?

I go by Rhino. Real name is Noel Roman, Dominican family. Born and raised in Washington Heights. Peasant Podium was actually started by myself and Bens One from Washington Heights who’s a tattoo artist as well modern artist in all spectrums, whether it be casting, painting, tattooing. We started this in like 1999-2000. We wanted to step it up through our appreciation of hip hop because that’s really where we combined. We liked these kind of artists, so hip hop was like our sole background. We evolved into an appreciation of different artists, whether it be in actual art, video, film, performance based, so we was like, ‘let’s start something up where it can be always presenting the realism of poor people.’ It’s a poor man stepping up into the realm of speech. We both derive from poor families. His family based in South America… very poor. My family is very poor, based in the Dominican Republic. That’s where the whole Peasant Podium thing stems from.

So is that where the Art of Lyrics came from? An evolution of the Peasant Podium?

Before this, it was radio shows up in Albany, NY where I attended school. He’s still attending school, getting his Masters in art. We did radio shows, we did a couple of DJ battles and MC battles, but it was a very small community and they weren’t really receptive to it all. So when I came back down, I was like, let me try to do something down here. Luckily, we were able to get the Point through Danny Peralta who also represents every faction we ever spoke about in the view of the poor person’s plight in art. He represents that shit perfectly through photography, his organizing and all that.

The Art of Lyrics stems from me saying you know what, we going to have some shit called the Art of Lyrics. I’m getting tired of those fucking cocksuckers out there babbling nonsense on music. What they consider music; it’s a shortcut, a shortcut to music.

Looking at some of the artists on the bill, I noticed the Welfare Poets. I see them preaching a lot of knowledge. Stuff mainstream America doesn’t want to hear.

They don’t want to hear this shit. It’s turn on music. We can point back to music in the 70s where we still had music that was making the mainstream pop charts and Billboard that were songs of change, songs of social plight. Those were eliminated in the 80s. If you look at the Vietnam War, that was the last time you had independent lenses looking at what society was doing and what people were doing. That changed. You can go back to Reagan, if you want to and that structure, that Cabinet and how they changed everything where now it’s a minimal plane of understanding. It’s about minimalizing what you know.

The Art of Lyrics starts off 2012 with a new showcase on Friday, January 20 at The Point CDC. Be sure to check the website www.theartoflyrics.blogspot.com to get information on all of their showcase events.

Too many people, particularly those who long for New York hip hop to “come back,” waste too much time complaining about today’s hip hop, when they could be using that time to discover good hip hop music from today’s New York-area artists.

Instead, they grumble about the current style and substance of mainstream hip hop, the R&B-influenced sound of Drake for example, or the lyrically simplistic style of some Southern rappers and the overall lack of traditional New York flavored hip hop on radio, stating with repeated disgust that “real” hip hop is dead and gone.

They lament the loss of the New York sound, nostalgically pining for 1990’s boom-bap sound that many of them grew up on, screwing up their face and dismissing any “Top 5, Dead or Alive” list that doesn’t include Jay-Z, B.I.G., Nas and Jadakiss.

All of which are fine opinions, but let’s be real about real.

Saying you want “real hip hop” back, is stupid. There is no “real” hip hop.

What you really mean to say, is that you miss traditional, New York sounding hip hop, a mix of grit and poetry, over beats that utilize chopped up samples, or soul music loops, accompanied by hard hitting, crispy drum sounds, for the most part floating around 88-92 beats per minute. A type of hip hop that was a nod to rap music’s early days, but with updated storytelling, increased lyrical prowess and advanced musical complexity. A hip hop that you once enjoyed while laying back, puffing an L, feeling an emotional twinge of invincibility tied to a feeling that these slick-talking rappers and hard-hitting beatsmiths were just like you. Artists that somehow packaged and delivered the collective feeling of living in New York into sounds and songs that stuck with you then, and continue to evoke feelings of euphoric nostalgia ever since.

THAT was “real” hip hop, right? What you hear on the radio today, that’s not “real,” right?

Wrong.

The problem is, you are selfish.

But it’s understandable. You are focused on a very short amount of time in hip hop’s lifespan and because it was a particularly formative time for you musically, you feel a certain way about that time period, and the music contained therein.

Your assertion that 1990s New York hip hop is covered under the umbrella of “real” hip hop, whereas “today’s” hip hop isn’t, is wrong, and is created by a combination of your particular taste in music and your respect for hip hop history, but mainly because of your psychological bias.

To be fair, it’s an age-old argument. When asked to pinpoint the best decade for music, people overwhelmingly respond by choosing a decade from their youth. This generally holds true across all genres and generations.

Your prejudice toward 1990s New York hip hop exists because that was likely the time that you were fully immersed in music, when music not only was something listened to constantly, but something to connect to.

Since then, life got in the way, and while hip hop evolved, you held on to your personal tastes, your preferred style. You listened to vinyl and cassettes and CDs in your collection. You ported over your songs to your iPod and replayed certain albums you had forgotten about. Sure, you still listened to what was new, but the time that you previously dedicated to absorbing everything new, became fractured.

You lost the ability to connect to new music, partially because you grew older. Mainstream music of course is specifically engineered to cater to a younger crowd, and because your time and energy was being spent elsewhere, your inclination to seek out music more along the lines of your musical tastes diminished as well.

Plus, you still had your favorite joints up in the iPod.

But young people, entering their own formative music-listening years, were still being hand-delivered hip hop, though what was now on the radio sounded a lot different than just a few years ago when you were coming up.

To be real, this was just a continuation of the evolution of hip hop, beyond your personal glory days, just as it had evolved from the Sugar Hill Gang-style rap from half a generation before you.

Now, a new batch of kids started immersing themselves with the prevalent hip hop of the day, which to them, no less “real” than the music you got into.

I mean, before we can criticize today’s hip hop as any less “real,” we must take an objective look at how different Mobb Deep or Snoop Dogg was from the Treacherous Three or the Fat Boys.

Understand the point?

Look, I know what you mean. But you have to get over it. The fact is, Drake IS real hip hop. So is Waka Flocka Flame. So is Tupac. And Biggie. And Run-DMC. And MC Lyte. And Kurtis Blow. And Melle Mel.

But to a 15 year old who grew up in Atlanta his whole life, having been exposed to the type of hip hop he is regularly exposed to, there is no way you can contend that to him, and others like him, his hip hop is not “real” hip hop.

It’s all “real.” It’s not all “real good,” but not every New York rapper in the 90s was either.

And don’t forget that in the 1990s, there were many less distribution channels. Less geographical hubs of rap music. New York hip hop was dominant in the 1990s because there were few places labels were culling hip hop talent from in the 1990s.

Once they figured out that there was an entirely different, underserved and undercapitalized market, the distribution companies (labels, radio, media) flocked to these untapped markets.

While it is true that for the most part they have yet to return, it does not mean that New York hip hop is dead.

It also does not mean that good New York hip hop has to sound exactly like it did in the 1990s.

To 1990s New York hip hop fans: I feel you. I am one of you. I am as pro-New York hip hop as anyone, but to be pro-New York hip hop does not mean we have to be anti-everywhere-else hip hop.

I also came up during the New York hip hop “Golden Era” of the 1990s but I am not stubbornly stuck in the musical past. By being open-minded to the evolution of hip hop, not wasting time crying over spilled rap milk, I have found plenty of New York-area artists of today, who satisfy my purist, old-school hip hop soul.

New York has always been a progressive city in terms of music, from jazz to musical theater, from punk to hip hop, magically infusing its artistic residents with an ability to create or advance music in ways no other place can. This continues today, as the bubbling New York hip hop underground is the center of our entire journalistic effort, and in that effort, we continuously come across sparks of new talent, artists who possess that same nod to rap’s earlier days, also with an updated storytelling, increased lyrical prowess and advanced musical complexity.

They are in your city. Some live on your block. They perform at venues all throughout the city, and for a few dollars, you can see them perform. Sure you’ll have to sit through a lot of mediocre artists first, but at least, unlike the radio, there’s a payoff at the end of these efforts, delivered by an artist of today that will at the same time invoke a pleasant feeling of nostalgia, mixed with a feeling that you’re hearing something new and fresh.

And if you let it, it will feel very, very real.

Born into music, Joshua Davis-Henry, better known as Skotch Davis to his fans, always had hip hop in his blood. His father was a musician who worked with artists like Maceo Parker and Nas. His mother was also surrounded by the culture and music as a club promoter for acts like Goodie Mob, The Lost Boyz and Jay-Z, just to name a few. Having been raised in the neighborhood of Harlem into a lifestyle that glorifies music, it’s no wonder Davis has begun to pave a road for himself in the music industry. He has recently released his latest project Are You Hearing Me Clearly?, a 10-track mixtape hosted by DJ Fresh Direct. Making strides to take his career to its next phase, this project sets the tone for what we can expect from Skotch Davis in the coming new year.

Getting rid of some of the static, Birthplace Magazine recently spoke with Skotch Davis on a variety of topics to make sure we are hearing him clearly.

BPM: Who is Skotch Davis, the artist and the man behind the artist?

SD: I mean… Skotch is a melting pot of many things. So many, it’s kinda hard to narrow down into a sentence. For time sake, let’s just say he is a righteous soul that works hard to present as much of the truth as possible. The man behind the artist is a whole other subject… [laughs]

BPM: What was your childhood like considering you grew up in a house full of musicians?

SD: Probably the most amazing and insightful experiences a man could ask for. I am more than grateful that I was raised in such a setting. It’s the quintessential element of what Skotch Davis is all about: Family and music.

BPM: What genres of music were you exposed to at an early age? First memory you have of hip hop?

SD: What genre wasn’t I exposed to?! My father is a proverbial sponge when it comes to music. So it’s only right I soaked up all the wonders of music. My first memory of hip hop was a rap group my uncle and father were working on called The Little Rapscals. They opened for LL Cool J when I was young. That was awesome! LL Came out of a radio!

BPM: And what was your initial reaction after your exposure to hip hop culture?

SD: I loved it, but I was so immersed in music as a whole, I never really saw the barriers or classifications. I just loved music. For obvious reasons though, hip hop became my vehicle to speak my opinion and views. It was and is the music of my generation and many to come, as well as many before. It’s the cornerstone of my culture.

BPM: Career-wise and the lifestyle you’ve chosen.. Why hip hop?

SD: I didn’t choose it, it kinda chose me. As I grew into the man I wanted to be, I kinda had no choice but to adapt to some of the nuances and obstacles that accompany the “hip hop lifestyle.” I am trying to break some of those standards musically and culturally though. It’s time we try some new approaches.

BPM: What do you want to contribute to the genre and culture?

SD: I just want to break musical barriers and stereotypes while improving the quality of living and the standard of living in the culture.

BPM: What is your creative process like when you’re creating, writing and recording?

SD: It varies. Sometimes I like to live with a concept or beat to ensure I really convey my idea properly. Other times I like to just record on the spot to capture the initial emotion that the track gave me. Sometimes I write, sometimes I don’t. It’s all about how the vibe.

BPM: What are some projects you are currently working on?

SD: I just dropped Are You Hearing Me Clearly on my birthday which was Black Friday, November 25. It was a warm up to my OMG (On My Grizzly) project, due out at the top of 2012. I also have a self-produced project titled On The Rocks. I produced all the tracks with my partner DJ Fresh Direct.

BPM: What kind of growth do you want to showcase on your next project?

SD: I want to make it a point to showcase my production more. My lyrical prowess will only be turnt up as I try to always out do myself. Tell myself I can do better than the last bar. The collaborations are fun. Some no brainers and other surprises.

BPM: Your thoughts on music collaborations with artists outside your genre?

SD: It is essential to the growth of music and is pinnacle in reference to my own motivation to break barriers.

BPM: In your opinion, who is the most influential artist that is out right now? And of all time? Why?

SD: Hip hop? It’s Jay -Z. All time in hip hop? That’s tough to say. Its tough to say in music in general as well. I think it’s hard to see an artist influence until they stop making music and the other artist or consumers that were growing with the artist get a little older. See how lasting the effects of their gift really was. If I HAD to choose one figure, I’m going with Michael Jackson.

BPM: Top five, dead or alive?

SD: Rappers… Hmm.. I have a top three.. Jay, Big & Nas.. Every number below that is interchangeable and subject to my mood.

BPM: Mainstream vs. Underground, your thoughts? I’m an underground music enthusiast and I personally believe an artist can be successful without the “mainstream” or major label backing. What are your thoughts?

SD: Whatever floats one’s boat. I don’t feel any way about either. It’s all music. The funny part is that the people not making the music worry more about the classification of it than the artist themselves. We just do what we feel and makes us move. Literally and figuratively. Great artists transcend such restraints.

Skotch Davis performing during SXSW 2011 (Photo: Manny Faces)

BPM: Recently saw your performances during the RBMA festival and I must say, your performance is very high-energy and attention grabbing (and that was actually my first time seeing you perform live). What do you personally love about live shows?

SD: My chance to engage an audience and change their mind one person at a time. When you record, you don’t know how people will recieve that recording. But live? You have the chance to change their perspective while looking them in the eye. Its amazing!

BPM: What are your goals for the rest of the year and for 2012? What can we expect from you?

SD: Me times three, if not more. I’m shooting for the stars! More bars, production & skidddddotch!

BPM: What would be your one piece of advice to other artists on the come up?

SD: One surefire way to lose the race is stop running. KEEP GOING!

BPM: If hip hop were a person, what would you say to him/her?

SD: I got you. I got us. *Drake voice* [laughs]

While some could only imagine living a life that’s clear on it’s purpose, it’s safe to say that Skotch Davis is set on making his mark in hip-hop. If you’re not hearing him clearly yet, it’s definitely time to clean the wax out of your ears and get in tune with his music.

Soul Khan doesn’t battle rap any more. As capable as he was in the arena of trash talking freestyling, Soul Khan decided that his music was more important than running around the country facing inferior competition. It appears as if his decision is paying off. With a solo LP due in 2012, Soul Khan has been honing his skills to get to the next level, blazing a trail of highly acclaimed mixtapes, EPs and guest appearances in his wake.

The December 3, 2011 record release party for Soul Khan’s new EP, Pursuance not only celebrated the MC’s new album, but acknowledged Soul Khan’s emergence as a rapper to be reckoned with. Originally from Woodland Hills, California, and now repping Brooklyn, NY, it appears on the surface that Soul Khan has made a successful transition to the East Coast from Cali. Soul Khan dropped a free LP, Soul Like Khan, in 2010, and two well received EPs, Acknowledgement and Resolution in 2011, along with plenty of collaborations with his group, Brown Bag Allstars along the way, all while ripping through performance venues bringing his unique brand of rap music, and voice, to the NYC soundscape.

The appreciative Knitting Factory crowd, led by host The Company Man (Brooklyn Bodega), nodded their heads to the audible delights that came from the short, bearded, bespectacled man with the deep, booming voice, backed by Akie Bermiss’s soothing vocals on the hooks, and DJ Element on the wheels of steel. Soul Khan rhymes with conviction and stellar production from the likes of fellow BBAS members Audible Doctor, J57, and DJ Element give his tracks a depth not often heard these days. Based on carefully selected samples and beats, the Soul Khan sound seems heavily influenced by old soul, jazz, rock, and golden era hip hop records.

Soul Khan’s catalog is not extensive, so his set was not particularly long, but he delivered on each track he brought to life on stage, including “Speeding Bullets,” “Alec Baldwin,” “Someone’s Pocket” and “Lost Ones Freestyle.” All of his material showcases a purposefully varied amount of subject matter and wit, though “Soul Like Khan” stands out particularly, as it is a lyrically personal song with an infectious chorus that shows Soul Khan at his best.

Assisting on the mic, Akie Bermiss killed it on background vocals and really had the crowd feeling good about coming out on a brisk night.

SOUL KHAN PERFORMING “SPEEDING BULLETS”

There was no filler this night, and that’s because Soul Khan knows his fan base. A few weak tracks can derail your career, but Soul Khan is a carefully calculating MC, and his releases have shown him unwilling to deliver music that doesn’t have a high chance to connect with his tremendous fan base. His EPs are short, leaving listeners wanting more, perfectly utilizing the intended purpose of an EP, to leave listeners thirsty for a full length album. In addition, Soul Khan knows how to work a room, rewarding those in attendance with a free download of his latest EP, the six-track Pursuance produced by exclusively by The Audible Doctor.

During the performance, Big Chief and Sene dropped some guest verses and Brown Bag Allstars members J57, Koncept and Audible Doctor joined Soul Khan to perform “Beerz,” a collective effort that brought a young Wu-Tang Clan to mind. All these guys can spit and the in-house production team really helps to create the unified, distinctive BBAS sound.

BROWN BAG ALLSTARS PERFORMING “BEERZ”

(Unfortunately, I got to the venue just as Maffew Ragazino finished and missed performances by Rasheed Chappell and Julius Smith. So to them I apologize.)

I did catch Chicago artist Psalm One’s full set where she performed “Ginsu Knives” and “Tits and Guacamole.” Also known as the First Lady of Rhymesayers, Psalm One seemed so at ease with herself and performed so effortlessly that it looked liked she could do this with her eyes closed. As for my first time hearing her, I was impressed.

PSALM ONE PERFORMING “TITS AND GUACAMOLE”

Soul Khan closed the show out by thanking his manager, Byron Ward, his Brown Bag brothers and most importantly, the fans.

“Every one of you is the reason I’m here, so I never get gassed up because without you I’d probably be in a desk somewhere hiding internet porn. I’d be getting fired everyday. Instead, I’m doing what I love for ya’ll, so keep on supporting. Thank you very much. I appreciate y’all.”

Soul Khan’s new project Pursuance is available for sale through soulkhan.bandcamp.com.

SOUL KHAN – HOLD ON

Veteran actor and New York native Michael Rapaport seems at peace as he fields questions from Q&A moderator Wes Jackson (Brooklyn Bodega) and the CMJ Music Marathon & Film Festival faithful, after a special screening of Rapaport’s directorial ode to his favorite rap group, A Tribe Called Quest. The focused documentary, the first by Rapaport, Beats, Rhymes & Life: The Travels of A Tribe Called Quest, takes a peek into the lives of members Q-Tip, Phife, Ali Shaheed Muhammad, and Jarobi and tries to answer the question that Rapaport and every fan of this revolutionary ground breaking group from St. Albans, Queens wants to know: Will A Tribe Called Quest make more music?

The film, which is now available on DVD and BluRay, has garnered many positive reviews, was well received at the Sundance and Tribeca Film Festivals and took home the audience award for Best Documentary at the Los Angeles Film Festival, however the months leading up to and including the release was fraught with drama.

When a leaked, unfinished trailer premiered online in early 2011 painting the group’s relationship as being seriously flawed, it ignited a war of tweets among Rapaport and the group. This led to the group nearly revoking support for the project, crushing Rapaport and threatening to derail the positive vibe that fans were feeling, eagerly awaiting the release. The documentary eventually did find its way into theaters in the summer of 2011, and in general, moviegoers reported that the film was worth the wait.

SAVE THE DRAMA

Rapaport admits that 2011 was some of the most tumultuous and trying times of his career. A lifelong fan of ATCQ, Rapaport was honest, revealing and held nothing back as he answered questions and spoke at length about the creative process behind the movie to the audience gathered at Chelsea Cinema in New York City.

The spark for the documentary was lit when Rapaport attended ATCQ’s final live performance in 1998. He remembers having a conversation remarking how great it would be for someone to do a documentary on a ATCQ, an idea of his that simply manifested itself and got bigger and bigger. “Making a documentary is challenging,” Rapaport told the audience, “It’s not an easy thing. Nothing is handed to you. The technical and financial aspects of it are a grind. It is a grind from beginning to end.”

When asked by Jackson why the movie starts so dramatically, Rapaport explained that this was the atmosphere he was exposed to when he started filming the group back in 2008. “The dysfunction that I saw was very apparent from the first day of filming. I wanted to start the film by showing what my reality was.”

To see that they were human and had flaws like most relationships do was an eye opener for Rapaport. To him, ATCQ always had this “intangible quality of positivity, and their music was uplifting.” It became a movie about relationships, because the relationships within ATCQ were similar to countless other dysfunctional relationships. There are not always going to be fun times. There will be discord and hostility. Rapaport believed that seeing ATCQ behave as normal people, showed that despite their seemingly superhero music star status, there was genuine humanity at work.

By immediately segueing into the colorful and captivating animation by James Blagden (who was in attendance and received a nice round of applause), Rapaport wanted to keep the audience off balance, thinking it would have been too predictable to start the film the way people thought he might. Ultimately, one of Rapaport’s main reasons for making the film was to find out if ATCQ would be making more music, without trying to explain whether they should or why they shouldn’t record new music. The question was: When would they?

GET THAT OLD FEELING BACK?

“You never want to let go. You want to go back and relive that, but you can’t. Things move forward and you can’t,” lamented Rapaport. “You are never going to hear ‘Bonita Applebum’ on the radio for the first time. It’s changed. I think [the group members] understand the legacy and what it means to fans and as artists. I think they are smart enough to understand if they are going to do it, it’s going to be different. I think A Tribe Called Quest has run its course. Beatles ran its course. The Supremes, Destiny’s Child. There are so few groups in any genre of music that have ever stayed together for the long haul. The Rolling Stones did it and you listen to them talk. ‘I wanted to fucking kill Mick Jagger.’ Keith Richards said that. They get together a lot of times, just to perform. It’s not what you think as fans, that Mick and Keith are always hanging out. They’re not. Q-Tip and Phife are not always hanging out.”

Reflecting over the controversy over what the movie would show onscreen, Rapaport stated that he believed he made a movie that was far more honest and revealing than anyone expected. He explained that to this day he has not been in the same room with all four ATCQ members. Rapaport screened the movie for them separately and they all seemed fine with it, but the leak and subsequent war of tweets suggested that ATCQ was not in full support of their own documentary.

“I can’t speak on the group’s behalf,” said Rapaport. “When I first screened the movie for the guys, I was the hero… The bottom line is that things happened. I wish the guys were here now. Pearl Jam just released their documentary, and they were all standing there taking pictures. The fact that the guys haven’t supported the movie as a group has more to do with the dysfunction of ATCQ than Michael Rapaport. They haven’t recorded an album since 1998. I wasn’t a part of that. ATCQ is done as far as now and that happened long before I even stepped to them about making the movie. All that missed communication and confusing information has nothing to do with me. I know my part and I know my intentions and I know why I made the movie. I know I went out of my way to protect and respect the legacy of ATCQ as gentlemen, as people and as a group. If the material I shot was in the hands of 99.9% of other directors hands, it comes out a different movie. It wouldn’t be as good. It would be more ‘reality show’.”

One of the most surprising things Rapaport encountered was Phife’s health condition. While he had some sort of idea that Phife was a diabetic, he had no idea how serious his condition was. Rapaport didn’t even think there was a chance he would discuss it, but Phife ended up being so open and candid about his health that Rapaport knew this would be a big part of the film. Not only was it a serious issue that was going on during filming, but Phife had been dealing with diabetes for the last 16 years, which affected and fractured the group dynamic. Phife missed shows when he was sick, a point highlighted in the film when an early 1990s Dennis Miller TV appearance shows only Q-Tip and Ali on stage, Phife having pulled out at the last minute due to his illness.

Jackson, himself an ATCQ fan, asked Rapaport about keeping the camera on in moments of conflict. Rapaport explained, “When it was the most uncomfortable, I knew that it was time to step up and be the documentary film maker. I was very aware of that. The stuff with Tip, Ali and Maseo ranting in the dressing room in Seattle. They were in one dressing room and Phife was in another dressing room. They were about to do a show. I was shooting it by default, because I was the only one they let in there. It was very uncomfortable. I’ve been in relationships that have been flawed and fractured my whole life, but to see others do it… My place wasn’t to judge them or fix it, but just to document. I knew the most uncomfortable, vulnerable time was the time to keep the camera on. I would never intentionally let things get out of hand or disrespect the legacy of ATCQ or disrespect them as individuals. Too much information sometimes is not necessary in the film. You don’t need every single detail of this argument or this beef.”

“I’m not going to figure it out,” he continued. “There is no answer.”

BRINGING IT ALL TOGETHER

The immense editing process that Rapaport went through to get this film released in a relatively concise, 97-minute long package, was daunting, but once he decided that this movie was just going to be about these four individuals, the editing process became easier. “You shoot, you shoot and shoot and you realize that you got some stuff you didn’t plan on, you didn’t get some stuff that you planned. You get these moments of gratification and these other movements of utter horror and fear when you’re saying, ‘How am I going to do this?’ I knew in the editing room that there were certain things I had to cut, because I only had 97 minutes to tell the story. Some things had to go. Consequence’s involvement in the group had to go. J Dilla’s involvement had to go. Busta Rhymes was a blink in the movie. I was aware of that.”

There were many interesting stories to be told, but Rapaport had to make choices.

“Just from four people it becomes enough, without everyone else. The film had to be about the four guys and A Tribe Called Quest. I couldn’t put in anything else. Once I had the framework, it had to be about the guys. We shot 100 hours of footage. We can’t touch on Zulu Nation for just three minutes. We need to do a whole film about that. It was too much to process. It had to be story driven. You want to go forward you want to go deeper. It’s all about pushing the story forward. I’m not doing a whole thing on everyone. You have to make choices. You have to what’s best for the film. If its not story driven, it has to go.”

An audience member posed this question: “What do you want people that are not familiar with A Tribe Called Quest to take away?”

Rapaport answered, “I hope that people who aren’t familiar with ATCQ walk away learning about one of the most important groups to make music in the last 30 years of any genre. One of things that I’m most proud about is that in my opinion, it breaks down the stereotype of what a hip hop artist is. These guys didn’t make music because they were selling drugs and wanted to get out of it. They never got shot. They’re good guys from good families. They’re musicians and you see them as very human vulnerable guys, and if you know nothing about hip hop except for the stereotypes, this will definitely change that. For me personally, I’m enormously proud to be a part of broadening and showing what hip hop is about and who hip hop artists are.”

Rapaport continued, “I’m lucky to be doing what I’m doing. I’ve been doing it for 20 years now as an actor. I’m fortunate especially this day and age. Documentary filmmaking is not something you do for money. There is no big pile of money, no pile of gold at the end of the rainbow. Michael Moore, Inconvenient Truth… That’s lightning striking. I made this movie for love, my love of music, of hip hop and A Tribe Called Quest. We’ll be lucky and happy if we make a few bucks, but nobody is getting rich off this and we all knew that from the beginning. I didn’t make this film alone. I had a great team around me. It was a passion project. I’m fortunate to be in a place where I had the time and the money to do a passion project in this day and age. I’m humble about that. I’m humble that I was able to have the means to make the film and finance it myself in the beginning and have other people get involved”

EPILOGUE

Personally, I enjoyed the documentary, but then again I’m a huge Tribe fan. While I feel many questions were left unanswered, Michael Rapaport did a commendable job with what he had access to. A Tribe Called Quest is certainly worthy of a Ken Burns-esque treatment, but Rapaport was nevertheless able to present a piece of cohesive filmmaking that delivers ATCQ like we have never seen before. Could it have gone a little deeper? Sure, but Michael Rapaport’s honest and open insight into working with one of the most entertaining rap groups to ever touch the stage was refreshing. Be sure to cop the DVD. The deleted scenes and extras, as well as the Director’s commentary, also provide a lot more answers.

Birthplace Magazine got a chance to ask the last two questions of the night, and Rapaport was kind enough to compliment my sneakers.

What is your favorite Tribe album and why?

My favorite, it’s hard to pick one, but I think Midnight Marauders encompasses everything that the first two classic albums (People’s Instinctive Travels, The Low End Theory) did and takes it to the next level. Midnight Marauders is special.

What about Madlib’s involvement in the movie?

Madlib was a no brainer. I wanted to have somebody do the music that was inspired by ATCQ and Madlib, I knew that before I ever met him, that he was inspired. You could hear it in his music. I used the first person I wanted to have do the music and he said yes.

I see your kicks there… You got the green, black and red Tribe joints. That’s beautiful.

Thank you. Appreciate it!

From the moment the dynamic rap duo Nice & Smooth explosively emerged on to the stage, to a reunited Brand Nubian, to CL Smooth standing nostalgically triumphant while a packed Canal Room sung along to “T.R.O.Y.,” concertgoers were immersed in old school rap revelry as “Hip Hop History” came to life on October 27, 2011.

Undeterred by a surprisingly bitter burst of arctic air whipping through Manhattan streets, fans of iconic hip hop groups Nice & Smooth, Brand Nubian and Pete Rock & CL Smooth found respite from the weather, warmed by Canal Room’s comfortable interior and clean sound system.

Leading off the night, sometimes Greg Nice and Smooth B rhymed slow, sometimes they rhymed fast, but all the while, the audience rapped and sang along, flawlessly reciting words to classics like “More & More Hits,” “Hip Hop Junkies” and “No Delayin’.” Further adding to the old-school-vibe, Greg Nice veered from their “Funky For You,” breaking into a beatbox exhibition, to the enjoyment of the audience.

Both MCs took advantage of the friendly crowd and wireless mics, and at several times, jumped from the stage to perform with the people, the energetically exuberant Greg Nice taking it one step further, performing several songs standing among partygoers in the VIP loft.

Toward the end of their set, a Gang Starr shirt was held aloft on stage, signaling both the highly anticipated performance of the anthemic “DWYCK,” and a time to pause to reflect on the passing of Guru, who famously shared a verse with the duo on the DJ Premier-produced classic. But in a display of remembrance that perhaps only hip hop can produce, the mood was immediately transformed from that of a lighters-in-the-air vigil, to a vibrant hands-in-the-air, head-nodding, sing-a-long tribute as the choppy beat and swift DJ cuts ricocheted through the venue.

CLICK HERE TO SEE MORE PHOTOS FROM
“HIP HOP HISTORY LIVE” AT CANAL ROOM

The promotional theme of the show was “Hip Hop History Live,” and when Brand Nubian hit the stage, it indeed felt like a historical moment, as all four members of the veteran group were present and accounted for, including Grand Puba, who also found post-group success as a solo artist. Joined by Sadat X and Lord Jamar, with DJ Alamo on the turntables, the group shuffled between Brand Nubian songs, as well as some of each member’s solo efforts, with the crowd reacting the most in response to seminal tracks like Puba’s “What’s The 411,” and “What Goes Around,” and Brand Nubian hits like “All For One,” and “Slow Down.”

Though Grand Puba took a few minutes to speak on more serious social-economic issues, the mood during Brand Nubian’s performance was generally nostalgic and fun, a solid effort that at moments truly transported listeners back to the group’s heyday.

With his sharp, distinctive voice, intelligent lyrics and charismatic flow, CL Smooth spent the peak of his career perfectly matched with his sonic counterpart, acclaimed DJ/producer Pete Rock, and despite a breakup years ago, the two headlined this occasion with precision and energy, as if Mecca and the Soul Brother dropped yesterday.

Rocking soulful, jazzy tracks like “Straighten It Out” and “Lots of Lovin” that made them one of hip hop’s most prolific groups, CL Smooth thoroughly engaged the crowd while Pete Rock effortlessly re-delivered an audio backdrop that helped define a decade.

Despite the onslaught of 90’s hip hop classics throughout, the song of the night clearly belonged to this duo. The crowd roared as the familiar horns and rumbling bassline of “They Reminisce Over You (T.R.O.Y.)” echoed hauntingly through the speakers. As the drums kicked in, CL Smooth led those in attendance into the timeless jam, dedicated to fallen comrade-in-musical-arms, Trouble T-Roy, of Heavy D’s crew The Boyz.

At one point during CL Smooth’s delivery, an instructive “Rewiiiiind” was given to the crown, presumably to allow Pete Rock to restart the song from the beginning for another go-round, but the crowd wouldn’t let go, continuing to recite one of rap music’s all-time greatest hits word for word, while a stoic CL Smooth simply stood back watching in approval.

Classic flavors.

In all, three rap groups, years removed from being in the spotlight, were eagerly met by a hometown audience of enthusiastic fans, celebrating their collective legacy, remembering an earlier, some would say simpler time in hip hop history. As with other old-school themed rap shows in our area, it is clear that hip hop’s forefathers can still pull a crowd, and still rock the house.

CLICK HERE TO SEE MORE PHOTOS FROM
“HIP HOP HISTORY LIVE” AT CANAL ROOM

Nice & Smooth – DWYCK

Brand Nubian – All For One

Pete Rock & CL Smooth – T.R.O.Y.

(Videos Filmed & Edited by Nastee for 4word Productions – Courtesy of www.4wordproductions.org