Tuesday, April 26, 2005

Back Like Cooked Crack: Crack Cocaine And Hip Hop

I want to thank Lou for holding down the blog for the last week. Work got me running around like an asshole, and I'm trying to get ready for the studio on saturday, so I havent had any time to post lately. Hopefully there will be a Low End Theory 12" scratch record coming out by the end of May, so check back for updates. And hit up the forums for rare and obscure mp3's. You have to join to get to the mp3 section. Anyway, tonight imma talk a little about crack/cocaine in hip hop. The roots of cocaine/crack and some cocaine/crack tidbits, break down like this:


Cocaine was first extracted from coca in the 19th cent. and was at first hailed as a miracle drug. By the 1880s in the United States it was freely prescribed by physicians for exhaustion, depression, and morphine addiction and was available in many patent medicines. After users and physicians began to realize its dangers and various regulations were enacted, its use decreased, and by the 1920s the epidemic had abated.

Another epidemic began in the United States in the 1970s and peaked in the mid-1980s; again the drug was at first considered harmless. With the latter epidemic and its accompanying crack epidemic (beginning in 1985 and peaking in 1988) violence in crack-infested neighborhoods increased dramatically. Young people with few other opportunities were lured by the power and money of being crack dealers; most carried guns and many were murdered in drug-gang wars that ensued. By the late 1990s the cocaine and crack epidemic had subsided as heroin regained popularity among illicit drug users.

Crack appeared in late 1984 and 1985 primarily in impoverished African-American and Latino inner-city neighborhoods in New York, Los Angeles, and Miami. Crack is smokeable cocaine. It gained its named from the "crackling" sound it makes when heated. It is easily produced in a pot on a kitchen stove by "cooking down" a mixture of powder cocaine, water, and baking soda. Crack is typically sold in tiny vials or envelopes that cost between $5 and $20. Crack was not a new drug; its active ingredient is entirely cocaine. Nor was it a new way of using cocaine; smoking cocaine freebase had been practiced since the 1970s.

Crack was a marketing innovation. It was a way of packaging a relatively expensive and upscale commodity (powder cocaine) in small, inexpensive units. So packaged, this form of smokeable cocaine (crack) was then sold, usually on the street by young African-Americans and Latinos, to a whole new class of customers: residents of impoverished inner-city neighborhoods. The marketing innovation was successful for at least two reasons. First, there was a huge workforce of unemployed young people ready to take jobs in the new, neighborhood-based business of crack preparation and sales. Working in the crack business offered these people better jobs, working conditions, and pay than any "straight" job they could get (and better than other entry-level criminal jobs like burglary or stealing car radios). Second, the marketing innovation succeeded because turning powder cocaine into smokeable "crack" changed the way cocaine was consumed and thereby dramatically strengthened the character of cocaine intoxication. Smoking crack offered a very brief but very intense intoxication. This inexpensive and dramatic "high" was much better suited to the finances and interest in immediate escape of the inner-city poor than the more subtle and expensive effects of powder cocaine.

Cocaine in any form is a stimulant, much like amphetamine or even caffeine. When powder cocaine is sniffed in small doses (as it usually is), it makes the user moderately alert and energized. Thus, the typical psychoactive effects of sniffing powder cocaine are subtle. Users report having to learn to recognize it. In the 1930s, songwriter Cole Porter wrote that he'd "get no kick" from cocaine about powder cocaine.


Cocaine is either snorted (sniffed), swallowed, injected, or smoked. Habitual snorting can result in serious damage to the nasal mucous membranes; shared needles put the user at increased risk of HIV infection. The street drug comes in the form of a white powder, cocaine hydrochloride. The hydrochloride salt and the cutting agents are removed to create the pure base product "freebase." Freebase is smoked and reaches the brain in seconds. "Crack" cocaine, also called "rock," is a form of freebase that comes in small lumps and makes a crackling sound when heated. It is relatively inexpensive, but must be repeated often.

Crack cocaine magnifies the effects of cocaine and is considered to be more highly and more quickly addictive than snorted cocaine. It causes a very abrupt increase in heart rate and blood pressure that can lead to heart attack and stroke even in young people with no history of vascular disease, sometimes the first time the drug is used. It also crosses the placental barrier; babies born to crack-addicted mothers go through withdrawal and are at a higher risk of stroke, cerebral palsy, and other birth defects.


Big C, blow, "C", chick, coke, corine, dust, flake, girl, happy, dust, nieve, nose candy, nose stuff, snow, toot, uptown, white, white girl, roca, rock, crack, Roxane, and white pipe.

Now a little low end theory history on the invention of crack. Crack was started by a Los Angles legend named, "Freeway Rick" Ross. He was an illiterate ex-tennis champ, and got his first bag of yayo on Christmas Day in 1979. He started out selling white to wealthy Black clients. As he took on more users and expanded his coverage, he got his product cheaper. He started to make his competition work for him because he was offering them great prices on powder. They traded in what they were selling and then got up with Rick. He was even training L.A. Crips to do sales for him. Back then Freebase was the "upper class" way to use cocaine. It was only really done by the wealthy and upper class users. Ricks customers knew about freebase, but they were afraid of Richard Pryors lil experiment gone wrong. So Rick then learned how to make a simpler method of cooking cocaine, cutting it with baking soda and heating it to make "Ready Rock". With Ready Rock, the rocks were a lot more potent then powder and a lot more economically viable. By the end of 1982 Rick stopped selling powder, and just hustled rocks. Rock offered a much larger market, and was doubling the profits of powder cocaine. Which took on the masses. Anyone could afford a nick rock of crack compared to a gram of coke that would run upwards $50 to $100. And the addiction to crack made it the greatest product for a dealer to sling, cause one hit was all it took most of the time to have a customer on lock. After this, the shit hit the fan. Whole communities were devastated and destroyed. Families and friends turned into zombies. Fiends were robbing anyone and everything they could for pocket change to cop rocks with. It was a real fucked up period. This also left room for mad entrepenaur that could make $100,000 a week on the corner, compared to a 9 to 5 paying $150 a week. Kids saw dealers rolling around in expensive cars with expensive clothes with wads of cash. These dealers became there idols, and showed them that if u want some real money, sell crack. Cause the legit job cant touch the profits that hustlers were making. Fuck being a fireman or an astronaut when u could be a millionaire slanging rocks. This also brought on mad violence such as turf wars, police intervention, rivalries, and claimed thousands of lives. In the 90's these dealers transferred there illicit business into the rap game. Easy E was one of the first cats that turned his hustle biz into a record label. Cats saw that you could make more money slanging music, but still keep the mentality and ethics of the crack game. Tons of artists, from Biggie to Jay-Z to Snoop Dog to Masta P, all were hustlers at one time serving fiends on the corner. Some still are, such as Irv Gotti, most recently. A lot of rappers glorify crack and promote the selling of crack because of how lucrative it is. There is also the songs that discuss the down sides and the evils of the biz. But they are some what out numbered by the tracks that are in favor of the pure white and praise the virtues of selling rocks, such as status, assets, and just being a gangster. Crack has somewhat died down in the last couple of years, just due to fiends dying and people shifting more into heroin. But the impact crack made on society and even music, will be felt for decades. And with that, im going to show all the different angles of cocaine/crack within hip hop music.

1. Peruvian Cocaine - Immortal Technique
This tracks is a narrative about where the cocaine originates and the channels it comes from. Immortal Technique and pals each take turns with roles from the cat picking the leaf, to the political influences, to the cat slanging in the projects, and then even the law enforcement end of it. Its basically shows who is involved and how yayo travels.

2. Ghetto D - Masta P
This is how u make crack and hit the block. This song pretty much tells u how to cook up some crack and get your ass some work. Pretty much biting Eric B and Rakim's classic, Make Em Clap To This, Master P and pals spit the crack rock recipe. This song shows how to make the rocks and how to get your own crack business blooming.

3. Ten Crack Commandents - Biggie Smalls
Ah the classic crack track. This track deals with the crack dealers etiquette. A how to guide on successful crack dealings. Biggie lays down the rule book for slanging rocks on this joint. On a side note, its funny how Chuck D went after Primo for using his voice on this song without authorization for its negative content. What a dick.

4. Hardcore Hip Hop - Rawcoticks (Primo Remix)
This is a soldiers point of view on slanging rocks. A rugged primo track with the cats from Rawcotiks spitting about the everyday hustle. The cat on the second verse really gets into it and details his daily crack slanging biz.

5. Raw And Uncut - Beanie Sigel ft. Jay-Z
This song parallels crack and rap. Beanie goes over his street life, and how he got down on the block. The chorus pretty much sums it all up.

6. White Lines - Grandmaster Flash and the Furious Five
This is the old school anti drug track. They rock over Liquid Liquid's Cavern break beat and talks about cocaine and how you got to stay away. The good ol' hip hop PSA.

7. P Is Still Free - KRS One
Damn another Primo track. Primo is the don dadda of this crack rap shit. This song is about skeezy crack hoes. This is basically a follow up to the old BDP classic, The P is Free. This song talks about the sleezy crack chasing hoes, that will do whatever for some rocks.

8. Jane Stop This Crazy Thing - M.C. Shan
Ah this classic talks more about a skeezy crackhoe named Jane. Jane is a base head that is all fucked up and Shan breaks down how wack she got from the glass dick.


Apache Video (Thanks to Elmac for the link)

Pete Rock Making Of Soul Survivor Video
(thanks to Prah for the link)

Yo MTV Raps Last Episode ft. Rakim, Krs One, E-Dub, Mc Serch and Chubb Rock

MED Interview

Copywrite got his ass beat by Camu Tau. Its funny as hell cause Copy had brass knucks and wound up breaking his own finger.

Crazy big MF DOOM and Ghostface collab article. And i mean big.

Terror Squad beats crowds asses after getting booed.

Kanye speaks on Dr. Dre in Rolling Stone (thanks to Chronobeats for the link)

GET THE FUK OUTTA HEA! (snatched off Catchdubs)

and thats that. PPPEACE.

Clizick fo more!

Sunday, April 24, 2005

Behind The Scenes Of The Source - Reginald Dennis Speaks

Founder of XXL magazine Reginald Dennis speaks very candidly about his experiences as being a scribe at "Hip Hop's Bible" The Source Magazine in the latest exclusive at www.hiphopdx.com.(scroll down after clicking the link the 1st part of the piece will be there) It is a lengthy 3 part piece that details the breadth of the former Source editor's career at The Source, and what led him to create his own Hip Hop publication: XXL.

The meat and potatoes of the article is basically the strange host/parasite or extortionee/extortionist relationship that exists between David Mays and Ray Benzino ("co-owners" of The Source), and how Ray's influence on David Mays and The Source is one of the biggest factors in what many see as The Source's probable (inevitable?) demise.

Now, the fact that Ray Benzino is a negative influence on The Source is something that is widely known. However, Reginald gives you the insider's look at what was actually happening within the confines of The Source's offices when most of us were oblivious to what was happening. Most of us at the time were fiending for the mag. to drop every month so we could pick it up and go straight to the record review section, and check out how many "mics" future release albums recieved. Most of the time The Source was on point, but I'm sure we all remember when the reviews and album ratings turned biased. It was probaly around the same time we saw 3 page "Made Men" ads. Things that make you go "hmmmmmm."

Well, after reading this interview you may never look at another Source mag. the same, and that's pretty much all I'm going to say. You have to read the exclusive for yourself. I've added 3 tracks on this post. They don't relate to the post. They are just something I felt like posting at the moment. Enjoy!

It's Real - Mic Geronimo
Who Got Da Props - Black Moon
Ronnie Laws - Tidal Wave (main song sampled for Who Got Da Props)

Clizick fo more!

Wednesday, April 20, 2005

King Asiatic

Antonio Hardy aka Big Daddy Kane aka King Asiatic Nobody's Equal is one of Hip Hop's dopest artists. During the late 80's early 90's (Hip Hop's Golden Period) Big Daddy Kane was in top form both creatively and career wise. He was one of the few rappers that could blend raw tough lyricism, 5 percent speak, be a "Smooth Operator" for the ladies, and still maintain his cred. Big Daddy Kane is also responsible or played some part in some of Hip Hop's most indelible moments and classic songs.

Big Daddy Kane had been in the Hip Hop scene since the very early 80's at the least. Kane's career in the music business starte when he met Biz Markie in 1984. From that point on they became friends, and Kane often co-wrote Biz Markie's lyrics. In 1987 they both hooked up with legendary producer, and head of The Juice Crew, Marley Marl. Big Daddy Kane then became an integral part of the group often co-writing other members material. Kane released his first single "Raw," and the classic debut album "Long Live The Kane" in 1988, and followed up in 1989 with the stellar "It's A Big Daddy Thing." This album features Kane's best "player" track "Smooth Operator" and one of my favourite all time Kane tracks "Another Victory," which samples another one of my all time favourite tracks "Melting Pot" by Booker T. And The M.G.'s.

After this point is where Big Daddy kane unfortunately started to fall off. He released the album "A Taste Of Chocolate" in 1990, which although had it's high points, it also suffered from some very sub par corny R and B influenced songs. Unfortunately Kane followed the same formula in 1991 with "Prince Of Darkness." In 1993 Kane came back to his more lyrical and street roots with "It Looks Like A Job For." However, Hip Hop had gone through many changes and Kane came with an album with an antiquated sound that definitely lacked the fire of previous albums. In 1994 Kane released "Daddy's Home" which was largely a forgettable effort. His last and possibly final album was released in 1998. It was entitled "Veteranz Day." It was an independent release and it also failed to make it's mark.

Regardless of Kane's later unsuccessful albums, he still remains a Hip Hop icon that will never be forgotten. His earlier work is just so dope that he will always have a place in Hip Hop history. In fact, Kane still makes very rare appearances on tracks and albums, showing he still has enough juice to flow with the best of them.

I have included my favourite Big Daddy Kane tracks below. Check 'em out. Also Don't forget to join The Low End Theory Forums. It's full of free shit.

Another Victory
Young Gifted And Black
Nuff Respect
The Man The Icon

Clizick fo more!

Thursday, April 14, 2005

10 Questions With Count Bass D

Here is our first interview for The Low End Theory. We are trying to make this a common thing round here, so stay tuned for more. I had the privilege to ask Count Bass D ten questions via email. If u don’t know who Count Bass D is, he is a rugged emcee and producer out of Nashville, that has released some real dope material. He is also a very talented musican that can play live instruments, but he can kill a mpc 60 and akai s3000 like none other. His album "Dwight Spitz" that was released in 2002, was a masterpiece and what I think was one of the best releases of that year. Real soulful beats and dope creative emceeing that was just a great album all around. His beats have a real unique sound and are just put together so dope. He is on some next level shit. He has just released his newest joint entitled "BEGBORROWSTEEL" and it is seriously one of the best releases of this year so far. If u haven’t had the opportunity to scoop it up, please head over to his site to scoop up a copy. So sit back and read a quick lil interview with Count Bass D. (excuse my bootleg interviewing)

1. When did you first discover hip hop and what were your influences?

Graf in Boston in about '76. The way all the older kids dressed when I was a child. I didn't know what was driving the fashion.

2. When did you get start getting into production and how?

I produced my first recording in Tampa Florida when I was fifteen or sixteen. I was home from school and my brother offered to let me go in the studio to make a joint. He paid for me to go to the studio with Kenny K and I made my first song. Kenny K helped out with that a lot.

3. What was your gear like then and what are you rocking with now?

I had no gear only records. I did it on an EPS I think. I don't know if it was his or if it belonged to the studio.

4. When and what was your first break. How did you get on? And how did u get approached and get a deal on Sony?

I had no gear so many people would pay for me to go in the studio with them to try to get me a deal when I moved to Nashville. Much like my brother had been doing. One of those tapes ended up in the hands of Pete Nice. After the bidding war and lawsuits ended, I was able to move forward. When I got signed in 1993 I had a lawsuit before I even signed the contract. People thought I was going to be really big.

5. Tell me about your first album. I heard you did a lot of the live instrumentation on it yourself. Was there any regrets with it?

You're right I did most of the live instrumentation on Pre-Life Crisis. Regrets waste time.

6. Tell me about what happened after that, with your 2nd project, and what you were doing up till Dwight Spitz. How did you meet your wife? And tell us about your children.

I recorded Art For Sale & two twelve inches. I met my wife at the college I dropped out of. I was doing a radio show with Egon and working at a record label. We have four children that we live our lives for.

7. Tell me about Dwight Spitz. How did that come about and what was the result of it? How was it received in the US and overseas?

Dwight Spitz was me just borrowing a few drum machines and setting out to prove that making beats would be easy for me even if I did it the average rap producer's way. I didn't make much money, but most people know me because of that album. I just shrug my shoulders and wonder why I still often don't believe in myself. Or why I give myself such a hard time about my abilities.

8. How did you link up with Doom and who else have you worked with thru the years? How did the Bella Flek projects come about.

DOOM and I both had similar business dealings since 1993 so it was destined to happen. My discography at the website shows everyone I've worked with. I met Victor Wooten in 1996 and he wasn't lying when he said "I want to work with you sometime".

9. Tell me about BEGBORROWSTEEL and how did this come together and how have you and your music changed throughout the years? How are you going about distributing it with you not on a label. How is it being received and how satisfied are you with it?

BEGBORROWSTEEL is me borrowing drum machines in order to stay afloat. After I changed my mind about moving to Atlanta in 2002 I had to come up with something really bad. I made the album using Van Hunt's MPC and another producer based here named Nikko. My music changes as I change. Not many drastic changes have occured in my life since Dwight Spitz so it doesn't sound as different as maybe Pre-Life Crisis or Art For Sale. Ramp Recordings licensed it and Groove Attack and Caroline are both distributing it worldwide. It's being received very well, but I thought distibutors were in business to make money. I don't understand why my album is so hard to find. CountBassD.com is the label that I am on.

10.What is your favorite track that you have ever made throughout your career and why?

"Worst Case Scenerio (off Art For Sale)" / Listen to it. Think about what's going on right now.

and thats it folks. Please check out Bass D's site and his forum to talk to the man himself. I would like to thank
Oriana of Writehanded.com for making this all possible. Mad props. I have chosen a few of my favorite tracks throughout Bass D's career for you to check out.

T-Boz Tried To Talk to Me (off Pre Life Crisis)
Soyini (off Art For Sale)
Aural S(ect)s (off Dwight Spitz)
Remix 12 (off Count Bass D.com)
Kumbukawatupendapesa(part_2) (off BEGBORROWSTEEL)

Also please check out the forums for some good music and other cool shit. Peace.

Clizick fo more!

Tuesday, April 12, 2005

"All I Want To Know Is Where The Party At"

Every hip hop artist has to have there party cut. The track that talks bout the rugged house party where they smoke blunts and get pissy drunk and of course the ass whooping of the night. Someone always has to get the shit kicked out of them at a party. The 3 tracks I’m putting up today are the party jams.

1. Biggie - Party and Bullshit
This track was Biggies first solo cut. He dropped this right after he jumped on Mary J's, "Real Love - Remix" and "Whats the 411". It was on the soundtrack to Who's The Man. Right after this he dropped his album Ready to Die. This joint is a typical house party in the BK. Blunts, bitches, "getting pissy drunk" and wilding out. A good fucking time.

2. Thirstin' Howl III - I Bust The Shots That Stop The Party
Now this track takes a little different angle. This shows how BK cats end the party (or just straight crash that shit). Homes is talking bout running up in the party snatching chains and poppin shots off into the crowd. I guess there aint no party like a Brooklyn party. Thirstin’ was a member of the Lo-Lifes, a crew that stole thousands of dollars in merchandise and always decked out in Polo clothes. He came from poverty and robbery, to start making his own tracks, becoming an emcee, and putting out his own releases on his own label.

3. Shyheim - Party's Goin On
This is a rugged track from youngin, Shyheim AKA The Rugged Child. Shyheim was a little kid when his first album dropped. He is also a member of the Wu-Tang Clan. This joint talks bout a little kids take on a party. Homes all gets ready to go and when he tries to get into it he gets turned down at the door cause he a still a shorty. RNS did the production on this, I think. He did most of the cuts off the album. The beat is dope. Real laid back with that trademark Wu chorus. Drums hit nice and hard and when the beat boxing comes in shit is rugged.

4. Ghostface Killa - The After Party ft. Method Man
This is the tightest track I got in a minute. This was on Method Mans latest flop, Tical 0: The Prequel. This track is all about the next day after a party. Waking up and finding your crib all fucked up and trying to find where your trees went and all that goodness. The beat is disgusting. I got this track on a white label last year and I must have bumped this shit for 5 weeks everyday.

5. M.F. Grimm - Get Down
This is the hottest track i put up today. Here is his bio off G.M.Grim.com
Born and raised in Manhattan, MF Grimm's name has been buzzing around the NYC hiphop circuit since the early 90s. Then known The Grimm Reaper, he was one half of "The Gravediggaz" (not to be confused with Wu-Tang's spin-off group with the same name). Grimm and his DJ, Roc Raida (of the X-ecutioners), reeked havoc in the music industry. Spitting fire alongside Kool G Rap and KMD, Grimm was a seasoned battle MC, placing at the World Supremacy Battle of 1993. That year, he released his first 12” single So Whatcha Want N----? and performed at the Jack The Rapper convention on Execution Night, sharing the stage with Lady of Rage, Tupac, and Dogg Pound, in Atlanta with Roc Raida as his DJ and Fat Man Scoop as his hypeman. He was approached by several major labels and about to embark on his superstar journey when he was shot several times in an attempt at his life the following year. The wounds blinded, deafened and paralyzed him from the neck down. Miraculously, Grimm recovered from most of his injury but remains confined to a wheelchair. During his hospitalization, he wrote the underground classic Scars and Memories. He went on to release several 12" singles on Bobitto's Fondle 'Em label and also collaborated with MF Doom on an EP released by Brick Records. In the late 90s, he founded his label/international distribution company, Day By Day Entertainment. Grimm put time and money into releasing independent artists. One of the projects he largely played a role in was MF Doom’s Operation Doomsday which is still recognized as one of the best underground hiphop albums of all time. Around the same time, he put together his Godzilla-inspired MC collective, Monsta Island Czars (M.I.C.). The year 2000 marked the release of Grimm’s own long-awaited debut album The Downfall of Ibliys: A Ghetto Opera. Grimm completed this album in 24 hours while out on $100,000 bail. He was sentenced to life in prison under the Rockefeller drug law. Inside, Grimm studied the law and filed suit upon suit and fought his sentence down to 3 years. Grimm was released in May 2003. He has since completed his sophomore album Digital Tears: E-mail from Purgatory under his M.I.C. moniker Jet Jaguar. With over a decade under his belt, MF changed his name to GM (Grand Master) Grimm. GM Grimm is currently juggling his business skills and his creativity: expanding Day By Day Entertainment to cater to Rock as well as hiphop while working on his next album

This track though is a dope party cut. Grimm just spits about a party and how he gets down. The beat is real laid back and mellow also. One of my favorites.


Nottz interview

Vida's cell phone is the next victim of a hack. Thank God.

Kool Herc on NPR

Cormega Interview (thanks to Spine Magazine for the link)

Timbaland getting ready to enter a body building contest. What the fuck?

The Grape Lady This is pretty funny (thanks to Bravo for the link)

Edan and Insight live in Holland This is a cool 20 minute set with them rocking. Pretty tight.

Common speaks out on the leak of his album on the internet

Oh and join the forums for some free mp3s and older shit we posted reupped.

and thats it for today.

Clizick fo more!

Saturday, April 09, 2005

Made In Canada: Audio Research

Today's post is actually the result of a quite accidental finding. I was actually at a local library doing some research recently and just decided to look through the Vocal section of the library's rack of cd's, which basically consists of a hodge podge of anything that doesn't fit into Rock, Classical, Jazz, or Soundtracks. After thumbing through a few cd's I came across Rugged Radio Saturday mixed by the one and only, 3 time consecutive DMC champion, DJ Craze.

I ended up checking it out of the library along with some books and a few other pretty interesting musical finds. When I got home I decided, like I usually do when I get a bunch of new cd's to listen to, I go through and skim through the tracks on them all just to get a first impression. When I got to Rugged Radio Saturday I was instantly captured, and instead of just skimming I actually ended up listening to almost the whole work and made frequent use of the skip back button on my stereo's remote control. Basically, the cd is dope!!! Rugged Radio Saturday is Audio Research Records first foray into Compact Disc Releases. It features previously released tracks which were only available on vinyl.

Audio Research Records is an independent label based out of Montreal Canada. The label was started in 1997 by DMC, ITF, and Vestax Champion DJ A-Trak and various associates, such as Dave One, who wanted to put out music that they liked, and of course especially that was made by themselves and their associates. The label's main artists are the extremely dope Obscure Disorder from Montreal, D-Shade, Troy Dunnit, and DJ Serious who is a very talented producer and has worked with Masta Ace. The label has a mission to put out quality, original, and "true school" Hip Hop. In many ways they have a similar ethic to Peanut Butter Wolf's Stones Throw Records.

Audio Research has also released albums from United States' labels which they are partnered with. Namely, Non-Phixion's Uncle Howie Records, Ammo(DJ Craze's label) and Uncle Junior/7 Heads, among others. Audio Research is also known for many vinyl releases geared strictly for DJ's. These consist mostly of break records put out under the names of some of the members of The Allies: A-Trak, Craze, Klever, etc. which all happen to be world championship winning DJ's.

Audio Research is a label that is steadily growing and diversifying while staying true to their vision and ethics. They are branching out and trying more risky releases in a Peanut Butter Wolf/Stones Throw kinda way by releasing material that is more funk orientated as well. Audio Research has also recently joined forces with Universal Music Canada, so look for their releases to be more widely available in the future.

Below I've added 3 MP3's from my favourite cuts from Rugged Radio Saturday. Also, be sure to join The Low End Theory Forums. There is a lot of free shit!!

Obscure Disorder - 2004
DJ Serious feat. Theo3 - Snakes
Obscure Disorder - The Grill

Clizick fo more!

Thursday, April 07, 2005

"How Many Of You Know About Crate Diggin? What Does Crate Diggin Mean To Me?"

Allright this post has become a nightmare. This is the 3rd time i had to rewrite it from scratch. I hate this because each one is getting progressively worse due to me getting irate. Anyways, today I’m going to focus on Crate Digging. Crate Digging is the fine art of record collecting. Im not a hardcore digger, but i have been digging for a few years. I just copped a Vestax Handy Trax to assist me on the hunt. I try to spend whatever loot I can though on records. There are some real hardcore diggers out there, like the folks over at Soul Strut. These cats are dropping knowledge daily. Digging for records is a lifestyle. It becomes an addiction.

The first thing you have to know about when digging is where to find the records. There are many different resources out there for finding vinyl. You can goto pawn shops, estate sales, garage sales, salvo, thrift stores, antique stores, classifieds, your friends, parents, relatives, online etc... Get creative. There are records everywhere and they are mad cheap. If you got some dough, digging online is fun once and a while. You can head over to Dusty Groove to find dope wax. You can also check out Soul Strut’s Ebay auctions. You can also just goto Ebay and find shit records. But be prepared to go into bidding wars with the diehards. I got a spot round me that is pretty untapped. They got a lot of jazz and funk that I scoop up, but its expensive. I also hit up the expos and flea markets. Just be aware of these things and try to get out to them as much as you can.

The next thing you have to do is homework. You have to read the liner notes on records. Look for who played what, what label, what producer, what studio, what year, etc... Make mental or actual notes of this shit. This is a great way to school yourself to new names and records. Also research places like The Breaks.com. They have a listing of who used what on what record. Try to remember these names. Another good resource is comp records. Compilation records have a lot of names that are super rare or slept on. Get a bunch and listen to them and research the artists. You can find them in most hip hop record stores like Turntable Lab. Another good way to find names is the All Music Guide books. These books have thousands of names and reviews for you to check out. I have the soul one and that shit is as big as a phone book. They also have a jazz one.

The last thing I would like to address is to appreciate the music. A lot of cats that I know, just look for loops. They dig through wack records and just skim tracks for sounds. They don’t sit back and listen to the music. I think of it as a homage to listen to a track completely before I sample an artist. Also I only sample music that I’m a fan of. I like to dig for shit that I’m feeling. I look for shit that leaves and impact on me. Some shit that hits a nerve. A record that really is a good piece of music first and foremost.. This is just my opinion. I think that if your gonna jack someone’s music to make your own, at least respect them and take in there work. But do what u gotta do.

And with that here are a few tracks that feature crate digging as the theme. I also threw in a dope bonus cut for the hell of it.

1. Lootpack - Crate Digging
On this track Madlib talks bout what crate digging means to him. He handled the production and emcee work on this track by himself. This is off Lootpacks album, Soundpieces: Da Antidote. Its a dope track and I like the beat a lot. Also check out this months Scratch Magazine for an interview with Madlib. I haven’t seen it yet, but I heard he talks about records and how he gets down.

2. Madlib - Catchin the Vibe
I usually don’t like to post 2 cuts from the same artist, but fuck it. This track is hot. It is a unreleased cut from the loop digga. I really like the melody. Oh and what the fuck is up with the crossfader on this track. Shit is buggin the fuck out.

3. Count Bass D and J.Rawls - Sifting Through Records
I really am feeling this cut. Count Bass breaks it down and pretty much shits on everyone. He number 1, u fuckers. I love the beat. The hook is crazy. We might be having a little ten questions joint with Bass D on the blog soon. Also check out his new album in stores, BEGBORROWSTEEL

4. PUTS - The Dig
I know I did a post bout People Under the Stairs a little while ago, but u cant talk bout digging without mentioning this track. They talk about there addiction and how they get down on this jam. Shit is tight.

Bonus Beat: Pete Rock - #1 Soul Brother
This track isn’t about digging, but P to the R Ah rhymes bout his career. He really is the #1 soul brother. Fuck what u heard.


Aight you need to get your ass to our forums. There is some dope mp3s up in there (Commons BE was leaked) and some other cool shit. You have to register to goto the mp3 section though.

This why you dont put your pic on the web
. (thanks to splinter for the link)

Just Blaze speaks on Fruity Loops on MTV2 (thanks to markus3k for the link)

George Bush - D.R.A.F.T. (thanks to prah for the link)

Old School Hip Hop Flyers

Questlove's Record Collection (thanks to MPC4000xl for the link)

Madlib Interview
(need realaudio to play)

The History Of Rap poster
(swiped from Spine Magazine)

Mark the 45 King killing Serato Scratch

Mr. T and your momma

and thats it for today. JOIN THE FORUMS AND GET FREE SHIT!!!!!!!!!!!!!!!!!!!!!!!!!!

Clizick fo more!

Monday, April 04, 2005

Not All That Jazz, Part 2: Beyond The Open Doors

This is The Low End Theory's second installment of "Not All That Jazz." It is an ongoing series that is going to showcase material that has been sampled or should be sampled that does not fit the traditional Hip Hop mold of sampling from Funk, Soul, and Jazz Music. Today we are going to focus on the popular 60's/70's eclectic Rock group The Doors.

The Doors became a group in 1965. They met at UCLA film school in Los Angeles, California. Each of the four members of the band brought a distinct flavour to the group. Artistically, The Doors were quite revolutionary blending many different musical influences such as Rock, Jazz, Flamenco, Blues, Indian, Classical, and Folk with Jim Morrison's equally revolutionary poetic, political, and social lyrics.

The Group was also known for it's very psychedelic approach to their craft and life. They indulged in a lot of drug use and mental exploration. Jim Morrison, the lead vocalist and charasmatic frontman of the group, was deeply influenced by poetry and thought of himself more as a poet than an entertainer. The group's name was actually derived from a line of verse from the great poet William Blake: "If the doors of perception were cleansed, everything would appear to man as it truly is, infinite." They chose The Doors as their name as the the quote represented what they felt they stood for. They started playing some well known clubs in the Los Angeles area and were then signed to Elektra Records (which has now been absorbed into Atlantic Records) on recommendation from a simlar Rock band that just got signed to the same label, Elektra's first Rock group: "Love." Elektra Records was a small folk label when The Doors were signed. The Doors helped make the label a powerhouse.

The Doors were very successful and recorded many albums for Elektra. However, the success didn't last long as the The Doors led a decadent lifestyle, especially Jim Morrison whose antics landed him in trouble with the law, and also left him with a tired body from all the partying, drug use, and hard living. Jim Morrison died in Paris, France on July 3rd 1971. The Doors tried to continue without him but they were unsuccessful and disbanded.

Today, The Doors are still a big influence on music and popular culture. Each successive generation re-discovers The Doors music as it has stood the test of time. Since Hip Hop is a culture that seems to preserve great music of the past and re-incarnates it into brand new artistic expression, it is no doubt that The Doors music has touched Hip Hop. Some of the biggest names in Hip Hop have samples from The Doors in their music. Probably the most successful and well known is "The Takeover" by Jay-Z, which is a scathing diss track directed at Jay-Z's rap rival Nas. Other artists such as Cypress Hill, Souls Of Mischief, 3rd Bass, and Lauryn Hill have all either sampled The Doors or used The Doors music as inspiration for their own tracks.

Below I have included 3 tracks by The Doors that I am currently feeling. I have included the track "Five To One" which was both sampled and interpolated for Jay-Z's "The Takeover."

Five To One
Who Scared You
The End

Make sure you sign-up at The Low End Theory Forums. We are going to be posting some miscellaneous dopeness that we arent' putting up on the blog, as well as giving ya'll a place to network, give feedback, or just shoot the shit. Peace!

Clizick fo more!