Showing posts with label EPMD. Show all posts
Showing posts with label EPMD. Show all posts

Friday, July 23, 2010

Side A





This is all I have left.
It's a shame, really, considering the amount of room my collection of cassettes took up at one point. At it's peak in around 1998, the grand total was around five hundred full lengths, EPs and singles from the golden era. Most were from my weekly excursions to any record store I could get to, whether by bus, car or walking. This was before Best Buys or Circuit Citys had invaded New Hampshire, so I was stuck with the pricejackers elite, such as Strawberries, Record Town, Tape World and a few others that would get away with charging somewhere in the neighborhood of $11.49 - $12.99 per title. Cassette singles were a priority, seeing as most of them were around $1.99 and contained the b-side of the 12" version. I was never really in need of the instrumentals, so two songs (maybe three if there was a remix) for two to three bucks sounded good to me. Granted, when a slab of wax was able to be afforded, that was first on the list. But with not a lot to work with, you had to spend your money in the most conservative way you could find.
The saving grace in my pursuit of finding every possible release in existence was the infamous Newington, New Hampshire flea market, a sunday ritual that I almost never missed out on. A friend and his father went early, much earlier than I should have ever forced myself to get out of bed on a weekend for, knowing I had less than twenty four hours until I had to be forced back into a classroom.
The Newington flea market was where the buried treasures were found, where almost every other visit I'd somehow walk out with four or five new gems to put on the shelf. I was a record hunter before I knew what record hunting was....I was a tape hunter. The odds of finding a 12" there were slim to none, but the cassettes flowed endlessly. In 1992, when I finally got a cd player of my own, the bounties were even more amazing for two reasons: first, CDs would be sold second hand there for anywhere from two to five bucks, and second, once CDs emerged, no one cared about cassettes. No one cared about cassettes except those of us that were smart, and would be able to go through boxes and boxes. It wasn't unusual at that point to come home with ten tapes of gold and to have only spent, at the most, six or seven dollars. Yes, cassettes were the backbone of music loving tightwads in training.
The process went something like this:
Alarm set for 6:30 AM, every day of the sabbath (I seriously don't know what I was thinking....). Alarm would be hit for the next twenty minutes until I realized I'd have to be ready by seven or they would leave without me. I'd crawl out of bed and throw on clothes, looking out the window, knowing that ninety nine times out of a hundred, they'd be in the driveway at exactly seven in the morning.
The drive was about twenty minutes from Dover and would be spent discussing the previous night's basketball, baseball, football or hockey scores, depending on the season we were in. The flea market was year round, such as sports, so the drive was never void of conversation, no matter how tired I was. We'd enter the parking lot and, without fail, my excitement would rise to a boiling point. You have to understand.....Dover, New Hampshire wasn't that exciting to a teenager. There was a movie theater, a Store 24, a YMCA for pick-up basketball games, a sports card shop and.....well, not much else. This being said, a flea market out of town was a sort of utopia, filled to the brim with bizarre characters. It was everything I enjoyed all wrapped up into one large indoor building.
As soon as I would walk in, I'd be bombarded with endless tables of forty year old men selling sports cards, which was the only hobby/love of mine that competed with hip-hop at the time. I would usually have a box full of cards with me in hopes of trading in to random dealers for more packs of whatever new released series were available. This is what I considered my "first round". There was never a hurry. My friend's father could spend hours in there, chatting with anyone and everyone, giving each table a good once-over before moving on and finally making a decision what he wanted at the end of the day.
So, my "first round" would last anywhere from an hour to two or three. As soon as I had nothing I walked into the building with and had exchanged for a mish-mash of new cards, there would be a sort of halftime. My friend and I would go over to the food counter and, being a fat kid, would gorge ourselves. Depending on the day and my hunger level, it'd be either an egg, cheese and bacon sandwich (smothered in grease....I should have had a heart-attack by seventeen) or a maple round.....or sometimes both. For those of you that aren't familiar with maple rounds, it consists of a large, round donut stuffed with the most sugary creme you can imagine and then the donut is topped with a thick layer of maple flavored frosting. The pastry would be usually three to four inches from side to side and about two inches tall. It was, without a doubt, the most sickeningly beautiful "breakfast" treat to ever exist. It's even funnier to think about my diet at those flea markets, considering my present day self eats an almost all vegan diet (except for peanut butter cups.....Reese's owns me for life.). So my friend and I would sit and discuss our scores for the day so far and recharge for the next endeavor.
Immediately after "breakfast", there was a large room adjacent to the food counter and tables, consisting of nothing but VHS tapes. Thousands upon thousands of them. They were usually four for ten dollars, so I would spend about a half an hour hunting down every horror movie I could find and then searching out a few WWF events, considering I'd also argue that the golden age of WWF paralleled the golden age of hip-hop. Wrestlemania, Summerslam, Survivor Series and Royal Rumble VHS tapes also filled my shelves.
Sports cards? Check. WWF and horror films? Check.
And now was the final sweep.
A mental note was taken during my "first round". Every table with a box of cassettes or CDs would be revisited and combed over. I'd take my time, not wanting to miss anything. Some weeks I struck out, but those days were few and far between. More often than not, there would be at least five or six young adults or twentysomethings that would bring their unwanteds in and rent a table for the day. Most of them had a garage sale compacted onto an eight foot table and most of them had grown out of music in one form or another. This is where I'd swoop in and score. Another man's junk was absolutely my treasure.
These tables are where I'd finish my RUN-DMC collection, where I found Paid in Full for a dollar. It was where I could buy soundtracks for films that had at least an unreleased song or two from some of the best artists of the time.....soundtracks for films such as Mi Vida Loca (tracks from Funkdoobiest, A Tribe Called Quest, and Boss), or Trespass (tracks from Gang Starr, Public Enemy, the DITC family....everyone), Who's the Man? (again.....everyone)......the list goes on and on, not even including the soundtracks for movies that were made almost specifically for the hip-hop community (New Jersey Drive, Juice, New Jack City, Menace II Society, Boyz n the Hood, Clockers, The Show, Fresh, One Million Strong (which wasn't a film)....even the House Party films. I know I'm forgetting a ton, but they'll all be talked about in time....I sure as hell listened to them all enough.
There were gems upon gems on a weekly basis. From the flea market itself, I'd go home with a few hours of new music to listen to and a box of cards to look at and organize while the beats and rhymes took me away. Maybe an hour or two of classic WWF as well.

Depending on the week at hand, one of two things would happen at the final conquer of the flea market. We'd either get back in the truck and drive to Dover, or every couple weeks my friend and I would walk down the street to go see a movie. That would be followed by a trip to the mall, where it would be time to flip through all the cassettes and records at any one of the price-gouging holes in the wall. I had no choice other than this. I had no license, hence, no freedom to travel anywhere outside the small provided circle. This was still good enough, though. I had my checklist ready every week, taking down notes on new artists from the once very reliable The Source magazine in the unsigned hype and reviews sections. (This magazine was THE bible at that time for me....it supplied me with quite a bit of reference to track down new artists, etc. If anyone who may stumble on this blog has any back issues from the years 1990-1994, please get in touch and we'll talk deals. I'll have a very full "want list" up on here soon.)
After stumbling around the mall for a few hours (which usually included me having some sort of Burger King feast that was super-super-sized, complete with a shake and whatever the hell else was on the menu.....jesus, I was a pig), I'd make my final decisions. I'd usually keep myself to somewhere around $25 a week, paper route money, and would end up with two full lengths and a cassingle or two. We'd sit outside on the bench until my mom or dad would come pick us up and bring us home. Every Sunday night when I got back to my room, I'd know I had enough new music to tide me over for another week until the next flea market day arrived.
I remember some of the releases I was so happy to finally get on those mall runs, reading about them on a Monday and having to wait a whole week to hear. I remember tearing the plastic off of Kurious' A Constipated Monkey before I was even given a receipt. I remember special ordering Gang Starr's Daily Operation and De La Soul is Dead and having them show up on the same day. Finding Mecca and the Soul Brother on vinyl on the same day as DAS-EFX's Dead Serious came out and being able to buy them both......going to three different stores to find EPMD's "Head Banger" single because them remix was INSANE. I remember all of it and, slowly, more and more keeps creeping back. Pennywise the clown scared the shit out of all of those kids from Derry, Maine and then they tried to forget. In one quick moment it all started to rush back into their minds...all the memories. Hip-hop is my Pennywise, but the only difference is I'm not scared to let all of those memories sink back into me.
It went on like this for years. Once I finally had a license, I took it a step further, hunted down even more flea markets, and made an entire day out of bargain hunting, always eyeball-fucking every table and leaving no stone unturned. I did this up until 2005 when I was around twenty eight years old. My goals shifted as time went on, but any time I saw a pile of cassettes or CDs, you can bet your ass I made a sprint to them. I'm looking forward to fifteen years down the line, where I will revisit my days as a fat kid by turning into a fat older man, still tape hunting. I may start collecting sports cards and rewatching WWF matches just to immerse myself even further into nostalgia.....and maybe I'll find all those Source mags again and finally hold onto them.

Wednesday, July 21, 2010

Gems VI

I'm going to lump the rest of the eighties into one (undeserved) post. Not because I want to, but more because I have to.....at least for the moment. If I continue to go on diatribes of each album on the years of 86-89, I'll never get past the decade, which is something I want to do.
In the year 1989, I turned twelve years old. Being the same age as hip-hop itself, we both had a pivotal year for many reasons. First, it was my last year as being considered a kid, the last year before turning into a teenager. I was starting to grow up and expand and experiment....just like hip-hop.
The eighties were feeling grounds, both hip-hop and I unsure of our futures, unsure of our surroundings or what we were capable of. The end of 1989 birthed a new decade. I went on to junior high school. Hip-hop went on to more major label attention. Both of us had our fuck ups and both of us found ways to search out and find purpose, focusing on positivity while still acknowledging the negative aspects.
When I became a teenager, so did hip-hop. This means I have to sum up our "youth" in brief snippets right now before returning later on, reflecting on exact instances I remember involving certain albums, reading certain magazines and watching certain films.

So, in fast forward, this is youth:

Around the time of RUN-DMC's rise, there were other names lumped in with them, with modern pop culture media attempting to acknowledge hip-hop. Magazines like Rolling Stone all of a sudden gave a shit about the genre as a whole and not just groups that do songs with shitheads like Aerosmith. On one hand, it was welcomed and those that appreciated the art form were happy to see it get some much needed and deserved love. The other hand caused frustration as the obviously uninformed tried their best to bullshit a way through an article they had absolutely no prior knowledge of.
That's besides the point.
Beastie Boys released "License to Ill". They blew up almost immediately. I tried to love them. The record has it's moments, and if the whole albums made me feel like "Rhymin and Stealin" did, I would have been another to worship at the altar of three white boys from Brooklyn. I will say, however, that I did think some of their albums were fantastic. Paul's Boutique was a mindfuck in the best of ways. Check Your Head will always be their classic, their premium album in, well, my head. Their follow-up to that LP, Ill Communication was right up there with it, before "Sureshot" got so overplayed in every circle of life it became unbearable to listen to for a while.
Eric B and Rakim's "Paid in Full" came out, "I Ain't No Joke" being the song that turned my head.
Public Enemy. Enough said. I can't even start about them right now or I'll need another ten pots of coffee and will call in sick to work for the next three days. They deserve much more description than I have time for right now.
NWA introduced the world to gangsta rap. "Straight Outta Compton" is in the top five hardest songs of all time. Period. These dudes were so pissed, they make every Discharge song sound like they were sung by schoolchildren. Blasphemy for a punk to say? Probably. But, truth? Definitely. Fab Five Freddy introducing them on YO! MTV Raps was such a memorable moment. Once Ice Cube, Eazy-E and Dr. Dre went and did solo albums, their legacy as a group became even more important. Shit, even MC Ren's "Kizz My Black Azz" EP was quality.
EPMD came out with "Strictly Business" and planted their feet into fresh cement. The following few years and releases for them are much like those footprints....they'll be noticed for a very long time, especially with Erick Sermon still making good music (most of Method Man and Redman's "Blackout" is still the best production he has done.).
Lighthearded MCs started to surface, with Biz Markie and DJ Jazzy Jeff and the Fresh Prince presenting a more lighthearted version of east coast hip-hop. Biz was incredible...an almost muppet-like character that is still today one of the most entertaining individuals to ever be involved the the creation of this music, with "Just a Friend" still sealing the deal as a classic. Same with Jazzy Jeff and Mr. Will Smith...."He's the DJ, I'm the Rapper" is still listenable, still bizarre and comical. I mean, there are songs about Freddy Krueger, stealing and crashing your parents' car, bodyguards, etc. Plus, it was when CDs were new and had less room on them, so those of us that lived in cassette world, we got an extra couple of minutes and tracks on this record. Last but not least, Kid 'N Play introduced themselves.....say what you want about the albums, but they were important, if only, because it gave them access to create personas that carried on into feature films that I consider hip-hop classics. More on that at some other point.
Females besides Roxanne Shante started getting respect, Queen Latifah, MC Lyte and Salt-N-Pepa being at the forefront, while others like Monie Love were still making good songs without as much attention.
On the other end of the spectrum was 2 Live Crew. It was never, and will never be, my thing. I can't relate to almost anything their entire lyric output entailed. I don't care about booty bass. I don't care about shock for the sake of shock, with no validity behind it, whether you take it to the United States Supreme Court or not. No matter what way it was "meant to be perceived", misogyny is not a part of my hip-hop. Strippers and prostitutes are not a part of my hip-hop. At almost thirty three years of age, I've still never even been to a strip club. Sad....pathetic? You decide. I'm okay with it, and I'll stick to songs like Pete Rock and C.L. Smooth's "Lots of Lovin" and be just fine. It's (my opinion..) not about being some PC hippie bullshitter....it's just about being a human.
Kool G Rap and DJ Polo's "Road to Riches", Big Daddy Kane's "Long Live the Kane" and "It's a Big Daddy Thing", LLCool J's slew of albums, as well as Ice-T's (including "6 in the Mornin', which was on ninety five percent of every mixtapes I ever made), The D.O.C.'s "No One Can Do it Better".....all of these came out in this time frame. Looking back, it's unbelievable....it's another reason it can all be described as golden.
MC Serch and Prime Minister Pete Nice fronted one of hip-hop's first interracial groups in #rd Bass. The Cactus Album is released, and almost every motherfucker on this planet felt "The Gas Face". Why? Because they had skills. Because they weren't a gimmick. Because their lifestyle wasn't created by a record executive looking to cash in. Because their records are still great, even by today's standards, and because they never turned on what they started. Serch brought Nas to greatness, put out an incredible solo album ("Return of the Product") and just a few years ago, worked with Ego Trip on VH1's The (White) Rapper Show. I've read they (Ego Trip) are doing a new book about white rappers....my bet is that Serch will be heavily, heavily involved, within not only the content, but the entire production. 3rd Bass made me feel like I didn't need to question my love for the culture, as if I was intruding on something I wasn't supposed to.

So, that's a brief and minimal rundown. Trying to open a ten ton can of worms within a few paragraphs is impossible. Like I said before, my main goal is to cover everything I can whenever time permits, and this was the best starting point I could come up with.
I'm also not going to sit here and act like I was waiting out front of the record store every Tuesday knowing release dates. Some of these records took me three, four, five years to discover. I am no aficionado. What I am, however, is an enthusiast, which I consider even more important. I don't remember every song title, all the lyrics to every LP, who produced every track, etc. But what I do recall is how these records as a whole, influenced me.....and that is what this is all about....not statistics, nor biographies of each artist.....it's about the affect these artists and albums had to my ears, my head and, ultimately, my life.