Posts Tagged ‘1991’

Dropped Same Day: Tim Dog / 2Pac

Monday, March 18th, 2013

In honor of the recently deceased Tim Dog, this time around we have the debut LP from the guy who said fuck Compton versus the first album from the man known for being the major catalyst in what became known in the media as the East Coast / West Coast rivalry, Tupac Shakur. Both these men were obviously crucial in setting these events into motion.

[poll id=”15″]

Tuesday, November 12th, 1991.

Two LPs: Tim Dog‘s first, off Ruffhouse and 2Pac‘s debut, on Interscope.

Pick your favorite and / or the best album, doesn’t matter.

Check other posts in the Dropped Same Day series here.

And feel free to state your case, leave corrections or post additional match ups you would like to see in the comments below.

— The Big Sleep

Raggedy Man – Demo Tape (Early 90’s)

Tuesday, October 2nd, 2012

[I couldn’t find any pics online at all and don’t have the tape on hand so this video is here because the second emcee is Raggedy Man making a rare appearance on youtube.]

01 Sh-Boom
02 I’ve Been Workin’ On The Railroad
03 True Colors
04 Can I Get A Witness
05 Keep It On
06 Singin’ In The Rain

Download demo tape here. (more…)

1991 Was A Helluva Year

Wednesday, February 2nd, 2011

Over at the T.R.O.Y Forum, we have a thread going that celebrates the greatest albums of 1991. As people weighed in with their opinions about which albums stood out the most in a stellar year, the conversation shifted somewhat to include lesser known quality releases. Foobar got into the spirit and pieced together a compilation of fifty great songs from 1991, by fifty different artists. From Gang Starr to Main Source to Raw Fusion to YZ, there’s something here for everyone.

Dowload link –

Tracklist link –

Big L – Gorilla In A Phone Booth

Saturday, August 28th, 2010

These limited 12″s shipped out about a month ago so I’m gonna guess that it’s been online for download for a while now. If not, I’ll remove the link at the label’s request. I won’t include the instrumentals, just the two songs. I figured we should bless you with this and urge you to go support, and cop at:

The price tag is type high, especially for nowadays, but you can get a nice package deal with the new Nutrageous/Freestyle Professors EP and bonus 45. Definite bangin’, raw early 90’s sounding stuff for heads like us, don’t sleep. The FP’s really haven’t deviated from their raw Bronx heavy sound since 1994, and that is especially refreshing in nowadays keyboard preset plagued, computer programmed, ultra crispy clean sounding world.
Take a peep at the Showbiz produced og version of “No Endz, No Skinz” here:
And the Showbiz produced og version of “Give It To Em L” here:
So, apparently these tracks were on the original version of Big L’s first album, produced entirely by Showbiz, that burned up in a fire at Jazzy Jay‘s studio. How these songs got found, nobody knows, but this IS some historic shit right here. I know the price is high, but if you’re a Big L enthusiast, you should really grab this one. And you get more than just the Big L tracks if you cop because it’s actually a “double 12” and the other piece of wax included is the previously unreleased 3 tracks, with instrumentals, by emcee Silky Black. Two of which are produced by Showbiz and one by the mighty Lord Finesse. I believe they pressed up about 400 copies but I could be mistaken. The reason for the pricing in nowadays price dropping, over saturated limited market, was probably from dealing with greats like Lord Finesse and Showbiz, not to mention Big L’s estate. I’m merely speculating here, so don’t try to eviscerate me in the comments.
The record also comes with a couple of sheets describing the release and the difference in lyrics and the whole story behind the record.
Cop here:
Big, big ups and crazy thanks to Ed Catto, Showbiz, and Branesparker(you can cop his EP with Nutso[f/k/a Nutrageous] in the previous link) for putting this project together and bringing us the unreleased goodies!

The Source: March/April 1991

Wednesday, April 14th, 2010

Here’s another T.R.O.Y. blog exclusive for everyone. And I definitely kicked myself for not buying and reading this back in ’91. I remember the main article’s topic was heavily debated, on a daily basis, when I was back in college. I had friends that were members of the Five Percent Nation, Nation of Islam, Orthodox Islam, Christianity, and a few atheists and agnostics as well. And when you mix hip-hop, women, weed and alcohol at midnight with guys trying to debate religious ideologies, it’s not a pretty sight. Let’s suffice it to say that I was present for quite a few heated arguments and fights regarding this. That’s why I’m upset that I never had this issue to bring to the table. It’s not only an informative article (that should have been printed in its entirety) but it puts hip-hop into a broader perspective. What I’ve always loved about the music is that everyone has a chance to be exactly who they are and present themselves to the world regardless of race, nationality, religion, gender, etc. And The Source never missed a beat in its earlier days and was always on the cutting edge of discussing hip-hop in politics, society and religion.

On another note, I truly missed another gem in this magazine; the Large Professor article. Back in ’90, I accidentally found a couple of Main Source vinyl singles at Funk-O Mart and it was on from there. But I didn’t find out until later that he was producing for Kool G Rap’s Wanted: Dead or Alive and Eric B and Rakim’s Let the Rhythm Hit Em albums and that he wasn’t being properly credited for his work.

Also, you can watch a recent interview with Large Pro here:

To see him with all that gray hair is really getting to me since we’re the same age and I have gray hairs popping up all over my head as well!

Source March/April 1991 issue

If you’re looking for something else, then head on over to THIMK.

And don’t forget, the pw = thimk.

~Vincent Lopez~

Random VLS Drops: Terminator X – Juvenile Delinquintz

Wednesday, March 31st, 2010
Fresh 320kbps rip

(I didn’t scan the A-Side cause it has a huge Bart Simpson sticker over the label)

A1 Juvenile Delinquintz (Radio Version)
A2 Juvenile Delinquintz (Remix Radio Version)
A3 Juvenile Delinquintz (Remix Instrumental)
B1 Back To The Scene Of The Bass (LP Version)
B2 Back To The Scene Of The Bass (Remix Version)
B3 Back To The Scene Of The Bass (Remix Instrumental)
Here’s another quick drop to go with the Terminator X piece from yesterday. Sorry that there’s some crackles and pops on this one but it’s not terrible, just a little worn.
Enjoy the video in HQ while downloading:

Terminator X Speaks With His Hands

Tuesday, March 30th, 2010

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

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

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

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

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

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

Track listing:

1. “Vendetta…The Big Getback”

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

3. “Homey Don’t Play Dat” (with Bonnie ‘N’ Clyde]

4. “Juvenile Delinquintz” (with Juvenile Delinquentz]

5. “The Blues” (with Andreas 13)

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

7. “Can’t Take My Style”

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

9. “DJ Is The Selector” (with Dubmaster)

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

11. “No Further” (with Section 8)

12. “High Priest Of Turbulence”

13. “Ain’t Got Nuttin'” (with The Chief Groovy Loo)


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

Yeaaaaa boiii–too much? Alright. But enjoy!


—Teddy C.D.

The Source: February 1991 issue featuring EPMD

Friday, February 5th, 2010

This issue is another T.R.O.Y. blog exclusive and is courtesy of philaflava forum member Pradadon from NYC. Please send him a ‘Thank You’ in the comment section.

Imagine. The year is 1990. Pre-breakup EPMD is still together. They have two hit albums under their belt and now they’re signed to Def Jam when Def Jam is still Def Jam. LL had just dropped a classic album (Mama Said Knock You Out) and he wanted to appear on EPMD’s Def Jam debut (correct me if I’m wrong). And to top it off, some new artist named Redman, comes through and completely steals the show. I think Verge said it first but next to Big L’s debut on Lord Finesse’s ‘Yes You May’ remix, Redman’s debut on that album is probably the best new artist debut that I’ve ever heard. So it’s safe to say, I was amped when I bought that Business As Usual tape and it stands as one of my all time best ‘pump up the volume while I play video games’ albums. Something about that album has an upgraded, more polished but still funky and grimy sound that the first two albums lacked and it has hit after hit with ‘Manslaughter’, ‘Mr. Bozack’ and ‘Hardcore’ being my favorites. Anyway, I never got the chance to read this issue until Pradadon sent it to my house. Way back in ’91, I was too young, too broke, and too stressed the hell out in my freshman year of college to try and buy every Source issue at the record store. So this one and the issue in the pic below are the two that escaped my grasp at the time. If anyone has the issue March/April 1991 issue below, then please contact me ASAP.

Source February 1991 issue

If you’re looking for something else, then head on over to THIMK.

And don’t forget, the pw = thimk.

~Vincent Lopez~

De La Soul – What Yo Life Can Truly Be

Saturday, November 29th, 2008

De La Soul have released many compilations with remixes & rare tracks. But one track I never see is “What Yo Life Can Truly Be”, a posse cut featuring A Tribe Called Quest and Dres of Black Sheep. It was featured on the single release of “A Roller Skating Jam Named Saturday.” This is when the Native Tongues were “Doin’ THEIR Own Dang”.

Here’s the track off the CD Single

Divshare is down, Download in the meantime

–Thomas V