Posts Tagged ‘the juggaknots’

Single Series: Company Flow

Tuesday, December 14th, 2010

Company Flow dropped their debut single in 1994 on Libra Records. The year after that they dropped EP, Funcrucher on Official Recordings which was followed with two more singles also dropped on Official Recordings, Infokill and Eight Steps To Perfection. Soon after they signed to Rawkus and in 1997 dropped their full-lengh debut Funcrusher Plus who instantly became widely recognized as an underground classic. The album was followed with two more singles, Blind and Fire In Which You Burn (recorded under the name Indelible MC’s [Company Flow, Juggaknots & J-Treds]). In 1998 they released one more single, End To End Burners, also on Rawkus.

All of those singles mentioned above you can download in the following post.


Juvenile Technique VLS (1994)

01. Juvenile Technique (Radio Edit)
02. Juvenile Technique (Instrumental)
03. Juvenile Technique (LP Version)
04. Juvenile Technique (Essentials Mix)

–>Download Juvenile Technique VLS<–

More singles after the break!


CM Famalam Freestyles 1998-2002 (400 MB)

Friday, August 14th, 2009

Today, we’re presenting you with 400 MB worth of freestyles from Bobbito’s CM Famalam Radio Show (1998-2002). Most of the individual mp3s are lengthy sessions. Highlights include segments from J-Live, Atmosphere, Sir Menelik, Guru, MF Doom, Camp Lo, All Natural, Juggaknots, Non Phixion, Necro, Yak Ballz, Common Sense, etc. I acquired this stuff in a trade back in 2003.

Volume 1

Volume 2

Volume 3

Volume 4

All tracks are untitled. It wasn’t worth the time for me to do playlists because I’m honestly not feeling the vast majority of these freestyle sessions, but I know that a lot of people love this stuff.



All Natural

Nes of Dirty Waters fame also posted a collection of CM Famalam highlights from 2001

–Roy Johnson

J-Treds – Freestyle Spotlight

Tuesday, June 9th, 2009

I’ve always thought of J-Treds as one of the most underrated MCs from the late 90s NY hip hop scene. Not only did he rip shit on his solo releases and all of the Indelibles tracks, but he also blessed a good number of radio shows and mixtape DJs with top notch pre-written, improvisational freestyles.

I’ve assembled nine of his dopest radio show/mixtape appearances from the late 90s/early 00s. If you have a freestyle that isn’t listed here, please hit us up in the comments section. Also, if anyone has a picture of him, post a link. I have absolutely no idea what dude looks like, even though I probably have just about everything in his known discography.

First up, a 15 minute Night Train freestyle session. J simply murders this shit:

Night Train Freestyle Session

Next, a 7 minute freestyle session with the Juggaknots:

Stretch & Bobbito Freestyle Session

Some more Stretch & Bobbito segments:

J-Treds & Company Flow – Stretch & Bobbito Freestyle #1 (5 Minutes)

J-Treds & Company Flow – Stretch & Bobbito Freestyle #2

J-Treds – Stretch & Bobbito Freestyle

Here’s some miscellaneous shit that came from freestyle sessions. I isolated the J-Treds segments.

Eddie Ill & DL Freestyle #1

Eddie Ill & DL Freestyle #2

Lyricist Lounge Freestyle

Unknown & Mek Freestyle

–Roy Johnson

iLLSTYLE LIVE! ‘Music from the Elektra Entertainment’ (CD 1995)

Wednesday, April 8th, 2009

Here is the super rare promo cd version of “iLLSTYLE LIVE!” from 1995. Some of you probably already have the vinyl rip but guess what? I had it too, it’s time to forget about the cracks and pops and upgrade to the digital version.

The IllStyle Live LP was a live recording promoting all the rap acts from Elektra Records & EastWest Records. They had artists like Ol’ Dirty Bastard, Das EFX, Supernatural, The Juggaknots, 8-Off, … As you might already know, most of the artists were left with shelved albums. Luckily, a few of these albums leaked throughout the years.

While all the performances are on point, there isn’t anything close to the Ol’ Dirty session. ODB mentions how he didn’t want to come to the show on some classic funny ish. He then rocks a freestyle with Buddha Monk and 60 Second Assassin then starts to talk again and finally performs Brooklyn Zoo & Shimmy Shimmy Ya. Pete Rock is also the DJ of the night.

Ego Trip included iLLSTYLE LIVE! on their “Official All-The-Way-Live Albums” list. It still remains one of the greatest live performances ever released on wax to this day!

1. Intro
2. Daddy D – Luv On A Dub
3. Omniscence – Amazin’
4. Juggaknotz – I’m Gonna Kill You
5. Lin Que – Let It Fall
6. 8-Off – Ghetto Girl
7. Deda Baby Pa – Blah Uno
8. Coz – No Place Like Tha Hood
9. Interlude
10. Supernatural – Natural Disaster
11. Das Efx – Real Hip Hop
12. Ol’ Dirty Bastard – Freestyle/ Brooklyn Zoo/ Shimmy Shimmy Ya

Ripped exclusively by dirt_dog for The T.R.O.Y. Blog


— Thomas V

Microphone Terrorists

Saturday, December 13th, 2008

In 1996, Microphone Terrorists released their first 12″ inch titled Green Paper/ Scar of Life. While there is little information about this group, “Green Paper” was produced by Randy Ousley who is now known as Vinny Idol; he now produces a lot for D-Block. “Scar of Life” was produced by Buddy Slim & Breezly Brewin of The Juggaknots. During the same year, they released their second 12″ inch titled No Food/ Hall of fame. “No Food” was also produced by Randy Ousley. NY Underground type of ish.
1.Microphone Terrorists – Green Paper
2.Microphone Terrorists – Scar of Life
3.Microphone Terrorists – No Food
4.Microphone Terrorists – Hall of Fame

Props to godmc and Ho1ogramz

–Thomas V

Juggaknots "Generally"

Wednesday, November 12th, 2008

On Public Enemy’s 1989 smash “Fight The Power” idol topplers Chuck and Flav vilify Elvis “The King” Presley and John “The Duke” Wayne as symbols of an ongoing plot to strike blackness from the historical record. The song’s lyrics suggest in unsubtle terms that the incessant valorization of white faces continues the racist work began by centuries of stamp-honored “rednecks.” The newer media are frighteningly powerful and pervasive, indeed, but also quite frail – if we follow Public Enemy’s logic we are led to believe that a pointed “fuck you” performed to a slamming beat can undo some of this racist nonsense.

Critics have long suggested that rap stands at odds with, and yet is incurably smitten by, good ol’ American popular culture (read: “white” or at least “comfortably familiar”). I am not inclined to disagree. Public Enemy’s fiery invective denounces pop culture’s propagandistic potential while making great use of it. The video sees Chuck and Flav swagger in front of a mural of Malcolm X, successfully announcing themselves as the new American heroes. In aligning themselves with icons of the ’60s and ’70s (partly depotentiated by the passage of time) a palatable revolutionary posture is created. Soon thereafter, Brand Nubian pulls the same stunt, beads and African medallions knock dookie gold chains off their pedestal, and “X” hats are ubiquitous.
“Fight The Power” gave the rap world full permission to not only satirize or subvert America’s heroes, but to mercilessly defame them. Rappers followed suit gleefully. Ice Cube’s “Gangsta Fairytale” takes the long censored genre and slaps it back to its bawdy origins while showing impressive initiative in slandering Mr. Rogers, the formerly bulletproof symbol of all things white, Protestant, positive, and milquetoast. Two Kings In A Cypher’s “Daffy Was A Black Man” is a humorous if implausible assault on the racist implications of Warner Brothers cartoons.
Such songs demonstrate a degree of sophistication and seem to encourage critical thought, or at least, a smarter, more active form of consumerism. However, they are in my opinion somewhat less intellectually honest than those which display an unabashed enthusiasm for pop iconography (early Das Efx comes to mind). Because even if Superman is a Nazi deep down … your angriest revolutionary second grader still enjoys the movies. And yet those rappers who revel in pop culture while only tackling race in the subtlest or most fleeting manner (or not at all) leave me cold. Mostly because I can remember television providing a perpetually disconcerting glimpse into race relations from age four onwards.
Enter the Juggaknots. They are probably best known for “Clear Blue Skies,” a song usually embraced as a poignant examination of inter-racial dating when it is actually a bizarre ventriloquizing stab at white racism. Its notoriety notwithstanding, “Clear Blue Skies” is a cake walk compared to “Generally,” a dissection of the racial subtext of The Dukes Of Hazzard television show (1979-1985). “Generally” differentiates itself from other rapped critiques of pop culture because it selects a difficult target, a television show replete with racially charged iconography (the good ol’ boy protagonists drive around in their Confederate flag-emblazoned car named “General Lee,” for Christ’s sake) that was somehow enthusiastically embraced by kids of all races.
Rapper Breezely Brewin’ breaks the show’s appeal down to morsels so tiny one is inclined to smack his forehead upon arriving at the same realizations as his scandalized narrator – the show was crazy fun and the toys were great! Car chases and clever wholesome lawlessness are nearly impossible to resist. The passive viewer is easily sucked in to the show’s ideological premise – that the illegal activities of “good ol’ boys” should be overlooked because naturally “they wasn’t meaning no harm.”
The brilliance of the song lies in its performance of a gradual reckoning. The narrator begins by bemoaning the current state of children’s entertainment. During his digression – and Brewin’s rapid, nearly garbled rhyme style can sound very meandering to an untrained ear – he is reminded of his fanaticism for Dukes. He waxes rhapsodic about the protagonists’ cunning and the show’s unending excitement until he randomly stumbles upon the potentially racist implications of Uncle Jesse’s veneration of the Duke clan. The transition occurs so quickly and is performed so smoothly the listener is tricked into believing he is directly participating in Brewin’s “conversation piece,” moving along at the exact speed of thought.
Of course, Brewin’s narrator is actually omniscient but his poetic techniques hasten the delivery of several telling observations apart from the obvious truth that the modern media can be quite a dastardly trickster. Brewin’ implicates himself and by extension the listener in a web of deceitful racism. Before revealing the ugly truth the narrator implores the listener to “stop fronting” because “you had the toys,” The active consumer is reduced to passive enabler of racism; seemingly rebellious movements and heartfelt affinities seem very tainted after listening to “Generally.” This is a much riskier move than denouncing a figure like John Wayne who was far removed from anyone’s pedestal of cool by 1989.
“Generally” is a mind fuck similar to the one it exposes, but the sophistry can be forgiven because the discerning listener (can the Juggaknots attract any other kind?) is rewarded the jewel of a song that is reflexively critical. The tendencies of the so-called “hip-hop generation” — to valorize lawlessness while zealously seeking the affirmation and allegiance of a mob (“represent for the clan”) and slavishly revering the symbols of past and current oppression — are placed in the crosshairs alongside America’s racist hypocrisies. In locating a most hideous truth underneath our superficial wistfulness, Brewin’ skewers America’s peculiar form of amnesia and pathologically romanticized view of its past. But like Chuck and Flav, he also provides us with a glimmer of hope in the final verse, a charged realization of anger at being duped and an assertion of a new frame of mind.
All in under four minutes.

The Fondle ‘Em Collection

Sunday, October 5th, 2008

1. FE001: Godfather Don & Kool Keith, The Cenubites EP

Props to all contributors that made this happen at