et hop! supplements

i will not post for a couple of days – a good occasion for you dear reader, to take deep breath – and maybe get back to some older posts, read my avalanches of words, might even comment on something and discover the many pearls hidden in some older posts.

i take this post as an occasion to throw up some stuff i somehow wanted to post in the et hop! series, but did in effect not post. until now. so you first might want to take a look back. so i have a free mind to write the final et hop!-posts that are still to come…

so what do we still have?

first let’s get to some oldschool hip hop / electro, new york vs. l.a. beats – a mix of some of the most important tracks (some i mentioned in earlier posts) at the time that came out on vinyl on the streetsound label. for the tracklist you can go here. and for the music go here. since i did not digitize it: thanks to the original uploader!

so we are in l.a. – so i can post now dr. dre‘s compton swap meet tape no.1 – yeah, he did mix tapes back in the days. they started to pop up on the net lately, called either compton swap meet tapes or roadium (swap meet) tapes – i got number one and loaded it up here. there are a couple more floating around the www… but you’ll have to source them yourself, i’m afraid. well – one of them from 1986 is up on mic check – i did not listen to it, yet – but the blog is in any case worth a visit!

let’s stay in the 80’s but change the coast again: i found in my boxes an early example of miami bass from the then quite known gucci crew II, truz ‘n’ vogues. maybe not the best miami bass record – but it certainly gives you a good idea. to get the four mixes (if you don’t like the lyrics, there is an instrumental version), go here. and if somebody could finally tell me what truz ‘n’ vogues means…?

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something newer? then i have something very fresh: the actual mix from rob hall (yes, the one from skam records), called chillin’ with the wrong b boy. not your usual hip hop mix – well, get it at his website and have a listen. definitly recommended.

and so we are already in the u.k.. since i just brushed over “real” hip hop in the u.k. (well, my point was something else), i thought it might be nice to give you an example of early english hip hop: hijack. quite known at the time, i remember they had some problems with their record company not wanting them to publish them in the u.s. – their accents were too british…whatever. if you want to have a listen how they sounded, here a short concert of theirs from the jazzfestival montreux in 1990.

as a supplement to my post about hip hop in england i can point you in the direction of some more…eeer…japanese hip hop (yeah, it is puzzling, i know). more precise: dj krush. here you’ll find a nice site with some sets of his and even some videos to have a look at his stunning technique.

relating to that same post i decided to also rip for your pleasure something from the label ninja tune. something very good, indeed. as with many ninja tunes releases, also this ones lets you think of movies: of not really scary scary movies, on one track you have some spaghetti western and then you have a lot of blaxploitation – aaah, this gnarling bass! it is a very pleasant, very musical, very wicked aural journey. so let me recommend something wicked this way comes by the herbaliser. ripped from vinyl@224 in 4 mp3-files: for each side one file… and don’t worry: the tracklist is included. get it here.

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then i would like to point you in the direction of the france & hip hop post. more precise: to the comments section. besides bragging on that lethal skillz left a comment on my blog you will also find some links he gave for everybody that is interested in some more lebanese hip hop. und @9 is calling out to everybody knowing more about arab hip hop to share her / his knowledge.

so – to conclude this mixed bag of stuff i propose you now something different and rather unrelated to my previous posts. but then it is a record i quite enjoy and that @9 has not yet posted (yep, i checked this time), but something he most probably knows. so how about some swiss hip hop? lpr (that stands for les poétes rapides) hail from berne and made an entertaining record with a charming touch of silliness. not much i know about them (but then i do not follow the swiss hip hop scene closely) – it seems they are at the moment rather inactive. at least their website hasn’t been updated for quite a while. definitly fun, you can get their record bäredräck here.

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to give you an idea of their sound, here the rather cool video to their single extro:

pfuuuh – so that’s all for now, folks. enjoy – and see you around…

2 Responses to “et hop! supplements”

  1. DJ Lethal Skillz Says:

    Peace from 961!
    Here’s Dj Lethal Skillz, i bumped intro your blog by mistake. Respekt on this blog u cover most of the music im into while reading i noticed you would like more info on our local Lebanese Hiphop scene.

    I will post some links below that would help:
    ============================

    http://www.djlethalskillz.com/ (Official Website)
    http://www.myspace.com/anewworlddisorder (Arabic Hiphop Compilation Album Page)
    http://www.myspace.com/lethalskillz
    http://www.myspace.com/djlethalskillz (Production Page)
    http://www.myspace.com/961underground (Lebanese Hiphop Documenary)
    http://www.youtube.com/djlethalskillz (Videos)

    Keep doing your thing and writing to this blog, Respekt!

    Peace to Earth

    Dj Lethal Skillz

  2. sunbathinglizard Says:

    big thanks to dj lethal skillz!

    and big thanks to r for pointing me to the following article about egyptian hip hop (source: http://weekly.ahram.org.eg/2006/786/cu4.htm):

    Hip hop on the Nile
    There are no limits to the cultural empire of rap. Pierre Loza investigates the Egyptian scene

    Hip hop is not simply a musical genre; it is a whole culture, including clothing, graffiti art, street slang and break dancing. Hip hop guru Kurtis Blow differentiates between rap and Hip Hop, defining rap as “talking in rhyme to the rhythm of a beat”, while hip hop is a “culture, a way of life for a society of people who identify, love and cherish rap, break dancing, DJing and graffiti”. Blow explains hip hop’s rise to global prominence as thanks to a “generation that refused to be silenced by urban poverty, a local phenomenon fuelled with so much passion and truth, it could not help but reach the entire world.”

    Today, not even Egypt lies beyond the reach of hip hop. The culture has developed a presence here, reflected in a new night life and the emergence of local rap talent. Although today there are dozens of rappers, both famous and obscure, many would argue that the phenomenon actually began from an ironing man-turned-singer named Shaaban Abdel-Rehim. Shaaban first rose to stardom with the controversial hit “I hate Israel”, which caught the attention of the international media. If there is anything that qualifies Shaaban as a by-product of hip hop, it’s the fact that he represents the common man. His language reflects the social background of the majority of the Egyptian masses. With witty street lyrics that are anything but elitist, Shaaban brought ghetto culture to the mainstream.

    Indeed, the only hip hop staple Shaaban lacks is the fact that he does not write his own lyrics. The words that put him on the map were in fact composed by school teacher Islam Khalil. Yet an essential part of a rapper’s identity is in his or her ability to write creative lyrics, and present them in a raw and innovative form. For this reason, rappers go far beyond defining themselves as simply performers: they are street scholars, or poets with a vision.

    Shaaban remains very present on the Arab music scene, especially after his latest collaboration with the Kuwaiti pop group Miami. The video clip features Shaaban in a boxing ring, sparring with one of the members of Miami as they poke fun at each other using humorous lyrics. The scene is one more take on the tradition of MC battles — when rappers duel with one another by showing off their lyrical skills, in an attempt to dominate and undermine their opponent poetically, rather than physically.

    The first local rap albums that came out in the early 1990s were mostly doomed to failure. In the wake of the first wave’s demise, a more consumer-friendly Egyptian rap act developed, which kept more closely in line with acceptable middle class norms. The first Egyptian hip hop group that has succeeded in delivering market hits with professional beats and good promotion is MTM. The group’s name stands for the first initial of each member’s rap name; Mikey, Taki, and Mado. The Alexandria trio have given rap fans an authentic taste of modern hip hop with an Egyptian twist. Using Arabic slang terms that sound more middle class than street, MTM has recently completed their second album, “My phone is ringing”. The group’s lyrics bring a passionately positive style to rap that criticises and sometimes pokes fun at social problems.

    The song “A word I never said”, written by Takki and performed by Mikey, is a heartfelt account of his friend’s fall into addiction and the guilt he felt for not having tried harder to get him to quit. Taking its inspiration from daily life, their work gives a vividly realistic picture of youth culture. “When in the song I talked about being in the army doing my national service, I really was in the army at the Military University. And it’s true that Mikey gets hassled by female fans, and that creates problem for him, cause he has a girlfriend whom he loves,” said Mado. Mikey, who was portrayed in the video as a ladies’ man, seems refreshingly more shy and humble in real life. “I wish that we could make it internationally some day,” he says, when asked about his ambitions. “Maybe we could make it onto MTV, and even have our own production company.”

    Still, it’s not clear whether hip hop is really set to catch on in Egypt. A society that traditionally relates to music through a melodious singing voice may not easily take to the genre’s dominance by its down-to-earth lyrics. Record sales, however, give some reason to be optimistic, and as Taki puts it, “people are becoming more open to the music.”

    Omar and his fellow band members reject the idea that hip hop is foreign to Egypt’s cultural identity. An 18-year-old American University in Cairo (AUC) student, Egyptian rapper Omar Shami, better known as “poetic justice”, is part of the hip hop group Mad Skillz Empire (MSE). “In pre- Islamic Arabic poetry, poets would use rhyming to criticise or praise one another,” says Shami. “If this isn’t an early version of an MC battle, then I don’t know what is.” MSE rap in English and are in the process of signing a record deal with an independent label in the UK. Their oldest member, 24-year-old Karim Adil Eissa, believes it is important to rap in English so as to counter a certain cultural stigma. “We don’t have any Arab rappers in the West,” Eissa explains. “We need a rap hero who will present the true identity of Arabs abroad, and we hope we can do that.” The third member of the band is 17-year-old Dane Odekirk, a white rapper born in California. Odekirk hates to confine rap within rigid lines of race, culture, or social standing.

    “Rap is about self-expression,” he argues. “My family is a big part of my life, so I tend to rap a lot about them.”

    Still, even English can be a cultural barrier of a kind. The group, which wants to be heard in Egypt too, is currently planning to transform itself by incorporating Arabic lyrics into their repertoire.

    Caption: MTM group

    C a p t i o n 2: MTM group

    © Copyright Al-Ahram Weekly. All rights reserved

    Al-Ahram Weekly Online : Located at: http://weekly.ahram.org.eg/2004/723/fe2.htm

    and then there is from the same source an interesting review of an american – egyptian workshop – i would love to have been there, it sounds very exciting. link: http://weekly.ahram.org.eg/2006/786/cu4.htm

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