Wednesday, August 31, 2005

Nujabes - Metaphorical Music

Nujabes
"Blessing It (Remix) feat. Substantial and Pase Rock" from Metaphorical Music (2003, Hyde Out Productions)

"Horn in the Middle" from Metaphorical Music (2003, Hyde Out Productions)

Metaphorical Music: the melodic full length debut of Japanese born Hip Hop producer Nujabes. The soulful, rhythmic, often jazz-based style exerted through Nujabes' music has made this album a Diggin’ favorite since its release in 2003.

The moment I popped in this gem I was sold. The first track, "Blessing It (Remix)", is a reflection of Hip Hop’s true spirit from self-proclaimed "Hip Hop apostles" Substantial (QN5 Extended F@mm member) and Pase Rock (of Five Deez fame). As a pair, Substantial and Pase Rock lead you on a trek through their thoughts on Hip Hop culture and their promise to stay “on point like the pens we right with” through conscious, thought provoking lyricism. Nujabes "stays blessin’ it" himself via a soothing, saxaphone laced instrumental masterpiece.

Next on deck is a jazzy, electronic fused instrumental entitled "Horn in the Middle". Man am I a sucker for brasswind, this track reminds me why. Nujabes brings the heat with an addictive horn loop you won’t soon forget. The track is broken up with somewhat unintelligible speaking and electronica inspired breakdowns, then wraps up with a solid drum solo. Aspiring Fruity Loops producers, take notes. I know you’re out there.

The album continues on as a relaxing, part instrumental, part lyrical affair. Guest spots include Cise Star from CYNE, Uyama Hiroto, Shing02 and the whole Five Deez crew. Do yourself a favor and pick this one up, I promise you won’t regret it. You’ll most likely have to import it (yeah, more imports!). An easy place to do so would be HMV Japan.

From his beginnings as the label head of the highly lauded Japanese Hip Hop imprint, Hyde Out Productions, to his current success as co-creator of the soundtrack to Japan’s animated television series "Samurai Champloo", Nujabes is an amazing producer that demands your listening attention. Until next time, keep diggin' ya'll.

Saturday, August 27, 2005

Dave Dub: On to the West

Dave Dub (photo by Marco Romano)
Peanut Butter Wolf - "Necromancin' feat. Dave Dub" from My Vinyl Weighs a Ton (1999, Stones Throw Records)
Dave Dub - "On to the West" from Programmed D (2005, Grand Good)

The man known for killing the lovers and destroying the idols, lounging with the executives of California’s Bay Area, and jotting down notes from the cliff is set to discharge havoc on the masses with his “Programmed D” scheduled for release September 06, 2005. The Baron, Dave Dub, is a controversial figure in the world of Hip Hop and rightfully so. We were forewarned about his feelings of interviews and what types of questions to ask. So, we gave thought to our questions before we spoke.


Diggin’ Music: Just to get the record straight…some say that Dave is still located in the Bay, some say he is getting jiggy in Florida, and others say that he is throwing house parties for Castro in Havana; where on the atlas is Dave Dub operating from today?

Dave Dub: Currently, I'm operating out of San Jose California. The Ze', San Hopeless or whatever one chooses to call the turf of sharks that seek prey on dry land. Fidel is anxious to get me back out to Cuba though. We had a ball when I was out there last...and Florida, well let's just say that I came across some incriminating photos of Jed Bush when I was out there, they caught wind so I had to raise up.

DM: OK Dave, how do you find “interviews” and, in general, journalism in Hip Hop today? Has your opinion changed from your past beliefs or been influenced in any way recently?

DD: Well, I remember the first issue of The Source when it originally dropped. I've seen the importance of Hip Hop journalism transition from being really informative to lackluster attempts to promote wack acts. The only vicious journalism nowadays worth tuning into is usually online. That's what's beautiful about the whole journalistic realm. The alternatives. There's still a couple mags that I pick up on occasion. Fuck 'em all though, cuz none of those mags ever cover me or the fools I'm affiliated with. We're too out there I hope.

DM: Do you feel like music could exist without the politics of the business?

DD: Why would it want to? The corruption, dishonesty, disloyalty, death, disease, payola, bitches, snakes, con men, hustlers and such. It's great. It's a microcosm of America in its purest form. I love it. And it exists on both, the indy and corporate level of the game. I hope it never changes. I love the current state of the culture. The music by itself would level shit down to strictly talent and artistry. Who the fuck would want that?

DM: You have been a noticeable force of Bay Area rap for well over 10 years now, and that’s longer than some rappers’ career, have you achieved everything you wanted to do with your music or are there elements that you have yet to implement in your sound?

DD: When I first started rhyming in '88, my goal was to hear my voice on a 12'' record. That's it. I did that. Everything else was just for kicks. I take my craft very seriously, but unfortunately, I was never into selling myself. My career has probably suffered as a result. I do what I do cuz I have to. Sometimes I wish I could quit but I can't. It's like, my life is an immune system and Hip Hop is full blown AIDS. It's unrelenting, and it has taken my life. I guess that's why I'm so sick. There's still hella shit I'm interested in exploring style wise and sound wise, but I don't know what yet. Actually, I know exactly what I'm on the verge of doing...stay tuned.

DM: What was your first song and what did it speak about?

DD: "I Go For Mine". It was a battle rap I recorded through some headphones into a tape deck. It was one of those contraptions with the turntable attached to the tape deck. This was in 1989. Me, my cousin Mike and the homie Keno had a group called Big Mac Productions, and they kicked me out or some shit, so I dissed those fools. I rhymed over an instrumental for Shaft. It was strictly fun shit. I came for those fools though...

DM: Would you ever do an R&B song? Something a la Murder Inc.? It’s murdaaah!

DD: Man, I've got a whole pop album I'm sitting on. It's gonna be a sonic mind fuck. It's gonna be like Johnny "Guitar" Watson meets Michael Jackson when "Thriller" was manhandling the charts.

DM: But, seriously though, your music is raw! It’s a sound that, shall we say, is exclusive to that San Jose area. How did your style form and what influences did you draw from prior to doing your first song?

DD: When I was a kid, I was influenced by all types of shit. Musically, soul and Hip Hop. As I got older my tastes became a hybrid of soul, punk, funk, jazz and reggae. Basically, weird, unorthodox, unrecognizable shit. Especially since Hip Hop embodies everything.

DM: It’s almost impossible to listen to Dave Dub and not ask how Uncle Sam helped shape your savagery blunted raps? (Respect to Mr. Aeks)

DD: Well it's very simple. I'm a fuckin' commie parading as a capitalist! Nah, seriously I love this country. I just hate most of the lames in it and the lames that make up the governing body.

DM: Those of our readers checking out this interview right now are most likely already aware of the things you’ve put out in the past; from those early EIM days and Underbomber Clique, to the more recent SubContents material. Those that don’t know you, fuck ‘em! What projects are you working on today and what are we to expect in the near future?

DD: Man, I was never a part of none of that shit. I'm a big fan of all those groups mentioned though. As far as now, there's hella projects cooking. The "Stalin and Lenin" album with me and Jihad from Third Sight. The "Fucking Mutants" album with me and Megabusive. The Dub Brothers album "Bad Luck and Bad Bitches", a collaboration between me and Young Joseph aka Joe Dub. The Epidemic album with comrades Grunge Toefu and Kaoe Device. Those are just a few projects, not to mention the "Ligaments For Amputees" twelve inch. That's me and my folks Ro pushing boundries. Release dates? Who knows...

DM: Since early 2004 there was buzz about the album entitled “That, Which Don’t Bleed”. It was extremely anticipated by your fans. How did “Programmed D”, out of left field, come about before this? Are any of songs recorded for “That, Which Don’t Bleed” on “Programmed D”.

DD: Yeah, "Programmed D" is actually "That, Which Don't Bleed". But that was initially the first concept. I dropped a 12" called "Upgraded Text", with my folks the Architect some time back. And that was technically the single for "Programmed D". " The album is produced by Tapemastah Steph, Ro, Clishe' and Megabusive. It's a compilement of a bunch of nutty shit I've been reconfiguring on and off for the last couple of years.

DM: This album is strictly indie, will you ever do a major label release after the demise of 75ark? How did SubContents end up with 3 different versions of the album “Notes From the Cliff”? Please, explain.

DD: The whole 75 Ark thing was fucked. "Notes From the Cliff" was a classic album. When the label folded, the album kinda sat in limbo and a couple of different people tried to put it out. Hence, the different covers and rearranged tracklistings. Nowadays I'm really deadset on getting my label, Isolated Wax, back on its feet. Especially since with this indie, underground shit, fools call you to tell you lies and the business side is crooked. No different than corporate shit really...

DM: You’ve worked with a sleuth of legendary beatcrafters in the past, including Peanut Butter Wolf, The Architect, Fanatik and Tapemastah Steph. With such a vast spectrum of production each of them brought a unique sound to your music and it’s possible that if somebody liked tracks you did with one producer they may not be feeling tracks you did with another. This is true for any artist-fan relationship. How do you feel about this?

DD: I feel like each producer a rhymer builds with, will pull out different styles and subjects from him or her. I spit usually according to what the beat says to me. So I feel like fans are definitely gonna get a vast array of songs from any artist that works with hella producers. Some of it fans might dig, other shit they'll wish never existed; including the artist.

DM: Any valuable advice you might have collected over the years for aspiring MC's out there?

DD: Stay away from fake, 6 faced people, style the way you want to, don't do hard drugs and get all the pussy, money and spirituality that you can...

DM: Dave, you’re a busy man and your time’s highly appreciated. Please forgive the long-winded questions and thanks again. Do you have any last words, shouts, or F.U.’s?

DD: Yeah, fuck all you faggots that front. Dave Dub and the Sutter Cain Gang don't even exist.


Dave Dub’s “Programmed D” hits stores September 06, 2005 and you can pick up your copy at Access Hip Hop.

Thursday, August 04, 2005

Chris Craft's Aljera Music

Aljera Music - Alexandria, Virginia.
Chris Craft - "Clear One feat. John Robinson and DJ Rhettmatic" from Clear One 7" (2005, Aljera Music)

Blood Diamonds (Chris Craft and B.I.) - "Pineapples" from unreleased (2005, Aljera Music)



We recently had the opportunity to conduct an interview with Chris Craft, CEO of Shaman Work Recordings and creator of a brand new Hip Hop label, Aljera Music.

Diggin' Music: For those not in the know, introduce yourself. Who is Chris Craft both musically and business wise?

Chris Craft: Peace all… The name is Chris Craft… A preppy black dude with a lot to offer… Just kidding… Well let me start with business wise because that’s honestly my main focus for the time being… I’m CEO of the record label - Shaman Work Recordings and the founder of a second record label - Aljera Music… I’ve dabbled in some things in the past like AlphaBeats.com and BeatBattle.com but I’ve found some great stability in running the labels… I’m not giving up on my past ventures… I’m going to bring them back when I have more time to give some focus to them and when Shaman Work is clicking on all cylinders.

Now let me touch on the music side of things… I pretty much started to make beats at around age 14 or 15 back in Houston, TX (my birthplace and hometown ‘til ‘97) … And making beats pretty much carried me into the formation of Divine Mind… A crew made up of friends while I was at college at Morehouse in Atlanta… I rhymed a little bit but my true skill is in the beats… Not many people know because the business side of things takes up so much of my time… But you’ll be hearing from me and my MPC 4000 a lot more in the near future folks… But everyone should go find some of the old Divine Mind stuff and some of my more recent stuff with DOOM and John Robinson to hear my sound… It’s REALLY all over the place… But I got some things planned that I’m excited about… I can tell you all that Vinia Mojica is really into a raw track that I just hit her with… So just stay on the lookout.

DM: What's the story behind Aljera Music? You're already the founder of an upstart indy label, Shaman Work Recordings. What posessed you to begin a brand new offshoot label as opposed to continuing to release your music on a single label?

CC: Aljera is really personal… The name of the label is a combination of parents’ names – Albert L. Craft and Jeraldine Beavers… They’ve both passed away within the last two years and I owe my life to God and my parents… My parents sacrificed so much for me… So this and other things I have planned in their names are my dedications to them… But don’t get it twisted… Aljera and Shaman Work are very much related… Shaman Work is the “parent company”. Aljera is just a creative outlet for my personal music… That’s all.

DM: The first Aljera Music release, the Clear One 7" is the first of seven releases in the Crafted Music series. What does the future hold for this series? Is anything planned as of now that you can reveal?

CC: Well I have a track done with Aceyalone that’s super… Maybe I should put that on a seven-inch for part two huh… But yeah “Clear One” is special… I came with the idea of basing a song around the number “one” and J.R. aka Sci just ran with it and Rhettmatic brought it on the ones and twos… I have a ton of fun releases planned for Aljera.

DM: “Pineapples” is an amazing track in my opinion. How did you hook up with B.I.?

CC: I’ve known B for quite some time… Met him through one of my old music buddies Trice… B is the young gun… I swear that his future includes being one of the mainstream’s top sought lyricists… He has what it takes and I believe that… “Pineapples” is a rough little mixtape song that we did up… After I heard it for the first time… I just had to leak it on the Aljera website.

DM: Is a full length Blood Diamonds album planned? When can we expect a release from you two?

CC: I would love to get an album out late next year for Blood Diamonds… or early 2007… Seriously… I would like to see B.I. drop a solo album before the Blood Diamonds album though… So in the meantime expect more 12”s and mixtapes from Blood Diamonds… We’re just in the process of getting the buzz where it needs to be.

DM: As I said earlier, you're the founder of Shaman Work Recordings. Recently you signed none other than C.L. Smooth. How did this go down? When can we expect a C.L. Smooth release? Fill us in.

CC: The C.L. signing was a move we had to make… Before we even signed C.L. … I was talking to my business partner, Lamar Gilliam, about picking up an artist for the roster… We wanted a legend in the game; but at the same time, we wanted someone that still “had it” with a new focus … C.L. is ferocious right now. He’s spitting harder than ever and I love it. The single “Warm Outside” b/w “I Can’t Help it” drops on August 5th, ’05 and you can expect a mix-cd hitting the streets in September… After that… An EP entitled ‘American Me’ in February / March of ’06 and the full-length will follow the EP not too far after.. tentatively entitled ‘Silver and Lead’.

DM: Is there any more news on the Shaman Work side of things that you'd like to speak on?

CC: Ta’Raach (Lacks) is in the studio recording… Scienz of Life is in the studio… We’re finishing up our ‘Beatology Vol. 2’ instrumental release with producers like Count Bass D, Locsmif, S1, Fat Jack, and others… Of course you all have to go out and cop our latest two releases – ‘Special Herbs Vol. 9+0’ and ‘The Family Files Vol. 2’ (dropping on August 9, ’05) … 2006 is going to be a special year indeed… And we just might hit ya’ll with news of another “blockbuster” artist signing before the year is up… Who knows?

DM: Thanks for your time Chris. Any last comments or shoutouts?

CC: Just support good music and good people in general… We’ve seen so much propping up of negative things… Let’s all try our best to give light to the positive spirits, forces, beings, thoughts, ideas, people, places, and things around us. Peace.


To purchase Aljera Music and Shaman Work Recordings releases visit EssDub.com. Support the music y'all, peace.

Monday, August 01, 2005

Florida: Hip Hop's Best Kept Secret? [Part 2 - Swamburger]

Swamburger
Swamburger - "Sun Vibes feat. Zano and Deuce Logic" from The Roots of Kin (2003, Eighth Dimension Records)
Descry / Swamburger - "Help Me Up" from untitled demo (2005, unknown)

Orlando resident Swamburger enjoyed critical acclaim early in his Hip Hop career, having his music featured on MTV (Real World, Road Rules, etc.) and on the soundtracks of Electronic Arts' hit football video games Madden NFL 2002 and 2003. Currently he's a member of the Sol.iLLaquists of Sound, who are fresh off a nationwide tour with Rhode Island political powerhouse Sage Francis. Look out for a new Sol.iLLaquists of Sound full length entitled "Explorations of Sol.itude" in late 2005 on Nonsense Records and a yet to be titled collaboration with up and coming Bay Area producer Descry.

To learn more about Swamburger, visit the Sol.iLLaquists of Sound website (under construction). A special thanks to Descry for supplying an early demo for a future Descry/Swamburger collaboration. Check out his website here (also currently under construction).