djblackhurricane djblackhurricane

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Representing Hip-Hop Culture  Music Enthusiast. Record Collector. Scratcher. Loop Digga. Faithful to Hip-Hop only.

Hey, the Jolly Rancher ad said it, not me........

"High Times In The Rockys" (played live)

"Puffin On A Blunt" scratch. "I Want To Get High" instrumental.

We just lost another one man......RIP to Fresh Kid Ice of the legendary Miami based group 2 Live Crew, I posted this album not too long ago too, so this is crazy. My thoughts on Fresh Kid Ice was never that expressive because he was in a group that had a certain gimmick but he did his job very well, I used to play "Dirty Nursery Rhymes" with my old homies in one of my friend's whip and his verse always made us hysterical. Damn shame, the onslaught of taking out MC's in the Hip-Hop community continues.....

They sell these at gas stations.....what's the appeal of fidget spinners??? Someone tell me....

I know how people are for reporting my posts for nudity even though back in 1970 mothafuckas didn't think it was a sin to put this picture out to purchase in record stores (for those that know the gatefold picture). But to accompany you sensitive people, I put half the picture up to accommodate your love for PC shit. Now that's out of the way, Eddie Hazel, you genius bastard you, you've done it again. Free Your Mind... And Your Ass Will Follow by the genre bending group Funkadelic comes back after their debut making a more guitar dominant and blues inspired project which is very psychedelic in nature but very dirty and the pinnacle of what black musicians were doing in the early 70's in terms of pushing boundaries. The album was supposedly recorded under the musicians being on LSD (if you listen to the title track, this is clearly true and understandable, it's....very....otherworldly...) but as for the rest of the album, it's a coin toss, I was born 24 years after this album so my guess is up a rat's ass to be fact checking. LSD/Acid was a prominent drug in the early 70's in the music industry so you know George and the crew were getting fucked up and recording their vocals looking at mirages and bending colors, being an informed speculator but enough about that. The guitar work by Eddie Hazel is so blues/Rock influenced which derives from a more funky approach on their first album, "Funky Dollar Bill" displays this perfectly. This is one of their underrated works, Eddie Hazel would deliver a legendary guitar solo that would blow everything else out the water he did a year later on (do I really have to mention it? You know what it is.) Just know he played like his momma died. In any case, my favorites are "I Want Know If It's Good To You" (that 2 minute instrumental at the end is godly) and "Friday Night, August 14th" (that drum solo at the end is played by a non human I swear). 1970 at its finest.

I was watching a video about classical architecture whether buildings or statues being torn down in order for more modernized architecture to replace what was once there. It got me thinking, why is it that preserving culture is treated so poorly and no one bats an eye to it? Okay there are certain cultures that shouldn't be kept in memory such as Nazi culture and American segregation culture because many people died or were oppressed during those respective times in their countries. Why is modernization such a necessity? (in the sense of tearing down history). It's like erasing an important memory from your mind and you would fight hard to keep that memory if you had the option. Forgive me for about to be making 2 large arguments in this post but now I ask the same for music. This certainly does not apply to all music enthusiasts and lovers but there seems to be a distaste for older music (let's make this perfectly clear, I'm talking about the people that upright disrespect it for the simple fact that it's old, try winning a debate with that argument.) yes, everything ages, everything dies, everything crumbles but should we disrespect it for its natural properties? Nothing lasts forever is what I'm trying to get at, so why do people feel the need to disrespect something that can't do anything about it? To me, it's sort of like beating up a baby that you know can't defend itself.

30 years ago on this day today, this classic was released. Quick story, the year was 2011 and that was the year I first started collecting records. My uncle was a huge vinyl collector like myself, he was born in 1955 so he knows good music when he sees it. I went to his house in 2011 in order to prepare for a family reunion that was taking place the next day and since I never see my extended family that much I didn't know anything about his house, my aunt told me many years prior that he had a massive collection of records in a room in the house and I wanted to find it. It was the size of a child's bedroom with records flooding the room out and I had to take my time carefully sorting out the records because I was digging for treasure. Sure enough, Paid In Full comes up after searching through countless 70's Funk and Disco records. My uncle doesn't listen to Hip-Hop that often but when I saw this I was taken back, apparently this record was given to him in 1987 by someone as he told me. He insisted that I download the record from his vinyl to MP3 converter (because I had an IPod around this time) but I was like no, "I'll take this off your hands Uncle." (I was becoming a collector whore in this moment). He let me have it and now it's been sitting in my crate for 6 years, absolutely for free, and the yellow label is OG press if you didn't know. (Too bad the record warped a little on my trip home from Virginia to NJ in the summertime.) I don't need to explain the significance of this record because it's a tired subject but I just wanted to share my story obtaining this record.

Staying on 90's Memphis scene, here we have an interesting character or rather an underground hero out of the Memphis area. Tommy Wright was one of the earliest MC's out of Memphis with a record along with Gangsta Pat. But there's one very annoying and derailing difference between the both of them, yo, did this guy record the beats off a car radio speaker using a voice recorder? (Same for the vocals?) Runnin 'N Gunnin came out in 1994 but it honestly sounds like it was a demo from 1987, the sound quality is so gritty and lo-fi that it makes me believe Tommy Wright was on some very low budget production that it really didn't matter what the record sounded like but rather what he had to say was way more important. I really don't know how people were okay listening to this kind of quality in music (his 1992 album is unlistenable to me, it's 10 times worse than this.) BITCHING ASIDE, what's presented here is very raw ass street rhymes and telling by Tommy Wright displaying his SSN on the cassette cover, he clearly doesn't give a gotdamn fuck, which earns him points in the boldness department. Favorite track is definitely "Still Pimpin", the beat has this 80's movie car chase scene music beat and you have a female MC, Princess Loko just ripping the fuck out the beat (damn, Memphis female MC's were nothing to fuck with, I'm telling you.) the production is all done by Tommy Wright which isn't bad but I just wished the audio didn't sound like an 8-track demo from 1965 (fuck consistency.) Only released on Cassette and never reissued to my knowledge so.....good luck finding this Memphis relic.

Searching through the Memphis Tennessee sea of rappers, I've come up on an underdog MC of the city named Gangsta Pat. I'm inclined to believe he is the first MC out of Memphis to release a record (he predates 3-6 Mafia by 3 years, coming out in 1991.) Deadly Verses released in 1995 (same as Mystic Styles) there's a clear relation of flows between Gangsta Pat and 3-6 Mafia that took place in that year. The whole double time/ triplet flow that's being raped to death by mainstream/ commercial artists in this day and age, people speculated that Gangsta Pat was the first to make the flow popular but hard evidence on this is inconclusive. However, this album is on par with Mystic Styles in my opinion, Gangsta Pat executes the Double time/triplet flow just as Lord Infamous does (I wonder if they had beef over similar styles?) telling by the album cover, yes, there's gonna be some shock value topics here such as playing around with Devil references and other non friendly subject matters but the mid 90's no matter what region really didn't care about your feelings which I deeply admire. The production on here is actually very minimal and the samples are kept minimal or otherwise unrecognizable (like Mystic Styles.) no hard hitting 808 bass either which was a 90's Memphis standard. Glad I found this guy, I encourage anyone that hasn't heard this listen to this, nevermind all the devil shit, this dude is talented to a tee.

So we all know this record has been sampled to death but man, right next to Hot Buttered Soul, this might be the best thing Isaac Hayes produced. "The Look Of Love" and "Ike's Mood" are the pillaged sampled sources of this record (The former being sampled by Irv Gotti for an artist I'm fuckin tired of seeing on my timeline.) but in any case, to me this is an essential 1970 soul record, you can clean your house to this, recommend soul music to your friends with this record, make sweaty ass love to, chill to, sample, it's a very well rounded record.

"If You're Chillin' With Your Crew, You Gotta Bounce To This" scratch. "9th Wonder (Blackitolism)" instrumental. I haven't scratched in 3 months so it's a little rusty but I'm getting my groove back (pun intended?)

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