October 1, 2000

It's Just A White Bar

        Pre-hiatus??? Yes, you read it correctly. After this joint that you're reading right now, the World Of Beats column is going on a little hiatus so that I can concentrate on some other projects that I'm working on. No, the site won't be down, I just won't be updating it for awhile (I know, I know... I barely ever update it as it is!) I'll explain more fully in the Soul Notes section later in this column. But before we go into hibernation for a minute, I want y'all to check this e-mail I got the other night from my man Eothen Alapatt, who's now chillin' out in LA and doin' his thing at Stones Throw Recordings. I think you'll find it interesting...

Yo Phill!

You'll never believe this... I went into the studio today- not to record anyone on Stones Throw. Rather, I went to the Capitol Tower in Hollywood and told the guard at the front gate "We're here for the David Axelrod session." "Right this way," he replied, and he instructed me to park. Peanut Butter Wolf, Madlib and I (the former two drunk off of Coke and Amarettos - it was four in the afternoon) rolled into studio B. What we witnessed was fucking miraculous.

First off, I roll into the control room and see H.B. Barnum chilling in a chair. This being the cat that has worked with Axelrod for years, and is an arranger of the highest caliber. And he's talking to Willie Tee! Now I interviewed Willie on my Origins of Hip Hop show when I lived in Nashville 'cause of the work he did with the Gaturs in New Orleans, but he also cut a little-known record with Axelrod. He was in town running post production on a gospel gig and he had called H.B. to play golf. H.B. told him he was recording (H.B. is producing the new Axelrod record) and Willie rolled to the studio. It's only then that he finds out that it's an Axelrod date. You can imagine how hot this is.

So Willie sees me and bugs out; he had no idea that I had moved to L.A.. I introduce myself to H.B. Barnum, and basically say "I'm worthless in your presence, but I'm happy to be here."

By this point B-Plus, photographer extraordinaire, has told Axelrod, who was in the recording room, that I'm here. In through the door walks this fucking legend, white frizzy hair, big sunglasses, an oversized long sleeved shirt and a pair of faded jeans. "Which one of you motherfuckers is Eothen?" he asks. I hold my hand up. He rolls over, gives me a hug and says "Why are you all over six feet tall?! What the fuck is wrong with all of you? Everyone here is over six feet tall!" I expected nothing less.

Anyway, this all transpired during a break in the session. The recording room was empty, but there were oboes, cellos, upright basses and the like strewn behind dampers on one side, and all the horns and woodwinds on the other. As we're upstairs, talking with Axelrod as he eats with his wife Terri, in walks Ernie Watts. Madlib is the first to notice, and he calls me over to the window overlooking the room. We bug out as Watts kills a series of scales as a warm up. He is such a giant in the LA session scene, and played sax on all the early Axe records.

The session musicians start piling in. All of them are fifty-five plus - some look like they're over seventy. All are legends, most played on all of Axe's records. Incredible. Upstairs, Madlib rolls a blunt while Axe talks about Sly Stone. Ends up Axe hung out with Sly in the late 60's when Sly moved down to LA. He's telling stories about Sly and his nearly comatose manager offering him coke from a four pound pile - candidly discussing his past is one of Axe's strong points. At one point in the story, he responds to a question by stating, "What hasn't Sly done?" (i.e. Sly has done every controlled substance known to man). Wolf, obviously a little upset that someone is sizing down one of his musical idols, chimes in "Watch it buddy, you're talking about my hero here!" Yeah, he was joking, but it didn't seem like it. Axe doesn't miss a beat, doesn't get upset or anything. He qualifies his statement ("Well, I've done every drug myself, so I should know!") and keeps stepping - much to my relief.

The session itself was almost to intense to watch. Axe had just finished composing a piece twenty minutes before he arrived in the studio. The music was transcribed into it's component parts as he finished the previous day's work. So the piece we witnessed consisted only of horns, woodwind and strings (all of the tracks with the funk backbeats were recorded the previous day). Man, seeing the sessioners blow through that piece was incredible. These people had never seen this music before, but they record it live in - one take. All fifteen of them. And they nail it. Axe, headphones cupping his ears, stands in the room with the musicians, in the center taking it all in. H.B. Barnum controls the boards and watches the scene through soundproof glass. Man, this was breathtaking.

When the recording ends, a camera crew films Axe as he walks around the studio. He's like a prize-fighter that has just beaten the fuck out of a worthy opponent. He's beaming from ear to ear, hugging and kissing the musicians he's worked with his entire musical life as they leave. Some of these men he hasn't seen in years. Some he will probably never see again. And he's talking about how he's "back home." How powerful is that! One of the greatest producers Capitol Records (and the world) has ever seen is back in his element. He basically made Capitol - he was there for the glory years, he started black music there. He was making a million a year. He's one of the reasons that the company is so strong. Somehow he got let go, but now he's back, recording beautiful music that will reach a growing audience.

During all of this, Madlib (and I and any other conscious person) are bugging out. Just tripping seeing this happen. Wait 'til you hear the music and you'll know why. You know Madlib's dad recorded music in the 1960's and 1970's. H.B. Barnum produced his records. Small indie shit, but great soul nonetheless. Anyway, B-Plus introduces Madlib to H.B. as "Otis Jackson Jr." H.B., who was playing a Yamaha Grand with Willie Tee at the time, smiles and hugs Otis. Turns out he had seen Madlib since Madlib was a baby - Madlib's dad used to take his son to the sessions. No wonder he's such a natural!

Tomorrow Madlib and I go back. We have to give Axe Madlib's new jazz workings, as Axe may arrange some of the tunes. And Lou Rawls is coming in to do vocals. I'm still spinning, it's so surreal to witness. LA definitely has it's down points, but there's certain bits of magic that occur here that would never happen anywhere else. I wish I could have seen this place in the '60's. What a trip that would have been.

I feel fucking blessed.


It's Just A White Bar

J-ZONE: A Bottle Of Whup Ass - The EP

        This is what I call a "throwback" album... for everybody who's sick of the way hip hop sounds today and wishes it would go back to how it sounded when it actually was dope, this is whatcha been waitin' for. Raw drumbreaks, a variety of sick musical styles, rudely clever rhymes and all kinds of funny-ass vocal samples make J-Zone's latest a breath of fresh air for true hip hop lovers. But as good as the music is, you need to buy this record for the album cover alone! The star is Grandma, who's chillin' on the front with a Louisville Slugger, a newport dangling from her lips and a "I'll beat the shit outta yo' ass"look printed all over her grill! On the back cover she's flippin' the bird to whomever it may concern while hittin' a blunt and preparing to crack open a cold 40. She's also joined by such characters as Huggy Bear (aka Big Daddy Papsmear / Thug Penis), pornstar Dick Stallion and The Jzaknaught, a known chronic masturbator. My favorite line of the year: "Drivin' thru the hood pumpin Ice-Ice Baby / Think I give a fuck, it's better than the shit I heard lately"- say word!

        People always talk about Stax as the label with the "Memphis sound", but just between me, you, and the Rza, don't sleep on Hi Records. The vibe isn't out-and-out gutbucket funk (hell, neither is Stax, for that matter- you gotta go to the ultra-obscure labels for the really real deal), but the soulfulness is just crazy. Master producer Willie Mitchell pioneered a sound just as distinct as Motown's but 100 times deeper. Al Green had all the big hits, but nobody's fuckin' with Syl Johnson's "Back For A Taste Of Your Love" lp (his earlier and much rarer Twinight records are more sought after but I enjoy this later album just as much- maaaaad joints!). Add Ann Peeble's heartfelt wailing and O.V. Wright's lisp to Mitchell's slow, laidback beats and you've got quite a stable of chitlin' circuit bangers.

M.O.P.- Warriors LP
        Well, this is basically what I've come to expect from an M.O.P. album- some of the rowdiest, hellraising jams of the year (usually the ones produced by Premier) alongside some stuff that's kinda on the blah side. This time out there's a lot more hell being raised and a little less blah. Kinda like Bumpy Knuckles joint, the strong songs will knock you the fuck out, so you can put up with some of the weaker ones. Some people don't like the Mash Out Posse's screaming or thuggish subject matter, but the thing that separates them from every other thug in the game is STYLE. Their shit is patented, totally distinct- something that most of this generation's wannabe emcees still don't seem to understand. Rockin' samples from songs by the likes of S.O.U.L. and The Mad Lads, then flippin' a classic rock top 40 jam like Foreigner's "Cold As Ice" and making it fit perfectly, M.O.P. definitely satisfy those of us who want some more hardcore. Could be a challenger to Bumpy Knuckles and Ghostface Killah for album of the year (although Talib Kweli might upset 'em all with his new joint with Hi-Tek...we'll see).

        All the "comp USA" dudes are sending me freebies, so I can't be mad at it. Keep 'em comin'! Oh, sure, I still have mixed feelings about comps and reissues. But what the hell, they ain't goin' nowhere. So what can I do but keep this love / hate relationship going.
        The Science comps have a ton of goodies, but they only name the song titles, not the artists. My take on that? Shit, if you have the song titles and the music itself then you have two thirds of the equation! What more do you want? Standout cuts in this series include "Chestnut", "Leave Me / Say", "Big Noise", "Te Alejas"and "I See No Reason". Don't forget, Ultimate Breaks And Beats didn't name the artists, either!
        The Dusty Kid strikes again with the new red and baby blue editions of DF. Breaks by The Mickey Mouse Club, Wally Richardson, Madelaine, Jimmy Gordon, Travis Biggs, Dick Walter and others will make you so happy that you'll slap yo' momma.
        And this NY Record Convention Breaks joint will be of special interest to DJ Shadow's cult followers, as it contains a number of originals from the infamous Brainfreeze CD (including the crazy rare "Dance The Slurp" 45, Mack Rice's "Three People In Love" and "Tears" by Giorgio), plus some other dope rarities. Suppossedly features breaks straight from the crates of "dealers at the infamous New York City record shows" where hip hop producers get their shit from. Hmmm...
        My only request to compilation compilers: could you please let me get my CD done before you put out everything I'm playing on it??? Damn!

BRAND NUBIAN- Rockin' It (white label)
        Actually an old cut that was for some reason left off of their last album, the Gods' take on The Fearless Four's "Rockin' It" has recently resurfaced on a bootleg 12". I've heard some say that they're not feeling this joint- yo, wake up and smell the pee pee. This is what REAL HIP HOP is, for y'all that just don't know. Check it and study- Buckwild production aided by Pleasure's classic "Celebrate The Good Things" break, Brand Nu showin' y'all the art of mic rockin' and even Grand Puba harmonizing Cold Crush-style to the tune of Anita Baker's "No One In The World"! Yo, all the elements of hip hop's foundation in one single. Maybe one day they'll understand...

        Did you see this during the Olympics? Just when you think you've seen 'em all, Vince Carter showed just why they call him "half man, half amazing" with this totally ridiculous dunk over a 7' 2" French dude down under in Sydney, Australia. He charges down court with a stolen pass and heads towards the hoop where Team France's center stands rigidly, awaiting an impending charge. Well, what does Mr. Vinsanity do? He jumps right at the dude, spreads his legs and goes right the hell up OVER this cat with a monstrous dunk!!! This 7' 2" cat!!! Okay, so the guy ducked a little when Vince put his hand on dude's head as he was passing over. So that would've made him more like, what, 6' 8"??? Sheeesh!

(Note: I'm talking about the MAIN samples here, not the drums or some minor sounds incorporated into the track, so please don't e-mail me with that other b.s.- thanks)

It's Just A White Bar

DR. DRE- Deep Cover (bassline)

        I heard somebody play the original on a radio show a few years back, maybe the Underground Railroad?? I've asked around but nobody seems to know this shit. And no, it's not Gene Russell... House Of Pain used that for "Who's The Man". Similar but not the same shit, trust me.

        The FIRST Crooklyn joint, not the 2nd one that Primo produced. I'm still trying to find out what this is, and Tip ain't tellin'.

GANGSTARR- Mass Appeal
        Sounds like some basic CTI shit, but it seems nobody's unearthed this one yet- at least no one who wants to spill the beans!

MAIN SOURCE- Large Professor
        Not the Mohawks sample used on the hook, the main samples that runs throughout the verse- Eric B & Rakim used it too for "Teach The Children" on their 4th album. Kon & Amir even threw this on their latest CD and I know someone told me what this is years ago, but my memory's about as good as Ronald Reagan's.

MAIN SOURCE- Looking At The Front Door
        Okay, I lied... this one IS a minor sample, the only part of this song that I don't know where it comes from. It's at the beginning, right before the "chickaboom-boom-boom" comes in. A male singer's voice says "come on baby, na na" or something like that. It's still a mystery to me.

It's Just A White Bar

NFL 2000 - It's All About The Uni's
It's Just A White Bar

Have you ever gotten physically ill when watching a game with your girl and she says something like, "I want Dallas to win because I like their cute silver pants and that pretty blue star on their helmets"? I feel your pain, homeboy, but I must tell you- your girl knows the deal. Really. In a league with as much parity as the NFL, it's the little things that seperate the good teams from the Cincinatti Bengals. Uniforms do make a difference.

I saw a highlight show back in the mid-nineties, the year that NFL teams were rockin' the ill throwback uniforms. Now this would've been a good idea, but some genius decided to go back and get some of the ugliest damn uniforms in league history and force the players to sport these monstrosities. This one clip showed one of the Green Bay Packers wearing a 1940's uni: plain mustard yellow helmet, blue jersey with mustard yellow shoulders and- get this- beige pants. Barf bag, please. This poor Packman looked into the camera right before taking the field, wearing this hideous uni and a look of utter shame, and said simply, "If you look good, you feel good. If you feel good, you play good." Words to live by- he and his clownishly garbed brethren went out and lost the game.

For the 2000 season, the Soulman Fashion Refs are throwin' mad flags for unneccessarily bad uniforms and other violations. Check it-


        St. Louis Rams- Can they repeat as Super Bowl champs? With those new unis, hell yeah! They kept the most neccessary element of the old joint- the ram's horn on the helmet- and improved everything else. A better blue, old gold replaces the yellow, white highlights and rounded numbers. My pick to win it all again.
        New York Giants- The updated YA Tittle-era uniforms should help make the Giants a better team quickly. Hell, the Jets went to the AFC Championship Game when they got their "back-to-the-future" unis a couple of years ago!

        NY Giants, Tampa Bay, Atlanta, St. Louis, NY Jets, Tennessee, Oakland, Denver, Seattle

        Washington, Minnesota, Pittsburgh, Kansas City, San Diego (please go back to the Lance Alworth sky blue joints, SD)

        New England- These cats ditched the old Steve Grogan uniforms a few years back and got some modernized, sleek uniforms with silver helmets, etc. Well, I guess they're still not happy with the look because it seems like every other year they tinker with the uniforms in a vain attempt at perfection. Changes to the numbers, stripes on the pants and logo on the shoulders in recent years still wasn't enough, so this year they tried again with a new jersey design and blue pants for the road unis. It's a-ight, but really not a very big change at all.
        Baltimore- First of all, I don't even know why this team exists. They don't even seem like a real NFL team, more like semi-pro or World League or something (although they will be good on the field this year). But what's with all the helmet changes? They've only been around for a minute and have already changed the helmet logo like 2 or 3 times. Right now the raven they have on the helmet looks like muthafuckin' Heckyl and Jeckyl. That shit is wack.

        Arizona- They haven't won anything since Jesus played halfback for the Jerusalem Waterwalkers. Don't they realize that it's time to let go of the past and blaze into the future with a whole new look and attitude? New Orleans- See above. They need to change their name too. "When the Saints go marching in"... yeah, right. They ain't scarin' anybody with that gay ass "Fleur De Lis" or whatever you call that stupid shit on their helmet. They should let Master P buy the team and start calling themselves the New Orleans No Limit Soldiers. Hootie hoo! Buffalo- They have been winners, but not of the big one. The current uniforms will always remind me of Scott Norwood missing that field goal in the Super Bowl against the Giants, not to mention their other various thrashings on Super Sundays. Deep six those unis now. Cincinnatti- Poor Peter Warrick. Caught on camera gettin' his boost on, now caught on camera every Sunday wearing a Halloween costume. It's amazing that the Bungles even made it to 2 Super Bowls wearing those ugly-ass hook ups.

        NFC East- Washington (they just better win it with that all-star squad!)
        NFC Central- Tampa Bay (although I like Chicago a lot too)
        NFC West- St. Louis
        Wild Cards- Chicago, Carolina, Minnesota

        AFC East- Indianapolis
        AFC Central- Tennessee
        AFC West- Oakland
        Wild Cards- Jacksonville, Baltimore, Denver

        Super Bowl- Tennessee over Washington
        (Note: regardless of when you may be reading this, I did make these picks before the regular season started.)

It's Just A White Bar

Professional: Azmatik
Birth Name: Josh Gomez

CLAIMS TO FAME (Look What I Done Did):
Well, as of July 2000 it's been the Stark Reality on Ebay purchase. But...I don't see it as that big a deal. So what, I got a record on eBay!
Other than that, I've been a local DJ doing small things & breaking beats since about '88.
I used to have a radio show on the world famous 90.1 FM KZSU (Stanford University's radio station).
I dropped an EP back in '91 with a local crew but it was nothing to brag about, even though it seemed I was like one of the few dudes back then into sampling & breaks while most others were doing them cornball-ass 808/Synth beats .
Did I mention I have a website? www.azmatik.com (temporarily offline while I focus on music).
I am also doing the classic latin jazz/salsa music sets for 2 growing latin websites.

My pops was a DJ/Musician, a bonafied funk, soul & latin man, so that is probably where the bug really came from. Music runs in the blood, pops was into Salsa, Santana, James Brown, War, Los Angeles Negros, Booker T, etc...
I actually started hardcore beatdiggin' prolly right after High School in '89. I think that's when I first discovered Bob James - then the bug bit me to start rummaging for samples. Around that time I ordered my UB&B collection too, thats probably what got me hooked. I didn't actually get real serious about it & know more about what I was doing 'til the mid 90's.
I dropped out of music totally from like 95-97 but in the past 2 yrs have fallen in love all over again.

The "Strictly Breaks" & "Diggin" Comps - Naaaaaahh...hah hah...
I guess anything with dark sounding eerieness or some solid soul to it, basslines, and of course anything with drums as well. Preferably something with loops- I am kinda lazy when it comes to producing beats. I like stuff with some drums in the background so I don't have to add too much. I guess an example would be like a Axelrod record or a Ramsey Lewis funked-out loop.

Beatdigging is crucial to maintaining that underground flavor. It gives Hip Hop its flavor & soul.
And hell no - sampling old records will never go away. At least not as long as guys like you, me & countless others exist. I don't give a shit if the next Super Drum Machine model has a built-in breakbeat creation feature. Nothing beats the sound, feel, soul or vibe an old record can provide- nothing. Even if it's just a 1/2 second sample. Maybe it will be a new generation of breaks from super funky ass bands like Breakestra or them Desco bands.
The one threat I see is it will only continue to get more expensive or legally difficult to clear shit. Otherwise, vinyl will never die.

Man, I don't know anymore... for the longest time I have felt that Power of Zeus is the illest break ever, so hardcore & loud. Then again, "Great Gorge" by Joe Farrel is still one of my all time favorites, especially the part in the end when the drums come in solo. But recently, my man Joe Quixx has been pulling all these disgustingly raw records out his collection & just blowing my mind. I thought I'd heard a lot of breaks, but obviously I aint heard nuttin'. That dude is sick.

Several years back I was in San Francisco at a well known beat spot. I was in the store peeping some LP's at a listening station, in walk the Beatnuts, who just happened to be in town. Let me tell you, when I saw them I felt so small I put back the records I had. I had actually met them earlier that day at the record pool & they were very cool fellaz, but still when guys of that caliber enter the store I felt compelled to not even bother trying to find anything as they would prolly laugh at me.

C'mon man. You know the ill-ass break will always be # 1 . I don't care if Tyra Banks, Carmen Elektra & Salma Hayek were laying naked on my bed ready for the triple play, I'd hit the crates. (Yeah, I don't know about that one... you're a better man than me!- SM)
This is a total sickness man, right up there with OCD & Compulsive Over Eating (both of which I think I got too). I am a record glutton, I can't walk by a vinyl section & not browse, I have to buy every week or I get really agitated.

Hmmm... I was never really into gaffling records off people... I stole my first real sampler though. I walked in & ran out with it like a straight up dirty crook. But I was so scared shitless I promised God I would never steal again as long as I didn't get caught.
Since then I haven't stole nothing except an occasional pay per view fight. I guess I did sorta steal my "Soul Sister" Erma Franklin record from this dude about 9 years back. Well, it was more like he left it at my house & never asked for it back. That one sits on my wall of fame 'cuz it's a hot ass record. "Light My Fire" is the shit.

Man, all my other eBay purchases have been mediocre, mostly "hole fillers". I can't say anything else was that spectacular. I got a Syl Johnson, Power of Zeus and a bunch of good classic latin music LP's.
I think my 2nd best eBay find was finding a buyer about 2 years back who paid me $2,300 for my used SP1200, when I had only bought it for $700. That made my day.

Man, in short, no one was bidding on it and I offered to buy it. On top of that, many cats probably overlooked it 'cuz they search for "Stark Reality" & "Skull Snaps" everyday. You gotta have a little bit of tactics online, too, and know what you're looking for.
I typed in a search for "WGBH" which is closer to what it was listed under. WGBH is that public station who produced the children's shows & stuff. Next thing you know it popped up & only one other person had put a bid which was mad low. And I don't think he was even a break collectin' type guy.
I inquired on the record's condition & authenticity, then made an offer to pay for it up front so as to not drag on the auction since no one was bidding on it. The guy said it would be okay as long as no more bids came in from then till the time he ends the auction. Well, no one else bid so I guess it must have been a sleeper- ha ha ha.
He didn't have to end the auction, he could've let it go, or taken my money & kept the auction going. Plus I wasn't even approaching it as a break record, I was interested in children's records so my intentions appeared genuine.
But for those who wanna slash my tires 'cuz they think I got it for $11... the final price with shipping and insurance and all was actually closer to $100. So it wasn't the eleven bucks everyone is bugging out on. Still though, Stark Reality for $100 to me is a steal. 'Specially since it sells for upwards of $500 elsewhere. I don't think it's worth $500... $487.50 maybe, but not $500. There's prolly more copies of this waiting to surface & with my luck some fuck head will re-issue it & kill the prestige of having it.

Talkin' bout that Nelly song? Yes! I like it on MUTE.

The turntable.

Tie between Oakland & San Francisco. So many spots and little nooks & cranny's. I think it has to do with the rich cultural environment- you can run into a flea market or corner shop and walk out with someone's old record collection for mad cheap. And you know they will have something good in it. That's how I got my James Brown "Hell" LP, "Payback" & my Rudy Ray Moore comedy joints.
I'd have to say there are probably much better towns out of the area and the state, but since I am the world's biggest wuss- I don't fly on planes- (I've) had to find all my goodies locally over the years. Of course the internet is now making up for what I have been missing out on...
I think about 1/4 of my "old records" collection probably came from one store in San Lorenzo ( town just outside of Oakland ). I used to find everything there. I kinda consider the Bay Area as a whole the best town. Hard to pinpoint one city but those 2 are still great.

Shit, the way fools bombarded me with e-mails, I guess it'll have to be Stark Reality now. But in MY "reality", I think my ultimate record is my "Enter The Dragon" OST. Being a Bruce Lee fan, that record is plain dope to look at & listen to. Plus I got it for $5 in Mint shape.


S.O.U.L "What It Is" has been my most sought after LP for years now. It has eluded me all my life & I don't ever expect to find it. All I have is one S.O.U.L. 45 I inherited from my pops.. I think that group is one of the all time dopest bands ever to have existed. The flute is a dope instrument.

The Godfather himself, James Brown. Actually I don't sample James much but his shit is the best.

Fortunately I haven't too many bad experiences to garner my disdain. One store that I don't patronize, though, is Big Al's Record Barn in San Jose. It's mostly doo wop Elvis shit anyways & the dude seems to think every fuckin' record ever pressed is worth a minimum of $15 - $25. Plus the dude was rude the times I went. I know these guys gotta make their cheddar but be realistic about shit, not blatantly greedy.

It's just a couple crates shy of 4,000. Roughly about 3,500+ or so. 1/2 of which is Hip Hop.
You can have all my Carpenters albums. And I'll throw in a extra Commodores "Zoom" lp as a bonus.


My first instinct would be to drop tackle her ass on the spot & launch a retaliatory attack Tank Abbot style (dude from UFC). But once she was restrained, I'd recover what I could, load up the Toyota with as many crates as possible & get the hell outta dodge. Damn, that gave me the chills, cuz that's some shit that would prolly really happen if I cheated, my wife is no joke.

1. James Brown - Get On The Good Foot (45)
2. S.O.U.L. - Burning Spear
3. Lyn Collins - Think ! (45)
4. Candido - 1,000 Finger Man
5. Ray Barretto - El Watusi
6. Grant Green - Alive!
7. One G Plus Three - Summertime (45)
8. Scientifik - Criminal Scientifik
9. UltraMagnetic MC's - Critical Beatdown
10. Portishead - Dummy

It's Just A White Bar

It's Just A White Bar

Some of you might remember me mentioning an upcoming contest to see who could correctly name what the graphics were on the covers of my Archaeologists Classics tapes (see the "Treats" page). Some of y'all even sent in your answers before I officially announced the contest!

Well, it's all official now. What you'll have to do is check out all the covers on the Treats page first of all. Then you have to describe as best you can what it is that's on each one of the covers that I've selected for this contest. The better your descriptions, the higher your score will be.

Let me give you an example: No. 63 is, obviously, The Pink Panther. If your answer is "Pink Panther", that is a correct answer. But if you get more specific and answer "Return Of The Pink Panther Soundtrack featuring the 'Here's Looking At You Kid' sample by Henry Mancini", then you'll get extra points. Get what I'm saying?

Whoever gets the highest score, as determined by me, will win something nice. Some records or tapes or CDs, I don't know. Whatever it is, it'll be free so don't complain if you don't like it.

One thing- mail your answers in ALL AT ONE TIME. Don't answer half of them and then keep mailing me more answers. Your first e-mail will be considered your final answer, and that's it. The contest will be over when I return from hiatus, whenever that is.

So with no further ado, these are the covers that you have to name:
2, 8, 11, 15, 19, 22, 24, 26, 28, 33, 37, 41, 46, 49, 50, 51, 53, 59, 64, 67, 71, 73, 76, 79, 80, 82, 83, 84

I'll announce the winner(s) on the site when I return from my hiatus, but the answers will only be sent out to the Listbot mailing list (see below). Good luck- you're gonna need it.

It's Just A White Bar

It's Just A White Bar

For those of y'all who may have been thinking about buying some of those groovy ass Archaeologists Classics tapes but have been putting it off so that you could instead purchase Polo fleece tops, platinum Rolly's and embalming fluid, time's almost up. The plan is to discontinue the series by the end of 2000 / beginning of 2001, so if you want to order some of those joints, act now. Why am I discontinuing the series? Well, basically... I'm tired of dubbin' up tapes and cutting out j-cards, that's why! Don't worry, the Soulman World Of Beats tapes and CDs and the Best Of Archaeologists tapes and CDs will still be available. But the Archy's will have to go back to being what they were originally intended to be- just something for me to listen to while I'm riding around in the whip. You've been warned, so do what you gotta do like Eddie Drennon...

My apologies for the delay on Soulman "Neva Stop Diggin'" (aka World Of Beats Vol.4)- it's almost done, just trying to do it right. It's dope, but then again, I guess I might be a little biased. Keep the faith, it'll materialize soon...

For those of y'all who might've been sleeping on Big Daddy magazine, DON'T! Even if I wasn't a contributor I'd have to honestly say that this is the best hip hop / funk related magazine of all time (but of course a Soulman column sure don't hurt!). If this site is your type of shit, Big Daddy will be right up your alley. Hip hop, diggin', funk, graf, b-boying, weed, drum and bass, turntablism... all the bases are covered, homepiss. All you wack ass magazines out there, take note: this is how it should be done. Still not distributed in the US but that'll be changing soon. Check the site, www.thebigdaddy.com, to order yourself a copy or three...

As I stated at the intro, this will be my last column for a minute as I try to finish up the next Soulman CD and tend to other business (including doing a few records). The problem is that I just don't have the time to try to set up, prepare for, conduct, transcribe and edit interviews- too time consuming for me right now. But I do have mad interviews lined up with various producers, record dealers, deejays, etc., so when I come back I'll be bombarding yo' asses with all kinds of illness. Hopefully during this little hiatus we'll be able to add some new stuff to the site (audio, flicks, etc.) so keep checking back. And I'll also be sending out little updates periodically to everybody who's signed up for my Listbot mailing list, so if you haven't done so already click yourself over to the News page and handle yo' bizness, potna...

Just to keep things moving, though, if anybody out there would like to contribute an article or interview during the hiatus, I'll be glad to check it out and if I like it, I'll put it up on the site. No guarantees, though.

Until we meet again, be safe. If you can't be safe, be careful. And if you can't be careful, name him after me! Peace.

e-mail the Soulman