Ahh, 1991, a number, another summer. Okay, so those lyrics were from a song a couple years earlier, but 1991 holds a special place in my heart, in both hip hop music and my personal life. Personally, I graduated high school in the spring of '91. The summer was full of fun times hanging out in the mountains, water skiing, playing volleyball and of course some drinking. I had a female friend, a hot Hawaiian girl that I spent a lot of time with. Of course I would end up fucking that up a few months later, but it was fun while it lasted. That summer was one that could have made the "Summertime" video real easy.
As far as my musical tastes went, it was all hip hop. I wouldn't discover "The Source" until late November of that year (what a glorious day that was), so I was still relying heavily on "Yo! MTV Raps" for my daily dose of hip hop music and discovering new music. As Eric already eloquently put, 1991 was a great year for hip hop. Looking back at things these days, I would say that the ifrst phase of the "Golden Age" started in 1986 and lasted through 1988. Living during that time, I always thought 1989 and 1990 were the "weak links" of the era. Don't get me wrong, they still produced some classics that will always be considered among the best, but commercialism threatened the hip hop even back then. But then in 1991, a resurgence hit the music and it once again leaped forward into what I would coin as "the second phase" of the "golden age", which I would loosely consider lasting until 1996 (although I wouldn't argue if someone cut it off at '94).
1991
Important Events
- Main Source releases an album viewed as classic in most circles (not mine) but more importantly, the world is introduced to Nasir Jones, a.k.a. Nasty Nas on the track “Live At The BBQ.”
- The first all rap radio station, KDAY, is shut down and becomes an all polka station, or talk show station, or something like that.
- The Lyricist Lounge Open Mic night opens and spawns classic performances from the likes of Biggie Smalls, Mos Def, Eminem, and Paul Wall…well not Paul Wall, but the others.
- Sway, Tech, and Joe Quixx begin doing the “Wake Up Show” on Bay Area station KMEL. Later, Paperboy would drop a freestyle so amazing that Tech quits and joins MTV.
- Big Daddy Kane appears in “Playgirl” magazine. It would be one of three career damaging incidents Kane would do. The other two were appearing on Heavy D’s “Don’t Curse” video wearing a purple jump suite and showing up in Madonna’s tell all book. His career is still trying to recover.
- De La Soul and MC Lyte would be the first hip-hop artists to appear on “MTV Unplugged.” The Vanilla Ice session becomes a lost TV moment.
- Puffy’s first exposure to the publics eye is a bad one when a basketball game sponsored by Heavy D and himself ends in tragedy as a stampede at the event kills nine people. I remember laughing at the name “Puffy”. No laughing matter is the nine lives lost. Another reason not to associate yourself with Puffy.
- John Singleton releases his hood classic “Boyz N The Hood” which introduces the world to Ice Cube, the actor. Unfortunately, no one knows for sure if Singleton released another movie. If he did
, no one saw it.
- Dr. Dre throws “Pump It Up” video host, Dee Barnes, against a wall and down a flight of stairs. Dre insists he “ain’t got no love fo’ dem hoes”, but Barnes ends up richer and Dre looks like a coward.
- Cypress Hill becomes the first Latino group to go platinum with their s/t debut album. Cypress Hill would go on to make the same album over and over for the next 15 years.
- Marion “Suge” Knight and former NWA member Dr. Dre launch “Death Row Records”. Vanilla Ice pisses himself just a little.
Notable Deaths (RIP)
- MC Trouble
- Trouble T-Roy (Dancer for Heavy D & The Boyz)
The Source Awards for 1991
Straight from the January 1992 issue of The Source, which can be read in its entirety at Thimk.
The awards were determined by polling 5,000 subscribers and 500 industry heads.
Artist of the Year - Ice Cube
New Artist of the Year - Naughty by Nature (I guess even then, they over looked the New Style release)
Album of the Year - N.W.A. - Niggaz 4 Life
Single of the Year - Geto Boys - Mind Playin' Tricks On Me
Top 15 Albums of 1991 (According To The Source)
1. N.W.A. - Niggaz4Life
2. Brand Nubian - All For One
3. A Tribe Called Quest - The Low End Theory
4. Public Enemy - Apocalypse '91: The Enemy Strikes Black
5. De La Soul - De La Soul Is Dead
6. Main Source - Breaking Atoms
7. Geto Boys - We Can't Be Stopped
8. EPMD - Business As Usual
9. DJ Quik - Quik Is The Name
10. Naughty By Nature - Naughty By Nature
11. Chubb Rock - The One
12. Cypress Hill - Cypress Hill
13. Nice & Smooth - Ain't A Damn Thing Changed
14. Gang Starr - Step Into The Arena
15. Scarface - Mr. Scarface Is Back
Top 20 Singles of 1991 (According to The Source)
1. Geto Boys - My Mind Playing Tricks On Me
2. Naughty By Nature - O.P.P.
3. DJ Jazzy Jeff & The Fresh Prince - Summertime
4. MC Breed & The DFC - Ain't No Future In Yo' Frontin'
5. 3rd Bass - Pop Goes The Weasel
6. Yo-Yo - Can't Play With My Yo-Yo
7. Ed O.G. & Da Bulldogs - I Gotta Have It
8. Chubb Rock - Treat 'Em Right
9. Brand Nubian - Slow Down
10. Digital Underground - Same Song
11. AMG - Bitch Betta Have My Money
12. LL Cool J - Mama Said Knock You Out
13. DJ Quik - Quik Is The Name
14. Public Enemy - Can't Truss It
15. Compton's Most Wanted - Growin' Up In The Hood
16. A Tribe Called Quest - Check The Rhime
17. Nice & Smooth - Hip Hop Junkies
18. Black Sheep - Flavor Of The Month
19. Tim Dog - Fuck Compton
20. Gang Starr - Just To Get A Rep
Platinum and Gold Records: Sales
Platinum
DJ Jazzy Jeff & The Fresh Prince - Homebase
N.W.A. - Niggaz4Life
LL Cool J - Mama Said Knock You Out
New Jack City OST
Too Short - Short Dogs In The House
Public Enemy - Apocalypse '91
Ice Cube - Death Certificate
Gold
Young MC - Brainstorm
Heavy D - Peaceful Journey
Geto Boys - We Can't Be Stopped
3rd Bass - Derelicts Of Dialect
De La Soul - De La Soul Is Dead
Digital Underground - This Is An EP Release
EPMD - Business As Usual
DJ Quik - Quik Is The Name
Ice Cube - Kill At Will
Boyz In The Hood OST
Vanilla Ice - Extremely Live
Naughty By Nature - Naughty By Nature
(Trav's Take: There are some excellent albums that went gold in '91 and five GOOD albums that went platinum, you could even argue that the NWA and Cube albums are CLASSICS. People supporting the music, that is an odd concept. This could never happen in today's market, for many different reasons, but its kind of sad. I know there are more people into hip hop than there was in '91, yet, less albums are being sold. Makes one think.)
12 Inch Singles Sales
Platinum
Naughty By Nature - O.P.P.
Jazzy Jeff & The Fresh Prince - Summertime
Gold
Heavy D - Now That We Found Love
3rd Bass - Goes The Weasel
Gerardo - Rico Sauve
LL Cool J - Around The Way Girl
LL Cool J - Mama Said Knock You Out
Salt N' Pepa - Do You Want Me
Cypress Hill - Cypress Hill (Ruffhouse/Columbia)
Released: August 14th, 1991
Imagine where you were the first time you heard B-Real's nasal vocal tone. What did you think? It certainly catches you off guard at first and maybe that's why it took me a couple months to pick this up after it dropped. Cypress kind of came out of nowhere when the first video was shown on "Yo! MTV Raps". I want to say the first video was "Phunky Feel One", which is a good song in its own right, but might not have been the best choice for a lead single. It wouldn't be until "How I Could Just Kill A Man" that I would jump on the Cypress Hill bandwagon.
Still, I was a little gun shy with all crappy radio music going on during the time (I was young and dumb, forgive me), and the high shrill of B-Real and the mounting exposure they were getting for being the "Cheech & Chong" of the hip hop world, I was kind thinking they were just a gimmick. The Source would soon be on the bandwagon, and of course "Yo!" played "How I Could...." four times a week at least. Luckily for everyone involved, the track is one of those songs you can play at anytime and never grow tired of it, it's truly a classic track in the hip hop genre.
This would be another joint I'd buy on CD. By this time, I learned I could just make a copy of a CD on a tape and it was just as good. It wouldn't be until I picked up my first Source that I would pick up this album. I picked up Cypress Hill, Brand Nubian and Black Sheep all the same day, one of those days you always remember. I still had a hard time accepting B-Real's voice, but I gradually (as many people did) grew used to it. It's rather obvious that B-Real isn't going to win any lyrical battles, their subject matter was limited to weed smoking, gang banging and self bragging, but something about how they did it always attracted an audience of varying backgrounds. The stoners loved them, white boys loved them, the gang bangers loved them, this would all be compounded on the next album, but Cypress' influence would be felt years later by artists like Redman, House Of Pain and even the Beastie Boys went through their "cypress" sound on the Check Your Head LP.
The selling point for me though, would be DJ Muggs' production. Sounding like some blunted out Bomb Squad sessions, odd sounds litter the background of the beats on the LP as deep basslines, congo drums and dusted out samples give a great sound for the nasally B-Real to tell his weed smoking tales over. The lead off track, "Pigs", is a great example of the unorthodox production of Muggs. With a whinny wa-wa guitar sample, B-Real tells tales of the "Little Pigs" and right from that moment, you know this isn't your big brothers hip hop music. It was something totally original at the time. A sound that wasn't quite like anyone else out there. All these things added together is why Cypress' first album made the mark it did on the hip hop landscape. With the beats, the sounds, B-Real's nasal flow, and Sen Dog's gruff Spanglish lyrics, this album was all original. The album in its whole isn't without fault. In a rush to get the album done, some tracks definitely have that rushed or filler feeling to them, but this was what hip hop was all about in 1991, originality. For that reason alone, this album will always stand as a benchmark in the game in my eyes.
Son Of Bazerk Feat No Self Control & The Band - Bazerk, Bazerk, Bazerk
Released: May 14, 1991
We jump into the next portion of the year 1991 with an album that is quite possibly one of the most overlooked albums ever in my opinion. Son Of Bazerk was a "group" of sorts coming straight outta Strong Island, backed in it's sonic soundscape by the almighty Bomb Squad. Bazerk was the lead MC, backed by No Self Control & The Band, which according to the inner liner notes, consisted of MC Halfpint, Almighty Jahwell, Daddy Rawe, and Sandman, all which pop up through all the album. As much as the group dynamic is strong and adds to the album, the main reason this album grabbed my attention was the crazy, crazy noise, provided by The Bomb Squad.
In 1991, The Bomb Squad was THE Squad on the production tip. They made music out of noise a prime example being Public Enemy's It Takes A Nation Of Millions, but as much as that album was finely produced, Bazerk Bazerk Bazerk was created out of chaos and took it a step further. It was pure, unadulterated noise and it was beautiful. The Bomb Squad was known for it's twisting of samples and making them almost unrecognizable, and this album was no different. Driving basslines dominate tracks, heavy scratching, driving synths and looped guitar riffs that help add to the absolute craziness of the album. It's as if someone had a bucket full of musical concepts and threw it at a canvas and this is what came out of it. I love albums like this, and there is a reason The Bomb Squad is my second favorite producers, this album just adds to the legacy.
As far as the lyrics, SOB has enough style and vocal presence to not detract from the flurry of sounds coming at the listener. On some tracks such as What Could Be Better Bitch Bazerk actually is the main focus of the track, which doesn't happen much on the album. On other tracks such as the single Change The Style, he even adds to the chaos on the track. His half shouted/half sang flow suites the tracks fine. With his crew splattered through out the album, it comes off as kind of a 60's funk/soul album half the time. Sure, some concepts on the album fall short to keep it from being a certified classic, but the tracks that standout are more than enough to make up for any short comings.
The groups first single, Change The Style would be in rotation on "Yo! MTV Raps", and I would I get in line to purchase the album when it dropped that spring. Being somewhat fond of different genres of music, the mesh of musical concepts in the song always appealed to me. The second video would be The Band Gets Swivey on the Wheels, which probably is my favorite track on the album (with J Dubs Theme right behind it). Son of Bazerk would also show up on the Juice Soundtrack with What Could Be Better, Bitch. This track would attract some of my less hip hop inclined friends, being the snot nosed 17,18 and 19 years we were back then. I'm sure some people will think I'm crazy mentioning this in the greatness of so many classic albums, but this album got constant play from me for a year or two (at least until Masta Ace INC's Slaughtahouse dropped in 93') and the production makes it one of my top 10 favorite produced albums of all-time. I wasn't the only person that screams about the brilliancy that is "Bazerk, Bazerk, Bazerk"
From J-Zone interview:
Oh man. Talk about a brilliant record. The public wasnt ready for that. They were barely ready for Public Enemy, so Bazerk was just ahead of its time. Still is. I recently met Hank Shocklee and had him sign the sealed CD longbox I have, haha. I don't think any producer can duplicate that. Ever. I'm a fanatic for details and noise and throwaway sounds, and even I was like "how the fuck did they do that?" Even my pops loves that album.
The MC wasn't no Rakim, but he was perfect for that project. Guys like him, Tim Dog, Too $hort, Eazy-E. I looked up to them as MCs. Cause they may not have been the best, but they were entertaining, didnt take themselves so serious and knew how to rhyme in the scope of making a successful song. People overlook that for the sake of skills. I'd rather hear a dude that can rap or produce in the context of a cohesive project than some hack that can "spit" 90 bars of ill punchlines on a mixtape or a producer that makes banger after banger but can't define his own sound and work within a concept scope. There have been better albums than Bazerk beatwise, but in terms of total production and sound, there has never been a better rap album. Ever.
Interesting interview from last year with 1/2Pint of No Self Control.
Part One
Part Two
Someone PLEASE hook me up with that unreleased track. If the unreleased album is out there, I'd love to hear that as well. A guy can dream can't he?
3rd Bass - Derelicts of Dialect (Def Jam)
Released: June 18th, 1991
My first introduction to 3rd Bass would be "Steppin' To The A.M." video, which came out before there was even a name for "The Cactus Album". I remember the that my video tape ran out of tape right when the last verse started, so for the longest time, when I would watch the video while getting ready for high school, I never had the last verse. When "The Cactus" album did drop, it had the type of production that just spoke to me in volumes. You had Prince Paul, The Bomb Squad and even member Pete Nice's production was much in the style of music I love. The album would soon rank as one of my all-time favorites. An album that I knew every single word to, an album that I could throw on at anytime and just jam to it. I wanted to be Pete Nice when I grew up.
Needless to say, "Derelicts of Dialect" was probably one of my most anticipated follow ups ever. I seem to remember "Derelicts...." being pushed back quite often for some reason. Back then, you basically had to go to the record store to see if something came out. If it wasn't there the day it was supposed to, you'd walk up to the clerk behind the desk in hopes that they just hadn't put it out yet and asked him if they had the albums of your desire in. They'd say no, look and say it's been pushed back and there is no date. You'd leave, draggin' your feet and disappointed as hell. We had it so rough back then. I still remember the day it dropped and I went and grabbed. It was one of the first albums I bought on CD, during a time I was still picking up tapes more often than not. We only had a CD player in our home stereo, so I went home and threw it in the CD player and sat and listened to it.
I think its safe to say that "Derelicts...." is a somewhat different sound and maybe an even more mature effort than was "The Cactus Album". Most of the production is by a variety of either Prince Paul, Sam Sever, Stimulated Dummies or the group themselves. The album contains a very fluid sound, rich with some of the best production seen that year. Whether it was the smooth sample with keys dotting the musical landscape on "Microphone Techniques" that was hooked up by the far too often overlooked Sam Sever or the dusty guitar sample by the Doo Dew Man himself, the soundscapes are perfect for MC Serch and Pete Nice to drop their brand of humor. That humor would be examplified by the "Pop Goes The Weasel" video, which the trio aims their anger at pop music and take it out on one "Vanilla Wafer" who gets an epic beat down at the end of the video. Using a popular pop 80's tune for the sample (Peter Gaberial's "Sledgehammer", the song almost became a caricature of itself in being the group's largest selling single. The were also rumors that the track "No Master Plan, No Master Race" was aimed at X-Clan and/or YZ. Never ones to dodge controversy, Pete and Serch took this album to higher standards than their equally dope debut.
Raw Fusion - Live From The Styleetron (Hollywood Basic) *FIXED...I Think*
Released: November 12, 1991
Me and my neurotic tastes rear it's ugly head once again with the Raw Fusion release "Live From The Styleetron". I doubt anyone would consider the release from Digital Underground members, DJ Fuze and Money B as classic. Don't get it wrong, I don't consider it classic neither, but it is among my personal favorites. Following DU's path of using a fictional scheme, Raw Fusion used a Styleetron, to fuse together different types of musics and ideas. The album is a collage of different types of music, which is part of the albums appeal and also a distraction of sorts, creating an album that sometimes lacks much consistency.
There is also a warning on the album, that it contains some "Toxic Waste Fallout Bass" and that severe damage could done to speakers that couldn't handle it properly. That was no lie as the first three tracks are "Monster Jams", leading off the album with some SERIOUS rumble. I always listened to the albums intro just because it had that low continuous rumble that sounded pretty nice on my stereo set up at the time. "Hip Hop/Stylee Expression" is the first legitimate track, it too also has a killer bassline that used to shake the VW symbol hanging off of my rear view mirror something serious. Musically, it wasn't much, it was along the lines of the Miami Bass jawns back in those days, but it that didn't bother me as I played this track anytime I wanted to show off the "Boom" my car stereo packed. There is also some nifty scratching done by DJ Fuze, who was always overlooked as a DJ in my view. "Don't Test", the album's third song, didn't measure up quite to the first tracks in terms of bass, but it still contained a wicked bassline that would fuck up any uncapped speakers it came in contacted with.
The rest of the album lived up to the styleetron theme with many styles of music fused together. Money B came with his version of the "quiet storm" with "Wild Francis", a sort of "Brenda" type of song. The album's first single was a b-boy type of traditional hip hop song. "Throw Your Hands In The Air", was probably a poor choice for a lead off single, but it did showcase Mon B's story telling skills as he tells about a fucked up day he has. I always found Money B as a better than average MC, meaning I kind of liked him on the lyrical tip. He had a sense of humor as can be found on "Nah Go Drip", as he makes fun of the Jehri Curl juice that ran rampant on the west coast in those days. Mon could also flow with some great lyrics as his last verse on "Hip Hop/Stylee Expression" demonstrates as I would rhyme along with him while playing the tape in my walkman while at work at a hospital I worked at. Tupac also makes an appearance on the albums finale "#1 With A Bullet", as Mon and Pac trade verses back and forth over a lazy blues sample.
As I've previously stated, the album is very uneven, but its combination of killer bass and my fondness for Money B's flow and style made this a personal favorite of mine for the year. You won't find it on any year end lists from that year and Raw Fusion would stumble with their sophomore effort, Hoochified Funk, and would never release another Raw Fusion project (Money B has a couple solo efforts that aren't all that either). This is probably one of those albums that you had to hear when it dropped to purely appreciate, but it will always be a WYDU favorite.
1/31/2008
WTR Meets WYDU Presents: I Love The 90's (1991 Part III)
Big Noyd Interview On The Smoking Section
While you all wait for me to finish up Part III of "I Love The 90's" for the year of 1991, head over to The Smoking Section and read the interview with Big Noyd. Shameless promotion I know, but who are you kidding? You are just trying to waste time at work anyway. I'm just helping you.
15 Minutes with Big Noyd
1/30/2008
Nicolay & Kay - The Time:Line Interview
Say all the negative things you want to about the internet and its impact on hip hop music, most of it would probably be true. But with all it's downfalls, it also has many advantages. One such advantage is being able to work with people thousand of miles away that years ago would be virtually impossible. Nicolay is one such person who has benefited from technology. In 2004, he would release "Connected" with Phonte of Little Brother as Foreign Exchange. While Nicolay has since moved stateside, he has done the long distance project again with Kay of The Foundation, an artist out of Houston. The pair have teamed to create a nifty little concept album entitled "Time:Line". Full beautiful live instrumentation and a strong lyrical performance, "Time:Line" is set to become this years first legitimate dope release. I had the chance to sit down and talk to Kay and Nicolay and chat about the upcoming project dropping on Feb 12th.
WYDU: Thanks for sitting down with me, you guys are probably bored stiff by now, is this is a press day for you guys? Would you mind giving a quick introduction of who's who?
Nicolay: I'm Nicolay. Yeah you know, it's one of those days we have talked a lot. I have a good time always with these days, but I'm a talker.
Kay: I'm Kay.
W: Let's start with you Kay. Some people might not be as familiar with you and your background, would you mind shedding some light on that.
K: I started rhyming seriously in like '96 when I actually started to record myself
and put out projects. I'm in a group that is called "The Foundation" that consists of Chris "Daddy" Dave, Robert Glasper among others. I'm the lead vocalist and producer in the group. It was around this time that Nicolay and I kind of met. It was pre-Foreign Exchange, pre any album I did. We were really feeling each others production style and music each other were doing. From there, they did the Foreign Exchange album. I was actually on a label, Garden Seeker, and still like a collective partnership with Ali Shaheed Muhammad from Tribe and Nicolay helped me out with some production on an album that didn't get released. From there we always just kept in contact, shop music back and forth to each other.
I guess I'm that guy that gets close but doesn't quite get there. Ya know (laughs). It's always been like that. I would think, "okay something big is about to go down", and it wouldn't happen. Nicolay really gave me a platform to speak musically and I appreciate that.
W: Cool, cool, cool. So what was the start of this project? Did it start while Nic was still over in the Netherlands or was it after his move to the states?
N: I guess you could say while I was still over in the Netherlands. We started communicating in like '03. We were letting each other hear our music and giving pointers. Later on, Kay started working on his solo album and I was willing to help Kay with some production. Obviously at the time I thought collaborating was a great idea. I contributed two tracks, so when it didn't come out, they ended up on my "Here" album. We kind of kept the momentum going and started to do some more work together and is definitely when the ideas for "Time:Line" were born. We knew when we started working together, we knew it was going to be hot, you know. I gave him some beats and it reminded Kay of different era's within music and that was really when the concept was born and we really started working toward making an album.
W: So the album has been awhile in the making then....
K: I guess as far as us knowing each other, a lot of it has to do with a relationship between the producer and a writer. That part has been in a long time in the coming, but as far as the actual album itself, once we sat down and decided how it was going down and got the concept, that came quick. As far as the time...it really speaks on how we write and how we create...I know my personal struggle of.....just getting the music out has been a struggle. I mean its made me stronger, I've grown as a writer, I've learned a lot.
I was talking to Ali a couple days ago and we talked about how they did with Midnight Mauraders and the process they went through as far as recording. Nic, being the producer he is, you alread know his stuff is going to flow together well, but as far as a writer that is a concern. One thing I think we really did well on this album is how the sequence work out. I just took all the hard times and what I learned and applied that to this record.
W: Nic was mentioning the concept of the album, which is a very interesting idea, would you mind expanding on how that came about ?
K: The album is ultimately music driven. The thing about Nic and myself, is the type of music we like is varied and goes through so many spectrum's. The beats and took from Nicolay were just tracks that kind of pushed myself as a writers. When you listen to the songs though, you can hear the influences of different kinds of music. There are some psychedelic sounds, that 80's sound, you know the electronic, the 70's soul type stuff.
Once we started doing the songs and everything was different in sounds, I started thinking of historical things. I actually saw a time line and I was just looking at it and I was thinking our album starts in the 60's and the intro is really psychedelic and it just keeps going through time. I thought it'd be dope to write like that and touch on different sounds, like something would blow up in '75.
W: How does the one producer/one MC type of thing change how you work? Since Nicolay worked with a bunch of different artists on the "Here" album and Kay, you come from a group back ground.
K: For me, the stuff I do with Nic, we kind of use the same process as I have in the past. As far as creating an album with just me and him, I thought it was really dope. When you get songs from different producers, its really hard to get a cohesive sound and continuity. As Nic has said in the past, you have a whole lot of voices trying to speak in different ways. For the writer, its makes it a lot more difficult to write something that flows. It's easier to write when the album has a sound, then you can really expand on that. That's my view on the writer's side, what you think Nic?
N: I think we all want something that is just more than a track here and there on an album. People want continuity. It just allows you to say a whole lot more things in that 30 minutes to an hour. You can really do a lot, you can really show people what you are about in that time.
I think a lot of opportunity lies in a one producer and one MC relationship. When I got into hip hop, when you picked up an album. It would usually produced by the same person or group of people. You know it could be Prince Paul and De La, it would be the Ummah and Tribe, it would be the Bomb Squad and Public Enemy, the albums were something you could follow all the way through. If you listen to artists records right now, you have ten different songs produced by ten different producers and they all have the same rotating guest lists. You know, let's have a song with Akon, lets have a Kanye track, lets have a Timbaland track. So you have a lot of albums that don't have don't have a true sound and the artists aren't really able to let their personalities shine through.
W: That's interesting and that's exactly where I was going with my next question. I mean do you even think the listeners out there even have the attention span to really deal with a whole album produced by one producer? It seems anymore a lot of people complain that an album wasn't diverse enough when they do have that type of album in their "tape decks" so to say.
N: I would say that it's not the music, but it's the attention span that needs to get dealt with. I say labels are the ones that cater and change the attention span. They cater to a certain sound and a certain feel. They don't change things up enough. It gets lumped together in one big clump of sounds. Its generic music and the attention spans have adopted to that. It's time for people to wake up and get out of that matrix. The problem is not the music, its the attention spans......(there is a *ding* then quiet)
W: I totally agree. The masses have been almost trained to that kind of sound. Where you guys able to work on this project in person.
K: We actually wrapped up everything together. I flew out to Wilmington, that was the piece that was needed. We were right at the point on the record when, you know right when you think it's done, but we able to sit face to face, be able to go out and get the good Subway Sandwich and BBQ and just kick back to the music and just get a feel for it. From there the ideas started flowing out and that kind of sealed the deal. Some of the small things ended up being the biggest things. That's what helped.
W: I know Nicolay is rehearsed in doing the whole long distance type of thing but how did that effect you Kay?
K: For me? Not really. I have a group of producers that I'm friends with, not so much Nic as much, but being in the band and having that network I can sit and listen to a beat and be able to say "Yo it'd be dope if you could hook up with so and so and maybe get some keys or a guitar" or whatever it may be. I'm used to getting a lot of tracks and recording them at the house and then sending them out. Which is cool versus when I first started when you had to go buy the two inch reels and pay $75 an hour to record and you were stressed out because you were running out of time. I love it this way.
W: How did you handle the creative duties on this project. Did one person strictly handle the beats and the other was exclusive to the lyrics or did you both work on the material together. I know Kay you said you were a producer too, did you work with Nic on the beats?
K: I would never junk up Nic's beats. I mean I have ideas, I'll tell him, "Hey I think this would be dope", but ultimately that's his thing. I'm more conceptional. Nic don't need no help (laughs).
W: With both of you using live instrumentation in the past, how much of a role did they play in this album?
(long silence)....
K: Nic? Yo Nic?....Nic? umm Okay....(laughs), probably got disconnected. I'll handle it then. As far as live instrumentation is concerned, for me, that really sits Nic apart to me. He is not really confined just to samples and as far as our process of recording, it allowed for things to flow a lot better. Some songs were really able to exist on the album due to the live instrumentation that might not be able happen with just samples.....let me see where this cat is....this is him on the other line, let me get at him.
(pause)
he got kicked off...
(ding)
there he is....
(Nicolay's assistant is on the line telling he will join us soon)
N: Alright sorry about that, I guess my talking short circuited the whole thing (laughs).
K: He asked about the live production thing, man.
N: Oh the live instrumentation?
W: Yeah, just how much of a role did it play in the making of "Time:Line"?
N: From the technical stand point, I switched to pro tools over the last year. For me I've actually been able to idealize a lot more of the ideas I've always had but wasn't able to conceptualize or have the means or the equipment to do so. It's kind of liberating in a way, so I've been recording a whole, whole lot the past year. I've picking up a lot more of the instruments as well as is indicated on some of the "Time:Line" album.
W: I noticed the guest list is pretty impressive. You have Oh No, the Strange Fruit Project and even Chip Fu, how did that come about, especially Chip Fu, I haven't heard from him in awhile.
K: Kind of going back to the whole Garden Seeker thing, most of those people like Chip and Sy who was on the "Here" album, a lot of them were on the Garden Seeker album. Nicolay was really instrumental in helping us get a lot of things done. "My Story" was one of the stronger cuts on the "Here" album. Strange Fruit was kind of the same thing, they are really good friends of mine and I've done a lot of work and production for them in the past. We all just a big family and we all do music because we love it. I told them that Nicolay and I are getting ready to do an album, they wanted to know when they were getting a track to get on. The stuff came out really good. I'm happy about it.
W: You guys have been hitting the promo trail pretty hard with lots of interviews and a sampler. How do you feel about the initial response so far?
N: So far the people's reaction has been really, really good. We are trying to find out the feedback. Sometimes it gets to the point that we retreat to our "hide away" to create our music and sometimes you lose touch with whats going on. We are in that excited phase where every day you hear about people getting excited about it. So far the reaction has been really good.
W: I listened to the sampler and I'm really pumped for it. You are both pretty internet savvy, Nic with spending a lot of time on Okayplayer and Kay, you started "Rappers I Know", correct?
K: Yeah, me and Frankie, me and FWMJ. This shows how "Time:Line" is such an important piece to all of this . I was so frustrated with the Garden Seeker situation, not at Garden Seeker, Ali was really trying to get behind good music. We went to Wendy's by my house and I was saying "Man, we need to have a website called 'Blank That I Know', and put on everyone we know. It was a little more profane because I was angry. So the thing is....
N: Did you call it "Ballers I Know"....(laughing)
K: (Laughing) Nah, it wasn't that. Basically from there, Frankie called me back later and told me he thought it was a good idea. Frankie is pretty much a taste maker himself and people really value his opinion, so I was like, I know all these people, I gave him the music and we just put it up and create a platform where people can hear this music that we do. A lot of that though was just my frustration of not being able to put an album out. The site is still going strong though. Doing this album with Nic though is like finally being able to do what I've always wanted to do though.
W: We all know that the internet is kind of a gift and a curse, what are your thoughts on it?
K: My thoughts are that I would have never met the people I've met without the internet. Because I live in Houston, I don't live in New York, and Nic can probably attest to this, but by being in my space, having the cost of living a lot less and I can record at home where I have a nice little studio it's easier. I can get a lot of things accomplished. But at the end of the day, if you are not in LA or New York, without the internet, it doesn't matter what you are doing, you aren't going to be able to reach the people. The internet allows you to do that.
One thing we do with "Rapper's I Know" and all the music we create, since people really don't "trust" the music, we start creating music people can trust and know what they are getting. It's like with Nicolay's label, people will know what they are getting. Back when I was buying hip hop all the time, there were certain labels you knew what you were getting based on just who the label was itself. People start trusting your "brand", trusting Nicolay Music, trusting Rappers I Know, trusting Justus League. The playing is leveled more with the internet. If you have talent and people support you and you do something different, you can make your name for yourself like a Gnarls Barkley or Amy Winehouse. Maybe we can be the next Gnarls Barkley, ya never know. As long as you are trying to do something different, people recognize that and they will support it.
W: Speaking of Nic's label, what do you have on the horizon at Nicolay Music?
N: Ever since I announced the launch of my own label, people have been getting at me asking how to be down and it's not really like that. It's more for me to be able to put out my own music, my own albums and projects. So it's going to be projects that I'm personally involved with, my own albums and whatever I find along the way.
It's going to be a big year. Obviously right now we're pushing the "Time:Line" album and then this summer we'll release the Foreign Exchange record. By what means, we are not totally sure yet, only thing we know it won't be on the previous label. It's going to be a very interesting year to see if we get our feet on the ground. It's getting tougher and tougher, but we feel we still can still reach the people that will appreciate what we do.
W: Alright, looks like my time is up, I appreciate you guys taking the time to talk with us.
N: Thank you very much for your time..
K: It's been nice talking..
W: Thanks.....
Click to download -or- to listen to the sampler
Other Streams:
http://www.audibletreats.com/download/Nicolay/Nicolay-Tight_Eyes.asx
http://www.audibletreats.com/download/Nicolay/Nicolay-Tight_Eyes.ram
http://www.audibletreats.com/download/Nicolay/Nicolay_and_Kay-TIMELINE_Sampler.mp3
Night Eyes
As The Wheel Turns
Gunshot feat Chip Fu
Nicolay's MySpace page:
http://www.myspace.com/nicolay
Kay's MySpace page:
http://www.myspace.com/kayofthefoundation
Nicolay's imeem page:
http://nicolay.imeem.com/
http://www.nicolaymusic.com/
1/28/2008
Weekend Lite: The Post With No Title
As I stare out the frozen wasteland that is otherwise known as my front yard, I having been sitting and thinking about some sort of opening paragraph for this weeks "Weekend Lite". I sat and thought, then thought some more. Nothing is really pressing in my mind. Nothing new has gone on in my life. Nor is there anything particularly crazy going on in the world of hip hop. I guess I'll just chalk it up as nothing really interesting to say. Writers block is a bitch. There is of course a certain album that has leaked that I've listened to probably six times in the last two days. Not that I condone that kind of thing. But did anyone really think I was going to wait until late March to listen to it? I know I'm probably the last person to say "go out and support the artist", because I don't support as nearly as much as I should, but that is strictly due to me being broke more than me not wanting to. None the less, when the unmentioned album that leaked this week is officially released AND you like it, support the the unmentioned group by purchasing the album. I have heard of a potential of special items being added to the sale of the album, but I don't have any conformation or details (ahemmmdvdahemmmmaybe), regardless buy it when it drops. (I wrote this before Clap's post, so much for my un blocking the block....hahaha)
SoulClap gets some shine on Kevin Nottingham's Producer's Spotlight series, go there and support WYDU's own!
Goodies From The Inbox
Albums
Editor's Pick For The Week:
Toy Box Scholars
I'm sure Eric will be writing more on this in the future, so I'll save the major accolades for him. Myself, along with E and a couple other WYDU contributors all received two albums is from Providence, Rhode Island's Toy Box Scholars. The Toy Box Scholars are made up of J Hewgs, Dreams, Dialect, Magma Grapple, Studs Ramrod and Opaque Meridian. After Eric started gloating over these cats, I took some time from listening to the fresh leaked eMC album and threw this in the headphones. I fell asleep about five songs into it, which for me is a good thing, cause I can't fall asleep to music I don't like. It just annoys me and I end up putting on something I like. Since then I've listened to their '07 release "We Got The Love" all the way and really liked the jazzy, laid back flows that sounds like (and these are Eric's words, but I tend to agree...sort of) a combination of Digable Planets (minus the chick) and old Hiero. For me, I say it reminded me of Fat Jon, 3582, and Five Deez type of stuff, so fans of those groups will definitely dig these cats. It is an album that will be getting some play in the future.
Favorite Track: Three Friends
Toy Box Scholars - We Got The Love
01 Going Public Introduction
02 Formulate A Process
03 How Ya Need This
04 Her Time Has Passed Intermission
05 Unique Be Me
06 We Got The Love
07 Tribal Connection Three Friends Intro
08 Three Friends
09 Damage Control
10 I Gotta Have It
11 Anti Wall Flower
12 Ladies & Gents
13 It Never Gets Old Intermission
14 Goya Nectar
15 Peace of Mind
Their Debut album:
The Smallest of Rooms
01 Seek The Soul
02 Promise
03 Schools of Bold
04 Spark
05 009 Sonar
06 Setting My Place
07 Enter Jazzmasters
08 Pocket Change
09 exotic Architect
10 Orca Pt 1
11 Orca Pt 2
12 Toy Box Intermission
13 Blackout
14 Things I Do
15 Revitalize
16 Feelin' Kinda Good
17 1976 Store Shopping
Our albums - enjoy! Click on 'em and proceed.
Free to download, free to enjoy. Jam. Wonderful music to listen to. Take a trip and ease that mind of yours, that's the indirect-goal.
Toy Box Scholars Myspace
Donny Goines
One thing I admire as much as good, quality New York boom bap is someone who is on the hustle 24/7, and Donny Goines does just that. Fresh off of his album, "The Excerpt, PG. 1" (which you can still buy and I recommend), Donny drops his "Off The Books" mixtape.
"OFF THE BOOKS"
HOSTED BY DJ BEDTYME 357
CLICK HERE TO DOWNLOAD FOR FREE
http://www.myspace.com/donnygoines
Canadian Hoser AG Remix
http://www.zshare.net/download/67941504cdc12d/
I haven't really posted many (or any) of the
"American Gangster Remixes" I've been sent. I have an unhealthy obsession for these things for some damn reason. I tend to think that the Black Album remixes were better in overall quality than most of the "American Gangter" remixes I've heard, but I still keep downloading them whenever I find one I don't have. I've been trying to come up with some kind of series highlighting my favorite AG remix tracks, but taking the time to sit down and listen to 80+ albums is....well, mind numbing to say the least. Regardless, I will get to it, at just about the time everyone is totally sick of them, but I've always been a day late and a dollar short on the latest fads (what the f*ck is tweeter?). Anyway, I also have a fondness for the word "Hoser". I'm just jealous that the Canucks up north came up with it. Oh well....anyway, I've only gotten one listen to this attempt and while its not the greatest I've heard, it's far from the worse as well. And hey, it has "hoser" in the title, so up it goes.
MIDIMarc
Speaking of American Gangster remixes that I liked, MIDIMarc's ranked right up there in the top for me. I had seen the name splashed around for awhile now, but only just recently have I gotten into his work much, thanks to that AG remix album. Hailing out of South Carolina, MIDIMarc is bound to make a name for himself in the near future. His "No Lyrics Necessary" release is a collection of great instrumentals that got a lot of play during a recent Madden marathon for me.
For more info on MIDIMarc, check Kevin Nottingham's Spotlight of the beat maker.
Here are some of his projects for free download. I
haven't listened to all of them, but I of course endorse the "American Beatmaker" and "No Lyrics Necessary". Check them all out though....
Jay-Z and MIDIMarc - American Beatmaker (American Gangster Remixes)
http://www.mediafire.com/
Jay-Z and MIDIMarc - The Newprint (Blueprint Remixes)
http://www.megaupload.com/?d
Nasir Jones and MIDIMarc - The Day Things Got ILL (Stillmatic Remixes)
http://www.megaupload.com/?d
MIDIMarc vs The GZA - Mixed Masters
http://www.mediafire.com/
MIDIMarc - No Lyrics Necessary vol 1
http://www.mediafire.com/
MIDIMarc - Southern Comfort 200 Proof (Various Artist)
http://www.mediafire.com/download.php?4ymybmhdwtl
http://www.myspace.com/beatsbymidimarc
NAS & QUINCEY TONES - GOD’S GANGSTER
Who is Quincey Tones? Well if you have checked on the eMC album, you have heard him on three tracks, including what seems to the proverbial favorite "Wind's Of Change". Since I didn't know much about him, I decided to check out his myspace and found this album for free download. It is Nas accapellas over flipped samples from "American Gangster". I have yet to listen to it yet, but I plan on sitting some time aside tonight for just that purpose.Download the project for free by clicking here:
http://sharebee.com/eb68203c
or this picture:
http://www.myspace.com/quinceytones
Videos
Pugz Atomz - The Outlaw of of his "Conversations with a Chamelion"
Gnotes - Missin' You
Here is a video from an artist that I TOTALLY spaced off during all my moves and stuff (like a few others, my apologies to anyone who's material might have gotten lost in the shuffle). Can some smooth mellow type of vibe going on here and from what I remember of listening to a streaming album, it sounded kind of cool. Kind of a weird video, but I can definitely say it's original.
-- New York January 25th, 2008
Journey with Street Knowledge as we bring you the Return of the Wu...Wu Tang Clan invades Hammerstein Ballroom on the New York City leg of their 8 Diagram Tour minus the Abbot(RZA). Get a front row invite to the hottest ticket in town as the Clan forms like Voltron and delivers some of their most classic hits from their 15+ year career. Then get a Backstage Pass as we interview Raekwon the Chef, Ghostface Killah and Inspectah Deck with guest appearances by Theodore Unit's Trife, Ice Water's Polite & Erykah Badu. Witness the Clansmen perform in rare form then hear them speak on the latest developments like the much anticipated Cuban Links 2 from Raekwon, another Ghostface album and being signed to Def Jam and Aftermath.
--
http://www.zshare.net/video/686713390...
Shyhiem dissing Raekwon
By now most of you have probably seen this. I'm not sure what the hell this is supposed to be about, but I guess Shyhiem has beef with Rae or some shit. To be honest, I listened to about the first 10 seconds then shut it off. And I like rap beef....when done well.
Tracks
More Wu-Tang back this week.
RZA & Vincent Gallo - Something I Want (For Real) Extended Version (This is from the Belvedere-Vodka Commercial)
http://www.zshare.net/download/6777282b8cd328/
Rubbabandz - Wu Diss
He goes by the name of Rubbabandz. If you followed Wu in the 90's you heard of him. Anyway, the only reason I am even giving this my time is because I think the Wu-Tang Clan need something to unite them. Furthermore as I stated in the past, anything Wu-related, and I get my hands on I will send your way. - Killa Beez Promotion
http://www.zshare.net/audio/678892130abf41/
Dom Pachino (Killarmy) - Shot U Down
http://www.zshare.net/download/67894084bdc8e5/
Nut-Rageous f/ KL From Screwball - What's Poppin N*ggas
http://www.zshare.net/audio/6789468042b05e/
Craig G - Just What I Need
http://www.zshare.net/audio/6789499d0104d5/
Rest of the stuff will be back next week.......
1/27/2008
DoItAll Interview - Lords of the Underground
I was lucky enough to do an interview with DoItAll of the Lord of the Underground. The Lords of the Underground (L.O.T.U.G.) are a hip-hop trio out of New Jersey made up of MCs Mr. Funke, DoItAll Dupré & DJ Lord Jazz. I can honestly say that I was fired up to get the chance for this interview, LOTUG is one of my all time favorite groups. You know the sound; the lyrics you can sing along to and the beats that were grimey and made you want to get up an move. Their music made you know they were doing it for the love of Hip Hop.LOTUG have released 4 albums and the first two, Here Come The Lords (1993) and Keepers of the Funk (1994), earned them an award from BET in 1993. They came back in 1999 on Queen Latifah's label with Resurrection and again last year with House of Lords. Recently Nas mentioned them on the East Coast remix of "Where are They Now?"
DoItall has been busy to say the least. He has an acting career, a record label and a new internet TV show coming out this spring. We chopped it up a bit I was able to ask him about the foundation of LOTUG, how he feels about the state of hip-hop today and how his feelings about the digital age of music.
WYDU: Hey how have you been DoItAll?
DoItAll: I've been busy grinding like a slow dance
WYDU: Lets start with the basics: When did LOTUG get together, how long have you been in the rap game? And who are some of your influences?
DoItAll: LOTUG came out in 1991 & some of my influences are James Brown, Sam Cooke, Marvin Gaye, Stevie Wonder, Rakim, LL Cool J, Run DMC, TLA Rock, Marley Marl, Big Daddy Kane, & the Sugar Hill Gang
WYDU: Can you tell us about meeting Mr. Funke & DJ Lord jazz at what I believe was Shaw University? Did you guys hit it off right away?
DoItAll: I met Lord Jazz and Funk at Shaw University in North Carolina. Even Though Funk & I are from the same city we knew and hung around some of the same people but didn't link until we went to school together. Lord Jazz was the popular Dj Around campus and Djayed at our school Radio station. Funk and I were the dudes always rhyming at the parties and around campus. A friend of Lord Jazz's at the time by the name of Derrick Jackson who later became our manager and is Scott Storch manager, was also Marley Marl's cousin and told Lord Jazz to put together a group for Marley to hear, and Lord Jazz put Funk and I together.
WYDU: Tell us about working with K-Def, producer of some of the most influential sounds of the 90's and beyond. And what kind of influence was Marley?
DoItAll: You will have to talk to K-def about K-def....Marley was the master plan behind Lords Of The Underground. Marley gave us our direction, and is one of the Legendary producers in the Hip-Hop Game!
WYDU: Do you have one favorite LOTUG song? Can you share what makes it special for you?
DoItAll: I have many favorite LOTUG songs. One that comes to mind right now is Earth, Wind & Fire featuring Joya off of the RESURRECTION album, but I have many. What make it special for me is the feeling of the verses and the way the music hits me when it's playing.
WYDU: How is today's rap music different from the mid-90's? Do you feel that the quality of today's music is declining or it is just an evolution of the genre? The music as a whole is hurting for sales, what is your take?
DoItAll: The difference to me is that the industry has become so corporate that the business has clouded and manipulated a lot of artist creativity. When you don't let your talents flow naturally and let your artistry be organic, it's hard to find your passion. When you create for false reasons and monetary gain your creativity loses it's integrity and no longer feeds soul. The difference between now and the 90's is that we had nothing to lose and everything to gain. Now that Hip-Hop is big business there are less risk takers and most companies won't take a chance on something unique because there is too much to lose. I will have to say that yes Hip-Hop has evolved, but just because moves or grows doesn't always mean that it is growing or moving for the better. Some of the things we eat may have certain nutrients it, but overall may not be good for our body. This how I look at the music today, and as far as the sales times change technology has even the playing ground in some regards, but we as independent companies, and business men and women have to realize it and use it to our advantage before the record & music industry is able to devise a plan to get it back like it was before the digital era.
WYDU: That leads into my next question, how do you feel about all the downloading and file sharing on the internet? Do you spend anytime on the internet reading blogs, downloading etc?
DoItAll: I feel that we have to find ways to protect the writers, artist, & producer of the music, but even when we do have safe ways to protect the music someone will always find a way around that. Downloading is cool if it is protected. I haven't got into the downloading music off the net yet, maybe I will, and I don't really get into reading the Blogs too much, but I have read some and I look on some of the Hip-Hop site. I have to stay up on it because the net is a big playing field for our music now.
WYDU: What was it like working with Nas on "Where Are They Now?" How does it feel to be on that song with some of the other all time greats?
DoItAll: It was a blessing and an honor. Even though we didn't record in the same studio's, but just for Nas to want to pay homage and show respect to his peer, and the ones that came before him is great sign of respect.
WYDU: We have a lot of heads from Europe that read this board, it seems like Europe is really embracing hip-hop in a big way. They have also been embracing a lot of the pure, classic, old school artists, can you speak on this and how it has been to travel to Europe and all around the world?
DoItAll: Hip-Hop in Europe has not been manipulated and corrupted by the Corporation who puts the music out to the world as much as it has in America, so the fans get to enjoy the essence of what they believe is hot, not what the corporation is feeding them. That's why Hip-Hop from the early days still survives over there. They dig and search for that same feeling that a hot believable record or artist gives to them, and if it doesn't make them feel in the way that a record that they have all ready labeled Hip-Hop has made them feel, then they don't want it. When you learn something, that is the way you are going to teach it. if you keep giving someone the wrong concepts and ideas after a while it becomes the next generations truth.
WYDU: Was that you I saw on the Sopranos? And weren't you on OZ too?
DoItAll: Yes that was me, I'm trying to get this acting thing popping in a big way such as Will Smith, and other artist who were able to translate their talent on the screen as well as records.
WYDU: Tell us about your affiliation with Affluent Records. You just released a new album and also a DVD in 2007. What do those two releases mean to you?
DoItAll: Affluent Records is owned by Oscar Sanchez who used to work for Def Jam records. It was a co/label deal with him and Red Eye Distribution. Releasing the album and DVD is to keep our fans with something to chew on. We are not trying to be the next big rap group we have Platinum success, we've done a lot or even more then a lot of groups in this industry, but it's our passion that keeps us creating. It's not for the accolades, It's for the love of Hip-Hop!
WYDU: Tell me about your new project "Lyrical Roulette.
DoItAll: Lyrical Roulette is a Internet Reality show where we show rappers how to become Mcee's and beat makers how to become producers. It's Hip-Hop's first Internet reality show due to start airing spring of 2008. I am one of the producers of the show as well as the host. it is a show created by Executive producer Tim Grant, and we have some guest like Mike Bivins, Craig G, Executive Nick, & International P from the fight club, just to name a few. The rappers and producers were picked thru an audition then we selected from the ones who we believed were serious about doing it.
WYDU: What is Lord Gang Worldwide and how did you get your hand into such a wide range of projects.
DoItAll: Lord Gang Worlwide LLc. is a company I started about 3 years ago. I wanted to start a company which could help, network, and assist other companies in different fields specializing in the music industry strengthening their companies and ours thru networking and branding.
WYDU: Thanks for your time Du. Any last words for all the fans out there? An when & where can we see Lyrical Roulette?
DoItAll: Thanks for your time, be on the look out for a wide range of things coming out of the Lord Gang camp, nothing but positivity! Also be on the look out for Lyrical Roulette which will air on YouTube.com every week. & last but not least I am the Director of A&R for Mike Biv's new company Sporty Rich Enterprises. I am blessed and have been blessed Thanks to everybody and everyone who has supported me and us, and anything I have been involved with. Thanks!
Here are some links for DoItAll and also Lyrical RouletteDoItAll Myspace
Lyrical Roulette
LOTUG DVD Rip
Lords & Redman
And here is an article on LOTUG from a 1994 Rap Sheet newspaper. I am going to be posting up more of this issue in a later post (I know the print is hard to read, but I think if you click on the images it will open a larger photo) I will post a .rar file of this article later today in which I have larger photos (easier to read.
Peace,
-Brian
