July 20, 2002

My plan on doing pretty much nothing today went pretty damned good. I didn’t do much of anything. I wrote first thing in the morning, ran, read the paper, went to a WCSB meeting, napped, read some magazines and watched “American Movie” again. Now I am BLOGGING.

The highlight of my day had to be the radio station meeting – not for anything having to do with radio station business but for witnessing the cast of characters that make up the WCSB community. They are the best ever. Also, some of them are great background material for future writing projects. I want to write a book about perversion, sexual dysfunction, masturbation, pornography, bondage, voyeurism and other fucked up bullshit having to do with people’s sex lives. Not that anything specifically doing with any of this shit comes up at WCSB meetings, but I always walk out of those meetings feeling strangely aroused. And considering how few members of the opposite sex are ever present – it is even weirder still. I suspect that there are some funky monkeys volunteering at WCSB but, again, that is just me guessing.

The following reviews are the first I wrote for the defunct “U.S. Rocker”. The editors of that paper, both great guys, did not understand me at first. They did not know that I was joking.

Sonic Youth
A Thousand Leaves
DGC/Geffen Records

I knew going into this record that Sonic Youth has a reputation for being a very progressive and cutting edge band. I have heard that Sonic Youth is experimental. They use different guitars with non traditional tunings on stage and on their records. They are out there.

“A Thousand Leaves” is Sonic Youth's 14th record since they formed in New York City in 1981. I turned ten years old in '81. I was listening to "Keep on Loving You" by REO Speedwagon when Sonic Youth began their exploration of the audio outer regions. The press says: "Their work has been marked by patterns of string disharmony, chiming, propulsive motifs, and three instantly recognizable vocalists." (who do not sing very well)

I braced myself for an aural explosion from my stereo of rock moderne. I have read that Sonic Youth can get pretty weird.

The record starts. This is interesting. It is not like anything that I have ever heard before in my life. I make a mental note to check on whether this record was recorded by aliens from space and not a hip NYC foursome. This is wacky.

The record is half way through. I am under the bed. I am scared. This is not music. I am not supposed to be listening too this. What should I do? It is like they took regular songs and made them real crazy. It is like music from a reverse universe. Ooh, my mind is expanding.

The record is over and so is Sonic Youth - way over. Sonic Youth is old but not so old that I have to respect them as my elders so it is OK for me to make fun of them. Sonic Youth has had a couple of moments of brilliance... a decade ago e.g. “Daydream Nation” or “Sister” but it is not happening anymore. If I want some serious music, I will listen to music by serious musicians - not New York art poseurs and if I want to rock (I DO!), I will listen to a band that actually rocks. Sonic Youth does not rock.

(DGC. 9130 Sunset Blvd., Los Angeles, CA 90069﷓6197)

(1998)

Strung Out
Twisted By Design
Fat Wreck Chords

I read "sounds like something on Fat Wreck Chords" a lot in the pages of MRR and other authorities on punk rock. I will admit to having a vague notion of what that means. Fat Wreck Chords was founded by Fat Mike of the band NOFX. I guess he puts out records by bands that sound like NOFX. Being not too familiar with the entire recorded output of the fabled outfit, I am going to have to do some actual work describing the music of Strung Out. I wish I could go to a Fat Wreck Chords cheat sheet and pull some descriptive adjectives off of that.
Strung Out = fast tempos, well executed instrumentation and vocals, clean production, lame as fucking shit.

It amazes me how bombastic and overdone the production is on these Warped Tour punk records. The sound is gigantic in a Journey or Foreigner way. Wow. I mean, the guitars sound super huge and the very emotive vocalist is really wailing like a southern California Bono.

Strung Out is the type of music that MTV plays behind its extreme sports features. It is the music of snowboarding and rollerblades. It really amazes me how totally unpunk most of what I am associating this record with is. The music of Strung Out has nothing to do with me or my midwestern rock thing. There is no place for Strung Out in Cleveland - the home of rock.

(Fat Wreck Chords. P.O. Box 193690. San Francisco, CA 94119-3690)

(1998)

posted by Thea at 7:42 PM

July 19, 2002

I wanted to believe… And I tried my damnedest… To help Red Giant try and get over the rainbow… And they couldn’t… So what. Lots of bands can’t.

Why did it not happen for Red Giant? I don’t even want to start. They probably had the most potential to bust out of Cleveland, OH of any band after Disengage but they didn’t. Why, baby, why? For Disengage, I think that they have been just plain unlucky with Man’s Ruin folding and all. I think that they will still probably get bigger than they are but who knows? If they don’t make it, it will have nothing to do with them not being good enough to go national or not trying. Sometimes it just does not happen.

For Red Giant, putting out a record in 1995 and another in 1998 and nothing since has not helped them become stars. They are a great band but coupled with no hard work – it is just not going to happen. I am disappointed by that much talent and potential going to shit. But, who knows, they might get it together one of these days. I can certainly pray for them. Sometimes the drive to Columbus, OH is longer than it seems. Still, no knocks on them, Red Giant is one of the best bands to ever call Cleveland, OH home and I feel blessed to have seen them kick out the jams so many times.

Hello to my brothers and sisters in rock. It seems as if it has been forever since I wrote anything for the Cauldron. I have been pretty busy this quarter. I am taking twenty credit hours as well as working thirty hours a week at the office. With the NBA playoffs in full swing, I do not have much time for anything else. I can not wait for this quarter to be over so I can get back to rocking. I am taking a leave of absence from my job so I can take 20 hours in the summer too. I can see my December graduation date glowing in the distance. I keep telling myself that it will be over soon but it definitely will not be soon enough.

I know that my credibility can probably be questioned with the amount of ink I waste writing about bands from Cleveland. Can there really be that many good groups in this city that has never really produced a national hit band? I know that Trent Reznor spent some time in Cleveland but he does not count because he was not born here and he sucks. The Raspberries had a moment in the spotlight but their moment was pretty brief and that was along time ago. Why don't any bands make it out of Cleveland? For all the thousands of people who have seen Michael Stanley at Blossom, he was just a bar band guy in most other cities in the country. I want a winner to come from Cleveland. I want to be able back a horse that makes it. When Bone Thugs - n - Harmony first started getting airplay on MTV a couple of years ago, I was pretty happy. It was kick ass to hear about St. Clair on national television.

I want a band that I know to make it. Outface, a Cleveland hardcore band who had an album on a Revelation Records subsidiary in the early nineties, are getting famous as individuals. Guitarist Charlie Bucket is in CIV, bassist Frank Cavanaugh is in Filter and their singer, Derrick Green, is now in Sepultura. I think that is pretty cool but it still leaves me wanting. Why can't a band play the Cleveland bar scene for a couple of years and then graduate to major label national success? There have certainly been a lot of push from the local rock scene power brokers for some bands but the groups that they pick never make it. Are we a city of losers?

I am going to put my head on the chopping block right now and pick the band. This band will be famous. This band will be on the Drew Carey show. This band will be shown on TV in the crowd at Cavs games. This is the band that is going to be Cleveland rock on the map. I am picking Red Giant to win it all. They are going to be huge. Trust me.

Red Giant rocks.

Red Giant was formed in 1991 by a bunch of Strongsville High School students. Three of the guys in the band shared a table in art class. Their drummer, Chris, a student at Cleveland State University, said that they clicked as a band almost immediately. I believe it. A band this good coming together at such a young age is nearly miraculous. They played their first show at the defunct metal bar Flash's in 1993. I was there although my memory of their set is very faint.

Red Giant went through a few bass players before settling on Brian in 1994. It has been the same four dudes since then. Their first album, “Psychoblaster and the Misuse of Power” (Outer Earth Productions, 1995), is a monolithic masterpiece of heavy space rock. It claims to be "the definitive space punk album" on the liner notes. It is a great record.

Red Giant's music is a combination of the heavy aspect of bands like Black Sabbath combined with the psychedelia of a Hawkwind or Spacemen 3 - the perfect mix. At 1:34 of the opening track of “Psychoblaster and the Misuse of Power”, "Iron Lung", the listener gets assaulted by one of the most bone crunching riffs I have ever heard. Red Giant is HEAVY. "Sonic Mind Shrine" and "Solar Lord" are a couple of the spacier jams on their debut. Most of the songs on this record clock in at about ten minutes. I have listened to this record many times and it still hits my rock button.

I have seen Red Giant play several times over the last couple of years. They are a good live band. They completely fill any bar with rock. They opened up for Fu Manchu a few months ago. I almost had a heart attack because they were so good. I left before Fu Manchu was finished because Red Giant made the mighty Fu look real puny and a little too 70s kitchy. I started banging the Red Giant drum real loud after that show. I told anybody who would listen about their greatness.

Red Giant released their new record last week, “Ultra Magnetic Glowing Sound” (Cambodia Recordings. 16013 Waterloo Road, Suite 405. Cleveland, OH 44110.). The record rocks. It is less overtly heavy than the stellar debut. It has a lot of finesse and production savvy. There are many kick ass psychedelic guitar solos that left quite an impression on me. The bass is audible on this record where it was not on the first. Red Giant focused their attack on “Ultra Magnetic Glowing Sound”. The songs, although still pretty lengthy, are not epics like on the first record. The record is great.

"1960 Starchief' opens the record with a taste of the more psychedelic sound that colors this release. It still breaks down, heavy style, in the middle with many chirping guitar effects that are cool. "Blue - white Supergiant" and "Pervert" are both tweaked versions of songs that appeared on the CLE Magazine compilation last year - rockers both. "Devils of the Fall" is a more straight hard rock tune that makes most striving to be heavy bands sound like the Spice Girls. "Kill for Condors" is Red Giant at the top of their game. The song has guitar pyrotechnics galore, experimental rocking, and acoustic break down that gets slower and slower until it turns into a pummeling riff assault. “Ultra Magnetic Glowing Sound” is so good that I can hope for little improvement in the future. All I can ask for is more of the same.

How is Red Giant going to make it big in show business? They are very not what is happening now. The have a lead guitarist, Damien, who solos all over the place through every song. They have a very traditional metal foundation. That is the kiss of death in today's anti﷓metal music world. Red Giant's songs are too long for most commercial minded radio programmers. They certainly do not have the load bullshit fashion conscious image awareness that most popular bands focus on. They are not like other successful bands now and that is why they are going to make it. I would not change one thing.

I love their story - friends from school who play music simply because they believe in rock. They are not in a band to be celebrities. They are in a band because they are rockers. Their musicianship stands out among the amateur turned pro fakers on MTV today. They are, and I can not stress this enough, very, very good at what they do. I am a lover of all things heavy and Red Giant is one of the best that I have ever heard in my life. They rock super hard. I am picking Red Giant to be very famous. Remember that, buddy. I do not think that they are striving for universal success, rocking is enough for theses guys. Pure motives will make it that much sweeter when they do become a worldwide rock powerhouse. Little kids are going to pick up the air guitar one day thanks to Red Giant.

(1998)

posted by Thea at 11:23 PM

July 18, 2002

I say this week is almost over. I say it was a week because it was weak. I worked more today than I did yesterday. That is normally bad but because it made me forget about what time it was – that was good. I am about to run again now and it is too bad because I already have the I am looking forward to Friday too much thing going on. Why am I looking forward to the weekend – how about because I am not planning on doing anything – at all. Nothing. Except for some writing, running and a radio station meeting. That is almost nothing. Since I am becoming an old man, I hope it gets cooler so I can enjoy my down time more. I am off to jog. My BLOGS are getting so lame I can barely stop myself from making fun of myself and kicking sand in my face and then taking one of those muscle courses to beat myself up.

Above the Law – “Legends” - (Tommy Boy, 1998). Cold 187um, KMG and K﷓oss, collectively known as Above the Law, return to the record store shelves with their fifth full length effort. Above the Law was one of the first acts signed to Ruthless Records after the initial success of Easy E., N. N.W.A. and D.O.C. Their debut LP, “Livin' Like Hustlers” (Ruthless/Epic, 1990) is a classic LP in any genre and one of the cornerstones of west coast gangsta rap. The fact that Above the Law has been making records since the start of this decade certainly qualifies for “Legends” status. Have you ever noticed the turnover rate in the rap business? There is even less job security in that field than the rest of the volatile popular music world. Long term career development is not a high priority in the hit today gone tomorrow rap business.

Above the Law has survived a few label changes to deliver a pleasant album of Los Angeles inspired pimp raps. Above the Law raps about the amount of money they have, their prowess with the ladies, the state of the streets and how tough they are over west coast flavored beats. Cold 187um's pedestrian production owes much to Dr. Dre and, more directly, George Clinton. It is amazing how much mileage they have gotten out of a single keyboard sound. The raps on the record are mildly amusing and a little hard to take seriously - which hopefully was the intent of Above the Law. Their best rap is something about stacking riches and smacking bitches. They are pimps or something.

Cappadonna - The Pillage - (Razor Sharp/Epic Street, 1998). This is the highly anticipated and much delayed (as is the case with all Wu records) debut by Cappadonna - a new addition to the Wu - Tang Clan. So many rap records get assigned a release date and then get bumped back again and again frustrating the consumer. This is particularly unnerving in the case of “The Pillage” which has a knocked off quick, done in the basement at half time quality to it. The RZA's innovative production (off kilter piano, lonely beats) get a tad tedious throughout the nearly hour long record. RZA's several protégés who also contribute to the production of this record do not variate from the Wu master's formula too much. The Tru Master produced track "Splish Splash" contains the only really memorable beat. Cappadonna's raps are OK and the record has the usual assortment of Wu cameos from the like of U - God, Method Man and the Ghost Face Killah - a favorite.

The record was released by Epic Street. Every major record company has either a "street" or "urban" marketing division. This is the type of music that I listen to and I am hardly rolling through the mean streets of Lakewood in a `64 Impala shooting people. I am not alone, either. There are many goofy white guys who listen to the Wu and other rappers. I don't know what I mean by this but I thought it was worth mentioning.

Cocoa Brovaz – “The Rude Awakening” - (Duck Down/Priority, 1998). The Cocoa Brovaz were f/k/a as Smif N Wessun until a cease and desist letter took their name back. Look out Timbaland! They are back with their sophomore effort after some raps on last years' Boot Camp Click posse album. Tek and Steele are decent enough rappers who enjoy smoking dope and money. They want the listener to think of Public Enemy while listening to “The Rude Awakening”. They use the "I got so much trouble on my mind..." line among other P.E. references.

The highlight of the record is the song "Off the Wall" which features the raps of Professor X of the X Clan, sissies. Buy this record for that alone. Otherwise, the record is a listen able but largely forgettable - a delightful mélange of a variety of popular beats with all right raps.

Das EFX – “Generation EFX” - (East West, 1998). The diggedity Das is biggedy back with LP number four. "This is not the Das EFX that I remember," said biggedy Bill at the rickety Record Exchange. This record is not as good as their classic debut, “Dead Serious” (East West, 1992). Das EFX has changed with the times in hip hop's all consuming quest to embrace the modern and feed off of each other. There are still enough of Das EFX's patented scat style raps to satisfy the long time fan. Me. I like this record.

The title track has a guest appearance from Das EFX's mentors, EPMD. The song samples "Eye of the Tiger" by Survivor. The song is good and EPMD is great. "Rap Scholar" has a guest appearance from fellow Hit Squad rapper, Redman. These two songs were enough to satisfy the old school dog in me and the rest of the record is good.

Killah Priest – “Heavy Mental” - (Geffen, 1998). "Too many rappers in the east wanna be gangsters/ Too many gangsters in the west wanna be rappers/ Bunch of actors..." spoke the Killah Priest on "Fake MCs, the B - side of the first single off of “Heavy Mental”. This song is rooted in the tradition of the boast rap dismissing rival MCs. My Kangol and I approve wholeheartedly. “Heavy Mental” is the second best hip hop album of the year so far after the new Gang Starr record that is too kick ass to touch. New records from Public Enemy, A Tribe Called Quest or Method Man could be the only true competitors if any of these records are actually released this year as promised. I am not holding my breath.

“Heavy Mental” is a Wu-Tang Production with the majority of the beats provided by the RZA's dudes Tru Master and 4th Disciple. The record has several guest appearances by the usual cast of Wu guys. This record rocks. Killah Priest rocks. His raps are rich with apocalyptic imagery and Bible references due to his hardcore Christian background. "Crusaids", "Atoms to Adam" and "B.I.B.L.E." filled me with the spirit. This album had me going for my beat up copy of the twelve inch "Bible Break" that I used to rap along to at Sunday school when I was a youth. "I learned my lesson/ Now I take/ Time out each day/ For a Bible break/ A Bible break /Huh..." The guy also raps the books of the Bible on this song. Killah Priest must have referred to this record before making “Heayy Mental”. It took me to church.

The Lox – “Money, Power & Respect” - (Bad Boy/Arista, 1998). Not as weak as most records from this concern but that is not saying much. This album has plenty of tough guy raps from obvious posers. I think that my Grandma could take these guys. Songs like "Gonna be Some Shit" and "Not to be Fucked With" should give you an idea of how bad these boys are. The record also has the obligatory tribute to the Notorious B.I.G. with the song "We'll Always Miss Big Poppa". Yeah, me too. The Lox = snooze.

(1998)

posted by Thea at 8:30 PM

July 17, 2002

I picked up the pace at work a little bit today and that is a good thing. I just got done lying on the futon for a couple of hours and that is kind of bad. It is not like I got up off of the futon refreshed or anything. It is too hot to be refreshed. It is too hot to do anything in this house. I can’t escape the stuffiness. So, I lied on the futon for a couple of hours and then got up to go to the bathroom and write a poem. The poem was sub par for me even in the summer but I had to write it or I was not going to do anything today – if you know what I am saying. The poem had a line in it about not being able to push silly putty man around with the thought that I am silly putty man or something. I just took a break from my BLOGGING to do some push ups and sit ups. Now that my blood is moving around a bit, I am feeling better. I am about to go and run for the first time in a couple of days so maybe that will pick my spirits up a little bit too. I hope so. I don’t like going through life feeling so sluggish.

There has been enough records released by local bands since the beginning of the year to warrant another local music column. All of these bands are excellent and worthy of your support. Go to their shows and buy them beer.

New Salem Witch Hunters – “Colonial Root Cellar” (Get Hip Recordings. P.O. Box 666. Canonsburg, PA 15317) - CD only. The New Salem Witch Hunters are one of the greatest bands to have ever called Cleveland home. “Colonial Root Cellar” is their fourth album. It rocks. The Witch Hunters are 60s garage rock revivalists who have more substance than the norm of this style dominated genre of rock. Their first, self titled, album is one of the top five Cleveland albums of all time. There are many rocking tunes on Colonial Root Cellar. "One More Time" starts the record off rocking. "Greenblade" has the longest Tom Fallon guitar ever commercially released. He does not wail for as long as Duane Allman but his stretching out is certainly a treat. The Witch Hunters' cover of defunct Maple Heights group, The Wombats' "Bye Bye Baby" is better than the original. New drummer, but longtime Witch Hunter, Dave Swanson's expertise on the skins really punches up this album. The Witch Hunters are a Cleveland institution. Their shows are legendary. Their influence on other Cleveland bands over the last decade - plus is huge. They make me proud to be a Clevelander. This is the first Witch Hunter album not to be released on vinyl. I guess the times really are changing.

Satan's Satellites - "Dope Run" b/w "Mystery Shifter" (P.O.C. Records. 3311 Marvin Ave. Cleveland, OH 44109.) - 7". Satan's Satellites are an all star Cleveland surf group led by Tom Fallon (Witch Hunters, Pink Holes). This record is their debut single. It rocks. Both songs are instrumental surf rock numbers recorded at Pat's in the Flats which is booked by Satan's Satellites' organ player Mark Leddy. Bassist Ricky Brom used to be in the Revelers. Drummer Ant Petti (Knifedance, Psychobilly Cadillac) completes the line up. Cleveland music can really be a family affair as this band illustrates. Satan's Satellites beat most bands who play this style and deserve the increasing fame that they are receiving.

New Bomb Turks - "Snap Decision" b/w "Jaguar Ride" (Sympathy for the Record Industry. 4450 California Place, #303. Long Beach, CA 90807) - 7". The pride of Columbus, OH and former Clevelanders one and all are back with a great new single. "Snap Decision" is a teaser from their upcoming fourth album (their second on Epitaph). The Turks are showing no signs of slowing down with age. This song rocks. The exclusive to this single B - side is a cover of the song "Jaguar Ride" by Cleveland proto punkers the Electric Eels. The Electric Eels were around during the early to mid seventies. They inspired Pere Ubu and the Dead Boys and were punk as hell. They were one of the first in a long line of Cleveland punk rock terrorists that I am a part. Respect your history. Believe in tradition. Learn more about the Electric Eels and other Cleveland punks at your local library.

Gaunt - “Bricks and Blackouts” (Warner Brothers) - LP. The second group in the one/two punch of Columbus, OH punk rock, Gaunt just released their fourth long player and major label debut last week. Two of the guys in Gaunt are from Cleveland so I can claim them as homeboys. After years of toiling away in the gutters of the rock - n - roll underground, Gaunt signed a contract with Warner Brothers last year. They had all of their equipment stolen on tour in San Francisco, CA so the little bit of funds that they received from the Time Warner conglomerate were much needed. The new gear did not change their style of rocking one bit. For lack of a more original term I will label the music of Gaunt pop punk. They do, however, have a much better sense of musical history than most of the young bands butchering that style of rock. They know their rock - n - roll. “Bricks and Blackouts” will not surprise or confuse any of Gaunt's longtime fans. If you have never heard Gaunt, you will not be disappointed either Jerry Wick's songwriting continues to travel further away from the Pagans and more toward the Mice with each release. His voice is also maturing for the better. Sam Brown's drumming is terrific. You need to see this guy in action. “Bricks and Blackouts” has guitarist Jovan Karcic's first attempt at lead vocals on a Gaunt album and it is pretty good. Jovan has a drummer in me if he ever decides to go solo. “Bricks and Blackouts” rocks.

The Revelers – “Hard Times. Sunday Spirits” (spinART records. P.O. Box 1798. New York, NY 10156) - LP. The Revelers, the little kings of rock - n - roll, the band that I manage and the band that you love also released an album last week. It was a pleasant coincidence since we have been friends with Gaunt for years. I will not violate any journalistic code of ethics and abuse the availability of column inches to me too much. “Hard Times. Sunday Spirits” rocks. It was recorded in a machine shop on the east side last winter. The overdubs were recorded in a kitchen. spinART licensed the record from us and ADA (a small division of Time Warner) is distributing it. It comes out in Japan this summer. The album is a brief history of rock - n - roll. The Revelers get called retro a lot but I think that they sound modern too. They are not the Dave Clark 5. The Revelers have been a band since 1989 and have been managed by me since 1992. This is the first time that there is a bar code on a Reveler record. You can order this record in any mall in America. We are part of the system, the establishment and I could not be happier. Rock - n - roll will be born again with this LP.

30 Lincoln – “Pop Radio” (Burning River Records. P.O. Box 41452. Cleveland, OH 44141﷓0452) - 7" ep. 30 Lincoln celebrated the release of their debut single last Friday. A rocking time was had by all. 30 Lincoln has Cleveland written all over them and, if you could not tell by this column, that is a great thing. Cleveland rocks. Other cities may be better but if you want to rock, Cleveland is the only place as far as I am concerned. 30 Lincoln are a group of young rockers who cover the Jam on this record. The vocals by Mike Lincoln are some of the best I have heard in a while and the playing by the rest of the band is good. I was very happy when I first heard 30 Lincoln. They are kick ass and play in the approved style of rock. Some times I think that rock is dying with the younger set. 30 Lincoln is keeping it lit for the All Ages crew. Thank God. Welcome to the club, dudes.

(1998)


posted by Thea at 7:54 PM

July 16, 2002

It has been many days without a BLOG. I feel like I am Thea. But, alas, I am not Thea. I am Chris. That’s right, I am Chris.

If there is anything that is more bogus than going back to work after a vacation, I don’t want to know because I can’t handle that much bogusity. Today was a total bust. I hit the half way mark (50K words) on my current book and that was about it. I did not do much work at the job – just kind of moped around. Whatever. I lied around my hot house tonight and did not run although it was my scheduled day to run. That never happens. I am in a funk. Life sucks.

Tomorrow, I am going to have to pull my head out of my ass. I have a ton of e-mails to respond to. I also have a website to write for. I must get cracking. I simply must.

I have to find a reason to work from now until Thanksgiving. This is going to be rough.

DJ Premier and Guru have reunited under the Gang Starr moniker for the first time in three years. The product, “Moment of Truth” (Noo Trybe, 1998), shows that the two have not lost a step in the couple of year hiatus. They still have more to offer to the world of music. Too often in popular music, originality is frowned upon in an attempt to capitalize on no brain sound alike records or novelty hits. Gang Starr have always tried to stay fresh in the face of a mind numbingly derivative rap music world. Guru still repeats "word is born" several times during the running of this record but it still sounds a bit more fresh than the last few No Limit or Bad Boy knock offs. Gang Starr do not rap over any rock hits of yesterday on this album. Sting and Aerosmith make no cameos. “Moment of Truth” rocks.

Gang Starr formed in 1989 when the Brooklyn born Guru Keithy E hooked up with DJ Premier, who had originally come to New York from Texas. Guru (which stands for Gifted Unlimited Rhymes Universal - get it? Guru) had rapped around the New York underground since he was a youth. Premier studied under the tutelage of some of the old masters DJs like Marly Marl and Red Alert. He carried records for the greats and, in time, picked up enough skill to go it alone. Guru and Premier both eventually landed individually at Wild Pitch Records. They were placed together because of the fashion of the times. Rob Base and DJ Easy Rock, Eric B. and Rakim, Jazzy Jeff and Fresh Prince and Kool G Rap and DJ Polo were just a few of the DJ and rapper duos who were popular at the time. If there is one rule that popular music follows, it is stick to the winning formula. At least Premier and Guru had the inspiration to shy away from the obvious moniker for the group and name themselves Gang Starr, which is relatively original.

Their first album, “No More Mr. Nice Guy” (Wild Pitch, 1989), is a slightly above average record for the time. It has aged better than Kool Moe Dee or Big Daddy Kane but not by much. The music is pretty decent cut and scratch hip hop with enough James Brown to qualify for a New York Rappers Local 212 union card in the eighties. The record has two tracks produced by DJ Mark the 45 King so an attempt to be fashionable by the two can be deducted. Guru is a little all over the place lyrically. He is still trying to find himself on this record. He stops short of yelling "pump it up" but the record still has the eighties written all over it. DJ Premier has good live cuts and his production is OK. They are dressed like dorks on the cover wearing leather hats and trousers - standing in a now funny B - boy stance. Ha ha ha - tougher than leather.

Glimpses of the genius of Gang Starr can be seen on “No More Mr. Nice Guv”, though. The song "Jazz Music" is the first song to place hip hop in the jazz tradition. Premier samples "A Night in Tunisia" on the record. This is before A Tribe Called Quest's "We Got the Jazz" or the Digable Planets. "Jazz Music" is not the best example of this style but points are always awarded for being the first.

Gang Starr teamed up with Branford Marsalis next for the song "Jazz Thing" from the “Mo' Better Blues Soundtrack” (Columbia, 1990). The song is a better example of the jazz rap style. The only thing keeping "Jazz Thing" from being a classic is the fact that Guru is under the impression that Dizzy Gillespie played the sax and repeats this error on the track. Hello? Is this thing on?

“Step in the Arena” (Chrysalis, 1990) is Gang Starr’s major label debut and their masterpiece. This album is a classic. It is a perfect combination of great beats, choice samples, live cuts and smart lyrics. A bigger budget timed with a major increase in skills made one potent piece of wax. DJ Premier really came into his own as a producer on “Step in the Arena”. He is now considered to have few legitimate peers. He is that good. Guru also displays vast improvements in the lyrical flow department. His gravelly monotone moves the record to several next levels. The jazzy hip hop style that Gang Starr is known is fully developed on this record. Rap does not get much better. If this record has not been heard due to Chrysalis' terrible black music division or ahead in the ass. Remedy the situation as quickly as possible. Get this record - now!

“Daily Operation” (Chrysalis, 1992) is more of the same. Normally, that is a put down. In Gang Starr's case, that is a compliment. If they would try to make their second album over and over again for the entire duration of their careers nobody would complain. “Daily Operation” is also a classic. Both records go together seamlessly and are both great.

In 1993, Guru went on his own for the first time with “Jazzmatazz Volume 1: An Experimental Fusion of Hip - Hop and Jazz” (Chrysalis). The record was a very well received combination of Guru's raps and live jazz music. The record is very light and very smooth. It is good but it lacks the hard punch of Gang Starr. “Jazzmatazz” taken by itself is not a bad thing. It spawned some week imitators and Guru himself followed up with a second volume in 1995. Formula. The idea is good but their needs to be more urgency on the records. Some of this style veers dangerously close to cocktail jazz and beatnik poetry. It is all right for the mellow man in you but satisfaction can be attained with just beats and voice.

Gang Starr released the rough edged “Hard To Earn” (Chrysalis, 1994) next. Guru, retaliating to the detractors that pronounced "sell out" after the first “Jazzmatazz”, is in tough guy mode on this record. His angrier lyrics can also be seen as a response to the popularity of gangsta rap at the time. Guru raps about the streets on “Hard to Earn” and not very convincingly. Gang Starr is not about the thug life and Guru tries a little too hard on the album. Musically, “Hard to Earn” is extremely enjoyable. Premier has a hard time missing the beat. He could not make a song suck if he tried.

DJ Premier has done a lot of well received solo production work. He has produced both of Jeru the Damaja's records and they are both good. He did the beats for "NY State of Mind" off of Nas' “Illmatic” (Columbia, 1994). That album turned into a classic damn quick and Premier's production is a big part of that. Last year, “New York Reality Check 101” (Payday/ffrr) showed Premier's DJ skills as he mixes his way through some of the best independent hip hop records released in the Big Apple over the past few years. Premier cuts the twelve inches into an hour long seamless blend of underground rap. Premier also handled some of the production work on “The 18th Letter” (Universal, 1997) by Rakim. DJ Premier is the best.

As good as DJ Premier's production is for other artists, he always saves the best beats for Gang Starr. "You Know my Steez" announced Gang Starr's return when it was released as the first single off of “Moment of Truth” last year. Gang Starr is on a new label, Noo Trybe, after the collapse of their old home. Chrysalis obviously was not selling enough of Blondie's back catalog to stay in business. Hopefully, Noo Trybe will be able to do better than Chrysalis. That should not be too hard. They are a gem than has not been exploited to its full potential. Gang Starr deserve hits. Gang Starr's style is unmistakable and a welcome change of pace from the pop rap garbage cluttering the shelves and polluting the airwave. There are many good songs on this album and the record does not get tiresome after several listens. Guru's good natured boasts are also a pleasant reprieve from dudes endlessly rapping about how much money they have or their guns. Guru raps in the traditional style of bragging. His raps are correct. "Royalty" and "My Rep Grows Bigger" are classic hip hop boasts and the music behind them is very modern and now. Now is a very elusive quality. It was not able to escape the Gang Starr on “Moment of Truth”. The record is a triumph.

(1998)

posted by Thea at 9:48 PM