A record label like Timmion Records out of Helsinki, Finland is like finding a needle in a haystack. What are the chances that a Soul label, in Finland, no less could consistently churn out limited edition 7″ Soul records that are PURE FIRE? If you have been paying attention to the newer Soul releases in the last bunch of years, the chances are pretty good. Jukka and the Timmion gang come correct with another Wille West & The High Society Brothers release, “Cold In The Storm”.

Willie West is a performer you may not have heard of. Former label Mates of Eldridge Holmes as well as Allen Toussaint, West has been called by some a “Soul Survivor”, and his recording career spans 5 decades. Somewhere in his late 60′s he is still going strong, a survivor of the music business, life’s ups and downs, and relocation from Post Katrina New Orleans. He’s another one you never heard of, but can stand up next to any Soul singer there ever was. Recording previously on labels like Frisco, Deesu, Josie, WB, among others, also joining up with the Meters for the great Black Sampson OST, West has been on a plethora of labels and rocked thousands of stages in his 50 year career. He’s the epitome of the Sly Stone side “Underdog”.

Dan Phillips has covered the career of Willie West extensively over at his Home of the Groove, and so has Larry over at Funky 16 Corners. Both of these dudes are way bigger Nawlins experts than me, so check them out for more info on West’s career.

Fresh off of the previously released “The Devil Gives Me Everything Part 1 & 2 ” and “Lesson Of Love Part 1 & 2” on Timmion , “Cold In the Storm” picks right up where the two singles left off. West and the High Society Brothers wail on this slow burner, that takes you back to a time when sweet Soul was king, people slow danced, and a horn section meant something. Besides Willie’s velvety voice, it’s Jukka’s (Timmion’s head honcho) drums and the subtlety of the horns that keep this thing floating through. Pressed in limited edition quantities, you’d better get this one before it slips away. BTW, the flip side “She’s So Wise” is a nice upbeat dance floor groover as well, so it’s a two for one from Timmion Records.

More ordering info from Soul Source UK

Email Timmion at sales(at)timmion.com for pre-order of this 7″

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Jonathan Sklute aka Johnny Paycheck is a purveyor of good records. That isn’t just a saying, it’s true. The owner of one of the East Village’s best vinyl spots, Good Record NYC gets some shine this week in Big Ups. Founded in 2005, Good Records has been one of the go to spots for vinyl heads, DJs, producers and any one else who wants to get their vinyl fix of records from the 1950′s to the present. They don’t just sell records, they’re always buying, and stock a wide variety of Jazz, Soul, Funk, Rock, Disco, Rap< House plus records from Africa and Brazil and beyond. Besides being a great record shop owner, Jonathan is also the infamous Johnny Paycheck, of the Low Rider mix Impalaville. Seriously, a stone cold classic. Please get familiar. If you’re in NYC, then you must stop in and check out Good Records. You won’t be sorry. This is a real deal record shop with real deal vinyl. We’re happy to have Johnny here this week.

Check out Good Records NYC on the web.

Good Records NYC
218 EAST 5TH STREET
NEW YORK, NY 10003

PHONE(212) 529-2081

E-MAILGOOD.RECORDS@GMAIL.COM

HOURS:
WEEKDAYS: 12-8PM
WEEKENDS: 12-7PM

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The New York of 1986 is much different from the New York of today. For one week in 1986, Dutch filmmaker, journalist and rap fanatic Bram Van Splunteren came to the United States to see what the new subculture of Hip Hop was all about. With just his crew, a map, and a list of numbers, Van Splunteren’s aim was to find out what this new music called Hip Hop was all about.

After that week, Van Splunteren had a gold mine of footage from the trip. Footage that included Run DMC, Grandmaster Flash, LL Cool J, and all the founding fathers of the Golden Hip Hop era. Unfortunately, for twenty five years, this footage has not seen the light of day here in the States. However, after a quarter century, the footage has returned to the birthplace of Hip Hop, in the new DVD Big Fun In the Big Town.

This documentary shows Hip Hop music from every possible angle when the genre was young, future artists still lived with their Grandmothers, and the art form itself was an even hustle for everyone that was trying to make it. This DVD is available for the first time after 25+ years, and if you’re a fan of the music, a Hip Hop historian, or just want to know where your roots came from, this documentary is what you need.

Commercially available for the first time ever after more than 25 years, Big Fun in the Big Town is nothing short of a revelation. Dutch director Bram Van Splunteren is a well respected documentarian in the arts, music, and human interest fields. Known for previous documentaries about the Red Hot Chili Peppers and Loudon Wainwright among others, Big Fun In the Big Town looks to be another winner.

For more information, visit here.

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This just in from the good people over at Hot Peas & Butta and Record Breakin’ music, an upcoming release (vinyl full length, 7″ and CD bundle) called Kodoja: Terror Mountain Showdown, music provided by the great Big Pimp Jones. If you’re not familiar, you need to get familiar. This 5 piece Hip Hop live band with major Funk overtones has been releasing some great music under the BPJ monicker as well as a few aliases: Clarence Foster and the Internal Revenue Service and Nosotros Pimpamos (both on sold out 7″s for the Freestyle Records label). This band has drums. Big drums, and a big sound. Whether they are releasing faux, lost Blaxploitation OST’s, 7″s, or full lengths on a major label, this band’s unique sound is propelling them far.

On the heels of the Kaiju soundtrack Project:Kyojo from October of 2011, comes Kodoja. This non album exclusive mix by Skeme Richards clocks in at just under 20 minutes, and id chock full of great cinema and monster movie samples from a dude that knows not only his music, but these movies as well. The record itself comes out on June 1, 2012. Here’s the details from Record Breakin’ on the project:

“A KODOJA TIMELINE

TODAY

3 YEARS AGO

15 YEARS AGO

50 YEARS AGO (DOCUMENTED IN PROJECT KYOJO)

With the task of creating ‘the most powerful weapon the world will ever see’, Special weapons Division is formed. Using designs perfected in 1957, the building of a 15-story high robot begins. Weapons systems identified for the program include heat rays to be shot from the eyes and a hull with nuclear weapons capability, able to deploy a warhead with the correct launch codes. The fists can fire from the body and retract back using a strong cabling system. The piece de resistance of Project Kyojo is a computer capable of not only processing tasks and actions but also thinking, reacting and learning from situations. Over time it can use experience form battle simulations and choose on its own the best action to take.

Unfortunately something goes wrong in late-stage tests – suspicion surrounds the origin of the metal used to build the robot (the best metal for the purpose was part of a scrap receovery at Saipan Island in the Pacific) and the robot begins learning quickly. On November 10, 1961 the project is shut down after the final battle simulation (driven by a highly advanced robot that outmanuvers all fighters and tanks, then deploys a nuclear warhead to the testing station) results in four casualties and the complete destruction of the simulation battlefields, facilities and their weapons system.

Gone unnoticed at the time is a major seismic event that takes place on November 8, 1961 in the Pacific. The tremors are felt as far as 4,000 miles away though due to its remote, non-civilian location minimal casualties and damage occur. Naval researchers show bizarre readings of oceanic creature movements, away from the epicenter.”

For fans of large drums, OSTs, monster movies, as well as some horror/ monster trailers, this record is for you. Skeme also has you covered with this remix. Support this label and these great artists by getting a copy of this sound track when it comes out. We are ordering it as we write this…..

Hot Peas and Butta (Big Pimp Jones) – Kodoja (Non Album Exclusive mix by Skeme Richards)

Available here.

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Perhaps the broadest type of music I discuss here on Flea Market Funk is Jazz. I’ve covered many different genres of Jazz. From Soul Jazz to Jazz Fusion to Jazz Funk, as well as some of the traditional stuff. I’m not a Jazz expert by any stretch of the imagination, but I can appreciate good music when I hear it. I’ve always leaned toward the Soul Jazz organists, but can definitely appreciate everything from Free Jazz to Hard Bop and beyond. As I said, it’s a huge category that really has so many players, bands, sidemen and the like in it, one can’t know it all. That being said, here’s a guy I really like. In fact, a friend of mine was mentored by him as a child drum prodigy. Imagine that, being taught and doing clinics with one of the greatest Jazz drummers, not to mention one of the best drummers in the world, Mr. Art Blakey. So today we have some Jazz on 45 that I bought on the cheap. It’s Art Blakey and the Jazz Messengers with “Hipsippy Blues Part 1″ from 1958 on the Blue Note 45.

Born in Pittsburgh, PA in 1919, Blakey originally started out on the piano but eventually switched to drums at “gunpoint”, so to speak. The club owner he was working for wanted to play piano, and when he’s pointing a pistol at you, well you switch to the drums. What an (un)fortunate turn of events for us. Mentored by Chick Webb, Blakey became quite proficient behind the drum kit and by the late 30′s had joined Fletcher Henderson’s band. It wasn’t long before he started to gig with Billy Eckstine, and here’s where the real fun started. An opportunity if I ever heard of one, was presented to Blakey: play besides the great Dizzie Gillespie and Charlie Parker. This opportunity paid off, Blakey’s style helped shape Bebop drumming (alongside people like Max Roach and Kenny Clarke), and before long Blakey found himself gigging with Thelonious Monk and Miles Davis. One of the greatest events to help shape what was next to come for Art Blakey was a trip to West Africa in 1948. It not only shaped what was next to come musically, but had a tremendous impact on his life and the music he made. He converted to Islam (Abdullah Ibn Buhaina), and although he didn’t admit it, would include several African drumming styles into his own, infusing his bebop style with these ancient, rhythmic techniques into the music that would eventually evolve into hard bop. Hard bop would incorporate different rhythms such as Gospel, R & B, and Blues into the music they were already playing, while trying to recapture this particular style of Jazz as African expression.

“ I’m gonna stay with the youngsters. When these get too old I’ll get some younger ones. Keeps the mind active. ”-Art Blakey from A Night at Birdland, 1954

While the West Coast was playing cool Jazz in California, the scene in New York City was driving, hard bop. During the late 40′s Art formed a 17 piece studio band called The Messengers, the first incarnation of what would become the Jazz Messengers we know. In 1954 Blakey linked up with pianist Horace Silver, and after recording Live at Birdland (with a few other soon to be famous Jazz cats: Lou Donaldson, Clifford Brown, and Curly Russell) the two formed the Jazz Messengers. Silver eventually left to go on to his own fame and lead his own band, leaving Blakey with the Jazz Messengers. The revolving door of Jazz players who were in the Jazz Messengers reads like a who’s who of the Jazz world: Clifford Brown, Hank Mobley, Jackie McLean, Benny Golson Wayne Shorter, Lee Morgan, Bobby Timmons, Jymmie Merritt, Curtis Fuller, Cedar Walton, Chuck Mangione, Keith Jarrett, Reggie Workman, Lucky Thompson and John Hicks among others. In fact, up into the late 70′s Art Blakey and his many incarnations of the Jazz Messengers were still playing straight ahead Jazz, as the electronic instrument boom took place around them, they kept their sound the way Blakey wanted. Art often hired younger members, who he encouraged to compose, and often these musicians went on to great things on their own. Art Blakey kept playing with different forms of the Jazz Messengers until he died in 1990 at the age of 71. His legacy left a huge mark on Jazz music, and Blakey still influences a bastion of young Jazz lions today.

“Hipsippy Blues Part 1″, a live cut starts out with the distinctive voice of Pee Wee Marquette who announces the band at the Jazz Corner of the World (Birdland). The line up, which includes trumpeter Lee Morgan, tenor saxophonist Hank Mobley, pianist Bobby Timmons, bassist Jymie Merritt, and of course Blakey on drums is nothing short of spectacular. At this point, the late 50′s, the Jazz Messengers were in high gear, and the energy they exuded showed. Lee Morgan and Hank Mobley, who you can never go wrong with in my book, shines, while Blakey and Merrit stay locked deep in the pocket. The original side, which is over 9 minutes, has been split into two different sides on this 45. The energy is still there on both sides, and I think that this 45 not only captures The Jazz Messengers at one of their best paces musically, but after reading more about what was happening in Jazz at that moment, it really shows how Blakey forged ahead and made the Jazz audiences pay attention to the music once again through hard bop. Another legendary moment in not just Jazz history, but music history as well.

Listen to or Download Art Blakey and the Jazz Messengers Hipsippy Blues Part 1 from the Blue Note 45

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Today I have an all vinyl, brand new mix I did exclusively for Dust & Grooves. For those of you unfamiliar with Dust & Grooves, it’s a photo project by Brooklyn photographer Eilon Paz. Dust & Grooves profiles all sorts of vinyl collectors through out the world in their record rooms. I was profiled in 2009, and since then Eilon and I have been collaborating on projects, listening to records, and spreading the word about vinyl. This mix is a bunch of sides I dig. While they might not be the rarest of cuts, they all have one thing in common: a sweet groove that you can’t deny. Whether it’s Soul Jazz, Jazz Funk, Soul and Funk, or even some Brazilian music, they will keep you moving. Better yet, it’s an all vinyl mix, and most of the records were dug up in the field by myself. With the exception of the Ebony Rhythm Band and the Melvyn Price (each reissued by Cultures of Soul and Wax Poetics respectively) and The Minx OST, these sides are all original vinyl. Like I said earlier, they may not all be the most popular cuts, but I wanted to explore some other sides off of some really solid records. The short organ groove off of Black Caesar is dope as hell, while the original Beastie Boys sample from “Car Thief” by Funk Factory is a Jazz Funk Fusion bomb, out of the ordinary Dennis Coffey & the Detroit Guitar Band and Gilberto Gil mix with reissued heat from Wax Poetics and COS, as Black Heat facemelts a slow track and Jimmy Smith covers James Brown (off of one of the most solid Jazz Funk records to date). There is even some pre-Daptone/ Truth & Soul/ Soul Fire heat off of the Pure label and some deep Rocksteady with Skatalites founding member Rolando Alphonso. All live and all in one take, this mix is all served up to you in through Mixcloud. Enjoy listening to the mix as much as I enjoyed making it.

Flea Market Funk x Dust & Grooves: Get That Itch All Vinyl Mix Tracklist

James Brown – Dirty Harri/Polydor
Funk Factory – Rien Ne Va Plus/ Atco
Melvyn Price – VooDoo Love Dance/Wax Poetics
The Cyrcle (Off of The Minx OST) – The Rigging/ Flying Dutchman
O’Donel Levy – I Wanna Be Where You Are/ Groove Merchant
Dennis Coffey & the Detroit Guitar Band – Wind Song/ Sussex
Jimmy McGriff – Ain’t It Funky Now/ Capitol
Ebony Rhythm Band – Light My Fire/ Cultures of Soul
Soul Providers – Soul Tequila/ Pure
Gilberto Gil – Jeca Total/ Phillips
Black Heat – Street of Tears
Rolando Alphonso – Moodorama/ Studio One

Listen or Download Flea Market Funk x Dust & Grooves: Get That Itch All Vinyl Mix from the Dust & Grooves Mixcloud page.

Don’t forget to check out Dust & Grooves website.

Link up with Dust & Grooves on their facebook pages here and here.

Check out the Dust & Grooves Extra Cuts: Rare outtakes, photos, and videos from D & G sessions here.

Follow Dust & Grooves on Twitter.

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This week’s Big Ups comes to us by way of Australia. DJ Sheep, 3 time DMC champ and heavy digger has been at it for over 16 years. Holding down Brisbane as well as spots world wide, Sheep has been steady digging for records in the four corners of the earth and everywhere in between. Half of EXTRA CHEE$E with Big Ups alum J-Zone and a member of the Terntable Jediz / Dirty Diggaz crew, DJ Sheep is up there with the top diggers in the world. We’re honored to have him in this week’s Big Ups.

DJ Sheep on facebook

Buy records from him here.

Listen and download DJ Sheep mixes.

Check out his site.

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When my father returned from Vietnam safely to our family, he brought back all kinds of stuff. I can distinctly remember him going to work as bayman wearing a rice paddy hat, my mom’s flatware set with Budda on each piece, and the Panasonic stereo receiver, record player and stack of records he brought back. All his records had his distinct signature (first two initials, then our last name) and the pile he had was all over the place: Iron Butterfly, Santana, 5th Dimension, and The Best of Booker T. and the MGs. These records were bought over seas, and had recycled covers, colored vinyl, and strange plastic covers over the LP. The Booker T. record was a US pressing, and it looks like he may have traded it with someone else (my fortune!), because the other name is scratched out and replaced below by my father’s signature. This record is where I first heard Donald “Duck” Dunn play the bass. I can remember the song playing “Green Onions” over and over and over, and any time I hear Booker T. and the MG’s play, it takes me back to my childhood.

Later on, I discovered the Blues Brothers, and put two and two together that Dunn and Steve “The Colonel” Cropper were in that band, playing the classics behind Belushi and Akroyd. I watched that movie more than any other movie (besides Fletch) as a kid with my friend Sammy. We loved the music, we loved the band. As I got older, I always bought BT&TMG 45′s, and still do. In the last few weeks, Booker T. played here in Brooklyn, a show I would have liked to to take my sons to. The little one has to get a bit older, and then we will hit them all as a family. They need to experience real music before they get tainted with autotune, Wacka Flacka, and Katie Perry. I was saddened to hear that Dunn had passed, a small part of my childhood gone again. Last week it was Adam Yauch, this week it was a member of one of the first Soul bands I ever got to listen to. I’ll be spinning some Booker T. and the MG’s tonight for the young ones. Rest In Peace Duck Dunn, your bass lines and pipe will surely be missed.

Booker-Loo

Keep Diggin’

We are always excited when unreleased music turns up here at FMF. It’s even more exciting when a guy like Deano Sounds from Cultures of Soul teams up with the authority in African music Frank Gossner to put out this two piece 45 set. Here’s what COS had to say about the release:

“With the help of Voodoo Funk’s Frank Gossner we are putting out unreleased material from the Afro Kelenkye Band. Led by Jagger Botchway, the group recorded the legendary rare Ghanaian Funk album, Moving World. Soon after the group went back into the studio to record more tracks but ran out of money. The recordings were left on the shelves until Miles Cleret from Soundway Records found them some 40 years later and brought them to Frank’s attention. The track “Jungle Funk” sees the group relax into a mid tempo Afro funk groove. “Mother Africa” is a guitar driven Afro psychedelic instrumental with a fuzzed out guitar solo. “Too Bad Girl” features a dark melody and a laid back trumpet solo. “Munchin’ Session” grooves with trumpet riffs galore. Mastered from the original reel to reel tapes and pressed on 2 x 45s and housed in a thick collectible jacket cover designed by Frank Gossner. Limited to 1,000 copies.”

You can hear samples of the records and get more ordering info here.

This record set is an absolute keeper. Be prepared to hear this on the next FMF all 45 mix.

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Today we have a something right up your alley FMF people. The hardest working man in the Hip Hop label game, aka Spice of Slice-of-Spice Records has a special treat for us this week. There are Hip Hop releases, and then there are Hip Hop releases. Slice-of-Spice has the game down on lock with specialty vinyl. From Guru to Paul Nice to the Biz, SOS has been delivering the goods like no other these past few years. This specialty 10″ of “Spaceship Earth” and Terror featuring DJ Format, Edan, and Mr. Lif was just released, and it is unfuckable with. Here are the record features:

-Mastered loud on heavyweight wax and includes the instrumental versions of “Spaceship Eath” and “Terror”.

-Incredible artwork by Mr. Krum, providing not one but two covers in this top loading Double A sided beast.

Here are the Slice of Spice DJ Format packages available through their web store:

-Retail Version (Black Vinyl – Ltd Edition of 600)

-Special Edition (Clear Vinyl with Black Swirls – Ltd Edition of 200 – Individual Silver Foil Numbering)

-Postcard Bundle (Includes both the Retail & Special Edition version and the promo only super limited playable postcard “Remember (Beatbox Version)”, limited to 150 available .

-Collectors Set (Includes 7 records, x2 test pressings (x2 LP and 10”) limited to 1 of 10 (numbered) and a poster) – 10 Sets Only!

Playable Postcard from the Postcard Bundle

To celebrate the release of this record and the different packages SOS has to offer, there is an exclusive give away from Slice-of-Spice Records:

All you have to do is to go to the SOS Soundcloud page and listen/download to this track:

Terror

Leave a message about what you most like about the track. The best message will win this:

Winners will be notified through Soundcloud by Slice-of-Spice. Now get going, these records will not be around for long.

Go to the Slice of Spice store to check the packages out.

Keep Diggin’!

DJ Day has been making real beats, DJing, and producing out of Palm Springs, CA his whole life. His ¡Reunión! party is legendary, and if you aren’t familiar with him as a DJ or producer, I’d suggest you get familiar. Championed by legends DJ Jazzy Jeff and Gilles Peterson, plus working with artists like PUTS, Aloe Blacc, Quantic and Alice Russell among others, Day has been doing it and doing it well for more than a minute. What I always liked about Day is that his music could take me back to the Golden Age of Hip Hop, when music mattered, and it was actually good. His music does that to a person. Few artists do that today (no disrespect to those who are doing it right, you know who you are), and can make tracks like DJ Day does. I’m happy to have DJ Day in this week’s installment of Big Ups. Enjoy.

Check out the DJ Day blog

Follow DJ Day on twitter.

Like DJ Day on facebook.

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DJ Day – Four Hills/ MPM Music

DJ Day and Exile Get Busy on the MPC

I get texts, lots of them. Texts to remind me to pick my 8 year old, texts to alert me of projects, texts to take out the trash. Thank you Google calender for simplifying my life. My text alert went off Friday from my old buddy Jake. It read: “RIP MCA. Sad fucking day.” Right then and there my heart dropped. It’s not like I forgot about Adam Yauch, one third of the Beastie Boys (and my favorite member), or the fact that he had cancer. When talking about the Beasties’ induction to the Rock and Roll Hall of Fame recently with my wife and Yauch being absent, a red flag kind of went up. I still kept the faith, the Beasties will be back. I sat at my desk for a minute, and I was very sad. The Beastie Boys were a group I grew up with, and just like your grandparents, you always thought they would be around. This news triggered a bunch of memories from my life that I wanted to share.

My first run in with the Beastie Boys was the Cooky Puss EP. I made my parents drive me to mall deep in South Jersey to go get the thing. To a teen with a Sony record/ cassette player, this would be a welcome edition to the Rolling Stones and various Classic Rock records that had been passed down to me by different family members. I was intrigued by the phony phone call put to a back beat. The next run in I had with the Beastie Boys was License To Ill. As a 17 year old with new found freedom and a driver’s license, my 1973 Plymouth Duster with a V8 and an auto-reverse cassette player would wear out multiple copies of the tape. These rappers, who were close to my age, were all over the place, and the sampled Led Zeppelin drum breaks and Rock guitars kept my attention until Paul’s Boutique. At first, I wasn’t sure what to make of it. It wasn’t the same as License to Ill, but after thinking twice about trading it in, I kept it. In fact, it went from my number one stoned headphone record to my absolute number one record of all time. Yes, I too was once dumb and reckless like the Beasties, and as they have matured from the beer swilling, giant penis inflating ruffians from “the City”, so have I. I grew to appreciate the relationship with the Dust Brothers, the amount of sampling that was actually done on the record, and the sheer brilliance of their second album. There will never be another record like that made ever.

When college rolled around, Check Your Head not only brought the hardcore aspect back into their music and had them pick up their instruments again (by then I was listening to Minor Threat, Bad Brains, and Black Flag among others so I could relate), but it also broadened my horizons even further with more of the Jazz, Funk, Soul, and Reggae that Paul’s Boutique started to touch upon. I searched for those original records. I looked for Eugene McDaniels records, I went deeper into Sly Stone and I read up on the obscure references. I also was influenced by their fashion as well. While traveling I managed to grab all the Ben Davis I could (my East Coast friends were still wearing Carhartt). These white dudes were embracing Hip Hop culture, they weren’t herbs, they were actually cool. They were introducing and preserving a whole new part of music to me that I never knew existed. While most of the world dismissed them for their License to Ill shenanigans, I found these dudes to be visionaries. They were the keepers of cool. By the time Ill Communication came out, I got an advance copy from Captiol through my music internship and I thought I’d won the lottery. I was a DJ on college radio and was able to play not only the Beasties, but records they were influenced by. So now I could share my learning experience. They even had their own record label and magazine, and I went to great lengths to get the publication. When I had my business, their clothing label Xtra Large was one of my accounts, and when I went to the showroom below the office of Dr. Allesandro Allegre (see Sabotage video), I felt like I was in some secret club.

“ I’m glad to know that all the love that Yauch has put out into the world is coming right back at him. ” -Ad Rock, May 2012

When Hello Nasty eventually came out, I had seen the Beasties a few times. I saw them in Philly when they performed in the round with ATCQ (and I almost got into a [hello] nasty head on collision while en route to the show, and would have been a goner if it wasn’t for the great driving skills of DJ Prime Mundo) and a few times in NYC. I felt honored to see these guys who I looked up to. A two day stint for the Tibetan Freedom Concert again in NYC where there was a stampede and I ended sitting next to Ben Harper on the concrete bleachers of Randall’s Island (and got a wave from Yauch as he walked through the crowd to the stage) and a sold out show at Madison Square Garden (where Bad Brains cancelled last minute to open) made me realize what innovators they really were. The last time I saw them was at their all instrumental tour in Atlantic City. This was from the front row. During their encore they put the instruments down and grabbed the mics and got busy.

As I grew older, I felt like the Beastie Boys were some older step brothers that were showing me (and consequently millions of others) the ropes. On a side note, my other six degrees of separation with the boys came as I was in my 30′s. I worked for a company that ran the Wu Tang clan Wu Wear site. The Wu had made a killing years earlier selling their Wullabee shoes, their take on Clarks. As the production stopped, and the supply dwindled, I got an order in from a familiar name one day: Adam Horowitz. Not only did Ad Rock get the shoes we sent, but entertained the whole office by signing the required signature for the package as the great Yankee catcher Rick Cerrone. Classic Beastie and NYC humor, it was that kind of stuff that made the Beastie Boys special. On their later records, To the 5 Boroughs and Hot Sauce Committee Part 1 as well as The Mix Up, their beats matured, they visited post punk Gang of Four rhythms, but they just got better. They were more politically aware, and had influence on many of their fans. These NYC natives now had a global influence. I recently attended a photography exhibition in honor of the Beastie Boys two days before induction to the RRHOF. Sunny Bak, the photographer who had taken many early photos of the band was signing copies of the new Def Jam book with the great Bill Adler. Along the walls were many images I remember distinctly from my childhood. The actual photos from the posters I had (and wish I kept) from the early days, a nod to the start of one of the most influential bands of all time. Still, in the back of my mind I still had hope that I’d get to see them one more time.

When it was announced that MCA had cancer, the thought that he would die never crossed my mind. After all, he was 4 years my senior, and he initial reports stated that he could make a recovery. As time passed, tours were cancelled, record releases were delayed, and when just two Beasties showed up at the Rock and Roll Hall of Fame induction, it was startling to say the least. Again I thought possibly he was getting treatment, couldn’t travel, and that the Beasties would perform again. Unfortunately, my eternal optimism would not prevail. Adam Yauch died and a little bit of the Beastie Boys died in all of us. I would like to thank MCA, Mike D, and Ad Rock for changing my life. Their entire career they continued to innovate and influence not just me, but generations of musicians to come. Who knows what the world would have been like if these grandfathers of Hip Hop didn’t spread the message of their music from NYC to every corner of the earth. Maximum respect to the founder of the Beasties Adam Yauch, and may he rest in peace knowing that he touched so many people with the music they all made. There was only one MCA, and one Beastie Boys. There will never be another of each that single-handedly changed the face of the music game.

Thanks to ego trip for sharing this link of the unaired Beastie Boys performance on the Chapelle Show 3rd season.

Keep Diggin’!

Rest In Peace Adam Yauch aka MCA.
A legendary MC, humanitarian, and human being.
NYC will miss you Yauch.

Keep Diggin’!

Since the birth of my son, things have been a bit hectic in the Flea Market Funk household. With diaper changes to Gal Costa, playtime to DJ Format, naps to Alice Clark (the latest baby approved record), and even tummy time to MC Shy-D, we get it all in. It takes up a lot of the day. Besides that, I’ve also been working with Eilon over at Dust & Grooves on a huge project that is dropping in the near future and that is taking up some time as well. I apologize in advance if I miss some stuff that was sent my way.

My man DJ Snafu sent some stuff to me a few weeks ago and he just reminded me about it. He also just sent me the bonus all 45 Hammond mix. It’s entitled: Snafu likes Hammond 45s Because Ginger Girls Like Hammond 45s. You can get it over at his Mixcloud page below.

Snafu Like Hammond 45s Because Ginger Girls Like Hammond 45s

Snafu, also part of the Bankrupt Europeans aka Bankrupt Euros, have put out some records with eternal B Boy and someone I profiled in Big Ups a little while back, Phill Most Chill aka Soul Man. Phill Most Chill’s is the alter rap ego of Soul Man, who has been getting his props lately on the DJ Format release Statement of Intent. The mix is free, but support these guys and go buy the record.

Here are some snippets of the Bankrupt Europeans featuring Phill Most Chill. Enjoy!

Email these guys to get a copy: bankrupteuropeans@hotmail.com

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DJ Cheese is the DJ soley responsible for changing the DMC contest from a dancing to definitive DJ battle it is today. Before Cheese, there was no DMC as we know it. The evolution of the scratch, the routines, and battles all evolved all through DJ Cheese. A talented DJ who started out with the Z-3 MCs in ’85 and made himself a household Hip Hop name with Word of Mouth, is back after a hiatus. Previously touring with Eric B. and Rakim, Grandmaster Flash, Lisa Lisa and Cult Jam as well as extensively in Europe , this turntable innovator is picking up where he left off. It is with great respect and pleasure for me to bring you DJ Cheese this week in Big Ups.

DJ Cheese 1986 DMC Finals

Check out DJ Cheese on Bass Station internet radio every Thursday night 4pm to 7pm US time and 9pm to 12am GMT

Like DJ Cheese on facebook.

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