Hatin'/A trip down memory lane
On Friday, Serg Dun, Soft Money and I taped a new installment of Stay Hatin', which you can stream or download here.
In it, we play a lot of new rap songs we like and also speak on important topics of the day, such as the singer Lloyd's resemblance to Gonzo and the genius of Los Masters Plus and Frank Frazetta.
These are the songs we played, most of which are available in a .zip file here:
1. A.Dd+ - Genocide
2. Mobb Deep - Conquer
3. Andre Nickatina - Call the Dealer
4. Juicy J - Stoner’s Night 2 feat. Wiz Khalifa
5. Z-Ro - Stompin
6. Ghost8800 - California Hot Boy feat. Birch Boy Barie & Gigs510
7. Nacho Picasso - Moor Gang feat. Jarv Dee
8. SL Jones - Gas Station
9. SpaceGhostPurrp - Dont Give a Damn (Miami Bass)
10. Fat Tony - Lotus
11. Willie Evans Jr. – Introducin’
12. Lakutis - Lakutis In the House
13. Keak Da Sneak - Punk Ho
14. Twelve - So High feat. Lil Goofy
Although I didn't manage to work it in, I had hoped to play this song:
Rick Flare: "Family" (The Good Look Movement, 2011)
Rick Fairley a/k/a Rick Flare a/k/a Kwanz a/k/a K-Dub a/k/a Dubstar Infamous passed away last year. The video was made posthumously and (I'm guessing) released to mark the anniversary of his death.
I didn't know Kwanz personally but he touched a lot of people I know. He was a member of SF's long-running Bored Stiff crew.
Back in the early 1990s, I used to work at the Groove Merchant record store. I think all of the guys in Bored Stiff lived in the neighborhood and they would come through often, usually in a big group. I never really became friendly with them, but over the years I admired a lot of the stuff they did both as a group and in the production Equipto and TD Camp did for Andre Nickatina, Mac Dre and others.
The Rick Flare song made me think of this, which I hadn't listened to in many years:
Marvin Holmes and Justice: "I Can't See You" (Brown Door, 1973)
Then I got to thinking about how we value things differently as times change. Back in the day, Groove Merchant used to regularly put copies of The Summer of '73 on the wall, usually priced at about $12. In those days, any time a record was marked over $10 it seemed to draw a lot of eye-rolling and questions about why our records were so expensive. Even so, people often shelled out for The Summer of '73 when we played "All Night Into Day", a snare-tight funk instrumental, over the store's system.
At the time I don't think any of us really appreciated "I Can't See You", "Got to Be There" or some of the more soulful songs on the album, but these days those resonate with me a lot more. I remember picking up a lot of copies in those days for two or three dollars; the record also sells for way more money now.
I feel very thankful to have come up in a time when there was so much low-hanging fruit and also that I've been given the time to savor it.