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HardC.O.R.E. Vol. 1 Issue 7
Section 1 -- One
HardC.O.R.E. Vol. 1, Issue 7 7/22/93
**the alt.rap underground special**
Table of Contents
Section Contents Author
---- -------- ------
1 Contents
2 Da 411 -
3 Lyrics - Rap Is an Art dwarner@journalism.indiana.edu
4 Review - Y'all So Stupid gt7214b@prism.gatech.edu
5 Lyrics - Drop the Gun Virginia.A.Reed@Dartmouth.EDU
6 Review - Capital Tax juonsteve@bvc.edu
7 Article - Atlanta Hip-Hop gt7214b@prism.gatech.edu
8 Lyrics - Studio Smokers wwhitfie@AFIT.AF.MIL
juonsteve@bvc.edu
9 Lyrics - A Walk Through The Masta Ace
Valley
Section 2 -- Two
The C.O.R.E. creed
We at C.O.R.E. support underground hip-hop (none of that crossover
bullshucks). That means we also support the 1st Amendment and the
right to uncensored music.
I'm audi 5 to my doghouse!
"I got more rhymes than Madonna gets dick"
KRS-One : I Get Wrecked
Asalaam Alaikum from MC Flash X
Section 3 - Three
"Rap Is An Art" written by David J. Warner
Rap is an art that started in the streets.
Rap is an art of poetry on top of beats.
Rap is an art, and I start from the heart to take my part.
That's when I drop a trump card.
A dope beat and bass that's bound to make your day.
Word is born, spoken by David J.,
another rap artist coming fresh on the scene.
I'm not a wrapper; that's a whole different thing.
A wrapper's what you put on food so it won't go stale,
or you put it on a gift for sale.
You'll notice it's also spelled differently, too.
It starts with a 'W'. It won't trouble you
to remember this the next time you talk about
hip hop and watch me turn the jam out.
I'm not trying to rule. I'm just playing my part,
and yes, I am an artist because rap is an art.
Rap is an art that's bound to last forever.
Rap is an art, not a commercial endeavor.
I've heard the commercialized, and I can do without it.
Some say it's all commercial. Why do I doubt it?
That's the clan that flashed in the pan,
went for self for the wealth, and left the talent in a trash can.
I'm not a factory scab, boy, I'm the artisan.
You try to do me? I aim like a marksman.
Takin' out the suckers just like the 808,
then I set 'em straight, and show 'em how to create
a dope set of tracks on wax that just kick the facts,
and papes are made in large stacks.
They may come close, but yo, I won't sweat,
'cause if they keep frontin', they still get no respect.
So why you dis me by sayin' you climbed the chart?
You ain't got no rap, 'cause rap is an art.
I know there will be some who still try to dis
just because I say rap is an art, but they miss
the point, the idea, or the mark I hit,
while all of their arguments are full of nothing but
misconceptions and pre-conceived notions
that we swear, sell drugs and put bullets in motion.
Most of us aren't like NWA.
It's just the stickers on our records made it seem that way.
I say, "Hey, that ain't the way I play."
I don't make a dope jam and then throw it away
with these gangsta gank moves, that ain't my groove.
I roll smooth, 'cause I don't got nothin' to prove.
I just drop rhymes, drop styles, and drop the knowledge,
wreck shop, non-stop, on stage and in college.
So don't try to check the lighter attribute.
I may like the Blue Devils, but I'm not David Duke.
It's funny. When a rap artist sheds some positive light,
the media doesn't think it's right
to devote newshole to an equality goal,
but mention "Cop Killer" and the press starts to roll.
It's time to band together and show we have heart.
Without it, rap is sure to fall apart.
So don't waste time trying to chart.
Concentrate on the rap itself, 'cause rap is an art.
Section 4 -- Four
Martin Kelley
Review: Y'all So Stupid -- "Van Full of Pakistan"
Produced by Spearhead X
Rowdy Records/Arista
Rating: 3.5 out of 5
Introducing the Atlanta group Y'all So Stupid. This is the debut
album from the kids who used to dish the "Bullshit" (one of their
old performance cuts). The LP is in there as far as I'm concerned;
as a hip-hop head from Atlanta who has performed with these guys
around town and seen them grow as artists. However, I think that
I'm biased in their favor in that respect; as opposed to some of my
fellow local artists who are biased against this album for that
very same reason: they have hit nationally while some of us are
still strugglin' in the BASSment. Now I've got some personal beefs
(minor) with Y.S.S., but I'm proud of their success just the same,
and I hope they do very well. I think that the album is good.
H2O, Logic, and Uncle Buk gots skills and 1/2, wild energy and
enthusiasm to go along with that. The latter is probably what got
them the deal; they used to be hyped live but I haven't seen them
perform since January of 1992 at Georgia Tech's Rapfest '92. Their
beats are OK, I like some of them more than others. The most
striking thing though is the consistency of this album. This isn't
a bad album that has one or two dope cuts and drops into the
dumpster of bad skits (though there are a couple) and booty tracks.
Instead this album starts out with "Introduce Me," which does
indeed introduce the crew and their style. From there, it
continues at that same level, at the same intensity, at the same
beats per minute, at the same number of lines per verse, well not
quite like that. However, I'm hinting at what might keep people
from considering this a good album... once you've heard one Y.S.S.
cut you've heard them all so to speak. There's little variation
from one track to the others, just different rhymes.
I hope this review isn't confusing you. I still say thumbs up!
But, that's just my opinion and like I said it may be biased. So
if you have heard the singles and like them, and want to hear them
tackle subjects like bootleggin of tapes "Bootleg Breakdown" or
white girls acting black "Dirt Road White Girl" or gettin' blunted
"The Plant" or observations on the black community "Family Tree" or
just plain flauntin' their skills "On and On" then as Dres would
say "Pick it up!"
peace, Martay
Section 5 -- Five
Alex Reed
Drop The Gun
by LX
Drop the gun, your the one, get it outta my face
Nobody see nobody hear, there will be no case
Thinkin' hard about the trigger, and how he might have pulled it
Thinkin' hard about the hollow tipped bullet
So put it down, hear the sound as you kick the books
Feel the pain, heavy chain, it was me you forsook
Cause when judgement day comes around
The only thing left will be the echo of the sound
The sound of shells raising Hell on the floor
The sound of Mr. Sandman knock-knockin' on the door
The sound of one as all, and all as one
The sound of bullets in the air; Drop the Gun
verse two:
To fine tune my engine, to hold the nine
Everything is like a painting, it's all in line
End of the world, I suppose it's all true
Now pull back the blade, and so it makes two
When it comes for your head, move outta the way
Cause you might get hurt
In the alley in the back road down
All they found was the hitman's paydirt
Drop the gun
verse three:
It all comes to mind when you think of the peril,
Lookin' down the jet black tubing of the barrel
My heart beats with power, liberty in the South
You gotta act with your nine, and think with your mouth
That shot was meant for you so come in from the cold
Think about what you're doin', you're sellin' your soul
You go all too fast and fall into the crease
So put down the gat, cause here come the police
It's curtains for the G who's in the glass bubble
The bullet comes around and the bullet means trouble
Turn around, look down at the man you stung
Cause now he's dead, really dead, come on, Drop The Gun.
Section 6 -- Six
Steve Juon
Capital Tax - The Swoll Package
Rating: 4.5 out of 6
"The Swoll Package" is a slice of cherry pie... good crust on the
ends but DOPE juicy filling in the middle. For example: "Mista
Wonka", the 2nd cut, has good rhymes paired with slightly better
than average beats; the same can be said of Poet Treeman, the 3rd
to last cut. Such songs could themselves be compared to mashed
potatoes: tasty, filling, but rather unexciting.
What redeems this "package" is the unexpectedly good cherry filling.
Indeed, many of this mid-tape songs blend lyrics and groove so well
that they are destined to become hip-hop classics. Among those
that I would choose is the poweful "I Can't Beleive It" and the
stomping funk of "Can You Dig It". Now it's not enough to have
good beats and lyrics; ya gotta be able to flow your rhymes or it
won't work (for more 411 check Isbell's review of Main Source).
Fortunately, frontman TMD is not lacking in ability; also, his
vocal pitch and inflection are unique. I do realize that some
people will find the spoken word choruses dominant on "The Swoll
Package" annoying. I admit some more variety in this area would in
future be appreciated. However, it doesn't truly fuck up any of
the songs. I would even argue that it adds flavor on some cuts
(Can You Dig It would not be as fun without that shout). It's
really up to you... if you can't tolerate a few average songs
(and/or vocal choruses) then don't pick it up. But if you do pass
on it you are missing some DAMN GOOD cherries!
Asalaam Alaikum, MC Flash X
Section 7 -- Seven
Martin Kelley
The Atlanta Scene
This summer hasn't been too kind for Atlanta's Hip-Hop artists
in the duo or group categories. ...and the nominees for worst
break-up of a good hip-hop duo or group are: Too Krazy and Tribal
Science. The winner is... Tribal Science! By a long shot. Too
Krazy locally known for being the "Big Joshes", they get props from
Y'all So Stupid in their new album. They have split for what I
assume can be called "creative differences". Krazy Bam, the lead
rapper, is now solo and has performed recently at a few Hip-Hop
shows doing the Too Krazy material without his ex-partner Krayhun
(pronounced Crayon). Tribal Science on the other hand was
scheduled to appear together at the same show that Krazy Bam made
his solo debut. Now the group had canceled their appearance
beforehand but the very night of that show marked their violent
break-up. I won't go into details but it is safe to say that
B-right and Red Baron won't be kissing and making up anytime soon.
The group had been having many internal problems for a long time
but they had always gotten over them. This time though I'm
confident that it is over. The group name may still be used by
B-right as he is currently working on his own material. It seems
that all these breakups occur in two here in Atlanta; because last
year in the early summer two groups who were though to be on the
bubble of a breakthrough (just as Too Krazy and Tribal Science
were) K-I-N and Reign of Terror both dissolved around the same
time. However, their demises didn't take on such volatile
characteristics as these new break-ups.
Slightly related to hip-hop, the producer team of L.A. Reid and
Babyface is rumored to be redefining their relationship. This came
as a surprise to me since I recently ate lunch with L.A. at a
N.A.R.A.S. seminar and there was no hint of any problems with his
relationship with Babyface. But of course, even if there were
problems, L.A. wouldn't let the car out of the bag so to speak. It
would be a shame if the team does indeed break-up because they have
done so much to bring attention to the music scene here in Atlanta,
and if they should part I'm sure that Atlanta will miss the synergy
that is created by the team's presence alone.
I guess I should run down the rumor mill of possible deals for
the local acts. Gena Si Qua is rumored to be negotiating with a
few big labels for a deal. You might have heard the name Gena Si
Qua if you watched last year's Billboard Music Awards as Boyz II
Men shouted out to them right after they thanked God. The reason
for this is that they are now managed by Wanya the youngest member
of Boyz II Men. So you may be seeing a single or something from
them soon as they are being courted by the majors. An independent
deal was apparently struck by the Project Boyz and Third Eye
records and their album is said to be already out. I haven't seen
it yet but that isn't surprising knowing how hard it is for an
independent label to get good distribution.
Please don't blame Atlanta for the bass crazy although we
probably deserve it. I'm sure all of you have heard the
"Whoot!..." and "Whoomp!..." versions of "...there it is" and both
of these Top 20 Pop songs were recorded here in Atlanta (though
Whoot! is by Miami's 95 South) along with the "Roxanne" of the 90's
bass craze "Daisy Dukes" by Duice. Billboard has even called
Atlanta the new Bass capital of America. Thanks a lot! However,
if you read this report you should know that there is real hip-hop
here in Atlanta.
In other news, Snoman is currently recording his solo album
for Conquest/Ichiban records. You can peep three of Snoman's cuts
on the Conquest of a Nation compilation album. Snoman ain't
hardcore or soft and he's not even really on an underground style
but he definitely is unique and has clever rhymes. I recently
caught him performing and he had the crowd in control. also, the
Natural from New York, her single and video "To The" was released
around November of '92 was recently in Atlanta working on tracks
for her debut album with none other than the infamous East Coast
Tribe. B-right and Transcribe are both going to produce tracks for
the project. I'm not sure what label is going to put it out
because several have shown interest, but she's got mad skills and
hip-hop runs in her family. Her brothers are Disco Dave and
MixMaster Mike from the Legendary Crash Crew and her nephew is
Nastee from Trendz of Culture. A group called 9mm (pronounced nine
double M) is getting a lot of local press because they combine
gangster rap with dancehall. Also getting mad play on Album 88's
Rhythm and Vibes Show (10 P.M. - 2 A.M. Sunday nights, 88.5 FM if
you're in town sometime) is an MC that goes by the name of Forty or
40, take your pick, but he's got skills, a good voice, and nice
production so I wouldn't be surprised if he does some serious work
in the months to come. Well that's it for now. I'm gone.
peace and love,
Martay
Section 8 -- Eight
Walter D. Whitfield (#1) -- Dirty Mack
Steve Juon (#2) -- MC Flash X
Studio Smokers (Light That Shit Up?!)
Verse One (#2)
Mista Grimm go ahead take another toke
It's your own business if you choke
That's how ya roll a blunt, that's how ya roll a blunt
So light that shit up, cause I don't give a fuck
Yeah Redman you can feel real high
But if I smoked the shit I would probably die
Just don't make me give the shit a try
If I did do it I'd do it for real
Not to gain mass appeal
You know these people are so hypocritical
That's why I'm cynical
Dr. Dre said it best, I don't smoke weed or sess
But now he loves the mess
He stepped up dedicated an LP to Chronic
The tape was phat but it still don't redeem it
Or Dre for not being true
Now how the hell we know who is the real you?
Does the real you puff and pass to the next man
Or did you front positivity for cash in the hand
Or are you fakin your love for ganja?
We just want to know where you're coming from
This is a warning Dre, come correct
Or we'll snap your motherfucking neck
Verse Two (#1 and #2)
#2 - This is how I see it!
A few dope crews
#1 - are doing chronic (madness)
Cause, they think they dope,
but a joint is a spliff.
But, Mr.,
Record, Executive,
thought it was cool,
having blunted up rappers
excuse me,
niggas for fools.
so go ahead homie,
take another hit
yeah, (brief enhale) the mutha fuckin chronic!!!
#2 - So convinced,
#1 - was the jacker to the Jane.
#2 - a madd new single,
#1 - plus a little bit a fame.
dumb stupid kid,
rollin kinda major
with a little bit gold
and a fly skypager
Verse Three (#1)
a years gone by
and everythings changed
lookin all broke up
like a house of pain
now ya through,
feelin kinda blue,
talkin bout the one that flew
over the cookoo's nest
but look at yo'self boy
you're a mess.
record company wont touch ya with a 10 foot pole.
bitches lookin at ya while your being pimped like a ho.
from top of the crop
to the bottom of the pit
now look at what Mr. Record Executive
done did.
turn yo ass out like a two but trick
and ya still wanna smoke the mutha fuckin CHRONIC!!!
Section 9 -- Nine
Masta Ase - A Walk Thru the Valley
As I walk through the valley of one eighty-seven land
No matter what state, what city, what town
I can see there's no place to run, no place to hide
I could be in the crosshairs of somebody, somewhere
I wanna ask why...
But I ain't got time for that
I gotta keep movin on
Or be the next one to die
I walk through the valley of no-man's land
Sayin peace, slappin fives and holdin up those two fingers
To the many nine millimeter automatic pistol toting young men
that roam everywhere
I wonder what will be the next small incident
That will cause one of them to pull out
And spray bullets recklessly in every direction
Will my grandmother be on her way to the store
For a loaf of bread and a TV Guide at that very moment
As I walk through the valley at night
I'm thinkin, "I don't know that brother walkin across the
street in the black hoodie, so he may be a threat to me"
He's thinkin, "I don't know that brother walkin across the
street in the blue hoodie, so he may be a threat to me"
What's goin through out minds
as we reach down into our waistlines
And pull out the tools, the heaters, the slaps
the pistols, the gats
the jammies, the grips with the clips
All placed there purposely by them
"Here niggaz, sixteen shooter made specially just for you"
What goes through our minds at that moment
when a brother's at the other end of our barrel
About to catch a hot piece of steel
And take his last breath
What goes through our minds
What's goin through our minds
As we walk through the valley
