Welcome to Run Royal. This site is here to share knowledge, opinions, personal experiences and to connect with like minded heads on Hip-Hop music and it’s culture. Straight shooting the substance without bullshit in between. Think of this site as something like a fan boy talk show, with regular segments, known only here as (Know the Ledge). Our store will provide an outlet to release any product that we are directly involved or co sign with. This will come in due time.
Take a look around and get to know what will quickly become a place of priority when you want an informative and personal look into Hip-Hop and all that it encompasses.
If you have something you want to share with us, hit us off at email@example.com
I think DJ Skizz is owed a great debt for having the stones to put together this collective of hardbody rap gods on one track. I’m neither here nor there with the Droog/Nas comparisons but i give thanks to Skizz for letting one of the greatest MC’s DITC ever birthed another chance to shine.
Brooklyn stands strong on this track but Uptown reigns supreme once Milan Costantine has done his thing.
DJ Skizz- Hot Breath ft. Your Old Droog, Sean P, Li’l Fame and Milano Constantine.
Today I thought id set your Friday off right with over 2 hours of hand picked funk and soul goodness up for free download/stream from Melbourne artist/dj now residing in Cali, DJ Mexi. While your at it peep the rest on offer via his Milkcrate page, in particular the latest NY 90′s mix. Cheers for the heads up Ciecmate.
DJ Mexi – 5 Dollar Funk Mix.
“Back in May 2013 I scored a box of 45s at a local church yard sale for 5 bucks. This is the resulting mix. Recorded with warts and all in one take.”
Label: $2 Scratchies.
Artist: Various mixed by DJ Mexi
DJ Mexi – WeSC X Stereo Launch Mix Part 1: The Early Set
An all 45 set recorded live at the WeSC x Stereo collaboration launch, Kingswell, LA 10/25/14
Label: $2 Scratchies.
Artist: Various mixed by DJ Mexi
Just in case you missed it: Each Wednesday we’re taking a couple of minutes to talk about the importance of certain albums that dropped on Wild Pitch Records, a label that dropped a tonne of varied and great rap music from the late 80′s up until the mid 90′s. Most of the labels releases are long out of print and are either highly revered or largely forgotten about in the grand scheme things.
Look at that cover art (above), it’s incredible as well as timeless and indicative of early 90′s regional rap. Unfortunately the wax is a generic black sleeve with the logo and track listing stickered to the right hand corner – it is on mine anyway, and the few i saw on Discogs when looking to see if the picture cover existed on vinyl. Regardless, that silhouette logo is nuts!
True story. I went into a record store on Manhattan’s lower east side a little over a year ago and found a copy of this on vinyl, same as the one above, i was stoked, i took it to the counter eager to fork out the fifteen buck price tag. I get to chatting to the dude behind the counter about music and he tells me he’s ODB’s older brother and that him and his cousin the GZA are currently working on something. I bugged out and started asking questions but i was polite enough to give the dude my condolences for the loss of his younger brother Ol’ Dirt, to which he replied “yo i appreciate that my dude but that was one wild ass nigga, no one could tell that motherfucker what to do”. He said that shit in a real animated way and then continued with, “oh you an Ossie?! great selection homie” referring to my purchase of this very album.
I digress. Street Military were a five man crew from Houston Texas that put out a seven track ep in 1993 on New York based Wild Pitch Records. According to something i read on lead MC KB Da Kidnappa this was by and large the reason the album failed commercially and almost faded into obscurity, a New York label didn’t know how to market and promote a rap act from Texas. Eazy-E was reportedly interested in Street Military at a point in time also, while one MC, Pharoah is doing 200 years for murder or some such offense. Another dude in the crew Nut was killed in some gang shit while the afore mentioned KB Da Kidnappa is the only member that’s appeared to have stayed in the rap game, i saw a 12″ a while back where he’s draped in an anaconda on the cover. He’s still breathing apparently.
All of the above is secondary to the music which is that classic early 90′s Houston funk, though comparing Street Military to the Geto Boys would be like comparing Above The Law to NWA, two completely different entities. SM are melodious similar to how Above The Law were melodious but not quite as melodious as Bone Thugs were melodious, get it? Not as abrasive as their peers. Check the title track.
I’m not aware how Street Military wound up as what would appear to have been Wild Pitch’s down south experiment and why they weren’t signed to Rap-A-Lot, but the undeniable thump of that early 90′s down south bass with over riding keys, strings and layer upon layer, too much is never enough. Producer Icy Hott does his thing and is also a member of the Houston collective, South Park Coalition. The last track on the album is the gleefully titled “Dead In A Year”, the lyrics are bleak but the beat is all that shit i was just talking about before, layers.
There existed a time in hip hop when releases from outside of either New York or Los Angeles were considered regional. The Convicts, 5th Ward Boys, UGK, 8-Ball & MJG, Gangsta NIP even Outkast before they blew in the late 90′s were all relatively unknown outside of Texas, Atlanta, Memphis and anywhere else not called NYC or LA. This neglect from the major markets led to a thriving down south scene largely harbored and nurtured throughout the late 80′s and into the 90′s by Rap-A-Lot Records. Of course as the 2000′s rolled around regional rap’s influence would come to infiltrate the New York market and even begin to dominate it’s airwaves, but that’s a story for another day.
I’m definitely not the foremost expert on Houston rap but i do like to dig a little deeper than just Scarface and the Geto Boys. My comrades Heata and Bigfoot hipped me to this album in the mid 2thowz, i borrowed Bigfoot’s copy of it on CD and didn’t give it back for three years. Street Military’s debut is now, 20 plus years later, considered a benchmark release for the Houston scene. If you fuck with Rap-A-Lot or even Wild Pitch (funnily enough) then you’re probably up on this already but if you aren’t i’d consider it well worth your time.
A regional rap classic that’s very much of it’s period in sound and flavor but one that is well worth your time if you enjoy early 90′s gangsta rap.
For our second round, AkidcalledChubz hosted and dug ‘David Porter – I’m Afraid The Masquerade Is Over’ taken from his third album ‘Victim of the joke? An Opera’.
We invited Servo, Dkues, Dontez and Insideus to flip the script with it. Have a good listen and cast your vote before next Tuesday.
According to Ben Baller – LA DJ, jeweler and former Death Row affiliate – Beyonce’s husband not only wrote Dr. Dre’s Snoop assisted hit “Still D.R.E.” but also recorded a ghost version for the good doctor to make sure his flow and cadences were all on point. Ben Baller also stated that the above mentioned recording was firmly in his possesion, Still Dre performed by Jay-Z… While its no secret to anyone that rap’s first billionaire has a habit of calling in producers and attaching his name to their work, the thought of a version of “Still D.R.E.” being performed by Hov interests me no end, or more to the point, hearing Hov perform “Still D.R.E” would interest me no end!
This right here in my opinion are the 2 most powerful Burgers in Melbourne. I would love to tell you their names, but that would ruin the surprise of making the trip to this fine establishment and finding out for yourself.
Located at 55-61 Princes Hwy, Dandenong, owner Dani & Head Chef Terri have taken the Burger game to another level. I first discovered this place over a year ago thru following Jimmy’s Burgers and have come to call this place a second home. The staff are incredible and the service is second to none. The place can be packed and you will never wait. Outstanding.
Also, check the graf out the back. I don’t pretend to be an expert in this field but know that some Kings have been around this place and left their mark. All approved by the venue which is yet another reason why this place is top notch!
Just ask Dedlee! Burger game on lock! Highly recommended.
WEBSITE - http://www.dpav.com.au/
How many of y’all know what Super 8 film is? For those that don’t, it’s 8mm Film Stock. Super 8 was the home movie camera format from 1965 thru to the invention of the videotape based home systems of the late 70′s. Super 8mm generally cost around $30 for a 3minute reel (well it was when I was buying it in the 80′s/90′s), that would have to be sent to a camera distribution dealer such as Eastman Kodak for developing. Ahh, the beauty of film. I can go on about it for days, but know that digital in any capacity, will never achieve film’s raw beauty and look. Period. Expensive yes, worth it? Absolutely, viable and affordable by today’s standards? Not so much. Technology wins again. Moving on….
The point of the above blurb now leads us back to this clip. It was shot on Super 8mm film in 1992. Really, someone still using this film format in the 90′s? Pretty much unheard of. The footage is raw as fuck. Dirty grain ridden exposures and next to nothing lighting set ups, this clip reminds me of my first short films I was shooting around the age of 12. Handheld and ruff as guts.
This clip is so raw not just because of the film stock, but also because of the history and crew involved. Mobstyle were no joke! Harlem heavy hitters in the dope game & the streets who came with a vicious style plus a very public on record hatred for NWA. PT Pacino called em fakes, studio gangstas, and reportedly, PT was rumoured to be responsible for starting a riot at an NWA gig back in the day in NY.
The track is furious and the injection of vocal samples from the film “…And Justice For All” re-enacted by the actors in the clip is classic. But hands down, the street heaters pulled out in the clip are heavy as fuck. The stand-out scene has to be the Barber Shop scene where PT is getting a “T” shaved in his chest by the barber.
Judge – “You’re out of order!’
PT – “You’re out of order! If I do time I’ll kidnap ya daughter!”
Directed by Roy Taylor
Recently, our Hired Goons & BTE crews amongst many family and friends, lost our dear friend Joey Gargz from this world. Never to be forgotten, Joey’s legacy and friendship will be with us forever. If you are in Melbourne on Nov.21st, 2014, head down to the Laundry Bar in Fitzroy and come celebrate his life through music amongst family & friends. Sure to be an amazing night in memory of Gargz! Rest In Power brother.
Following the recent news of a reunion… Non Phixion have re-released their classic album ‘The Future Is Now’. Madd limited coloured wax bundles and the never seen before cassette format are available for pre order now at http://www.fatbeats.com
Label: King Kong Holding Co.
Artwork: Mr Krum
Artist: The Purist, Roc Marciano, Action Bronson
Side A: The Purist & Roc Marciano – Change
Side B: The Purist & Action Bronson – Northern & Roozy
UK producer, The Purist hit both Marc and Bronsolini with some laid back classic shit to flow on for this. Both killer tracks. Dope blaxsploitation type artwork too. Limited to 300.
Side A got the visuals.
If you like this check for the 12″ ‘By the Book’ also featuring Roc Marciano, released in 2012.
Welcome to Wild Pitch Wednesday here at Run Royal where each Wednesday we’ll take a brief look back at one release from Stu Fine’s storied imprint, Wild Pitch Records. Most of Wild Pitch’s catalogue has long been out of print relegating many of the label’s releases to mere footnotes in the annals of rap music, so why not shed a little light and take the time to have a look back at some of the labels classic releases.
The Coup hail from Oakland California and released their second album, Genocide & Juice on Wild Pitch in 1994. There was a radio show that broadcast around my ways back in ’94 called Phat Tape, at the time hosted by DJ’s Katch and Frenzie. Phat Tape introduced me to numerous acts of the era when each sunday night i’d set my cassette to record and then spend the next day at school listening to everything i’d recorded the night before. It was on one of those same tapes i was introduced to The Coup, the track “Pimps” to be exact, which was sandwiched between Keith Murray’s “The Most Beautiful Thing” and Channel Live’s “Down Goes The Devil” (i rewound that tape so many time i still remember the order of tracks around it).
The Coup in 94 consisted of Boots Riley, E-Roc and Pam The Funkstress, E-Roc would leave the group following this album. The album’s title was a play on Snoop Dogg’s popular song “Gin and Juice” (taken from his 1993 debut Doggystyle) and was a pointed commentary on the state decay within the black community at the time, a time when gangsta rap’s largely negative message was dominating not just hip hop but popular culture also. The album’s production – handled by Boots – was definitely “west coastcentric” and indicative of the era, g-funkish with live instrumentation and featuring appearances by fellow Bay Area natives Spice-1 and E-40. I want to highlight tracks 2 and 3 in particular keeping in mind that there’s a whole album of dope lyrics and beats following these two songs. Fat Cats, Bigger Fish plays directly into Pimps and could possibly be the greatest saga hip hop has seen since EPMD introduced us to “Jane”.
Fat Cats kicks off with down on his luck hustler Boots Riley off to pursue another day of hustling, scamming and partaking in just about any scheme that’ll see his pockets grow and those around his lessen. He’ll pick pockets, scam bus tickets, sweet talk a butt-ugly chick for free fast food until he happens upon his cousin, who as luck would have it is throwing in his job waiting on a bunch of wealthy white industrialists. Knowing these well to do devils won’t pick him from his cousin (“they be thinkin all black folks is resemblin”) he swaps outfits and goes in for some “pocket swindling”. Once inside the magnitude of what he stumbles upon is unfathomable, thinking himself the greatest “sneaky motherfucker” he comes to understand the magnitude of the scam these white folk CEO’s are pulling daily on his own people, “i’m gettin hustled only knowin half the game…”
“Fuck naw i aint got no grey poupon” Boots says as he passes another wealthy socialite. Funnily enough this socialite broad is attempting to coax David Rockerfeller into telling her more about this new venture of his called rapping. In his pompous anglophile tone Rockerfeller replies “we have this thing we do with our voices, we sing like authentic rappers” and then agrees to display his new venture providing the orchestra in the background can make the music more funky. After one of the richest men on earth proceeds to break down how they’re actually pimping the entire system and that the common man is the trick, the mic gets passed to Jon Paul Getty, another immensely wealthy industrialist who’s trying his hand at this rapping thing. After a little bit of coaxing and asking the accompanying lady to hold his glass “i have to do those hand gestures”, Getty proceeds to break the systematic corruption down in much the same way David Rockerfeller had done before him… And then Donald Trump shows up, embarrassing both Getty and Rockerfeller by dropping “something i picked up at a property i’ve got down in the carribean”, the group attempts to disperse so they’re not seen in the company of outcast Donald Trump.
Genocide & Juice celebrated 20 years just recently and it hasn’t aged a day in my books. Its actually ahead of its time in the sense that it speaks on many issues that are only beginning to come to light today in 2014. Boots Riley’s storytelling is masterful, he can paint the most vivid and detailed art with his words. I still give it up to Slick Rick and Ice Cube as great story tellers (even Nas) but Boots’ eye for detail is something else, i’m listening to a video clip when he kicks it. Audio video rap! Press play on Fat Cats and then go into Pimps, its one of the greatest and most original narratives in rap music!
Back in 2011 (seems so long ago), with some solid savings and life presenting one of its many opportunities, I did what many before me have done, that being ‘the pilgrimage’ to the the worlds capital city, the mecca, the birth place of Hip-Hip culture (New York City).
Me and the wizz snagged a short stay apartment in the LES Manhattan, immersed and embraced every aspect of being a mother fucking New Yorkers for a month; from getting to know my local pizza pie chef for the daily $2 slice of chicken and broccoli to pissing it up with the Rican’s at 2am fiendin’ that beef, beans and rice with the hot sauce from a truck on a stinking side walk of Brooklyn.
Story’s are many from that trip albeit, one that I’ll take the grave that’s worth sharing was the time Queens took over Tammany Hall in Manhattan for an barrage of unadulterated hip-hop for the Large Professor/Neek the Exotic – Still on Hustle release Party.
If I remember correctly, Sunday night I was briefly trawling the webs for live venues and found the upcoming shows for Tammany Hall page. I lost my shit when I noticed one of the greatest MC/Producers was going to be hitting the stage the next following me reading this. The adrenaline started pumping with fan boy excitement right there and then. I said to the Mrs we’re going to this shit and we’re rocking up for door entry EARLY!!
Monday night, I knocked back a few 40z colts back at the apartment as you do and deliberated whether or not I should take the DSLR and flash (glad I did). We turn up to the venue at 8pm on the button and not a single person in sight other than a fuck off sized bouncer who ushered us in to the stub bitch where we paid $20 each for entry into a intimate venue. The flyer stated ‘show at 9pm’ but being foreign to shows in NYC I figured we best be early with this line up and it’ll give us time to get slightly marinated and check my camera etc..
About 45 minutes passed, I’m pretty pissy and I’m thinking what the fucks going on, there was all of about 15 people in the spot!?, “yeah it’s Monday but this aint Brisbane!! this is meant to be the fucking city that never sleeps” I said to my Mrs. Went outside for a bit of polluted air to see if there were more out front…fuck all people however, I met a guy from LA and after he hands me his business card and I tell him my name and business we realised that we did some business together a few years back (small world eh). We talk some shit, I get some fanboy photos with all the mad Queens rappers etc…Head back in and notice a few more heads have filled the venue out but probably only 30-40 max in the spot. Walking to the bar to get my last drink before shit kicked off, I was greeted by the towering Mayhem Laurenavich who says “what’s good” and hands me his CD…Sick cunt!
Finally the the show kicks off with Mayhem and J-Love warming things up. Few dudes behind me were baggin and booin J-Love. Granted he’s not the best rapper but he go alright live and I gotta respect the part he played in Mega’s ‘The Realness’.
General Steele, Graig G, Mr Cheeks, Cormega, Royal Flush, J-Love, Mic Geronimo all blessed the stage dropping in an out for some freestyle bars. No show of Trag and JuJu who were on the flyer but that was made up by the underboss, Lord Finesse grabbing the mic from behind the decks and dropped a gem of a verse.
Extra P and Neek went in and killed their new joints from Still on the Hustle, mad hype energy and crowd control! After their set was done and dusted, Cappadonna appears ended the night with back to back bars, blacking out in a chipher side of stage surrounded by performers and crowd.
What a fucking cracker of a night, seeing these dudes on home turf was truly amazing and something I’ll hold very close. Was like some VIP party shit. Below are a couple of photos I took from the evening along with a video I found on You Tube.
If you have the opportunity to travel to NYC..DO IT!
Interesting results from the first round, the most clearly identified was the Tornts flip. Great to hear such variation in sample selection from the original. It brings out the question, ‘how do you base your choice on who made each beat?’ for me it was the distinct 808 drum track used by Tornts. Do you think if we all used the same drums we could pick it from just the programming? Perhaps we’ll flip things up again with another sample using this rounds producers but with the same drum samples? If you voted you should see the results percentage in the poll, if not click on the corresponding with the revealed beat and the results SHOULD show up. Stay posted for the next few round which will be posted this month as we bring you up to speed.