Ode To A Boombox 3




I was able to attend an exhibit showcasing boomboxes.






Montreal’s Saint Laurent Boulevard was in the midst of its bi-annual sidewalk sale and I had a lot on my dance card at that time.  







I took photos of the many vintage boombox radios and various artworks as they were setting up for the exhibition to be held that night.  







I was worried I would not be able to return later in the night when the event would have been in full swing.  







There were turntables set up and I could only imagine the jams that would be dropped that night. 





If I was thrilled to see the turntables set up for the occasion, the sight of bags of records thrilled me all the more upon my return to the store.   These radios were the stars of the show.

Kool G. Rap




It’s pretty easy for someone to talk about Rakim, Big Daddy Kane, KRS and even LL Cool J when talking about Golden-Era hip hop. It’s also pretty easy for someone to not mention Kool G. Rap

Considering he was in a photo on the back of Eric B. & Rakim's Paid in Full album and easily Big Daddy Kane’s lyrical twin in the Juice Crew, he is the most underrated rapper in hip hop history. He may not have had lyrical God-like status, been a teacher or ruler, but he has the distinct honor of being the best MC to have never gotten his FULL props.

Interestingly enough, from 1995 to almost present day, Kool G. Rap may not have had an album worth talking about but his guest appearances on other artists’ tracks are stellar. Like most of his Golden-Era peers who struggle to stay relevant in this modern era, Kool G. Rap’s rep as an underground lyrical Don grew which could explain why so many contemporary rappers and producers reached for his verses.



Anyone knowledgeable about hip hop music would love to hear a modern day classic album reflective of his talent. We would also love for him to receive the accolades that have escaped him. I was informed not too long ago that Kane urged that Kool G. Rap be honored at the VH1 Hip Hop Honors. One way to help the cause is to get familiar with his work so that his name gets mentioned in any discussion on hip hop lyrical greats.  

One of the greatest and most legendary rappers I can write about is Kool G. Rap. I still have no word as to whether he is a VH1 Hip Hop Honouree but he will get the royal treatment on my Suite Delight radio show.





I still believe that with the exception of a handful of rappers, Kool G. Rap not being honored by VH1 cannot be tolerated. For as long as he's been in the game and the respect he has in hip hop history, something should be done. His lyrics are timeless, his influence on today’s rappers (whether they know it or not) has to be recognized. 

On a personal note, Kool G Rap’s verse on The Symphony, one of hip hop’s earliest and best posse cuts, is my favorite.

I managed to walk into a conversation I heard among two DJ/producer friends I know not too long ago. A discussion of golden era hip hop brought one of the two to state that Kool G. Rap's first verse in Men At Work is the greatest hip hop verse of all time. That is surely a subject for debate but the admiration for Kool G. Rap is not. Therefore, I was content in my decision.




From 1986-1988, one of my New York cousins gave me an audio cassette full of hip hop radio music.



I remember It’s a Demo being on one of them.



One of my earliest solo trips to downtown Montreal was to buy Road to the Riches at Sam the Record Man.



Pete Rock, along with Large Professor, did a remake of Truly Yours on his Soul Survivor release.




Stereo MC’s choosing Road to the Riches as a track on their DJ Kicks mixtape made me understand Kool G. Rap's greatness was acknowledged outside of the North American hip hop community.



Live & Let Die reinforced that Kool G. Rap & DJ Polo were locked into gangster rap for another album after Wanted: Dead or Alive.


I was disappointed a rhyme ripper like Kool G. Rap would choose the gangster rap door.



Ill Street Blues is the strongest single of the album.



What Kool G Rap does lyrically on Letters is nothing short of brilliant.



The On the Run remixes are standouts as well if you’re willing to chase the 12” single like I am.



For some reason or another, Wanted: Dead or Alive didn’t register with me like it should or could have.


Talk Like Sex naturally made an impact on me (!) and if it weren’t for those New York cassettes, Money in the Bank and Erase Racism would have really escaped me.


I had the chance to buy the CD only once over the years while music hunting but didn’t.




Streets of New York is a fantastic song but I really knew of it after 1990.


If I can come up with a theory as to why I didn’t reach for Wanted earlier, it was probably because I didn’t like his gangster leanings.




Back in those days, I was East Coast hip hop all the way and had little time to no time for West Coast.




At the time the pose on Wanted and even the title didn’t appeal to me.  


It would take many years for me to hear the album in its entirety and realize how good it is. I should have bought that CD when I had the chance.


As much as it may have been a case of wishful thinking for him to get VH1 recognition, a matter that was literally closer to home is Kool G. Rap not performing in my hometown of Montreal. I am sure there would be a lot of appreciative people in attendance. 



The Suite Delight new time slot is Tuesday morning 1-2am EST on www.ckut.ca & 90.3 FM.

If you haven't already, please make yourself familiar with the link below for more of your favorite show and mine.

Below are some podcasts to bring you up to speed.  Click here to download them and more.

Santana


While Carlos Santana was going through his successful comeback with Supernatural, I was dealing with his supernatural first 3 albums. 



The first 3 Santana albums are special in their own right.  The third one has one of my favorite tracks, No One To Depend On and seems to be bluesy in nature. 



 Abraxas is the group’s breakout success with Black Magic Woman, Oye Como Va and Hope You’re Feeling Better all on that album.  

Hip hop would not emerge as a culture until a few years later but there was music recorded at that time that is synonymous with hip hop and specially its foundation.  

One of those songs is It’s Just Begun by the Jimmy Castor Bunch.


The guitar riffs of It’s Just Begun, Psyche and L.T.D. (Life, Truth & Death) squeal Santana.   One listen to Soul Sacrifice will explain where It's Just Begun comes from.


As much as I’m aware there were other bands similar to Santana, Santana was the most popular of them all and it is for that reason they are listed.

Larry Levan Tribute


I woke up this morning thinking about Larry Levan and possibly dedicating my next Suite Delight radio show playlist to tracks he played/made famous. 

 I discovered today is his birthday. 

That is all the more reason to follow with the inspiration. 



Below is the tribute playlist and podcast link dedicated to the late, great DJ/producer. 

The Suite Delight Playlist (Larry Levan Tribute) - July 26, 2016

1.    The Whispers - It's A Love Thing
2.    Jimmy "Bo" Horne - Spank
3.    Change - A Lover's Holiday
4.    Gayle Adams - Your Love Is A Lifesaver
5.    Loose Joints - Tell You Today
6.    Eddy Grant - Time Warp
7.    Gary's Gang - Let's Lovedance Tonight
8.    Colonel Abrams - I'm Not Gonna Let (12" Version)
9.    The System - You Are In My System
10.    Unlimited Touch - Searching To Find The One
11.    Rhyze - Just How Sweet Is Your Love
12.    Yellow Magic Orchestra - Computer Games
13.    Tom Tom Club - L'Elephant
14.    Sister Sledge - Lost In Music (Special 1984 Nile Rogers Remix)
15.    Gino Soccio - Try It Out
16.    Visage - Fade To Grey (12" Mix)
17.    Dan Hartman - I Can Dream About You (Extended)
18.    Yes - Owner Of A Lonely Heart
19.    The Whatnauts - Help Is On The Way (Instrumental)

Ode to a Boombox



I was having breakfast at a restaurant near my place and Simple MindsDon’t You Forget About Me, played on the radio. My mind went to the Brat Pack, Breakfast Club and the boombox I used to record the song off the radio in 1985.

The picture above is of the first boombox I ever owned, RT-SX1, and the beginnings of my customer loyalty to the Toshiba brand. I forgot for which occasion I received it but the memories associated with it are vivid.



My next memory was of summer 1986. The late Robert Palmer had hit #1 with Addicted to Love but for the life of me, I could NEVER record the song from the radio. It was the only song that really eluded me and the heat from the video (!) made it all the more imperative I have it.



It was a sunny Sunday afternoon and I was outside. I believe it was a passing car with the opening bars of the song blasting from the speakers that caused me to run into the house, to my room and to my trusty Toshiba. In the midst of trying to find the channel it MIGHT have been playing on, I realized that I was not prepared to record the song. When I did cue up the tape, I was at the midway mark of the song. As fate would have it, that was the only time I recorded any of Addicted to Love from radio.



I loved that boombox so much that I drew a large-scale version of it for a school project. While completing the project, I imagined the boombox was larger than the Bristol board in front of me and that the little wind produced by the speakers was gale-force. Similar to X-Men 3 Wolverine slowly and steadily approaching the Dark Phoenix, I was the only one that could bravely step to the boombox to turn the tape over. Naturally, the hurricane wind from the speakers was not blowing away any of my schoolmates. They wouldn’t be able to dance to Shalamar if that were the case.

Only those that owned it or know of the model will follow me on this. I heard and knew of mono. I also heard and knew of stereo. My trusty Toshiba allowed me to play music in both and even Stereo Wide! To me as a pre-teen, it meant my songs would be louder and better sounding. In retrospect, it added more mid to the music.

There were 2 faults I had with my trusty boombox. The black door for the cassette player did not properly notify me of how much tape time I had when recording. I would need a flashlight or take the tape out after recording to estimate whether the next hot song on the radio will be recorded in its entirety. Although my need and ability to dub would emerge years later, the next fault was that it was a single cassette player.



What my Toshiba could do, however, is detach so that the speakers can be placed at two different places. Now that was surround sound if I ever heard it.

My Toshiba boombox gave me a means of exploring, developing and appreciating music at that young age. The ability to tape music from the radio seemed out-of-this world great to me and an inexpensive means of having the top songs of the day at my fingertips. At 10 years old or so, I taped nearly everything I could off the radio because those songs formed my musical knowledge and I had nothing else to compare or judge them against.

I’ve seen music formats graduate from vinyl, 8-tracks, cassettes and CDs to the unseen mp3 in my lifetime. I guess the nostalgia of the 80s, triggered by the Simple Minds song, brought me back to my wonder years. Twenty-something odd years later, I’ve managed to realize the childhood dream of hosting a radio show that incorporates elements from my boombox recording days to modern manipulation of music.



I’m aware there is a boombox culture and I respect those that participate. If I didn’t already have my hands full with trying to make people realize my Suite Delight show is the only solution for radio in Montreal, this blog and dealing with the daily real-to-real, I would have joined the ranks of many seeking Clairtone and Lasonic model music players.

Hopsin


Had I not viewed a YouTube video related to Tim Westwood featuring Hopsin and two other rappers sometime last year, I would have known nothing about Hopsin. I did remark that the rapper with the white eyes had lyrics.

I managed to forget Hopsin was one of the three rappers I saw in the video by the time I learned he was performing in Montreal in January 2013. The white contact lens was the only thing that jogged my memory.


For me to learn about the rapper by coincidence, forget the rapper and not hear one single by the rapper, my night at Club Soda with Hopsin as headliner was my formal introduction to Hopsin’s hip hop.



The time came for Hopsin to perform and the crowd was highly excited. 




As much as I may not be familiar with Hopsin’s music, the classic stance of an artist pointing the microphone to the crowd told me the tale.


The audience recited his lyrics with him. Prior to performing a track, he would hint what song he would next do to roars of the crowd.  


That night, I found out super-producer Swizz Beatz and Hopsin have a song together. One of many youngsters brought up onstage that night subbed as Swizz for the track.

I felt somewhat out of sorts being older than the majority of the audience and quite easily the headliner rapper. I at least got to witness what might be a future big name in hip hop at this stage of his career. Hopsin might not be spitting for me or my demographic but I recognize he has talent to rap.


Shad


For years, I took pride and care to not repeat songs on my show.




My level of quality control allowed me to give the harshest critic, myself included, no grounds to scoff. It's only now after over six years that I'm comfortable with songs appearing multiple times on my Suite Delight playlists.

Shad is one of Canada's underground hip hop golden boys. I liked his I Don't Like To single only for him to eclipse it with Rose Garden.



In a matter of weeks, I had played Rose Garden as many times as the most played song during my years of radio broadcasting. That is an amazing feat for the Ontario MC.



In addition to making me revise my radio rule book, Shad was on the cover of Exclaim/Earshot magazine and was on the short list for the Polaris Music Prize.  

Rose Garden is my Shad favorite single from TSOL and was to me the best Canadian hip hop song of the year.  However, if there are songs as good or better on the album, then I'll have to retract my previous statement. Trust me, I'll let you know if I do.


I've not been excited to explore a hip hop album in a long time and thankfully for TSOL I should have some great music to look forward to.



The song Flawless basically proves what the buzz surrounding Frank Dukes is all about. At the same time, it demonstrates once again that Shad is not only one of Canada’s best MCs, but one of hip hop’s best hopes on a whole.



After my 2nd or 3rd listen, I took to Twitter stating my wish for a Shad/Frank Dukes full-length release. Until that glorious day, I will keep yearning for more Frank Dukes and Shad music.