Saturday, December 24, 2011

Merry christmas! Some old school radio shows and live tapes to get in the mood

Get in the old school christmas mood with some classic tapes.
My favorite is still Chuck Chillout's - KISS Mastermix from 1985:

Don't forget to check other x-mas tapes:

Tuesday, December 13, 2011

Mercedes Ladies (first all femail rap group) live @ Inner City Disco, 1980

A Christmas gift to all old school hip hop fans. Here is a live tape from the Mercedes Ladies, the first all femail rap group. They are performing in the Inner City Disco (1980). Total time: 29 minutes.

Friday, December 9, 2011

Re-ups from Tim Westwood and Mr Magic

It's not possible to maintain all the links, but here are two other re-ups

Mr. Magic's Rap Attack, 12-23-88:

Westwood, 12-10-94
part 1:
part 2:

Friday, November 25, 2011

Some classic DJ Whiz Kid tapes with Kool DJ Herc, Fab 5 Freddy and Afrika Islam

Always been a big fan of DJ Whiz Kid. Uploaded a great live tape with Kool DJ Herc and 2 short but classic snippets with Fab 5 Freddy and Afrika Islam.

Kool DJ Herc and Whiz Kid with The Herculoids live at T-Connection
part 1
part 2

Fab 5 Freddy and Whiz kid

Afrika Islam and Whiz Kid at The Underground

Saturday, November 19, 2011

Cookie Crew on UK and US old school hip hop radio

Because of Jamze's comment regarding the Cookie Crew, here is the re-up plus some bonus material :-)

Live from the 2nd UK rap convention in 1985 (Tim Westwood LWR)

Tim Westwood, Capital Rap Session, part 1:
Tim Westwood, Capital Rap Session, part 2:

Marley Marl (after 17 minutes)

Wednesday, November 2, 2011

Mike Allen interviewing RUN DMC and Groove Hip Hop Sales Chart, 22 may 1987

A great Mike Allen show, earlier shared by Irish at the OSHH. Mike is interviewing RUN DMC (with Beastie Boys on tour in Europe), also about the fact that 'there is a lot of hip hop going on in Holland' :-)

First part (47 minutes)
Second part (46 minutes, starts with interview Run DMC)

For all Mike Allen fans: check Simmo's 'Mike Allen Capital Radio' website

Check also Irish' site:

Saturday, September 24, 2011

Dotta Rock's Birthday party - The Fantastic 5 and Jazzy 5 with DJ Patty Duke,1980

Nice old school tape with The Fantastic 5 and Jazzy 5 (with DJ Patty Duke) at the T-Connection.
Of course lot's of classic funk tracks but also great to hear: Theodore cutting up Kurtis Blow 'the breaks' (track 6).

Total time: 38 minutes

Sunday, July 10, 2011

A list of my live and radio tapes

I generated a txt list of my mp3 old school radio and live tapes. More then 100 GB of goodies and plenty of them can be found and downloaded @ this blog.
Some file names are unknown (then check the folder name for some info) or could be mislabled and some files will appear more then once but if you want to know more about some tape(s) and/or want to swap: let me know. update: 11-07-11)

Monday, June 20, 2011

Doug E. Fresh live @ Lincoln Projects, The Red Parrot and unknown location (3 tapes)

Had 3 requests in one week in my mailbox regarding Doug E. Fresh tapes. Don't have much time to maintain my blog, but for all the Doug E. Fresh fans, here are 3 tapes:
Check for more, my earlier posts

* Doug E. Fresh, Barry Bee, Chuck A Luck, Sweet Slick And Sly, & Tranquilizing 3, unknown location (43 minutes, .rar file)

* Doug E. Fresh and Slick Rick, 1985, Live At The Lincoln Projects, NY (8.50 minutes)

* Doug E. Fresh Live At The Red Parrot 1985 (19.38 minutes)

Saturday, April 9, 2011

UK Fresh 1986: 3 hours of UK hip hop history

UK Fresh 86, broadcasted on the Mike Allen Capital Rap Show. 3 hours, including: Just Ice, Grandmaster Flash & Furious 5, Real Roxanne, Busy B, Sir Mixalot, DJ Cheese and Word of Mouth, Mantronix, Captain Rock, World Class Wreckin Crew and many more.

Check my re-up:

Wednesday, March 9, 2011

T-Ski Valley live @ Harlem World M.C. throw down, 1982

Happy birthday to T-Ski Valley! I don't have much live performances from the man but at the end of this post you will find a 6 minute snippet.

For the younger hip hop fans who never heard of him, here is some more info (source: discogs): "Born March 9th, Boogie Down Bronx New, York (pisces) Tski began his musical career at the age of fourteen. It spans from rap, reggae, gospel, to urban jazz. Tski was born in the northeast Bronx, in an area called the Valley. He attended Micheal Angelo J.H.S., I.S.144 in the Bronx, where he played guitar. He graduated and went on to Evander Childs H.S. in the Bronx, where he and a buddy (Disco Prince) formed a group called the Erotic Disco Brothers. In 1978 Tski had joined Kool Herc as an M.C.(Fly Force). Later that year Tski had joined up with A.J & Busy Bee as a D.J. Upon the completion of high school, he went to work with reggae produces Brad Osborne (Clocktower Records) and Sir Coxson Dodd (Studio One Records) in putting together Grand Groove Records. His first recorded release was “Catch The Beat” Tski went on to produce groups such The Just 4 ”Girls Of The World”, Chapter Three M.C.s The. “Real Rockin Groove“.
For those who like to know more: check this interview that Troy did:

Here's a 6 minute snippet from the tape 'Harlem World M.C. throw down 1982'. Too bad it ends rather suddenly.

Sunday, March 6, 2011

Early 80's article about breakdance: "DANCE: 'BREAKING' INDOORS", NY Times, 10-06-'81

This is the first article about breakdancing that i came across. It's from The New York Times, October 6, 1981.



GOOD dance can come from anywhere, even from the streets themselves. As proof, there was Saturday night's ''Graffiti Rock'' concert at the Kitchen, a program devoted to breaking, a dance form that has flourished in recent years quite literally on the sidewalks of New York.
Both on the streets and inside theaters, breaking involves two teams, known as crews, who try to outdance each other. A member of one crew gets up and dances, after which someone from the rival crew attempts one-upmanship. And as the event proceeds, choreographic in vention is combined with athletic prowess and a cheeky sense of competition.

The program pitted the Rock Steady Crew against the Swift Kids Crew, each crew consisting of five young men who had adopted what seasoned troupers might call ''stage names'' -such names, for instance, as Crazy Legs, Take One, Frosty Freeze and Ken Ski. Typically, a dancer might begin by standing tall and letting his feet dart back and forth. Suddenly, without preparation, he would fall to the floor, sometimes deftly, sometimes with a thud. Then he would try to hoist himself up again or whirl and swivel about.
There were many variations on flip-flops, shoulder stands and headstands and several dancers could even spin while standing on their heads. If breakers actually do such stuff on pavement, then breaking must require extraordinary stamina. Equally remarkable was the way breaking's structured competitiveness served to channel aggression.
D.J. Spy was disk jockey and Fab 5 Freddy provided ''rapping'' commentary above the records. There were also slide projections of subway graffiti and murals by graffiti artists. Most New Yorkers know lots about graffiti, but many probably don't know much about breaking. Therefore, even though this was not a scholarly presentation, it was a pity that the program notes said nothing about breaking's origins and very little about the dancers themselves.
However, the fact that breaking has moved from the streets into such a center as the Kitchen suggests that it has caught the eye of theatrical choreographers, and just as the waltzes and mazurkas of years past and the disco fads of only yesterday have found their way into ballet and modern dance works, so, perhaps, will breaking, too. In any case, breaking was fun to look at for its own sake.


For those who, like me are a big fan of the RSC check this vid and tape that i posted before on my blog:

Wednesday, March 2, 2011

Some fresh Mr. Magic tapes

The crew from BTF shared some great Mr. Magic tapes from 1986 - 1988

I think that the 87 tape is from january 1988. Chilly Q is on the one's and two's.


and while you there, also check Stetsasonic Live (1987)!

Monday, February 28, 2011

Another early 80's article about rap music: "Music Makers: Not What You Say, But How You Say It"

Another early article about rap music, this time from The Associated Press. It's dated August 28, 1981.

Music Makers: Not What You Say, But How You Say It

Hey, baby, have you heard? The word is the rap and the rap is the word. It's a party kind of music, a tres hip thing, Any number can play, and you don't have to sing.
All right, it's admittedly a crude effort. But in rap music it's not so much what you say as how you say it, and with the right rapper and a good get-down disco rhythm track, there's a fair chance even Mother Goose could make it to the Top 40 these days.

There are rap records on almost every subject and, apparently, a market for almost every rap. Although rap music -- basically rhymes that are spoken, not sung, over a bare-bones dance beat -- typically is played anywhere people gather to dance, at least one radio station, Cleveland's WDMT-FM, features rap to rev up by every morning in a "Toothbrush Beat" spot.
All 120,000 copies in the first pressing of Kurtis Blow's "Christmas Rap" sold out within a week last December. New York comedian Russ Mason's strings-backed "Prep Rap" ("We don't wear designer jeans. While they fit rather well, they look like hell. We get khakis from L.L. Bean.") earned him a spot on Tom Snyder's "Tomorrow" show.
For the occasion, Mason says he wore an alligator shirt, khaki pants and Topsiders, "but I committed a grave faux pas by wearing socks."
A soap-opera inspired rap, "General Hospi-Tale" by Afternoon Delight, is a popular new entry, Teena Marie's "Square Biz" is a certified hit, and Record World magazine's resident rap authority, Nelson George, says that somewhere in his collection is a "Jewish Rap" by Steve Goodman and the Kosher Five.
And then there are the big commercial successes. "Rapper's Delight" by the Sugar Hill Gang, which was credited with launching the rap rage when it came out two years ago, has sold 2.5 million copies domestically, and untold millions more overseas.
Kurtis Blow's "The Breaks," became the second 12-inch single to be certified gold, after the Donna Summer-Barbara Streisand smash "No More Tears (Enough Is Enough)." And rap went white and mainstream in a big way with the 1.4 million-selling, No. 1 Blondie tune, "Rapture," Deborah Harry and Chris Stein's tribute to the form and the black New York-area disc jockeys who developed it by delivering their rhymed patter over instrumental tracks from disco hits.

One of the interesting things about rap music is that it's become a musical meeting ground for two traditional enemies: disco and new wave rock.
Miss Harry, for example, recently released a rap-laced solo album, "KooKoo," produced by Nile Rodgers and Bernard Edwards of Chic fame. And Britain's The Clash rapped out socio-political commentary in "The Magnificent Seven" from the "Sandinista" LP.
"This is like street music to them," says Record World's George of the attraction of new-wavers to rap. "If they feel it's genuine black street stuff, they're willing to accept it."
Although accomplished rappers -- mostly DJs who go by such flashy sounding stage names as Kurtis Blow (blow being a slang term for cocaine), Grandmaster Flash and Deejay Hollywood -- make their rapid-fire delivery sound spontaneous, raps require as much if not more work than regular songs.

"You have to get a concept," says the Sugar Hill Gang's Master Gee, an 18-year-old whose given name is Guy O'Brien.
"Then after you get the best possible concept you start forming it into the lyrics which are the rhymes. Then when you have the most possible material and cleverness you apply it to a musical track. You edit, polish up different things with production staff and when push comes to shove you have a record."
O'Brien, who developed his craft working as a mobile disc jockey, was brought together with fellow Gang members Mike Wright (Wonder Mike) and Hank Jackson (Big Bank Hank) by Sylvia and Joe Robinson of Sugar Hill Records, an Englewood-based independent that has become the big name in rap records.
The Robinsons came up with the idea of using not one but all three talented rappers over the instrumental track from the Chic disco hit, "Good Times" for "Rapper's Delight."
"We didn't know each other until the night we made the record," O'Brien says. "We just applied what we learned on the streets."

Saturday, February 26, 2011

Saturday, February 19, 2011

UK pirate radio: old school hip hop mix, 1984

I posted a lot of early 80's UK radio mixes from the collection of DJ Diablo a few months ago. But the next one seems to have escaped my attention while it's a very nice one. So here it goes: lot's of classic hip hop, funk and electro tracks for your listening pleasure.
Click on the 'dj diablo collection' tag for more.


More old school hip hop vids: Electro Rock, Stations of the Elevated and Rock Steady Crew doc

Electro Rock (55:16)
Mike Allen presents the cream of UK Hip Hop from way back in 1985 at the London Hippodrome. The movie features London All Stars, Rock City Crew, Wolverhampton B-Boys (incl. Goldie), Broken Glass, Mastermind Roadshow, Richie Rich, Family Quest, Afrika Bambaata, Dizzy Heights and a whole bunch more.

Rock Steady Crew Documentary: classic footage from the famous breaking crew, made in the early 80's (28 minutes)

Stations of the Elevated (1981): must see for all graffiti fans

Thanx FSMS74 for pointing me to these great vids!

Thursday, February 17, 2011

NY Times, 1981: 'Rapping is probably familiar to most New Yorkers as an intrusive noise on the subway or in the park'

Another early article about rap music, this time from the New York Times. It's dated March 13, 1981. A lot has changed in 30 years.


By Robert Palmer

RAPPING, a kind of rhythmic versifying with skeletal instrumental or unrecorded accompaniment, began in Harlem, the South Bronx and other black communities in the New York area. A white rock group, Blondie, has carried the rapping style into the national Top 10 with the hit single, ''Rapture,'' but the champion rappers are the Sugar Hill Gang, Grand Master Flash and the Fabulous Five, and other groups that have sold large quantities of records but seldom perform for white audiences.
Rapping moved downtown for a night on Wednesday when the Ritz presented a cavalcade of rappers. The Sugar Hill Gang, whose ''Rapper's Delight'' was one of the first rap hits, headlined the show. The three men who do most of the group's rapping took turns declaiming rhymed couplets and chimed in as a unison chorus on key phrases while a tight band laid down funk rhythms that were heavily accented on the first beat of each measure. The band also accompanied Sequence, three women in glittering costumes whose raps were as fast and funny as those of the men.

Grand Master Flash and an assistant accompanied the Fabulous Five with a virtuoso performance on two turntables; Flash constructed bass and drum parts by repeatedly playing the first few bars of records by Queen & Chic; he created extravagent special effects by stopping records with his hand while they were playing, while they were spinning, a technique that resulted in a regular, percussive skidding sound. ''What you've just beared witness to is seven men and two turntables,'' one of the group's rappers told the predominantly white, enthusiastic crowd. ''Think about it.''

The Funky 4 Plus 1 provided even more food for thought. The group's five rappers chanted in crisp unison and traded phrases in a kind of whiplash call and response. They were able to inject some personality, and some new rhymes and couplets, into what has already become a fairly standardized idiom, and they were as disciplined as a crack drill team. Their lone disk jockey provided minimal accompanyment by repeating bass figures and drum parts from various funk and disco records. Basically, the Funky 4 Plus 1 provide a kind of rhythmic noise. Melody and harmony have no place in their music, which rides on an irrestible dance beat and various cross rhythms.
The evening featured several surprise guests, including Andy Hernandez from Dr. Buzzard's Original Savannah Band, who rapped over the instrumental track of his latest recording, the delightful ''Me No Pop I.'' The Coconuts, who are Mr. Hernandez's associates in the group Kid Creole and the Coconuts, also performed a short set of their own and demonstrated conclusively that they are not spectacular dancers.

Rapping is probably familiar to most New Yorkers as an intrusive noise on the subway or in the park - the noise that comes out of blaring cassette players and portable radios. But as the Ritz show demonstrated, rapping has a much broader appeal than one might have anticipated. It's an intriguing test of the performer's verbal ingenuity and rhythmic exactitude, and its fine.

Wednesday, February 16, 2011

Hot 97 Danceparty, live at Temptations, New Jersey on the 4th of July 1991

Hot 97 danceparty hosted by Fast Freddie Colon. Mostly dance tracks but with plenty of hip house. Y'all get up and dance :-)



Sunday, February 13, 2011

Earliest article about rap music? 'Recording the Rap: Jive Talk at the Top of the Charts', The Washington Post, 08-31-80

This blog is all about preservation of old school hip hop culture. Besides radio and live tapes, you find some movies and also a bunch of flyers. I think it's nice to post 1 or more newspaper articles from back in the days too. So in stead of mp3, lot's of text. Please let me know if you find this interesting enough.

The next article is from the Washington Post and it's the oldest one that's about rap music i came across. If someone has an earlier article (not a hit chart or a general piece that only briefly mentions a rap artist), please let me know!

Recording the Rap: Jive Talk at the Top of the Charts
By Leah Y. Latimer

"The rap is hot. It is the newest craze among the 14-to-21-year-olds, the record-buying majority who are putting rap records on the national charts and making money for the nightclub disc-jockeys capitalizing on a bit of New York City party culture. Rap records are big among young adults too, those in the 21-35 age range who bop into the disco on Friday night ready for good music and fast talk.
Rapping started in New York clubs about five years ago when deejays began trying to outdo each other -- while spinning the most popular instrumental tracks -- by talking over them, always in outlandish rhymes that slid off the lips in syllabic precision, always in perfect time to the beat. Now the competition is in the recording studios, where deejays are putting their raps on tape for play on radios and in discos across the country.
Kurtis Blow, a 20-year-old New York nightclub deejay who floats from club to club, is the best rapper around, according to recent sales. "The Breaks," his seven-minute humorous lament about life's ups and downs, is the second 12-inch extended-play disc to be certified gold by the Recording Industry Association of America. (The first was the Donna Summer/Barbra Streisand teamup on "Enough Is Enough.")
"The Breaks" rose fast through the black-oriented single charts, hitting No. 1 in Billboard two weeks ago and currently at the top spot in Record World. And more: "The Breaks," on Polygram's Mercury label, is also No. 4 on Billboard's Disco Top 60. It's even bubbling under the Hot 100 at 101. "It's premature to say it's a crossover," Polygram/Mercury Records president Bob Sherwood says, "although it has in Miami and, of all places, San Diego."
Locally, Waxie Maxie reports that in a single week one of its outlets moved about 35 copies of "The Breaks" after its April release. That's the kind of popularity that got Blow booked into the Capital Centre last night, along with another rap group, the Sugarhill Gang.
Not bad -- considering that, according to his publicist at Mercury Reocrds, Blow "is not doing much that any other deejay in the clubs isn't doing." "He's just got that flair," the publicist says of the Harlem native who is also majoring in communications and speech at Brooklyn college.

Guy O'Brien of the Sugarhill Gang outlines the essential elements of a good rap: In addition to a distinct speaking voice, a good beat and some slick verbal gymnastics, O'Brien says, you need: one or more characters; a good, short story line; and lyrics that make the listener sing along and follow the rapper's instructions. "Rapper's Delight," the initial rap single by the three-man Sugarhill Gang, has it all.
Each rapper introduces himself, not forgetting the qualifications that makes him the "baddest brother." Then, once the listener feels like he and the rapper are old friends, the rapper can make the listener do anything:
Now you're feelin' the highs and you're feelin' the lows
The beat starts getting into your toes.
You start popping your fingers and stamping your feet
And moving your body while you're sitting in your seat
And then JAM -- You start doing the freak
I said JAM/Right outa your seat
And then you throw your hands high in the air
You're rocking to the rhythm
Shake your derriere
You're rocking to the beat without a care
With the sure-shot MCs for the affair.
From "Rapper's Delight" -- lyric copyright 1980, Sugarhill Records Ltd.

The first rap record sneaked into stores in September of 1979. Sylvia Robinson, president of Platinum Records, says she realized the commercial profitability of the rap after first hearing a typical New York nightclub "rap session." She recruited three deejays in their teens and early 20s -- Henry Jackson, O'Brien and Michael Wright -- and formed the Sugarhill Gang.
The group took the musical track from a top-10 hit by Chic called "Good Times" and "We threw down most violently on it," Jackson says, meaning that they rapped over the music. But the recording was not ad-libbed: It was carefully scripted, while maintaining the spontaneity of a line at a singles bar. "Rapper's Delight" went triple platinum in less than a year.
Meanwhile, Blow had been trying to convince Mercury Records' Sherwood to record a rap with a theme for the 1979 Christmas season.
"Sugarhill was almost a deterrent," Sherwood said. "I was a doubter, worried about a copycat situation." Bill Haywood, Mercury's vice president for special markets, convinced Sherwood to let Blow record "Christmas Rapping." The 12-inch disc sold 100,000 copies during December -- but sales continued well past the holiday season. It peaked in June with sales of 350,000. Sherwood became a believer.
And the rap is still adding new names to the pop charts. Besides Blow and the Sugarhill Gang, Sequence, Grand Master Flash and the Furious Five are less successful but popular rap groups with their first releases on Platinum Record's Sugarhill Label. Blow Fly, Crash Crew, Zooloo Nation, the Treacherous Three, Fat Back Band and King Tim, III, and Star Child have recorded less well-known rap records on small, independent labels such as Enjoy and Weird World.

"There's a difference between the Sugarhill Gang and other rappers," says "Big Hank" Jackson, 23, of his group. "They are stuck in a trend where they can only be an opening act. But now we have a band and we can sing."
Jackson may have been referring to Blow. At the Capital Centre and at a concert set for Madison Square Garden on Sept. 19, Blow's act involves setting up a disc jockey on stage who plays records on a portable stereo connected to the house sound system. Blow then raps over the pre-recorded instrumental music, looking like the winner in a high school talent show. Studio musicians were used to record "The Breaks."
"It costs as much to break [introduce] a gimmick artist as it does to break a legitimate act," says Sherwood, who points out that Mercury Records is concerned with developing Blow as a "total artist." In the meantime Sherwood is worried that signing other rap artists to record on Mercury might "dilute" Blow's style. He compares it to having two Donna Summers on the same label.
Blow, whose voice is the rich and animated deejay type you hear on the radio (and can never quite imagine belongs to a real person), is widening his repertoire. His next album, to be released at the end of September, will contain a love ballad, a rock rap, a western rap, a typical funk rap and even an inspirational rap.
Sherwood thinks Blow can make it as a singer. "We're very leery of gimmicks," Sherwood says. "Who can tell? Rapping could last for 10 years. On the other hand, we're thinking about a total career situation."
Both Blow and the Sugarhill Gang acknowledge that the rap may be just another passing fad. But for now, there are the money and connections that can help them down other paths. Jackson wants to get advanced degrees in oceanography. O'Brien is interested in producing records. Blow wants to make movies.
"Rapping got us to where we are now, but that doesn't mean we're gonna stay here," Jackson says. The Sugarhill Gang is already trying an artistic detour with its recent release, the 12-inch "Hot, Hot Summer Days." "We sing and then rap for about 16 bars," Jackson says, "and then sing, and then rap some more."
Blow, who studied voice and dance at New York's High School for the Performing Arts, is reluctant to talk about his plans and fears that his ideas may be stolen. "Sugarhill was first and they capitalized on what we originated," Blow says, referring to "Rapper's Delight," which hit the stores three months ahead of his "Christmas Rapping." But, he adds charitably, "at least they opened up the door for me."
They certainly did. Blow's publicist, Ken Reynolds, says, "Do you know all the people out there who are great singers and never get to cut a single? Here Blow is, talking on a groove, and now he's making an album."

3rd hour of the Dutch home mix championships 1983 (finals) on Veronica radio, including a very rare Ben Liebrand Mix

I postend the first 2 hours of this Dutch mixing contest 2 weeks ago. Ton send me the 3rd and last hour today, mad props to him. This last hour contains the voting, so be prepaired for a lot of dutch talking :-) But, at the end (46-55 min) you will hear a live mix by Ben Liebrand. This early work from the Dutch mix master is very rare.


1st and 2nd hour, check:

Chief Rocker Busy Bee and Kool DJ AJ, New York At Night @ Harlem World 1981

Classic tape with hip hop legends Busy Bee and DJ AJ. I just love that old school atmosphere. Now wave your hands in the air :-)


Saturday, February 12, 2011

The King Tech Wake Up Show: freestyles, 5 hours special and more

Wake Up Show Freestyles:

part 1 of a 1993 show
part 2 of a 1993 show

For those who want more: I stumbled upon a great Wake Up Show post, including a 5 hours special with co-host Kool DJ Red Alert:

Saturday, February 5, 2011

Hank Love & DNA radio show on WNWK, New York 1987

3 great snippets:

22 minutes from a 1987 show (source:


Shout-outs (source: History of Hip Hop Radio Vol. 1 [NYC 1986-1991])



'Fight the power' (History of Hip Hop Radio Vol. 1 [NYC 1986-1991])


If someone has some more Hank Love & DNA shows to share: let me know!

Friday, February 4, 2011

Kurtis Blow, Kool DJ AJ, Grandmaster Flash and Davy DMX live at the Apollo, 1985

Broadcasted on WBLS. Kurtis Blow knows how to rock the crowd and is sharing some knowledge about the old school. AJ, Davy DMX and Grandmaster 'no one cuts faster' Flash are mixing lot's of classic tracks.



Sunday, January 23, 2011

Some more old school hip hop documentaries

Big Fun in the Big Town (dutch documentary, 1986, with grand master flash and LL Cool J)

HipHop: Beyond Beats & Rhymes

Fat Boys episode of Unsung

Friday, January 21, 2011

Watch the roots of hip hop: 80 Blocks From Tiffany's, A Street History and Scratch

This blog is about old school tapes, but i you want to know more about the history of hip hop, you have to watch these great documentaires.

80 Blocks From Tiffany's (66 minutes)
This 1979 documentary film focuses on gangs of the South Bronx.

A street History - Hip hop Documentary (54 minutes)

Scratch (87 minutes)

A feature-length documentary film about hip-hop DJing.

Friday, January 14, 2011

Dutch home mix championships 1983 (finals) on Veronica radio

Not a post within the scope of this blog. But it's part of dutch mixing history: the 1983 home mix championships (thuismix kampioenschappen). Broadcasted on Veronica radio on 03-06-1983.

First hour:

Second hour:

Brings back great memories. Hope you all enjoy it.

Tuesday, January 11, 2011

Afrika Islam - Zulu Beat Show, 105.9 WHBI - Including a great interview with Crazy Legs, 04-21-83

Part 1 includes an interview with Crazy Legs. CL talks about how he became president of the Rock Steady Crew, the movie Flashdance and Cool Lady Blue. This tape is a re-up. And this time also the 2nd part of the tape where Afrika Islam is cutting up The Jimmy Castor Bunch - It's Just Begun. Lot's of shout outs. Classic!

Part 1

Part 2

Friday, January 7, 2011

Red Alert Show- 98.7 WRKS KISS FM 1992 (re-up)

Red Alert Show- 98.7 WRKS (KISS) FM- 1992 (90:04). originally posted on the essential elements blog (re-up)

Tape A

The 808 Is Coming- D-Nice with KRS-ONE
My Melody- Eric B & Rakim
It's My Beat- Sweet Tee
Top Billin'- Audio Two
You Know What Time It Is- Kool Moe Dee
Def Fresh Crew- Roxanne Shante with Biz Markie
AJ Is Cool- Kurtis Blow
???-Lovebug Starski
Shout Outs
St. Ides commercial with Willie D of Geto Boys
Gordy's Groove- Fresh Gordon
Pee Wee's Dance- Joeski Love
Live Hardcore Worldwide set- BDP
???-Nice & Smooth
Ain't No Half Steppin-Heatwave (partial)

Tape B

St Ides commercial featuring Geto Boys
The Show- Slick Rick & Doug E. Fresh
King of Rock edit- Run DMC
Roxanne, Roxanne- U.T.F.O.
Roxanne's Revenge- Roxanne Shante
Bite This- Roxanne Shante
Fresh, Wild, Fly & Bold- Cold Crush Brothers
The Bridge- MC Shan
South Bronx- BDP

Tape C

Ego Trippin- Ultramagnetic MCs
Rockin' It- Fearless Four
Do The James- Super Lover Cee & Casanova Rud
Eric B Is President- Eric B & Rakim

The Latin Rascals on Japanese radio: 'Mirage Super Top Wave'

UPDATE: i also added prt 6