25 Years After A Career That Began As Part Of Eazy-E's Ruthless/Comptown, White Female Rapper Tairrie B Returns to Her Rap Roots

Posted by Billyjam, July 17, 2015 08:40pm | Post a Comment

Tairrie B, who returns to rap following a two-decade detour into rock with a new rap album, has been called a pioneer for paving the way for the current generation white female rappers like Iggy Azaleawho was born the year that Tairrie B burst onto the national rap scene. That was 1990 when she was signed by Eazy-E who released her debut solo album The Power Of A Woman on his Ruthless Records imprint Comptown Records, which had major distribution through MCA. Her early 90's debut album's contributors included such heavy hitters as Eazy-E (of course), Schoolly D, Everlast, The D.O.C., and Dr. Dre, each of whom had small cameos. Originally, Eazy suggested a last track (traditionally a posse cut) called "I Ain't Yo Bitch" and having Ice Cube or The D.O.C. pen with Dre producing. How that would have gone down was that the guys in N.W.A would each have a verse calling the female artist a "bitch" with the song's target shooting back a closing retort. Reportedly, Tairrie B did not approve the song concept or the idea of Dr. Dre having the final word in the studio. That led to behind the scenes conflicts that, in turn, led to her writing her own last song that she titled "Ruthless Bitch." In the updated, self-empowering track, she took the word "bitch" and flipped the script by defining it as "B.I.T.C.H" meaning "Being In Total Control of Herself." Her goal was to replace the negative stigma associated with the word and turn the tables. Not surprisingly, not all were happy with her changes. One unhappy party was Dr. Dre, who she would run into at an after party for the Grammy's at which he reportedly physically assaulted her. She would go on to re-record the track changing the verse about Dre to include the line: "World class you got no class, So when they said let you produce me, I said I'll pass. As for the Grammy's, I'll put that on the shelf...It takes a punk motherfucker to play himself, Your best shot was weak, I didn't need stitches...Get this straight, I ain't one of your bitches! You cartoon gangsta, I'm calling your bluff...Hitting a woman, that makes you real tough!"

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Hip-Hop History Tuesdays: Remembering Compton's Short-Lived C.P.O.

Posted by Billyjam, April 7, 2015 12:01pm | Post a Comment

In the aftermath of the success of N.W.A.'s Straight Outta Compton, record labels were rushing to sign West Coast SoCal acts in any way related to N.W.A. or even just hailing from their Compton neighborhood. Compton's C.P.O. were such an act. Down with N.W.A. and from Compton, the rap group was comprised of rapper Lil Nation and DJ Train (plus some extended posse members). Formed in 1989, they were signed soon after, thanks to N.W.A.'s MC Ren, by Capitol Records who released their debut album To Hell And Black the following year. However, the major label dropped the rap group from their roster that same year. 

The short-lived Compton-based C.P.O., whose name stood for Capital Punishment Organization, was primarily just its front person - the robust rapper/MC Ren protege Lil Nation (aka 'CPO' or Boss Hogg) who, at 6'2" and 357 pounds, was far from 'lil' back in 1990 when the former gang-banger emerged on Ren Records/MC Ren Productions. To Hell And Black spawned the two funky singles "Ballad Of A Menace" and "The Beat Is Funky" and their accompanying videos.

DJ Train, who added all the turntable scratching and cutting, had previously worked with both J.J. Fad and MC Ren, and had been down with N.W.A. for some time. He was among those included on the album cover photo of 1987's N.W.A. & the Posse.  Meanwhile the C.P.O. entourage was rounded out by The Chip, Donovan, and Young D who co-produced the group's sole album with Ren (who also rapped on the release). Lil Nation, as Boss Hogg, would later appear on N.W.A,'s 1991 Niggaz4life on the track "Findum Fuckum and Flee."  C.P.O. was in the right place at the right time, arriving on the music scene just as gangsta rap, still a relatively new and primarily West Coast phenomenon, was, to the chagrin of many, proving itself to be more than just a passing fad. They were presented alongside the major players of the new hip-hop shock sub-genre of that era.

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Hip-Hop History Tuesdays: Number One Hip-Hop Singles of 1990

Posted by Billyjam, March 24, 2015 09:31pm | Post a Comment
The following list of number one hip-hop singles from 25 years ago is based on a combination of sales and radio airplay and comes care of Billboard magazine who calculated the initially published charts throughout 1990 in the weekly music magazine. Some were culled from albums released in 1989 but all singles charted in '90 with Salt-N-Pepa's "Expression" (remembered by many by its repeated catchy hook "express yourself") holding down the number one slot for the longest at eight consecutive weeks from mid January through mid March that year. Meanwhile Candyman's pop rap single "Knockin' Boots" spent five weeks at number one. Interestingly Vanilla Ice's ever-popular mega hit "Ice Ice Baby" only spent one week at number one on the hip-hop charts in 1990. However it soon crossed over to the separate pop singles chart where it enjoyed much more success going to number one for 13 weeks. The East Bay based, Tommy Boy act Digital Underground's biggest hit single of their career "The Humpty Dance" was number one for five straight weeks beginning on St. Patrick's Day, 1990. BDP artist D-Nice's "They Call Me D-Nice" spent four weeks at number one as did "We're All In The Same Gang" by the appropriately named West Coast Rap All-Stars, featuring Ice-T, Eazy-E, Dr. Dre, MC Ren, Young MC, Digital Underground, MC Hammer, King Tee, Body & Soul, Def Jef, Michel'le, Tone-Loc, and Above The Law's Cold 187um & KMG, which spent a month at number starting on July 21st. Meanwhile Ice Cube, with his debut solo post N.W.A. single "AmeriKKKa's Most Wanted" from the album of the same name, spent three straight weeks at number one beginning on June 9th, 1990 - but never had an official video made for it.  Most of the others spent one or two weeks at number one. For exact number of corresponding weeks at number one to individual hip-hop single see number in brackets following title of song, all below in video format in chronological order of release as singles.

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Hip-Hop History Tuesdays: 1988, The Year Considered By Many As Hip-Hop's Greatest

Posted by Billyjam, March 10, 2015 03:00pm | Post a Comment

For this week's Hip-Hop History installment we rewind back to wonderfully vibrant year of 1988. It was a time when hip-hop still constantly growing, with exciting sounding new artists constantly unfurling new lyrical and musical sounds. To me '88 was part of the third wave of hip-hop - with the first wave being the (original) old school artists of the 70's/early 80's, who were eclipsed earlier in the 80's by Run-D.M.C. who ushered in the "new school" - but who themselves in turn were eclipsed by this newer third wave of hip-hop. It often seemed (and more so in retrospect) that every record released in '88 was a good record. Of course, as with any music in any time period, there were hip-hop duds released in '88 too. However overall it is fair to say that 1988 had a larger percentage of quality, diverse-sounding, influential, and timeless hip-hop releases than many other years in the genre's four-decade history. And no wonder; it was part of the time frame known as the "golden era" of hip-hop that is widely considered to be the artistic pinnacle of the art form.   I think part of the reason for this, along with the lyrical aspect of the artform still being relatively young and still being explored by new emcees like Rakim, was the fact that sampling was at its creative peak. Remember this was in the period before the infamous 1991 landmark Gilbert O Sullivan vs Biz Markie copyright case that essentially brought an end to free range sampling, and would end up in hip-hop being a little less adventurous sounding due to all the restrictions placed on it regarding sampling.

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Eazy-E Day

Posted by Eric Brightwell, April 7, 2008 01:10pm | Post a Comment
Happy Eazy-E Day, a holiday observed over in Compton by order of the mayor. I'm not sure what customs are attached to the day so I'll just share my Eazy-E story.

I first heard Eazy-E back in 1988 when I was in junior high. Even before I heard him, I'd heard of him. Back then, new music was still mostly disseminated by word of mouth and the trade of mixtapes. Our computers were Apple ][es and the internet was still just one of Al Gore's fantasies. The only rap they played on the radio was harmless (but fun) stuff like Whodini, UTFO and the Fresh Prince & DJ Jazzy Jeff. But just looking around the school hallways it was obvious that there was more to the hip-hop world than what got played on the air. Kids wore enormous clocks around their necks like Flava Flav of the airplay-denied Public Enemy. When teachers distinguished me from another Eric by referring to me as "Eric B.," the question "where's Rakim?" often followed-- uttered by a savvy classmate. The rap that most people listened to as far as I know (with the exception of Ice-T, Too $hort ) was either from the East or South Coasts. Then, seemingly overnight, kids started wearing Raiders and Kings gear. A wind picked up from the west...

One day around that time, my younger brother Evan and I were out riding bikes down past Bill Wolf's property. Bill Wolf was kind of a big man out in the country who built a lot of homes, owned a lot of land and used to shoot copperheads-- plus he claimed to have seen panthers in the woods behind our house, long before they were officially verified to have returned to the area. I remember the tar on Old Mill Creek Road used to bubble in the heat and pop under my Schwinn's deliberately swerving tires. There was probably the loud buzz of cicadas in the air. Down by Mill Creek (where I used to try to catch crawdads) Evan (riding our sister's orange 3-speed) found a chewed up, discarded cassette by the bridge. He said that the tape was unraveled and draped across some weeds. It was labeled "Eazy Duz It." I got excited at the opportunity suddenly afforded us to listen to something we probably wouldn't otherwise hear. Evan wound the tape back up with his finger and took it back to the house.

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