A film about Northwest hip-hop from

I Want A Freak

“I Want A Freak” has not aged well. There’s no tiptoeing around the fact that this song is mostly sexist trash, one of many regrettable rap tracks by many, many rappers from this period. Mix complains that too many unattractive “mud ducks” think they’ve got a chance with him when all poor Mix needs is a “freak”: A sexually adventurous mini-skirted woman who’s down to go “all the way” and party. This song is a lot of insults directed at women.

Someone’s inevitably going to argue that these lyrics are just some innocent “boys will be boys” locker room talk, but that’s exactly the issue with dick-dominated songs like these: Too many rap songs tell young men that a woman’s value only extends to how far she’s “willing to go” and that it’s totally okay to insult girls who refuse to “put out.”

But let’s not blame Mix entirely: “I Want A Freak” began as a B-side on his 1986 “I’m A Trip” EP. The song proved so popular that NastyMix re-released it here as its own single, with two new remix versions. A surprising number of online commenters—both men AND women—cite this as their favorite Mix-A-Lot track, so IDK.

This vinyl’s B-Side cut is worth a listen. “Electro Scratch” is a delightfully weird rap song, with vocoder vocals and beatboxing. You also have Mix-A-Lot showing off his prowess at scratching the platters, demonstrating he’s not only about computers. It includes the first appearance of Kid Sensation, Mix’s teen protégé who would soon launch his own successful NastyMix career…

Did we get it wrong? It happens. Send us an email and let's get it corrected right away!

A film about Northwest hip-hop from


King in Def Poetry

On his 1986 single, “I’m A Trip,” Mix-A-Lot positioned his computer music against the threat of talented turntable DJs. One Seattle rival were Incredicrew, a duo of teenage wunderkind producers: Cornell “CMT” Thomas and Danny “Dee Rock” Clavesilla, who we’d later come to know as Mr. Supreme.

This vinyl is one of the few early-period hits from ‘80s Seattle rap that’s doesn’t originate from the Mix-A-Lot/NastyMix camp. As a teenager, Danny Dee was a talented BMX rider. He toured around the country and was exposed early to NYC’s new breakdancing scene, years before the rest of the Northwest got hip to hip-hop.

Once home, he’d practice his own samples and scratching and breaks, eventually becoming official DJ for The Seattle Circuit Breakers, one of the Town’s first major breakdancing troops. Not long after, he and CMT formed Incredicrew, and they began producing beats for local rappers.

This was their first vinyl, with M.C. Kid P, a Reno-based rapper who spends most of his verses introducing the band and praising his DJs: “Yo Danny Dee Rock, show ‘em why your hand is like a knife…” In turn, Danny smacks down numerous sequences of famous samples, hyping up the party ever higher. It’s a fun song, presented in three versions. The B-Side cut “High Powered Hip-Hop” celebrates CMT’s work on the drum machine with a descending, dark sub-bass melody that dominates the tune.

Two fun facts: Incredicrew appear in Mix-A-Lot’s “Posse on Broadway” video as the rival crew in the infamous Dick’s parking lot scene. And this Incredicrew project was recorded in the very same room where, two years later, Nirvana would record “Bleach” and usher in the Tsunami that was Grunge. For a brief sliver of the waning ‘80s, rap had become Seattle’s primary musical export.

Did we get it wrong? It happens. Send us an email and let's get it corrected right away!