TOWN LOVE is an online art museum dedicated to celebrating the vibrant past and present of Northwest Hip-Hop. You can browse by artist or browse by year.

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Released: 2004

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Reigncraft, Volume 3: Supply and Demand

Reigncraft Volume One was an excellent showcase of Seattle hip-hop across a broad spectrum of styles and genres. Volume 2 continued the pattern, and gave listeners a taste of diverse rap talent from our industrious, productive city. The third in the series is Reigncraft Volume 3: Supply And Demand, released in 2004. Supply And Demand is as ambitious as its predecessors, and it’s a very fun listening experience.

The first song that stands out for me is “Ra-M-O-S” by No Good Therapy. This one previously appeared on No Good’s 2003 indie CD We’re Back Seattle, which was re-released by California’s Thump Records with the title Come N Get It. “Ra-M-O-S” is a well-produced track from Beezie 2000 with lots of sonic twists and turns. Greasy Earl aka Ricky Pharoe absolutely nails it with “New Earl Order.” The sinister Isaac Meek beat looms threateningly like a second American Civil War. “A lot of people have tried to silence me…all of them failed,” goes the sampled movie quote throughout the song. Pharoe is the master of the sardonic, here he conjures up a maniacal dictator not too distant from George HW Bush.

Ricky Pharoe isn’t the only artist here with an alias. Seattle rap veteran Silver Shadow D gives us “Yum Yum” using his alter-ego Ferrocious. Shadow picks a solid beat here by producer Loop to drop some Jamaican-inspired lyrics in an energetic Patois. Dim Mak create a universe that is moody and full of emotion on “Breathe,” which was featured on their EPoch release. In another sampling victory, “Breathe” fades out to mysterious dialogue, “I studied day and night, to learn of those unseen forces that hold this world together…beneath the surface.”

Gangsta supergroup Lac of Respect bring that Street Level vibe with “They Know.” As a side note, Street Level founder D-Sane also produces “Take This Flight” by Crytical, and “Intro” featuring series host KNDNM on vocals. “Revel In Relevance” by Asun is unique in several ways. Asun is one of the more non-commercial artists to come from Seattle. Each time he goes out, he seems to be experimenting, and always reaching for different themes or flows. “206, that’s what I represent,” he reminds us in the chorus. Volume 3: Supply And Demand has a ton of different tracks to delve into, and don’t forget to check out the top-notch CD graphics by Billy The Fridge. Written by Novocaine132

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Mash Hall

This is the birth of Mash Hall. It is a wonder to behold. Released on CD in 2004, this EP rocked Seattle’s hip-hop norms in the same way cubism changed painting in 1907. Mash Hall has roots in a few different subcultures, and feels strongly influenced by 90’s turntablist classics like Invisibl Skratch Piklz vs Da Klamz Uv Deth (1996) or Anti-Theft Device (1998). Songs are barely two minutes long, the aesthetic steers more toward punk than hip-hop or rap. But it’s not a punk record, these are 100% pure DJ and rap cuts of the highest grade. Don’t be alarmed if it doesn’t make sense immediately, Mash Hall is designed to create chaos. There is barely any method to the noisy madness.

The Mash Hall EP exists without a booklet or a barcode, it’s just a screen-printed disc in a clear slimcase. On the left side of the image, Christine Supreme strikes a b-girl pose. On the right is a dapper-dressed Ronnie Voice. Smack dab in the middle, wearing a “206” baseball cap and captured in a floor-rocking freeze, is DJ blesOne inhabiting his alter-ego “Bruce Illest.” This is one of the rarest and most valuable items in the Seattle hip-hop canon.

DJ blesOne introduced a whole new genre with this Mash Hall EP, I just wish there was a way to name it. Instructions: get a blender and add marching band, guitars, gunshots, drum loops, Chicago house, scratching, dope lyrics, reverb, distortion, and an entire bottle of Tabasco sauce. It’s amazing how much music has been vacuum-sealed into these six tracks on the EP. Every time you spin it Mash Hall sounds like it was just unleashed for the first time. Be prepared. (Written by Novocaine132.)

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5 Bux Aint Shit

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The Rebirth

Gangsta Nutt dropped his first album Save Me in 1999. “Criminal Life,” and “My Micasa,” are two Save Me highlights, spinning gangsta tales of Nutt’s life experience growing up in West Seattle’s High Point housing project. Then his second CD Crown Royale came out in 2003, with tracks such as “Changes,” and my personal favorite, “Mo To Grab.” By 2004 Gangsta Nutt was on a major roll and he put out two albums that year, the flashier Checkmate featuring many guest stars, and the more subtle effort of the two, The Rebirth.

The Rebirth is a solid album with 12 sizzlers coming at you. “Can’t Stand Me” is a fun interpolation of 1986’s “Candy” by Cameo. “Haters can’t stand me,” he sings. Things really heat up with the excellent “Losin My Mind.” This lovely, expansive beat by RC The Trackaholiq is perfection, the cut just rides. Next is the more contained “Holla At Me,” also produced by RC. Both of these two songs really use the space wisely, it’s hard to explain. Wherever there should be a Nutt line, there is, wherever there should be a snare or bass hit, there is. It’s like looking at a painting where every inch of the canvas is being incorporated, and not every rapper/producer team realizes how key this is when making a hit song.

“Highpoint 44” has rowdy bluster from the very start of the track. Nutt reminisces about the wild days of being young, “Nights in the arcade, finger f***ing at the gym on the backstage.” The stark Neptunes beat for “Grindin” dominated mixtapes throughout ’02 and ’03, and Nutt does his own riff on the theme with “Rhymin.” The album ends with the honest and heartfelt “To My Momma,” which documents the hardships that his mother faced while raising him. Compared to Checkmate, this album is subdued and contains a more singular view into Nutt’s philosophy and verbal style. The Rebirth shows a rap artist who is justifiably proud of the status he has earned in the 206. Written by Novocaine132

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Checkmate

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Red Scribe Pages

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In Tha Mix

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The 7 Deadly Sins

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Live & Learn

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The Dead Stock Sessions

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Reigncraft, Volume 4: The Labor

After three successful compilations, Reigncraft series founder KNDNM could have just thrown in the towel and decided that the innovative Seattle rap series had run its course. Thankfully for rap fans across the Northwest, that’s not what happened. This Reigncraft Volume 4: The Labor compact disc dropped at the end of 2004, and it is yet another action-packed assembly of varied hip-hop talent from the 206.

“Questions” by Unexpected Arrival presents a number of deep thoughts to chew on, set to a compelling, stark beat. “Dammit all to hell, my life feeling like a jail. We won’t win the war if we’re still fighting amongst ourselves,” goes a heartfelt line. “Questions” was also featured on Unexpected Arrival’s third album, My Life For Sale in 2005. Bad Luk is a Reigncraft veteran who had a track featured on each of the first three CDs. His cut here, “Expectations” is excellent, and it shows that his hard grind really paid off. Bad Luk’s voice carries a devastating urgency, and the lyrics are very personal. “I wish you had to wear my shoes, so you felt my scars, so you could deal with real life when you was dealt my cards,” he raps.

The strange, zippy Kuddie Mack beat on “Dents In The Trunk” is intriguing. Stretch uses a conversational tone in his lyrics, which makes his voice approachable and familiar sounding, removing the distance between listener and performer. Because of the subject matter, “Dents In The Trunk” reminds me of the 1988 classic “Cars With The Boom” by L’Trimm.

“Pick Me Up” by Cyphalliance and “Stomp” by A-OK both bring the backpack, freestyle-circle vibe. These two songs explore the “metaphorical oratorical” to use a line from “Stomp.” The whole point of Reigncraft is to place tracks from the wordplay world against other more gangsta-oriented type of joints. Now, twenty years later, the genre of hip-hop continues to expand into a splinterverse of styles and experimentation. Reigncraft Volume 4: The Labor reminds us that it all comes back to hip-hop, and we are all part of the same family. Written by Novocaine132

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Thee Adventures

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N Flight

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Tropic Of Cancer

Well, this is an odd CD. In 2003, Seattle rap trio Cancer Rising dropped their debut album titled Sippin’ Music. The following year, the group was working on new songs and put out this teaser-slash-promo disc titled Tropic Of Cancer. It came out on Mad Passion Entertainment, and contained six songs which would all appear on Cancer Rising’s sophomore effort Search For The Cure in 2005.

This early “Scenery” version here is wildly celebratory, the beat goes full kitchen sink with a Macy’s Thanksgiving Parade of musical elements. At one point, rapper Judas seems to admit that it’s cluttered, complaining that the “la-la” voices on the chorus are taking over his headphones. The mix of “Scenery” that ended up on Search For The Cure is radically reconstructed. The melody is more stoic, and it keeps some savings for a rainy day, which to me matches the struggle-oriented lyrical content infinitely better. Thankfully they removed the “la-las” in the final version.

Another one of Cancer Rising’s best songs of their career, the inspirational “Stand Up,” is displayed here in an early incarnation. I much prefer this minimal Tropic Of Cancer version of “Stand Up” without the indulgent, royal horn flourishes that ended up on the final version. This track always gets me fired up to accomplish something, just like listening to a lecture by Zig Ziglar.

The five Bonus tracks are where the party gets turned up. Bonus #1 is a barreling Cancer Rising freestyle over a DJ Arson-spun rap instrumental merry-go-round that starts with “The Jumpoff” then runs through a bunch of other top 40 beats. Bonus #2 shows more dope freestyle talent. “These cats is watching the keyhole, cause they know that Tapatio and Tabasco ain’t got nothing on me oh,” raps Gatsby. Bonus #3 is a long freestyle featuring Judas and a guest MC dropping excellent rhymes to the beat of “The Bounce” by Jay Z. Bonus cut #4 is “Get A Hit” from Sippin’ Music. Bonus #5 has DJ Scene on the wheels and it’s a perfect way to end the disc. “We wrecking every record we on,” boasts Cancer Rising. So true. Written by Novocaine132

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B.Y.R.D.I.E.

Seattle emcee Byrdie released this 12″ back in 2004, along with his album N Flight. Boasting production from the legendary Vitamin D and Bean One, this sampling of what the album has to offer is head-nodding and infectious.

The A-Side, “B.Y.R.D.I.E.”, with its minimal and angular beat, gives Byrdie’s flow ample room to slither and wrap itself around the corners. The B-Side, “Scattin'”, is more of a high-energy club cut. Layers of horns, percussion, vocal samples, and synth lines jump around, with Byrdie shouting to be heard over the cacophony. Entertaining stuff from this Northwest stalwart. Besides album cuts, instrumentals and acapellas are included as well. (This review originally appeared on the Bring That Beat Back blog and was written by Jack Devo.)

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Blue Scholars

Celebrating a sunny break in this weekend’s stormpocalypse with the Blue Scholars self-titled debut from 2004. Pictured here is the original 11-track spiral notebook “PNW version.” The CD was reissued one year later with different tracks and a different cover. It’s amazing to consider this album is almost 13 years old, making it slightly closer to the era of Sir Mix-A-Lot’s “Baby Got Back” than the music of today. (Plus, Sir Mix is name-checked on track 7.) Regardless, this one is every note a banger, right from the unique-to-this-version “Solstice Intro” and all through the end. Gorgeous production from Sabzi and endlessly inventive verses from Geologic. These two are such a wicked pairing.

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Return of The Artist

Return of The Artist is an album that will always be ahead of its time. Specs One is a producer and rapper mixed into one person, a hip-hop genius straight from the 206. The CD begins with three solid vocal tracks “Open,” “The S,” and “Attack Of The Clones,” then the instrumental vibe of “North” cleanses your mental palate. The chorus of track five, “Who Is He?” comes in like hot green peppers, and your toes will definitely be tapping. “Who Is He?” is bonkers, simultaneously rough and smooth. “Rap Stuff” follows, then two more instrumentals, “Travel Addict” and “Home Suite.” While “North” and “Home Suite” could be described as musical interludes, “Travel Addict” is a full-length instrumental track that shows Specs One’s talent at constructing multi-layered soundscapes that constantly surprise and delight the listener. After a short love song titled “Only You” comes a skit, “Finding Mic” which leads right into track eleven, “Ode To Mics.” “Ode To Mics” is another signature Specs One slam dunk from this all-around superb release. Instrumental “The Block” sneaks by, then “Done” fades the album out to the last track, the wistfully sentimental “Wide World.” (Written by Novocaine132.)

Here’s another take:

Specs One, the mastermind behind the legendary 206 acts the Elevators, The Crew Clockwise, and many others, dropped this album in 2004. Return of the Artist is a fitting name for this album, as it heralded a rebirth of Specs as a rhyme artist and producer. For years Specs had been legendary as the most underground of underground heads in Seattle, releasing shit at shows and at the mom and pop stores on cassette and through mail order. This was his first widespread release (on CD!), as far as I know. Released on the Abduction label, this was also a change stylistically from his previous projects. On his various tracks from his salad days (Numerology, American Music, Balcony,etc) his work had a distinctly experimental vibe, allowing the tracks to stretch out and grow on their own. I revere this early stuff with something close to adoration. Everything I’ve ever found by Specs has been a treasure. Here, Specs goes as straight-ahead hip-hop as Specs gets, which means it’s still underground, scratchy, and experimental as most cats never dare to go, but it’s all systems ahead with beats to make the head nod and lyrics that are always engaging. No track ever lasts too long, and there’s never any lag between the musical/lyrical action. The songs are solid, distilled to the prime elements, and no-nonsense. This is a classic Northwest selection, ranked at the top. Long live the Green Lover! (This review originally appeared on the Bring That Beat Back blog and was written by Jack Devo.)

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Evolution of Hip-Hop

In 2004, Seattle’s hip-hop scene was in transition. Enter Tendai Maraire of the group C.A.V.É. which had recorded their album Holy Haters a few years prior in 2000. Tendai, a virtuoso musician who would later join with Ishmael Butler to create Shabazz Palaces, looked around Seattle, pulled fifteen tracks from fifteen different DJs and MCs, and combined them into this amazing compilation.

Evolution Of Hip Hop is an unfiltered look at Seattle’s diverse hip-hop community in the mid-2000s, and the music is top-notch. Ghetto Chilldren’s track “Young Tender” shows how good Vitamin and B-Self are at breaking words down to their syllables and rearranging them into a roller coaster of inflection. “Peaches and Cream” by Merm and Mal snaps the funk so hard that it was also included on the Town Biz mixtape six years later. In a nod to hip hop DJ culture, there are DJ-only tracks by Funk Daddy, Topspin, and DV One, three of Seattle’s veteran party and club entertainers.

Evolution Of Hip Hop has so many great artists that it’s hard to believe. With names like Candidt, E-Dawg, Jace and Blak, Boom Bap Project, Skuntdunanna, and many others, there is something for every possible listener. “Yeah Yeah Baby” by C.A.V.É. is one of the most blazing tracks on the whole project, careening like a car chase loaded with drama.

When compilations are at their best, they can capture a moment in time like a Polaroid. Evolution Of Hip Hop allows you to see through the camera from the point of view of a young Tendai Maraire. Push the button! (Written by Novocaine132.)

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