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Non-Fiction

This is the high-energy sophomore single from Seattle class act Bedroom Produksionz. BP is one of those great acts that could move the crowd as well as move minds in equal measure. MC Kendo comes like the man on a mission that he is, loud and demanding your attention; while Sayid’s cleanly-sliced, sample-heavy production could leave Babu in the dust on his best day. His beats just make you want to move, to jump. Simultaneously the lyrics are a dense, impassioned social commentary where no word is wasted – definitely coming from a cerebral angle. It’s a winning combination.

This is the last single they put out collectively, which is a shame, to say the least. With such a strong output (no matter how slim) it makes me wish there was an album or two to cop out there for sure. Get your head nod on and your fist pump warmed up for “Non-Fiction” b/w “Temple N0.8”. (This review originally appeared on the Bring That Beat Back blog and was written by Jack Devo.)

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The Shinin' Director's Cut EP

Olympia’s K Records put out some surprising stuff back in the day. Take this, for example: The Shinin’s Directors Cut EP. This West Coast release, produced entirely by Take One and None, featured the rare combination (at least at that time) of both Cali and Northwest emcees. PM, Universal, DR. OOP, and J-Thorn represent the south, while Samson S, Vitamin D, and Bedroom Produksionz stand up for the north. 8 tracks in all, 5 vox, and 3 instrumental. (This review originally appeared on the Bring That Beat Back blog and was written by Jack Devo.)

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S.E.L.F.

“S.E.L.F.” was released in 1998 by one of Tacoma’s greatest hip-hop groups, Bedroom Produksionz, the duo of DJ Sayeed and Kindu Shabazz. (The two would become Black Anger on tracks in collaboration with MC E-Real.) Personally, I love this group, their music, and their overarching philosophy. Let me explain why: Each Bedroom song was released with an instrumental version. Listen to the instrumental first: You’ll hear a kaleidoscopic soundscape, groovy, unexpected, shimmering. This base is an obstacle course, constantly testing Kindu’s lyrical parkour on the vocal track, but he nonetheless conquers it victoriously. The interplay between beats and vocals is mesmerizing, a little reminiscent of Kung Foo Grip. The songs themselves celebrate Black liberation, self-empowerment, and supporting and nurturing local communities. “S.E.L.F.,” is an acronym for “Supreme Ever Lasting Foundation,” an effort to decontaminate decades of colonial programming: The system wants to keep Black communities poor so they can be a useful prop for spotty government aid. But by knowing and taking care of yourself, seeing the world with open eyes, this is the “knowledge that is key to free the black nation.” They started their own record label, Du4Self—as part of their own self-empowerment—which inspired Blue Scholars to do the same, as referenced in their hit, “Fou Lee.” When interviewed by The Rocket, Kindu questioned what success we were all striving for: “…The Northwest is so overlooked that our form of hip-hop is not yet corrupted by big business, but that’s bad because we don’t get exposure. We still have a little bit of integrity in our art. Sometimes I wish that the 206 can remain invisible, because the industry has got hip-hop miserable.” Sayeed and Kindu moved to Virginia in 2000 bringing a close to their important impact on our local scene.

Here’s another take:

More greatness from the Northwest, this time coming from Bedroom Produksionz. Consisting of two-thirds of Black Anger, BP drop consciousness and Afrocentricity like their hometown counterparts Source of Labor, but with a distinctly harder edge. Sayeed’s beats are tight, driving, and prominent in the mix, while Kendo’s delivery is equally intense and raw. “I Know Ways” features a signature verse from Silent Lamb Silas Blak. Once again, here’s an act that probably would have been a whole lot more successful if they had come from a different city. (This review originally appeared on the Bring That Beat Back blog and was written by Jack Devo.)

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Classic Elements

Classic Elements was released by Olympia’s K Records in 1998. It contains tracks by sixteen Northwest hip hop artists, including some certified legends. The lyrics are consistently excellent throughout the compilation. These are songs for the mind, and many are vignettes in the true sense of the word, a good example being the captivating saga contained in “A.N.I.T.A.” by Nobody. The production on Classic Elements glows softly like a vintage Edison light bulb. DJ Sayeed (Black Anger) and Brian Weber (Dub Narcotic) both play a large role in shaping the sound of this compilation. Mr. Supreme drops a sublime Twin-Peaks-esque beat for Jace on “What’s Ya Definition,” and Topspin captures a tempest in a teapot with his beat for “Sleep” by Sinsemilla. Every track on this compilation is a genuine artistic expression, and that carries some risk because the performers put their feelings out on display which renders them vulnerable to misunderstanding, or worse, indifference. One of the highlights is “Hip Hop Was” by Ghetto Chilldren, which shines with professional polish among some of the dustier tracks. When you include a track by Source of Labor with Beyond Reality, “Aunt Anna,” and a couple of underground heat rocks from Silas Blak, “Only When I’m High,” and “Blak And Blind,” there’s every reason to make sure this compilation is part of your music collection. (Written by Novocaine132.)

Here’s another take:

Like the four leaves on a lucky clover, four ’90s era Seattle compilations showcase the diverse hip-hop collectives in Washington State and with them your windfall of sounds and explorations: Do The Math, 14 Fathoms Deep, Walkman Rotation, and here, Classic Elements (co-released by Impact Entertainment and K Records). Back then getting the handful of cassettes and comps was a great thrill, and the Seattle area offered up the best. Classic Elements was released at a time when the main place to hear local hip-hop was on the street at Westlake Center or on KCMU’s Rap Attack. Like the title, the classics here are Ghetto Chilldren, Source Of Labor, Black Anger, and Tilson, all offering hits that transcend national radio rap and bring a better class of words and thoughts. Some groups won’t be found outside of this collection – Nobody, Jaleel, 5E, Ski, and Arson have songs that play smooth and timeless. Classic Elements is as relevant today as it was twenty-some years ago. Released on cassette, CD, and on an abbreviated LP – Find it, get it. Good! (This review was submitted by reader Brett Sandstrom.)

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