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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Tag: Dee.aLe

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50 Next: Seattle Hip-Hop Worldwide

50 Next: Seattle Hip-Hop Worldwide drops you into a literal roundtable conversation between Town legends old and young. James Croone of The Emerald Street Boys tells the story of discovering how “poetry on top of music” could carry a message. Spyc-E shares how she first learned to write rap verses, at age 11, and is kindly teased by the group into performing her first-ever childhood rhymes. Later, Khingz thanks Vitamin D for mentoring him early in his career, and for how it helped him achieve his own success. This half-hour documentary captures several charming, rambling discussions about the long history of Northwest rap. The whole thing is a delight.

Eazeman from ’90s group L.S.R. reflects on how major-label rejection shaped the scene early, saying “If you don’t want to show us for who we really are, then we don’t need you. We’re going to make our own party.” Rapper Candidit adds, “Don’t come if you’re not prepared.”

The group passionately rails against the evils of what they describe as “capitalist hip-hop,” which divides communities and makes local artists into commodities to be bought and sold. There’s a need today for more love and mutual respect and not so much focus on money and fame and numbers. Instead, they explain how everyone making art in the Northwest has a responsibility to fight back against the mainstream, “intended to pacify society” adds CPS da Scientist. Rapper DICE encourages artists to follow their imagination, saying “who cares what is new and cool now. Figure out what it’s going to be cool next, and then be the first to do it.”

50 Next was released as part of a larger online interactive experience by Aaron Walker-Loud and Avi Loud, “a multi-media time capsule of what was, what is, and what’s next…” The whole project is still online and is viewable here.

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Cidewayz: Full Circle

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When It Rains

Ryan “RC The Trackaholiq” Croone has been down since day one. His older brother James Croone was a member of Emerald Street Boys, one of the earliest rap groups in Seattle. As a young man, RC got into rap production, and in the mid-1990s he teamed up with rhymer Squeek Nutty Bug. They went in the studio and subsequently dropped Really Cheat’n, one of the all-time, five-star Seattle rap albums.

There are more than two dozen different rappers on RC’s 2002 compilation When It Rains, it’s a prodigious project. Loosegroove put out 14 Fathoms Deep in 1996, and as a theoretic successor, When It Rains could reasonably be nicknamed “24 Fathoms Deep.” This is guileless rap, concentrating on reporting life experiences. Put it this way, you won’t find anyone here looking through the dictionary trying to find five rhymes for “illuminati.”

“They Never Knew,” by sibling team Twin-G and Skuntdunanna is excellent, “possibly the first song they ever did together,” remembers RC. “You’re a one hit wonder, like Young MC or Jody Watley,” says Twin-G mockingly. I especially appreciate the spacey half-minute instrumental flourish at the end. Actually, Twin shows up again on “Greedy Made,” this time joined by Chedder Hound, Culpepper, and “Drop Top” star E-Dawg. “Greedy Made” has unpredictable, punchy energy from the start of verse one. E-Dawg explains, “I bust a tight verse and make St. Helens erupt,” referencing the May 1980 ash cloud which blasted across the region.

The late Gangsta Nutt represents hard on the g-funk blazer “This Ain’t Livin,” which is a textbook example of true synergy between a producer and a rapper. Nutt’s cadence goes together with the Trackaholiq beat like Martin Scorsese and Robert De Niro. Another notable cut is the menacing “No Fabrikashun” by Crafty. Famous Seattle turntablist DV One does the scratches on the cut, and the beat creates drama and suspense. Meoshi drops a respectable verse on her edifying track “My Eyes.” “Some take the easy route, some take the pills to the head, because their problems overwhelm them y’all, they’d rather be dead,” she raps. But all is not lost, she reminds aspiring artists to, “strive to be the one immortalized from your hood.”

When It Rains is an ambitious project, it’s really a one stop shop to learn about the diversity of rap talent in Seattle. In 2022, RC celebrated the 20th anniversary of this release, and he recently told me that the compilation wouldn’t have been possible without the help of two key people, G Prez and DJ Kun Luv. G Prez ran Sea-Sick Records which put out the CD, and Kun Luv was the head of Seaspot Promotions, one of the largest media organizations for Seattle hip-hop culture. Thanks gentlemen! Written by Novocaine132

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The Playoffs

In 1994, DMS dropped a short six-song album called Takin’ Ends on D-Shot Records which established them as serious players in the 206 rap game. Two years later, their spiky track “Keep Da Change” was featured on Loosegroove’s 14 Fathoms Deep rap compilation. By 1999 they left D-Shot Records and dropped their sophomore album titled The Playoffs, which came out on Clear Head Entertainment.

“Hytymez” and “Jonzin'” document the weed-smoking lifestyle which is so familiar in rap music, you already know. “Drunk Words…Sober Thoughts” talks about struggles with alcohol abuse. “206 N’It” includes shout outs to other Seattle and Tacoma rap artists, and also a list of some local landmarks like the Pike Place Market, Mt. Rainier, and the Space Needle. Most of the album lyrics relate to everyday life, their pride in our city, and their identity as rappers in Seattle. The genre is squarely in the reality rap camp, with less wordplay and concepts and more newspaper style reporting of daily events in the neighborhood.

Highlights on The Playoffs include a slow burner titled “Freak Show,” which is an interpolation of “And The Beat Goes On” by The Whispers. “My World Too” is a moving sequel to “My World” from Takin’ Ends, and this track written solo by group member Moe-B is filled with frank and honest lyrics concerning fear of failure and his own personal struggles. “Outro” names every track on the album in a clever twist. The best thing about The Playoffs is the level of lyrical and philosophical growth compared to the songs on Takin’ Ends. One minor complaint I have about this album is that the songs are all extremely long, and sometimes overstay their welcome. Sometimes a tight three minute track can say more than one that rambles for five or six minutes.

DMS were in a large club of Seattle rap groups and artists who were excellent at their game. They had the breath control which is so important for balanced verses, plus their vocal tones were varied and compelling. The beats were tight, conforming to the highest standards, and the aesthetic was 100% hip-hop. They had the dope style and the swagger to fit the description. If a group like DMS checked all the boxes, then why didn’t they become millionaires? The answer is what some people like to call the ‘X Factor.’ The X Factor means there is something magic or supernatural about your music that is undeniably unique, and thus your content instantly differentiates itself from that of other artists. Without the X Factor, DMS didn’t have one definable quality which could set them apart from the thousands of other rap groups in the 1990s. Therefore, even though they solidly represented their art form, this was their last album according to Discogs. Written by Novocaine132

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Hustlin-N-Hell

From the very beginning of Hustlin-N-Hell it’s clear that Central District representatives Self Tightld are going to take the listener into a dystopian drug dealing and gang banging lifestyle. The cover art shows a chaotic scene in which a cigar smoking skeleton, itself a symbol of death, appears to be wreaking havoc on Seattle. Self Tightld came together in the mid 1990s founded by Maine 1 who teamed up with four other members, Rob Doe, Popsykle, Sikface, and 2elevn. Whether the album glorifies the gangster lifestyle or warns against it will probably depend on the listener, for the tales are rich with ups and downs, victories and defeats, and of course the notorious legacy which comes with going out in a blaze of bullets.

Track two, “Hustlin In Hell” is emblematic of the album’s themes, namely survival is not guaranteed and you don’t get what you deserve but only what you bargain for. “Hustlin In Hell” drops a bread crumb which leads to another famous street rap from Seattle, “I’m not from Union but I’m hustlin,” referring to “Union Street Hustlers” by Ice Cold Mode. The album continues with bleak rhymes about violence in the neighborhood on “Northwest Gunfest,” “Ill Thoughts,” and “Problems.” “Leave these crimes alone and your life just might pop, or a pistol might pop and give your life an early stop,” goes one of my favorite lines on “Problems.” Lack of opportunity for youth is addressed in tracks like “Self Tightld,” “Live4Today,” and “Negatives.”

The group doesn’t only rap about gunplay and trap life, there are also songs like “MC Fo Short,” and “Rhymes Top Of The Line,” which show off verbal skills and drop challenges to other rappers. To their credit, Self Tightld don’t delve too deep into the “Rap about rap” rabbit hole in which rappers spend all their energy talking about their record label or other rappers.

There are several highlights on Hustlin-N-Hell including “Pleasure Pouches” which features an appearance from California’s B-Legit. “Pleasure Pouches” is predictably a paean to pot smoking, and the group celebrates cannabis with various clever rhymes. “Watch That B/N” is a reminder to be careful who you trust, because there is a hustle lurking around every corner. Another track that shines is “Growth And Development,” a very meta message about how to choose the right path in life. Each of us is “Chillin in a crossroads,” as the song puts it, and we must do the right thing or risk a literal dead end. Due to its popularity, Hustlin-N-Hell was re-released by Point Side four years later in 2002. Rest in peace to group members Rob Doe who passed in 1998, and Popsykle who passed in 2018. Written by Novocaine132

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Really Cheat'n

Here are some car-stereo-shaking Central District tales of murder, violence, romance, and good weed: Released in 1995, Really Cheat’n from Squeek Nutty Bug is grooving G-Funk at its finest.

After spending his early years in the Midwest—and in jail—Squeek made a big splash on the Seattle scene in the mid-‘90s, named so because of his distinctive high-pitched vocal delivery. He released a catchy first single called “ILL HETCHA HY”—you should sound this out. The song also appears on this full-length, this all-too-short, nine-track Really Cheat’n. The whole album is funky hop fantastic with live instrumentation courtesy of producer Ryan “RC” Croone, who, after this project, launched a production empire. Together, he and Squeek are bringing that “hydroponic do-do-funk type shit” as he says in the opener. Squeek himself saw his verses as education, once saying to the Seattle Times, “I’m takin’ hip-hop to the vegetables and the vitamins.” The closing track “Outro” is almost three full minutes of thanks to town talent and favorites delivered in a most amusing style. Overall, this is a hella fun record, reminiscent at times of Gifted Gab, who’s one of the main players who turned me onto it. Really Cheat’n was also one of the first releases from CD Raised Records, a Central District record label started by Captain Crunch, a member of the once mythological Seattle hip-hop group the Emerald Street Boys, and father of D.Black/Nissim. That fact, plus one that Squeek was a headliner on Nasty Nes’s “Best of Northwest Hip-Hop” stage at Folklife Fest that year, connects this record to a host of this town’s amazing first generation of hip-hop legends. Dee.aLe from DMS is featured, as are Young K, Lil Mafia (AKA Skuntdunanna), ROK, BG Bari, & Kevin Gardner.

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Takin' Ends

DMS was a Seattle rap group with three members, Dee.aLe, Moe-B, and Sheriff. In the early ’90s they were discovered by D-Shot from The Click, who founded his own eponymous Bay Area record label in 1994. That same year the label released a short DMS cassette and CD titled Takin’ Ends. There are only six tracks, but I feel it has enough varied content to call it an album. Overall the beats might be basic but they are undeniably clean and punchy, and it’s a very professional-sounding and well-balanced project.

Takin’ Ends begins with the title track which is a play on words. ‘Making ends meet’ has always been a common phrase for earning money, but DMS aren’t gonna make it, they’re gonna take it. As the song fades in, the group members spy on and discuss another hustler in a drop top who is going to get “caught slippin.” The emphasis on the words “drop top” could be seen as a swipe at fellow Seattle rapper E-Dawg, who had released a single called “Drop Top” only a year prior in ’93. Track two “Which Game” finds the protagonist trying to make a difficult life choice, and it uses a classic Too Short lyric to describe the dilemma, “Do you wanna rap or sell coke?” In fact, the slow simple delivery on “Which Game” is reminiscent of Too Short’s easy going, slow, humorous rhyme style. “Drunk Drivin” is song three, but just like a drunk driver this autobiographical track unfortunately never really finds its direction.

Tracks four and five, “Back Up Off My Tip,” and “Sunshine,” were both featured by Jake One on the legendary 2010 Town Biz Mixtape. “Back Up Off My Tip” is a direct warning to scandalous, gold digging women who might try to use the group for their money. Powerhouse single “Sunshine,” easily the biggest hit on the album, is all about smoking grass. The song deftly turns a sped-up Alexander O’Neal line into a head-nodding beat. “I can’t go a day without my sunshine,” goes the chorus. The last song, “My World,” is all about various circumstances faced by African-American youth growing up in the United States.

This release in 1994 began a several year run for the group which pushed them to higher status in the Seattle rap game. In 2012, a remastered version of Takin’ Ends came out, which included two bonus tracks: “Hoes Be Trippin” and “Typical Tough Guy.” At eight songs Takin’ Ends can finally be called a true album, congratulations fellas. Written by Novocaine132

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Comin' Out Stompin'

Seattle rap group Love Sick Rhymers (aka L.S.R.) emerged from the fray during the late 1980s and early 1990s. Through dogged live performances and old-fashioned street credibility, L.S.R. gained wide recognition and accolades. In 1991 they put out a cassette single “Hold Tight 2 Da Rhythm” on Blakstyle Records. It was successful, and the label subsequently released the song on a vinyl twelve-inch in 1992. Love Sick Rhymers recorded at least two unreleased albums before breaking up, Yesler Shot and Comin’ Out Stompin’. The Comin’ Out Stompin’ project sat waiting on a DAT for 31 years until 2023, when DJ Eazeman dusted it off and released this amazing album for the first time.

Comin’ Out Stompin’ displays an upbeat, high-energy style of hip-hop, which is influenced by Jamaican and other Caribbean musical styles. “Turn Up The Volume” and “Hardcore Hip Hop” immediately spark the fire, setting the tone for the rest of the album, and both songs are rousing to get your body moving. “Jam Session” slows it down a little with a freestyle cypher vibe, where everyone gets a turn to spit a verse. I particularly enjoy the way “Jam Session” interpolates patterns from the famous French nursery rhyme “Frère Jacques.”

“Goin’ 4 Gutz,” and “Nuthin’ Like The Real Thang” are about getting freaky with sexual encounters. Both songs contain some clever metaphors, including a reference to a slogan for Ball Park brand hot dogs. Title track, “Comin’ Out Stompin’,” is rock-solid in every way, and it dares other crews to step to L.S.R. and get defeated. The last song, “Keep Ya Movin’,” drops numerous quotable lyrics over a relaxed beat. “Downtown Seatown, kickin on 3rd Ave, in front of Mickey Dee’s, the only boys that’s bad.”

Guest appearances from other Seattle artists DLD, Ruthless Mellow Funk, and Dope Style Productions bring extra flavor to the recipe here. Each song is a little bit different, showing the easy versatility of Love Sick Rhymers. Eazeman released Comin’ Out Stompin’ on CD and lathe-cut vinyl, both in limited edition quantities. This is a true-school, absolutely classic 1992 Seattle rap album, and hopefully L.S.R. will drop more music in the years to come. Eaze, if you’re listening, Yesler Shot, wink. Written by Novocaine132

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Hold Tight 2 da Rhythm

Love Sick Rhymers came together as 8th graders in 1984 when DJ Eazeman met Kid Mix (who was also going by Z-Rock or Playboy Z) and a third member named Ace One. Kid Mix had seen a graffiti piece with the words Love Sick Bombers, and so he named their group Love Sick Rhymers. They recorded many tracks throughout the 1980s, and by the early ’90s they had an album finished called Yesler Shot. The first single from Yesler Shot is this dancy cut called “Hold Tight 2 Da Rhythm.”

The 1978 song “Hold On Tight” by Lakeside is used as the main sample for “Hold Tight 2 Da Rhythm.” Love Sick Rhymers are joined on the cut by guest rapper DLD (Dee.aLe) from another Seattle ’90s rap crew called DMS. At the beginning of the track Eaze introduces the rest of the group, and then they take turns getting loose on the mic. The raps include some speedy verses and wordplay alongside some more laid back styling and profiling.

Yesler Shot was never commercially released at the time, and it wasn’t until 2019 that DJ Eazeman uploaded all the group’s content to Youtube, where it can now be experienced. This is the only listing on Discogs for their record label Blakstyle Records, apparently no further releases ever came out on the label. Love Sick Rhymers were a prolific Seattle rap group that had such accomplishments as opening for Tribe Called Quest in 1991 at the Oz nightclub, and also performing at several stops on Sir Mix-A-Lot’s Mack Daddy tour in ’92! “Hold Tight 2 Da Rhythm” is a great party cut, and the raps keep it real. This is a classic 206 jam and it was rightfully included on the Goods/Stussy Jake One Town Biz Mixtape back in 2010. Written by Novocaine132

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