Various - Old School Rap Volume 1 FLAC album RAR archive 1870 downloads at 25 mb/s. Various - Old School Rap Volume 1 WMA album RAR archive 1795 downloads at 19 mb/s. Phat Side A1. Thump Records, Thump Records: TH-LP-4510, THLP4510: US: 1994: TH-C4510: Various. Sep 19, 2017 - Nothing was heard from Connie for 7 more years, when Thump Records released The Best Of Connie in 2002. Produced once again by Amos.
Taking Love & Making Love - The Eliminators.P-STYLZE02. Behind Curtains - The Five Stairsteps.MELLO03.
Stay Together - The Alienz.P-STYLZE04. The Gift Of Love - Jerry Butler & The Impressions.MELLO05. Shady Side Of Town - The Tailsman.P-STYLZE06. Lovely Little Lassie - Masters Of Soul.MELLO07. Second Story Man - Chocolate Sunday.P-STYLZE08. United - The Stylistics.MELLO09.
The Exit - The Newcomers.P-STYLZE10. So Much - Little Anthony & The Imperials.MELLO11. Merry Go Round - The Equatics.P-STYLZE12. Worth Your Weight In Gold - The Modulations.MELLO13.
Falling In Love - Complaments.P-STYLZE14. Country Girl - The Nights.MELLO15. Gotta Get Yourself Together - The Valentines.P-STYLZE16. Sweet As Sugar - Brass Construction.MELLO17.
No Sign Of Sadness - Bull & The Capalaras.P-STYLZE18. What,Now - Gene Chandler.MELLO19. Let Me Be Your Friend - The Dynamics.P-STYLZE20. Don't Forget That I Love you - The Intentions.MELLO.
GIRL DON'T WORRY.SOUL IN PRESSIONS2. THIS CAN'T BE TRUE.EDDIE HOLMAN3. GIVE ME A CHANCE.GENE CHANDLER4. TREAT ME LIKE YOUR WOMAN.THE BALLADS5. TIRED OF FALLING IN AND OUT OF LOVE.PATTI DREW6.
ONLY WHEN YOU'RE LONELY.HOLLY MAXWELL7. I LOVE YOU BABY.THE MOOVERS8.
YOU THINK YOU'RE SO SMART.AARON NEVILLE9. IF YOU WANT A LOVE AFFAIR.JESSE JAMES10. YOU MUST KNOW MAGIC.DARRYL STEWART11. WHO WILL YOU HURT NEXT.BARBARA MASON12.
LOVE TO HOLD YOU CLOSE.LEROY HUTSON13. THE FALL.TAAK14. EVERYTIME I CRY.THE EPICS15. SMILE NOW, CRY LATER.SUNNY & THE SUNLINERS16. YOU'RE MINE.THE IMPRESSIONS17. EVERY NOW AND THEN.SONIA ROSS18. PLEDGING MY LOVE.JOHNNY ACE.
LOVE IS THE FINAL TRUTH.FACTS OF LIFE2. I CAN FEEL MY LOVE GROWING.BOBBY O'BROWN3. TRYING GIRLS OUT.THE PERSUADERS4.
I'LL ALWAYS LOVE YOU.VELMA PERKINS5. THE STAKES ARE TOO HIGH.ERNIE MARBRAY6. DON'T CRY LITTLE SAD BOY.FRANKIE BEVERLY & THE BUTLERS7. DON'T LET YOUR LOVE FADE AWAY.GENE WILLIAMS8. I GOTTA CHANGE MY WAYS.JULIUS THOMAS9. I'M LEAVING.A TINT OF DARKNESS10.
SWEET LOVE SO GOOD.BOBBY BOWENS11. JUST LOVING YOU.SMALL SOCIETY12. RAN IT IN THE GROUND.BLOODSTONE13.
GO ON.BABY WASHINGTON14. BETWEEN YOU BABY AND ME.CURTIS MAYFIELD & LINDA CLIFFORD15. WELCOME TO MY WORLD.DELEGATION16. POSTCARD LOVE AFFAIR.BLACK ICE17. BABY DON'T DO IT.THE JONESES18. GENTLE (CALLING YOUR NAME).FREDERICK19. SO LONELY.CLIFTON DYSON20.
I JUST CAN'T UNDERSTAND.THE LARRELS21. SHE'S ONLY A BABY HERSELF.SMOKEY ROBINSON.
SHARING.VITAMIN C2. I'M GONNA MAKE YOU MINE.JOHNNY DANIEL & THE SOUL MALIBUS3. UNLUCKY GIRL.BETTY EVERETT4. COME HOME TO DADDY.CURBY GOGGINS5. IF YOU HAVEN'T GOT LOVE.THE MASTERKEYS6.
THIS LOVE (WAS MEANT TO BE).MELVIN DAVIS7. YOU PULLED A FAST ONE.THE V.I.P.' THANK YOU.KALEIDESCOPE9. SHE'S MY LITTLE PLAYTHING.THE ESQUIRES10. DO DO DE DOP.THE DEVOTIONS11.
WHERE DID I GO WRONG.THE EMBERS12. MY SWEET BABY.THE MAR-KEYS13. IF I COULD ONLY BE SURE.NOLAN PORTER14. NO ONE TO LOVE.PAT LEWIS15.
NO MORE HEARTACHES, NO MORE PAIN.VICKI ANDERSON16. LOVE'S GONE BAD.CHRIS CLARK17. WHAT IS THIS.DARROW FLETCHER18. YOU DON'T WANT ME NO MORE.WYATT SHEPHERD. WHY'D YOU PUT ME ON.BOBBI ROW & THE ENGLISHMEN2. SUCH A WONDERFUL FEELING.JOHNNY MOORE3. OUR LOVE USED TO BE.THE ROYAL ESQUIRES4.
MY BABY DON'T UNDERSTAND.ARNOLD ALBURY & THE CASUALS5. PUT THE HURT ON YOU.INNER SOUL6.
THIS FEELING IS IN MY HEART.CHARLES BRIMMER7. IF IT'S FOR REAL.PORGHY & THE MONARCHS8. WHO'S GONNA TAKE ME HOME.OTIS BROWN9. PLEASE DON'T BREAK MY HEART.THE SPONTANES10. YOU PLAYED THE PART OF THE LOSER.THE CONGENIAL FOUR11. DO WHAT YOU WANNA.THE DREAMS12.
HOW FINE CAN ONE GUY BE.THE JELLY BEANS13. REMEMBER THE RAIN.21ST CENTURY14. DON'T TAKE YOUR ARMS AWAY FROM ME.THE CAPTIONS15. THERE IS NOTHING BETTER THAN LOVE.THE MAGIC-TONES16. RUN TO ME.PEOPLES CHOICE17. IN TIMES LIKE THESE.THE FANTASTICS18.
I'LL REMEMBER YOU.THE ELEMENTS. BE MY LADY.THE ARISTOCRATS2. BEHAVE YOURSELF.MISS MADELINE3. BORROW TIL' MORNING.THE COMPLIMENTS4. SEND MY BABY BACK.THE SAN FRANCISCO TKOs5.
THAT'S WHAT I GET FOR LOVING YOU.J.J. I WANT TO BE FREE.CONNIE MCGILL & THE VISIONS7. I DON'T HAVE TO CRY.THE TOPICS8. DON'T EVER LEAVE ME.THE SUPERLATIVES9. SWEET WAY OF LIVING.PEGGY GAINES10. LAY SOME LOVIN' ON ME.BROWN SUGAR11.
LET ME LOVE YOU (FOR THE REST OF MY LIFE).THE HEADLINERS12. GOT TO LIVE FOR YOURSELF.CALVIN ARNOLD13. WHEN WILL MY TURN COME.THE VIBRATIONS14. KING FOR A DAY.DANNY WHITE15.
I FOUND IT ALL IN YOU.THE TREY J'S16. YOU'RE SWEET, YOU'RE FINE, YOU'RE EVERYTHING.TOMORROW'S PROMISE17. WHEN THE MORNING COMES.SLY, SLICK & WICKED18. WHO ARE YOU TRYING TO FOOL.LITTLE ANN. CLEVER GIRL.TOWER OF POWER2. HOW CAN I GET OVER A FOX LIKE YOU.THE ICEMEN3. TOO MUCH PRIDE.THE PERSIANS4.
SOMEONE NEW.THE CALIFORNIA PLAYBOYS5. I'M A DEAD MAN (STILL WALKING AROUND).THE OLYMPICS6. YOU'RE MY WORLD GIRL.ROSE ROYCE7.
IT'S JUST A PICTURE.THE INTREPIDS8. 3 MINUTES TO HEY GIRL.GEORGE KERR9.
SHADY SIDE OF TOWN.THE TAILSMAN10. HEAD TITLE (AKA DISTANT LOVER).MARVIN GAYE11.
ONE BAD HABIT.THE SUPERBS12. SUGAR (DON'T TAKE AWAY MY CANDY).THE JIVE FIVE13. OH LOVE.IRON KNOWLEDGE14. 'TAINT NO BIG THING.RICKY VEE & THE STARDUSTERS15. AIN'T GONNA RUN NO MORE.THE MIGHTY LOVERS16. I CAN'T HURT YOU BACK.THE YOUNG MODS17. DON'T WORRY ABOUT THE JONESES.DYSON'S FACES & HARD TIMES18.
I JUST CAN'T GO ON.THE GANGSTERS19. GOOD OLD DAYS.THE JONES BROTHERS20. WAIT A MINUTE.NEWDAY21.
MEMORIES.THE FOUR TEMPOS22. I'M IN LOVE.LEN WOODS. Is a non-profit website dedicated to serving visitors with hard to find Music. Use of the website notifies us that you are agreeing to the terms listed on this page. Reserves the right to make modifications to any of these policies at any time without notice to it's visitors. This site is not meant to infringe on any copyrights, it is simply here to encourage the continuing availability of hard to find music.
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Another early article about rap music, this time from The Associated Press. It's dated August 28, 1981.Music Makers: Not What You Say, But How You Say ItBy YARDENA ARARHey, baby, have you heard? The word is the rap and the rap is the word. It's a party kind of music, a tres hip thing, Any number can play, and you don't have to sing.All right, it's admittedly a crude effort. But in rap music it's not so much what you say as how you say it, and with the right rapper and a good get-down disco rhythm track, there's a fair chance even Mother Goose could make it to the Top 40 these days.There are rap records on almost every subject and, apparently, a market for almost every rap.
Although rap music - basically rhymes that are spoken, not sung, over a bare-bones dance beat - typically is played anywhere people gather to dance, at least one radio station, Cleveland's WDMT-FM, features rap to rev up by every morning in a 'Toothbrush Beat' spot.All 120,000 copies in the first pressing of Kurtis Blow's 'Christmas Rap' sold out within a week last December. New York comedian Russ Mason's strings-backed 'Prep Rap' ('We don't wear designer jeans.
While they fit rather well, they look like hell. We get khakis from L.L. ) earned him a spot on Tom Snyder's 'Tomorrow' show.For the occasion, Mason says he wore an alligator shirt, khaki pants and Topsiders, 'but I committed a grave faux pas by wearing socks.' A soap-opera inspired rap, 'General Hospi-Tale' by Afternoon Delight, is a popular new entry, Teena Marie's 'Square Biz' is a certified hit, and Record World magazine's resident rap authority, Nelson George, says that somewhere in his collection is a 'Jewish Rap' by Steve Goodman and the Kosher Five.And then there are the big commercial successes.
'Rapper's Delight' by the Sugar Hill Gang, which was credited with launching the rap rage when it came out two years ago, has sold 2.5 million copies domestically, and untold millions more overseas.Kurtis Blow's 'The Breaks,' became the second 12-inch single to be certified gold, after the Donna Summer-Barbara Streisand smash 'No More Tears (Enough Is Enough).' And rap went white and mainstream in a big way with the 1.4 million-selling, No. 1 Blondie tune, 'Rapture,' Deborah Harry and Chris Stein's tribute to the form and the black New York-area disc jockeys who developed it by delivering their rhymed patter over instrumental tracks from disco hits.One of the interesting things about rap music is that it's become a musical meeting ground for two traditional enemies: disco and new wave rock.Miss Harry, for example, recently released a rap-laced solo album, 'KooKoo,' produced by Nile Rodgers and Bernard Edwards of Chic fame. And Britain's The Clash rapped out socio-political commentary in 'The Magnificent Seven' from the 'Sandinista' LP.' This is like street music to them,' says Record World's George of the attraction of new-wavers to rap. 'If they feel it's genuine black street stuff, they're willing to accept it.'
Although accomplished rappers - mostly DJs who go by such flashy sounding stage names as Kurtis Blow (blow being a slang term for cocaine), Grandmaster Flash and Deejay Hollywood - make their rapid-fire delivery sound spontaneous, raps require as much if not more work than regular songs.' You have to get a concept,' says the Sugar Hill Gang's Master Gee, an 18-year-old whose given name is Guy O'Brien.' Then after you get the best possible concept you start forming it into the lyrics which are the rhymes. Then when you have the most possible material and cleverness you apply it to a musical track. You edit, polish up different things with production staff and when push comes to shove you have a record.'
O'Brien, who developed his craft working as a mobile disc jockey, was brought together with fellow Gang members Mike Wright (Wonder Mike) and Hank Jackson (Big Bank Hank) by Sylvia and Joe Robinson of Sugar Hill Records, an Englewood-based independent that has become the big name in rap records.The Robinsons came up with the idea of using not one but all three talented rappers over the instrumental track from the Chic disco hit, 'Good Times' for 'Rapper's Delight.' 'We didn't know each other until the night we made the record,' O'Brien says. 'We just applied what we learned on the streets.'
Another early article about rap music, this time from the New York Times. It's dated March 13, 1981. A lot has changed in 30 years.POP: THE SUGAR HILL GANGBy Robert PalmerRAPPING, a kind of rhythmic versifying with skeletal instrumental or unrecorded accompaniment, began in Harlem, the South Bronx and other black communities in the New York area. A white rock group, Blondie, has carried the rapping style into the national Top 10 with the hit single, 'Rapture,' but the champion rappers are the Sugar Hill Gang, Grand Master Flash and the Fabulous Five, and other groups that have sold large quantities of records but seldom perform for white audiences.Rapping moved downtown for a night on Wednesday when the Ritz presented a cavalcade of rappers. The Sugar Hill Gang, whose 'Rapper's Delight' was one of the first rap hits, headlined the show.
The three men who do most of the group's rapping took turns declaiming rhymed couplets and chimed in as a unison chorus on key phrases while a tight band laid down funk rhythms that were heavily accented on the first beat of each measure. The band also accompanied Sequence, three women in glittering costumes whose raps were as fast and funny as those of the men.Grand Master Flash and an assistant accompanied the Fabulous Five with a virtuoso performance on two turntables; Flash constructed bass and drum parts by repeatedly playing the first few bars of records by Queen & Chic; he created extravagent special effects by stopping records with his hand while they were playing, while they were spinning, a technique that resulted in a regular, percussive skidding sound. 'What you've just beared witness to is seven men and two turntables,' one of the group's rappers told the predominantly white, enthusiastic crowd. 'Think about it.' 'The Funky 4 Plus 1 provided even more food for thought. The group's five rappers chanted in crisp unison and traded phrases in a kind of whiplash call and response. They were able to inject some personality, and some new rhymes and couplets, into what has already become a fairly standardized idiom, and they were as disciplined as a crack drill team.
Their lone disk jockey provided minimal accompanyment by repeating bass figures and drum parts from various funk and disco records. Basically, the Funky 4 Plus 1 provide a kind of rhythmic noise.
Melody and harmony have no place in their music, which rides on an irrestible dance beat and various cross rhythms.The evening featured several surprise guests, including Andy Hernandez from Dr. Buzzard's Original Savannah Band, who rapped over the instrumental track of his latest recording, the delightful 'Me No Pop I.' ' The Coconuts, who are Mr. Hernandez's associates in the group Kid Creole and the Coconuts, also performed a short set of their own and demonstrated conclusively that they are not spectacular dancers.Rapping is probably familiar to most New Yorkers as an intrusive noise on the subway or in the park - the noise that comes out of blaring cassette players and portable radios. But as the Ritz show demonstrated, rapping has a much broader appeal than one might have anticipated. It's an intriguing test of the performer's verbal ingenuity and rhythmic exactitude, and its fine.
This blog is all about preservation of old school hip hop culture. Besides radio and live tapes, you find some movies and also a bunch of flyers. I think it's nice to post 1 or more newspaper articles from back in the days too. So in stead of mp3, lot's of text.
Please let me know if you find this interesting enough.The next article is from the Washington Post and it's the oldest one that's about rap music i came across. If someone has an earlier article (not a hit chart or a general piece that only briefly mentions a rap artist), please let me know!Recording the Rap: Jive Talk at the Top of the ChartsBy Leah Y. Latimer'The rap is hot. It is the newest craze among the 14-to-21-year-olds, the record-buying majority who are putting rap records on the national charts and making money for the nightclub disc-jockeys capitalizing on a bit of New York City party culture. Rap records are big among young adults too, those in the 21-35 age range who bop into the disco on Friday night ready for good music and fast talk.Rapping started in New York clubs about five years ago when deejays began trying to outdo each other - while spinning the most popular instrumental tracks - by talking over them, always in outlandish rhymes that slid off the lips in syllabic precision, always in perfect time to the beat.
Now the competition is in the recording studios, where deejays are putting their raps on tape for play on radios and in discos across the country.Kurtis Blow, a 20-year-old New York nightclub deejay who floats from club to club, is the best rapper around, according to recent sales. 'The Breaks,' his seven-minute humorous lament about life's ups and downs, is the second 12-inch extended-play disc to be certified gold by the Recording Industry Association of America. (The first was the Donna Summer/Barbra Streisand teamup on 'Enough Is Enough.' )'The Breaks' rose fast through the black-oriented single charts, hitting No. 1 in Billboard two weeks ago and currently at the top spot in Record World. And more: 'The Breaks,' on Polygram's Mercury label, is also No. 4 on Billboard's Disco Top 60.
It's even bubbling under the Hot 100 at 101. 'It's premature to say it's a crossover,' Polygram/Mercury Records president Bob Sherwood says, 'although it has in Miami and, of all places, San Diego.'
Locally, Waxie Maxie reports that in a single week one of its outlets moved about 35 copies of 'The Breaks' after its April release. That's the kind of popularity that got Blow booked into the Capital Centre last night, along with another rap group, the Sugarhill Gang.Not bad - considering that, according to his publicist at Mercury Reocrds, Blow 'is not doing much that any other deejay in the clubs isn't doing.' 'He's just got that flair,' the publicist says of the Harlem native who is also majoring in communications and speech at Brooklyn college.Guy O'Brien of the Sugarhill Gang outlines the essential elements of a good rap: In addition to a distinct speaking voice, a good beat and some slick verbal gymnastics, O'Brien says, you need: one or more characters; a good, short story line; and lyrics that make the listener sing along and follow the rapper's instructions. 'Rapper's Delight,' the initial rap single by the three-man Sugarhill Gang, has it all.Each rapper introduces himself, not forgetting the qualifications that makes him the 'baddest brother.' Till now my focus regarding this blog was on building the biggest collection of old school live and radio tapes on the web. Not sure it can live up to that, but I have the feeling that it’s time to focus on preservation of the current online collection instead of adding new ones.I think I have uploaded about half of my collection and this blog became a nice time capsule of hip hop history. At this moment the most requests I get regarding uploading tapes are about re-ups or additional shows from Mike Allen, Mr.
Because my time is limited I think it’s better to preserve the current online collection then to add a 24th Mike Allen tape or 33th Mr Magic tape. Of course there will be reasons to add new tapes, f.e.
When someone thinks an essential tape is missing or another collector want to add tapes to this blog. But I will focus my time and energy on ‘maintenance’. By doing that, this blog will not become a ‘file not found’ graveyard and current and new visitors will find more then enough tapes to start a personal collection and, by doing that, preserve a piece of history themselves. Hopefully that also will motivate some to digitize and share personal tape collections. And if that will be the start of a complete ‘mike allen’ or ‘mr magic’ collection, then that would be great!
But it’s not a goal that I pursue.To all regular visitors, especially the ones who have contributed to this blog in any way: if you have an opinion regarding this: feel free to share it in the comment section. Classic mix from The Latin Rascals (re-up).
Released in 1984. Tracklist includes:Davy DMX - One For The Treble (Fresh)Kurtis Blow - The BreaksCheryl Lynn - EncoreArt Of Noise, The - Beatbox Diversion 10Malcolm McLaren - Hobo (Scratch)CD III - Get ToughHerbie Hancock - Rock-ItMalcolm McLaren - Buffalo GalsAfrika Bambaataa & Soulsonic Force - Looking For The Perfect BeatG.L.O.B.E. & Whiz Kid - Play That Beat Mr. DJMan Parrish - Hip Hop BebopSharon Redd - Beat The StreetBell & James - Livin' It Up (Friday Night)Trammps, The - DiscoJulius Brown - PartyShannon - Let The Music PlayBreak Machine - Street DanceCulture Club - Miss Me BlindC-Bank - One More ShotJohn Rocca - I Want It To Be RealHashim - Al-Naafiysh (The Soul)Addams Family ThemeLoleatta Holloway - Crash Goes LoveEddie B. Where's The Beef?
The death of Mr Magic was for many a moment to reminisce about the time they where introduced to hip hop. Taping Mr Magic, Afrika Islam, The World Famous Supreme Team and other shows.
Or about the joy of getting your hands on a copy of a Grandmaster Flash, Zulu Nation or Treacherous 3 blockparty. Those tapes traveled around the world. Spreading the news about the birth of a new music (and culture!) form called hip hop.Many of those who decided to search the web the last week, trying to find some Mr Magic shows, landed on my blog or youtube channel. I think that most of them hadn’t heard a show for many years.At first, it felt good that there where so many visitors on my site. But then I realized that there is something fundamentally wrong!Why are sites, like the Newyorker.com in their post about the death of Mr Magic, pointing to my site for those who want to listen to a show?I have never been to New York (although I’m hoping to run the NY marathon one day) or even the US. Sure, I can feel hip hop running through my blood when I hear Flash or Whiz kid on the wheels of steal. But how is it possible that there are almost no live and radio shows online?
And how about the fact that the probably largest online old school tape collection is managed by an hip hop loving 'volunteer' from a small European country?Why do ‘old school headz’ talk about the tapes in their basements without taking action before it’s too late? And why is there so little interest in the early days of hip hop, besides when one of the founders dies?Is there hope? Yes of course. I see tapemasters like Troy L Smith and Johnnie Freeze sharing pieces of their huge collections and many, like me, are thankful for that. I see some forums where hip hop fans meet and hip hop artists can be spotted here ‘in the wild’.
But I think that’s not enough. It’s like a small family, sharing memories around the campfire.However, that is not the way you should preserve your heritage. Look around and you see many initiatives to build digital online collections for cultural reasons.
Libraries are doing it, Museums are doing it and even Google is doing it.Sure, there will be some (legal) obstacles. But they can be overcome and this is not about making money! This is about preventing that an essential part of our hip hop culture is lost forever.New York wake up! Tapemasters, radio stations, hip hop ‘industry’ and archive and internet experts join forces.Build an online campfire, let people share there tapes and stories, restore old footage from radio stations and let old folks (like me) reminisce about ‘the good old days’ while the younger generations can discover the energy and the creativity that founded this art form.Peace,Dutch.