Collapsed Lung - 'DIS MX'

After the warm reception my previous post received (mostly, it has to be said, from former members of the band), I was a little worried about how this would sound. And it's perfectly of it's period, in that the opening track is that elusive beast, the extended dance remix.

After a couple of minutes of looping drumbeats that pay more than a passing nod to the works of Depth Charge, the funky trumpets start up, and I swear you can hear the actual fertilisation of the egg that went on to gestate and become Collapsed Lung's world conquering anthemn 'Eat My Goal'.

Overall, it's a pretty standard romp, with some nice lyrical action, and fairly dirty production. The standout bit for me is the couplet 'Liberate the decks, liberate the decks, give 'em to the people who would least expect access'. Wise words indeed.

What does it remind me of? Oddly, nothing much. I remember playing this quite a bit, but it doesn't have that flashbulb eidetic moment for me.

Collapsed Lung - 'Down With The Plaid Fad'

It's funny that this should turn up on the weekend when Channel 4 is showing it's 'How Hip Hop Changed the World' weekend, because this is a particular slice of British hip hop that is very dear to me.

One of the central tenets of hip hop culture is 'keeping it real'. Exactly what that means is open to debate. KRS-1 would have you believe that REAL is an acronym for 'Rhymes Equals Actual Life'. Modern commentators seem to agree that hip hop hasn't been in a good place for some time now. You don't have to wait very long on Kanye & Jay-z's new album to hear Kanye brag about how has two big-faced Rolexes. Nice one Kanye - I'll loot Argos and steal an armful of Swatches in ironic homage. As Dan Le Sac and Scroobius Pip point out, 'guns, bitches and bling have never been part of the four elements, and never will be'. The four elements of hip hop are breaking, MCing, DJing and grafitti, as any fule kno.

The four elements conspicuously don't include sloppy, culturally accurate grunge-hop, but if you want an an example of a band keeping it REAL, look no further than mid-90s Collapsed Lung. I saw them in Manchester in 1995, and they were hilarious, and in a good way. A bunch of guys, playing tight, funky rocky grooves, two rappers trading rhymes over the top. It was like having the whole of global musical culture condensed into 3 minute snippets, lyrically tight and culturally smart, thrown back in your face with a cocksure swagger that said 'yeah, we know, it's all a bit mad, but you know what - we're kicking ass, and you're loving it'. It's the very antithesis of where hip hop is today, either a global sell-out or a ghettoised artistic statement.

Fresh stoopid rhymes, sloppy loud guitars, distorted vocals, hell yeah, I still love it today like I loved it then.

Earthling - '1st Transmission'

Wow, this is almost Proustian in it's ability to vividly transport me to a particular place and time.

It's a Saturday afternoon in Leeds, 1994, and I'm round at Rob's old house on Brudenell Road. I lived in Manchester at that point, but moved to Leeds a year later. Ali was there too. We'd been record shopping at Jumbo Records, and I'd picked this up.

It's basically 4 mixes of the same song, but the first version is so strong, such a fat, trip-hop, of-the-moment production that it just sucks you in. The rudeboy sound-system swagger contrast with Earthling's naive, almost childish vocals in a way that found totally captivating at the time. So much so that I listened to all of the mixes one after another, much to the obvious annoyance of Rob and Ali. I think I might have been going back to flip the record over and repeat the A side when someone mentioned that, perhaps, that might be enough of that for now. I was a bit bemused by that then, as I am now.

This track combined everything that I loved about music and lyrics - fat production, someone with their own flow, lyrics that sort of told a story and sort of hinted at someone immersed in their own world. It totally inspired me to start writing lyrics and rapping, and I remember one night waking up and having to find a pad and a Bic biro, the rhymes tumbling out in an unstoppable torrent. Well, maybe not an unstoppable torrent, but a couple of sides of A4 written down as fast as I could manage.

Damn, I'm really happy to hear this again! To me, it's the sound of possibility, of performance without fear of pretension, of music production marrying with an emotion behind a set of lyrics, or vice versa. Happy days.

Schizoid Man - 'Karate Juice EP'

What's amazing, looking back, is that this record was distinctive and different enough for me to pick it up in a record shop (Jumbo in Leeds, the price tag says), listen to it, and think 'cor, another slab of funky, beat-driven sampler music, I'll have some of that'.

It's a decent enough tune, the sort of thing you play early in the night just before you want to get people omto the dancefloor. It signifies a move from taxi-ing trip-hop to ass-shaking hip-hop. I remember doing just that one night at Leeds' Elbow Room, playing head-to-head with Moose (aka Paul Curtis, founder of a lot of things, but www.symbollix.com is his latest thing).

To paraphrase Dr. Johnson, worth hearing, but not worth going to hear

Phrack R - 'Catch 22 EP'

God bless John Peel. Right up until the point he died, he was still playing utterly bonkers music, and being totally, passionately, sincerely committed to it.

I bought this after hearing it on his show. In fact, this is the first record that the label Fused and Bruised released, and I've got it packed away in a sleeve with the second one that FaB did, the 'Bus, Dinner, Jam' EP by Futurecore. The more alert amongst you will have noticed that 'Bus, Dinner, Jam' sounds the same as 'Bustin' a jam', something I only realised when I went and asked for it by name in a record shop in Leeds. I forget what it was called, but I'm sure it was behind what is now House of Fraser. Was that Crash Records - surely not?

Of this EP, it's the track 'The Beatfreak' that I loved, a really minimal, over-compressed slab of electronic instrumental hip-hop. I used it for ages as a track to build rhymes around. I think I played it out a few times too, mostly when I did anything as an artist on the now defunct Soundclash label - 'The Beatfreak' is just such a dirty, swaggering slab of sonic 'shut-the-fuck-up-and-listen-to-me' that I think I used it as an opener to a DJ set a few times, and I'm pretty sure that one time I even rapped over it, plugging my headphones into the mic socket of the mixer and really cutting loose for a couple of minutes. I remember nobody took a blind bit of notice, but for those 2 minutes, DJing and rapping through headphones, I felt like a the bastard offspring of Grandmaster Flash and KRS-1. Happy days.

Papoose - 'Thug Connection'

Notable perhaps for starting with a punchy synth cover version of the A-Team theme, this actually kicks some serious arse, due in no small part to a guest appearance by Kool G Rap, who turns up, curses like a drunken uncle on Christmas day, and then leaves.

Another New York purchase, and bizarrely I think that I forsook the kickass A-side for the alphabetically arranged B-side, which is a great example of why trying to be clever isn't always a good thing. Sure, each verse/stanza is built around rhymes that start with the next letter of the alphabet, but it's actually rubbish. Tiring to listen to, impossible to dance to - so what's the point?

Give me a dumbass track featuring Kool G cursing over the A-team theme anytime.

Primal Scream - 'Kowalski'

Primal Scream are such an enigma that I can't actually tell if they're arch zeitgeist-surfers, producing of-the-moment highbrow pop music that is meant to be discarded like used tissues (as Freddy Mercury memorably described Queen's output), or are just tedious bandwagon jumpers of the highest order.

I've no idea when or where I bought this, and I'm pretty sure this is about the third time I've played it. Maybe it's the Automator remix on the b-side that drew me to it. It certainly wasn't the shite-awful cover of '96 Tears', a laughable attempt at garage-punk-electronica fusion, that caught my ear.

Piss poor, tepid, emotionless. Oh well.