sorry, I know its not that great... I use it on the Japanese record pages sometimes though and it ALWAYS cracks me up... there was a review of the Webbie record that compared to his monobrow to some legend about a turtle...
"insufficiency vexatiously simultaneously" is though
I somehow came across this at a shop in Nagoya (only I'm up on this spot), not knowing anything about it I needle dropped it and copped it. It only cost 8 bucks, but when I asked a knowledgeable dealer about it he said the market-price is wh-wh-whaaAAT?! FOUR HUNDRED DOLLARZ!! I was embarassed by my lack of knowledge at this, but felt like yatta Released in 1991, NY middle/underground {?} typical of the period, its vocals laid over a jazzy track...and it's 6 track EP, anyone who knows anything about it, please let me know.
...so, uh, you want some help slanging these to Japan?
Yeah that shit is pretty cool. Of the LONS, LOTUG, KMD era style...
Makes me wonder wether the likes of a low selling Sound Providers 12" will sell for like $500 in 10 years time, while a chart topping 50Cent record will go for...50??. According to the logic that has already been layed down in history it would seem certain.
Makes me wonder wether the likes of a low selling Sound Providers 12" will sell for like $500 in 10 years time, while a chart topping 50Cent record will go for...50??.
According to the logic that has already been layed down in history it would seem certain.
your logic is skewed.
the random rap records that are expensive today were stylistically aligned with the popular rap trends of the time. like you said, the most valuable ones are emulating a popular style - kmd, big daddy kane. a record from 1988 that tried to sound like a crash crew record from 1979 (does this exist? perhaps a better example would be the late 80s johnny come lately run dmc impersonators) would be fairily worthless. collectors usually look for the genuine artifact.
using this model, ten years from now a sound providers 12" would not be the valuable record ten years from now, nor would the 50 cent 12"s, but a "random" record from an artist emulating 50 Cent or Lil Jon (for lack of a better point of reference) would probably (and already do) go for big bucks.
but keep hoarding those sound provider 12"s, it'll clear up the dollar bins for the rest of us.
^^ Logic might be skewed, but it was a simple hypothetical. I can't really predict the future, but seems as though the records that are worth loot now were still ones that were ignored back then. Explain the mid-90s craze then. ie" Foundation & Rezidue 12" going for over $250. ??? That was not from the golden age. Who knows what will be sought after. I know people who go crazy for shit like hiphopsite.com exclusive 7"s that are less than a year old.
I'd still prefer to have a cheap 'Picking Boogers' than some average raer, so to me it's not about the financial worth in the end anyway. Just curious as to how it will pan out.
Look at the Japanese only' records that most of us don't even know exist. ie: Sheep's Ebay list... Shit is automatically raer & fetches stupid prices by crazy Europeans willing to pay.
^^ Logic might be skewed, but it was a simple hypothetical. I can't really predict the future, but seems as though the records that are worth loot now were still ones that were ignored back then. Explain the mid-90s craze then. ie" Foundation & Rezidue 12" going for over $250. ??? That was not from the golden age. Who knows what will be sought after. I know people who go crazy for shit like hiphopsite.com exclusive 7"s that are less than a year old.
but foundation & rezidue was still stylistically linked to the music of it's time. it's informed by earlier trends in rap, but not wholly derivative of them. Was that style the dominant radio force at the time? not to the extent that 50 cent was, but rap music in 1996 was very different than rap music in 2005. records like I>stakes is high/I> were still having an impact on the general hip hop world and weren't quite marganilized to a niche market.
i know a lot of people like to think that these are rich young trustufarian types buying these big money records, but many of the people dictating the trends are people from that era (see: tony d) who are just trying to relive that experience, getting records they heard red alert (or stretch armstrong) spin out twice. maybe nobody was checking for that specific artist then, but they were checking for that style and the good lesser known records resonate with those dudes ten-twenty years after the fact.
nobody is checking for sound providers style rap right now. not to the extent that they were mid 90s backpack rap or late 80s fast rap. sound providers isn't even what's really in indiebackpack rap even right now. the emo or coked out whiteboys are running things. maybe ill bill records will go for $500 in ten years. i hope not.
Look at the Japanese only' records that most of us don't even know exist. ie: Sheep's Ebay list... Shit is automatically raer & fetches stupid prices by crazy Europeans willing to pay.
those japan only records are made by artists with built in fanbases. a lord finesse record from any era that they only press 300 copies of is automatically going to have an audience because there are more than 300 lord finesse completists in the world.
this shit is it really needs to be played on a loud sound system aswell
the b side is a track called No Retaliation, but its fairly shit
as far as I know there was only ever 2 other 12"s released on Pride Records, AOK Productions - Competition Is None & Nice Productions - Hypethetic, both of which were produced by Tony D (thats PRT Tony D)
Comments
"insufficiency vexatiously simultaneously" is
I was embarassed by my lack of knowledge at this, but felt like yatta
Released in 1991, NY middle/underground {?} typical of the period, its vocals laid over a jazzy track...and it's
6 track EP, anyone who knows anything about it, please let me know.
...so, uh, you want some help slanging these to Japan?
Inventor of classic soulstrut-isms "Folls" and "Idoits"
Makes me wonder wether the likes of a low selling Sound Providers 12" will sell for like $500 in 10 years time, while a chart topping 50Cent record will go for...50??.
According to the logic that has already been layed down in history it would seem certain.
Now if only i had some copies floating around...
your logic is skewed.
the random rap records that are expensive today were stylistically aligned with the popular rap trends of the time. like you said, the most valuable ones are emulating a popular style - kmd, big daddy kane. a record from 1988 that tried to sound like a crash crew record from 1979 (does this exist? perhaps a better example would be the late 80s johnny come lately run dmc impersonators) would be fairily worthless. collectors usually look for the genuine artifact.
using this model, ten years from now a sound providers 12" would not be the valuable record ten years from now, nor would the 50 cent 12"s, but a "random" record from an artist emulating 50 Cent or Lil Jon (for lack of a better point of reference) would probably (and already do) go for big bucks.
but keep hoarding those sound provider 12"s, it'll clear up the dollar bins for the rest of us.
I'd still prefer to have a cheap 'Picking Boogers' than some average raer, so to me it's not about the financial worth in the end anyway. Just curious as to how it will pan out.
Look at the Japanese only' records that most of us don't even know exist.
ie: Sheep's Ebay list... Shit is automatically raer & fetches stupid prices by crazy Europeans willing to pay.
but foundation & rezidue was still stylistically linked to the music of it's time. it's informed by earlier trends in rap, but not wholly derivative of them. Was that style the dominant radio force at the time? not to the extent that 50 cent was, but rap music in 1996 was very different than rap music in 2005. records like I>stakes is high/I> were still having an impact on the general hip hop world and weren't quite marganilized to a niche market.
i know a lot of people like to think that these are rich young trustufarian types buying these big money records, but many of the people dictating the trends are people from that era (see: tony d) who are just trying to relive that experience, getting records they heard red alert (or stretch armstrong) spin out twice. maybe nobody was checking for that specific artist then, but they were checking for that style and the good lesser known records resonate with those dudes ten-twenty years after the fact.
nobody is checking for sound providers style rap right now. not to the extent that they were mid 90s backpack rap or late 80s fast rap. sound providers isn't even what's really in indiebackpack rap even right now. the emo or coked out whiteboys are running things. maybe ill bill records will go for $500 in ten years. i hope not.
those japan only records are made by artists with built in fanbases. a lord finesse record from any era that they only press 300 copies of is automatically going to have an audience because there are more than 300 lord finesse completists in the world.
DBA In Effect is a great track, i rip it and post up an mp3 if anyones wants it
that Khaos & DBA record is dope, been looking for that one for a few months now. Wish i'd known you had em for sale on your website, for $7, damn
And, yep, I woulda bought one of those Khaos 12"s had I seen those online too... From the clips, it sounds
here you go Chris
DBA - In Effect
http://s55.yousendit.com/d.aspx?id=1ZCVN72EVOQ5W3DAXE9E25O4IW
this shit is
it really needs to be played on a loud sound system aswell
the b side is a track called No Retaliation, but its fairly shit
as far as I know there was only ever 2 other 12"s released on Pride Records, AOK Productions - Competition Is None & Nice Productions - Hypethetic, both of which were produced by Tony D (thats PRT Tony D)