ūüéľ #GuelphMusicClub: Best of 2016


Yep, it’s true. Phoenix from the ashes and all that good stuff…depending on your opinion of this blog, I suppose. Either way, I’M BACK.

But,¬†yeah, I’m dreadfully late this year with my best of 2016 recap but I don’t feel too bad about it this go around. In fact, does it bother anyone else that most major music publications and review sites/blogs tend to have their year-end lists published¬†near¬†the top of December? That means that albums released at the very end of the calendar year aren’t even available to be considered if their roundtable discussions are taking place throughout October/November. And I always thought it was dumb to see year-end lists incorporating items from the year previous – DUMB. Continue reading

#GuelphMusicClub: Best of 2015


Hey all.

Hope everyone is having a nice start to the new year and was able to enjoy their holidays. Speaking of the holidays, it was something of a surprise to see the revival of the #GuelphMusicClub at the end of last year. The decision to resurrect THE CLUB was made in order to discuss our respective favourites of 2015 and I really enjoyed reading through all of the entries. Times passes so quickly nowadays that I had nearly forgotten how eclectic and varied the tastes of the group actually are.

I also appreciate its return because it gives¬†me the¬†opportunity to resurrect this dead ol’ thing and CHAT SHIT (GET BANGED?) about my favourite musical items¬†from¬†2015. Given that we’re getting towards the end of January now, I’ve already slacked so hard that I’m¬†just going to dive¬†right into it. Continue reading

#GuelphMusicClub: Top 5 Songs of 2014, Pt. IV

Happy 2015!

I don’t know about the rest of you but my holidays were jam-packed.

Got nowhere near seeing¬†every person I had hoped to…

things there's never any time for: hair washing, studying, getting into Stanford, etc.

Things there’s never any time for: hair washing, studying, getting into Stanford, etc.

Nevertheless, here we are entering the new year and I have yet to wrap up my latest installment for the #GuelphMusicClub.

So, let’s get on with it then! Continue reading

#GuelphMusicClub: Top 5 Songs of 2014, Pts. II & III

Back again with a double edition in order to catch up to the rest of the #GuelphMusicClub.

Please click the hashtag above to see all of the entries to date.

It feels like there are more participants this time around since the previous iteration of THE CLUB and that is so great to see.

Selections¬†have been quite diverse thus far and I’ve already been exposed to a number of great tracks that I wasn’t previously familiar with.

If you happen to be a fan of THE CLUB¬†and would like to contribute, write a post, get a Twitter account, and tweet it out using the #GuelphMusicClub hashtag and you’re all set! Continue reading

#GuelphMusicClub: Top 5 Songs of 2014, Pt. I


Oh, hey!

#GuelphMusicClub has a pulse!

It has been a favourite of mine since its creation and I welcome its return.

There appear to be some new names involved since the last go-round and that’s great to see as well!

Click the hashtag above to see the first round of contributions pertaining to our latest topic Рthe top 5 songs of 2014. Continue reading

#GuelphMusicClub, Pt. XI: 1974-1983, Edition B


o shti!

#GuelphMusicClub is showing some real signs of life again.

I am happy to see some folks slowly making their way back.

This thing can’t die.

Saying that, I missed week 2 ¬†of ’74-’83 so I am likely to make two separate posts this week if I can manage squeeze them in.

Can’t be cheaping out after hassling everyone else to make their return!

Have a look at the picks made by some of the others within the club this week:

So without further adieu, I am gonna join the ranks and dive right into it.

*     *     *     *     *

Let’s get one thing straight: Earth, Wind & Fire (@EarthWindFire) are one of the greatest groups to ever do this music shit.

That’s not an opinion but a downright fact.

Don’t believe me? Check out this laundry list of awards and achievements.

Love ’em or hate ’em, their ability to fit into a variety of genres allowed them to cross over racial boundaries and maintain relevancy as the musical landscape continually evolved.

With a career spanning across nearly five decades, you could start a small country with the amount of group members who have come and gone.

Which is to say, EWF have changed dramatically throughout the years!

Highlights have emerged at every point in their career but, in my opinion, the funk / R&B / disco era is where they dropped the majority of their jewels.

I have thought about this post for about a week now and have had difficulty narrowing my choice down between two albums.

So I won’t bother.

Earth, Wind & Fire ‚Äď That’s the Way of the World¬† (1975)

Earth, Wind & Fire ‚Äď All ‘N All¬† (1977)

The former is arguably the pick of their discography and the top selling album.

Originally planned as the accompanying soundtrack to a film sharing the same name, the band insisted upon putting the record out ahead of the movie, as they were convinced the flick would fail subsequent to seeing the screener (it did).

Wise move. That’s the Way of the World¬† would become their breakthrough record as well as their first (and only) to reach #1 on the Billboard 200.

It is also home to some of their biggest hits:

Earth, Wind & Fire¬†‚Äď “Shining Star”
from the album, THAT’S THE WAY OF THE WORLD¬†¬†(1975)

Earth, Wind & Fire¬†‚Äď “That’s the Way of the World”
from the album, THAT’S THE WAY OF THE WORLD¬†¬†(1975)

The degree of musicianship on this recording is top-notch.
Like, I’m talking unfuckwitable territory.

Shit is uplifting, there’s just no other way to describe it.

*     *     *     *     *

If you don’t acknowledge¬†That’s the Way of the World ¬†as the pinnacle of the EWF catalogue, it’s likely you claim All ‘N All ¬†as the peak.

By this point in their careers, the band had a stage show that was a full-on production, one that included pyrotechnics, elaborate costumes, as well as world class magic and illusions directed by the late Canadian Doug Henning (also acclaimed for his work in the 80s with Michael Jackson) and his assistant, a still-fledgling David Copperfield.

The Egyptian style album art was a reflection of this grandoise point in their career.

But the tracks banged hard enough to make it their second-best seller.

Earth, Wind & Fire¬†‚Äď “Serpentine Fire”
from the album, ALL ‘N ALL¬†¬†(1977)


Earth, Wind & Fire¬†‚Äď “Jupiter”
from the album, ALL ‘N ALL¬†¬†(1977)


*     *     *     *     *


#GuelphMusicClub, Pt. XI: 1974-1983, Edition A


The #GuelphMusicClub is back risen from the dead.

It’s been the long and arduous summer we all expected it to be and the club has fallen down a bit on the list of life priorities.

However, with Music Lives (@MusicLivesCA) having successfully made the transition to print, it looks as if our founder is back and ready to take hold of the reins once again.

A special shout going out to our friend Rob over at soundinmymemory.com / @soundinmymemory.

He will be taking a brief sabbatical from the blog game and being that he is largely responsible for maintaining the pulse on this thing when no one else was willing, we would all like to wish him the best. Hope to see you back again soon, my bro!

Aside from that, I’d just like to say..


*     *     *     *     *

After launching the #GuelphMusicClub with a 5-part series on our favourite albums released during the period of 1963-73, we are finally set to revisit this initial concept and focus upon the next decade.

There is one album in particular I was dying to acknowledge.
I figured it would be a popular pick so I am pleased to be the first to mention it.

The masterpiece I am referring to?

Stevie Wonder ‚Äď Songs in the Key of Life¬† (1976)

Stevie Wonder was already at the top of his game by the time he released his pièce de résistance.

After recording three massive consecutive successes in Talking Book¬† (1972), Innervisions ¬†(1973), and Fulfillingness’ First Finale ¬†(1974)¬†– the latter two would each go on to receive Grammy Awards for Album of the YearWonder was on the verge of abandoning his musical career in order to dedicate his life towards missionary causes in Africa.

Instead, due to his growing disdain for what he considered to be a hypocritical and unjust United States government, Stevie re-upped with Motown for a $37M / 7-year / 7-LP recording contract which also gave him full autonomous control over the creative process, thus becoming only the second artist in the history of the label to receive such a stipulation (the first being the late Marvin Gaye).

Inspired, Wonder would christen the Hit Factory with its first recording sessions, serving as the origin of the studio’s legendary reputation.


421 West 54th Street, NYC

Songs…¬†was becoming¬†his most ambitious project to date and, after a nine-month studio residency, would eventually result in a double-LP with accompanying 4-song EP.

Wonder was often criticized for being overly sappy in regards to his lyrical content and he was ready to show his critics that he was not above stepping outside of his comfort zone. Tackling difficult topics that were often considered taboo for the time, he tackles social issues such as race relations, classism, and mental health with a disobedience atypical of a 1970s pop star.

His level of musicianship was also hitting new plateaus, as Stevie was always unafraid to incorporate unusual instrumentations while never fearing the transition from analog to digital.

Stevie Wonder¬†‚Äď “Have a Talk with God”
from the album, SONGS IN THE KEY OF LIFE  (1976)

The record was universally acclaimed upon its release and, by 1977, had earned Stevie his 3rd Album of the Year Grammy in four years.

He would also go on to win top honours at the ceremony for Best Male Pop Vocal Performance, Best Male R&B Vocal Performance, and Producer of the Year.

*     *     *     *     *

It is a bit of a miracle that I even became a big Stevie Wonder fan, as my parents have despised him for about as long as I can remember.

I think they belong to that previously mentioned group of people who find the man too sickeningly sweet.

But what can I say? I was being put onto the big screens at Square One since I was just a little baby dancing along to Lionel Richie at the center of the mall.

Speaking of which, it’s quite possible I have done the #beigelife‚ĄĘ¬†shuffle to this song more than any other in my lifetime:

Stevie Wonder¬†‚Äď “Sir Duke”
from the album, SONGS IN THE KEY OF LIFE  (1976)



#GuelphMusicClub, Pt. X: Long Song

R.I.P. #GuelphMusicClub?


I was really hoping for someone else to take the lead this time, but alas, here I am again.

Is this the end of it all? If so, the whole thing was extremely short lived.

I’m actually kinda mad about it.

What happened to the enthusiasm?

I know we aren’t kids anymore but nor are we among the elderly.

We haven’t even returned to our decade-by-decade series.

What’s the excuse?

Look, I’m just trying to shame all of you back into this shit.

Did it work?

Either way, I’ma keep goin’..

*     *     *     *     *

Last topic we all agreed to write about revolved around our favourite “long song”.

Makes sense, given that we previously discussed our fave tracks clocking in at two minutes or less.

I will admit, deciding upon a lengthy composition was a bit more difficult.

A few things came immediately to mind but they were lacking in imagination.

I am not trying to come across as a smug elitist here but I do enjoy using this blog to discuss records that haven’t already been written about thousands of times over.

After a bit of thought, my decision was clear, although it may end up as a selection that falls ever-so-slightly out of bounds due to the fact that I chose a concept track broken into 16 separate segments.

The artist I have selected is Halifax’s very own, Sixtoo.


*     *     *     *     *

Tragically, Sixtoo – a.k.a. Vaughn Robert Squire – retired his pseudonym about six to seven years ago, largely shifted away from instrumental hip-hop, and began to produce varying types of electronic music under different names.

However, in the past, Sixtoo was a favourite of in-the-know underground heads who came to learn of him via his work with the Sebutones (a collaboration with fellow Canuck, Buck 65) and through his association with anticon.

The rapper/producer stretched himself pretty thin during his most active years.

But in 2002, he really set things off for himself with what is now considered to be his magnum opus: the Duration Project.


Original album artwork

One of the moodiest instrumental journeys one can hope to find.

An underrated Canadian masterpiece, the record serves as a fine accompaniment to train riding and graffiti bombing.

In fact, the atmosphere is distinctly Scotia but the tone (and the drums!) bleed New York.

This is some genuine boom-bap shit that goes from delicate to erratic and back again.

You know you are listening to great music when you are seeing strong visuals without the benefit of words.

Check out the YouTube playlist below:

Sixtoo¬†‚Äď “Duration”
from the album, DURATION  (2002)

*     *     *     *     *

Sixtoo re-released Duration in 2005 as a deluxe edition which included the Secrets that Houses Keep EP as well as a bonus DVD.


CD/DVD Deluxe album artwork

Highly recommended listening for those unfamiliar with this cat who dig grimy instrumentals.

There are signs that Sixtoo¬†has begun to resurrect his old moniker, having produced up-and-comer Isaiah Toothtaker‘s (@i_toothtaker) 2012 LP, Sea Punk Funk, in its entirety.

Let’s hope he is back here to stay.

*     *     *     *     *

And one more thing while we are on the subject: I wanna shout out Villain Accelerate, the collaboration with Stigg of the Dump.

Maid of Gold is one of the most slept-on instrumental projects I can think of. Worth peeping if you like dark, smoky, eerie beats. Some of Sixtoo‘s finest.

Maid of Gold album artwork

Maid of Gold album artwork

#GuelphMusicClub, Pt. IX: 2 Minutes or Less


No, this isn’t a post about your libido..
(though we have all been there before – she was hot, okay!?)

This week, the #GuelphMusicClub asks us to list off our favourite song that clocks in at OR under 120 seconds.

Pretty cool theme.

As usual, my mind went all over the place when planning for this entry and I had difficulty narrowing it down.

Unfortunately for you, that means I was unable to do so.

Instead, I will select one song per genre of my choosing.



*     *     *     *     *


I barely listen to metal these days. It’s so bad.

But as an angry and self-loathing pre-teen, aggressive music was the first genre I really delved into.

A lot of the metal stuff coming out these days is, in my opinion, completely distasteful and the large majority of those participating seem to lack any semblance of an imagination.

I used to think future generations would look back upon¬†n√ľ-metal as if it were the second coming of glam.. but perhaps we can reserve that honour for the¬†metalcore¬†of today.

I mean, have you heard of Attila yet? If you value substance over style and attitude when it comes to heavy shit, for the sake of your own health, DO NOT CLICK HERE.

Seriously, thank Christ for Meshuggah (@meshuggahband) and their continued existence.

Now, having said all of that, I am not ashamed to acknowledge that I found metalcore to be pretty damn interesting in the late 90s / early aughts.

Mega-bands like Korn and Limp Bizkit had become parodies of themselves and kids were fiending for something a little more serious and a lot less rap-oriented.

The Florida hardcore scene and Trustkill Records were largely responsible for popularizing the paradigm shift from rap-metal to an over-reliance upon the “breakdown“, a heavy-metal and hardcore crutch which still pervades to this day.

As we were approaching the 21st century, a humble outfit by the name of Burnt by the Sun (@BurntByTheSunNJ) were beginning to form somewhere in New Jersey around 1999.

Bursting onto the scene with a well-received split release alongside Luddite Clone, the band were quickly signed to Relapse Records, long established as the most respected extreme music label in America.

The band went directly into the studio and subsequently released a 4-song self-titled EP which features a total running time at just over eight minutes.

A pummeling release from start to finish, the hardcore world took notice and the buzz would result in Burnt‘s debut full-length, Soundtrack to the Personal Revolution, which was being built up as one of the most anticipated releases of 2002.

It did not disappoint.

Get a load of the opening track:

Burnt by the Sun¬†‚Äď “Dracula with Glasses” (1:46)

To this day, I consider it to be one of the most brutal album intros ever.

I can still listen to BBTS and fully enjoy it.

Although they were lumped in with the rest of the bad metalcore out there, these guys were very forward thinking, combining chunky downtempo guitar grooves with frenetic death-metal style drumming (via underground legend, Dave Witte), not to mention some of the most thoughtful lyrics in metal courtesy of vocalist Michael Olender.

And though many relevant acts of the time had no problem falsifying themselves in order to establish some perception of “cred”, Burnt tied their whole style together by rooting it in an unmistakably genuine hardcore punk ethos.

The end result was as ferocious as it was innately unique.

Tragically, the band would go on to release only two more full lengths before permanently calling it quits.

Their entire discography is phenomenal and any metalhead who isn’t already familiar with them needs to check this band.

Olender also has what I consider to be one of the most disgusting screams ever put to music.

Shit is TOUGH.

As an extra, I have to post this live version of the same track, taken from their godly performance at the 2003 Relapse Contamination Festival:

FUCK, these guys RULED.

And their entire set from that evening was recorded and eventually released as a live album.


I really miss them.

*     *     *     *     *


I have previously referred to Lord Finesse (@LordFinesseDITC) and Large Professor (@PLargePro) as one and two, respectively, when it comes to applying the “greatest producer on the mic” tag.

Yeah, yeah, J Dilla, Q-Tip (@QtipTheAbstract), I hear you.. but I still stand by my original statement.

Now, when it comes to the blue-collar version?
That can’t be given to anyone besides¬†Count Bass D (@CountBassD).

Not DOOM's brother. But he'll rock ya subwoofer.

Not DOOM’s brother. But he’ll rock ya subwoofer.

By the age of 18, the Count had written the material for what would become his debut album.

All the songs were recorded before he reached his 21st birthday.

The project was dubbed, Pre-Life Crisis, and would eventually be released through HoppoH Records, an imprint label co-founded by Prime Minister Pete Nice of 3rd Bass fame and Bobbito the Barber.

True artists rarely reflect upon their earliest work with kindness and Count Bass D is no different in that sense.

However, I consider that album to be one of the most musical / most original debuts in the history of hip-hop.

The lyrics are light-hearted, the melodies are catchy, and the candor is refreshing in its honesty and humility.

Plus, the live instrumentation (the majority of which was self-played) was about two decades ahead of its time.

It is just a fantastic listen and I truly hope he decides to repress it on wax someday.

Unfortunately, it was a little too advanced for rap fans of the era and the Count was almost immediately dropped.

After putting out the Art for Sale EP, a release which showed off some giant leaps in terms of songwriting and sonic qualities, he would go on to put out what would ultimately come to be known as his breakthrough album –¬†Dwight Spitz.

The mission of this record was to prove that Bass D could do this rap shit for real.

So, after forming some relationships with some fellow hard-knock artists such as MF Doom, MF Grimm (@PERCYCAREY), and Dionne Farris (@DionneFarris) of Arrested Development (@ADtheBAND) fame, he traded in his instruments for a drum machine and has been creating primarily sample-based music ever since.

He even wrote a song about the transition:

Count Bass D¬†‚Äď “Antemeridian” (1:38)
from the album, DWIGHT SPITZ  (2002)

Nowadays, Dwight Spitz has been certified as an underground rap classic.

Since then, to say he has been prolific would be an understatement.

His discography has grown to gargantuan proportions and he has been collaborating with some very interesting people.

He is a fascinating individual who has persevered through several challenges and hardships in his lifetime, both personally and artistically.

If you would like to learn more, I highly recommend taking a look at the recently released Count Bass D documentary, Full Count.

It is a worthy $5 purchase.

*     *     *     *     *


Look, I was never much of a punk guy.

Especially not the pop-punk trash that was coming out in the 90s and beyond.

I mean, I owned Dookie just like every other shithead back when I was a kid but that was just the fake stuff anyhow.

The genre didn’t really appeal.
It was irritating.

But in high school, I went through a pretty heavy phase where I started diving into 70s UK punk and the early 80s hardcore stuff.

At the time, I was reading a lot about the history of contemporary music and I began to see a lot of parallels between the early days of punk and hip-hop.

My flirtation with punk pretty tame overall, however.

I mainly stuck to the staples.

Through all of that, I was very happy to have acquainted myself with the works of the Clash.


These fools had BALLS and their later hits tend to make some forget how badass they could actually be.

As much as they redefined themselves throughout their career, their early material is quintessentially punk, as far as I am concerned.

I am willing to bet that anyone reading this is more familiar with these guys than my two previous picks so why bore you by telling you things you already know?

Instead, I will make my pick and leave it at that:

the Clash¬†‚Äď “1977” (1:40)
from the 7″ single, WHITE RIOT b/w 1977¬†¬†(1977)

R.I.P. Joe Strummer.

#GuelphMusicClub, Pt. VIII: Siblings


Quiet week for the #GuelphMusicClub.

Despite my late entry, it appears I am the first (ONLY?) to submit for the latest topic.

Is this a sign of things to come or the result of the hectic summer many of us were predicting?

Preferably, the latter.

With Hillside (@HillsideFest) having just wrapped up, MusicLives (@MusicLivesCA) making the transition to print, and myself preparing for my cousin’s upcoming wedding, I can’t even begin to imagine how busy everyone else must be.

‘Tis the season.

Special shout to Sound in My Memory (@soundinmymemory) who has done an admirable job in taking the reins.

I just hope everyone is having some fun as we enjoy the last of the dog days.

We will see you all back soon, no doubt!

PS. Welcome aboard to @andythequizzer who blessed us with an excellent debut last week.

*     *     *     *     *


Therein lies the rub this time around.

It was actually trickier to nail down my favourite here than I had originally presumed.
Clearly, I was far from being alone in that sense!

My first instinct was to focus upon the gods on Earth known as the Isley Brothers.

By coincidence, I had the opportunity to see them in the live setting exactly 10 years ago from today’s date at SARSStock.
(remember that?)

FYI, they were masterful.

Then, I was thinking about bestowing the virtues of Robert and Dean DeLeo, two players who are – due to a lifetime of being confined within the walls of vanilla-rock – often overlooked and subsequently underrated in regards to their above-average songwriting and production skills.

Ultimately, I chose to nix that idea because of their willingness to openly associate themselves with this guy:


But, in the end (it doesn’t even matter!?), I always prefer to shine a light on some of the lesser-knowns.

That’s why I decided to center this blog post on one of my fave rap groups..



The Juggs (@juggaknots) are an underground rap crew hailing out of NYC.

Upon their formation in the early 90s, they primarily consisted of brothers Kevin and Paul Smith, otherwise known as Buddy Slim (producer) and Breezly Brewin’ (MC/producer), respectively.

After some time spent toiling away in music industry limbo, the duo were discovered by living legend, Bobbito García (@koolboblove), of the world-famous Stretch Armstrong & Bobbito show on WKCR-FM.

It was this association that would enable the Juggaknots¬†to release their debut EP, Clear Blue Skies, in 1996 through Bobbito‘s fabled Fondle ‘Em Records¬†label.

This vinyl-only release was pressed as a limited run and physical copies have grown exceedingly rare. The A-side was labeled the Butter side, with the B-side known as the Barber side.

The project resulted in one of the most profound and compelling releases of the 90s.

Breeze Brewin’, as he would come to be known, laces the record with a razor-sharp wit and thought-provoking lyrics that are spit with an effortless and conversational flow.

He is largely devoid of the stereotypical rap braggadocio and instead, often chooses to humbly reflect upon sociopolitical issues that affect his own community and beyond.

For instance, take the title track in which Breeze raps from the point of view of the white son who falls in love with a black woman and due to this, discovers his father is a racist bigot:

JUGGAKNOTS – “Clear Blue Skies”
from the EP, Clear Blue Skies (1996)

That being said, the record is peppered with a lot of great humour and is about as far as it gets from being preachy and militant.

The EP didn’t really get its due props until it was re-packaged with 11 extra tracks and re-released in 2003 as Clear Blue Skies, Re:Release.

Given that the original release is long out of print, if you would like to hear Clear Blue Skies as it was originally sequenced, take your Re:Release copy and listen in the following order: 1, 2, 3, 11, 5, 9, 7, 20, 16.

Here’s another track that showcases the grimier side of early Juggaknots:

JUGGAKNOTS – “I’m Gonna Kill U”
from the EP, Clear Blue Skies (1996)

And Buddy Slim cannot be given enough acclaim for his beat work here.

The soundscapes are dark, dusty, and soulful, adding just enough mood and grit to make the words resonate that much further.

*     *     *     *     *

It always seemed like Breeze was poised to break out.

His lyricism had always been next-level and he clearly garnered the respect of his peers.

Not only was he a member of two underground super-groups – one known as the Indelible MC’s, the other being the Weathermen – but he also managed to land the lead role in Prince Paul‘s (@DJPrincePaul) “hip-hopera” masterpiece, A Prince Among Thieves,which is, in my opinion, perhaps the greatest concept album ever made in the history of hip-hop.

Here’s a taste of all three:

PRINCE PAUL – “A Prince Among Thieves”

INDELIBLE MC’s – “Weight”

WEATHERMEN – “5 Left in the Clip” (RJD2 remix)

*     *     *     *     *

In spite of these accomplishments, the Juggaknots remain a niche / “in-the-know” indie rap crew.

After a decade-long layoff between albums, they released their sophomore LP, Use Your Confusion, in 2006.

They also upped the sibling-quotient with this record, adding their sister Peridot Smith aka Queen Herawin as an official member of the group / 2nd MC.

She really shines on the following track which is basically a solo joint. And speaking of siblings, it was produced by Oh No (@ohnothedisrupt), the brother of Madlib (@madlib):

JUGGAKNOTS – “Daddy’s Little Girl” (prod. Oh No)
from the LP, Use Your Confusion  (2006)

Use Your Confusion has aged gracefully, in my opinion.

As mentioned previously, the respect the group commands is quite apparent through the tracklisting alone, as they managed to acquire features from icons such as Slick Rick (@iamSlickRick), Sadat X (@SadatX) of Brand Nubian, and Nine, among others.

There are also a few songs that show how they were again, ever-so-slightly ahead of their time.

The title track works as a fine example of this, with the production sounding like something the majority of rap has only begun to experiment with:

JUGGAKNOTS – “Use Your Confusion”
from the LP, Use Your Confusion  (2006)

Using the 10-year rule, I am really hoping the ‘Knots return in 2016 with some fresh lava.

These days, the crew is quite passive with the music, as they all double as full-time school teachers.

I also wanted to acknowledge the elusive 4th member of the squad, DJ Boo. I have heard whispers that he is also a relative, perhaps a cousin, but that cannot be confirmed.

In any case, there is no question that the Juggaknots are the ultimate when it comes to sibling rap crews.

To cap the post, here is one of the most recent works from Breeze Brewin’, as he was featured on J-Zone‘s (@jzonedonttweet) comeback 45:

J-ZONE – “the Fox Hunt” (feat. Breeze Brewin’, Prince Paul & Oxygen)
from the 45, the Drug Song (remix) b/w the Fox Hunt  (2012)