Westwood Capital Rap Show – 11 December 1993

WESTWOOD - FUJI DR-IX90 [ANDREW LAWSON] TAPE (2).jpg

This tape is another doozy from Mr Lawsons mighty archives. No freestyles or interviews but with all the good music, it shouldnt disappoint. There are a few adverts that might imbue a chuckle or two too. And there’s an almost comical promo from The Squadron right at the end of the tape [I think they were the crew of interns and assistants who helped out on the show, answering phones etc]. And if you are from South London, and blunts were a part of your life in 93, Tims’ mention of Johnny One Stop Blunts in Clapham/ Brixton will take you right back, if you can remember that far haha….

Snoop – Pump Pump
Snoop – Serial Killa Feat DOC, RBX, Dogg Pound
Cypress Hill ‘Smell the smoke’ ID
Mic Break
KRS 100 Guns ID
KRS – Sound of the Police Remix
KRS 95.8 ID
Shyheim – On & On Primo Mix
Nas – It Aint Hard To Tell
Snoop – Gin & Juice
Snoop – La Di Da Di
Domino – AFD
Mic Break
Ads:
Vauxhall Astra
Radio Times
Reject Shop
Father [MC] Gig
De La Soul ID
KRs – Hip-Hop vs Rap
Kool G Rap & DJ Polo ID
YG’z – Itchy Trigger Finger
Wu – C.R.E.A.M.
Little Meeky & Daddy Meeky Ya Fool Again ID
Ice Cube – Cave Bitch
Ice Cube – Ghetto Bird
Mic Break
Ads:
Johnny One Stop Blunts
Tooheys
Sega Thunderhawk Flight Sim
Reject Shop
Father [MC] Gig
Jodeci ID
Jodeci & Redman – You Got It
Jodeci – Gimme All You Got
Mic Break
Ads:
Chris Rea
Borland Software
Doctor Fox/ Kit-Kat
Sega Thunderhawk Flight Sim
Shabba Ranks – Shine & Criss
Mad Cobra – Find And Kill
Bounty Killer – Kill Fi Fun
Bounty Killer – ???
Pan Head – Proud
Risto Benji – Too Much Pirate
?
Tony Curtis – Weak
?
Capleton – Bad So
Mic Break
Ads:
Vauxhall Astra
Pink Lady
Visit Holland
Father [MC] Gig
Queen Latifah ID
Queen Latifah & Heavy D, KRS-One, Treach – Rough
Mad Cobra ID
Squadron Westwood Promo

Stretch & Bobbito – Radio That Changed Lives [In Theatres Now]

If you are under the impression that the ‘elements of Hip-Hop’ are key to the culture, think again. The spirit, energy, enthusiasm and just as important, the humour of what true Hip-Hop is about, are clearly presented in this film.

Starting in 1990, armed with nothing more than their ever-expanding and ever-loyal community of listeners to spread the word, DJ Stretch Armstrong & Bobbito Garcia presented a radio show in New York City.

You can read more about my opinion of the movie here http://www.sneakerfreaker.com/2015/10/a-reintroduction-to-stretch-and-bobbito/

As the show gained interest, people within the Hip-Hop establishment from all over the planet were swapping cassettes, and by the mid-90s, both the pre-recorded tapes that were distributed by the pair to indy record stores [EG. Bobbitos’ own Footwork & Fat Beats] and dubs of the 4 hour weekly show were passing hands on the regular. Some people including myself would make annual trips to New York to get our fix of the culture; the performances, the garms, the gear, the kicks, and just as importantly, the radio shows. And yes, we would buy boomboxes specifically to record those shows….

The DJ Stretch Armstrong Show, and these recordings, featured independant Rap, old school Rap and sometimes the building blocks of the music that Rap was formed of; Soul/ Jazz/ Funk et cetera. But an integral part of the show was the artists that rolled up to the studios of the Columbia University college station WKCR 89.9 FM. Some were invited, some werent, but the majority of guests that rhymed wanted to rhyme on air, and as the mic was continuously ‘open’ to MCs that wanted some shine [both signed and unsigned], the ‘quirky friends’ created the ultimate platform for Rap to blossom. The show was later awarded the title “Best Of All-Time” by the Source Magazine in January 1998.

Now in 2015, just days before the 25th Anniversary of the first ever show [Broadcast on Thursday 25th October 1990], the accomplishments of the 8 years can be seen in a truly illuminating documentary which highlights the ‘gut-busting humour’ that the community thrived on, as well as the talent on display at the time. Alot of that talent [Eminem/ Jay-Z/ Biggie Smalls] have become household names across the world, so if you have ever enjoyed Rap as a soundtrack to your life, regardless of when, regardless of how old you are, or what you think the cultures foundations are, this documentary is a ‘must-see’.

Tickets are still available for the London screenings [if you own a neck-brace] and all international screenings are listed here: http://stretchandbobbito.com/screenings

You can pre-order [Release date is 22 October 2015] here: https://vimeo.com/ondemand/stretchandbobbito/140348043

Our archives have been removed from the web recently but you can find dozens of shows and hundreds of hours worth of shows courtesy of the Phila Flava Unit [Jamo/ Chris Miller and Dom Locc] below:

https://mega.nz/#F!eJ4x1YYR!MdevFAOrdp5GsXceIyazAw

https://mega.co.nz/#F!58hjhajK!QdklIh8tT_hBln94QUs7uw

https://mega.co.nz/#F!h4xwSBhI!IeccXUVNZPZBoWf-DiOBHw

Humunganoid propers to Stretch & Bobb and of course, Lord Sear.

“Soundcloud do not offer any assistance in avoiding ‘copyright issue’ titles” rendering them nothing more than rapacious !

Due to the legislative maltreatment, and essentially because we have spent too long with Soundcloud, building the archives with very little evidence, RRR will need to identify a more concrete, legally admissable, and long-term platform for sharing and archiving the shows we’ve shared over the past 2 years.

We’ll be takin some time out for a while, fundamentally to concentrate on other projects, but don’t lose faith, we’ll be back, with more dusty excitement that you can tolerate.

Expect a rewind around Spring 2016, until then….

FAO – Eric Wahlforss / Alexander Ljung, this letter is an open letter to you both. Replies in the comments or directly to randomrapradio@gmail.com. PS: If you help the consumer, you help your company. Currently, Soundcloud are collectively opening the door and kickin the customer down a copyright wallpapered flight of stairs.

FAO – Subscribers and regular listeners. Apologies for the lack of feed, the account has understandably been terminated due to copyright infringements [even though Soundcloud have the ability and technology to avoid the problem]. Please see below.

Soundcloud have an unusually myopic and remarkably rearward approach to their paying customers, unfortunately, RRR have experienced this recently. Sadly, they have disappointed and discouraged alot of users in the past few months due to a ‘change in their approach to the industry’ and the ‘royalty deals’ they have reached in 2015, with labels like Sony and other industry behemoths. It seems this has led to a huge amount of people leaving the service. Whether by choice, or because of SC’s disappointing lack of communication skills.

At present, Soundcloud allows it’s users to share pretty much any tracks on the platform, and if there are copyright issues, they’ll get picked up by some tech software soon after theyve been uploaded, and the user will then be informed. If the actions are repeated, they will then have a ‘strike’ against their name. 3 strikes and naturally, the account will be suspended or in the case of RRR, terminated. Unfortunately, in this case, there was no dialogue, there was no discussion yet Soundclouds inability to communicate still astounds, overwhelms and disappoints me, someone that PAYS for use of their platform. Actually, that’s past tense, ‘paid’ for is more accurate.

If there is a copyright issue with a track, Soundclouds’ software recognises which tracks are copyrighted, and those which are not, and in the case of a long mix or a radio show, the majority of the songs can be shared, yet a small amount cannot. These long files can easily be edited to avoid the copyright material, and any copyright issue, but Soundcloud have decided to avoid helping the paying customer by informing them of the specific copyrighted tracks, after the event.

Soundcloud takes the users monthly fee, then informs them of the copyright problems AFTER the process of uploading and sharing the material reaches the ‘public’ status. Regrettably, exploitation is seemingly more beneficial to their objectives.

Fundamentally, Soundcloud do not offer any assistance in avoiding ‘copyright issue’ titles BEFORE physically sharing the tracks to the web, even though the technology can spot these very avoidable titles BEFORE they have gone public. If they already have the technology, surely it could be utilised before the individual tracks go public, during the ‘save’ option, therefore avoiding the rapacious connotations and loosing thousands of paying customers, no ?

Regrettably for you Soundcloud, myself and thousands of others will no longer be making payments on the Pro Plan, but what I would like to know is, if they have the technology, why would they make their successful company look intensely greedy, by taking customers money and THEN removing their ability to share non-copyrighted material ? IMO, that’s what makes them look unprofessional.

RRR