[ aquarius records — Hiphop Turntablism ]

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Showing results 1 through 50 of 241.

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SORRY. The newest member of the Invisibl Skratch Piklz releases on 7" on Peanut Butter Wolf's local label.

Chicago new jazz group, with Hamid Drake (well known Peter Brotzmann sparring-partner) on drums, Jeff Parker (of Tortoise) on guitar, Ernest Dawkins playing reeds, and Rollo Radford on bass. With special guests DJ Rob Swift of the X-ecutioners doing his turntable thing, and Reggie Gibson (1998 National Poetry Slam Winner, ack!) doing some spoken word stuff.

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A veritable turntablist super-group featuring the likes of Invisibl Skratch Pikl A-Trak, Craze, Develop, Infamous, J-smoke & Spictakular. The Allies are here to school the world with their turntable wizardry and demonstrate how the turntable might replace the guitar.

Dan Nakamura's Automator release A Better Tomorrow gets re-issued with several more tracks to finally make this ep an lp - hence the addition of the word "much" in the title. For all you Kool Keith heads out there, there are some previously unreleased Dr Octagon tracks on here as well - not to mention some bonus scratching from Q-Bert. This stuff is so much better than much of the recent Kool Keith offerings. Highly recommended. Apparently the Automator is selling just the previously-unreleased stuff for those folks who already bought "A Better Tomorrow", we'll try to scare up some copies...

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SORRY. Arizona DJs Emile & Radar (who along with Z-Trip make up the Bombshelter crew) take their turntable wizardy to the deep realms of dark drum 'n' bass anthems, cutting tracks from Decoder, Dylan, Jonny L, Ganja Kru, as well as a super dark track from Radar.

AKA Bullet Proof Scratch Hamsters, this Bay Area "supergroup" is comprised of DJs Eddie Def (Skratch Piklz), Cue (Cue's Hip Hop Shop), Quest (Live Human), Marz, and MC Eddie K.

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The seven piece Bullfrog hail from Montreal and recently swept thru our town, bestowing just a few cds upon us. This is a 5-song 3" cd (their 2nd 3" cd). Not just a Kid Koala project at all, this band is really finding their sound and running with it, and Koala's turntables are just one part of the delightful equation. They play tone-perfect seventies sweet soul / Parliament-style

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Bullfrog hail from Montreal and have bestowed two little 3"cds upon AQ over the past year. And now here's their full length -- which contains tracks from the two 3" cds but also lots of new stuff never before heard. Not just a Kid Koala project at all, this band is really finding their sound and running with it, and Koala's turntables are just one part of the delightful equation. They play tone-perfect seventies sweet soul / Parliament-style funk (think "Can You Get to That" from Maggot Brain), complete with falsetto vocals and chiming bwang.bwang.bwang guitar. They also do a Sunday morning style of hip hop that's heavy on the SoCal-esque flowing vocals and wah guitar. Fans of Ozomatli, Jurassic 5, Antibalas -- this music is right up your alley. It's so good!

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very very limited pressing of 300!

In 2001 East Bay's Catfive released a good record filled with unlikely samples -- Fela-style afrofunk, Brazilian batucada, lounge, moments of dub, scratching that sounds like a twisted harmonica -- that worked so well atop a mix of beats and groove. The new 7" is somewhat timely -- a pro-peace, anti-war message -- but as such is maybe a little too predictable, featuring samples of Bush I and II, other politicians, journalists, Elvis, etc. Negativland is funnier, but Catfive's hearts are certainly in the right place. The B-side is a cool gimmick, though. It plays backward -- i.e. the needle starts in the middle and works its way outwards. It's a bunch of cartoon / old movie / tv samples with a similar political bent as side A, but without added music. On transparent red vinyl.

Remember that amazing Milk Cult record from last year? I'm liking this Cat Five record for the same reasons: it's a winning combination (a bit lighter than Milk Cult) of unlikely samples mixed together in a very accessible, headnodding fashion. Every sound or sample works both as a percussive and a melodic element, whether it's Fela-style afrofunk, Brazilian batucada, lounge music, moments of dub, scratching that sounds like a twisted harmonica, or silly film clips, it all works well, like a hip hop gig filmed in 1920s madcap silent film style. Or DJ Shadow's ditzy younger cousin or something. Cat Five are from East Bay, headed by the guy otherwise known as Balanceman (who released an album on Deluxe). A nice surprise!

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Cut Chemist really needs no introduction, he is a pioneer in the worlds of hip-hop and turntablism, being a part of one of the most refreshing and innovative hip-hop acts ever, Jurassic Five, as well as playing in Ozomatli, collaborating with folks like Madlib and DJ Shadow, and releasing his own solo albums that showcase his awe inspiring turntable skills. With Sound Of The Police, you can tell that he and Madlib are in a similar state of mind as far as really appreciating psychedelic sounds from the past and from all around the globe. Here CC takes amazing sounds from obscure records from South America and Africa as well as some modern tracks influenced by those musical movements, to make a seamless hip-hop spirited mix that is as infectious as it is flawless. What's totally mind blowing about this record is that it was recorded live with Cut Chemist creating the mix using only one turntable, one mixer and a delay pedal. No laptops involved in this creation and it really shows, as you hear the warmth and the crackling vinyl of these groove filled sounds that he pieces together into a distinctly hip-hop mix but while still being totally respectful and so appreciative of the sounds being sampled. Definitely turning into one of our favorite end of summer jams!

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The longtime dj collaborator and aQ fave turntable wizard Cut Chemist, who over the years has jammed with the likes of Jurassic 5, Ozomatli, DJ Shadow, Shortkut and Madlib, finally goes it alone... well, sorta. He's got a little help from his friends and the backing of a major label. Markedly absent is an abundance of wildly kinetic displays of scratchin' dexterity. With the exception of The Audience Is Listening's final track (and theme song!), his ol' over the top acrobatics on the decks have been tempered into the for the most part even-keeled energetically groovin' tracks. Its potential appeal is far broader. Although he is most renowned as a jaw-dropping turntablist, Cut Chemist has effectively done his part to further define the turntable as an everyday instrument rather than gimmick/trickster accessory -- muting its presence rather than trumpeting it. His beloved wit and playfulness are fortunately still fully intact in his samplin' selection as is evident in tracks such as "Spat". Other standouts surface midway through the proceedings, the sixth track "What's The Altitude" which features Hymnal (who along with Edan and Mr. Lif on "Storm" contributes the scant MC presence on the album -- both tracks shine a little bit extra) and the seventh "Metrorail Thru Space". A solid, skillfully composed and assembled solo debut.

MPEG stream: What's The Altitude
MPEG stream: The Audience Is Listening Theme Song

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A sixteen-piece "mixtape" created by Dan the Automator. While there are plenty of tracks that he himself originated or remixed (like Deltron 3030, Gorillaz, Lovage) there are also personal favorites of his that he's messed with in typical cool Automator

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Kick ass collection of dark East Coast hip hop, blunted beats and brooding atmospherics, from this bizarre collective made up of experimental hip hop outfit Dalek, East Coast spaced out dronescapers Destructo Swarmbots, and hop hop weirdo Oddateee. Tons of guests too...

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SORRY. Bay area "dub" band (which may actually be called Ben Wa, it's hard to tell) that features the likes of Buckethead, DJ Disk, Brain, and M.I.R.V.

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SORRY. Faithful readers of the aQuarius list likely know Daveed Diggs as the MC of experimental hip hop crew Clipping. (former Record Of The Week honorees); although these days, he's likely even more well known as the breakout star of historical hip hop Broadway show Hamilton, but on his solo joint Small Things To A Giant, he channels that experimental side into a somewhat more traditionally hip hop framework, crafting some killer cuts that in a perfect would get the rest of the world to wake the fuck up, and realize just what a wicked rapper he really is. Listening to Small Things, and even Clipping., we can't understand why bigger hip hop super stars aren't clamoring for Diggs to do a verse on ALL their tracks. Small Things makes that eventuality seem even more likely, or at least possible. Displaying a flair for crafting unlikely hooks, sculpting surprising sounds into the sort of loops that stick in your head for DAYS, and unfurling some impeccable, smarty pants wordplay, Diggs destroys here. All it took for us was a listen to the title track, with its Indian beat, and exotic Indian vocal loop, peppered with thick, grungy synth blurts, and Diggs spitting rhymes over the top, with some of the smartest, snarliest, funniest lyrics EVER. The guest verse by Rafael Casal is sweet too. And we say this a lot, but this was another case where we found ourselves listening to the same track non stop. But once we finally dug deeper, as we pretty much expected, the rest of the album is jam packed with super original, pretty far out, crazy catchy hip hop of the highest order. "Trappers" sounds like it could be co-opted by Kanye, "Dirty World" injects a little woozy R&B, and then the sort of companion title track that finishes things off, is a slow, skittery creep with a killer verse from Chinaka Hodge, and a swoonsome chorus/hook. Not as avant or experimental as Clipping, but in its own way, equally inventive, and much more accessible. Perfect on its own for sure, but also an alluring sonic gateway drug to the fucked up Clipping. weirdness that lies just on the other side.

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This LA-based trio, made up of rappers Iriscience and Evidence, and world-class turntablist DJ Babu (also of BeatJunkies) drop their second full length. The rhymes are very deft, the hook-laden samples are creative and fun, and the record will appeal to

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SORRY. From Shiggerfraggar and Invisibl Skratch Piklz fame! Currently DJing for Primus, MCM and the Monster and GR2, Disk has finally released his solo debut album on the friendly Bomb label, based in Noe Valley believe it or not. This is not nearly as hyper as the Mixmaster Mike record, preferring mellow and subtle trickery that just begs for a club DJ to mess with.

Eww.

Yet another band from Brooklyn, who seem to have mastered that eighties shoegaze / new wave sound, and these guys might be the best yet. Featuring members of aQ faves the Smith Westerns Dive offer up a gorgeous A side, all warm and jangly, lush chiming melodies, super washed out and blissy, driving and minimal, the sort of song that could go on for a whole lp side and we'd never get tired of it. The flipside is a bit more downtempo, a little moodier, with some gorgeous darkly driving basslines, and some hazy ethereal vocals, gorgeously fuzzy and woozy, still shot through with those chiming melodies from the A side. Definitely dying for a full length, as it is, been playing these two songs to death!

The latest from DJ Female Convict Scorpion comes in the form of this SUPER limited cassette, one that requires some work on the part of the listener to truly enjoy, or at least enjoy as the artist intended. That artist being Josh Pollock, member of psychedelic space rockers 3 Leafs and weirdo noisescapers White Pee, among others, but as DJ Female Convict Scorpion, he concocts lush landscapes of cinematic sound, purloining various bits from other songs, and movies, playing some bits himself, a lo-fi DJ Shadow of sorts, whose past outings have blown our minds and been hugely popular around here. This new one looks to be no different, the rub this time around being, that BOTH sides of the cassette are meant to be played simultaneously, a la Zaireeka or something. So you have several options, the first of course means buying two tapes, and playing them on two tape players, the second is buying just one tape, and using the link that comes with the tape to play the other side on your computer, while you play the first side on your tape player. Phew! A third option, is to attend the upcoming debut performance of Los Balls Del Norte, happening across the street at Lost Weekend, during which, both sides will be played, accompanied by a special film created just for the occasion. More info can be found here: https://www.facebook.com/events/147509788771228/?fref=ts And finally, one last option, one that isn't mutually exclusive, which is to listen to each side of the tape on its own. We did, and both sides sound great, killer breakbeats, shifting textures, mysterious voices, movie samples, vocal snippets, dizzying sonic collages that unwind like psychedelic krautrock grooves and funky heavy soul breakdowns, dreamy lullabies sung in other languages, banging gongs, shimmering FX, woozy slowed down basslines, soft symphonic swirls, muted ambient murk, loose free jazz drum freakouts, squiggly theremin like melodies, rumbling crumbling distorted low end, new wave-y electronics, swirling cosmic synths, and more more more more more! But what does it sound like all together? A seriously warped psychedelic sonic headtrip. Check out the sample, that's a little snippet of the two sides in perfect sync, which ultimately they never will be, which is part of the joy, every listen the sounds will shift, and interact differently, a perpetually unique recording, in fact, essentially MULTIPLE recordings, all of them super cool, one side, both sides, one side started 5 minutes in, 10 minutes, hell, play one backwards, every variation is its own special warped lysergic soundworld to get lost in, over and over and over and over... LIMITED TO 100 COPIES!!!

MPEG stream: Los Balls Del Norte (Mixed / Excerpt)

You know DJ Frenchbloke from that "Best Bootlegs" comp -- he spliced together Destiny's Child "Jumping Jumping" with the Dead Kennedys' "California Uber Alles" to amazing perfection. Well, here's a whole lp's worth, though nothing here matches the catchiness and shock value of combining those polar opposite cultural icons, save for maybe Kraftwerk and Tag Team's "Whoop De France" (!) So in an attempt to decipher all originating sources of the rest of the tracks, here goes: Miss Jane's "It's A Fine Day" takes an acid trip (via Opus 3?). Perry & Kingsley get sticky with Sisqo's "Thong Song". Destiny's Child goes gabba courtesy of Chicks On Speed's "Turn Of The Century". Britney, Spongebob Squarepants, Anthony Roter's Little Computer People, "Ring Of Fire", and many others get worked as well. Fun for a few listens and laughs, surely an important novelty item, DJs should spin it for a minute, but ultimately not living up to all the hype.

The Wild Bunch was Bristol, England's legendary sound system some of who's members went on to form the now both legendary and hugely successful Massive Attack. While Mushroom and Daddy G. both went on to become the core members of Massive attack, it was Milo and Nellee who started and were the bedrock of The Wild Bunch. The group moved quickly from packing house parties with their primitive DJ setup, to becoming one of the most popular sound systems in the country. The crew took cues from Jamaican sound systems and insured their competitive edge by hunting down and spinning the rarest of the rarest tracks for their exclusive use -- one of their earliest conquests was an ultra rare copy of "Wild Style Breaks", an instrumental collection from the hip hop movie Wild Style. Their efforts were greatly enhanced by Daddy G. who, while working in a record store, would hide the hottest new 12"s behind the counter and not sell them to anyone else he thought might be a DJ. This disc is, in a sense, an attempt to recreate a Wild Bunch set. The tracks -- Thelma Houston's "You Used To Hold Me So Tight", Spoonie Gee's "Love Rap", Knights of the Turntables' "Techno Scratch", Cameo's "It's Serious" for starters -- were all picked and mixed by Milo who, despite the fact that his name has faded into obscurity, is generally considered to have been not only the heart and soul of The Wild Bunch, but a catalyst for the eventual formation of Massive Attack. The nicest thing about the collection is that, as segues between many tracks, Milo has included live snippets of between song ambience (lots of whistles and air horns!) from actual Wild Bunch performances, so the set almost sounds like the real deal.

RealAudio clip: Love Rap
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SORRY. DJ Eddie Def (Space Travellers, El Stew, Bullet Proof Scratch Hamsters, etc.) cuts it up on the turntables (and drum machines). The first in a series, the next to feature DJ Cue.

Dose One, of underground hip hop phenomenon the Anticon collective, here reissues his 1997 debut and it's a doozy. Filled with hiccupping beats and incredibly deft rhyming. Not doom-laden, like some other hip hop we've been enjoying (ClouDdead, Zion I), this is more fresh and not as heavy but still bass-thumping. Mr Dibbs, Mr Len (Company Flow), J Rawls, etc on the decks and behind

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Dr. D is a New York DJ best known to us for mashing up obscure '60 psych with current, crunken hiphop hitz. This limited edition cd-r mix, however, is pretty much all '60s and '70s grooves as far as we know -- no hiphop anyway. And it's got our number, 'cause so much of what he's spinning is that Turkish psych stuff we love, mixed in with some old and new Afrofunk a la Ethiopiques and Tinariwen, along with some further exotic flavors that fit. Some names we know/tracks we recognize: Selda, Bunalim, Edip Akbayram, Les Mogol, Erkin Koray, Baris Manco... and of course there's a bunch more we don't, all of it pretty cool though. It's a bit like that Trap Door mix, in a romantic mood. Plus this is a true turntablist mix, featuring 31 short selections (mostly 1-2 minute edits), flowing quite nicely, occasionally enhanced with some scratchy-scratch whip-whip-whap. The discs we have are from the first numbered 250 copy edition, in screenprinted cardboard sleeves.

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SORRY. From the label responsible for those Invisible Skratch Piklz Shiggar Fraggar show discs, comes this cd (no vinyl) by local SF turntablist DJ Eddie Def (of Space Travellers, El Stew, and Bullet Proof Scratch Hamsters). It's compiled from Eddie's Hemp Lords mix tape series, and features "an extremely hardcore mix of '90s turntablism acrobatics and '80s megamix styles."

The second self-released cd-r from these two turntablists, both of whom have had releases on the reknowned Bomb Records label. This time just a 25 minute excursion, but still with lots of fun party beats and clever turntablist action. Very limited.

A self-released cd-r from these two turntablists, both of whom have had releases on the reknowned Bomb Records label. Starts out with a lot of club friendly hip hop hooks and big booty rhythms, before turning more toward "Urban Revolution" style funky

"The DJ from Hell." Dramatic turntablism, very cool.

Local DJ / turntablist / sonic collagist / audio alchemist DJ Female Convict Scorpion (aka Josh Pollock of aQ beloved local psychedelic space rockers 3 Leafs) returns with another twisted slab of mutant fuzz funk, outsider psychedelia, tripped out cosmic prog, and whatever else he has in his record bag, but as always employed in such a way that the original track blur into one twisted single sonic miasma, from which Pollock pulls some seriously twisted musical madness. This time, the framework is Bill Cosby's iconic Talks To Kids About Drugs record, with DJ Female Convict Scorpion, actually showing the kids what being on drugs sounds like, and even to those of us here who don't partake, it sounds pretty goddamn god. Warped and wild, a super psychedelic dance party that sounds a bit like a more lo-fi Andy Votel, with much of this sounding like it could be some obscure Finders Keepers mix/comp. The opener begins with Cosby explaining the purpose of the record, to talk to kids about drugs, and then DJFCS takes over, with a blast of grinding distorted psychedelic skree, bellowed slowed down monster vox, wild tangles of psych guitar freakout, before settling into a serious groove, wreathed in sci-fi FX squiggles, and woozy sonic swells, a swirl of Jeck-like turntable manipulations, some funky wah guitar, deep ominous drones, fluttering flutes, fragments of sixties pop songs, vocal harmonies surfacing then fading away, seriously trippy for sure. And the rest of the record follows suit, with each track incorporating the original, whether as an intro, or slowing it down, so those wise words of wisdom, become a scary demonic invocation, and what follows, is all over the map, one track slips into a sprawl of record crackle and distant shimmer, over which is laid some seventies acid folk vocals, hand claps, and strange alien sound effects, the result is a stunning stretch of alien seventies freak folk (listen close and you'll even hear the Star Trek warning klaxon!), another starts off slow and contemplative, before exploding into some seriously heavy psych rock crunch, made even more freaky when the track begins to skip and locks into a woozy loop, over which DJFCS adds all sorts of warped sound effects, bleating trumpets, the looped bassline transformed into a throbbing droned out thrum, and yet another dissolves into a cloud of swirling druggy murk, before an old spiritual surfaces through the swirl, again the juxtaposition so deftly engineered, that the resulting combination is strangely moving and haunting. And there's so so much more. Like all DJ Female Convict Scorpion mixes, there's much to discover, sonic subtleties that only surface on repeated listens, and even music nerds like us find ourselves constantly trumped by the sources, crazy obscure, we're barely able to pick out any of them, which has a lot to do of course with DJFCS's mastery of weaving all of these disparate sounds and sonic fragments into one, dizzying, seriously psychedelic whole!

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Mix number two from mysterious local turntablist and DJ, the brilliantly monickered DJ Female Convict Scorpion, whose mixes are less DJ mash-ups and more haunting artistic assemblages, incorporating free jazz, fuzzy funk, found sounds, bits of dialogue, sampled instruments, stripped down beats, pretty much no genre is off limits, but those genres are basically meaningless once everything is mixed together. From the opening track, with its ominous chiming bells beneath Tom Waits' gravelly voice spinning a yarn, the mix slips smoothly, into a deep laid back minimal grooves, surrounded by swirling sheets of soft focus effects, before the mix shifts, and wailing female vox are draped over a thumping beat, a sea of record crackle, bits of hum and distant whir, Shadow wouldn't be all that far off as a reference, but imagine if Shadow was raised on prog and punk rock and art films and free jazz, then how would a mix of his sound? A bit like this perhaps. The tracks veer wildly from super rhythmic workouts, to drifting minimal soundscapes, strange electronics drift in and out, mournful horns, spidery guitars, strings are bowed and plucked, deep rumbles surface from below, tribal drumming is laid beneath tangled world music voices, creating gorgeous and unintended harmonies, dense clouds of blooping bleeping effects over skittery free jazz skronk, dark reverbed noir-ish guitars shimmering beneath subtle percussion, breathless vocalizing and steel string scrape, deep ritualistic chanting drifting over the sound of sirens, funky drumming and subtle barely there dronemusic in the distance, Really good stuff. Made even better by the fact that we weren't able to identify a single source for any of the sounds within!! Beautiful packaging. Full color printing on thick matte paper, super haunting and tripped out imagery, pressed on black cd-r's each with an actual postage from some other country affixed to the face.

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The latest tripped out DJ mix from DJ Female Convict Scorpion aka Josh Pollack from local psychedelic space rockers 3 Leafs, and like the three before it, on Wizards (named for the genius Ralph Bakshi movie, and featuring a drawing of the movie poster done by a young Josh way back when), Pollack once again displays not just a knack for digging up insanely obscure jams, but for weaving disparate sounds together into utterly unrecognizable but totally mesmerizing sonic tableaus. Just check out the opener, "5 Terrorists", which drapes some strange buzzing percussive Asian stringed instrument, some fluttering flute, and some echo drenched vocals, over some spaced out progged out jamming, pretty impossible to tell which parts Pollack mixed, and how much of the song was already the song, which again is the magic of these DJFCS mixes, and when that first track gradually switches gears, and disappears in a field of ominous buzz, and seems to transform into a drum heavy krautprog groove, it KILLS. And so it goes, low slung slithery funk, strange movie samples, spaced out psychedelia, stuttery old school hip hop, DJ Shadow like moodiness, primitive (but effective turntable manipulation, again hard to say which is part of the music and which is Pollack), strange crooning, weird psych folk, draped over thick sinister chordal swell, shimmery dreamlike ambience drifting into fierce driving fuzzfunk, all manner of backward swoops and swirls, moaning strings, disembodied voices, glistening strings, some of the combinations more moving and intense than the originals, lots of a capellas wedded to unlikely instrumental accompaniment, everything wreathed in echo and reverb and loads of warm record crackle, and just some downright bad ass jams and grooves, not to mention the easy listening Sabbath that finishes things off. Essential listening. And most definitely the DJ you want at your wedding, assuming your goal is to alienate or downright freak out 90 percent of the guests. But that other ten percent, including us (we're invited, right?), will be in whatthefuck weirdo music HEAVEN!

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MPEG stream: Righteousness Prevails (White Sabbath)
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A nice 12" from Fog, the one man band from Minneapolis that sits expertly astride the line separating "rock" from "electronica". Gorgeous strummed guitar gives Check Fraud its texture, while numerous sonic interruptions, vocal snippets, and bloopy bleeps enhance it. Kid Koala provides a stunning remix of the piece, slowing it down and making the melody even more pretty and sweet. Very nice. Good for DJs. I'm going to spin this for sure.

By now you're probably sick of hearing how much AQ adores DJ Jester -- the Filipino Fist, the Boca Burger Slingin' Travelling Turntablist. His bedroom turntablist debut River Walk Riots disc is still a bestseller here, a crazy and a super funky/funny ride through hip hop, classic rock, country, and just complete weirdness, where he incorporates samples of Richard Simmons, Iron Butterfly, the theme from S.W.A.T., Run DMC, Hank Williams, Black Sabbath, that Ofra Haza song, Aerosmith, James Brown... the list goes on. Anyway, like Kid Koala did with Bullfrog, Jester has now released a disc with a band, Genuine Electric Latin Love Machine. It's loads of fun and a logical progression from the lo-fi River Walk Riots. Here the sound is much more hi-fi, the samples are fleshed out with upbeat and booty-shakin' rhythms, and the result is an honest to gosh party disc on the level of Milk Cult, Cat Five, and those Future Primitive live mixes. Yep it's that good. And I have to say the "Edgar" track with the sad sack Simpletext voice lamenting how lonely he is ("it sucks to be me") gets us every time! Very fun, worth a listen, say Windy and Andee.

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All right, we're all probably familiar with Grandmaster Flash, the guy that invented scratching and turntablism, who was instrumental in laying down one of the foundations of hip hop -- he was THE DJ. In the voluminous, entertaining liner notes (it's

RealAudio clip: The Mexican
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SORRY. We've sold many many copies of the first in this series (which, confusingly, was actually titled Vol. 5) and here's the next installment. 19 tracks of "an orchestrated turntablist session featuring DJs Shiggar Fraggar, Disk, Q-Bert, Shortkut, and Flare, recorded live, January 16th, 1996 with host Billy Jam at Hip Hop Slam, Oakland, CA as part of the 100 Pirate Fuckin Radio series between 1994 and 1999.

THIS IS CURRENTLY OUT OF PRINT OR OTHERWISE UNAVAILABLE TO US AT THE MOMENT, SO PLEASE DO NOT ORDER IT. SORRY.

SORRY.