Kevin’s Flint Episode Part 2 Extras

Whenever the topic of Flint rap comes up, most people act as if the only thing to come out of the 810 area code is gangster/horrorcore rap.  The second Flint Episode attempts to correct this by discussing the rap scene in Flint that existed separately from the overabundance of murder murder murder and kill kill kill.  And for this Extras post, I have decided to share with you a couple of songs from the Flint rap scene that I was a part of.  Tracklist, songs, and more after the jump!

Artfull Dodgers – 2 Different Styles
Supreme Staminah – Body Language
Rudeboy – Mind Over Matter
Horeson J.A.E. & Eduardo Scizzahandz – In Time Jesus Returns
Phizyx – The Promise
Starving Artists Crew – The Promise
Gambit The MC feauring SP – Hold On (The Balding Song)
Dayton Family – Flint Town

Among the leaders of Flint rap’s loud minority were two MC’s who were regulars at the open mic nights back in 1995-1996: Supreme (pictured above at Kinelos/Beans & Leaves/The Lunch Studio) and Amadeus* (*incorrectly called “Adanya” in the podcast–he goes by Amadeus…sorry K!) They went by the name Illistic Descendent Family at that time, and I was so impressed with them that I just had to get them into the studio at Boomin’ Records to record some songs.  They were on that “next level schitt” back then, and they were perfect for what I was attempting to do production-wise.  It is important to note that the intro and outro to the song “Move The Battlefield” are taken from actual recordings of the Kinelos nights, with host Rudeboy runnin’ it down the line for the MC’s.  Supreme went on to work with Mr. Slate and Stamina, and Amadeus is now a member of the Detroit group Black Lagoon.

Illistic Descendent Family – Highly Intoxicating (1996)

Illistic Descendent Family – Move The Battlefield (1997)

Beezy had some really great stories of Tellie Tel (pictured above at Kinelos/Beans & Leaves/The Lunch Studio).  Tellie recorded under the name Horeson J.A.E.  Here are a couple of his later songs from the early 2000’s.  The first song “One Hand (Washes The Other)” was produced by IQ of the Starving Artists Crew, and the second song “Street Lights” was produced by SP of the Starving Artists Crew.  These two songs are a little too chill/mellow for his style, but I think they’re dope nonetheless.

Horeson J.A.E. – One Hand (Washes The Other)

Horeson J.A.E. – Street Lights

Tellie Tel was originally a member of the group “Phunky Lab Munkeez”.  The group was headed by DJ Eduardo Scizzahandz (who DJ’d the Kinelos/Beans & Leaves/Lunch Studio nights–you can seem him on the wheels in he picture above), and along with Eduardo’s younger brother Boy Wonder, they released a cassette single in 1997.  My favorite song from that cassingle was “Klassic Emcee”.  It was recorded at Boomin’ Records, Mr. Slate produced the song, and Boy Wonder kills it with his trademark old school b-boy flow.

Phunky Lab Munkeez – Klassic Emcee (1997)

The MC that I have spent the most time working with is Brainstorm (pictured above).  The first song that I asked him to record for me, “Superfly”, was very experimental (or at least I thought it was back then!).  I was tired of all of the gangster rap, and I was also tired of people claimin’ they were “on some next schitt”… when they really weren’t.  I took pride in making it my mission to be the antithesis to all of that nonsense.  I didn’t want to just say I was “on some next schitt”, I wanted my music to speak for itself and actually BE on the next schitt!  So I got rid of the typical song structure, got rid of the typical chorus, used moody violins and orchestral samples, experimented with the layering of music, song texture, beat looping, sound effects, etc.  Mr. Slate had the unfortunate pleasure of being assigned to work with me at this time.  I wasn’t familiar with the studio equipment at Boomin’ Records, so Mr. Slate had to engineer everything for me.  I think he wanted to kill me for making him figure out how to loop that Meter’s/Long Live The Kane beat that way!  (Little known fact: Eduardo Scizzahandz did the cuts & scratches at the end of “Superfly”).

Brainstorm – Superfly (1995)

On the next song that we recorded, “Shaft”, I wanted to push the envelope even more.  Again, no typical song structure or choruses, but this time I had more music/beat changes, more layering of samples, more sound effects, etc.  I wanted to clash old school b-boy beats with harder and weirder music loops.  I had the idea of making Brainstorm rap syncopated to the guitar and drums at the start, and I had him play around more and try weirder things with his voice (even more so than on “Superfly”).  With the exception of the Run-DMC, Skinny Boys, and LL Cool J drum loops, all of the other musical elements came from jazz records (yes, even the hard rock-sounding guitar in the first verse!).  In my opinion, the most creative/artistic verse that Brainstorm ever wrote is on the very last verse of this song (the part that starts after Black Sheep’s “doo do doo do, after shock”).

Brainstorm – Shaft (Ventilation) (1996)

The third song we did, “Gratefull Dead”, was my attempt at making the both of us do a “normal” rap song.  Normal song structure, normal chorus, etc., but I still had to mess around a little bit and change the music up near the end.  I just couldn’t let a song play all the way through without changing it up somehow.  I used to call it my “3rd Verse Theory”.  I had this idea that casual listeners and/or people in the audience would typically get bored of a rap song after the 2nd verse… so you would have to change the music up for the 3rd verse in order to keep their attention.  I also used to call it my “Band On The Run” style of production, because I always loved how that song (and “Live And Let Die” and “Uncle Albert/Admiral Halsey“) had so many musical switch-ups and change-ups in it.  You never really get bored with those songs because they never stay too long on any one part.  So yeah, I always tried to implement the “3rd Verse Theory” and incorporate that style of production into all of my earlier songs.

Brainstorm – Gratefull Dead (1996)

The early song titles that I had for Brainstorm all had double and/or triple meanings.  For example, on the surface, “Superfly” and “Shaft” sounds like they would be typical Flint gangster/pimp rap songs, and “Gratefull Dead” sounds like it would be an ode to Jerry Garcia.  I guess that was our way of being artsy and ironic… but by the early 2000’s, we no longer cared about any of that schitt.  Hence, the awesomely good song title, “Hip Hop For Dickheads”.  This song was produced by Shanrock in the early 2000’s, and it is an absolute classic amongst the peoples in our crew.  This is the epitome of what/who Brainstorm is as an MC.  The song is part battle rap, part Kool Keith’s odd weirdness, and part R.A. The Rugged Man’s clever/twisted sick sense of humor.  There’s so many funny and dope quotables in this song, it’s just ridiculous.  This is my favorite Brainstorm song of all time!

Brainstorm – Hip Hop For Dickheads

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14 Responses to Kevin’s Flint Episode Part 2 Extras

  1. Slate says:

    i’m just proud to have witness this part of the flint music scene. Phizyx, Brainstorm, Eduardo Scizzahandz, Supreme Staminah, Boy Wonder, Telly Tell, SP &IQ = whole lotta talent.

  2. justinsweeks says:

    yeah, truly this was one of my favorite periods of Flint hip hop.

  3. Aborted Rap says:

    I forgot all about Hip Hop for Dickheads! And he gives a shout out to SOTE, too! Killer. Thanks for posting this stuff Phiz…PCE

  4. Kyron says:

    What’s Up Kev! It’s been years since I’ve seen or spoke to you, and I ran across this article online. I must say this brought back a ton of memories, and made me very proud to be apart of this time in Flint’s music scene! You were seriously a next level producer, and I learned alot from you! Hit me up!

  5. Kevin says:

    Aw man, it’s awesome to be hearing from you! I sent you an email a couple days ago, but I wanted to say thanks (here, in the comments) for all of the work that you did for me in the past. I know that I was probably a little too demanding in the studio, and that I had a lot of strange/weird/different opinions about rap music (among other things), but I’m grateful that you put up with me!!

  6. Ed Bliddadez says:

    Yo, This is so dope! Whatever you need as far as pix (they’re physical joints, not mobile uploads) I can throw at you and you still have the Kinello’s tapes Kev? Those were historical…It was like being in high school a second time and knowin’ what to do! Best times of my life son…

  7. Carlito aka Lito aka C-lo "D" from Ruff-N-Rugged says:

    All that’s all in good but the first actual hip hop group from Flint was Ruff-N-Rugged which myself Dj clay and Mr.Slate was apart of.We pioneered the Hip Hop scene in general here I was the first Hip hop Emcee here.I participated and won several freestyle competitions and our group was one of the first Flint groups to be in the Source Magazine.We traveled and opened up for almost everybody that was somebody in that era.I hear all these things about the hip hop scene in Flint and we are almost never mention I mean damn we shot a video on cali and it played on the box for those who remember the BOX we were in a regular rotation but we never get mentioned.But for those that didn’t know now u DO!Holla at ya Boi!1L oh yea and me, Lito I’m still doin my thing and you can still catch me on open mic at the loft or wherever they will b and I still to this day Slaughter EMCeE’S u better ASK ABOUT ME!1L

  8. Kevin says:

    Please do not take any of this as some sort of slight or diss against Ruff-N-Rugged, DJ Clay, or yourself. Without your pioneering and the things you accomplished, there wouldn’t have been a Boomin’ Records for me to record at, and none of the stuff on this page would’ve even have been possible. We did not leave Ruff-N-Rugged out… We highlighted you and talked about you a lot in the first Flint podcast.

    Back on September 18, 2009, Beezy, Mr Slate, and I posted our first Flint podcast. The episode is still up for download. You can get it here:

    In the first Flint podcast, we talked about and played all types of music that came out of Flint… Garage rock stuff from the 1960s, Motown-sounding stuff from the 1960s, funk stuff from the 1970s, rock stuff from the 1970s, R&B stuff from the 1980s, and rap stuff from the 1990s. Because this was the first Flint episode, we wanted to make sure that we covered all of the major artists/releases from Flint. And because Slate was there during the recording of the podcast, we played Ruff-N-Rugged’s “Drop The Microphone”. We talked about you guys for awhile, and Slate provide some much-needed insight into Ruff-N-Rugged.

    In the extras for the first Flint podcast, I posted the tracklist from the episode and uploaded a couple of my personal favorite Flint releases:

    In the second Flint podcast, Beezy wanted to get more depth with my involvement in the Flint scene and my own personal experiences (as well as Mr Slate’s personal involvement/experiences). You can download it here:

    And the extras on this page for the second Flint episode are mainly focussing on the artists that I was directly involved with, and my own experiences with the MCs I met while doing Kinelos.

    The first Flint episode was more inclusive–everyone could listen to it and get something out of it (whether you were into old rock, soul, funk, or rap). The second Flint episode was a lot more exclusive–it was not meant for everyone (there is only a small number of people out there who would actually care about what I did musically or what happened down at Kinelos).

    Thanks for the comment!! I really do appreciate it! It’s great whenever we have any of the artists that we’ve played or talked about visit our site. If other people visit HelloFriends because of a “Flint Rap” internet search or whatever, they’ll now have the facts straight… especially when it’s coming directly from the source (you), and not fans like Beezy and me (who weren’t participating in the Flint rap scene when Ruff-N-Rugged were blowin’ up)! Take care, man.

  9. Mondarell Ross says:

    Thanks for sending me the copy of my cousins album (De’orr, ” Back Door”) is a piece of family history. I’ve lost touch with those guys. Do you know if they recorded any thing else? I don’t remember doing anything else after that. As a matter of fact they performed that at the last family reunion I attended in 1988.

  10. Ed Bliddadez says:

    LOL @ LITO! I hear ya pa! Phyz won’t leave out the legacy…but it’s good to inject anything ya feel..who can forget the freestyle you stomped Deuce Leader with at Scribble Jam..classic! Anyway…keep the vibe rollin’…dis comment is hella late..but Kevy Kev take the ladies..holla at me…send me a txt or call a can reach me at you are well…get at me…PEACE

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