Caveman - I’m Ready 1991

Caveman - Streetlife (The Principle Remix) 1992

The Principle feat. Silent Eclipse - Reality 1993

Chances are, if you’re not familiar with largely forgotten UK crew Caveman, you have never heard of a hip-hop producer named The Principle. In 1991 the trio released a classic slice of European hip-hop (if underappreciated in its country of origin) called “Positive Reaction.” All tracks were cooked up by The Principle, who did a superb job with thick funk- and jazz-based grooves that still offered enough elbow room for young gun MCM to manoeuver through with uplifting lyrics delivered in a vocal tone reminiscent of New Yorkers D-Nice or Master Ace. The pumping “Victory (Remix)” which lead the chase was their “Fight the Power,” while mellow compositions like “Cool (Cos I Don’t Get Upset)” and “Desmond” offered a break from the more uptempo tracks. Not to forget the “Be Thankful For What You’ve Got”-sampling instrumental “The Dope Department” or the epic “Introduction to a Caveman.” The most surprising sample selection came in the form of the anthemic “I’m Ready,” which made compelling use of Jimi Hendrix‘ “Crosstown Traffic.” While Caveman didn’t make any major noise in the US despite being signed to Profile Records, The Principle got to remix Black Sheep’s “Try Counting Sheep” for their 1991 single of the same name.

Caveman’s musical approach deviated somewhat from the radically hardcore attitude of their countrymen, without embracing pop aspirations. But in 1992 they came back distinctly harder with the sophomore “The Whole Nine Yards… And Then Some.” For some reason, however, The Principle seemed to be in the process of leaving the group, contributing only two productions to the album, both undertitled as ‘The Principle Remix.’ “Streetlife (The Principle Remix)” set the bar high with an incredibly dense rhythm section illuminated by jazzy horns and a discrete Crusaders vocal sample.

The Principle re-surfaced in 1993 with a remix for Run-DMC’s “Ooh, Whatcha Gonna Do” and in the same year even released an EP under his own name featuring rapper Silent Eclipse AKA MCD (who unlike MCM was not afraid to rap in a British accent). “Reality,” extensively sampling Guru and KRS-One, is in my memory one of the last moments when political rap and funky beats formed a perfect marriage. Sadly, it was also the last time I heard from The Principle. According to one internet forum he became a devoted Muslim and burned all of his records. Now there’s a way to go out as a hip-hop producer.

The Principle on discogs

“Positive Reaction” write-up at RapReviews.com

Paris - Coffee, Donuts & Death (Remix) 1992

The Conscious Daughters - Somethin’ To Ride To (Fonky Expedition) (Remix) 1993

When you google the words ‘Paris,’ ‘producer’ and ‘hip-hop’ or ‘rap,’ an alarming number of links will lead you to announcements concerning Scott Storch producing Paris Hilton. Well, Can I Bring My Gat? is here to provide some counterbalance. Oscar ‘Paris’ Jackson first gained notoriety around 1990, establishing himself (just before MC Hammer and Digital Underground) as the only other national Bay Area representative besides Too $hort. His Tommy Boy-distributed debut, “The Devil Made Me Do It,” was self-produced, a fact that was overshadowed by the outspoken militant, pro-black message from the self-described Black Panther of Hip-Hop. Yet in early 1994 I picked up a record on the strength that it said ‘Produced by Paris’ on the front cover. That record was “Ear To The Street” by female duo The Conscious Daughters, and it could easily be perceived as Paris’ reaction to what Dr. Dre had done on “The Chronic.” One year later he responded to the massively successful g-funk movement with the establishment of his Guerrilla Funk label, along with the more traditionally funked out “Guerrilla Funk” album. Fast forward to 2006 when he teamed up with legendary Public Enemy to produce and even co-write their album “Rebirth Of A Nation,” and we can safely include Paris in the ranks of hip-hop producers, his work behind the boards now spanning twenty years.

Paris’ first currently documented production credit dates back before “The Devil Made Me Do It,” with 1987’s “This Beat Is Def” single by San Francisco rap group ATC, who was even shortly signed to his Scarface label. His rap debut then provided an interesting synthesis of hip-hop beats and more electronic, almost industrial grooves and used less samples than your typical late ’80s release. That unique approach was the expression of P-Dog’s outsider status and DIY attitude on a musical level, resulting in classic militant rap tracks like “Break The Grip Of Shame” and “The Devil Made Me Do It.” 1992’s controversial “Sleeping With The Enemy” gave samples a more prominent place and enlisted the help of a young DJ Shadow on some tracks. In the new millennium Paris is busier than ever, having made a comeback not just as a producer but also as a rapper, executive and activist. His website www.guerrillafunk.com should tell you all you need to know about his music and his mission.

Paris on discogs

The Real Roxanne - Respect 1988

Special Ed - The Bush 1989

Chubb Rock - The Regiments Of Steel 1990

One day, when someone will write a comprehensive history of hip-hop’s musical development, I bet you that sucker’s gonna forget about Howie Tee. On the blog tip, though, we got beat to it as Cold Rock Da Spot recently covered Howard Thompson (pictured above with cousin Chubb Rock making their own damn Grammy’s) exhaustively.

All that’s left for us to say is that Howie Tee is one of the rare hip-hop musicians/producers/DJ’s that successfully made the transition from the early ’80s into the ’90s. Starting in electro outfit CD III, then joining the Full Force camp and having a hand in records by UTFO, The Real Roxanne and last but not least Whistle’s international hit “(Nothing Serious) Just Buggin’” from ‘85 (scratches and co-production), then forming a classic late ’80s/early ’90s duo with Chubb Rock and going on to be involved in the highly successful R&B crossover project Color Me Badd.

Like Hurby Luvbug, Howie Tee has brought a pop sensibility to hip-hop (which in turn lead him to remix pop artists ranking as highly as Madonna), but he’s also been a key figure in the introduction of samples to hip-hop via production. His 1988 album with Chubb Rock, likely largely recorded in 1987, uses samples sparingly, but starting with the Aretha Franklin-influenced “Respect” for The Real Roxanne, he quickly began to explore the possibilites of sampling, resulting in his best work, the second album with Chubb, “And The Winner Is…” and Special Ed’s “Youngest In Charge,” which gave us the definite Flatbush anthem “The Bush.” One year later, in 1990, Chubb and Howie were responsible for one of the dopest hip-hop EP’s of all time, which not only featured the smash “Treat ‘Em Right,” but also the tribute to hip-hop peers and pioneers, “The Regiments Of Steel.” Both tracks were included in the 1991 Chubb Rock album “The One.”