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Here's The Desired Effect 2:* Moka Only & Jeff Spec "The Rappers" - Rappin' Atchu
* Moka Only & Kirby Dominant "Dominant Mammals" - Super Future Stars
* Moka Only & Atsushi Numata - Moka Only Vs. Numata
* Moka Only & Psy "The Nope" - Rain All Day EP
* Moka Only & Nebz Supreme - Summer Notations
* Moka Only & Psy "The Nope" - Melba
* Moka Only & Factor - Saffron
You said you made a number of albums and saved them on ADAT tapes, but your ADAT broke. Did you get a working ADAT to get your albums out?
Haha, anybody out there with a working ADAT LX-20 model, hit me up! I got a ton of ADAT tapes filled up and waiting to see the light. Stuff from 2000 to 2003, some of my favג stuff Iגve ever done was from that period. I feel nostalgia when I think of then. I still have a normal working DAT machine and tons of DAT tapes Iגve been through lately and found some jewels, well, at least stuff that I think are jewels to me. I will definitely get a replacement ADAT machine and some of that stuff will come out for sure!
You released your 6th גMartian Xmasג last year, but גMartian Xmas 2005'; seems to be a myth. Did that ever come out? Or were their some issues with the release that prevented it from dropping?
גMartian Xmas 2005′ is mythical to a degree BUT, it was completed and I cannot find the master. I have most of the songs in ruff form on cassette tapes and some of its good. I may just master off that and throw it out there. I want people to sweat me for it a lilג more first. LOL. At the time I just felt it wasnגt strong enough to release. But now listening to the songs from it I feel differently about it. Itגll happen.
http://thefindmag.com/?p=3619Will you ever work with Ishkan again and release another Nowfolk album?
Like I said, I hope it happens. If Ishkan is interested and motivated in working with me then for SURE! And the album will be called Magnesium Opium.
I heard a rumor about an album with LMNO, is that still in the works?
I have a couple old joints with LMNO, maybe in the future we will do work again. Iגve spoken with him recently. If he is interested in working with me then cool, sometimes I cant tell if cats give a flying fig Newton or a wooky cookie about doing work with me. It doesnגt matter. If it happens naturally then itגs meant to be. I aint gonna sweat nobody. Let nature take its course.
Will that album with Mr. Brady ever drop?
Me and Bradyגs album is finally gonna drop sometime in the spring. Gotta find a label thatגs willing to give it a decent push first, itגs an interesting project.
Will the album with Evil, גZzbraג, ever come out? I heard it was done, but Urbnet is holding it back.
Urbnet is not holding back anything; this גZzbraג thing is a complete fabrication. Itגs a myth. Evil is a dope emcee but weגve never worked together yetג¦ I donגt know who started the rumorג¦ I even saw some fake artwork for an album we purportedly madeג¦ bahג¦ all myth. I think, anyhow. Maybe thereגs an imposter Moka who made an album with Evil. Evil has flavor. Maybe Kutmaster Kurt will put out an album called גZzbraג. Who knows, MYTH.
http://awmusic.ca/2009/04/21/evil-ebenezer-interview/In גThe Wandererג liner notes thereגs mention of another release גZzbraג with you and Moka Only.
Ya, thatגs a Draft Dodgers record and Stuגs the executive producer. Heגs got something worked out and itגs done just waiting on release. That albumגs got some big tunes on it too and Iגve been really wanting it to come out.
Moka Only: Apenuts
(1998, Mammal) CD: $12.00 @ The HHI Store
In the underground hip hop community, Moka Only is the very definition of "veteran." Not only has he been in the game for many years, he's prolific and still able to consistently release dope material. Album after album, the Vancouver emcee delivers quality music that's laced with sincerity and skillfully penned lyrics. On the production end of Apenuts is Deceo Ellipsis. For the most part his beats will get your head nodding, but he does shoot the occasional blank. Even so, there's a cool vibe to the LP, and half the props do belong to Deceo.
Upon first listening to Moka, his similarities to Common are undeniable. His voice is almost the same and his flow is rather similar to as well. This is probably most apparent on "Shkone On?," the album's first track. Once you get used to him, however, it's clear that Moka has his own distinguishable style. The beat is even reminiscent of the Soulquarian sound that is prevalent in the music of today's conscious emcees. Moka's lyrics are derived from his everyday experiences and are delivered with an ultra smooth flow.
"Melting Pot" features a similarly jazzy vibe, with a very ill bassline, and more tight lyrics courtesy of Moka. "Cyant Rush" is another production winner from Deceo. The best beat, though, is featured on "Majic." The sullen sound of the beat is matched perfectly by Moka, who brings the LP's finest lyrics to combine for Apenuts's best cut. Mostly centering around his life and place in the world, these are the kind of emotional poetics that a lot of us got into underground hip hop for. Despite being a mostly upbeat character, Moka does offer up a couple of more somber joints. "Best Thang" is a dark banger, and "Apenuts" sees Moka in attack mode over a uniquely hard track.
While most of the album is quite solid, a few joints fall below average. "Looking Down" features a clumsy beat, and "Love Story" is a gallant effort at a "girl" narrative, but the production comes off as corny. "92" is an attempt to reminisce about how good hip-hop was back then, and though his writing is good, it still seems fairly bland. As a whole, however, Apenuts will satisfy any Moka Only fan, and if you missed it in 1998, then be sure to pick it up this time around.
Moka Only: Beauty is a Free Road
(2000, Mammal) CD: $12.00 @ The HHI Store
Beauty is a Free Road is certainly one of the more uniquely assembled albums you'll ever hear. There aren't any real "songs" to speak of, simply an hour of Moka Only's beats and lyrics. As we all know, however, uniqueness does not always equal quality. The lyrics here are assorted verses that Moka has written from 1992-2000 that didn't make it to any of his numerous albums. Naturally, if they didn't make it to any albums, one has to assume that they aren't his best material-- which they're not. The lyrics that are present on Beauty is Free Road lack the emotional intensity contained in those on his other albums, and there's also a noticeable lack of charisma throughout the LP.
The first pseudo-song, "Boredom," is undoubtedly the finest here. He approaches the subject with a nice combination of eloquence and skill, and the beat has an appropriately laid back feel to it. The keys, which seem to be Moka's production specialty, are especially dope. The best production on the LP comes at 10:00, a funky/ jazzy concoction. The actual verse to go with it is rather short, but dope nonetheless. At approximately 17:30, he drops some fairly explicit, and well-written, sex rhymes over some more tight keys. The drums though, as on most of the LP, are unexciting.
At about 22:30, he breaks into a singing voice. It's not spectacular, but not wack either. The verse that follows is decent as well. A half hour in, however, he comes with the LP's most creative production, utilizing crazy keyboard sounds, and brings some of the best rhymes on the album, derived from life as they usually are with Moka. The emotion that is absent previously finally shows up at this point.
If you're seeking out Moka Only's best effort, you'll almost definitely find it on one of his other albums. Not that Beauty is a Free Road isn't solid, it just isn't as good as his other material. Although in his defense, Moka did make this all in one night. Based on that, it's probably fair to say that not many artists could put together something as consistent as this in that short of a time period. Still, if you aren't a fan, Beauty isn't likely to convert you, and only hardcore Moka fans will probably enjoy it.
Moka Only: Everyday Details
(2000, Mammal) CD: $12.00 @ The HHI Store
Bob Dylan, Madonna, Garth Brooks, and Moka Only. One may ask, "What the hell are these four artists doing in the same sentence?" Although the style of these four musical genius vary greatly, they do all have one defining similarity: All four have released fifteen or more quality albums and have yet to lose their musical creativity.
Moka Only, hailing from the west-coast Canadian city of Vancouver, is a rarity in hip hop. Unlike most rappers who find their niche (both style and with a certain crew) and stick with it their entire career, Moka likes to change. After gaining recognition in his hometown as part of a group called Split Sphere, Moka began making music as a solo artist. Now, nine years, sixteen albums, and seven record labels later, Moka finds himself one of the most respected hip hop artists alive.
Everyday Details, originally released in 2000, is Moka's first release on Mammal Music as part of the City Planners crew. The album opens with "New Year," a track in which Moka spits three verses about his status in the hip hop industry and his superiority over all other rappers. Producer Sichuan creates a funky beat featuring a hype flute loop over a simple base-line. Sichuan contributes to the scratching as well when he flips the chorus of a man singing "It's a new fear, and I don't fear your actions."
"Let's Eat" continues to showcase Sichuan's amazing talent as a producer. For this song, he combines a soft flute loop and a hard-hitting drum loop to create a calm yet bumpin' beat. Moka flows over this beat about the City Planners crew and hip hop in general. Moka randomly throws in short lines about the problems of humans on earth and the trouble of life in general. He has an exquisite ability to travel off the main subject of the song for short periods of time to make a point about something then return to the main point of the song without confusing the listener.
"Backonup," is perhaps the most hype and energetic song on the album. Sichuan drops a beat consisting of a railroad crossing sound, a synthesized keyboard loop, and a deep base-line. The beat is undeniably funky, but the railroad sound in the background gets annoying after a minute or so. Moka sticks to his previous topic of dissing other emcees and claiming his own superiority in the rap game. In addition to flowing, Moka actually sings the chorus which says, "Hey, just back on up/ and watch a motherfucker rip the track on up."
The rest of Everyday Details follows this rhythm. Sichuan, who produces the entire LP with help from Moka, stays true to his style throughout the album and produces nothing but funky, hype beats. "People," "Liar," and "Dark Season" are just a few of the songs where Sichuan's production skill and unique style are shown. Moka is also very consistent throughout the album. "I'm Clever" and "Gargoyle" are two songs in which Moka flows exceptionally well.
Although at times producer Sichuan clutters a track with a clashing combination of hype loops and lowers the quality of a song, Moka Only's flow almost always comes correct. Amazingly, after rhyming in hundreds of songs, Moka has yet to lose his creative spark and still finds interesting topics to flow about. Moka possesses the ability to be funny, deep, intelligent, and creative all on one track and showcases this talent beautifully in Everyday Details. Unlike the boring, monotonous, misogynist Too Short, another rapper who has released ten plus albums, Moka Only has found a way to keep his rhymes unique and focused on a wide variety of topics.
For true Moka Only fans, this album may not be a favorite, but will definitely live up to the high standards Moka has set for himself throughout the years. For anyone who realizes there is a lack of creativity, intelligence, and energy in hip hop, Everyday Details is a must have.
Moka Only: Lime Green
(2001, Battle Axe) CD: $15.00, VINYL: $14.00 @ The HHI Store
Moka Only's Lime Green is an album that simply feels like summer. Moka is hugely prolific in the hip hop underground, releasing fifteen or so albums and appearing on many of his Battle Axe Records compatriots' releases. One would think he would undergo a hip hop burnout, but he continues to make melodic and interesting music. His most recent release, Lime Green, conveys a sunny and carefree vibe, one that is reminiscent of Kerouac's On The Road in its philosophies. Lime Green presents an interesting mood, and creative, engaging lyrics, which makes it well worth buying.
The wind whips through your hair, and the sun beats down, as you cruise along in your old convertible, top down, over faded, cracked asphalt. Speeding along without a care, doing what you feel like doing, no responsibilities or worries. Lime Green evokes this feeling. This album conveys a sense of freedom and carelessness that very few albums do. When Moka says in "August Asphalt," "I'm outta here, I'm hittin' the road/ got nothing to do, I'm just gonna go/ highway bound, this is the life/ no kids and no wife, I'm getting my slice," he really makes you feel what it's like to forget your responsibilities and just kick back. Many of tracks on this album have a similar theme, including "Rolling Along" and the superb "Expedition." This theme is an entertaining and fun one, just in time for summer.
Moka Only may not be the best lyricist out there; he doesn't have Sole's vocabulary or El-P's bravado, but what he does have is some good rhyming skills and a lot of feeling behind his words. You'll be hard pressed to find an empty brag or rhyme about cash on this record (he even dismisses materialism on "Imagine Me"). Most of the tracks on the album entail some emotional involvement, especially "Not The Man I Used To Know," a song about death and suicide. The collaborations on the album all work well; songs feature Swollen Members, LMNO, Sunspot Jonz, Abstract Rude, and Perfect Strangers. The beats on the tracks are done in synth; and are pleasant, if not great; and work well with the feel of the album.
Overall, Lime Green is a solid album. The Lyrics are emotional and meaningful, and the album sets a great mood for the summer. The beats and chorus are great ear candy, if a little simplistic. Lime Green isn't a must have, but it's a worthy addition to anyone's collection, and is perfect for those lazy summer days.
Moka Only: Road Life
(2001, Perilunar) CD: $13.50 @ The HHI Store
With over fifteen full-length albums under his belt, one might expect Moka Only to run out of things to talk about, or to fall into a predictable, zombie-like mode in the studio. Instead, Moka simply adopts a different approach to his music each time out, with Road Life being a subtly thematic masterpiece, recreating the carefree synth sound of the late eighties.
"Good Times Stack" is Road Life's anthem. The beat may cause underground hardliners to at first turn up their noses, but later, they'll turn up their stereos, giving into the infectiousness of this feel-good track. As Moke lays it out, "You know you really just gotta let the good times stack/ don't act a fool, let the good times stack/ maintain your cool... let fun be the rule," and for the most part, that's exactly what this album is about.
However, for a little variance, Moka uses "La La La" to vent his frustrations. As the entire self-produced album was made between late summer and the end of fall, 2000, Moka had this to say about "La La La" in Road Life's extensive liner notes: "This was written toward the end of this summer during a bout of hermit. I was choked at the world for a minute and getting really annoyed at motherfuckers bugging me on the phone and such.... I closed out the world and left nasty greetings on my answering machine... I'd put my hands over my ears and be like 'I can't hear you, La La La.'" Internet heads may take note of the not-so-friendly shout-out Moka gives to our friends over at Foolblown.
"Major Gap" is another song along slightly different lines, as Moka details a failed relationship with a younger woman. The synth beat, singing on the hook, and Moka's own soothing delivery make this song a definite stand-out.
But for the most part, Road Life is all about having good ol' wholesome fun, and tracks like "Ya Baby, That's The Style," with fellow Vancouver City Planner, Jeff Spec, reinforce that mood. As Moka repeatedly asserts throughout the album and liner notes, Road Life "is not the album to end all albums," but just another piece of music from the west-coast's "Most Prolific," in the line of many more to come. If you haven't become acquainted with Moka yet, now is a good time to start.
Moka Only: Mokefluenza
(2001, Mammal Music) CD: $12.00 @ The HHI Store
With some five albums released this year, everyone ought to be aware of Moka Only's prolificacy by now. Undeservedly, however, this industriousness of his is often given more shine than his abundant skills. Moka's blessed with smooth vocals, he's a capable lyricist, and when his not handling his own production, he shows good taste in choosing beats. Mokefluenza, his first album for 2001, is a typically fun showcase of his talents, with a few rough spots, but nothing to seriously hinder your listening pleasure.
Those moderately familiar with Moka Only's body of work, know that he's no slouch when it comes to conceptuality. But as one may expect, at the pace he's churning out tracks not every joint will be a conceptual masterpiece. That said, Mokefluenza is a somewhat standard album for Moka: it doesn't contain many surprises, but a solid album for the Durable Mammal may be a career record for someone else.
Many of the joints on Mokefluenza project a feeling of light-heartedness. "Live From Rio" isn't quite captivating enough to make you want to join the nearest samba-club, but the playful horns are catchy, and Moka's happy-go-lucky boasting flows fluently along the beat. In comparison, "Taking You Places" is much more sinister, but the rhymes are basically on a similar tip, as Moka Only claims that he's got music for us to enjoy regardless of our location. Up-tempo beats, and positive, carefree rhymes serve as the formula for tracks such as "The Way The World Works," "I Told You So," and "With Da Groov," as well. Production credits are nowhere to be found, but the people involved have succeeded in creating an integrated atmosphere for Moka's flows.
Though Mokefluenza is for the most part a well-produced album, positive adjectives can't be employed when describing the album's sound quality. In addition to slight crackling, hiss and other sonic deficiencies, it seems as if some songs are louder than others. Fortunately, the sound on many of the joints is tolerable, and not overwhelmingly weak on any of the twelve cuts (with the possible exception of "Some of it All").
It may irk some listeners that many of Moka Only's songs have a peculiar habit of ending up on more than one project. For example, perhaps the best produced joint on Mokefluenza, "Variety," reached some ears a few years ago, appearing on Battle Axe's Defenders of the Underworld compilation.
Another effort you might have encountered previously is "Upstairs," with DJ Moves' elaborate production setting the tone for Moke's skillfully delivered freaky tales. The song grows a bit weary as the 5:00 mark approaches, though, and would have worked much better at shorter length. "Majic," as heard on Apenuts, rides an incredibly smooth Deceo Ellipsis composition, and some nice-flowing lyrics by Moka. In addition to the previous, a few of the featured songs have later appeared on Ron Contour. Nonetheless, good music is good music, no matter how many records it's featured on, but from the viewpoint of a consumer, the concept of paying for the same thing twice (or more) does seem a bit questionable.
Arguably, the quality of Moka's album may suffer a bit from his hectic recording pace, as even if he isn't exactly running out of things to say, he often ends up rhyming about fairly similar subjects. But truthfully, it isn't that much of a problem: With the appropriate production, Moka Only's easy flow, and his sharp tongue seem to serve as an infallible combination for nice, solid albums. But if Moka ever hopes to create a classic album, he needs to spend some time at the drafting board, because as nice as a record like Mokefluenza is, it's obvious that he's capable of much more.
Moka Only: The Quick Hits
(2001, Legendary Entertainment)
At the height of his career, the artist formerly known as "The Artist Formerly Known As Prince" is reported to have written and recorded (playing all instruments) an average of one song per day. There are dozens upon dozens of bootlegs of these songs that never saw an official release, instead mysteriously leaking out of Paisley Park or being performed once in concert. For every "Purple Rain" there are dozens of songs like "Old Friends 4 Sale" that hardcore fans will insist are better, and for every one of these songs, there are scores of others that no one has heard except The Man and his close circle of friends. Under his contract, Warner Brothers only allowed him to release one album a year-- twelve to fifteen songs out of hundreds. This was the beginning of his disgruntlement with his label that eventually lead to him denying his birth name (which Warner owned) and...you know, that whole symbol thing. One wonders what his career would have been like if he had been allowed to release everything to his fans. How well would each album sell, and how successful would he have been if he had controlled the release of his material.
Conversely, with twenty-something releases in just a few years, one wonders how Moka Only's career would be changed by pulling in the reigns some. The Quick Hits, a collection of new, untitled tracks released by Legendary Entertainment, sounds like nothing so much as another Moka album. The man is consistent, you have to give him that. As good as the best songs on this album are, though, how much more of an impression would they make if Moke had chosen to present them with only the best selections from the other half-dozen albums he released this year alone?
To put a name to his style, for those who haven't heard Moka before: his self-produced beats sound like an alternate universe's version of A Tribe Called Quest where they were more influenced by light funk than by jazz; his vocal style also owes a great debt to Q-Tip and Phife. There is an early 1990's vibe to this album, as there is to all of them.
After a short introduction, Track 2 helps to start things off well. An upbeat track about kicking back on Saturday, lighting up the barbeque, goofing off, and making the most of the night, this feels very much like an ode to Ice Cube's "It Was A Good Day," except without the blimp.
Track 6 sounds more like Do You Want More?!!!??!-era Roots as he presents "a song about consequences" over what is becoming his signature bass and snare sound.
Track 9 is one of the instrumental tracks scattered through the album. What is interesting about these is that they are so much more energetic than the beats Moka chooses to rap over. The work to break up the monotony but, more than that, they make the listener curious.
Tracks 13 and 14 are two of these more energetic beats, this time blessed with vocals. The former is a soulful sax-laced ode to having breakfast at Burger King. Seriously. Word to the closing shout-out to the Sausage Croissant. The latter is a song of the "jiggy backpack"-type, what an old friend of mine calls the underground version of a club banger. Not that this is a bad thing; in fact it is likely the best cut on the album.
Other than these tracks and a few others, however, much of this album is instantly forgettable. The songs blend into one another not in a stunning attempt at a sequential concept album, but because there is just too little variation among the twenty-five tracks.
It is possible that Moka Only could have had a career defining year by combining the high points from this album with those from Lime Green, Road Life, etc. and making one (or two) solid, fully rounded releases. It is equally likely though that, had he done that, his fans would be scrambling to get their hands on as many untitled outtakes as they could find. Sometimes you can't win for losing.