Deadwate CD
Dinnertime Wet rare underground hip hop rap release
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2 Deadwate CD
Dinnertime is a ground breaking 17
Track hip hop / rap spectacular
and Deadwate's first full length CD ever released. Underground hip hop
at its finest!
Deadwate - Dinnertime
CD $9.99 (2003, 62 min.)
Winner 2004
Syracuse Area Music Awards,
SAMMYS, Best Hip Hop / Rap Release.
Recorded and mixed by Sal
Chisari of
RBR Media Studios.
Hip Hop Back In The Day: Documentary Celebrates
Peace, Love and Fun Behind Hip-Hop
Sunday,
April 29, 2007 By Mark
Bialczak, Syracuse Post Standard
The
opening scene from the DVD
documentary "Hip Hop
Legends" rolls across the
screen. City streets. City
projects. City basketball
courts.
And a hip-hop band from our
city provides the
soundtrack. The RuffBeat
Records group Deadwate
intones, "Black America, we
love you. White America, we
love you. Hip-hop America,
we love you. Native America,
we love you. Latin America,
we love you. ..."
Perfect.
It's a
great
start
for the
straight-to-DVD
documentary
that
features
the
reflections
of
hip-hop
pioneers
DMC,
Afrika
Bambaataa,
Melle
Mele,
Busy Bee
and
more,
telling
what it
was like
back in
the day.
"In the
beginning,"
intones
a very
serious
narrator,
"(hip-hop)
was a
way to
express
yourself
through
music
and art.
... To
the
founding
fathers,
hip-hop
was an
entire
way of
life.
From the
time
they
woke up
in the
morning
to the
time
they
went to
bed at
night,
they
lived
and
breathed
the
lifestyle."
It
proved
to be an
illuminating
watch
for
those
who
automatically
attach
thoughts
of
drugs,
violence
and sex
to the
message
of rap
music.
Lesson:
Hip-hop
started
as a
combination
of
graffiti,
break
dancing
and
rapping.
Lesson:
Hip-hop
started
in the
South
Bronx as
a way to
celebrate
life and
overcome
poverty.
It's
official
birth
date is
Nov. 12,
1973,
when
Bambaataa
started
the Zulu
Nation.
It was
about
peace,
love and
having
fun.
Rival
gangs
showed
up and
poured
their
energies
into
figuring
out how
to beat
the
others
with new
break-dance
moves or
the most
innovative
rap.
DMC
says:
"It's
easy to
take out
a gun
and
shoot
somebody,
but it's
not easy
how to
figure
out how
to beat
somebody
by
picking
up a
microphone."
The
pioneers
saw the
culture
changing.
MTV got
involved,
and the
most
popular
videos
depicted
some
very
nasty
ways,
they
say. And
they're
not
happy
about
it.
"Hip-hop was a positive way
of life. What the hell were
these guys doing bringing
this nonsense into it?" DMC
says.
Hip Hop America song by Deadwate in Hip Hop
Legends documentary
Monday, March 26,
2007
By Mark
Bialczak, Syracuse Post Standard
Michael Childs first
talked about the rap music put out by his
Syracuse label with Los Angeles movie production
executive Mark Lance 21/2 years ago.
Lance asked Childs
to send him music in his catalog.
Childs sent work
from Taj Mahal, whom he considered to be Red
Brick Records' prime Syracuse rapper. He also
threw in the CD "Dinner Time" from Childs' own
hip-hop trio, Deadwate.
When Lance called back, he
had a nice surprise. He had
chosen Deadwate's song "Hip
Hop America" for the
soundtrack of the
documentary "Hip Hop
Legends."
Childs sent his best master
of the song out to Los
Angeles and practically
forgot about it.
Then Lance called two months
ago with the news that
Polychrome Pictures was
releasing the film straight
to DVD. It hits the streets
Tuesday. "Hip Hop America,"
performed by Childs, Louis
Courcy and Sal Chesari under
the stage names of Our
Reality, Mister Louiee and
DJ Tes T.S., is the opening
song in a documentary that
features hip-hop veterans
Melle Mel, Afrika Bambatta
and the Zulu Nation and
others.
Polychrome's Web site
describes the film as "the
story of how it all started,
told by those who were
there." Warner Bros. Records
is distributing the film.
"It's not big money," Childs
says. "But it's on the movie
with a lot of cool cats.
Those are the cats we looked
up to."
Childs used the hook of the
film to contact media about
Deadwate and Red Brick. He's
rereleasing "Dinner Time,"
for one. Childs says he was
interviewed by a New York
City radio station DJ. And,
he says Lance was impressed
by his promotional skills.
"Now I'm in charge of
promoting the movie on the
East Coast," Childs says.
Music Men
Friends keep the
beat alive at Red Brick Records
Monday, April 11, 2005
By Emily Kulkus, Staff
Writer Syracuse Post Standard Newspaper
From the
sound of Michael Childs' contagious
belly laugh, you'd think the history
of his baby - Red Brick Records -
had been nothing but peachy.
Childs,
founded the company with friend and
fellow music guru Sal Chisari, in
1996. For nearly a decade the two
have tried to make a distinguishable
dent in the Syracuse music scene.
Musicians themselves, the two joined
forces and created Red Brick Records
as a label, selling and promoting
local hip-hop artists.
In 2003
the duo turned their attention from
promotion to production, a move that
is proving to be the wise choice for
the future of Red Brick Records.
Red Brick's studio is
understated and
overcrowded. The
650-square-foot space,
tucked off North Salina
Street at the
intersection with
Catawba Street, is
marked by a bright red
door, matching the
fire-engine-red walls
inside. The front room
is plastered with
posters and stickers
from artists and
concerts.
The second room, just
beyond the first, is
home to a bank of
editing and sound mixing
equipment and their
latest project - a new
video-editing suite. On
any given day, the space
is crowded with people,
founders included,
trying to make their
dream a reality.
Childs: The
studio keeps
everything
alive, it
helps get
the bills
paid. We
book about
15 to 25
hours a
week. We're
pretty well
known. There
are other
studios in
Syracuse,
but for the
hip-hop and
R and B
scene in
Syracuse
they come
and see us.
We have a
good mix of
musicians
here. We
don't just
do hip-hop.
I
want them to
come in here
and work in
the studio,
and walk
away happy.
Not only are
you coming
to a record
studio, but
you get some
insider
information.
The
conglomerate
media unit
is our big
dream. A
nicer,
bigger place
would be my
dream, to
become a
world class
recording
operation. I
mean look at
James
Hurtado.
He's our
guy, but we
don't have
the kinds of
funds we
want to
promote him
how we want.
He's got it.
He's the
next big
Latin dude.
I've got
something
inside of me
that says it
can happen
here. We
just haven't
opened the
right door
yet.
Chisari: A lot of people call me and ask for a record deal. But they don't always understand that music is a business. That's why we try to teach people when they come here that they have to know what they want, and they have to be willing to work.
We tell them to meet other musicians, go hear music. We tell them to make a demo to bring around and be the best that you can be that way. You have to focus in on what you want to do. Most people, they want to be on MTV. It seems like no one wants to be too original, no one wants to become a Syracuse sound.
You have to invest in yourself. You have to have strong confidence in yourself. If you don't have confidence in yourself no one's going to pay attention to you.
Reviews -
This Hip Hop trio from upstate New York known as Deadwate is a group
that's heavy in the game. The back cover has the three guys
chowing down Fat Boys style with a three foot hoagie that doesn't
stand a chance against these talented cats. I met these cats at the
Wonder Twinz Networking Party, and they asked me to give an honest
review of their album, "Dinner Time." So I told them I would, and
here it is.
The album gets started off with the high energy "The Whole World
Wates," which has the trio spitting in-your-face lyrics that get
"Dinner Time" started off on the right foot. "Hip Hop America" has
Deadwate going through all the different types of people out there
while rhyming about their love for Hip Hop. Check the lyrics "I put
my heart on the street, with two turntables and a fat-ass beat, now
my life's complete, you hear my story on wax, I push this shit to
the max."
"Stomp" is one of my favorite tracks on the album. The energy on
this track is incredible. It's one of the best party-tracks I've
heard in a while. If I had this on wax, I'd be spinning this at
every party. The banging beat by DJ Tes blends perfectly with the
hook and lyrics. Deadwate has great energy on the mic, and that's my
favorite quality about them.
There's more to these guys than just high energy, as they prove on
tracks like "Master of the Microphone." Mister Louie kills it on
this track. "Playa Playa" slows things down, and it picks up where
"Stomp" left off on "Spit That Shit."
The title track has a grimy DJ Tes beat. These are some high energy
lyrics, with lines like "we robbing the rich, and paying the poor,
so the real MC's can eat some more!" This is a really tight track.
"Jim Johnson" is a good story track that shows these guys can kick
stories as well. "I Got the Rhymes" is a real personal track that
has the crew giving a really good commentary on what's going on in
their lives. "Getcha Hustle On" is a track that has a couple parts
to it. The first half I'm not feeling, but the second part is dope
where DJ Tes gets to cut up. These guys definitely have a sense of
humor as they play a message where some cat is just making fat jokes
before "Understand That" comes on. This is a really tight track, and
these guys are at their strongest here because they are spitting
straight raw lyrics.
The chemistry in this group is great, they really sound great
together. This is honestly an album that is worth hearing, it's an
interesting, high-energy album that showcases the range of abilities
in the Deadwate crew.
Brian Kayser Hip Hop Game web site
07-2003
Sammys 7 - Syracuse
musicians pack in an outdoor party
By Nathan Turk and John Otis,
Syracuse New Times 06-09-2004
"That Syracuse knows food reflected well on Deadwate, whose
salacious disc Dinnertime won Best Hip-Hop / Rap
honors, edging out formidable fellow nominees The Most
Talented and Outlivin'." 2004 Sammys Winners Best Hip-Hop/Rap CD - Deadwate,
Dinnertime
Singing for Their Supper
Syracuse rap trio Deadwate weighs
in with Dinnertime
By Nathan Turk, Syracuse New Times
07-09-2003
Syracuse has spawned its fair
share of hip-hop celebrities over the years: DJ Red Alert,
DJ Fuze of Digital Underground, Rich Nice, Miss Jones and
the rising Seth Marcel (see cover story on page XX). But
this ain't exactly Miami or the Motor City, and the members
of Deadwate know it.
"It's hard to get gigs around
here," laments emcee Michael Childs a.k.a. Our Reality. "The
connotation {of hip-hop} is violent. It's kind of how it was
in the beginning, when people had to fight to get heard. "
Childs and his bandmates, emcee Louis Courcy a.k.a. Mister
Louiee and deejay Salvatore Chisari a.k.a. DJ Tes, released
their debut album Dinnertime (Red Brick Records) in
May. The CD is a booming hybrid of vintage and modern rap
sounds, of new-school crunch and old-school outlook. It's
been a long time coming, considering Deadwate began back in
the day: 1997, to be exact.
Then again, they haven't had the
luxury of major-label support or huge cash advances.
Originally a studio project, the plan was to record material
at Chisari's own Ruffbeat Studios, located on North Salina
Street in Syracuse. The material would then be released
through Red Brick, the imprint started by Childs and Courcy
in 1996.
Along the way the label racked
up a healthy roster of fellow hip-hoppers, including Childs'
own pre-Deadwate group Mad Pack. "If you talk about Syracuse
hip-hop and you don't talk about Red Brick, you don't really
know the scene," Courcy, 33, says. "We helped start the
careers of a lot of these rappers: Seth Marcel, Just One,
Taj Mahal."
Today it houses Doowittle and
James Hurtado, and releases works by Chisari's instrumental
outlet, Tes the Sicilian. "A lot of rap music today is
shoved so far underground, nobody knows it's there," Childs,
34, says, explaining Red Brick's devotion to helping local
acts.
Last year Deadwate became
serious about seeing their own musical agenda materialize,
the results being the 16-track, 73-minute monster
Dinnertime. "We backed off of everything to dedicate
ourselves to just making music," Courcy remembers. He even
quit his job as a chef at To The Moon, formerly at 305
Burnet Ave., to free up more creative time.
The disc's influences are
diverse, reflecting the members' proclivities for New York
City underground hip-hop, 1984-'88-era rap and modern
rhythm'n'blues. The robotic synth lines and bold delivery of
"Hip-Hop America" recall Mr. Lif, for example, while "Playa
Playa" suggests a more boastful Black Starr and "Jim
Johnson" rides a similar dancehall/rap vibe ala Shabba
Ranks. The poignant lyrics and coruscating keyboard line of
"Stress" bring to mind Sage Francis or Aesop Rock.
"The beats are very strong, but
at the same time very catchy," Childs points out. "We're not
all thugged out. Mostly, artists today are just doing the
same thing."
"Just rapping over a CD,"
Chisari, 31, agrees. "There's nothing original."
Rebelling against the mainstream
paradigm was their m.o. in creating the disc's music, which
is all-organic, meaning no samples are used. "Everything's
played," Chisari says. "Some of the drumbeats are taken from
a drum machine, but there's no loops. We didn't even
replicate old stuff. It's hard to get the same sound as most
commercial CDs today; you really have to mix it well."
But Chisari pulled it off,
playing keyboards while Rob Boogie, a Syracuse musician and
friend of the group, laid down bass, keyboards, guitar and
vocals. James Hurtado contributed Latin guitar, and wrote
the melody eventually used in "Understand That." Chisari
then worked his studio wizardry, cutting and pasting
segments of melodies into driving, beat-oriented music that
sounds deceptively like the work of sampling.
The lyrical realm the group
mines is feel-good and largely positive, just like Jurassic
Five or Blackalicous. "If you just look at the songs, a lot
of them are about what we named them," Childs says. "In
'Stomp' and 'Turn it Up,' for example, we're just trying to
uplift the kids, get people off their feet."
Most of Childs' raps on the disc
are freestyle, which is where a lot of their power comes
from. "Usually I just lay on the floor, and let the music go
through my head," he says. "It's very spontaneous. If the
raps don't come, they just don't come. I have to capture
what's there."
Courcy's case is the opposite,
as he often broods for an hour on a single verse. It's his
reverence for hip-hop ("When I was a teen-ager, I'd buy $150
in records a week," he recalls, "I had to be the first one
to get what's hot.") that compels him to be such a
craftsman. "The music is an escape for me," Courcy says.
"When I get too many calls, when there's too many people
bothering me, I can just put the music on and escape."
Right now Dinnertime's
trajectory seems upward-bound, with stores throughout the
Salt City selling the CD. A distribution deal with Nation
Jam will soon bring the disc to the chain stores FYE,
Coconuts and Strawberries. Deadwate also inked a deal with
BPM Promotions, which will be hawking the group's tunes to
commercial-radio stations across the country in the coming
months.
A video for the disc's third
track, "Masters of the Microphone," made its debut May 30 on
Buffalo PBS station WNED-Channel 20's program Late Night
Noise. Videos for "Hustle On" and "Stomp" are also in
the works. "I'm truly happy with {the disc}. If we don't
sell another record, I'll still be happy," Childs says.
"I've lived my hip-hop dream."
The group's Red Brick label has
helped along the dreams of other rappers as well. "We're not
saying we're everything," Childs explains. "But we've put a
lot of cats at the dinner table over the years. Now it's our
turn to sit down, our turn to come and eat."
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