Troubleneck Brothers - Back To The Hip-Hop

From 1994 Single: "Back To The Hip-Hop / Pure".....

The following is an Interview with one of the members of Troubleneck with some words on the formation of the crew and the creation of the "Fuck All Y'all" album..........

"Fuck A'll Y'all" was Recorded & Mastered at Databank Studios

A. Bing, A. Bing, M. Burns, W. Burns, K. Edwards, S. Nelson, S. Samuel

This album represents the sonification of blood, sweat and tears. This is the beginning of five separate groups coming together to create an album that represented their stuggle. The Troubleneck Brothers came out right before The Wu-Tang Clan. They were years before Murder Mase, Cam'Ron, The Diplomats, Big Pun and a host of other artists that had successfully come out of the streets of Uptown and The Bronx.

So how did 7 people from 5 different locations come to be a group?

Prophet & Soundwave came from the West Side of Harlem were brothers in a group called M.O.V.E. Posse [Movement Of A Violent Era]. M.O.V.E. was comprised of four members which had broken up before they could put out any material. Prophet and Soundwave owned an EMU SP-1200, an Akai S-900, a mixer and turntable, which would be the equipment the album would be produced on.

Madcap, who later changed his name to Blunt, was from the South Bronx. He was in a group called Just The 2 Of Us, which released a 12" in 1989 called M.V.P.. His group disbanded due to his DJ attending college and management issues. Madcap met Soundwave through Qiniso. Quiniso would always come around the block playing his beats. So I asked him who did he use and he introduced us. Soundwave was the only person I ever knew with an Akai S-900 and a SP-1200 and he was only 2 stops away on the D-Train. His $10 an hour rate was perfect. After telling him that I was using my lunch money to pay for my studio time, Soundwave would let me use the equipment for free, providing I clean his studio and come when he or his brother were around.

Stepchild, from the South Bronx, was a solo artist and producer. Stepchild produced tracks for The Jungle Brothers and a solo artist Mic Teluxe who was signed to Doo Doo Man/Rush Associated Labels. He was also a former employee at Downstair Records & intern at Calliope Studios. Stepchild and I lived in the same building, two floors apart. I introduced Stepchild to Soundwave.

Moe'Town was from the East Side of Harlem, Natural One was from Burnside and Shaft hailed from Saint Mary's Projects. They knew each other for years and called themselves P.O.W., Poets Of War. Natural-One, who attended Manhattan Center at the same time as Murder Mase and Cam'Ron, was classmates with Prophet's younger brother Kamal. The trio was young but very hungry. Moe'Town was a high school basketball star who was always in the papers. The strangest thing about POW was that Moe was Shaft's uncle, yet Shaft was bigger than Moe.

The last group was Chapter Three which consisted of DJ Sean Ski and Ducky from The Bronx. Sean Ski used to DJ for Guru occassionally. Chapter Three's time with Troubleneck was short, so I really don't know much about them. Troubleneck had a few extras like First Ave who was Natural One's younger brother and Raw Beans from Harlem. Both can be found on Poets At War.

We wound up recording the album at Databank Recording Studios on 30th & 8th. Stepchild had used this studio for one of his artists. They could not afford to use the studio, but the engineer Tony Real who had full access to the studio came up with a fair rate. Record anytime after midnight and I'll let you go for a set price. Tony really looked out for us.

And that's how Fuck All Ya'll was recorded. Totally underground.

Eventually we would be managed by Rene McLean.

The common bond was that each of these groups had been creating music for years with no major success in the music industry. Once they combined resources, the group was able to produce this album and create a major buzz in the music industry.

This album was produced using a EMU SP-1200 and an Akai S-900. There was no flying faders, no Pro-Tools. Nothing. It was what I like to call a MANUAL album.

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[OGDonNinja]

Timeless Hip Hop. Back when it meant something...back when it was a culture & people enjoying what they were doing and didn't have any thoughts about fame & money. Back when the people themself promoted and released their music on their own labels, no gimmicks.

I miss these days...

[alexfrays]

i'm sorry but the hell disliked this? this is wat hip hop is about, none of this rubbish commercial crap u hear

[Jonesreggie110]

Dis is fire rite here and my uncle moe money still makin hits look him up...tab on me feat. T. Pain

[gab2117]

@PeanutButterWolf123 Every rapper wants money yes...But only the true artists careless for that and is always number 2 on there mind I like to think there artists out there that still keep there music on there mind over money all day...

[PeanutButterWolf123]

@TheJewelChest true. every rapper wants money, they would be really stupid if not..

[TheJewelChest]

@OGDonNinja Sorry my dude, but they ALWAYS wanted the fame and money.... it's what we dream of as kids. Sure, some still believed in maintaining some artistic integrity over others, but in the end of the day they all wanted to be rich. EPMD = Erick and Parrish Makin Dollas? Rakim wouldn't do a show unless money was up front, period... C.R.E.A.M?? Beatnutz Off The Books? ... all these dudes were signed to majors but at one point were selling their own tapes.

[GiveLife2RealHipHop]

Yeah let's take it back fam!

[dhampex]

Gotta love that Ethel Beatty/roy ayers sample!

[630alpha]

How come no one makes beats like this anymore?

The horns son... that Premiere / Pete Rock sound..

These cats and their Pro Tools no diggin in the crates at all.

[RobloxGames]

Real hip hop enough said whoever disliked this doesnt know what real hip hop is about

[moisesgs1]

PESO 4EVER 

[GunitForLyfe]

@OGDonNinja yea i miss those days too D: D: D: D: