Groups that we recorded with >>> Odyssey / White Magic / Diamond 2 / Jambox / MC D / DJ Spin / DJ Koo Koo / The Def MC's / Coolie J / MC DJ Force / Funky J / I.T.M. (In The Mix) / Grove Hall Click / C.O.D. / Trackdown / The Rock Steady Boys / C.I.A. / Tuff Enuff / MC White D / Magic D / TGO (The Great Ones) / MC Style / MC Beve / Riskee P / The Def Rhymer / Leverock Hazell / Maine T / APB (Action Packed Boys) / Coriolis / Popular Demand / Act 1 / Sky King / Topcat / G Rab / M & M / W1P / World Premiere / For The Moment / Jerry / ELX / Kingsmythe / Capital T / Russ D / G.F.S. / Main Sqeeze / Alet / Justice C.D.C / Kevin Freeman / United To Ill / The Poetic Soldiers / Stud B (Akrobatik) / Roanne / Shizz Dog / Phi Crew Committee / The Rebelz / Tamaja Dagmar / Raw Field / P.A.T.C.H.E.S. / Grand Finale / The Swingzmen / Rob Sampson / God Complex (7L & Esoteric) / Bla Blah Blaa... / Nabo the Jedi (Nabo Rawk) / Top Priority / Casper / Groove Goddess / Te Smuv / Type 4 / Eddy PJ / The sHaPeSHIfTeRs / K.R.A.Z. / Eric S. / Chrome Dome (T-Ruckus) / Son of Sam / Lyrikx Unltd. / Tragik / D-Luv / Rated Sexxx / Smoke Shop / Phantom / L.B.O.E. / Herman / Shaughnessy / Rampage / WZ & The Shamrockers / Mystavarious / Sockdolager / The Frost Report / D.Scribe / Catedral / Baby Spider Season / Proppagramma / The Penfield Mood Organ...
...even more soon
Raw Field Bio...Part 1 :
Joseph (LÃto) Manuel Adorno grew up in Boston, and was around music since birth. His uncle is a guitarist in a salsa/merengue group. Although he was too young to get into breakdancing, he saw something he liked in way the older kids were reacting to the music that was echoing around his home in The Cathedral Projects. LÃto was mostly interested in the dancing, in the acrobatics and synchronization of movement. The music seemed to be just a background to the real action. His love of dancing led him to recruit his friend Frederick Matherson, also from Cathedral, and form a dance group.
Almost every day at Freddy's house, they would fool around with routines they'd make up to the newest rap and house songs of the times. As time went on and they found themselves getting better, they decided to expand the group so they could make up complex routines and perform them. They knew that the style was for a rapper to be on stage and have four or five dancers performing synchronized routines in back of him. LÃto and Freddy figured if they got good enough, they could someday dance background for a rap act. Already known around Cathedral as dancers, the two had no trouble in finding friends from the projects who wanted to join the group. Overnight, it went from two kids fooling around to an organized group named High Techniques that practiced every day. Along with LÃto and Freddy, the group now included three other kids from Cathedral: Abraham (Habram) Rosario, George Rivera, Louis OrtÃz and Pedro (Coco). Unfortunately, almost as soon as the group formed, it started to experience problems.
After a well-received performance at Family Day in the projects, a few of the group members got lazy and started to miss practices, or when they did make it, they'd come to practice with a bad attitude. The group soon broke up, but LÃto and Freddy were too much into dancing to quit, so they soon formed a new group out of the seemingly endless supply of talent in the Cathedral projects.
Carl (Baldy) Taylor and Marcus Merritt were the new members, and the name of the new group was Rebelz Without A Cauze. The group found rehearsal space at Boston City Lights, a privately-funded performing arts school in the South End, and would go there every day after school to practice their routines. At about the same time, Freddy got to talking to a white kid in his class at Cathedral High School and found out that this skinny Irish kid, Charles Murphy, was also DJ KooKoo of the rap/R&B group Justice C.D.C. The two quickly became friends and when Charlie found out Freddy had a group, he asked him if he wanted to dance for his group, which consisted of himself as rapper/DJ and David (DMX) Moise as singer/rapper/beatboxer. Freddy agreed and the two groups got together down at City Lights to practice.
The collaboration got off to a quick start, with LÃto, Freddy, Baldy and Marcus (dubbed "The No-Back Dancers" by DMX) making dance routines for Justice's songs, "Mine..." and "Stop The Violence". The dancers practiced to the songs almost every day at City Lights until they had the routines down perfectly. With the stage show all set, Justice and the No-Backs performed together at City Lights, The Strand, The Majestic Theater, Park Plaza and Northeastern University. But relations between the music group and the dance group were not as close as they should have been. The dancers would practice on their own to the music, and would get together with the singers only at the shows. At these performances, the audience would often watch and cheer these energetic young dancers more than the group whose music they were dancing to. The final straw came at a return performance at The Strand, when the dancers showed up but neither KooKoo nor DMX did. Feeling stood up, the dancers performed anyway and then told Justice that they couldn't dance for them anymore.
Raw Field Bio - Part 2
Continuing on, the No-Backs played The Hub Club without Marcus, then started to feel more like the "No-Points". They were losing focus themselves, without any real exposure coming from any of these performances. Being around Justice C.D.C. and seeing all the other talented music groups in Boston at their performances convinced LÃto and Freddy that true success and fame could only come if they formed a rap group. Since Marcus couldn't rap, and Baldy wanted to join another rap group, the dance group broke up for the last time and LÃto, Freddy, Louis and another Cathedral face, Janah Chapman, got together as a rap group simply called The Rebelz. But in order to survive as a rap group, they would have to record. Luckily, LÃto had an answer to that problem.
During their time dancing for Justice C.D.C., LÃto had become acquainted to the group's producer and musicwriter, Matt Reyes. Matt ran World One, a 4-track studio/production house in Dedham, MA, and had been recording rap and R&B acts from all over the Boston area since 1985. Matt was in a rap group of his own called Kingsmythe which also used City Lights to practice for their shows. LÃto had often asked Matt if he could record at World One if he ever seriously got into rapping, and now that The Rebelz were ready to go, it was time to head out to Dedham. The group came out to the studio and, in their first day, made the music for three original songs, "Can't Stop This", "Base! (Tap The Funky Buddah)", and "Take A Taste Of The Bricks". They were an early example of what was to become the Cathedral style of music: a few music breaks mixed on key with a simple keyboard melody or bassline tying them together, topped off by a catchy chorus which was usually a looped line from a current rap song. This formula would spread from this one day and one group to eventually affect the sound of all rap recorded at World One.
But even after the success of this first session, and the anticipation of returning to the studio to record vocals, the group still needed some shaking down. Attitudes again started to clash, and egos got in the way of group teamwork. And although LÃto and Freddy had always been the most serious and the ones who got together with the ideas for songs, this time the problems would drive even them apart.
Part of the problem was that Freddy was hanging out more with Janah, and the two of them wanted to try their hand at the violent gangster rap which was phenomenally successful by now, to the point of crossing over into the pop market. LÃto, on the other hand, just wanted to rap. He needed to be able to express whatever was on his mind through lyrics and not worry about living up to some fake image he was putting up for the public's benefit. And Louis was not going to be any help, considering he preferred hanging out and drinking 40oz's to rapping anyway. Still, a group is a group, and LÃto might have joined in with Freddy and Janah if he didn't suddenly bump into Habram (way back from High Techniques) out of the blue.
Habram said he was now rapping, and LÃto told him about World One and his disagreements with the other Rebelz. The two decided to try out writing a song together, to see if they had what each other was looking for. Overnight, the two came up with a song called "Mr. Preacher", a song making fun of hypocrites in the rap industry, people who say one thing in their raps but live a completely different way in real life. Now that LÃto and Habram knew that each other's styles could work together, and saw how easy it was to write with each other, they came up with a bunch of songs in just a couple of days.
Their idea was to follow the message of "Mr. Preacher" and just be themselves, talking about living in the projects where all you live for are the momentary thrills of sex, drugs or music. In this frame of mind, they wrote their first bunch of songs: "Why Won't You Gimme Some?", "I Do A Damn Good Job", "With A LolliPOP!", "Munchies For The Tootsie", and "Fantasy Island". The songs' emphasis was on the life of a laid-back pimp in the ghetto, pulling girls, taking tokes and dodging bullets. And although they were greatly exaggerated, all the lyrics were based in fact, in the behavior the two young men saw around them every day. With these songs finished, LÃto decided it was time to bring Habram out to World One.
Raw Field Bio...Pt. 3
Over the next few weeks, the group, with Matt's production, laid out the music for their first five songs ("Mr. Preacher" being dropped for lack of up-to-date lyrics). Things went so well that LÃto decided to quit The Rebelz and form a new group with Habram. He gave Freddy and Janah the instrumental "Can't Stop This" (which consisted of all LÃto's ideas) and told them he didn't want to rap with them anymore. Although his decision was made for professional rather than personal reasons (LÃto just didn't see himself working well with Freddy and Janah, certainly not as well as he was now with Habram), it hurt because of his long friendship with Freddy. Bad feelings rose up between them, feelings which took years to get over. With LÃto gone, Freddy and Janah ditched their name and became Grand Finale, a group that would unfortunately find themselves in the shadow of LÃto and Habram over the next two years.
LÃto and Habram, meanwhile, kept going at their breakneck pace. At their next session, they took less than an hour to complete their vocals for all five of their songs. All this without a single lyric sheet, and hardly any messups. They knew what they were doing, mostly because they practiced together all the time, or got together after school to write and plan out new songs. They called their group Raw Field, and they quickly went to work establishing a style all their own. Their creative process involved making a bunch of loops at the studio, going home and writing to them, recording the finished music set up around their lyrics at their next studio session, then either that day or the next, dropping vocals. Then the next loop in line would be developed into a full song. This process led to songs being completed at a phenomenal pace, and to those songs all having a similar flavor, a characteristic that would lead to people referring to "Raw Field" as a type of music, not just a rap group.
With this newfound feeling of success and possibility, and with five songs completed, LÃto and Habram took some time off from recording to write and arrange their next bunch of songs. It was perfect timing: it was now the summer of 1992, and Carlos DavÃla was in Boston, filled with his own sense of possibility.
But gradually, the music he heard in cars and in clubs started to change. The fast, electronic music was now being replaced by a slower, harder beat with a kind of vocals no one had ever heard before. RUN-DMC, Grandmaster Flash and Whodini. Rap music. Carlos felt even more personally connected to this music than he had to the dance music. To him, this looked like something anyone could do, given the right chances. He started to write simple raps while hanging out with his friends, but because no one he knew had any studio equipment, he was never able to record any of them. To his friends, rapping was just something to do to pass the time, but to Carlos, rap became a part of his life, a way of talking about not only what was going on in his life, but also his desire to experience more. He had the need to leave, to see and know more than Orange City. Carlos knew if he could find somewhere to record, he had a chance to make a real impression on the music world. But for the next eight years, he had to suffer in silence, an artist with something to say but with no way to let anyone hear it.
Finally, after all that time of working and going to school, waiting and surviving, he decided to do something to make his dream come true. In 1992, Carlos moved up to Boston, intending to stay with his uncle and see if his connections with entertainment businessmen could help him turn his rapping from a dream into a money-making career.
Raw Field Bio...Part 4
While hanging out one day, a friend introduced LÃto to Carlos. While the two got along fine, neither was instantly impressed by each other. Carlos didn't see that he had much in common with someone who was four years younger and who had grown up in Boston. LÃto, for his part, saw Carlos as a weird Florida kid who seemed out of place in the city with his sunshine state accent, skateboard and Converse.
But that night, the two of them went to the same party and ended up playing each other rap and house songs they liked. The two quickly found that their taste in music was surprisingly similar. As the night went on and the 40's flowed, the two started freestyling over a loop. LÃto was surprised and impressed by Carlos' raps, and told him about Raw Field. Carlos told him how he was in Boston to stay with his uncle, who was involved in the music business, promoting national rap records in Boston. Carlos said that if Raw Field was good enough, maybe his uncle could help promote them. LÃto liked the idea, and in return for that favor, but more importantly because of Carlos' skill and determination, he invited him to feature in a few of Raw Field's upcoming songs.
When informed of this the next day, Habram wasn't totally sold on the idea of introducing another voice into the Raw Field mix, let alone one so different-sounding as Carlos'. But after meeting him and hearing his style, he had no problem with it. So at their next session, they decided to expand their next song, "No More Bullshit", to include Carlos and another rapper friend of theirs, Ted "Casper" Demopolous.
At their next session, Carlos and Casper came with them and all four recorded vocals, Carlos using the name Eternal One. The result was interesting, but most people agreed that with his voice, Carlos would be better suited recording Florida-style house and techno raps. In fact, that is exactly what Carlos wanted to do, but the Raw Field songs gave him an opportunity to develop a different side to himself, one that would serve him well later on in The Shapeshifters. Carlos never actually got around to recording any Florida-style raps, but he did appear in most of Raw Field's remaining songs.
Raw Field's next song "Punks" was thrown together in a day, a two-verse song that did not feature Carlos. At the group's next session, Habram couldn't make it and LÃto started on the music for their next two songs on his own. "Beverly Hills, 9021-HO" was to be formula Raw Field; a slow, pimpy song about girls, this time featuring Carlos. "Head For The Hills" was designed to outline the group's philosophy of becoming out-of-the-city rappers with Timberlands and flannels on, rapping about their desire to get away from all the pain and suffering of the city every once in a while. LÃto and Matt recorded and arranged the music, then Matt went on vacation for a month, leaving the group to write together and to get to know Carlos better. When Matt came back, the group rushed into the studio with a backlog of creative energy and finished the two songs as well as another, "`Cause I'm The Mack", featuring Carlos.
Then came a turning point in Raw Field's development. They came in and recorded a song called "A Different World", which was uncharacteristically lacking any pimpy or boastful lyrics. LÃto and Habram had just sat down and decided to record a song about themselves, about whatever was really important to them. LÃto wrote a verse about his hatred of his father for leaving and his love for his mother for raising him so well. Habram talked in his verse about a relationship that had been the world to him, something he never thought would end and then suddenly and painfully did. The quality of the song was further improved by the music Matt gave them, a soulful loop from Zapp and a chorus assuring everybody, "Alright... It's gonna be alright..." The group was shocked at how good the song had turned out. But their hopes for a pop crossover hit were dashed when soon afterwards, H-Town released a number-one hit that used the same Zapp loop, and Classic Example (an R&B group from Boston) released a song with the same "Alright" chorus. Having recorded their best song and knowing it would never get them any credit left the group in a slump they would never recover from.
To try to make up for lost time, Raw Field performed at The Barmuda Triangle with Carlos, then at The Officers Club twice, getting into the finals of a statewide talent showcase. They also performed at Blackstone Park for a drug-free benefit, and at the South End Salvation Army Boys & Girls Club. But as they desperately tried to make a name for themselves around Boston, their lack of motivation or ideas started to show in the drop in both quality and quantity of songs. They recorded "Blam! To The Next Man", again featuring Carlos. Then came "Pimpoetry", a funny skit by Habram.
After the group had been absent from the studio for a while, Matt figured he'd better try to get the group signed before they lost all motivation. He put together an album's worth of material, complete with an intro and outtro, and started to search for a promoter who could bring the group to the next level. But while this was going on, the group fell into a long drought of imagination. Raw Field's last attempt at an original song, "The Bus Stop", was a fast and funky song that actually owed much of its sound to the increasing influence of Carlos. The song was never finished. LÃto and Carlos had rapped together in a number of Raw Field's songs, but they had never done a song without Habram.
Now, with the album done and with no new ideas flowing, the two filled their time by writing together, with the idea of recording a few songs that were completely different than anything Raw Field had done. One song they came up with was a house rap song called "Hardcore House Comin' Out The Speaker", set to an instrumental that Carlos had from Florida. Following Carlos' concept of fast, twisting verses set over dance music, it sounded so good that they decided to record a few songs to see how they sounded. They didn't plan on forming a group, and had no name to call themselves, they just wanted to keep busy in the midst of Raw Field's lack of creativity, and wanted to try out some ideas they had never been able to do before, under the restrictions of the Raw Field formula.
The first and best example of this new _expression of ideas was a song called "Mine Benda". The song was actually thought up by Casper, who was now hanging out with them in Cathedral a lot. That's the way most of the songs were conceived, by a bunch of kids who were all friends and all hung out drinking together. Group members and styles blurred constantly, because everyone knew each other and wanted to appear in each others' songs.
Casper thought up the chorus and all three of them got together and wrote their verses. Carlos had the idea to use the bassline from Kid Frost's "La Raza" backwards, and they looped it up at the studio, along with a beat supplied by Matt. Unfortunately, just before they went in and recorded their vocals, Casper had to leave the state for a job and would be unavailable to record for the next few months. LÃto, Carlos and Matt decided that the song had to be recorded so that it would be done and they could move on, so they went ahead and finished the music and vocals without Casper. The song was completed in about four hours. One of the incredible things about the song was that there were only a few spaces in the song where cut-ins were possible on the lead vocals, so they had to go through almost the entire song in one take. LÃto's asthma was acting up terribly that day, and Carlos had to read his lyrics off paper because he had just written them and didn't know them by heart. It was a good song, but was recorded at a point of change for everyone involved. They didn't know how to label it or push it, or even if it would be possible. There really wasn't any group involved, though most agreed that the song would go onto Raw Field's album if they ever got signed (which was not looking like a likely possibility).
"Mine Benda" was a big cult song within World One, with all the other groups liking it, but its impact was never felt outside the organization. Upon the completion and success of the song, however, Carlos looked forward to recording songs that messed with the listeners' minds more and more, using backwards loops and effects, and lyrics that a listener couldn't get unless they really put their mind to it. The most lasting effect of "Mine Benda", was that a childhood friend of LÃto's who also lived in Cathedral was so impressed by the song that he started to write raps, in the hopes of recording with LÃto someday.
Juan Alà Robles had known LÃto practically all his life, and had adopted many of the same tastes in music and styles of rapping as his older friend. It seemed only natural that the two would someday get together in a group. But when LÃto started to dance, and later rap, Alà found he didn't have the time to devote to practicing or writing because he was still in school. It was now Spring of 1993, however, and having heard and loved Raw Field's songs all year, he was looking forward to the summer, when he knew he would have time to record. Alà had been hanging out with LÃto all his life, and now that LÃto was usually with Carlos instead of Habram, Alà also grew to know Carlos. Even though there were six years between them, Alà and Carlos became close friends quickly, mostly due to the fact that Alà was mature beyond his years. So when "Mine Benda" hit, Alà was motivated into writing a rap and showing it to Carlos.
Carlos was still rapping off-and-on with Raw Field, but he had the idea to start his own group called "The Shapeshifters", with the concept of fast, goofy, Florida-style of rap set over strange, mind-bending music. But he knew that LÃto was with Habram and couldn't join another group. So now that Alà was starting to rap, Carlos decided to start The Shapeshifters with him, sticking together permanently and featuring LÃto much the same way that Carlos had been featured in Raw Field. Carlos and LÃto brought Alà into the studio next to record their first try at this new mind-bending formula. Carlos looped up a bass riff from DJ Magic Mike and the three of them got together over the next week to write to the loop. From the very beginning, Alà got involved, thinking up a chorus and calling the song "Get Down Now". With the verses done, the group went to the studio and recorded the vocals over the loop. It was AlÃ's very first time on the mic, but he kept trying take after take until he got the sound he wanted in his voice. The finished song actually ended up sounding rather schizophrenic, with Carlos' house-flavored style and AlÃ's simple patterns both clashing with LÃto's hyperspeed vocals, so fast and so packed with words that it's hard to understand anything he says. But this was the effect they wanted, having already had a taste of it in "Mine Benda".
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i am writing this as a general bulletin to everyone on habram's friend list.evrey time i go and visit habram ,i am saddened that he still does not have a headstone,i am sure under better circumstances ,he would have had one by now.so therefore i am going to start this myself ,since no one else on this page has suggested it yet,even thou i have been thinking about it for quite a while now.i have talked to the director of the cemetary habram is in,and he has told me that headstones are placed towards the end of may.so we all have 7 months to get up money for a headstone and put in a order.i know that his mother ,and alex will not mind.i know that they would feel blessed by it.i don't know of the price ranges of headstones yet ,but i will be looking into it,i would like to find something that would honor his memory and the memories we have of him,something that would be fitting to the man that we all loved.so if you are interested please leave me a message on my page ,and i will quickly get back in touch with you .alot of us leave messages on here for him all the time ,it is time we honor him ,where he rests,with a memorial,not the number he has there right now,he was more than a number to us,he was a son,a brother,a father,a friend,a man.it needs to be stated so ,with him forever,for all to see.thank you ,i look forward to talking with many of you.
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I just put up two new tracks, DESPERADO and JUST FIRE FREESTYLE (from my upcoming mixtape The Pursuit of Happyness) on my music page. Come thru and check em, leave a comment or do what you do.
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