Dope, fully unreleased project outta Queens from 1994-1997 finally gets a release. Included are 5 tracks from the 1994 demo tape period [recorded from the original studio masters] as well as 3 tracks penned for a potential Makin’ Records release in 1997, which never happened.
Mhorlocks – Up Come The Mhorlocks EP [VINYL]
A1 Whispers In The Dark
A2 Stomping Grounds
A4 Ringing Bells
B1 Wild Echoes
B2 Tore Down (Ripped Open)
B3 I'm On feat. Ocean of Natural Resource
B4 Up Come The Mhorlocks
Vocals by Mr. Omega and Bugz except B2 vocals by Mr Omega.
Tracks A1, A2, A3, A4, B3 & B4 produced by Dok Who?! for Hero 4 Hire.
B1 prod. by God?s Child. B2 prod. by DJ Rad. All tracks written by M. Johnson & D. Magnus, except B2 by M. Johnson.
All tracks recorded at Circuit Studios, New York, NY except B1 recorded Makin’ Records, Brooklyn, NY and B2 at Prinns Studios, Brooklyn NY.
All tracks published by Nunayufake Music
Here’s some more info from one of the main man, producer & MC, Mr Omega >>
How did you cats meet?
Bug and I both came up in Cambria Heights, Queens, but hadn’t met until the Fall of ’91. A number of emcees from the neighborhood were teaming up to perform at a talent show at Bayside High School, and the dude who was getting us in told me he had a young emcee who he wanted to join us. I told my dude to bring him through to my mom’s house and let me hear him, since I was considered one of the main emcees of the area back then. So the next day he brings over this dude who called himself Fiction, real young but he’s got genuine flow to him. I still had my former DJ’s setup in the house so I threw on some doubles and spun some loops to hear him spit, and he was readily accepted for the show. After we did the talent show, my man Derrick came to me and wanted to form a group that would include Fiction and some other heads from the area, and wanted me to lead, which I did reluctantly. We started out as Point Blank, at which time Fiction changed his name to Bugz, and went through a couple of changes in roster and name, turning into Dreadnaughts, but went looking for something new when we came across the Dredknotz, who were also on the scene. By this time we’d become friends with Cella Dwellaz, and it was UG who suggested we take the name Morlocks, based on the X-Men comics, but we decided we wanted to be seen separate from that and added an ‘h’ to the name, then becoming Mhorlocks. We had also eventually pared down to just myself and Bugz, as I was prepared to leave the unit, but Bugz wanted to continue teaming up, so I agreed since we were feeding on each other’s energy and it made for a good combo. Of course that was only the beginning.
What’s the story of you getting music & music production?
You can say I got into it at various stages, although hip-hop is where I seem to have committed the most. As a kid I took Classical piano lessons for about 7 years, and during that time, in about 1985, is when I wrote my first set of lyrics. Since I was always pretty quiet I didn’t even let it really be known until about 4 years later when I first performed in a show at my HS, Brooklyn Tech. This was also around the time that I first went into a studio to try recording a demo, that was musically so trash! Nothing but drums, no other real instrumentation at all. It wasn’t until later, going to other studios, that I would naturally vibe with the engineers and they’d offer to teach me the equipment during our sessions, it was like paying for classes while at the same time making my own music. My real mentor turned out to be my man Christos Tsantilis who ran Circuit Studios. He taught me the ASR-10 in detail and things really took off from there. Up until that point, I was making Point Blank’s production using a 4-second delay for loops, a Casio SK-5 keyboard, and an Oberheim DX, with a whole component stereo system just for the turntable access. If Fred Sanford of Sanford & Son was a producer, he’d be me… but I guess it did the job because I produced just about all the tracks for Mhorlocks, except for a couple Poka did later, and some producers we worked with along the way like J. Prinns who worked with our whole Critical Mass click, and God’s Child, who we met while working with Makin’ Records.
Who did you come up listening to?
Coming up in the age of variety radio, I listened to just about every genre — jazz, hip-hop, soul, R&B, rock. In the course of an afternoon, I could hear Doug E. Fresh, Hall & Oates, then Stevie Wonder, and in no particular order. Then spending time with my dad, he exposed me to reggae, calypso, soca, and was really my introduction to listening to jazz music like John Coltrane and Art Blakey. So all of that had an influence on me.