DELAPENA LIVE! 7.28.10
Featuring DJ Joc Max (K.C.)
Link to mix download
ENDLESS POSSIBILITIES MILES BONNY
Get A Hold ** A Tribe Called Quest
Don't Nobody Care 4-IZE feat Yirayah
Lost & Found featuring Jimetta Rose & Bilal
Why can't people be colors too? The Whatnauts
Hotsummernight Reach-Reggie B-Dave Def EP
Track 01 Pete Rock
Groovy Lady The Meters
Timebomb public enemy
i got an attitude Antoinette
Heavy Love Affair Extended Instrumental Marvin Gaye
Night Like This Darien Brockington
Simple Advice Georgia Anne
Funky Superfly Bobby Williams
Gritty faith ruff DJ Spinna
Third Rock Pure Essence
Blind Alley (Applejac's Blind Leading The Blind Dub) The Emotions
Blowfly's Rapp Inst. Blowfly
I'm Your Man Spade Brigade
Thoughts Of Old Flames (Applejac's Meccastrumental) Pleasure
Aint Got The Love Girl/Inst. The Ambassadors
1997 Basemant Khemist tape intro 2 The Basement Khemist
12 Center of Attention I.N.I
Sound Bwoy Bureill Smif N Wessun
Still got love for um KAM
Voicetress De La Soul
1997 Basement Khemist tape intro 1 The Basement Khemist
Dreamy Jay Dee of the Ummah
How Could She Do It Eric Roberson
NEVER BE THE SAME MILES BONNY
Souds Like Love (feat. Debi Nova) Illa J
Radio Love Daniel Riera & Reach
High Hopes ft. Reggie B Onra
Reminisce Bilal/Common/Mos Def
It stops here Dj Joc Max
put your love in my tender care Fatback
St. Louis Break Down Oliver Sain
Goodbye, So Long Funk Inc
Get Up Willie Tee
Live and Let Live Jimmy Jones
Weiya (Serengeti Beat) Whitefield Brothers
Windy C 100 % Pure Poison
Windy C Ahmad Miller
You probably don't know Thomas McIntosh. Instead, you know Joc Max. And if you don't know Joc Max, you should.
A job as a case manager at a middle school — and a long history of badass beatmaking. He was just 9 when he first took music into his own hands, spinning Stevie Wonder, James Brown and classic rock when his relatives wanted to get down at family functions.
By 14, he had cut a song. It was called "Bust a Move" (and it busted a move on Young MC, who put out a hit single by the same name more than 10 years later). The song appeared on a compilation album of KC artists called KC Missouri Cityboys; McIntosh produced the track, and the Twin City Trio, ACAand Vell Bacardi did the rhymes.
McIntosh fell in love with hip-hop because he already loved soul, jazz, funk and rock, all genres that hip-hop radically combined into a new urban sound. McIntosh studied and deconstructed the music and taught himself how to make it.
"To me, the whole hip-hop thing came from extending the break," he explains. "That's what hip-hop DJs did. They'd take a break of an old soul record and get two copies and extend it. Basically, my making beats came from making tape loops — tape one part for five minutes and go over on the other tape, put another little piece on it for five minutes and just build this composition on tapes."
He "junkyarded" his equipment together from family discards but eventually saved enough money for a pair of Technics 1200s. Around this time, he took the name Joc Max, abbreviating the notion of, he says, "a disc jockey giving his maximum effort to the people."
National attention came in 1995, when he did a remix for the platinum-earning group Das EFX. Elektra released the single (which is now on McIntosh's MySpace page, www.myspace.com/jocmax). McIntosh had also become a producer for the Basement Khemists, with Taha (aka Brother Neves) and Jay Lee. The Khemists are legendary in underground hip-hop circles, but their records are hard to find, probably because even though they produced a record for Elektra, the label never released it. That didn't keep their music from getting out, though.
McIntosh remembers when their records started getting airplay in New York, birthplace of the traditional, true-school hip-hop to which the Khemists adhered.
"Pete Rock played one of our records ['Correct Techniques'] on Hot 97 on a show he had called Future Flavors of the '90s, and I feel like that was a shining moment for us as a group because we knew that we had finally won over," he says.
McIntosh built another bridge to New York through his friendship with Brooklyn's DJ Spinna, who had his own group, the Jigmasters, and made beats for '90s indie heroes like Talib Kweli and Mos Def. Spinna was dating a Kansas City girl, and one day he went into 7th Heaven, where McIntosh worked, though McIntosh was off that day.
"A co-worker of mine told him, 'Come back and meet Thomas,' so he came back and met me, and we kicked names of records that we enjoyed, artists that we enjoyed. One thing led to another, and he came to my mother's house, where I was staying at the time, and boom, there it was — love at first sound."
Over the next decade, McIntosh and Spinna would remain friends and collaborators, and McIntosh would continue to make music of his own — which, for the most part, rarely made it out to the public.
"I'm very, very self-conscious and very protective of my art," McIntosh says. His music is personal. "I developed my sound from just applying how I view life and putting it into my music." The drums beat out the hard times, he says, and the melodies key the good things in his life.
Stay tuned for a few new projects Joc will be releasing later this year including a new Basement Khemist record & various collaborations.