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The album will always be remembered for the beef between 3rd Bass and MC Hammer which culminated with a hit being put out on the group when you were touring on the West Coast. I think he dropped us off a tape with the beat first and then once we heard it we were just like, ‘Let’s go with that one.’ I mean, the album version was really just like an album track, but that remix really turned it into a single musically. I mean, we were cool with Marley Marl as it was, so to have grown-up listening to his radio shows and then have him want to remix our music, that was just a no-brainer. I remember when we had different producers who were presenting us with ideas and then we heard that one.
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“Of all the remixes that were done off that album, that was actually my favourite. One of my favourite tracks off the album was “Product Of The Environment” but the Marley Marl remix that was released just took that record to a completely different place in terms of its sound and mood… So you couldn’t even compare where we were at then to where we ended-up. I mean, to put it in perspective, when Slick Rick’s first album came out in 1988 there would be promo copies up at Def Jam, and Serch and I used to steal those and sell them on the corner for ten bucks so we could buy pizza from this place that used to be right next to the label offices. We were just hoping that someone would pay us to let us make music, so to go gold was a massive achievement. “It definitely felt like we’d accomplished everything we wanted to when we went into the studio and even way beyond that. How did it feel to see “The Cactus Album” go gold approximately just six months after it was released in 1989? The one lone shining star of this whole release is Marley Marl’s revision of “Product of the Environment.In this third part of my in-depth interview with Pete Nice, the former 3rd Bass member discusses recording the group’s two classic albums, beef with MC Hammer and almost starring in one of Spike Lee’s most iconic movies – check Part One and Part Two. The version of “3 Strikes 5000” here is inferior to the one that ultimately wound up on “Derelicts of Dialect.” The bloated CJ Mackintosh & Dave Dorrell reworking of “Brooklyn-Queens” removes all of the whimsical charm of Prince Paul’s original version. Unfortunately no one would be because this album is ASS BACKWARD in so many ways.
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I’m sure some clever mash-up artist could make that happen if they were motivated to do so. It has the same kind of energy as tracks Sever would produce for his own group Downtown Science with Bosco Money, and it honestly wouldn’t have shocked me if Money had made a cameo on the song. You have to go three deep into “ The Cactus Revisited” before anything of substance happens, and that’s the Sam Sever remix to “Wordz of Wizdom.” I don’t favor it over the original, but as a so-called “club mix” I can actually picture it getting people onto the dancefloor. The same can be said for Dave Dorrell’s revision of “The Cactus.” If they could record new verses for the revisit so could Dumile, so the new version is interesting but SUBPAR compared to the original. As much as I appreciate Serch offering a moment of silence for Yusef Hawkins, I can’t help but think some form of disagreement between Nice and Serch resulted in Dumile not being included. MC Serch has spoken at length about his bond with the late Daniel Dumile, who was better known at the time as Zev Love X from K.M.D., so his absence from this “lyrical remix” feels like a slap in the face. “The Gas Face (Remix)” is as good of a place as any to start.