Saturday, September 30, 2006

Ludacris

Ludacris - Release Therapy
Release Date: 26.09.2006

1. Warning (Intro)
2. Grew Up a Screw Up
3. Money Maker
4. Girls Gone Wild
5. Ultimate Satisfaction
6. Mouths to Feed
7. End of the Night
8. Woozy
9. Tell It Like It Is10. War With God
11. Do Your Time
12. Slap
13. Runaway Love
14. Freedom of Preach
We Are Upgrading..!

Friday, September 29, 2006

Heltah Skeltah

Boot Camp Click affiliates Heltah Skeltah delivered a celebrated debut album, Nocturnal (1996), but struggled to follow through with subsequent output as their reputation simmered despite a fine follow-up, Magnum Force (1998). The Brooklyn duo of Ruck and Rock began as two-thirds of The Fab Five along with O.G.C. (The Originoo Gunn Clappaz) and together scored an underground hit with "Leflaur Leflah Eshkoshka." The group split in 1996 to record solo albums for Duck Down Records, Heltah Skeltah's Nocturnal and O.G.C.'s Da Storm. Of the two, Heltah Skeltah's garnered the most acclaim, and the duo thus became a small underground sensation, appreciated largely for their vocally inventive yet strictly hardcore style. Their contributions to The Boot Camp Click's For The People (1997) furthered the acclaim, but by the time Heltah Skeltah returned with their follow-up, Magnum Force (1998), the hype had died down, and the album unfortunately met a mediocre acceptance, partly because the duo toned down their hardcore posturing. Following this minor disappointment, Heltah Skeltah maintained a low profile and were not invited to join the long-awaited Boot Camp Click follow-up, The Chosen Few (2002).

Heltah Skeltah - Nocturnal (Jul 1996; Priority)
Heltah Skeltah is MC Ruc and MC Roc, two members of the loose-knit East Coast congregation Boot Camp Clik. The duo's debut establishes the crew as one of the most powerful members of The Clik, both in terms of techinque and prodcution. Most of Nocturnal is straightahead East Coast gangsta rap, with layered soundscapes and even if they are seamlessly crafted, they are only there as a backdrop — the main intent of the entire album is to showcase the talents of Ruc and Roc, and do they ever display their talents. Throughout the album, Ruc and Roc create a series of intertwining rhymes that are lyrical, hard, and insightful. Naturally, there are some moments that are little too predictable for comfort, but by and large, Nocturnal is first-rate mid-'90s hip-hop.
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Reupped: Heltah Skeltah - Magnum Force (Oct 13, 1998; Priority)
Heltah Skeltah, the duo of Duck Down family members Rock and Ruck, released their second album Magnum Force, a declaration of the prowess of their clique of the same name. The first song, "Worldwide" (produced by Self), sets the tone with a refrain that lets the listener know: "we gonna rock the world...if not mutherRuck the world!" The following selection, "Call of the Wild," is also produced by Self and again uses an altered string sample that makes the song feel threatening and dangerous. Featured on "Call of the Wild" are Starang Wonder (from OGC), The Representativz, the young Hardcore, and Doc. Holiday. Method Man joins Heltah Skeltah for a thug anthem, "Gunz 'N Ones," produced by Smoke. Starang Wonder comes back with Doc. Holiday to spit lyrics with Rock and Ruck on the uptempo "I Ain't Havin' That," which uses a Redman vocal sample plus the bassline and sounds from A Tribe Called Quest's "Hot Sex." More collaboration occurs on "Brownsville II Long Beach," where Tha Dogg Pound lend their West Coast lyrics and production (by Daz Dillinger) to make a respectable track. "Magnum Force," the album's title song, was produced by GrandDaddy IU and features The Representativz added rhymes and Rustee Jux's vocals on the chorus. The theme of the album switches with "Hold Your Head Up," produced by NOD and featuring Anthony Hamilton's vocals. The uplifting message in this selection and optimistic plea for all downtrodden to endure is an effective break in the violence and gun talk that predominates on this album. The album ends with one of its stronger selections, "Gang's All Here," which features the production of Smoke and nine minutes of lyrics from members of The Magnum Force Crew and The Boot Camp Click. (Buck Shot delivers the most notable lyrics in this song.) This album offers only one major sore point: for those who dislike poorly executed efforts to mix R&B and rap music, they will find "Chica Woo" a skippable song. The skits are mildly amusing and make it appear as though there are 19 songs on this album, while there are actually only 14 songs and five skits or interludes. A strong album, but hardly more advanced than their last effort, Nocturnal.
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Sunday, September 24, 2006

Holy Month Ramadan

Alhamdu li 'Llah. All praise and thanks be to Allah. We praise and thank Him and we ask Him for help and forgiveness. In Allah we take refuge from the evils in ourselves and from our wrong doings. He whom Allah guides [with His Mercy] cannot be misguided by anyone else, and he whom He misguides [justly and wisely] cannot be guided by anyone else.
We congrulate Muslims all over the world with coming of Ramadan Kareem.
May Allah look favorably upon your fasting and answer your prayers!

As Salam Aleikum Wa Rahmatullahi Wa Barakatuhu...

Wednesday, September 13, 2006

2pac - Live At The House Of Blues (July 1996)

The 2005 release of Live at the House of Blues is nothing to get excited about, but at least it's a legitimate 2Pac release. Well, sort of. It's legitimate in the sense that it is what it's billed as -- a live recording of 2Pac's July 4, 1996, performance at the House of Blues on Sunset Strip in Los Angeles -- though it's kind of a scam, too, because 2Pac's performance is unfortunately abbreviated at only nine songs. You see, he and the Outlawz were the opening act that night, with Snoop Dogg and tha Dogg Pound headlining. (2Pac does come out for the encore, however, joining Snoop for a performance of "2 of Amerikaz Most Wanted.") The packaging of Live at the House of Blues, like oh so many posthumous 2Pac releases, is shrewdly misleading. Judging from the cover of the album, you'd think Snoop and tha Dogg Pound were guests here, not vice versa. Oh well, such scamming has become par for the course with 2Pac releases, so just let it be. In regard to the performance itself, it's one of the best 2Pac live performance out there, which is good news for collectors. That said, it's still lousy. For one, the sound quality is good to poor, especially the beats, which are low in the mix. (This sounds like an audience recording.) For two, the Outlawz are very much unwelcome here. These guys detract much more than they add to the performance, always rapping, er, shouting along with, er, over 2Pac when they'd be better off keeping their mouths shut and letting the man work his magic. And for three, hardcore rap like this just doesn't translate well to a live context. It just sounds like a riot, with a lot of amped-up dudes shouting raps over muffled music while the audience roars with unchecked approval. On the bright side, 2Pac does launch a tirade against Nas here, which is pretty curious. The song is called "Troublesome," and it's a long, bitter rap over the beat to "If I Ruled the World." Then comes "Hit 'Em Up," which only furthers the tirade. In the end, if you feel inspired to check this recording out, you're recommended to watch the DVD rather than listen to the CD, because this performance seems more like a spectacle than a musical event. But don't bother doing so unless you're really feeling driven. As with the 2Pac Live release from Death Row a year earlier, Live at the House of Blues taints 2Pac's legacy more than it aids it. It's just an ugly performance, plain and simple, one that furthers the myth of 2Pac as a belligerent, death-wishing thug, certainly not the saintly ghetto poet that many folks would prefer to remember him as.

Part 1
Part 2
Part 3
Part 4
Part 5

New!
Here you can order 2Pac`s video clip whatever you want.Only in comments!

Saturday, September 09, 2006

2Pac Amaru Shakur (Lesane Parish Crooks)

2Pac became the unlikely martyr of gangsta rap, and a tragic symbol of the toll its lifestyle exacted on urban black America. At the outset of his career, it didn't appear that he would emerge as one of the definitive rappers of the '90s — he started out as a second-string rapper and dancer for Digital Underground, joining only after they had already landed their biggest hit. But in 1992, he delivered an acclaimed debut album, 2Pacalypse Now, and quickly followed with a star-making performance in the urban drama Juice. Over the course of one year, his profile rose substantially, based as much on his run-ins with the law as his music. By 1994, 2Pac rivaled Snoop Dogg as the most controversial figure in rap, spending as much time in prison as he did in the recording studio. His burgeoning outlaw mythology helped his 1995 album Me Against The World enter the charts at number one, and it also opened him up to charges of exploitation. Yet, as the single "Dear Mama" illustrated, he was capable of sensitivity as well as violence. Signing with Death Row Records in late 1995, 2Pac released the double-album All Eyez On Me in the spring of 1996, and the record, as well as its hit single "California Love," confirmed his superstar status. Unfortunately, the gangsta lifestyle he captured in his music soon overtook his own life. While his celebrity was at its peak, he publicly fought with his rival, The Notorious B.I.G., and there were tensions brewing at Death Row. Even with such conflicts, however, 2Pac's drive-by shooting in September 1996 came as an unexpected shock. On September 13, six days after the shooting, 2Pac passed away, leaving behind a legacy that was based as much on his lifestyle as it was his music.The son of two Black Panther members, Tupac Amaru Shakur was born in New York City. His parents had separated before he was born, and his mother moved him and his sister around the country for much of their childhood. Frequently, the family was at the poverty level, but Shakur managed to gain acceptance to the prestigious Baltimore School of the Arts as a teenager. While he was at the school, his creative side flourished, as he began writing raps and acting. Before he could graduate, his family moved to Marin City, CA, when he was 17 years old. Over the next few years, he lived on the streets and began hustling. Eventually, he met Shock G, the leader of Digital Underground. The Oakland-based crew decided to hire him as a dancer and roadie, and as he toured with the group, he worked on his own material. 2Pac made his first recorded appearance on the group's spring 1991 record, This Is an EP Release, and he also appeared on their second album, Sons Of The P. The following year, he released his own debut, 2Pacalypse Now. The album became a word-of-mouth hit, as "Brenda's Got a Baby" reached the R&B Top 30 and the record went gold. However, its blunt and explicit lyrics earned criticisms for moral watchdogs, and Vice President Dan Quayle attacked the album while he was campaigning for re-election that year.Shakur's profile was raised considerably by his acclaimed role in the Ernest Dickerson film Juice, which led to a lead role in John Singlton's Poetic Justice the following year. By the time the film hit theaters, 2Pac had released his second album, Strictly 4 My N.I.G.G.A.Z., which became a platinum album, peaking at number four on the R&B charts and launching the Top Ten R&B hit singles "I Get Around" and "Keep Ya Head Up," which peaked at number 11 and 12, respectively, on the pop charts. Late in 1993, he acted in the basketball movie Above the Rim. Although Shakur was selling records and earning praise for his music and acting, he began having serious altercations with the law; prior to becoming a recording artist, he had no police record. He was arrested in 1992 after he was involved in a fight that culminated with a stray bullet killing a six-year-old bystander; the charges were later dismissed. 2Pac was filming Menace II Society in the summer of 1993 when he assaulted director Allen Hughes; he was sentenced to 15 days in jail in early 1994. The sentence arrived after two other high-profile incidents. In October of 1993, when he was charged with shooting two off-duty police officers in Atlanta. The charges were dismissed, but the following month, he and two members of his entourage were charged with sexually abusing a female fan. In 1994, he was found guilty of sexual assault. The day after the verdict was announced, he was shot by a pair of muggers while he was in the lobby of a New York City recordings studio. Shakur was sentenced to four-and-a-half years in prison on February 7, 1995.Later that month, Shakur began serving his sentence. He was in jail when his third album, Me Against The World, was released in March. The record entered the charts at number one, making 2Pac the first artist to enjoy a number one record while serving a prison sentence. While he was in prison, he accused The Notorious B.I.G., Puffy Combs, Andre Harrell, and his own close friend Randy "Stretch" Walker of orchestrating his New York shooting. Shakur only served eight months of his sentence, as Suge Knight, the president of Death Row Records, arranged for parole and posted a 1.4 million dollar bond for the rapper. By the end of the year, 2Pac was out of prison and working on his debut for Death Row. On November 30, 1995 — the one-year anniversary of the New York shooting — Walker was killed in a gangland-styled murder in Queens.2Pac's Death Row debut, All Eyez On Me, was the first double disc of original material in hip-hop history. It debuted at number one upon its February release, and would be certified quintuple platinum by the fall. Although he had a hit record and, with the Dr. Dre duet "California Love," a massive single on his hands, Shakur was beginning to tire of hip-hop and started to concentrate on acting. During the summer of 1996, he completed two films, the thriller Bullet and the dark comedy Gridlock'd, which also starred Tim Roth. He also made some recordings for Death Row, which was quickly disintegrating without Dre as the house producer, and as Knight became heavily involved in illegal activities.At the time of his murder in September 1996, there were indications that Shakur was considering leaving Death Row, and maybe even rap, behind. None of those theories can ever be confirmed, just as the reasons behind his shooting remain mysterious. Shakur was shot on the Las Vegas strip as he was riding in the passenger seat of Knight's car. They had just seen the Mike Tyson-Bruce Seldon fight at the MGM Grand, and as they were leaving the hotel, 2Pac got into a fight with an unnamed young black man. It has been suggested that this was the cause of the drive-by shooting, and it has also been suggested that Knight's ties to the mob and to gangs were the reason; another theory is that The Notorious B.I.G. arranged the shooting as retaliation for 2Pac's comments that he slept with Biggie's wife, Faith Evans. Either way, Shakur was shot four times and was admitted to University of Nevada Medical Center. Six days later, he died from his wounds.Hundreds of mourners appeared at the hospital upon news of his death, and the entire entertainment industry mourned his passing, especially since there were no leads in the case. Many believed his death would end the much-hyped East Coast/West Coast hip-hop rivalry and decrease black-on-black violence. Sadly, six months after his death, The Notorious B.I.G. was murdered under similar circumstances. As Shakur's notoriety only increased in the wake of his death, a series of posthumous releases followed, among them Don Killuminati: The 7 Day Theory (issued under the alias Makaveli in 1996), R U Still Down? (Remember Me?) (1997), Still I Rise (1999), Until The End Of Time (2001), and Better Dayz (2002).

2Pac - 2Pacalypse Now (Nov 12, 1991; Interscope)
Few expected former Digital Underground member Tupac Amaru Shakur to become hip-hop enemy number one when he made his solo debut with this 1991 album.
Songs like "Crooked Ass Nigga" and "Tha' Lunatic" might have hinted that storm clouds were on the horizon, but there were also excellent advocacy numbers like "Words of Wisdom" and "Young Black Male." This didn't make him a celebrity, but it put Tupac Shakur on the road to stardom.





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2Pac - Strictly 4 My N.I.G.G.A.Z. (Feb 16, 1993; Jive)
Fulfilling much of the promise showcased on 2Pac's debut album a year earlier, Strictly 4 My N.I.G.G.A.Z. offers a wealth of thoughtful moments such as "Keep Ya Head Up" yet still makes plenty of room for good-time celebrations such as "I Get Around." These two hits in particular make Strictly 4 My N.I.G.G.A.Z. a noteworthy, if sometimes overlooked, moment amid 2Pac's cluttered catalog. They also represent the two approaches 2Pac initially took with his music, emphasizing his thoughtfulness (another insightful highlight being "Papa'z Song") rather than the thuggishness so often associated with him, particularly in the wake of his death. A few notable West Coast rappers join the festivities here — Ice Cube and Ice-T on "Last Wordz" and Digital Underground on "I Get Around" — but 2Pac unfortunately doesn't have any notable producers to support him, as the dated production stands as the album's only potential drawback. Not quite as remarkable as 2Pac's following two masterpieces, Me Against The Worlds (1995) and All Eyez On Me (1996), Strictly 4 My N.I.G.G.A.Z. nonetheless merits acknowledgement, particularly in relation to the string of posthumously released Makaveli-era recordings littering his catalog.

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2Pac - Me Against the World (Mar 14, 1995; Interscope)
Recorded following his near-fatal shooting in New York, and released while he was in prison, Me Against the World is the point where 2Pac really became a legendary figure. Having stared death in the face and survived, he was a changed man on record, displaying a new confessional bent and a consistent emotional depth. By and large, this isn't the sort of material that made him a gangsta icon; this is 2Pac the soul-baring artist, the foundation of the immense respect he commanded in the hip-hop community. It's his most thematically consistent, least-self-contradicting work, full of genuine reflection about how he's gotten where he is — and dread of the consequences. Even the more combative tracks ("Me Against the World," "Fuck the World") acknowledge the high-risk life he's living, and pause to wonder how things ever went this far. He battles occasional self-loathing, is haunted by the friends he's already lost to violence, and can't escape the desperate paranoia that his own death isn't far in the future. These tracks — most notably "So Many Tears," "Lord Knows," and "Death Around the Corner" — are all the more powerful in hindsight with the chilling knowledge that he was right. Even romance takes on a new meaning as an escape from the hellish pressure of everyday life ("Temptations," "Can U Get Away"), and when that's not available, getting high or drunk is almost a necessity. He longs for the innocence of childhood ("Young Niggaz," "Old School"), and remembers how quickly it disappeared, yet he still pays loving, clear-eyed tribute to his drug-addicted mother on the touching "Dear Mama." Overall, Me Against the World paints a bleak, nihilistic picture, but there's such an honest, self-revealing quality to it that it can't help conveying a certain hope simply through its humanity. It's the best place to go to understand why 2Pac is so revered; it may not be his definitive album, but it just might be his best.

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2Pac - All Eyez on Me (Feb 13, 1996; Death Row)
Maybe it was his time in prison, or maybe it was simply his signing with Suge Knight's Death Row label. Whatever the case, 2Pac re-emerged hardened and hungry with All Eyez on Me, the first double-disc album of original material in hip-hop history. With all the controversy surrounding him, 2Pac seemingly wanted to throw down a monumental epic whose sheer scope would make it an achievement of itself. But more than that, it's also an unabashed embrace of the gangsta lifestyle, backing off the sober self-recognition of Me Against The World. Sure, there are a few reflective numbers and dead-homiez tributes, but they're much more romanticized this time around. All Eyez on Me is 2Pac the thug icon in all his brazen excess, throwing off all self-control and letting it all hang out — even if some of it would have been better kept to himself. In that sense, it's an accurate depiction of what made him such a volatile and compelling personality, despite some undeniable filler. On the plus side, this is easily the best production he's ever had on record, handled mostly by Johnny J (notably on the smash "How Do U Want It") and Dat Nigga Daz; Dr. Dre also contributes another surefire single in "California Love" (which, unfortunately, is present only as a remix, not the original hit version). Both hits are on the front-loaded first disc, which would be a gangsta classic in itself; other highlights include the anthemic Snoop Dogg duet "2 of Amerikaz Most Wanted," "All About U" (with the required Nate Dogg-sung hook), and "I Ain't Mad at Cha," a tribute to old friends who've gotten off the streets. Despite some good moments, the second disc is slowed by filler and countless guest appearances, plus a few too many thug-lovin' divas crooning their loyalty. Erratic though it may be, All Eyez on Me is nonetheless carried off with the assurance of a legend in his own time, and it stands as 2Pac's magnum opus.

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2Pac - The Don Killuminati: The 7 Day Theory (Nov 5, 1996; Death Row)
Everything about The Don Killuminati: The 7 Day Theory smacks of exploitation. Released only eight weeks after Tupac Shakur died from gunshot wounds, Death Row released this posthumous album under the name of Makaveli, a pseudonym derived from the Italian politician Niccolo Machiavelli, who faked his own death and reappeared seven days later to take revenge on his enemies. Naturally, the appearance of Don Killuminati so shortly after Tupac's death led many conspiracy theorists to surmise the rapper was still alive, but it was all part of a calculated marketing strategy by Death Row — the label needed something to sustain interest in the album, since the music here is so shoddy. All Eyez On Me proved that Tupac was continuing to grow as a musician and a human being, but Don Killuminati erases that image by concentrating on nothing but tired G-funk beats and back-biting East Coast/West Coast rivalries. Tupac himself sounds uninterested in the music, which makes the conventional, unimaginative music all the more listless. If he had survived to complete Don Killuminati, it is possible that the record could have become something worthwhile, but the overall quality of the material suggests that the album would have been a disappointment no matter what circumstances it appeared under.

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2Pac - R U Still Down? (Remember Me) (Nov 25, 1997; Jive)
Shortly after 2Pac died, there were rumors that hundreds of unreleased songs remained in the vaults; a mere two months after his death, the first posthumous record, The Don Killuminati: The 7 Day Theory, appeared. Death Row released the record, and shortly afterward, 2Pac's mother, Afeni Shakur, gained the rights to all of his unreleased recordings from both the Interscope and Death Row labels. She founded the Amaru label and released the double-disc R U Still Down? (Remember Me) in late 1997. Culled from 2Pac's unreleased Interscope recordings between 1992 and 1994, including several tracks that have had backing musical tracks "reconstructed," R U Still Down? doesn't have the aura of exploitation that haunts the Makaveli album, but it isn't much better, either. For the most part, Shakur sounds good, spinning out rhymes that are alternately clever or startling, but he eventually begins repeating himself and running out of ideas. That's much better than the music itself, which is pretty much standard-issue gangsta rap that never deviates from the course. There are enough hidden gems to make it worthwhile for hardcore 2Pac fans, but it doesn't necessarily bode well for the Amaru label's series of unreleased recordings. If this mediocre mess is the top of the heap, they'll truly be hurting for strong material once they reach the bottom of the allegedly hundreds of unreleased 2Pac recordings.

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2Pac - Still I Rise (Dec 14, 1999; Interscope)
More than three years after his death, it's difficult to believe there's still unreleased 2Pac material out there, much less quality material. After no less than three posthumous albums built around what 2Pac produced when he was still alive (plus an assortment of bootlegs making the rounds), the well apparently still hasn't run dry, and Still I Rise is the inevitable result. As on the Notorious B.I.G. album released just weeks before though, there are some pretty wide gaps on Still I Rise between rhymes actually delivered by 2Pac. There's also an undeniable — some would say obvious — impression that this album just doesn't bear the mark of 2Pac himself.Making up the difference in both categories is Outlawz, a quartet of rappers keeping the flow going between 2Pac fragments. As with 2Pac's other posthumous releases, Still I Rise comes with four or five solid tracks that may have survived the cuts on a real 2Pac album. The title track and "Letter to the President" are obvious winners, still reliant on the syrupy G-funk that 2Pac made famous, and (thankfully) not influenced by the increasing late-'90s insurgence of muzaky hip-hop productions. And "Baby Don't Cry (Keep Ya Head Up II)" — 2Pac's self-produced follow-up to 1993's "Keep Ya Head Up" — is a surprisingly touching message track. For any of 2Pac's fans, it'll be so good to hear his voice again on new material that the cash-in nature of Still I Rise can easily be overlooked. It's just not the album 2Pac would have produced had he still been alive.

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2Pac - Until the End of Time (Mar 27, 2001; Interscope)
The fourth album released in the wake of 2Pac's 1996 death, Until the End of Time certainly offers plenty of music, two discs' worth to be precise, yet doesn't offer too many highlights besides the chilling title track. As with many of 2Pac's posthumous recordings, the songs here seem overdone, too often dressed up with layers upon layers of production, choruses of background vocals, and a seemingly endless parade of guests. All of this over-production obscures 2Pac's performances, which somehow remain remarkable no matter how deep into the vault Afeni Shakur and Suge Knight have dug. Songs like "Letter 2 My Unborn," "When Thugz Cry," and the title track are just as heartfelt as "Keep Ya Head Up," "Dear Mama," and "I Ain't Mad at Cha" had been, but unfortunately they're marred by radio-orientated production that's too glossy for such stark, literate lyrics. The title track is somewhat of an exception, though. It's one of 2Pac's most desperate, spirited performances ever — the voice of a man face to face with his own fate — and it's accompanied by an anxious yet lulling interpolation of Mr. Mister's 1985 pop hit "Broken Wings" that is far more affective than you'd imagine. Note, however, that there are two versions here of the title track (the best one being the original one, which features RL on the hook), as there are also two versions of a few other songs. These nearly interchangeable remixes function as little more than filler, particularly since the production throughout Until the End of Time is rarely noteworthy. What at first seems like an epic recording, offering 19 tracks in total, consequently seems as overdone as the production. Had this album been parred down to the length of a single disc, it could be an exhilarating listen; as it stands, though, Until the End of Time is a mishmash — too short on standouts like the title track and too loaded with dressed-up, guest-laden over-production — that you'll find yourself fast-forwarding through far more often than you'd prefer.

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2Pac - Beter Dayz (Nov 26, 2002; Interscope)


Though it was released on the eve of the busiest year in 2Pac's posthumous career, Better Dayz shouldn't be overlooked — and with the schedule including a feature documentary (with soundtrack), plus two books and another double album, it might be easy for this one to slip from the radar. A lengthy two-disc set, it benefits from a raft of still-compelling material by one of the two or three best rappers in history, as well as excellent compiling by executive producers Suge Knight and Afeni Shakur, 2Pac's mother. Organizing the set roughly into one disc of hardcore rap and one of R&B jams makes for an easier listen, and the R&B disc especially has some strong tracks, opening with a remix of 1995's "My Block" and including quintessentially 2Pac material — reflective, conflicted, occasionally anguished — like "Never Call U B**** Again," "Better Dayz," "Fame," and "This Life I Lead." Most of the tracks are previously unreleased, the rest coming from scattered compilations like Knight's Chronic 2000: Still Smokin' or 1995's The Show soundtrack. It's 2Pac's best album since his death, and bodes well for future material by, and concerning, rap's most legendary figure.

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2Pac - Tupac: Resurrection [Original Soundtrack] (Nov 11, 2003; Amaru)
Amid all of the generally disappointing posthumous 2Pac releases, the Tupac: Resurrection soundtrack is a diamond in the rough, an affective listening experience that adds a few new productions to a broad sampling of the rapper's early, underexposed recordings. Intended to complement the corresponding film, Tupac: Resurrection was obviously a labor of love for Afeni Shakur, who became the caretaker of her son's legacy following his murder in 1996. The first couple releases she oversaw, beginning with R U Still Down? (1997), were spotty and somewhat ill-conceived; however, on Tupac: Resurrection she makes some wise decisions. For one, she outsources the new productions to a trustworthy producer on a hot streak, Eminem, who works his magic on a trio of tracks: "Ghost," the powerful album opener; "One Day at a Time (Em's Version)," a thoughtful posse track with Em and The Outlawz; and "Runnin' (Dying to Live)," a fascinating collabo between 2Pac and The Notorious B.I.G. that emphasizes the tragedy of their respective murders rather than the drama of their rivalry. For two, she compiles quite a few previously released yet seldom-heard songs from 2Pac's early years, practically all of them career standouts: "Panther Power," one of the earliest songs Pac ever recorded, dating back to approximately 1989; "Same Song," a Digital Underground song from 1991 that includes a brief yet sharp verse by Pac, his first appearance on a major-label recording; "Holler If Ya' Hear Me," a riotous song from Pac's second album, Strictly 4 My N.I.G.G.A.Z. (1993); "Bury Me a G" and "Str8 Ballin'," a pair of highlights from the Thug Life album (1994); and "Starin' Through My Rear View," yet another thoughtful song, this one from the Gang Releated soundtrack (1996) and built upon an eerie sample of Phil Collins' "In the Air Tonight"; and more. And for three, she closes the album with "The Realest Killaz," the extremely popular mixtape collabo between Pac and 50 Cent, where the latter absolutely blasts an unnamed rapper (Ja Rule) for blasphemous impersonation while at the same time brashly declaring, "Till Makaveli returns it's all eyes on me." When all is said and done, some may express disappointment that there's so much previously released material here, or perhaps that Eminem is ill-suited as a collaborator, yet it's hard to deny the emotional impact of this soundtrack's journey from the rapper's afterlife present (the new productions) to his brilliant beginnings (the early recordings) and back (the 50 collabo). In a relatively brief 55 minutes, Tupac: Resurrection frames 2Pac's legacy as well as any best-of retrospective could while simultaneously eschewing the obvious hits and bringing several long-buried gems to light in the process.


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2Pac - Live (Aug 10, 2004; Death Row)
No better than a run-of-the-mill bootleg, and perhaps even worse, the live 2Pac album Death Row released in summer 2004 is a terrible disappointment. Then again, that probably depends on your expectations. By this point, Death Row had become a clearing-house of 2Pac miscellanea: the label had released everything from best-ofs and posthumous double-disc albums to spoken word and remix collections, each release a bit more insubstantial than its predecessor. The previous year's Nu-Mixx Klazzics (2003) was a downright travesty of what a remix album should be — 2Pac's vocal tracks pasted, as is, over lame backing tracks by Death Row's in-house band — and just when you would have thought Suge Knights's exploitation of the 2Pac legacy could not get any more blasphemous, along came 2Pac Live. This slickly packaged album is in fact a faceless hodgepodge of spliced-together audience recordings from various club performances by the rapper during his All Eyez On Me heyday. There are some nice liner notes inside from Billboard contributor Rhonda Baraka; unfortunately, her ceremonial rhetoric belies the shoddy nature of the recordings at hand. If you've ever dipped your toe into the sea of bootlegs out there, most of them rock-related, you probably recognize the difference from soundboard and audience recordings — the former recorded professionally from the soundboard, resulting in a clean, clear sound; the latter recorded amateurishly from the crowd, resulting in a microphone-recorded sound that is anything but clean and clear.


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2Pac - Loyal to the Game (Dec 14, 2004; Amaru / Interscope)
Loyal to the Game, the ninth 2Pac album released by his enterprising mother-turned-executive producer, Afeni Shakur, is one of the more unique entries in the martyred rap legend's extensive catalog. Produced entirely by Eminem, it carries on with the approach the man otherwise known as Marshall Mathers took with his production contributions to the preceding year's TuPac: Resurrection. Eminem had produced a few songs on that soundtrack, most notably the landmark 2Pac-Biggie duet "Runnin' (Dying to Live)," and his work here on Loyal to the Game isn't too much of a departure from the style of that song. In the wake of the song's popularity, Afeni gave Eminem some old tapes, and he went to work, stripping them of their productions, giving them his own trademark backing (characterized by his style of punchy, syncopated, unfunky beatmaking), incorporating some guest raps for secondary verses, and polishing them off with various sorts of hooks. Eminem's efforts here work, yet aren't ideal.

Click To Download
Brand New! 2Pac - Pac`s Life1. Untouchable
2. Pac’s Life
3. Dumpin’
4. Playa Cardz Right (Female)
5. Whatz Next
6. Sleep
7. International
8. Pac’s Life
9. Playa Cardz Right (Male)
10. Don’t Sleep
11. Soon As I Ger Home
12. Don’t Stop
13. Untouchable


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Upgrading

We refreshed some of posts & Now Avaliable:
Raekwon - Immobilarity
Shyheim - Presents Bottom Up Vol 1 ...

Enjoy & Take Care...As Salam Aleikum Wa Rahmatullahi Wa Barakatuhu...

Friday, September 08, 2006

Talib Kweli

If skills sold, Talib Kweli would have been one of the most commercially successful rappers of his time. As it was, however, the especially earnest MC became one of the most critically successful rappers of his time, which dawned in the late '90s when he rapped alongside Mos Def and DJ Hi-Tek as part of the group Black Star. This trio of up-and-comers and their widely acclaimed self-titled 1998 album debut helped make Rawkus Records one of the premier hip-hop outposts of the late '90s. In the process, they ushered in a short-lived "hip-hop" revival that took the music back to its roots, and thus away from the increasingly extreme and widespread gangsta motifs of the time. Black Star and their label, Rawkus, provided a clear alternative not only to gangsta rap but also to the watered-down and overly calculated pop-rap of Puff Daddy (Diddy) and his ilk. In 2000, Kweli and Hi-Tek then followed up this wide-ranging critical notice with a second acclaimed release for Rawkus: their Reflection Eternal album, which firmly established them apart from Mos Def, who enjoyed plenty of his own acclaim. For a moment there, Kweli and his Rawkus peers seemed like a full-fledged movement — a return to the sort of hip-hop associated with the so-called golden age. However, it wasn't to be. Rawkus somehow lost its momentum, and its roster sadly dispersed, leaving Kweli on his own to carry the torch. He steadily continued his output, beginning with Quality in 2002, and though he didn't rack up towering sales numbers, he remained a critical favorite. In fact, he just may have been the most admired and respected rapper on the major-label circuit during the mid-2000s, best evidenced by Jay-Z's famous Black Album rhyme: "If skills sold, truth be told/I'd probably be, lyrically, Talib Kweli."Born in Brooklyn as the eldest of two sons born to college professors, Kweli's first name, Talib, is an Arabic name meaning "the seeker or student," while his last name is a Ghanaian name meaning "of truth or knowledge." He began developing his literary gift in elementary school, when he'd write short stories, poems, and that sort of stuff. It wasn't until years later in high school that he turned to hip-hop as an outlet for his self-expression. There in high school he met a young Dante Smith, better known today as Mos Def. This fateful meeting further drew Kweli toward hip-hop, and another fateful meeting further convinced him that he had a bright future as an MC. During a 1994 trip to Cincinnati he met Tony Cottrell, aka DJ Hi-Tek, who at the time was part of a local rap group called Mood. Kweli impressed Hi-Tek during their time together, and the DJ invited the MC to guest on several tracks for Mood's 1997 album, Doom. Shortly afterward, Kweli and Hi-Tek formed a partnership as Reflection Eternal and recorded "Fortified Live," which a then-fledging Rawkus label released on its first Soundbombing compilation.A year later in 1998, the two invited Mos Def into the mix, and the Black Star album resulted. And with it came a steady downpour of critical acclaim that turned these guys into press darlings overnight. They might not have sold millions of albums, but Kweli, Hi Tek, and Mos Def most certainly impressed a great many people, among them critics, fellow rap artists, and a lot of folks who enjoyed a good old-fashioned hip-hop album with an emphasis on beats, rhymes, and life — not dramatized gunplay or interpolations of proven pop songs. That was the end of Black Star, however. In 1999 Mos Def released his one solo album, Black On Both Sides, and turned away from music and toward an acting career, leaving Kweli and Hi-Tek on their own. The duo returned to their Reflection Eternal partnership and released an album of the same name in 2000. It spawned a few minor hits — "Move Somethin'" and "The Blast" — but never really amounted to much more than yet more critical acclaim.When Kweli returned with his Quality album in 2002, things had changed a bit. For one, he was truly solo. Mos Def was long gone, and Hi-Tek was off focusing on his own solo career as a for-hire producer. So Quality featured Kweli collaborating with a host of different artists, among them a young and promising yet still largely unknown producer named Kanye West. "Get By" was the fruit of Kweli's collaboration with West, and it became the rapper's biggest hit to date, aided quite a bit by a non-album remix featuring Jay-Z of all people. The remix got a lot of radio play, but still, Quality didn't put up Jaz-Z numbers and Kweli remained a critical favorite, a reputation cemented all the more in late 2003 when Jigga gave him the aforementioned high-profile shoutout in "Moment of Clarity." All of this set the stage very well for The Beautiful Struggle, which dropped in fall 2004. The expectations for the album were gargantuan because of the Jay-Z rhyme, and also because a great many hip-hop disciples felt Kweli was long overdue for a commercial breakthrough. The album was undoubtedly his most commercial effort to date, featuring a few token radio-ready hook singers like Mary J. Blige and Anthony Hamilton, not to mention a roster of hitmaking producers like The Neptunes, Just Blaze, and Kanye. It was also Kweli's most self-conscious to date, however, as it was well apparent that the commercial pressures had begun to affect his mindset, for better or worse. He responded by splitting from his distributor, Universal, and signing with Koch. Right About Now was released in 2006.

Talib Kweli & Hi-Tek - Reflection Eternal (Oct 17, 2000)
After releasing a handful of essential 12"s on various Rawkus
Records projects in the late '90s, Talib Kweli and Dj Hi-Tek were on the verge of becoming one of hip-hop's best-kept secrets. Yet their original incarnation as a duo expanded into a triumvirate with the inclusion of Mos Def and transformed their eventual manifestation into Black Star, thwarting their initial bid for acclaim. While Kweli's stardom may have been initially eclipsed by his more charismatic cohort, Mos Def, Reflection Eternal houses enough merit to establish Talib as one of this generation's most poetic MCs. Kweli is a rare MC, as his lyricism resounds with a knowledge that transcends his still tender age. He does not aspire to reprogram the masses with this album, just rehabilitate them, as he laments on "The Blast": "They ask me what I'm writing for/I'm writing to show you what we fighting for." In an effort to celebrate life, Kweli breaks down hip-hop's obsession with death on "Good Mourning" and "Too Late." But it is his varied lyrical content that is most inspiring, effortlessly transitioning from the poignant circle-of-life epic "For Women" to the rugged "Some Kind of Wonderful" and "Down for the Count," featuring Rah Digga and Xzibit. While the unassuming, largely minimalist grooves that Hi-Tek supplied on Black Star's debut longed for a dramatic flair, he displays a remarkable maturation on Reflection Eternal. In fact, Tek's loping keyboard wails, soulful staccato claps, and shimmering piano loops are often sublime in their arrangement and outcome. Though Kweli and Hi-Tek's debut harbors over-ambitious tendencies, clocking in at over 70 minutes in length, they are a duo that will undoubtedly stain their memory into hip-hop's collective memory with this noteworthy debut. Welcome to the new generation of Native Tongue speaking.

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Talib Kweli - Quality (Nov 19, 2002)
While his erstwhile Black Star mate Mos Def concentrated on his acting career, Talib Kweli set about crafting a truly solo follow-up to his acclaimed debut, Reflection Eternal, this time with a variety of producers in place of partner DJ Hi-Tek. The excellent Quality only ups the ante, building on its predecessor's clear-minded focus with greater scope and a more colorful musical palette. Right off the bat, it's apparent that Kweli has traded his old-school minimalism for a warmer, richer sound — complete with some live instrumentation — that's immediately inviting and accessible. The opening trio of songs — "Rush," "Get By," and "Shock Body" — ranks among the most exciting music he's recorded, and the album only branches out from there. Kweli can pull off genial, good-time hip-hop like lead single "Waitin' for the DJ" and the DJ Quik -produced "Put It in the Air," and follow it with the blistering (and incisive) political fury of "The Proud." He reflects on his image as a so-called conscious rapper on "Good to You," and pushes its boundaries on the Cocoa Brovaz collaboration "Gun Music," where he twists the lyrical conventions of dancehall reggae to his own ends. Pharaohe Monch and The Roots' Black Thought put in exciting guest spots on "Guerrilla Monsoon Rap," and Mos Def appears on "Joy," where Kweli manages to describe the births of his two children without getting self-indulgent. A couple of the mellow R&B jams do get a little too mellow for their own good, drifting along and slowing the album's otherwise consistent momentum. Nonetheless, nearly everything Kweli tries works, and the array of producers keeps things unpredictable. Quality is proof that intelligent hip-hop need not lack excitement, soul, or genuine emotion; it's one of the best rap albums of a year with no shortage of winners.

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Talib Kweli - The Beautiful Struggle (Sep 28, 2004)
Something's not right when a high compliment — one laid down on wax, no less! — from a giant like Jay-Z doesn't set off a major sales spike. Such is the case with Talib Kweli, a phenomenal MC who has only flirted with mainstream acceptance, despite being admired by a host of harder-edged platinum artists. Rather than try to ride out that slow if steady momentum and see where it takes him, Kweli takes the power into his own hands and grabs for the brass ring. The Beautiful Struggle is far from a 180 for him, but it's just out of character enough to be awkward. Whether he's attempting to bridge the underground to the mainstream or simply pull away from the former, the results aren't wholly convincing. Not only is Kweli attempting to alter the way in which he's perceived through his own verses; he's also been keeping some unlikely company — a (superior) prealbum mixtape featured guest spots from Fabolous, Styles P, and G-Unit addition Shawn Penn. More than once on this album, Kweli's as anxious to lose his backpacking image as a fourth grader at 3 p.m. On the title track, he declares, "They call me the political rapper even after I tell 'em I don't f*ck with politics, I don't even follow it." He stands no chance of losing that tag when a line like "the motherf*cking Democrats is acting like Republicans" is contained within the same verse. Plus, he always has and always will excel at depicting facets of interpersonal politics. As much as The Beautiful Struggle is likely to catch longtime fans off-guard and leave mainstream followers indifferent, Kweli's unexpected moves appear to have more to do with trying new things — and possibly thwarting preconceived notions — than desperation. Still, there's no denying that it misses a little more than it hits.

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Talib Kweli - Right About Now (Nov 22, 2005)











1. Right About Now
2. Drugs, Basketball & Rap feat. Planet Asia & Phil Da Agony
3. Who Got It
4. Fly That Knot
5. Ms. Hill
6. Flash Gordon
7. Supreme Supreme feat. Mos Def
8. The Beast feat. Papoose
9. Roll Off Me
10. Rock On
11. Where Ya Gonna Run (feat. Jean Grae)12. Two & Two

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Just Like I Said...Mixtapes by Talib Kweli

Talib Kweli - The Beautiful Mix CD












01 rick james intro
02 move back
03 buck em down ft. styles p
04 get em ft. fabolous & paul cane
05 whack niggas ft. common, kanye west & consequence
06 phoenix ft. jean grae
07 conversation ft. busta rhymes
08 ghetto love ft. free
09 walk with me ft. shawn penn
10 b.d.k. ft. game & black thought
11 shame ft. self scientific, planet asia & strong arm steady
12 lonely people ft. latoiya williams
13 7:30 ft. res

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Talib Kweli - The Beautiful Mix Tape 2











1. Kay Slay Intro
2. The Struggle Continues feat. Common & David Banner
3. What It Is
4. It's Like That feat. Ludacris & The Game
5. Murderous feat. Kardinal Official
6. Teef's Theme feat. Jae Hood & Planet Asia
7. So Good feat. Wordsworth & Musiq
8. For The City feat. Phil The Agony
9. Hi-Tek Zone
10. On My Way feat. Snoop Dogg & Hi-Tek
11. So Hood feat. Ghostface
12. The Governement feat. M1 & Donte
13. Speak Clearly feat. Krondon & Jean Grae
14. My Mamma Said feat. Stic.Man
15. Slap Niggas feat. Saigon
16. Tryin' To Breathe feat. Killa Mike & Midi Mafia
17. Mos Def Speaks
18. Black Star - Supreme, Supreme

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Talib Kweli - The Best Of Talib Kweli












1. DJ Chaps
2. Reflection Eternal - 'The Time Is Now'
3. Subway Surfin feat. Rakim
4. Maurico (Freestyle)
5. Fly That Knot
6. Beef 2 feat. Murder Mook
7. On Top feat. Krondon
8. Who Got It
9. Tek & Steele feat. Talib Kweli - 'Crystal Stair'
10. Stay High (Freestyle) feat. Rass Kass
11. Reflection Eternal feat. Snoop, Slim Thug - 'How We Do It'
12. Bun B feat. Talib Kweli - 'None Of Us Are Free'
13. David Banner feat. Dead Prez, Talib Kweli - 'Ridin'
14. Fallin' Star
15. Michelle N'degeocello - 'Hot Nite'
16. Zion I feat. Talib Kweli - 'Temperature'
17. Kanye feat. Common, Qtip, Talib Kweli, Rhymefest - 'We Can Make It Better'
18. Danger Doom feat. Talib Kweli - 'Old School Rules'
19. Jaylib feat. Talib Kweli - 'Raw Shit'
20. Black Eyed Peas feat. Talib Kweli, Cee-lo, Q-Tip, John Legend - 'Like That'
21. Leela James feat. Talib Kweli - 'Music (Remix)

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Whucha Think?

As Salam Aleikum.
So ladyz & gentz thats all with Wu-Tang Clan and Wu-Fam.May b InshaAllah in future ill expose more links by Wu.And know lemme c ya`l comment bout links which i exposed.
Was Salam.

Bronze Nazareth

He walks a city of bullet riddled minds, with havoc escaping the mouths of brutal racists, stray dogs meeting more glorious words than him. Every other turn was a drug spot, every corner shop resembled the familiar face of a B&E party store, every love became a tragedy, and many of life's expectations were not suited for him. Nights he wandered through old Martin Luther King Jr. park ignoring warnings of the danger that would meet him there. It's here that he would contemplate the trials of life.These city streets remained torn and potholed as he grew. This was a location where the poor become poorer, and even the middle class is wrenched into the downward funnel of misfortune. His was an existence where welfare cheese was plentiful, free lunch was magnificent, and friends were friends. Situated herein, a tight knit family strives to survive in the midst of animation. Manifested in that very inner city house were sounds of joy, happiness, arguments, pain, and fighting. It is in this exact environment, that a young man begins to write scriptures. These writings became the escape from the cement seas of pain and anguish that would confront the man made from Bronze.A cast of pure hearted men ran with him, aiming to maintain a righteous path along their travels. Each individual brought a new sense of thought and knowledge into each other's lives. From this wisdom Bronze prospered, and a mounting aspiration began to mold itself in the form of sound. As life moved on, this noble man became part of the city, and part of the grief that has drizzled onto the souls of man. Through his fingers, hip hop music became the map by which he would navigate his existence. Utensils such as keyboards, notepads, pens, pencils, computers, and mics became the medium through which he spoke.Out of the structures of life, lessons, experience, and understanding comes Bronze Nazareth, a student in the school of life.

Bronze Nazareth - Sinuhes Impasse & 12 O'Clock Promo


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Downlaod ---> http://www.zshare.net/download/bnssato-zip.html

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Thursday, September 07, 2006

Remedy

Remedy is a white rapper who is part of The Wu-Tang Clan crew (but not a member of the actual rap group). Born in 1972 as Ross Filler in Staten Island, NY, he began writing songs and poems at the age of seven, and by high school, was performing as a rapper at local shows. Filler (around this time known as Remedy) began recording demos at Northshore Soundworks, the home of such rap luminaries as EPMD, Das EFX, and Redman. After striking up a friendship with Wu-Tang Clan member RZA, Remedy's track "Never Again" (a track inspired by the rapper's Jewish roots and the holocaust) appeared on the hit Wu 1998 release, The Swarm. Remedy's debut album, The Genuine Article, appeared in April of 2001, produced entirely by the rapper himself and mixed by RZA. A year later, Code Red arrived in November, including a track that offered his personal viewpoint on the terrorist hijacking of September 11th, 2001.

Remedy - The Genuine Article (Apr 17, 2001)
Not your traditional Wu-Tang affiliate, Remedy showcases exactly why RZA and company went out of their way to hook up with a white Jewish rapper. First of all, Remedy isn't just a rapper; he's also an equally skilled producer, crafting nearly every beat on this album. Secondly, he doesn't rely on the extended Wu family to carry his album; there are actually a minimum of guest rappers here, giving Remedy plenty of time to explore a number of viable topics. Finally, this guy seems to really instill a lot of emotion into his music; both his rhymes and his beats are obviously labored, and his delivery is equally passionate. So, in short, Genuine Article has the makings of a great debut album. This guy is a real talent and not a brand extension like many of the other Wu-Tang affiliates. Sometimes his lyrical agendas can get a little heavy-handed but, for the most part, there's not a lot to complain about here; this is how a debut rap album should sound.

Download ---> http://www.zshare.net/download/rmdytga-rar.html

Remedy - Code Red
This album is full of knowledge, like all Wu-Tang affiliated music. In the intro Remedy sets the stage for this LP, "And Now I Bring The Offering: Remedy, Another Genuine Article" and he produces, Book Of Life is a thinking man's track. If you listen to the album from beginning to end, he definetely reps his roots and drops a gem for everyone.





Download ---> http://www.zshare.net/download/rmdycr-rar.html

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GP Wu

Relatively minor stars in the Wu-Tang constellation, GP Wu released their debut, Dont Go Againt The Grain, in 1998. That album was produced by Daddy O from Stetsasonic and Hank Shocklee of Bomb Squad and Public Enemy fame, making the Wu-Tang connection even more tenuous. However, as Wu-Tang Clan historians will undoubtedly know, the four GP Wu members — Rubberbands, June Luva, Pop Da Brown Hornet, and Down Low Recka — all made appearances on Shyheim's first two albums, Shyheim a/k/a the Rugged Child (1994) and Lost Generation (1996). The connection was made indelible on Shyheim's Manchild album cover from 1999, featuring the shirtless MC with a GP Wu tattoo on his bicep.

GP Wu - Don't Go Against the Grain (Jan 27, 1998)
Yet another offshoot of the wildly successful Wu-Tang Clan, the four members of GP Wu (Rubberbands, June Luva, Pop Da Brown Hornet and Down Low Recka) do a good job of replicating the Wu-Tang sound, but fail to live up to the somewhat lofty standards the rap conglomerate has established. Don't Go Against the Grain is a very consistent effort, overflowing with the style that is so distinct to hardcore East Coast rap. Consistency, however, is not necessarily genius. While the album is not completely forgettable, it fails to be particularly memorable either.

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Mathematics

A member of the Wu-Tang family, DJ/producer Mathematics (aka DJ Allah Mathematics) is the man the group members turn to when they want that classic Wu sound, and he is rumored to have drawn the original "W" logo. Born Norman Porter in south-side Jamaica, Queens, Mathematics was exposed to hip-hop culture at an early age. His older brother brought home mixtapes of Grandmaster Flash & The Furious Five, Treacherous Three, Cold Crush Brothers, and others jamming at area block parties. There were no double tape decks at the time, so Mathematics and his brother made copies by pushing two boom boxes together, one playing and one recording. The future producer originally thought of himself as an MC and imitated Spoonie Gee, Melle Mel, Kool Moe Dee, and other favorites, but a realization that it was the DJ who controlled the tempo and flow changed everything. Influenced by early greats like Talib Kweli - The Taliban, Grand Wizard Theodore, and DJ Charlie Chase, he started DJing block parties in the '80s while his brother hooked him up with future Wu-Tang member GZA. GZA was working with the Cold Chillin' label and needed a DJ, but this was only the beginning of Mathematics' Wu-Tang association. GZA's family lived around the corner from Mathematics, and one day GZA called the young DJ to go to Queens and watch his cousin shoot a video. The video was for "Ooh I Love You Rakeem" by Prince Rakeem, and Mathematics was shocked to find out Prince Rakeem was actually an old friend, RZA. Over time, RZA taught Mathematics all he knew about production, like how to use samplers and how important it is to have your own voice. At the time, the copyright rules for sampling stated that if you kept a sample under three seconds you didn't have to get label clearance. To avoid seeking clearance, Mathematics sped up old soul records and created a sound that has since become widely imitated. "Wu Banga 101" from Ghostface Killah's Supreme Clientele, "Rules" from The Wu's Iron Flag, and uncredited work on "Must Be Bobby" from RZA's Digital Bullet are some of Mathematics' major contributions to the Wu world. In 2003, Mathematics released his first full-length, Love, Hell or Right on his own Quewisha Records label in conjunction with High Times Records. He has also released his own mix CD (available through his website), drawn the artwork for GZA's Liquid Swords album, and written the theme and additional music for Wanda Sykes' television show, Wanda at Large.

Mathematics - Love, Hell or Right (Aug 12, 2003)
A member of the sprawling Wu-Tang family, producer Mathematics' contribution has been duly noted by the hardcore fans and The Wu themselves. Although he took the credit in the Digital Bullet liner notes, RZA later admitted that it was Mathematics who produced the centerpiece of the album, "Must Be Bobby," and he's the go-to guy when it comes to reviving the Enter The Wu-Tang sound. Love, Hell or Right does sound like that album's grimy moments, and although members of The Wu show up here and there, the album is Mathematics' own. Minus RZA's Wu-promoting chant in "… On da Radio," the album is one of the least incestuous releases to emerge from the 36 Chambers studio. It's what makes it interesting, but also what keeps it from being a classic. Beat-wise, he can do no wrong. The slow hypnotic pulse of Love, Hell or Right looms like the cloud blown from a blunt with glittery soulful samples and blaxsploitation soundbites weaving in and out. Flowing like a Prince Paul record, it should go a long way to earn Mathematics the same respect. The problem lies in the forgettable contributions from non-Wu MCs. Lyrically there's little to focus on, and the album's liner notes don't even bother to list everyone. If he wasn't so comfortable with his low profile and searched out more accomplished MCs for his non-Wu projects, Mathematics could start a dynasty of his own.

Download ---> http://www.zshare.net/download/mmtcslhr-rar.html

Mathematics - The Problem (Jun 28, 2005)
The second solo album by Mathematics features guest appearances from the entire current membership of The Wu-Tang Clan. On a basic level, The Problem is a concept album against black-on-black violence, but there's an admirable restraint here, a relative lack of "can't we all get along?" naïveté and only the bare minimum of preachiness. Instead, songs like "Bullet Scar," "Can I Rise," and "Tommy" are no-punches-pulled rap parables, stories that end badly for everyone involved with a subtle implied moral. Elsewhere, new versions of familiar Wu-Tang tracks like "John 3:16" (featuring Method Man) and "Strawberries & Cream" (a new slower and more effective version of "Strawberry" from Ghostface Killah's 2001 album, Bulletproof Wallets) are enhanced by Mathematics' skillful mix of samples and original riffs, and the '70s-inspired "Two Shots of Henny" echoes back to the party rap vibe of the old days: five MCs passing the mike over a flexible funk beat with the album's most insistently catchy chorus in between. The album is filled with typical Wu-Tang Clan loopiness — songs are continually interrupted by a sample threateningly intoning "If you got something to say, why don't you just say it?" — but as one of the first major Wu-Tang -related releases since the sudden death of Ol'Dirty Bastard, The Problem shows that the collective's core remains strong.

Download ---> http://www.zshare.net/download/mathematics...roblem-zip.html

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Wednesday, September 06, 2006

Shyheim

The youngest member of The Wu-Tang Clan, Shyheim entered with his debut album at the ripe young age of 14. Lyrically he impressed rappers with a skill level that would make any hip-hop fan forget about his age altogether. A native of Staten Island, NY, Shyheim even spent time living with Wu-Tang member Ghostface. Shyheim released The Lost Generation in 1996, while the acclaimed Manchild followed in 1999.
Born NY, Staten Island.


Shyheim - Shyheim a/k/a the Rugged Child (Feb 22, 1994)
Shyheim's age of 14 can be easily recognized in his voice on this, his debut album, but lyrically it's difficult to believe this young rapper is already so skilled. What really makes him different than other young rappers is that he's where he is, not just because of his youth. The sound works well, with funky, lively beats, and
Shyheim's hardcore violence-heavy lyrics combining for some great tracks. Only time will tell how this artist will develop, but if this is any indication of what we can expect from him in the years to come, the Rugged Child will surely not disappoint.



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Shyheim - The Lost Generation (May 28, 1996)



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Shyheim - Manchild (Jun 22, 1999)
At the ripe age of 14, Shyheim (the youngest affiliate of The Wu-Tang Clan) released his debut, Aka the Rugged Child, which made it abundantly clear that he was genetically predisposed to rock a mic. However, the prodigy's next effort, The Lost Generation, was less momentous, coming and going without the same fanfare or critical adulation. Even though Shyheim has spent the last four years fashioning his talents to the silver screen, the prolonged layoff has done little to diminish his God-given abilities. Successfully transitioning from adolescent thug to astute street philosopher, Shyheim broadens his lyrical horizons on Manchild, exposing a vulnerability that his earlier work did not allude to; a good example is his search for innocence lost on the introspective title track. While Shyheim loses focus on "Spectacular" and the extremely misogynistic "Cease Fire (Wildflower 2000)," he reaps the benefit of two posthumous appearances from underground icon Big L, who adds his verbal flamboyance on "Furious Anger" and his production flare on "Trust It's On." Shyheim's most heart-wrenching ode, "Unconditional Love," reflects on his mother's struggles with chemical dependency. But, in what becomes a recurring theme, this emotional roller coaster clashes rudely with the jubilant pop production that accompanies it.

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Shyheim - The Greatest Story Never Told (Mar 15, 2005)



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Gravediggaz

Gravediggaz's violent mixture of hardcore gangsta rap and heavy metal was labeled "horrorcore" by some in the press. The whole incident is somewhat ironic, considering the heritage of the group. The mastermind of the group, The Undertaker, is better known as Stetsasonic's Prince Paul (born Puk Huston), who has produced De La Soul among other alternative hip-hop groups. The other members include The Rzarector (RZA of Wu-Tang Clan), The Grym Reaper(Poetic), and The Gatekeeper (Frukwan; born Arnold Hamilton). Gravediggaz's 1994 debut album, Six Feet Deep, was a minor hit, breaking the Top 40 of the pop album charts and containing the single "Diary of a Madman." The Pick, The Sickle & The Shovel followed in 1997, and a year later the group returned with Scenes From The Graveyard. In July 2001, just one month before the release of their next album, group member Poetic passed away due to complications from colon cancer, but keeping with his wishes, the band continued on.


Gravediggaz - The Pick, the Sickle and the Shovel (Sep 16, 1997)


Between the Gravediggaz' first album, 6 Feet Deep, and the second, The Pick, The Sickle, The Shovel, RZA became the most influential producer in hip-hop, as his productions for the various Wu-Tang Clan side projects established his distinctive, skeletal style as rap's cutting edge. So, it's a little surprising that The Pick doesn't showcase RZA, even though there are several tangental Wu members on the disc. Instead, the production team of Poetic, True Master, Fourth Disciple, Goldfinghaz and Darkim mastermind the sound of the album, which is light-years away from the violent horrorcore of 6 Feet Deep. The Pick has a layered, textured surface, filled with inventive, unpredictable samples that create a hypnotic web. Appropriately, RZA, Prince Paul, Poetic and Frukwan have smarter rhymes this time around, exploring social problems instead of wallowing in comic book gore. At times, the album's momentum sags, but overall, The Pick, The Sickle, The Shovel is a quantum leap forward for the Gravediggaz — unlike its predecessor, it's an album that reflects its creators' intelligence.



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Gravediggaz - 6 Feet Under (Mar 9, 2004)


A decade after Gravediggaz debuted in 1994 with 6 Feet Deep, the former supergroup was reduced to a less-than-super solo act for the (too) similarly titled 6 Feet Under. Frukwan is the only member who remains after the departures of RZA and Prince Paul (years ago) and the passing away of Poetic (more recently), and while his persistence is commendable, it's pretty clear he's carrying on the torch longer than most fans probably care. In fact, most fans dropped off after Gravediggaz's second album, The Pick, the Sickle and the Shovel (1997), believing that the joke had run its course. After all, Gravediggaz were a joke, at least initially, which is partly why RZA and Prince Paul called it a day after that second album — the joke was becoming unfunny. And just as it wasn't so funny then, it's certainly not funny years later, as Frukwan struggles to retain the essence of Gravediggaz for 6 Feet Under. He's a talented rapper, and he's diligent if anything; however, there's just no getting past the fact that the Gravediggaz shtick isn't what it once was, something that is all the more marked because of how Frukwan has titled this album so similarly to that of the group's debut, which does no service whatsoever to this ten-years-after release (except perhaps in terms of marketing). Granted, taken on its own it's a fine album that should delight anyone who enjoys horrorcore rap, which was pretty hard to come by in 2004. But no, this is not even in the same ballpark as 6 Feet Deep. That classic album was a group effort that never took itself seriously. It was fun and silly. This one is essentially a two-man effort (Frukwan raps alone and Arnold Hamilton produces everything except one track, the True Master-produced "Burn in Hell") that takes itself too seriously (the album's commemorative, borderline-hyperbolic liner notes only further that sense). Frukwan has good intentions here, but he should have let the group pass away with the loss of Poetic, for despite his good intentions his work here only does the group's legacy a disservice. Burial time has come, no doubt.



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