Tuesday, December 18, 2007
Rapaholic™ Present: Bishop Lamont & Black Milk - Caltroit
Monday, December 17, 2007
Rapaholic™ Present: Saigon - The Moral Of The Story
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02 03:44 Saigon Ft. Tre Williams - What A Life
03 02:53 Saigon - The South, The West, The East Coast
04 02:11 Saigon - Saigon Meets Just Blaze
05 03:05 Saigon - Get Mine and Go
06 03:27 Saigon - Wake Up
07 04:08 Saigon - In A Mess
08 03:03 Saigon - I Know
09 04:00 Saigon Ft. Al B Sure - Homegirl
10 01:53 Saigon Ft. Grand Puba - Who Can Get Busy
11 03:54 Saigon - Anybody Can Get It
12 02:38 Saigon - How We Get Down
13 03:13 Saigon Ft. Memphis Bleek - Ryders
14 03:53 Saigon Ft. Obie Trice - Wanna Know
15 01:36 Saigon - Rap and Bullshit Part 2
16 03:21 Saigon Ft. Jovan Dais - Reason Season Lifetime
17 01:10 Saigon - Just Blaze Speaks
Tuesday, December 11, 2007
"Cyrus Tha Great" Presents: Film Skool Rejekts
2. Rappin’ On Acid (I’m Eat-Ting Food) (Prod. By Cyrus Tha Great)
3. Pow Pow (Prod. By Cyrus Tha Great)
4. No! (Prod. By Cyrus Tha Great)
5. Websters (Prod. By J Dilla)
6. Cyrus Talks MIXTAPES (Skit)
7. Cyber Punk (Prod. By Cyrus Tha Great)
8. 3 Wisemen (Prod. By Cyrus Tha Great)
9. THE MIDNIGHT MOVIE PLUG (Skit)
10. F.S Carry The R (Teaser Snippet) (Prod. By Cyrus Tha Great)
11. Sickfit (Prod. By Madlib)
12. Walk With Us (Prod. By Cyrus Tha Great)
13. Words from L.A. (skit)
14. Big Binoculars (Prod. By Dr.Dre)
15. Cyrus Says NO! 2 Drugs (Skits)
16. Montega (Prod. Cyrus Tha Great)
17. Fake Friends (featuring CRISIS) (Teaser Snippet) (Prod. By Cyrus Tha Great)
18. The Real (DJ Prince and Sheen Philips) (Prod. By Majestic)
19. The Champ (Prod. By Cyrus Tha Great)
20. New Machines (Prod. By Cyrus Tha Great)
21. Daytona 2008 (Prod. By RZA)
22. Timbz and Hoodies (Prod. by Cyrus Tha Great)
23. Radio Homicide (Prod. By Cyrus Tha Great)
24. Sheen Philips WSHA 88.9 promo
25. WSHA 88.9 Freestyle (Sheen Philips and DJ Prince)
26. Time Freezer (Teaser Snippet) (Prod. By Cyrus Tha Great)
27. NJ/Mass State Of Mind (Prod. By Cyrus Tha Great)
28. Church (Prod. By Cyrus Tha Great)
29. Cyrus leaves (Outro)
Yaw yaw yaw...pay attention 4 this hot mixtape...big ups 2 Cyrus, dawg ur great 4 real...yall have 2 grab this and hit the props with your comments...show sum respect!
As Salaam Aleikum!
Rapaholic™
Monday, December 10, 2007
MC Lyte
In the earliest years of the hip-hop game, women were quite frequently overlooked until a new breed of female lyricist came along and gave the proverbial middle finger to a male-dominated game. MC Lyte's debut ushered in the era of the female MC -- confident, brazen, and not afraid to put male MCs in their misogynist place without flinching. The album starts off with a rather slow introduction before kicking things into high gear with the now classic title track, which put Lyte in the center of a media frenzy. With Lyte reasserting her femininity over and over again without compromising production quality or lyric delivery, Lyte as a Rock has aged better than most records that came out during hip-hop's formative years, although at certain moments it has become dated since its release. But what has aged is more than compensated by the classic tunes and the disc's potent historical impact on a generation of women MCs. A classic.
MC Lyte - Eyes on This (1989: First Priority)
A rapper with considerable technique and a fine sense of humor, Lyte was one of the most highly regarded female MCs of the late '80s and early '90s -- especially on the East Coast. Eyes on This, the Brooklyn native's second album, tends to be one-dimensional lyrically -- she spends too much time bragging about how superior her rapping skills are and how inept sucker MCs are. Though it's hard not to admire the technique and strong chops she displays on such boasting fare as "Shut the Eff Up! (Hoe)" -- a an attack on Lyte's nemesis Antoinette -- and "Slave 2 the Rhythm," she's at her best when telling some type of meaningful story. Undeniably, the CD's standout track is "Cappucino," an imaginative gem in which Lyte stops by a Manhattan cafe and gets caught in the crossfire of rival drug dealers. In the afterlife, she asks herself: "Why, oh why, did I need cappucino?" Were everything on the album in a class with "Cappucino," it would have been an outstanding album instead of simply a good one.
MC Lyte - Act Like You Know (Sep 17, 1991: First Priority)
Though highly respected in rap's hardcore, MC Lyte was never a platinum seller. Atlantic Records no doubt encouraged her to be more commercial on her third album, Act like You Know — a generally softer, more melodic and often R&B-ish effort than either of her first two LPs. But even so, the album is far from a sellout — Lyte's music still has plenty of bite, substance and integrity. Like before, she's at her best when telling some type of story instead of simply boasting about her rapping skills. Especially riveting are "Eyes Are the Soul" (a poignant reflection on the destruction caused by crack cocaine), "Lola at the Copa" (a warning about how a one-night-stand can lead to AIDS); and "Poor Georgie," which describes a young man's life and death in the fast lane. Lyte's change of direction proved to be short-lived — with her next album, Ain't No Other, she returned to hardcore rap in a big way.
MC Lyte - Aint No Other (1993; First Priority)
Whenever a hardcore rapper becomes more commercial, hip-hop's hardcore is likely to cry "sellout." That's exactly what happened to MC Lyte when she increased her R&B/pop appeal with 1991's Act Like You Know. The album wasn't without grit or integrity and even had some strong sociopolitical numbers, but hip-hop purists can be every bit as rigid as jazz purists — and they tend to be wary of any attempt to cross over. So in 1993, Lyte ditched the pop elements and emphasized hardcore rap on Ain't No Other. The song that did the most to define the album was "Ruffneck," a catchy, inspired single that found Lyte expressing her preference for ragamuffin street kids from the inner city. "Ruffneck" expressed Lyte's allegiance to hip-hop's hardcore, and she's equally rugged and hard-edged on tunes like "Fuck that Motherfucking Bullshit," "Hard Copy," and "Brooklyn." As a bonus track, First Priority includes a remix of "I Cram to Understand U," the song that had put Lyte on the map in 1987. Not earth-shattering but generally decent, Ain't No Other will appeal to those who prefer Lyte's more hardcore side.
MC Lyte - Bad as I Wanna B (Aug 27, 1996; East West)
MC Lyte's Bad As I Wanna B suffers from stilted production, conventional musical ideas and over-reaching lyrics. It is clear that MC Lyte wants to restore the luster to her career, but she is not sure how. So, she surrounds herself with top-flight producers, who such away the passion from her music. Sure, there's a couple of good hooks and funky beats on Bad As I Wanna B, but for the most part, it's lacking in soul.
MC Lyte - Seven & Seven (Aug 18, 1998; East West)
Ten years after releasing her first album, MC Lyte delivered Seven & Seven, her sixth album. During that time, Lyte remained remarkably unchanged, and Seven & Seven proves to be startlingly similar to the slick, R&B-influenced hip-hop she's been turning out since Lyte as a Rock. At times, that's not too bad, but the album's exhausting 77-minute running length makes the similarity of the material a little numbing. There are good songs buried in the album, to be sure — it just takes too much time to dig them out.
MC Lyte - Da Undaground Heat, Vol. 1 (Mar 18, 2003; IMusic)
Four and a half years after parting ways with EastWest (a subsidiary of major label Warner) in the wake of the commercial disappointment of her last album, Seven & Seven, MC Lyte, at the advanced age of 31, attempts a comeback with Da Undaground Heat, Vol. 1. Pacting with the production team Maad Phunk!, she benefits from contemporary-sounding beats and gimmicks. But her own rap approach remains determinedly old school. She is still relentlessly self-congratulatory, praising and mythologizing herself in a style reminiscent of her 1980s origins. An obnoxious, repetitive bit finds her listening to answering-machine messages from various peers delivering eulogies to her. The best and most unusual track is "Boy Like That," which uses a sample of the song by the same name from West Side Story. But for the most part, Da Undaground Heat, Vol. 1, for all its claims to be an update and return to form, is a throwback from an artist unable to keep up with the fast-moving trends in hip-hop.
Friday, November 30, 2007
Hi-Tek - Hi-Teknology 3
Thursday, November 29, 2007
How Hip-Hop can be dead if Wu-Tang is Forever?
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Label................: The Phantom Ent. / KoCH
Thursday, November 15, 2007
Another Muslim for yall mind Freeeeway!
Almost five years after releasing a near-classic rap debut, Freeway finally gets his second shot, and there’s some unsurprisingly frank talk about his surroundings not being identical. Since Philadelphia Freeway’s early 2003 release, there was the Damon Dash/Jay-Z Roc-A-Fella rift, so Free addresses that, despite it being old news. He was, after all, caught in the middle and did not switch labels. The issue is brought up in “It’s Over,” which could be the first track to mention the producer not responsible for its beat; in fact, both Just Blaze (who produced ten Philadelphia Freeway tracks) and Kanye West (who chipped in with two) are saltily put on blast for either not getting back or being too busy. Throw in a deepened relationship with 50 “Somewhat Responsible for Mobb Deep’s Blood Money” Cent, who replaces Dash’s role as co-executive producer, as well as what could be perceived as an enthusiasm shortage on the part of the Roc-A-Fella/Def Jam family, and Free at Last has all the makings of a disappointment — a release destined to slide off everyone’s radar within a couple weeks of release. “Oh, yeah, Freeway eventually put out that second album… uh, Free Again, or something?”
The album is not the least bit deserving of that fate. Even with the amount of expectation-lowering context heavy on the mind, Free at Last sounds like a very strong follow-up. Apart from the 50 feature “Take It to the Top,” with a light and frilly production that is absolutely the worst fit for Free’s gruff and pop-unfriendly voice, there are no obvious points of weakness — unless, of course, Free’s lack of vocal versatility is something to gripe about. His “boa constrictor flow” (his words) can still be taxing (or even immediately off-putting to some ears) across the course of an album, almost always requiring a forceful/bombastic production to be effective, and it is apparent that Nice & Smooth would consider him an automatic lost cause for their MC’ing class. But his intelligible grunts and rasps are just as commanding and riveting as any other MC’s best mode. With a pilgrimage to Mecca also in his recent past, the dichotomy between his threat/boast-based rhymes and more introspective side is greater than it was on Philadelphia Freeway, and it isn’t at the expense of toughness — take, for instance, “I will squeeze and leave your spleen on the outside.” He is a sharper, more vivid lyricist, and it can also be sensed that he has done everything in his power to make up for all that lost time. And it must be said that his as-common-as-ever exultations of “Early!” — practically a tic at this point — are more perplexing and amusing than ever.
01 03:44 This Can't Be Real (featuring Marsha Ambrosius)
Wednesday, November 14, 2007
Wu-Tang Clan - 8 Diagrams Mixtape...Guess Whos Back!?
Saturday, October 27, 2007
Rapaholic™ Exclusive: Jay-Z - American Gangster (2007)
Artist : Jay-Z
Title : American Gangster
Label : Roc-A-Fella
Genre : Rap
Size : 48,9 MB
Quality : VBR / 44.1Hz / Joint-Stereo
Encoder : LAME 3.97 / v2
Release date : Nov-06-2007
Rip date : Oct-27-2007
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01 Intro 01:36
02 Pray 02:57
03 American Dream 03:59
04 Hello Brooklyn Ft. Lil Wayne 03:57
05 No Hook 03:16
06 Roc Boys 04:14
07 Sweet 03:28
08 I Know Ft. Pharrell 03:12
09 Say Hello 03:49
10 Success Ft. Nas 03:31
11 Fallin` 04:02
12 Blue Magic Ft. Pharrell 03:57
13 American Gangster 03:14
Thursday, October 25, 2007
Little Brother - Get Back (2007)
Label................: ABB
Genre................: Hip-Hop
Store Date...........: Oct-23-2007
Source...............: CDDA
Size.................: 58,5 MB
01. Sirens (feat. Carlitta Durand) 04:12
02. Can't Win For Losing 04:20
03. Breakin My Heart (feat. Lil' Wayne) 04:28
04. Good Clothes 04:39
05. After The Party (feat. Carlitta Durand) 04:53
06. Extrahard 04:09
07. Step It Up (feat. Dion) 03:30
08. Two Step Blues (feat. Darien Brockington) 03:42
09. That Ain't Love (feat. Jozeemo) 04:24
10. Dreams 03:47
11. When Everything Is New 06:33
Tuesday, October 23, 2007
Cali Agents (Rasco & Planet Asia)
A long-anticipated yet under-the-radar late-2006 release, the Cali Agents' follow-up to their excellent 2000 debut, How the West Was One, presents more decidedly dark, East Coast-flavored production over Rasco and Planet Asia's West Coast flow. Despite its lack of much press, Fire & Ice is a pretty good record, showing off the two MCs' skills on tracks like "The Science," "Bang," and the Stones Throw-esque sounding "Something New." Though California's mainstream hip-hop scene has been lacking some in the past few years, the underground has been very strong and has produced a lot of notable, important artists (Jurassic 5, Madlib, Blackalicious, Del, Ras Kass, just to name a few), and both rappers here have had impressive solo careers. And their collaboration as Cali Agents just shows how strong they, and the West Coast, really are.
Friday, October 19, 2007
Boot Camp Clik
Boot Camp Clik is a loose congregation featuring similar-minded underground hardcore rappers like Originoo Gunn Clapaz, Cocoa Brovaz, Buckshot, Heltah Skeltah, Bucktown Juveniles, Jahdan, and Illa Noyz, all of whom are concerned about keeping the music real and on a street level. That meant much of the music on their debut, For the People, sounded a little similar; still, this is the very thing that makes Boot Camp Clik appealing to a certain audience. Their second record, The Chosen Few, appeared in 2002, and other followed: The Last Stand (2006), Still for the People (2007), and Casualties of War (2007).
Boot Camp Clik is an American hip hop supergroup from Brooklyn, New York. The group consists of Buckshot (of Black Moon), Smif-N-Wessun, also known as Cocoa Brovaz (Tek and Steele), Heltah Skeltah (Rock and Ruck, aka Sean Price) and O.G.C. (Originoo Gunn Clappaz) (Starang Wondah, Top Dog, and Louieville Sluggah). Though commercial success has largely eluded them, the Camp has gained a large following in the underground rap community. Principally known for their hardcore content, in their later years the group also began adding personal and socially conscious aspects to their lyrics, and were among the first rap acts to infuse elements of Reggae into their music. Buckshot, along with Black Moon, also helped establish the backpacker scene in underground hip hop. The Camp reached the height of their popularity in the mid-90s, with the release of four acclaimed albums, Black Moon's Enta Da Stage, Smif-N-Wessun's Dah Shinin', Heltah Skeltah's Nocturnal, and O.G.C.'s Da Storm. These albums spawned a number of underground rap hits, most notably Black Moon's "Who Got Da Props?" and "I Got Cha Opin (Remix)", Smif-N-Wessun's "Bucktown", "Sound Bwoy Bureill", and "Wrekonize", Heltah Skeltah's "Leflaur Leflah Eshkoshka", "Letha Brainz Blo" and "Operation Lock Down", and O.G.C.'s "No Fear", "Hurricane Starang", and "Danjer". Despite the acclaim of the albums and the minor success of the singles, no Boot Camp affiliated release was able to reach Gold sales status. Following the lukewarm reception for the Camp's first group album For the People, the crew's popularity began declining, eventually leading to a lengthy hiatus from the rap game. Since returning independently in 2002, the Camp has been able to regain their past popularity in underground hip hop with a number of acclaimed underground releases. Since their inception, the Boot Camp has spawned a number of affiliates. The group's earliest affiliate is the production-crew Da Beatminerz, lead by Black Moon's DJ Evil Dee and his older brother Mr. Walt. Da Beatminerz originally produced the majority of the Camp's work, but since 1997, they have taken a backseat to a number of outside producers. Other affiliates include rappers the Representativz (consisting of Supreme and Lidu Rock, the younger brother of Heltah Skeltah's Rock), Illa Noyz (the younger brother of Heltah Skeltah's Sean Price), M.S., LS, BJ Swan, The BTJ's (Bucktown Juveniles), Rustee Juxx, Doc Holiday, Thunderfoot and Lil' Hardcore, Reggae-vocalists Jahdan and Twanie Ranks and R&B-vocalist group F.L.O.W. Though Black Moon is closely connected to the group, members DJ Evil Dee and 5ft are not official members of the Boot Camp Clik.
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The Boot Camp Clik is a bit like a low-rent Wu-Tang Clan. Instead of establishing themselves as a crew before recording an album together, the rappers -- including Heltah Skeltah, Smif-N-Wessun and OGC -- each made solo albums and reunited in 1997 to make For the People. Happily, the group used the opportunity wisely, deciding to forge ahead to new sonic territory. Leaving gangsta rap and standard funk behind as the group abandons their production crew Da Beatminerz, the Boot Camp Clik has created an appealingly off-kilter sound that relies equally on wobbly rhythms, old-school synths and acoustic instruments. There are times that the mix is too dense, particularly when the group tries to get slow and soulful, but For the People is the best thing anyone in the Boot Camp Clik has yet produced.The first track released from the project was "Trading Places", which was also the first music video from the album. The first official single released was "Yeah", which features "Trading Places" and "Let's Go" as the B-Side.
Special Request!
Guerilla Black - God Bless The Child
Label..........: n/a
Source.........: CDDA
Genre..........: Rap
Size...........: 51,1 MB
Rip Date.......: Sep-15-2007
Artist Info....: n/a
Release Date...: Sep-18-2007
Quality........: LAME 3.97 V2
01. Genesis 02:24
02. Thank You (God Bless The Child) (feat. Janet) 04:37
03. The Streets (feat. Chris Jones) 04:34
04. Whatever 03:58
05. She Wanna Baller 03:13
06. Put Yo Hands Up 03:26
07. I Know 04:14
08. The Life (feat. Lejohn) 03:30
09. U Do U 04:05
10. Pour Me A Drank 03:08
11. Round & Round 04:06
12. Revalations 02:24
Thursday, October 11, 2007
Bahamadia (Antonia Reed)
Friday, October 05, 2007
Large Professor (William Paul Mitchell)
Tuesday, September 25, 2007
Jeru The Damaja (Kendrick Jeru Davis)
Jeru the Damaja returned from a three-year absence with Heroz4hire, an independent album released on his own Knowsavage label, featuring both production and mixing by Jeru himself. His rapping style, as dense and inventive as ever, entails listening to the album at least three or four times to understand the tongue-twisting rhymes. From his last album, Jeru continues his interrogation of women with more than love on their mind on "Bitchez Wit Dikz," and contributes an apocalyptic production to the historical saga "Renagade Slave." Jeru is surprisingly good as a producer, weaving scratchy, repetitious samples around tough, lo-fi beats — similar to DJ Premier's work on the first two Jeru LPs. Though the hooks here aren't quite as catchy as Premier's, the incredibly raw production suits the independent status of Heroz4hire. Jeru also shares the mic and the credits on several tracks; female rapper Mizmarvel appears on "Verbal Battle" and "Anotha Victim." Highlights include the hilarious New York exposé "Seinfeld" and the paternity case "Blue Jean (Safe Sex)."