Rapaholic™

holla if y'all hear me!

2012-01-24T03:48:00.000+04:00

Happy Ramadan all my brothers & sisters!

2011-08-01T13:51:00.000+04:00

Rapaholic™:Freestyle - The Art of Rhyme

2011-08-01T01:21:00.000+04:00

Rapaholic™ Presents: Illa J - Yancey Boys

2011-07-30T17:16:00.000+04:00

After the passing of his brother, Detroit producer/MC Jay Dee, Illa J(born John Yancey) dropped out of Central Michigan University, put aside his inhibitions, and stepped out as an MC and producer. Previously apprehensive about living up to the genius-level standard set by his elder sibling, Illa J became visible outside his local circle through the video for his brother's "Won't Do" -- where he was shown lip-syncing the rhymes -- as well as the Dilla Changed My Life tour, which allowed him to perform for Dilla admirers across the globe. He then got into recording, collaborating with the likes of Karriem Riggins, Guilty Simpson, Black Milk, and Little Brother's Big Pooh. A self-released EP was issued in 2007, featuring self-productions, with the exception of one track ("Me and My Brother") produced by Jay Dee.

Illa J - Yancey Boys (Nov 4, 2008 / Label: Delicious Vinyl)

The title of rapper/singer Illa J's debut album refers to the man himself along with his older brother J Dilla, aka Jay Dee, the game-changing hip-hop producer from Detroit who passed away in 2006 at the age of 32. The beats on Yancey Boys are "all previously untouched Jay Dee gems" that were given to Illa J by Delicious Vinyl's founder, Michael Ross. Safe to say, the younger Yancey's first encounter with these tracks had to bring a heavy set of emotions, but with everything here being immediately recognizable as Dilla, the end result for the longtime fan is still one of ghosts and bittersweet memories. Nocturnal keyboards, elegant pianos, lazy beats, and the occasional Kraftwerk-like twist all combine to make warm soul music, but save the D'Angelo-like "We Here" and the more hip-hop highlight "DFTF," those final Dilla touches are missing, as they were on all those sketchbook-like bootleg beat tapes that have appeared since the man's passing. The younger Yancey's contributions are unsurprising lyrics that sing the praises of chilling or soul searching by wandering in circles. Worst of the latter is the perhaps ironically titled "Timeless," which kicks off the uncertain album with "I spent so much time living inside the bubble/I just wanna lay back and stay outta trouble/I think its time for me to break out of the shell/And I can't be afraid to fail." To his credit, his heavy workload includes putting the finishing touches on these lost tracks and figuring out how to pay tribute to his older brother while pimping his own potential. His solution is so understated and mellow that Yancey Boys ends up an interesting release for the Dilla faithful instead of Illa J's grand entrance.

1. Timeless
2. We Here
3. R U Listenin’? feat. Guilty Simpson
4. Alien Family by Frank Nitty
5. Strugglin
6. Showtime
7. Swagger
8. Mr. Shakes (Skit) aka Affion Crockett
9. DFTF feat. Affion Crockett
10. All Good
11. Sounds Like Love feat. Debi Nova
12. Everytime
13. Illasoul
14. Air Signs

Download (RS Link)
Download (MU LInk)

Rapaholic™ Presents: I.N.I. – Center of Attention

2011-07-30T16:06:00.001+04:00

Intended Release Date & Label: 1996, Elektra Records

Eventual Release Date & Label: 2003, BBE/Rapster Records

Easily one of the most circulated bootlegs of the mid to late '90s, Pete Rock’s lost project has legendary status among shelved albums. The Mount Vernon crew, including Rob-O and Pete's brother Grap Luva disbanded after Elektra squashed the first release on Pete Rock’s Soul Brother imprint, so this Chocolate Boy Wonder-produced project is the only thing you’ll ever hear from them. The funny thing is, BBE/Rapster released the album (packaged with Deda’s The Original Baby Pa and marketed as a Pete Rock release), without the permission of Pete. The retail version was slightly different than the bootleg and every bit as great. (info by HipHopDX)

01. Intro
02. No More Words
03. Step Up
04. Think Twice
05. Square One
06. The Life I Live
07. Kross Roads
08. To Each His Own (Feat. Q-Tip & Large Professor)
09. Fakin' Jax
10. What You Say
11. Props
12. Center of Attention
13. Grown Man Sport
14. Mind Over Matter
15. Don't You Love It
16. Microphonist Wanderlust

Download (Rapidshare Link)

Download (Megaupload Link)

Rapaholic™ Presents: Cormega (Discography)

2011-04-18T20:18:00.001+04:00

An underground and critical favorite, Cormega was the rare hardcore rapper to win praise from all directions, and while he never quite crossed over like some of his New York City peers, he maintained a respectable independence over the years nonetheless, self-releasing his work on the Legal Hustle label. Born Cory McKay, Cormega grew up in the same Queensbridge housing projects that were home to a generation of rappers, most notably Nas, Mobb Deep, AZ, andTragedy Khadafi, and a previous generation that famously includedMarley Marl and the Juice Crew.

Following some early guest appearances on releases by DJ Hot Day(e.g., "Set It Off" on PHD's Without Warning, 1991), Cormega did time, which put his rap career on hold for a few years. In 1994, Nasmentioned him by name on Illmatic, on "One Love" ("And night time is more trife than ever/What up with Cormega, did you see him, are y'all together?"), and upon Cormega's release from jail in 1995, he was featured as a guest on Nas' second album, It Was Written (1996), on "Affirmative Action" with AZ and Foxy Brown. Plans were made for a group -- named the Firm, led by Nas, with production byTrackmasters and Dr. Dre -- that would reprise the collaborative nature of "Affirmative Action" over the course of an album. Cormegawas excluded from the project, however, replaced by fellow Queensbridge rapper Nature. A rift between Cormega and Nasresulted, leading to some bitter exchanges over the years (the two later patched up their differences, reuniting to perform "Affirmative Action" with Foxy Brown live on-stage in December 2006).

Also upon his release from jail, Cormega signed a recording contract with Def Jam that seemed promising at the time. During 1995-1996, he went about recording his debut album, The Testament, with such producers as Sha Money XL, Havoc, Jae Supreme, and Hot Day. Def Jam never released the album, unfortunately, and Cormega was forced to wait out his contract, which didn't expire until 2000. In the meantime, he made rare appearances, including features on theHow to Be a Player soundtrack (1997), Mobb Deep's Murda Muzikalbum (1999), and Nas' QB Finest compilation (2000). Finally free of his Def Jam contract, Cormega founded his own independent label, Legal Hustle, and, via a partnership with Landspeed Records, released his debut album, The Realness (2001), comprised of newly recorded material. The album was critically acclaimed and peaked at number 111 on the Billboard 200 (more tellingly, number four on the Top Independent Albums and number one on the Top Heatseekers charts). A second album followed, The True Meaning(2002), and was likewise critically acclaimed, earning Independent Album of the Year at the Source Awards in 2003. The album cracked the Top 100 of the Billboard 200 (peaking at number 95).

Cormega then took some time off to raise his daughter, born in November 2002, before he resumed music operations. In 2004, he returned with Legal Hustle, a collaborative album, and Special Edition, a two-fer including both The Realness and The True Meaning. In 2005, he released The Testament, his unreleased Def Jam album from ten years prior, to which he had recently secured the rights to the master tapes, and in 2006 he was co-featured on My Brother's Keeper, a collaborative album also billed to Lake, a fellow Queensbridge rapper of some renown. In 2007, Cormega releasedWho Am I?, a DVD documentary covering the time period of 2001-2005; a CD soundtrack comprised of newly recorded music was included as well. Also in 2007, he released Got Beats?, an instrumental show featuring an impressive roster of producers, including DJ Premier, the Alchemist, Ayatollah, and Ski Beatz.

Studio Albums

Cormega - The Realness (24 July, 2001)

With a fresh batch of new material, Cormega's "official" debut, The Realness, manifests under stealth-like conditions. Yet, it successfully conveys what his aborted Def Jam debut, The Testament, implied three years previously -- that Mega is one of the most promising thug poets to emerge in quite sometime. Though the usual live-guy repertoire and topic matter is recycled, Cormega paints with a broader lyrical brush then most hood aficionados, as his articulate verses far surpass the limitations of what the typical halfway crook is capable of expressing. Displaying a gripping range of vocal gifts, "The Saga" and "Fallen Soldiers" offer vivid street mathematics with Kool G. Rap-like narrative abilities. Likewise,Mega's ode to hip-hop, "American Beauty," is a continuation of Common's "I Used to Love Her," where his love for the art is evident: "Primo treated her good, made her the queen of my hood." Though the sonic landscape of The Realness is headlined by the Infamous Family members Havoc and Alchemist, it is a handful of upstarts (Jay Love, Big Ty, Sha Self) who carve out the LP's sound identity. This cast of rising and unknown names turns in a yeoman's job behind the boards, meshing a diverse assortment of ominous synth and keyboard arrangements around Mega's deep lyricism. While Mega has had to weather Def Jam's businessman ways, and his own inner demons (jail time) to get here, he may never taste redemption this sweet again.

01 - Dramatic Entrance

02 - American Beauty

03 - Thun & Kicko

04 - The Saga

05 - R U My Nigga

06 - Unforgiven

07 - Fallen Soldiers

08 - Glory Days

09 - Rap's a Hustle

10 - Get Out My Way

11 - You Don't Want It

12 - 5 for 40

13 - They Forced My Hand

14 - Fallen Soldiers [Remix]

Cormega - The True Meaning (June 11, 2002)

The True Meaning picks up where Cormega's stellar debut, The Realness (2001), left off, showcasing earnest, heartfelt, and sometimes sharp-edged rhymes over gritty street-level beats. "Love in Love Out" -- where Cormega answers Nas' "Destroy & Rebuild" over a crackling sample of the beat from Isaac Hayes' "Your Love Is So Doggone Good" -- is sure to garner a lot of attention, but there's plenty more to The True Meaning than that one song. The streetwise title track is an obvious highlight, graced with a soulful Diana Ross sample for its hook. Other standouts include "The Come Up," a Large Professor production that includes a verse from the Main Source legend (the only guest rap on the entire album); "The Legacy," a stunning Alchemist production with a backward-looking lyric; and "Built for This," a tough rap with a great beat by J. Waxx Garfield, who is credited with three songs overall.Cormega stands tall as a fearless, confident rapper over the course of The True Meaning, calling himself "Queensbridge's most respected rapper" on "Ain't Gone Change," a show-stopping a cappella that sets up the title track perfectly. The True Meaning is an impressive album on many counts and is sure to please hip-hop purists as well as anyone who enjoys well-crafted, intelligent New York rap.

1 "Introspective"

2 "Verbal Graffiti"
3 "Live Ya Life"
4 "Ain't Gone Change [Accapella]"
5 "The True Meaning"
6 "A Thin Line"
7 "The Legacy"
8 "Love in Love Out"
9 "The Come Up"
10 "Built for This"
11 "Soul Food"
12 "Take These Jewels"
13 "Endangered Species"
14 "Therapy"

Cormega - The Testament (Feb 22, 2005)

Cormega's long-unreleased debut album, The Testament, finally got an official release in 2005 after nearly a decade of bootlegging. It's not quite the masterpiece it's been rumored to have been, but it's a great album nonetheless, especially for a debut -- a fascinating relic of the mid-'90s East Coast gangsta scene that spawned a number of classic debut albums, among them those of the Notorious B.I.G., Nas, Jay-Z, Mobb Deep, and Raekwon. The back-story goes like this: Cormega burst on the scene in 1996, when he guested on "Affirmative Action," a high-profile posse cut from Nas' sophomore album, It Was Written. He was fresh from prison, in a gangsta state of mind, and lyrically gifted. Def Jam brought him aboard quickly, and The Testament was the result, except it never saw the light of day, shelved for years until Cormega obtained the rights to the tapes and finally released the album on his own Legal Hustle label in 2005. Clocking in at a dozen songs in 40 minutes, the releasedTestament is unchanged from its original version. Cormega wanted it released as it had been intended, and the result is a raw, emotional work by a young man with a lot on his mind and blessed with the means of rapping it eloquently. The production is handled by an array of beatmakers, among them Nasheim Myrick, Sha Money, and Havoc, and the pervading aural mood is somber and foreboding, very much in step with the mid-'90s East Coast gangsta style, especially that of Mobb Deep. Though there aren't any particularly standout tracks here (perhaps why Def Jam balked), there isn't any filler either. Every track here is part of the bigger picture, exploring a different mood and telling a different tale, and guests are few and far between. Again, though The Testament isn't quite up there alongside the half-dozen or so masterpieces of its era, like Ready to Die or The Infamous, it's definitely up there -- one of the best mid-'90s gangsta albums, no doubt. Too bad it took so long to get the album released -- too bad for Cormega above all, for one senses that The Testament would have made a strong impression during its time, even if it wouldn't have been a big commercial hit (it lacks a pop edge -- again, not unlike Mobb Deep in particular). Heads would have loved it, for sure, as would have the streets, and thankfullyThe Testament can now get its due, albeit belatedly.

1 "Intro"

2 "62 Pickup"

3 "One Love"

4 "Interlude"

5 "Angel Dust"

6 "Dead Man Walking"

7 "Montana Diary"

8 "Testament"

9 "Testament [Original Version]"

10 "Every Hood"

11 "Coco Butter"

12 "Killaz Theme"

13 "Love Is Love"

14 "Dead Man Walking 2"

Cormega - Who Am I? (Oct 23, 2007)

Queensbridge representative Cormega presents WHO AM I?, the soundtrack to the documentary of the same name, which chronicles five years of the underground MC's career. WHO AM I? sees Mega Montana laying down more introspective street vignettes over expansive East Coast tracks. Mega recruits a slew of unlikely guest MCs, including Keak Da Sneak, Jacka, Yukmouth, Dwele, and Little Brother as well as New York affiliates such as Lil Fame of M.O.P., Styles P, Hell Rell, Agallah, and Tragedy Khadafi, among others. Replete with that mob-flick gangsta rap that Cormega does best, WHO AM I? is one of the tightest albums to come out of NY in 2007.

1 Sleep Well (feat. Dwele)
2 718 (feat. Fame)
3 Use Mad Clips (feat. Styles P)
4 Lookin' At It (teat. Jacka, Keak Da Sneak & Yukmouth)
5 Ryder Muzik (feat. Tragedy Khadafi)
6 Throwback Homie (feat. Hejaz)
7 Who Am I Exclusive (feat. AZ & Nature)
8 What Mobsters Do (feat. Husalah, Unda P & Fed X)
9 Stuntin' Remix (feat. Hell Rell)
10 Shade 45 (Skit)
11 Time (feat. Ransom & Nicole Wray)
12 The Rap Game (feat. Little Brother)
13 Triboro (feat. Dead Eye, Ron Smack & Bags)
14 Live From The Caves
15 King Me (feat. Agallah)

Cormega - Born and Raised (2009)

Born And Raised is the fourth studio album by the hip hop artist Cormega. It was released on October 20, 2009, after being pushed back several times; the album was originally to be titled Urban Legend but was changed to Born And Raised after rapper T.I. used the original title for his 2004 release. The album has been met with mostly positive reviews from both fans and critics so far.
The song "Fresh", featuring Big Daddy Kane, KRS-One, Grand Puba, PMD and DJ Red Alert was leaked onto the internet in the middle of 2008. This caused Cormega to replace the original version, produced by Emile, with a remix by Buckwild re-titled as "Mega Fresh X" for the retail album.

01 Prelude (Feat. Marley Marl) (Prod. By Khrysis) / Intro (The 3rd Coming) (Prod. By Bear One)
02 Girl (Prod. By LES)
03 Love Your Family (Feat. Havoc) (Prod. By Havoc)
04 Get It In (Feat. Lil Fame) (Prod. By Easy Moe Bee)
05 The Other Side (Prod. By Fizzy Womack)
06 Live And Learn (Prod. By Pete Rock)
07 Make It Clear (Prod. By DJ Premier)
08 Journey (Prod. By Large Professor)
09 Define Yourself (Feat. Tragedy Khadafi & Havoc) (Prod. By DR Period)
10 What Did I Do (Prod. By Nottz)
11 Dirty Game (Album Version) (Prod. By DJ Premier)
12 One Purpose
13 Rapture (Prod. By Ayatollah)
14 Mega Fresh X (Feat. Red Alert, PMD, Grand Puba, KRS-One & Big Daddy Kane) (Prod. By Buckwild)

Compilations

Cormega - Hustler/Rapper (Feb 26, 2002)

Shortly after the release of Cormega's long-awaited debut album, The Realness, Body Shop Records issued this mixtape of previously released recordings by the Queensbridge rapper. If you don't mind wading through the hodgepodge of brief snippets and freestyle rhymes, there's some good stuff here, especially for fans.

[03:16] 01. Cormega - Poetry

[04:05] 02. Cormega - They Forced My Hand
[03:37] 03. Cormega - Killaz Theme
[01:06] 04. Cormega - Freestyle
[00:47] 05. Cormega - Freestyle
[00:57] 06. Cormega - Slow Down Baby
[01:36] 07. Cormega - Montana Diary
[01:43] 08. Cormega - Freestyle
[04:15] 09. Cormega - Freestyle
[03:21] 10. Cormega - Affirmative Action Remix
[03:16] 11. Cormega - Affirmative Action
[05:14] 12. Cormega - Angel Dust
[01:20] 13. Cormega - Freestyle
[04:11] 14. Cormega - Usual Suspects
[03:30] 15. Cormega - La Familia
[01:33] 16. Cormega - We Gon Buck
[02:14] 17. Cormega - Testaments
[04:00] 18. Cormega - Who Can I Trust?
[04:13] 19. Cormega - Hold His Own
[02:58] 20. Cormega - All I Need Is You
[01:49] 21. Cormega - Loyalty
[01:24] 22. Cormega - Realmatic
[01:04] 23. Cormega - Crime Side
[00:59] 24. Cormega - Straight Outta QB
[00:22] 25. Cormega - Da Bridge 2001
[03:26] 26. Cormega - What's Your Poison?
[01:25] 27. Cormega - Piece Maker Interlude
[02:21] 28. Cormega - Three

Cormega - Legal Hustle (May 25, 2004)

Ever since Cormega made his debut splash in 1996 on "Affirmative Action" alongside his Queensbridge colleagues Nas, AZ, and Foxy Brown, the well-spoken rapper went through a lot of ups and downs. Legal Hustle, his third solo album, is certainly one of his high points. It dropped in the wake of two critically well-received albums -- The Realness (2001) andThe True Meaning (2002) -- and represents a step forward for Cormega. The increasingly enterprising rapper ropes in some backup help after handling his first two albums largely solo. Most notably, he introduces Doña, a Foxy Brown-without-the-bling MC who graces four tracks here, and he collaborates with a number of other rappers: M.O.P. ("Let It Go"), Tony Touch ("Hoody"), Ghostface ("Tony/Montana"), Kurupt and Jayo Felony ("Deep Blue Sea"), AZ("Redemption"), Large Professor ("Sugar Ray and Hearns"), and more. It's an impressive guest list and makes Legal Hustle largely a group effort. In fact, not counting the intro, there are only two solo tracks here -- very much contrary to past albums. And those two solo tracks happen to be standouts: "Beautiful Mind" kicks off the album with a touching self-production that wonderfully appropriates the piano riff from Marley Marl's classic "Make the Music With Your Mouth, Biz," while "Bring It Back" is a heartfelt hip-hop homage à la "American Beauty" from The Realness. These tracks, along with "Let It Go," "The Bond," and "Monster's Ball," are among Cormega's best to date. These standouts and the numerous guest appearances aside, Legal Hustle isn't nearly as solid as Cormega's past two albums. It feels thrown together at times because of the collaborative emphasis.

1 "Intro"

2 "Beautiful Mind"
3 "Let It Go"
4 "The Bond"
5 "Bring It Back"
6 "Hoody"
7 "Dangerous"
8 "Tony/Montana"
9 "Personified"
10 "Stay Up"
11 "Deep Blue Sea"
12 "More Crime"
13 "Monsters Ball"
14 "Redemption"
15 "Respect Me"
16 "Sugar Ray And Hearns"
17 "The Machine"

Yes Sir! Rapaholic™ is back! Its been a while that we didnt get in touched, so here we are! Coming with all new/old discogs. 2011 year opening with Cormega (Full discogs) - studio albums, compilations, collabirations* and mixtapes*.

*coming soon

feedbacks: www.twitter.com/eliko_b

R.I.P. one and only Nate D. O. Dougle G! True legend!

2011-03-16T11:02:00.001+03:00

Lyrical Genius: Mos Def - Auditorium (Feat. Slick Rick)

2011-02-12T00:19:00.000+03:00

Method Man - Bring The Pain

2011-01-23T16:31:00.000+03:00

CYPRESS HILL- ILLUSIONS

2010-09-30T00:19:00.000+04:00

Cee Lo Green - FUCK YOU (Official Video)

2010-09-10T00:51:00.000+04:00

A Tribe Called Quest (Album Discography)

2010-09-05T19:05:00.000+04:00

Without question the most intelligent, artistic rap group during the 1990s, A Tribe Called Quest jump-started and perfected the hip-hop alternative to hardcore and gangsta rap. In essence, they abandoned the macho posturing rap music had been constructed upon, and focused instead on abstract philosophy and message tracks. The "sucka MC" theme had never been completely ignored in hip-hop, but Tribe confronted numerous black issues -- date rape, use of the word nigger, the trials and tribulations of the rap industry -- all of which overpowered the occasional game of the dozens. Just as powerful musically, Quest built upon De La Soul's jazz-rap revolution, basing tracks around laid-back samples instead of the played-out James Brown-fests which many rappers had made a cottage industry by the late '80s. Comprised of Q-Tip, Ali Shaheed Muhammad, and Phife, A Tribe Called Quest debuted in 1989 and released their debut album one year later. Second album The Low End Theory was, quite simply, the most consistent and flowing hip-hop album ever recorded, though the trio moved closer to their harder contemporaries on 1993's Midnight Marauders. A spot on the 1994 Lollapalooza Tour showed their influence with the alternative crowd -- always a bedrock of A Tribe Called Quest's support -- but the group kept it real on 1996's Beats, Rhymes and Life, a dedication to the streets and the hip-hop underground. A Tribe Called Quest was formed in 1988, though both Q-Tip (b. Jonathan Davis) and Phife (b. Malik Taylor) had grown up together in Queens. Q-Tip met DJ Ali Shaheed Muhammad while at high school and, after being named by the Jungle Brothers (who attended the same school), the trio began performing. A Tribe Called Quest's recording debut came in August 1989, when their single, "Description of a Fool," appeared on a tiny area label (though Q-Tip had previously guested on several tracks from De La Soul's 3 Feet High and Rising and later appeared on Deee-Lite's "Groove Is in the Heart").
Signed to Jive Records by 1989, A Tribe Called Quest released their first album, People's Instinctive Travels and the Paths of Rhythm, one year later. Much like De La Soul, Tribe looked more to jazz as well as '70s rock for their sample base -- "Can I Kick It?" plundered Lou Reed's classic "Walk on the Wild Side" and made it viable in a hip-hop context. No matter how solid their debut was, second album The Low End Theory outdid all expectations and has held up as perhaps the best hip-hop LP of all time.The Low End Theory had included several tracks with props to hip-hop friends, and A Tribe Called Quest cemented their support of the rap community with 1993's Midnight Marauders. The album cover and booklet insert included the faces of more than 50 rappers -- including obvious choices such as De La Soul and the Jungle Brothers -- as well as mild surprises like the Beastie Boys, Ice-T, and Heavy D. Though impossible to trump Low End's brilliance, the LP offered several classics (including Tribe's most infectious single to date, "Award Tour") and a harder sound than the first two albums. During the summer of 1994, A Tribe Called Quest toured as the obligatory rap act on the Lollapalooza Festival lineup, and spent a quiet 1995, marked only by several production jobs for Q-Tip. Returning in 1996 with their fourth LP, Beats, Rhymes and Life, Tribe showed signs of wear; it was a good album, but proved less striking than The Low End Theory or Midnight Marauders. While touring in support of 1998's The Love Movement, the group announced their impending breakup

People's Instinctive Travels And The Paths Of Rhythm

One year after De la Soul re-drew the map for alternative rap, fellow Native Tongues brothers A Tribe Called Quest released their debut, the quiet beginning of a revolution in non-commercial hip-hop. People's Instinctive Travels and the Paths of Rhythm floated a few familiar hooks, but it wasn't a sampladelic record. Rappers Q-Tip and Phife Dawg dropped a few clunky rhymes, but their lyrics were packed with ideas, while their flow and interplay were among the most original in hip-hop. From the beginning, Tribe focused on intelligent message tracks but rarely sounded over-serious about them. With "Pubic Enemy," they put a humorous spin on the touchy subject of venereal disease (including a special award for the most inventive use of the classic "scratchin'" sample), and moved right into a love rap, "Bonita Applebum," which alternated a sitar sample with the type of jazzy keys often heard on later Tribe tracks. "Description of a Fool" took to task those with violent tendencies, while "Youthful Expression" spoke wisely of the power yet growing responsibility of teenagers. Next to important message tracks with great productions, A Tribe Called Quest could also be deliciously playful (or frustratingly unserious, depending on your opinion). "I Left My Wallet in El Segundo" describes a vacation gone hilariously wrong, while "Ham 'n' Eggs" may be the oddest topic for a rap track ever heard up to that point ("I don't eat no ham and eggs, cuz they're high in cholesterol"). Contrary to the message in the track titles, the opener "Push It Along" and "Rhythm (Dedicated to the Art of Moving Butts)" were fusions of atmospheric samples with tough beats, special attention being paid to a pair of later Tribe sample favorites, jazz guitar and '70s fusion synth. Restless and ceaselessly imaginative, Tribe perhaps experimented too much on their debut, but they succeeded at much of it, certainly enough to show much promise as a new decade dawned.

01. Push It Along
02. Luck Of Lucien
03. After Hours
04. Footprints
05. I Left My Wallet In El Segundo
06. Public Enemy
07. Bonita Applebum
08. Can I Kick It?
09. Youthful Expression
10. Rhythm (Devoted To The Art Of Moving Butts)
11. Mr. Muhammad
12. Ham 'N' Eggs
13. Go Ahead In The Rain
14. Description Of A Fool

The Low End Theory

While most of the players in the jazz-rap movement never quite escaped the pasted-on qualities of their vintage samples, with The Low End Theory, A Tribe Called Quest created one of the closest and most brilliant fusions of jazz atmosphere and hip-hop attitude ever recorded. The rapping by Q-Tip and Phife Dawg could be the smoothest of any rap record ever heard; the pair are so in tune with each other, they sound like flip sides of the same personality, fluidly trading off on rhymes, with the former earning his nickname (the Abstract) and Phife concerning himself with the more concrete issues of being young, gifted, and black. The trio also takes on the rap game with a pair of hard-hitting tracks: "Rap Promoter" and "Show Business," the latter a lyrical soundclash with Q-Tip and Phife plus Brand Nubian's Diamond D, Lord Jamar, and Sadat X. The woman problem gets investigated as well, on two realistic yet sensitive tracks, "Butter" and "The Infamous Date Rape." The productions behind these tracks aren't quite skeletal, but they're certainly not complex. Instead, Tribe weaves little more than a stand-up bass (sampled or, on one track, jazz luminary Ron Carter) and crisp, live-sounding drum programs with a few deftly placed samples or electric keyboards. It's a tribute to their unerring production sense that, with just those few tools, Tribe produced one of the best hip-hop albums in history, a record that sounds better with each listen. The Low End Theory is an unqualified success, the perfect marriage of intelligent, flowing raps to nuanced, groove-centered productions.

01. Excursions
02. Buggin' Out
03. Rap Promoter
04. Butter
05. Verses From The Abstract
06. Show Business
07. Vibes and Stuff
08. The Infamous Date Rape
09. Check The Rhime
10. Everything Is Fair
11. Jazz (We've Got)
12. Skypager
13. What?
14. Scenario

Midnight Marauders

Though the abstract rappers finally betrayed a few commercial ambitions for Midnight Marauders, the happy result was a smart, hooky record that may not have furthered the jazz-rap fusions of The Low End Theory, but did merge Tribe-style intelligence and reflection with some of the most inviting grooves heard on any early-'90s rap record. The productions, more funky than jazzy, were tighter overall -- but the big improvement, four years after their debut, came with Q-Tip's and Phife Dawg's raps. Focused yet funky, polished but raw, the duo was practically telepathic on "Steve Biko (Stir It Up)" and "The Chase, Pt. 2," though the mammoth track here was the pop hit "Award Tour." A worldwide call-out record with a killer riff and a great pair of individual raps from the pair, it assured that Midnight Marauders would become A Tribe Called Quest's biggest seller. The album didn't feature as many topical tracks as Tribe was known for, though the group did include an excellent, sympathetic commentary on the question of that word ("Sucka Nigga," with a key phrase: "being as we use it as a term of endearment"). Most of the time, A Tribe Called Quest was indulging in impeccably produced, next-generation games of the dozens ("We Can Get Down," "Oh My God," "Lyrics to Go"), but also took the time to illustrate sensitivity and spirituality ("God Lives Through"). A Tribe Called Quest's Midnight Marauders was commercially successful, artistically adept, and lyrically inventive; the album cemented their status as alternative rap's prime sound merchants, authors of the most original style since the Bomb Squad first exploded on wax.

01. Midnight Marauders Tour Guide
02. Steve Biko (Stir It Up)
03. Award Tour
04. 8 Million Stories
05. Sucka Nigga
06. Midnight
07. We Can Get Down
08. Electric Relaxation
09. Clap Your Hands
10. Oh My God
11. Keep It Rollin'
12. The Chase, Part ll
13. Lyrics To Go
14. God Lives Through
15. Hot Sex

Beats, Rhymes and Life

With each of its first three albums, A Tribe Called Quest seemed to be on its way to bigger and better things, artistically and commercially. Beats, Rhymes and Life promptly ended that streak and still ranks as the group's most disappointing listen. Amplifying the bare beats-and-bliss of The Low End Theory but erasing the hooks of Midnight Marauders, Beats, Rhymes and Life simply wasn't a compelling record. In fact, A Tribe Called Quest sounded bored through most of it — and, to put it bluntly, there wasn't much to get excited about either. Previously so invigorating and idea-driven, Q-Tip and Phife strutted through their verses, often sounding confused, hostile, and occasionally paranoid (check out the battle tracks, "Phony Rappers" and "Mind Power"). Meanwhile, the skeletal productions offered little incentive to decode the lyrics and messages, most of which were complex as expected. Though several other tracks had solid productions (like the spry, bass-driven backing to "Phony Rappers"), Beats, Rhymes and Life saw A Tribe Called Quest making its first (and only) significant misstep. (Constant touring off the success of Midnight Marauders may have been a factor.) Yes, they were still much better than the vast majority of alternative rappers, but it seemed they'd lost their power to excite. One of the few successes was a surprising R&B crossover called "1nce Again" (featuring Tammy Lucas).

01. Phony Rappers
02. Get A Hold
03. Motivators
04. Jam
05. Crew
06. The Pressure
07. 1nce Again
08. Mind Power
09. The Hop
10. Keeping It Moving
11. Baby Phife's Return
12. Separate/ Together
13. What Really Goes On
14. Word Play
15. Stressed Out

The Love Movement (Limited Edition)

Continuing with the subdued, mature stylistic flow of Beats, Rhymes and Life, The Love Movement, the fifth album from A Tribe Called Quest, is the group's subtlest album yet -- which may just be a polite way for saying it's a little monotonous. Throughout the record, Tribe mines the same jazz-flavored, R&B-fueled beats that were the hallmark of Beats. Although the "love" concept provides a thematic cohesion to the album -- almost all of the songs are about love, in one way or another -- the overall effect is quite similar to its immediate predecessor: the music is enthralling for a while, but soon it all sounds a little too familiar. Part of the problem is that Tribe functions on a cerebral level, a point made painfully clear by Busta Rhymes' and Redman's roaring, visceral cameos on "Steppin' It Up." On their own, Tribe favors craft over raw skills. That means there are plenty of pleasures to be had from careful listening, but Tribe has reached a point where it's easier to admire the Ummah's stylish production and the subtle rhymes of Q-Tip and Phife than it is to outright love them, which is ironic for an album bearing the title The Love Movement.

CD 1:

01. Start It Up
02. Find A Way
03. Da Booty
04. Steppin' It Up (With Busta Rhymes & Redman)
05. Like It Like That
06. Common Ground (Get It Goin' On)
07. Moms (Ft Spanky)
08. His Name Is Mutty Ranks
09. Give Me (Ft Noreaga)
10. Pad & Pen (Ft D-Life)
11. Busta's Lament
12. Hot 4 U
13. Against The World
14. The Love
15. Rock Rock Y'All (Ft Punchline,Wordsworth,Jane Doe & Mos Def)

CD 2:
01. Scenario (Rmx)
02. Money Maker
03. Hot Sex
04. Oh My God (Rmx)
05. Jazz (We've Got) (Re-recording Radio)
06. One Two Shit (Ft Busta Rhymes)

Dear Rapaholics, later you can find here Compilation and Solo Discography of ATCQers! So stay tuned and enjoy the greatest hip-op lyrics and sounds in www.rapaholic.blogspot.com

Rapaholic™ Presents: Y-esha ~ They Like It (SIngle)

2010-09-04T10:58:00.000+04:00

In a hardcore, cut-throat industry dominated by men, many female artists are over looked, don’t make the cut, or simply do not have the drive, determination, desire, or focus to keep going and fully break in. Y-esha has what most of these other female artists are lacking, plus, her complete passion to be able to do this and feed her family fuels her failure is not an option attitude. With her humble beings in the church, Y-esha could not deny the love that she was developing for hip hop through her surroundings, friends, and life. At this point Y-esha was accepting hip hop for all it was and had to offer. She was hooked.

After many years of just messing around with the thought of doing music, at age 16, Y-esha recorded her first demo in Springfield, Mo. Thinking that this was all that she had to do to be a superstar, she thought that she was on her way. Unfortunately, this demo ended up being nothing more than just a CD for her friends to ride around to with nothing more coming from it. A learning experience, none the less, Y-esha decided to take a different approach with her music talent and decided to head back home to St. Louis, Mo., and make another push in a different market.

With the second CD release entitled ‘D-Girl Fresh’, Y-esha began to grab the attention of the streets and create a buzz. . Hitting the streets of St. Louis by herself, Y-esha single-handedly began to take over and make a name for herself through her own self funded promotional CD’s, t-shirts, and flyers. With her grind and hustle not going unnoticed, Y-esha soon picked up the attention of local promoters and began to actively network and build relations with these members of the local industry. From here Y-esha was soon opening for acts such as Trina, Young Buck, Ben Hill Squad, Lil Boosie, and DJ Unk just to name a few. Delivering her trademark high energy, crowd mesmerizing performance, Y-esha left the crowd wanting more with a positive lasting impression on all in attendance. But it was her willingness to promote and think out the box grabbed the attention of the DJ’s.

As Y-esha’s buzz rose, so did her contacts connecting with some of the best rappers and producers in St. Louis, Mo. It wasn’t until she received a track from a producer by the name of Mr. Skip A Beat, did she know that she had a hot record on her hands. They went into the studio and came out with the hit single ‘Get Money’. The new single ‘Get Money’ soon had Y-esha’s name spreading like wildfire through out the St. Louis underground scene. With such a quick powerful buzz in the streets it was only a matter of time before it would hit the ears of a DJ’s at one of the biggest mix shows in the St. Louis area. Just like that ‘Get Money’ caught the ear of DJ Sno on Hot 104.1 FM. This coupled with Y-esha’s hard work and determination the record built enough success to get Y-esha nominated and crowned the 2009 Female Artist of the Year at the Traffic Music Awards held in St. Louis, Mo.

Since then Y-esha has been featured in Midwest Leak Magazine, RocHarder Magazine, with mentions in Ozone Magazine as well. She has recently connected and is working directly with A&R consultant Kevin Shine to develop a new sound and guide the waves of hip hop. After many sessions Y-esha is proud to present the world with her new the new record “They Like It” featuring LS and Jenny Vokals. The record speaks for itself as the feel good song catches the attention of everyone. With immediate crossover appeal, this record is designed with not just hip hop heads in mind, but for anyone who loves and enjoys music.

The movement has just started for Y-esha. Building her craft from the ground up, staying determined, and focused, is what has lead to this new movement. Are you apart of the movement?

Contact information

Tiffany Griffin 314 480 0361

Y-esha sites

www.twitter.com/yeshamusic

www.myspace.com/yeshamusic

www.facebook.com/yeshamusic

www.youtube.com/yeshamusic

Rakim x DJ Hedspin x SHarks + Hammers ~ The R Mixtape Volume 1.0

2010-09-04T10:34:00.000+04:00

ERIC B AND RAKIM - MAHOGANY (WHO IS RAKIM)
AL GREEN - I'M SO GLAD YOU'RE MINE
ISAAC HAYES - JOY
BOBBI HUMPHREY - BLACK AND BLUES
ERIC B AND RAKIM - KEEP THE BEAT
BOB JAMES - STORM KING
RAKIM - LIVIN FOR THE CITY
NAS & ALICIA KEYS FEAT RAKIM - NY STATE OF MIND
CECIL HOLMES - CALL ME
RAKIM - IT'S BEEN A LONG TIME
GANG STARR FEAT RAKIM - THE MILITIA
RAKIM - WHEN I BE ON THE MIC
TAGYERIT - SUBWAY SURFING
TALIB FEAT RAKIM - THE GETTING UP ANTHEM PART 1
RAKIM - GUESS WHO'S BACK
BOB JAMES - SHAMBOOZIE
RAKIM - IT'S THE R RAKIM - REAL SHIT
RAKIM - ALL NIGHT LONG
ERIC B AND RAKIM - REAL MEN DRINK (ST. IDES)
BILL WITHERS - KISSIN MY BABY
ERIC B AND RAKIM - IN THE GHETTO (DRUMS MIX)
MOUNTAIN - LONG RED
JAMES BROWN - FUNKY PRESIDENT (RAKIM - JAMES BROWN INTERVIEW)
ERIC B AND RAKIM - ERIC B FOR PRESIDENT
THE JB'S - PASS THE PEAS
ERIC B AND RAKIM - I AINT NO JOKE
AVERAGE WHITE BAND - SCHOOL BOY CRUSH
ERIC B AND RAKIM - MICROPHONE FIEND (EXTENDED REMIX)
THE SOUL SEARCHERS - ASHLEY'S ROACH CLIP
DENNIS EDWARDS - DON'T LOOK ANY FURTHER I
NDEEP - WHEN BOYS TALK (ACAPELLA)
OFRA HAZA - IM NIN ALU
ERIC B AND RAKIM - PAID IN FULL (DEREK B'S URBAN RESPRAY)
JODY WATLEY FEAT RAKIM - FRIENDS (REMIX)
TRUTH HURTS FEAT RAKIM - ADDICTIVE (REMIX) RAKIM - GET SOME (ST. IDES)
CARL DOUGLAS - DANCE THE KUNG FU
DJ PREMIER / KANYE WEST FEAT RAKIM - CLASSIC
YOUNG HOLT UNLIMITED - QUEEN OF THE NILE
KOOL & THE GANG - GIVE IT UP
ERIC B AND RAKIM - JUST A BEAT
ERIC B AND RAKIM - DON'T SWEAT THE TECHNIQUE
FUNKADELIC - YOU'LL LIKE IT TOO
ERIC B AND RAKIM - I KNOW YOU GOT SOUL (DOUBLE TROUBLE REMIX)
JODY WATLEY FEAT RAKIM - OFF THE HOOK
ERIC B AND RAKIM- LET THE RHYTHM
NATT ADDERLEY - RISE SALLY RISE
ERIC B AND RAKIM - JUICE (KNOW THE LEDGE)
ERIC B AND RAKIM - PASS THE HAND GRENADE
EUGENE MCDANIELS - HEADLESS HEROES
ERIC B AND RAKIM - COMPLICATEM (PASS THE HAND GRENADE PART 2)
ERIC B AND RAKIM - HYPNOTIC
ERIC B AND RAKIM - MUSICAL MASSACRE
JIMMY CASTOR BUNCH - IT'S JUST BEGUN (HEDSPIN'S IT'S JUST ABOUT TO END TRANSITION EDIT)
ERIC B AND RAKIM - WHAT'S ON YOUR MIND

Pharoahe Monch ~ The Thirteen Mix (Top 5 Dead or Alive)

2010-09-04T10:24:00.000+04:00

Intro/Simon Says (Serv1 Blend)
Guerilla Monsoon Rap feat. Black Thought + Talib Kweli + Kanye West
Weed #1
Tight (Remix)
Metal Thangz feat. Street Smartz + O.C.
Talking To You feat. Rah Digga
Innovations feat. Saukrates
Tooley Crew Personified
Thirteen
My Life
The Healer (Remix) feat. Erykah Badu
Sin
Bring It On (Remix/Serv1 Blend)
Freestyle (Kay Slay) feat. Mos Def
Push (Serv1 Blend) feat. Showtyme + Mela Machinko + Tower Of Power*
Mayor
Rehab (Remix) feat. Amy Winehouse
Freestyle
Ill Collabo feat. Cella Dwellas + Prince Po
Freesyle (Stretch Armstrong Show) feat. Lord Finesse + Prince Po
Fudge Pudge (Serv1 J Dilla Mix)
Frontlines feat. El Da Sensai + F.T. + Mike Zoot
Loose Ends feat. Sergio Mendes + Justin Timberlake
Freestyle (Live w/The Roots)
Shine/Outro

guess whos back! follow me on twitter: @eliko_b

2010-07-13T17:47:00.000+04:00

Support this young jazzy Girl in Jazz!

2010-01-30T14:22:00.001+03:00

All ya`ll gansgaz, hustlaz, pimp, dealers )) do me a favah and support by clicking whereever you are!

CLICK CLICK BLAW

KRS 1 ft. Buckshot - Survival skills (Duck Down Music)

2009-09-20T02:26:00.003+04:00

1 Survival Skills 03:53
2 Robot04:05
3 The Way I Live 03:58
4 Clean Up Crew 03:56
5 Oh Really 03:13
6 Connection 05:22
7 Runnin Away 04:39
8 Think of All the Things 04:03
9 One Shot 03:46
10 Amazin 03:46
11 Hear No Evil 03:20
12 Murder 1 03:58
13 We Made It 04:24
14 Past * Present * Future 04:35

Cappadonna - Slang Prostitution (Chambermusik)

2009-09-20T02:19:00.005+04:00

Slowly crawling out of the hole he dug with 2001's The Yin and the Yang plus 2003's The Struggle, Cappadonna makes good with Slang Prostitution, a better yet still uneven effort that finally arrived in early 2009 after more than a year of delays. It's overstuffed at 19 tracks, and hard ballers like "Life's a Gamble" with Raekwon seem out of Capp's reach here, but when the off-kilter Wu-Tang rapper turns to mischief, women, or something breezy, he excels. The out of tune swaggering on "Walk with Me," the hazy nostalgia of "Stories," and the wonderfully spaced-out "Da Vorzon" all work splendidly, but it's the "biddy-biddy-bop" jazz of "Somebody's Got to Go" that towers over all with the lyrics bouncing all over G-Clef da Mad Komposa's almost-Us3 production. The redundant songs plus three chapters of the tedious spoken word piece "You Can't Keep a Good Man Down" keep this one off the top tier, but fans will recall the good ol' days when Capp explains how he's living the "Savage Life" with the throwback stinger "To animals/My words be the words of Christ."

You Can't Keep A Good Man Down Part I
Savage Life
Three Knives feat 3rd Diglah & Lounge Lo (prod by Soul Professor)
Walk With Me feat Joey Lee (prod by Digem Trax & G-Clef Da Mad Komposa)
Do You Remember?
That Staten Island Shit feat Lounge Lo (prod by Digem Trax)
Stories feat Jojo Pellegrino & 3rd Diglah (prod by 3rd Diglah)
Life's A Gamble feat Raekwon and Rachet (prod by Rush)
Hustle & Flow
You Can't Keep A Good Man Down Part II
Pistachio feat Lounge Lo, King Just & Lugar (prod by Soul Professor)
Grungy feat G-Clef Da Mad Komposa (prod by Q-Dini)
What's Really Up?
Da Vorzon feat Lounge Lo (prod by Blastah Beats)
Somebody Got To Go feat Lounge Lo & Ghetto Philharmonic
Fire feat Masta Killa (prod by Chicargo)
Speed Knots feat Precise (prod by N.E.S.)
Stay Shining
You Can't Keep A Good Man Down Part III

Grand Puba - Retroactive (Babygrande)

2009-09-20T02:11:00.002+04:00

I See Dead People Grand Puba, Lord Jamar, Rell (4:26)
Hunny Grand Puba (4:04)
It Is What It Is Grand Puba, Tiffini Davis (5:03)
Get That Money Grand Puba (3:23)
How Long? Grand Puba (3:53)
Good to Go Grand Puba, Q-Tip (2:21)
Same Old Drama Grand Puba, Large Professor (1:29)
This Joint Right Here Grand Puba, Kid Capri (3:17)
Go Hard Grand Puba, Taleesa (3:35)
Reality Check Grand Puba, Sarah Martinez (3:08)
Cold Cold World Grand Puba, Khadija Mohammad (4:31)
Smile (Outro) Grand Puba, Big Phil (1:55)
This Joint Right Here [Remix][*] Grand Puba, Kid Capri, Sadat X, Lord Jamar (3:23)

Q-tip - Kamaal/The Abstract

2009-09-20T01:50:00.005+04:00

A personal, unique project compared to Amplified (Q-Tip's first under his own name), Kamaal the Abstract fittingly sounds more like a solo album; whereas Amplified merely built on the digital soul of the last Tribe Called Quest album (The Love Movement), this one is wide-ranging and diverse, a relaxed, loose-limbed date. Q-Tip lays way back on these cuts, rapping in a quick, low monotone for the opener, "Feelin'," even while the song breaks into some restrained guitar grind on the choruses. Guitars, in fact, crop up all over this record. Setting aside comparisons to the contemporary record by N.E.R.D. (the rock side project of hip-hop super-producers Neptunes), Q-Tip crafted a record that pays homage to the last gasp of organically produced mainstream pop in the '70s and '80s, paying a large compliment to Prince and Stevie Wonder, even as he proves himself far more talented than D'Angelo (if not quite as soulful). The beats are pointed and clipped, to be expected on a Q-Tip record, but he allows plenty of space for the arrangements to speak, like the trim trumpet lines pacing "Even if It Is So" or allowing plenty of room for extended blowing from a flute on the warm, pastoral "Do You Dig You." The former is one of the best tracks here, Q-Tip introducing his story song with a fluid, ten-second speed-rap that says more about the plight of the single mother he adores than any other rapper could with an entire album. This wasn't the kind of record that lights up the charts -- which could account for the reason it didn't appear on the shelves in late April 2002, as expected, and only earned an official release in 2009 -- but in many ways it's superior to the released Amplified. [The 2009 release via Jive included a bonus track, "Make It Work."]

Feelin’
Do U Dig U?
A Million Times
Blue Girl
Barely in Love
Heels
Abstractionisms
Caring
Even If it is So
Make it Work [bonus track]
Damn, You’re Cool [iTunes bonus track]

one of greatest...phoetry

2009-09-18T01:35:00.008+04:00

During the first several years of the 2000s, it wasn't unreasonable to want Mos Def, one of the most dazzling living MCs, to make a rap album. After he released 2006's True Magic, his first all-rap release in seven years -- following the back-to-back instant classics Black Star and Black on Both Sides -- it was easier to understand why he had been devoting much more time to acting and diversions like The New Danger. It was evident that he was not inspired, no doubt prompting a fair portion of his followers to think, "OK, maybe we should have been more specific: please make a good rap album." On The Ecstatic, it's not as if Mos Def makes a full return to the lucid/bug-eyed rhymes heard on decade-old cuts like "Hater Players" and "Hip Hop." Instead, he comes up with a mind-bending, low-key triumph, the kind of magnetic album that takes around a dozen spins to completely unpack. Oscillating between cerebral gibberish and seemingly nonchalant, off-the-cuff boasts, it's obvious that Mos Def is back to enjoying his trade. For those who are deeply into the Stones Throw label, the album won't take quite as long to process. Some of the productions from brothers Madlib and Oh No were pulled from their instrumental releases, including a pair from the India-themed installments of the Beat Konducta series. Altogether, they provide much of the album's dusty off-centeredness; even though "Supermagic" has Mos Def at his most energized and alert, its needling psychedelic guitars and sweeping Bollywood drama are transportive. Combined with backdrops from Georgia Anne Muldrow, Preservation, the Neptunes' Chad Hugo, and the Ed Banger label's Mr. Flash, the album is a gumbo that adds juicy dub thwacks, regal synthetic horns, tangled piano vamps, dashes of spiritual jazz, and rolling Afro-beat, almost all of which is cloaked in light reverb. Though there are highlights throughout, two of the most notable tracks are at the very end: "History," where Talib Kweli joins in over a wistful J Dilla beat, and "Casa Bey," where a playful Mos Def somehow keeps up with Banda Black Rio's deliriously frantic samba funk.

1. “Supermagic”
2. “Twilite Speedball”
3. “Auditorium” feat. Slick Rick
4. “Wahid”
5. “Priority”
6. “Quiet Dog”
7. “Life In Marvelous Times
8. “The Embassy”
9. “No Hay Nada Mas”
10. “Pistola”
11. “Pretty Dancer”
12. “Worker’s Comp”
13. “Revelations”
14. “Roses” feat. Georgia Anne Muldrow
15. “History” feat. Talib Kweli
16. “Casa Bey”

Holla If Ya Hear Me!

2009-07-17T02:51:00.003+04:00

What`s good in the hood baby! )) as Salaam aleikum all yall...it`s been a loooong time, that i can't fix sum stuffs in here...i was in military whole past year...and now im back, ill try to reborn this blog with old n new shitz...stay cool n enjoy if ur real Rapaholic!

Shout out 2 Rapaholics!!!

2008-03-26T15:59:00.002+03:00

Here we go again!!!

AZ - Undeniable

Label..........: KOCH

Source.........: CDDA

Genre..........: Rap

Size...........: 60,6 MB

Rip Date.......: 03-25-2008

Release Date...: 00-00-0000

Quality........: LAME 3.97 V2

-----------------------------------------

01. AZ - The Game Don't Stop 04:07

02. AZ - Superstar 04:21

03. AZ - Life On The Line 04:32

04. AZ - Fire 03:14

05. AZ - What Would You Do (feat. Jay Rush) 04:19

06. AZ - Dead End 03:25

07. AZ - Parking Lot Pimpin' 04:23

08. AZ - Undeniable 03:24

09. AZ - Go Getta (feat. Ray J) 04:03

10. AZ - Now I Know 03:15

11. AZ - A. Game 03:25

12. AZ - The Hardest (Video Mix) (feat. Styles P) 07:45

The Teacha Returns...

2008-02-14T11:34:00.003+03:00

Title [Adventures In Emceein]

Artist [KRS-One]

Label [Echo-Vista]

Genre [Hip-Hop]

Quality/Size [44,1 @VBR 73,3 MB]

Ripped [02-13-2008]

Grabbed from [CDDA ]

Enc [Lame 3.97]

----------------------------------------

01 00:16 Intro F. Rakim

02 00:54 TodayÆs Topics F. Chuck D

03 03:39 Our Soldiers F. Cx

04 03:41 Money F. MC Lyte

05 03:23 We Dem Teachas F. Keith Stewart

06 02:57 Better & Better F. Pee-Doe

07 02:42 The Way ItÆs GoinÆ Down

08 02:22 The Teacha Returns

09 03:06 The Real Hiphop F. Nas

10 02:49 Watch This! F. S-Five

11 03:32 WhatÆs Your Plan?

12 02:37 All Right F. Just Blaze

13 02:53 DonÆt Get So High (Dancehall Mix)

14 02:38 I Got You

15 03:10 All My Love F. Carlet Boseman

16 03:08 Over 30 (Remix)

17 03:07 Getaway

18 03:44 DonÆt Give It Up F. S-Five

19 03:24 Gro---Oh!(Hiphop Nation) F. S-Five

20 03:43 ItÆs All Love F. Non-Stop

21 02:57 Wachanoabout F. Vince Flores On Guitar

Hip-hop is definitelly lives!!!!!!!!!!!

vOtE - hOpE

2008-02-07T10:38:00.000+03:00

I'm not an American but i know they can!

as Salaam aleikum!

Great performance: Dead Prez - Live In San Francisco

2008-02-05T12:01:00.000+03:00

Artist: Dead Prez

Title: Live In San Francisco

Label: 2B1 Multimedia

Genre: Rap

Bitrate: 142kbit av.

Time: 00:48:48

Size: 52.17 mb

Rip Date: 2008-02-04

Str Date: 2008-02-05

--------------------------------------------------
1. Turn Off The Radio 1:53

2. That's War! 1:50

3. We Need A Revolution 2:24

4. Know Your Enemy 2:11

5. Hell Yeah (Pimp The System) 2:45

6. W-4 3:04

7. Assassination 1:10

8. Behind Enemy Lines 1:26

9. B.I.G. Respect 1:33

10. I'm A African 1:40

11. Runaway Slave 1:29

12. Grown Man 1:25

13. When Mama Cries 3:12

14. Mind Sex 2:49

15. Fuck The Law 1:18

16. It's Bigger Than Hip-Hop 2:46

17. Walk Like A Warrior 1:53

18. Twenty 1:11

19. They Schools 3:10

20. Riot Starter (Bonus) 2:16

21. Running Hot (Bonus) 2:25

22. Portraits Of Life (Bonus) 2:18

23. Bonus Remix Track 2:38

FIYA )) stay tuned...

Talib Kweli Writes Open Letter, Supports Obama!

2008-02-05T11:27:00.000+03:00

On his song "Say Something," Brooklyn emcee Talib Kweli said that he "speaks to the people like Barack Obama." That waving name-check might not have been an endorsement. But if there was any question who the emcee and label-owner was supporting in this year's primary election, Kweli wrote an open letter to voters just hours before Super Tuesday.
"It is the last year of the Bush Administration and thank God. I usually rail against being described as simply 'political rapper,' and I haven't voted since Bill Clinton first ran for president. I was following the tradition that black Americans have had of voting for Democrats since we got the right in 1964 (temporarily). Then, Clinton, as president's go, seemed better than Bush Sr., but I did not like his policies in Sudan or the constant bombing of Iraq. I also did not like the way our government dragged us through the Lewinsky Scandal. I felt betrayed by the system, and I stopped voting, no longer accepting of the lesser of two evils. I knew the two party system was designed to fail us. I knew that politicians must lie for a living, because it would be impossible to make good on their promises. I knew about the lobbyists and the PAC. I did not make it my issue, but if someone asked me, I would explain why I didn't vote. Most of the time people talked to me like I lost my mind, but every once and awhile someone understood. I knew that our ancestors fought and died for the right to vote, but I didn't feel like voting for the lesser of two evils in a broken system was the proper way to honor them. It was pageantry, and I wasn't with it. I wasn't with Vote or Die, because I knew that voting itself, with no real knowledge of who is paying these candidates to run million dollar a day campaigns, is far from a revolutionary act. I haven't even started to talk about the electoral college that they taught us about in grade school. In this republic, delegates votes are counted, and states with more land have more votes. You can technically have more votes, but lose the election. When the verdict is in question, the Supreme Court decides, as they did when Al Gore clearly won the election but lost due to bipartisan bullshit. The bankers of the world pay our politicians, and often tailor laws and regulations to line their own pockets. I have often stated that I cannot participate in a system that not only is designed to see me fail, but corrupts itself as well.
This was all before Barack Obama threw his hat in the ring. I, like many, appreciated his effort from the sidelines, watching him do the dance on the news. I found myself relating to him and enjoying hearing him speak, but I still remained distrustful of politicians in general. I felt like I could serve my community in many ways on a grassroots level that proceeded politics. I started to see the Obama campaign doing that grassroots work. I hear him speaking about poor people, the environment, things that I haven't heard from politicians who have electability. My criticism of the political system is that it siphons out rational thought because who have to be all things to all people. You can't stand for anything doing that. I remember when Obama spoke out against the war, early. I think the time he spent as a civil rights attorney on Chicago's South Side gives him a unique perspective. I often hear about his lack of experience, but his experience is one that I most closely identify with. I'm not saying I could be president, but I am saying that our government could use a new energy. In order for a revolution to happen, you need revolutionary writers, soldiers, teachers, poets, musicians, garbage-men, cab drivers, politicians, across the board. Everyone will not always agree, but the things we agree on, we should strengthen. When I was younger, none of this really mattered. Now I have two beautiful children, and Barack Obama is an incredibly positive influence on them. I want them to know they can be anything they want.
With that said, I still feel the same as I do about the political system, and one man can't change it. But this man deserves our support nonetheless. I appreciate what he's doing, and there comes a time in history when change is necessary for all of us to prosper. I can't be critical of a society that is scared of change, but be stubborn in my ways for the sake of it. I support Barack Obama and encourage others to take a real look at his campaign so they can come to their own conclusions. I am not delusional about what the office of the president represents, but my support for him is just that, support for someone speaking my language amidst an ocean of double-talk. Thank you for you time." - Talib Kweli, artist/CEO, Blacksmith Music.

Link

Erykah Badu - Honey (Prod. by 9th Wonder)

2008-01-30T17:16:00.000+03:00

Erykah Badu on top again as all dawmn time )) Watch the video from her coming album "New Amerykah"

Rapaholic™ Present: Kool G Rap - Half a Klip

2008-01-30T11:18:00.000+03:00

Label................: Latchkey / Koch

Genre................: Hip-Hop

StoreDate...........: Feb-05-2008

Source...............: CDDA

Size.................: 40,5 MB

Total Playing Time...: 34:56

-===================================-

01. Risin' Up 03:52

02. Turn It Out 02:28

03. 100 Rounds (Original Version) 02:43

04. The Life 04:08

05. Typical Nigga 01:39

06. What's More Realer Then That? 02:44

07. I Feel Bad For You Son 01:43

08. With A Bullet 04:12

09. On The Rise Again 03:44

10. Bonus 1 03:59

11. Bonus 2 03:44

Support the artist...u know what i mean!!!
as Salaam aleikum

Rapaholic™ Present: Chino XL & Playalitical - Something Sacred

2008-01-24T13:41:00.000+03:00

Artist: Chino XL & Playalitical

Album : Something Sacred-(Retail)

Genre: Hip-Hop

Label: Illuminated Ent. Group

Rip Date: Jan-23-2008

Street Release: Jan-15-2008

Size: 66,9 MB

Encoder: Lame 3.97 Final -V2 --vbr-new

Grabber: EAC Secure Mode

Source: CDDA

Bitrate: VBRkbit - 44.1kHz - Joint-Stereo

Playing Time: 51:01 min

-------------------------------------

01. 00:26 Chino XL And Playalitical - Always Has Been, Always Will Be

02. 04:37 Chino XL And Playalitical - Jump Off

03. 03:55 Chino XL And Playalitical - Bat Signals Up

04. 02:49 Playalitical Ft. Duce Stabs - All I Ever Hear

05. 03:43 Playalitical - License To Puke

06. 03:51 Chino XL And Playalitical Ft. Spoke - In-Wordz-Violate You

07. 03:15 Chino XL - Stay In The Lines

08. 02:37 Chino XL And Playalitical Ft. Supernatural - Body You

09. 04:02 Playalitical - Things To Do In Denver When You're Dead

10. 05:02 Chino XL - Posiden

11. 00:26 Chino XL And Playalitical - Something Sacred

12. 03:42 Chino XL And Playalitical - Its No Secret

13. 04:05 Playalitical - Let It Snow

14. 03:28 Chino XL Ft. Bizzy Bone - Be With You

15. 05:03 Playalitical - Smoke Screen

Rapaholic™ Present: Percee P - Perseverance The Remix

2008-01-24T13:09:00.000+03:00

Label................: Stones Throw

Genre................: Hip-Hop

StoreDate...........: Jan-29-2008

Source...............: CDDA

Size.................: 49,8 MB

Total Playing Time...: 41:33
--------------------------------------------

01. Put It On The Line (Remix) 02:18

02. 2 Brothers From The Gutter (feat. Diamond) (Remix) 02:57

03. The Hand That Leads You (Remix) 02:38

04. Who With Me? (Remix) 02:55

05. NY (Interlude) 00:30

06. The Dirt & Filth (Remix) (feat. Aesop Rock) 03:37

07. Ghetto Rhyme Story (Remix) 03:30

08. Legendary Lyricist (Remix) (feat. Madlib) 03:42

09. Ox (Interlude) 00:21

10. Real Talk (Remix) 03:35

11. Throwback Drum Attack (Remix) (feat. Karriem Riggins) 03:56

12. No Time For Jokes (Remix) (feat. Chali2na) 03:31

13. Last Of The Greats (Remix) (feat. Prince Po) 03:40

14. The Woman Behind Me (Madlib Remix) 04:23

Remixes by Madlib

Rapaholic™ Present: Torae - Daily Conversation

2008-01-23T17:10:00.000+03:00

Label................: Internal Affairs / Coalmine Records Genre................: Hip-Hop
StoreDate...........: Jan-29-2008
Source...............: CDDA
Size.................: 56,9 MB
Total Playing Time...: 54:03
----------------------------------------------------
01. Intro 03:52
02. Callin' Me 03:17
03. Somethin' To See 03:15
04. The Journey Pt. 1 03:06
05. Click (feat. Skyzoo) 03:50
06. Fantaztik (feat. Chaundon, Skyzoo, & Kil Ripkin) 03:42
07. Think About It (feat. Teflon) 02:59
08. Switch 02:47
09. Get It Goin' 03:11
10. Save The Day (feat. Stimuli & Kel Spencer) 03:56
11. Da Nigguz Is Commin' (feat. Tash) 03:03
12. CME The Entity (feat. Skyzoo, Yatta Barz, & Zeqway) 03:28
13. Get It Done (feat. Skyzoo) 03:44
14. Tayler Made 03:29
15. Casualty (+ Hidden Track) 06:24

This stuf is crazy production by Primo, 9th Wonder, Marco Polo, Black Milk, Khrysis & others. Grab it now!

As Salaam Aleikum!

Black Sheep (Dres & Mr. Long)

2008-01-21T15:39:00.000+03:00

Remembered for a couple of striking singles and their membership in the Native Tongues family of groups, Black Sheep also recorded one of rap music's most entertaining debuts, A Wolf in Sheep's Clothing. Handling both production and delivery, Dres and Mista Lawnge appeared headed for a long, rewarding career, but unfortunately faded after the release of their long-delayed sophomore set.
Both members, Andre Titus (Dres) and William McLean (Mista Lawnge), were natives of New York who grew up in North Carolina, Titus the son of a military man. Both were also hip-hop fans during the mid-'80s, Dres as an MC and Mista Lawnge as a DJ. Looking for a record contract, Lawnge moved to New York -- where he'd spent time as a child -- and played a gig with DJ Red Alert, who introduced him to Mike Gee of the Jungle Brothers. Gee's connection to the newly christened Native Tongues family (headed by Afrika Bambaataa along with Queen Latifah) inspired Lawnge to form Black Sheep and recruit Dres as the group's MC. The duo's first release, "Flavor of the Month," was one of the hottest rap singles of 1991, and the ascendancy of Native Tongues groups De la Soul and A Tribe Called Quest only improved Black Sheep's fortunes. Their debut album, A Wolf in Sheep's Clothing, released on Mercury late that year, hit number 30 on the album charts and the next single, "The Choice Is Yours," was an MTV hit (thanks to director Chuck Stone's video) and a surprising success at college radio (aside from specialty shows, rap rarely appeared on college play lists). The album eventually moved close to one million copies, and the pair appeared on the Brand New Heavies' Heavy Rhyme Experience, Vol. 1 next to the era's hottest rappers: Main Source, Gang Starr, Kool G Rap, and the Pharcyde.
Black Sheep's follow-up, Non-Fiction, was doomed from the start. Released in 1994, the record received close to zero promotion and lacked the imagination of A Wolf in Sheep's Clothing. The single "Without a Doubt" got a little airplay, but the duo split soon after. Both worked on varying projects, and Dres released his solo debut, Sure Shot Redemption, in 1999. (One year later, he appeared in the film Once in the Life, Laurence Fishburne's debut as a director, playing a bagman for a drug kingpin.) Black Sheep reunited to produce a track for the film's soundtrack, toured with Das EFX, and announced the recording of a new album.

Black Sheep - A Wolf in Sheep's Clothing (Oct 22, 1991; Mercury)

Playfully satirical, witty, and incredibly imaginative, A Wolf in Sheep's Clothing introduced one of the freshest talents in early-'90s rap, a self-produced duo who caught the tail end of the Native Tongues family. Though Dres and Mista Lawnge didn't match the brilliant wordplay of A Tribe Called Quest or De La Soul, their topics were well-chosen, they were presented in a hilarious context, and every song was backed up by strong productions and great rapping. A Wolf in Sheep's Clothing wasn't a comedy record, but it was difficult to tell when the duo were half-serious or half-joking, especially since they were often the objects of their jokes. They poked fun at many aspects of black music and culture of the early '90s, everything from the persuasive gangster mentality ("U Mean I'm Not"), obsessions over the Afrocentric viewpoint ("Are You Mad?"), and lewd sex raps ("La Menage"), as well as an amusingly incorrect response to feminism ("L.A.S.M."). They also dropped a few of the best hip-hop club tracks of the era, the insanely catchy items "The Choice Is Yours (Revisited)," "Try Counting Sheep," and "Flavor of the Month." (Another smooth dance tune, "Strobelite Honey," was dreadfully honest about girls who look better under the lights than upon closer inspection.) Polar opposites to the ranks of somber political rappers, and deftly counteracting the indulgence and self-seriousness of many alternative groups, Black Sheep hit a height with their debut that few hip-hop acts would ever reach.

Black Sheep - Non-Fiction (Dec 6, 1994; Mercury)
Three years isn't an especially long time between albums, but in hip-hop an epoch separated 1991 from 1994. That made it especially difficult for Black Sheep to follow up their prescient debut, and unfortunately, it appeared they'd run out of significant ideas after just one LP. Non-Fiction is bland where A Wolf in Sheep's Clothing was exciting, stiff and rigid instead of dexterous, and most astonishing of all, unreflective and self-serious where their debut had been imaginative and playful. "Autobiographical" is an interesting opener, telling the story of Black Sheep's transition from New York to Carolina and back, but despite some smooth raps and interesting wordplay, nothing else here says anything. The smooth club single "Without a Doubt" is the only track catchy enough to rank with the first record, and Black Sheep's sharp social critiques were entirely missing. Similar to the Pharcyde, their stylistic brothers from the West Coast, the sophomore slump hit Black Sheep particularly hard, and practically destroyed them as creative artists.

Black Sheep - 8wm/novakane (Ripped: 01-19-2008; BumRush Records)

Genre [Hip-Hop]

Quality/Size [44.1 @VBR 63,9 MB]

Grabbed from [CDDA]

Enc [Lame 3.97]

Website [http://myspace.com/blacksheep]

----------------------------------------------
01 01:48 U Mean I Don't

02 04:25 Grew Up

03 04:45 Be Careful Feat. Choklate

04 03:48 Whodat

05 04:04 Shorty

06 03:56 Sunshine Feat. Dinky Bingham

07 04:01 8wm

08 04:02 Novakane

09 04:11 Wonder Feat. Yummy Bingham

10 04:37 Heed The Word

11 03:40 Everyday Feat. Choklate

12 04:06 Hey

13 04:08 Novakane Groove

Rapaholic™ Present: Big Noyd - Illustrious

2008-01-18T12:43:00.000+03:00

Label................: Koch

Genre................: Rap

StoreDate...........: Jan-22-2008

Source...............: CDDA

Size.................: 50,6 MB

Total Playing Time...: 40:13

-----------------------------------------------

01. Snitches 03:20

02. Posted On The Block 03:10

03. So Much Trouble (feat. Serani) 03:13

04. Heartless 03:12

05. Money Talk 02:53

06. Things Done Changed (feat. Kira) 02:58

07. Back Up In This Bitch 02:53

08. The Paper (feat. Jay Rush) 02:03

09. Ghetto (feat. Joell Ortiz) 03:11

10. It's A Wrap (feat. Ric Rude) 02:56

11. Trying To Make It Out (40 Glocc & B.A.M.) 02:50

12. Nowhere Else To Hide 03:19

13. Rags To Riches 02:56

14. Get It Poppin' 01:19

Great performance: John Legend - Live From Philadelphia

2008-01-18T11:56:00.000+03:00

Label..........: Columbia
Source.........: CDDA

Genre..........: Soul

Size...........: 108,0 MB
Rip Date.......: 01-15-2008

Artist Info....: n/a

Release Date...: 00-00-0000

Quality........: LAME 3.97 V2

-----------------------------------------------

01. John Legend - Do You Wanna Ride

02. John Legend - Heaven

03. John Legend - Stereo

04. John Legend - Lets Get Lifted

05. John Legend - Alright

06. John Legend - Number One

07. John Legend - Save Room

08. John Legend - Where Is The Love Ft.Corinne Bailey Rae

09. John Legend - I Can Change

10. John Legend - I Want You-(Shes So Heavy)

11. John Legend - Slow Dance

12. John Legend - Dance To The Music

13. John Legend - Again

14. John Legend - PDA (We Just Dont Care)

15. John Legend - Used To Love U

16. John Legend - Ordinary People

17. John Legend - Comming Home

18. John Legend - Show Me-(Encore)

19. John Legend - So High-(Encore)

Rapaholic™ Present: Bishop Lamont & Black Milk - Caltroit

2007-12-18T16:35:00.000+03:00

Black Milk Presents-Caltroit

Label................: Music House

Genre................: Hip-Hop

StoreDate...........: Dec-24-2007

Source...............: CDDA

Size.................: 87,9 MB

Total Playing Time...: 75:06

---------------------------------------------------

01. Caltroit - Murder Hextro 02:16

02. Caltroit - Caltroit (feat. Indef & Chevy Jones) 03:31

03. Caltroit - On Top Now (feat. Stat Quo) 04:05

04. Caltroit - Inconvenient Truth 04:27

05. Caltroit - Bad Girl 03:59

06. Caltroit - Goatit (feat. Phat Kat & Elzhi) 05:33

07. Caltroit - Go Hard (feat. Rass Kass & Royce Da 5'9") 04:33

08. Caltroit - Mouth Music (feat. Guilty Simpson & Busta Rhymes) 05:27

09. Caltroit - Juggernauts (feat. Young Dre, Glasses Malone, & 40 Glocc) 04:16

10. Caltroit - 4 All My Niggaz (feat. Planet Asia, Mistah Fab, & Ya Boy) 04:43

11. Caltroit - I Need It (feat. Ras Kass) 04:07

12. Caltroit - Bang That Shit Out (feat. Diverse) 03:59

13. Caltroit - If You Ready (feat. T3, Illa J, & Kardinal Offishall) 04:55

14. Caltroit - Ape Shit 03:09

15. Caltroit - Everything (feat. Kardinal Offishall) 04:41

16. Caltroit - Not The Way (feat. Mike Ant) 03:49

17. Caltroit - Get Em (feat. Fattfather, Marv One, & Trick Trick) 03:23

18. Caltroit - Spectacular (feat. Busta Rhymes, Illa J, & Frank Nitty) 04:13

Rapaholic™ Present: Saigon - The Moral Of The Story

2007-12-17T16:59:00.000+03:00

Title [The Moral Of The Story]

Artist [Saigon]

Label [Fort Knocks Ent.]

Genre [Hip-Hop]

Quality/Size [44.1 @VBR 56,9 MB]

Ripped [12-14-2007 ]

Grabbed from [CDDA]

Enc [Lame 3.97 V2 ]
-------------------------------------------

01 04:06 Saigon Ft. Jay-Z and Swizz Beatz - Come On Baby (Remix)
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

This Bootleq is damn hot...grab that urgently!!!

"Cyrus Tha Great" Presents: Film Skool Rejekts

2007-12-11T11:33:00.000+03:00

Download Mega

Download Sendspace

1. Cyrus Speaks (Intro)
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™

MC Lyte

2007-12-10T11:15:00.000+03:00

MC Lyte was one of the first female rappers to point out the sexism and misogyny that often runs rampant in hip-hop, often taking the subject head on lyrically in her songs and helping open the door for such future artists as Queen Latifah and Missy Elliott. Born and raised in Brooklyn, NY, Lyte began rhyming at the age of 12, which eventually led to a single, "I Cram to Understand U," which led to a recording contract with the First Priority label. MC Lyte's debut full-length, Lyte As a Rock, surfaced in 1988, while a follow-up, Eyes on This, followed a year later. Both discs are considered to be the finest of the rapper's career, especially her sophomore effort, which spawned the hit single "Cha Cha Cha" (peaking at number one on the rap charts) and the anti-violence track "Cappucino." Lyte turned to Bell Biv DeVoe's writers and producers Wolf & Epic for her third release overall, 1991's Act Like You Know, a more soul music-based work than its predecessors and in 1993, issued Ain't No Other (the album's popular single, "Ruffneck," earned a Grammy nomination for Best Rap Single and turned out to be the first gold single ever achieved by a female rap artist). By the mid-'90s, Lyte had relocated to a new record label, Elektra/Asylum, issuing such further releases as 1996's Bad As I Wanna B, which featured a duet with Missy Elliott on the track "Cold Rock a Party," and 1998's Seven & Seven, which included further guest appearances by Elliott, as well as Giovanni Salah and LL Cool J, the latter of which produced the track "Play Girls Play." In addition to her own albums, MC Lyte has teamed with other artists from time to time, including Atlanta's Xscape on the Soul Train Award-winning "Keep on Keepin' On" (a track that also appeared on the Sunset Park soundtrack and became Lyte's second gold single), and has tried acting, appearing on several TV shows, including such comedies as Moesha and In the House, plus the crime drama New York Undercover. Lyte has also put aside time to become active in several social projects/organizations, including anti-violence campaigns, Rock the Vote, and AIDS benefits. In 2001, Rhino Records issued the 16-track career overview The Very Best of MC Lyte. Lyte then mounted a comeback in 2003 with Da Undaground Heat,Vol. 1.

MC Lyte - Lyte as a Rock (1988: First Priority)

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.

Hi-Tek - Hi-Teknology 3

2007-11-30T18:35:00.000+03:00

Title [Hi-Teknology 3]

Artist [Hi-Tek]

Label [Babygrande]

Genre [Hip-Hop]

Quality/Size [44.1 @VBR 69,2 MB]

Ripped [11-29-2007]

Grabbed from [CDDA]

Enc [Lame 3.97]

---------------------------------

01 01:12 Tek Intro

02 04:37 Life To Me Ft. Estelle

03 00:43 Interlude Ft. Lil Tone

04 04:07 My Piano Ft. Ghostface, Raekwon And Dion

05 02:34 Gods Plan Ft. Young Buck And Outlaws

06 04:33 Ohio All Stars Ft Cross, Showtime, Mann And ChipThe Rippa

07 04:28 Back On The Grind Ft Riz, Sean Kingston And Dion

08 03:54 Im Back Ft. Rem Dog

09 03:22 Kill You Ft. Push Montana

10 03:57 Handling My Bizness Ft. Lep, Count, Big D And M-1Of Dead Prez

11 03:40 Come Get It (Tekstrumentals)

12 03:49 Step Ya Game Up (Remix) Ft. Dion And Little Brother

13 05:19 Know Me Ft. Jonell

14 04:39 Time Ft. Talib Kweli And Dion

15 01:09 Outtro15 52:03 min

How Hip-Hop can be dead if Wu-Tang is Forever?

2007-11-29T11:10:00.000+03:00

Wu-Tang Clan - 8 Diagram (Dec 07, 2007; Loud)

The album's title is derived from the Kung Fu film Eight-Diagram Pole Fighter. The Clan, which has not released an album since 2001's Iron Flag, signed a one-album deal with Steve Rifkind's SRC Records in December 2006. The group's four previous albums were all released on Rifkind's now-defunct Loud Records. On Sunday, August 5, 2007, at the Virgin Festival in Baltimore, RZA announced that the new release date for the album will be November 13, 2007, noting that this is the third anniversary of the death of Ol' Dirty Bastard. However, the date has now been pushed back to December 11, 2007. In a released statement, group leader RZA commented on the need for the Clan's return:“ This is the perfect time for us to come back; the stars are aligned. It's like when we first started with Steve. We put out real hip-hop at a time when it was turning into pop or R&B. We brought the focus back to the music in its rawest form, without studio polish or radio hooks.... People want something that gives them an adrenaline rush. We're here to supply that fix. How could hip-hop be dead if Wu-Tang is forever? We're here to revive the spirit and the economics and bring in a wave of energy that has lately dissipated".Cappadonna mentioned at the public premiere of Wu: The Story of the Wu-Tang in NYC some new news regarding the album. He said that the Clan already recorded about 40 to 50 songs, but that the new album will only have about 14 tracks. Loud.com have released a free 8 Diagrams mixtape containing exclusive and unreleased tracks. The mixtape includes new 8 Diagrams songs "Thug World", "Life Changes", "Stick Me For My Riches" and "Weak Spot".

-------------------------------------------------------------------

Ghostface Killah - The Big Doe Rehab

ARTiST.......: ghostface killah

ALBUM........: the big doe rehab

GENRE........: rap

TRACKS...: 16

RELEASE DATE.: 11/28/2007

SiZE.....: 64,4 MB

YEAR.........: 2007

SOURCE...: cdda

LABEL........: n/a

PLAYTiME.: 50:04 min

QUALiTY......: VBRkbps / 44,1kHz / joint-stereo
----------------------------------------------

01. at the cabana (skit) 01:13

02. toney sigel a.k.a. the barrel brothers 03:02

03. 3. yolanda's house (feat. raekwon & method man) 03:12

04. we celebrate (feat. kid capri) 04:13

05. walk around 03:32

06. yapp city (feat. trife da god & sun god) 03:44

07. white linen affair (toney awards) 04:07

08. supa gfk 03:39

09. rec-room therapy (feat. raekwon & u-god) 03:14

10. the prayer (performed by ox) 01:24

11. i'll die for you 03:07

12. paisley darts 05:36

13. shakey dog starring lolita (feat. raekwon) 03:09

14. ! 00:37

15. killa lipstick 03:39

16. slow down (feat. chrisette michele) 02:36(bonus track)

-------------------------------------------------------------------

Styles P - Super Gangster (Extraordinary Gentleman)
Label................: The Phantom Ent. / KoCH

Genre................: Rap

StoreDate...........: Dec-04-2007

Source...............: CDDA

Size.................: 70,1 MB

Total Playing Time...: 57:53

-------------------

01. Intro 00:42

02. Blow Ya Mind (feat. Swizz Beatz) 03:34

03. Let's Go (feat. Ray J) 03:46

04. Alone In The Streets 03:43

05. In It To Win It (feat. Bully) 04:30

06. All I Know Is Pain (feat. The Alchemist) 03:44

07. Got My Eyes On You (feat. Akon) 03:53

08. Green Piece Of Paper 03:39

09. Holiday (feat. Max B) 02:57

10. Look @ Her 02:47

11. Da 80's 02:38

12. Inerlude 1 (feat. Comedian Tony Roberts) 01:06

13. Shoot Niggas (feat. Raw Buck) 03:44

14. Super Gangster 02:53

15. Star Of The State (feat. Ghostface Killah) 03:28

16. U Ain't Ready (feat. Beanie Sigel) 03:01

17. Interlude 2 (feat. Comedian Tony Roberts) 00:38

18. Gangster, Gangster (feat. Jadakiss & Sheek Louch) 04:04

19. Cause I'm Black (feat. Black Thought) 03:06

Another Muslim for yall mind Freeeeway!

2007-11-15T10:22:00.000+03:00

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.

Go & Get It!!!

01 03:44 This Can't Be Real (featuring Marsha Ambrosius)

02 03:40 It's Over

03 03:45 Still Got Love

04 03:41 Roc-A-Fella Billionaires (featuring Jay-Z)

05 03:43 When They Remember

06 03:42 Take It To The Top (featuring 50 Cent)

07 03:43 Spit That Shit

08 03:59 Reppin' The Streets

09 03:38 Free At Last

10 03:27 Baby Don't Do It (featuring Scarface)

11 02:55 Nuttin' On Me

12 04:06 Walk Wit Me (featuring Busta Rhymes & Jadakiss)

13 03:43 Lights Get Low (featuring Rick Ross)14 03:11 I Cry

You heard him Go & Get It!

Support the artists!

Wu-Tang Clan - 8 Diagrams Mixtape...Guess Whos Back!?

2007-11-14T13:13:00.000+03:00

01 - Intro (Featuring Method Man)

02 - Watch Your Mouf (Wu-Tang Exclusive)

03 - State of Grace (Raekwon Exclusive)

04 - Break that Break (Unreleased)

05 - Wu Banga 101 Remix (Unreleased)

06 - My Corner (Raekwon Exclusive)

07 - Stick Me 4 My Riches (Wu-Tang Exclusive)

08 - Thug World (Wu-Tang Exclusive)

09 - Maxine Remix (Unreleased)

10 - King Toast Queen (Unreleased)

11 - Strawberries & Cream Remix

12 - Weak Spot (Wu-Tang Exclusive)

13 - Intoxicated (Featuring Macy Gray) (ODB Exclusive)

14 - Crooklyn Dodgers (Ghostface Exclusive)

15 - The W Remix (Unreleased)

16 - Real Nillaz

17 - Ghost Is Back

18 - Don't Go Breaking My Heart (ODB Featuring Macy Gray)

19 - Violent Skit

20 - Life Changes (Wu-Tang Exclusive)

21 - Treez (Unreleased)

22 - The Abduction

23 - John 3:16

24 - Good

25 - Da Destroyer (Raekwon Freestyle)

26 - Iron God Chamber

27 - 4:20

28 - Wise (Unreleased)

29 - Presidential MC

Rapaholic™ Present: Jeru The Damaja - Still Rising (2007)

2007-10-27T19:43:00.000+04:00

Title: Still Rising

Artist: Jeru The Damaja

Label: Ashenafi Records

Genre: Hip-Hop

http://lix.in/697504

Ripped: 10-10-2007

-----------------------------------------

Rapaholic™ Exclusive: Jay-Z - American Gangster (2007)

2007-10-27T14:00:00.001+04:00

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
---------------------------------------
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

Little Brother - Get Back (2007)

2007-10-25T17:37:00.000+04:00

Little Brother - Get Back
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

Cali Agents (Rasco & Planet Asia)

2007-10-23T17:51:00.000+04:00

Cali Agents are American rap group from California made up of rappers Rasco and Planet Asia.Bringing together the talents of respected West Coast solo rappers Rasco and Planet Asia, both of whom had piled up music awards and critical praise within the hip-hop community, Cali Agents issued their debut album in 2000 with How the West Was Won. The recording, which reflected influences from both coasts, combined the strength of Rasco's powerful delivery with the fluid lyrics of Planet Asia.

-------------------------------------------------

Cali Agents - How the West Was One (Jun 13, 2000: Ground Contro)

Rasco and Planet Asia, two West Coast MCs who had enjoyed mildly successful and well-respected solo careers, joined forces in 2000 to produce a group much stronger than the sum of its parts. Their individual releases, although technically sound, had been a bit monotonous at times, but as a tag team duo they complement each other perfectly. Rasco plays the part of the grumpy, serious old veteran, scolding those he doesn't approve of, while Planet Asia personifies the younger, wilder side, playing off his partner to include some fun in the mix. Together with a diverse lineup of producers, they create an incredibly simple yet effective sound, combining hard drumbeats with a violin, piano, or guitar sample in a formula heavily influenced by Gang Starr's DJ Premier. Lyrically, the duo tiptoes between pleasing an underground audience highly suspicious of the mainstream and attempting to make a living and enjoy success. Planet Asia sums up the group's approach on "This Is My Life," rhyming, "Not only do we rock fresh gear, but when it comes to hip-hop we're like a breath of fresh air, like yeah!/And just to let y'all side busters know, we rep the underground but still we're out to make dough." Cali Agents craft a surprising debut that strikes a balance between different hip-hop crowds, East and West Coast, underground and above, but manage to maintain their artistic integrity.

-------------------------------------------------

Cali Agents - Head of the State (Mar 9, 2004: Pocketslinted Entertainment)

-------------------------------------------------

Cali Agents - Fire & Ice (2006: HBD Label Group)

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.

Boot Camp Clik

2007-10-19T23:49:00.000+04:00

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.

----------------------------------------------

Boot Camp Clik - For the People (May 20, 1997: Priority)

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.

----------------------------------------------

Boot Camp Clik - The Chosen Few (Oct 8, 2002: Duckdown)

Five years after their first full-length, Boot Camp Clik came together again with an LP that finally delivered on the promise that'd kept hip-hop fans hoping for an album to rank with incredible singles from the collective like Black Moon's "How Many Emcees" and Smif-N-Wessun's boot-camp anthem "Bucktown." Featuring the combined talents of members of Black Moon and Cocoa Brovaz (the reincarnated Smif-N-Wessun), plus Originoo Gun Clappaz, The Chosen Few is one of the tightest rap albums of the year. Better yet, it succeeds by keeping it simple: the production, the beats, and the themes -- nearly everything except the rapping. The productions come from a parade of family members (da Beatminerz, Hi-Tek, Coptic) with nothing to prove on their own, instead simply concentrating on constructing tough beats and kinetic tracks. The crew set it off with a pair of openers, "And So" and "Let's Get Down 2 Bizness," that top anything heard on 1997's For the People. From there, Boot Camp Clik cycle through everything that fans could've asked for; a crazy party track ("That's Tough [Little Bit]"), a classic beat-down on "Whoop His Ass," and a rough-and-rugged "Bucktown" sequel ("Welcome to Bucktown U.S.A."). Considering nearly all of them have their own projects on the front burner, it may be awhile for another full LP from Boot Camp Clik, but the collective have left listeners with plenty to keep them happy.

----------------------------------------------

Boot Camp Clik - The Last Stand (Jul 17, 2006: Duckdown)

The Last Stand is the third group album from Hip Hop collective Boot Camp Clik, released on July 18, 2006. The group consists of Black Moon's Buckshot, Smif-N-Wessun's Tek and Steele, Heltah Skeltah's Rock and Sean Price, and O.G.C.'s Starang Wondah, Louieville Sluggah and Top Dog. The album marks the return of Rock, who had left Duck Down Records in 1999 to pursue a solo career.

Popular producers involved in the project include Pete Rock, Da Beatminerz, 9th Wonder and Large Professor.
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.

----------------------------------------------

Boot Camp Clik - Still for the People (Apr 24, 2007: Duck Down)

----------------------------------------------

Boot Camp Clik - Casualties of War (Aug 14, 2007: Duck Down)

Casualties of War is a continuation of the productivity that East Coast underground rap favorites Boot Camp Clik sparked in 2005, when they released a rash of high-quality solo projects (Sean Price's Monkey Barz, Buckshot's Chemistry, Smif-N-Wessun's Reloaded) on Duck Down Records, followed by a couple collective efforts, The Last Stand (2006) and Still for the People (2007). Casualties of War is comparable to recent efforts by the Boot Camp Clik, be they solo or collective: rugged rappers rhyming over hard-hitting beats with simple hooks, without any commercial gloss whatsoever -- no marquee-name guests, nor any hitmaking producers. Whereas The Last Stand had boasted production by classic N.Y.C. beatmakers Da Beatminerz, Pete Rock, and Large Professor, Casualties of War lists a more modest roster: 9th Wonder ("I Need More") and Marco Polo ("My World," "I Want Mine") are the most notable producers on tap this go-round, along with Coptic and Dan the Man, who get multiple credits each. The highlights of Casualties of War come during a standout four-track run that includes "What You See," "BK All Day," "My World," and "I Need More," though the album never hits a dull stretch, wrapping up after a solid 14 tracks in 45 minutes. The title track is another noteworthy highlight, graced with a heartfelt production by Marvel. Casualties of War is another respectable effort from the Boot Camp Clik, one that bodes well for the future of the collective. A dozen years after the founding of Duck Down Records, Buckshot, Sean Price, Tek, Steele, and company seem to have lost very little of their hip-hop spirit. If anything, they've grown into seasoned professionals enjoying a good, steady grind at this moment in time.

----------------------------------------------

Boot Camp Clik's Greatest Hits: Basic Training (Mar 14, 2000: Priority)

This compilation from the Crooklyn warrior b-boy crew known as Boot Camp Clik contains a cross section of the posse's hits. BCC brought a military attitude and a rough, rumbling sound to the hip-hop table. The sound and feel is the essence of the Boot Camp, largely provided by the production team, the Beatminerz. Two members of the production squad, DJ Evil Dee and Mr. Walt, deployed missile-type beats with a signature bone-snapping snare. On the microphone, Boot Camp soldiers possess the kamikaze philosophy of infantrymen and the skills and wit of generals. Beats and flows are fashioned by the notion of Brooklyn as a treacherous abyss of warfare and gunplay, a proving ground for mental and physical toughness. Black Moon was the first out the gate with the 1993 release of Enta da Stage, an underground favorite that found mild commercial success with the remix of "I Gotcha Opin," which lifted Barry White's "Playing Your Game, Baby" effortlessly. Enta da Stage introduced the focal member and mastermind of the crew, Buckshot the B.D.I. In late 1993, the next battalion, Smif N' Wessun (later incarnated as the Cocoa Brovaz), dropped "Bucktown," the anthem for the Camp, and their blistering debut, Dah Shining, followed shortly thereafter in 1994. Heltah Skeltah and O.G.C. teamed up as the Fab Five in 1995 with "Lefleur Leflah" to take BCC into a newer, funkier direction. These two platoons followed in the footsteps of their Boot Camp predecessors laying further claim to the Brooklyn battlefield. Heltah Skeltah's debut Nocturnal and O.G.C.'s debut Da Storm took the Boot Camp back to the basement. With the heartbeat of Brooklyn beating within them, BCC is a unified collective that invented a rugged sound.

Special Request!

2007-10-19T16:50:00.000+04:00

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

Bahamadia (Antonia Reed)

2007-10-11T16:52:00.000+04:00

Bahamadia rose to prominence on the hip-hop scene as the female protégée of Gang Starr's Guru, and lent her smooth-flowing raps to a variety of projects during the late '90s, including several electronica and acid jazz artists. Born Antonia Reed in Philadelphia, Bahamadia started out DJing at local house parties in the early to mid-'80s, and soon stepped out front to prove her skill on the mic as well. She remained a presence on the Philly hip-hop scene, but didn't make her first recordings until hooking up with producer/radio personality DJ Ran, who helmed her independent 1993 single "Funk Vibe." "Funk Vibe" caught the attention of Gang Starr MC Guru, who took an interest in Bahamadia's career and helped her get a record deal with Chrysalis. Her first singles, 1994's "Total Wreck" and 1995's "Uknowhowwedu," were well-received in the underground for their jazzy flavor and laid-back raps. She also appeared on the second volume of Guru's acclaimed Jazzmatazz project. The full-length LP Kollage followed in 1996, and featured production by both Guru and DJ Premier of Gang Starr, as well as fellow Philly natives the Roots.Unfortunately, Chrysalis folded a year later, and Bahamadia chose to wait out her contract before resuming her solo career. In the meantime, she made a string of musically adventurous guest appearances that solidified her underground reputation: the Roots (Illadelph Halflife's "Push up Ya Lighter"), Sweetback (Sade's backing band), drum'n'bass auteur Roni Size (the title track of the landmark New Forms), Towa Tei, acid jazzers the Brand New Heavies, the Herbaliser, trip-hoppers Morcheeba ("Good Girl Down"), Rah Digga, Slum Village, and Talib Kweli's Reflection Eternal (their collaboration, "Chaos," appeared on the seminal Rawkus compilation Soundbombing, Vol. 2). She also hosted a hip-hop radio show in Philadelphia from 1997-1999. In 2000, she signed with the L.A.-based indie Goodvibe and released the chilled-out seven-track EP BB Queen (as in "beautiful black"), which received excellent reviews.

----------------------------------------
Bahamadia - Kollage (Mar 19, 1996: Chrysalis)

Bahamadia's debut album, Kollage, is an underrated, jazzy affair paced by some nifty production and the MC's own dryly gentle delivery. Despite her laid-back, even deliberate flow, she has a confident, upfront presence on the mic, with strong rhyming skills and a fondness for old-school wordplay (as demonstrated on, naturally, "Wordplay"). Being a protégée of Gang Starr and a native of Philadelphia, she gets production help from the former's DJ Premier and Guru, as well as the latter's Roots. The music often recalls both of those artists, as well as the unassuming, low-key ambience of Digable Planets. But there's also often a dreamier quality than any of those groups, thanks to some spacy keyboards and fusion samples, and some R&B elements as well, most notably on the excellent single "I Confess." Other highlights include her two early singles, "Total Wreck" and "Uknowhowwedu," and the quietly shimmering "Spontaneity." Kollage isn't hugely varied, but it is fairly consistent, and fans of intellectual bohemian hip-hop will find this album very good at what it does.

----------------------------------------

Bahamadia - BB Queen (Jul 25, 2000: Goodvibe)

After a four-year exodus, Bahamadia couldn't have picked a more opportune time to reintroduce herself to the hip-hop masses. After all, the female MC arena changed considerably after the Philly native dropped her 1996 debut, Kollage. Injecting some much-needed class back into the female ranks, Bahamadia transcends the common denominator (sexuality and gold digging) of her scantily clad colleagues. Though she returns without the aid of DJ Premier, the hypnotic lounge music of Jay Dee's soulful apprentices Kwele and EQ enables Bahmadia's subtle flow more of an opportunity to truly flourish. Her eternal optimism is defined by the sublime "Beautiful Things," a wonderfully crafted track that reminds us to appreciate the simple things we often take for granted. Just as refreshing is the red-tag anthem, "Commonwealth (Cheap Chicks)," a track dedicated to the thrift-store honeys that try to stay with it while rocking discounted gear.

----------------------------------------

Bahamadia - Good Rap Music (13 Dec 2006)

Rapaholic™ Present Exclusive: NYGz - Welcome 2 G-Dom (2007)

2007-10-05T14:07:00.000+04:00

Primo on the beats as always on top, enjoy!

Label: Year Round / Traffic Ent.

Genre: Hip-Hop

Store Date: Oct-09-2007

Source: CDDA

Size: 65,5 MB

Total Playing Time: 60:21

01. Itz On feat. Rave 04:41

02. Ya Dayz R #'d 03:58

03. 3 Man Weave (feat. Reef, Hustle & Mic Ock) 04:23

04. Laundry Kings (feat. St. Laz) 03:53

05. SufferinÆ (feat. Rave & Fizzy Wo) 04:11

06. Get 2 Tha Point 03:25

07. G'z & Hustlaz (feat. Rave) 03:04

08. Welcome 2 G-Dom (feat. Rave) 04:21

09. What Kinda Life (feat. Raw) 03:07

10. Giantz Ta Thiz 04:23

11. Bow Down (feat. Blaq Poet & Rave) 03:09

12. Broken Dreams (feat. Imani Montana & Versatile) 02:25

13. Raps 4 U (feat. Boy Bucka & Harlem Fatz) 02:51

14. Bullseye (feat. Troy Sluggs, Royal Flush, J.U.I.C.E) 03:53

15. Black Buddafly (feat. Rave & Aisha) 04:24

16. Strength 04:13

Large Professor (William Paul Mitchell)

2007-10-05T10:43:00.000+04:00

Widely known initially for his work as a producer and MC with the rap group Main Source, Large Professor soon after became a full-time producer working with such acts as Big Daddy Kane and A Tribe Called Quest. Professor originally became involved in rap when he won a tryout held by Main Source members K-Cut and Sir Scratch in 1989. Contributing significantly to the creative direction of the group, Professor eventually broke with Main Source over creative differences . He then lent his hand to albums by some of rap's biggest names, including Eric B. & Rakim, Nas, and Pete Rock & C.L. Smooth. For his full-length solo debut, 2002's 1st Class, Large Professor called in favors from friends including Nas, Q-Tip, and Busta Rhymes.

--------------------------------------------------------

Large Professor - 1st Class (Oct 8, 2002: Matador)

He was programming beats and producing records for hip-hop legends while still a teenager, but Large Professor waited nearly a decade to put out his own album. If 1st Class isn't as exciting as any of his outside productions (which are simply begging for a greatest-shots collection), it's because LP tries to handle nearly everything himself. The album's five tracks in before we finally hear a guest, and it's a long wait — Large Professor doesn't have much to say on a track like "Brand New Sound" (with his beats or his rhymes), and he repeats the title enough to make it sound more like desperation than defiance. A three-track spate of features finds him trading some tough rhymes with Nas, Akinyele, and Q-Tip, though here Q-Tip is basically reduced to freestyling over the choruses. Large Professor gets back to boasting with "Born to Ball," but he doesn't prove up to the task. Either more space for guests, or a little more time in the studio would've resulted in a better effort than this half-baked record.

--------------------------------------------------------

Large Professor - The LP (Oct 2002: Sandbox Automatic/HipHopSite.com)

Recording Date 1992-1993. In a just world, a review of this album would have been simply about the music. Instead, this is a story riddled with tales of record-label politics, high expectations, poorly pressed bootlegs, and careers put on hold. In 1993 Large Professor made an appearance as a guest MC on A Tribe Called Quest's "Keep It Rollin'," a track he produced for their Midnight Marauders album. The last line of his verse, "buy the album when I drop it," has since become a classic of golden-era New York rap. Unfortunately, it was for the wrong reasons. As it turns out, the world would have to wait another nine years for a proper full-length solo debut, 2002's 1st Class. It wasn't for a lack of effort, though. In 1996 Geffen released two Large Professor 12" singles ("IJUSWANNACHILL" and "The Mad Scientist") in anticipation of his then-forthcoming album. After a number of delays and disagreements about the album's "outdated" vibe, Geffen dropped the project, leaving it to collect dust in the label's vaults for seven years. Fortunately, Large Professor reacquired the rights to the recordings in 2002, resulting in a limited promo-only CD pressing. Fans familiar with the singles should already know what to expect here, especially since five of the album's 12 tracks were spread among the two 12"s. From a production standpoint, the sound is similar to that heard on Pro's previous full-length, Main Source's Breaking Atoms, though in a more stripped-down and mid-'90s manner. Among the highlights are the two singles, the hazy organ loop of "Hungry," and the flat-out stunning Nas collabo, "One on One." Remember, Nas was fresh from his classic debut, Illmatic, when he recorded this track, so fans that felt a little disillusioned by his later, ghetto-fabulous leanings owe it to themselves to check this track out. All said, Large Professor was never flooded with consistently interesting lyrics — and there are some flat moments here — but they never get in the way of the consistently high-quality production. A lost treasure.

--------------------------------------------------------

Large Professor - Beatz, Vol. 1 (Jun 27, 2006)

Jeru The Damaja (Kendrick Jeru Davis)

2007-09-25T10:11:00.000+04:00

Speaking out against what he saw as a decline in rap during the mid-'90s, Jeru the Damaja came to the fore as a self-proclaimed prophet and the savior of hip-hop, much as KRS-One had done almost ten years before. Jeru first appeared as a guest on Gang Starr's Daily Operations album, and his own deal with Payday/ffrr appeared soon after, resulting in 1994's The Sun Rises in the East. Though he made few friends in the rap world — given his outspoken criticism of such popular figures as the Fugees and Sean "Puffy" Combs — he proved a vital force in the emergence of the new rap consciousness of the late '90s.Raised Kendrick Jeru Davis in Brooklyn, the Damaja began writing rhymes at the age of ten. At high school, he met Guru and DJ Premier of Gang Starr, and first guested on Gang Starr's "I'm the Man," from the 1992 album Daily Operation. Jeru toured with the group during 1993 and released his solo debut, Come Clean, for Gang Starr's Illkids label. The single became an underground sensation and led to his contract with Payday Records. He recorded The Sun Rises in the East with DJ Premier producing, and released the album in 1994. Though the album was well-received, Jeru got some flak for the song "Da Bichez" — though he explicitly stated that most girls did not fit into the category. During 1994, he appeared on Digable Planets' second album (Blowout Comb) and recorded his follow-up, Wrath of the Math, with DJ Premier and Guru once again helping out with production. The independent record Heroz4hire followed in early 2000, and his protégé, Afu-Ra, debuted in 2000 with Body of the Life Force. Jeru kept a surprisingly low profile thereafter, though he did appear on a stellar track from Groove Armada's Goodbye Country (Hello Nightclub).

Jeru The Damaja - The Sun Rises in the East (May 24, 1994: Payday)

DJ Premier's first album-length production outside of Gang Starr was his best by far. Where Premier's productions hadn't shone underneath the cracking, over-earnest vocals of Guru, with a superior stylist like Jeru these tracks became brilliant musical investigations with odd hooks (often detuned bells, keys, or vibes), perfectly scratched upchoruses, and the grittiest, funkiest Brooklynese beats pounding away in the background. Of course, the star of the show was Jeru, a cocksure young rapper who brought the dozens from the streets to a metaphysical battleground where he did battle with all manner of foe — the guy around the corner on "D. Original" or an allegorical parade of hip-hop evils on "You Can't Stop the Prophet." The commentary about inner-city plagues arising from spiritual ignorance only continued on "Ain't the Devil Happy," with Jeru preaching knowledge of self as the only rescue from greed and violence. Jeru also courted some controversy with "Da Bichez," at first explaining, "I'm not talkin' 'bout the queens...not the sisters...not the young ladies," but later admitting his thoughts ("most chicks want minks, diamonds, or Benz"). His flow and delivery were natural, his themes were impressive, and he was able to make funky rhymes out of intellectual hyperbole like: "Written on these pages is the ageless, wisdom of the sages/Ignorance is contagious." It lacks a landmark track, but The Sun Rises in the East stands alongside Nas' Illmatic (released the same year, and also boasting the work of Premier) as one of the quintessential East Coast records.

Jeru The Damaja - Wrath of the Math (Oct 15, 1996: Payday)

Jeru reunited with DJ Premier for this slightly sprawling second record, though fans must have been delirious with joy to find it was similar to — and usually just as strong as — his debut. Though it's clear Jeru isn't as hungry a rapper as he was two years earlier, he has just as much to say, and he's just as angry with the state of hip-hop and black life in general. Jeru goes into metaphysical drama once again with "One Day," wherein commercial rappers (including Puff Daddy and Foxy Brown) kidnap hip-hop, and continues his comic-book battles with the evils of rap amidst the backdrop of the Big Apple on "Revenge of the Prophet (Part 5)." Jeru also spends plenty of time directly addressing real-life issues, dissecting the crass, money-hungry hip-hop scene on "Scientifical Madness," running a sequel to "Da Bichez" called "Me or the Papes," and preaching more knowledge on "Ya Playin' Yaself." His version of the classic braggadocio track comes with "Not the Average" and "Whatever," where he uses knowledge as well as immense skills to foil anyone who's testing him. Though Wrath of the Math did sound similar to Jeru's debut, Premier was even more wide-ranging for his backing tracks, ranging from the comparatively atmospheric ("Invasion") to a succession of momentary samples from out of nowhere ("Physical Stamina"). Unfortunately, it was their last time together; perhaps a bit jealous of Premier's sizable profile, Jeru began producing himself with his next record, Heroz4hire.

Jeru the Damaja - Heroz4Hire (Sep 7, 1999: Knowsavage)

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)."

Jeru The Damaja - Divine Design (Sep 23, 2003: Ashenafi)

Kanye West

2007-09-01T17:31:00.000+04:00

In the span of a few years, from 2001 to 2004, Kanye West went from hip-hop beatmaker to worldwide hitmaker, as his stellar production work for Jay-Z earned him a major-label recording contract as a solo artist. Before long, his beats were accompanied by his own witty raps on a number of critically and commercially successful releases. West's flamboyant personality also made a mark. He showcased a dapper fashion sense that set him apart from most of his rap peers, and his confidence often came across as boastful or even egotistic, albeit amusingly. This flamboyance, of course, made for good press, something West enjoyed plenty of during his sudden rise to celebrity status. He was a media darling, appearing and performing at practically every major awards show (and winning at them, too), delivering theatrical videos to MTV that were events in themselves, and mouthing off about whatever happened to cross his mind. For instance, he frequently spoke out against the rampant homophobia evident in much rap music, posed for the cover of Rolling Stone as Jesus Christ, and even said during a Hurricane Katrina fundraiser on live television, "George Bush doesn't care about black people." West courted controversy, no question about it, but his steady presence in the celebrity limelight sometimes eclipsed his considerable musical talent. His production ability seemed boundless during his initial surge of activity, as he not only racked up impressive hits for himself like "Jesus Walks" and "Gold Digger," but also graced such fellow rap stars as Jay-Z and Ludacris with smashes. In addition to these many accomplishments, it's worth noting how West shattered certain stereotypes about rappers. Whether it was his appearance or his rhetoric, or even just his music, this young man became a superstar on his own terms, and his singularity no doubt is part of his appeal to a great many people, especially those who don't generally consider themselves rap listeners.From out of left field (i.e., Chicago, anything but a hip-hop hotbed), West was an unlikely sensation and more than once defied adversity. Like so many others who were initially inspired by Run-D.M.C., he began as just another aspiring rapper with a boundless passion for hip-hop, albeit a rapper with a Midas touch when it came to beatmaking. And it was indeed his beatmaking skills that got his foot in the industry door. Though he did quite a bit of noteworthy production work during the late '90s (Jermaine Dupri, Foxy Brown, Mase, Goodie Mob), it was his work for Roc-a-Fella at the dawn of the new millennium that took his career to the next level. Alongside fellow fresh talent Just Blaze, West became one of The Roc's go-to producers, consistently delivering hot tracks to album after album. His star turn came on Jay-Z's classic Blueprint (2001) with album standouts "Takeover" and "Izzo (H.O.V.A.)." Both songs showcased West's signature beatmaking style of the time, which was largely sample-based — in these cases the former track appropriating snippets of the Doors' "Five to One," the latter the Jackson 5's "I Want You Back." More high-profile productions followed, and before long word spread that West was going to release an album of his own, on which he'd rap as well as produce. Unfortunately, that album was a long time coming, pushed back and then pushed back again. It didn't help, of course, that West experienced a tragic car accident in October 2002 that almost cost him his life. He capitalized on the traumatic experience by using it as the inspiration for "Through the Wire" (and its corresponding video), which would later become the lead single for his debut album, The College Dropout (2004). As the album was continually delayed, West continued to churn out big hits for the likes of Talib Kweli ("Get By"), Ludacris ("Stand Up"), Jay-Z ("'03 Bonnie & Clyde"), and Alicia Keys ("You Don't Know My Name"). Then, just as "Through the Wire" was breaking big-time at the tail end of 2003, another West song caught fire, a collaboration with Twista and comedian/actor Jamie Foxx called "Slow Jamz" that gave the rapper/producer two simultaneously ubiquitous singles and a much-anticipated debut album. As with so many of West's songs, these two were driven by somewhat recognizable sample-based hooks — Chaka Khan's "Through the Fire" in the case of "Through the Wire," and Luther Vandross' "A House Is Not a Home" in the case of "Slow Jamz." In the wake of his breakout success, West earned a whopping ten nominations for the 47th annual Grammy Awards, held in early 2005. The College Dropout won the Best Rap Album award, "Jesus Walks" won Best Rap Song, and a songwriting credit on "You Don't Know My Name" for Best R&B Song award was shared with Alicia Keys and Harold Lilly. Later in the year, West released his second solo album, Late Registration (2005), which spawned a series of hit singles ("Diamonds in Sierra Leone," "Gold Digger," "Heard 'Em Say," "Touch the Sky"), topped the charts (as did "Gold Digger"), and won a Grammy for Album of the Year. West's production work continued more or less unabated during this time; particularly noteworthy were hits for Twista ("Overnight Celebrity"), Janet Jackson ("I Want You"), Brandy ("Talk About Our Love"), the Game ("Dreams"), Common ("Go!"), and Keyshia Cole ("I Changed My Mind"). West also founded his own label, GOOD Music (i.e., "Getting Out Our Dreams"), in conjunction with Sony BMG. The inaugural release was John Legend's Get Lifted (2004), followed by Common's Be (2005). In addition to all of his studio work, West also toured internationally in support of Late Registration and released Late Orchestration: Live at Abbey Road Studios (2006) in commemoration.After retreating from the spotlight for a while, West returned to the forefront of the music world in 2007 with a series of album releases. Consequence's Don't Quit Your Day Job and Common's Finding Forever, both released by GOOD, were chiefly produced by West; the latter was particularly popular, topping the album chart upon its release in July. And then there was West's third solo album, Graduation, which was promoted well in advance of its September 11 release (a memorable date that pitted Kanye against 50 Cent, who in one interview swore he would quit music if his album, Curtis, wasn't the top-seller). A pair of singles — "Can't Tell Me Nothing" and "Stronger," the latter an interpolation of Daft Punk's 2001 single "Harder, Better, Faster, Stronger" — led the promotional push.

------------------------------------

Kanye West - The College Dropout (Feb 10, 2004: Roc-A-Fella)

Producer Kanye West's highlight reels were stacking up exponentially when his solo debut for Roc-a-Fella was released, after numerous delays and a handful of suspense-building underground mixes. The week The College Dropout came out, three singles featuring his handiwork were in the Top 20, including his own "Through the Wire." A daring way to introduce himself to the masses as an MC, the enterprising West recorded the song during his recovery from a car wreck that nearly took his life — while his jaw was wired shut. Heartbreaking and hysterical ("There's been an accident like Geico/They thought I was burnt up like Pepsi did Michael"), and wrapped around the helium chirp of the pitched-up chorus from Chaka Khan's "Through the Fire," the song and accompanying video couldn't have forged his dual status as underdog and champion any better. All of this momentum keeps rolling through The College Dropout, an album that's nearly as phenomenal as the boastful West has led everyone to believe. The bad points? A few too many skits, "The New Workout Plan," and the fact that the triumph that is "Through the Wire" is de-emphasized and placed so deep into the album that it's almost anticlimactic. Apart from this? Abundant hotness in every aspect. From a production standpoint, nothing here tops recent conquests like Alicia Keys' "You Don't Know My Name" or Talib Kweli's "Get By," but he's consistently potent and tempers his familiar characteristics — high-pitched soul samples, gospel elements — by tweaking them and not using them as a crutch. Even though those with their ears to the street knew West could excel as an MC, he has used this album as an opportunity to prove his less-known skills to a wider audience. One of the most poignant moments is on "All Falls Down," where the self-effacing West examines self-consciousness in the context of his community: "Rollies and Pashas done drive me crazy/I can't even pronounce nothing, yo pass the Versacey/Then I spent 400 bucks on this just to be like 'Nigga you ain't up on this'." If the notion that the album runs much deeper than the singles isn't enough, there's something of a surprising bonus: rather puzzlingly, a slightly adjusted mix of "Slow Jamz" — a side-splitting ode to legends of baby-making soul that originally appeared on Twista's Kamikaze, just before that MC received his own Roc-a-Fella chain — also appears. Prior to this album, we were more than aware that West's stature as a producer was undeniable; now we know that he's also a remarkably versatile lyricist and a valuable MC.

------------------------------------

Kanye West - Late Registration (Aug 30, 2005: Roc-A-Fella)

And then, in a flash, Kanye was everywhere, transformed from respected producer to big-name producer/MC, throwing a fit at the American Music Awards, performing "Jesus Walks" at the Grammys, wearing his diamond-studded Jesus piece, appearing on the cover of Time, running his mouth 24/7. One thing that remains unchanged is Kanye's hunger, even though his head has swollen to the point where it could be separated from his body, shot into space, and considered a planet. Raised middle class, Kanye didn't have to hustle his way out of poverty, the number one key to credibility for many hip-hop fans, whether it comes to rapper turned rapping label presidents or suburban teens. And now that he has proved himself in another way, through his stratospheric success — which also won him a gaggle of haters as passionate as his followers — he doesn't want to be seen as a novelty whose ambitions have been fulfilled. On Late Registration, he finds himself backed into a corner, albeit as king of the mountain. It's a paradox, which is exactly what he thrives on. His follow-up to The College Dropout isn't likely to change the minds of the resistant. As an MC, Kanye remains limited, with all-too-familiar flows that weren't exceptional to begin with (you could place a number of these rhymes over College Dropout beats). He uses the same lyrical strategies as well. Take lead single "Diamonds from Sierra Leone," in which he switches from boastful to rueful; more importantly, the conflict felt in owning blood diamonds will be lost on those who couldn't afford one with years of combined income. Even so, he can be tremendous as a pure writer, whether digging up uncovered topics (as on "Diamonds") or spinning a clever line ("Before anybody wanted K. West's beats, me and my girl split the buffet at KFC"). The production approach, however, is rather different from the debut. Crude beats and drastically tempo-shifted samples are replaced with a more traditionally musical touch from Jon Brion (Fiona Apple, Aimee Mann), who co-produces with West on most of the tracks. (Ironically, the Just Blaze-helmed "Touch the Sky" tops everything laid down by the pair, despite its heavy reliance on Curtis Mayfield's "Move on Up.") West and Brion are a good, if unlikely, match. Brion's string arrangements and brass flecks add a new dimension to West's beats without overshadowing them, and the results are neither too adventurous nor too conservative. While KRS-One was the first to proclaim, "I am hip-hop," Kanye West might as well be the first MC to boldly state, "I am pop."

------------------------------------
Kanye West - Late Orchestration: Live at Abbey Road Studios (May 30, 2006: Mercury)

01. Diamonds From Sierra Leone 04:08

02. Touch The Sky 04:07

03. Crack Music 02:48

04. Drive Slow 04:34

05. Through The Wire 03:33

06. Workout Plan 02:53

07. Heard 'em Say 04:10

08. All Falls Down 03:13

09. Bring Me Down 03:21

10. Gone 04:15

11. Late 03:54

12. Jesus Walks 03:14
13. Gold Digger (AOL Sessions) 03:18

------------------------------------

Exclusive!: Kanye West - Graduation (Retail) (Sep 11, 2007: Roc-A-Fella)01. Good Morning (Intro) 03:15

02. Champion 02:48

03. Stronger 05:12

04. I Wonder 04:03

05. Good Life (Ft. T-Pain) 03:27

06. Can't Tell Me Nothing 04:32

07. Barry Bonds (Ft. Lil Wayne) 03:24

08. Drunk And Hot Girls (Ft. Mos Def) 05:13

09. Flashing Lights (Ft. Dwele) 03:58

10. Everything I Am 03:48

11. The Glory 03:33

12. Homecoming (Ft. Chris Martin) 03:24

13. Big Brother 04:47

Bonus Tracks

Brand Nubian

2007-08-29T10:00:00.000+04:00

The Five Percent Nation of Islam was a popular inspiration for numerous thinking-man's rap groups during the early '90s, and Brand Nubian was arguably the finest of the more militant crop. Although they were strongly related to the Native Tongues posse in style and sound, they weren't technically members, and were less reserved about spotlighting their politics and religion. Their outspokenness led to controversy, on an even larger scale than similarly minded groups like the X-Clan or Poor Righteous Teachers, in part because Brand Nubian's sheer musicality made them so listenable regardless of what their messages were. The hoopla surrounding their aggressive Afrocentrism sometimes overshadowed the playful and positive sides of their work, as well as the undeniable virtuosity of lead MC Grand Puba's rhymes — all showcased to best effect on their highly acclaimed debut, One for All.Brand Nubian was formed in 1989 in the New York suburb of New Rochelle. Grand Puba (born Maxwell Dixon) had previously recorded with a group called Masters of Ceremony, and was joined by Sadat X (born Derek Murphy, originally dubbed Derek X), Lord Jamar (born Lorenzo DeChalus), and DJ Alamo (Murphy's cousin). The group signed with Elektra and released their debut album, All for One, in 1990. Most reviews were glowing, but the stronger rhetoric on the album — especially the track "Drop the Bomb" — drew fire from some quarters, including some white Elektra employees reluctant to promote what they saw as reverse racism. Ultimately, the uproar didn't really hurt Brand Nubian's career, but neither did it produce a wider hit with pop or R&B audiences, despite the high regard in which the singles "All for One," "Slow Down," and "Wake Up" are held. A far more serious blow was Grand Puba's departure from the group in late 1991, owing to tensions that had arisen over his handling the lion's share of the rapping. Not only did Brand Nubian lose their clear focal point and chief producer, they also lost DJ Alamo, who elected to continue working with Puba.Puba released his solo debut, Reel to Reel, in 1992; meanwhile, Lord Jamar and Sadat X regrouped with DJ Sincere (born Terrence Perry) and issued In God We Trust in 1993. It sold fairly well, just missing the Top Ten on the R&B chart, and the single "Punks Jump up to Get Beat Down" was something of a hit, though it also drew fire for its anti-gay slurs. In Puba's absence, the pro-Islam rhetoric grew stronger, with more explicit support for the controversial Minister Louis Farrakhan. By the time of 1994's Everything Is Everything, they'd gotten downright dogmatic, and critics who'd previously defended the group now found them difficult to stomach, both lyrically and musically.In the wake of the icy reception afforded Everything Is Everything, the remaining members of Brand Nubian drifted apart. Sadat X reunited with Grand Puba for "Play It Cool," a track on the latter's second solo album; Sadat also released his solo debut, Wild Cowboys, in 1996, and subsequently guested on records by a new wave of underground hip-hoppers. Lord Jamar, meanwhile, moved into production, and also landed a recurring role on HBO's prison drama Oz. In 1998, with a new alternative rap movement gaining prominence, the original four members of Brand Nubian reunited for the Arista album Foundation, which received highly positive reviews. Grand Puba and Sadat X both subsequently returned to their solo careers, but they returned with Jamar and Alamo for 2004's Fire in the Hole.

----------------------------------------------------

Brand Nubian - One for All (1990: Elektra)

Brand Nubian never sold as many albums as the many West Coast rappers burning up the charts in the early '90s, but the New York group commanded great respect in East Coast rap circles. In black neighborhoods of New York and Philadelphia, Nubian's debut album, One for All, was actually a bigger seller than many of the platinum gangsta rap releases outselling it on a national level. Influenced by De La Soul and the Jungle Brothers, Nubian favored an abstract rapping style, and Eastern rap fans were drawn to the complexity of jams like "Dance to My Ministry," "Ragtime," and "All for One." Grand Puba, Lord Jamar, and Sadat X had a lot of technique, which was what hip-hoppers favored in the East. On the whole, Nubian's Nation of Islam rhetoric isn't as overbearing as some of the recordings that other Five Percenters were delivering at the time. The CD is a bit uneven, but on the whole is likable and exhilarating.

----------------------------------------------------

Brand Nubian - In God We Trust (Feb 2, 1993: Elektra)

When pre-album single "Punks Jump Up to Get Beat Down" was issued — along with its violence-laced video — it was clear that Brand Nubian would not be the same minus Grand Puba. It was a safe bet that In God We Trust wouldn't have attempted any new jack swing crossovers or tie-dyed imagery. Though the makeover is drastic, it is convincing, with Lord Jamar and Sadat X stepping up with some of the era's fiercest, most intense rhymes, a higher percentage of which referenced the likes of Louis Farrakhan and the Nation of Islam, Marcus Garvey, and self-defense by any means necessary. Multiple, indefensible homophobic taunts and the silly "Steal Ya 'Ho" aside (did they really think the use of the two words was so necessary?), In God We Trust is nearly faultless, packed with rumbling acoustic basslines, Jeep-rattling breakbeats, and rhymes written and delivered with a great deal of hunger and an equal amount of self-assuredness — as if to say, "No, Brand Nubian was never Grand Puba and a couple sidekicks." The Diamond D-produced "Punks" outshines everything else, but the group more than holds its own as a self-contained production team. Had a high-profile beat maker been responsible for "The Godz...," "Pass the Gat," or "Brand Nubian Rock the Set," they'd certainly be present in his or her highlight reel.

-------------------------------------------------------

Brand Nubian - Everything Is Everything (Nov 1, 1994: Elektra)

Brand Nubian cover a wide variety of styles and issues on this album. Their message is positive, but they come down hard on stereotypes and blacks killing other blacks. Sampling from rock and jazz alike, the group's scratchy rhythms are a good complement to the lyrics.

----------------------------------------------------------

Brand Nubian - Foundation (Sep 29, 1998: Arista)

Foundation, the first album since Brand Nubian's 1990 debut that featured all four original members, is an incredible return to form. The rhymes by Grand Puba, Sadat X and Lord Jamar are as striking as they were on the group's breakout, and the focus on message tracks is a refreshing turn from the rap world's played-out tales of thug life. "Don't Let It Go to Your Head" is a cautionary tale for arrogant one-hit rappers, while "Probable Cause" is a scathing attack on the notorious tactics of the New Jersey State Police and "I'm Black and I'm Proud" is an enjoyable roots epic. There are plenty of simple feel-good tracks as well, although those omnipresent Wu-Tang strings appear on several songs (just as on every other major rap album released in 1998). The group ably manage to sidestep another late-'90s rap cliché, enlisting a different outside producer for each track. Though Foundation is no different — featuring DJ Premiere, Lord Finesse and Chris "CL" Liggio, among others — most of the best tracks were helmed by Nubian members Grand Puba or DJ Alamo. Of the few NYC rap acts still left a decade on from rap's golden age, Brand Nubian sounded the freshest.

---------------------------------------------------------------

Brand Nubian - Fire in the Hole (Aug 10, 2004: Babygrande)

Six years since Foundation, Brand Nubian settle on Babygrande — home of Canibus and Jean Grae — and return with Fire in the Hole. Lord Jamar and DJ Alamo remain on production duties, as ever, while Grand Puba chips in on one track. While plenty of MCs who thrived in the early '90s have attempted with great desperation to remain relevant, each member of this crew has remained true to himself, consistently refining the skills without hopelessly retracing old steps. Despite all the changes mainstream rap has gone through during the past several years, Brand Nubian have remained well outside of it all — and they still do here, 15 years on, with a fifth album that will sit proudly next to the previous four. Few will ever refer to this as a classic, though even fewer will ever think of this as a poor showing. Graying veterans of the golden age and younger hip-hop junkies should be pleased to hear that the group is still active and in such good form.

-----------------------------------------------------------------

New: Brand Nubian - Time's Running Out (Aug 21, 2007: Traffic Ent.)

Label..........: Traffic
Source.........: CDDA
Genre..........: Rap
Size...........: 48.1 MB
Rip Date.......: 08-16-2007
Release Date...: 08-21-2007
Quality........: LAME 3.97 V2

01. Brand Nubian - Intro (Produced by Grand Puba) 00:48

02. Brand Nubian - Seen Enough (Produced by Lord Jamar) 04:03

03. Brand Nubian - Girls, Girls, Girls (Produced by Alamo) 04:02

04. Brand Nubian - One Time (Original Version) (Produced by Alamo) 04:22

05. Brand Nubian - Scientists Of Sound (Produced by Grand Puba & Lord Finesse) 04:50

06. Brand Nubian - Time's Runnin' Out (Original Version) (Produced by Brand Nubian) 04:14

07. Brand Nubian - Brand Nu Hustle (Produced by Grand Puba) 03:40

08. Brand Nubian - Once Again (Produced by Lord Jamar) 03:23

09. Brand Nubian - Rockin' It (Produced by Grand Puba) 03:41

10. Brand Nubian - I Wanna Hear It (Produced by Grand Puba) 03:34

11. Brand Nubian - A Child Is Born (Original Version) (Produced by Vance Wright) 04:19

12. Brand Nubian - Right Here (Produced by Grand Puba) 04:24

13. Brand Nubian - Enjoy Yourself (Produced by Grand Puba) 04:08

14. Brand Nubian - Go Hard (Produced by Lord Jamar) 03:06

15. Brand Nubian - Somebody Told A Lie (Produced by Lord Jamar) 04:14

Rapaholic™ is Back!

2007-08-23T20:38:00.000+04:00

We back again...With hot classiс discogs and new fresh albums!!!

Stay online!

Time 2 Vacation!

2007-08-03T15:33:00.000+04:00

Attention 2 all Rapaholics!!!
After one year of working i decided 2 have a rest...2night inshaAllah ill fly away...
After month our blog will rise again with New hot def discographies and exclusive things :)
Take care all yall...Peace!

As Salaam Aleikum Wa Rahmatullahi Wa Barakatuhu...

Black Milk

2007-07-28T01:01:00.000+04:00

Born and raised in Detroit on the sounds of A Tribe Called Quest and De La Soul, Curtis Cross found out at an early age that he had a talent for hip-hop, especially with beats. He spent hours in his basement — at first with just a cheap drum machine and a home karaoke system, eventually moving up to more sophisticated MPCs and samplers — making tapes. One of these tapes got into the hands of fellow Detroiters Slum Village, who were impressed by what they heard and invited Cross to produce a track on their 2002 mixtape, Dirty District, as well as on their official full-length, Trinity (Past, Present and Future). After that, Cross, who was going as Black Milk, teamed up with producer RJ Rice, Jr. (or Young RJ) as the group B.R. Gunna, rhyming and making beats on the duo's 2004 release, Dirty District, Vol. 2. That same year, Slum Village, who were looking for production work because usual beat-makers Waajeed and Kareem Riggins were busy with other projects, hired B.R. Gunna for 11 of the 13 tracks on their Detroit Deli LP. In 2005, without a label and with his group on hiatus, Black Milk went on to release Sound of the City, which was more of a mixtape than a typical album, on his own Music House Records, and shortly after worked on SV's self-titled record. By this time, indie-rap label Fat Beats had heard Black Milk's work, which many compared to that of the late J Dilla and producer/MC Madlib; impressed, the label signed him in 2006 and issued his official solo debut, Popular Demand, in March of 2007.

------------------------------------------------------------

Black Milk - Sound of The City (2005)

-------------------------------------------------------------

Black Milk - Pressure (The Official Mix CD)

---------------------------------------------------------

Although 2006 was a hard year for Detroit hip-hop, with the death of both Proof and J Dilla, it brought more attention to the scene than it had experienced since the rise of Eminem in 1999. Suddenly, everyone was heralding the genius of the late James Yancey, giving him shout outs and crediting him as a major inspiration. Of course, for some, these claims are actually true, and can be proven in their work. One such artist who falls into this category is Black Milk, who besides having already produced tracks for Slum Village, was also part of the duo B.R. Gunna with RJ Rice, Jr. On his first official solo debut, the Fat Beats-issued Popular Demand, Black shows off his skills both behind the boards and the mic. Comparisons to Dilla, and in some ways Madlib and even Kanye West, abound, much in part thanks to their mutual penchant for soul sample-based beats over hollow drum tracks. While Dilla's production may have been more inventive, and less dependant upon the same formula, Black Milk wins in rhymes (he even addresses the idea of producer/MCs, who "get the most criticism/Until they heard Black, now they gonna feel different," and in this case, what he says is correct). The rapper is able to adjust his flow to fit his beats accordingly, going from spitting quick 16s on "Watch Em" and "Insane" to slowing things down on tracks like "Lookatusnow" or "One Song." In true hip-hop form, Black invites a number of hometown guests to appear on Popular Demand, including Guilty Simpson, Elzhi and T3 from Slum Village, Baatin, Phat Kat, and One Be Lo from Binary Star, but he holds his own with them, isn't overshadowed by his elders' lines. He's adamant about not being placed "in a box," and so he shies away from overtly socially conscious lyrics and instead rhymes about women, hanging out with his friends, music, and of course, his own skills. "The beats is dangerous, and the rhymes is crazy, and my flow is on that new-age sh*t/So I'm like, 'Damn, how can they hate this?'/But niggas still can't relate like two kids that ain't kin," he spits in "Shut It Down." Maybe that's true; but for anyone who wants to hear the rebirth of Detroit hip-hop, there's no reason to look further than Black Milk.

+ Bonus CD

Little Brother (9th Wonder, Big Pooh, Phonte)

2007-07-26T10:19:00.000+04:00

Part of the new-millennium resurgence of alternative rap, Little Brother's inspirations were atypical for Southern hip-hop: classic Native Tongues outfits like De La Soul and A Tribe Called Quest, as well as more recent torch-bearers like the Roots and Black Star (Mos Def & Talib Kweli). MCs Phonte (born Phonte Coleman) and Big Pooh (born Thomas Jones) swapped rhymes with an easy chemistry, but the group's real focal point was DJ/producer 9th Wonder (born Pat Douthit), an old-school sampling technician who quickly established himself as a worthy heir to production wizards like DJ Premier and Pete Rock. Little Brother formed at North Carolina Central University, located in Durham. All three members had known each other since 1998, when they performed in a local hip-hop outfit called the Organization; after its dissolution in 2000, they spearheaded a 12-member crew dubbed the Justus League. The trio worked together off and on in varying combinations, until they officially teamed up as Little Brother in August 2001, adopting the name as a humble nod to their influences. Their first recording together was "Speed," a playful, down-to-earth look at the pressures of holding a day job while trying to make it in the music business; it set the tone for much of their early material. Over the next few months, they developed enough of a repertoire to start performing live around the area, and quickly earned a following. When the group made its music available for download on the Internet, a substantial buzz built far outside of North Carolina, and it eventually earned them a deal with the Oakland-based ABB Records in 2002. In early 2003, Little Brother released its full-length debut, The Listening, which won widespread critical praise that focused especially on 9th Wonder's production. The buzz helped him earn a raft of high-profile outside gigs, including tracks on a pair of multi-platinum releases: The Black Album by Jay-Z and Destiny Fulfilled by Destiny's Child. Little Brother leapt to a major label (along with ABB) in 2005 for The Minstrel Show. In January 2007, as the group was finishing up their next release, Getback, it was announced that Little Brother had left Atlantic and that 9th Wonder had amicably left Little Brother.

-----------------------------------------------------------------

Little Brother - The Listening (Feb 25, 2003: ABB)
In Little Brother's music, the North Carolina group makes a specific point to highlight the more refined aspects of mid-'90s hip-hop. Basing its 2002 sound upon the foundation previously established by the likes of Pete Rock, A Tribe Called Quest, Jay Dee, and Black Star, Little Brother makes somewhat of a political statement by applying such standards to this modern age. The Listening does an exceptional job of proving that soulful meditations have indeed retained their traditional relevancy within the contemporary realms of rap. 9th Wonder's production leads the charge with distinct drum kicks pacing larger-than-life melodic samples, which are often enhanced with sultry female voice-overs. Meanwhile, Phonte and Big Pooh dig even deeper within the hip-hop vaults as they draw upon classic routines by the likes of Rakim, Slick Rick, and Audio 2 for their lyrical inspiration. Whether engaged in storytelling, braggadocio, or simple reassurance, the rhyming duo complements 9th Wonder's varying shades of mood music with a consistent degree of skill and sincerity. The album both starts and finishes strongly, with "For You," "Speed," "Nighttime Maneuvers," and the title track serving as its most stellar moments. Despite its unavoidably derivative orientation, The Listening is a finely crafted musical document, composed by artists who want nothing more than to provide even just a glimpse of hip-hop purity within an ever-expanding maze of cultural deterioration.

-----------------------------------------------------------------

Little Brother - The Minstrel Show (Sep 13, 2005: Atlantic)

Few groups earn a major-label contract based on their producer's merits, but when Little Brother jumped to Atlantic for their second full album, The Minstrel Show, any cynic looking for a good reason would point to the increased profile of trackmaster 9th Wonder (Jay-Z, Destiny's Child). But it wasn't just 9th Wonder that made Little Brother's first album one of the best underground rap debuts of the new millennium; rappers Phonte and Big Pooh matched a smooth Southern drawl with up-North smarts. Like their influences in the Native Tongues family, the trio cast a clever eye over music and culture, sniffing out hypocrisy and greed, then dismissing them with sparkling satires. The Minstrel Show presents more of the same, expanding the palette to a host of hot topics: R. Kelly's "Trapped in the Closet" series, which gets skewered by the spot-on "Cheatin"; exploitative urban TV stations (the album's main concept); and even the need for brand-name clothes ("5th and Fashion"). And any fans who feared that 9th Wonder's success would lead to a diluted or overly polished record have nothing to worry about; awash in '70s soul and mellow, slapping beats, his productions make the message tracks carry just as well as the humorous material.

-------------------------------------------------------------------

Little Brother - Separate But Equal (Jul 31, 2006: Heat Distribution)

-------------------------------------------------------------

Little Brother - The Chittlin Circuit 1.5 (Jun 7, 2005L Fastlife)

--------------------------------------------------------------

Little Brother - Little Brother - Chitlin Circuit The Mixtape

Rapaholic™ Present Exclusive: Keith Murray - Rap-Murr-Phobia (The Fear Of Real Hip-Hop)

2007-07-25T14:17:00.001+04:00

Label..........: KOCH

Source.........: CDDA

Genre..........: Rap

Size...........: 56.4 MB

Rip Date.......: 07-24-2007

Release Date...: 07-31-2007

Quality........: LAME 3.97 V2

-------------------------------------------------------------------------

01. Keith Murray - Walk up (Skit) (feat. Tone Capone) 00:30

02. Keith Murray - Da F***ery 04:13

03. Keith Murray - Weeble Wobble 03:59

04. Keith Murray - Don't F*** Wit 'Em (feat. Kell Vicious) 03:37

05. Keith Murray - I Love It When It Rains (Skit) 00:51

06. Keith Murray - U Ain't Nobody (feat. Redman & Erick Sermon) 03:49

07. Keith Murray - Do 03:57

08. Keith Murray - Nobody Do It Better (feat. Tyrese & Junior) 04:01

09. Keith Murray - Hustle On 03:18

10. Keith Murray - Whatmakeani**thinkdat (feat. Lil' Jamal) 03:47

11. Keith Murray - What It Is (feat. Method Man & 50 Grand) 03:17

12. Keith Murray - We Ridin' (feat L.O.D.) 05:01

13. Keith Murray - Da Beef Murray Show (feat. Taya & Baggy Bones) 01:58

14. Keith Murray - Never Did S*** (feat. Unique) 03:43

15. Keith Murray - Something Like A Model (feat. Junior) 04:15

16. Keith Murray - Late Night (feat. L.O.D., Ming Bolla, Bosie & Ryze) 04:21