Killah Priest is a tangential associate of The Wu-Tang Clan. The Brooklyn native made his first recorded appearances on records by such Wu side projects and solo albums as The Gravediggaz, Ol'Dirty Bastard's Return To The 36 Chambers, and, most importantly, Genius/GZA's seminal Liquid Swords. His contributions became legendary and paved the way for the release of his acclaimed debut album, Heavy Mental, in the spring of 1998.Born in Brooklyn and raised in Bedford-Stuyvesant and Brownsville, Killah Priest became infatuated with hip-hop as a child, listening to old-school and new school acts like Eric B. & Rakim alike. He also was influenced by local rappers, like GZA and ONYX's Suave, who would often play local parties. Killah Priest began working on his rhyming and eventually earned a considerable reputation in Brooklyn, but instead of pursuing his musical career further, he took a sabbatical in order to educate himself, primarily about religion and history. Killah Priest returned to rapping in 1995, appearing on several Wu projects. All of his cameos were noteworthy, but his role on Liquid Swords earned special attention. By the end of 1996, he formed his own side project, The Sunz Of Man. In 1997, GZA suggested to Geffen that they sign Killah Priest, and the label took his advice. Killah worked on the album with True Master and 4th Disciple, two producers associated with The Clan. The resulting album, Heavy Mental, was dense with religious imagery and filled with evocative sounds. It received excellent reviews upon its March 1998 release and was a respectable commercial success, debuting at number 24 on the pop charts. Killah Priest issued his second album, View From Masada, in the spring of 2000, further bolstering his status as one of the most compelling solo artists in the Wu-Tang stable.
Killah Priest - View From Masada (May 9, 2000)
With his 1998 debut, Heavy Mental, Killah Priest dropped so much knowledge that it literally seemed as if this metaphysical brother from the planet of Brooklyn was on another mental plan. Yet, even though his spacy production and spiritually enlightening wordplay went over the heads of many, at the very least it made for an interesting listening session. After a two-year hiatus the street preacher re-emerges, but in a distinctly less profound fashion, as his sophomore effort, View From Masada is neither a natural nor cohesive progression. While KP's narrative abilities are evident on the title track, his frequent and disorienting shifts between scholar ("Hard Times") and thug ("Gotta Eat") are ripe with contrast and hard to swallow. If Masada proves anything, it simply reiterates just how prevalent commercialism has become in the hip-hop culture, as no one is safe from its lure — not even a Priest.
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http://www.zshare.net/download/killah-Priest-View-From-masada-rar.htmlKillah Priest - Priesthood (Jul 10, 2001)
One of the most slept-on MCs in hip-hop, Killah Priest has dealt with more than his fair share of industry problems. Though he denies rumors of a beef with his mentors in Wu-Tang Clan, the rapper was noticeably absent from their disappointing The W. And despite solid sales and critical acclaim for his previous solo albums, Killah Priest was dropped from his major-label deal with MCA. But as one of hip-hop's finest lyricists, Killah was not about to be held down, and the self-released Priesthood is a razor-sharp statement of purpose that finds the underground MC in peak form. Songs like "Madness" match a profound, sociopolitically charged consciousness with an uncanny eye for urban detail, with Nicrocist's atmospheric production supporting Priest's dense rhymes. The irresistibly catchy "My Hood" is even more potent, with spiritually charged lyrics bemoaning the state of the streets backed by a funky, guitar-laden riff and singalong chorus. But the all-star appeal of "Horsemen Talk" makes it the album's most remarkable cut. A preface to The 4 Horsemen's eagerly anticipated debut, the song features Priest, Canibus, Kurupt, and Ras Kass — arguably the most underrated MCs in rap — trading vicious rhymes that will make weak MCs sit up and take notice. This underground manifesto may not break any sales records, but without major-label money or the big-name producers it usually affords, Killah Priest has released one of the year's most powerful hip-hop albums.
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http://www.uploading.com/?get=51B7CSZ8Killah Priest - Black August (Jul 3, 2003)
Though Killah Priest isn't one of the high-profile members of Wu-Tang, time and again one in their middle ranks will release an amazing record, oblivious of the charts (if not the production blueprint of a solo Wu-Tang record). So it's no surprise that Black August is a quality release as well, driven not by money producers but by Killah Priest's potent rapping skills and occasional flashes of poetic lyricism. The skills come across in spades on gritty, street-level tales of extra-legal activity like "Robbery" and "Do the Damn Thing" that, importantly, never fall prey to sensationalism. Like Ghostface Killah, Priest also has the ability to convey the power of hip-hop in a song, the same fleeting feelings evoked by all those dusty soul samples on Wu-Tang records. He lays it out on the chorus of "Black August (Daylight)," the opener — "It's so beautiful, unusual, and remember y'all/this is no rap, these are moments captured on a Kodak." Notorious B.I.G. it's not, but that's exactly what separates Killah Priest from the hundreds of East Coast rappers busy scrapping for nothing more than multi-platinum records.
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Another in the ongoing list of projects concerning rap's most visible congregation, Wu-Tang Killa Bees includes Wu-Tang members RZA, Method Man, Ghostface Killah, Raekwon, Inspectah Deck, and Masta Killah plus relatives Cappadonna, Killarmy, and Sunz Of Man. Debut album Swarm, Vol. 1 appeared in July 1998
The Wu-Tang sword is double-edged. On one side, there's no sense denying that the amorphous, ever-expanding crew has been responsible from some the best, most creative hip-hop in the '90s, yet it's also true that their impact has been diluted by a proliferation of side projects and solo albums. Even RZA's brilliant, menacingly minimalist production loses its bite through repetition, and that's what hurts the otherwise fine The Swarm, Vol. 1. The Wu Tang Killa Bees are foot soldiers in the Shaolin army — they're not among the elite, they're newly adopted members of the Wu Family. Usually, the Wu-Tang name is enough to guarantee a hit, but to ensure sales, Ghostface Killah, Cappadonna and Inspectah Deck were all brought in for a couple of tracks. As a result, The Swarm really feels no different than any of the Wu albums since Ghostface Killah's Iron Man — it's the same mix of dirty beats, skeletal strings, hackneyed martial arts metaphors and B-movie samples. It sounds as good as it ever did, but it no longer has the element of surprise or ominous tension that made the first handful of Wu-Tang records so compelling. And that's not the fault of The Ruthless Bastards, A.I.G., Shyheim or any of the new members of the family — if it's anyone's fault, it's RZA's, since neither he nor his associates D.B. Allah and Mathematics have found a way to expand his signature sound. It still provides pleasure, but not surprises — unfortunately, one of the pleasures of The Wu-Tang Clan was its ability to surprise, and without that, they no longer seem quite as majestic as they once were.
