Tearing down the myth that “Return Of The Mac” is a good album.

On the music discussion message board of my choice there lies this notion that Prodigy just put out a worthwhile solo disc. The same Prodigy we loved on The Infamous, Hell On Earth, Murda Muzik*, HNIC, Free Agents**, Amerikaz Nightmare***; just because Mobb Deep dropped a stinker with the G-Unit affiliated Blood Money and he’s back spitting hard over Alchemist beats folks have deluded themselves into believing he’s still the one. I have a close listening, discerning ear and I don’t easily buy into dreams. Much like the way I want Nas to put out completely solid albums in this day and age and I’ve accepted the fact that he’s lost the ability, Bandana P barely cares about this rap thing anymore. I have a set formula for what makes a good song: good beat + standard verse + decent hook = good song. You take Nore and your expectations for him, if the beat and hook are cool then he made a good song. By this line of reasoning Prodigy hasn’t been living up to the bar that he previously set for himself, and that’s when you should hang it up as a MC.

Perhaps P has never recovered from a depression brought on by the SummerJam screen, maybe his well documented physical ailments have debilitated him from really focusing or he could just be going through the motions of trying to maintain street respect knowing at the end of the day he answers to Curtis. In any case, I’ve played this album he put out on “The Graveyard” twice or thrice and while I tried to convince myself it was hitting the first time, it became more underwhelming with subsequent listens. I’m giving it one more spin just to be sure it isn’t me who’s tripping.

The Rundown:

Return Of The Mac – He’s spitting very hard, but saying absolutely nothing. It seems like he put no thought into the verses, just running with Busta’s “New York Shit” rhyme scheme and talking tough. I can say why people would be so enraptured in the beat that they’d consider this a great song.

Stuck On You – The beat/sample is killer, 8 years ago P would have done damage to this. He was actually spitting on the second verse, although he could have done better than “I got big jumpoffs that fit down my pants leg”

Mac 10 Handle – Again it’s very hard, but very empty of substance or originality. Not to mention how much this sample has been used.

The Rotten Apple – Boring from the beat to the verses

Take It To The Top – The beat makes the song, the hook is pretty strong. But he isn’t saying much

7th Heaven – He started off the first 4 lines rhyming I’m feelin’ good with I’m feelin’ good. Uninteresting overall

Bang On Em – Good beat, the verses didn’t hold my attention

Nickel And A Nail – Okay he was spitting here, no complaints.

Legends – He killed it here too.

Stop Fronting – The hook is classic cocky Prodigy, but the verses were kinda blah.

In sum I likely wont be revisiting this album again. Alchemist came through for the most part, but my ears say Prodigy mailed his performance in.

* - I don’t have a substantive verdict on this album, I played it like twice. But everyone loves it.

** - Criminally underrated

*** - The last time they really put their heart into it as a group.

Camp Lo is officially my favorite group of all time (3 new songs)

ATCQ will always hold the throne as my personal greatest rap group of all time (maybe I’ll do an entry on it soon), but Sonny Cheeba and Geechi Suede are my favorites. The first time I saw the video for “Cooley High” my mind was blown and when “Luchini” came out I knew I was buying Uptown Saturday Night the day it dropped. Cheeba has the voice, Suede has the lyrics and they always combine forces for abstract pieces of soulful wonderment.

If you missed their solid sophomore effort Let’s Do It Again, stop sleeping and go hunt it down. Last year they put out the Fort Apache mixtape (on ITunes I believe) and have recently dropped Black Hollywood. This winter they will be releasing a whole new album Another Heist under Ski Beatz’ company Redefinition Records and if you’ve heard the stellar “Trip For Two” you know it’s going to be crazy.

The 3 songs I’ve put up:
Soul Fever has that John Travolta Saturday Night Fever pointer finger in the air flavor, like Q-Tip said “the beat feels like a never ender”(off of Black Hollywood)

Sweet Claudine is a tale about a black girl lost, listen to the strings. It’s nothing short of beautiful (off of Black Hollywood)

I Couldn’t Care Less could be a club banger, about lost love (off of Fort Apache)

http://www.zshare.net/download/2875041322213d/

Black Hollywood is available now on Traffic Entertainment/Good Hands Records

Ski Beatz - Beatz, Rhymes and Samples

If you dont know the name Ski Beatz by now, you've been living in a cave the past decade. He's responsible for classic work by the likes of Jay-Z, Camp Lo, Sporty Theivz, and Pacewon's "I Declare War" amongst other bangers. This is a compilation of his career's highlights and samples he used done by JNOTA and DJ Raize, two good dudes I came up through some bulls**t with. Ski still has it nowadays, proven by this heart breaking Jean Grae joint on here.

Enjoy:
http://www.zshare.net/download/28021167239888/

Xzibit - 40 Dayz & 40 Nightz

I discovered this album in late 1998 by browsing the legendary Davey D's forums. It was all everybody was talking about, so I went out and copped it. There are a few cheesy joints but plenty of heat ("Chamber Music", "What U See Is What U Get", "Handle Your Business", "Focus", "Deeper", "Los Angeles Times"), and "Shroomz" was where I discovered the infamous "Funky Worm" sample. Lyrically Xzibit was focused and killing it, before he got the wack car detailing show on MTV.

http://www.zshare.net/download/2736028807461b/

The Knock (Unofficial Mix)

No concept that took much thought here, the essence of a hip-hop "banger" is the drums for me. This is just a collection of tunes and instrumentals I dig primarily from the mid-late '90s era, if you scrunch up your face or risk neck injury then my job is done. This is a mini Dilla tribute of sorts but there is heat from plenty of other sound providers.

Enjoy and leave comments.

http://www.zshare.net/download/27157796fc1bbd/

Skyzoo, Torae and DJ Premier need to form a group together

These two songs display incredible chemistry on the part of all three.
Skyzoo is a great street rapper with a dash of intelligence, I'm late on the bandwagon but he's been grinding it out for a few years now and will be dropping a new mixtape Corner Store Classic in the coming days. Torae shows great promise as well and I look forward to discovering more of his work.

"Get It Done" and "Click" http://www.zshare.net/download/2708107a761814/

Skyzoo's myspace page: http://www.myspace.com/skyzoo
Torae's myspace page: http://www.myspace.com/dayoungvet

Count Bass D – Dwight Spitz

Repping Nashville, TN Count Bass D is quite possibly my favorite slept on artist in the game. For over a decade now he’s held his own behind the boards (producing with machines and playing instruments) and on the mic. Anyone worth their weight in underground Hip-Hop is already aware as he carries family ties with the honorable MF Doom, J Rawls and other underground acts. This album features guest appearances by Doom, Edan, J Rawls, Rayna Shine (she’s ill, trust me) and Dionne Farris amongst others. Count’s rapping is a bit of an acquired taste to be deciphered but he kills it. His beats? Forget about it, next level. My boy Squeeg put me on to this when it came out (in 2002 I believe) and I’ve been a diehard fan ever since.

http://www.zshare.net/download/2638725ed452ad

Cru - Da Dirty 30



One of Def Jam's last "Hip-Hop" albums before they started chasing trends and/or letting Jiggaman and DMX carry them on their shoulders. "Pronto", "Just Another Case" and "Bubblin'" had New York radio on fire in the summer of 1997. Yogi, Chadio and The Mighty Ha brought it hard (no one else would dare sample Sade on a song about their "everlovin' bitch"), kept it true to the city's heart (we haven't heard Antoinette since) and just delivered a comedic smorgasbord full of bangers. It's a shame they never came back out, last i heard Yogi was down with Diddy's Hitmen team of producers.

http://www.zshare.net/download/2580949c5d9ef7/

An Open Letter To Talib Kweli

As a diehard fan you’ve thrown me for a loop for what has been nearly the past decade. I wont pretend to know every word of “The Manifesto” but when Black Star jumped off I was all the way on board. Everyone preferred Black Dante, but aside from his show stealing thunder on “Thieves In The Night” I always felt you held your own, even preferring you as my favorite half of the duo. Reflection Eternal? Forget about it, Train of Thought was pretty much heat all the way through. People claimed you were too commercial with “Waitin For The DJ” but it was a soulful club banger and I loved Quality ("Wont You Stay" is my second favorite Hip-Hop love song of all time) “Get By” is recognized as a universally certified classic at this point (the remix with Busta and Jay-Z did wonders) and your appearance on College Dropout’s “Get Em High” introduced you to an audience who was still sleeping and only knew you as “the nigga who did Get By”.

You were on the cover of XXL with Dave Chappelle, and Jigga’s infamous co-sign on “Moment Of Clarity” made the world stand on its ear. You were next in line to break through to the mainstream, already receiving the respect of heads in the know and working with commercial acts that were renowned for their artistry. What happened? I know of the well publicized Geffen debacle, but there’s no defending some songs on The Beautiful Struggle, that was your Nastradamus. For ’05-’06 you fell out of my good graces, releasing forgettable mixtapes and collaborating with “hard” rappers in hopes of expanding your audience. Although I’ve never been too tough on Strong Arm Steady, the Jean Grae & MF Doom affiliations have been a great look. Nonetheless I had written you off as a dude who had lost his hunger and traded integrity for a piece of shine (see: Fat Joe, Jadakiss, Fabolous, Nas on “You Owe Me”). Liberation dropped and I was intrigued enough to listen, happy that one half of Black Star still cared enough to attempt making a difference in music. You regained some of the lost love here, as this was a pretty thorough release.

Which brings me to the point of writing this: Your legion of fans are awaiting the forthcoming Eardrum and early hype from the press says you’re back stronger than ever. Can the once mighty champion of “real” Hip-Hop return to his roots, moving people to the light now that he’s nearly a household name? The answer is a resounding yes as you’ve come into your own with your most focused and complete effort in years. The soul is back in your music, no longer are you trying to make songs that can spin alongside G-Unit (“Back Up Offa Me”) or leaving your lane hopping in the Delorean to the future (“We Got The Beat”). Your craft has gone to levels previously unseen, managing a UGK collab that doesn’t sound like a New Yorker pandering to the South’s present reign on “Country Cousins” and "Soon The New Day", a tale of pulling women featuring Norah Jones sensually killing it over a Madlib beat. This is masterful achievement of things that just shouldnt go together on paper.

The album is a return to your roots without sounding like you’re stuck in the ‘90s as “Hostile Gospel” is one of the best songs in your catalogue to date, with Just Blaze incorporating classical music and the black church into his standard knock and you coming back for the people who need your message most. Then you even proceed to take it a level deeper and criticize religion from a worldview on “Hell”, this is topic material extending past the outer reaches of “I’m real Hip-Hop to the core.” However, avid supporters of that facet will be more than pleased as “Say Something” is lyrical murder with Jean Grae, Pete Rock produces “Electrify” (reminiscent of the late great Dilla’s classic soul phase) and KRS-One appears on “The Perfect Beat”. Never one to exclude the ladies, “In The Mood” finds Kanye meshing Roy Ayers with the subterranean, while Will I Am takes it to the clubs (all the while not sounding fluffy) on “Hot Thing”.

I’m glad to see you’re operating on all cylinders and having fun doing you once again rather than trying to fit a label-driven mold. Eardrum has heat for the streets, as well as Hip-Hop purists and anyone in between. Man, woman and child alike seeking to zone out, nod their heads, think and elevate will assuredly be moved by this work of art.

Signed,
Young H

P.S. – That “I don’t make music for my fans” rigmarole you said on The Roots website a few years back was cockamamie jive talk. On behalf of your sometimes fickle fan base, I thank you for this album. Now, stop toying with our emotions and stay at it like this. Blacksmith, keep it rocking.

Struggle & Swagger

Backstory: Maybe a year or so back, our fearless hero (always in search of creative inspiration) said to himself “I’m going through some things, let me put together some music for when I’m stressed out.” His problems weren’t that immense and his self-confidence always helped him pull through, thus Struggle & Swagger. It was just a working title that was scrapped, but then 2007 started kicking his ass in ways unimaginable.

What happens when:
- Your funds are low, you can barely pay your bills and there’s nothing in the fridge you really wanna eat.

- You’ve been waiting 2-3 weeks for this job to call you back with a start date, doubting if you’ve actually even been hired.

- It’s summer, you’re in a hot apartment with no AC and a fan would be a luxury.

- Your ex (who used to be one of your best friends) is coming at you with that “C. Grizz 9 to 5” fuck you attitude, because you’re not busting your ass to make her happy POST BREAKUP.

amongst other setbacks and disappointments you’ve experienced this year?

You go back to the drawing board

Typically I feel anything over 16 songs borders on overkill, so the original plan was to do 8 songs encompassing struggle and the other half swagger. But then all of that above and then some happened, so it’s 75% struggle and 25% swagger these days.

This is for anyone out there presently going through trying times. Let go of fear and keep pushing, we’re gonna make it.

http://www.zshare.net/download/25469394064b1a/

Shadowman: Miami's best MC that you probably havent heard.

Shadowman is from the south but he spits like a New York vet, and he stole the show on DJ Spinna's Beyond Real Experience Volume 2.

I was saddened to discover he just came home from a three year bid, which explains his absence all of this time.

http://www.zshare.net/download/24898759f609b5 - Three of his best songs: "Breathe", "My Style" and "Rap Shit".

For more, direct yourself to http://www.myspace.com/shadowman

Black Milk: Popular Demand - @@@@ 1/4
Phat Kat: Carte Blanche - @@@@ 1/4

It has been a little over a year since legendary track wizard Jay Dee departed the physical plane, leaving a void that wont be filled in not only his home city of Detroit, but Hip-Hop’s culture altogether. In his absence various unreleased recordings have surfaced, but soon will come the point when the last of Dilla’s seemingly endless work will be heard. While a handful of friends and affiliates have sworn to uphold the legacy, “The D” has the heaviest weight on its shoulders. Black Milk and Phat Kat have presently chosen to carry the torch, with their respective releases Popular Demand and Carte Blanche expected to reflect the soul and gutters of the Motor City.

Black Milk has followed in Dilla’s footsteps, wearing the hats of MC/Producer while equipped to make both look easy. Having started out behind the boards for Slum Village, he released the slept on Sound of the City in 2005 and has gone on to produce for the likes of Pharaohe Monch, Lloyd Banks and Canibus while still in his early 20s. Although influenced by Jay Dee, Black Milk’s hyper-soulful style of production is one that only he can lay claim to. Even more impressive is his confidence behind the mic; while Black has established a buzz for his beat making acumen, he wants equal respect for spitting as he takes a relentless approach with his lyrics. Popular Demand’s lead single “Sound The Alarm” (featuring Guilty Simpson) serves as a warning call that he’s arrived to stake his claim and the album doesn’t fail to shine light on the rest of his family from the 313, as he celebrates how far he’s come with Phat Kat on “Lookatusnow” and reunites Slum Village’s Baatin, T3 and Elzhi for the raucous “Action”. Black Milk defies convention with “U” as he manages the rare feat of making a love song that knocks without sounding soft., conversely “Three + Sum” breaks down the art of the ménage a trois without straying from his trademark sound. James Yancey would be proud as Black Milk fully espouses what some would see to be the contrasts of material flossing while keeping his art authentic.

Phat Kat is possibly the most monstrous MC to ever bless a Dilla cut, having long ago established his reputation for classic collaborations such as Welcome To Detroit’s “Featuring Phat Kat” and the “Dedication To The Suckers” 12 inch. Carte Blanche is more of the same as he holds onto the “If it aint broke…” adage for dear life. Diehard fans of Dilla and Phat Kat’s chemistry will take a welcome ride to the future with “Cold Steel” and “Nasty Aint It”, while “My Old Label” is an uncut raw banger and “Don’t Nobody Care About Us” has already come to be considered one of their quintessential works together. Black Milk (considered by many to be the next best thing out of Detroit) holds down production and vocally guest stars alongside T3 on the sinister “Danger”, and also comes strong behind the boards on “Cash Em Out”. Phat Kat’s primary drawback is he limits himself to battle raps (“I’m better/harder than you.”) or discussion of being a rapper (“F*ck a major label, I’m independent now.”) With even the sensual “Lovely” being based around meeting women at shows, there seems to be a lack of creative inspiration at hand with his verses. Vocally Phat Kat explodes on each track as if it’s the last time he’ll be heard but he lacks wit while riding his one trick pony, so he may need more diverse topic material to hold an audience’s attention in the future.

Detroit continues to blaze trails through the underground with Popular Demand and Carte Blanche. Black Milk is steadily grinding, rumored to be doing collaborative albums with Sean Price, Pharaohe Monche and West coast up and comer Bishop Lamont, while Phat Kat will likely be blacking out as long as there’s a mic present for him to rip. Here’s to the Dirty D’s further prosperity in representing its heart, struggle and pain through Hip-Hop.

Black Milk's Popular Demand is out now on Fat Beats Records
Phat Kat's Carte Blanche is out now on Look Records

My first time on the radio

http://tinyurl.com/2od59l

stay tuned...

Two Recent Heaters from Jazze Pha

Jazze Fizzle/Fenzell or whatever you call him has been kind of spotty the past few years, but he killed it with these tracks.

Young Dro: Fresh (listen past the drawl for how this man puts his words together) http://tinyurl.com/2a8m4s

Rick Ross: For Da Low - http://tinyurl.com/ypqd9x

Elzhi - Boomerang Slang

This was serious heat from his Witness My Growth mixtape.

http://tinyurl.com/23p8pb

There's only 1 week left

I wont go on and on about how this album has changed my life, because it totally might not have the same effect on you. But only a few select albums (Muddy Waters, Operation Doomsday, and Midnight Marauders) have gotten this much endless spin from me. I already know some of the songs verbatim and I still get amped every time I hear them. This has been my saving grace this spring, being played at least once a week if not more. Blu is a beast on the rhymes, Exile is a beast on production and this album is an experience to behold. I cant nearly afford to buy music right now, but I might purchase this anyway for the sake of supporting.

Here's a track by track rundown of the advance copy with ratings

1) My World Is - An introduction on who he is, what he's here to do and why he's here to do it. The "Blu...blu...my woooorld is blu!" sample is killing. - @@@@ 1/2

2) Simply Amazin - Murderous battle rapping, attacking the mic with reckless abandon. Boom bap heaven - @@@@@

3) Juice n Dranks - Blu and Ta'Raach (aka C.R.A.C. Knuckles) exchange heat over a laid back beat. This is cool, but not outstanding. - @@@@

4) Cold Hearted - An introspective winner about tough times he's seen with his family, the soulful singing of Miguel Jontel brings it all together wonderfully. It's a bit hard to understand what exactly his rhyming is about, it requires a close listen. - @@@@ 1/2

5) Good Life - A song about struggling towards betterment through the tough times. I can relate heavily to the first verse. - @@@@ 1/2

6) Blu Colla Workers - Again I can relate to balancing life, women and the work grind. Upsetting a woman because she feels like you arent doing enough? Yeah I relate. Amazingly enough this could work at a "backpack" party, it has somewhat of a club kind of vibe to it. - @@@@ 1/2

7) I Am - One of 2007's best Hip-Hop songs, period. The beat is a light piano but boy does it knock and the way Blu structures his verses with the vocal sample is nothing short of amazing. He breaks down his life as a man, as a person, as a MC, and all other facets not to mention shouting out De La Soul and naming books from The Bible. Wait until they namedrop where the sample comes from (listen close to the verses when the beat changes) - @@@@@

8) Dancing In The Rain - I always liked this song but DonDub (for the two shoes) made me an even bigger fan. An anthem for pushing on and holding your head through life's struggles. The guitar is beautiful - @@@@@

9) Party Of Two - As a man, I dont want to hear that many "girl" records from such a talented dude. But I can relate to lusting after someone, recently even. His rhymes were still on point and the beat is hitting. - @@@@ 1/4

10) No Greater Love - Forget about it, cancel Christmas. This song knocked Talib Kweli's "Wont You Stay" from the top spot as my favorite Hip-Hop love record of all time. I cant even put into words how this record affected me. The beat and rhymes came together on some personal earth shattering shit. - @@@@@

11) The Narrow Path - An anthem for every underdog out there. You wanna talk about knock? You wanna talk about spitting? - @@@@@

12) In Remembrance - Heavenly introspection, you cant listen to this without smiling. - @@@@@

13) First Things First - Another girl record, on some honest courting shit. It's cool, but again not exactly what I want to hear from him. - @@@@ 1/4

14) Soul Amazin - Again, it's hard to talk about a song like this without overhyping it. Donwill said it took him back to the first time he heard "It Aint Hard To Tell". This is beautiful though - @@@@@

15) Life Is A Gamble - This is strong, but it's hard to follow some of the other songs that are on the album. - @@@@ 1/2

16) The World Is - He pays tribute to Nas and Pete Rock, and sets out to save souls. A very strong closer breaking down the concept of the album's title. - @@@@@

Update: Peamobile just informed me that it drops July 31st, but it'll still be on Itunes next week. As well "Party of Two" and "Life Is A Gamble" arent making the final cut. All of that aside, cop it or regret sleeping later. You have no right to complain about the state of Hip-Hop when albums like this exist, this takes you back to the era of complete efforts on the part of rapping and prodction. This will likely be my #1 LP of 2007 and it's already landed a place in my personal all-time top 10.

Binky Fingers - Where's Calvin?

This was the unofficial follow-up to Little Brother's The Listening. Largely produced by 9th Wonder, Khrysis and Big Dho, this album spread through small circles of those in the know around 2003. He kind of came from nowhere and dropped this without much of a backstory at all, but the picture above puts rest to rumors that he was a Phonte/9th Wonder alter ego.

Binky Fingers is brilliant and hilarious once you give him a few close listens. You've never heard a MC like this, he sounds kind of like a combination of both members of Heltah Skeltah minus the violence and with a lot more humor.

This has to be the only Hip-Hop album with jazz scatting in a hook ("Hey Binky"), and wait until you hear Phonte's New Edition/BBD tribute on "Ladies Man". The skits are nothing short of great comedy as well.

I'm on the hunt now that I know he put out a mixtape in '04, and he's scheduled to resurface with a new album this year. For now, enjoy this gem.

The album - tinyurl.com/2bpamc

His myspace pages - http://www.myspace.com/binkyfingerslazarus http://www.myspace.com/lazarusbinkyfingers

Quincy Jones - Back On The Block (Revisited)

This was one of my favorite albums as a kid, in 2 years it will be 20 years old and for my ears it's timeless.

What does it have to do with Hip-Hop?

1) The opening title track has Melle Mel, Ice-T, Big Daddy Kane who all killed their verses but Kool Moe Dee stole the show from everyone. The beat faded and he blacked out with

AN EVERLASTING OMNIPRESENCE
IS MY PRESENT
STATE OF BEING SEEING
THE UNPLEASANT

2) Jazz Corner Of The World - A mini rap lesson on a few jazz legends by Moe Dee and Kane. The vintage late 80's fast rap flow and actual samples of the artists they're running down, combined with the song "Birdland" that follows makes for an incredible experience.

Outside of Hip-Hop, this album had gems like Tevin Campbell's "Tomorrow" (when the saxophone solo and the choir comes in, FORGET ABOUT IT) which could motivate people 50 years from now, and the super adult "The Secret Garden" with Al B. Sure, James Ingram, El DeBarge, & Barry White which surely got your aunt's panties dropping back then.

Quincy Jones embraced the youth's popular culture, while blending many genres into cohesive excellence with this one.

tinyurl.com/2lrwjd

Early Candidate For Mixtape of The Year (No, not Kanye West)

Money back guarantee you'll never want to hear 'Ye, Camron and Consequence over "Gone" again (well you're getting this for di free, but you get what I'm saying)

Classic beats, great rhymes, DJ Premier's standard curmudgeon routine, you cant go wrong here.

Enjoy:
tinyurl.com/yoxnt5

Soundtrack To A Summer Fling

http://tinyurl.com/2k53x4

Enjoy and leave comments

(Track 8 made this the perfect cover)

Soundtrack To A Summer Fling - Liner Notes

For anyone who has ever heard or received a mix from me, a secret is I get my inspiration from autobiographical experience. Whatever I’m going through at the time, I try to organize and sequence a bunch of (good) songs around the topic. I do it to put people on to new music they haven’t heard and take them back to a good feeling when they heard older classics. For everyone who asks when something new is coming, if there’s nothing going on with me wont have a CD to make.

So far it’s gone like this (the better ones)

A Love Story (summer ’05) – detailing the rise and fall of my relationship at the time

I’m A Get A Bitch Number Tonight (fall ‘05) – Me getting back on the scene hollering at women

The Coldest Winter Ever (winter ‘06) – I got royally shitted on and heartbroken as soon as I tried to rebound.

All Praises Due (fall ‘06) – At a point where I felt the need to improve my ongoing relationship with the creator.


Soundtrack To A Summer Fling was made at a point where me and someone new just started digging each other a little while back. I went for two themes here, feel good music and exploring the (not so) innocence of getting to know someone for what may be a temporary thing. If you pay close attention there’s a beginning, a middle where things heat up and an ending.

How It All Came To Be: Really Blu & Exile’s “No Greater Love” is responsible for this project. I was shaken to the core by how ill the album Below The Heavens was at the same time I started interacting with the inspiration for the project. From there I scraped my my memory banks for songs that fit the mood, and came upon the PERFECT cover (you’ll understand in a minute) and solicited drops. One or two songs kind of lean more towards the female side, but it’s mostly good music that anyone with soul can dig.

Trial and Error: I scrapped a few songs - Che Grand’s “Trainspotting” was originally the opening song after the intro from its producer. “All My Time” by Paid & Live featuring Lauryn Hill was replaced by Count Bass D’s “False or True” which is way more flavorful. Little Brother’s “Nobody But You” was on the original draft, but that was a little more serious than what I was going for.


In sum: I’m not a “DJ”, don’t expect any incredible blends or scratching here but I think the songs flow well into each other if you play this without the annoying 2 second delays between tracks. I hope your summer is filled with love (you don’t have to be in love to have love for someone), fun and peaceful times with your newfound prospect or already existing significant other.

Move over, Doug E. Fresh



Cameron Giles is officially the world's greatest entertainer

How the mighty have fallen



i cant cop his album now

Edan and Skillz Ferguson - Fake Live Show

Edan: Cares about this Hip-Hop thing more than you and your favorite MC could ever hope to, the embodiment of upper echelon emceeing.

Skillz Ferguson: The other half of the best tag team duo you've probably never bothered to check for.

Witness what happens as they simulate a show for a crowd comprised of vocal sound effects.

www.sendspace.com/file/lo0i3m

Can it be that it was all so simple then?



Camron might be getting kicked out of Dipset today, this commemorates one of their greatest moments captured on film.

Sa-Ra – Style over Substance since 2004

For the past few years music enthusiasts have been looking for a reprieve from the mundane songs shoved down our throat by the radio. People have developed a sort of complex, where in looking for the “new” shit they will accept anything as good so long as it’s different. Sure someone has to break ground for any true impact to be made but what if it doesn’t sound like much? In my parents’ heyday there was nothing like Parliament Funkadelic, but at least they seemed to have some kind of a concept of what they were doing. The past few albums Outkast has picked up the reins of going left field and against the grain, but a lot of their music sounds like something.

Around 2004, MP3s began floating around of a demo from this group Sa-Ra (Creative Partners), the “cool” kids jumped right aboard questioning nothing while the sensible of us were like “Wait, these n*ggas just sound weird. This is what all the hype is about?” Then came the accompanying visuals, their dress code said “Look at us dare to take different to a whole new level” and anyone with a normal wardrobe checking for artists whose music stands out more than their clothing was probably thrown for an even bigger loop. Then Kanye West signed them to G.O.O.D Music and the buzz really skyrocketed, with ‘Ye being quoted as saying something to the effect of “I wasn’t gonna miss out on the next shit”. So being the unpaid blogger that I am, I wasn’t going to miss out on the chance to laud or trash their official debut The Hollywood Recordings since they’ve nearly eased their way to mainstream exposure.

1) Seagulls Intro – It’s alright, kind of electronic and non-descript @@@@

2) Hey Love - A Prince fanatic or a trendy chick would probably like this, but it’s not impressive like that - @@@ ½

3) Glorious* – This was the song my trendpals were gushing over 2 ½ years ago. I wasn’t impressed then and I’m still not. It actually sounds like a joint DJ Spinna did called “Intergalactic” if I’m not mistaken- @@@

4) So Special – This actually sounds like something, even though the melody in the production and vocals has Michael Jackson all through it. - @@@@

5) And If – This is alright, nothing special though - @@@ ½

6) Rosebuds – This was also on the demo from some years back. It’s pretty catchy. - @@@@

7) Feel The Bass* - I don’t know if this is supposed to be to 2010 what Planet Rock was to the early 80’s but this sounds like an experiment gone bad. Kweli probably did this for the check. - @@@

8) Not On Our Level – Their attempt at making a “jeep banger”. Nore’s verse is laughably bad if you ever enjoyed The War Report. - @@@

9) White (On The Floor)* - A hot mess designed to make you look cool in a Miami or New York club - @@@

10) Bitch* – This is about “Sa-Ra” as Sa-Ra gets. Everything I feel is wrong with this group is contained in this song. – I won’t even rate this one

11) Do Me Gurl – This is a heater even though it sounds weird. Maybe it’s the Pete Rock/The Words and Why drums. - @@@@

12) Ladies Sing – The lyrics are whatever, but the old school doo-wop vibe is kind of cool. - @@@@

13) Sweet Sour You – Also on Bilal’s never released sophomore effort Love For Sale. It’s really a @@@ ½ but B’s vocals take it to a @@@@

14)Tracy* – See what I said for Track 10. This was the song that officially made me include the * qualifiers.

15) Fly Away* – More weirdness featuring Erykah Badu - @@@

16) Lean On Me – Someone told Kurupt “Yo you gotta get with these cats they’re the future” or like Kweli he wanted a check. - @@@

17) Fish Fillet – If there was ever the myth that Pharaoh Monche can make your song better, this disproved it. - @@@1/2

18) Thrilla – This is a banger, Dilla went in with a vintage appearance. - @@@@

19) Hollywood (Redux) – One of the best songs on here, if they went this direction instead of trying to be pimped out fashionistas I would fuck with them a lot harder. This is them doing what works for them, a slow soulful groove. - @@@@ ½

That makes 7 out of 19 songs that I’m checking for, throwing things at the wall and seeing what sticks doesn’t impress me. They need to produce for other artists and really carve a niche that’s all of their own or else they’ll wind up being the spaced out version of the Trackmasters.

If you need substantive proof of how weird they are, read any article you come upon.

*(If you like these songs you’re probably a hipster asshole, no two ways about it.)

Still one of my favorite songs of the year



This song is the reason I want to hear 50's new album, it's short, sweet, mindless thug banter. He didnt even personally come at Cam that hard, but 50 is the king of entertaining dis records. Make sure to look out for Yayo dancing on the motorcycle like it's jihad with the scarf around his face.

I'm A Get A Bitch Number Tonight


Long story short: I make these compilations that tell the true story of some point in my life, I give them out to my friends who usually appreciate my song selection etc. I'll expound more in the coming weeks as the hype builds for Soundtrack To A Summer Fling , but this was the unofficial prequel because I never knew at the time that I would do STSF.

It was around Fall of 2005 that I decided to compile hip-hop classics about pulling women, since I was getting back in player mode and the radio just wasnt doing it for me. The title comes from a moment of swaggered up brilliance uttered by the homey Donwill before he starts his verse on Tanya Morgan's "We Be". Since it was his phrase I asked him to host it, basically starting the whole thing off with an intro. After that Labor Day weekend he humbly sent me back a whole intricate story like "let me know what you think" and history was made.

Me on the song selection/sequencing. Don on the skits (I didnt write a word or give any ideas, that's all him) guest appearances by Ilyas, Von Pea, possibly a few Tanya Morgan lady affiliates and Jaye Swigga with the diva in charge-esque freestyle. It's a universally revered project with good times and good music for all.

Enjoy and feel free to leave commentary:
tinyurl.com/2cvrt7

Large Professor Instrumentals b/w Count Bass D - 2006 Some Music Pt. 2

Large Professor hearkens back to the era where (like Posdnuos said on "Rock Co.Kane Flow") the producer's name didnt need to be said on the track. "It Aint Hard To Tell" is a classic and 8 out of 10 people that go crazy when this song drops dont know who made the beat. Why? Because Large Professor never had a trademark or a signature sound, he just stayed humble and hit you over the head all through the 90's without getting the props garnered to Pete Rock and DJ Premier. He was the only guest producer on a Tribe album ("Keep It Rollin'" from Midnight Marauders) before they bought Dilla into the fray with the formation of The Ummah. If you've never heard Main Source's Breakin' Atoms, I feel sorry for your soul. He's been fresh on the beats and rhymes since a youngin (reportedly maybe even producing a majority of Eric B & Rakim's early masterpieces). Anyone trying their hands at making a difference behind the beats and rhymes simulteaneously owes a world of homage to this man.

Large Professor Instrumentals - http://tinyurl.com/22l5th

Count Bass D has never neglected to mention the influence that the Extra P has had on his career as a MC/producer. A close friend of MF Doom, Count is one of the most talented yet least recognized producers doing it. I wont start controversy, but the way Madlib's biggest followers are about him is how I am about this man. This was a Japanese import project released over a year ago that most of the world hasnt been blessed enough to hear.

2006 Some Music Pt. 2 http://tinyurl.com/23j5vg

The top 5 reasons you should have downloaded Che Grand's Fixtape by now

5) You've never heard someone narrate their own project with this much charisma.

4) He's developed from a hardcore rapper into the full package in a few short years: Humor, instrospection, flow, raps for women, battling, etc.

3) His appreciation for music extends far past rhyming over whatever the hottest Hip-Hop instrumental of the moment is. He'll spit over 80's classics, disco, house, jazz, whatever you give him and make the track all his. It's one of the most unique aspects of his artistry.

2) He singlehandedly caused a shift in my project "Soundtrack to a Summer Fling" (coming 5/22, shameless plug). "Trainspottin" was originally on there, but it's been replaced by something on here

1) The Lessondary is the future, and you already know I dont big up anything that isnt hitting.

http://tinyurl.com/2cetg3

The only reason I believe Hip-Hop Is Dead*

Albums like this wont get 5 mics in the Source or a XXL, let alone a review (magazinesneedmetoletthemknowwhatsgoodvertisement)

I'll keep it brief, but Blu will make any MC who considers themselves "nice" want to step their game up. Mos Def needs to hear this album and go back to trying to be one of the best. The scary part is Blu is in his early 20's with skill that says he's been here before. Oh yeah, his partner Exile blessed the hell out of him with the beats too.

The artist is Blu, the album is Below The Heavens. If you've ever called yourself a fan of classic Hip-Hop and want an experience that moves you, dont wind up sleeping.This is my favorite part of being a diehard fan of this, once or twice a year someone puts me on to something that blows me away (shoutout to the homie Von Pea).The sad part is maybe 5,000 people will wind up hearing this when 5 million need to.

*I generally hate this term more than any pop cultured cliche reference that's floating around. The man who made the album with this title still wound up suffering from part of what's wrong with the game: He didnt set out to make a classic, he just kind of winged it and wound up with a few bangers on an overall decent effort. That was just a marketing scheme on his part (albeit a successful one), now everyone has run amuck proclaiming "HHID" (I cant even stomach to type out that acronym aside from the title of this entry). It's alive and thriving so long as I'm listening to greatness and I have people to put me on, so that I can put others on which hopefully allows the cycle to continue.

Dont allow yourself to be distracted by that last paragraph, you need Blu in your life.

Mini Reviews - I will be doing these sporadically when a lot of product drops around the same time.

DJ Soul – Assorted Donuts: A tribute to Dilla, a few decent blends of classic verses over some of the Donuts album. I’m not impressed enough to listen again. @@@ ½

Devin The Dude – Waiting To Inhale: This album is vintage Devin with his standard brand of comedy, raunch, weed, lovelorn tales, southern funk and soulful hooks. Andre 3000 kills his verse on “What A Job”. This further cements why Devin is one of my favorite rappers. @@@@ ¼

Redman – Red Gone Wild: 5 years after Malpractice and he hasn’t lost a step. Another entertaining Funk Doctor Spot trip featuring the usual cast of Chris Tricarico, DJ Say What, Nasty Naj, the stick up man and Soopaman Lova. @@@@ ¼

Prodigy – Return of The Mac: Diehard P fans wishing he was still the rapper of old will use this album to forgive the Blood Money tragedy. For my ears it’s mostly empty thug talk with P going through the motions rather than still trying to make me believe he means it. Alchemist’s production didn’t quite blow me away either. @@@ ½

Young Buck – Buck The World: While the album has more substance than I expected, he should learn that there’s more to making a strong song than a good beat with a crunk hook. The highlight of the album is 50 Cent’s “Funeral Music” (the Camron diss) as a bonus cut. @@@@

Rich Boy – Self Titled: He isn’t talking about much, but Polow made sure he received strong beats and altogether it’s a well done album. I’ve played it once and definitely plan on spinning it more in the future. @@@@ 1/4

The first and possibly only masterpiece of 2007

After three listens I still I don’t fully understand this album enough to do a proper review. But I'll Sleep When You're Dead finds El-P raising the bar to a level that I cant see being topped this year. I used to write him off as a noisy king of the backpackers, but now he’s incorporated actual melody into his chaos to marvelous results. Part B-Boy, part apocalyptic visionary, part cynical critic, this is what happens when (Cannibal Ox's) The Cold Vein wakes up from an almost 6 year coma angry and totally devoid of hope. El-P has rewritten the book on multi-layering and broken into his own as a full fledged composer, managing to bring artists like Cat Power and The Mars Volta (neither of whom I'd probably give the time of day) to perfectly fit in his world. Do not attempt to listen to this album if you aren’t ready for your head to be taken to a different place. It’s nothing short of hard work perfected into brilliance, and most other hip-hop will pale in comparison until it dares to push the envelope like this while simultaneously succeeding at sounding good.

Revisiting Beats Rhymes and Life (and the idea that Dilla killed Tribe)

On the message board that I frequent designed for music discussion, there’s the notion that Jay Dee’s influence was responsible for the supposed downturn of A Tribe Called Quest’s musical quality on their fourth album. People used to blame Consequence but now they’ve comfortably settled for placing the blame on Dilla’s shoulders while fans such as myself get accused of trying to reinvent history by saying this is a great album. How could the man largely considered the greatest to ever step behind the boards join one of our favorite groups and do damage to their credibility? Answer: His presence killed the Tribe that we knew, but they were still a Tribe we could love. Here I will hypothesize on why people didn’t like this album, none of which could be blamed on the late James Yancey (for the record I loved it a decade ago and still do).

For starters, nothing they put out following the album that Lupe Fiasco is still probably sleeping on could have blown us away. After going to the past (The Low End Theory) and the future (Midnight Marauders), the Back To The Future trilogy had to go to the wild west to close things out, but the last one was still an entertaining movie. I see this album as their attempt at staying relevant, being that Hip-Hop had gone through huge changes in the nearly three years since Marauders came out (Peep the cover above, displaying how things were in disarray but they were carrying the flag for the culture. Pac died two months after this album's release, followed by Big six months later). By the same token nothing on this album sounded like something they wouldn’t ordinarily do, unlike the terribly awkward Nore collab on The Love Movement. They left their jazz influences behind and went straight boom-bap; with Dilla producing five songs on here, and his (at the time) unorthodox Detroit rap style not featured it’s hard to say he had any negative influence on the group.

I’ll now do a brief rundown of the songs and give my overall rating as of today (mind you I may be a bit biased as a full fledged Tribe junkie). Songs denoted with * were produced by Dilla.

1) Phony Rappers – The dark piano with a strange melody, the drum knocks, typical fanfare about emceeing. - @@@@ ¼

2) Get A Hold* - This is all-time fresh. The vocal sample, the faint bassline. @@@@ ½

3) Motivators – This joint was just fun and it was definitely hitting. In retrospect Consequence sounds young as hell, but I was always a fan of what he did on this album. @@@@ ½ (yeah that rating might be a bit of a stretch, but f*ck it)

4) Jam – I thought Dilla did this but the internet’s production credits say otherwise. If I could give this @@@@@@@@@@@@@@@@@@@@@@@@@@@@@@ I would.

5) Crew – Heat, listen to this beat and tell me it isn’t serious. @@@@@

6) The Pressure – This song was a standard cool joint, not bad at all but not outstanding - @@@@

7) 1nce Again* - I never knew Dilla did this, but this was a great lead-off single with a fun video attached - @@@@ 1/2

8) Mind Power – This was a sleeper, it was hitting. @@@@ 1/2

9) The Hop – Another heater - @@@@ ¼ (really a @@@@ ½, but corny lines dropped it down a notch)

10) Keep It Moving* - @@@@@ Point blank

11) Baby Phife’s Return – This joint knocked too @@@@ ¼

12) Separate Together – Tip’s flow was crazy as was the beat @@@@ 1/2

13) What Really Goes On – I never liked this song. @@@

14) Word Play* – This makes up for “What Really Goes On” and then some, one of the greatest songs in their catalogue @@@@@

15) Stressed Out* – This was a definite heater, strong message. Plus who else is creative enough to interpolate Anita Baker’s “Good Love”? @@@@ 1/2

Closing Note: You can definitely hear the influence of the music that would be heard on Fantastic Vol. 2, but this album banged overall if you just went in as a Tribe fan and didn’t expect them to recreate the wheel. Overall, I’ll rate it an impartial @@@@ ¼

Revisit this album if you need to, Dilla was a highlight if nothing else.

Sean Price - Jesus Price Supastar

@@@@ ¼ (better than @@@@ but not quite @@@@ ½ )

The mid-90’s golden age of Hip-Hop is long past us, with only select acts like The Roots, Common, and Nas able to maintain commercial and critical relevance over a decade after their introductions. As the culture took a more commercial turn, the once esteemed Boot Camp Clik was one of many that were counted out for until Heltah Skeltah’s Sean Price rose like a phoenix from the ashes with 2005’s Monkey Barz. With this album he carried the crew on his shoulders, no different from how Ghostface kept the Wu-Tang brand from disintegrating altogether. Once considered the weak half of his group with fans deferring to Rock’s gritty voice, Ruck has proven he can hold his own and then some. Layman proclamations (such as being “the brokest rapper you know”), and standoffish boasts regarding his MC caliber, splashed with the mix of a class clown/hooligan from Brownsville character has made for reality rap at its finest. Jesus Price Supastar is Sean Price’s long awaited sophomore effort, promising an even greater abundance of the ignorance that diehard followers have come to revere.

The bulk of the album’s production is handled by Justus League chieftains 9th Wonder and Khrysis, along with their affiliate 10 for the Triad. From the heavenly “Violence” to the raucous “Hearing Aid”, the aptly titled monstrosity of “King Kong” and the soulful “Let It Be Known” (featuring a stellar guest appearance by Little Brother’s Phonte), North Carolina and Brooklyn combine forces to do great damage. Sean Price takes a relentless approach with his spitting as he maintains an indistinguishable air of authenticity, incorporating 5 Percenter speak along with his thug bravado. He takes pride in not only his lyrical skill, but in seeing just how comically ignorant he can be whilst dismantling competition in his path. When Sean makes the exclamation “I worked so hard to be this stupid”, and comes with lines like “Kneel down kiss the ring/R Kelly your verse when I piss on your 16” and “Dutch in my ear, OE in my palm/I’ll Freddy Krueger your face, Michael Meyer your moms” you have to believe that he means business.

Stumbling moments are few and far in between such as “Church” produced by Tommy Tee which sounds like a Dr. Dre throwaway, all the way down to the Funkadelic inspired hook. The album's major flaw is a technicality, as Sean Price’s topic material is extremely limited resulting in songs that aren’t about much. The only deviation from battle rapping, pistol clapping and drug dealing/usage is the album’s closer “Mess You Made”, breaking down an introspective synopsis of his career and failure to attain mainstream success. The lack of diversity in his raps is more than made up for with well structured conceptual verses, crazy multi-syllabic lines and strong choruses displaying how his partner in crime Rock earned the nickname Captain Hook.

Jesus Price Supastar is a return to form as Sean Price sticks to his guns (no pun intended), doing what he does best. He never disappoints his core audience, those who live for the uncut unpredictability and humorous barbarism which he’s developed a knack for. The BCC legacy will continue to live on that much longer thanks to the God.

Debunking the myth that T.R.O.Y is the greatest Hip-Hop song of all time.

Author's Preface: I know my homey G. Mittens will be ready to have my neck hanging from a noose for this, but it has to be said.

I go back to the Video Music Box/Yo! MTV Raps days, so this has nothing to do with me not respecting history. “T.R.O.Y” was one of the best songs from the early 90s, but there's an unwritten oath stating this is the one song that will represent what "real hip-hop" was until the end of time. Saying “T.R.O.Y” is the greatest of all time hearkens back to the corny "when did you fall in love with hip-hop?" question from Brown Sugar (Note: I wrote that sentence weeks ago, since which point a female friend playing this song actually said "This reminds me of when I first fell in love with Hip-Hop") I'm sure that true disco heads don't consider "Stayin' Alive" to be that genre's greatest song.

Don't get me wrong, it's classic and it was great for its time just like "I Used To Love H.E.R" was great for its time, but I have no desire to hear either of those songs possibly ever again in life.”T.R.O.Y” is to Hip-Hop what Frankie Beverly featuring Maze's "Before I Let Go" is to classic soul. Say there was a Family Feud segment where they asked a white clan “Name the top 5 foods black people eat” what's the first answer they would give? Fried chicken of course, and while that may or may not be right (barbecue chicken, mac n cheese, candied yams, collard greens, hello?) it's a little off-putting for that to be THE food associated with my people. That's how I see ”T.R.O.Y” as a die hard Hip-Hop enthusiast, the casual listener who goes to a party here and there might say it’s the greatest but that just doesn’t sit right with me.

Pros: an unforgettable horn loop that starts the song and comes in during the hook, it's the commemoration of a departed loved one, etc. It’s like what The Cosby Show was to (black) sitcoms, a feel good family experience aside from the old head laughing all night about the hookers at the party.

Cons: There are no real epic moments as far as the MC'ing is concerned. People are moreso programmed to love the song than anything else, it's been played out and spun to the point where it's really not that exciting despite the massive "OOOHHHHHHHHHH" that erupts the 1,362 nd time you hear a DJ drop it at a party. 70% of people don’t even know the story behind Trouble T-Roy, they just know that when they hear the infamous Tom Scott sample they absolutely must lose their minds.

5 songs off the top of my head that I feel are greater
The Bridge Is Over - http://www.sendspace.com/file/ifvjg5
The Show - http://www.sendspace.com/file/qptawz
Scenario Remix - http://www.sendspace.com/file/a6z2xf
Buddy Remix - http://www.sendspace.com/file/17wac5
HipHop Junkies http://www.sendspace.com/file/vf5xw1

Marc Mac - It's Right To Be Civil

Marc Mac is one half of 4Hero, the legendary outfit from the UK that you should be familiar with by now. I've been up on them a good 4 years now (You NEED their forthcoming release Play With The Changes), but I'm just getting hip to his side work.

While you should do your ears a favor and hunt down Dirty Old Hip-Hop by The Visioneers as well, It's Right To Be Civil is an instrumental album he released last year. Black consciousness spliced over seriously ill beats, this man can do little to no wrong.

http://www.sendspace.com/file/gz9ggb

Da Backwudz - Wood Work (Sleeper album of 2006)

Shout to my man Greg for making me check this album out.

This is the perfect blend of The Dungeon Family's consciousness and the ignorance of (the T.I. spearheaded) P$C. Strong lyrics & production, hooks, songs with good concepts, humor, seriousness, the complete package.

I actually interviewed Milwaukee Black (CEO of Major Way Entertainment) a year ago and I slept hard, not taking him serious because they didnt have a sizeable buzz.

www.sendspace.com/file/0jh8m9 - You Gonna Luv Me (yes, with the Dreamgirls sample)

Talib Kweli – Liberation
Rating - @@@@

Author’s Preface: I used to ride for Kweli like DMX did motorcycles and Boomer. I put him on nearly equal footing with Mos Def in Black Star, he got a pass regardless of histryingtoputoomanywordsintoabar and occasionally coming with questionable lines ("Your girl calls my name out like Clarence Carter, Clarence Carter, Clarence Carter"). I live and breathed “K.O.S. (Determination)”, it pretty much changed my life as an 18 year old. I greatly anticipated Train of Thought and it lived up to the hype, “Wont You Stay” off of Quality is my favorite hip-hop love song of all time. When The Beautiful Struggle came out I gave it @@@@ after one listen, with benefit of the doubt because I felt he just couldn’t come weak at all. In retrospect that album was trash and he’s been suspect with me ever since. The occasional hot verse won’t cut it when you used to bring it like he did, he set the bar too high for himself and expectations too high for fans. This is a precursor to the forthcoming full-length Eardrum (which is supposedly ill) and I’m listening with a completely open and unbiased mind.

>>>For the past few years Talib Kweli has been the unfaithful partner to heads who see him as one of the last hopes for authenticity in the mainstream. It’s been a heavy burden to bear as he wants to sell records and reach the minds of people in the same breath; damn near an uphill battle as he and his audience know that corporate interests don’t lie in being positive or progressive. This has made for a conflicted MC in Kweli, sporadically glorifying violence, weed, and women while not going so far that his shifting gears could be considered a radical 180 degree change. He’s gone from Rawkus to the limelight and understandably has to ride the line down the middle so as not to ostracize potential listeners; meanwhile diehard devotees are left confused as to his next move after his sloppy recent mediocrities. Liberation assumingly finds Talib attempting to show that he still has the left of center in mind, joining forces with backpacker delight Madlib on the boards.

The two make for a solid chemistry as Talib Kweli sounds at home with Madlib’s infinite versatility, the producer churning out all types of sounds, each different from the last. “The Show” opens the album and finds Kweli flexing his standard lyrical braggadocio over soulful horns. “Over The Counter” can be described as futuristic funk, with the political reflections and wisdom Talib has come to be revered for. “Funny Money” discusses promoters, shows, payola, and the politics involved with putting food on the table as he stresses “My kids can’t eat my love of hip-hop”. Guest star Consequence shows up and trades the perspectives of criminal and victim with Talib on the highly creative “Engine Runnin”. Conversely, BlackSmith’s Strong Arm Steady leaves a bit to be desired on “The Function”. As well, “This Happy Home” (the requisite family song) runs a bit too long, but these are miniscule flaws in the face of a concise package.

Kweli still forces a few corny lines every now and then (“Still I’m bringing sexy back like Timbaland and Timberlake”; “I’m the boss like I need Shareefa”), but all in all he’s focused and back in the zone on this project. He made a blog entry warning fans not to expect Eardrum to sound like this or vice-versa, but at least now we know he’s still capable of representing the past shining underground star that we knew and loved.<<<

The best set Funkmaster Flex has ever spun

This past Christmas night, super rockin Mr. Magic joined in as Flex killed it spinning nothing but old school classics. For anyone who hates or thinks Flex has sold out, this proves he knows what he's doing. He's excitedly rapping along to these songs, and in conversation he's reminiscing about legendary moments from hip-hop's past two plus decades.

http://www.sendspace.com/file/kxju4t

T.I. Has Better Hooks Than Your Favorite Rapper

I've stumbled upon the recent revelation that not only are his lyrics and flow superlative to most of the game, but his choruses really cant be faded by many. Whether it's something simple that makes a point, something structured more complex or he's singing the hook in tune with the music, he's taken this crucial aspect of songmaking to great heights. Evidence lies below

http://www.sendspace.com/file/qnbnwq

Revelations from the book Def Jam Inc.

1) http://youtube.com/watch?v=rFwJWgdfiyo
- That's director Brett Ratner's mom at 2:42 and 2:49

2) Slick Rick and Jam Master Jay almost got into a fight once, ditto for LL Cool J and Rakim

3) Slick Rick also let shots off in the office ceiling and exclaimed "Attention peasants!" when he felt the label wasnt paying him any mind

4) Nice and Smooth pulled guns on Lyor Cohen (thus their blacklisting from the industry) Lyor's response "Motherfucker, if you aint gonna use that gun, put it down."

5) Don Newkirk of "Gas Face" announcer fame was once heavily sweated by Russell Simmons and touted as the next big thing on the label.

6) LL came to Prince Paul to work on Mama Said Knock You Out. It never materialized.

7) Professor Griff called MC Serch a "Fucking Jew bastard" for making fun of him in the Gas Face video. (http://youtube.com/watch?v=HF4IQlsm7Ds)
A huge fight ensued and Griff was banned from entering the office.

8) Nate Dogg hit Gangsta Drester (One of the guests on Eazy E's Real Compton City G'z) in the head with a golf club. Dude blocked the swing, but still broke his arm in the process and got hit in the head anyway. Bleeding and a trip to the hospital ensued.

All in all it's a decent read (aside from a few typos and factual errors) covering the beginning with Rick Rubin and Russell all the way up until Hov took over the reins of presidency.