Saigon Speaks on Young Yeti

Questo il video incriminato in qui saigon parla bene di Young Yeezy.Pure Saigon si sta' rovinando??.

In piu' nuova traccia di SAIGON:

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Azad - Heartcore

Fur meine deutsche leser.

Richtisch geil.

Quando qualcuno fara' un testo come questo di azad qui in italia, allora mi farete uno squillo.

Kanye West - Can't Tell Me Nothing

Meglio dell'originale.BUBAUBUHBAUHABUHBAUHBA.

Royal Flush - 976 Dope

Tracklist:

1. Not Cha' Average Rapper
2. I Never Made 20
3. How We Gonna Act
4. Industry Scoop
5. You Wasn't Taklin' When I Was Walkin' [*]
6. Puttin' Em in Place
7. Call the Cops [*]
8. 976-Dope
9. Non Stop
10. Isabelle Ignorant
11. She Chose Me
12. Watch Out for the Plant
13. Maybe I Don't See So Well
14. Mute





Il cd in questione esce nel 1991 per Yo!Records.Loro sono un gruppo del Texas e questo qui e' una chicca.I prezzi per comprarlo vanno da 90 a 140 euro anche se su ebay ho trovato uno che lo vende a 15 euro.Insomma se lo comprate a poco fate un affarone,perche' e' molto raro.Tra l'altro e' molto bello,non ci sono review in giro ma tutti lo danno a 5 stelle.Non e' un classicone pero' e' veramente bello.

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La Titeltrack:

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Ja Rule / Saigon / Pimp c / Fab / e altre cazzate.

JA RULE




Qua il video dove ja rule e lil wayne vengono presi..sara' pubblicita' per il nuvo album di ja rule??, Non lo so'pero' ufficialmente io sono l'hype man di ja quindi fotte un cazzo,uno come ja ne nasce uno ogni 100 anni quindi teniamocelo ben stretto.
Saro' ironico saro' serio?? Resta a voi deciderlo.


SAIGON

Avevo sperato tanto in un classico del tipo.La storia pero' non pare essere cosi' meravigliosa...sta' diventado un po' brutta..ok il singolo spacca pero' swiss beat non ci deve stare la,pare poi che saigon in una intervista abbia parlato bene della musica di young Yezzy.L'ho' scritto giusto??


PIMP C

Pure lui pare abbia le idee confuse.Infaati ci dice questo:



I just made peace with the lil nigga Short Dawg cause on the cool, it really wasn’t his fault. It was ol’ dick-in-the-booty-Russell Simmons fault for not taking the message back to him and telling him to change his name. Yeah, I said ‘dick-in-the-booty.’ I know what I’m talking about. Bitch, I’ll air you out too."



"I ain’t out here dressing up trying to be sexy licking my lips like old gay ass Ne-Yo. Licking lips and shit, nigga. Pussy dick in the booty ass nigga wearing all that gotdamn lip gloss at their video shoots and letting niggas put makeup on their face. Yeah, I said Ne-Yo, you heard what the fuck I said. Niggas putting all that lip gloss on they fuckin’ lips looking like they’ve just been eating a pork chop sandwich with no hands."



"Atlanta is not the South. Atlanta is not the South, gotdamn it, when you go to Atlanta what does your clock say? When you get off the plane from Los Angeles or Texas, what time do it be over there? Atlanta is East Coast time. You niggas ain’t in the South."



Sara' perche' l'album degli U.G.K sta' per uscire?? .MA PERCHE' STO SCRIVENDO QUESTE COSE??


FABOLOUS




Fab a Hot 97.Il suo ultimo album e' stato piu' schifoso di una patatina messe prima dentro alla coca cola e poi mangiato insieme al latte.Ma di che patatina staro' parlando??.poco importa.


ALTRE NEWS E ANCORA DI PIU' CAZZATE


La data ufficiale per WEST dovrebbe essere 11 Settembre,in corispondenza con Curtis.IN CUI PARE CI SARA' UNA TRACCIA DEL GIOCO.PARE.MA ALLORA BENZINO E LA GAY-UNTI FORMANO UN GRUPPO??.Comunque,stavo dicendo,si 11 settembre in cui esce pure Necro,che non c'entra un cazzo.Non mi ricordo cosa vi volevo dire ah ecco West ci parla di non so' cosa ecco qua.

The date, Graduation, September 11, we ain't moving. I'd rather come out on a day like that, up against 50 — where people are excited about going to the stores and it's an event and people talk about it — and be #2 on that day rather than come out and be #1 on a day nobody cares about. It's about things going down in history. It's not that much exciting stuff in hip-hop right now. I think people are going to make it more than what I'm making it myself. At the end of the day, I'm making music and I'm trying to sell."

E poi west dice che ha sentito il suo album e si gasa un po',insomma fortunato lui:

The date, Graduation, September 11, we ain't moving. I'd rather come out on a day like that, up against 50 — where people are excited about going to the stores and it's an event and people talk about it — and be #2 on that day rather than come out and be #1 on a day nobody cares about. It's about things going down in history. It's not that much exciting stuff in hip-hop right now. I think people are going to make it more than what I'm making it myself. At the end of the day, I'm making music and I'm trying to sell."


LE 2 COSE PIU' IMPORTANTI TRA QUESTE STRONZATE (CHE SONO SOLO RUMORI)


THE LOX DOVREBBERO DROPPARE UN ALBUM PER DEF JAM.UHMMMM NON SO' SE E' BUONO O PEGGIO..


NAS LASCIA DEF JAM E FONDA SUO LABEL.




Eppoi questo sara' il nuovo tormentone dell'estate:
JA RULE FEAT WAYNE UH OH


E qui il Behind The Scenes:



Ja rule e' il mio idolo indiscusso.

SHADZ OF LINGO - A VIEW TO A KILL

Tracklist:


1. Different Stylez
2. Mad Flavaz
3. Ill and Get Clowned
4. Wherez da Steel
5. Psychopathic Interlude
6. View to a Kill
7. Think I Give a F--k
8. Don't Test da Skillz
9. Crossfade Flow
10. I Step 2 U Den
11. Alwayz Stylin



Se e' la prima volta che sentite parlare di loro oppure non avete mai ascoltato questo cd vuol dire che ci avete DORMITO sopra e non solo voi.Questo e' un classico,vi basti sapere che esce nell'annno magico 1994,i cd di quell'anno sono una garanzia.Tra i produttori troviamo nomi del calibro di DIAMOND D, ERICK SERMON e DALLAS AUSTIN,insomma una garanzia.Loro invece sono KOLORADO, LINGO, e (DJ) ROCKO.
Non dormiteci sopra neanche un secondo ora.Beat 9 Lyrics 9 Total 9,5


Non mi pare esserci review in giro quindi vi dovete fidare della mia parola.



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Soul Position - 8 Milion Stories

Tracklist :


1. Intro
2. Printmatic
3. Inhale
4. The Jerry Springer Episode
5. Candyland Part 1
6. Just Think
7. Fuckajob
8. Look Of Pain
9. Survival
10. Candyland Part 2
11. Share This
12. Run
13. Right Place, Wrong Time
14. Candyland Part 3
15. No Excuse For Lovin
16. 1 Love



Soul Position is an American hip hop duo hailing from Columbus, Ohio, consisting of DJ/producer RJD2 and rapper Blueprint. They have released two albums and one EP on Rhymesayers Entertainment.8 Million Stories is the debut full-length album by American hip hop duo Soul Position, released on October 7, 2003 on Fat Beats Records, under license fromRhymesayers Entertainment. An instrumental version of the album entitled 8 Million Stories: Instrumentals was also released.



Review (rapreviews.com) la perfezione incarnata cd:

If you peeped the "Unlimited EP" by Soul Position, then there's little doubt you were highly anticipating the release of "8 Million Stories." Few things in life are worthy of a perfect 10 (except perhaps J-Lo's booty) but Soul Position's last release achieved that rare mark on the strength of Blueprint's stellar rhymes and RJD2's fabulous beats. Both have and are perfectly capable of making a mark in hip-hop on their own, but their union formed a hip-hop superduo of stellar abilities whose sole goal was to achieve even greater musical heights together. While underground rap fans fiended for the follow-up like a junkie does smack, Blueprint and RJD2 labored in the studio like chemists until at last they came up with the perfect hit. Without a doubt, unlike Bill Clinton, Soul Position both wants and ENCOURAGES you to "Inhale":

"I'm willin to take trips into the dark and unknown
corners of your subconcious where the climate's cold
Use me, to the foolish it'll never get old
Forget about her thingies and the things you've been told
Some people use me as a courtesy for things bought and sold
Let me be an example of how to break the mold
Use me as an innocent, you need to break the hold
Use me 'til I'm gone, use me 'til I'm gone"

Even KRS-One never dreamed about being this blunt. Blueprint is the type of rapper who you might suspect was either born different or did hits of acid at some point in his life, because his mind conceives things in a way the average person simply can't, yet relates them to the listener in a way that they might get a glimpse inside his stark reality. "Look of Pain" epitomizes the dichotomy - lyrically 'Print is on another level, but RJD2's harsh yet oddly melodic production brings him down to Earth so that he can communicate with the rest of us about the world:

"I've seen cracked shells in broad daylight on park benches
Old folks watchin from the window in they kitchens
Convinced the police don't care and won't listen
Hopin that they got some undercovers takin pictures
They ain't tryin to be the ones that gotta save the system
For every five thugs, maybe one'll go to prison
The other four are left to intimidate the witness
Go to trial against them and you might come up missin
Lookin at the odds it's a no-brain decision
Unless you wanna jeapordize your family and children
So they keep they eyes closed, continue feeding kittens
Then open up the blinds again when the sale is finished
Then hope that dope never invades they fam, but
how would you cope if yo' moms was smokin grams?"

You might think such a brutal examination of humanity's failings would make Blueprint a bitter cynic, but it's his very ability to talk about what's on his mind and reveal the truth that gives both him and the listener hope. The aptly named "Survival" featuring Greenhouse Effect is just such a case, where Blueprint shows that he hadn't given up the struggle by a longshot:

"Leavin no stone unturned, my eyes burn for higher learnin
Pushin my pen to deconstruct, like like a surgeon
Determination, it takes great patience to operate
inside closed minds with limited time"

Combined with scratched in samples of Inspectah Deck from "C.R.E.A.M." the total effect is a masterpiece of vivid musical colors in both dark and light, counter-balancing each other into a perfect whole. Blueprint and RJD2 paint broad strokes, matching moody beats with powerful messages, and then surprising the listener with simple yet engaging raps like "Candyland Part 1" where Blueprint takes a journey into the world of TV:

"A-Team, Batman, Battle of the Planets
Berenstein Bears, Brown Horney, Bugs Bunny
Bullwinkle, Captain America, Captain Caveman, Captain N
Care Bears, Deputy Dog, Dragon Slayer
Droids, Duck Tales, Dungeons and Dragons
Ewoks, Fantastic Four, Fat Albert, Flintstones
Force Five, Foghorn Leghorn
G.I. Joe, Ghostbusters, Gigantor"

It might read like nothing more than a list in print, but hearing Blueprint speak each word clearly evokes a different memory, causing him to pause longer on some and give more emphasis to others - and as a song is undoubtedly designed to evoke the same feelings in the listener. You can't underestimate the amount of thought that went into the song, and why RJD2 chose the specific beat that he did which helps you trip down memory lane along with 'Print. The same effect can be observed on the soulful groove of "Share This," where RJD2 and Blueprint work together to give off a positive vibe. It's personal, poignant, and powerful:

"Study this as you study your first born
My first song was pain, personified in song
The longest sequences looped for days on
Where bass kicks are fierce, and snares are known
to drop a lot quicker than a child's tears
And drown out the drama that I didn't want to share
The load that I wouldn't wish upon my enemies to bare
The times I used to tell myself you didn't want to hear
until the reason in my rhyme became clear
Now what I write makes the load a lot lighter
The story of my life epitomizes imperfection
as a musical, where every scene seems to lack direction
And I stand center stage, stunned by what's happening
Blinded by the lights, cameras, action
Although I never asked for this lead role
It seems that God decided it a long time ago
I was chosen for this - given the gift
to gain and, maintain the crowd's cheers
I break, bread over beats with like-minded peers
And share the story of my last trip into the atmosphere"

In the rap world MC's clearly exist on different levels, and as the ground is to the sky Ma$e is to Blueprint. Rappers who can only talk about their flashy cars or flashy jewels are unable to see the hidden jewels inside their own souls, but Soul Position is aptly named as their ability seeks to find the place in the mind that goes beyond the shallow waters of materialism into the hidden depths of humanity. Don't get it twisted on some hater shit - there's nothing wrong with enjoying the superficial every now and then. If one can't enjoy the simple pleasures in life now and then, what's the point in living? Nonetheless if you're fed a diet of nothing but candy, sooner or later you're going to crave the nourishment of fruits and vegetables. "8 Million Stories" is nourishment for the ear that feeds the soul. Thanks to Blueprint's clear diction, well thought out lyrics, and his ability to relate to the audience the words shine as bright as the night sky. Thanks to RJD2's musical wizardry, clean audio production and ability to create wholly new sonic landscapes, the telephoto lens is applied to make those stars even more vivid and bright. Once you listen, you'll never be able to look at rap's landscape the same way again.

Music Vibes: 10 of 10 Lyric Vibes: 10 of 10 TOTAL Vibes: 10 of 10

Review (prefixmag.com) per loro e' meno bello :


One year ago, Blueprint and newly crowned super-producer Rjd2 paired up on Rj's stellar album Deadringer. The results were lukewarm; while nothing to scoff at, "Final Frontier" was easily overshadowed by other more amazing tracks on the album. Unlimited, an EP released by the duo under the moniker Soul Position, gave the world a small dose of the possibilities between these two, and that fleeting taste has evolved into 8 Million Stories, which, plain and simply, is one of the year's best hip-hop albums.

One of the few knocks on Deadringer was the lethargy of the tracks that featured emcees, so a crucial question remained for Stories: Could Rjd2 meet expectations for a full length backing an emcee? He brings his trademark beats, combining vintage sounds with more contemporary elements to anchor the album, but he absolutely opens the floodgates on Stories. Exchanging the sample-heavy sound of Deadringer for more instrumentation and an astounding amount of melody, his production adds a much needed yin to hip-hop's testosterone yang.

Sublime production from Rjd2 is to be expected at this point in his career, but the album's most pleasant surprise is the way Blueprint refuses to be pushed into the background. From the cathartic self-exploration of "Share This" ("Tilted, my flowerlike childhood wilted when my innocence was uprooted / Plus the water we gave to it stayed polluted like the veins of cocaine users / My bloodstream's still a little murky") to the hilarious storytelling of the lead single "The Jerry Springer Episode," ("She had an attitude of monumental magnitude / Couldn't take her anywhere without the broad acting rude / Even with your family she had no gratitude / I took her to my mom's crib, she started snapping on the food") to the playground nostalgia of the "Candyland" interludes ("Fat Albert, Flintstones, Force 5, Foghorn Leghorn / G.I. Joe, Ghostbusters, Gigantor"), the album becomes a showcase for his versatile styles.

Blueprint sets the tone, touching on subjects from hilariously dysfunctional relationships to the social role of today's hip-hop artists; Rjd2 follows suit with a beat for every mood. While Print speaks on the absurdities of the 9 to 5 grind, Rj samples Office Space, the most revered film of the overworked and underpaid (as well as one of the most underrated flicks in recent years). When Print shifts his attention to the limitations of inner city youths, Rj offers a fittingly claustrophobic descending chord progression. Always working on the same page, the pair succeeds on nearly every level imaginable. The two cover nearly as much ground as Mr. Lif's I Phantom, but less as prophets of doom than as keen observers, pointing out the idiosyncrasies of modern society, yet always maintaining hope. And these keen observers can rock.TOTAL 8/10




Siamo la' ,io direi che sto' in mezzo tra le 2 reviews,un classsico che non potete non avere.RJD2 sforna beat sempre nuovi e sempre perfetti e Blueprint ci delizia colle sue rime e con incastri sempre perfetti.Questo album e' per tutti e non vi annoiera' mai, veramente una perla.Beat 9,5 Lyrics 9 Total 9/10





MY SPACE SOUL POSITION




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Scientifik - Criminal

Tracklist:

1 - Lawtown
2 - I Got Planz ft. Diamond
3 - Jungles Of The East
4 - Overnite Gangsta
5 - Yeah Daddy
6 - Still An Herb Dealer
7 - As Long As You Know ft. Ed O.G.
8 - Fallen Star
9 - Downlo Ho
10 - Criminal



Boston rapper Scientifik recorded two albums in the 90s, The Most Blunted and Criminal. Unfortunately Criminal was denied a proper domestic release due to industry politics and label bankruptcy. So for the last 12 years the record has lived on in the boom-bap afterlife of vinyl bootlegs, hissy dub cassettes, and low quality MP3s. That is until now. Traffic Entertainment and Executive Producer Edo. G now present Scientifik's Criminal as it was intended to be released back in the day. Criminal boasts a mid-90s dream team of producers as a young RZA, Buckwild, Diamond D, Edo. G and Vinyl Reanimators all contribute beats. Even with his untimely death in 1996, this record retains a cult following. It aint hard to tell why the music is still captivating. On the mic Scientifik is certainly competent, and by 1994 standards he operates correctly, dropping jewelz and relating crime sagas in a soldierly, commanding voice that flexes just enough to reveal his hunger and intensity. And it doesnt hurt that some of the beats are absolutely bangers. The mind blowing single East Coast Jungle, backed with Lawtown (Lawtown being his hometown of Lawrence, MA) is as good as it gets; each song expresses that moody, boom-bap hardcore rap sound that any genuine Hip Hop fan will appreciate and covet. Guest verses from magnetic legends Diamond D and Edo. G only accentuate Scientifiks depth of album-carrying charisma. This is vintage cerebral street music at it's best finally garnering the respect it deserves.



Reviews (rapreviews.com):

Rap music's path is littered with unreleased albums that fell by the wayside because someone behind a desk decided it would be better not to release them. Some of the more famous ones have long been available as vinyl bootlegs (Large Professor's "The LP" comes to mind), but it takes a truly dedicated artist to pursue a proper release years after the fact (Cormega and "The Testament" being the most notorious example). Lesser known artists are more liable to insist on a release, some of them even seizing the opportunity to rise to late prominence (Dooley-O with "Watch My Moves 1990"). Whatever the exact circumstances, the fact that people are willing to resurrect music that was once deemed doomed shows that there are plenty of heads who feel nostalgic about the kind of music they listened to when they were younger or who are interested in catching up on artists that came before their time. Still, crate-digging as a commerce is rarely a top priority to anyone.

After "Power of the Dollar" was shelved, 50 Cent decided to take his hustle back to the streets, which he did so successfully that the tables eventually turned and he was in a position to negotiate contracts at his terms. It's unlikely that he will bother to put out material that has already been heavily bootlegged or used during his mixtape days. The same goes for Twista's sophomore effort "Da Resurrection" and whatever the Black Eyed Peas recorded when they were known as the Atban Klann and signed to Ruthless Records. Most likely it's indie cats making sure their work is saved from oblivion. J-Live did it with "The Best Part." Del did it with "Future Development." Blood of Abraham did it with "Eyedollartree." Pete Rock did it with INI's "Center of Attention." DOOM did it with KMD's "Black Bastards." On the other hand, sometimes material marinates a few years before it is used under a different title (parts of Lady of Rage's "Necessary Roughness" would probably have been on "Eargasms"). Finally, in more recent times there have been semi-official releases of unknown origin (such as King Tee's "Thy Kingdom Come").

One particularly personal belated first edition was the "Big Shots" album Peanut Butter Wolf put out in memory of his deceased partner Charizma. There are other aborted albums that probably only this reviewer would care about. Mid-'90s follow-ups by Shazzy ("Ghettosburg Address") and Pudgee Tha Fat Bastard ("King of New York"). The Omniscence album. The Fatal album. And there are the ones that should stay in the closet, like Freddie Foxxx's "Crazy Like a Foxxx." But there remain some rather special albums that need to see the light of day in their entirety and officially. The 1993 full-length the Jungle Brothers recorded for Warner, "Crazy Wisdom Masters" (which was incompletely transferred to "J Beez Wit the Remedy"). "Night of the Bloody Apes," the 1994 Jive album by the Crustified Dibbs (RA the Rugged Man's outfit). The Prince Paul-produced Resident Alien album "It Takes a Nation of Suckers to Let Us In" from 1991. Ras Kass' more recent "Van Gogh." Q-Tip's Kamal the Abstract material. Whatever Rakim recorded for Aftermath. Black Thought's "Masterpiece Theatre." The original version of Nas' "I Am."

Yet another story is Scientifik's "Criminal." Scheduled for release in 1994, this album never reached the stores because its label, Definite Records, went out of business after the release of the single "Jungles of da East b/w Lawtown." The record has been available on wax packaged in a plain sleeve, but in 2006 Traffic Entertainment gives it the official release it deserves. Sadly, Scientifik isn't around to witness it, as he died in 1998 in a car accident that followed a shooting inside the car, investigators at the time suspecting he first shot the woman who was with him and then turned the gun on himself, but also admitting that the couple's background didn't suggest such a horrible scenario. Scientifik (moving from Brooklyn to Lawrence, MA, at the age of 12 after his mother had died) had been active on the Boston rap scene, producing demo tracks with Joe Mansfield (who contributed beats to Ed O.G's debut "Life of a Kid in the Ghetto") in the early '90s while still being a teenager.

One reason people wouldn't forget about "Criminal" was the production. Not only do Buckwild (3 tracks) and Diamond D (2 tracks) make this almost a DITC affair, one beat was even done by The RZA. In all likeliness it all began with Diamond being involved in Ed O.G's 1993 album "Roxbury 02119," and him bringing in Buck, who had been down with Diggin' In The Crates for some time. Initially, Scientifik might have even been labelmates with Edo, as their collaboration "As Long As You Know" was included on the former's "Love Comes and Goes" single, as a means to promote (quoted from the credits) 'Scientifik's debut Chemistry/Mercury CD and cassette "Prestige, Image, Money & Power".' Which, it is safe to assume, would become (the not particularly appropriately titled) "Criminal."

In terms of its content, "Criminal" is far from the reckless manifestation of a criminal mind one might expect. Rather, the rapper shows that what the law calls a crime can be much more complex: "This nigga tried to get me but he missed when his tool bust / some niggas carjacked his little sister's school bus / ain't hit no wools but was trippin' on meth / when nigga cocked the hammer back and put the gun to his own chest." While delivering a first person account on the title track, Scientifik reflects on urban mysery in general, concluding, "They probably find a cure for cancer 'fore they handle the streets."

Furthermore, "Still An Herb Dealer" isn't exactly the confession of a stone-cold crook, the rather harmless revelation setting him apart from today's part-time rappers/full-time trappers (to use Yo Gotti's terminology). There's some unlawful activity in "Lawtown," but again it's primarily Scientifik's way to illustrate the code of the streets:

"Hey yo Jack, quit the bullshit, it's a stick-up
Every single day this nigga drop off or pick up
mad loot in the Jeep; I don't sleep on that bastard
cause I got his route mastered
He and his people run shit like a track meet
They be hittin' backstreets in they black Jeep
with the fat beat boomin' out the box
but he always turn it down when he transportin' rocks
Been on the block for a minute
The spot's gettin' money in it
and I ain't gettin' a percentage
I feel misrepresented in my own territory
He never saw me when niggas broke into the door; we
hemmed him up and took him straight to the back
pistol-whipped him with gats till he handed the stack
Told him that he shouldn't even fuck around like that
In Lawtown it goes down like that"

While he didn't stray from standard subject matter, Scientifik was able to pepper his observations with humour, for instance on "Overnite Gangsta" and "Downlo Ho," which are both entertaining despite their tired topics. Example:

"The other day I seen you troopin' around the way
frontin' hard cause you was bumpin' shit by Dr. Dre
Well, you could bump Ice Cube, Geto Boys and Ren
You'd still get your ass smacked like back then"

Speaking of, the aforementioned "Jungles of da East" carries a slight West Coast resentment. Sampling Jeru's anti-gangsta rap anthem "Come Clean," "Jungles of da East" is less confrontational but does contain some clues that Scientifik was uneasy with how by 1994 the west had paralleled the east in terms of success. He raps, "1994 is all about the East Coast / Thought the other shit was raw? Well, it didn't get close / to the niggas from Brooklyn, Philly to the Bury." He goes on to mention various states and spots, giving a rather broad definition of the term East Coast by including even Atlanta and Florida. Intending to "throw the ball back" Sci bigs up "the East Coast, cause I never hear enough of that shit / and I be damned cause we the ones who got the fat shit."

Truth be told, he makes a stronger case on "Fallen Star," where he boldly disses rap stars whose time is up, comparing himself to a young KRS-One taking on Melle Mel and generally renouncing fame:

"Since I don't live in the sky don't classify me as a star
Now I don't give a fuck if a sucker duck was platinum
He won't be livin' fat with a bullet from a gat in him
You just another sucker starin' hard, bitch
Fuck around and try to step and catch a scar stitch
[...]
You'll never find another brother truer to the game
so you'll never see my name on no fuckin' walk of fame"

Whether he wanted to be one or not, Scientifik was denied the chance to become a star, while producers like RZA, Buckwild and Diamond D garnered enough star power to unearth a hip-hop album they happened to be a part of sometime in '93 or '94. Assisted by DJ Nestle Quick on the wheels of steel, the producers all adhere to the slow tempo that had East Coast rap in its spell by the mid-'90s. It's a very dark brand of jeep beats, dominated by the bass/beat structure, with the buzzing bass often acting as the major melodic element. RZA's "As Long As You Know" is in the vein of his more traditional work for N-Tyce from around the same time. Rhythm Nigga Joe (Mansfield) ("Still An Herb Dealer") and DJ Shame ("Jungles of da East") would become known as the Vinyl Re-Animators. And Buckwild and Diamond D both put in pure quality work, but get kind of outshined by Edo.G, who beats DITC at their own game with the sinister "Lawtown" (where after-midnight jazz sparkles meet dry, hard-hitting drums) and the creepy, Nas-sampling "Criminal."

"Finally a MC you can trust in," Scientifik introduced himself on this would-be-debut. While he possessed the laid-back demeanor of a vet, the thought and energy put into the lyrics and vocals betray the young buck excited to be rhyming: "It's the start-beef shit / on-the-creep shit / real deep shit / not the weak shit / peep shit as I freak shit / on some old yo-you-better-not-sleep shit / I take ya out like that clean version beep shit." Switching between wordplay, verbal gunplay and common sense commentary, Sci presented himself as an ambitious, aspiring rapper who had only just begun ("I Got Planz"). His diction wasn't always the clearest, his flow sometimes too reminiscent of his mentor Edo, but this finally released album reveals an independently-minded MC who would always try to argue before resorting to criminal behavior. "Criminal" may not be nearly as flawless, but ten tracks deep and boasting a cast of producers that was only a few notches below dream team status, it comes very close to an underground version of "Illmatic."

Music Vibes: 8 of 10 Lyric Vibes: 8 of 10 TOTAL Vibes: 8 of 10


Review auf deutsch (weknowrap.com):


1994 sollte das Album des aus Lawrence, einer Stadt nördlich von Boston, stammenden MCs veröffentlicht werden, doch sein damaliges Label ging pleite. Außer einigen Promos des als Debütsingle angedachten Bretts »East Coast Jungle«, die ihren Weg auf Mixtapes und Bootlegs fanden, verstaubte das vielversprechende Material.

Zu einer Zeit, als Nas mit »Illmatic«, Notorious B.I.G. mit »Ready To Die« oder Jeru The Damaja mit »The Sun Rises In The East« Klassiker vorlegten, hätte auch »Criminal« durchaus das Zeug gehabt, in einem Atemzug mit soeben Genannten Erwähnung zu finden. Diese Annahme wird auch durch die für damalige Verhältnisse hochkarätig besetzte Produzentenliste unterstrichen. So standen – neben Scientifik selbst – Buckwild , der junge RZA, The Vinyl Reanimators, der Bostoner Ed O.G. als auch D.I.T.C.’s Diamond D an den Reglern, um diesen für diese Zeit typischen düsteren und zugleich energiegeladenen Boombap-Eastcoast-Sound zu kreieren, der so lange New Yorks Markenzeichen war. Die beiden Letzteren sind auch Scientifiks einzige Features auf »Criminal«.

1996 starb Scientifik auf bis heute noch ungeklärte Weise. Unbestätigten Internetquellen zufolge vermutet die Polizei, dass Scientifik seine Freundin im Streit während der Fahrt erschossen habe, um dann die Waffe gegen sich selbst zu richten. Das Auto sei dann von der Straße abgekommen und in Flammen aufgegangen.

Eine Person, die sich als Scientifiks Schwester Rachel ausgibt, betonte jedoch auf ohword.com, dass niemand wirklich wüsste, wie sich die Tragödie tatsächlich zugetragen habe.

Der damalige Exekutiv-Produzent Edo G. hat »Criminal« nun in Zusammenarbeit mit Traffic Entertainment so veröffentlicht, wie es seinerzeit hätte erscheinen sollen – man muss sich dafür bei beiden bedanken.

Jedoch ist die Zeitkomponente nicht gänzlich zu ignorieren. Was 1994 ein Album mit unbedingter Kaufempfehlung gewesen wäre, ist heute nur noch ein sehr ordentliches Album für alle New-York-Fans des letzten Jahrzehnts.




Un albumone.Basta sapere che esce nel magico 1994,un anno dove i dischi hip hop sono oro colato.Peccato per la brutta fine di questo mc di boston.Criminal e' assolutamente uno dei dischi piu' slept-on del rap game.Le basi sono sempre perfette,l'mc al mic non sbaglia ed ha un flow coinvolgente.Ascoltatelo e poi correte a prenderlo.Beat 9 Lyrics 8,5 Total 9/10




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Panacea - Ink Is My Drink

Tracklist:

1. Trip of the Century
2. Invisible Seas
3. Place On Earth
4. Steel Kites
5. Coulda Woulda Shoulda
6. Reel Me In
7. PULSE
8. Work Of Art
9. These Words
10. Ecosphere
11. Burning Bush
12. Starlite


Panacea, the duo composed of Washington DC-based producer K-Murdock and Philly-native Raw Poetic, blaze 12 tracks reminiscent of hip-hop's true-school era on their debut album, INK IS MY DRINK. K-Murdock shows he isn't afraid to enter territory rarely explored by other hip-hop producers, dabbling in British pop-rock samples and acid-drenched guitar solos that mix seamlessly with funk horns and sweeping orchestral strings, while Raw Poetic's rhymes follow the lead of underground hip-hop's finest positive lyricists.


Review (soundslam.com)

Panacea, unbeknownst to me prior to receiving this album, is a definition for a supposed cure to all diseases or problems. It is, in this case, also a musical duo consisting of K-Murdock, the beatsmith, and Raw Poetic, the emcee. These two individuals are looking to take music on a new journey, into new lands, and through a perspective all their own. Even more, Panacea is doing their part to give fans an album which is more a soundtrack to a set of experiences rather than just provide empty rhymes over shallow beats. Much like the list of their influences, which according to K-Murdock is as extensive as "ATCQ and De La Soul to Quincy Jones and Creed Taylor to Ryuichi Sakamoto and Vangelis," these two cats appear driven to make timeless music more than a quick buck.

On Ink Is My Drink, you will encounter a host of sounds melded into one cohesive soundscape. Near schizophrenic at times, K-Murdock showcases his vision by taking you from boom-bap to jazzy to experimental and edgy and then back into organic and soulful, all while maintaining a particular thoughtfulness and sincerity in each measure. Showcasing the LP's diversity within one track, "Trip of the Century" walks you through a collage of styles and sounds. Beginning with a backdrop reminiscent of a 5th Dimension album before being introduced to Raw Poetic's vocal hook and then thrown suddenly into a fast drum break loop accented with some funky horns. Raw Poetic establishes his verbal agility in no time, dancing around the beat with ease.

Whether it's the globally understood tales of relationship ills ("Coulda Woulda Shoulda") or the positive, encouraging words on overcoming obstacles ("Steel Kites"), Panacea take an everyday man's approach to music. "Works of Art" finds a sped up vocal sample flipped over a low bassline, snappy percussion, and more sampling to balance the frequencies before Raw Poetic blesses the joint with a staccato flow.

It's clear that K-Murdock is most comfortable when creating a serene, cool sonic environment. Still, his unexpected time changes and no-warning transitions could possibly used more sparingly, or used as segue's into the next track instead of only abrupt intro/outro programming. Additionally, Raw Poetic, although a talented mic man, showcases minimal verbal patterns or emotionally-charged lyrics over the course of the album leaving one to wonder if he can flip his rhyme scheme in more than one way. Luckily for them, Ink Is My Drink falls short in only a handful of spots.

Panacea has a difficult task ahead of them if they really hope to achieve the impossible, curing all diseases or problems. Despite having fallen short of that, Ink Is My Drink tells the tales of two guys hoping to change the world one by one by way of thoughts, hopes, dreams, and in the illustrious title of ATCQ: beats, rhymes and life. Respectable, nonetheless.

*Notable lyrics;

"Playing like a lesbian to test my brain/ Well I'm a thespian so for your acts I'm trained"

"Too many strategizing on winners, not analyzing/ Ego super-sizing like fast foods// But we live a fast life/ If there's less reason for us to act right"



Review (thesouthend.typepad.com)

What is good hip-hop?
The answer is contingent on a listener’s musical preference and expectations.

Some hold a high standard for hip-hop and seek from it a socially conscious form of lyrical expression, matched with beats that translate into enigmatic interpretations.

While in considerable contrast, others seek hip-hop simply containing a catchy beat, a hook you can sing along to and an easily accessible home on the airwaves.

Regardless of any hip-hop hierarchy, Panacea’s sounds will satisfy eardrums across the board.


While Panacea is certainly socially conscious hip-hop, it’s also bursting with undeniably catchy, intensely soulful beats that have the power to make even the stiffest head nod.
Debuting on Rawkus Records, the label that gave Mos Def and Talib Kweli fruitful beginnings, “Ink Is My Drink” is Panacea’s first LP and boasts a live band, taking after The Roots’ proven success formula.

With tracks like, “Coulda Woulda Shoulda” which include a rhythmic, infectious hook, dreamy synth line and Emcee Raw Poetic’s articulately expressed experiences of love and loss; you can’t help but lose yourself in the heightened hip-hop bliss.

With just one listen to “Ink Is My Drink,” your musical expectations are exponentially elevated and it becomes unmistakably apparent — Panacea decisively holds the key to the new auditory uprising.


Review (rapreviews.com)

In every other review these days hip-hop musicians at large are addressed to the effect that rappers and producers need to flip the script, do themselves instead of others and just generally take more risks. As soon as they oblige, however, those who demanded creativity and originality turn their backs on what they now call experimentation they think has gone too far. Case in point - this review of Panacea's "Ink Is My Drink." I could go on about how I've fallen victim to the industry's dumbing down to the point that I fail to comprehend anything beyond the most basic rhyme and thought patterns, or about how a rapper that I don't understand essentially defeats the purpose, etc. but before I bore everybody with my latest rap-induced identity crisis I better accept and appreciate that Panacea chose to present their findings a little bit differently.

Panacea is K-Murdock on the sampler and Raw Poetic on the mic. The beats are an amalgation of melodic and rhythmic bits and pieces extracted from the vaults. Once you make it past the whirlwind that is the opening "Trip of the Century," the album's remaining tracks will welcome you with open arms, building on the groundwork the elders have put down. From the sound of things, K-Murdock's approach is getting the most out of minimal equipment. Some of his transitions make for a rather bumpy ride, but similar to Count Bass D, Madlib or MF DOOM, Murdock becomes a bandleader behind the boards, conducting brass, wood, strings, drums and vocal harmonies into sometimes straightforward, sometimes a little bit messy arrangements. His intent is to make you feel at home with familiar signifiers of soul and funk, the single "Starlite" even pulsating with electro jolts. It wouldn't be a contemporary hip-hop album without at least one sped up soul sample, so "Work of Art" takes care of that.

K-Murdock's musical approach is mirrored by his partner, who offers on "PULSE," "The world's my archive / I break the laws of music just to raise the bar high / To me this is the playground." The risk in this is that the final product, in terms of how it sounds, can come across underproduced, and, in terms of its density, appear overcrowded. "Trip of the Century" successfully tackles the task with a clear structure, providing the rapper with separate backgrounds for his adventurous trip across altered states of awareness. If it ultimately fails, it's because Raw Poetic raps simply too fast to follow.

Outside of this introduction at super speed and the political "Burning Bush," Raw Poetic is a man with a mellow disposition. He raps in a melodic but rhythmically monotone flow. He's far from ignoring the beat, but something about how he expresses himself indicates that he's doing his own thing regardless of what's going on around him. He'll throw in an old school phrase or a Native Tongue reference every now and then, but apart from that has his very own way of putting things.

Lyrically, he realizes he's on a "a road less traveled." When in "Ecosphere" he repeats, "Gotta be myself and I / Me myself and I put me on a natural high," he almost acknowledges to operate on a plane few people will be able to reach. The ultimate challenge for Raw Poetic would be to musically and lyrically translate this "Me, myself and I" entity in a way that sends his audience on a similar high. As it stands, that kind of power is reserved for only the most talented of MC's. While some of his efforts are just too abstract to make any immediate sense, others are easier to relate to. "Steel Kites" is about making the impossible possible, Poetic pointing out, "I don't strap bombs, I only strap mics / A voice is a powerful thing, move my blacks like / Shaka, muthafucka, like we flyin' a steel kite." While he often comes from an introspective angle, here the Philadelphia native doesn't shy away from addressing what he feels needs to be addressed:

"I speak my opinion even if you don't ask me
Before you pick up guns pick yourself up a read
Pick up your seed
(...)
Pick up a trade instead of tradin' your life for jail
Pick heaven or hell, pick another product to sell
Pick up your people like fam when they're not doin' well
Like mothers at funerals when they're goin' through hell
(...)
Pick the spot to help you see how your perspective could grow
Now pick up a gun and see if it possess the same glow"

"Coulda Woulda Shoulda" examines a failed relationship with a sense for wordplay that can relate so much more than a dry account of facts. The obvious quotable is "Playin' like a lesbian to test my brain / Well, I'm a thespian, so for your acts I'm trained," but almost everything is poetically put, to the point where you have analogies like "We coulda been a good pair like new shoes," "Our two schools of thought clashed" and "So there's no screw-you" all within the same segment. "Place on Earth" is another creation that, although gravitating towards '90s underground abstractness, stands as a tangible song:

"I made music, y'all, coolin' out by walls
or trees that's tall, to realize that I am that small
Stood alone in the place I've grown
then left for what was shown, there's so much unknown
about my home, a zone with aggravated tones
cause it never took the chance to know this kid that roams
Searched for wealth cause that made me whole
From the south to the north pole my words seemed cold
A scene old but when changed occurred
was just me feelin', what I speak is also seen and heard
Teary-eyed, not quite but yet my vision blurred
I took a swallow of my pride and put my ear to the dirt
It was the soul, y'all, that got me all stirred up
Word up, like cold nipples fucked the earth perked up
And no matter where it is you choose to go
I find the home's in your heart, not where your body flows
From the stage to the bar to where you travel abroad
If the world is ours, home is just wherever you are
and wherever you are that means your heart is never too far"

"Ink Is My Drink" is likely to get additional attention because the renascent Rawkus Records decided to get involved in its distribution. Based in Washington DC, Panacea actually already debuted in 2003 with the EP "Thinking Back, Looking Forward." Since then, K-Murdock has been involved in Raheem DeVaughn's 2005 album "The Love Experience." "Ink Is My Drink" can be seen as yet another successful experiment to prove that straight up hip-hop can be just as soulful. Although at times somewhat absent minded, Raw Poetic is right there by his side, defining himself as a musician and an artist (rather than 'just' a rapper) with lines like "You see a table but I see a new beat / you see the walls but I'm composin' a piece" and "My head seems to think like an acid jazz song / feet tap the beat and I'm driven by car horns." At one point he even says "Musicians bring beauty more than beauticians." Don't underestimate the man's love for music.

I will readily admit that there are a lot of things that I don't understand on this record. I might even go as far as to blame the production and the rapping for that, which could both be clearer. Then again, how many rap albums these days give you something to chew on? And how many of those that do still compell you to stick around? "Ink Is My Drink" may not be a contender for album of the year, but its title is certainly among the most inspiring in recent years. And when it comes to the fundamentals of his act, Raw Poetic doesn't leave you guessing: "It's what my life is simply made of, the way that I think / the meaning behind the message, brother, ink is my drink."

Music Vibes: 7 of 10 Lyric Vibes: 6.5 of 10 TOTAL Vibes: 7 of 10


Review (okayplayer.com)

It’s hard for one not to be skeptical at the rebirth of Rawkus. The independent label, which made stars out of acts like Mos Def, Talib Kweli and Pharoahe Monch, is now back to square one, featuring a humble cast of little known talent like The Procussions and Kidz In The Hall. Are these new artists worthy of wearing the razorblade insignia? If Panacea’s debut record, Ink Is My Drink, is any indication, then hell yeah.

“Panacea” means a solution or remedy, and the duo proudly carries the name knowing they are putting out great music in a hip-hop world saturated with less than stellar material. Philadelphian Raw Poetic offers down-to-earth storytelling and raw battle raps, paired with his relaxed voice and cool flow. K-Murdock brings his gifted ability to lushly blend samples, creating moody backgrounds that are equal parts DJ Premier and Nicolay.

The melancholy “Invisible Seas,” immediately stands out with it’s chopped up piano and strings and chipmunked soul vocals, while “Coulda Woulda Shoulda” is full of thick instrumentation and finds MC Raw Poetic reminiscing on a past love. “Pulse” combines an up-tempo breakbeat, sampled pianos and saxophones with vivid stories about Raw Poetic’s past.

From the smooth flutes on “Steel Kites” to the hometown ode “Place On Earth,” Panacea perfectly pair smart lyrics with deep production, creating one of the most coherent and pleasing hip-hop albums in years. Rawkus is back, so it’s time to support the movement.4,5/5




Ho postato un po' di reviews dell'album,perche' avvolte si e' un po' in contrasto.Io sono daccordo sopratutto con okayplayer,un albumone veramente,ci ho dormito sopra parecchio.Esce per Rawkus, quindi e' una mezza garanzia.Non dormiteci sopra perche' e' un mezzo classico.Lyricis 9 Beat 8 Total 8,5 per me.





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Kero One - Windmills Of The Soul

Tracklist:

1.: Windmills Intro

2.: Give Thanks - Kero One & Niamaj

3.: Musical Journey

4.: My Story

5.: In A Dream

6.: Ain't That Somethin'

7.: Tempted

8.: In All The Wrong Places

9.: Keep It Alive

10.: Cycle Repeats

11.: Fly Fly Away

12.: It's A New Day

13.: Check The Blueprints




Windmills of The Soul is Kero One’s debut album and the Plug Label’s first full-length release. In addition to the vocals, Mr One is also responsible for the scratching, bass, Moog, synths and the Fender Rhodes playing. Apart from some guest vocals this guy is pretty much self-contained but you wouldn’t think so from the full on soulful sound.



Review (ukhh.com)

Kero One is massive in Japan with his blend of jazz inspired beats and upbeat, non-aggressive lyrics. His music is also supported by the likes of Questlove, Mitsu the Beats, Beat Junkies and Gilles Peterson. Now as to whether or not this means that his debut, ‘Windmills of the Soul’, makes him an established name in Europe is yet to be seen. Personally I can’t quite get into it, though I can appreciate the effort. I don’t know if it’s the lyrics or the seen before jazz inspiration in the beats, but a whole album of it gets tiring after a while.
That’s not to say there isn’t anything good on the 13 tracks from this LP. With production credits going to Kero, apart from 2 tracks laced by DJ King Most, and featuring live instrumentation and session samples that keep the live feel throughout, the music itself can be enjoyable, though it does border on the repetitive at times. If jazzy, laid back beats are your thing this is likely to strike a chord.
The rhyming is also all handled by Kero, with wide ranging subjects delivered with an upbeat tone and unique accent that seems to me as if he’d be unable to make something sound dark or gritty even if he was rhyming about killing or deranged sexual fantasies.
So in conclusion if you like your hip hop with jazz and live influences, at times upbeat, mellow and downtempo then be sure to check Kero’s offering, however if all this sounds a bit déjà vu to you then you’re probably best to avoid it.


Review (rapnews.co.uk)

The album begins with the slightly long, but beautifully chilled 'Windmills Intro'. If the track was any more laid back it'd make you fall asleep, in a good way. The first time we get to hear the artist is on 'Give Thanks' featuring Niama. The lyricism is solid and the flow is tight, with similarities to Canadian MC Abdominal. From the start, there's a clear indication of the type of artist and album that this is. It's all about sensual beats and humble, dare I say 'backpack' orientated vocals.

'Musical Journey' is a story telling song with some really smooth saxophone in the beat. 'My Story' is, as the title suggests, quite introspective, with some nice light choices of drum sounds. 'Like A Dream' implements some mildy pitched up vocals which I would have assumed the artist was above using. Still, it's a dope track full of more first person tales. 'Ain't That Somethin?' simply sounds fantastic. It's an instrumental showcasing outstanding production, this time with a vaguely funk flavoured hiphop offering.

On the piano based 'In All The Wrong Places', Kero approaches the lyrics with a slightly different flow as he raps through verses of a romantic leaning. 'Keep It Live!' is a more energetic number, although the album could have benefited from it being far more exciting at this point in the laid back track listing. 'The Cycle Repeats' is based around the topic of graffiti and has a simple but effective head nodding loop based beat.

'Fly Fly Away' has a really warm bass line and economic percussion whilst 'Its a New Day' is a very strong instrumental which gets increasingly enjoyable throughout. Everything about it is great, from the saxophone, to drums, to background vocals and awesome guitar. 'Check The Blueprints' concludes the album, although the previous instrumental would have been just as suitable. Here, Kero One raps about his take on the state of hiphop and his reaction to people who felt hiphop sucked. There's some nice squeaky scratching towards the end of the track which rounds things off nicely.

The more you listen to the album, the more you feel Kero One is a musician first and rapper second. That's not to say his rapping is poor. It's far from it. He's simply talented and knowledgeable of music enough to create the perfect balance between vocals and his own extremely impressive, inspiring and high quality production. A lot of people try creating hiphop with the kind of angle here, but it often falls short or simply results in sounding pretentious or desperate. This is an exception, and a fine example of how it's done best.




Un album che a me piace molto,io lo consiglio vivamente.Poi puo' dipendere dai gusti non sara' un classico pero' e' un buonissimo album da scoprire.LYRICS 7 BEAT 8,5 TOTAL 8/10 per me.


MY SPACE KERO ONE


MY SPACE PLUG LABEL



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Blu & Exile - Below The Heavens

Tracklist:

01. My World Is...
02. Simply Amazin'
03. Juice N' Dranks Ft. Ta'Raach
04. Cold Hearted Ft. Miguel Jontel
05. Good Life (Show Me) Ft. Joseph & Aloe Blacc
06. Blu Colla Workers
07. I Am... Ft. Exile
08. Dancing In The Rain
09. Party of Two
10. No Greater Love
11. The Narrow Path
12. In Remembrance...
13. First Things First Ft. Miguel Jontel
14. Soul Amazin' (Steel Blazin')
15. Life's a Gamble Ft. Donel Smokes, Trek Life & Cashius King
16. The World Is... Ft. The KoochieMonstars


Allora AMAZON ne da 15 e qualcosina di diverso,altri ne danno 14,la sostanza resta,non so' quale sia piu' attendibile, penso amazon,pero'non ne ho idea.


Review (Soulgenesis.net):

Hip-Hop’s culture has been in a state of disillusionment for quite some time now, with the mainstream serving up with stale material, and most of the underground not caring enough to provide interesting alternatives. When it seems all hope is lost, every few years there comes a refreshing act reminding one of what it was to become enamored with this music. Blu & Exile’s Below The Heavens could be termed a future classic as the respective MC/producer duo hearken back to a Gang Starr or Pete Rock & CL Smooth with not only their chemistry but advanced skill in their arenas. Coming out of

L.A., Blu is perhaps the most technically gifted early adult MC since a younger Nasir Jones made his mark over a decade ago. His partner Exile manages to sample everything from soul to jazz to vocals from Sesame Street’s Grover character and work magic delivering beats that knock hard. Thematically this is a concept album of sorts, but it doesn’t really feel like one: A young man a few years out of his teens sets out to tell the world the story of his ups and downs through fatherhood, a dysfunctional family background, love, and financial struggles amongst other trials and tribulations. Blu’s deep introspection is matched with a notable ferocious battling prowess making him one of the best newcomers to hit the scene in quite some time.

Below The Heavens was written and recorded 2-3 years ago at the tender age of 21, with Blu displaying wisdom far beyond his days as he tells who he is, where he’s been and where he’s trying to get. The future appears bright with other projects on deck for both Blu & Exile in the near future. With any luck, this album will inspire future generations to make a difference in the quality of beats and rhymes produced for mass consumption.


Other Reviews:

Like the first time you heard Tip or De La, Blu's a one of a kind no question about it. He's taking hip hop to a new level with clear influences from the golden age and Dilla, but more than anything, himself. Priceless.
- Mark De Clive Lowe

Blu is one of my favorite emcee's hands down, he's the voice of LA.
- Flying Lotus

"Blu is THAT one cat to be really looking out for, already making a name on the internet and overseas without an album out......LA has a list of new generation of MCs that are bringing heat: Trek LIfe, Bishop Lamont, Glasses Malone, Roc C, and now you can add Blu to it. And with Exile on the beats?! Oooh man, forget about it....you got a deadly combination....don't sleep peoples!!!" -Rhettmatic (Beat Junkies / Visionaries)

- "Exile f/ Blu - Narrow Path. This, combined with the other Exile/Blu joint you heard on this site (check the archives son!) is what made me realize that Sound in Color was running with some f#cking heat. Turns out Blu is singing the hook... Dope beat, hot track."
- The Mixtape Show (most popular rap n hip hop podcast on the net)

- "“Featuring vocals from Blu, Jontel and Andrea Clarke, "Move" is an uptempo dance floor smash-in-the-making that needs to be in your crate. ’”
- Goya Music (Daz-I-Kue / Blak Label Blend 12” review)

- “The album closes with another quality track in "So Amazing(3)" featuring emcee Blu. Instrumentals on the flip. Keep an eye on this kid.”
- Turntable Lab

- "Check Blu Soul's flow has the confident swagger to take this track into some kind of mid-90's state of bliss without sounding redundant. "
- Underground Hip Hop dot Com




" Somebody once told me I was already in hell/Freedom's a state of mind and just the heart of me's in hell/ I freed my slave mind so a part of me's in hell/ So even when it's hard to breathe a part of me inhales."





Insomma stiamo parlando di un classicone.Beat 9 Lyrics 9 TOTAL 9/10. Questo e' il mio voto.Tra l'altro come Ill Poetic che consiglio a tutti nuovamente,anche lui riprende Nasir Jones in The World Is...,solo per questo merita un voto in piu.Il disco non suonera' afatto west coast ma sara' un bel mix e questo Exil produce infinitamente bene.

E se ancora non mi credete oppure non vi fidate ho caricato The Worls Is ...,che potete sentire senza scaricare.

Ho dovuto accorciarlo un po' perche' il file era troppo grande.

E qua potete confrontarla con la song di Ill Poetic.

2 delle migliori song di questo 2007.Questo album entra tra i miei preferiti di sempre.E vi consiglio di comprarvelo appena esce anche perche' qualcosa cambiera da questo che vi posto io.



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Edan - Beauty & The Beat

Tracklist:

1. Polite Meeting
2. Funky Voltron
3. I See Colours
4. Fumbling Over Words That Rhyme
5. Murder Mystery
6. Torture Chamber
7. Making Planets
8. Time Out
9. Rock And Roll
10. Beauty
11. The Science Of The Two
12. Smile
13. Promised Land



While Edans critically acclaimed debut, Primitive Plus, was a celebration of Hip-hops golden age and a true throwback, his sophomore album, Beauty And The Beat, is a vast musical collage that contains many different influences; Hip-hop, rock, pop, dusty breaks, hazy loops, luxurious off-kilter samples and curveball tempo changes that are all crafted into one cohesive piece of art. Edans vast lyrical imagination and technical wizardry (he also self-produced every track) alone make Beauty And The Beat a standout. The albums lead-single Fumbling Over Words That Rhyme, a track which true Hip-hop enthusiasts and historians will not only appreciate, but ultimately debate is a perfect sample of what Beauty And The Beat has to offer. Smile is a gripping behind the scenes look at a successful yet internally tormented star. Promised Land - the symbolism of imagination and its power to overcome all that is perilous with positivity, patience and understanding show how Edan has progressed both artistically and as an individual. Check out Rock And Roll for a heavy hitting beat and Torture Chamber for amazing mic skills. Features Mr Lif (Def Jux) , Percee P (Stones Throw), Dagah and Insight. The double vinyl version a US pressed, thick vinyl, in a shrink wrapped old style 60s heavy card jacket. Edan will be deejaying at Fabric on February 4th and touring the UK in March.(AMAZON)


Review (AMAZON):

Boston's Edan may come off as an obsessed fan-boy of late '80s hip-hop, an acolyte schooled in the furious braggadocio of Big Daddy Kane and Kool G Rap. Stylistically, with his own furiously fast rhymes and tommy gun beats, it's obvious this is where he draws his inspiration from. However, Beauty and the Beat does far more than shout out Edan's personal pantheon or clone their microphone mannerisms. Beauty is a tightly bound effort clocking in at an efficient 34 minutes, with 13 briskly paced tracks that flow with impressive coherency. Edan mines the surreal swirls and moody loops of '60s psychedelic rock. His heavy density of fuzzed-out guitar screeches, dreamy horn wails, and sci-fi sound effects create a unique sonic bed that complements Edan's imaginative (and often non-sequitur) lyricism. Whatever Edan's rhymes may lack in topicality, they brim with style, offering more than clever punchlines and catchy hooks. This is an MC who still appreciates the basic pleasure of word play.


Review (Rapreviews.com):

Hip-hop music frequently borrows from other genres of music, as well as recycling its own past breaks, samples, and lines for new purposes. A significant portion of rap relies on liberally dipping into previous records in order to craft something fresh. Lyrically, "Paid In Full" is probably the biggest victim, the source of inspiration for countless rappers and DJs who are looking for something to dissect. In terms of production, since there has never really been a definite standard set like Rakim did in '87, a variety of early influences are frequently used for creative purposes.

Most of hip-hop music is relatively progressive, interpreting or using music from the past in order to fit the artist's style or alter it for the better. Rarely does an entire album flaunt its influences in such a way as to revisit the past. Boston native Edan's "Beauty and the Beat" goes far beyond simply borrowing, reaching point where it fully embraces and practically embodies the two types of music that it is intended to evoke memories of. His music is distinctly his own, but he channels the feelings of two types of music into one, creating something that is powerfully reminiscent of both, but highly artistic and original.

The first of these elements is the golden era of old-school rap, a time of wickedly hard beats and the first touches of real experimentation. This record contains plenty of subtle nods to this period, found in lines such as "from Rakim to Caz, to Lakim Shabazz," as well as the rock-hard drums that the album is formed around. Edan is not trying to hide this connection, though, as evidenced by the old-school ode "Fumbling Over Words That Rhyme." Here he name drops everyone from the true founders to more modern acts like Organized Konfusion and Nas, demonstrating impressive scope in the process. The naming of so many old-school stalwarts explicitly evokes memory of a different time which the album is meant to resurrect. Interestingly, at points throughout "Beauty and the Beat," Edan's voice sounds strikingly similar to Big Daddy Kane's, which adds to the old-school atmosphere without being gimmicky.

The other era of music that Edan stirs up is the hippie age of sixties psychedelic soul music. This is achieved through extensive sampling, which is almost perfectly blended into each track. The aforementioned "Fumbling Over Words That Rhyme" features a female singing the title in a jingly fashion, dug out of the heart of the acid-drenched memory of the sixties, which creates a striking juxtaposition between the sharpened edge of the drums and the dreamy quality of the sample. The breathtaking "I See Colours" begins with the line "Prince Paul already used this loop," and after his first verse the song warps into an impeccably placed sample that is alternately eerie and calming. His rhymes actually return to the sixties as well in places, as he proclaims "without the LSD, I see colours." The beat is far more subtle here, which brings Edan's rhymes to the front and emphasizes the sample even more.

Edan settles down a bit at times, such as on "Making Planets" with Mr. Lif, but everything is just a bit twisted. If he thinks a song is sounding too straightforward, he'll fade out with some disconcerting sound effects. The result of this is that the listener will stay on the edge, not knowing what to expect. "Smile" is as bizarre as it gets, with a nearly intolerable beat and Edan's rhymes about a tortured musician. The grating beat disappears suddenly as more sampled vocals calm the speakers down before a climactic, Radiohead-esque finish.

Lyrically, Edan is not extraordinary, but he has a commanding presence and his rhymes are very original. Upon closer look, most of the songs have a concept behind them, though on the first few listens you will be lost in the random patterns of the music. The music on the album is technically not original, but the final product is unlike anything hip-hop has heard. A couple of the tracks are a bit hard on the ears, but with the variety of experimentation, this is expected. The best moments, especially "I See Colours," are so sublime that the more difficult material is easily forgiven.

The biggest problem with "Beauty and the Beat" is its length. The record clocks in at only 34 minutes. If you thought "Illmatic" was too short, don't waste your time here. It is a bit trying to get lost in the music, then look up and realize that it's coming to a close. There are thirteen distinct tracks, which make it a bit better, but 34 minutes is still excruciatingly brief, especially given the quality of the content. A bit more material would have been nice, but quality always comes over quantity. The brevity shouldn't be significant enough to keep open-minded listeners away.

"Beauty and the Beat" is a rare, valuable record that channels two markedly different types of music into a new one, a collage of sounds that hasn't been heard in a very long time. There is ample evidence of Edan's influences, but the sampled and referenced music is not at the forefront, because the new creation is far more than simply a couple of loops thrown together. The most remarkable aspect of the album is that it never loses accessibility because nothing sounds out of sync or forced. Every soundbite is placed with the utmost care, and anything that is not easily digestible will still be appreciated. Edan is one of the few artists that are willing to take a risk, and on "Beauty and the Beat" it really pays off.

Music Vibes: 9 of 10 Lyric Vibes: 8 of 10 TOTAL Vibes: 8.5 of 10




Avete capito che questo e' un albumone.Se volete sentire qualcosa di diverso e sopratutto di bello non perdetevi questo album.Non dormite su questo.




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Sangue Misto - SXM (REQUEST)

Tracklist:

01. SXM
02. CLIMA DI TENSIONE
03. LO STRANIERO
04. LA PAROLA CHIAVE FEAT GOPHER D
05. CANI SCIOLTI
06. SENTI COME SUONA FEAT GUGLIELMO PAGNOZZI AL SAX
07. LA PORRA
08. IN DOPA FEAT SOULEE B
09. MANCA MONE
10. PIGLIA MALE
11. FATTANZA BLU
12. NOTTE FEAT GUGLIELMO PAGNOZZI AL SAX


Review (da eminemitalia.it):

Facciamo un po’ d'ordine nella strana storia dell'hh in Italia: a parte rarissimi casi di gente che cominciava a muovere i primi passi ad inizio anni 80 ( Gruff, Next One, Ice One, Kaos, Skizzo, Sha One ... ) il movimento vero e proprio si sviluppa nel finire di quegli anni ( 1985 – 1986 ).

Da ricordare gruppi come Onda Rossa Posse ( poi Assalti Frontali ) che fecero tanto per diffondere il rap con la rima in italiano ( ma che erano un pò slegati dal resto del movimento ) a detta dello stesso Militant A : "ai tempi andando ai raduni Zulu Nation ... abiti giusti, scratch, cap ... capriole break dance ... una quarantina di persone che si muovevano come in un film ... sembravano animali da zoo, quindi gli ORP non erano proprio hip hop puro erano un pò presi da slogan politicizzati dal loro centro sociale” lo storico gruppo milanese Radical Stuff ( Skizzo, Kaos, Sean, Dre Love ) che rappavano però in inglese, e l'Isola Posse All Stars ( con sede nel centro sociale ISOLA DEL KANTIERE a Bologna ) della quale è doveroso ricordare produzioni come Stop al Panico, Passa Parola e capolavori quali Sfida il Buio e Questione di Stile ( le
ultime due track di DEE' MO ).

Proprio dalle ceneri dell'ISOLA ( Bologna in quel periodo era la città più avanti di tutte giacché era li che si organizzavano i GhettoBlaster, dove tutta la gente migliore in quel momento suonava, ballava ecc. ) nasceva il gruppo Sangue Misto, nel 1993, diversamente dalla formazione che tutti conoscono ( Deda, Neffa e Gruff ): PAPA RICKY, FABBRI, GOPHER D e DEDA.

La causa dello scioglimento veloce è dichiarato apertamente da Neffa che in un’intervista disse: "[...] anche se era una figata stare in sette e andare in giro, dopo due anni che vai in giro impari anche, e forse la cosa inizia a starti un po' stretta". Un po’ alla volta il progetto venne via via frantumandosi in vista dei generi reggae e ragamuffin ai quali in molti si appassionarono. Graff ( e tengo così il nome per ora ) e DEDA si trovarono soli. Il primo nel frattempo produsse LA RAPODOPA ( il bellissimo esperimento di Hip Hop totale ) e il secondo riuscì a contattare Neffa con il quale formò il terzetto migliore di tutta la scena hip hop italiana. Chiusi serrati in studio produssero nel 1994 il disco della svolta: SXM. Graff si tramutò in Dj Gruff, Deda s’impadronì della tecnica e Neffa si avviò inesorabilmente a diventare un nome tra tutti sovrastanti nel periodo in questione. Un insieme di campionamenti, rime, graffi, cutters e chi più ne ha più ne metta, in grado ancora oggi di tener botta a molti dei migliori prodotti che si sentono. Veramente italiano: influenzato ( sound vicino alla East Coast ), ok, ok, ma 100% made in italy. Ritmi potenti, rime come mattoni in faccia, beat tanto puliti quanto unici e scratch finalizzati a livello maniacale. Ora, però, penso sia il caso di descrivere in dettaglio il disco.

Innanzitutto, prendendo in mano il vinile, non si può non notare la grafica realizzata da un certo sig. Nicola Peressoni ... si proprio lo Zio Dee'MO ... spettacolare !!!! ( Perché Dee'MO non prende parte attiva in questo disco non l' ho mai capito ... forse sarebbe stato troppo avere anche il suo contributo ).

Si parte, alzo la puntina, il piatto gira e faccio abbassare il braccio sul vinile, un leggero fruscio e una melodia cupa lancia nelle casse SXM. Prima track che si aggancia perfettamente alla seconda. Melodia cimiteriale, da cinema horror anni ’70. Ottimo start. La base scivola via così come questa intro che alla fine tanto intro non è. Si scorge sullo sfondo Deda che con voce rituale ripete “ … senti come suona come suona, senti come suooooonaaaa, sangue misto to to to … ”

La bellissima Clima di Tensione ha una base semplicissima che rende bene l’idea di cosa voglia dire "ritmo pulito". Poca cassa, un bel rullante, una melodia di sottofondo danno spunto per rime fantasiose, ben piazzate. I due M.C.'s sono sfolgoranti e gli scratch lo sono altrettanto. Bella produzione.

La terza suppongo sia anche la più famosa. La conoscono tutti. Una base da jam, un Gruff che oltre agli scratch ci ha messo la seconda voce nel ritornello, Neffa che sputa rime come granate, Deda che contorna il tutto. Un prodotto ottimo che si trova in tutte le compilation serie. Anche se la Century Vox ha rotto le palle ai tre per un sacco di tempo, ha il merito di averci fatto conoscere simili bellezze. La fine è accompagnata da un riff di chitarra a mio parere ingombrante ma non fastidiosa. Finisce così Lo Straniero

Altrettanto bella è La Parola Chiave, intenta a far muovere più teste possibile, dove Deda salta su è giù su una base bellissima con il fantastico Gopher D che caccia rime a ragamuffin ( “ … du lu salento sta li … ” ). Il confezionamento degli scratches finali è celestiale e chiude la traccia.

Cani Sciolti, al numero cinque, aperta da una base molto carina, scandita da rullante in grande quantità, offre a Neffa la possibilità di parlare della situazione scomoda nella quale si trova. Non è ancora il momento buono per esprimere tutto lo sconforto che ha; accenna e basta.

Molto funky è la bella Senti Come Suona, la track sei. Oltre a Deda e Neffa appare la voce di Dj Gruff che piazza pure gli scratch. Il tocco jazz lo da il sax di Guglielmo Pagnozzi. Da sentire. Non a tutti piace poiché si dice non sia troppo azzeccato data l’atmosfera cupa del disco.

Inno intramontabile alla marijuana è La Porra. La leggenda vuole che il disco in questione sia stato realizzato giusto per … starci dentro. Si sentono espliciti riferimenti alla protagonista, alla mista, agli effetti allucinogeni e le permanenti sensazioni de benestare ( ha ha … ). La parte più bella è quando viene detto “ … cartina paglia fumo uguale amor … ”. Ottime rime, Neffa è in forma splendida, Deda è potente nell’esprimersi per non parlare di Gruff che è una sorpresa. Pezzo ideale per rilassarsi grazie ad una base molto lenta. Melodica e ben battuta.

In Dopa vede scendere in campo un nome storico: Soulee B. E’ si ragazzi. Bel pezzo, ottimo accoppiamento tra cori italiani e rime in inglese. La base è sempre uguale, non ha grosse variazioni e si presta bene alle rime. Un’altra chiusura con riff di chitarra e basso è riscontrabile.

Ma c’è una traccia ironica per metà e per metà realistica che si fa ben sentire nel disco. Manca Mone è ben riuscita. La mancanza di soldi è evidente. Gruff si esprime con: “ …sto con le tasche vuote, da tempo la mia mano non riscuote, non tocca banconote … [...] … e mi ritrovo in uno stato di cattivo odore, non dico la parola ma è marrone … ”. Il carattere è deciso ma la categoria più alta dell’ M.C. si fa sentire con Deda che entra violentemente nella canzone. Ottimo risultato. Gli scratch finali sono sempre bellissimi e realizzati perfettamente.

Piglia Male ha una grande base davvero. Tutta cassa, niente rullante, con melodia cupa di sottofondo che riprende il discorso principale del disco: il disagio nella società. Voglio ricordare che, dopo questo disco, il tema appena citato apparirà per anni nei dischi dei rappers italiani. Molto lento, tranquillo. Attenti all’evoluzione del vostro stato d’animo mentre ascoltate …

Infine tocca a Fattanza Blu. La noia prende facilmente il sopravvento perché se la lentezza appartiene un po’ a tutte le canzoni, qui si esagera. La base è persistente e le rime, se pur azzeccate, non forniscono alcuna prova di bravura ( dal momento che esercitate altrettanto lentamente ). L’unica grossa pecca del disco. Peccato.

Come outro troviamo Notte che riprende nuovamente il sax di Pagnozzi tra le sue spire. Una base ottima, liscia. Sarebbe come la traccia dal titolo Senti Come Suona; un riff diverso, un mixaggio simile all’appena citata e una voce di sfondo che appartiene a Neffa

Sono molto contento di aver fatto questa recensione. Molti dei novellini, che si dicano tali, non conoscono certe cose e ho provato un po’ di sgomento a non aver visto nemmeno un minimo straccio di recensione su questo disco. Io vi consiglio di trovarlo e prenderlo il prima possibile. Se lo prendete in vinile avrete un suono ovviamente più caldo ma se il supporto digitale vi riesce più facile da avere, beh … fate voi. L’importante è esserne in possesso.

Ottimo disco, curatissimo nei minimi particolari, pulito, quasi privo d’imperfezioni e vi rammento che è stato fatto 10 anni fa. Alla prossima.




Un Classico del rap italiano.Ringrazio WF MUSCHKIN del blog MUSIC FOR THE EARTHWORMS che mi ha fatto avere il link risparmiando tempo.



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Zion I - Mind Over Matters

Tracklist:

1 Creation
Vocals - Carolyn Gaines
2 Revolution (B-Boy Anthem)
Scratches - Vin Roc
3 Critical
Featuring - Planet Asia
4 Mysterious Wayz
5 Tha Choice
Vocals - Carolyn Gaines , Khalid Aalim
6 Koncrete Jungle
7 Metropolis
8 Oh Lawd
9 Trippin
10 How Many
11 Elevation
12 A Little Change
13 Fools Gold
14 Venus
15 Rap Degreez
16 Silly Puddy
Featuring - Grouch, The
17 Inner Light
18 Big Ups
19 All Tha Way
Featuring - Eclipse 427 , Knowmatic , Rasco
20 One


Questo e' un classicone.Zion I per chi non lo sapesse e' un gruppo di Oakland formato da Amp Live (dj e producer) e da Zion (l'mc appunto).Amps ha un modo di produrre molto futuristico e Zion invece ci delizia con rime conscius,ma non solo.
Questo album e' praticamente perfetto almeno per me.Di una cosa sono sicuro vi piacera'.Sull loro my space potete scaricare 2 belle cosette.


Qua un ottima Review dell'album che mi trova d'accordo:

In an industry caught between the washed out raps of the mainstream to the underground rappers trying to educate and elevate, they all have one thing in common: anyone can drop an album. Simply compile a collection of 15 or so of your best songs and you're made. Rarely, though, an artist releases an album that is more than just songs, more than just 15 tracks strung together aimed at making as much money as possible. To create something that a listener can totally immerse themselves in for 75 minutes and leave them both musically and intellectually satisfied. To push the boundaries of all things music. To release, not just an album, but an experience. Zion I: Mind Over Matter is an experience.

Zion I is the duo of MC Zion, vocals, and Amp Live, who handles the production end. Duos similar to these are not uncommon, but none seem to feed off each other as well as these two. Amp Live creates some of the most futuristic, electric, soulful sounding tracks to rhyme on that I have ever heard. Mixing together everything from piano chords to string riffs to Arabic sounding flutes, Amp Live creates easy-to-listen-to, drum-and-bass style beats that could sell themselves without having a word said. But, words are said and very impressive words at that. MC Zion is poetry in motion. Blending his experiences on the streets of Oakland, society's harsh reality, and the role that hip-hop plays in it all, he crafts conscious verses that any listener can connect with. All of this is fluently preformed with such versatility that at times it will go unnoticed. His ability to simultaneously switch pace, inflection, and pitch is effortless, while staying very easy to listen to throughout the entire album. Another thing you will notice as you listen to this album is quality. Never have I heard such consistency in the clarity of an album and it almost gives the surreal feeling that you're in the studio as they're making each track (Thanks to 418Hz Productions and DJ KJ).

The journey through Mind Over Matter begins with "Creation", an eerie, one minute track featuring the reading of Genesis 1:1-3. This intro track ends with the line "and there was light" and continues to flow perfectly into the first song, "Revolution". In fact, I thought that it was all just a part of the same track when I first listened to the album. "Critical" features Planet Asia, with whom MC Zion trades verses that do nothing less than convince the listener of their rhyming prowess. The subject and melody on "Mysterious Ways" gets annoying and repetitive after a few listens, though it is quickly salvaged by "The Choice." This spoken word track is so original, you're left wondering how it will be topped. The next track does though, tying both track's subject matter together perfectly. The first half of the album seems to be building up to "Trippin'", both beat-wise and lyrically. It is apparent why after one listen, being this is probably the best song on the album:

"Just a micro-cosm
Of a larger macro-problem
I sit with my pen and pad
Imagine ways to solve 'em
You can call me a dreamer
But I do not need a Beamer
To validate existence
I'm blessed in every instance
TV, fear, pain
Will leave you stained
Welcome to the other side
They said it never rained
You'll never win a game
Where the rules always change
First a college degree
Now a PHD
But if you got black skin
You need at least about three"

Zion I follows immediately with "How Many", a piano laden track that lays responsibility on hip-hop artists to make a difference in this aforementioned corrupt society:

"How many brothers tears have shed
By my people for over four hundred years
How many times have you lied cheated acted conceited
Didn't needed you want it
How many times runnin
How many scars and cuts
Bruises from the battle from those who got beef
How many ever seen cattle
Killed in cold blood
So you can eat it up
How much more till somebody says that's enough?
How many times have you watched a full moon?
How many times have you cried alone in your room?
How many times have you felt the bass boom?
How many times? How many times"

If you aren't convinced of Zion I's ability to mix a message with music, he will soon. "Fools Gold" is a one minute introduction containing samples of everyone from Jay-Z, to Notorious BIG, to TLC, commenting on cash. It's apparent why on the next track, "Venus" which portrays a woman who chooses a materialistic life over finding true love. This unique, metaphorical way of writing reminds me of "I Used To Love H.E.R." by Common. "Rap Degrees" also becomes repetitive and annoying in the same way as "Mysterious Ways" did, but once again Zion I quickly saves itself. "Silly Puddy", featuring The Grouch, recognizes how "to Him I'm just some silly puddy" and then asks God to give them what they need to "say what I need to say." The album ends with "One", which contains an addictively sick chorus, further adding to the plethora of dope songs on Mind Over Matter.

Mind Over Matter is more than just an album, it's an experience. Even the skits add immensely to the 15 songs that grace this album. Though at times the beats get repetitive and almost too "futuristic", but Zion I does more than his share to pick up the slack. Some might find his voice too high for their tastes, but there is no denying his skill with the pen. Realistic and refreshing are best to describe Zion I as a whole. There is one thing that this album doesn't have and that's gimmicks. If you want corny, battle rhymes over recycled beats, I suggest you look elsewhere. Zion I is rising above everything average in hip-hop and, if you're willing to listen, they'll take you there with them.

Music Vibes: 8.5 of 10 Lyric Vibes: 9.5 of 10 TOTAL Vibes: 9 of 10


Insomma un discone che non potete perdere.



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