So i heard this song a few month’s ago, and ive been addicted to this messy track ever since. What amazes me about Wiley is how he’s never… well… really ever took off. We had “Wearing my Rolex” and then nobody wanted to hear from him, then came “cash in my pocket” that was a massive tune. in-between we had “summertime” in which was an amazing song and the album was bloody excellent (much better than dizzee’s tongue in cheek). Well he’s teamed up with Chew Fu to make this crazy club hit, but as for it taking off like “wearing my Rolex” dont bank on it!.

Wiley Ft. Chew Fu — Score 8/10

The latest video off his album II, out now on Amalgam Digital.

yeh, originally uploaded by sizzled.

i first met this fine young man in 1997 at the bmg offices with rainbow if memory serves me correctly.

he couldn’t have been a day over 15 at the time and to see that earnest youngin turn into the well rounded dude and peer he now is puts a smile on my face.

i don’t have many close friends, and definitely not many “new” ones. It takes a special person to last 10 years in my life and in all honesty, i am just getting to really know kaelah since moving back to toronto in 2006.

congrats on making it to this first milestone, homie. i hope your 25th year is amazing and brings you perspective, growth and promise!

New Snoop’s mixtape with Dj Skee/WhooKid/Scream, the wait is almost over,  Malice N Wonderland (12/8). Hit that link for download! By the way here’s the final tracklisting for the new album: 1. “Intro” 2. “I Wanna Rock” (Scoop DeVille) 3. “2 Minute Warning” (Terrace Martin ) 4. “1800″ (featuring Lil Jon) (Lil Jon) 5. “Different Languages” (featuring Jazmine Sullivan) (Teddy Riley and Scoop DeVille, co-produced by PMG) 6. “Gangsta Luv” (featuring The-Dream) (The-Dream & Tricky Stewart) 7. “Pronto” (featuring Soulja Boy Tell ‘Em) (B-Don, co-produced by Super Ced) 8. “That’s Tha Homie” (Danja & Timbaland) 9. “Upside Down” (featuring Problem & Nipsey Hussle) (Terrace Martin, co-produced by Jason Martin) 10. “Secrets” (featuring Kokane) (Battlecat) 11. “Pimpin Ain’t EZ” (featuring R. Kelly) (Nottz) 12. “Luv Drunk” (featuring The-Dream) (The-Dream & Tricky Stewart) 13. “Special” (featuring Brandy & Pharrell) (The Neptunes) 14. “Outro”. Thanks to hear-it-first.net.

Tracklist:
01 – Dove and grenade
02 – Tear it up
03 – Shout at the devil (Motley Crue cover)
04 – Immigrant song (Led Zepplin cover)
05 – Bad town (Operation Ivy cover)
06 – El urgencia
07 – Everywhere i go (Castle Renholder remix)
08 – Undead (Live)
09 – Sell your soul (Live)
10 – California (Live)
11 – Black dahlia (Live)
12 – Everywhere i go (Live)
13 – No. 5 (Live)

Download Hollywood Undead – Desperate Measures 2009 part 1:

 A Long Story Short by Custom Made

2009 (13 tracks, 42:51)

hip-hop/rap

While going through a certain artist’s songs on my computer yesterday night, I happened to notice something: a ridiculous streak of songs to open up albums. This streak happened to belong to none other than Jay-Z. This post will definitely do nothing to convince people that I’m not overly-obsessed with Jay-Z (I really am not…I am willing to point out the man’s flaws just as I would with any other artist…he just has less to point out). Anyway, back to the point like a 1-guard, son hard, I’m all on your bitch on the beach I’m like sun guard, this post will show one of the many reasons I think Jay-Z is as good as he is. Not only does he have a tendency to avoid skits for intros (and if he uses them they usually blend into a song), but also his intro songs have a way of setting you up for the rest of the album…chances are, if you don’t like the intro you’re not going to like the rest of the album. Let’s have a looksee.

CAN’T KNOCK THE HUSTLE (10)

Not only is this video pimp, but it’s your first experience of Reasonable Doubt-era, smooth-talking, conversational flow Jay. He goes into a bunch of mafioso themes with a bunch of vividly descriptive rhymes, and remains consistent with these throughout the rest of the album. A DAMN good way to start off your discography.

A MILLION AND ONE QUESTIONS/RHYME NO MORE (10)

I WOULD include a video here, but they don’t have the right one on youtube. There’s actually two versions of this one…the one I’m talking about, and the Preemo remix. Now I know you would expect the Preemo remix to sound better, but since Preemo actually did both it’s not blasphemy to say that the original is better. Regardless, A Million and One Questions/Rhyme No More is yet another bangout start to an album, as the two parts to the song match perfectly with the two different ways Jay-Z went with the album – a more money-oriented, glossier pop sound, and a couple of the grimiest songs of his career. Sounds contradictory? Thank P. Diddy for what Jay-Z calls “the classic that got away”. Asshole.

HAND IT DOWN (7)

Preemo laces the SHIT out of yet another instrumental, except Jay-Z RETARDEDLY gives it to Memphis Bleek. So, you may be asking, why does this count? The answer is that Jay-Z ghostwrote this for Memphis Bleek, as he did for multiple songs when he somehow had the idea ingrained in him that Memphis Bleek had even a chance to blow up. This kind of makes me angry (as does most of Vol. 2, even though it’s his best selling album…but you can blame that on Hard Knock Life).

SO GHETTO HOVA SONG (INTRO) (6)

I’m kind of dissappointed/mindfucked here. I apparently deleted this intro and forgot it existed, mainly because it’s shitty and boring, and mentally replaced So Ghetto as the intro song, which is a 9 instead of a 6. I would post the link, but you don’t want to hear it. Shit, this kind of pokes a hole in my theory. Oh well, Vol. 3 was Jay-Z’s worst album anyway.

THE DYNASTY INTRO (9)

Holy shit this beat is unreal. Jay rides it pretty effortlessly, and has some sick lines, but doesn’t rip it consistently per se, keeping this from being a 10. This helps get my theory back on track, thankfully. AND YES THIS DOES COUNT, even though it’s “Roc La Familia”, because let’s face it Jay-Z was on like every track except for the one or two shittiest songs on this album. (I don’t remember the actual number and don’t feel like looking it up).

THE BLUEPRINT (8)

Jay rolls in triumphant over some soulful production from Kanye West. HMMMM…NOW I WONDER WHAT ALBUM THAT SOUNDS LIKE. Jay-Z had a chip on his shoulder after the two semi-disappointments Vol.3 and Roc La Familia, and came into this album with something to prove/wanting to establish his dominance, as this was right around the time of the Jay-Z/Nas feud and before Nas came out with Stillmatic. So yea, Jay had to come up big here (which he did).

A DREAM (9)

Jay-Z flips the same rhyme in multiple different schemes for longer than a minute, which is pretty damn impressive. The beat is also edgy and aggressive, which shines through on the best songs of Blueprint 2 (a bloated double album), and Jay-Z shows that he can flip back and forth between street intelligence and pop potential in the same song…sometimes even in the same line. I could have used more than the 1 verse on the beat and the a capella (of the same verse) at the end.

THE BLACK ALBUM INTRO

The first shitty intro skit. While this isn’t retarded like your average Redman skit, it does come off as slightly pretentious with Jay-Z half-insinuating that he’s the reason that 99% of rappers rap.

THE PRELUDE (9)

If I had to pick one opening song that COMPLETELY set the tone of the album, this would be it. Jay-Z kind of takes a backseat on this back, but his subliminals are as prevalent as ever, and the smooth production sounds awesome here (even though it isn’t this awesome throughout the entire CD). This is Kingdom Come in a nutshell, and if you don’t like it, well then you’re shit outta luck with the rest of the album and you probably lit yourself on fire when you heard 30 Something. I know I did, even though I liked this song.

AMERICAN GANGSTER INTRO

I know this is supposed to set up the album, which is intended to be cinematic and all, but that doesn’t excuse the fact that this is an intro skit.

WHAT WE TALKIN BOUT (9)

This gives The Prelude a run for its money in terms of how cohesive it is with the rest of the album. Unfortunately, along with The Prelude, this is better than most of the other songs on the album. I really like the electro/synth/hip hop mashup of this song, and somehow the hook doesn’t bother me, but it’s really the subliminals/going after any remaining detractors that make this track for me.

Is that it? Is this what you call a post nowadays?

Yea, that’s pretty much it. I dare any one of my readers to find an artist with a better track record of introductory songs. I did this using only the first tracks on every album, I bypassed no skits or any of that bullshit. Pure opening tracks. And now I’m done with this post, and will be heading home TOMORROW, at which point I will be preparing for the Pilgrims and Indians theme party I’m going to Wednesday. Pimp.

Oh really? How are you getting home?

I’m riding home on an ass….YOUR MOTHER’S ASS

Growing up, my brother was an absolute fanatic of this man Wilfrido Vargas. From the Dominican Republic, Wilfrido brought such a passion for an art form called merengue that his following was immense. He was the premiere merenguero at one time, spawning super massive classics ( HOMBRE DIVERTIDO, BALLE DEL PERRITO, The immortal EL AFRICANO just to name a few) that still live to this day. His approach to the music made him a standout from day one. To show how in tune this man was, he at one point would include raps in his songs when the genre was just getting on its feet here in the states (EL JARDINERO). He blended styles and swagger that were unique to only him and his awesome band. The following video is an example of his illness. The band is in Barranqilla, Colombia rocking the shit out of the audience. If only I was there….

Peep the pop locking at the 3:15 mark….SUPER EPIC!!!!!!

The Best Of Kurtis Blow (1994).
Review:
When discussing the pioneers of rap music, Kurtis Blow often isn’t mentioned as often as Grandmaster Flash, The Sugarhill Gang, and Run- DMC. This is unfortunate because he truly is one of the forefathers of hip-hop and unlike Grandmaster Flash and the Sugarhill Gang, he was no one trick pony. Although many music fans may only know him for his now classic track “The Breaks”, The Best of Kurtis Blow shows that he had much more to offer. Nearly everything here is great and still sounds fresh today. Unlike much of the rap music back then and even today, Kurtis Blow, at least for most of his career, created his music with live musicians rather than solely relying on sampling and production. Although “The Breaks” is now a hip-hop classic, many of the tracks here such as “Tough”, “Hard Times”, “Party Time”, and his highest charting hit “Basketball” are just as strong. Listening to the old school references on “Tough” and “Basketball” over 20 years after they were recorded are still a joy to hear. But while the lyrics are strong on all of these tracks, it’s the music that puts these songs over the top whether it’s the funky bass lines on “Hard Times” and “Tough”, the heavy percussion on “Party Time” and the Midnight Star-soundalike “I’m Chillin” or the combination of both on “The Breaks.” The excellent musicianship also shines on the more lightweight tracks “Daydreamin’” and “Starlife.” Other excellent tracks here include “Christmas Rappin’”, which uses the guitar line rather than the oft-used bass line of Chic’s “Good Times”, his duet with Run-DMC, “8 Million Stories”, and “One-Two-Three (Main Street, Harlem, USA).” The tracks here are listed chronologically thus the weaker tracks are on the album’s second half. But while these songs are less memorable musically and lyrically and rely more on stellar production, the tracks “America” and “If I Ruled The World” are also pretty decent. Simply put, if you love old school rap, The Best of Kurtis Blow should be in your music collection. Newer fans will appreciate this too as most of the songs here have aged well and the best tracks are great party songs. Highly recommended. (John Alapick – Amazon).
Tracks:
01. The Breaks
02. Christmas Rappin’
03. Hard Times
04. Starlife
05. Tough
06. Daydreamin’
07. Party Time
08. One-Two-Five (Main Street, Harlem, USA)
09. 8 Million Stories
10. AJ Scratch
11. Basketball
12. America
13. If I Ruled The World
14. I’m Chillin’

See the comments

Listen and watch!!

This is the latest from Drake and Birdman, Lil Wayne.  Definitely #1

 Instrumentals 10 by Hot Day & The Dreamteam

2009 (22 tracks, 1:17:52)

hip-hop/rap

Rick Ross affiliates Triple C’s have taken aim at legend KRS-One and the New Boyz in response to what they deem are hypocritical critiques of their style of Hip-Hop.

In a recent interview for rollingout.com, the 3 man group resurrected the 3 year old debate Nas coined with his 2006 Hip-Hop Is Dead LP, and launched criticism at KRS-One in spite of the Bronx veteran dropping an album in early 2007 entitled Hip-Hop Lives.

For them, Hip-Hop’s health is based on the fact there is still money being made, and not the stance of some fans and critics that the genre has seen a downward spiral due to the lack of creativity from certain artists.

“You notice it’s the people that always say ‘Hip-Hop is dead,’ they ain’t got no money,” argued Torch. “And to top it all off, it’s like Hip-Hop is dead but when they had their run, the same people that say these things, they be in pictures with AK’s, they forgot all that now. You need to do your track record, do your homework and the record that people are pointing their fingers, you gotta realize, every time you point your finger, the other four are pointing right back at you. You gotta understand what’s going on. So at the end of the day, I ain’t with the finger pointing and the other four pointing back at you, but at the end of the day, music is music. You stay in your genre of music whether its backpack, dancing, and let us stay in ours. We make real music.”

To accentuate Torch’s point, rapper Gunplay dismissively shouted out Boogie Down Productions’ landmark debut Criminal Minded while a picture of BDP’s politically charged and Malcolm X-inspired cover for By All Means Necessary flashed on screen.

Triple C’s then turned their attention to teen group the New Boyz, implying the duo were gay due to their choice of clothing.

“We don’t knock nobody’s hustle because we don’t want anyone to knock ours, because we might knock your head off,” stated Breed. “If your jeans tighter than my b***h’s, hey, we’re not knocking your alternative lifestyle. It’s on you if you want to wear sparkling beat chains. But don’t [criticize] when we talk about our sticks, bricks, when we’re doing our thing because we’re going to feed the streets regardless. We talk about what we know.”

Triple C’s debut album Custom Cars & Cycles was released on October 27.

Rapper Canibus released a new diss track today (November 23) aimed at Eminem. 

The track, titled “Air Strike (Pop Killer),” was released on Warlab Records and features Canibus and label mate DZK airing out Eminem over a number of issues.

Canibus and DZK insult Eminem on the 5:32 second track, making fun of his feud with Mariah Carey, in addition to Eminem’s addiction to pain killers and his troubled past with his parents.

Right before Canibus’ verse starts, he taunts Eminem with a clip of his own words in regards to rap battles.

“If you’re an MC and you mention my name in the wrong way, you draw first blood, I’m gonna come back,” Eminem says in a sample, taken from an interview with Tim Westwood in 2002.

“You aint know Hip-Hop messiah/You a b***h cause you dissed Mariah/s**t like that is supposed to be private/I’ma fry you on behalf of Mariah and Michael/Put you back on the drugs, make you suicidal,” Canibus raps.

The disrespectful lines get worse as the track moves on, referencing the infamous incident in which actor Sacha Baron Cohen’s bare bottom landed in Eminem’s face at the MTV Music Awards in May.

According to Eminem his beef with Canibus started in 1998, before he was signed to a record label.

During in interview with Tim Westwood, Eminem explained the beef started after LL Cool J released his track “The Ripper Strikes Back,” a response to Canibus’ diss record “Second Round K.O.”

 Originally, Canibus and producer Wyclef believed that Eminem wrote the lyrics to the track for LL Cool J, an allegation Eminem denied.

Despite Canibus’ attempt to squash the beef, Eminem continued to diss him in interviews and on his 2002 album, The Eminem Show.

On a track titled “Square Dance,” he referred to Canibus as “Canib**ch.”

“Let’s see you Square Dance now/Let’s see you hold your bladder,” DZK raps. “Let’s see you fire back Em/where’s the fire at/it’s suicide hotline time/go dial that/put on that ‘8 Mile’ hat and a file track/Get at some people who can actually diss you back.”

$2500 grand prize for the winner. Nice bonus for your day after Thanksgiving shopping spree. If you are interested in registering please contact Chris Parisi at 703-929-5374.

Friday hit the highway
Headed to Oshkosh
Oh my B’gosh
Rock on stage, crowd started to mosh

First Caption started the Rapping
Max on drums relaxing
Had the whole crowd captivated, glad they waited
Then Fik and Nov got the crowd hype with their flows
Passed it back and forth, like Ali and Frazier going blow for blow

With no PA system, we barely made it
Delta Routine showed up for the day and saved it
The Hot Box took the stage, ripped out a new page
Sweat and sage burned as the night turned

Delta Routine turned on and turned it up
Stepped on stage and burned it up
Nick picking guitar with a Beer bottle!
hot ladies out no need for beer goggles
No time to oggle
Off to Balls house, he smoked us all out

2 am comes around, of course we head to Perkins
Fik and Nov out somewhere in the night flirting
Chicken Gravy Biscuit
thought I would risk it

Woke up – call me Zack G – I was hungover
Thanks to Soup and his rents for letting us come over

Got back to the Minn
it was time for some din-din
Ate thanksgiving food, got dressed up
til Netz spilled hot cider and my fit got messed up
I said fuck it,
pulled out the sweatpants
Broke a glass table when I tried to drunk dance
Said fuck it again, went to bed at ten

Said “today failed, i’ll try again tomorrow world”
then peaced out, passed out with my girl

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