Archive for April, 2007

Shawn Lov – Waiting For A Ghost


Shawn Lov

Millions Download
Sunrise Download
from Waiting For A Ghost (2007, Nuffsaid Records)
Buy at iTunes Music Store
Stream from RealNetworks / Rhapsody

Waiting for a record to come out that even comes within a short distance of a 90s classic is like waiting for something that has died to return to the world.” �— Shawn Lov.Shawn Lov knows what time it is. In the mid-nineties, the Trenton, New Jersey rapper was a hair’s breadth away from a record deal that would have made him the next big thing. As it turned out, Shawn’s unerring artistic ideals didn’t gel with the record company people. The clock kept ticking and Lov stayed on the grind, recording and releasing music independently. His new lease on rap life came when he inked a deal with revered Melbourne label Nuffsaid in 2004 and the subsequent album, The Blackout of 1977, became the first album to be released by a US rapper on an Australian label.

An underground sensation, Blackout was guaranteed a follow-up, but no one expected the product that Shawn Lov has delivered. Waiting for a Ghost is a personal and timely testament to art and life. Rarely has a rapper revealed such an insightful take on humanity while maintaining the highest standards of lyricism. “If we, as artists, are not communicating our most personal, most sincere and vulnerable truths, we are merely tap-dancing,” says Shawn Lov. “And I am fresh out of bottle caps.”

Waiting for a Ghost features guest appearances from Pace Won, Lin Que (Isis of X-Clan), Tony D, Prowla (Nuffsaid Records, Melbourne) and more.

Linguistics – The Writes of Passage


Linguistics

Glory Download
Mozart’s Finest Download
Where Did Hip-Hop Go? Download
from The Writes Of Passage (2007, AcropolisRPM)

A new breed of MC’s, Liguistics is here to entertain you with true real hip-hop, amazing rhymes and beats, along with intense cuts and scratches by DJ’s like Dj Step 1, Dj Solo, and Dj 3rdi.

Linguistics consists of 3 MC’s – Kasper, IQ, and Entity. All solo acts, Kasper and Entity joined together with a very talented group of MC’s called Kastlevania in the 1990’s and early 2000. They won the San Diego music award for best new hip-hop, but soon the group started breaking up and going their own ways. IQ was busy working on a mix CD with his company “Intelligence Records” that he founded with his cousin Jay War. Jay was a long time friend of Kasper and hit him up to see if he wanted to get involved with the Intelligence project, the mix CD featuring some of the best up-and-coming hip-hop artists around Southern California.

Eventually Kasper and IQ we’re creating many songs together and decided to put one together with Kasper’s old friend Entity. At that studio session, they realized how strong they were as a group, and decided to make an album together. 3 different styles from 3 different places in Southern California. Entity from Texas originally bringin the southern style, Kasper growin up with east coast hip-hop and IQ growin up with west coast influence somehow combine to form the ultimate group with a unique sound that is sure to appeal to any true hip-hop fan. Add to that the amazing ground-breaking producers and you have something truly special to listen to and enjoy. It’s all about the hip-hop. Check out this hot album.

A Plus – My Last Good Deed


A Plus (Hieroglyphics)

Patna Please Download
Good Time Charlie
Download
from My Last Good Deed (2007, Hiero Imperium)
Stream from RealNetworks / Rhapsody

A-Plus, (aka Plee or Adam Carter), was a founding member of acclaimed underground hip hop groups Souls of Mischief, and later The Hieroglyphics. Souls of Mischief (A-Plus, Opio, Phesto & Tajai) released the classic 1993 album ‘93 ‘til Infinity’ before being dropped by their record label Jive in 1995. From there, the Souls joined Del Tha Funkee Homosapien, Snupe, Casual, Pep Love, Jaybiz and Domino to officially form The Hieroglyphics and the Hieroglyphics Imperium Records label. ‘My Last Good Deed’ is A-Plus’ debut solo record, after he released a mix album ‘Pleemix, Vol. 1’ in 2005.

What’s noticeable about this release and most other releases under the Hieroglyphics imprint is that the crew is a crew first and foremost. Crew members regularly appear on each others albums, and this one is no different. Enlisting the services of Casual, Del Tha Funkee Homosapien, Pep Love and the Souls of Mischief, A-Plus has released a competent album, but one that isn’t overly reliant on its guests.

On ‘The One’, featuring Major Terror, A-Plus pays homage to his roots, not only in the Hiero and Souls crew, but also to his Jamaican Heritage. Here he spits, “This my first solo effort / I hope you get it / If you don’t then it’s copasetic / but no disrespectin’ / I done earned my stripes / dude made, my dues paid”. ‘A-P-L-U-S’ seems like it would be one of those self-indulgent ego inflating efforts, but this isn’t exactly the case. A-Plus has always been a high achiever, getting his name from his father because of his good marks on his report card. After being dropped from his record label along with Souls, the decision for The Hieroglyphics to form their own independent label speaks volumes about the attitude of A-Plus.

Casual makes an appearance on ‘A Beautiful Thing’. Here they bounce off each other in a fast pace, spitting about being independent and strong. “Never let nobody tell that you can’t dream / It’s a beautiful thing”. A-Plus takes a slower approach on the title track ‘My Last Good Deed’, incorporating a piano and other instruments. ‘Nothin’ Fake/The Ultimate’ features Del Tha Funkee Homosapien, and is almost like a song in two parts. The first part has a staccato piano section in the background that sounds a little serious, but when it gets to the second part, it has an almost lighthearted feel to it. The point of the track is a little difficult to get, but Del is adamant when he says “I know you and you know me / and somebody told me that we OG / so if you feel that shake and bake / my boy A-Plee ain’t nothin’ fake”.

‘Kiss The Sky’ featuring Jennifer Johns, is arguably the most personal track on the album, a tribute to a murdered friend who gave A-Plus the confidence to break out of a group dynamic to create a solo album. “Life goes on if you lucky ‘cause my homeboy’s dead / but I’m alive so I be on my shit / you gotta rock rock on / keep keep it on’. Johns’ vocals lend a sombre mood to the song, which reveals quite a lot of what is going on in A-Plus’ psyche.

With most production handled by A-Plus and AAGEE (as Compound7), A-Plus has shown that he has what it takes to be a successful rapper, without having to be signed to a major record label. With fierce beats, strong rhymes, and a ‘can do’ independent attitude, A-Plus has created a very personal record while still incorporating his roots and remembering where he got his start. –sickbuoy

Escape From The Pigeon Hole


Abdominal

T-Ode Download
Pedal Pusher
Download
Abdominal Workout
Download
from Escape From The Pigeon Hole (2007, Do Right! Music)

Andy Bernstein grew up in Greektown, East End Toronto on a steady diet of skateboarding, souvlaki, art, punk rock and hip hop. Rocking the name MC Abdominal, he formed his first rap crew with the now legendary DJ Serious as a teenager, and started recording, honing his freestyle chops, building an astounding lung capacity, and developing into one of the most lyrically gifted and charismatic performers ever to grace the shores of Lake Ontario.

A chance meeting in 1998 at a downtown party lead him to first cross paths with DJ Fase. The two hit it off immediately, they paired up as Abs & Fase, began recording together, and a limited run of “Vinyl Frontier” records made its way into the hot hands of DJs, radio hosts, and record collectors around the globe. One of them was picked up by UK producer DJ Format, who was floored by this unknown Canadian emcee, and invited him to England to collaborate.

Abdominal’s raps became a standout feature on Format’s first two full-length releases – Music for the Mature B-Boy and If You can’t Join ‘Em …Beat ‘Em – selling upwards of 65,000 copies in total worldwide, and spinning off into several highly acclaimed international singles and video releases. The duo hit the road for three years, and from 2003 to 2005 they toured as part of Jurassic 5’s European tour, toured with Ugly Duckling, spent a month touring Australia with the Good Vibrations Festival (alongside Lyrics Born and Handsome Boy Modeling School), opened for Roy Ayers, De La Soul and Blackalicious, and rocked the revered stages of the world famous Glastonbury Festival, Leeds Festival, and Reading Festival twice.

Escape From The Pigeon Hole, the first solo record by Abdominal, featuring production by DJ Format, Cut Chemist (from Jurassic 5), Young Einstein (from Ugly Duckling), DJ Fase, DJ Serious, Circle Research, cuts by World DMC champion DJ Dopey, and a special appearance by local jazz phenom Elizabeth Shepherd, the record promises to be Abdominal’s richest, most vibrant, most artistically diverse project to date. “My goal is to show a more complete picture of who I am.”

The tracklisting is filled with concept songs, ranging from stories about being a bike courier, open relationships, not giving a f**k, and his cat. Strong lyricism, detailed imagery, plenty of humour, and the illest of flows carry through the album beautifully, from start to finish. Abdominal is not only escaping the pigeon hole – he is leaving it far behind in his pedal-pushing dust.

Sacred Hoop – CLASSIC MATERIAL


Sacred Hoop

No Category Download
Moe’s Lullaby Download
9 Days Download
from Bring Me The Head Of Sexy Henrietta (2007, The Hoop LLC)
original albums released in 1996/1997 on Miasmatic Recordings
Stream this album from Rhapsody

Sacred Hoop’s original uncut masterpiece is a monumental epic. The project itself was as big as its Mountain View locations, as grand as its fine, distinguished cast, and as tough and bawdy as everybody imagines the raw life to be. Luke plays the dusted-est, and yet most innocent, character of his long career, and he’s utterly convincing as Moe Sicka, the hapless, drunken psychopath who suffers severe conscience pangs after annihilating an entire suburban area. Fon-douglas is the DJ justly accused as an accessory to the abstract slaughter. Vrse Murphy plays The Man, who remembers that only the acid and dank smoke know how the sound was so expertly and savagely tortured. Brilliantly produced by Murphy, this glorious album established the Hoop’s significance to hip-hop art.

Joell Ortiz


Joell Ortiz

Hip-Hop (Remix) Download
Modern Day Slavery (feat. Immortal Technique) Download
from The Brick (Bodega Chronicles) (2007, Koch)

Brooklyn’s own Joell Ortiz just dropped “The Brick (Bodega Chronicles)”, a hyper album which features Immortal Technique, MOP, Ras Kass, Noyd, Graph and Stimuli, plus production by The Alchemist, Showbiz (DITC), Fame of M.O.P., Moss and many more. Ortiz’s single, “Brooklyn”, got hella play on radio stations and mixtapes from NYC to Japan. The Source highlighted Ortiz in its “Unsigned Hype” spot, saying, “Joell Ortiz is well on his way…” while XXL recently wrote “His future is looking anything but so-so.”

Ortiz says, “I love this album because I made it while I was going through the industry bullshit of trying to get signed and some tough times, personally. It’s full of pain and rage and you can hear it. It’s a soundtrack to the hood version of David vs. Goliath. That’s the best way to describe it. If you’ve ever gone through some rough waters, this album is for you. It’s the common man’s music. Industry people, so-called ‘cool guys’ and ‘posers,’ don’t get this music and they never will. It’s not for them. It’s for us.” Check out these cuts! Joell is the truth.

-Audio1

Hip Hop

125 Grams

Brooklyn Bullshit

Doom-Watchers


MF Doom

It Ain’t Nuthin (The Chapter Remix) Download
from MM..Leftovers (2004, Rhymesayers)

Doper Skiller (feat. Kool Keith) Download
from Viktor Vaughn – Venomous Villain (2004, Insomniac)

Now that my introductory article has been boring you all for like a month, Lets talk about Hip Hop. To focus on one artist we start with one of the most memorable joints from back in the day, Gas Face – 3rd Bass featuring a very impressive figure in the history of hip hop. Zev Love X, of KMD, showed up and made a subtle wave, he didn’t particularly stand out next to the two white guys and all the cameos in the video. For those of us who became KMD fans, we remembered.

KMD died due to a controversial second album cover and the passing of Subroc, Zev Love became Daniel Dumile and disappeared (from west coast ears at least) for a few years. In those years we (KMD fans) missed and discussed the group, we got black bastards any way we could, download, bootlegging and studied it as if it would give us clues to what happened or where Zev was. Now I’m not quite sure why I picked it up but in 2k, picked up Operation Doomsday by MF Doom. My friends and I gathered around the stereo like it was a campfire and the debate started immediately,
“That sounds like the guy from KMD.”
“Nah, it doesn’t.”
“He sounded younger.”
“Listen to the flow, it kind of sounds like him.”
“Put in that KMD; let’s see if it links up.”

MF Doom was Zev, but not, he was like this insane genius he was trying to be. He goes by three alias names: MF Doom (his commonly known lyricist form), Viktor Vaughn (his criminal lyricist form), and King Geedorah (his producer form). His flow was consistent and eerie and contemplative which match his beats most of the time. I was addicted, I missed a few albums and gems and remixes myself and I’ve been trying to cop all of his albums, EP’s and singles ever since he first appeared. Listening to MF Doom / Viktor Vaughn / King Geedorah is like getting bopped in the back of a head with popsicles as hard as possible and its 120 degrees outside. Its kind of edgy and funny but it’s ridiculous and feels like it only lasted a second and when its over you wish you had another one. The most comparable feeling to MF Doom is Quasimoto, and the most comparable persona is Ghostface’s Tony Stark, but the persona is carried much like Dr. Octagon. Now what’s really interesting about those comparisons in retrospect is that he works well with all of those people professionally.

Now we get to it, why am I bringing this up? There isn’t currently a new album, right?

Over the course of the years that he has come back and started putting out massive amounts of music. I’ve been aggravated by the fact that I keep letting them slip through my fingers and I have to go scrape for them or special order them, or order them online from strange companies in Canada that scare me. I only copped Madvillain this year, I couldn’t find it anywhere. And King Geedorah albums are worse. Where I live there’s no lack of hole in the wall stores who have good distribution contacts, but still. They’re just too obscure. This is a post that urges a preemptive strike. There is a second Madvillain album coming and a Ghostface / MF Doom collaboration. I haven’t heard anything about another King Geedorah, but I know it’s probably in the works. Keep your eyes open, and don’t miss the good stuff.

-Omniscion

Newcleus


Newcleus

Jam On It Download
Jam On Revenge (The Wikki Wikki Song) Download
Computer Age Download
from Destination: Earth – The Definitive Newcleus Recordings (2005, Jam-On Recs.)
Stream this album

This takes me back about 12-13 years ago when my friends and I would meet up at lunch time at Hayward High’s infamous K-Hall, where the Hayward Combo Breakers crew formed and created a lasting impression that even now people still talk about. Alot of us didnt even know how to dance and we all had extreme love for hiphop and hiphop culture and over the years, We became real good at what we did. We linked up with some new freshmen/sophomore kids who just got to school. They held weekly bboy practice sessions at Weekes Park Rec. Center (by Tennyson, for my Hayward folk)… Those were fierce sessions and 2 of the dopest bboy crews back then (and to this day) also practiced there, Miscellaneous (with members from Moreau Catholic) and the world famous Rock4CE (with members from Tennyson & Mt. Eden reppin).

Rock4ce were too sick! You had your straight battle cats with all the power moves and you had your smooth classic top rocking/floor rocking bboys like my homie Paul Ruma aka PAULSKEE. I owe alot to that dude, he dropped mad knowledge on me when it comes to hiphop. Dude taught me how to properly Uprock and do combinations of floor moves. At the time, We would just jump into the circle… Paul taught me the importance of bboying to the breaks of the beat, hence the term , BBOY or Break Boy. You needed to have a style to you. To have the ability to learn the basics and come up with your unique style that would set you apart from the rest and the skills to battle, if it ever came to it. PAULSKEE went on to be one of the leading forces in today’s modern BBOY scene. If you are a true BBOY, You def know everything he has done for hiphop culture.

Times like that remind me of the classic hiphop. The funk, the soul, the breaks the old skool DJ’s looped up to create hiphop. In the 80’s, synthesizers and computers came about and these ultra funk cuts became the norm as tracks like Planet Rock blew up. What you have here is all the classic hits and the essential releases by these Hip-Hop & Electro Funk pioneers! In putting this album together, NEWCLEUS did not set out to do a “Greatest Hits” or “Best Of” collection, even though all of the real hits are represented here. What they instead set out to do was to present the songs that they believed most clearly defined Newcleus, and present them in a form that best matched the way they were intended to sound. These are the DEFINITIVE Newcleus recordings. All the BBoys/BGirls out there, rejoice! You probably already got these in your collection.

Sacred Hoop 2007

 


Sacred Hoop

Smokebomb Download
Worst Person Download
Cremona Download
from Sleep Over (2007, The Hoop LLC)
Buy at iTunes Music Store

The Hoop done it again. Eighteen tracks of pumpin’ hip-hop power, beginning with the ominous gully-cry, “18 to Nothin’,” and concluding with the spiritually apathetic, “Don’t”. This album proves that Sacred Hoop has a deep, abyss-like, bench when it comes to b-boy talent. “Cremona” becomes absolutely Utopian with the crucial off-season acquisition of Z-Man from 99th Demention, as well, anarchist DJ Marz stomps a size 12 footprint in the Sacred terra-firma with his vinyl attacks in the absence of DJ Fondouglas, marking a brand new burn-it-all-down era in Hoop-lore.

24/7 BBoy

Written by Omniscion

I was born and raised to the beat, I’m not considered the average black guy, and I’m not considered the average hip hop head, but I am both. I don’t wear ridiculous over-sized clothes, and I rarely buy new gear, I work hard, 7:30 to 4:30, Monday through Friday and I drive a beat up old car with a weak stereo (while my girl has a nice car). I watch about 30 minutes of TV a week (at the most) and I spend most of my time in my office at home listening to hip hop and playing video games and discussing hip hop in detail with my friends over ventrilo. I live and breathe hip hop. Not that radio madness, real elemental Hip Hop.

My first memories of hip hop are blurry at best, things like listening to AM radio hip hop shows at 5:30 on Thursday with my older cousin while he explained who everyone was and taught me how to pop-lock. But I recall 2 things in particular very clearly; The first is purchasing EPMD – Strictly Business with my own money (I was like 12), and the second is going to a banquet with my friend, Kwasi and his mother. while everyone is really excited this baseball guy is talking at this dinner, Kwas and I are writing terrible rhymes on the back of the dinner place-mats about the food and how bad it was.

About maybe 4 years later comes my next clear hip-hop memory. I and the same friend are in the car with our “producer” going to a hip hop show at a Sacramento north area high school. We’re performing, but we’re nowhere near the top act. The first two guys to come out are thuggish imitations of Los Angeles cookie cutter image at the time creased and colored and mumbling at everyone about drugs and fighting and death. It was like an illness. We were on the edge ourselves. It was what everyone was doing and we weren’t old or wise enough to know better, but somehow we did. the music was in us, the KRS, Big Daddy Kane, The Biz, LL, Ultramagnetics, the Audio Two… all that stuff was bouncing around in our heads all the time. Kwasi and I used to play a game where we would recite a quotable and the other would have to finish it and name the artist and album. When the time came we got on stage, I remember reciting what we had all rehearsed so many times and Kwasi (known as K-style) calls for our producer to drop the beat and he gets the crowd to clap and I felt sort of frozen “it could all fall apart” is what I was thinking and then I said it, “we’re going to do this the way it was supposed to be done!” and it was like I wasn’t saying it, like there was something else taking hold of me. I wondered if this was what people in church felt like when the Holy Spirit took hold of them in church. It was like that maybe, but I felt like I was surrounded by devils and the crowd was looking for me to lead them out of it all safely.

We free styled for a good 15 minutes. I came from the head flawlessly, K-style did a written and so did Mike (mic), the crowd was involved and everyone was propping us when we left the stage. We were the youngest group and only ones to represent real hip hop. The headliners did the same as we did, it kind of made me angry because I had seen them before and they have never bothered to try and freestyle at any previous shows. I tried to battle their group leader after the show, but he acted like he couldn’t hear me. But he could hear me, and some of the people in the cipher wanted me to get my shot at him. I never did.

The group eventually fell apart. Honestly, it was my fault I couldn’t bring myself to do gangster music after I felt the energy from a real freestyle session and that’s what was selling, so it was what our producer was pushing. K-style had always been better than everyone else in presence and lyrics, and he had also always been a bit rougher under the exterior than me as well. For him to do hardcore style stuff wasn’t much of a stretch. I was out for sure when I realized I could live my life content to battle kids on the sidewalk in Davis, downtown sac, and occasionally off of florin or in Arden mall. That’s what I was built for, I felt like that’s what it was really about. Some people want to make money from it, but in the end, all we want is to feel good. Battling cats made me feel good. I finished high school the hard way (at continuation school), did 2 years in college till I realized I would much rather have money for fun than an education. I continued through a string of horrible futureless jobs until around 24 years old, I settled down. I didn’t need to battle anymore. I just wanted to hear it, I liked to school cats, but I needed to really apply my mind now, I had to get on with my life. I didn’t want to be 30 years old sporting the hottest new styles with my kids under my arm while I try and get some chickens number during their weekend visit.

Now, just to recap my life as a b-boy for you: when I was 12 I started backpacking, I hit the streets with my walkman and I didn’t look up till I was around 22. Alternatively, at about 17 I started smoking weed and I hit the trees hard. One night, at about age 24, I was smoking with my friend Gabe and we came to the conclusion that we needed to get things done. We were surrounded by the hoodiest of hood-rats at the time and we just looked at them and realized that these weren’t the kind of women we would be happy to see our children with or around. I absolutely stopped smoking weed and never looked back. I made moves too, just to back it all up. On a side note, Gabe is still a DJ and damn good one, he spins house at several clubs all over town and works a full week if not more. He took his time and made life out of it while he was working as a salesman. I went back to technical school and got a degree in microcomputer operations. I was an artist, doing graph at some point and I was a computer nerd trying to make web pages at some other points. I liked video games and I loved music. Before I made the choice to go back to school I didn’t know what to do.

To get through school I did a bunch of office jobs till I hooked up with EarthLink and did tech support for 3 years. EarthLink tech support went Indian right after my scholastic career ended and I got my degree. At the time my degree was worthless. The tech industry had died and so did my hopes with it. I did several jobs to survive and ended up at a video game store for another 3 years where I met customers who were guys just like me who had done well. We all had one similarity. We all woke up one day and decided that we wanted to be an adult or at least successful, and none of us gave up hip hop. Not even slightly. It revitalized my soul to meet people like that and one day I was mentioning some of my issues at work to a guy and he told me straight, “you made it this far, you only got a little ways to go. It doesn’t seem like they’re going to take you any further here.” Those words hit me like a truck, and with the next big dispute at work, I quit on the spot and found myself on the street again leaving that place behind not to look back. I was imprisoned in my own self image for three years, believing I couldn’t do any better, even after I had made an effort to really get somewhere. In two weeks I got a job making double what I had made after 3 years there, and I left that job too. Currently I work in a nice office with a door, at my own desk, with my own phone, and my own distinctive job to do. I intend to stay here a long, long, time. At my desk I have two computers and I make web pages most of the day when I’m not goofing off in email or in the break room with my coworkers (most of which are my own age). But I promise you, if you ever see me working quietly and keeping my eyes locked on my screen, part of my meditation is listening to hip hop in a headphone ear-bud in my left ear. I’m 32 years old, I’m still a b-boy and a hip-hop-head and no matter what I’m doing, what I’m wearing, or who I’m working for… nothing can ever really change that.

Soundtrack to this story:
DJ Krush – Light (Can You See It) Download
from MiLight (1997, Mowax/FFRR)