The Official Rap Thread

[StreakInTheSky]

Lil Wayne seems to be the hottest guy in hip-hop right now. Though I find the drum machines overkill in his beats, I found Royce da 59 killing the beat from Lil Wayne's I'm Me.

http://www.zshare.net/audio/1371989495b4882a/

After listening to that, fuck lil wayne

And anyone hear Estelle's Shine album? Good shit, with some collabs like Kanye, Kardinal, Cee-Lo, and even John Legend Not exactly rap since she sings more R&B, but she raps too.

http://rapidshare.com/files/105802083/Estelle.-.Shine._2008_-D4Mi4NM.rar

[MochaNutz]

i'm not suprised if Digi flopped.  That one was for the fans though.  I liked it.  Bonus track?  I like the one named Bonus Track =P i dunno what its called.  "This mic is scared of me, like i'm gonna rape it".  That and O Day are my fave tracks.

----

That Kardi track is dirty! 

----

Estelle's album is dope.  I really hate how she sings American Boy (i like the beat), but the rest of the album is on some Lauryn Hill type ish.  Its exec prod by John Legend, i think.

----

Fuck Lil Wayne... =D i hate that guy. I swear, i don't know what the fuck he's saying sometimes.  Jump like jurp jurp... ok.

[Masa]

I'm gonna join the Fuck Lil' Wayne movement too. Dude's easily my most hated rapper at the moment. Fuck Lil' Wayne! 

01. Death March
02. That’s What It Is
03. Golpe De Estado (feat. Temperamento y Veneno)
04. Harlem Renaissance
05. Lick Shot (feat. Crooked I & Chino XL)
06. Apocrypha
07. The 3rd World
08. Hollywood Driveby (feat. PsycoRealm & Sick Symphonies)
09. Reverse Pimpology (feat. Mojo)
10. Open Your Eyes
11. Payback (feat. Diabolic & Ras Kass)
12. Adios Uncle Tom (Skit)
13. Stronghold Grip (feat. Poison Pen & Swave Sevah)
14. Mistakes
15. Parole (Evil Genius Mix)
16. Crimes Of The Heart (feat. Maya Azucena)

DOWNLOAD

1. Intro
2. Gangsta Rap rmx.(Prod by Dj Greenlantern)
3. Cops Keep Firing (Prod. By Dj Greenlantern)
4. Hero (Prod by Polow Da Don)
5. Black President (Prod. By Dj Greenlantern)
6.Association (feat. and Prod. by Stic Man of Dead Prez)
7. Legendary (Mike Tyson)..(Prod by Salaam Remi)
8. Ghetto rmx feat. Joell Ortiz (Prod by Dj Greenlantern.
9. Seen it All (Green Mix)
10. Esco Let’s Go (Full Song).(Prod by Dj Khallil)
11. N.I.G.G.E.R. (Slave and Master). (Prod by Dj Toomp)
12 “Be a sexy beast too” rmx feat. Dante Hawkins (Prod. by Dj Greenlantern)
13. Surviving the times (Original Cool and Dre Version)
14. Nas Timeline mixed by Statik Selektah (Nararated by Nas)
15. Outro feat. Richard Pryor

DOWNLOAD

01. Queens Get The Money (Produced by Jay Electronica)
02. You Can’t Stop Us Now (Featuring Eban Thomas of The Stylistics & The Last Poets) (Produced by Salaam Remi)
03. Breathe (Produced by J. Myers & Dustin Moore)
04. Make The World Go Round (Featuring Chris Brown & The Game) (Co-produced by Cool & Dre & The Game)
05. Hero (Featuring Keri Hilson) (Produced by Polow Da Don)
06. America (Produced by Stargate)
07. Sly Fox (Produced by stic.man of Dead Prez)
08. Testify (Produced by Mark Batson)
09. N.I.G.G.E.R. (The Slave And The Master) (Produced by DJ Toomp)
10. Untitled (Produced by stic.man of Dead Prez)
11. Fried Chicken (Featuring Busta Rhymes) (Produced by Mark Ronson)
12. Project Roach (Featuring The Last Poets) (Produced by Eric Hudson)
13. Ya’ll My n****s (Produced by J. Myers)
14. We’re Not Alone (Featuring Mykel) (Produced by stic.man of Dead Prez)
15. Black President (Featuring Johnny Polygon) (Produced by DJ Green Lantern)

DOWNLOAD

Nasty Nas is back like cooked crack! I guess we will have another Nas special soon

[daigong]

Totally. How the fuck is Weezy on every fucking track?? He's more annoying than T-Pain and Akon in a blender put on high speed.

be kanye


Estelle got some hot beats. I love that one with John Legend. Too bad her tracks ain't blowing up like Leona Lewis this side of the pond.

[MochaNutz]

anyone cop this?

Ol Dirty Bastards Brooklyn Zu - Chamber 9 Verse32

1. We Comin' for Ya - Popa Chief, Preachermann,
2. Brooklyn Zu
3. Do It For - ODB, Popa Chief, Preachermann
4. Blood Is Love
5. Cold World
6. Knock Knock - GZA
7. Eat Ya Food - Killah Priest, Masta Killa
8. Baby
9. Pass the Mic
10. Party with the Zu - Preachermann
11. Get Dirty Some Beers Skit
12. Pour My Liquor
13. If I Had a Gun - RZA,
14. Put Yo' Peoples On - Lafonda
15. Marvelous - Popa Chief
16. Get That Cheese - Captain Midnight, Shyheim
17. So Much 2 Say - Allah Real, Freemurder, , Lafonda,
18. Shut Ya Trap - Prodigal Sunn
19. Dirty Outro

http://www.twitter.com/?d=51UP1KJO

[daigong]

Props son! I heard a few tracks at some rap blog. Bout time they dug up more ODB shit. Ya copped this? I think it's some bootleg shit.


http://www.amazon.com/Wallabee-Champ-Ghostface-Killah/dp/B0013B68HO

Some of my friends have been wanting me to put together a mixtape of Gemini (she also goes by "t") for awhile now so I thought I'd share the mixtape I put together with everyone on here. 

I've been a fan of her work since she was 17 (back in '98), and she has become a better MC and singer over the years.  She's
a black American/Korean artist, but you'll only find her work in Korean shops at the moment.

I put this mixtape together using most of her albums (group & solo projects) along with some rarer compilations I blew the dust off of for use in the mixtape.  I kept this more English friendly, but there are a few tracks where I was really feelin' how she was flowin' in Korean so I kept that on here too.  It's mostly hip-hop tracks, but I purposely added some of her more r&b oriented tracks for variety.

Anyway, enjoy.


http://www.twitter.com/?d=8STD83XB

THAT SHIT WAS SICK!! I really like her flow, reminds be of Yo Yo back in the daze. Ya should get her to drop on by sometime 

[Masa]

Eli Roth Reveals More on RZA's Directorial Debut - The Man with the Iron Fist

Barely two days ago we reported that Eli Roth and Wu-Tang Clan's RZA would be working together on a martial arts movie called The Man with the Iron Fist. In short time, CHUD caught up with Eli Roth and asked him about the production. Roth revealed some enticing details, including that this would be RZA's directorial debut after studying Quentin Tarantino for years and that it would be undoubtedly a bloody R rated martial arts extravaganza. I was initially already quite excited for this, but now I'm even more excited - this is going to kick some serious ass. Apparently RZA has an encyclopedic knowledge of martial arts flicks and this is his dream project that will feature "everything martial arts fans could want."

To clarify, this has nothing to do with Marvel's superhero named Iron Fist, as an adaptation of that character is in development elsewhere. RZA's The Man with the Iron Fist is an entirely separate project that he wrote himself and is directing. Here is what Eli Roth said about the production.

Yes, it is true. RZA's script is amazing. He has been studying directing with Tarantino for years and he's really ready to get behind the camera. His impact on rap music and hip hop culture cannot be measured, and he's ready to add his own unique style and vision to the world of film. This movie will have everything martial arts fans could want, combined with RZA's superb musical talent. This project has been his dream for years, and I'm thrilled to be a part of it. And fans should know that yes, there will be blood… This ain't no PG-13.

As I mentioned originally, The RZA had quite a bit of involvement with the soundtrack on the Kill Bill movies and I can only imagine that was where and when he began studying Tarantino's techniques. It doesn't sound like RZA is going to mimic what Tarantino does, but rather attempt to bring his own unique style and vision to this film in combination with his immense appreciation for martial arts films. I'll reiterate this yet again: with Roth, Tarantino, and RZA all influencing this project, it definitely has the potential to be amazing. We'll be sure to update you once we hear anything else, including when it's expected to start production.

http://www.firstshowing.net/2008/07/06/eli-roth-reveals-details-on-rzas-directorial-debut-the-man-with-the-iron-fist/

[Masa]

Raekwon: Cuba Libre

It is one of the most anticipated albums in Hip-Hop…right up there with Detox. Just the thought of Raekwon’s Only Built 4 Cuban Linx II has had Hip-Hop fans waiting on edge. So of course when word got out that the Wu-Tang’s own Chef would be working with the Doctor, results were – mixed.

On one hand putting Dr. Dre and Shallah Raekwon together in the studio could easily be the start of another Hip-Hop classic. On the other hand, would the fans ever hear the music? Here are arguably two of Hip-Hop’s perfectionists, both of whom are working on albums their followers have just gotten used to…expecting.

Well while fans are still receiving word and rumors on the release of Detox, Raekwon is gearing up to (finally) release Only Built 4 Cuban Linx II. Now Wu fans heard this around the same time last year but were only left with the controversy surrounding 8 Diagrams, a string of mixtapes from Raekwon and a series of stellar verses on albums from artists like Wyclef, Fabolous, and of course Ghostface. Here Raekwon explains the delay for the album and lets the fans know what’s been cooking in the kitchen.

AllHipHop.com: You’re just coming off of a tour, right?

Raekwon: Oh yeah for like the last six months. I’m just traveling the word. We got millions of fans all over the world so that’s what I’ve been doing. I’ve been in Australia, Germany, Austria, the Czech Republic...just a lot of different places.  I’ll tell you one thing, when I hear people from all over asking about Cuban Linx II….that s**t just be f**king me up. I respect my fans and I just want to make sure that they are well fed. I’m just out here letting people know that the Chef is gearing up to start releasing something.

AllHipHop.com: Well to start things off, when is the release date for Only Built 4 Cuban Linx II?

Raekwon: The release date is set for October.

AllHipHop.com: So is it still set to be on Aftermath/Interscope?

Raekwon: Well, It's not going to be on Aftermath. We didn't come to terms the way that we wanted to. Right now we’re just in the process of decision making as to what label we're going to release it on. I still got a couple of other options that I'm trying to weigh out. I'm just trying to make the best situation happen. I put a lot of time into this record so it's important that the house that I walk up into make me feel appreciated. I need to feel really, really, really appreciated. Right now we have a couple of options that we're trying to go through and discuss.

AllHipHop.com: So what are the other options that you're looking at?

Raekwon: That's really kind of confidential. At the end of the day I don't want to put myself in a situation where people think it's coming out on this label and it's not.

AllHipHop.com: Well can you tell us who is going to be featured on the album?

Raekwon: Well first and foremost I kept the formula pretty much the same. When you think of the first Cuban Linx album it had the Clan on it. I just wanted to give the fans that same formula.  As far as lyrics I got the Clan on there and they sound incredible. With beats I got the RZA. I was just thinking about the fans that have been with me since the first album and made sure that we didn't go outside our realm. I feel like if I went and got a bunch of other people on the album outside of us it wouldn't have that same feeling. So overall I can't change the formula too much...just keeping it all Clan related. I do have one special guest on the album but I'm not going to talk about it because it's kind of a surprise.

AllHipHop.com: So by keeping it all within the Clan you’re trying to stay true to your fans. I know you all listen to each other but do you pay any attention to other artists out there?

Raekwon: I mean, we definitely keep our ear to the street. I know I do. As far as the Clan is concerned, we're still relevant because the brothers still got it. It never really went anywhere. It's all about us getting together and getting some production that we can grab on to. When people hear these tracks they're going to realize that we never went anywhere.

AllHipHop.com: Are you going to continue to release mixtapes leading up to the album's release?

Raekwon: Oh absolutely. My kitchen is open right now. I got something coming for the Internet because fans on the net have given me so much support and love. Right now I have a digital thing coming out just for them. I mean, the album is done. It's done. Anything that you get from the Chef right now is just a sampling from the kitchen.  So far we’ve put out a joint called “The Jihad” just to let people know what kind of vibe you can expect on the Cuban Linx II. But until I negotiate the terms and work out the situation I’m not giving out the main course. It's like when you’re waiting for your entree and you're getting these appetizers. The appetizers are so good that it makes you appreciate the entree and the restaurant so much more because everything so far has been off the hook. With this album, the entree is already on chill and ready to go but I got a few things that I want people to try before I serve the main course.

AllHipHop.com: Now the first Only Built 4 Cuban Linx is regarded as a classic and looked at as the album that shaped a lot of the Hip-Hop we see today. What is the feeling trying to recreate that?

Raekwon: I feel like we're going to do it all over again.  It's going to bring a whole new sound to the table again and bring another level to Hip-Hop.  People are getting really tired of the commercialized music. With this album right here—I'm not patting myself on the back but...I am patting myself on the back because it shows growth, originality, and creativity. This is what Hip-Hop has been missing. Everyone has been focused on making a radio record. My thought process is on when I cared about making a hot record. I'm just concerned about making a hot tape.

AllHipHop.com: Do you see any similarities in the Hip-Hop community between the times Only Built 4 Cuban Linx dropped and now Only Built 4 Cuban Linx II?

Raekwon: With the first one a lot of people gravitated to it but it was a slow burn.  It took people a little bit of time for people to realize what we were doing. There were a lot of cats out their bubbling and we had our little run.  I think it just takes time for people to soak it up because it's a whole album. It's not like it’s just one or two records on there. This was something that people can just put in their CD player and don't have to touch it no more. That's what made the album so historical. Nowadays you don't really get an album where you can just sit and listen to the whole thing. You may get a couple of joints but your hands going to constantly be on the skip button because you can't vibe with this song or you’re not feeling this other song. With this record we made it so that you can just let it play like the first one.

AllHipHop.com: Who's going to handle the bulk of production on the album?

Raekwon: First and foremost with the bulk of production I made sure that The Abbot played his part. But being that we are in a new time I wanted to show some love to some other producers as well. I have an arsenal of producers that came on this project with me. I mean this is an assassin team of producers and I didn't want to limit the entire album to just RZA production. I know everyone knows about the little situation that RZA and I were going through but at the end of the day that just makes us both stronger. I just wanted to open up the doors for some other legendary producers like J Dilla, Dr. Dre.....I'm really trying to show people that I have a lot of supporters in the world of production and I wanted to break bread with them.

AllHipHop.com: So you're trying to expand the production to show different types of styles?

Raekwon: Actually I'm trying to expand the production but at the same time create something that no one has ever had. You got different dudes out there that have a few producers on their album but you've never had the type of elite producers that Rae had on his album. This is what I wanted to make sure of so people wouldn't get it f**ked up. I went and got the best of the best. These are producers that have changed the face of the game. I'm always going to respect today's Hip-Hop but at the same time I'm going to show respect to the people that paved the way. This is what makes the album more credible in the streets because when people hear the production team that I got...I don't think anyone has put anything like this together before. I feel great about it.

AllHipHop.com: Is Busta still involved with creating your project?

Raekwon: Absolutely. That's my brother right there. He's the type of individual who embraces me as far as being a big brother and embraces me on a peer level. It’s about helping each other. It's like on his record, if he needs my little words to help him to see what he needs to see then so be it. That's the affect that he had on me for this record. He was very supportive of the situation and at the end of the day we have a real friendship.

Plus Busta is one of the illest artists in the game to me. He really knows what to do when it comes to making an album – not just a record but a full fledged album. And he definitely had my back if I needed a message, word of the day, or some type of inspiration. It’s like having a coach.

AllHipHop.com: You have spoken a lot about artists that create full albums.  Is there any artist in particular that you’re impressed or inspired by?

Raekwon: Well, I haven’t really been inspired by any of the music that’s out today because it all sounds the same.

AllHipHop.com: You spoke about it earlier but to go more in depth, what are your feelings on RZA and the 8 Diagrams album?

Raekwon: All I can say is I told you. It’s a lot of people out there that love n****s for what they’ve done and felt like we was telling the truth. They felt like I felt. You got people that felt the album for what it was and wanted more but maybe it’s just that I’m ten times hungrier. I’m looking at my fans trying to give them what they want and expect. The 8 Diagrams album...it is what it is. It’s not a garbage album but it is in a direction that RZA wanted to go in. I didn’t necessarily want to go in that direction. I learned from that. I took a lot of criticism and at the end of the day it’s still my baby that’s out there. It’s still my album. I still respect RZA and the art that he creates. I respect his craft. He kind of knows that I’m at the point where I want to make hardcore music because that’s our background and I’m not going to stray away from the formula that I’m used too.

AllHipHop.com: Do you think another album will be released that's more in the hardcore direction?

Raekwon: Well, the Clan right now knows the fans want to hear more Wu. So of course we won’t have a problem delivering another album when it’s time but there will be changes. Changes made for the better. When we do another one we’re going to make sure everything is where it needs to be. Everything can’t depend on one man. There’s no I in team.

AllHipHop.com: But you feel this album will give the fans some of what they’ve been missing?

Raekwon: Oh yeah, of course. I haven’t rushed this album. It’s been two years now and it doesn’t matter how long it takes because this is my name and my credibility on the line. I just want to make sure I give the people what they want. As far as the record, I’m super confident because I’ve had enough time to sit there and decide what I want to come with. When it comes to bringing you these albums we don’t rush them. The Chef don’t rush it. I’m going to deliver you an album that’s crazy and have brothers coming back to the store like they always do.

http://allhiphop.com/stories/features/archive/2008/07/09/20270715.aspx

Method Man: State of Grace

Method Man’s music, both solo and with Wu-Tang Clan, has garnered him icon status in Hip-Hop, while his acting career introduced him to mainstream audiences.

It may seem like yesterday to some, but Method Man actually appeared in two movies (187 with Samuel L. Jackson and Cop Land with Sylvester Stallone and Robert DeNiro) and an episode of Martin in 1997, the same year that Wu-Tang Forever was released. Since that time the multi-talented rapper has appeared in numerous TV shows - even his own with the short-lived 2004 series Method & Red - and has landed roles in several movies.

Despite insisting that he does not care what people think of him or his career decisions, reacting to critics has never been Method Man’s forté. With more aliases than a religious cult leader on the lam, Johnny Blaze has always been brutally honest about his feelings. While someone with less moxie may be put off by that, true fans continue to appreciate his in-your-face honesty with the media.

Method Man’s latest acting gig has him flexing a unique accent in the new film The Wackness, a current critic’s favorite at the box office. We grabbed a few minutes of his time to discuss his Hollywood career, how life with Def Jam has changed, his new comic book and what comes next as he approaches 20 years in entertainment.

AllHipHop.com: In the past few years people have really seen you evolve in Hollywood whether it was on television or in movies. You’ve taken on a lot more roles. Was this a conscious thing for you in the beginning, to really focus on acting, or did it just happen?

Method Man: It just happened. It’s hard for me to watch myself after the scene is said and done and I watch myself on screen. But it just fell in my lap, I did one thing which led to another thing, got a call for another thing and I said, “Why not get an agent and keep going?”

AllHipHop.com: You’ve expressed a lot of frustration about the way the series [Method & Red] was promoted. Have you ever looked into doing another television series where you might be a central character?

Method Man: I’m not messing with TV. [laughs] No way, no sitcoms at all. I don’t know, Hollywood doesn’t get it or maybe we don’t, because I got flak from both sides. Black people thought it was misrepresenting Black folks, I wasn’t trying to represent Black folks with that show. Don’t put that burden on me. As far as the network, they just didn’t listen. I thank them for that opportunity though.

AllHipHop.com: In your music career you’ve had a huge learning curve going from your group that you gained a lot of notoriety with, to your solo career, where it’s been a bumpy ride. What would you say is the most important lesson you’ve learned?

Method Man: Don’t read your own press, stay out of trouble and save your money.

AllHipHop.com: We interviewed Shakir Stewart recently, and we’ve heard a lot of rumblings from various artists [at Def Jam]. We asked him about whether the company was speaking to artists about why they were unhappy, he assured us that they were [speaking to people]. Have you had a chance to sit down with him yet, or are you looking forward to it?

Method Man: No, I haven’t spoken with Shakir. I don’t know the dude - if you put him in a lineup I couldn’t pick him out. I’m not saying that to be disrespectful, I’m just saying I don’t know the dude. If they’re addressing whatever with artists at Def Jam, I ain’t got a phone call.

AllHipHop.com: But if there was an opportunity for a meeting you would have things to discuss…

Method Man: I done sat down and had meetings already. All I can do is do albums, hand them in and do my best to promote my album. I’m not asking for anybody to do nothing for me I can’t do for myself. That’s pretty much it, but no one’s spoken to me. I sat in Def Jam with L.A. [Reid], Steve Bartels, Jay Brown and Jay-Z, and at [that] point in time I was going through so much in my life that I was ready to explode. I regret this s**t to this day, but in that meeting I’m swallowing my pride and everything, trying to explain to them where I’m at with it right now, and why I’m even saying the things that I’m saying to them.

I’ll do you one better. It’s hard when you got a lot of people thinking you said something and you didn’t actually say it, but you got everybody against you thinking you did say so it so it’s like, “F**k you.” So anything you say at that point in time is all [game], there’s nobody you can convince of the truth at that point in time and it’s frustrating. So me sitting there in that office and looking at these dudes faces, knowing that I didn’t do anything f**king wrong. But to sit there and swallow my pride in front of grown a** men to the point where I’m so f**king angry tears is in my eyes, that’s when there’s a problem.

After that meeting, I don’t think anybody reached out to me with the exception of Jay Brown, nobody reached out to me to exactly see what I was going through. I wrote Jay-Z a letter, I don’t know if he still got it, hopefully he burned the s**t, but I wrote him a letter trying to explain exactly where I was coming from and why things were the way that they were as far as I go.

We’re here now, and Def Jam will tell you, “We got a good relationship with Method Man” and I’ll say the same thing, I got a good relationship with Def Jam. But I was used to Lyor [Cohen] and Kevin [liles] who spoiled us, having such a hands-on approach, that I got things a little misconstrued myself. Instead of being vocal about things, I should have sat back, watched and did the knowledge to how things worked [at the time] instead of trying to force it into my favor. I know that now.

There’s nobody to blame for an album not selling at all. It just didn’t sell. It’s time to just move on to the next thing. I told them dudes in that meeting that day, tears and all, that I started my career in Def Jam and that’s where I wanted to end my career at, and I still mean that s**t.

AllHipHop.com: You come from an era in Hip-Hop that was so heavy with street teaming, now the digital age has taken over. Are you doing anything right now to actively transition yourself with your music into the digital age?

Method Man: No, I just go in the studio and make the records. To me now, it’s to the point where I don’t care if it makes money or not, I’m doing it for me. This is how I used to do it before there was a record deal, I used to sit at my mom’s table, bang on the table, write rhymes and think to myself, “Wait ‘til n***as here this in the staircase.” I wasn’t thinking, “Wait ‘til the world hears this.” So that’s what I’m doing now and I’m gonna always be like that. I love music and I’m gonna keep doing it for as long as I possibly can, whether it’s for money or not.

AllHipHop.com: With a career spanning well over a decade, kids still actually respect you. Are there ever times where you’ve felt distanced from the kids with the way that they see [the music scene] now?

Method Man: Yeah a whole hell of a lot, and it’s good you asked that. I can’t wear tight T-shirts or tight jeans. My body ain’t built like that, I’m thin so I can’t wear a lot of that stuff. As far as the dances, I’m too grown to be doing that s**t. Braids in my hair, forget about it, I’m too grown for that. What did Jay say? “I could buy the Bentley but I’m grown enough not to put rims on it.” But I’m still connected with them on a level as far as knowing what gets them going, what they like and what they like to see, I know that type of swagger they like. People like real s**t, they like genuine articles, so as long as I can be me that’s the easiest job in the world.

AllHipHop.com: In this movie The Wackness, they put a lot of emphasis on the soundtrack and capturing that era [1994] through Hip-Hop particularly. How did you feel about the way that it was represented in the film?

Method Man: I feel [director Jonathan Levine] did an excellent job, I swear on everything I love. I hadn’t seen the movie until Sundance, and there were times where I was sitting in there watching the movie and some music would come on and my feet would start tapping like, “Yeah he got that off, wow.” So like after five or six songs I’m sitting there waiting and then a Wu-Tang song came on and I’m like, “Aight there we go, nice.” [smiles]

AllHipHop.com: You have a comic book coming out too, what exactly inspired you to do that? We know you like comic books…

Method Man: That’s exactly what it is. When the opportunity presented itself I jumped at it. They said, “What do you wanna do?” I said, “I don’t know, I got ideas all over the place” and this guy David Atchison took all of my s**t, put them in a pot and made a nice stew. Then Sanford Greene pieced it together well enough for them to see a great story and make a nice art.

AllHipHop.com: As far as transitioning into different forms of merchandising and marketing yourself, have you looked into fashion?

Method Man: No. I will never do fashion because as soon as your clothing line goes down, so do you.

AllHipHop.com: Are you touring overseas nowdays?

Method Man: I go overseas, I do shows here but they’re not promoted to the urban areas anymore. Us dudes, we get promoted more to the suburban areas and most of my shows is white kids.

AllHipHop.com: Do you feel like in certain ways that you’ve made yourself a mainstream name?

Method Man: Yeah, but when it’s involuntary it feels better, it doesn’t feel like you sold a piece of a** to get where you got.

AllHipHop.com: Is there anything else you want fans to know about what you have coming up?

Method Man: Just be on the lookout for How High II the movie, me and Redman’s album, my comic book is called Method Man and also a television show called Burn Notice. I did an episode on there, July 10th it debuts [on the USA Network].

http://allhiphop.com/stories/features/archive/2008/07/08/20265036.aspx

The RZA: The King’s Gambino

Robert Diggs is a visionary. Ten years ago the MC/Producer and founding member of the Wu-Tang Clan known as The RZA reinvented himself as a binary masked superhero called Bobby Digital. Almost a decade later the world couldn’t be more to Bobby’s style. Cars drive around with digital ports to plug in encoded music and people talk to each other through blinking earpieces. How’s that for forecasting the future?

With his acting turn in American Gangster and film scoring projects keeping him busy, RZA just can’t seem to leave rap alone. So now he’s back with the next installment in the Bobby Digital saga, Digi Snacks. In a candid conversation he shares his inspirations for making music, the drama within The Wutang Clan and whether Dr. Dre’s Detox will come out before The Cure.

AllHipHop.com: It’s been 10 years since the debut of the Bobby Digital in Stereo album and the world has become increasingly digital since then. How does that make you feel?

RZA: Makes me feel like I was 10 years ahead, baby. [laughs] On the real though.It was foreseen with the character, if you think about it. When I first made Bobby Digital,  I was just telling…everything is going digital, the digital state is going to be the stronger state, we gotta become digitally in our own minds, think digitally. One thing I was also saying as the character, and partly as the artist, on a business level, I was telling people in the industry, you know, like Lyor Cohen, Steve Rifkin and ‘em, that things are going digital. That we should find other ways for us to sell our music and s**t. Instead of just making videos, why don’t we just make a whole movie so that the artist can have an [album] and a DVD together. At the show, all the cars goin’ to have TVs in their cars. It’s going to be like American standard, I was telling them all that s**t. They still ain’t listen to that. So it’s like foresight was there. And now that it’s there, it’s like, haha, like I said.

AllHipHop.com: How does Digi Snacks differ from your previous Bobby Digital albums?

RZA: The main difference…the first Bobby Digital album, I was having fun with the alter ego and I was really sporadic with my talent. I just spit my lyrics any way I wanted, whether it was on beat or not, just had a lot to say, a lot of energy. On the second album, I kinda got a balance going. To where some songs were sporadic and some songs were focused, like “La Rhumba,” “Brooklyn Babies,” some songs like that.

On this new Digi Snacks album, I feel like the whole album is focused. At least 90% of it,  maybe one or two songs on there where I’m just wigging out, nahmean? But mostly every song on there is a song, a song you can take and create any context. And that’s why I think I’ve become more of a musician, and more of a focused artist now, not dependent so much on uncontrolled substances for everything I do. S**t like that.

Just really being more focused, I think I was able to give a focused album. And I’m just going to say this: for every recorded album, I’ve recorded it closely on uncontrolled substance, I recorded it like that. I recorded it like that first.

AllHipHop.com: What do you mean when you say you recorded on uncontrolled substance?

RZA: I was high! [laughs] S**t. When I first recorded it. That was recorded and I listened to ‘em, learned some, learned that spirit of the high. Because when you high, you act different. When you drunk you act different. So I took all that, recorded all that and we recorded it sober. And then! Then we went back again and re-recorded everything like half high, half sober. But like a little bit of weed and s**t. Instead of doing 4 o’clock in the morning sessions, I was going in the afternoon and doing it. More like a job, focused. Like okay, now, it’s getting that twenty days, I wanna go in and really make this a record, like an R&B artist would do it. I’ve seen a lot of artists do it over the years and do it real professional. And not just do it like how I was in Hip-Hop, which was just doing it f**king spontaneously.

AllHipHop.com: I read a quote where you said, “Long time ago, I realized that music isn’t only a note and a melody and a harmony, it’s also a pulse.” Can you elaborate on that?

RZA: Every note has a pulse to it. So it’s the pulse sound of philosophy that applies to sampling more than anything. Because I was sampling s**t like…take a song on Raekwon’s album called “Icewater”. Where it comes in, [imitates vocal sample from “Icewater”] “Ahhhhhhhh.”  That’s just an “Ahhhh”, you can’t really sample. When the drum comes in, and the horn that’s on top of it, then I make it have a rhythm now. That’s the pulse. The pulse is there, forced out of it.

AllHipHop.com: On this album and a lot of your work recently, you sample less than you used to. So how do you still capture that sound, that feeling of the sample, but you’re still…you’re playing piano now, you’re putting in live instruments.

RZA: One thing I do, I keep the drums sampled in my s**t. And so by having sampled drums and s**t, that kinda adds up for not having to sample instruments. But also, with a good band, which is what I got, Soul Method, Soul Method is a band that plays samples over. They specialize in playing over your samples. They’ve been doing that s**t since Ice Cube, they did Ice Cube’s s**t, Mac Dre’s s**t. They been doing s**t for years. Unknowingly. They wasn’t known for what they was doing. So they specialize in that. So they would come in, and play something that would make it sound close to a sample anyway.

So to me, on Digi Snacks, the music sounds like it could have been a sample. But it ain’t a sample. Also, it’s still a pulse there, no matter what. ‘Cause it’s still a pulse when the drums kick in, it’s still going to push it to that Hip-Hop pulse.

AllHipHop.com: That Charmels’ Record you used for “Cash Rules.” Where did you find that?

RZA: I found that on a Stax Box set that they put out in 1990. A few producers had it. Large Professor had it, RNS from Staten Island had it. It was something that cost $100 or $200 but who had the money to get it back then? I did. I’m surprised that Large Professor didn’t find that beat first. But I know why they didn’t find it first, they were looking for Hip-Hop breaks, I was looking for musical inspiration breaks. That’s the difference.

AllHipHop.com: You produced records for the Notorious B.I.G. and Big Pun, how were they different and how were they alike to you?

RZA: They was alike as far as their love for Hip-Hop and their approach to content of you know, that Hip-Hop braggadocios, ‘I’m the man, I’ve got the most everything.’ They were definitely superheroes and s**t; they were definitely two different MCs. B.I.G. had the most immaculate voice ever on the mic, I don’t think you’ll find a voice like that. I think Biggie and Reakwon are two of the illest rhyming voices [laughs]. Those brothers have voices that just jump through with the s**t, know what I’m saying? Pun was able to fit a lot of words into one sentence because of that Spanish tongue he had, speaking English he was able to fit a whole lot of words into one f**king sentence and get it off. And he didn’t have that Kool G Rap lisp.

AllHipHop.com: So what do you think is coming out first, The Cure or Detox?

RZA: [laughs] Detox better come out first, I already got Digi Snacks out. That’d be deep. If The Cure come out before Detox, s**t, someone gotta give the great doctor a call. [laughs] I think Detox is followed by The Cure. Because first you detoxify yourself, then you get the cure. That would be great in life and s**t. I’ma watch for when he drop that, I’m going to make sure I try to make the universe line that up for us.

AllHipHop.com: So what happened to the Cuban Linx 2 tracks you released like “State Of Grace.” Where is that music?

RZA: I left all that at Raekwon’s after 8 Diagrams and s**t. And how he felt, he wanted to take control of what he was doing for his own destiny, Rae told me. And so he felt my decisions weren’t in line with his decisions. I let him go ahead, let him do what he wanted with it. And so why not keep that s**t and make it a little tighter and put those s**ts out. Because they had a classic album right there. I think Raekwon looked at 8 Diagrams to be what Cuban Linx is supposed to be. And that’s what I think is pretty much your calculation.

8 Diagrams is for the world, that’s where the hood is, that’s where the club is. And then what Cuban Linx would have been, the follow up with the f**king aggression, the meanness, the roughness, the Mafioso, and all that s**t. And the soul music is all on the album. You got that right there. The reason 8 Diagrams and Digi Snacks sound the way they sound is because there’s a lot of producers that got into my chamber that’s not part of my family. Then there’s a lot of producers within my family like Mathematics, True Master, 4th Disciple…so many of these producers who make RZA sounding beats. You could buy a Ghostface album, Pretty Toney, and there’s not one RZA beat on there because he made every beat on there. [Editor’s Note: actually RZA produced “Run” and “Kunta Fly S**t” on The Pretty Toney Album] I got tired of emulating…breaking the same sound that’s been emulated, and that people get from Mathematics. Mathematics put an album out called The Problem, and he put out an album called The Answer. Both of those sound like a bunch of Wu beats, and it’s got Wu n****s rapping on it, it sound like Wu s**t, nah mean?

I was like, “Yo, let’s change chambers. Let’s give them a couple of the soul s**t but let’s switch it up, bring it over here to this chamber.” Same thing on Digi Snacks. On Digi Snacks, I had the chance to do whatever I wanted musically, even as far as the arrangement, the wordplay. I made a lot of songs on Digi Snacks because [I could make] any songs I wanted to make. [Before] I had to ask somebody, yo, rap about this or do this or say that. I would make the songs and then I could do it myself. On Wu, I had to be like, “Yo, this song is about this, make it right. I don’t feel like writing about that.” [laughs] You know?

AllHipHop.com: It seems like every few months there’s some random report on the Internet about problems within Wu-Tang, and someone in Wu-Tang is upset. Is it just family stuff getting out in the public or are there real issues to be resolved with you guys?

RZA: To be honest with you, it’s both, man. It’s like the family stuff is definitely getting out to the public, and the issues that got to be resolved…everybody got their own manager, everybody got their own lawyer, and they got these motherf**kers that are looking at me like a hamburger. I’m realizing that I don’t make money off of the Wu-Tang Clan. The money I’ve been making, I had to clear a whole new career for myself, a whole new input for myself. I was making mega millions at first! Now I’m making a couple million, I got to keep myself balanced, for my own worth.

It has nothing to do with Wu-Tang. And so for the people on the outside looking in, they looking at what RZA’s doing, he’s on that, he’s on this, he must be robbing y’all or something. He must be doing something against them. Not realizing that’s my own hardworking. Like I was telling Rae one day, “Yo n***a, I never got a Wu-Tang royalty check in my life.” I never got a royalty check for record sales in my life. But I got a royalty check for f**king Kill Bill, a big one came quick, motherf**ker! And why is that? That’s the question. I don’t know why that is. That’s why I’m letting brothers know that I’m not getting paid off the hard work we did together.

When I did 8 Diagrams, I actually put a lot of money, I turned down my own future to get back with the Wu-Tang. And then I was the one to go full speed ahead, I did go full speed ahead, but then n****s shot the front. After that, I was like, damn. They sayin’ U-God suing the RZA for a $170,000. You know what? I could never owe you $170,000. But even if I did owe you [that], U-God, after all these years of millions you made, motherf**ka, you gonna come back and b***h about a hundred and seventy thousand dollars? If you want to be logical, know what I’m saying? I’m the one who gave you, when nobody would sign U-God, I gave him a million dollar f**king deal! And of that million dollars, I put seven hundred thousand that’s in his pocket. And the rest went to making the record [U-God’s debut, Golden Arms Redemption], and I still spent hundreds of thousands on videos for “That’s Gangsta” and “The Bizarre”, and all that. That was on my own label, yo. I could have spent that money on whatever I wanted to spend it on. But he didn’t secure a deal back then, so I’m like, you know what, I’ll give you a deal.

Same thing with Cappadonna, he couldn’t secure a deal. I’ll give him a deal with Razor Sharp. Put a record out, put out a gold album, n***a. If he listened to his manager, who was Mike Caruso at the time, he would have f**ked around, tried to go to Sony, sign to Sony without me. Put out a record out and sell 1000 units. Alright then. That same kind of problem goes on in our family, because all the people who are always around us saying…They did the same to me.

My boy in California, he hates Wu-Tang, man. And when I was doing 8 Diagrams, he would always tell me, leave the studio, don’t do this, don’t do this. I couldn’t pay him no f**king mind because he don’t understand the love. If I would have listened to him, we would have had nothing. But I don’t listen to nobody like that when it comes to Wu-Tang. But in that case, some of these brothers would listen to these n****s gas them up, get ‘em in a f**king courthouse and they’ll pay 500 to 1000 dollars a day in court fees. I’ll pay a 1000 dollars a day in court fees. At the end of the day, no matter who win or lose, the only one who’s a winner is the lawyers. Because these courts are nothing. At the end of the day, when they judged it, the judge is going to go my way anyway, because I got contracts for everything I’m dealing with.

But I ain’t trying to rely on a contract when it comes to my brother. But if we go to court, all we could do is rely on a contract. And there’s not a contract in this industry that’s going to be against the label. [laughs] I don’t make the contracts, that’s how they make ‘em when they give it to us. I tried to sue Sony for Razor Sharp, they took me for $12 million, yo. Probably $15 million, that’s what they got me for. Nothing I could do about it. I sued, I sued, I sent my lawyers in, nobody want to fight with Sony.  They got signed with a contract that says, Yo, it’s something else you didn’t know. That’s just how the game is, man.

You asked about Wu-Tang, that’s the problem with it. There’s third energy, that’s sparking our own energy and making us look at somebody gotta be wrong here, somebody gotta be wrong. Maybe it’s brother divine, somebody gotta be doing something wrong here. Nobody is doing something wrong, this industry has been like this since the 60s, homey. It’s very rare that a Black artist even makes it 10 years in this business. It’s very rare that Hip-Hop artists make it this far. That we could still be worth money in the first place. And you can ask anybody. I’ve talked to n****s from before, I’ve talked to Redman and De La and all them n****s, when I was talking to them in the early days of Hip-Hop and s**t. I talked to everybody, man. I asked them how much they be getting. We was getting top dollar compared to what some of these n***s was getting.

Inspectah Deck got his first album, Redman never got nothing for his albums, as far as dollar advances and s**t like that. To realize that we had that kind of advance, and we already selling 50,000 records. You can write that off, it’s not coming back. If I give you a million and you only get a dime a record after deduction and everything, all that s**t, from that dollar, you sell 50,000 you gonna owe me. That’s the system. That’s how it is.

AllHipHop.com: This November, it will have been 4 years since ODB passed. What do you remember most about him as an artist?

RZA: That he was the best Hip-Hop performer of all of us. Right now, I’m on tour with a live band. If  he would have ever had a f**king live band, he would have been the f**king new James Brown, yo. He had the freest Hip-Hop spirit ever. I actually used ODB a lot on the inspiration on this new album. Especially when I first recorded it. On the first recording of it, the demos of it, I was honed to his spirit, that I kinda cleaned it up when I re-recorded things. But he was one of my main influences on this album. That’s why at the end of the album, you hear me say it.

AllHipHop.com: You were in the American Gangster film, and the Shocklees worked on the score. Did you guys get to talk about music at all, while you were working on the film?

RZA: Yeah, we talked a lot about music. We had a couple of plans for songs he wanted to do that didn’t materialize. But he came by the studio a lot of times while I was working on 8 Diagrams, he was working on the music for Gangster. I love Hank Shocklee.

AllHipHop.com: Did you guys actually record songs or you just talked about doing songs?

RZA: Nah, we just talked about songs. He had beats, some songs he wanted to do. One song he wanted to do was a “Shut ‘Em Down” remake, they wanted to get me, Common and T.I. That’s who was in the movie, they wanted us to do the song but there was scheduling difficulties and all the plot was happening during the course of the campaign, so it didn’t come to fruition.

AllHipHop.com: Your influence on producers is obvious, as you mentioned earlier, a lot of people are in your chamber. But do you feel like you’ve influenced people as an MC?

RZA: I think I influenced vocabulary as an MC. I think MCs hear me and their vocabulary improves. As far as my flow, I think I got a flow that can’t be imitated. [laughs] On the real though, one thing I can say: n****s cannot imitate my flow. Not yet, at least. No one has jumped up yet.

It was kinda surprising to hear a lot of brothers who really loved that first Bobby Digital album. Ludacris was like, yo, that song “Terrorist” on that first Bobby Digital album, that’s one of my favorite beats of all time.  And Andre 3000 was like, Yo, I love that Bobby Digital album, the project, the concept, “Domestic Violence” and s**t.  Musiq Soulchild told me that was one of his favorite songs of all time. He said there’s a realness of it, a spirit of it and the music of it, that was incredible for him. I was like, Wow, I didn’t know that a lot of artists that were out there… but hearing the Bobby Digital, I love anybody that say they love Bobby, because I feel how personal it is to myself.

AllHipHop.com: Now, you’ve done a lot of film scoring. Do you expect people to sample you the same way you sampled kung fu movies in the beginning?

RZA: Potentially, yeah. I mean, even my old music on Wu-Tang, a lot of my music has been sampled a lot over my life. But on every album, I try to make it at least 70-80%, no samples. Or non-recognizable samples. ‘Cause I want people to sample my music in the future. One good example, my favorite example is a movie that came out this spring, Street Kings. It had Common and Forrest Whitaker. The trailer of that movie was my music! I didn’t do it, I didn’t give it to them, I don’t know how they did it but I got a check in the mail. They took my s**t and made their own s**t out of it. It’s interesting cuz the song they chose was off the Blade soundtrack and that’s not even five years old.

AllHipHop.com: Have you seen Kung Fu Panda?

Yeah, I seen it. I think it was fun. They had the Furious Five in that motherfucker. That s**t was funny. I love when he did that last finger clip on him, cuz that s**t didn’t exist.

http://allhiphop.com/stories/features/archive/2008/07/07/20264644.aspx
 

[thatonezombie]

Some of my friends have been wanting me to put together a mixtape of Gemini (she also goes by "t") for awhile now so I thought I'd share the mixtape I put together with everyone on here. 

I've been a fan of her work since she was 17 (back in '98), and she has become a better MC and singer over the years.  She's
a black American/Korean artist, but you'll only find her work in Korean shops at the moment.

I put this mixtape together using most of her albums (group & solo projects) along with some rarer compilations I blew the dust off of for use in the mixtape.  I kept this more English friendly, but there are a few tracks where I was really feelin' how she was flowin' in Korean so I kept that on here too.  It's mostly hip-hop tracks, but I purposely added some of her more r&b oriented tracks for variety.

Anyway, enjoy.


http://www.twitter.com/?d=8STD83XB

I finally listened to it yesterday and that was fire! Damn she came with it on those tracks!

[Masa]

GZA Disses 50 Cent In New 'Paper Plate' Track, Implies G-Unit's Music Is 'Disposable'

Wu-Tang Clan's Genius revives last year's beef with first single off Pro Tools.

The GZA is one less person on 50 Cent's Christmas card list this year. Who are we fooling? Wu-Tang Clan's GZA and 50 were never friends. They don't even know each other, but they haven't seen eye to eye since the Genius started dissing the G-Unit last year during a concert run. 50 responded by calling the Wu-Tang Clan co-founder "irrelevant."

It took awhile, but GZA is trying to start another round of back-and-forth. He released the G-Unit dis record "Paper Plate" on Friday. It's the first release from GZA's fifth solo LP, Pro Tools.

"Whipped with Cuban Linx," GZA threatens in his 100-plus-bar tirade, produced by RZA. "Cut by Liquid Swords/ Crushed by Ironman till we choke your vocal chords."

"You ever seen someone who roll with Mayweather/ Rhyme like Ricky Hatton?" asks GZA, who mocks Fif's crew with the name "Flea Unit." "Smash whatever you throw, a thousand is what I'm batting/ Got a few hooks but no jabs .../ Enough to make you vogue on that cover of GQ/ Only thing missing is the sheer blouse, homie/ You see-through."

The title "Paper Plate," according to GZA's camp, implies that 50's art is "disposable."

Other producers on Pro Tools, slated for release on August 19, include Bronze Nazareth, Allah Mathematics, True Master, Arabian Knight, Jay Waxx and Black Milk. GZA's son, Justice, and Wu-Tangers RZA and Masta Killa are featured on the album.

http://www.mtv.com/news/articles/1591203/20080718/gza_genius.jhtml

GZA - Paper Plate (50 Cent diss)
http://sharebee.com/3880e965

[thatonezombie]

Why you gotta fuck with GZA anyway? He wields one of the most vicious Liquid Swords in the game, that is something you don't do. But I don't hate 50 Cent, I just like GZA way better.

[MochaNutz]

hehe, i think GZA started it though =)

can't wait for the album

[thatonezombie]

Yeah I think he did, but still

In any case, can't wait for Pro Tools

In Other News, there is apparently a Talib Kweli Documentary. It has been in the works since 99. >>Link<<
Best Believe I'm gonna check this out! Talib Kweli is one my my favorite MCs, and Dave Chappelle is in the documentary!
http://www.youtube.com/watch?v=MvESVSBzozE&eurl=http://illroots.com/2008/07/24/talib-kweli-documentary/

[StreakInTheSky]

Kweli is one of my faves and is the guy who got me back interested in Hip-Hop with Quality, but a documentary? Surprising since most people still don't know him.

I love documentaries so looking forward to this, unless that was it...

[thatonezombie]

No, that video was just the trailer and damn it gets me all excited

[Masa]

Info about GZA's new album:

Originally slated to be a compilation featuring notable up & comers interlaced with a few of GZA’s own rhymes, the seeds of what would ultimately become Pro Tools were laid close to two years ago. After acquiring a bevy of beats and Wu-fam guest appearances, he decided to scrap the idea of a compilation and turned the album into a forum to flex his latest rhyme styles. With an overall technique that builds off of one of the greatest strengths of a good MC, GZA says Pro Tools features a higher level of braggadocio than heard on his past work. His favorite track on the album, “Zero Percent Finance” finds him name checking expensive cars and accessories in a way that challenges the hip-hop norm.

“I have a history of doing these songs where I incorporate the names of labels, famous people or animals like I did on ‘Animal Planet,’” he says. “This time I’m speaking about cars but I’m speaking about them in a whole different fashion. I start the song off by saying, ‘I took her off the floor, no money down.’ I’m talking about a female but I’m comparing her to a car. I’m not talking about how much my rims cost, my soft leather seats, the TVs in the headrest and all these things that really have no value or meaning to me.” Even when he’s taking on a certain Vitamin Water mogul as heard on the leak track “Paper Plate” (that’s currently burning up the web), GZA infuses his flow with vivid imagery and metaphorical symbolism. The reference to “Paper Plate” connotes the disposability of certain emcees’ rhymes and their questionable long term career prospects.

Traveling further into the far reaches of GZA’s imagination, “Nightmares,” a track produced by Arabian Night, takes listeners on a haunted ride through the paranormal. With additional production from RZA, Tru Master and Bronze Nazareth, Pro Tools is an audible continuation of the coveted Wu-Tang aesthetic. “I never focus on what people are listening to or what other guys are doing,” says GZA. “Since day one it’s always been about lyrics so I never go into the studio with the idea of making a club song or a radio song or something that females will like, it just has to come naturally.”

With another finely tuned project to his credit, GZA continues to hold his standing as one of the rap game’s most well versed lyricists. With the release of Pro Tools, hip-hop fans around the world will be able to catch an even deeper view into what goes on in the mind of a master. “I just think it’s a great piece of work,” says GZA. “It’s something that people will enjoy and will love to have. It’s needed.”

TRACKLIST:

1. Intromental
Produced by: Dreddy Kruger

2. Pencil Feat. Masta Killa & RZA
Produced by: Mathematics

3. Alphabets
Produced by: True Master

4. Groundbreaking Feat. Justice Kareem
Produced by: Bronze Nazareth

5. 7 Pounds
Produced by: Black Milk
Intro Produced by: Preservation for Preserved Productions, LLC

6. 0% Finance
Produced by: Jose "Choco" Reynoso

7. Short Race Feat. Rock Marcy
Produced by: Arabian Knight

8. Interlude

9. Paper Plate
Produced by: RZA

10. Columbian Ties Feat. True Master
Produced by: Bronze Nazareth

11. Firehouse Feat. Ka
Produced by: Rock Marcy

12. Path of Destruction
Produced by: Jay Waxx Garfield

13. Cinema Feat. Justice Kareem
Produced by: Arabian Knight

14. Intermission (Drive In Movie)

15. Life Is A Movie Feat. RZA & Irfane Khan-Acito (of Outlines)
Produced by: RZA
(Bonus Live Performance)

16. Elastic Audio
Live Performance @ The Parish in Austin, TX
5/31/2007 Featuring FYRE Department & Dreddy Kruger

[MochaNutz]

Wow, page 2!

Anyways, this is for Daigong

Get the Kardinal - Dangerous Soca Remix!  Right on time for Caribana weekend here in Toronto =D

http://www.thefader.com/articles/2008/8/1/freeload-kardinal-offishall-f-akon-dangerous-soca-mix

[MochaNutz]

Dang, i was so excited when i saw this, but its just a remix album.  Haven't listened to it yet


Madvillain - Madvillainy 2: The Madlib Remix (2008)

Artist: madvillain
Title: madvillainy 2: the madlib remix (web)
Genre: hip-hop
Encoder: fhg
Quality: 320 44,1kHz
Store Date: xx-xx-2008
Release Date: 07-30-2008
Total Time: 51:38 min
Size: 118,6 MB

Track Listing:

01 pow! (intro) 00:25
02 no brain 02:08
03 pearls 02:41
04 light of the past 02:09
05 boulder holder 02:22
06 borrowed time 03:00
07 space ho’s coast to coast 03:40
08 invazion (interlude)  01:13
09 drainos 03:26
10 fire in the hole 02:34
11 heat niner 01:38
12 monkey suit 02:19
13 fluid (instrumental) 01:20
14 can’t reform em 01:56
15 redd spot (interlude) 00:44
16 running around with another 02:49
17 butter king jewels 03:38
18 sermon 02:32
19 roller coaster riders (instrumental) 01:32
20 3.214 02:03
21 confucius spot (interlude) 00:21
22 never go pop 01:55
23 savage beast (instrumental) 01:21
24 cold one 03:06
25 cold one (reprise) 00:46

http://rapidshare.com/files/133710632/Madvillain-Madvillainy_2_The_Madlib_Remix__WEB_-2008-VYM.rar

[arun.yothin]

I saw a commercial for It's Always Sunny in Philadelphia where they parodied Going Back to Cali, but it reminded me of this first:
[youtube=425,350]ocLtwZTWk6A[/youtube]

The video for It's Always Sunny in Philadelphia by Jeru the Damaja
[youtube=425,350]ie-fFOnAz3I[/youtube]


[youtube=425,350]eG9MBXHBtE4[/youtube]

[Masa]

Jay-Z Gives A Shout-Out To Barack Obama On New Kanye West-Produced Song, 'Jockin' Jay-Z'

Jay-Z's first record from The Blueprint 3, "Jockin' Jay-Z (Dope Boy Fresh)," has hit the airwaves and the Internet. Hov debuted part of the record onstage at Madison Square Garden in New York last week while making a guest appearance at Kanye West's Glow in the Dark tour stop. It's now clear he was rapping the second verse.

The first verse starts with Jigga giving a tip of his blue New York Yankees cap to Run-DMC.

"Whooooooose howwwwwwwse?" Jay asks, quoting "Run's House." Moments later, "the only rapper that could still get money in the drought" shows support to a certain senator.

"I rock with Obama but I ain't no politician," he raps, "And I chill with the thugs and the gangsters too/ I ain't a Blood but I'm warring with the boys in blue/ Crooked officer, crooked officer/ Why you wanna see me in a coffin, sir?"

The hook uses Run from Run-DMC's voice and takes us back to the late '80s when the Kings from Queens dropped "Dumb Girl." Run rapped, "Seen you jockin' J.C./ 'Cause he got a Mercedes/ And you know about his ladies."

"Jockin' Jay-Z" ends with Hov overtly sending a shout-out to Pimp C — who was honored at the Ozone Awards in Houston Monday night — and championing his wife's physique, among other sharp lines.

Kanye West's production on the track is not so soulful, in the original Blueprint mode, but is more of a throwback to hard-hitting drums and gold-chain swagger.

Last week on Shade 45 satellite radio, Hov told hosts Elliott Wilson and Angela Yee that he wasn't sure if Blueprint 3 would be coming out this year, but he does have some records done already.

http://www.mtv.com/news/articles/1592626/20080812/jay_z.jhtml

Jay-Z - Jockin' Jay-Z
http://sharebee.com/00ad34ed

Pure dopeness!

I saw a commercial for It's Always Sunny in Philadelphia where they parodied Going Back to Cali, but it reminded me of this first

Props! It's Always Sunny is the shit