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Post by sunrah »

Goldie Loc, Kam, MC Eiht & Snoop Dogg: The Warzone

You read right, a new West Coast supergroup has formed, consisting of Goldie Loc of Tha Eastsidaz, West Coast O.G. Brother Kam, MC Eiht of C.M.W., and Bigg Snoop Dogg himself. The project was brought into life by Snoop, and they have been hitting the studio, working on "The Warzone". We had the chance to catch up briefly with Goldie Loc to talk about it.

He let us know that they're about thirteen songs deep right now. Features on the album include the D.P.G., Ray J, Yo-Yo, Jelly Roll, with production by Goldie Loc himsef, Battlecat, THX & David Banner amongst others.

They are currently working on a deal for the record, we will let you know when it's finalized. Those of you who went to the D.P.G. show at the Roxy's last week saw Goldie Loc on stage performing the classic "G'd Up" with Snoop, so the two have officially back up.

Goldie Loc's partner-n-rhyme Tray Deee is still incarcerated, but they holla at each other regularily and keep in touch. Hopefully one day we'll be able to hear the duo wreck tracks together again.

We will soon have further details on the "Warzone" project for ya'll, for now check out an exclusive drop from Goldie Loc for the dubcnn visitors announcing the project:
you just never know when you're living in a golden age.

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Post by sunrah »

Diddy Didn??€�t Invent The Remix

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One of the best things about hip-hop is the tradition of white label remixes. Whether it??€�s a sample clearance issue or an unauthorised remake, many tracks that wasted quality lyrics over so-so beats have their chance at redemption.

Buckwild went through a period where everything he touched was given a moody, late night lah-session type of feel. His second re-intereptation [1] of Nas' "Life A Bitch" replaces the smoothed-out L.E.S. track with a skillful chop of Johnny Pate's "Look of Love" vibes (that he also utilized on the promo-only remix to Show & AG's "You Know Now") over a crisp snare and some atmospheric sound effects.

For the semi-official S. Carter The Re-Mix vinyl, Just Blaze replaces his original track [2] with another searing church-organ based piece, using a familiar break that I can??€�t quite place right now but you'll no doubt recognise from somewhere. Good shit all round.

Nas & AZ - Life's A Bitch (Buckwild Remix #2)

Jay-Z - PSA (Just Blaze Remix)

Last day for the Stan contest as well, so get your entry in if you haven??€�t already.

1. The first remix uses the Mr. Magic break.
2. You might remember that Black Moon were pissed when he used the same loop they used on "Stay Real" single for the LP version.
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Post by sunrah »

Layin??€� In The Cut Like Peroxide

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Back when the internet was an "exciting new media platform", there was an online radio show called 88HipHop.com, which had live webcasts that let you watch what was happeneing in the studio and all of that. One possible problem with this whole concept was the fact that back then most people were on dial-up, so the idea of sitting around your computer trying to watch some choppy video stream that would ??€?buffer??€? every 30 seconds wasn??€�t exactly going to take the world by storm. After six years off the air, they??€�re now back in action, as explained here. Given the fact that everyone is on cable now, this could be a good time to get back into the game (assuming they can tear us away from YouTube and the various copycats that are springing up).

The reason I bring this up is because a couple of years ago a white label called Classic Freestyles Volume 1 was released, and I??€�m pretty sure all the recordings are from that station. Although some of the segments are a little short, the appearence of a few of the Money Boss Players and the Large Professor is a welcome addition. Lord Finesse also drops a quick couple of verses, although his reference to Sega Saturn lets you know how old this is.

Money Boss Players & Large Professor - 88HipHop Freestyle

Lord Finesse - 88HipHop Freestyle

Top-of-the-dome fanatics please note:
Some of these verses will be familiar. Kicking random raps on radio is still considered freestyling!
:lol:
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Post by sunrah »

Layin??€� In The Cut Like Peroxide

Image

Back when the internet was an "exciting new media platform", there was an online radio show called 88HipHop.com, which had live webcasts that let you watch what was happeneing in the studio and all of that. One possible problem with this whole concept was the fact that back then most people were on dial-up, so the idea of sitting around your computer trying to watch some choppy video stream that would ??€?buffer??€? every 30 seconds wasn??€�t exactly going to take the world by storm. After six years off the air, they??€�re now back in action, as explained here. Given the fact that everyone is on cable now, this could be a good time to get back into the game (assuming they can tear us away from YouTube and the various copycats that are springing up).

The reason I bring this up is because a couple of years ago a white label called Classic Freestyles Volume 1 was released, and I??€�m pretty sure all the recordings are from that station. Although some of the segments are a little short, the appearence of a few of the Money Boss Players and the Large Professor is a welcome addition. Lord Finesse also drops a quick couple of verses, although his reference to Sega Saturn lets you know how old this is.

Money Boss Players & Large Professor - 88HipHop Freestyle

Lord Finesse - 88HipHop Freestyle

Top-of-the-dome fanatics please note:
Some of these verses will be familiar. Kicking random raps on radio is still considered freestyling!
:lol:
you just never know when you're living in a golden age.

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Post by sunrah »

New Inspectah Deck Album

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01. Sound of the Slums (feat. Masta Killa)
02. C.R.E.E.P.S
03. What They Want
04. Get Ya Weight Up
05. Interlude I
06. It's Not A Game (feat. Housegang and Sugabang)
07. Interlude II
08. My Style
09. All I Want Is Mine
10. A Lil Story" (prod. RZA)
11. Get Down Wit Me
12. I.O.U.
13. No Love (feat. Carlton Fisk, Chico Debango)
14. Grits Freestyle
15. Do My Thang (prod. Psycho Les of The Beatnuts)
16. Handle That (feat. U-God and Hugh Hef)
17. Animal Rights - House Gang
18. H.G. is my Life

Sper la o productie mai buna!
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Post by Chill Will »

Cam pe cand apare?
http://listen.radionomy.com/classic-rap.m3u Classic Rap radio 24/7 - 101% dopeness

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Post by bboyspdy »

Pe 25/07/2006, dar cred ca il poti gasi deja pe soulseek. Pe www.myspace.com/inspectahdeck sunt 4 piese.

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Post by iLL:WiLL »

Image

1. Intro (The Gift of Gab)
2. Supreme Lyricism (The Gift of Gab)
3. It's Going Down (Blackalicious f/Lateef and Talib Kweli)
4. Lay it Down (The Gift of Gab f/Mr. Lif)[myspace]
5. Just What can Happen (Blackalicious)
6. Greatness (The Gift of Gab f/Vursatyl)[myspace]
7. 3 Strike Felony (The Gift of Gab f/ Lateef and Lyrics Born)
8. Without a Trace (Blackalicious)
9. Sun Don't Shine (The Gift of Gab f/Lateef)
10. Fortitude (Crown City Rockers f/ The Gift of Gab)
11. Let it Go (The Gift of Gab)
12. Top Qualified (Haiku D'Etat f/ Quannum MC's)
13. Left Side of the Brain (The Gift of Gab)
14. Napalm (The Gift of Gab)
15. Communicate (New Flesh f/ The Gift of Gab)
16. Cold War Economics (The Gift of Gab f/Lateef)
17. Inner Door Open (The Gift of Gab)
18. Quannum World (Quannum MC's)
19. The art of Riding a Beat (The Gift of Gab f/Motion Man)
20. Extravaganza (Quannum MC's f/ Souls of Mischief)
21. Touch the Stars (Blackalicious)
22. Whyle Out (Boom Bap Project f/ The Gift of Gab)
23. Limited Flight Time (The Gift of Gab f/ Jumbo The Garbageman
24. NYC Freestyle Live at BB Kings (The Gift of Gab)

http://www.giftofgabmixcd.com/

PS: Not downloadable!
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Post by Chill Will »

Care vreti mixtapeu asta de la Gift of Gab buzz me pe mess!
http://listen.radionomy.com/classic-rap.m3u Classic Rap radio 24/7 - 101% dopeness

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Post by sunrah »

SickD wrote:Image
Ba! Am ramas foarteeee uimita.
E excelent! Imi era dor de Aceyalone & Co.
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Post by sunrah »

Mos Def Stanning

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After reading through the thousands hundreds handful of entries we received for the Are You Hip-Hop??€�s Biggest Stan? contest, a clear winner has been decided. While there were some great stories, including a drunken attempt to scoop Jean Grae, a D-Nice look-a-like and pretending to be a fan of Dice Raw, the $20 record voucher from 33Third has been awarded to Bozack Nation, who provided this amusing account of a Mos Def encounter gone wrong:

This was a few years back at a Black Star reunion show at SOB??€�s in New York. Up until that time I was a huge Mos fan and thought he was gonna save hip hop. I was getting a bit frustrated by the delay of his new album (pre-New Danger), the Black Jack Johnson thing, and the slim prospect of a new Black Star album.
Anyways, Mos starts in with his usual BS politics about whitey up at the label,and then goes onto to liken himself to Fifty Cent.??€?We are one in the same??€? or some shit along those lines.

Thats when I lost it. I start yelling..??€?Boo, Boo! Puppet! You??€�re a fucking Puppet!??€? My brother is trying to shut me up to no avail when Talib finally can??€�t ignore it and is like, ??€?Wait? What, Yo? You wanna come up here? You got something to say???€?
THE WHOLE SHOW STOPPED.
I was like ??€?You Fucking Puppets..I??€�ll leave!??€?
Of cousre I get nothing but shit from the crowd and security on my way out..
IT GETS WORSE.
I then waited outside like Mark David Chapman at the Dakota. I was kinda peering in thru those wooden shutters at SOB??€�s. I was so fired up at that point that I set it on some kid from Fader??€�s street team and almost got into it with him.

My brother was still in the venue and had gotten in with the Okayplayer crew as ??€?security??€?. Thankfully, he was right there to seperate me and Mos after the show.
As Mos hailed a cab on Varick, we got into it again!
He kept yelling at me ??€?You dont feed my kids, You dont feed my kids??€?.
I said ??€?buying records and going to shows, I actually do feed your kids.??€? He got into his cab and took off.
I almost went to his next show to stage a mock food drive for his kids. Don Cheadle ass motherfucker.
Everytime I see stories in the NY Post about him not paying child support, I chuckle to myself.
The saddest part is I have a collection of all these ??€?Stan quality??€? photos I took over the years when I was a fan.


Mos Def - Universal Magnetic (live) [Dave Chapelle's Block Party OST, Geffen, 2006]
you just never know when you're living in a golden age.

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Post by sunrah »

AUDIO: A Conversation With Prince Paul

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Last year I contributed to a book named Bling Bling: Hip-Hop's Crown Jewels, an overview of hip-hop's relationship with diamonds and jewelry. With my contributions I tried to provide some dissenting views on the bling phenomenon, by interviewing artists from what's become known as hip-hop's "golden age" or "conscious era" when gold chains were pushed out of style by beads and medallions. This is one of the convos I had back then, with the great Prince Paul!
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Post by iLL:WiLL »

We Still Wear The Mask: A look at hip-hop culture<-sursa

Posted by TayariJones on July 4, 2006 03:59 PM

You all might remember my moking response to Ice Cube and other hip-hop stars' critque of Oprah Winfrey. Ice Cube, et al, accuse Ms. Winfrey of having a "problem" with hip-hop and demand that she invite them onto her show. Jelani Cobb, professor of history at Spelman College (my alma mater), intense culture-critic, and all-around righteous brother, has written a more serious and thought-provoking response. Meet Jelani, and read his essay.

We could have known that it would come to this way back in 1896. That was the year that Paul Lawrence Dunbar dropped a jewel for the ages, telling the world that ??€?we wear the mask that grins and lies.??€? The poet??€�s point was that beneath the camouflage of subservient smiles, black folks of the Jim Crow era were hiding a powder keg of other emotions, waiting patiently for the chance to detonate. The thing is, Dunbar never got the chance to spit bars with 50 Cent or throw in a guest collabo on a Mobb Deep album. If he had, then he would??€�ve known that grins and lies were only half the story.

These days, camouflage is the new black. Hip hop now operates on a single hope: that if the world mistakes kindness for weakness it can also be led to confuse meanness with strength. That principle explains why there is a permanent reverence for the thug within the music; it is why there is a murderer??€�s grit and a jailhouse tat peering back at you from the cover of damn near any CD you picked up in the last five years. But what hip hop can??€�t tell you, the secret that it would just as soon take to its deathbed is that it this urban bravado is a guise, a mask, a head-fake to shake the reality of fear and powerlessness in America. Hip hop will never admit that our assorted thugs and gangstas are not the unbowed symbol of resistance to marginalization, but the most complacent and passive products of it.

We wear the mask that scowls and lies.

You could see which way the wind was blowing way back in the early 90s when Dr. Dre was being ripped off by white Ruthless Records CEO Jerry Heller, and nonetheless got his street cred up by punching and kicking Dee Barnes, a black woman journalist, down a flight of stairs. In this light, hip hop??€�s obsessive misogyny makes a whole lot more sense. It is literally the logic of domestic violence. A man is abused by a larger society, but there are consequences to striking back at the source of his problems. So he transfers his anger to an acceptable outlet ??€� the women and children in his own household, and by extension, all the black people who constitute his own community.

Nothing better illustrates that point than the recent Oprah Debacle. Prior to last month, if you??€�d heard that a group of rappers had teamed up to attack a billionaire media mogul you would think that hip hop had finally produced a moment of collective pride on par with the black power fists of the 1968 Olympics. But nay, just more blackface.

In the past two months, artists as diverse as Ludacris, 50 Cent and Ice Cube have attacked Oprah Winfrey for her alleged disdain for hip hop. It??€�s is a sad but entirely predictable irony that the one instance in which hip hop??€�s reigning alpha males summon the testicular fortitude to challenge someone more powerful and wealthy than they are, they choose to go after a black woman.

The whole set up was an echo of some bad history. Two centuries ago, professional boxing got its start in America with white slaveholders who pitted their largest slaves against those from competing plantations. Tom Molineaux, the first black heavyweight champion, came up through the ranks breaking the bones of other slaves and making white men rich. After he??€�d broken enough of them, he was given his freedom. The underlying ethic was clear: an attack on the system that enslaved you will cost you your life, but an attack on another black person might just be the road to emancipation.

The basis for this latest bout of black-on-black pugilism was Oprah??€�s purported stiff-arming of Ludacris during an appearance on her show with the cast of the film Crash. Ludacris later complained that the host had made an issue of lyrics she saw as misogynistic. Cube jumped into the act whining that Oprah has had all manner of racist flotsam on her show but has never invited him to appear ??€� proof, in his mind, that she has an irrational contempt for hip hop. Then 50 threw in his two cents with a claim that Oprah??€�s criticism of hip hop was an attempt to win points with her largely white, middle class audience. All told, she was charged with that most heinous of hip hop??€�s felonies: hateration.

But before we press charges, isn??€�t 50 the same character who openly expressed his love for GW Bush as a fellow ??€?gangsta??€? and demanded that the black community stop criticizing how he handled Hurricane Katrina? Compare that to the multiple millions that Oprah has disseminated to our communities (including building homes for the Katrina families, financing HIV prevention in South Africa and that $5 million she dropped on Morehouse College alone) and the idea of an ex-crack dealer challenging her commitment to black folk becomes even more surreal.

In spite of ??€� or, actually, as a result of -- his impeccable gangsta credentials, 50 basically curtsied before a President who stayed on vacation for three days while black bodies floated down the New Orleans streets. No wonder it took a middle-class preppie with an African name and no criminal record to man-up and tell the whole world that ??€?George Bush don??€�t care about black folks.??€? No wonder David Banner ??€� a rapper who is just a few credits short of a Master??€�s Degree in social work -- spearheaded hip hop??€�s Katrina relief concerts, not any of his thug counterparts who are eternally shouting out the hoods they allegedly love.

The 50 Cent, whose music is a panoramic vision on black-on-black homicide, and who went after cross-town rival Ja Rule with the vengeance of a dictator killing off a hated ethnic minority did everything but tap dance when Reebok told him to dismantle his porn production company or lose his lucrative sneaker endorsement deal.

But why single out 50? Hip hop at-large was conspicuously silent when Bush press secretary Tony Snow (a rapper??€�s alias if ever there was one) assaulted hip hop in terms way more inflammatory than Oprah??€�s mild request: Take a look at the idiotic culture of hip-hop and whaddya have? You have people glorifying failure. You have a bunch of gold-toothed hot dogs become millionaires by running around and telling everybody else that they oughtta be miserable failures and if they??€�re really lucky maybe they can get gunned down in a diner sometime, like Eminem??€�s old running mate.

(We're still awaiting an outraged response from the thug community for that one.) Rush Limbaugh has blamed hip hop for everything short of the Avian flu but I can??€�t recall a single hip hop artist who has gone after him lyrically, publicly or physically. Are we seeing a theme yet?

It??€�s worth noting that Ludacris did not devote as much energy to Bill O'Reilly -- who attacked his music on his show regularly and caused him to lose a multi-million dollar Pepsi endorsement ??€� as he did to criticizing Oprah who simply stated that she was tired of hip hop??€�s misogyny. Luda was content to diss O'Reilly on his next record and go about his business. Anyone who heard the interview that Oprah gave on Power 105.1 in New York knew she was speaking for a whole generation of hip hop heads when she said that she loved the music, but she wanted the artists to exercise some responsibility. But this response is not really about Oprah, or ultimately about hip hop, either. It is about black men once again choosing a black woman as the safest target for their aggression and even one with a billion dollars is still fair game.

Of all their claims, the charge that Oprah sold out to win points with her white audience is the most tragically laughable. The truth is that her audience??€�s white middle-class kids exert waaay more influence over 50 and Cube than their parents do over Oprah. I long ago tired of Cube, a thirty-something successful director, entrepreneur and married father of three children making records about his aged recollections of a thug??€�s life. The gangsta theme went clich?© eons ago, but Cube, 50 and a whole array of their musical peers lack either the freedom or the vision to talk about any broader element of our lives. The reality is that the major labels and their majority white fan base will not accept anything else from them.

And there we have it again: more masks, more lies.

It is not coincidental that hip hop has made "Nigga" the most common noun in popular music but you have almost never heard any certified thug utter the word cracker, ofay, honky, peckerwood, wop, dago, guinea, kike or any other white-oriented epithet. The reason for that is simple: Massa ain??€�t havin' it. The word "fag", once a commonplace derisive in the music has all but disappeared from hip hop??€�s vocabulary. (Yes, these thugs fear the backlash from white gays too.) And "bitch" is still allowed with the common understanding that the term is referring to black women. The point is this: debasement of black communities is entirely acceptable ??€� required even ??€� by hip hop??€�s predominantly white consumer base.

We have lived enough history to know better by now ??€� to know that gangsta is Sonny Liston threatening to kill Cassius Clay but completely impotent when it came to demanding that his white handlers stop stealing his money. Gangsta is the black men at the Parchman Farm prison in Mississippi who beat the civil rights workers Fannie Lou Hamer and Annell Ponder into bloody unconsciousness because their white wardens told them to. Gangsta is Michael Ervin, NFL bad boy remaining conspicuously mute on Monday Night Football while Limbaugh dissed Donovan McNabb as an Affirmative Action athlete. Gangsta is Bigger Thomas with dilated pupils and every other sweaty-palmed black boy who saw method acting and an attitude as his ticket out of the ghetto.

Surely our ancestors??€� struggles were about more than creating millionaires who could care less about us and then tolerating their violent disrespect out of a hunger for black success stories. Surely we are not so desperate for heroes that we uphold cardboard icons because they throw good glare. There??€�s more required than that. The weight of history demands more than simply this. Surely we understand that these men are acting out an age-old script. Taking the Tom Molineaux route. Spitting in the wind and breaking black bones. Hoping to become free.

Or, at least a well-paid slave.
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Post by sunrah »

Louie Louie - Not Just 45 King??€�s Sidekick

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I can??€�t confirm that Priority One were official Flavor Unit (actually I??€�m pretty sure they weren??€�t), but Louie Louie was 45 King's right-hand man for a while, so his work deserves a mention here. His first record was with his crew Priority One, who dropped ??€?I Can??€�t Go For That??€?/??€?Showin??€� My Stuff??€? on Tuff City in 1988. At this stage the group consisted of MC Ron Delite, Naikwan, DJ Smitty B, Louie Louie and JV-1.

Five Things You Need To Know About Ron Delite:

1. He??€�s a solo poet (that means he rocks alone).
2. He??€�s a South Bronx resident (that??€�s quite evident).
3. He??€�s been rockin??€� rhymes ever since he was ten (but that was ten years ago) [1]
4. If Ron Delite was spaghetti, Smitty B would be sauce.
5. He??€�s clean, crisp and clearer (like 7UP).

The little known Priority One LP that dropped the following year, although it presented a new incarnation of the crew. It seems that by the time they started working on Total Chaos, only core members Ron Delite and Louie Louie remained on deck, presenting us with a decidedly more hardcore vocal style. It seems that Ron had out-grown his casual approach of the earlier record for a more ??€?macho??€? delivery in line with his Flavor Unit label mates (or maybe he just improved his mic technique?). While the cover boasts ??€?Mixes by the 45 King??€?, this is very much Louie Louie??€�s show, and he delivers an album representative of his musical approach - some up-temp brag rap, some Hip-House and some instrumentals. ??€?This Stage Is My Stage??€? is another chapter in the seemingly-endless Book of the Funky Drummer, but as Ron Delite points out: ??€?These ain??€�t lyrics of fury - they??€�re lyrics of rage!??€?, just in case we mistook him for Rakim (?!). While the drums may be familiar, this track features the first use of Lalo Schifrin's Enter The Dragon break that would later be heard on the Alkaholiks second album, amongst other things. Regardless of the break trivia, this is a a heavy track.

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Luis "Louie Louie" Vega worked closely with the 45 King during their Tuff City/Wild Pitch period, and although he didn??€�t contribute a huge number of tracks to the Flavor Unit arsenal, his productions were always worth checking for. He later did beats for Queen Latifah ("Latifah's Law"), Naughty By Nature ("1,2,3"), Double J and Nice & Smooth. (he also released a solo album called Deadlier Than Ever. The two of them also split an LP called Rhythmical Madness, which was a bunch of beats plus a couple of tracks with vocals at the end of each side. Louie's side features what I believe to be the last record from Ron (although he also appeared on a dance record by Corporation of One called "Tomorrow Will Be A Better Day" around the same time). "Checkmate You Lose" is a sparse, stripped-back track with a loose JB??€�s riff and the classic ??€?walkie talkie??€? effects for good measure, while Ron is in good form as he stomps out sucker MC??€�s who are ??€?like diapers - full of shit??€?. He also claims that ??€?like burgers from Wendy??€�s I??€�m hot and juicy??€? for some reason.

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Louie Louie continued to mix his love for hardcore hip-hop and Hip-House on a one-off single he cut for Wild Pitch, which featured a talented verbal assassin named Jamose. His b-side effort "The Rhymthologist" features an awesome horn line over rolling percussion and a Garage-style bassline, while Jamose delivers an impassioned vocal turn that wins based on his voice alone, although his liquid style would win regardless.

Priority One - I Can??€�t Go For That [Tuff City, 1989] [2]

Priority One - This Stage Is My Stage [Total Chaos, Tuff City, 1989]

Louie Louie featuring Ron Delite - Checkmate You Lose [Rhythmical Madness, Tuff City, 1989]

Jamose - The Rhymthologist [Wild Pitch, 1989]

1. Circa 1988.
2. I??€�m sorry to report that I don??€�t even have this record, so I??€�ve had to jack it from DJ Ivory??€�s Hear No Evil Volume 2 for the sake of this article.
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Post by sunrah »

Contest: I Luh This Album!

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Not many of us actually buy records anymore, since everyone with a music blog gets sent free CD??€�s or just downloads everything. [1] OK, well some people still buy stuff, and if something really makes an impression on me [2], then I might actually pick up the vinyl. But there was once a time when those wacky A&R??€�s used to pull stunts such as adding ??€?Bonus Cassette-Only??€? songs, which explains why I copped G Rap??€�s Live & Let Die on tape after I bought the LP [3], or just not releasing many copies of the vinyl (Return of the Funkyman and Stunts, Blunts & Hip-Hop in particular).

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It would be years before I finally acquired a CD player, but once I did I was able to track-down all my old favourites for a few bucks each in second-hand spots. As a result, I have a random selection of albums in all three formats, including Threat??€â„?s Sickinnahead, King Tee??€â„?s Tha Triflin??€â„? Album and Double XX Posse??€â„?s Put Ya Boots On. Big fuckin??€â„? deal, right? The reason I bring this is up is that it??€â„?s this weeks theme for our regular 33Third $20 record voucher give-away. Send photos of your multi-format obsessions before next Tuesday to [email protected] and we??€â„?ll figure out a winner based on a variety of factors that I??€â„?m still figuring out, although I can tell you now that anyone who has original Mini-Disc issues of rap albums is in with a huge chance.

Some thinking music:

JVC Force - Trivial Pursuit [Force Field, Idlers, 1990]

1. Thanks, Rapidshare!
2. Meaning: I??€�m not bored of it after two weeks.
3. Little did I know that the three bonus Trakmasterz cuts were to be eventually issued as b-sides.
you just never know when you're living in a golden age.

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