Sup fam, as many of you already know, CTR was on hiatus for the last few days as we had a redirect to our new forums at www.5vemics.com. With 5 Mics we’re trying to bring indie heads a community on the scale of some larger hip-hop forums, but this time with a focus on the underdogs. This will allow heads to connect with each other and introduce you all to more music than we could ever imagine dropping on CTR alone. This, however; does not mean CTR is going to be closed now or anytime on the horizon, but we do plan on making some minor changes to CTR. Within the next week CheckTheRhime will be accessible via the urls www.checktherhime.com and www.5vemics.com where a new and improved version of CTR will be serving as the 5 mics homepage (under the name CheckTheRhime @ 5 Mics). We will still be wordpress based, all of our posts & comments will still be here. The shoutbox and other plugins will remain intact and the only major changes will be a few feeds from different sections of the blogs on the sidebar and under categorized tabs (one being a link to the 5 Mics forums). Aside from those minor changes CTR will still be run and updated by the same crew and content will still be delivered in the same style/manner, so please stick with us as we try to take this thing to the next level. Check back here for updates and peep 5 Mics for the love of hip-hop. We’re already nearing 400 users with over 3,000 posts and near 800 threads.
What’s In My Backpack Vol. 2: The Best of 2008 coming soon.
BTW… Did I mention we’ve surpassed 300k hits since we started in April? Not bad, eh?
Got home from work around 7am, slept a few hours, have to be back to work at 5. Fuck the world, here’s a classic.
Black on Both Sides is a manifestation of compelling, honest hip-hop. The genre’s underground torchbearer, the mighty Mos Def (half of Black Star), injects intellect, humor, and knowledge into all of his rhymes. Overall, the album has an understated quality, but pure enjoyment comes with discovering the clever lyrical gems Mos drops. The expansiveness of his mindstate is showcased best on “New World Water,” in which he fully limns our uses of, needs for, and exploitation of water. On “Ms. Fat Booty,” a love tale with unexpected twists is woven intricately around Aretha Franklin’s wailing vocals. Whether rapping, singing, or lecturing, Mos Def is firmly rooted in African American consciousness and examines social issues with great ease. Black on Both Sides will endure for many years; it’s an album worthy of numerous listens. –Celine Wong
Late night insomnia drove me to do a random discography so here’s to Cincinnati finest producer, Hi-Tek (sorry Ill Poetic :D). I think most cats are familiar with Tek’s name due to his collaboration with Talib Kweli under the name Reflection Eternal (hands down a classic hip-hop album), but Tek has dropped his own respective gems out of Talib’s shadow. Most of Tek’s “solo” albums are heavy with the guest appearances, but Tek also gets on the mic from time to time and handles it very well. If you’re familiar with Tek due to his big billed production credits (G-Unit affiliates mainly) don’t let that fool you and note he’s done prodcution for everyone from Little Brother, Cormega, Common, and Dead Prez to Ghostface, Gym Class Heroes, and Phife Dawg. All 4 of the efforts in this drop are solid to say the least, but if you’re going to only grab one for a test run I recommend Train of Thought or Hi-Teknology 2: The Chip for starters. Talib_Kweli_and_Hi-Tek-Reflection_Eternal-2001-M*
Hi-Tek-Hi-Teknology-LP-2001-C*S
Hi-Tek-Hi-Teknology_2-The_Chip-Retail-2006-F*D
Hi-Tek-Hi-Teknology_3-2007-F*D
More info after the jump. Read the rest of this entry »
I haven’t really had a chance to peep this joint for myself, and being that he’s a foreign artist I most often times wouldn’t drop this until I’ve had the chance to sample it myself, but this one seems to be popping up everywhere and I’ve only heard people saying positive things about this release. From the few things I’ve heard for myself, although there’s obviously a language difference the production is incredibly beautiful. I wouldn’t call it bluesy, it’s definitely more jazz oriented (blended with hip-hop of course). It’s the type of ish I enjoy smoking to or riding to on lazy weekend mornings. Peep the video, if you like it peep the album and as always buy if you like (and if you can afford those expensive as Japanese imports).
Here’s another submission we got from one of our readers. Shouts to xBriteFuturex for this one (and two other drops). I personally had no clue there was any kind of hip-hop scene in Oregon whatsoever, but BF is bringing it to light for us. Peeped their myspace page, seem straight. Def check this one if you’re looking for something completely new.
First album from the alliance crew. the crew consits of G_Force, Rapsodee P. & DJ Celsius. theyre great unknown nw hiphop artists that reside in my hometown of eugene, so if you like them please buy theyre isht and support some real hiphop.
from thier myspace-
>>>>>>The Alliance Crew is a Northwest Hip-hop group based out of Oregon. Its cofounders, G Force and Rapsodee P., were long time friends before starting the group in 1999. Nine years later and with the addition of DJ Celsius they\’re sound has continued to expand and mature to the embodiment of a solid Hip-hop trio. With G Force\’s professional production and unique flow, DJ Celsius\’s scratching expertise which have gained attention from the likes of such heavy weights as D-styles, and Rapsodee P.\’s wordplay and recognition as veteran lyricist, the trio has begun commanding respect throughout the northwest.
>>>>>>>They have two releases, the most first of which dropped in 2006 entitled: “The Theory of Natural selection.” The album is a combination of all of the elements one might find in Hip-hop music. One\’s never let down with G Force\’s expansive repertoire of laid back melodies, soothing jazz rifts, soulful samples, and bassy head bangers. However, the beats or only the beginning; with DJ Celsius\’s skillful solos and rhythmic manipulation of vocal samples, the precision of their product only becomes more evident. To sum up the rest of the equation Rapsodeep and G Force ride the rhythm with “…no resemblance to new jack emcee(s)”. Their subject matter is all encompassing from content like from political awareness, poetry, raw wordplay, boastful bravados to personal experiences, spanning all sorts of tempos and flows.
>>>>>>>> Their second release dropped in May of 2008 entitled: “Don\’t Know How to Exist.” This new album was created in a matter of weeks. Having started the album in early April, and finishing the material with in less time than expected, the album was officially released on May 24th 2008, at the \’Get Your Ass off the Couch\’ event sponsored by BTM Records. The album was created around G_Force\’s productions, which encompass soulful chops all the way to synth based beats. As usual G_Force and front man Rapsodee P. spit back in forth with stylized wit and seasoned chemistry. Backing the two, as always, the renown Dj Celsius mans the turntables with a distinctly clean and unique style, lacing up synchronized scratch chorus and skillful solos. Also appearing on the album are a couple BTM regulars you might expect, such as Knox and Efekt. But some things the album offers you might not of expected are guest appearances by Rochelle Hunter (of Girl Meets Gravity) on Galaxy Trip, and guest productions by 5th Sequence and Goofru. Check the album out!!! Its AVAILABLE NOW in stores @ Portland and Eugene OR (message us for the list of locations), I Tunes and Cd Baby.com
>>>>>>The first single released from the album is entitled “Paid No Mind” and you can hear on the ALLIANCE CREW\’s official www.myspace.com/thealliancecrew.
>>>>>Alliance has been unyielding in their musical momentum having performed at a variety of venues, college co-ops, cafes and other events. They have opened for the likes of, Tre Hardson, Zion I, Lyrics Born and more. When not being invited to accompany other acts they\’ve sponsored and promoted shows of their own including the Tre Hardson concert. Whether performing with other acts or sponsoring their own events Alliance has turned out crowds anywhere from 200-800 people.
theBside requested something jazzy and being one of my favorite hip-hop acts of all time, Digable Planets were the first thing to pop into my head. My favorite album from the trio is already floating around on CTR somewhere (Blowout Comb, also one of the best 5 albums ever made IMO), but this is a nice rundown of some of DPs standout tracks from their full length efforts. I would’ve personally added or replaced a few tracks with others, but this compilation certainly is a good way for heads to become accquainted with Digable Planets if they aren’t already, yet is still nice for any fan to have in their collection. Recommended for fans of Tribe, Panacea & Jazzanova.
Didn’t realize they’d dropped this one yet. Here’s an online magazine from our affiliates at Musical Schizophrenia. Probably one of the best, if not the absolute best online magazine dedicated to underground/independent hip-hop music on the web. Def a must if you’re missing the days of free issues of Pound Magazine (some old .pdfs of back issues are still available). Please don’t sleep on this one, shouts to Heaps.
Interviews: Mr. J Medeiros (of The Procussions), Pete Philly, Nicolay (of Foreign Exchange) & Praverb Music: Q-Tip, Panacea, Giant Panda, People Under The Stairs, Surreal, Common Market, Jean Grae, Qwel (of Typical Cats), Foreign Exchange, Murs & way more… Art: Kirpy, Ghostpatrol & Matty -WTA
Been getting a lot of requests for this one. Leaked a few days ago, I was a bit late coming up on it, but here you are to the few of you who haven’t had a chance to peep this one yet. Check the bit of info below.
Since the release of his first full length album, Irreversible, Grieves has been called a breath of fresh air, a breakaway phenomenon, and a lyrical mastermind. Touring constantly, Grieves stunned crowds all over the country with his distinctive voice, lyrical precision, and unparalleled style. Following Grieves’ encouraging reception and a stint on the CMJ Top 20 Hip Hop charts, fans speculated on what would be next for the emergent artist.
88 Keys and Counting is the response. A joint venture with friend and renowned Seattle based producer, Budo, 88 Keys is a matured record with themes that will challenge fans old and new alike. Armed with a distinct and fluid sound that will delight your ears and rouse your cerebrum, Grieves’ second effort is not to be overlooked.
Releasing November 12th on Black Clover Records; Grieves plans to continue touring and expanding on his atypical and engaging live show with label mates Mac Lethal and Soulcrate Music.
Aight, aight so for most of us the holidays are almost officially over, but there’s still a bit of time left to celebrate with ‘09 on the horizon. I promised you all a gift or 2 (or 3). So, here’s 1 and 1/2 of the first 3 (now that I think about it the number might be 4) gifts we’re serving up for you here at CTR. First off, I’m sure a lot of you were wondering what exactly would we choose for the theme of the next installment of WIMBP since we had two themes tied at 73 votes, but instead of flipping a coin the decision was made to drop both. Vol 1.5 aka I Love The 90s is a relatively short work of a few overlooked 90s gems from some well and lesser known names. Juggaknots to Common (Sense), Natural Resource (Jean Grae’s old group) to Black Star, there’s something for every 90s head.
This next announcement (the .5 of your gift) is the most important IMO. I think a lot of cats who visit CTR may have found our links posted on hip-hop forums– hip-hop forums which generally have a single thread (rarely even a sub-forum) dedicated to UGHH (underground hip-hop) which is shame since with the many blogs floating around there’s obviously a demand for the music. Maybe I’m greatly mistaken, but there just doesn’t seem to be any forums out there specifically for sharing UGHH, which is why we’re bringing a new UGHH sharing community to you all seven days from now. In seven days we’ll make the link to the forums public, but until then we’re asking anybody interested in helping moderate any of our many sections or just posting material in general (we don’t care if it’s been previously upped or whatever) to contact us at checktherhimeblog@gmail.com. We’d also greatly appreciate help from other bloggers with promoting this site (we have ad space which we want to promote well put together ughh blogs on, at no cost of course). Anybody experienced in using Vbulletin is also welcome to drop us a line (we could use a bit of technical help). It’s about time we got our own, isn’t it? Stay tuned for more “gifts” in the next week or so.
In 2004, the group put out a greatest-hits package, and now the legendary hip-hop collective has released a DVD called “Wu: The Story of the Wu-Tang Clan” ($16 on Amazon.com).
While the movie might be a worthwhile look at the group’s storied history, the soundtrack of the same name is garbage.It’s not the music on the 16-track collection that disappoints; it’s the shoddy way it was assembled.Founded in Staten Island, N.Y., Wu-Tang released its landmark debut, “Enter the Wu-Tang (36 Chambers),” in 1993.
Every song on the album seemed like a new taste, with layered lyrical content thick with heady metaphors, pop-culture and kung-fu references, and turns of phrases that stood in bright contrast to the one-dimensional rhymes emanating from the West Coast at the time.
And there are the starkly different, cartoonish personalities who delivered these cerebral rhymes, from breakout star and class-clown Method Man, to brain-trust RZA, street-corner poet Ghostface Killah, wallflower Masta Killa and, of course, the mad genius of the late Ol’ Dirty Bastard.
The hip-hop world had not seen anything like the Wu before, and, honestly, nothing like the clan has come along since, which is part of the reason the act remains so significant.
In concert, the group can be late to the stage, unpredictable and entertaining — rattling off both solo and group material.
According to fliers for Monday night’s concert at the Rialto Theatre, the following members will perform: RZA, GZA, Ghostface, Raekwon, Cappadonna, Inspectah Deck, U-God and Masta Killa.
The Wu-Tang phenomenon was largely ignored by the mainstream and may never get the credit it deserves, which may be one of the reasons for all the looking back.
But this lazy soundtrack isn’t going to help.
“The Story of the Wu-Tang Clan,” which easily could have been a double disc, has a lot of the group’s most well known songs, including “C.R.E.A.M.,” “Triumph” and “Wu-Tang Clan Ain’t Nuthing ta F’ Wit,” but it skips so much.In the mid- to late ’90s, Wu-Tang essentially owned hip-hop, with its members regularly dropping solo albums that became just as beloved as any of the group releases.
Included on the soundtrack is no-brainer solo material such as Raekwon’s “Incarcerated Scarfaces” and Ol’ Dirty Bastard’s “Shimmy Shimmy Ya,” but the holes in this “Story” are huge.
Left out is anything from Method Man’s excellent solo debut, “Tical,” which includes his crossover hit with Mary J. Blige, “I’ll Be There for You/You’re All I Need to Get By.” The summer of ‘95 smash was a bigger hit than anything from Wu-Tang itself.
Also not represented is a single track from GZA’s “Liquid Swords,” unquestionably one of the greatest Wu-related releases.
If “The Story of the Wu-Tang Clan” was hoping to hoard singles, you wonder why it doesn’t include ODB’s “Got Your Money.” Quality solo efforts aside, the last two Wu albums (2001’s “Iron Flag” and 2007’s “8 Diagrams”) aren’t represented with even a single song.The soundtrack could be considered Wu-Tang for beginners, but there are better places to start.
Peep the poll on the sidebar where we’ve been taking votes for the theme of What’s In My Backpack Vol. II. The poll will close December 23, 2008 at 6pm CST. Vote now or forever hold your peace.
We dropped one of his older albums earlier on, here’s the lastest offering from Brazilian MC Marcelo D2. Even if you don’t speak Portuguese this is a great album to chill to. The production (especially on the lead single Desafabo) is definently on point and the emotion behind the music never gets lost in translation.
Marcelo D2 has started his career in music about 12 years ago as the leader and singer of the band Planet Hemp. Controversial e ideologically straight to the point, Planet Hemp sold over a half million records on their release album called Usuário (1994). The albums that followed, A invasão do Sagaz Homem Fumaça, Os Cães Ladram e a Caravana não passa and MTV Live Planet Hemp made D2 a multi-platinum artist from the start of his career.
Years later, after he toured with the band in countries such as Japan, USA, France, Netherlands and England, Marcelo D2 has entered a new stage on his career and released his first solo album: Eu Tiro É Onda (1999). This album marked him as the starter of a revolution in Brazillian music. The absolute vanguard of Brazillian music all over the world as many newspapers and artists have said for mixing samba and hip hop in and unique, elegant and absolutely contagious way. Impossible to stand still and not dance.
Next, D2 released the album À Procura da Batida Perfeita (2003) and won all the award he was nominated to during two years, including best lyrics and composer from the Brazillian Writers Academy and five Brazillian MTV Awards. Like the one before, the album was produced by Mario Caldato (Beastie Boys producer) with the symbiotic process of putting together beats and influences of all the diversity of composers of samba and hip hop into the fertile imagination of D2s lyrics. Looking For The Perfect Beat, the translation to English, was released in Asia, USA and Europe and stabilished D2 as the main Brazillian artist in 3 continents. For two years D2 and his band were on tour promoting this album, playing at all the capitals of Brasil and four European tours. He has also participated on many Samba and Hip Hop albums of important artists such as Sergio Mendes. In the US, D2 has been considered the Brazillian Jay-Z by Will.i.am and performed together with names like Steve Wonder, Justin Timberlake and Erykah Badu at the PeaPod Foundation show.
On May 8th, D2 released his third solo album, Meu Samba É Assim, with special guests from both Samba and Hip Hop universes, such as Charli Tuna and Zeca Pagodinho. On June 2nd, D2 starts a long waited European Summer Tour of two months playing on the biggest festivals and arenas in Europe, including many of the World Cup Events. He is also going to perform big shows together with the Black Eyed Peas and Sergio Mendes. Marcelo D2 has certainly stabilished himself as one of the most significative artists in Brazillian music.
Requested by Ber. One of Slum Village’s ex-members. Never been a huge SV fan, but Baatin is most memorable for being the crazy member (I believe he is actually medically schizophrenic) and having the best verse on Tainted.
Baatin got his start in Hip Hop rapping and beat boxing in (86) with influences from MC Shan & The Juice Crew, MC Lyte and Big Daddy Kane to name a few.
In 89 he hooked up with T3 & Jay Dee and formed a group Slum Village. After dedicating 14 years of his life to Slum Village
Baatin decided to pursue a solo career. He left his fans with hits like Tainted from the Trinity album and Players & Climax from the Fan-Tas-Tic 2 album to remember him by.
With his new career Baatin plans to go to the top with his Titus Chapter 10 Verse 13 album amongst other projects. He will be releasing his album “Daytwah” in the future featuring production from Drummer of Iron Fist Records.
A lot of people have been hyping this MC up as one of the hottest female MCs out there and being that she’s from Detroit they want to call her the female Eminem. Please disregard the Eminem comment if you’d heard that before because she’s nothing like Eminem, she just happens to be white and from the same city, still she’s nice. As a female myself I think I’m a fine connosour of female MCs and she’s aight (my dude NBS from WGTJ think she’s incredible). Anyway decide for yourself. I’ma keep my Jean Grae, Amanda Diva, & Apani B on heavy rotation, but this is a nice addition to any collection (femcee title aside).
For the most part i destest clear channel readio, but my boy from MuzikSupremacy has introduced me to a indie/underground hip-hop show that I think all of you should peep. In his words:
A friend of mine is hosting a show on the Santa Cruz radio in California. Call in to show your love and stay tuned to hear some of hip hop you love. Throw some ideas for the tracks y ou wanna hear and the DJ might play them on the radio.
It starts at 10:30 PST. You can listen to it live at http://kzsc.org/
Call in 831 459 4036
AIM: KZSC
Call in make some requests, or just peep it for a few minutes.
Word, so I’ve been plugging this site, Muzik Supremacy, for a long ass time now. The original members of this blog came together on MS and most of us still post there regularly and are mods/team members. We recently got a new homepage at Muzik Supremacy which includes blogs and yours truly (Breezilla/Breeze) has a blog there. I’d appreciate if you all would check my first post (And Then I Played Dilla) out and if also check out the message boards there (referer Breeze).
I really don’t think this cat needs any introduction so I’ll get down to the music. Blu’s debut album with SoCal producer Exile dropped in 2007 and was instantly hailed a classic by man heads (and yours truly). The album includes is critically acclaimed for Exile’s usage of obscure late 60s to early 70s samples as well as his twisting of more well known 90s & early 2ks hip-hop tracks into completely different, yet incredibly beautiful new tracks. It is on this first full length LP that we are introduced to a extremely introspective kind of griot in Blu who fully delivers over Exile’s production with his own brand of average nigga type storytelling which paints panoramic visions in the unworldliest of minds.
Onto C.R.A.C. Knuckles. The Piece Talk is Blu’s second full length album released under the moniker C.R.A.C. Knuckles with Detroit native Ta’Raach. A lot of cats were feeling 50/50 on this one, but I personally think it was quite good. If you listen to a lot of hip-hop acts like Arrested Development, The Pharcyde, Gnarls Barkley and PM Dawn or acts of other genres (particular Afrobeat like Fela Kuti or Brazilian Samba/Funk like Azymuth) then you’ll love it. On this album you’ll catch a more expiramental spontaneous Blu. The production isn’t completely hip-hop and the music isn’t either, but you’ll find a nice mesh of several different genres in here (no electric circus).
As far as full length releases go, the Johnson&Jonson joint is Blu’s last full length joint (thus far). Again Blu revisits his Bridgetown stomping grounds to find a producer for this work in the little known Mainframe. A lot of people don’t realize it, but this Johnson&Jonson joint was actually put together before Below the Heavens and thus considering he was probably on a different wavelength at the time and the album has a different producer we get another completely original sound from Blu which is by no means a bad thing. When I initially heard this album (I got it in late ‘07 ’cause I got it like dat =D) I wasn’t a fan and I let it sit in my unsorted downloads folder for ages. Finally, about three months later I listened to it again ’cause I lost most of my music and it was one of the only things I still had left and I was more than a little impressed. Word, it’s not like Below the Heavens, but it’s almost just as good. The way Blu proved to be an amazing storyteller on BTH is the way he proves to be an amazing wordsmith on J&J. This album is packed with crazy punchlines, wordplay and metaphors and unlike his major label counterparts, his shit also makes sense… no random punchlines here and there (ahm, weezy). BTH or J&J… which album is better? Too close to call…
This drop also includes The Lifted EP, an EP released before BTH, The BeSene EP released earlier this year by Blu & Sene under the moniker Patch Adams (predecessor to an upcoming full length to be titled A Day Late & A Dollar Short), The Narrow Path & Buy Me Lunch VLSs (the only two current VLS avaiable to my knowledge). Purchase information available on Blu’s myspace page (all are worth buying… support the trueschool) and keep looking out for Blu’s upcoming debut Solo album.
*BeSene EP isn’t a scenerip.
*The DJ Heat & Blu So(ul) Amazing mixtape wasn’t include as it’s not official, but can be copped here via our affiliates at SpeakerBoxxx.
*The C.O.R.E. mixtape can be downloaded here.
I’m not trying to sound like a hip-hop snob or anything, but for the most part I just don’t like UK hip-hop. It’s not that the production or lyrics are bad or anything like that. No, it has nothing to do with the overall quality of the music… it’s just those accents. As much as I’ve tried I just can’t get around those accents for the life of me. I mean I’ve heard some nice tracks by Sway and Akala and all, but that’s about it. I’ve even heard a lot of UK cats (not to mention Aussies) say they don’t like hip-hop from their own respective countries because the accent doesn’t seem right to them. With that being said, there’s exceptions to every rule and this album is the first full UK Hip-Hop album I’ve ever listened to all of the way through without an issue. It’s obviously a few years old, but great nontheless. With Evil Ed as the man behind the boards (and I believe the gist of the production), the album has a great jazzy 90s feel to it. The guest artists are all lyrically and content wise on point, and I can’t honestly say anything bad about this album. Peeped Evil Ed’s myspace and listened to his newer track “Ill Out” which is dope as fuck… you might be seeing a bit more of EE her on CTR soon. If you like it buy it here.
This one has been out for a cool minute but I’m just now discovering it. I’m only about 6 tracks deep but it’s quite nice thus far. No where near on some classic shit, but definently a solid debut release. If you’re just looking for something fresh and new to listen to this, serves the purpose and will def have you wondering what’s coming next.
“Life ain’t shit but love money and music” is more than a rhyme from 8thW1 on his album lovemoneyandmusic, it’s the emcee’s mantra that guides his ambitious goals. “No matter what you believe in, everyone moves for those three things. That is the trinity that no one is above.” With that said, this native of New Jersey is set to leave an impression on the world with music at it’s center of impact.
Featuring production from such noted producers like Illmind (G-Unit, Little Brother, Pharoah Monch) and Nas550 (The Hip-hop Project), this album is sure to quiet the naysayers of Hip-hop. On this 10 track opus, 8thW1 strives for perfection in his craft of lyricism and extends that desire into the music surrounding it. His charismatic persona and willingness to be vulnerable combined with innovative yet reminiscent beats, gives lovemoneyandmusic a sound that can be enjoyed by all.
Only when I’m high off my ass do I personally really enjoy Aesop Rock’s music. I mean he does have his exceptional track here and there that appeals to me under non-compromised circumstances, but whether or not I’m a huge fan there’s no denying Aesop’s solidified status as a indie hip-hop legend. This was a special post for my best friend who got me listening to half of the music I listen to today, and although he never completely turned me over to the side of the Aesop junkies, I can still appreciat his creativity and uniqueness in style as well as his knack for taking on obscure and lesser touched on topics in hip-hop. Def Jukies fans salute.
Aesop Rock LPs
Aesop_Rock-Music_For_Earthworms_(Remastered)-1998-C*S
Aesop_Rock-Float-2000-C*S
Aesop_Rock-Labor_Days-2001-F*D_INT
Aesop_Rock-Bazooka_Tooth-2003-C*S
Aesop_Rock-Bazooka_Tooth_(Bonus_Disc)-2003-W*R
Aesop_Rock-None_Shall_Pass-2007-C*
Aesop Rock EPs
Aesop_Rock-Appleseed-Remastered-1999-C*S_INT
Aesop_Rock-Daylight-Retail_EP-2002-Rec*cled_INT
Aesop_Rock-Fast_Cars_Danger_Fire_And_Knives-EP-2005-C*S
A Huntington, Long Island, New York-born MC, Aesop initially recorded and released two self-financed efforts, Music for Earthworms (1997), a full length featuring underground legend Percee P on two tracks, and the Appleseed EP (1999), while also working as a waiter. These two independent releases are widely sought after in the underground scene.
After moving to the Mush label, Aesop released his first major album, Float (2000), with guest appearances from Vast Aire, Slug, and Dose One. Production was split between Blockhead and Aesop himself, with one track by Omega One.
Shortly after releasing Float, Aesop Rock signed to Manhattan-based label Definitive Jux (commonly shortened to Def Jux), where he released Labor Days, an album dedicated to the discussion of labor in American society and the concept of “wage slaves”. This album was most well known for its single “Daylight.” Because of its popularity, Daylight was re-released in 2002 as a 7-track EP, including an “alternative” new version of the song, “Night Light,” whose paraphrased lyrics simultaneously refer back to, and stand in stark opposition to, the original’s.
Labor Days was followed by Bazooka Tooth in 2003. For the first time, production was mostly handled by Aesop himself, with three tracks from longtime collaborator Blockhead and one from close friend and Definitive Jux label CEO El-P. Guest appearances include Party Fun Action Committee, El-P, and Mr. Lif (all Definitive Jux labelmates) and Camp Lo. With this release Aesop hit a higher level of recognition, releasing “No Jumper Cables” as a single and music video, then another single, “Freeze”, shortly after.
In the summer of 2004, Aesop Rock appeared on the Evil Nine Single “Crooked” from the Album You Can Be Special Too, on Marine Parade records.
In February 2005, Aesop Rock released a new EP, Fast Cars, Danger, Fire and Knives. The first pressing of the EP included an 88 page booklet with lyrics from every release from Float until this EP (the lyric booklet is titled The Living Human Curiosity Sideshow); later pressings of the album come without the booklet, but with an additional bonus track, “Facemelter”. In addition, a limited number of albums were available direct from Def Jux with Aesop Rock’s graffiti tag on them. In response to demands from his fans, Aesop did less production on the EP: three songs are produced by Blockhead, three produced by Aesop, and one by Rob Sonic.
Aesop Rock was commissioned to create a 45-minute instrumental track for the Nike+iPod running system, entitled All Day. It was released in February 2007. Distributed via the iTunes Music Store and featuring Allyson Baker on guitar and scratches from DJ Big Wiz, Aesop has described the release as “something that evolved enough that the sound was constantly fresh and attractive, as though the runner were moving through a set of differing cities or landscapes.” [1]
All Day was followed in August of the same year by Bavitz’s fifth full-length album, None Shall Pass (2007). The album also contained original artwork by Jeremy Fish.
Never heard of this cat until now, but his first single Contra is very nice (recommended for fans of Sleep of Old Dominion & Grayskul). Peep what he has to say for the album in his own words:
Defining “The Rape”
I have to thank my good friend Brandon for the first sentence of this explanation. His defending of my words for a group of people couldn’t have been summed up better then his first sentence.
I’ve been asked often the definition of my album title, label, and what we call out shows.I’m aware it can be shocking to some, esp. if you’ve had a rough experience with one definition of the word. this is my explanation
“The Rape”, is not referring to sexual assault. It relates to how the music industry rapes us as artists.’(thanks Brandon) to how music is stolen now, to how I feel i’ve had to push myself threw the clutter of polluted meaning that is ‘Hip Hop’ . from the self claimed ‘King of the City’ rappers flooding the scenes with cell phone pictures of their rhinestone or air brushed R.I.P. shirts, to mainstream artist and corporations who chose to slowly de-evolve. Or anyone affected in music, from promoters who are snakes, to said rappers, to everyday people. Our identities are gone, everyone is everything they see. you are your favorite rapper, he is you. you wear the same pants, you talk the same way, your girl acts like the girls they show. you all get to where you are being who someone else is and then escape in drugs to hide from the effect that follows it. Alot stems from music but others as well, an can be changed simply in each area. but its not, we are cavemen, For me it’s life, and my life is music, It could be called ‘The Forced’ but i think it’s worse then forced, it’s mocked, it’s made fun of, it’s humiliated, It’s Raped.
In the end it has two meanings,
the first meaning is how i feel im taking hold of the definition of my
music(and team) and what i do with it when all others have told me to
change it, how to do it, and argue how to label it. Its fine if you
dont think im hip hop, i never asked to be.
1) Rape - The act of seizing and carrying off by force; abduction.
Second meaning is how i think the industry treats us as musicians, and how the musicians in the industry market themselves
2) Rape - Abusive or improper treatment; violation: a rape of justice.
Peep the video for Contra below, more info after the jump. Cubbiebear “Contra”
Somebody mentioned this one in the request section. Haven’t personally listened to this album let alone much Kool Keith and I haven’t heard of TOMC3 until now, so here’s a review for those who are as blind as I am (I’m sure Johnathan will give us a bit of info when he peeps this as well).
TOMC3 teams up with Kool Keith for this retro futuristic action epic.
When details of this album first emerged I had never heard or TOMC3 or his first album Dopestyle 1231; so I didn’t know what to expect. But after listening to the Digital Engineering single my expectations for the full album were very high.
I like to call this a ‘retro futuristic action’ album as from the albums artwork and half of the music it makes the album seem like its set in a 60’s action/detective movie, the type with car chases, double crossing and women in full body bathing suites.
Yet the other half of the music and the lyrics give it the feel of Sci-Fi movies with ray guns, flying saucers and female alien sirens.
The production is not topical of a hip-hop album. The production is very fresh and I have not heard anything like it, I couldn’t name one other hip-hop album with guitar, violin, piano and flute samples, especially one which works as good as this.
Keith is also on full throttle with his lyrics and delivery. The lyrics are similar to Dr. Octagon as seen on ‘Digital Engineering’
Titanium Chloroxide splashed on my chest,
Enabled meter geometry west,
Nuclear Power,
I’m taking a nuclear shower,
For a nuclear hour,
Fools i devour
The track I was looking forward to the most was ‘Clubber Lang’, which in-case you didn’t know Clubber Lang is the name of Mr. T’s character in Rocky III.
Mr. T released a rap album in the 1980’s titled ‘Mr. T’s Commandments’ so I was hoping for a cameo rap.
Unfortuntaly a few months before the release TOMC3 informed me that they tried to get Mr. T on the track but he was asking for more $$$ than MF Doom.
Even without Mr. T the track still holds it’s own with the help of motion man.
The album is one of Kool Keith’s most consistent releases, I haven’t found a track which I would be inclined to skip.
The only track which I wasn’t too keen on is ‘Mechanical Mechanix’ where Prince Po tries to do the Sci-Fi rapping, but it doesn’t sound right and he reminds me of Sir Menelik on Dr. Octagon.
Luckily when Keith comes onto the track he starts off with one of his most well known lines
I keep in shape,
and do my physical fitness
The album finishes off on a high note with some samples from the creepy thriller ‘One Hour Photo’ which perfectly finishes the album off.
Project Polaroid goes on my list of top albums for 2006.
Even if you weren’t previously a fan of Kool Keith, TOMC3’s production might just change your mind.
Favourite Tracks: I?m Libra, Diamond District and Midwestern Shoe Calhoun.
For fans of the Roots & LA Symphony.
You might remember Rashaan Ahmad dropped his critically acclaimed (yet silently released) album The Push (Om) earlier this year and after a four year hiatus it seems as if the Oakland live hip-hop band is returning as new tracks keep popping up all over the place. Haven’t heard either of their two EPs before, but Earthtones is a boom bap classic and One is a solid debut effort. Get familiar and cop their new joint when it drops.
Comprised of the Cali bred MC Raashan Ahmad, producer Woodstock, the Berklee trained keyboardist Kat Ouano, bassist/producer Headnodic, and drummer Max MacVeety, Crown City Rockers formed in Beantown’s Roxbury section during the late nineties.
Raashan, who’d moved from Pasadena at the time to pursue his dreams of emceeing ran into the Berklee contingent at various open-mic and freestyle sessions aroung the city (Kat hails originally from Wichita, Kansas, Headnodic from Wisconsin, and Max is from Massachusetts). Everyone clicked, sharing an interest in organic hip-hop and live instrumentation, bonding musically as well as personally.
“We did some shows in Boston trying to get our name out,” recounts Raashan. “And then we decided to move out to Cali to record an album.”
And so, the group, then known as Mission: which at that time included Moe Pope (check Project Move), set out West. The trip to Cali proved to be an adventure in itself. An 18-wheeler totaled all of the group’s instruments and the car they were driving. Once the group finally made it out west, they used the insurance money from the accident to put out a self-titled EP to get their name out.
Soon after came their first full-length, called One. The album quickly established the group as subterranean scene stalwarts in the Bay Area hip hop community, where they were now located. After that, the group, who in 2003 changed their name to Crown City Rockers after The Mission, (a British goth dance rock band) asked them to switch monikers, hit the studio hard recording countless songs, eventually placing 19 on their 2004 debut, Earthtones.
Alright, so I know the first thing that automatically pops into your heard when you think about Skee-Lo is his one and only hit single by the same title of his debut album, I Wish, but please… do yourself a favor and don’t let the fact that he had one major corny (but still funny) hit ruin your perception of the man. My older sister put me onto this album years ago when it first came out (she used to bump it all the time) and I thought I’d share it with you all. At times Skee remains comical, but he’s still able to pull off complex left coast rhyme schemes while never stating anything but the truth and for those weary of his I Wish like comedic style, the album also includes much deeper material such as the tracks “Never Crossed My Mind”, ‘Holdin’ On’, and “You Ain’t Down”. The single “I Wish” left Skee between a hit and a hard place which kind of made it him hard to gain notereity for his follow-ups, but he def deserves his just dos for this first album. Don’t believe me? Check the video for a sample.
Here are some Demonoid invites (the premiere private torrent site) for the first 5 readers who see this. Click the account registration address listed below and enter the one of the 5 codes. I’ve numbered the codes from 1-9 so if you use one, please just drop a comment saying which number you used so cats who come after you won’t have to try all 5 only to realize they’re all gone. Enjoy…
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Hip-Hop is universal kids…
