Here we have something unreleased to get you by as Esohel begins working on his yet to be titled project schedualed to drop spring 2012. Producer Wes P. provides the backdrop for Esohel to go in on "Own The Boards", letting you know he does just that.
MP3: Spot x Rich Hil - "Hold Me Down" (prod. Chase N. Cashe)
Courtesy Grand Hustle.
Fresh off The Price Iz Right mixtape with DJ Drama, SPOT releases a new track, "Hold Me Down", with former roommate and long-time collaborator Rich Hil. Production is handled by Chase N. Cashe. To download The Price Iz Right please visit beingSPOT.com.
What up folks. Happy Presidents Day, hope you get the day off to relax, Monday is the best day for that.
If you're not aware by now, I'm ready to hit the road for tour this Friday! We're hitting the midwest, southeast and Southwest. I'll be all the other places later this spring, promise.
But, to make it happen, we need donations! So if you can, drop some ducats at this link:
http://www.indiegogo.com/The-VS-Project As usual, I'll drop new songs at $1000 and $2000. I have a basic idea of the show setlist, but I definitely want a little feedback. So let me know what you want to hear. Hit me here, or on Facebook.com/megaranmusic or on twitter.com/megaran with your suggestions.
Also: I'm only gonna keep the Merch store open for the next 4 days so that I don't get backed up when I'm on the road. So, get your orders in now! New items include the Jeremy Lin shirt, team Mega Sweatshirt and these sweet Black Materia AOTY edition CDs:
PR: Moonshine Bandits Premiere 'My Kind of Country' Video
Courtesy Kerosene Media.
"There have been many monumental moments in our career, but this is one of the biggest. Having CMT premiere our new video is like a dream come true for us as we’re all huge fans of the station,” commented Tex from Moonshine Bandits. “Our songwriting is from the heart and the song ‘My Kind of Country’ means a lot to us because we are proud of where we are from and the country we live in. Everything we do is done with a blue-collar work ethic and this song dedicated to all the hard working Americans across this great land.”
Moonshine Bandits new album “Whiskey and Women" is in stores now courtesy of Suburban Noize Records and is available digitally online at http://itunes.apple.com/ca/album/whiskey-and-women/id427742670 . The album landed at No. 54 on Billboard’s Top New Artist Albums (Heatseekers) chart and the Current Country chart at No. 65 upon release. “Whiskey and Women" features guest appearances by Danny Boone of Rehab, Sunny Ledfurd, and country superstar Colt Ford.
Moonshine Bandits will hit the road throughout March as direct support to Rehab on the group’s “The Gullible's Travels Tour”.
MOONSHINE BANDITS TOUR DATES: Mar 06 - Little Rock, AR @ Juanita's Mar 07 - New Orleans, LA @ Parish at House of Blues Mar 09 - Lake Charles, LA @ OB's Bar & Grill Mar 10 - San Antonio, TX @ Josabi's Mar 11 - Dallas, TX @ Trees Mar 14 - Tucson, AZ @ The Rock Mar 15 - Phoenix, AZ @ Rhythm Room Mar 16 - San Diego, CA @ SOMA Mar 17 - San Miguel, CA @ The Ranch Mar 18 - Santa Cruz, CA @ Catalyst Mar 19 - Redding, CA @ Johnny's Cathouse Mar 20 - Sacramento, CA @ Ace of Spades Mar 21 - Bend, OR @ Maverick's Mar 22 - Portland, OR @ Hawthorne Theatre Mar 23 - Seattle, WA @ El Corazon Mar 24 - Coeur D'Alene, ID @ The Grail Mar 25 - Boise, ID @ The Knitting Factory Mar 26 - Salt Lake City, UT @ Urban Lounge Mar 28 - Avon, CO @ Agave Mar 29 - Breckendridge, CO @ Three20South Mar 30 - Colorado Springs, CO @ Black Sheep Mar 31 - Denver, CO @ Marquis Theatre Apr 01 - Fort Collins, CO @ Aggie Theater Apr 07 - Crosby, TX @ Down South Offroad Park Apr 14 - Modesto, CA @ Copper Rhino Apr 28 - Bakersfield, CA @ Fishlips Jun 22 - Jackson, MI @ Racetrack Speedway Jun 24 - Rogers, OH @ Rogers Music Festival
My Salad Days: Vol. 1 is Detroit-based producer Robby Wildebeat's latest production -- asoulfully gritty instrumental album that features vicious drum lines over rhythmic synths and jazz samples. Boasting a wide variety of vibes and tempos -- slow and fast, happy and sad -- Wildebeat's influences extend from Motown to Mars and include everything in between. My Salad Days: Vol 1 is a must-have for any ambitious lyricists or hip-hop junkie. Includes the underground favorites such as "She Likes Me", "Hurt You", "So Sad", and "Right Choice".
As Double XL gears up for the release of his mixtape, Man On Fire (Feb 22nd), XL decides to drop his Man On Fire Freestyle. If you haven't had a chance to check out Double XL, this is the perfect chance to see what he is about before the release of Man On Fire. Powered by Revo Media.
"Carlos Santana does not appear on this album. Just thought I'd get that out of the way at the start. Readers who know the name Bill Ortiz would recognize him as the funky trumpeter extraordinaire from Santana's jam band. What may be lesser known to those same Santana fans is that Ortiz himself is a hip-hop fan, and he goes deep in the genre. In fact if you go all the way back to the timeless hip-hop classic "'93 Til Infinity" by the Souls of Mischief, you'll hear Bill, and that's not because he was sampled. Ortiz is a progressive jazz musician in every sense of the word, and for my two cents, he's the anti-Wynton Marsalis. Besides rocking crowds with Santana, you can also hear his collaborations with everybody from En Vogue to Total, from Sheila E to TLC. As such it's really no surprise to me that Ortiz would want to drop a hip-hop CD. Ortiz himself puts it like this: "I've been really encouraged by some of the Bay Area hip-hop artists like Zumbi and The Grouch who make music with enlightened lyrics. We often celebrate ignorance in our society, so I wanted to celebrate consciousness."
Clams Casino :: Instrumental Mixtape :: DatPiff.com as reviewed by Patrick Taylor
"In the beginning, there was the break. DJ Kool Herc discovered the magic of repeating the funkiest instrumental breakdowns from popular rock, soul, and disco albums of the day, turning five seconds of The Incredible Bongo Band's "Apache" into a irresistible sonic background that gave space for b-boys to breakdance and MCs to spit rhymes. As hip-hop progressed the technology around sampling breaks got more sophisticated, culminating in the complicated sound collages of the Bomb Squad and the Dust Brothers. Right about the time sampling hit its creative peak with "Paul's Boutique" and "It Takes A Nation of Millions," a series of lawsuits served put stifling constraints on the practice of borrowing seconds of another artist's music. Today the break is no longer king. It's too expensive to sample even moderately well-known stuff, and most of those songs have been mined to death already. While there are still producers who can flip a sample and make it sound interesting and vibrant, more and more beats based on old funk breaks sound nostalgic or old-fashioned. The past twenty years has seen hip-hop production straying from MPCs and Chic 12 inches, and instead turning to synthesizers and electronic music. Few producers have been able to balance electronic music and hip-hop as well as New Jersey native Mike Volpe, aka Clams Casino. "
"Described in her one sheet as both "a visionary gearhead vixen" and "a cross between Princess Superstar and Sarah Silverman," DATGirl is doing her best to live up to all of the above on "Smack and Please." "Baby if you love me, shove me/honey if you want me, taunt me/sweetie if you need me, beat me." One could say it's DATGirl's self-produced ode to sadomasochism. It certainly seems like a song designed to titillate male listeners, but there are two inherent problems. The first is that not all of them are going to be into pain as pleasure, and the second is that those who really ARE would probably dish out more than the relatively PG fantasy that DATGirl dishes out. It might be erotica but it's far from hardcore whips, chains & bondage. Is that all DATGirl is about though? Her heritage is accurately and somewhat confusingly described as Iraqi-American-Jewish-Buddhist, and while she may or may not be bisexual her New York to San Francisco travels definitely make her bicoastal. She's had a lot of different gigs besides a musical career, as she's apparently "an experienced fire eater" and an expert at "mask performance and Balinese dance." I have to just be blunt with the readers at this point - DATGirl has been so many things it doesn't seem like she can settle on being any ONE thing. That's far from her biggest problem though. Being eclectic could win her fans, but bad parodies of Sir Mix-A-Lot definitely will not."
"Iggy Azalea makes a very reasonable statement on "Ignorant Art": "My time will start today / Nicki paved the way." She quickly adds the names "Kim, Foxy, Eve," but Nicki Minaj is unquestionably the main reference point here. Iggy Azalea is a creature of the digital age, using the internet as a source of influence and as a tool to build her image and her fanbase. Her four videos of original material ("D.R.U.G.S," "Pu$$y," "My World," "The Last Song") are eye-catching compositions whose star may strike ubiquitous model and rapper poses but also exudes actual natural confidence. The visual element is an integral part of her performance, adding a dimension that just wouldn't be there if you only listened to the music. Looks and sounds have always been closely intertwined in pop music, but female artists tradtionally experience more pressure to project an image. Some have been able to take control and used the premise to look presentable to their own advantage, most famously Madonna. Stylish female rappers are nothing new either, but they usually didn't get very far. Which would corroborate the traditionalists who would like to believe that it's still mainly the music that excites people. "
"It's a shame that "A Little Bit of Love" isn't available in stores today - after all it is Valentine's Day. I doubt Junior Toots will stay up nights worrying about it though - after all the "love" he's professing is the universal love for all mankind, born from the blessings Jah provide. He's already blessed Junior with excellent reggae genetics, being that he's the son of reggae legend Toots Hibbert, who you may know best from Toots and the Maytals. Then again you may NOT know, which is as good a reason for you to be reading this review as any. Junior's story deviates from his father's a bit. While both of them were born in Jamaica, the younger Toots has been living in the United States since the 1980's, first in Connecticut but ultimately in California. You will find Toots' roots definitely lend to the reggae format, while his accent has definitely gained a touch of Americanization given he came here at such a young age. There will no doubt be debate about whether or not this is for the best - for some ears he may be easier to understand than more traditional Jamaican artists, while some listeners may feel he's a pretender to a culture he was long ago uprooted and made apart from."
Magnificent Ruffians :: Spanglish Conquistadores :: Bandcamp.com as reviewed by Steve 'Flash' Juon
"The Magnificent Ruffians have a fair claim to being "Spanglish Conquistadores" for two reasons - they constantly switch back and forth between two languages +and+ they have a producer named AGQ who hails FROM Spain. California to Spain? Now that's what I call some international zone coasting. If that wasn't enough to justify the title of their album, the Ruffians go out of their way to collaborate with famous hispanic hip-hop heads like Tony Touch and Thirstin Howl III. For my money though that's far from the best track out of the 34 minutes of "Spanglish Conquistadores." The ethereal reverberation of the title cut is a nice place to start, and the features from Blest One and Dkoldis are welcomed. The harmonizing and deadpan delivery of "Trust Issues" featuring Isayah Thomas works well too as does AGQ's bare bones beat. To get the party going you'd want to throw on the bass heavy "Ooh Wee" featuring Virush, and if you want to go horrorcore like the Gravediggaz you can hit your corner bodega and blast "3 Round Burst" until everyone scatters. "
OCD (Moosh & Twist) :: The Vestibule :: DatPiff.com as reviewed by Mike Baber
"As someone who has gone to college for the past four years in the Philadelphia area, I'm always keeping an eye out for up-and-coming local acts looking to add to the City of Brotherly Love's hip-hop scene. A little less than a year ago, I came across Moosh and Twist, at the time two 17-year-olds who collectively made up the duo OCD and had just released their first mixtape, "Up Before the World." With a handful of catchy songs, witty lyrics, and sample driven beats, the release was a quality effort despite the few lyrical shortcomings one would normally expect from a hip-hop album coming from a couple of high-school kids. It was apparent that Moosh and Twist weren't at all intimidated by their lack of experience in the hip-hop game, and their rhymes, while not the most complex, carried the energy and excitement necessary to ensure an enjoyable listen. Since then, I've periodically checked back to the group's website to listen to some of their new material, and given that the two now high-school graduates have recently put their studies to the side to focus exclusively on music, I figured it was an appropriate time to review their latest mixtape, "The Vestibule," released in January of 2012. "