1. HIGHTRO 2. MEANWHILE FEAT DJ MAC MILLIE 3. DOLLA SEASON 4. ZOOTED (FREESTYLE) 5. SWAGGIN FEAT SLTHEDON & FROST BREEZY 6. DUM SHIT, RAW SHIT 7. FACEBOOK SKIT FEAT FROST BREEZY & DJ MAC MILLIE 8. ON & ON (FREESTYLE) FEAT FROST BREEZY 9. GENIUS 10. HIGH THOUGHTS (HERB JAY SPEAKS) 11. HARD AS SHIT FEAT JAY-O & FROST BREEZY 12. TRUE OR FALSE (FREESTYLE) 13. JUICEN FEAT JAY-O
Dave Dub Teams w/ JTheSarge for Punk-Rock Hip-Hop LP
After years of rumors of time in Cuba, loosing his mind, and rehab, San Jose’s most unorthodox emcee Dave Dub, in conjunction with JtheSarge (M9 Entertainment), are set to drop a raw mash-up LP Mind Police. An aggressive, progressive, adrenaline-fueled, 12-track foray into the mind of Dave Dub, Mind Police marks Dave Dub’s triumphant return to music and partnership with one of Humboldt’s busiest music labels. In addition to Jthesarge, Mind Police features hip-hop legends Myka 9 and Medusa.
“There’s always been a poppin’ hip-hop scene in The Zae,” insists Dave Dub, who adds that he coined the term the Zae. He proudly lists off the most noteworthy artists who have hailed from San Jose: “We got Peanut Butter Wolf, Fanatik, The Architect, and Traxamillion.”
Raised in San Francisco in the 80s, Dave describes his childhood as lonely and isolated. By the time he reached high school, his mother, afraid for her son in the notoriously abysmal San Francisco public schools, sent Dave to live with his grandmother in the quainter city just south of the Bay, San Jose.
“It didn’t keep me out of trouble,” quips Dave. “But I love it here.” In 94, while working at the local Tower Records and being exposed to groups from Bad Brains to Iggy Pop, Dave met a then an unknown deejay, and San Jose native, Peanut Butter Wolf. Those two events would alter his life.
“Bad Brains expanded my horizons musically,” explains Dave, who admits to listening exclusively to hip-hop until then. In 97, Dave, along with an up-and-coming emcee Persevere were featured on “Under Bomber Theories” on Peanut Butter Wolf’s EP Step On Our Egos. In 98, Dave recorded “Necromancin” which ended up on Peanut Butter Wolf’s underground classic, My Vinyl Weighs a Ton.
Soon after, Dave and Persevere formed the group Sub Contents. In 98, they released two 12 inches, “Table Turns” and “Death Becomes Her,” but by then Dave was fighting—and losing—a battling with his own demons in the form of drug addiction. After signing with Dan the Automators’ 75 Ark and recording Notes from the Cliff, the label folded. Caught up in red tape, the album was released, but on several labels with various different covers and, unfortunately, no thorough push.
After years of getting into trouble with the law and a few stints in rehab, Dave is the first to admit he hasn’t lived up to his own musical ambitions, let alone those of his cult following. But today he is serious about his career. He revamped his label, Isolated Wax, and is back writing rhymes. In 2005 ran into old friend, musician, and label owner of M9 Entertainment Jthesarge.
“I had Dave in mind for this record for a while,” explains JtheSarge, from his Arcata, CA studio where he runs M9 Entertainment, the label he co-owns with rap legend Myka 9. “I had been recording the album over the past year, purposely using bare bones engineering techniques. I hired a local bass player Chris Smiley and incorporated some live horns organ, some guitar. But most of these tracks are super raw: just bass, drums and vocals. I wanted it to be head-nodding, foot-stomping, body-moshing music to riot to! All I needed was the right emcee.”
To be sure, he is back making music and if nothing else, with his collaboration with M9, Dave will now be counted among the legends who hail from The Zae.
It's time for another dope edition of Hip-Hop Shop! Episode #100 of the show is titled Classics From the Last 50 as we celebrate 100 episodes by looking back at some classics spun on the show. Drake, Ric Atari, Souls of Michief and Quanstar among others all get love as we rewind to past greatness. Send your feedback, podsafe (RIAA free) music, and advertising requests to firstname.lastname@example.org. Thanks for listening and remember to share the show with a friend and tell them to check out the replay every Tuesday on RapReviews.com!
"You know what the problem with hip hop is? There are just so many WORDS and CONCEPTS. It's annoying sometimes how much attention you have to pay just to keep up with what's going on. It hurts my brain. So thank goodness for artists such a Nicki Minaj that come along with the express intention of condensing everything into easy-to-remember formulas. Such as: a + b + c = 25% (for males where a talks about autobiographical travails; b secures high profile guest; c quirky Bangladesh number) Obviously, such a formula has been derived from "Tha Carter III" with the 25% being an approximation of the opening quarter of "Pink Friday." Unfortunately, the law of diminishing returns also applies, with: "I'm the Best" + "Roman's Revenge" + "Did It On Em" < "3 Peat" + "Mr Carter" + "A Milli." That is to be expected, however, since Lil Wayne was pretty much at the peak of his powers, whilst Minaj is but a brash Young Money debutante. "I'm the Best" is exactly what you think it will be (blah positive opener); Eminem's first verse on RR is excellent, and he is slowly feeling his way back to his best, but the poor beat undermines the potential; Bangladesh's beat is okay, but surprisingly timid by his normally raucous standards. So the first excessively masculine quarter having been addressed, presumably to provide intrigue, inspiration, credibility and muscle, it's time to move on to the next portion. Ladies, you can wake up now."
"Six years ago Barry Adrian Reese b/k/a Cassidy dropped his first commercial album "Split Personality" and we interviewed Cassidy about what seemed like a promising career about to blow up. It was perhaps prophetic that he said "You never know what could happen; one day could change your career around in a 360, and it could be for the better or for worse." Things have been a little crazy for Mr. Reese ever since then. Covering all the ills in his life would be an entire feature and not a review but the highlights include doing a 15 month bid on involuntary manslaughter and aggravated assault charges, then surviving a car crash that left him with scars and amnesia. It's safe to say Cassidy has had more Drama than Entourage. It's a credit to Mr. Reese that he's not only survived all of the challenges he faced since 2004 but has continued to release mixtapes and full-length albums including 2007's "B.A.R.S." Our reviewer was left non-plussed by Cassidy's last album though. Mr. Gailes wrote the following: "It's commendable that he's trying to grow as an artist, but 'B.A.R.S.' is full of growing pains."
"Despite being a prominent delegate of the 2K indie scene, Celph Titled has one of the least prolific individual discographies of his peers. He rather gets it all out at once, releasing a quadruple-disc collection of his work, but prefers working in a team even more - membership in the Demigodz and Army of the Pharaohs, collaboration albums with Apathy and J-Zone. "Nineteen Ninety Now" fits the mold as yet another project where Celph shares the bill, but it is also his most high profile release, not to mention the closest thing to a real Celph Titled album to date. Who's to blame? Esteemed beatmaker Buckwild has granted Celph Titled access to his vaults of unpublished '90s beats. Which, if you know anything about the Rubix Cuban, is like handing a kid the keys to a candy store. What was good enough for Big L, Kool G Rap, O.C., Brand Nubian, Organized Konfusion and Artifacts must be nothing short of a blessing for a hip-hop artist who sees himself as an upholder of '90s values. Buck's beats from that era possess integrity in spades, and, while they call for a certain brand of rap, are of a timeless quality. "
"Rappers always boast an alter ego or famed alias as they claim yet another "MC" this or that or other popularized nickname. However, Minnesota's Christopher Michael Jensen is plain and simply just...him. Jensen fell into hip hop almost by accident and soon became engulfed in the music in his early teens, thus fueling his passion for the art. He decided to take his skills to a more serious level as he began to create albums and perform more freely. Taking his career further, he released a free download of his first mixtape, "Lyrical Combustion" in 2009 and now debuts with his solo full length album "There's Meaning Underground." Jensen's vision for "There's Meaning Underground" was "an honest exploration of and reflection on Chris' past, present, and future." As seen in many of his tracks, he is the epitome of the striving artist who has respect for the art and lyricism of hip hop. With simple, electronic sounds "Inside of My Mouth" shows what Jensen's lyricism is about"
"Helpless Dreamer" is an album full of potential. Featuring over a dozen artists from the Mello Music Group label, "Helpless Dreamer" is a chance for both established and up-and-coming rappers to showcase their skills on the mic. Producers such as Oddisee and Apollo Brown give the compilation an old-school feel -- using lots of strings, horns, and chopped up R&B/soul samples – and a handful of emcees, including yU and X.O. of the D.C. based group Diamond District, come through with intelligent, well-delivered lyrics. While the album for the most part lives up to its potential, it is unfortunately blemished by several songs where the vocals are simply not loud enough and seemingly hide behind the track. The album starts with a bang with "From the Top," produced by Oddisee and featuring Stik Figa. Every sound seems to come alive on the track, whether it's the simple piano loop, the deep rolling bass, the exultant trumpets, or the flowing orchestral synths that lace the chorus. The sparse nature of the beat really allows Stik Figa's commanding delivery to shine through, as he raps: "From the projects to the trailer park, I did it for ya'll." "
""You don't need a big studio to do it, know what I'm saying? We do it for the love." This quote from the intro track of "Labor of Love" truly embodies Mr. Brady's vision on his latest album, which sees him take a break from the microphone and focus almost exclusively on producing. Featuring lots of chopped up soul samples, hard hitting drums, and electronic synths, "Labor of Love" is essentially a compilation album, produced entirely by Mr. Brady, that features a number of underground rappers, most of whom are from San Diego and Los Angeles area. Mr. Brady readily admits that he doesn't necessarily have the best equipment to work with, and while this seems to hamper several tracks, it also gives the album a raw underground feel. The album's lead single, "Real Heavy," features Detroit rapper Guilty Simpson and California emcee Johaz (of Mr. Brady's group Deep Rooted) spitting over an aggressive track driven by a hard-hitting kick. Aside from a constant synthy piano and a few background electronic noises, the beat is fairly thin, which allows Simpson and Johaz's powerful deliveries and gritty lyrics ("I come from a Detroit basement/ Guns are blazin' and dent your face in") to reinforce the hardcore vibes of the beat."
"What is Cornell Haynes rocking that's "5.0" this go around? Is it a new turbo-powered engine in a super-expensive foreign luxury car? Is it a custom line of Air Force Ones that you can't buy at retail? Is it a bottle of champagne that's so exclusive they numbered it and shipped it to Nelly directly? Well as it turns out Mr. Haynes has multiple meanings for it - and one of them is automotive after all - a shoutout to his beloved Ford Mustang. He also says it's the fifth "drop date" for an album, but that's a little bit of a stretch. If you don't count "Da Derrty Versions - The Reinvention" you could reduce his number of albums since 2000 from 7 to 6. You then have to combine all the different versions of "Sweatsuit" (which all had their own drop date) to reduce his total number of albums from 6 to 4. At that point you could claim "5.0" is the fifth album in his catalogue, but it's easier to assume the number implied something fly for marketing purposes. A Porsche sounds cool, but a Porsche 911 sounds cooler.
Nelly has reached a comfortable level of superstardom that doesn't really require a marketing gimmick though. His name itself is the gimmick - an instantly recognizable one word introduction that itself is a status symbol."
"Among many fans of rap music there is the notion that 'hip-hop culture' is something made up by old farts to push their own interests, overstate their importance and assert their position of authority. Those fans might even go as far as calling hip-hop and the alleged culture that is tied to it a myth or pure ideology used to elevate some and exclude others. But twenty years ago a 16 year-old Boston rapper and beatmaker by the name of MC/DJ Force had a very clear vision of this 'hip-hop culture' and he was ready to stand up for it, against those who claimed hip-hop was unmusical, one-dimensional, stereotypical, etc. He insisted that he wasn't "a thug blastin' up an addict for some coke and some drugs" and that what he delivered wasn't "gangsterism," that he prefered "to be smart," didn't "follow crowds" and acted "straight from the heart." None of this would have been remarkable years later, but for 1989, when gangster rap was still a new phenomenon, such statements are exceptional, particularly in combination with the early use of the term 'hip-hop culture' in a rap song. But it proves how quick rap has always been to react to what's happening. "
"One thing you have to say about Alexipharmic: you can't knock his hustle. He recorded this album after volunteering for a month at orphanages in Kenya. He notes "I tried my best to make a product worthy of the tears, smiles, hugs, lessons, and lifelong memories I received from every kid I was blessed to encounter on my adventure." His label, Elephant Memories, donates 50% of musical net profits to Mercy Corps relief efforts in the Congo. Keep in mind that most corporations donate 1% of their profits, and most private individuals donate between 2% and 3%. That's impressive dedication to a cause, and money much better spent that on sex, drugs, and luxury goods, the typical trappings of hip hop success. You also can't knock some of Alexipharmic's subject matter. He calls out men who beat women, gives shout outs to rappers he respects, reminisces about the 80s, and raps about having a liver tumor. While other rappers sell themselves as lady killers, Alexipharmic positions himself as the nice guy who is the better alternative to the asshole his love interest is with."
"Now, I've never cared at all about what anyone else has had to say about my taste in music. During my tenure on various message boards I was labeled as having "the worst musical opinions", and to make matters worse, a good amount of my friends are violently apprehensive about letting me anywhere near any device capable of playing music. (None of the individuals that have branded me as having poor taste in music have gone on to write for highly reputed and well-established music reviewing platforms, but that's beside the point.) I don't really know what it is about my ear that renders it incapable of enjoying much of the same music my friends do, but one thing I do know is that I will never be apologetic for enjoying the songs and albums I do. It's not that I don't think Tool are extremely good musicians, I just think their songs are boring as shit. It's not that I don't think Pink Floyd were virtuosic and way ahead of their time, I just don't derive any pleasure or excitement to listen to a song that's nine minutes long just because someone else tells me it'll "blow my mind" if I listen to it after blazing some reef. "
"Hip hop is a big thing now. Might sound obvious, but in a week such as this, you really begin to realise just how massive and all-encompassing a monster it has become. You could pick up Kanye West's fifth album - rated a classic by pretty much everyone; there's the Young Money upstart, Nicki Minaj - already, in some regards, the most successful female rapper for almost a decade; for the more casual fan, a Greatest Hits package from Jay-Z, undoubtedly one of the greatest rappers of all time; or a sequence to an underground gem from Curren$y; finally, a long lost collection from one of the best, killed in his prime, Big L… Out of all those choices, however, you could successfully argue that not a single one of them is a straight-forward, mainstream, "traditional" hip hop LP. Kanye's is great but nine minute songs aren't everybody's bag; Nicki's is bordering on pop music and R&B for half of the album (at least); you'd be almost certain to already own Jigga's hits; the other two could hardly be called "mainstream." Which leaves a big old Lloyd Banks-sized hole in the market. "
"First off, let me start by saying that reading is fundamental. See, I was all set to go on this high horse tirade about how tactless Nature Sounds and Royal Lion Entertainment were for sending over a plain CD-R of this Masta Killa project...and then I read the press release. As it turns out, "Masta Killa Presents: The Next Chamber" is a digital-only release and as such, they were actually doing me a favor. Furthermore, to increase the amount of egg on my face, all the tracks were properly tagged and sequenced. So, moving along, for the benefit of anyone who has lived under a rock for nearly two decades, Masta Killa is a member of the Wu-Tang Clan. Back when the Wu's debut album "Enter the Wu-Tang (36 Chambers)" dropped, I was a husky, greasy-faced preteen. As just about everyone else did, I had my favorites out of the group. My first was the late Ol' Dirty Bastard, and I still have his "Return to the 36 Chambers: The Dirty Version" cassette somewhere around here somewhere. Shortly after that, it became GZA, whose "Liquid Swords" was the first CD I ever bought. A year or so later, "Ironman" switched my focus onto the artist that remains my favorite amongst the Clan today, Ghostface Killah. While I was aware of Masta Killa and his talent, he never stood out to the point where I felt I always needed to check for him. "
"Sorry I'm late. No, f'real, sorry Wil. I told Culture VI Records that I would hold off my review of the advance copy they sent me on "Sorry I'm Late," but I actually overshot my target and wound up being a week past the drop. The good news about that is I had another whole week to appreciate what John 'Poizun' Regan and his producer YZ were doing on this album. That's not the YZ you're thinking of - the seminal early 1990's rapper who did songs like "(So Far) The Ghetto's Been Good to Me." No, according to the press release Wil included with this album, this YZ is a producer who learned his craft from Chucky Thompson and worked alongside Young Guru before graduating to the pros and crafting tracks for the likes of Lil Wayne and Wyclef Jean. Despite being the second YZ on the block he's definitely #1 in the beats department, as evidenced by the subtle and beautiful strains of "Yesterday" featuring Joell Ortiz. Regan could have easily been overshadowed by the presence of Ortiz on the track, one of hip-hop's fastest rising stars, but his bars hold their own"
FrankRadio and iHipHop Distribution are proud to announce the highly anticipated follow-up to 2009's "Wu-Tang Meets The Indie Culture: Enter The Dubstep Vol. 1." On December 21st, the freshest sounds in underground electronic music will once again encounter the classic hip-hop stylings of yet another foundational group of legends: Brand Nubian.
After the wild success of Vol. 1, it only felt right for its producers and A&R's to embark on a new journey down the same road. Brand Nubian holds a unique position in hip-hop history. Universally respected as pioneers of a new way of thinking during the "golden-era" moment of the early 90's, Brand Nubian's political, social and cultural messages were delivered with a heavy dose of hardcore. With this 2nd installment in the ground-breaking series, "Enter The Dubstep" continues to trailblaze the collaboration between Dubstep and Hip-Hop, bringing hard bass and gritty lyrics together as none have done before. As Dubstep continues to push itself into mainstream ears, this album continues to push the boundaries of both genres.