Congrats to the New York Giants for winning Super Bowl XLVI. Prior to the game, Opt & Dox dropped a song dedicated to the squad.
http://www.facebook.com/optmusic Congratulations to The GMEN for making it to Super Bowl XLVI!!! Being a Giants fan, y'all know I had to formulate a banger for players and fans. I brought my man Dox from Aquavibe along for the anthem and of course he does what he does. This track was produced by yours truly. Enjoy this, bump it, and stay hype y'all...Let's Go GMEN!!!
"First and foremost I want to thank and show my appreciation for every blog, fan, or just music lover that has shown love to my music or even took the time out to give me a listen, that goes a long way. It's been a while since I put out any new music and that is due to numerous reasons. I feel like as an upcoming artist sometimes breaks are needed in order to fully "live life" and have inspiration from going through things to actually write about."
"With that said I took this time to really perfect my craft and look deeper into finding my sound and innovating who I, Phil the Thrill am as an artist. Through this time I am able to bring to you a collection of some of my works with the "EVOL" project with the timing of Valentines Day..(you see what I did there) And to follow up "EVOL" will be (s)AMPLE TIME 2 in the coming weeks. I look forward to sharing my many stories with you through my music in this year from flythoughts.com and revo media." - Phil The Thrill
Tracklist: 1. EVOL 2. Affliction 3. G00D Girls 4. And He Lost The Girl 5. Feelings
Video: Bisco Smith x Peter Jay - "Corner Store Elixir"
Courtesy Bisco Smith.
Hello good peoples. Wanted to let you know my friend Peter Jay and I released a new music collection called 'Jackson P'. The video 'Corner Store Elixir' is live and the feedback is fresh. The music will be available online Feb 7th. Take a look, take a listen, hit me up, say hello.
"It would be the height of dishonesty if I didn't tell you from the jump that Lonnie Rashid Lynn Jr. b/k/a Common is one of my favorite artists out of the last 30 years. He's on a short list of hip-hop artists I respect the most, not just for making timeless musical classics, but for espousing an artistic and spiritual philosophy I connect with on a deeply personal level. On a short list of the most important concerts I've ever been to, seeing Common perform at The Metro in Chicago is either #1 or #2. Whenever people make those "if you have to be stranded on a desert island" lists and only a few albums can make the cut, I always include "Resurrection" and "Finding Forever" usually isn't far behind. He's got a 20 year track record of hitting me in the soul with his lyrical flow, vocal tone, and impeccable musical acumen. And yet the truth is the very fact I'm a long time unapologetic fan of Common is why it didn't originally make sense for me to review "The Dreamer/The Believer." I know damn well that I'm biased about his music, though I think I've still been able to discern when Common albums aren't up to HIS standards (and "Electric Circus" immediately comes to mind). Nevertheless I put off reviewing this album for several weeks and solicited staffers for coverage, and was surprised that nobody took the offer. Perhaps nobody wanted to be in the position Jay Soul found himself in when he gave "Universal Mind Control" a harsh review. Some of the feedback was due to the unusual/experimental way he wrote it up, but even putting that aside it was hard to ignore a 4.5 for beats and 6.5 for rhymes."
"With "Down South Block Starz" the "Block Starz" series enters its fourth season. Like previous editions, the sampler offers a platform for lesser known regional artists. The promotion mentions two Block Starz alumni who since went on to bigger things - Wiz Khalifa and Machine Gun Kelly. Their status may therefore be subject to change, but right now the acts featured on "Down South Block Starz" can't bank on the name recognition that traditionally helps sell rap music. The only household name is Lil' Flip, who assists New Orleans duo Southern Dynasty on "Pop a Band." Another group to profit from H-Town expertise are Hazel Green, AL's Loced Out Entertainment, who team up with Swishahouse's Lil Young for "Blowing Swishas in Tha House," a smoked out session over a solid concoction of low and high strings. Coincidentally or not, the two songs mentioned are delivered with a certain aplomb. They give off an air of coolness whereas the rest of the offerings seem to be trying a little bit too hard. Representing Baton Rouge, LA, Delwin The Krazyman has a thing for flamboyant sparring partners (Ceddybu Da Rap Sumo, Lega-C) but both "Macho Man" and "Sex Fein" are the type of dopey, dumbed down fare that got southern rap a bad name. The stereotype is reinforced by Ariginal (Fort Lauderdale, FL) and his "Out here grindin'/'bout my money" platitudes on "See Ya Boy". He's a little more creative on "Swaginonamillion" but limits himself with that same ol' "Diamonds in my watch, girls on my jock / still posted with that white girl on the block" talk. "
"Hip-hop scenes outside of America seem to be more unified. This does not mean that international hip-hop scenes shadow their artists under one, distinct style; it means that all types of artists with different styles belong to the same movement. American record labels tend to target their product towards subgroups within a larger hip-hop audience, international labels and scenes create hip-hop in all shapes and forms for their smaller, hungrier audience. Take URBNET for example. URBNET is a record label that has a diverse range of Canada's finest hip-hop artists, from D-Sisive to DL Incognito to Arabesque, all with different ways of skinning a song and making it sound pretty. URBNET has been around for awhile, putting out albums and compilations to keep Canada's hip-hop scene running, and "URBNET Certified Vol. 1" is URBNET's sample platter of their 2012 releases. The compilation can swing from spoken word with avant-garde production to ghetto laments with a soulful backdrop in the blink of an eye. It's a true "sampler" in every sense of the word, with different tastes and methods used with each song. The end result can be off-putting to those who prefer a certain type of hip-hop, but more eclectic and open-minded fans can enjoy the refreshing pace in which the album switches stances. "
"Homeboy Sandman is a rapper from Queens, NYC. He has released two well-received solo albums, 2008's Actual Factual Pterodactyl" and 2010's "The Good Sun." This EP is notable for two reasons. For one thing, it is the first release by Homeboy on the West Coast label Stones Throw. Stones Throw has been releasing more and more non-hip-hop albums lately, so it's nice to see the label return to its roots, and add another MC to its roster. This EP is also one of the first releases that Stones Throw is offering as part of its subscription plan via Drip.fm. The idea is that you pay ten bucks a month and get digital copies of every new Stones Throw release. The first month's offerings were a instrumental version of MED's "Classic," the "Minimal Wave Tapes Volume ," which is a collection of electronic music, and the Homeboy Sandman EP. Drip.fm was started by the guys behind electronic label Ghostly International. It's an interesting concept, and worthwhile for fans of most of a label's output. Hopefully the concept bears fruit. Of course you can buy this on iTunes, Emusic, at Stones Throw's site, Amazon, or one of the few remaining record stores in the world. This being Stones Throw, the packaging is so pretty you may want to fork over an extra four bucks for the vinyl. "
Lyriciss :: The Balance: Money EP :: Lyriciss/DJ Booth as reviewed by Steve 'Flash' Juon
"How 'bout that? A rapper's name which also describes his occupation for a living. Lyriciss is a Washington, D.C. born and Maryland raised rapper who has quickly risen from obscurity thanks to a series of free EP releases being put out through DJ Booth. If you want to check out the first installment "Respect" put out last November feel free, but here we'll be focusing on the "Money" chapter which came out exactly a week ago on January 24th. The funky fresh flute samples of "Get It and Go" remind me of The Beatnuts for some reason, but production is handled by the aptly named Soulful! (The exclamation point is part of his name.) Scratches are handled by DJ I-Dee, which is a pretty big hook-up for someone relatively new on the scene. I have the feeling that's the first of many such collaborations to come though. There are eight songs on "The Balance: Money EP," but that's slightly deceptive given that it's actually four original songs with two different takes - a dirty and a radio clean version. Nevertheless Lyriciss is making the most of the opportunity and "killin niggaz like diabetes and cigarettes" on songs like "The Agena" produced by Grussle. It's hard to miss the Junior M.A.F.I.A. samples in the background here and there, but they are very secondary to the symphonic instruments and harmonized singers that Grussle sampled. "
"Indeed "Black Belt Theatre" is precisely as Planet Asia describes. Inspired by classic kung-fu and blaxploitation films, Asia's latest album is a 20 track odyssey of thick, dusty soul loops served with a side of brash, intelligent gangsterism. As his ultimate goal for this album was to make it feel like a movie, Asia recruited a lengthy list of guest stars to fill the various "roles." The guest list is as lengthy as it is diverse with Talib Kweli, Paul Wall, Raekwon, The Jacka, Mistah Fab, Ras Kass, Torae, and Fashawn being some of the names featured here. The result is an epic experience that is sure to please Planet Asia fans and gain him some new ones along the way. As seems to be the recurring theme for many underground lyricists like Planet Asia, production has always been the one weak point in Asia's catalog. Listeners were reminded of what Planet Asia can do over an album's worth of dope production with "Pain Language" and "Black Belt Theatre" is just as solid musically. Of the big name producers on here, both Khrysis and Oh No deliver as promised. "Lost and Found" (produced by Khrysis) is a sweet, soulful mix of stuttering drums and vocal samples. "No Apologies" (produced by Oh No) is short, but hits hard with a mellow combination of chopped vocals and horns. "Stay Ready" finds Oh No pumping more energy into a similar formula of chopped vocals and instruments."
"From rap music, to appearing in Chrysler ads, "The Price is Right" and "Starsky & Hutch," Snoop Dogg is the quintessential hip-hop icon and mogul. He's also made an equal amount of headlines for his status as hip-hop's marijuana ambassador, either through his songs or many brushes with the law. Fittingly, the D-oh-double-G has decided to follow in the footsteps of Method Man and Redman's "How High" and share a blunt with another weed connoisseur, Wiz Khalifa, as they both star in the upcoming film "Mac & Devin Go to High School." Released in December 2011, Snoop and Wiz are featured on every track of this record as they attempt to combine their creativity on the mic and produce a quality soundtrack for their film. As a duo, Snoop Dogg and Wiz Khalifa sound like they have been rhyming together for years. From the start of the record, the chemistry between the rappers is apparent as they both give off a fresh energy that differs from their solo albums. A good example of this is the funky, atmospheric "You Can Put it in a Zag, I'mma Put it in a Blunt," where both emcees cleverly trade joint-influenced rhymes every four bars. "
"Speech Debelle's early career was in many ways the ideal example of being undone by your own success. Her debut album "Speech Therapy" won the coveted Mercury Music Prize as the best album in the UK in 2009. Not just the best rap album mind you - the best album in ANY genre. This created unbelievably high expectations that her album would be an instantaneous mainstream success and go platinum - neither of which occurred. I don't think that means the journalists, writers and musicians who voted for the Mercury Prize got it wrong; if anything it was proof they got it RIGHT. Her album was not an easily digestible puff of commercial fluff that dissolved the moment it was tasted aurally, and as such not the easiest to sell to a pop music audience. Debelle hasn't toned her words down on "Freedom of Speech" at all. She's actually turned things up a notch or two. The song "Blaze Up a Fire" is a response to the London riots of August 2011, drawing a general comparison to the political upheaval found in Arab countries. Speech is joined by Realism and Roots Manuva on the track, but her quiet vocals are heard the loudest. In many ways she strikes me as a British Bahamadia - easy to underestimate because she speaks softly even though she carries a VERY big stick. Of course it's easy to make a point but much harder to make one people want to listen to, which was why her first album was a tough sell. I think this time around people will find that her mixture of beats and rhymes is on point. "
"Minnesota born and raised T.Q.D has been active as a rap artist since the late 1990's, but started to make noise as a soloist in the 2000's with albums like "Not Yet" and "Clench, Grit, Breathe." If nothing else you can say that he's resilient and determined to succeed. Early RR reviews were somewhat harsh, yet arguably fair, in their assessment of his talent and abilities. Susan 'susiQ' Kim noted his debut showed plenty of potential yet observed "his lyricism is short of substance and cadence." Pedro Hernandez gave solid marks for production, but noted that "the album is one big muddled mess when it comes to focus and lyrics." If criticism can serve to make an artist evaluate and improve their output, it's fair to say our writers gave T.Q.D one to grow on and then some. "Taketh Away" suggests to me that he took away some good advice from this and other reviews. Songs like "Insomnia" don't seem muddled or unfocused - he's got a very good handle on the things which cause sleepless nights. Salt Lake City's own Vividend produced the track, and both the beats and rhymes are harrowing. You get the sense a long night of tossing on the pillow was the perfect inspiration. Despite being 11 tracks in length, "Taketh Away" flies by fairly fast, clocking in at just one second over 32 minutes. This is another factoid that suggests T.Q.D took the idea of being "focused" to heart- he's not wasting any time on expressing what he needs to say with his rhymes."