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Wednesday April 23, 2014
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Gucci Mane f/ Usher - Spotlight (Single)

Review by Steve 'Flash' Juon

Artist: Gucci Mane f/ Usher
Title: Spotlight
Label: So Icey Ent./Warner Bros.
Gucci Mane is back. Yay? "Bay-bay, okay ay/Where you wanna go today?/No she's not a prostitute/but if she was I'd have to pay/Say, lay, you can stay/I'll sex you a couple days/Tell your girl no need to fret/she want to par-ti-ci-pate." The flow, it annoys me/I wish that he'd quit it/I'm sick, of, hear-ing/how Gucci wants to hit it/his rap whack, his flow whack/his topics super-fi-cial/someone take him out/with a big SCUD mis-sile. The best parts of this song are Polow Da Don on the beat and Usher singing the hook - otherwise I'd have cut this song off before I even finished this paragraph. You can check the song out yourself below.

Jay-Z's Blueprint 3 Revisited - An Open Letter From Jay Soul

Blueprint 3 – The Aftermath
Jesal 'Jay Soul' Padania - Twitter: @JaySoul

"You're playing it short when you should be playing it long..."

A few weeks ago my review of Jay-Z's latest album "Blueprint 3" seemed to create a few shocks in our little world of hip hop. It led to some affirmative backslapping from the Jigga haters, and some criticism from the diehard fans. That is perfectly natural – it is has proved to be an extremely divisive album, with the majority of hip hop fans either outright loving it or straight up hating it. As one of my esteemed colleagues pointed out, however, people should at least try to READ the review properly, and not focus on the score too much.

Before writing for the website, I genuinely used to read it every single week (since 2001, actually). Tuesdays was and still is "RapReviews Day" for me, and I know from the perspective of the reader when you anticipate a big album from a major artist. You're looking forward to it, want to go out and buy it first day and ENJOY it. Then some motherfucker tells you that, in their opinion, it isn't worth your money. It is kind of deflating, right? I've felt that way before, mentally cursing Flash for taking that experience away from me. But in the end, whether I agreed with the writers or not, I always appreciated what they were trying to say.

I've been the bearer of bad news on various albums since my time here, and I think some people – casting me in the clichéd role of Simon Cowell "British Villain" – think that I take delight in it. Not even slightly. When a major artist releases a sub-standard album, we are ALL losers! The artist, the record label (usually), the media, the fans. And nobody likes to lose.

But sometimes you must accept defeat in order to win big next time – if we are to improve, we must learn from our mistakes because life is a giant trial and error game that we play at for a while. Even some of the biggest egos in rap can accept this, and it is no coincidence that many of the legends in the game are the least delusional, the most willing to learn, progress, evolve.

Some accused me of bias, mainly owing to the last few lines of that now infamous "Blueprint 3" review. When I was stating that hip hop needs us now more than ever, I meant that it needs the STANDARD BEARERS – you, me, all of us with discerning taste – in order to maintain the quality level. It is all well and good having major artists releasing tons of music, but if none of us are listening to the entire albums a year later, it dilutes hip hop in general. There will always be MC's that can spit hot fire, producers that can make beautiful music – but someone has to put it together, and that is perhaps what is really going wrong right now. Albums are being dictated by focus groups, not visionary executive producers. That is why Rick Rubin is still legendary: he knows how to get an artist in the zone, get twelve great songs out of them, and sequence them with the right music. There are still hot singles being released, for sure – but whilst singles are hors d'oeuvres to whet your appetite, albums are the main MEAL. That is how you get to know the artist, how you connect with them.

There are a few times when I have over scored an album, for sure (LL Cool J and Eminem spring to mind). Hey, we all make mistakes and get overexcited... But just know that I do not UNDER score. In other words, you could read a review where I give someone an 8.5 and think "this motherfucker has lost his mind, over scoring this shit." But how many times have I given a genuinely great album, from front to back, too LITTLE credit? That means that if my opinion is that an album is disappointing, you should know that I have given it a great deal of consideration. Many of the emails about BP3 surprisingly said exactly the same thing – that they knew the album was poor but had been "brainwashed" into being unable to criticise a Jay-Z LP. I can completely understand that, but I pride myself on being able to see into the truth of something, ignoring the entourage of hype or history. That goes for positive and negative baggage – hey, I'm the guy that gave "American Gangster" full marks, the only time I've ever done so on this site.

As for the BP3 saga, I honestly felt that although it was a generally likeable and listenable album, there were glaringly obvious flaws. It was too long, for starters – something that has affected the majority of Jay-Z albums. The beats, around half of them, were listenable but substandard, whilst the rest were solid. Aside from the classic "Empire State of Mind," there are only a few tracks that I could honestly say I will listen to – and they pretty much come in the first five songs. His flow – yes, Jay-Z's FLOW! – is off... He just sounds lazy and unfocussed by his standards, aside from a few good moments – although I'm not a fan of "Venus vs. Mars" he does drop some clever lines. But the core truth is that Jay-Z really NEEDED a hit record, as he has run the risk of becoming a celebrity rapper that hasn't had a massive slew of singles from a big selling LP for six years. He needed to get back in the numbers game, and with the double-whammy of "Run This Town" and "Empire State of Mind," he has certainly achieved his goal – BP3 is shifting at an impressive rate. Assuming that "Young Forever" or "Off That" are hits, Jigga will be looking at his most commercially successful (singles wise) album since "The Black Album" and "Hard Knock Life." That is great for Carter, but with my reviews, I try to "play it long" as Prop Joe used to say – in other words, will we still be listening to this long play in the future? I've already stopped listening to BP3 (aside from a couple of tracks), and not out of spite but genuinely boredom. And if you've grown to really like it, that is fine too! We are all of this world, our opinions matter not one jot – because if you prize a piece of music, listen to it and love it unconditionally, whether somebody else likes/loathes it shouldn't really matter in the slightest.
Jesal 'Jay Soul' Padania on Brit Hop 2009

Brit Hop 2009
Jesal 'Jay Soul' Padania - Twitter: @JaySoul

The second half of this decade has been a somewhat special time for British music. Something had been stirring in the air and, for some; the tipping point (thanks, Mr Gladwell) came around the time that Amy Winehouse dropped her sophomore LP "Back to Black." Whilst it wasn't what you would call a true "critical darling," it nonetheless contained five mega-hit singles (well, six if you count "Valerie") and the album has continued to be in the Top 100 UK Album Chart for THREE YEARS now. The UK press has a hyperbolic history of heaping praise on undeserving souls, but Amy Winehouse smashed it. These are classic singles that will be played until you and I are old and grey. In fact, and please bear in mind that I say this in all seriousness, that no matter what happens now, Amy Winehouse has cemented her legendary status as "Back to Black" was her "Illmatic" and "Thriller" combined in one. She poured her heart into every note or lyric, and the key is that you actually BELIEVE her – combine that with stunning melodies, accessible music and a wonderfully individual voice, and it isn't a trick that will be repeated anytime soon by ANYONE.

Try telling that to the UK labels, though. As soon as Amy's success went stratospheric, the A&R's got busy in the lab, trying to clone her. Since 2006, it is fair to say that the twenty-something girls have completely ruled the UK charts. Regardless of genre, and counting the non-clones, you have Duffy, Adele, Estelle, the Ting Tings, La Roux, Florence & The Machine, the Sugababes, Girls Aloud, Lily Allen, Leona Lewis, M.I.A., Kate Walsh, Natasha Bedingfield, VV Brown, Kate Nash, Corinne Bailey Rae, Alesha Dixon, Lady Sovereign, KT Tunstall, Bat For Lashes, Pixie Lott, recent Mercury Prize winning rapper Speech Debelle... The list seriously goes on and on. Add the Stateside girls like Rihanna, Lady Gaga, Beyonce, Jordin Sparks, Fergie and all the other countless female soloists and you start to struggle for room to breathe (in a nice way). This truly is a golden age for the girls.

However, if you only knew one thing about the music game, it would be that things change. Trends come and go. How many out of that exhaustive list will be here in 10 years time? Only a few. They will forever be cemented in the "Now" compilations, and on "Remember the 2000's" type of throwback CD's, sure. But some will be dropped; others will quit the game; only those with iron strong determination to survive will make it through to 2020. There have been trends that pushed through with little warning, ruled the charts, then sank without a trace within three years. The Garage scene circa 1999 was incredible, with genuine talent selling units from literally nothing. The Britpop era from 1995 to 1997 was huge, and will forever be remembered – especially that classic summer of 1996. Those were the days...

Except that those WEREN'T the days. The Britpop era of music was TERRIBLE!! Seriously. I was one of the young morons responsible for buying into chunks of it, but frankly the Spice Girls created better music than 90% of the Britpop acts – I'm not even joking. Only Blur, Oasis and especially Pulp (plus a tiny handful of other acts) genuinely deserved credit. The SCENE was classic, but the music was certainly not.

Which brings us onto the Brit Hop in 2009. This year, more than any other in the history of the UK music scene, has given birth to a genuine combined assault from the hip hop world. In the past twelve months alone, there have been big selling albums from exotically named rappers such as Dizzee Rascal, N-Dubz, Taio Cruz (technically a producer/singer that sometimes raps), Chipmunk, Speech Debelle, Wiley and Tinchy Stryder, with albums to come from Sway, Kano and a few others. Aside from Dizzee, most of the big sellers have been debut artists – think Tinchy, N-Dubz and Chipmunk. They have captured the hearts of the youth, and the youth, for once, are actually putting their money where their mouth is. The results are on view for all to see, and it is a truly wonderful moment – this generation of rappers lie on the cusp of something really big.

Of course, this has taken years of preparation. N-Dubz are, to all intents and purposes, a manufactured band in the mould of the Black Eyed Peas. Tinchy Stryder's back story is so bizarre, it beggars belief (essentially a couple of super rich public school boys wanted to have some fun and moulded him into a marketable product – or so the story goes). Dizzee is, strangely enough, only 24 years old. Yet, "Tongue N'Cheek" (which, I will warn you in advance, will feature highly on my year end list), is his FOURTH album, with his first LP winning the Mercury prize when he was only 18. Sway signed Stateside with Akon, whilst Jay Sean (more of him in a minute) signed with Lil Wayne and co. These last three are in their mid-20's, yet have their own labels in the UK. It is fantastic to see.

Look at the Billboard Top 100 singles at ANY point in the last SIX MONTHS and all you would have seen was either "Boom Boom Pow" or "I Gotta Feeling" – both by the Black Eyed Peas. Ok, but go and look NOW. It says "Down" by Jay Sean, featuring Lil Wayne. Yes, the urban singer is from the UK, and not since Craig David has anyone British actually done something massive on the US charts, especially not a UK Asian. Except the whole of Britain seems to have collective amnesia – didn't M.I.A. do pretty bloody well with "Paper Planes" last year? Plus she is a UK Asian? I mean, her and Jay Sean were BOTH brought up in the very same place, Hounslow!

I recently had a debate with someone about this very issue – why has M.I.A. been almost completely ignored by the Asian community in the UK? He kept banging on about how Jay Sean is selling loads more records than M.I.A. in the States. However, that really isn't the case. Yes, "Down" is now Number One, and selling major numbers (over 1m in two months is an incredible achievement). Yet "Paper Planes" sold well over three million with a crap video and M.I.A. basically refusing to do any promotion for it. It also spawned T.I.'s "Swagga Like Us" which in turn led to a legendary Grammy night performance – and, incidentally, that was the heavily pregnant M.I.A.'s due date for giving birth. It featured on the "Pineapple Express" trailer, and, more importantly, on the soundtrack to the 8-times Oscar winning "Slumdog Millionaire" – as well as within the actual film, in a stunning scene that genuinely made me cry tears of pride and joy. The song has gone down in history, and another famous review site recently placed it within the Top 3 singles of ANY this decade (I concur).

Of course, Jay Sean has absolutely nothing to do with this side issue, and his chart-topping achievement is stunning, the culmination of 7 years hard work. If anything, he has provided this new generation of British urban stars in the making with a blueprint of how to crack America, if they wish to try. And when he releases his album back in his homeland, it is a pretty safe bet that he will be right near the top of the charts, alongside Dizzee, Tinchy, Taio, Chipmunk and N-Dubz. This really is an exciting time, but labels – and, more crucially, artists – would do well to learn from the previous super-fantabulous "scenes" in the UK that crash and burned after a couple of years. In fact, if I'm totally honest, they should look to their American forefathers of rap and study the best – the best rappers, singers, producers and, perhaps most crucially, labels. Not copy, but study and adapt. That is the best way to achieve sustained success, so the most vital foundation is a bedrock of GREAT music. If you can't find those producers who can help you step up to the next level, go and search them out, anywhere you can.

Britpop collapsed because the music was actually pretty shit, save for a few great bands. People wise up after a while, they move on if the scene doesn't move with the times. Brit Hop is at an exciting point, but it needs to create truly great music – and that doesn't mean that A&R's should clamber to sign the "next big thing" just for the sake of it. They should attempt to build a real and successful industry, not just a scene. Let's hope that it improves – at the moment, it is, essentially, a kind of dancey/Timbalandy/urbany with really soft rapping to girls over it. That is a clever place to start, but they won't be able to repeat that trick for the next five years – the music is fun, but not approaching greatness at a rate of knots. So enjoy the success, but progress and evolve. All of the rappers enjoying success in the USA owe everything to the previous generations, the ones that laid the really hard groundwork with classic ALBUMS as well as chart-topping singles. Let's hope that exciting times can translate into a continually enthralling era.
Baron Von Alias - Overload (Single)

Review by Matt Jost

Artist: Baron Von Alias f/ Foreign Beggars
Title: Overload
Label: Burn Block Beats

Hard on the heels of his "Timepiece" album, Newcastle's Baron Von Alias releases new material with "Overload." Steesh's beat is electronically wired but enough balanced and grounded in hip-hop to prevent a short circuit. Or maybe a jolt is what rap listeners would need every now and then? Either way this is still some degrees of separation away from commercial fare and really a solid slice of UK rap, Baron and guests Foreign Beggars delivering more complex than your average rhyme patterns in refreshing accents. It's hard to believe that small singles like this one truly can "give the whole rap scene a refresh," but for a lucky few it might just do the trick.

Hip-Hop Shop #52 w/ Dan-e-o (Dilla Pickles!)

Hip-Hop Shop 52 features a half hour interview with Dan-e-o about his new album Dilla Pickles and a variety of other topics, and then a half hour of hot new songs from Gift of Gab, Brown Bag AllStars, iLL-Literacy and more! If you would like to sponsor Hip-Hop Shop please send an e-mail to for more information. Hip-Hop Shop features podsafe music, so distribute the show and tell your friends to check us out every week at!

Download Here (right click to save)

Tracks featured this week:

* Dan-e-o f/ Famous - Check the Grind
* Dan-e-o f/ Conwell - Last Minute
* Gift of Gab f/ Del the Funky Homosapien - Dreamin'
* Brown Bag AllStars - Got it All (DJ Brace Remix)
* iLL-Literacy - The HereNow (iPod Version)
* Poison Pen f/ Immortal Technique - The 2nd Amendment
* Zilla Rocca & Has-Lo - Forever Freestyle Nike Run
* Komp'l - So Cold

Nyle - A Simplified Name for a Diverse Emcee

Anti-machismo, lonely stoner, and a post-Tribe/Pharcyde type of vibe are just three of the ways Nyle feels his work can be described. Most people who hear him rhyme, however, have found a shorter, one word, description for his style – dope. Nyle’s fan base has been growing steadily since his arrival in NYC from Philly a handful of years ago and he points to his content as one of the reasons for this, saying “the stuff I write about is easy to relate to.” Nyle also has a great range when it comes to his music as he point out his body of work includes everything from “straight rap jawns like ‘Gangrel,’” to “a T-Pain parody song called ‘Fuck A Nice Guy.’” No matter what he may be spittin about, Nyle has developed a reputation for always gettin busy on the mic and this week I caught up with him to ask him about making it in NYC’s crowded hip-hop scene, which kind of naysayers he loves, and why so many people know him by so many different names.

Read the full interview at:

The (W)rap Up - Week of October 13, 2009

Del the Funky Homosapien & Tame One :: Parallel Uni-Verses
Gold Dust Media/!K7

Author: Steve 'Flash' Juon

"The year of hip-hop superteams continues. We've already had the all-star Slaughterhouse team, the New York dynamic duo of KRS-One & Buckshot, the Brooklyn to Boston duo of Masta Ace & Edo.G among others, and at long last it's time for Del the Funky Homosapien and Tame One to take their turn. Wait... Del and Tame? In terms of dusted, bugged out unconventional rap flows, there may not be any two rappers on Earth more well met than Tame and Del. Each one has cultivated their following over the years amongst the populace and their peers by doing shit their own way, sometimes in direct opposition to being commercially viable. No one has ever said "Fuck Del/Tame, all they do is bubblegum pop rap, that shit is garbage." These two rappers are creativity personified."

DOOM :: Unexpected Guests :: Gold Dust Media/!K7
as reviewed by Steve 'Flash' Juon 

"DOOM. The same word that excites a true rap head usually implies impending disaster in any other context, to the point that you might hear Private James Frazer in your head instead of a semi-intoxicated verbal pugilist. Nobody wants to be "doomed to their fate" unless their name is Daniel Dumile, one of the most popular underground rap icons of the last fifteen years. To become the mysterious man behind the metal face mask though Dumile experienced a lot of personal tragedy, but as he puts the metal mask on he transforms into the anti-hero who doesn't always do the right thing for the right reasons yet saves the day anyway."

Ill Mondo * Neal Rames :: Ill Mondo * Neal Rames! :: Ill Mondo Records
as reviewed by Steve 'Flash' Juon 

"This write-up is either early or late. The featured artist is either Ill Mondo or Neal Rames. This opening paragraph is either inconclusive or completely on point. The MC on this album is either the second coming of the Beastie Boys or the rapping version of Neal Armstrong. The producer is either friends with the aforementioned rapper or one half of a well-respected Bay Area production team. The guest stars are either Percee P, Prince Po or Sean Price. The structure of this format is either irritating you or intriguing you more."

J Dilla :: Dillanthology 3 :: Rapster Records
as reviewed by Steve 'Flash' Juon 

"Honestly I think it's beginning to get a bit ridiculous. I miss James Yancey as much as any man alive. The news of Dilla's death on February 10th of 2006 hit me hard - possibly too hard. It made me miss living in Michigan. It made me miss Slum Village. It made me purchase a "J Dilla Changed My Life" t-shirt that I rock with pride every summer. I have every album he released while alive, and almost all that were released (or re-released) posthumously. There's no doubt that when to' up I've shed tears in Dilla's memory, and for me his memory looms as large as Biggie & 'Pac. Despite that I think it's beginning to get a bit ridiculous. How many posthumous compilations of Dilla do we need?"

Jim Jones & Webstar :: The Rooftop :: E1 Entertainment
as reviewed by Steve 'Flash' Juon

"Chicken Noodle Soup with Harlem's American Gangster on the side? As odd as that collaboration might seem, both Jim Jones and Webstar are Harlem natives who love their hood, although Webstar might love his lunchtime special more - after all it's his only claim to fame thus far. At least lil' Webstar is all grown up now, because the last time out he was too young to even get a parental advisory sticker. Now he's got the R rating and a cell phone of his own, and as a result he and his crew (Young B, Young Deion, Rex & Ricky Blaze) have some advice for you: "Follow Me on Twitter.""

Knine :: Robots Have Feelings Too :: {self-released}
as reviewed by John-Michael Bond 

"One my favorite quotes of all time is from the show King of the Hill. Hank, the show's matriarch, comes across a Christian rock band whose music is frankly pretty awful. He looks these guys straight in the eye and tells them "you're not making Christianity better, you're making rock and roll worse." In my years of reviewing music this has always been my feeling on Christian rap, with the exception of a soft spot I've still got for a few DC Talk record from back in my youth. Far too often these artists try too hard to walk the line between being a minister and a pop star and end up failing miserably at both. If you're giving all your glory to God you shouldn't be writing songs that sound like strip club anthems with the occasional shout out to the Lord. The fact that you don't swear shouldn't be the only reason people think you're Christian. And you sound like a fool talking about all your money when you're spreading the word about a dude who had contempt for the rich, who walked everywhere (even over water), and didn't charge for his live show"

QN5 Music :: Baby Blue For Pink :: QN5 Music
as reviewed by Guido Stern 

"Released in early February 2008 in anticipation of Valentine's Day, "Baby Blue For Pink" showcases QN5's clever lyricism and laidback production. A quickly rising label worthy of comparisons to Def Jux and Stones Throw Records, QN5's best-known artists include CunninLynguists and label founder Tonedeff. Rightfully so—as they are ridiculously talented artists—but QN5 is also home to a number of more unheralded talents"

Shortyo :: King of the Kounty :: Affiliated Entertainment Group
as reviewed by John-Michael Bond 

"After listening to Shortyo's "King of the Kounty" I'm well aware that talking shit on him will get m shot. He tells the listener quite a few times on track 16, "Boogie Picking Angelo." So in the interest of keeping myself from getting shot I'll follow my mother's advice about keeping my mouth shut if I can't say anything nice. So I would like to formally congratulate Shortyo for having some of the best ears in the rap game. From beginning to end "King of the Kounty" is one of the best produced rap records I've heard this year."

Skyzoo :: The Salvation :: Jamla/Duck Down Records
as reviewed by Patrick Taylor 

"Skyzoo is a Brooklyn MC who has released a string of mixtapes, including "The Power of Words" with Statik Selektah and DJ Drama. "The Salvation" is his debut album. If you look at the back of the album, you'll immediately notice that there are no other rappers on the disc. Zip. Zero. No features, no phone-in verse by Lil Wayne, no posse cuts, no verses by weed carriers or friends of friends. It's Skyzoo's show and Skyzoo's alone, barring Carlitta Durant's vocals on "Easy To Fly." It's a daring choice for an up and coming rapper to go at it totally alone, but it makes sense. "The Salvation" is an intensely personal album, so it's fitting that Skyzoo tells the whole story himself. He also has the chops to pull off 16 solo tracks."

Spice 1 :: 187 He Wrote :: Jive Records
** RapReviews "Back to the Lab" series **
as reviewed by Emanuel Wallace 

"In the early 90's, the misogynistic and violent reality rap that was coming out of California was at an all-time high. In addition to the veterans like Too Short, Ice-T, and Ice Cube, it seemed like there was an influx of new rappers with rhymes to kick and stories to tell. Snoop Dogg was one of those rappers. DJ Quik was one of those rappers. Not as famous but just as revered was a rapper that was discovered by Too Short that went by the name of Spice 1. His first full length release was the self-titled "Spice 1" in May of 1992, which peaked at #82 on the Billboard 200 and featured two prominent singles, "In My Neighborhood" and "Welcome To The Ghetto". The following year, Spice was featured on the soundtrack to the coming-to-age film, "Menace II Society" with his song "Nigga Gots No Heart". A few short months later, Spiggedy Spice Wiggedy One was set to release his sophomore effort, "187 He Wrote"."



Interview w/ Dan-e-o Tonight - Replay Tuesday on RapReviews

Hip-Hop Shop 52 will feature a half hour interview with Dan-e-o about his new album Dilla Pickles and a variety of other topics, and then a half hour of hot new songs from Gift of Gab, Brown Bag AllStars, iLL-Literacy and more! If you would like to sponsor Hip-Hop Shop please send an e-mail to for more information. Check the show out at live at 9 PM EST, 8 Central but if you miss the live show the replay will be here Tuesday on
Free Music Friday: Throw Some D's Edition

Yep, this edition is titled "Throw Some D's" Edition because the majority of free mixtape/albums on here are from artists who start with the letter "D." I guess the "D" equals DOPE! But don't get the wrong idea, non-D mixtapes are equally dope as well. And they're free! Check 'em out!

Diamond District - Diamond Exchange Mixtape

[To quote Milk Dee, what more can I say about these cats, man? Them D.C. boys know how to create some tight and bangin' hip-hop music. No digging necessary because this mixtape is a diamond OUT of the rough, uncut and flawless.]


1. theyoungestkim and Oddisee - The Crazy Intro
2. Oddisee - What's Crazy
3. yU - MmHmm
4. X.O. - Time Out
5. Diamond District - Back to Basics
6. Oddisee - The Jungle Instrumental
7. Oddisee - Gully
8. X.O. I Do It for Ya'll
9. yU - FIne
10. Diamond District - Make it Clear
11. Diamond District - In the Ruff
12. Diamond District - Street Won't Let Me Chill

Digable Planets :: Sounds from the 7th Dimension

[Props to Okayplayer for this one! I thought Digable Planets were dope since 1993. The tape includes exclusive rare remixes of classic Digable Planets material, and also includes new unreleased music from Butterfly and Doodlebug.]

1.Digable Planets-Rebirth of Slick (King Britt Rmx)
2.Digable Planets-Rebirth of Slick instr (DoodlebugftDOR Outtaspacefunkadelic acc)
3.Doodlebug feat D.O.R.-Outtaspacefunkadelic
4.King Britt-Instrumental #18
5. DJ Shadow Feat Blackilicious-Swan lake
6.Ghostface killa feat MF Doom-Angels
7.D.O.C.-Its Funky enough
8.Kai Chi-Got Green
9. DJ Alex J-tribal drums (Doodlebug vox)
10.Butterfly and Doodlebug-Fresh Out
11.J.Period and K’naan -Relationships Lay (Bob Dylan Tribute)
12.Butterfly (Shabazz Palaces)-Sparkles
13.MF Doom-Dead Bent
14.Digable Planets-Brooklyn Sky
15.Young Buck-Bang Bang instr
16.Cee knowledge feat CFO Allstars-These Eyes
17.Black Moon-Buck ‘em Down-Beatminerz instru
(Doodlebug feat D.O.R.-Back in da Daze Accap)
18. DJ Premier-Its All Real instru
19.Chali 2na Feat Talib Kweli-Lock shit down
20.Pete Rock & C.L. Smooth-T.R.O.Y.-They Reminisce Over You instr
21.Talib Kwela & Hi-Tek-Back Again
22.Buster Rhymes-Put ya hands where my eyes can see instr
23.Camp Lo Feat Butterfly-Swing
24.Butterfly (Shabazz Palaces)
25.Sonny Bonoho-Judge Brown
26.J Walk-Soul Vibration
27.Digable Planets-Where I’m From RMX
28. DJ Honda Feat De la Soul-Trouble in the water instru
29.Digable Planets-The May 4th Movement
30.9th wonder-Nightriders instru

Bonus track
31.Doodlebug Feat D.O.R. JBizness,The Tones-Sweet Music


DJ Paradime & L.E.G.A.C.Y. - Whut? Thee Mixtape (Re-Release)

[Here's an old-new mixtape for y'all. L.E.G.A.C.Y. and DJ Paradime did this joint back in 2005 and they recently decided to re-release it for free now. Thankfully, this joint never lost its flavor from four years ago, proving no matter how old good joints are, they still are good joints. It's time for some action, 'cause this one here will blow your mind.]

1. DJ Paradime Intro
2. The Product - Dox f/ The Embassy, Chaundon and L.E.G.A.C.Y. - Prod. by Dox
3. Dopeman - Prod. by Khrysis
4. L.E.G.A.C.Y./Chaundon - Free
5. Pairadice - Prod. by Khrysis
6. All Real - Prod. by Khrysis
7. No Apology - Prod. by Khrysis
8. Eyewitness - Prod. by Khrysis
9. Top Seeded - L.E.G.A.C.Y./Supastition/K. Hill - Prod. by DJ Forge
10. Acapella - Recorded Live 10/7/05 - The Cat's Cradle
11. Freestyle
12. Didn't Care - Prod. by DL
13. What I Love - L.E.G.A.C.Y./Chaundon/Sean Boog/ J.O. Scudda - Prod. by Khrysis
14. Remembers Letter to Panama - Prod. by Panama Gat
15. The Weirdo'z One - L.E.G.A.C.Y./Chaundon/Sean Boog/ J.O. Scudda - Prod. by Khrysis
16. Been Here for a While - F/ Yahzarah a/k/a Purple St. James - Prod. by Khrysis
17. Melting Pot - K. Slack f/ L.E.G.A.C.Y./Median - Prod. by K. Slack
18. The Last Clown - Prod. by Marshall Law
19. Nobody Like Me Remix - O.N.E. Jones f/ L.E.G.A.C.Y./Dutch Prod. by Dox
20. Verbatim - Prod. by 9th Wonder
21. Outro

Oddisee :: Odd Autumn EP

[Huh man! Oddisee brings it to all of the seasons. Props to the hip-hop version of Vivaldi!]

01 The Supplier f. Tranqill
02 Almost A Year Since
03 Everything Changed Nothing (Instr.)
04 Every Day People (Instr.)
05 Pulp Fiction
06 Saw Myself Today
07 The Second Date
08 Grey’s Anatomy
09 Tell The Truth (Instr.)
10 Theatre
11 Autumn Run
12 Tell The Truth f. Nikki Jean (Bonus)


Stetsasonic :: The Original Hip Hop Band [Mixed by DJ ReMike]

[Much salute to DJ ReMike for giving homage to the first hip-hop band! The Roots are classic, but you can't forget the firsts who ever done it. And this NY group definitely paved the way for all in hip-hop. Yes, I said ALL! Go Stesta! Salute to my homie Kevin Nottingham!]

01. Hip Hop Band Intro
02. Showtime
03. Just Say Stet
04. So Let the Fun Begin
05. Gyrlz
06. Go Stetsa
07. Wordsmith - Interlude
08. Daddy-O - Brooklyn Bounce
09. Talkin All That Jazz
10. Speaking Of A Girl Named Suzy
11. Go Brooklyn 3
12. Hip Hop Band
13. Ghetto Is The World
14. DBC Let The Music Play
15. No BS Allowed
16. Stet Troop 88
17. Daddy-O - Flowin In File
18. Daddy-O - Nobody Moves, Nobody Gets Hurt
19. Bust That Groove
20. My Rhyme
21. A.F.R.I.C.A (Norman Cook Remix)/Outro
22. The Problemaddicts - What It Seems (Remix Produced By DJ ReMike)(Bonus Track)


That's it for the "Shedding Edition" of "Free Music Fridays." If you have any free music you would like to share with the world, please e-mail me at If you're an artist with your free mixtape/album shown on this page and you want to send me a link re-up, corrections, and/or questions, e-mail me at, as well. Thanks for reading and enjoy y'all! Two fangas, one love....

Is Prince Markie Dee Going to Wrestle the Iron Sheik?

Iron SheikTruth may in fact be stranger than fiction. Our affiliate site has the story in their latest WWE news update HERE - it's the last item on the page.

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Welcome to for the week of April 22nd, 2014!! Please like us on Facebook and shop Amazon through RapReviews so we can bring you new material every week. Since last week's update ran late consider this a compendium of two weeks worth of material in one shot: Adam Bernard's The Adam B Experience #75, Blanco, The Jacka & Messy Marv's "One Hunnid," Chuck Inglish's "Convertibles," Grieves' "Winter and the Wolves," the "Hi Grade Ganja Anthems Volume 4" compilation, Jeep Ward's Subways & Sidewalks #21, Steve 'Flash' Juon's HHS #266 and Steve 'Flash' Juon: The Hip-Hop Shop #267 plus a Boondocks Season 4 editorial, MF Grimm's "Good Morning Vietnam EP," Nas' "Illmatic XX," Pharoahe Monch's "PTSD," Shabaam Sahdeeq's "Keepers of the Lost Art" (our featured review) and Emanuel Wallace's The (W)rap Up for April 15, 2014!

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