MP3: 40Love - "I'll Take Care Of You" ft. Headnodic
Courtesy Audible Treats.
The steam is still rising from 40Love’s freshly released album Dreams Don’t Sleep, and today, they’re serving up another helping of Bay Area hip-hop/soul/electronic goodness. This time, it’s a loosie track called “I’ll Take Care Of You,” which features former Crown City Rocker’s bassist Headnodic, and also received an MP3 premiere from Pigeons & Planes.
“Headnodic and our boy Anthony Coleman II blessed us with live bass and horns, and they just took everything to another level,” says The Whooligan, who, along with G-OFF, Miss Haze, and Mikos, has been perfecting the song for years. “I still get goose bumps when I hear it, even now when we're finally releasing it from the vaults – it's beautiful to see this song see the light.”
“I’ll Take Care Of You” is not your average single; the song is split up into two different parts that are connected by an overall idea of “the grind and each of our paths, and how nothing turns out how you expected it to,” according to Miss Haze. The Whooligan sampled Margie Joseph’s song of the same name, and made sure to maintain it’s original deep, pensive vibes while matching the two tracks together and making it sound cohesive.
“We will always find a way to take care of our foundation and get back to our root love,” explains The Whooligan. “And because the true hip hop head won't be able to resist nodding their head and truly letting this track touch their soul, we will always take care of you with the beats and the lyrics.”
"8Ball's a regional hero and an underground legend, a veteran of two decades and a Southern innovator responsible for putting Memphis on the hip hop map. After three albums on Suave House Records in the mid-1990s, Ball and his partner-in-rhyme MJG elected to try their hand on the solo tip, and 8Ball's 1998 solo debut "Lost," a double-disc blockbuster on Suave House, became something of a cult classic. As a solo artist, though, he's never quite been in the right place at the right time. Amid the southern rap explosion at the turn of the century, the follow-up was the too-ironically titled "Almost Famous" in 2001, a major label effort that poised the Fat Mac for his solo breakthrough, with guests from Diddy, Ludacris, and Carl Thomas. Sales were slow, and before long distributor JCOR closed up shop, dooming the album to premature out-of-print scarcity. Although he and MJG continued to record successfully as a duo, including two albums with Bad Boy and one on T.I.'s Grand Hustle imprint as well as a crossover smash with their contribution to fellow M-Town vets Three 6 Mafia's hit "Stay Fly" in 2005, his solo catalog has been hampered by a few unauthorized releases and others that straddled the line between mixtape and album a little too closely. Make no mistake, though, that "Life's Quest" is a full-blown affair, a true return to the solo realm for the River City don. Countless seasoned emcees have gone the independent route in the aftermath of their commercial heydays, and in addition to being plagued by suspect production and low budgets, it's easy for many to go on autopilot, especially as the need for a check eclipses the incentive to preserve one's legacy. Fortunately, this is far from the case on "Life's Quest," a well-conceived outing from start to finish. Production is consistently slick, including tracks from the appropriately in-demand Big K.R.I.T. and hometown hero Drumma Boy, and while there's a deal more autotune than this reviewer would prefer, it's stylish and contemporary without sounding forced. Frequent hooks from an array of R&B crooners and songstresses enhance the epic, dramatic feel of many tracks, such as opener "Indestructible," a piano-laced "Dead Presidents" soundalike with Keelyn Ellis. Ball's gruff, syrupy vocals simmer over the twinkling music, pledging resilience in the face of temptation."
"Reggae has been synonymous with Jamaica almost since the island nation gained its independence in 1962. This box set shows the evolution of Jamaica's music over the past five decades, from ska to reggae to roots to dancehall. The set is arranged into three discs, all arranged chronologically. The first disc begins with the bouncy "Independent Jamaica" by Lord Creator. It shows a nation full of youthful enthusiasm and optimism for the future. The optimism continues into the ska-infused sixties, represented here by the Skatalites effusive "Malcom X." Hopeton Lewis' "Take It Easy" shows the transition from hyper ska to smoother rocksteady. Some of the most soulful singers of the rocksteady and early reggae era are represented here, including Nicky Thomas, Alton Ellis, and Dennis Brown. As the sixties grew to a close, Jamaicans came to realize that the new government brought almost as many problems as the old. There was still widespread poverty and corruption, and more and more Jamaicans turned to Rastafarianism to guide them. The music turned more spiritual as well, culminating in skanking roots reggae.Junior Byles' "Not Fade Away" and Culture's fiery "Two Sevens Clash" are both prime example of roots reggae at its dreadest. Disc two sees reggae's transition to dancehall. Wayne Smith's "Under Me Sleng Teng" is the song that changed everything. The riddim was recorded not by a group of skilled musicians, but by using a pre-set of Eddie Cochran's "Something Else" on a crappy Casio keyboard. Producer King Jammy tinkered with that beat a little to give it the reggae one-drop lilt, added some sung/spoken lyrics about, and voila, smash hit! Cue hundreds of session musicians lining up for unemployment, and a million kids with keyboards trying their hand at being the next reggae superstar. It's not unlike what happened a few years earlier in New York when Roland 808's replaced Motown's house band as the sound of Black America. There is something a little sad about hearing the masterful musicianship of the 70s be thrown aside for the tinny amateurness of the dancehall era. No more heavy bass, no more gorgeous singing. Instead there are digital beats and young men chatting about getting high, getting laid, and taking out rivals."
On August 28th, producers Stu Bangas and Vanderslice will release their new album, Diggaz With Attitude, via Man Bites Dog Records. Already, the producer duo has released a video for "The Gusto," a high-powered collaborative track that features The Alchemist, Evidence, Roc Marciano, and Apathy, and with the rest of the album, fans can look forward to an equally impressive list of guests, with the likes of Ill Bill, Vinnie Paz, Esoteric, Celph Titled, Blaq Poet, and many more showing up throughout the LP. Today, Stu & Vander are releasing the LP's second official music video, for the track "Casino Royale."
Fokis & Loyalty Digital Corp are back with the debut video for Local-Mu12 entitled “I Like It” from the collective’s upcoming LP Labor Day which will be released this fall. “I Like It” is produced by Real Mckoy and features Stryfe, RP, Son-Ray & Fokis going bar for bar.
Video: Zed Zilla Surprises "Pay My Rent" Contest Winner
Courtesy Dove @ Tygereye.
CMG's Zed Zilla made a lucky fan very happy last week as he surprised her with a rent check! The Memphis rapper ran the "Pay My Rent" contest on his site ZedZilla.com upon the release of his Rent's Due 2 mixtape, and received a number of touching stories from deserving people.
In the end, the winner was a young mother of two, who turned out to be right there in his hometown - so it was only natural for Zed Zilla to hand-deliver the check to her! Watch as the surprise turns into a joyous, tearful greeting!
Raised in New Jersey but residing in Los Angeles, CA, emcee Esko has completed his sophomore LP, The Seed, a 10-song album where he relates his life story to the metaphor of a seed that’s fallen from a tree and is forced to rebuild from nothing.
"The seed has to grow towards the light," explains Esko. Production on **The Seed** is shared by North Carolina beat maker Sean Lane (worked with Eyezon and J Ross Parelli), along with Q-Smith, CAV3, and J-Kits.
The last decade has been a tumultuous one for Esko, and The Seed is a testament to the growth that resulted from the chaos. Drawing inspiration from acts like Gnarls Barkley, Pink Floyd, Andre 3000, Lupe Fiasco, and Portishead, Esko documents the events in North Carolina that preceded the westward move with raw emotion, introspective lyrics and creative delivery.
If Everyday Was Halloween is a short documentary encompassing the music and writings of Derek Christoff [aka D-Sisive], juxtaposed with visuals from Collingwood, Ontario's Elvis Festival. In addition to D-Sisive's music, from the now available Asian Elvis [mixtape], the piece is scored using the beautifully haunting ballad, 'Words', recorded by Minnesota's Low.