MP3: N.B.S. - "The Prelude" (Hosted by Mr. Peter Parker)
Veteran Hip-Hop duo N.B.S. (Natural Born Spitters) proudly present their strongest effort to date, "The Prelude". For this journey through their career, N.B.S. has enlisted the talents of renowned Shadyville/Core DJ, Mr. Peter Parker, the production services of: J.Cardim (Lil Wayne, Ludacris, Joe Budden), Stu Bangas (Ras Kass, Devin Tha Dude, Vinnie Paz of Jedi Mind Tricks), Matty Trump (Jr Writer, AZ, Sam Adams), Cyrus Tha Great (Skyzoo, Little Brother, Grafh), Sicknature of The Snowgoons (La Coka Nostra, Ill Bill, Army of the Pharaohs), as well as the talents of underground legend Slaine (of La Coka Nostra / Special Teamz)
Trae Tha Truth Shoots 7 Videos For "Can't Ban Tha Truth"
Armed with director, Jordan Tower, from Jordan Tower Films, and a handful of the feature artists from his upcoming street album, "Can't Ban Tha Truth", which hits stores Tuesday, September 28, Houston's Trae Tha Truth managed to shoot an amazing 7 music videos in just 4 days; 6 in Houston and 1 in Atlanta (featuring Young Buck.)
Among the features present for the shoots were Young Money (Jae Millz, Gudda Gudda) for the song "Hood Nights", Young Buck and Big Pokey for "Dueces and Trays", Brian Angel and Young Quis (ABN) for "Can't Ban Tha Truth" and Lupe Fiasco for "Bad Don't Seem So Wrong." The Outlawz also made a showing to get their cameo on. Videos were also shot for "Radio Won't Play This", What It Is" and "Please Respect."
There were hood nights......................
.......and hood days...................
...and with all the frenetic activity, Lupe just took it all in stride.
In case you don't have them, or haven't heard them yet, below are links to download two songs that have already leaked from the CD recently; "General ft. Brian Angel (Day 26)" and "Hood Nights ft. Jae Millz & Gudda Gudda." More to come.
Also, Trae will be in NYC doing CD promo and taking over Sirius radio from 9/19 until 9/24. Please contact me for media opportunities in the city during this week.
J.PERIOD, JOHN LEGEND & THE ROOTS ANNOUNCE OFFICIAL “WAKE UP!” MIXTAPE!! (NEW ALBUM IN STORES SEPTEMBER 21)
FIRST MIXTAPE SINGLE REUNITES HIP HOP LEGENDS PETE ROCK & CL SMOOTH!! AVAILABLE TODAY!!
New York, NY (September 14, 2010) – J.Period & Truelements Music are pleased to announce a groundbreaking new mixtape collaboration with Grammy-winners John Legend & The Roots, in support of their politically-charged and soulful new album, WAKE UP! (Available on Columbia Records, Sept. 21). In the collaborative spirit of this history-making LP, the mixtape’s first single, “Our Generation (J.Period Remix),” reunites one of hip hop’s most influential and important groups… Pete Rock & CL Smooth!
Inspired by artists like Marvin Gaye, Bill Withers, Nina Simone, and Donny Hathaway, John Legend & The Roots’ WAKE UP! breathes new life into the soulful protest songs of the 60s & 70s, recalling an era when music stood at the forefront of the social movements that shaped America.
With John Legend & The Roots joining forces to propel political songs like Ernie Hines’ “Our Generation” back into mainstream popularity, it was only fitting for J.Period to reunite the group that first sampled Hines’ on their seminal ’92 single “Straighten It Out”—artists from an era when hip hop carried its own social message—Pete Rock & CL Smooth. Back together on wax for the first time in 7 years, Pete & CL are in rare form on “Our Generation (J.Period Remix),” spitting conscious lyrics that remind us of hip hop’s potential to move not only our feet, but our spirit.
J.Period’s “Our Generation” Remix is available for FREE DOWLOAD TODAY, September 14 at http://www.jperiod.com/wakeup, and represents the first offering from J.Period’s forthcoming mixtape, Wake Up! Radio—featuring an all-star cast of hip hop & R&B heavyweights—scheduled for release in late November. Wake Up! Radio is the perfect companion piece to John Legend & The Roots’ WAKE UP! LP, with exclusive remixes, album outtakes, personal interviews with John Legend, Ahmir “?uestlove” Thompson, and Black Thought—and original cover artwork by acclaimed graphic artist, Fuse Green http://www.fusegreen.com .
“Wake Up! represents a call to action,” proclaims J.Period. “Music can either be vacuous entertainment, or one of the most transcendent and powerful forces on this planet. John Legend & The Roots are making an incredible statement releasing these songs at this moment in history, and I am excited to create a companion piece that helps keep that energy in circulation online for many months to come.”
“When these songs were written, people were more spiritually in tune,” says ?uestlove. “It was fresh from the civil rights era and there was a feeling of hope that maybe, yes, someday we will all be free. In 2010, not so much.”
“These songs [are] so relevant now,” says John Legend. “On most of them, you wouldn’t change a lyric [from the original version.] The passionate election [in 2008] represented change and hope, and awakened a new generation of activists who had never been inspired before. [Fast forward to today:] the intense brew of possibility [and] poverty, optimism and despair, activism and unrest, global connectedness and intractable global conflicts is the reason Wake Up! exists."
Available today at http://www.jperiod.com/wakeup, “Our Generation (J.Period Remix)” feat. Pete Rock & CL Smooth is not only the debut single from J.Period’s forthcoming Wake Up! Radio mixtape, but also his first release since last month’s “Man or the Music (40 Acres Edition)”—the Official Mixtape for Spike Lee’s “Brooklyn Loves MJ” Michael Jackson Tribute. Since August 29, J.Period’s MJ Tribute has set a new high mark, receiving over 100,000 downloads in a mere 14 days online, and counting.
Later this month, stay tuned as “The J.Period Live Mixtape” goes international, featuring J.Period & The Roots’ own Black Thought in a headlining performance at The Manifesto Festival in Toronto, Canada on Sept 26 (details: http://www.jperiod.com/events), as well as another J.Period mixtape collaboration—this time with the world famous DJ Jazzy Jeff and ghostwriter extraordinaire, Skillz, available on September 28 at http://www.jperiod.com/skillz .
"More than in any other genre, hip-hop artists are open and even proud to reference their influences on record. While alternative musicians across the disciplines have historically sought to recapture the sounds of yesteryear against the tides of chart-topping trends, few are candid about their sources even if their styles are clearly derivative. Where Nas and Cormega might sample and shout out MC Shan to their hearts' content, we're much less likely to hear Coldplay pen a song about how they listened to "The Joshua Tree" every day of junior year. Then again, there's a fine line between giving props and name-dropping in rap music (see Game, The), and many creators of "throwback rap" struggle to balance creativity with reheated-ness. "
"The 20/20 Project is a Canadian hip-hop group based out of Toronto and consists of three members: D-Squared and Idrees hold down the microphone, while DJ Unknown mans the turntables and takes care of the production. in fact, The 20/20 Project's existence basically begins with DJ Unknown. Both D-Squared and Idrees worked the Canadian underground scene, with D appearing on two Tru Paz albums, while Idrees released his own albums and mixtapes, developing a small-but-loyal fanbase in the process. While working on their own projects for digital singles and mixtapes, with the mutual aid of DJ Unknown's production, D-Squared and Idrees collaborated on each other's solo tracks and decided to take their chemistry to the next level by forming The 20/20 Project. The intent of this collaboration is to blend social commentary and conscious vibes with old school boom bap hip-hop. "
"Musically, Philipp Kroll is known for finely tuned, grounded tracks. The East Coast roots are obvious, and Flip doesn't hesitate to name-check three of his influences with the interlude "Large Diamond Rock." But like many other European producers, he has developed a style of his own, one that, compared to American trailblazers, focuses on details and attaining a harmonious ensemble (qualities that more recent productions from the aforementioned triumvirate often lack). At one point Flip claims to be Austria's 'Kanye West, Diamond, Madlib, Dre and Jay Dee,' and while those are several pairs of big shoes to fill even on a local level, his beats do exhibit a broad range of moods. Sampling "Ghetto: Misfortune's Wealth" isn't what you would call original in the hip-hop context, but the way he flips (no pun intended) the drum sequence at the very beginning of "U.M.B.E.R.T.O. G.H.E.T.T.O.," he will even have a crate connoisseur's attention. "
"It's a very American sentiment to assume that we're the best at most everything, especially the things that were born and bred within our shores. We assume that we have the best baseball players, the best basketball, the best Air Force, the best automobiles, and of course, the best Hip-hop. It took awhile for us to lower our noses and look down at the international imitations flooding our markets to realize, just because it's not "Made in the USA" doesn't mean it's not good. Now, the MLB is flooded with Central American and Asian talent, international players are getting drafted higher and higher in the NBA, and you see Hondas and Toyotas running the highways rather than Fords and Chevys. Being an American, it took me awhile to warm up to Geko's CD, Crate Cartel Radio. I was shocked to hear an Australian accent open up the album, smashing and bellowing against my speakers to keep pace with the delayed boom-bap rhythm. "
"Kano's new album "Method to the Maadness" (that is the correct spelling FYI) has failed. Yep. Didn't even break the Top 40 in the first week. I take absolutely no pleasure in reporting that – however, it is no surprise to me. Kano is a talented lyricist, has impeccable breath control and delivery, a smooth, almost effortless voice, and has been dubbed everything from the UK's answer to Jay-Z, Nas and (by himself, albeit it cheekily) Big Daddy Kano. He did the circuits, had an all-star cast of producers, took over influential radio shows and created a big marketing push. Yet, his commercial failure was entirely down to three key aspects. Firstly, there are no true hit singles on the LP. You cannot, unless you are a global megastar, sell records and crack the charts unless you have hit singles that connect with the radio, TV or underground. Doesn't happen. Secondly, MTTM is eclectic, sounding oh so original, but it is blatantly derivative. He has clearly been listening to artists like M.I.A. and Lil Wayne, as their DNA is all over the LP. "
Mack 10 :: Mack 10 :: Priority Records ** RapReviews "Back to the Lab" series ** as reviewed by Pete T.
"Many are perplexed by Mack 10's stardom given his rather modest talent, yet fifteen years, ten albums, a label, numerous business ventures, a marriage to a TLC member, and more shitty acting roles than he's worth since his 1995 debut, it's clear that Mack 10 is a mainstay in the West Coast rap game. While his debut may have positioned him as just another of Ice Cube's protégés like The Lench Mob, K-Dee, and Kam before him, when it came time in 1996 for Cube to assemble the West Coast trio that would throw up the almighty "W" with one hand and a middle finger to the East with the other, it wasn't Snoop, Kurupt, or any of the aforementioned he selected to join him and WC as the Westside Connection super-triad—it was Mack 10. The rest, as they say, is history. "
"Occasionally an album intrigues me before I listen to a single note. The re-release of "Above the Clouds" by Moon Blazers was just such an album and there are four reasons responsible for it: (1.) The album's title references an all-time favorite hip-hop song of mine featuring Guru and Inspectah Deck, (2.) The name sounds like a sketch from Aqua Teen Hunger Force about pot smoking video game aliens, (3.) The digital album came to me courtesy of D.J. at Domination Recordings and (4.) I reviewed their last EP. You may have gleaned from previous reviews that Domination is one of those labels I have a tough time hating. Their intense focus on art over commerce often makes me wonder what keeps the light bill paid at their offices, yet when album after album of highly skilled "backpacker rap" in the best sense of the term is the result they tend to get an automatic spin over other free downloads that pile up."
TeV95 :: Crime Loops :: Majestik Creationz as reviewed by Steve 'Flash' Juon
"I'm willing to place a bet right now that if you the reader are in the same age bracket I am or older, the cover of TeV95's "Crime Loops" will evoke memories of a classic James Bond intro. The femme fatale seems to be fading into the background behind an ever growing fiery explosion, of the kind rarely found in nature but often reproduced by the special effects wizards of M5 Industries. The openings of the Sean Connery and Roger Moore era films featured many now unforgettable songs, with varied singers working in the movie's title and theme over epic musical backdrops, all while seductive female silhouettes gyrated on screen. To this day they still create the mood that you're in for a special treat - a spy novel thriller brought to life with a British operative "Licensed to Kill" who is not the least bit afraid to use deadly force. "
"This is the second solo album by French-Chilean rapper Ana Tijoux. She has been rapping since the late nineties, first as part of the group Makiza, and then on her own. She is on the same label as Manu Chao and the Nortec Collective, and shares their global Latin sound. In fact, I kept being reminded of Manu Chao's "Clandestino" as I was listening to "1977." Both albums mix latin sounds with hip hop and European folk music, creating a sound that is both unique and familiar. The title track starts off with an orchestral flourish, before going into a beat that mixes spoken-word samples, strings, and acoustic guitar. It's a very musical beat, referencing East Coast backpack rap but with a south of the border flair. Tijoux's rapping is smooth and melodic, peeling off verses with grace and ease. Non-English rap can be tricky, but Tijoux makes it sound natural. "
Timbuktu :: Stranger Danger :: URBNET Records as reviewed by Steve 'Flash' Juon
"The only appropriate way I can think of to start this review is to explain the significance of the artist's name. I never like to assume any readers haven't studied the history of great African nations, cities and empires yet it's possible some who only recently started high school or college have yet to hit the chapter on Timbuktu in their studies. To be fair though a chapter simply isn't enough for this fabled city, and neither is this paragraph, so I encourage you to read further after this review and learn more. Nevertheless here's a VERY brief summary. Geographically the city lies within the land locked nation of Mali. Historically Timbuktu has been known for learning and scholarship, renowned for both secular learning and Islamic teaching, and since at least the 15th century had a large madrasah/university - now considered to be among the world's oldest."
Every weekend we air a new edition of Hip-Hop Shop on BlogTalkRadio like the one you're about to hear - Episode #90 - Audible Treats Showcase. Our spotlight this week is on artists promoted by AudibleTreats.com - artists like Canibus, Rah Digga and Von Pea. Send your feedback, podsafe (RIAA free) music, and advertising requests to email@example.com. 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!
* Von Pea - Boombox * Rah Digga f/ Redman - This Ain't No Lil Kid Rap * Trek Life - Ready to Live * Canibus - Merchant of Metaphors * Quazedelic - Reach Out * Apollo Brown f/ Stik Figa - Seasons * Zane One - Kingdom