Friday, August 31, 2007
LUPE FIASCO
i LOVE THIS SONG SO MUCH. REMINDS ME OF LOVE PARK IN PHILLY AND TRYING TO DO MY BEST MJ FOX IMPRESSION.
B-sides-Go Team
Go! Team Bundle B-Sides for Proof Bonus EP
Photo by Jaime Beeden
It's official: bonus EPs are the new cowbell. And why not? With early album leaks anathema to labels indie and major alike, the promise of a few extra songs seems as good an incentive as any to actually buy a record.
So on to today's subject, the Go! Team. Like their peers Spoon and Pinback, the Go! Team will bolster the U.S. edition of their forthcoming release-- Proof of Youth, due September 11 via Sub Pop-- with a nice little bonus EP. This one collects four tunes, all of which also appeared as B-sides in the UK (so your friends a pond away needn't sulk, since they've already got these tunes; also, they're getting the album a day earlier via Memphis Industries. So there.).
Act soon though-- only the first Sub Pop pressing of Proof of Youth will come with this choice collectable, and pre-order season has already begun.
As a bonus to yr bonus EP, catch the Go! Team live all autumn long.
Photo by Jaime Beeden
It's official: bonus EPs are the new cowbell. And why not? With early album leaks anathema to labels indie and major alike, the promise of a few extra songs seems as good an incentive as any to actually buy a record.
So on to today's subject, the Go! Team. Like their peers Spoon and Pinback, the Go! Team will bolster the U.S. edition of their forthcoming release-- Proof of Youth, due September 11 via Sub Pop-- with a nice little bonus EP. This one collects four tunes, all of which also appeared as B-sides in the UK (so your friends a pond away needn't sulk, since they've already got these tunes; also, they're getting the album a day earlier via Memphis Industries. So there.).
Act soon though-- only the first Sub Pop pressing of Proof of Youth will come with this choice collectable, and pre-order season has already begun.
As a bonus to yr bonus EP, catch the Go! Team live all autumn long.
Watt Stax
I am very excited about this compliation. Trust me, this is something to buy.
As the Watts neighborhood of Los Angeles was still reeling from the effects of the riots that tore it apart in 1966, a different epicenter of black culture was taking similar pains to recover and rebuild. Stax Records was hit with a series of events in the span of a year that would have sunk almost any other independent label: Warner Bros. bought Stax distributor Atlantic Records, swiping the Stax master tapes and distribution rights from label co-founder Jim Stewart. A December 1967 plane crash claimed the lives of marquee star Otis Redding and all but two members of session band the Bar-Kays. And five months afterwards, Martin Luther King-- a man who embodied the racially-integrated social philosophy that Stax couldn't exist without-- was assassinated in the same Memphis motel where Steve Cropper and Eddie Floyd co-wrote the #1 r&b hit "Knock on Wood". But as Stax's fortunes changed in the early 70s-- bolstered by the success of artists like Isaac Hayes, the Staple Singers and Johnnie Taylor-- a combination of financial uninhibitedness and social goodwill drove the label to organize a concert that would both showcase the label's expanding roster and serve as an inspiration to a community that the outside world considered second-class.
Seven years after their first revue tour outside Memphis saw a number of their artists stranded in Los Angeles during the Watts riots, Stax returned to L.A. and put on one hell of a show. Some called it "the Black Woodstock", which isn't completely accurate; the cost was a dollar more than free, everyone on the bill was great (Albert King or Sha Na Na? Not a hard choice), and the attendees tended to dress a lot better. As a concert, film, and live recording, Wattstax is possibly the definitive r&b festival; only James Brown's shows have packed more energy and showmanship into a live set, and every artist-- from the Oscar-winning Hayes to the no-hit wonders that gigged in clubs around town in the week before the main event at the Los Angeles Coliseum-- is either at the peak of their artistic powers or damn well plays like it. Stax's 3xCD box set commemorating the event, re-released in the general vicinity of its 35th anniversary (though this particular collection first appeared in 2003), isn't the most important document of the show-- that'd be the concert film, directed by Mel Stuart (less than two years removed from Willy Wonka & the Chocolate Factory)-- but it's easy to get an idea of every extra moment that made the whole experience legendary: Kim Weston's rendition of black national anthem "Lift Every Voice and Sing", Richard Pryor's comic yet cutting interstitials, and the Reverend Jesse Jackson's legendary introduction, which incorporated his poem "I Am - Somebody" into a 100,000-strong call-and-response.
The concert proper is well-represented here, and it goes a long way toward showing how Stax was able to stay solvent in the early 70s even without longtime standbys like Sam & Dave or Booker T. & the M.G.'s. Not that there isn't any of the old guard represented here: Eddie Floyd busts his ass during a forceful rendition of "Knock on Wood", where he spends just about every moment he's not singing urging the crowd to get up and clap their hands. Carla Thomas reaches even further back, peppering her extensive set with a roll call of r&b's phases in the 60s, from 1960's post-doo-wop classic "Gee Whiz (Look at His Eyes)" (which gets an absolutely rapturous response from the first syllable) to 1966's slice of prime Hayes/Porter r&b "B-A-B-Y" to the churning, Southern-fried soul-funk of 1969's "I Like What You're Doing (To Me)". And Carla's father Rufus, one of Stax's first hitmakers and a graying 55 at the time, commands the stage with a rapid-fire succession of his iconic dance-craze songs-- likeably dippy novelties on record, but live they were the catalyst for a glorious stage-rushing Funky Chicken contest.
As the Watts neighborhood of Los Angeles was still reeling from the effects of the riots that tore it apart in 1966, a different epicenter of black culture was taking similar pains to recover and rebuild. Stax Records was hit with a series of events in the span of a year that would have sunk almost any other independent label: Warner Bros. bought Stax distributor Atlantic Records, swiping the Stax master tapes and distribution rights from label co-founder Jim Stewart. A December 1967 plane crash claimed the lives of marquee star Otis Redding and all but two members of session band the Bar-Kays. And five months afterwards, Martin Luther King-- a man who embodied the racially-integrated social philosophy that Stax couldn't exist without-- was assassinated in the same Memphis motel where Steve Cropper and Eddie Floyd co-wrote the #1 r&b hit "Knock on Wood". But as Stax's fortunes changed in the early 70s-- bolstered by the success of artists like Isaac Hayes, the Staple Singers and Johnnie Taylor-- a combination of financial uninhibitedness and social goodwill drove the label to organize a concert that would both showcase the label's expanding roster and serve as an inspiration to a community that the outside world considered second-class.
Seven years after their first revue tour outside Memphis saw a number of their artists stranded in Los Angeles during the Watts riots, Stax returned to L.A. and put on one hell of a show. Some called it "the Black Woodstock", which isn't completely accurate; the cost was a dollar more than free, everyone on the bill was great (Albert King or Sha Na Na? Not a hard choice), and the attendees tended to dress a lot better. As a concert, film, and live recording, Wattstax is possibly the definitive r&b festival; only James Brown's shows have packed more energy and showmanship into a live set, and every artist-- from the Oscar-winning Hayes to the no-hit wonders that gigged in clubs around town in the week before the main event at the Los Angeles Coliseum-- is either at the peak of their artistic powers or damn well plays like it. Stax's 3xCD box set commemorating the event, re-released in the general vicinity of its 35th anniversary (though this particular collection first appeared in 2003), isn't the most important document of the show-- that'd be the concert film, directed by Mel Stuart (less than two years removed from Willy Wonka & the Chocolate Factory)-- but it's easy to get an idea of every extra moment that made the whole experience legendary: Kim Weston's rendition of black national anthem "Lift Every Voice and Sing", Richard Pryor's comic yet cutting interstitials, and the Reverend Jesse Jackson's legendary introduction, which incorporated his poem "I Am - Somebody" into a 100,000-strong call-and-response.
The concert proper is well-represented here, and it goes a long way toward showing how Stax was able to stay solvent in the early 70s even without longtime standbys like Sam & Dave or Booker T. & the M.G.'s. Not that there isn't any of the old guard represented here: Eddie Floyd busts his ass during a forceful rendition of "Knock on Wood", where he spends just about every moment he's not singing urging the crowd to get up and clap their hands. Carla Thomas reaches even further back, peppering her extensive set with a roll call of r&b's phases in the 60s, from 1960's post-doo-wop classic "Gee Whiz (Look at His Eyes)" (which gets an absolutely rapturous response from the first syllable) to 1966's slice of prime Hayes/Porter r&b "B-A-B-Y" to the churning, Southern-fried soul-funk of 1969's "I Like What You're Doing (To Me)". And Carla's father Rufus, one of Stax's first hitmakers and a graying 55 at the time, commands the stage with a rapid-fire succession of his iconic dance-craze songs-- likeably dippy novelties on record, but live they were the catalyst for a glorious stage-rushing Funky Chicken contest.
Thursday, August 30, 2007
Super Rap Group
Anyone who took Kanye West's recent Can't Tell Me Nothing mixtape for a spin encountered a Thom Yorke-sampling track from a little something called CRS. Short for Child Rebel Soldiers, this bona fide hip-hop supergroup consists of West, Pharrell Williams, and Lupe Fiasco. And while that tune, "Us Placers", is the trio's only recorded material to date, it seems we can expect more.
As Lupe told Billboard.com recently, the crew hopes to cut an album. "Now [our labels are] working it out. Whoever is going to pay is going to pay a whole hell of a lot. Everybody is excited." And indeed, it's not like those other two have anything else to do right now.
Lupe himself will follow up last year's semi-smash Food & Liquor with The Cool, now due out November 20. For now, he has four gigs lined up in the coming weeks, while Kanye-- who hits us with Graduation (with new, improved cover art) on September 11-- has planned a few engagements as well.
Mr. Fiasco also shared some words that might leave his fans ill at ease. "I'm just wearing down," he told Billboard.com. "I'm never doing mixtapes again, not even Internet ones. My whole energy for making hip-hop music is slowing down. I've been doing it for seven years. I still don't think I'm famous. I'll do what I have to do to promote my next album, but I'm not enthused about doing seven albums. I'll do my three, and then I am going to keep moving to the next phase of life and maybe grow trees."
As Lupe told Billboard.com recently, the crew hopes to cut an album. "Now [our labels are] working it out. Whoever is going to pay is going to pay a whole hell of a lot. Everybody is excited." And indeed, it's not like those other two have anything else to do right now.
Lupe himself will follow up last year's semi-smash Food & Liquor with The Cool, now due out November 20. For now, he has four gigs lined up in the coming weeks, while Kanye-- who hits us with Graduation (with new, improved cover art) on September 11-- has planned a few engagements as well.
Mr. Fiasco also shared some words that might leave his fans ill at ease. "I'm just wearing down," he told Billboard.com. "I'm never doing mixtapes again, not even Internet ones. My whole energy for making hip-hop music is slowing down. I've been doing it for seven years. I still don't think I'm famous. I'll do what I have to do to promote my next album, but I'm not enthused about doing seven albums. I'll do my three, and then I am going to keep moving to the next phase of life and maybe grow trees."
CBGB FOUNDER DIES
CBGB Founder Hilly Kristal R.I.P.
Photo by JR Rost
Hilly Kristal, founder of New York City's legendary rock club CBGB, died yesterday (August 28) following a battle with lung cancer, according to various reports. He was 75.
Kristal opened CBGB in the Lower East Side's then-seedy Bowery neighborhood back in 1973, on the same site as his earlier club, Hilly's on the Bowery. His intention was to showcase country, bluegrass, and blues acts (hence the name CBGB). Instead, the club would go on to serve as ground zero for the burgeoning New York punk scene, hosting early gigs from the likes of Talking Heads, Television, the Ramones, Blondie, and Patti Smith.
CBGB remained open for 33 years. Following legal wrangling and last-ditch efforts to save the establishment amid financial crisis, the club closed its doors in fall 2006. Kristal spoke of plans to start a new CBGB in Las Vegas.
Kristal was born in Hightsown, New Jersey, and is survived by his ex-wife Karen Kristal, daughter Lisa Kristal, and son Mark Dana Kristal.
Kristal also wrote an extensive history of the club he founded. Well worth a read, it's available on the CBGB website.
I got a chance to perform at the venue before it closed. Piss, smelly, punk as you can get and i loved every mintue of it. Thank you.
Fabric Series
From the cowbell-laden music they make together, you can probably guess just what kind of stuff LCD Soundsystem's James Murphy and drummer Pat Mahoney might play in a club: a little leftfield this, a little mainstream that, but mostly a whole a lotta disco.
So you'll hardly be shocked while perusing the tracklist for the pair's (previously mentioned) forthcoming FABRICLIVE36 mix, the next installment in the London club's series of, y'know, live mix CDs. Performed with the assistance of a vintage Bozak DJ mixer and cobbled together from the collected-- presumably ginormous-- record bins of Misters Murphy and Mahoney, the twenty-four track comp marries a lot of funky old soul, a smidgen of that IDM, a pinch of thumpa-thumpa, and at least one shout-out to their day job (the "North American Scum" B-side "Hippie Priest Bum-out"). The thing's available from the Fabric label October 2 in the UK, and November 20 in the U.S. from Caroline.
And, since any mention of LCD isn't complete without a reminder about the colossal double bill they'll embark on shortly-- and the split disc resulting from it-- well, you already know. And don't forget about the September 18 release of LCD's A Bunch of Stuff EP, the DFA re-release of 45:33 on November 12, and the UK "Someone Great" single, out October 22.
So you'll hardly be shocked while perusing the tracklist for the pair's (previously mentioned) forthcoming FABRICLIVE36 mix, the next installment in the London club's series of, y'know, live mix CDs. Performed with the assistance of a vintage Bozak DJ mixer and cobbled together from the collected-- presumably ginormous-- record bins of Misters Murphy and Mahoney, the twenty-four track comp marries a lot of funky old soul, a smidgen of that IDM, a pinch of thumpa-thumpa, and at least one shout-out to their day job (the "North American Scum" B-side "Hippie Priest Bum-out"). The thing's available from the Fabric label October 2 in the UK, and November 20 in the U.S. from Caroline.
And, since any mention of LCD isn't complete without a reminder about the colossal double bill they'll embark on shortly-- and the split disc resulting from it-- well, you already know. And don't forget about the September 18 release of LCD's A Bunch of Stuff EP, the DFA re-release of 45:33 on November 12, and the UK "Someone Great" single, out October 22.
My new Fav Group-The Pipetttes
North American residents: If you went to the record store/rolled out of bed and loaded up your digital music retailer of choice yesterday looking for a non-import copy of We Are the Pipettes, you already know what we're about to tell you. It's not there yet!
Fortunately, Cherrytree/Interscope has come through with a new North American release date for the Pipettes' debut, and it's not too far away. We Are the Pipettes will now see shelves from Fresno to Halifax on October 2, and the new edition of the album comes with exclusive new tracks "Dance a Boogie" and "Baby, Just Be Yourself". It also has a new cover (see above).
To celebrate their (delayed) arrival, the trio has reloaded on North American tour dates, which begin in Chicago on the new release date.
SuperBad Quote of the Day
Officer Slater: Ethnically, was he like uh... uh... African?
Liquor Store Woman: Was he African? He was like you.
Officer Michaels: He's Jewish, so we have an African Jew wearing a hoodie.
Liquor Store Woman: Was he African? He was like you.
Officer Michaels: He's Jewish, so we have an African Jew wearing a hoodie.
Kayne West Graduation
Kanye West's Graduation Preview
Photos by Selector GT
Out of the many things Kanye West had to say last night after playing his new album to a packed theater, the one that rung truest was Kanye's claim to have made an album for the people. That may sound cliché, especially from a dude who also wouldn't give up the designer of his sneakers, but Graduation is exactly that, a collection of mood jams to get regular folks through their days. Kanye has become the Deepak Chopra of music, only he claims our happiness will come through his self-awareness instead of our own. And having listened to Graduation (even the singles we've heard a hundred times by now) on some loud ass speakers, we're finding it hard to disagree. It is front to back anthems, tinted like "Planet Rock" with space-age electronic music and escapist fantasies, from "Good Morning" to Jay-Z ode "Big Brother," and Kanye is clearly proud of it, as was A-Trak, who sat in front of us rapping along all night and throwing his hands up to the crazily crazy where-was-this-all-summer T-Pain team-up "The Good Life."
Kanye came out beforehand to introduce himself, but tellingly kept it quick, playing the whole album through with visual assistance from a blinding light show and clips of Akira, Old Boy, Tron, 2046 and some Japornime we didn't recognize, before reappearing for a solid hour of Richard Pryor-like riffing on each and every song. Mos Def supplied the peanut gallery from right behind us. There were free vodka smoothies, popcorn, and disposable Pastelles for all of us, but most importantly there was an album that didn't let us down. Check a few photos from last night after the jump (thanks GT!) and stay tuned as we'll surely have more to come before September 11th.
Wednesday, August 29, 2007
Serius Jones vs Murda Mook RND 1
I am in New Jersey right now and i thought of this cat. Next to Redman and early naughty by nature Whooo.
Danny Hoch
Danny Hoch To Debut "Till The Break Of Dawn" Stage Show In September
Culture Project (Allan Buchman, Artistic Director) has announced the world premiere presentation of Till The Break of Dawn, a new play written and directed by Hip-Hop theater icon Danny Hoch. The 11 character work begins performances September 4 at the Abrons Arts Center (466 Grand Street) on Manhattan's Lower East Side for an eight-week limited engagement. An official opening night is set for September 13, 2007.
In what may well be the first epic and seminal work of Hip-Hop generation dramatic literature, Till The Break of Dawn is the first commercial production of Hip-Hop in straight-play form, from one of the pioneers of the field. Danny Hoch founded the Hip-Hop Theater Festival in 2000 and continues to be one of the loudest voices in the theater for that generation. Till The Break of Dawn also marks Mr. Hoch's first new written work to be presented in New York since 1998
In Till The Break of Dawn, Gibran, an internet hip-hop activist, leads a group of his New York friends on a trip to Havana to attend a festival. They've always been radical at home, but in Cuba, radical means something else. So does Hip-Hop, and so do they. Watch as hip-hop politics, South Bronx angst and Cuban reality all clash in this raucous and provocative play from the author of Some People and Jails, Hospitals & Hip-Hop. (Press Release)
Culture Project (Allan Buchman, Artistic Director) has announced the world premiere presentation of Till The Break of Dawn, a new play written and directed by Hip-Hop theater icon Danny Hoch. The 11 character work begins performances September 4 at the Abrons Arts Center (466 Grand Street) on Manhattan's Lower East Side for an eight-week limited engagement. An official opening night is set for September 13, 2007.
In what may well be the first epic and seminal work of Hip-Hop generation dramatic literature, Till The Break of Dawn is the first commercial production of Hip-Hop in straight-play form, from one of the pioneers of the field. Danny Hoch founded the Hip-Hop Theater Festival in 2000 and continues to be one of the loudest voices in the theater for that generation. Till The Break of Dawn also marks Mr. Hoch's first new written work to be presented in New York since 1998
In Till The Break of Dawn, Gibran, an internet hip-hop activist, leads a group of his New York friends on a trip to Havana to attend a festival. They've always been radical at home, but in Cuba, radical means something else. So does Hip-Hop, and so do they. Watch as hip-hop politics, South Bronx angst and Cuban reality all clash in this raucous and provocative play from the author of Some People and Jails, Hospitals & Hip-Hop. (Press Release)
Tuesday, August 28, 2007
Russel-Follow his lead!!!
Russell Simmons is kicking off the Fall 2007 season with Russell Simmons Argyle Culture, a brand new menswear collection commemorating the class, stature and respect achieved by those urban graduates who have "arrived" in the world.
Russell Simmons Argyle Culture focuses on the success of men over age 25, who have fulfilled their dreams. The brand is an authentic urban entrant into men's fashion.
"The argyle collection was my original inspiration," said Simmons. I became what I aspired to become: I grew up."
The collection infuses original urban concepts with the buttoned-up styling of men's professional attire. It is simpler in design and smaller in fit. The argyle pattern has always been a signature style in Simmons' wardrobe as well as been a staple of his original brand, Phat Farm.
"We're going to infuse fashion into Argyle Culture through color, texture and subtle details," said Kevin Saer, vice-president of design. "We're taking houndstooth and herringbone, and identifying with argyle. We're actually weaving specific fabrics like argyle herringbone and argyle houndstooth."
Argyle Culture designs feature a classic five-pocket denim silhouette recreated through suiting materials like wool, cotton blends and pinstripes.
Simmons added, "There are a huge group of consumers who are not young men any longer and don't shop in the young men's space, but still want to remain part of the urban lifestyle."
A new demographic has emerged by way of the maturation of the original young, urban enthusiast. Like urbanwear's entrance into the world of young men's fashion 15-20 years ago, Russell Simmons Argyle Culture is innovative and unprecedented.
Led by the vision of Russell Simmons, founder of the modern day hip-hop movement, Russell Simmons Argyle Culture and Phat Farm, divisions of Phat Fashions, are symbols of men's contemporary American culture, mixing the urban aesthetics of the streets and the preppy culture of the Ivy League. Since its inception in 1992, Phat Fashions remains committed to the principles that took it from a small New York City showroom to a multi-million dollar business. Phat Fashions' success is a result of the brand's commitment to quality, innovation in design and support of the retail trade through strategic marketing and advertising. For the consumer, Phat Fashions delivers a universal message that breaks stereotypes and ethnic boundaries, setting the standard in sportswear and establishing the company as the complete American lifestyle brand.
Kellwood Company (NYSE), headquarters in St. Louis Missouri, is a leading marketer of apparel and consumer soft goods. Our brands are designed to meet and exceed our consumers' needs and expectations. Specializing in branded products, the Company markets to all channels of distribution with products and brands tailored to the specific channel. (Press Release) post
Russell Simmons Argyle Culture focuses on the success of men over age 25, who have fulfilled their dreams. The brand is an authentic urban entrant into men's fashion.
"The argyle collection was my original inspiration," said Simmons. I became what I aspired to become: I grew up."
The collection infuses original urban concepts with the buttoned-up styling of men's professional attire. It is simpler in design and smaller in fit. The argyle pattern has always been a signature style in Simmons' wardrobe as well as been a staple of his original brand, Phat Farm.
"We're going to infuse fashion into Argyle Culture through color, texture and subtle details," said Kevin Saer, vice-president of design. "We're taking houndstooth and herringbone, and identifying with argyle. We're actually weaving specific fabrics like argyle herringbone and argyle houndstooth."
Argyle Culture designs feature a classic five-pocket denim silhouette recreated through suiting materials like wool, cotton blends and pinstripes.
Simmons added, "There are a huge group of consumers who are not young men any longer and don't shop in the young men's space, but still want to remain part of the urban lifestyle."
A new demographic has emerged by way of the maturation of the original young, urban enthusiast. Like urbanwear's entrance into the world of young men's fashion 15-20 years ago, Russell Simmons Argyle Culture is innovative and unprecedented.
Led by the vision of Russell Simmons, founder of the modern day hip-hop movement, Russell Simmons Argyle Culture and Phat Farm, divisions of Phat Fashions, are symbols of men's contemporary American culture, mixing the urban aesthetics of the streets and the preppy culture of the Ivy League. Since its inception in 1992, Phat Fashions remains committed to the principles that took it from a small New York City showroom to a multi-million dollar business. Phat Fashions' success is a result of the brand's commitment to quality, innovation in design and support of the retail trade through strategic marketing and advertising. For the consumer, Phat Fashions delivers a universal message that breaks stereotypes and ethnic boundaries, setting the standard in sportswear and establishing the company as the complete American lifestyle brand.
Kellwood Company (NYSE), headquarters in St. Louis Missouri, is a leading marketer of apparel and consumer soft goods. Our brands are designed to meet and exceed our consumers' needs and expectations. Specializing in branded products, the Company markets to all channels of distribution with products and brands tailored to the specific channel. (Press Release) post
Boston is doing it again
Edo. G, Slaine, & Jaysaun Form Special Teamz For Duck Down Debut
While the Duck Down name, its history and artists are widely renowned and branded throughout the Hip-Hop landscape, the label is branching out to begin to distribute and promote artists from those outside the typical Boot Camp Clik artist structure and this change signifies a major transition in the label, as it becomes a home to develop and market artists of all flavors. The first such project of this transition will be Special Teamz (EDO. G’s collective group, which also consists of Slaine, Jaysaun, and DJ Jayceeoh) debut Stereotypez; which will be released on 9-25-07.
Genuinely considered the Godfather of Boston Hip-hop, EDO. G has crafted a handful of classics (“Be A Father To Your Child,” “I Got To Have It” and “Love Comes And Goes” among others) and in 1991 his "I Gotta Have it" hit number one on Billboard and the YO! MTV Raps countdown. His debut, Life Of A Kid In The Ghetto, sold over 600,000 units on the strength of Edo's flawless portraits of inequalities in Roxbury, and became his city's first and only rap artist to ever go gold. In the 15 years since, EDO’s dropped four heralded LPs and two EPs, toured the world extensively, and collaborated with the likes of Pete Rock, DJ Premier, KRS One, Common, Black Thought and Masta Ace.
Formerly the front-man for The Kreators, Jaysaun sold 10,000 copies of the Boston classic, Home, (featuring Guru, Big Shug, Akrobatik, Krumbsnatcha, and EDO. G), and was nominated for three Boston Music Awards, and even garnered significant MTV rotation. One of Boston's most respected wordsmiths, Jay has worked with Pete Rock, Cappadonna, and DJ Premier and has been an instrumental component in EDO’s recent solo releases.
The Southie gunner Slaine has become an overnight force! He dropped his infamous mixtape; The White Man is the Devil Volume 1 in 2005 and moved more than 7,000 units without any distribution. Recently he followed that up with its sequel Citizen Caine. Slaine's controversial tales of cocaine abuse, pharmacy robberies, violence, politics, racism, combined with his brutal imagery, have earned him the respect of collaborators such as Royce 5'9", Krumbsnatcha, Hatebreed, DJ Premier, DJ Muggs, B Real, Everlast, DJ Lethal and Ill Bill, the latter three of whom he moonlights with as La Coka Nostra.
For Special Teamz first collaborative effort, Stereotypez, the stakes are much higher. Boasting guest appearances from Devin The Dude, Sean Price, Buckshot, Ill Bill, Akrobatik and Hatebreed’s Jamey Jasta as well as production from legendary producers DJ Premier and Pete Rock and rising beatmakers Marco Polo, Moss, Jake One and Xplicit. Special Teamz's Duck Down debut proves what their fanbase already knows: that no matter what preconceived notions people have about their city, Boston's top guns deliver some of the most socio-politically relevant boom-bap in recent memory. And while their rhymes are the sound of race lines being crossed and barriers being broken, it's really just the sound of rewind-worthy Hip-hop music, and that's all that really matters. - Matt Conaway
While the Duck Down name, its history and artists are widely renowned and branded throughout the Hip-Hop landscape, the label is branching out to begin to distribute and promote artists from those outside the typical Boot Camp Clik artist structure and this change signifies a major transition in the label, as it becomes a home to develop and market artists of all flavors. The first such project of this transition will be Special Teamz (EDO. G’s collective group, which also consists of Slaine, Jaysaun, and DJ Jayceeoh) debut Stereotypez; which will be released on 9-25-07.
Genuinely considered the Godfather of Boston Hip-hop, EDO. G has crafted a handful of classics (“Be A Father To Your Child,” “I Got To Have It” and “Love Comes And Goes” among others) and in 1991 his "I Gotta Have it" hit number one on Billboard and the YO! MTV Raps countdown. His debut, Life Of A Kid In The Ghetto, sold over 600,000 units on the strength of Edo's flawless portraits of inequalities in Roxbury, and became his city's first and only rap artist to ever go gold. In the 15 years since, EDO’s dropped four heralded LPs and two EPs, toured the world extensively, and collaborated with the likes of Pete Rock, DJ Premier, KRS One, Common, Black Thought and Masta Ace.
Formerly the front-man for The Kreators, Jaysaun sold 10,000 copies of the Boston classic, Home, (featuring Guru, Big Shug, Akrobatik, Krumbsnatcha, and EDO. G), and was nominated for three Boston Music Awards, and even garnered significant MTV rotation. One of Boston's most respected wordsmiths, Jay has worked with Pete Rock, Cappadonna, and DJ Premier and has been an instrumental component in EDO’s recent solo releases.
The Southie gunner Slaine has become an overnight force! He dropped his infamous mixtape; The White Man is the Devil Volume 1 in 2005 and moved more than 7,000 units without any distribution. Recently he followed that up with its sequel Citizen Caine. Slaine's controversial tales of cocaine abuse, pharmacy robberies, violence, politics, racism, combined with his brutal imagery, have earned him the respect of collaborators such as Royce 5'9", Krumbsnatcha, Hatebreed, DJ Premier, DJ Muggs, B Real, Everlast, DJ Lethal and Ill Bill, the latter three of whom he moonlights with as La Coka Nostra.
For Special Teamz first collaborative effort, Stereotypez, the stakes are much higher. Boasting guest appearances from Devin The Dude, Sean Price, Buckshot, Ill Bill, Akrobatik and Hatebreed’s Jamey Jasta as well as production from legendary producers DJ Premier and Pete Rock and rising beatmakers Marco Polo, Moss, Jake One and Xplicit. Special Teamz's Duck Down debut proves what their fanbase already knows: that no matter what preconceived notions people have about their city, Boston's top guns deliver some of the most socio-politically relevant boom-bap in recent memory. And while their rhymes are the sound of race lines being crossed and barriers being broken, it's really just the sound of rewind-worthy Hip-hop music, and that's all that really matters. - Matt Conaway
Maino
MAINO - if you don't know him, you'll get to know him by the end of one song; those who love him, appreciate his honesty, those who hate him, can't deny him. Armed with a new label deal with Atlantic Records, and an even stronger focus and dedication, MAINO and his Hustle Hard team is poised to become a force that the entertainment industry can't deny.
With the assistance of a committed team and keeping a strong presence in the DVD Magazine (winner of 2006's Most Consistent Artist on a DVD Award) and the mixtape circuit, MAINO made major noise by provoking the egos of his counterparts, and now in 2007, he is coming into his own. The Hustle Hard veteran has branded the ears of the streets with songs like "Rumors"," My Hood", "Take It Like A Man", "Stomp!", "My Life Is A Movie", "Summertime" , and his most recent artistry of work, "Streets Been Good To Me".
With the help of 50 Cent's personal phone call to Craig Kallman (CEO of Atlantic Records), MAINO has found a new home at Atlantic Records. This new venture has cultivated a strong alliance with label mate T.I. and his Grand Hustle team, which allows MAINO to explore the opportunity of expanding his Hustle Hard brand. MAINO is currently recording new tracks for his debut album, "DEATH BEFORE DISHONOR" which will release in early 2008. With a co-sign from two of hip-hop's biggest idols how can you doubt that MAINO's a rising star?
What's next to come? MAINO has started Hustle Hard Publishing, which will produce & release the book "GANGSTAS DON'T DIE", available Fall 2007. (Press Release)
With the assistance of a committed team and keeping a strong presence in the DVD Magazine (winner of 2006's Most Consistent Artist on a DVD Award) and the mixtape circuit, MAINO made major noise by provoking the egos of his counterparts, and now in 2007, he is coming into his own. The Hustle Hard veteran has branded the ears of the streets with songs like "Rumors"," My Hood", "Take It Like A Man", "Stomp!", "My Life Is A Movie", "Summertime" , and his most recent artistry of work, "Streets Been Good To Me".
With the help of 50 Cent's personal phone call to Craig Kallman (CEO of Atlantic Records), MAINO has found a new home at Atlantic Records. This new venture has cultivated a strong alliance with label mate T.I. and his Grand Hustle team, which allows MAINO to explore the opportunity of expanding his Hustle Hard brand. MAINO is currently recording new tracks for his debut album, "DEATH BEFORE DISHONOR" which will release in early 2008. With a co-sign from two of hip-hop's biggest idols how can you doubt that MAINO's a rising star?
What's next to come? MAINO has started Hustle Hard Publishing, which will produce & release the book "GANGSTAS DON'T DIE", available Fall 2007. (Press Release)
Black August HH project
On Sunday evening, I headed to the Nokia Theatre at Times Square for the 10th Annual Black August Hip-Hop Project, an event sponsored in part by Lyrics to Go. The concert was a raucous and rebellious indictment of the insanity concerning the 30-plus year sentences given to certain members of the Black Panther party. The passion and indignation fueled an amazing series of performances by the likes of Common, who was not still for a moment; Talib Kweli; Mos Def (pictured above), who was engaging and brilliant, with a rapid fire rhyming technique I could not believe; and the mysterious and powerful presence Dead Prez!
Part 2-record collection
Bury the Past, Empty the Shelf: How to Destroy Your Music Taste
Column by Tom Ewing | Digg this article | Add to del.icio.us Have you ever wanted to delete or dump or sell all the music you own and start again? I decided to do this once. It wasn't that I suddenly hated the music I liked. It wasn't even thinking about each individual cassette or CD that made my heart itchy. I realized one evening how the blend of colors on their neatly ordered spines had become as familiar as wallpaper. I wanted to hear something new. I wanted to have heard nothing.
How to go about this? I was 20, at University, I had friends who were music heads but among them I was the chief music head. I would give my records away to them! Immediately compromise began to creep in. Maybe I wouldn't give them away for ever-- just for a year. And maybe I'd keep the most recent 20 or 30 albums...so the purity of the plan was lost, the original impulse diluted until what I had left was a faintly baffling gesture that my friends, being friends, indulged. I "got rid of" 90% of my collection, and a year later I got them back.
But despite the compromise, it worked. I listened closer to the records I'd left myself with. I realized which of my comfortable favorites I honestly missed and which ones I just quietly forgot I ever had. I took more risks in buying new stuff, because I knew I'd be forced to give it a proper go. In short I surprised myself.
So I recommend it! Do it now, actually. Close this window, put all your music onto an external hard drive, give it to someone you trust and tell them to use it as a paperweight until next September, or at any rate until you use your safe word. Or be braver than I was, and tell them it's an early birthday present. Of course now you can just go and download everything again but let's assume you don't.
What might you listen to instead? With the metaphorical cupboards cleared you can listen to anything you like, so it's time to start playing games with your taste, messing around with your music fan OS and seeing what happens.
The most obvious thing to do is to explore new genres-- take something you enjoy but neglect and make it the center of your listening for a while. You could also do the same with a year-- become a time traveler, spend a month in 1975 or 1984 or whenever. Indulge an obsession-- pick an artist and listen to them unceasingly. Or pick a song-- someone on music board ILM recently tried to listen to "Temple of Love" by the Sisters of Mercy 1,001 times. (I admit my own taste experiments were never so hardcore.)
Or let go even further and introduce an element of chance. Go to a P2P server and pick a word you like-- or a name or place. Type it in and grab whatever you get. I did this with "London" and found a whole world: pirate crackle, tourist sentiment, punk icons, hump-happy eurodisco, rainy drones, way too much to process. I typed in "penguin" and found a tidy, charming instrumental by Raymond Scott, who did Soothing Sounds for Baby. If you're missing the experience of flicking through dusty vinyl and buying something just because you're wooed by its cover, this is an armchair substitute.
You might alternatively abdicate your will completely and listen to nothing but what people tell you to listen to. Or introduce a game-playing element. Last year, for instance, my friends and I ran a "Pop World Cup"-- we took the soccer World Cup and each player drew a country by lot. The competition was to find the best pop music from that country we hadn't already heard. I got Holland, and spent a joyful week listening to earbleed gabba, ABBA imitators, dodgy trance remixers, hippy veterans Shocking Blue, and a boy band dabbling in goth (Di-Rect, if you're asking). It was marvelous.
Many of these experiments might seem awfully solipsistic. In this column I've generally emphasized the social, conversational uses of music-- but part of the appeal is to see how you can sustain these uses when the bedrock of whatever you thought your "taste" was is removed. Breaking the link between my taste and my social existence was, deep down, the reason I ditched my records in the first place.
At the time I made the break I'd had two or three years of very intense social involvement in music. I'd found myself adrift and lonely at 18, then had made friends with a bunch of people who were as passionate about music as I was. We talked and argued about it non-stop-- sharing bands, gabbling out enthusiasms, crushing each other's perceived mis-steps. Even when we agreed on the worth of a band we'd keep talking and talking-- sitting in parked cars at 3AM wrestling over how precisely to split the difference between our favorite Talking Heads and Pixies tracks.
We turned our tastes into a hothouse and when I went to college I wanted to keep going, keep arguing with the new people I met there, bring them into the hothouse too. But the social life of a University is utterly different from the social life obsessed friends make for themselves-- if I wanted to go to shows, or parties, I had to make compromises with the music played there. With hindsight the gap between the strict art-pop mini-canon I'd bought into at home and the breakout indie bands loved on campus was pretty tiny but it could seem vitally huge. One time I got high and found myself physically clinging to the side of a bar, desperately willing my body not to go and dance to a Charlatans record I knew my sober self disapproved of.
My music taste had become my own worst enemy-- an internal canon I couldn't even have articulated but still constantly betrayed. Second-guessing myself was exhausting-- something had to give. The mistake I'd made was in thinking of my taste as something fundamental in my self, a hip agnostic version of the soul-- rather than admitting I had the luxury of detaching myself from it and trying new tastes as I might clothes or haircuts. So I hit the reset button-- or tried to.
A digital environment has its own hothouse communities and its own pressures but also makes it easier than ever to start experimenting with your music taste. A word of caution, though. My own attempt to hotwire my tastes was compromised-- for one thing, I wasn't truly ready to start relating to people other than as "a music fan"-- and maybe I'm still not ready. But more seriously I was unwilling to try and use the new music I was hearing to shake up my social life-- on a basic level, by getting to know other people who liked it.
I used my friends to break the hold my music taste had over me, but I didn't dare at that time to go further and reforge the link to include new, wider friendships. I "got into" drum and bass, for instance, but it took me three more years to set foot in a drum and bass rave. I started listening to more 60s pop but I wouldn't talk to my parents or their friends about it even though they lived it. This is the only sense in which I think my experiment was a failure: I'm sure you won't make the same mistakes.
Column by Tom Ewing | Digg this article | Add to del.icio.us Have you ever wanted to delete or dump or sell all the music you own and start again? I decided to do this once. It wasn't that I suddenly hated the music I liked. It wasn't even thinking about each individual cassette or CD that made my heart itchy. I realized one evening how the blend of colors on their neatly ordered spines had become as familiar as wallpaper. I wanted to hear something new. I wanted to have heard nothing.
How to go about this? I was 20, at University, I had friends who were music heads but among them I was the chief music head. I would give my records away to them! Immediately compromise began to creep in. Maybe I wouldn't give them away for ever-- just for a year. And maybe I'd keep the most recent 20 or 30 albums...so the purity of the plan was lost, the original impulse diluted until what I had left was a faintly baffling gesture that my friends, being friends, indulged. I "got rid of" 90% of my collection, and a year later I got them back.
But despite the compromise, it worked. I listened closer to the records I'd left myself with. I realized which of my comfortable favorites I honestly missed and which ones I just quietly forgot I ever had. I took more risks in buying new stuff, because I knew I'd be forced to give it a proper go. In short I surprised myself.
So I recommend it! Do it now, actually. Close this window, put all your music onto an external hard drive, give it to someone you trust and tell them to use it as a paperweight until next September, or at any rate until you use your safe word. Or be braver than I was, and tell them it's an early birthday present. Of course now you can just go and download everything again but let's assume you don't.
What might you listen to instead? With the metaphorical cupboards cleared you can listen to anything you like, so it's time to start playing games with your taste, messing around with your music fan OS and seeing what happens.
The most obvious thing to do is to explore new genres-- take something you enjoy but neglect and make it the center of your listening for a while. You could also do the same with a year-- become a time traveler, spend a month in 1975 or 1984 or whenever. Indulge an obsession-- pick an artist and listen to them unceasingly. Or pick a song-- someone on music board ILM recently tried to listen to "Temple of Love" by the Sisters of Mercy 1,001 times. (I admit my own taste experiments were never so hardcore.)
Or let go even further and introduce an element of chance. Go to a P2P server and pick a word you like-- or a name or place. Type it in and grab whatever you get. I did this with "London" and found a whole world: pirate crackle, tourist sentiment, punk icons, hump-happy eurodisco, rainy drones, way too much to process. I typed in "penguin" and found a tidy, charming instrumental by Raymond Scott, who did Soothing Sounds for Baby. If you're missing the experience of flicking through dusty vinyl and buying something just because you're wooed by its cover, this is an armchair substitute.
You might alternatively abdicate your will completely and listen to nothing but what people tell you to listen to. Or introduce a game-playing element. Last year, for instance, my friends and I ran a "Pop World Cup"-- we took the soccer World Cup and each player drew a country by lot. The competition was to find the best pop music from that country we hadn't already heard. I got Holland, and spent a joyful week listening to earbleed gabba, ABBA imitators, dodgy trance remixers, hippy veterans Shocking Blue, and a boy band dabbling in goth (Di-Rect, if you're asking). It was marvelous.
Many of these experiments might seem awfully solipsistic. In this column I've generally emphasized the social, conversational uses of music-- but part of the appeal is to see how you can sustain these uses when the bedrock of whatever you thought your "taste" was is removed. Breaking the link between my taste and my social existence was, deep down, the reason I ditched my records in the first place.
At the time I made the break I'd had two or three years of very intense social involvement in music. I'd found myself adrift and lonely at 18, then had made friends with a bunch of people who were as passionate about music as I was. We talked and argued about it non-stop-- sharing bands, gabbling out enthusiasms, crushing each other's perceived mis-steps. Even when we agreed on the worth of a band we'd keep talking and talking-- sitting in parked cars at 3AM wrestling over how precisely to split the difference between our favorite Talking Heads and Pixies tracks.
We turned our tastes into a hothouse and when I went to college I wanted to keep going, keep arguing with the new people I met there, bring them into the hothouse too. But the social life of a University is utterly different from the social life obsessed friends make for themselves-- if I wanted to go to shows, or parties, I had to make compromises with the music played there. With hindsight the gap between the strict art-pop mini-canon I'd bought into at home and the breakout indie bands loved on campus was pretty tiny but it could seem vitally huge. One time I got high and found myself physically clinging to the side of a bar, desperately willing my body not to go and dance to a Charlatans record I knew my sober self disapproved of.
My music taste had become my own worst enemy-- an internal canon I couldn't even have articulated but still constantly betrayed. Second-guessing myself was exhausting-- something had to give. The mistake I'd made was in thinking of my taste as something fundamental in my self, a hip agnostic version of the soul-- rather than admitting I had the luxury of detaching myself from it and trying new tastes as I might clothes or haircuts. So I hit the reset button-- or tried to.
A digital environment has its own hothouse communities and its own pressures but also makes it easier than ever to start experimenting with your music taste. A word of caution, though. My own attempt to hotwire my tastes was compromised-- for one thing, I wasn't truly ready to start relating to people other than as "a music fan"-- and maybe I'm still not ready. But more seriously I was unwilling to try and use the new music I was hearing to shake up my social life-- on a basic level, by getting to know other people who liked it.
I used my friends to break the hold my music taste had over me, but I didn't dare at that time to go further and reforge the link to include new, wider friendships. I "got into" drum and bass, for instance, but it took me three more years to set foot in a drum and bass rave. I started listening to more 60s pop but I wouldn't talk to my parents or their friends about it even though they lived it. This is the only sense in which I think my experiment was a failure: I'm sure you won't make the same mistakes.
How to get rid of your record collection and love it Part 1
Have you ever wanted to delete or dump or sell all the music you own and start again? I decided to do this once. It wasn't that I suddenly hated the music I liked. It wasn't even thinking about each individual cassette or CD that made my heart itchy. I realized one evening how the blend of colors on their neatly ordered spines had become as familiar as wallpaper. I wanted to hear something new. I wanted to have heard nothing.
How to go about this? I was 20, at University, I had friends who were music heads but among them I was the chief music head. I would give my records away to them! Immediately compromise began to creep in. Maybe I wouldn't give them away for ever-- just for a year. And maybe I'd keep the most recent 20 or 30 albums...so the purity of the plan was lost, the original impulse diluted until what I had left was a faintly baffling gesture that my friends, being friends, indulged. I "got rid of" 90% of my collection, and a year later I got them back.
But despite the compromise, it worked. I listened closer to the records I'd left myself with. I realized which of my comfortable favorites I honestly missed and which ones I just quietly forgot I ever had. I took more risks in buying new stuff, because I knew I'd be forced to give it a proper go. In short I surprised myself.
So I recommend it! Do it now, actually. Close this window, put all your music onto an external hard drive, give it to someone you trust and tell them to use it as a paperweight until next September, or at any rate until you use your safe word. Or be braver than I was, and tell them it's an early birthday present. Of course now you can just go and download everything again but let's assume you don't.
What might you listen to instead? With the metaphorical cupboards cleared you can listen to anything you like, so it's time to start playing games with your taste, messing around with your music fan OS and seeing what happens.
The most obvious thing to do is to explore new genres-- take something you enjoy but neglect and make it the center of your listening for a while. You could also do the same with a year-- become a time traveler, spend a month in 1975 or 1984 or whenever. Indulge an obsession-- pick an artist and listen to them unceasingly. Or pick a song-- someone on music board ILM recently tried to listen to "Temple of Love" by the Sisters of Mercy 1,001 times. (I admit my own taste experiments were never so hardcore.)
Or let go even further and introduce an element of chance. Go to a P2P server and pick a word you like-- or a name or place. Type it in and grab whatever you get. I did this with "London" and found a whole world: pirate crackle, tourist sentiment, punk icons, hump-happy eurodisco, rainy drones, way too much to process.
Pitchforkmedia.com
How to go about this? I was 20, at University, I had friends who were music heads but among them I was the chief music head. I would give my records away to them! Immediately compromise began to creep in. Maybe I wouldn't give them away for ever-- just for a year. And maybe I'd keep the most recent 20 or 30 albums...so the purity of the plan was lost, the original impulse diluted until what I had left was a faintly baffling gesture that my friends, being friends, indulged. I "got rid of" 90% of my collection, and a year later I got them back.
But despite the compromise, it worked. I listened closer to the records I'd left myself with. I realized which of my comfortable favorites I honestly missed and which ones I just quietly forgot I ever had. I took more risks in buying new stuff, because I knew I'd be forced to give it a proper go. In short I surprised myself.
So I recommend it! Do it now, actually. Close this window, put all your music onto an external hard drive, give it to someone you trust and tell them to use it as a paperweight until next September, or at any rate until you use your safe word. Or be braver than I was, and tell them it's an early birthday present. Of course now you can just go and download everything again but let's assume you don't.
What might you listen to instead? With the metaphorical cupboards cleared you can listen to anything you like, so it's time to start playing games with your taste, messing around with your music fan OS and seeing what happens.
The most obvious thing to do is to explore new genres-- take something you enjoy but neglect and make it the center of your listening for a while. You could also do the same with a year-- become a time traveler, spend a month in 1975 or 1984 or whenever. Indulge an obsession-- pick an artist and listen to them unceasingly. Or pick a song-- someone on music board ILM recently tried to listen to "Temple of Love" by the Sisters of Mercy 1,001 times. (I admit my own taste experiments were never so hardcore.)
Or let go even further and introduce an element of chance. Go to a P2P server and pick a word you like-- or a name or place. Type it in and grab whatever you get. I did this with "London" and found a whole world: pirate crackle, tourist sentiment, punk icons, hump-happy eurodisco, rainy drones, way too much to process.
Pitchforkmedia.com
Daft Punk-Live album
Photo by Kirstie Shanley
Sure, the title alone probably won't inspire much desire to hit the dance floor. But, much like the show from whence it comes, Daft Punk's forthcoming live album Daft Punk Alive 2007 has considered just about every other detail in the pursuit of the boogie, short of the thing coming with a DVD.
Although it has yet to be confirmed, Spin.com reports that the disc will be released November 20 in America on Virgin, and will collect 27 tunes (32, should you opt for the bonus encore disc) recorded live in Paris this summer. The hits-laden set also comes with the previously reported Olivier Gondry-directed, fan-filmed video for "Harder, Better, Faster, Stronger", as well as a 50-page "digi-book" featuring photos from the tour. Ah, memories.
Daft Punk have added a few shows to their 2007 itinerary, which, as you know, includes a set October 27 at Las Vegas' Vegoose festival. They'll hit Japan for three shows in December-- Osaka on December 6 and Tokyo on December 8 and 9.
Posted by Pitchforkmedia.com
Sure, the title alone probably won't inspire much desire to hit the dance floor. But, much like the show from whence it comes, Daft Punk's forthcoming live album Daft Punk Alive 2007 has considered just about every other detail in the pursuit of the boogie, short of the thing coming with a DVD.
Although it has yet to be confirmed, Spin.com reports that the disc will be released November 20 in America on Virgin, and will collect 27 tunes (32, should you opt for the bonus encore disc) recorded live in Paris this summer. The hits-laden set also comes with the previously reported Olivier Gondry-directed, fan-filmed video for "Harder, Better, Faster, Stronger", as well as a 50-page "digi-book" featuring photos from the tour. Ah, memories.
Daft Punk have added a few shows to their 2007 itinerary, which, as you know, includes a set October 27 at Las Vegas' Vegoose festival. They'll hit Japan for three shows in December-- Osaka on December 6 and Tokyo on December 8 and 9.
Posted by Pitchforkmedia.com
Atrak remixes Kayne West. Rating 4 of 5 turntables
Premiere: Kanye West: "Stronger (A-Trak Remix)" [MP3/Stream]
It was Kanye West's DJ, Montreal-based turntable maestro A-Trak, who introduced the Louis Vuitton don to Daft Punk's "Harder, Better, Faster, Stronger". West leans heavily on the track as robotic source material for Graduation lead single "Stronger", working in his recent hypeman mode between verses positing women as interchangeable and West as quite possibly God's gift to them. "Baby, you're making it..." Kanye starts the chorus, as Daft Punk finish, "...harder, better, faster, stronger." Ask the dudes from SuperBad to explain that to you.
West has made a point in this album's press push of trying to establish himself as an MC; he initially said Graduation wouldn't include guest rappers, and more recently traded verses with the "best rapper alive" himself, Lil' Wayne. But A-Trak's remix uses West mostly as a source of spoken-word hooks, looping his most memorable exhortations and chopping up Daft Punk's vocoded vocals while leaving most of the verses on the cutting-room floor. The result is part the talk-box electrofunk of A-Trak bro Chromeo, and another part the room-shaking filter-disco of Justice, without any awkward references to "blond dyke[s]". In West's words, "Me likey." A lot.
A-Trak explains further: "I played Daft Punk to Kanye about two years ago for the first time. And he always said he wanted to flip 'Harder Better'. I was skeptical of the idea at first. But he sent me the beat when he first made it and I thought it was crazy. Then it took a few months for him to come up with all the vocals. And while I was working on recording scratches for the track he told me he wanted me to remix it too. Fast-forward to now, the remix is done and he's really behind it. They're still working out how they're going to release it (probably something on iTunes), so in the meantime we decided to leak it."
Posted at Pitchforkmedia.com
It was Kanye West's DJ, Montreal-based turntable maestro A-Trak, who introduced the Louis Vuitton don to Daft Punk's "Harder, Better, Faster, Stronger". West leans heavily on the track as robotic source material for Graduation lead single "Stronger", working in his recent hypeman mode between verses positing women as interchangeable and West as quite possibly God's gift to them. "Baby, you're making it..." Kanye starts the chorus, as Daft Punk finish, "...harder, better, faster, stronger." Ask the dudes from SuperBad to explain that to you.
West has made a point in this album's press push of trying to establish himself as an MC; he initially said Graduation wouldn't include guest rappers, and more recently traded verses with the "best rapper alive" himself, Lil' Wayne. But A-Trak's remix uses West mostly as a source of spoken-word hooks, looping his most memorable exhortations and chopping up Daft Punk's vocoded vocals while leaving most of the verses on the cutting-room floor. The result is part the talk-box electrofunk of A-Trak bro Chromeo, and another part the room-shaking filter-disco of Justice, without any awkward references to "blond dyke[s]". In West's words, "Me likey." A lot.
A-Trak explains further: "I played Daft Punk to Kanye about two years ago for the first time. And he always said he wanted to flip 'Harder Better'. I was skeptical of the idea at first. But he sent me the beat when he first made it and I thought it was crazy. Then it took a few months for him to come up with all the vocals. And while I was working on recording scratches for the track he told me he wanted me to remix it too. Fast-forward to now, the remix is done and he's really behind it. They're still working out how they're going to release it (probably something on iTunes), so in the meantime we decided to leak it."
Posted at Pitchforkmedia.com
"SuperBad" quote of the day
Jules: You scratch our back and we'll scratch yours.
Seth: Well, the funny thing about my back Jules, is that it's located on my cock.
Seth: Well, the funny thing about my back Jules, is that it's located on my cock.
Monday, August 27, 2007
Check this from Allhiphopsite.com
By Fawn Renee
Polow Da Don may not have reached the pinnacle of success that some of his peers have, but the colorful producer is well on his way. Unless you have been living in a hole for the past two years, you have at some point jammed to the hard-hitting bass, heavy synths, unconventional horns and other knick knacks that have made the 28-year old Atlanta native a rarity in today’s sub par music scene. If not, don’t think for a minute that he isn’t prepared to bring you up to speed. But above and beyond this thin layer of arrogance lies a list of hits that would silence the most boisterous naysayer. After all, with chat toppers like Ludacris’ “Runaway Love,” Fergie’s “London Bridge,” and Rich Boy’s “Throw Some Ds,” over the course of just one year, who could deny that Polow is on top of his game?
Whether you like him or not is irrelevant, at least to him. The outspoken, colorful, intelligent super producer has bigger fish to fry-changing the music game. Polow took a break from the studio to speak candidly with AllHipHop.com about his formative years as a rapper with Jim Crow , his unparalleled production technique, and why he is the “King of the White Girls.” Take notes.
AllHipHop.com: You've been like a silent killer in the industry. I still remember hearing Fergie’s “London Bridge” and wondering, "Who is that?" How does it feel to finally be in the spotlight?
Polow Da Don: I agree. I want people to think, “Who the f*** did that?” That [Fergie] track was that track for me. So life for me is incredible because of the way I handle it. I’m just a super down-to-earth, humble dude. I make my s*** look big and sound big, but if I met you anywhere it’s like, you know… I’m still my parents’ child. I still talk to them everyday, so you can’t help but stay humble. So I love it, but I like to keep my foundation solid.
AllHipHop.com: Did you have a big presence on the underground scene in Atlanta before going main stream?
Polow Da Don: Yeah, I had a big presence because of high school. I was the attractive dude, the athletic dude. I ran with the bad boys in school. I was always popular.
AHH: Listen at you.
Polow: I mean that’s what I heard. [Laughs] So I did a video, "Shawty Swing My Way" and got notoriety on some pretty boy s**t. Then I started rappin’ with Jim Crow. We were successful, locally, and we had our breakout markets. I’ve always been into the music scene real heavy. So I think all that helped me in my transition of becoming a producer, because the T-Pains and [Ludacris’] and Jazze Phas already knew me, you know? And Lil' Jon was my first manager as a rapper, when I was like 14, so that foundation was already there. Plus I was a cool dude. Actually, Luda called me up for the track we did, so it was dope. I think how you treat people, how I treated people, helped me get to where I am.
AllHipHop.com: Atlanta-based producers are very unique in their own right. Jazze Pha doesn’t sound like Khao, Khao doesn’t sound like Lil’ Jon, and so on. What element of your production is different? Why would someone come to you for a track rather than one of these guys?
Polow Da Don: I think I'm the most experimental producer, who understands the essence of making a hit and being unique. So I separate each artist and track apart from each other. Like you said, Jazze don’t sound like Khao, but I don’t even sound like myself compared to whatever the last record is I did. I think I put the most work in. Although I have a natural talent, I really think about this s**t. I think that’s what makes me unique. I think music is sick right now and I try to serve music its medicine.
AllHipHop.com: You've worked with everyone from Ludacris and Jamie Foxx to The Pussy Cat Dolls, Fergie and Gwen Stefani. Do you think it's the mark of a great producer to show that kind of versatility in today's melting pot of music?
Polow Da Don: Versatility makes you a great producer because it shows you respect music and have paid attention and learned something over the years. It shows how much you’re dedicated to music itself. If you treat music as a hustle, it’ll treat you like a hustle. But if you love it, it’ll love you back; and people like Jimmy Iovine, L.A. Reid and R. Kelly, they can hear that because they love music too and have been around. The state of urban music is just where all the dope boys and people who don’t want nine to fives get into it for the hustle, but the game is going to eat them up and spit them out because they didn’t put the time into it. Like Craig Mack said, “You won’t be around next year.” So versatility is the mark of a good producer. Like, everyone’s on this pop s**t-
Polow Da Don may not have reached the pinnacle of success that some of his peers have, but the colorful producer is well on his way. Unless you have been living in a hole for the past two years, you have at some point jammed to the hard-hitting bass, heavy synths, unconventional horns and other knick knacks that have made the 28-year old Atlanta native a rarity in today’s sub par music scene. If not, don’t think for a minute that he isn’t prepared to bring you up to speed. But above and beyond this thin layer of arrogance lies a list of hits that would silence the most boisterous naysayer. After all, with chat toppers like Ludacris’ “Runaway Love,” Fergie’s “London Bridge,” and Rich Boy’s “Throw Some Ds,” over the course of just one year, who could deny that Polow is on top of his game?
Whether you like him or not is irrelevant, at least to him. The outspoken, colorful, intelligent super producer has bigger fish to fry-changing the music game. Polow took a break from the studio to speak candidly with AllHipHop.com about his formative years as a rapper with Jim Crow , his unparalleled production technique, and why he is the “King of the White Girls.” Take notes.
AllHipHop.com: You've been like a silent killer in the industry. I still remember hearing Fergie’s “London Bridge” and wondering, "Who is that?" How does it feel to finally be in the spotlight?
Polow Da Don: I agree. I want people to think, “Who the f*** did that?” That [Fergie] track was that track for me. So life for me is incredible because of the way I handle it. I’m just a super down-to-earth, humble dude. I make my s*** look big and sound big, but if I met you anywhere it’s like, you know… I’m still my parents’ child. I still talk to them everyday, so you can’t help but stay humble. So I love it, but I like to keep my foundation solid.
AllHipHop.com: Did you have a big presence on the underground scene in Atlanta before going main stream?
Polow Da Don: Yeah, I had a big presence because of high school. I was the attractive dude, the athletic dude. I ran with the bad boys in school. I was always popular.
AHH: Listen at you.
Polow: I mean that’s what I heard. [Laughs] So I did a video, "Shawty Swing My Way" and got notoriety on some pretty boy s**t. Then I started rappin’ with Jim Crow. We were successful, locally, and we had our breakout markets. I’ve always been into the music scene real heavy. So I think all that helped me in my transition of becoming a producer, because the T-Pains and [Ludacris’] and Jazze Phas already knew me, you know? And Lil' Jon was my first manager as a rapper, when I was like 14, so that foundation was already there. Plus I was a cool dude. Actually, Luda called me up for the track we did, so it was dope. I think how you treat people, how I treated people, helped me get to where I am.
AllHipHop.com: Atlanta-based producers are very unique in their own right. Jazze Pha doesn’t sound like Khao, Khao doesn’t sound like Lil’ Jon, and so on. What element of your production is different? Why would someone come to you for a track rather than one of these guys?
Polow Da Don: I think I'm the most experimental producer, who understands the essence of making a hit and being unique. So I separate each artist and track apart from each other. Like you said, Jazze don’t sound like Khao, but I don’t even sound like myself compared to whatever the last record is I did. I think I put the most work in. Although I have a natural talent, I really think about this s**t. I think that’s what makes me unique. I think music is sick right now and I try to serve music its medicine.
AllHipHop.com: You've worked with everyone from Ludacris and Jamie Foxx to The Pussy Cat Dolls, Fergie and Gwen Stefani. Do you think it's the mark of a great producer to show that kind of versatility in today's melting pot of music?
Polow Da Don: Versatility makes you a great producer because it shows you respect music and have paid attention and learned something over the years. It shows how much you’re dedicated to music itself. If you treat music as a hustle, it’ll treat you like a hustle. But if you love it, it’ll love you back; and people like Jimmy Iovine, L.A. Reid and R. Kelly, they can hear that because they love music too and have been around. The state of urban music is just where all the dope boys and people who don’t want nine to fives get into it for the hustle, but the game is going to eat them up and spit them out because they didn’t put the time into it. Like Craig Mack said, “You won’t be around next year.” So versatility is the mark of a good producer. Like, everyone’s on this pop s**t-
SuperBad Quote of the day
Evan: I heard she got breast reduction surgery.
Seth: Breast Reduction Surgery? That's like slapping God across the face.
Evan: She had back-problems, man.
Seth: Breast Reduction Surgery? That's like slapping God across the face.
Evan: She had back-problems, man.
Friday, August 24, 2007
Apparently Morrissey knows Dave Chappelle
Morrissey Turns Down $75 Million for Smiths Reunion
Celibacy, vow of poverty...yep, he's becoming a priest
Photo by Paparazzi by Appointment
Morrissey money shocker! According to a new press release about Morrissey's previously reported fall U.S. tour, "In an effort to stop the speculation and kill off the rumor mongers who seem to use these things to take advantage of committed fans, we can tell you that one thing the future will not bring is a Smiths' reunion tour."
Turns out Moz was approached with an offer of $75 million smackers, payable upon completion of at least 50 worldwide shows provided Johnny Marr was in the band (no love for Andy and Mike?). Morrissey-- who'd like it to be known once and for all that it's not about the music but, rather, about the hurting-- turned them down. Morrissey previously bragged about how Coachella offered the Smiths $5 million to reunite, but that, it appears, was small potatoes.
Pitchforkmedia.com
Celibacy, vow of poverty...yep, he's becoming a priest
Photo by Paparazzi by Appointment
Morrissey money shocker! According to a new press release about Morrissey's previously reported fall U.S. tour, "In an effort to stop the speculation and kill off the rumor mongers who seem to use these things to take advantage of committed fans, we can tell you that one thing the future will not bring is a Smiths' reunion tour."
Turns out Moz was approached with an offer of $75 million smackers, payable upon completion of at least 50 worldwide shows provided Johnny Marr was in the band (no love for Andy and Mike?). Morrissey-- who'd like it to be known once and for all that it's not about the music but, rather, about the hurting-- turned them down. Morrissey previously bragged about how Coachella offered the Smiths $5 million to reunite, but that, it appears, was small potatoes.
Pitchforkmedia.com
Bright Eyes on Tour
A date, a city, a state, a venue:
09-13 Denver, CO - Ogden Theatre *
09-14 Boise, ID - Big Easy Concert House *
09-15 Spokane, WA - Big Easy Concert House *
09-16 Olympia, WA - Capital Theatre *
09-18 Fairbanks, AK - University of Alaska - Fairbanks *
09-19 Anchorage, AK - University of Alaska - Anchorage *
09-20 Anchorage, AK - University of Alaska - Anchorage *
09-22 Seattle, WA - Quest Field (End Fest)
09-23 Eugene, OR - McDonald Theatre #
09-24 Chico, CA - Senator Theatre #
09-29 Los Angeles, CA - Hollywood Bowl ^
10-03 Mexico City, Mexico - Vive Cuervo Salon
10-19 Chicago, IL - Chicago Theatre
10-20 Kalamazoo, MI - State Theatre
10-21 Champaign, IL - Foellinger Auditorium at University of Illinois
10-22 Milwaukee, WI - Riviera Theatre
10-23 Lawrence, KS - Lied Center at University of Kansas
10-24 Omaha, NE - Waiting Room
10-25 Sioux Falls, SD - Ramkota Exhibit Hall
10-27 Billings, MT - Shrine Auditorium
10-28 Missoula, MT - University Theatre
10-30 Edmonton, Alberta - Events Center
10-31 Calgary, Alberta - MacEwan Hall
11-02 Winnipeg, Manitoba - Burton Cummings Theatre
11-03 Fargo, ND - The Venue at Playmakers
11-04 Iowa City, IA - Main Lounge at University of Iowa
11-06 Memphis, TN - Orpheum Theatre
11-07 Birmingham, AL - Alabama Theatre
11-08 Charleston, SC - The Plex
11-09 Winston Salem, NC - Millennium Center
11-10 Norfolk, VA - The NorVa
11-11 Washington, DC - DAR Constitution Hall
11-12 Wilmington, DE - Grand Opera House
11-14 Binghamton, NY - Magic City Music Hall
11-15 Rochester, NY - Main Street Armory
11-16 Portsmouth, NH - The Music Hall
11-17 Providence, RI - Lupo's Heartbreak Hotel
11-18 Worcester, MA - Palladium
11-19 New York, NY - Radio City Music Hall
* with Nik Freitas
# with Port O'Brien
^ with Los Angeles Philharmonic, M. Ward
Stream: Bright Eyes: Big Old House [from the The Hott
Pitchforkmedia.com
09-13 Denver, CO - Ogden Theatre *
09-14 Boise, ID - Big Easy Concert House *
09-15 Spokane, WA - Big Easy Concert House *
09-16 Olympia, WA - Capital Theatre *
09-18 Fairbanks, AK - University of Alaska - Fairbanks *
09-19 Anchorage, AK - University of Alaska - Anchorage *
09-20 Anchorage, AK - University of Alaska - Anchorage *
09-22 Seattle, WA - Quest Field (End Fest)
09-23 Eugene, OR - McDonald Theatre #
09-24 Chico, CA - Senator Theatre #
09-29 Los Angeles, CA - Hollywood Bowl ^
10-03 Mexico City, Mexico - Vive Cuervo Salon
10-19 Chicago, IL - Chicago Theatre
10-20 Kalamazoo, MI - State Theatre
10-21 Champaign, IL - Foellinger Auditorium at University of Illinois
10-22 Milwaukee, WI - Riviera Theatre
10-23 Lawrence, KS - Lied Center at University of Kansas
10-24 Omaha, NE - Waiting Room
10-25 Sioux Falls, SD - Ramkota Exhibit Hall
10-27 Billings, MT - Shrine Auditorium
10-28 Missoula, MT - University Theatre
10-30 Edmonton, Alberta - Events Center
10-31 Calgary, Alberta - MacEwan Hall
11-02 Winnipeg, Manitoba - Burton Cummings Theatre
11-03 Fargo, ND - The Venue at Playmakers
11-04 Iowa City, IA - Main Lounge at University of Iowa
11-06 Memphis, TN - Orpheum Theatre
11-07 Birmingham, AL - Alabama Theatre
11-08 Charleston, SC - The Plex
11-09 Winston Salem, NC - Millennium Center
11-10 Norfolk, VA - The NorVa
11-11 Washington, DC - DAR Constitution Hall
11-12 Wilmington, DE - Grand Opera House
11-14 Binghamton, NY - Magic City Music Hall
11-15 Rochester, NY - Main Street Armory
11-16 Portsmouth, NH - The Music Hall
11-17 Providence, RI - Lupo's Heartbreak Hotel
11-18 Worcester, MA - Palladium
11-19 New York, NY - Radio City Music Hall
* with Nik Freitas
# with Port O'Brien
^ with Los Angeles Philharmonic, M. Ward
Stream: Bright Eyes: Big Old House [from the The Hott
Pitchforkmedia.com
Wilco on tour
Wilco:
08-24 Berkeley, CA - Greek Theatre #
08-26 Santa Barbara, CA - County Bowl #
08-27 San Diego, CA - SDSU Open Air Theater #
08-29 Los Angeles, CA - Greek Theatre #
09-01 Denver, CO - Fillmore Auditorium #
09-02 Denver, CO - Fillmore Auditorium #
09-04 Duluth, MN - Bayfront Festival Park
09-11 Madison, WI - Overture Hall *
09-12 Chicago, IL - Jay Pritzker Pavilion at Millennium Park *
09-13 Southaven, MS - Snowden Grove Amphitheatre *
09-14 Dallas, TX - Palladium Ballroom *
09-16 Austin, TX - Austin City Limits Festival
09-18 Little Rock, AR - Robinson Auditorium *
09-19 Columbia, MO - 9th Street Summerfest *
09-21 Louisville, KY - Louisville Slugger Field *
10-09 Milwaukee, WI - Eagle's Ballroom
10-10 Minneapolis, MN - Northrop Auditorium
10-13 Kansas City, MO - Crossroads
10-14 Iowa City, IA - Main Lounge
10-16 Columbus, OH - Wexner Center
10-17 Detroit, MI - Fox Theater
10-28 New Orleans, LA - Voodoo Music Experience
11-02 Manchester, England - Manchester Academy
11-03 Newcastle, England - Newcastle Academy
11-04 Birmingham, England - Birmingham Academy
11-05 London, England - Brixton Academy
11-06 Brussels, Belgium - Cirque Royal
11-08 Barcelona, Spain - Razzmatazz
11-09 Madrid, Spain - Riviera
11-11 Bilbao, Spain - Euskalduna
11-14 Dublin, Ireland - Vicar Street
11-15 Dublin, Ireland - Vicar Street
# with Richard Swift
* with Dr. Dog
Courtesy of Pitchforkmedia
08-24 Berkeley, CA - Greek Theatre #
08-26 Santa Barbara, CA - County Bowl #
08-27 San Diego, CA - SDSU Open Air Theater #
08-29 Los Angeles, CA - Greek Theatre #
09-01 Denver, CO - Fillmore Auditorium #
09-02 Denver, CO - Fillmore Auditorium #
09-04 Duluth, MN - Bayfront Festival Park
09-11 Madison, WI - Overture Hall *
09-12 Chicago, IL - Jay Pritzker Pavilion at Millennium Park *
09-13 Southaven, MS - Snowden Grove Amphitheatre *
09-14 Dallas, TX - Palladium Ballroom *
09-16 Austin, TX - Austin City Limits Festival
09-18 Little Rock, AR - Robinson Auditorium *
09-19 Columbia, MO - 9th Street Summerfest *
09-21 Louisville, KY - Louisville Slugger Field *
10-09 Milwaukee, WI - Eagle's Ballroom
10-10 Minneapolis, MN - Northrop Auditorium
10-13 Kansas City, MO - Crossroads
10-14 Iowa City, IA - Main Lounge
10-16 Columbus, OH - Wexner Center
10-17 Detroit, MI - Fox Theater
10-28 New Orleans, LA - Voodoo Music Experience
11-02 Manchester, England - Manchester Academy
11-03 Newcastle, England - Newcastle Academy
11-04 Birmingham, England - Birmingham Academy
11-05 London, England - Brixton Academy
11-06 Brussels, Belgium - Cirque Royal
11-08 Barcelona, Spain - Razzmatazz
11-09 Madrid, Spain - Riviera
11-11 Bilbao, Spain - Euskalduna
11-14 Dublin, Ireland - Vicar Street
11-15 Dublin, Ireland - Vicar Street
# with Richard Swift
* with Dr. Dog
Courtesy of Pitchforkmedia
SuperBad Quote of the Day
Evan: You could always subscribe to a site like Perfect Ten. I mean that could be anything, it could be a bowling site.
Seth: Yeah, but the problem is that they don't actually show the d*ck going in the pussy. Have you ever seen a pus*y by itself?
Evan: No.
Seth: I dunno, it's not for me.
Seth: Yeah, but the problem is that they don't actually show the d*ck going in the pussy. Have you ever seen a pus*y by itself?
Evan: No.
Seth: I dunno, it's not for me.
Thursday, August 23, 2007
The last of the last. Bizzy Bone
group member Bizzy Bone is preparing his third major label solo album titled A Song For You.
Bizzy, born, Bryon Anthony McCane II, was a member of the Grammy Award winning Cleveland rap group at the height of their success, contributing to albums like Creepin On Ah Come Up (1994) and E. 1999 Eternal (1995) The Art Of War (1997), albums that have sold over 20 million copies combined.
After a long battle with drugs and alcohol, the troubled rapper was kicked out of Bone Thugs-N-Harmony in 2002, when he appeared at a show at B.B. Kings in New York intoxicated.
Bizzy, an admitted recovering alcoholic and drug addict, insists he's finally ready to return to the Hip-Hop game.
"I can't wait for my fans to hear my new music," Bizzy Bone said. "For the first time in my life, I've truly been able to put aside all my demons and just focus on making the best music possible."
Allhiphop.com
Bizzy, born, Bryon Anthony McCane II, was a member of the Grammy Award winning Cleveland rap group at the height of their success, contributing to albums like Creepin On Ah Come Up (1994) and E. 1999 Eternal (1995) The Art Of War (1997), albums that have sold over 20 million copies combined.
After a long battle with drugs and alcohol, the troubled rapper was kicked out of Bone Thugs-N-Harmony in 2002, when he appeared at a show at B.B. Kings in New York intoxicated.
Bizzy, an admitted recovering alcoholic and drug addict, insists he's finally ready to return to the Hip-Hop game.
"I can't wait for my fans to hear my new music," Bizzy Bone said. "For the first time in my life, I've truly been able to put aside all my demons and just focus on making the best music possible."
Allhiphop.com
Saigon-Best Rapper in NY?
Saigon's attorney has spoken out against his client's arrest, claiming that the rapper was a target of the New York Police Department's infamous Hip-Hop Squad.
Saigon, born Brian Carenard, was arrested around 1:30 am yesterday morning (August 22), after police stopped a vehicle the rapper was riding in for a traffic violation near 11th Avenue and W. 29th Street in Manhattan around 1:30 am.
A search of the vehicle turned up a gravity knife, which is similar to a switch blade. He was arrested and charged with possession of a weapon.
“This is another example of New York's finest targeting a member of the rap and entertainment industry," Saigon's Attorney Scott Leemon told AllHipHop.com. "The car that Saigon was driving was not owned by him. More importantly, the small pocket knife was found in a console in the car, not on his possession."
Saigon was released on $1500 bail and is due back in court on December 5.
"I am hoping after further investigation this will be another example of a rapper being wrongfully arrested,” Leemon told AllHipHop.com
Saigon, born Brian Carenard, was arrested around 1:30 am yesterday morning (August 22), after police stopped a vehicle the rapper was riding in for a traffic violation near 11th Avenue and W. 29th Street in Manhattan around 1:30 am.
A search of the vehicle turned up a gravity knife, which is similar to a switch blade. He was arrested and charged with possession of a weapon.
“This is another example of New York's finest targeting a member of the rap and entertainment industry," Saigon's Attorney Scott Leemon told AllHipHop.com. "The car that Saigon was driving was not owned by him. More importantly, the small pocket knife was found in a console in the car, not on his possession."
Saigon was released on $1500 bail and is due back in court on December 5.
"I am hoping after further investigation this will be another example of a rapper being wrongfully arrested,” Leemon told AllHipHop.com
Dupri writes a book: Young, Rich, and Dangerous
Young, Rich and Dangerous
Four things: Jermaine Dupri has written his memoir; it is called Young, Rich and Dangerous; the first chapter is titled "Fresh Azimiz"; the foreword is written by Teddy Riley. If this does not make you want to read his book, we don't know what will. Honestly, we just flipped open to a random page and the first sentence we read was this:
So I got Bob, a big dude who's my head of security, to guard her and set her [T-Boz] up with a big plate of shrimp while we did our thing in another booth.
Awesome. We're already imagining JD reading this aloud in audio book form. Young, Fresh and Dangerous comes out on Atria Books this fall.
Thefader.com
Four things: Jermaine Dupri has written his memoir; it is called Young, Rich and Dangerous; the first chapter is titled "Fresh Azimiz"; the foreword is written by Teddy Riley. If this does not make you want to read his book, we don't know what will. Honestly, we just flipped open to a random page and the first sentence we read was this:
So I got Bob, a big dude who's my head of security, to guard her and set her [T-Boz] up with a big plate of shrimp while we did our thing in another booth.
Awesome. We're already imagining JD reading this aloud in audio book form. Young, Fresh and Dangerous comes out on Atria Books this fall.
Thefader.com
Killah Priest-DJ Truth is doing his thing over at Good Hands
Since releasing his debut album Heavy Mental in 1998, Killah Priest has managed to establish himself as one of the most consistent, talented emcees in the game. His sixth solo album, The Offering (Good Hands), once again fulfills the lofty standards that Priest has set for himself
Although he is a veteran, Priest still sounds hungry and as determined as ever to retain his position in the pulpit of the underground. His ability to conjure haunting, vivid imagery has only improved with time, as evidenced by these bars from the self-titled opening track: It starts off I used to fingerpaint/While in class/The teachers ordered me to see a shrink /‘Cuz my craft/Was sorta different from the other students/For instance when I would color/I would cut my fingers, smear the blood/To describe a slain hustler. As he has done throughout his career, Priest kicks intelligent, creative rhymes, all the while dropping some serious knowledge.
However, one should not mistake consistency for monotony, as The Offering has something new to offer indeed: although Priest is more than able to carry an album by himself, one glance at the guest list will exhilarate even the most casual fans. Among others, Priest collaborates with Nas (“Gun 4 Gun”), Immortal Technique (“Standstill”), and of course, The HRSMN (“Inner G”). While the appearances from Nas and Technique are stellar, only Canibus sounds like he belongs in a group with Priest on “Inner G,” as Ras Kass and Kurupt drop uncharacteristically sub par verses.
For the most part, the production on the album, from the likes of 4th Disciple and Godz Wrath, complements Priest’s flow and lyrics very well. Sam Sneed drops by for a terrifying apocalyptic joint, “Till the Angels Come,” that might have scared even DJ Paul and Juicy J in the mid 90’s. While the beat selection is fairly accurate, the dark, hellish tracks would start to pile up and sound repetitive if not fortunately broken up by one or two heartfelt songs like “Happy,” which show Priest’s more vulnerable side while still showcasing his unique ability. The bottom line: if you consider yourself a Killah Priest fan, cop The Offering; if not, you really should check it out anyway.
Although he is a veteran, Priest still sounds hungry and as determined as ever to retain his position in the pulpit of the underground. His ability to conjure haunting, vivid imagery has only improved with time, as evidenced by these bars from the self-titled opening track: It starts off I used to fingerpaint/While in class/The teachers ordered me to see a shrink /‘Cuz my craft/Was sorta different from the other students/For instance when I would color/I would cut my fingers, smear the blood/To describe a slain hustler. As he has done throughout his career, Priest kicks intelligent, creative rhymes, all the while dropping some serious knowledge.
However, one should not mistake consistency for monotony, as The Offering has something new to offer indeed: although Priest is more than able to carry an album by himself, one glance at the guest list will exhilarate even the most casual fans. Among others, Priest collaborates with Nas (“Gun 4 Gun”), Immortal Technique (“Standstill”), and of course, The HRSMN (“Inner G”). While the appearances from Nas and Technique are stellar, only Canibus sounds like he belongs in a group with Priest on “Inner G,” as Ras Kass and Kurupt drop uncharacteristically sub par verses.
For the most part, the production on the album, from the likes of 4th Disciple and Godz Wrath, complements Priest’s flow and lyrics very well. Sam Sneed drops by for a terrifying apocalyptic joint, “Till the Angels Come,” that might have scared even DJ Paul and Juicy J in the mid 90’s. While the beat selection is fairly accurate, the dark, hellish tracks would start to pile up and sound repetitive if not fortunately broken up by one or two heartfelt songs like “Happy,” which show Priest’s more vulnerable side while still showcasing his unique ability. The bottom line: if you consider yourself a Killah Priest fan, cop The Offering; if not, you really should check it out anyway.
SuperBad Quote of the Day 2
Fogell: What's it like to have a gun?
Officer Michaels: It's like having two cocks. If one of you cocks could *kill* someone.
Officer Michaels: It's like having two cocks. If one of you cocks could *kill* someone.
Rilo Kiley - With Arms Outstretched - Hotel Cafe 1/29/06
i am still thinking abt those years when i was young and she is a part of it.
"Superbad" Quote of the day
Fogell: There is a very good reason for why my fake I.D. says I'm 25 and not 21. Everyday hundreds of kids go to the liquor store with fake I.D.s that say they're 21. Just how many 21-year-olds are there in this town? It's called strategy.
Evan: Calm down, calm down. She likes you. She wants to suck your .....p
Evan: Calm down, calm down. She likes you. She wants to suck your .....p
Wednesday, August 22, 2007
Thanks to the guys of THE STATES
I am dj at this loft party and it does not get any better than booze, women and .... more booze. Oh yeah there was rock n roll as well. Oi!!!!!!
THIS MONTH IN REGGAE
After a rash of jailhouse hits, countless live performances of his songs by other artists, and plenty of recorded references to his incarceration, Siccature Alcock, aka Jah Cure, is finally free. Following seven years behind bars, it's big news, especially given the hotly disputed 14-year sentence the singer was handed for robbery, rape, and gun charges.
Even though the Jamaican legal system is often less than reliable-- and despite the fact that his case has come under considerable doubt-- it's often conflicting to remember that the man responsible for some of the most touching one-drop anthems of the past few years has been convicted of such shocking crimes. Still, whatever the truth may be, there's no denying that languishing "behind those prison walls" has lent a particular emotional quality to his work. Rather than being filled with pent-up anger, his conscious material is thoughtful and contemplative and his love songs no longer simply about love; there's genuine longing in that voice, and a real feeling of hope and freedom being found in music.
Last weekend he warmed up for the forthcoming Curefest (October 12; St Mary's James Bond Beach) with his first international show in what seems like a lifetime, at the Sundance Reggae Festival in Eindhoven, Holland. Complete with the legendary Dean Fraser leading the band, it has been reported that Cure delivered a storming set, the BBC's Ray Paul going so far as to say: "Jah Cure's debut performance since his much publicised release from prison promised much, and for once the hype delivered on all fronts. He seemed completely at home on stage and was greeted by a rapturous reception from the European crowd. Cure's vocals were on point throughout, and his fans around the world have a treat in store when he visits their region." With global appearances rumoured but not as yet confirmed, the wait shouldn't be too long, wherever you are.
Now, with the summer more or less completely over in a grey, drizzly London town, the Black Chiney crew offer a very apt remix of Rihanna's "Umbrella". Sure, you've probably heard the original quite enough by now, but a complete rework of the beat in a classic-style digital style and the addition of guest verses from Vybz Kartel give the tune extra legs. While not exactly groundbreaking it's a lot of fun and guaranteed to get parties moving. Meanwhile, the Miami sound have dropped three more versions of the Doctor Bird riddim-- home to Collie Buddz' "Tomorrow's Another Day"-- by Wayne Wonder, Nina Sky & Notch, and TOK. All stand up well, but the Albino sisters walk away with it, thanks to singalong pop gem "Loving You" [all Black Chiney/U.S./7"].
It's also good to hear Buju Banton on continued form, dropping a killer version of King Jammy's son John John's brand new Big Up riddim [John John/JA/7"]. "Knock Knock" sees the deejay T rearing up the thunderous, rigid beat in fine, gravel-throated style. Worth looking out for, too, are Capleton bringing the fire with "Safe Travel" and the recently resurgent (if not rehabilitated) Ninjaman on "Fool Dem Talking".
POSTED ON PITCHFORKMEDIA.COM
Even though the Jamaican legal system is often less than reliable-- and despite the fact that his case has come under considerable doubt-- it's often conflicting to remember that the man responsible for some of the most touching one-drop anthems of the past few years has been convicted of such shocking crimes. Still, whatever the truth may be, there's no denying that languishing "behind those prison walls" has lent a particular emotional quality to his work. Rather than being filled with pent-up anger, his conscious material is thoughtful and contemplative and his love songs no longer simply about love; there's genuine longing in that voice, and a real feeling of hope and freedom being found in music.
Last weekend he warmed up for the forthcoming Curefest (October 12; St Mary's James Bond Beach) with his first international show in what seems like a lifetime, at the Sundance Reggae Festival in Eindhoven, Holland. Complete with the legendary Dean Fraser leading the band, it has been reported that Cure delivered a storming set, the BBC's Ray Paul going so far as to say: "Jah Cure's debut performance since his much publicised release from prison promised much, and for once the hype delivered on all fronts. He seemed completely at home on stage and was greeted by a rapturous reception from the European crowd. Cure's vocals were on point throughout, and his fans around the world have a treat in store when he visits their region." With global appearances rumoured but not as yet confirmed, the wait shouldn't be too long, wherever you are.
Now, with the summer more or less completely over in a grey, drizzly London town, the Black Chiney crew offer a very apt remix of Rihanna's "Umbrella". Sure, you've probably heard the original quite enough by now, but a complete rework of the beat in a classic-style digital style and the addition of guest verses from Vybz Kartel give the tune extra legs. While not exactly groundbreaking it's a lot of fun and guaranteed to get parties moving. Meanwhile, the Miami sound have dropped three more versions of the Doctor Bird riddim-- home to Collie Buddz' "Tomorrow's Another Day"-- by Wayne Wonder, Nina Sky & Notch, and TOK. All stand up well, but the Albino sisters walk away with it, thanks to singalong pop gem "Loving You" [all Black Chiney/U.S./7"].
It's also good to hear Buju Banton on continued form, dropping a killer version of King Jammy's son John John's brand new Big Up riddim [John John/JA/7"]. "Knock Knock" sees the deejay T rearing up the thunderous, rigid beat in fine, gravel-throated style. Worth looking out for, too, are Capleton bringing the fire with "Safe Travel" and the recently resurgent (if not rehabilitated) Ninjaman on "Fool Dem Talking".
POSTED ON PITCHFORKMEDIA.COM
How C-Ray Walz Almost took Biggie to the trunk
Yo, I’ll tell you the Biggie Smalls story. I think Biggie Smalls was just started out with Bad Boy and s**t. The illest s**t was when nobody knew who he was at a Rucker game, back in ’95 or ’96. You know what I’m saying, that used to be our spot [to catch a vic.] I didn’t really care who it was. My s**t was if you got a big chain, you probably be coming in with some drugs and s**t. So, I’m probably [gonna be] robbing you… I’m chilling right in front of the entrance of Rucker Park. It was crowded but it wasn’t crowded-crowded. I’m standing right in front of a building and I see this dude wearing a Coogi sweater, a chain, Versace glasses, big ass Jesus-piece and a Herringbone bracelet, with the diamonds squared. He’s just standing there by himself. He’s definitely not from Harlem. Dudes in Harlem ain’t even doing the Coogis yet. So I’m looking like, this dude ain’t with nobody. He’s looking like off into space and s**t. I’m gonna get this kid. He’s mad cool and s**t.
So I’m like, “What’s up?” This n***a is just too cool for me. This guy was just too calm, like he’s holding heat. I’m like, “F**k it, Let me get away from this dude right now.” I go “Stay up, man.” [And Biggie goes] “You too, baby, baby.”
So I went down the block. [The people I was with] went inside a building. They’re like, “What are you doing? I said, “I’m f**king robbing somebody. Come.” I’m going to the park, I’m blowing a couple of L’s and I start freestyling. They’re like, “You crazy ill son. You need to go to a place called 88HipHop where you could just go in the booth and rhyme.” And they took me there. It started my career.
So I’m like, “What’s up?” This n***a is just too cool for me. This guy was just too calm, like he’s holding heat. I’m like, “F**k it, Let me get away from this dude right now.” I go “Stay up, man.” [And Biggie goes] “You too, baby, baby.”
So I went down the block. [The people I was with] went inside a building. They’re like, “What are you doing? I said, “I’m f**king robbing somebody. Come.” I’m going to the park, I’m blowing a couple of L’s and I start freestyling. They’re like, “You crazy ill son. You need to go to a place called 88HipHop where you could just go in the booth and rhyme.” And they took me there. It started my career.
Amy may have to go to rehab
Amy Winehouse Cancels Remaining Tour Dates
Is she off to rehab? The following statement was released today in regards to Amy Winehouse's recent U.S. / Canadian tour cancellation:
Due to the rigours involved in touring, Amy Winehouse has been advised to postpone her upcoming September US and Canadian tour dates. All ticket holders may obtain refunds at their point of purchase. Amy's European and UK tour dates in October and November remain in place. Plans are being made to reschedule her US tour for early 2008. Until then, Amy has been ordered to rest and is working with medical professionals to address her health.
There you have it folks. No word on what the specific reason is, or why Amy's health is in jeopardy, but that's word from the record label.... - Pizzo
Is she off to rehab? The following statement was released today in regards to Amy Winehouse's recent U.S. / Canadian tour cancellation:
Due to the rigours involved in touring, Amy Winehouse has been advised to postpone her upcoming September US and Canadian tour dates. All ticket holders may obtain refunds at their point of purchase. Amy's European and UK tour dates in October and November remain in place. Plans are being made to reschedule her US tour for early 2008. Until then, Amy has been ordered to rest and is working with medical professionals to address her health.
There you have it folks. No word on what the specific reason is, or why Amy's health is in jeopardy, but that's word from the record label.... - Pizzo
Telll me a Story- let Aesop Rock
Definitive Jux Offers Early Look At New Aesop Rock Video
Located at www.iamtryingtohelp.com, Definitive Jux is offering users a sneak peak at Aesop Rock's new video, "None Shall Pass", taken from the album of the same name (dropping August 28th). In order to see the video, which features stop-motion animation of Jeremy Fish's artwork, users must answer a series of questions, each of which unlocks a different door, ultimately leading to the video itself. The video will premiere on MTV officially next week. - Pizzo
Located at www.iamtryingtohelp.com, Definitive Jux is offering users a sneak peak at Aesop Rock's new video, "None Shall Pass", taken from the album of the same name (dropping August 28th). In order to see the video, which features stop-motion animation of Jeremy Fish's artwork, users must answer a series of questions, each of which unlocks a different door, ultimately leading to the video itself. The video will premiere on MTV officially next week. - Pizzo
Bonde Do Role
THIS IS OLD. But her craziness is great. It is what a frontwoman supposed to be off the wall, motivating and more.
HI TEK BRINGING THE BOOM BAP
Hi-Tek Returning In November With "Hi-Teknology 3: Underground"
With 2006's Hi-Teknology 2: The Chip, Hi-Tek cemented his stature as one of today's most innovative and critically acclaimed producers. Less than a year later, Tek has committed to turning heads towards some of today's most gifted up and comers.
With career artist scans approaching 600,000+ units and a production track record including a who's who of today's hottest acts, Hi-Teknology 3: Underground promises to usher in the next wave of talent, with a little help from some soon to be announced A-listers as well.
Hi-Teknology 3: Underground in stores November 20th, 2007
With 2006's Hi-Teknology 2: The Chip, Hi-Tek cemented his stature as one of today's most innovative and critically acclaimed producers. Less than a year later, Tek has committed to turning heads towards some of today's most gifted up and comers.
With career artist scans approaching 600,000+ units and a production track record including a who's who of today's hottest acts, Hi-Teknology 3: Underground promises to usher in the next wave of talent, with a little help from some soon to be announced A-listers as well.
Hi-Teknology 3: Underground in stores November 20th, 2007
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