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Wednesday, May 11, 2016

[Throwback Tape] BDP - Live in Japan ('90 Cassette)

Another rare, historical gem from KRS-One and the BDP crew that I stumbled across on YouTube yesterday. This rare tape with original handdrawn artwork and inserts were given away at Boogie Down Production's first Japanese tour in the very early '90s. Since they had the tape prepared and done by then my guess was that this featured recordings from US shows but at least one track you can hear Kris shout out Japan so it's most likely a Japanese recording as welll.

The rare cassette features two sides (Duh); one being KRS freestyling and strictly going in over classic, and some more obscure, ragga flavored joints while the B-side is labeled the "Hip Hop Side" and (you gussed it) instead features Kris on more traditional breaks and beats. Well worth a listen, and ahuge thank you goes out to YouTube uploader FITTY for allowing us all to hear this forgotten document of one of the best "groups" hip-hop has ever witnessed.

[Live Concert] BOOGIE DOWN PRODUCTIONS - "Live 1990" (VHS)

If you follow Hip Hop news you and especially The Star Chamber you know that he's driving a campaign against Afrika Bambaata based on the multiple ocassions on child molestations that has come to light and there's no doubt in my mind that Bam should be punished for this, and that his legacy will forever be tarnished. However, KRS-One was asked about his thoughts about this on N.O.R.E.'s recent podcast, and though his comments was hardly well thought out or well put together, it has been twisted to say that he meant that he is down with pedophilia and child abuse. What he did say was that as far as Hip-Hop goes, you can never change the legacy of hip-hop - whether or not the allegations turn out to be true, Afrika Bambaata has been such an integral part of the culture that no matter what his legacy will stand firm. His choice of wording was very poor and his comments was in very poor taste, but for the hip-hop community to turn his back on KRS for a stupid comment doesn't sit welll with me. He is one of the innovators, oen of the greatest hip-hop artists of all time and his discography is timeless. Now the P.K. mafia is digging up classic BDP joints like "13 & Good", taken from the 5/5 concept album "Sex & Violence" (which to this day still holds up as one of my three favorite KRS/BDP albums OF ALL TIME).

So far from boycotting KRS I'm hooking you up with a rare VHS of Boogie Down Productions performing in NYC in 1990, featuring D-Nice, Ms. Melodie, Kid Capri, Harmony and even the late Heavy D. The interview segments are interspersed with dialouge, interviews and clips of the crew hanging around. This was released in 1991 on VHS tape and is a true historial document. I believe that this is the video portion of the same concert that made up the "Live Hardcore Worldwide" LP but I am not entirely certain since it been years I listened to that LP (not a favorite of mine at all as live hip-hop albums, as opposed to jazz, are a drag unless the name of the group happens to be The Roots). All praises due to uploader Alan-Proctor Thompson.
01. Hip Hop Will Never Die
02. Cuff
03. Crazy Glue
04. SP 1200
05. Beef
06. Love's Gonna Get'cha
07. Jack of Spades
08. My Philosophy
09. I'm Still #1
10. Original Lyrics
11. Call Me D-Nice
12. Reggae Freestyle
13 House Ni**as

[Throwback Video] RZA, Pete Rock & Mark Morales Discuss Beats

Along with the homie FatboyBrandon, YouTube poster Hezakaya is something of a legend in Wu-Tang fans circles these days as he got tons of rare clips of the Clan and some other hip-hop legends on shows like Yo! MTV Raps and most you can imagine. And he is willing to share them for free whch is of course super appreciated. I made a good find yesterday that he had uploaded somewhat recently which is a sitdown between Fab 5 Freddy, Pete Rock, The RZA and Prince Markie Dee (original member of Fat Boys who later started producing R&B and Soul records under his real name Mark Morales). This was taped in 1995 and I have never seen this before and its some neat footage, no doubt. Check it up top and props to Hezakaya (oh the clips after the interview concludes about midway through is from the underrated movie"The Show").

[Throwback] KILLAH PRIEST - "A Prelude To The Offering" (2xCD)

As big of a Wu-Tang fan that I am, I must admit that, although I absolutely adore "Heavy Mental" as one of the greatest, most creative and original musical works of the last 25 years I more or less lost interest in him following "A View From Masada", and was barely checking his material for the following six years. But then something happened, both the underground and Wu-Tang fanatics started whispering about a monumental comeback on Priest's part - an upcoming album called "The Offering" which Priest promised would be a classic album, and judging by the singles, freestyles and loosies he kept churning out during the two year build up Priest showed that he clearly meant business. And then of course when "The Offering" finally came in 2006, it was just as terrific as I had hoped and then some.. For me it's in that rare league of albums that I hold among the 20 best discs to be releaed since 2005 (other works include Freddie Gibbs "Pinata", Raekwon's "Cuban Linx II" (if just slightly modified), Kendrick Lamar's both LP:s, KanYe's "Beautiful Dark Twisted Fantasy", Ghost's "Fishscale", Nas' "Life is Good", Evidence's "Cats & Dogs", and so on... Matter of fact Killah Priest is up there twice with "Psychic World Of Walter Reed" as well).

"The Offering" put Killah Priest back in the position as one of the most cinematic and poetic storytellers of our generation, and his rhyme schemes are constantly excellent. For me he is without a doubt a top 10 emcee, and not only is he a master of his craft but given the right time he is also a master of putting together real songs and construct proper albums that should be enjoyed from front-to-back. "The Offering" is all that and then some - it has the heavily mysticism, religious ambiguity, hood tales, personal biographical stories, fierce guest apperances and posse cuts and superb production supplied mosty by, at the time, relative new-comers collectively known as Godz Wrath. The first single was the title song and right from the jump I knew this album was going to be something really special. Take for example the first single of "View From Masada", which was a track called "Whut Part Of The Game..." featuring Ras Kass - a banger in its own right, but hardly represent of the Priest we had come to known and love from his masterpiece of a deut (an album that was once crowned The Best Hip Hop album of all time in an editorial in Hip Hop Connection back in like 2002 when I was still buying magazines).

I think I told y'all before that I never been much for the art of the mixtape that is such a prominent part of this hip-hop culture we all love and cherish. I dislik the fact that there's rarely full songs, whatever exclusives are on there are hidden between records I already have in way better quality on their original album, and that's not even mentioning the often lame transitions from songs and DJ shouts (some DJ:s really DO get it right though, and those mixtapes are often incredible). But to cut to the chase I found an extremely cheap, used, copy of a Killah Priest release called "A Prelude to the Offering" a week or two ago, and for the reasons I stated above I hadn't actually heard this mindblowing release beforehand although I of course remember its release and it making some buzz on the Wu forums. Now searching on Discogs it turns out that there are actually two versions of this mixtape - one mixed by the talented DJ J-Ronin and featuring a hopscotch of new and old material, including tracks like "4th Chamber", "B.I.B.L.E." and "America" blended with new or unreleased cuts. This is the type of mixtape I don't care for; however, the version I have is spread out over a double CD, getting rid of all the previously released material (or at the very least disposing of the very well known cuts like the aforementioned joints). The two discs features 13 songs each with the first one being called "A Prelude To The Offering" and the second "The Best Of Killah Priest", however the second disc at one point has a female introduction stating "You are now listening to the sounds of "A Prelude..." so it's really one and the same, something also the tracklist confirms. 

Needless to say I was absolutely blown away by this release - as a build-up to the album it works tremendously well as it will have your mouth salivating for more due to the fact that it showcases Priest reclaiming his spot as one of the more interesting emcees around. Of course it's not better than "The Offering" but as an album I place it above all three of the discs he released between "Heavy Mental" and "Offering" (four if you cound that "Black August Revisited" project). The thirteen tracks on Disc 1 are more or less all exclusive for the time it was released and here the DJ lets more or less the full songs of each cut play out from beginning to end. It's clear that the majority of the tracks were songs recorded for "The Offering" but left off due to the fact that Priest had so much material already and wanted to make a cohessive project - this doesn't mean that thhe majority of them are inferior to the ones on the album. For example, I was suprised to see "Hood Nursery" and "4 Tomorrow" on here - songs that would later appear on the album's official sequel "Behind The Stained Glass". Speaking of that, there is a beautiful, very atmospheric song with INTENSE lyrics on here with that title that I believe was meant as an "Offering" inclusion as Priest urges the listener to look at the album cover and try to envision what's behind the stained glass (if you have seen the cover to "Offering" you'll know what he's getting at). Most of the beats are original, though there are some freestyles set over other tracks (including Busta's "Touch It" and KanYe's "Big Brother) and a beautiful track like the somber, accoustic guitar monster called "Lost Generation" sounds like Priest basically put on an old instrumental and straight up rhymed to it - very effective.

Between the two discs a couple of gems would later appear on "The Offering" - the immaculate "Uprisign", a way too short track that I can probably count on how many fingers the times that I'd not rewinded it at least once. The other banger is the hardcore guerilla attack known as "Stand Still" with Immortal Tech and Poison Pen. The only other songs previusly released (aside from a small amount of guest apperances) comes in the form of the Main Flow collaboration "The Rain", which appeared on the weird "album" or compilation "Black August Revistied" and the song "Black August" which serves as the intro to remarkable effect. Both very good tracks, and especially the latter manages to do what Priest failed to do on the "Masada" LP - adapt hs flow to a more trending one at the time over some bouncey drums, yet the backdrop is as soulful as soulful can be and they talk about some real shit (especially Dont├ęs verse is particulary strong). Other highlights include the amazing collaboration with Nas on "Crime Cardinals" (the original "The Saints" with an even stronger KP verse - "the day Escobar die it snowed cocaine, so let's BLOW smoke"; the triumphant return of Shabaam Sahdeeq who joins forces with Priest and Hell Razah on the soothing, yet heartfelt "On The Way To The Top"; and of course the Just Blaze produced "Masada" outtake "Last Fall Of Solomon" which once again shows that few can construct rhymes as cinematic as Walter Reed.

If you're a fan of Killah Priest you owed it to yourself to listen to this, take my word for it - many of these songs are so good you realize that Priest must have had a hell of a hard time cutting down "The Offering" to its 16 tracks. Grab it from DatPiff below and TURN IT UP!!

1-01. "Black August"
1-02. "Stained Glass Freestyle 2" (Ft. Antonio Chance)
1-03. "Lost Generation" [Exclusive]
1-04. "Hood Nursery"
1-05. "The Hit" [Exclusive]
1-06. "The Rain" (Ft. Main Flow)
1-07. "Crime Cardinals" (Ft. Nas)
1-08. "Behind The Stained Glass"
1-09. "Felony Fights" (Ft. Noname Zodiak)
1-10. "The Abyssinian Sword" [Exclusive]
1-11. "Give It More" (Ft. Canibus) [Exclusive]
1-12. "Stained Glass Freestyle #1"
1-13. "Wolf In Sheep's Clothing" (Ft. Antonio Chance)

2-01. "Intro Skit Freestyle"
2-02. "The Letter 1, 2 and 3" (Freestyle)
2-03. "Touch It Freestyle"
2-04. "Uprising" [Exclusive]
2-05. "Things We Share"
2-06. "Blessed Are Those" [Original Y-Kim Mix]
2-07. "On The Way to the Top" (Ft. Hell Razah & Shabaam Sahdeeq)
2-08. "Breathe"
2-09. "Get Lifted"
2-10. "Excalibur"
2-11. "Bread Of Life"
2-12. "Fall Of Solomon"
2-13. "5 Boroughs" (Ft. Redman, Prodigy & Cam'ron)
2-14. "Outro"

Saturday, April 16, 2016

BLACK SHEEP Ft. Red Alert, Chi-Ali & Sadat X - "Peace Phife"

It's about time we get a proper tribute to the legend known as Phife Dawg that passed over to the other side on March 22 due to his long struggle with diabetes. One thing's for sure his conrtribution to Hip Hop will always be remembered as something special. Over a soul laced production by Jim B. fellow Natives Tongues member Dres rounds up DJ Red Alert, Chi-Ali and Sadat X - all original friends and collegoues of The Five Footer - and they all do a commendable job in putting a worthy song on wax in celeberation of the life and times of this great artist and man. Please support by purchasing the song from Dres Bandcamp as all proceeds will go straight to Phife's family.

SOUNDSCI - "Ronin"

Soundsci always gets love over at The Lost Tapes since they broke their first full-lenght album "Formula 99" and since then the quality has been continuing to flourish. Their next upcoming album is called "Walk The Earth" which should drop sometime during 2016 but already now we get to hear the first single "Ronin" b/w "All Hands On Deck". Very interesting to note is that Supastition is now a full-time official member of Soundsci making the group a full-fledged sextet by joining the two producer team of Ollie Teeba and Jonny Cuba and the three original vocalists of Audessey, U-George and Oxygen. This was released on a 7" single about a month ago but as I've been out of the loop I totally missed out on it and now it's sold out, you can still strem and purchase the digital version of both songs while you wait for the album so BANG YOUR HEAD to this!

Friday, April 15, 2016

[Freestyle] OC & DIAMOND D - "Toca Tuesday Promo Freestyle"

OC and Diamond D hit up Tony Touch and his Toca Tuesdays this past week to drop some bars and build hype for the upcoming brand new D.I.T.C. album - something fans have been fiending to hear for 15 years by now. Sure we have gotten group compilations ("Unreleased Production", "The Movement") and solid remix LP:s ("The Remix Album") not to mention the countless ill solo and duo outings from the team (e.g. "Natural High", "The Diamond Mine", "DoomsDay", "Oasis", the "MugshotMusic" trlogy and "Trophies"). But although billed as a D.I.T.C: Studios album there's not a single track that doesn't feature either OC, AG (the obvious stars of the show as they are literally on almost everything), Fat Joe (six joints), Diamond D (four tracks) and Lord Finesse who although he only rocks one verse he has basically retired from emceeing so I'll gladly take that as a treat. Production are handled by Showbiz, Diamond D, Buckwild, Lord Finesse and DJ Premier as well as newcomers such as the incredibly talented Motif Alumni, DJ Manipulator, Supa Ugly and Vinny Idol (the latter is a hit-or-miss cat to me but I'm not counting out his contribution by any means). The album is labeled as a D.I.T.C. Studios Record since this is the first album to drop past the closing of D&D/HeadCQuarterz - you can order the 2xCD @ DITCEnt Shop. Vinyl coming soon through Slice-Of-Spice.

MILANO CONSTANTINE - "Closer" b/w "Gotta Do It"

Milano Constantine, who first made his name known to underground fantatics the world over through his affiliation with the D.I.T.C. camp and his massively succesful 12" single "Rep For The Slums". Since then he has dropped some heat here and there, a few solid mixtapes, a few not so solid ones, and so on, but with the D.I.T.C. renaissance of today The Bronx Bomber is back with some heat for us - and dope it is. A digitial single dedicated to his late father titled "P.O.P.S. (Paragraphs Of A Poet's Soul)" featuring two bangers called "Closer" b/w "Gotta Do It" that sounds like that ol' Milano boom bap type of shit we first fell in love with. Both joints are produced by Milano himself and serves as preparation for on an upcoming EP/mini album called "The Road" that will exclusively be produced by DJ Skizz and Marco Polo so be sure to count on that heat. Also in case you missed it last month, check out this powerful Milan' freestyle over some Adrian Younge heat posted by Skizz as "38 Snub Nose".


Remember when Masta Ace retired from the Hip Hop with the one-two punch that was "Disposable Arts" and "A Long Hot Summer". Since then he got around that real retirement by dropping collabo albums with Edo G, his group EMC and even a short concept album with MF DOOM, but although all had their moments of magic nothing touched the original Ace discography. Lucky for us heads last years rumours about a new proper Masta Ace album started bubbling and today I'm happy to present the first official single / video from that LP - "Me & AG", produced by Kic Beats. Both AG and Ace are two favorites and I can't say for sure I heard them on a track before but their flows and voices really compliment each other so be sure to crank it up, enjoy and stay tuned for a release date for "The Falling Season".

Thursday, April 14, 2016

[Review] J DILLA - "THE DIARY"

There is only one more album that needed release from the late great James Yancey and we are finally getting it in all its intended glory. I'm talking about "The Diary", originally known as "Pay Jay". Egon of Stones Throw told a story of Dilla told him when he was real sick that he wanted the complete "Ruff Draft" out there (which by then was out-of-print for a long time), he wanted his shelved MCA album that he put a lot of work into to finally get a proper release and of course he entrusted Karriem Riggins (who already was a huge part of the original sessions) to complete the final 15-25% of "The Shining" for BBE. "Ruff Draft", the expanded edition, was released almost immediatly, and so was "The Shining". But the MCA album, "The Diary", which was originally recorded between late 2000 and very early 2002 has taken until 2016 to finally see a release. The reason for this is because it wasn't entirely complete (maybe 90%), and since Yancey had choosed to work with so many different producers on this one, there was a lot of publishing paperworks that had to be sorted out - not to mention getting the rights from MCA. Luckily Dilla had somewhat carte blanche when recording it and as per usual recorded pre-production in his basement and tracked the real joints at Studio, Dearborn, MI with Todd Fairall as his engineer. It has taken it's time, but thanks to a joint venture between Egon's and Madlib's Rappcats imprint and Nas' Mass Appeal label we finally gets the physical copy of the final album that the bear the artists decision of what it should sound like not to be have been yet released and as such this is definitely the final Dilla project I'm purchasing - as any true fan of Yancey's music ought to do. 

If you don't know the story about the album before, Dilla got signed to MCA on the strength of his production work and praise from artists like Busta Rhymes, Common, The Roots, Erykah Badu, Janet Jackson, The Pharcyde and so on. But Jay Dee having just left Slum Village wanted this album to focus on his MC ability, rather than his production skills something that didn't sit too well with the execs at the time. He did craft a few beats for the project, but also invited some of his current favorites such as Madlib, Hi-Tek, Karriem Riggins and his Soulquarian's broherhood, Wajeed, Pete Rock, Supa Dave West, Kanye West, House Shoes, Nottz and Bink! He had received some flack for his rhyming on Slum Village projects ("Fantastic" 1+2) which to me is absurd. Yancey was never a lyricist but with his incredible sense of rhythm he could ride a beat incredibly well, and his voice was outstanding. At least to my ears!

So on to the album.. Is it perfect? No it is not. I'm a fan of Dilla for his production mainly, though he got some nice MC tricks up his sleeve as well. The thing is that most of the time that when Dilla produces one of these songs it often end up being one of its best, and as proven before he is quite limited in the topics he choose to rhyme about. But is it a weak album. No, it is not, not by any means. It is much better than the majority of these B.S. posthumous releases we has gotten from the Dilla estate - this is actually a real Jay Dee album, just as much as "The Shining" or "Welcome 2 Detroit". And there's plenty of gems here. The most obvious being the self-produced "Fuck The Police", built around a very simple breakbeat and a flute sample but with extremely powerful hook and verses. I've seen Frank-N-Dank, Guilty Simpson and other "D" cats perform this one live in tribute and whether or not the crowd knows the song beforehand they always LOVE IT and sing along to the hook. Brilliant, and one of Dilla's finest solo songs - if not the finest bar none actually. 
Another song I really liked which was close to the opening on the album on the leaked copies (2008) called "We F'd Up", a driving, pulsating, club track with an underground sensibility that featured Jay Dee trading bars with Frank-N-Dank over an early KanYe West production. Strangely enough this version has been replaced by a remix by the main artist called "The Anthem" - it's most certainly is a remix and not the original version as it doesn't have the original flow of the lyrics on especially the hook. The question then begs why was this included instead - was this Dilla's vision. It's been a long known fact that Kanye West contributed this song to the project at the request of the artist and he has many time been on record praising the shit out of him. Could it be that he didn't give them permission to use his version anymore? If so, FUCK HIM! It is hurting the album a bit, since "The Anthem" is a pretty good joint but doesn't come close to the version I'm accustomed to by West (strangely enough all versions of that song has been deleted from YouTube and Soundcloud). I uploaded it myself so y'all can judge for yourself.

Then there's the absolutely brilliant two parter "The Shining" ("Diamonds") and ("Ice") which explores the same topic but from a male and female perspective [*title thaught about long before the 2006 album]. "Diamonds" is one of the best songs on the album, produced by Nottz who always does a fine job, who lays down a sunny foundation as Dilla goes in on how Diamonds are a girls best friend. The second part is a short one and half minute excursion celebration of the ice he himself love to rock, and is a funy outing by Madlib which appeared as the B-side to a Jaylib 12" once MCA shelved this album. It's interesting that I always used to add "Ice" to my homemade tracklist of what this album probably coud have been long before I know this, but it has that sound - more so than a Jaylib sound. Another long time fan favorite amongst Dilla enthusiast is of course "Trucks", where Dilla playfully reimagines Gary Numan's 1979 hit "Cars" into a playful Hip Hop excursion. It was never one of my personal favorites, but it is kind of dope once you get used to it. And more than that, it shows that Dilla was never afraid to experiment and in some ways it's a precursor to "Electric Circus" a long with the Karriem Riggins/Soulquarian's collaboration "Drive Me Wild" which almost sound like a crazy Boom Bap take on the original Batman theme. As you can hear this is a well-rounded album to say the least.

Among the tracks that has never been leaked before (though one of them has appeared quite recently is on one of those Rappcats EP) are some real heat. You got the excellent title track, produced by House Shoes and Dilla, that captures that Detroit sound very well - almost like a remnant from "Welcome 2 Detroit" with its mix of Ghettotech and boom bap. The minimalistic, dark, hard bouncing and almost hypnotic backdrop has all the hallmarks of two hip-hop cats growing up in the city that pretty much invented techno but always loved that boom bap shit. It is an effective opener but I can't help to think that had Dilla lived there's no question in my mind that the real intro to this album is the title track ("The Diary") which instead closes out the album here and also did so on the 2008 unmastered MCA leak (which was most likely an assembled work-in-assembly either way). That is a short track by Bink (which would later give it to GZA for "Animal Planet" when the LP was shelved), but it features Dilla talking about his trials and tribulations growing up in the D, giving listeners a brief overview of the themes you are about to hear on the album before closing it out by saying "Sit down I got a story to tell.. This is the diary of J Dilla"!). The album is thematic in that it's formed as an aural diary in rap form and you don't write a diary by putting the last page first. My advice is to put on "The Diary", press repeat all and then let it go back to "The Introduction" after that. Either way a blazing "new cut" is Dilla's remix of Supa Dave West's "The Doe" (available on EP through RappCats but also as a digital bonus track on iTunes for the abum) - although West's excellent "So Far To Go" made the album). Dilla's remix is a lot harder, true hardcore hip-hop with a lot of hilarious quotables over a chest thumping beat and retitled "Give 'Em What They Want"... Or as he himself put it in the intro GRIZZLY!!!

This is already a long review and I'm not going to go through every song, but there are two more joints we need to touch on. The first is "The Ex", produced by Jay Dee's musical hereo (in Hip Hop at least) - Pete Rock - and featuring the wonderful voice of Bilal. This is a very smooth joint were Dilla and Bilal talks about past relationships and how it can leave a mark on both parties. This joint has been in constant rotation for me about a year ago when I was in a similiar situation. The 2008 leak had a J Dilla remix of the same track which is not included on the album, I'ma post it up later for those who might not have heard it. The second track is "Gangsta Boogie", one of the tracks that had never been leaked before hand, and this was mentioned in a very old interview with either Egon or Peanut Butter Wolf. It's a Hi-Tek production featuring Snoop Dogg and Kokane, and it was one of the songs that never was completed in time when the album was shelved and abandoned. Jay Dee's parts were completely done, the beat was finished and possibly Kokane's parts as well - the problem was that Dilla is passing the microphone to Snoop Dogg who had agreed to partake but never got around to it in time. So the Snoop Dogg verse is new but it's all pretty seamless and it's a nice joint on a varied record.
All in all, "The Diary" (along with "48 Hours" by Frank-N-Dank) is the missing link(s) between "Welcome 2 Detroit" and "Ruff Draft" and the executive producers has made an absolute wonderful job in doing their very best to keep everything as it would have sounded. Had Dilla been able to complete it (it's only the Kanye West thing that bugs me - how the fuck is he not gonna let them use it for free considering how many times he said Dilla was his hero), but maybe the intention was all around that Dilla wasn't happy with West's contribution and was supposed to remix it into "The Anthem" all along. Perhaps "The Anthem" was supposed to be the first single and Kanye's version was the intended B-side. But this is just speculation.... The iTunes version includes a couple of bonus tracks not intended for the original album so I leave those be and strongly recommend this to any true Jay Dee fans - it's not perfect but it is without a doubt the most interesting and necessary J Dilla album since "The Shining" although if we're talking strictly music I must admit I prefer "Jay $tay Paid". So pick this one up, it comes highly recommended but can we please let Dilla rest in peace now?

Purchase Physical Copy @ Rappcats 
Purchase Digital @ iTunes (including Bonus Tracks: "The Siccness" + "The Doe")

KRS-ONE / Swizz BEATS - "Jason Verse"

Oh yes, I know I'm late as fruck on this one but KRS-One is one of my favorite emcees in if just one head missed this when it dropped about 1.5 weeks ago then I'm happy. Despite this being a verse and a hook over the same beat Swizz Beatz recently gave to Styles P for his single "Jason" this is truly excellence right here, and it's shit like this that can restore my faith in Hip Hop. It's called "Jason Remix" and clocks in at just under two minutes, but what a blazing two mintues that is! Unlike some of KRS's so-so material over the years, not to mention Swizz Beats even more so so-so material, I didn't have that high hopes but I know that when they both bring their A game absolute magic can happen, and that is exactly what happened here. Over a very raw, stripped down/minimalist approach wit 808 type of drums and a repetitive bassline the beat sounds tailor made for KRS. And not the KRS One of today, but for BDP. You got the political verse and the hook proudly exclaims over and over again "BDP POSSE, D-BLOCK POSSE, RUFF RYDERS POSSE". I would love a new BDP album with this type of sound - BRING IT ON KRIS!

[DJ Mix] DRASAR MONUMENTAL - "Vendetta Broadcast #5"

Continuing with Drasar Monumental and Vendetta Vinyl here's a nice DJ Mix put together by the man called "Vendetta Broadcast #5" with the undertitle "2016 Hardcore Mix" so don't expect any watered down shit. This was posted in February so if you're a real fan you obviously already heard it, but since I've basically been taking a break from blogging more or less I want to share this heat with anyone who might have missed it. Crank up the volume!

[Stream] AYATOLLAH X DRASAR - "Boxcutter Brothers III"

I'm so happy to see my man Drasar Monumental and his Vendetta Vinyl team get the props they deserve, first through his excellent work with MF Grimm on the "Good Morning Vietnam" trilogy (undoubtedly one of the finest projects this side of 2010). The next series he started was "Boxcutter Brothers" together with legendary producer Ayatollah who casual fans at least knows from hits like "Ms. Fat Booty" but for sure has put in WORK throughout the years. Together they have created what is now a trilogy of excellent instrumentals for us to bop our heads to, write rhymes to or just free think to. The third installment in the series has landed and can be purchased in digital format via Bandcamp, or in physical format directly from Vendetta Vinyl. The fourteen track project features half of the joints produced by D and the other half by 'Tollah but it does not sound disjointed as they have gone for a coherrent sound. It has been out for a while but now you can stream the entire project before decididing to purchase. Be sure to support the realness.

AG & Party Arty - "Gimme The Mic"

D.I.T.C. camp is on FIRE right now - we haven't had this much Diggin' projects lined up in years. This atonal piano banger called "Gimme The Mic" is dominated by AG's usual smooth punchlines and similies while the late Party Arty adds adlibs and a vaulted hype verse. Ray West does a great job with this joint as he was been accustomed too by now. Apparantly this is from an ucpoming album from the duo called "Live From The Balcony", set off by an OC track, and followed by eight additional songs shared between Party Arty and AG, all set to the tones of Ray West.

And of course in case you have missed it, AG, OC, Fat Joe, Showbiz and the guys have actually spent the last year in the new D.I.T.C. Studos (following the demolition of the old D&D) recordig a brand new abum - the first proper release from the crew since "Worldwide" in early 2000. I'm gonna wait to listen til' the full project is available but you can stream a good 19 minutes sampler and several singles over at their Soundcloud page. The physical project will be available to purchase from D.I.T.C.'s own website along with some nice hoodies and stuff - check it out.

FREDDIE GIBBS & MADLIB - "Cocaine Parties in L.A." 12''

Freddie Gibbs and Madlib are a match made in heaven, reminiscent of a time when one DJ/producer and one MC had that incredible chemistry and breathed the same musical oxygen that made them stand way above the rest of the Hip Hop crowd. Their "Pinata" album is one of Madlib's best albums yet, and in my humble opinion without a doubt Gibbs best album yet - it's not even close. So as much as I absolutely loved what Kanye West and Kendrick Lamar did to 'Lib's beat on their lyrical exercise "No More Parties in L.A." earlier this year, it was only a question in time before Gibbs would turn the same song into a full-blown Madlib collaboration and switching the theme to its new title - "Cocaine Parties in L.A.". For vinyl collectors the vocal and instrumental (Kanye never releases instrumentals of his projects either so that's a good look) via Rappcats so as they say, HURRY UP AND BUY