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Showing posts from March, 2008

Wax Poetics Magazine Issue 27: March 2008

WAX POETICS - Wax Poetics Magazine Issue 27: March 2008 (feat Grandmaster Flash & The Furious Five, Eddie Harris, Tom Terrel, Brownout, Hot 8 Brass Band, Camp Lo, Build An Ark, Chuck Brown, Jazz Icons + more) [ Buy Here ] [ Waxpoetics ]

PERCEE P - Perseverance (The Remix)

PERCEE P - Perseverance (The Remix) (Stones Throw) Comentários: PERCEE P came up in the Patterson Houses Projects of the Bronx, NY. He started hearing the precursors of hip-hop out of his windows before he was in kindergarten, around 1973. By ten, Percee had a mic in his hand. He debuted in 1988 with homeboy D-Nique on “Let The Homicides Begin” (Gothan City Records, 12” single). A few years later, his freestyles on the hugely influential Stretch & Bobbito radio show on WKCR parlayed into what should have been Percee's big major label breakthrough, 1992's “Lung Collapsing Lyrics” (Atlantic/Big Beat, 12” single), the now legendary Fast Rap masterpiece. Though the record established reputation as one of the best rappers in the field, his break never came. For most of the rest of the 1990s Percee P laid low, working in retail and as a messenger, dropping only the occasional indie single and a few guest verses. Percee wasn't gung-ho about the rap game again until the late &

GUILTY SIMPSON - Footwork Size 12

GUILTY SIMPSON - Footwork Size 12 (Stones Throw) Comentários: Guilty Simpson was born in Detroit, the son and grandson of the family’s performing musicians in his father and grandfather. At age four, Simpson and his mother began traveling with an aunt in the military, living in California and Birmingham, Alabama, before settling back in the Motor City at 15. Big Daddy Kane, N.W.A, and Scarface were all major influences, but it was Queens-bred street bard Kool G Rap who made the biggest impression. “That’s my crème de la crème rapper right there,” says Simpson, his own presence among the latest in a rich lineage of heavy-handed MCs. For years Guilty Simpson has been a rock on the Detroit hip-hop circuit alongside those such as J Dilla, Slum Village, Eminem (whom Guilty still calls “Marshall”) & D12, Obie Trice, Proof, Phat Kat and Black Milk. A member of the Almighty Dreadnaughtz crew, Guilty emerged as a sound to be reckoned with after linking with producer Dilla in 2001. In the m

CONTI, Jackson - Upa Neguinho

CONTI, Jackson - Upa Neguinho (Kindred Spirits Holland) Comentários: Limited 7inch taken from the Sujinho album which has been recorded by Madlib & Mamao of Azymuth... a heavy hook up! 2 great covers of the classic Brasil standards, Upa Neguinho + Casa Forte... Tip! in rushhour [ Para Ouvir/Samples 1] [ 2 ]

TAKE - The Dirty Decibels of Thomas Two Thousand

TAKE - The Dirty Decibels of Thomas Two Thousand (Eat Concrete Holland) Comentários: TAKE aka Thomas Wilson is a composer who continues to push the boundaries of instrumental Hip Hop music into new directions. He has long been at the center of an ever growing scene of talented musicians, producers and dj's in the Los Angeles area. As an active member of the Dublab family and co-founder of the legendary beat showcase night "Sketchbook", Take has been fortunate enough to share the stage with such artists as Prefuse 73, Mos Def, Daedelus, Caural, Nobody, Ammon Contact, Scienz of Life, Flying Lotus, Ta'raach, Edit and more. In the last several years, he has composed and produced multiple 12" EP's and remixes for labels such as ButterMilk, Poobah Records, Astro Lab, Eat Concrete and unleashed his much-admired debut full length player called "Earthtones & Concrete" last year. Eat Concrete Records is very proud to announce that "The Dirty Decibel

BADU, Erykah - New Amerykah Part One (4th World War)

BADU, Erykah - New Amerykah Part One (4th World War) (Universal Mowtown) Comentários: What's the freakquency, Erykah? The five years since her last album, Worldwide Underground (make that last EP, so more like eight years since her last proper album), make clear that her release frequency lags about as far behind as you could expect from a one-woman jam band at the forefront of a head collective. But the freakquency? That's pitched as high as a kite, now more than ever. Badu's intense New AmErykah: Part One (4th World War), the opening salvo of a promised two-disc series (three if you count a live album Universal is promising in late 2008), is as sonically ambitious as anything she's done to date. It's sort of the flip to Worldwide Underground in that both albums are so diffuse as to seem careless and haphazard to some listeners. But whereas the earlier album maintained a laidback, even keel (held together under the influence of the Mizell brothers), New AmErykah i