Method Man & Redman - Blackout Rapidshare

This one is not actually underground hip-hop, but it's kinda hip-hop classic, so i post it here. btw, it's not that easy to find this album for free download. if you got some megaupload, sendspace, rapidshare links - let me know

Method Man & Redman - Blackout

Del the Funky Homosapien - Profile + Bio + Rapidshare

Del was born and raised in Oakland. In 1991, Del, with his cousin Ice Cube’s support and with part of Ice Cube's backing band Da Lench Mob, made his first solo album, I Wish My Brother George Was Here, marking the first appearance of Del's crew Hieroglyphics. Despite mixed reviews, the album was generally well received. Del, however, was unhappy with the album, believing it was over-produced and phony. He decided to break away from Ice Cube's influence on his next album, No Need for Alarm, a break which (along with their disappointment in demos for his 3rd LP) caused the record label Elektra to drop Del's contract.

In 1998, Hieroglyphics came out with their first full length album, Third Eye Vision. This album was well received by both fans and critics[citation needed]. Two years later, Del came out with Both Sides of the Brain, and in 2000 he released Deltron 3030 with Dan “the Automator” Nakamura and Kid Koala, which garnered praise from critics[citation needed] and helped expand Del's audience. This project was particularly interesting because the CD was a work of science fiction, telling stories about life and hip hop in the year 3030.

Del collaborated with Gorillaz for two songs on their debut album, both of which became singles: "Clint Eastwood" and "Rock the House". In their videos he was portrayed as a ghost. Del later commented on the success of "Clint Eastwood" by saying that he actually wrote the song with the book "How to Write a Hit Song," a book that he bought with a coupon his mother gave him[citation needed]. After the song went platinum he gave the plaque to his mother[citation needed]. As part of Russel Hobbs' backstory, the character of Del was one of Russel's friends that was gunned down in a drive-by shooting, whose ghost possessed Russel. When Del was not invited to work on the Demon Days album, a story was written that Del and the other spirits that possessed Russel were exorcised in 2003.

Most recently, 2003 saw the release of Full Circle, a second album with the Hieroglyphics crew. This latest album has received mixed reviews[citation needed].

In 2004 Elektra released "The Best of Del The Funky Homosapien: The Elektra Years" -- without the approval of Del. The CD only includes songs from his first two albums, along with a handful of b-sides from that era. Del was not pleased and advised people to not buy the CD, saying it was just Elektra trying to make money off of him due to his newfound fame.

Together with his crew, Del has established his own independent record label, Hieroglyphics Imperium, which primarily consists of Hieroglyphics and a few other artists with whom the group collaborates regularly.

Del’s lyrics often reflect his interests, offering humor and themes that differ from mainstream hip hop. His songs have discussed video games, bad hygiene, intergalactic rap battles, and more. In 2000, the song "Jaw Gymnastics", featuring Casual, was featured in the game Knockout Kings. In 2000, the song "Positive Contact" from Deltron 3030 was featured in the game Mat Hoffman's Pro BMX. In 2001, the song "If You Must" was featured in the game Tony Hawk's Pro Skater 3. In 2003, the song "Positive Contact" from Deltron 3030 was featured in the game Tony Hawk's Underground. In 2005, the song "Burnt" featuring Hieroglyphics was featured in the game Tony Hawk’s American Wasteland. In 2006, the song "Catch A Bad One" was used in the game Marc Ecko's Getting Up: Contents Under Pressure. Also in 2006 his song "Dr. Bombay" was used in commercials for the movie Beerfest and more recently his song "At the Helm" was featured in commercials for Tony Hawk's Project 8.

Currently there is a DVD available called 11th Hour, which DVD contains some live footage, footage of him in the studio and around the house, as well as footage of him recording 11th Hour.

According to an interview with Del on the latest edition of the Hierocast, Hiero's official podcast, progress has been made on 11th Hour and the beats and the cuts for the sequel to Deltron 3030 are complete.


Del Tha Funkee Homosapien [2000] Both Sides of the Brain Rapidshare
Del Tha Funkee Homosapien-I wish my brother george was here megaupload
Deltron 3030 Rapidshare

What is Turntablism? - Definition & History

Turntablism is the art of manipulating sounds and creating music using phonograph turntables and an audio mixer. The term was created in 1994 by DJ Supreme to describe the difference between a DJ who just plays records, and one who actually performs, by touching and moving the records to manipulate sound. The word was never meant to be the actual title of the art form. It was regularly stated as an example, while explaining the need for a new word to describe a newly emerging and totally unique instrumental artform. The intention was for the original creators of the artform to confer, and decide on a title. While the idea of the need for a new word spread, some DJs just began to use the example word "turntablist" before the originators had a chance to proclaim an actual title.

DJ Babu has defined a turntablist as "One who has the ability to improvise on a phonograph turntable. One who uses the turntable in the spirit of a musical instrument;" while the Battlesounds documentary film suggests a definition of :"A musician, a hip-hop disc jockey who in a live/spontaneous situation can manipulate or restructure an existing phonograph recording (in combination with an audio mixer) to produce or express a new composition that is unrecognisable from its original ingredients."

Turntablist DJs use turntable techniques like scratching or beat juggling in the composition of original musical works. Turntablism is generally focused more on turntable technique and less on mixing. Some turntablists seek to have themselves recognized as legitimate musicians capable of interacting and improvising with other performers.

The history of the turntable being used as a musical instrument has its roots dating back to the 1940s and 1950s when musique concrète and other experimental composers (such as John Cage and Pierre Schaeffer), used them in a manner similar to that of today's producers and DJs, by essentially sampling and creating music that was entirely produced by the turntable.

Even earlier, Edgard Varèse experimented with turntables in 1930, though he never formally produced any works using them. This school of thought and practice is not directly linked to the current definition of hip hop-related turntablism, though it has had an influence on modern experimental sound artists such as Christian Marclay, Otomo Yoshihide, Philip Jeck and Janek Schaefer. These artists are the direct descendants of people like John Cage and Pierre Schaeffer and are often credited as a variant to the modern turntablist DJ and producer.

Turntablism as a modern art form and musical practice has its roots within hip hop and Hip Hop culture of the early 1970s. It stems from one of the culture's "four pillars" - DJing (see "four elements," Hip Hop Culture). Scratching was already widely spread within Hip Hop by DJs and producers by the time turntablists started to appear.

Kool DJ Herc, Afrika Bambaataa and Grandmaster Flash are widely credited for having cemented the now established role of DJ as Hip Hop's foremost instrumentalist (and historically the genre's only instrumentalist). Kool Herc's invention of break-beat deejaying is generally regarded as the foundational development in Hip Hop history, as it gave rise to all other elements of the genre. His influence on the of concept of "DJ as turntablist" is equally profound. To understand the significance of this achievement, it is important to first define the "break." Briefly, the "break" of a song is a musical fragment only seconds in length, which typically takes the form of an "interlude" in which all or most of the music stops except for the percussion. The break is roughly equivalent to the song's "climax," as it is meant to be the most exciting part of a song before returning once more to its finale (usually a return to the main chorus). In addition to raising the audience's adrenaline level, the percussion-heavy nature of the break makes it the most danceable as well, if only for seconds at a time. Kool Herc introduces the break-beat technique as a way of extending the break indefinitely. This is done by buying two of the same record and switching from one to the other on the DJ mixer: e.g., as record A plays, the DJ quickly backtracks to the same break on record B, which will again take the place of A at a specific moment in which the audience will not notice that the DJ has switched records.

Kool Herc's revolutionary technique set the course for the development of turntablism as an art form in significant ways. Most important, however, he develops a new form of deejaying that does not consist of playing and mixing records one after the other (incidentally, the type of DJ that specializes in mixing is well-respected for his own set of unique skills, but this is still deejaying in the traditional sense). Rather, Kool Herc originates the idea of creating a sequence for his own purposes, introducing the idea tof the DJ as the "feature" of parties, whose performance on any given night would be examined critically by the crowd.

However it was Grand Wizard Theodore, an apprentice of Flash, who accidentally isolated the single most important technique in turntablism: scratching. He put his hand on a record one day, to silence the music on the turntable while his mother was calling out to him and thus accidentally discovered the sound of scratching by moving the record back and forth under the stylus. Though Theodore discovered scratching, it was Flash who helped push the early concept and showcase it to the public, in his live shows and on recordings.

DJ Grand Mixer DXT is also credited with furthering the concept of scratching by practicing the rhythmic scratching of a record on one or more (usually two) turntables abd using different velocities to alter the pitch of the note or sound on the recording (Alberts 2002). DXT appeared ( as DST ) on Herbie Hancock's hit song "Rockit."

Together these early pioneers cemented the fundamental practice that would later become one of the pillars of the emerging turntablist artform. Scratching would during the 1980s become a staple of hip hop music, being used by producers and DJs on records and in live shows. By the end of the 1980s it was very common to hear scratching on a record, generally as part of the chorus of a track or within its production. On stage the DJ would provide the music for the MCs to rhyme to, scratching records during the performance and showcasing his skills alongside the verbal skills of the MC. The most well known example of this 'equation' of MCs and DJ is probably Run DMC who were composed of two MCs and one DJ. The DJ, Jam Master Jay (RIP), was an integral part of the group and his scratching an integral part of their productions and performances.

The appearance of turntablists and the birth of Turntablism was prompted by one major factor - the disappearance of the DJ in hip hop groups, on records and in live shows at the turn of the 1990s. This disappearance has been widely documented in books and documentaries (such as Black Noise and Scratch The Movie), and was linked to the increased use of DAT tapes and other studio techniques that would ultimately push the DJ further away from the original hip hop equation of the MC as the vocalist and the DJ as the music provider alongside the producer. This push and disappearance of the DJ meant that the practices of the DJ, such as scratching, went back underground and were cultivated and built upon by a generation of people who grew up with hip hop, DJs and scratching. By the mid-90s the disappearance of the DJ in hip hop had created a sub-culture which would come to be known as Turntablism and which focused entirely on the DJ utilising his turntables and a mixer to manipulate sounds and create music. By pushing the practice of DJing away, hip hop created the grounds for this sub-culture to be birthed and evolve.

The origin of the terms Turntablist and Turntablism are widely contested and argued about, though over the years some facts have been established by various documentaries (Battlesounds, Scratch The Movie), books (DJ Culture), conferences (Skratchcon 2000) and interviews in online and printed magazines. These facts are that the origins of the words most likely lay with practitioners on the US West Coast, centered around the San Francisco Bay Area. Some claim that DJ Disk, a member of the Invisibl Skratch Piklz, was the first to coin the term, others claim that DJ Babu, a member of the Beat Junkies, was responsible for coining and spreading the term Turntablist after inscribing it on his mixtapes and passing them around. Additional claims credit DJ Supreme, a UK DJ and producer for the group Hijack, though the claims that the terms were birthed in the Bay Area are the most widely acknowledged and established ones. The truth most likely lies somewhere in between all these facts.

In an interview with the Spin Science online resource in 2005, DJ Babu added the following comments about the birth and spread of the term:

Spin Science: First thing was about your role in the spread of the word turntablist. I'm sure you must have spoken on it many times, but I was wondering if you could give us some details about how it all came about, as you're widely credited for birthing the term in a way. DJ Babu: Well I humbly accept the position I've now been given for this whole thing, but I want to stress that I was just part of a whole load of DJs who really made this whole thing happen. People like DST are in a way those who really deserve the credit for it all because they gave the bug to scratch to our whole generation, he started it by being part of the Herbie Hancock band and doing his thing on 'Rockit'. Without him and the other pioneers, probably none of us would have got into this thing. After that well... It was around 95, I was heavily into the whole battling thing, working on the tables constantly, mastering new techniques and scratches, and all the while working in a gas station and spending my spare time concentrating on all these things. One day I made this mixtape called 'Comprehension', and on there was a track called 'Turntablism' which featured Melo-D and D-Styles. And this is part of where this whole thing about turntablist came from. This was a time where all these new techniques were coming out, like flares and stuff, and there were probably 20 people or so, in around California between Frisco and LA, who knew about these. So we worked on them, talked about it and kicked about the ideas that these techniques and new ways of scratching gave us. And what I would do is write 'Babu the Turntablist' on tapes I was making at the time, and somehow it got out a bit, the media got hold of it and it blew into this whole thing we now know. But it was really nothing to start with. We'd all talk about these new scratches and how they really started to allow us to use the turntable in a more musical way, how it allowed us to do more musical compositions, tracks, etc. and then we'd think about how people who play the piano are pianists, and so we thought "we're turntablists in a way, because we play the turntable like these people do the piano or any other instrument". Beyond that, it was just me writing 'Babu the Turntablist', because it was something I did to make my tapes stand out. I'd just get my marker pen out and write it on there.

So by the mid to late 1990s the terms Turntablism and Turntablist had become established and accepted as defining the practice, and practitioner, of using turntables and a mixer to create or manipulate sounds and music. This could be done by scratching a record or manipulating the rhythms on the record either by drumming, looping or beat juggling.

The decade of the 1990s is also important in shaping the Turntablist artform and culture as it saw the emergence of pioneering artists (D-Styles, Q-Bert, A-Trak, Ricci Rucker, Mike Boo, Tony Vegas, Prime Cuts) and crews (Invisibl Skratch Piklz, Bullet Proof Scratch Hamsters, Beat Junkies, The Allies, The Scratch Perverts, X-Ecutioners), record labels (Bomb Hip Hop, Asphodel, Tableturns), DJ Battles (DMC, ITF) and the evolution of scratching and other turntablist practices.

More sophisticated methods of scratching were developed during that decade, with crews and individual DJs concentrating on the manipulation of the record in time with the manipulation of the cross fader on the mixer to create new rhythms and sonic artefacts with a variety of sounds. The evolution of scratching from a fairly simple sound and simple rhythmic cadences to more complicated sounds and more intricate rhythmical patterns allowed the practitioners to further evolve what could be done with scratching musically. These new ways of scratching were all given names, from flare to crab or orbit, and spread as DJs taught each other, practiced together or just showed off their new techniques to other DJs.

Alongside the evolution of scratching, which deserves an article in itself, other practices such as drumming (or scratch drumming) and beat juggling were also evolved significantly during the 1990s.

Beat Juggling was invented, or discovered if you will, by Steve Dee, a member of the X-Men (later renamed X-Ecutioners) crew. Beat Juggling essentially involves the manipulation of two identical or different drum patterns on two different turntables via the mixer to create a new pattern. A simple example would be for example to use two copies of the same drum pattern to evolve the pattern by doubling the snares, syncopating the drum kick, adding rhythm and variation to the existing pattern. From this concept, which Steve Dee showcased in the early 90s at DJ battles, Beat Juggling evolved throughout the decade to the point where by the end of it, it had become an intricate technique to create entirely new 'beats' and rhythms out of existing, pre-recorded ones. These were now not just limited to using drum patterns, but could also consist of other sounds - the ultimate aim being to create a new rhythm out of the pre-recorded existing ones. While Beat Juggling is not as popular as scratching, due to the more demanding rhythmical knowledge it requires, it has proved popular within DJ Battles and in certain compositional situations.

One of the earliest academic studies of the turntable (White 1996) argued for its designation as a legitimate electronic musical instrument -- a manual analog sampler -- and described turntable techniques such as backspinning, cutting, scratching and blending as basic to the repertoire of the virtuoso hip hop DJ. White demonstrated that the proficient hip hop DJ must possess many of the same skills required by trained musicians, including a keen sense of timing, sharply-developed hand-eye coordination, technical competence and creativity with his material.

By the year 2000 Turntablism and turntablists had become widely publicised and accepted in the mainstream and within hip hop as valid artists. Through this recognition came further evolution.

This evolution took many shapes and forms: some continued to concentrate on the foundations of the artform and its original links to Hip Hop culture, some became producers utilising the skills they'd learnt as turntablists and incorporating those into their productions, some concentrated more on the DJing aspect of the artform by combining turntablist skills with the trademark skills of club DJs, while others explored alternative routes in utilising the turntable as an instrument or production tool solely for the purpose of making music - either by using solely the turntable or by incorporating it into the production process alongside tools such as drum machines, samplers, computer software, and so on.

In the 1990s, turntablism achieved new levels of attention. Dedicated DJs had gradually refined the practice, and it expanded on its own, apart from the MCs who had largely neglected DJing as rap developed.

New DJs/turntablists/crews like DJ Craze, Roc Raida, DJ Focus, DJ Q-Bert, Gunkhole, DJ Woody, A-Trak, Noisy Stylus, D-Styles, Birdy Nam Nam and Kid Koala owe a distinct debt to Old School DJs like DJ Kool Herc, Grand Wizard Theodore, Grandmaster Flash, DJ Jazzy Jeff, DJ Cash Money, Afrika Bambaataa and DJs of the golden age of hip hop, who originally developed many of the concepts and techniques that evolved into modern turntablism.

Within the realm of hip hop, notable modern turntablists are the cinematic DJ Shadow, who influenced Diplo and RJD2, among others, and the experimental DJ Spooky, whose Optometry albums showed that the turntablist can perfectly fit within the classic jazz setting.

Jurassic 5 members Cut Chemist (who left the group in 2005 to concentrate on his solo career) and DJ Nu-Mark, Kid Koala, and Mix Master Mike, who collaborated with the Beastie Boys on 1998's Hello Nasty and To The 5 Boroughs in 2004 and was also a founding member the Invisibl Skratch Piklz, are also known as virtuoso of the turntables.

Like many other musical instrumentalists, turntablists compete to see who can develop the fastest, most innovative and most creative approaches to their instrument. The selection of a champion comes from the culmination of battles between turntablists.

Battling involves each turntablist performing a routine (A combination of various technical scratches, beat juggles, and other elements, including body tricks) within a limited time period, after which the routine is judged by a panel of experts. The winner is selected based upon score. These organized competitions evolved from actual old school "battles" where DJs challenged each other at parties, and the "judge" was usually the audience, who would indicate their collective will by cheering louder for the DJ they thought performed better. Often, the winner kept the loser's equipment and/or records.


dead prez Profile / Bio

dead prez is the pair of underground alternative rappers and M-1. They have become known largely for their hard-hitting style and politically active lyrics, focusing on racism, critical pedagogy, activism against governmental hypocrisy, and corporate control over the media, especially hip-hop record labels. dead prez made their stance clear on their first album, declaring on the lead song, "I'm A African" that the group is "somewhere between N.W.A. and P.E.".

In 1990, M-1 headed to Tallahassee to attend FAMU (Florida Agricultural and Mechanical University) where he and met and connected due to their mutual love of music and knowledge. "I was soaking up the Black Panther Party as a whole," M-1 remembers. "I learned about their lives and it helped mold me."

"I realized there's a struggle already going on and I have to try to help ride it out," interjects M-1's quest for insight led him to join the International Democratic People’s Uhuru Movement (InPDUM) in Chicago for three years while remained behind in Florida and started getting into trouble. Burned out by the arduous labor of Uhuru, M-1 decided it was time to focus on music and agreed.

Dead prez transcribed the political education they acquired into lyrical poetry. Brand Nubian's Lord Jamar discovered them in New York and helped them sign a deal with Loud Records. But being the new kids of the block on a powerhouse label like Loud (home to the Wu-Tang Clan and Mobb Deep) wasn't easy. dead prez wasn't always Loud's top priority but that didn't stop them from building a fan base around their over-the-top performances (they've been known to ignite dollar bills and toss apples into the audiences, declaring that they must eat healthily).

Their debut album was 2000's Let's Get Free, which featured a minor hit with the song "Hip Hop" from the year before. The album was critically well-received, and included intense political diatribes featuring prominent black activist Omali Yeshitela, as well as "Animal in Man" - a retelling of George Orwell's Animal Farm. The instrumental version of their song "Hip Hop" was used as Dave Chappelle's entrance music for his show on Comedy Central, and can be heard on every episode. In 2001 they collaborated with The Coup, another politically active hip-hop outfit, to release Get Up. In 2002, dead prez released the independent mix tape Turn off the Radio: The Mixtape Vol. 1, followed by the release of Turn off the Radio: The Mixtape Vol. 2: Get Free or Die Tryin' in 2003. In 2004, Columbia Records finally released Revolutionary But Gangsta. They were featured performers on the film Dave Chappelle's Block Party, released in 2006. In 2006, they and former 2Pac collaborators the Outlawz will jointly release an album titled Can't Sell Dope Forever.

Some of dead prez's fan base have accused them of giving up on their revolutionary aspects, in exchange for their 'Gangsta' side after Revolutionary But Gangsta was released, while others say the group has begun to emphasize their black nationalism (especially in the Turn Off the Radio mixtapes) over their original views of radical socialism, and that this is alienating to previous fans of their work. It is worth noting that cultural nationalism of the sort evident in many of dead prez's songs was heavily criticized by the Black Panthers (which dead prez also claims to uphold), as was described in Panther Bobby Seale's Seize the Time, in which Seale describes Panther Minister of Defense Huey Newton's condemnation of the "jive-ass cultural nationalism" of Kwanzaa founder Ron Karenga. Even still, other fans insist that the revolutionary lyrics are still prominent.

Critics also accuse the group of lifestylism, the practice of adopting superficial attributes of a revolutionary culture while doing little or nothing to objectively advance revolution. They point to lyrics such as those in the song "Hell Yeah," which advocate a method of identity theft in which one person applies for and receives credentials under the name of a friend and then adds charges to a credit card linked to these credentials, as by a bank account. The description evinces a lack of actual experience with credit card fraud, since typically in such a case the friend would be held accountable for the resultant charges, resulting in substantial debt and/or damage to his credit. Lyrics such as these indicate to critics that the members of dead prez are not, in fact, professional criminals, but merely posture as such.


RJD2 Rapidshare Downloads

Constant Elevation, The Say Word Mix (Seld Released)

Aceyalone & RJD2 - Magnificent City

Your Face Or Your Kneecaps (Mixtape)

8 Million Stories

8 Million Stories (Instrumentals)
password - scalp66

Here's What's Left 12''
password - zades

In Rare Form (Unreleased Instrumentals)

The Horror Part 1
The Horror Part 2
password - zades


RJD2 Rapidshare Downloads

Mos Def Rapidshare & Megaupload Free MP3 Downloads

1998 - Mos Def & Talib Kweli - Black Star

1999 - Mos Def - Black On Both Sides

2004 - Mos Def - The New Danger

Mos Def Rapidshare Free MP3 Downloads

ILL BILL Is The Future Vol.2: I'm a Goon (2006, Uncle Howie Records) Full Album MP3 Rapidshare Download

ILL BILL - ILL BILL Is The Future Vol.2: I'm a Goon (2006, Uncle Howie Records) Full Album MP3 Rapidshare Download


1. Ill Bill - 'Focus On Bill'
2. Ill Bill - 'Billon$ On My Mind'
3. Ill Bill feat. Raekwon - 'Brazil'
4. La Coka Nostra - 'It's a Beautiful Thing'
5. Ill Bill - '21'
6. Ill Bill feat. Slaine, Sick Jacken - 'Violent Times'
7. Ill Bill feat. Raekwon - 'Enemy (Remix)'
8. Ill Bill feat. Big Noyd - 'Street Villains'
9. Ill Bill feat. Born Unique & Killa Sha - 'Stick N Move (Remix)'
10. Ill Bill & Skam2 - 'Push The Button'
11. Ill Bill feat. Block McCloud & MF Grimm - 'Karma'
12. La Coka Nostra feat. B-Real & Sick Jacken - 'Fuck Tony Montana'
13. Ill Bill & Big Left - 'La Coka Starsky & Hutch'
14. Raekwon - Cocaine World
15. Ill Bill feat. Verbal Kent & Lance Ambu - 'Dead Serious'
16. Ill Bill feat. Raekwon & Skam2 - 'Thousands To M's (Remix)'
17. Ill Bill & El Gant - 'Metal Music'
18. Ill Bill & Mad Joker - 'Keep Firin'
19. La Coka Nostra - 'This Is War'
20. Ill Bill & Onry Ozzborn - 'Goons & Assassins'

Equipment used for making underground hip hop beats (RJD2, RZA, Madlib, Dj Vadim, Dj Krush, etc)

Famous underground hip-hop beatmakers talk on the equipment they use. Here are the quotes:
RJD2: I use an MPC 2000XL and two 1200 turntables. That's all you need. That's what I used to make Deadringer on. I'm not computer literate. So I don't fuck with ProTools or anything.

RZA: As far as the equipment, when I'm scoring I basically use a lot of different keyboards because I'm looking for certain sounds, certain vibes, certain things and some of these sounds you may not hear in Hip-Hop. For this particular score I used mostly a keyboard called Korg Triton and used some older material, MV8000, which I use for Hip-Hop, as well, but I use it in a different capacity for the scoring. And not only am I using Pro Tools but I use Logic and other programs, as well. One machine may not have the right vibe for the scene and then you gotta try another machine or try a different sound that may not be available on SoundLink.


Madlib, J Dilla, Clouddead: The Roland Boss Dr.Sample SP-303

9th Wonder, Little Brother: The programs we use are Cool Edit Pro and FL Studio. Those are the two programs that we use, and that's what we did the whole album on.

Dj Krush: To create tracks I used to exploit the AKAI S-1000, Roland MC-50 and SP-1200 as my main equipment, but I can now say that Ableton Live has completely taken over. At times, I sample once with the SP-1200 and then resample with Live.

MF Doom: I did all the of album (Operation Doomsday) on the Roland VS 1681 as far as recording and MPC2000 studio plus. Did all the tricks on those two bad boys.

Dj Vadim: In terms of equipment, its all done on a Mac G4 Cubase VST 5 with loads of compressors, eq's, valve stuff, MPC 3000, SP1200, AKAI 3000xl. Loads of keyboards like Clav, Rhodes, Wurly, Mini Moog, Nord lead, Oberheim DBX, Hammond b3, guitar pedals and Kaos pads.

Danger Mouse: However, Danger Mouse will say that a couple of his favorite keyboards of the moment are a Korg MS-2000 and a Roland Saturn 09. “Money Mark [who plays on Dangerdoom] has been getting me more into a lot of stuff keyboardwise,” he says. As for software, DM has used Digidesign Pro Tools and Apple Logic in other people's studios, but he prefers Sony Acid Pro at home. “I used to use old samplers and a lot of old drum machines and samplers, and then I made a switch years back,” DM says. “I basically use that program now in the same way I used those.” Although DM buys a new PC every year, it's not to increase his processing power. “I use very basic PCs,” he says. “I don't have any special soundcards or anything. The reason I get a new one every year is because there always winds up being some fucked-up virus or some kind of crash, or something ends up broken on it, so I wind up getting a new one all the time.”

How to Rap Freestyle / Freestyle Rapping Tips

1. Listen to previous freestyle flows and battles by great artists (e.g., rappers like Jin, Jay-Z, Yusaf, Benefit, Rakim, Big L, Eminem, and any other great artist that spits hardcore rap).

2. Understand the techniques those artists use to flow and battle, which will help you enhance those techniques yourself.

3. Start writing rhymes. Write down anything that comes to mind and try to rhyme it. Using your emotions is a good way to describe what you're feeling when you spit or write lyrics. Make sure you eat a hearty meal before attempting a battle.

4. Practice free-styling -- anytime, anywhere, as much as you can. Even if you run out of things to freestyle about, just continue spitting, no matter how wack you think you sound. It helps you develop better rhymes and your mind becomes more focused on what sounds good when you spit. It's like a mental workout. So always practice spitting anywhere.

5. Once you've noticed you can spit on spot (when you want to), try to spit about more specific things. Direct your raps toward things that bother you or upset you. Anything you dislike or want to talk about, try to spit about it. Once again, practice this until you feel you've got it down.

6. Start freestyle battling. The first step to freestyle battling is to practice the first 5 techniques in a battle against a friend or someone who it wouldn't matter to if you messed up. Constantly battle like that with people, especially if you can find a friend who is actually good at battling so they can teach how to improve what you lack. Again, continue to practice this until other friends you know (especially those into hip-hop music) think you're pretty good.

7. Have your first real battle against someone you at least somewhat dislike. If you can find someone who just gets you emotional or who angers you, it makes it easier to flow about them. You want to make sure when you flow about them you include 3 major things.

- Metaphors - Making comparisons with your target (the person you're battling) to something that denigrates them.
- Disses - Saying things that either make fun of them in general (e.g., how they dress, speak, spit, look, walk, talk, act, or their personality) or about them personally (e.g., the way they live, their past, their lifestyle, weaknesses about them, anything that directly goes against them in a way that makes fun of them).
- Punch-Lines - a Punch-Line basically is a bar (2 lines you spit) that incorporates a Metaphor, Dis, and/or anything else to enhance the flow directed at your opponent.

8. Don't worry if you lose your first few real battles, the point is to constantly practice spitting. Continue practicing until you've got it down. And pay attention to how other people spit whom the crowd/judges enjoy. There are many techniques to battling, but these are just the basics.

- If someone beats you in a battle and it gets to you, practice more until you think you're really ready. Then challenge them again: if you win, you will earn a lot of respect back. It's a great feeling, and chicks or dudes will dig your system and flair.
- When you think you lost it, don't worry - just relax. The worst thing to do is freak out. Just relax and keep going. You might still ace it.
- While your opponent is rapping, think how you can come back to what he says, so you get a better punchline.

"Spit" as used in the context of this article is a synonym for rapping, not the forcible expulsion of saliva from the mouth. Please do not practice the latter kind of spitting; it does not make you look nearly as cool.


Paris Hilton was targeted by Banksy

Controversial artist Banksy has targeted Paris Hilton with his latest stunt.

The Bristol born artist, famous for his distinctive graffiti artwork, tampered with 500 copies of Hilton's debut album in 48 record stores across the UK.

Banksy replaced the official CD with his own remixes, giving the tracks titles such as Why am I Famous?, What Have I Done? and What Am I For?.

The CD artwork was also doctored to show Hilton 'topless' on the album sleeve and with a dog's head in other images.

The tampered CDs still retained the original barcode and were purchased by unwitting customers.

Obviously considered artwork by some, the altered CDs have now appeared on eBay.

One auction, by seller 'thiethooitbeg', hit £298 before the listing was cancelled by the auction site because it "contravened eBay regulations". The relisted item is currently selling for £97.

Another listing by 'loveishell2005' with a starting price of £200 is currently selling for £205.

Living Legends Bio / Discography

The Living Legends crew is a family of independent hip-hop creators. From primary earth bases in Los Angeles and Oakland, the Legends extend worldwide and beyond.

It all started with BFAP (now known as Sunspot Jonz) and PSC (Luckyiam), who laid claim to the name of Mystik Journeymen in the early 1990s. By '94 they were locally legendary for throwing Underground Survivors shows, houseparty style at their loft - 4001 San Leandro Street in East Oakland. That's where the Grouch hooked up with the Journeymen in 1995, just before they took off on their renowned first European tour.

Around the same time in the southern part of the state, Mid-city Los Angeles to be exact, 3 Melancholy Gypsys (Murs, Scarub & Eligh) were part of the almost mythic Log Cabin crew going back to 1993. Log Cabin later broke up and the Gypsys wandered separately. As it turned out, the 3 would cross paths again in the Bay Area and became Living Legends.

Aesop came to Oakland from Fresno, Arata from Osaka, and Bicasso from various points, East, West and elsewhere...

In 1999 the Legends shifted their center of gravity to Los Angeles, but their presence has definitely not diminished in Oakland and the Bay. You know it makes no difference where they stay because the universe revolves around them anyway. Over the years, the Journeymen and the Legends have rocked Europe, Japan, Australia and Canada numerous times, plus they've toured the USA, north and south, east coast, west coast and beyond ...

In the years since the Legends have continued releasing solo and crew projects and now have a catalog of over 50 full-length albums and numerous singles. All in all, this crew of motivated do-it-yourselfers has sold over 200,000 albums collectively. The latest crew album "Creative Differences" has turned in to their best selling album to date, (with Soundscan numbers just under 23,000 so far) and continues to sell. Other recent releases are from CMA (Grouch & Luckyiam), Scarub, and Sunspot Jonz. New projects by Eligh, 3MG, Bicasso and Aesop are expected in 2005. March 8, 2005, will see the release of the Legends highly anticipated new album "Classic," a project the crew got together to record earlier this year. That was the first time in recent memory all 8 members were together with the purpose of recording a new project and what came out of those sessions is definitely their strongest material yet. Expect to see them spring 2005 coming to a city near you on tour promoting the new project. The group has no plans to let up, they're only turning up the fire, see if you can keep up. Legends Baby!!!!

Down For Nothing 12" (2005)
Classic (2005)
Blast Your Radio 12" (2004)
Awakening 12" (2004)
Damn It Feels Good 12" (2004)
Creative Differences (2004)
Crappy Old Shit (2003)
Almost Famous (2001)
Gotta Question For Ya 12" (2001)

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Organized Konfusion Interview

"When you make it a point to bring light into manifestation, you are metwith an opposite force of darkness," hypothesizes Pharaoh Monch, one halfof the severely under appreciated hip-hop group Organized Konfusion. "Let’s say I attest that there is a truth and the truth is…’If you put yourhand to the fire you will get burned.’ If someone stands to gainfinancially or whatever from people getting burned, they will make it apoint to lie and be like…’That’s not necessarily true because if you wearthis glove, you won’t get burned,’" Monch explains. Light versus dark,truth versus lies, positive versus negative- all opposite, but not alwaysequal, forces working in everyday life. When your life is hip-hop, whichforce is pushing harder? Where is your balance?

Pharaoh Monch and his lyrical comrade, Prince Poetry, are a couple ofhardheaded muthafuckas. Neither of them can boast of having a single"murder/death/kill" notch on their glocks, the death toll remains at zerofor now. Shit, last I heard, they aren’t even prone to flashin’ steel muchless bustin’ it. They also have very few "bitches" making their way throughthe revolving door of a posh hotel and up to their penthouse. Not enoughhoes are getting served…you gotta wonder why. Maybe it’s because they haveyet to pop the cork on a bottle of Cristal. Then, if they aren’t burning anacres worth of herb a day - forget about it. What are they…blind? Didsomeone forget to hip them to the formula for becoming a (in)famous hip-hop"artist?" Bitches + Blunts + Bustin’ Steel = Beaucoup Bucks. Are theytrying NOT to make some ends? Perhaps shit doesn’t go down like that forthem. You gotta wonder.

Since their eponymous debut in 1991, Organized Konfusion has been aboutelevating heads to higher echelons of emcee technique. As hip-hop was onthe verge of being swept away on billows of blunt smoke, heralding the dawnof "The Chronic" era, Organized were on some straight cerebralmanipulation of a different fashion. They extended the mind-fuck on 1994’svirtually ignored Stress - the extinction agenda (Hollywood BASIC). Imaginethis…academically enhanced, urban intelligentsia stilos executed overbutter smooth production, leaving the average listener cramming tounderstand and the active listener - awestruck. On both previous albums,folks were hit with some old next shit.

Emerging from a three year hiatus, the group has just dropped theircinematic opus, The Equinox (Priority). Using several skits interspersedthroughout the fourteen musical tracks, The Equinox tells the story ofLife and Malice, two friends careening towards adulthood, faced with everyexternal and internal obstacle imaginable. Life and Malice are two sides ofthe same coin, good and bad, pleasure and pain, hope and despair,understanding and confusion. In short, and as the title of the albumimplies, they represent balance. The songs on the album also reflect thatbalance. From the battle rhymes of "Questions" and "Confrontations,"heading towards the party mode of "Move" and "Sugah Shorty," and settlingin the troubled introspection of "Invetro" and "Hate," each song presentsdifferent facets of Life and Malice’s coexistence, illuminating every highand low that can be associated with trying to survive in this world. Thewhole story is narrated by a much older Life who comments on his pastactions with the kind of wisdom that can only be attributed to experience.The Equinox is yet another ambitious effort by a group that is known forgoing against the grain. In this age of "guns, money greed, and sex"rhymes, Organized Konfusion’s decision to stay true to form reads like adeath sentence.

"I like a lot of rappers today but 9 out of 10 of them are based off ofwitty metaphors," muses the forthcoming Prince Poetry. "’I’m this andyou’re that. I’m like a Benz and you’re like a Volkswagen buggy.’Everything is sounding stagnant." Yeah, things are sounding rather(e)motionless right now. And whether it’s nihilistic tales of gangsterismor play by play accounts of Cristal soaked parties, the vantage point israrely one actually familiar to the emcee much less his/her audience. Thesedays, most emcees put no heart in their rhymes. Consequently, hip-hop’sheart has slowed, approaching a life threatening state of inertia."People, to me, make ‘dream’ albums," continues Prince Po, his gruffbaritone voice exhibiting equal amounts of disgust and worry for thepresent state of hip-hop. "You can’t hustle everyday. You can’t hang outand party everyday. These things just don’t happen everyday. It seems likea lot of people be sellin’ themselves out for not diggin’ inside themselvesand pulling out more intellect. It just proves to me that you’re shallow."On the contrary, Monch and Po’s songs are often on some "Captain Nemo" typeformat - 20,000 leagues and under most people’s understanding of how lifeshould be portrayed on wax. We’re talking head crushing depths here."Great balls o’ fire/ I’m traveling at higher speeds to proceed topenetrate flesh/ Hitting the spleen after splitting the chest of a Queensteenager/ Pager shredded to pieces from the glock 9 inch hollow tips itreleases/ The police is in the back of the ambulance/ Blood loss as Ishook across your chest/ I rest, rupture/ I’m the slupture, slasher/ I’llbust your liver faster/ blood pours - now it’s up to the master…"-Prince Poetry, "Stray Bullet"

"The whole beauty of being a writer is to allow yourself 100% ability totouch upon infinite subject matter. To say to yourself, ‘If it could besaid…if a bullet or an unborn fetus could speak, what would it say,"explains the more reserved Pharaoh Monch, highlighting a classic rhymingm.o. for Organized Konfusion - the group’s tendency to give voice to thevoiceless, to speculate on the thoughts and feelings of persons or thingsthat don’t usually get to express themselves.

On The Equinox the group has recorded the amazing "Invetro," where Monchand Po assume the perspective of unborn twins, broadcasting live from theircrack mother’s womb. Over a Roy Ayers inspired track, Monch relays thevision of the twin who sees no chance for himself in an apocalyptic worldand would prefer to be aborted, while Po counters with the optimism of thetwin who would like to give life a shot, despite the adversity that hefaces in the womb and the trials that lie ahead. It’s all another part ofthe "balancing act" that is The Equinox. Quite frankly, the song is a thingof beauty, equally imparting utter hopelessness as well as the unfettereddetermination that it takes to get through this thing called life - evenmore profound when coming "from the mouths of babes." Thought provoking asit is, it’s no wonder that the song’s concept is one that has beenmarinating in the minds of Monch and Po for about two years."

Most of the time I second guess my statements. I try to be cautious," saysMonch, the silent intervals between his words conveying his analyticalnature. "Although it’s a conceptual song, I start to question….’Do I reallywant to say this? Am I saying that or is the character? How are peoplegonna take it?’ That matters to me." It’s THAT kind of respect, for theaudience and for the art, which distinguishes Organized Konfusion fromrun-of-the-mill emcees who will rap about anything that makes them money -fact or fiction. Sometimes it’s not all about the Benjamins."We’re making hybrids/ Created potent enough to open eyelids and leavepupils dilated…/ Now it’s easier/ Plus economically feasible for me toleave rap if it’s queasy and inebriated/ We made it/We came/ Dedicated - werated supreme/ Either with or without the cream. -Pharaoh Monch, "Questions"

With unadulterated talent and innovation acknowledged, the questionremains, "Why are Organized Konfusion still slept on?" Outside of the lovefrom their small but loyal fan base, Po and Monch are treated like they’repushing a demo. Been there - done that. Record labels still don’t know whatthe fuck to do with a group whose fans range, as Po puts it, from "b-boyswith mad jewels and diamonds" to "white kids with backpacks who rideskateboards and listen to rock music."

Prince Poetry tries to break down the record label hierarchy and how the"hard sell" gets lost in the shuffle: "There’s a big gap between thepresident and the vice president and their assistants and promoters. Thepresident and vice president generally don’t give a fuck until sales comein. But they don’t know that the person they hired to do your in-storedidn’t have your shit set up when you got there. All they know is that yourrecord is not selling and they’re ready to kick you off the label or shelfyou. They want music that will sell itself. Sex and violence sells itself.Basically, they’re on some genocide shit."

So maybe record execs are addicted to fat pockets and any money devoted topromoting "experimental" stuff could possibly mean they won’t get a thindime in return. Pharaoh Monch doesn’t see it that way. "If I was presidentand there was a song that was selling itself, I would give it a banister tolean on. But at the same time, to flip the company, I would redirect somefunds and try to make a million dollars out of the stuff that needed thesupport. If you work something like that into the program, you’re settingup a whole fuckin’ lifetime of sales for those types of groups."

As the story goes, Organized Konfusion’s record sales have not been theobject of envy. Most recently, their contract with Hollywood BASIC wasbought by the more diesel Priority Records - The Equinox is their firstPriority release. A sign of good things to come? More exposure maybe? Thatremains to be seen.

"I don’t know what Priority’s game plan was but it seemed to be ‘let’spick them up from a label that has bad distribution and make theirdistribution better.’ We’re still screwed ‘cause I walk into stores to thisday and my shit is not there," explains Prince. Not once though does eitheremcee delude himself about their "challenging" marketability. "By puttingout albums that are lyrically, emotionally, and musically versatile , Iunderstand from jump that it would be harder to market than someone justsaying ‘I’m all about fuckin’ the bitches and ice diamond rings!’"

"How did hip-hop get caught up in this ill rap game?" "In hip-hop, whothey following - the niggas with skills or the niggas who be hollerin’?"These are only two of the questions posed by Organized Konfusion on TheEquinox, but they are easily questions that every so-called emcee and everyso called hip-hop head should be asking themselves. There are a few groupslike Organized who are illuminating truth, trying to protect their peepsfrom getting burned by the "fire" that Monch talks about. Still, the powersthat be would have fools believe that true fulfillment comes in the questfor the almighty dollar. So we put on the gloves they give us, as well asthe matching jacket, skully, boots, and goggles, and we leap into theflames. We are so far removed from the days when hip-hop was about takingwhat little resources you had to lace folks with the illest rhyme, thedopest beat, the unbridled truth about life and how you live it. We nowsettle for silly rhymes, jacked beats, and fabricated lies…and all thistime, Prince Poetry and Pharaoh Monch have been diligently putting in workto insure that hip-hop remains original, artistic, and above all, honest.As Plug 1 would say, they’ve been "keepin’ it right." So while we race atbreakneck speeds to fork over dough for the next ghetto fable, one morequestion begs to be answered. Is Organized Konfusion hardheaded or are we?


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Mos Def Bio

Initially regarded as one of hip-hop's most promising newcomers in the late '90s, Mos Def expanded his reach in the years to come, establishing himself as a serious actor and also making a bid to reshape the rap-rock genre. His artistic career began in the late '80s as a television actor, a profession he began directly out of high school. By the mid-'90s though, Mos Def turned to rap music as his new profession, frustrated by how little acting paid relative to rapping. Based in Brooklyn, he began affiliating himself with the local hip-hop scene, appearing on tracks by such esteemed groups as De La Soul and da Bush Babees. Following these guest appearances and some singles for Royalty (most notably "Universal Magnetic"), Mos Def began recording for the upstart Rawkus label. His first full-length album, Black Star (1998), a collaboration with Talib Kweli and DJ Hi-Tek, shook the hip-hop community, which embraced the album and spoke of a Native Tongue revival. His solo debut, Black on Both Sides (1999), did much the same a year later. For the most part though, Mos Def maintained a low profile in successive years, rediscovering his passion for acting and forming the rap-rock supergroup Black Jack Johnson.

Born in Brooklyn, Mos Def pursued the arts at a young age, excelling as a performer. After high school, he began acting in a variety of television roles, most notably appearing on a short-lived Bill Cosby series in 1994, The Cosby Mysteries. He soon grew frustrated with life as an actor and switched to rapping. Appearances on songs by De La Soul ("Big Brother Beat") and da Bush Babees ("S.O.S.") -- both released in 1996 -- began Mos Def's rap career with much propulsion. A year later, he released a single of his own for Royalty Records, "Universal Magnetic," and it created quite a stir. Soon he moved to Rawkus Records, which was just getting off the ground at the time, and began working on a full-length album with like-minded rapper Talib Kweli and beat maker DJ Hi-Tek. The resulting album, Black Star (1998), became one of the most discussed rap albums of its time. A year later came Mos Def's solo album, Black on Both Sides, and it inspired further attention and praise.

Rap groups such as De La Soul, A Tribe Called Quest, and Brand Nubian -- loosely known as the Native Tongue collective -- had set a precedent years earlier for socially conscious, thoughtful rap music more likely to celebrate Afrocentricity than gangsta culture. Yet these artists had fallen out of favor by the late '90s as they aged. Mos Def, on the other hand, was young and charismatic, an apparently capable and willing heir. Thus, listeners, critics, and everyone else who had heard Mos Def's work for Rawkus championed him as a sort of savior, a genuine, important MC in an age of flossin' gangstas and angry thugs. And Mos Def certainly fit the role as newly crowned king of the new-school Native Tongue artists such as Common and Kweli. However, for whatever reason -- the hype, the pressure, the attention -- he shied away from the recording studio after Black on Both Sides and began pursuing other interests.

During the early 2000s, he acted in several films (Monster's Ball, Bamboozled) and even spent some time on Broadway (the Pulitzer Prize-winning +Topdog/Underdog). He simultaneously worked on the Black Jack Johnson project with several iconic black musicians: keyboardist Bernie Worrell (Parliament/Funkadelic), guitarist Dr. Know (Bad Brains), drummer Will Calhoun (Living Colour), and bassist Doug Wimbish (the Sugarhill Gang, Grandmaster Flash, Living Colour). This project aimed to reclaim rock music, especially the rap-rock hybrid, from such artists as Limp Bizkit frontman Fred Durst, who Mos Def openly despised. What made Black Jack Johnson so anticipated though was not so much the supergroup roster of musicians or even Mos Def himself, but rather the lack of black rock bands. Following the demise of Living Colour, there were few, if any, that had attained substantial success. Mos Def hoped to infuse the rock world with his all-black band and during the early 2000s, he performed several small shows with his band around the New York area. In October of 2004, he finally delivered a second solo album (The New Danger), which involved Black Jack Johnson on a few tracks.


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The Ultramagnetic MC's History / Bio

The Ultramagnetic MC's are a rap group whose members included Kool Keith, Ced Gee, TR Love, Moe Love and later Tim Dog. Their work was associated with unorthodox sampling, polysyllabic rhymes, and bizarre lyrical imagery.

The group formed in 1984. Many believe that without the group's primary producer, Ced Gee, the sound and samples, mostly James Brown, would not have been as prominent. Their worldwide buzz started with "Ego Trippin'", their 12" single on Next Plateau Records in 1986 which featured the infamous "Substitution" drum break sample, but their break-out single was "Funky/Mentally Mad", one of the most sought 12" singles of their career. It was released in 1987. This led to the release of the album, Critical Beatdown.

The Ultramagnetic MC's released a new school classic in 1988, Critical Beatdown, with typical James Brown samples. However, they disappeared after that for several years. They returned on Mercury Records in 1992, with the album Funk Your Head Up. 1993's The Four Horsemen was considered extremely strange though still brilliant. It was the last album the Ultramagnetic MC's released.

There were several semi-legitimate and compilation albums to follow, many with outtakes or older material not released (such as The B-Sides Companion). In 2001, they released a single, "Make It Rain/Mix It Down" which whetted fans' appetites for a reunion album.

The Ultramagnetic MC's launched the career of self-proclaimed "Bronx Nigga" Tim Dog who brought out the very successful single "Fuck Compton". Kool Keith and Tim Dog reunited on the Ultramagnetic MC's semi-reunion album Big Time. Kool Keith went on to record many solo CDs, including one as Dr. Octagon. His abstract rhymes influenced many rappers, including Pharoahe Monch from Organized Konfusion.

In a December 9, 2005 interview on Houston's Late Nite Snax radio show, Kool Keith confirmed rumours that the Ultramagnetic MC's had reformed and recorded a new album. Founding Ultramagnetic MCs member Ced Gee has set up Factshen Records. A new Ultramagnetic MCs LP, Back To The Future—The Bronx Kings Are Back, is scheduled to be released in 2006. It features the original line-up of Kool Keith, Ced Gee, Moe Love, TR Love, Tim Dog, and newcomer Grafiq Malachi Sebek.


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"Watch Me Now"
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ULTRAMAGNETIC MC'S - FUNK YOUR HEAD UP (1992) Full Album MP3 Filefactory Download

01 Introduction to the Funk
02 Intro
03 MC Champion
04 Go 4 Yourz
05 Blast From The Past
06 Funk Radio
07 Message from the Boss
08 Pluckin' Cards
09 Intermission
10 Stop Jockin' Me
11 Dolly and the Rat Trap
12 The Old School
13 Bust the Facts
14 Murder and a Homicide
15 You Aint Real
16 Make It Happen
17 I Like Your Style
18 Bi-Lingual Teaching
19 Poppa Large
20 Moe Love on the 1 and 2
21 Porno Star
22 The P.M.R.C. ID
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1. We Are The Horsemen
2. Checkin My Style
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6. Delta Force II
7. Adventures Of Herman's Lust (Moe Love III)
8. See The Man On The Street
9. Bring It Down To Earth
10. Don't Be Scared
11. One, Two, One, Two
12. Time To Catch A Body
13. Yo Black
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CunninLynguists Bio

CunninLynguists consists of two individuals, Deacon The Villain and Kno, who aim to make music that reminds listeners why they starting liking hip-hop in the first place. Backed with quality beats and rhymes, gritty sounds, witty lyrics, an occasional curse word and low ends that jump out the trunk like Rae Carruth, the 'Lynguists recapture the soul in southern hip-hop, with what Spin Magazine calls "Outkast's tragicomic poignancy".

Their critically acclaimed debut LP, Will Rap For Food, released in October 2001, features guest appearances by Celph Titled, Tonedeff, and others. It has recently been re-released through Caroline Distribution.

CunninLynguists were joined by Floridian emcee Mr. SOS for their 2nd LP, Southernunderground, which was independently released April 1, 2003 on Freshchest Records. Guests included Masta Ace, Supastition and others, with production from Domingo (Big Pun, KRS-One, Eminem etc.), RJD2 (Cannibal Ox, Mos Def, Copywrite etc.), and Kno. Since the release of Southernunderground, CunninLynguists have received tremendous press in various outlets including The Source, URB, Spin, XLR8R, Import Tuner, The Onion, and others. The group toured throughout the USA, Canada and Europe in 2003 and 2004 alongside acts like The Pharcyde, People Under the Stairs, Raekwon and Brand Nubian. Southernunderground's success with such limited distribution and budget helped win Freshchest Records a distribution contract with Caroline Distribution and was the first project released after inking the deal.

Hailing from Versailles, Kentucky, Deacon has also established himself as a skilled producer, having appeared on Yosumi Record's internationally distributed Game Over 2 compilation as well as The Difference LP. His beats have been blessed by the likes of KRS-One, Masta Ace, King Tee, J-Ro from The Liks, Ruck of Heltah Skeltah and many others.

Kno, hailing from Georgia and described as "one of the top loop-miners east of the Mississippi" by URB Magazine, produced the majority of Will Rap For Food and Southernunderground. He has also recieved critical acclaim in The NY Times, Rolling Stone and other magazines for his remix of Jay-Z's Black Album, entitled Kno vs. Hov : The White Albulum, with copies of the project being personally requested by Black Album producers Just Blaze and 9th Wonder. Jerry Barrow, feature editor of The Source, also praised the album. Elemental Magazine suggested Kno "[will definitely be] known by all very soon", and JuJu of the legendary hip-hop group The Beatnuts (as quoted by feels the same: Kno is an up-and-coming producer to keep an eye on. He is currently working with Jurassic 5, Chapter 13, Immortal Technique and others.

Deacon and Kno are currently working on their third release, A Piece Of Strange, which promises to raise the already high bar for quality they have set with their first two albums. The production is being handled entirely by Kno.


Planet Asia Bio

Planet Asia is well known throughout the hip hop community. As a solo artist and one half of the duo Cali Agents (with Rasco), he has been tearing up airwaves and stages around the globe. Numerous banging 12-inch single releases including "Definition of ILL" (Stonesthrow 1998), "Place of Birth" (ABB 1999), "Pure Coke" (Interscope 2002), and "The Golden Age" (Threshold 2003) have ensured his place in hip hop history. In 2001, The Source Magazine named him First Round Draft Pick and gave him Independent Album of the Year credit for Cali Agents "How The West Was One".

That year, Planet Asia's fire and drive landed him a record deal with Interscope Records. Not many people out of Fresno, California, make it to a huge record label -- especially one that is home to some of the biggest artists in the world including 50 Cent, Dr. Dre, and Eminem. But being signed to such a large label definitely had its drawbacks. Interscope, with many artists on its roster and a huge bureaucracy to deal with could not focus properly on the release of Asia's CD. Even though, Planet Asia was arguably the hottest name in the underground. Despite the fact that Asia was nominated for a 2002 Grammy Award for his collaboration with hip-hop diva Mystic on "W" and even though he was called upon by multi-platinum selling rock super group Linkin Park for his vocal skills on their song "Ppr:Kut"on the highly successful "Re-Animation" LP, Interscope still could not find the time to release Asia's record. Asia also had collaborations with everyone from Black Thought of The Roots, BT, the Dub Pistols, Talib Kweli, & Ghostface Killah of Wu-Tang Clan. After waiting three years for his debut CD to be released, Planet Asia decided to take his future into his own hands. He walked away from the hottest record label in the business. It took confidence. It took determination. But most of all, it took courage.

Within days, Asia had a brand new contract. Early 2004 saw the release of Planet Asia's much anticipated and highly acclaimed debut LP, "The Grand Opening," securing yet another Independent Album of the Year credit in The Source. In November 2004, he founded Gold Chain Music with Walt Liquor and took his show on the road with the sold out 26-day Gold Chain Music Tour in Europe. Currently, Planet Asia is in the studio with successful producers, Evidence and The Alchemist, working on his sophomore effort titled, "The Medicine," slated for release in the summer of 2006.

Ugly Duckling Bio / Full Albums Mp3 Download @ Rapidshare

Ugly Duckling are a hip hop trio, formed in 1993 in Long Beach, California. Ugly Duckling's members are Dizzy Dustin, Young Einstein and Andy Cooper. Their style is alternative hip hop, influenced especially by old school performers such as the Zulu Nation and the Native Tongues Posse. Most of their songs follow the creed that hip hop is about having fun and often mock the clichéd gangster rappers who dominate the mainstream. An example of this can be heard in the song "A Little Samba", in which they rap about the enormous wealth mainstream rappers brag about, and the ridiculous nature of their possessions, such as gold name plates on their cars, pet sharks and jetting off to Bermuda on private planes.

Being heavily influenced by old school hip hop, they conform to the original basics of rap music; turntablism and MCing. Their DJ, Young Einstein, forms the backbone of the group; he is renowned for performing very complex scratches both on the record and live, unlike in most modern rap where the DJ has been pushed to the back in order to emphasize the MC. They are renowned for their live shows in which they perform various antics on stage and interact with the crowd getting them very hyped and affording them the reputation as brilliant live performers.



Ugly Duckling Fresh Mode 1999 Rapidshare Download

Ugly Duckling Journey to Anywhere 2000 Rapidshare Download

Ugly Duckling Bang for the Buck 2006 Rapidshare Download

Aloe Blacc Shine Through Review + Rapidshare MP3 Download

What you might want to know first and foremost about Aloe Blacc’s new album Shine Through is that it is not his heavily influenced hip-hop group Emanon. Nor does it follow in the footsteps of his guest spot on Oh No’s late-2004 debut album, or does it feature the superbly crafted conscious rhymes that he has come to be known for. Though he does don his MC cape for parts of this album, Shine Through is mostly a compilation of thoughts, musings and “spirit” that have grown in Blacc throughout his tenure in the music business.

For example, the Oh No produced “Long Time Coming,” is a cover of the classic Sam Cooke song, mixing Aloe’s developing vocal range with No’s vibrant and pulsing beats. While “Busking” is a stripped down acappella tune featuring nothing but Aloe and a typical street corner crooning about awaiting a city bus ride. And the title track itself is comprised of nothing more than vocals and guitar. “One Inna,” one of only two outside produced songs features the evil genius that is Madlib, not subverting his talents, but rather melding them to the style of this artist. Elsewhere on the record you’ll find the classic salsa cover, “Severa,” a world beat record, “Whole World,” and a dancehall inspired riddim, “Are You Ready.”

Blacc wanted this album to reflect all of the inspirations and favorite works he’s experienced over the years. On that note, he succeeds by offering a cohesive reflection of his tastes while showcasing his growth as an artist. But, again, if you’re looking for the DJ Exile and Aloe Blacc reunion album, you’ll be sadly disappointed.



Whole World (3:57)
Long Time Coming (4:13)
Are You Ready (3:21)
Busking (2:17)
Bailar - Scene I (4:14)
Nascimento (Birth) - Scene II (4:31)
Dance For Life (3:41)
Patria Mia (4:28)
Shine Through (1:04)
Caged Birdsong (3:47)
Arrive (3:11)
Want Me (3:31)
One Inna (3:48)
I'm Beautiful (3:50)
+ bonus

And here Aloe Blacc Shine Through Rapidshare MP3 Downloadlink

Roots Manuva Bio

Roots Manuva (born Rodney Smith in Stockwell, South London, 1972) is a rapper.

Manuva grew up around Stockwell in South London. His parents were from a small village in Jamaica called Banana Hole where his father was a preacher and tailor. Spending much of his early years in poverty, this and his strict Pentecostal upbringing clearly had an influence on his music as can be seen in many of his tracks such as "Sinny Sin Sins" and "Colossal Insight".

A quote from Smith himself sums up his early discovery of music: “I was a kid. Before I even knew what a soundsystem was. I was walking past Stockwell skateboard park and there was this sound being set up. They were probably just trying out their speakers. I was with my mum, holding my mum’s hand. And I remember my mum being quite intimidated by the whole affair. Such a barrage of bass coming from it! And these dodgy-looking blokes standing beside it just admiring the sound of their bass. It’s just a bass thing. A volume thing. I don’t know if I rose-tint the memories, but I remember it sounded so good, so rich. It’s not like today when we go to clubs and it hurts. It was more of a life-giving bass.”

Smith made his recorded debut in 1994 as part of IQ Procedure through Suburban Base’s short-lived hip hop imprint Bluntly Speaking Vinyl. He debuted as Roots Manuva the same year on Blak Twang’s “Queen’s Head” single, before releasing his own single, “Next Type of Motion” the following year through the same label, the hugely influential Sound of Money. 1996 saw the release of his collaborations with Skitz (“Where My Mind Is At”/“Blessed Be The Manner”) on 23 Skidoo’s Ronin label. The release of “Feva” on Tony Vegas’s Wayward imprint followed in 1997. This was also the year that saw the first releases from Big Dada, a collaboration between Coldcut’s Ninja Tune label and hip hop journalist Will Ashon.

Releasing for Coldcut's renowned experimental/hip-hop label Ninja Tune in 1998, some of his music may be seen as a predecessor of grime. The following year he released his fearsome debut album, Brand New Second Hand. A reference to his family's modest lifestyle as a phrase his mother used for presents he often got as a youngster that were pre-used. He had such an impact on the UK rap scene that The Times declared that “his is the voice of urban Britain, encompassing dub, ragga, funk and hip hop as it sweeps from crumbling street corners to ganja-filled dancehalls, setting gritty narratives against all manner of warped beats.” Manuva was rewarded for his breakthrough with a MOBO as Best Hip Hop Act that year.

The lyrics of his songs are usually known to take a distinctly British edge, with many critics highlighting his references of eating cheese on toast and drinking bitter as examples of this. His warm and easily recognizable voice can be heard on many songs he performed with other artists such as Chali 2na (of Jurassic 5 & Ozomatli), DJ Shadow, U.N.K.L.E., Nightmares on Wax, The Cinematic Orchestra, Beth Orton and Leftfield. He also made an appearance on the Gorillaz latest album, Demon Days, lending his distinctive vocals to the track, All Alone.

Roots Manuva's "Witness the Fitness" track was parodied by MC Pitman and renamed; "Witness the Pitness".

Roots Manuva produces much of his own music, under his own name and also under the pseudonyms Lord Gosh and Hylton Smythe.


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The Roots Bio / Profile

The Roots, who have also been known as The Legendary Roots Crew, The Fifth Dynasty, The Square Roots and The Foundation, are an influential, Grammy winning Philadelphia-based hip hop group, famed for a heavily jazzy sound and live instrumentation. Inspired by the "hip-hop band" concept pioneered by Stetsasonic, the Roots themselves have garnered critical acclaim and influenced later hip-hop and R&B acts.

The Roots' original lineup included Black Thought (MC) and Ahmir "?uestlove" Thompson (drums), who were classmates at the Philadelphia High School for Creative Performing Arts. As they began to play at school and on the streets, they added a bassist named Josh "The Rubberband" Abrams, who went on to form the Jazz group The Josh Abrams Quartet. They later added another MC named Malik Abdul Basit-Smart, a new bassist Leonard Nelson Hubbard, and a keyboardist Scott Storch. Another MC, Kid Crumbs, was a part of the group for their first album, Organix, but did not appear on any later albums. Another MC, Dice Raw, joined on for cameos in later albums. Scott Storch also left to pursue a producing career following the Do You Want More?!!!??! album, though the split was on amicable terms, and Storch continues to produce tracks for Roots albums to this day. The Roots filled his void with another keyboardist, Kamal, who is still a member.

A beatboxer named Rahzel also joined the group and contributed from 1995-1999. Alongside Rahzel was vocal turntablist Scratch, who DJ'd for them during live concerts. He abruptly left in 2003. Malik B. left the group in 1999 due to drug problems but continued to record, making occasional cameos on future albums. A guitarist, Ben Kenney, had a short stint with the group and contributed to their Phrenology album, but left to join Incubus. A percussionist, Knuckles, was added in 2002 and guitarist, Kirk Douglas (a.k.a. "Captain Kirk") replaced Kenney. A vocalist, Martin Luther, toured with The Roots in 2003 and 2004 and contributed to their Tipping Point album. The current members of The Roots are Black Thought (MC), ?uestlove (drums), Hub (bass), Kamal (keyboard), Knuckles (percussion), and Captain Kirk (guitar).

All members have worked with PETA to promote animal compassion and vegetarian lifestyle.

The group's original lineup was formed in Philadelphia around 1987. They began to do shows around Philly and in 1992 or 1993 left to perform in Europe. They rented out a flat in London and performed in Europe for approximately one year. In order to sustain themselves financially, The Roots released what would be known as their debut album: Organix. The album went on to sell about 150,000 copies. Following the release of Organix, several major record labels offered deals, and the band signed with DGC Records, which at the time was better known for its grunge music releases. With their new record deal, the quintet travelled back to states.

Do You Want More?!!!??!
The Roots' first album for DGC, Do You Want More?!!!??! (recorded live without the use of samples), was a moderate hit on alternative radio. Also lauded for its jazziness, the album was equal parts jazz improv/instrumentation and rap music. It just reached gold staus in 2005, with sales of 501,000 copies.

Illadelph Halflife
The 1996 release Illadelph Halflife was the group's first album to crack the Top 40 on Billboard's album chart, spurred in part by MTV's airplay of the video for "What They Do" (a parody of rap video clichés) and "Clones," which was their first to single to reach the top five on the rap charts. While continuing on the path of live instrumentation, the album's sound was somewhat darker and the band begun integrating programmed drums and samples into their sound. It was also The Roots' first album to include prominent guests, such as Common on "UNIverse At War", D'Angelo and Erykah Badu on "Hypnotic" and Q-Tip on "Ital (The Universal Side)."

Things Fall Apart
Despite rumors of a possible break up, they stayed together and released Things Fall Apart in 1999 (named after Things Fall Apart, a novel by Chinua Achebe). This was their breakthrough album sales-wise, peaking at #4 on the Billboard 200 charts and earning a gold record, signifying U.S. sales of at least 500,000 units. The track "You Got Me," duet with R&B singer Erykah Badu, peaked inside the top 40 on the Billboard Hot 100 charts and earned them a Grammy award for Best Rap Performance By A Duo Or Group.

Like "Illadelph Halflife", TFA was not quite as jazzy as previous works. First-time cameos on TFA for Philly natives Beanie Sigel and Eve helped to earn them major record deals later (with Roc-A-Fella and Ruff Ryders, respectively). After this album, Dice Raw left the collective to record his solo debut album, Reclaiming the Dead.

The group's popularity continued to rise through the album. With a Grammy under their belts, they were able to perform an extended set at the now infamous "Woodstock '99".

A hectic time ensued for The Roots; several members left, and their popularity increased with their sales and a spot backing Jay-Z for his MTV Unplugged album. With heightened popularity came mounting pressure. The Roots released "Phrenology" (named after the pseudoscience of Phrenology) in 2002, which took a turn away from their jazzy influences and further into rock territory. While commercially successful and nominated for a Grammy for "Best Rap Album," some fans claimed The Roots had sold out because of their focus on rock, electronica and sonic experimentation rather than jazz-influenced Hiphop.

During this time the band also backed Jay-Z for his 2003 farewell concert in Madison Square Garden, and appeared in the accompanying "Fade to Black" DVD.

Tipping Point
After Phrenology, Ben Kenney and Scratch both left the group. Their major label deal with Geffen began to sour, as pressures were mounted on the group to sell more records. This culminated with the release of 2004's The Tipping Point, which took its name from a 2000 book The Tipping Point by Malcolm Gladwell. The album earned two more Grammy nominations: one for Best Urban/Alternative Performance for the track "Star," and another for Best Rap Performance By A Duo Or Group for the track "Don't Say Nuthin'."

It debuted at #4 on the Billboard album chart, selling over 100,000 copies in its first week of release, but failed to go Gold. Subsequently, the group left the label after the album's release. Contractual obligations resulted in the release of Home Grown! The Beginner's Guide To Understanding The Roots, Volumes 1 & 2 in 2005, a two-disc compilation album.

Game Theory
The Roots' newest album is entitled Game Theory, and was released August 29th, 2006, on Def Jam records. ?uestlove describes the album as being very dark and reflective of the political state in America[2]. The first single from the album, "Don't Feel Right", appeared on the internet in May, 2006, and is available for free download on several web sites. Various guest appearances have been rumored, but Scratch Magazine confirmed only two: Peedi Peedi and Malik B. The late producer J Dilla also produces one song on the album. The album's first video, titled "The Don't Feel Right Trilogy", premiered on August 21, 2006, and features three songs, "In the Music", "Here I Come" and "Don't Feel Right".

During an interview with MTV, ?uestlove said that The Roots are already working on their 10th album. "As of this speaking, anything to do with the term 'game theory' is strictly past tense only," he said, clearly still relieved that the album is finished. "I'm working on [album] number 10 right now — I want to be the first rap artist to actually make a good 10th record, that's my goal. [We're already] four songs into the next project."

The band tours extensively, and their live sets are frequently hailed as the best in the hip-hop genre. Recently, the band played a concert in NYC's Radio City Music Hall with Common, Nas, Talib Kweli and Big Daddy Kane. They also backed Jay-Z a third time, for his Reasonable Doubt Concert, a celebration of the 10-year anniversary of the release of his first album. The Roots have been featured in three movies: Dave Chappelle's Block Party, both performing album songs and playing as a backing band for other artists; Spike Lee's Bamboozled, and Marc Levin's "Brooklyn Babylon," in which Black Thought plays the protagonist, Solomon, and former band member Rahzel narrates.

Recently, ?uestlove reported that he is thinking of adding fellow Philadelphia rapper and Def Jam labelmate Peedi Peedi to the fold as a second group MC. Peedi recently guested on their latest album, and he will join for a set amount of time to "see how it goes."

You may also be interested in the Roots Game Theory Mp3 Downloads

Prince Po Pretty Black Full Album Download @ Rapidshare

Download Prince Po Pretty Black Full Album @ Rapidshare here


1. Intro
2. Prettyblack
3. Mecheti Lightspeed
4. Ask Me feat. 2Mex (of The Visionaires)
5. Right 2 Know feat. Chas West (Tribe Of Gypsies)
6. Holla (L. Boogie's Theme) feat. Presto (GBG), C.J.
7. Feel It 4 U
8. Breaknight
9. Family
10. Purple Kush Ritual feat. China Black
11. Creep On It
12. Interlude
13. U Right Hear (J. Dilla Tribute) feat. Concise Kilgore
14. The City Sleeps

La Coka Nostra The LCN LP Bootleg Download @ Sendspace

La Coka Nostra The LCN LP Bootleg 2006

01 (3:52) Head Nod Shit
02 (3:18) Bloodshed Pt.2
03 (3:46) Rich Man Poor Man
04 (3:12) Whiteys Revenge
05 (3:09) Starksy and Hutch
06 (1:55) La Coka Nostra
07 (4:38) Revolution Up to Left
08 (3:08) Nc Anthem
09 (4:18) Surgical Tactics
10 (2:54) Sometimes
11 (4:23) Fuck Tony Montana (Feat. B-Real)
12 (3:34) Get Outta My Way

La Coka Nostra The LCN LP Bootleg Download @ Sendspace Link

Jedi Mind Tricks, Army of the Pharoahs, Demigodz, King Syze Free MP3 Download!

Woohah! Look what we've got here! Seems like today is a good day to give you some underground hip hop full albums mp3.

Army Of The Pharoahs - Battle Cry.mp3 Download Link
Army Of The Pharoahs - Tear It Down.mp3 Download Link
AOTP - Silence And I.mp3 Download Link
06 Virtuoso vs Jin.mp3 Download Link

Jedi Mind Tricks - Legacy of blood (2004)[img]
1. Intro
2. The Age Of Sacred Terror
3. Scars Of The Crucifix
4. Death Falls Silent (Interlude)
5. Saviorself
6. On The Eve Of War (Julio Caesar Chavez Mix)
7. The Darkest Throne (Interlude)
8. The Worst
9. Verses Of The Bleeding
10. Beyond The Gates Of Pain
11. Farewell To The Flesh (Interlude)
12. And So It Burns
13. The Spirit Of Hate (Interlude)
14. Me Ne Shalto
15. On The Eve Of War (Meldrick Taylor Mix)
16. Winds Devouring Men (Interlude)
17. The Philosophy Of Horror
18. Of The Spirit And The Sun (Interlude)
19. Before The Great Collapse

Jedi Mind Tricks - legacy of blood Download link

Demigodz - The godz must be crazy (2002)[img]
│ │ 01 │ Intro │ 01:13 │ │
│ │ 02 │ Science of the Bumrush 2 │ 03:48 │ │
│ │ 03 │ Captivate Deactivate │ 03:15 │ │
│ │ 04 │ The Demigodz │ 04:41 │ │
│ │ 05 │ Off the Chrome │ 04:56 │ │
│ │ 06 │ Dont You Even Go There │ 03:27 │ │
│ │ 07 │ The Godz Must Be Crazy │ 05:39 │ │

Demigodz - Godz must be crazy Download link

Jedi Mind Tricks - Saviorself (2005)[img]
1. The Age Of Sacred Terror (radio)
2. The Age Of Sacred Terror (dirty)
3. The Age Of Sacred Terror (instrumental)
4. Saviorself feat. Killah Priest (radio)
5. Saviorself feat. Killah Priest (dirty)
6. Saviorself (instrumental)

Jedi Mind Tricks - saviorself Download link

King Syze - Syzemology (2006)[img]
1. On A Mission - King Syze
2. Blitz Inc - King Syze & Vinnie Paz/7L & Esoteric
3. Global Warming - King Syze & Block McCloud/Pumpkinhead/Archrival
4. OE Pounder - King Syze & Des Devious
5. Roll Out The Red - King Syze
6. Spittin' Heavy - King Syze
7. Who Gonna Ride - King Syze & Rocky Reyes/Faez One
8. Truancy - King Syze
9. Da Storm - King Syze & Iron Kong/Des Devious
10. Band Of Brothers - King Syze & Crypt Of Outerspace
11. Machine Gun Rap - King Syze
12. Reign Of Tyrants - King Syze & Poynt Blanc
13. Day After Tomorrow - King Syze & Reef The Lost Cause/El Dorado
14. Nonbelievers - King Syze
15. Onslaught - King Syze & Vinnie Paz/Sabac Red/Planetary

King Syze - Syzemology Rapidshare Download link