El-P - I'll Sleep When You're Dead 2007 (Definitive Jux) Sendspace MP3 Download
1 Tasmanian Pain Coaster (6:54)
Vocals [Featuring] - Cedric Bixler-Zavala
2 Smithereens (Stop Cryin) (4:32)
Vocals [Additional] - Hangar 18
3 Up All Night (2:36)
Vocals [Additional] - Mr. Lif
4 EMG (4:31)
Scratches - DJ Big Wiz
5 Drive (4:13)
6 Dear Sirs (1:32)
7 Run The Numbers (4:41)
Rap [Featuring] - Aesop Rock
8 Habeas Corpses (Draconian Love) (4:34)
Rap [Featuring] - Cage
Vocals [Additional] - Mr. Len , Victoria Allen
9 The Overly Dramatic Truth (4:30)
Vocals [Additional] - Daryl Palumbo
Vocals [Additional] - Camu Tao
10 Flyentology (4:01)
Co-producer, Vocals [Featuring] - Trent Reznor
Vocals [Additional] - Rob Sonic
11 No Kings (3:05)
Vocals [Additional] - Tame One
12 The League Of Extraordinary Nobodies (2:34)
Vocals [Additional] - Joey Raia , Murs , Slug
13 Poisenville Kids No Wins / Reprise (This Must Be Our Time) (7:00)
Vocals [Featuring] - Chan Marshall
Sorry, i was forced to remove the download link due to copyright violation
El-P - I'll Sleep When You're Dead 2007 (Definitive Jux) Sendspace MP3 Download
Underground Rap Instrumentals Rapidshare (Pt.1 - Madvillain, Madlib, Necro, Jay Dee, Jurassic 5, RJD2, A Tribe Called Quest)
Madlib - Expressions Instumentals
Necro Instrumentals Vol 1 http://www.megaupload.com/?d=33KW3T3F
Common - . Be (Instrumentals) http://rapidshare.de/files/18288920/Common-Be-Instrumental_LP-2005-sc.rar (2005) (prod. Jay Dee, Kanye West)
Jurassic 5 - Feedback INSTRUMENTALS (2006)
RJD2 - Magnificent City Instrumentals (2006)
The subject matter inherent in gangsta rap has caused a great deal of controversy. Criticism has come from both right wing and left wing commentators, who have accused the genre of homophobia, misogyny, promiscuity, racism, and materialism.
Gangster rappers often defend themselves by claiming that they are describing the reality of inner-city life, and that they are only adopting a character, like an actor playing a role, which behaves in ways that they may not necessarily endorse.
Some commentators (for example, Spike Lee in his satirical film Bamboozled) have criticized it as analogous to black minstrel shows and blackface performance, in which performers -- both black and white -- were made up to look African American, acted in a stereotypically uncultured and ignorant manner for the entertainment of white audiences.
Gangster themes before hip-hop
The album Hustler's Convention by Lightnin Rod was released in 1973. The lyrics deal with street life, including pimping and hustling. The Last Poet Jalal Mansur Nuriddin delivers the rhyming vocals in the urban slang of his time, and together with the other Last Poets was quite influential on later hip-hop groups such as Public Enemy.
Ice-T, as well as many other rappers, has credited pimp and writer Iceberg Slim with influencing his rhymes.
There is also a long tradition of "gunman" lyrics in Jamaican music, which had a strong influence on South Bronx MC KRS-1.
Early hardcore rap and gangsta rap (1984-1990)
Schooly D and others
Philadelphia MC Schoolly D can probably be credited as the first rapper to use the word "gangster" in one of his songs. In his 1984 12" single "Gangster Boogie" he mentions it with "I shot call a ? with my gangster lean". He released the 12" single "P.S.K." (short for Park Side Killers) in 1985. In this song Schoolly D makes direct references to his crew or gang (PSK) as well as describing putting his pistol against another rapper's head.
The rap group Run DMC are often credited with popularizing hardcore and abrasive attitudes and lyrics in hip hop culture, and were one of the first rap groups to dress in gang-like street clothing. Their socially conscious lyrics would later influence socially conscious gangsta rappers and hardcore rappers such as Ice Cube and Nas.
Rappers such as Slick Rick, LL Cool J, the group EPMD, and the seminal hardcore group Public Enemy (which even sported a crosshair as its trademark symbol) would further popularize hard-hitting, aggressive, often socio-political lyrics, sometimes revolving around street violence, poverty, and gunplay.
In 1987,Angeles-based rapper Ice-T released "6 n the Mornin", which is often regarded as the first gangsta rap song. Ice-T had been MCing since the early '80s; his first song, "The Coldest Rap", was the first hiphop song to use the words ho and nigga, and included references to guns and pimping.
In an interview with PROPS magazine Ice-T said: "Here's the exact chronological order of what really went down: The first record that came out along those lines was Schoolly D's 'P.S.K.' Then the syncopation of that rap was used by me when I made Six In The Morning. The vocal delivery was the same: '...P.S.K. is makin' that green', '...six in the morning, police at my door'. When I heard that record I was like "Oh shit!" and call it a bite or what you will but I dug that record. My record didn't sound like P.S.K., but I liked the way he was flowing with it. P.S.K. was talking about Park Side Killers but it was very vague. That was the only difference, when Schoolly did it, it was "...one by one, I'm knockin' em out". All he did was represent a gang on his record. I took that and wrote a record about guns, beating people down, and all that with Six In The Morning. At the same time my single came out, Boogie Down Productions hit with Criminal Minded, which was a gangster-based album. It wasn't about messages or "You Must Learn", it was about gangsterism."
Ice-T continued to release gangsta albums for the remainder of the decade: Rhyme Pays in 1987, Power in 1988 and The Iceberg/Freedom of Speech...Just Watch What You Say in 1989. Ice-T's lyrics also contained strong political commentary, and often played the line between glorifying the gangsta lifestyle and criticizing it as a no-win situation.
The Beastie Boys, while never truly credited as gangsta rappers, were actually one of the first groups to identify themselves as "gangsters" on their acclaimed and commercially successful 1986 debut album, Licensed to Ill. They were also one of the first popular rap groups to talk about violence, drug and alcohol use, and themes common in gangsta rap today. According to "Rolling Stone" magazine, "Licensed to Ill is filled with enough references to guns, drugs, and empty sex (including the pornographic deployment of a Whiffle-ball bat in "Paul Revere") to qualify as a gangsta-rap cornerstone." In their early underground days, the seminal gangsta rap group N.W.A. rapped over Beastie Boy tracks for songs such as "My Posse" and "Ill-Legal", and the Beastie Boys' influence can be seen significantly in all of N.W.A's early albums.
The Beastie Boys continued to produce proto-gangsta rap tracks on their 1989 album Paul's Boutique, which included such hardcore tracks as "Car Thief," "Looking Down the Barrel of a Gun," and "High-Plains Drifter."
Boogie Down Productions
Boogie Down Productions released their first single, "Say No Brother (Crack Attack Don't Do It)", in 1986. It was followed by "South-Bronx/P is Free" and "9mm Goes Bang" in the same year. The latter is the most gangsta-themed song of the three; in it KRS-1 describes shooting rival weed-dealers after they try to kill him in his home. The album Criminal Minded followed in 1987. Shortly after the release of the album, BDP's DJ Scott LaRock was shot and killed. After this BDP's subsequent records focused on conscious lyrics instead.
N.W.A. released their first single in 1986. They were crucial to the foundations of the genre for introducing more violent lyrics over much rougher beats. The first blockbuster gangsta album was N.W.A.'s Straight Outta Compton first released in 1988. Straight Outta Compton also established West Coast hip hop as a vital genre, and a rival of hip hop's long-time capital, New York City. Straight Outta Compton sparked the first major controversy regarding hip hop lyrics when their song "Fuck Tha Police" earned a letter from the FBI strongly expressing law enforcement's resentment of the song. Due to the influence of Ice T and N.W.A., gangsta rap is often credited as being an originally West Coast phenomenon. In 1990, former N.W.A. member Ice Cube would further influence gangsta rap with his hardcore, socio-political solo albums.
Aside from N.W.A. and Ice T, early West Coast rappers include Too $hort (from Oakland, California), Kid Frost (who was an important Latin MC), and others from Compton, Watts, Los Angeles, Oakland, San Diego and San Francisco. On the East Coast, New York's Kool G Rap began to use more and more crime-related themes in his lyrics towards the end of the decade.
Gangsta rap after 1990
Ice-T released one of the seminal albums of the genre, OG: Original Gangster in 1991. It also contained a song by his new thrash metal group Body Count, who released a self titled album in 1992. The group attracted a lot of media attention for the Cop Killer controversy.
His next album, Home Invasion, was postponed as a result of the controversy, and was finally released in 1993. While it contained gangsta elements, it was his most political album to date. After that, he left Time-Warner records. Ice-T's subsequent releases went back to straight gangsta-ism, but were never as popular as his earlier releases. He had alienated his core audience with his involvement in metal, his emphasis on politics and with his uptempo Bomb-Squad style beats during a time when G-funk was popular. He published a book "The Ice Opinion: Who Gives a Fuck?" in 1994.
G-funk and Death Row Records
Eric Martin and Tupac were best of friends in 1992, it is said that Tupac found insparation in Eric as a friend. Also in 1992, former N.W.A. member Dr. Dre released The Chronic, which further established the dominance of West Coast gangsta rap and Death Row Records, and also began the subgenre of G-funk, a slow, drawled form of hip hop that dominated the charts for some time. Extensively sampling P-Funk bands, especially Parliament and Funkadelic, G-funk was multi-layered, yet simple and easy to dance to, with anti-authoritarian lyrics that helped endear it to many young listeners. Another G-Funk success was Ice Cube's Predator album, released at the same time as The Chronic in 1992. It sold over 5 million copies and was #1 in the Charts, despite the fact that Ice Cube wasn't a Death Row artist. One of the genre's biggest crossover stars was Dre's protégé Snoop Doggy Dogg (Doggystyle, 1993), now known as Snoop Dogg, whose exuberant party-oriented themes made songs such as "Gin and Juice" club anthems and top hits nationwide. Tupac Shakur (Me Against the World, 1995) has endured as one of the most successful and influential West Coast hip hop artists of all time. Snoop and Tupac were both artists on Death Row Records, owned by Dre and Marion "Suge" Knight. Many of Tupac's greatest hits sampled or interpolated earlier music by Zapp & Roger.
Cover of Raekwon's mafia-influenced debut solo, Only Built 4 Cuban Linx...Mafioso rap is a hip hop sub-genre which flourished in the mid-1990s. It is the pseudo-Mafia extension of East Coast hardcore rap, and was the counterpart of West Coast G-Funk rap during the 1990s. In contrast to West Coast gangsta rappers, who tended to depict realistic urban life on the ghetto streets, Mafioso rappers' subject matter included self-indulgent and luxurious fantasies of rappers as Mobsters, or Mafiosi, while making numerous references towards .
East Coast Hardcore and gangsta rap
Meanwhile, rappers from New York City and Philadelphia, such as Black Moon (Enta Da Stage, 1993), Wu-Tang Clan (Enter the Wu-Tang (36 Chambers), 1993), Onyx (Bacdafucup, 1993), Mobb Deep (The Infamous, 1995), Nas (Illmatic, 1994), the Notorious B.I.G. (Ready to Die, 1994), and Raekwon (Only Built 4 Cuban Linx, 1995) pioneered a grittier sound known as East Coast hardcore rap. B.I.G. and the rest of Puff Daddy's Bad Boy Records roster paved the way for New York City to take back chart dominance from the West Coast as gangsta rap continued to explode into the mainstream. It is widely speculated that the "East Coast/West Coast" battle between Death Row Records and Bad Boy Records resulted in the deaths of Death Row's Tupac Shakur and Bad Boy's Notorious B.I.G. This had a knock-on effect on Death Row itself, which sank quickly when most of its big name artists like Dr. Dre and Snoop Dogg left and it found itself on the receiving end of multiple lawsuits. Dr. Dre, at the MTV Video Music Awards, claimed that "gangsta rap was dead". Although Puff Daddy's Bad Boy Entertainment fared better than its West Coast rival, it continued to lose popularity and support of the hip hop fan base with a more mainstream sound, and challenges from Atlanta and, especially, Master P's No Limit stable of popular rappers.
Southern and midwestern gangsta rap
After the deaths of Biggie and Tupac, gangsta rap remained a major commercial force. However, most of the industry's major labels were in turmoil, or bankrupt, and new locations sprang up.
Atlanta had been firmly established as a hip hop center by artists such as Goodie Mob and Outkast and many other Southern hip hop artists emerged in their wake, whilst gangsta rap artists achieving the most pop-chart success. Jermaine Dupri, an Atlanta-born record producer and talent scout, had great success after discovering youthful pop stars Kris Kross (Totally Krossed Out, 1992) performing at a mall, and later masterminded a large roster of commercially successful acts on his So So Def label which although mostly weighted towards pop-rap & R&B, also included rap artists such as Da Brat (Funkdafied, 1994), and himself. Perhaps the most famous gangsta rapper from the South is Scarface.
Master P's No Limit Records label, based out of New Orleans, also became quite popular, though critical success was very scarce, with the exceptions of some later additions like Mystikal (Ghetto Fabulous, 1998). No Limit had begun its rise to fame with Master P's The Ghetto Is Trying to Kill Me! (1994, 1994 in music), and subsequent hits by Silkk the Shocker (Charge It 2 Da Game, 1998) and C-Murder (Life or Death, 1998). Cash Money Records, also based out of New Orleans, had enormous commercial success with a very similar musical style and quantity-over-quality business approach to No Limit but were less ridiculed.
Cleveland based rap group Bone Thugs-N-Harmony also had a monumental impact on the Midwestern gangsta rap scene. The mid-1990s saw Bone metamorphose into an extremely popular commercial rap assemblage with the release of their critically acclaimed album E 1999 Eternal. Their fast, harmonizing vocals (coupled with their fast rap delivery) changed the limitations of gangsta rap.
Before the late nineties, gangsta rap and hip hop in general, while being extremely popular, had always been seen as a fringe genre that remained firmly outside of the pop mainstream. However, the rise of Bad Boy Records signalled a major stylistic change in gangsta rap (or as it is referred to on the East Coast, hardcore rap), as it morphed into a new subgenre of hip hop which would become even more commercially successful. Notorious B.I.G. is seen by many to have initiated gangsta rap's move towards conquering the pop charts, as he was the first hardcore gangsta rapper to produce albums as a calculated attempt to include both gritty gangsta narratives and polished, catchy, danceable pop productions entirely aimed at the clubs and at the mainstream pop charts. Between the release of Biggie's debut album Ready to Die in 1994 and his follow-up Life after Death in 1997, his sound changed from the darker, sample-heavy production to a cleaner, more upbeat sound fashioned for popular consumption (though the references to guns, drug dealing and life as a thug on the street remained). R&B-styled hooks and instantly recognizable samples of well-known soul and pop songs from the 1970s and 1980s were the staples of this sound, which was showcased primarily in his latter-day work for The Notorious B.I.G. ("Mo Money, Mo Problems"), Ma$e ("Feels So Good"), and non Bad Boy artists such as Jay-Z ("Can I Get A...") and Nas ("Street Dreams").
Also achieving similar levels of success with a similar sound at the same time as Bad Boy was Master P and his No Limit label in New Orleans, as well as the New Orleans upstart Cash Money label. A Cash Money artist, The B.G., popularized a catch phrase in 1999 that sums up what the majority of late-nineties mainstream hip hop focused on subject-wise: "Bling-Bling." Whereas much gangsta rap of the past had portrayed the rapper as being a victim of urban squalor, the persona of late-nineties mainstream gangsta rappers was far more weighted towards hedonism and showing off the best jewelry, clothes, liquor, and women. Many of the artists who achieved such mainstream success, such as Ma$e, Jay-Z and Cam'Ron, originated from the gritty East Coast rap scene and were influenced by hardcore artists such as the Notorious B.I.G and Nas. Ma$e, Jay-Z and Cam'Ron are also typical of the more relaxed, casual flow that became the pop-gangsta norm. Many of these artists are viewed as being rather illegitimately "gangsta" compared to their West Coast counterparts.
Pop-inflected gangsta rap continues to be successful into the 21st century, with many artists deftly straddling the divide between their hip hop audience and their pop audience, such as Ja Rule and Jay-Z. The influence of West Coast gangsta rapper 2Pac on the East Coast rap scene has also become increasingly apparent in the new century.
J Dilla Ruff Draft Promo 2007 Rapidshare:
01 00:18 Intro --
02 02:11 Lets Take It Back --
03 02:42 Reckless Driving --
04 02:34 Nothing Like This --
05 02:44 The Money --
06 00:49 Interlude --
07 02:28 Make'em Nv --
08 00:45 Interlude --
09 03:43 Crushin (Yeeeeaah!) --
10 00:52 Shouts --
11 00:48 Intro (Alt) --
12 02:20 Wild --
13 04:25 Take Notice --
14 01:47 Shouts (Alt) --
14 28:26 min --
Know and respect the history of the art. Graffiti is a hobby with a long history. Look at early hip-hop and the first writers (people who write graffiti), such as Taki in NY. The worst thing to experienced writers are "toys" making fools of themselves and destroying the scene for everyone else.
Pick a name. Practice drawing letters and pick some that you like drawing. Do not try to get too crazy with extensions and bending at first. Take it slow and make everything as clean as possible. It is very helpful at this point to find inspiration from other pictures you see. However, in the future, you will want to develop your own, unique style. A very important aspect to creating a good style with your name is flow. Keep characteristics of letters common throughout the rest of your name. Style is everything.
Carry a sketchbook and pencil with you wherever you go. Practice your craft as much as possible. As you come up with new ideas for tags and designs, sketch them in your book and develop the concept by trying out different variations. If possible, carry pencils of a few different colors. Eventually, you can move to using permanent marker.
Work with your cans. Buy a piece of plywood from Home Depot to practice on. At this point, colors and styles should be simple. Practice your can control and your techniques for painting and steps for putting together a clean "piece."
Be smart. Many cities also have "permission" or "legal" walls specified for graffiti art. Legal graffiti is often more respected than street art. You have unlimited time and freedom to do what you please. Compare legal walls to quick throw-ups found on the street. You will find that legal walls are intricate and aesthetic. Street art is just trying to be seen. Legal graffiti art is more remembered and respected by those who do not completely understand the artform.
Try to meet experienced writers who can help you learn the ropes. (However, be cautious; you do not want to come off like an undercover officer.) Show your appreciation for their work and their skills.
Don't get frustrated with lettering, it takes time.
Wherever you write, keep in mind that you are representing the entire graffiti culture anytime anyone else sees it. People usually don't differentiate between writers, they just know that somebody destroyed their property. Stay away from privately-owned businesses, worship areas, high profile business buildings. The experienced writers nowadays tend to stick to low-profile spots such as tunnels, abandoned buildings, and, if so desired, legal spots.
It's a lot easier to use stencils. Buy some sticky paper and put it in your printer. Use Photoshop or any other graphics program to make the paint layers. Print them.
Aesop Rock - All Day: Nike+ Original Run (continuous mix)(2007)
This is one continuous 45 minute track, so no song list. Also includes the digital booklet in PDF format. Here's the description from Aesop Rock's myspace blog:
"All Day" Nike + Original Run series
i was asked to do a 45 minute long (mostly) intrumental song for nike's 'original run' series. i wouldnt call it my first intrumental album as i kind of approached it differently then i would a true inst album, but it is primarily intrumental, with some areas of vocals. this project has lots of live intrumentation, bass, guitars, keys, etc., and really has a consistently changing sound. there were a couple rules to follow, as i kinda had to make something that was as 'functional' as it was kinda cool to listen to. it really runs the gamut from super light and almost ambient to pretty dark and tuff, to eerie, to funky, etc etc. I really got to try things i dont think i would have ever tried elsewhere on this thing. dj big wiz does cuts throughout. allyson baker (former parchman farm member) plays guitar a lot. also, the music will come with a 'digital booklet' featuring 6 photos by the lovely and talented chrissy piper. should be available thru itunes feb 13th if youre interested. heres a snippet from the press release that went out:
AESOP ROCK COMMISSIONED FOR NIKE + ORIGINAL RUN SERIES!
Joining the ranks of renowned artists The Crystal Method and LCD Soundsystem, MC/Producer Aesop Rock has joined forces with Nike to release an original composition in the third installment of the "Nike + Orignal Run" series, available exclusively in the Nike Sport Music store on iTunes. All Day: Nike + Original Run, a 45-minute continuous mix, was created specifically with runners in mind and reflects Aesop Rock's distinct and unique style. "I wanted to create something that evolved enough that the sound was constantly fresh and attractive, as if the runner were moving through a set of differing cities or landscapes."
Grandmaster Flash Rapidshare:
The Message (1982) 62247 kb
hxxp://www.egoshare.com/3f58a0550f0305caab7c30a5457d62 13/grandmaster_flash__the_message rar.html
The Source 54840kb
hxxp://www.egoshare.com/66150fcc5906a0d10d64612df2483f 36/grandmaster_flash__the_sourcer ar.html
They Said It Couldn't Be Done (1985) 65179kb
hxxp://www.egoshare.com/7acd095c624b093eea57e9d472f0f9 5f/grandmaster_flash__they_said_i t_couldnt_be_done_1985rar.html
LMNO - Workethic (2007) Rapidshare:
Dj Kentaro Enter Rapidshare
01. Enter The Newground [02:21]
02. Keep On (Ft. Pharcyde) [03:45]
03. Free (Ft. Spank Rock) [03:13]
04. Tasogare Highway High (Bass Wanna Be A Singer) [03:37]
05. Rainy Day (Ft. New Flesh) [04:34]
06. Uminnaka [00:37]
07. Handmade Gift (Ft. Little Tempo) [04:27]
08. Space Jungle [04:22]
(Ft. MC SPanl Rock Ronnie Darko And Chris Rockswell)
09. Nursery Room [00:40]
10. Harvest Dance (Ft. Hifana) [03:16]
11. Trust [04:49]
12. One Hand Blizzard [02:19]
13. Brightin Star Enter [00:48]
14. Let It Go (Ft. Fat Jon) [05:09]
15. Hatsuyume (Ft. Hunger) [03:50]
16. Grateful To You [02:17]
After announcing himself to a worldwide audience with his Solid Steel mix "On The Wheels Of Solid Steel", Japan's DJ Kentaro returns with his full production debut, "Enter". Forty minutes of beautifully structured beats, musical smarts and occasional smattering of turntable magic, the record also features guest turns from The Pharcyde (Not on promo), Spank Rock, New Flesh, Little Tempo, Hifana and Fat Jon.
Kentaro is best known as a phenomenal turntablist and former DMC World Champion, but on this debut record, he's more concerned with showing his muscle as a music producer. Which is why "Enter" runs from the funk of "Free" to the dubby downtempo soul of "Tasogare Highway…", through the drum and bass attack of "Rainy Day," the live reggae feel of "Handmade Gift," the squelching dance aesthetic of "Space Jungle," on into the tribal space-jazz of "Harvest Dance," the epic turntable cut-up of "One Hand Blizzard" and, finally, the cosmic hip hop of "Let It Go". It's not that he can't scratch the shit out of a piece of vinyl when he wants to (check finale "Grateful To You") it's just that he understands that making a great album demands a wider palette.
Utterly contemporary, completely rooted in hip hop's old skool aesthetics and with a magpie naivety which gives him a freedom within them...
Kentaro enters your musical consciousness so that you can enter his. Come in…
R e l e a s e D a t a
Artist : Abdominal
Album : Escape From The Pigeon Hole
Genre : Hip-Hop
Label : Handcuts
Cat # :
Ripper : E. Gnore
Ripped : 2007-02-27
Store : 2007-00-00
Source : CD
Encoder : LAME v3.97 --vbr-new -V2
Grabber : EAC
S/Rate : 44.1 KHz
Bitrate : 144 kbps (average)
Mode : Joint Stereo
Playtime: 00h 50m 44s
Tracks : 14
T r a c k L i s t
1 1:20 The Escape
2 3:52 Breathe Later
3 4:00 T. Ode feat. Notes To Self
4 2:44 Radio Friendly
5 3:29 Pedal Pusher
6 2:29 Big Track
7 3:01 Abdominal Workout
8 5:28 Walk Left / Stand Right
9 5:05 Open Relationship
10 4:32 Sex With The Girls (Skip This One Mom)
11 4:10 Heaven's Demon
12 2:51 Girl Shit
13 3:35 Flyer Antics
14 4:08 Abdominal Workout (Speech Defect Remix)
R i p N o t e s
01, 13 - DJ Fase
02, 07, 11 - DJ Format
03 - Bronze
04 - Cut Chemist
05 - Young Einsten
06, 09 - Morgan Smietana
08 - Bird
10 - Circle Research
12 - Phat Tony
14 - DJ Prao-D and Mr. Linus of Speech Defect
if u like it buy it and show artists some love...
RZA PRESENTS AFRO SAMURAI THE SOUNDTRACK (KOCH, 2007) Rapidshare:
De La Soul De La Mixtape Rapidshare
Here's a new song from One Self Organically Grown EP
Here's an introduction to the basics of turntablism, or how to manipulate records or CDs and a crossfader in order to create music. This guide is not for absolute beginners.
Learn your music theory. Many DJs - even professional DJs - have no knowledge of music theory. Begin your education now. A turntablist is a percussionist, which means you need to have a good understanding of rhythm. You will be practicing scratching to music and then eventually making music using records. When you are scratching to a beat, you are scratching out a rhythm. If you have a complete understanding of rhythm, you can develop your skills to recreate these rhythms properly.
Learn about rhythm: most hip hop and dance music is in 4/4. That means for each bar of music there are 4 beats. Each beat can be subdivided in only a finite amount of ways. Count these out loud while you listen to music. Each beat will be place between [brackets]:
   
[1 and] [2 and] [3 and] [4 and]
[1 trip let] [2 trip let] [3 trip let] [4 trip let]
[1 e and a] [2 e and a] [3 e and a] [4 e and a]
[i trip let and trip let] [2 trip let and trip let] [3 trip let and trip let] [ 4 trip let and trip let]
These are quarter notes, 8th notes, 8th note triplets, 16th notes, and 16th note triplets, respectively. Learn how to count these to the beats of songs you already like. You will have to increase the speed of your counting as you progress. Remember that triplets are just playing 3 notes in the time it usually takes to play two. Once you have mastered these subdivisions you will have to throw in rests to really have an understanding of the complexities of rhythym. Just remember that there are a finite way in which each beat can be subdivided. A good way to introduce youself to beats is to play the snare drum. You can go to the Vic Firth website listed below to get a feel for how each of these subdivsions and how the subdivisions that include rests, that were not written out here, sound. Once you can sing these rhythms or at least some of them out loud, you can start using these as a foundation for the scratches you develop.
Find a mixer that has a curve adjustment. This means that the crossfader does not have to be exactly in the middle before the sound is fully crossed over into the new channel. You dont absolutely have to have one of these mixers, but they make mixing a lot easier later on when you start doing advanced techniques.
Find a slipmat to put between the turntable's table and the record. This allows the record to spin freely. (Most turntables come with a rubber disc that keeps the record in place and you don't want it.) You want to be able to put a finger or your hand on the record and stop the record from moving without stopping the whole platter from moving. If you have a cheaper set of turntables you may need to cut additional pieces of plastic, wax or parchment paper (plastic carrier bags from the supermarket works really well) in circles that fit under the slipmat in order to reduce the fricion enough so that the platter does not stop when the record is stopped. You can buy a product called "majic carpets" that will help reduce friction. If you want to use your own slipmats or have a problem with stoppage or you can pick up a product called "butter rugs" and just use those as your permanent slipmat. You may still need to reduce the friction further but it depends on your taste and equipment.
Pick up some scratch records. You can use a cappella records or records that you already have and try and find a sample to use, but most DJs normally end up picking up a few scratch records to use in practice and battles. Most scratch records have a series of samples and then a beat and then some more samples and a different beat and so on. Dont just buy any record you find online, it's best to listen to the records to make sure they have something on it that is usable in your practice/performance. There are records that are unskippable which basically means that they repeat the samples in a way that if your needle skips (as it will) you will remain on the sounds you are trying to use. If you don't have an unskippable record, then try and wear in the record a little by finding the samples that you like and then pushing the record back and forth to get the needle and the groove groovin, baby.
Find a sample or sound on your record to practice scratching on. Longer sounds are the best.
Put the needle on the record and let it play until right before the sound.
Take a marker or sticker and put it somewhere on the record so you will have a visual cue to where the sample starts. It does not have to be on the vinyl itself. You can put it on the paper and when you get better you can worry about marking up your records with stickers that actually go on the vinyl itself in order to allow you to just place the needle on the paper and have the sounds cued up.
Start with no fader movement; just the hand on the record. When doing these scratches, first do them to a slower beat and then get faster and faster as you go along. When you are able to do them at a good speed, try and vary the rythyms by throwing in rests to the beats you develop.
Allow the sample to play at normal speed forward.
Stop the record with your hand or finger after the sound finishes playing and then slowly bring the record backwards at close to the same speed as it played forward. Pretend that you just hit reverse on your turntable and try to mimic the sound it would make.
Put on another song and do this to the beat.
Keep your hand on the record and slowly push the record forward; do it backward at the same speed. Then do this to the music.
Push the record forward over the sample instead of allowing the sound to play at regular speed or slowing it down. You will get a high pitched sound. Do the same for the reverse, pull it back at a similar speed. Then, do this to music. This is known as the baby scratch.
Rent/buy qbert's Do It Yourself Skratching Volumes 1 and 2
Rent/buy DJ Shortee's DJ 101 and DJ 102
Search for DJ performances on the internet
Go to the DMC website and see past winners of the yearly competition for the best DJs.
Protect your ears so you don't go deaf later on.
Don't use drugs or drink.
Protect your ears! Wear earphones or earplugs if you have to play with the volume turned up.