Bad Boy Mixtape (ACTUAL TAPE) circa 1996
01. Puff Daddy - Stop Yappin Intro
02. Gina Thompson - The Things That You Do (Remix)
03. The Lox - Freestyle
04. Akinyele - Put It In Your Mouth
05. Nas - If I Ruled The World
06. Shai ft. Jay-Z - Stay With Me (Remix)
07. Jay-Z - Cant Knock the Hustle
08. Monifah ft. McGruff - Only U RMX
09. 112 ft. Mr. Cheeks - Come See Me (Remix)
10. De La Soul - Itsoweezee
11. Biz Markie - Studda Step
12. Heltah Skeltah - Therapy
13. Notorious BIG - Freestyle
14. DMX ft. the LOX & Mase - Niggaz Done Started Somethin
15. Black Rob - Freestyle
16. 112 ft. Notorious BIG & Mase - Only U RMX
17. Wu-Tang - Semi-Automatic Full Rap Metal Jacket
18. Jay-Z ft. Notorious BIG - Brooklyn’s Finest
Friday, August 15, 2008
Wednesday, May 28, 2008
May 2008 Reviews
Dizzee Rascal
Maths + English
By Tara Muldoon
Dizzee Rascal is letting go of all his inhibitions and speaking his mind on Maths & English. With a clever title — representing the least favourite but most essential school subjects — his wrath is felt as he speaks on the music industry, record labels and life in general. “Hard Back” represents this completely. “Da Feeling” is a sexy summer song in waiting and is a much-needed track on this album, but “Suk My Sik” is ridiculous. Luckily for Rascal, his sound is so unique and alluring that content won’t matter as much as how the bass sounds in your car. The highlight of the album is the weirdest/best collaboration “Where’s Da G’s,” with UGK. If you’re already a Rascal fan, pick this album up because he’s sounding stronger than ever. If you’re not already a fan, pick it up so you know what you’re missing. (XL)
Black Milk / Fat Ray
The Set-Up
By Tara Muldoon
Black Milk was 2007’s hip-hop darling and the media praised the producer/MC. Now in 2008, he has again delivered a standout product to those same open arms. The Set Up is Black Milk’s production and flow combined with Fat Ray’s baritone, representing Detroit’s legacy to the fullest. Don’t mistake the high quality of the production for a well-rounded album though — the lyricism falls flat in almost every song — but if you’re looking for something to kick back and enjoy, The Set Up has that sound. The best track is “Flawless,” with every other song also making that “best track” list. “Bad Man” featuring Guilty Simpson is crazy and the listener must resist the temptation to press repeat to move to the next track. One can only hope this is the Setup for even better projects. (MuSick)
Maths + English
By Tara Muldoon
Dizzee Rascal is letting go of all his inhibitions and speaking his mind on Maths & English. With a clever title — representing the least favourite but most essential school subjects — his wrath is felt as he speaks on the music industry, record labels and life in general. “Hard Back” represents this completely. “Da Feeling” is a sexy summer song in waiting and is a much-needed track on this album, but “Suk My Sik” is ridiculous. Luckily for Rascal, his sound is so unique and alluring that content won’t matter as much as how the bass sounds in your car. The highlight of the album is the weirdest/best collaboration “Where’s Da G’s,” with UGK. If you’re already a Rascal fan, pick this album up because he’s sounding stronger than ever. If you’re not already a fan, pick it up so you know what you’re missing. (XL)
Black Milk / Fat Ray
The Set-Up
By Tara Muldoon
Black Milk was 2007’s hip-hop darling and the media praised the producer/MC. Now in 2008, he has again delivered a standout product to those same open arms. The Set Up is Black Milk’s production and flow combined with Fat Ray’s baritone, representing Detroit’s legacy to the fullest. Don’t mistake the high quality of the production for a well-rounded album though — the lyricism falls flat in almost every song — but if you’re looking for something to kick back and enjoy, The Set Up has that sound. The best track is “Flawless,” with every other song also making that “best track” list. “Bad Man” featuring Guilty Simpson is crazy and the listener must resist the temptation to press repeat to move to the next track. One can only hope this is the Setup for even better projects. (MuSick)
Tuesday, March 25, 2008
Reviews March 2008
DJ ENVY & RED CAFE: THE CO-OP
DJ Envy and Red Cafe both needed to be relevant in the press for their solo projects- and this collaboration album was the product geared to create a buzz. The lead single “Dolla Bill”, featuring Jermaine Dupri and Fabolous, was an underground success but didn't catch on to a mainstream audience, probably because it gets redundant after the first listen. The follow up single with Nina Sky “The Things You Do” was the standout track on the album and showed a mesh of chemistry between all artists. Every song on the album followed a formula of simple beat and generic lyrics (“life is so good, I could bottle this stuff”). Ironic that DJ Envy yells over every song what a listener thinks about this album; “What else!?”
Hi-Tek- Hi-Teknology 3: The Underground
Hi-Tek had a well-received album in late 2006 called “Hi-Teknology Volume 2: The Chip”. Highly rated, and still buzzing, he opted to release a follow up, “Hi-Teknology 3: The Underground” within a year. Unfortunately for the superproducer, strength isn't in numbers. A wide array of hip-hop artists were featured over his captivating production and the content selection for The Underground is varied and impressive, but the chemistry is lackluster for the majority of the album. While it should be noted that while he used this album to put on his local home-town artists, none of them shine. Stellar exceptions: My Piano featuring Raekwon and Ghostface, Time featuring Talib Kweli and You Give Life To Me.
DJ Envy and Red Cafe both needed to be relevant in the press for their solo projects- and this collaboration album was the product geared to create a buzz. The lead single “Dolla Bill”, featuring Jermaine Dupri and Fabolous, was an underground success but didn't catch on to a mainstream audience, probably because it gets redundant after the first listen. The follow up single with Nina Sky “The Things You Do” was the standout track on the album and showed a mesh of chemistry between all artists. Every song on the album followed a formula of simple beat and generic lyrics (“life is so good, I could bottle this stuff”). Ironic that DJ Envy yells over every song what a listener thinks about this album; “What else!?”
Hi-Tek- Hi-Teknology 3: The Underground
Hi-Tek had a well-received album in late 2006 called “Hi-Teknology Volume 2: The Chip”. Highly rated, and still buzzing, he opted to release a follow up, “Hi-Teknology 3: The Underground” within a year. Unfortunately for the superproducer, strength isn't in numbers. A wide array of hip-hop artists were featured over his captivating production and the content selection for The Underground is varied and impressive, but the chemistry is lackluster for the majority of the album. While it should be noted that while he used this album to put on his local home-town artists, none of them shine. Stellar exceptions: My Piano featuring Raekwon and Ghostface, Time featuring Talib Kweli and You Give Life To Me.
Tuesday, August 7, 2007
Interview with Imperial (HipHopCanada.com) August 07 2007
Tara: Let's get right into it, Imperial. You're the President of Tilt Rock Records; how important is having your business on-point in this industry?
Imperial: At the end of the day, it’s all about business because I have to pay my bills and eat. You can be the greatest artist and if your business ain’t right, you’ll still have no money. You can have the top selling track and still be broke; you’ll get stomped on with these guys with no talent that’ll consume you. You as an artist better have your business tight. Speaking for myself, because I know my worth, I know the struggle I’ve put in. For example, I feel like it is very important to get paid for a show. We (Point Blank) deserve to get paid to do a show. If the promoter doesn’t recognize the level I’m on, it’s his problem. It’s not just about the money, it’s a business. They keep talking about exposure, but I’ve had the number one video on RapCity. We’ve done it ourselves, we can do it ourselves. Bring something new to do the table with leverage. You’re not doing something that the next big promoter can’t do, get your business right.
Tara: Break it down for us, how should local artists be taken care of by promoters?
Imperial: Don’t tell me you’re going to get a lot of exposure doing a show, putting us on with a headliner and promises but no budget. Don’t do that then have us pay money for the show CD, mix and master CD, rehearsal space and then rent our limo to get to the show and back. All of these are big expenses, and at the end of the day, for whatever reason, the promoter doesn’t have his business right and the show flops. The show doesn’t happen due to whatever reason, and when I call the promoter, you’re trying to dodge me. The promoters want to be a star like the artist. You know you fucked up and don’t have an answer. It’s not about that though, it’s about moving on. I’m not coming at you for the past; let’s talk about making money so these things don’t happen again.
Tara: As the youngest associate of Tilt Rock, was taking a leadership role a natural progression for you?
Imperial: I’m my own leader and that’s what it is. It’s not that I lead anyone else, I’m my own boss. I stand on my own two feet, been on my own grind. When you decide what you want to do for yourself, you take it upon yourself to do it. Within Tilt Rock Records, it was a natural fit to become President because everyone else involved in the label had commitments in their personal lives.
Tara: Who is Imperial as an artist?
Imperial: In my lyrics, I’ve been always keeping it real grimy. If you listen to my lyrics, that’s what it is; but I have to show that you can grind but you have to enjoy yourself. The payoff for the grind, what you get from grinding so hard, is good. You get back what you put in. I put in a lot of grind, so obviously in my lyrics you’re going to hear me talk about some baller shit. First though, put in the ground work. I love to be creative, I love to be musical. As an artist, I have no boundaries. Straight up, none. As an artist, I am willing to explore a lot of different things that most might look at like I’m fucking crazy. You can hear me from grimy to rock shit. That’s how I can flip it, I’m versatile. I like to see different things and visual shit, so I talk about those experiences in my lyrics. I’m like a mad scientist; I’ll take a little bit and mix it all together.
Tara: Drop us a hint on your solo release content.
Imperial: Oh shit, fire! Some unexpected shit. My album is going to be crazy; I’m going around the whole fucking world and recording it. Not letting’ anything out right now, but it’s going to be real big! If you’re an A&R, you can holler and get an exclusive listen.
Tara: How important is it to use your position for social change?
Imperial: Right now, I’m in a position that needs social change. I don’t look at myself as someone in a position of power, I’m just me. I don’t have the power to make massive social change but I can reach out to a small market of people that will make people aware. I don’t have political connections or big money to do social campaigns but it is important to me, because I’ve run through the entire system from a youth to an adult. One of the facilities I stayed in was great because it was run by black people; run by black people for black kids and it was the only place I was still getting oxtail and fritters. I’d love to be able to do something like that for the future; when it’s strong enough. Of course I have these dreams. Let me sell these million albums first, and then do the rest. I want people to know that I’ve been through it all, but prevention is better than cure. If you can make someone aware of their consequence before their actions, it may be a solution. At the end of the day, for me to make all these changes, I am still that person at risk. You can’t ask me how I’m going to give back when I am that person that needs that help. I can suggest how you, as someone who as made it, can help us.
Imperial: At the end of the day, it’s all about business because I have to pay my bills and eat. You can be the greatest artist and if your business ain’t right, you’ll still have no money. You can have the top selling track and still be broke; you’ll get stomped on with these guys with no talent that’ll consume you. You as an artist better have your business tight. Speaking for myself, because I know my worth, I know the struggle I’ve put in. For example, I feel like it is very important to get paid for a show. We (Point Blank) deserve to get paid to do a show. If the promoter doesn’t recognize the level I’m on, it’s his problem. It’s not just about the money, it’s a business. They keep talking about exposure, but I’ve had the number one video on RapCity. We’ve done it ourselves, we can do it ourselves. Bring something new to do the table with leverage. You’re not doing something that the next big promoter can’t do, get your business right.
Tara: Break it down for us, how should local artists be taken care of by promoters?
Imperial: Don’t tell me you’re going to get a lot of exposure doing a show, putting us on with a headliner and promises but no budget. Don’t do that then have us pay money for the show CD, mix and master CD, rehearsal space and then rent our limo to get to the show and back. All of these are big expenses, and at the end of the day, for whatever reason, the promoter doesn’t have his business right and the show flops. The show doesn’t happen due to whatever reason, and when I call the promoter, you’re trying to dodge me. The promoters want to be a star like the artist. You know you fucked up and don’t have an answer. It’s not about that though, it’s about moving on. I’m not coming at you for the past; let’s talk about making money so these things don’t happen again.
Tara: As the youngest associate of Tilt Rock, was taking a leadership role a natural progression for you?
Imperial: I’m my own leader and that’s what it is. It’s not that I lead anyone else, I’m my own boss. I stand on my own two feet, been on my own grind. When you decide what you want to do for yourself, you take it upon yourself to do it. Within Tilt Rock Records, it was a natural fit to become President because everyone else involved in the label had commitments in their personal lives.
Tara: Who is Imperial as an artist?
Imperial: In my lyrics, I’ve been always keeping it real grimy. If you listen to my lyrics, that’s what it is; but I have to show that you can grind but you have to enjoy yourself. The payoff for the grind, what you get from grinding so hard, is good. You get back what you put in. I put in a lot of grind, so obviously in my lyrics you’re going to hear me talk about some baller shit. First though, put in the ground work. I love to be creative, I love to be musical. As an artist, I have no boundaries. Straight up, none. As an artist, I am willing to explore a lot of different things that most might look at like I’m fucking crazy. You can hear me from grimy to rock shit. That’s how I can flip it, I’m versatile. I like to see different things and visual shit, so I talk about those experiences in my lyrics. I’m like a mad scientist; I’ll take a little bit and mix it all together.
Tara: Drop us a hint on your solo release content.
Imperial: Oh shit, fire! Some unexpected shit. My album is going to be crazy; I’m going around the whole fucking world and recording it. Not letting’ anything out right now, but it’s going to be real big! If you’re an A&R, you can holler and get an exclusive listen.
Tara: How important is it to use your position for social change?
Imperial: Right now, I’m in a position that needs social change. I don’t look at myself as someone in a position of power, I’m just me. I don’t have the power to make massive social change but I can reach out to a small market of people that will make people aware. I don’t have political connections or big money to do social campaigns but it is important to me, because I’ve run through the entire system from a youth to an adult. One of the facilities I stayed in was great because it was run by black people; run by black people for black kids and it was the only place I was still getting oxtail and fritters. I’d love to be able to do something like that for the future; when it’s strong enough. Of course I have these dreams. Let me sell these million albums first, and then do the rest. I want people to know that I’ve been through it all, but prevention is better than cure. If you can make someone aware of their consequence before their actions, it may be a solution. At the end of the day, for me to make all these changes, I am still that person at risk. You can’t ask me how I’m going to give back when I am that person that needs that help. I can suggest how you, as someone who as made it, can help us.
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