lunes, marzo 19, 2007

             ::: 10º Below meets 40 B-Low :::

Track List:
01. Keep on
02. Bang your head
03. Poverty blues
04. Hey hottie
05. Who's humpin
06. Midnight thief
07. I got em open
08. I gotcha
09. Ace of spade
10. Not havin it

  • Track List:
    01. 40 B-Low's in da House
    02. Roll Em up/Roll Em Down
    03. Get up and Hop
    04. Splash Jam
    05. Country Bass
    06. Shake It Down to the Bone
    07. Radio Bass
    08. Jimmy Hats
    09. Ride 'Em to the Ground
    10. "Horoscope" Slow Jam
    11. T-Drop Bass (High Voltage)
    12. Prayer - 40-B-Low

    domingo, marzo 11, 2007

                  ::::: RED HOT LOVER TONE :::::

    Samuel Barnes aka Red Hot Lover Tone appears in the game on 1992 with Select Records Label and his first releases "Red Hot Lover Lover Tone" wich was a bomb even when he was a uknown and new artist...except for a guest appearance on MC Serch's "Back to the Grill". This album consists of songs about sex, sex and more sex. It would even make Akinyele's ears bleed. Throughout the album....the topic of sex is well covered including how many women Tone has been with, different positions, ways to convince a woman to jump into the sack and everything in between. Listening to the lyrics, one cant help but to find a lot of humor in Tone's lyrics and what's probably even funnier is the fact that I think he meant for it to be that way.

    This Second Album from Tone was in 1995 with "# 1 Player" wich is full of clever rhymes that often incorporate the names of other rap stars and celebrities. In my opinion this album is much better than his debut job, although he keeps talkin' only about women the way he talks about them change a little, I say that the only criticism I have is that "BMW" and "In Tha Game" have deplorable rhymes against women. "#1 Player" itself works fine as a Mack song without slamming the ladies, and "Take Your Time" has clever rhymes about a certain girl that are almost praising. The songs all have phat drum tracks and simple bass lines, often overlaid with jazzy horns or keyboards. There are also guests aplenty, with Notorious BIG, MOP, Big Daddy Kane, Greg Nice, Don Barron, and Organized Confusion on various tracks. In the end, I pull this one off the shelf fairly often, whereas all my other rap CDs often go for a year without me giving them a listen. Any fan of mid-90s hip hop will love this album .

    lunes, marzo 05, 2007

                     ::::: The Almighty RSO :::::

    Hailing from Boston, the mid-'90s rap group the Almighty RSO (which stands for "Rock Solid Organization") is comprised of Deff Jeff, E-Devious, Tony Rhome, and Ray Dog. The group was known mainly for their anti-police song "One In The Chamba" from the "Doomsday: Forever RSO" album released through "Tommy Boy Records". The single and album were considered controversial for the tone of the rap group and the open encouragement of murdering law enforcement. In 1994 The Boston Police and the Fraternal Order of Police union had placed the group on high priority at the time forcing RSO to be dropped from the label.
    Anyway,they delivered their full-length debut, Doomsday: Forever RSO, in the fall of 1996 through "Tommy Boy Records", that balances wit and social commentary with excellent party jams, like the Faith Evans duet "You Could Be My Boo." While the album runs a little too long and is bogged down by a few too many pedestrian rhythm tracks, the group has terrific rhyming skills and at their very best, they demonstrate how hardcore rap can move beyond its gangsta origins
    Track Title:
    1. Doomsday Intro [00:38]
    2. Forever Rso [04:38]
    3. The War's On [04:23]
    4. Thought You Knew [04:24]
    5. Gotta To Be A Better Way [03:55]
    6. Summer Knights [04:06]
    7. Sanity [04:16]
    8. You'll Never Know [04:32]
    9. You Could Be My Boo [04:47]
    10. Mix Of Action [04:31]
    11. Keep Alive [04:11]
    12. Illicit Activity [05:15]
    13. Killin' 'Em [03:35]
    14. One In The Chamba [04:28]
    15. Quarter Past Nine [04:32]
    16. We'll Remember You [03:42]
  • sábado, marzo 03, 2007

                ::::: Andre Levins aka. A+ :::::

    Andre Levins (born August 29, 1982 in Hempstead, New York) is an American rapper, also known as A+.His career began in 1995, when he won a national competition sponsored by Def Jam Records. He was discovered by Kedar Massenburg and was the first artist signed to his label, Kedar Entertainment. In 1996, at the age of 13, A+ released his first album, The Latch-Key Child. In 1999 he released Hempstead High. The Latch Key Child widely regarded as his best albumHe scored his biggest hit in 1999, with "Enjoy Yourself" (which used samples from "A Fifth of Beethoven" by Walter Murphy which in turn sampled Beethoven's Fifth Symphony), which became an international success.
    In 1996, 13-year-old A+ took the hip hop world by storm with this great debut, "The Latch-Key Child." The Hempstead, Long Island native had barely entered his teenage years but commanded great respect on the mic, displaying a hard, intelligent style fitting of the grimy New York underground scene. A+ asserts himself lyrically, and he also tells stories, speaks of his growing up, and makes a few catchier tracks aimed for the mainstream. You will not believe that this great rapper is only 13, he is so intelligent and hardened, and he is not constrained by profanities. While there are no big-name producers, the production is consistently outstanding, always matching his lyricism. There are a few club/party songs, each produced very well, but the rest of the songs have a very grimy, underground sound to them. A+ is also aided by an awesome crew of guest rappers, including Q-Tip, Prodigy, and AZ, three of NYC's best. "The Latch-Key Child" is a really awesome album and another that is shamefully slept-on and overlooked

    A+ exhibited enough potential on his debut album Latch Key Kid for many to consider him as being one of hip-hop's most promising future lyrical assassins. After all you do not hear many 14-year-old shorties rocking the mic as profusely as he did on his debut. However after a two-year layoff in between LP's, A+ has moved on to more adult topic matter and seems eager to present himself as hip-hop's version of Usher. But not only has A+ lost his innocence, he has also lost any sense of originality. One of A+'s major drawbacks is he tends to mimic the flow of whomever he is teamed up with, whether it be Canibus, or Psycho Drama. He waters down this recording with blatant crossover reaches like "Don't Make Me Wait" and "Price of Fame." "What Da Deal" f/ Cardan is especially disheartening, as both MCs trade woeful verses and Cardan sounds like a carbon copy of Mase or Cam'ron. The few gems on this album stick out like a sore thumb, since they're few and far between. A+ brings guaranteed action with cuts like the heavily mix-tape circulated "Boy II Men" featuring Lost Boyz & Canibus, and a surprisingly tight collaboration "Watcha Weigh Me" featuring MJG. When A+ sticks to simple, yet effective beats and rhymes, he reaps the benefits, as on "Parkside Garden." A+ desperately needs to find his own unique identity and style. "Hempstead High" is aptly titled as it is a high schoolish effort at best; hopefully, with his next LP A+ will mature mentally, instead of physically, and come into his own.

    A+ - Hempstead High [1999]