.::Eric B. & Rakim [all Stuff]::.

OH SHIT!!!, this is unreal!!!!,... Aqui les traigo la coleccion completa de Eric B & Rakim, este dueto comprendido respectivamente por un excelente DJ producer Eric Barrier a.k.a Eric B from Queens New York ,y por uno de los mas grandes MC's of all time, (en mi opinion the best!!) William Michael Griffin Jr. a.k.a Rakim a.k.a. Rakim Allah,...
En 1985 Rakim a la edad de 16 años (edad en la que se profundizo en el Islam) conocio a Eric B; ya en 1986 lanzaron su primer single "Eric B. Is Presidente", gracias a esto ambos se convirtieron en una sensacion en la comunidad del hiphop, y sus reputaciones irian creciendo aun mas con los sgtes. track "I Ain't No Joke" y "Paid In Full".
Sus 2 primeros albumes "Paid in Full" (1987) y "Follow the Leader"(1988), son aun reconocidos como los de los mas grandes clasicos del hiphop de todos los tiempos. Rakim continuo trabajando en lo suyo sabiendo que cada paso que hacia fortaleceria su nominacion de MC en la escena del hiphop, despues de haber creado un nuevo stilo de rapear mas fluido y lyricamente exquisito, el estilo de hacer rap de la East Coast mantendria una reputacion como centro innovador de la technica lyrica.
En 1992, el dueto se desintegro puesto que ambos querian grabar albumes por separado,... pero ninguno de ellos lo hizo por problemas legales con su Record label.


En 1987 Eric B (Eric Barrier,DJ) & Rakim (William Griffin ,Lyricist) lanzaron su primer album debut "Paid in Full" un album que hasta el dia de hoy es considerado un clasico del hiphop por muchos. Este Album debut, basicamente es una coleccion de sus primeros singles "Eric B Is president", "I know You Got Soul" ; es the Motherlode of the late-'80s New York Rap; seguro, serio y muy influyente. Rakim un rapero de raperos, es el Lord, the God, the Prophet, The Chow Yun-Fat del hip-hop... fresco como el acero, absolutamente tranquilo, absolutamente aniquilante.Su ingenio verbal y su don rítmico van de la mano. El flow de Rakim fluye como una cascada, jugando junto con los beats, pasando de una frase ingeniosa y sabia una a otra, dejando a sus palabras hacer todo el trabajo.
Y Eric B?... este trae unas directas but effective backing tracks, hace lo suyo con algunos Skratches en los instrumentales, y hace espacio para que Rakim The Master haga lo suyo.

Eric B. & Rakim - Paid In Full [1987]

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Luego de "Paid in Full" en su casi perfecto debut en 1987, el exito no estropeo al legendario duo Eric B. & Rakim en su segundo lanzamiento en 1988. Un album mas completo que sus anteriores singles-dominated release, "Follow The Leader" aun se mantiene como uno de los definitive documents of hip-hop's fabled golden age. Aunque Eric B. contribuye con una gran produccion y hace dos turntablist blueprints ("Eric B. Never Scared" y "Just a Beat"), este album fue claramente el turno de Rakim para brillar. Su flow suave y baritono nunca descansa, aun cuando la energia del album disminuye en la segunda mitad. Los versos de Rakim en los tres primeros tracks ("Follow the Leader," "Microphone Fiend," y "Lyrics of Fury") son material de leyenda del hip-hop. Este album "Follow The leader" persige tambien la perfeccion que todo excelente album pudo consegir en ese entonces. Cuando este album salio en los 80s, produjo tal sensacion que fue considerado a mainstream realease, ocupo la misma posicion cultural que los wack commercial rappers hacen ahora. Creo que hay una gran contoversia y diferencia con el rap que mirabamos o escuchabamos en los Yo! MTV Raps con los FM radio station de ahora. Creo que es hora de hacer una seria y so deep refleccion del decline cultural del hip-hop de nowadays. Anyway... Straight up, New York Hip-Hop classic!.

Eric B. & Rakim - Follow The Leader [1988]

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"Let The Rhythm Hit 'Em" es (en mi opinion) el mejor album de Eric B. & Rakim y uno de los mejores albums alguna vez hecho. Mientras Paid In Full & Follow The Leader tienen a los tracks mas populares de este duo legendario, creo que ningun album es so great en todos los sentidos como este album. Rakim rapea con mas flow y mas amenazante esta vez haciendo de este album con mucho mas vigor. Rakim is at his best cuando lanza sus lyrics a una velocidad sorprendente en el track, "Untouchables", y claro como olvidar su tremendo flow en este inigualable track, "No Omega." Aun en este album hay muchos mas tracks solidos y de excelente calidad tanto en los beats por Eric y por el lado de Rakim con su endemoniado flow y sus geniales lyrics como en "In The Ghetto", "Step Back", y "Mahogany" . La produccion y the whole trabajo hecho por Eric B en este album es de los mejores hechos alguna vez, particularmente en "Eric B. Made My Day" y "Keep 'Em Eager to Listen." El album termina con el 12-inch remix del titulo del album la cual puede ser aun mucho mejor que la original. Todos los albums anteriores a este como "Paid in Full" y "Follow The Leader" son excelentes albums y clasicos sin duda alguna, pero este "Let The Rhythm Hit 'Em" creo que por credito a ser la mejor produccion de Eric B. hecho en todos sus albums y Rakim por estar en este album en su mejor momento y con un flow como nunca antes lo escuchastes y sus lyrics aniquiladores, en mi opinion como les dije antes... es el mejor album de Eric B. and Rakim, pero igual les dejo a su antojo y gusto su eleccion, todos los anteriores albumes de Rakim y hasta el que le sigio a este fue exquisitamente grandioso.

Eric B. & Rakim - Let The Rhythm Hit 'Em [1990]

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"Dont Sweat The Technique" seria el ultimo album lanzado juntos por un escelente DJ y productor at the same time, Eric B., y mi favorito y sin lugar a dudas el mas grande MC de todos los tiempos, Rakim. Este album ("Dont Sweat The Technique") salio en 1992, dos años despues de su anterior album classico "Let the Rhythm Hit 'Em", y un año despues del no oficial termino de la era de oro "The Golden Era" del hip-hop. Este album no es tan mensionado como sus otros tres anteriores albumes, pero es sin lugar a dudas tambien un clasico principalmente porque traen algunas nuevas propuestas al stilo del hip-hop.
Lo que le hace a este album tan llamativo e interesante, son los comentarios sociales, cosa que hasta entonce sno habia hecho en su totalidad. Rakim se luce con su smooth voz y su gran flow, algunos ritmos sorprendentes como si estuviera en un battle, y algunas referencias al Islam. Pero una vez que "Ra" empieza a hablar y comentar sobre dorgas, violencia callejera, y como los ghettos son tratados por todos los gobiernos; es como si un hermano mayor o el amo empezara a hablarle a su gente, al estado y a todos los gobiernos, es como si "Ra" tuviera el poder cada vez que dice lo que tiene que decir sobre los problemas de a diario. Los temas para escuchar a "Ra" una y otra vez son "Teach The Children" y "What's Going On", ambos tracks tienen excelentes beats.

En este album tenemos un track muy popular que sirvio como "SoundTrack" principal para la sensacional pelicula "The Juice"; en este track "Ra" se luce espectacularmente con un flow super-enedemoniado, con rimas que dejan la boca abierta; y claro que podemos decir del beat por Eric, si es el complemento perfecto para las rimas, y el flow de "Ra".En definitiva, uno tiene que agregar este album a la coleccion de Eric B. & Rakim y a todos sus albumes de hiphop, "Ra" expande sus limites de capacidad lyrica en este album "Dont Sweat The Technique". Aunque KRS-One y Public Enemy han pasado gran cantidad de su carrera haciendo comentarios sociales, en mi opinion creo que aqui Rakim hace una de las grandes intervenciones en el mundo del hiphop con sus comentarios sociales, lo unico que uno puede hacer escuchando a Rakim, es solamente dejar que su flow fluya y prestar atencion a lo que el esta diciendo.
Este es el cuarto album lanzado por este genial y legendario duo, y a la misma vez es su cuarto album CLASICO, que mas se puede decir acerca de EL MEJOR y MAS INFLUYENTE duo que la historia del hiphop fue testigo?

Eric B. & Rakim - Don't Sweat The Technique [1992]

.::: MADE IN PERU!!!... Immortal Technique :::.

Despues de un buen tiempo lejos del blogeo, y ante la inquietud mia para saber cual seria mi 1er post, me decidi por subir al blog a un gran MC y compatriota mio; claro, estoy hablando de Felipe Coronel a.k.a. Immortal Technique, claro él mismo, el del lyriqueo fuerte, directo y revolucionario!. Ante todo debo decir que tengo un gran respeto a Immortal, no solo por ser considerado el mejor rapper latino de todos los tiempos (The greatest latin rapper of all time), sino que comparte una ideologia revolucionaria que SE! que no es solo suya, sino de muchas personas que quieren un mundo mejor, no utopico lejos de los grandes empresarios, donde el trabajador y los mas pobres reciban un trato justo y digno como se merece. En fin tocar temas como estos merecen un largo tratoi y estoy aqui para hablar de hiphop!.
Ademas de todo esto, lo que me incentivo a subir al blog a Immortal fue como darle un homenaje por el realce que da al verdadero rap latino y sobre todo al hiphop peruano!, Cabe resaltar ademas que Immortal estuvo en Peru de una manera sorpresiva; y "rapealo" (la pagina oficial del hiphop peruano http://www.rapealo.com/) tuvo una entrevista exclusiva con el Immortal,... he aqui la entrevista

...Aqui un poco de su biografia

Biografia

Felipe Coronel a.k.a. Immortal Technique; rapper y activista politico, nacio el 19 de febrero de 1978. Nacio en Lima-Peru por sus primeros años, antes que su familia se mudase a EEUU para escapar de la guerra civil y la inflacion que se habia hecho comun en los paises de Sudamerica a comienzos de los 80'. Despues de emigrar de New York, se mudo a Harlem y fue al colegio "Hunter High School". Aunque nunca fue conocido como un gangster, la gente lo recuerda mas como un vandalo grafiteo con un temperamento violento con el que atacaba fisicamente a los demas. Asistio a la Universidad de Pensilvania aunque nunca lo termino por tener cargos de multiples asaltos. Luego de estar en prision, estudio religion, historia, politica y empezo a escribir canciones. En 1999 participo en su 1er freestyle en una competicion en Ney York y en 2001 lanzo su primer album "Revolutionary Vo.1". En este album abundo los tracks con razonez politicas lo que le llevo a varias controversias y aclamaciones a la misma vez, el track "Dance with the devil" se convirtio en su 1er gran clasico y su track referente y mas conocido. Luego en 2004 lanzo su 2da y mas aplaudida produccion "Revolutionary Vol.2", en el cual sobresalio el track "Industrial Revolution" bajo Viper Records. Ademas canto un single "This Revolution" con leyendas del hiphop como Chuck D de Public Enemy y KRS-One. En ambos Albumes, la mayoria de sus tracks estan dedicados a la justicia social, tocando varios temas como: la pobreza en EEUU y la desigualdad economica internacional (Especialmente en Latinocamerica), protesta en contra de Mumia Abu-Jamal ( quien critica la musica de Immortal Technique), al militarismo y la industria militar de los EEUU en favor del conservativismo y las corporaciones racistas.

Immortal Technique - Revolutionary Vol.1

Immortal Technique - Revolutionary Vol.2

.::: I'M FUCKIN' BAAAAACK!!! :::.

wusuuuuuuuup ma hommiez?!, ... hi verybody, a pesar del mucho tiempo que ha pasado... exactamente desde el 6 de abril q subi mi last post, de estado totalmente desaparecido del blogeo. Quiero dejar en claro, que nunca estuvo en mis planes de vida estar como estuve en todo este tiempo.

Tuve una pequqeña lesion en un campeonato de futbol organizado por las autoridades de mi localidad, pues bien!... una lucha por el balon, yo con la cabeza y el contricante con el pie en alto me fracturo el hombro por lo que me tuvo sin alcance a algunas cosas q solia hacer por mas de 2 meses y medio. En fin, todo paso muy rapido ese dia, nunca hubiese pensado que me sucederia eso, deje lo que mas solia hacer en esos tiempos que era blogear, y mostrar albumes de mi coleccion,... pero nada esta perdido

Desde ahora empezare nuevamente a subir albumes de mi coleccion que aunque no tuve tiempo de conseguir mas albumes, mi hermano se encargo de conseguirlas aunque no de subirlas a mi blog,.. Espero que despues de esta lesion que tuve, todo me vaya bien!.... AMO EL HIPHOP!, COMO, BEBO, Y RESPIRO HIPHOP , he regresado denuevo para ponerles y hacer mostrar al todos lo que es el REAL HIPHOP!...

Jemini The Gifted One - Scars And Pain EP [1995]
Before Jemini joined forces with producer Dangermouse to record Ghetto Pop Life (Lex, 2003), he was just another up and coming emcee reppin’ Homicide Central, East New York, Planet Brooklyn. Recognizing natural talent, the folks at Polygram/Mercury Records were wise enough to add him to their roster in 1995. They even took the step of pressing up a limited number of official-looking vinyl promo copies of his Scars and Pain EP, presumably to generate hype for an imminent long-player release. Although this EP boasts a full picture cover and heavy-duty tough work beats by Minnesota (“Brooklyn Kids”), Organized Konfusion (“Funk Soul Sensation”), and Buckwild (“Story Of My Life”), the LP was never-to-be. The project was inexplicably sabotaged and judging by this electrifying introduction to Jemini’s wonderfully schizophrenic self-presentation, we are all worse off as a result.
“Funk-Soul” sensation is a brainy party groove that showcases Jemini’s tandem personas, one a high-pitched and slightly nasal party rocker and the other a baritone corner cipher spitter. In the hands of another less clever emcee, the concept may have devolved into corny gimmickry, but Jemini’s old-school charisma and child-like enthusiasm is contagious. Jemini is very much a product of the mid-90s New York scene – nimble-tongued and long-winded even when throwing his A-level game at the honies on the simple and sultry “Batyflo” – and yet the EP is as eclectic as it gets. Although each beat is fairly distinctive and bangs hard, the EP remains both accessible and cohesive. The boom-bap breaks are in full effect, but in the cleaner drums and minimalist tracks one hears a subtle homage to pre-1987 production values, which complements Jemini’s impassioned park jam styles.
As its title suggests however, Scars and Pain is more concerned with exposing the miseries of ghetto life and securing moments of uplift and redemption than glossing over ills in joyous ignorance. “Story Of My Life” is a melodic, sometimes ecstatic, sometimes pained, ultimately optimistic song, reminiscent of Organized Konfusion’s “Maintain” or O.C.’s “Born 2 Live.” On this cut, Jemini employs the half-singing, half-flowing style that he later perfects on Ghetto Pop Life. On “Brooklyn Kids,” Jemini relates a soberly poignant depiction of poverty and crime in central Brooklyn’s blighted neighborhoods in a more straightforward but no less impassioned style. He wraps his reflective yet anguished verse around the pulsing, urgent track and forces you to feel the vibe in real time. This honest and emotive approach separates Jemini’s EP from the pack of poorly executed contrivances present in any era of rap – by the close of this short recording most listeners will recognize the art (and artfulness) of his two-faced exc

:.:.: Convicts :.:.:

Convicts - Convicts [1991]

Convicts is a 1991 album by the group of the same name. Convicts consists of Houston, Texas rappers: Big 'Money' Mike (before Geto Boys) and 3-2 (before Blac Monks) on the straight up gangsta and the south'n aspect of the rap game and the street. The album has been out of print for years and is highly sought after by fans. I'm setting this off real big with is said to be one of the holy grails of the my collection. Featuring sometimes Geto Boy Big Mike and Lord 3-2 (who was bounced around to and from various Rap-A-Lot projects over the years before releasing a solo album in ‘96), The Convicts are a concept group based mostly around being, well, convicts. From dealing with parole hearings, jail cell blues, to what to do with your broad when you get out (WHOOP HER ASS!). A couple tracks seem to lose sight of the concept, but that doesn’t detract from the quality (like the would be anthem “Fuck School” or “Peter Man“). Although it’s dope from top to bottom, I think the highlight of the album is “1-900-DIAL-A-CROOK“, where the Geto Boys show up to help the convicts give step by step advice on how to steal a car, get into the coke game and even kill Sadaam Hussein, each over a different beat change. Supposedly Dre had intended to lure The Convicts from RAL when he first started Death Row and you can definetly see this album as a precursor to the Chronic sound. Many people see this as the finest record the label released and I’m somewhat inclined to agree.

Anyway, if you reading this now and you like the screwed-up joints from Rap-A-Lot, hit them an' J. Prince up and ask about the Convicts screwed and chopped version and let's see if we can keep the true classics alive! OHHH, Rap-A-Lot did mess up with one release, but that was 'cause she could do a mean one for a contract!! You know what it is... One

::: 10º Below meets 40 B-Low :::

10º Below - Keep On [1993]

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

40 B-Low - In Da House [1994]

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

::::: 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.

Red Hot Lover Tone - Red Hot Lover Lover Tone [1992]

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 .

Red Hot Lover Tone - # 1 Player [1995]

::::: 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]

The Almighty RSO - Doomsday: Forever RSO [1996]

::::: 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.

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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+ - The Latch-Key Child [1996]

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]

::::: Channel Live :::::

The rap duo Channel Live (Hakim and Tuffy ) debuted in 1994 with the platinum single "Mad Izm," which they followed with the gold-status album Station Identification in 1995. That year also saw the release of singles such as "Sex for Sport" and "Reprogram," wich were definitely the highlights here, but the duo get in plenty of great raps on the album tracks as well. On their album debut Station Identification, cover social problems such as sex and violence over KRS-One's lean production grooves. As I said, the highlight of the album was the debut single "Mad Izm" sparked with a neck-snapping beat to fit the over 4 minute verbal assault discussing the ghetto's favorite pasttime. There are several other notables on this album including "Reprogram" featuring KRS-One(he shows up on several other tracks also), "Sex For The Sport" and "Down Goes The Devil". Production handled mostly by Salaam Remi among others. Channel Live's debut definitely shouldnt be overlooked and "Mad Izm" was a spring classic in 1994

Channel Live - Station Identification [1995]

::::: Some Shit From 93' :::::

Akinyele - Vagina Diner [1993]

First of all this is the ONLY album entirely produced by The Large Professor. So you know the beats are tighter than...(insert your favorite played-out meteaphor here). This is Ak's first album. His first apperance came on Main Source's "Live at the BBQ" along w/ Nas' debut. What a dope track. Anyway, before I heard this album I though Ak was the equivalent of a NY version of Luke...all about the b*tches. So I was more than surprised when I finally got my hands on this LP, and was attacked w/ crazy metaphors, an innovative rhyme style (those who know feel me) and no dirty tracks about gettin' some. There are tracks about women, "Bags Packed" and "I Luh Hur" are a few that deal w/ the deeper side of relationships. Mostly this album is full of Ak straight ripping sh*t over dope, dope Extra P beats.

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Society - Yes 'N Deed .EP [1993]

Most kids would know Luke Records to be home for the dirty mouthed crew, 2 Live Crew and the once anti semitic Professor Griff (Public Enemy) briefly, but Luke actually branched out into some concious(gulp) and decent underground Hip Hop fare, DJ Slice (The Miami one) laced this EP with pure flavour, as Yes N Deed smashes speakers with the booming 'Ode To Billy Joe" drums, Parkay samples a classic loop from the Wild Style soundtrack) and Rap Is An Art (uses a dope Gangstarr sample from Take It Personal and interesting enough a sample DJ Premier later used for You Know My Steez and What Is A Man uses a familiar loop and the classic Headhunters-God Made Me Funky drums.Society vanished after this dope EP but I guess you could say he came out at just the right time and left us with this great piece of music.

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Trendz Of Culture - Trendz [1993]

Trends is a trio consisting of MC's Nastee, M.O.L. and Grapevine. Each brings a different style and flavor to the album, which helps to keep their tracks from going stale. Each can definetly handle his b.i on the mic, and although they're no supreme lyricists, their rhymes are perfectly suited to the beats - and I'm a sucker for MC's who have fun with Hip-Hop. The album is self-produced and the result is ear-shattering. That's the best aspect of "Trendz," the hard '93 NY beats. As a (VERY) special bonus The Funkyman himself, Lord Finesse remixes tracks #6 "Off & On" and #11 "Valley of the Skinz (Bonus Mix)" with his trademark deep bass and dirty horns.FAR TOO MANY artists and crews have an AMAZING debut, then it's all downhill from there...only a select few can pull off 2 albums worthy of being pressed. So the more knowledgeable part of me is happy with this one GREAT album.

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Apache - Gangsta Bitch [1993]

The Newark new jersy style is evident in apache's album. As a memeber of the flavor unit and NAUGHTY BY NATURE family he represents the hardcore and the real life.His album was mad, he had some nice rhymes and his flow was tight. The album makes you laugh when you hear some of the sh#t he says. The tracks are nicely produced and have a naughty by nature sound to them. He also got it some sh#t with queen latifah which was funny as hell, and she made a reply track because she couldn't handle what he said. But anyway, if you are after some real hip hop, get this. Later!

::::: YO-YO ( Yolanda Whittaker ) :::::

Yolanda Whittaker (Born August 4, 1971) is a Grammy nominated American hardcore rapper known primarily among hip hop fans and music critics during the 1990s. Much of her music has advocated female empowerment, denouncing the frequent sexism found in rap music. Yo-Yo dubbed her rap crew the IBWC, which stood for the Intelligent Black Woman's Coalition.

Yo-Yo first appeared as a guest on Ice Cube's AmeriKKKa's Most Wanted album in 1990. Her critically acclaimed debut was 1991's Make Way for the Motherlode. The album's biggest single was You Can't Play With My Yo-Yo, which also featured Ice Cube.Her follow-up, 1992's Black Pearl was well-received by critics, due in part to its focus on positive messages and uplifting themes that contrasted the popular gangsta rap style. However, this did not translate into a hit with mainstream rap audiences, and the album's sales were considered a disappointment.

Yo-Yo - Make Way For The Motherlode [1991]

Less than a year later, Yo-Yo recorded and released a more commercial follow-up, 1993's You Better Ask Somebody. The album featured musical and lyrical styles more in line with the hip-hop climate of the era, including many references to guns and smoking marijuana. In an effort to distance herself from what some in the rap community saw as preaching positivity on her previous CD, Yo-Yo even dissed herself on the track They Shit Don't Stink by rapping, "I fell off, but now I'm back, cuz that Black Pearl shit was wack"The final track on the album was her third recorded hip-hop duet with Ice Cube, The Bonnie And Clyde Theme. The track was actually a B-side on the album's first single, IBWin' Wit My Crewin, but ultimately it was the only song from the album to achieve substantial radio airplay.

Yo-Yo - You Better Ask Somebody [1993]

:::::::::: ILL AL SKRATCH :::::::::

Ill Al Skratch had some short-lived mainstream success in the mid-'90s with Creep Wit' Me, the duo's 1994 debut album. Two singles from Creep Wit' Me -- "Where My Homiez?" and "I'll Take Her" -- made some ground on the R&B charts, the latter being the bigger hit thanks to Brian McKnight's vocal contributions. Unfortunately, while "I'll Take Her" became a substantial hit, it was more representative of McKnight's style of music than Ill Al Skratch's style of East Coast party rap. Consequently, listeners were confused, and when the Brooklyn duo returned in 1997 with its follow-up album, few noticed. The album fell off the charts quickly and soon Ill and Al Skratch were has-beens.

Ill Al Skratch - Creep Wit' Me [1994]

While the Brooklyn duo's name makes it seem as if Ill Al Skratch is one person

rather than two, that isn't the case: There is Ill (acronym for I Lyrical Lord), who is the MC, and then there is Al Skratch, who is the DJ. The two debuted with the "Where My Homiez?" 12" released by Mercury and produced by LG, better known as Easy Mo Bee's brother. The song peaked at number 34 on Billboard's R&B charts and came close to breaking the Top 100 pop singles in summer 1994. Next came "I'll Take Her," which featured McKnight. The song crossed over well, reaching number 62 pop and number 16 R&B in late 1994. When the two returned in 1997 with Keep It Movin', which didn't do nearly as well as Creep Wit' Me, it brought the duo's career to a quick halt.

Ill Al Skratch - Keep It Movin [1997]

Concrete Click - Lyrical Terrorism EP (1995)

Bueno,aqui les traigo otro excelente album de mi coleccion.Un excelente album de un super dueto integrado por los ya desaparecidos Killa Tactics y Sky.Realmente recomiendo este album, es uno de mis favoritos y se que a cualquier verdadero fanatico del real hip-hop le va a impresionar y gustar...Realmente hubiese qerido poner mas detalles sobre este dueto,pero no hay tanta informacion sobre ellos y sobre el album en estos momentos disponibles. ... realmente este dueto proviene del underground! !!.
PEACE! & HIP-HOP 4 LIFE!

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Mad Flava - From Tha Ground Unda (1994)

In hip-hop parlance, "flow" is a term that refers to a rapper's delivery or rhyming technique -- what a musician calls "chops," a hip-hopper calls a "flow." On From the Ground Unda, Mad Flava emphasizes flow, flow and more flow. While other rap CDs might concern themselves with telling some type of story or pulling the listener in with hooks or beats, the main purpose of this CD is showing off Mad Flava's flows. To be sure, the members of Mad Flava (an obscure group from Dallas) have a strong technique, but unfortunately, hearing them do nothing but show it off wears thin after awhile. At first, the group's rhyming skills are admirable, but the approach seems limited after being inundated with nothing but technique for over an hour. When Mad Flava does nothing but boast on song after song, you find yourself wishing they would bring some much needed variety to their lyrics. From the Ground Unda fell through the cracks, and when the 1990s were coming to an end, Flava had yet to come out with a second album

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D-Loc - Split Personality (1990)

D-Loc's "Split Personality" is a well rounded balance of West Coast house party music and 80's New York style Hip-Hop. This album was an independent Bay Area release in early 1990 but the songs were recorded in 89'. This was before the Northern California rap scene found it's own style and sound through hardcore music. There is no cursing with the exception of Bit** being said once on "Ace In The Hole". Songs like "Be A Friend To The End" and the last track "We Can Do This" contain positive social commentary over backpack rap beats that would make Mos Def and Talib Kweli smile. The only problem is that the liner notes credit D-Loc's partner in rhyme Richie Rich for writing all of his lyrics, a Hip-Hop no-no in any generation. That destroys D-Loc's credibility on track 6 "WorldWide MC" but he still has the voice and charisma to carry the whole album. Other than that, this is excellent music for its' time. The production sounds like something that was released on a major label in the 80's. I could imagine this record being important back in the day when the Bay Area ghettos needed their own Hip-Hop voice.

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Brotha Lynch Hung - 24 Deep (1993)

This album can only be described with two words, PURE SICCNESS! No other rap album can hold the lyrical intensity and prowess or funkified beats this album has to offer. Every single track on this bumps and flows from start to finish. Brotha Lynch has outdone himself and pretty much everybody else when he made this. No other rapper can potray such a gangsta-azz image like Lynch does or spit it as hard, AND he does alot of his sh** while under the influence...talk about true to the game, killa. Brotha Lynch is the epitomy of west coast gangsta rap, bar none!
I've been into brotha lynch fo a while and this is by far his best cd, along with season of da sickness becuz that takes it to a whole new level. 24 deep was made in 1993, no rapper in 1993 could even touch this ... even now. wit songs like lose a hoe gain a hoe, they are bomb songs. lynch has the best beats around, along wit mr. doc and x-raided, and all his west coast homies, these instant classics, cant wait for another lynch CD so it can be off the hook.

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Hyenas In The Desert (1997)

Hyenas in the Desert are a rather obscure group associated with Chuck D's slam jamz label. However, this album is more similar to Mobb Deep or Jedi Mind Tricks's earlier albums. its dark, huanting, and nicely menacing. The emcees are all very capable, and overall this is an enjoyable, if not highly innovative album.

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All City - Metropolis Gold (1998)

To my knowledge, this is one of the most underrated & slept-on albums I can think of. This is everything a late 90's NY hip-hop album should have been. Fresh dope beats, arrogant, smooth, insightful lyrics and an all-star cast of NY producers. Despite being brought up by ONYX as a part of their Afficial Nast crew, All City sounds nothing like the loud, screamin' & stompin' ONYX. As a duo, they are truly gifted with smooth deliveries and clever rhymes. Listen. DJ Premier did one of his nicest jobs EVER on track 7, "The Actual." Pete Rock shines like the sun on track 3, "Priceless." Other production by Rockwilder, DJ Clark Kent, EZ Elpee and of course ONYX. This album sounds like it dropped in 1994.
F.Y.I: "Just Live", (track 17) is one of my favorite tracks to this day (slight personal bias, of course).
Bottom Line: This is truly a great album. I highly recommend it to any east-coast hip-hop fan, don't sleep. 4 stars. Peace.

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2 Low - Funky Lil Brotha (1994)

Su nombre verdadero Cedric White. 2 Low firmo en los estudios "Rap-A-Lot" y rapidamente grabo 6 exitosos tracks,incluyendo "Here We Go", "Boo Ya" y "Everyday Thang ". Realizo conciertos en vivo incluso en night clubs en 23 estados de U.S.A. en la cual era vendido polos gorras con el logo de 2 LOW. Estuvo presente en albumes de otros artistas de la misma firma "Rap-A-Lot" con Geto Boys en el album "Till Death Do Us Part" ,con Scarface(su hermano mayor) en el album "The World is Yours" y con Odd Squad. Grabo un video con Scarface y hasta aparecio en el soundtrack de la pelicula "Jason's Lyric". 2 Low lanzo en 1994 un album llamado "Funky Lil Brotha" la cual tenia 6 tracks que el mismo escribio y en los demas fue el co-escritor. "Funky Lil Brotha" fue ligeramente exitoso en el mercado underground, vendiendo mas de 150,000 discos y casets en los primeros nueve meses de lanzamiento. 2 Low desafortunadamente no tuvo la misma suerte que su hermano Scarface pues su album desaparecio con el tiempo y desde entonces no hizo algun otro album.

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[password:rapchwast]

Big L - Lifestylez ov da poor & dangerous (1995)

Lamont Coleman aka Big L, nacio en Harlem N.Y. Su temprana carrera comenzó en un grupo llamado Children Of the Corn con "Killa Cam, Murder Mase y Bloodshed". Su primera aparicion profesional lo hizo en 1992 con el track "Yes You May" del album de Lord Finesse "Return of the Funky Man". En 1993 firmo por Columbia Records y lanzo uno de los mas grandes registros del underground hiphop! "Devil's Son" la cual fue rapidamente prohibida en las radios debido a sus fuertes rimas .Dsde entonces sus rimas fue hechos para sus seguidores y no para radios, Big L se convirtio asi como uno de los reyes del underground. En 1995, aun en Columbia, lanzo su primer album debut "Lifestylez ov da Poor & Dangerous".El album fue comercialmente ignorado, pero elogiado por las fuentes quienes lo dieron 4 mics!. El album fue una gran pieza lirica y un gran exito del underground. Luego que el album fue lanzado, Big L fue separado de Columbia por la falta de publicidad que el album obtuvo. Luego de aquel problema, L junto con "Show,AG,Buckwild,Lord Finesse,Fat Joe,OC and Diamond" formaron el grupo DITC (Diggin' In The Crates), dsde entonces empezo a demostrar su gran habilidad lirica innata en grandes giras.Big L fue reconocido por fanaticos de todo tipo por su gran track "Ebonics". Desafortunadamente su exito fue corto.Big L fue asesinado en el mismo barrio donde nacio,crecio y vivio.Fue disparado 7 veces en la cabeza y en el cuello un 15 de febrero de 1999. Se dice que el hermano de Big L tenia una cuenta pendiente con unos mafiosos, pero como el hermano estaba en la carcel decidieron cobrarsela con Big L.

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Artifacts - Between a Rock & a Hard Place

Este album es soprendente. Directo desde New-Jersey los artistas del grafity(graf-artist)"El Da Sensei & Tame One"(primo de Redman) vienen con un estilo que es unico, flows que suavemente van con sus golpes y rimas entendibles y apreciables. La produccion va a mano de Buckwild(de D.I.T.C. crew)y T-Ray(de Soul Assassins crew)ademas de Redman suministrando a sus amigos excelentes golpes(beats).Hay una mezcla perfecta de estilos de golpes(beat-styles), lo que trae consigo a que ningun track suena igual que el anterior o aburrido. Sin alguna duda, este album fue en 1994 y seguira siendo uno de los mejores albumes del underground HipHop!.De seguro cualquier buen admirador del verdadero HipHop gustara de este album!...recomendado...HipHop 4 Life!

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Das EFX - Dead Serious

En 1991 se comenzo a escuchar una nueva forma de hacer hiphop con este MC de Brooklyn denominado "DAS EFX" .El estilo "Diggedy Wiggedy" (como fue llamado) fue revolucionado por el duo Crazy Drazy(Andre Westo) y Books/Skoob(William Hines) las cuales abrio los oidos de muchas personas HipHop-Escuchantes en ese entonces con su debut "The Want EFX". Fueron descubiertos por Parrish Smith(del super duo EPMD a mediados de los 80')en una demostracion de talentos en la universidad Estatal de Virginia(donde ambos fueron estudiantes por aquellos tiempos).Este duo con un simple Funk ,con un desconocido flow y unas extrañas rimas son los verdaderos representantes del REAL-HIPHOP.

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