THIS ALBUM IS DUM DUM DEF. WE NEED MORE HIP HOP LIKE THIS IN OUR LIVES
THIS ALBUM IS DUM DUM DEF. WE NEED MORE HIP HOP LIKE THIS IN OUR LIVES
THIS IS SOMETHING A LIL DIFFERENT BUT IT HAS ITS ILL JOINTS
THIS RIGHT HERE IS SO F--KING ILL. A FLAWLES SET
DONT SLEEP ON THIS ALBUM. REAL DOPE
DJ ALADDIN & DJ SCRATCH - DA SHIZZNIT L.A. STYLE 1993
THIS MIX IS THE TRUTH. SNATCH THIS UP
DJ CRAZE & DJ KLEVER - SCRATCH NERDS
REAL STUPID DEF. EVERY STARTING TURNTABLIST SHOULD STUDY THIS
DJ D-SHARP & DJ ICEWATER - CANT STOP WONT STOP THE NEXT LESSON
A PERFECT TRIP DOWN HIP HOP MEMORY LANE. A MUST HAVE FOR ANY TRUE HEAD
THE HOMIE DJ MAFIOSO HIPPED ME 2 THIS. SOME REAL DEF SHIT.
Born Rakaa Taylor in Los Angeles, California, Rakaa-Iriscience is a hip-hop MC, and one third of the renown west-coast underground crew Dilated Peoples.
Aside from Rapping, Rakaa's passions run deep; stretching from visual arts to training Gracie Jiu-Jitsu to traveling the world as a highly sought after Host and MC, all in his spare time.
When it comes to smooth blunted rhymes, few MCs can match the output of Devin the Dude. He also happens to be one of the more consistent rappers of his time, with all of his five previous records receiving above-average sales numbers and critical acclaim. The aptly titled Suite #420, which has been delayed a few times, represents the Dude's sixth studio album and his second on Razor & Tie after he spent 15 years on Rap-A-Lot. "What I Be On," the lead single from this album's prelude EP, is another ode to his beloved marijuana. But the track also features a distinctly different beat, which was crafted by Reggie Coby. Although a single leaked track isn't enough to go by, Suite #420 could feature Devin getting a little bouncier, a little more uptempo, though be sure he'll lace it with plenty of silky joints (no pun), too.
2 OF THE ILLEST DJS
Cut Chemist (born Lucas MacFadden October 4, 1972) is a former member of the funk Latin band Ozomatli, and of hip hop group Jurassic 5. He has collaborated with fellow turntablist DJ Shadow on a number of projects.
DJ Nu-Mark is a hip-hop DJ mostly known for his membership of Jurassic 5. His innovative DJ routines and creative on-stage antics have made him a favorite of crowds all over the world.
THIS IS SOME REAL ILL SHIT 2 CHECK OUT
Long before Snoop Dogg, Eminem, or Xzibit came into the picture, Dr. Dre had already found the perfect MC in the D.O.C., a Texas transplant to Los Angeles. Before he tragically lost his vocal chords in an auto accident, the D.O.C. was easily one of the fiercest lyricists that the West Coast had ever witnessed--a combination of Ice Cube's scowling aggressiveness but balanced with a sophistication that would have rivaled KRS-One at his best. With a ragga-tinged flow, he could drop lyrical bombs with fury on "It's Funky Enough" or sublimely style for "The Formula." Dre supported the D.O.C. with a bevy of funk-laden tracks that were pre-Chronic, meaning that the feel was rough and rugged vs. wet and sticky. Had his voice survived, there's little doubt that the D.O.C. would have become one of Cali's greatest MCs ever. All the supporting evidence is on this album.
Grand Daddy I.U. is an American emcee from Queens, New York, active during the golden age of hip-hop. Grand Daddy I.U. was raised in Hempstead, Long Island, and was encouraged to begin performing by his brother DJ Kay Cee. He recorded a demo tape and gave it to Biz Markie, who signed him to the label Cold Chillin' Records in 1989. In 1990 he released his debut, Smooth Assassin, and became noted for his high-end sartorial choices, always appearing in public wearing a suit and tie. He did ghostwriting and production work for Markie and Roxanne Shanté but became disenchanted with Markie over a dispute involving publishing credits for the tracks on his debut. He released a sophomore effort, Lead Pipe, in 1994, but the album received little promotion, and Grand Daddy I.U. quit emceeing for nearly a decade.
Grand Daddy I.U. continued to do production work in hip-hop for Das EFX, Heltah Skeltah, KRS-One, and Ice-T, among others. He issued a third album, Stick to the Script, in 2007, featuring production from Large Professor and Marco Polo.
MC Serch (Michael Berrin), Prime Minister Pete Nice (Peter J. Nash), and DJ Richie Rich (Richard Lawson) were the three founding members of the group. Richie Rich was a local D.J., while Nice was an English major at Columbia University and hosted a hip hop show on WKCR. Serch performed at clubs and block parties, and released a single called "Hey Boy" on independent label Idlers.
Record producer Sam Sever (real name Sam Citrin) convinced Nice and Serch to work together in 1987. Sever, Prince Paul, and The Bomb Squad produced their 1989 debut, The Cactus Album, a critically-acclaimed debut LP that went gold and contained a minor hit in "The Gas Face." The accompanying video, which featured a bevy of humorous cameo appearances that included Gilbert Gottfried, Flavor Flav, Salt-n-Pepa, EPMD, garnered respectable MTV airplay and the single peaked at #5 on Billboard's Top Rap Singles, though it did not chart on the Billboard Hot 100.
As reported in many interviews, Serch had tried (unsuccessfully) to join up with fellow New Yorkers, the Beastie Boys. Upon signing with Def Jam, 3rd Bass inherited their label's feud with the Beasties. The Cactus Album was released shortly after the Beastie Boys – riding high on the success of Licensed to Ill – walked out of their contract with the label. In addition to containing multiple potshots directed at M.C. Hammer (who was called "M.C. Household Tool" in the liner notes), Cactus also attacked the Beastie Boys and their defection to Capitol Records.
3rd Bass's 1991 follow-up, Derelicts of Dialect, had a new target in fellow white rapper Vanilla Ice, who was the focal point of several tracks on the album, most notably "Pop Goes the Weasel." The track depicted Ice as a culture thief who watered down the sound of rap in order to pander to a mainstream audience, while depicting 3rd Bass as more respectful of the genre's traditions. Ice was also criticized therein for his refusal to credit artists whose music he had sampled for his 1990 smash "Ice Ice Baby." The video featured punk rock icon Henry Rollins dressed up as Ice, who received a "beatdown" by 3rd Bass at the end.
Fueled by the heavy backlash against Vanilla Ice at the time of its release, "Pop Goes the Weasel" reached #1 on Billboard's Top Rap Singles chart, gave the group their first and only Top 40 single (peaking at #29 on the Hot 100), and helped propel the album to gold status. The track was described by Allmusic as "much-needed damage control in the hip-hop community," in part because it featured Caucasian rappers openly distancing themselves from one of their peers.
3rd Bass's final collaboration was the title track to the soundtrack of the 1992 film Gladiator before the group called it quits. That same year - three years after The Cactus Album - the Beastie Boys retaliated against 3rd Bass on their new release Check Your Head; the track "Professor Booty" contained the lyric "...dancing around like you think you're Janet Jackson," which was a swipe at Serch's dancing in 3rd Bass's videos.
PILL also known as "YOUNG PSYCH 'for them as the" pink city "and Adamsville is a mysterious individual PILL music is dynamic - a reflection of his personality and his experience, Pill has been in many projects in Atlanta, Georgia was raised by strong mother who dealt DRUG ADDICTION he began in KIMBERLY COURT PROJECT FOR 4180 CANNOT KIMBERLY street from the court, he moved back and forth from Adamsville's waits for community drive Grady Homes, Bowen Homes, Thomasville Heights, and Englewood Manor forced to support himself throughout his life - he had sucked into the underworld economy of the very young are present, you can find him on "One Way" a loving term they use to describe TRAP they call the "Pink City".
When PILL graduatees from Douglass High School he was the first male in his family to upgrade his whole family were on the streets - and some of his brothers and uncles were Gamblers Hustlers other was his mother's family came from PERRY HOMES father was absent and his grandfather lived in Techwood housing.
From the end of 2004 to mid-2005 PILL fought with Nemesis A Beautiful Mind "His story is that the evil genius ONE whose creativity was always in a cage by the bleak reality of Atlanta's housing projects.
The place in society where PILL calls home is not just "The Hood" is a story of TRUE POVERTY - THE STORY OF SOMEONE who never had a stable life situation someone who has lived with mental health issues and treatt Drug use among friends and family pills is FROM the place where broken spirits is prevalent and where addicts mindless walks the street as a result of their experiences PILL reflect this part of society in their art, albeit in an exclusive creative and intelligent way he sometimes also interjects humor into his rhetoric as a way to hide his pain.
"Pink City" is where he resides - it blocks Atlanta forgot- claw foot metal tubs and dilapidated iron screen doors - the place where rappers come to take their marketing materials photos and leaves sirens shot "zombies" - "Pink City" is a place where sleep does not exist.
PILL music is not a Hollywood stylized version of what people perceive the streets to be his life - andthus his art - a reflection of The Grim realities streets real Sstreets not what you see on television or what you hear is glorified in rap music Modern Day HIS MUSIC speaks to - and are as - an escape from the crippling situations that have hindered his ability of creative expression so far in his life.
He is definitely one to check for as his career takes off.
SOME REAL DEF REMIX JOINTS HERE
Equal parts mixtape, comedic farce, soundtrack, and concept album, A Story Never Told features new tracks as well as snippets from Clan Destined's next LP. In proper Hip-Hop fashion, it boldly plays out a fictional account involving painfully real situations. Clan D star as the promising independent artists that they have become, alongside DJ Beef, the local 'hood celebrity and CEO of Felon Frontz Records (played by the multi-talented DJ Rock Most). The project follows Clan D (DT and Yamin) as they attempt to market themselves to a new audience
Magic Heart Genies are making a name for themselves as the west coast's frrreesshest underground collaboration with Myka 9 lyricizing, JtheSarge prophetizing and DJ Drez laying down the beats. A cluster of hip-hop with reggae undertones and a notable world music influence - together they released "Heartifact" on Alpha Pup Records with label mates Busdriver and Daedulus
DJ Premier will assist Heather B in ending an 8-year album drought by executive-producing her new LP, Open Bar.
Heather B's last project was 2002’s Eternal Affairs. With production from Pete Rock and DJ Premier, the album met with positive reviews despite not charting on Billboard.
Since then, Heather diversified her portfolio with appearances in commercials, and running a successful business out of the New York metropolitan area.
Although Open Bar is just her third studio album, Heather B has been in the entertainment industry well over 10 years, receiving her first national exposure as a cast member of the original MTV Real World season in 1992.
In 1996, she partnered with Boogie Down Productions for her debut Takin’ Mine, which delivered two regional hits in “All Glocks Down” and “If Headz Only Knew.”
She cites these experiences as the reason her current music is more confident, and immune to the pressures of confirming to today’s image-driven expectations of female rappers.
“When I first came out, I felt like I had to do it and now I want to do it because I’m grown and my music is coming from a sincere and confident place,” Heather explained to AllHipHop.com. “I’m not concerned with any trends or industry misconceptions; I want to put out some good music.”
While Premier is handling the new project’s direction, two other confirmed producers are Pete Rock and Kenny Parker.
The latter is behind on the boards on Open Bar’s lead single “The Game Don’t Stop,” which Heather uses to make a statement on the importance of creative, well-executed Hip-Hop.
“’The Game Don’t Stop’ answers all those questions that people have asked me and what I’ve questioned myself. What the end result of it all is, it doesn’t matter, Quality matters,” she declared.
Open Bar is tentatively scheduled for a May release. The new single is available now on iTunes.
Born James Kelly, rapper LMNO grew up in Long Beach, CA, as part of the surf and skate scene. Hanging out with the D.O.C's DJ, DJ Speed, LMNO was around the likes of Eazy E and N.W.A. during the groups explosion in the late '80s. Hanging out in the culturally diverse terrain of Long Beach, LMNO was engulfed in everything from hip-hop, gangsters, to backyard parties with bands such as Sublime, inspiring the budding musician. LMNO joined a group managed by Ice T's Rhyme Syndicate in 1990, where he met his good friend and fellow Visionaries founder KeyKool. The hard work paid off, eventually netting LMNO a verse on "B.F. Sound Check," a track from Circle of Power's 1993 self-titled album. However, his true break arrived in 1995, when friends Key-Kool and DJ Rhettmatic released Kozmonautz -- not only setting the stage for the Visionaries crew, but also giving the young rapper an opportunity to rhyme next to Ras Kass on the song "E=MC5," which vastly increased his public profile (it's rumored that when Eminem went to California in 1997 to work with Dr. Dre, he asked what LMNO was about).
Wild Cowboys II, the long-awaited sequel to his 1996 solo debut Wild Cowboys, on Fat Beats Records. The album is set to feature several guest appearances from Ill Bill, Kurupt, A.G., Lord Jamar, Rhymefest and others with production from Pete Rock, Diamond D, Buckwild, Sir Jinx and others. On February 23, 2010, he released an EP, containing five songs from the album and their complementary instrumentals, which is currently available at any music store. The first single from the album is "Turn It Up" which features, and is produced by, Pete Rock.
The Tuff Crew, composed of LA Kid, Ice Dog, Tone Love, Monty G, and DJ Too Tuff, is a hip hop group from Philadelphia, Pennsylvania, dubbed "Philly's first Rap Supergroup" by Wax Poetics Magazine. They released four albums. Their debut LP included production by the Ultramagnetic MCs' Kool Keith and Ced Gee among others, with a style that was bass-heavy with Roland TR-808 drum machine, raw "street" lyrics and aggressive scratch DJing. They performed with Public Enemy, Run-DMC, Biz Markie, Big Daddy Kane, Rob Base and DJ E-Z Rock, LL Cool J, and many others. They toured the U.S.A as the support act for 2Live Crew, and were fan favorites on the groundbreaking Street Beat radio program on Power 99, hosted by Lady B. They were racially-mixed and ethnically diverse, and were regular performers at the After Midnight club in North Philly, once the largest Hip-Hop club in America. Their contemporaries included Dj Jazzy Jeff and the Fresh Prince, Dj Cash Money and Marvelous, Cool C, Schooly D and Three Times Dope. DJ Too Tuff, a/k/a the Deuce Ace Detonator, is considered a forefather of the Turntablist movement, because of several dynamic DJ tracks on the group's albums. Dj Z-Trip, DJ Shadow and other New School DJs credit DJ Too Tuff for inspiring their style and music
Low Profile was originally a duo of two aspiring rappers and a DJ coming out of L.A. The groups membership consisted of WC and DJ Aladdin, who went on to pursue a career in visual art. The duo made its debut with Rhyme Syndicate Records, on a compilation album produced by Ice T and Afrika Islam, before becoming a duo on Profile Records.
The group was a short-lived but influential West Coast hip hop duo. Together, they released one album, We're in This Together before breaking up. They also appeared on the Rhyme Syndicate compilation Rhyme Syndicate Comin' Through. DJ Aladdin began working with Ice T and WC formed a group called WC and the Maad Circle which included a then-unknown rapper named Coolio
I went back to 04 on this one but this is a great trailor to a great DVD. Notice how all of the footage of everyone dancing is in-line with the beat. That's some dope ass editing. If you like bboy vids you should definitely add this one to the collection.
BLUE SKY BLACK DEATH
After two critically and commercially lauded releases featuring collaborations with Wu-Tang Clan affiliated MC’s Holocaust & Hell Razah, Blue Sky Black Death strip their formula down to the essence with this stand-alone instrumental concept album. To date, Blue Sky Black Death have also collaborated with and/or produced for the likes of A-Plus (Hieroglyphics), Akrobatik (Def Jux), Awol One (Shapeshifters), Beretta-9 (KIllarmy), Chief Kamachi, Crooked I,, Holocaust (Wu Tang Affiliate), Guru (Gang Starr), Ill BIll (Non Phixion/La Coka Nostra), John Robinson, Juice (Black Wall Street), Jus Allah (Jedi Mind Tricks), Mikah-9 (Freestyle Fellowship), Pep Love (Hieroglyphics), Prodigal Sunn (Sunz Of Man), Ras Kass, Rob Sonic (Def Jux), Sabac Red (Non Phixion), Shabazz The Disciple, Slaine (La Coka Nostra), Virtuoso, Wise Intelligent (Poor Righteous Teachers) amongst many others.
Now, owing to popular demand and to showcase their unparalleled versatility, Blue Sky Black Death seamlessly cull together boom bap, soul, electo, folk, electronic, classical, and blues with Late Night Cinema. An offering as bold as it is diverse, Late Night Cinema substantiates Blue Sky Black Death's overwhelming acclaim as one of today's most promising production teams, and in so doing transcends both expectations and traditionally ascribed genre boundaries.
The book titled “Sento: The Fantastic Partners” portrays the story of an active graffiti artist who has been known to paint anything and everything where a coat of spray paint will stick. From the New York subway trains to billboards, this book provides numerous great photos documenting a great deal of Sento’s work, dating back to the early 1980’s. Aside from the photos, the book also provides readers with various quotes from graffiti writers, outlining the impact that Sento had on them as well as thoughts and stories about the artist. Arguably, this book demonstrates that his meticulous style is unlike any other and he is one of the most influential graffiti writers to this day.
“Sento: The Fantastic Partners”, is a book DRIP CHEMISTRY highly recommends picking one up.
The Ultramagnetic MCs formed in 1984. Their first single was 1985's "To Give You Love" on the Diamond International label. The group's worldwide buzz started with "Ego Trippin'," its first 12-inch single on Next Plateau Records in 1986 that was the first hip hop song to feature the infamous "Synthetic Substitution" drum break sample. The song is still considered a hip hop classic. The group's next single was "Traveling At The Speed of Thought (Original)"/"M.C.'s Ultra (Part Two)" followed by "Funky/Mentally Mad," one of the most sought-after 12-inch singles of its career. Funky was based on a Joe Cocker piano sample later used as the basis for Dr. Dre and Tupac's California Love. It was released in 1987. This led to the release of the group's first album.
The Ultramagnetic MCs released a new school classic in 1988, Critical Beatdown, introducing many new sampling techniques. Many believe that without the group's primary producer, Ced Gee, the golden era of sampling may have looked very different. Ced, while uncredited, also produced the majority of Boogie Down Productions' seminal Criminal Minded. These albums are among the first to use "chopped" samples, rearranged and edited to change context. Both albums also feature many James Brown samples, which became very prominent in Hip Hop in ensuing years. KRS-One has been quoted as saying that he was very close to joining Ultramagnetic MCs early on. Paul C. was also a major contributor to Critical Beatdown, producing "Give The Drummer Some," and engineering most of the album. Paul C. also produced the Hip-House mix of "Traveling At The Speed Of Thought", which was used as the group's first music video, and was their sole release in 1989. The single's b-side, "A Chorus Line", became one of Ultramagnetic's most popular songs and introduced new group affiliate Tim Dog. A variation of the "A Chorus Line" instrumental was used as the basis of Tim Dog's debut single, the Ced Gee-produced "Fuck Compton", which became a modest hit and is credited with helping to spark the East coast/West coast feud of the mid '90s.
The group then disappeared for several years, breaking up temporarily in 1990. They returned on Mercury Records in 1992, with the album Funk Your Head Up. The album received a muted response, in part because many tracks had been given a commercial sheen, having been remixed by outside producers at the label's insistence. Alternate mixes of this album's songs along with unreleased tracks from the sessions have appeared on later compilations. The song Poppa Large, remixed by Da Beatminerz became a hit and remains a staple of Kool Keith's live show. The song's video featured Keith in a straightjacket, his bald head encased in a birdcage.
1993's The Four Horsemen was considered extremely strange though still brilliant, offering a darker, jazzier sound. It featured guest production and vocals by Godfather Don, who produced solo Kool Keith sessions in 1992 during another brief Ultramagnetic breakup. Some of those tracks appear on The Four Horsemen, and also on The Cenobites LP. The former was the last official album the Ultramagnetic MCs released until their 2007 reunion.
There were many semi-legitimate and compilation albums to follow, the most official of which was Next Plateau's The B-Sides Companion, which featured a new song, some unreleased 1989 songs recorded for a second Next Plateau LP and most of the group's classic singles, albeit in newly remixed form. Ced Gee and Moe Love both provided demos and unreleased songs spanning the group's entire career to Tuff City for a series of four albums which were released without Kool Keith's consent. A live album, Brooklyn To Brixton, was announced but abandoned.
As a reaction to Ced and Moe's involvement in the Tuff City releases, Kool Keith and Tim Dog reunited on the album Big Time, released under the name Ultra in 1997. Kool Keith went on to record many solo CDs, including several under aliases such as Dr. Octagon and Dr. Dooom. His abstract rhymes and syncopated, off-beat delivery influenced many rappers, including Pharoahe Monch from Organized Konfusion and Ghostface Killah of Wu-Tang Clan.
In 2001, Ultramagnetic MCs released a single, "Make It Rain/Mix It Down" which whetted fans' appetites for a reunion album. Two other songs, "Baby, I'm Mad" and "Who Am I?" were recorded at the same sessions, but remain officially unreleased. In 2004, the original versions of the Next Plateau singles were finally released on CD as bonus tracks on the remastered Critical Beatdown. In a 9 December 2005 interview on Houston's Late Nite Snax radio show, Kool Keith confirmed rumours that the Ultramagnetic MCs had reformed and recorded a new album. Founding Ultramagnetic MCs member Ced Gee has set up Factshen Records. A new Ultramagnetic MCs LP, Back to the Future—The Bronx Kings Are Back, was scheduled to be released in 2006 but was later named The Best Kept Secret and released January 2007. Although the album's cover features the original line-up of Kool Keith, Ced Gee, Moe Love and TR Love, TR (along with Tim Dog) is notably absent. Instead, guest verses are provided by newcomers like Grafiq Malachi Sebek. However, Tim Dog and TR Love have each recently released songs featuring Ultramagnetic under their own names. The group also released a new song after the album's release called "We About Chix", the video can be seen on YouTube.
The Five Percent Nation of Islam was a popular inspiration for numerous thinking-man's rap groups during the early '90s, and Brand Nubian was arguably the finest of the more militant crop. Although they were strongly related to the Native Tongues posse in style and sound, they weren't technically members, and were less reserved about spotlighting their politics and religion. Their outspokenness led to controversy, on an even larger scale than similarly minded groups like the X-Clan or Poor Righteous Teachers, in part because Brand Nubian's sheer musicality made them so listenable regardless of what their messages were. The hoopla surrounding their aggressive Afrocentrism sometimes overshadowed the playful and positive sides of their work, as well as the undeniable virtuosity of lead MC Grand Puba's rhymes -- all showcased to best effect on their highly acclaimed debut, One for All.
Brand Nubian was formed in 1989 in the New York suburb of New Rochelle. Grand Puba (born Maxwell Dixon) had previously recorded with a group called Masters of Ceremony, and was joined by Sadat X (born Derek Murphy, originally dubbed Derek X), Lord Jamar (born Lorenzo DeChalus), and DJ Alamo (Murphy's cousin). The group signed with Elektra and released their debut album, All for One, in 1990. Most reviews were glowing, but the stronger rhetoric on the album -- especially the track "Drop the Bomb" -- drew fire from some quarters, including some white Elektra employees reluctant to promote what they saw as reverse racism. Ultimately, the uproar didn't really hurt Brand Nubian's career, but neither did it produce a wider hit with pop or R&B audiences, despite the high regard in which the singles "All for One," "Slow Down," and "Wake Up" are held. A far more serious blow was Grand Puba's departure from the group in late 1991, owing to tensions that had arisen over his handling the lion's share of the rapping. Not only did Brand Nubian lose their clear focal point and chief producer, they also lost DJ Alamo, who elected to continue working with Puba.
Puba released his solo debut, Reel to Reel, in 1992; meanwhile, Lord Jamar and Sadat X regrouped with DJ Sincere (born Terrence Perry) and issued In God We Trust in 1993. It sold fairly well, just missing the Top Ten on the R&B chart, and the single "Punks Jump up to Get Beat Down" was something of a hit, though it also drew fire for its anti-gay slurs. In Puba's absence, the pro-Islam rhetoric grew stronger, with more explicit support for the controversial Minister Louis Farrakhan. By the time of 1994's Everything Is Everything, they'd gotten downright dogmatic, and critics who'd previously defended the group now found them difficult to stomach, both lyrically and musically.
In the wake of the icy reception afforded Everything Is Everything, the remaining members of Brand Nubian drifted apart. Sadat X reunited with Grand Puba for "Play It Cool," a track on the latter's second solo album; Sadat also released his solo debut, Wild Cowboys, in 1996, and subsequently guested on records by a new wave of underground hip-hoppers. Lord Jamar, meanwhile, moved into production, and also landed a recurring role on HBO's prison drama Oz. In 1998, with a new alternative rap movement gaining prominence, the original four members of Brand Nubian reunited for the Arista album Foundation, which received highly positive reviews. Grand Puba and Sadat X both subsequently returned to their solo careers, but they returned with Jamar and Alamo for 2004's Fire in the Hole. ~ Steve Huey, All Music Guide
Courtesy of Waxpoetics.com:
From jazz pioneers like Sun Ra and Joe Zawinul to influential hip-hop artists like DJ Premier and 45 King, Wax Poetics Anthology, Volume 2 presents music’s numerous puzzle pieces and gives the reader the opportunity to make the connections themselves. In addition to shedding light into the dark corners of our sonic past, Wax Poetics ensures that new and innovative artists also get the credit they deserve.
The Wax Poetics Anthology, Volume 2, the third book from the esteemed music journal showcasing everyone from jazz and hip-hop heavyweights to soul and funk musicians, gathers articles from Issues 6 through 10 into a must-have hardbound edition for record collectors and music connoisseurs alike.
Wax Poetics leads the field in musical journalism, covering some of the most famous and fabled figures in the history of hip-hop, jazz, funk, and soul. This special edition features content from some of the magazine’s rarest, most-coveted issues, many of which fetch top-dollar at auction. This compilation, featuring in-depth articles and a bold, graphic, textured facade, maintains the same collectible traits that make the original issues so highly sought after.
Presented in an attractive hardbound format, featuring hundreds of full-color, full-page images, including photos and illustrations new to this edition. Wax Poetics magazine, published bimonthly, has garnered some of the industry’s highest accolades and continues to boast some of music’s most talented writers, photographers, and illustrators. The Wax Poetics Anthology, Volume 2, is an important supplement for existing Wax Poetics readers, and an infectious introduction for newcomers to the magazine’s approachable yet insightful style. Makes a great companion to the similarly designed and critically acclaimed Wax Poetics Anthology, Volume 1, which featured select articles from the magazine’s first five issues.