favourite rap/hip-hop album(s)???
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Link to the Secret Ninja Sessions community ustream channel - info in this thread
favourite rap/hip-hop album(s)???
????????????
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the snare bear
- Posts: 43
- Joined: Tue Jun 02, 2009 8:47 pm
- Location: The Livest One
- Contact:
Wu Tang 36 chambers
Organized Konfusion Stress the extinction Agenda
and nas illmatic.
biggies ready to die, jayz's reasonable doubt, and jeru's the sun rises in the east are also bombin.
so many, but id start with the top 3. oh and bdp is ill, check out any of their older stuff and krs one- return of the boom bap
Organized Konfusion Stress the extinction Agenda
and nas illmatic.
biggies ready to die, jayz's reasonable doubt, and jeru's the sun rises in the east are also bombin.
so many, but id start with the top 3. oh and bdp is ill, check out any of their older stuff and krs one- return of the boom bap
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chester perry
- Posts: 350
- Joined: Wed Dec 17, 2008 1:25 am
- Location: Edinburgh
-
godflesh fiend
- Posts: 1404
- Joined: Wed Dec 17, 2008 1:50 pm
- Location: Edinburgh, Scotland
This by a country mile.....................
Aceyalone :: A Book of Human Language :: Project Blowed
** RapReviews "Back to the Lab" series **
as reviewed by Matt Tomer
Drop the press kits. Forget about that other wack shit I got in the mail. I'll be right back, I'ma just grab me something to drink - hold up - this is a "Back to the Lab" review?" Nah... Of all the records to sleep on, this couldn't possibly be one. I mean, could it? Ears have opinions, too, and Lefty's telling me to track down Steve 'Flash' Juon for answers. Righty's telling me it's okay; that "Human Language" is an album beyond reviewing; that no one even bothered to save themselves from the hassle. Shut up guys This is bullshit. There's just no way this hasn't been covered yet.
Wait...
Sure there is. As lauded as Aceyalone certainly is in the RapReviews archives, it's but another testament to his sophomoric masterpiece's criminal overlooking that it's taken eight good years for its inclusion. If there were ever such a bitter contradiction: that which I've always considered hip-hop's crowning achievement hardly blips on the radars of even established heads. And Ace-One knows a thing or two about establishment. I won't go in depth, but he's kind of a big deal; he helped put "smart" left-coast hip-hop on the map, was an integral member of the legendary Freestyle Fellowship, and oh yeah, there's that handful of classic albums. The first of which, "All Balls Don't Bounce," is a landmark hailed by J5 fanboys and rock critics alike, often referred to along with Pharcyde's early work as the roots of conscious western rap.
Yet, during the prime of his career, when the man could have rapped about cement drying and kept your interest, he was... ignored? Now that makes no sense. But for all these years, none of that mattered to me, and it still doesn't. Aceyalone's second LP made me not care. About what? School? Check. Girls? Sure. God's great interstellar galaxy? All but the headphones - that, too. It's not like he invents the metaphor, nor do punch lines have you whooping "OHH" 8 Mile-style all alone in your bedroom. He creates an atmosphere it seems nobody else would or could visit even if they wanted to.
The concept is frighteningly brilliant, yet elementary enough to seem childlike. There are, of course, a handful of musicians, outside and in hip-hop, who have also gone with the storybook approach, each track representing a chapter and such trimmings. Only in this case actual "chapters" are never mentioned or even alluded to; by way of each song's grandiosity, it is assumed. And even within Ace's tales, he scarcely reflects the famed "story" raps of yore (Big's "Warning;" Common's "I Used To Love H.E.R."). Each song is a gorgeously abstract take on life, death and their composing elements. "The Balance" dissects the ancient yin-yang theory ever so finely, seeming to create its very own center of energy: "Check your balance beam with a feather and rock, yo whether or not you find the answer it's really not the plot/see it's like love and hate - the same emotion, different weight/people love to hate, so I know you know just how this all relate."
Ace asks you to "consider him part of the dust" in "The Guidelines," implying that he and all of human life are ultimately insignificant. On "The Grandfather Clock" he cautions just how explosive the element of time is, literally taking a word from it: "I control how long you stay alive - I'mma tap you on your shoulder at 11:55 when the time's arrived." "The Walls And Windows" would seem a fantastical journey through the surreal, and it is, but it's also Ace's standing on unfavorable judgement and the paranoia surrounding it: "see my windowpane got so much pain the glass is bustin' out the frame/so let the candle kindle in the window as a symbol/I leave my window open hopin' I might get a breeze, but when the wind comes in, the eyes come in, and the eyes don't seem to wanna leave." He notes the unfair advantage of personal appearance on "The Faces," and stares his taker in the face on "The Thief In The Night:" "I hear it moves swiftly, underneath the nose/'til one day you come face to face, you gonna cross the line, you're lost for time." Ace's phrasing more closely resembles classic poetry than the rhyming of KRS-One, giving the album the storybook feel for which it's known.
"A Book of Human Language" would be comparable to Lewis Carroll's Alice In Wonderland even without Ace's rendition of "The Jabberwocky." A stirring nonsense poem about a mythical creature, it reads like something he probably could have conjured up himself, and is just ridiculous enough to make for one of the album's many highlights. At this point the pace is already set; only before, turning back might have been an option.
With "Human Language" cinematic as is, of course producer Mumbles is deserving of much credit. His beats are dark, fitting the mood like a warm mitten; somber 50's jazz playing as prominent a role as sampled clock ticks and earthy growls. Nearly every sound is bleak and just slightly off kilter, but each beat is melodious and, unlike most avant garde rap, even induces head nodding. Throbbing horns and a thumping break give "The March" a lively pulse, and hectic riding cymbals and upright bass turn the title track into a bustling, bumpy ride. Mumbles' work on "Human Language" may not be THE best of all time, but never has a beatmaker surrounded his emcee with a more appropriate selection. Furthermore, the emcee and his maestro achieve a level of chemistry unmatched by even the greatest of duos; from Premier and Guru to Madlib and Doom.
In the annals of RapReviews.com, there are but few perfect "10's," all of which have been carefully and seldom awarded. It might be because of our rating system that there aren't even fewer; perhaps on a scale of 0 to 1,000, some of our "10's" might have been "995's." Who knows? I do know there is only one album I deem perfect. Flood my inbox with the hate of a pubescent Anakin Skywalker, but it isn't "36 Chambers." It's not "Ready To Die," it isn't even "Illmatic." It's the furthest thing from the streets hip-hop could get, yet it's a flight of stairs from the stoop. It has nothing to do with your life at the same instance it is wholly and most certainly applicable. You may put it in your walkman, but it's hardly even a CD. It's "A Book of Human Language."
Music Vibes: 10 of 10 Lyric Vibes: 10 of 10 TOTAL Vibes: 10 of 10
And most devastating Hip Hop album is this................
I'm still yet to hear a beat that is as gigantic as the one from Ice's "The Snake Pit".....Justin Broadrick & Kevin Martin are genius.
Ice :: Bad Blood :: In Bloom/Reprise
** RapReviews "Back to the Lab" series **
as reviewed by Nin Chan
In my continuing efforts to expose Rap Reviews readers to the bizarre, obscure gems of my worryingly large record collection, I have now taken it upon myself to spare some ink to this record, one which has had more influence on my own artistic output than damn near anything I can think of.
Before I embark on a self-indulgent tirade of ceaseless superlatives, I should probably provide some form of introduction to this criminally overlooked outfit and the illustrious artistic pedigree that they possess. Spawned from the fertile imagination of one JK Broadrick, Ice is essentially Mr Broadrick's premier full-fledged excursion into the unhallowed depths of dark, ambient, trippy hip-hop. To those of you in the know, JK Broadrick's lengthy resume includes a brief stint in Napalm Death, one of the most rabid, nauseatingly fast heavy bands of our time, a similarly short tenure with Head of David and a legendary career with electro-metal legends Godflesh, a band that over a 16 year career convinced me that few experiences in life can rival a Godflesh record. Fusing the downtuned guitars, barbarous, bloodcurdling screams and bloodthirsty indignation of grindcore/metal with the syncopated rhythms of jungle and hip-hop, Godflesh managed to absorb electronic and metal influences to create something wholly unique and distinctly grotesque, a monolithic beast altogether more gruesome than anything that had preceded it. To think that such unearthly sounds could be concocted from a primal base of electronic beats and downtuned, sludgey guitars is uncanny.
Anyway, I digress. It is common knowledge amongst Godflesh enthusiasts that JK Broadrick was rather vocal about his passion for hardcore rap, asserting that Godflesh had far more in common with Public Enemy than grindcore contemporaries like Extreme Noise Terror, Sore Throat and Nausea. While he had previously explored hip-hop and dark dub with exploits like Godflesh's Slavestate EP and the remix project Songs Of Love & Hate In Dub, it wasn't until this landmark record that he truly indulged his overwhelming affinity for rap music. Yet, this is far from a predictable listen- eschewing the artistic complacency of so many contemporary rap records, this is a sinewy, brooding, malodorous monster of a record, one that is as much a visceral statement as it is a musical experience.
If you have never heard a Godflesh, Final, Head of David or Curse of the Golden Vampire record, it is quite likely that this record will stagger and confound you upon first listen. While it sounds wholly unlike any other rap record you've likely heard, it is remarkably predictable in the sense that it sounds exactly like a JK Broadrick take on hip-hop should sound- the omnipresent low-end rumbles like a seismic wave, while Broadrick ornaments the sparse drum patterns with walls of oppressive, disorienting white noise. Opener "X-1" builds upon a foundation of live percussion and a plodding bassline, swirling into an apocalyptic, cathartic maelstrom of blips and disorienting, reverb drenched effects. "The Snakepit" employs a similar formula, driven by a mechanical, stuttered rhythm that pulses beneath Toastie Taylor's manic, breathy toasting. As the track progresses, subtle nuances are progressively introduced into the track- tablas faintly echo in the background, as Toastie's vocals and Blixa Bargeld (what the hell is he doing on this record?) are layered on top of each other, creating a suffocatingly dissonant effect that gives the song a uniquely claustrophobic feel.
Elsewhere, like-minded sonic terrorist El-Producto makes a memorable experience on "Trapped In Three Dimensions," delivering a scattershot, stream-of-consciousness verse that sprawls all over the bhangra drums. 30 seconds into the track, A-Syde proceeds to deliver a verse atop El-P's, his vocals panned to the right as El-P waxes poetic on the left. WHAT THE FUCK? Eventually the double-tracked vocals fade to give way to a glorious downtempo breakdown that sounds like prime Massive Attack, Justin Broadrick's sparse guitar plucks drowning in a jet-black, worryingly spacious sea of ominous, gnarly bass and deliberate, leadfooted drums. Only JK Broadrick could succeed in making downtempo trip-hop so deliciously demonic. While Portishead/ Massive Attack used downtempo to convey feelings of loss and melancholy and Wax Poetic transformed it into viable lounge music, Ice injects it with venomous, caustic bile and barbed sarcasm. A note must be spared here for the laudable use of live percussion throughout the record, courtesy of one Lou Ciccotelli. The live percussion gives the record a warm, organic, human feel that juxtaposes beautifully with the otherworldly electronics and droning, cruel basslines used so liberally throughout the record.
I can almost guarantee that you have never heard a rap record quite like Bad Blood. Twisted, uncompromisingly dark and vile, this is a record that you will either adore or detest. For that reason alone it is worthy of your attention- in an age where few records inspire anything beyond casual nods of the head, where much music has no greater purpose beyond being mere background noise, this is a record that will inspire fear, disgust and general uneasiness as it ventures into territory that no rap record has ever dared to traverse. If you consider yourself a fan of music and already have a jones for stuff like Dalek, DJ Vadim, Company Flow, Silver Bullet, The Bug, Soundmurderer etc., you need to give this a listen.
Music Vibes: 7 of 10 Lyric Vibes: 10 of 10 TOTAL Vibes: 8.5 of 10
Aceyalone :: A Book of Human Language :: Project Blowed
** RapReviews "Back to the Lab" series **
as reviewed by Matt Tomer
Drop the press kits. Forget about that other wack shit I got in the mail. I'll be right back, I'ma just grab me something to drink - hold up - this is a "Back to the Lab" review?" Nah... Of all the records to sleep on, this couldn't possibly be one. I mean, could it? Ears have opinions, too, and Lefty's telling me to track down Steve 'Flash' Juon for answers. Righty's telling me it's okay; that "Human Language" is an album beyond reviewing; that no one even bothered to save themselves from the hassle. Shut up guys This is bullshit. There's just no way this hasn't been covered yet.
Wait...
Sure there is. As lauded as Aceyalone certainly is in the RapReviews archives, it's but another testament to his sophomoric masterpiece's criminal overlooking that it's taken eight good years for its inclusion. If there were ever such a bitter contradiction: that which I've always considered hip-hop's crowning achievement hardly blips on the radars of even established heads. And Ace-One knows a thing or two about establishment. I won't go in depth, but he's kind of a big deal; he helped put "smart" left-coast hip-hop on the map, was an integral member of the legendary Freestyle Fellowship, and oh yeah, there's that handful of classic albums. The first of which, "All Balls Don't Bounce," is a landmark hailed by J5 fanboys and rock critics alike, often referred to along with Pharcyde's early work as the roots of conscious western rap.
Yet, during the prime of his career, when the man could have rapped about cement drying and kept your interest, he was... ignored? Now that makes no sense. But for all these years, none of that mattered to me, and it still doesn't. Aceyalone's second LP made me not care. About what? School? Check. Girls? Sure. God's great interstellar galaxy? All but the headphones - that, too. It's not like he invents the metaphor, nor do punch lines have you whooping "OHH" 8 Mile-style all alone in your bedroom. He creates an atmosphere it seems nobody else would or could visit even if they wanted to.
The concept is frighteningly brilliant, yet elementary enough to seem childlike. There are, of course, a handful of musicians, outside and in hip-hop, who have also gone with the storybook approach, each track representing a chapter and such trimmings. Only in this case actual "chapters" are never mentioned or even alluded to; by way of each song's grandiosity, it is assumed. And even within Ace's tales, he scarcely reflects the famed "story" raps of yore (Big's "Warning;" Common's "I Used To Love H.E.R."). Each song is a gorgeously abstract take on life, death and their composing elements. "The Balance" dissects the ancient yin-yang theory ever so finely, seeming to create its very own center of energy: "Check your balance beam with a feather and rock, yo whether or not you find the answer it's really not the plot/see it's like love and hate - the same emotion, different weight/people love to hate, so I know you know just how this all relate."
Ace asks you to "consider him part of the dust" in "The Guidelines," implying that he and all of human life are ultimately insignificant. On "The Grandfather Clock" he cautions just how explosive the element of time is, literally taking a word from it: "I control how long you stay alive - I'mma tap you on your shoulder at 11:55 when the time's arrived." "The Walls And Windows" would seem a fantastical journey through the surreal, and it is, but it's also Ace's standing on unfavorable judgement and the paranoia surrounding it: "see my windowpane got so much pain the glass is bustin' out the frame/so let the candle kindle in the window as a symbol/I leave my window open hopin' I might get a breeze, but when the wind comes in, the eyes come in, and the eyes don't seem to wanna leave." He notes the unfair advantage of personal appearance on "The Faces," and stares his taker in the face on "The Thief In The Night:" "I hear it moves swiftly, underneath the nose/'til one day you come face to face, you gonna cross the line, you're lost for time." Ace's phrasing more closely resembles classic poetry than the rhyming of KRS-One, giving the album the storybook feel for which it's known.
"A Book of Human Language" would be comparable to Lewis Carroll's Alice In Wonderland even without Ace's rendition of "The Jabberwocky." A stirring nonsense poem about a mythical creature, it reads like something he probably could have conjured up himself, and is just ridiculous enough to make for one of the album's many highlights. At this point the pace is already set; only before, turning back might have been an option.
With "Human Language" cinematic as is, of course producer Mumbles is deserving of much credit. His beats are dark, fitting the mood like a warm mitten; somber 50's jazz playing as prominent a role as sampled clock ticks and earthy growls. Nearly every sound is bleak and just slightly off kilter, but each beat is melodious and, unlike most avant garde rap, even induces head nodding. Throbbing horns and a thumping break give "The March" a lively pulse, and hectic riding cymbals and upright bass turn the title track into a bustling, bumpy ride. Mumbles' work on "Human Language" may not be THE best of all time, but never has a beatmaker surrounded his emcee with a more appropriate selection. Furthermore, the emcee and his maestro achieve a level of chemistry unmatched by even the greatest of duos; from Premier and Guru to Madlib and Doom.
In the annals of RapReviews.com, there are but few perfect "10's," all of which have been carefully and seldom awarded. It might be because of our rating system that there aren't even fewer; perhaps on a scale of 0 to 1,000, some of our "10's" might have been "995's." Who knows? I do know there is only one album I deem perfect. Flood my inbox with the hate of a pubescent Anakin Skywalker, but it isn't "36 Chambers." It's not "Ready To Die," it isn't even "Illmatic." It's the furthest thing from the streets hip-hop could get, yet it's a flight of stairs from the stoop. It has nothing to do with your life at the same instance it is wholly and most certainly applicable. You may put it in your walkman, but it's hardly even a CD. It's "A Book of Human Language."
Music Vibes: 10 of 10 Lyric Vibes: 10 of 10 TOTAL Vibes: 10 of 10
And most devastating Hip Hop album is this................
I'm still yet to hear a beat that is as gigantic as the one from Ice's "The Snake Pit".....Justin Broadrick & Kevin Martin are genius.
Ice :: Bad Blood :: In Bloom/Reprise
** RapReviews "Back to the Lab" series **
as reviewed by Nin Chan
In my continuing efforts to expose Rap Reviews readers to the bizarre, obscure gems of my worryingly large record collection, I have now taken it upon myself to spare some ink to this record, one which has had more influence on my own artistic output than damn near anything I can think of.
Before I embark on a self-indulgent tirade of ceaseless superlatives, I should probably provide some form of introduction to this criminally overlooked outfit and the illustrious artistic pedigree that they possess. Spawned from the fertile imagination of one JK Broadrick, Ice is essentially Mr Broadrick's premier full-fledged excursion into the unhallowed depths of dark, ambient, trippy hip-hop. To those of you in the know, JK Broadrick's lengthy resume includes a brief stint in Napalm Death, one of the most rabid, nauseatingly fast heavy bands of our time, a similarly short tenure with Head of David and a legendary career with electro-metal legends Godflesh, a band that over a 16 year career convinced me that few experiences in life can rival a Godflesh record. Fusing the downtuned guitars, barbarous, bloodcurdling screams and bloodthirsty indignation of grindcore/metal with the syncopated rhythms of jungle and hip-hop, Godflesh managed to absorb electronic and metal influences to create something wholly unique and distinctly grotesque, a monolithic beast altogether more gruesome than anything that had preceded it. To think that such unearthly sounds could be concocted from a primal base of electronic beats and downtuned, sludgey guitars is uncanny.
Anyway, I digress. It is common knowledge amongst Godflesh enthusiasts that JK Broadrick was rather vocal about his passion for hardcore rap, asserting that Godflesh had far more in common with Public Enemy than grindcore contemporaries like Extreme Noise Terror, Sore Throat and Nausea. While he had previously explored hip-hop and dark dub with exploits like Godflesh's Slavestate EP and the remix project Songs Of Love & Hate In Dub, it wasn't until this landmark record that he truly indulged his overwhelming affinity for rap music. Yet, this is far from a predictable listen- eschewing the artistic complacency of so many contemporary rap records, this is a sinewy, brooding, malodorous monster of a record, one that is as much a visceral statement as it is a musical experience.
If you have never heard a Godflesh, Final, Head of David or Curse of the Golden Vampire record, it is quite likely that this record will stagger and confound you upon first listen. While it sounds wholly unlike any other rap record you've likely heard, it is remarkably predictable in the sense that it sounds exactly like a JK Broadrick take on hip-hop should sound- the omnipresent low-end rumbles like a seismic wave, while Broadrick ornaments the sparse drum patterns with walls of oppressive, disorienting white noise. Opener "X-1" builds upon a foundation of live percussion and a plodding bassline, swirling into an apocalyptic, cathartic maelstrom of blips and disorienting, reverb drenched effects. "The Snakepit" employs a similar formula, driven by a mechanical, stuttered rhythm that pulses beneath Toastie Taylor's manic, breathy toasting. As the track progresses, subtle nuances are progressively introduced into the track- tablas faintly echo in the background, as Toastie's vocals and Blixa Bargeld (what the hell is he doing on this record?) are layered on top of each other, creating a suffocatingly dissonant effect that gives the song a uniquely claustrophobic feel.
Elsewhere, like-minded sonic terrorist El-Producto makes a memorable experience on "Trapped In Three Dimensions," delivering a scattershot, stream-of-consciousness verse that sprawls all over the bhangra drums. 30 seconds into the track, A-Syde proceeds to deliver a verse atop El-P's, his vocals panned to the right as El-P waxes poetic on the left. WHAT THE FUCK? Eventually the double-tracked vocals fade to give way to a glorious downtempo breakdown that sounds like prime Massive Attack, Justin Broadrick's sparse guitar plucks drowning in a jet-black, worryingly spacious sea of ominous, gnarly bass and deliberate, leadfooted drums. Only JK Broadrick could succeed in making downtempo trip-hop so deliciously demonic. While Portishead/ Massive Attack used downtempo to convey feelings of loss and melancholy and Wax Poetic transformed it into viable lounge music, Ice injects it with venomous, caustic bile and barbed sarcasm. A note must be spared here for the laudable use of live percussion throughout the record, courtesy of one Lou Ciccotelli. The live percussion gives the record a warm, organic, human feel that juxtaposes beautifully with the otherworldly electronics and droning, cruel basslines used so liberally throughout the record.
I can almost guarantee that you have never heard a rap record quite like Bad Blood. Twisted, uncompromisingly dark and vile, this is a record that you will either adore or detest. For that reason alone it is worthy of your attention- in an age where few records inspire anything beyond casual nods of the head, where much music has no greater purpose beyond being mere background noise, this is a record that will inspire fear, disgust and general uneasiness as it ventures into territory that no rap record has ever dared to traverse. If you consider yourself a fan of music and already have a jones for stuff like Dalek, DJ Vadim, Company Flow, Silver Bullet, The Bug, Soundmurderer etc., you need to give this a listen.
Music Vibes: 7 of 10 Lyric Vibes: 10 of 10 TOTAL Vibes: 8.5 of 10
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smdroccity
- Posts: 138
- Joined: Mon Oct 20, 2008 8:27 pm
- Location: rochester new york
- Contact:
Tough here's the short list
Wu Tang: Enter the 36 Chambers
Nas: Illmatic
Raekwon: Only Built for Cuban Linx
Ghostface: Supreme Clientele
Madvillian: Madvilliany
Little Brother: The Listening
Murs and 9th Wonder: Murs 3:16
Deltron 3030
Dr. Dre The Chronic
Gangstarr Hard to Earn
That's my personal top 10 in no particular order a lot of tough calls, but if I wanted to introduce someone to hiphop these would be the first 10 I played em
Nas: Illmatic
Raekwon: Only Built for Cuban Linx
Ghostface: Supreme Clientele
Madvillian: Madvilliany
Little Brother: The Listening
Murs and 9th Wonder: Murs 3:16
Deltron 3030
Dr. Dre The Chronic
Gangstarr Hard to Earn
That's my personal top 10 in no particular order a lot of tough calls, but if I wanted to introduce someone to hiphop these would be the first 10 I played em
New Dubstep Chunes: http://www.soundcloud.com/smd-dubstep-chunes
http://www.facebook.com/smdthemc
http://www.facebook.com/smdfanpage
Haitian ft. SMD- Episode 1: We Get It Poppin' http://www.mixcloud.com/2kdeep/dj-haiti ... episode-1/
http://www.facebook.com/smdthemc
http://www.facebook.com/smdfanpage
Haitian ft. SMD- Episode 1: We Get It Poppin' http://www.mixcloud.com/2kdeep/dj-haiti ... episode-1/
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smdroccity
- Posts: 138
- Joined: Mon Oct 20, 2008 8:27 pm
- Location: rochester new york
- Contact:
Yo those are all my shit's!!The Snare Bear wrote:Wu Tang 36 chambers
Organized Konfusion Stress the extinction Agenda
and nas illmatic.
biggies ready to die, jayz's reasonable doubt, and jeru's the sun rises in the east are also bombin.
so many, but id start with the top 3. oh and bdp is ill, check out any of their older stuff and krs one- return of the boom bap
Organized...Pharoahe fuckin is out of his mind, also Pharoahe Monch's first solo is ridiculous
Sun Rises is ridic
Return of the Boom Bap is unbelievable; I love BDP Criminal Minded, because on the Scott La Rock is a super ho track KRS shouts our Rochester NY and our hiphop station...
New Dubstep Chunes: http://www.soundcloud.com/smd-dubstep-chunes
http://www.facebook.com/smdthemc
http://www.facebook.com/smdfanpage
Haitian ft. SMD- Episode 1: We Get It Poppin' http://www.mixcloud.com/2kdeep/dj-haiti ... episode-1/
http://www.facebook.com/smdthemc
http://www.facebook.com/smdfanpage
Haitian ft. SMD- Episode 1: We Get It Poppin' http://www.mixcloud.com/2kdeep/dj-haiti ... episode-1/
-
smdroccity
- Posts: 138
- Joined: Mon Oct 20, 2008 8:27 pm
- Location: rochester new york
- Contact:
OOOO
and how could I ever forget Outkast's Aquemini, that's in like my top 5, I don't know how I forgot that **shakes head in disbelief**
New Dubstep Chunes: http://www.soundcloud.com/smd-dubstep-chunes
http://www.facebook.com/smdthemc
http://www.facebook.com/smdfanpage
Haitian ft. SMD- Episode 1: We Get It Poppin' http://www.mixcloud.com/2kdeep/dj-haiti ... episode-1/
http://www.facebook.com/smdthemc
http://www.facebook.com/smdfanpage
Haitian ft. SMD- Episode 1: We Get It Poppin' http://www.mixcloud.com/2kdeep/dj-haiti ... episode-1/
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constrobuz
- Permanent Vacation
- Posts: 1319
- Joined: Sun Jan 18, 2009 4:03 am
showbiz & ag - runaway slave
heltah skeltah - nocturnal
quasimoto - the unseen
big l - lifestylez ov da poor and dangerous
afu-ra - body of the lifeforce
jeru the damaja - the sun rises in the east
ghostface - supreme clientele
evidence - weatherman
camp lo - uptown saturday night
dabrye - two/three
special ed - revelations
black sheep - a wolf in sheep's clothing
maspyke - static
the legion - theme + echo = krill
freddie foxxx - crazy like a fox
madvillain - madvillainy
omniscience - the raw factor
black moon - warzone
kool keith - sex style
j-zone - a job ain't nuthin but work
o.c. - jewelz
m.o.p. - firing squad
phat kat - the undeniable
the un - un or u out
got a bit carried away
heltah skeltah - nocturnal
quasimoto - the unseen
big l - lifestylez ov da poor and dangerous
afu-ra - body of the lifeforce
jeru the damaja - the sun rises in the east
ghostface - supreme clientele
evidence - weatherman
camp lo - uptown saturday night
dabrye - two/three
special ed - revelations
black sheep - a wolf in sheep's clothing
maspyke - static
the legion - theme + echo = krill
freddie foxxx - crazy like a fox
madvillain - madvillainy
omniscience - the raw factor
black moon - warzone
kool keith - sex style
j-zone - a job ain't nuthin but work
o.c. - jewelz
m.o.p. - firing squad
phat kat - the undeniable
the un - un or u out
got a bit carried away
-
back to bassics
- Posts: 535
- Joined: Sat Feb 14, 2009 2:45 am
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crowleyhead
- Posts: 298
- Joined: Sun May 18, 2008 9:42 pm
- Location: WH, NY, USA
- Contact:
KRS-One - Return Of The Boom Bap
Eric B. And Rakim - Discography (But "Follow The Leader" and "Don't Sweat The Technique" would be the classics)
X-Clan - To The East, Blackwards
Gravediggaz - 6 Feet Deep
Wu-Tang - Enter The 36 Chambers
DMX - It's Dark And Hell Is Hot
Ol' Dirty Bastard - N***A Please
Pharcyde - Bizzare Ride To The Pharcyde
Ultramagnetic MCs - Critical Beatdown
Brand Nubian - In God We Trust
Ghostface Killah - Ironman
MF Doom - Mm... Food
Madvillain - Madvillain
Diamond D - Stunts, Blunts & Hip-Hop
Just off the top of my head.
Eric B. And Rakim - Discography (But "Follow The Leader" and "Don't Sweat The Technique" would be the classics)
X-Clan - To The East, Blackwards
Gravediggaz - 6 Feet Deep
Wu-Tang - Enter The 36 Chambers
DMX - It's Dark And Hell Is Hot
Ol' Dirty Bastard - N***A Please
Pharcyde - Bizzare Ride To The Pharcyde
Ultramagnetic MCs - Critical Beatdown
Brand Nubian - In God We Trust
Ghostface Killah - Ironman
MF Doom - Mm... Food
Madvillain - Madvillain
Diamond D - Stunts, Blunts & Hip-Hop
Just off the top of my head.
for me its got to be, in no particular order:
liquid swords - gza
any of 1st 3 public enemy albums
follow the leader - eric b and rakim
return to 36 chambers - ol dirty bastard
kool and deadly - just-ice
****** - gravediggaz
criminal minded / by any means necessary - BDP
schooly D - first album
although i had trouble levelling it down to just these!!
liquid swords - gza
any of 1st 3 public enemy albums
follow the leader - eric b and rakim
return to 36 chambers - ol dirty bastard
kool and deadly - just-ice
****** - gravediggaz
criminal minded / by any means necessary - BDP
schooly D - first album
although i had trouble levelling it down to just these!!
This is one of my favourite pissed up conversations:
TOP 5 RAP ALBUMS
no particular order
TOP 5 RAP ALBUMS
no particular order
Pubstep Show - Mondays 12-2pm GMT on http://www.Sub.fm or listen anytime - http://soundcloud.com/pubstep
PUBSTEP'S XMAS SPESH - Martin Kemp, Tom@RAMP + More - FREE! - TUE DEC 21st [url]hhtp://bit.ly/pubstepdecember[/url]
PUBSTEP'S XMAS SPESH - Martin Kemp, Tom@RAMP + More - FREE! - TUE DEC 21st [url]hhtp://bit.ly/pubstepdecember[/url]
infact ive even started a thread
http://www.dubstepforum.com/viewtopic.p ... 07#1283207
http://www.dubstepforum.com/viewtopic.p ... 07#1283207
Pubstep Show - Mondays 12-2pm GMT on http://www.Sub.fm or listen anytime - http://soundcloud.com/pubstep
PUBSTEP'S XMAS SPESH - Martin Kemp, Tom@RAMP + More - FREE! - TUE DEC 21st [url]hhtp://bit.ly/pubstepdecember[/url]
PUBSTEP'S XMAS SPESH - Martin Kemp, Tom@RAMP + More - FREE! - TUE DEC 21st [url]hhtp://bit.ly/pubstepdecember[/url]
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