Ah Joey. You’ve come a long way yet, you don’t realize how far away you actually are. Remember your battle rap days? Remember what it’s like to spit in a cypher on the block? Remember the attitude of every rapper in that circle? It’s that f@ck it attitude.

Remember that? Going all out no matter what? No setting is too loud, no atmosphere matters?  You just spit your bars on some, f@ck it.  Remember that?

This will be quick. Joe Budden vs. Hollow Da Don didn’t live up to expectations…but it did.  It ended the way some predicted but it didn’t. Total Slaughter tried to commercialize what Smack URL started but they failed.

Kay Slay, Sway, and Ebro. Stop it. Keep them away from the event as presenters. How about, save the commentary for pre and post show.

Now back to Joey. C’mon son. “Stop my time”, “Stop Booing”, and then he drops the mic? C’mon now. Who gives a sh*t about the crowd. Dope flows, bars, and professionalism will force the crowd to pay attention (and STFU). You can’t antagonize them.


Overall, Total Slaughter has a lot of work to do. They obviously had no idea how to make this bigger and better. Battle rap is gaining ground in pop culture and something about that scares me. The soul of the movement always gets lost in the pursuit of the bigger dollar.

…and you get diva sh*t like “stop my time”. GTFOH.

Here is how it is done:

Re-Release Tuesdays “Hate It Or Love It”

I wasn’t the biggest Game fan when he came out.  The name dropping was a problem for me.  This is your debut album and all you have to talk about are other rappers? I couldn’t deny the fact that some of the beats and songs were hot. I agree with the notion that he helped to bring that West Coast style of Hip-Hop back.  This week’s Re-Release is The Game ft. 50 Cent “Hate It or Love It“.

Once the Game surfaced as a force in hip-hop, a big deal was made of his dance with death. Apparently he was shot five times. If you’re scoring at home, that’s four times less than label mate and executive producer 50 Cent. After the altercation that nearly took his life, the Game took a crash course in hip-hop and studied up on the master MCs from both coasts. Within a year of rapping for the first time, Dr. Dre took notice and was compelled to offer an Aftermath contract. the Game is also from Compton, just like his mentor, so guess where the allegiances fall? An N.W.Amedallion hangs from his neck, an N.W.A logo is inked across his chest, and an image of the late Eazy-E is on his right forearm. If none of this makes it clear enough, the Game name drops beloved heroes — including just about everyone ever connected to N.W.A, save for CPO – with great frequency” – Allmusic.com

Re-Release Tuesdays “Wild Out”

This one is dedicated to Solange.  There is something to say about a person who has reached their breaking point. Lol! Seriously, this Lox record was the result of the group finally being released from the clutches of Bad Boy Records.  Though the album, as a whole, was hit and miss for me…it’s still a testament to the group’s hard edge rhymes.  This week’s Re-Release is the Lox’s “Wild Out“.

The LOX‘s highly publicized and drawn-out defection from Puffy‘s Bad Boy Records to DMX‘s Ruff Ryder camp was imperative. Not only because Puffy‘s glossy sound openly clashed with the group’s thug mentality, but the change of scenery also furnished JadakissSheek, and Styles with an opportunity to assert their own identity. While The LOX as a unit do not offer much in terms of topical dexterity, Jadakiss is one the industry’s most underappreciated lyricists, which he clearly reiterates on his solo cut “Blood Pressure.” Ruff Ryders in-house producer Swizz Beatz handles most of the production duties, and although his syncopated production can become repetitious, DJ Premier (“Recognize”) and Timbaland (“Ryde or Die Bitch,” featuring Eve and Drag-On) provide some much-needed diversity with their signature sounds. The rowdy lead single, “Wild Out,” is an obvious reworking of Jay-Z‘s “Jigga My Nigga,” but it was a hit on rap radio.” – Allmusic.com

Re-Release Tuesdays “Just A Friend”

He is primarily a dj today, but back in the 80s? He was one of the top rapper’s in the game. Sure, Big Daddy Kane and Kool G. Rap wrote a lot of those hits.  I don’t think the charm of those records would have been possible without Biz’s zany personality and antics.  None more greater than this commercial hit….This week’s Re-Release is Biz Markie’s “Just A Friend“.

On the cover to The Biz Never SleepsBiz Markie‘s in the lab with his chemistry set, cooking up a concoction of colorful liquids that’s bound to explode sooner or later. Inside, however, the music wasn’t quite as dynamic; Markie decided to produce and write this record entirely by himself, instead of relying on help from Cold Chillin’ beatmaster Marley Marl(who’d produced his excellent debut). The results veered dangerously close to the standard indulgent sophomore album, though Markie‘s natural charm and a blockbuster hit ended up carrying the proceedings. It certainly didn’t start out very well, the opener being a long-winded “Dedications” that was little more than the title indicated, and “The Dragon,” a one-joke track about odd smells. Rap fans with a sense of humor, however, were willing to forgive nearly anything after hearing “Just a Friend,” the result of an intriguing story-rap interspersed with a bizarre bout of crooning that, once again, ably demonstrated how far Biz‘s charm could take him (in this case, all the way to the Top Ten). “Spring Again” and “I Hear Music” were yet more loopy productions with a universal theme, while Markie even sounded intoxicating while freestyling about a nonexistent dance over a simple loop (“Mudd Foot”). It was obvious the (teenage) lunatics had been released from the asylum; the wonders of visual technology allowed the Biz and T.J. Swan to have their thank-you lists superimposed, inside the credits, on their bared boxer shorts.” – Allmusic.com