A song off of a compilation produced by Beezo & Kil w/ Drum Machines Have No Soul Trio: Hands Up.
If you’ve just discovered the joys of Hip-Hop music….you’ve got some homework to do. WatchMojo.com put together this list of the Top 10 Rap Diss Tracks. Do you agree? Watch them all below:
In a time of need, we used to come together to make a statement. Using our popularity and fame to bring awareness to issues that affected our community. In other words, it didn’t begin and end with songs like Self-Destruction. Here’s a song that I dug back in the day. I saw the video first so it had a greater impact. Check the title on the album cover. So relevant today. This week’s Re-Release is Heal “Heal Yourself“.
“”Boasting Blastmaster KRS-1 as its executive producer, Civilization Vs. Technology is an all-star project that employs a who’s who of late 1980s and early 1990s rappers from the East Coast. L.L. Cool J,Public Enemy leader Chuck D, Run-D.M.C., Queen Latifah, Big Daddy Kane, Salt-N-Pepa, MC Lyte,Doug E. Fresh, Kool Moe Dee, and KRS himself are among the MCs featured on this very socio-political album. With an overall message of black pride and black unity (without a lot of separatist rhetoric, thankfully), this release encourages the black family to stay together. Ironically, the album’s emphasis on family mirrors, in some respects, the “family values” message that Dr. Laura Schlesinger and other GOP conservatives espoused in the 1990s — although it’s safe to say that few of the left-leaning participants would identify themselves as either conservatives or Republicans. Though hip-hop-oriented, the CD employs some major reggae artists, including Ziggy Marley and Shabba Ranks. Also, a prominent rocker, R.E.M.‘s Michael Stipe, is featured on the title song, which addresses environmental concerns. KRS’ H.E.A.L. project (Human Education Against Lies) turned out to be more of a critical success than a commercial one. Civilization Vs. Technology enjoyed rave reviews in the hip-hop press, but in terms of sales, it hardly rivaled the million-selling gangsta rap releases of the early 1990s. KRS probably didn’t find that surprising — he has stated in interviews that while intelligence can sell, it doesn’t sell as quickly or as easily as sex and violence. Although not as well-known as it should be, this is a CD that hip-hoppers should make a point of obtaining.” – Allmusic.com
If you’ve just discovered the joys of Hip-Hop music….you’ve got some homework to do. WatchMojo.com put together this list of the Top 10 Defining Songs of each decade. Do you agree? Watch them all below:
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
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 Jadakiss, Sheek, 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
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 Sleeps, Biz 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
As a long time EPMD fan, I was ready for this solo album. Sure, the break up of my favorite rap group hurt like hell…still…I was like a basehead switching dealers… “What your sh*t feel like?” Needless to say I was a little disappointed. It wasn’t the same “high”. Production wise? This album was hot, and the lead single was what had me foaming at the mouth with anticipation. Okay, maybe I’m exaggerating a bit. Never the less, this was a classic record for me. Even if it was based on unbelievable hype. This week’s Re-Release was Erick Sermon’s “Stay Real“. Watch him go hard on the “Evander Holyfield” boxing game from Sega Genesis. Lol!
“When EPMD finally unravelled after months of rumors and internal turmoil, Erick Sermon wasted no time grabbing the mike. He’s quite obsessed with proving he can cut it alone, although his self-titled debut didn’t move far from EPMD‘s trademarks: fat, crunching basslines, neatly inserted samples lifted mainly from Zapp, tight vocal edits, and Sermon‘s mush-mouthed, deadpan raps. His targets included condoms, sexual warfare, hip-hop groupies, and would-be rap challengers. While this contains the obligatory “bitches” and “niggas” references, there’s not as much gun worship as you might expect. No Pressure is as much, if not more, EPMD‘s final release as Erick Sermon‘s debut.” – Allmusic.com
Damn shame a lot of “hip-hop fans” haven’t heard this album. It’s a damn shame that a lot of hip-hop naysayers haven’t heard this album. It’s the penalty for being the thing that people say doesn’t exist in rap music anymore. Watch the video and know that the album has an even greater message. This week’s Re-Release is Pharoahe Monch’s “Black Hand Side“.
“With the 2011 release of his third album, W.A.R. (We Are Renegades), rapper Pharoahe Monch halved the eight-year wait fans endured between his first and second efforts. This strong, satisfying, often stunning third release proves he can deliver the goods under this tighter release schedule, and when listening to lyrics that are topical for 2011 (“Calculated Amalgamation” is inspired by the recent Egyptian revolution), one begins to wonder if it’s been three years off for Monch, and then one very strong year back on. Whatever the process, W.A.R. is worth it, chock-full of those wickedly smart Monch lines (“Even my reflection disrespects you like a freshman during hazing”) and Armageddon productions from the likes of M-Phazes, Diamond D, and Samiyam. These beats seem generally as mad and driven as the man himself, although “The Grand Illusion” with Citizen Cope adds some alternative rock to the mix while the closer, ”Still Standing,” is as elegant and soulful as its guest, Jill Scott. The socially concerned singles “Shine” and “Clap (One Day)” make for a decent intro, even if they are best heard in context, as this conceptually sound album uses linking dialog and a sensible running order to guide listeners through Monch’s war story.” – Allmusic.com
Before there was Doom or M.F. Doom, there was K.M.D. A time in hip-hop when East Coast rap was all about flows and fun. Sometimes you miss this type of rap. Everyone wants to be taken so serious now. So take a trip down memory lane where rap videos were trendy and fun. This week’s Re-Release is K.M.D.’s “Who Me?”.
“The crew known as K.M.D. first came to be known in 1989 as affiliates of Def Jam Recordings’ highly talented trio Third Bass, an affiliation that would one day prove its irony. K.M.D. member Zevlove X contributed the concept and a compelling verse on the classic Third Bass jam, “The Gas Face.” The crew composed primarily of Zevlove and DJ Sub-Roc kept close ties with emerging talents Third Bass for a couple of years, then went on to record their debut Mr. Hood on Elektra Records in 1991. On Mr. Hood, K.M.D combined lighthearted humor with divisive political rhetoric, but the overall sentiment was one of youthful positivity. The album featured production from the Stimulated Dummies and a guest spot from Brand Nubian. “Peach Fuzz,” a tale of young romance, rippled momentarily, but the crew could not capitalize on their connections to 3rd Bass (even with a “Gas Face” reprise entitled “The Gasface Refill”).” – Allmusic.com