Saturday, February 28, 2009
01 - billy paul - let's fall in love all over again [moment of truth]
02 - m.f.s.b - sunnin' & runnin' [she knowz what she wants]
03 - barbara mason - a good man is gone
04 - latimore - lets do it in slow motion [royalty]
05 - jeff beck - come dancing [the rep grows bigga]
06 - john dankworth & his orchestra - two piece flower [above the clouds]
07 - grandmaster flash - flash is on the beatbox [you know my steez]
08 - joe simon - drowning in the sea of love [you know my steez]
09 - paul horn - here's that rainy day
11 - war - deliver the word [betrayal]
12 - theme from dark shadows
13 - les mcann - beyond yesterday [it'z a set up]
14 - the originals - fantasy interlude [name tag (premier an
15 - dizzy gilespie - a night in tunisia [jazz thing]
16 - james brown - bring it up [manifest]
17 - pointer sisters - don't drive me crazy [execution of a
18 - the blackbyrds - wilford's gone [say your prayers]
19 - thunder & lightning - bumpin' bus stop [step into the arena]
20 - fred wesley and the horny horns - four play [step into the arena]
21 - marlena shaw - california soul [check the technique]
22 - the meters - funky miracle [take a rest]
23 - caesar frazier - funk it up [ex girls to next girls & s
24 - sugar billy gardner - i got some
25 - clarance wheeler & the enforcers - hey jude [dwyck]
26 - melvin bliss - synthetic substitution [dwyck & code of the streets]
27 - joe chambers - mind rain
28 - gap band yearning for your love
29 - ahmad jamal - i love music
30 - cal tjader - walk on by [gang starr - full clip]
31 - lonnie liston smith - shadows [gang starr - skills]
32 - temptations - gonna keep on tryin till i win your love
33 - marc hannibal - forever is a long long time [royce da 5'9" - boom]
34 - tyrone davis - it's you, it's you [snoop dogg - the one and only
35 - screaming jay hawkins - i put a spell on you [notorious big - kick in the door]
36 - clifford brown - yesterdays [krs-one - mc's act like they don't know]
BONUS: Jerry Butler - Whatever's Fair [Da Ranjahz - Inspiration ]
DJ Premier-original samples
01 Oh My God (UK Flavor Radio Mix)
02 Mardi Gras At Midnight ft. Rah Digga
03 The Remedy ft. Common
04 Can I Kick It (Phase 5 Mix)
05 Stressed Out Remix feat faith evans & (Raphael Saadiq's Remix)- a tribe called quest
06 Scenario (Remix) ft.The Leaders of a New School)
07 ICU (Doin' It) ft.Erykah Badu
08 It's Yours
09 Jam (Remix) ft.Consequence
10 Game Day ft.Rodney Hampton
11 Glamour & Glitz
12 Weekendz ft.Consequence
14 Rumble in the Jungle ft.Fugees & Busta Rhymes
15 Practice Session
16 That Shit ft.Jay Dee
A_Tribe_Called_Quest - (Japan Import)(The Lost Tribes)
2. French Connection
3. Red Alert (feat. Fat Ray)
4. Dedication 2004
5. Get It Started
6. Brasco Joint
7. Nasty Ain't It (Interlude)
8. Goatit (feat. Elzhi, Bishop Lamont & Black Milk)
9. Destiny (feat. Melanie Rutherford)
10. Survival Kit (14KT Mix)
11. What Up Doe
12. Game Over Snippit (feat. J Dilla, Original Dabrye Mix)
13. Game Over Snippit (feat. J Dilla, Flying Lotus Remix)
14. Game Over (feat. J Dilla, Illegalvoice Remix)
15. Lookatusnow (feat. Black Milk)
16. True Story Pt. 1
17. True Story Pt. 2
18. Zoom (feat. Slum Village)
19. Without You Remix (feat. Lucy Pearl & Dwele)
20. Featuring Phat Kat
21. And I Still...
22. It'z A Rap (feat. Big Tone)
23. Nightmare (feat. Guilty Simpson)
24. Hear This (feat. Slum Village & Black Milk)
25. Get Right
26. My Mentality
DJ Graffiti & Mick Boogie Present Phat Kat - International Kat The Whole World Is My Hood (2008)
Thursday, February 26, 2009
Wednesday, February 25, 2009
"Half of this mix is on The Ma Dukes Collection. This is that mix with a 2nd half added.
(There is a 3rd and 4th half)
Also: If you know these records, don’t call it out. I don’t like doing these type of mixes because I’ve seen artist get popped because of these type of mixes. Not everyone can afford to clear some of these loops…..thank you."
Tuesday, February 24, 2009
01. 01:12 Gunfight
02. 02:15 Trap Door
03. 01:56 Sniper Elite
04. 01:47 Get 'Er Done
05. 01:34 Distant Star
06. 01:33 Mash's Revenge
07. 01:52 A New World
08. 00:33 Interlude (MF Doom & Madlib)
09. 01:28 Fire In The Hole (Remix)
10. 02:59 My Favorite Ladies / Remain (Feat. Jose Gonz-Lez)
11. 02:05 3.214
12. 01:16 Doom
13. 00:57 A Millie (Freestyle)
14. 01:49 Paper Planes (Freestyle)
15. 02:13 Kookies (Just Blaze Remix)
16. 00:51 Interlude (Doom Imposter)
17. 01:48 I Hear Voices (Live)
18. 00:57 Project Jazz
19. 02:37 Blochemical Equation (Feat. RZA)
20. 02:14 The Mask (Feat. Ghostface)
21. 02:28 Angeles (Feat. Ghostface)
22. 03:22 Potholderz (Feat. Count Bass D)
23. 02:06 Boulder Holder
24. 02:14 Monkey Suit
25. 01:54 Never Go Pop
26. 00:07 Intermission (Words From Nas....)
27. 01:37 Can't Reform Em
28. 03:11 Air
29. 02:27 Pearls
30. 03:24 Helpless Fool
31. 02:50 Running Around With Another
32. 03:07 Cold One
33. 02:07 Butter King Jewels
34. 01:46 Sermon
35. 03:02 Borrowed Time
36. 02:09 No Brain
37. 02:11 All Caps
38. 03:00 Da SuperFriendz (Feat. Vast Aire)
39. 01:44 Rock Cocaine Flow
5. That’s That
-props to lightworks and dot
Sunday, February 22, 2009
02. Lightworks (prod. J Dilla)
03. Angelz (feat. Ghostface)
05. That's That
Official Press Release: DOOM's 'BORN LIKE THIS.'
Mask-wearing hip-hop maverick DOOM (previously MF Doom) unveils his imminent new album, BORN LIKE THIS – a tour de force of thrillingly intricate and diabolically original songwriting. The enclosed sampler has been personally compiled by DOOM And showcases his most accomplished, definitive record yet and first full-length solo offering for over four years.
As well as head-spinningly complex, reference-rich rhymes, DOOM also provides the majority of the peerless production himself with just 2 tracks here featuring the studio skills of others. Credit for crafting the bounciest of beats on short yet sweet BALLSKIN goes to Washington’s Jake One, whilst the much-missed J Dilla’s magical psychedelic jamboree illuminates LIGHTWORKS. Guest vocalists include founding Wu Tang Clan members Ghostface and Raekwon, with the former appropriately appearing in his cartoon-inspired Tony Starks guise. BORN LIKE THIS takes its title from Charles Bukowski’s dystopian poem, ‘Dinosauria, We’, read by its author and re-scored by DOOM on CELLZ. Sharp-eared followers of the interesting end of hip-hop may recognize some of the album’s lineage – the instrumental of LIGHTWORKS is a highlight of J Dilla’s Donuts and an early demo of ANGELZ has circulated in cyberspace – however, the rest of the newborn record’s 16 tracks are 100% fresh and, until now, unheard.
DOOM’s previous solo adventures and escapades include output as alternative alter egos ‘King Geedorah’– a three-headed monster from outer-space – and ‘Viktor Vaughan’ – a DOOM spin-off who exists in a technologically advanced parallel dimension – as well as collaborative albums with Madlib (as ‘Madvillian’), Danger Mouse (‘DangerDOOM’), and a cameo on Gorillaz Demon Days opus.
BORN LIKE THIS will be released worldwide by Lex Records. Further DOOM offspring are planned for later in 2009. Stay tuned…
Saturday, February 21, 2009
Wednesday, February 18, 2009
1. Pete Rock & Marley Marl "Intro"
2. J Dilla "Diamonds" (produced by Knottz)
3. Chris Rock "Interlude"
4. The Impressions "We Must Be In Love"
5. Pharoahe Monch "Love" (produced by Dilla)
6. Billy Paul "Let The Dollar Circulate"
7. Spacek "Dolla" (produced by Dilla)
8. J Dilla "Nothing Like This"
9. J Dilla & Dwele "Think Twice"
10. Frank N Dank "Where The Parties At?" [Inst] Original Mix
Mad Decent Radio Dilla Mix - Mixed by DJ Soul
I Came To…
Hear Me Out
4 The Mind & Soul
Heart Ain’t In It
Girl Gave Me The Blues
Licks I Bring
The Beat Generation
Get Tough (Ain’t Gonna Stand 4 It)
Biting On The Hook
UK Rappcats (Remix)
-this is the homie!
Saturday, February 14, 2009
Busta Rhymes Still Shining Lyrics:
RRRRRROAW RRRR.. RRRRRROAW RRRRRRROAW
til my dragon baby stop whinin
I see my influence still..
til my dragon baby stop whinin
I see my influence still..
til my dragon baby stop whinin
I see my influence still..
til my dragon baby stop whinin
I see my influence still shinin
Hit you with my ultraviolence
Skin cancer causing laser beam flow then causing riot
Oh shit! I'm gon' give you
more and more (hah) flows that's gon' help you
see who got the real raw -- you
can watch me wreck (huh)
for the entire nine seasons
Cold-blooded flow that got you motherfuckers freezin
You (you) must (must) find (find) your style
Identify with your own profile! Uhh uhh
Niggaz don't understand what we be talkin about
Designed especially for biters who
try to figure it out!!
Huh, WHOOOO! Ice Capades all over beats son
while I smoke your Phillies all the way
down to the last one (HAH)
Yo watch me skyrocket (HUH)
Prop me for my flow then get your hand out my pocket
As the world keeps on turnin
Killing microphones as the nigga most determined
Keeping biters fiending like this was they last serving
Stay away from fake motherfucks like Mark Fuhrman
Got your whole entire +Little
House on the Prarie+ burning
Stick me for my rhyme like you
[ Find more Lyrics on www.mp3lyrics.org/zo3 ]
stuck me for my Sherlings
Yo, you must be out your fuckin mind
The only thing you really need to do is
chill and watch the sun shine
RRRR.. RRRRRROAW RRRRRRROAW
til my dragon baby stop whinin
I see my influence still shinin
Hah, hah, hah, hah
Hoh, hoh, hoh, HAHHHHHHHH!
Hey, get with this here roll call
Keep my peoples movin like a U-Haul
Then I'm gonna hit you, wit that
shit that's sure to make your dome crack
Watch me knock you down
You'll be surprised how quick the
fuckin word will get around
A biter came up missin and the
bitch was never found, YO
I come with shit, so sure, to hit
Hit you til your motherfuckin dome split
Counterfeit niggaz need to sit back up off of it
And if you don't listen you deserve whatever you get
*gasping for air* Just a moment, let me take a breather
Got you niggaz sweatin coal, like you caught the fever
Just to know my every move you
fuck a freak psychic reader
For those who bite my flows I got
to always pack my heater
Yo, I was the one that (hah) made a nigga cough (huh)
Soft (hoo!) Wait quick to turn a nigga off
Yo, I'm quick to break a niggaz spine
and any effort made by those who try to take mine
til my dragon baby stop whinin
I see my influence still shinin
til my dragon baby stop whinin
I see my influence still..
til my dragon baby stop whinin
I see my influence still..
til my dragon baby stop whinin
I see my influence still shinin..
ANYONE HYAVE THE INSTRUMENTAL TO Busta Rhymes Still Shining ??????????????
Friday, February 13, 2009
1. For Once In My Life
2. Pay Homage
3. Blood, Sweat & Tears
4. The Bidding War
5. Got Somebody
6. Turn Yaself In (Feat. Kanye West)
7. Con Man
8. Arnold B. Said Holla
9. Don't Wanna Give That Up!
10. Baby Pops 2
11. Talkin' To Me (Feat. Amerie, Mark Ronson & Patrice Rushen)
12. Electric (Feat. Kanye West)
13. Parisha vs. Cons
14. Take It As A Loss (Feat. Kanye West)
16. Many Hoes
17. Put In Work
18. Shades Of Hip Hop - Cipher (Feat. 50 Cent & N.O.R.E.)
19. Watch Your Mouth
20. Con's Cooking Show
21. Bitch Rider
22. Rockin' 4 Queens
23. Getting Out The Game (Feat. Kanye West)
Thursday, February 12, 2009
02. Marvelous (Instrumental)
03. Magic (O.S.T.R. A-Remix)
04. Magic (Returners Remix)
06. Magic (Instrumental)
07. Magic (Acapella)
08. Magic (O.S.T.R. B-Remix)
Baatin - Marvelous Magic (2007)
DIS NICCA IZ MAGIC! CHECK THE RHIME YO.
2. Motivators (Remix)
3. Word Play (Remix)
4. The Jam (Remix)
5. Mind Power (Remix)
6. Let's Rock And Roll (Remix)
7. Willy Overnight (Broke Niggaz) (Feat. Lo)
8. Weekendz (Remix)
9. Niggaz Get Knocked
11. Electric (Feat. Kanye West)
12. The Bidding War (Freestyle)
14. Untitled Bonus Track
-voted king of net
Wednesday, February 11, 2009
Tuesday, February 10, 2009
1 - Left My Wallet In El Segundo
2. Public Enemy
3. Bonita Applebum
4. Muhammad Mr.
5. Check The Rhime
6. Jazz (Remix)
8. Hot Sex
9. Award Tour
10. Electric Relaxation
11. 1nce Again
12. Stressed Out (Remix)
13. Word Play
15. Stressed Out (orig.mix)
1 - Intro - What is Hip-Hop? (Words By DJ Premier)
2 - DJ Premier - True Hip-Hop beat [rare]
3 - Group Home -Unreleased Beat
4 - Group Home - Up Against Da Wall
5 - Gangstarr, Inspectah Deck - Above The Clouds
6 - Gangstarr - Zonin'
7 - Gangstarr - Riot Akt
8 - Gangstarr - The Squeeze
9 - Gangstarr - Who Got Gunz
10 - M.O.P - Click Clap
11 - Afu Ra - Voodoo Child
12 - Bumpy Knuckles - Part Of My Life
13 - Crooklyn Dodgers - The Return of the Crooklyn Dodgers
14 - Gangstarr - All 4 Da Cash
15 - Group Home - Baby Pa
16 - DJ Premier - True Hip-Hop beat [rare]
17 - DJ Premier - True Hip-Hop beat [rare]
18 - Immobilarie - 718
19 - Heather B - Guilty
20 - DJ Premier - True Hip-Hop beat [rare]
21 - DJ Premier - True Hip-Hop beat [rare]
22 - DJ Premier - True Hip-Hop beat [rare]
23 - DJ Premier - True Hip-Hop beat [rare]
24 - DJ Premier - True Hip-Hop beat [rare]
25 - DJ Premier - True Hip-Hop beat [rare]
26 - DJ Premier - True Hip-Hop beat [rare]
27 - DJ Premier - True Hip-Hop beat [rare]
28 - Fat Joe - The **** Is Real (remix)
29 - Bonus Beat! - (By Diamond D) - Stay Tuned For Underground Instrumentals 6!
30 - Bonus Beat! - (By Diamond D) - Stay Tuned For Underground Instrumentals 6!
31 - Kool G. Rap - The First *****
32 - Screwball - Seen It All
33 - Afu Ra - Equality
34 - Royce Da 5'9 - Boom
35 - Afu Ra - Defeat
36 - D&D Allstars - 1&2 Pass It
37 - DITC - Thick
38 - Gangstarr - Just 2 Get A Rep
39 - Group Home - Supa Star
40 - Group Home - The Realness
41 - Group Home - Suspended In Time
42 - Group Home - Livin Proof
43 - Showbiz & AG - The Next Level (remix)
44 - Jeru The Damaja - Me Not The Paper (unreleased remix)
45 - Jeru The Damaja - Me Or The Paper
46 - Jeru The Damaja - Come Clean
47 - Gangstarr - So Wassup
48 - Gangstarr - Speak Ya Clout 1
49 - Gangstarr - Speak Ya Clout 2
50 - Gangstarr - Speak Ya Clout 3
51 - Gangstarr - Code of Da Streetz
52 - Gangstarr - Capture
53 - Gangstarr - Deadly Habitz
54 - Gangstarr - Nice Girl~ Wrong Place
55 - Gangstarr - Skillz
56 - Gangstarr - Peace of Mine
57 - Gangstarr - In This Life
58 - Gangstarr - Rite Where You Stand
59 - Gangstarr - Playtawin
60 - Pushim - Set Me Free
61 - Rakim - When I Be On The MicScrewball - F.A.Y.B.A.N.
62 - Double CD Set One Outro
63 - Underground Instrumentals - Intro - My Catalog
64 - KRS One - MC's Act Like They Don't Know
65 - Gangstarr - Mass Appeal
66 - Nas - Memory Lane
67 - Bahamadia - 3 Da Hard Way
68 - Jeru Da Damaja - Can't Stop Da Prophet
39 - Jeru Da Damaja - D Original
70 - Gangstarr- Question Remains
71 - Big Shug - Crush
72 - Blaq Poet - Poet's Comin
73.- M.O.P. - Unreleased Beat
74 - DITC - The Enemy
75 - DJ Premier - True Hip-Hop beat [rare]
76 - Heather B - Steady Rockin'
77 - O.C. - M.U.G. (Money Underground)
78 - D'Angelo - Devil's Pie
79 - Gangstarr - You Know My Steez
80 - Gangstarr - Full Clip
81 - Gangstarr, Total - Discipline
82 - Pitch Black - It's All Real
83 - Nas - Nas Is Like
84 - Nas - Second Childhood
85 - Big Jaz - Love is Gone
86 - Big L - Platinum Plus
87 - All City - The Actual
88 - Mos Def - Mathematics
89 - Mos Def, Craig David, Nate Dog - 7 Days remix
90 - Common - 6th Sense
91 - Das Efx - Real Hip Hop
92 - Jeru Da Damaja - Playin Ya'self
93 - BONUS: Stay Tuned For Underground Instrumentals 6!
94 - Rass Kass - Golden Child
95 - Gangstarr - Royalty
96 - Gangstarr, M.O.P. - 1-2 & 1-2
97 - M.O.P. - Rugged Neva Smooth
98 - Gangstarr - Militia
99 - Lox - Recognize
100 - Notorious BIG - Ten Crack Commandments
101 - Notorious BIG - Unbelievable
102 - Jay Z - A Million & One Questions
103 - Jay Z - A Million & One Questions (Beat 2)
104 - Jay Z, Sauce Money, Jaz - Bring It On
105 - Jay Z - Friend or Foe
106 - Jay Z - So Ghetto
107 - Tony Touch - The PieceMaker
108 - CNN - Invincible
109 - O.C. - My World
110 - Snoop - One & Only
111 - Gangstarr - Natural
112 - M.O.P. - Handle Ur Bizness (remix)
113 - Royce Da 5'9 - Friend
114 - DJ DJ Premier - True Hip-Hop beat [rare]
115 - Fat Joe - Gangsta ****
116 - Fat Joe - Success
117 - Rakim - Been A Long
118 - Afu-Ra, Gza - Big Acts Little Acts
119 - DJ Premier - True Hip-Hop beat [rare]
120 - M.O.P. - Stick To Ya Gunz
121 - Gangstarr - Take It Personal
122 - Group Home - Up Against Da Wall (remix)
123 - Gangstarr - Sabotage
124 - DJ Premier - True Hip-Hop beat [rare]
125 - Paula Perry - Extra Extra
126 - Brand Nubian - The Return
127 - Gangstarr - Ex Girl Next To The Next Girl
Premier's signature style is, essentially, a two-bar break to make up the rhythms of his tracks, and a scratched chorus. His early Gang Starr work relies heavily on melodic samples, but starting with Jeru's The Sun Rises in the East in 1994, he began to use ominous atonal samples as well. (These may have been inspired by the atonal piano samples that figured heavily in Wu-Tang Clan's groundbreaking debut, 1993's Enter the Wu-Tang (36 Chambers)
One notable exception to Premier's style is his more varied beat from Nas' classic track, "Represent"; the chorus is much more musically distinct from the verses than is typical for him. Also, though most of Premier's tracks contain the crackles and pops from the records he samples, he has employed more polished beats in his more mainstream productions.
DJ Premier's style of production epitomizes the New York sound of his earlier peers. He is known for sampling jazz, funk, and soul artists, as well as sampling an artist's past work when creating a new track for that same artist. In addition, his encyclopedic memory of hip-hop lyrics allows him to distinctively speak with his hands by scratching in lyrics from several different songs to construct new phrases. Premier's non-Gang Starr collaborations are known for his oft-imitated combinations of short vocal samples, often from multiple artists, to create a chorus. For example, in the chorus of Mos Def's "Mathematics," Premier cuts the following in quick succession:
"The Mighty Mos Def" (from Mos Def's "Body Rock"),
"It's simple mathematics" (from Fat Joe's "John Blaze"),
"Check it out" (Lady of Rage from Snoop Dogg's "For All My Niggaz & Bitches"),
"I revolve around science" (from Ghostface Killah's verse on Raekwon's "Criminology"),
"What are we talking about here" (from the movie Ghostbusters),
"Do your math" (from Erykah Badu's "On & On"), and
"One, two, three, four" (from James Brown's "Funky Drummer")
On certain artists' work, the vocal samples will all be vocal samples of the artist from the artist's past work; "Nas Is Like" and Nas' "2nd Childhood" are two well-known examples of this.
By no means does Premier rely solely on hip-hop and soul samples. He also sampled and chopped up recordings of seminal electro-acoustic music from the 1960s on Jeru the Damaja's "Physical Stamina."
According to Premier himself, in 1989 Large Professor (formerly of Main Source) taught him how to filter samples to create his own bass lines.
Premier usually creates a one- or two-measure melody that repeats itself throughout the song, usually using a combination of orchestral and ambient samples. This template of simple repetition leaves plenty of room for the MC to spread out.
He has also shown innovation by playing unusual elements into hip hop songs (such as the bicycle bells in Group Home's "Supa Star" or the ambient nature sounds on Nas' "Nas Is Like"), and his wide range of instruments (the piano loop on Jay-Z's "D'Evils" and the strings on Rakim's "New York (Ya Out There?").
When DJ Premier sampled an obscure electronic funk song (Jean-Jacques Perrey's "E.V.A.") from the 1970s to construct Gang Starr's 1991 hit "Just to Get a Rep," he achieved a water-like effect. This beat alone made him an object of fascination to many would-be producers and DJs. The 1993 single "Come Clean" by Jeru the Damaja became legendary for a melody resembling that of children banging on water pipes.
DJ Premier's drums have been known to complement his melodies. For example, during Nas' "N.Y. State of Mind", (Samples Kool & the Gang - "N.T pt.2") two bars have a simple round of kicks and snares; in the following two, a complementing second set of drums plays out. This is repeated throughout. Ultimately, the simplistic patterning used to structure his drum beats helps to define the inimitable sound characterizing the typical DJ Premier track. Rarely, if ever, do patterns veer from their programmed two to four bar loops. Drum rolls, cymbal crashes, and hand claps are usually absent.
 Multiple beats
Although not entirely unique to Premier, he is well known for producing songs that consist of more than one beat. When this is the case there is usually a short introduction instrumental to bring in the track. He has also used outro beats but these are less common. O.C.'s ("My World"), M.O.P.'s ("Face Off"), Jeru the Damaja's ("Scientifical Madness") and Big Shug's "Tha 3 Shugs" are good examples of this. Several tracks on Group Home's debut album also make use of this technique.
Possibly the first and one of the most noteworthy instance of DJ Premier making use of this technique was on Gang Starr's third album, Daily Operation, with the song "I'm the Man." Guru, Group Home's Lil' Dap, and Jeru the Damaja took turns on the mike while DJ Premier provided three separate instrumentals, appropriating the styles of each individual emcee. This same formula was then recreated two years later on Hard to Earn with "Speak Ya Clout."
 Clean versions
Another trademark of DJ Premier is evident in the clean versions of his productions. Premier is known to edit the censored words out himself, replacing them with sound effects. This makes the clean versions of the songs much more listenable and fills the void of the absent words.
2.) Down & Out
3.) Is There Any Love? (Feat. Wale)
4.) CuDi Get
5.) Man On The Moon (The Anthem)
6.) The Prayer
7.) Day N Nite
8.) Embrace The Martian (Feat. KiD CuDi)- Crookers
9.) Maui Wowie
10.) 50 Ways To Make A Record
12.) Pillow Talk
13.) Save My Soul (The CuDi Confession)
14.) T.G.I.F. (Feat. Chip The Ripper)
15.) CuDi Spazzin'
16.) Cleveland Is The Reason
17.) Heaven At Nite
1.) Kilo (Remix) (feat. Malice and Raekwon)
2.) The Champ (Remix)
3.) Toney Sigel aka Barrel Bros (feat. Styles P and Beanie Sigel)
4.) Slept On Tony
5.) Run (Remix) (feat. Jadakiss, Lil' Wayne, Raekwon, and Freeway)
6.) Be Easy (Remix) (feat. Ice Cube)
7.) Mighty Healthy
8.) It's Over
9.) Apollo Kids (feat. Raekwon)
10.) 9 Milli Bros (feat. Wu-Tang Clan)
11.) Walk Around
12.) Street Opera
13.) All That I Got Is You (feat. Mary J Blige)
14.) Back Like That (Remix) (feat. Kanye West and Ne-Yo)
15.) Cherchez LaGhost
16.) Ghostface X-Mas
by admin on Jan.
09, 2009, under Concerts
Timeless Concert Series
Composer/Arrangers are the antecedents of the beat makers of today. Their processes whether it be stripping down a classic cover or creating a new genre of music mirror most closely the types of minds that make contemporary beat oriented music. “Timeless” is a forward thinking review and homage to the arranger/composers that have influenced hip-hop in the heaviest and most profound ways. Representing a true international blend of music from Brazil, Ethiopia, Detroit and Los Angeles. Each composer/arranger that we have scheduled is a King of their respective court.
Encourage the appreciation of many forms of music from a multi-generational perspective with an emphasis on the practices of the present.
Create a yearly Composer/Arranger Series in Los Angeles.
Provide affordable musical experiences.
Each show will be a very specific presentation of music based around the career of each of the Composers. Each composer will do a set of their all time hits and a new piece. Each dj/producer will build a set around the legacy and era of each composer.
Sunday Evenings from February 1st to April 5th
7pm - 11pm
Venue: Harriet and Charles Luckman Fine Arts Complex
Tickets through Ticketmaster and the Luckman Box Office
Mulatu Astatke Live
A Suite for Ma Dukes
Arthur Verocai Live
David Axelrod Live
Musical dreams do come true. ArtDontSleep is dedicated to curating and producing concerts and events that have been dreamt up. Brasilintime, Roy Ayers & Tony Allen, George Clinton, Azymuth, Bilal, RAMP, and countless other acts have graced the ArtDontSleep stage this year alone. With the “Timeless” series, ArtDontSleep intends to elevate Los Angeles Musical Curation to a new altitude. Beginning a series that will carry on for many years to come.
323 273 2914
Mochilla is a production company formed by photographers Eric Coleman and B+ in 1997. The pair were working together on a music video for DJ Shadow near the pyramids outside Mexico City - during a conversation with the Mexican producer in an attempt to explain their philosophy of shooting they had stumbled on the spanish word for backpack. In 1997 backpack was a an almost derrogatory term for independent hiphop. Backpackers kept their rhyme books or spray cans with them at all times and this required a bag. The bag would be slung across their backs so that they would be mobile. “If the equipment doesn’t fit in the backpack we wont shoot it” became the defining rule in the formation of Mochilla. It was part practical adage, part nod to the group of film makers called Dogma started by Lars Van Triers.
Ten years later Mochilla has produced five music videos, four documentaries, several ad campaigns, a remix album and more than forty album covers and continues to grow. Both Coleman and B+ have taken their respective fields to new hieghts - selling films to the Sundance Channel, being distributed by Ninja Tune - touring Europe several times. They both have succesful solo careers but their continuing collaboration is housed at Mochilla.
Brazilian folk-jazz composer and arranger Arthur Verocai was born in Rio de Janeiro on June 17, 1945. The product of a classical music education, he first earned widespread attention in 1966, when Leny Andrade recorded his song “Olhando o Mar” for her LP We Are There. Embracing the contemporary pop, soul, and jazz sounds emerging from both sides of the equator, Verocai gradually honed a sweeping orchestral psych-funk sensibility not far removed from American producers like David Axelrod and Charles Stepney. Despite collaborations with artists including Paulinho Tapajós, Elis Regina, and Creuza Maria, he nevertheless was forced to maintain a civil engineering position until 1969, when he scored the theatrical production Is the Greater and arranged sessions for Gal Costa, Marcos Valle, Quarteto em Cy, and others. After producing a pair of LPs for singer Célia as well as Ivan Lins’ 1971 effort Agora — as well as scoring a series of Brazilian television series — Verocai contracted with the Continental label to record a self-titled solo LP, a stunningly innovative effort that effectively bridges the divide between the Tropicalia of the late ’60s and the deep-groove funk of the decade to follow. Released in 1972, a period marked by the Brazilian military government’s opposition to creative expression, the album fared poorly and Verocai turned to advertising, writing and producing music for clients from all walks of industry. In 1983, he opened his own recording facility, Studio V, and in 2002 self-released Saudade Demais, his first solo record in three decades.
Mulatu Astatke (also written Astatqe on French releases) is arguably one of the most influential and legendary musicians from Ethiopia. During the 1960’s, he studied music abroad in London, Boston, and New York. He then returned home to Ethiopia armed with a love for jazz and Latin music. There he blended Ethiopian traditional music with the Latin-jazz he was so fond of to create a unique hybrid he called “Ethio-jazz”.
Mulatu Astatke is first and foremost a composer but also a multi-instrumentalist, playing the vibraphone, keyboards and organs. He is further credited as having established congas and bongos, instruments normally central to Latin styles, in Ethiopian music. However, as Ethiopian songs traditionally focused on vocals his greatest contribution to the music of his country was introducing a new focus on instrumentation.
Three of his LPs were recorded in New York City - his first two, Afro-Latin Soul Volumes 1 & 2 in 1966, plus later Mulatu of Ethiopia in 1972. The bulk of his output was on Amha Records (Addis Ababa, Ethiopia) on which he released several 7″ singles as well as one LP in 1974 entitled Yekatit Ethio-Jazz. Of late, Mulatu Astatke has been the center of renewed attention in the West through a compilation on the Parisian series Ethiopiques (Buda Musique) and a 10″ 4-track compilation on the Soundway label out of Brighton England. Most notably, a number of his tracks were also featured in director Jim Jarmush’s 2005 independent film Broken Flowers with actors Bill Murray and Julie Delpy.
Frequently and rightly placed in the same context as DJ Premier, Pete Rock, and Kanye West, Jay Dee built and sustained a high standing as a producer’s producer while maintaining a low profile. When Pharrell Williams appeared on BET’s 106 & Park in 2004, he excitedly declared that Jay Dee was his favorite producer and told an audibly stumped crowd that it had probably never heard of the man. At the time, Jay Dee had been active for well over a decade and had netted enough beats — including the Pharcyde’s “Runnin’,” De La Soul’s “Stakes Is High,” Common’s “The Light,” and several others with production teams the Ummah and the Soulquarians — to be considered an all-time great.
In 1996 alone, he worked with Busta Rhymes, De La Soul, and the Pharcyde, all the while playing a major role in the Ummah with Q-Tip and Ali Shaheed Muhammad. (He did extensive work on Tribe’s last two albums.) Before long, hardcore hip-hop fans began to know Dilla for his steady wobble, which was unfailingly musical and rich in details — shuffling high-hats, oddly placed handclaps, spacious drum loops with drastically reshaped samples of tracks both obscure and obvious. Through the remainder of the ’90s, Dilla quietly racked up more output, including Janet Jackson’s “Got ’til It’s Gone” (for which he did not receive credit), additional tracks for the Pharcyde, and collaborative work with Q-Tip on all of 1999’s Amplified. As a core member of the Soulquarians, with James Poyser and the Roots’ Ahmir “?eustlove” Thompson, Dilla worked on Common’s Like Water for Chocolate, D’Angelo’s Voodoo, Erykah Badu’s Mama’s Gun, and Talib Kweli’s Quality. Through 2005, he continued to work with past associates while dipping his toes further in R&B. Wooed by a Madlib mixtape that featured the rhymes of Oxnard’s finest over his own beats, Dilla forged an alliance with his admirer for 2003’s Champion Sound, released under the name Jaylib. It was around this time that his health took a sharp decline. For over two years, he had to use a dialysis machine. Despite having to perform in a wheelchair, he was still able to tour in Europe during late 2005. Donuts, an album of instrumentals that had been completed during one of his extended hospital stays, was released on February 7, his 32nd birthday. Three days later, while staying at his Los Angeles home with his mother, he passed away, a victim of cardiac arrest.
Carlos Nino and Miguel Atwood-Ferguson
SUITE FOR MA DUKES
Born and raised in Los Angeles, California, Carlos Nino and multi-instrumentalist and composer/arranger Miguel Atwood-Ferguson, have been working together on a wide variety of projects over the last several years. It all started when Nino hired Atwood-Ferguson’s string quartet, Supernova, to perform on the record Dwight Trible & The Life Force Trio LOVE IS THE ANSWER (Ninja Tune). It was during the pre-production of this project, in 2004, that Nino would first meet, befriend, and license music from, one of his heroes, and Aquarian brother, James “Jay Dee/J Dilla” Yancey. It’s fair to say, that Atwood-Ferguson, classically trained as a violist, (from the age of 4 years old,) first consciously came into contact with Dilla’s music from being a part of this ground-breaking collaboration.
Fast forward two years - after Nino & Atwood-Ferguson completed work on the highly acclaimed indie records Ammoncontact WITH VOICES (Ninja Tune,) and The Life Force Trio LIVING ROOM (Plug Research) - in February, 2007, several days after his 32nd birthday, Dilla passed away due to Lupus related complications. After his untimely death, the two chose to pay tribute to Dilla by continuing the musical conversation that he had started, in the contemporary chamber music style that Atwood-Ferguson had been developing. On, what would have been, Dilla’s 33rd birthday, February 7, 2007, Nino & Atwood-Ferguson sent their version of Common’s “Nag Champa (Afrodisiac for the World,)” to DJs, producers and fans, for free, via the internet.
On February 7, 2008 they released their version of A Tribe Called Quest’s “Find A Way,” and have just recently completed an E.P., entitled SUITE FOR MA DUKES. On September 27, 2008, Atwood-Ferguson was flown to Amsterdam, Netherlands to play viola in the world premier performance of his Dilla Arrangements, as part of the Metropole Orchestra’s 30 minute tribute to this great Hip-Hop-Soul master, at The Boost Festival.
Having produced albums for Build An Ark (Kindred Spirits,) Mia Doi Todd (City Zen,) Grace Woodroofe (for Executive Producer Heath Ledger,) Ariana Delawari (alongside David Lynch,) as well as a duet album entitled Carlos Nino & Miguel Atwood-Ferguson FILL THE HEART SHAPED CUP (Alpha Pup,) these two have kept a very busy work schedule. Still, no matter how many live performances and recording sessions Atwood-Ferguson books, with everyone from Erykah Badu, Stevie Wonder, Dr. Dre, Ray Charles, John Williams, and many others, as well as having at least 5 different production and arranging projects going at all times, and no matter how much Nino is creatively up to, they find time to connect in the essence of Dilla.
It is there that they celebrate Maurice Ravel, Bernard Herman, Charles Stepney, James Brown, The Bomb Squad and so many others, all at once!
A Grammy award-winning producer for Capitol Records who helmed dozens of great jazz, funk, and soul records during the 1960s and ’70s (by everyone from Stan Kenton to Lou Rawls to the Electric Prunes to Cannonball Adderley), David Axelrod also forged a distinctive musical style while recording several of the most eccentric albums of the ’70s. His sound, as immediately recognizable as it is sparse, combined cavernous, heavily mic’ed drums with baroque orchestration (just a step away from overblown) and ahead-of-his-time themes ranging from the environment to heightened mental awareness. Born in Los Angeles in 1936, Axelrod learned about arrangement and production largely on his own. He began working as a staff producer for the cool jazz labels Specialty and Contemporary, and led a pair of 1959 LPs — Free for All by Frank Rosolino and The Fox by Harold Land — that developed an earthy response to the trademarked light, airy sound of West Coast jazz. By the mid-’60s, Axelrod had grown famous in soul and jazz circles for his excellent recording skills, including two of the finest performance albums of the era, Lou Rawls’ Live! and Cannonball Adderley’s Mercy, Mercy, Mercy! Live at “The Club” (the latter was actually a studio date). Both artists tapped him for studio work as well, and Rawls especially benefited by scoring no less than five pop hits during 1966-67. Capitol rewarded one of its most successful producers just one year later, releasing Axelrod’s solo debut, Song of Innocence. Based on the visionary, mystical poetry of William Blake (as was its follow-up Songs of Experience), the album sounded like nothing else from its era, with melodramatic strings tied to heavy, echoed breakbeats — often supplied by session-drummer supremo Earl Palmer. After Songs of Experience, Axelrod turned his attention to the growing plight of the environment with 1970’s Earth Rot.
Even aside from his burgeoning solo career, Axelrod stayed busy as a producer during the ’70s; he recorded several Cannonball Adderley LPs plus works by Gene Ammons and Joe Williams. After 1980’s Marchin’, however, he took an extended hiatus from recording. Axelrod returned in 1993 with Requiem: The Holocaust on Capitol’s Liberty subsidiary, and recorded a surprising tribute to roots music (The Big Country) two years later. After several big names in the dance community (including DJ Shadow) began sampling Axelrod grooves in the mid-’90s, Stateside released the retrospective 1968 to 1970: An Axelrod Anthology in 1999. Album reissues appeared the following year, and Axelrod even recorded a remix of “Rabbit in the Headlights,” originally by the DJ Shadow project UNKLE. Axelrod returned to his beloved Studio B for 2000’s eponymous release on the Mo’ Wax label. The record, loosely based on Goethe’s Faust, had originally begun production in 1969.
The work of these composers/arrangers very often is lost behind the names of the stars they produced for (in the case of Axelrod and Dilla) or indeed never was given a proper shine when it was first released. However the work of the hiphop dj and producer is to bring to light rarely heard and rarely experienced music. All these producers have enjoyed resurgences in their careers from attention paid to them by hiphops finest. To frame these historic performances we have invited some of these great artists to create the musical environment. These will be specific sets by some of hiphops finest.
The multi-dimensional Madlib quickly rose to prominence as one of the most interesting figures in late-’90s hip-hop. With his childhood buddies in Lootpack, Madlib quickly made a name for himself as a rapper, producer, and DJ. In particular, his expansive style and deft touch for composition made him one of hip-hop’s most sought-after producers. An enthusiastic crate-digger, with a deep reverence for jazz and soul, Madlib branched out into a number of ambitious, engaging solo projects. Along with DJ Romes and Wildchild, Madlib formed Lootpack in their hometown of Oxnard. The trio made their debut on Tha Alkaholiks’ 21 & Over in 1993. They continued doing work for Tha Alkaholiks and other artists before releasing their full-length Soundpieces: Da Antidote! six years later. After hooking up with Los Angeles DJ Peanut Butter Wolf, Madlib did a lot of production for Wolf’s Stones Throw label. In 1999 the label released Quasimoto’s astonishing The Unseen LP. Doubling as himself and his alter ego Quasimoto, Madlib handled vocals and production duties on the album, a huge critical success. Not resting on his laurels, Madlib followed The Unseen a year later with his Yesterdays New Quintet project. Madlib played all the instruments himself, infusing his exploration of jazz with both style and substance. Another stylistic detour followed in late 2002, when he released Blunted in the Bomb Shelter Mix, a spin through the vault of the classic dub/reggae label Trojan. While continuing on with a massive release schedule and workload, Madlib completed a remix/reinterpretation project for Blue Note, a collaboration with Jay Dee under the Jaylib alias, a collaboration with MF Doom, half the production of fellow Lootpack member Wildchild’s solo record, and many other remix and producer tasks — all in 2003. Never one to slow down, the next few years brought a myriad new releases, including The Funky Side of Life from jazz band Sound Directions, Quasimoto’s The Further Adventures of Lord Quas, his own Beat Konducta, Vols. 1-2, and a collaboration with Talib Kweli, Liberation, which was made available as a free download on the Stones Throw website during the first week of 2007.
Davis grew up in Hayward, CA, a predominantly lower-middle-class suburb of San Francisco. The odd white suburban hip-hop fan in the hard rock-dominated early ’80s, Davis gravitated toward the turntable/mixer setup of the hip-hop DJ over the guitars, bass, and drums of his peers. He worked his way through hip-hop’s early years into the heyday of crews like Eric B. & Rakim, Ultramagnetic MC’s, and Public Enemy, groups that prominently featured DJs in their ranks. Davis had already been fiddling around with making beats and breaks on a four-track while he was in high school, but it was his move to the NorCal cow town of Davis to attend university that led to the establishment of his own Solesides label as an outlet for his original tracks. Hooking up with Davis’ few b-boys (including eventual Solesides artists Blackalicious and Lyrics Born) through the college radio station, Shadow began releasing the Reconstructed from the Ground Up mixtapes in 1991 and pressed his 17-minute hip-hop symphony “Entropy” in 1993. His tracks spread widely through the DJ-strong hip-hop underground, eventually catching the attention of Mo’ Wax. Shadow’s first full-length, Endtroducing…, was released in late 1996 to immense critical acclaim in Britain and America. Preemptive Strike, a compilation of early singles, followed in early 1998.
Later that year, Shadow produced tracks for the debut album by UNKLE, a longtime Mo’ Wax production team that gained superstar guests including Thom Yorke (of Radiohead), Richard Ashcroft (of the Verve), Mike D (of the Beastie Boys), and others. His next project came in 1999, with the transformation of Solesides into a new label, Quannum Projects. Nearly six years after his debut production album, the proper follow-up, The Private Press, was released in June 2002. The following year Shadow released a mix album, Diminishing Returns, and in 2004 he released a live album and DVD, Live! In Tune and on Time. In 2006 his long-awaited third solo album, The Outsider, came out, but instead of following the blueprint he used on his past two records, Shadow enlisted help from Bay Area rappers like Keak da Sneak, E-40, and Lateef, as well as David Banner and Q-Tip.
Cut Chemist has been recording and performing for over twenty years. His roots lie deep in hip hop as a founding member of the rap group Jurassic 5. During this time Cut also joined the latin jazz/ funk outfit, Ozomatli. Both groups have gone on to be staples in the L.A. music scene. With the involvement of both groups in tandem with one another, Cut has developed a taste for music and rhythms from all over the world while keeping his tradition for the hip hop approach. Eventually Cut left both of these groups to pursue a career with Warner Bros records where he landed his first solo LP, The Audiences Listening in 2006.
2007 was a pivotal year for Cut as he landed an opening slot for Shakira’s Oral Fixation tour dazzling her audience with his world music sense and multi media presentation. When he returned home he joined long time friend and collaborator DJ Shadow to headline the Hollywood Bowl for “The Hard Sell,” an eight turntable show using an eclectic mix of music all on 7 inch vinyl. While in rehearsal for this show, L.A.’s prestigious Walt Disney Music Hall asked Cut to be a part of “Pravda,” a concept night of DJs combining Russian classical music from the Stalin era with contemporary beats.
There is no place that Cut Chemist is afraid to go, musically. He constantly tries to integrate new cultures of music into his show while presenting it in a hip hop fashion. “Ill never lose sight of my roots as a hip hop DJ. It keeps me constantly inventing. I believe all music can be considered hip hop when its presented in a way that’s fresh to peoples ears.
Riggins began producing hip hop in middle school and continued through high school. He studied music at Southfield High School as well, and joined Betty Carter’s band Jazz Ahead soon after, at 17. When he was 19 (in 1994), Riggins moved to New York City, and joined the Ray Brown Trio in 1998. Riggins has also recorded and performed with Donald Byrd, Hank Jones, Mulgrew Miller, Milt Jackson, Oscar Peterson, Cedar Walton, Roy Hargrove, and Bobby Hutcherson.
Away from jazz, Riggins has done production work for hip hop legends Slum Village, Erykah Badu, Common, J Dilla, The Roots, Talib Kweli, Phat Kat, Consequence, and Dwele. He has collaborated with the hip hop multi-instrumentalist Madlib, performing on his 2007 album Yesterdays Universe and in collaborations entitled Supreme Team and The Jahari Massamba Unit. He also produced a portion of the soundtrack for the 2007 film Smokin’ Aces.
Since William Holland AKA Quantic’s first album release in 2001, much ground has been covered. Over the last 8 or so years 12 full length records have given him worldwide recognition. When he is not producing music that continues to push genre boundaries he travels as a DJ or with his band spreading his unique blend of Jazz, Latin & Caribbean rooted music. His track ‘Mi Swing es Tropical’ with Nickodemus further brought him to a global audience when it featured in Apple’s tropical Ipod Advert throughout 2007. Shortly after which Holland moved to Colombia, setting up his South American studio ‘Sonido del Valle’ to work alongside a whole host of new musicians in Cali. 2009 will see the first release from his new band ‘Combo Bárbaro’ on Tru Thoughts Records. The record comprises of work with Peruvian Pianist ‘Alfredo Linares’ & Brazilian Arranger ‘Arthur Verocai’.
for more info visit www. quantic. org.
Sunday, February 8, 2009
xclan-slippin intgo darkness (instrumental)
slum village- 5 ele demo ( instrumental)
j dilla-crazee (instrumental)
j dilla- whatchuwant (instrumental)
j dilla- Tha Elementz (instrumental)
brand nubian-love me or leave me alone (instrumental)
tbe vol.4: bananas
Saturday, February 7, 2009
Here's some donuts for all of y'all..
First Installment - lots of electronic beats, good experimentation!
2005 Beat CD #1 Common - Love is on here
2005 Beat CD #2Phantom of the Hip Hopera -> Oh No - Move. Biggie first --> Make it Fast - Guilty Simpson , Jaylib - Raw Shit, Funky Space invaders - > First Time (Jay Love Japan), Guilty Simpson -Man's World
2005 Beat CD # 3 Steve Spacek - Dolla, Can't you See (JLJ),
Mix Tracks / 2006 Tracks Busta - it ain't safe no more, Busta and Talib - The Conversation (Dillagence)
Another Batch early versions of E=mc2 and De La Soul - Thru Ya City
Instrumental Joints Vol. 1 Slum village - PLAYERS, BEEJ N DEM, CLIMAX, I DON'T KNOW, Fantastic 1(from Vol 1)
SV Tour Beat CD
Unreleased Beats Moka Only - One Time, Elzhi - Friends, Jaylib - Eyecantakeyouthere
Thursday, February 5, 2009
Monday, February 2, 2009
SUN, FEB 22, LOS ANGELES
Miguel Atwood-Ferguson & Carlos Nino with orchestra, performing “Suite for Ma Dukes” for the first time. Opening DJ Sets by J. Rocc and House Shoes. “Timeless” by Mochilla. Venue: Harriet and Charles Luckman Fine Arts Complex, 7pm - 11pm, All Ages, Tickets via Ticketmaster.
NIGHTLIFE: SONGS IN THE KEY OF “D”
SUN, FEB 14, LOS ANGELES
J. Rocc, DJ Babu, Rhettmatic & Mr. Choc's Los Angeles even returns for one night.
Venue: Echoplex, $10, 10:30-2AM, 18+
DETROIT FOR DILLA
Slum Village, Guilty Simpson, Phat Kat, Black Milk, House Shoes, Dez, K-Fresh & others at Tv Bar. 2554 Grand River Ave.
DONUTS ARE FOREVER
SAT, FEB 7, NEW YORK
Venue: Public Assembly, 10PM, 21+
SAT, FEB 7, LOS ANGELES
with J Rocc, Illa J and House Shoes.
Venue: Grand Star Jazz Club, 21+