. ' Released: 1989. 'Feel So Good' Released: 1990.
'Wake Up' Released: November 7, 1990. ' Released: March 27, 1991. 'All for One' Released: September 5, 1992 Professional ratings Review scores Source Rating A− (favorable) (favorable) One for All is the debut by American group, released on December 4, 1990. The album was highly acclaimed for its politically charged and socially conscious content. Sales never matched the wide acclaim — the album has only sold 350,000 copies as of May 2013 — but it has remained in print since its 1990 release. The album is mainly produced by Brand Nubian, but it also features production by Skeff Anselm, Stimulated Dummies, and.
The album's production contains many motifs of including -sampled and loops. The album is broken down track-by-track by in Brian Coleman's book.
Contents. Reception Commercial performance One for All charted at number 130 on the U.S., spending 28 weeks on the chart.
It also reached number 34 on the Billboard chart, on which it spent 40 weeks. Alex Henderson of writes of the album's commercial performance, 'In black neighborhoods of New York and PhiladelphiaOne for All was actually a bigger seller than many of the releases outselling it on a national level.' Critical response One for All was a critical success upon its release. Writer Steve Hochman called it 'an impressive debut' and commended 'the power of the lessons delivered with style and creativity', stating 'There's a playful ease to this record recalling the colorful experiments of, and there's as much sexual boasting as teaching.' Of described the album as 'a peculiar merger of sexual boasting, self-promotion and occasional political perspective.' J the Sultan of gave it the publication's maximum five-mike rating and wrote that it 'overflows with creativity, originality, and straight-up talent.
the type of record that captures a whole world of music, rhymes and vibes with a completely new style.' In his consumer guide for, critic gave On for All an A- rating, indicating 'the kind of garden-variety good record that is the great luxury of musical micromarketing and overproduction. Anyone open to its aesthetic will enjoy more than half its tracks.' He commented that 'most rap sags under the burden of its belief system just like any other ideological music,' but quipped, 'This daisy-age is warm, good-humored, intricately interactive—popping rhymes every sixth or eighth syllable, softening the male and devil-made-me-do-it with soulful grooves and jokes fit for a.' It has since received retrospective acclaim from publications such as, and. Allmusic editor Alex Henderson complimented the group's 'abstract rapping style' and stated, 'On the whole, Nubian's rhetoric isn't as overbearing as some of the recordings that other Five Percenters were delivering at the time.'
In (2004), music journalist Peter Relic gave the album four out of five stars and stated, 'they had a sobering lyrical style equally effective whether promoting African-American consciousness ('Concerto in X Minor') or telling to chill (the -sampling 'Slow Down')'. Writer praised the group's 'marriage of party groove and grit' and cited the album as 'a high point of '. Accolades In 1998, the album was selected as one of The Source's 100 Best Rap Albums and its lead single 'Slow Down' was featured on the publication's 100 Best Hip-Hop Singles of All Time list. One year later, placed it on a list of the Essential Recordings of the 90's. It was additionally ranked #2 on 's 1999 list of 'Hip Hop's 25 Greatest Albums by Year (1980–98)'. Track listing # Title Songwriters Producer(s) Performer(s) Sample(s) 1 'All for One' M.
Dechalus,. 'All for One' by. 'Can Mind' by James Brown. ' by James Brown. 'Tramp' by.
'Goodbye Love' by 2 'Feels So Good' (CD Bonus Track) M. Dechalus Brand Nubian, Dante Ross Sadat X, Grand Puba, Lord Jamar. 'Just the Way You Are' by. 'Sing a Happy Song' by 3 'Concerto in X Minor' M. Dechalus Brand Nubian Sadat X. 'Walk Tall' by.
'Niggers Are Scared of Revolution' by. 'Run, Nigger' by The Last Poets.
'When the Revolution Comes' by The Last Poets. 'New York, New York' by The Last Poets 4 'Ragtime' M. Anselm Skeff Anselm Grand Puba, Sadat X, Lord Jamar. 'Tommy's Groove' by 5 'To the Right' M. Dechalus Brand Nubian Grand Puba, Sadat X, Lord Jamar.
'Funky President' by James Brown 6 'Dance to My Ministry' M. Dechalus Brand Nubian Lord Jamar. 'Bad Tune' by 7 'Drop the Bomb' M. Dechalus Brand Nubian Grand Puba, Lord Jamar, Sadat X.
'Jungle Jazz' by. 'Anti-Nigger Machine' by 8 'Wake Up (Stimulated Dummies Mix)' M. Dajani Stimulated Dummies Grand Puba. 'Tanga Boo Gonk' by. 'Cissy Strut' by 9 'Step to the Rear' M.
Dajani Stimulated Dummies Grand Puba. 'Just A Friend' by Biz Markie. 'Oh Babe' by Cannonball Adderley. 'Tramp' by Lowell Fulson. 'Plantation Inn' by. 'Smooth Operator' by 10 ' M.
Aly Brand Nubian Sadat X, Lord Jamar, Grand Puba. ' by. 'Let's Take It to the Stage' by. 'Kool It (Here Come the Fuzz)' by Kool & the Gang. 'N.T.'
By Kool & the Gang 11 'Try to Do Me' M. Hall Grand Puba. 'Different Strokes' by 12 'Who Can Get Busy Like This Man.' Dechalus Brand Nubian Sadat X, Grand Puba. 'Popcorn with Feeling' by James Brown 13 'Grand Puba, Positive and L.G.' Arrington, C. Carter Brand Nubian Grand Puba,.
'Nobody Can Be You' by 14 ' (CD Bonus Track) M. Dechalus Brand Nubian, Dante Ross Lord Jamar, Sadat X, Grand Puba. 'Rigor Mortis' by. 'Rosita' by.
' by. 'Slide' by 15 'Wake Up (Reprise in the Sunshine)' M.
Dechalus Brand Nubian Grand Puba. 'Everybody Loves the Sunshine' by. 'Another Day' by.
' by 16 'Dedication' M. Dechalus Brand Nubian Grand Puba.
' by James Brown Personnel Credits for One for All adapted from. Skeff Anselm – producer. Carol Bobolts – design. Brand Nubian – producer.
Geeby Dajani – mixing, producer. John Gamble – mixing, producer. Grand Puba – producer. D.
Hall – mixing, producer. Dante Ross – executive producer, mixing, producer. – photography Charts Chart (1991) Peak position US 130 US 34 Singles Song Chart (1991) Peak position 'Slow Down' U.S. 3 'Wake Up' U.S. Hot R&B/Hip-Hop Songs 92 U.S. Hot Rap Singles 5 Song Chart (1992) Peak position 'All for One' U.S.
Hot Rap Singles 17 Notes. ^ Henderson, Alex (November 1, 2001). Retrieved 2011-09-05. ^ (February 26, 1991).
Retrieved 2011-09-05. ^ Hochman, Steve (May 5, 1991). Retrieved 2011-09-05. ^ (December 16, 1990). Retrieved 2011-09-05. ^ (2004), p.
^ J the Sultan (December 1990). David Mays (56). ^ (March 7, 1997).
Retrieved 2011-09-05. Retrieved 2008-08-30. Coleman, Brian.: Liner Notes For Hip-Hop Junkies.
New York: Villard/Random House, 2007. Retrieved 2011-09-05.
Herrmann, Brenda (February 22, 1993). Retrieved 2011-09-05. Christgau, Robert (October 15, 2000). Robert Christgau. Retrieved 2011-09-05.
Retrieved 2008-08-30. Retrieved 2008-08-30. Rovi Corporation. Retrieved 2011-09-05. Retrieved August 30, 2008. See also. References.
Nathan Brackett, Christian Hoard, ed. (November 1, 2004). Completely Revised and Updated 4th Edition.
External links. at.
— Classic Material: The Hip-Hop Album Guide. — Marooned: The Next Generation of Desert Island Discs. —.
Some people love them, some people hate them, but here we go with the final installment of my Remix Packs. For #5, I bring you all the remixes that I loved in the 90’s that lean heavily towards the alternative/metal/electronic side. I’m going to guess that Onyx and Biohazzard’s collaboration for the Judgement Night Soundtrack went so well that they teamed up again for the “Slam” remix. And I liked the House Of Pain mix so much I don’t see any reason that I wouldn’t enjoy the Naughty By Nature track either. Octagon was ahead of his time and on some other level shit in 1996. Last up is Mr.
It was a toss up between the the Prodigy Mix of “Release Yo Delf” and the Chemical Brothers mix for “Bring The Pain.” Both are great in different ways. Remix Pack 5 01 Onyx-Slam (Bionyx Remix) 02 House Of Pain-Shamrocks & Shenanigans (Boom Shalock Lock Boom) (Butch Vig Mix) 03 Dr. Octagon-Bear Witness (2 Turntables & A Razor Blade Re-Edit) 04 Method Man-Release Yo’ Delf (Prodigy Mix) 05 Naughty By Nature-Hip Hop Hooray (Thrash Mix) As an added bonus I’ve created a pack of alternative artists that received the remix treatment by the hip hop industry.
Most are pretty obvious, the “Nickel Bag” remix was done by the Dust Brothers and “Make Out City” is by Mike Simpson (one half of the Dust Brothers). I truly feel that these 5 remixes are worth 15 minutes of your time. I’ve also cleverly combined Remix Packs 5 & 6 together so you’re going to get these songs whether you want them or not. Remix Pack 6 01 Sublime-Doin’ Time (Marshall Arts Remix) feat. The Pharcyde 02 Beck-Where It’s At (Make Out City) (Remix by Mike Simpson) 03 Rage Against The Machine-Bullet In The Head (Sir Jinx Remix) 04 Propellerheads-Take California & Party feat. Jungle Brothers 05 Filter-Hey Man Nice Shot (Nickel Bag) enjoy, –dirtdog. Here’s a quick primer one of Los Angeles’ most ground-breaking yet under-appreciated rap crews.
Curbserver / Afterlife Recordz was an outgrowth of the legendary Project Blowed collective, which I briefly touched on in. Although they’ve always been a little more hardcore / gangsta, the Afterlife MC’s are absolute style kings. They switch from hyper-fast rhyming displays to slower, almost free-form jazz-influenced flows with ease and although this is the hardest pill for new listeners to swallow, if you take the time to interpret their labyrinthine lyrical showcases you’ll begin realize that the rappers in question aren’t being overly technical simply for the sake of it. They’re great writers and storytellers too, in the true griot tradition.
These dudes (and ladies) pour a lot of truth and soul into their music, concocting didactic Cali narratives that serve as the logical counterpart (at least in my mind) to their more commercial cousins such as NWA, Snoop Doggy Dogg, and Cypress Hill. The origins of the Curbservers can be traced back to the Good Life Cafe and it’s inception in 1989. During the early 90’s, Good Life regulars such as Freestyle Fellowship, Aceyalone, and Abstract Rude would begin to gel and form the original Project Blowed family. Although many luminaries in the LA underground scene would pass through the ‘Life, the Blowdians were there nearly every damn week, freestyling, competing, and observing each other’s respective styles. One Blowdian, Ellay Khule (aka Rifleman) began to form his own little family of rappers within the Blowed clique that came to utilize a unique form of rapping called “chopping” almost exclusively. This family would eventually be known as the Afterlife MCs/Curbserver camp of Project Blowed. The sub-collective’s roster has fluctuated throughout the years as MCs have come and gone, but the main gravitational forces are the Hip Hop KClan (Rifleman Ellay Khule & Pterradacto) and the Chillin Villain Empire (NgaFsh, Riddlore?, Wreccless, and bunch of other cats).
Satellite members include The Eastside Badstads, Of Mexican Descent, Cypher 7, and Legion. Unfortunately, various factors including lack of monetary funds and jail time over the past 15 years have left their physical output spotty at best. The that do (usually homemade, retrospective-style compilations burned onto low-quality cd-rs), however, are mostly excellent slices of low-fi four-track madness.
No Pro-Tools allowed, cuddy! What I’ve composed here is a 19-track compilation of my favorite Afterlife/Curbserver-related material. This mix is by no means comprehensive; it’s merely a collection of the songs I feel the most out of the material I have heard. Some of the tracks have been taken from post-“TROY era” releases, but since a lot of those releases were compilations of previously recorded material, I would estimate the years covered by this material span from roughly 1994 to 2005. If anyone actually takes offense to material post-1997 being represented here, bounce. That’s not the point.
Anyway, here’s the compilation: Echo Leader’s Afterlife/Curbserver Picks 1. NgaFsh, Riddlore?, & Chu – “Crack Kills” 2. Otherwize, Riddlore?, & Chu – “Writin’ Unda Pressure” 3. Chu, NgaFsh, & Riddlore?
– “Hut 2, 3, 4” 4. Hip Hop KClan – “Show’em How 2 Chop” 5. The Eastside Badstads – “Bluntheadz” 6. (Rifleman) Ellay Khule – “Fuck A Cop’ 7. NgaFsh – “Cause & Effect” 8. NgaFsh & Tray Loc – “Party N My Trunk!” 9. (Rifleman) Ellay Khule – “Boogie On” 10.
Hip Hop KClan – “Massive Meltdown” 11. NgaFsh, Riddlore?, & D-Mac – “Role Model” 12. Busdriver – “Life Or Death” 13. Otherwize – “A Wize Man’s Advice” 14. Hip Hop KClan – “Everyday Things” 15.
Tray Loc – “Once Upon A Freak” 16. Pterradacto – “As The World Turns” 17. NgaFsh, Riddlore?, & (Rifleman) Ellay Khule – “Street Lightz” 18.
Hip Hop KClan – “Full Speed Ahead” 19. Of Mexican Descent – “Mosh 2 Da Sun” Enjoyand leave comments if you like the mix. If response is positive enough, I could be persuaded to do another one of these.Echo Leader. (From “Stone Cold Huslter Pt. 1”) What’s good ladies and gentlemen? First off for the introduction, some of y’all might now me and some of you might not. I go by Trav, nothing fancy, straight up “Trav”.
That should be easy enough to remember, even after a fifth of Henny. Some of you might know me from the long running ( Wake Your Daughter Up for those not in the know, after the infamous album). I decided to join the TROY squad on a part time basis when I feel like dropping some old school goodness.
My love for the “old school” hip hop runs deep. I’m an old cat who has been jamming hip hop tapes, CDs, and vinyl since the mid 80’s. I haven’t lived in any hip hop hotbeds during those times, no New York or LA, or even Philly or Chi-Town. I was out in the boonies of the Northwest. Meaning I wet my hip hop thirst mainly through The Source magazine, when it was the bible of hip hop, and through Yo!
It was a lesson. Enough of the biographical bullshit, that’s not why you are reading this. Every now and then, there is a track that comes along from your past and you remember it being the jam back in the day.
Maybe they were just personal favorites, but they just got lost in your subconscious to never be heard from againor are they? I have several tracks that fit this description, stuff I never thought I’d ever think of or hear again.
I have several, Euro K’s “She’s A.”, Blackmale’s “Body Talk”, stuff that might sound kinda booty now, but you loved the shit when it first dropped. I figured I’d cover a few of those every now and then. The first is from a DC artist by the name of DC Scorpio.
Scorpio was mainly a Go-Go artist, a genre that is to DC as is House to Chicago. I’m sure there are Chocolate City natives out there that could shed more light on the career of DC Scropio since I know very little about his career and finding much about it on the net isn’t very easy neither.
He dropped the single, “Stone Cold Hustler” sometime between ’87 and ’90. My experience with him is through catching the video ONCE on Yo! MTV Raps sometime in 1989. Luckily enough I was either recording videos as I was watching, as I often did, or I recorded the entire episode.
As you can tell, the video is a little dated. The fashion is kinda humorous and of course, who the hell uses dancers in their videos now? Regardless, I jammed this video for about six months straight as part of my “get ready for school” routine. I never did get the track on any audio source.
No tapes, records or CDs, and no MP3’s, yeah, we was living in the stone age. As times went on though, I forgot about itkinda. Once the internet started to take grip around ’05, it was my mission to find this track again. Reloop spin 2 crack. In what you think would be a somewhat easy undertaking turned into a royal bitch. It wasn’t until last year that someone finally came through and ripped their vinyl for me that I had “Stone Cold Hustler Pt. That’s right, there is an more go-go sounding part one that is floating around out there.
I actually found that first, before realizing it wasn’t what I was looking for. We have the whole 12 inch vinyl single up for grabs today. It contains the original “Stone Cold Hustler Pt.2” version. What’s so great about this song? It sounds dated, and I’m sure for the cats that don’t like that late 80’s sound with plastic sounding keys and hollow bass lines over the snares of the day will probably not be digging this. For me, it was a combination of the beat and Scorpio’s rhymes.
Not that he was the most lyrical cat, but he made it sound intense and real. His delivery is raw, his vocal tone is somewhat high pitched, but very memorable. Then of course the stories of the hustler tales also was something that hooked me in. The vinyl also contains a couple other mixes, one being the “Jeep Mix”. While not as good as an original, and still dated in it’s sound, but it’s a decent listen. It’s got the cheesy keys and is a little more go-go influenced, but the bass kicks make up for that. The “Jazz Mix” is absolutely horrible, with some new jack swing shit going on in it and horrible keys littering the whole thing.
Overall, not a lost classic in a general consensus, but a lost personal classic most definitely. –Trav DC Scorpio – Stone Cold Hustler II (Washington Hitmakers, 1989?) A1 Stone Cold Hustler II 4:15 A2 Stone Cold Hustler II (Jazz Mix) 4:59 B1 Stone Cold Hustler II (Jeep Mix) 3:52 B2 Stone Cold Hustler II (Instrumental) 3:44. Chances are, if you read this site (or listen to rap music at all) you know about Rap-A-Lot Records. Legendary in the southern hip hop scene, RAL is one of my favorite labels and a sure-shot candidate for “greatest independent ever to do it.” Admittedly, they have enjoyed major-label distribution over the past decade and a half or so, but J. Prince and company rarely have rarely made commercial concessions and have never, ever sold out on their fan base. Not only have they remained staunchly underground for over twenty damn years, they’ve brought us talents such as the Geto Boys (Scarface, Willie D, Bushwick Bill and/or Big Mike), the Convicts, Devin the Dude, and Z-Ro.
Most people know the names above either because of their popularity or their overall impact on rap music (re: ‘Face), but RAL was also home to a gang of damn-near unknown and criminally underrated rappers that released albums through the label. What you know about Mad CJ Mac? What about Menace Clan, or Seagram? These dudes smashed records that people north of the Mason-Dixon line rarely got a chance to hearor maybe they just ignored them.
Because of both limited release and (unfortunately) limited interest, many of Rap-A-Lot’s best offerings are now out of print. Most of these albums can still be found with ease on sites like Amazon or eBay, but expect to drop some serious coin. Last time I checked, Willie D’s solo debut was still pushing three figures. Thus, in the interest of bringing some shine to these oft-ignored released, I present to you a compilation of hand-picked Rap-A-Lot tracks spanning from 1988 to 1996.
Those years are generally revered as the RAL Golden Age, during which most of the label’s classic records were released. I tried not to include any super obvious material like “Straight Gangstaism,” “Mind Playin’ Tricks On Me,” or anything from “The Diary.” If I included some obvious stuff (and I did), well then that’s because the obvious is so damn good, and I’m really only skimming the surface here anyway. I’m not trying to impress anybody with some esoteric b-side mixdown of a forgotten Choice single here. In fact, I’m not really sure who would be impressed by that in the first place. But I digress.
Simply put, these are 15 of my personal throwed-ass favorites. Nothing more, nothing less. I guarantee you will like at least one of these tracks. Hopefully you will like more. Echo Leader’s Vintage Rap-A-Lot Mix (1988-1996) 1. Geto Boys – “Read These Nikes” 2.
Willie D – “Bald Headed Hoes” 3. Ganksta NIP – “Psycho” 4.
The Convicts – “1-900-Dial-A-Crook (featuring Geto Boys)” 5. Scarface – “A Minute To Pray & A Second To Die” 6. Seagram – “The Dark Roads” 7. Menace Clan – “Da Bullet” 8. Too Much Trouble – “Invasion Of The Purse Snatchers” 9. 5th Ward Boyz – “Swing Wide (featuring UGK)” 10.
Big Mike – “Havin’ Thangs” 11. 3-2 – “Coming Down” 12. Poppa LQ – “Why Hate Me?” 13. Odd Squad – “Fa’ Sho” 14. Mad CJ Mac – “Powda Puff” 15. The Terrorists – “Make A Life Out Of Living” -Echo Leader.
This compilation was dropped on UK’s label named. On my copy of the disk there is no year of the release, so maybe we can trust discogs and have it in mind, Enjoy. Network Reps – Simplistic Feat. Shawn J Period, Tru Persona 2.
Tommy Tee – Horizon Feat. Basheeba Earth, Black Sun, The High & Mighty, Network Reps 3.
Mike Zoot – High Drama Feat. Mos Def, Talib Kweli 4.
Network Reps – Dos Collabo Feat. L-Fudge, Mike Zoot, Tru Persona 5.
Homeliss Derelix – Survivin The Game 6. All Natural – 50 Years 7. Homeliss Derelix – Player Status 8.
One For All Brand Nubian
Homeliss Derelix – Downsides 9. Persevere – So They Say 10. Grandmaster Garner (b.k.a. ‘Gundei) – The Solution? J-Live – Longevity 12. Mood – Another Day 13. Mass Influence – Space Cases 14.
Mike Zoot meets Receiver – Blessed 15. 2 Amigos – Get Potential Feat.
F.T., Mike Zoot 16. Purple Penguin – East Of West.
I’m a child of rap’s middle school and middle ground. Compared to some of the other contributors to this blog, I’m practically a teeny-bopper.
I’ve owned about three crates of vinyl in my life (all purchased between ’97 and ’01) and 95% of my hip-hop listening consists of Native Tongue, Wu-Tang, Boot Camp Clik, Hit Squad, and DITC. This is bad because I always feel like an imposter claiming critical expertise when there is so much freakin’ “underground” vinyl only stuff from the 90s that half the world (particularly Scandinavia) seems to be up on. But this is good because I frequently stumble upon things I didn’t know existed. We speak of rap’s yesteryear to marvel over the beats, perhaps even the slang, the gear, the personalities, all style variants.
We presume the history of the rap genre to be mostly a mysterious series of stylistic collisions. Styles come and go and randomly dissipate into the ether, like that. We forget that the grandmasters have armies, that style is not simply unfettered intuitive poetic rumbling but also theory, conjecture, high concept, in short, propaganda. The idea is usually barebones “THISISME,” or “THIS IS IT! THIS IS IT!” or some such similar epiphanic nonsense made important by a puffed chest, an ice grille, an emphatic, insistent tone. Rap insists on moving forward, on burning every opponent or elder statesman, causing much damage to any system it encounters. We stole this lexicon from graffiti, of course, and out of this militant terminology the most desparate, egoistic, and noble endeavors were launched.
Neo-Quasi-Egyptian Cosmic Race Baiting, Jheri-Curled Pseudo-Outlaw Agitprop, Sewerbound Cartoonish Babble – whatever the movement du jour, all victories were in the abstract. The imagined gladiatorial confrontations were simply vehicles for broadcasting ideas, scattering seeds, proclaiming “I a somebody” and carving that message in the clouds or shooting it to the moon. It gradually became very important thing in the collective imagination to be a Johnny Appleseed of some such rap coalition or style or trend. The roughly hewn primary documents – the lyrics, the smashed together samples, the static, the sirens became less noteworthy than the assertions of the propagandists. Rap, as a cultural phenomenon, inexplicably shifted its focus from the poet who stares down shards of glass and sees transcendent hope to the self-styled journalist propping himself for stumbling upon said poet during his formative idealistic years.
Find lightening in a bottle, then dig a hole to pass it on to China, making sure the brand of the smuggler is uttered in the same breath as the brand of the originator. Which is all well and good, because after the blackout of ’77 birthed a million DJs, each advance in listening technology was sure to produce self-proclaimed tastemakers, the too-powerful and often small-minded “heads” that Chuck D.
Warned us about in his autobiography. Anyone with a blog (or an iPod, for that matter) is descendent of this phenomenon.
That everyone is now a critic with the potential to amplify their critiques no matter how kneejerk is not an inherently bad thing. This genre was always a hugely critical, discursive one, and its culture of critique became only more cutthroat and intense with every technological advent. It was probably inevitable that the armchair rap critic snatched power and voice back from the published ‘zines, who had failed for the most part to sustain a generative and nuanced discussion of the art. Day in and day out the blogosphere does that the printed giants cannot – inject insight, dissent, sobriety, contemplation, nuanced critique into the discussion. Do some bloggers simply rehash the same bullshit that can be found in the increasingly emaciated print ‘zines? Is our ability as bloggers/fans/heads/critics/broadcasters/propagandaists/player participators to help the cream rise to the top magnified?
Y equals self, indeed. The proof is in the pudding – when the print ‘zine cannot even offer a remotely credible assessment of the blogosphere, the game has not only changed in nature, but in venue, reach, and every other way. But judging by how slim slim slimmy the rag is looking these days, we’d rather be out in St. Elsewhere, right? Just last month T.R.O.Y. Celebrated is It might not seem very long ago, but I assure you everyday for the last 13 months we’ve been putting in work in hopes you come back to us. From our interviews, to our thought-provoking analysis, comprehensive lists, to our endless amounts of compilations covering samples, b-sides, remixes or complete discographies–we’re out for the gusto!
We’ve managed to bring you guest blogging from the likes of, and. Among others. Our main aim has always been to celebrate the music with our readers. To discover, relive or retrieve music we all appreciate. While hip-hop might be a dying art, or your favorite magazine publications cease to exist or shows like The Box, Pump It Up and Yo!
MTV Rap are long gone, will be here. We realize the hip-hop we all know and love might not exist in the real world anymore, but it will always exists here. Every single day until the T.R.O.Y. Casket drops we’re going to make sure you have a place to reminisce. Whether we’re or campaigning, T.R.O.Y. Will be here.
![Brand nubian discography Brand nubian discography](/uploads/1/2/3/7/123748072/251582194.jpg)
Whether we’re compiling our lists, conducting interviews with, or, T.R.O.Y. Will be here. Will be here because still matters. Because will not be forgotten. Because we should know where the music originates from.
![For For](/uploads/1/2/3/7/123748072/407263192.jpg)
![All All](/uploads/1/2/3/7/123748072/381102226.jpg)
Because it’s important we don’t forget our roots in this rap game. It’s rewarding to get props from Prince Paul, Stretch Armstrong, Dres or when best rap blog, but what’s more rewarding is that you all take away something when you visit us. Hey, at least Quincy got it right! And in case you forgot Creme De La Creme Analysis & Commentary Non Album Tracks Interviews Compilations Guest Bloggers Diamonds In The Rough (Lord Digga Discography) Samples Peace to.