aici...biografii ale lor/lui:-Ice Cube -Snoop Dog -X-Zibit -Lil Jon & East Side Boyz -DMX -Dr. Dre -Eminem -Wu Tang Clan -Ying Yang Twins -Pitbull -Cypress Hill -2pac -NaS formatii romanestii:-Bug Mafia -Parazitii -Zekko & guess who -Barac -Bitza
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_______________________________________ black celebration....that's THE MISSION!!!
LIL JON & EAST SIDE BOYZ Anyone stepping into a club in the last two years has certainly thrown them bows to the crunk stylings of Lil Jon & The East Side Boyz. The Atlanta-based trio of Lil Jon, Big Sam and Lil Bo unleashed the gold-certified Put Yo Hood Up album in 2001, which spawned the smash singles "Bia Bia" (with Ludacris, Too $hort, Big Kap and Chyna White) and the title track (whose rambunctious remix featured Jadakiss and Petey Pablo).
Torchbearers to the hip-hop movement known as "crunk", with its signature rowdy choruses and block-rocking beats, Lil Jon & The East Side Boyz return with their fourth, and best, album to date. Simply put, Kings Of Crunk (which features Jadakiss, Mystikal, Petey Pablo, UGK, 8Ball, Krayzie Bone, Pastor Troy, MJG and E-40, among others) will take crunk music from a regional sensation to a national phenomenon.
"I抦 calling the album 慣he Crunk Chronic?, explains Lil Jon, referring to the landmark Dr. Dre album that introduced the world to Snoop Dogg and launched Death Row Records. "We抳e got so many hot rappers on the album and the production level has stepped up tremendously. It抯 just going to be a good all-around album for everybody, from women to men, from black to white. The energy level of all of the songs is just amazing. It抯 going to be one of those records where it抯 hit after hit after hit."
Lead single "I Don抰 Give A Fuck" will send crowds into a frenzy, as the bone-crushing beat and the spirited guest shots from Mystikal and Krayzie Bone make this cut one of The East Side Boyz抯 best songs to date.
"We were recording in Miami, so Mystikal came to Miami, came in the studio and we were all writing together," Lil Jon says. "We wrote the hook while he was writing his rap. We laid the hook down and by the time we finished, he came in and laid his rap. Krayzie Bone came in with all the guys from Bone. We thought he抎 be hot on that track and he put his verse down quick."
Another effortless collaboration came with "Knockin?Heads Off", which features Jadakiss and Styles. After recording the pounding "Put Your Hood Up" remix with Jadakiss, this lauded member of the LOX, Lil Jon knew that their collaborative magic should strike again. But this time Jon made it more hype, as both Styles P and Jadakiss represent on "Knockin?Heads Off.拻 The results are, as expected, explosive.
That抯 to say nothing of the dream teaming of Lil Jon & The East Side Boyz with fellow A-Town icon, Pastor Troy. The two forces unite on "Throw It Up," a dramatic ode to Southern hoods. A similar display of Southern pride pops up on the driving "Rep Your City" a punishing posse cut with Petey Pablo, UGK, 8Ball and E-40. "There抯 no Southern posse record out, so we wanted to put the best rappers from the South on that joint," Lil Jon says. "We wanted to make a hot record for everybody to represent to." Kings of Crunk 2
Although the majority of Kings Of Crunk maintains the energy of a riot, there are some calmer, more soulful moments. Such is the case with "Diamonds", a guitar-driven cut with MJG and UGK. After collaborating with the two acts extensively, Lil Jon felt it was only right to flip their energy into a hot track for all of his fans in Texas.
"We did that song for Texas," says Lil Jon. "The vibe of the track is on some Texas shit, so we did that song for our Texas fans. They love us for that crunk shit, but we also want to show we can rap if we wanted to. The song just felt good. It has a good flow, good transitions, good build-up, the hook is nice and the guitar feels good."
With such searing results, it comes as no surprise that Lil Jon & The EastSide Boyz filled their album with guest stars. Everyone wanted to record with them. "Last album, we had a lot of people saying they wanted to be on the album," says Big Sam, who delivers his best performance on "Diamonds". "They wanted to know why we didn抰 put them on the album. This time we branched out to everybody we could."
Indeed, Kings Of Crunk stands as an artistic advancement of a group who was already at the top of its game. "We wanted to show the growth of us as a group and step up the game as far as production, the hooks and everything," Lil Jon explains. "We抮e not really considering ourselves rappers, so we got the best rappers in the game to get on the tracks. We do our chant thing, make the beats and let other people who really rap do the rap. We wanted to work with people who we wanted to work with, who we admire and whose music we admired. We went into it like we俽e going to make a hot-ass album."
Truth be told, Lil Jon & The East Side Boyz have been making hot-ass albums for years. The trio emerged in 1996 with their "Who U With", Get Crunk: Da Album and quickly established themselves as one of the South抯 hottest hip-hop acts. With Jon handling the beats, Sam and Bo collaborating on the hooks and lyrics, they became a treacherous three, packing that club energy into each of their recordings.
With 2000抯 We Still Crunk!!, the group returned and became an outright sensation thanks to their party-starting beats, chantable choruses and undeniable energy. Put Yo Hood Up broke the crew on a major level, earning them the respect of hip-hop fans across the country and establishing the crew as the pioneers of crunk. "We brought crunkness to hip-hop," Lil Jon says. "For us to go to New York and do show with Funkmaster Flex at his club, that shows that the crunk thing has really grown. We brought the aspect of putting our records and getting the clubs rowdy."
Now, with Kings Of Crunk, there is no choice but to bow down to these musical masters. "Back in the day, we were just making records for Atlanta, for them to get crunk in the club to," Lil Jon says. "Now, we抮e making records for the nation and the world to get crunk to." Brace yourself.
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DMX Dmx the dog of the squad was born December 18, 1970 in Baltimore Maryland in the projects. His family knew in the area he lived that he would get in trouble alot so he moved to Yonkers New York with his aunt. There he showed a talent in music. He was signed to Columbia Records where his first album was brought out called Born Loser. Peepz wasn't feeling him then in 1996..so he had to come out wiht something rougher and harder. That's when he started appearing on artists songs such as LL cool J, John forte, The Lox , Ma$e and many more.
Peepz was feeling him then so he knew he had to come out with something strong to keep him image alive. That's when 98 came around and he brought out It's Dark and Hell is Hot was under Def Jams Records which sold 3 million copies. Now he is one of the best Eastcost rappers alive. He says he started rappering for the ladies and if he wasn't the best rapper right now he would have been stop rappering...but he is the best.So lets welcome Dmx to our world...Where my doggs at.
If there was one defining characteristic to hip hop in 1997, it was the jiggy factor- an aesthetic of unapologetic flash, fashion and glamour that ruled everything around us and made hip hop life nice and organized. Of course, for each movement there always exists a counter-movement; for each yin there is a yang; and for each designer-label clad champagne sipper, there must be an uncompromised figure lurking in the shadows, ready and willing to reclaim rap from the penthouse to the pavement. Embracing this return to the anarchy, enraged and raw, Def Jam Records presents 1998 as the Year of Pandemonium.
The human embodiment of such exhilarating and unadulterated chaos exists in none other than Ruff Ryders/Def Jam's very latest lyrical sensation, DMX. "I love to write rhymes," says the Yonkers-born MC. "I love to express what real niggas feel, what street niggas feel. They need to be heard. They need to know there is a voice that speaks for them, and I am that voice." Within the tumultuous annals of hip hop's dog-eat-dog history, second chance opportunities are few and far between. However, every now and then the experienced and distinguished bark of a particularly cagey canine re-emerges from rap's chaotic kennels, representing the triumph and perseverance inherent in true greatness.
Winner of The Source magazine's prestigious "Unsigned Hype" award for January of 1991, the native of Yonkers, New York has recently crashed the airwaves and mix tape circuit with a number of unforgettable guest appearances (LL Cool J's "4,3,2,1," Mase's "24 Hours to Live," Mic Geronimo's "Usual Suspects," The Lox's "Money, Power and Respect," Ice Cube's "We Be Clubbin' (Remix)" and Onyx's "Shut 'em Down",) inducing a fever pitch buzz for the release of his kinetic debut single for Ruff Ryders/Def Jam, "Get At Me Dog."
Utilizing a classic, tension-filled BT Express guitar sample, the single's keen balance of street grit and dance floor bounce provides the perfect backdrop for the Dark Man X's unshakably aggressive vocal delivery; one whose distinctively hoarse timbre is but the table setter for his main course of irrepressible rhyme: What must I go through to show you shit is real And I ain't never really gave a fuck how niggas feel I rob and I steal Not cuz I want to, cuz I have to And don't make me show you what the mac do If you don't know by now you slippin' I'm on some bullshit that's got me jackin' niggas, flippin' Let my man and them stay pretty, but I'm a stay shitty Cruddy, it's all for the money Is you with me? Despite all the excitement that currently surrounds him, only a select, informed crew of heads may recall DMX? first go around (with the 1992 promotional single, "Born Loser" for Columbia Records.
Like many talented MC? signed to their first deal, X was left in the unfortunate scenario of languishing while other artists on the label? roster prospered. "Columbia tried to put me behind other groups," DMX reflects of the situation. "They were like, 'Well, we're gonna put out Kriss Kross, then we're gonna put out Cypress Hill and then we're gonna put you out.' And I was like, 'Well I'm better than all of them niggas.' So I didn't wanna wait. They let me out of the contract and I'm glad that they did." "I always knew there would be a point when someone would say, 'Somebody needs to make money off this nigga cus he's hot'. That's when Irv Gotti brought me to Lyor Cohen at Def Jam. I guess it's that point now. I guess the world wasn't ready for the gutter until now. Now they ready for the gutter shit, so now they get the fuckin' gutter."
Having originally earned his name by way of his human beat boxing expertise, DMX later experimented with other acronyms true to his evolving, revolutionary vocal steez (Divine Master of the Unknown) while honing his skills around his home in Yonkers' School Street Projects. Along the way, he bumped heads and built long-lasting friendships with fellow Y-O residents and Bad Boy Recording artists, The Lox. "Those are the pups," DMX says of Bad Boy's latest rising stars. "I trained 'em, raised 'em, they doin' their thing and I'm proud of them. I didn't teach I em everything they knew cuz they were doin' it before me, but I influenced them."
With the entire Yonkers crew helping out on It's Dark And Hell Is Hot, on the smoldering "Niggaz Done Started Something," the bonds obviously remain strong. The Album's additional sterling guest spots include Brooklyn's finest, Jay-Z, adding his acid-tongued wit and wisdom to the downtempo stinger, "Murdergram," along-side Ja who makes an impactful debut. But ultimately it's the range, cleverness and fierceness of DMX's solo showcases that truly distinguishes It's Dark And Hell Is Hot from the remainder of the rap hordes. A startling descending string line provides a dramatic backdrop for "Stop Being Greedy's," philosophies of rap economic opportunity.
"Crime Story," produced by Irv Gotti, finds DMX dropping a compelling heist-and-duck narrative over a slinky, Blaxploitation flick-style bassline-and-congas rhythm track. In the tradition of lyrical giants like Slick Rick and Biggie Smalls, "Damien," finds our hero trading verses with himself in the character of a fake friend with evil intentions. Meanwhile, "How's It Goin' Down?" displays the male and female scenario of this dog's persona via a romantic episode without your typical sappy-ass ending. All of which re-affirms DMX's role as one of hip hop's most exciting "new" voices.
If the uncompromising nature of It's Dark And Hell Is Hot, musical menu isn't enough to intrigue the fickle minds of rap fanatics, leave it to this human pitbull's own description of his newest creations to cut right to the heart of matters: "It's the same shit they been gettin', man: Raw dog, no condom, straight in the ass, real" This dog's day has arrived. Get at DMX.
Lately he's been away for a while, writing a book "E.A.R.L.: The Autobiography of DMX"(with Smokey D. Fontaine), making a movie "Cradle 2 The Grave"(with martial-arts star Jet Li) and working on his fifth album "It's Not A Game", which was originally slated for a fall 2002 realease.
DMX has been married for 13 years to his wife Tashera Simmons. They have three sons: Xavier, Tacoma and Shawn.
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_______________________________________ black celebration....that's THE MISSION!!!
PITBULL If you ask most outsiders about the origins of 'Crunk', they usually point to Atlanta, thanks to the pioneering efforts of artists like 'Lil Jon' and 'DJ Smurf'. Close, says up and coming Southern rapper Pitbull, but no dice. Crunk really started down at the bottom.
"Crunk really got started in Miami, with bass music," he said. "Crunk ain’t nothin’ but bass music slowed down. And bass music got started here in Miami, with 'Luke', 'Poison Clan', people like that. Miami is the New York of the South. And even after all the success we still get slept on, but that’s about to change."
And Pitbull is at the forefront of that change, rolling with the Crunk movement’s premier label - TVT Records - home to super producer/artist/impresario 'Lil Jon', as well as zany Dirty South duo 'Ying Yang Twins', who, between the two of them, have dominated the airwaves over the past two years. Pitbull, is on the way to following-up their success with his debut, M.I.A.M.I. (Money Is a Major Issue). The 23-year-old Cuban-American verbalist has more hardcore lyrics, diverse cultural influences and freestyle skills than most artists would not know what to do with. With that much in his corner, success is a given.
Part of that comes from his upbringing, not to mention his surroundings. Miami’s cultural landscape is one of the most cosmopolitan in the world and Pitbull draws on it’s rich environment for inspiration. "I’ve lived all around this place," he said. "That’s one thing people don’t realize about Miami -- we have all kinds of people down here. I have lived around people from both here and overseas. So early on I learned to appreciate different types of music."
Pitbull’s nickname belies the hunger and drive that he brings to his profession - making it to the top is more than just a goal; its an obsession.
Despite his relatively tender age living in Miami has given Pitbull as much life experience as someone twice his age. He got his culture early, almost before he even discovered Hip-Hop. His parents, both first generation Cuban immigrants had him memorize the poems of legendary Cuban poet, Jose Martí. This ritual instilled in him an early appreciation for the power of language, as well as the importance of his Cuban roots and looking beyond his own experience for inspiration.
While a lot of 'Sunshine State' (Miami) rappers focus their hip-hop attentions strictly below the Mason-Dixon line, the teenage Pitbull’s wide interests led him to classics like Nas "Illmatic" and G-Funk blueprints like "The Chronic" and "Doggystyle." Soon he was developing the freestyle skills that would later earn him fame, flooding the Miami streets with mixtapes (like his latest, "Unleashed Volume 3".
After missing connections with Irv Gotti - a chance meeting brought them into the same studio, but the planned recording session never happened - Pitbull turned to home base for his entry in the game. In the late 90s, he was tabbed by bass music legend Luke to flow over his hit single "Lollipop". " I am grateful for him, not just because "Lollipop" did mad business all through the south,” Pitbull says. “But because he helped me learn the ropes of the business."
Pitbull’s next stop was with the producing/management team of the Diaz brothers, which led to a working relationship with Lil Jon, and a freestyle slot on Lil Jon & the East Side Boyz’ double platinum album, Kings of Crunk. Both relationships culminated with co-production of Pitbull’s debut single “Culo”, which is heating up the charts throughout Florida and the South.
On the eve of his debut, Pitbull explains why he signed with TVT Records, “They let me know I could have my hand in the pot. That’s a good feeling, and it lets me know I’m going to have a long career in this game.” [source: TVT Records record label]
_______________________________________ black celebration....that's THE MISSION!!!
Wu Tang Clan Biography: Emerging in 1993, when Dr. Dre's G-funk had overtaken the hip-hop world, the Staten Island, NY-based Wu-Tang Clan proved to be the most revolutionary rap group of the mid-'90s -- and only partially because of their music. Turning the standard concept of a hip-hop crew inside out, the Wu-Tang Clan were assembled as a loose congregation of nine MCs, almost as a support group. Instead of releasing one album after another, the Clan was designed to overtake the record industry in as profitable a fashion as possible -- the idea was to establish the Wu-Tang as a force with their debut album and then spin off into as many side projects as possible. In the process, the members would all become individual stars as well as receive individual royalty checks.
Surprisingly, the plan worked. All of the various Wu-Tang solo projects elaborated on the theme the group laid out on its 1993 debut, the spare, menacing Enter the Wu-Tang (36 Chambers). Taking their group name from an powerful, mythical kung fu sword wielded by an invincible congregation of warriors, the crew is a loose collective of nine MCs. All nine members work under a number of pseudonyms, but they are best known as RZA (formerly Prince Rakeem; aka RZArecta, Chief Abbot, and Bobby Steels; born Robert Diggs), GZA (aka the Genius, Justice, and Maxi Million; born Gary Grice), Ol' Dirty Bastard (aka Unique Ason, Joe Bannanas, Dirt McGirt, Dirt Dog, and Osirus; born Russell Jones), Method Man (aka Johnny Blaze, Ticallion Stallion, Shakwon, Methical, and MZA; born Clifford Smith, Raekwon the Chef (aka Shallah Raekwon and Lou Diamonds; born Corey Woods), Ghostface Killah (aka Tony Starks and Sun God; born Dennis Coles), U-God (aka Golden Arms, Lucky Hands, Baby U, and 4-Bar Killer; born Lamont Hawkins), Inspectah Deck (aka Rebel INS and Rollie Fingers; born Jason Hunter), and Masta Killa (aka Noodles; born Elgin Turner).
Although RZA wasn't one of the two founding members -- GZA and Ol' Dirty Bastard were the first -- the vision of the Wu-Tang Clan is undoubtedly due to his musical skills. Under his direction, the group -- through its own efforts and the solo projects, all of which he produced or co-produced -- created a hazy, surreal, and menacing soundscape out of hardcore beats, eerie piano riffs, and minimal samples. Over these surrealistic backing tracks, the MCs rapped hard, updating the old-school attack with vicious violence, martial arts imagery, and a welcome warped humor. By 1995, the sound was one of the most instantly recognizable in hip-hop.
It wasn't always that way. Like most rappers, they began their careers trying to get ahead whatever way they could. For RZA, that meant releasing a silly single, "Ooh, I Love You Rakeem," on Tommy Boy Records in 1991. On the advice of his label and producers, he cut the humorous lover-man single, which went absolutely nowhere. Neither did the follow-up single, "My Deadly Venom." The experience strengthened his resolve to subvert and attack record-industry conventions. He found partners in GZA and Ol' Dirty Bastard. GZA had also released a record in 1991, the full-length Words from the Genius on Cold Chillin', which was preceded by the single "Come Do Me." Both records were unsuccessful. After the failure of his album, GZA teamed with an old friend, Ol' Dirty Bastard, to form the crew that would evolve into the Wu-Tang Clan within a year.
RZA quickly became part of the crew, as did several other local MCs, including Method Man, Ghostface Killah, Raekwon, U-God, Inspectah Deck, and Masta Killa. The nine rappers made a pact to a form an artistic and financial community -- the Wu-Tang Clan wouldn't merely be a group, it would be its own industry. In order to do this, they decided to establish themselves through a group effort and then begin to spread the word through solo projects, picking up additional collaborators along the way and, in the process, becoming stronger and more influential.
The first Wu-Tang Clan single, the hard-hitting "Protect Ya Neck," appeared on their own independent label and became an underground hit. Soon, the record labels were offering them lucrative contracts. The group held out until they landed a deal that would allow each member to record solo albums for whatever label he chose -- in essence, each rapper was a free agent. Loud/RCA agreed to the deal, and the band's debut album, Enter the Wu-Tang (36 Chambers), appeared in November 1993. Enter the Wu-Tang (36 Chambers) was both critically acclaimed and commercially successful; although its financial success wasn't immediate, it was the result of a slow build. "C.R.E.A.M.," released in early 1994, was the single that put them over the top and won them a devoted following. The group wasted no time in pursuing other projects, as a total of five of the members -- GZA, RZA, Raekwon, Method Man, and Ol' Dirty Bastard -- landed solo contracts as a result of the success of "C.R.E.A.M." RZA was the first to re-enter the studio, this time as a member of the Gravediggaz, a group he founded; in addition to RZA, who was rechristened RZArecta, the group included De La Soul producer Prince Paul, Stetsasonic's Frukwan, and Brothers Grimm's Poetic. The Gravediggaz's album 6 Feet Deep appeared in August 1994; it eventually would go gold. Labeled "horrorcore" by the group, it was an ultra-violent but comical tour de force that demonstrated RZA's production prowess. Shortly after its release, Raekwon released his first single, "Heaven and Hell," on the Fresh soundtrack; the song was produced by RZA and featured Ghostface Killah.
The first Wu-Tang member to become a major solo star was Method Man. In November 1994, he released Tical, the first official Wu-Tang solo album. Again, RZA produced the album, creating a dense, dirty sonic collage. Tical became a big hit in early 1995, as did Meth's duet with Mary J. Blige, "I'll Be There for You/You're All I Need to Get By." Ol' Dirty Bastard followed Method Man's breakthrough success with Return to the 36 Chambers, which appeared in March 1995 on Elektra Records. Thanks to the hits "Brooklyn Zoo" and "Shimmy Shimmy Ya," the record became a gold success. Out of all the solo albums, it was the one that sounded the most like Enter the Wu-Tang, although it did have a more pronounced comic bent, due to Ol' Dirty's maniacal vocals. Tales From the Hood, a movie soundtrack featuring Inspectah Deck's first solo track, appeared in May.
Later in 1995, the two most critically acclaimed Wu-Tang records appeared: Raekwon's Only Built 4 Cuban Linx and GZA's Liquid Swords. Raekwon released his album on Loud/RCA in August 1995; the record featured extensive contributions -- a total of 12 songs -- from Ghostface Killah, his greatest exposure yet. GZA's solo album was released by Geffen Records in November 1995. In February 1996, Ghostface Killah's first solo track, "Winter Warz," appeared on the Don't Be a Menace to South Central While You're Drinking Your Juice in the Hood soundtrack. Later that October, he released his own solo debut, the critically acclaimed, '70s soul-flavored Ironman; the record was the first released on RZA's new Epic subsidiary, Razor Sharp Records.
The Wu-Tang Clan finally reconvened and returned with their second album, the double CD Wu-Tang Forever, in June of 1997. Hugely anticipated, the album entered the charts at number one -- selling over 600,000 copies in its first week alone -- and quickly spawned the hit single "Triumph." There were several contributions from guest associate Cappadonna (born Darryl Hill), who'd appeared on Only Built 4 Cuban Linx and Ironman, and would later become the tenth member of the Wu-Tang Clan. The group toured extensively in support of the album, getting into a few minor scuffles with the law along the way.
In the meantime, the next phase of the Wu-Tang plan started to take shape: unearthing new associates and spinning the resulting stable of talent into a brand-name franchise. A group of Wu protégés dubbed Killarmy released their debut album, Silent Weapons for Quiet Wars, on Priority Records in August 1997, drawing heavily upon the Clan's martial imagery. 1998, however, was truly the year for Wu-related side projects. In March, Cappadonna released his solo debut, The Pillage, on Columbia. The same month, Killah Priest -- not an official part of the Clan, but a frequent guest and a member of another protégé group, the Sunz of Man -- made his solo debut on Geffen Records with Heavy Mental, an acclaimed album filled with spiritual imagery that established him as one of the more distinctive solo artists in the Wu-Tang orbit. In July the Sunz of Man released their own debut album, The Last Shall Be First, on Red Ant, and yet another group of up-and-comers dubbed the Wu-Tang Killa Bees released their first album, The Swarm, Vol. 1, on Priority, featuring a number of guest appearances by Wu members and associates. In August, Killarmy issued their second album, Dirty Weaponry.
1998 was also the year Ol' Dirty Bastard began a long and bizarre saga of erratic behavior and run-ins with police that found him making headlines with alarming (and ridiculous) regularity. In February he interrupted Shawn Colvin's acceptance speech at the Grammy Awards to protest the Clan's loss in the Best Rap Album category; shortly thereafter, he announced he was changing his name to Big Baby Jesus, an idea that never picked up steam. This was only the beginning -- over the next year and a half, ODB would be arrested for a litany of offenses that included assault, shoplifting, making terrorist threats, wearing body armor after being convicted of a felony, possessing cocaine, and missing countless court dates. Plus, in early 1999, the whole Clan fell under suspicion of masterminding a gun-running operation between Staten Island and Steubenville, OH -- charges that were never proven to have any validity.
In the midst of this legal sideshow, the Clan kicked off a second round of solo projects in late 1998. This time around, RZA curtailed his activities somewhat, making appearances but often leaving the majority of the production duties to his protégés. Still, he released his own solo debut, the soundtrack-styled RZA as Bobby Digital in Stereo, in November 1998 on V2; the same month, Method Man's second album, Tical 2000: Judgement Day, debuted at number two on the charts. June 1999 saw the release of an excellent singles compilation, RZA Hits, which covered the first Wu-Tang album and the first round of solo albums (1994-1995); the very next week, GZA's second album, Beneath the Surface, was released. September brought plenty of new Wu product: Ol' Dirty Bastard's Nigga Please, released while the rapper was in rehab; Method Man's acclaimed duo album with Redman, Blackout!; and the first-ever solo album by Inspectah Deck, Uncontrolled Substance, which appeared on Relativity. Another Wu member made his solo debut in October, when U-God issued Golden Arms Redemption on Priority; Raekwon returned the following month with Immobilarity. Finally, Ghostface Killah issued his well-received sophomore set, Supreme Clientele, in January 2000.
However, this second round of Wu-Tang solo albums didn't attract as much attention, either critically or commercially. True, Method Man remained a popular solo star (and, to a lesser degree, so did ODB), and reviews were highly positive for Ghostface Killah (and, to a lesser degree, GZA). But the Wu franchise was suffering from inconsistency, overexposure (they'd spawned a clothing line, a video game, a comic book, and more), and a flood of musical product that even diehards found difficult to keep up with. Their once-distinctive sound was becoming commonplace and diluted, not just through the collective's own releases but also RZA's many imitators; plus, by this time, Timbaland had taken over the mantle of hip-hop's most cutting-edge producer.
Indie filmmaker Jim Jarmusch commissioned RZA to compose a soundtrack for his acclaimed Ghost Dog: The Way of the Samurai, the results of which were unveiled in early 2000. Other than that, the Clan reconvened for a new album and was mostly quiet during much of 2000 -- aside from Ol' Dirty Bastard, who unfortunately continued to spiral out of control. He spent some time in a California jail for violating the terms of his probation, but appeared to be on the right track when suddenly, in October -- with just two months of rehab to go -- he escaped the California facility and spent a month on the run from the law. Fans were shocked when ODB turned up on-stage at the New York record-release party for the Clan's new album, The W, which was released with considerably less fanfare in November 2000. A leaner, more focused collection, The W featured only one track from ODB and pictured Cappadonna as a full-fledged member of the group (though he remained unnamed on their official contract with Loud).
ODB managed to exit the club after his surprise performance but was soon captured by police in Philadelphia and extradited to New York to face charges of cocaine possession. In April 2001, he cut a deal with prosecutors that resulted in a sentence of two to four years in state prison, bringing his outlaw saga to a sad end. In August 2001, RZA issued his second Bobby Digital album, Digital Bullet; November brought solo albums from Ghostface Killah (Bulletproof Wallets) and Cappadonna (The Yin and the Yang). This time, though, there was no full round of solo projects in between Wu albums; the full group (minus ODB) assembled for their fourth album, Iron Flag, which was released in December 2001, just one year after its predecessor. Despite a lot of activity for the various solo projects, Wu-Tang released only a live album, 2004's Disciples of the 36 Chambers, during the subsequent five years. That document was one of the last places to hear Ol' Dirty Bastard, who died of a heart attack in November 2004. In early 2007, in anticipation for the Clan's upcoming album, 8 Diagrams, Nature Sounds issued the Mathematics-compiled Unreleased, a collection of new remixes and hard-to-find, previously unreleased songs from the group and some of their friends. Stephen Thomas Erlewine & Steve Huey, All Music Guide
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SNOOP DOG As the embodiment of '90s gangsta rap, Snoop Dogg blurred the lines between reality and fiction. Introduced to the world through
Dr. Dre's The Chronic, Snoop quickly became the most famous star in rap, partially because of his drawled, laconic rhyming and partially because the violence that his lyrics implied seemed real, especially after he was arrested on charges of being a murder accomplice. The arrest certainly strengthened his myth, and it helped his debut album, 1993's Doggystyle, become the first debut album to enter the charts at number one, but in the long run, it hurt his career. Snoop had to fight charges throughout 1994 and 1995, and while he was eventually cleared, it hurt his momentum. The Doggfather, his second album, wasn't released until November 1996, and by that time, pop and hip-hop had burned itself out on gangsta rap. The Doggfather sold half as well as its predecessor, which meant that Snoop remained a star, but he no longer had the influence he had just two years before.
Nicknamed Snoop by his mother because of his appearance, Calvin Broadus (born October 20, 1972) was raised in Long Beach, CA, where he frequently ran into trouble with the law. Not long after his high school graduation, he was arrested for possession of cocaine, beginning a period of three years where he was often imprisoned. He found escape from a life of crime through music. Snoop began recording homemade tapes with his friend Warren G, who happened to be the stepbrother of N.W.A's Dr. Dre. Warren G gave a tape to Dre, who was considerably impressed with Snoop's style and began collaborating with the rapper.
When Dre decided to make his tentative first stab at a solo career in 1992 with the theme song for the film Deep Cover, he had Snoop rap with him. "Deep Cover" started a buzz about Snoop that escalated into full-fledged mania when Dre released his own debut album, The Chronic, on Death Row Records late in 1992. Snoop rapped on The Chronic as much as Dre, and his drawled vocals were as important to the record's success as its P-Funk bass grooves. Dre's singles "Nuthin' But a 'G' Thang" and "Dre Day," which prominently featured Snoop, became Top Ten pop crossover hits in the spring of 1993, setting the stage for Snoop's much-anticipated debut album, Doggystyle. While he was recording the album with Dre in August, Snoop was arrested in connection with the drive-by shooting death of Phillip Woldermarian. According to the charges, the rapper's bodyguard, McKinley Lee, shot Woldermarian as Snoop drove the vehicle; the rapper claimed it was self-defense, alleging that the victim was stalking Snoop. Following a performance at the MTV Music Awards in September 1993, he turned himself over to authorities.
After many delays, Doggystyle was finally released on Death Row in November of 1993, and it became the first debut album to enter the charts at number one. Despite reviews that claimed the album was a carbon copy of The Chronic, the Top Ten singles "What's My Name?" and "Gin & Juice" kept Doggystyle at the top of the charts during early 1994, as did the considerable controversy over Snoop's arrest and his lyrics, which were accused of being exceedingly violent and sexist. During an English tour in the spring of 1994, tabloids and a Tory minister pleaded for the government to kick the rapper out of the country, largely based on his arrest. Snoop exploited his impending trial by shooting a short film based on the Doggystyle song "Murder Was the Case" and releasing an accompanying soundtrack, which debuted at number one in 1994. By that time, Doggystyle had gone quadruple platinum.
Snoop spent much of 1995 preparing for the case, which finally went to trial in late 1995. In February of 1996, he was cleared of all charges and began working on his second album, this time without Dre as producer. Nevertheless, when The Doggfather was finally released in November 1996, it bore all the evidence of a Dre-produced G-funk record. The album was greeted with mixed reviews, and it initially sold well, but it failed to produce a hit along the lines of "What's My Name?" and "Gin & Juice." Part of the reason of the moderate success of The Doggfather was the decline of gangsta rap. 2Pac, who had become a friend of Snoop during 1996, died weeks before the release of The Doggfather, and Dre had left Death Row to his partner Suge Knight, who was indicted on racketeering charges by the end of 1996. Consequently, Snoop's second album got lost in the shuffle, stalling at sales of two million, which was disappointing for a superstar.
Perhaps sensing something was wrong, Snoop began to revamp his public image, moving away from his gangsta roots toward a calmer lyrical aesthetic. He also began making gestures toward the rock community, signing up to tour with Lollapalooza 1997 and talking about two separate collaborations with Beck and Marilyn Manson. The solo Da Game Is to Be Sold Not to Be Told, Snoop's first effort for No Limit, followed in 1998; No Limit Top Dogg appeared a year later and Dead Man Walkin' the year after that. Tha Last Meal followed in December of that same year. The heavy release schedule resulted in varying musical quality from album to album, but by the turn of the century, Snoop had become such a cultural phenomenon that his albums almost became secondary to the personality behind them. An autobiography appeared in 2001, followed by a stream of movie roles in several high-profile pictures. Late in 2002, Snoop released his first album for Capitol, Paid tha Cost to Be da Bo$$. He then switched to Geffen for 2004's R&G (Rhythm & Gangsta): The Masterpiece. The hit album was followed a year later by Welcome to tha Chuuch: Da Album, a collection of tracks from the Welcome to the Chuuch mixtape series.
That same year he hosted a West Coast peace summit in hopes of squashing all beefs. In 2006, he appeared on Tha Dogg Pound's Cali Iz Active and Ice Cube's Laugh Now, Cry Later. Toward the end of the year the intentionally leaked "My Peoples" freestyle apppeared. The track paid tribute to many involved in Cali's Latin rap community, so it was no big surprise when "Vato" with Cypress Hill's B Real became his next album's leadoff single. The hard and very G-Funk Tha Blue Carpet Treatment triumphantly capped off a year of heavy West Coast activity. ~ Stephen Thomas Erlewine, All Music Guide
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ICE CUBE Ice Cube is one of the most enduring, versatile, controversial and engaging figures ever to emerge out of hip-hop. At 30, he is one of this generation's cultural icons. After establishing himself as a film phenomenon, acclaimed actor, screenwriter, director and producer, Ice Cube (born O'Shea Jackson) comes back to his solo music career with a vengeance. He has spent most of 1999-2000 working at an astonishing rate, completing not one, but two full-length albums the first part titled War & Peace - Volume 1 (The War Disc) followed by the current album, War & Peace - Vol. 2 (The Peace Disc).
The first volume War was released on November 17, 1998 on Priority Records with Peace following on March 21, 2000. Just as his classic Death Certificate presented a "Death Side" and a "Life Side", Cube explores the war/peace dialectic in well over 2 hours of new music.
Further fueling rumors of a NWA reunion album, War & Peace Vol. 2 (The Peace Disc) opens with the simple greeting "Hell Low", a Dre produced selection (co-produced by Mel Man) featuring Dr. Dre and MC Ren; a comedic track "You Ain't Gotta Lie" featuring Chris Rock and appearances by Krayzie Bone on the commercial single "Until We Rich." Other notable artists featured on the album are Mack 10 and Jayo Felony with production on several tracks by Chucky Thompson, Battlecat, and Puffy to name a few.
The War record allowed Cube to throw down the gauntlet on tracks like "Dr. Frankenstein," "Once Upon A Time In the Projects 2" and on the single "Pushin' Weight," Cube raised the stakes for the present day rap game while reclaiming his legacy. War provided cutting edge soundscapes with mega-platinum rockers Korn making a guest appearance on "Fuck Dying." Cube performed with Korn on their "Family Values" tour. "To expose Korn fans to my music is cool, because most of their audience is only exposed to my movies. It reminded me of when I went out on Lollapalooza (1992), where I was the alternative to that alternative show" says Cube of the experience.
Although Cube keeps it gangsta on the Peace, LP, Vol. 2 is more dance/club oriented using samples from popular party anthems crating a lighter mood. Cube can't say enough about the music. "War and Peace are my best records in years. The production on both albums is far superior to anything I've ever released. Peace is gonna be a different look; it's a different record than any I have ever done. Lyrically, War covers a lot of ground-moving from rap's battlegrounds to the Los Angeles killing fields." "Ghetto Vet," "Penitentiary" and the masterful "3 Strikes You In" are as incisive pieces of social commentary as he's ever penned. Just as every coin has two sides, Peace represents the other side of Cube.
Ice Cube caught the rap bug in the ninth grade when a classmate named Kiddo challenged him in a typing class. "One day, he asked me if I ever wrote a rap before. I told him, you write one, I write on and we'll see which one come out better and I won," recalls Cube. He went on to form his first crew, C.I.A., with future collaborators Sir Jinx and K-Dee, and began hanging in the burgeoning South Central Club scene. Through Jinx's cousin, he met Dr. Dre and together they began rhyming for nightclub patrons over the hits of the day. "We was doing these dirty raps strictly for the club audiences," he says. "When that started catching on, we started making mix tapes. We would rap on what was going on in the neighborhood and they were selling. Eazy-E had a partner named Ron-de-Vu, Dre was in the World Class Wreckin Crew, and I was in C.I.A. We were all committed to these groups, so we figured we'd make an all-star group and just do dirty records on the side." That all-star group would become known as Niggaz With Att
itude (NWA).
In early 1987, Cube wrote "Boyz-N-The-Hood" for Eazy-E and "Dopeman" and "8-ball" for NWA and they went into the studio to record. He knew he was doing something different, but wasn't sure about his prospects. "The rap game wasn't looking too solid at that time, so I decided to go ahead and go to school." When he left for The Phoenix Institute of Technology, the records were just hitting the streets. By the time he completed his degree a year later, both Eazy's and NWA's singles had sold hundreds of thousands of copies. He came back to write the rhymes for the albums that would be Eazy Duz It and Straight Outta Compton and the world would never be quite the same.
NWA's Straight Outta Compton, in retrospect, was the most influential album since The Sex Pistols' Never Mind the Bollocks. Straight Outta Compton didn't break taboos so much as blow them away with rapid-action scattershot. The excitement they inspired was proportional to the outrage they incited. Newsweek dismissed the record as "The Godfather in gutter language." FBI Assistant director, Milt Ahlerich, sent a letter to the label condemning the record as encouraging "violence against and disrespect for the law-enforcement officer." Ahlerich warned, "Advocating violence and assault is wrong and we in the law enforcement community take exception to such action." Sales rocked past platinum. "Straight Outta Compton has had the biggest impact on rap music than any other album to this day," says Cube. "We opened the door where you can say exactly what you really want to say without having to sugar-coat , without having to hold back."
But by 1989, things were beginning to sour between Cube and Jerry Heller, then NWA's manager. Cube was involved in writing 10 of the 13 tracks on Straight Outta Compton, including the entirety of "Dopeman," "8 Ball" and "Express Yourself" and he felt he was due more than the $30,000 that he received for records that had sold 3 million units. "I was broke before I jumped in that shit, so it wasn't hard to walk away. I preferred it that way," Cube recalls. "At the time the two producers that was worth fucking with was Dr. Dre and The Bomb Squad. If I couldn't get Dre, I was going to the Bomb Squad." He broke east and began collaborating with Public Enemy.
Energized by the rush of liberation and inspired by the exchange of ideas with Chuck D and the other members of the Public Enemy camp, he turned in the stunning Amerikkka's Most Wanted. "Fuck you, Ice Cube!" went the chorus of "The Nigga You Love to Hate," and immediately the hip-hop nation was screaming it. The record went gold in 10 days, platinum in three months. "I can never play out," smiles Cube, "because people are still biting my styles from that record."
In his book It's Not About A Salary: Rap, Race and Resistance, Brian Cross wrote of the album's impact, "Amerikkka's Most Wanted sought to give a face to (the) criminal underclass and this face was to be furrow-browed, jheri-curled, beanie-clad face of Cube himself. Cube to this day is the foremost hip hop meta-critic, providing listeners not only with stories, but potential criticism of his practice from different perspectives."
The follow-up EP Kill At Will went gold just as quickly. In contrast to the booming "Endangered Species" remix and the club friendly "Jackin For Beats," "Dead Homiez" was a surprise. When it was first released, Cube ran the risk of the appearing soft, exposing a vulnerable, sentimental side; instead, audiences embraced the track. He had correctly measured the depth of emotion amongst his violence-weary fans. "Dead Homiez" created an entirely new theme for gangsta rappers. Cube was thinking seven steps ahead of the game.
"I was reading a lot of books. I was just learning about the world, paying attention to world history, political views. Up to that point, I was just rolling through life trying to get money," says Cube. His readings "gave me my freedom mentally to deal with this world. The main focus on what I was learning was coming from Minister Louis Farrakhan and the honorable Elijah Muhammed. I did a lot of self-studying knowledge of self, because I'm far from a follower."
On Halloween 1991, Ice Cube's second solo LP, Death Certificate had advance orders of over a million copies and debuted at number 2 on the Billboard Charts. Death Certificate spoke to what it meant to be a young black male in an increasingly pressured space, one strained by deindustrialization, drug economies, state repression, police brutality, and immigration. Released just months before the LA riots, it singularly captured the tenor of the times, the feel of a generation. On April 29 1992, Death Certificate sounded prophetic.
That year, The Predator, debuted at #1 on the pop and R&B charts simultaneously and went platinum in four days. The on-the-corner commentaries of "When Will They Shoot?, "I'm Scared," "Now I gotta Wet'cha" and "We had To Tear This Muthafucka Up" were rounded out by the hits "Wicked" and "It Was A Good Day." Cube had arrived as the chronicler of his generation.
Lethal Injection was his fourth album in four years, but although it also went platinum on the hot groove of the George Clinton collaboration "Bop Gun" and the haunting "Ghetto Bird," Cube felt the rap game changing subtly. "At that time, nobody wanted to hear that kind of rap. The whole (conscious) era had peaked with the release of the Malcolm X Movie. The G-funk era was coming in. It was a whole different tone in the music. People didn't want to take rap that serious," he says.
"I was doing movies, directing videos, trying to produce other groups," Cube says. He had directed dozens of videos (he has done 20 to date) and his filmmaking career was set to take off. He had always struck a compelling image in his own videos, whether the rending "Dead Homiez," the pulsing "Steady Mobbin,' or the frantic "Natural Born Killaz."
Based on his amazing performance in John Singleton's "Boyz in the Hood," however, he was in demand. He went on to appear in "Trespass," "CB4," Charles Burnett's "The Glass Shield," Singleton's "Higher Learning," Anaconda," and most recently costarred in "3 Kings" with George Clooney. After co-screenwriting the script "Friday" with DJ Pooh - a balancing, hilarious view of a day in the life of a couple of brothers from South Central - Ice Cube followed up with "Next Friday" the successful, top grossing film which outsold blockbuster films "Stuart Little," "The Green Mile," and "The Hurricane" it its first week becoming the most successful New Line Film next to the Austin Power's sizzler. Cube also executive produced and starred in "Dangerous Ground" and "The Player's Club," a film he wrote, co-produced and directed to critical acclaim. The movie grossed over $25 million in domestic receipts alone. "People always ask, "When are you gonna stop doing records? Or 'Do you prefer doing movies or records?" Cube respon
ds, "If opportunities present they self, you take them. I think I can do this from all different sides of entertainment," he says.
Cube somehow also found the time to oversee the production of a number of homies. Two of them, Mack 10 and WC, joined him to become the Westside Connection, after a few successful outings. "I was tired of doing solo albums," Cube says. "I wanted to feel the group thing. With me, Mack 10 and WC, our chemistry was so tight that the Westside Connection was born." The group's allegiance to the West courted controversy. "Our whole purpose from the beginning was to make sure that people wasn't gonna just snatch our style from under us and give us no credit and no props," he says. "I'm not really tripping on straight being from the west coast. But when I was doing it, I heard a lotta shit being said about the west coast, so I stood up for the west coast." With Bow Down's double platinum sales, seems there must have been a lot of bi-coastal unity after all. Westside Connection is scheduled to release another album May 2000.
Finally it became time to return to the solo spotlight. "When you trying to do records, write a movie, produce a movie, it's hard to make good music. I wanted to put all the other stuff down, be finished with The Player's Club and do my album, he says, "War & Peace is my best record since Death Certificate."
Although hip-hop fans are notoriously fickle, Cube has stayed atop the games for over a decade. "I still sell the same amount of records. I still get a big reception," he says. "In hip hop, people always want new artists, but when I really get down, nobody puts a record together better than me. So I'll always be here. Long as I stay consistent and keep my heart in it, I'm a be here."
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X-ZIBIT Name: Xzibit Birth name: Alvin Nathaniel Joiner Age: 30 Date of birth: 8th January 1974 Place of birth: Detroit, Michigan, USA Height: 6' (1.83 m) Nickname: X Trade mark: Always has braids or corn rows in his hair. Has a husky voice Family: Son: Tremaine
Biography:
Xzibit, born into a tough life living in Detroit, also had to grow up without his mother by his side. She sadly passed away when he was only 9. He was then living with his dad. Without any entertainment to occupy himself he started writing rhymes at age 10, he didn't even have a radio to listen to. His Father and step-mom moved the family to New Mexico. Xzibit was then taken out of home at 14 after constantly getting into trouble. When he turned 17 he was released from the state as he was now considered an adult. Xzibit then made his way to California looking to start his music career. Xzibit arrived in California on a mission to get a deal, so he met with a number of figure heads and started appearing on peoples albums. A producer by the name of Broadway was instrumental in introducing him to Tha Alkaholiks, who in turn got him together with King Tee. Xzibit turned it out on the posse cut, "Freestyle Ghetto" on "King Tee IV Life," and after that got busy on the Liks' "Coast ][ Coast" on the joints, "Hit and Run" (the sequel, featuring an appearance by adult movie star Ron Hightower, is on Xzibit's album) and on "Flashback," where he showcased his humorous side as one of The Baby Babbas. LOUD records head kahoona Steve Rifkin offered him a deal soon afterword. In 1996 Xzibit completed his debut solo album, At the Speed of Life. "I named the album "At The Speed Of Life" because there's a whole lot of shit that niggas go through. I know more niggas that is off-the-wall and crazy, runnin' guns and shit than I know regular Joes that all they want to do is feed their kids. That's their speed. But it's weird how everything is coinciding together, and at the same time is moving in all kinds of different directions." Xzibit with his one of a kind voice and natural intensity beamed songs like "Paparazzi" and "The Foundation" into peoples minds through radio, and soon Xzibit was becoming a well known name on the streets. At The Speed Of Life was met with excelent reviews. "I couldn't pick a better time because what I'm bringin' to the table is fresh and new..." "I did this album for a lot of reasons other than the flim-flam and the whoopty-whoop, the pictures, the travel and all that shit," says Xzibit. "This album is heartfelt." The song Paparazzi, explained how he saw the Hip-Hop game, Xzibit's lyrics say it all: "It's a shame, niggas in the rap game only for the money and the fame." This was the first single from At The Speed Of Life. Then came the second single off his debut album, "The Foundation." a song writen for Xzibit to his son, where he advises the child about the ups and downs of growing up "You can only run the streets for so long" says Xzibit. Dj Muggs from Cypress Hill produced the emotionally charged track which features a mesmerizing loop of ghostly wails and the actual cries of Xzibits baby. And revelations abound in the hard-nosed two verses of "Carry The Weight," which details Xzibit's life story, from his troubled past to makin' it on his own. In 1998, Xzibits 2nd solo album "40 Dayz & 40 Nightz" followed and was met with great reviews just like At The Speed Of Life had been two years ago. Xzibit was hard at work appearing on many albums such as Snoop's Top Dogg, Dre's 2001 and Kurupt's Tha Streetz Iz A Mutha. Xzibit was becoming well known to comercial hip-hop fans, in turn this increased Xzibits fan base. In 2000 Xzibit's 3rd solo album was released, titled Restless. The album was released in December 2000, and was met with great reviews and earned Xzibit his first platinum record. Restless included a great selection of singles including X, Get Your Walk On, Front 2 Back, and Loud & Clear. Restless also marked the beginning of Xzibit's own label, Open Bar Entertainment. With Restless rulling the charts with its hot singles in 2001, Fortress Entertainment was hired to make a DVD/VHS titled Restless Xposed which featured backstage footage from the Anger Management Tour, Snoop's Puff Puff tour, the House of Blues tour and much much more. The DVD/VHS is a Fortress/Open Bar Entertainment/Loud Records release. Xzibit also appeared in The Alkaholiks DVD as well as Snoop and Dre's hit comedy, The Wash. Xzibit has had many cameo's in such films as Snoop Dogg's "Eastsidaz", and Eminems "8 Mile". Fortress have again been recruited to make the upcoming strong arm steady DVD staring Xzibit & "The Gang". You should find these DVD's at your local music store, if not now in the near future. In 2001 Xzibit took his skills to the stage and participated in the hugely successful "Anger Management" and "Up In Smoke" tours. After getting off the road, Xzibit spent time with his son and then focused in on the next task at hand and began recording his next release. So in 2002 Xzibit released his fouth album, tentatively titled Man vs. Machine. Xzibit explains, "Man versus Machine, man… I thought it was fitting because I feel as though its all type of shit we up against." and continues "It’s a corporate world, corporate machine we got to battle. It’s a social machine we got to battle. It’s all type of shit". Man vs. Machine was a totaly different sound for Xzibit, not wanting to loose momentum he used different styles of music, including soul and an opera based chorus for his 3rd single off the album 'Symphony In X Major'. Even due to promotion for this album which was below par and the only single that got good air play was the Westcoast Anthem 'Multiply', On November 12, 2002, Xzibit's album officialy went gold, not doing as well as his previusly platnum record Restless. 2003 was the year we found out Xzibit's group 'The Golden State Project' couldn't happen due to Ras Kass' Record Label, and Xzibit started doing some mix tapes, with the underground legend Krondon, later forming 'TheSteady Gang', with Mitchy Slick, Krondon & Phil The Agony. Hopefully 2004 will be bigger and better from Xzibits point of view, with his next solo album, Weapon Of Mass Destruction, due for the end of the year, and the StrongArmSteady DVD getting released around March. Keep Your Bars Up X-man!
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EMINEM Marshall Bruce Mathers III was born in Kansas city, Missouri on October 17 1973 to his mother Debbie Briggs-Mathers and his father Marshall Bruce Mathers II. Debbie was only 15 when Marshall was born. Not long after Marshall was born, his father packed his bags and left the family, never to be seen again. This wasn’t the end of a tough run for Marshall and his family; it was only just the beginning. Marshall got moved around to different houses and because of this he attended many schools. His mom finally settled down in a house in Detroit. Marshall was only 12 years old. The maximum time he spent at the one school was 3 months. He got bullied at every school he attended and later got back at them by dissing them publicly in his songs.
Marshall did pretty well in school considering the circumstances until he got to year 9. He failed for the third year in a row and decided that he had had enough. School just wasn’t for him, so he left to work on what he was most passionate about: rapping. He had been lip-synching to hip hop songs ever since he was 4 and if he wasn’t a comic book shop owner he had this dream to be a rapper. He started getting a name for himself when he was 17, even though he got into the rap game when he was 14. He was using the initials from his first and last names to form his rap name “M & M” which later became “Eminem” because of his race, he got rejected by people all the time, even though he was a really talented rapper. Determined to prove everyone wrong, he forced himself to go on radio shows and participate in freestyle battles. In 1995, Marshall recorded his first album titled Infinite, which only sold about 1000 copies. That same year, his high school sweet heart, now wife, Kim, gave birth to his only child, a little girl named Hailie Jade Scott.
Having nothing to lose, flat broke and in desperate need for money to support Hailie and Kim, Marsh set out to rave about his life in general where he caught ear of hip hops hard to please underground. Out of this came the Slim Shady Ep named after his alter ego. Em, down to his lest dime, participated in the 1997 Rap Olympics in LA aiming to win the $1,500 cash prize he badly needed. He battled for an hour throwing back every diss he was thrown and managed to get into the grand final. Unfortunately for Em, he lost due to a slip up. Furious that he had lost, Marshall didn’t even notice that he had been spotted by a few producers from interscope records, who got hold of his demo, Infinite. Dre eventually tracked him down, and recorded em’s second album, The Slim Shady EP then followed by The Slim shady LP, recorded in 19. Then in May 2000, Eminem worked with Dre again to record em’s third album, The Marshall Mathers LP. It featured artists such as Dre, Snoop Dogg, X-Zibit, Nate Dogg, D-12 and the beautiful Dido, who sings the chorus for “Stan”. This album debuted at number 1 on the US albums chart, and won three Grammys and was the first rap album to ever be nominated “Album Of The Year”, selling more than 8 million records in America alone. He stunned critics by performing his #1 hit single “Stan” with Elton John, shooting down all homophobic remarks.
Marshals’ album sales were skyrocketing but things weren’t going well with his wife Kim. A month after the Marshall Mathers LP was released, Em was involved in a brawl outside a Detroit club, where he allegedly pistol-whipped a man for kissing Kim. In august that same year, Em filed for divorce. In April 2001, Marsh was sentenced to 2 years probation, stemming from the weapons charge. This same year, he reconciled with Kim for his daughter, Hailies’, sake, but it only lasted for a few months, this time it was Kim who filed for divorce, in August.
2002 was a big year for Marshall. He branched out into the world of acting, filming with esteemed director Curtis Hanson. 8 mile was produced. Based on em’s own life, he played lead role of a character very much like himself, Jimmy Smith Jr. Jimmy is nicknamed “Rabbit” by his mother, Stephanie, played by Ems’ wife Kim. While filming 8 mile, he was busy during scenes making up the songs “Lose Yourself” and “8 Mile”. “Lose Yourself” was named the underdog anthem of the year.
As well as his first movie 8 Mile, Em released his 4th album, The Eminem Show. He revealed the more mature, slightly subdued side of himself. The Eminem Show fired some of his usual attacks on the likes of lead singer of Limp Bizkit, Fred Durst and Moby as well as fresh attacks on Osama Bin Laden. This one album alone had many hits, including Without Me, Cleanin Out My Closet, Sayin Goodbye to Hollywood, Sing For The Moment, Superman, and Business. He even sings on the album-on a song made especially for his daughter Hailie, the only girl in his life for whom he has respect for.
In 2004 Eminem produced a new CD "Encore". It featured songs such as Just Lose It, Like Toy Soldiers, Encore, and even Mockingbird which hit #1 in MTV's top 20 for over 10 days!
During 2005 there was a rumor that Eminem was retiring but Marshall cleared that up very quickly!! He told everyone that he wuz just taking a break from the mic which led to his newest cd "Curtain Call" released in December of 2005. Curtain Call has all of Em's favorites and also features 2 new songs. "When I'm Gone" and "Shake That (feat. Nate Dogg). When I'm Gone is about Hailie and how things are in her point of view. Shake That is just another typical Eminem song in which we all fell in love with!!! Lets just hope that Eminem returns soon because I know i am going to miss him!!!!! Hurry Back!!!
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DR. DRE Dre (Andre Young) was born in February 18, 1965, Los Angeles, California. He was raised in Compton, and got his nickname by adoring basketball superstar, Dr. J. His step-brother is Warren G. His brother got killed in a fight while Dre was on tour with N.W.A "My brother was my best friend. He was three years younger than me." Dre tells of being on the road when he received a phone call with the bad news. "You never forget that." He started off as a D.J for parties as a teenager, and soon earned himself a spot in the "Eve After Dark" club, where he would play keyboards and sing.
Once a member of the rather anonymous group, "World Class Wreckin' Cru", Dre earned himself a name by producing tracks for Eazy-E, the D.O.C and others, and later became a gangsta rap pioneer as a co-founder, member, co-producer and rapper in the controversial group, N.W.A. (Niggaz With Attitude).
The band was extremely successful and was very promoted by endless scandals and unfettered messages of street violence. The debut album (Straight Outta compton) went platinum with minimal radio play, the second LP entered the charts at number one. "We loved the controversy. It's the reason we blew up as big as we did. It wasn't hurting us, it was helping us."
The group disbanded in '91, but Dre didn't stop for a second: He established Death Row Records along with Marion "Suge" Knight, and shortly after released "The Chronic" (1992), which sold over three million copies, won two Grammy Awards, and is still considered to be one of the most influential rap albums ever.
The album introduced the new Death Row artists, such as Snoop Doggy Dogg and Tha Dogg Pound, and marked Dr. Dre not only as one of the most creative producers in the rap/hip-hop industry, but also as a fantastic rapper. The following Death Row album, Snoop Doggy Dogg's "Doggystyle", was produced by Dr. Dre, and sold four million copies. "I was trying to take it places no other record company had ever been," he says. "Not just limiting myself to R&B and hip hop. I wanted to branch off into jazz, reggae, and black rock 'n' roll."
In 1994 he directed the short film "Murder Was The Case", and co-produced the soundrack. He also added a song to the soundtrack entitled "Natural Born Killaz", which marked the reunion with former fellow band member, Ice Cube. That was his last work with protege Snoop Doggy Dogg. He decided that Snoop, who didn't make a single step without his mentor, should stick to his own work. In that same year he released a compilation album, entitled "Concrete Roots", which contained some old and some newer material.
In 1995 Dre contributed a track for the "Friday" soundtrack, "Keep Their Heads Ringin'". The track was a massive success, and won Dre the MTV "Best Rap Song" award in '96.
In that same year he left Death Row, and started his own label, "Aftermath Entertainment", a joint venture with Interscope Records.
"At first it was just a big family thing," he says. "But the more money that got made, the further apart everybody came. It's like, certain people started becoming what they hated." He adds: "I wasn't feeling comfortable with the people I was around. Everybody wasn't professional. I always wanted things at Death Row to be right and positive, because I'm a positive person. And the situation I was in wasn't, plain and simple. It was too much negativity. Most likely, there are gonna be records coming out dissing me, dissing people I've worked with and am going to be working with. It's just a lot of negative bullshit. So from here on out, Death Row Records don't even exist to Dre."
In November 26, 1996, Dr. Dre released the compilation album "Dr. Dre Presents... The Aftermath", which featured new performances from several well-known artists as well as introducing more than a dozen Aftermath Entertainment artists and producers.
The albums unites hip-hop and R&B , east coast and west coast, hardcore and pop, male and female, old school and new school, delivered by talented performers hand picked by Dre, the album's executive producer. One of the tracks in the album is "East Coast/West Coast Killas", which collaborates various artists from both coasts such as Nas, KRS-1, B-Real, RBX, and of course Dr. Dre.
"Now I'ma be able to do whatever I wanna do," he claims. "If it works, it's on me. If it fails, it's on me. But I'm an innovator. I like trying things." In that year he also released another compilation album, "First Round Knockout".
On top of the list of Dre's future projects is Helter Skelter, Dre's long-awaited reunion with Ice Cube, which Dre wanted to do since '94. "If Cube is still into it, I definitely wanna do that record. I don't give a fuck if it's 10 years from now, and we're like walking on canes with gray hair. I wanna do that record, cuz I think it'll be amazing."
There were also rumors of an N.W.A. reunion, but it seems that Dre is not interested. "That was my past," he says. "What I thought was the thing to do then. I mean, I think 'Straight Outta Compton' was a classic hip-hop album. But I do look back on a lot of the things we were saying and doing then and go, "Damn!". But the shit was dope at the time. Would I ever do that N.W.A. material right now? No. No way. I'm more into totally positive moves."
And what about a solo album? Dre is working on "The Chronic 2000: No Seeds", which will be released on November '99, and has already announced the album will contain two tracks with Snoop Doggy Dogg, with whom he hasn't worked for almost four years, and should also include tracks with Redman, Eminem, RBX, Xzibit and others
informatii...despre formatii rap...hip-hop.... – poza de CODRA, in UNDERGROUND HIP HOP · 11.5KB
_______________________________________ black celebration....that's THE MISSION!!!
YING YANG TWINS Just when you've thought you've seen and heard it all, in comes the Ying Yang Twins with their hot single "Whistle While You Twurk", taking the club scene and the Billboard rap charts by storm. With their sizzling debut album, Thug Walkin' a musical stroll through the lives of D-Roc and Kaine the Twins are ready to set the world on fire with their high energy music.
"We call the album Thug Walkin' because that's what we're doing every day of our lives, thug walkin'," says Kaine. "Where I come from, real thugs have heart. They listen to reason. They're not fake. Every time they get drunk or high they getting' all loud with somebody. Naw, our definition of a thug is just somebody trying to get through life in the ghetto."
The Twins grew up in rough and rowdy East Atlanta, a place that has seen its share of violence and poverty (not to be confused with Atlanta's East Point district). According to the Ying Yang Twins, when they were kids East ATL was a good place to grow up in spite of all the negative things that go on today. "We were raised in East Atlanta, " says Kaine. "It's in the heart of Atlanta. It's a rough hood, but people looked out for one another when we were coming up."
Despite the roughness of their of their neighborhood, D-Roc (D'Angelo Holmes) and Kaine (Eric Jackson), who have known each other for six years, found their way out of trouble via music. "D-Roc and Smurf had been in the game way before me," says Kaine. "At the time we were doing this other project called True Dawgs but the record company didn't know what to do with us or our style of music." Back then, the two were drawing inspiration from old school hip-hop as well as Atlanta's town bass scene and synthesizing them into something new. Their music was part of the early beginnings of the 'crunk' phenomenon. Shortly after their deal went sour, the duo made a guest appearance on ATL's legendary DJ Smurf's Dead Crunk LP. After hearing the chemistry between the two on his record, DJ Smurf suggested that they ought to stay together as a group instead of pursuing solo careers. "I came up with the idea for the Ying Yang twins," says Kaine. "I brought it by D-Roc, he liked it, so we ran from there."
As the Ying Yang Twins, the crafty duo have been winning over scores of fans with their electrifying shows and guest appearances on DJ Kizzy Rock's Grand Champion and So So Def's Bass Compilation Vol. 4. But it wasn't until the twins dropped their surprise hit "Whistle While You Twurk" an infectious track that has become the national anthem for exotic dancers everywhere that their star really began to shine. "We really just put that song out for the strip clubs in the ATL," says D-Roc. "We didn't plan on that song getting Universal's attention 'cause everybody don't know what Magic City, Blue Flame or Foxy Lady was."
In no time, "Whistle While You Twurk" went from being a local hit to occupying the number one spot on the Billboard rap singles chart. Thug Walkin', the Twins' highly charged dynamic debut LP, was recorded in a week and promises to be one of he hottest records of the year.
Produced by Beat-In-Azz, Thug Walkin' contains over 70 minutes of high-energy beats and thunderous, gut-wrenching 808 bass. From the explosive opening track, "Ying Yang In This Thang" featuring the Hoodratz, down to the hyper crunk "Whistle While You Twurk" remixes, Thug Walkin' has so much energy that it will jumpstart a dead man's heart. But for those who need to slow down for a pit stop, don't fret. Ying Yang has got you covered with the smooth pimped out playa's anthem "Ballin' G's" and the cruising anthem of the year, "A!" the rowdy laid-back tribute to the Twins' hometown.
With their debut LP Thug Walkin', the Ying Yang Twins invite you to take a walk on the thug side of the ATL. They're willing to be that once you take that stroll, it will be a journey you'll never forget.
_______________________________________ black celebration....that's THE MISSION!!!
Another of the new rap breed to extol the creative use of marijuana/hemp, this interracial trio from the Latin quarter of Los Angeles are champions of NORML (National Organisation To Reform Marijuana Laws), and perform tracks such as "I Wanna Get High", "Legalize It" and "Insane In The Brain" which advocate marijuana as a cultural replacement for alcohol. However, the reason for their widespread success lies instead with their blend of full and funky R&B, tales of dope and guns adding the final sheen to the laid-back beats. The crew was formed by DJ Muggs (b. Lawrence Muggerud, 28 January 1968, Queens, New York, USA, of Italian descent), and vocalists B-Real (b. Louis Freese, 2 June 1970, Los Angeles, California, USA, of Mexican/Cuban descent) and Sen Dog (b. Senen Reyes, 20 November 1965, Cuba). Sen Dog had come to Los Angeles from his native Cuba at the age of 14.
With his younger brother Mellow Man Ace, he had formed the prototype rap outfit, DVX, and claims to have invented the Spanglish "lingo" style. The line-up also included former 7A3 members DJ Muggs and B-Real.When Mellow Man Ace left to start a solo career the remaining trio renamed themselves after a local street. Their self-titled 1991 debut was only available in the UK on import for some time, though in the US it created a lot of interest almost immediately, and eventually went platinum. Longstanding B-boys, touring for free and opening for Naughty By Nature, Cypress Hill represented rap's new wave. After the militancy and radicalism of Public Enemy and NWA, Cypress Hill were advocating escapism via blunts, and making it sound very attractive indeed, particularly to the all important white alternative rock audience.
The second album, rather than pursuing a more commercial bent, was informed by dark events in their home city, specifically the Rodney King beating. Black Sunday debuted at Number 1 in the US R&B and Pop charts in 1993, and contained the Top 20 crossover hit "Insane In The Brain". The gun-touting "Cock The Hammer' also turned up on the soundtrack to Arnold Schwarzenegger"s mega-flop, Last Action Hero. Their reputation for violent lyrics (a method they justified as: "not promoting, more explaining what goes on" was underscored when they appeared on the soundtrack for another movie, Mad Dog And Glory, in a scene which accompanies a drug killing. They also recorded tracks with Pearl Jam ("Real Thing" and Sonic Youth ("I Love You Mary Jane" for the movie Judgement Night. Their breakthrough in the UK came when they supported House Of Pain on dates through 1993, after which they achieved a string of Top 20 singles.
The latter crew, and several others including Ice Cube and the Beastie Boys, benefited from the services of DJ Muggs' in-demand production skills. Eric Bobo joined the crew in 1994 as percussionist. Their third long-player, the dark, edgy III: Temples Of Boom, lost Cypress Hill their college audience but regained the respect of the hip-hop community. It was also a commercial success, debuting at US number 3. Sen Dog left in February 1996 to work with his punk/metal outfit SX-10 and was replaced by DJ Scandalous, who had already worked with the crew. A nine-track EP of rare remixes followed before the members concentrated on solo projects, with Muggs releasing Muggs Presents ...
The Soul Assassins Chapter 1 and B-Real working with the Psycho Realm. Cypress Hill, with Sen Dog back on board, made an impressive artistic comeback in 1998 with Cypress Hill IV, although the album failed to break into the US Top 10. The double set Skull & Bones was divided equally between traditional hip-hop and more crossover-orientated material.
informatii...despre formatii rap...hip-hop.... – poza de CODRA, in UNDERGROUND HIP HOP · 9.2KB
_______________________________________ black celebration....that's THE MISSION!!!
Una dintre cele mai bine vandute trupe din Romania, PARAZITII, a fost infiintata de catre Cheloo in primavara anului 1994, cateva luni mai tarziu alaturandu-i-se Ombladon.
Prima piesa inregistrata de PARAZITII s-a numit « In’Jur » si a fost gata in toamna anului 1994. PARAZITII si-au inceput cariera sustinand concerte la baluri ale bobocilor si alte manifestari de mici dimensiuni. In iarna aceluiasi an celor doi li se alatura DJ Ies (FreakaDaDisk).
Primul album semnat PARAZITII este lansat in 1995, “Poezii pentru pereti”, un LP produs independent, fiind cel de-al doilea album de rap din Romania (dupa Racla si inainte de B.u.g. Mafia).
In 1996 urmeaza un nou album, purtand titlul « Nimic normal ».
In iunie 1997 PARAZITII lanseaza « Suta », ce avea sa devina albumul rap al anului. Cu aceasta ocazie, explodeaza sound-ul PARAZITII, east-coast si caterinca sociala...
Totusi, intre septembrie 1997 si aprilie 1999 urmeaza o pauza pentru trupa. Singurul moment de stralucire in aceasta perioada este cu siguranta si una dintre cele mai mari realizari profesionale: in urma unor emisiuni dedicate scenei hip-hop din Romania, realizate de managerul trupei la radio Fm Austria (cel mai ascultat post de radio pentru tineret), PARAZITII atrag atentia casei de film Lotus Film din Viena, care devine interesata de o colaborare in vederea realizarii coloanei sonore a filmului Nordrand. Rezultatul: Parazitii devine prima trupa de rap din Romania ce apare pe sound`track`-ul unui film, cu drepturi de autor platite, alaturi de Ace Of Base, Neneh Cherry, Kelly Family, Leila K etc. ( martie 1999).
In iulie 1999, albumul « Nici o problema » vede lumina zilei la A&A Records.
In August 1999, videoclipul piesei « Bagabontzi `99 » egaleaza recordul de audienta pe Atomic, iar o luna mai tarziu CNA interzice difuzarea acestui clip.
In luna august 2000 se lanseaza albumul « Iarta-ma », ce are in prima saptamana vanzari de 15.000 de casete si 500 de CD-uri, o performanta la momentul respectiv.
Urmatorul album apare in iunie 2001, dupa o luna de lucru infernala. Albumul se numeste ’Categoria grea / Acordeonu’ la maxim’, are 11 piese noi, o piesa veche in prima auditie si un negativ care lanseaza o actiune fara precedent in Romania.
Pe 28-29-30 mai 2001 au loc filmarile la, probabil, cel mai tare videoclip de rap din tara. Produs de "Silver Bullet" si regizat de un american, are un scenariu inspirat din filmul "Fight Club" si un negativ violent. Piesa aleasa : "Categoria grea" doar ca C.N.A. isi face din nou "datoria" si il cenzureaza.
In septembrie este lansata noua campanie de imagine a trupei PARAZITII si ea poarta numele de « Impusca-te », dupa titlul piesei-imn a acestei campanii care este dedicata luptei anti-playback. Dupa cum se poate observa, de data aceasta mesajul este educativ si initiativa foarte serioasa.
Albumul ce iar a facut valuri printre fani a fost « Irefutabil », album datorita caruia au castigat si cateva premii. Cel mai important fiind ’Best Hip Hop’ de la premiile MTv Romania. PARAZITII au rupt concurenta si au plecat acasa cu cel mai Hip premiu al serii. Cheloo, Freaka si Ombladon au demonstrat ca hip-hopul este in continuare foarte popular.
In 2004, PARAZITII au lansat "Primii 10 Ani - Best of", un pachet de 2 CD-uri, ce contine toate hiturile din 1994 pana 2004. Aceasta lansare a fost precedata de lansarea clipului "F*** U Romania", piesa ce contine injurii la adresa clasei politice din Romania.
informatii...despre formatii rap...hip-hop.... – poza de te_kraq..., in UNDERGROUND HIP HOP · 14KB
_______________________________________ "Fericirea nu este nimic altceva decat o sanatate buna si o memorie proasta." (nush cine a zis )
La sfarsitul anului 1993, pe vremea cand albumele de hip hop circulau doar in cercuri restranse, iar cd-urile erau obiecte rare si pretioase, Dragos Vlad-Neagu il intalneste pe strada pe Vlad Irimia. Ei intra in vorba, subiectul fiind palarioara purtata de Vlad care era brodata de mana cu numele unei formatii de gen, celebra si acum, adica Cypress Hill.
Amandoi aveau deja tentative de intrare in lumea hip hop ca artisti si pun bazele trupei Black Underground la inceputul lui ’94 impreuna cu alti doi baieti care la scurt timp parasesc aceasta trupa, indreptandu-se probabil catre alte domenii. Dragos si Vlad, cu numele de scena Klax 187 si respectiv Doom (astazi Caddy si Tataee), reusesc sa isi inregistreze prima piesa, in limba engleza, cu ajutorul lui Adi Niculescu, moderatorul emisiuni “Yo! Rap Is Moving!” de la radio Uniplus. Dupa ce in prealabil fusese cantata live in cadrul emisiunii mai sus amintite, piesa “Straight Outta Da Hell” ruleaza acum, in aceiasi emisiune, sub forma de pozitiv facut in studioul de productie al Uniplus-ului. Baietii continua sa creeze piese in engleza, realizandu-si instrumentalele cu ajutorul lui Romeo Vanica, pe keyboard-ul acestuia. In 6 octombrie 1994, trupa are prima aparitie live intr-un concert organizat in Club A de catre DJ Sleek, primul promoter al hip hop-ului in Romania. Urmeaza o serie de show-ri, pe la baluri de boboci ale unor licee din Bucuresti, alaturi de cei de la M&G. Se mai inregistreza doua piese in engleza care insa nu apar pe radio. In cautare de colaboratori, Klax 187 si Doom intalnesc trupa Demonii, din care facea parte si Uzzi, pe atunci sub numele de scena Drama. Se formeaza o grupare, Cartelul, impreuna cu un al trei-lea membru, Nicollo, artist solo.
Prima evolutie live a gruparii se produce la concertul “Rap Attack” din martie 1995, organizat de catre Adi Niculescu la teatrul “Ion Creanga”. Publicul de hip hop creste de la cateva zeci la cateva sute. Demonii se destrama, iar Alin Demeter, adica Drama este cooptat in Black Underground. Odata cu venirea noului component, trupa trece de la engleza la romana. Cei trei apar astfel la “Rap Attack”, editia a doua, facandu-si deja loc in topul trupelor de gen pe atunci inca necomercializate. La inceputul verii lui ’95 trupa semneaza primul contract de productie, multiplicare si comercializare cu casa de discuri Amma, urmand ca piesa “Psihopatu’” sa intre pe o compilatie de rap. Totodata, numele trupei se mareste devenind Black Underground Mafia, iar Drama si Doom fac pasul catre trecerea la Uzzi si respectiv Mr.Juice. Pe 20 septembrie 1995 apare primul album al trupei numit “Mafia”, lansat la taraba in Piata Universitatii. Pe acest album, invitati pe piese sunt M&G si Marijuana, iar pe interludii Rona Hartner, “Coco” Coroianu, Ben, Alex. Materialul discografic inregistrat in studioul lui Tino Furtuna de la Holograf este al trei-lea ca data a aparitei pe piata din hip hop-ul romanesc, dupa cele ale trupelor Racla si Parazitii si urma sa fie reeditat in ‘97, fara acordul trupei, la o alta casa de discuri, sub pretextul ca ar fi un material nou. Baietii, deja cu un album la vanzare, inregistreaza cel de-al doilea album in regim propriu cu bani imprumutati de la Dragos Hriscu, un bun prieten, actualmente patronul clubului Zebra din Bacau.
Trupa se numeste acum B.U.G. Mafia, dupa abrevierea cuvintelor Black UnderGround si reuseste sa semneze un nou contract, de data aceasta insa cu Cat Music. Lansat in 8 iunie 1996, E.P.-ul (album scurt) ”Inc-o Zi, Inc-o Poveste”, gata de multiplicat la ora semnarii contractului, aduce mai multa melodie scoasa bine in evidenta si de prezenta vocii feminine a Iulianei “July” Petrache pe piesa “Pantelimonu’ Petrece”. Aceeasi piesa, devenita hit, este respinsa de catre Tele7ABC ca propunere in vederea realizarii unui videoclip. Prin topurile catorva radiouri din tara au mai stat putin “Inc-o Zi, Inc-o Poveste” si “Viata De Borfas”. Incep concertele in afara Bucurestiului, primul fiind in Bacau. Iar vanzarile urca, ajungand la bilantul final, adica la retragerea de pe piata, cu o cifra de peste 22.000 de exemplare. Pe 29 noiembrie 1996, B.U.G. Mafia arunca pe piata cea de a treia bomba ,albumul “Nascut Si Crescut In Pantelimon”. Piesa “Pana Cand Moartea Ne Va Desparti”, pe care apare pentru prima data Puya, face ravagii. Trupa este intr-o continua crestere. La succesul albumului mai contribuie piesele “Nascut Si Crescut In Pantelimon” si “Lacrimi”. Colaboratorii sunt intr-un numar mai mare, astfel ca ii intalnim, pe langa Puya, si pe: July, Baxter, FreakaDaDisk,Tragaci, C.R.Bel. Apar chitara reala si scratch-ul. Totul suna mai bine si mai interesant. Klax187 isi shimba numele in Daddy Caddy. Vanzarile depasesc 30.000 de exemplare. Pana la acest album inclusiv, baietii l-au avut ca inginer de sunet pe Emil “Coco” Coroianu.
La inceputul verii lui ’97 apare primul maxi-single al mafiotilor, “Hoteluri”, compus din piesa care ii da numele, remixul acesteia, instrumentalele si o piesa bonus. Coperta casetei este de carton, “ca afara’. Se vand 20.000 de exemplare. Tot in ’97, insa in toamna, Uzzi, Caddy, Juice, impreuna cu Sisu si Puya (membrii trupei La Familia) sunt arestati, dupa terminarea unui concert la Turnu Severin, pentru “ultraj contra bunelor moravuri” - articolul 231 din codul penal. Toti au fost eliberati dupa 10 ore in care au dat declaratii la politie si procuratura. A doua zi presa scria despre acest incident, aducandu-i astfel pe baieti si mai mult in atentia marelui public. De atunci nu au mai avut nici o problema in legatura cu acest caz. In aceeasi toamna a anului 1997 se lanseaza, la club Martin, “Deasupra Tuturor”, album care aduce cu sine premiera de a fi imprimat, pe langa caseta, si pe CD. Se remarca piesele “Marijuana 2”,”Nimic Mai Presus”, “Jucator Adevarat” si “Delicvent La 15 Ani”. Ca invitati subscriu: Puya, July, Baxter, Gunja si Raluca. Sound-ul incepe sa se apropie de adevar. Se folosesc basi reali si efecte pe voci. DJ Phantom (C.R.Bel) ii ajuta pe baieti sa introduca sample-uri in muzica lor. Desi nu a beneficiat de nici-un hit rasunator ca albumele precedente, “Deasupra Tuturor” a atins cota de 45.000 de exemplare vandute.
In iunie ’98 iese maxi-single-ul “Pentru ‘98”. Piesa bonus a acestui material, ”N-ai Fost Acolo”, este cea care anunta practic aparitia unui album tare. Pe 20 septembrie 1998 se intampla lansarea albumului “De Cartier”. Invitati sa colaboreze, si-au adus aportul la realizarea acestuia: Catalina, Tenny-e(Cheloo), Don Baxter, Puya, Gunja, July si Andreea. Piesa de promovare, “Poveste Fara Sfarsit”, urca rapid in top, iar lumea cumpara albumul in draci. Trupa castiga fani din toate paturile sociale. Toata lumea vorbeste despre ei si controversa creste la maxim. La “Galele Ballantine’s” castiga premiul pentru “cea mai buna piesa rap”, dar pierd premiul pentru “cea mai buna piesa a anului” in fata celor de la Holograf, fapt ce face ca toata lumea sa se ridice, sa bata din picioare si sa scandeze “MA-FI-A!”. Presa ii prezinta cu titlul “Fenomenul B.U.G. Mafia”. Mihai Tatulici ii invita la emisiunea “Audienta Nationala”. Albumul este sustinut in continuare de alte piese, bune de top, insa prea putin difuzate deoarece aveau versuri care trebuiau cenzurate sau abordau subiecte care pe prea multi ii speriau. Printre ele se numara: ”Limbaj De Cartier”, “Hai Sa Fim High”, “De Cartier”, “La Vorbitor” si altele. Loredana Groza le propune baietilor sa scoata in colaborare un maxi-single. Mafia accepta si produce “Lumea E A Mea”, piesa care are parte de primul videoclip profesionist facut vreodata in Romania. “Lumea E A Mea” se vinde in 25.000 de exemplare, iar “De Cartier” in 125.000 de exemplare.
In 13 martie ’99, la Sala Polivalenta, are loc cel mai mare concert al trupei. Datorita amplorii pe care o luase “fenomenul”, baietii au fost chemati la IGP pentru a da cate o declaratie referitoare la materialul pe care il aveau la vanzare. In august ’99 iese un nou maxi-single, “Romania”, care vorbeste despre patriotism, despre conditia sociala a romanilor si despre modele demne de urmat cum ar fi: Hagi, Lacatus si Ghita Muresan. Leonard Doroftei le cere permisiunea de a intra in ring, la toate meciurile, pe aceasta piesa, spunand ca il motiveaza. Desi era prevazut sa ii pregatesca terenul, nici o piesa de pe “Romania” nu se regaseste pe albumul “Dupa Blocuri” deoarece, zic ei, ”erau prea multe idei si nu au mai incaput”. Mafia concerteaza la penitenciarul Rahova la cererea mai multor detinuti. Albumul se lasa asteptat pana in data de 18 ianuarie 2000. Piesa care da numele albumului, “Dupa Blocuri”, este aleasa ca single. Se face videoclip pe pelicula, regizor fiind Bogdan Albu, iar operator Viorel Sergovici, ca si la cel cu Loredana care este filmat insa in digital. Acesta este primul videoclip exclusiv al trupei. La piese colaboreaza M&G, Luchian, Nico, Puya si Roxana, iar la interludii Teava, Plesa, Greu’ si Catalin. Lui Juice i se spune de acum Tataee. Desi cel mai bine inchegat din punct de vedere muzical, albumul este “inchis si violent”. Versurile sunt mai simple, mai dure si mai directe decat pe albumul precedent. Alte piese foarte ascultate sunt: “Capu’ Sus”, “Anturaju’”, “La Greu”, “Cartieru’ Pantelimon”. Vanzarile sunt si de aceasta data foarte bune, adica 90.000 de exemplare. Cum dupa ploaie vine intotdeauna soare, baietii ies in august 2000 cu o piesa deschisa, melodica, in colaborare pentru prima data cu Villy pe care il cunosteau din ’97, de la Zalau. “Un 2 Si Trei De 0”, asa se numeste piesa, este lansata pe maxi-single. Radiourile o difuzeaza, cluburile o introduc in program, iar videoclipul lui Tudor Giurgiu uimeste pe toata lumea. Pe 17 octombrie 2000 apare albumul “Intotdeauna Pentru Totdeauna” care nu aduce prea mare succes, dar se vinde in peste 70.000 de exemplare. Colaboratori: M&G, Puya, Luchian, Maximillian, Pacha Man, Villy si Moni-K. Este prima oara cand scot 3 materiale intr-un singur an. In 2001, B.U.G. castiga premiul “cel mai bun album rap”, cu “Dupa Blocuri”, la Premiile Industriei Muzicale, dar si “cea mai buna trupa rap” si “cel mai bun videoclip”, cu “Un2 Si Trei De 0”, la Premiile Bravo. Tot in 2001 trupa realizeaza o noua premiera, extragand pe maxi-single piesa “Poezie De Strada” de pe albumul “Intotdeauna Pentru Totdeauna” care era deja pe piata. Remixul acesteia are parte de un videoclip din nou foarte bun si devine in scurt timp hit. Produsul este cel mai bine vandut maxi-single al trupei (peste 50.000 de exemplare). Baietii pun pe picioare casa de productie “Casa” si ii semneaza pe M&G, Villy, XXL&10Grei, Mahsat, Anturaj si Luchian. Compilatia “B.U.G. Mafia Prezinta Casa” este lansata pe 20.02.2002, in clubul Dumars (cu intrare la ora 20.02) si se doreste a fi o prezentare a tuturor artistilor semnati. In videoclipul piesei “Cine E Cu Noi” (piesa de promovare a compilatiei) apar Leonard Doroftei si Marius Lacatus care sunt de fapt mentionati si in versuri. Pe refrenul piesei isi da concursul Nico. Si aceasta piesa devine hit. La Premiile Industriei Muzicale 2002 castiga premiul “cel mai bun proiect rap” cu “Poezie De Strada”. Vanzarile trupei B.U.G. Mafia urca din nou, compilatia vanzandu-se in 100.000 de exemplare. Urmeaza o pauza discografica de aproape 2 ani, timp in care se pregatesc albume ale mai multor artisti de la Casa. In componenta trupei B.U.G. apare al 4-lea membru, DJ Swamp. “Orice trupa de hip hop trebuie sa aiba un dj”.
Pe 1 decembrie 2003 apare videoclipul piesei “Romaneste”, iar pe 7 decembrie, acelasi an, apare albumul “Baietii Buni”. Materialul este cel mai complex de pana acum cuprinzand 15 piese, 5 interludii, intro si outro. Invitati sunt: Villy, M&G, XXL&10Grei, Mahsat, Mario (fost membru Anturaj, trupa care nu mai exista), Luchian, Flocea, Brasco si Primo. Urmatorul videoclip esta la piesa “O Lume Nebuna, Nebuna De Tot”. Alte piese remarcate sunt: “In Anii Ce Au Trecut”, “Gherila PTM”, “40 Kmh”, “Garda” si “Prin Cartieru’ Minunat”. Este al 2-lea album, incluzandu-l pe primul (“Mafia”), care nu are voce feminina pe nici un refren si totodata primul album al unei trupe de la Casa. Mafia este singurul nume cu 5 nominalizari la Premiile MTV 2004. Au reusit sa plece acasa cu doua dintre ele, “cel mai bun album” si “cel mai bun act hip hop”, si in acest sens fiind singurii. Vanzari: 100.000 de exemplare. In septembrie 2004, din partea MediaPro Pictures vine propunerea de a realiza piesa de generic a serialului politist “Baieti Buni” pe care acestia urmau sa-l produca. Proiectul este acceptat si asa se naste piesa “Strazile” care nu putea sa poarte numele filmului deoarece Mafia avea deja albumul “Baietii Buni”. Lansarea filmului se tot amana, iar baietii trebuie sa astepte si ei, in acest timp pregatind un maxi-single.
Al 3-lea produs Casa iese pe piata in 5 ianuarie 2005, acesta fiind albumul “Asalt Raggafonic” al trupei M&G. Proiectul beneficiaza de doua videoclipuri: unul in pelicula si unul in HD. In sfarsit serialul a pornit, B.U.G. Mafia a terminat maxi-single-ul “Strazile”, astfel ca in 16 mai 2005 este asteptat pe piata. Materialul cuprinde piesa originala, remixul acesteia, o alta piesa noua, instrumentalele acestora si doua piese bonus (remixuri la piese mai vechi) menite sa introduca albumul aniversar. Videoclipul va intra din 17 mai la TV K Lumea si Pro TV. In vara lui 2005 este preconizat sa apara primul volum al albumului aniversar “Viata Noastra”, iar al 2-lea volum este programat pentru toamna. Proiectul va cuprinde toate hiturile trupei si cate o piesa noua cu videoclip pentru fiecare volum in parte.
informatii...despre formatii rap...hip-hop.... – poza de te_kraq..., in UNDERGROUND HIP HOP · 11.1KB
_______________________________________ "Fericirea nu este nimic altceva decat o sanatate buna si o memorie proasta." (nush cine a zis )
Tupac Shakur s-a nascut in Lesane Parish Crooks din Brooklyn, NY in 1971. De pe cand inca era un mic copil , mama sa i-a schibat numele in Tupac Amaru dupa o profetie Incasa(indiana) , "Tupac Amaru", insemnand "Sarpele alunecos si stralucitor". "Shakur" inseamna "Multumitori lui Dumnezeu" in araba.
Inca din copilarie , toata lumea ii spunea "Printul negru" . Din cauza comportamentului neadecvat a trebuit sa citeasca o editite intraga din "The New York Times". Cand avea numai 2 ani , sora sa ,Sekyiwa, s-a nascut. Tatal acestui copil , Mutulu, era un membru al gastii BlackPanther care , cu cateva luni inainte de nasterea sa a fost condamnat la 60 de ani de puscarie pentru un jaf armat fatal .
Cu Mutulu plecat , familia a experimentat vremuri grele . Oriunde s-ar fi mutat - Bronx, Harlem, adaposturi - Tupac nu se simtea in largul lui . "Imi aduc aminte fcum plangeam tot timpul. Problema majora cu care am crescut a fost ca nu ma puteam acomoda. Deoarece eu eram de peste tot , nu am avut prieteni cu care sa cresc impreuna.
Pana la varsta de 12 ani, Tupac isi descoperise dragostea pentru actorie , poezie si compunerea de cantece de dragoste . Cu Tupac doar un tanar adolescent , familia sa s-a mutat in Baltimore, MD, unde a urmat cursurile scolii "The Baltimore School for the Performing Arts"(Scoala de arte din Baltimore) unde a studiat actorie si balet. La aceasta scoala Tupac a lasat o aminitire foartte placuta profesorilor si arata un potential inimaginabil. Din pacate , Tupac nu a avut posibilitatea sa continue antrenamentele. S-a mutat in Oakland, California impreuna cu restul familiei sale . Atunci Tupac a inceput , asa cum chiar el spunea , "sa umble cu cine nu trebuia".
la varsta de 15 ani a cazut in mrejele hip-hop-ului; a inceput sa scrie versuri , sa umble cu un pumnal dupa el , si sa isi marcheze teritoriul in New York cu orice conditie. Oamenii din micile orase incepusera sa prinda frica de reputatia Marelui New York(Big Apple); Tupac se autointitula MC New York si facea lumea sa creada ca este un dur.
Pana la varsta de 20 de ani , Tupac fusese deja arestat de 8 ori, chiar petrecand 8 luni in inchisoare dupa ce fusese condamnat pentru abuz sexual. Pe langa acestea, el era si subiectul a doua procese de omor, dintre care in unul din ele era vorba despre moartea unui copil de 6 ani , care fusese prins intr-un schimb de focuri intre banda lui Shakur si o grupare rivala.
Nefiind tras in spate de lipsa sa formala de educatie, Tupac s-a alaturat grupului rap Digital Underground ca dansator. Nu cu mult timp pana ce trupa a atins un suuces extraordinar , Tupac isi lansase deja propriul album de debut , "2Pacalypse Now", care a fost de un succes inimaginabil. Hit-ul "Brenda's Got A Baby" i-a propulsat cariera lui Tupac ca pe o racheta. Talentul sau imens i-a adus si un rol in drama "Juice". Tupac in curand si-a lansat si cel de-al doilea album "Strictly for my N.I.G.G.A.Z.," , album care a avut un succes chiar mai mare decat primul, si care a introdus muzica lui Tupac in topurile pop.
In noimebrie 1994 el a fost impuscat de 5 ori in timpul unui jaf, in care hotii i-au furat bijuterii in valoare de 40,000 de dolari. Shakur si-a revenit miraculos pentru a produce cele mai impresionante succese artistice, acestea incluzand albumul sau din 1995 , "Me Against the World".
Punctul culminant al caierei lui Tupac a fost cand a aparut in filmul "Poetic Justice" alaturi de Janet Jackson. Rolul a facut din Tupac un nume celebru si a aratat lumii intregi ca muzica nu este neaparat atributul #1 al sau. In culmea unui rol in filmul "Above the Rim" si unui album premiat cu platina , "Me against the world," cariera ascendenta a lui Tupac a fost curmata. El a fost acuzat de hartuirea sexuala a unei femei pe care a cunoscuta la un club de noapte. Cu cateva ore inainte ca Tupac sa fie gasit vinovat el a fost atacat cu arme si jefuit de niste oameni ale caror intentii si motive inca nu sunt clare. in cele din urma, Tupac a fost eliberat contra unei cautiuni de peste 1 milion de dolari. Dupa eliberarea sa, Tupac a raspuns criticilor prin lansarea celui mai bun album al sau , "All Eyes On Me." ."All Eyes On Me" a fost vandut pana la ora actuala in peste 8 milioane de exempare, lucru care este revolutionar pentru un dublu-CD , mai ales in muzica Hip-Hop. Tupac a mai avut intre timp si cateva roluri secundare in filme ca "Gridlock'd", "Bullet", si "Gang Related."
Pe 7 Septembrie Tupac Amaru Shakur a fost impuscat de persoane inca necunoscute, si s-a stins din viata pe data de 13 Septembrie 1996. Cea mai mare parte din ce s-a intamplat in acea noapte ramane inca un mister pana in zilele acestea. Dupa moartea acestuia, casa de discuri a lui Shakur a lansat un nou album , "The Don Killuminati", sub pseudonimul "Makaveli." Coperta il ilustra pe Shakur pironit de o cruce, sub o coroana de spini, cu o harta a gasitlor importante din Amrica pe ea. In ianuarie 1997 , "Gramercy pictures" a lansat "Gridlock'd", un film in care Shakur juca rolul unui dependent de droguri. Criticile acestui film au fost dintre cele mai bune. Ultimul sau film, Gang Related, a fost lansat in 1997, si se spune ca Death Row inca mai are multe inregistrari ale lui Tupac, pe care le va lansa in delungul timpului .
13 Septembrie 2006 va marca cel de-al 10-lea an de la moartea celui mai mare rapper al tuturor timpurilor , Tupac Amaru Shakur !!! Odihneasca-se in pace !!!
informatii...despre formatii rap...hip-hop.... – poza de te_kraq..., in UNDERGROUND HIP HOP · 9KB
_______________________________________ "Fericirea nu este nimic altceva decat o sanatate buna si o memorie proasta." (nush cine a zis )
Mihai Bita a dat piept cu muzica romaneasca impreuna cu Ionut, Sorin si Catalin de la Ro-Mania. Cei patru au interpretat mai multe piese din folclorul romanesc, impunandu-l din nou pe piata. La scurt timp, Mihai considera ca muzica etno nu il mai reprezinta si paraseste trupa care l-a consacrat. Impreuna cu alti trei baieti, pune la cale infiintarea unei noi formatii, numita Déjà Vu, trupa cu care a abordat o multitudine de stiluri, mergand de la r'n'b pana la dance, fara house, insa.
Dupa un singur album Deja Vu, Mihai Bita se orienteaza spre hip-hop, imprietenindu-se cu Parazitii si aparand ca invitat la piesa “Fara tine”, de pe albumul lor, “Categoria grea”. Asa a inceput totul…
Poate ca vi se pare ca Bitza este un nume nou in lumea hip-hop-ului romanesc, dar colaborarile sale cu greii genului dateaza inca de acum patru ani. Totusi, abia luna trecuta a aparut pe piata primul album semnat Bitza si intitulat “Sevraj”, fiind de altfel si primul material urban soul din Romania.
In peisajul muzical romanesc, Bitza are ceva ani la activ - sub numele sau real, Mihai Bita, il gasim in prima formula a trupei Ro-Mania, pe care a parasit-o pentru trupa Déjà Vu. Numai ca, in scurt timp, el a realizat ca nici etno, nici dance-ul nu il caracterizeaza… “Hip-hop-ul este prima muzica cu care ma simt in largul meu, fara compromisuri si alte rahaturi de genul asta. Cred ca este vorba de o evolutie. In mod normal, transformarea nu are un motiv in afara faptului ca te maturizezi o data cu trecerea timpului. A fost ceva natural...
Nu m-am trezit intr-o diminteata si am zis ca de astazi sunt rapper. A fost un lucru care s-a intamplat in timp, alaturi de niste persoane cu care am multe in comun.” Bitza a luat contact cu lumea hiphop-ului prin intermediul trupei Parazitii, cu care de altfel a si colaborat in repetate randuri. “Il stiu pe Ombladon din ‘98 cand mi-a facut cunostinta fratele lui, cu care eram prieten bun.
Dupa mai mult timp si sticle de vin baute impreuna, am ajuns amandoi la concluzia ca avem o gandire si niste principii foarte apropiate. Pe Cheloo si Freaka i-am cunoscut la scurt timp si a fost cam acelasi lucru. Cand Parazitii lucrau la albumul “Categoria Grea” au chemat primii lor invitati, printre care si eu. Asa a si iesit piesa “Fara tine”, ascultata cu placere chiar si acum.”
Prima aparitie pe piata a lui Bitza a fost pe compilatia “Sabotaj”, unde a cantat cu Adrian Despot single-ul “Vorbeste vinul”: “Cu Adi Despot ma stiam de mai de mult si, petrecand ceva timp impreuna, s-a ajuns la ideea ca ar trebui sa facem o piesa. Prima data cand am discutat acest lucru a fost acum aproape doi ani, la o petrecere a unui prieten comun.”
Bitza a concertat cu Parazitii din ianuarie 2003 pana in iunie 2004. Atunci, la primul concert, lui Bitza i s-a conturat ideea unui album propriu... Care s-a definitivat acum in toamna, cand a aparut “Sevraj”: “Ceea ce a fost intre, este multa munca si frecat de creiere”, spune Bitza. Dar este incantat, mai ales pentru ca sunt niste piese foarte sincere: “Poate chiar brutal de sincere, dar nu cred ca mai e cazul sa ne ascundem dupa degete. Chiar daca sunt 10, ca si degetele…”. Asa cum spuneam si mai devreme, “Sevraj” este primul album urban soul: “Adica sufletul orasului; in ge-neral descrie ce se intampla intr-un oras, probleme si necazuri, dileme si raspunsuri. Nu e vorba de gangsta rapp. E vorba de abordarea unor subiecte reale si actuale desprinse din ce se intampla in “urban”. Cele mai multe piese de pe album reprezinta intamplari, ganduri sau obsesii reale. Un exemplu ar fi “Cantecul si povestea lui”.
Am avut probleme din prima zi de liceu, iar cand am plecat de acolo, aveam o sapca ce nu era a mea…”
Albumul contine mai multe featuring-uri, pentru care Bitza a lucrat cu Ombladon, Cheloo, FrakaDaDisk, Tataee, Adrian Despot, K-gula, Raku, DJ Dox, Edi Schneider (mixaj si mastering). Pentru muzica celor mai multe dintre piese, raspunzator este chiar Bitza, desi la unele negative recunoste ca l-au ajutat cei de la Parazitii. “Exceptie fac cele cu Tataee, Adrian Despot, in care ambii semneaza productia muzicala si Musikk for a elske deg semnata de K-gula. Cat despre versuri, fiecare invitat de pe album si-a cantat propriile versuri.”
Single-ul ales pentru promovarea albumului este un featuring cu Tataee de la Bug Mafia - “Urmatorul pas”: “Aceasta colaborare nu a fost ceva premeditat, a iesit in cateva seri de discutii pe tema asta cu Tataee. Initial trebuia sa fie doar un negativ produs de el, dar pe masura ce am discutat, am ajuns amandoi la concluzia ca ar fi mai bine sa fie un featuring. Muzica e semnata de Tataee, fiecare canta ce a scris. Asta e unul dintre principiile foarte frumoase din hip-hop. In clip apar numai prietenii nostri (dintre artisti - Zale, K-gula, Phane Buton, BRG) si altii.
Clipul a fost filmat in iulie, in liftul Teatrului National din Bucuresti. Tot ce se vede acolo e real, e un lift de vreo 10 metri inaltime. Cel mai interesant a fost ca seara pe la 10 au inceput sa apara in zona trupele speciale de interventie care nu au disparut pana la terminarea clipului (2 - 3 dimineata) pentru ca in zona era Centrul Cultural American. Cred ca eram un fel de Bin-Ladeni pentru ei. Dar a fost OK , s-a mai incins atmosfera…”
_______________________________________ "Fericirea nu este nimic altceva decat o sanatate buna si o memorie proasta." (nush cine a zis )
NaS Despite his flair for dramatic overreaching, or perhaps because of it, Nas became New York's favorite rapper in the mid-'90s and remained near the top for over a decade. Rivals and time challenged his stay at the top of the New York rap scene — one of the more notable challenges being his bout with Jay-Z in the early 2000s — yet Nas soldiered on, continually changing his style and stepping up his game. Over the years, Nas went from being a young street hustler (Nasty Nas) to a boastful gangsta (Nas Escobar) to a self-proclaimed poet/prophet (Nastradamus) to a re-born encapsulation of himself (the "Stillmatic" Nas). In addition, he worked with countless legendary producers — DJ Premier, Large Professor, Pete Rock, Dr. Dre, Trackmasters, Timbaland — and put Queensbridge back on the map. Keep in mind, however, that Nas attracted a sizable share of critics as well, many of whom called him out for bluffing. After all, Nas often showcased a flair for dramatic overreaching, his ego knowing no limits. For better or worse, Nas was more his own rhetorical construction than a reality, precisely the reason why he was as criticized by his rivals as he was celebrated by his following. Born Nasir Jones, son of jazz musician Olu Dara, Nas dropped out of school in the eighth grade, trading classrooms for the streets of the rough Queensbridge projects, where he learned "street mathematics" and began emulating rappers like Big Daddy Kane, , and Kool G Rap. When he wasn't hustling to survive, he was reading books on African culture, Western civilization, lessons from the Five Percent Nation, scriptures from the Qu'ran, and chapters from the Bible. He eventually hooked up with Main Source in 1991 and laid down a verse on the group's song "Live at the Barbeque." The song became a New York favorite thanks to Nas' blazing rhymes and soon everyone began wondering who he was. A year later, MC Serch of 3rd Bass approached him about contributing a track to the Zebrahead soundtrack. Serch was the soundtrack's executive producer and, like much of New York, had been impressed by "Live at the Barbeque." Nas submitted "Halftime" and the song proved so stunning that Serch made it the soundtrack's lead-off track. Suddenly, everyone began talking about Nas.
Columbia signed him to a major-label contract and all of New York's finest producers wanted to work with him. For the next two years, everyone waited as rumors began to swell. When word hit the street that he was working with DJ Premier, Large Professor, and Pete Rock— New York's top producers in the early '90s — anticipation grew exponentially. Finally, Illmatic hit the streets in April 1994 and didn't disappoint. With only ten tracks, the album wasn't overly long and had virtually no lackluster moments — a flawless album. Nas handled nearly every rhyme and never seemed short on lyrics. Years later, Illmatic is still seen as featuring some of the best lyrics hip-hop ever produced. To call Nas a street poet wasn't an overstatement, but rather a matter of fact. Even if the album didn't storm up the Billboard charts, it garnered the respect of every hip-hop devotee in New York and that was quite an accomplishment, particularly for someone just having reached his twenties. Following up Illmatic wouldn't be an easy task and rather than try and top that album, Nas expanded his approach for It Was Written. Released two years later in 1996, it no doubt had become one of the most anticipated hip-hop albums ever. Here, Nas once again delivered an album illed to the brim with street knowledge, but this time opted to go with different producers — Havoc, Trackmasters, Dr. Dre, L.E.S.— and some radio-friendly pop hooks. The calculated moments worked: "If I Ruled the World" and "Street Dreams" became national hits and expanded Nas' reach outside of New York. With It Was Written, he retained the hip-hop devotees who had championed Illmatic and had won a mass audience at the same time, a rare feat that he would struggle to duplicate in the future. The first sign of Nas' critical downfall came when he joined forces with Dr. Dre to create the Firm , an ambitious supergroup that looked invincible on paper; behind the production boards were Dre and the Trackmasters with Nas, Foxy Brown, Nature, and AZ on the mic.
Surprisingly, the much-heralded album flopped. Listening to the album, it's fairly apparent why. Not only is it an incredibly conceited and brash album, it's also horribly calculated. Following the first setback of his career, Nas took some much-needed time off before returning in 1999 with two albums released only months apart: I Am...The Autobiography and Nastradamus . With these two similar albums, Nas moved further away from the heartfelt and lyrically driven approach of Illmatic in favor of the pop hooks that had made "If I Ruled the World" and "Street Dreams" crossover hits. The second single, "Hate Me Now," bitterly addressed his growing legion of critics. More troubling though, the song featured Puff Daddy, symbolic of the pop-rap style Nas had aligned himself with.
Neither I Am nor Nastradamus proved successful for Nas. Both albums sold well and produced some impressive hit singles, but these singles — "Hate Me Now," "You Owe Me," "Nas Is Like," and "Nastradamus" — were blatantly targeted at the mass market with their pop-rap tendencies and further alienated Nas' more loyal fan base. Suddenly, Nas was no longer viewed as the prodigy he had been five years earlier and was now seen as a rather generic New York MC. This became perhaps most apparent when he resurfaced in 2001 with the QB Finest album, which sold few copies and generated only one substantial hit, the X-rated club track "Oochie Wally." Even so, Nas had begun to take his career in a new direction with QB Finest, establishing both his own label, Ill Will, and his new posse, Bravehearts. Moreover, he was no longer collaborating with the likes of Timbaland and Puff Daddy; he had returned to the streets to Queensbridge, where he began. One event accelerated Nas' new direction: a cutting dis by Jay-Z on the song "Takeover," which became the most talked about song in New York seemingly overnight. Jay-Z called out Nas for not having put out a "hot" album since Illmatic and also made comments about having sex with Nas' woman. And it didn't help that Jay-Z had indeed claimed the title of New York's favorite MC at the time, giving him ample justification to call out Nas, who had admittedly been slacking since the mid-'90s. Several months after the dis, in December 2001, Nas released the album Stillmatic, the title a reference to his one undeniable masterpiece, Illmatic, which had been released nearly a decade earlier. Stillmatic opened with the song "Ether," a very direct shot at Jay-Z (featuring the chants "f*** Jay-Z "and "I will not lose", followed by Nas' most aggressive single ever, "Get Ur Self A..." (produced by ewcomer Megahertz,one of New York's hottest producers at the time). Both "Ether" and "Get Ur Self A...." re-established Nas' pride among the stickle hip-hop crowd and drove Stillmatic up the Billboard album chart to number five, where it hovered for weeks. In addition, Nas furthered his highly publicized return with dramatic videos for "Get Ur Self A...." and "One Mic" — both of which juxtaposed with "cash, money, hoes" videos of the time, featuring a church rather than a club, for instance — and toured the States, first a headlining tour and then an opening tour for pop-rapper Usher. During summer 2002, Nas infiltrated the pop market, dueting with Brandy and Jennifer Lopez. Ironically, while Nas reclaimed his popularity in 2002, Jay-Z s popularity waned in the wake of the much-discussed bout (though partly because Jay-Z flooded the market with low-quality product). To only further fuel the much-publicized bout between the two rivals, unreleased comebacks circulated as MP3s via file-sharing networks such as Audio Galaxy during 2002: a Nas track called "H to the Omo," which had him questioning Jay-Z s sexuality; and a Jay-Z track called "Super Ugly," which had Jay-Z rapping over the track to "Get Ur Self A..." for the first verse, Dr. Dre's "Bad Intentions" for the second, and also had Jay-Z singing the hook "I got myself a gun."
God's Son, rated a 4 mic album by "The Source", has established that Nas is on the streets for good! Critics went as far enough to say that it picked up where Illmatic left off. God's Son shows the painful side of Nas through song's like, "Dance" and "Heaven", dedicated to his deceased mother, Ann Jones. He takes it further to the streets with "Made You Look" the album's lead single, produced by Salaam Remi. Agressive and new yet with an old school vibe it makes the perfect lead single. He also has something for the kids! Instead of having a gangsta or playa cliche type song for the second single, the much inspiring, I Can, teaches kids, adolcents, and adults lessons on how to live a succesful life. Nas also declares his relationship with, Pop/R&B artist, Kelis in songs like "Hey Nas" and "Mastermind". All around God's Son is a commercial classic! Though it lacks the street grime of Illmatic it is an exqusite follow up album to Stillmatic! - Leo Batista Mulattieri
informatii...despre formatii rap...hip-hop.... – poza de CODRA, in UNDERGROUND HIP HOP · 5.4KB
_______________________________________ black celebration....that's THE MISSION!!!
JURASSIC 5 Hip-hop is not dead. Indeed, contrary to the cries of some cynics, the vibrant cultural offering that is hip-hop music is alive and well. And nowhere is that point more apparent than with the heralded Los Angeles crew Jurassic 5 and their debut full-length album Quality Control.
Consisting of four MCs and two DJs, Jurassic 5 is a throwback of sorts, referencing a by-gone era in hip-hop when the only thing that mattered was the music and having fun. In sound, the four MCs Chali 2NA, Zaakir, Akil, and Marc 7 conjure up the dynamic flows of old-school groups like the Cold Crush Brothers and Double Trouble: harmonic convergence, dynamic vocal inflections, and fly b-boy bravado. Jurassic 5's beat-providers, Cut Chemist and DJ Nu-Mark, rock the decks with inventive, original beats that hark back to the true DJ innovators. With Jurassic 5, it's a more innocent, irreverent time that comes to mind, from the early days of jams in the parks to the creative insurgence of the Native Tongues era.
Jurassic 5 shouldn't be considered old-school revivalists, though. They hail from the eclectic Los Angeles region, children of that city's hip-hop underground, and thus are a merging of both the new and old. Between 1991 and 1994, the LA underground was a burgeoning Mecca of hip-hop innovation, possessing a kinetic musical energy and a flare for progressive beats and styles. The members of Jurassic 5 met through the Good Life Café, an open-mic space in the heart of South Central Los Angeles' old jazz district. The spot served as a prolific epicenter for a number of different groups, like the Freestyle Fellowship and the Pharcyde, each wearing originality on their sleeves with emblazoned pride. Undeniably, Jurassic 5 embody that era's constant ideals of progressiveness and unity.
Jurassic 5 formed in 1993 as the union between two crews, Rebels of Rhythm and Unity Committee, who came together to record and release the spontaneous, one-off single cleverly titled "Unified Rebelution." It was an infectious record that made an indelible impression with true hip-hop heads, quickly becoming a staple on the college radio and mix-show circuit. The success of "Unified Rebelution" cemented a union that would ultimately be Jurassic 5 and, ever since, the group has become one of the most revered new artists to emerge in years.
The burning interest in Jurassic 5 was fueled, in part, by their debut, self-titled EP. Released initially in 1997 on the group's own independent imprint, the EP sold over 200,000 copies in the US and England (where it cracked the UK Top 40 charts in its first week of release), a sign that hip-hop audiences worldwide were hungry for anything that diverted from the standard hip-hop sounds. Most impressively, the EP served as a rallying cry of sorts for a whole new movement in hip-hop, easily akin to what artists like The Roots, Black Star and De La Soul have done and continue to do.
Quality Control takes the momentum garnered by the EP and propels it even further. It is an album that is as funky, alive and as true to hip-hop's elemental essence as anything the genre has seen in years. The Jurassic 5 MCs each possess supreme microphone skills, and Quality Control highlights their abilities to flex a variety of styles. One minute, they're locked in unison, perfectly harmonizing whole verses or choruses ("Monkey Bars", the next they're each energetically spitting spirited rhymes, only to set it off the next minute swapping couplets in dynamic superhero fashion, as on "W.O.E. Is Me."
The MCs flourish thanks in part to the colorful craftiness of Nu-Mark and Cut Chemist, the production and DJ tandem who lay down a bedrock of beats carefully culled from dusty crates. Throughout the album, their mastery and understanding of what makes something undeniably funky is evident, whether it's a tapestry of body-rockin' swing beats they weave on "Swing Set," or the mellow head-nod twilight they create for "LAUSD." Indeed, Nu-Mark and Cut Chemist arguably do for the funk what producers like Ali Shaheed Mohammed and Large Professor did for jazz and classic soul.
The album, though, is only half of the true Jurassic 5 experience. Like a modern day reflection of the old-school spirit, the group spends as much time on their live shows as they do in the studio and the perfection on stage is quite clear. It's a dynamic event that must be experienced to be fully appreciated. And it's yet another sign that it's with Jurassic 5 where new meets old. They are a group leading the resurgence of next-school optimism that will reconstruct the hip-hop landscape so that people will realize they are lost no longer.
informatii...despre formatii rap...hip-hop.... – poza de CODRA, in UNDERGROUND HIP HOP · 7.8KB
_______________________________________ black celebration....that's THE MISSION!!!
FACEM RECORDS & FLAMA EVENTS in colaborare cu D.U.A. prezinta DJ REVOLUTION IN CLUB LIVE!
Dupa succesul pe care l-am avut cu show-ul GRAND WIZARD THEODORE vara asta, ne-am decis sa continuam seria de evenimente dedicate DJ-ilor cu un alt eveniment care nu poate fi ratat de ascultatorii pasionati de hiphop sau de arta DJ in general. Este vorba de DJ-ul rezident al celei mai mari emisiuni de hiphop din istorie, The World Famous WAKE UP SHOW. Cu aprox 12 milioane de ascultatori saptamanal, REVOLUTION este oficial cel mai ascultat DJ de hiphop de pe intregul glob, invartind discuri de aproape 10 ani la show-ul pe care il asculta DR DRE atunci cand l-a remarcat pe EMINEM, show-ul responsabil pentru lansarea si sustinerea carierelor unor MC ca XZIBIT, DILATED PEOPLES, CHINO XL, SAIGON, CROOKED I, JUICE, TECH N9NE si multi altii.
Revolution si-a inceput cariera de DJ la 13 ani folosind 2 platane prafuite gasite in podul casei si un mixer construit de bunicul lui din piese vechi. Notiunea despre arta DJ i-a fost complet schimbata cand a descoperit discul "THE ADVENTURES OF GRAND MASTER FLASH ON THE WHEELS OF STEEL". Astfel incepe sa invete toate trucurile si tehnicile de turntablism si petrece 7 ani devenind un adevarat maestru. Privindu-i pe ceilalti DJ isi da seama de un detaliu care scapase multora: aceasta comunitate era impartita strict in 2 categorii. Pe de o parte erau DJ care se bazau strict pe playlist mixajul pieselor si prezenta elementelor de turntablism fiind de multe ori inexistente.
Pe de alta parte erau DJ-ii care se bazau strict pe tehnica, si care se antrenau un an intreg pentru 5 minute de scratch-uri pe care le foloseau ulterior in battle-uri, dar care nu puteau sa sustina un party. Intr-un discurs tinut la UNITED DJ MIXING SEMINAR, REVOLUTION declara: "Pana la urma trebuie sa fii un DJ complet si cand spun asta ma refer la a putea mixa, face scratch-uri, anima o petrecere. Intrebarea pe care mi-am pus-o a fost: cu ce pot sa vin nou, care e principala mea calitate? Atuul meu este ritmul atat in cazul in care pun muzica cat si atunci cand fac scratch-uri. Cand pui muzica intr-un club si lumea danseaza si tu gasesti o bucata pe care vrei sa bagi scratch-uri, daca incepi sa bagi ca nebunul risti sa ii scoti pe oameni din film. Poti sa iei o piesa tare si sa faci tot felul de trucuri dar sa fii atent sa nu scoti petrecerea din ritm. Eu vreau ca oamenii sa zica la plecare ca a fost super tare si ca scratch-uri dar si ca toata lumea s-a simtit excelent. Mai sunt si DJ care nu fac nimic special, doar pun urmatorul disc si dupa aia altul si tot asa. Asta nu e ce reprezinta arta asta pentru mine. Turntablism-ul a fost pentru mine ca un fel de facultate. Daca vrei sa te faci doctor nu pui direct mana pe bisturiu si incepi sa tai oameni, te duci 8 ani la facultate si inveti cum sa faci treaba corect. Si pana sa ajungi sa fii un adevarat DJ ai multe de invatat."
REVOLUTION a petrecut ani buni antrenandu-se, timp in care si-a demonstrat abilitatile numai unui cerc restrans de prieteni. In momentul in care a simtit ca e gata s-a decis ca e momentul pentru "teza de doctorat", o caseta trimisa la WAKE UP SHOW. SWAY si KING TECH au fost impresionati de ceea ce au auzit si l-au chemat sa puna muzica in cadrul emisiunii. Dupa 2 saptamani REVOLUTION devenea rezident la WAKE UP SHOW, de atunci mix-urile lui fiind nelipsite la fiecare editie.
In afara de show-ul de radio si turnee in toata lumea alaturi de alti DJ ca MASEO (DE LA SOUL), DJ PREMIER sau idolul sau din copilarie legendarul DJ JAZZY JEFF, REV este remarcat si de oaspetii WAKE UP SHOW si cooptat pentru a produce piese sau pentru a-si lasa amprenta ca DJ. Numarul de colaborari precum si numele implicate sunt impresionante: DILATED PEOPLES (de exemplu scratchurile de pe piesa WORK THE ANGLES sau de pe MR SLOW FLOW ii apartin), SWOLLEN MEMBERS, KRS ONE, DEFARI (INTRO-ul de pe albumul FOCUSED DAILY sau piesa SMACK YOUR FACE produsa de REV sunt exemple bune), CANIBUS, LARGE PROFESSOR, PACEWON, A.G., CHIEF KAMACHI, BOOT CAMP CLIK, SON DOOBIE de la FUNKDOOBIEST, ALCHEMIST, BAHAMADIA si multi altii. Se ocupa si de realizarea background-ului muzical al show-ului HIP HOP HONORS de pe VH1 si este cooptat pentru a realiza soundtrack-ul filmului BLACK MASK.
Alaturi de SWAY & TECH editeaza compilatia THIS OR THAT care cuprinde piese exclusive realizate de oaspetii emisiunii WAKE UP SHOW, majoritatea produse de REVOLUTION. Astfel are ocazia sa colaboreze cu nume ca GANG STARR, RZA, CHINO XL, XZIBIT, PHAROAHE MONCH, EMINEM, KOOL G RAP, HELTAH SKELTAH, BIG DADDY KANE, JURASSIC 5 si multi altii. Opera de arta a lui REVOLUTION este insa albumul IN 12'S WE TRUST, o declaratie de independenta a tuturor DJ-ilor, unul dintre cele mai importante albume dedicate turntablism-ului. Aici apar GRANDMASTER CAZ, KOOL HERC, CHINO XL, BEATJUNKIES, XECUTIONERS, DEFARI, DILATED PEOPLES, etc.
In prezent REV lucreaza la editarea unei serii de 20 de mix-uri intitulate "CLASS OF..." care apar in ordine cronologica si insumeaza cele mai reprezentative piese pentru fiecare an de hiphop din 1985 pana in 2005.
Pe langa CV-ul impresionant, ce ne-a convins sa organizam acest show a fost prestatia impecabila de la HIPHOPKEMP (cel mai mare festival de hiphop european) unde a reusit sa eclipseze pentru toti cei prezenti prestatiile trupelor care ocupau capul de afis (M.O.P, DILATED PEOPLES, REDMAN, etc). Poate parea incredibil dar mixul live suna chiar mai bine decat cele vandute pe cd-uri. Pe langa mixer si cele 2 platane, REV se foloseste de sampler si de Torq (este dealtfel imaginea Torq pe latura hiphop) pentru a crea un mix incredibil care cuprinde de la new school la old school, de la funk breaks la jazz breaks, de la underground la mainstream.
_______________________________________ "Fericirea nu este nimic altceva decat o sanatate buna si o memorie proasta." (nush cine a zis )
aakm interviu cu ZALE.....1. Tocmai ati lansat cel de-al 2-lea album. Dati-ne cateva detalii despre el.
Este conceput la fel ca si "Chei verbale". Noua ne place in aceeasi masura. Mai multe detalii contine materialul pentru ca vorbeste de la sine.
2. In ce perioada a fost inregistrat materialul? Ati intampinat dificultati in realizarea lui?
Lucram la el cam de cand a aparut primul pe piata. Dificultatile au fost de ordin tehnic, in sensul ca stam mult la piese si refacem si remixam pana ne place ce iese, si de ordin organizatoric, mare parte tinand si de relatiile si activitatea tertilor cu care cooperam.
3. Care este ideea principala a albumului si cum s-a ajuns la ea?
Ideea principala este Chill Brothers daca vrei o sintagma. S-a ajuns la ea incetul cu incetul.
4. Prin ce se deosebeste "Respect" de "Chei Verbale"?
Pe "Respect" sunetul e mai bun iar clipul este facut la o piesa de alt gen decat cel al piesei "Depinde de noi".
5. Atat pe Chei Verbale cat si pe Respect, femeia ocupa un loc important in constructia albumului. Ce inseamna femeia pentru voi?
Pai raspunsul la aceasta intrebare se poate desprinde din unele piese.
6. Cine a regizat videoclipul piesei "Rupem Baraka"?
Videoclipul a fost regizat de Chill Brothers Crew si coordonat de Christu, fiecare pe strofa lui venind cu idei incat sa iasa cum i se pare mai bine.
7. De cateva saptamani toata lumea "rupe baraka". Cine a venit cu ideea acestei piese?
Expresia "rupem baraka" o are Jacques Yolo de mai demult ca si ideea piesei iar ceilalalti au intrat pe piesa fiecare cu un film caracteristic.
8. Cum s-a ajuns la colaborarea cu Piele?
La fel ca la toate colaborarile nostre.
9. Aveti in vedere colaborarea cu alte nume din "scoala veche"?
Ne gandim cand va fi cazul; lumea va asculta rezultatele.
10. Cand si unde o sa aiba loc concertul de lansare?
Vom anunta foarte curand. Intarzierea datelor anuntate a devenit caracteristica necontrolabila a formatiei; nu tine exclusiv de noi in majoritatea cazurilor.
11. Nici nu a aparut albumul pe rafturi si deja se gaseste pe internet. Sa fie nerabdarea fanilor un factor care a influentat acest lucru?
E de ajuns ca un singur om sa cumpere/obtina electronic un album sau compact disc, sa-l extraga si sa-l puna in retea. Fiecare face ce vrea. Ne bucuram ca ne este ascultata muzica si ca putem sa cantam oamenilor.
12. Multi spun ca il downloadeaza doar din curiozitate si cand apare il cumpara in original. Credeti ca toti fac asa?
E la latitudinea fiecaruia. Cei care cumpara determina in parte, calitatea si existenta formatiilor preferate. Multumim celor care ne sustin!
13. Cat de mult afecteaza pirateria un artist? Au trecut doi ani de la lansarea primului album. Il mai cumpara lumea? Cat de mult afecteaza hotia pe cei furati?
Sunt multi oameni care sunt furati zilnic si totusi nu se dau afectati. Indreptatirea lor si rasplata vin pe alta parte. La intrebarile de sorginte contabila nu prea ne bagam.
14. In afara de artist, cine mai are acces la album inainte de lansarea lui? Ce masuri de precautie se iau?
Editorul/producatorul are acces la material de cand i se preda matrita. Apoi toate segmentele din lantul de fabricare/multiplicare, cum e logic. Fiecare isi ia masurile lui de precautie.
15. "Mii de pusti in centru la concertul Wu-Tang, mii de taguri pe-alocuri statui cu Sugar Hill Gang". Au fost si Sugar Hill si Wu Tang, iar Raku se poate spune ca a prezis aceste lucruri. Ati fost la aceste evenimente? Cum vi s-a parut?
Intrebarea mi se pare deosebit de sincera si introducerea ei emotionanta pana la lacrimi, care napadindu-ma .... scuzati-mi emotia ... sunt impresionat (Raku). Vreau sa-i fac cadou lui Raku de ziua lui un monument cu Sugar Hill Gang ... sa-i pice bine. (J.Yolo)
16. Pe cand urmatorul album la "Chill Brothers"? De cine va fi semnat acesta?
Albumul Chill Brothers Crew - Pacha Man, Mike Diamondz, Viktor, Subsemnatu, Zale.
17. Cateva cuvinte de incheiere.
Pace, iubire, mila, unitate, respect ... cuvinte gasite in mai multe carti de stiinta, de specialitate, precum si in discursul fiecarui politician
informatii...despre formatii rap...hip-hop.... – poza de te_kraq..., in UNDERGROUND HIP HOP · 4.8KB
_______________________________________ "Fericirea nu este nimic altceva decat o sanatate buna si o memorie proasta." (nush cine a zis )
1. A trecut aproape un an de la precedentul interviu in care se spunea ca albumul va aparea curand dar totusi el intarzia sa apara. Iata-ne astazi, ascultand "Mecanismul de Modificare a Mintii Umane LP". Ce s-a intamplat in ultimul an?
Aforic: Intarzierea s-a datorat faptului ca ne-am tot sucit in ultimul an, ce piese sa bagam, ce piese sa nu bagam, instrumentale tari tot apareau, ne-am indoit la un moment dat si cu aparitia LP-ului si iata ca dupa 2 ani si ceva de la infiintarea Spectrului de Difuzare am lansat asa zisul "monstru" ce il prezentam acum 1 an. Vorba cuiva "mai bine mai tarziu decat niciodata".
Underman: Au fost anumite perioade in care discutam soarta proiectului in putinul timp liber care il mai aveam, albumul a fost inregistrat in cateva zile si a stat in productie cateva luni bune, am reusit in cele din urma sa il finalizam si sa il dam ascultatorilor intr-un moment in care cred ca multi nici nu se asteptau, sincer a fost o clipa in care si eu cel putin am realizat uimit... ca in sfarsit apare.
2. Este albumul un mecanism de modificare a mintii? Poate influenta puternic ascultatorul?
SDST: Numele de "Mecanismul de Modificare a Mintii Umane" are strict legatura cu proiectul SDST in sine din cauza ca Spectrul de Difuzare se foloseste de ultrasunete sau chiar spectrul frecventelor pentru a actiona ca un mecanism pentru mintea omului. La fel si muzica, "ataca" prin frecvente.
3. Este mesajul albumului/pieselor usor de inteles pentru ascultator?
Aforic: Nu exista sa nu intelegi ce vrea sa spuna cel ce scuipa.
Underman: Categoric, unele mesaje au fost incadrate in text in functie de tipul piesei, automat cele clare si puternice au fost mai mult pe placul ascultatorilor.
4. Sunt 16 piese pe album. Initial trebuiau sa fie 21. Mai sunt piese ce ar fi putut avea loc in tracklist?
Aforic: Proiectul initial avea mai mult de 21 de track-uri. Pe parcurs am selectat doar ce ni s-a parut noua potrivit sa apara. Am zis 21 atunci pentru ca la vremea aia ne placeau toate 21, intre timp cercul s-a restrans la 16. Parerea mea e ca primul album complet asa arata, cum l-am scos.
Underman: Intr-un timp incepusem sa ne amuzam ca s-ar putea sa nu incapa pe un cd audio.
5. Au trecut doar cateva zile de cand albumul a vazut lumina calda a internetului si a atins difuzoarele flamande ale ascultatorului de hip hop. Exista feedback? Bun sau rau?
Aforic: Din ce am auzit eu de la diversi indivizi, feedback-ul e unul pozitiv. Eu am un cerc restrans de ascultatori cu care imi petrec timpul ascultand si disecand albume. Ei mi-au zis ca e tare.Asta cred si eu oricum, altfel nu ar fi aparut niciodata.
Underman: A fost pus pe internet doar de cateva zile, desi este putin cam devreme sa tragem o concluzie cred ca a fost primit bine.
6. "Ingeri deasupra Romaniei" este produsa si de Aforic. Trebuie sa recunosc ca nu stiam ca Aforic nu se rezuma doar la mc-ing. Vei continua si ca producer?
Aforic: Da, recunosc, am invatat sa fac beat-uri de la Snephrue cu multi ani in urma cand era in Romania, acum el locuieste in Bilbao si ma alimenteaza constant cu beat-uri grave. Revenind la mine ca productie nu m-a pasionat atat de tare cu toate ca mi-as dori ca toata productia mea sa fie facuta de mine. Cu toate astea am in jurul meu o gramada de beatmakeri tari asa ca profit din plin de asta. Cu ocazia asta vreau sa-i salut pe Raz One si Jupiter cu care am colaborat si o sa mai colaborez din punct de vedere al productiilor.
Underman: Dupa ce inregistram pe negativele producatorilor mentionati, Aforic obisnuia sa se "joace" cu unele voci aplicandu-le pe propriile negative, a fost astfel si o varianta a piesei "Ultima ofensiva" care suna destul de bine pe un negativ marca Aforic.
7. Ortega, Mr. Tweaks, Snephrue si Dribbler au contribuit la productia albumului. I-ati vrut de la inceput pe ei sau au existat si alti produceri dornici de a contribui la album?
Aforic: Au mai existat si alte instrumentale care ne-au trecut prin mana si de la alti beatmakeri insa cum am zis mai sus LP-ul complet are coloana asta sonora. Inca de cand ne-am apucat de SDST am lucrat cu Sagace.Snephrue, Tweaks si Ortega, fiind oamenii nostri, cu Dribbler a fost ceva spontan, la un concert prin tara eram cu VeritaSaga am discutat, am cazut de comun acord in privinta instrumentalului si apoi a urmat "Scrisoare de pe Front".
Underman: Am vrut sa fim deschisi colaborarii cu producatori care au inteles ce dorim sa punem in miscare, am ramas surprins placut de munca lui Snephrue pe care il stiam de foarte mult timp dar de care nu aveam nici o idee ca poate face astfel de negative, la fel si in cazul lui Mr. Tweaks. Ortega a lucrat cu noi si in trecut si probabil stia din experientele anterioare cam ce urmeaza sa pragateasca SDST, cat despre colaborarea cu Dribbler, ii multumesc inca odata pe aceasta cale, si sper sa mai lucram si pe viitor. Am vrut ca fiecare track sa fie diferit, iar producatorii au avut si ei un rol foarte important in asta.
8. Apropo de Dribbler, stiti cand iese albumul Veritasaga? )
SDST: Chiar nu stim treaba asta.
9. Albumul are teme variate de la probleme sociale, conspiratii, battle rhymes pana la povestea din "Scrisoare de pe front". Il considerati un album complet? Se mai putea lucra la el? Ce credeti ca ii lipseste?
Aforic: Pentru a treia oara il consider complet pentru ce am avut noi in cap de la inceput. Nu-i lipseste nimic. Am incercat sa il ermetizam cat mai minutios astfel incat sa iasa un produs compact, usor de digerat, dar in acelasi timp cu un sound greu, evitat sau mai bine zis uitat in ziua de azi de cei ce se apuca sa faca muzica.
Underman: Categoric mereu este loc de mai bine, dar sa nu uitam insa si ca daca incerci prea mult sa finisezi un produs il poti strica. Nici eu si nici Aforic nu am avut pana acum experienta "unui album" ca sa zic asa, ne doream foarte mult sa scoatem un produs al nostru avand in vedere ca ne plimbam prin underground de ceva timp. Daca mai stateam "pe el" cred ca riscam sa nu il mai scoatem deloc, am preferat mai bine asa... decat deloc.
10. Personal, imi place mult "Scrisoare de pe front" atat din punct de vedere al interpretarii cat si al subiectului. Cum a aparut ideea piesei?
Aforic: Piesa este 100% ideea lui Underman. A venit Underman intr-o zi la mine si a inceput sa imi povesteasca cum a luptat bunicul lui in al II-lea Razboi Mondial. In perioada aia eram la vanatoare de idei de piese si asa s-a intamplat sa reconstiuim macar auditiv un mic tablou in care sa cuprindem 4 din multele ipostaze in care a fost surprins soldatul. Am fost foarte entuziasmati amandoi de piesa, drept dovada "Scrisoare de pe Front" e prima piesa scrisa pentru albumul asta. Asta se intampla acum 2 ani... eram tineri.
Underman: Pe langa asta, am vrut sa ii aduc un omagiu lui si celor care au trecut prin acele evenimente, sunt mandru de faptele lor si pentru faptul ca m-am nascut roman, sunt patriot inrait, consider ca toti ar trebui sa fim asa, si din cand in cand ar trebui sa mai deschidem o carte de istorie si sa vedem de unde am plecat. Mai tarziu mi-am dat seama ca doar cu aceasta piesa nu am reusit sa spun tot, asa a aparut "Ingeri deasupra Romaniei", scrisa putin mai tarziu.
11. O intrebare care e pe buzele multora cand posteaza pe forumuri este "SDST este la Facem Records"? Unde este SDST?
Aforic: SDST se afla momentan in Bucuresti, cu tot cu o parte din producatori. SDST nu este la Facem Records, doar colaboreaza cu artisti de acolo si nu numai. In general urmarim colaborari cu cine ne place.
Underman: Prin acest album am demonstrat ca se poate face muzica si independent.
12. In afara de SDST in ce alte proiecte mai sunteti implicati? Ce putem afla despre "Al 5-lea element"? Si chiar vream sa aflam!
Aforic: In proiectul Al 5-lea Element sunt implicat numai eu. Proiectul a fost infiintat acum un an de mine, Dragonu si Bitza insa cu timpul am ramas doar 2. O sa urmeze ceva si pe partea asta dar nu pot sa spun cand sau unde, cert este ca o sa apara la o casa de discuri. Trebuie doar sa aveti rabdare, ca asa se nasc chestiile tari. Pana atunci o sa mai alimentez internet-ul si nu numai cu piese si colaborari tari cu oamenii mei.
Underman: Eu gravitez in jurul planetei SDST si mai colaborez cu vechii colegi din subteran.
13. Mai exista "Atacuri de Panica"? Dragonu e bine? Sanatos?
Aforic: Atacuri de Panica a pornit ca si crew de battle mc'z si asa a si ramas. Despre existenta lui nu va pot comunica mai mult decat stiti. Atacuri de Panica e asa cum il stiti. Atacam doar in cadrul concursurilor cu premii substantiale. Cat despre Dragonu, nu! Nu este sanatos, Dragonu e nebun. )
14. Un concert de lansare e musai sa fie. Va avea loc in curand? Vor putea fi achizitionate albume de la concert?
Aforic: Normal ca va exista un concert de lansare. Chiar asa nu merita sa-l lansam? Vor fi si cd-uri puse la vanzare in cadrul aceluiasi concert. In plus o sa fie si niste invitati tari care o sa urce cu SDST pe scena. Fiti cu ochii in paispe!
15. Odata cu aparitia albumului puteti spune ca s-a incheiat o etapa din existenta SDST si ca poate fi inceputa alta?
Aforic: Asta e primul album. Al doilea urmeaza sa fie conceput mai intai. Astept sa se opreasca fluxul asta de trupe si materiale care vad ca nu au nici o retinere in a fi expuse publicului si apoi o sa cantaresc mai bine cantitatea de urechi cu timpane fine predispuse la o dubla din partea noastra.
Underman: Suntem gata de nivelul 2, si cred ca pe viitor vom sti mai bine cum sa procedam.
16. Se va incepe sau a fost deja inceput lucrul la un album nou?
Aforic: Abia l-am scos pe asta .Stiu ca l-am scos tarziu dar a meritat. Urmatorul... in curand.
Underman: Cu fiecare pas facut cresc si pretentiile tale, si mai ales ale celor din jur, cand se apropiase de final munca la primul album, aveam deja cateva idei pentru urmatorul, dar am hotarat cu Aforic sa ne "pedepsim" putin ... nu mai lucram la nimic pana nu scoatem Mecanismul de Modificare a Mintii Umane.
17. In speranta ca reparilor le-a placut acest interviu, finalul va apartine domnilor.
Aforic: Reparilor? Punkistii nu au voie sa-l citeasca? La final vreau sa va urez o viata relaxata dincolo de liniste. Pace.
Underman: Multumim celor care au asteptat proiectul si celor care apreciaza munca noastra. Respect.
_______________________________________ "Fericirea nu este nimic altceva decat o sanatate buna si o memorie proasta." (nush cine a zis )
U.S.M. (Underground Sound Mastaz) nu este un nume nou in peisajul hiphop-ului romanesc de natura underground dupa cum o spune si titulatura trupei, dar desi au patru materiale la activ pana la "Ciordeli" plus aparitii pe diverse compilatii, nu au "rupt gura targului" cum se spune. Productii bune, flow-uri bune, dar uneori versuri mai greu digerabile si simpliste au facut ca U.S.M. sa ramana oarecum in umbra pana acum.
"Ciordeli" banuiesc ca se dorea o avanpremiera la anuntatul LP oficial "Gangsta Rap", si este un material pe care dupa ce il asculti pentru prima data realizezi ca este mai putin un album U.S.M., si mai mult un al doilea material solo Axes, dupa "Cuvant inainte" din 2001. 14 trackuri, 12 piese: o proportie destul de buna, dand consistenta albumului. Primul lucru care te frapeaza este abundenta de piese in limba engleaza, mai bine de jumatate, ducandu-ne cu gandul ca acest material ori a fost realizat pentru "export" ori dintr-o dorinta a MC-ului de a arata ca se poate si la noi. Paradoxal piesele in engleza suna mult mai bine, mai inchegat si mai puternic ca sound decat cele in limba romana. Albumul este intregit cu doua interludii apartinand celorlalti doi membri U.S.M., un skit cu VickDaSick incercand probabil sa explice ca "asa sunt ei" dupa numeroasele discutii aparute dupa lansarea "Back in the bizz" si un altul, cam scurt ce e drept, unde FaiboX isi demonstreaza calitatile de DJ.
Luat la bani marunti, in ordinea de pe coperta, albumul debuteaza cu o piesa in engleza "It's all set", un intro de fapt, unde Axes isi face o scurta prezentare alternand lirici "autobiografice" cu unele ce tin mai mult de un rol ce urmeaza sa fie apoi jucat de mai multe ori pe material. In general piesa secunda a oricarui material este piesa de baza in viziunea autorului, piesa care da consistenta albumului. Se poate spune acest lucru despre "In statie" probabil cea mai interesanta piesa dintre cele in romana; o poveste foarte posibil cunoscuta pentru cei care stiu ce se intampla in cartierele rau famate ale Bucurestiului. Un minus la interpretare, Axes dand senzatia ca isi forteaza vocea, melodiile care urmeaza intarind aceasta senzatie.
Track-ul 3 "Savage cats" aduce si prima colaborare, Da Tryfe MC dupa cum citim pe coperta, un personaj despre care cu siguranta nu am mai auzit anterior dar care suna bine, o voce hardcore si o prezenta buna. Subiectul piesei este un pic ambiguu dupa doua ascultari atente ducandu-ne cu gandul undeva in zona "ego-rap-ului". Piesa urmatoare "Cum te taie pe tine" este un fel de continuare sau oricum undeva in ideea celei mai cunoscute piese U.S.M.: "Pustanii". Flow-ul ma duce clar cu gandul la "playa" si subiectul piesei de asemenea. "O ard in club" este cu siguranta cea mai slaba piesa de pe material de la productie pana la lirica, si cred ca trebuia aleasa alta piesa pentru singura "colaborare" cu intregul U.S.M. de pe album. O piesa care m-a facut sa dau skip la o ascultare ulterioara.
Urmeaza una din piesele de rezistenta "6 face", unde Axes, cum spuneam anterior, joaca rolul unui criminal in serie; piesa este foarte interesanta ca subiect, sound si interpretare ducandu-ma cu gandul la materiale de genul Gravediggaz, Boogiemonsters sau Flatlinerz.
Alte doua piese in engleza care sunt foarte asemanatoare ca sound si cred ca alegerea de a fi puse alaturi pe material nu a fost foarte inspirata, piesele sunt ambele "relaxing" ducandu-te cu gandul undeva la hiphop-ul din '96-'97.
O noua piesa in romana "Calea strazii" despre care e greu sa spun multe cuvinte vocea MC-ului auzindu-se destul de incet in comparatie cu instrumentalul; de remarcat scratch-urile. "Snakes" feat. Dos Noun si "Concrete" feat. MOA incheie piesele in limba engleza in forta dand culoarea si varietate materialului pe final. Ambii MC-i straini se prezinta bine, facandu-ma sa ma intreb oare cum il percep cei de-afara pe Axes... Greu de spus, dar sa trec la piesa "O relatie frumoasa" care pare sa incheie albumul intr-o nota optimista, dar finalul ei ajunge sa te infioare. O poveste de dragoste prezentata in stil epic cu multe metafore interesante "uneori am impresia ca minte/ ca foloseste mereu aceleasi cuvinte". Se simte lipsa refrenului, fie din voce, fie din stratch-uri, instrumentalul gol nesuplinind aceasta lipsa.
Si albumul se incheie, oarecum neasteptat, parca simti ca mai trebuia sa existe ceva. Un album care mie personal nu mi-a dat senzatia ca U.S.M. au devenit altii si ca vor reusi sa iasa din "conul de umbra". Este un album bun, cu un plus pentru bucatile in engleza, un album rap. Dar cam atat, nimic care sa te faca sa zici: "DA MA! ASTA ASTEPTAM DE MULT SA ASCULT".
Pe o scara de la 1 la 5 notele vin cam asa: - productie: 3,5 - interpretare: 4,5 - versuri: 3 - mixaj/masterizare: 3
O medie ar duce la 3,5, poate am fost prea permisiv, insa m-am raportat in primul rand la restul produselor romanesti si mai putin la ce este afara. Mai avem pana acolo.
Remarcatele mele: "Savage cats" feat. Da Tryfe MC "In statie" "6 face" ........BELEA ................
informatii...despre formatii rap...hip-hop.... – poza de te_kraq..., in UNDERGROUND HIP HOP · 6.4KB
_______________________________________ "Fericirea nu este nimic altceva decat o sanatate buna si o memorie proasta." (nush cine a zis )
Raku, Yolo si Dj Christu sunt cei 3 componenti ai trupei Zale. Pe Raku il cunoasteti din aparitii mai vechi in diferite formatii sau pe cont propriu. In ordine cronologica a inceput cu Morometzii, a urmat albumul solo intitulat "In mediul vitreg" (unde i-am intalnit si pe Yolo si Dj Christu) si formatia ce nu a scos pe piata vreun album In Alta Frecventa formata din: Raku, Praetor si Dj Christu.
In cel mai recent interviu, in cadrul emisiunii Yo! Mtv prezentata de Dj Dox, Zale promiteau un album cu o priza la publicul mare ascultator de muzica de orice gen nu doar de publicul Hiphop, si cred ca au reusit. Piesele de pe album pot fi usor impartite in doua categorii: prima categorie se doreste cu o mare priza la public, iar a doua cu mesaje social-politice, legate de credinta, foarte puternice, umplute si imbibate pe alocuri de o mana intreaga de dj-ei cu nume grele in Hiphop-ul autohton.
Piese gen "In numele ei", "Fumuri si hamace", "Cum produc", "Sa poti zambi" cu putina promovare, vor putea arunca boxele din cluburi in aer si chiar vor putea fi gasite zilnic in playlist-urile posturilor de radio. Piesele ating subiecte usor digerabile de publicul larg, texte usor de retinut, haioase (reteta comercialului!). Subiectele variaza trecand de la versuri mai sentimentale, mai usoare "..de vrei ca femeia ta sa fie o doamna, trateaz-o cu respect la fel ca pe a ta mama... toata iubirea din stoc sa o impartiti ca-ntr-un joc si sa o impartiti reciproc.", la piese chill-out "Fumuri si hamace" avandu-l invitat pe Funky din trupa Dream Team, pare fi destinata special pentru bairame sau la un pahar de vorba cu prietenii.
"Cum produc" este o alta piesa chill avand invitat unul din cei mai cunoscuti dj-ei de la noi FDD (Freaka Da Disk) ce se integreaza perfect in ritmul piesei. O alta piesa facuta "Sa poti zambi", este impreuna cu un foarte mediatizat emcee in ultima vreme, Puya, ce se ridica peste asteptari si nu se lasa mai prejos decat cei 2 emcee gazda: "..imi vin versuri si in somn, vecinii dispera, basul le creste tensiunea in vena." Piesele din prima categorie sunt bine sustinute de instrumentale bune, dar facute special pentru a fi mult mai usor digerabile si uneori chair dansabile.
A doua categorie este partea, ce nu numai ca da forta albumului, dar e si stilul ce a ridicat formatia Zale. Piesele ce tind toate spre social ating uneori mesaje plina de credinta sau atacand lipsa ei, mesaje politice sau ganduri ceva mai intunecate. Prima piesa ce parca ar face trecerea de la categoria cu mare priza la publicul ascultator si de alte genuri muzicale spre publicul Hiphop, desi invitatul special al acestui album (Paula Seling), nu are nici o legatura cu muzica Hiphop cu atat mai putin cea underground, dar care suna bine fiind sustinuta de un mesaj pozitiv subtil conturat "Pentru linistea ta": "daca vrei mai mult sa muncesti mai mult de-acum si sa mergi zambind chiar daca-i cel mai greu drum."
O alta piesa "In alta frecventa" remixata (foarte bine), dar cuprinsa de un mesaj mai negativ, mai trist, mai cunoscuta de publicul larg, alaturi de una din marile pierderi ale Hiphop-ului romanesc, Praetor (plecat in Australia, a nu se intelege altceva). O piesa ce face parca trecerea usor usor de la un Hiphop ceva mai dark si mai mental, la un hiphop social, chiar politic pe alocuri.
Piesa ce defineste perfect stilul Zale se numeste "Depinde de noi" si atinge aproape toate subiectele dezvoltate mai larg pe albumul "Chei Verbale". Videoclipul piesei defineste si el stilul Zale, intr-un mod original, in care zarim si alte fete cunoscute din Hiphopu autohton. Ascultand povesti ce te duc cu gandul la persoane intalnite pe strada sau cunostinte, cu "Temperament dangerous", descoperim multe din esecurile sistemului si mentalitatii dezoltate in Romania. Raku pe prima strofa canta parca despre propria lui poveste strans legate de trecutul Hiphop-ului de la noi: "de educatia din tineretea lui, Tineretului, cu mos Martin si teatru Creanga, in regie, din Rapattack pana-n Babadac", continua cu povestea unuia smecher de colt de strada, a altuia somer, a altuia ciorditor ajuns sus la putere "din dragoste pentru guvern cu o bomba in centura si o mana pe Kalasnikov noaptea razbunare-si jura".
Si continuand parca ideea razboinica cu o transmisie "din front" prezinta intr-un mod original povestea unui soldat (sau a mai multora) luptand sa castige razbouiul cu cei ce conduc industria muzicala "in general producatorul te vrea deja lansat... vezi soldati ascunsi ca Vexx pe pozitie... iti cauti K-gula cand oameni ca Deceneu dispar...". Intarind afirmatiile despre greul drum parcurs de cei ce nu se compromit, vin argumentele din prima linie ale unui veteran ce se mentine in top fara compromisuri, Cheloo: "imi urmez propriul vis tot mai convins nu ma las prins de comercialul promovat de p!$@&...", si incheind transmisia intr-un mod usor satiric si diferit de stilul Yolo, dar care-l prinde foarte bine "unitatea noastra implica disciplina marsaluind in front fara de somn si splina, intre desfrau si arta soldat sau comandor adevarata lupta o ducem in interior."
Piesa cea mai bine conturata, cu un mesaj foarte puternic ce nu poate fi exemplificata prin citate ci trebuie ascultata atent si intrat in starea respectiva, avand in spate o productie ce se imbina perfect cu versurile si flow-ul emcee-lor este "Natura noastra". Piesa ar fi ideala pentru un final de album, pentru a ramane imprimata adanc in mintea ascultatorului, dar autorii "Cheilor verbale" stiu mai bine ce si cum si au propus ca piesa de final "Piedoni in trafic" alaturi de Vlad Dobrescu, atacand puterea si manariile prin care se face trafic de droguri. Foarte strans legata de atacul asupra vietii social-politice (in special politice) de la noi alaturi de un alt membru CTC, Deliric1, ataca subtil partidele ce au fost la conducere si mentalitatea celor ne conduc "ti-am propus 3 trandafiri, dar intre FSN-doare, ti-am propus cheia solutiilor CDR-muscari ai oare... ti-am dat la schimb vise sa obtinem vize, am dat la schimb istoria sa obtinem fise, si nimic nu se schimba-n bine atata timp cat nimic nu se schimba-n tine".
O noua piesa cu un puternic mesaj social "Mi-e de ajuns", poate chiar cea mai acida este completata de un vechi membru Facem Records, Cedry2k "sunt tot pornit pe lideri, ma simt tot gonit consider, ca doar deschizandu-ti mintea si inima poti fi liber" ce dovedeste loialitatea trupei Zale pentru cultura underground.
Un lucru important de mentionat reprezinta varietatea dj-ilor de pe album: Dj Christu, Dj Paul, FreakaDaDisk si Dj Dox, ultimii 3 fiind membrii primului crew de dj-ei din tara, Turntable Science alaturi de Dj Faibo X, Dj Undoo si Dj Swamp.
Un alt lucru demn de apreciat este varietatea productiilor semnate in mare parte Yolo si secundat de Dj Christu, exact cum declarase Raku, o surpriza placuta desi existau indoieli inainte de aparitia lor pe piata.
Albumul "Chei verbale" reprezinta un album ce nu va putea trece neobservat indiferent de preferintele muzicale ale ascultatorilor. Cei trei componenti se vor putea bucura de o mare priza la public. Au muncit mult, au gandit bine, au pus in practica ideile si se vor putea infrunta de un numar de fani destul de ridicat din diferite cercuri de preferinte muzicale.
Finalul il voi prezenta in stilul Zale 100%: "pastrand natura noastra bine, copiilor din urma ta le bucuri zilele, nimeni nu ia nimic cu sine, afara de ce avem in suflete" ...si pentru acest album avem mult respect!
Zale - Chei Verbale (R.U.L., 2005) Scor: 9 / 10
Recenzent HHK: Headshot
1. Intro (cu Dj Paul) 2. Depinde de noi... 3. In numele ei 4. Fumuri si hamace (cu Funky) 5. Temperament dangerous 6. Cum produc (cu Freaka Da Disk) 7. Din front (cu Cheloo) 8. Mi-e de-ajuns (cu Cedry2k) 9. In ziua-n care (cu Deliric 1) 10. La liberte 11. Natura noastra (cu Unu) 12. Vremuri mai bune (remix) (cu Praetor) 13. Interludiu (cu Dj Dox) 14. Sa poti zambi (cu Puya) 15. Pentru linistea ta (cu Paula Seling) 16. Piedoni in trafic (cu Vlad Dobrescu)
Alegerea recenzentului: - Temperament dangerous - Din front (cu Cheloo) - Natura noastra (cu Unu)
informatii...despre formatii rap...hip-hop.... – poza de te_kraq..., in UNDERGROUND HIP HOP · 4.4KB
_______________________________________ "Fericirea nu este nimic altceva decat o sanatate buna si o memorie proasta." (nush cine a zis )
for Columbia Records. 
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