Fallout Radio Sat

Jay-Z

Upon the release of 2006’s Kingdom Come [click to read], something happened that not even Hov could’ve entirely expected: for the first time since he garnered near-universal (if not critical) acceptance on Vol. 2… Hard Knock Life, Jay-Z’s album was met with modest fanfare at best. Some criticisms were unfounded, and some were not. But one thing was certain: Jay wasn’t quite comfortable in his own skin on Kingdom Come, not knowing how to consistently reconcile his newfound subject matter with rhymes and production to create a well-executed album. In a rare act of self-consciousness, Jay-Z took these criticisms – and his own doubts – to heart. As a result, he allowed his subject matter to regress to street tales on the excellent American Gangster [click to read]. While Jay used the movie of the same name as an excuse, it’s clear that he wanted to re-instill both himself and his fans with confidence that a product by S. Dot was a worthwhile one.

All this is very important to consider when one realizes that The Blueprint 3 – follow-up to Jay’s 2001 classic [click to read] and its 2002 not-so-classic sequel [click to read] – is the album that Kingdom Come was meant to be. “I’m talking ‘bout life…and all I hear is ‘Oh yeah he keeps talkin’ bout crack!” Hov rhymes in the album’s intro, “What We Talkin’About,” affirming his commitment to progressing this time around.

The show continues with the somewhat-controversial “D.O.A. (Death Of Auto-Tune)” [click to view], a condemnation of not only Hip Hop’s latest and favorite crutch, but of all over-saturated trends that get run into the ground. No I.D. [click to read] is at his best here, marrying a heavy electric guitar loop with intermittent Klezmer clarinet. Blueprint 3’s Rock influences extend onto “Run This Town,” featuring Kanye West and Rihanna. Here, the multi-platinum trio claims the throne – but no one does a better job of it than Kanye’s beat. As the very best producers know, and Kanye is certainly among that group, the best production is that which tells a story before the first verse drops. The epic drums, piano keys and guitar practically evoke Jay’s famous “I will not lose” mantra. On “Empire State of Mind” [click to listen], far and away the album’s gem, Jay-Z’s expertly-told Horatio Alger story and the pure emotion evoked by Alicia Keys’ chorus over Shux’ soulful keys and drums ensure an instant classic that enters Hip Hop’s annals alongside previous Jay-Z triumphs “Hard Knock Life” and “Izzo.”

After “Real As It Gets,” which ends up being a disappointment relative to previous Jay-Z/Young Jeezy [click to read] collaborations, Swizz Beatz [click to read] provides an effective change-of-pace song in “On To The Next One.” While the track’s usefulness will be relegated solely to the clubs, it opens the door for a few futuristic, synth-laden cuts. “Off That” [click to listen], “Venus Vs. Mars” [click to listen], and “Reminder” [click to listen] all helmed by frequent collaborator Timbaland are three such examples. The first of the three features an energetic Jay spitting with Drake on the chorus in what turns out to be another one for the clubs, while the latter two are a bit darker. Although the production by itself for the cuts isn’t terrible, the tracks rate among the worst Jay-Z/Timbaland works (and rate nowhere near “Dirt Off Your Shoulder,” “Hola Hovito,” “Big Pimpin” and “Snoopy Track,” for example). And although they afford BP3 a little more range, they’re certainly not on the same level as the rest of the album. The Kanye-produced “Hate” [click to listen] is also fairly forgettable, falling in line with Timbaland’s offerings.

Not to be forgotten is “Already Home,” which vies for best cut on the album. Not only does Kid Cudi assist with a stellar chorus, but Jay comes back down to Earth to show some indignation: “And really the fact is/ We’re not in the same bracket/ Not in the same league, don’t shoot at the same baskets/ Don’t pay the same taxes, hang out with the same bitches/ So how am I in the way? What is it that I’m missing?” Jay concludes Blueprint 3 with an assist from Mr. Hudson on “Forever Young” (double-meaning, perhaps?). The song takes Jay into ethereal nostalgia territory, much like Kingdom Come’s “Beach Chair,” and he manages again to handle it without being contrived. It’s an effective closer, albeit a bold cover of the Alphaville 1984 hit. “Bye-byes are not for legends,” rhymes Hov, leaving promise of more music to come Some may criticize Jay-Z for completely buying into his own mythos with this album. But unless you’ve disliked him since he first came on the scene in ‘96, that thinking is flawed. Jay’s number one fan has always been Jay – and that’s not going to change. Whether he’s spinning street tales or casting off Hip Hop’s latest overdone trends, Jay-Z’s self-confidence is always going to be a central theme at the forefront of his music – it’s nonsensical to suddenly start holding it against him now. Blueprint 3 may not stack up to the storied first entry in the series, but it’s certainly a worthwhile contributor. And for those that want the “old” Jay-Z back: “Hov on that new shit/ Niggas like ‘how come?’/  Niggas want my old shit/ Buy my old album.”

One such classic is Raekwon’s [click to read] Only Built 4 Cuban Linx. The 1995 crime epic is so revered that even its skits are discussed to this day. Universally regarded as one of Hip Hop’s finest offerings, the original OB4CL was a blend of cinematic storytelling, fierce lyricism and unforgettable production. In the 14 years since the purple tape hit shelves, Rae’s solo releases included two disappointments in 1999’s Immobilarity and 2003’s The Lex Diamond Story [click to read]. So it’s no surprise that when Raekwon revealed he would be making a sequel to his magnum opus, fans’ reactions were a mix of excitement and skepticism. While there was no doubt Rae had the potential to deliver another work of art, his batting average left much to be desired. So it must be with a sigh of relief that Raekwon delivers us Only Built 4 Cuban Linx 2, as he manages to meet almost impossible expectations and deliver the best Wu-Tang member solo album since 2000’s Supreme Clientele.

OB4CL2 picks up right where its precursor left off with “Return of the North Star” featuring Papa Wu. Although it functions as little more than a skit, it’s a seamless transition from the original album. Most importantly, it indicates that Raekwonunderstands that OB4CL2’s worth will be dictated by whether or not it can be played immediately after the original without missing a step. Perhaps for that reason, Rae blows the door off the hinges with the classic Wu-Tang sound on “House of Flying Daggers,” with Wu brethren Inspectah Deck [click to read],Ghostface Killah [click to read] and Method Man [click to view] getting in on the posse cut. The track, complete with chanting chorus, Kung-Fu samples and frenetic violin loop sounds like it came straight from an early ’90s RZA [click to read] recording session (as do the emcees who spit over it). As such, it’ll come as a surprise to fans that the song comes courtesy of the late J Dilla.

What cannot be stressed enough about Cuban Linx 2 is the astounding thoroughness in its execution. It’s clear that every contributor to the album – producers, executive producers, featured artists – was acutely aware of how aCuban Linx album should sound. Take Pete Rock’s [click to read] work on “Sonny’s Missing” as an example. The beat is something out of a ‘40s black and white gangster flick, and provides the perfect backdrop for Rae to weave tales about the violent and seedy underworld. The Marley Marl-produced [click to read] sampler (it clocks in at under a minute) “Pyrex Vision” is another prime instance, as what appears to be an audibly high Raekwon doles out orders while he cooks up fishscale. Despite many fans’ doubts, Dr. Dre makes contributions as well. His signature keys and drums provide a Latin Mafioso flavor, and recall the excellence displayed in the previous pairing of Rae and Dre on Busta Rhymes’ [click to read] “Goldmine.” Not to be forgotten is The RZA, whose contributions include the haunting “New Wu” [click to listen].

With such a stellar production crew, it’d be a shame if the rhymes didn’t stack up. But once again, it’s apparent from every emcee’s performance that the Cuban Linxlegacy is to be upheld. Raekwon, who has in recent years preferred a laid-back, menacing flow, sounds completely alive and reawakened here, and in top form. Similarly, GZA [click to read], who sleepwalked through the Clan’s 8 Diagrams[click to read], flexes his lyrical muscle alongside Slick Rick and Masta Killa on “We Will Rob You.” Method Man, who was largely a nonfactor on his own Blackout! 2[click to read] delivers vicious verses on both “New Wu” and “House of Flying Daggers.” Beanie Sigel’s [click to read] prison tales fit perfectly on “Have Mercy” [click to listen], and Jadakiss [click to read] and Styles P [click to read] bring their signature gritty sound. But just as was the case on the first Cuban Linx, the most potent combination comes in the form of Raekwon and Ghostface Killah. Ghost’s signature storytelling is on full display on “Gihad,” where he details getting caught with his man’s (or is it his son’s?) girl: “And she pregnant, my little man got her knocked up, he popped up/ (oh shit!) I’m like a crooked cop, Richard Gere, big smirk on, getting my cock sucked/ He pulled the joint out, a bullet spun out/ But it was too late, already nutted on the side of her mouth/ Side of her face and her hair, like Something About Mary/ I can’t front, my son gun look scary/ Chill, she’s a whore!/ You knew that from the time we rain trains on her and you still went and fucked her raw/ Come on, son, gimme the gun/ You gonna kill me over this bum ass bitch that you can’t resist?”

It would be remiss to relegate all the praise for OB4CL2 solely to the production and rhyming –excellent though it may be – without also noting the album’s incredible attention to detail. Different effects are used to make the album a complete and atmospheric listening experience. On “Gihad,” the choral loop in the back becomes muffled halfway through Raekwon’s verse, then resumes right asGhostface comes in, giving it extra punch. On “Fat Lady” the beat is purposely interrupted in order to let a mini-skit play out to great storytelling effect. And just as they did in OB4CL, every skit plays an important role to setting the scene for either the song it follows or precedes. These details, while miniscule, contribute greatly to the overall listening experience of the album, and indicate that it is truly a labor of love.

All praise aside, OB4CL2 is not without its flaws, however limited. Comprised of 21 tracks, Raekwon could’ve trimmed a little fat, most of which occurs near the end of the album. Dr. Dre’s other offering, “About Me” featuring Busta Rhymes, is a somewhat generic and doesn’t contribute much. The same can be said of “Mean Streets,”  “Kiss The Ring” and “Surgical Gloves.” It’s not that these tracks are awful; in fact, they could likely be highlights on someone else’s album. It’s simply that they don’t match the standard set by the rest of the album.

Without a doubt, Only Built 4 Cuban Linx 2 is crime Rap done properly. Whereas modern examples of the sub-genre offer little or no examination of consequences, or are simply just too amateurish or dumbed down in their depictions, OB4CL2 (just like the original) is pure cinema – a near-flawless crime epic executed to near-perfection. Not only is it, as previously mentioned, far and away the best Wu-Tangalbum in years, but also probably the finest album the east coast has offered sinceJay-Z’s The Black Album [click to read]. But Cuban Linx 2’s value should not be measured solely by virtue of what it means to the Wu-Tang Clan, New York, or even to Raekwon; it’s a modern-day music masterpiece that proves, even in 2009, some albums that are labeled “classic” earn it. As in film, not every sequel will capture the essence of the original. Much like The Godfather Part II, Only Built 4 Cuban Linx 2 succeeds whether other sequels fail: by creating something that not only maintains the original’s integrity, but carries a distinct vision of its own.

This reggae sensation had an appreciation for music, since his humble beginnings as a young child in St. Mary, Jamaica to growing up amidst the turmoil in the streets of Augustown, Jamaica. Initially listening to music served as an escape from life’s daily struggles, however the music found the entertainer in him, in a surprising way; while singing to a friend, a stranger overheard his melodic voice and invited him, to a recording session. Tilibop, unhappy with his first time out, was determined to not only improve, to excel. He went home and wrote a song, and then practiced, and continued to practice until something stirred within him and he hasn’t looked back since that fateful day twelve years ago. It’s that same introspective quality and work ethic that make Tilibop the consummate vocalist he is today.

Tilibop loves and appreciates all genres of music, from Old School Soul -The Beatles – Nina Simone, Pavarotti to name a few. His roots are in Reggae and in his Reggae Music Alternative Movement is music with substance that can provide great dancing grooves, while providing thought provoking lyrics. Its music you can feel! His first single Ghetto Town has an easy dance beat, and inspiring message of struggle and determination. The Reggae Alternative Movement was born out of a willingness to experiment, meshing diverse genres of music with reggae. You can feel that unique sensibility listening to his song Champion.

Tilibop needs no introduction. Listen to his music, it so eloquently speaks for itself. This soulful spirit has a distinct voice.

Tilibop: Teaching is Love Intelligence Breathes Opportunity Prosperity

Tilibop desires to provide opportunities for young artist, allowing them freedom of expression. One of his intentions; is to expand the listening base for Reggae Music

Tilibop is passionate, focused, and gifted, with his exceptional talent it’s only a matter of time, before he captures the attention of music lovers everywhere.
myPPK.com/go/tilibop.aspx

1. What We Talking About (Produced by Kanye West

2. D.O.A. (Produced by No I.D.)

3. Weigh Me Down Feat. Kid Cudi (Produced by Kanye West)

4. Unforgiven (Produced by Kanye West, Additional Production: MGMT)

5. Run This Town Feat. Rihanna & Kanye West (Produced by Kanye West)

6. Empire State Of Mind Feat. Nas (Produced by Kanye West & No I.D.)

7. When It Comes To This (Produced by Timbaland)

8. Always Feat. Drake (Produced by Kanye West)

9. Scenes From The Past (Produced by No I.D., Co-produced by Kanye West)

10. Everyday A Star Is Born Feat. Mr. Hudson (Produced by Kanye West)

11. Already Home (Produced by Kanye West)

12. Forever Young Feat. Mr. Hudson (Produced by Kanye West)

13. Thank You (Produced by No I.D.)

Bonus Tracks:
14. Sound Of The 70s (Produced by Kanye West)

15. We Made History (Produced by Kanye West)

STREET RECORDS

630 9^th Avenue New York, NY 10036

D/R PERIOD proudly  presents the ROCKBOY G’Z. family to the M.O.P firing squad, ROCKBOY G’Z are from Brooklyn ny. ROCKBOY G’Z are gritty , raw, hip hop artist that have been doing shows with the greats such as, boot camp, method man, redman , and along with their big brothers M.O.P they have done shows with great LINKIN PARK. ROCKBOY G’Z mix hip hop and rock to make their undeniable crashing, gutter sound. ROCKBOY G’Z  consist of thunny brown , fly ty ,and one of the greatest producers of all time D/R PERIOD.   

D/R PERIOD:

With total album sales exceeding 30 million worldwide, this Brooklyn native has laced tracks like MOP’s “Ante Up”, Cam’ron’s “Hey Ma” and Smooth Da Hustler’s “Broken Language.”  In addition to providing his signature hard-hitting tracks to recording artists, he’s also been a featured music producer on many major Hollywood films.  Soundtrack work includes the title scores for both Spike Lee’s “He Got Game” and Queen Latifah’s “Bringin’ Down the House”.  D/R’s also become a household name in Germany where he produced a massive hit for EMI’s ASD and has been regularly featured in JUICE Magazine.  He’s currently working on MOP’s upcoming set for Roc-a-Fella as well as tracks for Killer Mike, Juelz Santana, Lumidee and Kool G Rap.  When he’s not interviewing for The Source or XXL and isn’t featuring on BET’s Rap City D/R is working on completing his solo debut loaded with guest features from many of his favorite artists and protégés.  In fact, a track from the set, the street tape banger “D/R’s in Here” has already been featured in both Fox’s “Boston Public” and UPN’s “Fast Lane.”

Selected Artist Production Work:

MOP, Smooth Da Hustler, DMX, Onyx, Cam’ron, Freeway, Queen Latifah, AZ, Nas, Case, Ashford & Simpson, Goodfellas, Foxy Brown, Public Enemy, The Diplomats, Juelz Santana, Keith Murray, Killer Mike, Lumidee, Queen Pen, Kool G Rap, 8 Ball & MJG, Javine, ASD.

Selected Film, TV & Videogame Placements:

Boston Public (Fox)

Bringin’ Down the House

Empire (Arenas Entertainment)

Fight Night 2004 (EA Sports)

He Got Game (USA)

The Sheild

You Got Served (Sony)

Media Features:

Allhiphop.com

BET’s Rap City

Juice Magazine (Germany)

The Source  MAG

XXL   MAG

THE ULTIMATE HUSTLER(DAME DASH SHOW) MTV

106 AND PARK

SMACK DVD

HIPHOPGAME.COM

NOBODY SMILLING.COM

SCRATCH   MAG

RAP FANATIC MAG

D/R PERIOD

THE DIVINE RULER

Who is D/R Period?  For those who are hip hop heads, he needs no introduction.  For those who don’t know, he is the Divine Ruler, The “Producer-slash-DJ-slash-Rapper” from Brooklyn.  For nearly a decade, D/R has dominated the music game with tracks featuring his signature beats and street sounds, which have helped to put some of the hottest artist and groups in the music industry on the map.  He has worked with the likes of Jay-Z, M.O.P. Nas, and Rakim just to name a few.  Rockboy Records, a company created by D/R Period himself, is on the rise with the notoriety of one of the “hottest” producers in the music industry behind it.

When looking behind the music, D/R Period is Darryl Pittman, one of eight children, into a family of musicians from Brownsville, Brooklyn.  His mother managed several musical artists, which would intrigue him to pursue the music industry.  However more credit is given to his teacher, Stick Evans, (if it sounds familiar it should be he was the notorious James Brown’s drummer), who guided and inspired him to be a musician.  In high school D/R Period learned how to arrange music, play the guitar, trumpet, and saxophone. In the late 80’s early 90’s, D/R began to DJ neighborhood parties and learned how to produce.  His first project was with C&C Music Factory.  This created numerous opportunities for him in the music industry as a producer.  In 1994, he started to work with M.O.P. on their album and garnered a hit song “How about some hardcore”.  D/R also worked with Positive K, Chakademis & Pliers.  In 1996, he was provided a production deal with his first company called Next Level Entertainment.  At that time, he set history by becoming the first Production Company to get their budget upfront.  On this label, he had Smooth the Hustler and Trigger The Gambler.  He also worked with Public Enemy, Cam’ron, Shyheim, The Lost Boys, Onyx, and Queen Latifah.

In 1997, D/R Period began to focus on his production.  His name continued to ring bells throughout the music in Industry.  He was contracted by Russell Simmons and hired along with Producer Rockwilder as a production group to work with a new lyrical demonic group called Flatliners.  Because of their lyrical content,the Flatlineres project never progressed.  D/R then began to take his talent to a new level and started producing movie soundtracks.  He has established a name inn the film industry with movies such as “The Score”, “He got Game”, “Bring Down the House”, “Hoodlum”, “Brown Sugar” and “U got Served” just to name a few.  

In 2001, he started working on an independent project that won him a distribution deal from Buds International.  Through this deal he produced up to 17 volumes of break beats for DJ’s on vinyl. It is around this time when he came back to producing tracks again for artists such as Cam’ron with “Hey Ma” and “Facts of Life” as well as “Ante Up” for M.O.P.

His talents did not go unrecongnized at the recent Underground Music Awards.  D/R was presented with the Lifetime Achievement Award! For 2000 and beyond is nothing but the goals of success for Divine Ruler and Rockboy Records.  He broadens his horizons with production on a video game called Fight Night with Roy Jones.  He has an added talent that many have not heard, which is not only a “Dope” producer, but know that his lyrical skills are not to be taken lightly.  His delivery flows like those of the “Notorious”.  D/R was “born to music” with his family background.  This is evident when you speak, hear, or feel any project that he is a part of.  He is not your average producer-slash-rapper who will fade with the tides.  But he is a multi-talented, humble yet God-fearing man that is about his music and business.  When ask what he wants to be known as he says “The man and his Music”.  So the next time you hear or see the name D/R Period just know that he is the Divine Ruler and as for the music industry he is here and ain’t going no where but to the top! 

D/R PERIOD

DISCOGRAPHY

ARTIST     SONGS TITLES

M.O.P GHETTO WARFARE 

                                           “ CONQUERORS”

“GROUND ZERO”

“PUT IT IN THE AIR”  (REMIX FEAT JAY-Z)

“WE PROUD OF YOU”

“FIRE”

“GET THE FUCK OUT OF HERE”

“TRIBUTE”

                                              MARXMEN CINEMA(MIX  CD  ALBUM)

                                            “FUCK THE RADIO”

                                            “GAME BEEN FIXED”                               

HOUSE PARTY 3 SOUND TRACK

“HOW ABOUT SOME HARDCORE”

TO THE DEATH (ALBUM)

“RING DING”

“HOW ABOUT SOME HARDCORE”

“DRAMA LORD”

“BLUE STEEL”

“RUGGED NEVER SMOOTH”

“HEIST MASTER”

“TO THE DEATH”

“TOP OF THE LINE”

“F.A.G”  (FAKE ASS GANGSTERS)

WARRIORS  (ALBUM)

“ANTE UP REMIX” FEAT. BUSTA RHYMES, REMY MA, AND TEFLON

“ANTE UP” original

“BACKGROUND NIGGAS”

YANKEE B MUCHO DINERO (ALBUM)

“HURT SOMEBODY”

“SEX FOR SURE”

POSITIVE K “AIN’T NO CRIME” (REMIX)

TUCKA “THE HUNTA MAN IS  COMING”

THE UNIT FEATURING QUEEN LATIFAH 100% HATERPROOF (THE ALBUM)

100% HATERPROOF

“THE UNIT”

“OFF THE WALL”

“GIVE IT UP”

QUEEN LATIFAH                         BRINGIN DOWN THE HOUSE (MOVIE SOUNDTRACK)

“BETTER THAN THE REST”

FREEDOM WILLIAMS “C’MON AND DANCE”

D/R PERIOD “D/R’S IN HERE”

“THROW IT”

“WHAT’S YA PROBLEM”

                                                                             “SORRY”

                                                                             “GET AROUND”

                                                                             “I WISH ANIGGA WOULD” FEAT (M.O.P)                                   

 SMOOTH DA HUSTLER ONCE UPON A TIME IN AMERICA  (ALBUM)

“BROKEN LANGUAGE” (SINGLE RELEASE)

“HUSTLER’S THEME”  (SINGLE RELEASE)

“FUCK WHAT YOU HEARD”

“ONLY HUMAN”

“NEVER DIE ALONE”

“MY BROTHER MY ACE”

“FOOD FOR THOUGHT”

“MURDER FEST”

“DEDICATION”

“LOVE OF THE MONEY”

TRIGGER THE GAMBLER NUTTY PROFESSOR SOUNDTRACK

“MY CREW CAN’T GO FOR THAT”

AZ “DO OR DIE”  (ALBUM) “MORE MONEY MORE MURDER” FEATURING NAS

9 LIVES (ALBUM)

“ LOVE ME”

AZIATIC (ALBUM)

“ONCE AGAIN”

QUEEN PEN CONVERSATION WITH QUEEN (ALBUM)

“WARN U”

“I REPS”(FEAT.CLUE, PRODIGY, CAMRON) 

“BABY DADDY”

“COLD COLD WORLD”

“WHAT YALL WANNA HEAR”

ONYX BACDAFUCUP PART II  (ALBUM)

“SLAM HARDER”

“GANGSTA”

“BIG TRUCKS”

“BRING’EM OUT DEAD”

“HOOD BEEF”

CAM’RON “HEY MA”

“FACT OF LIFE”

FREEWAY STATE PROPERTY (MOVIE SOUND TRACK)

“INTERNATIONAL HUSTLER”

FUNKMASTER FLEX “HOW ABOUT  SOME HARDCORE”

60 MINUTES OF FUNK (ALBUM)

“ANTE UP” REMIX

CORMEGA THE TRUE MEANING (ALBUM)

“THE TRUE MEANING”

JAZ-O KING KOUNTY (ALBUM)

“B.Q.E”

FLATLINER “LIVE EVIL”

“WARZONE”

“SATANIC VERSE”  (FEAT. HEADLESS HORSEMEN)

THE FEAR  (MOVIE SOUND TRACK)

“LIVE EVIL”

SCOOB LOVER “GET ON THE FLOOR”

PUBLIC EMERMY SPIKE LEE’S ‘HE GOT GAME’ (SOUND TRACK)

“HE GOT GAME”

“RESURRECTION”

“GAME FACE”

“SHAKE YOUR BOOTY”

D.V. ALIAS KHRIST NEW TESTAMENT OF SOUL  (ALBUM)

“GHETTO”

“PIMPEN”

“UNDERGROUND DAME”

“LIVE AND LET DIE”

“IT’S LIKE THAT”

MUSALINY AND MAZE

B-DEF

IKE DIRTY THE PROJECTS BALLERS FOREVER (ALBUM)

“DIRTY DIRTY DIRTY”

“BOUNCE”  (FEAT. MR. CHEEKS)

DIRTY’S WAY (ALBUM)

IRONCLAD EMPIRE  (MOVIE SOUND TRACK)

DIPLOMATS “REAL NIGGAS”

                                                       “HAY MA REMIX”

GOODFELLAS “SUGAR HONEY ICETEA”  (REMIX)

8 BALL (FEAT. CANNIBUS, DMX, MCGRUFF)

“PURE UNCUT”

CASE “DON’T’T WORRY ABOUT A THING”

2 PAC AND MEMPHIS BLEEK      “LIFE THROUGH MY EYES”

“BANGEM “ AND  “DOMINATION”      “ROWDY”

MASTER ACE                                       “F.A.Y”

GRAVY

A.I                                                       “ONCE IN A LIFETIME”

KILLER MIKE                                      “FIGHT”

PAPPOOSE                                         “ALPHIBETICAL SLAUGHTER”

                                                              “ GETTING GWAP”

JR WRITER AND 40 CAL (DIP SET)   “THAT’S HARLEM” 

VICTORIA  BECKAM(POSH SPICE)   “TAKE U THERE”

LUMIDEE                                              “ONLY IN IT 4 THE MONEY”

KOOL G RAP                                         “GULLY”

JUELZ SANTANNA                                “WILD OUT” 

                                                                “BACK IN THE DAYS”

CAPONE                                                 “KING OF NY”

TRE SONGZ & AI                                   “BEAUTIFUL” 

A –ALIKES                                              “MORE THAN MUSIC”

                                                                 “WHATS YA POLLITIC” 

CANIBUS                                                “ STOMP”

HELL RELL                                              “HARD”

We dig for it all here at Fallout Radio. We are Music Fans. So just sit back and listen, you never know when you are going to get inspired or just say “Damn , I can’t believe they just played that.

Rock On

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DJ Tra$e 347-254-0276 djtrase@yahoo.com

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01. Return To The North Star (Feat. Papu Wu) (Interlude)
(Prod. Bt)
02. House of Flying Daggers (Feat. Inspectah Deck, Ghostface Killah & Method Man)
(Prod. J Dilla)
03. Sonny’s Missing
(Prod. Pete Rock)
04. Pyrex Vision
(Prod. Marley Marl)
05. Cold Outside (Feat. Suga Bang & Ghostface Killah)
(Prod. Atl)
06. Godfather (Feat. Inspectah Deck)
(Prod. RZA)
07. New Wu (Feat. Method Man & Ghostface Killah)
(Prod. RZA)
08. Penitentiary (Feat. Ghostface Killah)
(Prod. Bt)
09. Criminology 09 (Feat. Ghostface Killah)
(Prod. Bt & RZA)
10. Fat Lady Sings
(Prod. RZA)
11. Canal Street
12. 10 Bricks (Feat. Cappadonna & Ghostface Killah)
(Prod. J Dilla)
13. G-hide (Feat. Ghostface Killah)
(Prod. Necro)
14. Rockstar (Feat. Inspectah Deck & Gza)
(Prod. RZA)
15. Catalina (Feat. Busta Ryhmes)
(Prod. Dr. Dre)
16. 40 Deuce (Feat. Jadakiss & Styles P)
(Prod. Scram Jones)
17. Walk Wit Me
(Prod. Scram Jones)
18. We Will Rob You (Feat. Slick Rick, Gza & Masta Killa)
(Prod. Allah Justice)
19. Have Mercy (Feat. Beanie Sigel)
20. Surgical Gloves
(Prod. The Alchemist)
21. Nigga Me
(Prod. Dr. Dre)
22. Mean Streets (Feat. Inspectah Deck)
(Prod. Allah Mathematics)
23. Kiss The Ring (Feat. Inspectah Deck & Masta Killa)
(Prod. Scram Jones)
24. Ason Jones
(Prod. J Dilla)

Whoever said battle rappers can’t make songs surely wasn’t referring to Eyedea. The emcee half of the pair may have won numerous battles with impressive freestyle performances but he’s also known for putting together intriguing song lyrics with thought provoking concepts. For instance, “Time Flies When You Have a Gun” is a gem with lines like “You can own it but mostly, it’ll own you.” Utilizing the same skill, ”The E.Y.E.” can become emotionally compelling: “Winter takes the warm away/Spring takes the cold away/Summer takes the rain away/Fall took away my friend…I’ll always remember our companionship and what it meant/And on Sunday, October the 5th/ You took your last breath/ And you will be missed.”

The lyrical output is mostly great, but the rhyme patterns aren’t as complex as they once were. Fans may also be surprised to hear Eyedea singing throughout the 11 cuts. With side projects Face Candy and Carbon Carousel under his belt, it is only unusual in his work with Abilities. Here, he sings with more emotion than vocal prowess as he goes against the Auto-Tune craze. At times his crooning is tolerable, but it is often bordering on pedestrian.

DJ Abilities is more than capable of matching Eyedea with his production and scratching. To compliment the singing and aggressive deliveries, Abilities supplies rock-inspired beats. His drums show influences frompunk rock music with heavy snare hits (“Hay Fever”), quicker paced drum patterns (“Sky Diver”), and distorted guitar riffs (“Spin Cycle”). Want more traditional rap beats? The closest you’ll get is “Burn Fetish.” Otherwise, Abilities takes chances experimenting with other genres and scratches with technical attention to detail but the fusion isn’t always impeccable. It’s almost reminiscent of fellow RSE artist P.O.S.’s Never Better, only not as seamless in its fusion. While it’s hard to deny the chemistry between emcee and DJ, the result of this experiment are only adequate and often difficult to listen to.        

E&A continue to fight against convention. With a decidedly more rock infused release, the duo isn’t catering to longtime fans, which may not always be a bad thing. Abandoning the battle raps for more singing would have been great if Eyedea’s voice was up for the challenge. Nevertheless, with Oliver Hart’s introspective, abstract and compelling lyrics and Abilities’ scratching mixed with unconventional beats, E&A does not completely fail. After all, intelligent rhymes and varied beats can’t be knocked. Risk takers and experimental artists will always have hits and misses and this album carries both. Is it better to show fans the range of what you can do, or do what you do best?  By The Throat is an album that answers that question.

from hiphopdx