This is fuckin’ great music:

Gangsterrap. David Styles. D-Block.

Ein Album, das aus den düstersten Winkel des Gangstarap bedient, und es vermischt mit einer abseitigen Prise Underground. Die Beats sind fett, die Bässe dröhnen tief und satt aus den Boxen. Styles’ Flow ist präzise und schneidet sich durch die Gehörgänge wie geschliffener Stahl. Super Gangster, Extraordinary Gentleman verbindet die saftige Opulenz eines Kingdom Come mit der rohen Ungeschliffenheit von russischem Rap. Ein Album, das das beste aus zwei Welten verbindet und es mit brillianten Features krönt.

Tracklist:
01 - Intro
02 - Blow Ya Mind (feat. Swizz Beatz)
03 - Let’s Go (feat. Ray J)
04 - Alone In The Streets
05 - In It To Win It (feat. Bully)
06 - All I Know Is Pain (feat. The Alchemist)
07 - Got My Eyes On You (feat. Akon)
08 - Green Piece Of Paper
09 - Holiday (feat. Max B)
10 - Look @ Her
11 - Da 80’s
12 - Interlude 1 (feat. Comedian Tony Roberts)
13 - Shoot Niggas (feat. Raw Buck)
14 - Super Gangster
15 - Star Of The State (feat. Ghostface Killah)
16 - U Ain’t Ready (feat. Beanie Sigel)
17 - Interlude 2 (feat. Comedian Tony Roberts)
18 - Gangster, Gangster (feat. Jadakiss & Sheek Louch)
19 - Cause I’m Black (feat. Black Thought)

hip hop bootleggers - Styles_P-Super_Gangster__Extraordinary_ Gentleman-2007-
in the name of allah - How Hip-Hop can be dead if Wu-Tang is Forever?
the dice game - Styles P - Super Gangster, Extraordinary Gentleman 2007

Im Februar soll Nas’ neues und heftig umstrittenes Album ‘Nigger’ in die Plattenläden kommen.
Zur Verspätung meint er:

“Just to get the sh– all the way right. I was still working and it was a few weeks away from a release date. It was impossible, the timing was off. I was running into the holidays. I’m always coming out in December so I guess I was used to it, but I had to force myself out of that. I couldn’t force the album out if it wasn’t done.”

Und zum Inhalt seines Albums:

“I have a song called ‘The Fear’. The full title of the record is ‘The Fear of the Black Man’s D—.’ That’s some sh– you can get comedy [from], or you can get some seriousness from it when you talk about the barbaric castrations that happened in our past — which is very serious, nothing to laugh at.”

mtv - Nas Exclusive: MC Reveals Details, Song Titles From Controversial Upcoming LP
nah right - Nas Talks Nigger
real talk ny - More Details On The New Nas Album

Brad Terrence Jordan droppt am 4. Dezember sein mittlerweile 8. Album. Ein kurzer Ausblick:

Düstere Beats drängen sich unter Scarfaces tiefen Timbre, dazu mischen sich soulige Balladen, druckvolle Features und auf Git Out My Face ein Klassik-Sample. Dies formiert sich zu einem überaus gelungenen Gesamtwerk, das ein recht grimmig-finsteres Gesicht besitzt, aber doch nicht allzu stark zubeisst, sondern sich auf gefühlvolle Tracks besinnt und an manchen Stellen die Bässe in unbarmherzige Gefile herunterschraubt. Gangstarap, der statt nach einem Stück bunten Popkuchen nach einem alten Mafiastreifen und heissem, schokoüberzogenem Popcorn schmeckt.

Tracklist:
01 - Intro
02 - Never
03 - Bigg Dogg Status (feat. Wacko)
04 - Girl You Know
05 - Burn (feat. Z-Ro)
06 - Go (feat. Nina)
07 - Dolla
08 - Boy Meets Girl (feat. Tanya Herron)
09 - Who Do You Believe In
10 - Git Out My Face
11 - The Suicide Note
12 - Outro

hip hop bootleggers - Scarface-Made-2007-
the dice game - Scarface - Made 2007

9th Wonder will 2008 sein viertes Album The Wonder Years veröffentlichen.

Er sagt dazu:

“There will be an element of classic, throwback R&B, but with a current twist. With this album I’m not only defining myself, but I’m defining people in my age group. It’s not necessarily an underground or overground thing, you just want to find the music that fits you and where you are in your life right about now. That’s what The Wonder Years is for me. [...] You’re going to get some younger people who will enjoy this, but my main demographic is women who have careers, women who like to sit in the house and relax as they listen to it.”

allhiphop.com - 9th Wonder Talks New Album ‘The Wonder Years’

Ziemlich fresh:

nah right - Video: Scarface ft. Trey Songs - Girl You Know
real talk ny - Video: Scarface ft. Trey Songz - Girl You Know
smoking section - We Owe It All To Lennie…
the dice game - Scarface - Girl You Know (Feat. Trey Songz)
the rap up - Video: Scarface - Girl You Know

Smells like the Daily Struggle:

nah right - Video: Torae - Callin’ Me
we know rap - Torae mit starkem Track

Roher, fresher Undergroundshit.

Epsilon Project erfinden den Hip Hop nicht neu, sondern bringen ihn an jenen nostalgischen, verruchten Zeitpunkt zurück, da man noch in einem Hinterhof ein paar Verse spittete und sich ein paar Strassen runter mit den Cats zum Sprayen traf. Als das Leben noch einfach war und man zufrieden ein paar Dollar in die Tasche stecken konnte, wenn sich ein kleines, idealistisches Label dazu entschloss, die Platte zu pressen.

Tracklist:
01 - Int”romes”duction (Ft. DJ Romes)
02 - My Peoples (Ft. DJ Spinobi)
03 - We Came For The Title (Prod. By Kankick)
04 - The Chicken Coupe
05 - Guerilla Press The Industry (Ft. DJ Spinobi)
06 - Sincerely Yours
07 - DJ Armani Speaks
08 - I Rhyme For… (Ft. Dex)
09 - That’s That Crew (Ft. Wildchild)
10 - Backstabbers
11 - Cali To D.C. (Ft. Oddisee and Stacy Epps)
12 - Mood Swings
13 - Raising The Bar

O-kay. Das ist eine verrückte Nummer. Nebst Feature-Parts von Jay-Z, Ghostface, Scarface und Styles P, tauchen auch R. Kelly (Gut, der hat seine Finger überall drin, ist also nicht weiter tragisch), Ozzy Osbourne (Braucht der einen Stilwechsel, von Glam-Rock zu deepem Hip Hop?) und James Blunt (Mainstreams Lieblingsfistelstimmchen) auf. Aber schieben wir für einen Moment die Vorurteile beiseite und widmen uns der Musik:

Trotz R. Kellys R’n'B-Einlagen wirkt der erste Track erstaunlich fresh, gerade auch wegen Sigels eingängigem Flow und dem beinahe gregorianisch zu nennenden Chorus. Die Produktion von Beanies Viertling ist vom Feinsten, wie anders bei Produzenten wie Dre, Rockwilder oder auch Chad West. Die meisten Tracks sind zwar überaus solide und ein Genuss zum Hören, von allzu viel Einfallsreichtum zeugen sie jedoch nicht gerade. Ein “Reinventing ip Hop” habe ich so oder so nicht erwartet, aber dass es nicht einmal zum “Evolving Hip Hop” gereicht hat, erstaunt mich doch etwas.

01 - All of the Above (Feat. R. Kelly) (Prod. by The runners)
02 - Bout That (Prod. by Cool & Dre)
03 - You Ain’t Ready For Me (Feat. Styles P) (Prod. by Dame Grease)
04 - Go Low (Feat. Rock City) (Prod. by Eric Hudson)
05 - Gutted (Feat. Jay-Z) (Prod. by Reefa)
06 - Pass the Patron (Feat. Diddy, Ghostface Killah & Peedi Crakk) (Prod. by Rockwilder)
07 - I’m In (Prod. by Chad West)
08 - Hustlas, Haze and Highways (Prod. by Dre & Videl)
09 - What They Gon Say To Me (Prod. by Dre & Videl)
10 - Judgment Day (Feat. Ozzy Osbourne) (Prod. by Dre & Videl)
11 - Rain (The Bridge) (Feat. Scarface & Raheem DeVaughn) (Prod. by Reefa)
12 - Dear Self (Feat. James Blunt) (Prod. by Dre & Videl)
13 - Prayer (Feat. Raheem DeVaughn) (Prod. by Dre & Videl)

the dice game - Beanie Sigel - The Solution 2007

I’m highly pleased to present you a fresh, brandnew, exclusive interview I did with the great Cee-Rock “The Fury”. Enjoy:

Benjamin B.: Where does your name Cee-Rock “The Fury” come from? Is there a
special story behind it or did you choose this name, just because it sounded well?

Cee-Rock “The Fury”: I was a young teenager when I got that name. CEE-ROCK evolved from my government name (which happens to start with a “C”). Back in the dayz, people used their first names and added something funky to it such as Ski, Dog, Dawg, Lover, Nice, Rock, etc. You had names like Busy Bee and Melle Mel that also sounded fly and flashy. Cee-Rock stuck with me and I added the dash between it because that was considered my ‘energy line’. I also made sure to add the ‘double e’ after my first initial.

“THE FURY” came shortly afterwards when I had a yellow piece of paper one day at the crib and I was ‘doodling’ (or scribblin’) on it. After lookin’ at the paper, I saw a scribblin’ image that looked like a dragon in the form of a letter “F”. The first thing that popped in my mind was “Enter The Dragon” which is a Bruce Lee movie, of course. I’m was a huge Bruce Lee fan when I was a kid (actually, I still am). Anyway, after “Enter The Dragon” popped in mind, “Fist Of Fury” immediately popped up afterwards. For some reason “Fury” just kept stickin’ with me and I was thinkin’ to call myself MC Fury. However, I did not want to give up Cee-Rock so I decided to fuse the names together. It wasn’t until after that that I realized that the name became more of concept for me. Why, because I have a ‘furious tone’ and a ‘furious delivery’. So when I’m rockin’ the mic, I’m actually releasing ‘the fury’. Catz be like, “Cee…..Rock the Fury”. You get it? I’m one of the original catz to have such a name like this. I’ll be Cee-Rock “The Fury” forever and a day, believe that!

Who did introduce you to Hip Hop? Did you get into it because you grew up in a place, where everybody somehow was a part of Hip-Hop (breakdancing, rapping or just listening to it 24/7? Or was it one specific album you liked so much that you decided to rap?

I listened to Hip-Hop all the time. I was like a siamese twin connected to the radio. You hardly ever caught me without some type of boombox. Run-DMC were the kings of Queens and had things on lock. I can’t say that it was one album in particular but Rakim blew my mind with his lyrical wizardry. Public Enemy had me rewinding “Rebel Without A Pause” more times that I could remember. The Juice Crew were also representing to the fullest. Can’t forget about UTFO and the Roxanne Shante and Sparky D battles. I think I always wanted to rap because I was always good with words and I’ve been told that I have the voice for it that can’t be denied.

How’s life in Queens? And how was it in the time you were a child?

Q*Sector is what I’ve been callin’ Queens for many years now. It is still rich with talent and has earned a solid spot in history. We breed out da’ goodness and make a global statement.

Being a child was the bomb back in the dayz! Madd basketball was played with using the cut out milkcrates, skelly with the Push-Up tops filled with puddy (no one could touch me in that game), poppin’ breakdancin’ on the cardboard (back then my breakin’ name was ‘Worm’ because I was so flexible), baseball, tackle football and plus a whole bunch of other stuff I did. I was very active as a kid and very athletic. Even fist fights back in the days were fun. Sometimes we had beef with Hollis Ave. (Run-DMC stomping grounds), dudes from Springfield Blvd. and even crews from Farmers Blvd. (LL Cool J’s stomping grounds). I’m from Linden Blvd. and rolled with the Linden Crew. Linden Boulez for life! Those were the dayz, for real.

Where do you take inspiration from? And how’s your daily life? Getting up at six o’clock in the morning and working on your songs?

I get it from life’s surroundings, television and from my crazy warped mind. I have a vivid imagination and know how to breathe life into the words I write. I sleep with a pen and paper nearby because I be gettin’ ideas at the weirdest times. I can be in a deep sleep and have something ill pop up when I’m in ‘Z-Mode’. I know if I try to remember it in the morning it may be altered or quickly forgotten so I manage to get myself up and jot it down. I collect all my ideas that I jot down and simply turn them into songs. Works for me!

Life is good. I have my health and I have my music. Life is even better when I’m on the road touring and when I get paid.

Why don’t you use profane language? You never had the wish to be a
gangster rapper or at least the bad boy?

You can kill a man without actually cursin’ him out, right? Just ask any ninja or assassin. Real bad boyz move in silence. Catz these days think that the more you curse and grab your crotch, the harder you are and the more street cred you get. If you over-advertise and can’t back up your self-proclaimed hype, you’re gonna get your card pulled quick and you will be immediately exposed. Most catz who talk smack went to the ‘Acting School of Wannabe Thugz’ and use the stage and demos as practice. Cursin’ ain’t my thing. My vocab is extended enough to a point where I don’t need to use them. My mind expands and my vocab is continuously growing every day. A lot of individuals these days are not educated enough and refuse to extend their vocabulary. That is why all the material you hear from them sounds the same, repetitive and redundant. Their talents are limited therefore they will not get very far, not just in music, but in everyday life as well. I do what works for me and not to use curses is what I prefer. Cursin’ doesn’t make you a gangster.

How come you worked with people like Flavor Flav oder Mobb Deep? You met them by chance or you called them and told them you wanted to tour with them?

I’ve met Flavor Flav many years ago before Public Enemy was even a household name. I didn’t really even know him that well but PE was on the grind (look how far they came). I met him again when he had this show in Malmoe, Sweden. We both have a mutal friend in Sweden, his name is McKinley Ruffin. McKinley is the first cousin of David Ruffin and Jimmy Ruffin of ‘The Tempations’ (he is also a songwriter). You can see a picture of myself, McKinley and Flavor Flav on the photo section of my Bringin’ Da’ Yowzah!!! album. I shared the stage and rocked it with him. Flavor did his thing with his crazy self. This was before he became a huge megastar for his hit show ‘Flavor Of Love’. He’s doin’ big things so you can’t tell him nothin’.

My management (Stellar Artist Managment) had set up the tour for Mobb Deep and I when they was touring in Sweden and Norway. I was Mobb Deep’s support act. Mobb Deep and I are both from Q*Sector. However, Mobb Deep is from Queensbridge and I am not.

How do you see the future of Hip Hop? Do you think the hype will end or will the commercial success of Hip Hop music increase any further?

I think that Hip-Hop is losin’ its essence. In my opinion, the early 80’s and 90’s represented that real Hip-Hop. This is why people like KRS-One, Big Daddy Kane, Mos Def and Rakim are still relevant. To this day, you can follow their blueprint to see what a classic record should sound like. EPMD is Hip-Hop! MC Lyte is Hip-Hop, LL Cool J is Hip-Hop! Kool G Rap is Hip-Hop! Nas is Hip-Hop! Common is Hip-Hop! Pharoahe Monch is Hip-Hop! Percee-P is Hip-Hop! Ice Cube is Hip-Hop! Kool Moe Dee is Hip-Hop! Chuck D is Hip-Hop! Cee-Rock “The Fury” is Hip-Hop!

We need to bring Hip-Hop back to the age of the backpackerz and headnodderz. It was an energy that was truly incredible. You felt it through your bones and it was more refreshing than any cool drink or oxygen mask. This is what I hope to bring back. I can’t speak for the next person but expect the real from Cee-Rock “The Fury”.

We do Hip-Hop to take things to the next level such as television commercials, movie soundtracks, jingles and maybe even cartoons for our kidz. Hip-Hop is a multi-billion dollar business so we know what we are capable of doing. However, wack is wack! We don’t need to hear any corny commercials, garbage soundtracks, weak jingles or Barney-influenced cartoons. If you ‘bring da yowzah’ the right way then I don’t think that anybody would complain.

How could I or somone else help to stop profanity and strong language in Hip Hop?

Everybody has that choice to either use it, not use it or blatantly abuse it. You don’t use it in the house of worship. You shouldn’t use it at work or school. You don’t use it in front of your parents, grandparents or children. Why bother to use it? In the US, you must have a radio edit for it to get some airplay. All it takes is a little discipline. Maybe I am one of those few oddballs in the industry who don’t use it yet still gets the same street cred of someone who does. I’m not knockin’ the ones that do curse…..shoot, I’m in a group called 3DA (which stands for: 3 Dyffrent Anglez) and my boyz Tah Phrum Duh Bush and Coole High curse, they just don’t bank their style on it. They can rip the mic with or without the use of it. Cursin’ does not define their talents or who they are and it definitely doesn’t define me. That’s the difference. Word to the wise…..if a song doesn’t require for you to curse on it then don’t! Don’t use it out of context. If you need to make a valiant point then use it. Just don’t use it simply for the sake of using it. You’re gonna lose points that way.

Which way do you want the politics and the society to go? What should be changed?

I’m not the dude to converse about politics with but you don’t have to be a rocket scientist to know that GEORGE W. BUSH has gotz to go!!!

Finally I’d like to thank you in the name of my readers for the
interview. Any shout outs or something else to say?

I’d like to thank you, Benjamin, for the exclusive interview. Much appreciated, fam! If catz are gonna get to know me then interviews are the way to go. Madd big-upz goes out to Switzerland, the UK, Scandinavia, Europe, the US and any other territory who shows Cee-Rock “The Fury” that true luv. Whoever is reading this interview, feel free to sign my guestbook at www.ceerockthefury.com. You can also post a nice comment on my myspace page at www.myspace.com/ceerockthefury. I am always down to network and I do various collaborations as well so get at me. Booking Agencies, Mixtape Deejays, Clubs and Festivals…..get at me! I’m planning to tour for 2008 so the more gigs the better.

Newsflash…..I am currently featured on the Rawkus 50 project with my dawg 12Bit (a.k.a. Twelvebit). His album is entitled “Stranded On Planet Rock” and I got five jointz on there for people to vibe to (you can check out 12Bit at www.myspace.com/twelvebit). Make sure you pick up that album and definitely pick up and support my album which is entitled “Bringin’ Da’ Yowzah!!!”. If you don’t you will be missin’ out on something incredible. Long live the real Hip-Hop!

[If any booking agencies / clubs / festivals / sponsors / mixtapes are interested in Cee-Rock "The Fury", please contact Stellar Artist Management Aps at info@stellarartist.com and/or Turmic Records at info@turmicrecords.com.]

Dope. And I couldn’t be more honest.

Wu, flowmässig ungeschlagen, Beats, die in deinen Kopf dringen und sich durch deine Gefühle wühlen, als seien sie Balkonerde, Lyrics, die so verschlungen sind wie buddhistische Meditiationslabyrinthe.

Tränen der Freude bilden sich in meinen Augenwinkeln, trüben meinen Blick, schon als die ersten paar Beats nach dem kurzen Spoken Intro aus den Boxen dröhnen. Meine Hände zittern leicht, mit klammem Griff umfasse ich einen Bleistift, unfähig, meine Konzentration von der Musik zu lösen und auf meine Arbeit zu richten. Ein flaues Gefühl im Magen kündet von unsäglich schönen Tracks, die meinen Atem stocken lassen und einem sommerlichen Gewitterregen gleich auf mein Trommelfell prasseln.

01 - Campfire
02 - Take it back
03 - get them out ya way pa
04 - rushing elephants
05 - unpredictable feat dexter wiggle
06 - the heart gently weeps feat erykah badu dhani
07 - wolves feat george clinton
08 - gun will go feat sunny valentine
09 - sunlight
10 - stick me for my riches
11 - starter feat sunny valentine and tashmahogany
12 - windmill
13 - weak spot
14 - life changes
15 - tar pit
16 - 16th chamber o.d.b special

hip hop bootleggers - Wu_Tang_Clan_-_8_Diagrams-Retail-2007
real hip hop beholders - Wu Tang Clan - 8 Diagrams (Retail) (2007)
in the name of allah - How Hip-Hop can be dead if Wu-Tang is Forever?
smoking section - “Life Changes” - Review Of Wu-Tang Clan’s 8 Diagrams
the dice game - Wu-Tang Clan - 8 Diagrams
underground babylon - Wu Tang Clan - 8 Diagrams - 2007 (Retail)