**Throwback Friday** Run DMC - Sucker MC's

This weeks Throwback joint comes from Run DMC and their Classic cut "Sucker MC's", many rappers have sampled this joint but nobody rips like the originals, Enjoy!!!

**EXCLUSIVE** Eminem & Royce Da 5'9 (Bad Meets Evil) - Fast Lane Prod. By Supa Dups & Eminem (Off Bad Meets Evil EP)

The first track from the "Bad Meets Evil" EP is here, and as expected its pure heat.  If this is any indication on how the EP will be its gonna be straight Classic!!!

Download Link - http://hulkshare.com/gyyj96b9tf6n



**EXCLUSIVE** New Warren G Track Dedicated To Nate Dogg (R.I.P.)

New track by Warren G called "This Is Dedicated To You" Featuring... Letoya Williams.  On the track Warren G speaks on his long time friend Nate Dogg who just recently Passed Away...

R.I.P. Nate Dogg

Download link - http://hulkshare.com/ojoeeunovqc1



**EXCLUSIVE** Ludacris Featuring... Slaughterhouse & Claret Jai - Furiously Dangerous

Check out the official single off the new "Fast & Furious 5" movie,  the Track features Ludacris & Slaughterhouse.  My opinion on the track is the hook/chorus is annoying  & am use to Slaughterhouse spittin over beats more Hip Hop & Raw than this, but Ludacris & all the members of Slaughterhouse come correct with their Rhyming...

Download link - http://hulkshare.com/kyasfwxwociv



Eminem & Royce Da 5'9 Announce Release Date For "Bad Meets Evil" EP!!!



Eminem and Royce Da 5'9 announced their highly anticipated EP titled "Bad Meets Evil" will be released this Summer (June 14th) on Eminem's Shady Imprint.

Formed back on Eminem's "The Slim Shady LP" on the track by the same name ("Bad Meets Evil"), the two were planning on releasing an EP back aound 2002-2003, but a feud put an end to the project and both went their seperate ways.  But after Em's Best Friend & D12 member Proof was shot dead back in 2006 the two put things aside and started to work things out.  Now with Royce's group Slaughterhouse now signed to Slim's Shady record label they will now release the collaboration EP.

This only means one thing, good news for Hip Hop and fans of the two.

Saigon - Bring Me Down Video

Check out the new video from New York rapper Saigon called "Bring Me Down" taken from his debut album "The Greatest Story Never Told"

Make sure you check the album aswell, he deserves his props!!!

Cop Action Bronson's New Album "Dr. Lecter"!!!



01. Moonstruck

02. Barry Horowitz

03. The Madness

04. Larry Csonka

05. Ronnie Coleman

06. Bag of Money feat. Meyhem Lauren

07. Brunch

08. Shiraz

09. Buddy Guy

10. Jerk Chicken feat. Maffew Ragazino

11. Chuck Person feat. Meyhem Lauren, Shaz Illyork & AG Da Coroner

12. Forbidden Fruit

13. Suede feat. Meyhem Lauren, Shaz Illyork, Fonda & Machine

14. Get Off My P.P.

15. Beautiful Music

 

Boom Bap Rap at its finest right here, this guy has been making alot of noise on the Underground scene. Go support his debut album - http://itunes.apple.com/us/album/dr-lecter/id426146065



Who Is M85H???



Find out and follow me on Twitter----->>>> @M85H

New Westcoast SuperGroup Formed Called "1st Generation" (Kurupt, Sir Jinx, King Tee, Jayo Felony, Gangsta, MC Eiht And Tha Chill)



Back in February, MC Eiht announced he would be joining fellow CMW member Tha Chill as part of a super-group named 1st Generation. Nearly two months later, the collective—also comprised of Kurupt, Sir Jinx, King Tee, Jayo Felony, Gangsta—has released their first video, “Killen Me Softly.” Few emcees can say, “We either made it crack or grew up on N.W.A.,” as Kurupt does on the chorus, but few groups can boast founding members of Tha Dogg Pound, Likwit Crew, Compton’s Most Wanted and The Comrades.

Be sure to look out for more info on the group regarding their Debut album "Sharks N Tha Water", Underground Dope will have more info ASAP!!!

Westcoast Producer Laylaw To Release Never Heard Before Tracks From Hip Hop Legends!!!



Producer Laylaw is opening up the vaults to uncover some recordings by Hip Hop's biggest names.

California producer Laylaw was one of the architects of the G-Funk sound. His work with Dr. Dre has appeared on releases for Ruthless Records, Death Row Records, and Aftermath Entertainment. Laylaw also served as advisor to Eazy E during his days with groundbreaking gangsta- rap group N.W.A. After that the producer created music with the late 2Pac, their association starting with the rapper’s sophomore album Strictly 4 My N.I.G.G.A.Z.
Knowing all the connections Laylaw has made with historic members of the Hip Hop community it is unsurprising but, exciting nonetheless, that his vaults would be crammed with unreleased gems. Now, with his Lawhouse Records imprint, the producer plans to release some of those lost gems. First up is the triple disc, box-set “Lawhouse Greatest Hitz.” That album will feature both released and unreleased music from Ice Cube, 2Pac, DJ Quik, E-40, Above The Law, Eazy-E, MC Ren, Nas, Flo-Rida, Pharcyde, Luniz, Michel’le, Stanley Clarke, George Duke, among others.
Laylaw is also planning on exposing some new talent to the world with Lawhouse Records. His most prominent signing is South Central, Los Angeles rapper Chuck Crazy, who recently released his first single, “L.A. Waves.”

Source: http://www.hiphopdx.com/

The Beastie Boys Return!!!

Taken from the new album titled "Hot Sauce Committee Part 2", The Beastie Boys return with a new single & a snippet from a new video (Which looks like its gonna be hilarious)...

New Album Cover

Beastie Boys - Make Some Noise (2011)



Download Link - http://www.mediafire.com/?x6ms25xxyfde665

Video Trailer -

Enjoy!!!



**Throwback Friday** MC Shan - The Bridge CLASSIC

Every Friday I will be posting a throwback joint, check out this weeks track. Taken from the album "Down By Law" "The Bridge" by MC Shan is a certified Hip Hop cut!!!

Blaq Poet - Hood Talk Produced By Stu Bangas DOWNLOAD

DJ Premier protege Blaq Poet will be dropping his new album called "Blaq Poet Society" on June 21st featuring Vinnie Paz of Jedi Mind Tricks, Reef The Lost Cauze, Celph Titled, Apathy & many more...
In the meantime check out a new track from the album...

Hood Talk Prod. By Stu Bangas - http://hulkshare.com/kvavbzk0evik

** Exclusive** 3 New Mixtapes/EP's For Your Ears!!! Peep Game

Fabolous - The Soul Tape

1. Pain
2. Wolves in Sheeps Clothing (feat. Paul Cain)
3. Really Tho
4. That's Not Love (feat. Lil' Wayne)
5. Leaving You
6. In The Morning
7. Drugs (Do This To Me) (feat. Paul Cain & Broadway)
8. Y'all Don't Hear Me Tho (feat. Red Cafe)
9. Phone Numbers
10. Mo Brooklyn, Mo Harlem, Mo Southside (feat. Vado & Lloyd Banks)
11. Riesling & Rolling Papers
12. Slow Down (feat. Trey Songz)
13. PayBack Music (feat. Freck Billionaire)

http://www.filesonic.com/file/811290251

Prodigy of Mobb Deep - The Ellsworth Bumpy Johnson EP

1. The One & Only (Produced By Sid Roams)
2. Go Off (Produced By Sid Roams)
3. Black Devil (Produced By Sid Roams)
4. Twilight (Feat. Havoc) (Produced By Sid Roams)
5. For One Night Only (Produced By Alchemist)
6. Strong (Produced By King Benny)
7. Told Ya’ll (Produced By Sid Roams) (Bonus)

http://hulkshare.com/17c05qipe4ff

 

Currensy - Covert Coup EP (Produced By Alchemist)

01. BBS (Prod. By Alchemist)
02. The Type (Ft. Prodigy) (Prod. By Alchemist)
03. Blood Sweat And Gears (Ft. Fiend) (Prod. By Alchemist)
04. Ventilation (Prod. By Alchemist)
05. Life Instructions (Ft. Smoke DZA) (Prod. By Alchemist)
06. Smoke Break (Prod. By Alchemist)
07. Double 0’7 (Prod. By Alchemist)
08. Scottie Pippen (Ft. Freddie Gibbs) (Prod. By Alchemist)
09. Full Metal (Prod. By Alchemist)
10. Coming Up (Prod. By Alchemist)
http://www.usershare.net/tomas937/xovb6ui5swwx/Curren$y%20&%20Alchemist%20-%20Covert%20Coup%20(2011)%20tomas937_RRT.zip

If your a fan of any of these artists, check them out!!!

Bun-B Hints At Future Jay-Z/DJ Premier Collab!!!

Texas emcee Bun B has been busy as co-lecturer of a course at Rice University but he's also preparing to release a new album and he's been collaborating with various people. Bun B is now trying to establish himself even more as a solo artist and in a recent interview with Conspiracy Radio, he spoke about his new job teaching and some upcoming collaborations, including one that will potentially pair him up with Jay-Z again.

When asked about his new job teaching informing his rhyme writing, he noted that somethings may change, but much of what he does will remain familiar to longtime supporters.

"Well, I want to make sure that I don't change the direction of my music because of the fact that I teach. That being said, there are moments of enlightenment that I have become aware of based on the class and I will be willing to share that," he said. "Even though there is some very profound moments, dealing with many different religions and being educated about many different things, I'm sure at some point, maybe on a song somewhere, some of these things may be incorporated. I wouldn't think that the general direction of my music or my career is going to change that drastically from what people are already used to. I don't think that would be true. There are somethings that are going to be different and we are going to address that but there are still going to be somethings that are going to remain the same and we're going to be true to that, as well."

As he works on new music, he added that one potential collaborator is Jay-Z. While maintaining a level of mystery to his statement, he went on to say that it wouldn't be too hard to see them link up once more.

"Let's just say that Jay-Z and I have been in communication. I can't really say who called who, but Jay-Z and I have been in communication and I think people expecting a Bun B/Jay-Z collaboration in the near future might not be let down."

According to Bun B, his next album may just be his first self-titled effort. It's still in the early stages, but he noted that fans may also be treated to a collaboration with DJ Premier, who he says he would be happy to work with again.

"We've done it [collaborated on "Let 'Em Know"] and people loved it. Now we're sitting around like, 'What were we waiting for?'"

Source: Bun B Hints At Future Jay-Z and DJ Premier Collaborations, Talks Teaching | Get The Latest Hip Hop News, Rap News & Hip Hop Album Sales | HipHop DX

Lil Wayne's "Tha Carter IV" Gets June 21st Release Date

Rumors circulated earlier in the week that Weezy’s anticipated disc Tha Carter IV had been pushed back from its original May 17th date. Now Young Money President Mack Maine has confirmed to XXL that the album now has a confirmed release date and will hit stores on June 21st.

Good news for fans of Weezy & the whole Cash Money/Young Money sound!!!

**EXCLUSIVE** 106 & Park's Freestyle Friday Champion Blind Fury 1st track!!!

Timbaland wastes no time in getting new 106 & Park Freestyle Friday Champion on a track, peep the track and posts your Thoughts & Opinions?!

Download Link -
Blind Fury - Slow Down (Produced By Timbaland) http://www.usershare.net/DLFiend/cjs87wnmu622

Has the Dopest track already dropped in 2011?!

Doap Nixon Featuring... Planetary & Celph Titled

And here's the Remix with more Army Of The Pharaohs members, you just knew other members were gonna jump on the track!!!

Doap Nixon Featuring... Celph Titled, Reef The Lost Cauze, Planetary & Vinnie Paz

Thoughts & Opinions on this Banger?!

DJ Quik: Against All Odds Interview (HipHopDX.com)

The man born David Blake is considerably more heated than he sounds on “Ghetto Rendezvous,” his melodic-yet-menacing indictment of alleged greed and betrayal on the part of family members heard on Quik’s simultaneously sunny and angry eighth solo effort, The Book of David.
Quik is full of “Fire and Brimstone” because prior to completing his recent interview with HipHopDX he was treated like any no-name new jack would be by Los Angeles-based radio deejays who likely don’t even know that they owe their careers in part to “America’z Most Complete Artist.”
Long before he was getting “the business” in his own backyard, the Compton, California native was leaving home, at just 17 years-old, to embark on a personal mission to make his music dreams come true. By age 19, the triple threat (deejay/producer/rapper) was already armed with his future back-to-back Top 20 singles, “Born and Raised in Compton” and “Tonite.” Quik’s hits helped him score a platinum plaque by the time he was 21 for his full-length debut, 1991’s Quik is the Name. The album’s success ensured his hometown’s musical mark wouldn’t end with that year’s dissolution of N.W.A., and that two decades later there would actually be Hip Hop deejays working at commercial radio stations in the City of Angels.
Before he nearly got it “Poppin’” with his ungrateful offspring in the industry, Quik graciously made time in a hectic schedule the week before his new album’s release to speak to this site, not once, but twice - after his initial interview with DX had to be cut short.   
The first part of DX’s Q&A with arguably the greatest Hip Hop producer to ever emerge from the pacific coast was a somewhat standard affair (save for his coy dodging of a question regarding the role he played in the creation of “California Love,” and his more direct acknowledgement of un-credited activities at Aftermath Entertainment).
Post radio incident, the second part of his discussion with DX captures Quik in a candidly raw, “Against All Odds” moment, offering up some of the most brutally honest commentary of his historic 20-year career. Quik does so with the same confident indifference to what anyone thinks that he displayed amid the sweeping strings, triumphant horn blasts and grand piano stabs of “Killer Dope,” the album apex of David Blake’s new audio diary, which is punctuated by the drop he surely wishes now he would’ve done during that radio broadcast: “Shouts goes out … to myself/I love me, DJ Quik/Fuck the world!”     

[First part of interview, conducted Monday, April 11, 2011]
HipHopDX: I know you’ve worked with Will Smith before, [on “Block Party”], so I’m not trying to get you to take shots at the Fresh Prince, but just between me and you … and the 50,000 people who are gonna read this, “Summer Breeze” is really the true #1 summertime Hip Hop song of all time, ain’t it?
DJ Quik: That’s big. I love what [Hula & Fingers] did with the Kool & the Gang sample [of “Summer Madness” for DJ Jazzy Jeff & the Fresh Prince’s “Summertime”], and how crazy [they] made it, and how funky. But, “Summer Breeze” was just coming from a real honest place. And, Jermaine Jackson was cool enough to actually give me some correspondence and let me use the sample, [of “You Like Me Don’t You”]. So, in hindsight, that’s a real special record because I was coming from a place too where I was missing some of my homies that had passed away. … I just did it thinking about them, and thinking about how dope the summer was in Compton growing up, in ’86, ’85 and ’84. It was bananas. We had the [1984] Olympics here, you couldn’t tell us nothing. The Olympics was at the L.A. Coliseum, the torch was lit. We seen that shit off the freeway. It was like, L.A. was on fire!      
DX: Switching gears here, I love how on the new album, [The Book of David], you’re taking it back to your more musical compositions. This album feels like it coulda dropped in between Rhythm-Al-Ism and - 
DJ Quik: Rhythm-Al-Ism and Balance & Options. Say that. It’s funny, when I went into doing this album I went into it as – themed it as Rhythm-Al-Ism 2. Like, where would I continue that thought? And that’s kinda where it’s coming from. As you can see, Jon B stood in for the El DeBarge [guest vocalist role]. … So, this feels like an amalgamation of Hip Hop and R&B, but [blended] in such a way to where it just becomes rhythm-al-ism. … And plus, it’s SSL, [Solid State Logic]. So it’s back to our sound from the “Let’s Get Down” days, Tony! Toni! Tone! It’s that sound again. 

DX: Am I hatin’ for sayin’ that in the years between “Pitch In On A Party” [from Balance & Options] and “Do You Know” from the BlaQKout album that it just didn’t feel like the same Quik that we came to know and love in the ‘90s?
DJ Quik: Nah, that ain’t hate at all. That’s actually a correct and very focused observation. So I commend you on knowing. Yeah, at that point, I didn’t really care about the music. I can’t front. I was having just personal stuff going on: fighting with my family, ‘cause they’re trying to rob me for stuff that belongs to me, stealing cars and motorcycles and playing like I owe ‘em that. It’s like, “I paid for this. I could call the police on you. Give me my toys back.” They like, “Nah nigga, we family, you can’t say nothing.” I’m like, “I will sue you muthafuckas.” So I’m fighting with these weirdos. And, it had nothing to do with the music. … I was pretty much going through the motions at that point. I was finding myself, where my place was in the business, where my place was with my mother. Like, just reestablishing relationships that doing music would of taken away from. So I was kinda just a shell of myself, and I had other people helping me. G-One was coming in and helping do some of that shit. I was pretty absent, from my own music. But, that’s reality though. And that’s when I took a real self-imposed break. Like you said, after “Pitch In On A Party,” and all the way up to BlaQKout  it was like – Trauma , don’t sleep on Trauma. Trauma has brilliant, brilliant moments. That’s a brilliant record. ‘Cause I did it from a place where … I was in New York. I was really hangin’ out with Wyclef [Jean], and Dave Chappelle, and Nas. I was just trying to learn my way around New York City. And Trauma afforded me the luxury of being able to live in New York …. I took an apartment in Manhattan, and you couldn’t tell me nothing. I’m going to the [Chappelle Show] tapings. … And hangin’ out with T.I. Like, really just on some New York shit.               
DX: Now, I love the sleek synths, grown and sexy sound of “Luv Of My Life”
DJ Quik: Man, real grown up, right?             
DX: Yeah. But I gotta admit that as someone who loved how you incorporated a live flute into “Jus Lyke Compton,” “Quik’s Groove II” and “III,” and maybe most impressively on the immaculate “Somethin’ 4 Tha Mood,” not hearing any flute on the new album was disappointing.
DJ Quik: Well, it’s funny ‘cause my flute players aren’t around. I can’t access ‘em. And before I do fake flute, I’ll just do none.

DX: Charles “Chaz” Greene, he’s not around anymore?  
DJ Quik: Chaz is doing freelance stuff now. He’s a saxophone player too. But he’s got a family now. He hasn’t been touring that much. I still run into real dope other cats though, but no flautist that has really rocked my boat right now; that really impressed me. But, it’ll come. That’ll be on my next record. I’m sorry you disappointed, ‘cause I love this record. This record is really about the drums, and the bass lines. This record is funky. … This album, the sound of it and the feel of it, it’s classic. It’s a classic. And it’s gon’ work. And it’s not pretentious; it’s not like … gimmicky. It’s just solid, emotive Hip Hop and R&B mixed together.          
DX: Well, like I said, I want the DJ Quik that’s full of flute. Pause. [Laughs]
DJ Quik: [Laughs]    
DX: [Laughs] I also wanna hear you use the talk box. After Roger [Troutman], you really became the definitive user of that for “Safe And Sound,” “I Useta Know Her” - 
DJ Quik: Yeah. I [only] use it live, because there were a lot of people that were doing it [after he died in 1999] and I just didn’t like – it just seemed like they were making a mockery of my man Mr. [Roger] Troutman. And [after] working closely with that man, and knowing that man, I didn’t want to bastardize something that he made popular. I didn’t wanna be like I’m using it just because. He showed me that shit from an honest place, and I gotta use my discretion when I use it. … I’m glad that you like one of my classic [sounds], and don’t take this the wrong way, but I’m really trying to – I’m looking for the younger fan base too, so I’m giving them the music they like as well. ‘Cause I’m still a deejay; I still rock parties, and I gotta play what they like: Young Money and Drake and all them, I gotta play those records. And I think the flutes and that stuff … it’s a trickle-down theory. They’re taking music programs out of the schools. And we’re out fighting trying to keep ‘em in the schools. I’m doing philanthropy in that world, just trying to do what I can to help raise money for these schools so they can keep their music programs. Music and math are synonymous.
DX: That’s true. Now, taking it back to Roger real quick, is it true – a little bit of Hip Hop folklore here – that you are the reason there was a “California Love,” because it was you who brought Roger to Dr. Dre?
DJ Quik: [Laughs softly] No comment.   
DX: Wow. [Laughs] Is that no comment just because of the current situation, or just you don’t ever wanna reveal anything about that?
DJ Quik: Uh … no comment.
DX: [Laughs] Let me ask you this, did Dre ever tell you if the Safe and Sound sound is what inspired him to make “California Love”?
DJ Quik: Uh … I didn’t hear that. I mean, [Dr.] Dre shows me his appreciation for me like when we hang out. So, I get it. And actually, I don’t even know if Dre knows, [on] Safe and Sound, some of those songs - like “Somethin’ 4 Tha Mood,” that was just me imitating what he did on Snoop [Doggy Dogg’s] album, [Doggystyle], like “Ain’t No Fun.” We throw the G-Funk ball back and forth. And it’s great to play in tandem with sharp thinkers like that. Dr. Dre is a producer who’s … He’s the bomb. And every time I leave the studio I learn something else from him. It’s like, he’s never gonna be the kind of dude that’ll shut down and not show you a secret. He’s nurturing in that way. That’s why Eminem is successful. Like, he nurtured Em. … [Dr. Dre is] always gonna be one of my top three producers in the world.  
DX: Just out of curiosity, I’ve always wanted to know this, did you guys work more together than the credits would suggest …?
DJ Quik: Yeah, I did a lot of ghost stuff over there [at Aftermath Entertainmenr]. I helped with [50 Cent’s] Get Rich or Die Tryin’ . I helped with [Eminem’s] Encore . I did little … I stood in on some [songs] – you know, when they needed me. And, when they had it all together I left. … You’ll feel me, I’m in that mix. You can [tell]. Some of the snares and kicks, and little tabs and shit, I had something to do with. But we really showed off on [Truth Hurts’] “Addictive” though. That was the smartest record ever.
DX: What about during your mid-‘90s tenure as basically an in-house producer at Death Row [Records]; were you and Dre [working] in tandem then?
DJ Quik: Well, at Can-Am [Studios] he had Studio A, and I had Studio B. I had the smaller room. He had the Rock & Roll room. So he was doing the big Rock records. But like if there was something that he had left, that he didn’t wanna finish or … if he didn’t wanna mix it, he passed on something, I would try to make it sound – I would take a shot at it and put it in the vault. So there were some things that went in the vault that was like a pass [to me]. But, again, I ain’t got nothing but respect for the man. I can’t do nothing but laud his business. He’s a sharp dude; he’s a sharp cat.
And those [Death Row days] were some of the funner times of my life too. ‘Cause, with them dudes I was – we was actin’ a ass. … Just doin’ whatever we wanted to do! [We were driving] big white Lexus’ on big 18, 19-inch wheels. That was big back then: 18’s. We was doin’ it! [Laughs] … One of the better times in my life, I don’t regret that.
DX: Speaking of that era, I was just listening to all the leaked demo recordings from [2Pac’s] All Eyez on Me. And man, I can’t believe how much you polished up that album. 
DJ Quik: Yeah, man! I did it in two days. I put a spit shine on them records. When the tapes went up, I went right to work. I dialed them bitches in like Pop records. And you know what else? In the UAD stuff – I don’t know if you’re into Universal Audio, but if you go on their website they’re mentioning All Eyez on Me as far as the [SSL mixing board]. ‘Cause they just recreated the SSL plug-ins. And they did ‘em with SSL, so they’re licensed to UAD – Universal Audio Digital. And, they talk about a Guns N Roses record, they talk about another big record, and they put All Eyez on Me up there, and said that these were the records that defined the SSL sound. They said some big journalist word about 2Pac’s record that was just crazy. And they gave me a credit. They gave me a credit as David Blake. I was blown away.
DX: I just know “Skandalouz” wouldn’t be the classic it is without the talk box [you added to it].
DJ Quik: Yeah, I touched [that record]. I had my boy, Cornelius Mims, play bass on it. That was Daz [Dillinger]’s beat. Daz shot it to me and I really made it a record that they wouldn’t have to clear a sample with. I played Rhodes [electric piano] on there too. I was coming.
DX: How did it happen that you even came to be adding those extra synths to “Heaven Ain’t Hard 2 Find,” and basically remaking “Thug Passion” into the fully funked out track it became?
DJ Quik: It was because they gave me freedom in there. Suge [Knight] was like, “Do you.” I was like, “Okay. Put the tapes up. Get me an engineer that’ll run for me, patch wires for me, go back to the wall. Get me coffee and I’m good.” That’s what the engineers back then did for me. Some of ‘em really worked their asses off. But, some of ‘em were … subservient. It is what it is. He gave me a little power and let me rock out.
[Second part of interview, conducted Friday, April 15, 2011]
DX: When we ended on Monday we were discussing the demo recordings for All Eyez on Me. I was just curious if ‘Pac knew it was you who basically made his album sound the way the public heard it?
DJ Quik: He was the one that helped compile the cassette demos so I could take ‘em home and listen to ‘em. I got ‘em maybe four days in advance [of the album deadline]. So, he helped compile it. And I guess there were some songs he even took off of there. So when I got it I took it home, listened to it. And I was warm at that point; I was already done with Safe and Sound, so I was still like – my engine was revving for production. So, I listened to it and then went to the studio and asked for the tapes. The engineers ran in there and got me the tapes out of the vault, and I started rockin’ out wit’ it. I was remixing those records and putting ‘em on tape. Like, mixing ‘em and dropping ‘em down to transfer in less than two hours. That’s the fastest I ever worked. I did 14 songs in like two days.
DX: And I just gotta ask, why was your Donald Byrd-sampling classic creation, “Late Night,” cut from All Eyez on Me?
DJ Quik: It wasn’t cut; we couldn’t clear the sample at that time. But it woulda made it. It’s just Donald Byrd is … let’s just say he’s not too keen on clearing Hip Hop samples. I don’t think he really cares about the genre. And I guess he made enough money to where a 10 million record seller was – I’ma say Donald Byrd might have been a dumb ass … ‘cause he let that slip through his fingers.
DX: “Heartz Of Men” and “Late Night,” were those the only songs you and ‘Pac did?
DJ Quik: No, we did a couple others: “Message 2 My Unborn” and this other one I don’t remember the name of it. But yeah, we were trying to mash it out, but he got really busy at that point. All Eyez on Me came out and soared to the top of the charts and rocked out.
DX: It’s hard to believe in a couple months ‘Pac would’ve been turning 40. He would’ve been like the Governor of California by now or something.
DJ Quik: You think?
DX: I think he was going in that direction, maybe eventually.
DJ Quik: Yeah, I think he woulda been something way more important than a rapper. ‘Cause he was so political. He had so much going on, and sometimes he would be conflicted because he was trying to save the hood and the world as well. That’s too big. That’s too big for people.
DX: I wanna go back to the Death Row era for just one more question -
DJ Quik: That’s cool. You can stay there, I don’t care.
DX: Well you made some amazing music during that time, stuff some people even forget about like “Crack ‘Em” for O.F.T.B., “Come When I Call” for Danny Boy, so many classic joints. But I’ve always been curious to know why David Blake’s name didn’t appear in the credits for [Tha Dogg Pound’s] Dogg Food or [Snoop Dogg’s] Tha Doggfather?
DJ Quik: Um … you know, sometimes Suge could be an asshole. Or maybe some of the engineers, ‘cause everybody thought they were gangsters over there, including the little white engineers.
DX: [Laughs]
DJ Quik: Yeah, it’s funny, isn’t it?
DX: Well, it’s not funny, but …
DJ Quik: Yeah, everybody thought they were gangsters. … But Daz and Kurupt know how much I helped them. But see, payback is a dog. Look how we made it right, me and Kurupt did an album together [BlaQKout] that was considered album of the year.
I’ll share this with you: I think I might be a little too advanced for Hip Hop. I think Hip Hop is such a small, minute genre when it comes to music. And it’s the only genre of music where there’s murder, mayhem, infighting, jealousy and hatred, and all that good stuff. That doesn’t happen in Country music, nor does it happen in R&B as well. [And], that was the normal thing [at Death Row]. You’d have to really be – Like Suge [would] say, “You had to make hits or get hit.” Dig that.
DX: Did you get to really work with Nate Dogg at all during that period?
DJ Quik: Yeah. He had this song called “These Days.” He gave me the tapes. Teddy Riley had did the beat for him. And we sat up in there together and he let me … you know, he let me remix it for him. I mixed it for him. I would do anything for Nate. Nate was just a easy guy [to work with].
DX: You worked with Nate a lot post-Death Row, maybe most notably on “Medley For A ‘V’” from Rhythm-Al-Ism. Was the Marine-turned-crooner always the stoic, serious guy he appeared to be to the public?
DJ Quik: It’s funny, I never even knew he was a Marine. But that might explain his stoicism. [He was] just a calm under pressure kinda dude. But, generally a nice guy. I never seen Nate excited; he wasn’t excitable.
DX: Any story maybe you haven’t told up to this point ….
DJ Quik: I’m gonna space them out, because I don’t wanna run out. I don’t wanna drain the treasure chest of Nate Dogg stories, anecdotes … He was a great dude though. I’m gonna miss just hearing him in the booth singing with the mic off. He had such a big voice. He was like a glee club leader. He was just a big voice. He moved the air around him. And he made people happy. … He made those records mean something. They woulda just been good beats without him. He gave ‘em character, and gave ‘em that gluey sing-song hook that no one could forget – anybody [of] any race, any walk of life.
DX: This may be a bad segue, but I’m glad you and [MC] Eiht got to make peace before either one of you leaves the earth.
DJ Quik: Before we’re dead. Yeah, that’s a reality. Believe me, I think about it everyday. Well not everyday, but I think about it from time to time when I need to be grateful.
DX: “I even smoked with MC Eiht / Yeah, ain’t life great?”
DJ Quik: That’s right! I said that, right?
DX: Yeah, on … Down’s song, [“Certified Boss”]. And I saw that picture of you and Eiht like toasting, with the glasses raised. It’s a dope flick, but it’s still surreal for anybody who remembers -
DJ Quik: Remembers that beef. You know, I been helping those guys. I’m actually getting in the studio with him soon.

DX: It’s been a dozen years now since you first extended that olive branch on [the album version of] “You’z A Ganxta.” Did you get any immediate feedback from [Eiht] …?
DJ Quik: Yeah, we went into the studio immediately thereafter. [Writer’s note: Quik has been in a bank up until this point in the second part of his interview. He then gets into his car and begins speaking in a more natural volume from the somewhat softer tone he was speaking with while in the bank].
DX: Well, I just wanna close out by noting Eiht has an album about to come out with DJ Premier.
DJ Quik: Who better though? Like, if you think about it, MC Eiht could’ve easily been from another coast. When you listen to his records, if it wasn’t for some of just the familiar soulful samples, and his drawl, you wouldn’t know where he was from. And that was the beautiful thing back then; the autonomy [that artists had] was crazy! Like, I didn’t sound like I was from Compton. When I listen back, I sound like I was a country kid that got transplanted to Compton.
DX: I just think Eiht doing an album each with the #1 and #2 Hip Hop producers of all time would be … that’d be a good look.
DJ Quik: Yeah, it would. I don’t think we’d do it for the money anymore, because let’s just be honest about Hip Hop … It’s sad to see what happened with our shit. But, it wasn’t like nobody saw it coming. I think everybody felt like the shit was getting self-destructive when 2Pac started going on his rants, and nobody stopped that shit. Like when he really started to take it to [Notorious B.I.G.], doing video parodies, it was okay but it really divided the nation. It divided the nation, and it had a bad affect on all of us. At that point I wasn’t just DJ Quik from Compton, a great musician, deejay, good producer or whatever; I became DJ Quik from the west coast. Because of that war it was like you had to pick a side. And here I am, I kinda was reluctantly thrust into some shit that I couldn’t separate myself from. It was like … It was just weird. And we all knew it was downhill from there, because certain places we couldn’t go. The media was all over that shit. I remember how the VIBE magazine and The Source and all the Hip Hop monthlies was going so hard on that shit. This is the funny thing: I don’t recall ever seeing anything about those Hip Hop wars in Newsweek or in People magazine …. You never saw any of that shit in The Wall Street Journal until after those guys got killed. And I think honestly, they got killed because of propaganda. All that shit was being put up and posted up so high. Like, we were pitted against each other so bad that ultimately something strange had to happen. It was inevitable. It’s like, you ever pumped too much air into a balloon? And you start getting squeamish after it gets a little too big, you start anticipating the pop. That’s what happened to Hip Hop. And then it got taken over by the suits. So, what does that do to a guy like me? Well, it makes me either go independent or … pretty much retire. Because, at this point I’m a part of – fuck my legendary status, fuck how many records I’ve sold, at this point now I’m a west coast artist. … [And] at that point it was like, “Yeah, we off of west coast Hip Hop.” Everybody, like a school of fish …. And we’re talking about my livelihood. … To me it all seemed like what I learned from selling crack back in 1985: easy come, easy go. But just the fact that you can annihilate somebody’s way of living like that; that you can affect somebody’s quality of life with just opinion, is crazy. It had nothing to do with the music at that point, it was because we were from this coast. I wish that it wouldn’t have happened, I wish everything woulda been cool, and I wish that Hip Hop would’ve went to where we were taking it to: a multibillion dollar industry. Yeah, it made a couple of billion, but at what cost? Look how many bodies is buried underneath the establishment of Hip Hop.
DX: Let’s end on something less heavy. Um … do you still got your Pimpin -
DJ Quik: [Interrupts] Nah, that’s actually very light, believe it or not. Now if you wanna talk about me and my Illuminati affiliation we can talk.
DX: [Laughs] Don’t bring [the Illuminati] up. That’ll be all over the ‘Net for the next month.
DJ Quik: You wanna talk about these niggas I shot in Compton and killed them, and never got busted for it?
DX: Ugh.
DJ Quik: That was heavy, ain’t it?
DX: That’s too heavy.
DJ Quik: That’s a turnoff, ain’t it? That was filibuster. No, I’m just playing. I’m joking. I ain’t killed nobody that didn’t deserve it. Let’s move on.
DX: Do you still got your Pimpin’ Hoes Daily degree from Bitch College? [Laughs]
DJ Quik: Yeah, P.H.D. Well, you know, actually, I got daughters now, so I’m just trying to keep them from being pimped. And, I’m trying to also keep them from being pimps. Life is good when you’re not beating up on people. Life is good when you’re not poisoning people’s minds.
DX: Well this new album is refreshing.
DJ Quik: This album is the shit. I ain’t even gon’ front wit’chu. Honestly, I don’t even know why I did it. People ask me, “So, why did you feel the need to do an album all of the sudden; just woke up one day and said let’s do an album?” No. I thought, I’m sitting up here just sleeping on my record company. I got a record company, [Mad Science], and I can’t sit up and wait for Dr. Dre to put out a record, I can’t sit up and wait for things to get back good. I realized that I had to be proactive. … I’m about to start doing other things too. Like, it’s about to get real. I’m loving this artist direct thing. And being in control, and being stable, and unmovable right now is kinda great. I could really be effective. I’ll have another four years effective, in whatever genre I wanna go into.
DX: Let’s end on that note. I don’t wanna keep you any longer, man. I already took too much of your time.
DJ Quik: It’s alright, man. Honestly, you’re cool. It’s not even you. I went to a radio station this morning, and it was just some funny energy up there. We ended on a high note last night, and we were all singing Donny Hathaway songs, and my piano player playing, and we drinking Grey Goose, everything’s cool. Get up in the morning [today] and go to the radio station, and dudes is up there grumpy, talking about things that don’t have nothing to do with my album. And trying to teach me how to be a radio personality. Like, “Do your drops like this. More character. Put some more enthusiasm in it.” It’s like, “Really?” You guys are so young and so stupid.
DX: I can’t believe radio survived. Like, I really thought 10 years ago [that the Internet would eventually kill it].
DJ Quik: I once cried because our radio in Los Angeles suffered so much. I wanna say it was like 2004, 2005, 2006 when I really realized that we have no radio identity in Los Angeles.
[The whole industry became] Hip Hop under new management. And honestly, it was supposed to happen. Evidently, because it did. Unfortunately, the ones that really love doing music like me and … a couple other people I can name, we suffered the emotional backlash for that shit. ‘Cause, I’m creative, and it takes a lot of emotion to do hot records. You gotta feel the shit. You can’t just be doing shit from no motivation. So, the fact that people like me got hurt …. I saw some of people’s comments about me in the press, and there was this one magazine - I don’t remember [its name]; they went out of business …. They were hot too for a minute. They were talking about gear and artists.
DX: You talking about Scratch?
DJ Quik: Scratch magazine. After I did interviews for ‘em, chopped it up wit’ ‘em, kicked it, brought ‘em to my studio – when I was working at Warner Brothers; when I had a chair at Warner Brothers you might as well say – these dudes went behind my back and put out an article the next week talking about, DJ Quik, he’s a good artist, but he’s never gonna be paid, he’s never gonna have the money that the Dre’s have and all these people have. And I guess they was telling it – you know, calling it as they see it. But it was almost like I’m like a non-factor. I was like, “You know what? They’re entitled to that [opinion].” And whatever I’m doing right now they must be thinking that that’s where I’m coming from and that it’s easy to diss me like that. [But], I took that. And then a couple of years later I read that I got the homosexual Hip Hop quote in Ozone, for telling MC Eiht [on “Dollaz and Sense”] “I never had my dick sucked by a man before / You gonna be the first you little trick-ass whore / You can tell me just how it taste, but before I nut I shoot some piss in your face / You fuckin’ coward.” In other words, I was saying that no man will ever suck my dick. But I think that because Atlanta is now the homosexual capitol of black America, I felt they felt the need to expose that and say that shit and bring it up. And I’ve done no homophobic lyrics after that, but they dropped that shit on me during an interview. And I looked at it and read the shit, and instead of getting emotional – ‘Cause I know you guys are entitled to your opinions. We used to actually put people – we used to not take so kindly to disrespect. But I realized at that point, not only am I not getting my gold and platinum records like I used to for the money and the time that I put into the music, but now I’m getting ridiculed on another level. And I guess that’s the backlash of helping to grow a business that’s so popular. America, they love you for a minute, and then they tear you down. That’s how it works. They build you up to tear you down. That’s why there are no buildings that have stood in America for 300 years. Do you understand what I’m saying to you?
DX: Yeah, I understand completely. I think it’s generational somewhat too – not to make excuses. But, if you were born past a certain point it’s kind of like you have no reference point to even understand why DJ Quik is so important to the history of Hip Hop.
DJ Quik: Right. And, it would be fortunate had Wikipedia really compiled my information and my career correctly. These muthafuckas start my whole little biography by [not printing my correct middle name, Marvin]. They call me “David Martin Blake.” That’s automatically – it’s a wrap there. [And they go on to write], His career started off wonderfully and waned over the years, and he became a non-factor. But, he did these hits with Janet [Jackson] and Jay-Z! It’s like, hey guys, let’s just not say that. Why don’t you just make my shit blank? I’d rather you say nothing about me than to say a whole lot of untruths.
Who wants to filter read anything? Honestly, who wants to take shit with a grain of salt? Who wants to fill in the blanks? Or, who wants to correct the misnomers? This is bullshit. I appreciate where you was coming from though earlier in the week when you brought up the Dr. Dre and the Roger Troutman thing. To be dead honest wit’chu, I did a lot of important things that I didn’t even care to get credit for.
Man, I was such a philanthropist I probably gave away $250,000 to the city of Compton, my guy. And who will ever say that? I got the key to the city of Compton when I was 29-years-old. They didn’t give me that for my music. That music was violent. They gave me that because of how I was going back into them schools and raising money for them schools.
Pardon me for being grumpy. I’m just really disappointed that some people are just so uncouth. You would think that after all of these years, and all of the examples that have been set, that people [wouldn’t] still push your buttons to the point to where you would wanna drag ‘em out in the hallway and stomp their fuckin’ teeth down their throat with your security guard.
Well, all is well, man. I just need to go hit a fat blunt, and stop thinking about the ghost of Hip Hop past. ‘Cause unfortunately, this business right here is not what I signed up for.

**EXCLUSIVE** Random Axe (Black Milk, Sean Price & Guilty Simpson) - The Hex

Check out the new track off the highly anticipated album from Three underground legends...

http://hulkshare.com/4wb3r38x9riv - Random Axe - The Hex (2011)

Check the H.U.B. book series by Author Benjamin Jones!!!

http://benjaminjoneswrites.weebly.com/ - Blogspot

http://www.whatishub.net/ - Website

If you enjoy reading make sure you check the series out, you wont be disappointed!!!

Lil Wayne's "Tha Carter IV" Cover Revealed!!!

So what do you think of the Cover for the new Lil Wayne album "Tha Carter IV" to be released in the Summer...

Thoughts/Opinions on the Cover?!

Follow M85H on Twitter!!!

Freddie Gibbs Interview with allhiphop.com, Peep!!!

February 26, 2004, will forever numb Freddie Gibbs’ memory. On this frigid day, Kinnell “Stymie” Magee’s breathing was permanently arrested. Although Kinnell was a few years older than Freddie, together, these two friends learned many of life’s stark lessons.  Several adjectives could describe Kinnell: friend; expecting-father; son; determined; college-educated; neighborhood-supplier; doomed.  Both men yearned for life, liberty, and the pursuit of happiness. America’s Rust Belt reinforced that these UNalieable rights only exist on paper. These young men were motivated by a stubborn hope, sometimes hateful and often cruel in its assertion, that they, too, could enjoy this patriotic fable. In order to gain their independence, they chose to undertake a corrosive path to the American “dream.”

 

Kinnell’s disillusioned journey involved frequent run-ins with Indiana-bacon. The only thing some of these porkers love more than their donuts is trampling resident’s civil rights. Intercepting an urgent 911 call from Kinnell’s house for medical assistance, this locally-funded gang arrived, devastating an already precarious situation. Kinnell’s windpipe quit. Oxygen-deprived, he struggled for life. The Magee family and Freddie Gibbs were stuck in this surreal nightmare. Arms flailing, tiny sounds escaped between his dying lips. “I can’t breathe,” became Kinnell’s last words.

 

Countless witnesses, and a camcorder’s unflinching eye, were unable to deter this savage encounter. Encircled by irate Gary-pigs, Kinnell’s gasps were ignored as a police-baton crushed against his throat. No air. Nothing but hate separated Kinnell from his murderers. Smothered by smoldering American-animosity, Kinnell died on a snow-covered street. Once the paramedic’s finally arrived, the whites of Stymie’s eyes mocked their inaction. Kinnell was condemned because of his skin.

 

Freddie Gibbs may be signed to Young Jeezy's CTE, but he still uses his voice as an MC to provoke change. His lyrics chronicle everything from tragedy to triumph. With a perspective that reflects E. 17^th Virginia Street, and far beyond, this G.I. native, is showing the world how to effectively emcee. Gibbs knows the difference between exercising poetic license and spewing pathological lies. He is reality rap. In the conclusion of this exclusive interview, Freddie Gibbs talks: life, lyrics, and ladies.

 

AllHipHop.com: Who is Kinnell and what happened to him?

 

Freddie Gibbs: That’s one of my homeboys. He got murdered by the police.

 

AllHipHop.com: By the police in Gary?

 

Freddie Gibbs: Yeah.

 

AllHipHop.com: I assume the case is still open.

 

Freddie Gibbs: I don’t know what’s going with that. I think it’s done with; it’s over and done with the case is closed.

 

AllHipHop.com: How long ago did he get murdered?

 

Freddie Gibbs: That was like six years ago.

 

AllHipHop.com: When I saw his name mentioned at the end of “The Ghetto,” it made me think maybe he’s your, Cato.

 

Freddie Gibbs: [laughter] Nah, he ain’t rap or nothing like that. That was my big homie, though.

 

AllHipHop.com: I want to dissect a couple of your lyrics. On your record, “The Ghetto,” you say “… the ghetto ain’t just a place it’s a mentality/ most of carry with us constantly causing causalities…” I want you to expound on this perspective.

Freddie Gibbs: Well you know, if you’re a ghetto muthaf*cka you take that sh*t everywhere that you go. It ain’t just where you live at, you make where you live at ghetto. You’re just a ghetto muthaf*cka, you know what I mean?

AllHipHop.com: Do you think that ghetto has a negative stigma attached to it?

Freddie Gibbs: Sometimes it can; sometimes it’s positive. To me, sometimes the ghetto can mean camaraderie, you know, family. That’s just where the f*ck I grew up. To me, it just means family and camaraderie. It can have negative stigmas attached to it like all the dirty sh*t and crime, and all that sh*t attached to it. But, man, f*ck that, I wouldn’t rather grow up nowhere else. I’m thankful for it.

AllHipHop.com: As you reflect over learning to be a man, do you feel as though you’ve triumphed over your environment, or that you environment made you the way that you are?

Freddie Gibbs: I think a little bit of both. I triumphed over the sh*t; I ain’t dead yet. But, I think the inner-workings of where I’m from, definitely made me who I am. It definitely gave me a different mentality than it would have if I had grown up somewhere else. I can definitely say that.

AllHipHop.com: Are you socially progressive?

Freddie Gibbs: Yeah, I think so. A lot of the things that I say in my songs are socially progressive. I tell people that you can’t sell dope forever [and] for them to figure out a way to get out the game. I’m not glorifying it; I’m just shedding light on it. Hopefully, I can steer you in a different direction.

AllHipHop.com: With your different experiences, have you ever encountered a functional addict and watched him progress to becoming completely clucked-out?

 

Freddie Gibbs: Yeah, I’ve seen a lot of junkies. Everybody starts out functional then at the end they’re not.

 

AllHipHop.com: How do you sleep knowing that you may have had a hand in that? Ultimately they’re responsible for their choices, but you may have helped impact a bad decision.

 

Freddie Gibbs: You feel a little bad, anybody with a heart do. But, when you’re counting that money at the end of the night, you ain’t trippin’ because your stomach is full. Would you rather see me selling crack to them or robbing them; because, I’m going to do either or, you know.

 

AllHipHop.com: Taking it back to Gary, on in “The Ghetto,” you say, “… lack of skills leads to some deadly infatuations…” In relation to making money, is it easier for people to follow the established / immediate thing to do as opposed to setting their own path?

 

Freddie Gibbs: I do think that some people do take the easy way out, but some people just don’t have a lot of options. Everyone don’t have the option to go to school; some people can’t get into the military. I know n*ggas that’s trying, they want to get into the military, but they can’t. They made me get in the muthaf*cka. I know n*ggas that want to get in but can’t get in. I know n*ggas that can’t get no job nowhere. I would say lack of skills and school—they don’t have the money to go to school. And the education system is f*cked up; it don’t teach you nothing in the first place. A diploma ain’t worth sh*t. It can lead to you doing some bullsh*t, or being involved in some bullsh*t.

 

AllHipHop.com: Traveling down that lane of thought, it seems that you write your life. Has there been a time where you’ve encountered a lull in your creativity or writer’s block?

 

Freddie Gibbs: It happens all the time. But, it’s never for like days at a time, you can just have a lot of sh*t on your mind. Life can weigh on you, but you just got to sort your thoughts out when you don’t feel like writing sh*t. No, it’s never for days or weeks at a time, maybe for a couple hours.

All of that sh*t is what you make it. I can write about anything. There’s times where I don’t really feel like f*cking with music, but I wouldn’t call it writer’s block. I take my time to write my songs, anyway. So, I can piece it together perfect. I don’t really get that writer’s block sh*t. That’s some punk sh*t that somebody made up.

AllHipHop.com: Is the mixtape replacing the importance of the debut album?

Freddie Gibbs: No, well, I don’t know. But, I won’t say it’s replacing the importance of a debut. The game is just changing. People blow up off a good mixtape. So, it’s whatever you put out there that people catch on to, whether it’s a mixtape or a debut album. Maybe it does erase the importance, a little bit, you know what I mean, but not for me.

AllHipHop.com: You’ve given us a lot of mixtape material; let’s discuss your debut album.

Freddie Gibbs: The Baby-Faced Killa, yeah, that’s going to be the best sh*t you ever heard.            

AllHipHop.com: [laughter] There’s that humility.

 

Freddie Gibbs: [laughter] Nah, but it’s going to be some classic sh*t, real talk. Once I piece it together the way I want it to be; it’s going to be dope. I got a lot of time to make it; it’s all good. Plus, I got some other projects that I’m going to drop, too. I’m going to serve muthaf*ckas, hit ‘em in they mouth with a lot of sh*t. It’s going down. I got a lot of artistic sh*t that I want to come with. And the Baby-Faced Killa is going to be icing on the cake.

 

AllHipHop.com: And we love cake.

 

Freddie Gibbs: [laughter] The icing on the cake, and I’m even going to have sh*t for the ladies on there.

 

AllHipHop.com: I hear you talking.

 

Gibbs: [laughter]

 

AllHipHop.com: How do you view women? When you talk about pimping, are you talking about pimping the microphone; or, do you actually have females out there on the track?

 

Freddie Gibbs: Pimping-wise, I can’t say I haven’t dibbled and dabbled in that area of expertise. For the most part, I ain’t guerilla pimped no b***h. I wasn’t beating no b***h. I presented a female with an opportunity and we had a business agreement; that’s all that was. But, for the most part that’s pimping; pimping can be anything, getting something out of anybody.

 

AllHipHop.com: So, you never fought a woman or anything like that?

 

Freddie Gibbs: No. I don’t view women in a negative way. You got to do what you got to do out here, you know what I mean. I got a mother and a sister. I don’t view women in a negative way. I don’t think every woman is a hoe or sh*t or nothing like that.

 

AllHipHop.com: Given your profession, when you run across a good woman do you recognize it?

 

Freddie Gibbs: I can recognize it. There’s a lot of bullsh*t women out here, so I can recognize a good one.

 

AllHipHop.com: Anything else?

 

Freddie Gibbs: Baby-Faced Killa, that sh*t is going to be a classic.

 

 

LINKS

 

“Somethin U Should Know”

http://www.youtube.com/v/fUQpuUhy2T0?fs=1&hl=en_US

 

“Live By The Game”

http://www.youtube.com/v/gzsNsNgEXQI?fs=1&hl=en_US

 

“The Ghetto”

http://www.youtube.com/v/Egf2j73UmBA?fs=1&hl=en_US 

 

“Rep 2 Tha Fullest”

http://www.youtube.com/v/-4YcrZ6qF2w?fs=1&hl=en_US

 

Follow Niki Gatewood on Twitter at @THENikiG. Shout out and thanks to Big Kill and Archie

Apathy - Honkey Kong ALBUM TRAILER!!!

Check out the album trailer from Apathy (Army Of The Pharaohs, Demigodz & Get Busy Committee), mark my words this will be the ALBUM OF THE YEAR. Apathy been killin shit recently with his guest verses!!!

*NEW RELEASE* Heavy Metal Kings by ILL Bill & Vinnie Paz of Jedi Mind Tricks

01. Keeper Of The Seven Keys

02. Eye Is The King

03. Impaled Nazarene
04. Children Of God
05. Blood Meridian
06. Oath Of The Goat
07. King Diamond
08. The Vice Of Killing feat. Reef The Lost Cauze & Sabac Red
09. Devil's Rebels feat. Crypt The Warchild
10. Age Of Quarrel
11. Metal In Your Mouth feat. Q-Unique & Slaine
12. Terror Network
13. Leviathan (The Spell Of Kingu)
14. The Crown Is Mine
15. Splatterfest
16. The Final Call
17. Blood Meridian (Ill Bill Remix) (iTunes Bonus Track)

Collab album from 2 Underground heavyweights ILL Bill of La Coka Nostra & Vinnie Paz of Jedi Mind Tricks.  2011 is gonna be a busy year for these dudes, keep a look out for news on more project being dropped by them on this blogspot and check the review of the Heavy Metal Kings album...

Action Reacon review - http://www.actionrecon.com/2011/04/ill-bill-vinnie-paz-heavy-metal-kings-the-review/ 

The Dopeness BEGINS!!

Undergound is a Blogspot especially catered to Hip Hop, bringing you news, pics, music & interviews from the world of Hip Hop (No Wackness).

Let's Begin