DJ Premier presents to you his top 20 albums of a year on LiveFromHQ, also in 2009 he did that. But instead of top 20 it’s now top 25. Check out Premos top 25 of 2010:
20. Little Brother – LeftBack 19. Roc Marciano – Marcberg 18. Murs & 9th Wonder – Fornever 17. Eternia & MoSS – At Last 16. The Roots – How I Got Over 15. The Left – Gas Mask 14. Rah Digga – Classic 13. Gangrene – Gutter Water 12. Skyzoo & !llmind – Live from the Tape Deck 11. Drake – Thank Me Later
10. Fat Joe – The Darkside Vol. 1 09. Marco Polo & Ruste Juxx – The eXXecution 08. Rick Ross – Teflon Don 07. Freeway & Jake One – The Stimulus Package 06. Statik Selektah & Termanology – 1982 05. Scarface – Dopeman Music 04. Meth, Ghost & Rae – Wu Massacre 03. Strong Arm Steady – In Search of Stoney Jackson 02. DJ Premier Presents Year Round Records – Get Used To Us 01. Ghostface Killah – Apollo Kids
I judge my list based on -Dope beats -Dope rhymes -Scratchin’ and cutting -Creativity -Uniqueness -Originality -and overall packaging of the product’s integrity. I don’t care if you sold a million copies, that does not make it dope. I went through more than 60 LP’s released in ‘09/10 on major and indie labels over and over to get it as close as I possible could to being satisfied with the list so here it is along with the list.
"Love Hangover" was the fourth number one single for Motown singer Diana Ross. It was released in March 1976, and rose to number one on the Billboard Hot 100, Hot Soul Singles and Hot Dance Club Play charts simultaneously.
Written by Pamela Sawyer and Marilyn McLeod as a disco number. The Motown staff believed that it would be perfect for Ross to record. Ross, like her soul contemporaries Aretha Franklin and Marvin Gaye, initially resented the new musical movement but eventually agreed to record the song.
Producer Hal Davis instructed the song's engineer Russ Terrana to install a strobe light so that Ross could be in the "disco" mindset. As the song changed from ballad to uptempo, Ross became more comfortable with the material; she hummed, sang bit parts, laughed, danced around and even imitated Billie Holiday. The carefree and sensual nature of Ross' vocals and the music's direction helped to sell the song.
Hal Davis recorded the track in 1975 thinking it ideal for Marvin Gaye or Diana Ross. They were his two favorite vocalists to work with and thought Diana would be sexier on it, so he cut it on her. Miss Ross recorded 'Love Hangover' in 1975 and was released on the LP "Diana Ross" - with a single from it, "I Thought It Took A Little Time." The album came out Feb 12th, 1976 and two weeks later, Motown issued I Thought It Took A Little Time as a single. Upon hearing the album, the 5th Dimension did a copycat cover and released their shorter version of Love Hangover two weeks after that. Word got to Motown, and Motown issued Ross' version on 45 and it hit huge - burying the 5th Dimension. Motown, certain Hangover was a #1 for Diana, rushed out her version. Both entered the chart the same day. By the time "Love Hangover" went to number one, Ross had reinvented herself as a disco diva and the 5th Dimension's version had peaked at number 80. It won Ross a Grammy nomination for Best R&B Female Vocal Performance.
Biggy Smallz (197? - 1994) was a Los Angeles rapper and songwriter known for the few collaborations he had with famed rap producer Johnny J. He is the subject of Tupac Shakur's controversial tribute song “God Bless the Dead”. This person should not be confused with The Notorious B.I.G. who went by a similar name: Biggie Smalls.
Career
Very little is known about the rapper outside of his music, which to date only consists of a handful of tracks released during the early part of the 1990's as minor singles - the most famous being “Cruisin'” and “Nobody Rides for Free”, both produced by Johnny J.
Confusion with Notorious B.I.G. and Big D the Impossible
The rap moniker of Biggy Smallz has a striking resemblance to one of New York rap legend Christopher Wallace's (Notorious B.I.G.) aliases: Biggie Smalls. Before Wallace's mainstream rap career began, he rapped under this name. Biggy's companion Tupac Shakur reportedly requested Wallace to change his rap name from 'Biggie Smalls' to The Notorious B.I.G., his current one, when he was just an up-and-coming underground rapper. Wallace complied with this request, but by then his prior rap name 'Biggie Smalls' was already too reputable and well known to the public for the name change to be fully successful. To this day, many of Wallace's fans still refer to him as 'Biggie'. By the time he released his debut album Ready to Die in September 1994, Wallace's fame had completely overshadowed Biggy Smallz' rap career. It is believed that Biggy died around that time period.
Biggy Smallz was mentioned in the 2Pac Greatest Hits track “God Bless the Dead”, in which Shakur paid his respects to a "Biggy Smallz" during the intro, saying:
Due to the name's similarities with Notorious B.I.G.'s alias, the overwhelming majority of Shakur's listeners took this as a shout-out to Christopher Wallace, who died a year prior to the song's official release. This generated a great deal of confusion due to the fact that the song was recorded in late 1994, before Shakur's imprisonment in February 1995. Subsequently, rumors claiming 2Pac's death was a hoax began surfacing. On Live Squad's official biography, however, this topic was brought up in order to clear up the rumors:
In addition to this, Biggy Smallz is often mistaken with Deon Evans, also known as Big D the Impossible. Evans (who is still alive) is a producer who had worked with Tupac Shakur on his earlier albums 2Pacalypse Now and Strictly 4 My N.I.G.G.A.Z..
Geto Boys; The Other Level appears on We Can't Be Stopped was the 4th studio album by Geto Boys, released in 1991. It was among their most successful records in terms of units sold. The album is broken down track-by-track by Geto Boys in Brian Coleman's book Check the Technique. We Can't Be Stopped was certified Platinum on February 26, 1992, by the RIAA.
The album cover is a graphic picture of member Bushwick Bill in the hospital after he shot himself in the eye after his girlfriend refused to shoot him. The event is unfolded in detail in the song "Ever So Clear" from Bushwick's 1992 solo debut Little Big Man.
The Big Payback: The History of the Business of Hip Hop by Dan Charnas New American Library There's no other hip hop book quite like this, it's as simple as that! Charnas' tour de force is a direct and detailed account of the players and motives behind the "American dream" story tale that is hip hop. With a well-balanced combination of recounting and reporting, Charnas reveals a back-story that simply has never been told before... until now. It's a bit of a long read, but the frequent revelations and stories that make you go "wow!" and "really?" keep you from putting this book down. Highly recommended.
Decoded by Jay-Z & dream hampton Spiegel & Grau What more can HipHopIsRead say? If you're a Jay-Z fan, you've probably already got this - and with good cause. Jay-Z, dream, Spiegel & Grau have crafted a book that's as exciting to read as it is to marvel over the artwork and aesthetic design. Part autobiography, part coffee table entertainment, Decoded is a book you can simply pick up, pore over and enjoy. Not just for Jay-Z fans too!
The Anthology of Rap by Adam Bradley, Andrew DuBois and more Yale University Press Given that HipHopIsRead already addressed the criticism over this encyclopedia of rhymes, HipHopIsRead just say this: The Anthology of Rap accomplishes what it had set out to achieve. In the future, this book may be considered a relic, the first of its kind in the attempt to catapult rap poetry into the field of academia. HipHopIsRead give props to professors Bradley and DuBois for taking that bold first step.
The Boombox Project: The Machines, the Music, and the Urban Underground by Lyle Owerko w/Spike Lee Abrams Image Video (and internet) may have killed the radio star, but New York-based photographer Lyle Owerko's dedication to the ubiquitous boombox earnestly and effectively (and rightfully!) romanticizes the days before e-networking and expendable MP3 files. Nostalgia abound, The Boombox Project perfectly encapsulates a significant epoch in time. To HipHopIsRead, this is the next best thing to having seen it first-hand.
Tupac Shakur: The Life and Times of an American Icon by Tayannah Lee McQuillar & Fred L. Johnson Da Capo Press Even HipHopIsRead, a self-described "'Pac Stan" or "Pacavellian", learned quite a bit about Tupac Shakur from this biography. Without glorifying or sweeping his blunders and dark moments under the rug, McQuillar and Johnson effectively identify the dual personality of 'Pac, appropriately nicknamed 2Pac. HipHopIsRead didn't put this book down once until HipHopIsRead finished it.
Understand Rap: Explanations of Confusing Rap Lyrics You and Your Grandma Can Understand by William Buckholz Abrams Image This novelty book achieves quick laughs, none of them cheap. For instance, Drake's line "swimming in the money come and find me... Nemo" is boiled down up into a silly, sixty-eight word-long explanation/translation, finally answering the question: "what's the opposite of 'layman's terms'?" Enjoy this one on the john... escort. #fakedrake
Public Enemy's leader speaks out against various topics within Hip Hop, discussing the importance of giving to communities, the downfall of American Hip Hop and Hip Hop media outlets.
Chuck D, always one to speak out on matters concerning Hip Hop, has recently released a letter to Davey D and Chuck "Jigsaw" Creekmur of AllHipHop.com. In the letter, the Public Enemy leader described the state of the culture and more.
"As far as RAP and HIP-HOP, it's like USA Olympic basketball, the world has parity now and have surpassed the USA in ALL of the basic fundamentals of HIP HOP - TURNTABLISM, BREAKING, GRAFFITI, and now EMCEEING with succinct mission, meaning and skill. Skill-wise rappers spitting three languages, have created super rappers to move the crowd with intensity and passion. The 'arrogant' American comes in blackface, but if there was a HIP HOP or Rap Olympics, I really don't think the United States would get Gold, Silver or Brass or even ass for that sake."
Not only criticizing the art form, he also critiqued Hip Hop news outlets, noting that it needs to improve in the way it documents the culture.
"HIP HOP NEWS spreads like any other mainstream NEWS in America. The garbage that's unfit to print has now floated on websites and blogs like sh*t. For example a rapper working in the community gets obscured while if that same rapper robbed a gas station he'd get top coverage and be label a 'rapper' while getting his upcoming or current music somewhat put on blast, regardless of its quality which of course is subjective like any other art. RAP sites and blogs are mimicking the New York POST."
In adding to this, he expressed the need to contribute to the community, citing the significant impact this music has today.
"Since the music has so much power, and image has become everything to the point that it can dictate the direction of a person in their life, it is my mission now to really become a 'freedom fighter' and stop this radiation. With Jay-Z and others who, for years would faint their worth, the statement of 'with great power comes great responsibility,'is more true. Words are powerful and they can both start wars and bring peace. This cannot be taken lightly. Its important for the words to be body with the community. If not one dime of $250 million doesn't benefit the people who contribute to it then why does that warrant coverage above the will and effort of many in the music who have done great things. Never have so many been pimped by so few. "
Without stopping there, Chuck also aimed his pen at Viacom and others, saying things need to change for the better, in his eyes, and that he intends to do something about it.
"To dictate to a community and not even live or be with the people is offensive. VIACOMs reach into Africa to turn HIP HOP in to Amerfrica, which is as exploitative as those slave-makers who carried us across on boats. The decisions made in a boardroom in New York City while these cats scurry to their high rises, and suburban mansions from cultural profiteering must stop. And I'm going to do something about it. Never have so many been pimped by so few."
Furthermore, he explained his reasoning for writing this letter, discussing the culture and how he chooses to live in order to steer away from materialism.
"I drive a '94 Montero, a '97 Acura, and have no expensive jewelry. There is nothing on this planet materially that is better than myself. This is what I instill in many doing Hip Hop that nothing is greater than what is given. These games of people doing anything to get things has seeped into my way so therefore witness some radical virtual things coming from me in protecting the art-form of Hip Hop. Never have so many been pimped by so few. So, I'm going after the few. I'm tired of it."
Bomber Megazine is a Dutch graffiti magazine founded in 1987. Bomber is born out of the urge to create something better than the magazines that were out at that time. Our mission became to bring you a world-wide graffwriters update in both image and words, not just graffporn. Although we have Dutch roots Bomber loves to welcome writers from all over the world to make the best graffiti magazine possible. Yes we focus on steel but never exclude a good piece no matter the surface. So get your fake interrail ticket and hop on'
