He kicks off with a radically reworked version of the popular Franz Ferdinand mix, and the set just knocks it out of the park over and over, touching on LIVE faves like Kasabian and Radio 4 and tossing in more Sixx Mixx favorites like his Prince vs.
Jet combo and his Kinks remix. We also get the debut of his Shaggy vs. Rage track, which would go on to be a bit of a thing. High-five, Zebs. Queen — We Will Rock You acapella 2. Queen — We Will Rock You acapella 3.
Kasabian — Reason is Treason 6. The Chemical Brothers — Galvanize 8. The Chemical Brothers — Galvanize unknown remix 9. Eurythmics vs. Demento-style musical prankery at the core of what the Sixx Mixx was about, I would have treated an April Fool's Day Mixx with just a little more care. Anyway, emimently skippable.
Deep Purple — Smoke on the Water 3. Outkast - The Way You Move 9. Tone Loc - Wild Thing Newcleus - Space Is The Place The Bravery — Honest Mistake Superdiscount remix Dwarf Punk — Da Phunk Colour Me Badd vs.
This is an early draft which I ended up calling Version 1. Most of the episode rips from previous shows, the 80s hip hop segment from Episode 24, for instance. I do like that weird remix of E-Pro at the end, and then we get a totally silly but still chuckle-worthy to my immature ear at least medley of Colour Me Badd with the Pat O'Brien phone messages that had just come to light. Overall though, the episode feels awkward and forced together, and a little flu-y. Daft Punk — Robot Rock 2.
Twisted Sister — I Wanna Rock 3. The Cure — Hot Hot Hot!!! Kidz Bop Kids — Float On 7. Beastie Boys — Triple Trouble a capella Stone Roses — Fools Gold Stone Roses vs. The Killers vs. Europe — Somebody's Countdown Lionel Vinyl mashup Smashing Pumpkins — New Originals mix Sum 41 — The Scientist in Pieces Party Ben mashup, as suggested by Joanna, John and Kenny Commentary: My parents were actually visiting and in the studio during the broadcast, thus the name. Anyway, so even then, the week of its release, I was really trying to force myself to like "Robot Rock," which in its original form is super boring and irritating, something that's hard to remember post-Daft Punk Alive which put the track to such perfect use.
But even trying to liven it up with "I Wanna Rock," it's a tough sell to start the whole show with it. Thankfully things get better fast, with two delightful Cure mashups and then the classic Dolly Parton into Royksopp segment from Radio Soulwax which always seemed to kick the Sixx Mixx into high gear when I played it.
Then we get a couple upbeat remixes and a finale that was actually an audience suggestion -- people would write me all the time in the Sixx Mixx heyday with ideas but they were usually like "hey Party Ben you dumb fatso, mix together Green Day and Green Acres. Electric 6 vs. Linkin Park vs. Jay-Z — "99 Luft Problems" 4.
Beck — "Where it's At" 6. Pharaoh Monch — "Simon Says" 7. Franz Ferdinand — 'Take Me Out" 8. Chic vs. Oasis etc. The Smiths vs. Blackstreet — "Blacksmiths" StvD mashup The Music — "Breakin'" Jane's Addiction — "Been Caught Stealing" Only posting it for completists, I guess. Are there Sixx Mixx completists? The Clash — Rock the Casbah vs.
New Order — Subculture 4. Duran Duran — Girls On Film 5. Nirvana — Lithium Dirty Funker mix 8. Soulwax — Teachers The Chemical Brothers — Galvanize Switch remix Tone Loc — Funky Cold Medina Foreigner — Hot Blooded Franz Ferdinand — This Fire Playgroup mix U2 — Vertigo Jacknife Lee 10" mix While Mylo's angular take on "Somebody Told Me" is, I would argue, one of his less successful efforts, it sets the jaunty tone for this episode.
Immediately following we get the first prototype appearance of a mashup that would go on to be one of my most well-known tracks, mixing the Killers with the Clash, the best by far of the three quick tryouts we get right in a row boy I sure had to speed up New Order to make it work there didn't I. The remix of "Galvanize" marks the first Sixx Mixx appearance of Switch, a guy who would go on to become one of my favorite producers of the s--his original "This In Da Club - Taggy Matcher - Hip Hop Reggae Series Vol.
5 (CD) Sick" and work on MIA's Arular would both come out later in We get a little more Soulwax in their mix of LCD Soundsystem, and if I'm honest, this whole episode is more than most, even a kind of 2manydjs tribute, with its non-stop driving tempo and back-and-forth between rock and electro.
As is well known, Negativeland and SST were sued and force to withdraw the release of their "U2" EP, on the grounds that the cover, featuring "U2" in large type, might confuse actual U2 fans. What's ironic is this actually happened to me in I was flipping through the stacks at my local record emporium in Minneapolis, and came across the EP, not knowing what it was, I was like, "why have I never heard of this U2 album called 'Negativland'?
Boy, did I feel stupid later. But I think playing it on drive time radio in the band's hometown of San Francisco, 13 years later, makes up for that a little bit.
The Beastles Beastie Boys vs. Beck — Hell Yes 4. The Chemical Brothers — Galvanize 5. Blink vs. The Chemical Brothers — Galvanize half. Real Life vs. The Bravery — Honest Mistake Duran Duran — Planet Earth Devo vs.
Louis XIV vs. Bloc Party — Banquet Phones Disco edit The Cure — A Forest Lynyrd Skynyrd - Sweet Home Alabama reprise Lynyrd Skynyrd — Sweet Home Alabama Commentary: I think what was both a positive and maybe a negative about the Sixx Mixx was that I had very strict "rules" about what I would play, and how I would mix things together. As a prime-time show on a mainstream alternative radio station, I wanted to be very conscientious about keeping the music both familiar and friendly to that audience as well as just fucked up enough that there was, you know, a reason to tune in and people would go "whoa.
With the mixing, I was very strict with myself as well, really trying to mix in key and not just throw hip hop vocals over the latest indie favorite, and trying to be as true to the tracks' original pitch and tempo as possible. On the positive side, this hard work made the show popular with a wide group of people and individual shows are, at their best, cohesive and focused.
On the negative side, it meant that I repeated a lot of tracks, since there were so few that qualified like say Slide 's remix of "Seven Nation Army, a hugely popular song turned into an awesomely new but still recognizable remix.
It also meant I wasn't ever able to make the sort of conceptual leap to the next "big thing" in mashuppery: Girl Talk -style hyperspeed mayhem, jumping from track to track without worrying so much about every combo being perfect.
A little bit of freedom to just "muck about" might have made the show more fun and my Thursday nights might have ended earlier. But what's good about this era of the show is that while there's still some repetition from one week to the next, I feel like it's more about taking the most successful segments of previous episodes and improving on them, building on them. The show really feels like it's "evolving" around this time, mutating in fun and exciting ways even while maintaining themes we might have heard a week or two ago.
Anyway, starting at the beginning, we get the first play of another of bc' s fine Beastles tracks, and the first play of Mei-Lwun 's towering "Sweet Home Country Grammar. The Gwen Stefani section in the middle isn't my favorite, to be honest I wasn't a fan of "What You Waiting For," but the mashups are fun and quality efforts.
We get the debut of Bloc Party 's "Banquet" -- some big first plays on this episode! I should probably have fleshed out a full fledged mashup from the Cure thing. Now, I really wanted to come back around to "Sweet Home Alabama" at the end, as a kind of "reprise," but I couldn't quite make it work -- I even sang the chorus myself to add a little oomph to the vocals in the absence of an acapella.
I guess the idea is good enough that I can give it a pass, but I cringe a bit hearing it. Anyway, overall I feel like this episode is still pretty much a home run despite a few stumbles here and there and perhaps a bit of a slow front section, and if you take all my arcane rules into consideration, it's hard to imagine an episode fulfilling those goals better. The Killers — "Mr. Brightside" Thin White Duke remix 2.
Van Halen — "Jump" unknown white label breaks remix 3. Presidents of the USA — "Lump" 4. The Kinks vs. Peaches — "Kinky Peaches" unknown white label mashup 6. The Caesars — "Jerk it Out" 9. Kasabian — "Reason is Treason" Interpol — "PDA" Hives vs. Le Tigre vs. Devo — "Working in a Coal Mine" The Knack — "My Sharona" Franz Ferdinand — "This Fire" Madonna — "Burnin' Up" Ash — "Burn Baby Burn" The Trammps — "Disco Inferno" Jimi Hendrix — "Fire" Duran Duran — "A View to a Kill" Prodigy — "Firestarter" Electric 6 — "Danger High Voltage" Deep Purple — "Smoke On the Water" The Cult — "Fire Woman" Bloodhound Gang — "Fire Water Burn" Talking Heads — "Burnin' Down the House" Bruce Springsteen — "I'm On Fire" Ohio Players — "Fire" The Pixies — "Dig for Fire" Johnny Cash — "Ring of Fire" Beavis and Butthead - "Yes, Yes, Fire, Yes" Commentary: While this episode contains as its gooey center about nine minutes of Sixx Mixx 64, for some reason that doesn't bother me too much here, probably because it feels like I took the best part of that episode and then surrounded it with more excitement.
We kick things off in the Sixx Mixx tradition of starting with a brand new release, which is good and bad -- I liked featuring new music, but hearing one song for four minutes can be a bit of a drag. Brightside" that would go on to win a Best Remix Grammy, and it's honestly really good, so we'll allow it.
The Van Halen to Interpol section is odd but enjoyable, and there's a high level of difficulty with all those loud rock tracks. I also still really enjoy the raucous section of Mixx 64 which seems to mash up mashups until songs are swirling around like toys in a kid's room when there's a poltergeist. What's funny is that despite the silly concept, I do kind of like the track's production, layering as it does the Devo bassline over it all.
Anyway, then we come to the "fire" megamix. I had actually done this sort of thing as a teenager, I think I made a "baby" mix on my cassette player. I don't know what inspired me to do try it again here, but I remember having to sort of argue with myself, part of me thinking it was dopey and childish, another part of me giggling with glee. Obvoiusly that part always wins. Trivia: while Sixx Mixx track listings are inconsistent sometimes I list proto-mashups as their separate songs and other times I list them as one trackthis mix has without a doubt the highest number of individual songs of any episode.
Soup Dragons — "I'm Free" 3. Led Zeppelin — "Whole Lotta Love" 4. Snoop Dogg feat. Faith No More — "Epic" 6. Jay-Z — "99 Problems a capella 7. Chemical Brothers — "Galvanize" 9. Chemical Brothers — "Galvanize" half. Yaz "Vertigo vs. The Bravery "Honest Mistake" Duran Duran — "Planet Earth" Benni Benassi vs. Rolling Stones — "Push My Satisfaction" Fondue Meltdown mashup Commentary: We kick off somewhat refreshed, with what is overall a bright and witty episode.
Of course you have to get through another appearance of Blur vs. Kasabian before things really get rolling, but once they do, it's pretty fun. It marks the first appearance of my Led Zeppelin vs. Snoop mashup which went on to be a fan favorite, but I have to say I enjoy the Soup Dragons being used as a "bridge" to get there even more entertaining. The transition to Faith No More totally makes me chuckle, and of course nice to see a little MIA in the mix the track had just been released in late Then a bunch of other mashups make their show debuts: Payroll's driving The Music remember them??
Then, as in Sixx Mixx 49, I steal a few minutes from 2manydjs which put to shame anything I've ever done, two super-cool exclusive tracks they included in a BBC Essential Mix that I would have happily played myself if I'd had them. I even wrote to Gomma requesting a promo CD of "Satisfaction" so I could play a non-radio-rip copy since it was completely unavailable in the US; they were kind enough to write back and say "No, we don't care about American promotion.
So yeah this is a "cheat" and whatever, lifting another radio show, but from the standpoint of the finished product, it fits right in. So, like I said, overall it's an appealingly silly episode, if not exactly ground-breaking. Mousse T vs. Frank Sinatra vs.
Grandaddy — Alan Parsons in a Winter Wonderland 9. Plus, the show itself would fall on Christmas eve which seemed the perfect time to try out an all-Christmas novelty Mixx. In effect I just took Riko's set and sort of dumbed it down for the LIVE audience, adding in some favorite mashups and alt-y tracks Grandaddy!
But it's mostly thanks to Riko, and it turns out he's still making his Christmas sets, which you can download at his website here. U2 "Sunday Bloody Sunday" 4. Beck — "Where It's At" 6. Crazy Town vs. J-Kwon vs. Steve Miller "Tipsy Butterfly" 7. Modest Mouse "Float On" 8. Beastie Boys "Intergalactic" 9. Beastie Boys "Intergalactic Friends" Ultra mashup The Doors vs.
Nirvana "Rape Me" EMF "Unbelievable" Chemical Brothers "Galvanize" Kasabian "Club Foot" Jags Kooner remix Commentary: Another hodgepodge of previous episodes, although it does flow pretty nicely. The obscure Kasabian remix makes more sense if you consider that LIVE added five Kasabian songs to its playlist around this time.
I've called him the Metallica of Mashuppers--an artist who elevated an often adolescent and novelty-focused genre case in point, me into true art, the act that both defines and stands above the style itself. I can't remember if we had him coming in to play at Bootie this week or if this set was apropos of nothing, but it's a real barnstomer, and Mr.
Vidler clearly made the effort to keep things alt-rock-radio friendly, something that always made me nervous with guest mixxerz since I was kind of a control freak. Anyway, it's a real honor he was on the show. Chemical Brothers — "Galvanize" 2. Stereo Mcs vs. Eminem vs. Grandmaster Flash — White Lines 6.
Lenny Kravitz vs. Underdog Project vs. No Doubt vs. Tag Team vs. Electic 6 vs. That in itself is pretty silly.
Most weeks I would finish up the mix, burn a CD, hop on my motorcycle and speed over to the Metreon where me and the current host would intro the mix. There was another layer of absurdity, however; I'm not sure whose idea it was, but somehow somebody secured a dance troupe of youngsters, who performed various breakdancey type routines for the half hour of the show, right there in the atrium of the mall for everyone's entertainment.
It was so weird but kind of awesome, and for some of the shows inhundreds of onlookers would have gathered by the end of the mix. Like, seriously, huge crowds. So, my job for these mixes was even harder: make an interesting show for alt-rock-radio listeners, as usual, but also make it something a dance troupe can shake it to. So, this mix is basically a cobbled together mishmash of previous episodes, although it is noteable for the first Sixx Mixx appearance of the Chemical Brothers' "Galvanize," a track I would later mix with some Star Wars I kick myself to this day that I didn't come up with that mashup until after the Sixx Mixx ended, a year too late.
It's not a bad show just kind of dull, although we do end with the wonderful whistle-mashup from DJ Riko, which became a big favorite amongs listeners and staff. Franz Ferdinand — 'Take Me Out" 7. Chic — "Good Times" 8. Beastie Boys — "Triple Trouble" 9. ODB — "Bite" Kleptones mashup Scissor Sisters — "Take your Mama" Nickelback vs. It does mark the first appearance of my Chic vs. Franz Ferdinand combo that would become a signature in my DJ sets, as well as a nice few seconds where Jane's Addiction layers over The Music remember them?
Lyrics Born vs. Green Day — "Boulevard of Broken Dreams" 3. Chemical Brothers — "Block Rockin' Beats" 4. Blackstreet — "Blacksmiths" StvD mashup 6. Stereoasis — "Superconnected" Party Ben mashup 7. Gary Glitter — "Rock 'n' Roll Part 2" 9.
The Timelords — "Doctorin the Tardis" Norman Greenbaum — "Spirit in the Sky" Soft Cell — "Tainted Love" Soft Cell vs. Ol' Dirty Bastard had passed away that week and in tribute In Da Club - Taggy Matcher - Hip Hop Reggae Series Vol.
5 (CD) did the opposite of what I'd been doing with Lyrics Born til that point: utilized the instrumental of "Callin' Out" instead of the acapella, and while there's not much to the mashup I still kind of like it, as well as the transition into "Boulevard. I've made my share of that style of mashup, for sure, and they can be tons of fun, but they're something a bit lazy about them, production-wise and conceptually.
I can't say enough about "Come Closer. Later in the show we have an amusing triple-time section that foreshadows what would be one of my most successful tracks, "Dr. Who On Holiday," but the sooner we forget my Cure vs. Faint disaster, the better. Anyway, points for difficulty here, but deductions for stumbles. Great to hear Bowie in there as well. I loved the Sixx Mixx when it did this job, i.
If it wasn't for a few bum sections from myself and the endless Vertigo mix at the beginning, this might rival 49 as a Great Episode, but still, not bad.
This is just bad, an attempt to force together a bunch of bands playing LIVE 's winter concert, and yes sure I deserve points for being a Team Player and all that but oof, let's never speak of it again. Nectarios - "Phoenix" Party Ben mix Crystal Method vs. George W. Bush Party Ben version Bush Commentary: While the mixing is quick, dirty, and often nonexistent, and some of the tracks haven't exactly stood the test of time "Mosh" doesn't really get a lot of airplay these daysthere was something that felt very powerful about this episode at the time, such an agonizing moment in American history.
Quite a few people told me they stopped what they were doing to listen, and that there was something about the progression from each track to the next that sort of told a story. I'm not sure about that last part--as usual with the Sixx Mixx I was just trying to get all the stuff to fit together--but maybe unintentionally there turned out to be some sort of progression?
Either way, "themed" Sixx Mixxez, looking back, are often not my favorites because the musical choices were being made for extra-musical reasons. But this one felt necessary, like a cry of anguished protest, and seemed to connect with listeners, expressing something in the collective zeitgeist.
It's maybe not the most musically ground-breaking, but to my mind, it's one of the show's proudest moments. It also does kind of amaze me that it played on a major commercial radio station at pm, and that's something that also feels very special about this episode, like it couldn't have happened anywhere else.
Stereo MCs vs. Way Out West vs. However at the time, of course, I was deeply self-critical, enough so that I thought this episode was an example of the show being "in a rut. But there are a couple nice moments. It's the debut of the fully-fleshed-out version of the Eminem vs. Stereo MCs track that I always kind of liked. The nearly unnoticeable mix into Audioslave is pretty cool, and the fact that the entire first 10 minutes of the show is all in the same key is kind of impressive.
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This specific tool was made to be functioning on Android os and iOS devices. His body of work united and transcended generations across the globe, rippling from the favelas of Brazil to the MARTa Museum in Germany, where his statue stands. The Black Panther Party never made as great an impact. His writing was as brash, bold and brutally honest as he. Just make records and the single would come. And the niggas want what the bitches want.
He was a phenom; and he never really died. With a visual presentation pulsing laser pyramid, robot costumes, Lite-Brite backdrop as iconic now as the music it illuminated, DP produced some of the most. Their strobe-like anthems are more than universal rave fuel; they helped shepherd house music from warehouse parties to the pinnacle of the pop charts.
They were the first artists to go on full production tours, taking electronic music to the next level. They have truly inspired the current generation of EDM producers, including myself, in the widest form of the genre. Daft Punk has proven that electronic music can be integrated into multiple forms of entertainment, going above and beyond to break the mold of our music genre. I was mainly impressed by his vocabulary. That helped contribute to his lyrical dexterity in the long run.
When Wayne was younger, Baby would ask how Wayne could have a career with longevity and respect: How do we make him great? My answer was to let him live in the studio. The more time he spends there, the more everything else feels foreign. The late political activist picketed music stores to protest In Da Club - Taggy Matcher - Hip Hop Reggae Series Vol.
5 (CD) sexist lyrics of Death Row spitters and harbored a year-long vendetta against gangster rap. This ex—figure skater was banned from the ice for life after her ex-beau made sure her rival went down for the count. While Nancy Kerrigan nursed a busted knee on the sidelines, Harding continued on with the competition, conscious free. THE L. KenDrick Kendrick Lamar is floating on a high. There are no blunts being passed around as the rapper lounges in Top Dawg Entertainment recording studios in Los Angeles.
VIBE doubled up with the two music prodigies to discuss their musical futures and becoming the new Best of Both Worlds. First off, congrats on being dubbed musical geniuses of the current generation. Had you two met before the shoot? We got to work before and chopped it up for a quick second. As much as I love the fact. K L : Definitely, and it makes it easier when we do get back into the studio together. To vibe with someone on a personal level makes the music sound so much better.
First time I heard Miguel, it was a video actually. What was the first video on BET? M: If it was the one with J. Whatever it was, it was dope. Something new, something fresh. M: I gotta say that Section. What I liked most is the perspective. My bad, bro. KL : Nah, you good. KL : Likewise. To actually hear somebody new doing it and taking pride in such intricate details that make the KL :.
I come from that world of oldies and gangster rap. How do you define musical genius? He just felt the music, felt the instrumentation and wrote the track. M: Good looks, bro. My favorite artists always took whatever they loved out of music and made it their own. It was their take on it. I get the street edge, but then I hear like the poetic player, smoothness, creativity and smart street savvy of Andre on Aquemini. Some of the most genius artists have thrived when taking chances and innovating.
How important is that? Does that set up for the inevitable dud? Who knew when Jay-Z sampled Annie that it would blow up? But that was a chance he was willing to take. Those are genius minds. I honestly was nervous to put it out. It may be bad. If anything, when you do take. When you think of the West Coast, you immediately think of crazy-type street credibility.
To come from that place but not glorify it is a challenge in itself. Are there any intangibles that go into creating a classic album? M: A concept goes a long way. That made a huge impact. For me, being a huge hip-hop fan, back to Slum Village and J Dilla, digesting A Tribe Called Quest and Soula Misfits, underground shit, that shit made a huge difference, evolution-wise. Like Kendrick said, having a concept behind an album is almost, like, a lost thing. KL: Definitely, I think that was one of the ingredients that made this one so special.
I get the street edge, but then I hear like the poetic player, smoothness, creativity and smart street savvy of Andre  on Aquemini. KL: I definitely agree. Making good kid, m. The idea of a concept record has been lost for a long time—will that translate to year-old kids in high school rather than the super energetic joint on the radio? I definitely had that in the back of my mind when I was creating this album. By me doing this, it can be fresh and something new to the kids that are not used to a record that has skits intertwined within the songs and a whole album breakdown.
Overall, what I talk about in. Do whatever feels right. Making a concept record felt right in my heart. Describe your creative process. How do musical ideas form into songs? They come at different speeds, from different directions. The waves break differently. It comes from different directions, it comes at different speeds.
You just gotta be ready to ride the wave when it comes, As big or small as it may be. My creative process normally starts with the guitar. Just ride the wave as it comes. I was just a little kid, impressionable. Did you ever feel eclipsed?
In all reality, Frank Ocean took a big chance the way that artists are supposed to. Some of his favorite groups are rock and alternative. Prior to Section. So even though it was a regret, it kinda molded me into the artist I am today. Not only did his announcement overshadow my music, but it overshadowed his as well. The general public was in awe and championing him for being brave enough to make that announcement publicly.
I congratulate him for his successes. I would love to hear more of his music. I gotta celebrate that. My partner J. Cole is always keeping it to the point where you have to show and prove. My partner Drake kills it. I hope we can do that. Usher is a friend. Kaleidoscope Dream and good kid, m.
Next time around, I intend on pushing the boundaries. Just traveling, you start having conversations with new people, seeing new things, hearing new music and finding new things that inspire you.
Naturally those things make their way into my music. Just like this one was different from the last. KL: Yeah, I agree. KL: I never got a chance to reach out to him. I was so wrapped up in getting the music done and samples cleared and mastered.
God willing, for sure. The record is self-explanatory, but he may have heard something different that might take it to the next level. You never knew what to expect when the Notorious B. Engaging humorist. Underworld fabulist. Swaggering seducer. Consider this a Life After Death postmortem.
It was an adventure for an East Coast artist because he looked into different places and made an album that appeals to fans across regions. Jon Caramanica Music critic, the New York Times :This album is [made of ], deliberate statements about hip-hop in its fullness.
Regionalism starts to die. But Biggie kicked in the door and collaborated with different sounds. J C : Right. This is something that made people uncomfortable.
But it was also the most necessary. So many times innovation comes from fringes. Life After Death transcended New York rap at the time, but it also catered to those roots, particularly with its storytelling. He did it so casually. E P : Prior to that, people heralded Slick Rick as rap's greatest storyteller. You can follow them cohesively.
I remember thinking, What the hell is this? Damn, this sounds pretty good. Why am I hating on it? But it shows the depth of his skill. Nas is pretty one-note on Illmatic. Biggie gives you so much more. Then his conversation stops. Biggie broadened the spectrum—Life After Death can be dark, happy.
That's a sober motherfucker right there! How could I ever have been with the small town girl? Her tones are those of a suffering soul. VIBE runs back the classic to which contemporaries are just now catching up.
Men related, while women salivated. No lie. And for that reason, J. It pushed boundaries more forcefully than works by fellow crooners R.
Kelly and Usher, whose TP And keep the sneakers, so you can keep dancing. Original slang, fashion cues and cement-hard beats overflow. RZA Kung fu flick obsessions; hood-fueled street drama—the Staten Island rhyme clique is as inventive as it is lyrically frightening.
Whatever the case, The Throne's epic long player threw stadium set lists for multiple loops. The result: a bangin' soundtrack. Acclaim: Prodigy and Havoc make violent tales of dangerous drug deals, Hennessysoaked beat downs and Queensbridge, New York, housing projects shoot-outs sound unusually elegant.
Do you remember purchasing your first iPod? Just Blaze: I got one the first day it was out. How did the iPod affect your recordcollecting regimen? I had a few CDs, but I mostly bought albums on vinyl. There was no iTunes store, so I went on a CD buying binge, almost daily. No joke. It became an obsession. I amassed this massive CD collection to build my iTunes library for my iPod.
What makes it the greatest invention of our generation? The iPod started it all. Apple is now a part of our daily lives—we all know who [Apple cofounder] Steve Jobs is. It started a revolution. Plus, the iPod begat iTunes, another life-changer. The iPod helped create this whole ecosystem that includes iTunes and now the iPhone and iPad. It also transformed Apple from this specialized, almost niche computer company into this iconic, consumer electronic company, a music company and a leading design company.
Think about those mp3 players on the market when it came out. They were bulky, and the operating systems were complicated. Then the iPod drops, a beautiful, sleek white player and the iconic track wheel and such a simple operating system that flat-out worked better. Better battery life, better storage. Better everything.
They won big. Babyface, L. Smartphone 3. Debit Card 4. Viagra 5. TiVo 9. Pager Gangster threats are candied with radio-made hooks and pseudo-Southern drawls, comprising a street album suitable for all coasts—and everywhere in between.
Now do an old-school dance Al Stone This U. Peak moment: At the two-minute mark, the title track's driving groove transitions into a In Da Club - Taggy Matcher - Hip Hop Reggae Series Vol. 5 (CD) workout that'd even give Bootsy Collins the funk face. J Dilla Acclaim: Common and Kanye connect for a hearty soul soup seasoned by chopped samples, captivating concept records and weighty musings that make you go hmmm. And the grooves never taper.
On his lyrically enhanced third LP, the Snowman addresses government fuckery while boasting a black president. This Grammy sweeper pieces Adele's loveshattered heart by leaving it all on the music. Grab a Kleenex. Or does she? GENIUS: On the surface, it was a sci-fi film with out-of-this-world martial arts choreography and first-of-itskind special effects.
Beneath riveting fight scenes and shiny CGI, Neo Keanu Reeves saving mankind from machines ignited a philosophical conundrum: What is reality, really? Andy Beckett Tom Hanks debunked stereotypes on what gay looked like, even as he deteriorated in front of our eyes. What We Learned:. The Usual Suspects Gramercy Pictures Genius: The ensemble crime drama of the last 20 years; the greatness of this classic rests on fully developed, yet mysterious, characters, which were brilliantly embodied by their thespian portals; an ingenious script; the jaw-dropping ending of our times and arguably the greatest villain in cinematic history.
Jackson into a household name. What We Learned: Never doubt the man who has nothing to lose. Genius: Edward Norton narrates this cult classic as an unnamed workaholic who discovers his true self through a self-employed salesman named Tyler Durden Brad Pitt. The more their antagonistic relationship evolves via an underground fight. Larenz Tate dishes a few ingredients that went into cooking his most memorable characters. On Darius in Love Jones. But she put the brakes on my man.
So there were ad-libs I added to react [naturally]. We already did this. I want mine right now. We should end it off real. Let me smash that. Often you see actors falling in love on the set.
I actually had a girlfriend. Needless to say that ended right after that movie [laughs]. Those are the great moments as an actor when you find someone you enjoy being around. When they were casting O-Dog they [were envisioning] your typical swole dude with tattoos. When I auditioned I was 16 17 when I filmed.
I walked in there and I [had] a fade with little designs in the back of my head. I did not look life threatening. So by the time we got to film I had grown my hair out and put braids in because I felt I needed something [edgy]. It became signature. Embrace dormancy and a Tyler Durden may shove a gun in your face and demand that you dream grander. The flick manGenius:. A much needed respite in the aftermath. It was as endearing a display of sisterhood as it was a vicious critique of modern dating.
What Did We Learn:. Whether her frame was pushing George Clooney or Fiats, J. Lo consistently used her business brains and boricuan assets. There can only be one uno. Show footage courtesy of bigbrianv1 Rah Digga performs some new songs with Nottzplus some classics from her debut album "Dirty Harriet".
These two are a promising duo who I look forward to producing more music together, one group who provides a genuine feeling of fun, competitive music making through an appreciation of Hip Hop's classic elements.
Rah Digga's latest album "Classic" produced by Nottz is now available at iTunes. Filed Under: Jimi HendrixRock. This Saturday, September 18 marked the 40th anniversary of the death of rock legend Jimi Hendrix. The authors provide an in-depth discussion to demystify some details of Jimi's life which have speculated over the years. Listen to an archive audio stream of the show here plays in iTunes.
From the intro, fans may notice this version features less heavier and aggressive drumming than the original, although both song have about the same impact of high-paced funk throughout, progressing from a slow rise at the start to sustained energy of instrumentation. In addition to capturing the intense percussive energy of Booker T's original vibe, the effort on guitar and organs which play against each other towards an intense rise until the end makes this version of "Melting Pot" a unique and memorable cover.
Filed Under: Roc Marciano. Download Roc Marciano - Firepower. Visit more downloads and streaming audio of radio shows here. Black Milk feat. Danny Brown "Black And Brown" prod. Joell Ortiz "Battle Cry" prod. Q-Unique feat. Magestik Legend "Carbon" prod. Nametag feat.
Quest M. Kool G Rap "Sad" prod. Tiye Phoenix "48 Bars of Progression" prod. Rah Digga "Do Your Numbers" prod. Joell Ortiz "Murder" prod. Black Milk "Warning Keep Bouncing " prod. Rah Digga feat. Nottz feat. The Alchemist "The 1ne" prod. Doc Ish feat. Action Incorporated feat. Rah Digga "A Few Thoughts" prod. Q-Unique "Bk, Bx, Bk" prod. Tha Outsidaz "Still In This" prod. Taiyamo Denku "Lost In Production" prod.
Rah Digga "Cars Remix " prod. Rah Digga Live Freestyle Rah Digga "Warning Shots" prod. This label definitely deserves it's props for gathering a collective of Hip Hop greats all in one period, everyone you see in this interview made a classic for their debut album which helped change the face of music and culture.
One of my personal favorite memories of LOUD is the strong effort they put forth in providing free promotional content, from stickers, posters, cassette tape and CD samplers which were packaged with an excellent design sense geared to a more authentic feel of Hip Hop than many other labels could provide at the time.
I still have cassette samplers from Mobb Deep and Raekwon's first albums which I keep as collector's items. Peace to 90shiphop. This is one of my favorite mixes of original samples in recent years, plus an overall great listening experience from the selection of music by Dusty Groove Radio. Some of the breaks you'll hear are more recognizable than others depending on how much Hip Hop you've heard over the last decade. Filed Under: GangstarrHip Hop.
Jeru the Damaja 3 Pay Attention Feat. D 6 Up Against the Wall Feat. Guru 14 Be Like That Feat. This definitely sounds like they're backstage at a show from the bass response, I'm proud to see how far the influence of their music has reached around the higher level of appreciation of Hip Hop found internationally.
I guess the karate film influence of Wu Tang Clan as a Hip Hop group was bound to catch some people in the wrong way during their debut, causing them to misinterpret these 9 hungry, ambitious brothers from the slums of Shaolin. The Passage Song - Various - Allez Les Filles ! (CD, Album)
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