2Pac "Me Against The World" (30th Anniversary • 3/14/95)

Tupac Shakur is one gutsy brother. Or maybe two. The front-page Shakur is a punk, a convicted sexual felon and a fool, a hard case on a collision course with authority, a hot-head who checks himself out of the hospital hours after being shot five times and gives a stretcher-borne finger to the media. The record-making 2Pac who inhabits the recording studio, however, is a sensitive, wise and loving commentator, a straight-up observer of life and death whose measured, melodic flow gives his pained lyrics searing eloquence. In one of the many ironies that attends Shakur's existence, while the man is on his way to prison, his album is headed to the charts. Shot through the heart with grim reality and fatalism, set atop smooth, seductive atmospheres of gently rolling funk and soul, "Me Against the World" is the hip-hop album to beat in 1995. There's nothing unusual about reformed tough guys offering don't-follow-my-mistakes advice, but 2Pac cedes none of his gangsta hardness in telling young listeners not to join him in the thug life. "You could be an accountant, not a dope dealer... you could be a lawyer," he suggests, and he sounds serious. Such contradictions have always accompanied the tumult of 2Pac's combined life and art, but never before has the dichotomy been drawn in such sharp relief. The rapper-actor's fourth album begins with news dispatches about his November brushes with justice and violence, but 2Pac's obsession is evidently death, not spinning his public image. "If I Die 2 Nite," "Me Against the World" and "Death Around the Corner" ambivalently present death as everything from a fact of life to a desirable end. "I'm having visions of leaving in a hearse," he raps in "So Many Tears." "I'm suicidal / So don't stand near me / My every move is a calculated step / To bring me closer to an early death." Listen to the album, cont'd below...

Rather than an album of attempts at vindication, "Temptation" is the only song here that actually addresses the issues surrounding his sexual abuse conviction. Explaining the context of his love life, 2Pac comes off as patient and beleaguered, careful not to impose himself on a woman in the way the jury believed he did. Furthering the surprisingly positive message amid the prevailing gloom, "Dear Mama" is a tragic, tender expression of gratitude and forgiveness -- for Tupac, and for his troubled mother, Afeni Shakur. "Even as a crack fiend, mama, you always was the black queen / Mama, I finally understand for a woman it ain't easy trying to raise a man / You always was committed / A poor single mother on welfare / Tell me how you did it / There's no way I can pay you back / But the plan is to show you that I understand / You are appreciated." Likewise, 2Pac's ebullient tribute to "Old School" rap comes to terms with the past in a way that makes the future seem like an afterthought. If there's any way to separate the musician's reality from its creative translation, "Me Against the World" is one of the saddest and most affecting expositions on young black America ever offered for public display. Tupac Shakur makes the line between art and life impossible to discern, but both have the potential to leave an indelible impression. - Newsday (3/95)

Gang Starr "Hard To Earn" (Rap Pages, 12/94)

"We know who we are/But do you know who you are?" This is the final line off the new Gang Starr album's opening, "ALONGWAYTOGO," a track where Guru turns the tables on those naysayers and shit-kickers who felt and feared that his Jazzmatazz journey would lead to the demise of the duo known as Gang Starr. Well, there's no need to fear (you can trust me), Donald Byrd's tumpet-blowing and N'Dea Davenport's harmonizing have been put on creative hold, with DJ Premier's precise, innovative jazz samples back in effect. The only difference between Hard To Earn and the previous ones is that here Guru not only flips his pinpoint monotone style, but also steps up as a producer, creating three tracks: "Code of the Streets," "F.A.L.A." and "Suckas Need Bodyguards." "Code" is the best of the three, "Just To Get A Rep"-flavored with its crazy fat bass line. Vocally, Guru takes the time to drop a little science: "They might say that we're a menace to society/But at the same time I say, why is it me?/Am I the target for destruction?/What about the system and total corruption?" Later, on "Tonz o' Gunz," Guru continues his inner-city-life sermonizing by discussing the biggest problem facing youth today--the influx of automatic weapons into our communities. He laments on how some brothers need to feel steel in order to be a man. Of course, what would a Gang Starr album be without representation from their foundation of dope MCs. "Speak Ya Clout" is the mandatory posse cut, featuring Lil' Dap and everyone's favorite new rhymer, Jeru The Damaja. These ill kids run the mic in the reverse order of Daily Operation's "I'm the Man," with Preemo cutting up pieces of that same song for their individual introductions. Also, don't sleep on newcomer Nutcracker, a 16-year-old from the Bronx who rips a minute-and-a-half freestyle that's sure to get you open. Guru and Premier know that Gang Starr's vital role in the Hip-Hop world has been hard to earn, and they continue to stay true to their own sound. - Rap Pages (June, 1994). Listen below...

This is still a fan-favorite, but it's not their BEST album! Debate me. Art by QFetti.

New Jack City (March 8, 1991) + Original Soundtrack

New Jack City: a cinematic and musical powerhouse that defined an era! Few films capture the raw energy and social turbulence of the early ‘90s quite like New Jack City. Released in 1991 and directed by Mario Van Peebles, this crime drama remains one of the most influential films in Black cinema, thanks to its gripping storytelling, powerful performances, and an unforgettable soundtrack that epitomized the New Jack Swing era. A gritty tale of power and betrayal at its core, New Jack City is a modern gangster epic, chronicling the rise and fall of Nino Brown (Wesley Snipes), a ruthless drug kingpin who turns a Harlem apartment complex into a crack empire. Opposing him are Scotty Appleton (Ice-T), a street-smart cop with a personal vendetta, and Nick Peretti (Judd Nelson), his brash partner. The film also features standout performances from Chris Rock as a tragic crack addict, Pookie, and Allen Payne as Gee Money, Nino’s closest confidant whose loyalty is tested. With its commentary on the devastating impact of crack cocaine on Black communities, New Jack City was more than just entertainment—it was a cultural statement. The success of the movie helped solidify Wesley Snipes as a leading man and Ice-T as more than just a rapper-turned-actor. 

If the film was a cultural juggernaut, its soundtrack was the pulse that kept it alive. The New Jack City soundtrack, released via Giant Records, was a perfect encapsulation of the era’s dominant musical genre—New Jack Swing. Produced by titans like Teddy Riley and featuring artists at the peak of their powers, the album became a crucial companion to the film’s impact. Standout tracks: "New Jack Hustler (Nino’s Theme)" – Ice-T delivers a blistering anthem that encapsulates the ambition and ruthlessness of Nino Brown, blending aggressive lyrics with a slick beat. "I Wanna Sex You Up" – Color Me Badd’s breakout hit, a silky-smooth blend of R&B and pop, became a chart-topping success that transcended the film. "For The Love of Money/Living for the City" – Troop, LeVert, and Queen Latifah merge The O’Jays’ classic with Stevie Wonder’s soulful storytelling, creating an anthem about ambition and struggle. Upon release, New Jack City was both a box-office hit and a cultural phenomenon. Grossing over $47 million on a modest budget, it became one of the most profitable films of 1991. Critics praised Snipes’ electrifying performance and the film’s unflinching take on the crack epidemic. However, some also critiqued its glorification of gang culture and violence. More than just a movie and album, New Jack City is a defining piece of ‘90s Black entertainment—stylish, provocative, and unforgettable. Watch the movie again when you have time!

Pete Rock & CL Smooth "The Main Ingredient" (30th Ann. Mix)

My excitement for this album was on par with A Tribe Called Quest's Midnight Marauders and Hard to Earn by Gang Starr; Keepers of the Funk by Lords of the Underground and even Wu-Tang Forever in '97. You just don't get that same feeling anymore, but enter Toronto's DJ Filthy Rich, who brings that classic nostalgia with his anniversary mixes that celebrate classic albums like this, The Main Ingredient by Pete Rock & CL Smooth. Filthy Rich's 30th Anniversary mix includes original samples, LP cuts, original blends and unreleased gems. He adds, "Pete's production went from a harder/dusty sound on MATSB, to a warm/melodic vibe on TMI. The samples Pete chose hit your soul in that sweet spot: from Cannonball Adderley on 'In The House', to George Benson on 'I Get Physical' + 'In The Flesh', to Roy Ayers on 'Searching'....masterful. Pair that with CL's smooth voice and flow, and your soul starts to vibrate...." Dig in and celebrate over 30 years of this classic below...

Little Brother "The Listening" (Deluxe Edition, 2003)

You don't know your future if you don't know your past. North Carolina trio Little Brother puts its own twist on this oft heard truth. The group's first album brims with reverence for hip hop pioneers, especially on "So Fabulous," into which they weave smile-inducing tributes to artists as divergent as Kool G Rap and Digable Planets. But these cats aren't just back-in-the-day revivalists--they add their own distinctive spin. Structured like a daily radio broadcast, The Listening unfolds into one of the most addictive debut platters in recent memory. Down-to-earth MCs Phonte and Big Pooh have great chemistry and thematic breadth: They craft emotional verses to an infant son and an incarcerated brother on "Away From Me," but also offer comic relief, as when Phonte recalls quoting Trick Daddy at a pretentious poetry reading ("The Yo-Yo"). Balancing their wordplay, producer 9th Wonder meticulously builds soul-drenched grooves like the bouncy swing of "Shorty on the Lookout." Having learned their lessons well from hip hop innovators, Little Brother stakes claim to a promising future. They've definitely been listening. - Vibe Magazine (April, 2003). I noticed they released a Deluxe Edition which includes all the bonus tracks in one place and the original album's instrumentals. Listen to that deluxe edition of The Listening now on it's original release date.

Props to Phonte, Rapper Big Pooh and 9th Wonder.

Prince Paul "Prince Among Thieves" (Press Kit, 1999)

While still just a Long Island high school student, Prince Paul Huston began his recording career in 1986 when he joined rap music's original hip hop band, Stetsasonic, as its resident "surgeon on the mix." In addition to DJing for the six-man group, Paul seized his internship with Stet to flex his fledgling production skills on cuts like the driving title song to 1988's much-heralded In Full Gear LP. However, it wasn't until a trio of eccentric and hugely talented hip hop-bred teens from Paul's Amityville, L.I. neighborhood enlisted his production guidance that Paul would emerge as the eclectic visionary that he remains known as today. De La Soul's platinum-certified 1989 masterpiece, 3 Feet High And Rising, established Prince Paul's signature sound; a collage of funky soul loops, old school club tracks and breakbeats, samples from childrens' records and virtually anything else in reach all woven together by ingeniously choreographed audio skits. Having risen to hip hop's upper echelon of console controllers, Paul's wizardry left its mark on 3rd Bass' "The Gas Face" and "Brooklyn-Queens" (both from the gold-certified The Cactus Album), Cypress Hill's "Latin Lingo"-remix and the title cut from Big Daddy Kane's gold-certified 1989 LP, It's A Big Daddy Thing among many others. Paul and De La Soul would also refine 3 Feet's creative peaks with 1991's equally outstanding, gold-certified De La Soul Is Dead and 1993's superb, but commercially neglected Buhloone Mindstate.

Around this time, De La's commercial struggles, coupled with the dissolution of Stetasonic and Paul's aborted deal for his own label, Dew Dew Man Records, sent the musical brainiac into a period of introspection that would greatly shape his future recordings. Teaming with Wu-Tang Clan's sound architect, RZA, former Stet bandmate, Fruitkwan, and former Tommy Boy soloist, Too Poetic, in 1994, Paul blazed another trail  for hip hop when he formed one of the music's first supergroups -- the faux "horror-core" quartet, Gravediggaz. If the group's image played up the campy side of ghostly games, its debut LP, 6 Feet Deep, reflected a smart-aleck intelligence that reveled in the mockery of the music industry and all its trappings. In his most recent work, Paul's disillusionment with the record industry has driven him to sagely seek collaborations and projects that are compatible with his own creative visions. 1996's Psychoanalysis LP rejuvenated Paul by providing him an unbound forum with which to express his mental musings. His remix to the Kool Keith-helmed Dr. Octagon project's "Blue Flowers" of the same year drew kudos from hip hop's critical cognoscenti. And his contributions to Chris Rock's Roll With The New spawned the hilarious Puff Daddy hit single spoof, "Champagne," and received a Grammy Award for Best Comedy Album of 1997. His latest project, "A Prince Among Thieves," synergizes the varied talents at Prince Paul's hands for a cinematic and musical opus of unprecedented scope for hip hop music. - Press Kit (Tommy Boy Records, 1999). 

The Alchemist "The Chemistry Files" (The Uncut Version, 2006)

Originally released in 2006, this is the official ALC documentary: The Chemistry Files (The Uncut Version, DVD). Produced, edited, and slapped together by the man himself. Put together from old footage and edited entirely on an Apple G4 laptop with iMovie, this never-before-seen documentary captures the life of the ALC in a rugged yet personal, rough-around-the-edges fashion. "I have absolutely NO knowledge of film making, editing, or anything associated with movies, but one day I was messing around on the laptop and I realized that editing footage was a lot like beat making! So, on the spot, I said fuckit, I'm gonna make a DVD, right here, in my living room, on my laptop, out of all this footage I got laying around. And I sat up for one week straight, got into creative mode, and went berserk! Shit was fun." Of course we'd all rather that Al spends those hours doing what he does best, making those classic productions. But we're quite glad he took a week out and put together this truly motivating DVD. Originally edited, shortened to 25 minutes and used for the re-release of Alchemist's debut album 1st Infantry, this is the full 1 hour unedited and uncut version, exactly as he intended it. "I felt like the edited version didn't tell the story well. So I wanted fans to see it the right way." Go inside the smoke-filled laboratories and studios and watch as Alchemist and The Mobb create their signature sound. Sit in on mix sessions. Watch as, for the first time ever, ALC puts together a beat live on camera. Witness magic as Alchemist and Mobb Deep zone out and the making of the classic, "Hold You Down," miraculously captured on camera, is revealed for the first time. Then watch as the song metamorphasizes from a spontaneous vibe in a little home studio to a live concert in front of 30,000 fans. The Chemistry Files: The Uncut Version...

Inspired by ALC's announcement that 1st Infantry coming (back) 2025!

Lord Finesse "The Awakening" (Hip-Hop Connection, 1996)

Lord Finesse's classic 'The Funky Technician' helped establish the now-famed DITC clique, introducing Show & AG and featuring productions by DJ Premier and Diamond D. The 'Return Of The Funky Man' set continued in a similar vein, but had little success. Three years later, and now on his fourth label, Finesse returns with 'The Awakening'. Although much was recorded during his period at Bandoola Records, it still sounds fresh in '96. The recent 'Hip 2 The Game' single was a good indicator -- Fineese's well constructed lyrics over self-produced beats, which while more mellow than previously, are hard enough to satisfy. 'No Gimmicks' (featuring KRS-One), the omitted B-Side, doesn't appear here either, but its replacement, 'Brainstorm' -- again featuring KRS but also OC -- isn't likely to disappoint. Elsewhere AG successfully collaborates with Finesse on the posse cut "Speak Ya Peace'; while other efforts like 'Food For Thought' and 'Flip Da Script' are admirably solid. Although technically an EP, 'The Awakening' is another consistent effort by Finesse, and unlike some full-length efforts, contains no filler material. - HHC, 96. Finesse is still one of the best out of D.I.T.C!

The full review and an OG sticker from The Awakening are below...

Ghostface Killah "Supreme Clientele" (25th Ann. Mix by DJ Filthy Rich)

Toronto's DJ Filthy Rich blesses us yet again with an anniversary mix. Ghostface Killah's classic Supreme Clientele turns 25 and Filthy Rich celebrates it in proper style, breaking down its original soulful samples and crafting dope blends for this fine mix. Supreme Clientele was arguably the best album (or most acclaimed) in the second round of Wu-Tang Clan solo releases, and featured the most contributions from RZA at the time. AllMusic shares, "Ghostface Killah had avoided the sophomore slump experienced by other Wu-Tang Clan members' second solo releases with Supreme Clientele, which "proves Ghost's worthiness of the Ironman moniker by deftly overcoming trendiness to produce an authentic sound in hip-hop's age of bland parity" and "is a step toward the Wu-Tang's ascent from the ashes of their fallen kingdom." Tap into Filthy Rich paying tribute to a classic below...

J.Period Presents "Dilla Soul" (EP Stream)

A Dilla Day exclusive! J.Period Presents… Dilla Soul [Remixes], a re-imagining of De La Soul classics over re-mastered J Dilla gems, featuring Native Tongue icons: De La Soul, J Dilla, Jungle Brothers, A Tribe Called Quest, Black Sheep, Common, MF DOOM and more!! Of course, the exclusive artwork is once again handled by the talented Dan Lish. Rest In Peace, J Dilla; a nice way to honor J Dilla on his Born Day. Also, Rest In Peace to Trugoy the Dove of De La Soul, Phife Dawg of A Tribe Called Quest, and MF DOOM. Enjoy Dilla Soul, the 7-track Remix EP from J.Period + hit the tags for more...

Donnie Propa "Straight From The Crate Cave: Valentine's Day" (Mix)

Here we go... a Valentine's Day mix from UK's Donnie Propa. The hour long joint is available on cassette and features tracks from Method Man & Mary J. Blige, Large Professor, Masta Ace, Biz Markie, The Fugees, A Tribe Called Quest, Da King & I, Kurious, Big Pun, Biggie Smalls, LL Cool J, Gang Starr, Pharoahe Monch, Jeru The Damaja, Raekwon, Lost Boyz, Common, Fat Joe, Pete Rock & CL Smooth, Slick Rick and so much more. Donnie Propa has released several mixes in his Straight From The Crate Cave series, but this is the first of this kind. Donnie Propa has stated that the mix was done with 100% vinyl, so enjoy the snaps and pops on this fantastic mix. Hit the tags for more. 

Camp Lo "Uptown Saturday Night" (33 1/3)

"This is it, what!" The utterance of those four words with the proper articulation and rhythm can prompt many hip hop enthusiasts into a united chorus. Camp Lo's 1997 debut Uptown Saturday Night is one of the most beloved albums in 1990s hip hop. That anthemic call, "Luchini pourin' from the sky, let's get rich, what!" still emanates from nightclubs and car speakers alike. From the outset, the group's sound was distinct, filled with secretive slang and intense nostalgia. Camp Lo's language and style set them apart from other rappers, which was no simple feat considering the incredible diversity of 1990s hip hop. While other rappers were making noise, bragging about bling and bringing ruckus, Geechi Suede and Sonny Cheeba were on the "Lo," whispering and rapping with an argot all their own. The album wove a tapestry of retro culture that combined uniquely Camp Lo elements: the youthful memories of Cooley High characters and the late-night crime world of Sidney Poitier and Bill Cosby's film trilogy. While Wu-Tang were drawing inspiration from kung fu films and Chinese martial arts aesthetics, Camp Lo were bringing 1970s black culture back to public consciousness. Sure, other rappers' music sampled that era too, but Camp Lo re-envisioned it on their own terms, both acknowledging the ways in which the present pays homage to the past and reinterpreting the past to offer something fresh to the present. The songs on Uptown Saturday Night are aural films that fluidly juxtapose late-night diamond heist narratives with free association rhymes of exotic locales and luxury cars, creating a world that was both gritty and glamorous. It was fantastic and fantasy: music that reintroduced an unfiltered '80s black masculine cool--a cool all the more complex in that it had already been absorbed and exploited by mainstream pop culture.

Accessible and appealing as Uptown Saturday Night and "Luchini" were, they were lyrically crafted to speak to a small number of friends in the Bronx. It was insider slang, a hyperlocal regionalism that challenged listeners. Their distinct terminology (money was "Luchini," girls' posteriors were "Ox," guns were "istols," and "Hollywood" meant fly) was fascinating to listeners in that it presented a mysterious world entirely of its own. Even within the hip hop community, no one outside of the Lo could truly decipher the complexities of their secretive language--not even in one-on-one conversations. To Geechi Suede and Sonny Cheeba of Camp Lo, however, they represented a profound aesthetic concept of cool and a nostalgic vision of an outmoded black cultural look and identity. At a time when hip hop fashion was dominated by Timberlands, hockey jerseys, and designer labels like Tommy Hilfiger, Karl Kani, and Polo, Camp Lo donned satin and polyester, flat caps, and brown leather coats: vintage clothes ("vines") to match their personas ("diamond crooks"). But while their slang and vines were "nostaljack" (nostalgic), their flows were far from derivative retrospectives. Although the jazzy flows of Digable Planets and the earthy vibes of the late '80/'90s Native Tongues collective certainly provided inspiration, Camp Lo occupied a vanguard lyrical space of their own. Arriving at a time when lyrical innovation and vocal charisma were of the utmost importance for MCs even in the mainstream, they showed/proved with staggering wordplay.

The music on Uptown Saturday Night stems from a complex tapestry of black popular culture. The album owes its title to the 1973 film directed by Sidney Poitier, but the phrase "Uptown Saturday Night" also represented an ideal: a place, time, and culturally black space in which good times and hijinks prevailed, the (black) hero wins, gets the diamonds, and speeds off with the shapely heroine. Of course, adopted personas had long been prevalent in hip hop culture, yet the personas created by Camp Lo and the way in which they combined 1970s imagery and "good times" ethos with hip hop hardness was undeniably out of step with the growing mid-1990s commerciality of hip hop culture and mainstreamed gangsta. Their money was "Luchini," not "Benjamins," and coveted diamonds were, well... diamonds, to steal and unload for cash, not to wear as "bling." As hip hop grew more successful (and more lucrative), raps became increasingly about buying, not heisting, and the new trope of hip hop became an ostentatious display of real money or wealth, rather than wild stories about fantastic capers. In many ways, under the influence of commercialism, practical street tales and consumer fantasies had begun to overshadow imagination in hip hop. Camp Lo intended to be out of step with this (real) world, and preferred a flyer place. - 33 1/3 Uptown Saturday Night by Patrick Rivers and Will Fulton. Lego art by Adnan Lotia. Props to Geechi and Sonny, they made a classic!

Smif-N-Wessun "Dah Shinin" (One Nut Magazine, 1995)

Smif-N-Wessun exist in that opaque state of high where the smallest action has the deepest meaning; where words are part of some lost subtext. Their connection to ganja provides them with insight into the war around them. "The struggle is always on," states Steele. "It's a war of survival and elevation. We're doing battle with snakes, police, and fake motherf#ckers." In a world where brothers are "too leery to live and them nah want die" the representatives of the Boot Camp Clik know that the impending Armageddon will come. They rely upon each other in order to combat the uneasy peril of one's own life, forming a brotherhood of mutual respect. "We've been through mad obstacles," asserts Steele. "It's our ability to communicate. [It's] a bond we wrekonize and embrace. When you shine people will know that you know something." Indeed, there is a continuation of thought between the two, a shinin' which allows Tek to jump in where Steele leaves off.... "My family knows his family. We go back to when we was robbing motherf#ckers. We gotta show and prove." 

Tek expresses the struggle to come up as 'basic training', providing insight into the metaphorealical existence of the Boot Camp Clik -- a battalion including Black Moon, Heltah Skeltah, OGC and Champagne. Steele explains that they are 10 strong, "knowledging our circumference and coming to a circle. There wasn't no confrontation, no destruction." Adding that, "Each way we go it's construction. We shine a light." The unabashed connection that Tek and Steele express and the force of their words is not so much gun talk but a warning, an understanding that without pride and force (Mass acceleration intelligence), there will be no progress in life. Their bond is an example for brothers who consider their situation to be critical. In "Stand Strong" Steele rhymes: "Individuals who choose to use life for granted/What you gonna do when it's demanded?" When n!ggas see us forming they'll think, 'Damn. Maybe we should link up.'" When people really look at Smif-N-Wessun, they'll find that there's a much deeper meaning beyond their words. - OneNut '95. Art: Torre Pentel.

Rest In Peace, Saafir! (1970-2024)

We lost another rap icon with the passing of Saafir. The artist was most famed for his time as part of the Golden State Warriors (or Golden State Project) – a hip-hop collective that gained a devoted following in the Bay Area throughout the late ‘90s. He was a part of the band alongside Xzibit and Ras Kass. News of his death was confirmed by Xzibit, who shared an update on social media paying tribute. He also said that the rapper – whose real name was Reggie Gibson – passed away on Tuesday morning (November 19). “I can’t believe I’m writing this right now, but don’t know what else to do at the moment. Approximately at 8:45am this morning, my brother Reggie known to the world as Saafir passed away,” he wrote, sharing a photo of his former groupmate.  “We have so much history I can’t even explain what I’m feeling right now. We surrounded him and let him know how much we loved him. He can rest now.” He continued: “My soul is crushed. We love you Bro.” At time of writing, few details are known about the circumstances of Saafir’s cause of death. A source speaking to TMZ said that the rapper had been living with a number of health issues over recent years, and died in his hometown of Oakland. According to reports, the artist had a cancerous tumour removed from his spine and later went on to begin using a wheelchair. So far, the cause of his death has not been publicly shared. Rest In Peace, Saafir. In the archives is his Next feature in Vibe; Unsigned Hype in The Source; his original demo tape and his infamous battle with Casual + more. Thanks to NME for the info shared above... they said it better than I could have. R.I.P., Saafir.

MF Doom "MM..FOOD" (20th Anniversary Edition)

In celebration of the album’s 20th anniversary, MM..FOOD has been repackaged with all new artwork by Sam Rodriguez! Originally released in 2004, MF DOOM's MM..FOOD is hailed as a classic hip-hop album full of inventive production, remarkable wordplay, and unique themes. Celebrated for its seamless blend of humor, wit, and social commentary, the album ushers listeners into a bizarre world of food-related metaphors, painting a bitterly comedic portrait of a life tainted by vice, violence, and jealousy. It was a brilliant and novel concept that gave DOOM plenty of room to explore the album’s subjects. Throughout MM..FOOD, DOOM embeds complex ideas within seemingly simple narratives. Album opener “Beef Rapp” is a multi-pronged metaphor reminding listeners of the dangers involved in the glorification of conflict, especially within the rap game. “Hoe Cakes” borrows its name from the sweet, hot water cornmeal patties, which he uses as a symbol to rhyme about indulgence and excess. Continuing the motif, DOOM uses the Madlib-produced “One Beer” to fold layers of depth about escapism and ego, while the popular “Rapp Snitch Knishes” critiques the self-incrimination and contradictory behaviors of some rappers. Overall, MM..FOOD is both a social commentary and a piece of social satire, showcasing MF DOOM’s ability to blend serious themes with his unique, playful lyrical style. The digital version of the 20th Anniversary Edition features 11 bonus tracks including 3 remixes, 1 alternate edit, and 7 rare and insightful clips of MF DOOM being interviewed by Kevin Beacham, just days before the original album release in 2004. R.I.P., MF DOOM.

G-Unit "God's Plan" (Mixed by DJ Whoo Kid, 2002)

God's Plan is the third mixape released by G-Unit. It was initially distributed as an independent release on November 1, 2002, but was later re-released in 2006 by BCD Music Group. God's Plan emerged during a prolific era for G-Unit, preceding 50 Cent's official debut album, Get Rich or Die Tryin', in 2003. The mixtape features a collection of tracks where the group showcased their lyricism over instrumentals from other artists. This approach of reinterpreting existing beats allowed G-Unit to infuse familiar sounds with their distinct style, creating a unique listening experience that resonated with fans. The cultural importance of God's Plan extends beyond its tracks. By rapping over instrumentals from other artists and releasing it for free, 50 Cent and G-Unit helped create a model that other artists would later follow. In recognition of its impact, God's Plan was named the 9th best mixtape ever by XXL magazine. God's Plan not only showcased G-Unit's raw talent and adaptability but also underscored their strategic approach to music distribution, challenging traditional industry norms and paving the way for a new era in hip-hop. By the time God’s Plan dropped, 50 Cent was already building a strong buzz from Guess Who’s Back? and 50 Cent Is the Future. But God’s Plan was another level—it made it clear that he wasn’t just an underground sensation; he was about to take over mainstream rap. The energy, the aggressive delivery, and the raw storytelling on God’s Plan were all previews of what he’d refine on Get Rich or Die Tryin’, which went on to be a classic (certified 9x Platinum as of 2020). Listen to God's Plan...

Where does God's Plan place in your favorite mixtapes?

Troubleneck Brothers "Love/Hate" (Album Release)

Love/Hate combines several demo tracks from the Troubleneck Brothers' early-to-mid 90's tapes including instant classics such as "Back 2 The Hip Hop". Hailing from New York's Harlem and Uptown, the crew consisting of Soundwave, Moetown, Prophet, Blunt, Stepchild, Shaft and Nat 1 created some heavy buzz on the underground scene with their classic East Coast sound. Man, "Troubleneck Wreck" was one of my favorite pieces of vinyl back in the 90s. This release includes a demo version of that track and many others. Their early joints were released on StepSun Music Entertainment, whose parent label was Tommy Boy Records. Bill Stephney had a real ear for music. It's nice to see these rare demo joints unearthed from the Troubleneck Brothers, listen to it via 90s Tapes below...

Ghostface Killah "Ironman" (Vibe Magazine, 1996)

Following his Shao Lin brethren, the once mysterious clan member Ghostface Killah (a.k.a. Tony Starks) finally opens his own chamber with Ironman. Like his raw-vocaled counterpart Chef Raekwon, Ghostface bangs out sarcastic, street-camouflaged wildness. And leaves it up to the twisted mind of the RZA to cook up beats that take you back to the chills you got when listening to Enter The Wu-Tang (36 Chambers). Over the title track's threatening bass line, jingly beat, and 1930s gangster-style trumpet, Ghostface, Raekwon, and Cappadonna f#ck up your head with rhymes like "One gallon of wildon' Park Hill profilin' / I'll cut your face a buck fifty sure / Why you smilin'?" On "Two Sixty" -- which sounds like part two of Raekwon's "Spot Rusherz" -- Rae and Ghost trade ideas for a robbery scheme. Don't think, though, that Ironman is just 60 minutes of beef. Starks kept everyone in mind with songs like "Camay" (a Teddy Pendergrass-sampling joint for the ladies) and "Box In Hand," which takes it back to the park jams with the hook: "If you're walking down the street with your box in your hand / And you're playing the music of the Wu-Tang Clan...." In "All That I Got Is You," featuring a low-key Mary J. Blige, Ghostface gives his mom a salute that damn near breaks you down in tears. Snoop hit hard with the Dramatics; fittingly, Ghostface and Raekwon answer back with Philly soul legends the Delfonics on "Wu-Delfonics." "After the smoke is clear," they croon, "Delfonics and Wu-Tang still here." The Wu, of course, maintain raw rhyme tradition with Raekwon's rap, "My sun moves like a token truck / Speak in codes / Throw a fiend in a sleeper / Got beef with the globe." Considering the success of the five previous Wu-Tang projects, it might seem hard for the sixth to still make noise, but Ghostface screams. Ironman is proof of his matured lyrics and delivery and the Wu's strong family stand. If Only Built 4 Cuban Linx... had you open, prepare for another gaping wound. - Vibe (12/96). Revisit Ghost's classic debut...

Vibe Magazine full review and more below...

MC Ren "Kizz My Black Azz EP" (June 30, 1992)

Before there was a group called N.W.A. there were individually, angry, young Black males; roaming through darkened alley ways, surviving the roughest of street tests and emerging, once again as survivors. All of them had a story to tell; all of them wanted to be heard; all of them searched for an answer. But the true base of power for any group has been the individual strength and character of its members. And now, since they've stepped the fuck off! another MC emerges for the fall out -- "The Black N!gga that they call Ren." At a time when we were starving from a lock of hosts to boast about the west coast, Ren was rehearsing for his debut. "I had a rep at Roosevelt Jr. High, me and DJ Train (of JJ Fad)." M.C. Ren went on to high school with his reputation in tow. By the time he graduated, Eazy-E, from around the corner, was knocking on his door. Back in 1987, "Eazy was trying to get me and Train to sign on Ruthless for a solo deal, but Ice Cube had left to go to school. Eazy had me write some material for the N.W.A. album, so me and Train's solo project had to be put on hold." Now, Ren is ready to rock the mic on his own. He's out to show and prove what he is made of, 'cauz "Real N!ggaz Don't Die." Listen to Kizz My Black Azz, cont'd below...

Kizz My Black Azz, the debut EP on Ruthless/Priority, is the first sign of life since N.W.A.'s EFIL4ZAGGIN. This six track EP was produced by Bobcat, a member of the Boogie Men Production team, which ironically produces some of Ice Cube's songs. "The Final Frontier" is the first single to hit the streets. "The Final Frontier" expresses Ren's lyrical intent to handle all MC's that think gangsta rap is just a category. "Rap is getting away from where it started," explains M.C. Ren. "Everybody is trying to be like Hammer and have a band playing behind their raps." The hook on this will have even the most passive of listeners thinking of Ren, whenever real rap is the subject, "Who iz it? - The Black N!gga that they call Ren." The intro kicks in with the 'back in the day' piano riff from "The Bridge Is Over," and is woven throughout the entire cut with a nice sax handling the breaks, while Ren flows like melted I-C-E. "Right Up My Alley" begins as a neighborhood eviction of the local smokers (crack addicts) from the alley in which Ren reigns supreme and turns into the news story of the week. Our reporter Ren spins the rhymes and weaves the tell tell story of the day to day events in the alley; "90% of the black males from the streets got a spot in their neighborhood where all the dirt goes down -- gambling, drinking, dope-selling -- you know." - Press Kit (Priority Records, 1992). Also, check out the write-up in The Source (August, 1992) below...

Nas "Illmatic" 30th Ann. Mix (Side B, DJ Filthy Rich)

As promised, when Side B was released by DJ Filthy Rich, that mix would be posted ASAPually! Here it is, Side B aka 41st Side South; the 30th Anniversary Mix for the Nas classic, Illmatic. Like his previous mixes, Toronto's DJ Filthy Rich digs in the crates and blesses us with original samples, unique and original blends and remixes. Joints like "It Ain't Hard To Tell," "Nas Will Prevail," "Life's a Bitch," "Memory Lane," "The World Is Yours," and "One Time 4 Your Mind" are heard in original, remixed or blended form here on this mix. What else you wanna know? Click through and enjoy + hit the tags for more mixes and posts in tribute to the single greatest hip-hop album of all time. Dig in!