Jack Splash musically kisses the year of 2010 goodbye with his trademark sound on “2010″ featuring soulster, Martin Luther. Destined to be a New Years Eve dance floor classic “2010″ is a testament to Splash’s faithful dedication to the funk and his first single from the forthcoming album Future of the Funk. via: TWV

It’s hard to believe that it has been almost a decade since Ohio emcee Copywrite released the critically hailed The High Exhaulted. Since then, Copywrite has been in and out of music, dealt with a number of personal issues and has finally resurfaced for his first full length album since 2002′s The High Exhaulted with [cont.]

Cee-Lo Green has been an extremely talented, yet painfully underrated artist since his career started as a member of the Goodie Mob in the 90s. Ever since he sang the intro song “Free” on the Southern collective’s Cell Therapy album, it was evident that the big bellied Southerner has vocal chops that match his lyrical [cont.]

The Bay area’s Lyrics Born has dwelled in the underground as part of the early 00’s group Latyrx and made a name for himself as a staple in the bay with solo endeavors such as Later That Day. But his latest outing finds him moving way left of the music he is known for, which [cont.]

Seven years ago, Joe Budden dropped “Pump It Up,” scoring the biggest hit of his career. And while the track went hard in the clubs and the car, it was hardly Budden at his best. Fast forward seven years later and “Jersey Joe” is in full stride on the independent circuit. Mood Muzik 4 – [cont.]

Virginia is for lovers. And now it’s for music lovers, too, with the release of You Need This Music from Norfolk’s Nottz. To those with the attention to detail to notice his liner note fame, Nottz is not an unfamiliar name. As a producer he has worked with Busta Rhymes, Biggie, Snoop Dogg, Rakim, and [cont.]

The plight of the female emcee has been well documented by hip hop scribes for the past decade. Rather than seeing femcees whose name is made from their lyrical ability, many gain notoriety from their looks and open display of sexual energy. But that’s where Rah Digga comes in. Ten years removed from her lauded [cont.]

It’s a bold statement when you call your latest project Album of the Year. But for Detroit producer/emcee Black Milk, his audacious claims aren’t unwarranted as Album of the Year is one helluva complete package that is sure to be on many year-end lists. Let’s get this out of the way: Black Milk is an [cont.]

After  9th Wonder split from his Little Brother brethren, people began to wonder how different their respective career paths would be. For 9th, his road to success has already began. After creating the soundscapes for the Little Brother debut album, The Listening, 9th’s stock began to soar. Cultivating mainstream smashes like Destiny’s Child’s “Girl” and [cont.]

What began as a simple compilation project, took an awkward turn after the loss of J Dilla. With Waajeed and the Bling 47 collective decidedly moving in a direction more reflective of the state of current affairs, the compilation turned into an LP aptly titled War. With Waajeed of Platinum Pied Pipers holding down the [cont.]

“I can’t be everything to everyone at the same time”    That line from the Madlib produced intro “Everything Man” epitomizes the career of Talib Kweli. Before any of the celebrity that Kweli has garnered over the past few years, Talib Kweli was a starving artist making a name for himself alongside Mos Def and [cont.]

    Keith Murray, at one time, was the premier lyricist in Hip-Hop. His extended vocabulary, aggressive flow and witty punchlines made Keith an anomaly of the artform. While The Most Beautifullest Thing In This World put him on the map, his subsequent releases haven’t fared quite as well. After a steady decline and a stint [cont.]

    Otis Jackson Jr. is indeed a musical madman. Otherwise known as Madlib, Jackson has bent, flipped, tortured, scarred and carved every genre of music known to man on his way to creating soundscapes for everyone from the Lootpack and Alkoholiks to MF Doom and Talib Kweli. But there’s those times when Madlib drifts [cont.]

    After waxing poetics on the criminally slept on Project Move album Butterfly Theory (and before that as part of Electric Company’s other super overlooked piece of work, Life’s A Struggle), Beantown’s Raheem Jamal has chosen to set his sights on a solo offering to display his natural abilities. Coupled with producer Raydar Ellis for [cont.]

    The supergroup is one of those things in Hip-Hop that never seems to pan out. Big names, big egos and big expectations usually lead to a project falling flat on its face. With Polyrhythm Addicts, the concept of supergroup can go right out the window. With a well respected but virtually unknown lineup that [cont.]

    When the sultry vocals of Chrisette Michele first glided across the choruses of Jay-Z’s “Lost Ones” and a handful of hooks on Nas’ Hip Hop is Dead album, listeners began to wonder “Who The F*ck Is That?” Her throaty chops belted words out with a deep sense of soul and evoked comparisons to some [cont.]

    Utilizing a plethora of genres to create their sound, Zeph & Azeem create a unique piece of work with Rise Up. With Zeph providing the production’s punch and Azeem flexing his lyrical prowess on the mic, Rise Up is yet another venture when one producer and one emcee pull off a cohesive project. The [cont.]

    When Hip Hop lost James Yancy, a legendary producer was removed abruptly before he could ever be acclaimed as he deserved for his brilliant work. When Detroit lost Dilla, it lost more than just a producer. The city lost a brother and friend. Phat Kat is one of those who was blessed with much [cont.]

    Shady Records has been pretty quiet as of late. With Eminem pretty much out of the spotlight for the time being, and the loss of Proof, it seemed that Shady had been in much of a rehabilitation mode for the past year or so (with the exception of The Re-Up mixtape). It seems the [cont.]

   In a phone conversation at the end of DJ Jazzy Jeff’s The Return Of The Magnificent, Jeff calls his good ol’ buddy The Fresh Prince (after jumping through numerous hoops and guard dogs to finally get his former partner - now $20 million per film man – on the horn) and asks, “Let me ask [cont.]