Oakland is the home to many an artist; some flamboyant while others remain more incognito, although only one can remain Elusive. Said dread is deeply rooted in the Living Legends family garden, having lent his board-work to the entire roster, release after release. As well as his own catalog of instrumental and compilation-like albums, he’s also [cont.]

Finding purpose in many Hip-Hop albums today is a lot like finding purpose in much of primetime television. Now, don’t front like there is some kind of substantial gain from zoning out to sitcoms and trashed-out “news” programs. And don’t even try to front like you can sit through every Hip-Hop full length released in [cont.]

Similar to that of Peanut Butter Wolf’s My Vinyl Weighs A Ton (just condensed to 8 cuts), Spinna divides the EP’s time between lyrical joints and instrumental jams. “Who U Be”. featuring Missin Linx  exemplifies Spinna at his best. Sonic vibrations simmer out of the track like boiling water on the stove. The trio could [cont.]

 The acronym Murs has stood for many an interesting quote, but if I was to create my own meaning for the four letters it would be: MURS Utilizes Rap Staples. As flamboyantly raw in person as behind a microphone, MURS can simultaneously call you a “bitch”, step on your toes, turn a track inside out [cont.]

 Domingo had a hit with the Mario Bros. inspired Cocoa Brovaz’ anthem “Supa BK”. It was something new and fun, marring contemporary NYC-thuggery with clippity-clap video game samples provided an irresistible head nod from Flatbush to the left coast. But to ride a concept fueled by a gimmick isn’t always as surefire as one would like [cont.]

 This album is a success in two ways. One, compiling this many Project Blowdians on a single album (albeit 39 tracks!) and two, and most importantly, producer Fat Jack’s praiseworthy accomplishment of taking those emcees (many of which fans outside the Blowed functions have only heard rhyme over dusty-n-crusty dubs and demos) and successfully meshing [cont.]

 I played “Dr. EZ’s Cool Fantastic Part II” for my homie a while back and his response to the buzzing bass bumps and floating spaced-out keys was, “this don’t go together”. I beg to differ my friend, it fits like the number 3 special at Popeye’s Chicken & Biscuits. And that is what basically sums [cont.]

Gazing back a few years ago to the adolescence of new school independent hip-hop we can proudly reminisce on a slightly different picture to the contrast of the current sight of things. ‘Back then’: There weren’t 25 different records coming out a week, Fat Beats only had one store, and Rawkus  was being clowned more [cont.]

Heads in the know may remember the original cassette version of this floating around last year. Seemingly, talk started to bubble amid circles of dub traders and the virtually unheard tape finally found its way onto compact discs and wax. With 8 additional tracks, Jizzm followers have much to be pleased about. The true test though, [cont.]

The sight of things have changed a little bit since The Nonce  debut World Ultimate dropped. Not so many kids leisurely flip through old mix tapes and check for the honeys at the bus stops, as they have traded in their playful positively for super-scienifical thugged-out exoskeletons in order to parlay properly in 9-8. “But [cont.]

 The influence of Project Blowed is unquestionably un-measurable. Both the loose collective of Los Angeles artists and the ’94 compilation album of the same name have made more progressive strides for an underground movement than any other related occurrence/release. Musically influencing all types of artists across the globe while simultaneously introducing the world to some [cont.]

There’s something pensive about an Elusive beat, yet unkempt, in the past overtly sparse and now with time, strengthened by a heightened sense of the importance of drums. As depict on the album cover, Elusive’s fingers have awoken and while the dancing hand-shoes may still need some breaking in, as they feel uppity enough to provoke [cont.]