On the real, are heads even looking forward to the new album from Kurupt? First and foremost, the single, “It’s Over”, couldn’t be worse, and with an album title as corny as Space Boogie: Smoke Oddessey one would think the label would have stepped in and at least have spelled the word “odyssey” correctly. [cont.]

If the beat on “Full Contact” was just better, this might have been a hot collabo – Evidence, Swollen Members, and Chali 2na all pop up, but the simplistic track had me reaching for the FF button even before Chali got his turn on the mic. How did someone manage to sleep on this one? A wasted [cont.]

 If B.I.G.’s Born Again, Big L’s The Big Picture and Big Pun’s Endangered Species proved anything (other then hopefully dissuading any aspiring emcee from donning the “Big” moniker) it’s that posthumous efforts are a risky proposition. Though each of the aforementioned projects had their moments, and offered some rare gems. The majority of the material [cont.]

      Let’s face it, at this point, if you’ve heard one Busta Rhymes album, you’ve heard them all. Another fact to face is that Busta really has never had a blazing album - at least not from start to finish. Sure, his Total Devastation greatest hits package plays like a classic album, but in the four [cont.]

 As a member of the Rawkus seminal 12″ market-explosion (circa ’97-’98), Liquid Fudge (better known to fans as L, yet presented here as El Fudge) a quick witted fireball of an emcee turned more than a few heads with his debut 3-cut slab. With loveable wordplay reminiscent of Kwest The Madd Lad, Fudge proved to be [cont.]



 In 1993, Jam Master Jay protegees, Onyx, temporarily locked down the East Coast’s thug market. Onyx’s grimy debut, Bacdafucup, aided by the energetic “Slam”, and the anthemic “Throw Your Gunz In Da Air” officially ushered in the “bald-head invasion”; the group’s two respective follow-up’s, Shut Em Down, and All We Got Iz Us proved that this [cont.]

 Before there was a Dr. Octagon, a Gorillaz, a Westside Connection, or a Golden State Project, one of hip-hop’s premier supergroups was The Gravediggaz. While outlasting other cheesy “horrorcore” groups of the time, such as Flatlinerz, there was more to the Gravediggaz than just silly scary movie clich? The original point of the group, was [cont.]

 There are a lot of seemingly invisible people responsible for the various degrees of certain artists’ popularity in this here hip-hop game. One of today’s more integral shadow-players would undoubtedly be Dante Ross. His various A&R and production work (at Tommy Boy and Elektra as well as the SD50′s/Stimulated Dummies with partner John Gamble) throughout the [cont.]

This review applies to the original version of Petestrumentals.  Working as the second volume in BBE’s Beat Generation series, the number one Soul Brother brings his slant on the idea, with PeteStrumentals. But unlike it predecessor, Jay Dee’s Welcome To Detroit, Pete Rock’s version focuses strictly on the beats, with minimal participation from emcees. Either [cont.]

Emerging from NY City’s iron galaxy is Cannibal Ox, a duo comprised of Vast Aire and Vordul , who also double as members of the east coast abstract collective, The Atoms Family. Backed up by producer El-P, who helped set off the entire independent hip-hop movement in 1996, as a member of the now defunct [cont.]

 In terms of sheer anticipation, Jada “Mwaah” Kiss ‘ buzz is at an apex. While fellow Lox members, Sheek and Styles, flashed improved flows and lyrics on Lox’s sophomore strike, We Are The Streets, Jadakiss remained the group’s undisputed front man. However, thanks to pinch-hitting on a slew of dazzling collaborations, Jada had simply outgrown the [cont.]

Let’s rewind back to the first time I met Eminem, (again). You know the story. That day in 1997, I purchased a whole stack of EP’s from the man himself, in a hotel room in Vegas, like some kind of shady drug deal. When he left the room, his manager said to me, “We also [cont.]

In the wake of Matthew, First Come, Firt Served and Lost In Space, Kool Keith heads were undoubtedly digested a mass of Thorton bravado, some overwhelmed others underwhelmed. Yet if Keith was to drop another album in the same vein as the aforementioned joints, many would undoubtedly begin to question the longevity of one of today’s [cont.]

 The Hip-Hop world has an exhausting amount of late-fees when it comes to paying Moka Only the dues he rightfully deserves. Having a textured catalog of material more extensive than some entire record labels, Moka’s contribution to the music has been unheralded and under-appreciated at best. With a Battle Axe full length along side several other [cont.]

 Mixtape master Tony Touch, best known for his 50 MC freestyle mixtapes, steps into the major leagues with The Piece Maker. Tommy Boy backs Tony’s first legal mixtape, and in the process, Mr. Tony Toca taps just about everyone to represent with original selections. The album is made up of all new material, some of which [cont.]

Planet Asia has undoubtedly made an impact on Hip-Hop consumers these last few years. Running with the ethic of dropping joints one after another has proven a successful pay-off, scoring the vainglorious Fresno-bred emcee a major deal with Interscope Records. As a precursor to the album and to keep his momentum up, Asia delivers the slim-yet-thick [cont.]

When RZA screamed, “Fuck ya’ll analog niggas, we be digital”, he probably didn’t have Kool Keith in mind. But it’s no secret that Keith has always had beef with anyone he’s felt has bitten his ideas, but at the same time has a good enough sense of humor to throw it right back at them. [cont.]

 In hip-hop, one album, or artist usually defines the constant shift of focus between the east, west, and southern regions of the U.S. That artist makes such a significant mark with their release, that the overall sound of the music evolves, trying to capture that same style, and ultimately, the same amount of success. The [cont.]