Various Pure... Hip-Hop Mp3, Flac, Wma

Total Page:16

File Type:pdf, Size:1020Kb

Various Pure... Hip-Hop Mp3, Flac, Wma Various Pure... Hip-Hop mp3, flac, wma DOWNLOAD LINKS (Clickable) Genre: Hip hop / Pop Album: Pure... Hip-Hop Country: UK & Europe Released: 2010 Style: Gangsta, Pop Rap MP3 version RAR size: 1525 mb FLAC version RAR size: 1286 mb WMA version RAR size: 1675 mb Rating: 4.7 Votes: 369 Other Formats: AA DTS MP4 VOX AIFF MP4 WMA Tracklist Hide Credits Hard Knock Life (The Ghetto Anthem) 1-1 –Jay-Z 4:00 Written-By – C. Strouse*, M. James*, M. Charnin*, S. Carter* So Fresh, So Clean 1-2 –OutKast 4:00 Written-By – André Benjamin*, Antwan Patton, Organized Noize Insaine In The Brain 1-3 –Cypress Hill 3:33 Written-By – Larry Muggerud, Louis Freese, Senen Reyes Can I Kick It? Performer [Spinning Wheel] – Lonnie SmithPerformer [Walk On 1-4 –A Tribe Called Quest 4:24 The Wild Side] – Lou ReedWritten-By – Ali Shaheed Muhammad, Kamaal FareedWritten-By [Walk On The Wild Side] – Lou Reed C.R.E.A.M. (Cash Rules Everything Around Me) 1-5 –Wu-Tang Clan Arranged By – Prince Rakeem, "The Rza"*Performer [As Long As 4:04 I've Got You] – The CharmelsWritten-By – Wu-Tang Clan The Message 1-6 –Nas 3:54 Written-By – N. Jones*, S. Barnes* Keep It Thoro 1-7 –Prodigy 3:06 Written-By – Alan Maman, Albert Johnson Love Vs. Hate 1-8 –Brand Nubian 4:31 Written-By – D. Murphy*, L. Dechalus*, W. Dixon*, R. Hall* Put It On 1-9 –Big L 3:36 Written-By – A. Best*, L. Coleman* Cell Therapy 1-10 –Goodie Mob Written-By – Cameron Gipp, Patrick Brown, Ray Murray, Rico 5:02 Wade, Robert Barnett, Thomas Callaway, Willie Knighton Mr. Me Too 1-11 –Clipse 3:41 Written-By – G. Thornton*, P. Williams*, T. Thornton* Hood Hop 1-12 –J-Kwon 4:06 Written-By – Jerrell Jones, Joe Kent, Mark Williams –Poor Righteous Rock Dis Funky Joint 1-13 5:12 Teachers Written-By – T. Depula*, Wise Intelligent I'm Hot Performer [Get Down] – Craig MackPerformer [Sexual Healing] – 1-14 –Erick Sermon 3:46 Marvin GayeWritten-By – Erick SermonWritten-By [Get Down] – Craig MackWritten-By [Sexual Healing] – Marvin Gaye Short Texas 1-15 –UGK 6:17 Written-By – Bernard Freeman*, Chad Butler Knockin' Boots 1-16 –Candyman Written-By – Albert Hamilton*, Betty Wright, Candyman, Eugene 3:55 Hamilton*, Richard Wylie*, Willie Clarke It's Tricky 1-17 –Run-DMC Written-By – Darryl McDaniels, Jason Mizell, Joseph Ward 3:03 Simmons*, Rick Rubin Fu-Gee-La 2-1 –The Fugees* Written-By – A. McGrier*, L. Hill*, S. Michel*, S. Remi*, T. 4:15 Marie*, N. Jean* I'm Not A Player Performer [Darlin' Darlin' Baby] – The O'JaysWritten-By – K. 2-2 –Big Punisher 3:41 Gamble / L. Huff*Written-By [Darlin' Darlin' Baby] – K. Gamble And L. Huff* Shake Ya Ass 2-3 –Mystikal Written-By – Charles Edward Hugo*, Michael Tyler , Pharrell 4:17 Williams “X” 2-4 –Xzibit 4:16 Written-By – Alvin Joiner, Andre Young, Melvin Bradford Lord Give Me A Sign 2-5 –DMX 3:28 Written-By – Earl Simmons, Scott Storch 357 2-6 –Cam'ron Written-By – Cameron Giles, Darrell Branch*, Mike Post, Pete 3:25 CarpenterWritten-By [Magnum P.I.] – M. Post*, P. Carpenter* Trans DF Express (Club Mix) Written-By – André Benjamin*, Antwan Patton, Cameron Gipp, J. 2-7 –Dungeon Family 4:49 Williams I*, Pat "Sleepy" Brown*, Ray Murray, Rico Wade, T. Burton* Don't Forget 'Em 2-8 –Consequence Producer – Kanye WestWritten-By – Dexter Mills*, Kanye West, 3:59 Milton Mascimento* True Fuschnick 2-9 –FU-Schnickens Written-By – Ali Shaheed Muhammad, Joseph Jones*, Lennox 4:07 Maturine, Roderick Roachford Let The Rhythm Take You 2-10 –2nd II None Arranged By – DJ QuikWritten-By – D. Barnett*, D. Blake*, J. 4:45 Lewis*, K. McDonald* Funkdafied Written-By – Christopher*, Da Brat, Ernest Isley*, Jermaine Dupri, Marvin Isley, O'Kelly Isley, Ronald Isley, Rudolph 2-11 –Da Brat 3:06 IsleyWritten-By [Between The Sheets] – Christopher Jasper*, Ernest Isley*, Marvin Isley, O'Kelly Isley, Ronald Isley, Rudolph Isley Take A Lick Performer [The Blue Rainbow] – The Hit Kit OrchestraWritten-By 2-12 –Akinyele – Akinyele Adams, Bert Reid, Earl Thomason*, Ron Miller*, T. 3:30 Inoue*Written-By [I'll Do Anything For You] – B. Reid*, R. Miller*Written-By [The Blue Rainbow] – T. Inoue* Occhie Wally –Nas & The 2-13 Written-By – Eugene Gray , Jabari Jones, Lamont Porter, Michael 5:00 Bravehearts* Epps, Nasir Jones Only When I'm Drunk 2-14 –Tha Alkaholiks 3:36 Written-By – Eric Brooks, James Robinson , Ricardo Smith* Life Is ...Too $hort 2-15 –Too $hort* 4:34 Written-By – Todd Shaw Ya Don't Stop 2-16 –Souls Of Mischief 4:30 Written-By – A. Carter*, D. Thompson*, O. Lindsey*, T. Massey* Jazz Thing 2-17 –Gangstarr* 4:48 Written-By – B. Marsalis*, C. Martin*, K. Elam*, L.E. Elie* Ante Up (Robbin Hoodz Theory) 3-1 –M.O.P. 3:52 Written-By – Daryl Pittman*, Eric Murray, Jamal Grinnage How I Could Just Kill A Man 3-2 –Cypress Hill Arranged By – DJ MuggsWritten-By – Jimmy McCracklin, L. 4:08 Muggerud*, L. Freese*, Louis Folsom*, S. Reyes* Blue Angels 3-3 –Pras* 4:14 Written-By – B. Gibb*, J. Duplessis*, S.P. Michel* Hip Hop (Real Version) 3-4 –Dead Prez 3:47 Written-By – C. Gavin*, L. Alford* Fast Life 3-5 –Kool G Rap Featuring [Uncredited] – NasWritten-By – A. Best*, B. Jackson*, 4:54 T. Conley*, D. Townsend*, N. Jones*, N. Wilson* –DJ Jazzy Jeff & The Girls Ain't Nothing But Trouble 3-6 4:50 Fresh Prince Written-By – Jeffrey Townes*, Will Smith It's My Beat 3-7 –Sweet Tee 4:35 Written-By – Finger Prints*, T. Jackson* Magic's Wand 3-8 –Whodini Written-By – Jalil Hutchins, John Rivas, Matthew Seligman, 5:42 Thomas Dolby Hey Mr. D.J. 3-9 –Zhané Written-By – Bahr*, Criss*, Norris*, Gist*, Ware*, Neufville*, 4:16 Brown*, Grey* Award Tour 3-10 –A Tribe Called Quest 3:46 Written-By – A. Muhammad*, J. Davis*, M. Taylor* Rock On Performer ["Put That Record Back On" And "La Toya"] – Just 3-11 –Funkdoobiest Ice*Written-By – Brett Bouldin, Jason Vasquez, Larry 3:55 MuggerudWritten-By ["Put That Record Back On" And "La Toya"] – Jason Williams*, Kirk Khaleel* I Used To Love H.E.R. 3-12 –Common 4:39 Written-By – Dion Wilson, Lonnie Lynn* Hope I Don't Go Back 3-13 –E-40 Written-By – Ant Banks, Earl Stevens, Jonathan Lind*, Maurice 4:39 White A.M. To P.M. 3-14 –Cassidy 3:38 Written-By – Barry Reese, Qaadir Atkinson One For The Road 3-15 –Cee-Lo 5:36 Written-By – T. Callaway* Let's Talk About It 3-16 –Jermaine Dupri Written-By – Chad Hugo, F. Thornton*, Jermaine Dupri, Pharrell 5:22 Williams, T. Thornton* My Way (Doin' It) 3-17 –Buckshot LeFonque 4:08 Written-By – C. Burnett*, L. Fishburne*, R. Dacosta* Walk This Way 4-1 –Run-DMC 3:40 Written-By – J. Perry*, S. Tyler* Nas Is Like Written-By – C. Martin*, Claydes Smith, C. Horne*, D. Thomas*, 4-2 –Nas C. Redd*, G. Redd*, G. Brown*, John Bettis, Nasir Jones, N. 3:56 Jones*, R. Bell*, R. Mickens*, R. Bell*, R. Handy*, S. Porcaro*, W. Mitchell* Like You –Bow Wow Featuring 4-3 Featuring – Ciara Written-By – Jaron Alston, Jermaine Dupri, 3:25 Ciara Johntá Austin*, Ralph Tresvant, Ricardo Bell* MC's Act Like They Don't Know 4-4 –KRS-One 4:55 Written-By – Chris Martin , Lawrence Parker* Shook Ones Part II 4-5 –Mobb Deep 5:26 Written-By – Albert Johnson, Kejuan Muchita When The Last Time Arranged By – Chad Hugo, Pharrell Williams, The 4-6 –Clipse 4:13 NeptunesWritten-By – Chad Hugo, Gene Thornton, Pharrell Williams, Terrence Thornton Here Comes The Hot Stepper 4-7 –Ini Kamoze 4:08 Written-By – C. Kenner*, I. Kamoze* No Pigeons 4-8 –Sporty Thievz Performer [No Scrubs] – TLCWritten-By – Kevin Briggs*, Kirk 3:26 Howell, Marlon Bryan, Shaarod Ford Tonite 4-9 –DJ Quik 5:23 Written-By – D. Blake* I Got It Made 4-10 –Special Ed 3:40 Written-By – Howie Tee, Special Ed –Boogie Down My Philpsophy 4-11 5:36 Productions Written-By – Lawrence Parker* Iron Maiden Arranged By – True Masters*Written By – C. William 4-12 –Ghostface Killah SmithWritten-By – C. Woods*, D. Hill*, D. Coles*, D. Oliver*, C. 4:48 Smith*, R. Diggs*Written-By [Gotta Find A New World] – D. Oliver*, C. Smith* Chop Chop 4-13 –Youngbloodz 4:41 Written-By – J. Grigsby*, Scott Storch, Sean Paul Joseph* Back To The Hotel 4-14 –N2Deep 5:03 Written-By – J. Trujillo*, J. Zunino*, T. Lyon* Black Connection 4-15 –Camp Lo Written-By – Donna Weiss, Hugo Peretti, Luigi Creatore, Saladine 4:01 Wallace, Salahadeen Wilds Freek-A-Leek 4-16 –Petey Pablo 3:55 Written-By – C. Evans*, J. Smith*, M. Barrett, III* Perfect Gentleman 4-17 –Wyclef Jean Featuring [Uncredited] – Hope Written-By – Hope Harris*, Jerry 4:09 Duplessis, Wyclef Jean Companies, etc. Phonographic Copyright (p) – Sony Music Entertainment Limited Phonographic Copyright (p) – Roc-A-Fella Records Phonographic Copyright (p) – LaFace Records LLC Phonographic Copyright (p) – Sony Music Entertainment Phonographic Copyright (p) – Zomba Recording LLC Phonographic Copyright (p) – BMG Music Phonographic Copyright (p) – Loud Records, LLC Phonographic Copyright (p) – Arista Records LLC Phonographic Copyright (p) – Sony Music Entertainment Inc. Phonographic Copyright (p) – Untertainment Records LLC Phonographic Copyright (p) – Volcano Entertainment III, L.L.C. Phonographic Copyright (p) – Ruffhouse Records LP Phonographic Copyright (p) – Zomba Records Ltd.
Recommended publications
  • Hip Hop Pedagogies of Black Women Rappers Nichole Ann Guillory Louisiana State University and Agricultural and Mechanical College
    Louisiana State University LSU Digital Commons LSU Doctoral Dissertations Graduate School 2005 Schoolin' women: hip hop pedagogies of black women rappers Nichole Ann Guillory Louisiana State University and Agricultural and Mechanical College Follow this and additional works at: https://digitalcommons.lsu.edu/gradschool_dissertations Part of the Education Commons Recommended Citation Guillory, Nichole Ann, "Schoolin' women: hip hop pedagogies of black women rappers" (2005). LSU Doctoral Dissertations. 173. https://digitalcommons.lsu.edu/gradschool_dissertations/173 This Dissertation is brought to you for free and open access by the Graduate School at LSU Digital Commons. It has been accepted for inclusion in LSU Doctoral Dissertations by an authorized graduate school editor of LSU Digital Commons. For more information, please [email protected]. SCHOOLIN’ WOMEN: HIP HOP PEDAGOGIES OF BLACK WOMEN RAPPERS A Dissertation Submitted to the Graduate Faculty of the Louisiana State University and Agricultural and Mechanical College in partial fulfillment of the requirements for the degree of Doctor of Philosophy in The Department of Curriculum and Instruction by Nichole Ann Guillory B.S., Louisiana State University, 1993 M.Ed., University of Louisiana at Lafayette, 1998 May 2005 ©Copyright 2005 Nichole Ann Guillory All Rights Reserved ii For my mother Linda Espree and my grandmother Lovenia Espree iii ACKNOWLEDGMENTS I am humbled by the continuous encouragement and support I have received from family, friends, and professors. For their prayers and kindness, I will be forever grateful. I offer my sincere thanks to all who made sure I was well fed—mentally, physically, emotionally, and spiritually. I would not have finished this program without my mother’s constant love and steadfast confidence in me.
    [Show full text]
  • Usher My Way Mp3, Flac, Wma
    Usher My Way mp3, flac, wma DOWNLOAD LINKS (Clickable) Genre: Hip hop / Funk / Soul Album: My Way Country: US Released: 1997 Style: RnB/Swing MP3 version RAR size: 1492 mb FLAC version RAR size: 1510 mb WMA version RAR size: 1982 mb Rating: 4.6 Votes: 466 Other Formats: MP1 DXD DTS FLAC RA APE AHX Tracklist Hide Credits You Make Me Wanna... Mixed By – Phil TanMixed By [Assisted By] – Brian Frye, John FryePerformer [Music 1 3:39 Performed By] – Jermaine Dupri, Manuel SealRecorded By – Phil TanWritten-By – Jermaine Dupri, Manuel Seal, Usher Raymond* Just Like Me Mixed By – Jermaine Dupri, Phil TanMixed By [Assisted By] – Brian Frye, John 2 3:27 FryeRecorded By – Phil Tan, Rob Williams Vocals, Guest – Lil' KimWritten-By – Jermaine Dupri, Lil' Kim, Manuel Seal Nice & Slow Backing Vocals – Jagged Edge Mixed By – Jermaine Dupri, Phil TanMixed By [Assisted By] – 3 3:47 Brian Frye, John FryeRecorded By – Phil TanWritten-By – Brian Casey, Jermaine Dupri, Manuel Seal, Usher Raymond* Slow Jam Backing Vocals – Babyface, Monica, UsherEngineer – Manny Marroquin, Paul BoutinKeyboards, Drum Programming, Bass – BabyfaceMixed By – Jon GassMixed By 4 4:43 [Assisted By] – Kyle BessPiano – Greg PhillinganesProducer – BabyfaceProgrammed By [Midi Programming] – Randy WalkerVocals – MonicaWritten-By – Babyface, Belinda Lipscomb, Boaz Watson*, Sidney Johnson* My Way 5 Mixed By – Jermaine Dupri, Phil TanMixed By [Assisted By] – Brian FryeRecorded By – Phil 3:34 TanWritten-By – Jermaine Dupri, Manuel Seal, Usher Raymond* Come Back Backing Vocals – Jermaine Dupri, Manuel Seal, Trey LorenzMixed By – Jermaine Dupri, Phil 6 3:47 TanMixed By [Assisted By] – Brian FryeRecorded By – Phil TanWritten-By – Chris Stainton, Jermaine Dupri, Joe Cocker, Manuel Seal, Usher Raymond* I Will 7 Producer – Sprague "Doogie" WilliamsRecorded By – George Meyers, John Hayes*, Serban 3:54 GheneaWritten-By – C.
    [Show full text]
  • Bradley Syllabus for South
    Special Topics in African American Literature: OutKast and the Rise of the Hip Hop South Regina N. Bradley, Ph.D. Course Description In 1995, Atlanta, GA, duo OutKast attended the Source Hip Hop Awards, where they won the award for best new duo. Mostly attended by bicoastal rappers and hip hop enthusiasts, OutKast was booed off the stage. OutKast member Andre Benjamin, clearly frustrated, emphatically declared what is now known as the rallying cry for young black southerners: “the South got something to say.” For this course, we will use OutKast’s body of work as a case study questioning how we recognize race and identity in the American South after the civil rights movement. Using a variety of post–civil rights era texts including film, fiction, criticism, and music, students will interrogate OutKast’s music as the foundation of what the instructor theorizes as “the hip hop South,” the southern black social-cultural landscape in place over the last twenty-five years. Course Objectives 1. To develop and utilize a multidisciplinary critical framework to successfully engage with conversations revolving around contemporary identity politics and (southern) popular culture 2. To challenge students to engage with unfamiliar texts, cultural expressions, and language in order to learn how to be socially and culturally sensitive and aware of modes of expression outside of their own experiences. 3. To develop research and writing skills to create and/or improve one’s scholarly voice and others via the following assignments: • Critical listening journal • Nerdy hip hop review **Explicit Content Statement** (courtesy: Dr. Treva B. Lindsey) Over the course of the semester students will be introduced to texts that may be explicit in nature (i.e., cursing, sexual content).
    [Show full text]
  • Question Paper
    Write your name here Surname Other names Centre Number Candidate Number Edexcel GCE Music Technology Advanced Subsidiary Unit 2: Listening and Analysing Wednesday 20 May 2009 – Afternoon Paper Reference Time: 1 hour 45 minutes 6MT02/01 You must have: Total Marks Individual CD player, headphones and audio CD of recorded extracts. Instructions • Use black ink or ball-point pen. • Fill in the boxes at the top of this page with your name, centre number and candidate number. • Answer all questions. • Answer the questions in the spaces provided – there may be more space than you need. • If you are using a computer to play the CD, access to sequencing software is NOT permitted. • You must ensure that the left and right earpieces of your headphones are worn correctly. • You must write in continuous prose in questions 5 and 6. Information • The total mark for this paper is 80. • The marks for each question are shown in brackets – use this as a guide as to how much time to spend on each question. • Questions labelled with an asterisk (*) are ones where the quality of your written communication will be assessed – you should take particular care with your spelling, punctuation and grammar, as well as the clarity of expression, on these questions. • Each question number refers to the relevant track number on the audio CD, e.g. Question 1 refers to Track 1, Question 2 to Track 2 etc. • You may listen to each track as many times as you wish within the overall time limit of the paper. • The use of the words ‘instrument’ or ‘sounds’ refers to vocals, acoustic instruments, electric/electronic instruments and electronically-generated sounds unless otherwise stated.
    [Show full text]
  • Hip-Hop Artists Ali Big Gipp Drop 'Kinfolk' 8-15
    Hip-Hop Artists Ali Big Gipp Drop 'Kinfolk' 8-15 Written by Robert ID2755 Wednesday, 21 June 2006 00:11 - Rap artist Ali, of the platinum selling hip-hop group St. Lunatics, and "Dirty South" hip-hop impresario Goodie Mob alum rap artist Big Gipp will be releasing their hip-hop collaborative debut album, Kinfolk, August 15th. Kinfolk comes following up their appearance on the #1 hit track ‘Grillz’ with fellow hip-hop artist Nelly and will be on his record label, Derrty Ent., an imprint of Universal Motown Records. The first single off the album, “Go ‘Head,” is an anthemic summer song that combines "midwest swing" with southern crunk and is produced by up and coming St. Louis native Trife. "Gipp and I started hanging out a while back and found that we had a lot in common," says Ali. "We''re both considered leaders in our crews, we''re fathers and even though we have different styles, we respect each other's skills." Gipp describes their collaborative effort as “the best of both worlds-- the St. Lunatics kicked off the midwest movement and Goodie Mob helped establish southern rap, that’s why I say it’s the best of both worlds; Plain and simple." In that spirit, Kinfolk has a mix of songs featuring "St. Louis" hip-hop kin: rap artists Nelly, Murphy Lee and Derrty Ent newcomers, Chocolate Tai and Avery Storm; "Atlanta" hip-hop kin Cee-lo and other southern hip-hop all-stars include rappers Juvenile, David Banner, Three 6 Mafia and Bun B. The album collab also contains a mix of mid-west and southern producers including the St.
    [Show full text]
  • Outkast Stankonia Album Download Outkast Stankonia Album Download
    outkast stankonia album download Outkast stankonia album download. Completing the CAPTCHA proves you are a human and gives you temporary access to the web property. What can I do to prevent this in the future? If you are on a personal connection, like at home, you can run an anti-virus scan on your device to make sure it is not infected with malware. If you are at an office or shared network, you can ask the network administrator to run a scan across the network looking for misconfigured or infected devices. Cloudflare Ray ID: 67ab1adfff2e15e4 • Your IP : 188.246.226.140 • Performance & security by Cloudflare. MQS Albums Download. Mastering Quality Sound,Hi-Res Audio Download, 高解析音樂, 高音質の音楽. OutKast – Stankonia (20th Anniversary Deluxe) (2000/2020) [FLAC 24bit/44,1kHz] OutKast – Stankonia (20th Anniversary Deluxe) (2000/2020) FLAC (tracks) 24-bit/44,1 kHz | Time – 01:37:50 minutes | 1,11 GB | Genre: Hip- Hop, Rap Studio Master, Official Digital Download | Front Cover | © LaFace – Legacy. OutKast is celebrating the 20th-anniversary of their seminal album Stankonia with a set of bonus tracks, previously unreleased remixes, streaming bundles and vinyl and digital editions. According to reports, the digital re-release will arrive in 24-bit and 360 Reality Audio formats, and will feature a total of six bonus tracks that include a remix of “B.O.B. (Bombs Over Baghdad)” by Zack de la Rocha of Rage Against The Machine, a remix of “Ms. Jackson” by Mr. Drunk, a remix of “So Fresh, So Clean” with Snoop Dogg and Sleepy Brown, plus a cappella versions of the three songs.
    [Show full text]
  • Metric Ambiguity and Flow in Rap Music: a Corpus-Assisted Study of Outkast’S “Mainstream” (1996)
    Metric Ambiguity and Flow in Rap Music: A Corpus-Assisted Study of Outkast’s “Mainstream” (1996) MITCHELL OHRINER[1] University of Denver ABSTRACT: Recent years have seen the rise of musical corpus studies, primarily detailing harmonic tendencies of tonal music. This article extends this scholarship by addressing a new genre (rap music) and a new parameter of focus (rhythm). More specifically, I use corpus methods to investigate the relation between metric ambivalence in the instrumental parts of a rap track (i.e., the beat) and an emcee’s rap delivery (i.e., the flow). Unlike virtually every other rap track, the instrumental tracks of Outkast’s “Mainstream” (1996) simultaneously afford hearing both a four-beat and a three-beat metric cycle. Because three-beat durations between rhymes, phrase endings, and reiterated rhythmic patterns are rare in rap music, an abundance of them within a verse of “Mainstream” suggests that an emcee highlights the three-beat cycle, especially if that emcee is not prone to such durations more generally. Through the construction of three corpora, one representative of the genre as a whole, and two that are artist specific, I show how the emcee T-Mo Goodie’s expressive practice highlights the rare three-beat affordances of the track. Submitted 2015 July 15; accepted 2015 December 15. KEYWORDS: corpus studies, rap music, flow, T-Mo Goodie, Outkast THIS article uses methods of corpus studies to address questions of creative practice in rap music, specifically how the material of the rapping voice—what emcees, hip-hop heads, and scholars call “the flow”—relates to the material of the previously recorded instrumental tracks collectively known as the beat.
    [Show full text]
  • Ceelo Green – Primary Wave Music
    CEELO GREEN facebook.com/ceelogreen twitter.com/CeeLoGreen instagram.com/ceelogreen/ open.spotify.com/artist/5nLYd9ST4Cnwy6NHaCxbj8 Thomas DeCarlo Callaway (born May 30, 1974), known professionally as CeeLo Green (or Cee Lo Green), is an American singer, songwriter, rapper, record producer and actor. Green came to initial prominence as a member of the Southern hip hop group Goodie Mob and later as part of the soul duo Gnarls Barkley, with record producer Danger Mouse. Internationally, Green is best known for his soul work: his most popular was Gnarls Barkley’s 2006 worldwide hit “Crazy”, which reached number 1 in various singles charts worldwide, including the UK. In the United States, “Crazy” reached number two on the Billboard Hot 100. ARTIST: TITLE: ALBUM: LABEL: CREDIT: YEAR: Goodie Mob Amazing Grays Survival Kit Organized Noize / Goodie Mob A 2020 Goodie Mob Big Rube Amazing Break Survival Kit Organized Noize / Goodie Mob A 2020 Goodie Mob Calm B 4 Da Storm Survival Kit Organized Noize / Goodie Mob A 2020 Goodie Mob Survival Kit Survival Kit Organized Noize / Goodie Mob A 2020 Goodie Mob Back2Back Survival Kit Organized Noize / Goodie Mob A 2020 Goodie Mob Try We Survival Kit Organized Noize / Goodie Mob A 2020 Goodie Mob Off-Road Survival Kit Organized Noize / Goodie Mob A 2020 Goodie Mob Big Rube's Road Break Survival Kit Organized Noize / Goodie Mob A 2020 Goodie Mob 4 My Ppl Survival Kit Organized Noize / Goodie Mob A 2020 Goodie Mob Dc Young Fly Crowe's Nest Break Survival Kit Organized Noize / Goodie Mob A 2020 Goodie Mob Prey
    [Show full text]
  • Finding Aid to the Historymakers ® Video Oral History with Michael Mauldin
    Finding Aid to The HistoryMakers ® Video Oral History with Michael Mauldin Overview of the Collection Repository: The HistoryMakers®1900 S. Michigan Avenue Chicago, Illinois 60616 [email protected] www.thehistorymakers.com Creator: Mauldin, Michael, 1953- Title: The HistoryMakers® Video Oral History Interview with Michael Mauldin, Dates: February 29, 2008 and September 12, 2007 Bulk Dates: 2007 and 2008 Physical 6 Betacame SP videocasettes (2:52:53). Description: Abstract: Entertainment manager and record executive Michael Mauldin (1953 - ) became the first African American president of the black music division for Columbia Records in 1995. He is owner of his own entertainment firm called Artistic Control Group which includes includes Mauldin Brand Films and the Mauldin Brand Agency. Mauldin was interviewed by The HistoryMakers® on February 29, 2008 and September 12, 2007, in Atlanta, Georgia. This collection is comprised of the original video footage of the interview. Identification: A2007_257 Language: The interview and records are in English. Biographical Note by The HistoryMakers® Music and entertainment executive Michael Mauldin was born in Murphy, North Carolina in 1953. Mauldin began his musical career in the late 1960s and early 1970s when he started as a musician playing with the racially integrated band, the Other Side. After briefly attending DeVry Institute of Technology, Mauldin moved to Atlanta, Georgia where he married and had a son, Jermaine. In 1975, Mauldin received his first break in the music industry when the funk band, Brick, needed a van to haul their equipment to a gig in North Atlanta. After helping Brick with his van, Mauldin was hired by them as their stage manager and later he became their production manager.
    [Show full text]
  • Goodie Mob Album Featuring Ceelo Drops on Groupon
    August 23, 2013 Goodie Mob Album Featuring CeeLo Drops on Groupon First Goodie Mob Album in 14 Years For Sale Today on Groupon.com CHICAGO--(BUSINESS WIRE)-- Groupon (NASDAQ: GRPN) (http://www.groupon.com) today announces a deal for Goodie Mob's first album in 14 years. Groupon has a limited supply of Goodie Mob's new album, "Age Against the Machine," which officially releases from Primary Wave on Aug. 27. The CD is now available for purchase at Groupon.com for $8.99 at http://gr.pn/180qCBQ. The first single off the new Goodie Mob album is entitled, "Special Education," featuring Janelle Monae. The album also features T.I., and Goodie Mob's U.S. tour kicks off this weekend on Aug. 24 in Washington, with a special stop the following night in Brooklyn, N.Y. for a post-VMAs concert at Brooklyn Bowl. Goodie Mob's last released single was "Fight To Win," in the summer of 2012, an anthem of liberation, motivation and determination to always fight to win in life, a motto that the Goodie Mob lives by. Also, CeeLo Green's memoire, "Everybody's Brother," releases Sept. 10. In addition to the new album, tour and book, CeeLo and Goodie Mob will be the subjects of a new reality series to debut in 2014. Goodie Mob is a pioneering Southern hip-hop group and one of the most celebrated rap acts to come out of the hip-hop hotbed of Atlanta. Formed in 1991, Goodie Mob's original and current group members include CeeLo Green, Big Gipp, Khujo and T-Mo, all of whom grew up together in Atlanta alongside the rest of the Dungeon Family—the musical collective of Southern rappers, which includes Andre 3000 and Big Boi of Outkast, Organized Noise and Parental Advisory.
    [Show full text]
  • WAV / Kotori Magazine Issue 6 the Prodigy Dilated Peoples George
    WWW.KOTORIMAG.COM MAGAZINE WWW.KOTORIMAG.COM MAGAZINE TM MUSIC/ART/POLITICS/CULTURE MUSIC/ART/POLITICS/CULTURE 006 / THE PRODIGY DILATED PEOPLES - GEORGE CLINTON FLIGHT COMICS - METRIC - SASHA & DIGWEED GRAM RABBIT MALKOVICH MUSIC DJ MUGGS PORTUGAL. THE MAN GOAPELE TIM FITE TWO GALLANTS USA $3.99 CANADA $4.99 ISSUE 6 SILVERSUN PICKUPS 0 6 0 74470 04910 4 BOMBAY DUB ORCHESTRA KOTORIMAG.COM RSE7!6SPRINGADPDF0- # - 9 #- -9 #9 #-9 + TABLE OF CONTENTS DILATED PEOPLES 12 They’re almost prophetic, hooking up with Kanye and Alchemist before most of the world even knew those names...now they’re back, and with 20/20, their vision is better than ever. Baby, Rakaa, and Evidence get all loose with our one and only Simonita. THE PRODIGY 40 Let the madness ensue as Maxim, Keith, and Liam reload The Prodigy cannon for another go round. Safety and sanity be damned. The electronic music world has never been the same since the Firestarter grabbed hold of us in the 90s. In this issue we explore the trials and tribs of megastardom and the never ending struggle to retain the punk rock performance belt they’ve been brandishing for years. GEORGE CLINTON 48 “Think! It ain’t illegal yet!!” That’s about the only venture outside the halls of justice that the P Funk Master has been able to afford of WOLFMOTHER late. Four score and seven lawyers later, the 08 man who fostered the groove for a nation of hip “You ever heard of Wolfmother?” ‘No.’ hop protagonists gets his pay day and let’s his “WOLFMOTHER WOLFMOTHER WOLF- story be told here in this exclusive interview.
    [Show full text]
  • UC Berkeley UC Berkeley Electronic Theses and Dissertations
    UC Berkeley UC Berkeley Electronic Theses and Dissertations Title Gangster Boogie: Los Angeles and the Rise of Gangsta Rap, 1965-1992 Permalink https://escholarship.org/uc/item/3hd2d12n Author Viator, Felicia Angeja Publication Date 2012 Peer reviewed|Thesis/dissertation eScholarship.org Powered by the California Digital Library University of California Gangster Boogie: Los Angeles and the Rise of Gangsta Rap, 1965-1992 By Felicia Angeja Viator A dissertation submitted in partial satisfaction of the requirements for the degree of Doctor of Philosophy in History in the Graduate Division of the University of California, Berkeley Committee in charge: Professor Leon F. Litwack, Co-Chair Professor Waldo E. Martin, Jr., Co-Chair Professor Scott Saul Fall 2012 Abstract Gangster Boogie: Los Angeles and the Rise of Gangsta Rap, 1965-1992 by Felicia Angeja Viator Doctor of Philosophy in History University of California, Berkeley Professor Leon F. Litwack, Co-Chair Professor Waldo E. Martin, Jr., Co-Chair “Gangster Boogie” details the early development of hip-hop music in Los Angeles, a city that, in the 1980s, the international press labeled the “murder capital of the U.S.” The rap music most associated with the region, coined “gangsta rap,” has been regarded by scholars, cultural critics, and audiences alike as a tabloid distortion of East Coast hip-hop. The dissertation shows that this uniquely provocative genre of hip-hop was forged by Los Angeles area youth as a tool for challenging civic authorities, asserting regional pride, and exploiting the nation’s growing fascination with the ghetto underworld. Those who fashioned themselves “gangsta rappers” harnessed what was markedly difficult about life in black Los Angeles from the early 1970s through the Reagan Era––rising unemployment, project living, crime, violence, drugs, gangs, and the ever-increasing problem of police harassment––to create what would become the benchmark for contemporary hip-hop music.
    [Show full text]