TEG 75514 — Label: Traffic Ent

Total Page：16

File Type：pdf, Size：1020Kb

1. Very Special 2. I Like It (I Wanna Be Where You Are) 3. A Little Of This 4. Keep On 5. Back Stabbers 6. 2000 7. Amazing 8. Don’t Waste My Time 9. Play It Cool 10. Playin The Game 11. Change Gonna Come BONUS TRACKS 12. A Little Of This (Remix) 13. A Little Of This (Stud Doogie Remix) 14. A Little Of This (A Capella) 15. I Like It (Buckwilde Remix Clean) 16. I Like It (Buckwilde Remix) 17. I Like It (A Capella) After appearing on two of rap’s more accomplished and tried-and-true Puba, the tracks on 2000 favor a heavy entertaining releases, Brand Nubian’s 1990 debut One for bounce and melodic soul groove over the more raw and All and his own 1992 solo effort, Reel to Reel, Grand Puba rhythmic funk backings of most rappers - which means took a short leave of absence from the Hip Hop scene. there’s more music and fatter hooks than usual. Another Three years later he resurfaced, freestyling first in a Sprite difference from his previous outings is the lack of commercial and then with this long-overdue second solo pseudo-Islamic race theories that have occasionally work, 2000. Puba carried those first two records on the popped up in Puba’s lyrics. inventiveness of his rhyme style - a little Slick Rick swagger, some Biz Markie pop culture referencing and tone deaf This Deluxe Extended Edition includes The Billboard Hot singing, and a lot of Puba’s own distinctive whine and 100 Hit Single “I Like It (I Wanna Be Where You Are)” plus boast. On 2000, Puba recaptures all of that and sounds like bonus versions, remixes and a capellas previously never he’s never been away. As before, he packs scores of name available on CD format. The album boats production from drops and song snatches, from Erkel to “Little Drummer the era’s best: Buckwild (D.I.T.C.), Mark Sparks Minnesota, Boy,” in between his own self-aggrandizing hyperbole and DJ Alamo, Dante Ross & Stud Doogie as well a feature from earns more than a few chuckles for the effort. Also fellow Nubian Sadat X. PRE-ORDERS ON THIS ITEM ARE DUE BY MAR 31st Format: CD — Cat. No: TEG 75514 — Label: Traffic Ent. — Available: APR 21st 39 Broad Street, Suite 4, Quincy, MA 02169 Phone: (617) 845-0088 — Fax: (617) 845-0090 www.trafficent.com Distributed in the USA by The Orchard, 23 E. 4th St, NY, NY 10003 • tel: 212-979-6410 • fax: 212-979-7372.

Copy Link

Recommended publications

3 Feet High and Rising”--De La Soul (1989) Added to the National Registry: 2010 Essay by Vikki Tobak (Guest Post)*
“3 Feet High and Rising”--De La Soul (1989) Added to the National Registry: 2010 Essay by Vikki Tobak (guest post)* De La Soul For hip-hop, the late 1980’s was a tinderbox of possibility. The music had already raised its voice over tensions stemming from the “crack epidemic,” from Reagan-era politics, and an inner city community hit hard by failing policies of policing and an underfunded education system--a general energy rife with tension and desperation. From coast to coast, groundbreaking albums from Public Enemy’s “It Takes a Nation of Millions to Hold Us Back” to N.W.A.’s “Straight Outta Compton” were expressing an unprecedented line of fire into American musical and political norms. The line was drawn and now the stage was set for an unparalleled time of creativity, righteousness and possibility in hip-hop. Enter De La Soul. De La Soul didn’t just open the door to the possibility of being different. They kicked it in. If the preceding generation took hip-hop from the park jams and revolutionary commentary to lay the foundation of a burgeoning hip-hop music industry, De La Soul was going to take that foundation and flip it. The kids on the outside who were a little different, dressed different and had a sense of humor and experimentation for days. In 1987, a trio from Long Island, NY--Kelvin “Posdnous” Mercer, Dave “Trugoy the Dove” Jolicoeur, and Vincent “Maseo, P.A. Pasemaster Mase and Plug Three” Mason—were classmates at Amityville Memorial High in the “black belt” enclave of Long Island were dusting off their parents’ record collections and digging into the possibilities of rhyming over breaks like the Honey Drippers’ “Impeach the President” all the while immersing themselves in the imperfections and dust-laden loops and interludes of early funk and soul albums.
[Show full text]
NSR 006 CELPH TITLED & BUCKWILD Nineteen Ninety Now CD
01. The Deal Maker 02. Out To Lunch (feat. Treach of Naughty By Nature) 03. Eraserheads (feat. Vinnie Paz of Jedi Mind Tricks) 04. F*ckmaster Sex 05. Swashbuckling (feat. Apathy, Ryu & Esoteric) 06. I Could Write A Rhyme 07. Hardcore Data 08. Mad Ammo (feat. F.T. & R.A. The Rugged Man) 09. Tingin' 10. There Will Be Blood (feat. Sadat X, Grand Puba, A.G., O.C. & Diamond) 11. Miss Those Days 12. Step Correctly 13. Wack Juice 14. Styles Ain't Raw (feat. Apathy & Chino XL) 15. Where I Are 16. Time Travels On (feat. Majik Most & Dutchmassive) Nineteen Ninety Now is finally here and a Hip Hop renaissance is about to begin! The art form is brought KEY SELLING POINTS: full-circle through this groundbreaking collaboration • Long awaited debut album from Celph Titled, who between underground giant Celph Titled and production already has gained a huge underground following as a legend Buckwild of D.I.T.C. fame! Showing that the core member of Jedi Mind Tricks' Army of the Pharaohs crew and his own trademark Demigodz releases. Also lessons from the past can be combined with the as a part of Mike Shinoda's Fort Minor project and tour, innovations of the present, these two heavyweight his fanbase has continued to grow exponentially artists have joined forces to create a neo-classic. By • Multi-platinum producer Buckwild from the legendary Diggin’ In The Crates crew (D.I.T.C.) has produced having uninhibited access to Buckwild’s original mid-90s countless classics over the last two decades for artists production, Celph Titled was able to select and record ranging from Artifacts, Organized Konfusion, and Mic to over 16 unreleased D.I.T.C.
[Show full text]
Music & Entertainment Auction
Hugo Marsh Neil Thomas Forrester (Director) Shuttleworth (Director) (Director) Music & Entertainment Auction Tuesday 19th February 2019 at 10.00 Viewing: For enquiries relating to the auction Monday 18th February 2019 10:00 - 16:00 please contact: 09:00 morning of auction Otherwise by Appointment Saleroom One 81 Greenham Business Park NEWBURY RG19 6HW Telephone: 01635 580595 Christopher David Martin David Howe Fax: 0871 714 6905 Proudfoot Music & Music & Email: [email protected] Mechanical Entertainment Entertainment Music www.specialauctionservices.com As per our Terms and Conditions and with particular reference to autograph material or works, it is imperative that potential buyers or their agents have inspected pieces that interest them to ensure satisfaction with the lot prior to auction; the purchase will be made at their own risk. Special Auction Services will give indications of the provenance where stated by vendors. Subject to our normal Terms and Conditions, we cannot accept returns. ORDER OF AUCTION Music Hall & other Disc Records 1-68 Cylinder Records 69-108 Phonographs & Gramophones 109-149 Technical Apparatus 150-155 Musical Boxes 156-171 Jazz/ other 78s 172-184 Vinyl Records 185-549 Reel to Reel Tapes 550-556 CDs/ CD Box Sets 557-604 DVDs 605-612 Music Memorabilia 613-658 Music Posters 659-666 Film & Entertainment Memorabilia Including items from the Estate of John Inman 667-718 Film Posters 719-743 Musical Instruments 744-759 Hi-Fi 760-786 2 www.specialauctionservices.com MUSIC HALL & OTHER DISC RECORDS 18. Music hall and similar records, 10 inch, 67, by Geo Robey (G & T 2-2721 & 18 1.
[Show full text]
Reel-To-Real: Intimate Audio Epistolarity During the Vietnam War Dissertation Presented in Partial Fulfillment of the Requireme
Reel-to-Real: Intimate Audio Epistolarity During the Vietnam War Dissertation Presented in Partial Fulfillment of the Requirements for the Degree Doctor of Philosophy in the Graduate School of The Ohio State University By Matthew Alan Campbell, B.A. Graduate Program in Music The Ohio State University 2019 Dissertation Committee Ryan T. Skinner, Advisor Danielle Fosler-Lussier Barry Shank 1 Copyrighted by Matthew Alan Campbell 2019 2 Abstract For members of the United States Armed Forces, communicating with one’s loved ones has taken many forms, employing every available medium from the telegraph to Twitter. My project examines one particular mode of exchange—“audio letters”—during one of the US military’s most trying and traumatic periods, the Vietnam War. By making possible the transmission of the embodied voice, experiential soundscapes, and personalized popular culture to zones generally restricted to purely written or typed correspondence, these recordings enabled forms of romantic, platonic, and familial intimacy beyond that of the written word. More specifically, I will examine the impact of war and its sustained separations on the creative and improvisational use of prosthetic culture, technologies that allow human beings to extend and manipulate aspects of their person beyond their own bodies. Reel-to-reel was part of a constellation of amateur recording technologies, including Super 8mm film, Polaroid photography, and the Kodak slide carousel, which, for the first time, allowed average Americans the ability to capture, reify, and share their life experiences in multiple modalities, resulting in the construction of a set of media-inflected subjectivities (at home) and intimate intersubjectivities developed across spatiotemporal divides.
[Show full text]
Williams, Justin A. (2010) Musical Borrowing in Hip-Hop Music: Theoretical Frameworks and Case Studies
Williams, Justin A. (2010) Musical borrowing in hip-hop music: theoretical frameworks and case studies. PhD thesis, University of Nottingham. Access from the University of Nottingham repository: http://eprints.nottingham.ac.uk/11081/1/JustinWilliams_PhDfinal.pdf Copyright and reuse: The Nottingham ePrints service makes this work by researchers of the University of Nottingham available open access under the following conditions. · Copyright and all moral rights to the version of the paper presented here belong to the individual author(s) and/or other copyright owners. · To the extent reasonable and practicable the material made available in Nottingham ePrints has been checked for eligibility before being made available. · Copies of full items can be used for personal research or study, educational, or not- for-profit purposes without prior permission or charge provided that the authors, title and full bibliographic details are credited, a hyperlink and/or URL is given for the original metadata page and the content is not changed in any way. · Quotations or similar reproductions must be sufficiently acknowledged. Please see our full end user licence at: http://eprints.nottingham.ac.uk/end_user_agreement.pdf A note on versions: The version presented here may differ from the published version or from the version of record. If you wish to cite this item you are advised to consult the publisher’s version. Please see the repository url above for details on accessing the published version and note that access may require a subscription. For more information, please contact [email protected] MUSICAL BORROWING IN HIP-HOP MUSIC: THEORETICAL FRAMEWORKS AND CASE STUDIES Justin A.
[Show full text]
Psaudio Copper
Issue 133 MARCH 29TH, 2021 Copper has a new look! So does the rest of the PS Audio website, the result of countless hours of hard work. There's more functionality and easier access to articles, and additional developments will come. There will be some temporary glitches and some tweaks required – like high-end audio systems, magazines sometimes need tweaking too – but overall, we're excited to provide a better and more enjoyable reading experience. I now hand over the column to our esteemed Larry Schenbeck: Dear Copper Colleagues and Readers, Frank has graciously asked if I’d like to share a word or two about my intention to stop writing Too Much Tchaikovsky. So: thanks to everyone who read and enjoyed it – I wrote it for you. If you added comments occasionally, you made my day. I also wrote the column so I could keep learning, especially about emerging creatives and performers in classical music. Getting the chance to stumble upon something new and nourishing had sustained me in the academic world – it certainly wasn’t the money! – and I was grateful to continue that in Copper. So why stop? Because, as they say, there is a season. It has become considerably harder for me to stumble upon truly fresh sounds and then write freshly thereon. Here I am tempted to quote Douglas Adams or Satchel Paige, who both knew how to deliver an exit line. But I’ll just say (since Frank has promised to leave the light on), goodbye for now. The door is open, Larry, and we can’t thank you enough for your wonderful contributions.
[Show full text]
Underground Rap Albums 90S Downloads Underground Rap Albums 90S Downloads
underground rap albums 90s downloads Underground rap albums 90s downloads. 24/7Mixtapes was founded by knowledgeable business professionals with the main goal of providing a simple yet powerful website for mixtape enthusiasts from all over the world. Email: [email protected] Latest Mixtapes. Featured Mixtapes. What You Get With Us. Fast and reliable access to our services via our high end servers. Unlimited mixtape downloads/streaming in our members area. Safe and secure payment methods. © 2021 24/7 Mixtapes, Inc. All rights reserved. Mixtape content is provided for promotional use and not for sale. The Top 100 Hip-Hop Albums of the ’90s: 1990-1994. As recently documented by NPR, 1993 proved to be an important — nay, essential — year for hip-hop. It was the year that saw 2Pac become an icon, Biz Markie entangled in a precedent-setting sample lawsuit, and the rise of the Wu-Tang Clan. Indeed, there are few other years in hip- hop history that have borne witness to so many important releases or events, save for 1983, in which rap powerhouse Def Jam was founded in Russell Simmons’ dorm room, or 1988, which saw the release of about a dozen or so game-changing releases. So this got us thinking: Is there really a best year for hip-hop? As Treble’s writers debated and deliberated, we came up with a few different answers, mostly in the forms of blocks of four or five years each. But there was one thing they all had in common: they were all in the 1990s. Now, some of this can be chalked up to age — most of Treble’s staff and contributors were born in the 1980s, and cut their musical teeth in the 1990s.
[Show full text]
0 Musical Borrowing in Hip-Hop
MUSICAL BORROWING IN HIP-HOP MUSIC: THEORETICAL FRAMEWORKS AND CASE STUDIES Justin A. Williams, BA, MMus Thesis submitted to the University of Nottingham for the degree of Doctor of Philosophy September 2009 0 Musical Borrowing in Hip-hop Music: Theoretical Frameworks and Case Studies Justin A. Williams ABSTRACT ‗Musical Borrowing in Hip-hop‘ begins with a crucial premise: the hip-hop world, as an imagined community, regards unconcealed intertextuality as integral to the production and reception of its artistic culture. In other words, borrowing, in its multidimensional forms and manifestations, is central to the aesthetics of hip-hop. This study of borrowing in hip-hop music, which transcends narrow discourses on ‗sampling‘ (digital sampling), illustrates the variety of ways that one can borrow from a source text or trope, and ways that audiences identify and respond to these practices. Another function of this thesis is to initiate a more nuanced discourse in hip-hop studies, to allow for the number of intertextual avenues travelled within hip-hop recordings, and to present academic frameworks with which to study them. The following five chapters provide case studies that prove that musical borrowing, part and parcel of hip-hop aesthetics, occurs on multiple planes and within myriad dimensions. These case studies include borrowing from the internal past of the genre (Ch. 1), the use of jazz and its reception as an ‗art music‘ within hip-hop (Ch. 2), borrowing and mixing intended for listening spaces such as the automobile (Ch. 3), sampling the voice of rap artists posthumously (Ch. 4), and sampling and borrowing as lineage within the gangsta rap subgenre (Ch.
[Show full text]
Representations and Discourses of Black Motherhood in Hip Hop and REPRESENTATIONS and DISCOURSES
Chaney and Brown: Representations and Discourses of Black Motherhood in Hip Hop and REPRESENTATIONS AND DISCOURSES . Representations and Discourses of Black Motherhood in Hip Hop and R&B over Time Cassandra Chaney and Arielle Brown This study will examine how representations and discourses regarding Black motherhood have changed in the Hip Hop and R&B genres over time. Specifically, this scholarly work will contextualize the lyrics of 79 songs (57 Hip Hop songs; 18 R&B songs; 2 songs represented the Hip Hop and R&B genre; 2 songs represented artists who produce music in 5 or 6 genres) from 1961-2015 to identify the ways that Black male and Black female artists described motherhood. Through the use of Black Feminist Theory, and by placing the production of these songs within a sociohistorical context, we provide an in-depth qualitative examination of song lyrics related to Black motherhood. Results gave evidence that representations and discourse of motherhood have been largely shaped by patriarchy as well as cultural, political, and racial politics whose primary aim was to decrease the amount of public support for poor, single Black mothers. In spite of the pathological framing of Black mothers, most notably through the “welfare queen” and “baby mama” stereotypes, a substantial number of Hip Hop and R&B artists have provided a strong counter narrative to Black motherhood by highlighting their positive qualities, acknowledging their individual and collective struggle, and demanding that these women be respected. How has patriarchy influenced the production and release of Hip Hop and R&B songs related to Black motherhood? In what ways has Hip Hop and R&B supported and challenged dominant representations and discourses surrounding Black 1 motherhood? How has Black Feminist Theory validated the experiences of Black mothers in Hip Hop and R&B? This manuscript will respond to these three questions by examining how societal changes have directly influenced how Black mothers in Hip Hop and R&B2 are intellectualized.
[Show full text]
City of Angels
ZANFAGNA CHRISTINA ZANFAGNA | HOLY HIP HOP IN THE CITY OF ANGELSHOLY IN THE CITY OF ANGELS The publisher gratefully acknowledges the generous support of the Lisa See Endowment Fund in Southern California History and Culture of the University of California Press Foundation. Luminos is the Open Access monograph publishing program from UC Press. Luminos provides a framework for preserving and reinvigorating monograph publishing for the future and increases the reach and visibility of important scholarly work. Titles published in the UC Press Luminos model are published with the same high standards for selection, peer review, production, and marketing as those in our traditional program. www.luminosoa.org Holy Hip Hop in the City of Angels MUSIC OF THE AFRICAN DIASPORA Shana Redmond, Editor Guthrie P. Ramsey, Jr., Editor 1. California Soul: Music of African Americans in the West, edited by Jacqueline Cogdell DjeDje and Eddie S. Meadows 2. William Grant Still: A Study in Contradictions, by Catherine Parsons Smith 3. Jazz on the Road: Don Albert’s Musical Life, by Christopher Wilkinson 4. Harlem in Montmartre: A Paris Jazz Story between the Great Wars, by William A. Shack 5. Dead Man Blues: Jelly Roll Morton Way Out West, by Phil Pastras 6. What Is This Thing Called Jazz?: African American Musicians as Artists, Critics, and Activists, by Eric Porter 7. Race Music: Black Cultures from Bebop to Hip-Hop, by Guthrie P. Ramsey, Jr. 8. Lining Out the Word: Dr. Watts Hymn Singing in the Music of Black Americans, by William T. Dargan 9. Music and Revolution: Cultural Change in Socialist Cuba, by Robin D.
[Show full text]
ALBUMS NEW NIP HOP RELEASES by Kelly
Retail Research: Ivan Rodriguez Rodney Edwards Janien Harrison 2W LW TW SINGLES 2W LW TW ALBUMS 1 1 1 DR. DRE - Nuthin' But A... (Death Row/Intrscp/Priority/Atl) 1 1 1 DR. DRE - The Chronic (Death Row/Intrscp/Priority/AtI) 2 2 2 NAUGHTY BY NATURE - Hip Hop Hooray (Tommy Boy) 2 2 2 NAUGHTY BY NATURE - 19 Naughty III (Tommy Boy) 3 3 3 ICE CUBE - It Was A Good Day (Priority) 12 7 3 THE GETO BOYS - Till Death Do Us Part (Rap-A-Lot/Priority) 5 4 4 ONYX - Throw Ya Gunz (JMJ/RAUChaos) 3 3 4 DIGABLE PLANETS - Reachin' (Pendulum/Elektra) 10 5 5 RUN-D.M.C.- Down With The King (Profile) 5 5 5ICE CUBE - Predator (Priority) 4 6 6 DIGABLE PLANETS - Rebirth Of Slick (Pendulum/Elektra) 6 6 6 2 PAC - Strictly 4 My N.I.G.G.A.Z... (Interscope/Atlantic) 7 7 7 BLACK MOON - Who Got The Props (Nervous) 4 4 7 BRAND NUBIAN - In God We Trust (Elektra) 23 16 8 LORDS/UNDERGROUND - Funky... (Pendulum/Elektra) 15 11 8 CB4 - CB4 Soundtrack (MCA) 16 15 9 JAMES BROWN - Can't Get Any Harder (Scotti Brothers) 7 8 9 HEAVY D. & THE BOYZ - Blue Funk (Uptown/MCA) 13 10 10 THE GETO BOYS - Crooked Officer (Rap-A-Lot/Priority) 10 10 10 APACHE - Apache (Tommy Boy) 6 8 11POSITIVE K- I Got A Man (Island/PLG) 9 9 11 KAM - Neva Again (Street Knowledge/eastwest) 9 9 12 SNOW - Informer (eastwest) 16 12 12 WRECKX-N-EFFECT - Hard Or Smooth (MCA) 14 1313 BRAND NUBIAN - Love Me Or Leave Me Alone (Elektra) 13 13 13 REDMAN - Whut? Thee Album (Def Jam/Chaos) 15 1414 DIAMOND AND THE ..
[Show full text]
The Hilltop 10-16-1998
Howard University Digital Howard @ Howard University The iH lltop: 1990-2000 The iH lltop Digital Archive 10-16-1998 The iH lltop 10-16-1998 Hilltop Staff Follow this and additional works at: https://dh.howard.edu/hilltop_902000 Recommended Citation Staff, Hilltop, "The iH lltop 10-16-1998" (1998). The Hilltop: 1990-2000. 223. https://dh.howard.edu/hilltop_902000/223 This Book is brought to you for free and open access by the The iH lltop Digital Archive at Digital Howard @ Howard University. It has been accepted for inclusion in The iH lltop: 1990-2000 by an authorized administrator of Digital Howard @ Howard University. For more information, please contact [email protected]. ILLTOP ,. The Voice ofHoward University Since' 1924 VOLUME 82, No. 9 FRIDAY, O CTOBER 16, 1998 Farrakhan to Speak on Atonement Tonight Students Urged to 'Argue Back' Opponents of Controversial Leader mistreatment of blacks, minorities and immigrants, and Officials said they expect the 1,500-seat Cramton to unfair U.S. foreign po_licy towards African nations. be filled by students and area residents shortly after By RAFIAH DAVIS "Minister Farrakhan will offer his voice so that the doors open at 5:30 p.m. Hilltop Staff Writer government might hear it, and that the government Sabrina Coleman, a broadcast journalism major who might act upon the warning by atoning for her sins," said she planned to stand in line to attend the event, said Controversy-courting Nation of Islam leader Min. said Ishmael Muhammad, a Chicago-based assistant to she fi nds it hard to support Farrakhan because she is Louis Farrakhan will speak tonight at Cramton Audi Farrakhan.
[Show full text]