DOCSLIB.ORG

U-God Venom Free Download

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
U-God Venom Free Download u-god venom free download U-God Delivers New Album ‘Venom’ The 14-track project includes guest appearances from fellow Wu-Tang members, Raekwon, Insepctah Deck and Method Man, as well as Scotty Wotty and Nomdiq. Production on the project is handled by Powers Pleasant, Green Lantern, DJ Homicide, Lordn Finesse and more. U-God's latest album follows the recent release of his book, Raw: My Journey Into the Wu-Tang. The rapper recently made headlines for the book thanks to a section in the memoir where he accuses Wu-Tang's RZA of mismanaging the collective. “Right now, it just looks like the Wu brothers are not on the same page, going at each other’s throats, missing shows, and all that. But, to me, it’s really years of BS catching up to RZA,” U-God wrote in the book. Peep the Venom tracklist and stream the album below. U-God's Venom Album Tracklist. 1. "Exordium" (Produced by ILL TAL) 2. "Unstoppable" (Produced by Powers Pleasant) 3. "Epicenter" featuring Raekwon, Inspectah Deck and Scotty Wotty (Produced by Green Lantern) 4. "Bit Da Dust" (Produced by DJ Homicide and Jose Reynoso) 5. "Elegance" featuring Nomdiq (Produced by Green Lantern) 6. "Climate" (Produced by Jose Reynoso) 7. "Venom" (Produced by DJ Homicide and Jose Reynoso) 8. "Felon" (Produced by Large Professor) 9. "Legacy" (Produced by DJ Homicide and Jose Reynoso) 10. "Whole World Watchin’" (Produced by Lord Finesse, The Bossmen, K Ford and Davel McKenzie) 11. "XXX" featuring Method Man (Produced by DJ Homicide) 12. "Jackpot" featuring Scotty Wotty (Produced by DJ Homicide and Jose Reynoso) 13. "Wisdom" (Produced by Jose Reynoso) 14. "Venom" (DJ Green Lantern Remix) U-God & DJ Green Lantern Release Full Bring Back God II Mixtape (Audio) UPDATE: U-God and DJ Green Lantern have released Bring Back God II , available for full stream and free download. Additionally, the Wu- Tang Clan MC revealed his fifth solo album, Venom , will release March 6 through Babygrande Records. Additionally, the Wu-Tang Clan member has announced a series of concerts for the mixtape, album, and book dates, for upcoming memoir, Raw: My Journey Into The Wu-Tang : ORIGINAL DECEMBER 4, 2017 STORY: U-God does not appear on this year’s Wu-Tang Clan album. The Staten Island, New York representative sued RZA and his group for more than a million dollars one year ago for unpaid royalties. However, he and Method Man were all in it together during an appearance (in support of SWV) at last month’s Soul Train Awards. Now, U-God is working with one of Hip-Hop’s most beloved mixtape creators, DJ Green Lantern. The Rochester, New Yorker who has worked with 50 Cent, Nas, and Tupac’s catalog is now recharging U-God’s career. On February 2, 2018, the DJ/producer teams with Golden Arms and Dat Piff for Bring Back God II . To set things off, he remixed one of the Wu-Tang MC’s more popular recent tracks, “Fire.” The song also features its original 2015 vocals from Meth’ and Scotty Wotty. Previously, Green created an EDM remix to Wu classic “C.R.E.A.M.” The original “Fire” appeared on 2015’s The Keynote Speaker . The MC is working on Venom . Last year he dropped the single of the same name seemingly addressing his relationship with the Clan. According to AllHipHop , the “Killa Hill Ni**az” MC is also preparing Picador Books memoir, Raw: My Journey Into The Wu-Tang for next year. In late 2008, the first installment of the Bring Back God series was released with DJ Y-Not (aka Twilite Tone). This year, Green Lantern worked on Royce 5’9’s Bar Exam 4 and the Griselda Records roster of Westside Gunn, Conway The Machine, and Benny. U-God – Venom (Album Review) The deep distinct voice of U-God was not included on The Saga Continues , the album released last fall under the generic moniker Wu-Tang. This slight change in attribution was a direct result of his absence on the record; Producer Mathematics told Exclaim! magazine at the time, “ It can’t be a complete Wu-Tang Clan album without UG. ” This shaky membership was rooted partially in U-God making the bold move to sue the collective, specifically RZA, seeking proper share of royalties and merchandise sales, including a portion of the $2,000,000 paid by since- disgraced “pharma bro” Martin Shkreli to land the rare lone copy of Once Upon a Time in Shaolin . The business half of the Wu notwithstanding, U-God has appeared live with the group as recently as last year, and a new release would not be a true solo album by a Wu-Tang Clan member if it did not include appearances by at least half of the collected roster. That in mind, U-God is back with his fifth album, Venom , his first solo album since The Keynote Speaker in 2013. Set for release on Friday, March 30, 2018 via Babygrande Records, and teased as far back as December 2016, Venom was slated for release at some point in 2017 before being pushed back to this year, meant to follow the release of Raw: My Journey into the Wu-Tang , which hit bookstores in hardcover a few weeks earlier on March 6th. A total of 12 new cuts, a quick track-titled “Exordium” hits the ground running for anyone doubting the return of U-God: “ p lease take a seat and enjoy the presentation / came outta hibernation to present my new creation / hate’s the motivation amongst the competition / fangs out, salivatin’, blast you with VENOM! ” This theme rolls over into “Unstoppable;” a tight drum beat sits below as U-God makes his point that he may choose his moments to appear, but he makes those appearances count. The chorus is a little aloof, distant, and draws away from the strength of the track. Tight eerie beats keep “Epicenter” moving as the first Wu members (two officially, another practically) make their appearance in the form of Raekwon, Inspectah Deck, and Scotty Wotty. The title serves as a reminder about the group’s place in the Hip Hop universe, and U-God in particular; the point is made again that while his contributions may be thinly scattered compared to his contemporaries, everyone stops to listen when he rhymes. This is echoed later in “Climate,” the most impactful track where U-God appears legitimately solo. “Bit Da Dust” makes a thinly veiled reference to the disposability of those Hip Hop talents who “ [don’t] play by the rules ” and stretch themselves too far outside the accepted limits for the genre, both within the community and by the short-sighted commercial world. The subtle beat below sets the tone that the best tracks here, like most Wu-Tang work, is full of smooth production and catchy hooks in service to, rather than instead of, wordplay and memorable lyrics. Thereafter, the title-track, “Venom,” swoops as a terse testament to loyalty amongst family in friends; “ yeah we got issues with each other” but the fierce loyalty is something that never fades away. “Felon” is perhaps an autobiographical tale; as he told the New York Times recently, his earlier arrest record will always follow U-God around: “ I’ll be always a convict, no matter how successful I am, ” and this track serves as a lyrical reminder. Moving along smoothly, “Legacy” cements the effect U-God has on the genre, and the world: “ rhymes for a hundred years / this here’s my legacy… words assault your ears / after I’m gone, these words’ll be my legacy. “ The theme continues on “Whole World Watchin’, ” where hypnotic crowd noise introduces the emcee, who seems less than phased at the attention of the spotlight; in fact, he craves it: “ I don’t do this often/ ’cause in public I’m cautious/ you can’t fuck with my money / the world is my office. ” Shifting themes, jealous girlfriends (ex- or otherwise) form the basis for “XXX.” Here, Method Man makes another appearance, but the glut of the words are handled by U-God himself, lamenting the damned if you do/don’t aspect of toxic relationships, especially those that end poorly. U-God steps aside on “Jackpot” in favor of Scotty Wotty; the title is a reference to an earlier street name used by Scott and the lyrics are semi- autobiographical, outlining the tribulations that have kept him away from larger success, Wu or otherwise. Finally, the album closes with the chilling “Wisdom,” which opens with an answering machine message, presumably from U-God’s mother, trying to find middle ground between withholding judgment about her son’s career and success, at the price of also withholding praise and assistance: “ Look ma, I’m on top of the world! ” The track descends back into her voice before abruptly cutting out entirely. A very strong effort, Venom is full of dense lyrics delivered with the strong, steady voice of U-God and laid on top of rhythms and beats that never overpower the vocals and themes within. Five years may be a long time between releases, especially with the slight delays of the past year and a half, but Venom was worth the wait and will continue to hold the standard U-God has set for the rest of the Wu-Tang Clan and Hip Hop as a whole. That is why Cryptic Rock gives Venom 4 out of 5 stars. ProStudioMasters.com. Tracks 1, 4, 5, 6, 8-10, 12, 13 – contains material which has been processed by a perceptual audio coding algorithm.
Load more

Recommended publications
  • Sonic Jihadâ•Flmuslim Hip Hop in the Age of Mass Incarceration
    FIU Law Review Volume 11 Number 1 Article 15 Fall 2015 Sonic Jihad—Muslim Hip Hop in the Age of Mass Incarceration SpearIt Follow this and additional works at: https://ecollections.law.fiu.edu/lawreview Part of the Other Law Commons Online ISSN: 2643-7759 Recommended Citation SpearIt, Sonic Jihad—Muslim Hip Hop in the Age of Mass Incarceration, 11 FIU L. Rev. 201 (2015). DOI: https://dx.doi.org/10.25148/lawrev.11.1.15 This Article is brought to you for free and open access by eCollections. It has been accepted for inclusion in FIU Law Review by an authorized editor of eCollections. For more information, please contact [email protected]. 37792-fiu_11-1 Sheet No. 104 Side A 04/28/2016 10:11:02 12 - SPEARIT_FINAL_4.25.DOCX (DO NOT DELETE) 4/25/16 9:00 PM Sonic Jihad—Muslim Hip Hop in the Age of Mass Incarceration SpearIt* I. PROLOGUE Sidelines of chairs neatly divide the center field and a large stage stands erect. At its center, there is a stately podium flanked by disciplined men wearing the militaristic suits of the Fruit of Islam, a visible security squad. This is Ford Field, usually known for housing the Detroit Lions football team, but on this occasion it plays host to a different gathering and sentiment. The seats are mostly full, both on the floor and in the stands, but if you look closely, you’ll find that this audience isn’t the standard sporting fare: the men are in smart suits, the women dress equally so, in long white dresses, gloves, and headscarves.
    [Show full text]
  • Pop Music with a Purpose: the Organization Of
    Pop Music with a Purpose: The Organization of Contemporary Religious Music in the United States by Adrienne Michelle Krone Department of Religion Duke University Date: __________________________ Approved: _______________________________ David Morgan, Supervisor _______________________________ Yaakov Ariel _______________________________ miriam cooke Thesis submitted in partial fulfillment of the requirements for the degree of Master of Arts in the Department of Religion in the Graduate School of Duke University 2011 Copyright by Adrienne Michelle Krone 2011 ABSTRACT Pop Music with a Purpose: The Organization of Contemporary Religious Music in the United States by Adrienne Michelle Krone Department of Religion Duke University Date:_______________________ Approved: ___________________________ David Morgan, Supervisor ___________________________ Yaakov Ariel ___________________________ miriam cooke An abstract of a thesis submitted in partial fulfillment of the requirements for the degree of Master of Arts in the Department of Religion in the Graduate School of Duke University 2011 Abstract Contemporary Religious Music is a growing subsection of the music industry in the United States. Talented artists representing a vast array of religious groups in America express their religion through popular music styles. Christian Rock, Jewish Reggae and Muslim Hip-Hop are not anomalies; rather they are indicative of a larger subculture of radio-ready religious music. This pop music has a purpose but it is not a singular purpose. This music might enhance the worship experience, provide a wholesome alternative to the unsavory choices provided by secular artists, infiltrate the mainstream culture with a positive message, raise the level of musicianship in the religious subculture or appeal to a religious audience despite origins in the secular world.
    [Show full text]
  • Phonographic Performance Company of Australia Limited Control of Music on Hold and Public Performance Rights Schedule 2
    PHONOGRAPHIC PERFORMANCE COMPANY OF AUSTRALIA LIMITED CONTROL OF MUSIC ON HOLD AND PUBLIC PERFORMANCE RIGHTS SCHEDULE 2 001 (SoundExchange) (SME US Latin) Make Money Records (The 10049735 Canada Inc. (The Orchard) 100% (BMG Rights Management (Australia) Orchard) 10049735 Canada Inc. (The Orchard) (SME US Latin) Music VIP Entertainment Inc. Pty Ltd) 10065544 Canada Inc. (The Orchard) 441 (SoundExchange) 2. (The Orchard) (SME US Latin) NRE Inc. (The Orchard) 100m Records (PPL) 777 (PPL) (SME US Latin) Ozner Entertainment Inc (The 100M Records (PPL) 786 (PPL) Orchard) 100mg Music (PPL) 1991 (Defensive Music Ltd) (SME US Latin) Regio Mex Music LLC (The 101 Production Music (101 Music Pty Ltd) 1991 (Lime Blue Music Limited) Orchard) 101 Records (PPL) !Handzup! Network (The Orchard) (SME US Latin) RVMK Records LLC (The Orchard) 104 Records (PPL) !K7 Records (!K7 Music GmbH) (SME US Latin) Up To Date Entertainment (The 10410Records (PPL) !K7 Records (PPL) Orchard) 106 Records (PPL) "12"" Monkeys" (Rights' Up SPRL) (SME US Latin) Vicktory Music Group (The 107 Records (PPL) $Profit Dolla$ Records,LLC. (PPL) Orchard) (SME US Latin) VP Records - New Masters 107 Records (SoundExchange) $treet Monopoly (SoundExchange) (The Orchard) 108 Pics llc. (SoundExchange) (Angel) 2 Publishing Company LCC (SME US Latin) VP Records Corp. (The 1080 Collective (1080 Collective) (SoundExchange) Orchard) (APC) (Apparel Music Classics) (PPL) (SZR) Music (The Orchard) 10am Records (PPL) (APD) (Apparel Music Digital) (PPL) (SZR) Music (PPL) 10Birds (SoundExchange) (APF) (Apparel Music Flash) (PPL) (The) Vinyl Stone (SoundExchange) 10E Records (PPL) (APL) (Apparel Music Ltd) (PPL) **** artistes (PPL) 10Man Productions (PPL) (ASCI) (SoundExchange) *Cutz (SoundExchange) 10T Records (SoundExchange) (Essential) Blay Vision (The Orchard) .DotBleep (SoundExchange) 10th Legion Records (The Orchard) (EV3) Evolution 3 Ent.
    [Show full text]
  • PIMP C’S HURRICANE LAST CHRIS WORDS MR
    OZONE MAGAZINE MAGAZINE OZONE YOUR FAVORITE RAPPER’S FAVORITE MAGAZINE PIMP C’S HURRICANE LAST CHRIS WORDS MR. COLLIPARK BUN B, TOO $HORT, SCARFACE, BIG GIPP LIL BOOSIE DAVID BANNER & LIL WAYNE REMEMBER TRILL N*GGAS DON’T DIE DON’T N*GGAS TRILL TRAPSTARZ THEIR THREE DEEP FRIEND YOUNG CASH & MIDGET MAC SOULJA BOY +OZONE WEST THE BOY BOY YOUNG MESS JANUARY 2008 ICE CUBE | MITCHY SLICK HOT ROD 50 CENT’S PROTEGE OZONE MAG // YOUR FAVORITE RAPPER’S FAVORITE MAGAZINE PIMP C’S LAST WORDS SOULJA BUN B BOY TOO $HORT CRANKIN’ IT SCARFACE ALL THE WAY BIG GIPP TO THE BANK WITH DAVID BANNER MR. COLLIPARK LIL WAYNE FONSWORTH LIL BOOSIE’S BENTLEY JEWELRY CORY MO 8BALL & FASCINATION MORE TRAPSTARZ SHARE THEIR THREE DEEP FAVORITE MEMORIES OF THE YOUNG CASH SOUTH’S & MIDGET MAC FINEST HURRICANE CHRIS +OZONE WEST THE BOY BOY YOUNG MESS ICE CUBE | MITCHY SLICK HOT ROD 50 CENT’S PROTEGE 8 // OZONE WEST 2 // OZONE MAG OZONE MAG // // OZONE MAG OZONE MAG // // OZONE MAG OZONE MAG // 8 // OZONE MAG OZONE MAG // 0 // OZONE MAG OZONE MAG // 11 PUBLISHER/EDITOR-IN-CHIEF // Julia Beverly CHIEF OPERATIONS OFFICER // N. Ali Early MUSIC EDITOR // Randy Roper FEATURES EDITOR // Eric Perrin ART DIRECTOR // Tene Gooden features ADVERTISING SALES // Che’ Johnson 54-59 YEAR END AWARDS PROMOTIONS DIRECTOR // Malik Abdul 76-79 REMEMBERING PIMP C MARKETING DIRECTOR // David Muhammad Sr. 22-23 RAPPERS’ NEW YEARS RESOLUTIONS LEGAL CONSULTANT // Kyle P. King, P.A. 74 DIRTY THIRTY: PIMP C’S GREATEST HITS SUBSCRIPTIONS MANAGER // Adero Dawson ADMINISTRATIVE // Cordice Gardner, Kisha Smith CONTRIBUTORS // Bogan, Charlamagne the God, Chuck T, Cierra Middlebrooks, Destine Cajuste, E-Feezy, Edward Hall, Felita Knight, Jacinta Howard, Jaro Vacek, Jessica Koslow, J Lash, Jason Cordes, Jo Jo, Johnny Louis, Kamikaze, Keadron Smith, Keith Kennedy, K.G.
    [Show full text]
  • Daniel Zev Dinov DJ.Producer.Engineer 65 Oriental BLVD
    Daniel Zev Dinov DJ.Producer.Engineer 65 Oriental BLVD. Apt. 9C www.ZevMusic.com [email protected] Brooklyn, NY 11235 (917) 676-5060 *The following is a complete list of venues, events, and clients that I have deejayed for* Venues Bora Bora (Valencia, Spain) Bluebird Theater (Denver, CO) Bon Vue (R.I) Webster Hall (NYC) Deluxe at Old National Centre Crescent Ballroom (Phoenix, AZ) 230-Fifth (NYC) (Indianapolis, IN) Prophet Bar (Dallas, TX) Tammany Hall (NYC) Ultra Lounge (NYC) The Demo (St. Louis, MO) Amnesia (NYC) Cabana Lounge (NYC) Blue Owl (NYC) Highline Ballroom (NYC) Hudson Hotel (NYC) Saloon (NYC) Le Reve (NYC) Déjà Vu Lounge (NYC) Ruby Foo's (NYC) The Bottom Lounge (Chicago, IL) Identity Lounge (NYC) 7th Street Entry (Minneapolis, MN) The Complex (Salt Lake City, UT) High Noon Saloon (Madison, WI) Bentley College (M.A) Cellar Bar (NYC) Truman’s Nightclub (N.Y) Colgate University (N.Y) Santos Party House (NYC) Indie Screen (NYC) McGillicuddy's (N.Y) Prime Nightclub (NYC) Cabaloosa’s (N.Y) LCL Lounge (NYC) GQ Lounge (NYC) Rome Nightclub (F.L) Events Guest DJ for New York Cosmos Soccer Home Game vs. Indie Eleven (10/4/14) Equinox Cycle-for-Survival Times Square Takeover (9/19/14) The Sound of Porsche: Stories of the Brand Pop-Up Experience NYC (9/15/14 – 9/17/14) Sarah Jessica Parker shoe-line launch, Nordstrom Roosevelt Field Mall (8/23/14) Celebrity Guest DJ onboard Disney Wonder Cruise Line (4/8/14 – 4/23/14) Equinox Cycle-for-Survival Metropolitan Pavilion (2/28/14) Macy’s NFL Super-Bowl Store Grand Opening & Press Event (1/22/14)
    [Show full text]
  • Audio Mastering for Stereo & Surround
    AUDIO MASTERING FOR STEREO & SURROUND 740 BROADWAY SUITE 605 NEW YORK NY 10003 www.thelodge.com t212.353.3895 f212.353.2575 EMILY LAZAR, CHIEF MASTERING ENGINEER EMILY LAZAR CHIEF MASTERING ENGINEER Emily Lazar, Grammy-nominated Chief Mastering Engineer at The Lodge, recognizes the integral role mastering plays in the creative musical process. Combining a decisive old-school style and sensibility with an intuitive and youthful knowledge of music and technology, Emily and her team capture the magic that can only be created in the right studio by the right people. Founded by Emily in 1997, The Lodge is located in the heart of New York City’s Greenwich Village. Equipped with state-of-the art mastering, DVD authoring, surround sound, and specialized recording studios, The Lodge utilizes cutting-edge technologies and attracts both the industry’s most renowned artists and prominent newcomers. From its unique collection of outboard equipment to its sophisticated high-density digital audio workstations, The Lodge is furnished with specially handpicked pieces that lure both analog aficionados and digital audio- philes alike. Moreover, The Lodge is one of the few studios in the New York Metropolitan area with an in-house Ampex ATR-102 one-inch two-track tape machine for master playback, transfer and archival purposes. As Chief Mastering Engineer, Emily’s passion for integrating music with technology has been the driving force behind her success, enabling her to create some of the most distinctive sounding albums released in recent years. Her particular attention to detail and demand for artistic integrity is evident through her extensive body of work that spans genres and musical styles, and has made her a trailblazer in an industry notably lack- ing female representation.
    [Show full text]
  • The Politics of Independent Hip-Hop a Dissertation Submitted in Partial
    UNIVERSITY OF CALIFORNIA RIVERSIDE Just Say No to 360s: The Politics of Independent Hip-Hop A Dissertation submitted in partial satisfaction of the requirements for the degree of Doctor of Philosophy in Sociology by Christopher Sangalang Vito June 2017 Dissertation Committee: Dr. Ellen Reese, Chairperson Dr. Adalberto Aguirre, Jr. Dr. Lan Duong Dr. Alfredo M. Mirandé Copyright by Christopher Sangalang Vito 2017 The Dissertation of Christopher Sangalang Vito is approved: Committee Chairperson University of California, Riverside ACKNOWLEDGEMENTS I would like to thank my family and friends for their endless love and support, my dissertation committee for their care and guidance, my colleagues for the smiles and laughs, my students for their passion, everyone who has helped me along my path, and most importantly I would like to thank hip-hop for saving my life. iv DEDICATION For my mom. v ABSTRACT OF THE DISSERTATION Just Say No to 360s: The Politics of Independent Hip-Hop by Christopher Sangalang Vito Doctor of Philosophy, Graduate Program in Sociology University of California, Riverside, June 2017 Dr. Ellen Reese, Chairperson My dissertation addresses to what extent and how independent hip-hop challenges or reproduces U.S. mainstream hip-hop culture and U.S. culture more generally. I contend that independent hip-hop remains a complex contemporary subculture. My research design utilizes a mixed methods approach. First, I analyze the lyrics of independent hip-hop albums through a content analysis of twenty-five independent albums from 2000-2013. I uncover the dominant ideologies of independent hip-hop artists regarding race, class, gender, sexual orientation, and calls for social change.
    [Show full text]
  • Methodological and Musicological Investigation of the System & Contrast Model for Musical Form Description Emmanuel Deruty, Frédéric Bimbot, Brigitte Van Wymeersch
    Methodological and musicological investigation of the System & Contrast model for musical form description Emmanuel Deruty, Frédéric Bimbot, Brigitte van Wymeersch To cite this version: Emmanuel Deruty, Frédéric Bimbot, Brigitte van Wymeersch. Methodological and musicological in- vestigation of the System & Contrast model for musical form description. [Research Report] RR-8510, INRIA. 2013, pp.117. hal-00965914 HAL Id: hal-00965914 https://hal.inria.fr/hal-00965914 Submitted on 27 Mar 2014 HAL is a multi-disciplinary open access L’archive ouverte pluridisciplinaire HAL, est archive for the deposit and dissemination of sci- destinée au dépôt et à la diffusion de documents entific research documents, whether they are pub- scientifiques de niveau recherche, publiés ou non, lished or not. The documents may come from émanant des établissements d’enseignement et de teaching and research institutions in France or recherche français ou étrangers, des laboratoires abroad, or from public or private research centers. publics ou privés. Methodological and musicological investigation of the System & Contrast model for musical form description. Emmanuel Deruty, Frédéric Bimbot, Brigitte van Wymeersch. 6399 - N° 8510 September 2013. 0249 ISSN Project-Te am PANAMA. Methodological and musicological investigation of the System & Contrast model for musical form description. 2 Methodological and musicological investigation of the System & Contrast model for musical form description. 3 Methodological and musicological investigation of the System & Contrast model for musical form description. Emmanuel Deruty1, Frédéric Bimbot2, Brigitte van Wymeersch3 Project-Team PANAMA / Université Catholique de Louvain Research Report N° 8510 — September 2013 —118 pages. Genesis of the « System & Contrast » model originates from a series of collaborations between the author and the METISS/PANAMA research team at the D5 department of IRISA in Rennes, France, in the context of the QUAERO project.
    [Show full text]
  • UNOFFICIAL Hip-Hop Sticker Book FREE! I Am Only Looking for Your Email
    Download the UNOFFICIAL Hip-Hop Join the Readers Group and get the UNOFFICIAL Hip-Hop Sticker Book FREE! I am only looking for your email. You will receive emails with updates on new releases, exclusive images, original audio, and be eligible for free advance copies of se- ries books. You can opt out at any time. http://eepurl.com/cku-12 i Praise for Harris Rosen “This guy! I plead the fifth. This guy is nuts.” - Eminem “Dope questions, man. Very insightful, very thoughtful.” Guru (Gang Starr) “You like a Psychiatrist or some shit? This shit is just coming out but go ahead.” - Mary J. Blige “Definitely a real interview! Digging deep up in there, man. Not afraid to ask questions!” - K-CI Hailey (Jodeci) “The Wizard asked me for a copy of your magazine.” - Guy-Manuel de Homem-Christo (Daft Punk) “You didn’t wear your glasses and you haven’t carried your hearing aid. What else is wrong with you?” - Bushwick Bill “Peace and blessing, Brother Harris. Thank you for inspiring my words. Keep ‘yo balance.” - Erykah Badu “Can I see that pen?” - Bobby Brown “What else do you want to know? Talk to me.” - Aaliyah 2 My Archives are Deep! There are hundreds of exclusive interviews and images with dozens of books to follow. The Behind the Music Tales series has al- lowed me to share my extensive archive of exclu- sive interviews with you in much greater depth. Original Chef Raekwon Only Built For Buban Linx... die-cut promotional sticker Some of the upcoming series books are: Daft Punk: Behind the Robots The Reasonings of Buju Banton, Bounty Killer & Sizzla
    [Show full text]
  • Alan Evans - Nothing to Say ​
    Daringer - Baker's Dozen: Daringer ​ KEY SELLING POINTS - Daringer is the in-house producer for Griselda Records having produced a significant amount of the Westside Gunn and Conway catalog in addition to working with Roc Marciano, MF Doom, Termanology and others - “a master of the mournful soul loop” – Okayplayer - Rhythm Roulette Feature via Mass Appeal: https://www.youtube.com/watch?v=fmKLE RyDUFY DESCRIPTION The 11th installment in Fat Beats’ heralded instrumental series. Artist Daringer Title Baker's Dozen: Daringer “I’ve been developing the ear for composition since Catalog # l-BDZ011 my born day. My father is a jazz pianist, I grew up Label Fat Beats Records everyday listening to hours of his practicing solo Genre Hip-Hop/Instrumental improv. That’s why my sequences are often Barcode 680599101588 unconventional. Format LP + Flexi Disc Home Market Buffalo, NY I grew up surrounded by a family of musicians. That Release Date 6/7/19 had me listening to jazz, piano, horns, bass, and Cost $12.50 drums. The MPC became the most natural musical List Price $19.98 extension for me. The City of Buffalo provided the Allotments Will Be Necessary gritty, and ominous influence I became recognized for. TRACKLISTING I cooked this Baker’s Dozen as a token of 1. Entrance appreciation to all the artists who have inquired for 2. Afet the opportunity to rap over my music.” 3. Mente 4. Next Of Kin -DARINGER 5. Gold 97s 6. Bayonet 7. Oddball 8. Benzo’s 9. Omicidio 10. Oowop 11. Pistol Lake 12. April 13. Villa PROUDLY DISTRIBUTED BY FAT BEATS DISTRIBUTION | 8930 ETON AVE.
    [Show full text]
  • Schedule A: Aria Licensing - Copyright Owners
    SCHEDULE A: ARIA LICENSING - COPYRIGHT OWNERS BEGGARS GROUP MEDIA LIMITED www.beggars.com BINNABURRA FILM CO PTY LTD Address withheld BLACK MARKET MUSIC www.blackmarketmusic.com.au COLOSSAL RECORDS OF AUSTRALIA PTY LTD Address withheld COMPASS BROS RECORDS PTY LTD www.compassbros.com.au COOKING VINYL AUSTRALIA www.cookingvinylaustralia.com CREATE CONTROL PTY LTD www.create-control.com DEX AUDIO PTY LTD T/A NEW MARKET MUSIC www.newmarketmusic.com EMI MUSIC (AUSTRALIA) PTY LTD www.emimusic.com.au EXIST RECORDINGS www.existrecordings.com HEAD RECORDS* www.headrecords.com HEAVEN MUSIC AUSTRALIA PTY LTD Address withheld INERTIA PTY LTD www.inertia-music.com KOBALT MUSIC PUBLISHING www.kobaltmusic.com LEONIE MACPHERSON Address withheld LIBERATION MUSIC PTY LTD www.liberation.com.au LIOR ATTAR www.lior.com.au MIDNIGHT RECORDS PTY LTD Address withheld MODERN MUSIC PTY LTD www.modernmusic.com.au NLV Records www.nlvrecords.com. ORIGIN RECORDINGS PTY LTD www.originmusic.com.au PRO AGENCY GMBH www.pro-agency.net PUBLIC OPINION * Address withheld RED REBEL MUSIC www.redrebelmusic.com REGENCY MEDIA PTY LTD T/A SHOCK www.shockrecords.com.au ENTERTAINMENT* REMOTE CONTROL RECORDS PTY LTD www.remotecontrolrecords.com.au Updated December 2020 RUBBER MUSIC PTY LTD T/A RUBBER RECORDS www.rubberrecords.com RUFUS RECORDS www.rufusrecords.com.au SAMPLES 'N' SECONDS RECORDS PTY LTD www.gotye.com SONY MUSIC ENTERTAINMENT (AUSTRALIA) LTD www.sonymusic.com.au SOUNDPROOF AUSTRALIA PTY LTD Address withheld TRUSTEE FOR THE GEORGI FAMILY TRUST Address withheld TWO SHOES PTY LTD Address withheld UNDERCOVER MUSIC PTY LTD www.undercovermusic.com.au UNIFIED MUSIC GROUP PTY LTD www.unifiedmusicgroup.com UNIVERSAL MUSIC AUSTRALIA LIMITED www.umusic.com.au WARNER MUSIC AUSTRALIA PTY LTD www.warnermusic.com.au XELON www.xelonentertainment.com Updated December 2020 * Labels controlled by this Licensor are excluded from the grant of rights in relation to Music Videos (only sound recording rights are granted).
    [Show full text]
  • Methodological and Musicological Investigation of the System & Contrast Model for Musical Form Description Emmanuel Deruty, Fr´Ed´Ericbimbot, Brigitte Van Wymeersch
    Methodological and musicological investigation of the System & Contrast model for musical form description Emmanuel Deruty, Fr´ed´ericBimbot, Brigitte Van Wymeersch To cite this version: Emmanuel Deruty, Fr´ed´ericBimbot, Brigitte Van Wymeersch. Methodological and musico- logical investigation of the System & Contrast model for musical form description. [Research Report] RR-8510, INRIA. 2013, pp.117. <hal-00965914> HAL Id: hal-00965914 https://hal.inria.fr/hal-00965914 Submitted on 27 Mar 2014 HAL is a multi-disciplinary open access L'archive ouverte pluridisciplinaire HAL, est archive for the deposit and dissemination of sci- destin´eeau d´ep^otet `ala diffusion de documents entific research documents, whether they are pub- scientifiques de niveau recherche, publi´esou non, lished or not. The documents may come from ´emanant des ´etablissements d'enseignement et de teaching and research institutions in France or recherche fran¸caisou ´etrangers,des laboratoires abroad, or from public or private research centers. publics ou priv´es. Methodological and musicological investigation of the System & Contrast model for musical form description. Emmanuel Deruty, Frédéric Bimbot, Brigitte van Wymeersch. 6399 - N° 8510 September 2013. 0249 ISSN Project-Te am PANAMA. Methodological and musicological investigation of the System & Contrast model for musical form description. 2 Methodological and musicological investigation of the System & Contrast model for musical form description. 3 Methodological and musicological investigation of the System & Contrast model for musical form description. Emmanuel Deruty1, Frédéric Bimbot2, Brigitte van Wymeersch3 Project-Team PANAMA / Université Catholique de Louvain Research Report N° 8510 — September 2013 —118 pages. Genesis of the « System & Contrast » model originates from a series of collaborations between the author and the METISS/PANAMA research team at the D5 department of IRISA in Rennes, France, in the context of the QUAERO project.
    [Show full text]