BIG DADDY KANE Long Live the Kane

Total Page:16

File Type:pdf, Size:1020Kb

BIG DADDY KANE Long Live the Kane BIG DADDY KANE Long Live The Kane KEY SELLING POINTS • The Source Magazine ranked this project as one of the 1000 Greatest Albums in Hip Hop • The album was certified gold in the year of its release and serves as one of the two projects from Big Daddy Kane that has sold over 500,000 copies • The album will be pressed onto 180 gram purple and black split colored vinyl DESCRIPTION ARTIST: Big Daddy Kane Originally released back in 1988 on Cold Chillin’ Records, Big Daddy TITLE: Long Live The Kane Kane’s debut LP ‘Long Live The Kane’ dropped during the height of what CATALOG: l-OMINC010 is now regarded as the golden age of hip hop. Combining simplistic beats, drawing on elements of funk, and Kane’s sharp wordplay, the LABEL: Omerta Inc. album cemented both Kane & the Juice Crew’s place in Hip Hop history; GENRE: Hip-Hop-Rap and with ‘Ain’t No Half Steppin’ it featured one of THE seminal singles of BARCODE: 82765062164 the genre. FORMAT: LP Black/Purple Split Colored Vinyl Without doubt one of the most influential East Coast rappers to ever HOME MARKET: New York City do it, paving the way for the likes of Nas, Big L, AZ & Notorious B.I.G RELEASE: 8/25/2017 amongst others. Nas even ranks ‘Long Live the Kane’ as one of his top LIST PRICE: $25.98 / FA 25 albums ever. Omerta Inc. will be bringing the album to its intended format for the first TRACKLISTING time since 1988. Remastered specifically for vinyl release, this will be the best the record has ever sounded. 1. Long Live the Kane “Kane’s debut album, Long Live the Kane, stands as a perfect example 2. Raw (remix) of what made the Juice Crew so highly revered. Simple, spare, mostly- 3. Set It Off James-Brown-based break beats that leave plenty of room for Kane rev up and deliver his lightning-tongued battle raps.” - Complex, #9 Best Old 4. The Day You’re Mine School Rap Records 5. On The Bugged Tip 6. Ain’t No Half Steppin’ “This album can be credited as one of the most influential LPs of the golden age of Hip Hop. Nas, Pete Rock, AZ, Gang Starr, RZA, Biggie 7. I’ll Take You There Smalls, and MF DOOM are among some of the acclaimed artists who 8. Just Rhymin’ With Biz have made directed references to either this album or Big Daddy Kane in general throughout their music. In 1998, The Source Magazine ranked 9. Mister Cee’s Master Plan this project as one of the 1000 Greatest Albums in Hip Hop. The album 10. Word to the Mother (Land) was certified gold in the year of its release and serves as one of the two projects from Big Daddy Kane that has sold over 500,000 copies.” - The Source “Considered one of the most significant cuts of the “Golden Era,” a time period spanning from the 1980s to 1990s where hip-hop was said to be at its best.” – XXL Magazine “I’m a big time fan of Big Daddy Kane. ‘Ain’t No Half Steppin’’ and ‘Raw’ are great songs.” - Nas PROUDLY DISTRIBUTED BY FAT BEATS DISTRIBUTION | 8920 ETON AVE. CANOGA PARK, CA 91304 | DISTRIBUTION.FATBEATS.COM.
Recommended publications
  • Investigating Hip-Hop's Emergence in the Spaces of Late Capitalism
    W&M ScholarWorks Dissertations, Theses, and Masters Projects Theses, Dissertations, & Master Projects 2008 Re-Taking it to the Streets: Investigating Hip-Hop's Emergence in the Spaces of Late Capitalism Kevin Waide Kosanovich College of William & Mary - Arts & Sciences Follow this and additional works at: https://scholarworks.wm.edu/etd Part of the African American Studies Commons, American Studies Commons, and the Music Commons Recommended Citation Kosanovich, Kevin Waide, "Re-Taking it to the Streets: Investigating Hip-Hop's Emergence in the Spaces of Late Capitalism" (2008). Dissertations, Theses, and Masters Projects. Paper 1539626547. https://dx.doi.org/doi:10.21220/s2-zyvx-b686 This Thesis is brought to you for free and open access by the Theses, Dissertations, & Master Projects at W&M ScholarWorks. It has been accepted for inclusion in Dissertations, Theses, and Masters Projects by an authorized administrator of W&M ScholarWorks. For more information, please contact [email protected]. Re-Taking it to the Streets: Investigating Hip-Hop’s Emergence in the Spaces of Late Capitalism Kevin Waide Kosanovich Saginaw, Michigan Bachelor of Arts, University of Michigan, 2003 A Thesis presented to the Graduate Faculty of the College of William and Mary in Candidacy for the Degree of Master of Arts American Studies Program The College of William and Mary August, 2008 APPROVAL PAGE This Thesis is submitted in partial fulfillment of the requirements for the degree of Master of Arts aide KosanovichKej Approved,by the Committee, May, 2008 imittee Chair Associate Pro rn, The College of William & Mary Associate Professor A lege of William & Mary Assistant P ressor John Gamber, The College of William & Mary ABSTRACT PAGE Much of the scholarship focusing on rap and hip-hop argues that these cultural forms represent instances of African American cultural resistance.
    [Show full text]
  • The Life & Rhymes of Jay-Z, an Historical Biography
    ABSTRACT Title of Dissertation: THE LIFE & RHYMES OF JAY-Z, AN HISTORICAL BIOGRAPHY: 1969-2004 Omékongo Dibinga, Doctor of Philosophy, 2015 Dissertation directed by: Dr. Barbara Finkelstein, Professor Emerita, University of Maryland College of Education. Department of Teaching and Learning, Policy and Leadership. The purpose of this dissertation is to explore the life and ideas of Jay-Z. It is an effort to illuminate the ways in which he managed the vicissitudes of life as they were inscribed in the political, economic cultural, social contexts and message systems of the worlds which he inhabited: the social ideas of class struggle, the fact of black youth disempowerment, educational disenfranchisement, entrepreneurial possibility, and the struggle of families to buffer their children from the horrors of life on the streets. Jay-Z was born into a society in flux in 1969. By the time Jay-Z reached his 20s, he saw the art form he came to love at the age of 9—hip hop— become a vehicle for upward mobility and the acquisition of great wealth through the sale of multiplatinum albums, massive record deal signings, and the omnipresence of hip-hop culture on radio and television. In short, Jay-Z lived at a time where, if he could survive his turbulent environment, he could take advantage of new terrains of possibility. This dissertation seeks to shed light on the life and development of Jay-Z during a time of great challenge and change in America and beyond. THE LIFE & RHYMES OF JAY-Z, AN HISTORICAL BIOGRAPHY: 1969-2004 An historical biography: 1969-2004 by Omékongo Dibinga Dissertation submitted to the Faculty of the Graduate School of the University of Maryland, College Park, in partial fulfillment of the requirements for the degree of Doctor of Philosophy 2015 Advisory Committee: Professor Barbara Finkelstein, Chair Professor Steve Klees Professor Robert Croninger Professor Derrick Alridge Professor Hoda Mahmoudi © Copyright by Omékongo Dibinga 2015 Acknowledgments I would first like to thank God for making life possible and bringing me to this point in my life.
    [Show full text]
  • Big Daddy Kane It's Hard Being the Kane Mp3, Flac, Wma
    Big Daddy Kane It's Hard Being The Kane mp3, flac, wma DOWNLOAD LINKS (Clickable) Genre: Hip hop Album: It's Hard Being The Kane Country: UK Released: 1990 MP3 version RAR size: 1796 mb FLAC version RAR size: 1116 mb WMA version RAR size: 1379 mb Rating: 4.2 Votes: 256 Other Formats: DMF VOC AC3 AHX AU MIDI MP3 Tracklist A1 It's Hard Being The Kane (12" Version) B1 It's Hard Being The Kane (Powerlab Mix) B2 It's Hard Being The Kane (Quakerlab Mix) Other versions Category Artist Title (Format) Label Category Country Year It's Hard Being Big Daddy 9 21774-2 The Kane (CD, Cold Chillin' 9 21774-2 US 1991 Kane Maxi) It's Hard Being Big Daddy 0-21774 The Kane (12", Cold Chillin' 0-21774 US 1991 Kane Maxi) It's Hard Being Cold 9 19536-4, Big Daddy 9 19536-4, The Kane (Cass, Chillin', US 1991 4-19536 Kane 4-19536 Single) Cold Chillin' Big Daddy Hard Being The PRO-A-4506 Cold Chillin' PRO-A-4506 US Unknown Kane Kane (12", TP) Cold It's Hard Being Big Daddy Chillin', PRO-CD-4897 The Kane (CD, PRO-CD-4897 US 1990 Kane Reprise Single, Promo) Records Related Music albums to It's Hard Being The Kane by Big Daddy Kane Big Daddy Kane - Wrath Of Kane Big Daddy Kane - Ain't No Stoppin' Us Now Kieran Kane - Kieran Kane Big Daddy Kane - It's A Big Daddy Thing Big Daddy Kane - Smooth Operator / Warm It Up Kane Big Daddy Kane vs.
    [Show full text]
  • Hood, My Street: Ghetto Spaces in American Hip-Hop Music
    Pobrane z czasopisma New Horizons in English Studies http://newhorizons.umcs.pl Data: 22/08/2019 20:22:20 New Horizons in English Studies 2/2017 CULTURE & MEDIA • Lidia Kniaź Maria Curie-SkłodowSka univerSity (uMCS) in LubLin [email protected] My City, My ‘Hood, My Street: Ghetto Spaces in American Hip-Hop Music Abstract: As a subculture created by black and Latino men and women in the late 1970s in the United States, hip-hop from the very beginning was closely related to urban environment. Undoubtedly, space has various functions in hip-hop music, among which its potential to express the group identity seems to be of the utmost importance. The goal of this paper is to examine selected rap lyrics which are rooted in the urban landscape: “N.Y. State of Mind” by Nas, “H.O.O.D” by Masta Ace, and “Street Struck,” in order to elaborate on the significance of space in hip-hop music. Interestingly, spaces such as the city as a whole, a neighborhood, and a particular street or even block which are referred to in the rap lyrics mentioned above express oneUMCS and the same broader category of urban environment, thus, words con- nected to urban spaces are often employed interchangeably. Keywords: hip-hop, space, urbanscape. Music has always been deeply rooted in everyday life of African American commu- nities, and from the very beginning it has been connected with certain spaces. If one takes into account slave songs chanted in the fields (often considered the first examples of rapping), or Jazz Era during which most blacks no longer worked on the plantations but in big cities, it seems that music and place were not only inseparable but also nat- urally harmonized.
    [Show full text]
  • A Hip-Hop Copying Paradigm for All of Us
    Pace University DigitalCommons@Pace Pace Law Faculty Publications School of Law 2011 No Bitin’ Allowed: A Hip-Hop Copying Paradigm for All of Us Horace E. Anderson Jr. Elisabeth Haub School of Law at Pace University Follow this and additional works at: https://digitalcommons.pace.edu/lawfaculty Part of the Entertainment, Arts, and Sports Law Commons, and the Intellectual Property Law Commons Recommended Citation Horace E. Anderson, Jr., No Bitin’ Allowed: A Hip-Hop Copying Paradigm for All of Us, 20 Tex. Intell. Prop. L.J. 115 (2011), http://digitalcommons.pace.edu/lawfaculty/818/. This Article is brought to you for free and open access by the School of Law at DigitalCommons@Pace. It has been accepted for inclusion in Pace Law Faculty Publications by an authorized administrator of DigitalCommons@Pace. For more information, please contact [email protected]. No Bitin' Allowed: A Hip-Hop Copying Paradigm for All of Us Horace E. Anderson, Jr: I. History and Purpose of Copyright Act's Regulation of Copying ..................................................................................... 119 II. Impact of Technology ................................................................... 126 A. The Act of Copying and Attitudes Toward Copying ........... 126 B. Suggestions from the Literature for Bridging the Gap ......... 127 III. Potential Influence of Norms-Based Approaches to Regulation of Copying ................................................................. 129 IV. The Hip-Hop Imitation Paradigm ...............................................
    [Show full text]
  • Eminem 1 Eminem
    Eminem 1 Eminem Eminem Eminem performing live at the DJ Hero Party in Los Angeles, June 1, 2009 Background information Birth name Marshall Bruce Mathers III Born October 17, 1972 Saint Joseph, Missouri, U.S. Origin Warren, Michigan, U.S. Genres Hip hop Occupations Rapper Record producer Actor Songwriter Years active 1995–present Labels Interscope, Aftermath Associated acts Dr. Dre, D12, Royce da 5'9", 50 Cent, Obie Trice Website [www.eminem.com www.eminem.com] Marshall Bruce Mathers III (born October 17, 1972),[1] better known by his stage name Eminem, is an American rapper, record producer, and actor. Eminem quickly gained popularity in 1999 with his major-label debut album, The Slim Shady LP, which won a Grammy Award for Best Rap Album. The following album, The Marshall Mathers LP, became the fastest-selling solo album in United States history.[2] It brought Eminem increased popularity, including his own record label, Shady Records, and brought his group project, D12, to mainstream recognition. The Marshall Mathers LP and his third album, The Eminem Show, also won Grammy Awards, making Eminem the first artist to win Best Rap Album for three consecutive LPs. He then won the award again in 2010 for his album Relapse and in 2011 for his album Recovery, giving him a total of 13 Grammys in his career. In 2003, he won the Academy Award for Best Original Song for "Lose Yourself" from the film, 8 Mile, in which he also played the lead. "Lose Yourself" would go on to become the longest running No. 1 hip hop single.[3] Eminem then went on hiatus after touring in 2005.
    [Show full text]
  • Hip-Hop Timeline 1973 – Kool Herc Deejays His First Party in the Bronx
    Hip-hop Timeline ➢ 1973 – Kool Herc deejays his first party in the Bronx, where his blending of breaks is first exhibited. The break dancers in attendance began to discover their style and form. ➢ 1975 – Grandmaster Flash begins the early forms of Turntabilism by blending and mixing, while Grandwizard Theodore invents what we now know as scratching. The first Emcee crews are formed. ➢ 1979 – The Sugarhill Gang, under the guidance of record label owner and former vocalist Sylvia Robinson, release Rapper’s Delight, the first commercially recognized rap song. *There is much debate over the first recorded rap song, but it’s widely believed to have been done sometime in 1977 or 1978. ➢ 1980 – Kurtis Blow releases the first best selling hip-hop album, The Breaks, and becomes the first star in hip-hop music. ➢ 1983 – Herbie Hancock, in collaboration with pioneer DeeJay GrandMixer DST (now known as GrandMixer DXT), creates the Grammy Award-winning song Rockit, which is the first time the public ever hears a DeeJay scratching on record. Pioneer hip-hop duo Run DMC releases their first single Sucker Emcee’s. ➢ 1988 – This year is considered the first golden year in hip-hop music with releases such as Public Enemy’s It Takes A Nation of Millions to Hold Us Back, Big Daddy Kane’s Long Live The Kane, Slick Rick’s The Great Adventures of Slick Rick, Boogie Down Production’s By All Means Necessary, Eric B And Rakim’s Follow the Leader and the first highly regarded non-New York hip-hop record, N.W.A.’s Straight Outta Compton.
    [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]
  • Engl 350: History of Hip-Hop Supplemental Syllabus
    ENGL 350: HISTORY OF HIP-HOP SUPPLEMENTAL SYLLABUS WEEK V: MONDAY: FROM OLD SCHOOL TO NEW SCHOOL. Listenings: Afrika Bambaataaa, “Looking for the Perfect Beat”; Ice-T, “6 IN THE MORNING”; LL COOL J, “Rock the Bells”; Public Enemy, “Rebel Without a Pause”; Beastie Boys, “Rhymin’ and Stealin’”; NWA, “Fuck Tha Police”; Ice Cube and Yo Yo, “It’s a Man’s World”; Marly Marl & the Juice Crew, “The Bridge”; BDP, “The Bridge is Over”; Big Daddy Kane, “RAW”; Biz Markie, “Make that Music With Your Mouth”; MC Choice, “The Big Payback.” READINGS: THE BOOK OF RHYMES. Readings: Adam Bradley, The Book of Rhymes, “Rap Poetry 101” and chapters 1-3 (“Rhythm,” “Rhyme,” and “Wordplay”). WEEK V: WEDNESDAY: THE POLITICS OF HIP-HOP Listenings: Ice-T, “Pule of the Rhyme Flow”; BDP, “Necessary”; Public Enemy, “Welcome to the Terrordome”; Queen Latifah and Monie Love,”Ladies First”; Ice Cube, “I Wanna Kill Sam.” Readings: David Samuels, “The Rap on Rap: The Black Music that Isn’t Either”; Davarian Baldwin, “Black Empires, White Desires” (TTJ); Russell Potter, Spectacular Vernaculars Chapter two, “THE PULSE OF THE RHYME FLOW: HIP-HOP SIGNIFYIN(G) AND THE POLITICS OF RECEPTION” (available via course blog). WEEK VI: WEDNESDAY: THE FUTURE OF HIP-HOP. Listenings: Ornette Coleman, “Search for Life”; Guru with Donald Byrd, “Loungin’”; The X-ecutioners, “Word Play”; DJ Spooky with Antonin Artuad and the Nuuk Posse; Nas, “Hip-Hop is Dead”; MC Solaar, “Nouveau Western.” Readings: Eric K. Watts, “an Exploration of Spectacular Consumption” (TTJ)’ Mark Anthony Neal, “Postindustrial Soul: Black Popular Music at the Crossroads” (TTJ)’ Russell Potter, Spectacular Vernaculars Chapter 4: “HIP-HOP AND THE QUESTION OF RESISTANCE” (Available via Course Blog).
    [Show full text]
  • Big Daddy Kane Cause I Can Do It Right Mp3, Flac, Wma
    Big Daddy Kane Cause I Can Do It Right mp3, flac, wma DOWNLOAD LINKS (Clickable) Genre: Hip hop Album: Cause I Can Do It Right Country: US Released: 1990 MP3 version RAR size: 1463 mb FLAC version RAR size: 1882 mb WMA version RAR size: 1120 mb Rating: 4.5 Votes: 647 Other Formats: VQF DXD WMA AIFF DTS MP4 VOC Tracklist Hide Credits Cause I Can Do It Right (Album Version) A1 4:10 Vocals [Vocal Appearance By] – Tuffy A2 Cause I Can Do It Right (Instrumental) 4:10 B1 Dance With The Devil (Album Version) 4:12 B2 Dance With The Devil (Instrumental) 4:12 Companies, etc. Manufactured By – Reprise Records Distributed By – Reprise Records Phonographic Copyright (p) – Reprise Records Copyright (c) – Reprise Records Recorded At – Libra Digital Sound Mixed At – The Hit Factory – A1, A2 Mixed At – Power Play Studios – B1, B2 Published By – AZ Publishing Inc. Published By – Cold Chillin' Music Publishing Credits A&R – Karen Jones Coordinator – Dee Joseph Garner Engineer [Mix] – Everett Ramos (tracks: B1, B2), Lee Anthony (tracks: A1, A2), Tom Fritze (tracks: A1, A2) Engineer [Recording] – Tony Aliprantis, Tony Papamichael Executive-Producer – Benny Medina, Big Daddy Kane, Tyrone Williams Mixed By – Big Daddy Kane (tracks: A1, A2), Cool V (tracks: B1, B2) Photography By, Design – George Du Bose* Producer – Big Daddy Kane (tracks: A1, A2), Cool V (tracks: B1, B2) Written-By – Big Daddy Kane Notes Admin. by: WB Music Corp. ASCAP From the Cold Chillin' / Reprise album "Taste Of Chocolate". Barcode and Other Identifiers Barcode: 0 7599-21763-4 7 Barcode
    [Show full text]
  • Big Daddy Kane Raw / Word to the Mother (Land) Mp3, Flac, Wma
    Big Daddy Kane Raw / Word To The Mother (Land) mp3, flac, wma DOWNLOAD LINKS (Clickable) Genre: Hip hop Album: Raw / Word To The Mother (Land) Country: US Released: 1987 Style: Hip Hop MP3 version RAR size: 1681 mb FLAC version RAR size: 1103 mb WMA version RAR size: 1828 mb Rating: 4.4 Votes: 803 Other Formats: WAV VOC VQF XM MMF WMA RA Tracklist Hide Credits Raw A1 4:07 Written-By – Antonio Hardy, Marlon Williams Word To The Mother (Land) A2 1:50 Written-By – Antonio Hardy Raw (DubApella) B 6:50 Written-By – Antonio Hardy, Marlon Williams Companies, etc. Phonographic Copyright (p) – Prism Records, Inc. Copyright (c) – Prism Records, Inc. Mastered At – Frankford/Wayne Mastering Labs Published By – Flake Music Publishing Published By – Marley Marl Intl Credits Lacquer Cut By – Herbie Jr* Mastered By – Herb Powers, Jr.* Producer, Mixed By – Marley Marl Notes Mastered at Frankford Wayne Published by Flake Music Publ. (ASCAP)/Marley Marl Intl. (ASCAP) (P)&(C) 1987 Prism Records, Inc. Barcode and Other Identifiers Matrix / Runout (Runout side A, etched): PS-2016- A HERbIE JR :v) Matrix / Runout (Runout side B, etched): PS- 2016-B HERbIE JR :v) Rights Society: ASCAP Other versions Category Artist Title (Format) Label Category Country Year Big Daddy Raw / Word To The Mother W 7953 (T) Cold Chillin' W 7953 (T) UK 1987 Kane (Land) (12") Big Daddy Raw / Word To The Mother W 7953 Cold Chillin' W 7953 UK 1988 Kane (Land) (7") Big Daddy Raw / Word To The Mother 7-27953 Cold Chillin' 7-27953 US 1988 Kane (Land) (7", Single) Big Daddy Raw / Word To The Mother PS 2016 Prism PS 2016 US 1987 Kane (Land) (12", Promo) Big Daddy 9 20885-0 Raw (12") Cold Chillin' 9 20885-0 US 1987 Kane Comments about Raw / Word To The Mother (Land) - Big Daddy Kane Fiarynara This would go well with Percee p - lung collaping lyrics.
    [Show full text]
  • He's Been Fighting for His Career for Near Fifteen Years. Never Afraid of Change, He's Sticking and Moving and Going For
    ! Ü HE’S BEEN FIGHTING FOR HIS CAREER FOR NEAR FIFTEEN YEARS. NEVER AFRAID OF CHANGE, HE’S STICKING AND MOVING " AND GOING FOR HIS. BUT TIME WEARS HARD ON THE BOOGIE DOWN STREETS. HAS HAD HIS HITS, BUT HE’S TAKEN SOME, TOO. SALTER S JEFFERY // IMAGE GOLIANOPOULOS THOMAS WORDS Ü " ! XXL MAGAZINE 000 ! Ü " " t’s seven o’clock in the evening, album past 500,000 in sales, earning him his and recent audience-expanding cameos with and Fat Joe needs a designated first gold plaque. Three years later, in 2001, Jennifer Lopez, Paris Hilton and Ricky Martin, driver. The 36-year-old rapper isn’t when Murder Inc. was dominating hip-hop he J.O.S.E. remains his only platinum record. inebriated, but he drives like Ricky released “What’s Luv?” a frothy Irv Gotti pro- Joe is well aware of his SoundScan struggles. Bobby after one too many Miller duction that propelled Jealous Ones Still Envy “The strangest thing in the whole universe,” Lites. He breaks too suddenly, ac- to platinum status. Today, the South runs hip- he says, “is Fat Joe being a household name, celerates too carelessly and nearly hop, and, of course, Fat Joe has noticed. making the biggest hit records in the history of crashes too often. He’s also eas- “Joe’s good at reading the future,” says mankind, and not selling that many records. It ily distracted by the radio (Nelly Miami-based DJ Khaled, who’s known him for will be reevaluated years from now.” Furtado’s “Promiscuous” brings more than 10 years.
    [Show full text]