rza birth of a prince torrent download Bronze Nazareth - Season of the Seven (2021) Artist : Bronze Nazareth Title : Season of the Seven Year Of Release : 2021 Label : Mello Music Group Genre : underground hip-hop Quality : FLAC (tracks) Total Time : 00:40:51 Total Size : 243 MB WebSite : Album Preview. Marisa Brown, Rovi. Tracklist: 01. Bronze Nazareth - Motown Connection (00:29) 02. Bronze Nazareth - God Aura (02:10) 03. Bronze Nazareth - Hand Count the Cake (03:06) 04. Bronze Nazareth - Tear Drops in the Sky (03:20) 05. Bronze Nazareth - Street Gospel (03:15) 06. Bronze Nazareth - Knew Legends (Skit) (00:36) 07. Bronze Nazareth - Silver Spear Promise (02:46) 08. Bronze Nazareth - Olympic Gold Medalists (03:06) 09. Bronze Nazareth - Find It in Him (Skit) (00:40) 10. Bronze Nazareth - Season of the Seven (03:45) 11. Bronze Nazareth - How Many Times (03:33) 12. Bronze Nazareth - Rivers in the Basement of Truth (04:00) 13. Bronze Nazareth - How We Roll (02:38) 14. Bronze Nazareth - Camouflage Dons (03:23) 15. Bronze Nazareth - The Grind (03:16) 16. Bronze Nazareth - Outro to Detroit (00:40) The Birth of a Prince. RZA's first full-blown "RZA as RZA" solo album is not The Cure, the long-promised masterpiece that has gathered a great deal of mystique throughout the years. Hampered by a valley that's thankfully cleaved by some considerable peaks, Birth of a Prince is instead a durable addition to the Wu-Tang legacy. By no means is it a masterpiece, and it's not even one of the best Wu-Tang solo albums -- but it has enough going for it to prevent most of the followers from losing interest. Following the all-but-completely unheard The World According to RZA -- an ambitious project featuring lyricists representing continents other than North America -- as well as arriving almost simultaneously with his contributions to the score of Quentin Tarantino's Kill Bill, Vol. 1 (beneath the CD cradle is an ad for the film, and the disc is kicked off by a reference to it), Birth of a Prince neither diminishes nor bolsters RZA's stature. Along with an ineffective middle patch, some of the guest appearances hold the record back. The Megahertz-produced "We Pop" serves up a vicious dose of zapping funk, but one of the worst verses in the history of hip-hop ("All y'all can see is the back of my jersey/Blowin' in the wind goin' back to Jersey/Off to Brooklyn, left ya back in Jersey/I was doin' a buck-90 like a throwback jersey"), delivered by an uncredited up-and-comer(?), kills the effect. The opening and closing thirds show RZA firing on nearly cylinder -- lyrically inspired, conceptually dense, sequentially tight. While many will no doubt see this as an unfocused record, those who take it on more of a song-by- song basis will value it as a respectable addition to RZA's body of work -- an addition with plenty to offer amid some weak tangents. Birth of a Prince. No pop artist has been more consistently disappointing in the past few years than the RZA. Granted, as the evil . No pop artist has been more consistently disappointing in the past few years than the RZA. Granted, as the evil genius behind some of the most inventive and unsettling hip-hop ever made, he's set the bar for rap producers to stratospheric heights-- it's a lot to live up to. But when he followed his early masterpieces with a long torrent of trifling, sluggish and insufferably narcissistic material, the fans started wondering: What the hell happened? The clearest explanation I've heard so far is that the RZA quite possibly went insane sometime around late '98, the year his superhero alter-ego Bobby Digital first appeared as the basis for a poorly conceptualized solo project. The decline since then has been painful to witness, like a careening school bus plummeting over a precipice with screaming children inside. When Enter the Wu-Tang: 36 Chambers appeared in '93, I was an instant, fanatical devotee. I felt like I'd found in the RZA a kindred spirit who shared my love of dark, angry beats, Kung-Fu films, 40s, and hos with equal zest and abandon. That I was a funny-looking white kid from the midwest made no difference. GZA's Liquid Swords , Raekwon's Only Built for Cuban Links , ODB's Return to the 36 Chambers ; for a couple of years the RZA could do no wrong. But inevitably, he started slipping. Though still a strong release, Wu-Tang Forever had its share of question marks ("Black Shampoo"?), and The Swarm , a collection of songs featuring rappers mostly outside of the original Enter nucleus, was mostly a disaster with a few bright spots. That, of course, was five years ago now, and by my count, seven albums. And though there have been glimpses of his early genius and visionary lyrical style since (particularly songs like "Lab Drunk" and "Brooklyn Babies" on the otherwise dire Bobby Digital albums), they've always seemed like the last dying gasps of a wounded giant. As if teasing us with the possibility of a dramatic rebirth, Birth of a Prince opens with a quiet, soulful sample of a woman singing, "It's a new dawn/ It's a new day/ It's a new life for me." If only this were an appropriate precursor to the album and not just wishful thinking. Still mired in the tired blaxploitation-era pathos of his most previous work, RZA adopts any number of interchangeable personas on the album-- from gun-toting revolutionary thug, to erudite religious humanist, to champion satisfier of female loins-- and sorting them all out quickly becomes tedious. In direct contrast to these workalike personalities, the music is schizophrenically uneven. Isaac Hayes-laden soul and funk riffs collide with 80s hip-hop minimalism and 60s R&B; crooning to create a fragmented, disorienting landscape of sound. Add to that the RZA's dated off-tempo drums, deranged keyboards and slurred rhymes, and you come up just short of a muddled catastrophe. "Fast Cars" offers a taste of the mind-numbing narcissism and affected gangsta banality to which the RZA has succumbed. Over a dull, relentless beat, scattershot horns and what sounds like a squeaky toy piano, he warns, "Gats burst off, thugs take their shirts off/ Five niggaz drop off before I got the verse off/ Pop go the glock, wipe the fucking smirk off." As the chorus demonstrates, this is also the most inane homage ever recorded: "We be ridin' fast cars/ Weed all in the glass jar/ Chrome on my crash bar." Even Ghostface can't help, as he recycles the same tired lines about Clark Wallabies, ice jewelry and brand new jeans we've heard since day one. Ol' Dirty Bastard appears on "We Pop", yet another song about shooting glocks (the RZA's last solo album, Digital Bullit , featured an almost identical one called "Glocko Pop"), but only sparingly on the chorus. It has the same bass-laden beats and floating electronic strings of a 50 Cent song, but with none of the playful wit on its sing-songy chorus, "We pop/ We brawl/ Get money to the day we fall/ My glock/ My four/ Go shot through your bedroom door." And it goes on like that. The 80s-infected "Bob 'N I" recalls the minimal old-school production of Audio Two and early Marley Marl, but serves mainly as a forum for the RZA's nifty rhyme couplings, like "cannon" and "Michael Landon," or "defrost 'em" and "proceed with caution/ You'll get your beans baked in Boston." Which means nothing. "A Day to God Is 1000 Years" is the RZA's obligatory per-album summing up of his confusing hodgepodge of pseudo-religious philosophies and political views. Over a deep soul sample, he raps, "Time couldn't end me/ Even the great devil Satan that tried to befriend me. / I face my worldly challenge/ In the scale of justice and my heart remains balanced and neutral/ My respect for all men is mutual." Sometimes when I'm listening to the RZA's lyrics a line from Spinal Tap pops into my head: "It's a thin line between clever and stupid." I wonder whether he could actually explain in non-illusory terms what, exactly, he believes in. The RZA, with so much experience under his belt and insane expectations from his audience, carries the hulking burden of his past awkwardly. But if nothing else-- and maybe this is denial, but-- Birth of a Prince , while a career low, doesn't feel like the last word. RZA has yet to bounce back from his post-Wu slump, but I have the distinct feeling that, sooner or later, he will. I just hope that when that time comes, I haven't completely lost interest. RZA: Birth of a Prince. Though he’s widely acknowledged as the musical mastermind behind the Wu-Tang Clan and is currently receiving acclaim for his soundtrack to Quentin Tarentino’s film Kill Bill , as a solo artist the RZA has been less reliable but just as mysterious, hiding behind his Bobby Digital alter ego. On the surface, his new album, Birth of a Prince , looks like an attempt to show the world who he really is. It’s the first album where he’s dropped the Bobby Digital moniker and is going simply as RZA. The front cover is a photo of him looking straight at us, his fingers at his temples. On the back cover he’s praying, eyes closed. And on the inside he’s resting his chin in his hand in a gesture of wisdom. When the album opens with a sample of what sounds like some obscure pop/jazz song, with a woman singing vaguely mystical lyrics about it being a new dawn, you’re thinking that RZA has come off his Kill Bill experience a new man, with a sound, varied and mature. And then he comes on the mic dropping an obvious freestyle, and a pretty awkward one at that: “proceed with caution, you get your bean baked in Boston”. And you realize the track’s called “Bob N’ I,” and he’s still referencing Bobby Digital. And then you read in the liner notes that RZA didn’t even produce the track, that like five of the other tracks it was produced by someone else (Choco in this case)… and your excitement about the album is quickly zapped away. RZA has always been a mess of contradictions. He’s a sex-and-guns-obsessed bad boy and a would-be Zen Master. He’s gifted at crafting the deepest, most soulful soundscapes you can imagine, but then half the time he sounds like he’s barely trying. On most of this album he doesn’t sound completely off his game, just uninspired, both as an MC and a producer. Several of the album’s early tracks are so-so freestyles awkwardly grafted onto beats (seriously, why in the world did he think that was a good idea?), and in other places he just sounds lazy. And the fact that such an innovative producer rhymes over other people’s beats on six of Birth of A Prince ‘s 16 tracks is alarming, but what’s worse is how pedestrian most of his own beats are. Many of them slip past you without making much of an impression at all. Once initial disappointments fade away, however, Birth of a Prince reveals itself to be not a wash, just a mixed bag. A few of the RZA-produced tracks show exactly why he’s as loved as he is. For example: “The Whistle” deftly puts a weird-ass whistling sound over a simple beat, to great effect; “Cherry Range” has a thick electro melody that sounds both hot and bizarre; and “Grits” has an old-time soul vibe that matches the childhood reminiscing RZA does on the track. And the two songs near the album’s end where RZA rhymes over tracks by Bronze Nazareth, “A Day to God Is 1,000 Years” and “The Birth”, strike exactly the right note of meditation and mystery. This is where the heart of Birth of a Prince lies, with RZA sliding from boast to prayer and back again, over R&B and jazz-flavored music that hits that same awe-inducing spot between roughness and thoughtfulness. Indeed, by the end of the album you realize that the rebirth referenced in the title didn’t happen until the last five tracks. At the start of “The Birth”, someone calls him “Bobby” and he corrects him: “My name is Prince Rakeem”. The fact that Prince Rakeem is the name he went by pre-Wu Tang makes it a riddle fitting for the RZA, who always seems like he’s out to make you scratch your head in confusion. Birth of a Prince starts with Bobby Digital rapping about cars and guns and girls and ends with Prince Rakeem meditating on infinity. In between you’re in some netherworld between those two personalities. There’s times in that middle section when RZA flirts with autobiography and introspection, but he never reveals more than fragments about his life. That’s to be expected for someone who always presents himself as containing multitudes. The album title promises the birth of a new RZA, but in the end we’re left with the same fragmented eccentric we’ve always known. During the album’s high points I count that as a good thing; when it’s at its dullest, I think otherwise. Producto Ilícito. 1 Ooh I Love You Rakeem 2 Ooh I Love You Rakeem (inst) 3 Deadly Venoms 4 Sexcapades (Dmd mix) 5 Sexcapades (Wu tang mix) 6 Sexcapades (Dmd radio mix) 7 Sexcapades (Dmd inst) 8 Sexcapades (Wu tang inst) RZA - Ghost Dog: The Way Of The Samurai (1999) 1. Ghost Dog Theme (with Dogs and EFX) 2. Opening Theme ("Raise Your Sword") [Instrumental] 3. Flying Birds 4. Samurai Theme 5. Gangsters Theme 6. Dead Birds 7. Fast Shadow [Version 1] - featuring Wu-Tang Clan 8. RZA #7 9. Funky Theme 10. RZA's Theme 11. Samurai Showdown ("Raise Your Sword") - featuring RZA 12. Ghost Dog Theme 13. Fast Shadow (version 2) - featuring Wu-Tang Clan 14. Untitled #8 15. Untitled #12 (Free Jazz) 16. Wu-World Order [Version 1] - featuring Wu-Tang Clan. 01 - Forest Whitaker - Samurai Code Quote #1 02 - Sunz of Man, 12 O'Clock & Blue Raspberry - Strange Eyes 03 - North Star (featuring The RZA) - 4 Sho Sho 04 - Black Knights - ZIP Code 05 - Forest Whitaker - Samurai Code Quote #2 06 - Kool G Rap (featuring The RZA) - Cakes 07 - Forest Whitaker - Samurai Code Quote #3 08 - Suga Bang Bang - Don't Test,Wu Stallion 09 - Tekitha - Walking Through the Darkness 10 - Masta Killah & Superb - The Man 11 - Forest Whitaker - Samurai Code Quote #4 12 - Royal Fam & La The Darkman - Walk the Dogs 13 - Melodie & 12 O'Clock - Stay with Me 14 - Jeru & Afu Ra - East New York Stamp 15 - Forest Whitaker - Samurai Code Quote #5 16 - Wu-Tang Clan - Fast Shadow 17 - Forest Whitaker - Samurai Code Quote #6 18 - The RZA - Samurai Showdown 19 - Forest Whitaker - Samurai Code Final Quote #7. RZA - Afro Samurai The Soundtrack (2007) 1. Afro Theme 2. Afro Intro (instrumental) 3. Certified Samurai (feat. Talib Kweli, Lil Free & Suga Bang) 4. Just A Lil Dude "Who Dat Ovah There" (feat. Q-Tip & Free Murder) 5. Afro's Father Fight (instrumental) 6. Oh (Stone Meccah) 7. The Walk (Stone Meccah) 8. Bazooka Fight (inst. i) 9. Who is tha man (feat. The Reverend William Burk) 10. Ninjaman (instrumental) 11. Cameo Afro (feat. Big Daddy Kane, GZA & Suga Bang) 12. Tears of a Samurai (instrumental) 13. Take Sword Pt. I (feat. Beretta9) 14. The Empty 7 Theme (instrumental) 15. Baby (feat. Maurice) 16. Take Sword Pt. II (feat. 60 seconds & true master) 17. Bazooka Fight (instrumental II) 18. Fury in my Eyes / Revenge (feat. Thea) 19. Afro Samurai Theme (First Movement) (instrumental) 20. Afro Samurai Theme (Second Movement) (instrumental) 21. Insomnia (feat. Jay Love) 22. So Fly (feat. Division) 23. We All We Got (feat. Black Knights) 24. Glorious Day (feat. Dexter Wiggles) 25. Series Outro (instrumental) RZA - Only One Place To Get It EP (2014) 01. Makin Moves feat. Rockie Fresh 02. Doctor feat. Tinashe 03. Cruisin feat. RAC 04. Egotist Enlightenment feat. Robert DeLong. RZA & Howard Drossin - The Man With The Iron Fists 2 (2015) 01. The Golden Nectar 02. Reclaim Chi 03. How This Will End 04. Fight With Honor 05. Gaze on Your Boots 06. Hate This Hole 07. Take It Up With The Mayor 08. Fight Chu 09. Thaddeus Drifts In 10. Innocence 11. Thaddeus Flashback 12. Saved My Life 13. The Delfonics – Enemies 14. Another Dead Miner 15. Something for Tomorrow Night 16. Liberate Us 17. Kung Fights 18. Zack Hemsey – Teachings Of A Ronin 19. Reign of Terror 20. Thea Van Seijen – Baby Boy 21. We Fight 22. Kung Fights Ho 23. Stock and Chains 24. I’ll Make Your Weapons 25. You Will Be Mine 26. The Aftermath 27. Thea Van Seijen – Fight for You. Banks & Steelz - Anything But Words (2016) 01. Giant 02. Ana Electronic 03. Sword In The Stone (feat. Kool Keith) 04. Speedway Sonora 05. Wild Season (feat. Florence Welch) 06. Anything But Words 07. Conceal 08. Love And War (feat. Ghostface Killah) 09. Can't Hardly Feel 10. One By One 11. Gonna Make It 12. Point Of View (feat. Method Man & Masta Killa)