Unbought and unbiased music review #1

Here is a first in a series of reviews of underground hip hop from around the world. But what makes these reviews different from any that you would see in a magazine is that they are from the perspective of a hip hop consumer and music lover. Unlike most reviewers, record labels, producers and/or artists do not have me in their pockets so my opinions are unbiased. If it’s good, it gets the peace sign, and if it’s not, it gets the finger. With that said. On with the show.



Small Professor - Slowbus.

Many people say that hip hop has become over saturated and stagnant while simultaneously ignoring the underground. Enter Small Professor from Philadelphia. Just like a lot of music from Detroit, I have also been a big supporter of the music from Philly. From The old school Philly soul of Teddy P, the O’Jays and Jean Carne, to the Neo-Soul of Jill Scott to the organic hip hop of the Roots and everything in between. Small Pro is poised to become another chapter in those history books. Influenced by the late J Dilla (and by influenced, I don’t mean a blatant rip off) and Large Professor (hence the name), Slowbus goes hard with 13 tracks of straight heat. No corny synth riffs, no dumb ass dance moves and no incessant “yeahs”, “whats”, grunts or any other hip hop cliches. Just dope ass beats. The main head nodders are “John Henry”, “Winter Leaves pt. 0" and “December 6"...but those are just my favorites. I strongly recommend you cop this album as there is something you will dig. So it gets an emphatic peace sign from me.

Small Professor - Slowbus is available at:

Amazon.com
Beatsource.com
junodownload.com
and iTunes

and you can visit his myspace page : http://www.myspace.com/smallprofessor

Motor City Blues

I grew up in a family full of auto workers. My grandfather was among the thousands who migrated up north for a job with Ford. I also had 2 uncles that worked for Ford, another uncle that worked for Chrysler, and I myself worked for GM. So the financial crisis with the big 3 hits home. But the big 3 only have themselves to blame. Being that I am from an automotive family...Suggesting that I drive a foreign car is analogouss of disrespecting your parents. You just don’t do it and not expect an ass whoopin’. I am somewhat loyal to the big 3, as is a lot of the old school auto workers that came up in my parents and grandparents’ generations as well as a lot of good old fashioned Detroit muscle. And before I drive a Nissan, Toyota, Mitsubishi or Honda, I’d rather not have a car at all. With that being said, The big 3 hasn’t been very loyal to us over the last few years. They didn’t understand that everyone does not want an SUV with gas prices as unpredictable as they are. They don’t understand that not everyone can afford a decent GM vehicle unless you are a rapper signed with a major label, a pimp or a drug dealer. Ford makes shitty cars, and no one wants to keep taking their Ford whatever to the shop because of another recall, and Chrysler products are just butt ugly to begin with in addition to being prone to recalls. So what happens? People stop buying them. And before you UAW members start with your amens and hallelujahs, you all have a lot to do with the automotive crisis as well. You already make a decent living and have decent benefits but your wanting more has placed a tremendous burden on the industry by way of astronomical labor costs and simultaneously cock-blocking those who are willing to work for half. And because of it, the entire US economy which largely depends on the auto industry will be fucked (and guess what city will be hit the hardest). In a way I hope that the government bails out the big 3 but in another way I hope they don’t. I saw first hand how an economy that depends on the auto industry can be devastated when Chrysler left Highland Park back in the early 90s, and it wasn’t pretty. I don’t even WANT to think about if it were to happen to the entire state or the entire country. But on the other hand if they do get the bailout money, will they really get their shit together? Or will they be back a year later trying to hit us taxpayers up for more money to pay for their fuck-ups.

Where’s the outrage (pt. 2)

I’m back and I have to get on the hip hop bashers (read: hypocrites) once again. I mean the ones who claim that hip hop is a 21st century minstrel show, playing on negative stereotypes. Again I have to ask the question: Why are rappers condemned to be minstrels or “coons” but black comedians get a pass. Now I will admit part of this rant is because with the exception of the late George Carlin, I’m not a fan comedians of any race, but I especially loathe black comedians. Why? Well first of all there’s nothing funny about racism. It wasn’t funny when the guy from Seinfeld made jokes about black people, or the fat Italian woman (whose name escapes me at this moment) who makes jokes about black men and it’s not funny when Chris Rock or any other black comedian makes jokes about white people. But my main beef is how these Step and fetchit wanna-bes get on T.V. and set us back to the Amos and Andy era. What’s worse is people are so caught up in bashing hip hop that they don’t see it. Everyone and their mother wants to denounce hip hop and yet are literally splitting their sides laughing at black comedians who perpetuate worse stereotypes than any rapper (gangsta or otherwise) would ever do. No, hip hop is not perfect by a longshot. However like I said last time, if you are going to get on one, then get on the other too.

Where are they now? Detroit hip hop edition.

As I sit here, musically reminiscing about the good old days, there are some artists that stick out in my mind, and I wonder what they are up to these days. Their cassette tapes and CDs are long out of print and stubbornly hard to find. Some had their careers cut short by the legal system, while the majority of the others have just seemed to drop off the face of the earth. While some of these names may be unfamiliar to some and others are just not checking for them, personally I still wonder where are they now.

• Suspect Establishment: They made one of my all time favorite hip hop joints “Through the cracks of my blindfold” back in 1997, when they called then mayor Dennis Archer on his bullshit and ripped him a new asshole on his corruption and neglect of the city’s neighborhoods.

• Schoolyard Bully: He had a dope cut about his hood “12000 Block of Roselawn” that was pure dopeness.

• Snake Pletzkins: In 1993 he debuted with his first tape “We got a bone to pick 666" Featuring Bitches off 6 (6 mile) was produced by Detroit hip hop pioneer Doc Chill. While every track was fish grease, my personal favorite was the title track which in my opinion is the quintessential posse cut up there with “the symphony”(yeah, I said it) . Damn shame people slept on it though. To paraphrase biggie: “I let the tape rock til the tape popped”: Literally. And ain’t been able to find another one since.

• Rap Mafia: One of the first Detroit hip hop artists to get play on the radio, their single “The underworld” as well as “Assassination of a Kingpin” were fixtures on video jukebox (channel 41, back when Comcast cable was then known as Barden cablevision) in the early 90s. These boys were poised to put Detroit on the hip hop map until their career was cut short by federal charges of money laundering and they haven’t been heard from since 1991. Ironically this only generated more buzz about the group.

• Detroit Boxx: Affiliated with Detroit’s Most Wanted and their clique APB, Boxx and his lead-off single “Spin to the Grooveline” as well as his follow up single “R U with it?” Made big noise throughout the D in 1990 and ‘91 respectively. Then like so many others, just dropped off.

Needless to say I’m also looking for these artists’ music also, so if you have a copy get at me at mista.ecks@gmail.com

the 313 throwback

Videos courtesy of Funkmassa VIP



J to the D - Sackchaser (1990)



Detroit Box - Spin to the Grooveline (1990)



Rap Mafia - The Underworld (1990)



Kaos and Mystro - Mystro on the flex (1989)



All rights reserved by respective copyright holders

What happened to Detroit radio?

As a child of the 80s, I can remember when listening to the radio in Detroit was the shit. In the early to mid 80's there was the electrifyin’ Mojo. He appreciated music and it showed. He wasn’t some talkative asshole, there was no teenage girls giving long winded shout-outs to everybody in the city, there was no playlists, there was no bullshit. It was a nightly education in music. It was through him that I learned that good music transcended race. There was no “black” music and there was no “white” music, just good music that made you dance. Especially if you were a fan of funk music. Artists like Prince (in his prime circa 1981-1986) and Parliament Funkadelic were mainstays on his show, but traditionally white artists like the B52's (before they got all corny with that “Love shack” bullshit) and the Talking Heads also got a lot of love on the predominantly black radio stations he worked for. And us black folks gigged off of songs like “Rock Lobster”, “Private Idaho” and “Once in a lifetime” just as hard as we did to “Flashlight”, “One nation under a groove”, “Lady Cab Driver” and “Partyup”. He even played a lot of hip hop when it was still in his infancy. I don’t remember where I was the first time I heard “The roof is on fire” as I was only like about 9 years old, but I do remember I was listening to Mojo. Same with the slept on classic “Fly Girl”. I miss that shit!

Then in the mid to late 80s there was Jeff Mills A.K.A. The Wizard. The Wizard was Detroit’s answer to DJ Red Alert. He had the dopest mix show, and no matter what you were doing, it stopped every night at 9.If you were not near a radio, you rushed home or to your whip so you could hear his latest mix of hip hop, electro funk, house and of course techno, and is named by some of the hottest DJ’s in Detroit as their biggest influence. And rightfully so. If you are from Detroit, and was born before the Reagan administration more likely than not, you’ve heard his show at least twice, and if not, you need to have your “Detroit” pass revoked.

And of course, if you have been a supporter of Detroit hip hop since the early days there should be a name that should be at the top of your list of Detroit hip hop icons along with the late Proof and the late J Dilla: And that name is Billy T. From 1988 to 1996, Every weekend he played the dopest Detroit shit, you know the shit that didn’t (and still does not to this day) a second look by any other radio personality. A lot of Detroit MC’s, DJ’s and producers got their start through him. He even made that bullshit station WJLB worth listening to on Saturdays along with his partner TJ (back in the day known as the troublesome juvenile).

And finally there was the late Phil Blak. From 1996-1998, Big fella came with the fire from the D, every night. But what I respected about this brother was he kicked serious knowledge, but didnt come off as self-righteous or preachy...He came with the real. There were a few times when I personally called his show, just to request a song, and not only would he play the song I requested, but we would kick it like we had been homies for years but didn’t know each other from Adam. I always thought that was some real shit that he would be approachable to his listeners.


Jumping the shark

The beginning of the end of the glory days of Detroit urban radio came around 1994. Yes deregulation had a lot to do with it, but it also had a lot to do with the overuse of live remote broadcasting, and format changes. When Lisa Lisa (no not the extremely hot latina singer) signed off for the last time to make way for 96.3 changing from a hip hop and dance music format to lame ass alternative rock station, as well as 105.9 changing from a traditional jazz/AC station to mainstream hip hop (read: hip pop garbage) station, as well as format driven radio shows such as “old school sundays” and “the rap blast”(originated by Billy T, but continued in name after he left) being broadcasted from club pretentious asshole and the 1st-of-the-month-check-day-baller bar, while other shows like the hip hop explosion on WHYT and the B-Love show on WGPR being discontinued altogether. The last straw for me was when WHPR switched to basically an all talk/religious station some time in 1998. I havent listened to Detroit radio since.

Say that shit, bruh!!!!

Detroit is so fake! We will never be able to make it in this music industry if we dont realize how to do good buisness. Producers will no platinum records wanting to charge u for tracks that u might not be able to use anyway and then when they want to do a compilation they dont want to pay the mc's! Thats BULLSHIT!...either we all get paid or no one gets paid until we all do work worthy of payment for everyone. The KEY HOLDERS...ur next. these cats have connects and dont want to come off of them...everybody talks this Detroit unity shit but all of their mouths are closed. Im here to tell u , wont none of us be shit unless we work as a unit...every little hole of a city in america will get on before us because we are so fucking stupid! Look at us, EM got on and didnt do shit! He could at least pointed cats in the right direction but guess what? It's still not his fault because the Detroit hip hop community at large wont look out for eachother as a whole so why should he. All the cats that had deals are without them now...karma is a bitch! Lets get it together people. We know we make the best hip hop on the planet and yet we are last in line for everything...keep it up and see where it's going to get us...nowhere! PEACE OUT !

- THYMEZILLA

I'm inclined to agree. Until we get our collective asses off of our shoulders and stop being so arrogant towards each other, we will never get anywhere. And it's fucked up. I admit that it's partially because I am biased, but facts are facts. Detroit has talent up the ass, and frankly I'm tired of the bullshit from Atlanta being inflicted on me. You know why they are on top right now? They support each other. As much as I detest the music scene down there, I have to give them their props: they function as a cohesive unit. Same as the west in the 90s. I want to see my Detroit people some shine, we got the talent. But we are our own worst enemies. I understand that at the end of the day that this is a business, so therefore some of us are not on that "hook a brotha up" mentality, I'm more than happy to pay you for your services, but on the other hand you got some of these cats out here wanting to charge astronomical fees for a 16. I may be a fan of some of y'all, but I ain't even about to pay you 1000 dollars or more for one damn verse when you aint that damn famous. And then there are the people who think that they are the shit and can't be bothered to even listen to anyone else's shit...There is a certain well known DJ, a certain member of an otherwise dope hip hop jazz band as well as others who shall remain nameless (they know who they are) who has made this abundantly clear. How is that unity? How is that supporting each other when you want someone to support you but you can't be bothered to reciprocate? Am I salty? Perhaps. But does Thymezilla as well as myself have a point? Whether you want to admit it or not, you know we do.

From the east side

Ill Prophet is a man of few words. He says he would rather let his music do the talking. It's hard to argue when the music is so dope. Originally from Washington DC, now living in Maryland, Illogically Prophetic's style is a throwback of the way hip hop USED to sound. Ill was cool enough to kick it with the Ecks, so for those who don't know here's an introduction.

Q: What's good, big bro?
A: What up bruh? Thanks for hitting me up man. IllaProph in da houuuusssee!!!


Q: All of the tracks that I have heard from you, you sound like a seasoned veteran. How long have you been doing this music?
A: Man, music has been a love of mine since I can remember. I started writing poetry back in 6th grade. I'd just write about everything and anything that inspired me. I was big into jazz music too though. That's why I prefer musical beats over loopy sounds and I love a big band sound or something really heavy and standing out other than just the 808's.

Q: Who were some of your earliest influences?
A: Well I think it goes back man…way, way, back. The first tape (back in the day ya know we did cassette tapes after 8-tracks) I ever bought was Warren G – Regulate…G Funk Era. It was serious my first parental advisory I was maybe 6. Haha! Regulate was such a vicious track with Nate Dogg. Funny how a west dude was the first album I bout. But my biggest influence comes straight from the tracks of Mos Def, Common, and Black Thought of the Roots. Mos is my favorite artist…PERIOD, followed by Common and Black Thought. I mean The Roots grabbed my attention later when I was about 11. The first song I heard from The Roots was "Next Movement". I saw the video on tv but missed the name of the group and song so I was asking all my peoples and everything who they were and no body could tell me. I probably didn't complete my quest until about a year later when I looked them up on the computer by lyrics. HA. All I could remember was, "IT'S THE HOT-HOT MUSIC THE HOT MUSIC, THE HOT-HOT MUSIC, THE HOT MUSIC". Man that record was, and still is, so, so dope. I have every Roots album including Organix and The Japan Nagoya Blue Notes. Best believe I have every Mos album too including True Magic. Definitely underrated. Get that isht. Listen to :There Is A Way". Dope. People knocking that album and it's genius and heart felt but bammas knocked Common for Electric Circus too.

Q: In this day and age where everybody sounds and looks like everybody else, you have a unique swagger about yourself. Do feel that's what's missing with a lot of other hip hop artists these days?
A: Man, people will ALWAYS mimic what they think is hot. Cats see Kanye and Lil Wayne with the Shemagh scarves and have to get on it. They are tight styles, I will say that. The thing is you have a small crew creating styles and a multitude copying what they see. Honestly, and I may get some scruff at this, but, I don't mind the lack of originality and swagger. You will always have the "elite" that start their own style, have their own swagger, and lead the way in everything urban and hip-hop. THEN, you have all the followers, mimics, and copycats. These are the people that boost that swag. It doesn't matter though because the only people that will remain relevant and will always have an original style and swagger are the ELITE that started it.

Q: Your track "Love thirst" you feature Jean Grae (one of my favorite female MC's). How did you make that happen?

A:Oh man. That's my jam. I think Jean Grae IS my favorite female MC. Sucks that she is retired or retiring. It's funny too me. I hit her up on myspace with a comment about what would she say if I sent her a song. I never thought she'd actually reply. Ha. Two minutes later, I had a comment on my page saying to just send it to her. I had the track already and her stuff so I just went on, spit my verses, got all the engineering straight and then she hit me with her email address and that's all she wrote. I'm glad I have something with her before she retired. I wish we could've officially gotten some studio time together. Hopefully we'll still get a moment whenever I officially drop my album.



Q: Are there any other MC's you would like to collab with in the future?
A: Of course. Wale already beat me to the punch on the DMV collab with The Roots. I still want my collabo time. I most definitely want to do work with Mos Def and Common. Outside of my inspirations I want to work with Kanye West, Little Brother, Maxwell(yes, good ole "Sumthin, Sumthin" Maxwell), Jill Scott, Outkast(Andre' and Big Boi), Erykah Badu, Wale, Tabi Bonney, UCB, BYB, and Mambo Sauce(D.C. GoGo Bands), Jay Electronica, and a few others. I am an open door and look for any inspiration and/or energy rather good or bad. I want to step outside the box though so even with those mentioned above, I still want to collab with folk such as, David Banner, Pastor Troy, Ludacris, T.I., even young dude, Soulja Boy.

Q: Which do you prefer most, the mic or producing?
A: Definitely the mic…at least for now. I used to do some producing a while back. Frankly, I didn't like anything I was coming up with at the time. I'm learning some new tricks though and I know that my production ideas are definitely on point. So we shall see what comes in the future.


Q: For the past couple of years, hip hop has gotten a lot of shit from the media as well as sideline activists, armchair revolutionaries and just plain old haters. What is your opinion of all of the negative press?

A:Keep it coming. Why not? Hip hop…in fact scrap that, BLACK MUSIC, has always been driving by negativity. Even them slave hymns leading them to freedom where fueled by negativity. So why stop them? It gives us even more to write about, rap about, sing about, talk about. It's like haters that keep on talking about somebody. Every time they talk to somebody about that person, it's another cat with ya name in there head. I got my hater seekers out for em. Keep talking bout me nigga. As long as you talking, my name will forever live in the streets. Dig?



Q:I'm from Detroit, and here people don't support their own. There are artists who have made a name for themselves across the country and around the world, but yet it's hard to get respect from the people in their own backyard. Did you have that problem where you are from?

A: That comes with the territory. The hip hop game just is not the same as it used

to be. Not at all. It's not like singing, not everybody can sing. Seriously, either you can sing or you can't. Then after being able to sing, you gotta have a persona and all that stuff. But it still falls back to can you, or can you not, sing. Hip hop is different. Man, everybody and their mama's mama's grandfather's cousin's uncle's nephew Tootie, think they can rap. Everybody. And then u have to have a persona and image and all that doohickey. When u have so many people trying to get on, cats are quick to hate when somebody is coming up ahead of them. Man you should see what half the internet is saying about Tabi Bonney and Wale. Them cats are really coming up and gaining the respect of the hip hop industry. Those dudes are opening doors for the rest of us in the DMV(D.C./Maryland/Virginia) and they are representing us well. That's not jock riding either. If you're wack I'll call you out on that too. These dudes are actually representing well though. The problem is there are so so many gangsters and dudes spittin about street life when half ain't living that way and the other half just can't get away from that long enough to actually be successful. We need to be supporting each other not knocking each other down. How do you think New York and Cali had dominated for so long? Jay didn't just all of a sudden become one of the biggest names in hip hop. He was tied up with Diddy and Big and the whole Bad Boy crew. Same with the west. Dre and NWA out of Compton and then Snoop and the Long Beach cats. Support has made them dudes the legends they are, not same city or neighboring city civil wars or rivalries. The D.C. artist and MD artist need to support theirs and stop knocking the other cat that may be able to bring you up to the next level. Besides, it's not what you know, it's who you know.



Q: What does the future hold for Ill Prophet?
A: Only time will really tell. I have a couple mixtapes that I'm working hard on cause I need my music heavy in the streets and having a couple internet spots such as myspace, reverbnation, facebook, and all that just isn't cutting it. I'm working to set up a HBCU (Historically Black Colleges and Universities) tour and I'm hitting any spot that isn't just open mic that will give me 15 or more minutes on a stage. It's on and this year has been great for me. Best believe all the puzzle pieces are coming together and you will see the big picture blown up in 2009.

Q: Before you dip out, are there any shout-outs you want to give?
A: Mos definitely. Big Phat DC holla at my fam J. City, Rebel Conscious, Haywood, Wale, Tabi, J'Wyn, D.Mac, Orange Tyga, Dre, J Nicholas, Corie, RRR, Savant, Kydnice, Adidas, M.Dawg, The Catalyst, Sanja, Moonrunners, my mentor Tsion The Wordsmith, and special love to JG. Most of all my supporters and the haters. If I didn't add you, it's not that I forgot you but I'm not tryna take over this brother jawn either. Dig? lol


Good lookin out on the interview, and I wish you much success. You will have my continued support.

Thank you bruh. I most definitely appreciate it and I look forward to talking with you again for an update soon.

WWW.MYSPACE.COM/ILLOGICALLYPROPHETIC

Photos © 2008 Ill Prophet

Let it go dog, it’s over.

Tiger Stadium is nothing more than an abandoned building. And like any other abandoned building, it should be torn down. They claim there’s a lot of history on the corner of Michigan and Trumbull. But you know what? That was then...This is now. What good is it doing for it just to sit there? Okay, some guy hit a ball there some 70 years ago...SO WHAT? Whooptie damn doo. What about homeless people who could benefit from housing that could be built there? What about the unemployed people who could benefit from business that could be built there? Not to mention the revenue that could be generated to the surrounding businesses as well as the city by building housing or businesses. But I guess none of that matters. All some care about is the history...Well you know what? Fuck your history, and fuck your memories. It’s time to move forward.

Music Reviews: By Isabelle Esling

D12/ Tbe Return Of The Dozen/ mixtape review

Global rating of the product: 4.5 stars

D12 is back, ready to stalk the face of the world again with their witty lyrical assault. After the loss of their homie Deshaun Holton better known as Big Proof, many of their enemies prayed for the group's demise. Little did they know about the group's powerful mind. D12 is back and Detroit is in the house again. The Return of the Dozen features numerous Detroit talents, including Royce da 5.9, King Gordy, Young Miles, Marv Won, T Flame, Quest Mc Quody, Rock Bottom artists, the beautiful and skilled Monica Blaire, just to name a few...

On a relaxing musical background, the D12 crew announce their come back with a brand new style of their own. Be prepared for some powerful mob music!

Dolo first introduces the CD; soon Swifty and Kuniva will expose their lyrical craft. Any hip hop head should definitely love the track that is built on loud and powerful heartbeat alike drums. D12 is killing it for real.

We Back sounds like an euphoria blossom. Again, Swifty Mc Vay sends powerful lyrical grenades on a soft violin, oboe and piano background. Bizarre goes .. to stomp his auditorium. Explosive sounding lyrics will leave haters in a mental state of devastation.

DJ Salam Wreck leads the listeners into the Throw Them Up High atmosphere. What the hell of an atmophere, in which our emcees excel in bringing their skills to light.

A must hear song that totally enlightens Kon Artis, Kuniva and Swifty's skills is The Drill. The rhythmic, chaotic song based on piano and keyboard sounds. The lyrical effort is obvious, the flow delivery well mastered.

Creep with them in the hood, follow their moves, feel the unsafe ambience of the track.

The crowds of listeners will be mesmerized, for sure.



Cheating In The Bedroom features two brilliant Detroit talents, King Gordy and Monica Blaire. Ready for some bedroom drama. Let King Gordy break it down for you while Monica Blaire's warm voice is playing with them listeners.

I'm a G features Akon and Maestro. The noisy background totally matches with the 7 Mile scary landscape. Guntalk is law in the hood of the Murder Capital.

If You Want is another powerful track in which Kuniva will amaze you with his well mastered craft. The emcee has a merciless attitude that he intelligenty combines with well thought lyrics and dark vocals. You don't wanna beef with him, do you? Be ready for war, fellows. Strident keyboard sounds are combined with gun sounds. Big Proof is mentioned in the song.

Swifty Mc Vay is taking over in U Never Know. The talented emcee will expose the hood for you listeners, followed by Bizarre. Welcome to a world in which danger is your daily part. A straight reminder: the hood is a jungle where you can get killed for nothing. Let them D12 emcees amaze you. By the way, Kon Artis' part needs to be underlined too, because t is incredibly well handled.into a bad guy's mind. He's giving up, after a life of sins. He's

Welcome to a Biggie styled song. I'm Gone featuring lets you enter about to take his life. Who's gonna have mercy on this rotten soul?

Win Or Lose features King Gordy. Again the song totally enlightens Swifty Mc Vay's lyrical force. I enjoyed the roughness of his voice, his determined spirit to conquer his audience. King Gordy will guide you into a cosmic, unreal atmosphere with the lighter tones his voice has to offer. I recommend this song for a listen.

Claps, a cadenced piano background...here we are in the 313 with our D 12 crew. I'm From The D has some beautiful sarcastic, hardcore-minded accents.

Suicide features Sindy Sirynge (Bizarre's wife)...meet a jealous man's anger while the music makes you feel the tension within the couple. Listen to Sindy Sirynge's complaint...suicide is on her mind...Bizarre describes human misery with a particular attention to detail.

The song also features RIP Big Proof who brings the song into a new light. The song's complex, well built.

Globally speaking I enjoyed the whole mixtape. True to the voice of the streets, the D12 emcees came up with their genuine spirit. They put a lot of work into the mixtape that also give voice to great local Detroit talents. I'm glad the Return Of The Dozen allows D12 to illuminate their great individual talent. Word to the haters: D12 can make it- with or without Eminem. Marshall Mathers does in no way obliterate D12's talent!

From a critical point of view, I have been a little bit disappointed by Plead For Your Life featuring Royce da 5.9. I am used to better Royce skills. However, you can cope the mixtape without hesitation!



Copyright © 2008 by Isabelle Esling

All Rights Reserved
reprinted with permission.

Where’s the outrage now?

Over the years, hip hop and hip hop culture has been under attack by self-righteous media whores, armchair revolutionaries and sideline activists for the way women are portrayed. It is a legitimate argument, Although I personally think that sometimes hip hop artists DO go a little too hard on the sistas, but every woman I know (and some that I don’t) that I have talked to about this very subject has said the same thing: They are not referring to THEM, so they don’t find it offensive. And as far as the so-called "video hoes" go, personally, I think it's uncalled for a lot of times, but facts are facts. No one puts a gun to these women's heads. They WANT to be in these videos...this is what they do to support themselves and further their careers. And in my opinion there is nothing degrading about a woman being on her grind, or a man supporting her grind. Hip hop has been blamed for every single thing that has ever gone wrong in the world. Everything from the crack epidemic, to the Beatles breaking up, to 9/11 and everything in between.



But these same hypocrites go home to watch dumb ass shows like that top model shit. Supporting an industry whose very existence was BUILT on the degradation of women...Depicting them as brainless eye candy. Encouraging bad body images by creating impossible standards of beauty that cannot be attained, and making girls and women feel like they ain’t shit because their butt is a little to big their skin is too dark, or whatever. But where is the outrage in that? A guy even SAYS the word bitch even if he is referring to his pregnant female dog, and there’s all kinds of hysteria. But some designer can have a simulate GANG RAPE....yes you read it right...check the picture...GANG RAPE, and no one bats an eye.

Fair is fair, gotdamnit! If you are going to get on one, then get on the other one too if he’s just as wrong. Otherwise, shut the fuck up.

All hail the Queen

In this day of female rappers with little or no talent that overcompensate by putting themselves out there as sex-objects or just stuck up as hell. Reddbone of the Detroit hip hop collective Raw Collection is NOT one of those. This sista is one of the rare few that commands her due respect on the mic as far as skills AND demeanor. The queen on the throne Ms. Reddbone was cool enough to lace the 31third with an interview.


Q: First question, How did Raw C come about?

A:well actually we grew up together in the same Hood, and i been knowin the rest of the crew since they were young, and we knew eveybody was doin their thing Rap wise, and my Brother Swifty McVay from D12 wanted us to form a alliance like a Crew, but as Solo M.C's as well as to why we called ourself Raw Collection. A Raw Collection of Sweet M.C's fused together.

Q: How long have you been rapping?

A:Well for a while, just know i been rhyming long enough to be considered a seasoned Vet!! lol


Q: who were some of your earlier influences in music in general?




A:Well it was really a few people who did it for me. M.C Lyte was one and Queen Latifa, but Rakim, of course and KRS one, Ice Cube, Etc. its really too many to name.


Q: In this day and age where everybody and their momma wants to be a rapper, I know you and your crew probably get bombarded with a lot of wack rappers or cats in general wanting to get “put on”. How do you handle them?


A:Im a firm believer that you have to be real upfront wit Cats an tell them the real! if they need work, then tell them, or if they not on your level of rhymin, tell them that too. see imma keep it real wit folks cuz alot of their homeboys, and girls just tell them what they want to hear. you can never upgrade if you cant take criticism, cause you making music for everybody not just yo hood or homeboys you Dig!!!



Q: As you know, hip hop has taken a lot of shit for being degrading to women. As a female MC, what is your opinion on this?


A:I dont concern myself with what ever a Rapper says about women because they not talkin bout me! that shoe dont fit me, so i dont put it on. the only time a woman should be offended is if they are talking about her directly. hell they say negative stuff about Women just in everyday life, as Women do Men, but thats just the way of the World. Honestly i LOVE my Haters!when they stop talking and name callin is when i get concerned, cause that mean im not on their mind anymore. and i need to always be on their mind. they really do make the world go round!!! LOL





Q: You have been in several movies: “Brewster Projects” “17000 Block” and “The People Vs.” Other than the obvious, are there any differences between shooting a movie as opposed to music?

A:i think so a lil because sayin your Passion is a little different then actin your Passion. its kinda one in the same, but not really.





Q: Do you have any upcoming solo projects coming up in the near future?


A:i haven't been thinking to hard on that, i really want to venture off more into acting and hosting, i really want my own call in talk show on Satelite Radio, but i haven't put my blue print together yet.


Q: Are there any artists that you are feeling that you would like to collab with?


A:i want to do some music with Boss, Ms Nia, Ms Murda, Bossallini and a few more but other than that im cool. more of my city people than people thats already on.


Q: Thanks for the interview, it’s been an honor to chop it up with you. Is there anything you would like to say in closing?

A:Detroit, lets stop looking for Outside validation to get on, and Fuse together so They can have our permission!!!LOVE THOSE WHO HATE YOU, AND PRAY FOR THOSE WHO DESPITE YOU!!!

you can check out reddbone on myspace
http://www.myspace.com/reddbonethegreat
http://www.myspace.com/therawcollection

Lady soul

Old school soul, hip hop and a little jazz thrown in. This describes L'Renee to a tee. I've personally known her for the past 2 years and have had the pleasure of working with her last summer and I am privileged to have had a working relationship that I hope continues (hint hint *LOL*). Not only that, the sista is a rarity. In this world of pro-tools and vocal enhancers, the sista is one of the rare few that can sound just as good live on stage as she does in the studio...Something that not even so-called these so called Divas can do, And unlike the so-called Divas, whose images were manufactured by someone else, L'Renee is in total control of her OWN destiny. She is an entrepreneur who writes her own material, owns her own label as well as her own merchandise. Personally this is what I respect most about her.

Q: Before I met you face to face, I read in your bio that you grew up watching your dad play. How much of an impact did this have on you wanting to choose a career in music.

A: I believe that eventually it had a major impact on me choosing a career in music. The reason is two-folded. First by experiencing my dad performing music, I became comfortable with being around music. Secondly, as I started my label, my father who had previously decided to retire from the music industry became a silent partner of the L'Renee Productions which is now L'Renee Musique Inc. To sum it up, having the musical support and business support gave me the confidence to step out and finally decided to pursue a serious career in music.


Q: When we were in the studio together that day last summer, as well as the live performances that I've seen, you really seem to enjoy yourself. Do you get a rush out of performing or would you say that you enjoy the fact that people are enjoying your music.

A: It is a win-win situation. What really drives me about performing is the euphoric state of mind that comes with really connecting with an audience. I've been in cases where people have come up to me after a show with tears in their eyes because they were moved just that much is a strong and serious key that I don't intend to abuse. The other "win" about performing is that I just really get off on exercising a special gift that The Creator has given me. If no one wanted to hear another note or lyric from me, I'd still be singing. LOL!








Q: With 2 albums under your belt, and you performing to sell out crowds, all this success has not spoiled you. How important do you think it is to be accessible (within reason of course) to your fans?

A: My fans are the reason I sell out. If I lose touch with them then I have no show. I have no motivation. So point blank, I find it necessary to keep connection because they are my connection to my craft. I would be nothing without them.


Q: Besides your dad, who were some of the artists that you looked up to?

A: Man, these names may mean nothing me you or the viewers of this blog, but I totally admire 87, DJ Genesis, Nick Speed, Frank McComb, Eric Roberson and Gordon Chambers because of the heights of their success without major label hook ups. In addition just from a musical standpoint there are a few artists that really stick out in my mind and they are people like Anita Baker, Stevie Wonder, John Mayer, Musique Soulchild and the list keeps growing.





Q: I also read that when you were in high school, you performed in "the Wiz". At some point would you like to take on acting?

A: Actually I have started taking on a couple of roles in some independent films with Director Corey Swift of Swift Winds Media and am always keeping my options open. I have a very humble attitude towards the art of acting especially from my small time experience. It has created a greater appreciation in me for what they actually do. It's not as easy as it looks to become a character and make the audience believe that they are watching a moment of the character's life instead of watching someone act out a character. There is a big difference.


Q: Tell me about your label L'Renee Musique Inc. Did you feel that the decision to go the indie route was your only option?

A: No, however I enjoy reaping the fruits of my own labor. Sometimes when we want something we just have to go out and get it, even if no one has caught on the the vision yet.




Q: Last time we spoke, you were in the beginning stages of working on a new album. How is that going?

A: Wonderful. We are going to being recording next month. The album is not closed, however, so if and producers are interested in being a part of this movement contact me at L'Renee Musique Inc. PO Box 40193 Redford, MI 48240 www.lrenee.net lreneebookings@yahoo.com I would love to hear from you.


Q: Will there be any guest appearances on the album?


A: Yes. There will be a couple including the winner of the open mic competition from my Hoot's on the Ave show May 17, 2008. It's gonna be a surprise. You gotta come pick it up.


Q: Before we end this interview, is there anything you would like to say to your supporters?

A: I would like to make special mention the following businesses and avid supporters Melted Disc, Team Swass, SoulCommune, Urban Organic, MosaicThump, Grand Designz Printing, InnerCity Creative Group, and my street team leaders T. Mason, and T. Spears as well as all of my sponsors who bought any of my material. I appreciate you very much!


Thank you very much for your time. I wish you continued success.

L'Renee is available at Rhapsody, iTunes and Amazon.com and you can check her out on myspace: http://www.myspace.com/lreneedetroit













Images © 2008 L'Renee Musique inc.

Interview © 2008 31Third entertainment.

INSIDE THE MAN *****AL NUKE****

One of Detroit hip hop's elite, Al Nuke. If you never heard of the man, maybe you need to come from up under that rock, take your fingers out your ears and clean the wax from them shits and listen.

D-Boyz

Lawless Element debuted in 2005 with their album Soundvision: In Stereo. Laced with guest appearances from Phat Kat, P. Dot and production from the late J Dilla. Although the guest appearances were from some of the hottest names in the D. They also proved that they could hold their own. They came back HARD with their mixtape "Lawless Gang vol.1". Of course if you like that soulful shit, You wont be disappointed. And in this day and age of wack rappers fucking up good beats, The clever wordplay bring you in and complement the hot beats. I downloaded it, to show my man'z some support, and been bangin' it all night. I got a chance to kick it with Magnif about his latest joint, and grinding in Detroit.

Q: What's good, Fam?

A: Whatupdoe




Q: First of all, As we know, you and Griot are cousins, when did you decide to come together as a group?


A: well me , Gee and my other cuz used to chill write rhymes and all that when we were mad young like on some elementary type shit, back in the day, it was just for fun . But I always stayed writing and eventually got into production as I grew older, Gee stayed writing and going to school, but we aint click on no rap shit since we were young, we was from the eastside and Gee moved to the west, so I aint see dude too often so when we did link up it was on some fam type shit, catching up. I stayed recording new material everyday, making beats,writing rhymes. I recorded like 2-3 songs a day on a four-track cassette recorder, started shopping material, getting attention from labels, managers, investors 'n all that. So I gotta a good label situation in place but I felt I wasn't ready for a solo mission so I reached out to Gee like let's take it back, and he was down.


Q: As you know it could be hard to get people here in Detroit to support Detroit artists. Do you feel like you had to grind harder here in than anywhere else?


A: Oh no doubt man, its hard out here. People wanna see you certified before they show love, they wanna know what label u signed to, who producing ya project before even giving you a real listen ... But I think its that way because the market is over saturated, you try to push ya cd to somebody but they aint tryna hear you cause they pushing they own cd, or they cousins or brothers or they niggas cd, so its like u gotta have something to put you above the pack, something that they baby mama sista's bestfriend brother aint got on they cd lol ... its fucked up but thats the reality of it



Q: Your style is reminiscent of the so-called “golden age” of hip hop (1988-1996). Who were some of your early influences, and at what age did you get into hip hop?



A: I was into hip-hop as far back as I could remember, my pops put me on . He used to bump everything from eastcoast to westcoast, the ol's school south shit, local shit like detroits most wanted, so I done heard it all from Rappin 4 Tay to Brand Nubian from C-Bo to Ill Al Stratch and everything in between.... but my main influences was from Nas & Mobb Deep, the rhyiming and production style was crazy and it was shit that I could relate to, real shit . Nas drops so many gems its ridiculous, I hate the criticsm he gets now days, the critics and internet heads really don't understand, he gives ghetto niggs hope, he makes music for the streets to relate to, uplifting poetic music

As far as production goes? DJ Premier is the reason I make beats




Q: My favorite track is "Heaters" which features Grand Puba. How did you hook that up?



A: Yea, Heaterz is my joint too. We linked up with GP through Babygrande, Brand Nubian was signed over there for a while, so that collab was a done deal , actually neither party reached out to one another, it was a suggestion from a label head at Babygrande, so we went ahead with it and Heaterz is the result



Q: Are there any videos planned from this mixtape?



A: Nah no videos planned for right now, unless theres a dope video director reading this whos down to shoot . holla at me


Q: Good lookin out on the interview, Before you dip, is there anything you want to say to the fans?



A: No doubt man, Stay looking out for new material from Magnif and the L.E.Crew, hopefully my retail release will be out before year ends (shits kinda hush hush right now) checkout www.LawlessElement.com hit me up, another mixtape dropping real soon lookout for that and download Lawless Gang Vol.1 shits ridic! Thanks


Lawless Gang vol.1

1.Game (Produced by WrighTrax) - Magnif
2.Heaterz - Magnif, JH , Grand Puba of Brand Nubian
3.Up N Downs - Nametag
4.Big Faces - Lawless Element
5.Gettin $$$ - Magnif, Torae
6.Stay Strong - Lawless Element
7.Let It Ride - NameTag
8.Episodes - Lawless Element
9.All Day - JH
10.Let Em Know (Bitche$) - Lawless Element
11.Lost Treasure - Cee Knowledge aka Doodlebug of Digable Planets, Kai Chi
12.2006 Freestyle Shit - Lawless Element
13.Crack Muzik - Lawless Element
14.1 For Jay Dee - J Dilla


Free Download (copy url and paste in browser)
http://www.zshare.net/download/13355193b6f01c82

Magnif
L.E. Music
www.LawlessElement.com

Music and photos ©2008 L.E. Music

"Lost Treasure" Featuring Cee Knowledge a.k.a. Doodlebug of the Grammy Award Winning group Digable Planets. Produced by Magnif

313 Classic: Poetic Menace

Throw ya hands up!





I've had the pleasure of knowing this brother since 1992 so maybe...no fuck that I AM biased. We grew up on the north end together. And if you know your musical history, Detroit's North End is the breeding ground for musical talent, as This is the same area that several motown legends such as the Temptations, the Four Tops and Smokey Robinson once called home.

NORTH END STAND UP, GOTDAMNIT!

The 31 third blog

Who am I? I am Mista Ecks, an upstart producer but most importantly a supporter of Detroit hip hop, and have been since 1989. Just like any other hip hop head born in the 70s, I grew up on the Rakims, the LL Cool J’s, the Dr. Dre’s, etc. but it was artists like Detroit’s Most Wanted, Esham, Kaos and Mystro, AWOL, Doc Chill, B Def and Smiley that made an impact on me, musically speaking. In the 90's I watched cats like Slum Village, Eminem and the late Proof make a name for themselves and become icons at the hip hop shop before the record deals, movies and car commercials and was a fan of the late J Dilla way before it was cool to be AFTER he died. I copped every DJ Assault, Drunken Master and DJ Butter mixtape waayyyy before mixtapes were the “in” thing. I faithfully listened to Billy T and B Love on WGPR and the late Phil Blak on WHPR spin the latest Detroit hip hop joints that other stations in Detroit wouldn’t touch. I still peruse the internet to find the latest joints from up and coming Detroit artists such as Bareda, One Be Lo. I’ve even had the honor to meet artists like P Gruv (from Da Inna C), and Miz Korona...the latter I’ve had the pleasure of working with on 2 different occasions. You may ask why? Well...first of all there’s the obvious: they piss out more talent than some of these mainstream cats will ever dream of having. But they also come off as down to earth instead of the unwarranted arrogance and braggadocio and as a consumer that means a lot. So for all of you Detroit hip hop fans, artists and supporters, this is for you.