Professor Griff And The Last Asiatic Disciples - Pawns In The Game (1990) [-TAPE-] **EX-Public Enemy**

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Life Side

A1. Pawns In The Game

A2. The Verdict

A3. Suzi Wants To Be A Rock Star

A4. Real African People "Rap" Pt 1

A5. Pass The Amo

A6. Real African People "Rap" Pt 2

A7. Love Thy Enemy

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Deff Side

B1. Rap Terrorist

B2. 1-900 Ste Oreo Type

B3. Last Asiatic Disciples

B4. The Word Of God Griff On Duty

B5. The V Amendment

B6. The Interview

B7. It's A Blax Thanx

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Professor Griff was the minister of information for Public Enemy until June of 1989. He gave a controversial interview to The Washington Post that included comments deemed anti-Semitic by many. In the ensuing furor, Chuck D eventually fired him from Public Enemy and even briefly disbanded the group, only to re-form them. Griff formed his own band, the Asiatic Disciples. "Pawn In The Game" is a respectable showing from Griff, it came in the face of negative expectations.

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mp3 @ 224 kbps / 84,3 mb / Ripped From Cassette

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Pawns In The Game

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Beastie Boys - Jimmy James (1992) [CD, Maxi-Single]

Click To Enlarge

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01. Jimmy James (Single Version)

02. The Maestro

03. Jimmy James (LP Version)

04. Boomin' Granny

05. Jimmy James (Original Original Version)

06. Drinkin' Wine

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mp3 @ VBR / Lame 3.98 / Avg: 237 kbps / 34 mb

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SAMPLE:

Jimmy James

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Eric B. & Rakim - Let The Rhythm Hit 'Em (1990)

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01. Let The Rhythm Hit 'Em

02. No Omega

03. In The Ghetto

04. Step Back

05. Eric B. Made My Day

06. Run For Cover

07. Untouchables

08. Mahogany

09. Keep 'Em Eager To Listen

10. Set 'Em Straight

11. Let The Rhythm Hit 'Em

(12" Vocal Version Remix)

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mp3 @ VBR / Lame 3.9X / Avg. 198 kbps / 81 mb

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Let The Rhythm Hit 'Em

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Black Sheep - Non-Fiction (1994)

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01. Non-Fiction Intro

02. Autobiographical

03. B.B.S.

04. City Lights

05. Do Your Thing

06. E.F.F.E.C.T.

07. Freak Y'all

08. Gotta Get Up

09. Let's Get Cozy

10. Me And My Brother

11. North South East West

12. Peace To The Niggas

13. Summa Tha Time

14. We Boys

15. Who's Next?

16. Without A Doubt

17. Non-Fiction Outro

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Black Sheep is an alternative hip hop duo from Queens, New York, comprised of Andres "Dres" Titus and William"Mista Lawnge" McLean. The duo are native New Yorkers but met as teenagers in North Carolina where both oftheir families relocated. The group was an affiliate of the Native Tongues Posse, which includedThe Jungle Brothers, A Tribe Called Quest and De La Soul. It debuted in 1991 with the hit song"Flavor of the Month" and later released their first album, A Wolf in Sheep's Clothing, which gained them praise and recognition in the hip-hop community for the album’s unique rhythms and intelligent lyrics.

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mp3 @ VBR / Lame 3.9? / AVG. 187 kbps / 99,2 mb

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Click On The "CONTINUE" Button

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Without A Doubt
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3rd Bass - The Cactus Album (1989)

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01. Stymie's Theme

02. Sons Of 3rd Bass

03. Russel Rush

04. The Gas Face (Prod. Prince Paul)

05. Monte Hall

06. Oval Office

07. Hoods

08. Soul In The Hole

09. Triple Stage Darkness

10. MC Disagree

11. Wordz Of Wizdom

12. Product Of The Environment

13. Desert Boots

14. The Cactus

15. Jim Backus

16. Flippin' Off The Wall Like Lucy Ball

17. Brooklyn-Queens

18. Steppin' To The A.M.

19. Episode #3

20. Who's On Third

21. Wordz Of Wizdom Part (II)

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Besides the upper-middle-class frat-punks-in-rap-clothing shtick of the Beastie Boys and emissary/producer Rick Rubin, who both gained a legitimate, earned respect in the rap community, there were very few white kids in rap's first decade who spoke the poetry of the street with compassion and veneration for the form. That is, until The Cactus Album. Matching MC Serch's bombastic, goofy good nature and Prime Minister Pete Nice's gritty, English-trained wordsmithery (sounding like a young Don in training), 3rd Bass' debut album is revelatory in its way. For one, it is full of great songs, alternately upbeat rollers ("Sons of 3rd Bass"), casual-but-sincere disses ("The Gas Face"), razor-sharp street didacticism ("Triple Stage Darkness," "Wordz of Wizdom"), and sweaty city anthems ("Brooklyn-Queens," "Steppin' to the A.M.," odes to day and night, respectively), with A-plus production by heavyweights Prince Paul and Bomb Squad, as well as the surprising, overshadowing work of Sam Sever. The duo may not have come from the streets, but their hearts were there, and it shows. The album embodies New York life. Not every single idea plays out successfully, Serch's Louis Armstrong impression on "Flippin' Off the Wall..." is on the wrong side of the taste line, and "Desert Boots" is a puzzling Western-themed insertion, but they are at least interesting stretches that add to the dense, layered texture of the album. The Cactus Album was also important because it proved to the hip-hop heads that white kids could play along without appropriating or bastardizing the culture. It may not have completely integrated rap, but it was a precursor to a culture that became more inclusive and widespread after its arrival.

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mp3 @ VBR / Lame 3.9X / Joint Stereo / 91,8 mb
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3rd Bass - Derelicts Of Dialect (1991)

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01. The Merchant Of Grooves

02. Derelicts Of Dialect

03. Ace In The Hole

04. French Toast

05. Portrait Of The Artist As A Hood

06. Pop Goes The Weasel

07. Sea Vessel Soliloquy

08. Daddy Rich In The Land Of 1210

09. Word To The Third

10. Herbalz In Your Mouth

11. Al'z A-B-Cee'z

12. No Master Plan No Master Race

13. Come In

14. No Static At All

15. Eye Jammie

16. Microphone Techniques

17. Problem Child

18. 3 Strikes 5000

19. Kick Em In The Grill

20. Green Eggs And Swine

21. Derelicts Of Dialect (SD50 Remix)

22. Pop Goes The Weasel

23. M.C. Disagree And The Re-Animator

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Although 3rd Bass didn't fully realize their tremendous potential, the Brooklyn rappers offered enjoyable, if uneven, albums. Like the group's 1989 debut, their second and final album, Derelicts of Dialect, makes it clear that the MCs weren't aiming for the pop charts, and were loyal only to the hip-hop hardcore. When MC Serch and Pete Nice tear into such aggressive and forceful declarations as "Pop Goes the Weasel" (an inflammatory attack on Vanilla Ice), "Portrait of the Artist as a Hood," and "Ace in the Hole," it's clear why they were among the few white MCs who were successful in the young black community, someone who heard their rapping without seeing their picture could easily assume they were black. Although the goofy "Herbalz in Your Mouth" shows some De La Soul and Tribe Called Quest influence, 3rd Bass don't allow themselves to be nearly as lighthearted, and keep things hardcore and intense.

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mp3 @ VBR / Lame 3.97 / Joint Stereo / 100 mb

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Lord Finesse & DJ Mike Smooth - Funky Technician (1990)

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01. Lord Finesse's Theme Song Intro

02. Baby, You Nasty (New Version)

03. Funky Technician

04. Back to Back Rhyming

05. Here I Come

06. Slave to My Soundwave

07. I Keep the Crowd Listening

08. Bud Mutha

09. Keep It Flowing

10. Lesson to Be Taught

11. Just a Little Something

12. Strictly for the Ladies

13. Track the Movement

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It's a simple formula: bring together one of the East Coast's finest rappers with someof the most clever trackmasters in hip-hop, then add in a stellar DJ, and the resultsare bound to be exciting. Funky Technician was just that, an excellent LP of battlerap with Lord Finesse simultaneously claiming and proving his immense skills over aset of funky backing tracks that used the familiar James Brown blueprint but deliveredit with unobtrusive class and innumerable displays of deft turntable wizardry. DJ Premier, Diamond D, Showbiz, and DJ Mike Smooth himself all contribute classic tracks; surprisingly, though Premier would soon forge a unique style and become one of the most respected producers in rap, it's Diamond D who gets in the best one (the title track), and that with the same sound that Premier would later make his own. Meanwhile, Lord Finesse is dropping rhymes to rank with Rakim and Kane, starting out on "Just a Little Something" with a raft of prize-winning multi-syllables: "Now I'm the constabulary, great in vocabulary/I'm no joke, when up against any adversary." Finesse is fresh and imaginative on nearly every line, and invites A.G. (aka Andre the Giant) for a guest spot on "Back to Back Rhyming." There were a lot of great rap records coming out of New York around the turn of the decade, though, and Funky Technician never got the attention it deserved.

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mp3 @ VBR / Lame 3.9X / Joint Stereo / 76,2 mb

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Hip Hop Factory - The Bomb Hip Hop Vol. 1 (1996)

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01. Bomdigi (Erik Sermon)

02. You're All I Need To Get By (Method Man)

03. Rockafella (Redman)

04. I Never Seen A Man Cry (Scarface)

05. I Got 5 On It (Luniz)

06. Labels (Genius - GZA)

07. Envy (Fat Joe)

08. Tic Toc (Lords Of Da Underground)

09. Sugarhill (AZ)

10. Patience (Blackface)

11. Shook Ones Pt.II (Mobb Deep)

12. Glaciers Of Ice (Raekwon)

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mp3 @ VBR / Lame 3.98 / Joint Stereo / 67 mb

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Pete Rock & C.L. Smooth - All Souled Out [EP] (1991)

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01. Good Life

02. Mecca and the Soul Brother

03. Go with the Flow

04. The Creator

05. All Souled Out

06. Good Life (Group Home Mix)

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This six-song EP officially introduced Pete Rock & C.L. Smooth to the hip-hop listening community, and it is hard to imagine a stronger or more confident introduction. Pete Rock's unmatched production sound is already in place, fully-formed, drenched in obscure soul music samples and rumbling, cavernous bass. Characterized by his trademark sonic signature, muted and phased trumpet, and flute loops, the songs sound regal with endless depth (with the exception, perhaps, of his own enjoyably buoyant rhyming vehicle, "The Creator"). Of course, C.L. Smooth's lyrics have just as much to do with that regal quality. His vocals are so laid-back and understated, even soothing, that they can be deceptive and difficult to grasp. Once the listener finds a way in, however, there is much to be found in his words; bypassing the normal rap self-involvements, Smooth instead opts to make moral arguments and ask intellectual questions of the urban community, in essence holding a mirror up to that community without ever devolving into didacticism or soap-box judgment. He is decidedly tough-minded but also sympathetic. Standouts include both versions of "Good Life," the irresistible "Go With the Flow," and the anthemic title track, with rapid-fire rhyming from Smooth and a perfectly funky organ riff, but the whole EP is essential.

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mp3 @ 192 kbps / Stereo / 40,1 mb

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SAMPLE:

All Souled Out

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Jungle Brothers - Done By The Forces Of Nature (1989)

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01. Beyond This World (4:08)

02. Feelin' Alright (3:35)

03. Sunshine (3:44)

04. What "U" Waitin' 4? (4:02)

05. "U" Make Me Sweat (3:59)

06. Acknowledge Your Own History (3:38)

07. Belly Dancin' Dina (3:41)

08. Good Newz Comin' (4:37)

09. Done by the Forces of Nature (3:47)

10. Beeds on a String (3:32)

11. Tribe Vibes (3:53)

12. J. Beez Comin' Through (3:32)

13. Black Woman (3:54)

14. In Dayz "2" Come (3:54)

15. Doin' Our Own Dang (4:16)

16. Kool Accordin' "2" a Jungle Brother (1:55)

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The follow-up to their groundbreaking debut, Done By the Forces of Nature is the point where the Jungle Brothers' production catches up to their musical ambition. There's still a ruddy, lo-fi edge to the record, but the samples are more abundant and intricately woven, and there's an altogether fuller sound that gives the group a greater presence. Moreover, the group's non-musical ideas come into greater focus as well. The Native Tongues' Afrocentric philosophy gets a more extensive airing here than on the debut, filling the record with positive consciousness-raising, both cultural ("Acknowledge Your Own History," "Black Woman," "Beyond This World") and spiritual (the title cut, "In Dayz 2 Come"); there are even the occasional lyrical asides concerning good dietary habits. All of this makes Done by the Forces of Nature one of the most intellectual hip-hop albums released up to that point, but as before, the group tempered their cerebral bent with a healthy sense of humor and fun. Thanks to the improved production, the J.Beez are able to take it to the dancefloor better than ever before, and toss in some pure, good-time, booty-shaking grooves in the hits "What U Waitin' For" and "U Make Me Sweat." There's also "Belly Dancin' Dina," a narrative that echoes the playful come-ons of the debut, and proves that progressive thinking and respect for women don't necessarily have to cool the libido. Late in the album, the posse cut "Doin' Our Own Dang" offers the chance to hear most of the Native Tongues, Tribe, De La Soul, and Latifah, dropping rhymes all in one place. Through it all, the J.Beez construct an eclectic musical backdrop borrowed from jazz, early R&B, funk, African music, and more. Even if Straight out the Jungle was the historical landmark, Done by the Forces of Nature feels more realized in many respects, and is arguably the more satisfying listen.

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mp3 @ VBR / Lame 3.97 / Joint Stereo / 68.5 mb

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Audio Two - What More Can I Say (1988)

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01. Top Billin'

02. What More Can I Say?

03. When the 2 Is on the Mic

04. I Like Cherries

05. I Don't Care

06. Giz Starts Buggin'

07. Make It Funky

08. Hickeys Around My Neck

09. Put It 2 Music

10. Top Billin' Instrumental

11. The Questions

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Audio Two were the Brooklyn, New York hip hop duo of emcee Kirk "Milk Dee" Robinson and DJ Nat "Gizmo" Robinson, most famous for their first hit, the classic "Top Billin'". They are also the older brothers of female hip-hop star MC Lyte. The duo’s debut single, "Make It Funky," was released in 1987, but it was the b-side "Top Billin'" that hit, making not only the group instant stars but a deep cultural impact on hip hop. The beat by Daddy-O of Stetsasonic and Milk Dee's lyrics would be sampled and referenced time and time again, even by the group themselves: both their full-length debut, 1988's What More Can I Say? and it's 1990 follow-up, I Don't Care: The Album, were titled after lines from the song. However the duo would never recapture their initial success. The singles for their second album, "I Get the Papers" and "On the Road Again", were only moderate hits. It was a time of rapid change in the hip hop market; gangsta rap was rising in popularity, and Audio Two found themselves unsuccessfully struggling to maintain recording contracts and a fanbase. A third album, First Dead Indian, due for release in 1992, was canceled before it was released even though it had an assigned catalog number.Audio Two did, however, pave the way for their younger sister MC Lyte, who would launch her career with the hit single "I Cram To Understand You (Sam)," which went to #1 on the Billboard Hip-Hop chart in 1989. Lyte's 1998 album Seven & Seven would feature a remake of "Top Billin'" with the original instrumental, this time a duet between her and her older brother. In 1994, Milk released a solo EP titled Never Dated on Rick Rubin's American Recordings. While the EP was notable for its single "Spam," a duet with the Beastie Boys' Adrock with drum programming by Mike D, aside from the devoted Beastie Boys fanbase the album generated little interest. Milk would eventually rediscover success by producing singer Eamon, who recorded the Spring 2004 hit "Fuck It (I Don't Want You Back)." In 2007, Milk Dee recorded a verse for a remix to I Get Money by 50 Cent, thanking all the music artists that have sampled Top Billin' and earnt him royalties.

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mp3 @ 256 kbps / Joint Stereo / 70,9 mb

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I Don't Care

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The New Style - Independent Leaders (1989)

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01. Scuffin' Those Knees
02. Start Smokin'
03. Picture Perfect
04. Can't Win For Losing
05. Droppin' The Bomb
06. To The Extreme
07. Independent Leader
08. New Vs, Style
09. Smooth Mood
10. Bring The Rock

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Independent Leaders is the debut album from Naughty by Nature, released under the name The New Style in 1989 on MCA Records. The production of the entire album is credited to The New Style.

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mp3 @ 192 kbps / Joint Stereo / 52,9 mb

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SAMPLE:
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Track #01 --

Click On The "PLAY" Button

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The Jaz - Word To The Jaz (1989)

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01. Dance To This

02. Pumpin'

03. Hawaiian Sophie (Feat. Jay-Z)

04. Give A Little Extra

05. Fun

06. Word To The Jaz

07. Let's Play House

08. Boost Up The Family

09. Shana

10. I Can Dig Rappin'

11. Look Out

12. Buss The Speaker

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The Jaz, now known as Jaz-O (real name: Johnathan Burks) is an East Coast MC, active in the late 1980s and early 1990s, best known for being a mentor of sorts to Jay-Z. Jaz is also known as the Originator and had a song called "The Originators" that featured a young Jay-Z in 1989. As simply the Jaz, he had success with his 1990 single "Hawaiian Sophie," from his debut album Word to the Jaz. He has been featured on some of Jay-Z's songs, such as "Bring it On" (from Reasonable Doubt) and the single "Nigga What, Nigga Who (Originator 99)" (from Vol. 2: Hard Knock Life) as Big Jaz and produced the single "Ain't No Nigga" from Reasonable Doubt and the song "Rap Game/Crack Game" from In My Lifetime, Vol. 1. Jaz-O is known to have discovered Jay-Z. Jaz-O claims that Jay-Z got his name from Jaz, something Jay-Z denies. Jaz was an important figure in the Nas vs. Jay-Z feud. It is also speculated that Jaz-O supplied Nas with some of the information he used in his Jay-Z diss track "Ether." After the situation with Nas cooled down, Jay-Z went on to diss Jaz first on a track released by DJ Kay Slay featuring Freeway, Geda K, Young Chris, and Memphis Bleek and later on his album The Blueprint 2: The Gift & The Curse. Jay-Z said on the title track, "I'ma let karma catch up to Jaz-O." Jaz responded with a record on a DJ Kay Slay mixtape called "It's Ova."

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mp3 @ 192 kbps / Joint Stereo / 81 mb
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Hawaiian Sophie (Feat. Jay-Z)
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MC Shy-D - Got To Be Tough (1987) [12''][LP]

Click To Enlarge
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Side 1:

A1 - I've Got To Be Tough

A2 - Yes Yes Y'All

A3 - DJ Man Cuts It Up (Part II)

A4 - So Take That

A5 - Shy D's Theme

A6 - Paula's On Crack
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Side 2:

B1 - I'm Not A Star

B2 - We Don't Play (Live)

B3 - Bust This

B4 - Rap Will Never Die (Part II)

B5 - Don't Take Me Seriously

B6 - I Will Go Off

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MC Shy-D (born Peter Jones) is the Bronx-born cousin of Afrika Bambaataa. He began on Luther Campbell's label in 1987 with Got to Be Tough. Most of the rappers who recorded for Luther Campbell's Luke Skyywalker Records (which later became Luke Records) in the late 80's fell into the Miami bass category. But Peter Jones, aka MC Shy D, was an exception. Originally from the Bronx, Shy D moved to the Atlanta area but never forgot his New York roots. Although the MC's debut album, Got to Be Tough, was recorded in Ft. Lauderdale, FL, and lists Campbell as its executive producer, none of the material is Florida-sounding. In fact, this 1987 LP is consistently New York-minded. Shy D's rapping style is right out of the Run-D.M.C./LL Cool J school of 1980's New York hip-hop, and his raw, hard-edged producing (which consists mainly of a drum machine, scratching, and samples) leaves no doubt that he was a major admirer of New York turntable wizards like Jam Master Jay and Cut Creator. When this LP came out, other Atlanta-based MCs were opting to project overtly Southern identities. Some were into the sort of fast, hyper bass music and X-rated booty rhymes that Campbell and his Florida colleagues were putting on the map, others favored a sound that was slower than bass but still very Southern-sounding. Shy D, however, was never a Southern-style rapper. He was a native New Yorker who made Atlanta his adopted home, and Got to Be Tough sounds like it could have been recorded in Queens, Brooklyn, or the Bronx instead of the South. Occasionally, Shy-D gets into social issues; "Paula's on Crack" is a blunt, hard-hitting tune about a young woman who has turned to prostitution to support her crack cocaine addiction. But most of the time, Shy D sticks to boasting lyrics on this LP, which falls short of remarkable but is still an enjoyable and decent slice of 1980's B-boy rhyming.

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mp3 @ 128 kbps / Stereo / 44,5 mb

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Audio Two - Make It Funky -b/w- Top Billin (1987) [12''][VLS]

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Side 1:

A1 - Make It Funky

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Side 2:

B1 - Make It Funky (Dub)

B2 - Top Billin

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Produced By: Daddy-O

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mp3 @ 192 kbps / Stereo / 17,7 mb

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Original Flavor - Beyond Flavor (1993)

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01. Intro

02. Can I Get Open (Feat. Jay-Z)

03. Beyond Flavor

04. Old School Skit

05. Whatchawant

06. Stick It Where The Sun Don't Shine

07. Blowin' Up Da Spot

08. Hit

09. Nigga Code

10. Many Styles (Feat. Jay-Z)

11. All That

12. Shut Up And Manage

13. Here We Go (Fuck It Up)

14. Keep On (Searching)

15. Shout Outs

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Veteran jazz drummer Max Roach has often compared rap to bebop, and for all the differences between jazz and rap, there are, in fact, some parallels, especially on the East Coast. Like the beboppers of the 1940s and 1950s, many New York, Philadelphia, and Boston rappers have been obsessed with technique. Anyone who has attended a hip-hop competition in any of those cities knows how technique-obsessed East Coast MCs can be; like bop icon Sonny Stitt, they view music as a form of sportsmanship and want to make sure you know how impressive their chops are. That obsession with technique is impossible to miss on 1993's Beyond Flavor, the second album by Original Flavor. This New York group is about flow, flow, and more flow, which is a different mindset from the gangsta rap mindset of many West Coast rappers. If, in 1993, you asked a hip-hop expert what the main differences between East Coast and West Coast rappers were, he/she would have responded that while the West Coast was about beats, hooks, and storytelling, the East Coast was about rhyming technique. There were many exceptions to that generalization, but Beyond Flavor does fit that stereotypical view of New York rap; Original Flavor and its allies (including a young, pre-solo career Jay-Z) spend most of this CD bragging about their rapping skills and showing off their considerable technique. When MCs have this much technique, the flow-for-the-sake-of-flow approach can be exhilarating, even if it does wear thin after awhile. Listening to Beyond Flavor is a lot of like hearing a group of East Coast hard boppers showing you how fast they can play standards; although chops for the sake of chops has its limitations, you still find yourself admiring and enjoying the display of virtuosity.

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mp3 @ 128 kbps / Joint Stereo / 41,4 mb

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Can I Get Open (Feat. Jay-Z)
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