Despre ei...

[kitu]

Before you start reading this bio, think about the words Non Phixion. Then think about the most real, bang you in the head with a sledgehammer-type moment you've ever experienced. Something that either hurt you or opened your eyes to reality. That's what Non Phixion are about. Read on...

The year was 1995. Somewhere in Brooklyn, NY, after years of spitting rhymes solo and crossing each others paths, four former advisaries buried the hatchet. They combined their talents and made history. ILL BILL, Goretex, Sabac Red and DJ Eclipse formed Non Phixion and jumped directly in the studio. Within six months, they released their debut single, "Legacy" b/w "No Tommorow" followed by an onslaught of critically acclaimed 12" singles that have sold over 100,000 copies combined.

From it's earliest stages, the group possessed it's own unique style that is best distilled to "b-boy gangster meets futuristic world of apocalypse". A complex blend of opposites is at the core of the Non Phixion sound. Not since Wu Tang's heyday has hip-hop witnessed such a display of unity and strength. Non Phixion has three distinct flows, three different voices and three different types of lyrical content, yet they all compliment each other in an impressive and powerful way.

After 2 years signed to Geffen Records yielded nothing, Non Phixion continued releasing music independently and began touring the world on their own. They've performed in all of NYC's major venues and done shows everywhere. Some of the places that have witnessed Non Phixion live include Los Angeles, Boston, San Francisco, Seattle, Chicago, Las Vegas, Philly, San Diego, Atlanta, Toronto, Amsterdam, London, Oslo, Milan, Zurich, Copenhagen and Berlin. Some of the groups they have shared the stage with include Gangstarr, RunDmc, Gza, Mos Def, Blackmoon, Pharoahe Monch, The X-ecutioners, Big Pun and Fat Joe, Necro, The Beatnuts, Jurassic 5, El-P, Dead Prez & the Roots. Non Phixion have earned themselves a dedicated fanbase across the United States, Europe and Japan.

April 23, 2002: After solidifying a world-wide cult following and releasing countless 12" singles over the past 7 years, Uncle Howie Records finally released Non Phixion's highly anticipated debut LP, "The Future Is Now". Along with the assistance of legendary producers DJ Premier, Pete Rock and Large Professor, "The Future Is Now" features guest appearances from Beatnuts, MF Doom and the nefarious Necro. In Addition, rockers Christian Olde Wolbers & Raymond Herrera from Fear Factory and Deftones guitarist Steph Carpenter get down as well. In the short 9 months since it's release, the album has sound-scanned close to 30,000 units in the US and sold over 60,000 units worldwide.

As Non Phixion begins collecting beats for their upcoming sophmore LP, Uncle Howie Records releases the "ILL BILL Is The Future" mix CD. This CD features all of ILL BILL's rare & out-of-print 12" singles, various guest appearances and some never-heard-before unreleased songs & freestyles. "The DVD Is Now", Non Phixion's first DVD will hit stores in Spring 2003 along with the first volume in the "Green CD" series of Non Phixion retrospective LPs. With solo projects being worked on by every member of the group, 2003 will be a busy year for Non Phixion. More to come...




DISCOGRAPHY



"Legacy" b/w "No Tomorrow" (1996 Serchlite)

"5 Boros" feat. DV alias Khrist b/w "Four W's" (1997 Serchlite)

"5 Boros" Remix Feat. DV alias Khrist (1997 Serchlite)

"I Shot Reagan" feat. Necro b/w "Refuse To Lose" (1998 Uncle Howie)

"14 Years of Rap" feat. Arsonists (1999 3-2-1)

"Sleepwalkers" b/w "Thug Tunin" (1999 Matador/Uncle Howie)

O.D. feat. ILL BiLL & Goretex of Non Phixon "2004" (1999 Audio Research)

"Black Helicopters" b/w "They Got" (2000 Matador/Uncle Howie)

Company Flow feat. ILL BiLL of Non Phixion "Simian D" (2000 Def Jux)

ILL BiLL (solo) "Gangsta Rap" b/w "How to Kill a Cop" (2000 Psycho+Logical)

Necro feat. ILL BiLL "The Most Sadistic" (2000 Psycho+Logical)

ILL BiLL "Who's The Best?" (2000 Fat Beats)

Necro feat. ILL BiLL & Goretex (solo) "Gory Days" LP (2001 Psycho+Logical)

Troy Dunnit Feat. ILL BiLL "Let's Go" (2001 Audio Research)

El-P feat. ILL BiLL (solo) "Fantastic Damage" LP (2002 Def Jux)

"The Future Is Now" LP (2002 Uncle Howie/Landspeed)

Goretex (solo) "Hated" b/w "New America"(2002 Imperial)

ILL BiLL (solo) "License 2 ILL" (2002 Ground Original)

ILL BiLL "ILL BiLL Is The Future" Mix CD (2003 Uncle Howie)

"Caught Between Worlds" b/w "We All Bleed" (2004 Uncle Howie)

"Food" b/w "This Is Not An Excercise" (2004 )

"The Green CD/DVD" (2004 Uncle Howie)

"The Future Is Now" Platinum Edition 2CD (2004 Uncle Howie)

ILL BILL (solo) "Anatomy Of A School Shooting" b/w "Unstoppable" (2004 Pyscho+Logical-Records)

Sabac (solo)

[GunG]

www.onyxdomain.com

[doru649]

Puteti sa va rupeti si voi cateva minute din timp sa bagati aici ca nu degeaba l-am deschis!

mda, frumoasa initiativa, dar is sigur ca putini au rabdare sa citeasca un review, daramite un bio, care e numai extra info despre artist si nu te pune in legatura directa cu muzica lui..

in plus, mc'ii prezentati aici sunt.. cam average. poate ca intr'adevar au ajuns la un nivel oarecare, dar daca intr'adevar e vorba de o actiune de culturalizare, eu as insista pe personaje mai iesite din comun, care au revolutionat in vreun fel arta lor sau au scos ceva albume clasice. de ce nu am vorbi, de exemplu de Freestyle Fellowship - poate cei mai neconventionali la vremea lor si care au avut o influenta enorma asupra hiphopului actual? exemple ar mai fi nenumarate inclusiv in prezent.. dar din cate'mi dau seama, va plac numai astia care dau punchlines..

[Chill Will]

Eu am venit cu partea mea(si-o sa mai bag cand am timp)...puteti incerca si voi ca nu va pica mana!

[sunrah]

PLANET ASIA



In the beginning of civilization, the original people called our planet, ??€?Asia??€?. ??€?Historians try to divide the continents and the people by of the world with labels such as Africa, the Middle East, Asia and Egypt. All of these people were, and are one. The name, Planet Asia is symbolic of the body of the original man,??€? states Planet Asia. The coming of Planet Asia will reunite all original peoples with the sound of the all-mighty boom-bap. The name alone, ??€?Planet Asia,??€? fills ones head with the sounds and images of an intergalactic emcee. Not many can place a finger on Planet Asia, and none can touch him when it comes to microphone stature. Inspired by pioneering legends such as Rakim, A Tribe Called Quest, King Tee, Too Short, and KRS-One, Asia has a distinguished style that is unmistakable to any who have ever been blessed by his vocals. Asia can flip through street tales, party joints, and just flat out, uncut B-boy, braggadocios rhymes. Hailing from the valleys and alleys of Fresno, California, Asia has ripped his way through lunchroom battles, street-corner confrontations, and talent shows perfecting his craft. During his junior high days, Planet Asia was the kid rapping and banging on the lunchroom tables or in the schoolyard. He was also the one emceeing in the talent shows or opening for the major artists that performed in Fresno. Along with his crew the Yard Massive, Asia opened up for artists such as Cypress Hill, W.C., Gang Starr, X-Clan, and others. Even as a youth, Asia??€�s talent stood out above the rest. In Early 1998 Planet Asia moved to the Bay Area to make his mark in the land of dirt hustlers and packed underground shows. Once he stepped foot in the Bay he headed straight for the microphone, wherever it was. Many had to leave their set, upstaged after opening the mic and letting Asia grab hold. He never lets go. After ripping through open mics and hurting emcees??€� feelings, Asia hooked up with Bay Area producer Fanatik. Within weeks, they put out Asia??€�s first self-titled EP. It took the underground by storm. Deejays around the world are getting a taste of the next generation With thousands of sales, numerous stage appearances, college and mainstream mix show spins under his belt, Asia took his act worldwide on a UK tour with Rasco, Peanut Butter Wolf and the Jungle Brothers in February ??€�99, and then on a whirlwind tour of Japan in September of ??€�99. A barrage of 12??€? singles kept Planet Asia on the minds and turntables of Hip-Hop enthusiasts worldwide. Charting high on Gavin, CMJ, Hits, and even hitting Billboard with three different records is proof positive that Asia can hang with the best of them. The highly anticipated full-length album, Life As It Is, due in 2001 on Interscope Records, will be the next chapter in the epic that will be Planet Asia??€�s career. Life As It Is is going to give music fans the same feeling that they got when they listened to their first Pete Rock and C.L. Smooth album, their first three Tribe Called Quest albums, their first N.W.A. album, their first Pharcyde album, their first Main Source album, their first EPMD album, and their first Eric B. and Rakim album. Word! Planet Asia??€�s unbelievable presence and energy, both on stage and on record, is guaranteed to establish him as one of the premiere artists of the millennium.

[sunrah]

Prepare for the music.

Get ready for the ??€?The Movement.??€?



Just like any burgeoning culture, hip-hop is inundated with corruptions and false promises. Lately, the MCs in commercial leadership are too busy basking in their new found riches to uplift the starving streets that supported their talent in the first place. But while the false prophets are shopping at Chanel and sipping Cristal, there??€�s a growing number of MCs that are dead set on pulling hip-hop music out of fantasy rap mode and back into potent reflections of real life. . . . aaiiii!

As a member of one of the most significant musical collectives in recent history, Inspectah Deck of the Wu-Tang Clan has never fallen victim to the ill powers that be. Inspectah Deck was one of the featured rappers on many of the Wu Tang Clan??€�s major hits like: "Triumph," "C.R.E.A.M.", "Pinky Ring" and more. And just like any gracious minded veteran, the Staten Island raised MC is primed to supply the street??€�s demand for real live hip-hop on his second solo album, The Movement due out on I.N.S. Productions/ KOCH Entertainment/ In The Paint on May 20, 2003.

With 18 new tracks produced by former UMC member, Hassan a.k.a. Phantom Of The Beats and longtime QB producer Ayatollah, The Movement is chock full of rugged inspiration. ??€?This is where y??€�all gonna see me take a stand,??€? explains Deck. ??€?I??€�m gonna be on the front line taking shots like a Huey Newton Black panther type dude.??€? As a child of the ??€?70??€�s Inspectah Deck is known to merge both the deep soul and righteous posturing of the decade??€�s urban legends seamlessly with today??€�s current events. With the soulful Blaxpotation sounding ??€?Stereotype,??€? the funkdified Inspectah morphs into his latest alias, Manny Festo and commands respect through the weight of his character, not his bankroll. On the hard edged ??€?U Wanna Be,??€? Deck truly rocks the mic with a flagrant flow that perfectly compliments Phantom??€�s up to the minute sonic stylings. Through lines like, ??€?All the killers I know are either 6ft below or lost in the system doin??€� years in the hole??€? Deck shakes down the rap games mass produced studio thugs while informing the youngsters about the fundamental importance of paying dues.



Unlike Inspectah Deck??€�s previous work with the Clan, The Movement allows the versatile MC to truly flex his skills. When you??€�re doing a Wu-Tang Album there??€�s so many creative minds clashing that sometimes the best thought may not get acknowledged,??€? relays Deck. ??€?With my album, I??€�m behind the wheel of my own car. It??€�s much easier for me to see where I??€�m going when I??€�m in control rather than having somebody else steering your life or your career for you.??€?

Taking his independence one step further, Inspectah Deck has terminated his relationship with the now defunct Loud Records. Despite his former record company??€�s inability to properly market and promote his ??€�99 debut, Uncontrolled Substance, Deck still managed to go Gold and receive both critical and national acclaim. This time around he??€�s taking his destiny into his own hands and releasing The Movement through his own company, I.N.S. Productions.

By challenging both conventional big business standards and popular hip-hop principals Inspectah Deck is poised to enrich the rap game with one his most thought provoking and lyrically cohesive works to date. The Movement is sure to give starving fans everywhere the substantial rap fill they??€�ve been looking for. ??€?This album is not anti-establishment, it??€�s not anti-White man, it??€�s anti-anything,??€? confirms Deck. ??€?I??€�m not trying to save the world; I??€�m just trying to save the music. The music I grew up with educated you. I??€�m trying to take it back to when you got respected on the weight of your thoughts and character and not your material possessions.??€?

[sunrah]

MARLEY MARL
Born: 1962


Styles: Golden Age, Pop-Rap, Old School Rap, East Coast Rap, Hip-Hop

One of hip-hop's first (and finest) superproducers, Marley Marl was an early innovator in the art of sampling, developing new techniques that resulted in some of the sharpest beats and hooks in rap's Golden Age. As the founder of Cold Chillin' Records, Marl assembled a roster filled with some of the finest hip-hop talent in New York: MC Shan, Big Daddy Kane, Biz Markie, Roxanne Shant?©, Kool G Rap & DJ Polo, and Masta Ace. His production work for those and many other artists generally boasted a bright, booming, and robust sound that -- along with his ear for a catchy sample -- helped move street-level hip-hop's sonic blueprint into more accessible territory. Most important, though, were his skills as a beatmaker; Marl was among the first to mine James Brown records for grooves and also learned how to craft his own drum loops through sampling, which decreased hip-hop's reliance on tinny-sounding drum machines and gave his '80s productions a fresh, modern flavor.

Marl was born Marlon Williams on September 30, 1962, and grew up in the Queensbridge housing project in Queens, NY. He became interested in music through local talent shows and neighborhood parties and became an accomplished DJ during rap's early days. He did mixing work on a number of singles for the old-school hip-hop/electro label Tuff City and started up his own Cold Chillin' label, which he initially ran out of his sister's apartment in Queensbridge. Marl set about recruiting for what became one of rap's first talent collectives, the Juice Crew. He caught his first big break in 1984 when he produced Roxanne Shant?©'s "Roxanne's Revenge," one of many answer singles inspired by U.T.F.O.'s underground smash "Roxanne, Roxanne"; luckily, "Roxanne's Revenge" was the biggest and it put artist, label, and producer on the map. Marl trumped it by helming "The Bridge," an ode to Queensbridge by his cousin MC Shan that became the unofficial Queens rap anthem and inspired a spirited feud with Bronx native KRS-One. With Marl's success came the opportunity to produce artists outside the Cold Chillin' stable, which he did with the monumental Eric B. & Rakim single "Eric B. Is President," as well as full-length albums by Heavy D & the Boyz.

The end of the '80s is often referred to as hip-hop's Golden Age, a time when the form's creativity was expanding by leaps and bounds. Marl's Juice Crew was an important force in ushering in this era thanks to its advances in lyrical technique and the distinctive personalities of emerging stars like Biz Markie and Big Daddy Kane. With business at Cold Chillin' booming, Marl put out the first full-length release under his own name in 1988 (he'd previously recorded the single "DJ Cuttin'" in 1985 with the alias NYC Cutter). In Control, Vol. 1 was mostly a showcase for various Juice Crew affiliates to strut their stuff, most thrillingly on the legendary, larger-than-life posse cut "The Symphony." Marl scored his greatest crossover success in 1990 by helming LL Cool J's Mama Said Knock You Out; bolstered by Marl's state-of-the-art production, the album restored LL's street cred while becoming his biggest seller ever, making Marl an in-demand remixer. 1991 brought the release of In Control, Vol. 2, which unfortunately displayed signs that the Cold Chillin' talent pool was being depleted.

After working with TLC on their 1992 debut, Marl remained mostly quiet for a few years; 1995 brought the release of House of Hits, an excellent retrospective of his best productions over the years. Splitting off from Cold Chillin', Marl spent several years in a legal battle over money and ownership rights that, in 1998, finally resulted in his being awarded control of all the songs he'd produced for the label. In the late '90s, Marl's status as a high-profile producer was restored thanks to his work with artists like Rakim, Queensbridge's own Capone-N-Noreaga, and Fat Joe. In 2001, Marl put together another compilation of original productions with guest rappers for the British BBE label, titled Re-Entry. ~ Steve Huey, All Music Guide

[Chill Will]

One of the most beloved hip-hop crews in rap music, D.I.T.C. (an acronym for "Diggin' in the Crates") consists of veteran rappers, DJs, and producers dedicated to the true essence of rap music: original lyrics and strong beat-savvy productions. With their dedication to hip-hop purity, members Showbiz & A.G. (Andre the Giant), Diamond D, Lord Finesse, Fat Joe, O.C., Buckwild, and the late Big L have at least one classic album under their belts. Although they never reached the success of their multi-platinum peers, individually they became successful by maintaining their integrity and earning major respect within the rap community.
Lord Finesse (born Robert Hall) is a legendary MC-turned-producer who has produced tracks for Notorious B.I.G. (1997's Ready to Die) and Dr. Dre (1999's Chronic). As a young cocky MC, he would travel to any borough in New York to battle their best rapper and win. He shopped his demo to various record labels and eventually dropped the first of several records, his 1990 classic Funky Technician. The record had a few tracks produced by his good friend Diamond (formerly Diamond D), a former member of the rap group Ultimate Force. One of the oldest members in the D.I.T.C. crew, Diamond got his first whiff of hip-hop DJing for Jazzy Jay of the Zulu Nation in 1979. In the mid-'80s, he was turntable scratching at late-night park parties, often competing with area top DJs (Showbiz was once his nemesis.) In 1992, this DJ, then a producer, showcased New York City's underground talent and his rap skills on his classic debut Stunts, Blunts & Hip-Hop.

Bronx native Fat Joe became the first Latino rapper in New York to secure a solo deal with a major label with his 1993 debut Representin'. In 1998, his Don Cartagena release went gold (500,000 copies sold). Showbiz & A.G. were the first to adopt the do-it-yourself attitude by releasing their 1992 debut EP, Can I Get a Soul Clap, practically out of the trunk of their cars. Showbiz, a name he stolen from an old Richard Pryor record, pioneered taking an instrumental and looping voices over it. His partner A.G. was known as the Bronx's "punchline" rapper. Through the mid-'90s, he was a prolific producer, producing tracks for primarily underground rap acts. In 1999, A.G. restarted his rap career with his solo CD Dirty Version.

Meanwhile, another Bronx native named Buckwild, who once started out as Lord Finesse's apprentice in his production company, started producing tracks around 1994. He later delivered melodic beats for rap heavyweights like Fat Joe, Notorious B.I.G., Big L, Mic Geronimo, and Big Pun. But it was his first at-bat, producing tracks for O.C.'s Word Life in 1994, that established him as a vital producer in the underground rap scene. O.C., one of hip-hop's most energetic lyricists, was an up-and-coming MC before Word Life. After the album's release, he made numerous guest appearances on other D.I.T.C. members' records while maintaining a low profile.

The final member of D.I.T.C. was Big L, a lyrically ferocious MC with raps deadlier than a snakebite and mannerisms cooler than the uptown pimp he claimed to be on records. Calling himself the flamboyant (meaning "rich") MC, he dropped his classic 1994 record Lifestylez ov da Poor and Dangerous on Columbia. He was gearing up for a comeback, with a second CD due for release on Rawkus, when he was slain on February 15, 1999. The crew came together later that year for a memorial concert at Trammps in New York (anthologized by a series of CD releases), and recorded a self-titled group record in 2000. ~ Trent Fitzgerald, All Music Guide

[Chill Will]

Emerging in 1993, when Dr. Dre's G-funk had overtaken the hip-hop world, the Staten Island, NY-based Wu-Tang


Clan proved to be the most revolutionary rap group of the mid-'90s -- and only partially because of their music. Turning the standard concept of a hip-hop crew inside out, the Wu-Tang Clan were assembled as a loose congregation of nine MCs, almost as a support group. Instead of releasing one album after another, the Clan was designed to overtake the record industry in as profitable a fashion as possible -- the idea was to establish the Wu-Tang as a force with their debut album and then spin off into as many side projects as possible. In the process, the members would all become individual stars as well as receive individual royalty checks.


Surprisingly, the plan worked. All of the various Wu-Tang solo projects elaborated on the theme the group laid out on their 1993 debut, the spare, menacing Enter the Wu-Tang (36 Chambers). Taking their group name from an powerful, mythical kung fu sword wielded by an invincible congregation of warriors, the crew is a loose collective of nine MCs. All nine members work under a number of pseudonyms, but they are best known as RZA (formerly Prince Rakeem; aka Rzarecta, Chief Abbot, and Bobby Steels; born Robert Diggs), Genius/GZA (aka Justice and Maxi Million; born Gary Grice), Ol' Dirty Bastard (aka Unique Ason, Joe Bannanas, Dirt McGirt, Dirt Dog, and Osirus; born Russell Jones), Method Man (aka Johnny Blaze, Ticallion Stallion, Shakwon, Methical, and MZA; born Clifford Smith, Raekwon the Chef (aka Shallah Raekwon and Lou Diamonds; born Corey Woods), Ghostface Killah (aka Tony Starks and Sun God; born Dennis Coles), U-God (aka Golden Arms, Lucky Hands, Baby U, and 4-Bar Killer; born Lamont Hawkins), Inspectah Deck (aka Rebel INS and Rollie Fingers; born Jason Hunter), and Masta Killa (aka Noodles; born Elgin Turner).


Although he wasn't one of the two founding members -- Genius/GZA and Ol' Dirty Bastard were the first -- the vision of the Wu-Tang Clan is undoubtedly due to the musical skills of RZA. Under his direction, the group -- through its own efforts and the solo projects, all of which he produced or co-produced -- created a hazy, surreal, and menacing soundscape out of hardcore beats, eerie piano riffs, and minimal samples. Over these surrealistic backing tracks, the MCs rapped hard, updating the old-school attack with vicious violence, martial arts imagery, and a welcome warped humor. By 1995, the sound was one of the most instantly recognizable in hip-hop.


It wasn't always that way. Like most rappers, they began their careers trying to get ahead whatever way they could. For RZA, that meant releasing a silly single, "Ooh, I Love You Rakeem," on Tommy Boy Records in 1991. On the advice of his label and producers, he cut the humorous, lover-man single that went absolutely nowhere. Neither did the follow-up single, "My Deadly Venom." The experience strengthened his resolve to subvert and attack record-industry conventions. He found partners in Genius and Ol' Dirty Bastard. Genius had also released a record in 1991, the full-length Words From the Genius on Cold Chillin', which was preceded by the single "Come Do Me." Both records were unsuccessful. After the failure of his album, Genius teamed with an old friend, Ol' Dirty Bastard, to form the crew that would evolve into the Wu-Tang Clan within a year.


RZA quickly became part of the crew, as did several other local MCs, including Method Man, Ghostface Killah, Raekwon, U-God, Inspectah Deck, and Masta Killa, who rarely raps. The nine rappers made a pact to a form an artistic and financial community -- the Wu-Tang Clan wouldn't merely be a group, it would be its own industry. In order to do this, they decided to establish themselves through a group effort and then begin to spread the word through solo projects, picking up additional collaborators along the way and, in the process, becoming stronger and more influential.


The first Wu-Tang Clan single, the hard-hitting "Protect Ya Neck," appeared on their own independent label and became an underground hit. Soon, the record labels were offering them lucrative contracts. The group held out until they landed a deal that would allow each member to record solo albums for whatever label they chose -- in essence, each rapper was a free agent. Loud/RCA agreed to the deal, and the band's debut album, Enter the Wu-Tang (36 Chambers), appeared in November of 1993. Enter the Wu-Tang (36 Chambers) was both critically acclaimed and commercially successful; although its financial success wasn't immediate, it was the result of a slow build. "C.R.E.A.M.," released in early 1994, was the single that put them over the top and won them a devoted following. The group wasted no time in pursuing other projects, as a total of five of the members -- Genius, RZA, Raekwon, Method Man, and Ol' Dirty Bastard -- landed solo contracts as a result of the success of "C.R.E.A.M." RZA was the first to re-enter the studio, this time as a member of the Gravediggaz, a group he founded; in addition to RZA, who was rechristened RZArecta, the group included De La Soul producer Prince Paul, Stetsasonic's Frukwan, and Brothers Grimm's Poetic. The Gravediggaz's album 6 Feet Deep appeared in August 1994; it eventually would go gold. Labeled "horrorcore" by the group, it was an ultra-violent but comical tour de force that demonstrated RZA's production prowess. Shortly after its release, Raekwon released his first single, "Heaven and Hell," on the Fresh soundtrack; the song was produced by RZA and featured Ghostface Killah.


The first Wu-Tang member to become a major solo star was Method Man. In November 1994, he released Tical, the first official Wu-Tang solo album. Again, RZA produced the album, creating a dense, dirty sonic collage. Tical became a big hit in early 1995, as did Meth's duet with Mary J. Blige, "I'll Be There for You/You're All I Need to Get By." Ol' Dirty Bastard followed Method Man's breakthrough success with Return to the 36 Chambers, which appeared in March 1995 on Elektra Records. Thanks to the hits "Brooklyn Zoo" and "Shimmy Shimmy Ya," the record became a gold success. Out of all the solo albums, it was the one that sounded the most like Enter the Wu-Tang, although it did have a more pronounced comic bent, due to Ol' Dirty's maniacal vocals. Tales From the Hood, a movie soundtrack featuring Inspectah Deck's first solo track, appeared in May.


Later in 1995, the two most critically acclaimed Wu-Tang records appeared: Raekwon's Only Built 4 Cuban Linx and Genius/GZA's Liquid Swords. Raekwon released his album on Loud/RCA in August 1995; the record featured extensive contributions -- a total of 12 songs -- from Ghostface Killah, his greatest exposure yet. Genius' second solo album was released by Geffen Records in November 1995. In February of 1996, Ghostface Killah's first solo track, "Winter Warz," appeared on the Don't Be a Menace to South Central While You're Drinking Your Juice in the Hood soundtrack. Later that October, he released his own solo debut, the critically acclaimed, '70s soul-flavored Ironman; the record was the first released on RZA's new Epic subsidiary, Razor Sharp Records.


The Wu-Tang Clan finally reconvened and returned with their second album, the double-CD Wu-Tang Forever, in June of 1997. Hugely anticipated, the album entered the charts at number one -- selling over 600,000 copies in its first week alone -- and quickly spawned the hit single "Triumph." There were several contributions from guest associate Cappadonna (born Darryl Hill), who'd appeared on Only Built 4 Cuban Linx and Ironman, and would later become the tenth member of the Wu-Tang Clan. The group toured extensively in support of the album, getting into a few minor scuffles with the law along the way.


In the meantime, the next phase of the Wu-Tang plan started to take shape: unearthing new associates and spinning the resulting stable of talent into a brand-name franchise. A group of Wu prot?©g?©s dubbed Killarmy released their debut album, Silent Weapons for Quiet Wars, on Priority Records in August 1997, drawing heavily upon the Clan's martial imagery. 1998, however, was truly the year for Wu-related side projects. In March, Cappadonna released his solo debut The Pillage on Columbia. The same month, Killah Priest -- not an official part of the Clan, but a frequent guest and a member of another prot?©g?© group called the Sunz of Man -- made his solo debut on Geffen Records with Heavy Mental, an acclaimed album filled with spiritual imagery that established him as one of the more distinctive solo artists in the Wu-Tang orbit. In July the Sunz of Man released their own debut album, The Last Shall Be First, on Red Ant, and yet another group of up-and-comers dubbed the Wu-Tang Killa Bees released their first album, The Swarm, Vol. 1, on Priority, featuring a number of guest appearances by Wu members and associates. In August, Killarmy issued their second album, Dirty Weaponry.


1998 was also the year Ol' Dirty Bastard began a long and bizarre saga of erratic behavior and run-ins with police that found him making headlines with alarming (and ridiculous) regularity. In February he interrupted Shawn Colvin's acceptance speech at the Grammy Awards to protest the Clan's loss in the Best Rap Album category; shortly thereafter, he announced he was changing his name to Big Baby Jesus, an idea that never picked up steam. This was only the beginning -- over the next year and a half, ODB would be arrested for a litany of offenses that included assault, shoplifting, making terrorist threats, wearing body armor after being convicted of a felony, possessing cocaine, and missing countless court dates. Plus, in early 1999, the whole Clan fell under suspicion of masterminding a gun-running operation between Staten Island and Steubenville, OH, charges that were never proven to have any validity.


In the midst of this legal sideshow, the Clan kicked off a second round of solo projects in late 1998. This time around, RZA curtailed his activities somewhat, making appearances but often leaving the majority of the production duties to his prot?©g?©s. Still, he released his own solo debut, the soundtrack-styled RZA as Bobby Digital in Stereo, in November of 1998 on V2; the same month, Method Man's second album, Tical 2000: Judgement Day, debuted at number two on the charts. June 1999 saw the release of an excellent singles compilation, RZA Hits, which covered the first Wu-Tang album and the first round of solo albums (1994-1995); the very next week, Genius/GZA's second album, Beneath the Surface, was released. September brought plenty of new Wu product: Ol' Dirty Bastard's Nigga Please, released while the rapper was in rehab; Method Man's acclaimed duo album with Redman, Blackout!; and the first-ever solo album by Inspectah Deck, Uncontrolled Substance, which appeared on Relativity. Another Wu member made his solo debut in October, when U-God issued Golden Arms Redemption on Priority; Raekwon returned the following month with Immobilarity. Finally, Ghostface Killah issued his well-received sophomore set, Supreme Clientele, in January 2000.


However, this second round of Wu-Tang solo albums didn't attract as much attention, either critically or commercially. True, Method Man remained a popular solo star (and, to a lesser degree, so did ODB), and reviews were highly positive for Ghostface Killah (and, to a lesser degree, Genius/GZA). But the Wu franchise was suffering from inconsistency, overexposure (they'd spawned a clothing line, a video game, a comic book, and more), and a flood of musical product that even diehards found difficult to keep up with. Their once-distinctive sound was becoming commonplace and diluted, not just through the collective's own releases but also RZA's many imitators; plus, by this time, Timbaland had taken over the mantle of hip-hop's most cutting-edge producer.


Indie filmmaker Jim Jarmusch commissioned RZA to compose a soundtrack for his acclaimed Ghost Dog: The Way of the Samurai, the results of which were unveiled in early 2000. Other than that, the Clan reconvened for a new album and was mostly quiet during much of 2000 -- aside from Ol' Dirty Bastard, who unfortunately continued to spiral out of control. He spent some time in a California jail for violating the terms of his probation, but appeared to be on the right track when suddenly, in October -- with just two months of rehab to go -- he escaped the California facility and spent a month on the run from the law. Fans were shocked when ODB turned up on-stage at the New York record-release party for the Clan's new album, The W, which was released with considerably less fanfare in November 2000. A leaner, more focused collection, The W featured only one track from ODB and pictured Cappadonna as a full-fledged member of the group (though he remained unnamed on their official contract with Loud).

ODB managed to exit the club after his surprise performance but was soon captured by police in Philadelphia and extradited to New York to face charges of cocaine possession. In April 2001, he cut a deal with prosecutors that resulted in a sentence of two to four years in state prison, bringing his outlaw saga to a sad end. In August 2001, RZA issued his second Bobby Digital album, Digital Bullet; November brought solo albums from Ghostface Killah (Bulletproof Wallets) and Cappadonna (The Yin and the Yang). This time, though, there was no full round of solo projects in between Wu albums; the full group (minus ODB) assembled for their fourth album, Iron Flag, which was released in December 2001, just one year after its predecessor. Despite a lot of activity for the various solo projects, Wu-Tang released only a live album, 2004's Disciples of the 36 Chambers, during the subsequent five years. That document was one of the last places to hear Ol' Dirty Bastard, who died of a heart attack in November 2004.

[Chill Will]

One of the most influential rap groups of the late '90s, Company Flow laid the groundwork for nearly all the experimental hip-hop that followed. They were an instrumental force in revitalizing underground hip-hop as a whole, and in making Rawkus Records the new movement's most prominent indie label. Company Flow's sound -- dense, abstract lyrics underpinned by irregular beats and spacy, basement-level production -- was like nothing else in hip-hop at the time, and their uncompromising attitude and willingness to push the envelope became hallmarks of the independent hip-hop scene. Although they managed only one proper album, the classic Funcrusher Plus, the full extent of their legacy is just beginning to be felt.

Company Flow was founded in 1992 in Queens by MC/producer El-Producto (El-P for short; born Jaime Meline), along with Bigg Jus and DJ Mr. Len. Highly intelligent but kicked out of several schools for problems with authority, El-P had previously signed a restrictive solo deal that kept him from recording for years; he even served an internship with an entertainment lawyer in hopes of resolving his difficulties. After getting his GED at age 16, he studied sound engineering, and formed Company Flow after meeting DJ Mr. Len at his 18th birthday party. The two put out a single, "Juvenile Techniques," on the small Libra label in 1993, and Libra employee Bigg Jus soon befriended the group and became its third member. Company Flow set up its own label, Official Recordings, and released the single "8 Steps to Perfection," which began to create an underground buzz. The group worked day jobs to fund their first EP, 1995's Funcrusher, which sold over 30,000 copies despite being available only in double-vinyl format.

Now with an even stronger buzz, Company Flow was courted by several labels, but held out for an extremely artist-friendly deal that would allow them to maintain ownership of their masters and publishing rights, receive 50 percent of the net profits from their recordings, and not commit them to multiple album releases. The only label to accept their terms was Rawkus Records, a financially struggling indie with no clear musical identity at the time. Company Flow's signing gave them instant street credibility, and paved the way for the label to spearhead the resurgence of underground hip-hop with a roster including Mos Def, Talib Kweli, Pharoahe Monch, and others. Company Flow, meanwhile, added a spate of new tracks to Funcrusher to create their debut full-length, Funcrusher Plus. Acclaimed by many and misunderstood by some, Funcrusher Plus is considered a landmark. Heavy touring and promotion ensued, after which Bigg Jus struck out on his own (as the group had planned for some time). El-P and Mr. Len followed up with Little Johnny From the Hospitul: Breaks and Instrumentals, Vol. 1, an album of dark instrumental hip-hop that disappointed some fans but pleased others. Also that year, they contributed the topical "Patriotism" to Rawkus' Soundbombing, Vol. 2 compilation (which was titled after a phrase they'd coined in the early days).

By 2000, Rawkus was pushing to break itself into the mainstream, and their relationship with Company Flow began to break down. They officially parted ways by the end of the year, and not long after the group decided to disband amicably. El-P set up his own Definitive Jux label and assembled a roster of progressive rap artists, including Cannibal Ox, Aesop Rock, Mr. Lif, and RJD2, not to mention his own solo recordings, which began with 2002's abrasive and acclaimed Fantastic Damage.

[Chill Will]

Canibus



Though heralded as a prospective talent at the time of his major-label debut in 1998, Canibus nonetheless became little more than a momentary phenomenon as his subsequent work failed to match the hype surrounding him. Following some underground work and cameo appearances, most notably on Wyclef Jean's "Gone Till November" remix in 1997, Canibus feuded famously with LL Cool J. The resulting exchanges -- Canibus' "Second Round K.O." and LL's "The Ripper Strikes Back," both spirited battle tracks -- garnered significant attention and, of course, promotion as well. Expectations were therefore high when Canibus unleashed his Wyclef-produced debut full-length, Can-I-Bus (1998), shortly afterward on Universal. Critics unfortunately panned the album and listeners did so as well, so Canibus receded from the spotlight quickly. He returned two years later with his follow-up for Universal, 2000 B.C., but it too found little embrace, and Canibus soon found himself returning to the underground circuit from which he came. He interestingly sought to battle his way back into the spotlight as he originally had, ultimately confronting Eminem of all rappers. The tactic proved fruitless, though, and alienated Canibus even further from the mass market. Even so, he retained a cultish following and continued to release albums independently of the majors, occasionally firing off more of the battle raps he remains most known for.

Born Germaine Williams in 1974 in Jamaica, Canibus moved to the United States with his mother at a young age. Because his mother's career required constant relocation, the family moved frequently and the soon-to-be rapper found solace within himself. His rhetorical abilities blossomed later, once hip-hop became the guiding force in his life. He began rhyming and in the mid-'90s joined a group called T.H.E.M. (The Heralds of Extreme Metaphors), which consisted also of his partner Webb. Following a fallout with his partner, Canibus pursued a solo career and began infiltrating the mix-tape circuit. By 1997, he had approached the brink of the major-label rap game, guesting regularly on high-profile releases: He contributed to "Uni-4-orm," an inclusion on the Rhyme & Reason soundtrack also featuring Heltah Skeltah and Rass Kass; "Love, Peace & Nappiness," an inclusion on the Lost Boyz's Love, Peace & Nappiness also featuring Redman and A+; "Making a Name for Ourselves," an inclusion on Common's One Day It'll All Make Sense; the non-album remix of Wyclef Jean's "Gone Till November"; and most famously, "4, 3, 2, 1," an inclusion on LL Cool J's Phenomenon also featuring Redman, DMX, and Method Man.

Of the several guest appearances, "4, 3, 2, 1" certainly meant the most, as it brought together many of New York's preeminent hardcore rappers and thus ushered Canibus into that same elite class. At the same time, however, Canibus lashed out shortly afterward with the Mike Tyson-featuring "Second Round K.O.," where he rhymed, "So I'ma let the world know the truth, you don't want me to shine/You studied my rhyme, then you laid your vocals after mine." In fact, the entirety of the song directed barbed rhymes at LL: "You walk around showin' off your body cause it sells/Plus to avoid the fact that you ain't got skills/Mad at me 'cause I kick that sh*t real niggaz feel/While 99 percent of your fans wear high heels," and so on. Shortly thereafter, LL sought his revenge, releasing "The Ripper Strikes Back" on the Survival of the Illest soundtrack (1998) and thus channeling even more attention toward Canibus. From the track's chorus ("Can-I-bus? Yes you can!") to practically every line of the verses ("You soft as a newborn baby takin' a nap/Make my dick hard with that bitch-ass track/Where you at? smokin' in some one-room flat/Suckin' on Clef's dick hopin' to come back"), LL unleashed a fury of insults and threats. The media, of course, elevated the battle to grand heights, as even MTV gave the story headlines. In the aftermath of 2Pac's and Biggie's deaths, such confrontations fascinated the rap community, and Canibus certainly capitalized on his newfound publicity.

As for his debut full-length, Can-i-bus (1998), though, the response was sobering. Critics expressed little support, and sales quickly dropped as listeners also felt genuinely disappointed. Executive produced by Wyclef, the album suffered on many levels, both production-wise and rhetorically as well (critics targeting Canibus' delivery more than his lyrics or themes). The momentum that "Second Round K.O." had generated simmered almost immediately, and it didn't help that LL's "Ripper Strikes Back" found substantial acceptance at the time as well. In the two years following the release of Can-i-bus, the rapper maintained an extremely low profile, much in contrast to the regular guest appearances he had made leading up to his debut. As a result, when he finally did return with his follow-up album, 2000 B.C. (2000), few noticed, it came and went generally unheard, and Canibus returned to the underground after parting ways with Universal. He continued to record albums and release them on the independent circuit; furthermore, he retained a small base of fans as well, yet his days as the next-big-thing had clearly come and gone, as they similarly had for so many other talented rappers.

[sunrah]

imi place mult Canibus

[Bazooka Joe]

escobar daca tot pui astea gaseste si tu niste biografii la zi ... asta de la canibus e cam jumate

[Chill Will]

Mad Skillz




Going to college in Virginia only an hour north of Richmond, the home of Mad Skillz and the Superfriendz, I had heard about the freestyling abilities of this youngster over and over... "he's better than Supernat..." "he's f'ing incredible..." His debut album had not yet been released by Atlantic and that night's performance was going to be a big one for MWC and Mad Skillz -- the first local underground rap act about to blow up.

The night itself was a total disaster -- the show was cancelled after go-go group Point Blank did their set and a handful of local unsigned artists did their thing. Apparently, a knife fight had started, and concert organizers decided to stop the show before Mad Skillz could go on.

Fortunately, I managed to get my interview before the show. Drinking a Sprite and inhaling a sub, Mad Skillz talked at length about getting signed, freestyling, and what a pain in the ass working with Big Beat/Atlantic was. The crew was apparently quite disappointed, but also understanding, offering to come back and do another show later on down the road. Though that never happened, and it took Atlantic almost another six months to release Mad Skillz' debut release resulting in poor sales, the crew maintained and kept their underground following.

[Chill Will]

escobar daca tot pui astea gaseste si tu niste biografii la zi ... asta de la canibus e cam jumate

bine mihai lazar!