listen, B. it just leaked. who's got a link, B. this torrent bullsh!t isn't working on my mac.




Big boats tearing the coast up . . . . fucking Miami, mang.

11/28/2007 8:11:31 PM

good lord

styles, scarface, beanie, ghostface, and mick boogie/busta downloading now

11/28/2007 10:49:52 PM

its amazing


granted im a huge GFK fanboy

but

im not at all disappointed

thank god its better than 8 diagrams

11/28/2007 10:53:49 PM

by the grace of God. someone send it to me on AIM.

11/28/2007 11:10:22 PM

ive got it downloaded it but haven't had a chance to listen yet. review pending.

11/28/2007 11:15:05 PM

how about sharing?

11/28/2007 11:55:45 PM

you suck @ teh interweb.

http://www.mp3pages.net/index.php?page=chart_album&id=482

11/29/2007 12:17:16 AM

You're a great American! However, I would never illegaly download music.

11/29/2007 2:50:57 AM

this shit is nuts, B. 2 different vibes when comparing the 8th diagram. i like them both. 8th diagram is a headphone album - this one is for the car.

11/29/2007 3:06:47 AM

great stuff! why dont they play this stuff on the radio? i'm so sick of hearing crap on the radio

11/29/2007 9:36:27 AM

^ WKNC 88.1FM...Sun-Thurs, 12A-2A, Underground Hip Hop. I dropped Praisly Darts last nite.

Big Doe Rehab bangs.

11/29/2007 9:47:54 AM

you guys shoulda been at cat's cradle tuesday night, ghostface tore it up for FREE, plus tons of free Scion paraphernalia to be taken.

11/29/2007 10:59:38 AM

i was at the concert where he first announced the new album, but everyone thought he was talking about the new wu album because at the time they had the same release dates

11/29/2007 11:14:07 AM

man i didn't even hear about the show until a few hours before it started, i was 18 shades of pissed.

11/29/2007 2:03:47 PM

not bad

not bad at all

11/29/2007 2:24:24 PM

OK, Slow Down is just a fucking SICK song

11/29/2007 3:24:28 PM

11/29/2007 6:56:01 PM

still thoroughly enjoying it

11/30/2007 8:39:09 AM

meh, its alright, there are a couple good tracks but I think he uses the "old school" music samples a little too much. After a while all the songs started sounding the same

its not on the same level as Fishscales

3/5 stars

11/30/2007 2:26:42 PM

Pretty Tony is where it's at

I liked that better than fishscale

but this new slow down track is sick as fuck, i'll say it again

11/30/2007 2:39:39 PM

Quote :

"but I think he uses the "old school" music samples a little too much."

see i think that's when he's in his stride now

he does it a hell of a lot better than snoop does...

with the wu, yeah he sounds good over grimier beats, but ghost as himself, he's a soulful dude...gotta get that heart into his songs

but "run" and "metal lungies" type songs with him on it are still fire

11/30/2007 2:45:36 PM

thanks for the link!

11/30/2007 3:13:52 PM

i don't think he'll ever top Supreme Clientel

11/30/2007 3:57:23 PM

of course he wont.

but i like the direction he's taken laterally from a sonic perspective [no drive-in]

11/30/2007 3:58:54 PM

http://www.hypebeast.com/2007/12/saint-alfred-x-ghostface-x-flip-the-bird-x-def-jam

12/3/2007 3:23:59 PM

oh yeah, Wutang Clan is coming with a new album called The 8 Diagrams. I think its the groups first new studio material since 2001

12/5/2007 5:14:03 PM

yeah its got some bangers...i need to burn another copy cause i gave my first one away (8th Diagram)

12/5/2007 5:15:36 PM

i still listen to bullet proof wallets pretty regularly, not his best work by any stretch of the imagination but i'm always partial to the first album that really opened my eyes about an artist.

12/6/2007 1:03:08 AM

nothing is better than supreme clientele, bu this big doe rehab is good. the name alone certifies it.

12/6/2007 2:42:31 AM

it's no fishscale or supreme clientele, but it's pretty good

only a couple skips

12/6/2007 3:42:17 AM

this is unrelated, but i dont feel like starting a new thread. But has any heard Hi-Tek's new album that's coming out? it's called Hi-Teknology 3. I've been reading some forums and they say that it has some great guests on different tracks like Ghostface Killah, Raekwon, Talib Kweli, Little Brother, etc

12/8/2007 11:33:58 PM

Hi-tek's album is mediocre @ best. he should stick to producing, seriously.

because of his strong affiliation with people like talib kwali I was expecting something more along the lines of the socially-conscious type music he does, but its not @ all.

ghostface/raekwon have a hot track on the album, and there's also a remix of "step ya game up" from little brother's "get back."

the album wasn't horrible, just a lot less than i expected.

[Edited on December 9, 2007 at 11:05 AM. Reason : .]

12/9/2007 10:52:56 AM

Quote :

"In October, The New Yorker pointed out that The Wire resonates deeply with two primary audiences: critics and "people who identify with the inner-city characters." Despite being somewhat intuitive--Lord knows it took me about five years to find people who were as into it as I was since I don't run with critics or the impoverished--it was an observation that gave me pause and made me chuckle because it's largely true. And you need not work hard to flesh out the racial dimension that accompanies what Margaret Talbot wrote. Momentarily dispensing with the caveats of political correctness, let's agree that The Wire is, in fact, most popular with white people who spend a lot of time worrying about the social issues of others and the black people who know those problems firsthand. I suppose that color isn't even such a big deal here. For my purposes, the racial component is really only important because it sharpens the contrast. Two disparate groups feel so similarly and so strongly about the same thing. That's not common. And more intriguing, I'd argue that both halves of this bifurcated fan base find a common appeal in the show. More than anything else, The Wire achieves an unparalleled authenticity thanks to its honest portrayal of city life. Beyond the frank treatment of personal relationships, race relations, and bureaucracy, The Wire enthralls its audience with those prosaic conversations that answer questions like, "Just what would a drug dealer talk about all day while standing on a street corner?" That it has won acceptance among people who likely recognize the systemic failures and pathologies of poverty that The Wire meticulously curates confers upon the show an imprimatur of truth. And it is this mark which makes The Wire all the more attractive to those who profess to care about its issues but have little intimate understanding of their quotidian rhythms. Now compare that to standard fare. Narratives about drug dealing, violence, political wrangling, and a roster of additional "urban themes" are not unique in popular culture. However, these subjects can carry so much emotional heft and connect to such a bleak reality that they're often distorted through simplistic, misguided celebration or diminished through the dishonest conventions of romanticism. The theoretical glory enjoyed by "heroes" like 50 Cent and Frank Lucas, or Young Jeezy and Nino Brown, is an artifice that ultimately rings hollow. But as we know, The Wire only traffics in the real, and this is why the show has been such a towering success. Ghostface Killah is a lot like The Wire. The ease with which he brings to life crime, drugs, poverty, and sexuality through their respective banalities simultaneously divorces his subjects from the misleading contexts in which they're commonly presented while also making them more accessible to everyday people. That's a paradox; we don't commonly enjoy hearing about how hard it is to wash someone's head off of a t-shirt. But that's Starks. And not coincidentally, he, too, enjoys a nearly unrivaled critical esteem and a cult following among those who, for whatever reasons, hear in his music something that they recognize. To be fair, rap fans far outnumber Wire fans, so we probably can't be as simplistic in our assessment because hip-hop fans occupying so many distinct nodes across a vast landscape. (And, SB ain't trying to be on some David Brooks oversimplification shit.) But in broad terms, you could likely etch out a similarly odd dichotomy of worship. (You could also contend that in both The Wire and a Ghostface album, fans find uncommon subjects--how many people are really selling drugs or rolling in Bentleys with the new Rasheeds?---which they can fetishize. Lots of people entertain fantasies of being Stringer Bell.) Of course, Starks is far more playful and outlandish, far less serious and pointed than The Wire, but Big Doe Rehab is nonetheless a wonderful reminder that no rapper is quite like Ghost because no rapper approaches his subjects and creates images in quite the same way. And, no rapper makes music that is nearly as much fun. BDR is, above all else, a sixteen-track affirmation that rap music can still be much more than empty thuggery and the soft bigotry of supposed southern excellence. If Fishscale was a sometimes wandering showcase for Ghost's many talents (and don't get it twisted--there is no revisionist history here: that album still knocks), BDR is a tight, cinematic return to a classic Wu-Tang modality, albeit with a more contemporary production style. This is the sort of topically cohesive, audacious, crime-obsessed album that scored your most cherished mid-90's Wu-Tang dreams. And though lauding a rapper's storytelling abilities is a common hip-hop compliment, that practice becomes laughable as Ghost drops vivid, detail-rich verses throughout. He just sons other MCs. Call me a "stan" if you will, but I defy anyone to explain how other rappers making records today can be considered on par or better (fall back, 21st Century Nas). I read somewhere that this album reminded the author of Only Built 4 Cuban Linx. I wouldn't go that far--you're talking about one of the five greatest rap albums ever made, after all--but it does share the same sort of defiant, assured mood. And that comes through almost palpably. One distinction that sets apart BDR from its recent Ghostface predecessors is the rapping. Last year's Ghostface offerings delivered tight verses and comfortable flows, but there was something casual and rehearsed about all of it. The choreographed procession of "name" producers likely contributed. It was enjoyable music that succeeded in spite of self-consciousness, and though the topics were at times bizarre and even hallucinatory, those were ideas that seemed calculated. The planning could be heard in Ghost's rapping, which had an air of maturity and restraint that is not what we commonly associate with such an energetic rapper who is charmingly perceptive as he sometimes veers off in his own direction. But BDR is different. It is marked by a notably absent self-awareness that allows the record to seem enjoyably out of control at times. Even the more subdued sounds and slower tempos do not dampen Ghost's uninhibited energy. "Yolanda's House" is the song of the year precisely because even while taking a stroll, it retains the volatility that has always made the Wu-Tang special. That and everything else that's dope about the track. Initially, I didn't think I liked BDR as much as I had hoped to. The first few songs I'd heard--"We Celebrate" and "Barrel Brothers"--were disjointed. Plus, the production left me wanting more. But BDR will grow on you. First, it is sequenced very well. "Barrell Brothers," far from being an unremarkable song, sets an excellent tone for what follows, and the mixed tempos and styles flow fairly seamlessly. Second, Method Man is reborn on this album. Whereas he rhymed well on 8 Diagrams but still somehow seemed to be a shell of what he once was, his work on Rehab is a welcomed reminder that he was once a preeminent rapper. Third, this really is a fine example of Ghostface being himself. It's infectious. And fourth, the enduring sounds of BDR are Ghost's stories. Feet free of callouses, bodies dropped by a Tommy-wielding mami--there is a lot of detailed rhyming here, the sort that draws you in and makes you love rap music. The sort that rings honest and true, even when you don't know what else you'd be looking for."

http://straightbangin.blogspot.com/2007/12/music-for-monday-its-all-in-details.html

12/11/2007 8:41:09 AM

all the hi-teknology albums are filled with cameos cause all the artists like him as a producer. the albums he makes himself however are just decent, nothing amazing. still need to get that ghostface though, im going to be all over that after work son

12/11/2007 12:36:23 PM

niiiiiiiiiiiiice still

2/23/2008 2:17:54 AM