The Phonte mixtape to end all Phonte mixtapes. 70 tracks, 78 minutes, covering the past 10 years of my career all mixed and selected by DJ Flash.
For those who need a Phonte crash course, start here.
Thank you for listening. And if you're a long time fan, thank you for re-listening,
Phonte
"DJ FLASH presents THE BEST OF PHONTE" just click to - - -> DOWNLOAD
Mixed and selected by DJ Flash
DJ Flash & DJ Ghost Dogg
* Overview if you know your hip hop you have heard phonte spit verses on numerous of collabs,not to mention he is 1/3 of the group Little Brother and founder of the eccentric grammy nominated band Foreign Exchange along with Nicolay beatsmith/producer make for some real feel good music.Hailing from Raleigh/Durham area of North Carolina they have a huge hip hop movement in the area.
DJ Flash Little Brother's DJ he is a true turntablist having seen him in action a few times over, he dug in the Phonte/Little Brother archives to assemble this masterpiece, I'm in the lab really enjoying this mixtape blasting throw the studio monitors as I'm write this article. posted by GD
According to Talib Kweli, Kanye West wanted to be down. I ponder what that would have meant for the once famed label and today's superstar had it actually happened.
I am a part of the Rawkus Records generation. FromDilated Peoples and Last Emperor to J-Live and Breeze Brewin, series like Soundbombing and Lyricist Loungewere deeply influential in helping a teenager who wasn't from New York or Los Angeles feel like he was a part of something happening in real time with Hip Hop. After Death Row - which was more like following studio wrestling, Rawkus was the first label that it was easy for me to root for like a sports fan. On the strength of the reputation the label built with singles, compilations and early albums, I impulsively supported new-to-me acts like High & Mighty and DJ Spinna because they were delivered by a brand I could trust, and I was very rarely (read: Smut Peddlers) ever disappointed. Taking my weekly earnings from menial burger-flipping jobs, I purchased a Rawkus record bag and a t-shirt - cool things to do at the time. When their twelve-inch singles had promotional label stickers inside, it felt like a childhood cereal box prize. There were postcards in every CD, asking for information, questions about my taste, what I liked on the album and what I didn't. The fanfare and community that the label built was amazing, and the same way that Talib, Mos and Hi-Tek's van waved Black Star flags in their "Definition" video, I waved flags for Rawkus - I too was standin' on the rooftop with the Zulu gestapo.
Rawkus Records' Profound Impact On Hip Hop
Between the late '90s and the later days was a pinnacle of greatness and penetrating the mainstream consciousness. A long slept-on Queens emcee in Pharoahe Monch made a mainstream smash in "Simon Says." I remember sitting in a car one Friday night in October, 1999, and hearing the single on a mix show just outside of Cleveland, Ohio. Never in my life was I so eager for the deejay to run it back and play it again. At first, I wasn't even sure who the artist was - dismissed from Organized Konfusionever making it to Midwest radio. The beat, the chorus, the energy - it was of no surprise that the label on the single was that moonman-grim reaper-looking motherfucker. Deejays familiarizing themselves with that movement out of New York were soon hip to playing records like "Umi Says," "Move Something" and "The Blast." I can truly say that the soundtrack to my high school experience was Train of Thought by Reflection Eternal. In my opinion, it is the greatest album of the first 10 years of the '00s for unadulterated Hip Hop culture, and everything that I personally feel is great about Rap music. Along with Loud Records, Rawkus was conquering the mainstream - and say what we will about that period after the '90s, it still had its share of true school Rap on the radio - and Rawkus Records deserves as much credit as anybody for making that possible.
The moment did not last. By the time I actually started getting paid to write about Hip Hop - a job I simply started in hopes of getting free records by mail, Rawkus was changing. From what those who were there have told me, the label became less interested in taking chances on El-P's unconventional production approach, and grew more persistent in getting recently-signed acts like Kool G Rap andMad Skillz in the studio with Grammy Award-winning producers. I can't say that I blame them, but El launched Def Jux Records (which seemingly adopted the early Rawkus mantra), and High & Mighty delved into Eastern Conference. Although Blacksmith was definitely a term heard at his shows, Kweli stuck behind as the last reminder of the glory days. The sharp-tongued Brooklyn emcee (along with Black Star brother Mos Def) carried out Rawkus' beginnings into their major label era (leaving Priority distribution for MCA/Geffen).
The Pivotal Moment Of Talib Kweli's "Get By"
Around that time, Talib found his biggest hit to date in what I firmly believe is one of the three greatest Rap singles of the last decade: 2002's "Get By." The uplifting anthem about shaking bad habits in the face of tough times featured a beautifully reworked sample from one of Kweli's favorite artists: Nina Simone. That craftsmanship came courtesy of a buzzing producer named Kanye West. Although 'Ye's career had already yielded hits for Beanie Sigel and Jay-Z, the man's work with Talib Kweli opened ears up to Kanye's range, and perhaps best showcased his own tastes; the chemistry was strong. Moreover, the remix to "Get By" was an early opportunity to hear Kanye's raps, which many did, after Jay-Z shocked the underground, by hopping on the song, in the beginning of his own Rap renaissance.
It's funny that that happened, in hindsight.
In a December 2010 interview with VladTV, Talib Kweli said it himself: Kanye West wanted to be signed to Rawkus Records. At that time, Kanye was selling tracks to a range of artists, but the Chicago producer wanted people to hear what he had to say in the booth just as well. According to rumors, Rawkus A&R Ali S. delivered West's demo to Brian and Jarrett, who were not interested. After all, in 2002, the label was developing a seven-figure comeback album from G Rap, a second Mos Def solo, and Kweli's first major label-backed project in Quality. With Mad Skillz' project tied up, and some critical and commercial falters with debuts from Da Beatminerz, Hi-Tek and Smut Peddlers, caution made sense. Less than two years later, West had it his way. The sound that he started experimenting on so well with Talib and others became the spine of his breakthrough, Grammy Award-winning debut.
Although Rawkus was around for five more years, the edge was lost. Kweli and Mos continued to work, and make albums, but anyone will tell you that the label magic was gone. The camaraderie was gone. That same thing that my peers and I felt we belonged to wasn't possible anymore when it all got too big and boisterous. The same things we were rebelling from in the shiny suit era seemed to be happening here: Neptunes production, R&B choruses, etc. As soon as Talib fulfilled his contract, Rawkus crumbled like Wild Pitch, Tommy Boy and Fresh Records before them - quietly and sadly.
The label stays on my mind though. As Duck Down, Rhymesayers, Decon and Strange Music conquer the charts independently, I'm perplexed as to why Rawkus didn't make it. If they has survived the storm, what could have been?
The Last Days Of Rawkus Records
One of the things that got me thinking was when last month, one of the final Rawkus artists, Mr. J Mederios (of The Procussions) released Saudade. The emcee dropped the project through his own label. In the dying breaths of the label, I was commissioned to write J's bio during his 2006 Of Gods & Girls solo debut. I liked the project, but few people seemed to know what to do with it at the time. "Who was this guy using his government name?" asked one of my colleagues in an editorial meeting at the time - I guess my press bio wasn't as sharp as it could have been. As I look at the uber-success of Kanye West, and the amazing art he creates with his equally-amazing budgets, would this have been him, had he indeed signed to the label? Without Jay-Z's "Never Let Me Down" verse or the braggier elements of The College Dropout, would the Kanye contradictions (think Louis Vuitton backpacker) have been possible, let alone so alluring?
As a West fan to the fullest, I'd love to believe not. Still, label politics in the post-1995 Rap industry are a funny thing. It's good that Kanye West signed to Roc-A-Fella. Of course it is. Kanye West made the label bigger than State Property, Roc La Familia and The Diplomats - and along with Jay-Z, he carried the diamond sign the farthest, a decade-plus deep into the new millennium.
Then I come back to Rawkus and wonder. The label's buzzer-beater attempt was "The Rawkus 50." Digitally - in a 2007 that could not have imagined Kendrick Lamar or Mac Miller shocking the charts with iTunes releases, the label put out 50 projects from an impressive list of would-be's. How involved Rawkus actually was remains to be seen, but they fulfilled their feat - which is more than most promises of this kind made today. If you go back to that list of works, they include names like Laws,Finale, Grand Agent, L.E.G.A.C.Y., Dynas, and 6th Sense. These artists went on to make strong independent albums, produce major label singles, and even ink major label deals. The next three years will reveal the potential that Rawkus had, four years ago. And to their credit, Rawkus was there. They were also there for artists like Joell Ortiz (then as Jo-Ell Quickman) and Novel, plugging away. Before the term "blog" even existed, Rawkus' tastemakers believed in would-be Internet stars, they just had no idea how to handle them.
As it took Ortiz years, and it's still taking Novel time to regain ground in this industry, that could have easily become Kanye West, a guy unheard on a label gasping for air in a tough musical climate. And that sends the mind down even more paths. Without College Dropout, Late Registrationor Graduation, what would Hip Hop even sound like right now? Where would Kid Cudi be? What impact does "Jesus Walks" have if only 5,000 people geto hear it? How can you leave people on the edge of the seats at awards show if you're not even invited?
The line in Hip Hop between fame and underground respect is thin. I am happy that Kanye West had a chance to reach a mainstream stage. What he did with it from there is a testament to himself. Rawkus delivered us stars, as seen in Talib Kweli and Mos Def's prominence today - still biproducts of that era, as El-P, Cage and others are still highly-respected by audiences. It is amazing to think how the cards would have fallen should things have been any different, and a label that had some of the greatest impact on challenging the late '90s status-quo of the industry deserves much more credit as the playing field is much more leveled today - at least at the marketplace. posted by GD
I have to say episode 5 is my favorite I liked how they brought back DJ Revolution for scratching round I think Rev was out for revenge he was booted in the 1st round the concept was to see how you move the crowd as a dj, no doubt about it Rev is one hell of a turntablist super fast with his cuts & scratches
but you have to be able to adapt to the party atmosphere and rock the crowd. To scratch and when not to scratch that is the question? You can scratch hip hop, drum & bass, jungle,glitch,trip hop,dubstep, classic soul & funk brake beats(example you can scratch the part were the sample came from to let people know that is the original break) deep/soulful house music is a no no to scratch, house is only made to blend & beatmatch mix going into one song out of the next using effects like (flange,reverb,echo,etc), electronica/electro basically use can use the house music techniques here too but you could use lite baby chirps. Okay i get ask this all the time can you scratch & cut southern rap, crunk? the music in the south has change over the last 10-12 years those early of outkast & goodie mob had the sound of some east coast boom bap making it fun to cut and scratch. I see alot djs from the south that like to cue scratch going in one song and out of the next not making that smooth transition giving it that train wreck effect, sometimes you should just blend and beatmatch in and out songs using the delay effect (found in mixers with all the bells & whistle have this effect,it can also be found in serato, torq, traktor programs) in serato looking at wave forms (music of the south) normally starts with alot of high hats giving it that tic tic tic sound can you scratch that no, you always want use the kickdrum to cue scratch, so my answer is to mix & blend if your going to scratch (southern rap,crunk) find a good clean cue point. *back to the master of the mix they had djs from different dj backgrounds hiphop,electronic,house,etc they had them doing crazy scenarios i would like to see something along these lines have a club get the people in don't tell them dj or what type of music that is about to be played tell the dj the same about the people to see if he or she can get the crowd into what your are spinning. i wanted to see Rev & Scratch go head to head, Scratch won he and Rev were the only two pure turntablist out of 7. Can't wait for master of the mix season 2 stay tuned. posted by GD
Method Man talks about his upcoming release Crystal Meth due out ???. shoutout to Masta Killa (aka Jamel Irief) he is also in the video clip both wu tang clansman drop some gems in the interview..GD
Masta Ace Confirms MF DOOM Collaboration Album "MA DOOM" Is Complete
The Juice Crew alum confirms another project finished recording week, as his upcoming works reportedly features Metal Face DOOM on the boards.
On Wednesday September 14, Brooklyn, New York emcee Masta Ace confirmed, via Twitter, that his collaboration album with MF DOOM is complete. Ace noted that he "handed in" the project, although label and release date information is still pending.
The project is said to be called MA DOOM: Son of Yvonne, playing off of both veteran emcees' names. Earlier this year, reports indicated that the collaboration features productions from DOOM and rhymes from Ace, as the pair leaked "PBS," which reportedly will not be included on the album
In addition to his present group, EMC, Ace hails from 1980s super-group The Juice Crew, while MF DOOM began his career with KMD. Ace also tweeted that DOOM will not be rhyming on the project.
On Monday, Masta Ace also confirmed an upcoming 10th anniversary release of Disposable Arts, featuring new recordings of songs from the album with a live band. That project, said to be released through Fat Beats Records, has yet to be given a release date.
Previously, Masta Ace released a collaborative effort with Edo G (2009's Arts & Entertainment), while DOOM has produced albums by John Robinson and MF Grimm.
* Overview I heard this PBS joint a few months back on DJ Premier Show (sirius/xm channel #44 catch premo on friday nights 10pm-12am est) "Live From HeadQuarterz" they stated it was a leak but it kinda gave some insight on what to expect from two veterans. Im a big fan of both Ace & Doom with Ace on the verses and DOOM on the beats i think it will be eargasmic for the the true hiphop junkies, they haven't let us down yet. Knowing the Source,XXL, want shed any light on this project,bring back scratch magazine...GD
Favorite
Retweet
Reply