JumpinJack AJ
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Posts posted by JumpinJack AJ
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I love that in this day in age, they actually took time to remember a music video. I hate that music videos are so overlooked, and often underdone these days. This took me back to a great time in life.
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BIG BUB + YO-YO - Touch Me
Comin' At Cha (1992)
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http://ew.com/music/2017/07/05/tupac-prison-letter-madonna-breakup-race/
Tupac prison letter reveals race was major factor in his split from Madonna
Posted on July 5, 2017 at 10:27pm EDT
Patrick McMullan via Getty Images
In 2015, Madonna made headlines when she admitted she had dated rapper Tupac Shakur years before his death. Now, an uncovered letter from the late star to the pop icon reveals race was a big factor in their breakup.
On Wednesday, TMZ published portions of a previously unseen letter Tupac penned while at the Clinton Correctional Facility, where he was serving time on sexual abuse charges.
Tupac is incredibly candid in the note — dated Jan. 15, 1995, 4:30 a.m. and addressed simply to “M” — often expressing his sorrow for their breakup and admitting he waited a long time to write the note because he was “struggling to find all the answers” so that he “wouldn’t leave any unanswered questions.”
“For you to be seen with a black man wouldn’t in any way jeopardize your career, if anything it would make you seem that much more open and exciting,” Tupac wrote. “But for me at least in my previous perception I felt due to my ‘image’ I would be letting down half of the people who made me what I thought I was.”
“I never meant to hurt you,” he added.
There are multiple apologies to Madonna throughout the letter and admissions of mistakes Tupac claimed he made. “I must apologize to you because like you said I haven’t been the kind of friend I know I am capable of being,” he said.
He explained he was angry after an interview Madonna gave in which she allegedly said, “‘I’m off to rehabilitate all the rappers & basketball players.’”
“Those words cut me deep seeing how I had never known you to be with any rappers besides myself,” Tupac wrote. “It was at this moment out of hurt and a natural instinct to strike back and defend my heart and ego that I said a lot of things. …Can you feel me?”
“In the time since, as you can see, I have grown both spiritually and mentally,” Tupac continued. “It no longer matters how I’m perceived. Please understand my previous position as that of a young man with limited experience with an extremely famous sex symbol.”
Toward the end of the letter, Tupac asked for Madonna’s friendship and gave her some advice — though both items came with an impending sense of doom for the rapper, who would die from wounds inflicted in a drive-by shooting a little over a year later.
“I offer my friendship once again, this time stronger and focused. If you are still interested I would like to further discuss this with you but some of it couldn’t wait. I felt compelled to tell you…just in case anything happened to me,” he said. “Please be careful Madonna. Everyone is not as honorable as they seem there are those whose hearts bleed with envy & evil. They would not hesitate to do you harm!” Tupac wrote. “Let my 6 bullets be proof of that!”
After signing the letter “Always 2Pac Tupac Shakur,” he added a final request.
“I don’t know how you feel about visiting me but if you could find it in your heart I would love to speak face to face with you,” he said. “It’s funny but this experience has taught me to not take time 4 granted.”
Four sections from Tupac’s letter were redacted by TMZ. Gotta Have Rock and Roll will auction off the full document between July 19-28, with a starting bid of $100,000.
This article originally appeared on People.com
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Whenever I see unathorized remixes, I'm always skeptical. I was truly impressed by this. It might as well be official.
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Dropping on Independence Day, just like the others. You can download it or stream it at this link:
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I was randomly looking online and came across this new remix of "Summertime." While it's not an authorized remix, the talent of the producer and sound quality is professional. They don't try to reinvent the wheel either. It's classic, yet freshened up. It's also free. Check it out.
Summertime (Rhythm Scholar Remix)
Summertime (Rhythm Scholar Remix Edit)
Summertime (Rhythm Scholar Dubber Madness Mix)
Summer Madness (Rhythm Scholar Remix) *Kool & The Gang
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I gotta be honest. I was never really into Mobb Deep. When they first came out, I remember liking of the songs that they made music videos for, but ultimately they never kept my interest. That being said, I pray for his family, friends, and fans.
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It's not necessarily a bad thing for him to get Aladdin done. It's a guaranteed hit. Bad Boys will be another one. I kind of wish Bay was on Bad Boys though. I'm not film critic. I know he has a very mixed reputation among movie fans, but I Bad Boys is an area where he excels. I think he contributed a lot to the look and feel of the films. If he's not doing it, they need someone who will capture something similar.
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It was pretty obvious that it wasn't scripted. It would be fantastic to be able and see all of the stuff that never made it into the episodes.
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I was on ebay looking for some 11x17 posters to fill a small space between the door frame and the corner of the room and found this unofficial JJ+FP black light poster. The press is reasonable, so I figured I'd share. The seller has countless other posters of classic Hip-Hop artists...LL Cool J, Heavy D, Queen Latifah, Pete Rock & CL Smooth, Salt-N-Pepa, A Tribe Called Quest, KRS-One, De La Soul, NWA, etc. It looks like I'm going to have to install a black light in the music room now.
http://www.ebay.com/itm/DJ-JAZZY-JEFF-FRESH-PRINCE-11x17-Black-Light-Poster-/251000534130
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I noticed the album on Pandora ages ago. I just hadn't gotten to post about it. It seems like RCA must have compiled this? I wish they'd official release it for the fans. I have all of the remixes off various versions of the singles, imports, and promos, but I'd love to buy a new JJ+FP album.
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DE LA SOUL + LITTLE DRAGON - Drawn
The Anonymous Nobody (2016)
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Okay, the title of this post is misleading; but not. lol
A Grammy Award-Winning Artist Is Working on New Album at Richmond’s Jail
May 30, 2017
Scott Elmquist A film crew follows Speech, upper right, of Arrested Development, beside Garland Carr during a call-and-response session at the Richmond City Justice Center.Garland Carr’s voice and guitar playing fill a small recording studio, partially lined with foam and egg cartons, with the command of a seasoned performer.
The 33-year-old is singing an original song he recently recorded with Speech, the Grammy-Award winning artist behind hip-hop group Arrested Development.
“Freedom wind, blow me away,” Carr sings. “I don’t feel so free today.”
It has the makings of a country-folk hit and the tall, tattooed Carr a country singer. But today he’s in a blue jumpsuit and Velcro shoes, waiting for a June court hearing, an inmate at the Richmond City Justice Center.
Speech, the stage name of Todd Thomas, is in Richmond recording Arrested Development’s next album at the jail. He’s using the studio, which has been there since the jail opened in 2014, but mostly he’s there for the talent and inspiration.
“When we got here, I didn’t know how talented or untalented any of the residents were going to be,” he says. “It’s been part of the journey to really interact with them and learn how talented they are. I’ve just been floored by it.”
Speech, 48, says they’ve created nine original songs so far — in a variety of styles, from different musicians in jail. He’ll edit and add choir music to some tracks back in Atlanta, where he’s based.
“The opportunity to be able to create music and interact … that will help people to understand the humanity, the creativity, the repentance, the heart of people in jail,” he says. “And help people understand that these are humans, people that are going through a lot of stuff. And this music is where they express it.”
Carr, who grew up in Mechanicsville, says he has a musical family and dabbled in performance, but the opportunity to collaborate with Speech has forced him outside of his comfort zone.
“I squandered my talent out there,” he says. “I just had other things on my mind.” He says Speech has inspired him to learn the technical side of recording, on which Carr struggled to focus.
Speech also has donated updated recording software since arriving.
“With Garland, it’s been about not getting in the way,” Speech says. “He’s got great songs and great ideas. I let him do what he does and just help out in any way I can.”
“You came through in a clutch with the harmonies today,” Carr says.
“Hey, that’s what I do,” Speech says.
A film crew from Resonant Pictures of Brooklyn, New York, has been following these interactions for a documentary about the making of the album. It trails Speech through the jail, setting up scenes with a narrative and purpose. Adam Barton of Resonant says the goal is to have it completed next year.
Both Speech and Barton credit a 2015 CNN segment about the jail’s father-daughter dance for bringing Richmond to their attention. Speech says he’s performed here many times, but this is his first time really getting to know Richmond.
Last week, Sheriff C.T. Woody showed Speech around neighborhoods — Byrd Park, Jackson Ward, Blackwell, Creighton and Fairfield courts — a tour that Speech calls inspiring.
“Just to see the city from his eyes,” he says, “that was very special.”
Speech spent a night in the jail, too, to understand the incarcerated lives of his musical collaborators. “It was unforgettable — the emotional detachment, the feeling I felt in there, which I’d never felt in my life,” he says. “I don’t plan to feel it again.”
Woody checked on him several times that morning and jokes that Speech took too long in the shower. “I told him he owed me for the water bill,” Woody says, laughing. “I think he was trying to wash all those feelings away.”
Speech also was on hand May 16 for the housewarming of a home in Manchester for former jail residents. He performed from the porch, and gave a beat for another performance by an alumnus of the jail’s recovery program.
The album has no release date yet, Speech says, but he’ll return to Richmond for follow-ups later this year — with the rest of Arrested Development at some point — and Resonant Pictures will continue to track the album’s creation.
Speech is met with applause when he enters a common space at the jail to lead a chorus of 22 men in a call-and-response hymn.
“I want to lay my burden down,” Carr sings. He and Speech conduct the swaying men, their voices reverberating off the metal and concrete.
Speech says he hopes his collaborators such as Carr will continue to make music when they’re out. “The straight and narrow — it’s the only path for me,” Carr says. “I feel like I woke up from a long sleep.”
Carr adds that, for possibly the first time in his life, he feels like his priorities are lined up. “I’ve got a lot energy,” he says. “If I dedicate it to something negative, man things go really far negative. But if I dedicate it to something positive, sky’s the limit.” S
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I just recently started getting into this group. Some of their stuff is excellent.
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DRU HILL - Change
(2016)
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I watched a lot of MTV back then, and I never saw this commercial. I get the impression it didn't get played much.
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Here's an excellent article that talks about Tribe's reunion on the Tonight Show, how it lead to the album, the dynamic of the group, and how the album developed. It has quotes from Q-Tip, Jarobi, Busta Rhymes, and the group's family and crew. For some reason the forum wouldn't let me cut and paste it all here, so check the link...
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Yeah, I've posted about them before. This new album is the only thing that has occasionally pulled me away from the new A Tribe Called Quest album over the last few days.
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THIS ALBUM IS DOPE!! I LOVE IT!!!
Here's a great read...
A Tribe Called Quest's Soundtrack to the Resistance
Tuesday, November 15, 2016 at 12 p.m.
Q-TipGavin BondIt was the night after the doomsday election, and the renowned hip-hop band A Tribe Called Quest had turned back the clock to throw an old-school industry jam like the ones urban record labels used to do in the Bill Clinton Nineties. At MoMA P.S.1 — located in the Tribe's home borough of Queens, where rappers Q-Tip, Phife Dawg, and Jarobi White first met when they were Linden Boulevard boys attending the same Seventh-Day Adventist church — a dense crowd gathered to sip custom cocktails named after vintage Tribe tracks like "Bonita Applebum" and "Electric Relaxation" and listen to the group's first album in eighteen years, We Got It From Here...Thank You 4 Your Service.
A few hours beforehand, chilling in the backstage area, dressed stylishly in jeans, black shirt, and a crisp peacoat, Q-Tip looks sharp. Smiling broadly, he greets old friends with brotherly hugs and chats with a few fans who work at the museum. This will be a night tinged with celebration and sadness. In March, Phife Dawg passed away from complications resulting from diabetes. He was 45.
So while there's a buzz of excitement as Tip gets ready to preview tracks he's been working on for a year, there's something else as well. Tip has yesterday's election results on his mind, like every other New Yorker wandering the streets mumbling, "I can't believe Trump won." He talks about the way Trump "was able to rile up disgruntled, disenfranchised white males, and their white wives and kids, bringing them to rallies talking about 'the good old days.' You study history and all the great countries have their great time and then go out of favor.
"With Trump being elected president, we have to look at where we are with race in this country," Tip says. "Not just a conversation, but actions that are going to instill knowledge and healing. I wish we could be really solutions-oriented in our conversation before there is more bloodshed on the streets."
It's almost hard to believe that the same brothers who were damn near hippies in their youth — sporting dashikis in the late Eighties alongside De La Soul as part of the Afrocentric Native Tongues posse — could now be viewed as aural agitators making music in the tradition of Curtis Mayfield, Marvin Gaye, and Public Enemy. But that's just what the crowd at P.S.1 finds, once the sound system starts cracking with the first tracks from We Got It From Here.
If you've been sleeping, this is the record to get you woke. The first song, "The Space Program," is a catchy anti-Afrofuturist cut that declares, "Ain't no space program for niggas." The second track, the single "We the People," has the kind of beat ATCQ pioneered two decades ago — laid-back and thundering at the same moment — but it's charged with more urgency and fire than they've ever displayed before. It talks of the "fog and the smog of news media" and "false narratives." The chorus, sung by Tip, lays bare the chilling reality of a Trump rally: "All you black folks, you must go/All you Mexicans, you must go/And all you poor folks, you must go."
Tip's longtime friend Gary Harris, who blogs about the music industry at Insideplaya and works alongside Tip at Beats 1 show Abstract Radio on Apple Music, describes We Got It From Here as "very Black Lives Matter." Think of these sixteen tracks as part of a musical movement that addresses politics in ways both direct and subtle, a movement that has been very much a part of Tip's life over the past two years, during which time he's worked on not just We Got It From Here, but two other crucial releases infused with the spirit of BLM: D'Angelo's third album, Black Messiah, and Solange's recent A Seat at the Table. Tip co-produced "Ain't That Easy" and "Sugah Daddy" for D'Angelo, and co-produced and appears on Solange's "Borderline (An Ode to Self Care)," a love groove that imagines the bedroom as a temporary refuge from the "war outside these walls."
You could say the records Tip has been working on are both a broadcast system and a sanctuary — an alert and a relief. Though he has a more modest view. "We make music, beat on drums, and make raps," he says. "This record definitely has a certain spirit attached that is something else that is interesting. For now, we're going to pray and hope for the best."
JarobiGavin BondThey were friends from childhood. Phife Dawg (born Malik Isaac Taylor) attended grammar school with Q-Tip (born Jonathan Davis). Jarobi White lived near Phife's grandmother's house in St. Albans, Queens. In 1979, when the boys were still in grade school, "Rapper's Delight" by the Sugarhill Gang changed their lives.
"That was what kicked it off," Phife's mother, Cheryl Boyce-Taylor, says. "After that, the idea started to get bigger in his head. He always had a lot of dreams, and one of them was that he and Q-Tip could do it too."
Five or six years after "Rapper's Delight," local Queens street-corner kids like Run-D.M.C. and L.L. Cool J transformed from homegrown talents into international superstars, which only encouraged Phife and his friends — now including DJ Ali Shaheed Muhammad. "His father and I let him go to the studio with Q-Tip, Jarobi, and Ali, because we knew it was better than him being in the streets," Boyce-Taylor says.
The sound and spirit they developed in the studio emerged as an alternative to the harder hip-hop of the late Eighties/early Nineties — the first records from the Native Tongues collective arrived shortly after N.W.A's Straight Outta Compton. Q-Tip made his first appearance, in 1988, on the Jungle Brothers' track "Black Is Black," which he followed up in 1990 with a verse on De La Soul's bouncy single "Buddy." ATCQ were thought of as nonthreatening teenage bohemians who merely wanted to have fun on their own terms.
But they were also musical obsessives who would move the sound of hip-hop in new directions. On their 1990 debut for Jive Records, People's Instinctive Travels and the Paths of Rhythm, Tribe built their sound on jazzy loops sampled from records on the CTI and Blue Note labels that Q-Tip had copped from his late father's extensive collection. While most of their peers were still flipping the sounds of James Brown's funky drummers and basslines from the P-Funk catalog, Tribe were bouncing to less traveled beats.
"They single-handedly put hip-hop on their backs and brought it to another level," recalls former Jive CEO Barry Weiss. Although Jive's roster would later include the Backstreet Boys, *NSync, and Britney Spears, in the late Eighties the label was an r&b/hip-hop powerhouse, with Billy Ocean, Kool Moe Dee, and Boogie Down Productions among its stars. "When Tribe's second album, Low End Theory, came into the office, that was when Phife really emerged as a force to be reckoned with," Weiss says. "He blew up when we put out the single 'Check the Rhime' — that record exploded. There was a great yin and yang between him and Tip. Phife helped keep the group grounded. But, music-wise, no one sounded like Tribe."
"Before Tribe or Gang Starr, hip-hop was kind of stiff," Muhammad explained to crate-diggers' bible Wax Poetics in 2010. "I don't mean stiff in a bad way, but the music we created just had a different kind of movement and flow to it. Be it the basslines, chord structures, or the different time signatures, the music always moved."
Q-Tip was constantly on the hunt for ways of changing up that movement. "There were times when I would walk into a record store and see Tip sitting on the floor with his glasses on, going through albums, looking for beats," says Pete Rock, the superstar producer who rose to fame around the same time as ATCQ. "I was like, 'This guy is serious.' Being around them made me step up and become even more serious than I was."
It made everyone else more serious about their music as well. Tribe would become the premier hip-hop auteurs of their generation with the game-changing Low End Theory (1991) and Midnight Marauders (1993). "Those albums gave birth to neo-everything," says Kierna Mayo, the former editor-in-chief of Ebony, now at the digital network Interactive One, who has known Tip and Ali since their high school days at Murry Bergtraum High School in Lower Manhattan back in the Eighties. "That entire class of D'Angelo, Erykah Badu, Maxwell, and Lauryn Hill — and moving on to André 3000, Kanye West, and Talib Kweli — everything that is left of everything begins with Tribe." (Fittingly, West, Kweli, and André all make cameos on We Got It From Here.)
If Tip's obsession was sound, Phife's was slightly different. "With Phife, we connected with sports," says Rock. Calling himself the "five-foot assassin" as well as "a funky diabetic" (he'd been battling the disease since age nineteen), Phife was the everyman of the group. Anyone who knew him will tell you rapping and sports were his main passions. "As much as the Knicks didn't win, he was a fan to the end," says his mother. A poet and actress, she exposed her young son to the world of theater and verse, but it was his daddy and uncle who unleashed the sports beast. "The only thing he didn't watch, sports-related, was hockey."
But soon a new passion emerged for Phife: After Midnight Marauders, Phife got married and moved to Atlanta. "He became more of a family man with his wife and son," his mother says. "He was married for eighteen years." Tribe went on to make two more records — Beats, Rhymes, and Life, in 1996, and The Love Movement, in 1998 — but as so often happens, what began as a labor of love turned into a source of anxiety. "It started being more about how successful a record was, how many spins it got at radio, and all that stupid **** that jades you," says Q-Tip. The group announced its split just before the release of The Love Movement. Though they continued to tour, there was a new dimension to their family vibe: They now fought like brothers. The 2011 documentary Beats, Rhymes, & Life: The Travels of A Tribe Called Quest caught them squabbling, though when they put it aside onstage the results were as impressive as ever.
Busta RhymesGavin BondLast November, Tribe reunited on The Tonight Show With Jimmy Fallon to celebrate the 25th anniversary of People's Instinctive Travels. "When we did that show, that was the starting point," Q-Tip says. "I knew if we were connecting with that kind of energy in a performance, it would be easy to go back to the studio."
"I thought the nigga was bull****ting about doing another album, but the next day he was still with it," Busta Rhymes recalled at the P.S.1 listening party. (Rhymes — who made appearances on the Tribe classics "Scenario" and "Oh My God" — has now officially joined Tribe as a part of the crew.) Phife, too, believed it was just wishful thinking. "He thought they might be able to make a five-song EP and that would be it," his mother laughs. "He never thought they'd have enough for a whole album."
But over a year's time, the Tribesmen worked as a team at Tip's studio, the AbLab, in New Jersey. (Ab is short for Abstract, one of Q-Tip's many monikers.) Designed with his longtime engineer Blair Wells, the studio is filled with analog equipment, including a tape machine that once belonged to Frank Zappa and preamps used on records made by Jimi Hendrix, the Ramones, and Blondie. "That studio was Tip's dream project, and it took years to complete," says Consequence, Q-Tip's cousin and a rapper who appears along with Busta on the We Got It From Here track "Mobius." "I remember when that place was just wood."
Tip, known for woodshedding with music, drew inspiration from an unlikely source. "I began listening to a lot of Stooges and early Iggy Pop solo albums," he says. "I just love it. I think you can hear the rock in our record too." He and Phife spoke at length about how to maintain Tribe's heritage without getting trapped by it. "We knew we had to keep the thread but also push it forward," says Tip. "With the beats, he was always quick to be like thumbs-up, thumbs-down. He was usually right dead on."
Phife's manager, Dion "Rasta Roots" Liverpool, was with the rapper during every trip he made to the AbLab. "We'd fly up and stay at a hotel near Q-Tip's house," says Roots from his home in Atlanta. Phife needed dialysis three times a week to control his diabetes. He spent the rest of his time constructing We Got It From Here.
"Every evening he'd go down to the house, and he and Tip would spend hours in there vibing and coming up with lines," Roots says. "Seeing them together in the studio joking, coming up with ideas, disagreeing, vibing, and trading vocals, it was pretty incredible. It was like watching a unicorn."
"That **** was so much fun," says Tip. "We were like kids again."
But just four months after Tip and Phife were reunited, on March 22, 2016, Phife died at his home. "I had seen him a few weeks before, so I was in total shock," says Pos from De La Soul, who has known the Tribe since they were all teenagers. "When it happened, we made our way to Tip's house in New Jersey. We cried together, hung out, and just celebrated our brother. It felt good knowing that Q-Tip and Phife had been in segue with one another and knocked out some great stuff. After all those years, Tip and Phife were finally in a good place with each other."
ConsequenceGavin BondThe day after the November 11 release of We Got It From Here, A Tribe Called Quest were the musical guest on an episode of Saturday Night Live hosted by Dave Chappelle. Introducing "We the People" under a banner bearing Phife's scowling mug, Q-Tip modified the hip-hop exhortation to throw your hands in the air. "If you looking at us, stand up, touch someone next to you," he told the viewing audience. "One fist in the air." Then, with his arm raised in a Black Power salute, he added, "We are all one. We are the people."
The following Monday, Q-Tip reflected on the performance and how the political message of Tribe's new album had hit home. "When you are a citizen of this country and you see what's afoot, you could either not deal with it or deal with it," he said. "Our choice was the latter. But we also made a choice not to be heavy-handed, to still keep it in our own tongue. We certainly had good expectations, but none of us expected it would be like this."
He paused and his thoughts went back to the state of things. "It's a trying moment. It's one of a heightened sense of desperation and unknowing. Climate collapsing, war, real shifts domestically with the past election. It's the polar opposite of what we've experienced the last eight years toward what we're looking forward to for the next four. All that has made people look at this record as a constellation, and it's humbling. We don't take this lightly."
Tip said that a Tribe tour wasn't likely but wasn't impossible. "It's hard to think of that without Phife," he added. "But you can never say never." In any case, the message would continue.
"I'm glad we are having this moment, but we are looking forward to others — whether it be Lauryn or André or Nas or D'Angelo — continuing to add dialogue and add their voices," he said. "Hip-hop is freedom. It's expression, it's revolutionary, it's evolved. It's bombastic. It's a place for us to thrive. A place to express."
Gavin Bond -
This is one of those posts were a lot of people will pass over it, or simply ignore it because it's new music by an unknown artist. Don't do that this time. Click the link below and give the songs a listen, because this is the best Hip-Hop album I've heard in years. I stumbled upon these guys a few years ago because Speech from Arrested Development produced a song for them. This is classic Hip-Hop with legit production and skilled emcees. Check it out here: http://automatic.bandcamp.com/album/marathon
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I don't doubt that the album will be good. Here's the cover they have on their Facebook. I like it better than the previous one, though it's still underwhelming. It's the music that matters though.
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A Tribe Called Quest Unveils Cover Art For Final Album
As we creep closer and closer to A Tribe Called Quest‘s final outing, details of the long mythologized release are coming forth piece-by-piece. Yesterday in a New York Times profile piece helmed by the one and only Toure, we finally learned the name of the new album (and first in 18 years): We got it from Here… Thank You 4 Your service. In the same piece, the album’s star-studded roster was revealed, confirming the presence of all four tribesman along with helping hands from Andre 3000, Kendrick Lamar, Jack White and Elton John amongst others.
Today we get our first look at the album’s cover art, courtesy of Complex. Those well traveled on the paths of rhythm will immediately notice the iconic Low End Theory figure kneeling in the bottom left corner, Tribe’s classic green-glow logo stamped at the top and then, oddly enough (and perhaps even poking fun at the times,) a naked woman taking a selfie of it all in the bottom right corner. There’s still no pre-order available for the final A Tribe Called Quest album, but We got it from Here… Thank You 4 Your service is slated to arrive next Friday, November 11th via Epic Records.
Here’s hoping we get something in the way of a single ahead of the release. In the meantime, you can peep the album art below.
http://www.okayplayer.com/news/heres-the-cover-art-for-a-tribe-called-quests-final-album.html
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Common Blazes Through “Pyramids” on New ODB-Sampling Single (prod. Karriem Riggins)
In just few more days, the world will finally be treated to the full script of Common‘s new album Black America Again. And while we’ve heard plenty in the way of politically-charged and romantic raps, today’s offering (likely our last before the album’s official release this Friday, November 4th) finds Com in mad-rapping mode, just in case you forgot how capable he is, over another slightly swung drum and synth spectacle from the legend, Karriem Riggins (who also samples the late ODB.)
You can hear the latest offering from Common’s eleventh studio Black America Again down below along with the album’s full track listing. Pre-order your copy of the new record on iTunes today ahead Friday’s release.
Black America Again Track List:
1. Joy And Peace (feat. Bilal)
2. Home (feat. Bilal)
3. Word From Moe Luv Interlude
4. Black America Again (feat. Stevie Wonder)
5. Love Star (feat. PJ)
6. On A Whim Interlude
7. Red Wine (feat. Syd & Elena)
8. Pyramids
9. A Moment In The Sun Interlude
10. Unfamiliar (feat. PJ)
11. A Bigger Picture Called Free (feat. Syd)
12. The Day Women Took Over (feat. BJ The Chicago Kid)
13. Rain (feat. John Legend)
14. Little Chicago Boy (feat. Tasha Cobbs)
15. Letter To The Free (feat. Bilal)
LOL! The Laugh Out Loud Thread
in Caught in the Middle
Posted
Some of you will be familiar with the 1994 Beastie Boys hit "Sabotage," which had a music video done in the manner of 1970's crime action/drama. Well, here's someone's cut of the video featuring footage from a Sesame Street movie. lol