|1||–CJ Mackintosh & Einstein||Tables Are Turning||5:05|
|2||–Thrashpack||Cooling In Paradise||2:36|
|3||–Asher D & Daddy Freddy||Raggamuffin Hip Hop||5:35|
|5||–Asher D & Daddy Freddy||We Are The Champions||5:47|
|6||–M.C. Duke*||Return Of The Dread I||4:42|
|7||–First Frontal Assault||Hits From Small Arms Fire||5:02|
|8||–M.C. Duke*||The Final Conflict||4:41|
|9||–Lady Tame||Tame 1 Unleashed||4:27|
|10||–Daddy Freddy & M.C. Duke*||Freddy's Back||4:38|
|11||–Einstein||Friday Night Saturday Morning||5:33|
|15||–M.C. Duke*||The Dog Catcher||4:25|
|16||–Spyder D*||My Whole Life||2:55|
Touchdown 2 Cause Hell, his official major label album and first in nearly five years, sold well, but remained an underground phenomenon, with no major hits. Yet from a creative perspective, it reaches for the commercial gold ring without compromising Boosie's essence: an expressive voice that radiates pathos, and a story in which mythic triumph and cold, ambiguous realism are locked in permanent battle. That hard left turn gave birth to hard yet melancholy songs like "March Madness" and "Trap Niggas," both of which had a refusal to give up that turned Future into something of an inspirational figure. No matter how dark his music got, through the murk shined a light of exuberant confidence: "Waking up fresh, that's Kodak/Killing these niggas you know that. Various Artists, ‘Hamilton: Original Broadway Soundtrack.
s Raising Hell went multi-platinum within a year it proved that hip-hop was a truly a cultural force. When Dr. Dre's The Chronic moved major units in 1992 it signaled a shift in hip-hop from the East Coast to the West. Debut albums from rappers like Nas, Snoop Doggy Dogg, and 50 Cent became events unto themselves. When Lil Wayne's Tha Carter III sold over a million copies his first week it truly marked the moment of his arrival as a rap superstar. Even if numbers alone don't always tell the whole story, they do tell some sort of story.
one of the most influential rap albums. By August 1989, it was certified platinum in sales by the RIAA, after shipments of one million copies in the United States. Charted for 49 weeks, peaking at number 42 in the Billboard Top 200. Best album of 1988 in The Village Voice's Pazz & Jop critics' poll. Full of revolutionary productions techniques.
This album was released on the label Tring International PLC (catalog number GRF288). Attention! All audio material is presented solely for information.
Ten Non-Stop Full Length 12" Mixes" "Two Bonus Trax" "Only On Cassette" "Hardcore Hip-Hop Fresh From The Urban Jungle". B5 is a megamix of the other album tracks. Tracks A6 & B6 are bonus tracks, these do not appear on LP. Other Versions (5 of 7) View All.
But which hardcore records does he think think belong at the top of the pile? Well, we caught up with the man himself to find ou. As you’d expect from a Ben Koller project, it’s hard-hitting, erratic and dripping with old school hardcore influences from Boston, New York and beyond. But which hardcore records does he think think belong at the top of the pile? Well, we caught up with the man himself to find ou. inor Threat – Live At The 9:30 Club. I wore out this VHS tape until it was unplayable. They had such ferocious live energy. The riffs were angry as hell but the songs were so catchy and memorable. The first band I was in covered I Don’t Wanna Hear It and Filler.
Hell on Earth - Mobb Deep (1996) 93. Mama Said Knock You Out - LL Cool J (1990) 94. Dah Shinin' - Smif-N-Wessun (1995) 95. Let the Rhythm Hit 'Em - Eric B. & Rakim (1990) 96. Illadelph Halflife - The Roots (1996) 97. Hard to Earn - Gang Starr (1994) 98. Muddy Waterz - Redman (1996) 99. KRS-One - KRS-One (1995) 10.
No wonder many Hardcore/Gabber CD's are fast to forget or labels such as "Mecado" "5th Gear" that has ruined the Gabber style has made hundreds of stupid nonsense compilations.
The best Wu-Tang solo album? Everyone will agree it’s up there with of the best of them. It’s not even a ‘real’ solo album – every Wu-Tang Clan member appears on one or more tracks and production is in the more than capable hands of RZA. That makes this album even more of a group effort than most other Wu-Tang solo releases. After Kool G Rap, Raekwon can be seen as one of the pioneers of the mafioso sub-genre and this album is one of the best, if not the best of its sort. This is a LONG album, but there are few, if any, wasted moments.