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Scarface: The World Is Yours (Video Game)

Artist: Video Game ReviewTitle: Scarface: The World Is Yours (Video Game)Rating: 4 StarsReviewed by: Alex Thornton

Dusting off an old franchise for a new game, Scarface: The World is Yours (Vivendi Universal Games, PS2) gives fans of Tony Montana a way to live out their hustler fantasies on the couch instead of the block. Rather than following the plot of the film, The World is Yours tells an original tale in which Tony manages to escape the famous final showdown alive but loses his empire in the process. Players take control of Montana as he rebuilds from the ground up and gets revenge on his many enemies.

The game’s object is naturally to make as much money as possible by selling cocaine. The process of moving the coke is translated well, though sometimes almost too well for its own good. Players will spend the bulk of their time trafficking weight from place to place while dodging the police and aggressive rivals. As in real life, dealing involves a lot of tedious legwork with few immediate rewards and it takes awhile to climb high enough up the ladder to make any serious cash. Once the money does start flowing, Tony must frequently stop by banks to deposit dirty money and reduce the risk of losing it on the streets, but between turf wars, hustling, and running errands for suppliers, the player is constantly juggling several dangerous tasks at a time, occasionally making the missions more stressful than fun.

Scarface’s strengths are definitely its high production values which mostly cover up any gameplay imperfections. While Al Pacino doesn’t provide his voice, actor Andre Sogliuzz’s representation of Montana is spot-on. Meanwhile, the character’s animation perfectly captures Montana’s fidgety swagger, making the digital version feel like the real thing. The music is another high point with its large and varied selection of player-selected tracks, and while the game’s story is deep, it doesn’t require intimate knowledge of the film to follow, a plus for casual fans.

There’s no shortage of open-ended crime simulators on the market, but what Scarface lacks in originality, it more than makes up in attention to detail and a comprehensive use of the franchise. Movie based games have a long history of mediocrity, but The World is Yours manages to do justice to the property and is worth checking out by fans of the film and the game style alike.

Return From Mecca

Artist: X-ClanTitle: Return From MeccaRating: 4 StarsReviewed by: AJ Fresh

On X-Clan’s new album Return From Mecca (Suburban Noize) much is taught and much can be learned. X Clan, the uncompromising pro-black rap group that came onto the Hip-Hop scene with their unique sound of funk and notable lyrics in the early 90’s, continue on a path led by righteous lyricism over funky beats. Noteworthy underground and mainstream production handiwork from the likes of DJ Quik, DJ Khalil, Jake One and Bean One make this CD a must have.

Return From Mecca begins with X-Clan’s usual revolutionary speech delivered by the resounding baritone voice of co-founder and spokesman, Brother J, over African sounds including, drums and jungle noises. On the Quazedelic produced “Aragorn”, the groove is reminiscent of George Clinton’s “Atomic Dog”, equipped with the relevant P-Funk sounds including robotic noises and sounds of landing spaceships, all over a steady drum riff. On “Why You Doin’ That”, produced by Bean One, the listener is drawn into profound lyrics about genocide, knowledge of self and terrorism over hypnotic thriller mystery tunes delivered with over strong hi-hats.

The CD packed with old school feeling TR-808 snare beats, heavy bass lines, steady melodies of violins, piano chords with jazzy trumpets, all mixed in with hardcore DJ scratching and reggae tinged sounds. The album literally catapults the listener to the times when producers took their music seriously and did not have to rely solely on computer-generated sounds. This thought is confirmed on “Speak The Truth” a collaboration with the one and only, KRS-One, produced by Jake One. KRS–One frankly states, “I am Hip-Hop I don’t depend on appliances/Meaning that when I’m speaking my rap/I don’t need any technology to produce it, in fact!”

With the untimely passing of the X-Clan’s founder Professor X from meningitis in March 2006, the group’s message is as pertinent as ever. X-Clan is set to continue their message of social justice and cultural enlightenment and bring positive lyrical content to an often-negative rap world. As the late Professor X would likely agree, Return From Mecca is “Vainglorious, and is protected by the Red, The Black and The Green.”

Sivion: Vision Reconsidered

His life isn’t the average “rags to riches” Hip-Hop story. As a matter of fact, there are no rags or riches involved this time. Instead, it’s a story about understanding every framework of creative expression and hearing Hip-Hop in its purest form. Former Phat K.A.T.S member and current affiliate of Deepspace 5, Sivion has an unparalleled approach to creating soulful, head-bobbing Hip-Hop. Having circulated a buzz in the underground for quite sometime, he’s recently released his sophomore solo album titled, Spring of a Songbird. Backed by his label, Hip-Hop IS Music, Sivion has pieced together a sound that embodies traces of Funk and Jazz with top notch beats, making it clear that he holds a true passion for his craft.

Although it’s not uncommon for rappers to show their appreciation to God, many might not keep that in the forefront when writing their rhymes. Sivion has managed to accommodate his listeners without compromising his faith. Here is his story.

AllHipHop.com: What does the name, Sivion mean?

Sivion: Basically, I accidentally misspelled “vision”, which was my previous stage name, in an email to Wushu and he thought it was super sick. The S and V were the letters I switched by mistake and the rest is history.

AllHipHop.com: With God playing a prominent role in all of your songs, would label yourself a Christian rap artist?

Sivion: I’m a Christian rap artist only if it makes you feel better about yourself. But realistically, I’m just a Christian that raps. I don’t rap exclusively for Christians and my music isn’t targeting for the choir, so I’m probably not a Christian rapper in that sense that other more prominent Christian rappers are. I’m just Sivion…a Christian that raps.

AllHipHop.com: There was some dissatisfaction with the promotion and distribution of Deepspace 5’s Unique Like the Rest of Us. How do you feel about Spring of a Songbird’s promotion and distribution?

Sivion: I am very pleased with the promotion and distribution of Spring of a Songbird so far. To be honest, I had no major problems with the distribution of Unique Like the Rest of Us just because Gotee was able to get our music in places it hadn’t been prior to working with them. Same goes for Spring, Hip-Hop IS Music has been able to introduce my music to a whole new market with Europe and Japan, as well as the underground general market.

AllHipHop.com: With the exception of DS5, because of the content of your music, do you ever feel isolated in the Hip-Hop industry today?

Sivion: Not really. Any isolation is just because not enough people have heard my music yet, but that is changing daily. Good music is good music, no matter what you are accustomed to listening to. There is room in this art for all of us, just gotta find my niche in it.

AllHipHop.com: Spring of a Songbird is off of Hip-Hop IS Music, which is Braille from Lightheaded’s indie label. How did you hook up with him, you being from Texas and him being from Oregon?

Sivion: We met for the first time at my man, Freddie Bruno’s house for a BBQ a couple years ago. Lightheaded was on tour and passing through Dallas. He really dug my music and told me that he wanted to work with me on his new label once he got it up and running. Then a year or so later, he called me to let me know that it was official and that was “all she wrote”. He seemed super intelligent when I met him and that only increased with each conversation, so I was down like James Brown.

AllHipHop.com: You choose not to swear in your lyrics, do you find that it’s easier for you to get your point across without doing so?

Sivion: Absolutely. There was a time when I used to swear to make my point, but the more I don’t swear, the more I see that there’s really no point to it. If you can’t convey a message using plain English, then what’s the point? Now-a-days, most rappers use curse words as a filler in between the meat and potatoes of their message, so I just cut the filler out and get straight to the point.

AllHipHop.com: Your music seems to go against what the media portrays Hip-Hop music to be. You don’t talk about money, cars, or hoes, so to say. With that said, do you contribute that more to your relationship with God, or because of your distaste for the actual content of many rap songs?

Sivion: It’s a bit a both. If it weren’t for my relationship with Christ, I probably wouldn’t have any perspective on what could possibly be wrong with the content of many rap songs. There is so much life outside of sex, drugs, cars, clothes, and hoes. I pray that one day more heads realize that.

AllHipHop.com: How do you feel about artists such as Mase, who left the game to become a preacher, only to return and sign with G-Unit, or Kanye West who made one song about Jesus and at the same time brags about the size of his Jesus piece?

Sivion: To be honest, I don’t really focus a lot of my attention on cats like that. God can use anything to reach people. There is a reason why Mase did what he did and ended up where he did. Same with Kanye. I can’t judge them, nor will I try. They answer to God everyday, just like I do whether they want to or not.

AllHipHop.com: This album contains a lot of Jazz influences throughout it, you also play the saxophone on a couple songs, was that something you learned as a child or was it something you got into as you grew towards a career in music?

Sivion: I definitely learned how to play the sax as a child. My father was huge into jazz, so that was most of what I listened to growing up. I naturally gravitated towards saxophone, I’ve been playing for over 20 years. I think it adds a whole new dimension to my music.

AllHipHop.com: You’ve done some performances at churches, how does that differ from other venues you’ve performed at and is it hard to convince them to let you perform Hip-Hop there?

Sivion: In this day and age, Hip-Hop is more widely accepted at church functions. Though it is still not common in an actual Sunday service, many churches love to get Hip-Hop involved in their youth ministry functions. It’s different from rockin’ at secular venues because the positive message is more easily accepted at the church, but don’t get me wrong, having one person feel my music at the clubs makes it all worth the trip.

AllHipHop.com: For all the Phat K.A.T.S fans, will we be hearing any more from you and Washu?

Sivion: It’s definitely possible. Wu is at a different place in his life now, though he’s still an avid “Head” he just has a different focus which takes him away from the active artist side of Hip-Hop. But keep your fingers crossed, a Phat K.A.T.S reunion album would be sick!

AllHipHop.com: You worked with a lot of close friends on this album, Ohmega Watts, Braille, Playdough to name a few, was there anyone you wanted to work with but didn’t get a chance to?

Sivion: I think LMNO would be dope to work with. Lady Bug from Digable Planets or even Lauryn Hill. Cats don’t really just randomly collab with females like they should. I would love to get down with a dope female MC that would be really fresh.

AllHipHop.com: What’s your ultimate goal in this whole music industry?

Sivion: My goal is to have fun touching lives doing this thing that I love. If money comes, great, if not, I’m still gonna do this thing that I love, which I believe I was born to do.

AllHipHop.com: Any last things you want to say?

Sivion: Big ups to AllHipHop.com for the opportunity to share my story. Thanks to Braille for letting me release a gem of a record on his label. Thanks for the interview, Tara. In the precious name of Jesus, Word Up!

Swizz Beatz: How About Some Hardcore

You don’t get the nickname “the monster” by sitting around and letting things fall into your lap.

When Swizz Beats burst onto the scene in the ’90s as the main musical force behind the Ruff Ryders, when the sky was the limit for the young super producer. A few years passed, and things cooled off slightly leading to Hip-Hop heads quickly branding him as a producer who came and went with an era.

Unfortunately for the haters, Kaseem Dean wasn’t even close to cementing his legacy and burst back onto the scene stronger then ever. Hits by T.I. and Cassidy put the world on notice that Swizz was back.

Swizz has a creating a library of music that most dream of, but according to the producer, he’s not even close to being done. He’s rounded up Bone Thugs N Harmony and says its a matter of time before they return to the top of the rap game. His Full Surface imprint has Eve and classic Cassidy material ready to go.

While many in his position may take a step back and enjoy his status, Swizz continues to grind harder then ever. With a strong battle plan and a world class army behind him, Swizz is on a mission to prove to the Hip-Hop world he is the biggest monster of them all.

AllHipHop.com: How would you describe Cassidy’s energy, when he was back from jail and in the studio with you for that first little bit?

Swizz Beatz: His energy was perfect. He was just in his zone. His album is finished, it’s crazy. [With the accident], it’s like, “What the hell?”

AllHipHop.com: Where were you when that happened?

Swizz Beatz: I was in L.A. I had a feeling something wasn’t right.

AllHipHop.com: Because you’ve helped so many rappers make comebacks, I wanted to get your opinion on a few comebacks throughout Hip-Hop history. I wanted to start with your thoughts on M.O.P. with G-Unit…

Swizz Beatz: Aw man! Um…I think the comeback of M.O.P. could’ve been a little stronger, being that I’m a fan of M.O.P. [as in] “How About Some Hardcore” and all those records. I just feel that it should’ve been the focus more, to really, really make it an official comeback.

AllHipHop.com: How about Rakim’s days with Dr. Dre and Aftermath?

Swizz Beatz: Um…he never came back. He was supposed to, but it never did. It would’ve been crazy. It’s hard to bring back people that have so many god damned hits. How the hell do you top “Eric B. For President”? How do you top “How About Some Hardcore”? You see what I’m saying?

AllHipHop.com: But you have that challenge in “Crossroads” and bringing Bone Thugs N’ Harmony back. Things seem like they’re rollin’. How did you hook up?

Swizz Beatz: Shoot, we just hooked up through my A&R at the time, which, at the time, [I told], “I want a group. I don’t wanna do too much artist development,” which I’d been doing a lot of at the time. “I wanna just get some writers that’s special.” [He said,] “What about Bone? Shoot, they available.” The next thing I know, Bone’s manager is in my office at four o’clock in the morning. We just embraced the conversation like, “Yo, this s**t can go to the next level.” I think that we’re ready for war.

AllHipHop.com: How have you meshed in the studio? Their sound has always been primarily built upon DJ U-Neek’s work, and a lot of their chords wouldn’t seem to be associated with your sound.

Swizz Beatz: It’s been [more about] Bone gettin’ into they zone. Even with the producers and stuff like that, I let them work with whoever they want to work with. ‘Cause there’s a certain sound people want from them. They work! We’re trying to pick out [an album] from 40 tracks.

AllHipHop.com: Is it true you spoke to Jimmy Iovine about making this a potential double disc?

Swizz Beatz: It’s something I wanted to do, [but there’s] complications. It’s a money thing. It makes costs go up for everybody and everything. I said, “Okay, f**k it.” We wanted to do a “Thugs” side and a “Harmony” side, which I thought was crazy.

AllHipHop.com: Was it a concern that the status of the group is so shifty? Flesh is locked up, Bizzy is gone…

Swizz Beatz: No.

AllHipHop.com: You guys just released “Just Vibe” to a very positive response on the radio and online. Who produced that record?

Swizz: “Just Vibe” is done by Pretty Boy.

AllHipHop.com: Some people, in Bone fan circles, are calling you the new millennium Eazy-E for the group. How does that make you feel?

Swizz Beatz: Man, it’s a blessing. ‘Cause Eazy-E, he did some millions with them. I’m not mad at that. Plus, what Eazy-E was to them, he was guidance. Guidance in a group is something that they need. What you’ve been seeing is a bunch of Bone songs all over the place, and projects all over the place. Nobody really be sayin’, “Hold up, stop one damn second. Let’s make history. Let’s put our minds together and make classics.”

AllHipHop.com: With Koch, the marketing never seemed to be there. Not since Ruthless and Relativity has anybody really stood behind these guys. With Interscope, what’s the plan?

Swizz Beatz: We’re gonna come with a movie. This is a movie. We’re doing a movie with the album. The Bone movement is gonna be crazy, and people gonna have a movie to see. They gonna understand what they been missin’, and [Bone is] gonna get they just due. They’re underrated. Layzie’s spazzing out on tracks. Krayzie be gettin’ on other peoples’ songs, and just killin’ ‘em. Wish can cut through the vocals.

AllHipHop.com: Why do you think they don’t get the respect?

Swizz Beatz: I don’t even know, man. They never went mainstream with it. Wu-Tang, they had a chance to get mainstream exposure. It all happened so fast and so quick for Bone, that a generation missed it. When they’re bringing up the names and asking people [about groups], they’re overlooking Bone because they’re songs are so f**kin’ big. But trust me, after this album, they’re gonna wake up and smell the f**kin’ coffee.

AllHipHop.com: You just released a Tupac and Krayzie Bone track to L.A. radio. You also did the Biggie Duets record. How does that feel, when you sit back and look at working with posthumous projects?

Swizz Beatz: I’m like, “S**t, all that for me?” Then, it’s like if I can do Big’s, why not ‘Pac’s? But it had Bone on it, we tryin’ to work on [our] situation. It was just perfect.

AllHipHop.com: With Bone at Interscope and Cassidy at J, where is Full Surface now?

Swizz Beatz: The official situation is at Interscope. Cassidy, he’s over there at J. Just because they supported him while he was locked up, I didn’t wanna pull the whole thing.

AllHipHop.com: Eve’s next album is a split-venture from you and Dre. How’s that coming about?

Swizz Beatz: It’s crazy. She’s delivering. She’s working hard. She’s looking good.

AllHipHop.com: What about DMX? After doing this last album, how do you feel about it?

Swizz Beatz: I thought it got off to a good start. But then the momentum, the internal conflict with the label, and it kinda threw it off. It fell back.

AllHipHop.com: Where’s he at right now, to do what?

Swizz Beatz: I don’t even know. You never know. He’ll go [away], then come back with like 10 new songs. S**t, it just be like, “What the f**k? I thought it was a wrap.”

AllHipHop.com: How do you manage to do all this work and keep up a car dealership in Las Vegas?

Swizz Beatz: It’s hard. Clubs, dealership, clothing line – all of that. It’s all under the same umbrella, but it’s about having the right team in place.

Lyrics Born: Channel Live

Lyrics Born has kept it live since the early ‘90s. Formerly half of Latryx, the San Jose MC has watched a solo career where his music continuously finds its way onto commercials, films, television, and even Adult Contemporary radio. As one of the head honchos at Quannum Projects, the veteran MC can also thank himself for his business triumphs.

After the release of Later That Day, and an entire remix album, Lyrics Born now prepares to go where few Hip-Hop artists dare to, live recording. On the verge of releasing his first live album, LB talks Bay unity, lady love, and even if DJ Shadow deserves RZA and Dre comparisons for other reasons. Check it out, kiddies.

AllHipHop.com: The Bay seems quite unified right now. DJ Shadow’s working with Keak Da Sneak. You’ve worked with E-40. How do you feel, as an independent veteran, about all this?

Lyrics Born: I think what you see now is music is that s**t is wide open right now. A lot more unusual s**t is happening right now in music than me working with E-40. It’s special in the sense that I don’t think people are lookin’ at it for differences necessarily, I think they’re looking at it like, “Let’s do some s**t that’s gonna be cool. Let’s be tight, and make a statement.” I just did a song with Mistah F.A.B., and what I like about it right now is that people just look at it as music. It’s that simple. That’s what I like about what I see. There’s a lot of cats who I used to rap with back in the day who went one direction while I went another, but we’re still the same people. It’s just a question of what road did you take and what style did you choose. The Bay’s so diverse. Within 20 minutes of each other, you’ve got DJ Q-Bert, me, Heiro, E-40, Mistah F.A.B., Keak. It’s not as big a deal as people may perceive it. It’s a little more natural for us.

AllHipHop.com: Writer, Jeff Chang was a founder in Solesides Records. In Later That Day’s liner notes, you acknowledged several journalists. As a free spirit approaching your art, how do you feel in general about Hip-Hop journalism?

Lyrics Born: I believe that the truth is never gonna come from one source. I believe you have to piece together a truth. Maybe what you read in a book in a book is not 100% valid for you, but Chapter One was. You kind of piece that together with another passage. Suddenly, you get a collage of truth. That’s how I look at things. Peoples’ opinions are valid, they’re whatever they want them to be. It’s not gonna make a difference to me. Certainly, if I have respect for the writer, I’ll take it constructively. By and large, I read it ‘cause it’s interesting to know. I pay attention, but you also have to know the back-story on where that person’s coming from.

AllHipHop.com: This fall, you’re releasing a live album. There’s only been a few live albums of significance in Hip-Hop. One is Boogie Down Productions, another was probably 2Pac. Why’d you go that route?

Lyrics Born: Absolutely! For exactly that reason. Number one, it is for selfish reasons. When I look at the artists that I love when I was a kid – you mentioned Boogie Down Productions, 2Pac, Curtis Mayfield, James Brown – when people look back at my body of work, hopefully, they’ll wanna know what was goin’ on in these days. If they’re interested in my work, they’ll not only see my sound and my direction, but they’ll also get a multidimensional picture of what I do in the live aspect. It is a huge part of my life, and I did want to document that. It’s not gonna be the last one either. God willing, I’ll make more. I want a complete body of work. Plus, you can count on one hand how many artists in Hip-Hop have done live albums. It’s just one of those things where I’m lookin’ at what people aren’t doing, and go out and do that.

AllHipHop.com: “Always Fine Tunin’” is such a brilliant record to me. It remains one of my favorite B-side-only cuts in Hip-Hop. People talk about Jay-Z’s swagger a lot, I really thought that record had some severe swagger. What prompted it?

Lyrics Born: We were working on Quannum Spectrum as an A&R and Executive Producer. That verse was actually a verse that I used to do in the Latyrx show, when I did shows with Latyrx. It’s funny, on the Latyrx Live bootleg which I put out on my site, you can hear me doin’ it. But I got to the point where, “You know what? If I’m writing this s**t, and I like enough to perform it live, I’m gonna go in the studio and record it. Even if it doesn’t come out an album, it’s gonna give somebody something, hopefully,” so I’m glad you said what you did. So I did it. Dan the Automator did the beat. It was gonna be a bonus track on Spectrum, but the [album] might’ve been a little too Lyrics Born-heavy if we did, so we just put it on the B-side to “I Changed My Mind.”

AllHipHop.com: Every time a Wu artist drops a solo album, critics tend to ask, “Where’s RZA?” When Snoop does a record, it’s, “Where’s Dre?” Personally, I’ve always wanted an explanation why DJ Shadow largely quit producing records within the Quannum and Solesides circle after such a promising start?

Lyrics Born: There’s no doubt, he’s a very talented guy. That goes without saying. The beautiful thing about Quannum is we were all in it together, no matter what. We kinda raised each other. We had no idea what we were doing. Nobody had record deals. There was no such thing as independent labels back then. It was a truly amazing time. It was coming from such a pure place. The industry was in its infancy, as far as the independent industry – it didn’t exist. We were out there, groping around in the dark. It sorta got to the point where we didn’t grow apart, we just grew up. When you’re in a relationship with somebody for ten or 15 years, you get older, you have kids, it’s just different. We used to have weekend long freestyle sessions. We don’t do that anymore, ‘cause we’re always on the road. When we’re not on the road, we’re in the studio. When we’re not in the studio, we’re with our families. It’s a different era now. What I love to see is that all the Quannum groups blossomed. Lifesavas is an established group. Pigeon John is coming up through the ranks. I love seeing that.

AllHipHop.com: “Lady Don’t Tek No” is the hardest Hip-Hop love song ever recorded, in my opinion. Tell me about the woman who inspired it on your end…

Lyrics Born: At that time, people thought that songs about women in Hip-Hop were corny, which is unfortunate. Our goal was to make something really funky, that slapped. You could throw it on and anybody’d like it. It was just some s**t to really hit home. We just drew on women in our lives that inspired us.

AllHipHop.com: You had the line, “Wherever you took my heart, baby, send it home.” That always made me wonder if it was a love song, or really a crush song like “Passin’ Me By”…

Lyrics Born: It’s all those things. It’s supposed to exist on a variety of things.

AllHipHop.com: Why’s “Tek” misspelled?

Lyrics Born: Wow…I don’t know. We used to always do s**t like that, man. We would spell s**t wrong just to be different. It didn’t go any deeper than that. Why’s Latryx spelled the way it is, or Quannum? Really, that’s all it was.

Young Jeezy Talks Spending Halloween With Son

Young Jeezy’s son wanted to follow in his father’s famous footsteps for Halloween but the rapper opted to let his fatherly instincts takeover.

“He said he wanted to be ‘The Snowman,’ but I told him no, he needs to be himself. He’s cool with that though,” the Atlanta rapper told AllHipHop.com with a chuckle.

Young Jeezy’s Snowman logo was a guerrilla marketer’s dream, although it was the subject of scorn for some that felt it was suggestive of illegal activities.

The logo, which was banned in various high school systems across the U.S., was wildly popular with teens and has been seen on t-shirts, iced-out jewelry, stickers and posters.

Jeezy said his 10-year-old son opted for a more traditional Halloween outfit after his first choice was rejected.

“I don’t know what’s up with this little dude. He’s infatuated with Superman. I’ll take him out, but I’ll probably take him out in the neighborhood where we’re at,” Jeezy said. “I’d love to take him to the hood, but we probably won’t make it far. I’ll be signing [too many] autographs and taking pictures and stuff.”

That “stuff” includes recording material for his upcoming second album, The Inspiration: Thug Motivation 102.

“I can’t wait for December 12 [the release date]. There are 17 bangers, front to back. The album is crazy,” said Jeezy. “The album is a step up, but it’s still so Jeezy. It feels bigger and better [than Let’s Get It: Thug Motivation 101 ]. I promised n***as I was gonna deliver a better album and I think that’s what I’ve done. Matter of fact, that’s what I know I’ve done.”

Jeezy plans to film a music video in Atlanta for the first single, “I Luv It.”

NY Giants Embrace Jim Jones Club Anthem

Jim Jones may have found another crew to roll with other than his Dipset collective.

The Harlem lyricist says he was so happy to hear that his new song “We Fly High” was embraced by the New York Giants that he decided to remix it for his hometown team.

New York’s Daily News reports that the new version of the single features lines such as “Guard your quarterback because Strahan is sacking/Defensive line, Osi is tackling/Tiki is the captain/Eli do the passing.”

The revamped hook offers the following: “New York Giants fly high, you know it/Super Bowl, no lie, we focused.”

“That’s like flying in the sky, man,” said Jones, who added that the Giants plan to play the track when they introduce the defense before their game next Sunday against the Houston Texans. “Hopefully I could be a little bit of inspiration to get them towards that Super Bowl.”

The rapper discovered the Giants’ love of his song when he received word that Michael “Big Baby” Strahan was doing one of the moves from the “We Fly High” video to celebrate a sack he made during a game.

“My dude calls me and was like, ‘I don’t know if I was dreaming or I was sleeping, but I think I just saw Strahan do your ballin’ move in a game,'” Jones told the Daily News. “I said, ‘No, get out of here.’ Then sure enough I got to see the news clip and saw Big Baby doing it.”

The move, which can be seen in the music video for “We Fly High,” finds Jones making a jump shot motion after uttering the now infamous catchphrase “ballin’.”

The song is the first single from the rapper’s new album Hustler’s P.O.M.E, which hits shelves on Nov. 7.

The Giants debuted their version of the “ballin'” declaration and action during their 19-3 win over the Washington Redskins and the following week after every big play against the Atlanta Falcons.

Despite the Harlemite’s acceptance, the NFL was not pleased as it looked down on multiple players doing the move simultaneously, but not individually. Still, Jones couldn’t be prouder.

“I appreciate the fellas for going ballin’ with me,” he said. “To get that feeling out of a song, there’s no better gratification. When athletes get involved they take it to a whole new level. Plus, it’s New York. I’m a New Yorker. I grew up in Harlem. So this feeling is like at the top of my day right now.”

Cool and Dre Ink Deal To Release Miami Rapper Joe Hound

After producing a string of hits for a bevy of artists including Lil Wayne, Fat Joe, Rick Ross and others, production duo Cool & Dre announced a deal with Skeleton Key Entertainment to release music from their label imprint Epidemic Music.

Through the new arrangement, the Miami based producers will release their latest discovery, Joe Hound.

“He [Joe Hound] has the potential to be at the forefront of a musical movement for Miami,” said Andre “Dre” Lyon. “We believe that the industry is changing and that the best way to introduce Joe to the masses is through an independent company like Skeleton Key that understands our vision and supports what we are trying to achieve.”

While independent, Skeleton Key Entertainment is the mainstream entertainment division of the multi-media holding company, Mega Media Group, Inc.

The new partnership will give Cool & Dre’s imprint instant access to the media company’s range of services, which include talent management, music publishing, recording, music production and distribution, video production/distribution and radio broadcasting.

The production team will also work with a variety artist’s in the upcoming months.

As previously reported, Cool and Dre are currently working with UGK as the group prepares their seventh album, U.G.K. Underground Kingz.

In addition to UGK, Cool and Dre have penned in studio time to produce new music by Young Jeezy, R&B recording artist Joe and rapper Eve.

In related news, Cool and Dre now restaurateurs as co-owners of the trendy eatery 510 Ocean.

“It’s the only black-owned restaurant on the beach,” Dre told AllHipHop.com. “It’s sitting right there on Ocean Drive. It’s cool. Myself, Big Boi from Outkast, Lil’ Jon and T.J. Duckett from the Atlanta Falcons [are co-owners] too. We’ve got a really nice, sexy spot right there on the beach.”

DMX Launching Signature Clothing Line

DMX is expanding his business career beyond music with the launch of his new clothing lines, the DMX and DMX Signature collections.

The rapper’s line will include designer apparel, footwear, head wear and outerwear.

According to representatives, the clothing line will border on the “rough edge of hip-hop mixed with the practicality of the no nonsense, no frills clothing that active and rugged men want.”

The line, which features fabrics like denim, leather, cotton and fleece, will be available for purchase at DMX concerts, speciality stores and from various online retail sites.

DMX is also launching an e-commerce site along with a major roll out of the line, which will be in stores nationwide in 2007.

The rapper is also in the planning stages of launching a new apparel line for dogs.

A-alikes: Public Enemies

They say there’s nothing more dangerous in this world than an educated African-American man with a platform. From the spirited, and often confrontational, championing of black America by Malcolm X and Huey P. Newton to the politico rap rhetoric of KRS-One and Chuck D, when intellect meets a mass medium the combination becomes a powder keg waiting to explode.

With their most recent release I Eat You Eat, the A-Alikes are hoping their album can be that blast. Members K and Ness have been on a ten-year grind that’s seen them become “Unsigned Hype” alumni, People’s Army/RBGz soldiers, and underground sensations. Now, fresh of the heels of touring with Ghostface Killah, AllHipHip.com linked with the A-Alikes to find out why the progenies of dead prez keep fighting the good fight and just exactly who the “they” are that’s trying to hold them down. Salute!

AllHipHop.com: What role did you play in dead prez’s Let’s Get Free album?

Ness: We all came together, dead prez and A-Alikes came up in Tallahassee, Florida in the late ‘90s. You help your homies out. They got the situation with Loud Records, and me and K were still in the South hustlin’, doin’ what we do, and when they get the deal, it was like we all got the deal. Loud was dealing with Wu-Tang, Mobb Deep, Big Pun. When we first came up to New York, we was immediately in Loud offices meeting with Sean C and Steve [Rifkind]. We got to see the whole industry experience firsthand. A lot of the beats on Let’s Get Free, we played a part in that. Family s**t.

AllHipHop.com: Their situation with Loud was widely discussed, especially the mixtapes that followed, and them trying to get independent. What did that teach you, when you went into a deal with Nervous Records?

Ness: Capitalism parallels [with situations]. What they went through with Loud, we dealt with at Nervous. But we knew more going in. Guerillas learn from past experiences. We had certain goals in mind, dealing with Nervous. We didn’t go in blindly. We didn’t expect them to be doing a whole bunch of s**t. It was definitely a parallel. Labels is plantations.

AllHipHop.com: To a mainstream audience who may not be so familiar with the A-Alikes, how would you introduce yourselves?

Ness: A-Alikes is RBG, Guerilla Nation. A-Alikes is revolutionary street music. [It’s] the future of Hip-Hop. You can’t say you bust your gun in 2006. [We ask] why are you poppin’ your gun?

AllHipHop.com: Why do you say “the future of Hip-Hop”?

Ness: The world is a certain way and we are adjusting it. Our s**t is brand new, we’re not playing people like they stupid. People are blasted with a lot of info. It’s not the old street music, it’s what’s your politic. It’s our new single, “What’s Your Politic?”

K: It’s realer then it’s ever been. Hip-Hop is a weapon. Cats look to it for guidance. A-Alikes cover a lot of issues. A lot of topics people can relate to. We put you on to something new in every song. A-Alikes can spit. We were [The Source magazine’s] “Unsigned Hype” in 2004. If you ask why we not spittin’ about the cars, it’s because we trying to spread a message to our people.

AllHipHop.com: Please explain the RBG movement to and how do the A-Alikes contribute to it?

Ness: It’s a people movement, it’s not a rap clique. It goes back to Marcus Garvey. He gave us the courage that you see. The red, black and green, that’s the colors that Marcus Garvey gave us. This ain’t a rap clique. Everybody who’s interested or supports Black people and getting us free. It ain’t so much you signed up and then you down with RBG, it’s a mentality. RBG stands for many things, red, black and green; and revolutionary but gangsta. We will bang for our freedom. Anyone who’s down with that way of thinking is RBG. dead prez is part of RBG. A-Alikes help with the beats, with the rhymes, the same way dead prez help with our music.

AllHipHop.com: If people were more aware of the history would they appreciate A-Alikes music or gravitate towards it more?

Ness: I think groups like A-Alikes and dead prez would do numbers like 2Pac. But the difference is that he came out in a different time; people wanted to hear what he was talking about. As an educated listener, you respect the history. The sincerest feedback comes from cats that have been through some real s**t. This type of music is to distract the people. If you’re up on your sh*t, the best rapper is the real s**t. Eminem would not be the top sellin rapper or nothing closest to the top. The dude could rap, yeah you get that props but the top that’s the making of White hope. It’s steroids, it’s bigger than that. It would be different than that. We would definitely sell more. The more ignorant the audience the less we sell. They did the same thing to Black music since beginning of time.

AllHipHop.com: You keep referring to they. Who are “they”?

Ness: They are the enemy. When we saying the enemy, we say the system. The oppressor. It’s not just the police, it’s not just the president, it’s anyone that works for them. It could be you, it could be me. There’s always two sides; the pigs, the president, the system, the enemy. There’s two sides and it’s us against them. Whether it’s the police whoopin’ your ass or the judge saying you’re guilty.

AllHipHop.com: I know you were recently signed to Nervous Records, a label that had signed artists like Black Moon and Smif-N-Wessun in the past, how is that going for you? And what do you expect to accomplish under the mainstream umbrella?

Ness: We have a joint venture; it’s Nervous with Guerilla Nation as opposed to just artists signed to a label. We definitely rocking with Nervous for a while. Working on this album has been a learning experience. We got an up close taste of the industry. They pay for a couple of posters and studio time. We just making it happen. We using it as a tool to move forward.

K: We are distributed by them [and] they are distributed by Warner Bros. We gotta keep the independent mentality.

AllHipHop.com: Does Nervous have any creative control over your music?

Ness: Not at all. If it was a sample that costs a lot of money they won’t pay for it. Or won’t pay for a beat because they won’t spend the money. It’s only budget constraints. What you hear is the A-Alikes. No creative control [from Nervous].

AllHipHop.com: Who are some artists, producers or other collaborations you have on your album?

Ness: stic.man from dead prez is on four songs. M-1, Richie Pittsburg, Letia Larock sung on “Till We Free.”Papa Wu blessed us with some wisdom at the end of the album. Chuck D starts [the album] off. Bilal the R&B singer is on it. DR Period produced the single, Ayatollah, Fetty G, Forced Disciple, Black Jeruz and Hed Rush are some of the producers working with us on the album.

AllHipHop.com: You guys were involved in a police brutality situation a while back. What happened?

Ness: A couple years back, we had a photo shoot that we were doing for our Live or Die album. We were just taking pictures in Brooklyn. We invited the heads through, [Stic.man], Umi, Tahir, the whole RBG fam. We did that. On Bean Street and Bedford, we doin’ our thing. Across the street, here comes police, doin’ what they do, patrolling our neighborhood. These two police officers were payin’ a lot of attention to what we was doin’. They came over, gettin’ all in our business. We just wanted to continue, we ain’t botherin’ nobody, doin’ nothin’ extra. We was just being young Black males, throwing up our bandanas, congregatin’ – that’s against the law or some s**t. They asked us to show IDs, [we refused]. Long story short, they ain’t like that, they called for backup. Mad pigs came out. It was on. I ain’t gonna get into specifics, but it went down, it’s in the books. Me myself, I was slammed to the ground in the struggle. We spent the night in jail. The movement came through real strong, shout out to Malcolm X Grassroots Movement, them brothers and sisters definitely showed and proved. Calls was made, lawyers was contacted, and they took care of us. [In the end], we went to trial. We filed a civilian complaint. We went through the whole process. We got some money out of it. Being what we about, a lot of people think we just shootin’ it out with the pigs. But it’s real life. Cats is out here goin’ at it everyday with the Jake. We got a song on I Eat U Eat called “Protocol” dealing with the whole situation, and the science of when Jake runs up on you.

AllHipHop.com: How has the response been from anyone who has heard the album so far?

Ness: Crazy. People have that funny look in their eye. It’s a breath of fresh air.

AllHipHop.com: Lastly, I know you’re very vocal about Cuba, Fidel Castro, and socialism, and even have a debate with Pitbull in place. Tell me about that…

Ness: Viva Fidel! We ain’t about celebrating one person. We shout out Huey P. Newton, Marcus Garvey, Fidel, and all them. It’s not about them per say it’s about the people. As far as the far as the situation in Cuba, from what we’ve studied, that’s an example of where we tryin’ to get to. They dealin’ with socialism. Fidel got sick lately. People are happy about that. Pitbull did a song [dissing] Fidel, happy that [he’s] about to die, in support of the s**t that the U.S. do. The United States got a lot of propaganda, trying to down Cuba. It’s working for a lot of people. They don’t understand that’s bigger than Cuba and bigger than Fidel. We support Cuba. We’re not blinded, we just know the situation we’re dealing with here. Anything is better than here. Go to Liberty City in Miami, go to Carol City in Miami, and see what’s poppin’. Go to Brownsville, go to North Philly. America, all over the world, is ramming down its policy. Nowadays, when empires conquer s**t, instead of throwing they flag down, they puttin’ a McDonald’s down. We not stupid. Pitbull, we heard what you said [about Black Nationalists] better not come down to Miami. Well, we comin’! We goin’ everywhere.

K: We ain’t even Fidel professionals or experts. We just got the science on him. He advocates free education, free healthcare. Under his regime, they got the highest literacy rate. You’re talking about a real low HIV rate per capita. It’s a lot of stuff he’s down over there [that’s good]. In America, if you don’t have an education, you might as well be a slave. The grass ain’t greener over here.

AllHipHop.com: Isn’t there a glass ceiling though? Literacy is great. But I’ve always understood that the smartest people in Cuba are held down by a glass ceiling.

K: The glass ceiling that people talk about in America is not the glass ceiling that you talkin’ ‘bout over there. To my understanding, Fidel concentrates on the common needs of the people. You could educate yourself, but you gonna have to be down for the cause – which is socialism, communism, moving the whole country forward. Pitbull and everybody, they want the opportunity to come over here and be a part of that elite one percent that controls 99 percent of the population’s money. Fidel ain’t havin’ that. He said, you can educate yourself all you want to. [But] if you’re the best doctor, that means you’re gonna cure a lot of sick people – you ain’t gonna drive a whole bunch of Benzes. That’s what’s up. It’s a human thing. A-Alikes is about human things. White supremacy is anti-human, it’s cannibalistic, and that’s my opinion.

Ness: Revolution takes times; it’s a process.

VH1 Greenlights Irv Gotti, ego trip’s ‘White Rapper’ Reality Series

VH1 has greenlighted a variety of new reality series, including ego trip’s White Rapper Show and a show starring the Inc.’s CEO Irv “Gotti” Lorenzo.

The Irv Gotti Project was one of six new series that the network announced today (Oct. 30). The show will focus on Irv Gotti’s comeback in the entertainment industry after being acquitted of federal money laundering charges.

The series will also document Gotti’s life as a husband and father and is being executive-produced by Mark Cronin and Cris Abrego, the duo behind the franchises Flavor of Love, Surreal Life and others.

Also greenlighted was ego trip’s White Rapper Show, which will feature 10 contestants who battle and compete in various Hip-Hop-oriented challenges designed to test their knowledge of Hip-Hop culture.

White Rapper is set in the South Bronx and is hosted by Michael “MC Serch” Berrin (3rd Bass) and producing veteran Prince Paul.

“The breadth of this slate of music-based series illustrates, once again, that VH1 is the only place for adults to go to see the kinds of music and storytelling that speaks only to them,” said Brian Graden, president of entertainment at MTV Networks Music Group.

Other series approved for airing include Rags to Riches, Man Band, the Untitled Whitestarr Project and Bridging the Gap.

The latter is a half-hour music series that features two established artists collaborating for the first time with a well-known producer. The first episode features Eve and Queen Latifah.

Hell Rell Launching New Action Game

Dip Set rapper Hell Rell is venturing into the electronic gaming world with a new action game that thrusts the Harlem rapper into a variety of battle scenarios across New York.

The as-yet-untitled game is being developed by Sun Sparks Studios, a video game development studio that specializes in games for the music industry and companies that want to use games to market a brand or product.

“[Hell Rell] has a natural animated personality, and his true life story translates well into a video game,” said the game’s executive producer Hirokazu Tachiki in a statement.

“With the current decline in albums sales in the music industry, we’ve created a gateway to combine the video game and music industries,” said lead programmer Brad Wright. “We can create a game for an artist and place it on their album. Now an artist/label can promote an album and a game at the same time, giving them a potential increase in album sales, as well as a new stream of revenue generated from sales of their game via Internet downloads.”

In addition to his latest business endeavor, Rell has established the independent film company Hells Vision.

The untitled video game will be available for release in 2007.

Baby Explains Picture Kissing Lil’ Wayne

It might be the most interesting kiss ever in Hip-Hop.

Bryan “Baby” Williams, Cash Money Records executive, addressed a picture circulating of him kissing label mate Lil’ Wayne on the lips as he promoted a new CD by the duo.

In an interview with Q93, a Clear Channel station in New Orleans, the mogul and entertainer explained the familial relationship he and Wayne have that yields such public displays of affection.

“Before I had a child, Wayne and all of them were my children, you heard me? Wayne to me is my son – my first-born son – and that’s what it do for me,” Baby said in an interview with mid-day jock Uptown Angela. “That’s my life, that’s my love and that’s my thing. That’s my lil’ son. I love him to death.”

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In the image, which is clearly years old, the pair is embracing as several friends and Cash Money artists look on.

Singer TQ is seen in the picture and he left the label in the summer of 2004.

Baby and Wayne have never tried to hide their father/son love for each other and Wayne often refers to himself as Birdman Jr.

In 2004, Lil’ Wayne explained the depth of this relationship to Baby and why he looks to him as his father.

Wayne told AllHipHop.com, “The day my real father died-the exact day-like the day we got the call, ‘Like ok, he’s in the hospital.” Then we got the call back like, ‘Okay, he died’, Baby came and picked me up like an hour after that, and I was in the passenger seat of his car and I was crying and he looked at me and was like, “N*gga, what you cryin’ for? You act like you lost your father”. And from that day on I never lost my father.”

Gillie The Kid, a former Cash Money artist turned staunch rival, took credit for releasing the picture.

Baby, in a general sense, addressed those that attempt to question the way he expresses himself.

“Haters – that’s just life. I don’t even trip off that. I go to the bank in morning. I can go buy whatever I feel like. So, I don’t even set trip off that,” Baby responded. “Can’t nobody live my life, but me and I don’t try to live nobody else’s life.”

His affection extends to his biological son as well.

“My lil’ son – Lil Bryan gets the same love from me. That’s my thing. That’s what I do for my child. I give him my heart, my life and I’ll pump blood for him. I’ll issue some blood for him too-believe that.

Baby and Wayne’s love for each other extends into their professional careers.

The pair’s first collaborative album, Like Father, Like Son, hits stores on Halloween Day (Tuesday Oct. 31).

City of Philadelphia Moving Towards Ban On Blunts

Council members in Philadelphia are close to outlawing the smoking of blunts in the city.

Last Thursday (Oct. 26), the council’s Committee on Licenses and Inspections unanimously approved a bill that would make the sale of “loosies” and other drug paraphernalia, including cigarette wrapping papers, illegal.

The Philadelphia Metro reports that sales of cigars in packages of fewer than six would also be banned, except those sold in specialty tobacco shops.

Available at most inner-city convenience stores and Chinese take out restaurants, “loosies” are loose cigars that are frequently emptied out and filled with marijuana.

“I think it sends the wrong message when you can get a blunt or rolling papers with your Now and Laters or Lemonheads or pretzel sticks,” said Stephen Clay, a medical director at the Gaudenzia drug treatment facility.

Local activists believe the accessibility of blunts in stores and on the streets helps create a feeling of “lawlessness.”

They further point out that the items are at times laced with cocaine or PCP for a greater high.

If the bill is passed, at least one major retailer has vowed to stop selling small packages of blunt cigars, according to the Metro, which added that the entire council is expected to approve the measure next month.

Once Again

Artist: John LegendTitle: Once AgainRating: 4 StarsReviewed by: Alex Thornton

After racking up experience behind the scenes as a songwriter and session musician for some of the biggest names in Hip-Hop and R&B, John Legend debuted as a solo artist with 2004’s breakout hit Get Lifted. Assisted by a co-sign from Kanye West, Legend surprised many by topping the charts with a brand of piano-driven soul that’s rare in today’s R&B scene, lead by “Ordinary People” garnering frequent spins across a wide variety of radio and video formats. With Once Again (G.O.O.D./Sony), Legend returns with a familiar but evolved style that keeps the momentum going.

John’s biggest accomplishment with Once Again is incorporating a wide range of musical styles, while still directing the collective of songs along the same path. The bossa nova sounds of the lead single “Save Room” and the warm, relaxed “Maxine” blend in well with more Hip-Hop influenced selections like “Stereo”. When Legend goes towards traditional soul, the results are suitably authentic. With “Show Me”, Legend displays that he’s studied and absorbed the work of his forefathers without simply mimicking them. The production is assisted by Kanye, Raphael Saadiq and will.i.am among others, but Legend keeps the focus on himself rather than relying on the big names to carry his work.

The only hamper to the disc is a handful of mediocre tracks that are easy to lose in the mix. “P.D.A.” or “Coming Home”, for example, aren’t bad but come off as bland side items compared to the more palatable works that surround them. With the bar set fairly high by the best compositions, the album as a whole would have been better off by simply omitting two or three songs, leaving less quantity, but more consistent quality. The music is still decent at its worst and won’t inspire fast-forwarding.

As with his first album, John Legend’s challenge will be selling a fairly sophisticated sensibility to a market that may not be ready for it, but this album further justifies his refusal to dumb himself down to the typical standards. With an abundance of well conceived musical arrangements and just the right amount of power applied to the vocals, Legend’s approach to Once Again may be uncommon, but is more importantly undeniable.

Use Your Confusion

Artist: JuggaknotsTitle: Use Your ConfusionRating: 3 StarsReviewed by: Jason Newman

Say “Juggaknots” to Hip-Hop fans and you’ll be greeted with either blank stares or wide grins. The former can hear the latter incessantly praise emcee Breezly Brewin and producer/brother Buddy Slim’s 1996 underground classic Clear Blue Skies EP. The title track, in which a white teenager tells his father about his new, black girlfriend (with Brewin playing both father and son), remains one of the most incisive Hip-Hop songs written about race and discrimination and is matched perfectly with Slim’s slow, soulful beat. While Brewin would pop up here and there, (most notably as the protagonist Tariq on Prince Paul’s A Prince Among Thieves), the duo seemingly dropped out of the game completely. With little sister Queen Herawin now in tow, the group returns with Use Your Confusion (Amalgam) and sadly, despite some occasional hotness, falters under the weight of its own production and flow.

The jazz- and soul-based productions that defined so much of their earlier work is still around, but equally present are spacey synths and futuristic, sci-fi beats more likely heard on a Timbaland track. Unlike the first album, which saw the brunt of the production handled by Buddy Slim, Confusion sees six different producers at the helm (including Brewin himself.) It’s the more modern-sounding and harder-hitting production that sounds awkward against Brewin’s and Herowin’s vocals, which rarely rise above a laid-back, monotone style.

This brings us to Brewin’s flow, tragically the most frustrating part of this album. On his earlier work, Brewin had the natural ability to stunningly pack a couplet with sharp, internal rhymes that a marathon runner would lose his breath over. Confusion sees an emcee ten years on rapping competently enough but with few noticeable abilities that differentiate him from the pack. Lyrically, he still has the ability to shine, as on album highlight “30 Something”, where over a twinkling piano beat, he candidly rhymes about ageism with Sadat X about “Seeing veterans treated like senior citizens” and getting “Aged out on some Menudo s###.” It’s a reality that everyone in Hip-Hop knows but few are willing to spit about.

Too often, though, many tracks fall into average territory and are forgotten as soon as the next track hits. Juggaknots will always occupy a certain place in the canon of East Coast, Golden Age-lovin’ cats. And while Confusion won’t knock ’em off the pedestal, it definitely will throw ’em off balance.

As If We Existed

Artist: Sol.illaquists Of SoundTitle: As If We ExistedRating: 3 1/2 StarsReviewed by: Dr. Zero

The phrase “socially conscious Hip-Hop” produces a myriad of different responses. Some fans feel that this is the form of the art that will save it from its current state of complacency and played out themes of materialism, misogyny, and braggadocio. Others can’t stand music with socially conscious themes because they feel that it is too serious and involves topics that the common person is not interested in hearing about on record such as spaceships, saving the world or things that can be seen on the evening news. Despite the various opinions, this form of Hip-Hop is here to stay. The Sol.iLLaquists of Sound (discovered by outspoken underground rapper Sage Francis) is picking up where their predecessors left off with their first studio release As if We Existed (Anti/Epitaph).

As if We Existed has the ability to make the most hardcore fan of mainstream Hip-Hop at least consider listening to more artists not advertised on MTV, BET, or VH1. This specific crowd usually pays attention to music with catchy, simplistic tunes that have mostly head-nod factor. Many underground albums despite the great rhymes and thought-provoking messages are filled with incomplete, choppy, and sloppily-arranged sounds due to anything from the lack of budget to the rapper not having a great ear for music. The lead producer of the group DiVINCi ensured this effort would not be weighed down by unfinished production by blending live instruments with average constructed rhythms creating a mind-blowing listening experience. “Mark it Place” illustrates this concept beautifully with its mix of rapid piano riffs, drum patterns, guitar riffs and medium tempo hatching a refreshing sound. “Pledge of Resonance” combines bells, pianos, and fast drum arrangements also creating a surprisingly slow, melodic, rhythm.

Consistency and cohesiveness is also something that should be noted. Each song fits into the underlying theme of challenging people to question societal norms instead of venturing off on unrelated topics. “Property and Malt Liquor” discuss alcoholism and how it is hurting the community. “Black Guy Peace” deals with cultural revolution. Lead MC Swamburger delivers an exceptional lyrical performance on each track with his crystal-clear flow and undeniably exceptional lyrics. Lead vocalist Alexandrah and Tonya Combs do a commendable job on backup vocals as well showcasing range and harmonizing with DiVINCi’s unique and eclectic sound.

Despite suffering from being too short, As If We Existed is a complete album that dispels the notion that music can’t have a message with incredible musical arrangements.

Jibbs Feat. Jibbs

Artist: JibbsTitle: Jibbs Feat. JibbsRating: 2 1/2 StarsReviewed by: Latifah Muhammad

Who is Jibbs? You know you’ve heard the song, “Chain Hang Low”. Admit it, you know the words to the chorus. And though the single serves as a catchy play on a nursery rhyme, the rest of the album, Jibbs Feat. Jibbs (Geffen) sounds more like a bad imitation of fellow St. Louis dweller Nelly along with a dash of Lil Wayne for good measure.

Jibbs feat. Jibbs is a twelve track compilation of southern style beats saturated in bass. “King Kong”, featuring Chamillionaire is as simple as the title. Boasting about loud music, “If you hear me ‘fore you see me, I got King Kong in the trunk.” The only thing that saves this track is the gritty beat which is better than every lyric. “Hood” is his attempt at tackling how hard life is growing up in the hood; complete with gun shots, reoccurring piano keys, and an orchestra as a backdrop. Despite elevated lyrical content, the delivery is so bad that the song’s message is lost in his immature sound.

Jibbs manages to redeem himself with the inclusion of cute high school dance songs. The syrupy “Go Gurl” intertwines both a smooth flow and complementary beat, despite a simplistic hook. And the fact that he samples “Let’s Wait a While” by Janet Jackson, reminds us that he’s only 15.

Though he doesn’t exude the teeny-bopper staying power of Bow Wow, Chris Brown, or even Lil’ Romeo for that matter, the content is just at the level that is expected of him. The beats, most courtesy of Da Beatstaz, which include his brother DJ Beats and Reace Beats, are more commendable. Jibbs wants to be taken seriously but can only rap about what he knows while he inadvertently (hopefully) borrowing other people’s style in the process. Since Jibbs feat. Jibbs is his introduction to the rap game, once he finds his own sound, he just might able to hold his own the second time around.

Dedication

Artist: BeliefTitle: DedicationRating: 3 StarsReviewed by: Paine

After production stints with Jean Grae, C-Rayz Walz, and Vordul Mega, New York-based beatmaker Belief crafts his own album, Dedication (Green Streets), using a different approach than the norm. While many producer albums utilize a vast array of burgeoning or high-profile feature talent, Belief recruited a foursome of unique, established MCs in Murs, C-Rayz, Wordsworth, and Vordul (Cannibal Ox) to work as a unit on the album. This lyrical think-tank makes for a new spin, with more fan interest than most fledging producers could ever dream of.

The MCs use this project to step out. To many people, C-Rayz Walz has always been a court jester. “Goin’ Hard” erases all of those notions. This uplifting track is worthy of soundtrack placement as the Bronx bomber cleanses his soul and shakes off the past overtop a Gregorian chant. “Getyourmindright” is a similar exercise with Murs and A.G., pairing Los Angeles and New York, within a song devoted to redemption amidst dirty deeds. Typically more contained than the other three MCs, Wordsworth’s deft lyricism showcases on “Runs the World”, a political commentary on America’s forceful global tactics. Though the effort doesn’t neatly blend into Dedication, Words’ penetrating delivery gives Belief’s music some added range.

Given that the lyrical quartet drives the album, Belief’s abilities do get upstaged a bit. Unlike RJD2 or Pete Rock albums, the music, albeit charged, doesn’t evoke the feelings that many of the MCs attempt to convey. Instead, Belief attempts a more D.I.T.C. minded approach, good loops, familiar samples, and passively letting the MCs do their job. Three instrumental records sneak in, which serve more as intermissions between the vocals. “Passion Aggressive” is a pensive, but spirited work that incorporates Jazz and Electronic elements, with a dusty Hip-Hop undertone. Although he’s extra late to the party when it comes to sampling “Planet Rock” this year, Belief holds his own on the boards, proof of his lengthy resume.

Several years ago, Soul Supreme’s Saturday Night Agenda gave a platform for elder MCs to connect with an blossoming energetic producer. Belief has plenty of experience, but Dedication welcomes his closest artists to collaborate on an effort, that gives the producer his own identity. The quality of the songs themselves are some of the best work from C-Rayz and Vordul to date, but the question remains as to whether the man who actually brought these forces together means as much as the voices who make it happen.

Curtis Scoon: Queens Reigns, Part 1

Curtis Scoon is a product of Hollis, Queens, the birthplace of some of

Hip-Hop’s most influential artists. Scoon, who was never involved in the

rap industry, suddenly found himself the unlikely center of it – as a suspect in the murder of Jam Master Jay. Scoon does not hide his former life

as a street figure in Queens. But after speaking with him in detail, one

realizes very quickly why he avoided the death traps that so many of his

peers fell victim to. Aside from possessing one of the most interesting

voices I’ve ever heard (part Ghostface, part Biggie), every sentence and

move Scoon makes is calculated and deliberate.

After Jam Master Jay was

killed and his name was floated around, Scoon acted preemptively. He

hired a top New York lawyer and refused to speak to the police unless he

was charged with a crime. According to Scoon, this was merely an attempt

to prevent being made a “scapegoat” in one of the most infamous,

hideous, unsolved crimes committed in entertainment. Curtis Scoon is no

longer a person of interest in the murder of Jam Master Jay, but it

almost appears nobody is these days.

With the murder of Jam Master Jay behind him, Curtis Scoon boldly

proclaims his innocence. Now, he is attempting to turn a negative

situation into a positive.

Since leaving the streets behind, Scoon has remade himself into a

screenwriter, journalist, and documentary film maker.

He was featured in Playboy and has contributed for magazines like XXL, King

and was instrumental in the creation of Ethan Brown’s acclaimed book, Queen’s Reigns Supreme. The book, which tells the gritty drug world in crack

infest Queens circa the mid 1980s, also ties together the drug

culture’s interaction with and influence on the Hip-Hop industry.

Not only was Scoon there, he was writing about it. Scoon breaks down his

trials and tribulations and the impact being implicated in Jam Master

Jay’s murder has affected his life.

AllHipHop.com: Who is Curtis Scoon?

Curtis Scoon: Curtis Scoon is a lot of things to a lot of people. I am a writer,

[and a] producer of films and documentaries. Most people know me from being a suspect in the Jam Master Jay affair.

AllHipHop.com: How did you come about being a suspect in the murder of

Jam Master Jay? Right after the murder, various media reported you

were the prime suspect. Did you know Jay?

Curtis Scoon: Jay lived around the corner from me. We weren’t friends

that hung out. But we would see each other in the neighborhood and

greet each other. As far as my implication, I am not sure how or why I

was implicated. None of the eyewitnesses at the scene identified me to

the police, otherwise I would have been arrested that night or as soon

as they saw me. One of Jay’s friends has been a confidential informant

for 25 years and I mean, he was also implicated later on after myself.

To me, he had the means and the motivation.

AllHipHop.com: What friend are you referring to?

Curtis Scoon: Carl “Big D” Jordan. He’s

[allegedly] been a confidential informant for 25 years or more. Later

on, after my implication, he was implicated in the crime. To me, he had

the means and the motivation to put my name out there. The police

never technically called me a prime suspect. But they ran with it. And

the only way I can see them running with it, is if they were getting

reliable information from someone they have trusted for awhile. None

of the primary witnesses identified me.

AllHipHop.com: When the early reports came out about Jam Master Jay’s

murder, the killer supposedly told Lydia High to lie down. That’s a

key piece, because anyone that has hears you speak, knows you have a

very distinct voice. Did you know any of the people that implicated

you?

Curtis Scoon: Big D lived on Jay’s block. Lydia and them lived close,

we all lived in like a four block radius of each other. But, along

with my voice being distinct and not only did the perpetrator

supposedly tell Lydia to lie down, but the description they provided

was a guy who was six feet tall, 180 pounds. I am 6’4” and 250 pounds. So

even if the voice sounded like mine, their physical description

doesn’t fit. An eyewitness already said they saw Big D go in and out

of the studio. Are they telling the truth? I don’t know. But if anyone

said that about me, I’d be doing this interview from Rikers Island.

His closest friends are suspected by the police, his mother and his

wife. It’s not a good picture.

AllHipHop.com: Why would they implicate you in Jam Master Jay’s death?

Curtis Scoon: There’s a lot of old animosity and scores to settle. I

never got along with Big D, or Randy. It wasn’t that I wasn’t friend

with Jay. He kept company with people I didn’t get along with or who

didn’t get along with me. We will never know until these guys come

clean.

AllHipHop.com: You had an altercation with Randy once right?

Curtis Scoon: Yeah over the years, but Randy wasn’t a factor. I had

run-ins with them, because it wasn’t major. As much as I don’t care

for Randy, I don’t believe he’s the person who implicated me, I

believe it was Big D. He never implicated me to the police and in

public, on a Hot 97 interview, he practically vindicated me. There’s

been a whole lot of lies and I want to make it clear. I was not a part

of that circle, I have never been in the studio, didn’t know the exact

location. I didn’t deal with those people.

AllHipHop.com: How did you first hear about Jay being murdered, and

then how did you hear that you were implicated?

Curtis Scoon: I was in my apartment writing my screenplay. A friend of

mine called me the night of and said, “They’re saying Jay is dead on the

radio.” I figured he had got shot or something. I didn’t know Jay’s

personal dealings, but I couldn’t see why anyone would want to kill

him, so I just didn’t believe it at first. I thought the rumor mill

was getting carried away. Being implicated, someone called me. The

next day, someone called me and said people were saying my name on the

street. It’s unfortunate, but I wasn’t too surprised. I was upset, but

you know, knowing the history of people in Hollis, it was customary

for me to be implicated in any kind of mystery. Anything that looked

like it required thought or planning. As much as I didn’t like it, I

figured it was just stuff from my past.

AllHipHop.com: You’ve already left your street dealings behind. What

were you doing prior to all of this, like your educational background?

Curtis Scoon: I went to Catholic school with [Reverend] Run and DMC. Then I went

to one of the best high schools in the New York Public School System,

Brooklyn Technical. Then I went to Hampton, and I paid for that myself.

There are only two people who talk about what they can get in trouble for: jackasses and liars. I’ll say this: In 1985, before I turned 21,

I was picked up taken to Nassau County on a trumped up charge. And

while I was there, I had all my finger prints, my palm prints and foot

prints taken and sent to the FBI database in Washington DC. That

doesn’t just happen to anybody. At that point, I realized it wasn’t a

game and I had to be smart about whatever I did. They made sure they

weren’t going to lose track of me. I moved in certain circles, but to

me, it’s not what I did, it’s just the caliber of man I am. You got all

kinds of dudes doing all kinds of things, but they aren’t men of

honor.

AllHipHop.com: So when you found out you were a primary suspect in Jam

Master Jay’s murder, did you fear for your safety? I mean, there were

some real talk going around that if the person who killed Jay was ever

found, they were going to get dealt with.

Curtis Scoon: I should have cared for my safety, but that aspect

didn’t hit me. I was worried about my freedom, because I felt like an

attempt was underway to railroad me and scapegoat me. And due to the

choices I made in my past, I was a believable candidate, because your

past does follow you around. And from the issues with these guys, D

and Randy and them, they had enough motivation to lie on me. They

might have been harboring grudges from losses I forgot I gave them. I

was concerned about my freedom. That is the first and only time when I

was actually just shell shocked. I couldn’t believe it.

AllHipHop.com: They’ve never charged anyone in Jay’s murder. How have

you dealt with the fact that it’s still open, because it’s not over

yet?

Curtis Scoon: At one point I was thinking about suing various media

outlets. I talked to a top lawyer, and he looked at my past and said, “It’s not like they are causing damage to your reputation.” I have one

felony conviction that was turned over in court. I’ve never done time,

been arrested with weapons or drugs or anything in my life. But I

couldn’t do anything about it. But because I had been through the

system, even though I beat all my cases, it doesn’t look good. I just

had to take the loss and keep on moving. I don’t even think about that

incident anymore, it doesn’t haunt me. I am too busy trying to get on

with my life and do other things.

AllHipHop.com: So the Jam Master Jay murder interrupted your

screenplay career? What got you into that?

Curtis Scoon: I had hit rock bottom and I had to ask myself, “Who are

you?” I said, “I am sales man but I don’t have a product.” I dug deep

inside myself and made a product, a screenplay called Fall from Grace.

A producer optioned it, it never did anything. But all the feedback I

got from it was very good.