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Extremeskins

***The All-Encompassing ES Hip Hop Thread***


RonArtest15

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Just a few of my favorite Doom tracks.  This one hit me hard.  He really was quite an MC and producer.  The same way that Biggie, Tupac, Eminem, etc. garner respect from even the most hardcore "underground elitist" crowd, MF Doom got his props from each and every person in the hip hop community.  He started rapping in the late 80s with KMD.  Contributed so much to hip hop culture.  His style was unmatched.  Even if he wasn't your cup of tea, any respectable hip hop critic/historian/writer would have him as one of the top 50 MCs ever.

 

Also, here is a great article giving tribute to his legacy.  Provides lots of valuable information about his life, music, and reason behind his mask.  Contains a video of him performing "Gas Face" on the Arsenio Hall Show with 3rd Bass in 1990 (then going by Zev Love X).  Possibly the only time the public got a view of his entire face.

 

https://www.theringer.com/2021/1/1/22209728/mf-doom-daniel-dumile-obituary 

Edited by abdcskins
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71DZPVixkhL._SS500_.jpg

 

New album from Hus Kingpin, inspired by Portishead.  Not all tracks sample Portishead but many do.  Very dark and moody album.  I love it.  Hus is an underground fixture, hails from Long Island.  Check it out.  Pharoahe Monch also dropped a new album, haven't heard it yet.

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I’ve been listening to a lot of Eminem lately. I think that Slim Shady LP was his best. I know that people like to say it’s Marshal Mathers LP but I disagree. I feel like the rawness on SS LP is the best. He had no success at that point.

 

His newer stuff lacks the rawness and lots of times just shows off his technical skills and his ability to rhyme with speed. I can appreciate it on a song like Rap God, but does it really need to be every song? We all know that he’s in another level, but I’d appreciate a slower rapper with a more raw flow and something that sounds... better.

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2 hours ago, Spaceman Spiff said:

https://pitchfork.com/reviews/albums/benny-the-butcher-harry-fraud-the-plugs-i-met-2/

 

I don't listen to much new rap.  I'm strictly sticking to what I listened to in high school (Dre, Snoop, Biggie, DMX, early NAS, etc).  

 

But any album that has a cover like that, I'll give it a crack.  And I really like this album so far.

 

Benny makes drug rap, that is the main theme of his lyrics.  Hence the album cover.  

 

DJ Muggs, from Cypress Hill, just dropped an album with one of my favorite MCs, Rome Streetz entitled Death & The Magician.  It is really dope.  Also a cool cover.

 

SA_DTM_STANDARDEDITION_PICTUREDISC_RECOR

 

 

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On 4/4/2021 at 12:50 AM, abdcskins said:

https://www.cnn.com/2021/04/03/us/dmx-hospitalized-life-support-heart-attack/index.html

 

DMX suffered a heart attack and is on life support.  Hope he pulls through.  I was never a big fan but he was definitely a late 90s prominent figure.  That first album was good, I just sort of lost track of him after that.  He was a rugged dude.  

 

This post hurts knowing now that he didn't.

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Yep. D was a dude who lived the life. The life got him in the end. It always does man. I was a HUGE DMX fan back in the early 2000's. I kinda fell off after album 5. First 3 albums were legendary, 4 and 5 had some bangers but lots of filler.

 

He transcended hip hop. Man was a movie star. I think people forget just how big DMX was. When Get At Me Dog came out, it signaled a huge difference from what had been popular. He was just so unique.

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Anyone have a chance to listen to the new Lloyd Banks album yet? It’s actually pretty damn good. Gives me some old school boom bap type vibes. Wasn’t the biggest Banks fan but this new album is in another level.

 

The mastering for the vocals sounds a bit off though…

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Not you too Biz! From your rap career to being one of the best defensive ends in the league while you were with the Ravens🤣 you were in your own way one of the best.

 

Biz Markie Was Forever Himself

The Clown Prince of Hip-Hop, the Inhuman Orchestra, Biz Markie was one of rap’s most innovative stylists, a character who brightened every room he was in and every song he was on

 

Take Biz Markie out of the photo, and it’s nothing you haven’t seen before: a black-and-white picture in XXL magazine of a handful of rappers and producers smiling or putting on their best serious-rapper-or-producer face. In the bottom left, Pharoahe Monch stares at the camera with fire in his eyes. All the way in the back, De La Soul’s Maseo looks ahead blankly, unbothered by the proceedings. But at the far right, the only person standing is having some fun with his tourmates. He lifts his shirt as his belly spills over his belt and his mile-wide grin threatens to crowd every other person out of the frame. As usual, Biz is goin’ off, and even Common seems to appreciate it.

 

What’s remarkable about the photo is how well it sums up the nearly four-decade career of Biz Markie, who died on Friday at the age of 57 following a hospitalization earlier this month. In a genre often defined by tough-guy posturing and self-styled messiah types, Biz made it clear that it was possible to have fun, be yourself, and still be one of the most respected artists of your generation. It’s not unlike how he got his start as a member of the Juice Crew in the 1980s, pumping out classics alongside a smooth operator like Big Daddy Kane and a verbal assassin like Kool G Rap. To outsiders, he was an off-key one-hit wonder with a broken heart who popped up on kids TV to beatbox, or on Beastie Boys records to emulate Ted Nugent. But to hip-hop devotees, he was one of the art form’s most innovative stylists—the forerunner to Ol’ Dirty **** and every other high-energy dynamo who followed him, the inventor of an iconic dance bearing his name—and one of the most beloved party rockers to ever stand behind a pair of Technics. They called Biz Markie “the Clown Prince of Hip-Hop,” and he was all too happy to wear the crown.

 

Born in Harlem in 1964 as Marcel Theo Hall, Biz was the son of a saxophonist who played alongside John Coltrane and Sonny Stitt. Biz would soon discover, however, that his preferred instrument was his mouth. As a young teen in Brentwood, Long Island, Biz fell in love with hip-hop after hearing tapes of the pioneering “L” Brothers. He soon began writing his own rhymes and beatboxing, the latter of which became his early calling card. By the mid-’80s, the Fat Boys and Doug E. Fresh had both ridden their beatboxing skills to gold and platinum success. But no one could do it quite like Biz, who viewed his mouth as more than a percussive instrument, adding melodies and other flourishes to his act as he came up through New York’s party and battle scenes. Marley Marl, the producer who helped define the sound of hip-hop in the 1980s, recalled in 2013 that he originally had no plans to add a beatboxer to the nascent Juice Crew. But then he met Biz, who camped out at the Queensbridge projects daily hoping for the chance to impress Marley. When they finally connected, Marley was floored by both Biz’s talent and outsized presence—he was a hulking 6-foot-3 with a personality that felt even bigger. Marley put Biz on tour with MC Shan and had him record the backing track for Roxanne Shante’s “Def Fresh Crew” (a song featured in the cult documentary classic Big Fun in the Big Town). Along the way, Biz earned another nickname: “the Inhuman Orchestra.”....

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