Chrome Children on KHSN
Madvillain "Monkey Suite" x Faro x Knox
More weird shit on the Stones Throw YouTube Channel
Stones Throw Sheat
Moderators: .etalosed, greuceanu
Remix November 2006
POWER SUMMIT
All-Star DJs and turntablists A-Trak, Peanut Butter Wolf, Craze, J.Rocc, Dan the Automator and ie.MERG put their heads together to discuss the state of the DJ.
by Ean Golden. Photos by Anthony Pidgeon
Hip hop, DJing and the music industry are all at a major crossroads. Remember the glody days of the late 90s when people would go out and see big name DJs every weekend? like sheep to the slaughter, they lined up, gleefully paying 40 bucks a pop to gt a glimpse of the decade's biggest PR scams. Guitar Center was loudy shouting from the rooftops that turntables were outselling guitars, and everyone wanted to be a DJ. Those days are done. Rock has made a massive comeback, and for many citities, the big name DJ is a hard sell. It's definitely a good time to ask a handful of key people just where they think all this is going. Coincidentally, Guitar Center brought such a group together under one roof. The GC Spin Off Grand Finals provided the backdrop for a reunion of the West Coast's staple underground hip hop label, Stones Throw. The label's top artists, including J.Rocc, Madlib, and PB Wolf played together as a tribute to the late J Dilla. In addition, A-Trk, Crazy, ie.Merge and Drum Machine round out the impressive lineup of talent; Dan the Automator was on hand to judge the competition; and Remix was lucky enough to sit down with everyone for an hour before the show.
If there is one group of people you would expect to be the die-hard troops making a last stand at the vinyl Fort Knox, this would be it-the hardcore turntablists and major hip-hop heads. Throwing around records and digging through crates is the stuff hip-hop dreams are made of. Surely sending the Digital DJ" columnist down to interview them would be feeding a pig to the wolves, right? Wrong again; everyone was not only fully embracing digital DJing, but a few are even on the bleeding edge. Their enthusiasm and all-around glow ing attitude about new technology and the digital revo lution gave Remix a little hope for the future of hip-hop and music in general. So what happens when you stick six of the top people in the hip-hop and DJing world together in one room? Do they smoke a lot of blunts and wax poetic about the myriad shapes in Vibe magazine? Hardly. These guys are well-spoken, intelligent and on top of their game. Here are some insightful and some times controversial things they had to say about the music industry and the state of DJing today.
Who here is working with digital gear, and what is your preferred system?
Craze: [Stanton] FinalScratch 2. It has way more things you can play with. FinalScratch 1 is crap.
J.Rocc: I've never tried FinalScratch, so I don't know, but I use Serato [Scratch Live].
Dan: I have been using FinalScratch for a while, but I am leaning toward Serato. I just want to get down to the system that I don't have to bring anywhere because it's already there.
Craze: That's why I use both! I just show up with both and say, "What do you have? Okay, I'll use that system tonight." I don't want to do soundcheck. Serato is the standard; that's what everybody uses, but to me, they feel exactly the same.
Dan: All I know is they both kinda work.
ie.MERG: Locally, I play with vinyl. Overseas, with Serato. [PBW and A-Trak hadn't settled into the conversation yet, but PBW uses Serato Scratch Live, and A-Trak uses Serato Scratch Live and Ableton Live.]
Do you think digital technology is destroying the rich heritage of DJing?
Dan: I have one thing to say: I was out touring with Bambaataa one year, and he had nine crates of records. He had to have four guys carry his records. Even with that, you only have 400 to 600 records. With the com puter, you have 10,000 records.
Craze: You can do whatever you want; you can show up to the gig and say, "Oh, okay, this is the type of crowd."
Dan: I have ruined so many records, and you can never get [some of] them back again.
ie.MERG: [Digital technology] is not necessarily destroying it but making it less accessible. The vintage romance is still there, but less people are finding out because they are being force-fed the new technology through adver tisement. A combination of modern and vintage is ideal.
Restul interviului se gaseste in Remix Magazine, Nov. 2006.
you just never know when you're living in a golden age.
Peanut Butter Wolf Talks Stones Throw Anniversary
Stones Throw Records recently celebrated its tenth anniversary with the release of the Chrome Children compilation and a subsequent tour. Label head Chris Manak, aka Peanut Butter Wolf, will head out on the European leg of the anniversary trek with Aloe Blacc in December, but Pitchfork took advantage of his break to speak with him about the label's past, his hip-hop history, and giving advice to his artists when they struggle.
Pitchfork: On the tenth anniversary tour you took to DJing using music videos. How does that work? Do you mix the videos so that the footage bleeds together, or are there quick jumps?
Peanut Butter Wolf: They're just jumps, quick cuts, and the crossfader is hooked up to it, so when you go from left to right or vice versa, the video cuts to the other one as well. But if you scratch back and forth, then the person [in the video] moves back and forth.
Pitchfork: So there is manipulation of the video going on?
PBW: Yeah, definitely. It's difficult to try to re-train yourself, because with the videos you can either manually switch them or you can do it automatically. And [when you do it] manually, you can bring in the video afterward, like, have the audio playing for a little bit so someone will recognize a song and then go into the video. Or vice versa, you can bring the video in first while the other song is going on. It gives you some extra stuff to think about.
Pitchfork: Would you ever release a DVD of this kind of stuff?
PBW: That's definitely something on the plate for me next year for the label. And a lot of other people have been asking me to do stuff since I did this [tenth anniversary] tour. I think I'm kind of the default go-to guy for people. They don't know who [else] does it, or maybe they just like what I did. Our distributor asked me to do a DVD mix for them; they were going to do like 40,000 copies or something. I'm [also] in talks with another company right now.
Pitchfork: Do you have a favorite era of hip hop videos?
PBW: Just the 80s, because that's when people started doing videos, and there were no rules at that point. There was no formula. Everybody was just experimenting.
Pitchfork: Do you find that it's also your favorite era of hip hop music?
PBW: In a lot of ways, yeah. The 80s-- that's when I was a kid, and I think that's a lot of-- like, when people are first discovering music, that's when they get their most passionate about it. When you get into your 20s and 30s, you know a lot more about it, and I think I'm able to contribute to it better than I was then. But at the same time, when I was a kid it was a bigger deal to me.
Pitchfork: As far as your contributions go, is there anything from the label's history that you're most proud of?
PBW: [When] Madlib started to do different styles of music, when he started doing Yesterdays New Quintet stuff, I was really excited that happened the way it did. The album that he came up with, Angles Without Edges, is something I'm really proud of. And the fact that he continued to push himself, push his boundaries, try different styles of music. I mean, there are really a lot of different highlights for me.
Pitchfork: Are you personally planning on recording again any time soon?
PBW: I don't have many recording plans right now. I do remixes here and there, more stuff for other labels, I guess. I never really use Stones Throw to put out my own music anymore.
Pitchfork: That's how it started, though-- as a way for you to release your collaborations with Charizma, right?
PBW: That's what gave me the incentive to start the label, definitely. And the Charizma album that I released in 2003, after he passed away-- that was a personal goal. I was able to get that out, and a lot of people responded to it.
Pitchfork: So when did you realize that the label could be more about a collective rather than just your own thing?
PBW: Maybe when Madlib said, "...in this Stones Throw era," on My Vinyl Weighs a Ton, my album. I didn't really think of it as anything like that, and that was in 1999.
Pitchfork: Is that the kind of statement that inspires you to back it up?
PBW: Exactly, yeah. It lets me know I have a responsibility to these people. But I don't really take myself, or the label, that seriously. If I did I'd probably have an ulcer right now.
Pitchfork: Is there a kind of vicarious artistic victory you feel when you see Stones Throw artists succeed?
PBW: Yeah, I kind of live through them like parents do with their kids. I don't have any kids, and my artists are all adults and everything, but I still take that pride like a parent does, I guess.
Pitchfork: Do they ever come to you for advice?
PBW: Sometimes, more so with their lives, and with their music careers and stuff. Dudley [Perkins] was going through a rough time where his album didn't really receive-- he basically didn't sell the units he needed to [in order] to survive. He was living month-to-month. He was at the crossroads a few months ago, asking me, "What would you do if you were in my shoes?"
Pitchfork: What did you tell him?
PBW: At the time, the Chemical Brothers were asking him to do a track with them, and I said, "You better do that track with the Chemical Brothers!" But he's always going to be a creative person. [He will] be able to sustain his life through being creative. Actually, we're working on a DVD [about] him right now, kind of a documentary.
Pitchfork: The new Madvillain album is coming out next year, right?
PBW: That's what we're hoping for. Every time they talk to [Stones Throw general manager] Egon, it seems like they're getting pretty close to finishing it.
Pitchfork: Have you heard any of it?
PBW: I haven't.
Pitchfork: What do you expect?
PBW: I don't know because when [MF DOOM] did the first one, he was rapping over Yesterdays New Quintet tracks, and that wasn't anything that any of us [had] even considered or thought he would do. So I'm sure there will be some curveballs thrown in this time too.
Pitchfork: Are there new directions in which you would like to take Stones Throw in the future? I know Nike designed those limited edition Quasimoto Dunks for the tenth anniversary, but have you thought about doing anything else clothing-related?
PBW: I've always wanted to do clothing, [even] before I did music. I've always felt like there wasn't enough men's clothing especially, stuff that I would buy. I always have a hard time finding clothes that I like. But it's just one of those things in my head. If someone came to us with the right proposition-- you know. [But] it's not something that we're actively seeking out. There's just too much going on with the music.
* MP3: Peanut Butter Wolf: Chrome Mix [online]
Stones Throw Records recently celebrated its tenth anniversary with the release of the Chrome Children compilation and a subsequent tour. Label head Chris Manak, aka Peanut Butter Wolf, will head out on the European leg of the anniversary trek with Aloe Blacc in December, but Pitchfork took advantage of his break to speak with him about the label's past, his hip-hop history, and giving advice to his artists when they struggle.
Pitchfork: On the tenth anniversary tour you took to DJing using music videos. How does that work? Do you mix the videos so that the footage bleeds together, or are there quick jumps?
Peanut Butter Wolf: They're just jumps, quick cuts, and the crossfader is hooked up to it, so when you go from left to right or vice versa, the video cuts to the other one as well. But if you scratch back and forth, then the person [in the video] moves back and forth.
Pitchfork: So there is manipulation of the video going on?
PBW: Yeah, definitely. It's difficult to try to re-train yourself, because with the videos you can either manually switch them or you can do it automatically. And [when you do it] manually, you can bring in the video afterward, like, have the audio playing for a little bit so someone will recognize a song and then go into the video. Or vice versa, you can bring the video in first while the other song is going on. It gives you some extra stuff to think about.
Pitchfork: Would you ever release a DVD of this kind of stuff?
PBW: That's definitely something on the plate for me next year for the label. And a lot of other people have been asking me to do stuff since I did this [tenth anniversary] tour. I think I'm kind of the default go-to guy for people. They don't know who [else] does it, or maybe they just like what I did. Our distributor asked me to do a DVD mix for them; they were going to do like 40,000 copies or something. I'm [also] in talks with another company right now.
Pitchfork: Do you have a favorite era of hip hop videos?
PBW: Just the 80s, because that's when people started doing videos, and there were no rules at that point. There was no formula. Everybody was just experimenting.
Pitchfork: Do you find that it's also your favorite era of hip hop music?
PBW: In a lot of ways, yeah. The 80s-- that's when I was a kid, and I think that's a lot of-- like, when people are first discovering music, that's when they get their most passionate about it. When you get into your 20s and 30s, you know a lot more about it, and I think I'm able to contribute to it better than I was then. But at the same time, when I was a kid it was a bigger deal to me.
Pitchfork: As far as your contributions go, is there anything from the label's history that you're most proud of?
PBW: [When] Madlib started to do different styles of music, when he started doing Yesterdays New Quintet stuff, I was really excited that happened the way it did. The album that he came up with, Angles Without Edges, is something I'm really proud of. And the fact that he continued to push himself, push his boundaries, try different styles of music. I mean, there are really a lot of different highlights for me.
Pitchfork: Are you personally planning on recording again any time soon?
PBW: I don't have many recording plans right now. I do remixes here and there, more stuff for other labels, I guess. I never really use Stones Throw to put out my own music anymore.
Pitchfork: That's how it started, though-- as a way for you to release your collaborations with Charizma, right?
PBW: That's what gave me the incentive to start the label, definitely. And the Charizma album that I released in 2003, after he passed away-- that was a personal goal. I was able to get that out, and a lot of people responded to it.
Pitchfork: So when did you realize that the label could be more about a collective rather than just your own thing?
PBW: Maybe when Madlib said, "...in this Stones Throw era," on My Vinyl Weighs a Ton, my album. I didn't really think of it as anything like that, and that was in 1999.
Pitchfork: Is that the kind of statement that inspires you to back it up?
PBW: Exactly, yeah. It lets me know I have a responsibility to these people. But I don't really take myself, or the label, that seriously. If I did I'd probably have an ulcer right now.
Pitchfork: Is there a kind of vicarious artistic victory you feel when you see Stones Throw artists succeed?
PBW: Yeah, I kind of live through them like parents do with their kids. I don't have any kids, and my artists are all adults and everything, but I still take that pride like a parent does, I guess.
Pitchfork: Do they ever come to you for advice?
PBW: Sometimes, more so with their lives, and with their music careers and stuff. Dudley [Perkins] was going through a rough time where his album didn't really receive-- he basically didn't sell the units he needed to [in order] to survive. He was living month-to-month. He was at the crossroads a few months ago, asking me, "What would you do if you were in my shoes?"
Pitchfork: What did you tell him?
PBW: At the time, the Chemical Brothers were asking him to do a track with them, and I said, "You better do that track with the Chemical Brothers!" But he's always going to be a creative person. [He will] be able to sustain his life through being creative. Actually, we're working on a DVD [about] him right now, kind of a documentary.
Pitchfork: The new Madvillain album is coming out next year, right?
PBW: That's what we're hoping for. Every time they talk to [Stones Throw general manager] Egon, it seems like they're getting pretty close to finishing it.
Pitchfork: Have you heard any of it?
PBW: I haven't.
Pitchfork: What do you expect?
PBW: I don't know because when [MF DOOM] did the first one, he was rapping over Yesterdays New Quintet tracks, and that wasn't anything that any of us [had] even considered or thought he would do. So I'm sure there will be some curveballs thrown in this time too.
Pitchfork: Are there new directions in which you would like to take Stones Throw in the future? I know Nike designed those limited edition Quasimoto Dunks for the tenth anniversary, but have you thought about doing anything else clothing-related?
PBW: I've always wanted to do clothing, [even] before I did music. I've always felt like there wasn't enough men's clothing especially, stuff that I would buy. I always have a hard time finding clothes that I like. But it's just one of those things in my head. If someone came to us with the right proposition-- you know. [But] it's not something that we're actively seeking out. There's just too much going on with the music.
* MP3: Peanut Butter Wolf: Chrome Mix [online]
you just never know when you're living in a golden age.
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sadclown
- dimineata verific forumu
- Posts: 760
- Joined: Fri Mar 17, 2006 10:43 pm
- Location: circus-dristor 2 via appia
- Contact:
The Stones Throw Holiday Mix
Compiled by
Peanut Butter Wolf
+ Free on iTunes
+ Streaming MP3
+ www.stonesthrow.com/xmas
1. Hello World - Rudy Ray Moore
2. Peace On Earth - Hopeton and Primo
3. Where Day At Yo - K. Nock feat 24K
4. Rappin Christmas - The Cold Crew
5. Jingle Bells - Dudley Perkins and Georgia Anne Muldrow
6. Seven Days of Kwanzaa - Georgia Anne Muldrow
7. In The Hot Sun Of A Christmas Day - Caetano Veloso
8. My Lovely Christmas - Baron Zen
9. Irie Christmas - Freddie McGregor
10. Christmas Will Really Be Christmas - Lou Rawls
11. Go Power at Christmas Time - James Brown
12. Seasons Greetings - Sound On Sound Productions
13. My Christmas Bells - Hard Call Christmas
14. Broke At Christmas - Jacob Miller & Ray I
15. Broke Christmas In Brooklyn - Baron Zen
16. Night Before Christmas - Rudy Ray Moore
17. Close Your Mouth (It's Christmas) - Free Design
18. Glory, Glory - Al Green
19. What You Want For Christmas - 69 Boys
20. Little Saint Nick - The Beach Boyz
21. Christmas - Beat Happening
22. Got The Beat For Christmas (Breakdance) - Monyaka
23. Sound The Trumpet - Bob Marley & The Wailers
24. Christmas in the City - Marvin Gaye
25. Silent Night - Peanut Butter Wolf
26. Tidings - Phil Spector, Peanut Butter Wolf, and Esquivel
duceti-va in pastele mamii voastre
http://genencretzite.blogspot.com/
http://genencretzite.blogspot.com/
J Dilla’s rarely heard masterpiece "Ruff Draft" officially re-released as a deluxe 2-CD set with bonus vocal tracks, interludes and instrumentals - March 2007.
Before we get this started, let me explain it. It’s Ruff Draft. For my real niggaz only. DJs that play that real live shit. You wanna bounce in your whip with that real live shit. Sound like it’s straight from the ma’fuckin’ cassette! Ruff Draft... Let’s do it.
... Thus begins Ruff Draft. These self-produced tracks make up one of the late J Dilla’s least known works. Released on vinyl only in February 2003 by Dilla’s own newly-formed Mummy Records and distributed by the German label Groove Attack, this sought-after release remains elusive and virtually unknown to the casual Dilla fan.
In retrospect, Ruff Draft proved to mark a turning point in Dilla’s career. He spent the ’90s making a name for himself as an all-around, top-notch hip-hop producer. First arriving on the scene with his own group Slum Village in his native Detroit, Dilla would establish himself throughout the decade on classic tracks for A Tribe Called Quest, Common, The Pharcyde and De La Soul, eventually branching out to work with a variety of heavy-hitters in hip-hop and R&B, from Busta Rhymes and The Roots to D’Angelo and Erykah Badu.
In contrast to the often understated, mellow vibes and minimal, crisp drumbeats he brought to the boards for those groups, Ruff Draft revealed – to those who heard it the first time around – a whole new side to Dilla’s musical genius. Freewheeling, in-your-face synthesizers, blend perfectly with an uncharacteristically sample-heavy approach that was as bangin’ as it was experimental. And, as he indicated in the intro to the album (quoted above), it’s supposed to bump in your car like an old cassette – one of those well-loved ones that get played over and over and over.
This album marked a geographical change for Dilla, as well as a musical one. 2003 would be the year he transplanted to sunny Southern California. At the same time as he was completing Ruff Draft, Dilla was crafting the beats that would become his contribution to the Jaylib album, Champion Sound (Stones Throw, 2003) – his collaboration with the L.A.-based Madlib. The two iconic visionaries had been influencing each other from halfway across the country; now, they were collaborating on wax – each rhyming over the other’s beats. Dilla’s stylistic unpredictability and technical rawness announced first by Ruff Draft became undeniable with his work on Champion Sound, as he and Madlib joined forces to champion all things �ruff.�
Dilla would spend his last few years in Los Angeles. As his health gradually declined, his pace of music making never did. His beats became, if anything, more urgent – the product of a visceral need to create, as if he knew he had only so much time left. His first and only solo LP on Stones Throw, the 31-track instrumental suite Donuts (2006) plays out like a vinyl fanatic skipping through radio stations on the dial in his perfect universe. With a fresh style from one beat to the next, Dilla conceived this cut-and-paste masterpiece mostly from his hospital bed with nothing more than his sampler, a portable record player and whatever vinyl his friends brought through. Coming full circle from his slick productions of the ’90s, Dilla was now practicing hip-hop at its most essential: bringing out the soul in any style, from any source, with the most fundamental tools.
Dilla’s final album, The Shining (BBE, 2006), hints at the future music that might have come had his health not declined so severely. The sound is thick, with robust soul samples at the forefront, the culmination of the bombastic latter phase of his career. Stones Throw Records now presents the reissue of Ruff Draft as a crucial milestone in the evolution of one of hip-hop’s greatest producers.
Track List:
DISC 1
01 Intro
02 Let’s Take It Back
03 Reckless Driving
04 Nothing Like This
05 The $
06 Interlude
07 Make’em NV
08 Interlude
09 Crushin’ (Yeeeeaah!)
10 Shouts
11 Intro (Alt) *
12 Wild *
13 Take Notice *
14 Shouts (Alt) *
DISC 2
01-10 Instrumentals *
*previously unreleased
Ruff Draft will be released on 2/CD and 2/LP. The audio is taken from the original master tapes.
you just never know when you're living in a golden age.
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sadclown
- dimineata verific forumu
- Posts: 760
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haha despre asta voiam sa scriu acum 
+ MADVILLAIN FIGURE FROM KID ROBOT
This guy is coming out Jan 11th and Kidrobot stores, and a few other locations
which we will be announcing soon. A release party is being planned for Kidrobot's
L.A. location.
http://www.stonesthrow.com/news/kidrobot
+ CHROME CHILDREN PT. II
Stones Throw & Adult Swim will team again for another round of Chrome Children
tracks. These will be available on the web in January shortly after the Madvillain/Kidrobot
figure drops. We will reveal the artists & tracks early in the new year.
http://www.stonesthrow.com/chromechildren
+ STONES THROW: TEN YEARS - 2/CD, JAN. 23, 2007
Wide release for Stones Throw's 10 year collection including a full-cd mix by
J Rocc.
http://www.stonesthrow.com/10
+ MADVILLAIN FIGURE FROM KID ROBOT
This guy is coming out Jan 11th and Kidrobot stores, and a few other locations
which we will be announcing soon. A release party is being planned for Kidrobot's
L.A. location.
http://www.stonesthrow.com/news/kidrobot
+ CHROME CHILDREN PT. II
Stones Throw & Adult Swim will team again for another round of Chrome Children
tracks. These will be available on the web in January shortly after the Madvillain/Kidrobot
figure drops. We will reveal the artists & tracks early in the new year.
http://www.stonesthrow.com/chromechildren
+ STONES THROW: TEN YEARS - 2/CD, JAN. 23, 2007
Wide release for Stones Throw's 10 year collection including a full-cd mix by
J Rocc.
http://www.stonesthrow.com/10
duceti-va in pastele mamii voastre
http://genencretzite.blogspot.com/
http://genencretzite.blogspot.com/
Stones Throw 10th Anniversary
Music Videos (In Order of Apperance):
Madvillain - All Caps
Jaylib - McNasty Filth
Quasimoto - Come On Feet
Wildchild - Wonder Years
Madlib - Slim's Return
Breakestra - Getcho Soul Togetha
Dudley Perkins - Money
Gary Wilson - Linda Wants To Be Alone (new)
Lootpack - Whenimondamic
Madvillain - Rhinestone Cowboy (new)
Koushik - One In A Day (new)
Rasco feat. Planet Asia - Take It Back Home
Charizma & PB Wolf - Red Light, Green Light
Kazi - A.V.E.R.A.G.E.
Quasimoto - Good Morning Sunshine
Then Followed By Bonus Footage (In Order of Apperance):
MF DOOM, Madlib, PB Wolf, Egon, J Rocc segment on MuchMusic.
Madvillain - The All Caps blueprint
Jaylib's live debut at the Jazz Cafe
PB Wolf Interview, 1999
Charizma & PB Wolf live on TV's Home Turf, San Francisco, 1992
LA Carnival documentary - Tracking down the lost funk band
Quasimoto - Behind the scenes for Come On Feet
Stark Reality - performance, from TV's Say Brother, 1968
Dooley O - Headbangers Ball video
Hidden Sun-Ra Video
http://www.gigasize.com/get.php/281309/ ... ny_DVD.wmv
Music Videos (In Order of Apperance):
Madvillain - All Caps
Jaylib - McNasty Filth
Quasimoto - Come On Feet
Wildchild - Wonder Years
Madlib - Slim's Return
Breakestra - Getcho Soul Togetha
Dudley Perkins - Money
Gary Wilson - Linda Wants To Be Alone (new)
Lootpack - Whenimondamic
Madvillain - Rhinestone Cowboy (new)
Koushik - One In A Day (new)
Rasco feat. Planet Asia - Take It Back Home
Charizma & PB Wolf - Red Light, Green Light
Kazi - A.V.E.R.A.G.E.
Quasimoto - Good Morning Sunshine
Then Followed By Bonus Footage (In Order of Apperance):
MF DOOM, Madlib, PB Wolf, Egon, J Rocc segment on MuchMusic.
Madvillain - The All Caps blueprint
Jaylib's live debut at the Jazz Cafe
PB Wolf Interview, 1999
Charizma & PB Wolf live on TV's Home Turf, San Francisco, 1992
LA Carnival documentary - Tracking down the lost funk band
Quasimoto - Behind the scenes for Come On Feet
Stark Reality - performance, from TV's Say Brother, 1968
Dooley O - Headbangers Ball video
Hidden Sun-Ra Video
http://www.gigasize.com/get.php/281309/ ... ny_DVD.wmv
Madlib the Beat Konducta - Chrome Dreams
MED - Rhymes with an L
produced by Dabrye
Roc C - Living for the City
produced by Oh No
Chocolate Star - Stay with Me
produced by Gary Davis
Percee P - Reverse Part Two
produced by Koushik
Oh No - Gitback
produced by Decypher
Guilty Simpson - Money Motivated Movements
produced by Four Tet
Madlib the Beat Konducta - Selah's Children
Baron Zen - Theme (Danny Breaks Remix)
Aloe Blacc - Happy Now?
produced by Four Tet
J.Rocc - Bubbha's Dance
Gary Wilson - Soul Traveling
Clifford Nyren - Keep Running Away (Egon's Edit)
The Jazzistics - Marcus, Martin and Malcolm
produced by Yesterdays New Quintet
James Pants - Murder
Arabian Prince - Strange Life
http://www.stonesthrow.com/chromechildren/
e free: http://cc.stonesthrow.com/v2.zip
Lootpack: Da Packumentary (2001)
Lootpack înseamnă Madlib, Wilchild şi DJ Romes.
Pe video mai apar Peanut Butter Wolf, Quasimoto, Declaime, Kazi, Medaphoar, Oh No, Phife Dawg, Percee P, Dilated Peoples, Kut Masta Kurt, DJ Rhettmatic şi alţii.
Download Lootpack: Da Packumentary (2001)
Lootpack înseamnă Madlib, Wilchild şi DJ Romes.
Pe video mai apar Peanut Butter Wolf, Quasimoto, Declaime, Kazi, Medaphoar, Oh No, Phife Dawg, Percee P, Dilated Peoples, Kut Masta Kurt, DJ Rhettmatic şi alţii.
Download Lootpack: Da Packumentary (2001)