last night a DJ saved my life
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sadclown
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pai am sa fac altceva.am sa postez fiecare articol in cate o liba straina: franceza,germana,spaniola,italiana si romana( 
).asa fiecare va fi fericit sau chiar multilateral mai dezvoltat
).asa fiecare va fi fericit sau chiar multilateral mai dezvoltatduceti-va in pastele mamii voastre
http://genencretzite.blogspot.com/
http://genencretzite.blogspot.com/
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sadclown
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DJ Revolution began his career at the age of 13 on some dusty, old, mismatched, belt-driven turntables his grandfather pulled out of the attic. After hooking them up to a mixer they built from scrap metal in his garage, he started selling Top 40 and rock mix tapes to his sixth grade class. When he first heard "The Adventures Of Grandmaster Flash On The Wheels of Steel" was turned upside down.
Since then, DJ Revolution has spent 15 years perfecting his craft on the 1200s. Revolution has done just about everything you can think of with records. Spun 'em, scratched 'em, juggled 'em, sampled 'em, collected 'em, produced 'em, sold 'em, distributed 'em, promoted 'em, and so on. But in 1996, after sending an outdated mixtape to King Tech, he could add one more item to the list of things he's done with records: played 'em on the world famous "Wake Up Show."
Two weeks after Tech contacted DJ Revolution, he was on the show doing regular guest spots. In '97, when friend and crewmember Prince Ice left the show, Rev took over the wheels, and has been holding ¹em down ever since. The Wake up Show continues to make an impact on the global Hip Hop community through its many syndication affiliates and now through television. Revolution has also been featured in many Hip Hop magazines including The Source, The Source France, Vibe, XXL, Elemental, Fader, Blast, Juice as well as other national and local publications.
Aside from his weekly duties on the Syndicated show based out of LA on Power 106, he has lent his now infamous scratch techniques to countless records and his production skills to many established artists and released too many mixtapes to name. He has also taken his skillz to the far corners as the globe and ripped clubs in locations such as Japan , Europe, Australia and New Zealand. This of course includes his traveling regularly within the states and Canada to deliver unforgettable sets on the Technics. Revolution has also released 2 of his own Full length LP¹s ("In 12's we trust/R2K") and 1 with his partners Sway & Tech("This or That"). He now owns and operates his label Millenia Music, on which he will continue to make classic contributions to the hip hop world through the material it puts out.
However, no matter how involved in the business of being Hip Hop DJ Revolution becomes he will always be most comfortable standing behind two 1200s.
am gasit un site interesant (evenimentul e din 2002)
http://www.djsunited.com.au/revolution.htmlps:pe q-bert il pusesem in prima transa de articole dar mi-a scris la un moment dat ca nu mai am spatiu sa scriu(nu stiu ce se intamplase) asa ca am sa ma chinui sa regasesc articolele alea
duceti-va in pastele mamii voastre
http://genencretzite.blogspot.com/
http://genencretzite.blogspot.com/
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sadclown
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DJ KRUSH
DJ Krush (real name Hideaki Ishii) was born in 1962 in Tokyo.At an early age, Ishii dropped out of school, and joined a local gang, and a few years later, Yakuza. One day in the early 1980s, Ishii, who had a lot of questions inside himself, went to the movies with his girlfriend and looked for something different from what he had seen till then. He chose the film "Wild Style", the first hip-hop motion picture directed by Charlie Ahearn, and got the inspiration that he would be a hip-hop musician. Despite the others doubting his change, he made a firm decision to be a DJ; the day after he watched the movie, he went straight to instrument shops and looked for DJing instruments when the term "mixer" was unheard of even by most of Tokyo's electronic store salesmen. After a hard time buying the things he needed, Ishii started his career as one of the first hip hop pioneers in Japan. After watching the film "Wild Style" in the early 80s, he was inspired, bought some turntables, and started to learn the art of turntablism. In 1987, he formed the Krush Posse, which made numerous appearances as a group in late 1992 and gained him recognition by becoming the first DJ in Japan to perform with live musicians. He released his first album "Krush," which stated his presence in the scene, and he has since released eight more. He has had recording contracts with Chance Records, Ninety Nine Records, Mo-Wax (he was the first Japanese artist to join them), Apollo and Sony/Columbia. He works internationally as a producer, re-mixer, DJ and recording artist, bringing the unique flavour of Japanese hip-hop to the world...................he builds soundscapes (not dance tracks) that are populated with snippets of melodies (usually keyboards), old-school beats, dub-like bass lines, Miles Davis-inspired horns phrases, turntable scratching and soulful diva crooning, and possess a strong jazz feeling. Krush (Chance, 1993 - Ninty-Nine, 1995) established DJ Krush at the helm of Japan's hip-hop with pieces of psychedelic, dub jazz-rock (Roll & Tumble, On The Dub-ble, Into The Water, Murder Of Soul) but the artist greatly reduced the rhythmic impact on his sophomore album, Strictly Turntablised (Mo'Wax, 1994), that remains perhaps his most accomplished work, thanks to elegant tracks like Kemuri (widely considered one of trip-hop's defining moments) and Silent Ungah.
The jazz element is less visible on Meiso (Mo'Wax, 1995), which brings back the voice to the forefront, but the beats are now too strong and too many rappers distract the attention from the underlying music. The best track is a collaboration with DJ Shadow, Duality, and that is not a good sign for DJ Krush. This album sounded mostly like an attempt to target the USA mainstream.
MiLight (Mo'Wax, 1997) is another disappointment, if nothing else because it is his most traditional album so far (Hitotsu No Mirai Skin Against Skin). Again, it is not a good sign that the best piece is a collaboration with DJ Cam, the 10-minute trip-hop nightmare Le Temps.
The trumpet of Toshinori Kondo redeems Ki-Oku (Apollo, 1998 - Instinct, 1999), helping DJ Krush concoct a few melancholy ballads and swinging mood-pieces. The airy Afro-jazz fanfare with disco beat of Toh-Sui, the reggae-fied celestial lullaby of Sun is Shining, the romantic lament of Mu-Chu (trapped in a lattice of surreal tinkling and swampy percussion) offer easy-listening music that is as kitschy as sophisticated.
Add the funereal and dreamy trip-hop of Mu-Getsu, the malaric Miles Davis of Ho-Doh and Bu-Seki, the Caribbean dance-music of Fu-Yu, the soulful ballad of Shoh-Ka, etc. The majestic melody of Ki-Gen soars above the divertissment, paced in a ghostly landscape by sensual breaths and distant gongs.
These pieces certainly rank among his best achievements, but, one more time, the guest may be more important than the host.
Kakusei (Sony, 1998) is a more relaxed work that highlights Ishi's oriental mind. The album is equally split between contemplative trip-hop (Final Home, The Dawn, Crimson) and acrobatic hip-hop Kinetics, Krushed Wall, but the artist's soul beats (excuse the pun) in the former.
Code4109 (Sony, 2000) collects some of his live performances.
Zen (Sony, 2001) continues in the progression towards a less fractured style, replacing rappers with singers (Danger Of Love) and streamlining the beats (Day's End, with trumpet), despite a maverick incursion in drum'n'bass (Sonic Traveler).
The Message At The Depth (Sony, 2003) is another transitional album, a confused hodgepodge of straightforward hip-hop, illbient experiments (Sanity Requiem) and quotations from fashionable styles (made more credible by the distinguished guest vocalists/rappers). The mood is darker and somber.
Jaku (Red Ink, 2004) is a hip-hop tribute of sort to his Japanese roots, employing mostly Japanese instruments (Shinishi Kinoshita's tsugaru-jamisen in Beyond Raging Waves, Shuuzan Morita's shakuhachi in Still Island and The Beginning) and jazz instruments (piano and cello in Stormy Cloud, Akira Sakata's saxophone in Slit of Cloud) to craft the same decadent atmospheres. The effect is, by his standards, serene (as the title of the album implies).
un review al unei prestatii din Ascot Room in Minneapolis
March 15, 2003
My friend, Sach, and I attended a DJ Krush performance on Tuesday night at the Quest's Ascot Room, an intriguing, "Garden of Eden"-themed hall that, in addition to being Prince's personal club back in the day, was a surprisingly good concert venue. To give you a sense of its hip ambiance, the Ascot Room's murals were, according to Quest's website, painted by "Holly Evans, a Twin Cities based artist who apprenticed under Andy Warhol and Calvin Klein."
The show opened up with two local turntablists of satisfactory skills, though lacking perhaps in the creativity department — the first played a wide-ranging set of various electronic styles, while the second played more of a low-key ambient set that, as Sach pointed out, would have been better suited for a lazy Sunday afternoon.
At about 11 p.m., DJ Krush busted up the scene with a feverish illustration of his mad skills, craftily manipulating and molding his sound like the DJ virtuoso that he is. I recognized only random snippets of various tracks from Krush's more recent albums, especially his latest, 2003's The Message at the Depth on Red Ink Records. With respect to his live performance, nothing can really be characterized as a "song" per se. As with many DJs, his set seems like an audio rendition of a Jackson Pollack painting in that, at any one time, it might appear as though morsels of sound are strewn about to produce a single unit. The Pollock analogy falls short, though, in that Krush intricately shapes his sonic splatters of various turntablist subgenres into a set that flows smoothly, boasting flawless and inventive breakbeat transitions and trip hop sensibilties. The 90-minute set was a compelling display of Krush's talent and style. Ironically, however, the attention given to the exhibition of his skills rendered Krush's set rather inaccessible and was the most notable downside of the event. As Sach analogized in more or fewer words: "I respect Yngwie Malmsteen for his guitar virtuosity, but that doesn't necessarily mean that I'd find agreeable the sounds that come out of his speakers." Maybe the acoustics failed to do justice to DJ Krush's music, or maybe my ignorance prevented me from fully appreciating its live form. Either way, I came away from the show slightly disappointed, though content to have seen one of the most appreciated and respected turntablists on the scene. Nevertheless, my minor letdown with his live performance won't dissuade me from picking up DJ Krush's albums as he releases them.
Want to learn more about DJ Krush? On his official website, check out his profile or his explanation of why he is fearful to tour the United States this time around. Download "With Grace" from his Zen album or "Supreme Team" from his latest release.
prima oara cand am ascultat krush a fost acum un an.luasem muzik intr-o veselie pe dvd-uri si cd-uri,si numele lui mi-a atras atentia.am ajuns acasa si primul lucru pe care l-am facut a fost sa asc albumul cu toshinori kondo-ki-oku.a fost absolut superb sentimentul pe care l-am simtit cand au inceput sa ruleze piesele.nici macar nu pot sa zic ca imi place o piesa in mod deosebit de pe albumul asta.toate sunt alese una si una si ma bucur nespus ca pot sa ascult acest album ca o singura piesa.cursiv,fara intreruperi.este fluent,jazzy,floral,iti misca tot ceea ce ai mai sensibil pana si organele.ma face sa ma simt ca un sommelier cand ascult fiecare piesa fiindca imi vin o multime de imagini in minte cu care asociaz realizarile sale.
cred ca la krush cuvintele sunt de prisos.....gata.ma duc sa ascult zen
DJ Krush (real name Hideaki Ishii) was born in 1962 in Tokyo.At an early age, Ishii dropped out of school, and joined a local gang, and a few years later, Yakuza. One day in the early 1980s, Ishii, who had a lot of questions inside himself, went to the movies with his girlfriend and looked for something different from what he had seen till then. He chose the film "Wild Style", the first hip-hop motion picture directed by Charlie Ahearn, and got the inspiration that he would be a hip-hop musician. Despite the others doubting his change, he made a firm decision to be a DJ; the day after he watched the movie, he went straight to instrument shops and looked for DJing instruments when the term "mixer" was unheard of even by most of Tokyo's electronic store salesmen. After a hard time buying the things he needed, Ishii started his career as one of the first hip hop pioneers in Japan. After watching the film "Wild Style" in the early 80s, he was inspired, bought some turntables, and started to learn the art of turntablism. In 1987, he formed the Krush Posse, which made numerous appearances as a group in late 1992 and gained him recognition by becoming the first DJ in Japan to perform with live musicians. He released his first album "Krush," which stated his presence in the scene, and he has since released eight more. He has had recording contracts with Chance Records, Ninety Nine Records, Mo-Wax (he was the first Japanese artist to join them), Apollo and Sony/Columbia. He works internationally as a producer, re-mixer, DJ and recording artist, bringing the unique flavour of Japanese hip-hop to the world...................he builds soundscapes (not dance tracks) that are populated with snippets of melodies (usually keyboards), old-school beats, dub-like bass lines, Miles Davis-inspired horns phrases, turntable scratching and soulful diva crooning, and possess a strong jazz feeling. Krush (Chance, 1993 - Ninty-Nine, 1995) established DJ Krush at the helm of Japan's hip-hop with pieces of psychedelic, dub jazz-rock (Roll & Tumble, On The Dub-ble, Into The Water, Murder Of Soul) but the artist greatly reduced the rhythmic impact on his sophomore album, Strictly Turntablised (Mo'Wax, 1994), that remains perhaps his most accomplished work, thanks to elegant tracks like Kemuri (widely considered one of trip-hop's defining moments) and Silent Ungah.
The jazz element is less visible on Meiso (Mo'Wax, 1995), which brings back the voice to the forefront, but the beats are now too strong and too many rappers distract the attention from the underlying music. The best track is a collaboration with DJ Shadow, Duality, and that is not a good sign for DJ Krush. This album sounded mostly like an attempt to target the USA mainstream.
MiLight (Mo'Wax, 1997) is another disappointment, if nothing else because it is his most traditional album so far (Hitotsu No Mirai Skin Against Skin). Again, it is not a good sign that the best piece is a collaboration with DJ Cam, the 10-minute trip-hop nightmare Le Temps.
The trumpet of Toshinori Kondo redeems Ki-Oku (Apollo, 1998 - Instinct, 1999), helping DJ Krush concoct a few melancholy ballads and swinging mood-pieces. The airy Afro-jazz fanfare with disco beat of Toh-Sui, the reggae-fied celestial lullaby of Sun is Shining, the romantic lament of Mu-Chu (trapped in a lattice of surreal tinkling and swampy percussion) offer easy-listening music that is as kitschy as sophisticated.
Add the funereal and dreamy trip-hop of Mu-Getsu, the malaric Miles Davis of Ho-Doh and Bu-Seki, the Caribbean dance-music of Fu-Yu, the soulful ballad of Shoh-Ka, etc. The majestic melody of Ki-Gen soars above the divertissment, paced in a ghostly landscape by sensual breaths and distant gongs.
These pieces certainly rank among his best achievements, but, one more time, the guest may be more important than the host.
Kakusei (Sony, 1998) is a more relaxed work that highlights Ishi's oriental mind. The album is equally split between contemplative trip-hop (Final Home, The Dawn, Crimson) and acrobatic hip-hop Kinetics, Krushed Wall, but the artist's soul beats (excuse the pun) in the former.
Code4109 (Sony, 2000) collects some of his live performances.
Zen (Sony, 2001) continues in the progression towards a less fractured style, replacing rappers with singers (Danger Of Love) and streamlining the beats (Day's End, with trumpet), despite a maverick incursion in drum'n'bass (Sonic Traveler).
The Message At The Depth (Sony, 2003) is another transitional album, a confused hodgepodge of straightforward hip-hop, illbient experiments (Sanity Requiem) and quotations from fashionable styles (made more credible by the distinguished guest vocalists/rappers). The mood is darker and somber.
Jaku (Red Ink, 2004) is a hip-hop tribute of sort to his Japanese roots, employing mostly Japanese instruments (Shinishi Kinoshita's tsugaru-jamisen in Beyond Raging Waves, Shuuzan Morita's shakuhachi in Still Island and The Beginning) and jazz instruments (piano and cello in Stormy Cloud, Akira Sakata's saxophone in Slit of Cloud) to craft the same decadent atmospheres. The effect is, by his standards, serene (as the title of the album implies).
un review al unei prestatii din Ascot Room in Minneapolis
March 15, 2003
My friend, Sach, and I attended a DJ Krush performance on Tuesday night at the Quest's Ascot Room, an intriguing, "Garden of Eden"-themed hall that, in addition to being Prince's personal club back in the day, was a surprisingly good concert venue. To give you a sense of its hip ambiance, the Ascot Room's murals were, according to Quest's website, painted by "Holly Evans, a Twin Cities based artist who apprenticed under Andy Warhol and Calvin Klein."
The show opened up with two local turntablists of satisfactory skills, though lacking perhaps in the creativity department — the first played a wide-ranging set of various electronic styles, while the second played more of a low-key ambient set that, as Sach pointed out, would have been better suited for a lazy Sunday afternoon.
At about 11 p.m., DJ Krush busted up the scene with a feverish illustration of his mad skills, craftily manipulating and molding his sound like the DJ virtuoso that he is. I recognized only random snippets of various tracks from Krush's more recent albums, especially his latest, 2003's The Message at the Depth on Red Ink Records. With respect to his live performance, nothing can really be characterized as a "song" per se. As with many DJs, his set seems like an audio rendition of a Jackson Pollack painting in that, at any one time, it might appear as though morsels of sound are strewn about to produce a single unit. The Pollock analogy falls short, though, in that Krush intricately shapes his sonic splatters of various turntablist subgenres into a set that flows smoothly, boasting flawless and inventive breakbeat transitions and trip hop sensibilties. The 90-minute set was a compelling display of Krush's talent and style. Ironically, however, the attention given to the exhibition of his skills rendered Krush's set rather inaccessible and was the most notable downside of the event. As Sach analogized in more or fewer words: "I respect Yngwie Malmsteen for his guitar virtuosity, but that doesn't necessarily mean that I'd find agreeable the sounds that come out of his speakers." Maybe the acoustics failed to do justice to DJ Krush's music, or maybe my ignorance prevented me from fully appreciating its live form. Either way, I came away from the show slightly disappointed, though content to have seen one of the most appreciated and respected turntablists on the scene. Nevertheless, my minor letdown with his live performance won't dissuade me from picking up DJ Krush's albums as he releases them.
Want to learn more about DJ Krush? On his official website, check out his profile or his explanation of why he is fearful to tour the United States this time around. Download "With Grace" from his Zen album or "Supreme Team" from his latest release.
prima oara cand am ascultat krush a fost acum un an.luasem muzik intr-o veselie pe dvd-uri si cd-uri,si numele lui mi-a atras atentia.am ajuns acasa si primul lucru pe care l-am facut a fost sa asc albumul cu toshinori kondo-ki-oku.a fost absolut superb sentimentul pe care l-am simtit cand au inceput sa ruleze piesele.nici macar nu pot sa zic ca imi place o piesa in mod deosebit de pe albumul asta.toate sunt alese una si una si ma bucur nespus ca pot sa ascult acest album ca o singura piesa.cursiv,fara intreruperi.este fluent,jazzy,floral,iti misca tot ceea ce ai mai sensibil pana si organele.ma face sa ma simt ca un sommelier cand ascult fiecare piesa fiindca imi vin o multime de imagini in minte cu care asociaz realizarile sale.
cred ca la krush cuvintele sunt de prisos.....gata.ma duc sa ascult zen
duceti-va in pastele mamii voastre
http://genencretzite.blogspot.com/
http://genencretzite.blogspot.com/
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Borac_cel_original
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pai la oltenia nu se vorbeste decat olteneste...se bate campii...ca e multi...se face totul superficial...si se minte la greu 
hai cu picapurile alea si cu cumpar mixer ...cat despre initiativa ...felicitari...pacat ca tot noi suntem aia care ne uitam si citim...ca restul ....pupa-n cur toti emsii romanai mare parte de kkt
hai cu picapurile alea si cu cumpar mixer ...cat despre initiativa ...felicitari...pacat ca tot noi suntem aia care ne uitam si citim...ca restul ....pupa-n cur toti emsii romanai mare parte de kktone good thing about music,when it hits you feel no pain
B ob
M arley and the
W ailers
B ob
M arley and the
W ailers
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Borac_cel_original
- un domn / doamna
- Posts: 82
- Joined: Wed Dec 21, 2005 9:45 am
- Location: pe un scaun recaro de urs
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sadclown
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DJ POLO(pt ca tot sunt in febra g-rap&dj polo)-trebuyie sa mentionez faptul ca el nu este un nume cu rezonanta ci doar alaturat numelui de kool g rap.peste tot veti gasi aceasta formula care personal o ador.so few words about him
The Incredible DJ Polo started out mixing at house parties, school dances, and just making mix tapes just like any other Disc Jockey. Polo built a strong base for Hip Hop music in the Carolinas. He continued his reign over North Carolina by joining the powerful forces of the radio air-waves, starting off a radio career at WQMG and then moving on to WJMH & WCHH. Of Coarse, after hard work and years of experience, this rewards Polo as N.C.'s Undisputed Hottest DJ. He is the Official DJ for Diamond Life Concerts and Budweiser & has performed in shows with artist such as LL Cool J, Busta Rhymes, Biz Markie, Jagged Edge, Ludacris, Puff Daddy, JaRule, Ashanti, Master P, and Jay-Z, just to name a few. He has worked with local artist on his own record label and records out of his own recording studio. Currently, Polo's recording studio is located in Charlotte North Carolina (One Shot Studios) and he continues to mix at WJMH in Greensboro NC. By doing all of this, Polo controls the hip hop scene for new artist in three states, (VA, NC, & SC). Right now, Polo is the #1 requested DJ in the Carolinas. DJ Polo is also in a Disc Jockey organization call “The Big Dawg Pitbulls” organized by Funk Master Flex of New York City & a cast of top DJs across the country.
In 1989, I was a full-fledge hip-hop freakazoid. Public Enemy was on the stereo daily, BDP taught me about the genre's intricacies and downfalls, and N.W.A educated me with far too many new vocabulary words that mom and dad wouldn't approve (insert soap in mouth here). Ice-T was chill gangsta while A Tribe Called Quest showed consciousness. Hip-hop was blooming and nothing stood in its way. In the next three years a plethora of emerging new hip-hop artists released several significant albums but none were as important as Kool G Rap and DJ Polo's 1989 opus, Road To The Riches, perhaps the most underrated album of its genre. Most of G Rap's discography has been overlooked for many years, even though they may be one of the best emcee/dj artists to ever grab the mic and spin the steel. The have possibly been overshadowed by their Juice Crew affiliation but Kool G Rap & DJ Polo deserve greater commendation for their work and ethics. Fortunately greatest hits packages give us a chance to remember such fallen musical heroes and give them the due praise they deserved many years ago.
parca in duet apare mai shiny(nu stiu de ce imi pare asa)
Queens-based Kool G Rap & DJ Polo left one of the most impressive rap discographies in their wake. Though Kool G Rap's growth as an MC from their first single in 1986 to their final album in 1992 was considerable, the duo started off running and never looked back. The pair never had the large profile enjoyed by others in Marley Marl's extended family (including Big Daddy Kane, Biz Markie, and Roxanne Shant?Š), but aftershocks continue to be felt throughout the East Coast, from the Notorious B.I.G. to Nas to Wu-Tang Clan to the underground scene.
When their first single, 1986's "I'm Fly"/"It's a Demo," was released on Cold Chillin', G Rap was already a formidable MC who could boast with the best of them. However, it would be narratives that he would become most known for, in addition to some of the raunchiest rhymes hip-hop has ever known. Throughout the years, Marley Marl, Large Professor, and Sir Jinx provided valuable production assistance. The duo released the formative "I'm Fly"/"It's a Demo" in 1986, but G Rap (born Nathaniel Wilson) truly broke out on the Juice Crew's "The Symphony," a group cut of great legend produced by Marley Marl that also included turns from Masta Ace, Craig G., and Big Daddy Kane. After a good deal of anticipation was built for the first Kool G Rap & DJ Polo album, Road to the Riches saw the light of day in 1989. Produced by Marl and released on his Cold Chillin' label, the album included a handful of timeless moments while alluding to greater potential.That potential was fulfilled with the following year's Wanted: Dead or Alive. Marley Marl remained partly responsible for the duo's sound, while Main Source's Large Professor and Eric B. also pitched in with production work. On this album, G Rap became an MC of top caliber; he expanded his range as a magnificent storyteller on tracks like "Streets of New York" (a number three rap single) and "Wanted: Dead or Alive." Released in 1992, Live and Let Die landed the duo in a bit of hot water; its cover, depicting the duo feeding meat to rabid dogs in front of two restrained white men, gained a fair amount of attention in the press. The controversy played a role in shooting the album up to the Top 20 of the R&B/hip-hop albums chart, but the attention unfortunately waned. Just as accomplished as Wanted: Dead or Alive (if not more so), the album featured the sympathetic handiwork of Sir Jinx and Trakmasterz and helped bring G Rap's increasingly profane and vivid tales to extreme levels.
G Rap and Polo went their separate ways shortly after that. G Rap put out three albums between the mid-'90s and early '00s, while Polo cut a single with Ice-T and porn star Ron Jeremy. Landspeed kept the duo's legacy alive through a low-key reissue campaign; in 2000 and 2001, separate releases combined the first two albums and anthologized their entire career together.
http://www.youtube.com/watch?v=duk93K2kGys-road to the riches video
din pacate nu imi merge net-ul f bine ca sa pot urca 2 dintre albumele mele preferate-road to the riches(primul lor album din 1989) si 4,5,6(din 1995)-este absolut demential flow-ul lui g
-bet let's not talk about g and listen to polo
The Incredible DJ Polo started out mixing at house parties, school dances, and just making mix tapes just like any other Disc Jockey. Polo built a strong base for Hip Hop music in the Carolinas. He continued his reign over North Carolina by joining the powerful forces of the radio air-waves, starting off a radio career at WQMG and then moving on to WJMH & WCHH. Of Coarse, after hard work and years of experience, this rewards Polo as N.C.'s Undisputed Hottest DJ. He is the Official DJ for Diamond Life Concerts and Budweiser & has performed in shows with artist such as LL Cool J, Busta Rhymes, Biz Markie, Jagged Edge, Ludacris, Puff Daddy, JaRule, Ashanti, Master P, and Jay-Z, just to name a few. He has worked with local artist on his own record label and records out of his own recording studio. Currently, Polo's recording studio is located in Charlotte North Carolina (One Shot Studios) and he continues to mix at WJMH in Greensboro NC. By doing all of this, Polo controls the hip hop scene for new artist in three states, (VA, NC, & SC). Right now, Polo is the #1 requested DJ in the Carolinas. DJ Polo is also in a Disc Jockey organization call “The Big Dawg Pitbulls” organized by Funk Master Flex of New York City & a cast of top DJs across the country.
In 1989, I was a full-fledge hip-hop freakazoid. Public Enemy was on the stereo daily, BDP taught me about the genre's intricacies and downfalls, and N.W.A educated me with far too many new vocabulary words that mom and dad wouldn't approve (insert soap in mouth here). Ice-T was chill gangsta while A Tribe Called Quest showed consciousness. Hip-hop was blooming and nothing stood in its way. In the next three years a plethora of emerging new hip-hop artists released several significant albums but none were as important as Kool G Rap and DJ Polo's 1989 opus, Road To The Riches, perhaps the most underrated album of its genre. Most of G Rap's discography has been overlooked for many years, even though they may be one of the best emcee/dj artists to ever grab the mic and spin the steel. The have possibly been overshadowed by their Juice Crew affiliation but Kool G Rap & DJ Polo deserve greater commendation for their work and ethics. Fortunately greatest hits packages give us a chance to remember such fallen musical heroes and give them the due praise they deserved many years ago.
parca in duet apare mai shiny(nu stiu de ce imi pare asa)
Queens-based Kool G Rap & DJ Polo left one of the most impressive rap discographies in their wake. Though Kool G Rap's growth as an MC from their first single in 1986 to their final album in 1992 was considerable, the duo started off running and never looked back. The pair never had the large profile enjoyed by others in Marley Marl's extended family (including Big Daddy Kane, Biz Markie, and Roxanne Shant?Š), but aftershocks continue to be felt throughout the East Coast, from the Notorious B.I.G. to Nas to Wu-Tang Clan to the underground scene.
When their first single, 1986's "I'm Fly"/"It's a Demo," was released on Cold Chillin', G Rap was already a formidable MC who could boast with the best of them. However, it would be narratives that he would become most known for, in addition to some of the raunchiest rhymes hip-hop has ever known. Throughout the years, Marley Marl, Large Professor, and Sir Jinx provided valuable production assistance. The duo released the formative "I'm Fly"/"It's a Demo" in 1986, but G Rap (born Nathaniel Wilson) truly broke out on the Juice Crew's "The Symphony," a group cut of great legend produced by Marley Marl that also included turns from Masta Ace, Craig G., and Big Daddy Kane. After a good deal of anticipation was built for the first Kool G Rap & DJ Polo album, Road to the Riches saw the light of day in 1989. Produced by Marl and released on his Cold Chillin' label, the album included a handful of timeless moments while alluding to greater potential.That potential was fulfilled with the following year's Wanted: Dead or Alive. Marley Marl remained partly responsible for the duo's sound, while Main Source's Large Professor and Eric B. also pitched in with production work. On this album, G Rap became an MC of top caliber; he expanded his range as a magnificent storyteller on tracks like "Streets of New York" (a number three rap single) and "Wanted: Dead or Alive." Released in 1992, Live and Let Die landed the duo in a bit of hot water; its cover, depicting the duo feeding meat to rabid dogs in front of two restrained white men, gained a fair amount of attention in the press. The controversy played a role in shooting the album up to the Top 20 of the R&B/hip-hop albums chart, but the attention unfortunately waned. Just as accomplished as Wanted: Dead or Alive (if not more so), the album featured the sympathetic handiwork of Sir Jinx and Trakmasterz and helped bring G Rap's increasingly profane and vivid tales to extreme levels.
G Rap and Polo went their separate ways shortly after that. G Rap put out three albums between the mid-'90s and early '00s, while Polo cut a single with Ice-T and porn star Ron Jeremy. Landspeed kept the duo's legacy alive through a low-key reissue campaign; in 2000 and 2001, separate releases combined the first two albums and anthologized their entire career together.
http://www.youtube.com/watch?v=duk93K2kGys-road to the riches video
din pacate nu imi merge net-ul f bine ca sa pot urca 2 dintre albumele mele preferate-road to the riches(primul lor album din 1989) si 4,5,6(din 1995)-este absolut demential flow-ul lui g
-bet let's not talk about g and listen to polo duceti-va in pastele mamii voastre
http://genencretzite.blogspot.com/
http://genencretzite.blogspot.com/
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sadclown
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sincer nu am inteles ce vrei sa zici.cat despre digei=alt gen de muzik am avut grija sa pun aici (si o sa am in continuare)pe cei ce au aplicat si aplica si in prezent aceasta miscare de maini in ritm de hip hop.Borac_cel_original wrote:pai la oltenia nu se vorbeste decat olteneste...se bate campii...ca e multi...se face totul superficial...si se minte la greu
duceti-va in pastele mamii voastre
http://genencretzite.blogspot.com/
http://genencretzite.blogspot.com/
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Borac_cel_original
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Borac_cel_original
- un domn / doamna
- Posts: 82
- Joined: Wed Dec 21, 2005 9:45 am
- Location: pe un scaun recaro de urs
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sadclown
- dimineata verific forumu
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te pomenesti ca le vrei si in romana au ba?eu am o scuza daca la asta te referi.am bacul anul asta si nu am timp sa traduc articolele intregi ce le citesc.poate la anuBorac_cel_original wrote:e lasa ...baietii de la oltenia stie;) nu si engleza:))
ma bucur ca apreciezi gestul macar.and i'm outduceti-va in pastele mamii voastre
http://genencretzite.blogspot.com/
http://genencretzite.blogspot.com/
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Borac_cel_original
- un domn / doamna
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Borac_cel_original
- un domn / doamna
- Posts: 82
- Joined: Wed Dec 21, 2005 9:45 am
- Location: pe un scaun recaro de urs
)si care la prima vedere nu prea intelege lb engleza...