Hades Forum

pai daca nu vb romaneste calumea.mai bine ziceai in engleza ca te intelegeam sigur

foarteeeee bun....krush!
hmmm...imi pare bine sa observ k lumea il vede pe krush k sustinator al miscarii hh...mai bine mi-ar parea k hiphoperii sa si asculte krush...cam ce a facut el asa...nu doar feat-ul cu company flow (company flow e hiphop, nu negati!)
sau...nu?

despre DJ unknown stiti ceva?

da.stiu ca am un album D.J. Unknown & D.J. Mek - Brothers On The Slide (2001) pe care nu l-am ascultat,ca precum alti artisti nonconformisti ruleaza cu o punga de hartie pe cap (inspirat de eroul Gong Show din- The Unknown Comic) si ca opereaza la mixing cu mai multe genuri:punk,electro,funk si old school rap.cam atat.e doar un nume in mintea mea si unul cu imagine nonconformista.
dupa 10 iulie revin cu forte proaspete in materie de muzica.grea pauza
a!si inca ceva.pe un negativ al lui presteaza percee p

din cate stiu eu dj unknown a colaborat cu sage francis(e prea tarziu sa mai zic piesele)...aaa...si cred k are shi site(acum cateva luni am intrat pe ceva de genu siteul lui DJ UNKNOWN-avea un interviu,nu prea intersant).Da un search pe google dak vrei sa afli mai multe

DJ Quik Biography:
Like many of his West Coast gangsta peers in the early '90s, DJ Quik's career began wonderfully before slowly descending with each passing year. In 1991, when a 20-year-old Quik debuted on Priority Records, West Coast gangsta rap reigned and his label controlled the rap industry. These factors, coupled with Quik's production abilities, resulted in a very successful debut album, Quik Is the Name. The album did well on the charts and won favor on the streets. Quik had become one of the rap industry's most promising talents. Like Dr. Dre, he embodied everything that characterized West Coast gangsta rap and he could both write, rap, and produce his own albums.

By the late-'90s though, when gangsta rap fell out of favor and Quik's albums began to sound increasingly predictable, many tagged the artist as a has-been, something that had happened to most early-'90s gangsta rappers. Rather than retire, Quik turned to production and reclaimed some of the glory he had experienced in the early '90s. He produced songs for such artists as Kurupt ("Can't Go Wrong"), Xzibit ("Sorry I'm Away So Much"), Eightball MJG ("Buck Bounce"), and Truth Hurts ("Addictive"), with several songs being sizable hits.

While practically still a teenager, Quik began his rap career at the dawn of the '90s in Compton, CA, where he was born and raised alongside Dr. Dre, Ice Cube, Eazy-E, MC Eiht, Above the Law, and numerous other Los Angeles rap artists. Like many of these peers, he recorded for Priority Records. His debut, Quik Is the Name (1991), launched his career well, spawning two sizable hit singles: "Born and Raised in Compton" and "Tonight." The two songs charted Top 20 on Billboard's RB chart, the latter even charting pop. The hits drove his album into the Top Ten on the album chart and Quik suddenly rose to the top of the rap industry at a very young age.

Unfortunately, his success went downhill from there. Quik released several successive albums throughout the '90s, but none of them came close to matching the success of his debut. By the early 2000s, most of his initial fans had long abandoned him and his releases became increasingly rare. Many criticized him for being formulaic, while others for lightening his style. Arista finally dropped him following the lukewarm reception given to his Balance Options album (2000).

Despite these struggles, Quik excelled as a producer. Songs like "Buck Bounce" (Eightball MJG, 2001) and "Addictive" (Truth Hurts featuring Rakim, 2002) became huge hits and Quik reclaimed much of the success that had long evaded him in the late '90s. He furthered his solo career -- with 2002's Under tha Influence and 2005's Trauma -- and worked with a variety of collaborators, most notably Dr. Dre. Furthermore, he abandoned his longtime West Coast style for a more unique sound that was very much his own.

il am in vizor de ceva timp si abia acum apucat sa ascult 2 albume din 2002- The Best Of D.J. Quik (The Finale) si Under The Influence
face combinatie f buna cu suga free si TALIB KWELI, SHYHEIM & HI-C pe The Proem.
cat despre piesele sale "solo" mi-au placut mai mult de 80% din ele.ma linisteste f mult,are povesti si instrumentale pe rit vechi.
tin minte ca l-am vazut la lantul slabiciunilor in editia cu rappers si mi-a placut conduita lui plus ca stie chestii.
"why dj quick?"
"because i make records fast"

DJ HOLLYWOOD


DJ Hollywood is widely considered one of the most underrated and most often forgotten of the hip hop legends.

There is little information around about his involvement in the genre, but when you hear other old school artists talk about pioneers, Hollywood's name is inevitably among the names mentioned.

He was born in 1954.

As a disco deejay in the early to mid 1970's, he became one of the first people to rhyme over the microphone. He also became adept at mixing the break beats of songs like Kool Herc and others. He didn't use many of the now famous hip hop breaks, rather focusing more on disco joints like "Aint No Stoppin Us Now", "Love Is the Message", "Sexy", "Good Times" and "Got To Be Real."

He gained a large following and went on to headline numerous parties and was considered one of hip hop's earliest stars. He mixed and rhymed and had a kid who use to work with him called DJ Smalls.

He started a lot of the early rap phrases like , "Up my back and around my neck" and "Woo-Ha, got the girls in check". He is widely known for inventing the term "hip hop", (although others say it was his one time partner Lovebug Starski).

It should be noted that at one point Hollywood's fame was so great, that he used to be showcased at the Apollo. WBLS used to say "Live" D.J. Hollywood live at the Apollo on 6 turntables. This was around '79.

Unfortunately, like Kool Herc, his early and most influential work is only recorded in the memories of those that were able to see him live. Hollywood was more of a club DJ (He drew a party crowd) Herc drew the B-boy crowd.

He released a single named "Shock Shock The House" in 1980 on CBS Records.

Grandmaster Flash worked with him at one time as did Donald D and B FATS. As a matter of fact Donald D's record "Don's Groove" was written by Hollywood and produced by Flash.

"To Who It May Concern" was a 1986 attempt at a comeback.

He faded from the scene by the mid-80's, but resurfaced in the 90's and even recorded a studio album for Ol' Skool Flava.

Also made a recent comeback with Tha Veteranz which reunited him with Starski and Butchie B.
http://www.imdb.com/name/nm1740543/
daca are cineva ceva pe acasa-chiar si o piesa 2- as aprecia un pm.multumesc anticipat

aragazu` lu` grandmaster flash era d-ala smecher cu butoane

siamezo, cand ai timp introdu-l si pe yutaka (Japan Zulu Nation).

acum sunt calare pe kentaro - on the wheels of solid steel.

pai am in vizor miscarea japo.dar momentan nu mai pot sa mai citesc nimic.sunt fixata pe alte literaturi

DJ SPINNA(cel ce invarte )

Vincent “DJ Spinna” Williams is something of an anomaly in music. A humbling example of what it takes to truly succeed within the framework of multiple fields. A steadfast work ethic, an obsessively extensive vinyl library and the willingness to pursue the full extents of his roots (Funk, Soul and Jazz), foundation (Hip-Hop) and future (Electronic/Dance music) with no restraints.

A cornerstone of Hip-Hop’s late 90’s indie-uprise, DJ Spinna made much of his first impression on listeners as the musical background of his group The Jigmastas (having released an impressive slew of 12” singles on his then self-run label Beyond Real during this time) as well as providing the canvas for an array of that era’s lyrical giants. As an emcee in New York City, if you didn’t have a Spinna production under your belt, well, you just hadn’t accomplished all there was to accomplish. Everyone from Mos Def, Talib Kweli to Pharaohe Monch boasted Spinna beats to prove their worth to the scene. At the height of indie-kingpin Rawkus Records heyday, Spinna was in demand, also churning out timeless classics of the era from the likes of J-Live, Mr. Complex and The Polyrhythm Addicts (his all-too-brief collabo-group with Apani B., Shaabam Sadeeq and Complex).

As collaborative production work flooded his studio, from hip-hop legends like Sadat X & Grand Puba (Brand Nubian), Masta Ace and Guru (Gangstarr) to even The Jungle Brothers. Yet, while his stock as a the go-to producer rose so did his value as a key, if not crucial, remixer. At the time reworking hits for the major-label likes of De La Soul (“Stakes is High”) Das EFX and MC Eiht.

Turning heads throughout the industry, Spinna’s sonics soon infiltrated numerous genres. Tapped by everyone from George Michael to Mary J. Blige to Motown Records (for his brilliant Michael Jackson homage to “We’re Almost There”). It’s here his production presence would flourish greatly, as Spinna would go on to revive and revise Soulful marvels like Donald Byrd Eddie Kendricks, Betty Carter, Roy Ayers and Al Jarreau. Always relevant to the current, Spinna has taken to new mixes for the J Dilla bred Platinum Pied Pipers and Bay Area songstress Goapele as with the well respected Les Nubian. Though it goes without saying that one of the more memorable mixes goes to his monumental version of Shawn Escoffery’s “Days Like This”. In turn, catapulting Spinna into his now stately, touted presence in the dance music scene. Which made the transition to BBE Records smooth as ever, for his landmark solo production album “Here To There”. It also spawned another record label, Spinna’s own, Wonderwax. A home for his soulful dance classics, the imprint came to fruition in 2003, and has seen memorable releases from contemporaries such as Rich Medina, Lady Alma, Blaze, The Free Radikalz and Selan.

With so much studio work, it’s a marvel Spinna travels as much as he does. The constant, globe-trotting performances he’s become equally famed for have brought the DJ as far as Iceland, Australia, and South Africa as well as countless jaunts through England, Europe and the U.S. Not to forget, his hugely successful tours of Japan, where Spinna is held in the highest regard throughout the country for his craft in music. Not always the lone crowd-controller, Spinna’s collaborated on stage alongside contemporary luminaries like Gilles Peterson, Jazzanova, Joe Claussell, Bugz In The Attic, Osunlade, Jazzy Jeff, Kenny Dope, Keb Darge, DJ Scratch (EPMD), DJ Shadow & Cut Chemist. He’s a true showman – versatile as ever.

Yet nothing compares to his celebrated Stevie Wonder inspired WONDER-Full™DJ-performances (aside friend and contributor Bobbito Garcia). Garnering overwhelming fanfare each occasion done - whether NYC, LA, San Francisco, Japan or beyond – if a WONDER-Full™ event is booked at a club you can put money on a line around the block and thousands of Stevie Wonder admirers rocking the house. And while he’s gained so much attention and accolade for his tributes to Stevie, Spinna is not incapable of doing the same for any other pivotal forefather. Visit New York City any given month and find a number of Spinna themed throw-downs in the city’s esteemed venues - each as memorable as the last.

Its true that there are other likeminded DJ/Producers in the world comparable to DJ Spinna, but for the most part, they choose a genre and master it. Ask them to flip another variety with the same intense knowledge and sleek-savvy and you’ll be hard pressed to find someone that’ll do it to Spinna’s extent.

With a brand new album “InterGalactic Soul” at its completion (set for release in May, 06), Spinna’s venturing to new reaches in his quest to musical harmony. Tapping into his perfected take on a truly cosmic boom-bap to a sexy, stylishly accessible brand of House and dance music that is unique only to him.

Remaining a musician for the ages, Spinna’s true successes happily await in the future. Won’t you come along for the ride?

trebuie sa recunosc ca spinna nu am ascultat mai deloc.nici macar in formula jigmastas .albumul asta din 2006 suna foarte warm asa,foarte multe voci feminine
si sunete foarte foarte frumoase care parca ies in relief direct in urechea ta si cresc.ascultati-l in noptile de liniste cand ploua pic pic.
ps:are un compiled din 2002 Fueled for the future superb:koop.kyoto jazz massive sau jazzanova sunt nme sonore.