Rap/Soul/Funk 12/2014

Laughter |Boom-Bap Hip-Hop Beat|

The Source Premiere: http://bit.ly/1AOI5jC
What separates the amateurs from the professionals? Is it their persistence of honing their craft? Their dedication to becoming world class? Whatever it is, know that we all start on a blank slate and those who develop their talents day by day are the ones that usually succeed. Chopping up a Prodigy quotable from Mobb Deep's "G.O.D Pt. III" with samples of Amadeus sandwiched in-between some hardbody verses, "Profreshionals" isn't your everyday rap track. As DJ JS-1 lays the foundation for Ill Bill and Slaine, who comprise half of the underground supergroup, La Coka Nostra, the two speak on life, death and the undead, while JS-1 talks with his hands. If you're new to these guys, know that they've been in the game long enough to have mastered the trade that has earned them the coveted song title, which is available for stream and free download. JS-1's latest compilation album, 'It Is What It Isn't,' is available for download via iTunes, and all major digital retailers, and can be purchased on Compact Disc through Fat Beats and UGHH.. pick up your copy today!

Buy-Links:
• iTunes: bit.ly/10PJUO5
• Fat Beats: bit.ly/1BRRgfq
• UGHH: bit.ly/1sFdTUX

Twitter: 
• DJ JS-1:  https://twitter.com/djjs1
• Ill Bill:  https://twitter.com/illb1ll
• Slaine:  https://twitter.com/slainesworld

Tracklist: 
 01. Turn the Tables (feat. O.C.)
 02. It Is What It Isn't (feat. Blacastan, Illa Ghee &Trez)
 03. 110 Percent (feat. Breez Brewin, Homeboy Sandman & Kyle Rapps)
 04. Give A Damn (feat. Dynasty, Eternia & Sara Kana)
 05. Forgotten (feat. Spit Gemz, Wes & Nutso)
 06. Pay Attention (feat. Soul Khan)
 07. Interference (feat. Esoteric & Ras Kass)
 08. Letchuknow (feat. Strick & Eklips)
 09. Whatever It Takes (feat Murs & Fashawn)
10. Higher Level (feat. Brother J & Professor X)
11. DieHard (feat. Erick Sermon, Rahzel & Buckshot)
12. Klick Clique (feat. KRS-One & Torae)
13. Groom Lake (feat. C Rayz Walz)
14. Show Shockin' (feat. El Da Sensei, Tame One & Reef the Lost Cauze)
15. Infinite (feat. Ruste Juxx & Sav Killz)
16. Profreshionals (feat. Ill Bill & Slaine)
17. Love Me Not (feat. Kurious, Craig G & Smooth B)
18. My Neighborhood (feat. Pack FM)
19. Soo Real (feat. Rasheed Chappell & Wordsworth)
20. Sample Abuser (feat. AG, Sadat X & Neek the Exotic)
21. STCAF (feat. Lordroc, Eternal, Melo Malo, Lifelong & Truth, Cerebral)

DJ JS-1 (feat. Ill Bill & Slaine)- "Profreshionals"

Black Milk remixes Diamond District "Ain't Over" from the newest Diamond District record "March on Washington."

Pre-Order on iTunes now! https://itunes.apple.com/us/album/march-on-washington-redux/id945512212

Diamond District - "Ain't Over (Black Milk Remix)"

F. Virtue's official remix of "Elite Status" by J57 and Rasheed Chappell, watch the original here: http://youtu.be/6j9bYv8naCo

The original version appeared on J57's "2057" available here: http://j57music.com

J57 // IG: @J57BBAS // Twitter: @J57
Rasheed Chappell // IG & Twitter: @RasheedChappell
F. Virtue // IG: @F_Virtue // Twitter: @FamelessVirtue
DJ Brace // IG & Twitter: @DJ_Brace

Cuts by DJ Brace

Elite Status (F. Virtue Remix)

Track from HaLo's latest album Mansa Musa featuring Kooley's Tab-One.

Buy the album on iTunes.
https://itunes.apple.com/us/album/mansa-musa-guest-starring/id912600001


HaLo - Secrets Feat. Tab-One

Bobby Creekwater - Views From The 3

Drake - Duppy Freestyle

<b>#### www.itsrap.de ####
#### www.itsrap.de ####
#### www.itsrap.de ####</b>

Music.Life.Style.Culture.



There’s an old saying: “the only thing constant in life is change.” Cliche? Maybe. But there’s an undeniable, underlying truth to the idea. It’s a sentiment that Bobby Creekwater, born Antoine Rogers, knows well.

Four years ago, the Atlanta-grown rapper, known for his stark, even coveted perception and sophisticated, undiluted lyricism, was contemplating calling it quits. It’s a thought that undoubtedly has swam around in the mind of many artists, especially those whose outpourings, while great, innovative and inspiring, are widely overlooked. Finding himself in that category was disappointing. Even his moniker defies defeat. Derived from the creek that ran behind his grandmother’s house in Southwest Atlanta where he grew up,  because as he says, “the house was torn down, but the creek remains”—the idea of giving up his first love naturally left him unsettled.

“I was trying to figure out if I was still in love with music,” remembers Creek, who at 14 had already made up his mind that he wanted to be a rapper or nothing. “I always said the day that I fell out of love with it or started doing it for the wrong reason, would be the day that I turned in my resignation.”

His frustration with music was valid, if not anticipated. In 2000, he was signed to Steve Rifkind’s Loud Records with the high-energy, intelligent hip-hop group he formed in high school, Jatis. When Loud folded a year and a half later, Creek signed to Columbia, still eager to show of his above-average skills. However, that deal turned out to be short-lived because as Creek clarifies, “the label didn’t know what to do with us.” Jatis eventually disbanded, leaving Creek to forge his own musical path. So he spent the summer of 2004 locked in an Atlanta basement teaching himself how to produce. The result of that musical hibernation was a more focused, more skilled and more energized Creek.

Then in 2005, opportunity came knocking again, this time in the form of superstar rapper Eminem, who, impressed with Creek’s talent, signed him to Shady/Aftermath/Interscope. However, disappointment reared its head when Interscope fell victim to hard economic times, and thus, turned to its cash cows to help it get back into the black. Creek found himself taking a backseat as acts like 50 Cent and Eminem were called to duty. Even though he still hadn’t released an album, in 2009 he finally decided that enough was enough. He amicably split with the label and decided to go it on his own.

Since the split, he’s released a few standout projects, including The B.C. Era, The B.C. Era Deuce, Back to Briefcase with DJ Infamous and the exceptional EP, The Day It All Made $ense through his independent imprint, BGOV. Most recently, he released a mixtape Two, which he says was awesome from a musical standpoint but didn’t sell so well because he was “more concerned with the music.”

“It’s almost like I made it for myself,” he says of the project, “and if you just happened to stumble upon it and hear it then good for you.”

But during that time he also discovered a new passion—artist development.

“[I had a passion], for seeing something in its infant stages and watching it develop into something even I couldn’t fathom,” he says. “It began when I started writing for other artist. Then I started picking the production. In each situation my role would grow exponentially in a short amount of time because of my insight and experience. So within a matter of weeks I would go from [working with producer] Sean Garrett to [producer/ mogul] L.A. Reid.”

Slowly, he began to fall in love with music again, and in the way that everything changes but stays the same, Creek found himself bit by the recording bug, his creativity refusing to be silenced by politics or industry disappointments.

“I started to record and the records began to spill out as if I had never stopped,” he admits.

His new album, I Am From a Place is more personal than any of his previous records, more gritty, more raw. And in the tradition of great albums born from personal discovery and even heartache and pain, it’s arguably his best work to date.

“The creative process for I Am From a Place was a bit different because I didn’t live in the studio,” he says. “I would only record when I was inspired, which happened a lot. So I would record like, five songs at a time. Other than that it was business as usual.”

Led by the infectious single, “Rudeboi,” Creek, once again,  is ready for his moment. Only this time he’s more firmly in control of his concept of success, creativity and output than he’s ever been in his career. And that is a good thing for anyone with the ears to hear.

“I’m ecstatic about what I’m able to contribute at this point and time in my life to music as a whole,” he insists. “Because of my trials and errors, because of my mishaps and mistakes, and setbacks I’ve gained something that can never be taken away— knowledge. And with this knowledge I can bring balance to music. I can show the fans so many different sides of it, so many different perspectives, and open [people’s] minds to so many different ideas.”

At the end of the day, that’s a change worth waiting for.

Bobby Creekwater - Views From The 3

Bobby Creekwater

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