so all i got to show for my pains is a collection of sad songs on how the worlds endin

"My goodness isn't different outside of the bubble"

Kwame Harrison has created this mix using his compilation of Bay area hip-hop mixtapes (circa 1995-2000).

Track List:

Gamma Ray & Fatgums – ‘Bay Tribute’ (from the OHHSSH!! mixtape, 2000)
BFAP – intro freestyle (from Cartoon World, n.d.)
Murs & Aesop – ‘Lose My Mind’ (from Area 51: Top Secret Tape . . ?, 1997)
Koncepts – ‘We & Dem’ (from Project: Ambershine, 1997)
Jihad! – ‘Cali Stare’ (from Soul Mate, 1998)
Jun dax – ‘2000AD/Two Zero’ (from Spills, 2000)
Conceit – ‘Fascinating’ (from Destination: Don’t Know, Don’t Care, 1998)
Skotrel – ‘Trainspotting’ (from Way Late, n.d.)
Gavin – ‘Verse One’ (from Comurshul, 1996)
Eligh & Scarub – ‘Everything Goes’ (from The Persuasion of Art, 1999)
Megabusive – ‘Anarhic Adjustment’ (from Searching for the Megalomistress, n.d.)
Ayentee & Koncepts – ‘Falling Down’ (from The PatternFall Wars, 1996)
IND-Ray & the “I” – ‘Song 13’ (from Narcoleptic Symposium, 2000)
Top Ramen – freestyle (from the Hardly Celebz freestyle-tape, 2000)
Prego w/ Zest (aka Just One) & Feller Quentin – ‘T-60 Slow’* (from the Unemployed Workaholic EP, n.d.)
Karma Chi & Kirby Dominant – ‘Jungle Repellents’ (from The PatternFall Wars, 1996)
Murs – untitled (from Yeah, n.d.)
Wonway – ‘Regrets’* freestyle (from Pinko, n.d.)
Destined & Mad Squirrel – ‘Recipe of We’* (unreleased)
Jun dax – ‘Watch Where You Walk’ (from Spills, 2000)

* – produced by Edison Victrola

Bay Area Hip-Hop Mix, by Kwame Harrison

UPDATE: We have migrated to Mixcloud--> http://www.mixcloud.com/IASPMUS/

IASPM-US represents the United States branch of the International Association for the Study of Popular Music. IASPM-US has been an important part of the popular music landscape since the early 1980s and serves as a forum for a range of scholarly and other approaches to popular music. The past several decades have witnessed a period of dramatic and exciting growth in the field of popular music studies. The centrality of popular music to notions of personal and collective identity, geographic identity, political affiliation, technological change and adaptation, the economic and legal parameters of “intellectual property,” and the sociology of consumer-based fan cultures, makes it likely that popular music studies will only continue to grow in importance and intellectual value.

The US branch of IASPM holds true to the goals of our parent organization in the belief that popular music has much to teach us about this world. We place an emphasis on the writings and other activities of US-based scholars, journalists, and musicians–focusing not only on American music but also on musics from across the globe, and “Music 2.0″ made and consumed in virtual soundscapes.

Bay Area Hip-Hop Mix, by Kwame Harrison

IASPM-US

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