Wow. This one pretty much makes the original obsolete and any other versions coming out after this one, destined for immediate subordination.
Love Ross and Chrisette but the overall feel of the song without them is much better (jmho).
It’s like the difference in tone between Batman and Batman Begins; and I’m definitely a bigger fan of the latter.
Pretty soon there’ll be standard lines in artist collabo contract negotiations stating that the artist featured can’t release versions sans the primary artist.
They’ll call it the Drizzy Clause.
UPDATE: Shouts to Lyve for splicing the pieces together and giving those who want it, the full version.
Eternia‘s getting her Shad on right now and popping up all over the place as she grinds out the promo for At Last (which is out now). Here’s a review of the album courtesy of Urb.com.
The first thing you notice when you hear Eternia’s music is the raw power in her voice. Three years ago, MoSS noticed the same thing, and the two Canadian artists began work on their very first collaborative project — drawing from Eternia’s greatest asset for the sonic backbone of At Last. According to MoSS, the goal was to capture her live stage-presence inside the recording booth. Just listening to the first handful of tracks makes it perfectly clear that the experiment was a success.
While her previous recordings came off as more subdued and calculating, here the MC born Silk-Kaya tears into MoSS’ sample-heavy production with a vengeance, all while maintaining the honesty and openess that attracted so many fans to her music in the first place. Even when she’s firing off battle raps, she manages to boost their authenticity by weaving in some stunningly personal confessions. On “It’s Funny” she holds her own with Slaughterhouse lyrical-heavyweight Joell Ortiz by combining standard MC braggadocio with personal confession:
“they cats try to see on the low / they tell they chicks they going to check a show, but it’s me that they checkin’ fo / then they tell me that they don’t want a wife / they want a life with a rapper chick, grass-is-greener shit, that’s why I’m celibate”
Finally! Tonight, A-Game will be unveiling the long-awaited video for their hit “Airplanes”. It’s all going down tonight at Local (511 Danforth Avenue). While you’re there, buy my boy Ken Masters a drink or two (or three) for his b-day! Shouts to Anaya Hayes for putting it all together! All the info under the hood.
Do I need to really say anything here? lol. Ok fine…Wu-Tang is for the children.
In the summer of 1993, the hip hop genre was transformed by the formation the Wu-Tang Clan, a New York City-based hip-hop group consisting of RZA, GZA, Method Man, Raekwon, Ghostface Killah, Inspectah Deck, U-God, Masta Killa and the late Ol’ Dirty Bastard. The collective is frequently joined by fellow childhood friend Cappadonna, a quasi-member. The group emerged from the slums of Staten Island and took the hip-hop world by storm. Their legacy spanned over a decade, garnering fans worldwide and generating sales in excess of $50 million. This is their story.
Following the screening, the California-based films producer P. Frank Williams will be discussing the film and Wu-Tang Clan’s legacy with event host/moderator Adhimu “Mindbender” Stewart.
Thanks to T-Dot Exposed for finally making their videos embeddable on YouTube. Here’s a look at Tika Simone‘s 1st edition of her new Intimate & Interactive weekly open mic night at Lambadina Lounge! Last week featured Erik Flowchild as the headliner. This week (i.e. tonight!)…Andreena Mill. Next week…Tanika Charles. DOPE.
T-Dot Exposed checked out the 1st Intimate & Interactive OPEN MIC hosted by Tika Simone & featuring special guest artist Erik Flowchild! Lambadina Lounge is the place to be every Friday for NEW and upcoming artists in the T Dot to showcase their talent.
E‘s on her promo grind for sure! At Last is in stores now!!! Also, click here for a review of the album by Exclaim! Magazine.
Most of Canada’s best-known rappers have become successful by bucking hip-hop conventions. Drake tempers his hip-hop braggadocio with introspection; K’naan puts American gangsta rap in stark perspective with his tales of Somalian violence, and k-os is as likely to collaborate with an orchestra as with a DJ. But the Ottawa-born Eternia is taking on the deepest-rooted conventions of them all.
“She’s a white, female Canadian — not exactly the easiest sell when it comes to hip-hop,” acknowledges her producer, MoSS, who has provided beats for the major-label likes of Ghostface Killah and Raekwon. Nonetheless, the first time the self-described “hippie record nerd” with a penchant for obscure prog-rock flute solos met the powerfully outspoken rapper, he had an epiphany.
It was 2007, at a gig in Winnipeg where the number of performers matched the number of audience members, and Eternia was prowling the small stage as if she were in a packed arena. MoSS recalls, “I saw, first and foremost, an unbelievable performer. I’m like, ‘I think I can make [music] with her and we can actually turn heads.’” Three years after that fateful meeting, the duo’s aptly-named album-length collaboration, At Last, featuring Eternia’s raw rhymes — both intense and close to the bone — and MoSS’s acid-drenched, multi-layered production, is in stores.
