If you don’t know about Roots Canada then let me just say this, over the past four decades they’ve been the epitome of quality and integrity. So much so they made those their by-words. Based out of Toronto, Canada the company embodies the spirit of Canada in their leather goods and active wear. Since 1973 they have been crafting their brand, and like fine wine they continue to get better and better, when that seems impossible. Their XL line releases a collection of fleece, once again if you aren’t familiar with Canadian fleece, then please do some research, start with CYC and then continue from there. It wears better than any other fleece you’ll find. It’s simple yet effective. Like the other Roots product less is more and more is better, check the pics out below and click here to spend some money.
Producer !llmind continues his remix tirade, pairing Biggie and Jay-Z perfectly over some extra funky Boom Trap music. Taking elements from Notorious’ “Sky’s The Limit” and Jay’s “Success” and creating a new song, most importantly he creates the same chemistry the duo shared on tracks together. You can see the two Brooklyn born emcees trading verses on stage over the beat, he mixes in Sheek Looch vocals on the hook to complete the track. It works very well . If you aren’t familiar with !llmind by now, get familiar.
This version was slightly different from the radio version notably the Godzilla sound effect and the infamous guitar sample from David Bowie’s “Fame”. They couldn’t clear the sample so it did not appear on the record version of the song. Mix-A-Lot also references the gatorback tires instead of the 50 series he mentions in the radio version. Also, Nasty Nes’s presence is felt heavily on the record. Listen for the crew to talk about it at the end, Nes wouldn’t let anyone get on the hook cause he was cutting it up. His cuts were clean too, nobody ever talks about that. I’ll say it though, Nasty Nes was murder on the tables.
You would be hard pressed to find a hip-hop group that started with more of a bang than Little Brother did. Since then Phonte has done nothing short of snatch the opportunity he was given and run with it. He linked with Nicolay and started Foreign Exchange, he dropped guest verses on some classic tracks, he created some great music with Zo!, and in 2011 we finally got a solo project from him with Charity Starts At Home. We were not disappointed, Phonte delivered as we have come to expect him to. “Dance In The Reign” was produced by Pac Div mastermind Swift D and features frequent collaborator Sy Smith on the vocals. The album featured notable production from Stro Elliot, 9th Wonder, and Khrysis along side excellent rappings from Evidence, Big K.R.I.T., Pharoahe Monch, and Elzhi. We hope that one day we get another Little Brother LP, but we know it’s a bleak pipe dream at best. We are in good hands though since Phonte says grinding and Rapper Big Pooh recently signed to Mello Music Group. A group project is probably out of the picture but at least the guys are still working.
Emcee Theory Hazit & producer Cream Of Beats are known collectively as DC Comets. They first worked together on Theory’s track “Emit Gninrut” in 2007. They began working together on a regular basis in 2010 and soon realized they had enough material for several albums. On March 25th of this year we’ll get a chance to check out some of that material on Monolith Monster. To build up to the project they have dropped a couple videos from the album, “Reconsilence/I.O.U.” and “AstroKnowMe”.
Less than a week away from the release of Scribbling Idiots Invitation Only on Illect Recordings. They have been dropping tracks from the project leading up to it’s formal release on March 11th. “Victorious” features lyrical darts from Redcloud, Cas Metah, Playdough, Sojourn, Manchild, and Jurny Big slung over Theory Hazit production. That’s an all-star line up for your weak butt! SO much rappity rap that you’ll need to rewind it 28 times just to process everything. It took me 10 times just to digest Redcloud’s verse. “Kick a Mormon is the chest for knocking on my door”…WHAT!
I don’t wan to get excited for this, but dang it. The Dinobots looks pretty awesome and no Shia LaBeouf is a huge plus. I’m not going to get giddy as a school girl over this movie because it will most likely stink. But, I won’t be upset if it proves me wrong either.
I will admit that while I am a music enthusiast, when it comes to Rock music I can be a bit picky. Since it is not my main or even in my top five genres, it takes a lot to make me want to just chill out and listen to a rock record. I usually enjoy myself at a rock show much more than sitting at home listening to the albums. To clarify, I am not speaking of psychedelic or progressive rock from the 60s-70s or the grunge stuff from the 90s, you guys are great, don’t ever change. I’m mostly speaking to the cookie cutter blahzay blahzay type of rock and/or roll music of today’s industry. Everyone sounds the same and nobody takes any risks, the song writing, as a rule, is boring and the music is devoid of funk and soul. However, like anything in this newer generation of music, if you get beneath the surface and dig around in the mucky filth that is the underground excellent music can be found. The underground is a place where organic music is still made and refreshing ear nuggets packed full of essential melodic nutrients are plentiful. Enter the Swamp Babies, a trio of musicians from Jackson, Mississippi consisting of husband and wife Josh (guitar) and Ruth Taylor (bass) as well as Ryan Baccum on the drums. Their debut album Up High From Way Down Here is available now from Elegant Trainwreck Records.
My introduction to the Swamp Babies was on a sampler for Elegant Trainwreck / Homework Town Records One Year Anniversary party, which I missed by like a week. Their song “Heavy Hearts & Bare Tires” was featured. My interests were certainly peaked. Sonically I was hooked, it had what most Rock songs lack for me. It had soul. Josh’s sound is very Bob Dylan post vocal coaching from some alternate Marvel style universe where people can actually understand what Bob was saying, with just a dash of Petty thrown into the mix. Do not get my confused, I am not saying that Josh sounds like Bob, but his voice and song writing conjures up images of Mr. Dylan. Let’s be honest, if you’re going to be compared to someone there are far worse right?
With the release of their album, my interests were peaked. From the opening riff on “Mean As A Mockingbird”, my attention was grabbed. Like something unholy, or holy if you prefer, had reached through the speakers and grabbed me by my frontal lobe and refused to release me until the contents of the album had been spilled all over my mushy brain matter. By the way, harmonica solo on the lead track, see Dylan reference again. With each passing song, the group seems to break free from the last only to instantly fall into the next pocket. Musically the album flows fluidly, which allows for Josh’s song writing to take center stage where it belongs. A good songwriter is able to capture their audience by painting vivid pictures with their words. A great songwriter is able to transport the listener to where ever they want in an instant, they do not just evoke emotions they transfer them through the airwaves. Whether they transport you into the house of the musician as he sings about the exploits of his beloved best friend (A Good Girl Is Hard To Find) or they draw inspiration from what seems like your own life’s trouble and let you know everything is going to be okay (Tomorrow’s Gonna Be A Real Good Day).
All and all, Up High From Way Down Here is 8 very solid tracks that should make any group proud of their debut effort. It keeps the listener (ME), wanting more. As soon as the album is finished your automatically start the countdown to the next one. Not because you will not be listening to this on repeat for months on end, but because you recognize it for what it is. The first book in what could potentially be an epic series. As the listener we are left with two things, one is a great album. A solid piece of art that we can experience over and over at our every urge. The second is a deep longing for new music. We are not satisfied with just these 8 songs? Sure, we treasure them, but we we want more. That is the American way, is it not?
FOR MORE INFORMATION ON THE SWAMP BABIES VISIT WWW.ELEGANT-TRAINWRECK.COM