Wyclef Jean - Welcome to Haiti: Creole 101 CD

Welcome to Haiti: Creole 101 songs With their second album in 1991, they became serious contenders for Public Enemy's (until then) undisputed crown as hip-hop's cultural leaders. However, where their debut was propelled by a disparate array of samples, The Low-End Theory was built on a stricter musical doctrine - its spine provided by bebop jazz. Though jazz-rap crossover would become a staple of popular music in the mid-90s (Gang Starr, Jazzmatazz, etc.), this album played a substantial part in breaking down barriers between genres. Phife Dog and Q-Tip are on great form too, making the most of Quest's energetic production with cool asides and insightful observations ('The Infamous Date Rape', 'Showbusiness'). Additional personnel includes: Ms. Vinia, Diamond D., Busta Rhymes, Charlie Brown, Brand Nubian, Lord Jammar, Sadat X (vocals); Ron Carter (bass). Recorded at Greene Street Studios and Soundtrack Studios, New York, New York. Producers: Skeff Anselm, A Tribe Called Quest. Engineers include: Bob Power, A Tribe Called Quest, Pete Christensen. Personnel: Phife Dawg, Q-Tip (vocals). DJ: Ali Shaheed Muhammad. Audio Mixers: A Tribe Called Quest; Bob Power. Recording information: Battery Studios; Greene Street Studios; Soundtrack Studios. Photographer: Joe Grant . Unknown Contributor Roles: Diamond D; Dinco D.; Lord Jamar; Sadat X; Busta Rhymes; Charlie ...

Welcome to Haiti: Creole 101 buy CD music Digable Planets were nominated for a 1994 Grammy Award as "Best New Artist." "Rebirth Of Slick" won the 1994 Grammy Award for "Rap Duo Or Group." In 1993, Digable Planets redefined the potential of hip-hop with this truly refreshing and unique groove opus. Claiming themselves heirs to the "brothers from outer space" mantel adopted by Sun Ra and such acts as Parliament/Funkadelic before them, the Planets serve up a psychedelicised jazz/hip-hop concoction over which Doodlebug, Ladybug, and Butterfly roll their sophisticated, mellifluous rhymes. While jazz sampling had already reared its head in hip-hop, the Planets were the first to make it an aesthetic. Disembodied snippets of Sonny Rollins (on "Time and Space"), Art Blakey (on "Cool Like Dat," the record's hit single), and others float in and out, merging seamlessly with the smooth beats and bass, while the copious use of echo further heightens the disc's individual sound. Themes tend toward transcendence and mind expansion, as the subtitle of the album ("A New Refutation Of Time And Space") and the numerous references to chemical recreation ("Nickel Bags" is one of the highlights here) would indicate. With the overwhelming popularity of gangsta and hardcore street rap, REACHIN' only made a minor splash. But in no way does that diminish the creativity and remarkable appeal of this record. Recorded at the Sound Doctor Studio, North Bergen, New Jersey. Producers: Butterfly, Shane "The Doctor" Faber, Mike Mangini. Personnel: Doodlebug, Ladybug Mecca (vocals). Recording information: Palatial Sound Doctor Studio & Resort, North Bergen, NJ. Arranger: Butterfly. Digable Planets: Butterfly, Doodle, Ladybug. Additional personnel: Scientific Homiez (programming). 30 PC

Welcome to Haiti: Creole 101 CD music Coming off the enormous success of their double album SPEARBOXXX/THE LOVE BELOW, Outkast continue to prove themselves to be one of the most unusual acts in hip-hop with IDLEWILD, the album companion to the movie-musical of the same name. On this, their seventh full-length release, Andre 3000 and Big Boi break new ground, expanding their repertoire of musical experimentation by putting together 25 unconventional hip-hop tracks with twists of soul, gospel, and ragtime in line with the 1930s era represented in the film. The more traditional playalistic Cadillac-centered rhymes that characterized the duo's debut album make a few appearances here on tracks like "Morris Brown," but overall Big Boi's gangsta lyricism takes a back seat on this one, with Andre's crossover-pop sound dominating with the tracks "Life Is Like A Musical," "Makes No Sense At All," and "When I Look Into Your Eyes." Unfortunately, the most rewarding songs that are able to combine the talents of each member, like "N2U" and "Peaches," are few and far between and perhaps an early indicator of Outkast's last gasps. Guest appearances from Snoop Dogg, Li'l Wayne, Sleepy Brown, Scar, Killer Mike, Khujo Goodie, Janelle Monáe, and Macy Gray help to make IDLEWILD that much more interesting. Audio Mixers: Chris Carmouche; John Frye; Neil Pogue; Phil Tan; Leslie Brathwaite. Recording information: Allgood Productions, Marietta, GA; Camp David, Atlanta, GA; Doppler Studios, Atlanta, GA; North Star Studios, Wilmington, NC; Stankonia Recording Studios, Atlanta, GA; The Cathedral, Hollywood, CA; The Dungeon; Treesound Studios, Norcross, GA; Wonderland Recording, Atlanta, GA; Zeltec Studios, Alpharetta, GA. Arrangers: André 3000; Janelle Monáe; Chuck Lightning. OutKast: André 3000, Big Boi. Personnel: André 3000 (vocals, guitar, piano, keyboards, programming, keyboard programming, drum programming, background vocals); Debra Killings, Skreechy Peachy, Joi Gilliam, Sleepy Brown, Janelle Monáe (vocals, background vocals); Melissa Zampatti, Dookieblossumgame, Myrna "Peach" Brown, Lil Wayne, Macy Gray, André Benjamin, Snoop Dogg, Bamboo (vocals); David Whild (guitar, background vocals); Mike Hardnett, Mike Patterson (guitar); Albey Scholl (harmonica); Jerry Freeman (cornet, horns); Jason Freeman (horns); Kevin Kendrix (piano, keyboards, synthesizer); Marvin "Chanz" Parkman, Jeff Bowden, Kevin Kendricks, Dave Robbins (keyboards); Victor Alexander, Steven Boos (drums); Tuesday Henderson (percussion); Organized Noize (programming, drum programming); Cutmaster Swift (scratches); Uncoolgirlz Choir, Terry Smith, David "Whild" Brown , Hot Tub Tony (background vocals). Additional personnel: Khujo Goodie, Killer Mike, Lil Wayne, Macy Gray, Sleepy Brown, Snoop Dogg, Whild Peach, Scar, Janelle Monáe.

Welcome to Haiti: Creole 101 album for sale The narrative of two inner city youths on a pilgrimage across the U.S./Mexican border framing "I Left My Wallet In El Segundo," is a nice guiding metaphor for the door-opening, border-crossing effects PEOPLE'S INSTINCTIVE TRAVELS had on '80s Nuyorcentric hip-hop culture. As the title suggests, b-boys of the Native Tongues era found themselves traveling far from hip-hop's familiar stomping grounds (literally and musically) in order to reach the plane where Zulu Nation elders Red Alert and Afrika Bambataa witnessed it's birth. ATCQ later stripped their sound down to bare necessities in order to rebuild it, but their debut is as eclectic as the claim-checks adorning your suitcase after a world tour. Accordingly, Tribe expand hip-hop's framework to make room for the continental flavor of "Luck Of Lucien," the Mariachi flavor of "El Segundo," the vibes/sitar hook of "Bonita Applebum" and of course a powerful injection of jazz and soul. More important than the jazz records they sampled, however, was Tribe's resurrection of jazz's spontaneity, play and improvisation, not to mention its bohemian world-view. To paraphrase "Rhythm;" "Look what we did; removed the crust from the third eyelid." Recorded at Calliope Studios, Battery Studios and Dumb D.J. Towha's Dew Drop Inn, New York. Engineers include: Dr. Shane Faber, Bob "Locked" Power, Anthony Saunders. Personnel: Phife Dawg, Q-Tip (vocals). DJ: Ali Shaheed Muhammad. Audio Mixer: A Tribe Called Quest. Recording information: Battery Studios, New York, NY; Calliope Studios, New York, NY; Dumb DJ Towha's Dew Drop Inn; Sumb D.J. Towha's Dew Drop Inn. Photographer: Ari Marcopoulos. A Tribe Called Quest: Q-Tip, Ali Shaheed Mohammed, Phife, Jairobi. Additional personnel: Jarobi And The Rhythm Kids.

Welcome to Haiti: Creole 101 CD music Talib Kweli, as with the finest artists, is possessed by a love of his medium--in this case, rap and its history. Applying his thoughtful words to music, Kweli revels in hip-hop, and his adoration of the genre is clear in all his work. Each of Kweli's records, whether alone or with Mos Def (as part of Black Star) or Hi-Tek, incorporates hints of melodies past, lines plucked from the performers who preceded him, as well as deeply studied lyrics created by his own fertile mind. So it is with Kweli's third solo outing, THE BEAUTIFUL STRUGGLE, which alludes to the history of many forms of music while the rapper muses eloquently about revolutions and poverty and their relation to war and shattered dreams. Kweli tells an intricate story of struggling, succeeding, and failing on "Broken Glass," and jumps around from one frustration to the next on the ultimately inspirational title track. On the latter, he notes that people dub him a political rapper, when he doesn't even follow politics; rather, he looks to the icons of hip-hop from Ice Cube to De La Soul. Kweli may not aim to be a politically minded hip-hopper, but as an astute observer of life, he can't help but be aware and comment on what he sees. On BEAUTIFUL STRUGGLE its clear that he raps because he lives, and he does it brilliantly. Recording information: Baseline Recording Studios, New York, NY; Chalace Recording Studio, Los Angeles, CA; Hovercraft Recording Studios, Virginia Beach, VA; Right Track Recording Studios, New York, NY; Tek Lab, Cincinnati, OH; The Record Plant, Los Angeles, CA; Westlake Audio, Los Angeles, CA. Photographer: Ken Schles. Personnel: Talib Kweli (vocals); RES (vocals, rap vocals); Mark Batson (vocals, piano, keyboards); Dion, Jamia Simone Nash, Tiffany Mynon, Yummy Bingham, Dave Young Orchestra, John Legend, Mary J. Blige, Anthony Hamilton, Alex Thomas (vocals); Common (rap vocals); E Bass (keyboards); Faith Evans (vocals). Audio Mixers: Phil Tan; Steve Baughman; Axel Niehaus; Bob Power.

Welcome to Haiti: Creole 101 buy CD music On their third release overall and second full-length, Pete Rock & C.L. Smooth scaled back on the expansive scope of their sprawling first opus, Mecca & the Soul Brother, indeed opting to magnify the main ingredients of their sound: Pete Rock's brilliant production chops and C.L Smooth's complex lyrical delivery. The result is an album that is far more focused, with all the ragged edges and loose threads tied up. It is also just as good as the first record, perhaps an even more satisfying single listen. The Main Ingredient is full of rich, resonant, hypnotic songs -- the production being among some of the most seductive in hip-hop -- that subtly, but absolutely, swing with their lock-step precision. In characteristic Pete Rock fashion, all of the sharp edges have been sanded down, leaving a vibrant and completely lush musical backdrop which seems to have a dreamy nostalgia about it. Old '60s and '70s soul, soul-jazz, and funk samples abound, and the music is dotted with gauzy keyboard washes, hugely echoed bass-drum kicks, milky basslines, and muted horn loops, almost sounding like they are emanating out of water. All of the songs feel immediate, yet they are infused with the sort of roomy ambience that lends to each the impression of a classic tune, evocative of an earlier era, but not one that can be described exactly, and not one to which you can definitively point. As usual, C.L. Smooth is lyrically on point, spitting out intellectual rhymes and narratives that are just as propulsive and engaging as the music. The only negative aspect about the album, then, is that it ended one of the finest hip-hop duos of the first half of the 1990s. ~ Stanton Swihart Recorded at Greene Street Recordings, New York. Includes liner notes by Adofo A. Muhammad and C.L. Smooth. Pete Rock & C.L. Smooth: C.L. Smooth (rap vocals); Pete Rock (DJ). Engineers: Jamey Staub, Rod Hui. Audio Mixer: Jamey Staub. Recording information: Greene Street Recording Studio, New York, NY. Photographer: Danny Clinch. Award Winner