| | Nas Hip Hop Is Dead CD Nas Discography of CDs
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Personnel: Adam Hill (viola); Vincent Henry (flute, clarinet, soprano saxophone); LeRoi Moore (saxophone); Bruce Purse (trumpet, bass trumpet, flugelhorn); W. Marshall Sealy (French horn); Mark Batson, Salaam Remi (keyboards, drums); Paul Cho, Mike Elizondo (keyboards). Additional personnel: Marsha Ambrosius, Tre Williams, Chrisette Michele, Jay-Z, Kanye West, Kelis, Snoop Dogg, The Game, will.i.am. Audio Mixers: Dylan Dresdow; Dylan "3-D" Dresdow; Kevin Crouse. Recording information: Amerycan Studios, Hollywood, CA; Chung King, New York, NY; Encore Studios, Burbank, CA; Hit Factory Criteria, Miami, FL; Legacy Studios, New York, NY; Mandatory Entertainment; NRG Studios, N. Hollywood, CA; Record One Studios, Sherman Oaks, CA; Sony Music Studios, New York, NY; Sunset Sound, Hollywood, CA; the Record Plant, Hollywood, CA; The Studio, Philadelphia, PA; Westlake Recording Studios, LA, CA. Title and all, Nas's eighth solo album clearly intends to spark controversy. But what gives Nasir Jones the right to declare that HIP HOP IS DEAD? For one Nas's 5-mic debut album ILLMATIC represents the best of a by-gone era. Since then he's tried to find his place in the ever-evolving genre, flirting with the mainstream to mixed results, all the while mired in beef with former allies and childhood friends as well industry rivals. The fact that HIP-HOP IS DEAD is the product of his teaming with one of those former(?) rivals, Jay-Z, shows that business trumps beef--as Nas emphasizes on track one, "Money Over Bullshit." The title cut, with its pounding Iron Butterfly beat and nihilistic lyrics, is profoundly provocative. And while the long-awaited collaboration with Jay-Z on "Black Republicans" will inevitably draw attention, Nas shows he's best on his own--doing his Sam Spade impression in the hard-boiled detective story "Who Killed It"; producing an unapologetic swansong to his hood life in "Not Going Back"; and spitting introspective street poetry in "Can't Forget About You." Nas is past trying to relive his ILLMATIC glory--and that's ultimately the point--yet HIP HOP IS DEAD contains both the gutter ghetto anthems and gritty brilliance that made him a legend in the first place. Hip Hop Is Dead is not Illmatic. Illmatic stands as one of the most impressive debuts in rap music, and consequently has set up inevitable, and often unfavorable, comparisons with each of Nas' subsequent releases. And so it is practically a given that the two albums in fact do not compare, that the beats, the rhymes, the insight, the flow Mr. Jones had on Illmatic have not been duplicated here, and in all honestly, probably never will. Nas himself seems aware of this -- though he would never admit it -- as throughout the record he references the MCs, the producers, the DJs who made the music what it was and what it is today, many of whom were releasing material in the early '90s, when Nas first made a mark. He himself is one of them. The statement that "hip hop is dead" is clearly meant to be controversial, and was, as rappers and rap fans alike exploded into debate after Nas declared it to be the title of his next album. But it's also a statement that the MC doesn't completely adhere to. He flip-flops between declaring that it has already gone, to warning of its imminent departure, to promising "to carry on tradition," to resurrecting it. But these inconsistencies don't come from contradictions in Nas' beliefs; rather, they stem from the fact that his biggest problem with hip-hop has nothing to do with current talent, but what hip-hop itself has become -- how it's magnified from an art form, from a way the ghetto expressed itself, into a commercialized, corporate entity that Nas himself is part of, something about which he feels more than a little guilty. This is most openly addressed on "Black Republican," which appropriately features an equally guilty (in terms of both improving and commercializing rap music) Jay-Z, who spits out better lines thanRolling Stone (p.72) - 4 stars out of 5 -- "Nas never solves the crime, but his point is implicit -- few MCs are taking the artistic chances he does." Entertainment Weekly (p.84) - "[D]enser and more grandiose than the minimalist digital funk heard on rap radio." -- Grade: B Vibe (p.109) - "HIP-HOP IS DEAD is a loud, expansive album, packed with brand names and big ideas -- and is arguably the best thing Nas has done since 1996's IT WAS WRITTEN." XXL (Magazine) (p.133) - "Nas' latest opus comprises solid lyrics and layered beats and proves that hip-hip isn't dead, it's just been asleep..." Mojo (Publisher) (p.100) - 4 stars out of 5 -- "A fully realised, painstakingly compiled assault on hip hop's slide into bling-ridden mediocrity." Hip Hop Is Dead Music | List Price | $13.99 (You save $3.54) | | Category | Rock/Pop Albums, R&B CDs, Urban Soundtrack, East Coast Rap, Rap | | Label | Def Jam | | Orig Year | 2006 | | All Time Sales Rank | 4414  | | CD Universe Part number | 7337248 | | Catalog number | 000722902 | | Discs | 1 | | Release Date | Dec 19, 2006 | | Studio/Live | Studio | | Mono/Stereo | Stereo | | Producer | Will.I.Am; Kanye West; Scott Storch; Dr. Dre; Nas; Chris Webber; L.E.S.; Mark Batson; Stargate; Salaam Remi; Wyldfyer | | Recording Time | 60 minutes | | Personnel | Snoop Dogg, Jay-Z, Kanye West, Game, Marsha Ambrosius, Chrisette Michele, Kelis |
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$16.29 Import pressing of Their Greatest Hits 1971-75. Vinyl replica CD comes housed in a slipcase. Rhino UK. 2006.
The Eagles: Bernie Leadon (vocals, guitar, banjo); Glenn Frey (vocals, guitar, piano); Don Felder (vocals, guitar); Randy Meisner (vocals, bass); Don Henley (vocals, drums). Producers: Glyn Johns, Bill Szymczyk. Engineers: Glyn Johns, Bill Szymczyk, Allen Blazek. The Eagles: Glenn Frey (guitar, vocals, piano), Bernie Leadon (guitar, vocals, banjo), Don Felder (guitar, vocals), Randy Meisner (bass, vocals), Don Henley (drums, vocals). Producers: Glyn Johns, Bill Szymczyk. Engineers: Glyn Johns, Bill Szymczyk, Allen Blazek. Digitally remastered by Steve Hoffman (1993). On their first four albums, the Eagles were at pains to demonstrate that they were a group of at least near-equals, each getting a share of the songwriting credits and lead vocals. But this compilation drawn from those albums, comprising the group's nine Top 40 hits plus "Desperado," demonstrates that this evenhandedness did not extend to singles -- as far as those go, the Eagles belong to Glenn Frey and Don Henley. The tunes are melodic, and the arrangements -- full of strummed acoustic guitars over a rock rhythm section often playing a shuffle beat, topped by tenor-dominated harmonies -- are immediately engaging. There is also a lyrical consistency to the songs, which often concern romantic uncertainties in an atmosphere soaked in intoxicants. The narrators of the songs usually seem exhausted, if not satiated, and the loping rhythms are appropriate to these ...
| | Shawnna Block Music CD (2006) Edited
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$12.65 Personnel: Shawnna (vocals); Avant, Buddy Guy (vocals); 8Ball, I-20, Lil Wayne, Ludacris, MJG, Pharrell Williams, Too $hort, Smoke, Bobby Valentino (rap vocals). For the 2006 follow-up to her debut, WORTH THA WEIGHT, Shawnna unveils another set of potent hip-hop tunes (aided once again by her mentor, Ludacris), most notably the sensual, R&B-tinged "Take It Slow." Although the fast-flowing Illinois native clearly feels a kinship with the Dirty South (as guests Lil' Wayne and 8 Ball will attest), she also stays true to her Midwestern roots on the lilting "Chicago," which features a guest appearance by her father, blues icon Buddy Guy. Arguably more consistent and confident than its predecessor, BLOCK MUSIC proves that Shawnna is ready to play in the ...
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