| | David Banner Certified Vinyl LP Record - Import David Banner Discography of CDs
Following up the one-two punch of MISSISSIPPI: THE ALBUM and MTA2, David Banner unleashes 2005's CERTIFIED, a solid record that continues the Dirty South rapper's winning streak. There are no throwaway intro/interlude numbers here, just grimy, unfiltered hip-hop tracks. The disc kicks off with the forceful "Lost Souls," which features Banner's gruff voice perfectly complemented by a distorted guitar riff and burbling beats. Despite the numerous guest shots (Lil Jon, Jadakiss, Talib Kweli, Dead Prez, and many more), some of CERTIFIED's best tracks showcase Banner alone, especially the pounding, X-rated single "Play" and the chiming California-rap tribute "Westside." Relentlessly fierce and unapologetically sleazy, Banner plays to his strengths on this album, and the result is Southern rap at its finest.
U.K. release.Uncut (p.105) - 3 stars out of 5 -- "It frequently makes for energised hip hop."
Vibe (p.230) - 3.5 discs out of 5 - "As a hip hop artist with rock and country leanings, David Banner is a one-man mash-up artist." Certified Music | List Price | $15.98 (You save $1.69) | | Category | R&B Albums, Rap CDs, Vinyl LP Record, Gangsta | | Label | Universal | | Orig Year | 2005 | | CD Universe Part number | 7565438 | | Discs | 2 | | Release Date | Sep 26, 2005 | | Studio/Live | Studio | | Mono/Stereo | Stereo | | Personnel | Jadakiss, Lil' Jon, Jazze Pha, Talib Kweli, Carl Thomas, Elephant Man, Dead Prez | | Shipping Units | 6 | | Additional Info | United Kingdom |
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SOULBROTHA BIOHip hop as a culture and art form for many years since its inception has provided a veritable means of personal and collective expression. Such expressions, be they break dancing, graffiti, fashion, or music all provide meaningful outlets through which people communicate with each other and can affect change on a spiritual and social level. One of such people gunning to push the boundaries of hip hop music impact is none other than the emcee known as Soulbrotha. Born and raised in Nigeria, and being exposed to diverse forms of music from folk, 80’s pop, reggae, rock and hip hop music inspired a young Soulbrotha to choose hip hop above all other genres as a means to impact his community and the world at large most importantly. This emcee is always bent on “moving the crowd” and makes no excuses for his faith in Jesus Christ, whilst refusing to be pigeonholed into a particular kind of sound. His music can be best described as spiritual, conscious, emotional, and soulful. His fist interest in hip hop sparked back in 1987, “when I was first taught the lyrics to the song by Eric B & Rakim's “Paid in Full,” he recounts, as he emphasizes that this was his first true encounter with music of this genre. Fans can thank his cousin for introducing him to hip hop, as SB recalls that his cousin was the one who always rhymed the words to the song “Paid in Full.” At that moment when hip hop graced its presence into his life, he knew that he would never be the same. The rise of Yo! MTV Raps spawned an even greater interest in hip hop for SB, where he then discovered artists such as Slick Rick, Doug E Fresh, LL Cool J, Run DMC, Audio Two, MC Lyte, Salt N' Pepa, Big Daddy Kane, Father MC, Queen Latifah, Lords of the Underground, Naughty By Nature, Snoop, Dr. Dre, and many more that influenced him as an artist.Now, with the awaited debut of his first LP, Ezekiel Hanani, after a recent collaboration with famed Birmingham producer/DJ impresario – Roeg Du Casq, Soulbrotha is geared and ready to speak words of truth to the public. The LP chronicles the life of a fictional character (Ezekiel Hanani) and is a testament to the commonality that all human beings share in the struggle to live life with a sense of purpose and destiny. Fans can listen to songs from this 13 track opus, such as Stories, Without a Trace, City 2 City, and Dedication, which are all personal favorites of SB, as he confesses that "Stories [was] my first attempt at a concept/creative track, [while] Without a Trace involves some actual personal events that happened in my life. And Dedication,” he continues, “is my opinion as an African and a young black male on how people of color are treated in [today’s] society.”In the meantime, SB continues to improve his artistry with the release of his first mixtape, entitled Music for Agony. Although this was completed shortly after his album Ezekiel Hanani, it gave Soulbrotha “the opportunity to do something with a 'darker' tone, if ...
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Shitkatapult mainman Marco Haas isn't about to let the neo-industrial dance stomp of T. Raumschiere disappear anytime soon if the brutal punch of I Tank U is any indication. The challenge has long since been to make what initially might have seemed like a revivalist cul de sac into something more, though, and on this album Haas seems to have figured that out more consistently than on some past efforts, helped in part by a slew of guest performers and vocalists (many of whom drop in the titular phrase throughout, a nice touch), making it more of a collaboration album in the end . If some songs are essentially attractive time killers -- the opening title track is a spot-on, snarling reworking of some of Depeche Mode's instrumental B-sides circa Violator, a familiar template that can be heard all over the album -- then his command of rough-edged squelch, jackboot beats, and all the other necessary signifiers is still excellent. The ace in his hole, unsurprising given his appreciation for the exuberance of glam-descended schaffel, is his happy embrace of smeared, immediate pop -- his own vocal turn on "The Front Row Is Not for the Fragile!" might be the best performance Linkin Park never did, while Gene Serene's altered falsetto on "Pedal to the Metal" set against the slow grind of the song is a pretty solid Prince tribute, and Deichkind's aggressive and exultant German language vocals on "Brenner" is a full-on highlight. Sometimes this feels more like a newer form of retro -- the Puppetmastaz's stop-start MCing on "Animal Territory"'s steady stomp feels like a prime Prodigy Xerox, while the clunky "Crack a Smile" is one Haas vocal too many on a dull trudge of an arrangement. Still, those are rare moments on an exuberant listen. ~ Ned Raggett
Shitkatapult mainman Marco Haas isn't about to let the neo-industrial dance stomp of T. Raumschiere disappear anytime soon if the brutal punch of I Tank U is any indication. The challenge has long since been to make what initially might have seemed like a revivalist cul de sac into something more, though, and on this album Haas seems to have figured that out more consistently than on some past efforts, helped in part by a slew of guest performers and vocalists (many of whom drop in the titular phrase throughout, a nice touch), making it more of a collaboration album in the end . If some songs are essentially attractive time killers -- the opening title track is a spot-on, snarling reworking of some of Depeche Mode's instrumental B-sides circa Violator, a familiar template that can be heard all over the album -- then his command of rough-edged squelch, jackboot beats, and all the other necessary signifiers ...
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