To call it "long-awaited" or "eagerly anticipated" would be the understatement of the year - as hip-hop's most daring pioneers the Roots release their 9th studio album (and third for Def Jam Recordings), HOW I GOT OVER. The album, which takes its name from Clara Ward's gospel classic (made popular by Mahalia Jackson), is the Roots' first new release since joining Late Night with Jimmy Fallon for a full time gig as the show's house band. Grammy Award winners the Roots characterize the songs on HOW I GOT OVER as "depicting the everyman's search for hope in this dispiriting post-hope zeitgeist". The lead single from the Roots new set will be "Dear God 2.0." The track re-imagines the Monsters Of Folk song "Dear God" and features MOF members Yim Yames from My Morning Jacket, Conor Oberst and Mike Mogis from Bright Eyes and M. Ward. HOW I GOT OVER also includes two appearances from Grammy-winning soul man John Legend: "Doin' It Again" a re-working of his track "Again," and "The Fire," an original song written for the Roots' 2010 Olympic concert performance. The Roots and Legend have developed a strong musical bond, as the group has produced John's entire upcoming release Wake Up, which shares the socially conscious themes of the "How I Got Over" set and is comprised of late sixties/early seventies covers. Other guests on HIGO include Joanna Newsom on "Right On," Phonte Coleman (Little Brother, The Foreign Exchange), Blu (Blu & Exile), Peedi Peedi , Mercedes Martinez, Icelandic alt-pop singer Patty Crash, newcomer Sugar Tongue Slim as well as long time Roots' Crew members Dice Raw, Truck North and P.O.R.N.

The album was originally scheduled for a December 2009 release.^[8] On September 26, 2009, Rap-Up reported that the album had been pushed back to 2010 release due to The-Dream's busy personal life.^[9] Pushed back from May 2010, the album was released June 29, 2010 through The-Dream's imprint label Radio Killa Recordsand distributed by Def Jam Recordings.^[10]

The album was originally scheduled for a December 2009 release.^[8] On September 26, 2009, Rap-Up reported that the album had been pushed back to 2010 release due to The-Dream's busy personal life.^[9] Pushed back from May 2010, the album was released June 29, 2010 through The-Dream's imprint label Radio Killa Recordsand distributed by Def Jam Recordings.^[10]

The last time Brooklyn's Talib Kweli joined forces with Cincinnati's Hi-Tek, Bill Clinton was still in office. In the nine years that passed since then, America elected two presidents, Kweli released four solo albums and Hi-Tek dropped three installments of hisHi-Teknology series. The time spent apart served them well. The duo displays a musical maturation on Revolutions Per Minute.

As the title betrays, Kweli has revolution on his mind. He's also got a dozen other things on his plate. The intro laments the decline of record sales, while "In This World" decries the shift in the paradigm of hip-hop. Kweli has cut down on the book references we've grown accustomed to, but he's still kicking knowledge. "Ballad of the Black Gold" paints a grim picture of oppression and links 1960s British colonialism to modern day ethnic wars in Nigeria. Against Tek's dreamy backdrop, he ruminates, "Loyalty to petroleum/Royalty spoiled the economy/We won’t get it poppin’ till we’re oil-free." The thoroughly researched narrative resounds with a knowledge that transcends his peers.

Kweli has a reputation for stepping up when surrounded by talent. Sure enough, RPM is heavy on guest features but with varying results. Whereas Bun B dials in a cameo on "Strangers," Bilal turns in a powerful performance on the slow-burning "Ends." The best collaborative cut onRevolutions, however, is "Just Begun" with J Cole, Jay Electronica, and Mos Def. It's an abrasive and fully formed meeting of like minds.

Still, Kweli's main collaborator here remains Hi-Tek, who produced Revolutions in its entirety. Tek's largely minimalist grooves displays a dramatic flair. His keyboard wails, soulful piano loops, and staccato blasts are prolific in their arrangement. But this modern day Pete Rock isn't immune from misfires. His snap-inspired concoction on "Got Work" is five years late.

RPM's only other notable transgression is in the skits department. There's a running joke about Russell Simmons throughout the album. One interlude features a Simmons impostor stating that his definition of revolution would be to see Rihanna eat vegetables in leather undies. While it hearkens to the days when De La Soul enhanced their albums through sheer ridicule, it distracts from the serious topic Kweli is trying to address on Revolutions. But that flaw is negligible, given RPM's consistency. Besides, no one should ever have to apologize for ridiculing Russell Simmons.

Vanguards of the social lyricism club, Kweli and Tek stuffed Revolutions with a slew of clever rhymes and bubbling beats that will leave heads fiendin' for more. The Brooklynati duo delivered another winner in RPM.

I know what you’re thinking: has Rick Ross given up the cocaine hustle to become a weed rapper?! Inconceivable! Well, fans of the Miami heavyweight can breathe a sigh of relief; Super High, the lead single off his hotly-anticipated fourth studio album, doesn’t really have anything to do with drugs at all – or, rather, it revolves around the most powerful drug of all: love. Here, The Remedy and DJ Clark Kent cook up an appropriately swanky, soul-sampled instrumental as the rapper pays homage to a female who has him flying high above the clouds, promising to supply her with all the finer things in life: bags, globetrotting vacations, expensive liquor, the works. Of course, it’s not a Rick Ross single without a big-name guest appearance; this time, it’s R&B heavyweight Ne-Yo who provides support, tying the whole package together with a characteristically smooth verse and chorus. Will this cut score Super High ratings in the Booth? That’s for you to decide. In any case, fans should keep it locked for all the latest release details on Teflon Don currently set to drop sometime this summer.

Coming from a broken Long Island home, R.A.’s father was a gun-toting Vietnam veteran/mental patient effected by Agent Orange. R.A.’s family was forever changed by the potent chemical – his brother Maxx was born handicapped and blind, eventually dying at the age of 10, while his sister Dee Ann couldn’t walk or speak. R.A. took refuge in hip-hop, beginning his rap career at the age of 12 with a style that killed competitors citywide.

After conquering the New York battle scene as a teenager, stories of R.A.’s ruthless rhymes and outrageous stage presence had record companies at attention, and soon he was the subject of a nine-way bidding war. At 18, he signed to Jive Records, but eventually was dropped for the violent, disgusting, and irresponsible behavior that would haunt him throughout his career.

Despite a notorious reputation for pissing off executives, R.A. developed a musical resume over the next 10 years that speaks for itself. Working with everyone from Mobb Deep to Biggie, as well as producers such as Erick Sermon, Trackmasters, DJ Quik, Alchemist,Havoc, Buckwild, and Ayatollah. He was featured on all three of Rawkus’s Soundbombing albums alongside the likes of Eminem and Mos Def, as well as the platinum-selling WWF Aggression album. He recently signed a book deal with Testify Books, and his writing appears regularly in magazines, including Vibe, King, Mass Appeal, and Rides.

In 2004, R.A. finally released his debut album, the critically acclaimed Die, Rugged Man, Die.  On underground hits like “Chains” and “Lessons,” R.A.’s fans got a first-hand look at both R.A.’s personal struggles and the immense talent that earned him his reputation.

Although R.A. has only released one album on his 18-year career, he has recorded hundreds of songs with some of the biggest names in the game. Since many of these songs were never commercially available, R.A. decided to compile them for his fans in 2009’s Legendary Classics Vol. 1, which featured The Notorious B.I.G., Mobb Deep, Kool G Rap, Jedi Mind Tricks, Sadat X, Akinyele, Tragedy Khadafi, J-Live, Hell Razah and more.  Legendary Classics compiled some of R.A.’s most memorable moments, from his Biggie duet “Cunt Renaissance” (an intentional “fuck you!” to Jive Records) to his hauntingly real-life verse on Jedi Mind Tricks’ “Uncommon Valor: A Vietnam Story” (for which he was awarded a “Hip-Hop Quotable” by The Source magazine).

DIE! is the new album from underground hip hop legend Necro. The album features many different styles Necro has from death rap, thug joints, a porn track to pimping, war, fighting & a song about relationships with women. This new album is quite different than his last effort Death Rap which featured that style start to finish, this album features a buffet of Necro styles with production that will be loved by all real hip hop heads all over the earth. You already know Necro's style, its brutal, expect nothing less with DIE! and oh yeah, DIE!

Maino follows up his platinum 2009 summer smash 'All the Above' with the catchy club beat, 'Bring it Back 
DJ,' which is guaranteed to get people on the dance floor all summer long. On the B-side, Maino plays on the recent Tiger Woods scandals, creating a rap that is as funny as it is perfect to play when cruising the streets or hanging out at a club.

Madlib follows History of the Loop Digga: 1990-2000 with the sixth installment in his Madlib Medicine Show, his psych-prog-avante-freak-out-funk rock mix Brain Wreck Show. Madlib s been pegged as a jazz guy as far back as 2000, when he as his alter ego Quasimoto released the song "Jazz Cats." His releases with the fictional "jazz group" Yesterdays New Quintet didn't help matters. But, no matter how many jazz records are thrust at him by money-hungry record dealers, he most often at least lately gravitates to the rock side of the spectrum. That's late 60s to late 70s psych-prog-avante-freak-out-funk rock mind you; from the Tropicalia of Brasil to the Krautrock of Germany to the fuzzy sonds of mid 70s Nigeria, the Beat Konducta's rock tastes know no cultural bounds. Actually, we're not sure if they know any bounds. This an introductory mix entitled the Brain Wreck Show (admission, he wrote on the CD master, "One Brainticket" an homage to one of his favorite Krautrock bands) should serve to give its listeners a delightfully freaky funked up experience into the rock side of Madlib's collecting conscious. We're glad you re along for the ride. The Madlib Medicine Show series is a combination of Madlib's new hip-hop productions, remixes, beat tapes, and jazz, as well as mixtapes of funk, soul, Brazilian, psych, jazz and other undefined forms of music from the Beat Konducta's 4-ton stack of vinyl.

Madlib follows 420 Chalice All Stars: All Jamaican Sounds with the fifth installment in his Madlib Medicine Show, History of the Loop Digga: 1990-2000. Back in the 90s, "beat tapes," as a Hip Hop producer's demo-reel is now quaintly referred to, were literally that: cassette tapes of beats that a producer made either for himself, his friends, or for potential collaborators. As you can imagine, Madlib made a bunch of ‘em in the days between his early productions for the Alkaholiks (circa ’92) and the release of his Quasimoto album (2000) – after which he took a couple of years off of the beats to focus on making jazz music with his fictional five piece, Yesterdays New Quintet.
This collection of beats showcases the way that Madlib’s early Hip Hop demos were filtered out to his friends and associates and provides an opportunity for a unique view into Madlib’s working process: these beats, often freestyled on whatever machine he had at the ready, were picked up by rappers over a period of many years. Trainspotters will find it interesting that beats later destined for the likes of Wildchild and Percee P were made some years before those albums saw release. This album is punctuated with a series of early solo-raps by Madlib and his Quasimoto alter ego and features the cadre known collectively as CDP – those rappers who worked side by side with Madlib during the days of his Oxnard-based “Crate Diggas Palace” studios. This is the 4th of Madlib's one-a-month, twelve-CD series on his own imprint, Madlib Invazion. Odd numbers in the series are original productions by Madlib, even numbers are mixtapes.

The Marvelous Joint features yU of Diamond District. Kev Brown’s artistry is raucously apparent on Random Joints. Between the uncompromising production and the shrewd lyrical displays on the EP, Kev Brown shows that the adjectives “multifaceted” and “consistent” are not mutually exclusive in the hip hop world. In his characteristic style, Kev flips a first-rate jazz sample on “The Marvelous Joint” and brings in a leisurely bass and rhythmic keyboard for the “From My Porch” beat. Wherever Mr. Brown himself decides not to tackle the various spots for 16’s and hooks on his compositions, guests such as Ken Starr, Cy Young, Zo!, Bilal Salaam, Raheem Devaughn, and more from Low Budget and beyond drop by to fill in. Random Joints is at once a slick fix for Kev Brown beat-junkies and a blaring alarm clock for the deprived sleepers. But ultimately, Random Joints is just another argument on the quickly-growing list of “Why Kev Brown needs to drop another solo album as soon as possible.” This is the 12" single from the forthcoming album Random Joints.

Flesh Tone was singled out by spin.com as one of the "25 Summer Albums That Matter Most" and The New York Times called it "one of her strongest records yet." Perezhilton.com hailed it as "one of the summer's best," adding: "There are soooooo many good songs on Kelis album! Actually, they are ALL good!" Reviews in the U.K. have been stellar also. "Kelis. Genius. Pop Auteur. Credible diva. Welcome back," said NME, giving Flesh Tone an 8 out of 10 rating. The Sunday Times of London called it a "celebratory slice of dancefloor heaven" while Glamour gave it five stars. "She's still fierce and fabulous, and we're thrilled to have her back!" said Time Out London.

Flesh Tone Production Credits: INTRO - Produced by: Burns; 22ND CENTURY - Produced by: Boys Noize; 4TH OF JULY (FIREWORKS) - Produced by: Damien Leroy aka DJ Ammo; HOME - Produced by: Free School; ACAPELLA - Produced by: David Guetta / Co-Produced by: Fred Riesterer; SCREAM - Produced by: David Guetta / Co-Produced by: El Tocadisco (Roman De Garcez); EMANCIPATE - Produced by: Alle & Benny Benassi; BRAVE - Produced by: Alle & Benny Benassi / Co-Produced by: will.i.am; SONG FOR THE BABY - Produced by: Free School

Kelis debuted in 1999 with Kaleidoscope, which featured the ubiquitous MTV/BET hit "Caught Out There." The track entered the U.K. Singles Chart at No. 4 and Kelis went on to win a BRIT award ("International Breakthrough Act"), an NME award ("Best R&B/Soul Act") and a Q award ("Best Music Video" for "Caught Out There"). Over the past 10 years, she has worked with a wide variety of artists, including The Neptunes, Andre 3000, Björk, Enrique Iglesias and Raphael Saadiq. Perhaps best-known for her GRAMMY-nominated, Top 5 smash "Milkshake" and the million-selling ringtone "Bossy," the fashion icon is also a certified chef and a recent graduate of Le Cordon Bleu.

New York City, Queens resident Homeboy Sandman releases his third album. His debut being ‘Nourishment’ in 2007; Sandman returns with a vengeance on ‘The Good Sun’; with production coming from veterans Ski Beatz (producer on Jay-Z‘s debut, ‘Reasonable Doubt‘ with tracks-‘Politics As Usual’ and ‘Dead Presidents II’ ), Psycho Les (of The Beatnuts) and DJ Spinna (who worked with Eminem, earlier in his career). Featured guests are Fresh Daily on ‘Table Cloth’ and John Robinson and Daniel Joseph on ‘The Things They Carried’.

Sandboy kick-starts the album with ‘Core Rhythm’; an introductory instrumental. It is evident from the outset that Homeboy Sandman is a talented rapper. Instead of relying on gimmicks he is your ‘Average Joe’ best personified on ‘Yeah, I Can Rap Though’, where even he has a hard time pigeonholing himself in third person. Throughout ‘The Good Sun’ he drops words of wisdom such as -“They tell me dumb it down/ I tell ‘em smarten up” on ‘Not Pop’ educating ‘wack rappers’, A and R’s and their fans. While witty bars like- “I leave space kinda like ALF did/ Seen Dark (K)nights like Alfred” on ‘Calm Tornado’. What also makes him talented is his ability to change the pace of his flow, a technique many MC’s hardly use (forexample, Guru from Gang Starr made it his thing to have a “monotonous” flow) which was evident on ‘The Carpenter’ where he rhymes with an energetic delivery.

The production is certainly underground from the gritty loops and breaks as if it was conjured up in a cramped, stuffy basement (which is not necessarily detrimental) on ‘Not Pop’, ‘The Things They Carried’, ‘Calm Tornado’ and the final track, ‘Angels With Dirty Faces’ which is a stark contrast to more mainstream music having 808‘s, Autotune or female R&B singers on the hook.

Homeboy Sandman shows us you don’t need a rap sheet that includes getting shot loads of times, selling kilos of white, or going to prison more times than you release albums; all you need is depth and layers with also that right chemistry between decent beats and lyrics which paint vivid images, entertain the listener and that you can really feel-all of which is done on ‘The Good Sun’. R

Tracks
	01 Prelude 02 Introduction 03 O.J. Simpson 04 Pimp Rap Interlude 05 New Heights 06 Karma Of A Kingpin 07 Think Twice Interlude 08 Coroner’s Music 09 A Friend’s Help Interlude 10 Back On The Road Again 11 Gone Crazy Interlude 12 Hood Sentence 13 Preacher’s Wife Interlude 14 Cali Hills 15 Something Bad (Intermission One) 16 Something Good (Intermission Two) 17 Scratch Warning (feat. Frank) 18 Hold Your Applause Interlude 19 Outside (feat. Strong Arm Steady) 20 Bow Wow Interlude 21 Mic Check 313 22 Trendsetters 23 100 Styles 24 Outro
	OJ Simpson. That’s the name of the album. No bloody gloves. No Ford Broncos. These are some 12 hard-hitting hip-hop tracks featuring Guilty’s inimitable baritone, and an equal number of Madlib’s signature album-as-soundtrack/radio/sideshow arrangements, where the beat & sequence is as important as the rap. This, with a couple no-nonsense guest appearances, some cuts by J.Rocc, and a whole bunch of attitude, makes up one of our favorite projects in a while. The charisma that Detroit’s heavy hitting MC Guilty Simpson and the Los Angeles based Beat Konducta Madlib share testifies to a musical kinship that is rare in today’s rapper-as-an-accessory marketplace. Going back to Guilty’s first appearance on wax (Jaylib’s “Strapped”–2003), Guilty over a Madlib beat to us is like hearing Guru over Premier circa Daily Operation, or CL over Pete around the time of “Straighten It Out.” Some times, a rapper and a producer just work well together.

Back in the days DJ Peabird started his label with no great expectations in 1998.
It was a product of boredom, a funny time waster and more the idea of a creating a platform for gathering a collective of productive people.
After continous twelve years in the biz, Breakz`r uz became the leading turntablism label of today! What do you expect from this anniversary record - a best off? Hahaha - no chance! Peabird and the Breakz`r uz Allstarz created a brandnew and perfect working performance booster for their 12th anniversary!
Enjoy no-nonsense arrangements made from deeply digged beats, fresh drum`n`bass rollers combined with dancefloor tested dubstep juggle breaks. Jam with tons of new scratch cuts, insulting battle vocals, natural instruments and punchy synthesizer effects!
Now get some cake and celebrate!

Can you call your life an adventure? Sure, you’ve been to amusement parks and seen movies with the word “adventure” in it. But can you truly call your life an adventure?

21-year old Rebel Rock/Grand Hustle/Atlantic artist/producer B.o.B can, and if you’ve watched closely enough, you’d know exactly why the multi-talented lyricist and musician is naming his debut album B.o.B Presents: The Adventures of Bobby Ray.

While the delays keeping Big Boi’s Sir Luscious Left Foot album off the shelves haven’t quite reached Chinese Democracy proportions, it’s still super annoying. All the leaked tracks so far have pointed to the possibility that the album is going to be massively entertaining. If nothing else, it should once and for all crush the notion that André 3000 was the only genius in Outkast. And it contains a huge jam for the upcoming summer, “Shutterbug.” The track’s fat synth bass and vocoder are pure summertime, the vocal hook is bubblegum sticky, and Big Boi’s flow is, as usual, smooth as creamy peanut butter. It’s also a little weird.

A.G., of the legendary Diggin In The Crates crew and of Showbiz & A.G. is set to release his latest full length album, namely Everythings Berri. For the last two decades A.G. has not only made an impact but a dent in hip-hop; he has overcome the tragic loss of Big L, Party Arty and Roc Raida. A.G.s prolific contributions to the culture have assembled a cast of devoted, hungry and aggressive artists that parallel his own talents. Including his protegees - a dynamic duo by the name of 950 Plus, that brings you back to the grit, honesty and drive that also fueled an early Showbiz and A.G. Now preparing for two for the release of Everythings Berri, A.G. has gained momentum, rather than settled for being a rapper that once was.

itunes.apple.com/gb/album/ako-mi-ti-poju/id378801372

Tracklisting

1-Ako Mi Ti Poju (radio)

2-Ako Mi Ti Poju (Dirty)

3-Instrumental

4-Successfull (P-Mix)

For more info about this artist , please see Naeto "You Know my P"