Original Release Date: November 15, 2018
Release Date: November 15, 2018
Label: Sinister Kingdom Music
Total Length: 35:14
Genres:
Rap & Hip-Hop
Format: Explicit Lyrics
ASIN: B07KPPXSBC

Voodoo is the second studio album by American recording artist D'Angelo, released on January 25, 2000, by Virgin Records. Recording sessions for the album took place during 1998 to 1999 at Electric Lady Studios in New York City, featuring an extensive line-up of musicians associated with the Soulquarians musical collective. Produced primarily by D'Angelo, Voodoo features a loose, groove-based funk sound and serves as a departure from the more conventional song structure of his debut album, Brown Sugar (1995). The album features lyrical themes regarding spirituality, love, sexuality, growth, and fatherhood.

Slice Of Spice is proud to present Overworked & Underpaid, the debut album from First Division, in conjunction with Spaghetti Bender Music and Soulspazm.
This killer debut album is Boom Bap hip hop to the core featuring beats by Marco Polo (Executive Producer), DJ Premier, Kev Brown, Jake One, The Doppelgangaz, BeatWyze and guest appearances from Prince Po, Rah Digga, Torae, Hannibal Stax and more.

The samples are so classic taking me back to being a young pup, bridging synaptic gaps that lay open for decades. The 'Cooking with Gas' commercial samples and the Coca-Cola samples were a great ride back to the seventies. BUT this is not a 70's hits mix of any sort.

One more cut & paste job featuring DJ Shadow, Cut Chemist, Double Dee + Steinski & Shortkut. 9 tracks. Starchild Recordings. 2002.

‘The Outsider’ is a record that will confound those who believed they had DJ Shadow pigeonholed. Working with several vocalists in styles spanning everything from hyphy – the Bay Area's newest hip-hop hybrid – to folk, from aggressive hardcore rock to left-field alternative dance, the album promises to be a wide-ranging affair.

“There's been a lot of speculation as to the vibe of the new album,” says Shadow. “It’s very diverse, and reflects the fact that I don't fit comfortably in any one genre. My critics see that as a problem, but I don't. I've never really fit into any one clique. That's why the album is called ‘The Outsider’.”

Long-term fans will see Shadow’s fingerprints all over the album with his trademark collage samples, voices and fragments of long-forgotten recorded dialogue front and centre. But there’s also something new in the mix.

“In some ways it's a risky record,” says Shadow. “It's going to turn some people off. And I think I'll lose some fans. On the other hand, I know I'll gain some new ones. That's a fair trade in my mind. Besides I can't see playing it safe at this point in my life".

‘The Outsider’ was put together over nearly three years and features collaborations with Q-Tip, Keak Da Sneak, Turf Talk, Kasabian, Chris James from Stateless, and David Banner. Expect many of these folk to accompany Shadow on his world tour, which has already passed through Asia and is now heading towards Europe and North America.

And it promises to be a real feast for the eyes as well as the ears. The RA review of his Melbourne date last month says the show boasts “some of the most amazing visuals ever seen at a gig in this country”.

DJ Shadow在英国BBC电台播放过的一次混音集，双CD。第一张是长达80分钟的老派校园hip hop即兴混音，嘻嘻哈哈。第二张是连续40分钟的上世纪六七十年代迷幻摇滚混音集，美轮美奂，最后以一首DJ Shadow原创反战曲目“War is Hell”结束。DJ Shadow的音乐口味真是很对胃口。
《收益递减》，一个非常专业的经济学词汇。DJ Shadow这次给乐迷来了个双CD合集轰炸。这个混音集原本是2003年3月1日在英国BBC电台播放过的。第一张碟长达80分钟，来自BBC电台主持人John Peel的推荐，是老派校园hip hop的漂亮的即兴混音。第二张碟是40分钟的DJ Shadow的Mix，是六七十年代的流行摇滚。还有一首附加曲目“War is Hell”，是之前从未发行过的一首小样。这样既昂扬，又忧郁的并列组合固然怪异，但相当动人。而这张唱片的收藏价值就更是不在话下。
English Biography:
DJ Shadow's Josh Davis is widely credited as a key figure in developing the experimental instrumental hip-hop style associated with the London-based Mo' Wax label. His early singles for the label, including "In/Flux" and "Lost and Found (S.F.L.)," were all-over-the-map mini-masterpieces combining elements of funk, rock, hip-hop, ambient, jazz, soul, and used-bin incidentalia. Although he'd already done a scattering of original and production work (during 1991-1992 for Hollywood Records) by the time Mo' Wax's James Lavelle contacted him about releasing "In/Flux" on the fledgling imprint, it wasn't until his association with Mo' Wax that his sound began to mature and cohere. Mo'Wax released a longer work in 1995 — the 40-minute single in four movements, "What Does Your Soul Look Like," which topped the British indie charts — and Davis went on to co-write, remix, and produce tracks for labelmates DJ Krush and Doctor Octagon plus the Mo' trip-hop supergroup U.N.K.L.E.
Josh Davis grew up in Hayward, CA, a predominantly lower-middle-class suburb of San Francisco. The odd White suburban hip-hop fan in the hard rock-dominated early '80s, Davis gravitated toward the turntable/mixer setup of the hip-hop DJ over the guitars, bass, and drums of his peers. He worked his way through hip-hop's early years into the heyday of crews like Eric B. & Rakim, Ultramagnetic, and Public Enemy; groups which prominently featured DJs in their ranks. Davis had already been fiddling around with making beats and breaks on a four-track while he was in high school, but it was his move to the NorCal cow-town of Davis to attend university that led to the establishment of his own Solesides label as an outlet for his original tracks. Hooking up with Davis' few b-boys (including eventual Solesides artists Blackalicious and Lyrics Born) through the college radio station, Shadow began releasing the Reconstructed From the Ground Up mix tapes in 1991 and pressed his 17-minute hip-hop symphony "Entropy" in 1993. His tracks spread widely through the DJ-strong hip-hop underground, eventually catching the attention of Mo' Wax. Shadow's first full-length, Endtroducing..., was released in late 1996 to immense critical acclaim in Britain and America. Preemptive Strike, a compilation of early singles, followed in early 1998.
Later that year, Shadow produced tracks for the debut album by U.N.K.L.E., a long-time Mo' Wax production team that gained superstar guests including Thom Yorke (of Radiohead), Richard Ashcroft (of the Verve), Mike D (of the Beastie Boys), and others. His next project came in 1999, with the transformation of Solesides into a new label, Quannum Projects. Nearly six years after his debut production album, the proper follow-up, The Private Press, was released in June 2002. The following year Shadow released a mix album, Diminishing Returns and in 2004 he released a live album and DVD, Live! In Tune and on Time.

Semi Hendrix is the acid inside the headband and the fork inside the electric socket. It’s hard-core hip-hop, furious voltage spiked with funk and soul. It’s political and street, cerebral and reckless. It’s Jack Splash and Ras Kass running roughshod over everything from economic inequality to racist government policy to your girl. The album title is Breakfast at Banksy’s. Consider it the rare soundtrack for the revolution and the party.
The duo formed following Splash’s world tour with his underground cult funk band, Plantlife. Upon its conclusion, the 10-time Grammy-nominated producer and three-time winner decided to leave Miami in favor of Los Angeles. For the native Angeleno, this was where it all began. He’d seen incredible success over the previous decade, producing for Cee-Lo, Alicia Keys, Kendrick Lamar, and a slew of others. But he wanted to return to his roots and make a pure hip-hop album, a passion project with no input from industry types.
“I decided that if I was going to make true art, then I needed to work with the best of the best…the Picasso of the West Coast,” says Splash. “And everyone who comes from LA knows that it doesn't get any better than Ras Kass.”
If you’re unfamiliar with the Waterproof MC, you need to stop reading this and listen to Soul on Ice, Rasassination, and any of the tracks bodied by the Golden State Warriors (Ras, Saafir and Xzibit). Once you’ve done that, you understand why the Carson-bred rap beast is one of the coldest MCs to ever hypnotize an audience.
But neither Splash nor Ras has even done anything quite like Semi Hendrix—probably because no one has ever done anything quite like Semi-Hendrix. It’s a warped psychedelic odyssey glimpsed via two brilliant minds in a crooked world.
Produced entirely by Splash, the instrumentals recall classic genre-liquefying experiments like DJ Shadow’s Endtroducing and Bizarre Ride II The Pharcyde. You can file Semi Hendrix somewhere between Gnarls Barkley and Run the Jewels.
Faded acid-washed freak-outs fade out from raunchy comedy clips. There are shredding guitar solos and nimble funk lines.
Meanwhile, Ras Kass spits flames about Brooklyn hipsters, greedy record labels, and Capitalist inequality. He interweaves Thomas Paine’s anti-Colonial tract, Common Sense with the rapper born Lonnie Lynn. In the course of four bars, he’ll slip in references to Biz Markie, Star Trek, Duke Ellington, and Cab Calloway.
The intellect is staggering, but never self-serious. He’ll go from talking about squirters to indicting “Stop and Frisk” policy. The sound is kaleidoscopic. Nothing is sacred. Guest spots include Brothers Voodoo, Cee-Lo and Raheem DeVaughn, Teedra Moses, Kurupt, Montego Meli, Alice Russell, Wrekonize, and Jessica. But for all its virtuosity, this is 100 percent raw. If you wanted to know who Semi Hendrix are, the answer is simple: they’re the wildest style.

Big Mello (born Curtis Donnell Davis) was a hip-hop/rap artist from the Hiram Clarke neighborhood of Houston, Texas, and an original member of The Screwed Up Click. His third album, “Southside Story” was released in 1996 by N-Terrorgation Records and produced by Mo’ Dangerous.

Classic G-Funk Shit From Riverside, CA.