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#hip hop review
onestowatch · 15 minutes ago
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Kwame Adu and Zay Celebrate Juneteenth With KWAMZAY EP ‘Motherland!’
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Photo: Santino McNaughton
As of this year, Juneteenth finally been established as a federal holiday—the first since Martin Luther King, Jr. Day in 1983. To celebrate this historic occasion, New Jersey-based rapper Kwame Adu and LA-producer ZAY have united to form the duo KWAMZAY and release their collaborative effort Motherland!. The project’s five tracks are packed with poetic sample-heavy hip-hop bangers that evoke comparisons to the likes of Ohbliv, Madlib, and The Alchemist.
If you’ve ever taken a deep dive into Knxwledge’s Bandcamp, then KWAMZAY’s “Motherland!” should feel familiar. What sets this tape apart, however, is ZAY’s eclectic production and Adu’s signature rap stylistics. The project opener ,“feel me freestyle,” feels optimistic and celebratory, with Adu’s carefree confidence so infectious you may just feel it seeping out of your headphones. Giving Adu the perfect foundation to express his signature flow, ZAY’s affinity for sampling on tracks like “how do you say goodbye” and “untitled” goes from admirable to enviable in the blink of an eye. 
The project’s final and eponymous track, “motherland,” was the only one not produced by ZAY, but by Adu himself. Delivering the listener some tropical calypso vibes that are sure to be kept in rotation this summer, Adu ends the project just as quickly as it began. Whether providing their fans with chill instrumental tracks or high-energy vaporwave-flavored bangers like “nightlife”, KWAMZAY is hopefully the beginning of a long collaborative friendship.
Though only five tracks, Motherland! is a polished entry into both Adu and Zay’s already decorated discography. As KWAMZAY, the two artists flow seamlessly over bars and samples that showcase some of the most promising talent from both coasts. While we listen to Motherland! on this newly recognized holiday,  there still remains much work to be done both locally and nationally in the fight for universal systemic equity. Whether we spend today serving our immediate or global communities, we must treat Juneteenth as the harbinger of a more altruistic and postcolonial mindset rather than one singular day of empathy. 
Listen to Motherland! below:
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brizzyfrizzy · 3 hours ago
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Lazarus Lynch, Black Queer Anthem | Track Review 🎵
Lazarus Lynch, “Black Queer Anthem” | Track Review 🎵
  Black gay artist, intellectual, and activist Lazarus Lynch delivers a short but must-hear LGBTQ+ gem with “Black Queer Anthem.” “Black Queer Anthem” only runs two-minutes-and-change, but that is ample time for Lynch to share both black and queer pride alike.  Honestly, it is an intriguing listen that latches instantly.  The vocals are distorted intentionally, adding a gritty tone to support…
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thejoyofviolentmovement · 12 hours ago
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New Video: Mil Beats Teams Up with Vic Spencer Willie The Kid and DJ DJAZ on a Menacing Banger
New Video: Mil Beats Teams Up with Vic Spencer Willie The Kid and DJ DJAZ on a Menacing Banger @MIL_BEATS @VicSpencer @theWILLIETHEKID @EFFISCIENZ @djdjaz @heygroover @romainpalmieri @DorianPerron
Mil Beats is a rising Paris-born, Brussels-based producer, who mixes electronics and acoustic instrumentation to create a warm and cinematic sound. The Paris-born, Brussels-based producer is the house producer for EFFISCIENZ Records — and he has worked with an impressive array of internationally recognized talent including Sean Price, Ghostface Killah, Twista, Roc Marciano, Denmark Vessey and a…
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thereportcardpodcast · 13 hours ago
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The Report Card Episode 356
On this episode we review the albums "Back Of My Mind" by H.E.R. and "Baby Goat EP" by Young Devyn. We also talk about some of the news out here!
Apple Music TRC 356 Playlist
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Grade Scale
Check
Great project. Worth a check out. You will find songs you like.
Dash
The project is ok. Maybe more for the current fans. Not much replay value.
X
Do not waste your valuable time with this. Nothing redeemable about this project.
  Like...Comment...Subscribe...Review
Thank you to everyone who listens weekly. 
  Check out this episode!
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onestowatch · 4 days ago
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‘The Life Of Pi’erre 5’ Proves Pi’erre Bourne Saved the Best Beats For Himself
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Photo: Cian Moore
If you’re a music fan that likes to keep their ear to the ground, then you know why last week was a special day for hip-hop fans. While some may have been bumping Culture III or Polo G’s Hall Of Fame, many fans were rejoicing with the long-awaited release of The Life of Pi’erre 5, the latest project from producer powerhouse Pi’erre Bourne. Perhaps it is reductive to label him as a producer at this point in his career, as the Atlanta-via-South Carolina multi-hyphenate has been steadily been releasing his own music for the better part of the last decade.
To celebrate the TLOP5’s highly-anticipated release, Bourne also released “The Life of Pi'erre Documentary,” a brief window into the life of a 2016 Bourne—then largely unknown aside from those involved behind the scenes in hip-hop. It’s a sentimental and inspiring view into a frustrating time in Bourne’s life, a moment when his artistry had been recognized but not appreciated. 
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Coincidentally, the documentary actually draws strong spiritual parallels to a little-known Kanye West record released 12 years prior, The College Dropout. “Ain't nobody expect Kanye to end up on top,” West raps on the album closer “Last Call.” “They expected that College Dropout to drop and then flop / Then maybe he stop savin' all the good beats for himself.”
These words reflect a haunting truth behind a struggle that few artists can understand, one that Bourne and West had found themselves in, albeit over a decade apart. The result of both rappers’ frustrations manifested similar results, as today Bourne stands as one of the most simultaneously established and up-and-coming acts in hip-hop today. With a diverse set of skills and a near-prodigal amount of talent behind the board, The Life of Pi’erre 5 serves as Bourne’s inauguration into hip-hop’s main stage.
The Life of Pi’erre 5 is a refreshingly new and inspired entry into a long-running series of mixtapes cultivated by the mastermind himself. Featuring guest appearances from Playboi Carti, Lil Uzi Vert, and Sharc, Bourne’s naturally charismatic style becomes amplified by his undeniable chemistry with his guest artists. Even though some tracks like “Switching Lanes” were leaked long before TLOP5’s release, within the context of the record they take a new form for both familiar and unfamiliar listeners alike.
Like the previous entry into this series of tapes, TLOP5 features a wide variety of styles, sounds, and aesthetics. Tracks like album singles “4U” and “Biology 101” are dreamy and melodic bangers that feature lofty synths, polished vocal performances, and hard-hitting percussion. While songs like “Amen” and “YNS” are relatively more downtempo than the rest of the cuts you’ll hear on this tape. Whether it is Bourne’s use of cultural references, affinity for vintage soundbites, or fixation with similes, there is something to be praised at every corner of TLOP5.
Above all, arguably the main virtue that The Life Of Pi’erre 5 offers is the opportunity to give an artist who has contributed so much to the culture his flowers. Bourne is responsible for crafting the breakout hits of many prominent hip-hop acts today, and without him, hip-hop’s cultural landscape would look entirely different. Though TLOP5 may not gravitate as heavily towards rap’s mainstream as some may prefer, it more than makes up for it with its risk-taking flows, innovative beats, and clever composition.
Listen to The Life Of Pi’erre 5 below:
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brizzyfrizzy · 4 days ago
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Migos, Culture III | Album Review 💿
While Migos secure a few solid bangers on Culture III, the rap trio still don’t match the excellence of the original Culture. “Avalanche” “Woo, Papa was a rollin’ stone, but now I got rollin’ stones in the bezel (Ice) / Mama at home all alone, hustlin’, tryna keep this shit together (Mama).” Woo indeed Quavo! Migos get off to a sensational start with ✅ 🎵 “Avalanche.”  Here, those triplet flows…
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ryandebbanmusic · 4 days ago
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AYE. Check out my Spotify! Kill Bill just hit 15,000 listens this week 🔥🔥
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thereportcardpodcast · 4 days ago
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The Report Card Episode 355
On this weeks episode we review the albums "Fire In Little Africa" by Fire In Little Africa" and "Lovesick" by Raheem DeVaughn & Apollo Brown. We also talk a bit about some of the E3 news.
Apple Music TRC 355 Playlist
Subscribe To Prince Treysaun's Gaming World
Subscribe To Welcome To The Wall Podcast YouTube Channel
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Grade Scale
Check
Great project. Worth a check out. You will find songs you like.
Dash
The project is ok. Maybe more for the current fans. Not much replay value.
X
Do not waste your valuable time with this. Nothing redeemable about this project.
  Like...Comment...Subscribe...Review
Thank you to everyone who listens weekly. 
  Check out this episode!
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reckonslepoisson · 5 days ago
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Magna Carta… Holy Grail, Jay-Z (2013)
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It’s 2013. On a foggy winter morning, fifteen-year-old me is sitting on a bus muggy with sweat, BO, and the breath of about eighty teenage boys. Around me, approximately seventy-nine of those boys are screaming at each other.
“Oi, you heard Magna Carta yet?”
“Yeah, it’s shit!”
Fair enough. On the back of that poor recommendation, it takes me eight years to actually listen to this thing in full. Did I miss anything? You know what, I might have.
Magna Carta is, more than anything, a curiosity. It was the diamante expensive pop rap peak in a career littered by extravagant works of expensive pop rap. It is almost entirely ridiculous in its posing and bragging.
There’s also so much Kanye influence in Jay’s flows. Though he isn’t as funny as Ye, that influence is interesting. It marks the first point where I think Jay is truly below his mentee – in quality and subservience – stranger still considering the duo’s dynamic at the time.
I don’t really enjoy most of Magna Carta so much as gawp at it. Is it Jay-Z’s lowest point? Maybe, I don’t know. It isn’t one of my favourites, but I don’t know if it’s significantly worse than my most scorned. Moving on.
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thereportcardpodcast · 7 days ago
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The Report Card Episode 354
On this weeks episode we review the albums "Culture III" by The Migos and "FWM" by Tone Stith. We also talk about some of the news going on out here!
Apple Music TRC 354 Playlist
Subscribe To Prince Treysaun's Gaming World
Subscribe To Welcome To The Wall Podcast YouTube Channel
Subscribe To My Voice With Dara & Friends Podcast 
Tirzah Bless Youtube Channel
WANT YOUR PROJECT REVIEWED? EMAIL US trc@thereportcardlve.com
Twitter
The Report Card https://twitter.com/trcpodcastlive
Ambitious Ace https://twitter.com/AmbitiousAce
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The Report Card https://www.instagram.com/trcpodcast/
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Subscribe To The Podcast On All Platforms
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Also available On
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Grade Scale
Check
Great project. Worth a check out. You will find songs you like.
Dash
The project is ok. Maybe more for the current fans. Not much replay value.
X
Do not waste your valuable time with this. Nothing redeemable about this project.
  Like...Comment...Subscribe...Review
Thank you to everyone who listens weekly. 
  Check out this episode!
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cakalakgeorge · 9 days ago
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“Don’t Hate the Player”~KENISE TAYLOR ~ Re-Writing the Game..
“Don’t Hate the Player”~KENISE TAYLOR ~ Re-Writing the Game..
….Her Way! Ugh, hey Kenise? Is there any chance you can can hook me up with one of these Rainbow Body Suit/leg warmer sets! FR!! 🙂 And why wouldn’t she? Kenise Taylor is an artist AND a successful business woman! (more…)
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youngboy-oldmind · 9 days ago
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New Series- “What Went Wrong”/”What Went Right”
I’m starting a new post series where I take a concentrated look at albums that either should’ve been good and severely missed the mark, or should’ve been bad/average and exceeded the mark, and analyze why this happened. 
It’s slightly different from a review. I won’t give the album a grade, nor will I give a recommendation on whether or not to listen to it. The analysis will lean heavily on the bad aspects (if I’m discussing what went wrong) or the good aspects (if I’m discussing what went right). It’s slightly different from a review. Instead of criticizing musical aspects and saying what I liked or didn’t like, I’ll be discussing why overall it didn’t work. There are songs/albums that I like that still missed the mark. So it’s less about my thoughts on the music, and more on my thoughts of the story of the music. If that makes sense?
I’m working on one now and plan on posting it within the next few days.  Hope you enjoy!
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youngboy-oldmind · 12 days ago
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An Addict’s Ranking of Kanye West’s Albums
In recognition of Kanye West’s birthday, here’s a list of how I rank Kanye West’s discography. The only project I didn’t include was the G.O.O.D. music compilation project.
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11) Jesus is King (2019)
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10) 808s and Heartbreak (2008)
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9) Life of Pablo (2016)
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8) ye (2018)
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7) Watch The Throne (2011)
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6) KIDS SEE GHOSTS (2018)
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5) The College Dropout (2004)
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4) Yeezus (2013)
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3) Graduation (2007)
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2) My Beautiful Dark Twisted Fantasy (2010)
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1) Late Registration (2005)
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onestowatch · 12 days ago
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Florida Rapper Cochise Is Finally Getting His Flowers
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Across all upcoming music scenes, hip-hop is without a doubt the most difficult realm to gain traction in. Though immensely popular, the genre’s sheer magnitude of new artists has led to a major cultural oversaturation—and though that has its pros and cons, it makes finding new artists a bit like looking for a needle in a haystack. Luckily, Florida rapper Cochise is finally getting the following he deserves, and 2021 is shaping up to be his year. After years of singles - including the megahit “Hatchback” in 2019, Cochise released his debut commercial album Benbow Crescent to critical acclaim last month, and he is showing no signs of slowing down.
[Link Hatchback Here? Your Call].
Describing Cochise’s lane in hip-hop is difficult because although his music may draw minor parallels to his peers, there isn’t really another artist doing what he’s doing. Comparisons to industry powerhouses like Playboy Carti and Lil Uzi Vert are just as common as comparisons to 645AR or 454, but despite this, Cochise stands alone. 
His music blends together elements of hip-hop, psych-rap, dancehall, and trap into one simultaneously dreamy and high-octane synthesis. His most recent single, “Tell Em” with fellow Soundcloud rapper $NOT (who began to gain traction around the same time as Cochise) is a testament to this, as the two effortlessly flow over a mix that is just as energetic as it is ambient. 
Though unique, Cochise’s music seems to hit a chord with the majority of people who come across it. Around the time that “Hatchback” had become a trend on TikTok (yes, with its own dance and everything), a friend of mine noted that Cochise’s sound was like “if cute-rap grew up.” 
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By taking elements of the hegemonic hip-hop sound and pushing them to places others wouldn’t, Cochise proves that there is still endless potential for innovation in hip-hop. Above all, Cochise’s music is a testament to the power of being yourself and making art that you believe in. Had he fallen into the type-beat hole that many Soundcloud rappers get stuck in, perhaps fans would have never been treated to Benbow Crescent years later.
With a horde of hungry fans pulled from hip-hop Twitter to Tik Tok, to say that Cochise’s Benbow Crescent was long-awaited would be a severe understatement. With four of its tracks released as singles in the months leading up to its release, the success of Benbow Crescent was borderline guaranteed. 
Sitting at 18 tracks long, the record is full of infectious and forward-thinking hip-hop bangers that are sure to be instant-adds to your rotation. The album opener "PROTEIN/CREATINE" features Cochise's signature high-pitched vocal register racing over a fast-paced beat that evolves into a hypnotic and serene mix full of booming bass signals and glittering synths. Benbow Crescent is everything you would want from a talented upcoming hip-hop act in 2021: the mixes are fun as hell, the rapping is solid and unlike the majority of his peers, and every track is bursting with personality—from its anime references to the Regular Show clip that plays at the beginning of “Stock X”.
Whether or not you were glued to your phone last December waiting for Whole Lotta Red, or if your hip-hop tastes tend to lean towards the genre’s commercial acts, Benbow Crescent is a must-listen record. Cochise is easily one of the most promising and consistent rappers to come out of the Soundcloud scene in some time, and his music reflects both an immense amount of talent as well as an undeniably fun and unique personality. Cochise’s writing is clever, his ear for production is unparalleled, and every track he makes is a strong showcase of everything the next generation of rappers has to offer.
Listen to Benbow Crescent below:
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brizzyfrizzy · 12 days ago
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yung van & guardin, Something’s in the Way | Track Review 🎵
yung van & guardin, Something’s in the Way | Track Review 🎵
Lexington, KY emo-hip-hop artist yung van collaborates with guardin for the emotional, vibe-filled single, “Something’s in the Way.” “Something’s in the Way” has plenty of pros.  It’s a well-produced record, courtesy of the skills of 🎛 Tagliatore and 🎛 Sinxi.  The backdrop has both pop and hip-hop sensibilities. Sigh, it has to be that guitar, which is the perfect canvas for both artists to ‘get…
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reckonslepoisson · 13 days ago
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Watch the Throne Jay-Z & Kanye West (2011)
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Watch the Throne! As iconic as pop music really got in the 2010s. I haven’t much to say, and none of it original, but here goes.
The good bits:
- The beats, expensive, huge and plush, are near the peak of the final few years of Kanye’s classic-era.
- Kanye’s song structures leave behind Jay’s conservative tendencies – all while still sounding pretty great and not that messy, or messy in a good way. Probably the best part of their collaboration.
- Some classic hooks among some of the most undeniably greatest pop tunes of the early 2000s.
- Some actually excellent songs - particularly ‘No Church in the Wild’ and ‘Murder to Excellence’. Excellent moments, too, particularly that line on ‘New Day’ about raising a child Republican so that it’ll like white people.
The less good bits:
- A couple of the beats lean too heavily on good samples (‘Otis’, ‘New Day’), so heavily that I’d far rather be listening to the original tunes. Other beats rely on poor samples – as a British teenager at a time when Flux Pavilion dominated shitty radio, ‘Who Gon Stop Me’ now severely grates on me.
The rather bad bits:
- While I can appreciate that this was an era that saw both Kanye and Jay at newfound levels of wealth and fame, braggadocio alone makes for dull lyrical content.
Watch the Throne wasn’t a career-best work for either Jay-Z or Kanye West – but we all knew that already. It was a decent collaboration, not a bad one. Nothing incredible. But it is iconic as a piece of pop – so iconic as to leave your spine shivering even if it’s somewhat flawed.
Pick: ‘No Church in the Wild’
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thereportcardpodcast · 14 days ago
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The Report Card Episode 353
On this episode we review the albums "Ready Is Always Too Late" Sinead Harnett and "She Got Game Deluxe Edition" by Rapsody. 
  Apple Music TRC 353 Playlist
  Subscribe To Prince Treysaun's Gaming World
Subscribe To Welcome To The Wall Podcast YouTube Channel
Subscribe To My Voice With Dara & Friends Podcast 
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Also available On
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Grade Scale
Check
Great project. Worth a check out. You will find songs you like.
Dash
The project is ok. Maybe more for the current fans. Not much replay value.
X
Do not waste your valuable time with this. Nothing redeemable about this project.
  Like...Comment...Subscribe...Review
Thank you to everyone who listens weekly. 
  Check out this episode!
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New Video: JOVM Mainstay Evidence Teams Up with Boldy James on a Brooding and Contemplative Single -- and Visual
New Video: JOVM Mainstay Evidence Teams Up with Boldy James on a Brooding and Contemplative Single -- and Visual @Evidence @rhymesayers @StephenVanasco @steaminkettlepr @BoldyJames
Los Angeles-based emcee and producer Evidence — born Micheal Taylor Perretta — has established himself as one of hip-hop’s most accomplished emcees and producers: as a solo artist and as a producer, Perretta has worked with Beastie Boys, Linkin Park, Defari, Planet Asia, DJ Premier, WestsideGunn, Prodigy, Rapsody, Aloe Blacc, Action Bronson, Atmosphere’s Slug, Cypress Hill and a lengthy list of…
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