After five years, North Philly rapper Peedi Crakk has parted ways with Roc-A-Fella Records in favor of booming independent, Amalgam Digital. The tech-savvy company responsible for launching hip hop’s first genre specific digital retail store attracted Peedi with their innovative business model and creatively fostering environment. Peedi Crakk joins a roster made up of both commercially successful artists and underground hip hop icons, including Grammy-nominee Joe Budden, Kurious, Tash (of Tha Alkaholiks), and the Juggaknots. His highly anticipated debut album “Camel Face Hunting Season,” will be released in September 2008.

A founding member of State Property, alongside Beanie Sigel, Freeway, and Young Gunz, Peedi Crakk has earned respect for his lyrical talent and rhythmic flow. “The Prince of State Property” created buzz with his single “One for Peedi” which was featured on the Paid in Full soundtrack. He has also made a name for himself by collaborating with the likes of Twista, DJ Jazzy Jeff, and Ne-Yo on the singer’s hit “Stay”. He has showcased his versatility as a featured artist on two albums from Grammy award winners, The Roots, including his recent feature on their single “Get Busy.” Additionally, Peedi will be featured in the upcoming film Next Day Air, directed by Benny Boom.

When asked about his new relationship with Amalgam Digital, Peedi made the following statement:

“Yup. I’m back! And I feel unstoppable. My flow is advanced and as an artist, I’m getting better, especially without the claws of Roc-A-Fella digging at my back. I’ve been a free agent for the past 3 months and now signing with the Amalgam Digital label for my first project I feel even more unstoppable. They are providing exactly what Peedi always needed…proper promotion and distribution. BANG! It’s Camel Face Hunting Season”

“Camel Face Hunting Season” will hit retail stores and digital outlets in September 2008. The first single entitled “More Towels,” features production by Vinny Idol. will offer exclusive bonus tracks when the album is downloaded from the website.

Beanie Sigel – The B. Coming review

Beanie Sigel - The B. Coming reviewhey say art imitates life. This is never more evident than on Beanie Sigel’s third release The B. Coming. With jail time imminent and his life on the line, Beanie Sigel took all of the pain, hardship, and struggles of his life and turned it into his greatest achievement yet. The Beans on this album is different from the one on The Reason and The Truth. You can tell from the tone in his voice and the emphasis on every bar that Beanie knew what lied ahead of him. The dark and eerie mood on The B. Coming is tense. Bean’s introspective rhymes and real life drama takes you on a roller coaster ride of emotions. The B. Coming will do nothing to cheer your day up, but that is the beauty of it. The album represents the pain and struggle of Beanie Sigel, as the Philly native poured his heart and soul out on every track.

The lead single “Feel It In The Air” finds Beans in vintage Geto Boys form, questioning whether his “mind is playing tricks on him”. Over Heavy D’s atmospheric backdrop and fitting vocal sample, Beans offers a variety of lyrical jewels that touch on his inner and outward struggles.

“I hear this voice in the back of my mind, like Mack; tighten up your circle, before they hurt you. Read they body language, eighty-five percent communication non-verbal, eighty-five percent swear they know you. Ten percent, you know they stories. Man the other five, I’mma show you. Just know you been pulling strings, you the puppet master. Fuck them other bastards, now watch who you puffin after. Play your cards, go against all odds. Shoot for the moon, if you miss, you still amongst those stars”.

The struggle continues on the soulful “I Can’t Go On This Way” featuring Young Chris and Freeway. Following Jay-z’s “blueprint” for soul, producer Aqua laces the track with a magnificent sample, but utilizing Gloria Scott’s “Love Me, Love Me, Love Me Or Leave Me, Leave Me”. Beanie’s epic verse touches on everything from baby mama drama, to the pitfalls of the music industry. Gone are the repetitive rhyme schemes and tired subject matter that was seen on Bean’s last two LP’s. “I Can’t Go On This Way” is proof that Beanie has stepped up his game and is providing thought provoking bars for each listener to crew on.

This is also seen on the Ty Fyffe produced “Change”. Over a compelling combination of slick violins and sparkling keys, Bean’s transports himself back in the day to when he was just a “child of the ghetto”. However, instead of offering a cliché recollection of street drama, Beanie runs through a story of an individual’s growth and change while still living in the hood. “Lord Have Mercy” is another notable effort that finds Bean’s asking for forgiveness from the “man” above. The track’s gloomy keys and harmonic hook add even more intensity to an already ominous song.

While The B. Coming’s dark vibe is present throughout, the album is not without change of pace tracks that help lighten or switch up the mood. The infectious “Gotta Have It” featuring Peedi Crak and Twista, succeeds due to its catchy hook, and each emcee’s sick flow. Brick City’s finest Redman also makes an appearance on “One Shot Deal”, as producer Bink amazes with his horn arrangement on the track. The down south influenced “Purple Rain” is another noteworthy collaboration, as Beans and Bun B reminisce about their introduction to sizzurp. But the album’s best collaboration comes from “Bread & Butter”, which features the legendary Grand Puba and Sadat X. With Just Blaze behind the boards, each emcee delves into the shady workings of the opposite sex. Unlike most efforts, the song is able to bridge the gap between the past and present of Hip Hop music.

As the album winds down, The B. Coming ends on an ironic note. His two previous albums, The Reason and The Truth ended with somber and lifelike looks inside the prison system, even though Beanie was a free man at the time. However, with his freedom in jeopardy, The B. Coming ends on a surprisingly positive note with “Look At Me Now”. Instead of another grim look inside his life, Bean’s proclaims that he has “made it”. The broad street bully reminisces about his life, all the pain and struggles, and in turn accepts it all. It is a fitting and ironic way to end the album.

With The B. Coming, Beanie Sigel cements himself as a great emcee. While he may not be as flashy as those in the mainstream light, what Bean’s lacks in commercial appeal he makes up with his introspective nature and top notch lyrical skills. So what keeps The B. Coming from being a classic? The first issue is the overwhelming amount of guest appearances. While none of them takes away from Bean’s performance on each song, in order for Bean’s to truly achieve a classic, he has to do it on his own. In addition, the Neptune’s produced single “Don’t Stop” featuring Snoop Dogg is a contrived effort that was clearly forced on Bean’s in order to gain radio and video play. Still, The B. Coming is a triumphant release from Beanie Sigel. While not everyone will embrace Bean’s substance over style approach, make no mistake about it, The B. Coming will be remembered for years to come.

Beanie Sigel – The B. Coming review

Beanie Sigel – The B. Coming review

Beanie Sigel - The B. Coming reviewWith the past year having been filled with court problems and label changes and the dust finally starting to clear in 2005, it seemed as if was a good time to drop Beanie Sigel’s third album (first on Def Jam), The B.Coming. Although the promotion was last minute, with one video and two television specials, it was probably the most he has ever gotten for any of his albums.

Beanie Sigel is one of those emcees that is well-received by his fans, yet his albums are slept-on. The B.Coming could be one of those albums, and it would be a shame, because the Beanie Sigel fans might just doze off on his best effort yet. Beanie has stepped his game up since his second album, as he showed his realer side with introspect in his life and what he is dealing with and the lyrics speak for themselves.

Two singles were released before the album dropped, with one getting a lot of love on the mix tape circuit and the other a video. “Feel It in the Air” was the first single, with dope production from Heavy D. So dope, in fact, that the beat sparked controversy between Beans and Black Rob over who would get to use it. It was the Alchemist fiasco all over again. But back to the single at hand: “Feel It” is easily the best track on the album, as Beans rip it with poignant lyrics that makes you feel his pain: “I sit alone in my four corner room/staring at hammers, ready to go bananas/two vests on me, two teks, extra clips on me/I know my mind aint playin’ tricks on me/I aint schiz homey.” Shit is hard!

Produced by the Neptunes and featuring Snoop, the second single, “Don’t Stop”, is the most mainstream track that has been heard from Beans. One moment you think that this is a pretty good track and something you could ride to, and the next moment, you’re screaming at the stereo and wondering “Why in the hell is Snoop collaborating with Beans in the first place?!” Sometimes, two different emcees coming together can do beautiful things on a track, but this is a cheap attempt at a commercial hit single.

The album has more highlights than throwaways which is always a good thing. “Bread And Butter” is one of the few collaborations that works. The story about women is often told, but the way that Beans puts it down–on a track about spending cash on women–is done nicely. The appearance of Sadat X was surprising and amusing, as he ripped his verse, especially at the beginning: “Now you know I was your bread and butter/You had a shot to my baby mother/Aint no sorry, I aint Ruben Studdard/I cant apologize multi-platnium times”.

“It’s On” is a track that at first, you skip by it, but after a couple of listens, you begin to like more and more. Plus, the appearance of Jay-Z is always nice for a track. Other album gems include “Lord Have Mercy,” where Beans explains his mindset in life and its pressure and “Purple Rain,” a cool, laid back track about a beverage that is reminiscent of the syrup Three 6 used to sip on.

Even though this is Beans’ best effort, it is not a hip-hop classic, as it does have its fair share of tracks it could do without. For this, we have Peedi Crakk to thank. The two tracks that feature Peedi are problematic from the start: “Flat line” is the typical track about looking for an enemy and pulling a trigger on the enemy. “Got to Have It” is another poor track, with plain-sounding production, an annoying hook and an average verse from Twista that can’t even help the lame attempt.

Aside from a couple of tracks, this album had the feel of realness. It was the first album I’ve heard in a long time where I could feel what the artist was feeling. It is very introspective and Beans wasn’t afraid to let you know where he was in life. Not many emcees in the game do that anymore, as they have an image to maintain, and the formula to success cannot be changed. They are scared that it will affect their SoundScan numbers. Beans did a nice job on this album, and while it wasn’t as dark as, say, Royce Da 5’9’s Death Is Certain, you could feel the emotion of Beans which sometimes gets lost in music.

Beanie Sigel – The B. Coming review

Beanie Sigel – The Truth review

I thought maybe this album would be a decent release as past performances from Sigel have impressed me, I like the way he Beanie Sigel - The Truth reviewrhymes but he hasn’t been consistent. Apparently Beanie Sigel got signed to Roc-a-fella on the strength of a 1000 bar verse he did for Jay-Z, I never talk about other reviews but in a certain hip hop magazine this got compared to Cuban Linx… in one issue and got 4 and a half mics in another, that’s a little background info, so lets talk about the album…

Let me get this out before we continue, this album would have been a lot better if it didn’t come out on Roc-a-fella, why? Because it hass been compromised. That’s why. I’m sick of albums sticking to formulas and this does exactly the same as any other Roc-a-fella release, same producers and guests, I know you have to put your associates on but its getting a bit tired. The album opens with the very promising title track, the organ grinding bounces off Sigel’s vocals in harmony displaying a ruff and rugged intro to the proceedings. Now everyone probably expects me to have a go at Just Blaze (Swizz Beats wannabe) for lacing ‘Who want what’ but despite his lack of talent as a producer he does a good job here, its just Memphis Bleek who displays the rhyming tactics of a 5 year old. Sigels boss Jay-Z makes an appearance 3 times on this album, probably best on ‘Raw and uncut’ (Which suspiciously sounds like U-Gods ‘Bazzare’) because ‘Playa’ along with Amil is just a bad track to listen to, I don’t need music that induces sleep just yet. So Jay-Z also closes the album with the commercial ‘Anything’, which he left off the US pressing of his last album, hmmm I wonder why it was put on here then?

This album is very average but it does have its highlights, take the shaft like rumblings of the mixtape favorite ‘What a Thug about’ which we got to hear last year, its still sounds nice as fuck today. ‘Everybody wanna be a star’ would have been more credible without the cheesy hook but it still manages to be a good track on here. Other than that I’d say the best cut on here is ‘What your life like’ as Beanie Sigel breaks down a gritty scenario of jail life and its realness, the vocals are only made better by an orchestra driven backdrop that wouldn’t be out of place at the beginning of a George Lucas film.

Overall if you’re a Jay-Z or DMX maniac then you’ll like this album, its by no means a classic but if like me you’ve been impressed by his appearances on tracks like ‘Do it again’ and ‘Adrenaline’ then your probably in for a disappointment.

Beanie Sigel – The Truth review

Ghostface Killah – The Big Doe Rehab – video / tracklisting

The Big Doe Rehab, Two More Weeks!

With the release of The Big Doe Rehab only two weeks away, check out the “Rehab” Commercial, Part I, as well as the official tracklistiing and album cover art.

Check out the Ghostface Killah “Rehab” Commercial, Part I

The Big Doe Rehab | Tracklisting
01. At The Cabana Skit Performed by Ghostface Killah and Rhythm Roots Allstars
02. Toney Sigel a.k.a. The Barrel Brothers featuring Beanie Sigel
03. Yolanda’s House featuring Raekwon & Method Man
04. We Celebrate featuring Kid Capri
05. Walk Around
06. Yapp City featuring Trife Da God & Sun God
07. White Linen Affair (Toney Awards) featuring Shawn Wigs
08. Supa GFK
09. Rec-Room Therapy featuring Raekwon & U-God
10. The Prayer Performed by Ox
11. I’ll Die For You
12. Paisley Darts featuring Raekwon, Sun God, Trife Da God, Method Man & Cappadonna
13. Shakey Dog Starring Lolita featuring Raekwon
14.! Performed by Ghostface Killah and Rhythm Roots Allstars
15. Killa Lipstick featuring Method Man & Masta Killa
16. Slow Down featuring Chrisette





STATEN ISLAND, NY – “When you get a new Ghostface Killah album, the only reasonable reaction is to get lost in it,” said the New York Times of Ghost’s last full studio album, ’06’s instant classic Fishscale. And with the December ’06 release of More Fish and Ghost’s near-constant touring in ’07, his legions of fans have been happily lost in the ‘World According To Pretty Toney.’ Now, with a new Def Jam album – The Big Doe Rehab – set for release on December 4th, his current tour with Rakim, and a coffee-table book set for release on January 8th through MTV Press, the devoted will be positively delirious.

Fishscale, Tony Stark’s return to vivid street tales and gripping narratives of the drug trade, was greeted with universal acclaim and topped crtitcs’ year-end lists unanimously: Rolling Stone (#5), Blender (#5), and Spin (#4) all anointed the return of the Wu’s greatest banger. The Big Doe Rehab finds Ghost and company still in razor-sharp form, weaving a rich, complex tapestry from tales of drugs, violence, paranoia, love, hate and humor over gritty, soulful beats. The lead single “We Celebrate” featuring Kid Capri is a party on wax, with Ghost proclaiming “Tony Starks just won an Oscar, y’all!” and Capri hyping up the crowd over Rare Earth’s classic “I Just Want To Celebrate.” Elsewhere, Ghost’s partner in crime Raekwon shows up on two of the album’s standouts “Yolanda’s House” and “Shakey Dog Starring Lolita,” an epilogue to the Shakey Dog story on Fishscale. On ‘White Linen Affair (Tony Awards),” Starks and Theodore associate Shawn Wiggs host through a hilarious, star-studded white linen and “Evian water” affair, complete with the requisite A-list – Janet & Jermaine, Kanye & Keyshia, etc. Ghost truly shines on the album’s quieter, darker, more introspective moments, “Walk Around” and “I’ll Die For You.”

Ghostface’s penchant for dropping random pearls of wisdom is notorious. And so MTV Press has collected a volume of ‘Toneisms’ set for a Jaunary 8th release. Co-written by MTV’s J. Brightly and inspired by the popular MTV skits of the same name, The World According To Pretty Toney is the modern hustler’s guide to life; Pretty Toney offers nuggets of wisdom on the key elements to becoming your own personal success story: Livin’, Hustlin’, Love, Nutrition, and the all-encompassing Toneology. Coupled with vibrant 4-color photos by Dave Hill that illustrate each pearl of wisdom, and a companion audio disc, these are indispensable life lessons that will teach hustler’s everywhere what to do and what not to do.