Record Label: Below System
Pawz One announces the release of his album ‘Face The Facts’, after releasing 3 well received mixtapes and independently touring the United States, Pawz One returns with his first solo album.
Featuring a combination of gritty and smooth production from Los Angeles producers Default & Breeze that embody the genuine golden-era style.
Heavyweight guests such as Rakaa Iriscience of Dilated Peoples, Ras Kass, Termanology, 2Mex and Masta Ace all make solid appearances throughout the album.
‘Face The Facts’ is set to impact audiences all over the world by carrying on tradition and adding something new to hip hop’s already rich history. The culture's in good hands, it’s time to face the facts!
Released without the usual flurry of hype, Before I Self Destruct fulfills 50 Cent's contractual obligation to the Interscope label. It also doubles as a throwback album, returning the rapper to the hunger and hatred of his early mixtapes while skillfully recasting him as a wannabe upstart. That is, for the most part. The four radio-friendly bedroom numbers that conclude the album are out of place but fairly good to dime-piece beautiful, with the best being the Ne-Yo showcase "Baby by Me" ("Have a baby by me, baby/Be a millionaire"). As pleasing as these final numbers are, if you leave the room after the macho bruiser "I Got Swag" ("I'm infinitely special/Girl the Lord is gonna bless you/If you do what I tell you to do"), you'll return to a confusingly different album, one that's as glamorous but less vital. The monstrous run of tracks that leads up to this flash and polish can be summed up by 50's "This ain't Tha Carter/It's Sparta!," a witty, deceptive, and brutish line barked over a prime Dr. Dre beat during the great "Death to My Enemies." On the cut, the producer sounds like he's been digging on RZA, but the tension and dark-night feel he has created for "Psycho" is easily identifiable as Dre. Add an especially rapid 50 trading horror-show rhymes with Eminem and the G-Unit soldiers will testify that the Shady/Aftermath dream is still alive. While "So Disrespectful" is the perfect title for a song that shocks, stuns, and brings reminders of the gritty G-Unit Radio mixtape series at its best, the Rick Rock-produced "Stretch" is an even craftier balance of amoral and humorous as it references Plastic Man and Mr. Fantastic before explaining the profitable benefits of cutting cocaine. There are only three guest vocalists, and save a production credit for Havoc, the G-Unit posse is absent, and yet 50 is able to carry the album alone, sounding as inspired as he did on his Interscope debut. That album, Get Rich or Die Tryin', beats this one thanks to its proper balance and structure, but Before I Self Destruct is still a fantastic juggernaut of a 50 album if you exit early, and a very good one even if you don't.
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Get Rich Or Die Tryin' is the debut studio album from rapper/entrepreneur 50 Cent on Aftermath Entertainment/Shady Records. Driven by the smash #1 hits "In Da Club" and "21 Questions" along with additional singles "PIMP" and "If I Can't," Get Rich Or Die Tryin' debuted at #1 on the Billboard charts selling 872,000 copies in its first week and in excess of 10 million copies to date, making it one of the best-selling hip-hop albums of all time. The album features production from mentors Dr. Dre and Eminem and guest appearances by the latter along with Nate Dogg, Young Buck, Lloyd Banks and Tony Yayo. Get Rich Or Die Tryin' was also nominated for a Grammy award for Best Rap Album. "Ten years ago...the hip-hop landscape shifted. 50 Cent, a young upstart from Queens, New York, put the rap game in a chokehold with the release of his debut studio album "Get Rich or Die Tryin'." The album was an audio snapshot of a hustler balancing machismo with romance and vengeance with ego. On "Get Rich or Die Tryin'," 50 pocked gritty street tales with stitched hooks that thawed the iciest of haters, mainstreaming a style popularized by his foe Ja Rule and appropriated to boost his own ascent. "...Upon release, "Get Rich or Die Tryin'" laid a new blueprint for hip-hop releases. Whereas few artists ventured outside of the major label system to build buzz, the rapper overcame getting dropped by Columbia Records and recovering from nine gunshot wounds to architect a career in the streets. The rapper took a mixtape model - DJs curating compilations that were bootlegged on corners - and bent it to his advantage, using instrumentals from popular songs to create classic releases like "50 Cent is the Future" and "No Mercy, No Fear" with his G-Unit crew. The mixtape-as-marketing-tool earned him a record deal with two artists with heavy co-signs: Eminem and Dr. Dre." - Steven J. Horowitz, Billboard
Two of Hip Hop's most cherished icons, Talib Kweli and 9th Wonder have come together to create what undoubtedly will go down as an instantly classic album. INDIE 500 features an All Star supporting cast, including Problem, Slug (of Atmosphere), Rapsody, Pharaoh Monch, Brother Ali, Hi-Tek, NIKO IS and more. After exploding on to the scene as one half of the legendary Black Star alongside Mos Def in 1998, Talib Kweli quickly followed up in 2000 with the album Train of Thought, his collaborative effort with producer Hi-Tek. As fans,critics and his peers unanimously agreed, Kweli was cemented as one of hip hop's top lyricists and continued to release one acclaimed album after another - garnering direct praise from Jay-Z on his song ""Moment of Clarity"" from Jay-Z's classic The Black Album. Meanwhile as the early 2000's progressed, a new trio was bursting on the scene from North Carolina known as Little Brother. Behind the boards of this trio was producer 9th Wonder, who very quickly established himself as one of hip hop's best producers. As their 2003 album The Listening reached a fever pitch, 9th Wonder's buzz became so hot he claimed a highly coveted production spot as well on Jay-Z's The Black Album. Through the years both Talib Kweli and 9th Wonder have gone on to work with a staggering list of hip hop royalty. However both of their respective works outside of the recording booth have become prominent pieces of their stories as well. 9th Wonder has established himself as Hip Hop's top educator, working as a professor at Harvard, Duke and North Carolina Central University, while Talib Kweli has become one of Hip Hop's most vocal and respected voices, who appears regularly on news outlets such as CNN and programs like HBO's Real Time with Bill Maher. A collaboration between Kweli and 9th almost seemed to make perfect sense, but INDIE 500 represents even more to the artists. "I've always been a fan of collectives, like Native Tongues and the Dungeon Family," explains Kweli. "INDIE 500 is a tribute to the spirit of unity exemplified by some of great hip hop artists that influenced us." Collectives are nothing new to the two, who have both successfully run their own labels in Blacksmith, Javotti (Kweli) and Jamla (9th Wonder), helping to break a number of popular artists over the years.
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Joseph Abajian (DJ Jab) founded Fat Beats in 1994 with nothing more than a shoestring budget and an earnest obsession with the music, the culture, and the brotherhood of New York’s burgeoning rap scene. What began as a simple vinyl shop in Manhattan’s Lower East Side quickly became an integral hub for artists, both aspiring and established, to convene and collaborate on new projects. Joseph’s timing couldn’t have been more impeccable. When the 90’s cultural zeitgeist – and, in turn, the music industry establishment – chose hip-hop as its new arbiter of cool.
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