A few months back I was listening to a project by the homie Coss, and one of the beats kicked my ass. I hit up Coss and asked him who made the beat. ReallyNathan made the beat. I had him link us. I had him send a folder, and a couple weeks later I built "LoveNWar". Really Nathan is really dope. You can hear his love of creating in his work. Creating to create. To provide a soundtrack. For life – House Shoes
From Ras_G: The God Spell Beat tape just happened. I always make quick freestyle beats at work. I work at a "WrekaStow" so I'm always surrounded and listening to random records and after my Bluntch breaks. I would come in make a few quick joints on my SpaceProgram 303 And I just ran thru the gospel section that round and in 2 weeks I Had.”
The lean & compact effort featured production by Denmark himself (who has produced for the likes of Danny Brown, Elzhi, Quelle Chris and more), as well as Dirty Science's Exile, Azarias,and T-White with vocal contributions by Guilty Simpson, Black Milk, Tanya Morgan and more. As a special addition, the 2XLP vinyl includes the album's instrumentals plus two bonus tracks "Katt Williams" and "Snowing in LA" produced by Odd Future's Earl Sweartshirt. The cassette also includes the two bonus tracks.
Seige Monstracity is an anomaly in the music industry. He rides the fence, providing the contemporary soundtracks for successful commercial artists such as YG, Tyrese, Keisha Cole, and Marsha Ambrosius, as well as producing grimey backdrops for underground artists like Bizarre, Bad Lucc, and Namebrand. This is a collection of the latter. Seige’s debut LP contains 12 incredible doses of heavy beats, chopped up breaks, and obliterated samples. A Detroit transplant in Los Angeles, both cities are omnipresent at all times on the LP. “Swahililand” is a west-coast interpretation of the classic “Stakes Is High”. “Careless” revives a classic David Axelrod moment. “Dirt Bag” sounds like a late night liquor store robbery. “Doves” takes a classic from one of our all time greats who we lost recently, and transforms it into a ride thru the hood on a beautiful day in Los Angeles This is not to be missed. Another classic collection of beats from Street Corner Music.
Chicago producers Scud One (Cult Classic, The Dirty Science, 2012) and T-White (The Gift Vol. V, Street Corner Music, 2014) have been working together in hip-hop production for more than four years. Scud One is a producer and lyricist whose work on Cult Classic and Don’t Drink The Kool-Aid - alongside artist Denmark Vessey - was called “organic and thoughtful, political and soulful, and without being quirky or removed from the streets” (Daniel Isenberg - Nahright.com, Complex Magazine). Scud One has worked, notably, with artists Quelle Chris, Guilty Simpson, and Exile, among others. T-White is a producer, animator and video director whose record debut was the fifth volume in the ten-volume “The Gift” series compiled by House Shoes (Street Corner Music). He has produced for Denmark Vessey on Don’t Drink The Kool-Aid and 2015’s Martin Lucid Dream;T-White produced the single “Don’t Smoke K2” which was featured on NPR’s “Songs We Love” “STEVEN TYLER” - a title derived from the combination of the first names of both artists - is a collaboration between Scud One and T-White focusing on the integration of beats, interludes and spoken-word comedy skits delivered with absurd - and sometimes sardonic - wit. It’s a packed album, making use of colorfully-loud, spacey artwork and irreverent humor throughout its tracklist. As a collaborative effort, it showcases the strengths of both its producers - Scud One’s lavish looping skills and sample choices, with T-White’s drum proficiency, interlude construction, and penchant for comedy. “Steven Tyler is hard as fuck.” - House Shoes
Jake One's discography reads like a who's who list of some of the greatest AND most successful artists in the history of hip hop. That's what makes him truly unique. Blurring the lines between the underground and overground. Providing sonic backdrops for such incredible emcees as De La Soul, Scarface, Freeway, MF Doom, Evidence, Casual, Elzhi, Brother Ali, and Rakim among others, but polishing that same formula and providing records for the likes of Drake, Rick Ross, T.I., 50 Cent, Snoop Dogg, J Cole, Wale, Dom Kennedy, and Royce 5'9", Jake One is one of the exceptions that has worked equally with both of these sides of the industry. Exceptionally. "Prayer Hands", a collection of instrumentals created from gospel sources, includes some of those recordings amongst others that all remind you that Jake One has pretty much become the go-to producer for any major artist that wants some real hip hop shit on their album. And understandably so. His discography is one of the most reputable in the game. On October 21st, Street Corner Music and Rappers I Know are proud to present Jake One's "Prayer Hands"
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After spending the majority of 2009 in Hollywood, Chanes briefly returned home to finish up songs for what would become his 2010 release, An Experimentation in Instrumentation. The 15-track tape, presented by House Shoes, exposed us all to the nomadic 21-year-old producer from Canton, Michigan. Chanes would spend the next two years working between home and Brooklyn, before relocating to Arizona, where he would release his follow up project, Renegade Hands, (Insect Records 2013). Presented again by Shoes, Hands solidified Chanes as one of the most promising young producers in the country. Fast-forward to 2016, and at 27, this self-titled debut takes us circa 2007 - 2009 with the soul-chopping salad days of his mother's basement, through the alternative sampling Williamsburg, Brooklyn sessions of 2010. If the melancholy desert psychedelia of his isolated four years in perpetual Southwestern summer gives us a glimpse into his growing electronic influences, then the angst of his winter homecomings are hiding under the aggressive parka weather beats that first caught the attention of Detroit’s underground. Fittingly, Chanes’ debut LP comes full circle, finishing the album back in the place it all started and releasing it with long - time supporter House Shoes and Street Corner Music.
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A few years back 14KT gave out a free downloadable project called “14KillaTape”. Fast forward to the present, and Street Corner Music now presents a darker, retooled version... “14KillaTape: REDUX” brings you 5 tracks from the original incarnation, along with 7 brand new grimy treats. Cassettes available first with LPs coming next year.
Swarvy is dope. We all saw this when "Scotch" dropped last year to high acclaim. Stunts picks up where Scotch left off. Stunts is a four volume journey with a wide range of sonics, from live instrumentation, to beaten up samples. The 2xLP offers 40 tracks, 10 as of yet unheard by the world, and exclusive to the vinyl.
EXT returns with his follow up to the third installment of House Shoes reputable "The Gift" series with "Arts & Craft". EXT cleared off his desktop about a year ago and sent me everything he had been working on. All of the tracks were in various stages of development. Some loops, Some fully fleshed out, some sounded like sketches. It drew my attention because of the resounding innocence of the collection, an innocence that is more or less gone from the industry in 2015. Listen and learn what it sounds like to just have the intention to create, not muddled with the star aspirations or big money dreams. Just to create.
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The Gift is a series DJ House Shoes started to spotlight under the radar producers. DRUGS, whose name is attributed to the addictive properties and high potency of his music, hails from Fayetteville, North Carolina. He first began experimenting with music at the age of thirteen. While he was in high school he began analyzing beats and searching for his own future source material to make beats from. This was DRUGS’ beginning as a beatmaker/producer. From the mid 00’s to the early 10’s DRUGS honed his craft and eventually sold beats professionally to notable artists like 50 Cent, Big Boi (OutKast), Ludacris, Marv Won & Fattfather (Fat Killahs). In previously writing about DRUGS’ beats on Medium last year, I famously said “These beats make me want to sell crack rock on a skateboard while wearing Iron Man’s armor in a school zone during recess. I heard some of the jawns on this cat’s SoundCloud and I made ugly faces to rival Tyrone Hill pre-sneeze. These slaps make me want to run through multiple plate glass windows like Master P at the end of the If I Could Change video. He has taken his influences and succeeded in using them to create his own unique style”. Liner notes adapted by Dart Adams a.k.a. Sleevie Wonder
Doc Illingsworth has been cranking out heat in Detroit for years now. Whether it be solo, instrumental, or rhyming and providing the sonics for his crew Detroit CYDI, his discography has grown as long if not longer than many of his contemporaries. I felt that a full length LP of his work was long overdue. No better time than the present, right? So we made it happen. Better late than never right? Hopefully this will be the first of many for Illingsworth. It took a minute, but it's definitely Worth The Wait...
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The Gift is a series DJ House Shoes started to spotlight under the radar producers. Pressed in a limited edition of 300 copies.Raj Mahal was a colleague of House Shoes in the Detroit hip-hop scene in the 1990’s, a scene he joined just about the time “Fantastic Volume One” was recorded (1996). When he moved to Chicago and refined his style, there was widespread talk that Raj would follow in the footseps of other Detroit alumni by releasing a proper album. That album has finally come.
House Shoes is proud to present the first-ever physical release of Danny Brown’s Hot Soup, his debut album released in 2008 prior to the release of The Hybrid. Featuring Rapper Big Pooh and production by Quelle Chris, Nick Speed, and Danny Brown himself, Hot Soup immediately propelled Danny Brown into hip-hop’s national consciousness and solidifed him as one of Detroit’s most electrifying live performers. With his most recent Fool’s Gold album carrying Pitchfork’s “Best New Music” status, fans are hungry for a deeper look into the mind of one modern hip-hop’s most charismatic and controversial artists.
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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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