Joe budden no love lost datpiff free#

On July 21, 2015, it was announced that Bangz signed with 300 Entertainment. (who produced Kirko's previous #1 hit 'Drank In My Cup) the mixtape featured artists such as Texas heavyweights Bun B and Riff Raff. On December 16, 2014, Bangz released the Progression V: Young Texas Playa mixtape, which was produced primarily by Austinite Kydd Jones and Sound M.O.B. From March 6 to April 17, 2014, Kirko Bangz went on The Trillest concert tour which was co-headlined by frequent collaborator Bun B. His debut album will be released during 2014 by Atlantic Records. Then on January 28, 2014, Bangz released the album's first single 'Hoe' featuring YG and Yo Gotti. He was moved to Atlantic Records another subsidiarity of Warner Music Group. If they can get that balance right, hip hop may well let them back out of the basement back on to the main stage.Kirko Bangz - 2013 to the present: Atlantic Records and 300 Entertainment Somebody like Revolution or Eclipse who can tie all the dope verses together so we don’t have to hear another underwhelming, overly wordy chorus. I’m not one to offer tips to successful emcees, but given the tendency to drop a clanger on hooks, Slaughterhouse could really do with a DJ. Shady Records may have helped pay the bills, but these powerhouses of rap need to drop an album that’s devoid of overblown productions that should be on an Eminem album, and stick to this smoother, more minimal style. Joell gets so hyped on “Life In The City” that the pop filter is still receiving therapy – yet as a refreshing, shorter slice of hip hop it helps break up the endless barrage of rhymes preceding it.Īs far as DatPiff mixtapes go, this is jam-packed with content and definitely worth downloading. Crooked’s voice actually almost breaks on “Struggle”, a solo track that is a good listen but let down by a lame hook. Emotional verses are traditionally Joe Budden’s speciality, but the raw passion that the other guys have lends these songs a powerful edge. Broken homes are a frequent theme, with Crooked comparing the way his father disappeared without saying a word to David Blaine. If you expected (or wanted) endless wordplay and braggadocio, you may be a little disappointed that much of “House Rules” feels more grown up and focussed. LL Cool J once said on his “Mr Smith” album that he could fill The Source’s “Hip Hop Quotable” page for twenty years straight, but Crooked I actually tries to on “Offshore”, a mammoth 9-minute track that he dominates.

Joe budden no love lost datpiff free#

If you enjoyed “Hell: The Sequel” by Bad Meets Evil, you’ll be glad you downloaded this free 46-minute collection of MP3s. From the first track, Royce Da 5’9″ experiments with his voice to the point of crooning and then transforms in to Bar Exam-mode on “SayDatThen”. It also gives the guys a more authentic, playful presence than the artificial corniness that was all too frequent on “Welcome to Our House”. More importantly, production is less polished and feels like it was chosen to promote the lyricism. Given that the first Slaughterhouse mixtape was better than either of their actual albums, it’s relieving to hear “House Rules” is packed with experimental flows and wild spitting. Following an impressive self-titled debut that was a near-perfect blend of lyrics and accessibility, quad-core rhyme-processors Slaughterhouse are out to rectify the disappointment of “Welcome to Our House.” That album should have been so much better, especially with Eminem’s involvement, but was bogged down by sugar-sweet beats and lame hooks. Shady record deals and shelved albums pushed these lyricists aside as they struggled to push numbers on a level with weaker, inferior artists on the radio. Slaughterhouse would be the guys ciphering amongst the Rugged Mans and Canibus’ in the dirty, dank, graffiti-scrawled cellar, yet they initially entered the house as hot prospects, gracing the garden in front of thousands as they blessed top-tier productions hot out of the kitchen. The metaphorical house of hip hop receives new tenants on such a frequent basis that inevitably, those who once graced the biggest room showcasing their skills to the wider audience and guests, end up being pushed aside and eventually find themselves down in the basement.