OFFICIAL SWEEPSTAKES RULES

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SWEEPSTAKES DESCRIPTION:

The TheUrbanDaily.com Scarface DVD Giveaway (“Sweepstakes”) will begin at 9:00 A.M. Thursday September 1, 2011 and end at 11:59 P.M. on Tuesday September 6, 2011 (“Sweepstakes Period”). Two (2) winners will each be awarded one (1) copy of the Scarface DVD.

HOW TO ENTER:

Legal residents of the U.S. who are eighteen (18) years of age or older and are members of BlackPlanet.com who reside in the New York City metropolitan area will be able to take part in this Sweepstakes. To enter this Sweepstakes, participants must do the following:

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2.     Entrants must be registered members of BlackPlanet.com to submit their comments at TheUrbanDaily.com. Membership is free. To join, go to BlackPlanet.com and submit the requested information.

3.     Upon entering the Sweepstakes website, participants with a valid email address are to follow the on-screen instructions. Once a member becomes a winner, they will be contacted to confirm, their name, address, phone number, email address, and additional contact information in order to mail the prize to the winner’s residence.

4.     All Internet entries/comments must be received by 11:59 P.M on Tuesday September 6, 2011 or they will be void.

5.     One entry per person per day during the Sweepstakes Period.

6.     In the event of a dispute regarding the identity of a participant’s online entry, the entry will be deemed to have been made by the authorized holder of the e-mail account at the time the entry was made.

ELIGIBILITY RESTRICTIONS:

1.     The Sweepstakes is open only to legal U.S. residents who reside within the New York City metropolitan area, are registered members of BlackPlanet.com and/ or Twitter subscribers and are eighteen (18) years of age or older at the time of sweepstakes registration.

2.     Employees of Radio One, Inc., Community Connect, Inc. or Interactive One, LLC (together “Company”), its officers, directors, subsidiaries, affiliates, advertisers, general sponsors, promotional partners, their respective subsidiaries, affiliates, parent companies, members of the immediate families (defined as spouse, child, sibling, parent, or grandparent), and members of the households (whether related or not) of any of the above are NOT eligible to participate or win in this Sweepstakes.

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PRIZES:

1.     Prize package will include the following:

Two (2) winners will each be awarded one (1) copy of the Scarface DVD.

2.     If a winner is unable to accept the prize, the prize will be forfeited in its entirety.

3.     No substitution of prize is offered, no transfer of prize to a third party is permitted and non-cash prizes may not be redeemed for cash value, except as determined by Company management and/or the sponsor in its sole discretion.

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6. Company is not responsible for any expenses associated with winner’s receipt of the prize not specifically provided herein, including travel expenses, meals and any other incidental expenses.

EXECUTION:

1.     During the Sweepstakes Period, eligible participants will be encouraged to take part in the Sweepstakes by commenting online at TheUrbanDaily.com. After completing their comments regarding a designated article posted on TheUrbanDaily.com, entrants will be qualified for a chance to win the prize.

2.     The grand prize drawing will take place on Thursday September 8, 2011.  Two (2) winners will be selected by random drawing from among all eligible entries received electronically.

3.     The winners will be notified by email.  Company will then make prize available for pick-up by winners, or make other prize distribution arrangements within Company’s discretion

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GENERAL CONDITIONS:

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2.     Any person winning over $600.00 in prizes will receive an IRS form 1099 at the end of the calendar 2010 for tax purposes and a copy of such form will be filed with the IRS as required by law.

3.     No purchase necessary. Sweepstakes is void where prohibited. Sweepstakes is subject to all applicable federal, state, local laws and regulations.

4.     Odds of winning depend upon the number of eligible entrants participating during the Sweepstakes Period.

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6.     Company retains the right to disqualify any entrant if all sweepstakes rules are not followed.

7.     All Sweepstakes winners will be required to sign a liability release prior to acceptance of any prize. Pursuant to the liability release, the winner or winners will agree to hold Company, any other Sweepstakes parties and each of their respective affiliates, subsidiaries, agencies, officers, shareholders, directors, employees, agents and representatives of each of the foregoing, harmless against any and all claims or liability, directly or indirectly related to or arising from or in connection with Sweepstakes participation or the acceptance, possession or use / misuse of any awarded prize or any portion thereof, or participation in prize-related activities, including but not limited to any related travel.

8.     By accepting the prize, the winner acknowledges that Company has neither made, nor is in any manner responsible or liable for, any warranty, representation or guarantee, express or implied, in fact or in law, relative to the prize or to any portion thereof, including but not limited to its quality, mechanical condition or fitness for a particular purpose.

9.     Any information collected by registering to enter the Sweepstakes shall be used only in a manner consistent with these Official Sweepstakes Rules.

10.  Company, participating sponsors and their respective parent companies, subsidiaries, affiliates or their representatives, agents and employees are not responsible for the inability of any entrant to complete or continue an internet registration due to equipment malfunction, busy lines, inadvertent disconnections, unavailable network, server, Internet Service Provider (ISP) or other connections, communication failures or human error that may occur in the transmission, receipt or processing of entries, including any injury or damage to participant’s or any other person’s computer arising from or relating to participation in this Promotion,. In addition, Company, participating sponsors and their respective parent companies, subsidiaries, affiliates or their representatives, agents and employees are not responsible for late, postage due, lost, misdirected, mutilated, illegible or incomplete sweepstakes entries. No mechanically reproduced or automated entries permitted. Entry materials/data that have been tampered with or altered are void. Once submitted, entries become the property of Company and will not be returned.

11.  If for any reason, the Sweepstakes is not capable of running as planned, including without limitation, any suspected evidence of tampering or technological corruption or if any portion of the promotion is compromised by virus, bugs, worms or unauthorized human intervention, fraud, acts of God, strikes, terrorists acts, criminal acts of third parties, an insufficient number of qualified sweepstakes entries, or any other causes beyond Company’s control which, in the Company’s sole opinion, corrupts, threatens or impairs the administration, security, fairness, integrity, or proper conduct of the Sweepstakes, Company reserves the right to cancel, terminate, modify or suspend the Sweepstakes at its sole discretion.

12.  Any attempt by an entrant to deliberately undermine the legitimate operation of the Sweepstakes may be in violation of criminal and civil laws and should such an attempt be made, Company reserves the right to seek remedies and damages (including attorney’s fees) from any such entrant to the fullest extent of the law, including criminal prosecution.

13.  To receive the names of the winners, send a self-addressed stamped envelope for receipt to: TheUrbanDaily.com Giveaways, c/o Interactive One, LLC 205 Hudson St. 6th Floor, NY, NY 10013 ATTN: Scarface DVD Giveaway.

Scarface is already in the studio working on his next album with all new material.

Source: AllHipHop

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Fifth Ward, 4300 Lyons Avenue, Houston, TX 77020

When: February 17, 1989

What: Rap-A-Lot Records releases Grip It! On That Other Level the first album to feature the line-up of Scarface, Willie D and Bushwick Bill. Rick Rubin remixed ten of the album’s twelve tracks for the group’s self-titled follow-up album.

In celebration of Black Music Month, TheUrbanDaily’s “It’s All Black Music” presents 100 Rewarding Black Music Moments, sponsored by Southwest Airlines.

Each Black Music Moment is associated with an actual place that you can visit. During the month of June, check in to at least three of these places on Foursquare to unlock TheUrbanDaily’s exclusive “It’s All Black Music” Badge. Check out the locations and details on our Foursquare page!

Admittedly, when we first did this list back in 2008 there was one glaring omission–The Notorious B.I.G. This wasn’t because we didn’t like his voice, but I think we were trying to overcompensate for the “East Coast” bias that we’ve been accused of having from time to time. But the beauty of the Internet is that you get to do things over, make adjustments. If The Source can go back and give people Mics we sure can go back and add one of the greatest MCs of all time to a list.

So who did I bump off to make room for Biggie? Nobody.  As a voice I still think Scarface’s is one of the most unique and powerful I’ve ever heard from an MC, but I placed Biggie neck and neck with Chuck D. Read on to see why.

(Props to Big Jo at Beatlcub for sparking this topic!)

1) Scarface
There are deep voices and then there are deep voices. No disrespect to Jay Hova but if God was an MC he’d sound like Brad Jordan. His unmistakable timbre has a mix of southern gangster but holds the weight of a preacher.

2)Chuck D/ Notorious B.I.G (tie)
If Barack Obama were to lose his voice tomorrow, I’d call Chuck D to overdub all of his speeches. The authoritative bass in his vocals is both unmistakable and undeniable. The late Christopher B.I.G Wallace had the uncanny ability to adjust his voice to suit the track (think “Party And Bullshit to “Kick In The Door” to  “One More Chance (remix)” ) and over a decade after his death is the most recycled, sampled and reused voice in hip-hop–much like Chuck D’s.

3)DMX
From the canine growls of “What’s My Name” to the calm of “How’s It Goin’ Down” Earl Simmons knows better than most the power of his own voice. Unfortunately, these days he is doing more talking before a judge than before an audience.

4) Busta Rhymes
As I’ve stated before The Dungeon Dragon has a voice that spits flames (“Woo Ha”) or simply smolders (“Put Your Hands Where My Eyes Can See”) depending on what the beat tells him to do. But you really don’t appreciate a voice like Mr. Smith’s until you hear it live.

5) Ludacris
Chris Lova Lova’s days on the radio have made him one of the most listenable MCs in the game. Vocally, he rivals Will Smith for clarity, cross-over appeal and replay value, but brings a swagger that is uniquley his own.

6) Mystikal
A Cajun cousin to Busta’s growl, Mystikal brought a weezy twist to the scream scene. On cuts like “Danger” Mystikal takes a more musical, singy approach giving him a Scatman Crothers in a strip club feel.

7) Rev. RUN
From “Rock Box” to “Run’s House” to “Jockin’ Jay-Z” no voice has proved as enduring as Rev. Run’s.

8 ) Ice Cube

Forget bean pies and St. Ides, props to anybody that can sling “Are We There Yet?” and Death Certificate and be completely believable without altering his voice one bit.

9) Rakim / Big Daddy Kane (tie)
One of the most sampled voices in the game, Rakim seduced listeners with an easy-going delivery that set you up for some of the most potent couplets ever put to paper. Kane was the pimptastic alter ego that could talk the stripes off a zebra.

10) Lauryn Hill
Gender be damned, she raps better than most rappers and sings better than most singers, but doing both so well is simply divine. Her voice is distilled with so much pain and passion that you just want to pour it in a highball glass and zone out.

Honorable Mentions:

Chubb Rock
MC Lyte
Slick Rick
Kool Moe Dee
KRS-One
Rah Digga
Lord Have Mercy
Treach of Naughty By Nature
Melle Mel
Rock from Heltah Skeltah

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A source tells AllHipHop.com that he’s been transferred to multiple facilities. “He’s gotten transferred to a few jails last year and some of the cases are in different states,” the source said. “This whole situation could’ve been avoided.”

Scarface, born Brad Jordan, rose to fame in the late 80s and early 90s with the group Geto Boys.  Their biggest single, “Mind Playin’ Tricks On Me,” was released in 1991.  Scarface began a solo career the following year.

RELATED: Judge Reduces Nas’ Spousal & Child Support Payments

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With the recent announcement that Bun B’s brand new album, Trill O.G. received a perfect 5-Mic rating from The Source, it’s only fitting that we take a look at all of the albums that have received the coveted rating.

44 albums in the magazine’s history have been given a perfect rating.  29 of them have been given retroactively.  The other 14 were received at the time of release.  It’s those 14 that we’ll be focusing on here.

The Source was dogged in the early 2000s amidst accusations that a good rating, which had become as important as a Grammy Award, was bought by the artist.  While many of their ratings were valid, there were more than a few head scratchers in the magazine’s later years.

A Tribe Called Quest
People’s Instinctive Travels and the Paths of Rhythm

I remembered two Tribe albums getting five mics, but I always thought it was The Low End Theory and Midnight Marauders that got a perfect score.  But lo-and-behold, research proves that Marauders only got four mics.  While it’s very difficult to listen to an album 20 years after its release and get back to the mindset of the hip-hop fan in 1990, I honestly can say that I never viewed Tribe’s first album as a classic.  Does it have classic songs?  Most definitely.  “Bonita Applebum,” “Can I Kick It?” “Footprints,” “Luck Of Lucien” are all hands down some of the best that hip-hop has ever seen, but the album feels a bit uneven and scattered.

Eric B. & Rakim
Let The Rhythm Hit ‘Em

This is another album that I never realized received a perfect rating.  Why?  Because Eric B & Rakim’s albums got progressively worse as their four album career went on.  Rhythm being their third album was not as good as Follow The Leader, and definitely not as good as their debut, Paid In Full (which was awarded 5-mics long after it’s release… a rating I highly contest due to the inclusion of songs like “Chinese Arithmetic,” “Extended Beat,” and, depending on the day you ask, “Eric B Is On The Cut.”)  Rhythm‘s title track is classic status, as is “Mahogany,” but once again, I never saw this album as being five-mic material.

Ice Cube
AmeriKKKa’s Most Wanted

Ice Cube’s split from N.W.A. was probably the best thing that could have ever happened to the rapper, who penned most of the group’s lyrics.  His defection from the group led him to leave the west coast for the east where he linked up with the legendary Bomb Squad production crew, who produced all of Public Enemy’s classic albums.  The switch in production crews wasn’t as different, as a lot of N.W.A.’s sound had that Bomb Squad-esque, chaotic collage feel. The result of Cube’s collaboration with the Squad resulted in an album that built upon N.W.A.’s penchant for shock factor and married it with Public Enemy’s politics.  This album was very unique at the time of it’s release and deserved it’s five-mic rating.

Brand Nubian
One For All

Brand Nubian were almost like a 1990s Miami Heat with three legit soloists-Lord Jamar, Sadat X and Grand Puba-creating a hip-hop rarity: a group with no weak link. Puba’s salacious wordplay was balanced by Jamar’s rugged baritone and Sadat’s nasaled tales from the hood. Hailing from the outer reaches of the New Rochelle they extended the hoods borders a little further north incorporating the 5 Percent teachings with break beats funky enough for the radio and the clubs. One For All spawned two classics “Wake Up” and “Slow Down” along with the title track of this undisputed masterpiece.

De La Soul
De La Soul Is Dead

The Long Island, NY trio one-upped their instant classic debut, 3 Feet High & Rising, on the follow-up. De La Soul Is Dead was a conscious effort to abandon the D.A.I.S.Y. Age/pseudo-hippie image that people associated with them based on their debut.  The result was one of the most engaging and interesting hip-hop albums ever released.  They toughened up their sound and lyrics without sounding like they were fakin’ the funk yet still kept the sense of humor and quirkiness that made fans and critics alike fall head over heels for 3 Feet High & Rising.  Is De La Soul Is Dead perfect?   Far from it, but its imperfections are what made the album, as well as De La themselves, endearing and an album that still sounds fresh and fun 19 years later.  This one deserved its five mics.

A Tribe Called Quest
The Low End Theory

The difference between Tribe’s debut album and their second, The Low End Theory, is like night and day.  They may sound similar, but for the first time, Tribe put together a focused album.  Though it starts to lag a little towards the end (when’s the last time you listened to “Skypager?”), all is forgotten once one of hip-hop’s greatest posse cuts, “Scenario,” closes out the album.  Five mic worthy?  One could make a case for giving it four-and-a-half, but anything less than that would be absolutely criminal.

Nas
Illmatic

The album that really sparked the whole craze behind The Source’s mic rating system was Illmatic.  Miss Info’s five-mic review of Nas’ debut was both a blessing and a curse for the Queensbridge rapper.  His subsequent albums would always be compared to this one and each one seemed more and more disappointing.  Illmatic was pure NYC hip-hop — raw, intelligent, rewind-worthy, quotable, and it knocked in the whip.  The Source got it right on this one.

The Notorious B.I.G.
Life After Death

With Biggie dying shortly before this album’s release, it’s easy to peg The Source’s five-mic review of his second album as just a nod to an MC that died far too soon. And you’d be right.  While Life After Death has no shortage of great songs, it’s length as a double album was it’s biggest flaw.  If cut down to a single disc, Life After Death probably could have been better than Ready To Die.  But the beauty in this album is that most people probably would not be able to agree on what songs to keep and what songs to trash. However, since we are stuck with all twenty four songs, this album probably should’ve been knocked down to a four-and-a-half, at best.

Outkast
Aquemini

Outkast’s finest moment, hands down, and worthy of about six more mics.  We’ll even let “Mamacita” slide.

Jay-Z
The Blueprint

I will be totally honest.  I was not checking for Jay-Z until The Blueprint dropped.  Jay had singles that I liked, but I didn’t consider myself a fan until The Blueprint.  The production was fresh. Jay probably hadn’t been this inspired in the studio since Reasonable Doubt.  He captured lightning in a bottle on this album.  He’s been chasing this album ever since, and hasn’t come close, with the exception of The Black Album. The Source hit the nail on the head.

Nas
Stillmatic

And here is where The Source’s mic ratings all went downhill.  After a string of disappointing albums (hello Nastradamus!), Nas probably sounded better on Stillmatic than on any album since his debut, but this album was nowhere near five-mic worthy. Nas’ album of outtakes and leftovers, The Lost Tapes, was way better than this.

Scarface
The Fix

Scarface is one of hip-hop’s most underrated emcees. When The Fix was released, most of us were expecting a monster album, and based on songs like “Guess Who’s Back” and “My Block” it seemed like that’s what we were going to get.  But after listening to the album, it’s hard to understand why the album got a perfect score.  Perhaps it was just Scarface’s lifetime achievement award?

Lil’ Kim
The Naked Truth

By this point in the Source’s life cycle, the mic rating system ceased to have any sort of meaning.  When it was announced that Lil’ Kim had received a five-mic rating for this album, which featured the song “Lighters Up,” most people agreed that The Source had no authority or credibility left in hip-hop.

Bun B.
Trill O.G.

The Source had the internet all abuzz in the days before it was announced that Bun B’s Trill O.G. had received a five-mic rating.  The mag released a list of great albums released in 2010 saying that one of them would receive instant classic status in its upcoming issue.  While we have yet to hear the album, Bun B definitely has it in him to release an album worthy of five mics, but is it another situation like The Fix?  Is this just a lifetime achievement award, or a consolation for the loss of his partner in UGK, Pimp C?

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Jake One reminds us why he is one of my favorite producers lacing this beat for Scarface’s “Dopeman Music.” As always the legendary Mr. Scarface makes me wish half of these rappers going on about “the trap” went to culinary school instead. (props to Nahright)

RELATED: Audio: Scarface Not Feeling VH1’s “Dirty South” Hip-Hop Honors

It goes without saying that Kanye West, who celebrated a birthday yesterday, is one of hip-hop’s greatest producers.

Taking a cue from the Wu-Tang Clan’s RZA, Kanye’s early work featured a lot samples from classic soul records from the 1970s.  Artists from Jay-Z to Janet Jackson used Kanye’s soul sampling beats.

Here are a few of our favorite Kanye productions, and the sweet soul records Kanye sampled for them:

Alicia Keys “You Don’t Know My Name”

Built around a few samples from The Main Ingredient’s “Let Me Prove My Love To You,” Alicia Keys got her third top 10 single in the US with this song from her second album.

Slum Village “Selfish” (feat. Kanye West & John Legend)

T3 and Elzhi of Slum Village teamed up with Kanye and John Legend on this track that samples Aretha Franklin’s classic piano ballad, “Call Me.”

Twista “Overnight Celebrity”

Kanye gave this beat to his fellow Chicago hometown hero, Twista.  “Overnight Celebrity” uses a sample of Lenny Williams’ “‘Cause I Love You.”

Scarface “Guess Who’s Back” (feat. Jay-Z & Beanie Sigel)

Kanye produced this single from Scarface’s critically acclaimed 2002 album, The Fix.  The song samples Motown’s vocal group The Originals and their song “Sunrise.”

Kanye West “Spaceship” (feat. G.L.C. & Consequence)

Kanye’s tale about being a disgruntled employee at The Gap features a sample of Marvin Gaye’s classic balad “Distant Lover.”

Janet Jackson “I Want You”

This single from Janet’s Damita Jo album features a sample of B.T. Express’ cover of The Carpenters’ AM radio staple “(They Long To Be) Close To You.”

Nas “Poppa Was A Playa”

Although credited to Kanye’s mentor, Deric Angelettie (aka The Mad Rapper), Kanye actually ghostproduced this track from Nas’ The Lost Tapes album that samples Eddie Kendricks’ “The Newness Is Gone.”

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(AllHipHop News) With pointed criticism of their product from southern Hip-Hop legends Scarface and Luke, VH1 Honors executive producers Nelson George and Fab Five Freddy are defending this year’s selections and criteria.

This year, individuals like Suave House Records founder Tony Draper voiced displeasure at his contributions being omitted, while others such as Luke have stated the show fails to acknowledge all his accolades as a pioneer business mogul.

RELATED: Scarface Not Feeling VH1’s “Dirty South” Hip-Hop Honors Tribute

Freddy and George welcome the dialogue, explaining that Hip-Hop history shows fans and artists are always very vocal about the culture.

“No matter how you feel people are still extremely passionate about it,” Fab Five Freddy told VH1. “We constantly explain there’s no chronological method to how we’re doing this…we try to pick people from different eras, whether it’s closer to the beginning from that late 80s into the 90s. And like I said it’s only been a 10 year criteria that we [use]. [We look for] people that carved out specific lanes and styles within the music.”

To read more of Fab Five Freddy and Nelson George’s statements go to ALLHIPHOP.COM

Scarface called into the HoodHype Show last night to express his displeasure with VH1 for the “Dirty South” label that has been applied to their upcoming Hip-Hop Honors tribute to Southern MCs.

The legendary MC has taken issue with how VH1 will handle the representation of southern artists and their segregation from other honorees.

“Put me in general population with the rest of these…(artists). Put me in with Das Efx” – Scarface

He notes that Too Short was honored along with De La Soul in the past and that it should be done that way. (props to Nahright)

LISTEN/DOWNLOAD THE AUDIO HERE

RELATED: VIDEO: Def Jam’s First Artist Wasn’t On Their Hip-Hop Honors Show

RELATED: Nikki D Goes Off About VH1 “Hip-Hop Dishonor”

What do you think? Should there be a separate Hip-Hop Honors separated by region? Or should all artists be grouped together and honored appropriately?

“I believe the children are the future. Teach them well and let them lead the way” - Whitney Houston

Here’s Jay Z and Beanie Sigel in better days. I was always hoping Jay and Beans would do an album with Scarface. Hopefully they can settle their differences and make it happen.

Beanie Sigel Disses Jay-Z

1. What We Do Is Wrong.

This song is a dope hard-core song, dealing with the questionable morality of dealing drugs.

2. Guess Who’s Back ft Scarface

Great song, dope beat by Kanye. Jay, Face and Beans all go in on this track

3. This Can’t Be Life.

Jay, Beans and Face illustrate the harsher aspects of growing up in the hood. My favorite song off The Dynasty.

4. Some How Some Way

When Jay gets with Beans and Face, he gets off his flossy I got money, glamorize drug dealing steeze and gets back to illustrating the hardship of the ghetto and gets more personal.

5. Where Have You Been

Maybe Jay Z’s most personal song, in the lines of You Must Love Me. Jay and Beans talk about not having a father and how that helped make them who he they. Beans sounds like he’s crying on the song as the emotion of it carries the song.

Pomona, CA (October 2, 2009) — Guerilla Union, Inc, producer of Rock The Bells, The Cypress Hill SmokeOut, and Paid Dues Festival, is proud to present the return of the legendary Goodie Mob. Goodie Mob will be touring for the first time in ten years, with all original members: Cee-Lo (from Gnarls Barkley), Big Gipp, Khujo, and T-Mo. The tour will kick off on October 15 in New Orleans and features Scarface as the “very special guest” on all dates. Goodie Mob will offer a sneak peak of what fans can expect from the reunion when they perform live at the BET Awards taping in Atlanta on October 10 (the show is scheduled to air on 10/27). Tour highlights include a stop at The Cypress Hill SmokeOut on October 23 at the San Manuel Amphitheatre and festival grounds in San Bernardino, CA, and the blowout NYC show on November 13 at the Hammerstein Ballroom on which Goodie Mob and Scarface will be joined by Tech N9ne and Slaughterhouse (Joe Budden, Crooked I, Joell Ortiz, Royce da 5’9).

Universally recognized as pioneering and critically acclaimed, Goodie Mob – along with fellow Dungeon Family group OutKast – introduced southern rap to mainstream America, helped put Atlanta on the map as a Mecca for hip-hop, and is credited with having invented the runaway term “dirty south.” The group was met with an overwhelming response when it recently hit fans in hometown Atlanta with a surprise show. “The reunion was inevitable,” said Cee-Lo. “The void in today’s music and marketplace ironically has become the very place prepared for us. There’s a need and a want for what we do and represent as The Mob. Consider the tour a mission… an order if you will. The last of a living breed, the Goodie Mob marches on.”

The tour’s “very special guest,” Scarface, is considered by many to be one of best rappers of all time. Scarface, a multi-platinum selling recording artist, has received commercial and critical acclaim as both a solo artist, and as a member of the infamous Houston hip-hop group The Geto Boys.

Goodie Mob reunion tour dates are scheduled as follows:

October 15 New Orleans, LA House of Blues

October 17 Austin, TX Stubb’s Waller Creek Amphitheatre

October 19 Houston, TX House of Blues

October 20 Dallas, TX House of Blues

October 23 San Bernardino, CA The Cypress Hill SmokeOut

October 24 San Francisco, CA The Fillmore

October 28 Salt Lake City, UT The Depot

October 29 Denver, CO The Gothic Theatre

November 13 New York, NY Hammerstein Ballroom

November 14 Washington, DC The Scene

November 15 New Haven, CT Toad’s Place

In an interview for Nodfactor.com Cool of the production duo Cool & Dre recalls how a beat meant for The Game ended up on Scarface’s “Forgot About Me” from Emeritus thanks to Lil Wayne.

“… We sent that beat to The Game before his last album and a few weeks before that we sent it to Wayne, but he never hit us back about it. We later learned that when you give Lil Wayne some beats, just forget about those beats. Take it off the block, it is no longer available. The way he is, you’ll give him 14 beats an he’ll record to all 14 and use them on a Young Money album, Baby’s album, etc. Unless you are there in person with Wayne and he says he’s not fuckin with it, that’s Wayne’s beat. So we gave him a bunch of beats on a CD and that beat was on there. We never heard anything back and gave it to Game and he calls us back saying this beat is crazy! [Then] we find out that Wayne was using it for Carter III. They were like it’s on the tracklisting, etc. Wayne loved it. So we were like “Fuck it, we gotta break Game the bad news.” I had to call Game and he was all upset about it, he was gonna make it a single, etc. I told him we’d make it up to him, we’ll give you something hotter. That incident was the birth of “Big Dreams.” If Game hadn’t been so upset, “Big Dreams” wouldn’t have been made. Once he heard “Big Dreams” he forgot about “Forgot About Me.” [laughs] Next thing we know the Carter III comes out and it’s not even on there! Scarface wanted to do a track with Lil Wayne and he was like “I gotta track for you.” So it went on Emeritus.

To read about Cool & Dre’s work on Lil Wayne’s “Rebirth” project and Latifah’s newest, Persona, click HERE.

Scarface f/ Lil Wayne and Bun B, “Forgot About Me”

The Game, “Big Dreams”

VIA DX:

Last week, Atlanta’s Playaz Circle [click to read], comprised of emcees Tity Boi and Dolla Boi, spoke with HipHopDX about their upcoming sophomore album Flight 360: The Takeoff, coming this September 15 on Def Jam/Disturbing Tha Peace. The two rappers discussed their dynamic on in the booth, saying that their personal history as friends has allowed them to develop a style unto their own.

“[We developed our style together] from coming up in apartments together, both being raised by a single parent…struggling together, hustling together,” said Tity Boi. “We wasn’t rapping always forever, but we’ve been knowing each other forever, and it was just kind of like we graduated to the Rap game together. We’re just generally friends…on and off wax, it’s just genuine like that…it’s just like we were partners and we happen to rap.”

“We both know each other back and forth. We grew up together and have been around each other for so long. We pretty much might be set telling the same story, but it might be from his point of view, or when I tell a story it might be from my point of view. So when we get in the booth, we bring it like two different sides of the story…he’s got his own lyrical style by doing things, I’ve got my own style by doing things. We just compliment each other so well.”

The College Park natives went on to discuss the overall concept behind their latest endeavor Flight 360. They say that the album takes off after the success of their ’07 debut Supply and Demand.

“I actually thought of that title [Flight 360: The Takeoff] during our Supply and Demand album,” explained Dolla Boi. “For us [to have] that title for so long, we were able to build around it and make it a conceptual album. We knew what we were working with, so we just picked the songs…to paint that picture [of] the album, like songs such as ‘Turbulence,’ songs such as ‘High Air,’ which all relate back to the title 360. It’s a very conceptual album.”

Tity Boi echoed a similar idea, later adding, “We just tried to build a whole concept around the [title]. Basically, the title 360 is another analogy for a circle, and so this album right here really touches on what happened post-’Duffle Bag Boy’ success: what happened with all the traveling and getting involved with different cultures, different slangs, different ways of life. Coming from College Park, we were really just around here kicking it before the album [and] before the song blew up. Once it blew up, [it felt like] we were everywhere at once.”

Boasting features from the likes Cee-Lo Green, Jagged Edge, Bobby V, Ludacris and Lil Wayne, Dolla and Tity describe the album as a mixture of vivid lyricism and a laid-back sound. In addition, Dolla explains how fan response has been positive thus far, describing the album as perfect riding music.

“[It’s] like a DVD that you can listen to,” exlained Tity. “We recorded over 60 or 70 songs for the album, and there are some that are out right now banging. We had songs, but it just would’ve stuck out like a sore thumb [from the album’s concept]…[it’s] almost like you’re watching something, but you’re not. Everything is so visual. We just tried to paint pictures [with our music]. And coming from College Park, people ain’t realized how much me and Dolla love the…lyrical aspect of the game. We came up on lyricists…we came up on really just trying to show where we come from and out our experiences on paper.”

“[The album’s] almost like a groovy, laid-back album for the most part,” said Dolla. “If I could critique it and complain, I would say that there’s no really up-tempo, heavy dance music on the album. I would say it’s the laid back riding type of music. We played a couple of songs a few nights ago on USTREAM, and a lot of the fans were saying this album sounds like this is something they would love to ride to.”

Tity Boi also explained one of the most head turning features on Flight 360: the Wu-Tang Clan’s Raekwon. He described how a chance meeting with the Chef at a gas station gave them the chance to build a musical relationship with one of Shaloin’s top spitters.

“One day not too long ago, I bumped into Raekwon at a gas station [in Atlanta],” recalled Tity Boi. “I told I was a big fan of him, told him ‘I used to love you [when] I was coming up,’ keeping it all the way real. That was maybe two or three years ago. Since then, we’ve had a relationship to the point where we’ve done two or three songs that are on a mixtape that’s out doing well, and [we] just stuck with him. He always just gaves the props and confidence that we needed, like ‘Luda’s going to need y’all’…even just doing anything…like ‘What do y’all need, a drop? A verse?’ He just showed so much love, so when it came time to do the album, we were like ‘We’ve just got to put that boy Rae on the album. He’s fucked with us the whole time, from beginning to end.’”

Flight 360: The Takeoff drops this September 15 on Def Jam/Disturbing Tha Peace.

(Spotted @ RapRadar):

In an interview with The Omaha-World Herald, Nasir says Aubrey is two parts hydrogen, one part oxygen.

So who is that guy for you? Who are you listening to?
Drake and always Scarface.

Why?
Drake is new. (He’s a rapper from Toronto.) He’s here to show anybody who questions him that he’ll get at you. He’s like fresh water right now on dry land. Scarface is the realist rapper. He’s the most musically serious, besides Kanye (West), right now. What Scarface says in his rhymes is real. You can’t get away from (Lil) Wayne right now. So that’s what I’m listening to. I’m waiting on Dr. Dre’s album.

What do YOU think of Nas? Does he still got it? Would Nas, Jay & Drake make for a great song? Speak on it!

You guys went in on our newspiece about Gucci Mane and the “New South” covering July’s issue of XXL Magazine [click here to read]. Adding a poll with the question, “Who’s the ‘King of the South’ now that T.I.’s in jail?” [click here to read] found y’all weighing your opinion in the comments section and voting like crazy.

But with a tie (43% to be exact) – the battle for the South’s crown has come down to H-Town legend Scarface and MTV’s young prospect, Gucci Mane! Both have a penchant for penning lyrics the streets wanna hear, both have had their run-ins with beef and are well versed in their field at sharing stories.

The Urban Daily wants to know: “Who’s The King?: Scarface Vs. Gucci Mane!” Share your vote below:

Don’t forget to check out our Urban Daily ‘Noisemakers’ gallery, too!

Today marks the 12th year of Christopher Wallace’s passing and since then a lot has changed. The slang, the style of dress and even the “pop culture” referenced metaphors have been altered since the Notorious One was laid to rest.

With all the discussion of who’s the best, who’s king and who’s overrated – The Urban Daily has taken particular notice about the ascension of Lil Wayne. The self-proclaimed “best rapper alive, since the best rapper retired” is a mixed bag of nuts for many in this hip-hop game. But we’ll give three reasons why even though B.I.G. is gone from this earth, he’s still light-years ahead of the game’s most beloved alien.

Influence:

Christopher Wallace was responsible for the entire considerable wealth that Diddy amassed before and after his passing. Mr. Wallace was the reason why Diddy had the loot to create his own clothing line and his pen game helped to make Sean Combs a “respected” rapper. The Bad Boy CEO got a Grammy for No Way Out that B.I.G. was heavily featured on, gave Lil Kim her start and was the only competition Jay-Z faced that mattered.

When Weezy started, he was the baby of the Hot Boys and although he started his own imprint (Young Money Entertainment), he hasn’t really directly influenced anyone other than Kanye West, but we know Mr. West isn’t a subscriber to anyone else’s modus operandi.

Slanguistics:

Wayne said that he came up with the term “bling-bling” which sparked a million imitators. From songs to wack commercials, “bling” was king for a few years. But B.I.G.’s “ashy to classy” – first heard on “Sky’s The Limit” off of Life After Death – is still cool to say after 12 years in rotation. Go on… say “bling bling” around a girl right now and see if she doesn’t give you the wicked screwface.

Music:

Despite only just having two albums – Ready To Die and Life After Death – before losing his life on March 9th, B.I.G. came, saw and conquered New York hip-hop and ultimately the game with a crazy style of lyricism that blended storytelling with real life escapades. His signature designs made his one to envy, as well as imitate.

On the flip-side, Weezy F. has made six studio albums and tons of mixtape collectables that helped him to achieve his considerable commercial success. Yet, still fails to hold down Top 10 honors in any weight class. Juvenile and B.G. may have fallen off the bottom of the map, but still gain the respect commanded of true veterans of the game in Louisiana. Scarface may have retired, but he is lightyears ahead of Wayne in the storytelling department and many consider T.I. to be the “King of the South.” It is up for discussion if Lil Wayne can even rightfully be considered the heir to Jay-Z with so much work not producing the same quality and sales as the Brooklyn heir to B.I.G.’s throne.

BIGGIE’S PRODUCER CARLOS BRODY DISAGREES WITH KEV! CLICK TO READ WHAT HE HAD TO SAY….

Check out these videos and you be the judge:

The second single off of the classic Emeritus album finds ‘Face being the undercover lover to a very voluptuous lady. Check out the video below:

‘Face is back with another album entitled Emeritus and with all the hype about his final album, his promo team made him a cartoon video where he schools all the new rappers in the game. Check out Lil Wayne at the 1:17 mark.

On Vlad TV, the legendary Scarface shares his feelings about the current state of the rap game.

Now that almost every MC is altering their voice using the latest studio equipment, The Urban Daily is paying tribute to 10 MCs whose real voices are as critical to their success as their lyrics.

(Props to Big Jo at Beatlcub for sparking this for me!)

1) Scarface
There are deep voices and then there are deep voices. No disrespect to Jay Hova but if God was an MC he’d sound like Brad Jordan. His unmistakable timbre has a mix of southern gangster but holds the weight of a preacher.

2)Chuck D
If Barack Obama were to lose his voice tomorrow, I’d call Chuck D to overdub all of his speeches. The authoritative bass in his vocals is both unmistakeable and undeniable.

3)DMX
From the canine growls of “What’s My Name” to the calm of “How’s It Goin’ Down” Earl Simmons knows better than most the power of his own voice. Unfortunately, these days he is doing more talking before a judge than before an audience.

4) Busta Rhymes
As I’ve stated before The Dungeon Dragon has a voice that spits flames (“Woo Ha”) or simply smolders (“Put Your Hands Where My Eyes Can See”) depending on what the beat tells him to do. But you really don’t appreciate a voice like Mr. Smith’s until you hear it live.

5) Ludacris
Chris Lova Lova’s days on the radio have made him one of the most listenable MCs in the game. Vocally, he rivals Will Smith for clarity, cross-over appeal and replay value, but brings a swagger that is uniquley his own.

6) Mystikal
A Cajun cousin to Busta’s growl, Mystikal brought a weezy twist to the scream scene. On cuts like “Danger” Mystikal takes a more musical, singy approach giving him a Scatman Crothers in a strip club feel.

7) Rev. RUN
From “Rock Box” to “Run’s House” to “Jockin’ Jay-Z” no voice has proved as enduring as Rev. Run’s.

8 ) Ice Cube

Forget bean pies and St. Ides, props to anybody that can sling “Are We There Yet?” and Death Certificate and be completely believable without altering his voice one bit.

9) Rakim / Big Daddy Kane (tie)
One of the most sampled voices in the game, Rakim seduced listeners with an easy-going delivery that set you up for some of the most potent couplets ever put to paper. Kane was the pimptastic alter ego that could talk the stripes off a zebra.

10) Lauryn Hill
Gender be damned, she raps better than most rappers and sings better than most singers, but doing both so well is simply divine. Her voice is distilled with so much pain and passion that you just want to pour it in a highball glass and zone out.

Honorable Mentions:

Chubb Rock
MC Lyte
Slick Rick
Kool Moe Dee
KRS-One
Rah Digga
Lord Have Mercy
Treach of Naughty By Nature
Melle Mel
Rock from Heltah Skeltah

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