Saturday, May 10, 2014

Download all your Raw Underground Artists here

Download all your favorite Underground Artists here!

HipHop Pioneers Vol. 1

  • Grandmaster Flash forms one of the most influential rap groups ever, The Furious 5: Grandmaster Flash (Joseph Saddler), Melle Mel (Melvin Glover), Kidd Creole (Nathaniel Glover), Cowboy (Keith Wiggins), Raheim (Guy Williams), and Mr. Ness (Eddie Morris).
  • Around the same time, another great rap crew – The Cold Crush Four – was formed, comprising of Charlie Chase, Tony Tone, Grand Master Caz, Easy Ad, JDL, and Almighty KG.
  • The first rap record by a non-rap group “King Tim III” is recorded by the Fatback Band.
  • Sugarhill Gang’s “Rapper's Delight” would go on to become the first known rap hit, reaching #36 on Billboard.
  • Various obscure rap singles were also released: Grandmaster Flash & The Furious 5’s “Super-rappin” and Spoonie Gee’s “Spoonin’ Rap” both on Enjoy Records, Kurtis Blow’s “Christmas Rappin” on Mercury Records, and Jimmy Spicer’s 13-minute long storytelling track “Adventures of Super Rhymes” on Dazz Records.
  • Mr. Magic’s ‘Rap Attack’ becomes the first hip-hop radio show on WHBI.
  • Afrika Bambaata and the Zulu Nation release their first 12" called Zulu Nation Throwdown Pt. 1 on Paul Winley Records.
  • Kurtis Blow, the first rapper to appear on national television (Soul Train), releases "The Breaks" on Mercury Records. The record goes on to sell more than a million copies. Hip-hop gradually evolves into big business.
  • After meeting Fab 5 Freddy and others, Blonde releases "Rapture" featuring rap vocals by lead singer Debbie Harry.
  • Grandmaster Flash releases “The Adventures of Grand Master Flash on the Wheels of Steel," the first record to ultimately capture the sounds of live DJ scratching on wax.
  • On February 14th, The Funky 4 plus One More perform their classic hit, “That's The Joint” on NBC's Saturday Night Live becoming the first hip hop group to appear on national television.
  • The Beastie Boys are formed. The group consists of Adam Horovitz (King Ad-Rock), Adam Yauch (MCA), Michael Diamon (Mike D).
  • Afrika Bambaataa and the Soul Sonic Force release the techno-heavy “Planet Rock” on Tommy Boy Records. The record samples portions of Kraftwerk's "Trans-Europe Express."
  • Grandmaster Flash & the Furious 5 release “The Message” on Sugarhill Records.
  • Kool Moe Dee humiliates Busy Bee in a spontaneous rap battle. Since then, emcee battling has become an inseparable part of hip-hop.
  • Fab 5 Freddy and Charlie Ahearn co-produce Wild Style, a hip-hop film featuring Cold Crush Brothers, Grandmaster Flash, Grandwizard Theodore, DJ AJ, Grandmixer D.S.T, graf writers Lee, Zephyr, Fab 5 Freddy, Lady Pink, Crash, Daze, Dondi, and members of the Rock Steady Crew. Wild Style has since inspired several other hip-hop-themed movies.
  • Ice T helps pioneer gangsta rap in the west coast with his rapcore singles “Body Rock" and "Killers."
  • Grand Master Flash and Melle Mel (Furious 5) record the anti-cocaine single “White Lines (Don't Do It)," which becomes a rap hit.
  • Grandmaster Flash later sues Sugarhill Records for $5 million in royalties. The dispute causes the group to break up, signaling the looming danger of corporate control in hip-hop.
  • Run DMC releases “It's Like That" b/w "Sucker MC's."
  • Russell Simmons and Rick Rubin team up to launch one of the most important record labels ever, Def Jam Records. Def Jam releases its first record, “It’s Yours” by T La Rock, followed by LL Cool J’s “I Need A Beat."
  • Hip-hop discovers that touring is a great way to generate income, as the Fresh Fest concert featuring Whodini, Kurtis Blow, Fat Boys, and Run DMC, reels in $3.5 million for 27 dates.
  • Battle rap assumes the spotlight in hip-hop, as UTFO’s “Roxanne Roxanne” diss song attracts over 100 responses.
  • The most popular response came from a 14-year old female named Roxanne Shante. Shante’s “Roxanne’s Revenge” allegedly recorded in Marley Marl’s living room sold more than 250,000 copies.
  • Dougie Fresh (aka The Entertainer) releases The Original Human Beat Box (Vindertainment Records).
  • Michael Jackson does 'the moonwalk' at the Grammys, borrowing b-boy dance elements from LA breakers.
  • Sugarhill Records goes into bankruptcy and is forced out of business.
  • Salt ‘n’ Pepa make their first appearance on Super Nature’s “The Show Stopper."
  • The Beastie Boys release Licensed To Ill on Def Jam (executive-produced by Rick Rubin).
  • James Smith, a native of Houston, Texas, assembles The Geto Boys. The original lineup consisted of MCs Raheim, Jukebox, DJ Ready Red, and Sir Rap-A-Lot.
  • The group also featured Little Billy, a dancing dwarf who later picked up the microphone as Bushwick Bill.
  • Following a short break-up in 1988, Smith invited local emcee Willie D and multi-instrumentalist Akshun (later known as Scarface) to complete the lineup.
  • The Geto Boys (now made up of Scarface, Willie D, and Bushwick Bill) was a driving force in the evolution of southern rap.
  • Following the release of Boogie Down Productions’ Criminal Minded LP, Scott LaRock is shot and killed in the South Bronx while attempting to settle a dispute.
  • Public Enemy stuns the world with their introductory album, Yo! Bum Rush The Show, signaling the genesis of politically-charged hip-hop.
  • The original members of the group include Chuck D (Carlton Ridenhour), Flavor Flav (William Drayton), Professor Griff (Richard Griffin), and DJ Terminator X (Norman Rogers).
  • After years of being neglected by the mainstream media, hip-hop gets its own show on MTV, "Yo! MTV Raps."
  • N.W.A pioneers the gangsta rap movement with their gold album, Straight Outta Compton.
  • Def Jam founders Russell Simmons and Rick Rubin part ways; Simmons opts for distribution through CBS/Columbia Records, while Rubin goes on to found Def American.
  • Landmark album releases: Ultramagnetic MC’s – Critical Breakdown, and Big Daddy Kane – Long Live The Kane.

Wednesday, April 9, 2014


 As a Grass-Root Organizer, HipHop Activist, Poet, Emcee, Writer, Husband & a Father
i understand that there is a divide amongst the culture, such that there isn't anyone to tell our stories and no-one to report for us. Let me not mince words here! WE DO NOT HAVE HIP-HOP JOURNALISM, so we create and do our own.
With more than 15 years  experiencing the Culture i think its only right that i do this. If i do not, who else will. To some am still a ghost, because that's the beauty of being underground anyway. We don't need that fame, our main emphasis & core business is to drop gems/jewels, clarity to the chosen few. Popularity is for my little daughter, Period!

I remember calling this good friend of Mine from the News Print Media House to write up an article for my Album WIZE SCHOLAR, i was sent a Journalist. I was happy for a Second that i got a Journalist to do a write up for my Album. I was at work at that time so we got into the boardroom. I greeted him, there after i asked him this question; 
"DO YOU FOLLOW & LOVE HIP-HOP?" which he said no and he plainly told me that he had no idea and clue about it.
I Simply gave him transport money so he could go back. I told him that this is a Serious Hip-Hop Project and needed someone with some serious Hip-Hop Intel. Someone We as Hip-Hoppaz can relate to.  I simply needed a Hip-Hop Journalist, was that too hard to ask?
To this day no article has been published yet for my album. 


Which is why this blogspot has come to play to bridge that gap. We will be our OWN Hip-Hop Journalists, We will do our own Journalism.
Do not mind my punctuation nor my lack of fancy English words, no editorial team to go through my work, but still we will be our own HipHop Journalists- like the street herbalists. PEACE!

No More Free HipHop Music Anymore!

So Apparently HipHop Artists in Malawi are brain storming on having this one idea
of not letting their creativity, artistly robbed by the consumers. By this i mean by giving out
 free music. I Have been following recent posts in the social media for sometime now,
so this is what they are advocating why music cant be given for free;

1. Money spent (Studio Fees) for the overall production
2. Time spent by the artists to come up with the output product, obviously not for free
3. Artistry though God given Talent, for one to get hold of their favorite artists, they need to invest
   visa vee thus they need to buy(pay Money) records there-by promoting their favourite artists aswel as growing the Malawian HipHop Industry. (Don't confuse with the Album Music, this is Strickly HipHop Music)
4. Artists need to survive. Consumers need to understand that this genre if well managed can be a multimillion industry here in Malawi. As such buy the music so that artists can make and earn a living out of it.
5. If you Love it, invest by buying it; Similary if we want Soda/Juice, We pay for it, why not do the same with Rap Music.
6. Do not complain as consumers that as a Genre/Culture Hip-Hop is not going anywhere. We are where we are because YOU the consumers want to rip artists off their creativity for free. I cant stress this enough but please buy the music.
7. We Understand that Malawi is a third World country thereby we do not have these credit/Debit/VISA cards where one can be enabled to buy digital music, Mechanisms are put in place to resolve this issue. However we still have western Union  where money can be sent back & forth if we really are serious in promoting our local Artists.
8. When One sows, one expects to reap out of it. Similarly this applies to this genre, As artists are investing by sowing consumers have to also invest by buying the products. Either way, there has to be

leverage and benefits.
9. If we seriously want to grow our ever weakening economy of ours lets start with the grassroots( the Youth) thus buying their music.  Rap Music as genre alone is a Multi- Billion Dollar industry. Same way we can by & by do the same here. yes we  can. We come along way to be saying no ways it wont happen.

There you have it. If you want your favorite artists to flourish, support & invest in them by buying their music.I would have loved to see the same critiques come forth buying records same way they do their critics. Love me or loath me, bottom line is you need to invest & Support the industry.

Malawian Hip-Hop Beef

Malawian Hip-hop Beef

Author : Limbani ‘LC’ Chaguluka
Malawian HIP HOP Community ‘Beef ‘ Retrogressive

“There is no need to argue and fight here, lets enjoy the Hip-hop show and go home” rapper veteran Criminal -A’s deep, calm Serene voice was heard in the turmoil. Within minutes the two groups separated from a heated argument, which was about to turn into a fight. Both of the groups did listen , and respected rapper veteran Criminal -A hence the order .Immediately everyone who was watching the commotion including the two groups who had ‘beef’ went back Inside ‘PATS’ entertainment centre near cross roads deep down Blantyre city, to finish the show which was reaching its climax. One rapper had to be declared a winner of a well organised rap show , that was in December 1995, four days prior to Christmas day.
Since 1990’s Malawian Hip-hop music has gradually been accepted among the old and young listeners , especially in 2009, when most of the rappers accepted the grim reality, that the only way they can break into the main stream market was to rhyme in our native language ‘Chichewa’. This strategy seems to have worked as we have ‘emcees’ like Young Kay and Tay grin enjoying a Significant air play on our local radio stations.
But what is causing the feud between rappers ? or in Hip-hop circles commonly known as ‘beef’. Hip-hop inherently is a competitive genre, and this can be evidently be proved by citing its own elements which constitute this beautiful culture . Hip-hop comprises of four main elements, and these are Emceeing, Graffiti, Breaking and Dee-jaying , and of course the new element ‘Entrepreneurship’ which was included, to be in synch with new direction of Hip-hop culture. Battle free styles and break dancing are some elements which promotes a quite considerable competition in this culture. However , this elements promotes what we call healthy competition in order to lever the game and promote the craft.
But Malawian rappers , American rappers , and the whole Hip-hop industry seems to have lost direction by embracing this ‘virus’ called beef, that it Is part of Hip-hop culture. This feud synonymously called ‘Beef’ in Hip-hop circles won’t help anyone promoting this infant culture locally, as a result it Is only derailing the advancement of the culture in Malawi.
As much i understand that some rappers are not keeping it ‘real’ thus in terms of not conforming to the principles of Hip-hop,we just have to accept that all rappers can’t be good, as such beefing someone because he is more entrepreneurial, and making some fortune out of this culture is retrogressive. Puffy Daddy has made millions of dollars by being a mediocre rapper, he is an entrepreneur and nobody can dispute the fact that he using one element of Hip-hop ‘Entrepreneurship’ . In our case let everybody release the music , as we advance people will get acquainted with artist’s who are doing true Hip-hop, who is in game for fame, and of course who is doing this music for self glorification. Let someone who is on commercial tip like Tay grin release his music, and let people like Third eye who are doing hardcore Hip-hop release it too.
At the of the day who are you to judge someone that you understand the craft better than the other artist ? . Both dimensions of the music currently being produced are good for the progress of our local Hip-hop culture , regardless of the grittiness of the music being realised .
In 1994 a group called Black life had leader who his followers got inspired and would listen to most of his advice, including staying away from petty issues like rap feuds, his name is King Baywell C. There were also rappers like Prince E and Tackie T who also had a substantial command from the other side of the town of Blantyre city . These men for being in the rap game for quite some time, commanded a huge respect from rookies to old rappers .This rappers squashed a lot of beefs which culminated from petty beefs. They did understood and knew the essence of eliminating ‘‘beef ‘ for sake of progress and to catapult the image of Hip-hop , which is mostly tainted with obscene language, degradation of women and violence.
The question now in 2010 is , who can act like leaders to settle this rap disputes ? for example let’s take rappers like Junior -C or Dominant -1, who have been practicing the art for the last 15 years , and we may regard these rappers as veterans among the current group of rappers . But do they have the respect and command which the old veterans displayed in the 1990’s, thus to say , can they act as mediators and settle this disputes which are too retrogressive for Malawian Hip-hop industry ? thus a discussion for another day . But for now Let’s respect one another and collaborate for the advancement of this culture . Beef is not part of Hip-hop as most people perceive it , therefore take all necessary precautions to avoid it at all cost, it’s pure counter-productive.