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Sucio Smash's Underground Selects Feat. J Rocc, Random Axe, Saigon & More

"Summer summer summer tiiiimeee"... Short skirts, low cut blouses, open toe shoes, Tees, shorts and fresh kicks. I hope you guys are enjoying it. On the music tip there’s a lot of great stuff out. We've made sure we worked all the kinks around these parts so you'll see me here more often, I promise. Lets get right into it (pause!). --Sucio Smash
 



J Rocc – Some Cold Rock Stuff 
 
Almost every time you hear an artist say “There’s something for everybody on this album” the album suck. What they’re really saying is “I am trying to sell records so I made sure I did what EVERYBODY is doing at the moment”.
 
“Some Cold Rock Stuff” is the type of album that really has something for everybody without sounding like it was forced. For 48 minutes J Rocc  displays his range not only as a DJ but as a Producer as well with this collection of music. Everything a music lover would ask for is here, from the laid back sounds of  “Don’t Sell Your Dreams” to the banging “Thru The Tulips”. Collecting records has obviously paid off as the Funky President delivers yet another dope breakbeat with “Play This” and he even takes a stab at a Disco track with “Party”. As a DJ I appreciate where J Rocc is taking the artform and the way he is reppin' for all of us. 
 
As you can see it was hard for me to just pick one song to share with you so I figured I let you know the album is dope and you should cop it NOW.



Random Axe – The Hex
 
While a lot of acts concentrate on making music suitable for America’s Best Dance Crew others make music suitable to punch people in the face. One of those acts is Random Axe and trust me when I say, you might want to stay away from someone listening to The Hex.
 
Random Axe is a group made of Guilty Simpson Black Milk and Sean Price  and The Hex is the first single off their self-titled debut album (out June 14. The "Hex" sounds just like the subject of their dedication (the song is dedicated to Black and Guilty’s manager and Detroit’s Hip Hop ambassador Hex Murda; arrogant, abrasive, ignorant, hard (pause) and all around unfuckwitable.
 
Black Milk cooked a beat that combines sampled and live drums with electric guitars (I’m thinking live as well) perfect for the squad to unleash their brand of lyrical ignorance. All MCs excel delivering punchlines and metaphors for days with Sean P shining bright with lines like:“Afro-American gangsta I shank ya/sharp the toothbrush in the gut of a wanksta”…. “pull out the piece and pop a papi/papi wants peace like Mohandas Gandhi (NO)/fuck peace I’m a beast bitch/I pop pellets in a person am a piece of shit, P!”
 
Ignorance is bliss.
 
Mazzi- Lady Ideal 
 
In Hip Hop there are about a million songs that speak on relationships, love and the fairer sex, and 900,000 of those songs were made by LL Cool J and/or Common (jokes and jokes and jokes) so that means that there hasn’t been a good one in a little while. In comes New Jersey’s representative Mazzi.

Over a beautiful track by M-Phazes Mazzi shows us you don’t have to be corny when doing a “love song” spitting clever lines like: "Magnetized both by the negative & positive/Positive, we're never competitive, you're comfortable/I don't know what the cause-be, I'm not a Huxtable"
 
Pick up Mazzi’s latest project The Inspection hosted by Statik Selektah here for FREE.
 


Saigon -  The Greatest Story Never Told
 
The first time I saw this video online I was like “meh it’s ok”, then the other night I was watching Video Music Box and it hit me. This sh*t is DOPE! I think the fact that we get hit with so much content so fast doesn’t gives us the headspace to enjoy music the way it should be enjoyed.
 
First of all my fellow ‘LO Head Just Blaze murked this beat, the chops and the horns got me. Hey brother can we get EM to rhyme over this type of joints? You’ll immediately become a legend if you pull that of. When it comes to the MCing on this track what we get is a top notch performance by Saigon. 
 
Keep this in mind, this was meant to be Saigon’s major label debut. It takes a lot of cojones to spit lines like: “Them white people look at you and laugh / You look like a porch monkey boy dancin for cash / Wanna get on a record and talk trash / See him at the awards and don't do shit but walk past / And that, that's somethin we call CRASH / Coward Rappers Actin So Hard, when they really just all ass”. He managed to drop them jewels by killing it with the flow and not coming across as a self-indulgent douche.

A lot f rappers are proud of how ignorant they are and it's really refreshing to hear an MC that's proud to be aware. 
 
Go pick up The Greatest Story Never Told out now.
 
 

 
Ransom Badbonez – Knock Knock
 
Our last track comes from one of the original Evil Empires (UK). I’ve been sitting on this joint for a while and finally got to share it with all of you. You see, the UK is not all about Dizzie Rascal and that terrible sounding Dub Step crap (for real what the hell is that?!), they actually have a pretty impressive Hip Hop scene, and one of the youngest and on point artists there is Ransom Badbonez. Pretty much everything I’ve heard from this kid is fresh.
 
Knock Knock is some more “Punch You In Your Face Music”© and it picks up where MF DOOM and MF GRIMM left off as far as the slow/fast flows and beats. Over a track that would make Showbiz and Premier proud, Badbonez spits lines like “fuck picking the locks I come to rip the hinges off/grab your pistols and you got strangled with the kitchen cloth”. Yup! It's that kind of tune. 

You can pick this song and more HERE.

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Even before signing of the proclamation to make civil rights leader Martin Luther King, Jr.'s birthday a national holiday, families across Black America sang the Stevie Wonder's version of his celebrated song, "Happy Birthday." The 1980 released tune will usually come after the more traditional "Happy Birthday" melody, with a soulful hand clap and bounce from side to side. Wonder made the song to bring attention to King's efforts for Black people and how he should have been honored with a holiday. He and many more started the campaign for the day well before it was signed into order by then President Reagan in 1983 and then officially recognized on January, 20th 1986. The day was also just made a federal holiday by the soon to be former President Trump.

With an official song dedicated to the man that gave his life for the betterment of people of all races, the emergence of a new song was experienced by the masses when the single, "King Holiday" dropped in 1986 by the King Dream Chorus & King Holiday Crew. The ode to showing the ultimate love to Dr. King was performed by the hottest R&B and Hip-Hop stars of the times. The King Dream Chorus included: Lisa Lisa of Cult Jam with Full Force, Stacey Lattisaw, El Debarge, Teena Marie, Menudo, Stephanie Mills, New Edition and Whitney Houston. While the Holiday Crew consisted of Grandmaster Melle Mel, The Fat Boys, Whodini, Kurtis Blow and Run-DMC.

The separation of the soul genres didn't come across in the song as much as it did in the billing of it. Both sides meshed well and grooved with a digital funk and futuristic pop that captures the feel of the mid-80s while laying down lyrics that are meant to stick to your heart:

"For the future generation/Dr. King's medication/For successful operation is peace for every nation/Sing! Celebrate! Sing! Sing! Celebrate! For a King Celebrate!"

Written and produced by Phillip Jones, Kurtis Blow, Mellle Mell, Bill Adler and Dr. King's son Dexter Scott King, the song has various versions that run from four-minutes to over seven-minutes. It is also spoken of that the one and only Prince, of Purple Rain fame, paid for the production. Regardless of the ways it was pulled together, the message of unity and honoring the man with the message for us to come together, the "King Holiday" song shows us how our talents can endure generations and still inspire change in the face of the adversity of present day America.

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Rah-C Emerges With New Album 'An Unsurfaced Melancholy'

As we tread through the brisker months of the year, it's only natural that one's emotional and mental state can at times become downtrodden and weary, particularly in light of the COVID-19 pandemic that's currently ravaging the globe. Couple that with mandated and self-imposed isolation for months on end, catching a case of the feels has become par for the course, no pun intended.

That said, Rah-C has just what the doctor ordered, with the newcomer's debut album, An Unsurfaced Melancholy. The project finds him mirroring the signs of the times with music tailor-made to soundtrack your modern-day existential crisis. The follow-up to The Format, which was released earlier this year, An Unsurfaced Melancholy marks the next chapter in his progression as an artist, as the brazen lyricist is back for the first time, with a revamped approach and vocal style first teased on his previous single, "Whole Life." Produced by Rah-C and Identite Crisis in its entirety, the album begins with "Sooner or Later," an introductory cut that doubles as one of the more upbeat salvos on the album. Layering feathery vocals atop fluttery synths, the New York native vaguely recounts drunken nights in Denver, as he revels in his zest for living in the moment. From there, the tempo gets ratcheted up a few notches with "Back from My Lowest," an airy groove that captures him refusing to wilt beneath the weight of his shortcomings.

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In addition to showcasing his talents behind the mic and the boards, Rah-C's musicianship gets put to the forefront with "Til the Embers," a string-laden salvo on which he does work with an acoustic guitar, accounting for one of the more heartfelt compositions on the album. After waxing poetic about the days of yesteryear amid a flurry of rhyme spills on "Nostalgia, The Drug," the proceedings are closed out with "How To Break Free," which captures its host asking the complex questions life tosses us while providing his own answers on the road to peace and happiness.

 

 

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The ladies alternate between verses and background adlibs as they address these very things. By the bridge, Sullivan and H.E.R.'s powerful vocals weave in and out of each other as they get frank about why we've resorted to anger, frustration, and "acting like we don't care," even though it "breaks us to the core" when we're not wanted anymore. But their deliverance of the chorus drives the message of this song home.

"Boy, you must wanted somethin' different/ Still don't know what you was missin'/ What you asked I would've given/ It ain't right how these hoes be winnin'/ Why they be winnin'?/ No hope for a girl like me/ How come they be winnin'?/ I ain't wanna be/ But you gon' make a hoe out of me..."

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