Tag Archives: 14KT

New Joint – MED x Guilty Simpson / Kokane

MED x Guilty Simpson ft. Kokane – “The Hundreds” (@MEDa4OX / @GuiltySimpson / 2022)

Melodic 14KT-produced funk from the 2019 MED / Guilty Simpson album “Child Of The Jungle”.

New Joint – RSXGLD

RSXGLD – “Err’Body Know That” (@RSXGLD / 2018)

Taken from Detroit duo RoSpit and 14KT’s 2017 self-titled album.

100 Best Albums & EPs Of 2017 (Part Five) – Ray Vendetta & Giallo Point / Defari / Conway etc.

Check Part One, Part Two, Part Three & Part Four.

Ray Vendetta & Giallo Point – “Sins Of The Son” (PrestigiousRecordings1.BandCamp.Com) – Triple Darkness member Vendetta called on the talents of prolific producer Giallo Point for this epic display of hardcore brilliance, with the London-based lyricist dropping vivid, street-smart rhymes over expertly-crafted loops and beats perfectly suited to the UK emcee’s forthright delivery.

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Showbiz & A.G. – “Take It Back” (DITCEnt.Com) – One of Hip-Hop’s greatest musical partnerships, Bronx duo Show & A.G. dropped this stellar effort some twenty-five years after their first releases appeared on record store shelves. Having lost none of his dusty-fingered touch, Showbiz delivered plenty of that trademark DITC sound here, with Andre The Giant flowing effortlessly throughout.

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Jazz Spastiks & Mellosoulblack – “Midnight Method” (JazzSpastiks.BandCamp.Com) – UK production duo the Jazz Spastiks provided Stateside crew Mellosoulblack with a heavy dose of their full-bodied production sound on this quality collaborative album. Thumping beats, random samples and crafty cuts were blended with witty, freestyle-flavoured rhymes here, resulting in an upbeat, feel-good true-school listening experience.

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Rapsody – “Laila’s Wisdom” (Jamla Records / Roc Nation) – 2017 was a big year for North Carolina’s Rapsody, culminating in a Grammy nomination for this deserving body of work. Truth be told, the talented artist didn’t do anything different here than she’s already been doing since debuting her solo material in 2011, incorporating personal experiences, fierce lyricism and a good ear for strong production into one undeniable package. The increased amount of attention Rapsody received this time around, however, was proof that talent and hard-work can get you to where you want to be.

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Kamanchi Sly – “Slycriminality” / “Ultimate BBoy 92” (KamanchiSly.Com) – Hijack legend K Sly dropped two albums in 2017 and, as much as I tried, I really couldn’t decide which was the better of the two, so I’m giving props to both projects here. A pioneer of the 80s UK Hip-Hop scene, the South London lyricist proved throughout both these self-produced releases that his dedication to microphone dominance hasn’t faded over the years at all. Mixing a true love of Hip-Hop culture with a passion for crushing the competition and some wordly wisdom, Kamanchi Sly injected his 2017 output with the energy of a new artist and the experience of a battle-hardened veteran. Stockwell serves again!

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Estee Nack & Friends – “#MiniMansionDust Vol.2” (EsteeNack.BandCamp.Com) – Tragic Allies member Estee Nack dropped science alongside Daniel Son, al.divino and Mr. Rose on this solid collection of fly underground jewels, with the Massachusetts mic fiend’s gritty delivery and righteous street knowledge hitting the target as always.

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Flashius Clayton & Lisaan’dro – “Money Makin Music” (FlashiusClayton.BandCamp.Com) – The end result of a weekly series of free tracks dropped between September and November, this project effectively showcased the sharp rhyme skills of Cali’s Flashius Clayton and NY’s Lisaan’dro, two distinctly different emcees with a shared passion for the craft of lyricism. Featuring production from Farma Beats, The Historian and Spectacular Diagnostics, “Money Makin Music” marked both these talented individuals as ones to watch in 2018 and beyond.

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Blacastan & Stu Bangas – “The Uncanny Adventures Of Watson & Holmes” (BrickRecords.Com) – The sequel to their 2014 Watson & Holmes project, this album was another collection of raw beats and rhymes from the Connecticut emcee and Boston producer that definitely wasn’t for the faint-hearted. Slashing through your speakers with razor-sharp precision, the chemistry shared between the pair was apparent once again here, with all the elements of a true musical partnership on display.

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Jay-Z – “4:44” (RocNation.Com) – Jay-Z has always been a divisive figure in Hip-Hop, sparking passionate debates between those who see him as a calculating commercial rapper and others who consider him one of the greatest artists of all-time. To be fair, both camps have valid points, as Hov’s career has contained moments of sonic brilliance and disappointment. This album, however, was his best release in a decade, with the nearly fifty-year-old artist talking about topics a nearly fifty-year-old artist in Jay’s position should be addressing in their music – family, society, personal failures, successes – displaying a different side to the Brooklyn icon than we’d heard and seen before.

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Ankhlejohn – “The Red Room” (Shaap Records / FxckRxp.Com) – The raspy-voiced Washington D.C. wordsmith dropped this cohesive collection of late-night street-hop mixing East Coast boom-bap sensibilities with a no-holds-barred lyrical approach, resulting in a project that was something of an acquired taste but that offered a unique listening experience for those who embraced “The Red Room” in all of its unhinged glory.

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Spnda & Grubby Pawz – “Steel Sharpens Steel” (CityYardMusic.BandCamp.Com) – On point like a knife blade, this Boston duo’s album was an effective lesson in how to craft a project that has the ability to really draw the listener in, with Spnda’s liquid swordplay meshing perfectly with producer Pawz’ loop-based mellow madness, resulting in an album that was both atmospheric and captivating with maximum replay value.

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RSXGLD – “RSXGLD” (RSXGLD.BandCamp.Com) – This album found veteran Michigan representatives RoSpit and 14KT successfully pushing their respective creative boundaries on each track, giving “RSXGLD” a sound that was soulful, hardcore and experimental in equal measures. Ambitious, personal, speaker-rattling Hip-Hop.

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Jehst – “Billy Green Is Dead” (YNRProductions.BandCamp.Com) – Named after a socially-aware 1972 Gil-Scott Heron track, UK producer-on-the-mic Jehst’s first album in six years was a deep musical experience to fully immerse yourself in, offering commentary on today’s modern world which, at times, made for unsettling and haunting listening. A truly brilliant work of art.

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Recognize Ali & Giallo Point – “Back 2 Mecca” (RecognizeAli.BandCamp.Com) – The last of three albums to be released in 2017 by Greenfield Music’s talented Recognize Ali, this project paid tribute to the culture of Hip-Hop and was powered by the typically impressive production of the UK’s Giallo Point, with the likes of Estee Nack, Daniel Son and PhybaOptikz also contributing their skills to this raw collection of subterranean gems.

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Life MC & DJ Nappa – “Audio Bliss” (LifeMC.BandCamp.Com) – One of UK Hip-Hop’s most distinctive voices, Life MC touched on a variety of topics throughout this succinct seven-track EP, with fellow Phi-Life Cypher member Nappa pulling out some top-drawer production to match the Luton lyricist’s passionate verses.

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Ash The Author & Krang – “Two Man Band” (BoomBapPro.Com) – Lively, spontaneous vibes from the UK duo, with Ash’s cleverly cocky rhymes sitting nicely over the jazz-influenced production of Krang, a combination which added another worthy release to the Boom Bap Professionals label catalogue.

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Defari – “Rare Poise” (Fat Beats) – Part of the mid-90s West Coast independent scene and a Likwit Crew affiliate, Defari is no stranger to releasing quality music. Calling on the production skills of Evidence to assist in crafting his first album in eleven years, the Cali emcee proved that he hadn’t missed a beat with this self-assured set which also featured appearances from longstanding Left Coast wordsmiths Rakaa Iriscience, Krondon and Phil Tha Agony.

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Verb T & Pitch 92 – “Good Evening” (HighFocus.BandCamp.Com) – Supported by the brilliant production of Mouse Outfit music man Pitch 92, the mighty Verb T dropped an engaging, down-to-earth mix of life observations, dry wit and personal reflection, proving once again why his stature as UK Hip-Hop royalty is so well-deserved.

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Codenine – “IX” (Codenine.BandCamp.Com) – Backed by the sublime, minimalist soundscapes of producers Kas and Motif Alumni, Tragic Allies member Codenine made sure that not a moment of his time on the mic was wasted here, packing his verses with vivid imagery and a near-cinematic attention to detail that put him head-and-shoulders above much of his competition.

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Conway – “G.O.A.T.” (WhoIsConway.Com) – Buffalo’s master of murderous mood music returned at the end of the year with a fresh batch of  cold-hearted crime rhymes and dark Daringer production, closing off what had been an eventful twelve months for the Griselda emcee and setting high expectations for what 2018 may bring via Conway’s signing to Eminem’s Shady Records.

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New Joint – RSXGLD

RSXGLD – “ICU” (@RSXGLD / 2017)

Intense, speaker-thumping beats and rhymes from the new self-titled Ro Spit / 14KT collabo project.

New Joint – RSXGLD

RSXGLD – “Glow Cups” (RSXGLD.BandCamp.Com / 2017)

Crashing beats and rapid-fire rhymes from the recently-released 14KT / Ro Spit mix-tape “He’s The Driver, I’m The Shooter”.

He’s The Driver, I’m The Shooter Mixtape Stream – RSXGLD

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Whilst putting the finishing touches to their forthcoming full-length project, Michigan duo 14KT and RoSpit bring everyone up to speed with their catalogue of collaborations so far via this collection of stellar beats and rhymes.

New Joint – RSXGLD

RSXGLD – “JeSoS” (RSXGLD.BandCamp.Com / 2017)

Stream-of-consciousness rhymes and soulful, string-laden beats from Michigan duo Ro Spit and 14KT’s forthcoming release “He’s The Driver, I’m The Shooter”.

New Joint – 14KT

14KT – “14KillaTape: REDUX” (@StreetCornerMusic / 2016)

Three tracks from the 2015 re-release of the Michigan producer’s instrumental project get the visual treatment.

New Joint – 14KT

14KT – “Five & Ten” (Mello Music Group / 2013)

Taken from the Athletic Mic League member’s new album “Nickel & Dimed”.

Dreams – B.I.G. Re:Imagined Mixtape Download – House Shoes / Nottz / 14KT etc


Inspired by the recent March 9th anniversary of Biggie’s untimely death, Detroit’s House Shoes enlisted the help of fellow producers Nottz, 14KT, Waajeed and more to remix a selection of Notorious classics including “Kick In The Door”, “The What” and “One More Chance” – download here.

New Joint – Kodac aka M80

Kodac aka M80 – “Observation Theory” (KodacakaM80.BandCamp.Com / 2013)

14KT-produced track from the Michigan emcee’s recent album “Blessed By A Broken Heart (The Experience)”.

New Joint – 14KT / Oddisee / Olivier Daysoul

14KT ft. Oddisee & Olivier Daysoul – “High Horse” (Mello Music Group / 2012)

Taken from a forthcoming EP project featuring Mello Music Group artists adding  vocals to the original instrumental tracks featured on producer 14KT’s “A Friendly Game Of…” release.

New Joint – 14KT

14KT – “Blessed” (Mello Music Group / 2012)

Mellow instrumental niceness from the Michigan producer’s “A Friendly Game Of KT” project.

New Joint – 14KT / Tony Ozier

14KT ft. Tony Ozier – “Width” (Mello Music Group / 2012)

Soothing cut from the Michigan-based producer’s recent project “A Friendly Game Of KT”.

New Joint – Boog Brown

Boog Brown – “Growth – 14KT Remix” (Mello Music Group / 2011)

Taken from the forthcoming project “The Brown Study Remixes”.

14KillaTape Album Download – 14KT

Download this new instrumental project from the A-Side Worldwide-affiliated producer / emcee here and check for the track-by-track breakdown by 14KT himself below.

Words From 14KT:

“Straight up…this is that raw ish. Slaps. Face Twisters. Hard beats. All these joints were made in a span of 08’-11’. It all started when I first got into the Red Bull Beat Battle in Detroit end of 08. I was never known as a beat battle type producer and believe it or not, I actually don’t like battling with beats. However, that was my first time ever battling with beats. Knowing I was battling, I definitely found myself in a different frame of mind when I sat down to make joints in the lab. While in the lab, my motivation was making beats that I would have HATED if my opponent played them against me. I took a collection of beats where I had that mind state and mixed them with other beats I made during that time period. I’m setting this Killer Tape off with the first joint I ever made in a beat battle mind state and the rest is history. I got a new nickname under my belt now, 14KillaTape…haha.”

1. Adrenaline
“2008. I was in LA at my brother Mayer Hawthorne’s lab when I made this one. After I won the Detroit Red Bull Big Tune, I was trying to prepare for the finals that November. This was the first beat I made when thinking about beat battling, that’s why it had more breaks and stuff in it, because that’s what you got to put in “beat battle” beats. What made me love this joint though was the bass. It got me hype, so I was hoping it did the same for the listeners. Jozeemo ended up lacing a joint to this with the same title. The title was fitting.”

2. You. Me.
“I’m an ADDICT of flipping records. I heard this original sample on the radio one day. Definitely a joint I’ve jammed to for years, but I wasn’t sure if anyone had officially flipped this record before, so me being the chop fiend that I am, I took a stab at it. It was fun.”

3. The Sound of People Burning
“Randomly, I was watching this morbidly CRAZY TV special about “Self-Burning” people. Though it was wild, it was interesting learning about how these people managed to do that to themselves. Earlier the same day, I had went record shopping and picked up the ELO record with this joint that thousands of cats have already flipped many times before. After watching that special, the feel of that ELO record inspired me. I decided to try and flip it regardless of that fact cats did it already. When I laid that bass line on it, it was a done deal for me. Killa music.”

4. Choir Robed Up
“Many times I get inspiration from just looking at pictures and trying to make music to fit them. I had this picture of me when I was younger singing in the children’s choir at my church. We had on these borderline ugly bright yellow and brown choir robes on. I thought back to some times when I really didn’t like putting on those robes and did it to make a beat. Although I didn’t like it at times, I made a beat about representing rocking choir robes as a kid for all those that rocked them too. Haha.”

5. The Abominable Snowman
“I heard my big bro DJ HouseShoes play this original record a few times and I loved it. I never heard anyone flip it before, so I decided to chop it for Shoes. I did it and then I sent it to him. He said he banged his head on the wall when he heard it. The beat was called “Cripple” at first. I changed the name after really listening to the beat. When I listened to it, it sounded like it could of been theme music for The Abominable Snowman from the claymation Rudolph The Red-Nosed Reindeer joint I loved as a kid.”

6. On Ya Mind
“Just a basic raw pick-up-the-first-record-you-grab-and-chop-it type joint. I wasn’t sure if I was going to keep this beat. Most of the time when I play beats in battles, I play them just to see how it sounds on loudspeakers and if the crowd likes it. I played this in the 2010 Red Bull beat battle finals in Chicago. I saw a few people get hype to it, so I decided to keep it and give it to ya’ll.”

7. F What They Say [Jon B]
“This joint is hilarious every time I hear it. I made this when I was in my “90s R&B records” chopping phase of life, around 2004-2008. I have this pride issue with myself where I think that I can flip ANY record that I’m presented with. There’s always these voices in my head talking ish telling me “KT you can’t flip that ish, niggas know you ain’t that sweet,” so I had to make a beat battle response to those voices. I guess this is my creative way of telling ya’ll I have issues.”

8. U Trying 2 Catch The Beat [3D Chop ish]
“This was a beat I had saved for a solo album with me rhyming on it that I was working on and never finished. I first played this joint in the Detroit battle in 08’. When I made it, I was trying to invent another style of chopping I coin, “3D Chopping.” This is when you chop a sample just in the left ear, then chop the sample in the right ear to compliment the left ear, and then add something in the center too. To me, the test to know if you do it right is if you just play the left or right channel on solo and it doesn’t sound like it makes sense. I did it with the drums on here as an example. I also chopped the drums in a “waltz-type” triplet pattern. Just another chop style like “Gee Whiz” to test ya’ll on. Remember where you heard it first. I got a couple more styles up my sleeve too.”

9. Best Bet
“Made this in 2006. Another beat where I was challenged to just chop a random Reggae record. Here’s the result. I cut in a favorite line of mine from a Eulorhythmics joint from back in the day.”

10. 3 Blind Mice
“Woooooo!!! This was supposed to be a joint off of an album I was working on where I would be rhyming on it. I had been holding on to this joint since 07’, so I decided to just give it to ya’ll. I had a sick rhyme concept to it too, but I couldn’t put it into words the way I wanted too, but oh well. This beat was inspired after I watched Stephen King’s “IT.” I had this record that flipped the melody of “3 Blind Mice,” so I HAD to make something with it. By the way, one of my favorite beats I’ve made.”

11. LikeUDo
“Made this around 2006. Pretty simple loop I made. I played this in the 2008 Red Bull finals in New York. I always felt the New York crowd was a tough crowd to win over when you’re from Michigan. When I played this joint, I remember heads getting hype and I almost started break dancing on stage, so I figured it had a special energy to it. If you listen close, I used the “Gee-Whiz take the singing out” style of looping on this joint and left the background singer’s vocals in. I love doing that. Hype ish!”

12. Room #1414
“Winning the 2010 Red Bull National beat battle Championship in Chicago was a big deal to me. Being a part of Red Bull, meeting Jake 1, Vitamin D and J Moore was special to me. Also, being able to build with some really dope producers like Frank Dukes, Illmind, S1, Xperiment, No Speakerz, Boon Doc, Algorhythm, Dibiase, Big Pops, Captain, Hitmakers, Tmos, Incredible Stro, Budo, Trox, Cam, Rising Son, GMo, Nicademus, Trifeckta, Mike Dupree, Brainstorm, J Bizness, C-Sick, Best Kept Secret, Rob Bates, etc…this was just an interlude-type beat that reminded me of when I checked into my hotel in Chicago and they handed me my room key and it was #1414. Cats were like “Well, that tells us who’s gonna win already!” It was just a joke, but looking back on it, it made me appreciate everybody who believes in my music and me, and reminds me how much God has favor on me and is looking out for me. Blessed.”

13. Never Ceases To Fail
“One of my favorite simple beats that goes with one of my favorite simple cliché sayings that I messed up (Splittin’ Peas). Inside A-Side jokes ya’ll wouldn’t get…”

14. RockABye Baby
“This was the 2nd beat I made after “Adrenaline” in 2008. At the time, I was working on beats for the finals in New York. I was thinking I had to flip something that heads would recognize. Here’s my actual thought process: When I thought of New York City, I thought of New Jack City. Bet. First thing I think about when I think of New Jack City is Keisha saying “Rock A Bye Baby.” There it is. So I made a beat out of Keisha. Thanks Keisha. Haha. I made this beat because this is the beat I wouldn’t want anybody to ever play on me, so I had to make it first. Ironically, this was the last beat that I played in the National Finals in Chicago, so it was only fitting to put as the last beat on the Killa Tape. Definitely Killa ish.”

An Inside Look – 14KT

Interview with Athletic Mic League member 14KT about his musical inspirations, repping the Michigan scene and winning his Red Bull Producer Battle title.

New Joint – 14KT

14KT – “The Inside” (A-Side Worldwide / 2010)

Taken from the album “The Golden Hour”.