Tag Archives: The Game

100 Best Albums & EPs Of 2016 (Part Three) – Meyhem Lauren / J-Zone / Ghost etc.

Check Part One and Part Two.

Meyhem Lauren – “Piatto D’Oro” (Fools Gold Records) – Backed by production from beat kings such as Large Professor, DJ Muggs and The Alchemist, Queens, NY resident Meyhem Lauren continued to play his part in 2016 to ensure traditional rough, rugged and raw Rotten Apple rap stayed alive, with “Piatoo D’Oro” providing the perfect theme music for Timberland-and-Polo fiends across the globe.


Si Phili – “The 11th Hour” (Phoenix Recordings) – Having already made an indelible mark on the UK Hip-Hop scene as a member of Phi Life Cypher, Luton lyricist Si Phili approached his debut solo album with both the experience of a seasoned mic vet and the hunger of a new artist with a point to prove. Featuring talented producers such as Pete Cannon, Leaf Dog and Richy Spitz, “The 11th Hour” found Phili unleashing a relentless barrage of intense wordplay, covering a variety of topics in the process.


The Game – “1992” (Blood Money Entertainment) – Strip away the rap beefs, personal dramas and industry politics that have surrounded The Game’s career over the years and one thing remains undeniable – Jayceon Terrell Taylor can definitely rhyme. This concept-based project found the former Aftermath emcee revisiting early-90s Los Angeles via personal, descriptive verses with respectful nods to West Coast icons such as Ice-T, Ice Cube and Dr. Dre. Compton is still in the house!


J-Zone – “Fish-N-Grits” (J-Zone.BandCamp.Com) – Never afraid to tell-it-how-it-is, NYC’s multi-talented J-Zone once again offered listeners the opportunity to see the world through his own unique perspective on his latest full-length release, combining sharp observational humour with funky beats and Rotten Apple attitude. Dealing with topics such as rap’s generational debate, hipsters and gentrification, “Fish-N-Grits” was the perfect sonic antidote for the non-stop b.s. pushed daily from both the underground and mainstream Hip-Hop scenes. As Zone himself says, there’s only two types of music, good and bad.


Royce 5’9 – “Layers” (Bad Half Entertainment) – Lead by the autobiographical brilliance of the S1-produced “Tabernacle”, Detroit veteran Royce’s sixth solo album was arguably his best body of work to date. Filled with unflinching honesty, sly wit and well-honed rhyme skills, “Layers” was a fitting title for a project which gave the listener further insight into the life of the man behind the mic.


Akil The MC – “Sound Check” (AkilTheMC.BandCamp.Com) – Jurassic 5 member Akil filled this solo album with hard-hitting motivational music delivered in his traditional true-school style, effectively balancing his back-in-the-day roots with a present-day passion for the microphone.


Mikey D’Struction – “Day Of D’Struction” (Elements Of Hip-Hop) – Largely produced by Russia’s Ligalize, this album from Queens legend Mikey D found the veteran emcee avoiding the temptation of trying to fit in with current rap trends in order to appeal to a wider audience, choosing instead to stick to his sonic guns, delivering sharp, battle-ready rhymes over hardcore, speaker-rattling beats.


Black Josh – “Ape Tape” (BlahRecords,BandCamp.Com) – After first listening to Josh’s “Ape Tape” EP, one word came to mind – vibes! Boasting an organic, impromptu feel, this thoroughly entertaining release featured the UK artist lacing varied production with his sharp Manchester wit, politically-incorrect sense of humour and honest inner-city observations.


Torae – “Entitled” (Internal Affairs Entertainment) – Backed by a successful Kickstarter campaign, this album from Brooklyn emcee Torae satisfied loyal fans by delivering the consistently high-standard of lyricism we’ve come to expect from the NY representative with quality production from heavy-hitters such as Pete Rock, DJ Premier and Nottz.


Elzhi – “Lead Poison” (Glow 365) – After a five year hiatus and release date delays, Detroit’s Elzhi finally returned with an album that played like a sonic therapy session for the former Slum Village member, who had been battling with depression during the recording of the project. Clever, introspective and creative, “Lead Poison” showcased the results of a naturally gifted artist dealing with life’s problems through his pad and pen.


Ruste Juxx & Kyo Itachi – “Meteorite” (Shinigamie Records) – Bolstered by the impeccable production of France’s Kyo Itachi, former Sean Price protégé Ruste Juxx went intergalactic like a Timberland-wearing Silver Surfer on this rugged gem of an album, transmitting direct from the planet of Brooklyn accompanied by Illa Noyz, Bankai Fam’s Skanks and Rock of Heltah Skeltah.


Ghost – “Shards Of Memories” (Ghost.BandCamp.Com) – Ambitiously bridging the gap between the UK-raised, Australia-based producer’s underground Hip-Hop roots and his desire to craft something that reached beyond the traditional sound of dusty drums and head-nodding loops, “Shards Of Memories” was an impressive effort which was both polished and well-executed whilst also managing to retain a spontaneous, unpredictable edge.


Trace Motivate – “Bored, Lonely And Possibly Intoxicated” (TraceMotivate.BandCamp.Com) – Stepping beyond the aggressive,  competition-crushing rhymes heard on releases from his group Grindhouse Project, Canada’a Trace Motivate offered personal reflection and honest life observations on this six-track concept-based release.


Tribe Of Judah – “Organically Grown” (Gravity Academy Records) – Maryland’s Tribe Of Judah mixed political commentary and social observation with street-savvy Hip-Hop bravado on their impressive Tokyo Cigar-produced debut album.


Rapsody – “Crown” (Jamla / Roc Nation) – Inspiring and passionate, North Carolina’s first lady of the mic Rapsody was on a mission to motivate her listeners with “Crown”, encouraging the younger generation in particular to reach for their goals via forthright rhymes delivered over soulful production from 9th Wonder, Nottz and Khrysis.


PhybaOptikz – “Shades Of Alejandro” (PhybaOptikz.BandCamp.Com) – London’s PhybaOptikz delivered a smooth, atmospheric concept album under the guise of his alter-ego Alejandro, showcasing the UK producer-on-the-mic getting busy over an ill selection of hypnotic loops with assistance from Crate Divizion comrades Giallo Point and Vic Grimes.


Arkatek & KelpiNINE – “Master Builder” (ArkatekMusic.BandCamp.Com) – Atlanta-based wordsmith Arkatek encouraged listeners to bring their third-eye vision into focus via well-crafted verses over drum-heavy production from KelpiNINE on this US / Ukraine collabo project.


K Zorro & Bad Company – “Deferred Gratification” (NewGuardzOnline.BandCamp.Com) – Talented London emcee K Zorro dropped intelligent, captivating verses over atmospheric production from musical ally Bad Company on this collaborative project which was both streetwise and socially-aware.


Sebastian Hochstein – “Name Dropping” (Illect.BandCamp.Com) – German producer Sebastian Hochstein called on the likes of Jurassic 5’s Chali 2na, Sadat X and Scribbling Idiots to provide lyrical support on this impressive EP, a release which was rooted in a dusty, sample-based sound.


Tha God Fahim & Giallo Point – “Eyes Of War” (Crate Divizion) – Atlanta’s Fahim spat righteous rawness over the brilliant, gripping production of UK music man Giallo Point on this quality Crate Divizion release.


Part Four coming soon.

Brother From Another Mother – Nas

Nas speaks to the UK’s HipHopChronicle.Com about his recent collaborations with The Game.

Gio Interview (Originally Posted On StreetCred.Com Aug 29th 2008)

Being an underground artist is never easy, especially when your music is at odds with what is considered to be the popular sound of the mainstream. But California’s Gio knows all about going against the grain. Turning his back on the thug life offered to him on the potentially deadly gang-related streets of Los Angeles, this down-to-earth individual gravitated towards Hip-Hop when looking for a creative outlet to help keep him focused and away from drama. Having also spent time as an aspiring basketball player and a pastor, Gio’s story is definitely not your typical straight-off-the-block rap tale.

With his recently released debut album “Basicali” boasting a tight combination of melodic, boom-bap-infused production and nimble, thought-provoking lyricism, Gio has some healthy Hip-Hop soul food to offer malnourished rap fanatics. From the warm summer party vibes of “Sun Shine On Me” to the social commentary heard on “American Pie”, this LA resident is hoping to show the world another side of West Coast life that doesn’t revolve around claiming colors and throwing up sets. California love, indeed.

Ryan Proctor: How did you first get involved in music?

Gio: Well, I’m from inner-city Los Angeles and when I was young I started to get into thugging and totally being a gangsta. Members of my family were into that and I just started getting into a lot of trouble as a youth. I got kicked out of school, I was getting into fights, I kept getting arrested, and I really couldn’t put things together. It really pissed my mom off to the point where she kinda just gave up on me, so I was really looking to try and get involved in something positive to help put me back on the right track. I was transferred over to Hamilton High School and I met Scarub, Murs and Double K from People Under The Stairs. I found myself just trying to get into a different crowd and that was the group that was the total opposite of thugging; everybody was about studying, being peaceful with each other, and everybody rapped. I kinda sat on the sidelines as far as the music was concerned. Initially I just hung out with them and I would try to rap but I was just so wack. I remember I wrote some rhymes down, went into the cipher with my piece of paper and totally forgot what I’d written. It was really wack (laughs). But then I remember when I did my first proper freestyle and was able to get through it and actually ride the beat. It was like the best feeling in the world, and that was really the start of my journey as an MC. I actually started playing ball and I left the music alone for awhile, but then when I was in college I was injured so I really started getting back into rapping again as a hobby. I hooked-up with this band and things really took off and it went from me just rapping for fun to actually being serious about becoming a Hip-Hop artist. So from there, for about the past seven years, it’s been about me trying to find the right vehicle to actually take me to my goals.

RP: In the 90s Los Angeles developed a strong underground scene which included groups such as Freestyle Fellowship and The Pharcyde. Is that scene still as healthy today?

G: It’s actually kinda weak right now. There’s a lot of talented individuals out here in LA, but everyone’s just kinda running around like chickens with their heads cut off. I mean, you have West Coast-based labels like Stones Throw who still put out good product, but I wouldn’t really consider them underground. The problem is that, if you’re a dude who’s trying to hustle his CD, you’re almost looked down on by people now. The hipster crowd is quite big out here now, so everyone’s looking for the hype and artists like the Cool Kids and MIA. So to some extent the hipster scene has kinda replaced the traditional underground Hip-Hop scene out here. Which is why, for artists like me, it’s really difficult to get anywhere. Once people get the music in there hands and sit down to listen to it, most of the time they love it. But usually it’s really difficult to get people to take any notice of what I’m actually doing because as soon as you say you do Hip-Hop, if people haven’t already heard of you or you don’t already have some sort of buzz, they don’t want to take the time to listen.

RP: Do you feel that West Coast artists who’re trying to do something different are overshadowed by Cali’s traditional gangsta-rap sound and the perceptions people might have of artists from that area?

G: Welcome to my dilemma (laughs). That’s basically where myself and other artists are stuck at – how do we navigate our way through that? There’s really no home right now for the type of music that I make. I mean, you have artists out here like Blu who’s big out here in as much as people will actually go to his shows. He’s one of the few underground artists out here who has a buzz and is on a steady rise. But the real MCs out here in Cali are roaming and they’re frustrated.

RP: After listening to your album “Basicali” it seems like you’re a very spiritual person. Would you say that’s an accurate description of who you are?

G: I was actually a pastor for eight years so that’s definitely a part of who I am. I’m from the street but I’m not trying to be street. I’m not into things that are plastic. I like things that are real and coming from a genuine place because then I’m able to interact with that. I want to explore this life and be able to learn something from every situation I find myself in, even if it’s a bad one. Through my music I want to let those people who’re selling drugs or into gang-banging know that I understand the place they’re coming from, but to also show them that there is hope on the other side.

RP: Is there anything you experienced during your time as a pastor which has had a direct influence on your music?

G: I never want to take my message and my music and put it in the hands of the public in terms of people’s opinions swaying my creative direction. I definitely learnt that from my time as a pastor. As a figure of the church you live in the eyes of everybody else where your lifestyle and what you do is constantly under the microscope, to the point where other people’s thoughts and ideas control your daily life. So in my music I never want other people’s opinions of what I should be doing stop me from just being me. Whether my decisions to express certain things are right or wrong, I still want to allow myself the opportunity to do that. My favorite MC is Mos Def and I really look at him as being a total artist. Some people might say they didn’t like his more recent albums, but when I listen to them they feel real to me because he’s truly expressing himself the way he wants to as an artist. It’s definitely a challenge to try and live off of your art because often there’s a sacrifice that has to be made. For me, I’m going to continue to create music that I genuinely love and let go of trying to reach the glitz and glamour. It’s the love of the music that keeps me going and the idea of being able to create something that I can say is an honest representation of who I am. I put 100% into the music I make, I put 100% into the rhymes, I put 100% into making sure the mood of the song is right, and I put 100% into making sure I tell the truth.

RP: You have a track entitled “Clap Ya Handz” which has some interesting lyrics. You talk about an artist who wrongfully claims they’re “the best the West has to offer” and another artist who flips out at award shows and is always “talking about what (they) deserve”. I took those comments to be aimed at Snoop and Kanye West. Is that correct?

G: That song was aimed at The Game and Kanye West. Firstly, I have a love-hate relationship with Kanye. I think he’s extremely talented and a phenomenal producer but sometimes his arrogance overshadows the quality of his music. Similarly with The Game, don’t get it twisted, I think he’s very talented. But when he came out saying he was the best from the West and that he was bringing the West Coast back, sometimes his stuff can seem real plastic to me. He’s someone I do respect, but on that particular song I was trying to show people the other side of the coin. Everyone’s always hearing about how great artists like The Game and Kanye are, but no-one ever hears people talking about how Game isn’t necessarily the best from the West and that Kanye really needs to get over himself. I’m not saying that either of those artists are wack, I’m just saying that people who get caught up in the hype of thinking they’re the greatest artists in Hip-Hop right now perhaps should also spend some time listening to less-celebrated dudes like a Black Thought or a Mos Def.

RP: Ultimately, what do you want listeners to take away from your music?

G: I want my music to be part of the healing of Hip-Hop and I think as long as people are striving for something better in their lives then there’ll always be an audience for my music. The challenge is in trying to let people know that music like mine exists. My next project isn’t likely to sound the same as “Basicali” as I’m currently experimenting with some new sounds, but the message in the music will always be the same. There’s so much shit out there in the world to make you feel terrible, so I want people to enjoy listening to my music and really take something positive from it.

Ryan Proctor

Gio performing “Just Stuntin” from his album “Basicali”.

New Joint – The Game / Nas

The Game ft. Nas – “Letter To The King” ( Interscope / 2008 )

Dope Martin Luther King tribute from the forthcoming “L.A.X.” album (although I can’t help but think this would have been a better fit on Nas’s “Untitled” project instead of the relatively weak Game collabo “Make The World Go Round”).

He Got Game – The Game

The Compton Kid being interviewed at Kube 93’s Summer Jam in Seattle.

Part One

Part Two

Check Yo Self – Ice Cube

The West Coast legend talks to The Hip-Hop Chronicle about Jesse Jackson, Barack Obama and 50 Cent during his recent visit to the UK.

Don’t Need Your Love – The Game

I’m sure there’ll be people clowning Game for this on message boards all over the internet, but it’s actually heartening to see a mainstream artist showing some real emotion about some real issues for once, rather than hiding behind the usual Hip-Hop interview cliches.

Bonus Clip: Full Music Choice Interview

Compton’s N The House – The Game

The Game talks to AllHipHop.Com about his new album “L.A.X.”, Hip-Hop’s changing audience, and his retirement plans.

Part One

Part Two

Part Three

Part Four

Under Pressure – The Game / Busta Rhymes

Footage of Busta Rhymes interviewing The Game on BET’s Rap City last week.

In today’s rap world of non-stop beefs, egos and hype, it’s refreshing to hear an artist talk honestly about both their career and life outside of the music industry. I’ve always felt that The Game was an artist who had the potential to go beyond the usual gangsta nonsense on his records, but who got caught up in the whole 50 Cent / G-Unit drama and wasted a lot of time and energy on a pointless feud. Hopefully, if he can channel some of that same honesty seen in the above clip into his new album, then “L.A.X.” could well be his greatest moment.  

World Premier – Busta Rhymes / Tim Westwood

Busta gets to push some buttons in Tim Westwood’s Radio 1 studio as he showcases the new “Don’t Touch Me” remix featuring Nas, Lil Wayne, The Game, Big Daddy Kane etc.

Bonus Clip: Busta Performing At London’s 1997 Notting Hill Carnival.



How We Do – The Game / DJ Clue

A visibly tired Doctor’s Advocate on Clue’s Power 105 show talking about retirement, his new album “L.A.X.”, and not working with Dr. Dre.

Part One

Part Two


New Joint – The Game

The Game ft. Keyshia Cole – “Pain” ( Interscope / 2008 )

You’ve gotta love the lyrics on this one – “Ask a Jay-Z fan ’bout Big Daddy Kane…”


Sample This! – West Coast Hip-Hop

What do you get when you cross YouTube with some classic West Coast rap and an enthusiastic crate digger? Tampa’s DJ ReggieReg1 has the answer….

Some obvious and well-known samples included here but entertaining nonetheless.


Edutainment – KRS-One & The Stop The Violence Movement 2008

The official video preview of the Blastmaster’s recently rejuvenated Stop The Violence campaign and the forthcoming “Self-Construction” all-star posse cut.

No disrespect to any artist who gave up their time to participate in this worthy and much-needed cause, but let’s hope some of the faces in the above clip actually practice what they preach when it comes time for them to drop another album. Sixteen bars about peace and unity on a KRS project isn’t going to hit home particularly hard with the record’s intended audience if you’re back to killing a thousand people on your next joint, beefing with other rappers and screaming “I’m a gangsta” every two seconds. Time will tell.  

Bonus Clip #1

KRS-One talks about the history behind the original Stop The Violence Movement and the reasons for its 2008 counterpart.

Bonus Clip #2

The Stop The Violence Movement – “Self Destruction” (Jive Records / 1989)