Drawing on his unique and unrivalled position in popular culture, Jay Z (with collaborator and the film’s executive music consultant Jeymes Samuel) has worked with Luhrmann and his team on the project over the past two years, translating the Jazz Age sensibility of F. Scott Fitzgerald’s novel into the musical equivalents of our own times, through the blending of hip-hop, traditional jazz and other contemporary musical textures.
Luhrmann stated, “F. Scott Fitzgerald’s novel is peppered with contemporary music references specific to the story’s setting of 1922. While we acknowledge, as Fitzgerald phrased it, ‘the Jazz Age,’ and this is the period represented on screen, we-our audience-are living in the ‘hip-hop age’ and want our viewers to feel the impact of modern-day music the way Fitzgerald did for the readers of his novel at the time of its publication.”
“The Great Gatsby is that classic American story of one’s introduction to extravagance, decadence and illusion. It’s ripe for experimentation and ready to be interpreted with a modern twist. The imagination Baz brought to ‘Moulin Rouge!’ made it a masterpiece, and ‘Romeo + Juliet’s’ score wasn’t just in the background; the music became a character. This film’s vision and direction has all the makings of an epic experience,” JAY Z said in a previous statement.
Jay Z’s own “No Church in the Wild,” which he was recording when he and Luhrmann first came together, is included in the film, along with his original “100$ Bill.” The first single to drop is the hauntingly melodious track “Young and Beautiful,” from recent Brit Award winner for Best International Female Solo Artist, Lana Del Rey. Del Rey collaborated with Luhrmann in creating the song.
Del Rey said, “It was an honour to work with Baz Lurhmann on his amazing adaptation of one of the most extraordinary books ever written. The movie is highly glamorous and exciting; Rick Nowels and I were thrilled to write the song for the film.”
Luhrmann also worked personally alongside good friends and collaborators Florence Welch, of Florence + The Machine, and The xx. Each of the artists worked to picture.
The highly eclectic soundtrack also features songs performed by such artists as Beyoncé x André 3000; Fergie + Q Tip + GoonRock; Coco O. of Quadron, Gotye; Nero; and Sia. Moviegoers will also recognise a few favourites with a new twist, such as Jack White’s interpretation of U2′s “Love Is Blindness,” Beyoncé x André 3000 collaborating on Amy Winehouse’s “Back to Black,” and Bryan Ferry’s new take on a couple of classics: his own “Love Is The Drug,” and, with Emeli Sandé, Beyoncé’s “Crazy in Love.” New songs by Florence + The Machine, Lana Del Rey, Nero, will.i.am and The xx were written for scenes in the film, and appear on the soundtrack.
The score is composed by Luhrmann’s regular collaborator, Craig Armstrong, who worked with the director on “Moulin Rouge!” and “William Shakespeare’s Romeo + Juliet.” Both the standard album and the deluxe edition will be released worldwide by Universal Music. In Australia, the soundtrack will be released on May 10th.
The full track list for “The Great Gatsby” standard soundtrack album is as follows:
1. 100$ Bill – JAY Z 2. Back To Black – Beyoncé x André 3000 3. Bang Bang – will.i.am 4. A Little Party Never Killed Nobody (All We Got) – Fergie + Q Tip + GoonRock 5. Young And Beautiful – Lana Del Rey 6. Love Is The Drug – Bryan Ferry with The Bryan Ferry Orchestra 7. Over The Love – Florence + The Machine 8. Where The Wind Blows – Coco O. of Quadron 9. Crazy in Love – Emeli Sandé and The Bryan Ferry Orchestra 10. Together – The xx 11. Hearts A Mess – Gotye 12. Love Is Blindness – Jack White 13. Into the Past – Nero 14. Kill and Run – Sia
The deluxe soundtrack will feature the above songs, plus three additional bonus tracks.
aahh: The history between Vegas Aces goes way back to the days when Cam was working with Publik Relationz and you (4th) were apart of Pure Product, are we right? 4th: Yeah, I started sourcing beats for the Pure Product album and got put in touch with Cam through Mr Hill and Seven (Publik Relationz) and was just blown away at his beats, even back then. At the time I think he was just 18 and had only just started making beats, so I knew he was going to be someone to watch out for.
aahh: Fast forward to 2011. We now have the Vegas Aces partnership in full swing. Tell us a little about the new EP VA All Day? 4th: The EP really just started out us making a couple of songs and seeing how they turned out – which were Boomtown Shuffle and Two Sides. We really liked the sound that was coming out so we decided to do a whole thing. Originally we were just gonna make a few songs and chuck them out for free but as we made more, some friends of ours egged us on to release it properly.
aahh: Vegas Aces is an interesting name, are you both massive gamblers or does it go a little deeper than that? 4th: Haha not at all! No gambling here – it was more so at the time there were a lot of those sorts of references in what we were doing. And the fact that we were in the same circle it was sort of ‘shuffling of the deck’ to be super-corny for us to work together. To be even more corny, it’s also a nod to Bris-Vegas. Corn.
aahh: How long how you guys been working on the VA All Day material for this EP? 4th: The actual music didn’t take that long at all. Everything on there was the culmination of Cam sending me a beat and immediately I knew what it was going to be about and wrote it in a couple of hours. If it didn’t work like that – it’s not on there. All the other behind-the-scenes shit is what took the most time. I’m pretty picky so there was a lot of back and forth tweaking etc. Sorry guys!
aahh: The depth of this EP is impressive, Are you guys strong believers in the old adage of quality over quantity? 4th: Without a mother-effing doubt! We really wanted to put out something really solid to make a good first impression. Because obviously we were a ‘new’ group we had to start from scratch again and really turn some heads to get the name out there. There are so many great acts these days you need to bring something special to the table to stand out.
aahh: What have been the some of main challenges you’ve faced in bringing this release to the people? 4th: The generic ‘being-on-a-small-label-and-lacking-a-big-budget’ one is pretty obvious as a factor. I don’t think being in Brisbane geographically is a hurdle in getting our music around the country though, for most part the scene here has been really supportive. I dunno, maybe because we started from scratch as a new group was our biggest hurdle? Hurdles have also been a pretty big hurdle.
aahh: A lot of artists talk about their influences and how it shaped their musical development. With such diverse backgrounds what were some of your early influences? 4th: I can safely say my influences now are pretty different to when I was starting out, but with that said, those early influences were very important! A few years ago I was pretty anti-mainstream which I’m sure every teenager goes through. My biggest influences overseas were probably early Eminem, Apathy, Copywrite… shit there is seriously too many to name, now I am really into Jay-Z/J. Cole, Evidence and Fashawn are getting a thrashing too, again though – waaaaaay too many to name! Locally though the biggest were Lyrical Commission, Left One, Lazy Grey + 750 and co, they made me wanna do it.
aahh: What do you think the most important aspects are to consider when constructing a track lyrically for your audience? 4th: That they can understand it and can picture what I’m saying. I find myself doing that when I write now. I more want to write shit that someone can relate to as oppose to having the most technical verse now.
aahh: For the gear geeks out there, what kind of equipment set up do you have? Cam Bluff: Im currently rocking my good old mpc200xl along with a m-audio key rig 49. Primarily i did start making beats on my mpc, however nowadays as i branch off into larger compositions i rely on my mpc as more as a midi controller than a beat machine. Accompanying my mpc and keyrig are also a m-audio profire 610 audio interface, a pair of behringer truths, a pair of stanton T.150′s and a 27” IMAC. I use Native Instruments complete 7 which is fantastic for laying down vintage or orchestral sounds. Keys,organs, retro 70/80′s synths you name it this package packs a punch. Its pricy though it pays off.
aahh: We’ve heard you’ve already started work on the full LP. Is it true that Cam has sent you a pile of beats but only one has made the cut so far. Has that been the general way you guys work together? 4th: Yeah I can be pretty notoriously picky with music. Lucky Cam is a fucking incredible talent and we are on the same page. There are actually a few beats that are definite now. Pretty much if I don’t love a beat and have a feel for what the song is going to be about straight away, then it most likely wont get used.
aahh: Can you give us a little insight on how the album will compare to the EP? 4th: In the early stages its more musical I suppose, Cam’s production is definitely moving forward in this way. Fundamentally I suppose it will be similar to the EP but I guess just ‘bigger better more’ (yo Opees!). We know what we want to do with it for this release, which I guess is a good thing.
aahh: How far into the album are you and will we see a 2011 release? Cam Bluff: We have a few songs written and roughly recorded and a few more beats picked out. And yes we are aiming for a late 2011 release.
aahh: With the recent floods and cyclones to hit QLD, there have been numerous benefit gigs and money-raising efforts. Vegas Aces were involved in a Rap Relief track. Tell us a little bit about the track and how these disasters have affected you on a personal level and as a member of the community? 4th: That track came together through Chris at Soulmate Records and mutual friends Choose Mics, Seven and Syntax. I dunno? I kind of just jumped on board, Cam was making a beat with the same sample which was meant to switch up or be a remix but didn’t end up happening in time. Then Tom wrote and recorded the chorus after I recorded my verse and that was that really. I wasn’t affected directly by the floods but I know people who were and it was fucking horrible. As horrible as it was, it also showed how altruistic we can be as a city/country with all the donations and charity gigs and that was brilliant! The whole world seems to be getting reamed at the moment thought… shit is hectic.
aahh: What’s 2011 hold in store both as separate artists and for Vegas Aces? 4th: As Vegas Aces we are aiming to have the album out late this year. We want to tour. Tour. And tour again. Basically just stay building and making music. Hopefully I will getting up and finishing the Pure Product album. Cam Bluff: Damn so far 2011 has kept me busy. Along with the VA album i will be reconnecting with Spit Syndicate on their next release. I have another project im working on with Syntax. We’ve pretty much chosen all the beats and we are looking at a late 2011 release.
Early on in your rap career you were one third of Queensland mainstays Trace Elements – featuring hip-hop producer M-Phazes and also emcee Tactic One. Tell us a bit about how that crew came together?
Myself and Tactic One were friends in high school, and we met M-Phazes through a mutual friend called Lee who worked at a local record store. He had heard about myself and Tactic through the grapevine and wanted to know if we were interested in meeting his friend M-Phazes. Being new to the whole music thing we were totally interested, and Lee played us a cassette tape of Phaze’s called ‘The Original’. I remember listening to it thinking, “Holy Shit, this sounds like came straight off a premo mixtape or something”. Naturally we met him the next night in the carpark of Burleigh Heads McDonald’s. We ended up becoming really good friends, and over the years have lived together, toured the country back to front, and each have a lot of good memories about it all. We’re all still good friends.
The Musical is the title of your brand new debut LP and is the result of many hard yards spent touring and learning the craft. Did you spend that time getting everything just right for you debut?
Absolutely. I had another 10 or so tracks either written or laid down in draft form, and those didn’t make the cut. I wanted this to be perfect, after all, you only get one debut. I also remember reading a quote from Jay-Z regarding Reasonable Doubt; he said that your sophomore release will normally take you 6 months to make, but your debut takes 26 years. That really struck me as something really noteworthy; at that point you’re not shaped by or jaded by ‘the biz’, you’re just you, with 26 years of life experience behind you.
The Musical is 16 tracks deep and features some great beats provided by the likes of M-Phazes and SDub but it’s Mules whose beats account for around half of the tracks on The Musical. What was it about Mules that got you salivating at the mouth?
Actually the bulk of the album was relatively new in comparison to the original track listing for the Musical back in 2009. Over Christmas last year Mules banged out and remixed an exceptional amount of tracks for me, and the album really didn’t take shape until then. Again, he was somebody else I met through Lee, and I knew straight away he was different. I also love the fact that Mules just seems to ‘know’ an artist back to front; even though he did most of the production work for the LP, it doesn’t have a Choose Mics sound to it. All the beats were originals, not off beat tapes, and they were samples that he had put aside especially for the kind of album I was making. All in all there were another 5 or 6 Mules tracks that didn’t make the cut; they’re being used for other promotional releases, but it just goes to show the hard work he puts in.
Kam Moye (the artist formerly known as Supastition) features on the track ‘Onwards’. Obviously a great feature, tell us a little about the relationship you have with Kam?
Of course the boys and I met Supa through M-Phazes; Kam was putting together a release after leaving Freshchest records and we just began talking to him from there; he even blessed us with a verse for Tactic One’s LP and for the Trace Elements mixtape in 06. In 2007 he did a short tour with DJ Forge and Trace Elements supporting; naturally we clicked straight away and built on work from there. Initially I wanted to get Kam on some punchline bragadocious type tracks, but after I heard the beat from SDub I knew that Supa would have been perfect to bless it; at the time Kam told me it reminded him of some retrospective Dr Dre. Little known fact: initially I also approached Mareko about jumping on that track too, but due to his album work he pulled out of it.
You write quite frequently, not just music, and we’ve gotten a great laugh out of many of your blog posts. Is this a way of honing your craft or just something you enjoy doing when your not spitting fire?
Well my family are all politically minded and quite talented with the written word. To be honest, even though it doesn’t seem like something that is genetic, I don’t doubt for a second that there is some kind of genetic process that controls creativity; it runs in the family. My father is a prankster, and my mother likes to think she’s the greatest comedian on earth. To be honest though, my writing style really only evolved after I began to absorb huge amounts of British comedy and immerse myself in books like The Hitchhikers guide to the galaxy (genius series by the way, exceptionally well written). To be honest I was a writer before I was a musician, and if I had to choose one path I would take forever it would definitely be the written word. I mean, have you seen Salman Rushdie’s ex girlfriends? Boom son, boom!
You recently joined the SoulMate label, the home of 360 and Pez. Whats it been like finding that right label for you, artistically and personally?
I think from day one I always wanted to sign with Soulmate, purely because the label had been interested in what I did for a long time. I really loved that aspect; I’ve heard horror stories about the relationships that other artist’s have when signed to larger more established labels. I didn’t want to be one among many, I wanted to be able to pick up the phone and talk to the label director directly, have a beer with them, and discuss issues face to face. Actually I signed the contract over a meal at Nando’s, there’s probably Peri-Peri sauce on the original somewhere. To be honest, Soulmate was the first label that was interested after the LP was complete, I didn’t even bother looking around after the deal was on the table. Previously in 2008/2009 I had been approached by two labels, and I was sick of people seeing ‘potential’ but never acting upon it. Soulmate are a powerful force in the industry, small enough to avoid confusing administration, but packed with artists that command sales and respect.
Celebrated Sydney artist and hip-hop connoisseur Mark Drew did the artwork for the album and he has done an exceptional job. Are you a fan of Marks and how did you see his art relating to your album….we did pick up on the cool A side, B side theme that played out through the album?
I hadn’t been exposed to Mark Drew before I signed with the label. Chris at Soulmate had heard about Mark Drew through a series of art shows he had put on called C-90, which was a total throwback to early 90’s cassette tapes. We knew we wanted a 90’s feel to the art purely because of the production that was on the album; it sounded clean, yet gritty. Mark’s artwork just fit the bill perfectly, especially, as you mentioned, the ‘Side A’ and ‘Side B’ aspect. At first the cover wasn’t what I was expecting, but the more I looked at it I realised it was on some 90’s mean muggin type shit. It was perfect.
The film clip has just dropped for the banging track Fact Not Fiction. The beat by Mules is a killer and the clip was filmed in a library. We hear you hooked up with Heata and Discourse of Crate Cartel for the filming of the clip?
I remember watching that Crate Cartel video (Memories – Geko & Fluent Form) and flipping out; the track was amazing and the video complimented it perfectly. Heata & Discourse (Full Clip) are a perfect pairing, Heata has an exceptional amount of experience filming in the industry, and Discourse has the audio and video editing thing on lock. The shoot was no more than a day and the fact they were hip hop dudes themselves made the experience extremely worthwhile. In regards to the track, I was actually surprised how it came out; initially I recorded it over a different beat. It was originally recorded over a retrospective Hi Tek beat and Mules came and remixed it. I wasn’t expecting the track to be as upbeat as it was, especially considering the lyrics, but after listening to it more and more I realised that Mules knew exactly what he was doing.
What do you hope to achieve from this release, do you have any plans on looking abroad in the future?
To look at The Musical as anything more than a building block is pie in the sky type stuff. It’s like a calculated game of chess, you spend time moving the pieces into position, and then bam, checkmate. I’ve already started working on the follow up, it’s a collaborative project with a producer from Brisbane called Cam Bluff (The Optimen, The Tongue, Spit Syndicate), and I’m excessively excited about it. His production reminds me of a mixture of so many amazing musical influences; I can hear Dr Dre in there, Buckwild, lots of Dilla, it’s just the music I’ve been dying to make for years.
Album launch, any details on that or upcoming tours?
I’m currently touring with my good friends Choose Mics on their “Beggars can’t be touring”…err…tour. I love being on the road with them, and have been doing so since 06. If I had my way I would make sure we did every show together. If you’re in Melbourne or Adelaide on September 17 and 18, the whole gang will be back together under the same roof (Myself, Choose Mics and M-Phazes), and I can’t wait. You can peep the show updates from the Soulmate Records blog at
http://www.soulmaterecords.com
Make sure you grab your FREE download of Fact Not Fiction taken from Syntax – The Muscial, right here.
Urthboy will be performing a special intimate show in Sydney on June 19 before departing on his first European tour. It’s going down at the tiny Sandringham Hotel in Newtown with special guests.
Urthboy heads to Europe in July playing at Open Air festival in Switzerland (Jay-Z, Eminem, Nas & Damien ‘Jr. Gong’ Marley) and Splash! Festival in Germany (Wu-Tang Clan, Missy Elliot). Club dates include three shows supporting Brother Ali in Germany and a headline show in London with label-mates Hermitude.
Tix are extremely limited for this send-off show at the Sando. First in first served.
Urthboy feat. Elgusto & Jane
Sandringham Hotel, Newtown
Saturday 19th June, 8PM.
$20 pre-sale | $25 door
Tix available now at www.urthboy.com
Urthboy in Europe:
July 11 – Open Air – CH-Frauenfeld, Switzerland
July 13 – Water Rats – London, UK w/ Hermitude
July 21 – Ampere – München, Germany supporting Brother Ali
July 22 – Duisburg – Hundertmeister, Germany supporting Brother Ali
July 23 – Studio 672, Köln, Germany supporting Brother Ali
July 24 – Splash! Festival, Graefenhainichen, Germany
Producer Pokerbeats (profile here), responsible for the killer beat on the Hilltop Hoods, State Of The Art track, She’s So Ugly has sent us the above pic of him receiving a nice little thank you in the post (something we’d love to have rock up in our mail box).
Pokerbeats top 10 of 2009′s hottest tracks.
1. The Clipse – Kinda Like a Big Deal (feat. Kanye West)
2. Tyga – Cali Love
3. Jay – Z – DOA
4. Hilltop Hoods – Chase That Feeling
5. Royce da 5’9 – Gangsta
6. Slaughter House – One
7. Wale – Chillin (feat. Lady Gaga)
8. D-Block – Get That Paper
9. Raekwon – New Wu (feat. Method Man and Ghostface)
10. Mims – Move
You can vote for any of the above tracks, or pick your own in Triple J’s Hottest 100 for 2009. By doing so you could win a golden ticket to see every Triple J sponsored gig for the year. You can enter your votes here. Make sure you throw in a few hip hop tracks!
After a poor showing last year, it’s time to get some aussie hip hop in the Triple J Hottest 100 for 2009. Each week leading up to the countdown allaussie hip hop will provide you with a selected Australian artists ‘Top 10′ of the year.
To kick things off we have Skryptcha, the 22-year-old Sydney MC who released his Left To Write EP earlier in the year which featured hits like Food For Thought and a fav of ours Turtles. Here’s a bit on what Skryptcha had to say about his upcoming album titled ‘One Way’ due for release early 2010.
Expect some insane production from the likes of my man Chasm, M-Phazes, Jase & Ante Escobar, among others. Almost half of the album has been produced by the legendary Domingo from NY and I can tell you, these beats are going to blow a lot of people. Domingo’s been an absolute legend in working with me on arrangements for the bangers and I can’t wait to play this new shiet to everyone!!!
Skryp’s Top 10 for 2009. Thundamentals – The Mash
The Thundas had a huge year.. I absolutely loved their album and this was my favourite joint off it. Probably the catchiest, funkiest joint to come out of Oz hip hop this year. Tuka & Jeswon really smashed this track with some incredible flows. The beat grabs you right from the minute it drops in, it’s definitely the perfect track for Summer.
Hilltop Hoods – Still Standing
This was my favourite track off the Hoods’ massive album ‘State of the Art’. The whole album was killer but it’s the beat that really grabbed me on this track. I’m a huge fan of reggae style sounds and Suffa absolutely murdered the beat, the raps are well beyond killer too!
La Roux – Bulletproof
La Roux makes some really different music, which is sick and this track pretty much has it all. A really catchy techno beat with some fat synths and a hook that really grabs the listener. I just really love how different she is and this track was definitely a stand out for this year.
Mos Def – Auditorium feat Slick Rick
The ruler is BACK! Haha, I was so pumped to get my hands on a brand new Mos Def album this year. He’s one of my favourites of all time and was definitely at his soulful best on this one. This beat is absolutely incredible, Madlib kills it with the middle eastern sample.. The track’s topped off by some Slick Rick domination, I didn’t really know how he’d sound next to Mos but it’s killer, his verse is so chilled like the dude just knows he’s the shit. Dope, dope track!
Royce Da 5’9 – Dinnertime feat Busta Rhymes
Shiiettt, this track blew me away completely when I first heard it! The beat is huge with some massive horns pumping through your ears & Royce’s flow on this track is one of the best you will ever hear. He’s an absolute beast and completely slays this. So dope to hear Busta smashing itagain too. I’m a massive fan and an even bigger fan of this track!
Jay-Z feat Alicia Keys – Empire State of Mind
This was song of the year for me. A true anthem in every sense of the word, Jay & Alicia Keys pay homage to the ‘home of hip hop’, New York. Another killer beat with a massive hook from Keys. I love Jay’s imagery on this track, from the Knicks to Yankees to Broadway, to the whole NY vibe. This song is just large, real takeover feel to this one!
The Temper Trap – Sweet Disposition
This is one really hypnotic track, the type of song you just get completely lost in. The voice of the lead singer Dougy, is pretty damn incredible and just glides over the fast paced drums. A pretty huge song for this year and one that plenty of people have fallen in love with, with good reason.
Sarah Blasko – We Won’t Run
Sarah Blasko is one incredible artist and she totally nailed it with this album. I’ve been a huge fan of Peter Bjorn & John for quite a while so to have Bjorn Yttling from the group produce this album was always going to deliver something pretty special. The production on this track is bananas. I love a good strong bassline on any track and this one is just so chiller, Blasko sits on it really nicely. The track builds up really smoothly to the hook too, which really launches the whole track to the next level with some nice keys behind it.
Eddie Sharpe & The Magnetic Zeros – Home
This track was probably the biggest surprise of the year for me. It was one of those tracks that I just heard in the car one day and was instantly sucked in by it. A good solid whistling section is always something that catches a listener haha and this grabs you from the first second. The female vocalist on this track has such a like 60′s folk voice, it sounds like something from a completely different decade, which is why I think I dig it so much. It’s a completely hippied out track with some beautiful lyrics.
Jay-Z – Death of Autotune
This was the first taste I got of Blueprint 3 and I was completely geed after hearing this. Jay put the auto-tune trend to bed. The beat from No ID is bananas with that swinging guitar running back and forth you can’t help but nod your head to this one, the horns that come in are hectic too. Lyrically, this track is a real stand out, ‘This is Sinatra at the Opera, bring a blonde’. Haha, it was dope for Jay to come out like this and really attack what a lot of artists were doing the States, artists he’s probably been involved with in the past too. Dope to see a boss getting on top of another ‘trend’ on such an amazing beat.
What a killer year we had in 2009! Can’t wait for the next one!
Stay tuned next week for another artist’s top ten of the year and make sure you get you vote on in the Triple J Hottest 100 for 2009. Follow the link here to vote.
For the last big week of AusMusic month, rage has invited aussie hip hop kings the Hilltop Hoods to guest program with a playlist including all their favs like Mos Def, Pharoahe Monch, Sia, Jay-Z, Sigur Ros, Brother Ali, Jungle Brothers and great stories about first meeting their influences.
The Hilltop Hoods are on rage from 10.00am Saturday morning on ABC1 (if you sleep in, never fear, you can catch the repeat on ABC2 at 5.00pm) then they are sticking around into the wee small hours with you starting from 11.25pm Saturday night on ABC1.
The full program list is below.
Congratulations go out to the Hilltop Hoods for picking up an ARIA the other night for BEST urban release. Nice work.
11:30pm
VENTS Love Song (Obese Records)
FUNKOARS Da Na Na (Obese Records)
DJ BONEZ featuring FUNKOARS Certified (Obese Records)
BROTHER ALI Uncle Sam Goddamn (Shock)
CROSS BRED MONGRELS No Interference (Obese Records)
LOWRIDER Friend (Lib/Illusive)
DOWNSYDE Fortune & Fame (Lib/Illusive)
MORTAR Jacob’s Ladder (Shogun)
12:00am
DEF WISH CAST Allstars (Ultimate) (Shogun)
CLANDESTIEN Thanks For The Venom (Shogun)
CLASSIFIED Anybody Listening (Sony)
SWAY & TECH The Anthem (Universal (MCA))
MARCO POLO featuring MASTA ACE Nostalgia (Inertia)
WAX TAILOR featuring MARINA QUAISSE & A.S.M. Positively Inclined (Independent)
BRAND NUBIAN Slow Down (Warner)
12:30am
DILATED PEOPLES Worst Comes To Worst (EMI)
PHAROAHE MONCH Body Baby (Universal)
GENIUS/GZA Liquid Swords (Universal (MCA))
GZA Breaker Breaker (Universal (MCA))
Q-TIP Gettin’ Up (Universal)
SKILLZ featuring TALIB KWELI So Far So Good/Sick (Shock)
NOTORIOUS B.I.G. Dead Wrong (BMG)
MADVILLAIN Monkey Suite (Creative Vibes)
1:00am
CIECMATE & NEWSENSE They’re Watching (Shogun)
DANGERDOOM ATHF (Shock)
ROYCE DA 5’9″ Hip Hop (Shock)
SIGUR ROS Untitled #1 (Fest/Mush)
CAGE Shoot Frank (Inertia)
K’NAAN Strugglin’ (Universal)
PROMOE The Long Distance Runner (Shock)
1:30am
MOVEMEANT Good Money (Independent)
SIA Soon We’ll Be Found (Inertia)
AUGIE MARCH The Cold Acre (SBME)
BON IVER The Wolves (Act I & II) (Inertia)
IAN BROWN Fear (Universal)
3RD BASS The Gas Face (SBME)
2:00am
BIZ MARKIE Turn Tha Party Out (Creative Vibes)
BILL WITHERS Ain’t No Sunshine (Sony)
ASA Fire On The Mountain (Independent)
J DILLA Nothing Like This (Creative Vibes)
9th WONDER & BUCKSHOT featuring TALIB KWELI Hold It Down (Shogun)
JAMES BROWN – Live at Chastain Park It’s A Man’s Man’s Man’s World (MRA Entertainment)
DAMIAN JR. GONG MARLEY Welcome To Jamrock (Universal)
2:30am
LOOPTROOP The Building (Shogun)
OUTKAST B.O.B. (BMG)
HILLTOP HOODS Still Standing (Universal)
HILLTOP HOODS Testimonial Year (Obese Records)
HILLTOP HOODS The Nosebleed Section (Obese Records)
HILLTOP HOODS The Hard Road (Obese Records)
HILLTOP HOODS What A Great Night (Obese Records)
3:00am
HILLTOP HOODS Chase That Feeling (Universal)
THE HERD 77% (Independent)
1200 TECHNIQUES Karma (Sony)
KATALYST Uprockin’ (Independent)
BUTTERFINGERS Figjam (Fest/Mush)
BLISS ‘N ESO featuring THE CONNECTIONS ZULU CHOIR Bullet And A Target (Liberation)
THE BUMBLEBEEZ Dr. Love (Universal)
THE DISSOCIATIVES Young Man,Old Man (You Ain’t Better Than The Rest) (Virgin)
