Send "Del The Funky Homosapien " Ringtones to your Cell 
| Rapreviews |
 "Rap is the shit, graf' is the shitDJ's hippin you to this is the shit Breakin, poppin, all of it is the shit The blues and jazz and R&B is the shit Rock is the shit, our music is the shit Our whole history of creativity's the shit Rewind the tape to the start, and then fast forward Always givin y'all more of it" The year of hip-hop superteams continues. We've already had the all-star Slaughterhouse team, the New York dynamic duo of KRS-One & Buckshot, the Brooklyn to Boston duo of Masta Ace & Edo.G among others, and at long last it's time for Del the Funky Homosapien and Tame One to take their turn. Wait... Del and Tame? In terms of dusted, bugged out unconventional rap flows, there may not be any two rappers on Earth more well met than Tame and Del. Each one has cultivated their following over the years amongst the populace and their peers by doing shit their own way, sometimes in direct opposition to being commercially viable. No one has ever said "Fuck Del/Tame, all they do is bubblegum pop rap, that shit is garbage." These two rappers are creativity personified. Del has tasted more success of the two though, due in part to the Hieroglyphics crew's strength and in part to simply being out there consistently over the years - always putting out new albums and touring. I've seen Del live twice now, and even though I've talked to Tame's mom on the phone, I haven't had the pleasure of seeing him in person once. Let's be blunt about it, no pun intended, Tame has often been his own worst enemy. Del has cultivated a network of like-minded artists, hip record labels, underground rap blogs and concert venues to constantly keep him on blast. Tame cultivated his love of pharmaceuticals - 'shrooms, dusted Phillies, ganja, and more things than either his P.O. or I can keep track of. While the chemical additives may have expanded his mind to newfound lyrical heights, it has seemingly come at the expense of releasing albums regularly or hitting the road in support of them. I've been a fan of both artists since the early 1990's, I anticipate their new solo projects equally, but Del is the one hip-hop fans can count on commercially while Tame's albums are hard to get and often out of print....full text |
| Prefixmag |
| With Jay-Z turning 40, many have speculated about how hip-hop -- and rappers themselves -- will age. Parallel Uni-Verses, the collaboration between Del the Funky Homosapien and Tame One (of the Weathermen), demonstrates how underground rappers can age outside of the limelight, offering a study of how age affects credibility, not celebrity. Instead of clinging to their youth, these two strut their age and experience. In doing so, they send a message about their music and themselves: We’re not old, we’re classic. According to Tame, the project grew out of a need to “showcase how things used to be done, without the politics of the day, greed and egos corrupting the hip-hop art form.” And so age and experience become the dominant themes. The artists address that most overtly in the nostalgic “Flashback” and in “We Taking Over,” which largely consists of Tame One and Del listing trends and emcees from their younger days. Reinforcing it all are Parallel Thought’s classic funk-influenced backtracks, complete with gliding funk bass lines, sax and jazz guitars....full text |
| Allmusic |
| While many will subject Parallel Uni-Verses to the usual in-depth scrutiny of Del the Funky Homosapien, it's not a fair way to approach this loose, casual album. For one, that would ignore Artifacts member Tame One's equal contribution to this evenly split effort, but first and foremost, Uni-Verses isn't designed to be a game changer. Instead, it's an attractively familiar and nostalgic album, one that brings reminders of the informal collaborations found on early Lyricist Lounge or Def Jux compilations. Instead of sick rhymes, clever punch lines are the thing, with "Selling more units than Moon Zappa" (Tame One on "Before This") and "You simians just simulate" (Del on "Special") being representative of the overall flavor. What makes it all worthwhile is how complementary the aggressive Tame and the laid-back Del are, how fun their strutting and swaggering is, and how funky the tracks feel with Drum and Knowledge from the Parallel Thought crew providing a wide variety of throwback vibes. Punchy bass, jittery scratching, and looped xylophone samples make "Flashback" more than your average homage to hip-hop's golden age, although it's not just the Thought crew who are responsible as these veteran lyricists can go way back and "get nastier than Blowfly." The eerie beats make "The Franchise" a highlight, sounding like they might have melted off the B-side of some old Mo Wax 12", but it's the druggy closer, "Gaining Ground," that really stuns, slinking across the speakers like Pink Floyd and Massive Attack passing spliffs for six minutes. Songs are allowed as much time as they need, but the album as a whole is economical and right-sized at 11 tracks. This is highly enjoyable weekend music from the underground, nothing more, nothing less....full text |
| Pitchfork |
| s RJD2 slept on? I've wondered that occasionally ever since I listened to 2007's odd pop-soul detour The Third Hand and wound up feeling disappointed at its almost defiant shift away from the production style that put him on the mainstream radar seven years ago. His buzz was still strong as of early 2006, when he helmed the beats on solid albums by Soul Position and Aceyalone that dropped in consecutive months. But it seems in the ensuing years that the only prominent reminder people still have of the often-melancholy but heavy-hitting style which once made him an heir apparent to the prog-cratedigger genius of DJ Shadow and Dan the Automator is the 37 seconds of "A Beautiful Mine" that accompanies Don Draper's animated freefall in the opening credits of "Mad Men". So now that RJ has his own label and the rights to put his first three Definitive Jux releases out on it, he's created a good excuse to revisit his earlier catalogue in the form of a misleadingly-titled collectors-quality vinyl box set. The titular timeline notwithstanding, 2002-2010 as it's packaged sticks significantly to the first few years of his breakthrough success, starting with 2002's Deadringer and encompassing its 2004 follow-up, Since We Last Spoke, and a couple of EPs (2003's The Horror and the unreleased-material collection Tin Foil Hat). So if you want a crash course in what made RJ Krohn one of the most exciting new hip-hop producer-auteurs of the decade's first half, you've got a good headstart in here....full text |
| Prefixmag |
| RJD2 2002-2010 is not for the casual fan. Limited to 500 copies, each box set includes vinyl versions of the "Dead Ringer" LP, "The Horror" EP, "Since We Last Spoke" LP and "Tin Foil Hat" EP, which includes seven unreleased songs. The box is also designed to have room for the other records in RJD2's discography, so collectors can keep his entire output up to 2010 in one convenient spot. Also included is a silk-screened poster signed and numbered by RJD2. ~ Matthew Blackwell...full text |
| Undergroundhiphop |
| The RJD2 box set to end all RJD2 box sets. Forever! The set features vinyl versions of "Dead Ringer," The Horror EP" (1st time on vinyl), "Since We Last Spoke" & the EXCLUSIVE "Tin Foil Hat EP" (7 unreleased songs from the eras of the first 3 RJD2 releases). This beautiful box set comes uniquely constructed to also hold both "The Third Hand" LP & his forthcoming 5th studio LP. Other goodies in the box include a hand silk-screened poster signed & numbered by the dude himself and a download card giving you access to all the material within the box + exclusive content!...full text |
| Popdose |
| Earlier this week, I posted an item to Twitter (sorry, I refuse to use the word ‘tweeted’ in regard to any action I’ve ever taken) saying that I was listening to Rhino’s latest box set, The Doors: Live in New York. The response I got was immediate, negative in tone, and came from two colleagues who know a little something about music. One took a shot at Jim Morrison, the other at drummer John Densmore. The subject of the Doors has always been, and apparently still is, a provocative one. Battle lines are drawn. Feelings are strong on both sides. In the end, the fact that a simple mention of the band evokes such reaction, 40 years after the fact, is itself commentary on the band’s legacy. Madison Square Garden opened in 1968, the fourth building in New York City to bear that name. In addition to the world famous arena, home to the New York Knicks, and New York Rangers, and the site of many legendary concerts, the complex includes what was then called the Felt Forum. The theater, which can seat up to 5,600 people for concerts, was named after then-Garden president Irving Felt. On January 17 and 18, 1970, the Doors showed up to play four shows, two a night, at the Felt Forum. In 1969, they were one of the first rock bands to play Madison Square Garden itself, but opted to play the smaller Forum the next time around in order to recapture the intimacy with the audience that had characterized their early career, and to take advantage of the superior acoustics that the Felt Forum offered. It was just a few weeks before their album Morrison Hotel would be released....full text |
| Jambase |
| Rhino and Bright Midnight Archives unleash four inspired performances from The Doors' final tour with Live In New York. The latest addition to the band's acclaimed series of archival concert releases, this six-disc collection contains all four of The Doors' performances – in their entirety – recorded in 1970 at the Felt Forum in New York City. The collection will be available November 10 at all retail outlets, for suggested list price of $89.98 for the physical boxed set. A digital version featuring select highlights from all four Felt Forum shows will also be available at all digital retail outlets for $9.99. The year prior to these shows, The Doors became one of the first rock bands to play New York City's Madison Square Garden. When they returned in 1970, Densmore says they chose to play the Felt Forum, a smaller venue at the Garden. "It was more intimate, and you could feel the audience more," he says. "There was more interaction, and the acoustics were much better, because it was designed for music." Fans will be blown away by the crisp sound found on Live In New York. All four shows were mixed and mastered by the band's longtime engineer, Bruce Botnick, who recorded a number of shows from The Doors' 1970 tour on multi-track tape for the Absolutely Live album. While most of the music contained on Live In New York is unreleased, a few songs (and portions of songs) surfaced in 1970 on Absolutely Live and in 1997 on The Doors Box Set....full text |
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