I posted this back when it was on DJ Toshi‘s mixtape, but here’s the CDQ version. It’s automatically the best track from the Fizzyology album due to the simple fact that Termanology does not appear in any capacity.
New Fizzy Wo…..taken from the new DJ Toshi mixtape hosted by Lord Finesse with a bunch of unheard tracks from a bunch of non-progressive rappers like “Keith Murray, Lil Fame of M.O.P., Sean Price & Rock of Heltah Skeltah, Sadat X, Afu-Ra, Shyheim, Shabaam Sahdeeq, Krumsnatcha, Phil The Agony, Grand Daddy I.U., Smiley The Ghetto Child, Illa Ghee, 9th Prince of Killarmy, Timbo King, Sav Killz, C-Rayz Walz, Freestyle Professors” to name a few.
When I heard that there was a press day being held for the Marxmen to promote the new Sparta LP, I thought it might be a good oppertunity to have a slightly more rational conversation with Rap’s Greatest Duo than the last time we crossed paths. Good thing I didn’t bring up this story, huh? Turns out a bad phone line didn’t get things off to a great start….
Robbie: I feel like a lot of the aggression has been lost in rap in the last 10 years. There’s not enough music that make you want to break car windows. How do you keep that energy in the music?
Bill: Slap, can you hear him?
Fame: I can’t really hear him, mayne. What did he say?
Bill: He’s trying to say how do we keep the aggression in our music.
This get me kinda vexed when I read it last night over at XXL:
Foundation, the new disc by M.O.P did not make it into The Billboard 200. According to the Nielsen SoundScan report the disc sold close to 2,100 copies in its debut week.
The fuck? Sure, there’s not a huge market for non-progressive, hardcore rap in these ever trend conscious times, but even KRS-One and Buckshot’s album (which I haven’t even bothered to listen to yet) sold 8,400. While I can’t personally confirm it, I’d bet my kidney that Survival Skills doesn’t have any songs that knock as hard as ‘Blow The Horns’, ‘Bang Time’ or ‘Crazy’. Predictably, Jay-Z sold a bunch of CD’s to Oprah viewers, while Kid Cudi‘s fruit-filled debut sold over 100,000 in it’s first week. Meanwhile, Raekwon has slung an impressive 89,000 units in two weeks, which is both a testament to the power of Wu-Tang Stans worldwide and proof positive that an EMI deal still holds weight. So why didn’t Bill and Fame get any love at the register? (more…)
Yesterday a producer from Philly named Kil emailed a bunch of blogs to tell them about how a beat of his had ended-up on the new M.O.P. album on the track ‘Rude Bastard’, but was credited to Fizzy Womack. Things really got interesting when Lil’ Fame left a response over at the DJ Premier Blog (not Premier’s actual blog, but a fan-site):
Shit happens bro. Tag your beat next time, i just happened to have that record, and did the shit up myself! Your version was way too LQ for us to even use it and trust me nigga, your drums are not rare. i got drums out the woodwork, but thank you for finding the right tuned snare for this sample. It’s not your beat anymore nigga, i re-created (as you did as well) with the same record, so LiL FaMe is the one claim!!! Don’t take it there either, we known to mash out. You know you love that song nigga. Stop crying and figure out your next move. PREEM is NOT riding with blog. Get off his balls.
Its true I didn’t do the beat “Rude Bastards” as Kil said….I heard it, it was hot and I rhymed on it…I’d never steal a beat, that’s not me…and the quote on the net is not from me I’m looking into who made that statement as me
Laze (M.O.P’s manager) was handling the credits, I gave him the info for who did the beat.
I just saw the finished artwork and my 1st comment was, “I didn’t do that beat why does it say I did”? (Ref. To “rude bastard”)
1. Is it just me or is it weird that the Rae snippets use the beats/loops from Pete Rock & Royal Flush‘s ‘Questions’, Tragedy‘s ‘The Message’, OC‘s ‘Jewelz’ and an M.O.P. song that I can’t place right now?[back]
If you have even the slightest clue about this here rap shit, then you have to acknowledge the fact that Erick and Parrish pretty much had the game in motherfuckin’ headlock with their first four albums. They brought a brand new funk to the scene with Strictly Business, delivered cutting-edge beat science on Unfinished Business and executed a near-flawless B-Boy document with Business As Usual, while Business Never Personal showcased the mighty Hit Squad at the height of their powers while slapping the shit outta listeners with ultra-hard cuts like ‘Boon Dox’. Combat Jack is going to tell you that based on the strength of this discography they automatically qualify as rap’s ‘Dopest Duo’ (word to Craig G), but that’s not the whole equation. My main motivation behind the ‘M.O.P are the greatest’ declaration is the fact that they’ve outlasted everyone and are still bringing that heat. It soon became clear that the most effective way to illustrate the Mash Out Posse‘s superiority is through the classic Take An ‘L’ Comparison Test. Let’s get it in! (more…)
“Huh? This douchebag can’t be serious, can he?” Damn skippy, sonny. Yeah, Run and them are bigger than rap now and let’s be honest, they’re Hip-Hop’s Greatest Trio. Outkast? Meh, they don’t even appear on my radar. Bill and Fame have been delivering that uncut dope without fail ever since they strong-armed themselves into the rap game, regardless of how many times they’ve been cock-blocked by induckstry fuckery. They asked “How About Some Hardcore?” and rap fanatics answered ‘Fuck yeah!’ in no uncertain terms. EPMD might’ve dropped four certified classic albums in a row, but they’ve since tarnished their legacy with the gawd-awful dolo joints and the Days Of Our Lives type ‘make-up to breaks-ups’ shenanigans. When was the last time you rocked the last three Erick and Parrish albums? Exactly. (more…)