DL Presents: DJ Crossphader "The Basement Experience" (Mixtape, 2000)

Here's another gem from 2000: DL Presents: DJ Crossphader "The Basement Experience." This 2-cassette-only mixtape was released on Phono Synthetic Productions, which was co-founded by DL and HB, both hosts of The Basement; a college radio show on WUSB 90.1FM at Stony Brook University. Like previous mixes, they captured the essence of the indie "backpack" scene at the time and their tapes were highly sought after. Just some of the many lyricists included are: Common, Ran Reed, Reflection Eternal, De La Soul, Large Professor, Mass Influence, Dilated Peoples, Slum Village, L-Fudge, Freddie Foxxx, Jigmastas, J-Live, Cella Dwellas, Pharoahe Monch, Masta Ace, Screwball, Mad Skillz, Rascalz, and lots more. Other projects released on the label include "The Time Has Come," "Another L.I. Groove," "What's Next On The Menu?", "A Long Rhyme Coming" and more - some of which have already been posted/discussed. Another perfect time capsule, dig into this mix below...

If you're interested, below is the full tracklist for both cassettes. Enjoy!

David Begun "A Tribe Called Soul" (Album Stream)

Every once in a while, a mashup project comes along that feels less like a gimmick and more like a proper tribute — thoughtful, rooted in respect, and crafted with real ears. David Begun’s A Tribe Called Soul is one of those projects. Released with zero fanfare and all substance, the project fuses the unmistakable vocals of A Tribe Called Quest with the deep, velvety textures of De La Soul classics. David Begun, who’s quietly built a rep with similar projects handles the mashup format with a producer’s ear — not just cutting and pasting, but restructuring. Rearranging bars. Matching tones. Honoring both sources. The results don’t sound forced — they sound meant to be. Q-Tip’s smooth baritone floats over Rhodes chords like they were written in the same session. Phife’s bounce feels right at home against Dilla-inspired swing. It’s less of a remix and more of an alternate timeline. And what really sells it is the feel. There’s warmth all over this project. For heads who dig concept blends with depth, this one’s a keeper. David Begun continues to build one of the more interesting catalogs in the remix/mashup world — always rooted in love for the music, and it shows.

Donnie Propa "Straight From The Crate Cave: Gang Starr" (Mix)

Straight From The Crate Cave: Gang Starr Edition — a no-frills, deeply curated tribute to one of hip-hop’s most iconic duos! As always with Donnie’s work, the focus is on the music. This isn’t a mix built to impress with tricks or hyper-speed blends. It’s a thoughtfully selected, tightly woven tribute to Guru and DJ Premier, pulling from all corners of the Gang Starr discography — from the early Wild Pitch days right through to the later albums. Deep cuts, classic joints, remixes, collabs, B-sides — it’s all here. But more importantly, it’s sequenced with feel. What Donnie Propa understands — and what many younger DJs miss — is the importance of pace, tone, and space. He lets the records breathe. The cuts are clean, the transitions smooth, and the selections speak for themselves. Guru’s voice still cuts through like a jazz horn in the fog. Premier’s drums still punch holes in your speakers. Together, they crafted a sound that defined eras, and Donnie Propa’s mix treats that legacy with the proper respect. Rest in Peace, Gifted Unlimited Rhymes Universal. Eternal props to the G.O.A.T., DJ Premier. And respect to Donnie Propa for keeping the format alive.

Noreaga & Beanie Sigel "Badman" (2005)

My stomach was growling so I just made a midnight food run. On the way back, a song from Noreaga and Beanie Sigel randomly popped in my head. "Badman" was part of the "Tracklist Magazine Mixtape: Def Jam Edition (The Inc, Roc-a-Fella, South)," a compilation that highlighted various artists under the Def Jam umbrella in 2005. The song "Friendz" by Noreaga with Mariah Carey and Big Pun was also on that project (go find that, too!). Originally written by The Who in 1971, "Behind Blue Eyes" was redone by Limp Bizkit in 2003 and the sampled hook went: "No one knows what it's like / To be the bad man / To be the sad man / Behind blue eyes / No one knows what it's like / To be hated / To be fated / To telling only lies." "Badman" was produced by the underrated Scram Jones. At one point I believe the project was available to stream through Spotify and other DSPs but it's since been removed. I'd have to search through my vinyl, but I believe the NORE tracks were on a Killah Kuts 12" or something similar as well. Nevertheless, that catchy hook has been replaying in my head and I thought I'd revisit and share it with y'all tonight. Listen below...

2Pac "Me Against The World" (30th Anniversary • 3/14/95)

Tupac Shakur is one gutsy brother. Or maybe two. The front-page Shakur is a punk, a convicted sexual felon and a fool, a hard case on a collision course with authority, a hot-head who checks himself out of the hospital hours after being shot five times and gives a stretcher-borne finger to the media. The record-making 2Pac who inhabits the recording studio, however, is a sensitive, wise and loving commentator, a straight-up observer of life and death whose measured, melodic flow gives his pained lyrics searing eloquence. In one of the many ironies that attends Shakur's existence, while the man is on his way to prison, his album is headed to the charts. Shot through the heart with grim reality and fatalism, set atop smooth, seductive atmospheres of gently rolling funk and soul, "Me Against the World" is the hip-hop album to beat in 1995. There's nothing unusual about reformed tough guys offering don't-follow-my-mistakes advice, but 2Pac cedes none of his gangsta hardness in telling young listeners not to join him in the thug life. "You could be an accountant, not a dope dealer... you could be a lawyer," he suggests, and he sounds serious. Such contradictions have always accompanied the tumult of 2Pac's combined life and art, but never before has the dichotomy been drawn in such sharp relief. The rapper-actor's fourth album begins with news dispatches about his November brushes with justice and violence, but 2Pac's obsession is evidently death, not spinning his public image. "If I Die 2 Nite," "Me Against the World" and "Death Around the Corner" ambivalently present death as everything from a fact of life to a desirable end. "I'm having visions of leaving in a hearse," he raps in "So Many Tears." "I'm suicidal / So don't stand near me / My every move is a calculated step / To bring me closer to an early death." Listen to the album, cont'd below...

Rather than an album of attempts at vindication, "Temptation" is the only song here that actually addresses the issues surrounding his sexual abuse conviction. Explaining the context of his love life, 2Pac comes off as patient and beleaguered, careful not to impose himself on a woman in the way the jury believed he did. Furthering the surprisingly positive message amid the prevailing gloom, "Dear Mama" is a tragic, tender expression of gratitude and forgiveness -- for Tupac, and for his troubled mother, Afeni Shakur. "Even as a crack fiend, mama, you always was the black queen / Mama, I finally understand for a woman it ain't easy trying to raise a man / You always was committed / A poor single mother on welfare / Tell me how you did it / There's no way I can pay you back / But the plan is to show you that I understand / You are appreciated." Likewise, 2Pac's ebullient tribute to "Old School" rap comes to terms with the past in a way that makes the future seem like an afterthought. If there's any way to separate the musician's reality from its creative translation, "Me Against the World" is one of the saddest and most affecting expositions on young black America ever offered for public display. Tupac Shakur makes the line between art and life impossible to discern, but both have the potential to leave an indelible impression. - Newsday (3/95)

Gang Starr "Hard To Earn" (Rap Pages, 12/94)

"We know who we are/But do you know who you are?" This is the final line off the new Gang Starr album's opening, "ALONGWAYTOGO," a track where Guru turns the tables on those naysayers and shit-kickers who felt and feared that his Jazzmatazz journey would lead to the demise of the duo known as Gang Starr. Well, there's no need to fear (you can trust me), Donald Byrd's tumpet-blowing and N'Dea Davenport's harmonizing have been put on creative hold, with DJ Premier's precise, innovative jazz samples back in effect. The only difference between Hard To Earn and the previous ones is that here Guru not only flips his pinpoint monotone style, but also steps up as a producer, creating three tracks: "Code of the Streets," "F.A.L.A." and "Suckas Need Bodyguards." "Code" is the best of the three, "Just To Get A Rep"-flavored with its crazy fat bass line. Vocally, Guru takes the time to drop a little science: "They might say that we're a menace to society/But at the same time I say, why is it me?/Am I the target for destruction?/What about the system and total corruption?" Later, on "Tonz o' Gunz," Guru continues his inner-city-life sermonizing by discussing the biggest problem facing youth today--the influx of automatic weapons into our communities. He laments on how some brothers need to feel steel in order to be a man. Of course, what would a Gang Starr album be without representation from their foundation of dope MCs. "Speak Ya Clout" is the mandatory posse cut, featuring Lil' Dap and everyone's favorite new rhymer, Jeru The Damaja. These ill kids run the mic in the reverse order of Daily Operation's "I'm the Man," with Preemo cutting up pieces of that same song for their individual introductions. Also, don't sleep on newcomer Nutcracker, a 16-year-old from the Bronx who rips a minute-and-a-half freestyle that's sure to get you open. Guru and Premier know that Gang Starr's vital role in the Hip-Hop world has been hard to earn, and they continue to stay true to their own sound. - Rap Pages (June, 1994). Listen below...

This is still a fan-favorite, but it's not their BEST album! Debate me. Art by QFetti.

New Jack City (March 8, 1991) + Original Soundtrack

New Jack City: a cinematic and musical powerhouse that defined an era! Few films capture the raw energy and social turbulence of the early ‘90s quite like New Jack City. Released in 1991 and directed by Mario Van Peebles, this crime drama remains one of the most influential films in Black cinema, thanks to its gripping storytelling, powerful performances, and an unforgettable soundtrack that epitomized the New Jack Swing era. A gritty tale of power and betrayal at its core, New Jack City is a modern gangster epic, chronicling the rise and fall of Nino Brown (Wesley Snipes), a ruthless drug kingpin who turns a Harlem apartment complex into a crack empire. Opposing him are Scotty Appleton (Ice-T), a street-smart cop with a personal vendetta, and Nick Peretti (Judd Nelson), his brash partner. The film also features standout performances from Chris Rock as a tragic crack addict, Pookie, and Allen Payne as Gee Money, Nino’s closest confidant whose loyalty is tested. With its commentary on the devastating impact of crack cocaine on Black communities, New Jack City was more than just entertainment—it was a cultural statement. The success of the movie helped solidify Wesley Snipes as a leading man and Ice-T as more than just a rapper-turned-actor. 

If the film was a cultural juggernaut, its soundtrack was the pulse that kept it alive. The New Jack City soundtrack, released via Giant Records, was a perfect encapsulation of the era’s dominant musical genre—New Jack Swing. Produced by titans like Teddy Riley and featuring artists at the peak of their powers, the album became a crucial companion to the film’s impact. Standout tracks: "New Jack Hustler (Nino’s Theme)" – Ice-T delivers a blistering anthem that encapsulates the ambition and ruthlessness of Nino Brown, blending aggressive lyrics with a slick beat. "I Wanna Sex You Up" – Color Me Badd’s breakout hit, a silky-smooth blend of R&B and pop, became a chart-topping success that transcended the film. "For The Love of Money/Living for the City" – Troop, LeVert, and Queen Latifah merge The O’Jays’ classic with Stevie Wonder’s soulful storytelling, creating an anthem about ambition and struggle. Upon release, New Jack City was both a box-office hit and a cultural phenomenon. Grossing over $47 million on a modest budget, it became one of the most profitable films of 1991. Critics praised Snipes’ electrifying performance and the film’s unflinching take on the crack epidemic. However, some also critiqued its glorification of gang culture and violence. More than just a movie and album, New Jack City is a defining piece of ‘90s Black entertainment—stylish, provocative, and unforgettable. Watch the movie again when you have time!

Apollo Brown "Elevator Music" (Instrumental Album)

Apollo Brown returns with Elevator Music, a full-length instrumental suite that’s anything but passive. This is mood music in the purest sense: rich, warm, and tailor-made for thinkers, builders, writers, and late-night drivers. Brown has always been a master of soul-chop alchemy, and this project proves he doesn’t need a single voice to make you feel something. The concept? Simple but sharp: reclaim the phrase “elevator music” and turn it into something head-nodding and meditative. Each track floats, but never drifts. There’s intention behind every loop. The textures are dusty but lush — think vintage Detroit warmth, filtered and fat, with drums that thump just enough to stay grounded. You can hear echoes of Clouds and Thirty Eight, but this is its own thing entirely. It may seem minimal on first listen, but the layers are all there. Apollo Brown knows the power of a perfect loop — and he leans into that with full trust in the craft. Pure instrumental soul, filtered through a Detroit lens. A quiet storm for the real heads. Artwork by Chris B. Murray. Listen below...