NYE EMPTYHANDED & SINCHRONIC 4 DL

Last ned -

• EMPTYHANDED - KLØBSH!T ft VECCHI
• EMPTYHANDED - EVERYTHING
• SINCHRONIC - R*P*CTS

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hør preview her av cvdel2!!!

preview lagt ut fra EMPTYHANDED CVDel2 anno 06 med tracks ikke gitt ut før --->

01.01 - 01.02 - Mixtape picks + DL links

• UNCLE MURDER - WE AINT PLAYIN DOWNLOAD_MP3!!
• JOE BUDDEN - MOVE ON ft JOELL ORTIZ DOWNLOAD_MP3!!
• JOE BUDDEN - LETTER 2 SAIGON DOWNLOAD_MP3!!
• SAIGON - PUSHIN BUDDENS DOWNLOAD_MP3!!
• 50 CENT - TRY ME (RICK ROSS DISS) DOWNLOAD_MP3!!
• DRAG-ON - DRUGS ft CASSIDY DOWNLOAD_MP3!!
• BANG BANG BOOGIE - WE RUN SHIT DOWNLOAD_MP3!!
• TONY YAYO - GANG LIFE ft FRENCH MONTANA & MAX B DOWNLOAD_MP3!!

MCs To Watch In 2009: Charles Hamilton + DL Links

MCs To Watch In 2009: Charles Hamilton @ blogspot.com

2 mp3 downloads;

the honeymoons over.mp3

change gone come-charles-asher roth-bob.mp3

In this day and age, everyone is a rapper — and not all these rappers can actually rap. Many are trying to sell you an image on their MySpace. There's the tough guy dressed in baggy clothes. He's usually aggressively pointing toward the audience in the picture, breaking the fourth wall. There's the former/current drug dealer draped in jewels. As he holds his chains up, his smile reveals a bedazzled grill. Then, of course, you have the intellectual in black-rimmed glasses. His hands are grasped together, but he's not looking at the camera, because he's caught in introspective thought. Then there's Charles Hamilton. His MySpace page is covered with images of Sonic the Hedgehog and pink typeface. And when you make it to his music player, you realize he's actually a gifted rapper. Welcome to the Hamiltonization Process. "The Hamiltonization process is a two-month — no, it was a four-month process of introducing myself," the eclectic rapper explained to MTV News. "Basically, in four months, I did what I could do in 45 minutes if I had the JumboTron in Times Square." Over that course of time, he released eight mixtapes in rapid succession. Each mixtape chronicled who Charles Hamilton was. Whether it was The L Word, which explained how he views women, or Sonic the Hamilton, which dealt with him waking up and physically being Sonic the Hedgehog, Hamilton was determined to share his point of view with potential fans. "The whole process is for me to let other people see how I look at the world," he said.

He wasn't sure how people viewed him as a rapper.

He said he could be considered a passing phase,

or "I could be considered the real deal."

The Hamiltonization Process has been therapeutic, the up-and-comer said.

While the people he's shared his story with have benefited from it, he's been just as fortunate.

"I should be paying the fans for helping me in using this therapeutic art form," he said. The process helped him reveal some intense things about his past, including drug abuse and being homeless in New York. He said he's thankful for the acclaim, but he's happy to be alive and making music.

by Steven Roberts @ MTV.COM/NEWS

.."As long as I'm alive,

there's always....

going to be Charles Hamilton music,"he insisted.

"Whether it's a song, or you just sitting next to me hearing me humming somebody else's song, there's always going to be Charles Hamilton's spin on music."

Peep Game; DJ Statik Selektah and Tony Touch - Termanology 50 bodies pt 2

50 bodies pt 2 -Termanology's oppfølger til pt 1 som absolutt burde høres. 50 bodies = 50 av Term's siste og beste vers. http://www.myspace.com/therealtermanology

Statik Selektah, Tony Touch & Termanology - 50 Bodies pt 1

Daniel first met DJ Premier at a Gang Starr video shoot in 2003 where he handed Premier a demo, earning himself a cameo in the video. Massachusetts-bred, New York-based rapper Termanology is putting the finishing touches on his official debut album Politics As Usual. One of this year's most anticipated albums, it drops Fall 2008 through a joint venture between Terms own ST. Records and indy powerhouse Nature Sounds. The record also features a who's who of production royalty, with DJ Premier, Hi-Tek, Pete Rock, The Alchemist, Havoc, Buckwild, Nottz and Large Professor providing tracks. "Termanology puts the MC back in MC'ing, he's a breath of fresh air in this dirty game." - Bun B Growing up in the streets of the post-industrial, predominantly Latino city of Lawrence, MA, the half-white, half-Puerto Rican MC transitioned from silly freestyles at age nine to full-fledged records by 15. Constantly traveling between Boston and New York to pursue his music business dream, he released his first 12-inch in 2002. Through his alliance with influential mixtape DJ (and fellow Massachusetts native) Statik Selektah, Term began earning the respect of Boston's hip-hop scene with several highly acclaimed 12" singles. At the onset of 2006, Term caught his big break when legendary producer DJ Premier, whom he met three years earlier, finally blessed him with one of his signature, scratch-laden beats. "Watch How It Go Down" instantly became an underground classic and Termanology appeared on hip-hop's international radar. The conscious hood anthem garnered the earnest MC tons of praise, landing him in The Source's "Unsigned Hype" and XXL's "Show and Prove" columns. Since then, Termanology has quickly climbed the industry ranks with his Hood Politics mixtape series and continued collaborations with DJ Premier and other big name producers. Term's hard work resulted in a joint venture deal with EMI-distributed label Nature Sounds, which he signed in late 2007. "I decided to go the indy route to have total control of everything related to my project," Term explains. "Term has a unique desire for the culture because he touches the issues that i can relate to as a TRUE HIP-HOP HEAD..his flows are nice, and he stays creative with his subject matter...he even speaks for me and not every new MC comin' up can do that." - DJ Premier

Peep Game : Charles Hamilton - Death Of The Mixtape Rapper + DL

stop sleepin on the future ..

DOWNLOAD <--

1. (00:04:45) Charles Hamilton - Stay On Your Level

2. (00:03:56) Charles Hamilton - Harlem

3. (00:04:11) Charles Hamilton - Just A Musician

4. (00:03:48) Charles Hamilton - How

5. (00:04:03) Charles Hamilton - Presidential Pondering (Ft. Fedel)

6. (00:02:44) Charles Hamilton - Twitter 16

7. (00:03:51) Charles Hamilton - Windows Media Player

8. (00:03:42) Charles Hamilton - Down

9. (00:05:09) Charles Hamilton - Mixtape Vents

10. (00:04:36) Charles Hamilton - Butcherman (Ft. Yung Nate)

11. (00:04:00) Charles Hamilton - Musicsuicide

12. (00:03:31) Charles Hamilton - Saving Grace

13. (00:05:22) Charles Hamilton - Supersonic's First Freestyle

14. (00:03:59) Charles Hamilton - Forever Again

15. (00:06:12) Charles Hamilton - Do What You Love

A bit of context: Charles Hamilton is an asshole. Endorsed in some way or another by Okayplayer, Hamilton’s threatened to release some nine gazillion (okay, eight) mixtapes over the next quarter or so, which seems to be a cataclysmically stupid strategy that oversaturates the market as quickly as it alerts it to Hamilton’s presence. Hamilton may be aware of this; he has, after all, titled the first of his eight mixtapes to predict his own demise. I don’t know if this is witty or meta or just entirely daft. Let’s move on. Evaluating Hamilton’s unofficial debut outside the context of all this dizzying prolificacy, it’s a satisfying rap record. And perhaps all this dust Hamilton is kicking up obscures the fact that he is, despite being a work in progress, a good rapper, sporting suitable swagger tempered with enough neuroticism to save him from categorization as a cartoonish caricature. Not that he doesn’t go to Herculean lengths to transform himself into some enigma more persona than person: he self-promotes within tracks, shouting out his website on several hooks, generally creating the aural equivalent of watching the World Series—brought to you by Pfizer. This is annoying. But for all the assholery, Charles Hamilton is worth paying attention to due to, erm, that very assholishness. See “Harlem,” where he blacks out over a merely good assemblage of propulsive blips, sounding less self-consciously idiosyncratic than anywhere else here. He sneers, “Came in the game with bite marks on my flow / ‘I bet I can sound like Charles’—nigga, no!” This is satisfying in that Hamilton seems to travel wherever his refreshingly inventive impulses take him as opposed to adhering to some pre-constructed persona to which he seems so vehemently committed to becoming; because Hamilton can muster some staggering bars when he cuts the bullshit. Further proof is provided by “Do What You Love,” an exercise in playing with syllables masquerading as introspection. It’s pointless and rather unimpressive to put in text, but Hamilton manages to create multi-syllabic rhyme schemes out of what seems like simple anecdotal chit chat. So why, then, does Hamilton waste so much effort constructing the facade of some arrogant nerd instead of just leaning on his considerable skills? It’s a warped strategy, perhaps one that Hamilton feels forced into since his signing to Interscope, feeling the need to stir up his own buzz, being certain that he’ll get little to no push from the major he signed to (he implies as much on “Musicsuicide”). If so, it’s hard to fault him, but it doesn’t change the nature of a rather ill-conceived concept. All the self-referentiality, commenting on mixtape rappers while being one himself; discussing aspects of mixtapes on a mixtape; rapping over “A Milli.” Actually, hold on to that for a second because I think it’s a (meta-)concept I can discuss without feeling like a wormhole might open up. Hamilton builds the anticipation for his rapping over the overused beat via a few unentertaining skits involving an A&R prodding him with “Lil’ Wayne is so fucking hot right now!” And then he briefly admits to feeling a bit foolish for being the nine trillionth rapper to sleep with 2008’s slutty colossus. When Hamilton proceeds to finally shut up he serves as one of the track’s more worthy partners (he’s no Weezy, though), capably spouting gleeful boasts (“I enjoy the rap scene / You exploited black teens”) and saturating the track with his own odd charm. This is a microcosm of Hamilton’s whole conundrum: He’s blatantly annoying until he actually, y’know, raps. And that’s infinitely better than the inverse, which perhaps bodes well as Hamilton grows into the massive britches he so fervently aspires to rock.

SOURCE -cokemachineglow.com/

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