The Eminem Blog

I had the chance to follow a documentary about the great Otis Redding yesterday and I would like to share some impressions about the great musician with my readers.
Like James Brown, Otis Redding possessed those great qualities that make of him a musician of exception. He was truly a soul legend who managed to move his audience. The richness of his instrumentals, a warm voice coming from his profound heart, his incredible dynamism would move any black music lover. With his simplicity and his unique way of telling his emotions to the crowd, Otis Redding has influenced the 60 s. Unfortunately, the gifted artist died in an accident in 1967.
His passionate delivery on stage was also an invitation for the public to participate to the show and to move along with his beautiful, moving and rhythmic songs.
You could barely listen to a song such as Shake without dancing with the artist, your heart being overwhelmed with an unexplained, but real joy.
Otis Redding managed to make something exceptional of Mike Jagger s Satisfaction song. Not only did he add his personal touch, the brilliant artist had this power to move the crowds with enthusiasm.
Discover more about the genuine sould legend here.
Copyright2007 by Isabelle Esling
All Rights Reserved

A new website’s link is making its rounds on the ‘net claiming that Eminem is making a return and that King Mathers will be the name of Eminem’s first studio album in two years.
Here is the source.
N.B: this info has to be taken carefully…it is only at the stage of a rumor…wait and see…

Tété: a poetic ray of musical sunshine
If you are familiar with black music and fond of poetry, you are probably gonna like Tété s original soul-funky inspired style. The less known French speaking artist has a bunch of refreshing songs to offer, lyrically astutely handled songs to offer to a receptive ear. Tété s album is entitled Le Sacre Des Lemmings (the crowning of little hamster alike creatures).
As the curtains open on some soft oboe overture, increasing the feeling of suspense…The witty musician allies various instruments such as guitar, harp, flute with hand claps and manages to create a festive atmosphere with his warm and profound voice. Fils De Cham pours down like a refreshing rain during a hot Summer time. What a lively invitation to dance along and to rejoice with the author of the song.
Anna Lee Soleil is a poetic piece of work as well. The guitar background also fits very well with Tété s narrative skills.
Tété s song also have a sensitive romantic touch which is enhanced by his guitar background.
Little bit of a philosopher, Tété teaches about life in his 6th track, Comme Feuillets Au Vents: with his powerful orchestral background, Tété addresses a young lady in her twenties. What are you gonna do when your twenties will be gone with the wind?
Discover more about Tété here.
Copyright2007 by Isabelle Esling
All Rights Reserved

Rating of the product: 4.5 stars
Many people are scared of an oppressing, hardcore reality expressed within a raw rap song. However scary tales lovers might really enjoy Killa Kaunn s 1 Slugg song that starts with an horrific vision: I see dead people.
A reggae sounding complaint will intensify the hellish vision: the word blood will resonate into the listeners mind who will catch each drop of a victim s agony.
While the oppressing instrumentals allow the listener to walk near the valley of death, the word blood in the background is blown out of proportion on purpose, making him feel the trickiness of a no escape situation.
1 slugg will get you killed in no time. Killa Kaunn leaves his opponents no chance. Pulling his hands on the trigger in a very merciless manner.
Killa Kaunn is lyrically slugging your chest, leaving you in a pool of blood.
Enjoy the take over spirit, the rage, the flame of an emcee who never gives up.
Sensitive people might not like it, but Killa Kaunn definitely represents what Detroit hip hop is all about: the raw raps.
Copyright2007 by Isabelle Esling
All Rights Reserved

Less known from the mainstream public, he is nevertheless a valuable and talented artist, a poet who will allow the listener to enjoy the sunny tone of his voice.
I will review his album, Le Sacre Des Lemmings, very soon…stay tuned:)

read the original Kon Artis interview here.
By Antonio Sams & Dynasty Williams
Is Denaun Porter mentally balanced? If you peruse the production credits on notable singles like 50 Cent’s “P.I.M.P,” Pharoahe Monch’s “Body Baby,” and multiple D-12 records, the answer must be yes. But some of Mr. Porter’s actions tread closely along the lines of insanity. After reaching multi- platinum status as a producer and a rapper, the man with multiple personalities has officially crossed the line. His new website MrPorterBeats.com has stacks of beats for sale with starting prices of $25. Drastically reducing the price tag on his creations has some people thinking he has lost his marbles entirely. But, Mr. Porter’s level headed movement is creating opportunities for street level artists, pushing him to accomplish goals as an executive, and allowing him to contribute production to the much anticipated Dr. Dre album Detox. Mr. Porter took time out with AllHipHop.com to clarify his state of mind and connect the dots on his journey to prominence.
AllHipHop.com: How did you get started in music production?
Mr. Porter: It was actually in ‘94. I was in a local group, this guy was one of my group members, he did beats. He introduced me to Proof, and Proof introduced me to J Dilla. And that was pretty much how I got into it. And then from there, I hooked up with Dre, after Eminem got signed.
AllHipHop.com: Being both a producer and rapper, which art form do you tend to enjoy the most?
Mr. Porter: As of late, I’ve been enjoying the producing end a lot more. Being able to executive produce and becoming more involved in the whole process of the record, it’s made me so much more serious about it. I like the fact that I can work with the artists from the top and the bottom. Being a rapper is one thing, and being on stage is one thing, but the producing end of it is kind of like being able to do everything, because I might write the hook, I might write the song, and I might come up with the whole concept of the song. It’s really one in the same for me.
AllHipHop.com: How did you end up executive producing Pharoahe Monch’s Desire?
Mr. Porter: Me and Pharoahe basically met, and we worked on this song called “Peppermint Creeps.” Once we met and we started talking, I’m already tripping because it was Pharoahe, but we started talking and got cool. We had an understanding; it was just easy from that point. His situation with Rawkus was over with, and I took him to Shady [Records], and I was gon’ executive produce it and actually do an imprint under Shady, which is my imprint Runyon Ave. The process took so long, and we just ended up not doing the deal. Everywhere he went, I was just involved in the project, because we were constantly doing songs and constantly working. You know how a manager might want you to do things a certain kind of way as far as business, like, “Make sure you get paid first,” but when you got a love for music and you got an understanding with somebody, we ain’t give a s**t about that, we just kept on working.
AllHipHop.com: What are your final thoughts about the album?
Mr. Porter: I would have to say that it became more complicated. I don’t feel like it was a full executive production. It was my first taste of doing it, but I know that it’s a lot more to it. But I wasn’t able to really get all of that done, because they wanted certain records and I think it became a rush thing for the label [SRC/Universal Motown]. It kind of got out of my control. I didn’t have that full control. Had I had full control, it might have been different things that happened. Different songs would have made it, some would have made it, but other songs wouldn’t have made it. But as far as being involved, I did like five or six songs on it, I executive produced it, I co-produced songs. So I’m deeply involved.
AllHipHop.com: 2006 was a rough year for Detroit Hiphop. Within two months of each other, both J Dilla and Proof passed away. You worked closely with both of them, how has that affected you personally?
Mr. Porter: You gotta understand, that’s the reason that I got into the game. Proof introduced me to J Dilla. I introduced J Dilla to Dre, and just having that feeling of being able to have Dre, J Dilla, and myself in the same room, both of my teachers, was the greatest feeling on Earth. And plus, this dude [J. Dilla] allowed me to come over his house late night when he was doing sessions with Pete Rock. And Proof, me and Proof, we had the relationship where I didn’t know how proud of me he was until I he was gone. Me and him would fight. We’re one in the same, I feel like, because he taught me so much about just being able to stand on my own, and not wait on one person to do anything. That’s why I’m kind of like out ahead and not waiting on Eminem to do anything, because he told me don’t do that, that’s not the move. He helped create who I am, and J Dilla helped create who I am. I got Guilty Simpson, who me and J Dilla was gon’ do his project together. That was the last artist he planned on working with, as far as his own artists. And now that I have to finish that record, it’s tough, every time I hear a song that J Dilla did. That whole year was the worst year of my life. They’re the reason that I’m in the game, because if Proof never introduced me to Jay Dee, I never would have got that serious about producing.
AllHipHop.com: Proof was the founding member of D12. As far as recording your current album, how has the chemistry been affected by Proof not being there for this D12 album?
Mr. Porter: I’ll tell you the truth, man: it’s affected to me, a 100,000%. I don’t even know how I’m recording a record without Proof. The whole relationship with this group and Em [Eminem] and everything is affected. You feel the difference. I know Proof wouldn’t tolerate a lot of s**t, man. I’m not trying to take Proof’s place as the person that just takes over the group. I can’t do that. I can’t front like that’s what’s up, ’cause that’s not what’s up. Music wise, I think we can manage as far as doing certain things, because a lot of times Proof would come to the studio, sometimes he wouldn’t come to the studio. But he was the boss, man, so he ain’t have to.
AllHipHop.com: So he was like that voice that everybody listened to?
Mr. Porter: Oh yeah. He was the leader, period. He put Eminem’s stage shows together. The way people saw Em, Proof had a lot to do with that. Proof put those songs together and how the stage show went. It was for Em to perform those songs a certain kind of way and make people feel it. Because the way he put that show together, he put it together so people could feel it. Those things are so important, and we’re missing all that now. That’s all gone.
It’s hard, number one, to do a record without everybody there that originally started something. Em is busy doing his album. Like I think sometimes, that I hear that people think that I’m too busy to do this. And it’s not that I’m too busy to do anything. I’m just trying to get to the point where we get the record done, and everybody’s focused on the same thing. I can be focused on doing a record, but I don’t want to do the record we did for the last record [2004’s D12 World]. It’s a lot of different feelings and emotions. And sometimes we can be angry and say a lot of stuff out of anger and do a lot of stuff out of anger. And I just want everybody to be in the same room – not a whole bunch of other people that we don’t know – the group, us, who we are. That’s what I’m looking for and that’s when I feel like we’ll be able to come back to it. I’m not having fun with the music that we make, bottom line. It could be that void, but in the same breath, it’s gotta be how things are being handled. I’m not currently happy with my situation. If people at the label are looking for me to lie about being happy, nah, I’m not happy. Nobody’s happy with the fact that we lost Proof.
AllHipHop.com: Your website Mrporterbeats.com launched on June 15, 2007. What can we expect from this site?
Mr. Porter: Basically, beats with hooks. They will be top quality, all of the beats I’ve mixed. These beats can be used for people that are working on demos to shop music, and that are working on mixtapes, things of that nature. You got the RIAA taking people down for using other people’s music. I don’t sample. I make up all of those melodies myself, and when I do sample, I do it in light of what I’ve learned from Dilla and all of those people. Expect everything that you would want to buy from me if you saw me. Like, “Okay, I can’t afford to pay for this kind of beat, but yo, why don’t you hook me up with something?” People that really know my production and know me, they know that every time I come with something, I’m gon’ try to my best to make sure it’s the best thing as possible. Basically, it’s for people that want to do different music.
AllHipHop.com: Is it true that you’re selling these beats for $25 dollars and up?
Mr. Porter: The beats with the hooks are $150.00, the beats without the hooks are $50.00, and you have prices in between according to the music. That’s because it’s not a concern of trying to sell the beats. I’m basically trying to be able to reach a lot of people that I’ve never been able to reach, like people overseas. If they want that beat for themselves, and they want the Pro Tools session, they can get the Pro Tools session and they can post their songs. I’m going to listen to their song, and let people vote on the best version of that song. And then they’ll be able to get that beat, and they will have to go through the proper channels to be able to put that song on their album.
AllHipHop.com:. Dr. Dre is using a team of producers to craft his much-anticipated Detox album. What role are you playing on this team?
Mr. Porter: It’s just a team of dudes who have a respect for each other. It’s the hardest thing to explain, ‘cause it’s really like, he has a job to do, he has a record that he’s ready to put out, and I’m there to help that process. Whatever that means. If that means writing a hook, if I that means doing a beat, and I have a beat that’s a skeleton that’s a great idea of a beat, he’ll make that idea better. Dre, he’s a visionary. He’s Quincy Jones, he’s one of those real dudes. He’s the real thing. My part is just to help the creative process, however that is, because I don’t wear one hat. It’s really hard to explain, but it’s important to me that it comes out, because it’s so important to Hip-Hop. And to be a part of that means everything to me.
AllHipHop.com: Have any of your beats or ideas made the album, from what you know?
Mr. Porter: I don’t of know what I’ve done that’s going on it. I don’t know what direction it’s going, only Dre knows that. Only he knows where it’s going. I’ll tell you what, it’s gon’ change Hip-Hop again.
AllHipHop.com: Aside from the music, who is Mr. Porter the individual?
Mr. Porter: A person that’s always thinking. An emotionally unbalanced character, I would say. Because I don’t deal with some issues very well. Emotionally, it’s hard to deal with those things sometimes. And just a visionary, I want to be considered, when I leave here, the guy that brought Hip-Hop to a different level as far as artist that come about. I want to be the artist, the producer, and the executive. I want to be the next Russell [Simmons] and the next Quincy Jones of rap. A cross between Quincy, Russell, and Dre that’s what I want to be. That’s my whole purpose, to figure out how to combine those three and make those moves that way, however long it takes me.

With his raw Detroit hood spirit, Kuniva comes at his listeners in a very offensive and confident way. You d rather be a veggie if you wanna avoid beef with the gifted emcee. Well armed, incredible lyrical soldier, Kuniva is ready to merk his enemies in no time with his killa flow. Trumpets in the background, flute notes and catchy beats enhance the theater to a dark Runyon Ave drama. Feeling The Rush is written in a beautiful Big Pun style that Kuniva intelligently adapts to the 313 spirit. The track is truly a must hear, don ‘t sleep on it!
Soft violin sounds introduce Kuniva’s talk about the current spirit of hip hop and of the hood in general: everybody claims to be a gangsta, everybody carries guns on his way, so many people claim to be tough in the rap game. Kuniva, the Murder Mitten Rider is angered by the numerous wannabes. With a pinch of his subtle sense of humor, Kuniva will draw a realistic picture of the hood he grew up in. Enjoy the 7 Miler’s competence. Piano sounds reinforce the daily battling spirit of the skilled emcee.
Rhythmic as hell, based on soft female vocals and some incive lyrics, Bad Intentions enhances Kuniva s stormy flow delivery. Meet a bad intentioned boy taking pleasure at doing forbidden things. Crunk ain t dead!
D12 and hip hop lovers, open your ears widely: Kuniva s reps probably won t leave you indifferent.
Listen to Van Carlisle here.
Copyright2007 by Isabelle Esling
All Rights Reserved

D12 s more discrete, but nevertheless lyrical member has a mixtape in preparation. It is entitled Runyon mixtape 2007.
Discover Feeling The Rush, Hard As Mine and Bad Intentions here.
I will review them tracks for you. Stay tuned!

Warpath is the kind of emcee that will always leave the listener hungry for more. Rich of an incredible flow delivery, a confident prophetic attitude, Warpath’ brillance shines like gold among the masses of mediocre and untalented rappers.
I reviewed the talented emcee a while ago.
Today the catalyst of Elohim is back, stronger and better than ever, representing the Detroit scene. Warpath will allow you to discover some other aspects of his very well handled Armaggedon CD. If you ever thought that hip hop was totally dead, Warpath will introduce you to hip hop ‘s shiny resurrection.
The Pinnacle is fulfilled with the emcee s conquerror spirit. Vocals sounding like intense prayers, an strong instrumental background that symbolizes faith in action, an offensive well weaponed emcee is taking over with some erosive lyrics. Warpath is taking over by authority, leaving no place for the cowards and fakes.
Experience has some beautiful soul sonorities. It is built on very dynamic trumpet sounds that are enhanced by Warpath euphoric attitude. The lyrical soldier will take you away within his avanlanche of words and guide you like Moses used to take care of his folks in the desert.
Feel the hardcore atmosphere of the streets and the definitely gifted emcee s spirit.
Soft piano sounds, oppressing vocals, a battling emcee who is caught between good and evil, heaven and hell- all those elements will give your attentive ears an idea about what Amaggedon, the final biblical battle is all about. Never afraid to call Elohim, the Almighty, Warpath steps out victorious from this lyrical battle during which we are invited to appreciate and live out hip hop to the fullest.
In Growing Old, Warpath blesses the mic again. Oboe, rapid drum beats, violins are here to empower and enhance the audacious emcee s words.
Warpath is excellent in each song he does. I strongly recommend this highly skilled emcee to all of you.
Check out more of his music here.
Copyright 2007 by Isabelle Esling
All Rights Reserved

Eminem stays shady as €1.5m legal row is settled
Rap superstar Eminem who had been due to appear at Slane Castle
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Go By Ann O’Loughlin
Tuesday June 26 2007
US RAP superstar Eminem will not have to reveal why he withdrew from an Irish gig, after a legal row over €1.5m in compensation for the cancellation was settled.
The High Court had ordered he give evidence on oath before a US court about the circumstances of his withdrawal from the Slane Castle gig, planned for September 17, 2005.
The settlement of the action brought by concert promoter MCD was announced to Justice Mary Finlay Geoghegan at the Commercial Court yesterday. The judge made orders striking out the case and all court orders made within it. No details of the settlement were disclosed.
Last March, Justice Peter Kelly directed that a letter be issued to the US District Court of the Eastern District of Michigan requesting them to direct Eminem, real name Marshall Mathers III, to give evidence on oath about the circumstances of the pull-out of the Slane gig. He made the order after saying it appeared Eminem was not prepared to come to Ireland or to give evidence by video link.
Refusing an additional application to direct that Eminem’s testimony about his state of health would be in private, the judge said Eminem’s testimony would be read into the record when it was opened in the proceedings. It was clear Eminem’s testimony was possibly crucial to the litigation, he added.
In the proceedings by MCD against three UK insurance companies, the Irish promoter was seeking €1.5m over the companies’ failure to pay it over the cancellation of Eminem’s planned gig, scheduled for September 17, 2005, as part of Eminem’s ‘Anger Management’ European tour.
MCD said €1.5m was the maximum amount it could pursue the insurance companies for under the terms of an insurance contract of June 29, 2005. Alternatively, it sought damages for alleged breach of contract.
The action was against three London-based insurance companies – Liberty Syndicate Management Ltd, trading as Liberty Syndicates LIB44722 at Lloyds, Brit Insurance Ltd and Markel International Ltd.
MCD had claimed it had entered into an insurance contract with the defendant companies on June 29, 2005, under which the companies agreed to indemnify it up to a stated limit should the Eminem gig be necessarily cancelled or relocated.
On August 18, 2005, the gig was cancelled “due to the illness of Eminem, namely exhaustion, which entirely prevented Eminem from appearing,” MCD said.
It appeared Eminem was not prepared to come to Ireland
In an affidavit, Mr Denis Desmond of MCD said Eminmen’s ‘Anger Management’ tour was due to begin in Germany on September 1, 2005, but his manager, Paul Rosenberg, announced in August 2005 that Eminem was cancelling the tour.
Mr Desmond said subsequent media reports suggested that Eminem was shortly thereafter in hospital under doctors’ care being treated for dependency on sleep medication, according to his record company, Interscope Records.
MCD contended that the cancellation was due to the illness of Eminem “which entirely prevented him from appearing” and, accordingly, the defendant companies were required to indemnify MCD.
Because of the cancellation, MCD claimed it incurred losses of some €2,114,313, including €260,000 for a ten per cent share of gross profits and €915,000 in other profits.
– Ann O’Loughlin