The Eminem Blog

Rating of the product: 4 stars
Through the years, NYC emcee Papoose has built a solid reputation on his underground scene. He has worked with numerous mainstream and underground artists and made numerous mixtapes with DJ Kay Slay. People justifiably call him Underground King. Amazing lyrical wordsmith, Papoose will make you like his East Coast reps.
In The Victory 2007, Papoose questions his listeners: would you still support me if I retired tomorrow? Built on loud instrumentals such as trumpet, horns, bass, rhythmic drum beats and a subtle violin background, the song totally enlightens Papoose s amazing flow delivery and his brilliant lyrical skills.
Besides his verbal dexterity, Papoose manages to enhance the track with a positive and conqueror spirit. The skilled emcee is ready to take over the world and to rip off his enemies.
When The Shots Ring Out features mainstream artist Busta Rhyme is constructed on a fireworks background that will give the listener an idea of Papoose s offensive, lyrical assault. The author of Alphabetical Slaughter is indeed a verbal destroyer leave his enemies bleeding. Busta Rhymes follows, carrying the same spirit revealing a dangerous, killa track in which words do matter.
The DJ L.E.S produced Black Democrat track will revive the true spirit of hip hop. Feel the passion of a dedicated emcees.
What Makes Me Me: Piano and keyboard sounds will overwhelm your ears, flood them with a deluge of passionate words: that is actually what makes him the person he is: Papoose knows how to keep his passion alive. Flow, lyricism and a good, anticipated use of fitting instruments will define him as an undisputed king on the rap scene.
Gangstas In The Building carries the spirit of the hood. The trumpets background enhances the intense ghetto thriller. Papoose s way of story telling will keep you captivated.
Globally, the Internationally Known mixtape is rich of good collaborations, such as DJ Kay Slay and DJ L.E.S. The mixtape proudly represents NYC and offers the listener an astute use of words and instrumentals. Papoose has revealed his skills to the world: now it is up to you listener to crown him for his undeniable talent.
Copyright 2007 by Isabelle Esling
All Rights Reserved

Rating of the product: 4.5 stars
Don’t hate them Detroit emcees, because they have the skills.
For years, I have been confronted with people, including huge Eminem fans, who totally denied the D12 emcees talent. How many times have I heard people put D12 down without even taking time to have a deeper look at the Detroit emcees.
Most of them D12 detractors have often spoken mostly out of ignorance or simply because Eminem s talent and fame seemed to totally outshine the notorious group.
I think that D12 are merely overlooked. I have been in depth with most of their common and solo work for several years and I can tell: the Detroit emcees do have talent. They are far from being your average emcees.
The song Don’t Hate is D12 s newest songs. It is rich of a brand new style and enriched of King Gordy s participation.
Detroit emcee King Gordy s specific touch will surround the song with a threatening, horror core environment that is so typical of his art. His raspy voice will enhance the listener s anguish and feelings of insecurity.
Welcome to the unsafe D Town, the Murder Capital.
The song starts with a cartoonish melody that slowly leaves place to a darker description. Electric guitar sounds, keyboard sounds and repetitive drum beats will open the curtains for King Gordy s nightmarish stage. His grittiness and self confidence are two determinant elements that totally enlighten the message of the song. A brand new song emerged, and don t expect to sound the same.
Bizarre will follow King Gordy s intervention and address directly to those who might question D12 s street credibility. He will also reintroduce you into his purple pills world and narrate his sentences and jail experiences.
Kuniva will follow, showing some lyrical cleverness and revealing the typical Detroit combative spirit. Despite the tragic loss of Proof, the group is determined to take over. Mr Porter, proudly representing Runyon Ave, will handle the battle with his lyrical weapons, assisted by D12 s bomber, Swifty Mc Vay.
The whole track is very much pleasurable for your ear.
So what’s the prognosis? The Natural Born Killers album, that is due to release on June the 19th, 2007, will probably be a banger. Be on the lookout for it!
And no, I’m not sad nor do I feel frustrated that Em did not participate to that track. To be honest, I didn t miss his presence on Don t Hate. The song was a pretty good example of a delightful combination of Detroit flavored talent that will allow the listener to appreciate the D12 emcees for themselves.
In conclusion, don t hate, congratulate!
Copyright © 2007 by Isabelle Esling
All Rights Reserved

I wish you, dear readers, a Happy Easter. Peace and blessings:)

Timtation is a Californian artist who will make your world bounce.
Make It Bounce is one of the tracks exposed on his my space account. Made of an astute combination of rapid flute sounds and rapid drum beats, the track will make Timtation s flow shine. The song will transport the listener at the club where he will be invited to follow a dancing girl s moves.
Show Me My Opponent is built on numerous violins sounds that drop like light rain while the repetitive chorus symbolizes the start of an offensive war spirit. The keyboard sounds in the background will create a quite surrealistic atmosphere while Timtation will spit his venom, proudly representing the West Coast.
Keep It Hundred is introduced by some dark piano notes and saccaded violin sounds. Murderous, Timtation attacks his enemies with no mercy. No matter how numerous enemies are, you gotta keep it hundred and even one hundred in the hood. People gotta stick to each other in a very hostile environment and advance like soldiers on the front, ready to mash their enemies.
What What What: the instrumentals suggest the enthusiastic spirit of a man advancing with faith on the path of life. With a little dose of Young Jeezy in his voice, some good instrumentals, Timtation will keep it gangsta, no matter what. The rhythmic track is well handled.
Don t Play Me: you gotta be witty in the game, if you don’t wanna get played like a PS2. Timtation works on his words with intelligence on a good instrumental background, carrying a solid gangsta spirit.
Timtation is rich of that Compton hood street knowledge. Check him out here.
Copyright © 2007 by Isabelle Esling
All Rights Reserved

Credit to All Hip Hop Com
Guilty Simpson: Guilty As Charged
By Melanie Cornish
If Guilty Simpson was to stand trial, his charge would be something along the lines of providing musical connoisseurs with a USDA product. Coming out of the Motor City, which is rich in musical history yet starved of a promising economy, you can understand why for artists like Guilty, making music overrides making money. But, if you are truly talented as he is, monetary gain is inevitable.
Having been embraced by the royal family of Detroit, producers like J Dilla and Mr. Porter paid close attention to the talent that this Almighty Dreadnaughtz member oozed on the streets of the D. He captivates us with his energy, enthusiasm and his ability. And as he readies up for the late summer release of his album on Stone Throw Records, after successfully promoting The Chrome Children, fans can expect a lyrical torrent of substance laced with dexterously constructed beats from those perched on top of the production chain.
With tracks like the Dilla assisted “Clap Your Hands” and features with artists like Jaylib on his song “Strapped,” Guilty Simpson has already put himself in a league of his own, not just in his home town of Detroit but, on a nationwide level. The future is full of opportunity for him and his crew.
Being charged with providing a watered down product in Hip-Hop equates to maybe a three year stretch, but to be charged with providing and embodying the true elements of Hip-Hop which this 313 MC does, will have him facing nothing less than a life sentence. He is as his name suggests Guilty…. as Charged.
AllHipHop.com: So what are you Guilty of?
Guilty Simpson: [Laughs] A lot of things. Well really the name Guilty crept up as when we were younger we were more or less kind of wild. Then when I just started getting into rap and I had this real aggressive style, the name Guilty came. Simpson came a little later because I heard that there was someone who had my name [Guilty] and with my last name being Simpson, I put Simpson on it to add a personal touch. The first time I said it, it just sounded like it fit. So for the last four or five years it’s had Simpson at the end. A lot of people think it is an OJ spin off but no, Simpson is my name.
AllHipHop.com: Coming out of Detroit, being such a musical city, was this what you always wanted to do?
Guilty Simpson: Not necessarily. I have always been a fan of it in my younger days, listening to NWA, Scarface, Pete Rock and CL Smooth. I had always had a fascination for it and I definitely appreciated it. Further on down the years I had friends that were into Hip-Hop whereas I was just wildin’ and living for the moment and it did actually give me a sense of belonging. I always appreciated the good music but it did take me a few years to get involved in it but once I got in and realized it was something I could do at a pretty high level, it was like a drug to me and I just couldn’t stop. I wouldn’t necessarily say that it was something that I always wanted to do, but I would say that it was something I had a fascination for and once I got into it, I knew I was supposed to be doing it.
AllHipHop.com: Detroit has such a rich culture when it comes to music. When you think back to the time where Motown was the label and then move forward to now when Hip-Hop is so prevalent there, are there any parallels between the two?
Guilty Simpson: I think there are parallels to it. Basically with the current state and financial growth in Detroit, there are only a few things you can do. The struggle is in the music and the people can hear that; the whole Motown era and I think it has come back full circle. We are still in the same situation where there isn’t anything to do here and when you hear the music, you hear Emimen, he is actually able to put his pain on paper. I do think the city and the environment in general builds a kind of hunger within the people, so no matter what you do, if you are an engineer, being from here, poverty is such a reality that if you want to accomplish your dreams, you can see poverty every day so it becomes you. It is just that hunger. If you are living in Malibu in California, being homeless is probably far from your head, but being in Detroit, the grime and the grit, being in a blue collar city, being homeless and not being able to function in an every day society is a general reality to us. It is not a far fetched thought. People are well aware, if you don’t work, you don’t eat and they are the values I was brought up with as a kid. Once I decided that rap was going to be the thing that I was going to do for the rest of m life, I knew I had to do it 100% because you see poverty every day and I think that came through during the Motown era and the rap music in general. Do it or don’t do it. If you do, put 120% in it and grind hard.
AllHipHop.com: You have quite an extensive history in Detroit; you are part of the Almighty Dreadnaughtz aren’t you?
Guilty Simpson: Yeah that’s my crew; we are in the process of working on our projects right now. But right now I am focusing on my project and they are going to be featured on a song or two on there and I have production from people that are involved in Almighty Dreadnaughtz production team. They are involved in my project but, at the same time they are well aware that when my record comes out I am always mentioning my crew in everything that I do. Shortly after my project we want to drop our records and let everyone know that my existence is with a crew too. It is all about making good music and my project should be out in August and then the Dreadnaughtz project should be out in late September, early October.
AllHipHop.com: Does it ever cause conflict within the crew when you go off and do solo stuff?
Guilty Simpson: Of course, I have sensed a change in things but, I think they are well aware of all the time that we have put in, if someone has an opportunity to do something, then people should support it. That is what brotherhood is. They are also well aware that whatever opportunities I am brought into I couldn’t do anything but help them. Initially when things started happening I was pulled away from my comfort zone of being around them every day to the point to where I can’t spend as much time and dedicate as much time as I used to. It made some people have to step up and work harder in certain situations but I think in hindsight it made the crew a lot stronger. They support what I do and they know any opportunity I get is beneficial for everybody. I can do it without my crew, but I definitely wouldn’t do it because they work hard and they support me. Everything I do is for them and they support me 100% just as I would with them if they were in this situation.
AllHipHop.com: Was being part of a crew something that you needed to be as you evolved into an artist?
Guilty Simpson: Yes most definitely as your crew gives you an identity. My crew makes up a huge part of who I am before the world even acknowledged Guilt Simpson as an exceptional rapper, or MC, my crew before then had that faith in me. They put me in that position to be heard. So when I look at that I always remain humble about my situation but at the same time I am well aware that this is what I am supposed to be doing. We have a whole lot to say and I am one of the first to be put into that position but it is all for the crew. I am not making strides just for myself, it is for everybody. I think as long as you have that embedded in my brain as every time I am in the city I am with my crew. They know where my heart is and what I am doing this for. It will give them a voice to be heard.
AllHipHop.com: Does Detroit move as a unit like it appears to do?
Guilty Simpson: We have segregatism within Detroit too, but at the same time, in the position that I am in I have been able to work with pretty much everybody and there is a lot of different circles. I can basically say I am an Ambassador when it comes to crews, so I don’t have to deal with a lot of things that other people in the city might have to deal with. You know I am locked in with a circle of people who are leaders of their crew. So regardless of if this rapper doesn’t like me, I have an understanding with his boss and those are the people I deal with more or less. It is not as unified as I would like it but when I look at a lot of other situations, where you have this rapper in this rapper in this city talking about another rapper that is in the same city an sometimes the same neighborhood as him but we haven’t taken it to that level and I am definitely thankful for that. At the same time I feel we could be more organized but I think success will bring that. It is aspiring to be a certain type of rapper but it is harder for people to listen to what I say and the guidance that I have and take that seriously. But the strides I am taking, the more wind I am getting behind me and the more they will take what I say that much more serious because at the same time, until I really get out there and put my first record out and see how people really accept me and what people really think, I just focus on the people who want to work and have the same goals as me. Those are the people I deal with and they are pretty influential people in the city, so I don’t have to deal with a lot of the confusion that a lot of other people in the city have to deal with.
AllHipHop.com: You were brought to Stone Throw Records by J Dilla (RIP). Just how influential was he to you as a person and as an artist?
Guilty Simpson: Well, honestly before I met Dilla he was a huge inspiration and you know because I had studied his music and I was aware of the different things he had done in the industry. After I met him and we had that bond and we developed a friendship, he was a huge part of way I do what I do. He was one of the first people that I could look at who had been in the industry and had saw different things to come back and say to me that he had that faith in me and was confident that I could make songs onto the level as most of the MCs out there. he could feel that confidence in me to keep my fire going. I have a couple of other people that have helped me, Mr. Porter, Kon Artist from D12, he is executive producer on my record and he has stood out to me. He has some crazy stuff on my record. They were very influential in my career as they had been to the other side and worked with this person and that person and for them to come in with a long list of people who wanted to work with them and come back to the city to work with me, who was just a hungry guy from the city, that helped my confidence level. That let me know it was what I was supposed to be doing. I owe so much to those two guys; words can’t even describe how influential those two are. Not to take away from Dilla at all, that is my heart right there and that is a large part of why I do what I do right now.
AllHipHop.com: You say on your joint “Jungle Love” ‘real n**as don’t need sponsorship’ in regards to co-signing. You really think that?
Guilty Simpson: Oh yeah because even though those two people influenced me and they have co-signed what I have done because they have been in Detroit and seen the work that I have done. Denaun Porter I connected with after show that we did; Jay Dilla I connected with after an Open-Mic that Dilla went to. Just for me to stand my ground and let my talent speak for me, these people gravitated towards me and had that confidence in me. That lets me know that I have to be my own man before I can reach out to either or of those people to give me validity in the game. Them coming into my cipher and helping me out makes me stronger, but it all boils down to I only have me and I have to be able to hold my own because like I said Dilla passed and Kon Artist is a member of D12 and there are a lot of times when I am going to be in a certain situation and there is only me. I don’t have those two people to fall back on that’s what it is. I don’t really care what squad you with/a real ni**a don’t need sponsorship, as a you have to be your own man and that is what I am doing.
AllHipHop.com: What do you think it takes in today’s environment to be a good artist?
Guilty Simpson: I think the main thing to be a good artist these days is to put the music first. That is one of the main things that I try to do. A lot of times people try to reach and they do certain songs because they feel like they need to do a club song, they might feel like they need to do a song for the ladies. But I feel that there is nothing wrong with trying those topics and wanting to do certain things but I think being true to yourself is the most important thing; as a lot of people are trying to do what was successful for the last man and in a sense the creativity of the music is dying because there is so many people reaching just to get the easy check. You know if one guys come out with a certain dance then another guy might come out and think ‘well now I have to do a single with a dance’ and it is virtually taking away from the culture. They might reap the benefits financially but where does the responsibility to the music come in. That is the main thing. I came up in the era where whoever came out, even if they were different, it was cool to have a Will Smith in the game along with Kool G Rap, along with a Big Daddy Kane, it was ok to be different. But now people want to be a rapper from a certain region with the exact same image as another rapper that is successful from another region. I think they are trying to be successful in one vein in a sense. It is not really giving the music any room to grow, so I think that is like the biggest thing. Fall in love with making music now, don’t fall in love with cashing a check fall in love with the creative element of a good song, lyrics. Be coming up with the next shit as I think that is very important to let the game grow and be ok with being different to a certain people. I am a rapper and I don’t sell crack and I am comfortable with that. You don’t have to be a drug dealing rapper. People need to focus on what works for them and what elements they need to bring to the game and go in and do your thing that way. The old school Hip-Hop values, well one of them was like breaking a commandment. I think we need to take it back to the creative levels, stay creative and just stay true to you.
AllHipHop.com: What are you giving people with this album?
Guilty Simpson: Expect lyrics and I mean well the producers on there, you know I am going to have sweet beats as I cant go wrong with Dilla and Mr. Porter and Blak Milk and people like that. I am not using those beats as a crutch; I am trying to have my lyrics bring an element to the beat to make a good song. I think the most important thing that people should look out of is something fresh and new. I am definitely not coming from left field to the point that you will be hearing a lot of stuff you have never heard before. You are going to hear something that you might have head before but you will be hearing it in a more creative element. I think that is the biggest problem in the game right now, it just isn’t original anymore, real hip-Hop lyrics over banging beats is what I am bringing.
AllHipHop.com: Do you feel that real songs have been lost among ‘tacky’ dances?
Guilty Simpson: Yeah, but I am not going to go out on a limb and say that Hip-Hop is dying as there are people putting out good quality joints. It is just that those people are not getting the shine and the light shone on them to the point where there music is pushed into the background. Then you have radio, where every song that comes out sounds like an extension of the last song just by a different artist. A lot of the cookie cutter music isn’t even selling a lot of units like it used to and I think that it is just leveling the playing field for a person who really wants to be creative on a record. you know you might have someone at a label that wants to do original stuff, but the cookie cutter thing is a sure fire way to make a lot of money and now they are doing the cookie cutter stuff, they are not even guaranteed money anymore, so maybe it will make the artist take a step back and take a look at themselves to get ideas to what they really want to do with their careers, rather than just going for the easy money. I think it is fair and I know some people might think that is a haters statement but I am from the underground, I always root for the underdog. Now that all these other records that are not bringing anything to the game or are not really adding anything to the game, personally I love it, because that is what you get. You can’t fool the people forever with this watered down music that’s not creative. If you are not creative it is a shame that I have to listen to someone’s song and before the video goes off I might know how to do the dance but I can’t remember one lyric in the song. You would rather go out and dance rather than do your music, be a dancer. When you pick up a Mic you have a responsibility to give the people some real lyrics and real music. I think it is time for people who come from that angle to get their shine on and I am just ecstatic to be part of that.
AllHipHop.com: What is your album called?
Guilty Simpson: I might just go ahead and call it The Verdict. Basically with the verdict my music is the evidence of what I am trying to say and what I am trying to do, where it is up to the listeners to decide what they think about it. I have a couple of titles that I am throwing around right now, but I am probably going to turn the record around in another week and a half and once I turn everything in, we will sponge everything up and I will figure out what Stone Throw picks and then I think it will be safer. Once I see what is going to be incorporated in the record it will be a little safer to come out with a title. I am more or less trying to take care of the songs and then I think the title will come to me in time. I am not trying to force a square into a circle, I just want to take care of the songs and then the title will come to me. But I am leaning towards The Verdict as that was something Dilla and I were supposed to be working on and it was something we wanted to do.
Guilty Simpson’s website is www.guiltysimpson.com
Guilty Simpson’s Myspace page is Guilty Simpson’s www.myspace.com/guiltysimpson

Diablo offers another example of the Detroit scene s diversity of styles. Categorized as rap/ ghetto tech, Diablo’s music introduces you into his rhythmic ghetto world.
Detroit Northwest is representative of a hustler s harsh struggle. With his gritty voice and his rapid flow, Diablo pictures a world in which making fast money is a way of life. The heartbeat alike instrumentals suggest the strong image of a man on the run, trying to make a living by any means.
Brightmo Bounce is built on rapid hand claps, maracas sounds. The astute combination of two different type of rhythms will make Diablo s word juggling a much more difficult task to accomplish. The artist, however, reveals a mastered flow delivery.
The only critic I d formulate about the track is that the diction of his words is quite difficult to catch one’s ears. Besides that, the song is highly enjoyable for people who are sensitive to a good sense of rhythm.
Bye Bye is based on soft vocals. Don t let the softness of the prelude confuse you: you will soon be transported into a more hardcore dimension where homicide is law. Take a ride and discover Diablo s devilish world.
Nothing Bout Me is a beautiful combination of strong female vocals and Diablo s sick flow delivery. Keyboard sounds, violins, catchy drum beats reinforce the ghetto dimension of the song that is also Spanish sounding during a little while. I like the contrast between light and dark sounds that beautifully enhance Diablo s know how and his lyrical competence.
More about Detroit s Diablo is available here.
Copyright © 2007 by Isabelle Esling
All Rights Reserved

April the 11th, 2006 was a tragic day for Deshaun Holton s family, friends and fans. A talented artist ended up in a pool of blood over a stupid argument at the infamous CCC club, leaving a whole hip hop community in grief. It also marked the end of an era in Detroit hip hop history.
Some people only know Proof as Eminem s hype man or through his work inside of D12.
Proof s best known solo work is probably Searching For Jerry Garcia. Little did you know about Deshaun Holton if you actually think Searching For Jerry Garcia is his one and only solo CD during his whole career…
I d like to point out that Proof has marked hip hop history. I still miss his absence in the game.
NB: the list of tracks and songs mentioned in this article is non exhaustive…forgive me for the ones I might have omitted.
Deshaun Holton was deeply rooted with the Detroit scene. Eminem and D12 s overwhelming success, Proof always busy schedule never changed the man he was. Down to earth, heartfelt, true to his roots, Proof always kept his underground work with local artists active and worked hard towards getting Detroit hip hop on the map.
Deshaun Holton was the kind of person who would not let fame affect his behavior towards other people. He didn t feel too proud to talk to a former friend nor a fan who d cross his road in Detroit or anywhere else.
Within a decade and despite all his detractors might object against him, Big Proof has done more than many artists during their whole career.
1996:
Big Proof might not be as notorious as Tupac, his underground work resembles the hidden part of an iceberg: there is more to discover than you actually think. In fact, Proof s musical work goes back to 1996.
Working together with DJ Head (D12 s former DJ), the talented artist released a mixtape called the WEGO mixtape. 5ELA s Yester Years EP is also the fruit of a collaboration with Thyme and Mudd, who formed 5 ELA with Proof.
Deshaun Holton also had a special connection with the notorious Trick Trick and his Goon Sqwad group. The same year, another CD entitled From Death came out as the product of a common collaboration.
In 1996, Proof also released a Jay Dee produced song called Da Science.
1997
Proof concentrated on working with his D12 fellows on the D12 Underground EP, a remarkable piece of work that is characterized by a combination of astute, crazy, filthy rhymes and the frequent use of dark instrumentals such as the bass.
Here is an example of Proof s verbal dexterity within the D12 Underground EP:
You lack phat tactics, your thoughts are Dexitrim/Whipping my dick out on nuns if they say sex is sin.” (Proof)
1998
In 1998, Proof and his D12 fellows were actively working with Slim Shady on the Slim Shady EP.
On his already busy schedule, Deshaun Holton added some good quality work with hip hop dedicated artists of 5 ELA, Thyme and Mudd (Proof was also a member of the group named above). The trio gave birth to several underground jewels like The Album That Time Forgot and 5E Pt 3.
Proof and Bugz also united their lyrical efforts on deceased artist Bugz underground classic, These Streets EP. These Streets EP is, by the way, very popular in Detroit City.
1999 to 2000
The years that followed kept Proof very occupied. Eminem s overwhelming fame, the constant touring, kept Proof very active on the scene, as Eminem s hype man.
2001
Regarding D12, one could barely think of 2001 without thinking of the Devil s Night album. Major success followed with the release of the album.
During the same period, Detroit s Dirty Dozen released the Detroit What! Mixtape. Glory, fame and acclaim didn’t change Proof, who never ever neglected his local hip hop scene.
In 2001, Proof also combined some intense musical efforts with his long term friend Kevin Bailey, also known as Dogmatic.
Promatic originated from the combination of both artist s names: Proof plus Dogmatic equals Promatic. Both artists released the Promatic LP the same year.
2002
If you were already a Proof fan or listener in 2002, parts of his projects were available and downloadable on his former website, Big Proof Dot Com. One of those projects was the Electric Coolaid Acid EP.
2004
Sometimes, it feels so lonely at the top. Fame can alter the taste of simple pleasure and force you to do things that you like less, but that are requested by the music industry.
Deshaun sometimes felt like his entry into the mainstream sphere had left a sour aftertaste in his mind. In I Miss The Hip Hop Shop, a brilliant mixtape that includes many local Detroit collaborations and productions, Big Proof expressed how much he regretted the golden age of hip hop he experienced at Maurice Malone s Hip Hop Shop.
2005
Maturity comes with age and experience. From there you can look back at your mistakes and try to improve yourself. In Grown Man Shit Proof started squashing a bloody beef with his long term rival, acid rapper Esham. But Proof didn t limit his reconciliation attempt to words on a tape: his reconciliation with Esham actually happened at his last birtday party on October the 2nd, 2006.
In Grown Man Shit, Proof also puts some insignificant local haters in place and astutely ridicules them in a well written song, with loads of humor.
2006
In 2006, Proof released his Searching For Jerry Garcia LP, a CD that he had been working on for at least three years before its release. In Searching For Jerry Garcia, Proof reveals his incessant quest for real artistry, showing how much it is difficult to be a real artist, in all senses of the term.
The same year, Proof s Hand 2 Hand mixtape, a beautiful compilation of numerous Detroit talents also came out.
Before his tragic death, in March 2006, Proof did a last album, within 24 hours that is entitled Time A Tell. The album, that includes some collaborations with underground emcee Intrinzik hasn t been released yet.
During his whole career, Proof has been collaborating with numerous local Detroit talents. Among them, the notorious Trick Trick and his Goon Sqwad, Jay Dilla, Hash, Purple Gang, Woof Pac, 5 ELA, Dogmatic, Royce Da 5.9, Slum Village, Malaki The Most Hi, Twiztid of Psychopatic Records and many more.
On a national scale, Proof has also worked with numerous influent mainstream artists such as B Real of Cypress Hill, 50 Cent, Nate Dogg and Method Man.
Deshaun Holton s short life is the testimony of his true love for hip hop. A love nobody can erase from the face of the earth.
Copyright © 2007 by Isabelle Esling
All Rights Reserved

April the 11 th, 2007 will mark the anniversary of Deshaun Holton s tragic death at the CCC club.
It s been one year and it sounds like it was yesterday.
Many people think that Proof has just one CD at his active. Little did you know about the amazing D12 artist if you really think so. Not even his mixtapes are representative of Proof’s solo work as a whole. Having been into Proof s solo work for years, some of his tracks are yet to explore for me and maybe also for many other true fans…
In order to honor the incredible artist Proof actually was, I am preparing an article that will reveal you more about his discography.
Proof was extraordinary as an artist, not because he was Eminem s friend. He was extraordinary, because he was a genuine artist with a style of his own (that is very different from his style within D12). He was also remarkable because, over the years and despite fame and touring, he always kept that true spirit of Detroit s hip hop shop inside of him and always worked towards reuniting local Detroit talents.
More strikingly Proof was a man of heart and a down to earth dude.
A whole hip hop community misses you. You were so special, Deshaun Holton and thats why I will dedicate you an upcoming article revealing more about your excellent underground work and dedication to the Detroit scene.
RIP Big Proof. Now that you ve gone, we will keep your memory alive.
Copyright © 2007 by Isabelle Esling
All Rights Reserved

C-Ron is a young emcee from Pennsylvania who puts a lot of energy into his passion. C-Ron introduces his listener into a dark, sinister, creepy atmosphere with his Catch Me In The Hood track. Be ready to get the chills while walking with him through the icy streets that are surrounded with dangers of all kind. The Catch Me In The Hood chorus is enhanced with some light keyboard sounds that will create a discrepance with the dark orientated vocal. Pistol whipping, animosities, upcoming beefs, that s the realness of the song s background: be ready for war!
His world is make of insecurities and truly paints the environment of the ghetto. I d advice the listener to lend the track an attentive ear.
Bad Guy is full of lyrical gritiness. An offensive spirit will allow you to step up into C-Ron s world. The song is rhythmic, instrumentally well worked on. However, I do think that C-Ron should work on his voice and make it sound a little bit stronger, in Bad Guy in particular. His voice seems to be the main weakness in Bad Guy, since it doesn t seem to fit with the somber context of the song.
Every Time We Touch is based on soft piano notes and harmonic violin sounds…it describes the emotions that go through lovers heart and brain who feel true love. Anybody who has loved a dear person will feel the artist’s words. Sit back, relax and let your universe be fulfilled with falling hearts…let your thoughts walk to your loved one in an infinite embrace of true feelings. Poetic, intense and well done.
Check out C-Ron here.
Copyright © 2007 by Isabelle Esling
All Rights Reserved

Rating of the product: 4.5 stars
The March 9 CD offers a compilation of Biggie remixes that will certainly catch a connoisseur s ear.
It is introduced by the well known Renegade theme. Built on nostalgic violin sounds and heartbeats/ machine sounds that suggest a dying man into an operation room, the song will open on Biggie s philosophical reflections on life and death. A bad guy analyzes his life and leaves earth with no regrets, and he consciously steps towards hell- by choice.
No angels, no paradise: a villain is ready to get his reward as the bad man he actually was. This track is a beautiful classic.
Organ sounds, keyboard sounds, drum beats introduce the listener into a dark, psychotic, nightmarish atmosphere during which Biggie reveals his non hidden intentions to use his weapon. He has reached a point of no return: kill or get killed. The villain is ready to die.
Niggaz Bleed has some beautiful, rhythmic sonorities. Bass and violins work together with piano notes in order to suggest a routine and trying times.
The CD has two versions of Dead Wrong to offer, the Stop Schemin and the well known Eminem remix. Both versions are highly enjoyable, as far as I am concerned.
Real Niggaz Do Real Things allies bass and xylophone sounds. Again Biggie introduces us into a creepy gangsta world made of numerous dangers and police car. A ruthless sounding background totally enlightens the track.
What s Beef features skilled artist Mos Def. Let Biggie define the word beef in all its dimensions.
In 10 Crack Commandments based on the Cake theme , Biggie will teach you about the rules a crack dealer usually abides.
Deadly Combination unites Big L, former friends and rivals Tupac and Biggie. Scratches sounds, mandolin and keyboard sounds totally match together and will create an overheated speech ambiance.
From a Young G s perspective is a cool ballad through the hood. The instrumentals strongly suggest an adventurous life in the hood jungle.
Globally the Biggie Smalls is a beautiful tribute that manages to catch the listeners ears. The hopeless, dark, sinister and hardcore dimension that is so typical to Christopher Wallace is totally enhanced by the combination of good artistic features and a good production.
The Who Shot Biggie Smalls track is definitely worth your attention. The artists tornado of words will catch you into its rapid, spiral;
When I look at the way people talk about deceased artists, constantly idolizing them while they didn t really care as long as they were alive, I think that Christopher Wallace is probably right: you’re nobody until somebody kills you.
RIP Christopher Wallace.
Enjoy March 9 that will remind you of Biggie s artistic brilliance.
Copyright © 2007 by Isabelle Esling
All Rights Reserved