October 25, 2026

Various Artists - Only For The Real DJ: A Premier Selection of Hip-Hop Inspired By The Boom Bap Sound (2005)

*This is a digital download purchased from Qoboz. 
The files have been sorted for convenience. 
Contains 12 tracks total.
Country: U.S.A.
Genre: Hip-Hop
Label Number: None
 
© 2005 Administered Recordings
*No professional reviews are available for this release. 
 
* Due to past abuse, comments for the Hip-Hop section have been disabled. 
 
 
 tags: various artists, only for the real dj, a premier selection of hip hop inspired by the boom bap sound, 2005, flac,

Heart - Private Audition (1982)

*U.S. first pressing. 
Contains 11 tracks total.
Country: U.S.A.
Genre: Pop Rock, Hard Rock
Label Number: EK 38049
 
© 1982-1986 Epic
Private Audition starts tough with "City's Burnin'," possibly the band's most underrated song, but it's dragged down by the trite songwriting that follows. The introspective "Bright Light Girl" is reminiscent of "Dreamboat Annie," but it lacks the sweet spontaneity that made the latter so successful. "Perfect Stranger" foreshadows the band's mid-'80s transformation from Zeppelin-esque hard rockers to power balladeers. The fact that Heart's success is divided cleanly between the two styles makes this transitional album fall all too forgettable in the middle. 
 
tags: heart, private audition, 1982, flac,

Ginuwine - I Apologize (2007)

Country: U.S.A.
Genre: R&B
Label Number: SIC-CD-21
 
© 2007 Siccness.net
 By the time I Apologize hit the shelves in 2007, Ginuwine had been working the R&B loverman vibe for over ten years. The artist's 2000s albums don't have the cutting edge that his mid-'90s work with Timbaland possessed, but they continue to impress, offering up a silky-smooth brew of contemporary production, pulsing beats, and the artist's knee-weakening croon. The title track, one of the album's highlights, gets things rolling with its moderate, bouncing groove, one of a handful of satisfying, head-nodding tracks. But Ginuwine is at his best on ballads like "Better Days," a song that not only showcases his vocal dexterity, but swells with an inspirational fervor that tips its hat to gospel. Ginuwine's mix of old-school R&B with a hip-hop flavored sensibility has always appealed; I Apologize is another fine example of its charm.
 
 tags: ginuwine, i apologize, 2007, flac,

Ginuwine - Elgin (2011)

Country: U.S.A
Genre: R&B
Label Number: NOT003
 
© 2011 Notifi
Due to the leak of an unauthorized video, “Batteries” gained a fair amount of exposure prior to the release of Ginuwine’s seventh proper album, and the song -- an innocuous club track with content like “Shawty over there moving like a stripper” and “Beat it like a triple-X star” -- is thankfully an outlier on the set. While “Batteries” and a handful of other tracks would be better suited for younger singers, roughly half the album has Ginuwine acting his age, dealing with adult situations. “Heaven” and “What Could Have Been” radiate romance and regret with deep sincerity. Best of all is “Frozen”; audible shivering sounds overstate the mood projected by a scorned object of affection, but frost-coated synthesizers provide great contrast to Ginuwine’s sympathetic pleading. 

 tags: ginuwine, elgin, 2011, flac,

Slipknot - The End, So Far (2022)

Country: U.S.A.
Genre: Alternative Metal
Label Number: 075678637803
 
© 2022 Roadrunner Records
The follow-up to 2019's commanding We Are Not Your Kind (the veteran band's third consecutive number one album), The End, So Far lacks some of its predecessor's potency. However, it makes up for it with sheer grit and a handful of surprising deviations, most notably on the idiosyncratic opening cut. "Adderall" may sound like an algorithm-generated Slipknot title, but the song itself contains multitudes, pairing cascading piano and clean vocals with a melody that has more in common with The Bends-era Radiohead than it does the crushing discord of Iowa or All Hope Is Gone. Elsewhere, the beefy "De Sade" adds might to that melodicism, proving that both predilections can coexist in the crucible of contemporary metal, while the epic "Finale" (again, with the on-the-nose titles) tempers its brawn with billowing strings and a full choir. Fans put off by these forays into melodic alt-rock will be far better served by "The Dying Song (Time to Sing)," "The Chapeltown Rag," and "Yen." All three cuts hew closer to the frenetic pace and mosh-pit-inducing beatdowns that have long served as Slipknot's sonic foundation. Still, it's refreshing to hear a group tinker with their formula and even more encouraging when it seems to be out of curiosity rather than desperation. Slipknot have sat atop the commercial metal food chain for over two decades and have more than enough equity to swing for the fences artistically. The End, So Far may not be a home run, but it proves that the band are still in it to win it, even if they're playing the long game. 
 
tags: slipknot, the end so far, 2022, flac,

October 21, 2026

2 Unlimited - No Limits! (1993)

*Japanese first pressing. 
Contains 16 tracks total.
Country: Belgium
Language: English 
Genre: Euro House
Label Number: PHCR-1195
 
© 1993 Mercury
It's got a couple of hits, namely "No Limit" and "Let the Beat Control Your Body," but there's not much else to recommend the second 2 Unlimited LP. 
 
 tags: 2 unlimited, no limits, 1993, flac,

2 Unlimited - Greatest Hits Remixes (2001)

Country: Belgium
Language: English 
Genre: Euro House
Label Number: TOCP-64095
 
© 2001 Byte/Intercord Japan
*No professional reviews are available for this release. 
 
 tags: 2 unlimited, greatest hits remixes, 2001, flac,

Quicksand - Slip (1993)

Country: U.S.A.
Genre: Post Hardcore
Label Number: 314 517 685-2
 
© 1993 Polydor
Quicksand forge out a dense, metallic grind that sounds like a more streamlined version of Fugazi. The band's debut, Slip, relies more on metal than punk, but that makes the music all the more effective -- the group's attempts at punky fury simply aren't as strong as their brutal, gut-level heavy riff-rockers. Vocalist Walter Schreifels spews out enough angst-ridden lyrics, but what is important is how his voice fits into the dense wall of sound. Quicksand's music is about powerful anger, and the persistent, bludgeoning Slip delivers the goods.
 
tags: quicksand, slip, 1993, flac,

Quicksand - Manic Compression (1995)

Country: U.S.A.
Genre: Post Hardcore
Label Number: 314-526 564-2
 
© 1995 Island Records
Quicksand's heavy metal is distinguished not by the band's hooks but by its precision -- they grind their riffs into the ground, never alleviating their intensity. Manic Compression isn't as murky as Quicksand's major-label debut and it contains tighter, better-constructed songs, all of which makes the band's deliberate lack of melody excusable. Then again, the point isn't melody -- Quicksand is about sheer sound, in all of its distorted glory. If you like that sound, the album delivers the goods. 
 
 tags: quicksand, manic compression, 1995, flac,

October 07, 2026

Various Artists - You're No Big Deal (Grunge, The U.S. Underground & Beyond 1984-1994) (2025)

*This is a 4 disc set released in 2025 
by Cherry Red Records.
Country: U.S.A.
Genre: Grunge, Punk Rock
Label Number: CRCD4BOX199
              *****   
 
© 2025 Cherry Red
The grunge explosion that took over the world in the early '90s exists in iceberg form, with ubiquitously popular bands like Nirvana, Soundgarden, Alice In Chains, and Pearl Jam as the most visible examples of the sound. As with any iceberg, these bands are just what's most apparent sitting atop a mass of other active and influential but less immediately traceable players. You're No Big Deal explores the grunge iceberg extensively, collecting over 80 tracks of heavy, ragged, and righteous noise recorded between 1984 and 1994 by some of the most- and least-known acts in and around the grunge movement. The tracks here were curated with help from Mark Arm, whose late-‘80s band Green River starts things off with the crude and metallic “Come On Down.” Songs from Green River, the Melvins, feedtime, Cop Shoot Cop, and other sludgy, high-volume bands serve as a reminder of how so much of grunge mutated from the then-dominant metal scene. You’re No Big Deal is wide-ranging in its exploration, representing the punk element that informed grunge’s rebellious spirit with songs from Poison Idea, Hüsker Dü, and Scream, as well as including examples of the Pacific Northwest’s specific take on garage rock with tunes from Dead Moon, Girl Trouble, and Calamity Jane. The artists here aren’t limited to Seattle and the surrounding areas, but the strange chain reactions that made grunge possible are easiest to hear on songs from Seattle groups like Mother Love Bone or in the noisy, pre-fame Soundgarden tracks included here, “Hunted Down” and “Flower.” Grunge happened alongside waves of other underground developments happening concurrently, and the psychedelic country-rock of the Meat Puppets, moody Replacements song “The Ledge,” hypercharged pop from Superchunk, and guitar-pummeling blasts from Dinosaur Jr. and the Pixies all nod to how grunge’s angsty shadow was looming over college rock and giving way to alternative groups like Stone Temple Pilots, Toadies, and Luscious Jackson. It’s a comprehensive and multi-tiered exploration of not just the grunge iceberg but also the less aggressive subdivisions of uncompromising guitar rock that cropped up as a result of grunge shifting the culture. 
 
 tags: various artists, you're no big deal, you, grunge the us underground and beyond, 1984, 1994, 2025, flac,

September 27, 2026

Jaguar Wright - Divorcing Neo 2 Marry Soul (2005)

 *U.S. pressing. 
Contains 16 tracks total.
Country: U.S.A.
Genre: R&B
Label Number: ATM-CD-51611
 
© 2005 Song/Artemis Records
*No professional reviews are available for this release.

 tags: jaguar wright, divorcing neo 2 marry soul, to, 2005, flac,

Motionless In White - Creatures (2010)

*U.S. first standard pressing. 
Contains 12 tracks total.
Country: U.S.A.
Genre: Metalcore
Label Number: FRL 30142-2
 
© 2010 Fearless Records
In a genre with a laundry list of cookie-cutter bands all fighting to grab the attention of a young audience, sometimes distinguishing yourself is a matter of degrees. On their debut full-length, Motionless in White attempt to do just that. Delivering a heavy-hitting does of horror themed metalcore, Creatures finds the band exploring a more gothic sound. With lots of breakdowns, reverse drum swells, good cop/bad cop vocals, and bass bombs, there’s a lot about the album that feels pretty much by the book. Where Motionless in White are able to make it interesting is in the use of their electronic elements. Rather than going for the usual dance-pop sound, the band uses their synthesizers to create a dark and uneasy atmosphere. This blend of the frightening and the familiar gives Creatures not only the ability to draw fans in with something they’ll immediately click with, but which will keep them coming back for another helping. 
 
tags: motionless in white, creatures, 2010, flac,

Motionless In White - Infamous (2012)

*U.S. first standard pressing. 
Contains 12 tracks total.
Country: U.S.A.
Genre: Metalcore
Label Number: FRL30171-2
 
© 2012 Fearless Records
*No professional reviews are available for this release.
 
tags: motionless in white, infamous, 2012, flac,

Motionless In White - Reincarnate (2014)

*U.S. first standard pressing. 
Contains 13 tracks total.
Country: U.S.A.
Genre: Metalcore
Label Number: FRL30200-2
 
© 2014 Fearless Records
Settling into the more industrial sound they started transitioning into with Infamous, Motionless in White deliver a more assured and consistent performance on their third album, Reincarnate. Blending the dark and seedy edge of Marilyn Manson with a driving, melodic edge, the album effortlessly combines the styles of the band's previous efforts, creating an explosive sound that feels more fully realized than anything they've done up to this point. From the outset, the thing that listeners will be initially taken aback by is how massive the record sounds. Songs like "Reincarnate" and "Dark Passenger" are packed floor to ceiling with monstrous guitars, twisting synth lines, and explosive drumming, giving the music a density that would be overwhelming without Motionless in White's knack for melody, which allows them to hook in listeners to even the most foreboding passages with ease. Not content to go at it alone, Reincarnate features some solid collaborations, with Cradle of Filth's Dani Filth dropping by on "Puppets 3 (The Grand Finale)," In This Moment's Maria Brink lending her vocals to "Contemptress," and Tim Sköld sitting in on "Final Dictvm." With the album running close to an hour, the guest spots help to add a little something different here and there, mixing things up before they have a chance to go stale. With so much going on, however, it's hard to see how any Motionless in White fans could be bored with the offerings laid before them on Reincarnate. With so much confidence and gothic swagger, it's hard not to be entertained by this album, and listeners who may have been thrown by their inconsistent early work would do well to dive back into the abyss with this third effort. 
 
 tags: motionless in white, reincarnate, 2014, flac,

September 11, 2026

Uriah Heep - High & Mighty (1976)

*U.K. first pressing. 
Contains 10 tracks total.
Country: United Kingdom
Genre: Hard Rock
Label Number: CLACD 191
 
© 1976-1990 Castle Communications/Bronze
By 1976, Uriah Heep was on shaky ground. Although they had scored a big success with Return to Fantasy, the group was suffering from personality conflicts (vocalist David Byron left after this album) and division over their musical direction. This tension is visibly apparent on High and Mighty, an album that shows flashes of the group's old firepower, but is ultimately sunk by a combination of unfocused experimentation and uneven songwriting. It starts promisingly with a solid first side: "One Way or Another" is a surging, dramatic hard rocker that features Ken Hensley trading verses with bassist John Wetton, and "Misty Eyes" is an engaging up-tempo tune that trades the group's hard rock thunder for a sound built on some tasty acoustic guitar riffs. It also contains one of the group's finest songs in "Midnight," a meditation on the price of success that neatly balances Mick Box's soaring guitar leads with an array of lush keyboard textures from Ken Hensley. This song is also notable for the dramatic, heart-wrenching vocal it is given by David Byron. However, High and Mighty fails to maintain this standard of quality on its second side. Several of the songs find the band flirting with pop elements in a way that doesn't complement their hard rocking style: "Can't Stop Singing" starts curiously with "Monty Python"-style mock tribal chants before devolving into a silly keyboard pop tune, and the hard rock energy of "Woman of the World" is sunk by the ridiculously bouncy beat and English music hall-style piano it is saddled with. The second side also sports a surprisingly lame and derivative rocker in "Make a Little Love," a throwaway that sounds like an uninspired attempt to duplicate the sound of Bad Company. All in all, High and Mighty is far too uneven to win Uriah Heep any new fans, but it contains enough solid rockers to make it worth a listen for the group's devoted ones. 
 
 tags: uriah heep, high and mighty, 1976, flac,

Uriah Heep - Firefly (1977)

*U.K. first pressing. 
Contains 8 tracks total.
Country: United Kingdom
Genre: Hard Rock
Label Number: CLACD 190
 
© 1977-1990 Castle Communications/Bronze
 After losing founding vocalist David Byron in 1976, many hard rock fans thought Uriah Heep had reached the end of the line. However, the group bounced back in 1977 with Firefly, an album that pursued a stripped-down sound harking back to the group's early-'70s successes. They also boasted a new singer in John Lawton, a vocalist who had made his fame working with artsy German hard rockers Lucifer's Friend. Although he lacked the multi-octave range of David Byron, Lawton boasted an impressive and emotionally rich hard rock voice that instantly jelled with the Uriah Heep sound. An ideal example of this new synergy was provided by the opening track, "The Hanging Tree," which featured Lawton dramatically delivering a narrative about an outlaw on the run over a spooky musical track that blended echo-drenched synthesizers with some typically gutsy guitar riffs from Mick Box. Other memorable tracks on Firefly include "Who Needs Me," a spirited slice of boogie rock with a rousing singalong chorus, and the title track, a miniature prog epic that deftly blends balladry, hard rock, and acoustic-styled folk into one cohesive outing. Nothing on Firefly hits the epic heights of "Gypsy" or "July Morning," but it contains none of the failed experiments that weighed down High and Mighty and it further benefits from a nice sense of consistency that is built on tight songwriting and inspired performances. In the end, Firefly remains one of the most cohesive albums from Uriah Heep's mid- to late-'70s period and is guaranteed to bring a smile to the faces of the group's fan base. 
 
tags: uriah heep, firefly, 1977, flac,

Uriah Heep - Innocent Victim (1977)

*U.K. first pressing. 
Contains 9 tracks total.
Country: United Kingdom
Genre: Hard Rock
Label Number: CLACD 210
 
© 1977-1990 Castle Communications/Bronze
After breaking in new vocalist John Lawton on the back-to-basics outing Firefly, Uriah Heep once again found themselves feeling the need to experiment a bit on Innocent Victim. The resulting album doesn't cohere as neatly as Firefly did, but manages to keep the listener engaged thanks to a combination of slick performances from the band and a handful of truly great Uriah Heep songs. Overall, Innocent Victim's blend of sharp, short rockers and pop-friendly ballads feels like an attempt to court the American AOR market. The rockers are all pretty strong stuff: "Free 'n' Easy" is a fast-moving tune built on an ear-scorching guitar riff that feels like boogie rock in overdrive, while "Roller" is a stylish midtempo track that blends funky, languid verses with a faster, bass-driven chorus that ups the song's rock quotient. The band also weaves in some experimental tracks that hit the bull's eye: "Illusion" is a spacy tale about dreaming that creates a rich atmosphere through an arrangement built on strong keyboard and vocal textures, while "The Dance" successfully marries a reggae beat to its prog-like melody. Meanwhile, the album's ballad leanings brought Uriah Heep one of their biggest international hits in the form of "Free Me," a tune whose acoustic style and accent on harmonies brought the group dangerously close to Eagles territory. The downside of Innocent Victim is that it works a little too hard at being radio-friendly: despite their high level of energy, songs like "Keep on Ridin'" and "Flyin' High" are too contrived and self-consciously poppy to sit comfortably alongside gutsy rockers like "Free 'n' Easy." Despite this unevenness in tone, Innocent Victim remains a likable album with enough strong material to satisfy Uriah Heep's admirers. 
 
tags: uriah heep, innocent victim, 1977, flac,

Uriah Heep - Fallen Angel (1978)

European first pressing. 
Contains 10 tracks total.
Country: United Kingdom
Genre: Hard Rock
Label Number: CLACD 176
 
© 1978-1989 Castle Communications/Bronze
On Fallen Angel, Uriah Heep continued the push toward an AOR-friendly style that began with Innocent Victim. The resulting album is too poppy to please hardcore metal fans and too eccentric to fit the bill of an AOR record, but it still manages to be a surprisingly enjoyable listen. Fallen Angel focuses squarely on crafting driving rock tunes leavened with a series of pop hooks: "Woman of the Night" pairs guitar-bolstered verses with a harmony-drenched chorus reminiscent of Queen while "One More Night" cleverly conforms the sloppy good cheer of boogie rock to a pop song format. Other tracks find the band stretching their heavy-AOR ambitions into other genres: the burbling synthesizers and stuttering bassline of "Whad'ya Say" lend that song a disco feel while the insistent, naggingly catchy "la la la" chorus of "Love or Nothing" suggests the group had spent some time listening to old bubblegum pop singles. This surprising diversity points out the problems with Fallen Angel: it goes in so many different directions that it never coheres the way a really good album should, and it strays too far from the group's original sound to really fit in with the rest of their catalog. Nonetheless, it is simply too energetic and well-crafted to be rejected as a bad album. Patient Uriah Heep fans will also be rewarded with some stunning tracks that hark back to the group's gothic metal style: "I'm Alive" is a barnstorming anthem of self-affirmation that layers Mick Box's soaring yet mournful slide guitar leads over a furious, double-time backbeat from Lee Kerslake and the title track is a gothic-tinged ballad about a lost romance that is built on a haunting chorus and an atmospheric backing of acoustic guitar and synthesizer. All in all, Fallen Angel may not please Uriah Heep fans who favor the group's Demons and Wizards-era style, but it offers enough slickly crafted music to please any fan of '70s AOR sounds. 
 
tags: uriah heep, fallen angel, 1978, flac,

August 11, 2026

Sonya - Angel (1997)

*Released in 1997 for the Japanese market. 
This pressing contains 12 tracks total. 
A photo of the disc is included in the RAR file.
Country: U.S.A.
Genre: R&B
Label Number: VICP-60168
 
© 1997 Victor
*No professional reviews are available for this release. 
 
tags: sonya, angel, 1997, flac,

Paul Weller - Heliocentric (2000)

Country: United Kingdom
Genre: Pop Rock
Label Number: CID 8093/542 394-2
 
© 2000 Island Records
Heliocentric is a lighter affair than the doggedly traditional Heavy Soul. It may be a subtle distinction, since he's using the same musical template he has since Wild Wood, plus the same producer and many of the same musicians. So, Heliocentric sounds very familiar, yet when it reaches its conclusion with the melancholy psychedelic sweep of "Love-Less," it's clear that it feels a lot different than its two immediate predecessors -- it's of a similar quality and emotional tenor as Wild Wood. It's also his strongest record since then, a remarkably sturdy and varied set of songs and performances. Sadness and regret are scattered throughout the album, but there's also humor, affection, and, ultimately, optimism -- three qualities missing on Heavy Soul. Heliocentric has many more musical quirks than its predecessor. Strings grace several songs, plus there are extended jams so psychedelic they're almost prog. There really aren't any rockers, but there's the wonderfully jaunty acoustic number "Sweet Pea, My Sweet Pea," one of his most unaffected and, well, sweetest songs. "A Whale's Tale" is his own spin on a sea ballad, while "Back in the Fire" rolls along on a nearly jazzy beat. Those ever-changing moods keep the record fresh and interesting, yet Heliocentric still winds up sounding part of a piece, since Weller is focused here, as a songwriter and a record-maker, which he hasn't been since Wild Wood. Like that latter-day Weller masterpiece, Heliocentric grows stronger with each spin, as the songs catch hold and details in the production and nuances in the performances reveal themselves. That may not constitute a new direction for Weller, but it's certainly a terrific record that signals a creative rebirth, which is the next best thing.
 
tags: paul weller, heliocentric, 2000, flac,

Paul Weller - Illumination (2002)

Country: United Kingdom
Genre: Pop Rock
Label Number: ISOM 33CD
 
© 2002 Independiente
 Paul Weller doesn't try anything explicitly new on his sixth solo album, Illumination, or at least it seems that way at first. It's firmly grounded in the soulful singer/songwriter style that he etched out on Wild Wood, but there are several subtle differences that give it its own character. As it turns out, Heliocentric was indeed a bit of a creative rebirth, signaling a return to stronger songwriting plus a willingness to play around with the arrangements. During the Stanley Road/Heavy Soul phase, it would have been unthinkable for Weller to loop a horn sample for a song's main hook as he does on "It's Written in the Stars," but he not only does that, he offers it as a lead single. And the horn sample is a good indication of where the sound of Illumination lies. There is little of the British folk and prog overtones of Heliocentric here, and soul takes the center stage; even when a track isn't explicitly soulful, it has a warm, welcoming vibe reminiscent of late-'60s/early-'70s soul. When the album drifts, as it does on the largely instrumental "Spring (At Last)," it's for atmosphere, enhancing the open, warm feel of the record. Even when Weller tears loose on occasion -- flashing violent rage on the rampaging "A Bullet for Everyone," for instance, or fiercely playing his guitar -- it functions as an effective counterpoint, emphasizing the comforting feel of the majority of the album. Best of all, it all feels effortless (unlike, say, the labored efforts of his peer, Elvis Costello, on his 2002 release When I Was Cruel), from the production to the songwriting. This is unlikely to be a huge hit, like Stanley Road, nor will it likely win many new fans, but that's not the point of Illumination. This, like any Weller album, is a snapshot of Weller's mood at the time, and it finds him aging gracefully and appealingly. Anybody who's gone this far with him will surely find it very satisfying.
 
 tags: paul weller, illumination, 2002, flac,

Masta Killa - No Said Date (2004)

Country: U.S.A.
Genre: Hip-Hop
Label Number: NSD-108
 
© 2004 Nature Sounds
The long-delayed first solo release from Wu-Tang Clan's Masta Killa (legendary for recording his contributions to "Da Mystery of Chessboxin'" on Enter the Wu-Tang (36 Chambers) while in jail) features guest raps and beats by most of the Clan's main members. Unlike a lot of albums where the guy whose name is on the cover sounds like a guest on his own album (paging P. Diddy), this is strictly Masta Killa's party. His aggressive but nimble flow is all over each of these songs, with the guest raps by the rest of the crew -- including Raekwon, Ol' Dirty Bastard, Method Man, and Ghostface -- limited to a verse or even just a couple lines at a time. The settings, mostly by the usual Wu-Tang Clan production team of the RZA, True Master, and Mathematics, are mostly utilitarian, keeping the focus on the words, but a couple of inspired samples stand out, particularly the use of the creepy strings from OutKast's "Skrew It On the Bar-B," speeded up slightly to give them an otherworldly atmosphere, on the title track and the brilliant use of the instantly familiar bassline from Quincy Jones' "The Streetbeater" (the Sanford and Son theme) as the basis of "Old Man." In production and supposedly "almost finished" for literally years, No Said Date is worth the wait.
 
* Due to past abuse, comments for the Hip-Hop section have been disabled. 
 
 
tags: masta killa, no said date, 2004, flac,