September 11, 2026

Uriah Heep - High & Mighty (1976)

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*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,
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Uriah Heep - Firefly (1977)

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*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,
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Uriah Heep - Innocent Victim (1977)

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*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,
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Uriah Heep - Fallen Angel (1978)

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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,
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August 11, 2026

Sonya - Angel (1997)

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*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,
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Paul Weller - Heliocentric (2000)

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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,
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Paul Weller - Illumination (2002)

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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,
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Masta Killa - No Said Date (2004)

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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.
 
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tags: masta killa, no said date, 2004, flac,
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Ice City - Welcome To The Hood (2004)

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Country: U.S.A.
Genre: Hip-Hop
Style: Gangsta Rap, Pop Rap 
Label Number: SSR 9013
 
© 2004 Sure Shot Records
Seems a little early in his career to be forming a crew, but rapper Freeway has found three adept rappers and Ice City is the result. Face Money, Bars, and Hydro mix well with Freeway on Welcome to the Hood, offering a more straight-ahead style to Freeway's gruff and raspy delivery. The hooks are killer, the production -- by a revolving door of B-list players -- is all the way live, and there's not a lame interlude to be found. "Welcome to the Hood" gives up the glitter and "Ride Up" features Joe Budden and a tension-building chorus, while "Want You Back" puts a slow, relaxed bump in your shoulders. There's not much filler but there's not much point to it all, either. Unnamed sucker MCs get their due, ladies get their come-ons, and the hood is a whole different world, but there's not enough insight to these tired topics to make this a meaty classic. Thugs have sunny, lazy days too, and Welcome to the Hood is the proof. 
 
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tags: ice city, welcome to the hood, 2004, flac,
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July 21, 2026

Various Artists - The Blair Witch Project: Josh's Blair Witch Mix (1999)

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*A photo of the disc is included in the RAR file.

Country: U.S.A.
Genre: Alternative Rock, Industrial, Post Punk, Gothic Metal
Label Number: CHA 0120
 
© 1999 Chapter III Records
Josh's Blair Witch Mix is a companion piece to the experimental horror movie The Blair Witch Project. Conceived as a mix tape made by Joshua Leonard, one of the three film students making the Blair Witch documentary, the album features fittingly dark songs by Front Line Assembly, Skinny Puppy, Lydia Lunch and the Afghan Whigs. As a bonus, the CD features exclusive footage that was not included in the final version of the movie. 
 
 tags: various artists, the blair witch project, josh's blair witch mix, 1999, flac,
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New Found Glory - From The Screen To Your Stereo Part II (2007)

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*A photo of the disc is included in the RAR file.
Country: U.S.A.
Genre: Punk Rock
Style: Pop Punk 
Label Number: DTR#75 06076-83656-2
 
© 2007 Drive-Thru Records
Expanding on the fun concept of its From the Screen to Your Stereo EP, New Found Glory presents a full album's worth of movie-related cover tunes on this second installment. Highlights of the 12-track outing by the Floridian punk-pop act include revved-up versions of Sixpence None the Richer's sugary "Kiss Me" and Tears for Fears' soaring "Head Over Heels" (from Donnie Darko).
 
 tags: new found glory, from the screen to your stereo part ii, 2007, flac,
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Monica - Code Red (2015)

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*A photo of the disc is included in the RAR file.
Country: U.S.A.
Genre: R&B
Label Number: 88875-15359-2
 
© 2015 RCA
Rather than celebrate the 20th anniversary of her breakthrough single, Monica declares a Code Red order on the commercial airwaves that have squeezed out soul-rooted R&B. The first song on her seventh U.S. album is the title track, a scuttling assault produced by Polow and assisted by Missy Elliott, which involves the protest "Turn off the radio, damn right/We don't hear real shit no mo'." After that song fades, the next voice heard is that of Lil Wayne, whose most recent radio triumphs as a featured artist include "Truffle Butter." One can't be faulted for being confused by Monica's perspective. Later, she returns to the theme with "I Miss Music," a wistful ballad somewhere between mid-'90s adult alternative singer/songwriter material and Babyface's contemporaneous hits. Monica begins by listing departed legends, then mixes it up by citing some living and very active artists, including Babyface. It's odd. Not only does she long for the type of music that continues to be created in abundance, and with easy access, but a fair portion of it has come from her RCA label mates -- D'Angelo, Elle Varner, Miguel, and past songwriting collaborator Jazmine Sullivan among them. Subtract the mixed and muddled messages (another song features Akon, maker of "Smack That"), and Code Red is satisfactory. It's another Monica album that, at its best, draws from the past while remaining in the present, as heard in the luminous ballad "Deep," the Teena Marie-referencing electro/freestyle hybrid "Suga," and the pop-soul belter "Alone in Your Heart." Most of the collaborations with Polow, Danja, Pop & Oak, Philip Constable, and Fatboi handily surpass the three that involve Timbaland. What truly distinguishes Code Red from the rest of Monica's albums is that the singer is credited as co-writer of every track, not one, two, or three of them. Unsurprisingly, she sounds completely connected to every song. 
 
tags: monica, code red, 2015, flac,
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July 09, 2026

Chanté Moore - A Love Supreme (1994)

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*A photo of the disc is included in the RAR file.
Country: U.S.A.
Genre: R&B
Label Number: LSJD-11157
 
© 1994 Silas/MCA Records
 On A LOVE SUPREME, Chante Moore's supple, sensuous vocals snake around jazzy, R&B mid-tempo grooves, in search of the perfect love. From the sultry, spoken opening where she unmistakably states her modern-day intentions to the old phono recording scratches of "Old School Love," Chante searches, preys, teases, romances, and snares.

Chante is one of the leading new R&B divas. Her voice has a remarkable range, and an emotive quality rare in many new artists. She is reminiscient of Diana Ross, but a full-throttle Ross. Her jazz inclinations and rich, lower register also remind the listener of Anita Baker and Toni Braxton. Her tempo is one groove beyond that sexy territory owned by Sade. Her strong ballads like "Thou Shalt Not" and rough-edged, satiny timbre are similar to Whitney Houston's style. And in "I'm What You Need" she reaches those glass-shattering Mariah Carey notes, but only a few, just enough to embellish the song. Her restraint is an indication of what a truly great singer she is. When added all together the shared qualities congeal to create a unique artist who stands on her own.

Chante Moore is poised to become The Voice--so, make way for the next R&B diva.

tags: chante moore, a love supreme, 1994, flac,
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Mint Condition - From The Mint Factory (1993)

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*A photo of the disc is included in the RAR file.
Country: U.S.A.
Genre: R&B
Label Number: 31454 9005 2
 
© 1993 A&M Records
The second release from Mint Condition follows closely on the heels of their successful debut. Principal vocalist Stokely has good presence, projects sincerity and earnestness on love songs, and reflects Stevie Wonder's influence. The backing vocals, arrangements, lyrics and production style aren't overloaded with electronics, strings or any other devices, and they balance a traditional soul sensibility with a 1990s approach. Several numbers are enjoyable, although none are overpowering or remarkable. Sometimes they move into light funk or new jack, but Mint Condition is best at sentimental, breezy love material. 
 
tags: mint condition, from the mint factory, 1993, flac,
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Various Artists - Music From Party of Five (1996)

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*A photo of the disc is included in the RAR file.
 
Country: U.S.A.
Genre: Alternative Rock, Pop Rock, Pop, Rock, Folk
Label Number: 9 46431-2
 
© 1996 Reprise Records
*No professional reviews are available for this release.
 
tags: various artists, music from party of five, 1996, flac,
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Various Artists - Songs From Dawson's Creek (1999)

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*A photo of the disc is included in the RAR file.
Country: U.S.A.
Genre: Pop Rock, Alternative Rock, Pop, Folk
Label Number: CK 69853
 
© 1999 Columbia/Sony Music Trax
Though not as consistent or eclectic as the concurrently released soundtrack to the WB network's other smash teen drama, Felicity, this 14-track collection of music from Dawson's Creek is still a must-have for fans. The majority of songs follow the same soaring alternative pop formula as the show's opening theme (and the disc's closer), Paula Cole's hit "I Don't Want to Wait" -- in fact, Heather Nova's "London Rain (Nothing Heals Me Like You Do)," Sixpence None the Richer's "Kiss Me" and Sophie B. Hawkins' "Lose Your Way" are all virtually carbon copies, but each is successful in evoking the melodrama which keeps millions of us tuned in week after week. 
 
tags: various artists, songs from dawsons creek, 1999, flac
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B2K - The Remixes Vol. 1 (2002)

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*A photo of the disc is included in the RAR file.
Country: U.S.A.
Genre: R&B
Label Number: EK 86643
 
© 2002 Epic/T.U.G. Entertainment
While it talks a good game, dropping a "Vol. 1" after the title to foreshadow the year-later arrival of even more remix magic from B2K, a quick look at the track listing illustrates how transparent B2K: The Remixes, Vol. 1 really is. While it does contain a few perfunctory mixes, this release is actually a piggyback advertisement for Jhene. Lil Fizz's cousin first appeared in the video for "Uh Huh"; she'll be the star of her own LP in early 2004. Anticipating that, Vol. 1 features a brief introduction, "My Name Is Jhene"; one full song, entitled "He Couldn't Kiss"; and two irritating "snippets." Of the B2K material, best is probably "Uh Huh, Pt. 2," with its busier mix and decent guest shot from N.Y.C. up-and-comer Nazkar. Three different remixes of "Gots ta Be" nears overkill, but of them the "Allegro Love Mix" is probably strongest. B2K: The Remixes, Vol. 1 might be of some interest to those curious about Jhene, but mostly it's just another way to milk the B2K four-trick pony. 
 
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June 27, 2026

Da Wolfpack - Definition/Attack of Da Wolfpack (12" Single) (1995)

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This is the only known material recorded by Da Wolfpack, 
a hip-hop duo from Queens/Brooklyn, New York City. 
Also released on cassette tape, the record contains two tracks, 
with one track on each side. 
Photos of the record are included in the RAR file.
 
Country: U.S.A.
Genre: Hip-Hop
Label Number: None
 
© 1995 Emotional Records
*No professional reviews are available for this release. 
 
 tags: da wolfpack, the, definition, attack of da wolfpack, 12 inch, vinyl, 1995, flac,
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June 16, 2026

Raw Produce - Selling Celery To Get a Salary: Remixes, Demos & B-Sides (2006)

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*This is a digital store download purchased by Qobuz. 
The files have been tagged and sorted for convenience.
Country: U.S.A.
Genre: Hip-Hop
Label Number: None
 
© 2006 Pro Se Recordings
*No professional reviews are available for this release.
 
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tags: raw produce, selling  celery to get a salary, remixes and demos and b-sides, 2006, flac,
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Krumb Snatcha - Snatcha Season Pt. 1 (2025 Reissue) ⚓

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*This is a digital download purchased from Bandcamp. 
The files have been tagged and sorted for convenience. 
Reissued in 2025 by 90's Tapes. 
This pressing has been remastered in 24-bit audio, 
featuring the original versions of 
"Gangstas Disease" and "Romeo & Juliet"  
Contains 13 tracks total.
Country: U.S.A. 
Genre: Hip-Hop 
Label Number: None
 
© 1998-2025 90's Tapes
 *No professional reviews are available for this release. 
 
 
 
 
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 tags: krumb snatcha, snatcha season, part 1, 1998, 2025, reissue, flac,
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June 13, 2026

Various Artists - Shark Tale (Motion Picture Soundtrack) (2007)

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Country: U.S.A.
Genre: Reggae, Hip-Hop, R&B, Pop
Label Number: B0003468-12
 
© 2004 Geffen/DreamWorks Records
*No professional reviews are available for this release.
 
 tags: various artists, shark tale, motion picture soundtrack, ost, 2007, flac,
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The RZA Presents: Afro Samurai (2007)

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Country: U.S.A.
Genre: Film Score, Hip-Hop
Label Number: KOC-CD-4187
 
© 2007 Koch Records
The soundtrack to the anime series Afro Samurai is executive produced and, for the most part, also produced by the RZA, the ideal option to apply hip-hop to Japanese animation. The RZA has always been known for his deep admiration of the martial arts, and he knocked his first scoring opportunity -- Ghost Dog, which is best heard on the JVC Japan edition -- out of the park. With credits for Kill Bill and Blade Trinity also under his belt, he smoothly transitions into Afro Samurai, composing a hard-hitting intro, several incidental pieces, and a handful of MC-led tracks, with brief appearances from the likes of Big Daddy Kane, GZA, Talib Kweli, Suga Bang, and himself. On Ghost Dog, he worked a sparse, gritty gracefulness; here, the feel is more epic, sleek, and turbulent, with dialogue (including plenty from Samuel L. Jackson as Afro, the protagonist in search of avenging his father's killers) laid over a generous amount of the score material. A pair of nearly torrid, reverb-heavy slow jams come from R&B duo Stone Mecca, who sound somewhat contemporary while owing much to Michael Henderson's and Prince's steamiest falsetto ballads (and that's no gripe). Another outside R&B cut, produced by M1 and featuring vocalist Maurice, is too pleasant and clean-cut to really fit into the flow of the program. As a bonus, or an enticement for RZA fans who might feel skeptical about a project not wholly reliant on RZA and rhymes, four tracks from a future Bobby Digital album are added. 
 
 tags: the rza presents afro samurai, 2007, soundtrack, ost, flac,
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