8 thoughts on “ Kill A Rapper - KRS-One & Marley Marl - Hip Hop Lives (CD, Album) ”

1. KRS also celebrate the elder hip hop fans and artists on "Over 30" and talks openly about law enforcement's indifference to murdered hip hop performers on "Kill A Rapper". Overall, KRS-One & Marley Marl's "Hip Hop Lives" is a good album from the elder statesmen of hip hop.

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2. Apr 26,  · The only latter-day KRS-One album to gain any significant attention has been Hip-Hop Lives, his collaboration with fellow hip hop veteran Marley Marl, due in large part to the pair's legendary beef, but also the title's apparent response to Nas' release Hip-Hop Is Dead.

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3. May 29,  · In a unique twist KRS-ONE and Marley Marl put their past differences aside in an effort to make it clear that Rap still has a pulse. Hip-Hop Lives with Hip-Hop related murders on Kill A Rapper.

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4. Find release reviews and credits for Hip Hop Lives [Circuit City Exclusive] - KRS-One & Marley Marl on AllMusic - - After a year grudge due to a disagreement over.

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5. After a year grudge due to a disagreement over the birthplace of hip-hop, KRS-One and Marley Marl finally make amends onHip Hop nophodibemarripencisinsathena.coinfounately, the album that could be a great return to the "edutainment" of BDP ultimately falls short because of its bland lyrical content. KRS-One is too preoccupied with two issues: one being that hip-hop will never die, and the other that he was a.

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6. View credits, reviews, tracks and shop for the CD release of Hip Hop Lives on Discogs. Label: Koch Records - VICP • Format: CD Album • Country: Japan • Genre: Hip Hop • KRS-One & Marley Marl - Hip Hop Lives (, CD) | Discogs/5(3).

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7. Marley Marl: KRS-One chronology; Life () Hip Hop Lives () Adventures in Emceein () Hip Hop Lives is the collaborative album from rapper KRS-One and producer Marley Marl Conception "It all happened Kill a Rapper; Teacha's Back (Remixed by K-Def) Victory (feat.

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8. May 22,  · Though the chilling “Kill a Rapper” is one of KRS’s most pointed admonishments, Hip Hop Lives mostly avoids allocution and instead focuses on capturing the distinct flavor of the duo’s shared home, New York City. From the Jamaican and Puerto Rican flourishes of “Nothing New” and “Musika” to the thrillingly murky “All Skool,” the album extols everything that is—or was—jubilantly dangerous about the city where rap .

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