Blunted On Reality Lyrics Fugees (Intro) (.inhales, then coughs.) Ay, nigga pass me the blunt (Go get the fuck outta here, oh shit) (.inhales and coughing continues.) Ay, pass this over here man, so we can just cipher youknowI'msayin'? (Cip, yo, this is for dolo son (.inhales.) Yo, man, c'mon pass the blunt man (Yo champ, champ, champ) Yo, pass the blunt man (hold it man) Whassup man? (Yo, hold it up, aight, take the fuckin' blunt) Yeah, whassup? (Damn) (.inhales continue.) I ain't even get charged yet (C'mon man, let's cip man about the good ol' days man youknowI'msayin'? (yeah) See man, white man tryin' to keep this away from us man youknowI'msayin'? (Uh-hmm) Cause they know when you grab this man You just be ciphin' knowledge man, knowledge as we buildin' up man That's why they want no brothers to be out here man, youknowI'msayin'?
That's why they try to make it illegal man (you far, you far from reality) Yo, check this out man, this is, a natural herb man youknowI'msayin'? It makes your body just and your mind just go to another (Yo, but hold - money you is talkin' too, much) Yo, yo, yo man, yo we just ciphin' man (talkin' that, pass the motherfuckin' blunt) I know you Latin shit, burn the fuck out (I hate when motherfuckers do that shit) (Wyclef Jean) Y'all know there's a lot of emcees but just give my CHANCE ON THE MIC!! Open the, open the, open the, open the, open the, open the AAAAAAAAHHHHHHHH!!!
Open the safe with no key, it's easier than battlin' me Cause uh-uh, I'll make you walk like a doggy Some say on and on, but they mean ON-ON!! I got tired of that new style - BREAKDOWN!!
Stoll m1 plus crack. I have to take it back to the break of dawn When Melle Mel was Melle Mel and Al Capone was Al Capone Bootleg is sellin' now it's rap that's sellin' in the village But I'm just privileged to makin' my home from my spirit So when you hear me it's the man with the deeper thoughts At night I can't sleep my brain keep movin' like a body on a horse I don't stand, don't stand, don't wife me I construct on bricks Some thoughts it wasn't until he said: 'He sunk my battleship' So hip-hip, load the clip, hip, I miss - DAMN!! I pay my taxes so I won't mess with Sam Ya hear the rhyme you stand still, some ask for refill We move your thoughts so I can see if you for fake or real Cause Buffalo Bill bit battle inside from my rap meal And left me on a hill-hill, so when I battle no will So mama should I kill a man like Cypress Hill, chill I got no lawyer so I pleadin' my own appeal How does it feel - when a monkey is your I'll In a J-A-I-L?
I have no time to make bail Saw someone to be macho like fritches that got the lyro So they had it at bein' a heroes, where did their bodies go, only God knows You got caught, between the fire and the hoses You wanna battle? Bring your Moses Forget what fun-what time Moses And someone goin' down and it ain't Gastor Douglass Cause the roughest with the guy, becomes a pussy So all the bad boy talk, come on cause I'm the nice dog, yeah hawk Throw many fights in fought courts boss Never lost, so toss a nickel and change your course Say mama say mama say mama say what? Autocad 2000 free download full version with crack.
The Fugees translated an intriguing blend of jazz-rap, R&B, and reggae into huge success during the mid-'90s, when the trio's sophomore album The Score hit number one on the pop charts and sold over five million copies. The trio formed in the late '80s in the New Jersey area, where Lauryn Hill and Prakazrel Michel ('Pras') attended a local high school and began working together. Michel's cousin Wyclef Jean ('Clef') joined the group (then called the Tranzlator Crew), and the trio signed to Ruffhouse/Columbia in 1993.
After renaming themselves the Fugees (a term of derision, short for refugees, which was usually used to describe Haitian immigrants). Though the group's debut album, Blunted on Reality, was quite solid, it reflected a prevailing gangsta stance that may have been forced by the record label. No matter how pigeonholed the Fugees may have sounded on their debut, the group had obviously asserted their control by the time of their second album, The Score. With just as much intelligence as their jazz-rap forebears, the trio also worked with surprisingly straight-ahead R&B on the soulful 'Killing Me Softly With His Song,' sung by Lauryn Hill.
Elsewhere, Clef and Pras sampled doo wop and covered Bob Marley's 'No Woman No Cry,' giving the record familiarity for the commercial mainstream, but keeping it real with insightful commentary on their urban surroundings. The Score became one of the surprise hits of 1996, reaching number one on the pop charts and making the Fugees one of the most visible rap groups around the world. During 1997, the crew played on the Smokin' Grooves tour, and took time out while Hill gave birth to a child and Clef issued a solo album, The Carnival Featuring the Refugee Allstars.
In 1998 Hill released her smash record The Miseducation of Lauryn Hill and in 2000 Clef released his second solo disc, The Ecleftic: 2 Sides II a Book. In turn, their solo success cast further doubt on another Fugees release.
Despite the initial disappointment with Blunted’s stagnant sales, the record did reinforce that the talented trio’s chemistry on the mic contained the seeds of a future breakthrough, provided that a few more stars—and songs—could be aligned in their favor. The staff at Ruffhouse were believers, which explains why the label granted the group a generous six-figure advance in anticipation of their sophomore effort. Wisely, the threesome used a good portion of the advance to upgrade the sound equipment in Booga Basement, the makeshift recording studio that Wyclef and his cousin Jerry “Wonder” Duplessis built in the latter’s basement of his East Orange home. As Wyclef it to Rolling Stone, the DIY recording space “sort of gives you a Tuff Gong feeling,” a nod to Bob Marley’s legendary Kingston, Jamaica studio. Recorded in the latter half of 1995, the Fugees’ follow-up was, as Wyclef to MTV, “the big payback” inspired by the group’s shared commitment to “settling the score for those who slept on the Fugees.” Flaunting a considerably more polished and kaleidoscopic sound imbued with soul, reggae, and folk along with its fundamental hip-hop core, The Score seamlessly straddled the seldom achieved line between street credibility and coffeehouse charm. Although both Wyclef and Pras upped their lyrical game on The Score, the dynamic and precociously self-assured Hill, who was just 20 years old at the time of the album’s release, made the most impressive leap of all.
Liberated to flex her venerable vocal prowess, lyrical dexterity and incisive songwriting throughout the sophomore song suite, L-Boogie’s contributions across the album are nothing short of revelatory, not to mention compelled by a noble calling. “If you want to call us ‘alternative,’ so be it,” she to Vibe magazine in a March 1996 interview. “We’re trying to bring musicality back to the hood.” Defined by its subdued soundscapes, inventive use of samples, catchy-as-all-hell hooks, and multitude of sonic inspirations, The Score resonates with a distinctive sound and eclecticism all its own. Lyrically, the album is chock-full of clever rhyme schemes, memorable turns of phrase, and countless metaphors and similes that namecheck a motley roll call of pop culture luminaries like Alec Baldwin, Buju Banton, Dick Van Dyke, Menudo, Tommy Mottola, Paul McCartney, Carlos Santana, Seal, John Travolta, and Stevie Wonder, among others.
Irresistibly addictive first single “Fu-Gee-La” is the finest of the album’s several fine moments, with Hill flashing her best in the song’s chorus, as she confirms the group’s mission of getting heads “super high off the Fu-Gee-La.” Not entirely sure why Ruffhouse thought it was a good idea to toss three mediocre remixes of the track onto the end of the album, instead of simply letting them live on the maxi-single, but their curious presence doesn’t undermine the allure of the original. The album’s other standouts can be found in the opening three tracks, all of which revolve around the group’s assertions of microphone superiority. Evoking Black Moon’s 1993 underground hit the braggadocious album opener “How Many Mics” represents one of the greatest verbal displays the trio ever committed to wax, as the trio show and prove that inventive rhymeplay is most definitely their natural calling.
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The mellifluously melodic, Delfonics and Enya sampling “Ready or Not” showcases Hill’s confidence and sharp tongue, as she slays those who dare to challenge her with unforgettably piercing jabs like “I can do what you do, easy, believe me / Fronting niggas give me heebie-jeebies / So while you're imitating Al Capone, I'll be Nina Simone / And defecating on your microphone.” Uh, “ defecating on your microphone?” Well, hot dayum, Lauryn. When The Score won the 1997 Grammy Award for Best Rap Album, no one could have been faulted for believing that the Fugees were poised for even bigger accomplishments in the years to come. But their newfound fame and the accumulating pressure of heavier expectations began to weigh all-too heavy on the group.
Unable to resolve their irreconcilable differences, the group disbanded due to various creative differences, and allegedly also due to Wyclef and Lauryn’s tumultuous romantic relationship that ultimately made the continuation of their professional bond unsustainable. Both Wyclef and Hill enjoyed solo success shortly after The Score’s global triumph with their respective solo debuts, The Carnival and The Miseducation of Lauryn Hill, the latter proving a bona fide masterpiece of modern-day soul that transformed Hill into a global superstar. And while the ship on a future Fugees reunion has all but sailed, with nary a glimmer of hope offered by any of the group members, we’ll always be able to return to The Score to relive the threesome’s winsome, albeit ephemeral glory days.
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