Album: Peace 2 the poet
Peace 2 the poet
Released: 1993

This album is a collection of the best songs recorded by D-Boy. It's amazing to hear the difference between D-Boy's early songs (1998) and the songs he did just 2 years later. D-Boy grew fast, he was a trend-setter for Holy Hip Hop. Too bad he got shot to dead. A great loss...

If you don't have D-Boy's other albums, this one is a must have!

Track 11 'Drop the mic' is mixed over into track 12 'I caught the mic' by MC GeeGee (D-Boy's sister).

<PRE>Track Title BPM Released 1 Cease for peace 89 1990 2 G.O.D.'s Posse in effect 119 1989 3 Interview 0 1990 4 Pick yourself up 85 1989 5 Planting a seed 100 1989 6 The boy don't play 125 1990 7 God gave us the power 98 1990 8 When I strut 100 1989 9 Interview 0 1990 10 Hey You 122 1988 11A Drop the mic 123 1990 11B I caught the mic 120 1991</PRE>

(source: Busy R.'z Holy Hip Hop Promotion)

Album: Plantin' a seed
Released: 1989

Album: The lyrical strength of one street poet
Released: 1991

Stijl HipHop/Rap

D-Boy of voluit D-Boy Rodriguea heeft heel wat te melden in de twaalf nummers die deze CD bevat. In het eerste nummer roept hij de luisteraars op zichzelf te zijn That UB Urself. In een van de andere nummers heeft hij het tegen de gangs en de groupies: "Cease For Peace" stop met vechten en sluit vrede. In "The Boy Don't Play" legt hij uit dat hij serieus bezig is en geen onzin verkoopt. Alle scratches en cuts doet D-Boy ook zelf. Overigens staat er ook een aardig acapella nummer op. Rap van een straatdichter die gehoord wilde worden en gehoord werd, totdat hij een aantal jaren geleden werd doorgeschoten. Maar nog steeds luisteren mensen naar zijn boodschap en nog steeds klinkt het ondanks de Old Schools Beats verrassend modern. D-Boy was zijn tijd ver vooruit. Deze CD uit 1990 lijkt in 1993 te zijn gemaakt.

(source: Samma Nieuws, Mei 1993)
D-The Rock

broken families (MP3)

Album: The Last Saint
Released: 1998

D.C.P. was prominently featured on L.G. Wise's first release (G's Us 4 Life) and his latest album (Never Alone). Since being featured, requests for this upcoming D.C.P. album have flooded the Grapetree offices! With his powerful lyrics, souls have been saved. Be prepared for the hottest new sensation in Christian rap.
D.J. Dove
Album: The Devil's Worst Nightmare
The Devil's Worst Nightmare
Released: 1996
Label: Dove Street Recordings

Known best as the leader of the Gospel Gangstas, D.J. Dove actually started his ministry 8 years ago as one of the founding members of SFC. This, along with countless appearances on albums by many west coast rap acts, has made him a legend in the game.

Due to his ongoing desire to provide all youth with legitimate music and ministry on a wider scale, Dove created Holy Terra Records. Many albums and thousands of salvations later, 1996 ushers in the newest phase in the ministry of D.J. Dove ó his long awaited solo album!

"The Devilís Worst Nightmare" recently released on Dove Street Recordings, the urban division of Dove Entertainment. The new album features guest appearances by Gospel Gangstas, SFC, Dynamic Twins, Justo Almario, Abe Laboriel, Howard Hewett, UCLA Mass Choir and others.

(source: Ray Majoran, 1997)

<PRE>Track Title BPM Time Featuring 1 Demon Killa II (the 2nd chapter) 90 4:47 Gospel Gangstas 2 Free as a dove 99 5:09 Gospel Gangstas 3 Gospel Gangsta till I die 95 2:37 4 Interview 1 0 0:47 5 Romans 8:31 (If God be for us...) 109 4:23 U.C.L.A. Gospel Choir 6 The devil's worst nightmare 88 4:44 Gospel Gangstas 7 Interview 2 0 1:28 Gospel Gangstas 8 Real man serve God 84 4:23 Gospel Gangstas/C.M.C.'s/Dynamic Twins/Brainwash Projects 9 Interview 3 0 0:13 10 Sup & Dove... a decade later (the SFC reunion) 89 3:55 SFC 11 The Holy Terra returns 85 2:13 12 Dove's groove I (fly like a dove) 98 3:04 13 Interview 4 0 1:35 14 Lead me (Holy Spirit) 57 4:51 Gerry Woo/U.C.L.A. Gospel Choir</PRE>

(source: Busy R.'z Holy Hip Hop Promotion)
My melody (MP3)

Homepage: http://www.cmo.com/cmo/cmo/data/doc.htm
Artist Info: 
5103 S. Sheridan Road, Suite 600 Tulsa, OK

D.O.C. stands for 'Disciples Of Christ'

Album: Pullin' no punches
Released: 1993
Label: Star Song

Stijl Rap

Ze hebben heel wat te zeggen, de drie heren van D.O.C. en ze doen dat via de weg van de rap. "So let the rap free your soul, which is our ultimate goal", laten ze weten in "God gave Rock and Roll to You", een song waar ook de zanger van Bride te horen is.

(source: Samma Nieuws, April 1994)

The new D.O.C. album shows heavy influences of D.C. Talk, Joey Lawrence, and Boyz II Men. The album starts of with "We Got It," a pure hip-hop song, with vocals comparable to Joey Lawrence. "God Gave Rock N' Roll 2 U" features special guest, Bride, playing their good time rock music. I would have to say this is the best rap/metal song I've heard--with excessive screaming vocals that will make this album appeal to Bride fans (if only for this song).

"Old Tyme Way" is a really slow R&B song, straying a bit from the hip-hop. "Tic Toc" has a mix of hard core rap and R&B which is about how time is running before the Lord returns.

"Why You Won't Serve the Lord" is another Joey Lawrence/D.C. Talk type of song--a great dance song. There is also a remix of "We Got It" which is much heavier than the original.

Over all the album is pretty good--one for the hop-hop fans to have around.

--Brad Mattern

Article originally appeared in THE LIGHTHOUSE May, 1993 Copyright ©1993 THE LIGHTHOUSE

Album: Righteous Funk
Righteous Funk
Released: 1994
Label: Star Song

Disciples of Christ (D.O.C.) "We've really been able to express who we are in these last couple years, particularly on this Righteous Funk album. Of course, as Christians, we are the righteousness of Christ. Secondly, that's funk."

That's Ben Reges (born Alton Hood) representing Disciples of Christ (D.O.C.) on behalf of himself and his partners Prophet (Michael Brown) and Absalom (Kelvin Harvey) for their third Star Song set of slammin' jams, Righteous Funk, as the man said. "That's where we've come from," says Alton of the Disciples' funk heritage, "We come from the '70s era of funk: Parliament, Earth, Wind & Fire, Heatwave. So, it was really great that we were able to express and come forth with that and introduce the Christian market to something they might not have ever known about."

Though Righteous Funk is the truest D.O.C. has yet been to the funky sounds absorbed in their younger days, Christian music listeners were introduced to the trio in 1990 with a cut on a Star Song rap sampler. That led to 1991's full length debut, So How Ya Livin'?, and the even more potent funk bomb dropped in '93, Pullin' No Punches. Before any of this, the three brothers on a mission had to be introduced to the Lord. As with much concerning D.O.C., that was a bold move, too.

Relates Alton, "We started back in 1987. Kelvin Harvey and I were attending Oberlin College at that time. Basically we were into the world. We both had scholarships to play football. We didn't have Christ in our lives, so we began to party and live the high life, hanging out with girls, that whole party life. We had this void in our lives. So what happened was that I was introduced by some friends to the occult. It got pretty serious."

In fact, so serious that the drugs and alcohol their fellow occultists were using on them in initiation rites became addictions. At the time they were to reach 'the next level,' he proclaims, "Praise God, through a supernatural manifestation of the Holy Spirit, God's power came down right there in the room, saved me, delivered me right there on the spot and just cleaned me up."

It didn't take long for Hood, Harvey and friend Brown/Prophet to do what they did at the parties, 'beatboxing and rapping' for a higher calling. In D.O.C.'s history, however, some things have changed. For instance, over their three albums, Brown has come to the forge as a dynamic tenor singer. All three harmonize with the precision of the best of the male vocal groups all over mainstream and R&B radio.

Since D.O.C. is a much about rapping as they are about singing, they have something to clear up: "We're not a rap group. We're a vocal hip hop R&B band. What we want to do is let people know Disciples of Christ's ministry is a full-fledged ministry. Now this is the time of the g-funk era, so you have a bit of the singing with the rap. Whatever is happening and whatever we feel can best get the message across," says Hood of D.O.C.'s musical ministry.

Even for musicians, rappers, and singers, ministry isn't all about the art in which they are working. "We believe that our life is a ministry," he affirms. "We are men of God first and musicians second."

With that in mind, the trio has relocated this summer to the Tulsa area of Oklahoma from their original northern Ohio base. This is not only to be closer to their management, but as a way of getting closer to the God they serve.

As they are "stepping out in faith, like Abraham," Alton believes God will open the doors for all the group to attend Dr. Kenneth Hagin's Rhema Bible Training Center. This is so they might "sit under the Word of God, that the calling of God upon our lives will be confirmed and that our roots will go down deep into the will of God for our lives."

Before leaving for parts south, however, it was the group's good fortune to work with '70s funkateer Bootsy Collins, who is known for his collaboration with James Brown and George Clinton, and who went on to head up Bootsy's Rubber Band from the mid-'70s to mid-'80s. On Righteous Funk numbers such as "Hollywood" and "Wind Me Up," Collins was able to bring in renowned instrumental associates like Maceo Parker, Bernie Worrell and Fred Wesley. Though dressing elaborately as ever, Collins is someone about whom Alton is proud to say, "He attends a full-gospel, Holy Spirit-anointed church. Oh, yes."

Godly as they become, it's Disciples of Christ's humility that puts Hood, Brown and Harvey in the position of saying of their music's evangelistic and edifying aims: "We would have even more young people that would come into knowledge of what God is doing through D.O.C.'s ministry," and hence, what God can do in these young people.

Can't get much funkier than that now, can you?

Album: So how ya livin'
So how ya livin'
Released: 1991
Label: Star Song

Stijl HipHop

Een goede HipHop CD met sterke teksten. Er wordt niet alleen gerapt, maar er wordt ook in gezongen. Er zitten een aantal langzame liedjes bij. Er wordt ook in gescratched.

(source: Samma Nieuws, November 1991)

<PRE>Track Title BPM 1 Get Anointed 135 (Break: 118) 2 Spirit keep movin' 111 3 Little bit further 110 4 Thank you Lord 75 5 Deeper 134 6 Step 2 my Daddy 120 7 Satan's madness 130 8 Desire 90 9 Lies from the dark side 80 10 Final hour 127</PRE>

(source: Busy R.'z Holy Hip Hop Promotion)
Da Matrix

Da Radical One

Dangerous Minds
Artist Info: 
Raphi and Zane (both of the Tunnel Rats)
Will a wound heal (MP3)

Album: Will a Wound Heal (maxi-single)
Will a Wound Heal (maxi-single)

Tru verbz about ghetto realities from a straight gospel perspective. Dealing with the hurts in people's lives through testimony & smooth beats. Butta-beatz bangin' in 97!

(source: Christsyde on Internet)
Daryl Doleman

Dawkins & Dawkins
Artist Info: 
365 Great Circle Road
Nashville, TN

Album: Dawkins & Dawkins
Released: 1993

Album: Necessary measures

DC Talk
Like it love it need it (MP3)
MP3 Minds eye (MP3)
MP3 Mrs Morgan (MP3)
MP3 Reason for the season (MP3)
MP3 So help me God (MP3)
MP3 What have we become (MP3)
MP3 What if I strumble (MP3)
MP3 Yo ho ho (MP3)
MP3 Null MP3 Colored people (MP3)
MP3 Day by day (MP3)
MP3 Eye (MP3)
MP3 In the light (MP3)
MP3 Jesus Freak (MP3)
MP3 Jesus Freak Reprise (MP3)
MP3 Jesus is still alright (MP3)
MP3 Just between you and me (MP3)

E-Mail: dctalk-mod@netcentral.net
Homepage: http://www.dctalk.com
Artist Info: 
P.O. Box 1107
Brentwood, TN

Album: DC Talk
Released: 1989
Label: Forefront

Album: Free at last
Free at last
Released: 1992
Label: Forefront

Album: Free at last - Extended Play Remixes
Released: 1994
Label: Forefront

Stijl Rap

Een techno en een Retro Mix van 'Jesus is just allright', een Gotee Mix van 'Luv is a verb' en een Video Mix Bonus Track van The Hardway. Met vier nummers samen goed voor 20 minuten spetterende raps van DC Talk, geremixed door niemand minder dan Scott Blackwell. Een single voor maar 14,95

(source: Samma Nieuws - Januari 1995)

Scott Blackwell is a busy man these days, yet he managed to contribute most of the creativity behind these new offerings--remixes of some of the industry's upbeat songs. He pulls off some excellent work, up there with his best.

The DC Talk project includes two remixes of "Jesus is Just Alright"--an energetic 'Techno Mix' and a funky, R&Bish version in the 'Retro Mix.' An stripped-down, but almost downbeat mix of "Luv is a Verb" and the video remix version of "The Hardway" round out the 22+ minutes on the album.

While there are only four songs on the album, I thoroughly enjoyed the mixes and like most of them more than the originals. If you liked them once, you'll probably like them again in their new form.

--Roger Appelinski

Article originally appeared in pre-web TLeM October, 1994 Copyright © 1994 THE LIGHTHOUSE electronic MAGAZINE Copyright © 1996 Polarized Publications and NetCentral, Inc.

Album: Jesus Freak
Jesus Freak
Released: 1995
Label: Forefront

Label: ForeFront
Producer: Toby McKeehan/Mark Heimermann/John Painter[Image] Tracks: 13
Time: 57:55
Style: Rap/Rock

De nieuwe CD 'Jesus Freak' van de amerikaanse driemans-formatie DC Talk is er een om van te watertanden. De muziek is gevarieerder dan ooit te voren, de songs zijn 'catchy'. De mummers lenen er zich dan ook bij uitstek voor om de hitlijsten te bestormen. Het aardige van DC Talk is dat naarmate hun populariteit groeiende is, de radikaliteit in de songteksten toeneemt. 'Jesus Freak' mag in jou CD-speler niet ontbreken, Jezus freak of niet.

(source: GMI Music Partners folder)

DC Talk noemt deze stijl Rap, Rock 'n Soul. Pakkende songs in een gevarieerder mix van rap en rock. Met teksten die radicaler zijn dan ooit!

(source: GMI Music Magazine, Januari 1996)

Hoe populairder DC Talk wordt, hoe radicaler hun teksten en hoe gevarieerder hun muziek. Met deze catchy songs in Rap, Rock 'n Soul bestormen ze de hitlijsten

(source: GMI Music Magazine, Maart 1996)

Roger: I think the first thing that should be said about Jesus Freak is a point of clarification of the statements that started when the Jesus Freak AVCD Single released this summer--DC Talk has not gone grunge. This project is best described as....well, pop music.

Beth: While I agree that it is pop music in sense that the album is jam-packed with musical and lyrical hooks, I think that definition is a little too simple. There are too many influences at work here to label it with "pop." Hard rock, alternative, hip-hop/rap and R&B mesh to create something truly original. You might hear traces of this or that artist, but you would be hard-pressed to point to any particular song and say "That's sounds just like [insert artist here]."

Roger: Absolutely. I wasn't meaning to imply that, just to shake the statements about DC Talk going grunge (which, if you think about it, grunge is a pretty big part of pop music now anyway...). But, I think combining all the flavors you mention, the overall meal turns out to be pop. I know you have spent some time dissecting it, so why don't you rattle off some of the influences you hear.

Beth: I heard some Seal, especially in "Colored People," "Just Between You and Me," and "What Have We Become." A little Red Hot Chili Peppers in some of the vocal overlays, most discernable in "What Have We Become" and "So Help Me God." The driving guitar and rhythm work in the harder songs reminded me a little of Living Colour, while the overall passion conveyed is certainly U2-ish in vibe, even if the sound isn't. And yes, a little bit of grunge.

Roger: I would agree with those perceptions. I can't think of others off-hand to add, but I want to say that the main reason I refer to this as pop music is because of the vocal harmony-overload that persists throughout the project--and I mean that in a good way. The project is packed with lush layers of catchy vocal hooks.

Beth: DC Talk's biggest strength has always been the vocals, and this is certainly no exception. Both Kevin Smith and Michael Tait turn in some great performances. They've matured as individual artists--Smith sounds less like Bono here, stylistically, but still retains the passion. Tait's voice is smoother than ever, and the liner notes credit him with arranging most of the background vocals that give this album its richness. Toby McKeehan does something here that really hasn't happened on a project before--he actually sings. As a pure vocalist he's not in the same league as Smith and Tait but he is credible, and adds an edgy texture to those cuts where he does more than rap.

Roger: While the initial sonic impact grabbed me big-time, the lyrics are what have riveted me to the project--I listened almost non-stop for the first two weeks I had it. Since we heard the "Jesus Freak" single, we knew that the message wasn't going to be watered-down by any stretch of the imagination. However, I was almost surprised by the maturity in the writing.

The topic selection was admirable as well. The boldness of "Jesus Freak" is contrasted with songs begging for assistance to stay focused on God, such as "So Help Me God," and songs showing human weakness, such as "What If I Stumble." They are each well-written and not some "cookie cutter" or "Christian-ese" formula. Sometimes, the meaning can even go right over your head if you aren't focusing on the lyrics.

I think my favorite song is "Colored People," which is mucho-catchy to begin with, but the song is dead on. It's simple to write a song that addresses the racial problems of history. I mean, compare "Walls" (go way back to Nu Thang for that) to "Colored People." Instead of just an angst-riddled bunch of screams to tear down the differences between us, here we have a song that turns the focus to the only way to get out of these problems--Divine Grace. And the catchy--yet totally unexpected--lyrical phrasings are something I would expect from Steve Taylor (high praise I assure you):

Pardon me, your epidermis is showing I couldn't help but note your shade of melanin I tip my hat to the colorful arrangement Cause I see (the) beauty in the tones of our skin

We're colored people and we live in a tainted place... We've got a history full of mistakes And we are colored people who depend on a Holy Grace

Beth: I have to agree with you on that. It's been great to see their writing go from the more overt "cheerleading" that was prevalent on their first two discs to the personal revelations that started on Free At Last with "The Hard Way." And now, while they did stay topical with songs like "Colored People" and "What Have We Become," the majority of the writing on this project reflects a personal point of view, as opposed to making pronouncements. That is the kind of writing that definitely makes them more accessible; not just as Christian artists, but as artists in general.

I think that one of the best examples of this lyrical turn (besides "What If I Stumble") is shown in "Between You And Me."

If confession is the road to healing Forgiveness is the promised land I'm reaching out in my conviction I'm longing to make amends

So, I'm sorry for the words I've spoken For I've betrayed a friend We have a love that's worth preserving And a bond I will defend

Roger: And, while it isn't a song they wrote, I think the inclusion of Charlie Peacock's "In The Light" is very appropriate. I found that to be a highlight-- a great acoustic remake of the song. I wasn't thrilled with McKeehan's panted verses, yet they did draw the focus onto the lyrics effectively--as did the energetic choruses.

Beth: These guys really seem to like doing covers. I definitely don't see anything wrong with it, especially if they give a new spin on the song. Both "Lean On Me" and "Jesus Is Just All Right" on Free At Last were good remakes. I think that "In The Light," while somewhat different, still keeps the same flavor as Peacock's original. "Day By Day," however, sounds nothing like the most well-known song from the '70's musical Godspell.

The track starts out on a slow rhythmic beat with Smith doing some vocal noodling over top. McKeehan half sings/half raps the verse before the pace picks up and they plow into the well-known chorus. McKeehan and Smith wrote the verses, which amplify the original song's meaning well, providing a graphic picture of the need to grasp for God's guidance while navigating this earthly life.

The subtleties of darkness never cease to amaze As a physical world creates a spiritual haze Blinded by distractions Lost in matterless affairs Reaching through the darkness Trusting you will meet me there...

Roger: Before we quit, I just have to comment on the packaging. I was very impressed with the concept. It looks and feels like something out of the 1930's. Oh, and we can't forget the "snippets." Of course, they have them. You get to hear the next-door neighbor to the Gotee Brothers' studio comment on the day they recorded drum tracks, and a hilarious spoof of the "Jesus Freak" song--you just have to hear it to understand. As with the snippets in previous releases, however, they do get a little tiring the 50th time you hear them.

Beth: The shorter bits are more effective in the long run--they don't break up the flow of the album as much. I think Brennan Manning's intro to "What If I Stumble" is particularly effective. Combined with the message in the song, it gets across the point that while we will make mistakes and God's love will never waver because of them, we still have a responsibility to pursue Godly living. Either point, taken separately, would be unbalanced; but meshed together as they are, they provide the whole picture of the struggle. It's both a warning and an encouragement.

I also liked the addition of Smith's poetry reading on the "unlabeled track." It shows that these guys aren't afraid to do something that is pretty avant-garde, at least by the usual Christian standards. Actually, most pop music standards.

Roger: True. I think that this project, while it combines influences from across the board, flows together very well. Where I used to program a few songs off DC Talk albums so I wouldn't have to hear them, Jesus Freak has no "filler material." It is a jam-packed project. I just hope it isn't as long until we get to hear another DC Talk release...

Beth: I agree, though if they make as big a leap forward on the next project as they did on this one, I'd probably be willing to wait another three years. Quality before quantity, you know....

(source: Roger Appelinski & Beth Blinn on Internet)

Available as a music CD or as a CD ROM with video footage this is one of the best albums to be released this year. DC talk already have a reputation as a band who know what they want to say and how they are going to say it. "Jesus Freak is a lot about our lives on the road, our relationships with each other and people. It's about trying to pursue our faith in an arena which is full of contradictions: you're told every day that 'you're great, you look cool, you sing great' but you're being told in God's word to humble yourself, to put your brother before yourself. It's hard...... " - D C Talk.

Source: CCM Record Reviews archive

Album: Jesus Freak, the single
Jesus Freak, the single
Released: 1995
Label: Forefront
(Met CD-ROM Video's)

Label: ForeFront
Producerd by: Toby McKeehan/Mark Heimermann Tracks: 4
Time: 18:09
Style: Rap/Rock/Soul

Nadat ze een eigen platenlabel zijn begonnen zitten deze drie jongens bepaald niet stil. De CD-single Jesus Freak is weer een poging om zoveel mogelijk mensen met de boodschap te bereiken. Rap, Rock en Soul is ook op deze single duidelijk te ontdekken. De eerste versie van Jesus Freak is funky Rock, maar heel erg alternatief. En je zou het misschien kunnen vergelijken met Greenday of Nirvana, maar er zijn ook raps tussengevoegd. Deze combinatie is toch vernieuwend en gecombineerd met de afwisselende opbouw van de nummers is het steengoed. Je wordt het niet na een paar keer zat. Ook omdat de tekst dieper is dan we van de DC-praatgroep gewend zijn. En je kan ondanks de diepere teksten toch goed meezingen. De 2e versie van Jesus Freak (Gotee Bros Freakedoux Remix) heeft een relaxte basisloop die verzorgt is door Otto Price. De beat is wat rustiger maar funky-er. Er zijn wat samples aan toegevoegd en de raps hebben een meer Beasty-Boys achtig semafoon karakter. De combinatie van alternatieve HipHop heeft ook in het tweede nummer is vernieuwends en verveelt niet gauw. Bij dit nummer gaat je fantasie op reis en is daardoor creativiteitsversterkend. Het 3e nummer is een cover van Larry Norman met het welbekende lied 'I wish We'd All Been Ready'. Deze scherpe serieuze song is gecovered in de typisch Amerikaanse unplugged-achtige popstijl. Afkomstig van de CD 'A Tribute To Larry Norman'.
Nummer 4 is een leuke live-versie van hun vorige single 'Jesus Is Just Allright'.

(source: Samma Nieuws, December 1995)

If anyone has ever said that DC Talk is a band that keeps putting out the same music album after album, I would bet that person had a bridge to sell you (or if not, some ocean-front property in Arizona)... With the release of the Jesus Freak AVCD there should be no debate that the band has taken another huge leap in musical style.

The rumors of a more grunge-influenced DC Talk style are true--"Jesus Freak" has serious grunge-leanings. The "freaked out" remix included on the project turns the track into a more groove-influenced, almost hip-hop style.

While the two versions of "Jesus Freak" are intended to be the highlight of the project and show the musical direction of the band, I was more drawn to the live rendition of "I Wish We'd All Been Ready" that they performed on their Free At Last Tour. If you haven't heard their rendition of this Larry Norman classic, it's an tender, acoustic nearly-folk version in which Kevin Smith and Michael Tait take most of the vocals and do a wonderful job blending in harmony.

Closing the project is a live cut of "Jesus Is Just Alright," that captures the energy of their concerts. It's not far from the album version--just more improvisational and energy-packed.

Okay, enough about the music, what's this about an AVCD? Well, if you're new to the land of high-tech, it's a CD that not only plays in your stereo--it works in your CD-ROM player on your computer.

The manufacturer recommends a 68040 or better Macintosh processor with 5MB RAM for MAC users and a 486/33MHz 5MB RAM with Windows 3.1 and a Sound Blaster card for PC users. For older MAC users, you may be okay--I tried it on a 68030 machine with a 3X CD-ROM and had no trouble getting it to work (although it wasn't exceptionally high performance.)

As an AVCD, the project offers video to accompany the two live tracks, lyrics for the "Jesus Freak" renditions, interviews with the band members about the upcoming project, and a trailer for the upcoming DC Talk movie.

This will probably be a must-have for DC Talk fans, but it may not be that attractive to the non-hard-core fans. What is there is very impressive, but this is a single in every sense of the word. The interview clips are especially short.

Personally, I thought the AVCD was good, but short of exceptional. Other projects, such as Big Tent Revival, are better in image quality and content. I also had some trouble with jumpy movies even running a 4X CD-ROM on a MAC 9500 at 120 MHz--and you can't get a much of a faster computer than that.

For DC Talk fans anxiously awaiting their fall release, this will be a hot item. The AVCD is technically adequate, but is not going to be the yardstick to measure other AVCD's by.

There is also a Cassette single that contains the "Jesus Freak" tracks and the live version of "I Wish We'd All Been Ready."

(source: Roger Appelinski on Internet)

Album: Just Between You and Me (single)
Released: 1996
Label: Forefront

Album: Narrow is the road (video)
Released: 1994
Label: Forefront

DC Talk's concert tour is rated as one of the best on the road by fans. Narrow is the Road is a long form video focusing on the concert experience of this popular group.

The video opens with some of the video's many clips from the past year on the road, set to "Luv is a Verb." A short interview with Michael Tait explains the group's intent for touring. Up next is a concert performance of "Jesus is Just Alright." After a bit of "Say the Words," they talk about Compassion International and meet a child they support. They also feature a segment of instrumental solos by the band members as they introduce them to the crowd.

The guys took cameras along as they went with Billy Graham on a day off. They also took a trip to Liberty University and reminisced about the founding of DC Talk. After concert footage of "That Kinda Girl" and "I Don't Want It," they go behind the scenes to look at the making of the video for "The Hardway."

One of the highlights is a chance for the guys to meet with Larry Norman and discuss the song "I Wish We'd All Been Ready." They share a small clip of their performance of Norman's classic in a downbeat unplugged vein. After another short interview about the purpose of the video project, they add more concert footage of "Free at Last." Also included are the videos of "Jesus is Just Alright" and "The Hardway."

While Narrow is the Road doesn't really shed too much new light on the band's life, purpose, or message, it's an enjoyable experience, and one that serious fans of the group probably won't want to miss.

--Roger Appelinski

Article originally appeared in pre-web TLeM October, 1994 Copyright ©1994 THE LIGHTHOUSE electronic MAGAZINE Copyright © 1996 Polarized Publications and NetCentral, Inc.

Album: Nu thang
Released: 1990
Label: Forefront

Album: Rap, Rock & Soul (video)
Released: 1991
Label: Forefront

Album: Welcome to the freak show (live)
Released: 1997

Album: Welcome to the freak show (video)
Released: 1997
Label: Forefront

Album: Plate Fulla Funk
Plate Fulla Funk
Label: Grapetree

Grapetree bied hier een CD vol funk. Een bord vol pittige beats, lekker vloeiende baslijnen, knapperige rhymes. De stijl is moeilijk te vergelijken, maar het heeft zeker House of Pain en Cypress Hill invloeden. De productie is beter dan die van Barry G. Ik vind sommige nummers mooi, sommige niet. De ene rapper rapt beter dan de andere. "Throw My Arms Arround You" is zo'n raar nummer. 't Past er niet tussen. Een soort rustig dance nummer, en daarin zingen ze alternatief. Wat betekent dit? De humor tussen de nummers is echt lachuuuh. De samples zijn wel origineel. Dus proef deze speciaal gekruide funk, maar denk aan je cholesterol.

(source: Rap&Roer Nr 2., 1996)

Kaarsvette beats en samples, rouwe rap. Sommige nummers zijn vergelijkbaar met Cypress Hill en House Of Pain.

(Source: Rap&Roer Magazine #3)

Dead Poet Society
Introduction (MP3)

Homepage: http://home.earthlink.net/~keynote/dps/index.html

Scars and stripes (Realaudio)
Realaudio Mortal alien (Realaudio)
Realaudio Doctrine (Realaudio)
Realmedia Food 4 Thought (Realmedia)
Realmedia Infinite Saga (Realmedia)
Realmedia Legacy (Realmedia)
Realmedia Legacy OG (Realmedia)
Realmedia Ushers of Souls (A Lost Man's Journal) (Realmedia)

E-Mail: Rheomatic@aol.com
Album: The Wombstone
Released: 1996

produced by the Deadbeats

1. Deadbeat
2. Scars & Stripes
3. Noble Theme
4. Free-Verse Doctrine
5. Mortal Alien
6. One Eighty


Deezer D.
Album: Living up in a down world
Living up in a down world
Released: 1999
Label: N-Soul

Album: No Need For Alarm (Tape)
Released: 1998

God is in control video (Realmedia)

E-Mail: dellr@concentric.net
Artist Info: 
1720 Ala Moana Blvd.
Honolulu, Hawaii 96815
Apt. 1205 A

Album: God is in control (single)

Delta Sin

Demon Huntaz
Every now and then (Realaudio)
Realaudio Lines (Realaudio)
Realaudio Natfor (Realaudio)
Realaudio Rukus (Realaudio)
Realaudio island jump (Realaudio)

Homepage: http://www.hunta.com
Album: Apostalic Saga

Artists featured on Apostalic Saga: Demon Huntaz: Avalanche, Cyclone, Hurricane aka LP aka Luny

BlackSun, Scar Soliders, Cygi, Nioami Menendez, Big Rod, EloE, Urban Disciple, One Voice, Elicia, Ludaddy, B-Rock, Dark Wolf, Michelle, Chosen Generation, Bishop, Gideon 300, Harold Boyd and many more.

chant (MP3)
Dirt_-_Evilution Evilution (Dirt_-_Evilution)
Realaudio Chant (Realaudio)
Realaudio Heat (Realaudio)
Realaudio Mustard seed (Realaudio)
Realmedia Chant (Realmedia)
Realmedia Evilution Part 1 (Realmedia)
Realmedia MM Funk (Realmedia)
Realmedia Sinners (Realmedia)
Realmedia Apocalypse Now (feat 7lock) (Realmedia)
Realmedia Theophilus (feat 7lock) (Realmedia)

E-Mail: locust@flash.net
Homepage: http://locustfist.com
Album: Plague
Released: 1998
Label: Rescue Records

This album features production by: DJ Fingaz
Sir Rocdomz
Remnant Militia

Guest Appearances by:
Sons of Intellect
Remnant Militia

Song Titles:
Phat Cat
Heat (Wood Burns Fire)
Chant Apocalypse Now
Breathe Deep
A Chapter A Day
Iniquities Turn Rust
Intoxicated By Self
Operation E.
Good Medi-Son
Mustard Seed

Dirt brings forth innovative styles that are unmatched in the industry-both Christian and secular. The hip hop sub-culture is made up of four elements: rapping, dee-jaying, graffiti art, and break dancing. His music caters to each of these elements with a direct Christ centered message. Since his guest appearance on P.O.D.ís Brown, Dirt has been highly anticipated by all who have heard his superbly creative and poetic lyrics. Shadows of the Locust (who has gained major respect in the underground hop hop scene), the group Dirt has descended from, also appears on this album. Dirtís versatility allows him to cross over from hip hop to the alternative scenes and still be well received. He continues on the Rescue quest for lost souls. His music proves itself in every aspect and will gain respect from audiences nation wide.

(Source: www.gofishnet.com)

Disciple Mafia


Divine Militia
Album: Seven Deadly Sinz
Label: Rapture Records

Divine Soldiers

DJ Allstar
afraid to die snippet (MP3)
MP3 blacklight snippet (MP3)
MP3 fly away (MP3)
MP3 steam (MP3)
MP3 steam remix (MP3)
MP3 thanks & praise mental illness (MP3)
MP3 thats that (MP3)
MP3 woooooooo (MP3)

Album: Mixtape Volume I

Side 1:

where dj all star wants to let you hear some of the music Quite a Few People surprisingly have never heard.

KRS-One: Step into a world
Atmosphere: Multiples
Co-Flow: Johnny Rookie Card Inst. from Fondle 'em's Boulevard Connection Mos Def: Universal Magnetic
Tame One & El the Sensei (or, Brick City Kids, or, Artifacts without a record deal): Haagen Daaz from Fondle 'em's Boulevard Connection Heiro: The Who
Shabaam Sideeq: Soundclash
Brick City Kids (artifacts): Brick City Kids Get Open: Here and Now
L. Fudge f/Mike Zoot Kweli, Shabaam, Eminem: What If Aceyalone: Faces
Show & A.G.: Next Level Inst.
INI f/ Pete Rock,Q-tip,Large Professor: To each His Own bonus:
atcq: electric relaxation
de la: stakes is high acapella

Side 2:

where dj allstar just looked around on the floor and in the crates for songs that looked like they'd blend with each other nicely (one take, blind selection of records)

for the rhyme sayers (instrumental mix)

Dilated Peoples: Work the Angles L-Fudge: show me your gratitude M.F. DOOM: Gas Drawls
Mike Zoot: Live & Stink
Mr. Complex: why dont cha
Showboys: Drag Rap
Sir Melenik: So Intelligent

(uh, words)
Sleestackz: Crystal Clear
Rhyme Fest: How we Chill
Atmosphere: Brief Description
Dilated Peoples: Triple Optics
Mos Def & Kweli (big ups stress mag): Definition1 (or, let's see what i can do with two sheets of plastic from a magazine glued to some old records)

Album: Mixtape Volume II: Warning

Another mixtape for public consumption. i'm very happy with this one as well, so it's out there. dag it's tight. mostly blending (very nice blending) on this one. When's the last time you heard BLENDING on a tape consisting of some dope b-boy type hip hop? (as opposed to always hollering over the music, and scratching the songs in.
All songs grand royal guaranteed fresh.


Head nod side: The Warning

Boogiemonsters: Warning
Aceyalone, Tony da skitzo: Shatterproof (Inst) Jeru: Me, Not the Paper
Krumb Snatcha: Gettin' Closer to God Rubberroom: Street Theme (inst) Aceyalone, Tony da skitzo, Mixmaster Mike: Consumption Mystik Journeymen: Escape Forever KRS-One Featuring Smooth B., Rah Goddess, Rampage: Temple of Hip Hop
Killarmy: Wu-Renegades Inst
INI f/Pete Rock: Fakin' Jax
INI: Square One
Sev Statik: Rebuild
KRS-One: A Friend (Inst)
Company Flow: 8 Steps to Perfection (lost mix)

Other side:

chillin' the fresh way:
"can you not see that i am serious?" the b side-what's on the tables? or, "hmm this looks good let's throw it on" a bouillabase in which you hear the following:

polyrhythm addicts: not your ordinary mike zoot: scene
reflection eternal: 2000 Seasons untitled primo instrumental
mr. lif: this won
mos def: if you can huh you can hear

jurrasic 5: blacktop beat
d. prosper aka mastermind:
waited all my life
xecutioners: musica negra
arsonists: venom
aceyalone: fortitude inst
kid thun: i wonder (life)

DJ Anointed

DJ Cisco G.
20 Minutes of Truth Vol 2 (Realaudio)
Realaudio 20 Minutes of Truth Vol 3 (Realaudio)
Realaudio 30 Minutes of Truth Vol 4 (Realaudio)
Realaudio 30 Minutes of Truth Vol 5 (Realaudio)
Realaudio 30 Minutes of Truth Vol 6 (Realaudio)
Realaudio 30 Minutes of Truth Vol 7 (Realaudio)
Realaudio 30 Minutes of Truth Vol 8 (Realaudio)
Realmedia 20 Minutes of Truth Vol 1 (Realmedia)

DJ Majik
Album: Mixtape

DJ Rhino
Album: I'll be waiting (Mixtape)
Released: 1999

DJ Sci-Fi
2600 (Realaudio)
Realaudio For love (Realaudio)
Realaudio Hero Killer (Realaudio)
Realaudio I the dragon (Realaudio)
Realaudio Intrinsic Track 1 (Realaudio)
Realaudio Intrinsic Track 10 (Realaudio)
Realaudio Intrinsic Track 11 (Realaudio)
Realaudio Intrinsic Track 2 (Realaudio)
Realaudio Intrinsic Track 3 (Realaudio)
Realaudio Intrinsic Track 4 (Realaudio)
Realaudio Intrinsic Track 5 (Realaudio)
Realaudio Intrinsic Track 7 (Realaudio)
Realaudio Intrinsic Track 8 (Realaudio)
Realaudio Intrinsic Track 9 (Realaudio)
Realaudio Kiss (Realaudio)
Realaudio Raindrops (Realaudio)
Realaudio Small mind (Realaudio)
Realaudio Universe door (Realaudio)

Aces (MP3)


Dr. Onionskin
Album: Bully

Album: Split Pea Soup
Split Pea Soup

This album is a very ground-breaking release for NoSoul Records. It is the first time an acid-jazz album has been released by a Christian artist for a Christian record label. Dr. Onionskin teamed up with Scott Blackwell and a host of other musicians to capture the new hybrid sound that has been sweeping across the U.S. and the U.K. for the last five years or so.

The term 'acid jazz' means many things to different artists, but it is widely characterized as a fusion of jazz with hip-hop. This often manifests itself as jazz loops undergirded with hip-hop beats, with some kind of vocal styling over the top. In "Split Pea Soup", Dr. Onionskin takes this concept in 17 different directions. There is only one song that has lyrics in their most widely-associated sense; however, several of the songs use the repetition of sound-bitten phrases sampled and replayed at various intervals. Different songs utilize different types of tones , so the general sound resembles a very diverse aural collage. There are screaming organs, mellow vibraphones and smoky basslines, live drums as well as sequenced drum patterns and sampled drum loops. There are some cool synthesizer sounds as well as tasty horn licks. Most of the songs feature some kind of improvisational solo instrumentation, and in addition there are also some really trippy audio effects. [There is one point in "Impressions 4 U" (#4 on the CD) when the output level for the drum loop fluctuates very rapidly. You have to hear it to really know what I'm talking about, but suffice it to say that the first time I heard it I thought someone was playing with the volume knob on the stereo.]

Because of the wide array of sounds that are used in these songs, this album may not appeal to the conservative hip-hop listener. And because of the rampant sampling that takes place, the typical pop-jazz listener might not appreciate it either. But this is the 90s, and the boundaries of genres are being stretched left and right. That doesn't make it bad, just different. All in all, "Split Pea Soup" is a funky little dose of acid-jazz. I recommend this album to any listener who wants to expand their musical horizons.

reviewed by Jelani N. G. Greenidge

(source: Christian Hip Hop Zone on Internet)
Drunk Kings

Dynamic Twins
Artist Info: 
P.O. Box 5743
Fullerton, CA

Album: 40 days in the wilderniss
40 days in the wilderniss
Released: 1995
Label: Brainstorm

Stijl Underground Eastcoast

Yo! Waar wacht je op? Pak je koffers in, doe je rugzak om en 'forget about your problems' en ga mee op reis met DII-tours naar de wildernis. Oerwoudgeluiden zo noemen ze HipHop wel eens en dat kan niet van de Heer komen maar DII is het daar niet mee eens. Zij brengen Underground sounds uit New York maar zijn geproduceerd door Above The Ground Inc. Echt te gek, als je hun produktie hoort had het best een produkt van Def Squad kunnen zijn. Het bevalt veel Soul, diepe baslijnen em gast optredens van LPG en Aeisha. DII neemt ons mee 'back to the garden' en oogsten wat ze zaaiden (reap what you sow). Geef je op bij je reisbureau om deze trip mee te maken. Lekker relaxed en onderuitgezakt kan je genieten van een ijskoud glas melk. Ik weet zeker dat jullie ook al boeken voor de volgende avontuurlijke reis van de DII.

Rik Zutphen

(source: Samma Nieuws, Februari 1996 + GMI Music Magazine, Maart 1996)

Album: Above the Ground
Above the Ground
Released: 1997
Label: Metro One

1 - H.G. FUNK

Well, almost anyone who's familiar with the Dynamic Twins know that they're famous for changing their sound significantly with each album.--WHICH ISN'T NECESSARILY A BAD THING! For some reason, they always seem to come off with a winner, so to speak. Overall, the tracks seem well organized with fairly fresh lyrics (nothing really outstanding--but still cool) and pretty cool--I mean cool beats. The word of God is dilligently applied, with faith in God through Jesus as the emphasis/ main theme. The Dynamic Twins give the listeners a look into the victory of those who trust in The Lord. Living in this world can be a trip, but these brothers are mad faithful. They have the potential to blow up to unspeakable heights spiritually. (But don't we all?) It's pretty inspiring think about. The underground's underground is in the house! God's got great plans for the Dynamic Twins. What's interesting about this album is seeing the fluxuation of styles on the record. The Dynamic Twins are originally from New York, and that sound is evident on their bomb album "No Room To Breathe" (which happens to be my favorite, personally). Now representing California, they pleasantly show the influence of g-funk, kind of like the little bit that surprised DII fans on "40 Days In the Wilderness". The only bad thing about the lyrics is that after awhile the album starts to feel kind of desolate--I wish there were more guest rappers on it. It feels lonely, like they recorded it all on a Friday afternoon in the bathroom. The album as a whole takes on a pretty relaxed, mature feel. Honestly, this one's pretty neat, ya'll. (Like, which aren't.) With all of these fresh new gospel hip-hop titles coming out it can be something trying to decide what to get. This one's pretty interesting, though. As far as music goes, it's pretty refreshing. Besides that, witnessing their incessant faith in The Lord is enough to keep a loyal fandom.

(source: Eddie Staples, God's House of Hip Hop)

If the Dynamic Twins were to be rated on a hip hop, keep it real, in your face with tha Word over phat beats scale of 1 to 10, they would definitely rank an 11. The Twins are back for tha nine-lucky with new album and production company , Above the Ground. The first song, H.G. Funk, gets tha head bobbin as the Twins bring the same CONSISTENT, ORIGONAL, ever growing flow that they've brought since their days with SFC. (the rest of the hip hop nation should take notes from this duo). Songs like "Ways of Cain" and "Dying to Live" are noteworthy songs too. However, the bomb cuts on the album are "Laughter and Tears" and "Relaxin" (which gets my vote for party jam of the year so far). Although the album was phat overall, I expected better from the Twins. It's like going to a five star restaurant and getting four star food. Great food but I want five stars. It was kind of a dissappointment to listen to. I'm still waiting for them to outdo "No Room 2 Breathe", which I believe was their best album. The sound quaility of the album itself left much to be desired. The beats are dope but too bland. I believe that Soulfood Live and Little Robert (two new acts featured on the album) could have done better (they got potential) and listening to "I'll Be There" was painful. But I ain't mad at em. The D2 have been keepin' busy with their new label, recording studio, club, and community center. They just don't quit when it comes to payin' dues. So one could easily see why the album didn't come out as tight as expected. Still the Twins are keepin' it real and bringin tha cuts to get the party started in a way that only they can. Go check it out today!!!

*** Three stars out of five

(source: Vandal, God's House of Hip Hop)

De vierde CD alweer, hun rapstijl is niet veel veranderd, hun opzet wel. Ze hebben wat meer westcoast invloeden, maar niet al te clichť. Een volwassen goed geproduceerde CD met een duidelijke boodschap. Ze hebben hun kwaliteit de eerste CD al bewezen, maar hun kwantiteit hebben ze nu ook wel bewezen. Er zal zeker over anderhalf jaar wel een 5e CD komen! Ik vind wel dat ze na 7 jaar weer eens naar Nederland mogen komen, zij zitten namenlijk precies tussen de verscheidenheid van Hip Hoppers in.

(source: Samma Nieuws, Juni 1997)

Album: It's About Time (Cassingle)

Album: No room to breathe
No room to breathe
Released: 1993
Label: Brainstorm

Stijl Rap

Was hun eerste CD al de absolute top op dat moment in de Gospel-Rap, deze is nog weer beter. Vijftien zelfgeschreven nummers geproduceerd door Ojo Taylor en Gene Eugene. Veel "slamming tracks" en "scratches". Goede bassline. Duidelijke "lyrical message". Ook een aantal songs die rustiger zijn. Opvallend zijn de vele "lyrical nuff skills", wat voor niet HipHoppers zoveel is als tekstuele trucjes. Een CD die zo goed is dat hij met gemak kan concurreren tegen de seculiere rap. Voor de Gospel-HipHop kan gezecht worden dat DII een nieuwe stijl ten gehore brengen. Kom op de Maffe Samma HipHop dag zelf maar luisteren!

(source: Samma Nieuws, Mei 1993)

Unlike the album-cover likes us to believe, there are 16 tracks on this CD, not 13. These 3 'untitled' tracks are not really worth mentioning, they are the intro, and 2 short pieces of preaching. However, since the tracks on the cover are numbered, it's a bit confusing: if you want to listen to title-track (track 8 according to the cover, but track 11 in real-life), you will easily find yourself end up listening to 'Can't stand the rain'. Besides that, the album is dope... You'll play it again, over and over and over...

<PRE>Track Title BPM 1 Untitled (intro) 0 2 Get up, get down 100 3 Untitled 0 4 Words we speak 104 (Intro: 92) 5 Tears of a broken heart 100 6 Getting brighter 98 7 Untitled 0 8 Can't stand the rain 107 9 Something to say 99 10 Psyched by your ignorance 104 11 (Giving them) No room to breathe 108 12 Against the flow 108 13 Check yourself 102 14 Flee from Babylon 107 15 Evil of currency 100 16 The family song 105</PRE>

(source: Busy R.'z Holy Hip Hop Promotion)

Album: Word 2 the wize
Word 2 the wize
Released: 1991
Label: Broken Records

<PRE>Track Title BPM 1 Mission 117 2 The Judge 98 3 Fantasy 109 4 Backbiter 105 5 He's all I need 109 6 Persuaded 113 7 Real Thing 108 8 Word to the wize 77 9 Uptown 107 10 That's how I'm livin' 101 11 We need love 82 12 I ain't wit' it 125 13 Shakin' of dust 115 14 Keep goin'/Talk on your record 110 15 The Judge (instr) 98</PRE>

(source: Busy R.'z Holy Hip Hop Promotion)

WARNING: MP3-files do not always contain full-length-full-quallity samples. These files can contain samples from 10 seconds-8bit-8khz-mono-noise up to the full-length CD-quallity-stereo samples...