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▄▓▀▀ ▀████▓▄█▓▓▓███▓█▓▀▀▀ TEAM RNS PRESENTS ▄■ ▐█▄▓██
▀ ▀██░▐██▀▀ ▐█▄ ▄██▌ ▄██▌░█▌
▀ ▄▄ ▀█▄▀██▄▄████▌ARTIST: Digital Underground ▐████▄███▀▄█▀ ▄▄
▄██▌ ▀▓▄▀██▄▀▀▀ ▀▀▀▄██▀▄▓▀ ▐██▄
█████▄ ▐█▌▐███▄ TITLE: Playwutchyalike: The Best of ▄███▌▐█▌ ▄█████
███████▄▄▄▓░ ▓█████ Digital Underground ██████▄░▓▄▄▄███████
▀█████▓▄▄▄█▐▓█████▌ LABEL: Rhino / Tommy Boy / TNT ▐█████▓▌█▄▄▄▓█████▀
▀▀████▀▀▄██████▀ ▀██████▄▀▀████▀▀
▄▄▀▀ ▄██████▀ RIPPER: The Nose Job ▀██████▄
▄ ▀ ▄██████▀ ▀██████▄
▄█▓▀ ▄██████▀ ▀██████▄
██▌ ▐██████▌ ▐██████▌
▀██▄ ▐██████ 192kbps - Hip-Hop ▐▓█████▌
▀██▄ ▀█████▌ 1 hr 17min total-112.0mb ██████▀
▄▄▀▀███▄▄▀▀███▄ ███▓▀▀
█▓ ▀▀██▄ ▀██▄ RELEASE DATE: 2003-06-00 ██▀
▀▓▄ ▐██▌ ▐██▓▄ RIP DATE: 2003-06-08 ▄██▌
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▀█████▄ ▄▓██▓ ▓██▓ ▄█████▀
▀▀███████▀ track list ▀███████▀▓▄▄▄
▄▄▄ ▀▀██▄ ---------- ▄██▀▀■ ▀████▄
▄████▀▀▀▄ ▐██▓ 01 Same Song (Edit) 3:57 ▓██▌ ▐▌ ▐████
▐████▌ ▄▄▓▓█▓▌ 02 The Way We Swing 6:50 ▐▓█▓▓▄ ▀█▄▄▄███▀
▀████▄▄▄▄███████▀ 03 Underwater Rimes (Remix) 4:24 ▀█████▄ ▀▀▀
▀▀███▀▄█████▀ 04 The Humpty Dance 6:31 ▀█████▄
▄█████▀ ▀▄▄ 05 Freaks of the Industry 5:40 ▄▄▀ ▀█████▄
▐█████ ▐█▓ 06 Doowutchyalike 4:45 ▓█▌ █████▌
█████▌ ███▌ 07 Sex Packets 7:20 ▐███ ▐█████
▀█████▄ ▓██▓ 08 Packet Man 4:39 ▓██▓ ▄█████▀
▀▀███████▀ 09 Nuttin' Nis Funky 9:43 ▀█████████
▀▀██▄ 10 Heartbeat Props 7:29 ▄██▀▀███ ▀ ▄
▄▄▄▄▄ ▐██▓ 11 No Nose Job 4:59 ▓██▌ ████▄ ▄█▌
▀ ▀▀███▄ ▄▓▓█▓▌ 12 Kiss You Back 3:41 ▐▓█▓▓▄ ▀███████▀
▐███▌▄█████▀ 13 Wusup With the Luv (Single 4:35 ▀█████▄ ▀▀▀
▄ ▄███▄█████▀ Version) ▀█████▄
▀▀███▀██████▀ ▀▄▄ 14 We Got More (With the Luniz) 3:08 ▄▄▀ ▀█████▄
▐█████ ▐█▓ ▓█▌ █████▌
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▀▀███████▀ ▀███████▀▓▄▄▄
▄▄▄ ▀▀██▄ release notes ▄██▀▀■ ▀████▄
▄████▀▀▀▄ ▐██▓ -/-/-/-/-/-/- ▓██▌ ▐▌ ▐████
▐████▌ ▄▄▓▓█▓▌ While hip-hop was consumed by the ▐▓█▓▓▄ ▀█▄▄▄███▀
▀████▄▄▄▄███████▀ hardcore, noisy political rap of Public ▀█████▄ ▀▀▀
▀▀███▀▄█████▀ Enemy and the gangsta rap of N.W.A., ▀█████▄
▄█████▀ ▀▄▄ Digital Underground sneaked out of ▄▄▀ ▀█████▄
▐█████ ▐█▓ Oakland with their bizarre, funky ▓█▌ █████▌
█████▌ ███▌ homage to Parliament-Funkadelic. ▐███ ▐█████
▀█████▄ ▓██▓ Digital Underground built most of their ▓██▓ ▄█████▀
▀▀███████▀ music from P-Funk samples and developed ▀█████████
▀▀██▄ a similarly weird sense of style and ▄██▀▀███ ▀ ▄
▄▄▄▄▄ ▐██▓ humor, highlighted by Shock-G's ▓██▌ ████▄ ▄█▌
▀ ▀▀███▄ ▄▓▓█▓▌ outrageous costumes and the whole ▐▓█▓▓▄ ▀███████▀
▐███▌▄█████▀ band's parade of alter egos. Of all ▀█████▄ ▀▀▀
▄ ▄███▄█████▀ these alter egos, Shock-G's Humpty Hump a ▀█████▄
▀▀███▀██████▀ ▀▄▄ ridiculous comical figure with a Groucho ▄▄▀ ▀█████▄
▐█████ ▐█▓ Marx nose and glasses and a goofy, ▓█▌ █████▌
█████▌ ███▌ stuttering voice was the most famous, ▐███ ▐█████
▀█████▄ ▓██▓ especially since he was immortalized on ▓██▓ ▄█████▀
▀▀███████▀ their breakthrough single, "The Humpty ▀███████▀▓▄▄▄
▄▄▄ ▀▀██▄ Dance." Over the course of their career, ▄██▀▀■ ▀████▄
▄████▀▀▀▄ ▐██▓ Digital Underground have featured a ▓██▌ ▐▌ ▐████
▐████▌ ▄▄▓▓█▓▌ numerous members, but throughout it ▐▓█▓▓▄ ▀█▄▄▄███▀
▀████▄▄▄▄███████▀ all, Shock-G has remained at their core, ▀█████▄ ▀▀▀
▀▀███▀▄█████▀ developing the band's sound and style, ▀█████▄
▄█████▀ ▀▄▄ which they had from the outset, as their ▄▄▀ ▀█████▄
▐█████ ▐█▓ 1990 debut, Sex Packets, proved. Sex ▓█▌ █████▌
█████▌ ███▌ Packets was an instant hit, thanks the ▐███ ▐█████
▀█████▄ ▓██▓ loopy single "The Humpty Dance," and ▓██▓ ▄█████▀
▀▀███████▀ while they never scaled such commercial ▀█████████
▀▀██▄ heights ever again, their role in ▄██▀▀███ ▀ ▄
▄▄▄▄▄ ▐██▓ popularizing George Clinton's elastic ▓██▌ ████▄ ▄█▌
▀ ▀▀███▄ ▄▓▓█▓▌ funk made them one of the most ▐▓█▓▓▄ ▀███████▀
▐███▌▄█████▀ important hip-hop groups of their era. ▀█████▄ ▀▀▀
▄ ▄███▄█████▀ Shock-G (born Gregory E. Jacobs, August ▀█████▄
▀▀███▀██████▀ ▀▄▄ 25, 1963) spent most of his childhood ▄▄▀ ▀█████▄
▐█████ ▐█▓ moving around the East Coast with his ▓█▌ █████▌
█████▌ ███▌ family, eventually settling in the Bay ▐███ ▐█████
▀█████▄ ▓██▓ Area of California. He dropped out of ▓██▓ ▄█████▀
▀▀███████▀ high school in the late '70s and spent ▀███████▀▓▄▄▄
▄▄▄ ▀▀██▄ several years pursuing a life of crime ▄██▀▀■ ▀████▄
▄████▀▀▀▄ ▐██▓ before eventually finishing his degree ▓██▌ ▐▌ ▐████
▐████▌ ▄▄▓▓█▓▌ and going to college to study music. ▐▓█▓▓▄ ▀█▄▄▄███▀
▀████▄▄▄▄███████▀ Along with Chopmaster J, Shock-G formed ▀█████▄ ▀▀▀
▀▀███▀▄█████▀ Digital Underground in 1987, and the duo ▀█████▄
▄█████▀ ▀▄▄ released a single, "Underwater Rimes," ▄▄▀ ▀█████▄
▐█████ ▐█▓ that year, which went to number one in ▓█▌ █████▌
█████▌ ███▌ the Netherlands. In 1989, the group ▐███ ▐█████
▀█████▄ ▓██▓ signed with Tommy Boy, and that summer ▓██▓ ▄█████▀
▀▀███████▀ "Doowutchyalike" became an underground ▀█████████
▀▀██▄ hit. By that time, Digital Underground ▄██▀▀███ ▀ ▄
▄▄▄▄▄ ▐██▓ had expanded significantly, featuring DJ ▓██▌ ████▄ ▄█▌
▀ ▀▀███▄ ▄▓▓█▓▌ Fuze, Money-B (born Ron Brooks), and ▐▓█▓▓▄ ▀███████▀
▐███▌▄█████▀ Schmoovy-Schmoov (born Earl Cook). Sex ▀█████▄ ▀▀▀
▄ ▄███▄█████▀ Packets, the group's debut album, was ▀█████▄
▀▀███▀██████▀ ▀▄▄ released in the spring of 1990, and "The ▄▄▀ ▀█████▄
▐█████ ▐█▓ Humpty Dance," which was rapped by ▓█▌ █████▌
█████▌ ███▌ Shock-G's alter ego Humpty Hump, ▐███ ▐█████
▀█████▄ ▓██▓ climbed all the way to number 11 on the ▓██▓ ▄█████▀
▀▀███████▀ pop charts, peaking at number seven on ▀███████▀▓▄▄▄
▄▄▄ ▀▀██▄ the R&B charts. With its P-Funk samples, ▄██▀▀■ ▀████▄
▄████▀▀▀▄ ▐██▓ jazzy interludes, and innovative amalgam ▓██▌ ▐▌ ▐████
▐████▌ ▄▄▓▓█▓▌ of samples and live instrumentation, ▐▓█▓▓▄ ▀█▄▄▄███▀
▀████▄▄▄▄███████▀ Sex Packets received positive reviews ▀█████▄ ▀▀▀
▀▀███▀▄█████▀ and went platinum by the end of the year. ▀█████▄
▄█████▀ ▀▄▄ ▄▄▀ ▀█████▄
▐█████ ▐█▓ Digital Underground followed Sex ▓█▌ █████▌
█████▌ ███▌ Packets in early 1991 with This Is an ▐███ ▐█████
▀█████▄ ▓██▓ EP Release, their first recording to ▓██▓ ▄█████▀
▀▀███████▀ feature rapper Tupac Shakur. The EP went ▀█████████
▀▀██▄ gold and set the stage for their second ▄██▀▀███ ▀ ▄
▄▄▄▄▄ ▐██▓ album, Sons of the P, which was released ▓██▌ ████▄ ▄█▌
▀ ▀▀███▄ ▄▓▓█▓▌ that fall. On the strength of the gold ▐▓█▓▓▄ ▀███████▀
▐███▌▄█████▀ single "Kiss You Back," Sons of the P ▀█████▄ ▀▀▀
▄ ▄███▄█████▀ also went gold, but it received criticism ▀█████▄
▀▀███▀██████▀ ▀▄▄ for its similarity to Sex Packets. By ▄▄▀ ▀█████▄
▐█████ ▐█▓ the time Digital Underground delivered ▓█▌ █████▌
█████▌ ███▌ their third album, The Body-Hat ▐███ ▐█████
▀█████▄ ▓██▓ Syndrome in late 1993, hip-hop had ▓██▓ ▄█████▀
▀▀███████▀ become dominated by gangsta rap, ▀███████▀▓▄▄▄
▄▄▄ ▀▀██▄ particularly the drawling G-funk of Dr. ▄██▀▀■ ▀████▄
▄████▀▀▀▄ ▐██▓ Dre, which ironically was heavily ▓██▌ ▐▌ ▐████
▐████▌ ▄▄▓▓█▓▌ indebted to Clinton. Consequently, ▐▓█▓▓▄ ▀█▄▄▄███▀
▀████▄▄▄▄███████▀ their fan base diminished significantly, ▀█████▄ ▀▀▀
▀▀███▀▄█████▀ and The Body-Hat Syndrome disappeared ▀█████▄
▄█████▀ ▀▄▄ shortly after its release. Nearly three ▄▄▀ ▀█████▄
▐█████ ▐█▓ years later, Digital Underground ▓█▌ █████▌
█████▌ ███▌ returned with Future Rhythm, which ▐███ ▐█████
▀█████▄ ▓██▓ spent a mere three weeks on the charts. ▓██▓ ▄█████▀
▀▀███████▀ Who Got the Gravy? followed in 1998. ▀█████████
▀▀██▄