██▓█▓█████████████████ ▒█▓▒█▓▓▓▓▓▓▓▓▓▓▓▓██▓▓██ █▓▓▓▒▒▓▓▓▓▓▓▓▓▓▓▓█▓▓▓██ ░ ▄▄▄▄▄▄ ▄▄▄▄▄ ▄▄▄▄▄ ▄▄▄▄▄ ▄▄▄▄▄▄▄▄▄ ░░ █▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓████ ░░ █ █▄█ ▓▌░ ░▐▓ █▄▄▐▌ █▐▌ █▄ ░░ ░█▒▓▓▓▒▓▓███▓▓▓▓▓▓▓▓███ ░ ▐▌ ▓█▒ ▐▌░ ░▐▌ ▓█▄█ ▐▌ █ ██ █▄ ░░ ██▓▓▓▓█▒▒▒░░▓██▓▓▓▓████ ░░ ▐▌ █ ▐▌░░ ░░▐▌ ▒██ █ ▄█ ██▒ █▄ ░ █▓▒▓▓░▒▒▒▒▒▒░░▓█▓▓▓████ ░ █ █ ░ ░ █ ▀ █ █▓ █▀█ █ ░░ █▓▓▓░▒▓▒█▒██▒░░▓█▓▒████ ░ █ █ ░░░ █ ▒ █ █░ █ █ ▐▌ ░ ▒█▓▓▓░▒▓▓█ ▒█▒▒░▒█▓▓███ ▐▌ █ █ ▐▌ ░ ▐▌ ██ █ █ █ █▒ ▒█ ██▓▓▓▓░░▒▓██▒░░ █▓▓████ █ █▒ ▒█ █ ░ ▐▌ █▐▌ █ █ █ ▀█ █ ░ █▓▓▓▓▓█▒░░░░░░▓███▓████ ▄█ ██ ██ █▄ █ █ █ █ █ █ ▄█ █ ▒█▓▓▒▒▓▓▓▓▓▓▓▓▓██▓▓▓████ ▄█ ██ ██ █▄ █ █ ▀█ █ █ █▄█▓ █ ██▒▒██████████▓▓▓▓▓▓███ █▒ ▐█ █▌ ▒█▐▌ ▓▌ ▀█ █▐▓ ██ █ █▓███▒░▒▓▓▓▒▒▒██▓▓▓▓███ ░ █ ▐█▒ ▓█▌ ██ ▐▌░ ▀█ ██ ▓█ ░██▓▒▒████████▓▓█▓█▓████ ░ ▌ ░██ ██░ ▐▌ █ ░░ ▀█ █▌ ▒█▀░ ▓█▓▒▓██████▓▓▓██▒█▓▒████ ░ █░ ▐█▀▀▀▀█▌ ░█ █▀ ░░░ ▀█ █▓ ▒█▀▀░░ █▓▓▒███████████▒ ░█░████ ░ ▀▀▀▀▀▀▀ ░░ ▀▀▀▀▀▀▀▀▀▀▀▀ ░░ ░░ ▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀ ░░ █▓▓█████▒▒█▓███ ░ █▓███ ░░ ░ ░░ ░░ ░░░ ░░ ░░░ ▓ ░█▒▓████████████▒▒░█▓███ ░ ▄███▒░ ▄▄▄▄████████ ▀ ▀▀█▀ ▀ ██▓█▒████████▓▓░ ░▓████▓ ░ ░█░ ███████▒█████████▒ ███ ▄▓▄ ░ ░█▓▓██▒██████▓▒ ▒██▒███▓ ░ ██▓ █ █ █ █▓ ███▒ ██▓ ▀ ▓█▒▒▓██▒▒▓▓▓▒▒ ▒███▒▓██▓▓ ░ █ ░▒████████▓█░ ██▒█▓░ ░░ ▒█▒ ▄ █▓▓▓▓▓▓██▓▒▒█▓███▓▓▓███▓ ░░ ▄███▓ ▄█████ ▒████▓ ░ ██ ▀▓▀ █▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓█▓███▓ ░ ▀█▄ ████████████████ █ ███▓ ██ ▄ █▓▓▓▓▓▓▓█▓███▓▓▓██▓▓███▓ ░ ██▒ ░███▓▒████████▓ █ █████ ██▄ ▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀ ░░ ▐▌ █ ██ ▒█ ███ █ ▓█ █ ███ ░█▓▄ ▄▄▄▄▄▄▄▄ ░ ┌──┬┬┬─┬┬─┐ ░░ █░ █ ██ ██ ██░ █ ██ █ ▒████ ▀████▓ ▒██ ││││││└┤│┌┘ ░ ▓█ ██ ░█▌▐███ ███ █ ██ █ ██ ████▄░ ░▓███▓ ░ │├┤││├┐││└┐ ▄▓▄ ███████████████░ █ █▒ █ ██ █ ▒█▀████▓▓██████ ░░ └┘└┴─┴─┴┴─┘ ▀ █ ██▓███▓██░ ░█ █ ░█ █▒ ██ █ ██ █ ██████▒ ┌─┬─┬┬┬─┬─┐ ░░ █▒ █░ ██ ░█ ▓█ █ ▓█ █ ██ ██ █ ██ ███▌ ░ │││││││││││ ░ █ ██ ░██ ██ ██ █ ██ █ █▓ ██ █ ██ ▒███ ░░ │││┌┤││┌┤ ┤ ▐█▀▀▀▀▀█ ▓█ ██ ██ ░██ █░ ▒█ █▒ ░█ █ █ ██ ███ ░░░ └┴┴─┴─┴─┴┴┘ ▓▌ ▓▌ █░ ██ ██ ▓█░ █ ▓█ █░ ▓█ █ █▓██ ▒██▓ ░░ ┌─┬┬─┬─┐ ░░ ▐█ ▐█ ░█ █ ██ ██ █ ██ █ ██ █ █▓ ███ ░ ├┐││││└┤ ░░ ▄▄▄▓▌ ▄▄▄▓▌ ██ ██ ██ ██ ░█ █▓ █ ██ ████ ███▓ ░ ││││┌┼┐│ ░ ▐█░▓█ ▐█░▓█ █ ██ ██ ██ ▓█ █░ █ █ ██ ███ └─┴┴─┴─┘ ▀▀▀ ▀▀▀ ██ █ ▒██ ██ ██ █ ▒█ ████▒ ████ ───────────────────────────────── ██ ▒█ ██▓ ██ █▒ ░█ ▓█ ▄█▀ ████ ░█ ██ ██ ▒██ █ ▓█ ███░ ████░ VA - Old Skool Jams ██ █▒ ██ ███ █ ██ ██ ░████▓ ───────────────────────────────── █▓ █ ██ ██ █ ██ ██ ▓████▓ Supplier....: Team MND ▄▓██▓ ▒ ██ ███▓ ░█ █▒█▀ ██████ Ripper......: Team MND ▐█ ░▓░ ▒████ ▓█ ▓█ ▓██▒ ░█████ Quality.....: 192kbps ▓█░ ▒▓██▒ █▓ ██░██ ░ ░░█████ Release Date: Jul-08-2003 ██▒▒░ ▓███████████▓▀ █████░ Source......: CDDA ██▓▓▓▒ ▓██████ █ ░ ▒██████▌ Genre.......: Hip-Hop ████████████████░ ░ ░█████████▀ Total Tracks: 18 █ ███ ░▒░██████████████████ Playtime....: 124:54 min █ ░ ▓█ ░██████████████▓ CD Size.....: 171,8 MB ███▒▓█████▄▄▄▄█████████▒──────────────────────────────────────────────┐ │ TrackListings │░ │ ·───────────────· │░ │ - CD1 [ ] │░ │ - [ ] │░ │ 01 - Sugarhill Gang - Rappers Delight [07:10] │░ │ 02 - Grandmaster Flash - Adventures Of Grandma [07:06] │░ │ 03 - The Sequence - And You Know That [06:36] │░ │ 04 - Grandmaster Flash & The Furious Five - Wh [07:38] │░ │ 05 - Kevie Kev (Waterbed Kev) - All Night Long [06:06] │░ │ 06 - Grandmaster Flash & The Furious Five - It [05:01] │░ │ 07 - Funky Four Plus One - That's The Joint [09:20] │░ │ 08 - Spoonie Gee & The Sequence - Monster Jam [08:50] │░ │ 09 - West Street Mob - Breakdance (Electric Bo [05:09] │░ │ - [ ] │░ │ - CD2 [ ] │░ │ - [ ] │░ │ 01 - The Sequence - Funk You Up [10:54] │░ │ 02 - Sugarhill Gang - Apache [06:12] │░ │ 03 - Super-Wolf - Super Wolf Can Do It [06:21] │░ │ 04 - Treacherous 3 - Yes We Can-Can [06:57] │░ │ 05 - Reggie Griffin - Mirda Rock [07:20] │░ │ 06 - Busy Bee - Making Cash Money [06:35] │░ │ 07 - Grandmaster Flash & The Furious Five - It [04:57] │░ │ 08 - Crash Crew - Breaking Bells (Take Me To T [07:22] │░ │ 09 - Lady B - To The Beat YÆall [05:20] │░ │ │░ └────────────────────────────────────────────────────────────────┘░ Release Info ·─────────────· ────────────────────────────────────────────────────────────────┐ │ Subtitle │░ │ B-Boy Classics & Essential Blockparty Breaks │░ │ │░ │ 2CDs of the phattest hip hop, rap, disco and funk jams │░ │ from the biggest block party legends. Prepare to go back, │░ │ way back, back into time... │░ │ │░ │ Includes a unique commentary on a historic time in hip hop │░ │ culture: │░ │ Come in, young homie, come in. Sit down. ItÆs good ta see │░ │ ya. It ainÆt often that a young face like you brightens up │░ │ this place. The family donÆt come round so much now, all │░ │ scattered from out of The Bronx now û some on the West │░ │ Coast, Atlanta, London England, even in Japan. And I heard │░ │ my great nephews in South Africa been keeping the vibe │░ │ alive, bless them. So I donÆt see so much of them. │░ │ │░ │ You wrote me a letter? I never got it. They steal │░ │ everything from me in here, the muthas. The South Bronx │░ │ Caring Home For Retired Breakbeats they call this place. │░ │ Caring? You coulda fooled me. If it wasnÆt for Nurse Betty │░ │ over there, I swear IÆd go crazy. SheÆs the best in here. │░ │ Knows how to look after an old fella in the bath, yÆknow? │░ │ IÆll see if I can get you a 20oz malt liquor off her for │░ │ you in a minute. Hey Betty, can I have a tea and a malt │░ │ for ma friend here? Did she heard me? I donÆt know. │░ │ │░ │ Oh yeah, the letter. I never got it. Did I say that │░ │ already? So what was in it û a check? Oh, only some │░ │ questions. Hah, IÆd have preferred dollars, or some Oreo │░ │ cookies. Gin woulda been nice. Now what is it you want to │░ │ know? All about the Old Skool, I betcha. You young folk │░ │ always wanna hear what funky rap music was all about │░ │ before they started ruining it with real musical │░ │ instruments and little squeaky kids pretending to be │░ │ gangstas. OK, IÆll tell ya. │░ │ │░ │ I used to live up in a housing project up here in the │░ │ Bronx. Nasty place. Pee in the hall, elevator didnÆt work; │░ │ people didnÆt work either û couldnÆt get any. But there │░ │ wasnÆt no crack then, so it wasnÆt as bad as it gets │░ │ today. For a long time I was just sat in a record stack in │░ │ the living room and I always got passed over because my │░ │ owner had got into jazz. He thought I was kinda, what can │░ │ I say . . . unsophisticated. If heÆd have played me IÆd │░ │ have told him what I thought of him, but I never got the │░ │ chance. YÆsee, really I was sophisticated. My funky beat │░ │ grew out of R&B and soul, with a dash of jazz thrown in. I │░ │ mean, compared to the stuff I was hearing coming in on the │░ │ radio, thump, thump, thump, thump, ôI feel love, I feel │░ │ loveö, well, I was like Beethoven compared to banjos, │░ │ yÆknow what IÆm sayinÆ? │░ │ │░ │ Yeah, it was the disco era, back then, mid-70s. And I │░ │ still get upset about what they did to the fine funky │░ │ black music that I was a part of. It was no wonder I │░ │ couldnÆt get played. I was just too earthy and real for │░ │ the era. But I wasnÆt the only one. In fact, in the middle │░ │ of the 1970s I was hearing something new û new to me, │░ │ anyhow. Lot of Jamaicans had moved onto the block and │░ │ suddenly I was hearing their music all over the place. And │░ │ they didnÆt hold with no disco. They had their own thing │░ │ going on. Roots they called it, although it sounded more │░ │ like reggae to me. TheyÆd set up a big sound system to │░ │ play it through and the DJ would talk all over the │░ │ records. CouldnÆt figure it out at first, but after a │░ │ while it started to make sense. │░ │ │░ │ Are you following me, homie? Yes? Ah, here comes Betty │░ │ with the tea. Mmm, thatÆs better. Hey Betty, whereÆs that │░ │ wassup for my friend here? Huh, looks like you gotta wait │░ │ for your beer. │░ │ │░ │ Now where was I? Yeah, then these Jamaican dudes started │░ │ getting together with some of the brothers who had been │░ │ growing up on the block for years and they started getting │░ │ into some funky beats together at parties. One of these │░ │ brothers was a cousin of the guy that owned me. And he │░ │ came to see my owner and started talking about music and │░ │ next thing I know, my owner was going: ôAh, yeah, you kids │░ │ think you know all about funky music but you ainÆt heard │░ │ nothing.ö And he got me and my brothers up there in his │░ │ arms and began flicking through us and hell yes, I finally │░ │ got played. │░ │ │░ │ Even if I say so myself, I still sounded pretty damn funky │░ │ and fine. And the young kid dug me, you understand, and my │░ │ owner, well, I couldnÆt believe what he was sayinÆ. He was │░ │ tellinÆ this kid that I was a fantastic tune that deserved │░ │ to be a big big hit and that heÆd always loved me. The │░ │ lyinÆ S.O.B! If he loved me so bad, why didnÆt he play me │░ │ instead of dissinÆ me by leaving me in the stack for years │░ │ gathering dust? Even today, you can tell I still get │░ │ choked. │░ │ Well this kid was really rocking to my beats and suddenly │░ │ he did something I never saw before. He rolled back the │░ │ rug and started squirming around on the lino, making │░ │ shapes and turning over and over. And when he heard my │░ │ cowbell ring during my breakdown, he flipped up and spun │░ │ on his head. │░ │ I thought he was having a medical emergency. │░ │ My owner didnÆt call 911 though. He was laughing fit to │░ │ bust and saying that you wouldnÆt catch him trying │░ │ anything like that. But he said he could see how much the │░ │ kid had dug me, and he handed me right over to him. │░ │ I told you my old owner didnÆt really dig me at all. │░ │ │░ │ My new owner was different. Da kid dug me so bad that I │░ │ was a bit afraid about it. His hands were sweaty from all │░ │ that exertion and he clutched me so close to his chest │░ │ that I could feel his heart pumpinÆ beneath his skinny │░ │ ribs. He was so hot, I was afraid IÆd warp. But I neednÆt │░ │ have worried. He took me back to his apartment and │░ │ carefully put me in his crate alongside some guys who │░ │ turned out to be old friends. There was the Incredible │░ │ Bongo BandÆs æApacheÆ, The JBsÆ æPass The PeasÆ, The │░ │ OÆJaysÆ æFor The Love Of MoneyÆ, and a whole lot more of │░ │ the old crew. We had quite a reunion in there, ah yeah. │░ │ │░ │ I told my new good buddies that it was good to be back │░ │ among people who would play and appreciate me, but the │░ │ mood changed the moment I said it. In fact one guy, Funky │░ │ Drummer, said I was in for a shock. │░ │ Hold on a minute, I gotta go pee. Bladder isnÆt what it │░ │ was, you know. I swear they put something in that tea. │░ │ │░ │ ThatÆs better. What was I sayinÆ? Yes, now, it wasnÆt long │░ │ before the crate I was in got shifted out into the cold │░ │ night air for a party. Funny kinda event it was too. Huge │░ │ speakers and a coupla decks. Flat, hard floor. Place │░ │ filled up fast though and pretty soon everyone was doing │░ │ the rolling on the floor dance, æbreakdancingÆ the called │░ │ it. I didnÆt know why. Other people talked over the │░ │ records from time to time in party rhyme, just like those │░ │ Jamaican youths did, but in an American accent. │░ │ │░ │ I got dug out of the crate right at the point where the │░ │ party was rockinÆ at its peak. But when the kid cued me │░ │ up, he got it all wrong. Instead of putting me on for my │░ │ fine and funky horns intro and that superslick guitar lick │░ │ that brought in my main tune, he stuck the needle right on │░ │ my breakdown. He set me spinninÆ right in the middle of │░ │ another record, played a few bars of me and played a few │░ │ bars of the other record, and then spun me back to play │░ │ the same few bars heÆd already played. │░ │ He did it over and over and I didnÆt know if I was coming │░ │ and going. Aw man, I feel dizzy now just thinking about │░ │ it. And then I knew why the dance was called breakdancing. │░ │ Because it was done to a breakdown on a record. And that │░ │ was all these guys wanted to hear û the breakdown, the │░ │ moment when a record is reduced to its essential beats and │░ │ all the other stuff is mixed out. │░ │ │░ │ When I got back in the crate, Funky Drummer said: ôI │░ │ warned youö and other stuff like that. I couldnÆt even │░ │ reply. My head was spinning and my groove ached. │░ │ So it went on. Every weekend, IÆd get carried out to this │░ │ place or that and gradually the parties got bigger. And │░ │ once I got used to it, I kinda liked my new life. I was │░ │ back where I belonged, entertaining the people, even if it │░ │ was just for a few short beats over and over. │░ │ │░ │ The standard of the DJs talking over the records improved │░ │ û ærappingÆ, they called it. There was a whole street │░ │ style developing û sportswear, trainers, leather coats, │░ │ baseball caps or pimp hats. The graffiti guys got │░ │ involved. And youÆd be surprised by some of the company I │░ │ was keeping in my crate. Although at first, you never │░ │ heard a disco or pop record at these parties, just │░ │ hardcore funky beats like me, I was eventually rubbing │░ │ shoulders with tunes like æGood TimesÆ and æI Get LiftedÆ. │░ │ There was even a Monkees record, which the rest of us │░ │ beats snubbed because it wasnÆt really funky at all. │░ │ I was regularly spun at joints with all the ghetto jam │░ │ royalty like Kool Herc, Grandmaster Flash, D.ST and Afrika │░ │ Bambaataa. The place was buzzing û and like all things │░ │ that are really happening, it was only a matter of time │░ │ before different faces began to appear on the scene. │░ │ Older, shrewder dudes. They were sponges in a thimbleful │░ │ of water û soaking up what was going on so they could work │░ │ out how they could bleed it dry. │░ │ Of course, there was already a rap record out, │░ │ æPersonality JockÆ by King Tim III, but that was just a │░ │ one-off knocked out by the Fatback Band and we were used │░ │ to having them in the crate. Other guys like Paul Winley │░ │ signed some of the block rappers for his Winley label, and │░ │ Bobby Robinson on Enjoy, but the key mover was Sylvia │░ │ Robinson of Sugarhill records. By the time sheÆd been │░ │ along to a party, we knew everything was going to change │░ │ for us B-Boy beats. │░ │ │░ │ Now this Sylvia had been around for ages, singing, │░ │ writing, producing and putting out hits on her All │░ │ Platinum, Stang and Turbo records, and generally keeping │░ │ her ears fit. Her husband Joe co-owned the labels and │░ │ appreciated his missusÆ genius for finding a hit. Sylvia │░ │ came to some of the parties I was at and next thing you │░ │ know sheÆs got a rap record out on the SugarHill label. It │░ │ borrowed my friend æGood TimesÆ beat and bassline, some of │░ │ the lyrics written by Grandmaster Caz, rapper with the │░ │ Mighty Force Emcees, and was fronted by a guy called Big │░ │ Bank Hank who worked in a pizza parlour. The record, │░ │ æRapperÆs DelightÆ, was massive. Suddenly the world had │░ │ heard of rap. Pretty soon weÆd all be stars. Or so I │░ │ thought. │░ │ │░ │ Grandmaster Flash was signed to Sugarhill and hitting with │░ │ æFreedomÆ and æAdventures On The Wheels Of SteelÆ, which │░ │ took scratching out of back street New York and into the │░ │ charts. Groups with numbers in their names, like │░ │ Treacherous 3, Funky 4 plus 1, tended to be from The Bronx │░ │ and knew what the music was about. Some of the others, I │░ │ dunno what they were about and how much they knew. The │░ │ Sequence got signed up from out of town, South Carolina, I │░ │ think. Hey, they were three pretty ladies but I dunno what │░ │ they had to do with rap. Kevie Kev was probably thinking │░ │ of them when he made æAll Night Long (Waterbed)Æ. Even │░ │ SylviaÆs son Joey was making hits with West Street Mob. │░ │ │░ │ Anyway, it was like the goldrush. Every rapper and beat in │░ │ the Bronx got signed. The place was all mined out. I was │░ │ in my crate one day and I looked around and there was only │░ │ me and the Monkees left in there. Even Funky Drummer had │░ │ gone, and believe me, that beat was overexposed before rap │░ │ ever made it out of the block parties. One minute he was │░ │ in the box with me, the next, rich and switch û driving by │░ │ in a platinum-plated Jeep. Last I heard, heÆd blown it all │░ │ and was on crack. He was brought up in the ghetto û he │░ │ just couldnÆt handle the pressure of fame. │░ │ │░ │ Between æRapperÆs DelightÆ in 1979 and æWhite LinesÆ in │░ │ 1983, rap had changed so much that a B-Boy beat like me │░ │ hardly recognised it. Flash and his main rapper, Melle │░ │ Mel, fell out. Rap was now dealing with hard times in │░ │ lyrics like æThe MessageÆ, which is strange, because back │░ │ when we were living hard times the lyrics were all about │░ │ chicks and food and having fun. I guess that the rappers │░ │ got nostalgic for trouble now their pockets was lined with │░ │ some dead presidents. Musta been crazy. They shoulda known │░ │ hard times would be back again when the next generation of │░ │ rap, called hip-hop, turned up to make them look old and │░ │ slow. │░ │ │░ │ WhatÆs that you say? Why didnÆt I make any money? Aw, I │░ │ didnÆt wanna sell out, yÆall. You can take the beat out │░ │ the ghetto but you canÆt take the ghetto out the beat. And │░ │ I had my time in the limelight. Listen carefully to the │░ │ end of æWheels Of SteelÆ and you can near as dammit hear │░ │ my cowbell. Well, truth be told, you canÆt û it got edited │░ │ out. Seems I had too sharp a lawyer working for my │░ │ publisher and he threatened to sue for royalties if they │░ │ used me. So they cut my portion. LifeÆs a bitch sometimes. │░ │ I coulda been rich. I was certainly a contender. │░ │ │░ │ I hung out in the crate a while, became a rare groove in │░ │ England in 1987 and then I got sick with a disease of the │░ │ groove û multiscratchitus funkimania the doctors call it. │░ │ ItÆs a kind of breakdown caused by having your beat looped │░ │ too often. So I came home to the Bronx and they look after │░ │ me here. │░ │ │░ │ Now homie, I hope thatÆs answered all your questions. I │░ │ gotta have my medication administered in a minute, and │░ │ hopefully Nurse Betty will be making with the soapy water │░ │ right afterwards. Next time, bring a girlfriend with you, │░ │ and those cookies I mentioned, and IÆll tell you about the │░ │ time I got thrown onto Nichelle NicholsÆ duvet, if youÆre │░ │ lucky. What do you mean, whoÆs Nichelle Nichols? You │░ │ youngsters, you donÆt know youÆre born . . . │░ │ │░ │ Ian MC Cann │░ │ │░ │ Enjoy this Great MnD Release ! │░ └────────────────────────────────────────────────────────────────┘░ Group News ▄▄▓██ ·────────────· ▄▓█████ LOOKING FOR ... ▄▄▄██████████▀ ▄██████▒ ▓█▀ News - experienced rippers who can support us █▒░█ █░ ██▀ ------ with quality releases █▒ █ ▐█▀ if you like - new sites 100mbit █░▓█ █▌ this cd ░█▄▀ █▄ then go to contact your local courier ░▓█ █▒█░ █▓ a record to get in contact with us ▒████ █ ██ store and █▓ █░█ ██ buy the Greets █ ▓█ ▒ █▒ ██ original ·────────────· ████ ██▓ █ ██ ▄▄▄▄▄ █▓ █▒█ ▓█ Greetings go out to KTMP3 TWC 3G TGX MOD ▄█▀▀ ▒▀█▄ █ ██ ░░█ ██ ESC APC FD BLA JAH RNS JUST FSP EGO SND ▄█▀ ▄███▄░▐▌██░█ ██▒ █ ▓█ and other great groups (soon new nfo :) ▄▓▀ ▄█████ ███ ██ █ █ ▓█ ▄█ ▄█████▀ ▄█▀ ██ █ ██ ▒▓ ▓█ ▐ ░ and all the people ▒█ █████▒ █▀ ▓█ ▒███ ██ ░█ ▓█ ▐▄ ░░ ▓█ ▄███▓▀ ▄█▀ █▒█ ▓█ ██ █ █ ██ ▐▄ ▒░░ who keep 'The Scene' alive. ▐█ █▀ ▄▄█▀▀ ██ █ ▒█░ █ ███ ░█ ▐▄ ▓▒░░ ██ ▄███▒ █ █▓█ █▓████ █ ▐▄ ▓▓▒░░ ▀████▀▀ ▀▓███▒ ▒██ ███▓▒█ ▒█ █ ▐▄ █▓▓▒░░ ▀██▄ ██ ▓▒ ████ █ ▀█▄ ▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀█▄▄ ▀██▓ ▒▓░██▓ █ ▀▀▀▀ ▀▀ ▀ ▀▀█▄ ▀██ ▓█▒ ░▒ █▓ ▀█▄ ▓█▄ ██ ▒█ NFO Created with Morgoth's MP3Releaser █▄ ▀██░ ██▀ ░█▌ ▀█ ░██ ▄▄█▀▀ ▀█▄ ▀██████▀▀ KenFw ▀