The Hip Hop Project

[Music] Slot-A – Do You Need It (Plus 4 new remixes)

screen-shot-2017-01-24-at-7-59-10-pmNew music and remixes from Slot-A! Do You Need it has a swift bounce, and range of funk that will turn a party out. Bonus remixes also can be found as well. Gotta love it because it’s Bang.. HOT!



[Podcast] The Hip Hop Project f/ 7oddz (1.31.16)

thhp7 Oddities newest members, Roy Hobes and Billie Dee Boodah join Slot-A and DJ Scend to talk about their latest album, Out For Blood, Volume 3.

[Podcast] The Hip Hop Project [6.20.15] The 7Oddz Takeover

Screen Shot 2015-03-22 at 7.11.37 PMDJ Scend hosts this Father’s Day weekend show that features 7 Oddities recording members to talk about their latest release, The Takeover.

We also put out an open challenge to our listeners to put out a dope song dedicated to Dad. If you have one, hit us up at !

The Hip Hop Project has been on air since 1995 and is one of America’s longest running hip hop radio mixshows. Be sure to tune in every Saturday night to catch DJ Scend & Slot-A from 10p-12a CST on 88.7 FM if you’re in Chicago and/or worldwide.


L to R: Sev Seveer, Cosm Roks, Mr. Echoes, Lumba, Meta Mo

L to R: Sev Seveer, Cosm Roks, Mr. Echoes, Lumba, Meta Mo

To celebrate 20 years of The Hip Hop Project we look back on some of the best moments from the longest running mix show in the country. By CosmRoks (The Voice of The Hip Hop Project, 1998-2010)

In 1998, I was a High School Sophomore when I started working on The Hip-Hop Project. At that time my taste in Hip-Hop  really started to expand as I met other kids in school. I first met Roper around the time Eminem got “Unsigned Hype” in The Source. Like any other Hip-Hop kids of my era and those before it, trading tapes was huge. It’s how your world expanded. You would learn about new underground MC’s and you could put your peers up on artists you liked. One of the groups I loved the moment I was introduced to underground Hip-Hop was Rubberoom.

I first remember hearing Rubberoom when The Molemen dropped the “Taste Of Chicago” 12″. Shortly there after there was Mixx Massacre’s “5 Fingers of Death” Mixtape. I played that tape until it damn near melted. Then, of course, there was “White Hot Razors”. Rubberoom, to me, was Chicago Hip-Hop personified.

When I first started volunteering at WLUW, the single “Smoke” was getting tons of airplay, and it remains a classic to this day. All the songs mentioned above created a momentum leading up to one of the most anticipated albums in Chicago Hip-Hop history: Rubberoom’s “Architechnology”. Again, I was new to the scene but I recall the entire Hip-Hop community rallying around this album and supporting it. This was clearly a big deal. Aside from the signature Opus production, the album featured over a dozen local DJ’s. They even had their pictures in the liner notes. I don’t recall a group showing love to DJ’s Norm, Massacre, Rude, etc. I remember going to Gramaphone as a youngster and seeing those guys like celebrities. I recently found the extremely dope flyer (designed by Stizo) promoting the “Architechnology” album. We all had it on our graf books, walls, and notebooks in school. The album ended up being critically acclaimed, and eventually cemented itself as a Chicago classic.

Years went by, and Lumba and Meta Mo eventually parted ways having only recorded two studio albums as Rubberoom. But in 2011, they reunited for their “Rebooted” Mixtape and we were lucky enough to have them on the show for the first time in well over a decade. Mr. Echoes brought them in, as he had been a friend of the show over the years through his work with The Opus, Earatik Statik, Thawfor etc.That night was a great show, we played a ton of old Rubberoom joints, and talked about the group’s history. I always felt that we missed many great opportunities (for whatever reason) to interview the “big” artists like Common, Kanye, etc. but getting the chance to sit down with Rubberoom was a night I will always remember. Chicago’s Hip-Hop scene would not be the same without their contributions.



This photo was taken April 8th 2006 at The Note. (Pictured L to R: Selfish, Cosm Roks, Sham God aka Danny S, Ogun, Kevin, Doc West)

To celebrate 20 years of The Hip Hop Project we look back on some of the best moments from the longest running mix show in the country. By CosmRoks (The Voice of The Hip Hop Project, 1998-2010)

Around this time ten years ago I received an .mp3 from a friend that would begin one of the best times of my life both personally and professionally. The friend was Manos and the song was called “Autobiography” from an artist named Sham God. I loved everything about the song. Production was dope and the voice was new to me (even though heads knew Sham for a while already). It was grimey and soulful at the same time, with sharp punchlines and metaphors. An instant THHP banger.

I remember I had just bought my Technics CDJ turntable with the backpay I received from my job after I had an appendectomy (should have appreciated  insurance more back then). I gave the song a lot of love on radio, mixtapes, and at parties thanks to this new technology.

Being able to mix CD’s like vinyl allowed me to stand out from the crowd as a DJ in the days before Serato. Naturally, I started cranking out mixtapes to get the THHP name out and I began to establish my sound as a DJ. I needed to hear more from this cat Sham God. I remember seeing him perform at the local spots and he had this mixtape where he spit original songs over Jay-Z’s “Black Album”. Naturally it was called “The Po Black Album”. It only reinforced the idea that I needed to collab with this dude. The feeling between Sham and I was mutual and we were off.

Manos was living in Boston at the time, and we spoke a lot over AOL Instant Messenger (I don’t think I’ve thought of AIM for a decade). It was dope because he could play me beats he was working on. He was sending me some heat and I was really excited about this project. This would be my first time working directly with artists during in the recording process, so it was very new to me. We started by recorded a couple songs at DNA Studios up in Rogers Park, which DNA also produced. Also at the session was Ogun. He was such an important part of the project, he made dope beats and we already knew each other from back in the day. He was the driving force behind Sham’s “Stealing Money” LP (an underground classic that never got the shine it deserved). I remember reaching out to a lot of producers I wanted Sham to collab with. One of the first to bring something to the table was Doc West of Single Minded Pros. I really looked up to Rude and Doc West (still do) and I was glad to have Doc contribute the first real song which was called “I don’t have to go that far”. It featured a great vocal sample of Kool G Rap from “Truly Yours” and it was just a fun record. It basically became the first single used to promote the mixtape.

We did the majority of the original songs at Franco De Leon’s studio. It was a really nice vibe there on Milwaukee Avenue and Lawrence. Selfish from Green Llama came through, Doc West came through and redid the beats on his MPC, even Chicago/Scribble Jam legend DJ Presyce laced us with a beat. I was thrilled to be involved in the process. This is where I also learned about the concept of booking studio time and mixing and mastering costs. I learned that if you don’t have your sh*t together, you could be out of money QUICKLY. Franco was so professional and efficient. He did a great job with everything.

We decided to title the mix “The Fear of God”. This was years before the Pusha T tape of the same name. Then Sham decided to change his name to Danny S. I loved the artwork and the title too much, so I said “F it” and ended up putting “Sham God aka Danny S”.

We ended up doing the release party at The Note. Anyone who remembers that spot knows it was the perfect venue to do a show like that. In my eyes, the project was a success. The strength of the tape allowed us to perform at additional live shows, including Chicago Rocks. THHP has had the privilege of working with many talented MC’s with varying degrees of success, but we always worked with who WE thought was dope. “Tastemakers” (hate that word) may have not always agreed with us (don’t care) and I’m still proud that we never compromised over the years. I haven’t spoken to Sham in years but working on that project was an experience I will never forget.