Sanatçının Albümleri
Big Big Money
2017 · single
Still Neva Enuff (Standard Edition)
2017 · mini albüm
Street Dreams
2017 · single
Supatech
2017 · single
The New Beginning
2017 · albüm
JOY&PAIN
2017 · single
Diamond In The Sand
2014 · single
Summertime In The City
2014 · single
25 To Life
2013 · albüm
Young Soldier
2013 · single
Moonlight
2013 · single
Black World/White Heat
2012 · albüm
I Do It
2012 · single
Mr. Miyagi
2012 · single
Blue
2011 · mini albüm
Fly Away
2010 · mini albüm
Butterfly City
2010 · mini albüm
The Anthology
2008 · single
The Anthology
2008 · albüm
Bushido
2008 · single
My People
2007 · single
Not Your Boyfriend
2007 · single
Stop Playin' a Wall
2006 · mini albüm
Oh Yeah
2005 · mini albüm
Perfect Queen
2003 · mini albüm
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Biyografi
A founding member of Japan's seminal hip hop group King Giddra, Zeebra was part of the force in Japanese hip hop turning from the party-rap promoted within the usual confines of J-Pop into a socially conscious version of the genre. Building upon a foundation of Public Enemy, King Giddra used rap as a platform for social commentary and built a massive following. By 1997, Zeebra had left the group (to return briefly for a new album in 2002) in favor of a solo career. Furthering the fame accorded as a result of King Giddra's popularity, Zeebra expanded his style into wider territories. Quickly becoming the brightest star in the emerging market, Zeebra released Mr. Dynamite in 1999, the first hip hop single to break the top 50 on the Japanese pop charts. Concurrently, the Zeebra brand expanded into television with Beats to Rhyme, the first show devoted to hip hop in the country, into fashion, into advertising, and into movie soundtracks. A number of albums were released as Zeebra's star grew, starting with 1998's The Rhyme Animal and reaching major success with 2000's Based on a True Story. 2008's Bushido quickly reached the top 10 on the Japanese pop charts, as Zeebra expanded into collaborations with American artists and producers (working with Scott Storch and Swizz Beatz) and production of other Japanese rappers as well as J-Pop artists (mirroring to a degree the absorption of hip hop aesthetics into pop music taking place in America concurrently). ~ Adam Greenberg, Rovi