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Track List
01) Kids That Love to Dance
02) Just Be Good to Green
03) I Need You Tonight
04) City of Gold
05) Oh My God
06) Jungle
07) Do for You
08) Falling Down
09) Monster
10) Closing the Door
11) Where Do We Go
12) Goodnight
13) Crying Game
01) Kids That Love to Dance
02) Just Be Good to Green
03) I Need You Tonight
04) City of Gold
05) Oh My God
06) Jungle
07) Do for You
08) Falling Down
09) Monster
10) Closing the Door
11) Where Do We Go
12) Goodnight
13) Crying Game
2:46
3:24
3:45
4:02
3:51
3:13
4:21
3:53
3:08
4:00
3:47
4:43
3:54
Data Complete
70%
Total Rating
70%Total Rating
(0 users)
Back Cover
CD Art
3D Case
3D Thumb
3D Flat
3D Face
3D Spine
First Released
2010
Hip-Hop
Poignant
Hip Hop
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Album
0 copies
Album Description
Available in:
Alive Till I'm Dead is the debut studio album by English rapper Professor Green, that was released on 16 July 2010. The album features guest vocals from the likes of Lily Allen, Example, Labrinth and Emeli Sandé, among others.
Just Be Good to Green was originally made back in 2007 when Professor Green was signed to The Beats. The track was composed and produced by Semothy Jones and at the time featured Neon Hitch on the chorus. Though when The Beats folded the track was put on hold. Also Professor Green spoke about how the collaboration came about between him and Lily Allen, the pair got speaking through Facebook. Green stated "We got chatting on Facebook and I mentioned the track, which turned out to be one of her favourite songs. She suggested her singing the chorus. I didn't take much persuading! Lily's wicked. She's straightforward and honest, you always know where you're at with her."
User Album Review
Stephen Manderson’s stage alias echoes the big-band era of jazz giants Count Basie and Duke Ellington, whose assumed titles forced America to show respect in a world where black society had none.
When Professor Green started MCing at the age of 18, a white rapper from east London needed respect even in hip hop’s post-Eminem empire. It soon arrived. He won his first rap battle in 2005, subsequently got signed to Mike Skinner’s The Beats label, and today finds himself on Virgin’s books. In April 2010 he scored a number three single with I Need You Tonight – suffice to say he’s fully earned his professorial stripes.
Not that Green (that part derives from his fondness for a smoke) is an uptight, academic brand of word wizard. Even if it’s much edgier than Dizzee’s current output, Alive Till I’m Dead is aimed squarely at the pop market. It’s also quite brilliant; as fizzy, dramatic and inventive as pop should be, with the cunning stunt of riding an old classic, like updating The S.O.S. Band’s Just Be Good to Me, as well as Beats International’s response Dub Be Good to Me, with his own Just Be Good to Green, which guest crooner Lily Allen will doubtless help to the top of the chart (the dubstep-speedy Monster will be the next single).
Green and his cohorts (including Future Cut, Naughty Boy and Thunder Catz) are also unafraid to embrace funk (Kids That Love to Dance’s bass moves like a snake) and rock (the mood of City of Gold and Oh My God is more Kasabian than The Streets). Stir in a tangible vulnerability rather than the usual braggadocio – he’s often chasing the girl rather than vice versa – and Green captivates in all manner of ways, not just with street truths and teeth-chattering rhythm. Do for You, for example, has a needy edge beneath its staccato beats that you rarely find in grime or rap.
Even so, Green retains grime’s nervy thrust, keeping tabs on his Hackney roots and the rawer edge of his 2006 debut album Lecture #1. Jungle is close to a UK response to (rather than a copy of) Eminem’s pent-up style, and the closing Goodnight is a piano-driven lament for his late great-grandmother (who raised him after his parents went AWOL) and father, every bit as insistent, tense and great as Em’s Lose Yourself. Green may dismiss the comparison in interviews, but it’s one that indicates the kind of impact he promises to make.
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User Comments
Available in:
Alive Till I'm Dead is the debut studio album by English rapper Professor Green, that was released on 16 July 2010. The album features guest vocals from the likes of Lily Allen, Example, Labrinth and Emeli Sandé, among others.
Just Be Good to Green was originally made back in 2007 when Professor Green was signed to The Beats. The track was composed and produced by Semothy Jones and at the time featured Neon Hitch on the chorus. Though when The Beats folded the track was put on hold. Also Professor Green spoke about how the collaboration came about between him and Lily Allen, the pair got speaking through Facebook. Green stated "We got chatting on Facebook and I mentioned the track, which turned out to be one of her favourite songs. She suggested her singing the chorus. I didn't take much persuading! Lily's wicked. She's straightforward and honest, you always know where you're at with her."
User Album Review
Stephen Manderson’s stage alias echoes the big-band era of jazz giants Count Basie and Duke Ellington, whose assumed titles forced America to show respect in a world where black society had none.
When Professor Green started MCing at the age of 18, a white rapper from east London needed respect even in hip hop’s post-Eminem empire. It soon arrived. He won his first rap battle in 2005, subsequently got signed to Mike Skinner’s The Beats label, and today finds himself on Virgin’s books. In April 2010 he scored a number three single with I Need You Tonight – suffice to say he’s fully earned his professorial stripes.
Not that Green (that part derives from his fondness for a smoke) is an uptight, academic brand of word wizard. Even if it’s much edgier than Dizzee’s current output, Alive Till I’m Dead is aimed squarely at the pop market. It’s also quite brilliant; as fizzy, dramatic and inventive as pop should be, with the cunning stunt of riding an old classic, like updating The S.O.S. Band’s Just Be Good to Me, as well as Beats International’s response Dub Be Good to Me, with his own Just Be Good to Green, which guest crooner Lily Allen will doubtless help to the top of the chart (the dubstep-speedy Monster will be the next single).
Green and his cohorts (including Future Cut, Naughty Boy and Thunder Catz) are also unafraid to embrace funk (Kids That Love to Dance’s bass moves like a snake) and rock (the mood of City of Gold and Oh My God is more Kasabian than The Streets). Stir in a tangible vulnerability rather than the usual braggadocio – he’s often chasing the girl rather than vice versa – and Green captivates in all manner of ways, not just with street truths and teeth-chattering rhythm. Do for You, for example, has a needy edge beneath its staccato beats that you rarely find in grime or rap.
Even so, Green retains grime’s nervy thrust, keeping tabs on his Hackney roots and the rawer edge of his 2006 debut album Lecture #1. Jungle is close to a UK response to (rather than a copy of) Eminem’s pent-up style, and the closing Goodnight is a piano-driven lament for his late great-grandmother (who raised him after his parents went AWOL) and father, every bit as insistent, tense and great as Em’s Lose Yourself. Green may dismiss the comparison in interviews, but it’s one that indicates the kind of impact he promises to make.
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