SKU: 19413196939

A New State Of Grace (Colored LP)

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A New State Of Grace (Colored LP)IMITED TO 500 COPIES WORLDWIDE PRESSED ON RED SMOKE COLORED VINYL Boston legends Slaine and Statik Selektah reunite for A New State of Grace, the highly anticipated follow up to their 2011 collaborative album A State of Grace. Fourteen years later, the duo has returned with an 11 track record that captures the energy of the original while carrying the weight, wisdom, and scars of everything thats happened since. It feels like a homecoming as far as

IMITED TO 500 COPIES WORLDWIDE

PRESSED ON RED SMOKE COLORED VINYL

Boston legends Slaine and Statik Selektah reunite for A New State of Grace, the highly anticipated follow-up to their 2011 collaborative album A State of Grace. Fourteen years later, the duo has returned with an 11-track record that captures the energy of the original while carrying the weight, wisdom, and scars of everything that’s happened since.

“It feels like a homecoming as far as going back to where it started,” says Statik. “Me and Slaine got over 20 years of friendship and a lot of musical history.”

Slaine echoes that sentiment, highlighting the trust and growth between them: “At this stage of the game, I really only work with my good friends musically. It’s a beautiful thing to do a project with Stat. My respect for him is top tier.”

That chemistry is evident across the album. There’s no filler—just sharp lyricism and signature Statik production, from the opening title track to standout cuts like “Listen Up” and “World Don’t Stop,” where Slaine balances reflections on life and maturity with his trademark grit and bravado.

The guest list is just as heavy: Ill Bill shows up on the brassy “Cancel Culture” before rejoining Slaine alongside Paul Wall on the funky “Coka Grillz.” O.C. and Masta Ace trade verses with him on “The Real Shit,” a head-nodding anthem that cements the project’s pedigree. We also see features of note from KXNG Crooked, Millyz, Termanology, Rasheed Chappell and OT The Real.

What ties it all together is the hunger running through A New State of Grace. It’s not just music—it’s urgency, energy, and a reminder of why this duo’s voice is needed right now.

Side A 

A1. A New State Of Grace
A2. Cancel Culture (ft. Ill Bill)
A3. Listen Up
A4. Ambition Of The Crown (ft. Millyz)
A5. It's All Good
A6. Aint Been The Same (ft Haile Supreme)

Side B

B1. Coka Grillz (ft. Paul Wall & Ill Bill)
B2. Crumbled God (ft. Rasheed Chappell & Termanology)
B3. The Real Shit (ft. OC & Masta Ace)
B4. Gusto (ft. OT The Real & Kxng Crooked)
B5. World Don't Stop

All Songs produced by Statik Selektah

Mixed and Mastered by The Arcitype 

Additional keys and co-production on tracks 1, 4,6 and 11 by The Arcitype

About Statik Selektah:

Statik Selektah is a producer, DJ, and radio personality originally from New England and now based in New York City. He is the founder of Showoff Records, host of ShowOff Radio on Shade45 (SiriusXM), and one of hip-hop’s most respected producers, having worked with Nas, Black Thought, Bun B, Joey Bada$$, Mac Miller, and countless others. He has released over 10 solo albums along with collaborative projects with Bun B, Freddie Gibbs, Action Bronson, Saigon, Curren$y, Kota the Friend, and more.

About  Slaine:

Slaine is a Boston-bred rapper and actor known for his raw voice and intricate wordplay. A founding member of La Coka Nostra (with Ill Bill, Danny Boy, and Everlast of House of Pain), he has released six solo studio albums and more than a dozen collaborative projects. His acting credits include major roles in Ben Affleck’s Gone Baby Gone and The Town, as well as Killing Them Softly (with Brad Pitt), Central Intelligence (with Dwayne Johnson & Kevin Hart), Let Me Make You a Martyr (with Marilyn Manson), Ida Red (with Josh Hartnett), Joker: Folie à Deux(with Joaquin Phoenix & Lady Gaga), and King Ivory, which won the Ambassador of Hope Award at the Venice Film Festival and premieres in the U.S. in 2025.  Beyond music and film, Slaine is a leader in Boston’s recovery community. After overcoming addiction, he founded a 111-bed inpatient detox facility in 2022 and, in 2024, launched an outpatient mental health program centered on music, art, and expressive therapy called Grand Rising Behavioral Health.

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SKU: 19413196939

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4.0 ★★★★★
Based on 22 reviews
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Bookworm
Alexandria, US
★★★★★ 5
It's All Right Here. All of it.
Format: Hardcover
I shouldn't even be writing this review because doing so only creates my competition. I'm writing it for Robert McKee out of respect and love for him as one of the best instructors I've never met. I have both STORY and now, DIALOGUE in hardcover, on my Kindle, and the audio version (he narrates his books) in my headphones. I read it, I listen to it and take it with me when I travel. Sometimes I listen and read at the same time. Most nights I listen to the audio version in my sleep. In other words, I eat, sleep and breathe this book. I did the same thing with Story, his other book. I may go to my grave never fully comprehending the vast wealth of knowledge contained in these two books. That's OK. What I can tell you is this. With nothing but STORY as my guide, my very first screenplay took seven months and thirty-five drafts from start to finish. But. That screenplay became a Hallmark Movies and Mysteries feature film. The producers liked it so much they gave me another assignment. That one took six weeks, and they bought the first draft. I'm now working on my fifth script; this one is in the six-figure category, with five figures upfront just for the Treatment. And I owe it all to everything I've learned from studying Robert McKee, supplemented by what I learned from everyone else. Over the past thirty years, I’ve studied with forty plus instructors and highlighted hundreds of books and listened to dozens of recorded seminars. All that information is summed up and thoroughly explained in Robert McKee's two books STORY and now DIALOGUE. I won't live long enough to absorb everything he teaches. And I still study two hours a day as a warm up for my writing. I’d recommend Aaron Sorkin, Warner Hertzog, William Goldman (both Sorkin and McKee say he's the greatest), Blake Synder, Chris Vogler, Michael Hauge, William Akers, and anybody else you can find who’s willing to share their knowledge. Because you never know when a concept you didn’t realize you didn’t understand or needed is going to show up. Especially when presented from a different perspective. Having said that, if you are serious, and I mean dead serious, about becoming a working screenwriter, or any other kind of fiction writer for that matter, then you have no choice but to study McKee like your literary life depends on it. Buy the hardcover, buy the Kindle version, and buy the audio version of DIALOGUE and STORY. And supplement these two works with any other material that speaks to you. If you do this, you will become a first class screenwriter or novelist or playwright, because all three genres are only different ways of presenting a Story. If you can’t commit to this, unless you’re a genius or prodigy, you’re wasting valuable time which could be spent following your true life calling. But if your heart’s desire is to become a working writer, then sooner or later you’ll have to know everything in McKee’s two books. So, you might as well bite the bullet and jump in head first. It's all right here in STORY and DIALOGUE. All of it. Thank you, Mr. McKee. You, sir, changed my life.-- Jimmy Hager
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Reviewed in the United States on September 21, 2016
J
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jk Smiles
West Palm Beach, US
★★★★★ 5
A book on dialogue should be experienced first as a book on tape
Format: Audio CD
I think of this more as a great master class lecture. Dialogue should be seemingly simple (we all talk), but McKee defines its essence and differences for prose, stage and cinema. The bulk is narrated by McKee, but the scene examples are read by voice actors and they do quite well. Even the roots of the English language are examined in order to make better decisions on your character's particular use of words. After listening the 10 hours twice while commuting, I finally picked up the book and read it. The book on tape is a better way to initially absorb the material, while the actual book helps to clarify the info. A must for all writers, especially screenwriters.
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Reviewed in the United States on August 30, 2018
L
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Lori T. Sly
Massapequa, US
★★★★★ 4
Helpful, but not as good as "Story" by same author, and it disses certain genres
Format: Hardcover
This book contains a lot of helpful information on how to write dialogue. It's dense with dialogue analysis and insights, tough to take in by just reading it through once. But it is helpful. McKee covers the three dialogue tiers (said, unsaid, unsayable) as well as how dialogue ties into story turning points and scene conflict type. I still have lots of practice ahead of me to figure out how best to do this in my story. I will definitely use his advice as a guide. He understands dialogue at a much deeper level than I do. However, many of McKee's dialogue examples did not speak to me. While I liked reading the dialogue examples for Breaking Bad, 30 Rock, The Sopranos, Frasier, A Raisin in the Sun, and The Great Gatsby, and agreed they were good, I disliked the dialogue from Shakespeare, Elmore Leonard, Sideways, Fraulein Else, and Lost in Translation. McKee says fine dialogue turns the reader/audience into a mind reader; I guess I'm not interested in movies which expect me to be as much of a mind reader as those latter examples did. I totally missed the subtext of the dialogue in those until he explained it to me as an aside. And that's after I already saw most of those movies! If I have to guess what every character means with every line, that's too much work and too little entertainment for me. Maybe mystery lovers liked the dialogue in "Lost in Translation"; I'm not a mystery lover. McKee quoted one novelist as saying that the crux of good writing is to, "Make em laugh, make em cry, make em wait." Lost In Translation and its dialogue did none of that for me. The subtext was so confusing and subtle that I lost interest in the movie. I can't even remember what it was about anymore, only that it won some award and I had no clue why. McKee says that with rare exceptions, a scene should never be outwardly and entirely about what it seems to be about. Dialogue should imply, not explain, its subtext. An ever-present subtext is the guiding principle of realism. Nonrealism, on the other hand, employs on-the-nose dialogue in all its genres and subgenres: myth and fairytale, science fiction and time travel, animation, the musical, the supernatural, Theatre of the Absurd, action/adventure, farce, horror, allegory, magical realism, postmodernism, dieselpunk retrofuturism, and the like. It's a bit unclear how, if at all, anyone writing in any of these "nonreal" genres should take his dialogue advice. It seems to me that even sci fi scenes need some good dialogue with subtext to be engaging. With McKee, all the accolades go to what is implied and unsaid over what is said. I agree that subtext matters, but for me, he's out of proportion with how much it matters to most people and how hard audiences are willing to work to discover the intended subtext. Also, memorable spoken character lines can elevate movie themes and characterization like nothing else. In the end, I think this book is geared more toward writers who want other advanced writers as their audience rather than the average reader or movie watcher. And McKee admits it is definitely not geared toward sci fi, fairytales/myths, action/adventure, horror or allegory. It's almost as if he's saying those genres can't have excellent dialogue. I disagree. But it was still a helpful book to read, and one I will be thinking about and trying to more fully understand for a long time. McKee understands how character's subconscious drives can deepen what they say or avoid saying, and how dialogue interacts with many other aspects of a story to make it all work together.
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Reviewed in the United States on December 12, 2019
R
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Ray Pryor
Louisville, US
★★★★★ 5
Amazing.
Format: Kindle
Just like a good movie, the first 10 pages = mind blown. Wow, such really, really good material here. If you're new, this will help you a ton. If you're experienced, this book will help you realize WHY great dialogue is so great, enabling you to create the magic again and again. I love how McKee covers several medias ( screen, theater, novel ) but still stays true and clear on the concept. A virtual masterclass on the subject. One of the best screenwriting books out there, and Yes, it's well worth all the hype.
WAS THIS REVIEW HELPFUL?YesReportShare
Reviewed in the United States on April 18, 2017
K
Verified Purchase
Kindle Customer
Pawtucket, US
★★★★★ 5
So to speak
Format: Kindle
Previews did not show the Table of Contents, but it is worth searching the web for. The coverage includes practical techniques as well as case studies. Notes cover titles on topics over several decades. This book has four parts about what dialogue is, how it can mended, and how it can be created and designed. Trialogue, the third thing through which a pair of characters channel conflict in conversation, is an interesting concept because it overlaps social networks or media and comms devices; it is also looked at historically. Dialogue is reportedly the quickest way to fix a narrative text since it appeals to intuition. Those levels of depth are what the book is about. They can be found in first person voice. The approach could easily fill a site on the order of tropes for favorite titles, but for deconstruction and revision, which are also relevant to works in progress. It talks about finding characters in the dark, though not necessarily from the milieu, unless it were compressed and made to transfer meaning like in poetry, but reflexive so that it is symmetrical to the characters or human nature. If there is a boundary to be found, then this method is going to hit the lines to find out what happens then. The impact on the rest of the narrative elements is discussed. This extends back through the early philosophers, through tragedy, the merging of European roots into English, and the study of personalities to contemporary customs. Voice is plot.
WAS THIS REVIEW HELPFUL?YesReportShare
Reviewed in the United States on June 12, 2017

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