tag:blogger.com,1999:blog-70692608807342929772024-02-21T09:24:39.980-08:00Hippy HopzFor everything beer and hip-hopAnonymoushttp://www.blogger.com/profile/11386434445283092842noreply@blogger.comBlogger16125tag:blogger.com,1999:blog-7069260880734292977.post-15373660395680765192013-10-18T10:08:00.002-07:002013-10-18T10:08:40.977-07:00God > King
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<h2 style="text-align: center;">
Rap God</h2>
<div class="separator" style="clear: both; text-align: center;">
<br /></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgzia1BkFj3FeD1KTbXL-8MN-MMYKmAN7tr0V_zXglIj5CSMege4epng-bCFjzxnGqJt6Pt9tVZF-r0JV60Zs5239CaBkLZ8DPWPAh47A-NaNsjPzQ_ZcX6wZm3zWUFc8o-3DgteEgO4QjC/s1600/eminem-rap-god-cover.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgzia1BkFj3FeD1KTbXL-8MN-MMYKmAN7tr0V_zXglIj5CSMege4epng-bCFjzxnGqJt6Pt9tVZF-r0JV60Zs5239CaBkLZ8DPWPAh47A-NaNsjPzQ_ZcX6wZm3zWUFc8o-3DgteEgO4QjC/s320/eminem-rap-god-cover.jpg" width="320" /></a></div>
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“Why be a king when you could be a God?” For real though,
right? When Slim Shady’s latest single “Rap God” begins, fans are thinking, “uh
oh, not this Eminem again!” By song’s end, they are quickly bowing down at the
feet of the newly self-proclaimed God of rap. Eminem literally brings just
about every single possible flow to the table with this six-minute, essentially
hook-less lyrical destruction. His technical excellence matches his lyrical
intelligence on this one, as it appears he was truly motivated when it came to
penning this one. With Marshall Mathers LP 2 rapidly on the way, is it safe to
say that Eminem is back? I believe it is safer to say that this new approach
from Eminem is once again different than before, but quite possibly the best we
have gotten from him since MMLP (1).</div>
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What are your thoughts on the new GOD of hip-hop?</div>
<!--EndFragment-->Anonymoushttp://www.blogger.com/profile/11386434445283092842noreply@blogger.com0tag:blogger.com,1999:blog-7069260880734292977.post-75021780169678241222013-10-11T10:52:00.002-07:002013-10-11T10:52:21.838-07:00The Marshall Mathers LP 2<!--[if gte mso 9]><xml>
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<h3>
The Expectations...</h3>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgLj-mLG78537h6OSKkJKUIiSGU8pCCbgKqp8rvUUi18Rb5f0qrbrC-sPXZI4AdKFLHhCObx4npN6AzTXLwzuVt2ySE_7QC_OHUwmyeQrJZ6n9YmhUAxLx2stiCJxTP6ZhdsB83bXozW_bA/s1600/eminem-mm2.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="290" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgLj-mLG78537h6OSKkJKUIiSGU8pCCbgKqp8rvUUi18Rb5f0qrbrC-sPXZI4AdKFLHhCObx4npN6AzTXLwzuVt2ySE_7QC_OHUwmyeQrJZ6n9YmhUAxLx2stiCJxTP6ZhdsB83bXozW_bA/s320/eminem-mm2.jpg" width="320" /></a></div>
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So, what are we to expect from <i><a href="http://en.wikipedia.org/wiki/The_Marshall_Mathers_LP_2">MMLP2</a></i>?
Here’s a look at the <a href="http://www.billboard.com/articles/columns/the-juice/5755299/eminem-reveals-mmlp2-tracklist">track
list</a>:</div>
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1. Bad Guy<o:p></o:p></div>
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2. Parking Lot (Skit)<o:p></o:p></div>
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3. Rhyme Or Reason<o:p></o:p></div>
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4. So Much Better<o:p></o:p></div>
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5. <a href="http://www.youtube.com/watch?v=NlmezywdxPI">Survival</a><o:p></o:p></div>
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6. Legacy<o:p></o:p></div>
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7. Asshole Ft. Skylar Grey<o:p></o:p></div>
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8. <a href="https://itunes.apple.com/us/album/berzerk-single/id692543258">Berzerk</a><o:p></o:p></div>
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9. Rap God<o:p></o:p></div>
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10. Brainless<o:p></o:p></div>
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11. Stronger Than I Was<o:p></o:p></div>
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12. The Monster Ft. Rihanna<o:p></o:p></div>
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13. So Far…<o:p></o:p></div>
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14. Love Game Ft. Kendrick Lamar<o:p></o:p></div>
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15. Headlights Ft. Nate Ruess<o:p></o:p></div>
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16. Evil Twin<o:p></o:p></div>
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We know that, based on this set of 16
tracks, there is lots of potential here for Eminem to work with. He links up
for the second time with Rihanna and for the first time with Kendrick Lamar.
There does not seem to be a shortage of tracks on this project here either. We
also know that Rick Rubin and Dr. Dre have teamed up as co-executive producers
on <i>MMLP2</i>, which would lead us to
believe that is a very positive thing. However, Dr. Dre WAS the executive
producer on Eminem’s critically terribly received <i>Relapse</i>. We still have not been informed as to who is actually
providing the instrumental backdrops for each song, track for track. Will Mr.
Mathers employ all superstar, big name producers or will he try to rekindle the
energy he once had with lesser-known Detroit-native producers he had worked
with on projects such as <i>The Slim Shady
LP</i> and <i>The Marshall Mathers LP</i>
(1). <o:p></o:p></div>
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Additionally, what flows will Em spew out
this go around? Shall he come with the <i>Recovery</i>
in-your-face-stacked-vocals-all-over-the-place-chaotic approach or will he
deliver the smooth-witty-not-stacked-clear-funny-demonic approach he blew up
off of from his early days in the rap game? There are many questions still left
to be answered before we can fully know what to expect from <i>MMLP2</i> this November 5<sup>th</sup>.<o:p></o:p></div>
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Comment on what you feel we could/should expect from Eminem's upcoming <i>MMLP2</i>...</div>
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<br /></div>
<!--EndFragment-->Anonymoushttp://www.blogger.com/profile/11386434445283092842noreply@blogger.com0tag:blogger.com,1999:blog-7069260880734292977.post-66322103984741302982013-10-08T09:54:00.004-07:002013-10-08T09:54:48.557-07:00MNIMN: Modern Classic?
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<!--StartFragment-->
<br />
<h3 style="text-align: center;">
Pusha T's My Name Is My Name</h3>
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjltkjR7vNW5qtNHngPrAUJGIn4M7kqpncvrYLQ7wFO1s1AtJ-gHwMYcVT0GFUyEhuFSXIZWzvQtVR_dLRzUKPwkRoOh3YcHILmYrYHbc3LSjWA9bBYsGyBH63BkHvz25PRc5HQVDw7v36n/s1600/pusha-t-mnimn-cover-1.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjltkjR7vNW5qtNHngPrAUJGIn4M7kqpncvrYLQ7wFO1s1AtJ-gHwMYcVT0GFUyEhuFSXIZWzvQtVR_dLRzUKPwkRoOh3YcHILmYrYHbc3LSjWA9bBYsGyBH63BkHvz25PRc5HQVDw7v36n/s320/pusha-t-mnimn-cover-1.jpg" width="320" /></a></div>
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I cannot remember the last time hip-hop actually felt and
sounded like what it did when I was copping CDs every Tuesday back in high
school. Pusha T’s <i>My Name Is My Name </i>has
restored the feeling, as one of hip-hop’s OGs finally releases his solo debut.
Pusha T dominated the early 2000s with his brother No Malice, where the
legendary duo was dubbed <i>The Clipse</i>.
When Kanye West first re-introduced Pusha T on the smash single “Runaway,” rap
fans quickly grew eager to see what Push could bring to the table on his own.
Mr. West did not hesitate to sign Pusha T to G.O.O.D. Music, and now, after
multiple delays, <i>My Name Is My Name</i>
has arrived.</div>
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Originally, Joaquin Phoenix was credited as the producer for
the opening track “King Push,” but he claims that it was actually the son of
one of his close friends who truly made the beat. The way this instrumental
hits in the car, it makes you wonder who the Hell this “son” of Phoenix’ friend
actually is. After just the first listen, it is clear that King Push is going
after Drake with the hook boasting, “I’m King Push, this king push, I rap n****
‘bout trap n****s, I don’t sing hooks.” This track serves as the perfect intro
to Pusha T’s MNIMN. </div>
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As the first track ends, the mood abruptly shifts as the
street single “Numbers On The Boards” plays loudly. This song provided Pusha T
with the dominating soundtrack to the summer, as people could hear it thumping
out of cars’ sound systems on street corners nation-wide. Here, King Push brags
with lines like “Givenchy fittin’ like it’s gym clothes, we really gym stars,
I’m like D. Rose, no D-League, I’m like these clothes, ’88 Jordan, leaping from
the free throw.”</div>
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On track number three, Pusha T receives some guest
assistance from fellow Virginia native, Chris Brown. At first glance, Chris
Brown does not seem like the right fit for a MNIMN feature. Surprisingly, Mr.
Brown provides a grimacing harmony on the chorus, as Pusha T pulverizes the
gritty production courtesy of none other than the likes of Swizz Beatz and Mr.
West. “Sweet Serenade” features perseverance-inspired lines like “came from the
bottom, no one said it would be fair, now I’m on this money, lounging like it’s
a beach chair.” By track’s end, fans instantly realize they are in for one heck
of an experience, brought to you by King Push.</div>
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The following track, “Hold On,” features Kanye West
production at its best plus a stellar guest appearance from Ricky Ross. Here,
Kanye provides Pusha T with a stage-setting, heartfelt backdrop for Push and
Officer Ricky to absolutely crush. This track presents us with an incredibly
honest duo of rappers rhyming together words like “got rich selling hope to the
hopeless, but I’m a thinker, methodic in my motives” and “water colors on my
neck, f*** rhyming when you blinding n****s, we ain’t the same color clarity of
diamond, n****.”</div>
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“Suicide” featuring Ab-Liva brings the feeling of late ‘90s
and early 2000s rap back to the forefront. Pharrell must have been saving this
gem for Pusha T for quite some time, as it sounds like Pusha T in his Clipse days.
“I’m still a snow mover, blow harder than tuba, designated shooters, turn weed
to woolers, condo in Atlanta, money counters like the NASDAQ, in that glass
back, the motor is the ass crack.”</div>
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In my humble opinion, the next track, “40 Acres” featuring The-Dream,
is the standout track on the entire album. As a matter of fact, it may be the
standout rap song from the past couple years. Here, fans will hear the most
honest Pusha T ever, in the truest form. The-Dream’s hook harmonizes, “trouble
world, trouble child, trouble times destroyed my smile, no change of heart, no
change of mind, you can take what’s yours but you gon’ leave what’s mine, I’d
rather die, than go home.” Pusha T comes on the track with heat, spitting
“unpolished, unapologetic, this cocaine cowboy pushed it to the limit, you
thought Tony in that cell would’ve made us timid, we found his old cell, bitch,
we searchin’ through the digits.” This track discusses his childhood fears and
the nightmares he was actually living, including what pushed him into dealing
drugs in the first place. “I was a goner, punished by karma, called him tar
baby, now he’s transcending genres.”</div>
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“No Regrets” featuring Jeezy and Kevin Cossom serves as an
anthem-sounding heavy hitter of a track for MNIMN. He and his fellow
coke-dealing rapper/friend rap with no regrets on this song, spewing out lines
such as “if I leave today, throw the keys away, but I’mma live today, I wanna
see tomorrow, I wanna lead the way.”</div>
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The next track, “Let Me Love You” featuring Kelly Rowland,
may be the closest thing to a misstep on Pusha T’s album. For some reason
though, it really is not a bad track in any way, shape or form. Pusha lets
loose his old-school Mase flow on this song, allowing Ms. Rowland to shine on
the highly energetic chorus. The-Dream takes credit for the production on this
song, and he too captures the essence of the late ‘90s with his
nostalgia-provoking instrumental. Here, Pusha provides us with his take on his
commitment in romantic relationships or lack there of, rapping “let’s get past
the nonsense and be honest, all the ones I sponsored clear my conscience, can’t
commit the crime without accomplice, we both to blame, let’s push the shame
behind us.”</div>
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On the single, “Who I Am” featuring 2 Chainz and label-mate
Big Sean, Kanye West again provides nothing short of awesome production. Fans
will hear the Ric Flair-inspired Pusha T go in on this track with confident
lines such as “always knew I could rule the world, let’s define what my world
is, knee deep in this dope money, damn near where my world ends… they said be
all you can be!” 2 Chainz and Big Sean both unfortunately accompany the track
with less-than-exceptional guest appearances. </div>
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The next track seems to be the rap fans’ favorite Pusha T
song to date, as “Nosetalgia” features Kendrick Lamar and tells the story of
the coke game from two different perspectives. Here, Pusha T explains his
come-up in the cocaine business from a seller’s mindset. Kendrick, on the other
hand, tells his story as a good kid from the mad city of Compton, California as
he watched members of his own family ruin their lives from cocaine addictions.
Generationally, the young Kendrick Lamar truly serves as the perfect feature
for this MNIMN track. King Push opens up with the lines “20 plus years of
selling Johnson & Johnson, I started out as a baby face monster, no wonder
there’s diaper rash on my conscience, my teething ring was numbed by the
nonsense.” Then, Kendrick pounces on the track with “my daddy dumped a quarter
piece to a four and a half, took a L, started selling soap fiends bubble bath,
broke his nails misusing his pinky to treat his nose, shirt buttoned open, taco
meat land on his gold.” Nosetalgia is a very clever title too, wouldn’t you
say?</div>
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The next track features the year-old single “Pain” featuring
Future, with a reproduced instrumental provided by Kanye West once again. When
Kanye went back in on this beat, he clearly approached it with the mindset of
totally recreating the entire feeling. As a result, Mr. West was successful. Pusha
T discusses the all-too-familiar feelings of pain he has endured over the
course of his life with lines like “in the kitchen with a cape on, apron,
tre-eight on, coulda been Trayvon, but instead I chose Avon.”</div>
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On the final track, produced by none other than Pharrell,
“S.N.I.T.C.H.” serves as the perfect outro to an already stellar MNIMN.
Additionally, Pharrell provides his vocals on the hook, and reveals that the
SNITCH acronym actually stands for “sorry n**** I’m tryna come home.” This
track features King Push taking on the perspective of being in prison and
snitching on old partners, friends and cellmates to shorten one’s prison
sentence and come home early. This track comes off almost as a classic, as it
is a uniquely original concept to discuss through rap lyrics. Pusha’s fierce
delivery features lines such as “nowadays n****s don’t need shovels to bury
you, pointing fingers like pallbearers how they carry you, so much for death
before dishonor, I just sit and wonder, play it by the numbers, when you ride
like lightning then you crash like thunder.”</div>
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Through and through, Pusha T’s twelve track, solo debut
effort on MNIMN may just be the best rap album of the year to date. Everything
from production to delivery to content connects with hip-hop fans in a large
way. Since the album is relatively short, less than 50 minutes in total length,
it leaves you wanting even more from King Push in the future. Until next time
however, we will have <i>My Name Is My Name</i>
to carry us through the fall and winter seasons in a major, major way.</div>
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<br /></div>
<div class="MsoNormal">
Written by Seth Kaplan</div>
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<br /></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
RRR Score: 9/10</div>
<div class="MsoNormal">
<br /></div>
<!--EndFragment-->Anonymoushttp://www.blogger.com/profile/11386434445283092842noreply@blogger.com0tag:blogger.com,1999:blog-7069260880734292977.post-39615440198821584772013-08-19T09:21:00.000-07:002013-10-08T08:09:03.680-07:00President Carter: MCHG<!--[if gte mso 9]><xml>
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<h3>
President Carter:
Magna Carta Holy Grail</h3>
<o:p></o:p></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj_KUasL2_1lDEDgcIcwJ0fUV4XJwIwLnavpt-0UFli39hRZgh8ygME8fQ5yp_7KOpVk6I2VIAMIvA8MAjVWuuy9eHV5NMP1iM9yOhMCwMaPqaeJRva3jQ_wc6zZO9us1nMQlJGZFgK7n-L/s1600/Magna_Carta_Holy_Grail_Cover.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj_KUasL2_1lDEDgcIcwJ0fUV4XJwIwLnavpt-0UFli39hRZgh8ygME8fQ5yp_7KOpVk6I2VIAMIvA8MAjVWuuy9eHV5NMP1iM9yOhMCwMaPqaeJRva3jQ_wc6zZO9us1nMQlJGZFgK7n-L/s1600/Magna_Carta_Holy_Grail_Cover.jpg" /></a></div>
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He just wants a Picasso. <i><a href="http://www.magnacartaholygrail.com/">Magna Carta Holy Grail</a></i> proves
that Jay Z may still want a little more than that from the so-called rap game.
Sean Carter shows his continually growing hunger on this album, which is filled
with high highs and low lows. With the
helpful creative influences from superstar producers <a href="http://www.allmusic.com/artist/rick-rubin-mn0000356250/biography">Rick
Rubin</a>, Timbaland, Swizz Beatz and Pharrell Williams, Jay Z slices back into
the rap scene in effortless fashion. <i>MCHG</i>
starts off hot with the Justin Timberlake-assisted single <i>Holy Grail</i>. On this intro cut, Jay discusses his struggles and his
love-hate relationship with fame. “I can’t even take my daughter for a walk…” <o:p></o:p></div>
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The next track on the album, <i>Picasso Baby</i>, features Mr. Carter rapping about how he is the
modern day Pablo Picasso. Hidden behind metaphors, Jay reveals how all the
things success has brought him really has not changed his life at all. He talks
about how having that Picasso painting one has always dreamed of having cannot
make some unhappy individual suddenly happy. His ten-minute, super artistic
video for the song has recently brought a strong visual component to the track.
<o:p></o:p></div>
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Track 3, <i><a href="http://rapgenius.com/Jay-z-tom-ford-lyrics">Tom Ford</a></i>, features an
aggressive Jay Z spitting bars over a hypnotizing Timbaland-produced
instrumental. Lines like “I don’t pop Molly, I rock Tom Ford” display his
effort to promote hard work and getting things done as opposed to dabbling with
drug usage and essentially going nowhere in life. Track 4, <i>FuckWithMeYouKnowIGotIt</i>, features Jay and Rick Ross going back and
forth boasting and bragging over Boi-1da production. As the first four tracks
of the album are extremely high-energy, from here the album’s whole vibe
suddenly shifts…<o:p></o:p></div>
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The Frank Ocean-featured <i>Oceans</i>
showcases a very lyrical Sean Carter rapping and rhyming slavery-related
metaphors. Frank Ocean’s emotional hook provides the Pharrell-laced backdrop
with an incredibly smooth fullness. From here, <i>F.U.T.W.</i> features Jay inspiring people who came from similar
backgrounds to really make an impact in this world. Some powerful bars can be
found on this cut such as “America tries to emasculate the greats, murdered
Malcolm gave Cassius the shakes.” <o:p></o:p></div>
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<i>SomewhereInAmerica</i>,
produced by Hit-Boy, showcases a nifty Jay Z dissing the Internet, and blames
our technological advances for the evident, diminishing human intellect. On <i>Crown</i>, Jay Z reminds his fans he is
still the King of hip-hop. <o:p></o:p></div>
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<i>Heaven</i> places Mr.
Carter questioning religion and a higher power, along with other various
theories and mythologies. “Question religion, question it all…” The King of
hip-hop’s wife, Queen Beyonce Knowles, finally makes an appearance on <i>Part II (On The Run)</i>. This ‘sort of’
sequel to <i>Bonnie & Clyde ’03</i>
features a harmonizing Beyonce, an RnB-style instrumental and an old-school
flowing Sean Carter through 3 verses. Next, on <i>BBC</i>, Jay Z finds help from Nas, Justin Timberlake and Pharrell over
the lush, jazzy Neptunes-produced vibes. <o:p></o:p></div>
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Jay Z finally delivers his ode to his daughter, Blue Ivy
Carter, on <i>Jay-Z Blue</i>. He takes on
the role of a man who divorces his wife, but actually wants to be there for his
child as he calls himself ‘Daddy Dearest.’ Here, Sean battles with not wanting
to be like his dad while being afraid of the responsibilities brought on by
fatherhood. The last 2 tracks on the album, <i>La
Familia</i> and <i>Nickels & Dimes</i>
feature a traditional Jay Z flow over classic hip-hop production. <o:p></o:p></div>
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<i>MCHG</i> find Jay Z in
an innovative mindset as he tries to blend classical art, modernism and
hip-hop. He tries to mix the current rap trends with clever, more traditional
hip-hop tones. Some of the songs are instant classics and others are instantly
forgettable. That being said, <i>Magna Carta
Holy Grail</i> proves Jay still has it and that there is plenty left in Mr.
Carter’s tank. <o:p></o:p></div>
<!--EndFragment-->Anonymoushttp://www.blogger.com/profile/11386434445283092842noreply@blogger.com0tag:blogger.com,1999:blog-7069260880734292977.post-31018014272149868782013-08-14T06:26:00.000-07:002013-08-14T06:26:54.597-07:00Will Nothing Be The Same?
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Will Nothing Be The
Same?<o:p></o:p></div>
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<br /></div>
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhYdmjfz5rf9QTp_SKNdufnv4jNSK5h5U83lsvMIQjFfZizbMZpLM8XfQ4pZ6JdrWeSDyLPHB-JziJjxbTkcDlX1dsL4g4tPTty3p5Ox06p6K2roPj4TI9nIVuN0zjjSpzL-COA3TeDi4m-/s1600/drake-nothing-was-the-same.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhYdmjfz5rf9QTp_SKNdufnv4jNSK5h5U83lsvMIQjFfZizbMZpLM8XfQ4pZ6JdrWeSDyLPHB-JziJjxbTkcDlX1dsL4g4tPTty3p5Ox06p6K2roPj4TI9nIVuN0zjjSpzL-COA3TeDi4m-/s320/drake-nothing-was-the-same.jpg" width="299" /></a></div>
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The once-upon-of-time sitcom actor Aubrey Graham, more
popularly known as Drake, is readying for the release of his third studio album
<i><a href="http://www.complex.com/music/2013/07/drake-nothing-was-the-same/">Nothing
Was The Same</a></i>. Every anxious fan of rap and hip-hop is lost in the
current wonderment surrounding what the heck is going to come from this highly
anticipated release. In a year where Kanye West dropped <i><a href="http://www.billboard.com/articles/review/1567053/kanye-west-yeezus-track-by-track-review">Yeezus</a></i>
and Jay Z came through with <i><a href="http://www.magnacartaholygrail.com/">Magna Carta Holy Grail</a></i>, not
to mention the soon-to-be-released efforts from Big Sean, 2 Chainz and Pusha T,
some still think Drake’s new album will be rap record of the year. What must
Mr. Graham do to bring his fans what they want out of this upcoming blockbuster
album? <o:p></o:p></div>
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Drake’s latest single offering from his upcoming <i>Nothing Was The Same</i>, “<a href="http://rapgenius.com/Drake-hold-on-were-going-home-french-version-lyrics">Hold
On We’re Going Home</a>” sounds non-ambiguously R&B. It can honestly be
mistaken as a smooth, groovy triumphant cut from the ’80s. Will this approach
be the main focus of his upcoming LP or will Drake primarily dedicate this
record to the hardcore hip-hop fans. Maybe Drake’s commonly used technique of
cleverly balancing rap and R&B will surface once again on <i>Nothing Was The Same</i>. <o:p></o:p></div>
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<br /></div>
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So, what does <i>Nothing
Was The Same</i> actually mean? Is Drake referring to what his life has
transformed into since his early days or is he talking about something else all
together? Perhaps this whole album will be a concept or theme album based on
some story creatively illustrated by Aubrey Graham himself. He has continually
proven time and time again that he has an overachieving artistic mind relatable
to a widespread demographic. <o:p></o:p></div>
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Whether you are a Drake lover or a Drake hater, hip-hop fans
all over will be listening to what is to be offered from his upcoming <i>Nothing Was The Same</i>. Drake has already proven to be on hip-hop’s
short list of current all-stars, but is this his time to maybe solidify his
place in hip-hop’s legendary class. Is Drake really Mr. Right or is he merely
Mr. Right Now? Only time will tell if he truly leaves the sport of hip-hop in a
state where nothing will ever be the same.<o:p></o:p></div>
<!--EndFragment-->Anonymoushttp://www.blogger.com/profile/11386434445283092842noreply@blogger.com0tag:blogger.com,1999:blog-7069260880734292977.post-4785145430061502332013-06-22T08:13:00.001-07:002013-06-22T08:13:04.670-07:00Sinner to Winner
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<h2 style="text-align: center;">
J. Cole’s Born Sinner</h2>
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<o:p></o:p></div>
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<div class="separator" style="clear: both; text-align: center;">
<a href="http://www.rollingstone.com/assets/images/album_review/jcole-1371486545.jpg"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgGv_6iTLbSkHXD6OPDn3U1szZeDxVYcfTv0cH7H-MVQhN3eBYP272Lf0mNHornvyzHlT5MHG7CTthZHK8IITc0cXv8U47oUg154735UYi_i8vLX1GNYhvfurlERexg0sZFWVM7Xvd1whjl/s320/jcole-1371486545.jpg" width="320" /></a></div>
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<h3 style="text-align: center;">
Sinner to Winner</h3>
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J. Cole, the self-acclaimed born sinner (opposite of a
winner) has finally dropped his highly anticipated sophomore album, <i><a href="https://itunes.apple.com/us/album/born-sinner-deluxe-version/id651105499">Born Sinner</a></i>. After receiving mixed
reviews on his debut album, <i><a href="http://www.amazon.com/Cole-World-The-Sideline-Story/dp/B005C9WA20">Cole World:The Sideline Story</a></i>, Jermaine knew what time it was when recording this new
album. <o:p></o:p></div>
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On the opening track, <i>Villuminati</i>,
Cole spits rapidly over hard-hitting 808s and a powerful bass line. Starting off
with the line “sometimes I brag like Hov,” he delivers the track from a
rise-to-fame perspective. The song shows clear dedication to Cole dominating a
track and approaching it with a vengeance. Although it does not strike as one
of the more appealing tracks to the ear, it serves its purpose as a meaningful
introduction.<o:p></o:p></div>
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<i>Land of the Snakes</i>
transitions into a more traditional, soothing approach from Jermaine. There is
an instant sense of comfortableness on this track, as Cole starts to address
his take on the album’s title. “She said you ‘bout to miss church while she
riding me, I like my Sundays with a cherry on top.” Here, Jermaine starts to
address his personal battle between good and evil. <o:p></o:p></div>
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Next, on his lead single, <a href="http://www.youtube.com/watch?v=7AjD7nKiUQ4"><i>Power Trip</i> featuring Miguel</a>, J.
Cole discusses achieving fame after many years of hard work. He also
finds a way of blending his success story with a love song, as he hits on all
levels of personal growth. This song serves as the perfect track for radio
play, and has already propelled much attention to the album as a whole. <o:p></o:p></div>
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On <i>Trouble</i>, Cole
literally addresses his consistently finding trouble along the path to success.
Here, Jermaine comes off as witty, and drops clever punch lines like “everybody
sweat her like Catholic school.” Although the hook on this song grows
repetitive and a bit obnoxious over time, he delivers the verses eloquently
over the self-produced cut.<o:p></o:p></div>
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<i>Runaway</i> discusses
J. Cole not being ready to truly satisfy a good woman’s needs at this point in
his life. He talks about his inability to be trusted by others in addition to
his inability to trust himself. This cynical approach features lines such as
“in this life ain’t no happy endings/ only pure beginnings followed by years of
sinning and fake repentance.” He also addresses how a good man should act with
wishful lines like “when you’re no longer Superman, at least you know you got
Lois Lane.”<o:p></o:p></div>
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The next track, <i>She
Knows</i> featuring Amber Coffman, addresses a woman being able to tell when an
already-taken man approaches her. Cole’s using deep and dark piano keys make
this song enchanting and powerful from the start. Immediately, the melody grabs
you in and does not let you go at any point throughout the cut. <o:p></o:p></div>
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On <i>Rich N****z</i>, J.
Cole discusses his hatred and jealousy toward the wealthy that he had felt
along his struggle of a journey to success. This is one of the albums’
standouts in terms of lyrical content, as it comes from the perspective of an
angrier, less mature Jermaine. His honesty outweighs his animosity though, and
the track is quite appealing and extremely listenable. <o:p></o:p></div>
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The song, <i>Forbidden
Fruit</i> featuring Kendrick Lamar, showcases Jermaine rapping around an “Adam
and Eve” metaphor. On the track, Cole discusses temptation and the difficulties
in saying ‘no’ at times. “Me and my bitch, took a little trip, down to the
garden, took a little dip, apple juice falling from her lips, took a little
sip.”<o:p></o:p></div>
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<i>Chaining Day</i> plays
on the metaphor between slavery and buying jewelry. It also addresses the
cliché rapper’s need to place gold around his neck as soon as he makes it in
the hip-hop world. “Ice on this white Jesus seem a little unholy, the real
strange things about this iced out Rolly.”<o:p></o:p></div>
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The second single from the album, <i>Crooked Smile</i> featuring TLC, features Cole giving his take on TLC’s
smash hit from way back in the day, <i><a href="http://www.youtube.com/watch?v=g2gy1Evb1Kg">Unpretty</a></i>.
This traditional sounding hip-hop anthem has Jermaine speaking on his crooked
teeth and thick eyebrows, explaining that you can still be beautiful without
being perfect. The song literally attacks the more cliché Hollywood approach of
looking like the ideal celebrity.<o:p></o:p></div>
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<div class="MsoNormal">
On the real rap fan’s likely favorite from the album, <i>Let Nas Down</i>, Cole speaks on how he
actually did let Nas down with his debut album. Hip-hop legend, <a href="http://www.nasirjones.com/">Nas</a>, had spoken
openly in the past about his distaste for Jermaine’s <i>Cole World</i> album. This was after Nas had initially said he was a
fan of J. Cole. Cole tries to redeem himself with this track, and I feel that
it is safe to say that he does.<o:p></o:p></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
The final track on the album receives the album title
itself, <i>Born Sinner</i>. James Fauntelroy
provides the melodic R&B styled hook, and the track serves as a nice
conclusion to the album. It successfully wraps up the album’s content and
overall message. Cole spills out his heart for the final time, and does so with
utmost honesty and shamelessness. <o:p></o:p></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
At the end of the listen, J. Cole’s <i>Born Sinner</i> album delivers as a well-developed sophomore approach.
Although it may not be the classic that rap fans have been waiting for from
Jermaine, it definitely shows his progress in the game. He has grown with both
maturity and skill, and has been able to project his image meaningfully over
much of his own production. I would hope that Cole looks to work with a wider
variety of producers in the future though, in an effort to expand his overall
sound even further. It will be interesting to see where J. Cole goes from here,
but as of now he seems to be going nowhere but up.<o:p></o:p></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
RRR Score: 8/10<o:p></o:p></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<br /></div>
<!--EndFragment-->Anonymoushttp://www.blogger.com/profile/11386434445283092842noreply@blogger.com0tag:blogger.com,1999:blog-7069260880734292977.post-13638852953508826562013-06-06T09:01:00.000-07:002013-06-06T09:01:12.159-07:00YEEZUS<div class="separator" style="clear: both; text-align: center;">
<a href="http://static.sgv2.com/img/183562/aspect/700x500/content/168/1306022138499197-update-kanye-west-yeezus-official-album-cover.jpg"><img border="0" height="280" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjvOhxnoFEXIygFYRMf-Q9XzSidERIQTztx27szpbEEVP7TObLVszffGlrHBTDesmlT9A9u43pITXfbPiCoXJu0-iqX1M3zJyBq5WVZYyRLoo-3VufP_zWx_VGRQs4nXiJJMzQIqOqdT0q9/s320/1306022138499197-update-kanye-west-yeezus-official-album-cover.jpg" width="320" /></a></div>
<br /><div align="center" class="MsoNormal" style="text-align: center;">
<br /></div>
<div align="center" class="MsoNormal" style="text-align: center;">
YEEZUS<o:p></o:p></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<a href="http://www.kanyewest.com/">Kanye West</a> never
fails at being different, revolutionary and over-the-top bold. His notorious
antics are not new to anyone, but regardless of how one may feel about Mr.
West, it is important to note his genius. As his new album is ready for a June
18<sup>th</sup> release, his marketing strategy behind this one has been truly
one of a kind. <o:p></o:p></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
First off, the album title is <i style="mso-bidi-font-style: normal;">Yeezus</i>. This album title will either excite you for the music that
is to be featured, scare you away because of the music that may be featured,
piss you off because you find it sacrilegious or instill you with profound
levels of curiosity. Whichever the case, he has gotten every music fan talking
about this album title. <o:p></o:p></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
It is June 6<sup>th</sup>, and we still do not have a <a href="http://globalgrind.com/music/kanye-west-new-slaves-cdq-version-new-music-snippet">CDQ
single</a> from the album or an official track list. In more traditional alum
marketing, singles are unveiled months prior to the album’s release date in an
effort to excite people and promote an artist’s upcoming work. Perhaps, Kanye
is actually drawing more attention by giving out nothing in terms of what the
album will sound like. Also unconventional, he has had full <a href="http://prettymuchamazing.com/videos/kanye-wests-new-song-new-slaves">building
projections</a> of a video that features a track titled ‘New Slaves.’ He has
had these projections appear on buildings internationally over the past few
weeks, promoting what is assumed to be a song from the upcoming album. In
certain projection screenings across the world, cops have come and shut them
down. Once again, whether you like it or not, Kanye is indeed drawing lots of
attention for his album. (As stated earlier, a CDQ version of the single has
not yet been released.)<o:p></o:p></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
On the ‘<a href="http://www.youtube.com/watch?v=xuhl6Ji5zHM">Saturday
Night Live</a>’ season finale, Mr. West also performed a song titled ‘Black
Skinhead.’ Although a live version is all we have for that track, it too will
likely be featured on <i style="mso-bidi-font-style: normal;">Yeezus</i>. <o:p></o:p></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
What has been released is the album artwork. Well,
technically there really is no album artwork. That is right, NO ALBUM ART!!
Instead, on June 18<sup>th</sup> when fans rush the stores to buy <i style="mso-bidi-font-style: normal;">Yeezus</i>, the CD will be in a clear case
sealed shut by a small piece of red tape on the right side. That is it. No
paper, no pamphlet and no song list will be featured when people buy the album.
Kanye insists what he just wants people to listen to and actually hear the
music. If nothing else brought interest to West’s upcoming album, this
certainly must. <o:p></o:p></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<i style="mso-bidi-font-style: normal;">Yeezus</i> will be the
first of its kind. It is likely that Kanye will be starting a new trend with
this album’s marketing and promotion. We shall see later this month if this
“less is more” strategy pays off for Kanye West.<o:p></o:p></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
Written by Seth Kaplan.<o:p></o:p></div>
<div class="MsoNormal">
<br /></div>
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Anonymoushttp://www.blogger.com/profile/11386434445283092842noreply@blogger.com0tag:blogger.com,1999:blog-7069260880734292977.post-14749679613503408322013-05-14T07:16:00.000-07:002013-05-14T07:16:13.704-07:00From Cole 2 You
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<h2>
Truly Yours 2</h2>
<h4>
<i>J. Cole</i></h4>
<div>
<i><br /></i></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgtajlewugWGqvv-k_d5vVsAcZ_bdq9Ovn179Rb3Y8owvXaJwJ8fTKGzXIMxggE1uETQ2giK7ejM3AdUKTeEfwCzbI8QN9lbZ32Ya4QKfunoTqbDOPfwfFVwrjgfkzrt-_33Gw42Qjnu-eL/s1600/J_Cole_Truly_Yours_2-front-large.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgtajlewugWGqvv-k_d5vVsAcZ_bdq9Ovn179Rb3Y8owvXaJwJ8fTKGzXIMxggE1uETQ2giK7ejM3AdUKTeEfwCzbI8QN9lbZ32Ya4QKfunoTqbDOPfwfFVwrjgfkzrt-_33Gw42Qjnu-eL/s320/J_Cole_Truly_Yours_2-front-large.jpg" width="320" /></a></div>
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<i><br /></i></div>
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After multiple listening sessions for J. Cole’s latest <a href="http://www.datpiff.com/J-Cole-Truly-Yours-2-mixtape.483912.html">‘Truly
Yours 2’</a> mix tape, I find the six-track EP to be both entertaining and
intriguing for his upcoming album. His latest LP will be released on June 25<sup>th</sup>,
and is titled <i><a href="http://www.bornsinner.com/">Born Sinner</a></i>. Although Cole insists
that the lead track, <i>Cole Summer</i>, on
‘Truly Yours 2’ is “not a preview, of what the album is going to bring you,” he
is able to recapture the feeling associated with his earlier works such as <a href="http://www.datpiff.com/J-Cole-The-Warm-Up-mixtape.83635.html">‘The Warm
Up’</a> and <a href="http://www.datpiff.com/J-Cole-Friday-Night-Lights-mixtape.168650.html">‘Friday
Night Lights.</a>’ <o:p></o:p></div>
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Right from the get go, <i><a href="http://www.youtube.com/watch?v=YcIPXJa6Hc0">Cole Summer</a></i> features
an overly honest J. Cole speaking about the worries and concerns he has as an
artist. He discusses the possibility of his next album being a flop, and
repeatedly compares his rap career to Drake’s rap career. Although Jermaine
spills his heart out, he never once appears to genuinely doubt his abilities.
His self-confidence still finds a way to prevail throughout the track’s
solemnness. The J. Cole-produced instrumental effortlessly appeals to the ear,
as the entire cut is relaxed from the drum pattern to the soulful samples. <o:p></o:p></div>
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<br /></div>
<div class="MsoNormal">
Young Jeezy assists the second track on the EP, <i>Kenny Lofton</i>. This witty track, with an
exceptionally clever hook, essentially addresses how celebrities only receive
heartfelt attention when they are at the peaks of their careers. “Kenny Lofton,
you feeling my pace, they only care about a n**** when he stealing a base.” The
instrumental is slightly unfitting for a Young Jeezy appearance, and his
stacked vocals do not cleanly make the transition from Cole’s smooth delivery.
With the exception of Jeezy’s potential misplacement, the track delivers as one
of the most creative efforts we have heard from Cole in quite some time.<o:p></o:p></div>
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<br /></div>
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The third track, <i>Chris
Tucker</i>, is the clear club-joint on the tape that feature none other than 2 Chains
himself. Despite the catchiness of the chorus, J. Cole appears slightly
non-genuine in his approach on this one. The beat does not correctly match
Cole’s delivery, and the lyrics do not meet Cole’s intelligent expectations.
The song is not all bad though for those looking for a song to work out to, as
it is definitely the most upbeat approach on ‘Truly Yours 2.’<o:p></o:p></div>
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<br /></div>
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<i>Head Bussa</i> is a
slightly cleverer track that possesses a confident tone. The obvious downside
to this song is the unmotivated, annoying hook. The chorus does not comfortably
fit the instrumental, and definitely does not meet J. Cole’s standards for hook
making. With the hook to the side though, this track features a progressive
Cole flow.<o:p></o:p></div>
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<br /></div>
<div class="MsoNormal">
<i>3 Wishes </i>is an
intelligent<i> </i>cut from the mix tape,
featuring a heartfelt, smooth J. Cole. He relives his childhood struggles and
tarnished relationships with friends over the years. It bears the same tone as
his <i>Can I Holla At Ya</i> from the first
‘Truly Yours EP.’ Although a somewhat repetitive message from Cole, this track
is enjoyable and smart. <o:p></o:p></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
The final track on ‘Truly Yours 2’ is actually Bas’ song <i>Cousins</i>, featuring J. Cole. All in all,
Cole’s final approach before the release of <i>Born
Sinner </i>delivers on key levels, and excites fans for what is to come. We do
need to hear a stronger, hungrier J. Cole on his sophomore effort, and it
sounds as though he is well aware of that. On June 25<sup>th</sup>, all of our
questions involving J. Cole’s status in hip-hop will be answered. Until then, enjoy
the cold summer.<o:p></o:p></div>
<div class="MsoNormal">
Truly yours,<o:p></o:p></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
Seth Kaplan<o:p></o:p></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
RRR score: 8/10<o:p></o:p></div>
<!--EndFragment-->Anonymoushttp://www.blogger.com/profile/11386434445283092842noreply@blogger.com0tag:blogger.com,1999:blog-7069260880734292977.post-63537926665526357782013-05-14T07:11:00.001-07:002013-05-14T07:13:15.015-07:00Rap's Acid Trip<!--[if gte mso 9]><xml>
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<h2>
Acid Rap</h2>
<h4>
<i>Chance the Rapper</i></h4>
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<i><br /></i></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhSH-PYF3CFpzpcGtLINbH8e74wpTHI78XIIgGn0J41pGsb1k-9609WPtmuMjFgEvIGK4uUGgpaZ05o_ZNVZup5-mq74oK7XB0Z6vDWap2_9WP1leTTEVyC7KWp_n4_ZEBM57Y_tlqQS4ET/s1600/Chance-The-Rapper-Acid-Rap.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhSH-PYF3CFpzpcGtLINbH8e74wpTHI78XIIgGn0J41pGsb1k-9609WPtmuMjFgEvIGK4uUGgpaZ05o_ZNVZup5-mq74oK7XB0Z6vDWap2_9WP1leTTEVyC7KWp_n4_ZEBM57Y_tlqQS4ET/s320/Chance-The-Rapper-Acid-Rap.jpg" width="320" /></a></div>
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So, let us hop in our time machines and take a trip back to
the early 2000s; let us grab a young Kanye West and mix him with a mid 2000s
Lil Wayne. Then, let us implement the drug habits of Kid CuDi and the energy of
Twista. What do we get? How about Chance the Rapper?<o:p></o:p></div>
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Chance the Rapper introduces himself formally to the hip-hop
world with the star-studded, high-powered mix tape <i><a href="http://www.audiomack.com/album/ventlyfe/acid-rap-1">Acid Rap</a></i>.
On the <i><a href="http://www.youtube.com/watch?v=jjmiLp47Yg8">Good Ass Intro</a></i>,
Chance raps frantically over an intensely soulful backdrop. It sounds like the
modern-day version of the old Roc-A-Fella classics we grew to know and love. As
soon as he starts attacking the track, we hear a new voice unlike anything we
have heard in hip-hop for quite some time. He comes off as a faster rapping Lil
Wayne with an even higher pitched, loonier voice. Lyrically, his mind is
tightly in tact, despite the many drugs he claims to use in his daily
repertoire. <a href="http://rapgenius.com/Chance-the-rapper-good-ass-intro-lyrics">“Rap’s just
made me anxious and acid made me crazy…”</a> is nothing short of a bold
statement to start the masterpiece that follows over the course of the mix
tape.<o:p></o:p></div>
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As the mix tape moves onward, he has effortless bouts of fun
over some extremely upper-end production. He dominates <i>Pusha Man</i>, where he showcases his rap versatility in terms of his
ability to glide on the track. On the already popular <i>Cocoa Butter Kisses</i>, he receives a special guest verse from none
other than Chicago native, Twista himself. The Chicago influences do not die at
any point on the mix tape, as he has no problems staying true to his home
sound. <o:p></o:p></div>
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On the following tracks, Chance the Rapper continues his
lyrical assault. He gets some assistance from other up-and-comers like Childish
Gambino and Ab-Soul. Ab-Soul’s verse provides the perfect transition from
Chance’s trance-like flow on <i><a href="http://stereogum.com/1336481/chance-the-rapper-smoke-again-video-feat-ab-soul/video/">Smoke
Again</a></i>. <o:p></o:p></div>
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From the Good Ass Intro to the Good Ass Outro, Chance the
Rapper proves that he is here to stay. He may be the biggest underdog in the
game, but he may also provide the biggest upside from any up-and-coming artists
in the industry. He is fresh, he is trippy, he is smart, and he is different.
He is really, truly different. Chance the Rapper is more than just a rapper; he
might just be the future of rappers period. <o:p></o:p></div>
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<br /></div>
<div class="MsoNormal">
Written by Seth Kaplan<o:p></o:p></div>
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<br /></div>
<div class="MsoNormal">
RRR Score: 9/10<o:p></o:p></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<br /></div>
<!--EndFragment-->Anonymoushttp://www.blogger.com/profile/11386434445283092842noreply@blogger.com0tag:blogger.com,1999:blog-7069260880734292977.post-67258861210875398672013-03-20T06:08:00.000-07:002013-03-20T06:11:11.512-07:00The 20/20 Experience<!--[if gte mso 9]><xml>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEge317H6qDyS66PWbXBCEjmLymcP1h1h7rcpHK5RqeMt7NWARnDgOybOE4KmaqMOaMTjHODk92-t3exHg-HdyHbhvRuOjv425TiNZFkmshUPPFIF85b7ykg2U_ycjAeipId4gMvTUUsmagJ/s1600/justin-timberlake-20-20-experience-650-430_0-1.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="262" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEge317H6qDyS66PWbXBCEjmLymcP1h1h7rcpHK5RqeMt7NWARnDgOybOE4KmaqMOaMTjHODk92-t3exHg-HdyHbhvRuOjv425TiNZFkmshUPPFIF85b7ykg2U_ycjAeipId4gMvTUUsmagJ/s400/justin-timberlake-20-20-experience-650-430_0-1.jpg" width="400" /></a></div>
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<h2>
The 20/20 Part 2 A 20/20 Move?</h2>
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<h4>
<i>JUSTIN TIMBERLAKE'S THE 20/20 EXPERIENCE</i></h4>
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With Justin Timberlake’s brand new album <a href="https://itunes.apple.com/us/album/the-20-20-experience/id598391518">“The
20/20 Experience”</a> hitting shelves this week, fans will enjoy JT’s latest
work following his seven-year hiatus from music. As usual, Timberlake’s album
is almost entirely produced by legendary super-producer, <a href="http://www.timbalandmusic.com/">Timbaland</a>. The two have worked
together throughout JT’s career, and have been responsible for many number one
smash hits over the past two decades. Only a day before the release of his new
album, Justin decided to confirm the rumor that this album is only the first
part of a two-part album. This album, containing only ten tracks, covers just
half of the project’s twenty track cut list. Is it smart to make fans aware of
a part two before part one even comes out though?<o:p></o:p></div>
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Notoriously throughout music history in recent times, it
usually is not a good thing to promote future projects before or around the
time an artist’s current project is being released. For obvious theoretical
reasoning, promotion for future projects takes interest away from the release
of the current project. It is, however, possible that Justin Timberlake is just
too big to even be affected by such tactics. Timberlake probably figures he
will sell a boatload of records regardless. <o:p></o:p></div>
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Personally, I have always thought that promotion for future
projects around the time of a current release translates to: “I think my next
stuff is better.” In JT’s case, I have listened to this ‘part one’ of his new
album, and I think his work is nothing short of spectacular. Once again, maybe
Justin’s superstar status just propels him past the competition, regardless of
his marketing strategies. As a huge fan of both he and Timbaland’s music, I am
just happy <i>The 20/20 Experience</i>
delivers in terms of quality. <o:p></o:p></div>
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<span style="font-family: Cambria; font-size: 12.0pt; mso-ansi-language: EN-US; mso-ascii-theme-font: minor-latin; mso-bidi-font-family: "Times New Roman"; mso-bidi-language: AR-SA; mso-bidi-theme-font: minor-bidi; mso-fareast-font-family: "MS 明朝"; mso-fareast-language: EN-US; mso-fareast-theme-font: minor-fareast; mso-hansi-theme-font: minor-latin;">Whether it is smart or not for <a href="http://twentytwenty.justintimberlake.com/">Justin Timberlake</a> to be
talking about the ‘part two’ to his new album now, his music is spot on. He
will sell records no matter what, while he is also prepping for a ten-date tour
with hip-hop legend, Jay-Z. The two together will be making their way across
the country in the following months to come. <i>The 20/20 Experience</i> truly is music that people can see, no pun
intended. </span><!--EndFragment-->Anonymoushttp://www.blogger.com/profile/11386434445283092842noreply@blogger.com0tag:blogger.com,1999:blog-7069260880734292977.post-16848747400798062162013-03-05T07:14:00.002-08:002013-03-07T06:40:41.960-08:00Independent Sample-Free Success<!--[if gte mso 9]><xml>
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<!--StartFragment-->
<br />
<h2>
Independent Sample-Free Success</h2>
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjTHnXLIbdAI7XZ2mnqhsm6A60MiEIKGNJvaeTxaAI8HvniqwtCKNj7ToUGTfOdE2WRidr9bJiCUBte0p8Mc-Q_0JMiHk1xraHFoQ3FOC-bXUlzepNkvaeJcgLo1_zpr9FLJzir-lyKXKLF/s1600/Macklemore-Ryan-Lewis-The-Heist-Album-Artwork1-7569.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjTHnXLIbdAI7XZ2mnqhsm6A60MiEIKGNJvaeTxaAI8HvniqwtCKNj7ToUGTfOdE2WRidr9bJiCUBte0p8Mc-Q_0JMiHk1xraHFoQ3FOC-bXUlzepNkvaeJcgLo1_zpr9FLJzir-lyKXKLF/s320/Macklemore-Ryan-Lewis-The-Heist-Album-Artwork1-7569.jpg" width="320" /></a></div>
<div style="text-align: center;">
<br /></div>
<div class="separator" style="clear: both; text-align: center;">
<br /></div>
<div class="separator" style="clear: both; text-align: left;">
</div>
<h4 style="text-align: -webkit-auto;">
<i>MACKLEMORE & RYAN LEWIS</i></h4>
<br />
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<br /></div>
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Macklemore and Ryan Lewis’ decision to stay independent for
the release of <i><a href="https://itunes.apple.com/us/album/the-heist/id560148910">The Heist</a></i>
was bigger than simply rejecting countless major label deals. Their decision
has paved a new road to success for today’s artists, and their tactic should
not be forgotten any time soon. Not only did Macklemore decide to push away
Interscope’s major label deal, he also refused to use any samples in the
album’s music. Along with Ryan Lewis, the duo decided it was just easier not to
deal with all the lawyers involved in <a href="http://www.rollingstone.com/music/news/macklemore-and-ryan-lewis-chose-diy-route-on-latest-album-20121018">clearing
samples</a>. Also, they did not feel like spending the additional money. The
Seattle-bred group decided to record real musicians, use real instruments, and
keep all their work 100% original.<o:p></o:p></div>
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<br /></div>
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The fifth single on <i>The
Heist</i>, titled <i>Thrift</i> <i>Shop</i>, has stayed many weeks at the
number one spot on <a href="http://www.billboard.com/">Billboard</a> and iTunes.
It also reached the number one spot in the UK. All in all, <i>Thrift Shop </i>has already sold over 3 million copies worldwide. This
is truly incredible, granted the hit song being the fifth single from a totally
independent album release. <o:p></o:p></div>
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<br /></div>
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Ben “Macklemore” Haggerty battled substance abuse all
throughout his twenties, but finally decided to give up the drugs for a shot at
music success. Since the release of <i>The
Heist</i>, it seems as though it has been all success for Ben since sobriety.
Not only did the album quickly become one of my favorites and an instant
classic in my mind, it has also found commercial success resulting from taking
every non-commercial step along the way. Macklemore and Ryan Lewis are living
proof that people can find success staying true to form, making music that
is not watered down to satisfy the current industry standards. <o:p></o:p></div>
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In the day in age where there is such pressure to come out
with a hit under a major record label, along with a decreasing emphasis on artist
development, Macklemore and Ryan Lewis controlled their own destinies. As true
artists, they did it their way. They believed in themselves as people, and
decided not to lose creative control over their work. As a result, <i>The Heist</i> contains homemade music that touches the souls of many music fans worldwide.<o:p></o:p></div>
<!--EndFragment-->Anonymoushttp://www.blogger.com/profile/11386434445283092842noreply@blogger.com1tag:blogger.com,1999:blog-7069260880734292977.post-52669556984162284402013-01-18T07:54:00.000-08:002013-01-18T07:57:45.857-08:00Cop A$AP As Soon As Possible?<!--[if gte mso 9]><xml>
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<h2 style="text-align: left;">
Cop A$AP As Soon As Possible?</h2>
<h4 style="text-align: left;">
<i>A$AP Rocky's Long. Live. A$AP.</i></h4>
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<o:p></o:p></div>
<div class="MsoNormal">
A$AP Rocky’s debut album has finally hit stores, and it is
officially his time to shine in the spotlight. Coming out with a debut hip-hop
album so recently after Kendrick Lamar’s critically acclaimed <i>good kid M.A.A.D. city</i>, would appear to
be a risky move. Since A$AP’s official release date just a couple days ago, it
is projected he sells around 130,000 copies in the first week. Not too shabby
for the young rookie.</div>
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<o:p></o:p></div>
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<br /></div>
<div class="MsoNormal">
<a href="https://itunes.apple.com/us/album/long.live.a$ap/id581997129">Long. Live. A$AP</a>. starts quite hot, as the title track off the album showcases Rocky’s
versatility right away. The eeriness of the beat, and the uniqueness of the
high-pitched vocals on the hook make this cut a standout record on the CD. On
the second track, <i>Goldie</i>, A$AP
delivers strong bars over a gritty, more traditional hip-hop instrumental.
Then, on <i>PMW (All I Really Need)</i>,
A$AP’s youth shouts loudly, as he touches on an all-too-familiar subject often
discussed on various rap songs. Still, with the immaturity displayed on the
song, he somehow manages to captivate listeners to want to hear what he has to
say on the matter. <o:p></o:p></div>
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<br /></div>
<div class="MsoNormal">
On <i>LVL</i>, Rocky
takes a more positive, fun approach. This song is rather catchy, and the beat’s
energy makes the song highly listenable over and over again. The short-lived
glimmer of positivity is followed by the demonic A$AP Rocky firing bars over <i>Hell</i>, featuring Santigold. This track
features another unique hook, provided by Santigold, which sounds a little like
an early 2000s’ Gwen Stefani. Rocky continues with the dark vibes on <i>Pain</i>, as he lets his audience in on some
of his stories from the bottom. <o:p></o:p></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
Track seven is <i><a href="http://www.amazon.com/s/ref=ntt_srch_drd_B009Y0NTY6?ie=UTF8&field-keywords=Fuckin%20Problem&index=digital-music&search-type=ss">F*****’Problems</a></i>, his ultra-catchy lead single on the album, which features 2
Chainz, Drake, and Kendrick Lamar. This is the definite club joint on the track
list, meant to blast over car speakers and home stereo systems. From here, A$AP
teams up with electronic music genius, Skrillex, for a sure, upcoming major
radio sensation. The song is titled <i>Wild
For The Night</i>, and after just one quick listen, fans are sure to get wild
for any given occasion. Next up is <i>1
Train</i>, featuring many artists such as Kendrick Lamar, Joey Bada$$,
Yelawolf, Danny Brown, Action Bronson and Big K.R.I.T. Rocky enlisted these
artists to perform on track together to represent his generation of the newest,
hottest rappers in the game, regardless of race, background, or style. <o:p></o:p></div>
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<br /></div>
<div class="MsoNormal">
On <i>Fashion Killa</i>,
A$AP aims for the ladies, as he simply rhymes about a woman he considers to be
the ultimate fashion killer. As for the last two tracks on the album, <i>Phoenix </i>and <i>Suddenly</i>, A$AP gets both lyrical and realistic. He covers touchy
subjects such as race, religion, love and hate. On these last two cuts though,
he shows his fans what he is truly about and reestablishes his purpose in
today’s hip-hop scene. <o:p></o:p></div>
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<div class="MsoNormal">
Many listeners will be pleasantly impressed with the
strength of A$AP Rocky’s debut effort. He brilliantly showcases his ability to
blend 90s rap with current rap, and he does so while encompassing so many other
genres and sounds in his work. His willingness to think outside the box, and
work with artists typically forgotten about in hip-hop, is significantly
unmatched this day in age. With a firm imprint in to the hip-hop scene, A$AP
Rocky proves that he is here to stay.<o:p></o:p></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
RRR Score: 8.5/10<o:p></o:p></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
Written and reviewed by Seth Kaplan<o:p></o:p></div>
<div class="MsoNormal">
<br /></div>
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<br /></div>
<!--EndFragment-->Anonymoushttp://www.blogger.com/profile/11386434445283092842noreply@blogger.com0tag:blogger.com,1999:blog-7069260880734292977.post-54400667971889998572013-01-09T13:38:00.002-08:002013-01-09T13:38:45.452-08:00The King Is Back<!--[if gte mso 9]><xml>
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<img border="0" height="256" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj96EDMdHFQbfsktbTJ8fwXrPLFZcJnWZRP1gfy3E-tK2tTRF_wA9UKjshDqflf6p-WDt0kfHXjnmxO_1JXkGsDkiRsL1MCLrLc0ERkmar53onRK2sEQI-AbVyXg35vYYLgr0P2klKEbqus/s400/titroubleman.jpeg" width="400" /></div>
<h2 style="text-align: center;">
<span id="goog_918351219"></span><span id="goog_918351220"></span></h2>
<h2>
The King Is Back</h2>
<h4>
<i>T.I.'s Trouble Man: Heavy Is the Head</i></h4>
<div class="MsoNormal">
After the various trials and tribulations T.I. has undergone
these past few years, he has finally returned to hip-hop’s forefront, with
hopes of reestablishing himself as the King of the South. On his latest effort <i><a href="http://www.amazon.com/Trouble-Man-Heavy-Head-T-i/dp/B008F9E306">Trouble Man: Heavy Is the Head</a></i>, T.I.
tries to mix his hardcore, street bangers that made him famous with a more
mature, humble consciousness. He succeeds at providing a little something for
everyone on this album, but does it fully connect on all levels and flow
together as one story?</div>
<div class="MsoNormal">
<o:p></o:p></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
On <i>The Introduction</i>,
T.I. wastes no time in attacking the instrumental as if he’s hungrier than ever
before. His energy preps listeners for the tracks to come, as he brings back
the excitement and eagerness to hear what he still has left in the tank. From
the intro, T.I. jumps into <i>G Season</i>,
which features Meek Mill. Once again, the energy remains high as he comes with
an aggressive, hustler’s approach. <i>Trap
Back Jumpin</i>, T.I.’s lead single off the album, further extends the
excitement. <o:p></o:p></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
As the album reaches track number four, <i>Wildside</i>, which features A$AP Rocky, the tempo slows a little and
adjusts listeners into a more lyrical, real-life presence. Although this is a
refreshing track at this point on the album, it awkwardly transitions into the
club-friendly single off the album, <i>Ball</i>,
which features Lil Wayne. On one track, T.I. comes with a mature, honest
approach, and then on the very next, provides a club joint promoting the use of
ecstasy and alcohol. These are the contradictions and inconsistencies that
haunt the album’s overall solidity. <o:p></o:p></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
From here, T.I. links up with hip-hop legend Andre 3000 on <i>Sorry</i>. T.I. does contribute some
heartfelt, intelligent lyricism on this track, however fails to match Andre
3000’s creativity and dominance. Overall a good cut, the song is one of the
more important tracks on the album, as it addresses mistakes he had made in the
past and his plans to correct them. T.I. flows effortlessly on the smooth, R.
Kelly-assisted <i>Can You Learn</i>, for a
nice bluesy track on the album. This is followed by the single <i>Go Get It</i>, which once again showcases
T.I.’s ability to amp up his listeners and prove his relevance to today’s rap
scene. <o:p></o:p></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
P!nk makes an appearance on <i>Guns and Roses</i>, which may be one of the most relatable songs on the
album. The subject discusses a man and woman who are caught up in a bad
relationship neither one of them can step away from. This track is both girl
and guy-friendly, and P!nk’s catchy hook makes it unforgettable. <i>The Way We Ride </i>sends T.I. back to his
southern roots, as it features a slowed-down, chopped and screwed-style chorus.
From here the album hits a definite low point, as T.I. attempts to make a
sing-along type R&B cut for the ladies, <i>Cruisin’</i>.
The song fails to capture the females’ attention, the lyrical content is
terrible, and the production is sub-par. Fortunately T.I. rebounds nicely on <i>Addresses</i>, where he takes a shot at the
people who have doubted him over the years.<o:p></o:p></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
Similarly, on <i>Hello</i>,
which features CeeLo Green, T.I. addresses the many haters he has came to meet
over the years, due to both his peaks and valleys. On <i>Who Want Some</i>, T.I. stays with his mean, intense approach, though
the song feels a tad repetitive at this point on the album. The next three
tracks, <i>Wonderful Life</i> featuring
Akon, <i>Hallelujah</i>, and <i>Love This Life </i>all showcase T.I.’s
appreciation for family, friends, and the good things life has to offer. He
assassinates his alter ego (T.I.P.), and looks to move forward in a positive,
trouble-free light. His heart shines through on all three tracks, as he
introduces his fans to the person behind the rapper, and the good man behind
the more commonly perceived bad guy.<o:p></o:p></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
The album closes with the single <i>Like That</i>, which feels a bit unneeded after the three honest,
humbly approached cuts. Obviously, the purpose was to end the album on a
high-energy note, trying to excite his fans even more for what is to come.
After just a single listen to <i>Trouble Man</i>,
it is clear that the King is back, and has matured leaps and bounds over the
past few years. He may never sound as pure or genuine as he once did earlier in
his career, but at least the flare is back and the hunger has returned.
Although slightly contradictory, and inconsistent from track to track, T.I.’s <i>Trouble Man: Heavy Is the Head </i>serves as
one of the better albums on his music catalogue. <o:p></o:p></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
RRR Score: 8/10<o:p></o:p></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
Written and reviewed by Seth Kaplan<o:p></o:p></div>
<div class="MsoNormal">
<br /></div>
<!--EndFragment-->Anonymoushttp://www.blogger.com/profile/11386434445283092842noreply@blogger.com0tag:blogger.com,1999:blog-7069260880734292977.post-83314726602793230022012-11-01T19:36:00.001-07:002012-11-01T19:36:16.785-07:00Trouble Sleeping?<!--[if gte mso 9]><xml>
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<a href="http://hiphopwired.com/wp-content/uploads/2012/10/meek-mill-dreams-and-nightmares.jpg"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhjvmiyfMjhDg-_58Ny4SgUTNxmtedtEzsHTIHMoZV6fM1cNuDPG-BPd09734zsQd8681eGh4cw9RI9fNKsQCTzB2BEm60KlUwg9qTxYCqvjJlfmOZgZCbCK2g28usCq_-tnGcpdlLoCiWv/s320/meek-mill-dreams-and-nightmares.jpg" width="310" /></a></div>
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<h2>
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<h2>
"Trouble Sleeping?"</h2>
<h4>
<i><br /></i></h4>
<h4>
<i>Meek Mill's Dreams and Nightmares</i></h4>
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Another week in hip-hop history, and another major debut
album is freed to the world. Philadelphia’s own Meek Mill drops his major label
debut album under Rick Ross’ <a href="http://maybachmusic.net/">MMG</a>. As a northeastern rapper, Meek’s sound is
actually more southern sounding. The days of Philadelphia rhymesters Cassidy
and Freeway are over. Meek Mill’s time is now, with the release of <i><a href="http://www.amazon.com/Dreams-Nightmares-Meek-Mill/dp/B008M4HC66">Dreams and Nightmares</a></i>.</div>
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<o:p></o:p></div>
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On the intro and title track “Dreams and Nightmares,” Meek
introduces himself as he showcases his unique ability to dominate the often-changing
instrumental. As the drum pattern switches up, so does his vivacious flow. It
is easy to hear his anger and hunger as the song intensifies, which is where
Mill is truly at his best.<o:p></o:p></div>
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Unfortunately, the album is a tad up and down in terms of consistency.
The album’s second track “In God We Trust” sounds like a typical mix tape
track. Tracks like this display Meek Mill’s ability to rap, but fall short in
offering the hip-hop world something fresh and new from his work we haven’t
already heard. The very next song “Young & Gettin’ It” is drowned out by
the overuse of auto-tune. This is unfortunate, as the auto-tune function in
2012 doesn’t really serve a strong enough purpose on a debut, hardcore rap
album. <o:p></o:p></div>
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Meek Mill snaps back to reality on “Traumatized,” snapping
over a gritty, story-telling type beat. Songs like this one prove that Meek is
capable of meaningful and lyrical substance. It is here, where he talks about
the traumatic experience of his father’s murder. He spits, “when I find the *****
that killed my daddy know I’mma ride, hope you hear me, I’mma kill you *****.” His
anger reaches its peak on this track, as he seeks revenge on his father’s
killer.<o:p></o:p></div>
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“Believe It” is another mix tape track at best, in terms of
complexity. The album reaches it’s highest note on “Maybach Curtains,”
featuring John Legend, Nas and Rick Ross. This is a very honest and uplifting
approach from Mill, as John Legend provides the perfect chorus. Nas uses his
lyrical prowess to bulk up the track even further, as Rick Ross bodies the
track like he does best. Moving onward, Meek finds help from Drake on the
mainstream-appealing “<a href="https://itunes.apple.com/us/album/amen-feat.-drake-single/id534976553">Amen</a>.” This radio-ready cut finds the perfect vibe for
cruising around in the car on a lazy day.<o:p></o:p></div>
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The next track “Young Kings” discusses the new era of
hip-hop artists, as they are making the way for the future of rap. “Lay Up”
features Wale, Trey Songz and Rick Ross, and plays the role of the lady’s song
on the album. Trey Songz sets the mood, while Wale provides the wisdom and Rick
Ross provides the strength. On “Tony Story Pt. 2,” Meek returns to his rugged
story-telling rap, once again capturing the mind and soul. <o:p></o:p></div>
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<a href="http://www.maryjblige.com/splash/">Mary J. Blige</a> makes her presence felt on “Who Your Around,”
as she lays down the perfect hook. Mill kicks some knowledge on this track,
discussing how the company one chooses to keep can make or break him/her. He
talks on how he’s had to leave some who were bringing him down behind. “Now
when I ride by I breeze through, I don’t even stop, ain’t a need to.” <o:p></o:p></div>
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Right when the album is growing incredibly smart, another
dud “Polo & Shell Tops” sounds as though it wouldn’t even make his mix
tape. The albums’ last two joints “Rich & Famous” and “Real ***** Come
First” aren’t anything special either. An unfortunate conclusion to a fairly solid
debut album comes across as a disappointment. <o:p></o:p></div>
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The album’s inconsistency has ended up being Meek Mill’s
scariest nightmare. He has, however, provided some dream-like hope on some
extremely strong tracks. As his career develops, and he matures as an artist,
he will likely find his greatest success when he tells his goriest tales from
the street. His natural knack to story-tell and reveal the hood’s scariest
truths is what draws real rap fans to him in the first place. Through the
course of time, he must stick to his strengths in order to remain relevant in
the ever-changing, competitive hip-hop scene. Far from perfect, <i>Dreams and Nightmares</i> shows hope for
Meek Mill’s future as one of rap’s up-and-comers.<o:p></o:p></div>
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RRR Score: 6.75/10<o:p></o:p></div>
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Written by Seth Kaplan<o:p></o:p></div>
<!--EndFragment-->Anonymoushttp://www.blogger.com/profile/11386434445283092842noreply@blogger.com0tag:blogger.com,1999:blog-7069260880734292977.post-36796746337733715912012-10-23T21:44:00.000-07:002012-10-24T08:17:11.429-07:00good story, M.A.A.D. classic<h2 style="text-align: center;">
<a href="http://www.google.com/imgres?um=1&hl=en&client=safari&sa=N&rls=en&biw=1259&bih=684&tbm=isch&tbnid=EeTrqaiPCa5abM:&imgrefurl=http://kendricklamar.org/&docid=qslRlj3AWrWdKM&imgurl=http://kendricklamar.org/wp-content/uploads/2012/08/kendrick-lamar-good-kid-maad-city.jpg&w=500&h=500&ei=jXGHUM_kNoTs9ATFpIGwAQ&zoom=1&iact=rc&dur=333&sig=113806008917062672071&page=1&tbnh=135&tbnw=129&start=0&ndsp=18&ved=1t:429,r:0,s:0,i:74&tx=66&ty=43"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg9KscarSE_vEQ6EfrjrhPh7zGifDDQ8ETYW1Lx1Q7jct7JOqPTvRxSux9F4VQZAl3tfrWo3eEYnFQByPdFiGBiThY5CPLebEzuHUvWWpGA4nNrVVXaXffhyphenhyphenuwAcxT9o39xZ49dZiUCVNe9/s320/kendrick-lamar-good-kid-maad-city.jpg" width="320" /></a></h2>
<h2 style="text-align: left;">
</h2>
<h2 style="text-align: left;">
"good story, M.A.A.D. classic"</h2>
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<h3>
<i>good kid, M.A.A.D.
city</i></h3>
<div align="center" class="MsoNormal" style="text-align: center;">
<o:p></o:p></div>
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The long
awaited, major debut album, <span style="color: yellow;"><i><a href="https://itunes.apple.com/us/album/good-kid-m.a.a.d-city-deluxe/id565833795">good kid,m.A.A.d. city</a></i> </span>has finally hit the shelves, and Kendrick Lamar does indeed
deliver a classic. With Lamar's last project, <i>section.80</i>, we were able to get his perspective on his
entire generation; however, this latest work of KDot's gives us his
perspective of being an adolescent in Compton. Every track on the album sets up
the track to come and foreshadows the future events in which young
Kendrick is about to experience. <o:p></o:p></div>
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It all starts with “Sherane A.K.A. Master Splinters’
Daughter,” setting a strong tone for the whole album, while acting as the
perfect intro. Here, Kendrick uses detailed facts and story-telling tactics to
discuss his conquests for past love interest, Sherane. As the track opens with
him and his friends’ accepting Jesus Christ as the Lord, it follows by
showcasing his sinful behavior. He cleverly raps, “I was in heat like a cactus,
my tactics of being thirsty” as he sets the playing field for the following tracks. <o:p></o:p></div>
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A skit after the track illustrates his parents fighting, and
their overall dependence on Kendrick himself. This is used to show how
dysfunctional his family situation was. The track “Bitch, Don’t Kill My Vibe”
is a play-on-words of something his father would have shouted at his mother in
tough times. He tells how he played the role of mentoring his own parents, and
never finding time for himself. In the chorus, he admits, “sometimes I need to
be alone.” This track is highly relatable to anyone’s day-to-day tensions.<o:p></o:p></div>
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“Backstreet Freestyle” showcases his overall ability to rap,
as he uses it as an example of a freestyle track he would have used when trying
to make his name known in the streets. Here, we see an arrogant, practical, and
seventeen year-old version of KDot displaying his confidence and lyrical
combat. The raw and cocky approach is fresh and edgy, easily appealing to real
rap-heads from all around.<o:p></o:p></div>
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He keeps his rugged approach on “The Art of Peer Pressure”
as he explains his vulnerability to be pressured into bad decisions as an
up-and-comer. Telling his story from a first-hand account, he shows how even
the <i>goodest</i> of kids can still make
the <i>maddest</i> of decisions when they’re
“riding with the homies.” He shares his stories of crime and risking everything
because his so-called friends were such negative influences on him. <o:p></o:p></div>
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Realizing his life was being captured by so many ills, he
uses the track “Money Trees” to describe his realization that money could be
the cure to all his problems. “Money trees is the perfect place for shade, and
that’s just how I feel.” He begins to understand that working hard could help
him make real money. The track marks the start of a new beginning for Kendrick.<o:p></o:p></div>
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The album takes a bit of a turn, and begins to really appeal
to the ladies on “Poetic Justice.” He finds none better than Drake to help him
discuss various aspects of the modern-day relationship between a man and woman.
<a href="http://www.janetjackson.com/">Janet Jackson’s</a> “Any Time, Any Place” is sampled, providing a soulful and heartfelt
medium. After just one listen, it is easy to pinpoint this joint as the album’s
most mainstream-friendly cut on the album, even more so than the lead single
“<a href="http://www.amazon.com/Swimming-Pools-Drank-Explicit/dp/B008PN7O94">Swimming Pools (Drank)</a>.”<o:p></o:p></div>
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Shifting back to the street, “Good Kid” sets the ground for
the rest of the album. The Pharrell-produced track features the more honest and
modest Kendrick identifying himself as the good kid. At first, he seems a bit
lazy and uninspired, but this method actually works in setting the stage for
the very next track “M.A.A.D. City.”<o:p></o:p></div>
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It is here, where Kendrick truly portrays himself as a good
kid lost in a mad city. He describes how he perceived Compton as being a place
with himself, chaos, cops, and nothing else. His feeling of being trapped in
his own city, with no clean way out, overwhelmed his existence itself. KDot
defines his acronym for M.A.A.D. as “my angry adolescence divided” and explains
how the double A stands for “angel on angel dust.” The hard-hitting, monumental
anthem of a beat serves as the bold backdrop for Kendrick to attack
aggressively, explaining street tales such as how the first time he smoked marijuana,
it was laced with cocaine, and had him “foaming at the mouth.” By the song’s
end, listeners will find themselves drooling at the mouth.<o:p></o:p></div>
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He elaborates on this mad city of his on the album’s lead
single, “Swimming Pools (Drank).” Here, he remembers how the people around him,
including his own family, tried dragging him down a path of alcohol abuse and
overall unhealthy living. This cut clearly elaborates on the “misery loves
company” prophecy, and is told from his own experience.<o:p></o:p></div>
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“Sing About Me” deals with Lamar’s obsession over death. He
directly addresses people he had mentioned on prior mix-tapes such as <i><a href="https://itunes.apple.com/us/album/section.80/id447516359">section.80</a></i>. Some of these people were
apparently offended by how open Kendrick was in sharing the real stories of
their personal lives. He tries to justify his usage of their stories,
explaining they were being used to educate and inspire people who came from places
like Compton. He asks, “am I worth it?” in a hopeful attempt that his efforts
will be sung about when he is dead and gone. <o:p></o:p></div>
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The second part of this track “I’m Dying of Thirst” reverts
back to the intro, where him and his friends accept Jesus Christ as the Lord,
and they ask for forgiveness. He explains how “dying of thirst” really
translates to “being in need of holy water.” This track is the true location
where KDot firmly grasps the idea of carrying a positive moral compass.<o:p></o:p></div>
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At this point, Kendrick is able to see what is really
important in life, and what really is not. On “Real,” he explains what life’s
true values are, and ignores what may be deemed as “cool” in the hood. He
stresses the importance of love, family, and friends, and informs listeners as
to where their focuses really should be in life. <o:p></o:p></div>
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After Kendrick Lamar reaches his state of understanding, he
brags how he finally made it on “Compton.” The Dr. Dre-assisted, Just
Blaze-produced banger shows how after all his hard work and dedication, he
finally made it big time. He lands his major record deal with Dr. Dre on
Aftermath, and boasts on how he rose from the bottom to the top. This track
serves as the ultimate conclusion to this true rags-to-riches story of an
album. <o:p></o:p></div>
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Kendrick Lamar ultimately uses diversified deliveries, timeless bars, and a plethora
of flows in order to achieve his accomplishment of telling a story that
has never been heard in hip-hop until now. Rap listeners have heard about the
gang-affiliated streets of Compton, but they have never heard of the violence
that occurs on those same blocks from the voice of a good kid.
Lamar diminishes any cliché that says you have to gang-bang your way to
the top of a <i>m.A.A.d. city</i>. Thanks to
the good kid, Kendrick Lamar, we finally see what it is like to be an innocent,
vulnerable human being in the middle of a jungle surrounded by savages. KDot
will definitely have a positive influence among the future of our nation seeing
that he serves as living proof that children can survive the dangers of the
hood, and still keep their dignity. The tale of <i>good kid, m.A.A.d. city</i> is an instant classic, and it is one for
the ages. It is no secret that our generation has just been given a gem to be
passed down to every generation to come until the end of time.<o:p></o:p><br />
<br />
RRR Score: 10/10<br />
<br />
Written by Seth Kaplan and James Norman</div>
<!--EndFragment-->Anonymoushttp://www.blogger.com/profile/11386434445283092842noreply@blogger.com1tag:blogger.com,1999:blog-7069260880734292977.post-90846773348978216872012-10-12T07:26:00.001-07:002012-10-24T08:29:53.935-07:00The Album With Nothing On the Cover<div class="separator" style="clear: both; text-align: center;">
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<h2>
“The Album With Nothing On The Cover”</h2>
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<br /></div>
<h4>
<i>Food & Liquor II:
The Great American Rap Album Pt. 1</i></h4>
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<br /></div>
<div class="MsoNormal">
A year and a half after the release of <i>Lasers</i>, Lupe fires back with his new super-society-conscious album.
<i>F&L 2</i> kicks off with a big bang in “Strange Fruition”, where Lupe starts
off ranting “Now I can’t pledge allegiance to your flag, cause I can’t find no
reconciliation with your past, when there was nothing equal for my people in
your math, you forced us in the ghetto and then you took our dads.” This
foreshadows the rest of the album as being a back-and-forth societal-personal
album.<o:p></o:p></div>
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<br /></div>
<div class="MsoNormal">
As the album progresses, Lupe provides his singles <a href="http://www.amazon.com/Around-Freedom-Aint-Free-Explicit/dp/B0085LM2W0">“Around My Way”</a>, “Bitch Bad”, and “Lamborghini Angels”, where he touches on everything
from his frustration for the American way, to the misusage and
misinterpretation of the word ‘bitch’, to child molestation. In the heart of
the album, Lupe throws in some forgettable duds with “Put Em Up”, “Heart Donor”
and “How Dare You”. <i>F&L 2 </i>regains
its energy with the Guy Sebastian-assisted “Battle Scars”, taking a more
personal, relationship-inspired cut. This is where the album’s relatable level
reaches its peak.<o:p></o:p></div>
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<br /></div>
<div class="MsoNormal">
Lupe finishes strong with his last five tracks. “Brave
Heart” serves as the ultimate beat-your-chest anthem, where he spews “Took the
wood from the slave ships and furnished my abode, that boat is now my bed,
desk, dressers and my drawers.” Once again, Lupe turns back toward a more
historical, society-driven focus. “Form Follows Function” serves as the intellectual’s favorite lyrical brain-buster. “Cold War” serves as the most
listenable, easiest-to-ride-to track on the album. He spits “In the studio
writing these words, one after the other, in memorial of my brother, as you
listen to the album with nothing on the cover.” “Unforgivable Youth” and “Hood
Now” conclude the album, discussing the struggle and progress relevant to
today’s urban world.<o:p></o:p></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
Returning to lyrical prowess and poetic intelligence, Lupe
shows signs of the hip-hop genius his fans know him to be. Aside from the
overly political undertone, redundant sounding beat selection and frequent
contradictions, <i>F&L 2</i> stands strong in the current rap climate. It lacks
the focal point of <i>Food & Liquor I</i>,
but manages to capture a similar essence. His flow is better than ever, but his
head seems to be a bit all over the place. The presence is there, but the
timelessness is not. Overall, as a solid and much-needed addition to Lupe’s
catalogue, <i><a href="https://itunes.apple.com/us/album/food-liquor-ii-great-american/id561751903">Food & Liquor II</a> </i>delivers,
but maybe not to the extent the fans had hoped for.</div>
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<div class="MsoNormal">
RRR Score: 7.5/10</div>
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<br /></div>
<div class="MsoNormal">
October 12, 2012</div>
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