The 20/20 Experience

The 20/20 Part 2 A 20/20 Move?

JUSTIN TIMBERLAKE'S THE 20/20 EXPERIENCE

With Justin Timberlake’s brand new album “The 20/20 Experience” 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, Timbaland. 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?

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.

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 The 20/20 Experience delivers in terms of quality.

Whether it is smart or not for Justin Timberlake 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. The 20/20 Experience truly is music that people can see, no pun intended. 

Independent Sample-Free Success

Independent Sample-Free Success

MACKLEMORE & RYAN LEWIS

Macklemore and Ryan Lewis’ decision to stay independent for the release of The Heist 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 clearing samples. 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.

The fifth single on The Heist, titled Thrift Shop, has stayed many weeks at the number one spot on Billboard and iTunes. It also reached the number one spot in the UK. All in all, Thrift Shop 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.

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 The Heist, 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.

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, The Heist contains homemade music that touches the souls of many music fans worldwide.

Cop A$AP As Soon As Possible?

Cop A$AP As Soon As Possible?

A$AP Rocky's Long. Live. A$AP.

A$AP Rocky’s debut album has finally hit stores, and it is officially his time to shine in the spotlight. Coming out with a debut hip-hop album so recently after Kendrick Lamar’s critically acclaimed good kid M.A.A.D. city, would appear to be a risky move. Since A$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.

Long. Live. A$AP. starts quite hot, as the title track off the album showcases Rocky’s versatility right away. The eeriness of the beat, and the uniqueness of the high-pitched vocals on the hook make this cut a standout record on the CD. On the second track, Goldie, A$AP delivers strong bars over a gritty, more traditional hip-hop instrumental. Then, on PMW (All I Really Need), 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.

On LVL, 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 Hell, 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 Pain, as he lets his audience in on some of his stories from the bottom.

Track seven is F*****’Problems, 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 Wild For The Night, and after just one quick listen, fans are sure to get wild for any given occasion. Next up is 1 Train, 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.

On Fashion Killa, A$AP aims for the ladies, as he simply rhymes about a woman he considers to be the ultimate fashion killer. As for the last two tracks on the album, Phoenix and Suddenly, A$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.

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.

RRR Score: 8.5/10

Written and reviewed by Seth Kaplan

The King Is Back

The King Is Back

T.I.'s Trouble Man: Heavy Is the Head

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 Trouble Man: Heavy Is the Head, 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?

On The Introduction, 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 G Season, which features Meek Mill. Once again, the energy remains high as he comes with an aggressive, hustler’s approach. Trap Back Jumpin, T.I.’s lead single off the album, further extends the excitement.

As the album reaches track number four, Wildside, 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, Ball, 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.

From here, T.I. links up with hip-hop legend Andre 3000 on Sorry. 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 Can You Learn, for a nice bluesy track on the album. This is followed by the single Go Get It, which once again showcases T.I.’s ability to amp up his listeners and prove his relevance to today’s rap scene.

P!nk makes an appearance on Guns and Roses, 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. The Way We Ride 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, Cruisin’. 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 Addresses, where he takes a shot at the people who have doubted him over the years.

Similarly, on Hello, 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 Who Want Some, 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, Wonderful Life featuring Akon, Hallelujah, and Love This Life 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.

The album closes with the single Like That, 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 Trouble Man, 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 Trouble Man: Heavy Is the Head serves as one of the better albums on his music catalogue.

RRR Score: 8/10

Written and reviewed by Seth Kaplan

Trouble Sleeping?

"Trouble Sleeping?"

Meek Mill's Dreams and Nightmares

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’ MMG. 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 Dreams and Nightmares.

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.

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.

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.

“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 “Amen.” This radio-ready cut finds the perfect vibe for cruising around in the car on a lazy day.

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.

Mary J. Blige 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.”

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.

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, Dreams and Nightmares shows hope for Meek Mill’s future as one of rap’s up-and-comers.

RRR Score: 6.75/10

Written by Seth Kaplan