ALBUM REVIEW: J. Cole - Cole World: The Sideline Story

What’s good hip hop heads!  I think it’s safe to say that aside from the usual Lil Waynes, Drakes, Kanyes and Jay-Zs of the world – J. Cole has one of the most anticipated album releases in 2011 – definitely amongst the freshmen - and for good reason.   Ever since his scene stealing performance on Jay-Z’s “A Star Is Born” off of Blueprint 3, we watched him Come Up, then Warm Up, until finally, he delivered a gem of a mixtape-that-should’ve-been-an-album, Friday Night Lights, which was critically acclaimed across the board.   Cole’s time is now.  We know he has the potential to do great things, but now is the true test.  Game time…

Cole World: The Sideline Story is a dope album.  Bottom line.  In an era where Nas’ phrase “hip-hop is dead” is overused, those who are seeking for “real hip-hop” should look no further.  Boom-bap style beats, flow-switching, minimal sung hooks, substance and quality lyricism.   For those who are familiar with his mixtapes, you’ll see he decided to include re-mixed versions “Lights Please” and “In the Morning” with Drake, which are great picks. 

What I appreciate about Sideline Story is Cole’s effort to not let the pressure of having a “smash single” deter him from including more substance-oriented songs, which is where he shines most, in my own opinion.  Don’t get me wrong, “Can’t Get Enough” is a banger – but gems like “Lost Ones”, “Never Told”, and “Breakdown” have more replay value because of the sincerity behind his words and the intention in his delivery. 

“Sideline Story” is easily my favorite song on this entire album.  Prefaced with an interlude with him telling a story about how he was arrested the day he found out he was signed, Cole proceeds to vent all of the feelings and emotions of being an artist: being overlooked, dealing with temptations, even his relationship (or lack thereof) with Jay-Z.   Over a track driven by Cole’s signature drums, jazz piano and Rhythm’s “The World Is A Place” sample (also used by Consequence on his Don’t Quit Your Day Job album), Cole gives us almost 4 minutes of some of the realest words he’s ever wrote.  What I appreciate most about this song is his ability to be observant and insightful – in the same way Pac was, or even Nas.  Cole spits:

“Back when Martin King had a thing for Coretta

Wonder if she seen all the dreams he was dreamin’

Did she have a clue of all the schemes he was schemin’

Still loved him just enough to put up with the cheatin’

Months go by and only see him for a weekend

I say a prayer, hope my girl ain’t leavin’

We all got angels, we all got demons”

Another great moment on this album is the Missy Elliott featured, “Nobody’s Perfect”.   It was like a breath of fresh air hearing Missy Elliott on a song again with her crisp (and ridiculously underrated) vocals/harmonies on the hook.  In addition, it was great to hear Cole use a different flow and add a little more variety, style-wise. 

Sideline Story is a dope project, but it’s definitely not without its flaws.  Mainly the production.  It is a difficult task holding down the role of both the producer and the rapper – ask Kanye.  Ask Black Milk.  Same holds true for J. Cole.  It is clear that he has a signature sound:  mid tempo, traditional boom bap drum pattern, similar kick/snare/hi hat instrument selections, and a piano or soul sample.  At times he’ll switch it up, but for the most part he gives you the same ol same ol.  This can be a bit of a problem over the course of 16+ tracks.   Production wise, it lacks the dynamics we hear in his vocal performance.   There are songs where we hear Cole giving his all in the verse, but the beat doesn’t quite match his tone.  

Then there are beats on here that are just bad.  Like…Michael Jackson, bad.  What broke my heart was the Jay-Z collaboration “Mr. Nice Watch”.  While I appreciate Cole spinning Jay’s line from his classic record “A Million and One Questions” (“ugh, nice watch!”), there’s a lot about this song that leaves you scratching your head…pause.  Sure the beat is clearly dub-step influenced, but there’s a fine line you have to walk when genre-blending.   Not to mention, those who are familiar with his Friday Night Lights mixtape may recognize the recycled part in the hook from “It Cost Me A Lot”, which gives me the impression that perhaps he’s running low on ideas.  Other beats that missed the mark were “Cole World” and even the switch up in “Dollar and a Dream III”.  It was confusing, to say the least. 

Other than the production, I think the album might be a couple of tracks too long.  For a rapper like J. Cole, who has production that sounds similar and a flow and voice-tone that rarely switches up, his style may get monotonous to the average listener after 12 tracks.  I would rather leave the listener wanting more than to give them too much too soon, especially in today’s fickle music climate. 

Overall, I’m digging Cole World: The Sideline Story.  Very solid debut album, tells a clear story and leaves more to be desired in the future.  Does it top his masterpiece, Friday Night Lights?  Some may argue no, but if this is your introduction to Jermaine Cole, then this is more than enough to satisfy you. 

GRADE: C+ (7.7/10)


STANDOUT TRACKS: Sideline Story, Never Told, Breakdown, Can’t Get Enough, Lights Please

ALBUM REVIEW: Lil Wayne - Tha Carter IV

What up hip-hop heads!  So here we are.  Tha Carter IV.  After a year in prison, much anticipation was built for Lil Wayne’s 9^th studio album.  Many people wondered, which "Lil Wayne" will we get? The hungry Wayne who shamelessly boasted that he was the "best rapper alive (since the best rapper retired) on the first two Carter installments? Or the happy, syrup-sippin, swagged-out spitta who rapped over the game-changing beat "A Milli"?  Or the autotune singing, rockstar who crafted Rebirth? For some reason, the album that comes to mind when I think of rappers fresh outta jail is...you guessed it: All Eyez On Me.  Sure, Lil Wayne and Pac are in two completely different leagues as far as their place in history books - but there is a level of hunger that I am expecting prior to listening to anyone's album who just got released from jail.  TI, Styles P and Cassidy, also come to mind. Let's see how Young Tunechi measures up...

Ok.  Listening to Tha Carter IV feels like you're listening to another installment of Sorry For 4 Tha Wait.  It feels like a mixtape. From the "Intro", "Blunt Blowin", "MegaMan", "6 Foot 7 Foot"...all mixtape joints.  Perhaps it is his subject matter.  Perhaps it is his beat selection.  It just feels like a mixtape:  spittin, droppin punchlines over dope beats with no true concept behind the song.  It's not until “Nightmares of the Bottom” where it starts to take on the feel of an album, as far as story goes.   Sonically, there’s no new ground covered, but he definitely picks some hot instrumentals, which is expected.  “MegaMan”, “Abortion” and “I Like the View”’s beats all monstrous.

Wayne also sticks to his Carter I and II format, with the rapping-interludes, only this time he allows a slew of all-star heavyweights (and Shyne) to do the boasting for him, aside from the initial "Intro" track. While I feel like the art of collaboration has been mercilessly abused to no end these days, I can say that I enjoyed every rapper's contribution on the interludes aside from the horrificable (yes, horrificable) Shyne, who laid down probably one of the worst verses I've ever heard in my life.  No hate, just honesty.  Aside from him, I think every rapper held it down and will be the topic of debate as far as "who murdered who".  Personally, Nas gets my vote. 

While the highlights on this album like "She Will" feat. Drake, "Mirror", "So Special" feat. John Legend stand out, I must say the true gem is "How to Hate" feat. T-Pain.  This is one of the rare moments where Wayne steps outside of his swagged out, blood-reppin, emcee-bashin persona and opens up with a true life story that is relatable: 

"...she used to always say, fuck my niggas

And when I went to jail, she fucked my niggas

Well, I guess I’m single for the night

And you can sit right on my middle finger for the night

And if I sound mad, then you caught me

But this shit explains that you’re the one that taught me (how to hate a bitch)..."

Now...the problems.  The album lacks direction.  Period.  With his first Carter albums, he seemed to stick to the "greatest rapper alive" theme very well, while also weaving in street tales and balancing out the highs and lows of his life, in a way that made for a cohesive body of work.  For every "Go DJ" he had "I Miss My Dawgs", for every "Money On My Mind" he also had "Hustla Musik" or "Receipt".  I can't say the same for this one.  There are several times during the course of this album where I'm wondering, "WTF is he talking about?".  On his first Carter albums he'd dedicate full songs about something "life" related, now he recites "life is a bitch..." metaphors in almost every bar, which has been overused by him since I Am Not A Human Being. 

Tha Carter IV is in no way an "All Eyez On Me" album, in regards to being that monumental album that lives up to the hype upon being released from prison.  This is more like the mixtape warm-up project that is released a month before the actual project.  As a listener, I felt cheated.  Think about it:  here is Lil Wayne, arguably the #1 rapper of today's era, fresh outta prison.  Who knows the thoughts, emotions, and epiphanies that he must have had during that year long bid.  We've seen the extreme things prison can do to someone: we've seen Detroit Red transform into Malcolm X.  On a smaller scale, we've seen Prodigy reform into somewhat of a conscious rapper.  We've seen Shyne, for better or worse, change religions.  I wanted to see what prison did to his thoughts.  How did prison change him?  Good and bad?  Did he learn anything?  Something.  Anything with some substance. Something that contains a story of some sort.  I felt like he was holding out on us.  I understand he has an audience he is obligated to please, but he balanced it out well on Tha Carter II and parts of Tha Carter III.   

Other problems on this album are small compared to the bigger picture.  What turned out to be a nineteen-song project could have easily been cut to twelve.   Also, it would have been great to see Wayne shine on his own a little more and not rely so heavily on features.   I understand that is the trend of the game these days, but Lil Wayne is enough of a household name and has enough artistic tricks up his sleeve to where  he doesn’t need them.   In addition to the length and the features, I must say Wayne went overboard with the metaphors.  Just on a technical level as a rapper, sometimes I’d wish I wrote his lyrics down.   It seemed like for every punchline he spit that was clever and made sense, he’d drop another one that is just flat out wack.  While I’m more lenient of the “real G’s move in silence like Lasagna” line from "6 Foot 7 Foot", he has some others that are unforgiving:

"All about my riches/ my name should be Richard"

"Don't fuck up with Wayne/ 'Cause when it Waynes it pours."

"I keep some bud/ like Rudy Huxtable"

I only say this because I know the potential Wayne has as a rapper.  We've seen him kill Jay-Z on his own beat, we've seen him demolish the mixtape circuit, we've seen him flow effortlessly over some of the best beats the game has to offer, and we've seen him craft countless memorable songs. This was his moment to show some growth.   Plus, he’s supposed to be the “greatest rapper alive”.  I didn't see it here.  

If you enjoyed No Ceilings, I Am Not A Human Being and Sorry 4 Tha Wait, you will LOVE Tha Carter IV.  If you want to see Wayne grow as an artist, you might have to wait a little bit longer for that.  The album is decent, but definitely not the album I'd put out immediately after doing a prison bid. 

Grade:  D- (5/10)

Standout Songs: "She Will", "How to Hate", "Mirror", "Outro"

ALBUM REVIEW: Kanye West + Jay-Z - Watch The Throne

 What up hip-hop heads! A few months ago during a concert while promoting his Beautiful Dark Twisted Fantasy album, Kanye made the big announcement that him and Jay would collaborate on a full-length project. At that moment, the anticipation was already felt. The pressure was already on. The hype was already built. Hip-hop's two biggest stars on one album: can they deliver a solid project? Personally, I feel like it's impossible for anyone to live up to that amount of hype – with that said, I want to say that I was not disappointed in the least bit by this project. Let's get to it:

Watch the Throne is an interesting piece of work. Upon the first listen – the first thing that sticks out is the production quality. Sonically, this project is very big and cinematic. One word comes to mind: dynamic. Many highs and lows and mediums. “No Church In The Wild” kicks things off and I must say that this is probably one of my favorite intros from Jay (or Ye) since his Dynasty Intro. Yeah, I said it! The lines:

Human beings in a mob
What's a mob to a king?
What's a king to a god?
What's a god to a non-believer?
Who don't believe in anything?

is enough to chew on, by itself. I find it funny that Jay proceeds to jump-start the album with a verse that has enough Free Mason and Illuminati imagery to fuel the fire of any conspiracy theorist. But his content is on point with the lines –

“I’m wonderin’ if a thug’s prayers reach
Is Pious pious cause God loves pious?
Socrates asks, “Whose bias do y’all seek?”
All for Plato...”

“Lift Off” is an peculiar record itself. While I do enjoy it and think it's appropriately placed on the tracklist in terms of concept and subject matter, I cannot help but notice that this song is 95% sung, aside from Jay's brief 8 bars in the middle. But this song is mostly Beyonce. This tells me that Ye and Jay's focus couldn't have been on the technical side of rapping – they wanted to create a feeling or an emotion for the moment. While I think they hit the mark in that respect, real hip-hop heads will cry foul for the lack of rap and lyricism. Ironically, Jay already see's this coming as he states in his verse:

“Rappers hear Watch the Throne
They gon be pissed off
Earth is boring to em
Sh*t is making my dick soft”

The album flows pretty well, from that point. It's not until I get to the RZA-constructed “New Day” when I realize that Jay and Ye ain't playin. This is easily one of my favorite songs from not only this album, but from both of their catalogs. The concept is simple in that they're talking to their unborn children, but the depths they find within their verses are phenomenal. With Kanye – this is the rapper we fell in love with and miss. The introspective, self critical, observant and “so self conscious” backpacker that rhymed on “Never Let Me Down” and “All Falls Down”. With Jay – this is the side of him we don't see enough of: the vulnerable, honest and more human side. We saw a glimpse of that on Kingdom Come, but nothing since then. On this album, people will make their decisions on “who out-rhymed who”, but on this particular song – they both came with it.

I think what makes this a strong project is the production quality – not only the beats themselves but the arrangement. There are not many hip-hop songs which contain true bridges, in the traditional sense: the transitional part that takes the song to the next level, creating more dynamics. With hip-hop, it's difficult to accomplish this without melody. However, Jay and Ye make this happen through constant beat changes and vocal samples on several songs. They even include extended outros, where they change the beat completely. Something I haven't heard anyone experiment with in a while. Sonically, you're in for a journey. The most surprising joint is the Swizz Beatz laced, “Murder to Excellence”. On the surface, this could've easily been a cheesy stop-the-violence song, but instead it turned out to be one of the strongest message-songs we've ever heard from the two of them, and a lot of that is credited to the beat, which lends itself to that. It's great to hear a song start out as cry for peace on black on black crime and police brutality by spitting out facts (Jay references Danroy Henry the Pace University football star who was gunned down by police), and end in a hopeful tone – stating where we can go as a people if we choose the latter.

Other standouts are “Made In America”, “That's My Bitch” and the dubstep inspired track, “Who Gon' Stop Me”. It is clear that these two made the decision to take rap to another level.

While there is a lot to praise about the project, it isn't perfect by any stretch. Content wise, there is A LOT of stuntin' on this album. A lot of ballin. A lot of flossin. Lotta money talk. Sometimes it's good, but most of the time it gets redundant, especially because we are very familiar with Kanye and Jay's work up to this point. One or two songs aren't bad especially because that's what we're used to hearing from Jay, but c'mon son - “Niggas In Paris”, “Gotta Have It”, “Otis”, “Who Gon' Stop Me” are all the same song. I enjoyed them all individually, but as a project I would've have preferred two or three or those get replaced with a storytelling track or two, just for the sake of variety. It gets old after a while.

Jay and Ye are both at a point in their careers where people are wondering how many tricks do they have left up their sleeve, so every song counts. It's funny because conceptually, Watch the Throne sounds like Kanye was in creative control and Jay added his touch to it. I think on this project you get a little bit of both personalities we've grown accustomed to: Jay the slick talking hustler who will forever be the king of money-talk. Ye forever speaks on how fly he is with a hint of social consciousness. Personally, I think it would've have been nice to hear a project with more substance to it, not because I'm a hip-hop head, but because 1.) we know they have it in them to do it and 2.) although we've seen Kanye go there early on in his career, we can't say the same about Jay. And Kanye is a much better technical rapper now than he was on College Dropout, so who knows what clever lines and poetry he'd be able to create now.

Overall I think Watch the Throne is an enjoyable album. There are no straight up wack tracks to be found. Some songs are better than others, but It's tough to listen to a project from these two without comparing it to what we've heard from them before or what we'd like to hear from them in the future. And realistically, there is no artist on the face of this planet that could possibly live up the amount of anticipation that these two had, so if you're expecting perfection: you are sorely mistaken. What you're going to get instead is an album reflective of a moment in time. Some of these moments you can relate to, others are far fetched. But as Jay once said, this is “just what he was feelin at the time, right or wrong...” Hate it or love it.

Grade: B – (7.8/10)

Standout tracks: “No Church In The Wild”, “New Day”, “That's My Bitch”, “Murder to Excellence”, “Made In America”

ALBUM REVIEW: Pusha T – Fear of God

What up hip-hop heads! Let me start by saying this: Personally, I never liked Pusha T as a rapper. In fact, I never liked The Clipse – as a group. Although I enjoyed their first album, it was mostly because The Neptunes saved them with their grade-A production. But I felt like their content was overdone and most of all – Malice and Pusha T just were not good emcee's, in my opinion. There was nothing that made them any different than the next rapper. This was around when their first album Lord Willin' dropped. Fast forward to 2011. Things have definitely changed. As Pusha T states on this very mixtape, “Malice found religion, Tony found prison, I'm still trying to find my way up out this fuckin kitchen...” Pusha T has taken the solo route, and by the sound of this mixtape, I fully understand why Kanye signed him.

Before I get into the review, I gotta say that I commend Pusha for taking his craft as a writer seriously and always finding ways to improve himself. We have to remember that rap is an artform and just like singing, dancing, painting or any other artform, you must constantly work at it to improve your skill in someway – to stay sharp. You clearly can tell that Pusha T makes conscious decisions on his style of writing, even since The Clipse's 2nd album Hell Hath No Fury, when he changed his style up with the tone of his voice. Fear of God is no different. Yes, he talks about cocaine – so if you're no longer entertained by this insanely overdone concept, this isn't the mixtape for you. But the difference between this mixtape and any other cocaine-induced project is how it's delivered. The same way Jay-Z took the recycled theme of being a “hustler” and turned it into Reasonable Doubt, Pusha T has found his voice. After all, it's not what you say – it's how you say it.

To me, Fear of God got off on the wrong foot with using a clip from every rapper's Biblical movie – Scarface, as the intro. Personally, I'm tired of rappers referencing Pacino's classic role...be original! With that said, once “My God” came on, I quickly shut up. The horns and power behind Hit-Boy's track was too much to deny and surprisingly, Pusha did his job over it. His strength is definitely in imagery and subtle wordplay while telling a short story.

“A hustler's paradise: a lucky pair of dice.

Down $40, but the street gon' have you square by night.

Didn't bat an eye at it, kept the poker face – cuz the batter I added had the coco-base.

When you get to heaven's door, they won't hold a space

if you numb like the flesh on a smoker's face.”

Things only get better as the mixtape progresses. “I Still Wanna”, “Feelin Myself”, “Blow” and “Cook It Down” all go hard, one after another. I've never sold crack a day in my life, but Pusha knows how to keep me entertained and taps into emotions that allow you to relate to what he's talking about. Most importantly, I feel him now. He says a phrase like,

“You know what fame is?

Sittin with the women of your dreams and forgettin' what her name is.

You know what pain is?

Flushing 2 bricks and have a nigga try to strain it out the drainage”

...and just from the way it's emphasized, I can empathize with him and see things from his perspective.

Production-wise, most of the project is more for the car: mid tempo, base driven, southern style – heavy horns, organs, high pitch snares; but he found places to switch it up, which gave the project a little more variety. Songs like “Open Your Eyes” and “Raid” feat. 50 Cent and Pharrell Williams are clear examples of this.

Although Pusha impressed me for the most part on this mixtape, there were just a couple of not needed songs. Honestly, he could've had a classic, had he cut the freestyles. I think the days of rapping over other artists are getting to be played out, unless the artist completely mutilates the track – which Pusha doesn't do for Lil Wayne's “Money On My Mind”, Jay-Z's “Can I Live” and Soulja Boy's “Speakers Goin' Hammer”. Don't get it twisted, he does his thing – but I'd rather hear the originals. Aside from that, the only other WTF moment was the Kanye-laced “Touch It”. This song just seemed hilariously out of place. It's funny hearing a hardcore rapper beg a girl to just “touch it...” I was entertained, but it seemed like a song more for Kanye and less for Pusha.

I think there's a lot that can be learned from Pusha T. If you study the greats, and you will eventually do great things. Pusha has a lot to be proud of with this Fear of God mixtape. Is it perfect? No. Is it classic? Depends on who you ask. But one thing's for sure, Pusha T has transformed himself into a lyricist on this mixtape. The next step: staying consistent. I think he has it in him to do this, lord willin'.

Grade: B- (7.5/10)

Standout tracks: “My God”, “I Still Wanna”, “Blow”, “Open Your Eyes”

ALBUM REVIEW: Lupe Fiasco - Lasers

What up hip-hop heads! Man...so much to discuss with this Lasers album, I'm not quite sure where to begin. I'll start by saying that given knowledge of Lupe's agreement with Atlantic Records to put radio-friendly material on this project in exchange for a release date forces his die-hard fans to listen to this album with two sets of ears. It is obvious which songs were Atlantic Records' ideas and which ones were Lupe's. With that said, let's get to it...

After reading many reviews on Lasers so far, I must say that these many people are being waaaaay too overcritical of it. Yes, Lasers is different than Food & Liquor and The Cool, but let's not forget...The Cool came out in 2007 - I would hope his sound has changed just a little. I think in terms of lyrical technique, Lupe has definitely changed his style up, but sometimes change is necessary, depending on the context in which it is placed. In this case, it's more in his rhyme scheme and delivery: instead of using multiple extended metaphors to get his point across like his previous two albums, Lupe decides to take the more direct approach. I can understand how die-hard Lupe fans (like myself) might cry “he's falling off” when that was one of the main reasons we fell in love with him in the first place. But I think this is a different case. Think about when Ghostface rapped on “All I Got Is You”. That was the first time he didn't use any slang and it was effective. I believe Lupe's straight-forward approach is necessary with the stories and overall point he wanted to get across. Lasers takes on many sensitive issues such as politics, tolerance, conformity, and racism – and sometimes if you want people to listen to your message, you have to speak it for what it is, clear enough for everyone to understand what you're saying.

Sonically, Lasers is dark...very dark. Darker than The Cool, which is hard to imagine. This creates a sense of irony, seeing how Lasers stands for Love Always Shines Everytime Remember (to) Smile. He sets the mood perfectly with the opening song “Letting Go”. He says:  

“My self portrait shows a man that the wealth tortured/ Self absorbed with his own self - forfeit a shelf full of awards/ Worshiping the war ships that set sail on my sea of life/ Where I see my own self and wonder if we still see alike – we was tight, seeing light, speaking right and breathing life/ Now I see more demons and barely even sleep at night...”

“Words I Never Said” speaks for itself. Again, this song is more about the message and less about his lyrical technique. Listen to what he's saying:

“...and a bunch of other cover ups/ Your child's future was the first to go with budget cuts/ If you think that hurts then wait – here comes the uppercut – the school was garbage in the first place, that's on the up and up...”

Talk about lines that hit close to home - especially when just TODAY, Dekalb County, GA schools plan to close eight schools as part of a redistricting effort – which affects 9,000 students. They say hip-hop is a reflection of what's going on in the inner city – this is a prime example.

Other favorites include “All Black Everything”, “Break The Chain” and “State Run Radio” which reminds me of Nas' “Sly Fox”. It is clear that Lupe was intending to make the album most hip-hop heads have been waiting for. The ultimate revolutionary album – no radio pop hits, just the truth: raw and unfiltered. Enter Atlantic Records...

Listening to Lasers with my second set of ears – I gotta admit that although Lupe's attempts at making crossover songs sound forced and...well...just plain weird – I think some came out better than I expected. What I enjoy about “The Show Must Go On” is not only is it catchy, but he's still rapping with a message. Yes, his flow is slightly cadenced to ride the beat a certain way, but the content is still there. I know I'll catch a lot of flack for saying this, but “Out of My Head” isn't too bad either...and you're talking to someone who is a huge Trey Songz-hater! I think the 106 & Park crowd will eat it up and make Atlantic Records more than happy. With that said, “I Don't Wanna Care Right Now” is just plain terrible. Wack. Horrible. Horrendous. Imagine when Nas released “You Owe Me”...then vomit in your mouth a little bit...then chew on some broken glass. At that point, you will understand how I felt while listening to that song. It SUCKED.

What's the verdict? I don't think Lasers lives up to Food & Liquor and The Cool – but I can't help but partially blame Atlantic Records for this fiasco – no pun intended. There is no doubt that Lasers should have been released through an independent label, but that is a debate in itself. It is a shame that when we play Lasers five years from now, we would've forgotten that this wasn't his intention, yet this is what is set in stone. With that said, I still think Lasers a very solid album and has many songs that I will play for years to come. I recommend everyone purchasing this album if only to prove that our power truly is in numbers. Lupe deserves radio-spins, youtube hits, facebook “likes” and magazine covers as much as Lil Wayne, Jay-Z, Drake, Rick Ross, Nicki Minaj, etc and should not have to compromise to do so. LASERS IN STORES NOW. GO GET IT!!!


8/10


Standout tracks:  "Words I Never Said", "State Run Radio", "All Black Everything", "Break The Chain"

"Where Is The Love?" Part Dos

"WE diss our OGs (JayZ, Dr.Dre, IceCube,LL) White Ppl give their OGs standin ovations (MickJagger,Eminem,Striesand,Madonna) #SeeWhereImGoinWitThis" – Tweet from Atlanta rapper, Mic Check

First off, I'd like to thank Mic Check for inspiring this blog entry. I think the tweet alone speaks volumes and gives us something to look deeper into.

As people, it's very ordinary that we work harder at our jobs/careers when we're young so we can live off the fruits of our labor once we get older. This concept is no different as a recording artist. The artist makes song after song, album after album, expanding his or her catalog in hopes that when they become older, their catalog will be able to work for them – whether through royalty checks from those timeless hits they made being played on the radio, movies or tv commercials; or being healthy enough to take those hit records on the road and tour whenever you feel like it. There are certain artists who have that liberty and deserve a certain level of respect.

Let's look at Stevie Wonder: Since 1962, he has put out twenty-three solo studio projects. He has more than thirty top ten hits in his career and has won twenty two Grammy awards. He was eventually inducted into the Rock N Roll Hall of Fame. With all of the hard work that he put in since the 1960's, he is now able to tour and sell out arenas whenever and wherever he wants. And the best part about it – he can damn near charge whatever he wants. Why? Because he's Stevie Fuckin Wonder, that's why! He calls the shots. There are numerous solo artists and groups who can do this: Prince, Earth Wind and Fire, David Bowie, Aerosmith, Bruce Springsteen, Led Zeppelin, The Police, The Who, etc.

Is this any different with hip-hop? Having a long enough catalog and extensive enough resume to be able to hit the road or drop an album whenever you feel like it - even if you're 40 years old or older?  Is that something we embrace in the hip-hop community?  

Take Jay-Z, who is hip-hop's oldest artist who is still relevant today. Jay-Z has eleven solo albums, three collaborative albums, two soundtracks, and one compilation to his resume. Add that to thirteen Grammy's and over fifty million records sold in his career. It's safe to say that the Jiggaman has enough hits under his belt to put on a three hour set...easily.  Sure, we're already starting to see Hov on the road more these days, including throwbacks as old as "Jigga My Nigga" in his set, but there's something that makes us embrace Stevie Wonder as a musical icon before we do a Jay-Z or Dr. Dre or 50 Cent.  Oh, don't get it twisted, we LOVE our Doug E. Fresh's and Slick Rick's and Big Daddy Kanes - there the pioneers and made it possible for Jay, Nas and even 2Pac to take it to the level they did in the mid 90's.  And with all respect due - they're not as commercial a rapper as a Jay or Dr. Dre or 50 Cent.   What separates Jay from Stevie Wonder? Jay is a rapper. Stevie Wonder is not. It seems as though rappers have two obstacles working against him:

1. Hip-hop being accepted as a credible art-form to the general public

and

2. The competitive nature of hip-hop.

Allow me to elaborate...

Hip-hop being accepted as a credible art-form to the general public: 

 Regardless of how anyone may feel, rap music, as an art-form, has yet to gain full respect from America.  Never do we hear any hip-hop songs as elevator music in your local malls. Never will you study the history of hip-hop in your elementary school music classes. Never will you have a rap-lesson similar to voice lessons that most singers take. Never have you seen a kid go to college to major in “Hip-Hop Performance”. In fact, even in 2011 – I heard a version of Katy Perry's “California Girls” on the pop radio station where they completely cut Snoop Dogg's verse from the song. Sure it wasn't a hip-hop quotable, but it's the principle of the matter. There is a reason why artists like Andre 3000 and Kanye West have experimented with singing on full albums. It's because all of the songs that are viewed as American Standards are all melody (all sung). “Over the Rainbow”, “I Got Rhythm”, “It Don't Mean A Thing (If It Ain't Got That Swing)”, “Bye Bye Blackbird” are much older American classics. But even more recently – George Benson's “On Broadway”, Stevie Wonder's “Ribbon In The Sky”, Michael Jackson's “Rock With You”, Mariah Carey's “Hero”. Given the rebellious nature of hip-hop, it is easy to see why most rap songs will never be looked at as American Standards. It's difficult to label a song an American anthem when the lyrics of the song are very anti-American. Just sayin.

Again, let's look at Jay-Z: He might be the closest artist to breaking down that barrier with hip-hop. He was able to sell out Madison Square Garden during a time when it was unheard of for a rap artist. He's performed for The World Series, which is just one step under the Super Bowl. We're now starting to understand his lyrics when he said “I do this for my culture...” 







 Which brings me to my next point:

The competitive nature of hip-hop: 

 Battling is part of what hip-hop is about. It is almost like a sport – even viewed as a “young man's game”. Although I'm not intending to spark a debate about whether or not old rappers should eventually hang up the mic, I do think that sometimes that competitive spirit can be detrimental to our growth. Sometimes we have to put the art in front of the culture in order to move forward. We root for the underdog, but once they make it we hate to see them on top for too long – it's in our nature as people. So like Mic Check said, we make diss records about “old rappers in the game.” Rappers with no more than two albums to their name are taking shots at OG's who are 15 – 20 years deep in the industry. It makes no sense!

I'm not sparking a debate about Jay-Z as an artist.  Regardless how you may feel about him, he has paid more than his fair share of dues – you would think he has enough to overcome with him being at the forefront of changing the face of hip-hop's corporate side. In 5 to 10 years, it will be because of Jay-Z that a credible hip-hop artist will be able to perform at the Super Bowl, and we won't have to argue about whether The Black Eyed Peas are, in fact, the first hip-hop group to do so. Hopefully.

Hip-hop needs our own version of Stevie Wonder, Prince and Earth Wind and Fire. Someone or some people who can transcend the barriers and limitations that hip-hop often is associated with. As a culture that has changed the world and a generation, there should be no debate in cooperate offices on whether or not a “real” hip-hop artist should perform at Cowboys Stadium or any other major arena - it should be a given. But it starts with us! 

"There's a sign on the door - no biting allowed."

Ok people...I have a bone to pick. Yeah, that's right – I'm gonna just put it out there. I have to speak up. Enough is enough. It is my duty as a fellow hip-hop head to bring this issue to the forefront and confront it. Since when did biting become acceptable in hip-hop?! Since when did it become cool to blatantly copy someone's style, fashion or business move?

Remember in middle school when you copped those new pair of sneakers and you rocked them on the first day of school? Couldn't nobody tell you nothin! You knew you were the freshest one in your class! What made it more special was that you were the only one with them, so naturally, people wanted to know where you got em. A week later, you see that same kid sporting the exact same shoes as you, same colors and all. Then they had the nerve to run to you saying, “Hey look, I got the same shoes! We can be twins!” Either that, or they wouldn't say anything all, rocking them as if they were the first ones with them. Regardless, didn't we consider those kids lame, then?

Recently, rapper Consequence came out publicly and accused ex-labelmate Pusha T of biting a line of his on Pusha's song “My God”. Whether or not it is true is debatable, but part of me is happy for Consequence speaking up, if only because it lets me know what school of thought he comes from. There was a time up until about the early 2000's when copying someone's style was off-limits in hip-hop. It was the ultimate no-no. And if you did steal someone's style, you would get called out immediately and most times shunned away. The name of the game was originality. Sure, there is a difference between being inspired by someone and just flat out stealing – but where do we draw that line? Many people accuse Jay-Z of stealing lines earlier in his career. He has used lines from everyone ranging from Biggie to Slick Rick, but he considers it paying homage. Again, where do we draw the line?

I think the straw that broke the camel's back was hearing about Jazzy Pha jumping on the headphone bandwagon. Originally it was Dr. Dre and Jimmy Iovine's creation with the “Beats by Dr. Dre” headphones, then Diddy followed suit with “Diddy beats”...then 50 Cent with “Sheek”...now Jazzy Pha. C'MON SON. We've seen this time and time again – whether it be rappers starting clothing lines, coming out with alcohol brands, incorporating the song-a-week marketing scheme, using autotune, wearing pink, incorporating Bangledesh's “A Millie” snare breakdown in beats, etc. Where do we draw the line?