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? 

"Where Is The Love?" Part Uno

My fellow hip-hop heads...what up? What's good?! What's crackin?! What it do?! I know, I know - it's been a minute since I've written and I apologize for that. What can I say? Taking over the world is quite time consuming – ask Pinky and The Brain. Anywho, there are important matters to be discussed in the world of hip-hop. As we've all recently seen just a couple of weeks ago, The Black Eyed Peas performed at the halftime show for Super Bowl XLV, going thru a slew of their hits including “I Got A Feeling”, “Boom Boom Pow”, “Pump It”, “Let's Get It Started”, amongst others. They even brought out Slash from Guns and Roses to play guitar while Fergie sang a cover of their late 1980's smash “Sweet Child of Mine”. If this performance made any statement whatsoever, it was simply that we're living in the age of The Black Eyed Peas – in terms of commercial music. Hate it or love it, they are the poster children for pop/commercial hip-hop music in 2011.

With that said, I found it interesting that there were a wide range of mixed emotions about their performance from the hip-hop community:

"Maaaaaan Black Eyed Peas & Usher Kiiiiiillllleeed the Halftime performance!!!!!! Best one I have seen," Chamillionaire declared.

"My ni99 from the black eye peas outfit was LIT.COM!!! dat ni99a s**t had its own light show..LOL!! #WTFMoment!" tweeted Yukmouth.

"Hate if u want but Black Eye Peas SHUT THAT S**T DOWN!!!!!!!!" Busta Rhymes tweeted.

"Regardless what people wanna say @william is a rapper, thats rap music with a pop feel, so go head and say it was the best eva I LOVE IT !!!" Jermaine Dupri tweeted.

Youtube, facebook and other social media outlets were no different. Many positive, many negative, but regardless of what was said – it is clear that The Black Eyed Peas are in their prime right now.   

My question is this: Would you consider The Black Eyed Peas hip-hop? By hip-hop, I'm asking if they're credible? Worthy of our respect as hip-hop artists who have taken the game a step further? Do they deserve recognition for all the number one hits, all of the sold out arenas, all of the Grammy awards, etc.?   

Many argue that they are absolutely not hip-hop, they are simply a manufactured group created by a major label to appeal to the masses – in other words, they're sell-outs. Their subject matter go no further than the clubs and the dance floor and their song structure is based off of more sing-songy melodic hooks, than 16 tough bars – which is taboo in hip-hop! Many say that they've sold out by adding Fergie to the group – and argue that “They were hot back when they did 'Joints and Jams'”.

Again...are the Black Eyed Peas hip-hop?

Allow me to play devil's advocate just for a minute. Last time I checked, the clubs were a key part of hip-hop's culture. Where ever the party is, it is the MC's job to move the crowd, right? They have to be the one to keep the party moving when no one else can't. It seems like The Black Eyed Peas are doing a great job of that at the moment. Also, there are four elements in our hip-hop culture: Djing, graffiti, b-boying/breaking, and rapping. How many rap groups have you heard of that also have break-dancers? If you watch their video for “Pump It”, you can see the hip-hop influence in that the entire concept of the video is a b-boy battle. What's the subject matter of the song? “We're the best, we're the shit, etc. - and you're not”. That's hip-hop at its essence. Is there something I'm missing?  

Let's look at their biggest hit to date, “I Got A Feeling” which is more sing songy and melodic, and definitely more of a pop feel because of the beat – which caters to the club-scene instantly. And although, Wil.i.am uses the over-exhausted autotune, the only thing that makes The Black Eyed Peas different from when they recorded “Joints and Jams” (without Fergie, of course) is their image and their choice of beats - but in terms of content and song structure, they've always incorporated melody/singing and their lyrics have always been about getting the party started, getting the crowd hyped, and being dope at it. Check out “Joints and Jams”: 

Yes, I agree that The Black Eyed Peas changed their style up for commercial purposes when they acquired Fergie and changed their sound from their first album, the more hip-hop soul sounding Behind the Front. They saw they had potential to reach a larger demographic, and ran with it. But are we upset with Black Eyed Peas because they're catering to the clubs and not speaking on the plight of the world (even though one of their biggest hits “Where Is The Love” speaks on that exact issue ironically)? Are we upset that they're using autotune, like so many other countless hip-hop artists? Are we upset that Fergie is clearly the difference-maker in their sales and without her they'll always be the “Joints and Jams” guys? Everyone wants hip-hop to be one way, and the fact is that it's not. Black Eyed Peas may not be what you're into, but to say they're not hip-hop is blasphemy, especially when they're the one group who incorporates a little more of the four elements than most other hardcore rappers we champion. They are probably the most well-rounded and talented group that is out right now if for only the fact that they're also gifted dancers and freestyle rappers. Are they intricate lyricists with metaphors, stories and wordplay? No. Are they activists? No. But if you wanna get the party started, you can count on BEP – and there is and always has been a place for that in hip-hop. So stop acting like ya'll don't like dancing! We're living in a time where hip-hop is no longer underground – it's universal. People are influenced by our hip-hop culture all over the world – The Black Eyed Peas are symbolic of that unity. 







Again, I was playing devil's advocate – so let the hate begin!!! 

“Went from Nasty to Nas, Nas to Escobar…”

I can remember it like it was yesterday.  I was ten years old, in my older brother’s room, rummaging through his cassette tapes, when I stumbled upon a blank tape with a worn label on it that read: NAS - ILLMATIC. This tape immediately stuck out to me as I had just recently read a Source Magazine “Year in Review” article where many of hip-hop’s popular artists at the time – none of whom I can remember except Queen Latifah and Kay-Gee from Naughty by Nature – were asked what were the top albums released in 1994, and the vast majority placed Nas’ Illmatic at the #1 slot.  I had just recently been introduced to hip-hop through Method Man’s Tical, Redman’s Dare Iz A Darkside and Common’s Resurrection albums, so my interest was at an all-time high - I had to give it a listen! What was the big deal about this album that made every rapper praise it?  What was all the hype about?  Upon the first few listens, I admit, the only song I could have on repeat was “It Ain’t Hard to Tell”, only because it contained the least amount of curse words of all of the songs.  Remember, I was only ten years old – so I had to be careful of what songs I played at full volume in my house.  “Life’s A Bitch”, “It Ain’t Hard to Tell” and “Memory Lane” were also favorites, but more so for the beats, than the lyrics.  Lyrically, “Represent” was a favorite simply because of the lines “This nigga raps with a razor, keep it under my tongue/ the school drop-out…never liked that shit from day one!”  With a charismatic flow, undeniable voice and catchy rhythm to his writing, Nas quickly gained my respect as a dope emcee.

A couple of years had passed and he had recently released “If I Ruled The World” featuring Lauryn Hill.  It was at this moment I understood and appreciated the hype behind Illmatic and Nas was soon crowned “Best Rapper” in my eyes.  As a twelve year old, the lines “Imagine smoking weed in the street without cops harassing” were nothing less than brilliant.  He was the truth!  It Was Written was released soon after and I was the first one with a copy – an edited copy of course. With that album as my audio-Bible, I studied it more than any class I’d ever studied for in middle school and began to mimic the same mannerisms, style, fashion and slang (dun language) – addressing friends as “God” and beginning every sentence with “Yo…”  I was proud to be a Queens, NYC native, even though I had only spent four years of my life there.  I began to research his lyrics, looking up any reference he made – thus, sparking my interest in learning about whatever he knew as fact:  black history, women vs. hoes, money, drug dealing, politics, poverty, thug life, etc.  I even started writing my own raps, applying the same cadence and rhyme structure as Esco –the best way an twelve year old could do, at least.  In short, Nas could do no wrong with me.  While I still enjoyed other artists like 2Pac, Biggie, Redman, Keith Murrary, and Prodigy from Mobb Deep– Nas reigned supreme in my eyes.  All the ladies loved him and all the dudes wanted to be him.  Even when he battled Jay-Z, who - so we thought at the time, was at his creative and commercial peak - I was the first one blasting “Ether” and boasting “I told you so” to anyone who thought for a moment that Nas fell off.  Nas was the man!

It is easy to conclude that Nas was a role model of some sort for a period in my life.  He was superman – or as he put it, “half man, half amazing”.  But like every role model we look up to, there comes a point where we grow up and begin to recognize the more human traits of our leaders.  We see their mistakes, faults and short comings.  I admit, it took a long time for me to realize that Nas was not perfect.  Crazy enough, it was shortly after I met him for the first time where I began to question him as an artist.  Although I cannot pin-point exactly when my doubt of him arose, I can say it wasn’t an overnight occurrence.  There were many instances that lead up to it. 

Perhaps it was when a news publication pointed out his inaccurate claims in his song “Our Heroes” from the Street’s Disciple album, where he complains “what ever happened to Weezy? The Red Fox's?/ Never got Emmy's but were real to me”, when actually, Isabel Sanford, the actress he made reference to has won an Emmy in her career.  Where was Nas getting his facts from?  And what other facts did he feed us through his music that was inaccurate? 

Perhaps it was when he made the decision to leave Columbia Records and signed with one-time enemy Jay-Z.  While I understood him leaving Columbia, I was in disbelief that he would even think about signing with his one-time foe.  Sure, the battle was old news, but to me, it sent the wrong message to the masses:  a sign of defeat.  All of the “I told you so” comments I made earlier were irrelevant at that point.  Nas won the battle, but Jay ultimately won the war. 

Perhaps it was when he made an appearance on The Colbert Report to promote his Untitled album, which had just recently been changed from Nigger, thus adding to the hype of its release.  Steven Colbert cleverly set up Nas to explain the meaning behind his controversial Fox News diss, “Sly Fox”.  Steven Colbert gave Nas the platform, all Nas had to do was explain.  And while Nas didn’t stray away from the topic, he was less than convincing in articulately expressing his thoughts to Mr. Colbert, and America.  Non-descriptive phrases such as “They do a lot of bad things…” did nothing to support the strong claims and accusations he made on his record.  Why couldn’t he explain himself?  Was he really down for the cause or was this all just a publicity stunt to sell records?

Whatever situation it was, it was clear that I was having a love/hate relationship with my one-time hero.  Nevermind the overly public divorce with Kelis.  Nevermind the IRS coming after him.  Nevermind the scathing letter to Def Jam, voicing his dissatisfaction with the label, only exposing his poor business decisions.  I was trying to give him the benefit of the doubt, by not allowing his blunders in real life sway my opinion of him as an artist, but it seemed like he was making it difficult for me to take up for him.  Street’s Disciple, in my opinion, should have been one disk.  And what happened to Quan?  For Nas to “pass the baton” to him was very questionable, seeing how he had yet to prove himself worthy of longevity.  Hip-Hop Is Dead, while a very relevant and thought-provoking issue at the time, failed to live up to the hype as an entire album.  Reusing the Incredible Bongo Band "In-A-Gadda-Da-Vida" sample twice wasn’t a good look either.  In short, “Black Republicans” saved it.

Make no mistake, Nas is arguably our generation’s greatest writer.  He’s been able to express thoughts and tell stories in ways we can only wish we could do.  My problem with Nas is his inconsistency.  One minute he’s on fire, the next minute he’s lack luster.  One minute he’s shouting “Murder Inc!” the next its “Braaaaaveheaaaarts!”.  It is clear that he is the type of artist who needs a fire lit from underneath him in order to get him going.  At this moment, I think he is having a great run with his Untitled album and his collaborative effort with Damien Marley Distant Relatives (although there were more factual inaccuracies found on this project as well), but how long will this hold up?  Recent internet releases lead me to believe that his next project will be a solid one, but you can never be too sure with Nas. 

My question is this…how will we remember Nas?  Will he go down as one of our greatest artists?  Or will he be mentioned as a great artist that once was?  Did we put too much pressure on him since Illmatic and It Was Written to have a flawless track record?  Was Jay-Z right when he said he “Went from top 10 to not mentioned at all…”?  It’s difficult to speak on Nas because we all know he is creative as much as he is talented.  We cannot forget that this is the man who crafted Illmatic, arguably hip-hop’s greatest album.  We cannot forget that this is the man who wrote “Verbal Intercourse”, arguably hip-hop’s greatest guest verse.  We cannot forget that this is the man who made “Ether”, arguably hip-hop’s greatest diss record and comeback.  One thing is for sure, only time will tell where he land on our top 5 and 10 list. 

2010 RAP-UP!!!

Yooooooo!  Ok...I gotta say - I’m curious to see what 2011 has in store because 2010 was an AWESOME year for music, hip-hop specifically.  This was the first year in a long time where there were several releases, all of which were of outstanding quality.  It feels good to know that even though there is still a certain "type" of song dominating the mainstream, it hasn't effected the artist’s approach with taking their time and making quality material.   2010 is also a great representation of how far hip-hop has come, since the beginning.  One could argue that it is highly over-saturated now, but it is that same over-saturation that has brought about so many sub genres within this genre alone - there is truly something for everyone, if you search hard enough.  This is completely different, even if we're just talking 10 years ago.  There are so many options now.  It is also this over-saturation that has forced artists to make better music because record sales have dwindled - Gold is the new Platinum.  Honestly, I think 2010 is the first of many great years to come.  With no further ado, here are the year’s best and worst.  


I figured I’d get the worst outta the way...

WORST, OVERRATED AND DISAPPOINTING ALBUMS

TI - No Mercy - Perhaps going to prison again put a monkey-wrench in Tip's plans for King Uncaged.  Nonetheless, one should not base their opinion of TI off of No Mercy alone.  While No Mercy does have some outstanding moments, they are far overshadowed by the many features and lackluster songs throughout.  It was painfully obvious this album was not only rushed, but there was no serious thought put behind it, not even in the tracklisting.  As a loyal TI fan, I felt misled.  I was had.  I'd been took.  Hood winked.  Bamboozled.  Led astray.   Run a muck.  Hopefully he can deliver a quality album when he finishes his bid.  Hold ya head, Tip. 


Ludacris - Battle of the Sexes - Big ol' wah wah.   Although  “How Low” and “My Chick Bad” proved that Luda has some staying-power in the game, he’s yet to make that solid and cohesive album.  One could argue Back For the First Time and Chicken & Beer - but c’mon son - Luda is ten years deep into the game with no classic album under his belt.  


Ice Cube - I Am The West - Some people didn’t even know this album dropped.  I know it’s tough to follow up stellar albums like Laugh Now, Cry Later and Raw Footage, but I Am The West did not represent the West well.............at all.   


DJ Khalid - Victory - There’s not too much to say about this album that hasn’t already been said about Afghanistan.  While “All I Do Is Win” saved this album as far as sales go, there was honestly only one other song that could’ve made this album worth getting and that was the title track featuring Nas and John Legend.  But even then, that’s two (and a possible) out of twelve songs.  That’s a “one-hot-track, every-six-song” average and that’s so LAAAAAAAAAAAAME.    


Young Money - We Are Young Money - Has there ever been a successful compilation album?  I could be mistaken, but I’d say no.  Jay-Z’s Dynasty album could be the closest, but even that had more than its fair share of hiccups.  We Are Young Money is no different.  Honestly, this album came and went.  “Every Girl” and  “Bedrock” went hard and “Roger That” was one of the dopest beats this year, but that’s where it stops.  

VERSE OF THE YEAR

1. Royce Da 5'9 - "Remember the Titans" - For anybody that ever doubted Royce Da 5’9” as one of the game’s top lyricists:  this oughta shut you up, at least for the time being.  Loyal Royce fans know that this track-slaying was nothing out of the ordinary for him, but this was important in that he stood out amongst industry heavyweights like Fabolous and Lloyd Banks.  When you heard this song, there was no doubt in your mind who stood out.  





2. Nas - "Victory" 


3. Nicki Minaj - "Monster"  


4. Joell Ortiz - "Battle Cry" 


5. J. Cole - "Shade 45 Freestyle" from Jermaine is Here mixtape

Honorable Mentions - 

Joe Budden "Unthinkable Freestyle" 

Royce Da 5'9" - "Deadly Medley" 

Jay Electronica - "Ghost of Christopher Wallace"

FAVORITE PERSONAL SONGS  

These songs weren't necessarily singles, just some of my favorites released that I had on rotation.   

1. Kanye West - "Lost In The World" 


2. Rick Ross - "Tears of Joy"





3. Lupe Fiasco - "The Show Must Go On"


4. John Legend and The Roots - "Little Ghetto Boy"


5. Nas & Damien Marley - "Africa Must Wake Up"

Honorable Mentions - 

Kanye West - "Joy" 

Curren$y - "Audio Dope" (and "Example")

Reflection Eternal feat. Jay Electronica, J. Cole and Mos Def - "Just Begun"

J. Cole - "Autograph"

Lloyd Banks - "Take Em To War"
David Banner and 9th Wonder - "Be With You"

FAVORITE PERSONAL NON-RAP SONGS 

Non rap songs that I bumped all year. 

1. 30 Seconds to Mars - "Kings and Queens"


2. Travie McCoy - "I Need You"


3. The Black Keys - "Tighten Up"


4. Lyfe Jennings - "Statistics" 


5. Janelle Monae - "Cold War" 

Honorable Mentions - 

B.o.B. - "Lovelier Than You" 
Paramore - "Brick By Boring Brick" (late 2009)
John Mayer - "Assassin" 

Kid Cudi feat. Kanye West - "Erase Me" 

R. Kelly - "When A Woman Loves" 

Kings of Leon - "The Face" 

NON-RAP ALBUM OF THE YEAR 

(Alternative, R&B or Hip Hop Influenced)

 1. Janelle Monae - The Archandroid 

2. Cee-Lo - The Lady Killer 

3. The Black Keys - Brothers

4. Kings of Leon - Come Around Sundown

5. Elton John and Leon Russell - The Union

Honorable Mentions - 
Travie McCoy - Lazarus 

Bruno Mars - Doo Wops and Hooligans 

Robert Plant - Band of Joy

MIXTAPES OF THE YEAR

 1. J. Cole - Friday Night Lights 

2. Joe Budden - Mood Muzik 4

3. Wiz Khalifa - Kush and Orange Juice

4. Fabolous - There Is No Competition 2

5. Big KRIT - K.R.I.T. Wuz Here 

Honorable Mentions - 

Maino - The Art of War 

Wale - More About Nothing 

Yelawolf - Trunk Muzik 

SINGLES OF THE YEAR

1. B.o.B. feat. Bruno Mars - "Nothin On You"


2. Rick Ross - "BMF"


3. Eminem - "Love the Way You Lie"


4. Kanye West - "Power"


5. Wiz Khalifa - "Black and Yellow" 

Honorable Mentions - 

The Roots - "How I Got Over"

DJ Khalid - "All I Do Is Win" 

Ludacris - "How Low"
Joe Budden - "Follow My Lead"
Big Boi - "Shutterbug"

ALBUMS OF THE YEAR

1. Kanye West - My Beautiful Dark Twisted Fantasy - If anything, Kanye should definitely go down as having one of the best comebacks we’ve ever seen.  Just a year ago he was the world’s most hated celebrity.  This year, he once again raised the bar not only for himself, but for music in general.  Production-wise, this album is flawless.  Seamlessly incorporating many of the elements from his previous albums - live orchestration, autotune, soul samples, heavy synthesizers, and unorthodox drum patterns, song structures and arrangements, Kanye was able to create something new, different and exciting.  The other phenomenon about this album is that there were no traditional radio singles.  None.  Perhaps “All of the Lights”, but not really.  And for those who follow Kanye’s career as a lyricist, few would argue the fact that he’s come a long way since College Dropout.  Perhaps his genius “Good Friday’s” marketing strategy ruined the surprise element of the album’s release, but there is no doubt that he made an instant classic that can and will be played and studied for years to come.  Kanye takes the #1 spot for many reasons, but for me - I find it remarkable that even with three (arguable) classics under his belt, he hasn’t lost a step.  Making one classic album is difficult, ask Ludacris. But try making a second.  Then a third.  Then a fourth.  Not to say that it’s impossible, but you have to be of some extraordinary talent to maintain that level of creativity on a consistent basis.  Thank you Kanye, for once again for taking creativity a step further and showing us how to make G.O.O.D. Music.  Standout songs - “Dark Fantasy”, “All of the Lights”, “Devil in a New Dress”,  “Hell of a Life”, “Lost in the World”  


2. Rick Ross - Teflon Don - Call him what you want, but Rick Ross knows how to make an album.  Honestly, I thought he hit his creative peak with Deeper Than Rap - and so it is with this review that I’d like to eat my words.  Rick Ross made a certified classic with Teflon Don.  Musically, he’s always had a sophisticated approach to his production, especially with the Justice League-laced “Maybach Music” series.   While Deeper Than Rap was a solid project in its own right, Teflon Don is his monumental album where everything came together perfectly: production/arrangement, lyrics, and style.  You can hear a certain confidence in his voice that was missing on his previous three albums.  If there is one thing we all can learn from Rick Ross, it’s that it pays to know a thing or two about music.  Good music will always prevail.  Even when your street credibility is on the line because people are labeling you the worst name you can be called as a gangsta rapper - “The Police”.  He also made one of my favorite songs this year with “Tears of Joy”, featuring Cee-Lo.  BAWSE!!! Standout songs - “BMF”, “Free Mason”, “Tears of Joy”, “MC Hammer”


3. The Roots - How I Got Over - It was tough putting The Roots at #3.  I went back and forth with this one all year.  In my opinion, this is The Roots’ best work since Game Theory - and honestly, I think this blows Game Theory out the water.  It could be the consistency in production that most Roots albums lack.  It could be the content, intelligence and overall delivery of Black Thought.  It could be the overall feel of the album and how appropriate it is to the current times. Whatever it is, The Roots nailed it on this one.  My only wish was that it was promoted better, because it should’ve been a top-selling album.  More people need to hear this project - especially those who cry that real music is dead.  Standout songs - “Now or Never”, “How I Got Over”, “The Day”, “Doin It Again”, “The Fire” 


4. Nas & Damien Marley - Distant Relatives - I can’t lie, this album had to grow on me.  Perhaps it was because I was turned off to the African theme about it - not because I don't wanna hear about Africa,  but because I didn’t wanna to get preached to.  If it's about Africa, trust me, I’ve heard it and seen it before.  I get it, we know that everything and everyone comes from Africa and that it is the motherland.  My question was - how are you going to present this in a way we’ve never seen?  It was just “ok” when I first listened through it, but I found myself always going back to throughout the year.  The beauty of Distant Relatives is that it incorporates many of the same universal themes that made Bob Marley such a historic icon:  Peace, love, friendship, betrayal, leadership, unity, religion, grief, motivation vs. despair.  This album isn’t simply about Africa, at least not entirely.  This album is more about bringing different cultures together and accepting each other for our differences.  Africa just serves as the common denominator between everyone.  Standout songs - “Strong Will Continue”, “Leaders”, “Count Your Blessings”, “Africa Must Wake Up”, “My Generation”

5. B.o.B. - The Adventures of Bobby Ray - Many argue that this isn’t a hip-hop album, but I’ve been listening to B.o.B. since “Cloud 9” and “Haterz” so he’ll always be a rapper in my eyes.  The Adventures of Bobby Ray is a breath of fresh air: fun, eclectic, different, youthful, lyrical, thought provoking and most of all - universal.  The Adventures of Bobby Ray is one of the most innovative (and slept-on: creatively not commercially) albums we’ve heard for many reasons, but one in particular: it is the first true alternative hip-hop album.  B.o.B. was able to incorporate rock and alternative music in a way that has been tried by others in the past, but never perfected.  It doesn’t hurt that he has a decent singing voice and plays the guitar.  There is an energy behind this project that is missing in most hip-hop projects released.  An energy reminiscent of The Pharcyde.  I enjoyed the fact that B.o.B was able to have fun and show that it is ok to be a nice guy.  Furthermore, he was finally able do away with the Andre 3000 comparisons and establish his own lane with this album.  Standout songs - “Airplanes”, “Past My Shades”, “Ghost in the Machine”, “Fame”, “Lovelier Than You”

Honorable Mentions - 

Curren$y - Pilot Talk, 

Drake - Thank Me Later 

Bun B - Trill OG

Big Boi - Sir Lucious Left Foot

See ya in 2011!