Licensed Video Games
In the past, Licensed Video Games were usually poor quality, short, frustrating games that were rushed to the market to coincide with the release of a movie in an effort to capitalize on the popularity of the characters/story/media blitz of the franchise. In 2009, games like Ghostbusters: The Video Game, Batman: Arkham Asylum and Marvel Ultimate Alliance 2, among others changed that for the better. These games all featured familiar characters in innovative and polished games that were comparable to the best non-licensed games on the market. Hopefully, this trend continues in the next decade as game developers continue to devote more time and resources to providing quality content to fans of existing franchises and not simply use them to pad their bottom line.
“Other” Sneaker Releases
2009 was a relatively quiet year for two of the biggest sneaker lines of all time: Air Jordan and Air Force 1’s. Brand Jordan released a string of tepidly received retros (most of these are still available in your local Foot Locker) and some hybrids that have been constantly ridiculed online. It was also one of the quietest years for Air Force 1’s in recent memory, with the exception of a few super-limited quickstrike releases and several colorways popping up for the holiday season, there have been almost no significant AF1 releases in all of 2009. Also, the monthly releases of AJ/AF1 Hybrids have all been ridiculed online and are all still available at your favorite suburban mall.
In the absence of these two major players, other releases really got a chance to shine in 2009. Reebok’s 20th anniversary of The Pump, Fila’s Grant Hill collection, Nike’s Air Trainer Line (Bo Jacksons!), LeBron 7’s, Foamposites, Blazers and Air Max’s all kept Sneaker Heads happy and spending dough throughout the year.
The Rise of New Media
“King” and “Vibe” went out of business (albeit briefly), the biggest new Hip-Hop artist didn’t have a record deal, more people played Facebook games like “Farmville” and “Mafia Wars” than console games, record sales plummeted as major chain retailers continued to go out of business and celebrities “scooped” the gossip magazines via Twitter. Like Bob Dylan said: the times, they are a-changin’.
The “Reality” of MTV’s “Jersey Shore”
I have always been a proponent that everything on “reality TV” is carefully scripted and edited to have nothing in common with actual “reality,” however, with the release of MTV’s “Jersey Shore” I stand corrected. This show is the realist thing on TV!
I grew up at the Jersey Shore, not going there for the summers, a few fun weekends or after my senior prom, I lived there 24-7-365. This show perfectly depicts the drinking, fighting and general debauchery that vacationers from NY/Northern NJ engage in when they go “down the shore.”
Several groups have deemed the show derogatory for the Jersey Shore Community and Italian Americans. To those groups I say this: The show depicts “Jersey Shore People” (i.e. policemen, bouncers, barbers, the T-Shirt guy) as rational, hardworking and intelligent citizens, in contrast, the visitors or “Benny’s” are shown to be buffoonish revelers that drink to the point of hospitalization and punch women...I, for one, do not have a problem with this kind of realistic depiction. Secondly, older Italian Americans should worry more about their kids acting like idiots than MTV videotaping their kids acting like idiots.
We can only hope that the exploits of J-Wow, Snookie and The Situation continue to delight us in the new year.
Great Live Shows
The lack of revenue from record sales (see “Rise of New Media”) has forced acts to tour and become increasingly proficient live performers, because like B-Real from Cypress Hill said “You can’t bootleg a great live experience.” This new model for generating income has benefitted most music fans, but Hip-Hop fans in particular. In 2009, package tours like “Rock The Bells/Paid Dues” and “The Sneaker Pimps” and individual artists from superstars like Jay-Z to underground legends like Murs and upstarts like Kid Cudi, put on entertaining, professional and punctual (a rarity in Hip-Hop) shows that gave fans their money’s worth and a reason to spend money on music when artist’s entire catalogs are available online free of charge.
Tiger Woods as Athlete of the Decade
Many are offended that Tiger Woods can even be considered for this honor after his recently exposed “transgressions.” I disagree and challenge anyone that is appalled by this to come up with a better representative of what sports has to offer than Tiger Woods. Numerous extramarital affairs, exposing the mother of his children to any number of STD’s, embarrassing his children, alleged performance enhancing drug use, a contentious relationship with the media that made him rich and famous, constant use of foul language in public, contempt for his fans and a “win-at-all-costs” mentality...sorry to inform the outraged moralists, but THIS IS SPORTS.
If you are a sports fan and are completely flabbergasted by this shocking revelation I suggest you get involved in any number of past times with higher moral standards: adult films, the drug trade and politics are all good places to start.
Monday, December 21, 2009
Tuesday, December 15, 2009
Themes in Hip-Hop 2009
Any fool can list his Top 5 albums or singles from a given year (obviously it’s not that hard because I did it two posts ago). However, taking a step back and looking at Hip-Hop in 2009 a few clear themes emerge that are far too prevalent to be isolated occurrences or mere coincidence. Without further ado...the Top 5 Themes in Hip-Hop 2009!
FIVE: Grown A** Men Rapping
In 2009, Jay-Z, Eminem, Raekwon, Ghostface Killah, Everlast, KRS-ONE, Buckshot, Cage Tame-One, Del The Funkee Homosapien, Kurious and other veterans, all released stellar albums that were good beyond the typical “Well, I’ve bought all his other stuff so I might as well pick up the new one by ____________” (you can fill in the blank with whatever old school rapper that refuses to retire you like). All of these guys are in their late 30’s/early 40’s (whether they admit it or not) and have been producing music since the early 90’s. With solid albums, singles getting radio play and sold out tours by artists reaching middle-age Hip-Hop has finally grown up and ushered in it’s first group of adult-contemporary MC’s. Much like other “Adult” genres these artists come to the mic with a level of life experience and musical skill that even the most talented 20 year-old could only imagine.
While 2009 saw a talented freshmen class (Kid Cudi, Drake, Wale, Asher Roth, etc.) make respectable debuts, there is something to be said for the group of vets that dominated the year.
FOUR: Collaborative Projects Actually Being Released
Rumored full-length collaborations are the topic of about 80% (complete guess) of all postings on Hip-Hop websites and message boards, and while in the past nearly none of these projects ever saw the light of day (I have been waiting for Dr. Dre/Ice Cube and The Four Horsemen for well over a decade), 2009 actually saw the release of several collaborative albums.
This may be due to the fact that selling albums in today’s music industry is nearly impossible and record labels are willing to take more chances, but albums by “Super Groups” like Slaughterhouse, La Coka Nostra, KRS-ONE & Buckshot, Del & Tame One, AG & Ed OG and Street Sweeper Social Club kept real heads running to their local record store, if it didn’t already go out of business.
THREE: White People
2009 was an absurdly good year to be a White Rapper (see “Christmas Spectacular” movie if you disagree). Albums from artists as diverse as Eminem, Asher Roth, R.A. The Rugged Man, La Coka Nostra, Apathy, Cage and Felt were all received well by critics and fans.
While artists should clearly be measured on the merit of their material and not the color of their skin, this as simply too big of trend to ignore. The exact reason for this explosion of white MC’s is hard to pinpoint, but they all added something new to the game and released solid music all year long. Now, if we can just get Bubba Sparxxx to make a come back in 2010. (Don’t sleep, “Deliverance” is a sick album!).
TWO: Album Creativity
It has been said that when a man has nothing, he is truly free, well with album sales at an all time low and illegal downloads and purchasing individual songs clearly winning the race for consumers’ attention, record companies seem to have loosened the reigns on artist’s creativity and let them release some truly original and unique material in 2009.
Albums like Kid Cudi’s “Man on the Moon: The End of Day” or Ghostface Killah’s “R&B Project” are wildly innovative and stray far from the typical commercially released Hip-Hop album (see “5 Mic Formula” post). Even blockbuster albums by Eminem (the addiction/recovery themed “Relapse”) and Jay-Z (the extremely unformulaic “Blueprint 3”) were not the usual “let’s get as many hot producers as we can afford to make a collection of singles and some filler” affairs.
This renewed emphasis on creativity and producing cohesive works of art is one of the best aspects of Hip-Hop in 2009 and as a fan one can only hope it continues and further develops in 2009.
ONE: The “New Music Industry” in Full Effect
When 50 Cent got a deal from his mixtapes it started, when Lil’ Wayne became an international celebrity without an album it was continued and in 2009 when Drake became one of the “Hottest MC’s in the Game” (Shout out to MTV)without a record deal while multiple record stores went out of business it became undeniably clear that the old record industry was over. The new pop culture consumer in the coveted 18-24 year old bracket has never paid for a CD, does not remember when they couldn’t be “friends” with their favorite artists on social networking sites and has never had to wait for MTV, VH1 or BET to play their favorite video.
The internet and it’s far reaching effects, from person-to-person file sharing of songs to being able to order your favorite underground MC’s merchandise anywhere in the world, has had such a profound effect on the music industry that it’s hard to tell if the major labels have fully grasped the new parameters of the business.
In 2009, Drake had a string of hits...from a mixtape that was not made commercially available until after he had the song of the summer, internet beefs (50 Cent/Rick Ross, Cam’Ron/Dipset, etc.) garnered more attention than several major label releases and grass roots artists like Tech-Nine, Slaughterhouse and Murs continued to gain exposure and new fans through aggressive internet campaigns and relentless touring. While it is still unclear what direction the music industry will take in the next several years, it is abundantly clear that the old model of: Street Single > Pop Single > Album Release > A Few Promo Shows > Sit Back and Count The Money As it Rolls In, is a thing of the past.
As fans, this new paradigm is much better than the old system. There is virtually endless amounts of free music available from our favorite artists for no cost, merchandise is readily available to anyone with a credit card and an internet connection and there is an abundance of live Hip-Hop shows just about anywhere in the US (the shows and merchandise allow artists to make up the expenses of providing free music).
The first decade of the 21st century has been incredibly exciting in regards to how we consume media and there doesn’t seem to be any signs of slowing down in the near future. Hip-Hop has always been full of early-adopters of technology and how this culture is disseminated in the next decade will be watched and decided by Hip-Hop Heads worldwide.
FIVE: Grown A** Men Rapping
In 2009, Jay-Z, Eminem, Raekwon, Ghostface Killah, Everlast, KRS-ONE, Buckshot, Cage Tame-One, Del The Funkee Homosapien, Kurious and other veterans, all released stellar albums that were good beyond the typical “Well, I’ve bought all his other stuff so I might as well pick up the new one by ____________” (you can fill in the blank with whatever old school rapper that refuses to retire you like). All of these guys are in their late 30’s/early 40’s (whether they admit it or not) and have been producing music since the early 90’s. With solid albums, singles getting radio play and sold out tours by artists reaching middle-age Hip-Hop has finally grown up and ushered in it’s first group of adult-contemporary MC’s. Much like other “Adult” genres these artists come to the mic with a level of life experience and musical skill that even the most talented 20 year-old could only imagine.
While 2009 saw a talented freshmen class (Kid Cudi, Drake, Wale, Asher Roth, etc.) make respectable debuts, there is something to be said for the group of vets that dominated the year.
FOUR: Collaborative Projects Actually Being Released
Rumored full-length collaborations are the topic of about 80% (complete guess) of all postings on Hip-Hop websites and message boards, and while in the past nearly none of these projects ever saw the light of day (I have been waiting for Dr. Dre/Ice Cube and The Four Horsemen for well over a decade), 2009 actually saw the release of several collaborative albums.
This may be due to the fact that selling albums in today’s music industry is nearly impossible and record labels are willing to take more chances, but albums by “Super Groups” like Slaughterhouse, La Coka Nostra, KRS-ONE & Buckshot, Del & Tame One, AG & Ed OG and Street Sweeper Social Club kept real heads running to their local record store, if it didn’t already go out of business.
THREE: White People
2009 was an absurdly good year to be a White Rapper (see “Christmas Spectacular” movie if you disagree). Albums from artists as diverse as Eminem, Asher Roth, R.A. The Rugged Man, La Coka Nostra, Apathy, Cage and Felt were all received well by critics and fans.
While artists should clearly be measured on the merit of their material and not the color of their skin, this as simply too big of trend to ignore. The exact reason for this explosion of white MC’s is hard to pinpoint, but they all added something new to the game and released solid music all year long. Now, if we can just get Bubba Sparxxx to make a come back in 2010. (Don’t sleep, “Deliverance” is a sick album!).
TWO: Album Creativity
It has been said that when a man has nothing, he is truly free, well with album sales at an all time low and illegal downloads and purchasing individual songs clearly winning the race for consumers’ attention, record companies seem to have loosened the reigns on artist’s creativity and let them release some truly original and unique material in 2009.
Albums like Kid Cudi’s “Man on the Moon: The End of Day” or Ghostface Killah’s “R&B Project” are wildly innovative and stray far from the typical commercially released Hip-Hop album (see “5 Mic Formula” post). Even blockbuster albums by Eminem (the addiction/recovery themed “Relapse”) and Jay-Z (the extremely unformulaic “Blueprint 3”) were not the usual “let’s get as many hot producers as we can afford to make a collection of singles and some filler” affairs.
This renewed emphasis on creativity and producing cohesive works of art is one of the best aspects of Hip-Hop in 2009 and as a fan one can only hope it continues and further develops in 2009.
ONE: The “New Music Industry” in Full Effect
When 50 Cent got a deal from his mixtapes it started, when Lil’ Wayne became an international celebrity without an album it was continued and in 2009 when Drake became one of the “Hottest MC’s in the Game” (Shout out to MTV)without a record deal while multiple record stores went out of business it became undeniably clear that the old record industry was over. The new pop culture consumer in the coveted 18-24 year old bracket has never paid for a CD, does not remember when they couldn’t be “friends” with their favorite artists on social networking sites and has never had to wait for MTV, VH1 or BET to play their favorite video.
The internet and it’s far reaching effects, from person-to-person file sharing of songs to being able to order your favorite underground MC’s merchandise anywhere in the world, has had such a profound effect on the music industry that it’s hard to tell if the major labels have fully grasped the new parameters of the business.
In 2009, Drake had a string of hits...from a mixtape that was not made commercially available until after he had the song of the summer, internet beefs (50 Cent/Rick Ross, Cam’Ron/Dipset, etc.) garnered more attention than several major label releases and grass roots artists like Tech-Nine, Slaughterhouse and Murs continued to gain exposure and new fans through aggressive internet campaigns and relentless touring. While it is still unclear what direction the music industry will take in the next several years, it is abundantly clear that the old model of: Street Single > Pop Single > Album Release > A Few Promo Shows > Sit Back and Count The Money As it Rolls In, is a thing of the past.
As fans, this new paradigm is much better than the old system. There is virtually endless amounts of free music available from our favorite artists for no cost, merchandise is readily available to anyone with a credit card and an internet connection and there is an abundance of live Hip-Hop shows just about anywhere in the US (the shows and merchandise allow artists to make up the expenses of providing free music).
The first decade of the 21st century has been incredibly exciting in regards to how we consume media and there doesn’t seem to be any signs of slowing down in the near future. Hip-Hop has always been full of early-adopters of technology and how this culture is disseminated in the next decade will be watched and decided by Hip-Hop Heads worldwide.
Monday, December 14, 2009
Best Movies of 2009
Movies 2009
2009 was undoubtedly the worst year for movies in recent memory. The majority of major studio releases were overwhelmingly lackluster and few indie movies garnered much fanfare outside of the art-house circuit. While it was a terrible year to spend hard-earned money at the theatre, there were a few movies that were actually acceptable way to kill a few hours.
Best Movies of 2009
Watchmen: The supposedly “impossible-to-film” genre-defining graphic novel from the 80’s was finally brought to the screen in 2009, and the results were awesome. Watchmen flew in the face of accepted norms for Comic Book Movies: it was too long, introduced too many new characters, dealt with concepts that were too big and morally ambiguous and mad absolutely no effort to update the story (based around the Civil Rights Movement and the Cold War) to appeal to a younger audience. Even with all of those strikes against it, Watchmen provided three of the coolest hours of 2009.
The Hangover:Arguably the funniest movie of the decade and easily the most fun anybody had in a theatre this year, The Hangover is so funny and every joke/scene works so well that it’s hard to imagine this DVD not being in heavy rotation in just about every household this holiday season.
Good Hair: A serious look into the hair-care habits of African Americans interspersed with a documentary about a “hair show” so outrageous it could only be true. One of the most entertaining and eye-opening movies released in a while.
Food, Inc.: This documentary of the food industry starts with the line “What we eat has changed more in the last 50 years than in the previous 5 million years...” and goes on to detail how the current agricultural-industrial complex uses pesticides, antibiotics, gene engineering and questionable slaughter/storage practices to produce high profit margins but nutrient deficient food that may be reeking havoc on the American people. If you are not at least mildly interested in this topic, you are dumb.
Away We Go: Jim Halpert and that chick from SNL have a baby, it’s pretty funny and the the love story/dramatic parts work pretty well too.
Sugar: This documentary-style drama exposes the underside of professional baseball and what happens when supposed superstars from South America don’t make it in America’s Past Time, entertaining and informative for sports fans and non-sports fans alike.
G.I. Joe: It wasn’t high-art but it was the best of the summer blockbusters and the relentless action and thrill of seeing some of my favorite toys come to life more than made up for the lack of an interesting plot and lifeless acting.
2009 was undoubtedly the worst year for movies in recent memory. The majority of major studio releases were overwhelmingly lackluster and few indie movies garnered much fanfare outside of the art-house circuit. While it was a terrible year to spend hard-earned money at the theatre, there were a few movies that were actually acceptable way to kill a few hours.
Best Movies of 2009
Watchmen: The supposedly “impossible-to-film” genre-defining graphic novel from the 80’s was finally brought to the screen in 2009, and the results were awesome. Watchmen flew in the face of accepted norms for Comic Book Movies: it was too long, introduced too many new characters, dealt with concepts that were too big and morally ambiguous and mad absolutely no effort to update the story (based around the Civil Rights Movement and the Cold War) to appeal to a younger audience. Even with all of those strikes against it, Watchmen provided three of the coolest hours of 2009.
The Hangover:Arguably the funniest movie of the decade and easily the most fun anybody had in a theatre this year, The Hangover is so funny and every joke/scene works so well that it’s hard to imagine this DVD not being in heavy rotation in just about every household this holiday season.
Good Hair: A serious look into the hair-care habits of African Americans interspersed with a documentary about a “hair show” so outrageous it could only be true. One of the most entertaining and eye-opening movies released in a while.
Food, Inc.: This documentary of the food industry starts with the line “What we eat has changed more in the last 50 years than in the previous 5 million years...” and goes on to detail how the current agricultural-industrial complex uses pesticides, antibiotics, gene engineering and questionable slaughter/storage practices to produce high profit margins but nutrient deficient food that may be reeking havoc on the American people. If you are not at least mildly interested in this topic, you are dumb.
Away We Go: Jim Halpert and that chick from SNL have a baby, it’s pretty funny and the the love story/dramatic parts work pretty well too.
Sugar: This documentary-style drama exposes the underside of professional baseball and what happens when supposed superstars from South America don’t make it in America’s Past Time, entertaining and informative for sports fans and non-sports fans alike.
G.I. Joe: It wasn’t high-art but it was the best of the summer blockbusters and the relentless action and thrill of seeing some of my favorite toys come to life more than made up for the lack of an interesting plot and lifeless acting.
Sunday, December 13, 2009
Best Albums of 2009
Top 5 Albums of 2009
FIVE: Kid Cudi-Man on the Moon: The End of Day
The debut album by Scott Mescudi can best be described as “Anti-Swagger.” The young rapper debuted at the end of 2008 with the bangin’ “Day-N-Night” and after taking almost 10 months to produce an official debut he emerged with an album so different, so innovative,so plain good, that it pushed “Emo Hip-Hop” out of the underground and to the forefront of the industry. The album is trip into the young MC’s mind and deals with such issues as alienation, trouble with women, family struggle and even hints at a chemical imbalance...this takes “keeping it real” to the next level.
Four: Slaughterhouse-Self Titled
4 of the “best to never do it” got together and released a full-length LP full of hard beats and relentless lyrics that made even the most disgruntled, “Hip Hop Is Dead” backpackers admit there was still some life left in the genre. Every verse on this record is an event, as Royce, Joey, Joell and Crook rhyme like their very life depends on every syllable they spit, and in an industry where second chances are rare, they just may have saved their careers and lyrical Hip-Hop at the same time.
Three: Raekwon-Only Built For Cuban Linx...Pt. 2
Released a full 14 years after the original, the sequel to The Chef’s seminal debut was worth every second of the loooooooong wait. Vivid imagery, detailed story telling, guest appearances by nearly every Wu-Tang affiliate and beats by a wide array of producers culminated in another cinematic masterpiece for the Shoalin Masters. NOTE: Ghostface Killah’s “Ghostdini: The Wizard of Poetry in Emerald City” was released less than a month after OB4CL2, if these two albums were released simultaneously (e.g. OUTKAST’s “Speakerbox/The Love Below”) this would have undoubtedly been the best album of the year and the best Wu album in well over a decade.
Two: Eminem-Relapse
Marshall Mathers took a full five years between albums and while the majority of Soulja Boy Tell’em fans and the “106 & Park” crowd didn’t seem to appreciate this release, real heads knew...Slim Shady was Back! “Relapse” did have a few misfires, but highlights like “My Mom,” “Deja Vu,” “Beautiful,” and “Underground” were so far beyond the capabilities of the average rapper that this album in easily in the top few releases of the year.
One: Jay-Z-Blueprint 3
At this point in his career, arguing that anybody else is on Shawn Carter’s level is flat out silly. This album was a entertainment industry event and by all measures it lived up to the hype. Jay’s typically dazzling lyrics combined with inventive beats and just the right amount of pop sensibility to form THE album of 2009. Between dominating radio and video outlets from September to December, nearly every song getting radio play, completely obliterating the “Autotune/Ringtone” aesthetic dominating Hip-Hop for the last several years and releasing this generation’s New York anthem, there was simply nobody in Jay-Z’s category in 2009.
Best Independant/Underground Albums of 2009
La Coka Nostra: A Brand You Can Trust
All three original members of House of Pain, Non-Phixion/Solo MC Ill Bill and newcomer Slaine released arguably the best album of the year. This filled the void of white-trash hooligan music that has been pretty vacant since HOP’s last album in ’96 and is by far the best workout CD of the last several years as the aggressive beats and relentless lyrics from three of the most slept-on MC’s of all-time combine to form, what Danny Boy calls “that old 90’s swinging from the chandelier music.”
R.A. The Rugged Man: Legendary Classics Vol. 1
“Legendary Classics Vol. 1” chronicles the unreleased and hard-to-find classics from one of the best rappers to never blow up. The collection spans 15 years and contains mid-90’s cult classics like “Every Record Label Sucks D**k” and the Biggie assisted “C*nt. Renaissance” all the way up to more recent classics like the awe-inspiring “Uncommon Valor (A Vietnam Story)” and “Renaissance” This collection should be mandatory listening for longtime Rugged Man fans and newcomers alike.
Cage: Depart From Me
In 2009 Chris Palko walked out of “Against All Odds” and into “Hot Topic” as “Depart From Me” was awash in fuzzy guitars, sung chorus’ and screamed/mumbled lyrics. The album was a definite departure (get it?) from Cage’s normal shock-value lyrics and NYC inspired beats, but taken as a complete statement it unquestionably paints a vivid picture of an artist and man at a crossroads in his life and music, where Cage’s career goes in the next few years should interesting to say the least.
Mic Savvy: Freshman Year Flashbacks
“Freshmen Year Flashbacks” is the best album to come of North Carolina since Little Brother’s 2005 opus “The Minstrel Show.” Soulful production, thoughtful lyrics and a laid back delivery combine to form an organic sound that perfectly bridges the gap between the dirty south, backpackers and radio accessibility.
Del The Funkee Homosapien & Tame One: Parallel UNI-Verses
Oakland’s Del and Newark NJ’s Tame-UNO produced a solid album of underground heat in 2009. The MC’s divergent but similar vocal styles and producer Parallel Thought’s spaced out soundscapes produced one of the most unique and pleasurable listening experiences of the year.
Rick Mujerus’s Instant O-Fense 2009
Shakira: She Wolf-This should have been the song of the summer, it was not and we are all worse because of it.
Lady Gaga: Entire Catalog- Despite her bizarre fashion sense, Lady Gaga brought the New York club scene to the masses, and whether you want to admit it or not, you liked it.
Black Eyed Peas: I Got a Feeling & Meet Me Half Way-Considering how bad most BEP music is, these two masterpieces are actually fun party records and not just 3 min. of unbridled buffoonery.
Tre Songs feat. Fabolous: Say Ahh-Not much to say about the best ode to oral sex this year.
The Dream feat. Kanye West: Walking on the Moon-The best “Michael Jackson Song” not made by the King of Pop.
FIVE: Kid Cudi-Man on the Moon: The End of Day
The debut album by Scott Mescudi can best be described as “Anti-Swagger.” The young rapper debuted at the end of 2008 with the bangin’ “Day-N-Night” and after taking almost 10 months to produce an official debut he emerged with an album so different, so innovative,so plain good, that it pushed “Emo Hip-Hop” out of the underground and to the forefront of the industry. The album is trip into the young MC’s mind and deals with such issues as alienation, trouble with women, family struggle and even hints at a chemical imbalance...this takes “keeping it real” to the next level.
Four: Slaughterhouse-Self Titled
4 of the “best to never do it” got together and released a full-length LP full of hard beats and relentless lyrics that made even the most disgruntled, “Hip Hop Is Dead” backpackers admit there was still some life left in the genre. Every verse on this record is an event, as Royce, Joey, Joell and Crook rhyme like their very life depends on every syllable they spit, and in an industry where second chances are rare, they just may have saved their careers and lyrical Hip-Hop at the same time.
Three: Raekwon-Only Built For Cuban Linx...Pt. 2
Released a full 14 years after the original, the sequel to The Chef’s seminal debut was worth every second of the loooooooong wait. Vivid imagery, detailed story telling, guest appearances by nearly every Wu-Tang affiliate and beats by a wide array of producers culminated in another cinematic masterpiece for the Shoalin Masters. NOTE: Ghostface Killah’s “Ghostdini: The Wizard of Poetry in Emerald City” was released less than a month after OB4CL2, if these two albums were released simultaneously (e.g. OUTKAST’s “Speakerbox/The Love Below”) this would have undoubtedly been the best album of the year and the best Wu album in well over a decade.
Two: Eminem-Relapse
Marshall Mathers took a full five years between albums and while the majority of Soulja Boy Tell’em fans and the “106 & Park” crowd didn’t seem to appreciate this release, real heads knew...Slim Shady was Back! “Relapse” did have a few misfires, but highlights like “My Mom,” “Deja Vu,” “Beautiful,” and “Underground” were so far beyond the capabilities of the average rapper that this album in easily in the top few releases of the year.
One: Jay-Z-Blueprint 3
At this point in his career, arguing that anybody else is on Shawn Carter’s level is flat out silly. This album was a entertainment industry event and by all measures it lived up to the hype. Jay’s typically dazzling lyrics combined with inventive beats and just the right amount of pop sensibility to form THE album of 2009. Between dominating radio and video outlets from September to December, nearly every song getting radio play, completely obliterating the “Autotune/Ringtone” aesthetic dominating Hip-Hop for the last several years and releasing this generation’s New York anthem, there was simply nobody in Jay-Z’s category in 2009.
Best Independant/Underground Albums of 2009
La Coka Nostra: A Brand You Can Trust
All three original members of House of Pain, Non-Phixion/Solo MC Ill Bill and newcomer Slaine released arguably the best album of the year. This filled the void of white-trash hooligan music that has been pretty vacant since HOP’s last album in ’96 and is by far the best workout CD of the last several years as the aggressive beats and relentless lyrics from three of the most slept-on MC’s of all-time combine to form, what Danny Boy calls “that old 90’s swinging from the chandelier music.”
R.A. The Rugged Man: Legendary Classics Vol. 1
“Legendary Classics Vol. 1” chronicles the unreleased and hard-to-find classics from one of the best rappers to never blow up. The collection spans 15 years and contains mid-90’s cult classics like “Every Record Label Sucks D**k” and the Biggie assisted “C*nt. Renaissance” all the way up to more recent classics like the awe-inspiring “Uncommon Valor (A Vietnam Story)” and “Renaissance” This collection should be mandatory listening for longtime Rugged Man fans and newcomers alike.
Cage: Depart From Me
In 2009 Chris Palko walked out of “Against All Odds” and into “Hot Topic” as “Depart From Me” was awash in fuzzy guitars, sung chorus’ and screamed/mumbled lyrics. The album was a definite departure (get it?) from Cage’s normal shock-value lyrics and NYC inspired beats, but taken as a complete statement it unquestionably paints a vivid picture of an artist and man at a crossroads in his life and music, where Cage’s career goes in the next few years should interesting to say the least.
Mic Savvy: Freshman Year Flashbacks
“Freshmen Year Flashbacks” is the best album to come of North Carolina since Little Brother’s 2005 opus “The Minstrel Show.” Soulful production, thoughtful lyrics and a laid back delivery combine to form an organic sound that perfectly bridges the gap between the dirty south, backpackers and radio accessibility.
Del The Funkee Homosapien & Tame One: Parallel UNI-Verses
Oakland’s Del and Newark NJ’s Tame-UNO produced a solid album of underground heat in 2009. The MC’s divergent but similar vocal styles and producer Parallel Thought’s spaced out soundscapes produced one of the most unique and pleasurable listening experiences of the year.
Rick Mujerus’s Instant O-Fense 2009
Shakira: She Wolf-This should have been the song of the summer, it was not and we are all worse because of it.
Lady Gaga: Entire Catalog- Despite her bizarre fashion sense, Lady Gaga brought the New York club scene to the masses, and whether you want to admit it or not, you liked it.
Black Eyed Peas: I Got a Feeling & Meet Me Half Way-Considering how bad most BEP music is, these two masterpieces are actually fun party records and not just 3 min. of unbridled buffoonery.
Tre Songs feat. Fabolous: Say Ahh-Not much to say about the best ode to oral sex this year.
The Dream feat. Kanye West: Walking on the Moon-The best “Michael Jackson Song” not made by the King of Pop.
Wednesday, October 21, 2009
October Reviews: The Underground Edition
Refer to previous post for rating system, or refer to any system of 1-5 you want, they are all pretty much the same.
Apathy: “Wanna Snuggle?”
3.5
Apathy is not only my favorite emotion; he’s also one hell of an MC. Ap has been bouncing around the underground scene for about a decade, been cosigned by everybody from indie-rap darlings Styles of Beyond to superstars Linkin Park, and has been affiliated with the Connecticut-based Demigodz since their rise to national prominence in the early 2000’s. Despite these powerful connections and obvious talent as a lyricist, song writer and producer, AP’s career has yet to take off beyond the typical “struggling white rapper” and “Wanna Snuggle?” (a reference to a boa constrictor eating a rat) is only his second full-length release in a career that already spans over a decade.
Apathy has been relatively quiet since his 2006 release “Eastern Philosophy” and he clearly has used the time off to perfect his beat making ability as ¾ of the tracks are self-produced. He also had ample time to create concepts and write lyrics that tell intricate stories that deal with issues as diverse as materialism, slavery, the music industry, male/female relationships, 9-5 jobs, his place in Hip-Hop and regular people being pushed to insane acts of violence (the near-brilliant album closer “Victim”). Apathy doesn’t waste listener’s time by rigidly adhering to the typical rap song format (three 16-Bar verses and a hook) by adding endless filler verses and adlibs, instead he gets his point across and ends most songs leaving the listener wanting more, as many of the 21 tracks clock in at well under 2 ½ minutes. This is a blessing and curse, while some of the songs end perfectly, some feel rushed or unfinished and could have greatly benefitted from a third verse or guest appearance. (NOTE: I am not sure if this is Apathy’s fault or I am so conditioned to how Hip-Hop “should sound” from damn near two decades as a rabid fan that any deviation from the norm sends my head spinning).
“Wanna Snuggle?” has several really high points, including the B-Real and Celph-Titled assisted “Shoot First,” the throwback (way back) feel of “Thinkin’” and the previously mentioned “Victim,” however these standouts are separated by too much filler for “Wanna Snuggle?” to be considered an underground classic or even on par with AP’s previous work.
Del the Funkee Homosapien & Tame One: “Parallel UNI-Verses”
4
“Parallel UNI-Verses” is the perfect name for a collaborative LP from two MC’s that have travelled two strikingly similar career paths at opposite sides of the continental United States. Both Del and Tame-One debuted in the early 90’s to critical acclaim and minimal commercial success, both came from areas just outside of Hip-Hop’s prime breading grounds (Oakland and NJ respectively), both have cultivated a dedicated fanbase by affiliating themselves with talented crews (Del’s Hieroglyphics camp and Tame with NYC’s Weathermen), releasing quality albums on respected indie labels (Hiero Imperium, Eastern Conference and Def Jux), collaborating with the biggest stars in underground Hip-Hop (Deltron 3030, The Gorillas, Leak Brothers, Slow Suicide Stimulus, etc) and constant touring both domestically and abroad. Artistically, the two have similar vocal styles that include off-the-wall lyrics delivered in a laid back tone over experimental beats, this similarity is the main factor in making “Parallel UNI-Verses” an enjoyable trip through the underground from beginning to end.
The entire project is produced by Parallel Thought and the up-and-coming producer provides sonic backdrops that are street enough for hardrocks, trippy enough for backpackers and the perfect accompaniment to Del and Tame’s left-field poetry. The standout track and first single “Flashback” has both MC’s reminiscing about the good ol’ days over a sick beat that will have fans ready to breakdance, write graffiti on the train and look for their Das EFX tapes. Other bangers include “Specifics,” “Life Sucks” and “We Taking Over.”
While the overriding “Back In The Day” vibe may wear some fans out after repeated listening, Del and Tame have produced a dope album and one of the finest LP’s in either MC’s distinguished career.
Apathy: “Wanna Snuggle?”
3.5
Apathy is not only my favorite emotion; he’s also one hell of an MC. Ap has been bouncing around the underground scene for about a decade, been cosigned by everybody from indie-rap darlings Styles of Beyond to superstars Linkin Park, and has been affiliated with the Connecticut-based Demigodz since their rise to national prominence in the early 2000’s. Despite these powerful connections and obvious talent as a lyricist, song writer and producer, AP’s career has yet to take off beyond the typical “struggling white rapper” and “Wanna Snuggle?” (a reference to a boa constrictor eating a rat) is only his second full-length release in a career that already spans over a decade.
Apathy has been relatively quiet since his 2006 release “Eastern Philosophy” and he clearly has used the time off to perfect his beat making ability as ¾ of the tracks are self-produced. He also had ample time to create concepts and write lyrics that tell intricate stories that deal with issues as diverse as materialism, slavery, the music industry, male/female relationships, 9-5 jobs, his place in Hip-Hop and regular people being pushed to insane acts of violence (the near-brilliant album closer “Victim”). Apathy doesn’t waste listener’s time by rigidly adhering to the typical rap song format (three 16-Bar verses and a hook) by adding endless filler verses and adlibs, instead he gets his point across and ends most songs leaving the listener wanting more, as many of the 21 tracks clock in at well under 2 ½ minutes. This is a blessing and curse, while some of the songs end perfectly, some feel rushed or unfinished and could have greatly benefitted from a third verse or guest appearance. (NOTE: I am not sure if this is Apathy’s fault or I am so conditioned to how Hip-Hop “should sound” from damn near two decades as a rabid fan that any deviation from the norm sends my head spinning).
“Wanna Snuggle?” has several really high points, including the B-Real and Celph-Titled assisted “Shoot First,” the throwback (way back) feel of “Thinkin’” and the previously mentioned “Victim,” however these standouts are separated by too much filler for “Wanna Snuggle?” to be considered an underground classic or even on par with AP’s previous work.
Del the Funkee Homosapien & Tame One: “Parallel UNI-Verses”
4
“Parallel UNI-Verses” is the perfect name for a collaborative LP from two MC’s that have travelled two strikingly similar career paths at opposite sides of the continental United States. Both Del and Tame-One debuted in the early 90’s to critical acclaim and minimal commercial success, both came from areas just outside of Hip-Hop’s prime breading grounds (Oakland and NJ respectively), both have cultivated a dedicated fanbase by affiliating themselves with talented crews (Del’s Hieroglyphics camp and Tame with NYC’s Weathermen), releasing quality albums on respected indie labels (Hiero Imperium, Eastern Conference and Def Jux), collaborating with the biggest stars in underground Hip-Hop (Deltron 3030, The Gorillas, Leak Brothers, Slow Suicide Stimulus, etc) and constant touring both domestically and abroad. Artistically, the two have similar vocal styles that include off-the-wall lyrics delivered in a laid back tone over experimental beats, this similarity is the main factor in making “Parallel UNI-Verses” an enjoyable trip through the underground from beginning to end.
The entire project is produced by Parallel Thought and the up-and-coming producer provides sonic backdrops that are street enough for hardrocks, trippy enough for backpackers and the perfect accompaniment to Del and Tame’s left-field poetry. The standout track and first single “Flashback” has both MC’s reminiscing about the good ol’ days over a sick beat that will have fans ready to breakdance, write graffiti on the train and look for their Das EFX tapes. Other bangers include “Specifics,” “Life Sucks” and “We Taking Over.”
While the overriding “Back In The Day” vibe may wear some fans out after repeated listening, Del and Tame have produced a dope album and one of the finest LP’s in either MC’s distinguished career.
Monday, October 19, 2009
Reviews October 2009
Grading System: Hispanic Causing Panic Edition
5: Big Pun
4: Cypress Hill
3: Angie Martinez
2: Fat Joe
1: Rico Suave
Kid Cudi: Man on the Moon: The End of Day
5+
Kid Cudi’s debut album does for the depressed what “Illmatic” did for project-dwellers and “The Slim Shady LP” did for white trash, it is the quintessential verbal and sonic embodiment of a mind state that is rarely addressed in Hip-Hop. While casual fans are familiar with Cudi from his anthem-like single “Day n Night” and his newer radio friendly “Poke Her Face” listeners should be prepared for more of the melancholy loneliness of the former and very little of the playful sexuality displayed on the latter. The album is organized to mirror a night in the life of Scott Mescudi and from dusk (the lullaby like “In My Dreams”) to dawn (the triumphant “Up, Up and Away”) the talented MC uses haunting soundscapes, singing/moaning/spoken word and quality guest appearances to convey his message of personal struggle and an impending sense of doom about the world outside of his own head.
“Man on the Moon” starts off with the bangin’ “Soundtrack to My Life” which traces Cudi’s evolution from a depressed youth playing with toys alone in his room, to a depressed adolescent with women troubles and finally to a depressed rap star that has to carry around hand sanitizer from getting so many handshakes. This song sets the tone for the album and lets fans know that Kid Cudi is not new to depression, but has actually been depressed at every level of the game. This commitment to a singular theme is rare in commercial Hip-Hop and allows Cudi to produce one of the year’s best albums because of the sonic and lyrical cohesion throughout the entire project (with the exception of the previously mentioned “Poke Her Face” which does not fit into the overall vibe and was clearly included as a stab at radio play and an opportunity to include verses from superstars Kanye West and Common). Following the introduction to the mind of Kid Cudi, the talented musician proceeds to address the down side of the constantly glorified “Rap Life” including, drug use (“Day n Night”), females (“My World” and “Enter Galactic”), alienation from peers (“Solo Dolo”) and the American Dream (“Pursuit of Happiness”).
Overall, “Man on the Moon” does an incredible job of setting a tone and presenting one unified message over the course of 60+ minutes of music. Most of the material on this album will not make it to radio and the overwhelming majority of it is not suitable for the club, however it is absolutely perfect for driving home from the club alone after a night of rejection and discouragement. This kind of “Sky Might Fall” realism may struggle to find a widespread audience in today’s climate of endless optimism sold to us by the government, churches, the school system, the news, self-help gurus and pharmaceutical companies, but it’s hard to argue it’s not a welcome change of pace.
KRS-ONE & Buckshot: Survival Skills
3.5
Finally! Every Hip-Hop head’s dream collaboration…in 1995! Boot Camp Clik and Boogie Down Productions have been intimately linked since Black Moon’s second single sampled KRS-ONE’s “How many MC’s must get dissed?” line in the summer of ’93. In the ensuing decade and half, both Buckshot and KRS have remained active in the industry, releasing albums every few years, constantly touring and otherwise thriving in the new internet-heavy/record-label-lite underground Hip-Hop marketplace. While this album might be a little late for most fans and it’s by no means a grand slam, it’s a solid double that scores some runs when the team (read: Hip-Hop) absolutely needs it.
The lead single “Robot” chastises the current crop of autotune-MC’s, and was actually released a few weeks prior to Jay-Z’s “D.O.A.” and the current single “How We Live” features Mary J. Blige in a reunion of early 90’s heavyweights for a song that is lyrically strong but still accessible for today’s Hot 97 listeners. The remainder of the album is solid, if not spectacular. The elder statesmen present numerous lessons to today’s Hip-Hop listeners and fans, ranging from being a good father to constantly pushing the boundaries of Hip-Hop and personal creativity. These songs are better than most of the material on recent releases by either Buck or KRS because of the contrast between the two MC’s vocal styles, KRS’s overpowering bombast is met with Buckshot’s laid back lyricism to create a sonic “Good Cop/Bad Cop” that is especially appreciated during extended listening. Musically, the majority of the beats are provided by up-and-coming producers that find a good middle-ground between early 90’s boom-bap and 2009 radio play that provides the two veterans with a perfect platform to school the 106 & Park crowd.
To be completely honest, this album has very little to offer fans of Soulja Boy or T-Pain, but for fans of golden-era Hip-Hop or adults that are not salivating over the next Kanye outburst, this is a solid listen with the right mix of nostalgia and that proverbial “next sh*t.”
Ghostface Killah: Ghostdini and the Wizard of Poetry in Emerald City
4
Like most Ghostface releases, this defies classification based on title (one of the longest ever?) and concept (a GFK R&B album, really?) alone. However, once you get passed the Wizard of Oz theme and idea of Ghost over all R&B tracks (something he has experimented with since 1996’s “Ironman”) it’s actually another quality project from one of the most consistent MC’s in the game.
The album features guest appearances by Shareefa, “Radio” Raheem DeVaughn (a nod to Spike Lee’s “Do The Right Thing”), Lloyd and most surprisingly Adrian Bailon, of Cheetah Girls and Kardashians fame, who absolutely murders “I’ll Be That.” Ghost maintains his normally off-kilter flow and off-the-wall references to address all aspects of male/female relationships from sex (“Stapleton Sex”) to having a child (“Baby”) to begging for forgiveness (“Do Over”) to cheating (“Guest House”) for a great concept album and one of the most engaging albums of the year.
The timing of this album is a bit questionable, coming mere weeks after Raekwon’s critical and commercial hit “OB4CL…Pt 2” but with two quality releases in less than a month the Wu-dynasty may be ready to shine again…protect ya neck.
VH1 Hip-Hop Honors
4
This year’s edition was pretty entertaining, here are some random musings:
HIGHLIGHTS: Eminem and Black Thought covering LL, Onxy still being angry after all these years, the amusing anecdotes from Rick Rubin, Russell Simmons and other Def Jam staffers, Tracy Morgan actually being funny.
LOW-LIGHTS: Trey Songz being the worst Nate Dogg ever, the rushed and poorly planned finale, The Roots organic live sound not fitting some Def Jam classics.
QUESTIONS:
If Murder, Inc. had to be included, why did they ignore “Holla, Holla” “Put It On Me,” and “Me and You” in favor of “Down A** B**ch” ?
Where the hell were Slick Rick, 3rd Bass, and anybody affiliated with Roc-a-fella?
How sick was Ja Rule’s shearling peacoat?
Where can I get some DMX sweatpants?
By including Rick Ross and not Slick Rick, didn’t they pick the wrong Rick?
Why did DMX do the worst song of his career?
Wouldn’t more cover versions and less original artists have been cool? I can see Meth and Red do “The Roc Wilder” anytime I want on youtube, but to see Drake and Kid Cudi cover it would have been amazing and traditionally that’s what this show is about.
5: Big Pun
4: Cypress Hill
3: Angie Martinez
2: Fat Joe
1: Rico Suave
Kid Cudi: Man on the Moon: The End of Day
5+
Kid Cudi’s debut album does for the depressed what “Illmatic” did for project-dwellers and “The Slim Shady LP” did for white trash, it is the quintessential verbal and sonic embodiment of a mind state that is rarely addressed in Hip-Hop. While casual fans are familiar with Cudi from his anthem-like single “Day n Night” and his newer radio friendly “Poke Her Face” listeners should be prepared for more of the melancholy loneliness of the former and very little of the playful sexuality displayed on the latter. The album is organized to mirror a night in the life of Scott Mescudi and from dusk (the lullaby like “In My Dreams”) to dawn (the triumphant “Up, Up and Away”) the talented MC uses haunting soundscapes, singing/moaning/spoken word and quality guest appearances to convey his message of personal struggle and an impending sense of doom about the world outside of his own head.
“Man on the Moon” starts off with the bangin’ “Soundtrack to My Life” which traces Cudi’s evolution from a depressed youth playing with toys alone in his room, to a depressed adolescent with women troubles and finally to a depressed rap star that has to carry around hand sanitizer from getting so many handshakes. This song sets the tone for the album and lets fans know that Kid Cudi is not new to depression, but has actually been depressed at every level of the game. This commitment to a singular theme is rare in commercial Hip-Hop and allows Cudi to produce one of the year’s best albums because of the sonic and lyrical cohesion throughout the entire project (with the exception of the previously mentioned “Poke Her Face” which does not fit into the overall vibe and was clearly included as a stab at radio play and an opportunity to include verses from superstars Kanye West and Common). Following the introduction to the mind of Kid Cudi, the talented musician proceeds to address the down side of the constantly glorified “Rap Life” including, drug use (“Day n Night”), females (“My World” and “Enter Galactic”), alienation from peers (“Solo Dolo”) and the American Dream (“Pursuit of Happiness”).
Overall, “Man on the Moon” does an incredible job of setting a tone and presenting one unified message over the course of 60+ minutes of music. Most of the material on this album will not make it to radio and the overwhelming majority of it is not suitable for the club, however it is absolutely perfect for driving home from the club alone after a night of rejection and discouragement. This kind of “Sky Might Fall” realism may struggle to find a widespread audience in today’s climate of endless optimism sold to us by the government, churches, the school system, the news, self-help gurus and pharmaceutical companies, but it’s hard to argue it’s not a welcome change of pace.
KRS-ONE & Buckshot: Survival Skills
3.5
Finally! Every Hip-Hop head’s dream collaboration…in 1995! Boot Camp Clik and Boogie Down Productions have been intimately linked since Black Moon’s second single sampled KRS-ONE’s “How many MC’s must get dissed?” line in the summer of ’93. In the ensuing decade and half, both Buckshot and KRS have remained active in the industry, releasing albums every few years, constantly touring and otherwise thriving in the new internet-heavy/record-label-lite underground Hip-Hop marketplace. While this album might be a little late for most fans and it’s by no means a grand slam, it’s a solid double that scores some runs when the team (read: Hip-Hop) absolutely needs it.
The lead single “Robot” chastises the current crop of autotune-MC’s, and was actually released a few weeks prior to Jay-Z’s “D.O.A.” and the current single “How We Live” features Mary J. Blige in a reunion of early 90’s heavyweights for a song that is lyrically strong but still accessible for today’s Hot 97 listeners. The remainder of the album is solid, if not spectacular. The elder statesmen present numerous lessons to today’s Hip-Hop listeners and fans, ranging from being a good father to constantly pushing the boundaries of Hip-Hop and personal creativity. These songs are better than most of the material on recent releases by either Buck or KRS because of the contrast between the two MC’s vocal styles, KRS’s overpowering bombast is met with Buckshot’s laid back lyricism to create a sonic “Good Cop/Bad Cop” that is especially appreciated during extended listening. Musically, the majority of the beats are provided by up-and-coming producers that find a good middle-ground between early 90’s boom-bap and 2009 radio play that provides the two veterans with a perfect platform to school the 106 & Park crowd.
To be completely honest, this album has very little to offer fans of Soulja Boy or T-Pain, but for fans of golden-era Hip-Hop or adults that are not salivating over the next Kanye outburst, this is a solid listen with the right mix of nostalgia and that proverbial “next sh*t.”
Ghostface Killah: Ghostdini and the Wizard of Poetry in Emerald City
4
Like most Ghostface releases, this defies classification based on title (one of the longest ever?) and concept (a GFK R&B album, really?) alone. However, once you get passed the Wizard of Oz theme and idea of Ghost over all R&B tracks (something he has experimented with since 1996’s “Ironman”) it’s actually another quality project from one of the most consistent MC’s in the game.
The album features guest appearances by Shareefa, “Radio” Raheem DeVaughn (a nod to Spike Lee’s “Do The Right Thing”), Lloyd and most surprisingly Adrian Bailon, of Cheetah Girls and Kardashians fame, who absolutely murders “I’ll Be That.” Ghost maintains his normally off-kilter flow and off-the-wall references to address all aspects of male/female relationships from sex (“Stapleton Sex”) to having a child (“Baby”) to begging for forgiveness (“Do Over”) to cheating (“Guest House”) for a great concept album and one of the most engaging albums of the year.
The timing of this album is a bit questionable, coming mere weeks after Raekwon’s critical and commercial hit “OB4CL…Pt 2” but with two quality releases in less than a month the Wu-dynasty may be ready to shine again…protect ya neck.
VH1 Hip-Hop Honors
4
This year’s edition was pretty entertaining, here are some random musings:
HIGHLIGHTS: Eminem and Black Thought covering LL, Onxy still being angry after all these years, the amusing anecdotes from Rick Rubin, Russell Simmons and other Def Jam staffers, Tracy Morgan actually being funny.
LOW-LIGHTS: Trey Songz being the worst Nate Dogg ever, the rushed and poorly planned finale, The Roots organic live sound not fitting some Def Jam classics.
QUESTIONS:
If Murder, Inc. had to be included, why did they ignore “Holla, Holla” “Put It On Me,” and “Me and You” in favor of “Down A** B**ch” ?
Where the hell were Slick Rick, 3rd Bass, and anybody affiliated with Roc-a-fella?
How sick was Ja Rule’s shearling peacoat?
Where can I get some DMX sweatpants?
By including Rick Ross and not Slick Rick, didn’t they pick the wrong Rick?
Why did DMX do the worst song of his career?
Wouldn’t more cover versions and less original artists have been cool? I can see Meth and Red do “The Roc Wilder” anytime I want on youtube, but to see Drake and Kid Cudi cover it would have been amazing and traditionally that’s what this show is about.
Tuesday, September 15, 2009
Reviews September 2009
The following are technically “Reviews,” but because they are all so hot, I’m not going to bother assigning any kind of grading system. However, with the exception of Kanye and Lil’ Mama’s foolishness, it was a great week to be a Hip-Hop head!
Jay-Z: The Blueprint 3
“The Blueprint 3” is Grown-A**-Man-Rap at it’s best. Where Hova faltered by going over his audience’s head on most of “Kingdom Come,” he gets it right for the overwhelming majority of BP3. The beats provided by Kanye West, Timbaland and Pharrell are some of the most complex and multi-layered in the history of commercial Hip-Hop, but somehow all retain enough classic boom-bap to appeal to everyone from backpackers to hard rocks. Lyrically, Jay-Z holds it down as fans would expect, but definitely updates his style for 2009 and shows that he’s an older, wiser and more polished artist than he was when the original “Blueprint” was released in 2001. He still addresses beef with other rappers, but instead of calling them out by name or threatening to “see them outside” in his adlibs, he weaves an intricate metaphor of how most of his foes have taken themselves out of the game before he had to (“Thank You”) and then attacks the state of the entire music industry in the lead-off single “D.O.A. (Death Of Autotune)” with a track so powerful and convincing you could pretty much put autotune/ringtone rap in the same category as throwbacks, X5’s and Jaz-O, of things Jay completely deaded the first time you heard it.
The two commercial joints, “We Run This Town” and “Empire State of Mind” are poppy enough to be played on Top-40 radio, but the verses contain enough dope lyrics to keep Hip-Hop heads hitting the rewind button, no small feat indeed. The album continues with several nods to Hip-Hop’s next generation with collabos with Drake, Kid Cudi and J. Cole that all hold their own and illustrate just how relevant Jay-Z is in today’s music scene.
Like most Jay-Z albums, it’s difficult to pick standout tracks because they are all so good and the varied production, subject matter and overall vibe make it difficult to compare tracks, however they all fit together into one incredibly cohesive album that is one of the best of 2009 and one of the best of Jay-Z’s illustrious career.
Raekwon: Only Built for Cuban Linx...Pt. 2
In the summer of 1995 Rae’s OB4CL was such a vivid and visceral depiction of New York’s drug trade that herbs thought they knew how to import, package and distribute narcotics after one listen to “The Purple Tape.” The album cemented Wu-Tang as THE crew of the mid-90’s and paved the way for superstars like Jay-Z, T.I., Rick Ross and The Clipse to turn tales of drug dealing into massive record sales.
However, that was a decade a half ago and a lot has changed since OB4CL hit the streets. Here is an abridged list of things that have happened since that dude got his “Meat Lumped” : the internet, social networking sites, the terrorist attacks of 9/11, the Boston Red Sox broke the curse...twice, Jay-Z’s entire career, cassettes of any color have become totally obsolete and CD’s are on their death bed, Sony released Playstation 1, 2 and 3, Joe Budden got punched in the eye and ODB passed away. Despite all these changes, Rae manages to not only stay relevant but make one of the best albums of the year.
Where the original was the unified vision of Rae and The Rza (with Ghostface and other Wu-Tang members in supporting roles), the sequel is an eclectic mix of the best of Hip-Hop in 2009. Producers as diverse as J. Dilla (R.I.P.), Necro, Pete Rock and Dr. Dre provides sonic backdrops that don’t only compliment the vivid storytelling of the lyrics but actually make “RZA Beats” as good (if not better than) The Rza. And where the only non-Wu appearance on OB4CL was by a young Nas, Part 2 contains vocals from Slick Rick, Beanie Sigel, Busta Rhymes and Jadakiss & Styles P (judging by the quality of multiple Wu/Lox collaborations one has to wonder what would have happened if The Lox aligned themselves with Wu-Tang instead of Bad Boy in the mid 90’s).
Despite all the guest appearances and sick beats, the stars of the show are still Rae and Ghost. Raekwon’s intricate storytelling is offset by Ghostface Killah’s unique flow and wordplay for a combination that is unrivaled in Hip-Hop.
OB4CL is another Wu-Banger (I probably haven’t used that term in 10 years). Get your Wu-Wear out of the closet and support real Hip-Hop...Suuuuuuu!
Murs: Highline Ballroom 9/10/2009
Murs is arguably the best underground/independent artist of the 2000’s, he releases near classic albums on a yearly basis, is arguably the best lyricist in west coast history and his collaborations with 9th Wonder have attracted fans from all over the world. The fact that an artist of this caliber, with dozens of unbelievably good songs and an incredible stage show has to perform a half-empty ballroom is proof that there is no justice in the world.
Murs’ stage show is as bananas as any of his albums. He performed for over an hour with no hypeman, no special effects and nobody else’s material (a rarity today). His set was very “Murs 3:16” and “Murs For President” heavy, but also included lesser known cuts, older songs and his scathing diss of Rick Ross for stealing the “Biggest Boss” beat.
This show was live Hip-Hop at it’s best: great venue, show started on time and the performer shredded for over an hour of nothing but fire. Add the fact that Murs is so humble that he hangs out at his merchandise booth before the show (I shook his hand!) and takes pics with fans as soon as he gets off stage and you have one of the best underground rap experiences of 2009.
Jay-Z: The Blueprint 3
“The Blueprint 3” is Grown-A**-Man-Rap at it’s best. Where Hova faltered by going over his audience’s head on most of “Kingdom Come,” he gets it right for the overwhelming majority of BP3. The beats provided by Kanye West, Timbaland and Pharrell are some of the most complex and multi-layered in the history of commercial Hip-Hop, but somehow all retain enough classic boom-bap to appeal to everyone from backpackers to hard rocks. Lyrically, Jay-Z holds it down as fans would expect, but definitely updates his style for 2009 and shows that he’s an older, wiser and more polished artist than he was when the original “Blueprint” was released in 2001. He still addresses beef with other rappers, but instead of calling them out by name or threatening to “see them outside” in his adlibs, he weaves an intricate metaphor of how most of his foes have taken themselves out of the game before he had to (“Thank You”) and then attacks the state of the entire music industry in the lead-off single “D.O.A. (Death Of Autotune)” with a track so powerful and convincing you could pretty much put autotune/ringtone rap in the same category as throwbacks, X5’s and Jaz-O, of things Jay completely deaded the first time you heard it.
The two commercial joints, “We Run This Town” and “Empire State of Mind” are poppy enough to be played on Top-40 radio, but the verses contain enough dope lyrics to keep Hip-Hop heads hitting the rewind button, no small feat indeed. The album continues with several nods to Hip-Hop’s next generation with collabos with Drake, Kid Cudi and J. Cole that all hold their own and illustrate just how relevant Jay-Z is in today’s music scene.
Like most Jay-Z albums, it’s difficult to pick standout tracks because they are all so good and the varied production, subject matter and overall vibe make it difficult to compare tracks, however they all fit together into one incredibly cohesive album that is one of the best of 2009 and one of the best of Jay-Z’s illustrious career.
Raekwon: Only Built for Cuban Linx...Pt. 2
In the summer of 1995 Rae’s OB4CL was such a vivid and visceral depiction of New York’s drug trade that herbs thought they knew how to import, package and distribute narcotics after one listen to “The Purple Tape.” The album cemented Wu-Tang as THE crew of the mid-90’s and paved the way for superstars like Jay-Z, T.I., Rick Ross and The Clipse to turn tales of drug dealing into massive record sales.
However, that was a decade a half ago and a lot has changed since OB4CL hit the streets. Here is an abridged list of things that have happened since that dude got his “Meat Lumped” : the internet, social networking sites, the terrorist attacks of 9/11, the Boston Red Sox broke the curse...twice, Jay-Z’s entire career, cassettes of any color have become totally obsolete and CD’s are on their death bed, Sony released Playstation 1, 2 and 3, Joe Budden got punched in the eye and ODB passed away. Despite all these changes, Rae manages to not only stay relevant but make one of the best albums of the year.
Where the original was the unified vision of Rae and The Rza (with Ghostface and other Wu-Tang members in supporting roles), the sequel is an eclectic mix of the best of Hip-Hop in 2009. Producers as diverse as J. Dilla (R.I.P.), Necro, Pete Rock and Dr. Dre provides sonic backdrops that don’t only compliment the vivid storytelling of the lyrics but actually make “RZA Beats” as good (if not better than) The Rza. And where the only non-Wu appearance on OB4CL was by a young Nas, Part 2 contains vocals from Slick Rick, Beanie Sigel, Busta Rhymes and Jadakiss & Styles P (judging by the quality of multiple Wu/Lox collaborations one has to wonder what would have happened if The Lox aligned themselves with Wu-Tang instead of Bad Boy in the mid 90’s).
Despite all the guest appearances and sick beats, the stars of the show are still Rae and Ghost. Raekwon’s intricate storytelling is offset by Ghostface Killah’s unique flow and wordplay for a combination that is unrivaled in Hip-Hop.
OB4CL is another Wu-Banger (I probably haven’t used that term in 10 years). Get your Wu-Wear out of the closet and support real Hip-Hop...Suuuuuuu!
Murs: Highline Ballroom 9/10/2009
Murs is arguably the best underground/independent artist of the 2000’s, he releases near classic albums on a yearly basis, is arguably the best lyricist in west coast history and his collaborations with 9th Wonder have attracted fans from all over the world. The fact that an artist of this caliber, with dozens of unbelievably good songs and an incredible stage show has to perform a half-empty ballroom is proof that there is no justice in the world.
Murs’ stage show is as bananas as any of his albums. He performed for over an hour with no hypeman, no special effects and nobody else’s material (a rarity today). His set was very “Murs 3:16” and “Murs For President” heavy, but also included lesser known cuts, older songs and his scathing diss of Rick Ross for stealing the “Biggest Boss” beat.
This show was live Hip-Hop at it’s best: great venue, show started on time and the performer shredded for over an hour of nothing but fire. Add the fact that Murs is so humble that he hangs out at his merchandise booth before the show (I shook his hand!) and takes pics with fans as soon as he gets off stage and you have one of the best underground rap experiences of 2009.
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