Lupe Fiasco - Food and Liquor 2: The Great American Rap Album

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Lupe Fiasco is the pure definition of the struggle of the purist emcee vs. modern day record company, media, and fickle hip-hop fans. Lyrical and creative genius, classic mc, full of integrity that wants to give the world his heart, yet the record company wants him to compromise his art.  Media, fans, and record company like him and recognize that he could be one of the big artists if he toned it down a little or in his own words “dumb it down”. But when you’re determined to do it your way, with integrity, and respect for the culture, and you’re sick of the messages and lack of creativity that plagues society, the industry, and the hip hop culture. When you’re sick of the gimmicks and bullshit, and politics, and you long for days when the music just spoke for itself and artist were forced to show and prove, Food and Liquor 2: The Great American Rap Album is born.  Black Cover, no words, pictures, symbols nothing.

            No stranger to controversy, for his music, opinions on; other artist, criticism of the industry and culture, the all black everything cover is no surprise really, it makes a bold statement.  Not even a track listing or producer credits.

In different fashion we don’t even jump into the music, it starts with a piece of poetry that sets the tone of the experience of the messages you are about to receive. Without doubt the Lyrics are some of the best in the business, as to be expected and proven time and time again. Sonically, its top notch also, because Lupe definitely makes a type of music, which is unpredictably predictable, because he can rap and make a song over any beat. The Production is most serviceable, with not many over the top beats, but good enough to head nod, or get your attention. Not even the production is being used as a gimmick, so no Dre’s, Kanye’s, insert your favorite celebrity producer here and no features that don’t fit or over shine the primary purpose.

What makes this album special is the technique, the attention to detail. This is a master at work still honing his craft. Besides being lyrical, Lupe has a huge subject range, seeming to leave no relevant and important subject untouched. His flows are the star of the show on this album, with him rocking multiple flows on certain tracks. The other big shining star is the song making ability, total song production, not just beat making. The songs and stories come alive and put you in them they’re not just being delivered.  The entertainment value is high numerous songs that jam and a number which have the possibility to be on radio.

 All of the songs deserve to be checked out, but “Bitch Bad” is a classic, and it’s the type of storytelling and stitching scenarios together that he does better than anyone else.  “Around My Way (Freedom Aint Free)” puts up a hell of a fight for best song on the album.  but also check “Lamborghini Angels”,  “ITAL”, “Putt Em UP” “ Battle Scars” which may get non urban radio play, “Cold War ft. Jane” , “Form Follows Function”.   For all its ups positive the only thing negative about the album is that it seems a lil preachy, not in a horrible way though. Meaning that, it seems that Lupe was so focused on getting positive messages out , that he put undue pressure on himself to have some in every song, and he doesn’t seem to be having fun. I’m all for positive messages in music, especially with the lack of substance in music these days, but it seems like Lupe is trying to balance the industry all by himself. A few more songs where he just got in and just let his creativity take control and just rip emcees a new lyrical ass hole would have created more balance. Most importantly just hearing him sounding like it was fun and not just a job or labor of love. Never the less, I give Food and Liquor 2: The Great American Rap Album Pt.1, 4 out of 6 stars.  It will contend for album of the year, cant wait for Pt.2

                                                                               

GOOD Music - Cruel Summer / DMX - Undisputed

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Every since its been leaked that Good Music would be doing a compilation album the expectations of what could possibly come from the house that Kanye built have been crazy, making it one of the most anticipated albums of the year. And considering the Good Music roster, and all of the people that have been assembled and affiliated with GOOD and Kanye we pretty much expected if not a classic, an album that would rival for one of the best albums of the year.  Well hold up on the high expectations, because as with most compilations it’s a different product than an album. I think many of us expected an album that sounded and felt like collaborative album rather than just a mixtape or features of GOOD music artist. Its like any other compilation album really, no real focus, direction or theme. I don’t even think it represents the label as a whole. Yasin Bey aka Mos Def is nowhere to be found, Common and Cyhi only appears once, John Legend, Kid Cuddi twice. The album doesn’t really seem like a unified team effort, to make people aware of everyone on the label and the firepower they should be looking out for in the future. Honestly it doesn’t even seem like fresh material or material not rushed for the album, it doesn’t seem like everyone was working on the album together in a truly collaborative effort, or they just don’t work well together, which is possible with strong minded creative artist used to being in control. All of the songs that stand out have already been heard and played to death; “ The One” is probably the only other song worth checking for. The production, originality and creativity is especially disappointing and doesn’t live up to expectation of anything Kanye West is associated. Cruel summer is average, and not even Kanye average just average. I give it 3 stars

 

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DMX  - Undisputed – Its been a long time since DMX has blessed the Mic, after being away doing other project, and dealing with things in his personal life the Dark Man returns to the scene with a brand new album, his first in 6 years Undisputed.  DMX is the same as we last remember, which is both a gift and a curse.  He has never been a lyrical heavy weight or gymnast, so don’t expect any of that from him on Undisputed, its simple straightforward heartfelt passionate, emotional, and hype music as always.  The song making ability is average, the versatility of flows is low but the subject range is vast.  The production is average, a few samples that were unexpected no great standout beats. The replay value and entertainment value are kind of low. Honestly this album is out of its time, there has been no growth in DMX style musically since the last time we heard him. It’s a flat consistent line, no growth or decline. It would have been a good album in the late 90’s or early 2000’s but it doesn’t compete well with what’s out. I’m not sure there’s a radio single and its average. It’s not what we expect from DMX, but its what we expect from DMX at the same time, he just hasn’t changed with the times. Many of the songs sound remind you of songs he has already made. I give the DMX Undisputed album  a weak 3 stars due to the lack of a stand out track.

Slaughterhouse Welcome to: Our House

Slaughterhouse, four of the illest Mcs in the game that have consistently put in work year after year through good times and broken promises, when you talk about dedication not many people define it better than these four. So when it was announced that they would be getting signed to Shady after their stellar first album and EP, the expectations went sky high. Because at Shady they’d have the creative freedom, possible push, and necessary support that real Mcs making real hip hop need and most importantly the budget and understanding, they’d be a priority. Since forming the group they’ve been dropping a high volume of great consistent material and constantly garnering attention for the group and each individual. And after the BET Hiphop awards cypher, those that didn’t know them before were definitely put on notice as Slaughterhouse along with Eminem and Yelawolf did one of the most memorable cypher in Award show history.  Its still memorable say it with me “ Hi Rihana”, if you haven’t seen it you tube it.  We heard that the album was to be expected soon, but then delays and setbacks begin.  Then slowly but surely we got closer and closer to a release date and the excitement built, and the attention became more and more, and then surprisingly Slaughterhouse dropped a mixtape, with Dj Drama.

The mixtape, On the House, good enough to be the album, and once again the expectations shot through the roof. But after a bunch setbacks, delays, and much anticipation, Slaughterhouse delivers the their first major label release, with Shady Records, and they more than live up to the hype and expectations. Four artists accustomed to setback and delays that constantly put in work and deliver, they more than answer the call and hit the mark on Welcome to our house.  We know without a doubt that they would deliver a lyrical clinic, A class, no questions to even be asked.  But it’s the whole album approach that makes Welcome To Our House special.  It would have been easy to take the expected road for them to get pure hip hop beats, Get Dj Premier on production and Just Spazz out, and spit lyrical fire, which we know they can all do with ease. But, they took a route that will surprise a few people and went another route, the Radio Friendly route, but not regular radio friendly, The Eminem or B.oB. radio friendly, so still highly creative.

They say the key to be a great Mc is staying relevant, and transitioning with the culture, and in today’s culture, in order to sell records, you need to fit the format that video and radio will play. Well every single track on this album is radio friendly, but delivered with so much skill.  We knew that each one of the members of Slaughterhouse could rap, but could they gel, and could they song make. The Answer, Hell Yeah!!! 

The deliver an album with everything you want, and album needs. Sonically its eclectic, the beat styles are different from track to track, and they never get stuck in one form or type, they continuously keep it moving, with beat selections that challenge each artist because its not their normal selection of beats. And with that change in beats each is artist is allowed to show their full repertoire of skills, some rarely shown and some we didn’t know they had.  The subject range and versatility is incredible, each artist has their shine moment and an equal number of shine moments. Once again everything you want, need and expect from an album is delivered, making the album one big hip hop lesson.  You need something for a concert or to get you hype Check for “Coffin” ft./ Busta Rhymes.  For the strip club check for “Throw That” . You want that spazz out and just get to the lyrical thrashing; we know they can do that check for “Die”, a song that will have you head bobbing hard while you riding out. But of course it cant be all bounce, hard hitting and go wild music, if you really want to know how good a rapper is, put him on a slow track where you can hear them clearly and the beat is not distracting, got that too check,  “Goodbye” and  “The Other side” give you that soulful introspective vibe, with the latter easily being able to be a single.  But beyond those there are great performance tracks, that the mainstream should definitely pay attention to, “My Life” ft. Ceelo Green, if cleaned up can easily be a single, but it also begs to be performed at something major like an award show, because it’s a big beat with pop crossover potential. Expect to hear “Walk of Shame” in the background at somebody’s stadium or performed in a rap and rock collabo,  “Get Up” I expect to hear somewhere on an ESPN highlight segment, on none urban radio, or possibly in a stadium. Need that rap pop collabo, got that covered too, check for “Rescue Me” ft. up and coming Skylar Grey.  You need some get hype music, party music beginning of a concert or major performance music “Throw it Away” with Swizz Beatz, fits the bill and it can easily crossover and get radio play also.  Concept story telling, check  “Asylum”.  You need some rawkus music, check for “Hammer Dance” and “ Frat House” and if you need a good all purpose joint check for “Park it Sideways” which will end up being the background to a commercial or slide show or something, especially the clean version.  And last but not least the addictive “ Place to Be” ft./ B.o.B., is a live performance with a live band waiting to happen.

If radio and video outlets don’t find a way to get this album in rotation there’s a conspiracy and people need to be fired, the label has to give this album a push a major push in every market, because the potential is there. The replay value high, if you have the On the House mixtape, you’ll be listening to both of them back to back on heavy repeat. Its highly entertaining, every time you listen you’ll catch something different, because there are so many layers to the songs, from the lyrics, to the beats, the adlibs, interactions, sound effects you name it.  It’s got Star Power that will should introduce them to some new audiences, the Production team is first class (Eminem, Boy Wonder, Boi-1da, Kane Beatz, Justice League, No I.D.).

   I give the Slaughterhouse Welcome to: Our House album a classic rating 6 out of 6 stars. A classic album changes something; it changes the rules of hip hop, the way we listen to hip hop, what we expect and/or how albums are made. This album is not only complete, but it will change the way lyrical artist approach making an album and getting radio play, because if you cant get radio play you cant get sales or recognition in this current climate of hip hop. This album will force the lyrical artist to take a holistic approach to recording an album and should be studied, because although the beats are radio friendly, Slaughterhouse manages to stay true to hip hop, challenge themselves and show growth, be lyrical and make their type of music without compromising their integrity. This album will still be jamming 5-10 yrs from now, it will influence the way we listen to music, now lets hope and pray it sells, for the good of hip and putting lyrics back on top of the charts.

2 Chainz - Based on a T.R.U. Story

Unless you been under a rock for the last few months, I’m sure you’ve heard of and heard some 2 Chainz. Just the mention of the name alone makes you instantly think of his adlib say it with me “2 Chainz !!!!” Numerous mixtape appearances,  features,  and numerous feature mixtapes most notably , Codeine Cowboy and T.R.U. Realigion . The man has been everywhere, you definitely have to respect his hustle and his grind. He’s extremely polarizing people either love him or hate him, not since Soldier Boy and Waka Flocka has any rappers verses been so scrutinized over the internet, but after a huge Cosign from Kanye, and rumors of signing with G.O.O.D Music, people suddenly wanted to see could he deliver on the promise and live up to the street hype on Based On a T.R.U. Story.

 

Based on a T.R.U. Story promises to be a polarizing , scrutinized album loved by his fans and mixed reviews by everyone else.  Lyrically the album is very simple with extremely elementary, rhyme schemes with a simple flow in the same vain as artist like Future, Tony Yayo or Flavor Flav. There are some very significant problems with the lyrical components of the album, its very one dimensional with lots of repetitive subject matter. Subject range is very limited, usually covering all of the stereotypical trap rapper subjects.  On this offering , 2 Chainz lacks versatility ,  it’s the same subjects constantly over different beats,  the same flow , no challenge, experiments, no new ground broken. He doesn’t go out side of his self and give us anything he hasn’t already done, he doesn’t even step it up and do it better.  A lot of the criticisms about 2 Chainz music are going to continue to hold true as the album lacks creativity or originality, because its stereotypically southern and trap music,  and a lot of the verses don’t make sense, they tend to lack organization, be random, unfocused,  and unorganized bars.  The biggest drawback is that most of the production is just average, sonically most of the songs are cool if you in a seedy  smoky strip club, a hood house party or club, definitely not for every club or even concert music,   basically any environment where lyrics, and the technical aspects of  hip hop and song making just don’t matter. The Best verses and song saving verses are by the features, the album chock full of features, everybody hot on the scene,  it almost doesn’t seem he can hold it down by himself, and ends up using features as a crutch, relying on other artist cosigns to boost his cred. Many times he seems out of place on the tracks with other artist when he can’t deliver.  However standout tracks on the album to check for are “Yuck!” ft./  Lil Wayne, which has one of the better verses and deliveries from Chainz,  “ No Lie” ft./ Drake, probably the best song on the album, Birthday song ft./ Kanye West and Ghetto Dream ft./ Scarface & John Legend.

While 2Chainz is hot in the streets, on his grind and full of hustle ,  he needs to work on his craft, use the hustle and focus it into perfecting his craft. Step his lyrics and song making skills way up , see the bigger picture because at this rate its not even music you would want to see performed, neither is it performance music. The entertainment value is marginal , and replay value low. It doesn’t seem as if 2 Chainz is ready to be a primary artist, but is better as a featured artist.

While you can’t hate on him for doing something legal, and attempting to be creative, it’s just not of high quality at the moment. I rate Based on a T.R.U. Story 2 stars out of 6 , it could  needs work, could be better a and it doesn’t live up to expectations.

 Slin_k

@slin_k_polymath on twitter

Rick Ross - God Forgives I Don't

Five albums deep in the game are you a clear veteran, at this point in their career artist are usually trying to solidify their place in hip hop history, define their style and refine their skills and make albums that are sonically better each time out. This is where Rick Ross stands as he gears up for another highly anticipated album.

He has made huge improvements since his first album, he has stepped it up majorly on the lyric side.

Consistency is Rick Ross strength and weakness. He’s good but has made not made continued improvements, nothing new, nothing undone, nothing creatively different to set him apart from just being an above average trap rapper. He’s been living by if it aint broke don’t fix it by giving more of the same, in both quantity and quality.

Consistently however he’s popular, anticipated, in the public eye and relevant, and his album sales have been consistent.

I don’t like to box artist in, Rozay may have boxed himself in creatively however. He’s spent so much time building the mob boss, drug king pin persona that you don’t expect anything else from him, and he doesn’t sound as confident, skilled or comfortable delivering a diverse array of songs or subjects. Give him respect for trying to use a diverse array of beats and subjects and be versatile in his types of songs, but when he’s not doing typical stereotypical Rick Ross songs, he sounds clearly out of his lane.

God Forgives I Don’t is heavy on collaborations, which can be a gift or a curse depending on the artist. On this album the collaborations sound forced though, rather than him making his type of song and using a track that best suits him, he seems as if he’s trying to make the guest artist type of song and adjust to them, rather than let them adjust to him.  Most of the collabos should have been highlights but end up being the holes in the album in stead.  3 Kings ft. Jay-z and Dr. Dre, instead of being a possible classic, features below average bars form all 3 artist. An Awkward verse from Jay, and a verse from Dre that sounds just like Ross in flow, style and delivery. It comes out sounding and looking like a power move just to show his industry connections.  

The woes continue for Ross, though not as bad on Sixteen ft. Andre 3000. Sixteen sound like an Andre 3000 song that Ross invades and sounds out of place on. The same can be said for Diced Pineapples ft. Wale and Drake, the track and concept is perfect for Wale and Drake, but its not Ross’ lane.  All tracks that should have been highlights but fall slightly short; if it weren’t for the features they’d be complete failures.

Although he has made a successful R&B/ Hiphop songs, (Aston Martin Music, Here I am) he fails to come close to matching those, or even seeming to have much needed chemistry on songs with Neyo, Usher or Omarion. "On Touch ‘N You" it sounds awkward to hear Ross attempt to be gangsta and borderline erotic at the same time. He gets close to form on a bonus track Rich Forever with John Legend.

The strong parts of the album are when Ross operates in his normal territory, with movie scen sounding beats, check Pirates, Amsterdam, and Triple Beam Dreams ft Nas

Overall it’s a solid album; it just didn’t live up to hype surrounding but worth checking. Lyrically its average for Rick Ross, he doesn’t show anything new, make any improvements, he just maintains current level. The production is good, just at times it’s too musical, experimental and complex for Rick Ross’ lane, comfort and success.  Originality, and subject range get low marks, as its standard operating procedure, and expected. No new ground broke. Versatility is medium, mostly due to feature performances, no new techniques or different flows from Ross himself, and diversity he doesn’t quite excel at. Replay value med, while far from classic, or best of the year you’ll find a few songs you’ll like and few others depending on your mood worth listening too. I give God Forgives, I Don’t 3 ½ stars out of 6 .

 Slin_K

@slin_k_polymath

Nas Life Is Good

When you have close to twenty years in the game, you’re considered one of the greatest Mc’s of all time, you have classic songs, albums, features and collaborations, its proven that you can stand the test of time, its proven you can make hits and albums, and sale and sustain a fan base. So when you have done it all, what left do you have to prove, who do you have things to prove to?  Well Nas seems like he was trying to prove to hip hop that age has no effect on his skills, the current climate in hip hop (sales, radio play, ringtone rap, fake fans and short attention spans), and he’s out to prove that he can make a masterpiece and that he’s only getting better with time. Without a lot of fan fare, hype, mix tape appearances or radio play Nas delivers what will arguably be another classic, but also one of his best albums of his career, Life is Good. 

Lyrically its classic NAS, and he is in rare form, at the top of his game, the best he’s been for a whole album since It was Written. . Check the whole album, its too good to really highlight one particular song because their are so many good ones.

Sonically – It’s a throwback feeling, it reminds you of that Golden era hip-hop between 86-96.

The Production is top notch, No I.D, and Salaam Remi (who brings the best out of  Nas), and J.U.S.T.I.C.E. League  put it down

It has high entertainment value, its actually quite addictive

Its original NAS, old school throwback Nas, it’s not what’s hot on pop charts, video, or music stations. But pure artistry

Versatility in every form, different types of songs, beats, flows, styles, artist you name it.

Subject range once again diverse, cuts about some of everything ad something for everyone

Replay value – addictive

Rating – Although it’s what pure hip-hop, pure artistry, and it should change the game, it falls just short of classic.  Its genius masterpiece work, but not simply genius, because of todays days and times, this album will probably never get the recognition, airplay or credit it deserves. It will probably never gain the fan base to cross over to have the impact for it to change the game, as a classic should. Upon first listen you usually know a classic, I’m not sure this is, but a great album, I’m not sure this entire album is timeless, but its definitely a highlight for hip hop and Nas. Its going to be hotly debated, over rather this is classic, and I wont be upset with anybody that feels it should be, and I hope it stands the test of time and I have to write that I was wrong. Its damn near flawless, the chemistry is great, the beats on point, and not a single out of place collaboration or verse.  I give the album a 5 ½ out of 6 stars, not because the album falls short, but because of the space hip hop it self is in, I don’t think this album will change the landscape and the rules of hip hop. It doesn’t break complete new ground and change everything we know. I m not sure its going to inspire cats to step it up, no knock on Nas, but a knock on the culture. Cats are not going to hear this and want to work harder. God I hope I’m wrong tho.

Big K.R.I.T. - Live from the Underground

Big K.R.I.T. - Live from the Underground

If you haven’t heard of Big K.R.I.T, Id have to question what rock you’ve been under and insist that you don’t keep your ear tuned to the underground, nor do you search out quality music.  The young rapper /producer from Mississippi, has been on a tear musically putting it down for not only the South but taking us back to hip hop with substance, creativity, and concepts.  With a string of critically acclaimed, slept on and highly anticipated tracks and mix-tapes, he has garnered a lot of attention and respect, including a number major features and collaborations. Bringing back serious hip hop that’s reminiscent of some of Hiphops Legendary acts   (i.e. Outkast, 8ball & MJG, UGK, Scarface). Honored as one of XXL’s Freshman of the year in 2011. He finally delivers the much anticipated, major label debut “Live from the Underground.

Lyrically and poetically he’s dope, no denying that. He has flow, command over his beats and knows how to make a song and stick to a concept completely.  He’s versatile in a number of skill sets (flow, delivery, etc.) and cant be boxed into any particular style i.e. punch line, club or conscious rapper. He has a vast subject range and has an old soul about him, check  “ Praying Man” f/ B.B. King. He has the ability to carry a song by himself or share the spotlight check for “I Got This” and “Money on the Floor” f/ 8Ball &MJG, & 2Chainz. Production wise the beats are very bluesy and soulful, think of early outkast, you can hear the influence but it’s till original. Just from his mix tapes and right up into his this album he has proves that he doesn’t make or thrive on a particular type of song, he has a brand of music that he makes, and that at least will solidify him a solid following of loyal fans. He has something for everybody and every part of the country. His music has that all important head nod factor check for “If I fall” f/ Melanie Fiona.  Its definitely original, it’s not like anything or anyone out. I sadly don’t expect much video or radio play, but live shows will be on point. If you looking for commercialism and materialism stereotypes, this is not the album, this album is about the music not the gimmick, the steak not the sizzle, honestly it really has a Dungeon Family fee, check for “Rich Dad Poor Dad”.

Its an album that will grow on you, the replay value at first wont be high but each time you listen you’ll like it and appreciate more and more. I don’t promise you’ll love every song, but every song is listenable, and no skipping is required.  It could honestly end up being very slept on and not be appreciated until years later

There’s no doubt

It’s a good album, consistent with all of his other works, but I don’t think it will get him any new fans or convert any none believers. The mix tapes so far have been better, the album seem to be missing that signature track that sets it off. And I can appreciate the fact that he didn’t use one of the major mix tape releases as expected.  For those in the middle, the jury will still be out on Big K.R.I.T. I give it a strong 3 ½ stars out of 6, definitely worth checking though.  I expect a lot of growth and development in years to come.