One of Rap's most respected free agents has finally landed. Gary, Indiana's Freddie Gibbs has officially inked a deal with Young Jeezy's CTE (Corporate Thugz Entertainment) imprint, cementing the widely circulating rumor of a pending collaboration.
Gibbs burst onto the national scene following his two critically acclaimed mixtapes, The Miseducation of Freddie Gibbs and MidwestGangstaBoxframeCadillacMuzik in 2009 earning a high profile appearance in The New Yorker, and the cover of XXL Magazine as part of it's Freshmen '10 cover. After the success of his 2010 EP, Str8 Killa and his nationally televised appearance on Last Call with Carson Daly, Young Jeezy signed Gibbs to his Atlanta-based record label.
CTE Records is distributed by Island/Def Jam and released Jeezy's platinum selling debut album, Let's Get It: Thug Motivation 101 among others. Freddie Gibbs' is currently on tour with Big K.R.I.T. and his next mixtape, A Cold Day In Hell is scheduled for release by CTE later this Summer.
FREDDIE GIBBS & Big K.R.I.T. -- 2011 TOUR DATES
04/12/11 Infinity Williamsville NY
04/13/11 The Haunt Ithaca
04/14/11 Pearl Street (downstairs) Northampton
04/15/11 Westcott Theater Syracuse
04/19/11 The Soapbox Laundrolounge Wilmington , NC.
04/20/11 Stereo Live Houston
04/21/11 Cat's Cradle Carrboro
04/22/11 Greene Street Club Greensboro
04/23/11 Jaxx West Springfield
04/24/11 U Street Hall Washington
04/25/11 Mr. Smalls Theatre Millvale , PA.
04/26/11 Southpaw Brooklyn
04/27/11 Chameleon Club Lancaster
04/28/11 Bourbon Street Ballroom Baltimore
04/29/11 Haverford College - Founders Hall Haverford
05/01/11 New Meadowlands Sports Complex EastRutherford
READ FREDDIE GIBBS' EXCLUSIVE INTERVIEW WITH BROOKLYNBODEGA.COM
#BODEGARADIO WITH GUEST FREDDIE GIBBS
Follow The Company Man on Twitter @TheCompanyMan
Showing posts with label Young Jeezy. Show all posts
Showing posts with label Young Jeezy. Show all posts
The-Quotable Reviews: The Blueprint 3
“I’m talkin’ music, I ain’t talkin about rap. / You talkin‘ bout whats hot, I ain’t talkin‘ bout that. / The conversation has changed, lets yap about that. / I don’t run rap no more, I run the map.” - “What We Talkin‘ About”; The Blueprint 3
On the real, Jay-Z may be the best ever at opening an album. He has an uncanny ability to know exactly which tracks will put the listener immediately in the exact zone needed to sink into the LP. Think about it, whether its the Scarface or Carlito’s Way intros on Vol. 1 and Vol. 2, or “Can’t Knock The Hustle” on Reasonable Doubt, or “The Rulers Back” on The Blueprint, or “The Prelude”, or “Hova’s Song” or “December 4th”; Hova The God comes hard right out the gate. No one does it better. TB3 is no exception.
“What We Talkin‘ About’s” synth injected keys and subdued bass line provides the perfect backdrop for Jay’s effortless delivery and proclamations of progression - the overall theme of this Part 3. The transition into “Thank You” keeps heads knocking and Jay’s ill 911 analogy for whack rappers is worth running back repeatedly. “Empire State Of Mind’s” sublime chorus and ridiculous word play immediately re-instills pride in New York City rap music and is probably one of the rare songs that you don’t mind being overplayed. It just feels good. Seriously, this cut is loaded with real life content, dope quotables and truisms. Real quick, The Company Man’s top 4:
- “Shit I made the Yankee hat more famous than a Yankee can.” - absolutely true.
- “Caught up in The In Crowd / Now you’re In Style / Anna Wintour gets cold / In Vogue with your skin out” - dropping mean fashion analogies while describing how young women lose themselves in the limelight.
- “Welcome to the Melting Pot / Corners where they selling rock / Afrika Bambataa shit / home of that Hip Hop.” - just feels like NYC.
- “The City never sleeps. Better slip you an Ambien.” - the perfect conclusion.
Back to the review...
Young Jeezy continues to improve, dropping two suitable verses on the triumphant “As Real As It Gets.” “And if you listen hard enough I say some thangs.” You gotta appreciate the unintentional comedy of that Jeezy line. “A Star Is Born” is possibly the most potent cut on the album, putting into perspective Jay’s longevity by name dropping the chart topping artists he’s outlasted. The hopping snare and perfect hook and standout J.Cole performance all blend perfectly.
Matter of fact, “A Star Is Born” leads off TB3’s best run. “Venus Vs. Mars’” hollowed 808s and paradigm shifting relationship commentary diversifies the album content. “Already Home” is an immediate airwave snatcher. And as far as hater songs go, “Hate” may be one of the best ever (my boy Maine pointed that out and he’s absolutely correct. Shouts to CNY Collective). Here, ‘Ye and Jay trade venom spitting bars at their many detractors over Kanye’s bass-heavy, minimalistic production cypher style. No hook. Just rhymes. Bravo.
If “A Star Is Born” is the album’s most potent cut, then “So Ambitious” is its most important. Its felt like years since Jay’s provided a truly introspective song on an album (I’m thinking something from The Black Album, like “Moment of Clarity” or “Allure.” Possibly “Fallen" off American Gangster). This is his Michael Jordan Hall of Fame speech. This is Jay expounding on all the negative comments and career roadblocks he powered through throughout his life and how each naysayer provided fuel to the proverbial fire. Here, he goes Van Gogh over Pharell’s majestic sound scape, switching styles and perspectives on each verse, dropping memorable line after line, painting lyrical pictures. “I had a couple of meetings, no offers yet. / Maybe I’m not good enough for these offices. / Back to the drawing board, duckin officers. / Its all good cause the streets is A&Ring this.” Through all of his accomplishments and swaggerific, lyrical bravado, the level of trepidation Jay-Z trampled over is often lost in the lore. This is the most honest reminder of his career.
“Feel it coming in the air. / Hear the screams from everywhere...” - “We Run This Town”; The Blueprint 3
Through all of its dopeness, The Blueprint 3 fails to evade the wackness. Tracks like the sonically generic “On To The Next One” and faux-progressive “Off That” and “Reminder” sound like they belong on any other Jay-Z album (the non-classic ones), fracturing the album with one time listens. Not only is the production on each less than to be desired, but the commentary consists of little more than stale proclamations of Hova’s accomplishments. None of the three offer an original or interesting angle on the album’s mission: Hip Hop progression. Ironically, the songs that are supposed to signify how far ahead of his time Jay-Z remains, are also the ones that sound the most like what everyone else is doing. Its difficult to stay out front when you’re playing in other people’s sandboxes. Hell, even “We Run This Town” sounds like T.I.’s “Live Your Life’s” tag-along step brother.
D.O.A. is a different problem. The Company Man already spoke on this here, so I’ll save the commentary. But what happens if Jay doesn’t end Auto-Tune? Seriously, Country Music acts are now using Auto-Tune. Does the song even mean anything if it doesn’t extinguish this latest scourge to artistic integrity? Whatever happened to Cristal? Did heads stop drinking after Jay’s boycott? I don’t know the answer to that question. I’m just asking. What if the song was D.O.H.H. (Death Of Healthcare Hustle)? Or D.O.S.R.L.E (Death Of Shady Record Label Execs)? Or D.O.W.R. (Death of Wack Rappers)? I mean, there are a 4,080 other issues out there to address. Does Auto-Tune deserve to be that high on the list?
Albums are about Replay Value, I don’t know how I to emphasize that enough. The more I press skip, the less likely I am to continue to listen an album in its entirety again and again and again. And thats why I buy albums....to listen to them! I don’t want to be on mile 2.1 or 2.7, so deep into an album that I forget that I’m even running, then have to reach into my pocket, pull out my ipod and press skip, interrupting my psychological distraction and reminding me that I am actually running, all because “Reminder” and its whinny, eardrum grating hook infiltrated my earbuds! The more times that I have to do that, the worse an album becomes. And nearly one-third of The Blueprint 3 is skip-inducing. Thats never a good ratio. At its best this is the second best of the Blueprint series - CEO rap at its finest. At its worst its too long and and too often topically shallow. If you can make a song as progressive and lyrically relevant as “A Star Is Born” or “Thank You” or “So Ambitious”, why would you surround it with stale leftovers like “Reminder” or “Off That”?
I don’t know the answer for that either.
Rating: QQQ.5
The Blueprint 3 Album Review
I know. I know. The title is misleading. I mean, I haven’t even heard Blueprint 3 in its entirety. How can I possibly write an album review?
The answer?
I can’t.
But there is a “but”. Theres always a “but.” And here’s mine:
But...I have heard those same four underwhelming buzz generators leaked to the interweb over the past couple of months. And if “D.O.A”, “We Run This Town”, “Off That”, and “Reminder” are any indicator of how Blueprint 3 will ultimately sound, then the replay value potential looks bleaker than Memphis Bleek going platinum.
“D.O.A” with its commercialized rebellion and faux-trend-bucking represents supreme irony, if not hypocrisy, given that Jay-Z is a one-time president of Def Jam records. And that while El Presidente held office - where he truly was in a position to drive cultural change to the business and sonic side of this Rap Shit - he financially rode the major label bandwagon by pushing whichever Dirty South pump-faking drug-kingpin hard body. Translation: He didn’t do anything different from what was already in motion before him. He didn’t make any changes. And when he finally decides to address a Hip Hop issue, he chooses Auto Tune? Word???
“We Run This Town” is dope. Glad to have Rihanna back. Jay-Z drops two yawn inducing verses. And Kanye sounds like he finally surpassed his “Big Brother.” Not to mention that the track feels like T.I.’s “Live Your Life” which is a great thing if you don’t expect originality from your All-Time Greats.
“Off That” ushers in even more irony given that its supposedly about Jay’s futuristic lifestyle and always-ahead-of-the-game reputation but sports more stale swaggerific content (“Cashmere sweats / they come out next year / but they’re my last year sweats”) and a Timbaland beat circa 2006. Somewhere Justin Timberlake is waiting to break Drake’s other knee-cap for snagging his guest appearance. Unimpressive.
“Reminder” is a return to flossy Jay-Z bragging about his career legacy, dusting his shoulders off on all detractors. You know, stuff he pointed out on Blueprint 1, Blueprint 2, The Black Album, Kingdom Come, American Gangster. Stuff we’ve already heard before. Except the beat and hook are wacker than on any of the earlier editions. 0 for 2 for Timbo.
“But, but, but, but wait it gets worse...” - Onyx, “Slam”
Here comes the biggest problem. Take a look at Blueprint 3’s track listing:
- What We Talkin' About ft. Luke Steele of Empire of the Sun
- Thank You
- D.O.A. (Death of Auto-Tune)
- Run This Town ft. Kanye West and Rihanna
- Empire State of Mind ft. Alicia Keys
- Real As It Gets ft Young Jeezy
- On To the Next One ft. Swizz Beatz
- Off That ft. Drake
- A Star is Bortn ft. J. Cole
- Venus VS. Mars
- Already Home ft. Kid Cudi
- Hate ft. Kanye West
- Reminder
- So Ambitious ft. Pharrell
- Young Forever ft. Mr. Hudson
As of today, Blueprint 3 stands 15 tracks in length. 3 of 4 of the leaked tracks are underwhelming if not unlistenable and expect “Run This Town” to get run into the ground by the end of September. Thats a quarter of the album already out of rotation! Plus, “D.O.A.” and “Run This Town” are back to back at track 3 and track 4 which means that - at best - I’ll rock the first two tracks then either skip or suffer through the next two tracks. Thats not a good ratio for the opening stretch on any album.
I haven’t heard the next three tracks, but “Real As It Gets” features Young Jeezy. Any track with words “featuring Young Jeezy” is an immediate red flag since the Snowman is subpar most of the time. And “On To The Next One” features Swizz Beatz which could be cool if the beat avoids sounding like the generic club soundscape he’s banked off of since “Upgrade You”. Which means if Jeezy gets an entire verse and Swizz delivers another “swing your Louie rag” two-crapper (I mean two-stepper), then The Company Man could find himself skipping 5 out of the first 8 tracks (including “Off That” at track 8)! But since I’m feeling positive today I’ll give Swizzy the benefit of the doubt. 4 out of the first 8 tracks! Toss “Reminder” on top of that and suddenly a third of the album is loaded with one-time listens!!!
We’re talking about replay value here. It doesn’t get any more important than replay value. The more you press “Skip” on an album, the less you want to listen to it again and again and again. And I’m an album cat. Singles are cool. Singles are played on the radio all the time.
But...I don’t listen to the radio either.
Bill O'Reilly Blasts Jay-Z, Young Jeezy
Now, I normally bypass Bill O'Reilly at all costs. Can't pump the breaks for racism. No thanks. No time.
Keep it moving.
But after observing Dennis Miller's cynical-simple-mindedness here (hearing him rant about the impossibility of wind and solar power is like listening to some of history's most progressive thinkers. You know, minds like Robert E. Lee, and those who said Man will never be able to sell bottled water. Seriously, he was probably the guy clutching his type-writer while the rest of the world logged-on. And referring to the President of the United States as 'my man' is blatantly disrepectful to the office. But no one ever accused Fox News of being a classy organization. I'm not feeling the Wolverine look either. Fire your stylist, Dennis. Its a recession. No one will blame you), I couldn't help but wonder what these guys are like off camera. Do they truly live the pseudo-reality they pimp too their Right-wing viewership? Or are they just trying to get that red-neck money?
Maybe they're more like this:
The Quotable Reviews: 808s & Heartbreak
"I'm a monster. / I'm a maven. / I know this whole world's changin'" - "Amazing"Fresh off the success of his now-near-classic LP, Graduation (and subsequent album-sales-shalacking of 50 Cent), tragedy rocked through Kanye West's self-important world when his mother, Dr. Donda West, died from cosmetic surgery related complications[1]. The loss of his mother, along with ending his engagement (to Alexis Phifer), combined with the obligatory difficulties dealing with pop-star status provided the inspiration for the concepts behind The Louis Vuitton Don's fourth studio album, 808s & Heartbreak.
808s & Heartbreak is unlike any other album in Kanye's catalogue. For starters, he's not rapping, opting to half-sing-half-croon through T-Pain's ubiquitous Vocoder electronic voice manipulator.
Thats right. All beats. No rhymes.
Furthermore, Heartbreak's all 808-drum beat production and all love content mark the first true concept album of 'Ye's career.
Always pushing the envelope.
But the risk behind this concept is whether or not Mr. West's loyal fan base and Hip Hop heads alike will buy-into this form of artistic expression. Emphasis on buy. This isn't a Rap album. This is a Pop album.
THATS RIGHT. ALL BEATS. NO RHYMES.
And Hip Hop is notoriously critical of its most-valued Emcees veering left creatively (Common's Electric Circus nearly ended his career relevance and most cats cringed at the thought Andre-Three-Stacks rockin' without rhyming. Then he dropped "Hey Ya" and all was good. Its funny how winning multiple Grammies can make people forget). Not to mention that Kanye's lack of humility and perceived bitchassness has supplanted a Times-Square-Target-sign sized bullseye on his back. People want him to fail. Can't wait to hate. Prey and pray on his downfall. Does Ye's Pop experiment provide ammo to the enemy? Ride with us as...
THE QUOTABLE REVIEWS: 808s & HEARTBREAK
"And my head keeps spinnin.' / I can't stop having these visions. / I got to get with it." - "Welcome to Heartbreak"
Bass and heartache abound all through 808s & Heartbreak. The album opens with minimalist production and a plodding 808 drum beat on "Say You Will." Yep, Ye's definitely singing. Or something something like it. Honestly, this is the worst track on the album. The beat is dope, moving almost. But I'd fall asleep if it wasn't for the bass line. Plus, the vocals are underwhelming and the lyrics sound like the internal justifications of a date-rapist ("When I grab your neck / I touch your soul").
Following a 3 minute and 14 second instrumental to end the opening track, the album rises with one of the LP's brightest spots, "Welcome to Heartbreak." "My friend showed me pictures of his kids. / And all I could show him was pictures of my cribs. / He said his daughter got a brand new report card. / All I got was a brand new sports car." My oldest friend and his wife just had a baby. A beautiful baby girl. I remember back in '99 when he was sweatin' her at The Racquetclub, and now they're starting a family. Me? I'm still chasing the dream - searching for something real in the world. And theres nothing wrong with that - nothing at all. But it is a reminder that I have yet to truly own, truly create that which is most important in this world - love and family. This cut hits close to home (minus the cribs and sports cars. More like...rent and Metrocards. I keeps 'em clean, though).
"Heartless"
808s hits its stride on tracks 3 through 10. "Heartless" is a head-nod enducing ode to the eventual heartache of an unwanted breakup. 'Ye borrowed Dre's repetitive-keys, layed them over a thumping bass-line, and crooned his ass to a hit record. Possibly one of the hardest heartbreak tracks ever. "Amazing" feels like a marching tribal revolution with Young Jeezy's gruff ad libs adding the exclamation points. Even Da Snowman's verse here is quality (and I'm certainly not a Jeezy fan). This is the first track worth running back after first listen.
"Ok, I'm back up on my grind. / You do you, and I'm just gon' do mine. / You do you, and I'm just gon' be fine. / Ok, I got you out my mind." - "See You in My Nightmares"
Kanye continues with the brooding 808s and tribal-drum break down on "Love Lockdown," while opining on not loving the right way in a relationship. The beat and piano keys feel like that scene in The Matrix: Revolutions when Morpheus gives his I-know-it-looks-like-we're-marching-into-our-fiery-destruction-but-trust-me-it-will-work-out speech followed by all of Zion erupting into a massive, primal, half-butt-naked, tribal, dance party. Or, as my homegirl Noelle calls it, an "audio aphrodisiac".
"Love Lockdown"
808s peaks on the infectious "Paranoid." Sounding like straight out of the '80s pop-music, this club ready track is the closest 'Ye gets to rappin', as he questions why she's "so paranoid" about infidelity ("Yeah you heard about all the word of mouth / don't worry about what we can't control. / All the talk in the world, lost in the world / til you finally let that thang go. / You wanna check into the Heartbreak Hotel, but sorry we're closed").
"Robocop" explemplifies 'Ye's masterful production, showcasing another thumping beat (this albums' designed to bump in the truck...err...Hybrid) with bouncing, triumphant violin strings layered within. "Street Lights" is more of a subdued extended hook than a conventional song. The Louis Vuitton Don repeats the same chorus five or six times with ad lib-like interjections on life's unfairness arising sporadically. Its as if he only had the hook and the melody and decided not to fill in the blanks. Oddly enough, it sounds pretty decent. "Bad News" is an unfortunate, near-ballad about finding out you're getting played. Similarly to "Say You Will," if it wasn't for the bass line, I would have fallen asleep. Lil Wayne assists on the anthemic "See You in My Nightmares," providing his own Auto-Tuned crooning for the hook. The LP closes with rumbling drums and electric keys on "The Coldest Winter," and then "Untitled," a live performance of "Pinocchio's Story" where 'Ye expresses his frustration with pop-stardom and mourns the loss of his mother. A suitable close to an uncompromising album.
"Do you really have the stamina / for everybody that sees you that say 'wheres my camera?' / For everybody that sees you that say 'sign my autograph. / For everybody that sees you, crying, sayin' 'you all of that'" - "Untitled"
Ending after only 12 tracks, 808s & Heartbreak is sleek and to the point. It never wavers from its concept, and stays true to its title: 808 beat-laced production and a contextual focus on heartache. At best its a thumping, melodic, drive-by on matters of the heart. Tracks like "Welcome to Heartbreak," "Amazing," "Heartless," showcase 'Ye's top-shelf songwriting and production skills and overshadow the fact that he's not rapping. Like Graduation, (read review here), the production is anthemic. Its melodic, bass heavy, and crafted to be felt physically and emotionally. In fact, the soundscape reveals as much, if not more, of the emotional revelations Mr. West has experienced over the past year than the lyrics (and the Vocoder actually allows Kanye's voice to meld into the electric bass-line and keys, acting like an instrument in the techno-esque-ensemble). And in that sense the album is effective. The stadium-ready production, infectious melody, and memorable hooks are so rich that they nearly compensate for the fact that Kanye West cannot sing at all!
I mean at all.
Even with an electronic voice enhancer.
But 808s & Heartbreak is crippled by its potential lack of replay-value. "Untitled" is unlistenable. "Say You Will" is saved by the beat. And "Bad News" is one of those tracks that, more often than not, you probably won't be in the mood to hear all the way through. Thats 3 tracks out of 12.
1/4th of the album!!!
Think about it like this. Lets say you're walking down 6th Avenue on a brick-cold day. So cold that you're questioning why the hell you're outside in the first place. But you're bundled up nicely with you're earbuds in and iPod tucked away in your inside coat pocket, bumpin' your favorite track in the world - perfect enough to keep you focused entirely on the music and not on the blistering cold 7 blocks you have left until you reach your subway station.
Then suddenly your favorite track ends. And some wack track comes on right after.
Now you have a choice to make. Do you: A. Undo your perfectly bundled arrangement, letting that BRICK winter air dart your skin, erasing every semblance of warmth collected inside your fabric body armor, instantly reminding you that it is so cold even chicken soup won't help - reach into your pocket, pull out your iPod, and skip to the next track? Or do you: B. Spend the next 4 and a half minutes rushing to the subway while listening to one of the wackest tracks ever, immediately refocusing on the fact that you have no business being outside because its so damn cold???
Unfortunately, on the wrong day, 25% of 808s & Heartbreak will put you in that muttaksuttin' situation. And thats something a great album just doesn't do.
"When did you decide to break the rules? / Cause I just heard some real Bad News." - "Bad News"
Rating: QQQ.5
[1] November 10, 2007. The saddest form of irony considering 'Ye partially made his name by openly discussing self-consciousness on tracks such as the seminal, "All Falls Down"
Carry on...
The Upside to the 1st Quarter
Something unexpected happened while in the midst of another 1st Quarter inexplicably void of major Hip Hop album releases (click here for The Quotable's 1Q 2007 rant) - I stumbled into a Big-Pun-load-of-upside.
Upside - an encouraging positive aspect (dictionary.com)
Since there weren't any major (read: highly anticipated) album releases to sink into, analyze, and internally debate whether or not they lived up to the build up, I was forced to raid record stores and dig into the e-crates in hopes of discovering something new...something fresh...something different. And what do you know, I did - ill ish in all mediums. So rather than hoard all of this dopeness for myself, leaving heads in ignorance; The Company Man steps back from hiatus with that ish for Quotable Nation to savor.
INTRODUCING THE COMPANY MAN'S UPSIDE TOP 6 UPSIDES TO THE DOWN QUARTER...and other randomness.
6. Celebrity Connect Four might not be as retarded as it sounds
I ran into this clip of Kanye West and Superbad's Jonah Hill playing Connect Four. Honestly...those two muttaskuttas made "chess for dump people" supringly entertaining. Check it out:
2 things stand out: (1) Kanye's remix of Lil' Wayne's "Lollipop" is for real for real. Like, like that, like that. And honestly, the self-proclaimed Best Rapper Alive should smack himself in his tatooed eye-lids every time he even thinks of jumping on a track with the Louis Vuitton Don if he wants to keep the illusion of holding that title entact. For the second time in 9 months, 'Ye roasted Wayne mic to mic (don't forget the shalacking he laid on Wayne on Graduation's "Barry Bonds"). This verse here negates every bar Weezy laid on that track. Don't get me wrong, Wayne more-than-did-his-thing...its just that Kanye did his better.
And (2) Celebrity Connect Four might not be as retarded as it sounds. Given the right personalities in the right setting with the right amount of drugs and alcohol (for both contestants and viewers alike) - you never know what kinds of entertaining-ignorocity might spill out. Imagine Mike Tyson vs. Vince Vaughn. I think I'd pay to see that matchup.
On another note, aren't we about 4 years late on a Mike Tyson reality show?? When is that ish coming out? Seriously, I'd watch Mike Tyson do anything. And the show wouldn't have to be about the once-Iron-Mike struggling to make a potential comeback. Oh no, no, no. We need to keep this based in reality. It would only have to follow Mike on a day-to-day-basis and people would tune in. Imagine the terrified expression on the face of a reporter during an interview as Mike threatens to stomp on her children's testicals. Picture him eating cereal and talking to himself. Or rolling with him and his entourage making it rain in the strip club followed by the shook look on a stripper's grill as she leads Kid Dynamite back for a private dance (does he even have an entourage? I don't know. But these are things we'd learn about Mike on the show). The potential unintentional comedy is off the charts! Tell me I'm lying...
5. Just because music television stations no longer play music videos, it doesn't mean that great videos aren't still being made.
3 quick exaples:
A. Kanye West released the video for the Chris Martin assisted "Homecoming" dropped relatively on low, but honestly might be video of the year. Its simple and perfectly portrays the song itself. Even the cuts to Chris Martin (who, judging by the missing Chi-City in the background of his clips) fit. Check it for yourself:
B. "Rising Up" by The Roots featuring Wale (pronouced Wah-Lay) and my baby Chrisette Michelle (homegirl has the perfect voice. I think I'm in love with Chrisette Michelle) might be video of the year runnerup. The beauty shop backgrop is dope, and Wale came correct when Black Thought passed him the mic. Homie's been making some noise on the underground for a while now, but my boy Sean P introduced me to the DC Emcee's music a couple of months ago. What I heard then was nice...but not on point like this verse. The rhyme scheme is dope and the content is fresh. Tightest line: "So good rappers ain't eatin. / They Olsen-twinin'".
C. My man L-U-P-Emperor dropped, not one, but two videos off his chart-topping album, The Cool. I know I already posted these, but bump that, I'm posting them again, muttaskuttas. Because thats whats poppin in 2008! And congrats to Lupe for officially going gold with his sophomore album. 500,000 copies in 4 months in this economy is an accomplishment.
"Hip Hop Saved My Life"
"Paris, Tokyo"
Both videos are Cool (pun intended), but for some reason I don't completely trust Lu' without his specs. Its just feels awkward - like watching Snoop Dogg and his wife interact on his clearly-scripted reality show, "Father Hood." Theres something missing.
4. New Hip Hop-esque experiences
My homegirl Enid P over at All About Style convinced me to check out the Murakami exhibit at the Brooklyn Museum, and the ish was tight. Murakami is a Japanese artist slash designer that does a lot of work for Louis Vuitton. He also designed the album cover for Kanye West's third album, Graduation. Check out EP's illegal pics from the visit:
I don't whats more sad - the fact that someone old-school bootlegged a museum exhibit, or the fact that I posted a bottlegged museum exhibit on The Quotable. Either way, the video was animated by Murakami, just to give you a sample of his style.
Check out All About Styles coverage here.
3. Lupe Fiasco's "Superstar" Remix featuring Young Jeezey and T.I.
Of couse Lupe's verse is ridiculous, but whats shocking is Young Jeezey's performance. I mean, for someone with a chronic case of lyrical deficiency, homeboy came correct.
2. Catching up on albums that you mightve missed
I bought a good amount of music this past quarter; following up on albums that I've heard about, but haven't had a chance to hear. Devin the Dudes's album Waitin to Inhale (probably the funniest/raunchiest album I've bought in years), Black Milk's Caltroit, MF Doom's Mmm...Food, Guilty Simpson's Ode to the Ghetto, Matt Costa's Unfamiliar Faces, and most notably Blu & Exiles Below the Heavens (review coming soon), all have a lot to offer - all definitely kept me fed during the annual 1st quarter famine. Some of these will get reviewed here at TQ, and some won't. But either way, all of which are quality.
And the number 1 upside to the down quarter...
1. Each passing day is one day closer to the 2nd Quarter.
Now the second quarter is the beginning of prime time new music season. Artists and record labels finally get it together and finally release new ish in the 2nd Quarter. Concert season opens in the 2nd Quarter. On the horizon in 2008: Kanye West's "Glow in the Dark Tour" featuring Pharell, Rhianna, and Lupe Fiasco, Lil' Wayne's habitually delayed The Carter III, Nas's controversial Nigger, Kidz in the Hall's The In Crowd, Jay-Z and Mary J. Blige tour, The Roots' anticipated Rising Down, Common's Invincible Summer, west coast beast, Crooked I's B.O.S.S. (definitely check that one. freestyle below), The Brooklyn Hip Hop Festival, Foxy Brown's comeback attempt Black Star Diva, Bun B's first album sans the passing of partner in rhyme, Pimp C - II Trill, Usher's Here I Stand, Nelly's Brass Knuckles...well maybe Nelly isn't the best example...but you see where I'm going with it.
Now meet Crooked I. Gone.
Carry on...
Upside - an encouraging positive aspect (dictionary.com)
Since there weren't any major (read: highly anticipated) album releases to sink into, analyze, and internally debate whether or not they lived up to the build up, I was forced to raid record stores and dig into the e-crates in hopes of discovering something new...something fresh...something different. And what do you know, I did - ill ish in all mediums. So rather than hoard all of this dopeness for myself, leaving heads in ignorance; The Company Man steps back from hiatus with that ish for Quotable Nation to savor.
INTRODUCING THE COMPANY MAN'S UPSIDE TOP 6 UPSIDES TO THE DOWN QUARTER...and other randomness.
6. Celebrity Connect Four might not be as retarded as it sounds
I ran into this clip of Kanye West and Superbad's Jonah Hill playing Connect Four. Honestly...those two muttaskuttas made "chess for dump people" supringly entertaining. Check it out:
2 things stand out: (1) Kanye's remix of Lil' Wayne's "Lollipop" is for real for real. Like, like that, like that. And honestly, the self-proclaimed Best Rapper Alive should smack himself in his tatooed eye-lids every time he even thinks of jumping on a track with the Louis Vuitton Don if he wants to keep the illusion of holding that title entact. For the second time in 9 months, 'Ye roasted Wayne mic to mic (don't forget the shalacking he laid on Wayne on Graduation's "Barry Bonds"). This verse here negates every bar Weezy laid on that track. Don't get me wrong, Wayne more-than-did-his-thing...its just that Kanye did his better.
And (2) Celebrity Connect Four might not be as retarded as it sounds. Given the right personalities in the right setting with the right amount of drugs and alcohol (for both contestants and viewers alike) - you never know what kinds of entertaining-ignorocity might spill out. Imagine Mike Tyson vs. Vince Vaughn. I think I'd pay to see that matchup.
On another note, aren't we about 4 years late on a Mike Tyson reality show?? When is that ish coming out? Seriously, I'd watch Mike Tyson do anything. And the show wouldn't have to be about the once-Iron-Mike struggling to make a potential comeback. Oh no, no, no. We need to keep this based in reality. It would only have to follow Mike on a day-to-day-basis and people would tune in. Imagine the terrified expression on the face of a reporter during an interview as Mike threatens to stomp on her children's testicals. Picture him eating cereal and talking to himself. Or rolling with him and his entourage making it rain in the strip club followed by the shook look on a stripper's grill as she leads Kid Dynamite back for a private dance (does he even have an entourage? I don't know. But these are things we'd learn about Mike on the show). The potential unintentional comedy is off the charts! Tell me I'm lying...
5. Just because music television stations no longer play music videos, it doesn't mean that great videos aren't still being made.
3 quick exaples:
A. Kanye West released the video for the Chris Martin assisted "Homecoming" dropped relatively on low, but honestly might be video of the year. Its simple and perfectly portrays the song itself. Even the cuts to Chris Martin (who, judging by the missing Chi-City in the background of his clips) fit. Check it for yourself:
B. "Rising Up" by The Roots featuring Wale (pronouced Wah-Lay) and my baby Chrisette Michelle (homegirl has the perfect voice. I think I'm in love with Chrisette Michelle) might be video of the year runnerup. The beauty shop backgrop is dope, and Wale came correct when Black Thought passed him the mic. Homie's been making some noise on the underground for a while now, but my boy Sean P introduced me to the DC Emcee's music a couple of months ago. What I heard then was nice...but not on point like this verse. The rhyme scheme is dope and the content is fresh. Tightest line: "So good rappers ain't eatin. / They Olsen-twinin'".
C. My man L-U-P-Emperor dropped, not one, but two videos off his chart-topping album, The Cool. I know I already posted these, but bump that, I'm posting them again, muttaskuttas. Because thats whats poppin in 2008! And congrats to Lupe for officially going gold with his sophomore album. 500,000 copies in 4 months in this economy is an accomplishment.
"Hip Hop Saved My Life"
"Paris, Tokyo"
Both videos are Cool (pun intended), but for some reason I don't completely trust Lu' without his specs. Its just feels awkward - like watching Snoop Dogg and his wife interact on his clearly-scripted reality show, "Father Hood." Theres something missing.
4. New Hip Hop-esque experiences
My homegirl Enid P over at All About Style convinced me to check out the Murakami exhibit at the Brooklyn Museum, and the ish was tight. Murakami is a Japanese artist slash designer that does a lot of work for Louis Vuitton. He also designed the album cover for Kanye West's third album, Graduation. Check out EP's illegal pics from the visit:
I don't whats more sad - the fact that someone old-school bootlegged a museum exhibit, or the fact that I posted a bottlegged museum exhibit on The Quotable. Either way, the video was animated by Murakami, just to give you a sample of his style.
Check out All About Styles coverage here.
3. Lupe Fiasco's "Superstar" Remix featuring Young Jeezey and T.I.
Of couse Lupe's verse is ridiculous, but whats shocking is Young Jeezey's performance. I mean, for someone with a chronic case of lyrical deficiency, homeboy came correct.
2. Catching up on albums that you mightve missed
I bought a good amount of music this past quarter; following up on albums that I've heard about, but haven't had a chance to hear. Devin the Dudes's album Waitin to Inhale (probably the funniest/raunchiest album I've bought in years), Black Milk's Caltroit, MF Doom's Mmm...Food, Guilty Simpson's Ode to the Ghetto, Matt Costa's Unfamiliar Faces, and most notably Blu & Exiles Below the Heavens (review coming soon), all have a lot to offer - all definitely kept me fed during the annual 1st quarter famine. Some of these will get reviewed here at TQ, and some won't. But either way, all of which are quality.
And the number 1 upside to the down quarter...
1. Each passing day is one day closer to the 2nd Quarter.
Now the second quarter is the beginning of prime time new music season. Artists and record labels finally get it together and finally release new ish in the 2nd Quarter. Concert season opens in the 2nd Quarter. On the horizon in 2008: Kanye West's "Glow in the Dark Tour" featuring Pharell, Rhianna, and Lupe Fiasco, Lil' Wayne's habitually delayed The Carter III, Nas's controversial Nigger, Kidz in the Hall's The In Crowd, Jay-Z and Mary J. Blige tour, The Roots' anticipated Rising Down, Common's Invincible Summer, west coast beast, Crooked I's B.O.S.S. (definitely check that one. freestyle below), The Brooklyn Hip Hop Festival, Foxy Brown's comeback attempt Black Star Diva, Bun B's first album sans the passing of partner in rhyme, Pimp C - II Trill, Usher's Here I Stand, Nelly's Brass Knuckles...well maybe Nelly isn't the best example...but you see where I'm going with it.
Now meet Crooked I. Gone.
Carry on...
A Quotable Rant: Back From Hiatus
"Its been a long time. I shouldnt've left you..."
Sometimes even planned change is unexpected. I'll leave that there for now....
"How should I get it started? F*ck it, just get it started."
"Ya'Meen" - Method Man; Tical 4:21...The Day After
EVERY YEAR THIS ISH HAPPENS!
Every artist and every label fiends for that summer smash, or that holiday season cash-in - and they all end up crossing-swords fighting over rapidly depleting album sales!
Jay-Z, Nas, Snoop Dogg, Busta Rhymes, Ludacris, Lupe Fiasco, The Game, The Roots, Clipse, Ice Cube, Outkast, Obie Trice, Young Jeezy, Diddy, DMX, Mos Def, Method Man, Mobb Deep, Fat Joe, Lloyd Banks, Pharrell, all released albums between June and December of 2006. As of today, only Hova and Outkast* managed to crack (the much overrated) platinum status domestically (both deserving significant asterisks - Outkast released Idlewild in conjunction with the duos feature film Idlewild - quintessential cross promotion. And as President of Def Jam, Jay-Z was essentially the only artist with complete control over his marketing budget - allegedly spending upwards of $20 million on album promotion for his un-retirement Lp Kingdom Come - including a Super Bowl ad and an unprecedented 1-Day US tour). A few others above posted strong sales numbers (Jeezy, The Game, Luda, and Nas are all approaching 1 million albums sold...6 months later) - the rest fell victim to the competition.
Too many MCs, not enough muttaskuttas buying CDs.
Maybe I missed the memo - but when did it become smart business to release a potentially viable product into an already over-saturated market? 9 out of 10 times money is lost - especially when all the products are packaged the same. And considering the lack of creativity plaguing commercial rap music (Corporate America: once again turning sugar to shit in pursuit of dollars and cents), who can tell the difference anymore? Or more appropriately, who cares to tell the difference?
Here's a thought: rather than flush cash down the isher jousting with every other industry big name during the cluttered 2nd half, why not diversify and drop big-ticket Lps in the wide-open 1st half? Think about it - less competition, increased likelihood of consistent radio and video rotation, and if the chance to make Spring Breakers nationwide dry-hunch to your jammy jam isn't enticing enough, then the increased revenue opportunities should be.
Case in point: T.I.'s 4th studio album, The King, was the only platinum selling album throughout most of 2006. When did it drop?
March.
"You do the arithmetic. WE do the Language-Arts."
"A Life in the Day of Benjamin Andre" - Andre 3000; The Love Below
Carry on...
* To be honest, I have no real way to verify this and seriously doubt its accuracy. According to Wikipedia Idlewild is "platinum" but does not distinguish between domestic or international. My assumption is that it went plat internationally, but I also remember what happens when you "assume." So The Quotable will give 'Kast the benefit of the doubt since they've given us a decade worth of Classics.
Sometimes even planned change is unexpected. I'll leave that there for now....
"How should I get it started? F*ck it, just get it started."
"Ya'Meen" - Method Man; Tical 4:21...The Day After
EVERY YEAR THIS ISH HAPPENS!
Every artist and every label fiends for that summer smash, or that holiday season cash-in - and they all end up crossing-swords fighting over rapidly depleting album sales!
Jay-Z, Nas, Snoop Dogg, Busta Rhymes, Ludacris, Lupe Fiasco, The Game, The Roots, Clipse, Ice Cube, Outkast, Obie Trice, Young Jeezy, Diddy, DMX, Mos Def, Method Man, Mobb Deep, Fat Joe, Lloyd Banks, Pharrell, all released albums between June and December of 2006. As of today, only Hova and Outkast* managed to crack (the much overrated) platinum status domestically (both deserving significant asterisks - Outkast released Idlewild in conjunction with the duos feature film Idlewild - quintessential cross promotion. And as President of Def Jam, Jay-Z was essentially the only artist with complete control over his marketing budget - allegedly spending upwards of $20 million on album promotion for his un-retirement Lp Kingdom Come - including a Super Bowl ad and an unprecedented 1-Day US tour). A few others above posted strong sales numbers (Jeezy, The Game, Luda, and Nas are all approaching 1 million albums sold...6 months later) - the rest fell victim to the competition.
Too many MCs, not enough muttaskuttas buying CDs.
Maybe I missed the memo - but when did it become smart business to release a potentially viable product into an already over-saturated market? 9 out of 10 times money is lost - especially when all the products are packaged the same. And considering the lack of creativity plaguing commercial rap music (Corporate America: once again turning sugar to shit in pursuit of dollars and cents), who can tell the difference anymore? Or more appropriately, who cares to tell the difference?
Here's a thought: rather than flush cash down the isher jousting with every other industry big name during the cluttered 2nd half, why not diversify and drop big-ticket Lps in the wide-open 1st half? Think about it - less competition, increased likelihood of consistent radio and video rotation, and if the chance to make Spring Breakers nationwide dry-hunch to your jammy jam isn't enticing enough, then the increased revenue opportunities should be.
Case in point: T.I.'s 4th studio album, The King, was the only platinum selling album throughout most of 2006. When did it drop?
March.
"You do the arithmetic. WE do the Language-Arts."
"A Life in the Day of Benjamin Andre" - Andre 3000; The Love Below
Carry on...
* To be honest, I have no real way to verify this and seriously doubt its accuracy. According to Wikipedia Idlewild is "platinum" but does not distinguish between domestic or international. My assumption is that it went plat internationally, but I also remember what happens when you "assume." So The Quotable will give 'Kast the benefit of the doubt since they've given us a decade worth of Classics.
Imus Not the Real Bad Guy?
My homegirl Murda (Mary) forwarded this "long email" to me today in regards to Don Imus's recent word-vomit. Interesting read...
courtesy of KansasCity.com (please don't sue me...PUHLease don't sue me).
Al Sharpton / Don Imus interview:
Your thoughts?
courtesy of KansasCity.com (please don't sue me...PUHLease don't sue me).
Imus isn’t the real bad guy
Instead of wasting time on irrelevant shock jock, black leaders need to be fighting a growing gangster culture.
By JASON WHITLOCK - Columnist
Thank you, Don Imus. You’ve given us (black people) an excuse to avoid our real problem.
You’ve given Al Sharpton and Jesse Jackson another opportunity to pretend that the old fight, which is now the safe and lucrative fight, is still the most important fight in our push for true economic and social equality.
You’ve given Vivian Stringer and Rutgers the chance to hold a nationally televised recruiting celebration expertly disguised as a news conference to respond to your poor attempt at humor.
Thank you, Don Imus. You extended Black History Month to April, and we can once again wallow in victimhood, protest like it’s 1965 and delude ourselves into believing that fixing your hatred is more necessary than eradicating our self-hatred.
The bigots win again.
While we’re fixated on a bad joke cracked by an irrelevant, bad shock jock, I’m sure at least one of the marvelous young women on the Rutgers basketball team is somewhere snapping her fingers to the beat of 50 Cent’s or Snoop Dogg’s or Young Jeezy’s latest ode glorifying nappy-headed pimps and hos.
I ain’t saying Jesse, Al and Vivian are gold-diggas, but they don’t have the heart to mount a legitimate campaign against the real black-folk killas.
It is us. At this time, we are our own worst enemies. We have allowed our youths to buy into a culture (hip hop) that has been perverted, corrupted and overtaken by prison culture. The music, attitude and behavior expressed in this culture is anti-black, anti-education, demeaning, self-destructive, pro-drug dealing and violent.
Rather than confront this heinous enemy from within, we sit back and wait for someone like Imus to have a slip of the tongue and make the mistake of repeating the things we say about ourselves.
It’s embarrassing. Dave Chappelle was offered $50 million to make racially insensitive jokes about black and white people on TV. He was hailed as a genius. Black comedians routinely crack jokes about white and black people, and we all laugh out loud.
I’m no Don Imus apologist. He and his tiny companion Mike Lupica blasted me after I fell out with ESPN. Imus is a hack.
But, in my view, he didn’t do anything outside the norm for shock jocks and comedians. He also offered an apology. That should’ve been the end of this whole affair. Instead, it’s only the beginning. It’s an opportunity for Stringer, Jackson and Sharpton to step on victim platforms and elevate themselves and their agenda$.
I watched the Rutgers news conference and was ashamed.
Martin Luther King Jr. spoke for eight minutes in 1963 at the March on Washington. At the time, black people could be lynched and denied fundamental rights with little thought. With the comments of a talk-show host most of her players had never heard of before last week serving as her excuse, Vivian Stringer rambled on for 30 minutes about the amazing season her team had.
Somehow, we’re supposed to believe that the comments of a man with virtually no connection to the sports world ruined Rutgers’ wonderful season. Had a broadcaster with credibility and a platform in the sports world uttered the words Imus did, I could understand a level of outrage.
But an hourlong press conference over a man who has already apologized, already been suspended and is already insignificant is just plain intellectually dishonest. This is opportunism. This is a distraction.
In the grand scheme, Don Imus is no threat to us in general and no threat to black women in particular. If his words are so powerful and so destructive and must be rebuked so forcefully, then what should we do about the idiot rappers on BET, MTV and every black-owned radio station in the country who use words much more powerful and much more destructive?
I don’t listen or watch Imus’ show regularly. Has he at any point glorified selling crack cocaine to black women? Has he celebrated black men shooting each other randomly? Has he suggested in any way that it’s cool to be a baby-daddy rather than a husband and a parent? Does he tell his listeners that they’re suckers for pursuing education and that they’re selling out their race if they do?
When Imus does any of that, call me and I’ll get upset. Until then, he is what he is — a washed-up shock jock who is very easy to ignore when you’re not looking to be made a victim.
No. We all know where the real battleground is. We know that the gangsta rappers and their followers in the athletic world have far bigger platforms to negatively define us than some old white man with a bad radio show. There’s no money and lots of danger in that battle, so Jesse and Al are going to sit it out.
To reach Jason Whitlock, call (816) 234-4869 or send e-mail to jwhitlock@kcstar.com. For previous columns, go to KansasCity.com
Al Sharpton / Don Imus interview:
Your thoughts?
A Quotable Rant - I Blame Master P
"Friend or foe yo? State your biz. /
Hmmm, ya tend the doe? Ah, there it is. /
Me? I run the show. Oh, and these kids /
Don't like nobody comin' round here f*ckin' wit they doe for sh*t. /
You're enterprisin' though and I like it. /
But f*ck wit the big dogs yo, and I gotta bite ya. /
Look, its outta my hands. /
And you gettin' money round here is not in the plans. /
So hop you ass outta that van - head back to Kansas."
"Friend Or Foe" - Jay-Z; Reasonable Doubt
I blame Master P for this sh*t.
To his credit, Master P was the possibly first rapper (certainly the first I can remember) to master the science of marketing.
Think about it.
P turned independent record label No Limit Records, into a one-time industry powerhouse and global conglomerate, selling over 75 million albums to date. He used grass-roots marketing techniques such as selling tapes out of the trunk of car in areas with potential demand for his brand of gangsta rap music - giving free samples to people in expensive cars (Wikipedia.org). In 1996 he parlayed this street-level buzz into an industry shaking distribution deal with Priority Records, giving No Limit Records 100% ownership of its "masters" (master recordings) and 85% of record sales - an agreement unheard of at the time (and, fore the most part, since). He ingeniously created brand recognition for No Limit Records and cross-promoted his artists in every project (albums, straight to video releases, etc). Every release used the same, over-the-top artwork (diamond encrusted titles, bright colors, gaudy mafia imagery) regardless of whose album (Mystikal, Silkk tha Shocker, Mia-X...whoever) was actually being released, making No Limit records instantly recognizable on record store display shelves. He was the first rapper to be worth over $300 million, immensely increased the popularity of southern rap music, and was a part of the foundation for what would later become known as "Crunk Music" But probably most importantly, (according to Wikipedia.org) "he made sure all of his artists debuted at #1 on soundscan to build the perception of popularity" (is it me, or does that sentence allude heavily to P inflating record sales by buying large quantities of No Limit releases himself?..."things that make you go hmmmm"). Master P made somethin' outta very little, layed the blueprint for today's method of new artist discovery and forever changed the inter-workings of the rap music industry.
Only one problem. Master P couldn't rhyme!
Seriously, (and this is the most impressive part of his story) Master P sold rap music without being able rap. Instead, he came up a with his own formula - enviable personality, energetic production, easily remembered hooks, and the infectious, A-1 ad lib - "Ugghhhhhh" (I could go senile tomorrow and still have "Make 'em say Ugghhhhh! Na Naaa Na Naa!" trapped in my head). This combination opened the eyes of every other record label and forced them to revise their business plan. No longer was artist development, well-rounded Lps, music quality and lyrical talent crucial to movin' units. Thanks to to the P-Formula beats, hooks, and ad libs were now paramount (my thank you card is in the mail....sigh).
I say that to say this.
Now, 10 years later, Hip Hop is flooded with a bunch of one-trick ponies disinterested in the trivial nuances of Hip Hop...You now, little things like history and lyrical expression and sound quality and, well...Hip Hop. Hell, everyone these days thinks they are rappers...and sadly, thanks to the P-Formula, just about everyone thinks they can actually be a rapper. Hip Hop is the new gold rush or dot.com-boom - its the new 'hustle' and every muttaskutta with a pen and a pad is runnin' to the well. The worst part is Master P's off-chutes have taken the P-Formula to an all time low.
Case in point: Young Jeezy.
Young Jeezy has seamlessly adapted the P-Formula to his brand of trap music - utilizing stellar production, catchy hooks, and extensive adlibing to sell records. Arguably, he's more known for his ubiquitous ad lib, "Yeaaaahhhhhhh," than any line dropped since his major-label debut Lets Get It: Thug Motivation 101 (and is a direct decendant of P's "Ugghhhh!"). His "Snowman" persona is an immediate reminder to P's "Ice Cream Man" alter-ego. And beats and hooks are his songs primary selling points. By no means is Jeezy the only rapper using the P-Formula to move units, but he is the prime example of what happens when the P-Formula goes wrong.
What separates Jeezy from most other offenders (Pitbull falls into this category as well, having gone on record stating Hip Hop is only a hustle to him) is that he openly, in fact arrogantly boasts being a "trapper not a rapper." Hip Hop isn't his Heaven - its his Hustle; and he proudly pimp's it for his own profit. And there lies the irony behind this boondoggle.
My cousin Sha broke it down like this.
Jeezy's popularity is based off of his trap star reputation. He's a block-hustler with assumed ties to Atlanta's most notorious crime family (Black Mafia Family) so his street credibility has never been in question. To even survive in that world, there are certain rules you follow. So I wonder what would Jeezy (or anyone in the life) do if some outta town hustlers encroached on his territory, pushin' product to his clientele, and bounced safely back to whereever they were from with a pocket full of cash (like on The Wire, when the New York cats tried milkin' Marlo's blocks down in B-More; or Jay-Z's "Friend Or Foe" - he's talking directly at guys like Jeezy...yet he signs him to Def Jam? Money talks loudest)? Specifics aside, that ish would be handled accordingly - as it should.
But despite knowing that basic rule of respect for other people's territory, Jeezy un-remorsefully encroaches on Hip Hop culture, using the P-Formula to sell records, and makes millions of dollars without showing an inkling of deference to what and who he's stealing money from!
Thats right. STEALING.
Its one thing to be a bad rapper with a good gimmick (there have been plenty of wack rappers in Hip Hop history). But its a wholenother thing to profit from Hip Hop and not proudly claim to be a part of the culture! That ish will get you killed where he's from...but somehow okay for him to pull that sh*t over here? Jeezy is making millions of dollars off of Hip Hop music (thanks to the P-Formula) and says he's not a rapper??? He's a trapper??? He's just gettin' his paper???? I'm suppose to respect you just because you "bust your guns"??? Nah muttaskutta, YOU DO THIS NOW! You have decades worth of deference to pay, homie and you're slackin'. Real recognize real, and I ain't never seen you in my life! I can't wait for your counterfeit rap career to fall off and you end up in a too-tight-two piece suit...dancin' with the stars.
So what if Young Jeezy is a 'hustler' or 'trapper' or whatever he considers himself? In the end he's a hypocrite, simple and plain. And I'll NEVER respect it - no matter how hot his ad libs are.
"Get the point?
I'll let you go, but before you leave, /
I guess I oughta let you know / I need those keys.
And a promise you'll never, / no matter the weather, /
Eva-Eva-Eva-Eva-Eva-Eva-Eva-Eva-Eva-Eva-Ever /
Come around here no more."
"Friend Or Foe" - Jay-Z; Reasonable Doubt
Carry On....
The Quotable Reviews: Hip Hop Is Dead
"Gave my man my right, I coulda went left. So like my girl Foxy the kid went Def."
"Hip Hop Is Dead" - Nas; Hip Hop Is Dead
Over the past 5 years, God's Son's been good to The Company Man.
No doubt.
Since Jay-Z seemingly, single handedly revitalized Escobar's approachingly stale career with the now infamous battle-track, "The Takeover", Nasir Jones has crafted 3 critically acclaimed, platinum selling LPs (Stillmatic, God's Son, and the grossly underated double disk, Street's Disciple), pushin' the envelope to its lyrical, creative illest every bar along the way (seriously people, who else is spittin' detailed street tales in reverse ("Rewind")? What other rapper is makin' tracks from a female's perspective with such vivid clairity that its mistaken for a guest appearance ("Sekou Story" and "Live Now")?? What other Emcee makes a song with his POPS ("Bridging the Gap")??? Anyone who can't appreciate this is 12 years old (intellectually) and should leave any room The Company Man is in immediately. Certain places children can't play). So with the announcement of his controversially entitled, Def Jam debut album, Hip Hop Is Dead, expectations rose high for us here at The Quotable. Whats Nas got for us now?
I think I'm in love with Chrisette Michelle (her voice at least). Homegirl can blow. She stole 'Lost Ones' from Jay-Z, and she gives Nas a run for his money on (another Will.I.Am special) "Can't Forget About You." The hook is ridiculous, the sample is perfection (Nat King Cole's Unforgettable) and Nas delivers one of his best series of verses since Hova woke his ass up. How 'bout this...if I was trapped in a mini-van with 4 ornery 8 year-olds on a cross-country drive to California and was only allotted 12 songs on the family ipod mini...this song would be 1 of them...thats how dope it is. I can listen to this track forever.
"Hip Hop Is Dead" - Nas; Hip Hop Is Dead
Over the past 5 years, God's Son's been good to The Company Man.
No doubt.
Since Jay-Z seemingly, single handedly revitalized Escobar's approachingly stale career with the now infamous battle-track, "The Takeover", Nasir Jones has crafted 3 critically acclaimed, platinum selling LPs (Stillmatic, God's Son, and the grossly underated double disk, Street's Disciple), pushin' the envelope to its lyrical, creative illest every bar along the way (seriously people, who else is spittin' detailed street tales in reverse ("Rewind")? What other rapper is makin' tracks from a female's perspective with such vivid clairity that its mistaken for a guest appearance ("Sekou Story" and "Live Now")?? What other Emcee makes a song with his POPS ("Bridging the Gap")??? Anyone who can't appreciate this is 12 years old (intellectually) and should leave any room The Company Man is in immediately. Certain places children can't play). So with the announcement of his controversially entitled, Def Jam debut album, Hip Hop Is Dead, expectations rose high for us here at The Quotable. Whats Nas got for us now?
*****"I can smell the haters. Wishful thinkers. /Bad-luck prayers."" Money Over Bullsh*t" - Nas; Hip Hop Is Dead
From the first verse on the first cut ("Money Over Bullsh*t") on Hip Hop Is Dead, its apparent Nas came with a mission. A message. And anyone in the way can either roll, or get rolled over. "Put a barrel in a Capo's mouth, 'til his scalp come out. / You a kid. You don't live what you rap about" God's Son spits over L.E.S.'s thumping bass drums and haunting piano keys, dismissing (Dipset Capo) Jim Jones in one bar.
"N****s always on that bullsh*t.
Makes a n**** wanna open up a full clip."
"You Can't Kill Me" - Nas; Hip Hop Is Dead
Clear the trash. Carry on.
From there, Nasir Jones dives head-on into the concept driving this (near) concept LP - "Hip Hop been dead [and] we the reason it died." But rather than wasting an album whinning about everything wrong with today's commercialized Hip Hop industry, God's Son crafts an introspective, educational, and at times inspirational album impressive in both its intricacies and its exclamation points.
"Carry On Tradition," finds Nas bodly admonishing both bitter "rap pioneers" and self-important new rappers "with they fingers entertwined in some gang sign madness," reminding them both that if you've made money off this game, or are making money off this, then you need to contribute to the culture; you need to respect where its been and continue to push it forward.
He follows that with "Where Are They Now?," joining Salaam Remi behind the boards (receiving production credit). Over live drums and a James Brown (the Godfather of soul, Grandfather of Hip Hop) sample, Nasir shouts out "some of his homie's that were misrepresented - legends of the game."
From there, Nasir Jones dives head-on into the concept driving this (near) concept LP - "Hip Hop been dead [and] we the reason it died." But rather than wasting an album whinning about everything wrong with today's commercialized Hip Hop industry, God's Son crafts an introspective, educational, and at times inspirational album impressive in both its intricacies and its exclamation points.
"Carry On Tradition," finds Nas bodly admonishing both bitter "rap pioneers" and self-important new rappers "with they fingers entertwined in some gang sign madness," reminding them both that if you've made money off this game, or are making money off this, then you need to contribute to the culture; you need to respect where its been and continue to push it forward.
He follows that with "Where Are They Now?," joining Salaam Remi behind the boards (receiving production credit). Over live drums and a James Brown (the Godfather of soul, Grandfather of Hip Hop) sample, Nasir shouts out "some of his homie's that were misrepresented - legends of the game."
"Lets break it down to / Mic Geronimo, Pharcyde and Coolio. /
I heard Craig Mack back in the studio. /
Have you seen these lost MCs? Funky 4+1, Force MDs. /
Ms. Melodie, I hope she packin' a bank roll. /
As well Educated Rapper, [Dr.] Ice, and Kangol. /
Shante, she from around my way yo. /
EPMD, K-Solo. / Where are they now?"
"Where Are They Now" - Nas; Hip Hop Is Dead
The opus continues with the Will.I.Am produced title-track, "Hip Hop Is Dead," where God's Son kicks an inspired, freestlye flow (once again) over the sickening "In-A-Gadda-Da-Vida" sample (He used this same sample on "Thief's Theme" (Street's Disciple). Then Lupe Fiasco came along and murdered his beat on the mixtape cut "Twilight Zone." I guess Nas wanted (needed?) another shot at this one...stating "I had to flip this track again yall" during the song intro. Looks like Lupe touched a nerve torchin' his track like that. I'm making this up...but what if I wasn't?).
Up next..."Who Killed It?" a 3 minute and 10 second long mystery track where Nas, using an uncanny Humphrey Bogart impression (or some other prohibition era gangster voice. Actually, I have no idea whose voice it is, but its uncanny nonetheless. In fact, if you know whose muttaskuttin' voice he's using, hit up The Company Man. Thanks, carry on) is on a case to find out who killed Hip Hop (over mean Salaam Remi / Will.I.Am production using the beat from Eric B & Rakim's "I Ain't No Joke")...easily the most creative cut on the album. Definitely a must-download.
Up next..."Who Killed It?" a 3 minute and 10 second long mystery track where Nas, using an uncanny Humphrey Bogart impression (or some other prohibition era gangster voice. Actually, I have no idea whose voice it is, but its uncanny nonetheless. In fact, if you know whose muttaskuttin' voice he's using, hit up The Company Man. Thanks, carry on) is on a case to find out who killed Hip Hop (over mean Salaam Remi / Will.I.Am production using the beat from Eric B & Rakim's "I Ain't No Joke")...easily the most creative cut on the album. Definitely a must-download.
"I feel like a Black Republican, / Money I got comin' in. /
Can't turn my back on the hood, / I got love for them. /
Can't clean my act up for good, / Too much thug in him. /
Probably end up back in the hood. / [I'm] like f*ck it then."
"Black Republican" - Nas; Hip Hop Is Dead
Arguably the most anticipated collabo of the new millenium, Jay-Z guest appears on "Black Republican," creating Hip Hop's first anthem of the new year. God's Son rides L.E.S's epic production to perfection (this entire album really....Nas spits the perfect flow for each beat on the album. It really is a thing of beauty). Ironically he never refers to himself as a "Black Republican," substituting "Black Militant", taking over the government" instead. Which makes sense if you think about it...I mean Nas is a lot of things...and a black republican is certainly not one of them (I can't even imagine Nas in a voting booth, let alone calling himself a "black republican"...I digress).
Kanye West returns the favor on "Still Dreaming" (Nas guest appeared "We Major" on 'Ye's sophmore LP, Late Registration) where the 2 emcees wax poetic on creepin' relationships, manhood, and entrapment using a sped-up soul sample - Diana Ross's "The Interim" - as the backdrop (classic Louis Vuiton Don production). I gotta say one thing, Kanye's growth lyrically and sonically is impressive. With every release, his beats become more seamless (initially you could hear the breaks in the cut from whatever sample he used. But, the breaks on "Still Dreaming" area nearly inaudible. I mean, I can figure where the breaks probably go, but they're certainly not obvious. My cousin Sha pointed this out to me. Always educating) and his delivery more competitive. Say what you will about his arrogance, but at the end of the day his hunger is refreshing. He wants to be a better emcee, and any Hip Hop fan should appreciate this (same goes for Lil' Wayne. And The Game. Not Young Jeezy though. You can't say that about Young Jeezy). Another must-download track.
Kanye West returns the favor on "Still Dreaming" (Nas guest appeared "We Major" on 'Ye's sophmore LP, Late Registration) where the 2 emcees wax poetic on creepin' relationships, manhood, and entrapment using a sped-up soul sample - Diana Ross's "The Interim" - as the backdrop (classic Louis Vuiton Don production). I gotta say one thing, Kanye's growth lyrically and sonically is impressive. With every release, his beats become more seamless (initially you could hear the breaks in the cut from whatever sample he used. But, the breaks on "Still Dreaming" area nearly inaudible. I mean, I can figure where the breaks probably go, but they're certainly not obvious. My cousin Sha pointed this out to me. Always educating) and his delivery more competitive. Say what you will about his arrogance, but at the end of the day his hunger is refreshing. He wants to be a better emcee, and any Hip Hop fan should appreciate this (same goes for Lil' Wayne. And The Game. Not Young Jeezy though. You can't say that about Young Jeezy). Another must-download track.
"Its beef week / Monday murda. /
2 n***** dead Tuesday. / Wednesday and Thursday is hurst day.
Friday - sombody-gotta-die day. /
Saturday, put the gat away. Chillin' wit' your chick and a bag haze, /
Wonderin' how its all gonna end / In what type of way. /
Cause Sunday, back to gunplay. /
Most sh*t start over nothin' and get finished quick cause the art of reprecussion. /
Yeah I seen it. A G'goin out indecent."
"Hold Down the Block" - Nas; Hip Hop Is Dead
"Hold Down The Block" finds Nas opining on of a hustler's life and its consequences, without ever sounding preachy.
The Chris Webber produced (yes, that Chris Webber) "Blunt Ashes" is a look back at his career while reflecting on the lives of notable politicians, writers, jazz musicians, and R&B singers. Another envelope-pushing cut.
Tre Williams fills "obligatory inspirational/ghetto reflective, Anthony Hamilton-on-the hook" track (this muttaskutta sounds just like Anthony Hamilton...kinda like Sterling Sims sounds like R.Kelly on Jay-Z's "Dig A Hole." Designer impostors smell good too. Certainly cheaper) on Kanye West produced, "Let There Be Light." The track also features one of the album's realest Quotables - "I can't sound smart or yall'll run away." You can't tell that that line doesn't speak volumes about today's dumbed-down rap industry.
In fact one of the best things about Hip Hop Is Dead is that it ends just as strongly as it begins. "Can't Forget About You,' 'Hustlin,' and 'Hope" all fit subtly, strategically into the album's theme; all 3 are straight Hip Hop.
The Chris Webber produced (yes, that Chris Webber) "Blunt Ashes" is a look back at his career while reflecting on the lives of notable politicians, writers, jazz musicians, and R&B singers. Another envelope-pushing cut.
Tre Williams fills "obligatory inspirational/ghetto reflective, Anthony Hamilton-on-the hook" track (this muttaskutta sounds just like Anthony Hamilton...kinda like Sterling Sims sounds like R.Kelly on Jay-Z's "Dig A Hole." Designer impostors smell good too. Certainly cheaper) on Kanye West produced, "Let There Be Light." The track also features one of the album's realest Quotables - "I can't sound smart or yall'll run away." You can't tell that that line doesn't speak volumes about today's dumbed-down rap industry.
In fact one of the best things about Hip Hop Is Dead is that it ends just as strongly as it begins. "Can't Forget About You,' 'Hustlin,' and 'Hope" all fit subtly, strategically into the album's theme; all 3 are straight Hip Hop.
"Unforgettable. Unsubmittable. /
I go by 'N' now. Just 1 syllable. /
Its the end cause the Game's tired. Its the same vibe /
'Goodtimes' had right after James died. /
Thats why the gangsta rhymers ain't inspired. /
Heinous crimes help record sales more than creative lines. /
I don't wanna keep bringing up the greater times. /
But I'm a dreamer, nostalgic with the state-of-mind."
"Can't Forget About You" - Nas; Hip Hop Is Dead
I think I'm in love with Chrisette Michelle (her voice at least). Homegirl can blow. She stole 'Lost Ones' from Jay-Z, and she gives Nas a run for his money on (another Will.I.Am special) "Can't Forget About You." The hook is ridiculous, the sample is perfection (Nat King Cole's Unforgettable) and Nas delivers one of his best series of verses since Hova woke his ass up. How 'bout this...if I was trapped in a mini-van with 4 ornery 8 year-olds on a cross-country drive to California and was only allotted 12 songs on the family ipod mini...this song would be 1 of them...thats how dope it is. I can listen to this track forever.
The Game makes an inspired guest appearance on the Dr. Dre produced, "Hustlers," spittin' "1995, 11 years from the day, / I'm in the record shop with choices to make. / Illmatic on the top shelf, The Chronic on the left homie. / Wanna cop both but I only got a $20 on me. / So f*ck it. I stole both." The Songstress, Marsha Ambrosius (from Floetry) laces the hook here and Nas rides Dre's synth strings and subdued heavy keys to perfection...again.
Finally, God's Son concludes Hip Hop Is Dead on some real Emcee ish with an ill accapella freestyle flow, vividly depicting the days when he and Hip Hop "used to be close." No beat. No hook. Just his point:
Finally, God's Son concludes Hip Hop Is Dead on some real Emcee ish with an ill accapella freestyle flow, vividly depicting the days when he and Hip Hop "used to be close." No beat. No hook. Just his point:
"Ain't got nothin' to do with Old Skool, New Skool, Dirty South, West Coast, East Coast. This [is] about us. This our thing. NahwhatImsayin'. This came from the gut. From the blood. From the soul. Right here man. This is our thing, man. You know. So I say what I say. And I say what I say and I mean it. Yall take it how you wanna take it. Cause if you askin' why is Hip Hop Is Dead, its a pretty good chance you're the reason it died man. Its a pretty good chance your lame ass, corny ass is the reason it died, man. You don't give a f*ck about it. You don't know nothin' about it. You want this paper, be a hustler. You a 'hustler' you ain't a 'rapper' - get your paper man. NahwhatI'msayin. But this rap sh*t is real. Bitch. This sh*t is real, Bitch."
Understood.
*****
As dope as Hip Hop Is Dead is, its not without its faults.
3 things:
1) Although Nas's delivery delivers on "Carry On Tradition," the Scott Storch, $80-thousand-dollar-per-beat beat is wack. He paid too much...whatever he paid.
2) The Kelis assisted "Not Going Back" is nice...but poorly placed. First off, the beat is too slow for the album's pace at that point, disrupting the transition. "Where Are They Now?" thru "Black Republican" is like driving 90mph in a 50mph zone..."Not Going Back" is the brick wall. Now, this track - with its gunshot rampage intro followed by Kelis immediately admonishing his actions - fits perfectly right after "Hold Down the Block." Plus, "Hold Down the Block" touches on bangin, hustlin, doin' what you gotta do...but knowin' that eventually you'll have to pay for it. "Not Goin' Back's" declaration of NOT going back to the hood is the logical follow-up thematically. And the pace flows with the rest of the Lp. I already re-arranged the album on my iPod.
3) I hate to critique this because I think its a great song but "Playa On Playa" is outta place on Hip Hop Is Dead. Snoop blazes this track and of course God's Son doesn't disappoint, but the pimp theme feels odd here. "The finest chicks I came on and sprayed them. / Gotta get your papes on, play on Playa"...catchy as hell, yes...dope beat, dope rhymes...wrong album. Maybe the Label made 'em do it.
Oh, and one more: Did he include the song lyrics in the album book? NO! Of course not. That would make too much sense. Fans might appreciate that a little too much. I don't know, but it seems to me that the best way to ensure your audience knows what you're saying would be to WRITE IT DOWN FOR THEM. Seriously, this is more necessary now than ever...people don't want to listen like they used to...and if its too complex, they'll ignore it all together. And when you ask them about the album later, they come back at you on some ole' "I couldn't hear what he was sayin'" or some bum-"I couldn't understand it"-bullsh*t. We gotta stop givin' these muttaskuttas excuses. (In my best Eddie-Murphy-as-the-old-white-jewish-dude-in-the-barbershop-on-Coming-To-America impersonation) Ahh Haa! Ahh Haa! (...wagging finger). Would you guys just taste the soup already!
Nevertheless, Hip Hop Is Dead is a masterpiece. You can bump this goin' to club, cleanin' the crib, chillin' wit your girl...where ever. You'll learn about Hip Hop from this album. Buy this album. Burn this album. Steal this album if you have to...whatever. Just make sure you listen to Hip Hop Is Dead.
Its that serious.
Rating:
QQQQ.5
Best Tracks:
- The wholedamnthing
Carry On...
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