Stringer Bell wanted to become “The Bank.”
The economic mind behind The Wire’s, Barksdale crime family wanted to expunge the violence from the Baltimore drug trade. He wanted to expand into real estate -- trading the risky day-to-day operations for a financier-only post high above the destruction going down on the ground below. He wanted to be detached from that tragic reality while still profiting from it. He wanted to be Too Big To Fail. He had other aspirations.
In this extended interview on Real Time With Bill Maher, Jay-Z described his brand of Hip Hop as “aspirational.”
“Whether it be for a young guy aspirational, or for an older guy, something that they can relate to...” said Forbes’ reigning Cash King. “...once you draw on a true emotion, I think the integrity of that will carry you through to now.”
Blinded by the mesmerizing glare of Watch The Throne’s jubilant jet-setting kneels a frustrated population weathering the results of the Great Recession: homes lost, wealth gone.
A Pew Research Center study reported the “median Hispanic household lost 66 percent of it’s wealth from 2005 to 2009.” Black Americans watched their wealth evaporate by 53 percent. Asians households lost 54 percent of their wealth. In total, 33 percent of US citizens lost an average of 58 percent of their wealth. White Americans, by contrast, lost only 16 percent over that duration.
These declines have led to the largest wealth disparities in the 25 years that the bureau has collected data.
Under this sobering umbrella, gratuitous forays by n**** in Paris revel in their detachment from a tragic reality while still profiting from it. Aspirational Hip Hop now comes littered with lines like “N***** hate ballers these days,” blind to the economic destruction going down on the ground below. Even in the polarizing critical wake of throne watching, expectedly, the album broke sales records. Sean Carter became “The Bank” immediately after expunging Dame and Biggs. Now he’s fully accomplished Stringer Bell’s dream. He’s Too Big To Fail.
"Respect to you two heroes...,” says Chuck D on his own, Otis Redding sampled release, “Notice (Know This),” addressing Ye' and Jay directly in response to "Otis."
“...but trickle down got us less than zero."
Watch:
READ FULL POST @THEWELLVERSED.COM
Showing posts with label Kanye West. Show all posts
Showing posts with label Kanye West. Show all posts
The Company Man Show Debut, Watch The Throne Live Album Review
For a year and some months, The Company Man has had the honor of hosting Brooklyn Bodega Radio (every Friday from 1-4PM on PNCRadio.fm). It's been awesome, really. An unintended bi-product of merely seeking a financially viable life writing about rap music. Who knew it would lead to radio...and now video...and now show hosting.
Big thank you to Wes Jackson for trusting me to steer #BodegaRadio.
Big thank you to @JonnyWalkerSF for the initial co-sign and continued support.
Big thank you to @Navani, @KelliNikole, @Nikon, and @EbonyPeace for rocking with me while I figured out what the hell I was doing.
Big thank you to @Laureluxe for showing me the power of Twitter. Hosting a radio show is a lot more fun when you actually have listeners.
Big thank you @Run_P, my weekly co-host. My favorite DJ. My brother.
And after a year and some months, The Company Man has been blessed with his own show on PNCRadio.fm: The Company Man Show (or #TCMS in Twitter speak), airing every Monday through Thursday from 4PM to 6PM.
Big thank you to Alex and A King for this next opportunity.
#BodegaRadio has been successful by embracing the values of it's parent organization, Brooklyn Bodega. #BodegaRadio a true champion of the mobilizing power of Hip Hop, tackling under-discussed topics from a critical stand point while providing a platform for hundreds of independent artists to showcase their craft; to share their journey.
We launched the #InboxSessions (where we spin music by cats on the come up) to mirror Brooklyn Bodega's Show And Prove underground competition series. We're the picture of consistency and progression (never missing an airing) to reflect the consistency and progression of Brooklyn Bodega's, Brooklyn Hip-Hop Festival. We enjoy ourselves live on air every Friday because building something extraordinary based around something you love is infinitely more rewarding when it's also fun. We learned that from watching our parent company, Brooklyn Bodega. We've gotten better every Friday because we do the two things that consistently equate to success: show up and ask questions.
Everything I've learned from Brooklyn Bodega has afforded me the opportunity to expand on this happy accident with my own show, #TCMS. And although the format will be much more mainstream; much more accessible to those more familiar with Hova than Homeboy Sandman, #TCMS will carry those same core values embodied in #BodegaRadio.
Here's how it's going down:
Every Monday, I will guide each of you through a live album review of one new mainstream release. We'll dig into the liner notes and the quotable bars. We'll compare and contrast and diss and debate the pros and cons of each project while playing each album in it's entirety. Keeping it Honest and Unmerciful as always. Yesterday, during our debut, we dug into Jay-Z and Kanye West's, Watch The Throne. Listen below.
Every Tuesday, we'll dig into a different Top 20 list. Anything from Snoop Dogg's Top 20 Songs of all time to The Top 20 Songs of August 2001 (as we did on today's edition, which you can listen to on the next post).
Every Wednesday, we're going to run through the current Billboard Top 20 and keep tabs on what's happening in the mainstream industry. Which we'll do tomorrow, from 4 to 6PM.
Every Thursday, we'll do a live album review of a selected independent release. We'll provide critical feedback to artists most have never heard of but are talented enough to share with #TCMSGlobal.
I can't express how truly excited I am about this next challenge. I'm comfortable on air (finally), that much I know. I love talking about rap music, that much I know too. The rest will be revealed as I continue to get my reps in (word to Malcolm Gladwell).
Thank you all for rocking with The-Quotable and following my continued progression. Y'all been rocking with TCM since 2006, back when I was an actual company man slaving away for other peoples tax breaks. I am forever grateful.
Oh...don't get it confused, by no means am I stepping away from Brooklyn Bodega or #BodegaRadio. The organization means too much to me personally. The email chain that started this all -- Lupe Fiasco's Daily Quotable -- is forever tied to Brooklyn Bodega. There's still plenty of unfinished business. I'm just increasing my workload.
"Life is good. Life is sho'nuff good" -- De La Soul
#TCMS Debut: Watch The Throne Live Album Review
#TCMS AIRS EVERY MONDAY THROUGH THURSDAY FROM 4PM TO 6PM ON PNCRADIO.FM. YOU CAN ALSO TUNE IN ON YOUR MOBILE DEVICE HERE: MOBILE LINK http://j.mp/fKwNRq
BHF '11 - Q-Tip X Kanye West
BHF '11 - Q-Tip X Kanye West from BrooklynBodegaTV on Vimeo.
Doesn't get much better than this...
More Jav Martinez genius...
Shot by:
Jose Cota, Jr. (twitter @jrthesr)
Alex F. Ghassan (@alexg_director)
Daniel Graf (@danielgraffilms)
Daniel "Kodaq Jonez" Morteh (@KodaqJonezTMX)
Abbie Krinsky-Rogoff (@AbbieKrinsky)
Directed & Cut by Jav Martinez (@thejavmart)
BrooklynBodega.com
BKHipHopFestival.com
ThaReelness.Tumblr.com
ANuDayMedia.com/Alex_portfolio.html
KodaqJonez.com
Q-Tip: The Luminary's Luminary to headline BHF11
In a 2007 interview with The Village Voice, Kamaal Ibn John Fareed -- or as Africa Baby Bam of the Jungle Brothers originally anointed him, Q-Tip -- states aptly that, “We’re a nation of people who have short attention spans and don’t necessarily read the whole book; we make it through the first couple of chapters and fall asleep and forget about it.” It’s an eloquent summation, really; as succinct and easily relatable as any of the illimitable hymns he’s bestowed upon Hip-Hop since his 1988 entrance on the JB’s “The Promo.” Not only is it honest, but it captures the most primary bi-product of our pop-centric, hyper-technological society the way A Tribe Called Quest captured rap’s Golden Era duality to both entertain and educate.
That’s why -- twenty-one years after the iconic squad’s debut album, People’s Instinctive Travels And The Path’s of Rhythm -- Tribe is still revered by everyone from your momma to Obama: because they made dope songs that blended jazz and be-bop and Hip-Hop with a message and undeniable melody that always...always rocked the party.
“Do dat do dat do do dat dat dat”
And Tip just may be the coolest frontman in history, up there with Jagger and Hendrix. Cross-generational-type cool. Make a pair of New Balance look revolutionary-type cool. Put people on-type cool.
He introduced the world to the legendary J. Dilla when he enlisted him into his mid-90s production team, The Ummah. Busta Rhyme’s verse on “Scenario” (and accompanying uber-classic Arsenio Hall Show performance) elevated the Dungeon Dragon’s then bourgeoning career to “Woo Haa!” levels and beyond. Arguably every “conscious” rapper alive sites Tribe as a major influence. Rah Digga says Q-Tip saved her life.
A Tribe Called Quest’s illustrious catalog and what seemed like an all-too-soon disbanding resonates so deeply, so broadly for so many that it ironically undermines what’s still one of the most storied, individual resumes in Hip-Hop history. We love those first few chapters of Q-Tip’s career so much that -- like he states in that 2007 Village Voice interview -- we often forget about the rest of the book.
We forget that The Abstract produced every track on People’s Instinctive Travels, The Low End Theory and Midnight Marauders except “Show Business,” “Everything Is Fair,” “8 Million Stories” and “Keep It Rollin” -- depending on how you feel about his remaking of what was originally Pete Rock’s beat for “We Got The Jazz.” And that that same prolific production genius extends to the Jungle Brothers’ Black Is Black, Nas’ Illmatic, Mobb Deep’s The Infamous, Craig Mack, Janet Jackson, Mariah Carey, Whitney Houston, Kanye West and soon enough (with the upcoming release of Watch The Throne) Jay-Z; influencing generations and just about anything neo-soul related.
We forget that Kamaal The Abstract (recorded in 2001) actually beat The Love Below (released in 2003) to the genre-bending punch, even though none of the four major-labels he was signed to during his nine-year hiatus believed in his vision enough to release the project. And that his triumphant return with The Renaissance in 2008 is the personification of creative resiliency.
We forget about collaborations with The Beastie Boys and Bun B and the Soulquarians and The Black Eyed Peas and Mark Ronson and The Roots and Raphael Saadiq and D’Angelo and Norah Jones and every sect of the Native Tongues. We forget about collaborations might’ve been like The Standard with Common and The Fabulous Fleas with Posdnuos, Africa Baby Bam and Ju Ju (of the Beatnuts).
We forget those things. A few we never knew.
Q-Tip’s two-decades plus emphasis on artistic integrity and sonic progression along with his cross-generational legacy falls in line with everything Brooklyn Bodega supports through it’s mission statement; everything Brooklyn Bodega is fundamentally about. In the truest sense he is an ambassador for Hip-Hop, consistently pushing The Culture past predefined margins through collaborations across audial boundaries.
He’s the luminary's luminary.
Honestly, having him rock the 7th Annual Brooklyn Hip-Hop Festival is an easier than easy decision. It’s really a no-brainer.
But who would Brooklyn Bodega be if we settled for the obvious? How could we be satisfied with the easy decision and still uphold our laser-aimed focus on freshness?
So we pushed the margins to the brink of breach.
BHF11 is ten-months pregnant with possibilities because Q-Tip isn’t just headlining. He’s curating, partnering with the Bodega Family in assembling an all-world, one-time only performance featuring surprise appearances from every corner of his legendary catalog!
Call it: Q-Tip & Friends -- A Celebration of Hip-Hop Through The Lense of An Iconoclast
And everything’s on the table.
PURCHASE TICKETS TO THE 2011 BROOKLYN HIP-HOP FESTIVAL
The B Side: Kanye West's My Beautfiul Dark Twisted Fantasy
Here’s a new column idea...well, I can’t say it’s new new since I’m certain I’m not the first writer to write aftermath articles on previously published work. But it’s new to The-Quotable so it’s new enough for The Company Man.
The premise first came to me while scribbling through my review of Ye’s latest for the Home Team. Yeah, it’s a masterful project showcasing the self sacrificing side of rap’s supposedly most self centered artist complete with awesome collaborations and angelic choirs and all that yackety yack that I yackety yacked about for nine hundred ninety-seven words or so.
I mean what I write. Even when I don’t write what I think. Product of the freelancer’s lifestyle.
But as spectacular as it is to simply listen to My Beautiful Dark Twisted Fantasy, at best, it’s my fourth favorite Kanye West album.
Not fourth greatest.
Not fourth best.
Fourth favorite.
Who knows where it ranks, but it’s my fourth favorite Kanye West album because it’s just not as much fun as The College Dropout, Late Registration or Graduation (the jump off for this recent string of darker full lengths: 808s and MBDTF back-to-back). It’s not as much fun because it’s not as lyrically flippant. It’s not littered with as many shots of infectious punchlines and unexpected wittiness -- the original appeal of the initially producer-rapper.
The honesty is still ever present. So are the concepts. Content is still the foundation.
But on MBDTF, infectious one liners like -- “And the DSS kids / some of them dyslexic / They favorite 50 Cent song is “12 Questions” and “That’s a different world like Cree Summers” and “Got a light skinned friend look like Michael Jackson / Got a dark skinned friend looks like Michael Jackson” and “You know how long I been on ya / Since Prince was on Apollonia / Since OJ had Isotoners” and just about all of “Family Business” and “Gone” and “Good Life” and “Good Morning” and “Can’t Tell Me Nothing” -- are largely located on one track: “Power”.
MBDTF has memorable bars, no doubt. “But what’s worse / the pain or the hangover / Fresh air / Rolling down your window / Too many Urkels on your team that’s why your Wins-Low” is fresh to death. “Don’t leave while you’re hot / that’s how Mase screwed up” is so true even the rapping Pastor feels it in his soul. And “Let’s break out of this fake ass party / Turn this into a classic night” is definitely a candidate for boogie down Quotable of the year, even if it is a direct descendant of “You should be honored by my lateness / That I would even show up to this fake shit” off Graduation’s, “Stronger”.
But in comparison’s to his previous work -- considering those tangibly dope lines are a significant part of the reason he resonated with heads so quickly despite not being a technically dope rapper initially -- overall...well...there’s no comparison.
The album is still lyrically ill. Mr. West ain’t fell off. If anything he’s drastically improved (as a rapper), showcasing styles we haven’t seen from him previously.
It’s eery how Ye flows so much like Pusha-T on “Dark Fantasy” and through the first verse on “Power”. Even the nasally “Haa” he strategically interjects sounds similar in octave to the rancid “illggh” (however it’s spelled) ad-lib that’s synonymous with The Clipse rapper. Rhymefest’s influence is spread all over “Power”’s third verse. He’s been writing with Kanye since he received co-writer credits on “Jesus Walks”, so that’s expected.
MBDTF’s “it takes a village approach” doesn’t end at the production level. Unfolding the congressional legislation-looking credits on the back of the poster that comes with the physical copy of the album is more than enough confirmation. Every song lists at least 4 co-writers, including the solo joints. But unexpectedly, for the first time -- considering the new styles and bars that sound less like vintage Kanye -- I can’t help but wonder who wrote what.Kanye reminds me of Syler sometimes -- ensnaring the exceptionally talented, snatching their gifts and discarding the remains on his obsessive path towards recognition as the ultimate Hero. He soaked in Jon Brion’s signature strings and orchestration while co-executive producing Late Registration together then wielded them masterfully on MBDTF without the help of his one-time teacher. After trapping Hip Hop’s heavy weight producers in his Hawaiian hideaway for this project’s production period, the sonic heights for his next project are utterly unimaginable.
That’s the best thing about Kanye: his unwavering focus on out doing himself. He competes with himself and becomes infinitely better; becomes the trendsetter. Others compete with the trendsetter and become infinitely bitter.
That’s why he’s great, tantrums or otherwise. And to continue to obliterating the margins, he readily enlists whoever he needs to improve, whether that’s Rhymefest or Rza, Toomp or Auto-Tune, Pusha-T or Pete Rock or No ID or Premo or Rza or Jon Brion or J. Bhasker or any of the plethora of other people who line My Beautiful Dark Twisted Fantasy’s congressional legislation-looking album credits. It’s greatness by any means necessary, and apparently, co-writers and production assistance are necessary.
I’m cool with that. I love MBDTF. It’s genre bending and loaded with replay value and requires a shmillion lofty adjectives just to describe it. I would’ve given it a perfect rating had it not been for the wayward Rick Ross verse on “Devil In A Dress” and it’s lack of vintage shots of one-line lyrical immortality that embodied my first three favorite Kanye projects. I think collaborative writing makes it impossible to consider anyone the “greatest emcee” (the next title Ye claims he’s targeting in the video below), but that has nothing to do with crafting an awesome project.
Most importantly, I think columns like this are fun, necessary even. The rambling segues and that lead to the ultimate argument of any article are often more interesting than the finished product.
So I’ve decided to address the album review afterthoughts as well.
Let’s call it The B Side.
New new or not, it’s new for The Company Man so, it’s new enough.
Kanye West, My Beautiful Dark Twisted Fantasy Album Review
Who knew Kanye West could be so humble?
Say what you will about his between album antics — the Brittney Spears outbursts, the Grammy tantrums, the Taylor Swift incident — but when it matters most, when it comes to his music, all self-centeredness is dismissed for the greater mission. He dismissed it on Late Registration by bringing on legendary composer Jon Brion as co-producer, elevating The College Dropout’s Hip Hop violins to full orchestral arrangements. He dismissed it on Graduation by bringing on producers Mike Dean and DJ Toomp and on 808s & Heartbreak by bringing on producer/song writer Jeff Bhasker (along with Auto-Tune lessons from T-Pain) to fulfill his visions. Now, for his fourth studio album, he enlists more assistance than ever, trapping the talents of No I.D., Rza, Mike Dean, Jeff Bhasker, Pete Rock, Q-Tip, DJ Premier, Pusha T, Rick Ross and then some in his Hawaiian hideaway, honing in on the sound of his most ambitious LP yet, My Beautiful Dark Twisted Fantasy. It takes humility to ask for help and Yeezy reached out to all-time greats. The album credits alone read like amendments to congressional legislation.
At 1.1 hours in length, MBDTF is long and loaded with angelic choirs and layers of cascading intonations. It’s a dark celebration igniting a steady stream of political commentary, introspection and ass shaking — a trait synonymous with ‘Ye since his “Jesus Walks” days. “Hey teacher teacher / Tell me how you respond to students / And refresh the page and restart the memory / Re-spark the soul and rebuild the energy / Re-stop the ignorance / re-kill the enemy”, he kicks Pusha T-style over “Dark Fantasy”’s airy orchestration and Rza assisted hopping keys and plodding bass line. “They just stole your dreams / You don’t know who did it / I treat the cash like the government treats AIDS / I won’t be satisfied until all of my n***** get it / Get it?”, he delivers on the brooding, Raekwon featured “Gorgeous”, easily the LPs most foreboding offering. Over “All Of The Light”’s relentless drums and triumphant horns he wields his Young Jeezy flow to tackle the complications of separation:
“Restraining order / I can’t see my daughter / Her mother, brother, grand mother hate me in that order / Public visitation / We met at Borders / Told her if she take me back / I’ll be more supportive / I made mistakes / I bump my head / Court sucked me dry / I spent that bread / She needs her daddy / Baby please / Can’t let her grow up in that Ghetto University”
Stacked posse cuts “Monster” and “So Appalled” still thump despite their G.O.O.D. Friday release nearly two months ago and featuring eight different guest appearances collectively — a near miraculous feat considering the here-today-gone-today nature of the internet and the rarity of top shelf collaborations where no one falls short. The hazy “Devil In A New Dress” with it’s sublime Smokey Robinson sample and soulful electric strings feels like a conquering objection to gold diggers undermined only by a Rick Ross verse that strays completely off topic. On the flip side, Pusha T and the addition of hollowed Rick James chops and extended instrumentals lift Kanye’s ode to douchebaggery, “Runaway”, to anthemic heights while remaining firmly rooted in Hip Hop — a mashup producing the most ubiquitous track on the album, guaranteeing spins from now through Spring Break.
Even the paradigm shifts are pristine. “No more drugs for me / P*ssy and religion is all I need”, Yeezy kicks on “Hell Of A Life”, a futuristic force of fornication complete with moving orchestras and the “Iron Man” melody where Kanye describes how he “fell in love with a porn star”. “On the bathroom wall I wrote that I would rather argue with you than to be with someone else”, he delivers on the soulful “Blame Game” (featuring John Legend), aptly addressing the love / hate paradox of scorned relationships.
READ FULL REVIEW @BROOKLYNBODEGA.COM
Fiddy - More Like Diddy
We knew this was coming. Many prayed for this.
In the aftermath of his 2007 sales shallacking courtesy of image antithesis, Kanye West, for the first time, “Bulletproof 50” exhibited commercial vulnerability. Not to sleep on the 691K units Curtis moved in its first week -- essentially the platinum equivalent in today’s crap-tastic retail environment -- but ironically, Fiddy’s self described “artist album” was artistically years past his prime. Clearly, Get Rich Or Die Tryin’ it was not. No need to waste words. But lyrically aspiring tracks like “A Baltimore Love Thing” or “I Don’t Need Em” on The Massacre eclipsed any semblance of artistry Curtis supposedly offered. Instead the buying public was treated to Omaha Steak-style manufactured beef and false proclamations of retirement if out sold. The gimmicks were too gimmicky, grossly outpacing the product. Curtis, at its best, was a passable LP loaded with Pop-centric guest appearances, generic bump and grind raps and gun music. At worst? At worst it represented the last grasp of commercial viability from a soon-to-be-fallen album sales titan.
That was then...
In 2009, as we all witnessed (some more jubilantly than others), Fifty’s Before I Self Destruct self destructed on the charts, moving an embarrassing 160k units in its first week, declining consistently each week after.
While the warning signs leading up to this official sales calamity were more obvious than those leading up to 9/11 -- numerous delays and rescheduled release dates, slumping music sales environment, ineffective lead single, tiring gimmicks that proved more polarizing than profitable, digital leakage a month prior to release -- the idea that Brand50 would ever produce such a meager SoundScan showing, leak or no leak, seemed more like a wish from one of his laundry list of detractors than an actual reality. 50 Cent was still 50 CENT, after all. Surely an artist that’s sold over 20 million solo albums in six years, amassing upwards of $150 million (pre recession) through diversified business ventures, and lived in Mike Tyson’s house could crack 200k in his first week. Especially if he’s tossing in a free DVD or two...Right?
CONTINUE READING @ WWW.HIPHOPDX.COM
A Tale of Two CDs - Only Built 4 Cuban Linx...PT II and The Blueprint 3
“Stop playing. / You know we run rap. / You know we done that. / Stop frontin, son. Put the gun back” - Raekwon
Two Emcees. Each from The Era. Each stepped into rap kicking ill rhymes revolving around the drug game. Each one etched his own, undeniable, legacy in the talisman of this rap shit by achieving the nearly unachievable: crafting a certified classic album.
This year, two legendary Emcees released highly anticipated sequels on the same day.
In various ways, Raekwon The Chef and Hova The God have walked perpendicular career paths since their nineteen-nineties debut. Rae of course experienced immediate classic status as a part of the ubiquitous Wu-Tang Clan and then again as a solo artist with the release of “The Purple Tape” (Only Built 4 Cuban Linx...). And although he would continue to maintain lyrical credibility as a part of later Wu releases and notable guest appearances, his solo career has been littered with under promoted and unimpactful follow-ups (Immobilarity, The Lex Diamond Story). Eventually, it would seem, The Chef’s individual contributions to The Culture plateaued.
Jay-Z’s musical career, on the other hand, spawned from within the shadows of The Purple Tape and Illmatic and Ready To Die and All Eyes On Me - outmaneuvering Industry naysayers and popular opinion to become the most accomplished, most respected, most prolific Emcee in the history of Hip Hop. His musical career alone exemplifies constant progression with mixed in shots of brilliance - represented most potently on his most revered albums Reasonable Doubt, The Blueprint, and The Black Album. But what can The Company Man say about Jay-Z that you don’t already know?
September Eight, Two Thousand and Nine marks an interesting intersection between these two legendary Emcees. Raekwon’s Only Built 4 Cuban Linx...PT II is one of the most anticipated albums of the decade. All together, its been 4 years in the making complete with numerous production changes, guest appearances, label quagmires; you name it, OB4CL2 went through it. But with so much time and trepidation put into one project, not to mention that this is the sequel to one of the most celebrated albums of all time, can OB4CL2 live up to the astronomical hype?
Jay-Z’s The Blueprint 3 is without a doubt one of the most anticipated albums of 2009. Its the latest addition to the Blueprint series and in many ways represents Jay’s truest return to the album game since his 2003 pseudo retirement (Kingdom Come was like when Jordan came back wearing the four-five; a little rusty but still better than most. American Gangster was his conceptual excuse to step back into Reasonable Doubt mode and wash away Kingdom Come’s aristocratic undertones). The original Blueprint was a watershed moment in Hip Hop as it cemented Jay’s legacy as the undisputed title holder. The Blueprint 2 was....well, lets just say that The Blueprint 2 was “due.” Can part 3 restore the luster to The Blueprint brand?
“I’m talkin’ about music, I ain’t talkin about rap...” - Jay-Z
Jay-Z’s lyrical superiority on TB3 represents the best of rap music. Faux-progression and lapses into stagnant production represents the worst of rap music.
Raekwon’s dark images and crime rap depictions stereotypically represents the worst of rap music. OB4CL2’s unified sound scape and visual storytelling represents the best of rap music.
TB3 feels too long at 15 tracks. At 23 tracks, OB4CL2 feels too short.
Both artists enlisted several different top flight beat makers to craft their sonic backdrops. Where Rae’s production selection united to provide a cohesive sound supporting his album’s intentions, Jay’s production selection comes across as fractured and commercial, limiting his album’s intentions. Where Dilla and Rza and Dre and company seem to artistically compete for Rae’s best beat, Kanye and Pharrell and Swizz Beats and Timbo seem to compete for Jay’s top selling single.
On OB4CL2, every producer steps up. On TB3, Timbaland lets down.
The Blueprint 3 (complete with a week long media blitz including guest appearances on Letterman, Leno, Bill Maher, and a live concert broadcasted globally on Fuse TV) is CEO rap at its finest, packaged for today’s general consumer.
OB4CL2 (complete with early proclamations of classic status from fellow Emcees and those disenchanted with the Industry) is crime rap at its finest, packaged for longing Hip Hop heads.
The Blueprint 3, by design, symbolizes Hip Hop progression. Jay states he’s talking about music, he’s not talking about rap. Although his rhymes remain otherworldly throughout, stale beat selection (“On To The Next One”, 2 of 3 Timbo contributions) and repetitive commentary (“Off That”, “Reminder”) gravitationally pulls the progression back down to Earth. In the end, this album ends up being more about the raps than the music.
Only Built 4 Cuban Linx...PT II, by design, symbolizes a return to gritty, New York City Hip Hop. That good ‘ole Boom-Bap shit. Although Rae sticks to the least progressive rap subject (crime rap) throughout, otherworldly production and cinematic story telling propel his album out of this atmosphere. In the end, this album ends up being more about the music than the raps.
1995. The Era of wisdom. The Era of foolishness.
Two Emcees from that Era.
2009. Two sequels. The Blueprint 3. Only Built 4 Cuban Linx...PT II.
A Tale of Two CDs...
Read The Blueprint 3 review here.
Read Only Built 4 Cuban Linx...PT II review here.
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.
Evolving Taste - A Quotable Conversation
Theres something sexy about talking Hip Hop with a dope chick whose knowlegeable about The Culture. D and I fall into these deep, occassionally theoretical, often anger enducing conversations on a fairly regular basis. This one took place over gmail chat the week 808s & Heartbreak (click here for review) and Theatre of the Mind (click here for review) dropped, and evolves from an album-quality-discussion into album-taste-discussion. Pretty interesting. Read on.
(...begins right after reading The Quotable's review of 808s & Heartbreak.)
TCM: so thats what i thought
Danielle: got it. i agreed with most of what you said.
i don't think his content is necessarily bad, i just don't think people will really listen
TCM: i didn't think the content was bad
i thought a quarter of the album was suspect
and the rest was pretty dope
its about the beats in my opinion
Danielle: i agree, but i have a feeling it wont do very well
TCM: not by his standards...i agree
it'll go plat though
i think it will expand his fan base
Danielle: b/c it has his name on it
TCM: while pissing off the core
Danielle: yup
we learned that in marketing
disruption of your core consumer base can be a problem when its a highly competitive market
TCM: but its not that competitive right now
Danielle: that's what i was going to say. lucky for him
overall i probably wouldn't listen to it more than a couple of times
i like some of the tracks and there are a few lines that i really really like
TCM: Amazing is amazing
or maybe - amazing is Amazing
Danielle: yup. amazing. love lockdown.
and heartless.
TCM: welcome to heartbreak
Danielle: it actually makes me a little sad
to be honest
TCM: me too...
thats what i like about it
Danielle: but you don't like sad stuff
TCM: i don't gravitate towards it
Danielle: no. do you really feel like you are missing something in your life not having love and family? that was a sad part of your quotable
TCM: i do. but at the sametime i don't think thats something i should rush into until I'm absolutely ready
Danielle: so you have no need to be sad about it
b/c in someways its voluntary and a product of your own personal timing
TCM: but i'm not sad about it
i didn't mean for it to translate that way
Danielle: are you going to do one for luda?
TCM: preliminary reviewing now
MVP is crazy!
i've listened to it 4 times now
in a row
Danielle: hmm. you know, i might actually take back what i said about kanye's album
TCM: what do you mean
Danielle: i agree with you. it might do well not just with the same people
but i don't know if that's a good long term strategy
sorry...always putting on the b-school approach to things
lol
TCM: thats cool though...always teaching me something
i think he'll be cool cause he's still dropping freestyles and guest appearances consistently
go hard
swagger like us
stay up
estelle's joint
he's still rhymin this isn't permanent
lollipop remix
common's new joint
John Legend's album
Danielle: listening to mvp to see what you are referring to
TCM: mvp is illllllll
Danielle: luda is always telling people how great he is
napoleon complex or something
TCM: thats hip hop
braggadacio
bravado
he can take it other places too
but freestyle tracks are my favorite
Danielle: u think still? that hip hop is still about bravado?
i don't know if i still believe that now
TCM: sure it is...
all the biggest emcees stay on that shit
its just not put out there commercially in the same way
labels steer it towards the club
Danielle: i dunno j. mvp is ok.
i don't see him doing anything really different on this track
TCM: what???
the beat is sick
luda is droppin lines on that!!
I'm going back to it right now
Danielle: the beat is cool (for me it holds the song up) but that's about it
it reminds me of a slower version of that Virgo song he did with Nas for some reason
TCM: that song was hot too
Danielle: yup. introduced you to that song
the beat is a little old school, no?
its a cool beat but...
TCM: ''damn man, what the hell you smokin' on / its ludacris, i got more cheese than provolone''
yeah...thats why the beat is dope
thats Premiere
Danielle: i swear he has said a similar line to something like that before
TCM: i love the beat
Danielle: maybe thats what not working for me with the song then
TCM: "takin' shots like Kennedy!!!!"
Danielle: tight old school beat with same luda lines
TCM: whooooaaaaa
Danielle: is the whole cd like this?
TCM: ouch
nah..theres a lot of story telling and perspective rhymes
i don't know what happened to you, D. i thought you'd love this song
i got that one all wrong
Danielle: haha. yeah. i think you thought i would like it a lot for the beat
TCM: the scratches are ridiculous
aight...here's a song you'll like
Lets stay together
Danielle: you know what it is
TCM: what is it
Danielle: i think i "hear" a lot more than i used to in the past
TCM: You'll love Do The Right Thang...infact...listen to that one now
Danielle: i like this one better
TCM: yeah...thats your ish
back on track
Danielle: maybe i'm leaning more towards conscious hip hop in my old age?
TCM: yeah...you are
i am too
its more intellectually stimulating
but i still love ill cypher rhymes
Danielle: yeah. i think in terms of order of listening
i hear what folks are sayin first
then i hear how they are saying it (ie: flow, rhyme etc)
then lastly i listen to beat
i think when i was younger that order was reversed
TCM: yeah...i can tolerate a wack beat if the lyrics are dope
but not as often the other way around
Danielle: precisely - well those are mostly club songs so you can shake ur ass to it regardless of what they say - u know "till the sweat drip down my balls" type stuff. which is maybe why i didn't gravitate to MVP. i heard what he was saying first and it just reminded me of some of his older albums
TCM: HAHAHA!!
that shit was funny
"til the sweat drip down my balls!!"
"now drown a bitch! drown a bitch!!"
Danielle: lol
TCM: yeah...but MVP isn't sweat drip down my balls type shit
Danielle: im not saying it is
what i'm saying is that i heard what he was saying
rather than listening to the beat first
whereas a couple of years ago.
i would have listened to the beat first
TCM: but what he's saying is dope
Danielle: and probably would have liked it more
i'm not saying what he says isn't good. its just typical luda
perhaps i was looking for something more?
i'm not sure what...
TCM: luda's always been like that
freestyle tracks
Danielle: i know. which is why i'm not sure why i was expecting more.
TCM: and concept tracks
and just recently started adding emotional tracks
Danielle: yeah. at first i wasn't sure how i liked luda and emotion but it works ok
if i want to think about heartache and longing though, i'll go to kanye's album
TCM: LOL
thats the truth
full circle
Danielle: yup.
(...begins right after reading The Quotable's review of 808s & Heartbreak.)
TCM: so thats what i thought
Danielle: got it. i agreed with most of what you said.
i don't think his content is necessarily bad, i just don't think people will really listen
TCM: i didn't think the content was bad
i thought a quarter of the album was suspect
and the rest was pretty dope
its about the beats in my opinion
Danielle: i agree, but i have a feeling it wont do very well
TCM: not by his standards...i agree
it'll go plat though
i think it will expand his fan base
Danielle: b/c it has his name on it
TCM: while pissing off the core
Danielle: yup
we learned that in marketing
disruption of your core consumer base can be a problem when its a highly competitive market
TCM: but its not that competitive right now
Danielle: that's what i was going to say. lucky for him
overall i probably wouldn't listen to it more than a couple of times
i like some of the tracks and there are a few lines that i really really like
TCM: Amazing is amazing
or maybe - amazing is Amazing
Danielle: yup. amazing. love lockdown.
and heartless.
TCM: welcome to heartbreak
Danielle: it actually makes me a little sad
to be honest
TCM: me too...
thats what i like about it
Danielle: but you don't like sad stuff
TCM: i don't gravitate towards it
Danielle: no. do you really feel like you are missing something in your life not having love and family? that was a sad part of your quotable
TCM: i do. but at the sametime i don't think thats something i should rush into until I'm absolutely ready
Danielle: so you have no need to be sad about it
b/c in someways its voluntary and a product of your own personal timing
TCM: but i'm not sad about it
i didn't mean for it to translate that way
Danielle: are you going to do one for luda?
TCM: preliminary reviewing now
MVP is crazy!
i've listened to it 4 times now
in a row
Danielle: hmm. you know, i might actually take back what i said about kanye's album
TCM: what do you mean
Danielle: i agree with you. it might do well not just with the same people
but i don't know if that's a good long term strategy
sorry...always putting on the b-school approach to things
lol
TCM: thats cool though...always teaching me something
i think he'll be cool cause he's still dropping freestyles and guest appearances consistently
go hard
swagger like us
stay up
estelle's joint
he's still rhymin this isn't permanent
lollipop remix
common's new joint
John Legend's album
Danielle: listening to mvp to see what you are referring to
TCM: mvp is illllllll
Danielle: luda is always telling people how great he is
napoleon complex or something
TCM: thats hip hop
braggadacio
bravado
he can take it other places too
but freestyle tracks are my favorite
Danielle: u think still? that hip hop is still about bravado?
i don't know if i still believe that now
TCM: sure it is...
all the biggest emcees stay on that shit
its just not put out there commercially in the same way
labels steer it towards the club
Danielle: i dunno j. mvp is ok.
i don't see him doing anything really different on this track
TCM: what???
the beat is sick
luda is droppin lines on that!!
I'm going back to it right now
Danielle: the beat is cool (for me it holds the song up) but that's about it
it reminds me of a slower version of that Virgo song he did with Nas for some reason
TCM: that song was hot too
Danielle: yup. introduced you to that song
the beat is a little old school, no?
its a cool beat but...
TCM: ''damn man, what the hell you smokin' on / its ludacris, i got more cheese than provolone''
yeah...thats why the beat is dope
thats Premiere
Danielle: i swear he has said a similar line to something like that before
TCM: i love the beat
Danielle: maybe thats what not working for me with the song then
TCM: "takin' shots like Kennedy!!!!"
Danielle: tight old school beat with same luda lines
TCM: whooooaaaaa
Danielle: is the whole cd like this?
TCM: ouch
nah..theres a lot of story telling and perspective rhymes
i don't know what happened to you, D. i thought you'd love this song
i got that one all wrong
Danielle: haha. yeah. i think you thought i would like it a lot for the beat
TCM: the scratches are ridiculous
aight...here's a song you'll like
Lets stay together
Danielle: you know what it is
TCM: what is it
Danielle: i think i "hear" a lot more than i used to in the past
TCM: You'll love Do The Right Thang...infact...listen to that one now
Danielle: i like this one better
TCM: yeah...thats your ish
back on track
Danielle: maybe i'm leaning more towards conscious hip hop in my old age?
TCM: yeah...you are
i am too
its more intellectually stimulating
but i still love ill cypher rhymes
Danielle: yeah. i think in terms of order of listening
i hear what folks are sayin first
then i hear how they are saying it (ie: flow, rhyme etc)
then lastly i listen to beat
i think when i was younger that order was reversed
TCM: yeah...i can tolerate a wack beat if the lyrics are dope
but not as often the other way around
Danielle: precisely - well those are mostly club songs so you can shake ur ass to it regardless of what they say - u know "till the sweat drip down my balls" type stuff. which is maybe why i didn't gravitate to MVP. i heard what he was saying first and it just reminded me of some of his older albums
TCM: HAHAHA!!
that shit was funny
"til the sweat drip down my balls!!"
"now drown a bitch! drown a bitch!!"
Danielle: lol
TCM: yeah...but MVP isn't sweat drip down my balls type shit
Danielle: im not saying it is
what i'm saying is that i heard what he was saying
rather than listening to the beat first
whereas a couple of years ago.
i would have listened to the beat first
TCM: but what he's saying is dope
Danielle: and probably would have liked it more
i'm not saying what he says isn't good. its just typical luda
perhaps i was looking for something more?
i'm not sure what...
TCM: luda's always been like that
freestyle tracks
Danielle: i know. which is why i'm not sure why i was expecting more.
TCM: and concept tracks
and just recently started adding emotional tracks
Danielle: yeah. at first i wasn't sure how i liked luda and emotion but it works ok
if i want to think about heartache and longing though, i'll go to kanye's album
TCM: LOL
thats the truth
full circle
Danielle: yup.
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...
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