So I was gonna write this long diatribe about how the first 3 months of every year are void of blockbuster Hip Hop albums and how all these rappers and record labels seasonally sword fight with each other jousting over summer and holiday sales when theres less competition and increased marketing opportunities in the wide-open-first-quarter and then I remembered...
I already did.
April 2007. From The Vault...
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.
Showing posts with label The Game. Show all posts
Showing posts with label The Game. Show all posts
The Quotable Reviews: Curtis
"You can hate this / but face it / BIG and 2Pac just ain't around" - 50 Cent: Fire; CurtisWhen it comes to this rap shit, Curtis "50 Cent" Jackson has 2 defaults: love songs[1] and gun music.
All wrapped in club beats.
Since erupting on the scene with his colossal debut album Get Rich or Die Tryin' (2003), Curtis Jackson has become more Industry than Emcee. Sure, he's sold over 21 million records world wide (not to be discounted by any means), and his now infamous, one-man dismantling of Ja-Rule's rap career is forever ingrained in Hip Hop history - but his uncanny business acumen is what is most impressive about the Jamaica, Queens native. 50 Cent's name and G-Unit brand have expanded from 9s, beats and rhymes to books, movies, clothes, video games, and Vitamin Water (straight up, Formula 50 is The Company Man's favorite flavor. Pause. No brokeback). Fiddy's successfully wanksta'd his way off the block and onto Wall Street. He's the rare individual who sees the forest and the trees. He's a businessman and a Business, Man.
But is 50 Cent still an artist?
Hate it or Love it, Get Rich or Die Tryin', for all its gun-blazing bravado was one of the most artistic, angst injected, balls-to-the-wall albums since the birth of Gangsta Rap. It earnestly embodied the spirit of the hustler and made you wanna get on some ass at the same time. It was classic. It is a Classic - a perfect storm of sound, energy, and timing.
An impossible height to surpass.
50's 2005 follow-up Lp, The Massacre, underwhelmed critics but still proved to be a commercial success (to the tune of 11 million records sold worldwide). Once again using beef to fuel public interest (this time going to war with one of his own G-Unit soldiers, The Game), The Massacre showcased Fiddy falling back on the familiar (love songs[1] and gun music) while still expanding his reach as an Emcee (tracks like "In My Hood" and "Gatman and Robin" proved that 5-0 had more than one delivery in his arsenal, and "Baltimore Love Thing" (where he tells a the story of a sordid love affair between the drug and the drug addict all from the perspective of a bag of heroin) is arguably the most creative song he's ever released). The album definitely contained more good than garbage - but compared to GRODT, The Massacre was suspect. And a significant step down sonically.
Since then the music industry has fallen in the isher and even the most notable Hip Hop artists are having trouble moving units (for example, Atlanta rapper T.I. was the only the artist to go platinum through much of 2006, only to be joined by Jay-Z in November of the same year - a fact unthinkable during Hip Hop's boom of the late 90s to early 00s). Fickle rap fans aren't turning out in droves to cop the latest rap releases like they used to. Is Hip Hop's buying public famished or fatigued? Patiently waiting or worn out from the same played-out sound? Let Fiddy tell it, and they're all waiting for his third studio release, Curtis. What does he have to feed the masses? Lets take a listen.
"The old-timers told me 'slow dow.' / They shoulda known now / I wont hesitate to make shit hot." - 50 Cent: "Movin' On Up"; Curtis
Sonically and content wise, Curtis has 2 defaults: love songs[1] and gun music. The first 3 tracks on the album ("My Gun Go Off", "Man Down", and "I'll Still Kill") find the same gun-blazing bravado we've grown accustomed to from 50 over the past 4 years. The DJ Khalil produced "I'll Still Kill" is by far the freshest of the three from a production standpoint and Akon makes a notable return to his "Locked Up" days, croonin' "Fiddy don't make me ride on these n***** / cause I will kill, dip, and hide on these n*****." From there the album hits its groove with the undeniable, Audio Two sampled "I Get Money" and the head-knockin', Dr. Dre produced "Come & Go." Fiddy's lyrically at his best on the latter track spittin' "the drama I'm wit it. / I get biz, you get it? / I beez on that shit-it. / I'll splitcho wig-ig. / Thats why a n**** bit it. / I said I didn't do it. / Witnesses said I did it" while ridin' the beat to perfection.
"Lets get it poppin' shawty / we can switch positions. / From the couch to the counters in my kitchen." - 50 Cent: "Ayo Technology"; Curtis
From there its straight to the love songs. The Justin Timberlake assisted "Ayo Technology" boasts another addictive Timbaland beat (in my best Mugatu voice: Timbaland is so hot right now) and the corniest hook of the season "Ayo, I'm tired of usin' technology. / Why don't you come sit on top of me?[2]" Ghetto-pass-accredited-white-boy-number-2 Robin Thicke shows up on the smooth, 21 Questions-esque "Follow My Lead". Produced by The Bizness (who?), this track is the next song to be released, further appeasing 50's buying fan base.
The softest part of the album follows with the the base heavy yet lyrically deficient "Movin' on Up," the under performing "Straight to the Bank", and the audience-disrespecting, AKA: "Magic Stick" meets "Candy Shop" re-tread "Amusement Park." "Straight to the Bank" and "Amusement Park" are only significant because of their inability to create a buzz when initially released earlier this year - the first 50 Cent releases to prove to be commercial failures (foreshadowing?). The disappointment continues, surprisingly, on the Eminem assisted "Peep Show" - another stale, club love song. The staggered, bouncing beat keeps this track listenable, but even Marshall Mathers sounds stale - rhyming "I shouldnt have to tell you shawty you should know / I hope you're really getting into my creep show. / And let me shit on your chest and if some pee comes out / just guzzle it down. Just guzzle it down." I mean, I'm a HUGE Em fan, but he sounds like he's aiming more for shock value rather than significance.
There are a few more tracks left on Curtis (Young Buck and Tony Yayo show up here and there...and that chick from The PussyCat Dolls sings the hook on "Fire" - where I'm sure the video will be better than the actual song) but by this point in the album they all sound the same (with the exception of "All of Me" featuring Mary J. Blige; easily the best song on the Lp. Too bad its buried in the album's anus). And at 17 tracks in length, Curtis is entirely too long for its lack of diversity. Gun song. Gun song. Gun song. Gun song. Love song. Love song. Love song. Gun song. Its repetitive and severely lacking replay value. Curtis doesn't sound hungry on Curtis. He doesn't sound like he's having fun (which is probably why he looks so stressed on the album cover. Gone are the days of bullet-proof 50 standing tall "like he's got an "S" on his chest"). And unfortunately he doesn't have much left to say. At best, Curtis is a passable Lp loaded with generic love songs and gun music. At worst? At worst its the last grasp for commercial viability from a soon-to-be fallen album sales titan[3], and theres nothing any of his enlisted pop-star guest appearances (Akon, Justin Timberlake, Robin Thicke, that chick from The Pussycat Dolls, Eminem) can do to save him[4].
Man Down.
Rating: QQ
[1] Love songs = songs for the ladies. Club-ready beat optional.
[2] Really? Your tired of usin' technology? Why don't you come give me a lap dance? Word? Good thing Golden Boy Timberlake is singing that part or it would've never made it out the studio.
[3] Just watch Kanye West outsell him when tomorrow's week 1 sales report is released.
[4] I'm just glad I didn't buy this album.
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.
Quotable Videos:
"Can't Forget About You" - Nas; Hip Hop Is Dead
...still in love with Chrisette Michelle...
"Minority Report" - Jay-Z; Kingdom Come
...still in loathe with that whisper rap...
"Wouldn't Get Far" - Game feat. Kanye West; The Doctor's Advocate
...Game still name droppin'...
"Throw Some Ds' On It Remix" - Kanye West
...on repeat in my iPod all week...
"Throw Some Cheese On It" - Wich Boy
...just plain comical.
Carry on...
...still in love with Chrisette Michelle...
"Minority Report" - Jay-Z; Kingdom Come
...still in loathe with that whisper rap...
"Wouldn't Get Far" - Game feat. Kanye West; The Doctor's Advocate
...Game still name droppin'...
"Throw Some Ds' On It Remix" - Kanye West
...on repeat in my iPod all week...
"Throw Some Cheese On It" - Wich Boy
...just plain comical.
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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