Rapper/Singer/Songwriter Smashes Musical Boundaries 12:00PM ET April 30th, 2011 Contributor : Hip Hop Blog Staff A Rocky Williform Company
Spree Wilson is the kind of hip hop head that name-drops Brian Wilson and Duane Eddy. He's as influenced by 3 Feet High & Rising as he is Highway 61 Revisited. The emcee/singer/songwriter's latest mixtape, "Never Ending Now," showcases his myriad of influences and the Atlanta-raised, NYC-based artist isn't afraid of pushing boundaries. And he proclaims "Never Ending Now" as the closest you can get to Spree Wilson: Unfiltered.
"The approach I took was [this would be] the kinda music a person would make if they were left to their own devices," Spree explained to HHB. "I just wanted to make the music that I've been influenced by since i was a kid. And I wanted to make it at such a high quality that other people would enjoy it. This is all my ideas, unfiltered; anything I wanted to put on it. All of my wildest ideas. like a song like "Love You Better" where I purposely put New Orleans funeral music in--just stuff that I like."
Spree credits his childhood influences for expanding his taste at a very young age. It also instilled an impeccable sense of songcraft to his musical abilities, which is evident all over his latest project.
"I always wanted to be a songwriter first. I always wanted to be considered one of the best songwriters," he shares. "The people I listen to are great songwriters. I grew up listening to a lot of the Beatles. I grew up listening to a lot of [Bob] Dylan, Joni Mitchell, Carole King, Neil Young, [Jimi] Hendrix. I always wanted to be a songwriter. When I take that approach to my songs, I gauge my songwriting up to the best legends from way back. if you wanna be great you gotta listen to the greats. I pulled apart everything I liked about their music. I put it all into a big pot, shook it up and that's what gave Spree Wilson his voice, so-to-speak."
With a rise in hip hop singer/songwriters, Spree resists any attempts to box him in. Foregoing any kind of 'artsy' pretentiousness, Wilson says he enjoys collaborating with artists from all corners of the musical spectrum and loves the anticipation of what kind of great work could come from working with those artists.
"I don't make judgments on who I work with. I'll work with anybody as long as they're creative and willing to push themselves," he says. "It doesn't matter if I'm working with Gucci Mane or Neil Young or Esthero. I'm just into working with people who push themselves. There are a lot of artists that want to put their collaborations in a box. For me, I don't know what I'm gonna make with somebody! If Jeezy calls me tomorrow, I don't know what I'll make with him. I don't ever want to deny something that could be great!"
Gunz N' Butta
03:00PM ET April 28th, 2011
Contributor: DeAndre Rozan
A Rocky Williform Company
Rating:
Cam'ron has never been a universally-loved rapper. His unwieldy cockiness, bizarre wordplay and inconsistent discography have kept him from becoming the megastar that he apparently thinks he is. But Killa Cam has been able to parlay all of the above into a respectable run that has been sprinkled with the occassional pop hits, lots of street bangers and more NYC love for he and his Diplomats crew than people outside of the five boroughs would probably believe.
On Gunz N' Butta, Cam shares the spotlight with his protege Vado; and the results aren't earth-shattering, but they're sure to please Dipset fans eager for the reunited crew's official full-length album which is reportedly coming later this year. Gunz N' Butta is the typical collaborative album between a star and his lesser-known compadre, there are flashes of brilliance, but it's hard to shake the feeling that this is just a place-filler to whet the appetites of Dipset fans. The album is constructed from mixtape tracks and unreleased material from Cam's abandoned U.N. project, and that gives an indicator as to the consistency of the album overall.
"They Don't Like You" is one of the better female-friendly tracks to come out of the Diplomats camp, who are known to appeal to the fairer sex as often as they rep for the streets, with Cam spinning his usual double-entendres and bizarro metaphors. Vado comes off as the de facto Jim Jones on this set of songs, but handles himself well, never totally outshined by his more famous co-star. Vado remains anchored in hardcore street-hop, balancing Cam's more flamboyant flourishes well. The oddball electro of "Speakin in Tungs” isn't the miss that it seems like it should be, recalling the best of Timbaland's Bahrain-influenced productions.
Araab Muzik handles the majority of the production, sounding stuck somewhere between Only Built 4 Cuban Linx-era RZA and Just Blaze at his most dramatic. Muzik's soundscapes can evoke cheap 70s horror movies and operatic bombast with equal skill and the two emcees sound confident no matter what the beatmaker throws at them.
For returning Cam’ron and Diplomats fans who don’t mind a little bumpy with their ride, Gunz n' Butta is the casual collaboration album done right. That’s really saying something, since this collection of mixtape tracks and new numbers was originally promised as the inaugural release of Killa Cam’s post-Diplomats crew, the U.N., but last man standing Vado is a true asset and this final product still hits hard. “Speakin in Tungs” is a strange electro stunner that sounds like Cam called producer Diplo to cut an answer track to Timbaland’s great “Indian Flute,” and when Dipset’s strangest lyricist opens “They Don’t Like You” with the great “Baby girl, don’t let them bleach your dome/You should be sittin’ in somethin’ peach and chrome,” you’ve got one of the best bedroom numbers in the whole Dipset universe. Protégé Vado sounds close in delivery to Cam’s usual partner, Jim Jones, and offers a similar thug base, supporting his mentor with rhymes that are less obtuse and more street. Besides a handful of cuts from others, production is handled by the skilled Araab Muzik, who twists ‘70s horror soundtrack loops and bombastic opera samples into tracks that demand attention.
That being said, there really is no way to get past the tossed-off feel of the album, which is understandable. But it says something about Cam's charisma that a project that was assembled from spare parts isn't the forgettable embarrassment that it should have been. Vado sets the table for himself well, and fans will definitely be clamoring for more material from the young rhymer in the future. Whether or not you love this will most likely depend on how much you love Dipset. But it does little to quell the impatience fans are beginning to voice regarding Cam'ron and Co.'s inability to deliver a group album following their announced reunion over a year ago.
New Jersey Feminist Emerges As Rap Royalty, Pop Icon 2:00PM ET April 14th, 2011 Contributor : Hip Hop Blog Staff A Rocky Williform Company
Every week, HHB will spotlight a legendary hip hop artist and examine their legacy and body of work. Hip hop is 30+ years old, and HHB wants to make sure that everyone understands how rich and varied this musical genre is. From Grandmaster Flash to 50 Cent, there are an endless array of MCs, DJs and producers who have made this music what it is today. Let's clap for 'em...
She wasn't hip hop's first female emcee, but a teenager from New Jersey would arguably become hip hop's most famous lady microphone fiend. In the late 80s, women finally began to get attention in hip hop, with Salt-N-Pepa breaking through to the pop charts and MC Lyte establishing herself as a fierce battle rhymer. But 19-year old Dana Owens brought an altogether different perspective to the game when she linked up with Afrika Bambaataa's Native Tongues crew and released her classic debut album, All Hail the Queen. Latifah was smart, funny and had a crystal-clear vision of who she was as an artist.
Christened 'Latifah' by a cousin when she was eight years old, the young Queen was a clever rhymer with a fluid delivery and her debut single "Wrath of My Madness" showcased both, while the follow-up single, the Sly Stone-sampling "Dance For Me," was a bonafide club classic. She signed with Tommy Boy Records, and her association with the Native Tongues crew was prevalent on All Hail the Queen. She mixed her strongly feminist perspective with quirky, De La Soul-esque diversions like the De La-assisted "Mama Gave Birth to the Soul Children." Her image, with the rapper often sporting a variety of eye-catching hats that resembled crowns, soon became as well-known as her music. But Latifah's third single, "Ladies First," really established her as a notable force in hip hop. With a video featuring images of women like Harriett Tubman and Sojourner Truth and a near scene-stealing guest appearance by British femcee Monie Love, "Ladies First" became Latifah's anthem and a song that became a rallying cry for the female half of hip hop nation.
Prior to releasing her second album, Queen Latifah established her own Flavor Unit imprint, and helped get fellow New Jersey natives Naughty By Nature signed to Tommy Boy Records. She soon released her sophomore album, Nature of A Sista in 1991. Despite several strong singles, the album failed to match the success of her debut. Nonetheless, Latifah's star power didn't seem diminished; the rapper began appearing on several prominent television shows like "The Fresh Prince of Bel Air" and in films like Juice, House Party 2, and Jungle Fever.
Latifah's personal life hit a rough patch in 1992. The star was carjacked in her hometown, and her brother Lance died in a motorcycle accident. Devastated by the loss, Latifah was also dropped from Tommy Boy due to the poor performance of Nature of A Sista. The Queen soldiered on, and after landing a deal with Motown, she went to work on her third album, Black Reign. Dedicated to her brother's memory, the album showcased a much more focused and confident Latifah, and went on to become her best-seller. "U.N.I.T.Y.," the album's first single, gave Latifah her biggest hit and became an even bigger feminist anthem than "Ladies First" had been four years prior. While Black Reign was riding high on the charts, Latifah added to her acting resume by joining the cast of a new sitcom called "Living Single." The show focused on a group of African American friends and would become one of the most popular shows of the 1990s. Latifah also won a Grammy for Best Rap Solo Performance. In early 1994, Latifah teamed with fellow female rap icons MC Lyte and Yo-Yo to add verses to Brandy's hit "I Wanna Be Down" remix.
For the next several years, Latifah moved further and further into Hollywood. She gave an acclaimed performance as a lesbian bank robber in F. Gary Gray's 1996 hit Set It Off, only to have more drama affect her personal life. She was arrested and subsequently pleaded guilty to marijuana possession and carrying a loaded handgun. She returned to her hip hop career in 1997, following the cancellation of Living Single. But her fourth album, Order In the Court, was only a modest success as Latifah's brand of smart, feminist hip hop had been replaced by an edgier, raunchier style of femcee spearheaded by artists like Lil Kim and Foxy Brown.
Though the album was a relative failure, Latifah's ever-growing Hollywood cache afforded her opportunities that even she couldn't have predicted when she released "Wrath of My Madness" as a teen. She would appear in several more Hollywood films, including Sphere and Living Out Loud, and in 1999, she debuted "The Queen Latifah Show," her own talk show which ran in syndication for three years. She was nominated for an Academy Award for her performance as Mama Morton in Chicago, and from there went on to become one of the most prolific actresses in Hollywood, appearing in comedies, dramas, animated features and musicals over the next decade. She also become a successful pitchwoman for Pizza Hut and CoverGirl.
Latifah would eventually return to music in a completely different format than her 1990s heyday. She released The Dana Owens Album, a set of jazz standards that featured her exquisite singing, to widespread critical acclaim in 2004. She followed it up with the similarly-themed Travelin' Light in 2007, before returning to rap with 2003's Persona.
Whether or not she ever makes a full-fledged, triumphantly successful return to hip hop music remains to be seen. But, as hip hop's most iconic female, the girl born Dana Owens has cemented her place in the genre's history. From Missy Elliott to Jean Grae, Latifah's brand of smart feminism has been wildly influential and her continued success in seemingly every venture she attempts serves as inspiration to an entire generation of young women. Ever since she rapped "Ladies First" at age 19, Queen Latifah has refused to play second to anybody...male or female.
REQUIRED LISTENING:
All Hail the Queen (1989)
"Ladies First," "Dance For Me," "Wrath of My Madness"
Black Reign (1993)
"U.N.I.T.Y.," "Just Another Day," "Weekend Love"
F.A.M.E.
06:00PM ET March 24th, 2011
Contributor: Jecquea Howsie
A Rocky Williform Company
Rating:
Chris Brown has the ability to turn grown women into whimpering teenage girls. His female fans, wet with desire as they daydream about the day he’ll have their legs wrapped around his head, continue to pledge their allegiance to him.
Forget the fact that at least four of the albums’ songs were released earlier this year, or that his star barely sparkled with his laughable post breakup album Graffiti, and let’s also overlook his recent Good Morning America tantrum; for all intents and purposes, F.A.M.E places Chris a step closer to relieving his glory days of R&B success.
Vocally, “Up to You” is one of the best tracks in Chris’ catalog. Crooning about allowing his girl to pilot their relationship while he takes the backseat is admirable; admitting that he messed up his last one makes him a man. Breezy is the latest celeb to catch 'Bieber Fever;' he and Justin collaborate on "Next to You," as they sing about their one and only.
Proving that he’s more than a singer, Team Breezy and The Taylor Gang collide on “Bomb”, a track featured on the extended version of F.A.M.E., which showcases a relaxed and energetic Chris rapping over a dance heavy electric beat. With three other bonus songs added to the deluxe edition, Chris could’ve easily swapped the done-to-death current singles and made one album.
What Chris lacks in the Michael Jackson-and-S.W.V.-sampling “She Ain’t You”, he makes up for by tag-teaming with Ludacris in the sexually-charged song “Wet the Bed”. Although the guilt-ridden “Should’ve Kissed You” reflects Chris’ past, it’s his smooth velvet voice on “Beg For It” that will have women everywhere exploding with anticipation.
Will People Ever Get Over 'The Incident?' 10:00AM ET March 25th, 2011 Contributor : Jecquea Howsie A Rocky Williform Company
The road to redemption isn’t always paved in gold, just check the laundry list of recent celebrities turned front-page cover stories and anyone can see that oftentimes R&B stars are given a harder rap than their mainstream and hip-hop counterparts; case-in-point, Chris Brown’s two-year-old relationship drama vs. Charlie Sheen.
Could the differing media coverage boil down to race? Possibly. But it could also be said that the varied press coverage stems from the public’s disdain for a celebrities’ ‘fall from grace’ being centered around abuse.
Let’s check the facts:
A jail sentence didn’t stop Weezy’s fans from ceremoniously welcoming him back as he attempted to reclaim his crown at the top. TI’s currently serving his second year-long sentence for violating his probation, but the public will no doubt welcome him with open arms upon his release.
Although Charlie Sheen makes weekly phone calls to national radio stations, which recognize his unstable mentality, he still gets a free pass in the media and is brushed off. After all, he’s the glorious Charlie Sheen, currently the highest paid television actor, so he’s allowed to act like an ass.
The list goes on and on regarding rap artists and mainstream celebrities having their time in the spotlight yanked away from them after making yet another bad mistake, but the media continues to dismiss their antics. However, the public wants to act as though a childish mistake somehow means a certain celebrity should be forced to repent 10 times over despite already admitting his clear lack in judgment.
Of course there’s no condoning what Chris did, but at what point will people and the countless former Team Breezy fans forgive him? He’s issued a public apology, performed community service, repented to his ex, and begged, cried and pleaded in his Michael Jackson BET performance and acceptance speech, but still some people refuse to let him move on.
Perhaps the problem lies in the fact that celebrities are placed on pedestals and the minute they get a little dust on them the media deems them no longer worthy of sitting on their mantel. We’ll admit busting windows and dying your hair are probably not the best ways to vent your frustration, but then again Breezy’s ready to experience something different, and maybe by not acting like the pop star people had hoped he’d become, he’s finally being who he is.
