Recovery
09:00PM ET June 20, 2010
Contributor: Hip Hop Blog Staff
A Rocky Williform Company
Rating:
2004's Encore seemed to reveal how Eminem had become pigeonholed by his 'Slim Shady' persona, a talented artist who didn't seem to realize he was rapidly becoming a caricature of his former self. That album was his first real artistic misstep, and the subsequent killing of his close friend, Proof and Em's descent into prescription pill addiction forced him into exile for five years before he resurfaced on the spotty-but-commercially-successful Relapse in 2009. The album did what it was supposed to, namely reinvigorate Marshall Mathers' career; but it wasn't as inspiring or consistent as his early-2000s masterworks.
Em's latest, Recovery looks to both sustain and expand on the resurrection of Relapse. Unfortunately, Em's shtick has worn thin and his ability to craft a stirring album seems to have completely abandoned him. As he's gotten older, and ever since his self-imposed exile, Em has not been able to skewer pop culture with the same knowing eye. He targets are either out-of-touch and lame (David Cook) or tacky and sad (Michael J. Fox.) The teenagers that loved his un-PC, devilishly-witty barbs in 1999-2000 are now a lot older--and so is Em. He tries to retread what made him the biggest star in rap ten years ago, but hearing psycho-raps about women ("Space Bound") come from a guy in his mid-30s is a little sad where it was once gripping. "Seduction" sounds like a tossed-off 50 Cent track; specifically, 2008 50 Cent--not 2004 50 Cent.
But Marshall Mathers is still capable of powerful introspection, and he hits the mark on "Going Through Changes," an epic deconstruction of his own psyche backed by a great Black Sabbath sample and "Talkin' 2 Myself" is Em laying bare all of his many insecurities. But high points are few and far between where they once were standard for the Detroit-born MC. Eminem may still have hits in him, and his albums may still sell, but he won't ever be able to truly recapture the attention and imagination of hip-hop fans and pop culture at large until he truly gets back to taking musical risks and retiring some of his tired, cliched routine. He's better than this.
Thank Me Later
06:00PM ET June 20, 2010
Contributor: Hip Hop Blog Staff
A Rocky Williform Company
Rating:
Drake's highly-anticipated (understatement?) debut Thank Me Later is the unusual first release that has to double as both an announcement of a new musical voice and an affirmation of an established superstar. Such is the reality of being a young, talented artist in the age of Twitter and YouTube--new talents can go through the entire cycle of stardom (overnight sensation to musical savior to overexposed pop star to has-been) before they even release their first album. Such is the conundrum of Thank Me Later
So, does the album live up to the hype? Is it the bonafide, undeniable classic it damn-near has to be to silent Drake's detractors?
Well, 'yes' to the former question. 'Not quite' to the latter.
Drake is his expected, introspective self on the grandiose "Over," a sweeping epic that finds him pondering his life as it is today. But he's very...well, sad. About everything from critics ("Show Me A Good Time"), to stardom ("The Resistance"), to the difficulty maintaining relationships in the spotlight, (“Miss Me”.) But he shows that he's not always the emo-rap cliche his critics claim he is; pausing from the po'-faced pondering to soak up the fun on the Swizz Beatz-produced, T.I.-assisted track "Fancy." But the inherent problem with Thank Me Later is the extensive guest list robs Drake of the chance to really make his stamp with a truly landmark debut. Because he (and most likely, his Young Money mentors) felt it was necessary to pile on the guest stars, (The-Dream, Jeezy, and of course, Lil Wayne and Nicki Minaj) Drake's debut isn't allowed to be a star-defining work like Reasonable Doubt or even The College Dropout. Instead of an inspired, period-defining masterwork, you have a very enjoyable, but ultimately overly-calculated release. It's good, but with all of the expectations that Drake had riding on Thank Me Later, it's hard not to feel a little disappointed. Here's hoping Drake gets a little more confidence in his own merits as an artist...sooner than later.
Distant Relatives
03:00PM ET May 26, 2010
Contributor: Mathis Bauchner
A Rocky Williform Company
Rating:
When Damian Marley and Nas collaborated on the track "Road To Zion" in 2005, fans got a glimpse at the natural chemistry the two artists have. Finally, after years of speculation, they've released Distant Relatives, a full-length album featuring the duo on every track.
Things get off to a raucous start with "As We Enter," the high-energy lead single, with Nas and Jr. Gong trading lines back and forth throughout each verse. Nas handles the entire chorus himself. It's perhaps the most "hip-hop" sounding track on an album that has much more of a reggae feel. Not that Marley hogs the mic. Both artists approach the project relatively ego-free. Neither seems determined to dominate the sound of the album which is critical for a collaborative work.
That's not to say the album itself doesn't have a distinct sound. Damian's brother Stephen Marley produced much of the album, using live instruments throughout the recording process, and Nas' flow blends perfectly with Jr. Gong's vocals.
The duo delves into more serious issues throughout the album, perhaps most importantly the situation in Africa, a topic many other musicians have shied away from. "Africa Must Wake Up," featuring the Somalia-born artist K'Naan, calls for a more introspective approach to the issues at hand. "Tribal War," also featuring K'Naan, reflects on the violence that has plagued Africa for centuries.
Nas and Marley offer optimism as well. "My Generation" shouts out the revolutionary potential of today's youth. Lil' Wayne contributes one of his humbler verses to the track, avoiding incessant wordplay as he immerses himself fully into the song. "Land Of Promise," another African-themed track, opens with a horn-filled intro and has Jr. Gong namedropping countries throughout the continent, linking them metaphorically to locations in the United States.
There is of course a tremendously joyful aspect of reggae as well, and Marley provides a touch of that on the track "Count Your Blessings." The song borders on excessively fluffy at times, but Nas' sharp verses and Marley's thoughtful lyrics keep it grounded.
But Distant Relatives is at its best when it's also at its most serious. "Strong Will Continue" is a motivational call to action anchored by a powerful baseline and a touch of piano. "Leaders" acknowledges the power of the title figures. Nas' verse about an ambiguous made man is one of the albums finest.
As happens when listening to reggae, Distant Relatives occasionally blends together too well, so that one can drift from track to track without hearing the individual message of each song. More often than not, however, Nas and Marley's lyrics are too poignant to be ignored. They've taken this album as an opportunity to make a statement with their music, weaving the sounds and cultures of hip-hop and reggae and connecting them with larger issues. The result is a groundbreaking collaborative effort, one that adds yet another esteemed chapter to the careers of these two already much accomplished artists.
Stroke Of Genius
09:00PM ET April 27, 2010
Contributor: Mathis Bauchner
A Rocky Williform Company
Rating:
B.o.B has been bubbling just below the surface of hip-hop's mainstream conscious for quite some time now. Back in '07 the Atlanta MC made a brief, uninspiring splash with "Haterz Everywhere." He went to release a couple critically acclaimed yet commercially disappointing singles and a few mixtapes, but still couldn't quite manage to resonate with a wider audience.
What a difference a number #1 single makes. "Nothin' on You," featuring Atlantic label mate Bruno Mars, took the radio by storm and subsequently B.o.B got pushed to the top of the label's priority list. Who would have expected in the three years since "Haterz Everywhere" that he'd been busy crafting an experimental masterpiece, perhaps the best album Southern rap has heard in the past ten years that does not carry the Outkast logo.
But to simply pigeonhole B.o.B Presents: The Adventures of Bobby Ray as a rap album would be a mistake. Seconds into the opening track, "Don't Let Me Fall," it's clear that B.o.B is already defying the influence of his peers. He produced the song himself, and he lets his brisk piano chords run for nearly 30 seconds before the baseline drops. The lyrics, a mixture of song and rap, capture subtly a dreamlike rise to fame and the desperate determination to hold on to it, concepts that B.o.B deals with throughout much of the album.
A few tracks later, on "Airplanes," he's questioning whether he really wanted any of it in the first place. He raps, "Yeah, I could use a dream or a genie or a wish / To go back to a place much simpler than this." He's complemented beautifully by Hayley Williams of the rock band Paramore. Her inspired vocals erupt over another piano-infused beat, this time co-produced by Alex da Kid and DJ Frank E. The impact of song itself cannot be overstated. It's a three-minute tour de force, special in that it takes only one listen to fall in the love with it. When musicians shed everything but their soul, as B.o.B and Williams do here, it's difficult not to be moved. It's as close to flawless as a single song can get.
This is not an act that's meant to be followed. Smartly, B.o.B doesn’t bother to try. He's takes the album in a different direction on the next track, giving listeners hearts a needed break with "Bet I," a high energy romp featuring T.I. and Playboy Tre that fills B.o.B's Southern banger quota. Its inevitable presence on the album serves as an unnecessary reminder that, when called upon, B.o.B is a rapper capable of producing tracks on par with his more formulaic Southern peers. Fortunately, he's been able to push himself far beyond that mediocre brand of hip-hop.
He returns to brilliance on the next track with the haunting 'Ghost in the Machine.' Absent of rap entirely, B.o.B discusses his struggle with alienation over another beat he produced, this one rich with somber synths.
He ups the energy on the next three songs the "The Kids," "Magic" featuring Weezer's own Rivers Cuomo, and "Fame," which could serve as the anthem for this generation of YouTube/Facebook/Twitter users. B.o.B is often quite adept at masking his seriousness, forcing listeners to engage more deeply with the music. When lyrically examined, "The Kids" and "Fame" are among the album's darkest tracks, despite their laidback tones.
B.o.B's also quite skilled at appealing to women, a quality essential to commercial success. On the lead single, "Nothin' On You," he and partner Bruno Mars shower the ladies with sincere flattery, if there is such a thing. The song is immensely radio friendly without even feeling like prepackaged fodder, as singles often do. "Lovelier Than You," part jazzy ballad, part spoken word poetry, advances B.o.B's musical dexterity even further.
He's an incredibly diverse artist, capable of blending genres most rappers haven't even attempted to explore. But then again, if it hasn't been made clear already, defining B.o.B as a rapper in the first place would be stuffing him in a box much too small for his outsized talents. It's seems he gives listeners everything and more on the album's first eleven tracks, but somehow the twelfth and final one overshadows it all.
"Airplanes, Part II" opens every bit as epically as the first, with Hayley Williams once again providing the chorus. Then B.o.B tears through two verses, contemplating a life without music. Williams returns once again for the chorus, followed by a brief interlude sung by B.o.B, and finally, clearing his throat, Eminem begins, as passionate and tortured as he's ever been. He dissects his entire career in a single verse, why it matters so much to him and how close it came to never happening at all. They're 59 of the greatest seconds rap has ever heard.
And then it's over, the song, the album, and there's a slight feeling of exhaustion, the quiet after the creative storm. B.o.B allows Eminem to have the last word, but the project in total is indisputably his. He's crafted a musical roller coaster ride, with every twist and turn carefully calculated to maximize the exhilaration. The finished product bursts with the energy of a genius in the making.
K-Beta
03:00PM ET April 9, 2010
Contributor: Madame C
A Rocky Williform Company
Hailing from the DC, Maryland, and Virginia (DMV) area, K-Beta is an emcee with the heart of a lion and the mind of a fox, ever so bravely and cunningly applying his vocabulary of versatility, soulful flows, and lyrical mastery on everything he touches. Carrying an immeasurable passion for music, he dedicates his life to three main confidants, aptly known as the pad, the pen, and the mic.
Like Slick Rick, Raekwon, and other musical prodigies, K-Beta manages to paint vivid pictures and construct isometric realities over strategically assembled beats while humanly exposing his life's vulnerabilities and victories, respectively.
He has shared the stage with a diverse roster of artists, including: Fabolous, Melanie Fiona, Wale, Tabi Bonney, Raheem DeVaughn, WHITEFOLKZ, Phil Adé, Diamond District, Lyriciss, and Laelo Hood. Among performing nationwide, K-Beta has three highly praised mixtape albums under his belt and can gladly add an upcoming fourth one towards his ongoing record of acclaim.
His highly anticipated project, Inglorious Beta, was released for free on April Fool's Day (April 1st), and certainly proves he's no fool nor should he be taken lightly. In latent terms, he ain't no a joke.
Your newest project is entitled Inglorious Beta. The term "inglorious" traditionally carries a shameful or disgraceful meaning. One would assume that this project is a reflection of you, flaws and all. Why the title?
The title is a reflection of anything that brings shame or disgrace into a person's mind. They are not feelings or even states of existence. It is a thought that triggers shame in someone, because they believe that whatever they have done is unforgivable, and that is how people lose hope. Inglorious Beta is me saying that I've been there, and that hope is never lost.
What can we expect from this project production-wise and who will be featured?
The production comes from some of the area's best producers. The sound is cohesive, because it was a very collaborative effort in terms of bringing the album together. Everybody involved was in there cranking, and we were able to bang out a nice piece of work. I have records with some great artists, and I'm really happy with the way we connected to create these songs.
Besides its release, what is your proudest moment concerning Inglorious Beta? Finishing up the final session, and leaving Depth Charge, [the studio] with the mastered album.
You get stuck in the elevator with Jimmy Iovine and you have one minute to explain to him what you can contribute to the game and why he should sign you on the spot. What would you say? I would play him a minute of one of my songs. You know we got the music on our phones these days (Laughs)
Tell me what is so glorious about Beta, the rapper and Beta, the man? I don't consider myself to be glorious. I believe that I have been given a glorious gift, and that the potential to help people in need is what makes it so.
Indies are becoming the new majors when it comes to record companies and the music industry. What are the benefits of being an indie artist? For me, it is definitely creative control. I couldn't imagine being told what to write and how to rap.
To be an artist is such a complex and unique experience in that a myriad of things can inspire the thoughts behind one's pen. What are things that motivate you as an artist? It's really all about life. No matter what, that's what it comes down to. Life-inspired art. Imagination plays a part in there too. As a writer, you want to take your readers and/or listeners on a journey with your material, so you have to think in colors and really feel the energy within and around you.
In life, every new day leads to new creations which can then lead to new life experiences. Where do you want Inglorious Beta to take you professionally and personally? Professionally, and artistically, I want the album to get around and inside people's ears. I'm doing this because I love this music. People get behind it because they feel that, and they love it, too. With all the talk about record sales and general disinterest in all things Rap, I'm inclined to ask, how many Rap artists really and truly love what they do? I'd say most of them do at first, but these labels and radio stations are killing their love by running them through the factory line. If I had somebody forcing me to eat the same food every day, then I would begin to hate that food and the person forcing me to eat the food. I just think people are bored with all that.
Where do you want the new release to take your fans and listeners alike? It's something to put on and just feel. I'm basically chronicling my life on these records. It's the one outlet that truly gives me a release. I'm just glad that people like the music.
Speaking of fans, you have quite a following. What do you think people are looking for from a hip hop artist nowadays? Well, you have fans of all types. People want to be entertained, I think. Whether it makes them dance, nod their heads, feel a certain feeling, whatever. Music is inspired by life, and good music inspires life in return.
Who would you like to one day collaborate with from the underground scene and who would you hope to be in the studio with commercially? I'd like to do some stuff with Kem. I'd also get down with Nicki Minaj on a record. She's dope.
Your label Inner Loop Records is not just a record label but is also impressively a lifestyle based entertainment company. What is the best thing about being an artist on Inner Loop Records? Inner Loop is a great label. I can't complain at all. We know that we're in this together, and we all do our jobs well.
What is next on your agenda of being an artist? What can we expect from you within the next several months? I'll be hitting the road once school is out. People can also keep up with me and check me out at http://www.myspace.com/kbetamax and follow me on twitter @k_beta
You started somewhere to get where you are today. What would you tell aspiring artists who are trying to make a mark in the industry? Make as many songs as you can. Kill every open mic. Work harder than you’ve ever worked in your life. Make music that you love. Don't be afraid to approach people, but have something to present when you do.
