“Gene the Southern Child is one of the best Dirty South rappers to cruise around with the top down to. His syrupy Alabama drawl is as soothing as the promethazine melodies supplied by his partner in crime Parallel Thought. P.T. has shown himself to be one of the most chameleonic musicians in the rap game today, adapting his superb production technique to fit whoever he's working with to a glove. You might ask why he didn't forge this Southern swang partnership with an already established legend of the Dirty like Devin the Dude or Eightball, but the answer is in the question - "already established." Thought picked a diamond in the rough and offered his polish, and the soulful brassy yet dark and moody sound of "Loyalty & Luxury" shows how they shine. This suave team of bling and swing could have put this one out through regular retail, but in a networking move (pun intended) to get them greater exposure, this album has been featured in commercials and bumps during the [adult swim] block of nightly programming. It's not unprecedented to see [as] pledge allegiance to hip-hop - they've heavily pushed everybody from El-P and Killer Mike to Aesop Rock over the years. Their musical choices reflect their programming choices - unusual, independent, and more than occasionally offensive - all in a good way. They pride themselves on going against the grain, while Gene the Southern Child prides himself on gripping grain.”
“For most fans, Kendrick Lamar's "Section.80" album was the introduction to K. Dot's Top Dawg cohorts. Ab-Soul's performance on "Ab-Soul's Outro" was an immediate standout on the record, and in the following months each member carved out their own niche. Jay Rock was the oldest and the most street-oriented, Schoolboy Q proved with songs like "Hands on the Wheel" and "There He Go" that he had the most mainstream potential outside of Kendrick, and Ab-Soul seemed to be the quiet, thoughtful underdog of TDE. Fast-forward three years later, in what is poised to be a year in which TDE releases six projects, once again Ab-Soul feels like the forgotten member. In addition to a high profile release from Schoolboy Q, TDE's newer members SZA and Isaiah Rashad also both released new music without much news about a new Ab-Soul record. After threatening to leak his album, Soul finally got a release date, and only a few weeks later, we finally received "These Days..." "These Days..." feels like a record crafted by a rapper who feels left out and is begging for acceptance. Ab-Soul's third TDE release is a drastic change from "Long-Term Mentality" and "Control System," and is a lot more pop-rap oriented. While a majority of the album's production is still handled by TDE's in-house team, their production is noisy and heavily trap-influenced. "World Runners" and "Nevermind That" both feature spastic, rolling hi hat sound that has become more and more popular in mainstream hip hop over the past few years.”
Cakes Da Killa :: Hunger Pangs :: Cunt Mafia/Mishka
as reviewed by Matt Jost
“It's been exactly a year since Jay-Z was "voguin' on these niggas" in his rap song-turned-art happening "Picasso Baby," which would be the clearest nod to the gay community in all of mainstream rap music history if it wasn't for Macklemore & Ryan Lewis' surprising success and the subsequent attention to "Same Love" the same year, but that doesn't mean that the doors are now wide open for MC's who truly are represented by the rainbow flag. To be clear, 'gay pride' to Cakes Da Killa means to unapologetically flaunt his sexual orientation, nothing more, nothing less. Far from politically correct, his favorite words on his latest are 'nigga,' 'bitch,' 'shit' and 'eat.' As he adopts rap's aggressive rhetoric, his translation efforts are minimal, as evidenced by statements that are to be interpreted within a LGBT context but actually make sense in both worlds. Although regularly finding a wider public, rap often addresses a very specific recipient, and it's no different with Cakes Da Killa. He stages a virtual 10-round catfight where he keeps the upper hand, admonishing "infant-ass niggas in my hand-me-downs." Correct gender identification may pose a problem to listeners not used to this particular subculture's slang and nomenclature, but the real burning issue here is the appropriation of homophobic slurs. Insiders may argue that what Cakes himself dubs "Gully Cunt slang" is common practice in certain circles, still it's hard to accept the existence of a line like "I will slay a fuckin' fag with no issue" on a gay rappper's track. By the same token we've willingly accepted hateful language from African-American rappers that came bizarrely close to Ku Klux Klan verbiage, so we'll likely let homosexual rappers tear each other apart as well.”
“The four-headed monster is an oft-recited piece of imagery used by hip hop quartets, but one that is a curse rather than a blessing. Slaughterhouse, HRSMN and even Jurassic 5 have discovered that one head will eventually dominate and the anarchic nature of four men grasping for the listener's attention inevitably means that whole projects offer a few great songs combined with a slew of hot and cold verses. eMC are rare, in that they operate more as a four-headed man (I've still not seen one), where each head isn't obsessed with one-upping each other. They aren't breathing hot lava through structured 16-bar verses that seem overly technical, as if judges are holding scorecards up once the sixteenth bar hits home. Masta Ace, Stricklin, Wordsworth and Punchline are a unit, one that possesses chemistry, togetherness and a welcome light-heartedness that makes them easier to digest than whatever it is that four-headed monsters eat. Back in 2008, eMC provided their only album; "The Show", a superb concept album that was heavily influenced by previous Masta Ace efforts like "A Long Hot Summer" through its use of cohesive story-telling and an over-lapping narrative that tied all the songs together. "The Turning Point" can't be compared to "The Show" in one sense because it's barely been promoted, but it's also meant as a quick reminder not to forget about eMC - or how I like to consider them, the modern progression of Masta Ace Incorporated. They confirm that "The Show" wasn't a one-off collaboration, but this twelve-track effort is potentially more story-driven than their previous work, thanks in part to 50% of the project being skits. Before you consider this to be the "turning point" at which you do a 180 degree U-turn and sprint to the next review, it's deliberate.”
“It's not that hard to repeat doctrine. All you need to do is put the time into reading and memorizing. It is much harder to apply that doctrine to real life. It is also much more useful. While Giano's earlier releases put him in the Christian rap camp, on "Not Until They Say So" he comes off more as a Christian who raps rather than a Christian rapper. He doesn't hide his faith, but he's more concerned with examining how we can try to live according to our ideals rather than preaching scripture or trying to convert listeners. That makes the album more approachable: you don't have to be on board with his specific religious beliefs to get something out of what he is saying. The beats rework popular songs by Eminem, Kendrick Lamar, Rhianna, Ashanti, the Clipse, Dre, the Wu-Tang, and others. Giano basically takes the best part of some of the best hip-hop songs of the past twenty years and molds them together, even going so far as leaving entire verses in. It works, but it also puts him at a bit of a disadvantage. Giano is an able rapper, but it's tough work to go toe-to-toe with Eminem or Kendrick or the Wu. Giano has skills, but he's not quite on that level. His earnestness and desire to get his point across lead him to stretch syllables, mispronounce words to get a rhyme, and do other tricks to force words to fit into spaces that aren't quite the right size. On the other hand, he actually has something to say, which makes the occasional dubious rhyme or overworked metaphor forgivable.”
“There has been a quiet revolution going on within hip-hop over the past few years: good kid rap. Chance the Rapper, Kendrick Lamar, Sage the Gemini and Iamsu! are part of a new breed of rappers who may have grown up surrounded by gang bangers and drug dealers but didn't participate in the lifestyle. They don't celebrate self-destruction in their raps, but they also aren't as explicitly conscious as Talib Kweli or Common were back in the proverbial day. They aren't as nihilistic as the rappers coming out of Chicago's drill scene or the Odd Future gang (although Earl Sweatshirt could be called a good kid rapper), and they don't celebrate ridiculous excess like the Migos or Rick Ross or Jay Z or most mainstream rappers. These are kids rapping about what kids care about: friends, girls, and trying to make sense of the world. Sudan Ameer Williams, better known as Iamsu! embodies this new breed of rapper that's not gangsta, backpack, macho, or overly materialistic. He was born and raised in Richmond, California, a city of 100,000 wedged between the aging hippies and university students in Berkeley and a Chevron oil refinery. Richmond has a reputation in the San Francisco Bay Area as a dangerous place, a reputation which isn't totally unearned, since it was once the 12th most dangerous city in America. (When I moved to nearby El Cerrito, two different burglar alarm salesman showed up on my door, and El Cerrito's proximity to Richmond was the basis of both their sales pitches.) Despite coming from a city best known by outsiders for its murder rate, Iamsu!'s music is dreamy and mellow. If you only knew about Richmond from "Sincerely Yours," you'd get the feeling it was some idyllic town where the only problem young men faced was having too many girls to choose from and too much money.”
“Princess Superstar is one of those artists that can legitimately claim to have been ahead of the curve. Long before we saw Iggy Azalea and Kreayshawn blew up the "white girls who can rap" section of the charts, she was breaking records in the 1990's trying to get noticed by the Beastie Boys. There were a few attempts before her to be sure - we'd all like to forget Icy Blu and Tairrie B - and most of us are okay with Blondie (Debbie Harry) spitting lyrics about Fab 5 Freddy. Princess Superstar didn't do it one time as an experiment or a novelty act though - she's been doing it for 20+ years. The self-styled Jewish Princess of hip-hop has been around long enough to not owe explanations to anybody, nor to imitate anybody else's sound to get ahead in a crowded rap field, which is why "I'm a Firecracker" comes as a surprise to the listener. The title track is uncannily undeniably similar to Missy 'Misdemeanor' Elliott, to the point I expected Concetta Kirschner to put her thang down, flip it and reverse it. The two couldn't be further apart in upbringing or socioeconomic background, but their vocals and lyrics are entirely interchangeable. Read the lyrics below and listen to the track with the monitor turned off and you will see Missy rapping in your head. Superstar's raunchiness has always been part and parcel of her gimmick, but she used to impress me as being cut from her own cloth. I still think she is to a large degree since she is not a Janey-Come-Lately but "I'm a Superstar" perplexes me by trading her unique sound for a bunch of material that while well delivered sounds like covers of other people's styles. "Chick Habit" will get the Feminem label from the speedy sarcastic delivery to the sing-song chorus.”
“Little Brother will one day reunite, they have to. 9th Wonder has worked well with artists like Jean Grae, Buckshot and Murs, but none of their projects have quite touched classics such as "The Listening" or "The Minstrel Show". They went their separate ways at precisely the right time, with their final record "Left Back" showing cracks following numerous solo projects and 9th Wonder's endless stream of work. Roc-C is known to provide gritty, wall-punching hip hop - anybody who has played EA's Fight Night Round 3 will recognize "Don't Stop". Musically, "Trouble in the Neighborhood" is an unflinching collection of haymakers. "The Crew" feels like a sequel to "Don't Stop" with its basic, infectious loop and aggressive rapping. Even Big Pooh sounds fresh as he ever has, as if the shirt and tie of old has been loosened from his traditionally level-headed approach of rhyming. This may well be a Roc-C album that just sees him share mic time with Big Pooh, but with Pooh's passionate delivery, it manages to come off without sounding like a forced combination. Dae One, Praise and S1 combine to create a sense of danger throughout "Trouble in the Neighborhood" that is thankfully kept to a succinct eleven songs. It feels like an album that's becoming less prevalent in hip hop, one that feels like WC & Daz's "West Coast Gangsta Shit" from 2013. It's music you'd often find ten years ago on the shelves of any music store, yet in 2014 there's a disappointing gap in West Coast gangsta rap that has been there ever since Dr Dre starting fucking with headphones, and guys like Warren G and Mack 10 realized they had to keep their criminal activity on the down low.”
Steve Juon of Wrestling Observer and MMA Oddsbreaker conducts this one-on-one sit down with UFC founder Art Davie, whose book "Is This Legal?" is in stores now. Art talks about why 'One Glove' Jimmerson only had one glove, if he knew that pro wrestling would raid UFC for talent, why he ultimately sold the company and much more! Visit http://tinyurl.com/ArtDavieBook to pick up a copy of his story for yourself!
Warning - the following editorial will probably sound like sitting on the front stoop with your grandfather. "Back in my day, we didn't have all these digital gizmos and portable music players. You know what we had? Records. Hard flat bulky records. And we didn't have your fancy scritchy-scratch turntables either. We played records on boxes bigger than your head with giant tuba horns to amplify the sound!"
Okay - I'm not actually THAT old - but it's fair to say I'm probably twice the age of at least half of the people reading the site. I never had my own bulky old Victrola to play records on, but I can actually remember one at my grandmother's house when I was little. It had a toggle switch to play records at 33, 45 or 78 RPM, which to a young Flash may have been the funniest thing ever. I took immense joy out of taking my records and playing them back at the wrong speed to either hear the voices sound faster than The Chipmunks (Alvin, Simon and Theodore) or deeper than Darth Vader (James Earl Jones). My love for audio manipulation started early.
For the majority of my childhood and even a fairly sizable chunk of my teenage and young adult years though my life was about cassette tapes. There's even a few weird years of overlap when I didn't have a CD player but compact discs were becoming the industry standard where I would actually use a friend's boombox to DUB COMPACT DISCS TO TAPE so I could listen to them in my WalkMan or my car's tape deck. That probably seems asinine as hell - and it was - but I was so heavily invested in the tape format that I just wasn't ready to switch. Even now I have hundreds of tapes in storage in my garage that I've never been able to get rid of - from cassette singles to Public Enemy albums to mixtapes by DJ Premier and Kid Capri.
Here's where "Grandpa Flash" is going to get on his soapbox for a minute - the term "mixtape" as we know it and use it has lost almost all practical meaning. For a young hip-hop head mixtapes were not just a collection of songs recorded off the radio - though I certainly made my fair share of those. I called those "compilations" or "pause tapes." To me a "mixtape" was a professionally prepared collection of the best current or upcoming rap music out there, usually crafted by a disc jockey who often as not doubled as a producer - to the point young Flash often got confused as to who on a mixtape was actually producing the music. Before the internet made it easy to swap songs online these mixtapes were an essential way to stay on rap's cutting edge, especially if you lived somewhere without rap radio (or even basic cable).
Once I had access to studio quality equipment in college radio, I dabbled in making "mixtapes" of my own, though nothing I would ever consider the quality of Ron G or a Kid Capri. They were true to the name though - I would make a "master tape" and a "dub tape" and then distribute handmade copies for a nominal fee. Some of you who have known me for more than 20 years and still have a working tape deck might even have a Flash "mixtape" - but again I was never large or in charge like a deejay in New York or Los Angeles. The only thing I had going for me was that in college radio you get a lot of promo material from a lot of indie labels, so I had a seemingly unlimited set of material to work from, plus my own ever growing collection of records and discs.
I quietly retired from my small mixtape business as my college years wound down, seeing that the tape format was dying, and the cost of CD burning equipment was still (at that time) prohibitively expensive. It also didn't feel right to me to call a compact disc a "mixtape," but my feelings on the matter didn't stop the deejays of the day from making the jump from analog to digital even though I didn't join the bandwagon myself. Once you could call something that was no longer physically a cassette a "mixtape" though the game changed, and if you'll forgive an old salt like me for saying so, I don't think that it changed for the better. What made a mixtape a mixtape was that the DJ behind it was carefully selecting and blending together the best and the newest in rap to the point you would actually enjoy having to listen to it sequentially from start to finish. That may have been a technical limitation of the tape format but a good deejay could keep your ears locked in from end to end without using FF or RR.
These days you can't even trip over your own shoelaces without falling on something that's called a "mixtape." It's often just a single artist - it's no longer the compendium of interesting up-and-coming emcees it used to be. It's often said same rapper freestyling over other people's beats, or using their own self-produced beats, or hooking up with their like-minded friends for either/both. This isn't all bad - hip-hop collectives like Odd Future made their name off their grind making and giving away mixtapes of their work - but these days they're not even in a hard format. At least a CD "mixtape" was something you could hold in your handle - but unless you put your downloads from Bandcamp and DatPiff and Live Mixtapes on a USB flash drive you've got nothing - and even then you're just holding data. The data can be accessed in any order you choose - the whole experience of listening to a "tape" start to finish has been lost.
Nostalgia can be fun and "retro" can be chic but I'm far from advocating a return to bulky boombox stereo tape decks and cassette tapes. Cassettes had a ton of issues - they'd bunch up in your player and come out as a long pile of spaghetti, or they'd snap off and suck into the reel like a tortoise pulling its head inside a shell for safety. The audio quality wasn't that great either. Compact discs have been a HUGE improvement in terms of portable durability and audio quality, and let's not knock the MP3 and the iPod either - they've reduced entire libraries of albums to pocket size. I love the march of audio progress even if it means I've bought some of the same albums twice - but for God's sake can we stop calling everything a "mixtape" now? It's neither a "tape" nor a "mix" any more. It's just a collection of songs in a digital format. Unless you actually hand me a cassette that I'm supposed to play end to end I don't think it's really a "mixtape" at all. I accept the term carried over from the days of my youth but linguistically and logically it just doesn't fit.
It's time for another new edition of The Hip-Hop Shop. Episode #280 is Transmitted via Satellite which is a pun on the non-Mac laptop I'm forced to use this week. Enjoy new ish from Rob Stashiz, MerCure Dior, Smart and Mista Cali among others! Feel free to share this show and remember - you can follow us @RapReviews so you never miss a new show when it's released each Tuesday.
* Rob Stashiz - Everyday
* Revalation f/ EmliOMG, Keace - Nothing Like Us
* MerCure Dior - Dreams Equal Secrets
* Well$ & CyHi the Prynce - Mandela (Remix)
* Smart - Side Dick
* Mista Cali - The Boogeyman
* Mpulse - OG Loaf
* MATTY - Any Minute
* Saint Millie - Who I Am
A.T.: Chippy Nonstop is well-known for her party vibes and dance music. Last summer she released an EP, #finallyverified, then the delicate, lonely "Alone," a Felix Snow-produced single showing her soft side. However, her classic electronic, upbeat sound has returned for her newest single,"Peeka," released today via EntertainmentWeekly and available for download here. With upbeat synths and an electronic beat, classic components of Chippy's "electro-trap" style are layered beneath airy vocals and a cute, poppy repetition of Nintendo's Pokemon character, "Pikachu," to create a catchy party track.
Judge Da Boss Signs With SalaAM ReMi and Unleashes "Hell Yeah" Movement!
Stache Media: The bubbling Hip Hop artist out of Phoenix, AZ Judge Da Boss signs to Grammy-Nominated producer SalaAM ReMi's Louder Than Life/Sony Music and announces the release of his single "Hell Yeah" on iTunes today. Commenting on the signing, SalaAM ReMi states, "Judge Da Boss is one of the freshest artist I've seen in years. I'm excited to begin our journey together. Big things to come #HellYeahJDB."
PR: The half-Chinese Bristol Woman Magazine cover girl (launch edition), received rave reviews with her ‘infectious’ fusion of Bristol bass and oriental electronic sounds, topped off with many a pop chorus.
F.L.: "Exit On Appian" is the debut project from Bay Area natives Free LNRD. After being struck by a wave of inspiration, believed to be gifted to them directly from the Rock Gods, they produced and recorded this collection of captivating songs, which they are now releasing to the public. The music speaks on the struggles of the every-man, from troubles with jobs, relationships, to one's place in the world. They call their music "Ratchet Rock", describing the non-traditional methods they use to produce their records, using drum machines, guitar loops, and synthesized bass.
Louie V Gutta f/ Trap St Moe x Trap St Nooch - "I On't Understand"
Sims PR: The record features LOUIE V GUTTA comrades NOOCH & MOE, part of Philly's sturdy TRAP STREET clique, known for their stellar, street-hard beats iced with unapologetic, reality-based rhymes. Check 'em.