Fresh off his newly inked distribution deal with Island/Def Jam, Rediculus starts off the year with his highly anticipated instrumental album “Walking Down Broken Paths”. This album contains not only soon to be classic instrumentals such as the hit singles “Off Kilter” and “Elementz feat. DJ Jaem” but also showcases RnB sensation Airon, and a bonus remix for Doc Remedy/Copywrite that is still making noise around the globe.
"Having previously reviewed "Moonshine" – an album by Chicago native Matlock that dropped on the same day as Kanye West's "Graduation" – my ears pricked up when I heard about his new LP, "2707." I rated him as an exceptional lyricist first-time round, a view that hasn't changed, but saw the beats as middling, imploring him to diversify and focus on the music to inspire the listeners. Whilst I'm sure my review had absolutely no bearing, it's great to see that Matlock has at least focussed on providing his own talents with a firmer musical foundation. The result is a strong album that leaves you scratching your head as to why he isn't on a more prominent record label – he deserves the shine. "2707" is an hour-long rap album. That might sound stupidly obvious on RapReviews – but there aren't a plethora of R&B choruses, or pop-crossovers, or dance beats. It's a relatively straightforward MC-driven LP, but musically it's surprisingly diverse, with virtually no two tracks sounding the same. Surprisingly, it turns out that having a variety of producers makes for a much more consistent listen – last time out, I felt that an over-reliance on Kaz One was the first album's downfall."
"Despite being hella proud of his Midwestern heritage and the "ten thousand frozen lakes" of Minnesota, the rapper is now repping his area code from the much more hospitable climate of Southern California. Mr. Six-Fifty-One Chris Clay now has more in common with Mr. Six-One-Nine Rey Mysterio. It's not a betrayal of his heritage though, it's just what Clay needed to do to take his career to the next plateau. Moving to Cali enabled him to ink a deal with MIM Entertainment and take his exposure beyond playing clubs in the Twin Cities and selling tapes out of the trunk of his car. Every young rapper has to make that choice at some point - stay the local neighborhood hero everyone loves or take a chance on becoming a hip-hop superstar. After all if Marshall Mathers never signed with Andrew Young, Eminem would be selling mixtapes hand to hand on 8 Mile Road right now. Chris Clay's "Christening" is a twenty-six track long mixtape ostensibly hosted by DJ Whoo Kid, although his involvement in this project is minimal at best. That's actually to Clay's advantage as hearing him shout "WHOOOO KIIIIIIIIID" a million times might knock a full point off his album's score."
"DJ Butter is a well known fixture of Eastern Michigan hip-hop. He's Detroit born and raised and well known for supporting the scene by exposing local artists to a larger audience. He also maintains a close affiliation with recognized D rappers like Royce Da 5'9" and Obie Trice, who get love on his projects or vice versa. When nobody else is supporting Detroit's underground rappers, you can count on Butter to be there to lend a helping hand. Eminem and D12 completists already know this because some of their most obscure and hard to find tracks appear on DJ Butter mixtapes like "Kill the DJ," from a time when the former has just broken through nationally and the latter were unknowns. Put simply Butter has been integral to Detroit hip-hop in the last decade+. When the DJ Butter "Detroit Demo" mixtape hit my desk last week I was intrigued by two things - the lack of a copyright date on the artwork and the sheer amount of names I didn't recognize on it. A little research determined that this album was first released in 2008, though I suspect it's had more than one printing since then. "
"This was a YouTube-inspired purchase. Sometime in 2009 I read about a new Don P video featuring The Jacka. Don P (not to be confused with the Trillville member of the same name) briefly had my attention in the late '90s and early '00s but had since faded from my memory. "Distractions" served to renew my interest in the Oakland rapper, yet the actual album didn't happen until 2010. Once I got a hold of the CD, I went directly to "Distractions" - and got greeted by an overmodulated bass that threatened to ruin the entire experience. I later realized the video had the same problem, but naturally was now less inclined to overlook the flaw without the visuals and having actually paid for it. "Distractions" serves as an example for the negligence that regularly plagues Bay Area rap music. The Coldplay song "X&Y" had already been sampled by Swizz Beatz for his '07 album, but it's really warranted on this - more negligence - uncredited production, the pointed Chris Martin vocals echoing as Jacka flat out dismisses the newly elected Barack Obama "
"The Russian-born artist/producer DJ Vadim's reputation is that of a eclectic and innovative musician not afraid to experiment with hip-hop sounds or merge them with other genres. It's hard to imagine a situation where Vadim will either be satisfied that he's found "it" and either stick to that one style for the rest of his life, or conclude that he's peaked artistically and can't create anything better or more interesting. Some people would be unsatisfied to be on a never-ending Quest like Tribe to create new music, but Vadim seems to thrive on this turmoil. In fact he conceived of the concept for his newest group The Electric while he was on tour in the U.S. and Europe promoting his LAST album. It was only a matter of time before he stopped moving long enough to put theory into practice and record his newest musical experiment. So what exactly is The Electric? It's a triumvirate that combines Chicago rapper Pugs Atomz, UK songstress Sabira Jade and the instrumental/musical backdrop of "Daddy Vad" himself. "
"They say you never forget your first. Well, Johnny Polygon was my first. Now before you get your panties in a bunch and start sending me emails with subjects like "Pause" or "No Homo" or whatever other term you kids are using these days, Johnny Polygon's "Group Hug" was the first review that I wrote for this fine website. In the time that has passed since "Group Hug," Johnny's popularity has increased, largely due to the success of "The Riot Song," which even spawned a video and a remix with Kid Cudi. He's had a few releases, namely "Rebel Without Applause" and "Catch-Up." The latter was a collection of songs both unreleased and previously available tracks that dated all the way back to 2004 and even includes a couple songs that didn't make the final cut of "Wolf In Cheap Clothing." During my first review, I felt like Johnny was doing a bit of experimenting with different styles, trying to see what works best for him. In 2011, I've come to understand that this IS his style, and if you don't like it, that's okay because your girl does. "
"Naturally after reading that, I readied myself to be bombarded with otherworldly sounds mixed together in a chaotic fashion, kind of like the initial feeling I get when I experience a Jackson Pollock painting. After all, if the PR guy was going to mix random metaphors that mean nothing to describe what I'm about to listen to, I might as well prepare myself for the unique experience. As it turns out, Tone Tank and Scott Thorough are different. Different is a neutral word in this context, I'm not saying they're good, I'm not saying they're horrible, they're just…different. First of all, the production style of "Scott and Tone" is mostly stripped down concoctions with an emphasized drum line and a lot of 80s electro synth. Scott Thorough doesn't follow conventional thinking when he's crafting beats, he'll bring up different combinations of samples and sounds seemingly at random, stir and boil, and throw it to Tone Tank to rap over. And Tone Tank's voice, it's like a splice of MF Doom and a New York guido with a slight drunk slur. I'm using such ridiculous metaphors because that's how it truly sounds. "
"Viceverses is a riddle, wrapped in a mystery, inside an enigma that's far from easily solved. The first mystery is that the group calls themselves The Double V for short, when in fact that's actually longer if you count the spaces (or equally as long if you don't). The second is that the members of this rap crew hail from Kent, Ohio while stating that they've also spent time in Cleveland and Boston as well. I'm not sure what different that fact is supposed to make given none of the rappers sound like Bone Thugs or Big Shug. None of these puzzles are near as mystifying as the sound of the Viceverses on "Native Blood." None of the rappers here appear to have any Native American heritage, nor does their official bio state as much, yet the artwork and title of "Native Blood" and lyrical references to "our ancestors" suggests Viceverses is expressing an awareness of indigenous Americans spiritually if not in direct ancestry. A majority of "Native Blood" does not feature the traditional percussion or rattle sounds associated with American Indian music, but Viceverses certainly doesn't have the contemporary hip-hop sound of their peers either."
"This album came out in October, but we're just now getting around to reviewing it. In part that's because we never got a review copy, and none of us were too eager to spend our hard-earned scratch on Waka. In part it's because writing about Waka Flocka Flame's music seems pointless and contradictory. This is not intellectual music meant for calm reflection and analysis. Waka makes music for the streets and for the club. If you are thinking about Waka's music, you are missing the point. Waka, aka Juaquin Malphurs, got his start backing his mentor Gucci Maine (his mom was Gucci's manager until recently), and made some buzz with mixtapes before "Flockaveli" came out. He's had a string of hits in 2010, including "O Let's Do It," "No Hands," and "Hard In Da Paint." He's also had some controversy. He admitted to not voting on BET, and brags about not being lyrical. His lack of lyricism has gotten him his share of criticism both by critics and by Method Man, who said "if you ain't saying shit out your mouth, your time is very slim in this motherfucking game." (Meth later apologized). "
It's time for another dope edition of Hip-Hop Shop! Episode #108 is The Snowblower Edition because your host Steve 'Flash' Juon is tired as hell of going out in the cold to get rid of this fluffy white crap. Since he's too cold to talk, the beats and rhymes will warm up both the host and the listeners this time - piping hot goodness from Johnny Polygon, Soul Khan, Rah Digga, Pacewon and more! Be sure to follow @angrymarks to keep up on new episodes of Hip-Hop Shop and remember you can always send your feedback, podsafe (RIAA free) music, advertising requests and all feedback to email@example.com. Thanks for listening and remember to share the show with a friend and tell them to check out the replay every Tuesday on RapReviews.com!
* Johnny Polygon - DuckDuckGoose * Soul Khan f/ Sene - Shot Glass Magnified (Audible Doctor Remix) * MarkMyWords - Ill Street Dreams * Rah Digga - Solidified (Khrysis Remix) * U Dot Fam - No Problem * Random - Mako Reactor * Pacewon & Mr. Green - Can You Hear Me
Adam: "A lot of artists think you have to know me personally to get on The Adam B Experience. Wrong. More than half of the songs in this month's edition of my podcast came from artists responding to a call for music that I put out on Twitter the day I was preparing to record. The only rule about becoming a part of this podcast is an artist has to be dope, driven, or different. It's best if they're all three. Of course, following me on Twitter at @AdamsWorldBlog and knowing when I'm recording also helps... a lot. This episode proves it! Hit me up with feedback at AdamB@RapReviews.com." The Adam B Experience is 100% PODSAFE and TOTALLY FREE so tell your friends to download ABX right here at RapReviews.com!
Turntable Pioneer DJ Q-Bert to Unveil Fine Art Piece
DJ Q-BERT TO UNVEIL "BOLD AS SCRATCH" 2/19
Collaboration piece with WAIL (Sway & King Tech) celebrates his 25 years in music
Urban art imprint When Art Imitates Life (WAIL) deals in music visionaries creating visual art collections. Its premiere release, a collaboration with The RZA titled Victory Or Death, dubbed “the greatest painting of 2010” by Village Voice (link), ‘remixed’ the historic Washington Crossing The Delaware painting, replacing Washington with Wu-Tang Clan visionary RZA, the man who changed the sound and business of hip-hop. The Valley Of Kings fused Egyptian iconography with the philosophy and aesthetic of Hieroglyphics, the Bay Area collective that molded underground hip-hop as we know it today. And on February 19, 2011, WAIL will officially unveil "Bold As Scratch", their artistic collaboration with Q-Bert, the world-famous deejay who made turntables a musical instrument and turntablism an artform. Conceptualized and created behind closed doors in San Francisco by Q-Bert, hip-hop photographer Trevor Traynor and the WAIL team over the course of more than a year, the piece evolved from a multitude of ideas and sketches to a mixed-media canvas focused on QBert's personal tribute to one of his musical heros. In creation, photography, graphic art, found images and acrylic were utilized. Each piece in the collection of 250 are massive in size, and features custom augmentation by Q-Bert, making each a one-of-a-kind collectible.
The man referred to in many circles as the Jimi Hendrix of deejays has racked a list of accolades in his 25 years on the ones and twos that put him squarely in a league of his own. The three-time DMC world champion created the first musical annotation system for scratching. He was a member of the Invisibl Skratch Piklz, the world’s first band composed entirely of turntablists. His 1994 release Demolition Pumpkin Squeeze Musik is considered by institutions like The Source Magazine to be the greatest mixtape in hiphop history. Graffiti artist Dug-1 created animations to the sounds of Q-Bert for the animated/live-action feature Wave Twisters, which premiered at the 2001 Sundance Festival. His equipment creations for Vestax and Ortofon have reached sales into the millions.
Sign up early at www.qbertart.com for details on the piece, as well as a chance to receive a Golden Ticket, allowing you to view the piece on February 17, two days before the general public.
WAIL was founded in 2010 by King Tech of the World Famous Wake Up Show and MTV’s Sway Calloway in conjunction with notorious L.A. creativity house SceneFour.