Relevant Music

Return To The Winners Circle - Curren$y (Review)

2011-01-11T21:13:00.001-05:00

1. Daze Of Thunder | 4 - 4.5 (Produced by Kanye West)

2. Rain Delay | 4 - 4.5 (Produced by RZA)

3. On... | 3 - 3.5

4. Trophy Case | 3 - 3.5

5. Empire Monopoly | 3 - 3.5

6. Frost | 3.5 - 4 (Produced by Beat Billionaire)

7. Record Deals | 3.5 - 4 (Produced by Organized Noise)

Curren$y needed to rap more.

8. Moon & Stars (Remix) (Featuring Big K.R.I.T & Killa Kyleon) | 4 - 4.5 (Produced by Big K.R.I.T)

9. Role Model | 4 - 4.25 (Produced by Ski)

10. Paydays | 3.5

11. Jets At Your Neck (Featuring Young Roddy & Trademark Da Skydiver) | 3.25 - 3.75

The Verdict: 38.75 - 43.5 | 75% | 3.75 / 5

“Haters is mad we get high, and rich \ Ain’t slowing down for nothing, George Kush the Button \ Like what do this though, fuck it, here go nothing.”

-Daze Of Thunder

Judging from that quote, I think it’s still a testament that the year of 2011 has brought no change into Shante Anthony Franklin’s artistic integrity at all. And that’s already one New Year’s resolution that Curren$y should, and is going to continually follow throughout the course of the year.

And this year really does look stacked for Curren$y. We’ve gotten talks of an early-quarter release of Pilot Talk III, his often-spoken of Muscle Car Chronicles, and the newest addition to this list, Covert Coup with super-producer Alchemist. So Curren$y does have a lot of to deal with, and this mixtape is merely the start to how Curren$y is going to tackle this 2011.

It seems quite obvious that Curren$y isn’t going to change his ways. From the stellar get-go of listing the usual objectives that Curren$y achieves and does on the stellar “Live Fast, Die Young,” production from Kanye West, to the sharp contrasts of the moody and brooding remake of Raekwons Rainy Dayz in Rain Delay, or even Young Dro’s summer banger “Freeze Me” made into “Frost,” whatever production the young Curren$y tackles is receives the same fate as any other track he’s going to. And I’m just fine with that.

There definitely are the shining moments on this tape (besides the forementioned), such as Curren$y’s ridiculous verse on the “Moon & Stars” remix, or the quietly hidden Ski-produced Role Model. Even Jets At Your Neck deserves some honorable mention, considering it’s the best J.E.T.S-posse cut. You’ve got the track Space Shuttle to compete with, so it reallyisn’t that hard.

Yet, you know that this is throwaway material for Curren$y. However, I don’t really feel that issue is too important to be addressed. If Curren$y is willing to consider such quality material as quick music for the masses, I don’t see any problem with that. Sure, the section from On... to Empire Monopoly isn’t the most engaging Curren$y rapping, but there isn’t anything specifically or blatantly wrong with any of it.

So anyways even in 2011, Just Enjoy This Shit. Jets fool.

Past, Present(s), Future (Review) - Diggy Simmons

2010-12-27T17:10:00.001-05:00

(All tracks produced by DJ Premier unless noted)

1. DJ Premier (Intro) | 3.5

2. Digg Is Like | 3.25 - 3.75

3. Risin’ To The Top | 3 - 3.5 (Produced by Doug. E.Fresh)

4. DJ Premier (Break 2) | 3.5

5. Shook Ones Pt. 3 | 3.25 - 3.75 (Produced by Havoc)

6. Wake Up (Interlude 1) | 3 - 3.5 (Produced by Pete Rock)

Alright, I know you wake up seven in the morning. No need to scratch it for a minute.

7. DJ Premier (Break 3) | 3.5

8. Electric Relaxation | 3.25 - 3.75 (Produced by Q-Tip)

9. Paid in Full | 3.25 - 3.75 (Produced by Eric B & Rakim)

10. Elevator Music | 3.25 - 3.75

11, Shut Em’ Down | 3 - 3.5 (Produced by Pete Rock)

12. Cypher (Continued) | 3.25 - 3.75

13. DJ Premier (Outro) | 4 (Produced by Salaam Remi)

The Verdict: 43 - 43.75 | 67% | 3.35 / 5

There isn’t really much to discuss in terms of the mixtape itself. What you expect is what you’re basically going to get, though, you can never go wrong with DJ Premier scratches and smooth golden-age hip hop production.

While these are freestyles essentially, it does show Diggy Simmons general subject matter, which is somewhat of a concern. It’s also interesting to note that this mixtape doesn’t take after the general “jet life / fly society” themes that Diggy usually portrays himself as. But still, much like fellow N.Y.C rapper J. Cole for example, Diggy tends to stay on his lane with raps about success, the good life, being good at rapping, and of course, ladies.

Diggy can certainly rap, there’s no doubt about it, but much what people are criticizing J. Cole about (one-dimensonal subject matter, what he’s going to rap about in the future), Diggy should also consider those same flaws J. Cole has. Diggy can certainly rap, like I said before, but how long can he rap before he runs out of things to say. Yet, unlike J. Cole, Diggy is a mere fifteen years old, there’s a bright future ahead of him. There’s no need to demean him just yet, considering Diggy is still a very impressive rapper.

Also DJ Premier, is it really necessary to scratch one Diggy line for a minute? I understand he wakes up at seven in the morning.

Finally Famous Vol. 3: B.I.G (Review) - Big Sean

2010-09-06T21:55:00.008-04:00

(Produced by Key Wane unless noted)

1. Final Hour | 4:26 | 3.5 - 3.75 (Produced by Don Cannon & Nick Cage)

“Workin’ graveyard shifts because we here to make a ... killin’”

2. Meant To Be | 4:00 | 2.75 - 3 (Produced by DJ Spinz)

“Remain a stand-up n*gga like I was standing in front of the urinal.”

3. What U Doin’ (Bullshittin’) | 2:36 | 3.25 - 3.75 (Produced by The Olympicks)

"And now I put it in her mouth, and that bitch look like a conehead.”

4. Money & Sex (Featuring Bun B) | 3:47 | 4 - 4.25 (Produced by No I.D)

Big Sean kills the third verse. “Lifes a beach so I’m always getting laid.” “I’m in the back seat, getting my dick wet / Fell asleep while getting brain, that’s a headrest.” No I.D gives an odd, strangely fascinating production front.

5. Five Bucks (5 On It) (Featuring Chip Tha Ripper & Curren$y) | 3:42 | 3.75 - 4

“Acting all stuckup, now they just stuck from smoking with us.” I’ll give credit to Chip Tha Ripper for the extra effort he put in, made a nice flowy verse.

6. High Rise | 3:25 | 4.25 - 4.75 (Produced by Don Cannon)

The production and the verses are plain ridiculous. “Paranoid because every rapper named Big got bodied.” Gives a little jab here with the stealing flows thing.

7. Crazy | 2:35 | 3.25 - 3.5 (Produced by The Olympicks)

8. Hometown | 2:51 | 2.75 - 3 (Produced by Elised Of Treal)

9. Supa Dupa Lemonade | 3:34 | 3.25 - 3.75 (Produced by Bangladesh)

10. Fat Raps (Remix) (Featuring Chuck Inglish, Asher Roth, Chip Tha Ripper, Dom Kennedy & Boldy James) | 5:56 | 3.5 - 4 (Produced by Chuck Inglish)

Should’ve just taken everyone out except Chuck Inglish and add Curren$y again. Production has the warm bass which is always nice.

11. My Closet (Featuring SAYINAINTTONE) | 3:56 | 3.25 - 3.75

Confused when SAYINAINTTONE says “We got some haters in our closet and we use them for targets,” and then says later on in the first verse, “Yeah I got it all except them haters in my closet.” Sean kills his own verse.

12. Too Fake (Featuring Chiddy Bang) | 4:21 | 2.5 - 3 (Produced by Xaphoon Jones)

13. Fuck My Opponent (Featuring Tyga) | 3:43 | 3.75 - 4 (Produced by Trilliowz)

14. Made (Featuring Drake) | 3:39 | 3.5 - 3.75 (Produced by Wrightrax)

“I’m the highlight, like when markets glow.” Drake is really taking that Bun B-UGK thing seriously isn’t he?

15. Ambigious (Featuring Mike Posner & Clinton Sparks) | 4:54 | 3.75 - 4 (Produced by Clinton Sparks)

Sure the verses are embarrasingly bad, but Mike Posner croons ridiculously good for once, crooning that question every guy has with one miss.

16. Almost Made You A Love Song (Feautring Suai) | 3:57 | 4 - 4.25

Everything that this song said is written with purpose, and I especially like when Big’s last verse falters, and Suai croons with the breakdown. Ridiculous song.

17. Memories | 3:34 | 3.25 - 3.5

18. Glenwood (Bonus Track) (Featuring Kanye West) | 2:39 | 4 - 4.25 (Produced by Kanye West)

“Ya’ll illy, I’m iller, I’m from Illnois.” “B-I-G is, gee whiz, he is / Sure he’ll be the man ever since a fetus.”

Overall Rating: 62 - 68.25 | 70 - 76% | 3.65 / 5 | Impressive; well above average; TRY IT

It all started with the Supa Dupa Lemonade video released at the beginning of the last year. Partly based off his recent XXL Freshman 2010 freestyle he did, and then adding to that, it looked like a new beginning for the G.O.O.D Music signee, and finally gave him something to characterize him besides the electro-tinged Getcha Some. Soon though, disgruntled fans and impatient critics soon began to wait for the constant delays, starting from Feburary, March, July, and finally it dropped on August 31st 2010. Probably due to the prolonged wait, or just the dissatisfaction of Big Seans material lately, it’s been said that Big Sean is just merely a uncharacteristic punchline rapper with a lack of ideas. Yet you have to ask yourself, isn’t it harder being original than just giving your fans a cohesive tape? Does it really matter in this decade currently whether your ideas have to be the most innovative, or the most experimental or quirky?

For now, the answer is a simple no. Currently we have stars like Rick Ross, Drake even people like Bruno Mars, all become famous even without providing any sort of characterisitic that they themselves pioneered. Rick Ross continues on the gangster mannerisms his predecessors have done, Drake crooning and rapping, just continuing on what other rappers have merely dabbled in, and Bruno Mars co-writing summer hits (Right Round, and his own summer hit, Just The Way You Are) Sure originality is a definite plus, but the critics of Big Sean act like it is his fatal flaw.

If anything, I’m more concerned with Big Sean’s blatant pop attempts. Getcha Some was Big Seans pop-opus, a electronica-tinged breakbeat along with blasting synths, and it seems to be the formula Big Sean seems to be following. Yet, why is Big Sean wasting his time on dull songs such as Too Fake (Just for the one, two, the relatively popular electronica-rap artist Chiddy Bang is on here too), or even songs like Meant To Be, a typical song about how Big was meant to be. Or if anything, we can be concerned about Big Sean’s choice of production. We’ve got songs like Hometown or Crazy that are just drab, monotonous tracks that could easily be added to Big Seans opponents arsenal of criticism.

Of course, you’ve got ridiculous tracks such as the horn and strings blaring High Rise, or the Drive Slow-sampling, 5 On It, even the moody, 808-minimalist dabblings of No I.D on the typically titled track, Money & Sex. Sure. Hell, you could even add the Finally Famous album-castaway, the piano-clunking rapping-duo Glenwood, with Kanye and Big Sean coming off each others lines. they don’t exactly demand different, but they simply demand a couple of undiscriminating ears to listen. The results are well worth it, as Big Sean constantly demonstrates his lyrical punchline muscle that’s made him so watched for these few years. From the first track, and even on his pop attempts, Big Sean always drops that one-liner or those several lines that makes your ears ring, making smiles and just providing a bunch of fun. It’s also fortunate for the kid that he can pretty much rap about the same things, and twist and formulate his punchlines for any occasion(Except Kanye, who just stole Glenwood with that Illinois line. Too ill.) Is that really a problem for anyone? After all I believe being an emcee was about entertaining the crowd, and if Big Sean can do that, that’s fantastic and simply, good for him.

What surprised me though was the two pop-songs that Big Sean nestled in near the end, which were the songs Ambigious and Almost Wrote You A Love Songs. While the simple glance at them already gives me shudders, and the featuring of Mike Posner was about to make me skip it, I just happened to listen to it. It was about ten at night and I was coming home on the train from a workout at the gym. It just hit me. Somewhere between Mike Posner’s crooning and Suai’s lovely singing it proved to me that, these are good, actually great songs. While Ambigious is a faded-late night daze, Almost Wrote You A Love Song simple works off that- ambigious feeling, allowing Big Sean and Suai to go back and forth talking about a lost love. This moment was simply unexpected and really interested me to see what Big Sean can do for his debut.

I think the main problem, admist all of the other previous stated is the fact that Big Sean isn't new. After all he has been doing this same kind of rap for a couple of years now, and now with the rap subjects of weed (High Rise, 5 On It), women (Ambigious, Almost Wrote You A Love Song, Crazy, Money & Sex), or in his case, just plain swagger-rapping, it's difficult to translate what Big Sean will make of these subjects in the longrun.

Yet, why do people complain about Big Sean doing the same thing his fellow contemporaries have done? Is it really a crime for someone to talk about the typical while presenting it in his own way? After all, that’s what rap has been doing for several years now, basing it’s ideas off other genres and other songs and people, it’s a lot. While Big Sean certainly doesn’t give us the fantastic replication of a tape, he provides a consistently entertaining tape that’ll have you rewinding lines for days and weeks to come. However, it’s interesting how Big Sean will use his punchlines and his pop-abilities to formulate the long awaited debut album. Ever so easily Vol. 3 could’ve become a album, and it would’ve sold, but it wasn’t. Is that Big Seans huge mistake or a great decision? Essentially, this is Big Sean’s best, most consistent tape yet, and it should not go unnoticed. There is work to be done though, but of course, for any artist there is work to be done. In Big Sean's case, the problem will be in making the album with his one-dimensional persona.

Never A Dull Moment EP - Willie The Kid

2010-08-12T21:47:00.003-04:00

(All songs produced by Lee Bannon)

1. Blades | 0:18 | 3.5
An interesting sample that tries to lay out the concept of this album
2. New Flash | 2:06 | 4 - 4.25
Everything sounds like it’s chugging along.
3. Necessary Way (Featuring La The Darkman) | 3.75 - 4
4. M140 Weighs A Ton | 2:29 | 4 - 4.25
“Castro cash flow, think like a Communist.”
5. Bath Water Running | 2:00 | 4 - 4.25
“Part from park that I played, I played her / Even paid piano players to serenade her.”
6. Sky Miles (Featuring Curren$y) | 4.5 - 5
“OG, no retro / Grab a dutchie and a bowl, thats Super Tecmo.” Or pretty much all of Curren$y’s verse.
7. Hickory Smoke | 1:54 | 4 - 4.25
8. Tarred & Feathered (Bonus) | 2:32 | 3.75 - 4
“Sweet like a parfait consumed / Flow like a souffle, they fake like a toupee, assumed, touche.”
9. Lost In France (Bonus) | 1:32 | 4 - 4.25
“Triumphant, arrive blow the trumpets / Breakfast in London, black team crumpets / Lacrosse trophies, rec room rumpus / Puff cigars, reminisce amongst stars.”

Overall Rating: 35.5 - 37.75 | 79 - 83% | 4.05 / 5 | Solid; few major reservations; BUY IT

Firstly, shoutouts to Verbose on the nappyafro.com staff for providing me with this project. I've really been anticipating this project for sometime, so it's really a huge help that someone would be ever so kind and provide it for me. Much thanks.

In Blades, the final sample the voice says is, “Watch how fast of someone whose really skilled can get into action with a knife.”

This quote speaks true for the whole EP, with Lee Bannon providing a flurry of fresh-samples from his crates, and Willie The Kid simply adapting to them. Lee Bannon & Willie The Kid have a very interesting chemistry, and it’s beneficial for both of them. Lee Bannon gets some nice exposure from Willie The Kids affiliates (DJ Drama, notably), and Willie The Kid gets a new lane of lyricism (Originally he was those typical gangster rappers) for himself to develop.

Lee Bannons production is pretty much worth the simple $3.99 purchase on Itunes, but I think I should emphasize on his production more. All the songs on this EP, until Sky Miles has this interesting vintage feeling, as if the quality was purposely altered to suit Willie The Kid. Lee Bannon heavily diversifies his production, providing chugging percussion to flesh out his endless array of samples exhibited, a howling scream on News Flash, a droning “necessary way,” on Necessary Way, or an accordian sample on M140 Weighs A Ton. Bath Water Running also features a retro sample, with it’s disco-lite tinge.

Of course, this EP is called Never A Dull Moment, and there would be dull moments if that vintage-style stayed consistent. However, starting from Sky Miles, a soft organ emanates throughout the track along with some drum kicks to add some warmth. Hickory Smoke features a flute whose notes play continously throughout, along with random vocal samples popping up throughout. Tarred & Feathered is a simple vocal sample thats lightly supported by some small percussion, and Lost In France is a collasal, hulking, track, exploding throughout with chimes and strings twirling in gracefully. Lee Bannon constantly switches up his style, and it’s intoxicating and plain hypnotizing.

Willie The Kid, much like Lee Bannon constantly alters his lyrics to fit the suiting topic of that production he’s been provided. From News Flash to Bath Water Running, it seems like the four track sequence is a series of songs with certain elements relating to each other. From the basketball-shootout story of News Flash, continuing on to the related need for violence on Necessary Way, the quirky gun-talking of M140 Weighs a Ton, or even the two faced lady pimping of Bath Water Running, the first few tracks go seamlessly together. Even tracks such as the simply shit talking Hickory Smoke and Tarred & Feathered, or the birds eye view given in Lost In France, they all that certain trait just linking each track to each other.

However, Willie The Kid is certainly not the greatest lyricist. While Willie The Kid can certainly hold on his own, as he lashes out observational stories like no tomorrow, and also expresses what he, as a rapper just thinks or sees. Willie The Kid has definitely improved his mic presence, with his verses seemingly showing signs of a Curren$y-lite, specifically as Willie The Kid has these moments where he wanders off and describes something else, and jumping back to the original subject later. Yet, speaking of Curren$y, the original Curren$y simply outshines Willie The Kid on the simply ridiculous Sky Miles, with the organ chugging beat allowing Curren$y to simply go crazy. This shows that Willie The Kid certainly has leaps and bounds to jump over before anything.

This EP releases at a time where artists like Rick Ross has pretty much tarnished the value of the EP, instead providing a behemoth standard for the hip hop/rap EP, simply put, original production. I'm glad that Willie The Kid was able to exactly do that.

Never A Dull Moment EP speaks for itself, because no single moment was ever dull. This project, being an EP, much like a knife, finishes through incredibly quickly, and while the skill of the person using the knife, or Willie, can be improved, it’s basic idea you can apply to this EP. Yet, it’s simply quite a project from both parties, and I’m definitely looking foward to any work that continues on between them. They definitely need it, since Single Rapper / Producer collaborations haven’t been seen in a minute, and this is one modern example that simply works.

ǝpısdn uʍop (Review) - Bei Maejor

2010-08-09T23:27:00.002-04:00

(All songs produced by Bei Maejor unless noted)
Part 1: The ǝpısdn Down Story
1. End of the Night | 2:06 | 4 - 4.25
2. Kisses in the V.I.P | 4:22 | 4 - 4.5
The beginning part reminds me somewhat like Taeyang, not sure why.
3. Order What U Want | 3:53 | 3.25 - 3.75
Sometimes, theres no problem with doing blatantly pop-mainstream songs if the songwriting isn’t reprehensible.
4. Barbershop Talk (The Explanation) (Featuring Clinton Sparks) | 6:02 | 3.25 - 3.75
The boom-bap freestyled atmosphere is certainly an interesting way to put things. The story is quite interesting, and for a pop songwriter he definitely has his own creative lane.

Part 2: ǝpısdn uʍop Songs
5. Gone | 4:01 | 3.25 - 4
Creative concept, though it lacks that extra mile to really pull the vacation concept through.
6. All Night | 4:07 | 3.25 - 3.75
It took some time, but someone has successfully done the J.R Rotem on “Don’t Stop Believin.”
7. Boxers | 4:17 | 3.5 - 3.75
8. Gamez (Featuring Keri Hilson) | 3.25 - 3.75
Surprising that this song doesn’t sound totally ridiculous, actually it isn’t that bad of a song.
9. I’m On It (Featuring T-Pain) | 3:33 | 3.25 - 3.75 (Produced by All Star)
The T-Pain hook + melody make it sound like that DJ Khaled song, All I Do Is Win. Also, why is Madvillain’s, Accordian playing in the background?
10. Drinks On Me (Featuring Trey Songz) | 4:01 | 3.25 - 3.75 (Produced by Tim Bosky & Bel Maejor)
11. July (Featuring Drake & Jhene Aiko) | 4:36 | 3.75 - 4
12. She Was (A Broken Love Story) | 4:07 | 4 - 4.25
The production really brings this rather-typical story into better heights.
13. Facelifts & Waterfalls | 5:16 | 3.25 - 3.75 (Produced by Boi-1da)

Overall Rating: Part 1 | 14.75 - 16 | 76% | Solid; few major reservations; TRY IT
Part 2 | 30.75 - 34.75 | 72% | Impressive; well above average; TRY IT
Part 1 & 2 | 45.25 - 51 | 74% | Impressive: well above average; TRY IT

“Wow, I’m never that lucky.”
Much like Clinton Sparks, that was the same quote I had after the first part of this ǝpısdn Down Story was left to be continued on. The first two songs, End Of The Night, with it’s cluttering, boombastic drums, and Kisses in the V.I.P, a simple piano that expands on to a true song, are both highlights in this simple four part story. It really doesn’t matter whether they help drive the storyline on, because most of the story is explained in the little skits that are intelligently placed in the end of each song (except End Of The Night) Order What You Want is a simple, smartly written pop attempt and Barbershop Talk takes a definite left with the boom-bap retro throwback storytelling production.

Essentially this story is about Bei Maejor struggling between two women, who just happen to be a bad daughter and her equally bad mother (You know what I’m talking about) Throughout the mere four tracks, it’s a budding concept, and I’m pretty sure that Bei Maejor is going to expand on this in another mixtape or his eventual album. Bei Maejor has ghost-written and produced for a while, so his talents are definitely not to be wasted. Part 1 pretty much doesn’t have any flaws, and while none of it is perfect, it’s certainly creative, and that kind of artistic integrity is interesting in this current environment.

Much like Part 2 was called on the mixtape back cover, Part 2 is basically ǝpısdn uʍop songs, because there’s no real concept throughout each song that continues on. Obviously with Bei Maejor as a pop-pandering artist, one can expect many blatant pop attempts, and that’s already obvious from the get-go, from the melodic, innocent-piano laced, Gone. Gone is an interesting solo Bei Maejor song in particular, mostly because of it’s subject matter. While you’ve got a “Don’t Stop Believin’,” cover basically in All Night, and him talking about girls wearing boxers, Gone, at least talks about not having enough money to bring a girl on vacation. Bei Maejor as a solo artist can certainly hold his own, and while his voice isn’t turning ears, much like fellow R&B contemporary artist The-Dream, Bei Maejor knows how to make the song (But to a much lesser extent)

Bei Maejor has been doing this for a while, and his knack for specific sounds and lyrics definitely showcases in the three obvious radio-crossover songs, from Gamez to Drinks On Me. Gamez, along with that sexy Keri Hilson hook is actually not a totally ridiculous song, in fact, I wouldn’t really be surprised hearing this a couple of times if the radio snags it up quickly enough. Even further, I wouldn’t even mind hearing this out, because the pop-atmosphere, bright, breezy, and light, is exactly what this song is about. However, I’m On It and Drinks On Me aren’t terrible attempts, but their the most obviously cliched subject mattered songs. Typical T-Pain and Trey Songz hooks don’t really help matters (even though I like Trey Songz hooks), because both of these hooks sounds pretty damn forced. I was singing a little to the T-Pain hook, but the Trey Songz hook is one of the most laziest I’ve heard in a while. Yet, all of this is merely coasting for the young star, so I expect more from him.

So exactly why am I pulling so much for the young star, even if my comments seemed so deragatory? It’s pretty much all due to the impressive production and engineering skills the young singer has. Two songs specifically show the varied production schemes that Maejor can exhibit, and these songs are July and She Was (A Broken Love Story) July has a twinkling, innocent flair to it’s small pianos and plucking strings, with Bei Maejor singing about an unknown woman whose due date is July, along with a coasting Drake verse. She Was (A Broken Love Story) is a story about a young football star, and just requires a listen to get through. Yet, what wins this over is the production, with this song starting with an A Milli styled -strings introduction, and then continuing on to a teeter-tottering strings and acoustics train, as the story accelerates at an exhilirating pace.

As we conclude with Facelifts & Waterfall, a rather standard song mostly interesting for the confessional / biographical nature that Bei Maejor takes, we're pretty much left with a pop-debut album, if anything. Bei Maejor was someone I didn't really get into in my inital listens, because I pretty much expected a typical Jason Derulo, Range, or Iyaz kind of person, someone that wasn't interesting or distinguishable from the numerous established acts. Instead, what I got was someone else, an aspiring artist that's previously established himself in the industry, but not in the mainstream world, where he truly belongs. Bei Maejor isn't extrodinary, in either singing or rapping, but what I previously stated about The-Dream, Bei Maejor knows how to make the song, and these songs happen to make albums.

B-Sides (Review) - Nesby Phips.

2010-08-08T21:14:00.003-04:00

(All songs produced by Nesby Phips unless noted)

1. Aircraft Carrier | 2:01 | 3.5 - 3.75 (Produced by Sara)
2. Easy Peasey Japanesey | 3:03 | 3.5 - 4 (Produced by DJ Maxmillion)
“Plots getting thicker, I’m seeing the antagonist / Could you please step off the table with your dragon breath.” Reminds me of a Curren$y-lite here, especially with the nice Prioritize reference here.
3. Early Bird | 2:47 | 3.25 - 3.5 (Produced by DJ Maxmillion)
“And I don’t land unless you meet my demands / Simply lemonade, two call mic dope sound man.” The production grows dull though, even with the rumbling guitars.
4. Real Playas (Toughen Up) (Featuring Kosher Beatz) | 3:47 | 3.25 - 4 (Produced by Lazy Mane)
“Advanced eloquent / Tell him about that man whose gripping mic stands with that elephant.”
5. Say My Name (Featuring Side A) | 3:01 | 4 - 4.25
6. Inside Lookin Out | 2:52 | 4 - 4.5 (Produced by Ski Beatz)
“I try to walk it like I talk it, in a jesus fashion.”
7. Toughpills (Featuring Don Cannon) | 1:51 | 4 - 4.25 (Produced by Pete Rock)
Exactly what does the Don Cannon ad-libs have to do with the song?
8. The Avowal | 2:48 | 4 - 4.5
“Keep it consistent like beans and rice.”
9. 3 The Hard Way (Featuring Rugz D. Beweler & Da$h) | 4:30 | 3.75 - 4
The production and Phips just overshadows everyone else.
10. Midnight Oil (Featuring Jon Mecure) | 7:07 | 4 - 4.5 (Produced by Jon Mecure)
The production is just plain ridiculous.
11. Word To These Bo Jacksons | 2:34 | 4 - 4.5
I’m still not sure what the shoe has to do with the song.

Overall: 41.25 - 45.75 | 75 - 83% | 3.95 / 5 | Solid; few major reservations; TRY IT

I really can’t put words to this mixtape that’s practically an album.

Nesby Phips has had a definite steady rise, and it really helps that he’s affiliated with the Bluroc / Creative Control line of artists, since the influence of rapping contemporaries Wiz Khalifa, Tabi Bonney, and especially, Curren$y has had quite an effect on his rapping skills. I was first introduced to Nesby Phips on the Curren$y track Mazaltov, and while a respectable production, it really wasn’t enough to get me interested in Nesby Phips as the artist. Time continued on, and my eyes and ears had perked interest, especially with the tracks after that, such as the addicting Supply, off Wiz Khalifa’s Kush & Orange Juice, or Tabi Bonney’s Radio. Again, respectable tracks, but it still wasn’t really registering on my radar, but yet, time soon followed on.

However, the huge moment came when I listened to Prioritize (Beeper Bill), off Curren$y wonderful album, Pilot Talk. The bed of wailing synths, and the simple percussion was heaven upon my ears, and Nesby Phips guest verse truly cemented his spot in my “hot rappers buzz list.” When this mixtape came out, I quickly snapped it up.

After listening to this mixtape several times, it’s definite Curren$y has had quite an influence upon the rising rappers lyrics, with Nesby Phips subconsciously making references to the ordinary, the unordinary, and the everything else in between. Nesby Phips, much like his contemporary cannot stay on one subject for too long, discussing topics such as his cementing in the rap society, making ladies say his name, trying to boast a little bit, or really, just plain anything that sets in his mind. Nesby Phips is definitely a headphones rapper, considering you have to listen to what he says in order to follow. That listening is also rewarded, with strokes of genius, and some of these genius quotes have been posted up to show you.

While Nesby Phips lyrics may sometimes may not register in peoples minds, it’s obvious that Nesby Phips knows his true calling is his production skills. While affiliates Sara, Ski Beatz, DJ Maxmillion, Pete Rock (Very, very surprising) and Jon Mercure certainly don’t slack on their guest spots, it’s definitely Nesby Phips own production that steals the show, and made my decision of this. Say My Name is a minimalist bass-heavy, vocal sampling track that sharply contrasts with the subject matter. The Avowal shows the commanding strings that dominate the track, with some small percussion tidibits keeping tempo. 3 The Hard Way flips a soul sample a la Madlib, and uses that sample throughout the track, and Word To These Bo Jacksons uses more strings and violins, giving off an almost-paranoid atmosphere, as Nesby Phips just asserts himself more. The production is truly some of the best I’ve heard all year, and it really makes me fiend for more of his work.

Nesby Phips is someone you can’t really describe, considering his production and lyrical palettes go all around the place. Yet, that’s one of the best things about this mix-album. The complete randomness of Nesby Phips lyrics, whether comparing his lyrical presence to an elephant, or plainly stating that this rap stuff is “easy peasey japaneasy,” it’s certainly a creative, and interesting artistic message Nesby is providing here. Simply, a great mixtape, that leaves many opportunities for the newcomers and the previous fans to savor.

http://www.zshare.net/download/78557041800a484e/

Politics As Usual (Review) - Termanology

2010-08-05T21:10:00.002-04:00

(All songs produced by DJ Premier unless noted)

1. It’s Time | 0:53 | 3 (Produced by Easy Mo Bee)
There’s absolutely no point to this, maybe it’s supposed to provide warmth?
2.Watch How It Go Down | 4:01 | 4.5 - 4.75
3. Respect My Walk | 3:03 | 3.25 - 3.75 (Produced by Buckwild)
Should’ve been the last track, though I can see why The Chosen was also picked.
4. Hood Shit (Featuring Prodigy) | 3:55 | 3.5 - 4 (Produced by Alchemist)
5. Float | 3:15 | 3 - 3.25 (Produced by Nottz)
I like the sampling at the chorus though, but it doesn’t have that feeling you’re supposed to have.
6. Please Don’t Go | 4:27 | 3 - 3.25 (Produced by Nottz)
At one point of time, I used to absolutely adore this song, but now it’s become too repetitive.
7. How We Rock (Featuring Bun B) | 3:57 | 4.5 - 5
Remember when Bun B actually sounded inspired? Sorry Term.
8. Drug, Crime, Gorillaz (Featuring Sheek Louch & Freeway) | 3:52 | 3.25 - 3.75 (Produced by Nottz)
Insanely energetic preformances.
9. In The Streets (Featuring Lil’ Fame) | 3:54 | 3.25 - 3.5 (Produced by Hi-Tek)
10. So Amazing | 3:53 | 4.5 - 5
“You know a good thing when you see it.”
11. Sorry I Lied To You | 3:04 | 3.5 (Produced by Large Professor)
12. We Killin’ Ourselves | 3:58 | 3.5 - 4 (Produced by Pete Rock)
If only they worked on that chorus.
13. The Chosen | 3:26 | 3.25 - 3.75 (Produced by Havoc)

Overall Rating: 46 - 50.5 | 71 - 77% | 3.7 / 5 | Impressive; well above average; TRY IT

This album came out at a time where I was recently getting introduced to the rap genre in general. I was quickly snapping up any hyped up rapper, and this album just came into the mix. Upon my initial listens, I constantly put this album in rotation, and at one point, I easily loved one of these songs, such as Please Don’t Go, which I absolutely loved at one time, or Drug, Crime, Gorillaz, another track that I also previously adored.

Yet, nostalgia can only go so far as to determining the albums quality.

Obviously, we have a stacked producer list, considering we’ve got the obvious greats such as Pete Rock, Large Professor, Easy Mo Bee, and also the consistent well-knowns, such as Hi-Tek, Alchemist, Buckwild and of course Nottz. All of the producers pretty much provide consistent productions, with Alchemist, Buckwild, Pete Rock & Havoc providing more interesting production for each of their individual songs. Nottz, however, pretty much takes the L here, considering providing three songs in comparison to all of these greats, is a lot to handle. However, if I was given a instrumental tape out of just this album, I would’ve been a much happier person.

However, we cannot forget the surprisingly prolific, legendary DJ Premier. DJ Premier pretty much provided the foundation for this albums score, with all three of his productions sounding straight classic from the first listen to the fifteth listen. You can easily tell the quality, with all three tracks having individualistic features that aren’t usually set, such as the triangle hits on How We Rock, the funk-throwbacks of So Amazing, or the explosive strings on Watch How It Go Down. This was pretty much the obvious thing for myself to say, so nothing important here.

One time, I always wondered why this album wasn’t considered a great album. Termanology had the flow, the swagger, and the lyrics, but yet, he didn’t have that certain ability. That certain ability was to make a song. Sure, all of the DJ Premier productions are pretty much just lyrical lines again and again, it’s more apparent in other songs, such as Drugs, Crime & Gorillaz or Respect My Walk. It just seems like Termanology is just spitting lines continously, just to get to the end of the song. Even songs such as Please Don’t Go have to constantly be injected with those slick lines just to get through to the end.

There was a quick sample in So Amazing that simply said, “You know a good thing when you see it.” Do you really have to be concerned about whether rappers like Termanology can be introspective, reflective or other things that they aren’t? Not really.

http://www.megaupload.com/?d=abkoceuo

The Dissertation: The Wu-Thesis (Review) - CurT@!n$

2010-08-03T22:12:00.000-04:00

1. The Dissertation Enterlude | 1:17 | 3 - 3.5
2. The Rebels Theme | 2:18 | 3.25 - 3.5
Some of the parts just sounds like ramble.
3. 36 Chambers Of Death | 2:44 | 3.25 - 3.75
“Turn your brain into confetti, come party with me.”
4. 2 Sports Cars (Featuring Dom Kennedy) | 2:16 | 4 - 4.5
“Ass so fat she made a nigga crash on his bike.”
5. Get It (Featuring Diz Gibran) | 2:29 | 3 - 3.25
6. The Dissertation Introlude | 1:52 | 3.75 - 4
“Niggas holla mason, but they don’t know what the deal is / But they ain’t architects or builders.” Reference to...?
7. The Gentrification | 2:23 | 3.5 - 3.75
I understand what gentrification means but it’s a flawed concept here.
8. Crime Heights 11213 | 3:10 | 3.5 - 3.75
“Niggas killed Jake, and his snake.”
9. Letter To The People Pt. 4 | 2:44 | 3 - 3.5
Production doesn’t fit the song subject.
10. The Message | 2:53 | 3 - 3.5

Overall Rating: 33.25 - 37 | 67 - 71 % | 3.45 / 5 | Good; detracting problems; TRY IT

So this mixtape can pretty much be explained in a sentence. Gangster/battle-oriented rapper decides to hop on and remix some vintage Wu-Tang productions.

Most of the mixtape is a good listen, with CurT@!n’s breezing through many of the tracks, such as the straight spitting “The Rebels Theme,” and “36 Chambers Of Death,” or the birds eye view-crime scene esque “The Gentrification,” and “Crime Heights 11213.” With varied production picks from the young rapper, their definitely signs of talents, showing verses differentiating his style from the others.

Specifically the main tracks that stand out are the typical heartbreaker women tales 2 Sports Cars, with a modern-twist, and The Dissertation Interlude, which introduces CurT@!ns storytelling ability, with a particular attention to detail.

Essentially, this mixtape is a very short listen, considering it’s a mere 24 minutes long. It’s an indictator of direction really, and you can’t really blame any mishaps or truly praise the highs, because it’s so short that you need more to prove it. Right now, CurT@!n’s looks like a solid rapper, fitting into a line of the many gangster/battle rappers to come. If he wants to stand out, then he should do it soon.

Because Of You (Review) - Ne-Yo

2010-07-27T00:55:00.002-04:00

(All songs produced by Shea Taylor unless noted)
1. Because Of You | 4:27 | 4 - 4.25 (Produced by Stargate)
Many people have criticized this song because it doesn’t follow the vein of Ne-Yo’s two most recognizable singles, Sexy Love & So Sick, but I feel that simplicity wins this over, at the very least.
2. Crazy (Featuring Jay-Z) | 4:21 | 4.25 - 4.75 (Produced by Ron “Neff-U” Feemster)
“But I didn’t, so maybe it’s good to be crazy, isn’t it baby?”
3. Can We Chill | 4:24 | 3.5 - 3.75 (Produced by Eric Hudson)
4. Do You | 3:48 | 3.25 - 3.75 (Produced by The Heavyweights)
While very skillfully done, I have a feeling this is rather overproduced at times.
5. Addicted | 3:46 | 3.75 - 4
Emulates the Michael Jackson-Prince subject matter well. “I apologize for having the ability to satisfy accurately.” Looks stupid on paper, but hilarious when you hear it.
6. Leaving Tonight (Featuring Jennifer Hudson) | 5:15 | 3.25 - 3.5 (Produced by Knobody)
I see the point of the little introduction, but Ne-Yo needs to learn the show, dont’ tell concept.
7. Ain’t Thinking About You | 3:41 | 3.25 - 3.5 (Produced by Eric Hudson)
8. Sex With My Ex | 3:39 | 3.5 - 3.75
I appreciate the off-tuned piano, adds some flavor.
9. Angel | 3:28 | 3 - 3.25 (Produced by Syience)
Production front never really takes flight, like an angel with no wings.
10. Make It Work | 4:09 | 4 - 4.25
Absolutely adore the chorus, one of the best uses of ayo in a long time.
11. Say It | 4:41 | 3.75 - 4 (Produced by Keys)
Includes one of the more experimental / successful production fronts on the album. A little overpowering at times though, but I believe that was the artistic direction.
12. Go On Girl | 4:21 | 3 - 3.5 (Produced by Stargate)
13. Spotlight (Japanese Bonus Track) | 4:04 | 3.5 - 3.75 (Produced by The Heavyweights)

Overall Rating: 46 - 50 | 74% | 3.7 / 5 | Impressive; well above average; TRY IT

When I read a review online for this album, I glanced over someones opinion where they compared Ne-Yo to Michael Jackson, and supported it with quite some evidence. While I dismissed this at first, when I listened to this album again, I saw the similarities and the deceased singers personality in Ne-Yo’s veins, with songs such as Addicted.

Ne-Yo is a deceptively simple artist when you look upon his albums. While he was a tad immature upon his last album, In My Own Words, this album shows the more experimental side of Ne-Yo, providing more strong vocals and a more stable, refined production front. Again, the simplicity of Ne-Yo, whether it be singing about going simple crazy for a girl or wanting to chill with a girl, is an easy, relatable expierence, and quite simply put, enjoyable. Most of the producers are consistent upon the album, with no one really hampering the tempo, rhythmn or harmony of the album in any way, and most of the efforts done here show genuine skill, particularly Ron “Neff-U” Feemster.

Continuing on with my praise of Ron’s production front upon my personal favorite song, Crazy, Ron provides the simple bed of hand-claps, drums and a twinkling piano that continues on throughout the song, as simple elements such as the plucks of a string, or the rumbling bass are added throughout the song and choruses. Ne-Yo’s topic matter, while certainly not original is heavily supported from the deftly quick Jay-Z verse and the soulful crooning. It’s certainly more of a background song, with the Jay-Z part coming and going quickly, while still being memorable, and the Ne-Yo singing just allowing you to think about that special someone.

While I stated that there aren’t really any moments that hamper the album significantly, there are points throughout the album that succeed more than the standard. The title track is certainly something, yet this something was criticized a bit for not replicating the same feelings as Ne-Yo’s singles, Sexy Love & So Sick. While all three of the songs were produced by the common collaborator (and highly skilled) Stargate, I think Because Of You is the most subtle, which helps it a lot whenver you feel up for the listen. It’s not as demanding on the ears, and that’s the charm of this song, and the album as a whole.

Songs like Can We Chill, Make It Work, Sex With My Ex or Addicted are strong songs on the album, with the production and topical matter meshing together seamlessly. Addicted features a nice Michael Jackson/Prince emulation, talking about a girl that may be addicted to him, for sex or not for, but eventually leading to sex. Can We Chill is a breezy pop song about the simple asking of a date that anyone would appreciate, and Make It Work features one of Ne-Yo’s best choruses in a while. Sex With My Ex features a risky-production front, with the helter-skelter features, but works as a whole.

The only true flaw in the album, however, is the single, Go On Girl. While Stargate provides a nice acoustic production, it seems rather similar-sounding to With You on Chris Brown’s album, who eventually did it better. It’s certainly not a bad song, but it just seems like a blatant pop moment for me.

I really wrote this review quickly, because I already knew everything to say before hand. I’m going to keep on repeating this same theme over and over, but only because it’s true. The true charm in this album is the simplicity of it. It seems so long ago that the R&B landscape had some mere innocence in it, yet now, we’re plagued with random R&B nobodies (Not The-Dream, R.Kelly, Trey Songz, or established acts already known, lets not twist my words) trying to constantly sing about sex, drugs, and money profusely. All of the album has a comfortable atmosphere around it, whether it be Crazy, Sex With My Ex, or Spotlight, all of the elements truly work. It’s a comfortable and charming listen, and proves that you don’t have to be extravagant to provide a good piece of work.

Anticipation (Review) - Trey Songz

2010-07-25T23:55:00.001-04:00

(Produced by John “SK” Mcgee & Troy Taylor unless noted)
1. Famous | 3:39 | 3.75 - 4
2. Showerlude | 1:20 | 3 - 3.25 (Produced by E.Miles & Troy Taylor)
3. Scratchin’ Me Up | 4:08 | 4.25 - 5 (Produced by Troy Taylor)
4. Does She Know | 4:07 | 3.25 - 4
5. Infidelity | 3:43 | 4 - 4.25
“How do you fix an love undone, how do you know if you fit to love someone?”
6. You Belong To Me | 3:54 | 3.75 - 4
7. More Than That | 4:06 | 3 - 3.25 (Produced by Troy Taylor)
8. On Top | 4:15 | 3 - 3.75
9. It Would Be | 3:40 | 3 - 3.25 (Produced by Troy Taylor & Patrick Hayes)
10. Make It Rain | 3:59 | 3 - 3.75 (Produced by Eric Hudson)
You should listen a little more, it’s hilarious.
11. Yo Side Of The Bed | 4:10 | 3.5 - 4 (Produced by Troy Taylor & Patrick Hayes)
12. She Ain’t My Gurl | 4:06 | 3.25 - 4 (Produced by Young Yonny & Troy Taylor)
13. Successful (Featuring Drake) | 3:34 | 3 (Produced by 40)
Mainly gave this rating because I felt that this really isn’t part of the mixtape, yet the mixtape garnered enough respect for me to help it out.

Overall Rating: 43.75 - 46 | 67 - 71% | Good; detracting problems; TRY IT

For some reason, I tend to listen to this mixtape more than his albums that came out, Ready and those other previous flops. I assume it’s because Trey Songz stays in his lane here, with twinkling, friendly, piano-laden productions from the usual suspects here. Whatever it is, I still don’t mind, considering the section of Famous to You Belong to Me is one of the more played sections whenever I’m in one of those moods.

While Trey Songz isn’t doing anything real special here, it’s the subjects that he covers (sexing a girl to make her famous, having sex, beds, more sex, and love problems, and such) that he tends to do well upon. Famous is a nice song because it sounds comfortable, as does Scratchin’ Me Up (Great R. Kelly themed song), and Infidelity is quite a song for Tremaine to croon over. Eventual album cuts You Belong To Me & Yo Side Of The Bed are quite simply put, songs that work.

While certainly not revolutionary, it’s one of the more consistently played because I feel that I know what to expect, and whatever I hear I know that I can relate at that time. Of course, the repetitive nature is what hinders the eventual outcome of this album, and it’s pretty much meant as a project to listen and then come back for a little bit.

Fan Of A Fan (Review) - Chris Brown & Tyga

2010-07-25T18:59:00.002-04:00

(All songs produced by K Mac Beats unless noted)
1. Intro | 0:40 | 3
2. What They Want | 3:12 | 3 - 3.5
Chris Brown goes on to repeat the poland spring / wet metaphor several times more.
3. Drop Top Girl | 2:37 | 3 - 3.25
4. Dueces (Featuring Kevin Mccall) | 4:23 | 3.5 - 3.75
Now that this is an official single, I’m interested to see how this will do, for all of the artists, including K Mac. In terms of breakup songs, it’s better than the general standard.
5. No Bullshit | 4:06 | 3 (Produced by Tha Bizness)
Should’ve replaced that Tank track on the album, since this seems less forced
6. 48 Bar Rap | 2:33 | 3.5 - 3.75 (Produced by Jahlil Beats)
“Two girls at the same time, what the fuck?”
7. Ballin’ (Featuring Kevin Mccall) | 3:33 | 2.5 - 2.75
“I’m ballin like a bitch,” a la Lil’ B style.
8. Middle Talking | 0:20 | 3
9. Ain’t Thinking About You (Featuring Bow Wow) | 3:55 | 2.5 - 3
10. Like A Virgin Again | 3:35 | 2.75 - 3
Real original rap Tyga. Or is it Chris Brown? I really couldn’t tell the difference here.
11. Have It (Featuring Kevin Mccall) | 4:02 | 3 - 3.5
12. Number One | 3:44 | 3
Is it me, or does the piano sounds exactly like the one used on Ain’t Thinking About You?
13. Make Love | 3:43 | 3 - 3.25
This track grows a little bit over time, since the cartoonish production was offsetting at first.
14. I’m So Raw | 1:57 | 4
“I’m so raw, turn the oven on / Chef Papa John, I get the parmesan / She want a yellow nigga, corn on the cob / Indian giver, slob on my knob.” It sounds better when Tyga pronounces the words. The production is a rendition of I’m So Appalled, so whoever re-engineered & mastered it, I’m very impressed.
15. I’m On It (Featuring Lil’ Wayne) | 2:54 | 3.25 - 3.75 (Produced by Calvo da Gr8t)
16. Movin 2 Fast | 3:29 | 3 - 3.75 (Produced by K.E On Tha Track)
Reflective Tyga is a success.
17. Regular Girl | 3:31 | 3 - 3.75
18. Outro Talking | 0:45 | 3.5
“Auegh!”
Bonus Tracks
19. G Shit | 4:04 | 4 - 4.5 (Produced by Jahlil Beats)
Blissful ignorance during the summer. These are the kind of tracks that should’ve been on the album.
20. Holla At Me | 3:15 | 4 (Produced by Jahlil Beats)
“I bag bad bitches, motherfucker Kat Stacks.” What?

Overall Rating: 63.75 - 66 | 64 - 66% | 3.3 / 5 | Good; detracting problems; TRY IT

I was relatively interested in this project; due to the relatively growing buzz of this collaboration mixtape, and the fact that Tyga was slowly growing buzz from me. With his “One Verse, one hearse,” series, and his constant stream of freestyles, I was willing to let my original impression slide away. It really helped that the standout tracks G Shit & Holla At Me came out before the project.

There are many typical R&B Chris Brown tracks dominating throughout the album, but that’s to be expected. Unfortunately, most of the tracks tend to be quite average, with the post-middle section (Ain’t Talking About You to Make Love, excluding Have It) to be the generic tracks that the general critic populations seems to despise excessively. It’s more because of not the production fronts by K Mac, it’s just that the topic of what’s being sung is frankly, quite typical. Chris Brown has definitely been doing this for some time, so I definitely don’t expect him to change his ways.

However, there are some nice Chris Brown singing highlights, which are mostly on the rap-themed tracks and also the beginning section, primarily. Drop Top Girl, the first of many Chris Brown singing ventures to come talks about the simple girl who drops her top. It’s a cute, summery song, and retains that Chris Brown innocence factor. No Bullshit, a supposed leftover from the album, has Chris Brown talking about how he’ll do a girl without any bullshit, exenuating the solitary feeling with a couple of hard hitting congas and pianoes. Not to say these tracks are really different, but it’s a little better than most of the tracks on the album.

Chris Brown also has these times where he just wants to go straight fly / stunna mode on the crowd, and to say the least, they do work. What They Want & Have It are generally acceptable tracks, with Chris Brown rapping over and over on minimalist tracks, with a delievery & beat preference inspired from his fellow contemporary, Tyga (Who also happens to rap on Have It) 48 Bar Rap is a more interesting turn from the singer, mostly because the superior Jahlil Beats produces upon it, and gives a wobbly-synth dominating track for Chris Brown to rap about stuff. Chris Browns raps however, do seem forced, and excessively tries to go the battle / pretty boy rapper lane.

Tyga, as the other contributor to this mixtape easily surpasses Chris Brown, whether it be on the tracks they rap on together, or with Kevin Mccall. Tyga’s three main songs in the end of the album, mainly I’m So Raw are defintely indicators of what is really to come for the young rapper. I’m So Raw, with the interpolation of the Kanye West produced, I’m So Appalled, allows the young rapper to stay in his niche of combining the youthful swagger and the punchline-laden raps that he’s been secretly developing. I’m On It provides a askew production front from Calvo and Movin 2 Fast provides something a little extra compared to the typical Tyga tracks.

Of course, now it’s when they work together is more interesting. While the synth-roller Ballin, obnoxious-drum influenced Number One, and the jazzy-organ rumbling Regular Girl are all nice pictures into their collaborative skill, it’s mainly the Deuces track, and the two promotion / bonus tracks that truly stand out. G Shit isn’t revolutionary in any single way, but the Jahlil Beats inspired production allows the breeziness (no pun intended) and summer feel to cascade all over the typical fly pretty boy lyrics from both Tyga & Chris Brown, with neither person dominating the track. Holla At Me is another Jahlil Beats jerking-style production that allows both rappers to do the typical and succeed at it again. Dueces is an interesting trio combination that allows all of the rappers to talk about “chucking up the deuces.” Nothing overtly dominates the other, and it’s another success.

If we’re on the topic of producers, simply Jahlil Beats is a far superior producer to K Mac Beats. K Mac Beats, while certainly not average, he just panders to Chris Brown & Tyga with his productions, and that’s not really something that I can criticize. Jahlil Beats has made his start on this mixtape, so I expect more from him to come.

Essentially this is more of a Chris Brown mixtape featuring Tyga, but that’s to be expected; considering Chris Brown is hastily trying to get back into the industry from his controversial situations. Of course, being a Chris Brown & Tyga mixtape, you’re going to get the usual teenager-pandering subjects, which is of course, girls, more girls & themselves being fly and better than everyone else. That, while many would tend to discriminate against it, shouldn’t be given a double standard because it’s what Tyga & Chris Brown just tend to do. Both have to appeal to their crowd, and both of them do it in a successful, cohesive way, with this album not lagging or becoming excessively boring. A definite project to listen to in the summertimes ahead.

Sidenote: I understand that this review was excessively long (pause), but we’re discussing about my generation here, and while it’s not the highly sophisticated of subjects, it’s sitll relevant to some extent.

5:01 Overtime (Review) - Laws

2010-07-24T20:52:00.003-04:00

(All songs produced by J.U.S.T.I.C.E League unless noted)
1. Overtime | 4:07 | 3.5 - 3.75
Beyond me why they give someone not on their label such as Rick Ross excessively superior productions, rather than giving their main artist a rehashed Maybach Music (Ironic isn’t it?)
2. If I Could Change (Featuring Blazed) | 3 - 3.25 (Produced by The Kaliphat & Paperboy Fabe)
3. Hold You Down (Remix) (Featuring Emilo Rojas & Big K.R.I.T) | 3.75 - 4 (Produced by DJ Khalil)
Never knew Big K.R.I.T would sound comfortable in this kind of production.
4. Believer (Featuring Jason Caesar) | 4:33 | 3 - 3.25 (Produced by Da Honorable C.N.O.T.E)
5. Audio Savior | 3:19 | 3.5 - 3.75 (Produced by Illmind)
I have a lot of tough love for this song.
6. 5:01 Interlude | 1:07 | 3
7. Illumination | 1:57 | 3 - 3.25 (Produced by Benjamin Plant)
8. Number One (Featuring Jay Rock) | 3:42 | 3.5 - 3.75 (Produced by S-Type)
I love the way Laws starts out the third verse, one of my more favorite parts of the album.
9. Murder | 4:25 | 3 - 3.25 (Produced by Tn2 Productions)
10. This Is Me | 2:38 | 4 (Produced by L.A Da Craftzman & Feb. 9)
The beginning few seconds is my favorite part, though the production grows on you nicely.
11. Wall To Wall | 3:20 | 3 - 3.25 (Produced by Benjamin Plant)
The speech should’ve been put somewhere else, since the production doesn’t convince me.
12. Vintage Futuristic 2 (Featuring Funkghost) | 3:26 | 2.75 - 3 (Produced by M-Phazes)
13. Want It All | 2:57 | 4 (Produced by Feb 9)
Adore it when the production switches up to, “Ask about my race we gonna beef like bistroes....”
14. Flashback | 5:04 | 3.25 - 3.5
If anything is interesting, it’s the verses.
15. Shining | 4:23 | 3.75 - 4 (Produced by 9th Wonder)
16. My Chick (Featuring Don Primo) | 2.5 - 2.75 (Produced by Benjamin Plant)
17. Hustle (Featuring Mason Caine) | 3:22 | 3.25 - 3.75 (Produced by L.A Da Craftzman & Feb. 9)
Maybe I don’t take them seriously because of how the rappers sound. Catchy chorus though.
18. Colors (I Don’t Care) (Featuring Calvin Harris) | 2:51 | 3.75 (Produced by Calvin Harris)
“I rhyme up or whatever / Swing by the crib we could fuck or whatever.”
19. So Nice (Featuring Jason Caesar) | 3:09 | 4 (Produced by S1 & Caleb, co-produced by Apple Juice Kid)
20. We Like It | 3:46 | 3.25 - 3.5 (Produced by Da Honorable C.N.O.T.E)
21. Runaway | 3.75 - 4
Laws is quite a storyteller, like the fact that he gives more details than other rappers.

Overall Rating: 70.25 - 74.75 | 67 - 71% | 3.5 / 5 | Good; detracting problems; TRY IT

Mainly, the problem with Laws is the production that he chooses. Sure, he sounds comfortable on basically any production you give the kid, but that’s no excuse for the producers to give such dull, original beats. Producers such as Benjamin Plant, Da Honorable C.N.O.T.E, Tn2 Productions, M-Phazes, and even the ever-consistent J.U.S.T.I.C.E League really drop the ball here, giving dull, electronica-tinged production fronts. While that kind of production isn’t a crime, the way it’s presented makes me wonder what would happen if Laws recircuited better producers for the album.

However, not all the problems lie in the production, though that’s really the main issue that the rating detracts from. Laws is primarily a battle / punchline rapper as evidenced by many of the tracks here, and I completely understand if Laws tries to appeal to the mainstream or other groups, but when you have tracks such as Murder, or Hustle, it’s really hard to take Laws seriously, because Laws sounds rather uncomfortable in these kinds of songs, and his voice on these songs doesn’t help matters either. Of course, the mainstream Laws has to be explored also, and while songs such as My Chick and Vintage Futuristic 2 are admirable attempts, they come off as another typical attempt in the end.

Yet, I still previously stated that I still appreciate the energy that Laws brings to the tables. Consistency is brought on with tracks like the fan-favorite Hold You Down (Remix), which has a double-timed Emilio rapping for his life, Big K.R.I.T sounding consistent as usual, and also a rejuvinated Laws attacking the wailing, guitar influenced production of the quickly rising DJ Khalil. Songs such as Audio Savior, Number One, Runaway or Shining show that Laws is definitely not someone to ignore in the long run. While Audio Savior and Number One are mostly the boasting and bragging topics that Laws tends to discuss, Shining is an interesting 9th Wonder production that allows Laws to reflect upon him “shining” in the music industry. Runaway talks about an unnamed breakup that Laws had, describing the journey ever so vivid.

There are also tracks which I appreciate, which are the actual legitamite mainstream attempts, which are the Calvin Harris produced synths track of finding women in different colors, or the typical Laws boasting track of So Nice, with personal favorite producers S1 & Caleb, and added with a little go-go flavor from Apple Juice Kid.

However, my favorite songs on the album were definitely the songs that were produced by L.A Da Craftzman and Feb. 9, two unknown producers who prove their worth to Laws. As a duo, they produced Hustle & This Is Me, with This Is Me becoming a crazy helter-skelter rolling drums track, allowing Laws to represent himself. Feb. 9 also provides a solo track upon his own, with a conga, strings drowning type of track, which is quite intoxicating.

The question of whether the wait for 5:01 Overtime was actually worth it, and I believe it was. While you’re not exactly getting a true sequel to the original 4:57, you’re getting a couple of nice listenable extras, mostly the Hold You Down (Remix) in a nice album form, and tracks you’re left to determine whether it’s discarded or kept. Besides, this tape isn’t in the DJ version, eliminating the useless Rock and Roll Survival track that existed before, and the Don Cannon drops.

From what I see about Laws, there are many quirky element that he shows.

Laws is a rapper that needs to have the right elements to make himself appeal to the mainstream. I was recently watching a quick freestyle he put out a couple of days before this came out, which was Last Day (Pharcyde Freestyle) where Laws literally described the last day of work on the classic Passing Me By track. I kept on listening to that specific track, because it showed that Laws could actually tell a story, and also proved me something else. Laws is someone that should be listened in burst intervals, not because he’s a bad rapper, but his whole persona tends to get dull after a while. Yet, that shouldn’t be a reason that you shouldn’t listen to this original album. Laws is definitely someone that I’ll be looking out for in the future, however he must fix his flaws.

However, these are one of the rare times I wish I seriously could’ve given this album a higher rating, because I still appreciate Law’s evergoing charisma, as he is constantly adapting to every track he goes on, whether it be electronica, rock, or hip hop based production.

Say What's Real: Everybody Has A Story To Tell - QuEST

2010-07-23T00:52:00.002-04:00

"Now everybodies doing the honest route, and honestly thats what I tend to rhyme about."

Shit, next time I'm not going to sleep.

http://www.youtube.com/watch?v=UQ1rv1rb6-E

On Some Bee Buzz: Willie Da Kid & Lee Bannon

2010-07-20T16:30:00.004-04:00

I was attempting to write some quick verses just for satisfaction, when I glanced upon a previously downloaded track, Sky Miles, with Curren$y. I realized, these are the kinds of joints that I like for a couple of minutes, mostly because their short, easy to rap over and they have a concise feel.

Then I realized, these tracks were all by Willie Da Kid, a lyricist I dimissed because of his surroundings, and the seemingly generic factor he had surrounding him. Of course, I picked up all the tracks that were going to be on this aptly titled EP, Never A Dull Moment. It seems correct, and a budding concept that other artists should follow, short, cinematic-produced tracks with a quick verse or two, and just moves on. This A.D.D concept is an interesting one, and three rappers I definitely would consider of doing it is Curren$y, Rick Ross & Tyga. It seems that a punchline-ridden, flowtastic verse always works.

Even more interesting is Lee Bannon. While I've never really heard of him (Downloading some stuff now, actually), these productions that he does for Willie Da Kid seems themed, catering towards some specific topic that Willie's gonna start talking about, which is usually The-Game kinda topic, the talking shit about anything topic. Works quite nicely.

I'm going to give Never A Dull Moment a good rating in my book, because it's forming terribly nicely. While Willie Da Kid isn't necessarily the greatest rapper ("Soft like a marshmallow" isn't really a gut-grabbing metaphor, while Lost In France is a great concept in it's own) Lee Bannon however, he's definitely someone to look out.

So, on some bee buzz shit is Never A Dull Moment EP in my eyes.

Sky Miles (Featuring Curren$y):
http://www.youtube.com/watch?v=WryeAOarpC8&feature=PlayList&p=0DBDF117278945E6&playnext_from=PL&playnext=1&index=1

I mean, obviously Curren$y's verse exposes Willie Da Kid, but the way that this track is designed is just to let the rappers just rap on and on about the same, comfortable topics.

Lost In France:
http://www.youtube.com/watch?v=88hxZGNH3-4

I've already stated it, but it's a concept done right.

Hickory Smoke:
http://www.mediafire.com/?76aq4hk5rm4vvjw

Again, cementing the Lee Bannon production front.

Say What's Real: Houstalantavegas - Drake

2010-07-18T02:31:00.004-04:00

"We all got dreams and we all star reaching, all star peaking, all star weekend"

Let's see if Drake can replicate this feeling again.

http://www.youtube.com/watch?v=K1Cl4UkJXhA

Exclusive (Deluxe Edition) Review - Chris Brown

2010-07-17T22:51:00.003-04:00

(All songs produced by The Underdogs & Rob Knox, unless noted)

Throwed | 3:02 | 4 (Produced by State Of Emergency & Bryan-Michael Cox)
This song is so innocent, some people should just listen to Chris Brown sometimes.
Kiss Kiss (Featuring T-Pain) | 4:11 | 3 - 3.25 (Produced by T-Pain)
Never understood why this song was popular, maybe it was the T-Pain craze.
Take You Down | 4:06 | 3
Some bass would add the much needed warmth.
With You | 4:12 | 3.25 - 3.5 (Produced by Stargate)
Picture Perfect (Featuring Will.I.Am) | 4:13 | 3.25 - 3.5 (Produced by Will.I.Am)
Unlike Damn Girl, a similar subject-sounding song, this Will.I.Am feature wasn’t necessary.
Hold Up (Featuring Big Boi) | 4 - 4.25 (Produced by Andre Harris & Vidal Davis)
This song would’ve really helped on if it was put on Graffiti. Nice genuine moment here.
You | 3:22 | 4 (Produced by L.O.S. Da Mystro)
Besides the original name, Dream pens a successful song once again, successfully sung.
Damage | 4:17 | 3 (Produced by The Runners)
Just sounds standard, not necessarily bad.
Wall To Wall | 3:43 | 2.75 - 3 (Produced by Sean Garrett)
I can completely understand why this song wasn’t a hit.
Help Me | 3:17 | 3
I Wanna Be | 3:46 | 3 (Produced By Antonio Dixon & Eric Dawkins)
Gimme Whatcha Got | 3:48 | 2.5 - 2.75 (Produced by Jazze Pha)
I used to like this song, but then I realized the production really needed work.
I’ll Call Ya | 3:54 | 3 (Produced by Swizz Beatz)
Lottery | 3:41 | 3
Nice (Featuring The Game) | 4:32 | 3 - 3.25 (Produced by Scott Storch)
Hey, a Game rap that makes actual sense! Also, we get the change of pace here.
Down (Featuring Kanye West) | 4:17 | 3 - 3.25 (Produced by Bigg D)
Phoned in Kanye West verse, and overpowering production, on an otherwise nice song.
Forever | 4:38 | 4 (Produced by Polow Da Don)
This song is a straight hit.
Superhuman (Featuring Keri Hilson) | 3 - 3.25 (Produced by Harvey Mason Jr. & Oak)
Heart Ain’t A Brain | 3:41 | 3 - 3.25
Picture Perfect (Remix) (Featuring Bow Wow & Hurricane Chris) | 4:12 | 3.5 - 3.75 (Produced by Chris Brown)
Cuts off that really annoying Will.I.Am part I hate, and the pedestrian appearances don’t matter.
Fallen Angel | 5:32 | 3 - 3.25 (Produced by Bryan Michael Cox)
The vocal distortion is a little distracting, it gets a little irksome.

Overall Rating: 67.25 - 70.25 | 3.1 / 5 | 64 - 67% | Good; detracting problems; TRY IT

Let’s just forget all of the bias, controversey, and all the general situation just for a little bit.

It’s the year 2007, where Chris Brown was merely starting to become a force in the R&B-sex / booze fuckery inspired of a world, and compared to his many other contemporaries, which were generally Usher, R. Kelly & The - Dream (Who funny enough, wrote one of the best songs here), many people considered him to an emerging fresh breath of air, with his babyface looks and soulful singing about the more, innocent things in life.

Of course, this is generally a double-edged sword. While most general listeners appreciate the nature of Chris Brown’s lyrics, that doesn’t necessarily mean it provides an outlet for the most creative or inspired songs. Most of this album’s rating was hampered mostly because of the incessantly dull middle section, from the songs Damage to Lottery (Or the song, Nice, if you don’t feel it that much) Now, don’t get me wrong, these aren’t by any means terribly produced or sung songs, it’s the way their presented seems to be formulated to fit the mainstream needs, and not the artistic talent of Chris Brown himself. Soulful singing doesn’t get you away from singing the most dull of subjects, or the most uncreative of lyrics. There’s not much more I can explain about the middle section, morely because it just slowed down my receptors, and just caused me to speed up a little bit through it.

Again, a double-edge sword indeed, because there are also sparks of moments where Chris Brown truly shines. Admist all of the drab decorum that’s littered throughout the album, a few songs of interest defintely captivate the listener. Throwed, my personal favorite song on the album is a nice switch up of the production that we were used from Chris Browns go-to producers, with State Of Emergency giving an innocent vibe of the claps, bongos, congas and all of the bass drum kicks. It helps that Chris Brown talks about something else besides pleasing the ladies. Hold Up is also another interesting moment, where Chris Brown talks about the wait where he’s going to “meet the parents,” and see if he can date that “Miss Smith.” Big Boi’s preformance adds a little flair to the otherwise unchanging pace of the song. You, is also another song of note, because The-Dream pens a cute song for Chris Brown to sing the same subjects, but with a more mainstream twist. Nice, Down and the whole bonus deluxe edition songs do provide a little more variety than the norm, which is pretty nice, particularly Picture Perfect, because it shows some skill from Chris Brown as a producer, and his C-list contemporaries.

I felt like I should personally dedicate a section to the singles that Chris Brown had. Kiss Kiss & With You, two wildly popular songs (Especially Kiss Kiss) on the radio. While certainly above the average standard, it’s more of an example of how a little innocence really can bring success. With You, talking about the obvious or Kiss Kiss, a deceptive song about trying to appeal to a girl, are just little milestones to hop over for the young singer. Forever, the main reason why the Deluxe Edition was actually reviewed is definitely one of the main highlights. Mainly the start of Polow Da Don’s string of R&B hits soon to come over the years, and one of Chris Browns best vocal preformances, it’s quite a single that really appeals to the demographics it wants too.

Chris Brown is certainly not a weak artist, though the mainstream currently thinks so (They are starting to let go of that fifteen minutes of hate now, however) Sure, his lyrics aren’t necessarily the most revolutionary, but they show a consistency that most R&B artists fail to follow (Trey Songz on instances, Lloyd, Omarion, or even T-Pain), which is most definitely needed in this commonly sex filled, booze guzzling, one night lust loving landscapes. Sure it’s flawed, but it’s definitely worth a listen.

Jets + Boston Rich Boys? The Sam Adam & Curren$y duo

2010-07-17T21:20:00.004-04:00

I've always thought this duo, a straight quoted from itunes, "Mixing Shwayze-like beats, the caustic attitude of Kesha, and a tough version of suburban rap," kind of kid (whose been gaining steady fame), and a chill laidback weed smoker, wasn't exactly the correct duo. But yet, it works.

Firstly, there are many circumstances of why this supposed duo wouldn't work. Firstly, it's the material that both of these people present. With Sam Adams, it's pretty much frat music, electronica-synth sounds (Swang Your Drank, for example), or mainstreaming production with the dude. Curren$y is just pretty much all over the place, shredding anything. Oh, and Curren$y doesn't use ... auto tune.

So we have two songs here, Fly Jets Over Boston, and Walk With These, two hazy inspired tracks from emerging (and interesting, I would love to freestyle over this)) producer Xperiment, that apparently started with this collaborative project about literally Jets over Boston or something along the matter.

Take a listen for yourself:
Fly Jets Over Boston (Featuring Curren$y): http://usershare.net/zi4l0pwxrg5l
"You got screen door lyrics, we can see through em'."

I've noticed that Curren$y usually tries a little more on Sam Adams tracks, maybe it's the friend factor, or just that he wants to? Curren$y + Xperiment is a interesting project idea.

Walk With These (Featuring Curren$y): http://usershare.net/st2b6701z8pk
"When I already told ya to walk with these, guess you want me to lace them up for you too"

SHIT Curren$y, that's a nice opener. Sam Adams doesn't slack either.

Tunnel Vision (Hosted by DJ Drama & DJ Khaled) - Paypa

2010-07-15T21:42:00.003-04:00

1. Light Up - Freestyle (Intro) | 3:23 | 3 (Produced by Tone Mason)
Would’ve just been better if Drama just oversaturated everything else.
2. Paypa Cuts (Featuring Rick Ross & Dj Khaled) | 4:35 | 3
Rick Ross just killed Paypa, and the track.
3. Ha Ha (Slow Down) - Freestyle | 2:41 | 2.5 - 2.75 (Produced by Scoop Deville)
4. Paypa | 3:31 | 2.5 - 2.75
He’s really pushing the gimmick to it’s limits. The sample goes on for too long at the end.
5. Inkredible - Freestyle | 2:36 | 3 - 3.25 (Produced by Mr. Inkredible)
Rating is mostly because of the production, and the fact I haven’t listened to the original.
6. Giant | 3:13 | 2.5 - 2.75
7. I Am Bitches (Featuring The Game & Jim Jones) | 5:12 | 3.5 (Produced by Embryo)
Should thank Grandad “Bitches” Freeman for this.
8. La Cosa Nostra (Featuring Hayes) | 4:05 | 2.25 - 2.5
I like when Hayes starts out with talking about being a lawyer, but that’s it.
9. Frankenstein (Featuring The Menace & X.O of Black Wall Street) | 4:32 | 2.25 - 2.5
10. Billionaire | 4:13 | 2.25 - 2.5
I’m pretty sure even millionaires, or the general population don’t listen to this kind of music.
11. Kobe (Featuring Los) | 3:49 | 3 - 3.25 (Produced by Los)
Los might be the only one that actively takes influence from Soulja Boy. Hook isn’t as infectious as Pretty Boy Swag though.
12. Satellite | 3:24 | 2.25 - 2.5
13. I’m Cool | 3:21 | 2.5 - 2.75
14. Dope Boy (Featuring Ace Casino) | 4:16 | 2.25 - 2.5
15. Hey Joe (Featuring Seefor & Young B) | 3:37 | 2.5 - 2.75
Points for trying.
16. Unthinkable - Remix | 2:42 | 3 (Produced by 40)
17. The Corner | 4:10 | 2.5
Too original.
18. Not Afraid - Freestyle (Outro) | 3:33 | 3 (Produced by Boi-1da)
Could’ve not come any more original for an outro.

Overall Rating: 47.75 - 50.75 | 2.7 / 5 | 53 - 56% | Average; BE WARNED.

It’s certainly bad when an mixalbum comes out today and you have a review put up as quick.

Some rappers, like Paypa get chances from me (and anyone really) because of the singles that they put out, which in this case was, I Am Bitches. A simple song really, just consisting of simple organ stabs and highhat sixteenths, it was enough for me to invest a little interest in Paypa, mostly because someone told me that he was putting out a mixtape.

Of course, this is what we have here. Typical punchline laden rapper, rapping over (Very) uninspired production, dabbling in a couple of mainstream / established tracks, just to draw in some people in case the production doesn’t.

I think Paypa works best when he’s trying to not really convey a message (which is mostly in the middle - end of the mixalbum), but really when he’s just trying to do his usual independent thing. Tracks like Inkredible (I like the potatoes line), I Am Bitches or even Kobe, are decent enough tracks, because Paypa isn’t really trying to say something important, he’s just trying to say something.

Yet, there are so many unnumerable rappers that do that already, so why try this? Maybe if you’re a Miami citizen, and want to support your fellow brother, but really, you don’t gotta care about this.

Pilot Talk (Deluxe Edition) - Curren$y

2010-07-15T20:59:00.003-04:00

(All songs produced by Ski unless noted)

1. Example | 2:00 | 3.75 - 4
2. Audio Dope II | 4:10 | 4.25 - 4.5
“Spitta get this whole shit jumping like, kangaroo pouch, louis vutton, the small thangs make me different from these fools.” It just grows into more calypso-boom bap bliss.
3. King Kong | 3:01 | 4.75 - 5
Incredible when it’s dark and rainy, great any other time.
4. Seat Change (Featuring Snoop Dogg) | 3:51 | 3.5 - 3.75
The live instrumentation helps this song out a lot.
5. Breakfast (In & Out) | 2:50 | 4.75 - 5 (Produced by Mos Def & Ski)
I’ve memorized the whole song already, including the ad-libs.
6. Roasted (Featuring Trademark Da Skydiver & Young Roddy) | 4:25 | 4.25 - 4.5 (Produced by Monstabeatz)
“Olympic swimming in bitches Michael Leon, Phelps.” Everyone is consistent here.
7. Skybourne (Featuring Big K.R.I.T & Smoke DZA) | 4:16 | 4.25 - 4.5
8. The Hangover (Featuring Mikey Rocks) | 3:23 | 3.25 - 3.5
The chorus is intoxicating, especially when you’re walking early in the morning listening to this.
9. The Day (Featuring Mos Def & Jay Electronica) | 4.5 - 4.75
10. Prioritize (Beeper Bill) (featuring Nesby Phips) | 3:14 | 5 (Produced by Nesby Phips)
“That’s a mean pair of kicks, kudos love.” Not sure why this is my favorite line.
11 .Chilled Coughee (Featuring Devin Da Dude) | 2:08 | 3.5 - 3.75
This song over time has grown to be more humorous than originally thought.
12. Address (Featuring Stalley) | 3:07 | 5
13. Life Under The Scope | 3:04 | 5 (Additional production from Michael Sterling Eaton)
Deluxe Edition
14. Clothes Off (Featuring Klassik) | 3:41 | 3 - 3.25
I adore the moment where Curren$y’s opener goes back to his track “Sole Man” off his first official mixtape, but everything else is really dull.
15. Scaling The Building (Featuring Wiz Khalifa) | 3:58 | 4.25 - 4.5

Rating: 63 - 66 | 84 - 88% | 4.3 / 5 | Expectational; Repeated Listens demanded, BUY IT.

Sometimes, it’s not about what the artist really has to convey to us, it’s how he conveys the ideas and philosophies that he already knows to the best of his knowledge.

So it makes sense that Curren$y, armed with his Creative Control influences of the recently affiliated reinvigorated Ski Beatz, and his old buddies Monstabeatz and Nesby Phips, that Curren$y would proceed to talk about the same topics he’s been doing for the past five years or so, weed, women and the excessively fly society that he inhabits.

Already with the opener, Example, you notice the live instrumentation guitars strumming and the twinkling pianoes provided by the ever consistent Ski. There’s a lot of words that can be provided on the overwhelming beauty of the production that’s presented here. From the live “cabana” feel of Breakfast, or the brooding “king kong” synths on King Kong, the howling vocal samples repeated throughout Address, or the rumbling bass that hides under the pianoes on Life Under The Scope, Ski is an incredible producer, showing his versitality with the slow serenading piano jam feel of The Hangover, cartoon like piano plunks with the screwed up guitar, the calypso boom-bap feel of Audio Dope II, live instrumentation on Seat Change, switching up of productions on The Day, or the soothing piano airplane feel of Skybourne.

That’s not to say the remaning two producers slack off either, with common collaborater Monstabeatz providing a steamy, hazy piano line that drifts onwards, or the highlight, Nesby Phips, providing a brooding, moody synths jam that teases us with what can he provide next. Perhaps Nesby and Curren$y should do a project together...

Of course, this is a Curren$y album, not an attack of the producers persay. Of course, I’ve been following this guy for a couple of days now, listening to his mixtapes from the hype that surrounded him, starting from his eight mixtape bombardment til’ now. Sure, he’s been spitting the same things for so many years now, but on this mainstream release, they feel even more focused, have the same wit, hilarity and tightness to the beat that Curren$y’s perfected over the years. There are just innumerable verses and lines I could just list here all day, from the straight freestyled drawl of Audio Dope II, the pep shown in Breakfast, the hunger expierenced on King Kong, arrogance on Prioritize, and the reflective serenity of Address and Life Under The Scope. Curren$y rarely fails to impress, and it’s just shown even more gracefully here.

Of course, the guests don’t fail to dissapoint, though none of them surpass Curren$y on any given track. But that’s not to say none of the rappers are terrible, freshmen such as Trademark & Young Roddy don’t necessarily deliver their best verses, but delightful, weed-happy verses that would fit anywhere, or even affiliates Smoke DZA & Big K.R.I.T allowing their energy to fit in with the Curren$y mold. Of course, established acts, such as Jay Electronica do provide stellar guest spots, just not enough to surpass Curren$y, or Mikey Rocks with his sleepwalking verse. Even veteran Devin Da Dude, even though he preforms a stellar verse with his usual humor and raunchy mindset, and certainly the best in years, can’t even pass Curren$y on this track. Of course, these aren’t degragatory comments, but really all the guest verse compliment Curren$y quite nicely, and that’s the way it should be.

Curren$y is remarkable in his own specific catering, and also in the rap genre as well. (Though an insult) Compared to people such as Gucci Mane, Wiz Khalifa, or the majority of rappers, they all seem to be content with talking about the same subjects, where most trappers talk about the trap, their “jury,” and anything related to that, Curren$y is the weed equivalant, talking about weed, the fly and of course, women. Curren$y, unlike most rappers in his lane, chooses to layer slick wordplay, metaphors, and his own commentary mixed in, to make this kind of product, the intoxicating product that is Pilot Talk.

I’ve played this straight through everyday ever since the album came out, and this album does not fail to impress, growing on me more and more as the days went by. Sure, I initially thought the hype was too much for Curreny to truly deliver, but apparently to him, none of that really matters. Let him do this thing, and we’ll appreciate it, regardless of what he does. Simply, quite an fantastic album.

What The Cool Kids Listen to these Days: Rick Ross songs!

2010-07-07T00:06:00.004-04:00

Now you have this reviewer officially stoked for Teflon Don.
Honestly, there's a lot of fucking words I can say to this, but ... I'll let the music speak for itself, something I don't do every often. I really do like to talk.

Aston Martin Music (Featuring Drake & Chrisette Michelle): http://www.mediafire.com/?t5jhnmnrjje
Maybach Music III (Featuring T.I, Jadakiss & Erykah Badu): http://www.mediafire.com/?on1gn0yq5yf
Live Fast, Die Young (Featuring Kanye West): http://www.mediafire.com/?zckznnykiyg

In Love With My Future LP (Review) - Ghostwridah

2010-07-06T23:52:00.005-04:00

(Produced by Lowkey unless noted)

1. To Be In Love (Featuring AG Lyonz) [Intro] | 2:51 | 3.5 - 3.75 (Produced by Rem)
The really overproduced version of Lust For Life. Singing isn’t really necessary, in my opinion, I would’ve preferred the beat to just ride on, and let the vocal sample expose. The song has grown on me though.
2. Larger Than Lyfe | 3:26 | 3.5 - 3.75
Sounds more important than it actually is, and it’s not as bad as you think when I typed it.
3. Crazy | 3:29 | 3.75 - 4 (Produced by Don Cannon)
Though a little generic, the production does fit what Ghostwridah says rather nicely.
4. Red Bottoms | 3:46 | 4 - 4.25 (Produced by Don Cannon)
Reminds me of Christian Rich’s production. Sample was so obvious.
5. Look At Me Now (Featuring Kirby) | 3:25 | 3.75
Absolutely love the moment where the beat drops to a minimalist (phoned in sounding) heartbeat. But why does every single production sounds like it’s using the same synths?
 6. Release Therapy [Futurelude] | 2:36 | 4.25 - 4.5 (Produced by Mr. Familiar)
Ghostwridah truly sounds like he’s on the edge of paranoia, which works very well with the production front.
7. Still Not Famous (Featuring Mayday) | 3:44 | 3 (Produced by Miami Beat Wave)
So generic.
8. Ridin (Featuring Bun B) | 2:58 | 4.5 - 4.75 (Produced by DJ Ideal)
An relatively perfect representation of the marriage of elements of electronica and the Texas screw. Absolutely love the moment where the drums come in when the production is truly chopped & screwed, I really wish this was like 20 seconds longer.
9. Bright Summer Lights (Featuring Summer J.A.E) | 4:25 | 3.5 - 3.75
10. Celebrate Lyfe | 4:10 | 4 - 4.25
Very artfully produced.
11. Welcome To Goodbye (Featuring AG Lyonz) | 4:05 | 4.25 - 4.5 (Produced by Rem)
The drums really stick out in this sound, which ultimately helps it in the long run. His verses are striking here, and the singing actually works. “The word families overrated, so I trust few”

Overall Rating: 42 - 44.25 | 3.9 / 5 | 76 - 80% | Solid; few major reservations; repeated listens suggested: TRY IT

Although it may not look apparent at a first glance, this is just the start of the mixtapes and rappers that will allude to Drake’s So Far Gone, and in a broad spectrum, Kanye West’s 808’s & Heartbreak.

Ghostwridah, much like many new rappers are part of the new generation of rappers that many eyes will be observing, and this is one of the early decades offerings of the new standard. Ghostwridah is a rapper who I would put into this “heartbreak rapper” category, rappers who specifically talk about the struggles, heartbreak, woman, and topics that is sensitive to them and the viewer, and someone who feels directly influenced from 808’s & Heartbreak. (This is even more apparent from Ghostwridah, considering his last mixtape was directly influenced from Kanye West, 305’s & Heartbreak) Ghostwridah, on this mixtape doesn’t necessarily talk about woman, he wants to get his artistic integrity across, through the trials, struggles, aspirations, events through this pursuit and journey to the controversial subject of, fame.

Partly because it’s a mixtape, the quality of this is somewhat lesser than the “heartbreak” album compatriots, but regardless of the engineering / overall feel, this is a very offical project regardless.

There are aspects of this endless journey that Ghostwridah specifically speaks about, which is all under the subject staying true to the idea of fame. This includes the idea of being larger than life, feeling insane, celebrating this short life, the simple ideas, such as just riding around in the hood, or the deeply personal, such as the confession of your troubles, your sins, and a lot more. Ghostwridah, while being very personal much like Drake, he gives this album a more, “hip hop flair” than Drake did on Thank Me Later. Sure, Ghostwridah can’t sing, but Ghostwridah just gives us the straight rapping about the issues that truly concern him.

The strongest aspect of the album is definitely the production from the relatively unknown producers. While Don Cannon is expected to do well (And he does) with the seemingly soothing synths of Crazy, or the clunking cowbell, serenading, nightlife track, Red Bottoms, Don Cannon doesn’t give the best preformance here. It’s when Ghostwridah truly dives into the concept of the whole song, and gives us masterpieces such as the Mr. Familiar produced, brooding, very paranoid track, Release Therapy, or mabye the electronica, chopped & screwed combined trunk rattler, Ridin from DJ Ideal. The common in-house producers in Ghostwridah’s team also have their moments, with the (previously, but still good) wailing electric guitar-fest Celebrate Lyfe, or the final, drum-slamming, synth-riding, conclusion, Welcome To Goodbye. When the moments work, they really do make Ghostwridah part of this “heartbreak rapper” category seem truly genuine.

Of course, that’s not to say that doesn’t have it’s flaws. Drake on TML gave us the concept, and the seemingly backdrop story, the music, all packaged in to the pop moment, Ghostwridah, while delivering it well, simply gives us the songs, without any real sequencing, or true feel to them. The main gripe is the song, Still Not Famous with features generic production from the lone production spot of Miami Beat Wave. While, this is a song that continues the flow, it’s the song that I hoped that Ghostwridah wouldn’t mistakenly make. Generic guitar sounds, typical chorus, it doesn’t work unlike the rest of this album. I’m not saying this to insult him, I feel that he gave this album quite admirably, but when you’re trying to do emulate styles like Drake or Kanye West, it’s a lot more personal, indepth, and also makes the most sense, to yourself, not to the fans itself. I can easily discuss about the lyricism, but it’s definitely heartfelt from Ghostwridah, so I would prefer that you just listen.

This album is an unexpected gem of 2010, because initally I didn’t except too much from this emcee, who I originally downloaded, just to give him another chance. Don’t let my rating influence you, while this review gives a respectable 78 average for this album, the real rating is however you interpret it as you listen to this album. If you can relate to Drake, Kanye West, or other unnamed similar contemporaries, much like myself, then you’ll find this a compelling, and another reason for anticipating the rest of this year. This is the new standard of a mixtape, so all you rappers listen in.

The Rest Is History (Album Review) - Jin

2010-07-06T14:18:00.004-04:00

(All songs produced by Neo Da Matrix unless stated)

1. Intro - The Signing | 1:15 | 3 (Produced by Tuneheadz)
2. Here Now | 3:44 | 3 (Produced by Tuneheadz)
I’m always partial to introspective songs, but the production is relatively uninteresting and all of this doesn’t really help supplement that Jin is going on and on about this.
3. Get Your Handz Off | 3:08 | 3.25 - 3.75 (Produced by Swizz Beatz)
Swizz Beatz helps a lot of here.
4. Club Song (Featuring Just Blaze) | 4:15 | 2.25 - 2.5 (Produced by Just Blaze)
For a parody of a club song, couldn’t it at least be a little more exciting? Just Blaze does some of his worst production here I’ve ever seen. Jin does some Smurf line that’s really stupid.
5. The Come Thru (Featuring Twista) | 3:52 | 3.25 - 3.5 (Produced by Bink!)
Essentially what the Club Song really should’ve been. I didn’t know that Twista was rapping for a second there, I thought Jin was doing double-time flow. The chorus is bad.
6. So Afraid | 3:35 | 3 - 3.25 (Produced by K1 Mil)
Battle rap Jin song, just formulated for an album. K1 Mil provides production that I would hear on the internet, which isn’t good.
7. I Got A Love (Featuring Kanye West) | 3:59 | 4.25 - 4.5 (Produced by Kanye West)
Kanye West’s production helps a lot, and during this time it was simply developing. Jin spits at his most genuine here.
8. Chinese Beats (Skit) | 1:57 | 3.5
I love how all these beats sound exactly the same with the twinkling, stereotypical guitar thing. “That’s gabbig!”
9. Learn Chinese (Featuring Wyclef Jean) | 4:34 | 4.25 - 4.5 (Produced by Wyclef Jean)
Still questions me to this day why a Haitian person is producing a chinese song. Jin sounds his most comfortable here, and every Chinese person should memorize this song, which I already did.
10. The Good, the Bad, and the Ugly | 4:01 | 3.75 - 4 (Produced by J.R.)
A concept that Jin does successfully, he’s better at storytelling than doing typical, generic tracks. He should try to switch up his flow though.
11. Senorita | 3:54 | 3 - 3.25
Just listen to I Got A Love, though I’m forgiving because I personally like latina girls myself. Rather boring though.
12. Love Story (Featuring Aja Smith) | 4:41 | 3.25 - 3.5 (Produced by Mr. Devine)
While the production is ultimately very dull, I appreciate the honesty in this song.
13. Cold Outside (Featuring Lyfe Jennings) | 3:58 | 3.5
The production gets a little more interesting here, thankfully. Once again, the honesty speaks here.
14. C’mon | 4:07 | 3.5 (Produced by J.R & Denaun Porter)
Production and the emceeing works together in this song. The C’mon gimmick works, to say the least.
15. Karaoke Night (Featuring Styles P) | 3.5 - 3.75 (Produced by Elite)
Cole’s go to producer made his roots here. The production fittingly goes with the stutter flow that Jin seems to adopt here, which fits seemingly “amateur” flow here. Good concept.
16. Same Cry (Featuring L.T) | 3.75 (Produced by Mr. Devine)
I cannot hate on songs like these.
17. Thank You | 6:22 | 4 - 4.25 (Produced by Mr. Devine)
Jin realizes that you should keep the rambling at a low on these kinds of tracks. Very good track, and I think J. Cole sampled this song in Knock, Knock. Everything works here, and it's good that Jin recognizes everyone that helped him along his way.

Overall Rating: 58 - 61.25 | 3.5 / 5 | 68 - 72% | Good; detracting problems; well above average; TRY IT

Welcome Jin, the only major label asian rapper to ever exist in the USA. Essentially, this is a seminal landmark in hip hop, mainly for the fact that this was the first major label album an asian actually put out. However though, much like many debuts, Jin is trying to test out what really works for him, and there are many highs, and many lows on this album.

I think the main issue for me was the sequencing on the album, and the subject matter that Jin likes to talk about. Mainly for the first few songs, Jin wants to appeal to the mainstream crowd, which means club songs with big bass, and intoxicating instruments. While, being from the Florida, Miami area, these kinds of songs would be entertaining with the crowd, Jin does come off as forced, and rather boring. Songs such as Club Song, or Senorita are dull, because Jin knows he can do a lot better than the generic rapper.

However, there’s the other side of Jin, which is the overtly introspective Jin that this album really tries to exenuate after those “mainstream” tracks. Again, blame the sequencing, because these tracks roll and roll off each other, which (feeling guilt for saying this) comes off boring, and just goes on and on, because their all next to each other. The production, especially on songs such as Here Now, C’Mon or Love Story are especially dull, and cliche, really hampering the album down.

Yet, I really don’t want to bash on the only asian representing the U.S.A. Jin does have untapped creativity, which is expressed on songs such as the niche Learn Chinese, soulful production such as I Got A Love, the stuttering chugging Karaoke, the trumpet-typical Swizz blaring Get Your Handz Off, and even the seminal conclusion, Thank You. Elements like these scattered all throughout the album make you appreciate Jin the emcee more.

My main gripe about this album was the production. Almost all the tracks here really have hampering, boring production, and as Jin said on one of his skits, “That’s gabbig!”

There are other problems though, it's mainly the little things that bother me, mainly the terrible sequencing / order of the songs, where it was just put on there, or the fact this album goes on a little too long, which I blame the introspective tracks put in the end for giving it a slow feel.

All in all, it’s a flawed debut album, though it’s an admirable effort from someone like him. Label politics and the standards of the people here really have driven a guy like this away. He really could’ve done something here, but Asia is where he belongs though, considering he’s more appreciated there. Jin really is a humble emcee in the heart, amongst all his battle rapping, and his other range of subjects, which really should be considered. It really is a damn shame most asians in the states know that this dude exists.

Futuresex / Lovesounds (Review) - Justin Timberlake

2010-07-06T12:31:00.007-04:00

(All songs produced by Timbaland, Justin Timberlake & Danja unless stated)

1. Futuresex / Lovesound | 4:02 | 3.25 - 3.5
Taken a little more seriously than it really is.
2. Sexyback (Featuring Timbaland) | 4:03 | 3.5 - 3.75
This song has really lost it’s luster over time though. Still, regardless an intelligent song for what it is, not what it is about.
3. Sexy Ladies / Let Me Talk To You (Prelude) | 3 - 3.25
4. My Love (Featuring T.I) | 5
Very layered, artistic beat, operatic singing, and T.I’s stellar flow. Nothing goes wrong here.
5. Lovestoned / I Think She Knows Interlude | 7:24 | 4 - 4.25
I’m more into the violin strings in Lovestoned. I like the little concept that spread out throughout the four (in total) tracks, it’s an interesting pop moment that people should consider.
6. What Comes Around ... / ... Comes Around | 7:29 | 4 - 4.25
Continues to develop very nicely on Comes Around.
7. Chop Me Up (Featuring Timbaland & Three Six Mafia) | 5:04 | 2.25 - 2.75
It goes on for a little too long, I would’ve preferred just Justin singing only, Timbaland doing his usual backup vocals thing, and Three Six eliminated. I do sing the chorus whenever I hear it though.
8. Damn Girl (Featuring Will.I.Am) | 5:12 | 4 (Produced by Jawbreakers)
A very fun, poppy song. The Will.I.Am verse doesn’t really bother the flow either.
9. Summer Love / Set The Mood (Prelude) | 6:24 | 4.25 - 4.5
Summer Love holds a special place in my heart, and it really helps that it’s a all around very good song about the innocent of summer love. I have grown more partial to the interlude though, it is well thought out.
10. Until The End Of Time (Featuring The Benjamin Wright Orchestra) | 5:23 | 4
All around good song. I wonder if a rapper would ever try productions more artistic like this album provides.
11. Losing My Way | 5:22 | 2.75 - 3
Apartside the inspiration used to create this song, everything trips on it’s on feet.
12. (Another Song) All Over Again | 3 (Produced by Rick Rubin)

Overall Rating: 43 - 45.25 | 3.7 / 5 | 71 - 75% | Impressive; well above average; TRY IT

This album is seminal to me, because it was during a time where I started to dive into the music world, which was around the 6th grade. This recently came out, and I was definitely impressed with the world of pop music, and what this (obessively girl loved from my old friend) Justin Timberlake had to offer.

Now it’s four years removed from that album, and I still give it spins, partly due to the fact that this was Timbaland’s seemingly final great moment of producing in pop (Well until Drake’s Thank Me Now existed, but that’s another story), and Danja’s breakthrough. It’s a hell of an album, because there’s a sub-conscious idea that all these free-flowing elements really fit together like the complete pop package that their supposed to do. I also listen to it because of the singing, obviously.

This album although not realized at the time, is a small icon, a small landscape for what the pop album really had to offer. Sure, not every element works (Losing My Way, Chop Me Up), but when the moments truly work, such as the start of My Love onto the end of ...Comes Around, it’s an exhilirating ride, because all these instruments, the melodic singing of Timberlake, it was genuine and just great on the ears.

Don’t let my humble rating influence you otherwise, this is truly a great pop moment. The only true flaws that I saw within this album was the lack of Neptunes production at the time, (They were at some of their best moments when they worked with Timberlake, only rivaled by Clipse, yet they’ve fallen off with them too) and some of the moments where Timberlake or Timbaland tried a little too hard, such as the last two songs on the album, where the pace slows down.

But, remember this is a definite pop moment that works successfully and admirably.

Say What's Real: RePPin For U - Black Milk

2010-07-06T00:47:00.002-04:00

I especially love the second verse. shit, I love everything. The production. The Drums. The wit. Ugh, too much for me.

"Then one day...
This dude asked me what's the answer to this hip hop cancer,
I'm so hungry for real shit it seems like I'm fastin'..."

http://www.youtube.com/watch?v=9uMGqlBe6Ao

Say What's Real: A Little Bit - Lykke Li

2010-07-05T01:24:00.002-04:00

Dedicated to _____.

http://www.youtube.com/watch?v=sOgc5a8ty1I

Best Rapper (Mixtape Review) - Soulja Boy

2010-07-04T11:13:00.003-04:00

1.DJ Holiday Intro | 0:39 | .25
2.Digital | 4:06 | 1.5 - 1.75 (Produced by Lex Luger)
Lex Luger reuses the B.M.F melody, just into a more, “trap” setting for Soulja Boy to self-parody the gangster rapper on. His voice sounds like he’s trying to make an impression, which is hilarious.
Take Off | 3:40 | 2.75
“Clipse & Pharrell, Tony hawk, a lot of grindin.”
The Blues | 3:35 | 1 (Produced by Lex Luger)
I know he’s saying “drank” but it sounds like “Drake.” The last verse he emulates the Lil’ B style, just without the Lil’ B.
All (Featuring Waka Flocka Flame & Lil’ B) | 3:25 | 1 - 1.25 (Produced by G5 Kids)
I can see what Soulja Boy likes in Lil’ B, which is the fact that Lil’ B can get away with saying abominally retarded shit and make people (like me) still listen to him.
I’m Boomin’ | 3:50 | 2 (Produced by Lex Luger)
Soulja Boy sounds weird on this track.
Pretty Boy Swag (Remix) (Featuring Gucci Mane) | 4:42 | 3.5 - 3.75 (Produced by G5 Kids)
As much as I would love to front, this song is the shit.
Best Rapper Freestyle | 3:26 | .25
“Soulja tell them he’s really the king, so what the fork are you really saying.” I’m done.
Rich Girl (Featuring Justin Bieber) | 4:38 | 2
10. What About My Clientele | 3:29 | .5 - .75 (Produced by Lex Luger)
Sounds like every other Lex Luger track, and this the only time I’ve heard him outside of B.M.F.
Fresh! Fresh! | 3:10 | .75 - 1
“Life is a gamble, and I’m gambling.” Poetic.
Mall Of America | 2:41 | .75
Points for having a different production. But this song is retarded, just retarded.
Dope Boy Swag | 1:14 | 1.5 - 1.75
“This here is my, wait for it .... dope boy swag.” Yeah, he even allows us to fill in the obvious. It is rather catchy, and length helps.
Young Boss Music | 3:14 | 1.25
I love how there’s a Rick Ross drop in a song where the song tries to do a straight Rick Ross feeling. I meant, a really bootleg Rick Ross.
In The Club (Featuring J-Bar) | 3:42 | 1 - 1.25
Original.
Touchdown | 3:53 | .5 - .75
So original that he “raps like Gucci Mane.” That’s obviously an insult.

Overall Rating: 20.25 - 22.5 | 1.3 / 5 | 25 - 28% | Terrible; DON’T EVEN BOTHER

I reviewed a Soujla Boy mixtape.

Now, there’s so many introductory lines that I could say right now, like the fact that Soujla Boy’s latest mixtape is called “Best Rapper,” or the fact that Soulja Boy has an apparent lack of talent, but the possiblities are endless.

Really, the only reason that I even glanced at this mixtape was because there was much production from a recent rookie, Lex Luger, who did the absolute banger, B.M.F with Rick Ross, so I was interested to see what he would provide the (heavily stated throughout this mixtape) nineteen year old kid.

The problem that I see with Soulja Boy is that he has two kinds of personas, one that appeals to the traphouses / dope boys and girls, and also the teenybopper / general teenager population. While I don’t see a problem in that general aspect, it’s how he appeals to them. Soujla Boy’s demeanor, his attitude of these dopeboy songs (What About My Clientele, Digital, I’m Boomin, Dope Boy Swag), seem like parodies, mostly because he switches his voice around, and also the fact he’s not really describing much, except himself and the ideas / things related to him. I’m pretty sure people just absolutely love people talking about themselves through the whole mixtape.

While there’s the teenager population that happens to listen to Soujla Boy. I believe, with me being part of this general population, I would be more forgiving of DeAndre’s obvious lyricism. Generally, with the three songs mainly being aimed towards my generation (Rich Girl, Fresh! Fresh!, and Mall Of America) were generally worse than the actual album in general. I’m not going to discuss Fresh! Fresh! and Mall Of America, because I just don’t, but Rich Girl, the latest Justin Bieber / rapper track just goes to show that even Soulja Boy alone cannot appeal to the masses like he did with the past two times. Honestly, it’s not Justin Bieber that ruins the song, he tries to keep within his general range of subject matter, trying not to take too many risks. However, Soujla Boy, he just wants to go with anything that seems “cool,” with innumerable moments that just take a toll for the worse as the song goes on. Obviously, this is going to be a hit, but why?

I really dont’ need this much time spending what you should’ve already known from the start, but there are moments where I forgive Soujla Boy. These are two moments, specifically one where he goes all rapping mode, and another song where Soujla Boy is in his own environment. Take Off, is specifically a song I can forgive, because you can’t really blame DeAndre for trying to pedastal the song with just his own rapping. The production has some variation throughout the song, which is nice. My personal favorite, Pretty Boy Swag, especially benefits from the stellar Gucci Mane verse, and the fact that Soulja Boy fits in to these kinds of songs, twinkling piano keys, and some other minimalist production. Call it a guilty pleasure, but it’s not a bad song as a whole.

There is a problem with Lex Luger now that I listened to this tape. All his productions sound similar, and almost everyone of them have that really, gigantic bass, but yet all of Lex Luger’s productions tries to make the artist sound important, thus people like Rick Ross & Soulja Boy infinitely need this person. Lex Luger’s productions are definitely the highlight, but they tend to sound rather similar, thus getting rather dull.

So as Soulja Boy put it, “what the fork are you really sayin’” Relevance? I should be the best reviewer alive, just for doing this heroic deed. That's what the fork I'm really saying.

What the Cool Kids listen to these Days: Hello Brooklyn - Jay-Z

2010-07-03T23:36:00.003-04:00

It seems effortless that a Jay-Z post would come up eventually, wouldn't it?

While this song is my least favorite on the album, because it's awkward, the bass is too fucking ridiculous for words, especially when the song is a great quality.

HELLO BROOKLYN.

Shoutouts to one of my mothers, brooklyn.

http://www.youtube.com/watch?v=6yU0PfAigE0

What the Cool Kids listen to these Days: Rockin' & Rollin' - Mickey Factz

2010-07-03T22:01:00.004-04:00

I've always appreciated the retro throwbacks that The Cool Kids have done over the few years their sparse material has been out, and this was one of their more interesting features, partly due to that Mickey Factz wasn't really established yet. Although Chuck Inglish goes on to reuse his verse, the accordians and drum patterns from Percize (Producer) and the quirky verses from Mickey Factz, Chuck Inglish & Mikey Rocks, it's a very respectable track.

I have a Ghostwridah review coming up in the next two days, and currently rockin' (no pun intended) and rollin' too that Ab-Soul mixtape.

http://www.youtube.com/watch?v=WO_hkWn56GY

Range (Mixtape Review)

2010-07-02T18:40:00.005-04:00

Range (Hosted by DJ Drama)
Artist: Range
(All songs produced by Range, unless noted)

1. Ghetto Dance (Featuring Rick Ross)| 3:05 | 3.25 - 4
Ultimately, it’s a standard featured Rick Ross song, which isn’t bad, but not amazing. The drums need to hit harder though.
2. Try | 3:41 | 3.25 - 3.5
An ultimately nice song that does wear out due to the lackluster production.
3.Baby | 3:40 | 2.75 - 3
4. Come Back To Me | 2:42 | 3.25
5. Nothing Wrong | 2:25 | 3.25 - 3.5
6. One Hundred | 2:39 | 3.5 - 3.75
It gets progressively better from here, at least production wise.
7. As Is | 4:08 | 3.5 - 3.75
8. Speedin | 2:52 | 2.75 - 3
The production here is what you would expect it to be. The vocals stand out more here, I’m not sure why. It does save it, at least.
9. Scared Money | 2:04 | 3.5 (Produced by DJ Clark Kent & Remedy)
I think Range could probably be like Masspike Miles, or occupy himself with what Trey Songz does for rap, sing hooks for drug dealer rappers.
10. No One Else | 3:09 | 3 - 3.25
11. Just Wanna Love You | 3:55 | 3 - 3.25

Overall Rating: 35 - 37.75 | 3.3 / 5 | 65 - 69% | Good; detracting problems: TRY IT

I’m guessing that Jay-Z needed a singer for his (and J. Cole’s) future albums, not named R. Kelly.

Range is the newest (official) signee to Jay-Z’s label, Rocnation, behind J. Cole. While I heard that Range was going to make a mixtape somewhere online, the release date, and promotion, was nowhere to be found. Yet, when I found this mixtape, I figured that if J. Cole’s Rocnation sponsored mixtape (The Warm Up) worked so well, why shouldn’t this one?

Much like any new artist, Range is trying to test out what his flaws are, what his strengths are, basically what is the standard that he’s going have to emulate over the course of his career. If we want to compare, Range’s range (no pun intended) of topics reminds me of fellow rookie R&B contemporaries such as Jason Derulo, or Iyaz. Which means that the topics specifically aren’t terrible, or straight cheeseball, but their ultimately rather dull in the long run, maybe because a lack of memorability, or that the fact none of the albums / mixtape are cohesive.

Range, however is better than those two artists, because he actually knows how to write a good song. Songs such as Ghetto Dance, As Is, One Hundred, or even Scared Money, or Try, are all good songs (And the main highlights), because Range tries to switch up from the basic, R&B newcomer song subjects. Their also better vocal preformances from the young kid too, because as a song, all these songs seem stronger.

If we wanted to compare Range’s singing voice, I think the closest link would probably be Ryan Leslie. It does help that both of these people do know how to produce nicely, but Ryan Leslie is the better artist out of the two. Of course, Range is very new on the scene, but, much like Ryan Leslie, he’s a jack of all trades. He knows how to produce a song (Ghetto Dance, As Is), and he knows the production that’ll let his voice fit comfortably in it, which is pretty much every song. However, Ryan Leslie does know how to sing a lot better than Ranger, considering over the course of the tape, I haven’t heard Range express his vocal limits besides a medium volume spectrum. At least Leslie can hit the high notes nicely, unlike the kid. Range’s production does need some refining also. While it’s certainly respectable, and will help (in terms of budgets and stuff, since Jay isn’t exactly the most responsible CEO), generic synths, drums, all of the instruments, are very boring ultimately.

Range is a respectable artist, and I’m glad he made this a mixtape, because this is probably a mirror image of Jason Derulo’s and Iyaz’s albums, except that Range’s mix-album wasn’t mastered & engineered as expertly as the forementioned artists. All in all, Range is a nice artist, though he doesn’t express the talent that’s required to break him into the mainstream yet.

DJ Drama also is quite quiet for some reason, but we all love that, so that's good.

Outasight + Freddie Gibbs = Damn.

2010-07-02T17:55:00.002-04:00

Considering that this collaboration would've never been expected from a fan like me in any lifetime, Outasight makes the best use of the polar opposites to again prove right to the theory that, opposites do infact, attract (no homo)

Freddie Gibbs fits into this track surprisingly enough, even though it's rappers never really did fare well in acoustics, or guitars in general.

http://usershare.net/2DopeBoyz/19sn5swvvjjp

Windaw Seat - Erykah BAdu

2010-06-30T23:40:00.004-04:00

After waking up from a nap, and listening to this song in the shower, I'm a happy person.

It's a soothing song, that Rick Ross really should try to emulate on his new album. It makes him almost seem like a genuine don. Course, that'll never be true, but oh well. The contrast between Erykah & Ross makes the song a little more successful.

http://www.youtube.com/watch?v=H0SX8dKHH34

SOOper HIgh - Officer Ricky

2010-06-30T09:58:00.003-04:00

And wherever Curren$y is...
It's 10 am, and this song comes out. Now I'm a huge Curren$y / Wiz Khalifa (Not as much), and a Rawse fan, so this comes at a nice time where I would possibly be infatuated with this song (pause)

But it's a little dissapointing, but it is a 2010 remix. Most remixes are just ... extra verses. Nothing wrong with that though.

Along with some of the things, I'm learning everything as I go, sorry about that, the hyperlink shit, the images, yeah, just coming and coming.

http://www.mediafire.com/?x0e1jzdmy2k

Big Boi album gets released?

2010-06-30T01:02:00.003-04:00

Wow. It's like when Raekwons album got released. People was like what? IT EXISTS?
Well besides the rather dissapointing album cover, and the questionable hype that led up to it, it's here now in all it's glory. I'm up to Tangerine (as of this post), and that's my favorite, besides Shutterbug & Daddy Fat Sax. Call those my early favorites.

SHIT. Tangerine's been in my head all day, considering I got it earlier today as the single version, and the congas, drums, everything just meshs together for some strange reason.

But my initial outlook on the album.
- Organized Sound is back!
- Scott Storch makes good productions?
- Why isn't Royal Flush on? Especially when Big Boi makes a royal flush reference on Tangerine (Apparently it's supposed to be some seduction line? Idk)
- Big Boi realizes the new southern cats are here, Yelawolf & B.o.B lok like solid guest apperances)
- Gucci Mane actually has a guest spot that's good?
- Hi janelle monae.

Sorry, Tangerine is crazy dope. Especially the T.I appearance, it really helped the song. The only thing is that, if it wasn't down down-tempo / club appealing, it would be a great single. I think it could be a single for the clubs wherever Big Boi occupies.

Shine Blockas is actually one of the best tracks off the album, and it doesn't seem to be edited when it first leaked.

Looks good right now Big Bwoi

Range.

2010-06-28T23:00:00.005-04:00

Range is the next true signee to Roc Nation. He seems to be an R&B influenced artist, probably it's to balance out the label (J. Cole + Range = ?)

Review will be up sometime in the next few days.

His single does sound good though, Ghetto Dance featuring Rick Ross. It's got enough warmth for your lady to love, enough drums to shake too, and Range sings nicely.

It seemed to come up randomly though, no lie.

DJ Drama drops are rather minimum, nice.

http://www.thacartercartel.com/2010/06/rocnation-presents-range-hosted-by-dj.html#more

Thank Me Later - Drake

2010-06-27T22:06:00.002-04:00

Thank Me Later Review

During the chorus of the song, Unforgettable, Drake claims that he “really hopes that you’ll think of me.” With that quote, it’s been simply what the whole musical world has been doing for the past year and several months now. Drake’s story has been quite phenomenal, from the relatively unknown song “Replacement Girl,” to the critically acclaimed So Far Gone mixalbum, the record deal, then the spiraling list of producers, guest features, and now here.

Honestly, through all of this journey, there’s been a lot said about Drake that’s already been said, and there’s a lot known about Drake that I probably don’t know, but you probably know already. So let’s get to the review.

Fireworks
Featuring Alicia Keys
Produced by Noah “40” Shebib & Crada

Thank Me Later starts with the production elements that first made Drake famous, Noah “40” Shebibs knowledge of engineering & drumming, along with the post- 808’s & Heartbreak production, lush and spacious. A bed of synths, samples of violins, and heartbeat drums, along with the beautifully sampled fireworks sound allows Drake to introduce us to the more famous him. Drake speaks upon his meteoric rise to fame, a past lesson from his girlfriend, and lastly, the profuse effects of his parents upon his character. Drake, although keeping the bar structure simple, provides us with such imagery, such as “My fifteen minutes of fame started an hour ago,” or “Got my mother in a place with some better decor / She search the entire city and I let her explore / And now she saying she more lonely than before.” Drake provides a lush introduction to the start of Thank Me Later, allowing the fans to not see him sccumbing to the pressure of talking about the past, trying to make someone feel sorry for him, but however showing us a perspective into all the hype, fame, and some more surrounding him.

I was reading upon other reviews of this same album, and it took precisely twenty five seconds for Drake to first mention the lines, “Money just changed everything, I wonder how life without it would go / From the concrete who knew that a flower would grow.” It’s already apparent that Drake beginning and upbringing is the polar opposite of his peer when they started. Something to note here, consider this a warning for the critic perhaps.

Karaoke
Produced by Francis & The Lights

Francis & The Lights, after some research have opened up for Drake in his past shows & done covers of Kanye West songs (One of Drakes assumed inspirations for this album) A minimalist keyboard along with a repeating drum pattern allows Drake to sing his heart about a past girlfriend, who seemed to be afraid of the whole fame that Drake had, and what her reaction was to it. She seems to be a wedding planner that moved to Alanta, and didn’t even know anyone there, all because “the spotlight made her nervous.” Interestingly enough, you can tell the passion from Drake from lines such as these lines, “I know they say the first love is the sweetest, but that first cut is the deepest.” However, apart from the neglect from Drake of the frequently told, “show but don’t tell,” line, Drake sings wonderfully, and more refined than he did in his “So Far Gone” days.

The Resistance
Produced by Noah “40” Shebib

The signature bed of synths, heartbeat drums are represented fantastically here, with 40 providing a off-beat drum pattern that Drake adapts to perfectly. Drakes speak on this resistance, which presumably from the song is the resistance to break mentally from all of the fame, and situations that constantly try to hamper him from acheiving himself. Drake speaks upon his perspective of fame in Toronto & around the world (Still with the same team I started with / The game needed life, I put my heart in it / I blew myself up, I’m on some matyr shit / Holding my weight for my city like a cargo ship,” and “I avoided the coke game and went with Sprite instead”), more disconnection from his family (“I heard they just moved my grandma to a nursing home / And I be acting like I don’t know how to work a phone / But hit redial and just see that I called a chick I met at the mall that I barely know at all”), and a harrowing robbery, all packed into one cohesive song

During listening to this song I was reminded of one of my other favorite Drake tracks, “The Calm,” and “Say What’s Real,” two tracks expressing Drakes ability to tell his own honesty in his own ways, usually self-depreciating and a borderline-depression. Drake’s been doing this specific niche for some time however, so consider this the part two of those two mentioned songs, to a very long line of Drakes introspective ways. This songs a lot to digest for any Drake fan, the atmosphere, and the attitude of the song is very descriptive and lush. Drake seems to have been through a lot in his rise of fame, from the jealously, mistrust, and the heartbreak that he’s related in this song.

Over
Produced by Boi-1da & Al Khaliq

This song (presumably) continues on from the last line on “The Resistance,” “I just need some closure / Ain’t no turning back from me until it’s over,” and as Drake said it from there, he proves it nicely here. The first buzz single that Drake released, along with frequent collaborator Boi-1da’s hard-hitting boom-bap drums & violin strings, and a bunch of other oddities does this nicely. Drake speaks about basically, that “I’m doing me,” while providing the listener with the necessary punchlines to back it up (“I could try to make you speak my languge, Rosetta Stone”) Although the production is a little awkward for it’s placing after three soft / heartfelt tracks, it’s a nice song regardless, though I’m not really going to be listening to this, because it’s been played out somewhat. However, I do appreciate that Drake put this song here to make a change of pace for the next songs that come up.

Also, I didn’t notice that there was a constant sound of a woodblock on my right ear. I’m not sure why, but it makes the song a lot more listenable.

Show Me A Good Time
Produced By Kanye West

I was anticipating this track when I saw that Kanye West producing it, considering Kanye West has been gone for about eight months now, with about two tracks, “Power” & the snippet of “I’m So Appalled.” But, this is about Drake, however. A summery thumping bass, along with Kanye’s signature chipmunk soul samples start the song, then flourishes out into a classy piano, that allows for Drake to speak upon his version of this good life, and his famous lifestyle. Drake gives us some nice descriptions, such as,

“Cash Money, Young Money, pop champagne,
Presidential Suite girl, Barack Hussein
Tell me we can kick it like Phife Dawg
People really hate when a backpack rapper get rich and start living that life dawg...
Out in L.A. blowin’ clouds of the killa
But I came up in the underground though
So I’m a blow another ten thousand for Dilla…”

It’s a nice, pop song for Drake to rap in. I like the breakdown of the beat in the end, where it returns to the chipmunk soul / drum pattern too. A soft song, one of the areas Drake excels very well in., and considering he claims that “this our dream, Wu Tang Clan niggas want that cream,” it just might speak true.

Up All Night
Featuring Nicki Minaj
Produced by Boi-1da

I feel sometimes this is the first song that transcends to a moment where you’re going out on the city just feeling great all around. Simple claps & an everlasting vocal sample that continues throughout the song starts out this deceptively simple track, with Drake spitting the pleasantaries in his life, until the songs evolves into a ridiculous bass emenating, violin strings, synth blasting, monster of a track, all just for Drake to talk about the grandiose. Drake shows us that he isn’t a lyrical setback, dropping his signature odd one liners, like, “Uhh, I ain’t done trying to tell you that Drizzys nice / Bracelets saying you quit, cars saying f**k your life,” or “I made enough for two ni*gas, stunt double.” Nicki Minaj, whom I was quite skeptical about, doesn’t slouch either, with lines like “Which bitch made a million off a mixtape / That was just a keepsake ...” All in all, the production gives a demanding listen upon the ears, with it’s erupting sound, and gives Drake and Nicki Minaj a track to just tell about their success. The sound of the track is very intoxicating, from the bass lines and the dramatic feel of it.

Fancy
Featuring T.I & Swizz Beatz
Produced by Swizz Beatz

Consider this the lavish moment right after “Up All Night,” for Drake, where it’s the fantastical party happening in the exquisite ballroom near the rivera. Swizz Beatz paints a beautiful picture, with fresh vocal samples & live instrumentation, along with his signature crowd chanting moments. Drake’s first verse, describing a woman prepping up for the party & after that moment, draws some similarities to Drakes verse on his remix of “Unstoppable,” where he also describes woman taking “dirty public transit,” and “papparazzi snappin’ candids,” and their “virgin island tans.” Drake however just put into a couple of more of his one liners, such as “... as long as they’ve got a little class like half days,” just for additional effect. T.I, fresh off his “F*ck A Mixtape,” gives us a smooth verse, describing the same life that Drake has been living, and although smooth, raises some questions of where T.I has gone from his “King” or “Paper Trail” albums, and is he going to be permanently on his “Whatever You Like” state of mind.

However, there’s even more to this song, as Drake somehow convinced Swizz Beatz to breakdown the song right after the lavish moments, where he raps about a unspecific “Cinderella” at this time. Drake spits lyrics that only this singer / rapper has only seemed to portray nicely with the small verse:

“Cinderella ’bout to lose the glass off her foot, and when I find it is when I find you
And we can do the things we never got the time to
Better late than never, but never late is better
Hey tell me time is money, but we’ll spend it together
I’m down for whatever, you just lead the way
We go to dinner you don’t even look at me to pay…
I just knew that she was fine like a ticket on the dash.”

Drake once again shows that specific aspect he excels in the best, which is obviously women. Although in the long while, may prove to be an overstatement, but Drake is probably one of the only rappers / singers who can pull off the R&B inspired love raps to a woman without sounding overtly cornball. He vividly describes a fantasy that probably someone was too afraid to express in true life.

Besides all of this Swizz Beatz does a fantastic job of adapting to Drakes vision of such an album. This song is a very interesting song, not because of the independent woman subject matter, but the presentation of it, including the fuzzed out breakdown of Drakes shoutouts, and the whole song itself.

Shut It Down
Featuring The-Dream
Produced by Omen & Noah “40” Shebib

Consider this the hybrid mainstream version of “Houstalantavegas,” and “A Night Off,” replacing Lloyd, with the “radio killa,” The-Dream, yet with all the love-making intact. A slow serenade of synths, keyboards, and steel drums play continuously on as Drake & The-Dream sing about shutting this place down, and making love. There’s no true complaints after I really immersed in this song, although The-Dream continues his typical corny lines, such as “Ice cream conversations, they want the scoop,” or “Like a computer, I’ll shut you down.” Although the song would’ve been production-wise, typical, at around the five minute mark, Omen & 40 allow the song to truly breakdown, into a synths-vibing, simple drum kicks instrumental, simply called Lay You Down, allowing Drake to sing even more, and even expose it more. As the whole product, the song works magnificently, but if the song was shown as individual parts, the song does suffer a little bit. Regardless of this, it really is a very laidback love song, and sometimes not enough words can describe a song you just have to listen too.

Unforgettable
Featuring Young Jeezy
Produced by Boi-1da & Noah “40” Shebib

Firstly, a huge rest in peace for Aaliyah, as her vocal sample fits in beautifully over here. With the subtle electric guitars and signature soft synths, along with the snare drums, the atmosphere seems quite right for the contemplation and introspectiveness that Drakes been known to possess, along with his claimed “big brother,” Young Jeezy. Drakes speaks true to this songs purpose, speaking rather vaguely upon his quest to be one of the unforgettables, claiming this is “his dumbest flow ever.” Although Drake does mean well, his verse proves to be rather bland in comparasion to what the production does demands. After the very smartly thought out back & forth chorus between Young Jeezy & Drake, Young Jeezy proceeds to claim that this is his “realest flow ever.” Young Jeezy, although mainly known for providing the ignorant drug anthems that he usually does, gives a nice little verse that shows shades of the softer side of him. All in all, although this song is a little underwhelming to what the rappers provides, the way it’s presented suits everyone quite well.

Drake also claimed that this was his favorite song upon the album. I can visualize that, considering the atmosphere of the squealing synths leaning on the (my) right headphone, along with the soft, subtle tones really sound like the new “Drake” feeling.

Light Up
Featuring Jay-Z
Produced by Tone Mason & Noah “40” Shebib

Deceptively simple piano chords start out the track, but then proceed to become a lush & vivid atmosphere, with the production squad, Tone Masons sharp drums, guitars, fantastic piano & synths. It provides such a feel of the common traits associated with Drakes songs, feelings of contemplating, thought, swaggering, and so much more. Drake speaks upon the lifestyle that affects him right now, what associations he’s parlayed to now, and the ills that he believes can affect himself and everyone else, and what his dedications are.

Drake drops a bunch of lines pertaining to his perspective, such as “Rolexes, chauffeurs, and low fades / I keep thinking how young you can die from old age,” one example of his everlasting struggle to adapt to the lifestyle that people (such as Jay-Z) appears to live in, or “Yeah, and I’m a motherf*cking missed target / But a target none the less, and I just started,” another sign of Drakes vulnerability. However, Drake does drop his signature one liners, such as “Storytellers, and they ain’t even need a campfire,” or “Getting busy because I’m a star, no spangled banner.” However, I would like to point out this specific moment where Drake allows himself to give a true perspective upon this lifestyle that he lives with the concluding lines of his verse with:

“Welcome to Hollywood, don’t let this town ruin you
And if you pillow talking with the woman that are screwing you,
Just know that she gonna tell another ni*ga when she through with you,
Don’t get impatient when it takes too long
And drink it all when it taste too strong, yeah,
I gotta feel alive even if it kills me
Promise to always give you me, the real me”

Although these kinds of lines don’t seem particularly spectacular, in the whole spectrum of pop music, and Drakes common lane, he shows such a vulnerability most pop stars don’t truly express in such a simple way, where you get the true message in such an instant.

However, the ever famous Jay-Z drops upon by to seemingly give his own veterans perspective of a life that Drake is about to live. Although he gives some classic tongue in cheek lines such as, “Owww, Hov turning heads like, owls / I’m the man of the hour / Triple entendre flow don’t even ask me how,” or, “The smart moneys on Hov, f*ck what the dummys talk / I don’t do too much blogging, I just run around the town, I don’t do too much jogging,” a huge step up from his simplistic flow on the controversially talked about Blueprint 3, and an example of how Jay-Z still has that presence upon the microphone. Although he does give some nice lines, he concludes with a true veterans perspective that Jay-Z has been preaching for such a time now, with the ending lines,

“But these bright lights turned me into a monster
Sorry momma I promised they wouldn’t change me
But I would’ve went insane, had I remained the same me
F*ck n*gas, bitches too / All I got is this money, this will do.”

It’s a harrowing story from the drug dealer turned rapper in such a few lines, and the implications of this line, could possibly be a warning to Drakes, or any aspiring rappers career. After all, Jay-Z’s story is similar into Drakes into a few ways, through their specific point in time, they got their way through into the rap game. A very dark, and such a fantastic song for anything, from the demanding production of Tone Mason, all through the delirious verse of Drake & Jay-Z.

Miss Me
Featuring Lil’ Wayne
Produced by Boi-1da & Noah “40” Shebib

This song is interesting, because I couldn’t really find the meaning of it initially. Intitally, the song reveals itself to be Drakes evaporating trust of women in general, but in my thoughts, it looks like another song about Drakes walk into the fame, and that he hopes “... hope you miss me a little when I’m gone,” and then some. Although Drake does make a lot of references to the peoples / locations that are currently with him and on his mind, he provides some nice lines about his jump into his fame, such as “I’m about my paper like a motherf*cking scratch and win / World Series attitude, champagne bottle life / Nothing ever changes so tonight is like tomorrow night,” or “Yeah bills everywhere, trill everything / And Drake just stands for Do Right And Kill Everything.” However, besides this seemingly obvious subject matter, Drake does give us an odd part when he says, “I love Nicki Minaj, I told her I’d admit it / I hope one day we get married just to say we f*cking did it / And girl I’m f*cking serious I’m with it if you with it / Cause your verses turn me on and your pants are mighty fitted.” I’m not sure what that parts about though.

Lil’ Wayne is consistent as usual, giving us his usual helter-skelter, drugged out, non chalant flow, and the production front by Boi-1da & 40 is rather odd, with Boi-1das signature air trumpets, cymbal crashes, and a looming percussion background, combined with 40’s engineering skills. Not to say this song doesn’t work, but it’s a terribly weird song, just because there’s nothing specific that can describe it. I was a little dissapointed however, because I expected something similar along the veins of their obviously better song, “Ransom.”

Cece’s Interlude
Produced by Noah “40” Shebib

I really did like “Bria’s Interlude” on So Far Gone, using the “Friendly Skies” instrumental from Timbaland, slowing it down a little bit, and just singing about an unknown Bria that we may never know who. But however, 40 does give us a nice typical 40-styled instrumental, with steel drums & a lurking guitar solo in the background. Drake does sing quite well, with the melody of him and the instruments doing quite fine, but claiming to not want to be famous? Isn’t most of the album about him talking about being famous?

Find Your Love
Produced by Kanye West, Jeff Bhasker & No I.D

808’s & Heartbreak. That was the same feeling that was evoked when Drake did So Far Gone, and it’s the same feeling that Kanye West evokes here too. The subject matter, the production quirks of the 808’s, pianos and synths are all unified into such a melodic song. I think it’s songs like these where Drake’s true pop-rap crossover really shines. Through the tiny synth squeals, the constant 808’s & and the deep strokes of the piano, Drake sings up a confessional tale of surrendering to a lost love, all packed up in a small package for the radio. With lines like, "I'm more than just an option, hey hey hey/Refuse to be forgotten, hey hey hey/I took a chance with my heart, hey hey hey/And I feel it taking over,” it seems simple why Drake is the pop-star he is currently.

Even when I intitally viewed this song, I still found the simple 808’s playing upon the background, and the twinkling pianoes, it felt like Drake actually wanted someone with a passion and then is on that struggle. Relatable, but in the new modern way.

Thank Me Now
Produced by Timbaland

The conclusion usually has to be stronger than the introduction or at least has to be on the same skill level. My Global History teacher taught me this, and this idealogy has stuck with me for the remainder of my freshman and sophmore year. A lot of people (including me) agree that this is probably one of Timbalands most hip hop / electronica inspired production in a while, with the bed of synths, the twinkling strings, giving a more sophisticated conclusion then most hip hop albums give these days. Consider this the fleshed out and heavily flourished version of “Outro” in So Far Gone.

Much like conclusions and ending tracks of albums, it’s usually used as the time to truly reminisce upon the course of the album, and the life of the star in general. Drake, much like his other rap contemporaries chooses this time to remember the past, and the future, and the fact that “we want it all, half was never the agreement / Who’d thought this route we chose would ever end up this so scenic,” which shows a simple example of the amazement a young Toronto teenager has upon discovering this life he lives now.

It’s also apparent that Drake realizes his new found fame, because some of his lines in Thank Me Now are occupied with him speaking upon his perspective in the music world, and just making some punchlines try to work. He speaks himself as being “on the brink of influential,” or that he’s “in this bitch shining, jump up in the sky and put the stars in alignment,” or the fact that he has “flows for the Marilyn Monroe’s,” and lastly the fact that he says, “I’m feeling like Nas, who am I to disagree.” While I’m not entirely surprised by these kind of lines, it’s an indication that this is one aspect of Drake, while awkward and rather conceited, he feels that he’s been in the position that he can describe himself this way. It’s a common testament, heavily evidenced by further lines such as when he says, “Damn, I swear sports and music are so synonomous / Cause’ we wanna be them, and they wanna be us.”

Of course there’s the introspective and reflective Drake albeit, a little mainstream reflection, but regardless, it’s reflection. All of the common aspects of Drake appears in this five minute song, and specifically with a title like “Thank Me Now,” you’d think that he would appear rather celebratory & introspective. I get a quizzical look with lines such as, “At this point, me is who I’m trying to save myself from / Rappers hit me up and I never know what to tell them / Cause they think that I can help them get back to where they fell from.” Not that I disrespect the honesty, but does Drake truly have that talent to ressurect a persons career? What exactly does Drake have that he can pass upon the generations of future rappers that influentials before him already did?

Of course, this seems like I’m becoming to harsh upon this song, because in the meanwhile, this song is quite entertaining and a smooth ride. Drake does show us his true introspective output, with doubting lines of his own character such as, “I think I have a chance at love but knowing me I miss it / Cause’ me dedicating time just isn’t realistic / Man the good girls went silent on me,” showing that even though the fame may have rushed into his brain, he still has time to set aside for his return to earth.

Even more interesting however is Drakes specific niche, as shown with lines like “do I ever come up in discussion over double pump lattes and low fat muffins, do I?” It’s that specific niche that truly defines Drake. Consider the Nas statement he made earlier. Drake may not be lyrically or stylistically like Nas, but he has that observation, while unblossomed, that key for observing his general surroundings and compacting them into a digestable verse / sound. Drake’s use of imagery, when he states “It’s December 31st and we in Miami just meditating,” or a simple mention of “OVO clique, Red Wing boot gang,” it’s a simple look upon Drakes life. Of course he also has to mention that “PAT ron straight up.”

However, all good things must come to an end, as Drake finally recites the lyrics, “And I’m aware this could be the last time you listen / So while I’m in this position, you could thank me now,” showing us, regardless of all the fame he’s achieved, if the idea of failure may cross paths, then why not take it. His fames been fantastically monumental already, and that if he chooses that graceful fall, at least he has Timbalands wonderful, lush string filled instrumentation to fall back upon.

Verdict: 
On Thank Me Now, Drake said, “Shallow nigga but deep enough to go swimming.” Consider that what Drake is as the general characterization of him. Throughout the course of Thank Me Later, it seems like the continuation of what Drake spoke about in So Far Gone, the perils of fame, personal struggles, depression, pursuit of happiness, paranoia, anxiety, and of course, woman, are repeated in this album (albeit glossed up, but still)

But I feel that repeating the already known ideas is redundant, because there’s so many different views on the subjects that Drake speaks upon. However, on the song, The Calm, when Drake said: “Where dp we go wrong? Where do we belong? / Caught up in the game and it’s one that I can’t postpone.” These are one of many quotes which Drake speaks true of, because it’s just what he’s put himself into to.

I know that I overtly-praised this album on my initial listens, but that was because I have a bias for Drake in general, and I’m admitting it. But yet, with every artist that I admire, there are flaws to everyone one of them, and Drakes are even more emphasized (partly due to the mainstream hatred of people) Yes, he has terrible punchlines, he can be weird, his singing isn’t the most refined, and he is very superficial.

Yet, that’s what a developing artist does. Everyone does have flaws, but it’s the true test whether the artist can improve on these flaws or not. There’s a reason I keep on stating quotes from “The Calm,” (Part of So Far Gone, the last real track) and that’s because it’s what Drake predicted, even when he didn’t have a career. He was correct. He mentions his father in Fireworks like he did exactly on The Calm. There are people exclaiming ever so quickly that Drake is a leader of the new school and generation. Drake is still talking about his solitude and apparent lack of him fitting into society. It’s not to say that Drake is rehashing the topics, he’s trying to just express it in his own way, and you can’t really argue with that.

Although you can pinpoint it out easily though. Drakes overt bragging of fame on Show Me A Good Time, attempts of making that “certifed banger hood song for the trunks and traps,” on Up All Night, Drakes swooning attempts on Shut It Down, and the sorrows of fame demonstrated on Cece’s Interlude, and the plain weird preformance on Miss Me. Although all of them aren’t bad songs by any means, but it’s blatant, annoying, and hampers the listeners view upon this supposedly introspective / reflective and humble emcee.

There’s not much more I can say now that I haven’t said before for Drake, because it just seems that when he also stated in “The Calm,” that, “With my diamond chain is on, still nothing set in stone,” it spoke true throughout Drake’s career. He’s always going to speak upon the ills of his newfound fame, and more, because it’s come so quickly, and made such a dramatic change in this past year and this year when Drake suddenly rose up.

After all, he’s a “leader of the new school, it’s proven and it’s known, I’m sitting in a chair, but in the future it’s a throne.” Drake can easily make the journey into pop-star eternalization, only if he quits his punchline tendencies, marriage proposals, blatant auto-tuning. He then can adapt constantly, or truly carve out his lane in the hip hop game.

Rating: 80 / 100

Love King (Deluxe Edition) - The-Dream

2010-06-27T21:41:00.005-04:00

Love King (Deluxe Edition)
Artist: The-Dream
(All songs produced by L.O.S Da Mystro & The-Dream unless stated)
All scores out of 5

1|Love King|4:12 4.25 - 5
It takes a little time for this song to truly grow upon you, but when it does, it’s candy-coated with extra sprinkles. The remix really brought my opinion of this song, but since the remix isn’t really part of the mix, I’m not gonna criticize.
2|Make Up Bag (Featuring T.I)|4:44 4 - 4.25 (Produced by The-Dream)
The unrelatable song you want to relate to, dont’ lie.
3|F.I.L.A.|4:12 4 - 4.5 (Produced by The-Dream)
I used to despise the original mix with T.I, mostly because of the quality and the fact that it went on too long. But it’s truly grown upon me, along with it’s whimp*ering horns.
4|Sex Intelligent|5:11 4.5 - 4.75 (Produced by The-Dream)
The-Dream’s chopping & screwing the beginning, compared to none from the first leak really set the song into a higher gear. Classic hook though, probably one of my favorite ones to sing along. The end does kind of tire out a little bit however.
5|Sex Intelligent [Remix]|4:03 4 - 4.25 (Produced by The-Dream)
The first six seconds when he says “She wants me to ... remixx this dummbb shitt,” really just captivates me. And I wasn’t doing the extra letters to be overtly obnoxious.
6|Yamaha|4:55 4 - 4.5
It’s not supposed to fit in with anything, but it does by some miracle. The idea is interesting (?), calling an unknown beauty his Yamaha. I guess the idea that Yamaha rhymes (?) with “momma,” works though.
7|Nikki, Pt. 2|2:41 3.75 - 4
For some reason this song never really clicked with me, even though it’s The-Dream at his more introspective moments.
8|Abyss|4:39 3.75 - 4.25
Seamless transitition. This song is nice more by itself, than really the flow of the album, in my opinion. I thought this song was probably when The-Dream tried to actually say something
9|Panties to the Side|4:06 3 (Produced by Tricky Stewart & The-Dream)
Bores me for the first twenty seconds, then gains some luster that doesn’t shine as the song goes on, partly through production, and the seemingly bored nature of The-Dream.
10|Turnt Out|4:26 4.75
The-Dream doing what he does best.
11|February Love|6:15 4.5 - 5 (Produced by The-Dream)
Actually, this is also what The-Dream does best.
12|Florida University|5:28 4 - 4.25 (Produced by The-Dream)
I used to think that this song was either the most stupid idea, or the most genius idea that The-Dream has ever concoted in his mind, but I just kept on singing the chorus regardless.
13|Veteran|4:55 4.25 - 4.75
Song feels a lot longer than it is, but that’s a good thing in this case.
14|Priceless|6:04 4 - 4.25
I like the song, but I can’t never stand to finish it, even though I get very close too. It’s a shame though, I really have an interest in this song.
15|Take Care of Me|5:40 3.5 (Produced by The-Dream)
I just hate the guitar. However, that occurs for a period of time, which isn’t good.
16|All Black Everything|3:53 4 - 4.25 (Produced by The-Dream)
Little engineering and small production changes really does wonders for a song.
17|Sorry|3:41 4.25 (Produced by The-Dream)
Contains one of the best Dream lines that seems genuine.
18|Love King [Remix] (Featuring Ludacris)|5:33 4.75 - 5
This is what a remix should be. I need to explain more.

Overall Rating: 73.25 -78.5 | 4.2/5 | 81 - 87%: Great, repeated listens suggested; BUY IT

Generally with the start of the new decade, it should presumably mean that artists have an “incentive” to branch out and change some of their abnormalities into normal tendencies (if they desire, but still) Of course, throughout the past years that The-Dream has been in the ever-changing environment of R&B, it really seems that his natural quirks and traits, aren’t going to stop. From writing hits such as “Irreplaceable,” or “Single Ladies,” both for Beyonce, or Rihanna’s popular hits, the infamous “Umbrella,” or recent club / radio track, “Hard,” his spectrum of influence in the music industry is secretly monumental. Let’s not forget to mention the current relatable song, “Baby,” from Justin Bieber, and also his numerous production / singing credits on many hip hop artists (Rick Ross, Fabolous, Plies, Lloyd Banks, and recently, Drake)

As evidenced here, why fix something that isn’t broken? Using The-Dream’s commonly referred term to be described, as the actual description of him, The-Dream is truly a Radio Killa. Unchallenged, and unsurpassed by anyone in his age group, it’s a wonder why The-Dream doesn’t have the parallels of success he has in comparison to his songwriting / production for other artists.

Now, that’s not to say he doesn’t have hits. He has had several seminal songs, particuarly during his first stint doing albums on the scene with the songs, “Shawty Is The Sh*t,” “I Luv Your Girl,” and “Falsetto.” Nodima (A fellow reviewer who I’ll give much respect for my blatant copying of the rating system, and some of the elements I discuss) pointed out that also in 2007, the memorable hit, “Bed,” by J. Holiday proved one of the elements that hindered The-Dream’s fame, which was the fact that while his preformance as a whole was stellar, the main part of R&B, is singing, which The-Dream doesn’t excel in.

Not to say that The-Dream has no singing talent, even with the auto-tuned vocals, he pales as a singer, not necessarily an artist, to his mainstream contemporaries, Ne-Yo, Trey Songz, and of course, his inspiration, R. Kelly. As I previously stated before, as an artist, this is where The-Dream knows the kinks of. He’s proven with previous albums, The-Dream can stick to a concept, and ride along with it smoothly. He’s explored the highs and lows, the comparison of loving, yet hating someone just as much on Love/Hate,pondered and struggled upon the true satisfactions of a woman, love or money, in Love VS Money, and with both, taking his craft of using the eighties as his inspiration, Prince, Michael Jackson, and spinning and weaving these influences with deep, heartbeat 808’s, woozy synths, all to make songs appealing to his specific demographic of glamourized, glitzy everything, where the women seem to have the lowest standards, and The-Dream, willing to dive into those waters.

So why did I present this essay of The-Dream’s summed up past? As with anyone, or anything, everything has a past of it’s own, and Terius Nash is no exception to the rule. With Love King, The-Dream has once again learned to conform with the times, while providing his own form of what the current, modern scene he inhabits offers. Sex Intelligent revists the old trick of chopping and screwing vocals, previously established in his own songs, such as Fancy, or She Needs My Love, and the recent hit (Also produced from him too), Ride, from Ciara. Songs, like All Black Everything copies the themes from Jay-Z’s song, Run This Town, and other songs, such as Florida University, or Love King, follow the ever recurring idea of superficial singles that pleases the minds anywhere.

The-Dream obviously does please someone, because now, he’s not so worried about wondering what the controversial idea of love is anymore. He’s not concerned about determining the medium between how a person can love and hate someone at the same time, not concerned about this one, true love that seemingly has to exist, or whether the women love his money or him as a person.. Now, he’s just done being (loosely) philosophical, and just wants to further state that he apparently is the best person, treating them better, making them live better, buying anything better, it’s all exemplified here. The-Dream has now successfully created the modern day candy-coated sugar sweet album, and this concept seems to show us that this album is probably a distant land far away from the supposed normals, and the supposed people who can’t afford or isn’t sophiscated enough.

All of this glamourized, glitzy, fantastical superficial world is shown, and we merely have the perpherials, just seeing the mere perimeters / boundaries in the tracklisting. Furthering in, we see The-Dream big pimping girls, girls, girls (See what I did there) a la Jay-Z in the summer anthem, Love King, acting non-chalant about buying five thousand dollar bags for a disgruntled girlfriend, making his claims to a girl that she’ll fall in love again with Terius himself on F.I.L.A (Though the coincidental relation to the shoe doesn’t really make much sense), are all aspects we must understand about The-Dream to actually relate to this album. Just some subjects we see, and we’re only three songs in.

The-Dream has some kind of interesting quality, which is the fact that the song as a whole means more than what Terius actually says himself. Show but don’t tell, a lot, a deceptive idealogy that Terius has successfully done in all of these short three years his albums have been released. Songs, such as Turnt Out, a simple song about Terius just apparently turning your girl out on the bed, or Florida University, a deceptive, quirky song about that “Fuck you,” to a former significant, at first, seem like such retreaded and boring concepts, but Terius finds some way to make sure the song proclaims more than it really seems.

Of course, it’s not obviously due to The-Dreams singing, but the production and engineering skills that he, and his production team, L.O.S Da Mystro & Tricky Stewart possess. Songs such as Yamaha (A recycling of Fast Car, by far), should stick out completely, but through some engine rev’s on Sex Intelligent [Remix], it’s made possible, like it was fated to mesh in with the album. Of course, the fact that a song about an unknown beauty can seamlessly transcend into a song about the reminsicing of Terius’s former wife, Nikki, is a wonder by itself. Nikki Part 2, wonderfully swoops into the next track, the moody, somber, Abyss, which has such a transition that is uncomparable to any of the other sequencings on the album too. Also, Sex Intelligent, as previously mentioned also gets the doctors treatment, and although it’s split, this ten minute suite of serenading, chopped & screwed moments, infectious lines, it’s just a breeze through, and a very smooth one, one with the calm winds and the sunny skies.

The track, Feburary Love does deserve more specific mention, mostly because it alludes to my specific favorite track from The-Dream, Fancy. While both are of female subjects, and the length is similar, those are simple claims. Fancy, where this twenty three year old woman’s heartbreaker story is told from Terius himself, Feburary Love, seems to be the pleas of Terius to that woman herself, a rare moment of vulnerability, but also being a rather interesting scene, because he knows what’s impending, but just rather face the consequences and deal with the pleasantaries now. It’s these kind of sections where The-Dream seems to be more than what meets the usual listener. It also helps that both songs were very well (and similarily) produced, emphasizing that (somewhat) thoughtful music doesn’t have to be bland. However, admist all of this, I do speak of Terius’s introspective ways, rather broadly, which does ruin his image, though it is very true, yet this is not a detriment. It’s a bittersweet compliment.

Of course, nobodies perfect, even in Terius’s seemingly fantastical utopia. This flawed concept, while a relatively simple idea that The-Dream would throw out of the ballpark, it’s instead a unrealized song, which is “Panties To The Side.” It’s not the most jarring mistake, but The-Dream sounds uninspired and pedestrian, on his own creation. It’s not exactly Terius’s restrained vocal preformance that brings the song down, it’s also handed to Trickys lone production on this project. Being a third of the three man trio team (L.O.S, The-Dream and him), and being the one who provided the majority of the production on the superior Love VS Money, it’s a surprise that Tricky would provide a bland synths laced production with similar sound inflections to a previous dud, Ditch That. Course, that’s not to say that Tricky is a bad producer just because of this blunder, he has created vivid soundscapes for Terius such as the fantastic, Fancy, Love VS Money, Sweat It Out, Falsetto, or a personal favorite, Fast Car. The fact is, it’s not exactly about the songs that I’m emphasizing, but it’s the fact that Tricky was the elaborate producer, willing to switch out of his comfort zones and create tracks Terius easily adapted too, such as Mama (deserving mention of it’s distinct production and different subject matter) and the previously mentioned tracks. My main point is that all of these tracks sounded different, with Sweat It Out’s, violin synths and fuzzed out sounds, or Fancy’s melodic accordians, or even Falsetto’s genius use of the wailing electric guitar. So it’s a shame that this song sounded so similar to the album as a whole, and Terius doesn’t help matters either.

The specific deluxe edition songs, which I haven’t discussed yet, are truly important, because they all provide their own specific lanes the album as a whole has, and the three last songs (From Take Care Of Me to Sorry), are some of the more varied productions Terius has accomplished in his career. For example, All Black Everything, a song about setting up a date with all black everything, twinkles with simple pianoes, emenating woozy synths, engineered background vocals, and the classic chopped and screwed voices. All the parts work together as a whole, which is the main selling point Terius has been able to sell to the masses all these years. Songs, like Sorry, while the incredible minimalist production should drive away anyone, The-Dream just adds enough of bass, and snaps, to take a interesting introspective turn that hasn’t been humbly shown since tracks like Mama. Also, not forgetting to mention the first two tracks, where L.O.S provides some deviation from his usual standard of production, with the pianoes, synths, and all of the aspects. Priceless and Veteran are two interesting tracks, because they seem to work together as a suite, much like Sex Intelligent, and Sex Intelligent [Remix] did.

While it’s not exactly on the official album, it’s an official song regardless. When Love King [Remix] came out, I was intrigued. Not only did the percussion hit incredibly hard, rivaled only by Shut It Down, but it was what a remix really should’ve been. Being the summer too, this song was constantly played every single day by me, for the past month when it first came out. The tagged version came, then the clean version came, then the uncensored version finally arrived, but I didn’t care either way. The song just sounded complete, with the hard hitting drums, innocent piano keys, the double-timed Ludacris verses (Which I have memorized already), and of course The-Dreams attention to write a complete song. All of it truly worked, and this the song that made me excited for Love King. Not to say that I wasn’t before, but if The-Dream could make a song like this, why should anyone argue against whether his vocals aren’t the greatest, his songwriting isn’t the most refined. Music has so many different aspects and viewpoints, and The-Dreams realizes that he can do whatever he wants to do, and it doesn’t matter. It’s just right, and I can’t express any further that this is a seminal song, because it’s fantastic, and adds to this dreamland vision.

The individual does not make the whole, and this point is exactly what Terius Nash emulates successfully. While R&B albums, hell, albums in general rely on the seminal single, but don’t bring much else (I’m looking at you other numerous rappers, and fellow R&B singers such as Ray J, Jason Derulo, Iyaz, Ciara, T-Pain, Trey Songz, Slim, Rihanna, Lloyd, Mario, and so many more. It’s also ironic that The-Dream writes/produces for these people too) Note that most of these stars, particuarly Rihanna, Trey Songz, T-Pain are the supposed forefronts of R&B right now, but yet their albums are suspectible to the mainstream effects of mediocrity, blandess in production, and other small quirks. The-Dream is undisputably the Radio Killa right now, because he can overcome all of these boundaries with such leaps of grace. He doesn’t just have the singles, he has the album to support it too, this candy coated, sugary sweet, dreamland of being the Love King. It’s a seamless, breezy, sleazy, easy trip throughout Terius’s eyes of the strip clubs, cities, exotic locales, and beds, that is accompanied through the production that makes him.

The-Dream initially stated that he was going to stop dropping albums, that Love King was his final opus. A radiating middle finger to the masses. If no one gave him the true success he’s worked his life for, then why should he waste it then? He has his fancy lifestyle regardless. Yet, on Sex Intelligent [Remix], he claims, “Just for you, imma drop that love affair,” also stating that “six / seven, twenty eleven (2011), imma drop that Love Affair.” Of course, I’m not worried at all. The expectations of each album were increasingly higher (And increasingly predictable, also) from Terius’s fans, and The-Dream constantly delivers and delivers, finding a way to make the the recycled concepts, cornball musical fetishes, and everything to work so successfully. It’s The-Dream as a whole, this conceptual idea that is expressed more and more throughout these three albums he has put out, the common idea of love that Terius Nash tries to perfect. Love King is quite simply, a fantastic album, and as fellow reviewer Nodima said, the only mainstream R&B album worth purchasing this year. The Deluxe Edition is certainly the correct method of listening to this album, because The-Dream provides some his most ambitious, daring, and melodic production to date, and it does provide a functional, more cohesive conclusion. This album is definitely not to be missed.

Mentionable Quotes: A disclaimer before we get to the discussion. The-Dream isn’t (as stated), the most intelligent, or humble person ever to live. Infact, he is rather vain, and isn’t hesitant to use any musical line that sounds good on the song. Anyways:

“On her like a poster pimpin
Yeah I got her pinned up”

This specific part that’s chopped and screwed on Sex Intelligent, it’s always made me laugh, and testament to how corny The-Dream can be, but yet can pull it off so successful, and some of the reason is that, The-Dream’s metaphors are so elementary, you can understand them.

“Everytime I mention you, I say, Yamaha, yamaha, ohh yamaha”

It’s a question to me why The-Dream would call an unknown woman a yamaha. Maybe because it’s the engine / vehicle reference.

“Now let the waterfall, abyss
Only the sun would come, and drive the water away
But you’re in the abyss, my lady,
And you won’t see another
Now cry til’ you drown in your face”

Always thought it was an interesting part, because it shows The-Dream being vulnerable.

“Phantom in the driveway, sitting on the courtside
Shawty I ain’t new to this, you better get used to this
Thirty foot ceilings, lifestyle appealing,
Check my 09’ taxes, I made a killing,
Haters want to kill him, real n*ggas feel him,
Dream ain’t on the credits, then must’ve got a feeling, like,
Yeah he so silly, don’t mean to be rude, some of these n*ggas ain’t got a clue”

This part (and then some) is the allusion that I said earlier that Feburary Love had to Fancy. It seems like this is the response that The-Dream was giving to this unknown twenty three year old girl about what he explained she was doing. I dont’ care whether it’s already been said (in different ways) by The-Dream so many times, it works out. Just think about it.

“If you’re in love, then don’t dare sing along with me”

This quote is relatively simple, it just states that The-Dream isn’t truly in love even after all of his journeys to find it. But, I feel it’s the most humble moment that The-Dream has had, and in Sorry, it’s a confession that feels honest.

Oh, and every chorus and hook he sangs.