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.
Tuesday, August 3, 2010
Tuesday, July 27, 2010
Because Of You (Review) - Ne-Yo
(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.
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.
Sunday, July 25, 2010
Anticipation (Review) - Trey Songz
(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.
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
(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.
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.
Saturday, July 24, 2010
5:01 Overtime (Review) - Laws
(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.
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.
Friday, July 23, 2010
Say What's Real: Everybody Has A Story To Tell - QuEST
"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
Tuesday, July 20, 2010
On Some Bee Buzz: Willie Da Kid & Lee Bannon
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.
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