#things Raekwon would say on a song intro

[mltdwnblog]

“Parliamentary dialogue”

[wyattvsmusic]

Westside Gunn - 10 ALBUM REVIEW

Around this time year, Westside Gunn vowed that his Hitler Wears Hermes mixtape/album series would end with two albums billed as one album: Side A (Sincerely Adolf) and Side B, both of which were some of the best of the entire series, especially Side B which I think is the best. 8 (technically 9) albums in one album series is a rarely done and especially at this level where every single one is great and memorable. Fast forward to this year, Westside appeared to have pivoted to new projects such as the Peace “Fly” God album with Stove God Cooks and Estee Nack and his upcoming Michelle Records album that he’s been teasing forever. A lot of the song snippets from the Michelle Records rollout are songs that appear on his latest album, 10, which he cut off the HWH part because of all this Kanye bullshit. As a Jew, I never took offense to the HWH title as it is clearly a twist on The Devil Wears Prada, which likens Hitler to the devil which is not antisemitic and Westside has never even rapped about Hitler on any of these 10 albums so it’s quite different than the bullshit that Kanye has been saying. Regardless, I don’t mind that he decided to end it at 10 even though he technically skipped 9 even though HWH8 was two separate albums. The way I see it, it’s called 10 because it’s been ten years since the first HWH and there was never an iPhone 9. While I do love this album, it does start off kind of shaky. I haven’t written my thoughts about AA Rashid in my previous Westside Gunn reviews but the man who speaks on most Westside Gunn album intros really got to me on this album intro and not in a bad way but just a simply funny way because this man makes zero fucking sense when he talks and it’s hilarious. He sounds like what dumb people think smart people sound like when they use big words and have no idea what they mean. He said “Not to be overtly ostentatious or express large abundance of sophistry / I will add my true sentiment regarding this sound / And I will express to you that this is, this is the enlightenment.” I’m not mad at it because he sounds great, he makes me laugh, and he always talks over great production but I really had to say something about it here. The first actual song is the song Flygod Jr, which is produced by Westside’s son and it’s a trap beat which heavily deviates from the Griselda sound. I think Conway and Benny sound great over trap beats but it doesn’t really work on this song. I think the production is pretty weak and Westside’s flow isn’t that great, not to mention the Doe Boy feature is pretty mediocre. Though it’s a rough start, he comes right back with Super Kick Party over a filthy Conductor Williams beat. Like many Westside albums, 10 has a very impressive list of guest features who all show up to rap as WSG brings the best out of the rappers he gets on his songs. He’s got A$AP Rocky who sounds good over some smooth boom bap production. The song Peppas is an instant favorite as it features incredible verses from Yasiin Bey and Talib Kweli, who rap over a beautiful yet grimy Conductor Williams beat who channels the No Fear Of Time sound. In my review of that album, I talked about how Talib really stepped it up in comparison to past albums and he really went in on Peppas. I loved the way he was rhyming and he had some killer bars like “Claimin' La Costra Nostra, we in love with the coca / They hit n****s with the R.I.C.O., AP comported in cola.” The song Science Class is another standout track as Westside recruits Busta Rhymes, Raekwon, and Ghostface Killah over a pretty awesome sample. All three sound amazing over the repeating “we used to be good friends a long time ago” loop.  In addition to Black Star, Westside Gunn gets another duo, Run The Jewels on the song Switches On Everything. El-P sets things off with a pretty awesome verse but Killer Mike took things to another level with an aggressive double-time flow over the drumless beat which brought even more excitement into the song. The only thing I didn’t like was the hook. Stove God Cooks, who is also on the song also flowed over the song in a way I’ve never heard him rap before. Stove God Cooks is featured on most tracks and has been all over the past 3 WSG releases too and has proven that he and Westside never miss when they link. He ended his verse with the killer line “Last shit I cooked would've got five Pyrexes in the Source.” I also loved on Shootouts In Soho when Stove casually sang “I can't answer the phone right now, I'm cookin' dope.” He also appears on the absolutely filthy BDP with features Rome Streetz, whose music I don’t love but he always comes through with a great verse. Both Stove God and Rome Streetz join Westside and many other Griselda members and affiliates for the 10-minute finale, Red Death. The beat is slow, menacing, and epic and works for every single rapper on the song. While everyone had a great verse, Benny set the bar very high and the only one to best him was Conway who finishes the song strong with his verse. Some verses are much better than others but Armani Caesar really came through. She doesn’t just stand out because she’s the only woman on the song but because she has a good rap voice, came with the right amount of aggression, her flow was great and she had some good bars. I loved her Top Boy reference in her verse. Jay Worthy’s verse was fine but he didn’t totally fit. I would’ve loved to hear Mach-Hommy and Boldy James on the song because they are on the label and they would’ve fit better. DJ Drama, who hosted the mixtape/album similar to HWH7 brought the correct energy to it and did a good job wrapping things up on Red Death and likening the HWH series to other iconic series. He said stuff like “We came Back to the Future to be the Terminators of the Matrix” and “No Mission is Impossible when you this Fast and Furious.” 10 is a very strong way to end the decade long annual series that propelled Westside Gunn to where he is now.

Fav Tracks: Peppas, BDP, Science Class, Switches On Everything, Red Death

[airadam]

Episode 157 : XIII

"I only ride with the MFers that I used to walk with."

- Suga Free

Another milestone passed - this is the thirteenth birthday episode! Thank you all for staying with me over the long road travelled since that first pilot show. For this month's episode, we once again visit the old and the new, starting with a brand new release from one of my favourite MCs and ending with some storied veterans coming back to burn like T La Rock!

Twitter : @airadam13

Twitch : @airadam13

Playlist/Notes

Matterflow ft. Raekwon : Gray Space

We open the episode with a brand new cross-Atlantic combination - the Parisian producer Matterflow alongside the Staten Island Wu-Tang legend Raekwon. It's a reflective single with a downbeat sound, as Rae talks about moving from the "gray space" he inhabited in his young days to a very different life now. As some of us were recently discussing on a Twitch stream, nowadays in the age of digital releases it's so easy for a single like this to come out and quietly slip by the people who'd want to hear it, so I'm glad I didn't miss this one.

King I Divine : Reflections

I first heard King I Divine's production a good few years back when someone sent me his work, but then he dropped off my radar completely - which would mostly have been my fault! It was a pleasant surprise to hear him popping up on the Chillhop label, whose releases are quickly becoming a go-to for soundtracking tough programming sessions. This is a beautiful little single, not long, but with a relaxed piano line running through, finding its way through all the drums, percussion, and bass.

Mobb Deep : Back At You

RIP Prodigy. There's a good chance that this track might have slipped past you - the very similarly named "Right Back At You" featured on "The Infamous", but this slower, more measured cut was on the "Sunset Park" soundtrack. It also apparently got a single release, which I might chase down just to get the excellent Havoc instrumental.

People Under The Stairs : Carried Away

RIP Double K, another artist gone too soon. I was surprised not to have played the title track to the PUTS "Carried Away" album, their seventh, before, but the vibe is perfect for this time of year. The beat is so crispy and airy that Thes and K give us a twenty-bar intro before the lyrics start to just enjoy it, and a similarly lengthy outro - which also makes it great for DJs! 

Marco Polo ft. Oddisee, Kev Brown, Kenn Starr, Kaimbr, and Cy Young : Low Budget Allstars

The DMV (DC, Maryland, Virginia) is in full effect here! Marco Polo is on production, as this is taken from his first LP "Port Authority", but I think it's fair to say that he clearly shows a Kev Brown influence on this beat. I wouldn't be surprised if these two MPC masters collaborated to cook up this track, before Kev and crew got on the mic to top it with bars upon bars. If you like a good posse cut, then this is going to make you smile from ear-to-ear - while nodding your head!

Camp Lo ft. Trugoy The Dove : B-Side To Hollywood

The Lo and De La together on this deep album cut from Camp Lo's debut "Uptown Saturday Night" make for a flavourful combination. Interestingly, this is the only song on the LP not produced by Ski - Trugoy gets behind the boards himself, and you could easily imagine this track, with the hook and all, being on a De La album.

[Tonedeff] PackFM : Stomp (Instrumental)

The Bhangra vibes are heavy on this one! Tonedeff channels the kind of sounds I remember hearing in my neighbourhood as a kid into a banger for Brooklyn's PackFM. There are plenty of interesting things going on in this beat, from the periodic drum rolls/flourishes to the section where the programming suddenly changes and starts racing along in double time - it's a nice piece of work!

Visioneers : Rollin' For The Ride

I'd somehow almost forgotten about this track, until I gave the "Dirty Old Hip-Hop" LP a spin recently. A great mostly-instrumental groove, it could easily have been used as a bed between mixes but here it gets chance to breathe! Visioneers is a project headed up by Marc Mac (of 4Hero), Hopper, and Somatik, and they've put some serious releases out over the years. This breezy groove is perfect for the summer months, and should hopefully prod you into listening to the whole album.

Zapp : Brand New Player

This isn't the sound most people would associate with Zapp, but take away the talkboxes and heavy synths and they still get busy with traditional vocals and instrumentation! As well as the late great Roger Troutman and the rest of the crew, this track features production from the legendary bassist Bootsy Collins of Parliament/Funkadelic fame, and the combination is magic. This oft-overlooked gem is on the debut Zapp LP, which is one to absolutely grab on vinyl if you ever see it - it's an important one to have in your collection.

DJ Quik ft. 2nd II None and Peter Gunz : So Many Wayz

An aside; between this, "Deja Vu", and his guest appearance on "Rock Steady Pt. II", Peter Gunz has pretty much set his stall out as the king of dirty macking, perhaps only second to LL Cool J. Anyway, his appearance on DJ Quik's "Rhythm-al-ism" album wasn't necessarily an expected one but he holds it down for his town alongside Quik protoges 2nd II None and Mr. Blake himself. This tune has a cool intro but try as I might, I couldn't get it to blend how I wanted to, so go and peep the whole album to hear it for yourself - it's an excellent listen, and an LP which is widely regarded as one of Quik's best.

Z-Ro : We Ride

This one has been getting a lot of in-car play lately, so I was pleased to find a spot for it here. As is often the case with Houston's Z-Ro, there's a marked contrast between the cheerfulness of the production and the darkness of some of what he says, but you certainly can't deny his talent. He's a highly-skilled MC who can switch it up and sing, or do both at once as he does here, and at no time will it sound forced. This track is from the 2011 "Meth" album, but is really kind of ageless - it could have come out last week. Beanz & Kornbread handle the production and cook up a personal classic.

B. Bravo : Da Essence

This artist was played on the show just last month, but this track earned him a rapid return! A skilled practitioner of the electronic funk, he cooks up this track to open the new "Vizionz" LP, so take this free sample and then check out the main course...

The Gap Band : Burn Rubber On Me (Why You Wanna Hurt Me)

This lament of an abandoned man is a funk classic which I'm sure quite a few of you will know - and if you don't, you might well recognise that screeching tyre sample, which has been borrowed over and over again! This absolute monster was on the 1980 release "Gap Band III" from Tulsa's finest, and has been an influence on more musicians than you'd think. Dave Grohl said fairly recently that the drum pattern for Nirvana's "Smells Like Teen Spirit" was pretty much a direct lift of the drum intro from this track!

Ilajide ft. Clear Soul Forces : Vol 69

Big Detroit flavour from the recently-released "Pocket Jams" album. Ilajide brings in the rest of the CSF members on this track, which timing-wise feels like it's ready to trip over itself at any moment - it's got a beautiful kind of instability to its funkiness, only enhanced by the firehose delivery of the verses. The vibes here are just undeniable.

Buscrates ft. Laura Benack : You Got Me (Extended)

Having recently got up on some of the work of Pittsburgh's funk maestro Buscrates, I've been digging back for tunes that I would have previously missed, and this is a stunner. You could imagine this one moving a sophisticated dancefloor, with the clear and precise keyboard bassline being the highlight of the beat, and the the production overall leaving plenty of space for Laura Benack's vocals to shine. You can find this on the "Luxury Soul 2019" compilation, but it's also available as a single - digital release, if nothing else. 

Suga Free and Kokane : SugaKane

This combination definitely needs to be heard over the length of an entire album. For now, we have this Cutty Dre-produced single, on which two highly influential - if not necessarily widely-known - West Coast vocalists give you a sample of their styles. Suga Free basically turns motivational speaker on this one - if you're not used to him, you might have to rewind a few times to catch some of the jewels!

[Evil Dee] Black Moon : Fuck It Up (Rugged and Ruff Instrumental)

B-side action from the flip of the "Who Got The Props?" 12", with Evil Dee going in with a nice bit of jazz style.

Son Of Noise ft. DJ Stylewarz : Adrenaline

Have you ever seen one of those viral videos where some young and cocky idiot tries to bring it to an older man, only to find himself thoroughly outmatched? Well, Son Of Noise certainly aren't as old as all that, but this absolute flamethrower proves that there's no subsitute for experience - which new jacks are bringing it like this? Son Of Noise were born out of the breakup of the pioneering UK crew Hardnoise, who were responsible for tracks like the legendary "Untitled" and "Mice In The Presence Of The Lion" (which you'll hear cut up here). Despite suffering personal losses and record company drama over the years, they've stayed active and true, and you absolutely have to respect them. Taken from last year's "The Resurrection" EP, this is a great channeling of the classic sound sometimes referred to as "Britcore", which was arguably the most prominent vein of late 80s-early 90s UK Hip-Hop. Think of those records as like action films on wax, and this is a high-quality modern example - the beat by OG Bulldog is pure drama, the bars are packed with skills and aggression, and the cuts? 🔥🔥🔥🔥 This could only close the episode, as there's no way to follow it.

Please remember to support the artists you like! The purpose of putting the podcast out and providing the full tracklist is to try and give some light, so do use the songs on each episode as a starting point to search out more material. If you have Spotify in your country it's a great way to explore, but otherwise there's always Youtube and the like. Seeing your favourite artists live is the best way to put money in their pockets, and buy the vinyl/CDs/downloads of the stuff you like the most!

Check out this episode!

[strictlyfortheculture]

MY TAKE: 1,300 WORDS ON JAY ELECTRONICA’s ‘A WRITTEN TESTIMONY’

After 11 years of anticipation, Jay Electronica finally released an official study album, A Written Testimony featuring Jay-Z who was playing the role Ghostface Killah did for Raekwon on Only Built 4 Cuban Linx.  

Jay-Z was the co-star; the Scottie Pippen to Michael Jordan; the one who complimented the headliner, assisting him in a win, and this album most certainly was a win.

Now I make the point of listing Jay-Z as a co-pilot in this audio journey because many in the Internet realm want to say Jay-Z "lyrically murdered" Electronica on his own shit. Ironically, something Nas claimed happened to Jay Z on the Renegade song years ago.

That didn't happen. Jay-Z did what he was supposed to do, he collaborated with an emcee who captured his ear and mind back in 2010. 

This was not Watch The Throne, Part II. To say such a thing is to disrespect what Jay-Z and Kanye West created in 2011. A Written Testimony was the overdue, formal introduction to the rap world Hip-hop's resident Willy Wonka - Jay Elect - the man who creates endless wonders while staying aloof. Jay Electronica is a real-life James Bond, a man who shook the Hip Hop world when he released the game-changing "Exhibit C", dated and fathered a child with Erykah Badu, sparked a bidding war between Puff Daddy and Sean Carter based on the strength of a couple singles, the man who disappeared for years, and was romantically linked to an heiress from the Rothschild family. 

YEAH, this man is a legend.

But those exploits coupled with several loose singles and two mixtapes were not enough to satisfy the appetite of hungry Hip Hop listeners, eager to devour the sounds of a man from New Orleans, Louisiana who is, lyrically, more like Rakim Allah than Soulja Slim ... and still, Jay Elect pay homage to his NO influences throughout the album (see "Ghost of Soulja Slim", in particular).  How can a Southern emcee come on the scene without having a stereotypical sound of a New Orleans rapper? He doesn't sound like Master P nor does he follow the path of Lil Wayne. No. Jay Elect made his trail unique; distancing himself from the pack.

After 10 years of waiting, Jay Electronica announced his album WOULD be released in Match 2020. Now a lot has changed since 2010 when the original album was meant to come, and during that time tastes change and even the most loyal fans lost faith that it would happen. 

Was this real? Was Jay Electronica gonna drop or was this another instance where an artist over-promised and under-delivered? 

Finally, Friday the 13th, March 2020 A Written Testimony was released and the internet was flooded with the full gamut of emotions ranging from exhilaration to disappointed (can't please the internet critics or Joe Budden) to a renewed faith in the man of legendary reputation. 

Yes, people were pleased to hear that Jay-Z is still one of the best in the game, today, but for me, I was delighted to hear Jay Electronica slay the sound-waves. This 10 track album not only reinforced my appreciation for Jay Electronica; it made me want to study his lyrics; dissect these testaments to its very root.

The introductions to (1) The Overwhelming Event and (2) Ghost oF Soulja Slim featuring sound bytes of Louis Farrakhan speaking to the masses about the Black people in America being real children of Israel; the recipients of God's promise to bless the descendants of Abraham caused dissent from Hip Hop critics and listeners alike who felt the Nation of Islam leader's alleged anti-Semitic comments have no place in a rap album. Those people forget that Jay Electronica is a member of the Nation of Islam.

WRITER'S NOTE:  All of those critics are silent when rappers say of Nigga or calling Black women "bitch" and "ho". Where are they during those moments of controversy? Hmmm. This is a conversation for another time.

Controversy aside, the lyrical wordplay on display should have silenced any nonbeliever.  

(2) Ghost of Souljah Slim starts off the album right with both men trading verses, and more importantly Electronica showing that he can hold his own with Sean Carter. 

(3)The Blinding has Jay Electronica talking about the hesitancy to release his music to an audience that will undoubtedly pick apart his work rather than enjoy it for what it is. (4) Neverending Story is where Jay Elect laces an Alchemist beat with the tale of his come-up from humble beginnings and hostile surrounding to still being chosen by God; bestowed with divine greatness. 

(5) Shiny Suit Theory showcases Elect rhymes over a self-produced song proclaiming his forthcoming rise in the world of rap.

(6) Universal Soldier has both men share tales of their rise from hardship and criminal lifestyle to gaining knowledge of self and ultimately overcoming the hurdles placed before them

(7) Flux Capacitor has Jay Elect speaking on a preordained calling upon him to bring superior lyricism and teachings to the world while representing New Orleans. 

(8) Fruits Of The Spirits  is a song detailing the long wait for this debut album, Electronica lets the listener know that it was all part of his master plan for just like Thanos (from the Marvel Comics), he can defeat any competition with the snap of his fingers.

(9) Ezekiel's Wheel ties into the Biblical story of Ezekiel, the warrior who was placed by God to be the prophet over Israel, Jay Electronica declares himself to be a prophet to the children of Israel, whom Farrakhan, in the album intro stated were the Black people in America. 

(10) A.P.I.D.T.A. (All Praise Is Due To Allah) is my personal favourite is a song dealing with the loss of loved ones. According to reports, this song was written on the same night Kobe Bryant and his daughter Gianna Bryant died in a tragic helicopter crash in February 2020. Wow.

On this sombre track, Jay Electronica offers lamentations over the loss of his beloved Mother, speaking of how her departure from this physical form has cut him to his soul, rendering his spirit wounded. 

Eyes fiery, cry tears to my diary Sometimes a Xanny bar can't help you fight back the anxiety I go to my Lord quietly, teardrops on our faces Teardrops on my face, it's like teardrops become waterfalls by the time they reach my laces My eyelids is like levees but my tear ducts is like glaciers As I contemplate creation, the salt that heals my wounds pour out my eyes just like libations I can't stop my mind from racing, I got numbers on my phone Pictures on my phone The day my mama died, I scrolled her texts all day long The physical returns but the connection still stay strong

Jay Elect later rhymes,

Sleep well The last time that I kissed you, you felt cold but you looked peaceful I read our message thread when I get low and need a refill

All controversy and delay aside, Jay Electronica delivered a debut album that rivals that of your favourite MCs. FUCK Joe Budden and anybody who disagrees. I'm still waiting on Joe to release one record as meaningful as Elect's worst.  Anyway, I digress. 

In an era where the word Classic has lost its meaning thanks to the overuse of fans and critics alike, I won't give it that distinction, at this time. I do, however, feel this album will go down as one of the more significant releases of the last 10 years.  This is evidence of substance over style. No commercials tracks. No filler. Just two talented men delivering lyrical food to a hungry audience in need of manna from heaven rather than the pursuit of bread ($$$).

And man cannot live on bread alone.   Peace God. Holler at me

[mambasaid]

Scorpion Review (Side A)

Before I get into this review, I’d like to start off by giving you a synopsis of my history with Drake and his music.  

Like a lot of Drake fans, I was introduced to Drake’s music when So Far Gone was released early in 2009.  I may have heard a few of his songs with Lil Wayne prior to that, but I binge watched a lot of Family Guy and South Park around that time so my memory for most of 2008-2010 is pretty spotty.  I really just remember chicken fights and singing pieces of shit (no, I’m not talking about Chris Brown) with random songs sprinkled throughout.  Anyway, my point is that if I did hear anything by Drake prior to So Far Gone I didn’t find it compelling enough to skim through the rest of his discography, but So Far Gone was a different beast entirely.  The production was incredible; a lot of the beats made me feel as if I was in a dream.  Drake’s lyrics were also noteworthy; as a rapper Drake has his flaws, but he has always been a technically proficient rapper who was not afraid to come across as vulnerable, and I have always respected that.  That combination is rare today, but it was nearly unheard of back in 2009; at least in the realm of mainstream hip hop.  So here we had a lyricist with a great ear for production who was even able to sing pretty well on occasion; I was all in.  I went back and downloaded Drake’s two prior mixtapes, Comeback Season, which is still great, and Room For Improvement, which is an interesting listen, but not really all that good, and played both of them dozens of times.  For a few months in 2009 I was a full-fledged Drake stan.  

However, Drake had slowly started to fall out of my good graces by the time his debut album, Thank Me Later, came out in 2010.  In hindsight, I don’t really remember why.  Maybe it was the fact that he was singing too much for my taste.  I was a stereotypical hip hop head back then.  All I wanted were complex punchlines and rhyme schemes over a gritty or soulful beat and I was satisfied.  Drake definitely had his fair share of “lyrical miracle” songs, but he also started to venture into R&B territory a bit too much for my liking.  For whatever reason, I thought that his music was too “soft” and self-indulgent.  I grew up in the suburbs, so I really have no right to call anybody soft, but that’s how I felt at the time.  I definitely liked quite a few of the song that Drake was putting out, but I just didn’t view him as the guy who was going to bring “real hip hop” back to the mainstream anymore.  On Take Care, which is still probably his best album, Wheelchair Jimmy Champagne Papi The light-skinned Keith Sweat  Drake continued to toe the line between rapper and singer, and I was such a hip hop elitist that I dismissed damn near ⅓ of the album because Drake was singing too much.  I’ll save my final thoughts on that album for another day, but I certainly didn’t give that album it’s due at the time.  

As Drake continued to dominate the radio with inescapable songs, he became harder to hate on.  Eventually, I accepted the fact that Drake was no longer

Survival

This is fine for an intro, but it’s a bit underwhelming when compared to Drake’s past introductions.  He even says that he doesn’t want to get ahead of himself because this is “Just the intro” when on prior opening tracks he has rapped much longer, sometimes for what felt like an eternity, and used the intro to catch us up to speed on what has been going in his life since his last album dropped.  Here he mostly treads water, bringing up the Meek Mill and Diddy beefs he was involved in over 3 years ago, although he does seem to take a few shots at Kanye.  Anyway, this was pretty good, just not as epic as I was expecting.  “My Mount Rushmore is me with four different expressions” is an all-time great Drake line, though.

Nonstop

I hate this song.  The beat is fine, but this is probably the most annoying flow and cadence that Drake has ever used.  In the second verse he starts doing this weird thing where he mumble whispers (?) the first half of each bar, then raps the second half in his regular voice, and it’s just terrible.  On top of that, the song title isn’t even accurate because I stopped this track at least six times to make sure that this was actually a song by Drake and not something from Lil Overdose’s new album.  This might be Drake’s worst song ever.

Elevate

There was literally no way this song could have been worse than Nonstop, so at least it already had that going for it.  This song still isn’t anything special, though.  I like this beat a lot, its celebratory and ominous at the same time, I imagine this is the beat Thanos heard once he got all six soul stones and snapped his finger.  Unfortunately, Drake didn’t snap on here, so we get a lot of very forgettable lines.  Girls seem to love that line about God playing favorites, though.

Emotionless

After giving Drake a pretty mundane beat for Survival, No I.D completely redeems himself here by giving Drake one of the best beats of his career; it’s so soulful.  Drake uses the first verse to take more shots at Kanye and Pusha T, and uses the second verse to make excuses about why we didn’t know he had a son until Pusha played detective.  Props to him for calling out the people who take dozens of pictures when they go on vacation for 2 days then post those pictures a month later so they can flex like they’re still vacationing, but what the hell does that have to do with us knowing you have a kid?  Your son barely even knows that you exist, so how do you expect him to know about the lives of people on social media?  The kid won’t be old enough to even understand what is on a phone for several years.  It’s a good line, but it is also really dumb, but this is hip hop, not a thesis defense, so I’ll let it slide.  Finally, a song I want to listen to again.

God’s Plan

Originally released as part of Drake’s Scary Hours EP, along with another way better song called Diplomatic Immunity,  God’s Plan quickly rocketed up the charts and became one of Drake’s most successful songs ever.  I like it, I just don’t understand why it was so popular.  Drake has released a lot of other singles that I felt were destined to be chart toppers in the past, but for whatever reason this one was way more successful.

I’m Upset

This song came out a day after Drake’s Duppy Freestyle, a track that became a bit of a footnote after Pusha T sonned him on The Story of Adidon, but still a good diss in its own right.  Duppy got a pretty warm reception when it first dropped, and I think I’m Upset initially suffered because of that.  There is a pretty stark contrast between the two songs.  Duppy has more of a classic hip hop feel, with more of an old school beat and Drake adopting a quicker flow with a lot of slick punchlines.  I’m Upset is very clearly a modern hip hop song, Drake raps over a much slower beat and gives us a lot of lines that are easy to digest and remember, the type of lines you would see under a picture on Instagram, but that isn’t such a bad thing.  While this isn’t one of Drake’s best songs by any measure, I do think it’s better than people initially gave it credit for.  Ironically, Pusha’s diss track that dropped a few days later makes this song sound better, as a lot of the first verse is clearly about his baby’s mother.

8 out of 10

Drake mentions that he likes to take things from an 8 to a 10, which sounded nice until I remembered that he once rapped about going from 0 to 100 real quick.  Now I’m left wondering if he has slowed down and abandoned his more reckless ways now that he has a baby to care for.  Anyway, upon first hearing Scorpion, this was one of my favorite songs.  However, after listening to Joe Budden’s excellent breakdown of the meaning behind a lot of these lines, I’m beginning to realize that, even though I liked this song, I didn’t really appreciate it as much as I should have.  Drake utilizes Boi 1da’s beat to take more shots at Kanye and Pusha T, but a lot of the lines are so subtle that they might fly over your head, and I mean that as a compliment.  When he wants to be, Drake really is a lyricist, and he puts that on full display in this song.  Listen to Budden’s analysis of the bridge for this song and tell me this man doesn’t care about what he writes.  This is my favorite song on this album by a pretty wide margin at this point in time.  

Mob Ties

Aside from maybe Chance the Rapper, Drake is pretty much the least threatening rapper to have ever lived.  Not only does he spend like 40% of his discography crooning or crying to women, but even his public persona is that of an unabashedly a corny guy.  He is like the opposite of Doggystyle era Snoop Dogg and that’s completely fine, people love him for it, so why does he always have these random songs in which he transforms into Only Built for Cuban Linx era Raekwon and pretends to be some kind of mob boss?  We know you’re not putting hits out on people dude, just chill.  Granted, a lot of rap is built on people building up fake personas, but at least they stick to them.  Yeah Rick Ross is a liar, but the guy has always stuck to his character.  We know so much about Drake’s personal life that it’s hard for me to take any threats that he makes seriously.  Anyway, I didn’t mean to rant for so long, this song is ok.  I like this beat, but I just don’t think it was well suited for Drake, it seems more like something Migos would have picked.  

Can’t Take a Joke

Lmaooooooooooo what is this flow?  Maybe this song really is a joke because this weird sing/rap flow actually made me laugh the first time I heard it.  Aside from Nonstop, this is pretty easily my least favorite song on the A side.  I’ll be skipping this one.

Sandra’s Rose

Drake finally got a beat from the legendary DJ Premier and the collaboration doesn’t disappoint, I do wish Preemo had scratched on the hook, though.  This isn’t an all-time great Premier beat, but it does the job, and so does Drake.  While there are a few pretty weak bars in here, most of the punchlines are on point, so much so that a few of them went over my head on my first listen, and Drake rides the beat well.  I wish Drake would rap over beats like these more often, my 3 favorite songs on this side have all featured soulful vocal samples.  

Talk It Up

Drake and Jay-Z seem to have thrown subliminal shots at each other several times in their careers, yet Jay seems to be one of Drake’s favorite collaborators (he has appeared on 3 Drake albums, as many as Lil Wayne).  Drake has a cute little double entendre about lump sums, but aside from that his verse is pretty forgettable.  Jay fairs a little bit better, but not really. It seems like 2010 Jay usually only raps about being a boss or his past as a drug dealer, and on this track he chooses the latter.  Jay’s verse is ok, but this pretty easily the weakest of their 3 collaborations, which is a pretty impressive feat given that Jay spent his second verse on Pound Cake interpolating a Rihanna song.  This was kind of a waste of a great DJ Paul beat.

Is There More?

Drake asks the same question that I have been asking for the vast majority of this album.  I would have sworn that this was a 40 beat, but it was produced by Wallis Lane.  This is one of Drake’s better lyrical performances on the album, arguably his best.  Drake presents himself as someone who has finally made it, but is now left wondering what else there is to accomplish.  However, Drake spends a lot of this song bragging about how successful he is rather than talking about how becoming successful has left him feeling empty, so I wonder what his goal was with this song.  The title and the beat suggest that the song would be more introspective, and a few lines in the first verse are, but most of this sounds more like Drake asserting his dominance over the rap game again.  Even if the subject matter is a bit confusing, this is not a bad way to end this side.

Side B

Trash, this whole side sounds like a bootleg Jon B album.  Maybe that’s why he called it side B.

I’m just kidding!  I’ll give my thoughts on Side B soon, but that’s a lot more to write and a lot more for you guys to read, so for now I’ll stop here and give you my thoughts on Side A.  This isn’t a bad album, but it’s pretty bland.  There are a few highlights, most of which feature soul beats, but Drake sounds very uninspired on the majority of this album.  He switches up his flow every now and then, but it’s usually to his detriment, and a lot of the punchlines on here are bad or non-existent.  Drake has always had an excellent ear for production, and that remains true on this album; there isn’t a bad beat on here, I just think Drake used them wrong or wasn’t suited for them.

Swishes:  Emotionless, 8 out of 10, Sandra’s Rose

Bricks: Nonstop, Can’t Take a Joke

Overall, I’d give Side A a 6/10

[com350projects-blog]

Nicholas Quinones Com 350 visual

When looking back at the history of music it will be unmistakable the contribution that the Wu-Tang Clan has give not only to the rap community but to the world. Form their beginnings as small New York Rappers, to their voices as mega rap stars, and movie makers they have made their own path that many have failed to follow. The broke rule and made new one in the rap word, and had fun while doing it. They have preserved the most important element as a content creator no matter the cost, there voice and that voice makes them the best rap group of all time with some of the best rappers.

There is only one rap group that I can say without a doubt in my mind is the best of all time. This group started in the golden age of rap and had all the correct elements that made them stars but still somehow did not sell out (in my opinion). This group had and still has members involved in any media you can think of. When looking at them there rap roots run deep and there media branches spread wide. There members are rappers, producers, entrepreneurs, directors, actors, and straight ups G’s. This group can be the one….. The only….. Wu-Tang Clan (insert crowd cheering). I will show you how they are the best not only with there music but how the exist. What makes the Wu-Tang clan the best rap group of all time is almost to much to put into word but because I have to i will boil it down it has to be there voice. The pure spirit of the Wu-Tang clan shows what I think rap should be.

The Wu-Tang clan; for those who don’t know, is a New York base rap group that peaked in the 90’s but are still artistically driven produce music and other media to this day. The Wu-Tang clan has its roots in the housing projects of Staten Island with founding father and cousins Rza and Gza collaborating as early as middle school. As the years passed they befriending more clan members from freestyle circles and rap battles that were popular in late 1980’s. The Main group U-God, RZA, Raekwon, Ol' Dirty Bastard, Method Man, Masta Killa, Inspectah Deck, GZA/Genius, and Ghostface. There plan was to individually seek recognition but support and network within the group so they could get individual royalty checks. The Wu-Tang Clan produced their first official group album in 1993, Enter the Wu-Tang (36 chambers) with individual songs predating that. The Wu-Tang Clans music is the most important part of their identity they were considered a legitimate voice of the community. This “street cred” was very important and still is important in the rap “game” today. I honestly do not feel it is necessary to name all the charges acquired by the individual members of the Wu-Tang Clan but it is a long list. These charges were not the result of their music style as most concerned parents of the day would tell you but there music was a reflection of the environment they lived in every day. Even the way the approached getting an agent was unheard of. It is said that tired after getting rejected by agents no taking them seriously, Rza opened a phone book and look up the agent they wanted to represent them, then took a taxi to his home knocked on the door. When he opened the door to the sight of the 9 members of the Wu-tang clan standing on his door step Rza handed him there mix tape and said “Listen to this. Our s*** is amazing” and they all walked away. This story is a staple of the rap community but is largely debated if it is fact or fiction. With these roots they were set to become one of the biggest names in rap ever.

The way they approached their music gave them a style and power that people still try to mimic to this day. There first album Enter the Wu-Tang (36 chambers) is still considered one of the best rap albums of all time and even or impressive then that as individuals the have made several other albums that make many critic and fan “must listen to” and “top 10” list. There revolutionary group dynamic changed the rap game. Even there spin off albums and solo albums like Blackout! And Muddy Waters are received industry accolades. Even they way they sell records is original, Their most recent album Once Upon a Time in Shaolin ony solid one copy…… for two million dollars. The group in secret for 6 years make this double album and sold it along with its rights for 2 million dollars at auction. To add on to the ridiculous nature of this deal they also put in the sales contract that if any member of the Wu-Tang clan can steal the album back then the ownership transfers back to them…...oh any member of the Wu-Tang clan and Bill murray. Unfortunately the album was bought by Martin Shkreli the man who change the price of a popular HIV medication from $13.50 a pill to $750 a pill. Martin also treated to destroy the album but did not and had recently release the intro and part of one track after Donald Trump was elected. This wonderful musical history along with the fact that they are the one of the very few rap group that ever had any recognition or longevity. In the rap industry, rap group tend to die after one member out shines the rest. This happens so often it is easier to name the group that succeeded even if i use the word succeeded loosely (Outkast, G-unit, Young Money, Terror Squad, Bad Boys). There musical career is untouchable but that is not the only thing that elevates the Wu-tang Clan to greatness, it's their versatility.

The some of the Wu-Tang Clan members are more recognized in there acting and directorial roles. These role are not just some money grab or failed switch into acting they are reflections of themselves as much as there music is. The fact that the basis of their entire group was the 1978 Kung Fu movie The 36th Chamber of Shaolin makes this point even more valid. Rza alone has 36 acting credit, 3 directorial credits, and 6 producer credits. While all of Rza’s works reflect his serious, almost zen personality as much as the other members reflect theres. These roles they played and moves they made give a deeper look to what the Wu-tang clan is, a group of friends watching movies and making music in not so nice time.

[airadam]

Episode 142 : ...If You Hear Me

"We all need...some fresh air."

- Tobe

This month has been pretty exhausting, but I did have some good ideas for this episode, and once I hit stride with the recording I decided to try and keep the pace up and get it released on a weekend day! The selection has turned out to be heavy on artists who are no longer with us, but left us some great music to remember them by. Get yourself comfortable and press "play"...

Twitter : @airadam13

Twitch : @airadam13

Playlist/Notes

Evidence ft. Raekwon and Ras Kass : The Red Carpet

How is this track ten years old already? Time has flown since the 2011 release of "Cats & Dogs", the second solo Evidence album after four LPs as part of Dilated Peoples. While Evidence is an excellent producer in his own right, the reins here are taken by his future partner in The Step Brothers, The Alchemist. He further shows his confidence by bringing in California's Ras Kass and Raekwon from the Wu to guest, both legendary MCs, and holds his own next to both. A great collection of talent to kick off the show!

[DJ Premier] Gang Starr : What's Real? (Instrumental)

I just had to go back to "One Of The Best Yet" for another Preemo beat! Definitely get the instrumental release if you can, especially as you get the previously-unreleased "Glowing Mic" as a bonus cut.

The Notorious B.I.G ft. DMC : My Downfall

As I say on the voiceover, it feels weird playing a good chunk of Biggie's catalogue given how he ultimately died. This track from "Life After Death" is a perfect example, and feels like a mix of the creative writing he was famed for and maybe a realisation of exactly how much negativity swirled around him even after he had made the transition from the streets to the music industry. The legendary DMC of RUN DMC guests, only on the hook - but he does it well.

Agallah : Slaughter

Just a few bars, just a taste, as I needed something to bridge a track with no instrumental outro and the other with no open bars on the intro! Big respect to Agallah though, who has been putting in work since the mid-90s and will probably have yet another new project out by the time I finish typing this sentence. Find this beat on "Propain Campain Presents Agalllah - The Instrumental Vol. 1".

Sean Price and Small Professor (ft. Rock and DJ Revolution) : Refrigerator P

Heavy business! Ruck (Sean Price) and Rock, formerly the duo Heltah Skeltah, reunite on this killer from the "86 Witness" LP. Small Professor makes the beat dramatic, and DJ Revolution seasons the mix with his trademark super-sharp cuts.

Fred The Godson : Presidents

The Bronx-born-and-bred MC Fred The Godson sadly passed away last April at just 35 - one of the relatively early US casualties of COVID-19. During his lifetime, his catalogue consisted of some highly-rated mixtapes, but only after his death do we finally hear his debut album, "Ascension".  This track of course is built (by Hesami) around the same sample as Jay-Z's "Dead Presidents" as Fred expounds on the drug game.

Broke 'n' English : Tryin' (Calibre Mix)

"Tryin'" was one of the standouts on the 2007 debut LP "Subject 2 Status" from this respected Manchester crew. Both Strategy and DRS have a long-standing history in the drum & bass scene, and so it made sense that the remix of this track would be handled by someone like Calibre. Sharp, crisp drum action and a smooth bassline drive this one along, with DRS' vocals being woven in as a refrain. You can hear in this one track how DRS then went on to make several excellent D&B albums - his vocal versatility allows him to shine on any production.

Marco Polo : Cindy

The "MP On The MP" (see what he did there?) beat tape is inspired by a Youtube series he was doing, and features a host of new and unreleased beats. Marco Polo is one keeping this style of production alive, which I'm thankful for.  I still think of him as a "new" producer, but he's a veteran with over fifteen years in the industry!

Le$ : Out To Cali

Le$ is a great MC to go to if you want lyrics about just living life and having fun - almost like a Curren$y, but without the extreme high-end references. Right here, he's going to Cali, buying some weed, riding around, and enjoying the view - sometimes it doesn't need to be more lofty than that. Mr.Rogers goes to a familiar sample as a basis for the beat, and if you want more, the whole "Summer Madness" will give you these vibes - and exercise your speakers in the process.

O.C. : What I Need (Keelay Remix)

The "Smoke & Mirrors" LP is a bit of a forgotten one for many, but I really enjoyed it, and when acapellas became available, it was expertly remixed by the Sole Vibe crew out of San Francisco. The classic soul sample (which you may recognise from tracks like "Deeper" by Bo$$) is the foundation, with a heavy kick and skipping hi-hats providing the rhythm. O.C. never lost a step from his first LP, and he's never afraid to put his feelings out there on wax.

Sadat X : Stages & Lights

This is one of those tracks I was stunned to realised I hadn't already played on the podcast, so here it is at last! This Showbiz-produced cut from the 1996 "Wild Cowboys" LP, Sadat's solo debut, was also a B-side on the "Hang 'Em High" single - but definitely stole the show. If you ever find the original sample, you'll be amazed at how Show plucked that one small piece for this beat!

Phife Dawg : Thought U Wuz Nice

Killer B-side action from Phife Dawg, on the flip of the Superrappin "Bend Ova" 12", with J Dilla on the bouncy production. Still can't quite believe that both of these icons are no longer with us.

Saib : Beyond Clouds

The Chillhop label seems to put out endless amounts of beats from producers specialising in sounds inspired by greats like J Dilla and Nujabes, but with their own spin. This one comes from the "Chillhop Essentials Fall 2020" compilation, one of any number that are perfect for soundtracking study, work, or just a lazy day!

213 : Run On Up

That beat by Tha Chill and the delivery of "Shut the f********ck up and ruuuu-uuu-uuuun" by the late great Nate Dogg is enough to make this an absolute classic in my ears, but the full picture is even better. Way before "Doggystyle", "The Chronic", or even "Deep Cover", 213 was the group formed in Long Beach by Nate Dogg, Warren G, and Snoop, before any of them had got their big breaks. Years later, after all of them had become stars in their own rights, it was heart-warming to see them reform for the "The Hard Way" LP, from which this is taken.

Sporty Thievz : Angel

The Sporty Thievz deserve to be remembered for more than "No Pigeons", as much as we enjoyed the whole thing at the time. The "Street Cinema" album may not have quite lived up to the name, but there were some solid cuts on there, and this was one. Produced by King Kirk of the group alongside Ski, this track has all the foreboding, and while the singing on the hook may not be Marvin Gaye level, it absolutely works here.

Jean Grae : My Crew

One of the great underrated MCs - not because her skills are in question, but simply because not enough people know her! She's in fine early 2000s form on this cut from the "Bootleg of the Bootleg EP", produced by China Black. Straight boom-bap, and she cuts through with clarity and dexterity. Jean Grae raps, sings, produces, acts...one of the true talent of the culture.

Bronx Slang : Just Say No

New single from Jerry Beeks and Ollie Miggs, who have really been on a hot streak the last couple of years. It's nice to hear some protest music in an era that really calls for it, and if this is a marker of how good the upcoming second album is going to be, then you need to reserve a space in your crates right now! Jadell on production brings an appropriate heaviness to the track, no lightness on the beat!

[Ron Browz] Big L : The Heist (Instrumental)

All these years and I'd never looked to see who produced this beat from Big L's posthumously-released LP "The Big Picture" - come to find out it's one of Ron Browz' first credits. He's much better known for "Ether" by Nas, which came in 2001. The vocal version of this track is what the name suggests, a robbery tale, and you can hear the sound effects that punctuate the narrative still here in the instrumental.

Tobe Nwigwe : Fresh Air

Tobe Nwigwe and his collective (including his wife Fat and his producer Nell) have been quietly on the rise for a while, but in very recent times their profile has elevated noticeably. "The Pandemic Project" is a short six-track album from last year, and another quality addition to the catalogue. This man is an amazing MC, and Nell's often-unconventional beats are the perfect canvas. Don't sleep! 

Please remember to support the artists you like! The purpose of putting the podcast out and providing the full tracklist is to try and give some light, so do use the songs on each episode as a starting point to search out more material. If you have Spotify in your country it's a great way to explore, but otherwise there's always Youtube and the like. Seeing your favourite artists live is the best way to put money in their pockets, and buy the vinyl/CDs/downloads of the stuff you like the most!

Check out this episode!