I think I had an expectation, like everyone else. Eminem. Royce. Has to be that piff. Right?
Yes….and no…but mostly yes. I don’t need to explain the re-up and the concept of the duo, since it’s been told over and over in every music publication in print or online. They are comparable MC’s, and it’s not always clear who’s doper. Well, let me be clear – Eminem destroys. But Royce is right there with him, track for track – which is really the story of the album. I mean, let’s be perfectly honest – that is what people wanted to know. Can Royce really keep up with one of the dopest MC’s in the history of life? And he’s more than apt for the challenge. I think it’s actually time that people, to include myself, just give Royce his due as one the best out now, and the last howmanyever years.
The negative? The production leaves a lot to be desired. It’s not wack, it’s (more than) occasionally lackluster. I just feel like they could’ve went out and got different beats. I sort of wish they got Pharoahe Monch and Just Blaze to do a beat. They’ve mastered making crazy beats that don’t take away from a (super) lyrical performance – but that’s me. I really think “I’m On Everything” should have been left off. It’s not because it’s not funny or anything (it is), but I’m looking for straight lyrics….not Mike Epps.
Overall though, the album is a success. The lyrics are outstanding, and they have excellent chemistry. It’s really sounds like two very good friends enjoying rapping for their other friends, and each other. It’s a relaxed effort, and they know exactly where their collective bread is buttered – making ill bars. And they don’t disappoint. As of this review – it’s the #1 record in America – maybe real Mc’ing is back.
Grade: B. Mark one in the winner’s slot for lyrical rap.
This is much hyped “solo” rap influenced album by perennial drum king Travis Barker. It’s basically an album built on his very strong skills with the sticks, which shines through out. I wanted to really enjoy this album because of it’s potential, and there are some very strong records – specifically the tracks with Slaughterhouse, Lupe Fiasco/Pharrell, Yelawolf/Rae/Busta/Twista, and The Cool Kids. They absolutely KILL, especially the Lupe jawn – one of the best tracks I’ve heard this year. But these moments are too far in between, which was going to be a likely scenario - more on this later.
Some of the other tracks are listenable, like the Steve Aoki track. Unfortunately about 1/3 of the album just isn’t that dope. Going back to the potential – it seemed like a great idea, and in parts it’s excellent. But I actually think it’s a little bloated, and almost too organic, like they should’ve used some old school samples. I think what intrigues me with Barker is the potential to do some thing in the vein of “99 Problems” or maybe Jay’s American Gangster album. A nice mixed of samples and his drumming would’ve killed – but I don’t make records….just listen.
Grade: C+++. This mainly on the strength of the few very strong tracks, especially the Lupe track. Just can’t give it a B- because the lows a little too low…and the middling tracks are too….middling.
I’m going to say something that might surprise some readers: at the present time, Eminem is the best emcee out, right now. Period. You can say what you’d like about a lot of the other super dope emcees in rap, or that his beats aren’t as strong as they should be sometimes. Or that he caters to pop fans. And you can make a valid argument on all of those. But it works. For better or worse, it works, and it works to a level that he’s basically the only viable platinum rapper out now – aside from Jay-Z. But not one soul will be able to say to can’t rap his ass off – case in point to everything stated above: this album.
The mixtures of genres is something he’s always done, and it continues here. There aren’t a lot of straight forward “hip hop” beats on this album, with a lot of rock/alternative sounding beats dominating the album. However, he goes hard on all of it. It’s a much better effort than Relapse, and one of the more complete albums he’s put out. I looked at the Pitchfork review, written by Jayson Greene, which is absolutely ridiculous. I’m not going to attack his writing – he is writing for Pitchfork and I write on a little blog…..but I’m going to have to question the man’s taste in rap, or understand the skill Em actually has. He makes a comment saying that Em basically doesn’t “coexist” with beats. This is where I’m going to tie a couple things together.
Jayson is exactly right and completely wrong. He’s missing the point – the beats no longer matter. Em is at a stage lyrically that the beats are just arbitrary pieces in the songs….just something for him to bob to, when he’s rapping. That fact that is uses the rap/rock songs to back his raps is just for his fans…..and this is actually the issue I have with him. I think he can be somewhat detrimental to rap music. He will sell a million albums, but the majority of the buyers don’t understand his skill; they just like the way the songs sound, and the fact that he looks like them. These people probably will not purchase the new Black Milk album that’s coming soon. If you can have Eminem, a top-end rapper, why would you need to check out an on-par/better emcee like Lupe Fiasco, Elzhi, or Black Thought from the Roots? It’s that flawed thinking, and unwillingness to support the very thing that holds Eminem up, that hurts other rappers. Those rappers WANT to blow, and sell a million records too (don’t let them deceive you). However, if you’re a notch below or even, besides the fact that you’re coming in with harder beats, it’s going to be difficult to break all the way through like a Jay-Z, a one of a kind who’s shown the perfect combination of traits necessary for stardom. Rap is like sports, in that people love to compare. If you don’t listen to hip hop, aside from Mathers, you will have a very skewed view of the genre, and what is required to be dope. You can say “Eminem is the best,” and on any given day/album, you’d be right, but you’d have no clue how deep that statement runs.
I will get down off my soapbox. This is a pretty good album, not classic, just pretty good. I think he just needs to get up on some harder beats, and reclaim some of that Soundbombing flavor. It’s a little too poppy for me in certain tracks, but as I said before, he is (still) an absolute beast lyrically, and might be slightly improved. Two videos: an album cut…and the super ill cipher with Em, Black Thought, and Mos Def.
This post will be another beast – a lot of ground I want to cover today: a little bit of hip hop, some jazz, some Indian funk….plus my take on the new Arctic Monkeys, and on the (cash driven, but) very well done Radiohead deluxe reissues that are now out.
Arctic Monkeys – Humbug
What if Josh Homme produced an Arctic Monkeys album? What would you think about that? Well, for those who don’t know, that is precisely what’s happened here. Obviously, this is the hardest and easily darkest album they’ve made. The songwriting is definitely still there and maturing, but the music is definitely a lot more bassline driven. The Homme signature sound is clearly present, i.e. the progressions, drumming, the ghostly/airy effects, etc. On first listen, it’s not as good as the first two album, but I think that my opinion will change because of the grower feeling I have about this go-round. Quality look right here.
Slaughterhouse – (self-titled)
In a capsule, a B level supergroup (Royce the 5’9”, Joell Ortiz, Joe Budden, and Crooked I) that’s made a decent album. If you enjoy a straight banger album, specifically in the old school Beatnuts era mode, you’ll enjoy this. Every song tries to top the next one in how hard to bangs. That is the first thing. The second, and more important, item is the group itself. They are definitely talented guys, nice lyrical skill and flows….very witty to boot. I don’t know if any of them will ever “blow”, but then again….it doesn’t matter to me, and it shouldn’t matter at all. Sometimes, you just have to take things at face value. And this is for the lovers of banger-style hip hop. Word to JuJu and Psycho Les (and sometimes Fashion….” We Got Props Over Here!!!)
cover for Volume 1
Various artists – Sitar Beat! Indian Style Heavy Funk, Vol. 1 -4
Ill. I’ve actually covered this album is an old blog I used to run a few years ago, but I’ve been giving it a lot of run (due to some brainstorming on some Mumbai-based movie ideas I’ve had.) So I want to give it some more shine. It’s basically Indian funk from the 60s, 70s, and 80s. If you’re a fan of film, specifically of the Indian variety, chances are that you’ve heard some of the songs, but the tracks weren’t released or are just recently restored. Definitely a revelation. Serge Gainsbourg was – he’s the only NON-Indian among the volumes…that tell you a bit about how big of a deal he was/is. Lots of material for DJs and producers here.
Blitz the Ambassador – Stereotype
Hip hop and instruments, AND the dude is nice. Good shit. It’s not going to be played on any radio station that isn’t located on college campus, or in someone’s basement. That being said, this is exactly what should be getting played – which is starting to become so common, that’s it cliche in my eyes. Back to Blitz – this Ghana-born cat is nice, not Lupe or Elzhi or Blu nice….but very listenable. He’s got a very mature, knowledgeable flow, a person with a valuable world view, which is a nice addition to the hip hop pot. Mix that with the help from his producing partner Optiks, and the instruments of one of my favs, Hynoptic Brass Ensemble (I need to put heads up on these cats ….hmm..I think I just did.), and you have something people should really be paying attention to. Quality album, all the way around and good replay value as well.
Skyzoo – The Power of Words (mixtape)
This is the DJ Drama-less iTunes version. Sky is ill, if workmanlike. I have to admit that sometimes, I’d get a little bored. Not because he’s not dope, but it’s just the tone, I think and the beats weren’t always top notch. I don’t know if he’ll ever be a big name, but for what it’s worth – the mixtape/album is nice, even managing to shine over some of the questionable parts of certain collabs. He’s got some nice co-signs (via Wale, Talib Kweli) and good beats (via 9th Wonder, Jake One, Khrysis, etc.) This is that joint to ride out to the barber shop to and then let it play for a minute, before you go in to get your taper fade right.
Robert Glasper (Trio and Experiment) – Double Booked
I’m definitely a long time fan of this guy, so I’m happy to see more work. The concept of this album is that Rob is double booked for a show with his more traditional “Trio” group at one spot (through co-sign/voice mailer trumpeter Terrance Blanchard). But then he has an engagement at another spot at ?uestlove’s jam session with his larger aptly named “Experiment” outfit, later that evening. It’s a cool little way to get both of your acts cohesively on one album, and it make sense….as he is a versatile jazz pianist. And it completely works.
Radiohead – Capitol/EMI’s deluxe reissues for every album (except apparently The Bends…hmm)(except In Rainbows…which just came out…in Radioheadian scale)
If you do not know me well, know that my favorite musical act PERIOD is Radiohead. I’m not the t-shirt wearing, make it to every concert, W.A.S.T.E board veteran that you would think I would be. I’m just a huge fan of the music. It’s like I enjoy the San Antonio Spurs – my fav. NBA team – but I don’t actually own any gear….it’s just…not that cool to go that far. However, as any other massive Radiohead fan, new music is always welcome any time I can get my hands on it – even if it’s old music. What? Yes…new old music. It’s very obvious Capitol is basically reissuing their albums, en masse, to help with the wavering bottom line. At the same time – this is one cash grab I’m taking full advantage of. All of the reissues feature a ton of dope-ass B-sides, unreleased stuff, and live sessions in various locations, like the Canal + Studios in Paris, or in other international spots like Berlin, or BBC Radio One. The best thing for me – someone who have all of the albums and EPs….you can purchase the stuff you don’t have individually, via iTunes, specifically the live and the BBC sessions. I have to admit….Capitol/EMI sorta deserves a pat on the back – they’ve managed to appease fans, and fatten up the shrinking wallet (and Radiohead’s too….they are probably the biggest winners of all).
