Due to the whole Corrections Officer scandal, Ricky Rozay has been taking a major hit since the release of Deeper Than Rap; and, as a result, he has not been given the credit he deserves as a rapper and for his ability to find ridiculous beats. His collaborative relationship with J.U.S.T.I.C.E. League is legendary and has spawned major hits like “Maybach Music (I, II, III)”, “Luxury Tax”, “Magnificent”, and “Yacht Club”. However, “AMM” presents the largest diversity between clashing beat and rhyming styles. While Chrisette Michele lays down smooth, soulful vocals and the chorus, J.U.S.T.I.C.E. League alternates between the gritty, street style and sound of a traditional Rick Ross track and the slowed down nature of Drake’s contribution to the end of the chorus in which he displays his (autotuned) vocal skills that we have come to be accustomed to from both So Far Gone and Thank Me Later. Rick Ross delivers a powerful performance on the track, laying down gritty bars that we haven’t seen since Trilla and showing he’s back on the grind and that he “gotta keep ballin”. His delivery and flow hit hard and perfectly time and mesh with the overall tempo and feel to the track, showing why he is The Bo$$.
Listen and Download Here
Tuesday, August 3, 2010
Wednesday, July 21, 2010
Wiz Khalifa & Curren$y - Car Service
One of my favorites from both artists, an overall great collaboration. Comes off their How Fly collabo mixtape and it contains one of the best mixtures of sample and original beat I have heard in a long time. From the deafening bassdrop to the open snares, the beat sets the tone for a great track. Then Wiz and Curren$y both absolutely kill their bars; and while they continue with their dominant rhyme scheme centered on smokin weed, it works for both of them and for the overall nature of the track. I wish they would both diversify the theme of their rhymes as it would make them more well-rounded artists; however, even despite this, I consider them two of the best up-and-coming artists in the game and I see them becoming heavyweights in the near future (especially after their solo efforts have garnered critical acclaim).
Tuesday, July 20, 2010
What I Am Listening To
Rick Ross - Teflon Don: Ricky Rozay's album just dropped today and it is insane. The Bo$$ continues to kill it on the mic while working with some of the best producers in the game to create a complete package track: great beat, great bars, great song. My favorites so far are the lead singles "Super High" and "BMF" (solid tracks that show a contrast in his style and vast range, from the classy instrumental smooth style and flow to gritty, hard, Triple C styled "BMF"); then "Aston Martin Music" (great Drake collabo track on a dope assssssssss beat) as well as "All the Money In the World", and "Maybach Music III".
Nas & Damian Marley-Distant Relatives: A classic, and fairly non descript after that. The chemistry between Nasty Nas and Junior Gong is legendary and the product is indicative of their talent and the blending of two unbelievable talents. More classic than progressive but a MUST have nonetheless.
Twista-"I Do": a great Trackstar beat and Twista uncharacteristically slows down his delivery but creates a new flow that showcases his hidden skill of speeding up his rhyming scheme while keeping the pace of the song steady. He hits hard with crazy bars that drop on a deafening beat and bass drop. Check it out.
Birdman-"Loyalty": I have never really been a Birdman fan (mostly because I think he's fairly talentless); however, he uses an insane sample along with a heavy bass drop to shadow his lack of skill on the mic. He also enlists the help of fellow Cash Money artist Tyga who lays down some of his best bars to date (really commands the mic the way he should due to his high skill level) and also provides the chorus, which is smooth and much like his work on his collabo mixtape Fan of a Fan with Chris Brown. Birdman Junior also makes a cameo on the track, and does his usual thing, nothin real special. But a dope track nonetheless.
Big Boi-Sir Lucious Left Foot...Son of Chico Dusty: If you haven't gotten it already, GET IT NOW. A dope album by a rap heavyweight. Big uses his classical, fast delivery style that made him famous and renowned as a member of OutKast. "Daddy Fat Stax" is a dope ass track, along with "Be Still", "The Train, Pt. 2", "General Patton", "Fo Yo Sorrows", and "Shine Blockas". LEGGGGIIIIITTTTT Shit.
Curren$y-Pilot Talk: One of my favorite albums. Must Download. Listen to "Seat Change", "Breakfast", "The Hangover", "Skybourne", "Roasted", "King Kong", "The Day". Just listen to it and you will see that Curren$y is everything I have been praising. O yeah and Ski Beatz is crazy. Enough Said.
Sho Baraka-"We Can Be More": a sick beat for a good lyricist. Check it out.
Nas & Damian Marley-Distant Relatives: A classic, and fairly non descript after that. The chemistry between Nasty Nas and Junior Gong is legendary and the product is indicative of their talent and the blending of two unbelievable talents. More classic than progressive but a MUST have nonetheless.
Twista-"I Do": a great Trackstar beat and Twista uncharacteristically slows down his delivery but creates a new flow that showcases his hidden skill of speeding up his rhyming scheme while keeping the pace of the song steady. He hits hard with crazy bars that drop on a deafening beat and bass drop. Check it out.
Birdman-"Loyalty": I have never really been a Birdman fan (mostly because I think he's fairly talentless); however, he uses an insane sample along with a heavy bass drop to shadow his lack of skill on the mic. He also enlists the help of fellow Cash Money artist Tyga who lays down some of his best bars to date (really commands the mic the way he should due to his high skill level) and also provides the chorus, which is smooth and much like his work on his collabo mixtape Fan of a Fan with Chris Brown. Birdman Junior also makes a cameo on the track, and does his usual thing, nothin real special. But a dope track nonetheless.
Big Boi-Sir Lucious Left Foot...Son of Chico Dusty: If you haven't gotten it already, GET IT NOW. A dope album by a rap heavyweight. Big uses his classical, fast delivery style that made him famous and renowned as a member of OutKast. "Daddy Fat Stax" is a dope ass track, along with "Be Still", "The Train, Pt. 2", "General Patton", "Fo Yo Sorrows", and "Shine Blockas". LEGGGGIIIIITTTTT Shit.
Curren$y-Pilot Talk: One of my favorite albums. Must Download. Listen to "Seat Change", "Breakfast", "The Hangover", "Skybourne", "Roasted", "King Kong", "The Day". Just listen to it and you will see that Curren$y is everything I have been praising. O yeah and Ski Beatz is crazy. Enough Said.
Sho Baraka-"We Can Be More": a sick beat for a good lyricist. Check it out.
Sunday, July 4, 2010
Big L vs. Papoose- The Legend Lives On
The legendary Big L, one of the most well known rappers to come out of Harlem, commanded the mic with a specific demeanor that was unmatched and unreplicated. From his Harlem slang and droll, he only dropped two albums in a career that was cut way too short after passing due to gunshot wounds suffered from a drive by shooting; however, it was not before the world was blessed with the fruits of L's labor. "Ebonics", L's biggest and most well known hit, struck the public hard with a "Yah I talk like a thug from the ghetto, but that's who I am" kind of mentality. It offered a brief education of the direction, mindset, and upbringing of dudes in the ghetto. Through hits like "Flamboyant", "Size Em Up" and "Now or Never", Big L reached superstardom and his influence on keeping the old school in the new school is evident and lives on today.
In the early '00s, Papoose had the rap world goin crazy with his bevy of underground hits and countless mixtape releases. Take the bidding war between record labels for Drake last summer and multiply that by atleast 100 and you've got Papoose. Majors were fighting for well over a year for the ability to distribute Paps much anticipated and inevitably high selling debut. Pap eventually signed with Jive/Sony after they gave him, essentially, a $1.5 million signing bonus. However, four months later, Papoose, along with his mentor DJ Kay Slay, left Jive, siting major A&R control issues. Since remaining independent on Streetsweepers (Kay Slay's camp), Pap has released atleast two mixtapes a season and each to much critical aclaim; and while he may never sign to a major again, he has stayed relevant in the game.
But back to the point... Papoose came up as a rapper who didn't care about who he went at or who challenged him; like Big L, he knew he was coming out in front... And it was true (on both accounts). While they hail from different burroughs in the rotten apple, they come at you with the same intensity and, if you listen side by side, with the same NY droll and slang. In L's footsteps, Pap turned a seemingly juvenile and elementary concept into his biggest hit. While "Ebonics" brought L into the limelight as one of the perenial champs of the game, Pap's "Alphabetical Slaughter" gained him national mainstream attention (if anyone was still apprehensive about his previous releases). In "Alphabetical Slaughter", Pap uses a style of delivery and flow ridiculoiusly similar to that of Big L on "Ebonics", and enlists his inner New Yorker to provide slang commentary that hits at the heart of the streets and takes it for a ride. I am not saying Papoose is on par with the legendary Big L as it is simply not true. While Papoose is a good talent he must refine his skills and prove to the world he can control the mic like Big L and all rap legends have done. All I am saying is that Papoose seems to continue and remind us of Big L's style and contribution to the game through his abilities and skills as a rapper himself. I hope he continues to grow into his rap persona because if he can harness the skills that propelled Big L to stardom, I do believe we will be able to make the comparison in the future.
In the early '00s, Papoose had the rap world goin crazy with his bevy of underground hits and countless mixtape releases. Take the bidding war between record labels for Drake last summer and multiply that by atleast 100 and you've got Papoose. Majors were fighting for well over a year for the ability to distribute Paps much anticipated and inevitably high selling debut. Pap eventually signed with Jive/Sony after they gave him, essentially, a $1.5 million signing bonus. However, four months later, Papoose, along with his mentor DJ Kay Slay, left Jive, siting major A&R control issues. Since remaining independent on Streetsweepers (Kay Slay's camp), Pap has released atleast two mixtapes a season and each to much critical aclaim; and while he may never sign to a major again, he has stayed relevant in the game.
But back to the point... Papoose came up as a rapper who didn't care about who he went at or who challenged him; like Big L, he knew he was coming out in front... And it was true (on both accounts). While they hail from different burroughs in the rotten apple, they come at you with the same intensity and, if you listen side by side, with the same NY droll and slang. In L's footsteps, Pap turned a seemingly juvenile and elementary concept into his biggest hit. While "Ebonics" brought L into the limelight as one of the perenial champs of the game, Pap's "Alphabetical Slaughter" gained him national mainstream attention (if anyone was still apprehensive about his previous releases). In "Alphabetical Slaughter", Pap uses a style of delivery and flow ridiculoiusly similar to that of Big L on "Ebonics", and enlists his inner New Yorker to provide slang commentary that hits at the heart of the streets and takes it for a ride. I am not saying Papoose is on par with the legendary Big L as it is simply not true. While Papoose is a good talent he must refine his skills and prove to the world he can control the mic like Big L and all rap legends have done. All I am saying is that Papoose seems to continue and remind us of Big L's style and contribution to the game through his abilities and skills as a rapper himself. I hope he continues to grow into his rap persona because if he can harness the skills that propelled Big L to stardom, I do believe we will be able to make the comparison in the future.
Wednesday, June 30, 2010
Hot Stuff
The-Dream's "final" studio solo album dropped on tuesday called Love King. I love the two singles, "Love King" and "Make Up Bag", two classic Dream tracks. After these two tracks though, not much to be excited about on the album. "Nikki, Pt. 2" is alright and same with "F.I.L.A."; but without a doubt the first two tracks on the album are the best and the most consistent with the Dream style we all know and love. Still in the review stage so I haven't given the entire album the attention it deserves; but I'm guessing it's gonna be about the same as previous Dream albums, a couple of absolute hits and then a lot of filler.
If I haven't said it before, Curren$y is the shit. Check out "Brand New", "Roasted", and "The Hangover". They all have the traditional Curren$y sound and lyrical content, but I feel like he is bringing back the age of instrument laden beats that have a melodic sound and laid back tone backed with a chilled out flow that reps $y's laid back nature, something Mos Def made famous in the mid to late 90's (shout out to Gokul Krish). Can't wait for Pilot Talk and to listen to his much anticipated collabo with Wiz Khalifa, it's gonna be dope; and interestingly Mos (the master) is rumored to have produced a couple of tracks on the album.
Ordered Rick Ross's new album, Teflon Don, today. "Super High" was a decent single, but "B.M.F." shows why Rick Ross is the Bo$$.
Check out Lil Boosie "Top Notch", a dope track with a techno style Mouse beat. Lil Boosie is a guy who grows on you with his squeaky immature sounding voice; but this is the best I have heard from him in a while and it might be the last thing we hear from him as he might be facing the death penalty after being charged with 6 murders while already in prison. Tough break
If I haven't said it before, Curren$y is the shit. Check out "Brand New", "Roasted", and "The Hangover". They all have the traditional Curren$y sound and lyrical content, but I feel like he is bringing back the age of instrument laden beats that have a melodic sound and laid back tone backed with a chilled out flow that reps $y's laid back nature, something Mos Def made famous in the mid to late 90's (shout out to Gokul Krish). Can't wait for Pilot Talk and to listen to his much anticipated collabo with Wiz Khalifa, it's gonna be dope; and interestingly Mos (the master) is rumored to have produced a couple of tracks on the album.
Ordered Rick Ross's new album, Teflon Don, today. "Super High" was a decent single, but "B.M.F." shows why Rick Ross is the Bo$$.
Check out Lil Boosie "Top Notch", a dope track with a techno style Mouse beat. Lil Boosie is a guy who grows on you with his squeaky immature sounding voice; but this is the best I have heard from him in a while and it might be the last thing we hear from him as he might be facing the death penalty after being charged with 6 murders while already in prison. Tough break
Wednesday, June 16, 2010
Drake-Thank Me Later
This is the most complete album I have heard in at least 10 years. I can play it from start to finish without skipping a track. I even like the Interlude, which never happens. I have put this album on repeat for the past 2 days and have yet to get sick of it and I don' see that happening in the near future. Plays a lot like So Far Gone, but it is evident through his lyrics, style, delivery, and flow that Drake is more mature on this album. There is legit not one beat I don't like on the track, well actually I'm not that fond of "Miss Me" (I'll explain).
"Fireworks (feat. Alicia Keys)" - A great, laid-back track that has a great combo of Alicia's heavenly soul voice and Drake's auto-tune enhanced, but awesome voice on the chorus, that along with Drake's rhymes and a legit, drum dominant yet wistful beat, it can't be stopped. It's also funny that this track, if you listen to the lyrics/rhymes, rip Rihanna a new ass hole haha.
"Karaoke" - One of my favorites on the album. Somewhat depressing for its somber message of the pressures of being in the industry's spotlight, but the heavily auto-tuned track still plays well for its graceful transition from singing to cold hard rhyme.
"The Resistance" - The first track that is predominantly rapped. This track shows Drake's true colors as a rapper and a lyricist, but also shows the great contrast between his ability as a rapper and singer, which ultimately reveals him as a true double threat in the game.'
"Over" - Obviously a great track. The first single for the album has proven to be a mainstay on the airwaves and will continue to get substantial play because the track was killed on too many levels to count. Drake comes in with a calming, sung (yet auto-tuned) chorus then just executes a flurry of ridiculous rhymes that just cut at the throat of all his previous adversaries and doubters (major labels that passed on him before Universal Motown/Cash Money/Young Money). This track also brought producer Boi-Ida into the stratisphere after people did not believe he could replicate his work on So Far Gone.
"How Me a Good Time" - A decent track (not much for the chorus), but a good (typical) Kanye beat, and Drake literally sets the mic on fire with bars that reference both the old school and his indie past. Absolutely kills it.
"Up All Night (feat. Nicki Minaj)" - Hands down the best track on the album, game over. Drake kills the Boi-1da beat with ridiculous bar that just rip all the haters a new one and Nicki Minaj has shown me something I never new she had on this track (ability to command the mic, something she shows in glimpses on "Your Love").
"Fancy" - The best Swizzy beat I have heard in years (fuck "On to the Next One", doesn't even hold a candle to this). Drake, like usual, lays down bars that would make Eminem want to quit rap again (the first time being when he heard 50 Cent's mixtape/demo Guess Who's Back?). T.I. provides a great guest performance and Drake's ability to move from a up-beat quick snare beat to the slowed down synth only beat half way through the track shows his talents as a musician as a whole.
"Shut It Down" - The-Dream is the man. Without a doubt the best predominantly sung song on the album.
"Unforgettable" - Young Jeezy begins the slaughter, but Drake comes in and completes the massacre.
"Light Up" - Not a Jay-Z fan anymore (he has completely sold out and changed his music/flow) but Drake can carry any track. End of story.
"Miss Me" - A solid track, and no auto-tune from Wayne... a good sign.
"Cece's Interlude" - Sung but a cross between the usual Drake beat and a rock sounding outro.
"Find Your Love" - Sounds like any other Kanye beat, but Drake sings his way into a hit that has been exhausting radio stations everywhere.
"Thank Me Now" - A great track that could count as an outro, except for the fact that he provides his audience with rhymes that motivate the listeners and make them want to come back for more.
"9AM In Dallas" - An exclusive that I can't figure out whether it was supposed to be a bonus track or a prequel for his next album. But it is a crazy track nevertheless.
"Fireworks (feat. Alicia Keys)" - A great, laid-back track that has a great combo of Alicia's heavenly soul voice and Drake's auto-tune enhanced, but awesome voice on the chorus, that along with Drake's rhymes and a legit, drum dominant yet wistful beat, it can't be stopped. It's also funny that this track, if you listen to the lyrics/rhymes, rip Rihanna a new ass hole haha.
"Karaoke" - One of my favorites on the album. Somewhat depressing for its somber message of the pressures of being in the industry's spotlight, but the heavily auto-tuned track still plays well for its graceful transition from singing to cold hard rhyme.
"The Resistance" - The first track that is predominantly rapped. This track shows Drake's true colors as a rapper and a lyricist, but also shows the great contrast between his ability as a rapper and singer, which ultimately reveals him as a true double threat in the game.'
"Over" - Obviously a great track. The first single for the album has proven to be a mainstay on the airwaves and will continue to get substantial play because the track was killed on too many levels to count. Drake comes in with a calming, sung (yet auto-tuned) chorus then just executes a flurry of ridiculous rhymes that just cut at the throat of all his previous adversaries and doubters (major labels that passed on him before Universal Motown/Cash Money/Young Money). This track also brought producer Boi-Ida into the stratisphere after people did not believe he could replicate his work on So Far Gone.
"How Me a Good Time" - A decent track (not much for the chorus), but a good (typical) Kanye beat, and Drake literally sets the mic on fire with bars that reference both the old school and his indie past. Absolutely kills it.
"Up All Night (feat. Nicki Minaj)" - Hands down the best track on the album, game over. Drake kills the Boi-1da beat with ridiculous bar that just rip all the haters a new one and Nicki Minaj has shown me something I never new she had on this track (ability to command the mic, something she shows in glimpses on "Your Love").
"Fancy" - The best Swizzy beat I have heard in years (fuck "On to the Next One", doesn't even hold a candle to this). Drake, like usual, lays down bars that would make Eminem want to quit rap again (the first time being when he heard 50 Cent's mixtape/demo Guess Who's Back?). T.I. provides a great guest performance and Drake's ability to move from a up-beat quick snare beat to the slowed down synth only beat half way through the track shows his talents as a musician as a whole.
"Shut It Down" - The-Dream is the man. Without a doubt the best predominantly sung song on the album.
"Unforgettable" - Young Jeezy begins the slaughter, but Drake comes in and completes the massacre.
"Light Up" - Not a Jay-Z fan anymore (he has completely sold out and changed his music/flow) but Drake can carry any track. End of story.
"Miss Me" - A solid track, and no auto-tune from Wayne... a good sign.
"Cece's Interlude" - Sung but a cross between the usual Drake beat and a rock sounding outro.
"Find Your Love" - Sounds like any other Kanye beat, but Drake sings his way into a hit that has been exhausting radio stations everywhere.
"Thank Me Now" - A great track that could count as an outro, except for the fact that he provides his audience with rhymes that motivate the listeners and make them want to come back for more.
"9AM In Dallas" - An exclusive that I can't figure out whether it was supposed to be a bonus track or a prequel for his next album. But it is a crazy track nevertheless.
The Best Week In Hip Hop
Thank Me Later dropped this week, the craziest release thus far this year, and truthfully unless Eminem pulls something incredible or Detox actually comes out this year, it probably won't be eclipsed. Check out my full track-by-track review of the album.
Finally got Shad's TSOL in the mail. iTunes blows, if they continue to boycott certain releases I will boycott it. Shad is one of the truest and original/traditional mc's in the game and the fact that you can't get up to date releases on iTunes is ludicrous (not to mention get it months late if it ends up getting released). Had to wait two and a half weeks for TSOL to be flown in from Canada but it was well worth the wait. Check out my full track-by-track review of the album. Stream at
Just found a Wiz Khalifa & Curren$y collabo mixtape called How Fly. It came out as somewhat of a prequel to Wiz Khalifa's Deal or No Deal and Curren$y's This Ain't No Mixtape, but it is nonetheless DOPE. The intro track, "Car Service" is set to the usual Wiz and $y style, but it is the best I have heard from either of them yet. They use a great sample (I am not totally sure what they use) and has the traditional instrument laden background (lots of flutes) topped off with the usual heavy bassdrop; and while they both resort to their traditonal thematic concepts (smokin weed like its their job), it actually works on this track. I don't know why, but it just does believe me. "Friendly" is found on Deal or No Deal and is actually my favorite track on Wiz's album, but truthfully "Car Service" still rains supreme on the tape. Another bone to pick with iTunes, they market Gucci's Burrrprint 2 HD but don't even have either of Wiz's best, Kush & OJ or Burn After Rolling. WTF, something is very wrong. Download at
Listen to Buck$- Been a Long Time (feat. Bobby Valentino). I found this track months ago (Kevin Miller can vouch for that) and absolutely loved it for the ridiculous beat and Bobby V.'s smooth background and chorus. Buck$ was the super producer behind Dem Franchize Boyz's major hits and recently made the crossover to the other side of the mic, and it has certainly worked out. "Been a Long Time" is finally getting heavy airplay on 93.7, which is great but also causes a great deal of frustration seeing as great tracks and unknown talent can't get the exposure they deserve in the industry. Complete BS. Stream and download at
Goon Affiliated came out. Major flop, and the first of Plies' short but prosperous career. Best songs are "Becky", "Medicine (feat. Keri Hilson)", "She Got It Made", "Chirpin (feat. Fella)", and "Bricks On Me" (feat. Fella)".
Big Boi's "General Patton" is straight fire, check it out. Stream and download
Finally got Shad's TSOL in the mail. iTunes blows, if they continue to boycott certain releases I will boycott it. Shad is one of the truest and original/traditional mc's in the game and the fact that you can't get up to date releases on iTunes is ludicrous (not to mention get it months late if it ends up getting released). Had to wait two and a half weeks for TSOL to be flown in from Canada but it was well worth the wait. Check out my full track-by-track review of the album. Stream at
Just found a Wiz Khalifa & Curren$y collabo mixtape called How Fly. It came out as somewhat of a prequel to Wiz Khalifa's Deal or No Deal and Curren$y's This Ain't No Mixtape, but it is nonetheless DOPE. The intro track, "Car Service" is set to the usual Wiz and $y style, but it is the best I have heard from either of them yet. They use a great sample (I am not totally sure what they use) and has the traditional instrument laden background (lots of flutes) topped off with the usual heavy bassdrop; and while they both resort to their traditonal thematic concepts (smokin weed like its their job), it actually works on this track. I don't know why, but it just does believe me. "Friendly" is found on Deal or No Deal and is actually my favorite track on Wiz's album, but truthfully "Car Service" still rains supreme on the tape. Another bone to pick with iTunes, they market Gucci's Burrrprint 2 HD but don't even have either of Wiz's best, Kush & OJ or Burn After Rolling. WTF, something is very wrong. Download at
Listen to Buck$- Been a Long Time (feat. Bobby Valentino). I found this track months ago (Kevin Miller can vouch for that) and absolutely loved it for the ridiculous beat and Bobby V.'s smooth background and chorus. Buck$ was the super producer behind Dem Franchize Boyz's major hits and recently made the crossover to the other side of the mic, and it has certainly worked out. "Been a Long Time" is finally getting heavy airplay on 93.7, which is great but also causes a great deal of frustration seeing as great tracks and unknown talent can't get the exposure they deserve in the industry. Complete BS. Stream and download at
Goon Affiliated came out. Major flop, and the first of Plies' short but prosperous career. Best songs are "Becky", "Medicine (feat. Keri Hilson)", "She Got It Made", "Chirpin (feat. Fella)", and "Bricks On Me" (feat. Fella)".
Big Boi's "General Patton" is straight fire, check it out. Stream and download
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