J.Cole: “Who Dat”

Newest track from one of the youngest in charge.  J.Cole has a nice flow and appears to actually like to make good (hip-hop) music.  Not mad at this at all…

More MC’s in the same vein as Fashawn, J.Cole, and (even) Drake is a good thing.  Do I sense a resurgence?

Via. NR.

Months ago I went to a Wale show out at Mezzanine, and opening up for him was my new favorite duo Blu & Exile.  The group I came with was more so into the headliner, but I’d heard too many great things about Exile on the MPC and Blu on the mic to be swayed.  Plus, the best hip-hop album I’d heard in years Below the Heavens was still getting heavy rotation.

Their set was incredible, managing to hit nearly every track on their debut, which was a dope thing to see.  But just as they were about to call it a wrap, this little guy comes running out (ala Phife Dawg at every De La Soul show I’ve ever been to), and starts spitting with a vengeance.  I mean, this dude came onstage with a purpose, and that purpose was to rock the crowd.  In my many years of going to shows, it’s pretty obvious who carries the weed in the group, and who runs shit.  This guy was definitely in charge of the stage, no question about that.

After about 2 songs from this unknown rapper, he belts out “My name is Fashawn…Buy my upcoming album Boy Meets World, entirely produced by this man here (*points at Exile*).”   I was sold.  Just like that, my anticipation for his debut LP started.

Continue on for a full review..

It’s been a while since a new artist grabbed my attention like this from the gate.  Shortly after hearing Fashawn live, tracks from his LP with Exile slowly started making their way online.  After a first listen, it seemed that dude was a direct reflection of the golden era.  Not the early boom bap sound, but more in line with the New York gutter style rap, made famous by Nasty Nas and Raekwon from the early 90’s.  The drop date continued to fluctuate, but I kept this upcoming release in the back of my head for the better half of 2009.

A couple weeks back Boy Meets World finally released, and I snagged a copy with the quickness.  Before realizing it, I had listened to the entire project 3 times in a row over the span of my work day…My initial reaction was that this album is absolutely perfect by all standards.  Clever and concise rhymes, soulful sample chopping and song construction, diverse topics, and one word that has regularly lacked from hip-hop for some time: QUALITY.

This album is a classic. The sure sign that an album will stand the test of time is replay quality, which this album is stacked with.  Honestly, unlike any album this year, it gets better with each play.  While Only Built 4 Cuban Linx 2 is a close second, there is nothing like Boy Meets World this year…Maybe even within the past 5 years.

Plus, there are zero throwaway tracks throughout.  Like any album, there are obvious standouts, so in order of personal favorites here it goes:

“Lupita”

“Our Way (feat. Evidence)”

“Samsonite Man (feat. Blu)”

“Life As A Shorty”

“Stars (feat. Aloe Blacc)”

“Ecology”

Dissecting each track in an attempt to grade the whole thing is doing the album a disservice.  I don’t want to come off as over-hyping Fashawn or anything, but there is a definite similarity between this LP and Illmatic.  He’s very similar in style (potent, meaningful lyrics, etc.), and his debut is nothing short of groundbreaking for a new artist…Let’s not forget about Exile either.  This “underground” producer is absolutely KILLING it right now.  Within the past 2 years he’s dropped 2 seamless collaborations (and MBR certified classics), which is a feat that hasn’t been completed since Gang Starr or Pete Rock & C.L. Smooth.

Bottom line, this is what good hip-hop sounds like.  No filler, unnecessary guest appearances, or obvious radio singles.  Fashawn is my new favorite MC, and I will be following his career closely from here on out.  Props to everyone behind this project, and thank you for making a new artist exciting again.

Overall: 10 (out of 10)

Late pass (again).

Recently copped that Purple tape sequel, and couldn’t be any more impressed with the official outcome.  OB4CL2 has been in limbo for what feels like a decade now – first in the hands of Dr. Dre and Aftermath, then independently, until finally reaching EMI.  Just as this LP reached a Detox level of anticipation, Chef Rae gave us the final street date, along with production credits, and full track list.  Not only did the hype continue, but the slowly leaked album tracks sounded nice, which helped the Wu-general’s cause.

Continue on for the full review..

WOW.  Out the gate, this album impresses and doesn’t let-up until the final track.  Every single song on this condensed LP plays a part, and adds to the overall effectiveness of the tone.  Nobody really believed that the sequel would live up to the original, but this is about as close to the first Only Built as it gets in 2009.  The beat selection is near perfect, the guest spots are notable (not overbearing), and Raekwon brings it sharper than he has since 1995.  Here are some notable highlights:

“House of Flying Daggers (Prod. Dilla)”

While the above beat sounds like vintage RZA, many would be surprised that the late-great J Dilla is the man behind the boards.  The production is too Wu-Tang to ignore, and apparently was tailor-maid for this project some years back when the LP was in its early stages (Aftermath).  I wouldn’t be surprised if that were the case, because I’ve never heard this Dilla track before, and it almost works too well with Raekwon, Deck, GZA, Ghost, and Method Man spitting gems over the gutter vocal samples.

“Gihad (Prod. Necro)”

Probably the grimiest verse from Ghost I’ve ever heard.  I mean, really?  Oh, and quotables for days in the ending dialogue too…”get you a 40 too, and a pacifier.”

“New Wu (Prod. RZA)”

What’s better than an old soul loop produced by the god himself?  I’m thinking nothing.  Honestly, this is the best beat from RZA on the whole project, and as usual the Wu-generals kill everything on the track.

“Catalina (Prod. Dre)”

Not really understanding the hate on this one.  It’s obvious that this is one of those early songs from the Aftermath sessions, and the outcome is better than I anticipated.  Classic Dr. Dre with classic Raekwon.  It works for me, and provides an extra dimension to an album that is stacked with incredible music.

The best part about the overall project, is its lack of misfires.  As I noted above, there isn’t one track I could single out as being a lame duck, or one that weighs down the overall feel.  This is Raekwon doing what he does best, giving the fans that Wu Tang gutter, and hand-picking beats like no other (something Jay-Z has some trouble with lately).  It’s way too early to begin the “classic” talk, but it’s not to proclaim OB4CL2 the best hip-hop album of 2009.  It’s a complete piece of work, and unlike most hyped LP’s, actually lives up to (and proceeds) all the anticipation.  Raekwon delivered a near perfect album, which has become incredibly rare since the golden era passed.  Keep them coming Rae, and thank you for keeping it all the way real.

Overall: 9 out of 10

Advanced copies and leaked downloads have been running rampant since early this week, and since I was able to get my hands on a copy earlier than expected, I thought it only right to share my thoughts.  Blueprint 3 has been on everyone’s radar since first being announced last year, following his disappointing return to hip-hop with Kingdome Come.  The subsequent releases of “Jockin Jay-Z” (fire) and “Brooklyn Go Hard,” had Jay-Z fans foaming at the mouths, eagerly waiting to get their hands on the final product.  Once No ID and Kanye West were announced as Executive Producers, it seemed the stars had finally aligned.

Continue on for full review..

“D.O.A.” drops and people lose their cool.  Aside from the beat being unfuckwittable, Jay brings it like he hasn’t in YEARS.  The beat was so raw, that Jay-Z had no other option than to kick it up a notch, and single-handedly kill the autotune nonsense that has flooded hip-hop since T-Pain came on the scene.  Classic joint (yes I said it).

“Run This Town” featuring Rihanna & Kanye drops some months later as the official first single, to a slew of mixed reviews (myself included).  Apparently, this was intended for Rihanna initially, and with the amount of shine she gets on the track, it’s not surprising.  Plus, Kanye murders Jigga on his own shit.  How he lets that happen again (don’t forget “Renegade”) is a little mind blowing, especially since Kanye West hasn’t necessarily been the definition of hip-hop in the past couple years.

Let me first start off by saying, this album is big.  Not in the sense that it’s over-the-top epic or anything, but the beat selection is much more produced than any of his other projects in recent memory.  This makes BP3 seems more of an event in music, rather than another hip-hop album.  This doesn’t sway the overall impact one way or another, but it seems that this is what we’re getting from a 2009 Jay-Z.  Everything is a little more orchestrated, a little more universally listenable to the general music fan, and a little more on the grown-man rap tip.

However, the album as a whole is not the level we had hoped for.  So much so that “D.O.A.” is noticeably out of place.  That song is so anti-new wave hip-hop and stripped down to the essentials, that one would never imagine the album guest list would include autotune heavyweights like Drake, Kid CuDi, and Kanye “808’s” West.  This is where I get lost in the first place.  Aside from this, there are WAY too many filler joints that clutter the album, and depreciate the overall quality of the songs that actually do work.  Here’s a quick rundown of the good and bad:

Good:

“Thank You” – Classic sample rap, reminiscent of the genre that I initially fell in love with.  Beautiful sample choices, which creates an overall win.

“D.O.A.” – Classic business.

“Run This Town” – It’s taken a while to get used to this song, but in the context of BP3 this works extremely well.  The beat sounds much better on headphones too.

“Empire State of Mind” – Might be my favorite on the album besides “D.O.A.”  Alicia Keys really brings it here, not even really sounding like her usual songbird self.

“Already Home” – Decent song, decent beat, catchy hook.  Nothing too special here, but still works overall.

“A Star is Born” – Dope “T.R.O.Y.” type track, with Jay paying homage to everyone along the way that effected him musically.  J.Cole goes off on this one too, which is a nice little addition.

Filler:

“Off That (feat. Drake);” “Venus vs. Mars;” “Reminder” – Important to note that these are all Timbaland productions.  While it’s rare that magic doesn’t happen when these two create music together, this is an exception to the rule (3 times in a row).  For the most part, all three of these tracks are forgettable.  Not very inspiring for future projects with Jay and Timbo…

Bad:

“Hate” – 808’s & Heartbreaks throw-away?  I know Jay-Z promised no autotune, but this isn’t much better.

“So Ambitious (feat. Pharrell)” – BORING Neptunes beat, that leaves me scratching my head.  I just can’t picture Jay-Z sitting in Pharrell’s studio screaming “This is the one!  Let me get this for the album!”  This joint is completely disappointing.

“Real As It Gets (feat. Young Jeezy)” – I mean really?  A Young Jeezy mixtape-sounding track on your highly-anticipated solo album?  Beat is bland, Jezzy gives his standard grunts and groans throughout, and Jay-Z barely gets any shine.  No idea how this made the cut.

Ugly:

“Forever Young” – I literally laughed out loud when I heard this for the first time.  I can’t think of a more lame way not only to end a sub-par album, but the beat is over-the-top ridiculous (not in a good way).  Thank you Kanye for infecting this album wherever you don’t have No ID’s support.  I was joking with my friend when I first saw the track-list, saying “watch them actually sample that pop 80’s song.”  This has to be THE WORST Jay-Z song ever made (yes, worse than “Hollywood”).  I’m still laughing at how absolutely horrible this track is.  Terrible concept + bad production = fail.

Not including “Jockin’ Jay-Z” and “Brooklyn Go Hard” was a huge mistake by Jay-Z as well.  Both those tracks are better than most of this album, and would have uplifted a project that seems to walk a fine line between victory and failure.

While I did mention that this album is big, it doesn’t necessarily mean that this makes it better.  Blueprint 3 made me realize that the Jay-Z I have supported for over a decade is only a shell of his former self.  This is not the same man that made Reasonable Doubt, Blueprint, and The Black Album.  This is an uninspired middle-aged veteran, doing his best to stay relevant.  This is a former hustler MC from Brooklyn, who cashes in $80 million a year and hangs out with Oprah Whinfrey on the weekends.  What sucks even more is that I know the potential of this MC, and when he teases us with “D.O.A.” I start believing in something that isn’t true…This reminds me of seeing Mike Tyson lose to Lennox Lewis for the title.  While you root for the champ, and want him to get back to his old form, you know deep inside that this is not the same person that dominated earlier in their career.

Overall: 6 out of 10 (and that’s being generous)

Cruising through the New Release section at Amoeba last weekend, I came across an album I hadn’t heard about for some time.  The El Michaels Affair is a funk/soul group from NYC, and are an extended part of the Dap Kings family tree (along with Budos Band, etc.).  They became famous from their exclusive 45″ releases of classic Wu-Tang covers (i.e. “Glaciers of Ice” and “C.R.E.A.M.”), and after doing some local shows with Raekwon himself, demand for a full length cover album had skyrocketed.

That being said, this was a couple years ago, so seeing Enter The 37th Chamber chilling on the shelf was pretty surreal and caught me off guard.  Needless to say, I grabbed a copy with the quickness.

Thoughts after the jump..

What we have here ladies and gentleman is another classic.  The El Michaels Affair not only did an incredible job keeping it original (something lacking in most cover albums), but also kept it as raw as the original Wu versions.  The entire thing gels perfectly, and while it may take a second to pinpoint each covered track out the gate, the horn arrangements and synthesized keys are perfectly arranged throughout (along with every other instrument as well).

Aside from the excellent musicianship of each track, this album just feels right.  Some tracks are actually given another level of griminess (i.e. “Mystery of Chessboxin”), which seems like an impossible feat in 2009…I guess the fact that much of the group resides (or at least did) in Brooklyn and grew up appreciating the original helps.  Not only that, but this pairing seems like a good case of game recognizing game.  Meaning, good music is good music, and good musicians are good musicians, regardless of genre or tastes.

Apparently, Wu-Tang frontman RZA gave this project the big thumbs up, leaning towards “Glaciers of Ice” as being his favorite from the bunch…I have to go with “C.R.E.A.M.” as well:

“Glaciers of Ice”

“C.R.E.A.M.”

This album will make you hit replay on the constant, and will also force you to dust off the originals for a refresh.  The next mission is to find the full length on vinyl, where it will stay in the rotation bin for upcoming shows or listening sessions.

Enter is one album you will not be disappointed with.  Whether you listen to pop, radio rap, or backpack hip-hop, Enter the 37th Chamber will amaze you.  Perfect music for the boom box, BBQ’s, or driving slow through the city with the top down.

If you’ll excuse me, I need to go put on some black leather wallabees to match my XXL Wu-Wear hoodie and Yankee fitted.  Wu-Tang for life son!

Overall: 10 out of 10

Previously: Below The Heavens

It’s been nearly a decade since Meth & Red released an official follow-up to their 1999 classic Blackout!, and the obvious sequel has been long overdue.  The first album got serious rotation in the late nineties/early 2000’s, and still sounds fresh to this day when played in the blaster…Two important points in favor of the “classic” argument.

There has never been a more animated duo in hip-hop, and the overall energy these two bring when combined is off the charts.  Whether on stage (if you haven’t witnessed this you’re tripping) or through the mic, Red & Meth stretch out a wide array of feelings…From laid-out weed anthems, to bang-your-head street joints, they have all areas in between covered.

It’s been a long time coming, but well worth the wait..

Review after the jump.

Off the bat, Blackout! 2 stays very true to the original sound as defined a decade ago.  “I’m Dope N***a!” sets the tone with in your face lyrics, provided from the lyrical duo.  While this is a solid entry (and beginning to the LP), things don’t really pop off until the next track “A-Yo (feat. Saukrates)”:

After listening to “A-Yo” on repeat for an hour, I dug a little deeper, only to realize that Pete Rock was in charge of production.  While this doesn’t sound like your average Pete Rock joint, the careful sampling and beat orchestration are signs that an ace beatsmith was in charge.  Oh, and how dope is the idea of a Method Man/Redman/Pete Rock collaboration?

Anyways, things only get better from here.  “Dangerous MC’s” continues the album with a sound most reminiscent of their previous effort.  Complete with “UFO” sample and a banging drum kit, this highlight features both Red and Meth at their best, backed by a golden era boom-bap beat to knock your wallabees off:

While a lot of reviews tend to go in-depth on each track  within an album, such a method (pun intended) would be doing BO!2 an injustice.  Mainly due to the fact that this LP is thick with great (not just good) material.  As a matter of fact there is not one track on here that weighs the quality down…Actually, after several listens from start to finish, I can confidently say that BO!2 is a better overall effort from Method & Red than their debut album.  While the first joint ran with a certain mood for a majority of the songs (fast-paced, lyrically heavy, etc.), this time around there seems to be a much more diverse and balanced range of moods.  From the lady anthem, slow-tempo “Ms. International,” to the hardcore Wu-banger “4 Minutes to Lockdown,” BO!2 has it all.

The only gripe I have with their latest effort is the subtle use of the autotune on “City Lights (feat. Bun B).”  It seems entirely out of place and completely unnecessary, but for some reason was included nonetheless.  In an album that seems to do no wrong throughout, this is the one moment that left me scratching my head…It’s as if some record exec. heard the final product and said, “You know, the kids these days LOVE autotune…Why don’t you get back in the studio and give us our radio hit?”  First off, the only people buying BO!2 are familiar with Wu-Tang and Redman, so no need to appeal to a younger crowd.  Secondly, this is the first time on the album they show their age.  However, it’s not enough to ruin the experience, but definitely comes across as a little bit desperate:

Other than that, the beat is nice…Dope to see an ode to the South on this record, including a Bun B appearance and Pimp C chopped sample (“I-I-I get toe-up..).

Aside from the autotune hiccup as mentioned above, this is about as close to classic as any hip-hop album can get in 2009.  I have a strong feeling that I will revisit this LP in a year and claim official classic status, but that has yet to be seen.  This is a phenomenal overall record, and is a huge breath of fresh air in an overall disappointing time in music.  Not only is Blackout!2 nearly flawless, but it’s the best thing to come out of the Wu-Tang family tree in years.

If you like good music, don’t sleep…This is worth a trip to the record shop and then some.

Overall: 9 out of 10

It’s been four long years without music’s favorite villain, and it seems that the general public has gotten a little too comfortable in his absence.  Well, Marshall is back in full force with his latest LP Relapse, which means it’s time to get uncomfortable once again.

Continue on for the full review..

Directly following his debut album on Aftermath Records, Eminem quickly became the most talented lyricist in the game, and hands-down the GOAT white rapper ever (sorry Stagga Lee).  The average music listener and MTV fan quickly got used to his persona, which includes a drug-addicted alter ego (Slim Shady), a homosexual pervert (Ken Kaniff), and his more personal side (Marshall Mathers).  After four albums with Dr. Dre and the Aftermath camp, Eminem was a pop music staple, and we became used to his crazy antics, pop culture parodies, and top-notch lyrical abilities.

However, hip-hop has vastly changed in his absence (not necessarily in a good way), with lyrics taking the back burner, and ringtone rappers running rampant on Myspace and iTunes.

Enter Relapse.

After an initial listen of his fifth solo album (6th if you count Infinite), there are no real surprises here.  There’s the lead single that cracks jokes at relevant celebrities (“We Made You”), the emotional tracks that make for a good second single (“Beautiful”), the Dr. Dre collabo (“For Old Times Sake”), and the over-the-top too-much-information tracks that take up a majority of the record (“Insane,” “Same Song and Dance”).  Relapse is the exact same structurally to all of his former full-lengths, which seems to have divided his fans down the middle.  There’s the argument that it’s been said and done before over and over again, while the other side understands it’s Em doing what Em does best…I’m somewhere in between both.

Music-wise, the beats are top notch.  In fact, this might be his most musical entry, which can be attributed to the evolved abilities of his partner (II) in crime.  Dr. Dre really went in on this one (II), and proves once again why he’s one of the best behind the boards.  The strings and heavy drums are still there, but the structure seems to be a little bit more on track..Enough that I was able to notice through the first listen.

Lyrically, Eminem still has it.  While some of the subject matter is a little much for a casual listen (i.e. getting raped by his uncle…seriously.), the way he plays off words and twists them skillfully throughout his verses is unprecedented.  NOBODY is close to Em in 2009 when it comes to rhyming, even if the content makes you scratch your head  every now-and-then.

However, Relapse is far from perfect.  Mainly, the content is not only a little too much at times (see above), but a lot of it has been said several times over the span of his catalog (i.e. mom problems, drug addiction, etc.), and to say it’s stale is a severe understatement.  For someone who is so gifted musically, it’s frustrating to hear Eminem hold himself back like he does.  Where’s the challenge in moaning about your mom again?  We know you have a thing for Mariah Carey and all, but do you really have to mention it again?  Also, the shocking content matter tends to take away from the intricate wordplay that Em uses on some tracks.  As a fan of his lyrical abilities this gets annoying because it takes away from enjoying the songs overall.  Eminem is and will always be about his wordplay, so to water it down with played out content is not a good look…I’ll take Eminem from “Renegade” over Eminem from “We Made You” every day of the week.

Overall, this is a solid EMINEM album.  If you like his past LP’s, and are familiar with what an Eminem album includes, then you will be very satisfied.  The Dr. Dre beats are banging, the memorable comedy is there, the Paul skits are in between tracks, and Eminem is running loose throughout the entire thing with his muzzle off and chainsaw in hand.  If you go into this expecting Illmatic 2, you will be incredibly disappointed.  Maybe dust off your Eminem collection for a refresher, because Relapse is more of the same…Regardless, Marshall is back and ready to slap pop culture in the face once again.

Overall: 7 out of 10

DOOM (aka MF Doom aka Zev Love X) has remained out of the underground hip-hop spotlight for the better part of 4 years, with his last official release dropping back in 2005 (The Mouse and The Mask).  It also doesn’t help that he hit some controversy last year, by allowing skinny impostors wearing the mask to rock “MF Doom” shows in his absence (several times in a row).

Having been extremely influential and consistent during 2004-2005, the above factors wouldn’t seem to bode well for a successful return after 4 years of  no material and bad publicity.

With that said, I was pretty apprehensive when it came to getting excited over a new DOOM album.  After all the time that had past, and all the hate he was receiving from his fan base, the new LP was sure to backfire…Right?  Right?

Continue on for the review..

Wrong!  After giving Born Like This a full listen-through, I came to realize one big lesson about DOOM:  He never skips a beat.  Honestly, this album sounds like no time passed since any of his previous albums were released.  It’s DOOM being DOOM.

If you’re a fan of Mm..Food, Operation: Doomsday, or Madvillain, then you should definitely feel his latest entry.  In a time where autotune is unavoidable in the genre, and blogger MC’s pile in by the dozens, hearing an album like this is beyond refreshing.  This is hip-hop stripped down to it’s bair essence.  Complete with chopped samples (i.e. ESG’s “U.F.O.”), clever lyrics, and effective guest appearances (on both production and rhyming), this album has everything for the hip-hop fan.

Here are some notable highlights:

“Gazillion Ear”

“Lightworks”

The above tracks are the only two Dilla entries, but add a lot to the overall feel of the album.  After hearing both, it’s hard not to imagine what an entire album between the two would have sounded like.  It seems like Dilla’s more experimental stuff compliments DOOM perfectly, and makes for an interesting pairing.  “Gazillion Ear” takes a Brenton Wood sample and adds some hard-hitting drums, while “Lightworks” is from the classic Donuts, so no surprises there.

“Ball Skin”

“Microwave Mayo”

“Rap Ambush”

“More Rhymin”

DOOM and Jake One really work too well together to ignore.  As of right now, Jake is killing it on the production tip, and besides his work with Freeway, it’s pretty obvious that DOOM has quickly become his other favorite artist to work with.  His production is about as soulful as it gets, full of original samples, and drum chops.  It seems as though DOOM respects his grind and appreciation for music, which is why these two work so well together.

If he’s not too busy making records for G-Unit or Free, I’d really like to hear an entire album between these two in the near future.  I think it would be great for the genre, and at this point I don’t think that idea is too far-fetched.

“Yessir (feat. Raekwon)”

“Angels (feat. Ghostface)”

The guest MC’s work perfectly throughout Born, and add a little extra flavor to a very straightforward album.  While the DOOM sound can get repetitive at times (i.e. no choruses, quirky lyrics), bringing in these Wu heavy-hitters mixes things up, making the overall album that much more enjoyable.

Aside from the above tracks, there are some great DOOM beats that sound just as crispy as they did in 2004 (i.e. “Still Dope & “Supervillainz”).  While he tends to keep his style in one direction, this is what is so appealing about him as an artist in the first place.

In 2009, it’s safe to say that DOOM hasn’t flinched the slightest.  I’ll be the first to admit that I had my reservations about Born, but I’ve been quickly proven just how untouchable the Supervillain is.  No T-Pain, no Lil’ Wayne, and no trendy hipster rap can faze him.  He loves hip-hop for all the right reasons, and it’s very apparent with his latest full-length.  If you know his music, then you know the level of quality to expect.  No filler, no radio-hits, and no substitutes..This is DOOM 2009 and this is DOOM in 2109.

Overall: 8 (out of 10)

]]> http://mybassrocks.com/2009/04/24/born-like-this/feed/ 1 zeckwreck http://mybassrocks.com/2008/12/04/instant-classic/ http://mybassrocks.com/2008/12/04/instant-classic/#comments Thu, 04 Dec 2008 19:34:38 +0000 zeckwreck http://mybassrocks.wordpress.com/?p=940 ]]>

Wow, I missed the bus on this one pretty hard (August 2007 release date)…My boy got me a copy of Below the Heavens a couple days ago and insisted I give it a listen.

Start to finish this album is bananas.  From production (Exile) to lyrics (Blu), there isn’t one aspect of the record that brings it down by any means.  Actually, I should probably put that differently.  This is a perfect record all the way through.

With that said, how was I tripping so hard?  Was it just me, or did other people sleep on this release too?

Keep on keeping for a review…

Just like the last album I reviewed (Tronic), Below the Heavens starts off with a bang.  “My World Is…”  is another example of how every album should start off.  It’s an in-your-face, high-energy, incredibly-produced monster of a track.  How about the sample usage (Blue!)?

Every track following this is just as strong (if not stronger), and sends the listener on a roller coaster through the mind of Blu the MC.  “Simply Amazing” and “Juice ‘N Dranks” follow “My World,” and continue the same high-energy vibe as the intro.  This is effective because it sets up the listener for things to come…

“Cold Hearted” changes the mood a little, and Blu proceeds to get his “Brenda’s Got a Baby” on.  You know, highlighting the other side of life, and showing that he has range in his content matter (you know, some real MC shit).

“Good Life” goes right back to the initial uplifting feel from the first three tracks.  Yet again, it’s an incredible beat with a solid performance from Blu…Actually, this is one of my favorite tracks, which really showcases the overall quality of this record:

The lead single “Blu Colla Worker,” is a feel good, day-in-the-life type of song, which is a perfect theme for the down to earth MC.  As talented and up-and-coming as Blu is, one of his best traits is the ability to give it to you like it is.  Meaning, he’s comfortable enough in his own skin to let the listener see his vulnerable side.  You know, without diving into the whole Tony Montana idolizing that has stained hip-hop for the past decade.  Oh, and the sample use?  How about the way Exile chops it up?  Getthefuckouttahere..

Following “Blu Colla..,” the overall feel calms down a little bit.  Not to say that the quality alters at all, but we are taken on a more relaxed, soulful musical trip through the second half.  “I Am..”, sets the tone from here on out, with a jazzy piano loop and funky bass line.  However, the following track “Dancing in the Rain,” is the true gem of this album.  This is an example of a perfect beat (reminiscent of the 1998 Blackstar era), meeting perfect lyrics.  This one gets crazy rotation on the headphones too:

He spends a good portion of the latter half discussing the trials and tribulations of relationships.  “Party of Two” and “No Greater Love” are both great tracks, dedicated to the opposite sex.  The former has some of the nicest drums on the album, while “No Greater..” is another flawless sample chop via Exile.  “In Rememberence” is Blu’s version of “Memory Lane,” stressing the quick transition from being a child to full-fledged manhood (and all the women that came and went in-between).  “First Things First” is the first joint to include a strong R&B presence.  This usually does less for most hip-hop albums in recent memory, but if done correctly it can propel the full project to other heights.  Guess what?  It works:

Below the Heavens ends just as strongly as it began with “The World Is..”  Exile didn’t stop short anywhere before this point, so why would he here?  The soul behind this beat is pretty incredible (horns included), and the chopped-up crooning is done with the precision of a true beat surgeon.  Blu once again kills it, giving a quick tribute to Illmatic by throwing in a little “The World is Yours” flavor into the chorus (who’s world is this?).

Overall, I’m incredibly blown away by the quality of this album.  Literally every track plays a part in the success of Below, which is unheard of in recent years.  Blu & Exile play off each other perfectly throughout the entire project as well.  It’s very rare to pair an MC and producer together, and make it work as smoothly as this duo from L.A.  Blu has quickly become a favorite in the underground MC game, while Exile stepped his game up immensely to deliver this flawless record.  Yes I said it…FLAWLESS.  After listening to the whole project front to back nearly 50 times, I can’t find one reason to stop from waiving the surrender flag.  Ladies and gentlemen, Bass Rocks has crowned it’s first classic.

Below the Heavens is the best hip-hop album to drop in years, and I’m shocked how long it took to get a copy into my hands.  Attention Nas, listen to this joint as proof that hip-hop lives.  Don’t sleep!

Overall: 10 (out of 10)

]]> http://mybassrocks.com/2008/12/04/instant-classic/feed/ 0 zeckwreck blu-exile-below-the-heavens http://mybassrocks.com/2008/11/10/black-millk/ http://mybassrocks.com/2008/11/10/black-millk/#comments Mon, 10 Nov 2008 21:11:28 +0000 zeckwreck http://mybassrocks.wordpress.com/?p=885 ]]>

I was in Amoeba last weekend, on the hunt for some new music.  Aside from scoring the first Jungle Brothers LP Straight Out the Jungle, as well as the 12″ of Group Home’s Supastar, I wanted a new record to blast in my iPod.  I’d heard great things about the new Knux joint (review soon), so I figured I’d grab a copy there.  Turns out, they hadn’t received the shipment of these CD’s yet…What?

However, sitting next to the register was a shiny new copy of Tronic, the sophomore effort from Detroit beatsmith Black Milk (Fat Beats).  I’d been tripping so hard off that new Jake One, that I totally forgot about this release.  His debut Popular Demand was pretty dope, and I could see the potential there for hip-hop greatness..Needless to say, I kept it real.

Peep game below for my thoughts on Tronic..

The second I hit play, it was on.  ”Long Story Short,” the first track off Tronic, is about as energetic as an album intro can get…It starts off with a piano ballot, that sounds like something from a classical-only radio station.  However, when the drums kick in, it gets real hectic.  Wait for it.

“Give the Drummer Sum,” is the first single from Tronic, and can be described as a tribute to the golden era.  Not only does it share the same title as the infamous Ultramagnetic track, but the overall feeling is that of vintage New York hip-hop.  Honestly, this is the best Milk has sounded to date.  From the production (live horns!), to the lyrics, he’s definitely advanced since his last release:

“Hold it Down” reminds me of true Detroit sound.  It’s no secret that house music has influenced musical culture in the D, and this is proof.  While it’s not as throwback or “traditional” as most underground rap tracks, it leaves just as much (if not more) of an impact.  This is one of those joints that gets better over time.  It blasts in the speakers too!

“Losing Out” is another track that grows with time, and is slowly becoming my favorite of the album.  The drums kill it, while Black and special guest Royce the 5’9″ deliver like their lives depend on it.  While Royce outshines Black Milk for the most-part, the song isn’t effected negatively at all.  This is what I would call well-produced music.  Check it:

Another song that holds significant weight, is “The Matrix”, which includes an all-star underground cast of contributors.  How about this for a guest appearance list: Pharaohe Monch, Sean Price, and DJ Premier (on the cuts).  Oh, and don’t forget that Black Milk absoultely destroys it with his production.  I’m really liking the combination of Pharaohe and Milk, and hope to hear a lot more material between the two:

Overall, I was taken back on just how ill this project is.  Nearly every track is flawless (minus “Without U,” which doesn’t hit as hard as the rest), which isn’t something I could say about Popular Demand.  Black has progressed immensely as a producer/MC, but the level of growth is definitely natural from the previous effort.  Out of all the Q3/Q4 releases, this one has grown on me the most with each listen.  There aren’t too many hip-hop records that I can say that for.

I’m not going to get all “Black Milk-Stan” and declare classic status or anything, but Tronic is damn close.  During the Detroit dominance we’ve seen lately in hip-hop, Black Milk is slowly becoming THE producer to go to for that sound.  Not only does he understand and pay homage to the golden era, but he adds on top of this effectively, which can’t be said for a lot of new music.

Please do youself a favor and grab a copy of the latest Black Milk…You won’t regret it.

Overall: 9 (out of 10)

Vote for Tronic HERE!