Young Jeezy - TM:103 - Hustlerz Ambition

After a ludicrous amount of album delays, rivalling that of even The R.E.D Album, Young Jeezy finally released TM:103 on December 20th. Anticipation went into overdrive with the multitude of leaks, official and unofficial, but is the finished project up to standard?

The album begins with 'Waiting'. Anyone familiar with the Atlanta rapper's previous work will find themselves in standard territory as Jeezy rhymes about his come up from the struggle while also finding time to brag about his success. The project really kicks into gear, however, with second track 'What I Do (Just Like That)'. Drumma Boy produces a bass rattling comfort zone in which the rapper is able to provide the type of club banger that he is known for. Similar in tone are the catchy 'Supafreak', featuring a charismatic 2 Chainz verse, and 'Lose My Mind', in which a surprisingly listenable Plies cameo blows Jeezy out of the water. The best beat on the album, however, is reserved for the speaker-destroying 'Ballin'. It is virtually impossible to listen to the track at low volume as Jeezy spazzes out over the dark, incessant instrumental. Unfortunately, some of the good work is ruined by a depressingly average appearance from Lil Wayne, who even pauses the beat before launching into one of the most forgettable verses of his career.

Unlike previous albums, however, Jeezy does not restrict himself solely to his own brand of 'trap music'. On the silky 'Leave You Alone', the rapper links up with Neyo to rhyme about the pitfalls of a relationship with a hustler. 'F.A.M.E' with T.I is a welcome change of pace into deeper subject matter, as the two Atlanta natives describe the drawbacks of their fame: "Tell me, for running my big mouth/ That I can chill here in this big penthouse?/ All elevatored up, black hardwood floors/ Just to sit around and feel it aint yours...". The track heralds a more mature approach for an artist not noted for his deep introspection. Equally successful is the star studded 'I Do', in which Jeezy, Jay Z and Andre 3000 wax lyrical about their perfect women and how they imagine they would marry them. Jill Scott drops by unexpectedly for 'Trapped', providing a spoken word hook for Jeezy to to recount his grim childhood.

Unfortunately, not all of TM:103 is quite as compelling. 'Higher Learning' is dull weed rap that the world has heard a thousand times. Snoop Dogg continues his descent into mediocrity on the type of song in which he used to shine, while bringing Devin the Dude into the fray underlines his irrelevance. 'All We Do' is one of only 5 cuts in which Jeezy is unaided by another artist, but the rapper wastes his opportunity with a long, repetitive track about how he does nothing but smoke weed and fuck his girlfriend. It is just as interesting as it sounds. Having both Jadakiss and Fabolous on 'OJ' means Jeezy compares unfavourably in the lyricism department. The beat, however, is uninspiring, resulting in none of the artists finding the space to really shine.

Track by Track:

1. Waiting - 7/10

2. What I Do (Just Like That) - 8/10

3. OJ - 6/10

4. Nothing - 7/10

5. Way Too Gone - 6/10

6. SupaFreak - 8/10

7. All We Do - 4/10

8. Leave You Alone - 7/10

9. Everythang - 7/10

10. Trapped - 7/10

11. F.A.M.E. - 8/10

12. I Do - 8/10

13. Higher Learning - 5/10

14. This One's For You -  6/10 15. .38 - 7/10 16. Ballin' - 8/10 (one point off for the dreadful Lil Wayne verse) 17. Lose My Mind - 8/10 18. Never Be The Same - 7/10 The Verdict: Young Jeezy has put together a slick selection of thugged out trap music in the way only he can. Despite some low points, TM: 103 represents the highlight of the Jeezy catalogue, and is sure to satisfy the legion of fans who have waited so patiently for the release of the album 8/10.

Vado and A$AP Rocky: Putting New York Back On The Map?

It has long been lamented that New York has fallen from the position of dominance that it once held over the rap industry. Gone are the days where the city spawned multi-platinum singles and albums by the bucketload as other regions have begun to assert their dominance. If we look at some of the top selling rappers in the game (excluding Jay Z), there is a distinct lack of New York artistry:

Eminem - Detroit

Lil Wayne - New Orleans

Drake - Toronto 

Rick Ross - Miami
Kanye West - Chicago

Similarly, New York is conspicuously absent in the birthplaces of new artists breaking through:

Wiz Khalifa and Mac Miller - Pittsburgh

Wale - Washington

J Cole - North Carolina

Yelawolf - Alabama

Though it is an obvious cause for celebration that hip hop now has a range of diverse talent, it is an alarming state of affairs that the self proclaimed birthplace of rap has no obvious standard bearers to carry forward the new generation. 

In 2009 Harlem rapper Vado released his debut mixtape Boss Of All Bosses alongside mentor Cam'ron. Slime Flu followed as his first release as a solo artist, the project being well received in rap circles. Closely associated with the Dipset movement, Vado is similar in style to group leader Cam'ron. Though not quite blessed with the same charisma on the mic, the rapper is more lyrical than the majority of his Dipset brethren, comparisons can be made with New York stalwart Fabolous. Retail album Gunz n' Butta was released in April 2011, again with Cam'ron. The project was both a commercial and critical failure, attracting very little attention in terms of acclaim or sales. Perhaps with this is mind, Vado brought out sequel mixtape Slime Flu 2 without a single verse from his frequent collaborator. As he explained in an interview with HipHopDX: “Shout out to Cam but a lot of people always say ‘Yo, all your songs is with Cam. You do everything with Cam.’ So I’m branching off doing my thing. So he letting me fly. It was something we both said ‘Yo, it’s time to do.’ Once I got signed it was time to start showing I’m my own man.”

The new mixtape has received a largely positive response, the rapper branching out into non-Dipset features with Fabolous on 'Ok Y'all' and Raekwon on 'Bed Piss'. The journey to success is by no means over for the Harlem born MC, but his progress is being watched closely in New York rap circles.

Hailing from the same area of New York, overnight success A$AP Rocky was recently the subject of a rumoured $3 million deal with Sony/RCA. As he explained to Billboard Magazine: "I don't have a $3 million dollar balance in my account but the record deal was $3 million though. I got a deal with RCA/Polo Grounds for A$AP Worldwide and I got a deal with them for my solo project, my solo deal; if you combine both deals it amounts to a three million dollar deal." The A$AP Worldwide group referred to concerns the ASAP (Always Strive And Prosper) crew the rapper is currently a member of. Comprising of rappers, producers and designers such as ASAP Dee Ferg, ASAP Ty, ASAP Nast, and ASAP Twelvyy. The movement is similar to Odd Future in that the charismatic front man opens doors for the rest of the team. 

Youtube hits 'Peso' and 'Purple Swag' showcase why the rapper has garnered so much attention for his mixtape Live.Love.ASAP. Contrary to the traditional New York hip hop, the collection of tracks is much more Southern oriented in terms of sound. The beats are dripping, promethazine laced and bass heavy while the lyrics use simple, spaced out rhyme schemes much closer to the Dirty South template. In addition to success with his new label, the rapper has been nominated for the BBC's Sound of 2012 poll, demonstrating how he is also receiving attention from across the pond.

It remains to be seen if Vado and A$AP have the staying power to become fixtures in the legendary New York rap lexicon. 2012 is a huge year for both.

Vado - Slime Flu 2

A$AP Rocky - Live.Love.A$AP

Is Hip Hop Dead?

The early 2000's were the golden years for Hip Hop in terms of albums sales. Even the most depressingly average MC's could virtually guarantee a gold plaque (500,000) with every release. Fast forward to 2007, and sales were rapidly declining. For the first time in 12 years there was no rap album in the American top ten best sellers of the year. Sales of music in general suffered due to the recession, but hip hop was hit particularly hard. The ceaseless mantra of 'bitches, money and hoes' was growing increasingly stale as the gangsta rap market became saturated with cheap imitations. Consumers were crying out for something different.
The last 2 years, however, has seen a resurgence of quality music from a litany of new MC's. First up was Wiz Khalifa, fuelled by his mega hit 'Black and Yellow' and a huge underground buzz for his mixtapes. Rolling Papers sold 197,000 in its first week of release, eventually receiving gold certification. Hot on the heels of his success were standout projects Section 80 from Kendrick Lamar and Follow Me Home by Jay Rock. Though not commercially successful, the two albums displayed the wealth of young talent lurking just below the surface of mainstream hip hop.
After numerous delays, September saw J Cole finally drop his highly anticipated Cole World. Selling over 200,000 in its first week, the figures were particularly impressive as there was no particularly popular single to promote the album on the airwaves. Similarly, Wale received a remarkable career boost by signing onto Maybach Music. Compilation album We Are Maybach Music was well received, along with fellow freshmen Pill and Meek Mill, but the sales figures for sophomore project Ambition were truly remarkable. Over 160,000 units were moved in the week of release, compared to the 28,000 sold of 2008's debut Attention Deficit. Again, Ambition had no substantial single to promote. Love him or hate him, Drake is setting the standard for the rap/r&b hybrid, Take Care awarded a gold plaque within a week.

The success story of the year so far has been Mac Miller's Blue Slide Park. Despite being released on an independent label, the album debuted at number 1 on the Billboard Chart with 144,000 sold. Without substantial promotion, the rapper relied on engaging with his large internet following to great effect.
Though these figures are unimpressive when compared to the multi-platinum albums of the first half of the last decade, or indeed against continuing superstars such as Eminem, Jay Z and Lil Wayne, placing them alongside recent work from established stars is worthwhile.

50 Cent- Before I Self Destruct 160,000 (2009)
Rick Ross - Teflon Don 176,000 (2010)
T.I - No Mercy 159,000 (2010)
Game - The R.E.D Album 98,000 (2011)

Taking these figures into account, it suggests that hip hop is certainly working on a reduced scale. This is not to say, however, that the quality of music is declining. The state of the music industry is forcing labels to go look for other ways to promote their product, the creation of twitter becoming an increasingly dominant force in the hip hop world. A 'back to basics' approach, with an increased focus on creating quality free mixtapes to build a large following has yielded excellent results for artists such as Drake, Mac Miller and Wiz Khalifa. The new generation is now in a position to stand alongside the big hitters in the rap industry, with newcomers such as A$AP Rocky, Vado and Childish Gambino hot on their heels. Particularly exciting is the wide range of styles coming through the ranks. The introspection of J Cole, for example, is a world apart from the jaunty 'backpack' rap of Mac Miller.
Taking all this into account, it is clear that hip hop isn't dead. It's just smaller.

Yelawolf - Radioactive

Seeing Yelawolf supporting Wiz Khalifa earlier this month pushed my anticipation for his debut into overdrive. Now the fateful day is upon us, I have been feverishly listening to Radioactive in order to find out whether the Shady Records signee is worth the hype.


'Radioactive Introduction' kicks off proceedings, the subdued beat allowing the listener to focus on the Alabama MC's complicated rhyme patterns. 'Get Away' follows, the track settling into a standard Southern banger with a welcome guest verse from new Cash Money Records member Mystical. In general, the features on the album are a surprise. There is no appearance from any Slaughterhouse members, Yela relying mainly on newcomers such as Shawty Fatt and Rittz to assist his project. This is not necessarily a drawback of the album, the effect achieved is that of a rough and ready Southern collection of songs. Rittz in particular shines on the blaring 'Growin' Up In The Gutter', the track used as an opportunity for the two MC's to explore darker, experimental themes. That is not to say that all the guests are as obscure. Eminem (as well as Gangsta Boo) drops by on 'Throw It Up'. The catchy, piano driven beat compliments the two white MC's, though the Gangsta Boo verse and chorus seems slightly out of place. Eminem's effort doesn't rank among his best work, though as expected there are plenty of quotable lines. The best collaboration is undoubtedly with Killer Mike on 'Slumerican Shitizen'. Here Yelawolf engages with deeper subject matter, discussing the political alienation he feels from the state. Less successful, but with similar themes, is 'Made in the U.S.A'. Yela laments the materialistic nature of modern America, but his serious message is undercut by a poppy hook. A drawback of the project is that it occasionally seems tailored towards radio exposure, sometimes at the expense of musical quality. Better examples of this are the Diplo produced 'Animal' and Kid Rock assisted 'Let's Roll'. Both of these tracks would not be out of place in a club or on the radio, but neither feel like cynical cash ins.


Lead single 'Hard White' is a tribute to the heyday of crunk, with Lil Jon producing his most compelling beat in years. The best track on the album, however, is 'The Last Song'. Over a mellow instrumental, Yela laments the fact he cannot celebrate his success with his absent father. The song also contains some touching reflections on his relationship with his mother, similar in tone to J Cole's 'Breakdown'.


Track by Track:


1. Radioactive (Intro) 7/10
2. Get Away (Feat. Shawty Fatt & Mystikal) 7/10
3. Let's Roll (Feat. Kid Rock) 8/10
4. Hard White (Up In The Club) (Feat. Lil Jon) 8/10
5. Growin’ Up In The Gutter (Feat. Rittz) 8/10
6. Throw It Up (Feat. Gangsta Boo & Eminem) 7/10
7. Good Girl 7/10
8. Made In The U.S.A. 6/10
9. Animal (Feat. Fefe Dobson) 7/10
10. The Hardest Love Song In The World 7/10
11. Write Your Name 7/10
12. Everything I Love The Most 8/10
13. Radio 6/10
14. Slumerican Shitizen (Feat. Killer Mike) 8/10
15. The Last Song 9/10


The Verdict:


Despite some ill advised pop leanings, Yelawolf has created perhaps the standout debut of the year. The album showcases the enormous potential of the Alabama born MC, while also displaying a surprisingly mature approach on certain tracks. The future certainly looks bright.


8/10

Drake - Take Care

Drake has been dividing opinion since his mixtape So Far Gone took the hip hop world by storm in 2009. Some see him as a multi-talented messianic figure at the forefront of popular rap, while others regard him as a pretty boy making R&B that can barely be classed as hip hop. Whatever your opinion on the Canadian entertainer, this album is unlikely to change your mind either way. 


Album opener 'Over My Dead Body' takes over from where Thank Me Later left off, with mellow piano keys providing the backdrop for Drake to wax lyrical about his accomplishments while Chantal Kreviazuk provides a soulful hook. This sets the tone for the chilled out mood that pervades the album, up tempo tracks proving to be thin on the ground. 'Shot For Me' allows the rapper to test the limits of his actual singing voice, rather than the irritating half singing half rapping that contributed to the lukewarm reception for his last album.  The trend is followed through into 'Doing It Wrong' with great success, a welcome, more emotional side to the rapper shining through. There is a tendency in Drake's music towards moody bitterness, and this runs through both of the songs as he arrogantly dismisses the women of his past. Other examples include 'Look What You've Done' and 'Marvin's Room', Drake using the downbeat tracks to uncomfortably bare his soul. 


There are, however, more upbeat tracks on the album. 'Make Me Proud' features assistance from rumoured wife Nicki Minaj, the chemistry between the two artists becomes undeniable over a pulsing beat. Lead single 'Headlines' is a catchy, boastful toast to everything the rapper has achieved in his short career. 'HYFR', with mentor Lil Wayne, is an opportunity for Drake to showcase an improved, speedier flow, suggesting the MC has used the time since Thank Me Later wisely. Another highlight is the sensual 'Practice', Drake demonstrating why his female fan base is so widespread.

Guests on the album are largely expected, with two notable exceptions. Canadian newcomer The Weeknd shines on 'Crew Love', eclipsing his fellow countryman on his own track. More importantly, Drake is finally awarded his dream collaboration with Andre 3000. The ATLien drops by for 'The Real Her', the song also featuring Lil Wayne. Unfortunately, the track fails to match the sum of its parts, the ponderous beat hard to distinguish from the instrumentals that have proceeded it. As always, 3000 drops witty, playful rhymes, but the project does not stand up to repeat listening.


Track By Track


1. “Over My Dead Body” 7/10
2. “Shot for Me” 7/10
3. “Headlines” 8/10
4. “Crew Love” feat. The Weekend 7/10
5. “Take Care” feat. Rihanna 6/10
6. “Marvin’s Room” / “Buried Alive Interlude” 6/10
7. “Under Ground Kings” 6/10
8. “We’ll Be Fine” 6/10
9. “Make Me Proud” feat. Nicki Minaj 8/10
10. “Lord Knows” feat. Rick Ross 6/10
11. “Cameras” / “Good Ones Go Interlude” 7/10
12. “Doing It Wrong” 8/10
13. “The Real Her” feat. Lil Wayne & André 3000 6/10
14. “HYFR (Hell Ya Fu**in’ Right)” feat. Lil Wayne 7/10
15. “Look What You’ve Done” 6/10
16. “Practice” 8/10
17. “The Ride” 6/10


The Verdict:


Drake is unlikely to win any new fans with Take Care, his sophomore album following the pattern established by Thank Me Later. There is, however, evidence of artistic progression, making the album a definite improvement on his disappointing debut. Supporters of Drake will be delighted with this new collection, whereas his detractors will find plenty to support their opinions.


7/10 

Busta Rhymes: Comeback King?

Browsing Hip Hop DX today, I came across the first bit of news that has interested me in a while. Busta Rhymes has signed to Cash Money Records, joining Lil Wayne, Drake and Nicki Minaj on what is currently the hottest label in the rap industry. This has capped off a fantastic year for an MC whose career seemed to be nosediving after 2009's terrible Back On My B.S. This was the result of a poor 7 year run that started with 2002's It Aint Safe No More, picking up slightly with The Big Bang, but an acrimonious departure from Aftermath Records seemed to be the beginning of the end for the Brooklyn native. Back on my B.S flopped both with critics and fans, poor sales reflecting the lukewarm reception for the project. In response, Busta promised a new album, Chemo, suggesting that hip hop needed saving. The more unkind among us may suggest that hip hop needed saving from faded stars devoid of enthusiasm and happy to pick up a cheque without a shred of artistic endeavour, but Busta had other ideas.
After the project was pushed back and eventually faded as a concept, the rapper proposed a new album: Extinction Level Event 2. This is intended as a sequel to the 1998 album of the same name, but as yet has no firm release date. Instead, Busta has had an incredibly productive year in terms of guest appearances. Earlier in 2011, the rapper caught the ear with a charismatic verse on 'Crane Style' from Raekwon's Shaolin vs Wu-Tang. Wu Tang brethren Ghostface Killah also recruited the fellow New Yorker for his Apollo Kids.
Busta seemed to be reveling in his freedom after leaving a major label, dropping well received collaborations with LL Cool J on 'Killin Em', Tech N9ne on 'Worldwide Choppers' and Styles P on 'Harsh'. The standout appearance, however, was when the MC secured a verse on the Chris Brown mega-hit 'Look At Me Now', alongside Lil Wayne. Busta steals the show with his improved quickfire delivery, spitting rhymes at a breathtaking speed on the catchy track. The video has accrued 130 million hits and counting on youtube, and eventually secured the rapper a spot closing the Lil Wayne behemoth Tha Carter IV.
The increased exposure resulted in a BET cypher appearance, the veteran delivering playful battle rhymes in a memorable verse, fully cementing his position back in the rap lexicon.
Taking all this into account, it was still a surprise when Busta announced on his twitter feed that he had signed to Cash Money records. It is as yet unclear which branch of the label he will yet appear, Cash Money or subsidiary group YMCMB. Either way, the news is welcome for those of us who were saddened to see a talented MC lose his touch. A new single 'Why Stop Now' has been leaked onto youtube, again collaborating with Chris Brown. If I'm honest, it's unlikely to set the radio alight, but it is another step in the right direction for an MC about to take back his rightful hold on the rap game. WOOHAAA!!!!

Wale - Ambition

Washington born MC Wale has had an interesting year. Removed from the Interscope roster after poor sales of debut Attention Deficit, the rapper was offered a second chance in the form of a place on Rick Ross' Maybach Music Group label. The compilation album of the same name found Wale rhyming with fellow XXL Freshmen alumni Meek Mill and Pill, as well as Ross himself. Though the LP was generally well received, Wale was criticised for seemingly changing his content and flow to fit in with his new label mates. 6 months later, the MC returns with his first MMG solo release: Ambition.


The first notable feature of the tracklist is the lack of MMG support. Meek Mill appears once, while Rick Ross guests twice. In theory, this allows Wale to stretch his wings, affording him an opportunity to experiment. The first four tracks, however, find the rapper stuck in familiar territory. 
Album opener 'Don't Hold Your Applause' finds a laid back Wale taking the MMG trademark boastful approach to his wordplay: "Tired of making money/ I'm more than making history/ Fuck how they feel I keep it realer than a documentary". 'Double M Genius' and 'Miami Nights' take on a similar theme, but it is the sombre 'Legendary' that properly kicks off the album as the MC wearily dissects the price of fame: "Fuck fame/ Fuck money/ Fuck anything anyone can take from me/ It aint hard/ To make money/ We young niggas just tryna' be legendary".


The LP has a prominent R&B streak running through the track list. The best of these are the Miguel assisted 'Lotus Flower' and 'Sabotage', featuring Lloyd. The former is an exercise in smooth seduction, while the latter is a smart examination of destructive relationship behaviours. 'White Linen', with Neyo on the hook, fares less well, the song tipping the balance of the album over to blatant attempts to expand the female fan base. The rapper starts 'Illest Bitch' by proclaiming that "I was going to write you a poem today/ But fuck it, I was feeling myself...". He should have stuck with the poem.


The stronger tracks on the album are where Wale takes himself out of his comfort zone. 'Focused' utilises the left-field  stylings of Kid Cudi to great effect over a synth heavy, spaced out beat. Similarly experimental is the Diplo produced 'Slight Work'. Sirens wail in and out of a looping drum beat as Wale and Big Sean showcase their quick time flows. Title track 'Ambition' is a subdued, poignant collaboration between MMG stalwarts Mill and Ross, the song demonstrating that there is more to the group than money, bitches and cars.


Track by Track:

1.	"Don't Hold Your Applause" (6/10)
2.	"Double M Genius"  (7/10)
3.	"Miami Nights"  (6/10)
4.	"Legendary"  (7/10)
5.	"Lotus Flower Bomb"  (7/10)
6.	"Chain Music"  (6/10)
7.	"Focused" (8/10)
8.	"Sabotage" (7/10)
9.	"White Linen (Coolin')" (5/10)
10.	"Slight Work" (9/10)
11.	"Ambition" (7/10)
12.	"Illest Bitch"  (5/10)
13.	"No Days Off"  (5/10)
14.	"DC or Nothing" (6/10)
15.	"That Way" (6/10) The Verdict: When listening to Ambition, it is hard to shake the feeling that Wale is out of his comfort zone on his new label. The album lacks the consciousness, emotion and razor sharp wordplay found in both the mixtapes that brought him to national attention and his debut effort Attention Deficit. Signing with MMG has become both a blessing and a curse. 6/10

Wiz Khalifa - O2 Academy, Glasgow. 2/11/11

(Top quality image used with generous permission by Alexander Whittington.)

It was time for my second visit to the Academy within a month.Yelawolf had already started his supporting set when we entered the impressively full venue, his unmistakable quick fire nasal delivery floating to the back of the room. The Alabama MC's performative experience shone through as he whipped up the crowd in a way rarely achieved by those second on the bill. Lead album single 'Hard White (Up in the Club)' received a warm reception, as did a timely A capella rendition of his recent BET cypher appearance. Removing his vest to reveal a heavily tatooed torso (an action that was going to become somewhat of a theme as the evening progressed), Yela provided a menacing performance of personal favourite 'Pop Tha Trunk'. This was preceded by a bizarre interlude in which his DJ played a medley of The Doors, some Johnny Cash and then wrapped it up with some Eazy E. That aside, Catfish Billy left the crowd feeling strong anticipation for Radioactive (November 21st for those of you that are interested) Clocking in at nearly 45 minutes, the MC leaped from the stage for some crowd interaction for his final song. The future is looking bright for Shady Records signee.

An impressively short 20 minutes later, Khalifa took to the stage. Sharply attired in a fitted plaid shirt, Wiz launched into a selection of the weed induced mixtape material that propelled him to internet stardom. A nod to his British audience resulted in a sample of Tinie Tempah's 'Till I'm Gone', along with a performance of new track 'Young, Wild and Free'. The rapper pranced spasmodically across the stage, contorting his body playfully into an all manner of interesting shapes. The crowd was treated to a demonstration of Khalifa's karate skills, and an unnecessarily enthusiastic sensual self-rubdown of his tiny frame as the Pittsburgh native energetically clowned his way through the performance. As a result, the backing track was often employed to provide musical support, filling in the gaps when Wiz was otherwise engaged.
An uncharacteristically mundane interlude followed, Khalifa hammering home the point that we were all part of his 'Taylor Gang'. Members of his crew then flooded the stage, swathed in Taylor Gang memorabilia as a stomping performance of the song of the same name was performed. The track ended with the Wiz being 'shot down' by his light show, the rapper jerking his body in time with the gunfire.
The second half of the gig was devoted to gold selling album 'Rolling Papers'. The more chilled out pop oriented tracks required less exuberance, so Khalifa took the opportunity to use the microphone stand to showcase his vocal range. Favourites such as 'No Sleep', 'Fly Solo' and drug ode 'On My Level' were performed with aplomb, the rapper stumbling across the stage in accordance with his lyrics.
Single 'Roll Up' entered the set list as the performance wound towards the inevitable last song. The lights took on an appropriate hue as Wiz performed 'Black and Yellow', the song that propelled him to global stardom. He then ran off stage, his DJ coaxing him back for one last effort. 'Cameras' proved to be a suitable anthemic encore track, the crowd leaving the Academy with a definite buzz. In short, Wiz Khalifa showed Glasgow exactly why he is regarded as one of hip hop's most charismatic new stars.

Xzibit - The Garage, Glasgow. 19/10/11

For the second time in a fortnight I traveled to Glasgow to experience the unbridled joy that is provided by G2 (Not the main venue, just round the back!) Fortunately, there were no fights outside this time. The entrance, though, was surrounded by a litany of unsavoury characters, someone helpfully shouting "RUFF RYDERS!" at me as I entered. Though it is always nice to see appreciation of DMX, The LOX and the work of Swizz Beatz, we were all here to see Xzibit (perhaps he was a Drag-On fan?). There was a VIP package offering 3 CD's, a t-shirt and 15 minutes backstage with X, but I respectfully declined, preferring to take my chances in the crowd.
After keeping us waiting just a tiny bit too long (after Snoop Dogg arrived an hour late I'm prepared to forgive more minor tardiness), X took to the stage, sparking the set off with new single 'Xzibit v. The State of Hip Hop'. Aided by hype man Young De, the West Coast veteran bounced across the stage, regularly flashing his cheesy grin as the more familiar fare took over the set list. 'Front 2 Back' and 'Get Your Walk On' were highlights of a Restless heavy focus, with 'Alkaholic' predictably sending the crowd into a frenzy. The rapper outlined his credentials, asserting that he could drink more than "any motherfucker in this room!" Any hopes of witnessing him down a pint of Tennent's were swiftly dispelled, but the song was played twice during the performance to a typically rowdy response.
A medley of standout verses from his association with Aftermath Records followed, hits such as 'Bitch Please', 'Bitch Please II' and 'What's the Difference' were merged to give a strong West Coast flavour to the evening. In a similar vein, 'California Vacation' was played to a rousing reception.
The gig took a sombre turn with a tribute to Nate Dogg, followed by a return to first album material with 'Paparazzi'. Though the song matched the tone of the tribute, it seemed strange that he rapper chose not to perform one of the many songs he has recorded with the late soul singer. The set list continued with the theme of 90's hits, 'What You See is What You Get' from 40 Dayz and 40 Nightz being performed with typical enthusiasm. More recent fare was thin on the ground, 'Muthafucker' from Weapons of Mass Destruction and 'Multiply' proving popular, the gig finishing with 'Thank You', a heartfelt tribute to the fans who have supported the rapper through thick and thin. The performance ended abruptly just over the hour mark, with the rapper finishing mid song and walking off the stage. His DJ carried on playing, raising hopes for an encore ('Hey Now' and 'Heart of Man' were sorely missed), but after 5 minutes it became apparent he was not to return. The crowd left puzzled, but generally satisfied by an evening with one of the West Coast's most enduring voices.

Styles P - Master Of Ceremonies

As a member of The LOX, Styles P had already enjoyed much success before the first of his solo albums, 2002's A Gangster and a Gentleman. Two more albums followed in 2006 and 2007 respectively, before the New York MC's output slowed dramatically. Five years after his last LP, Styles has released Master of Ceremonies, a short, guest laden 12 track album.

The project kicks off with 'How I Fly', the hook provided by forgotten singer Avery Storm. The track serves as a laid back introduction, but fails to fit with the rest of the album. Things move into more comfortable territory with the gritty 'We Don't Play', featuring both a chorus and verse from an invigorated Lloyd Banks. P and Banks feel liberated on the track, the burden of big label expectation being removed from their shoulders as they swap aggressive street tales.

'Ryde on the Regular' is one of only two solo offerings on the LP, the other being 'Feelings Gone'. Both tracks are moody, reflective narratives, providing the listener with a disquieting insight into street culture. The theme is continued on 'Keep the Faith', supported by a soulful hook from newcomer Aja.
The abundance of guest appearances suggest that Styles is at his best when he feels challenged. Fellow LOX alumni Sheek Louch and Jadakiss appear on separate tracks 'Street Shit' and 'It's OK' respectively. Sheek is ferocious over the piano driven beat, but the outstanding chemistry is reserved for the latter song. Jada and Styles trade bars in the now familiar fashion over a schizophrenic beat: "Styles: Tryna' renovate the West wing of the mansion/ Jada: I aint thinking recession, I'm thinking expansion/ S: I be in the malls, I aint be in the Hamptons/ J: And I'm playing the wall, but my chain is dancing..."

The highlight of the LP is the Busta Rhymes and Rick Ross assisted 'Harsh'. The star billing lives up to expectation as Busta provides snarling, violent bars, the rapper seemingly enjoying being freed from the shackles of a label.  

Not all tracks are this successful, however.The pairing of Styles and Pharrell seems unnatural on 'Don't Turn Away', while the second Sheek Louch appearance closing out the album on 'Uh-Ohh' seems an unnecessary rehash of the earlier collaboration.


Track by Track:


1. How I Fly (Feat. Avery Storm) 6/10
2. We Don’t Play (Feat. Lloyd Banks) 8/10
3. I’m A Gee (Feat. Rell) 5/10
4. Ryde On Da Regular 7/10
5. Keep The Faith (Feat. Aja) 8/10
6. Children (Feat. Pharoahe Monch) 7/10
7. Street Sh*t (Feat. Sheek Louch) 7/10
8. Feelings Gone 6/10
9. Harsh (Feat. Rick Ross & Busta Rhymes) 8/10
10. It’s OK (Feat. Jadakiss) 8/10
11. Don’t Turn Away (Feat. Pharrell) 5/10
12. Uh-Ohh (Feat. Sheek Louch) 6/10


The Verdict:


Styles P does not stray very far out of his comfort zone on his fourth solo album, but for the most part this does not matter. The vast array of guests often enhances the quality of the work rather than detracting from it, and the chemistry with members of the LOX will surely whet appetites for their rumoured third outing. The Ghost is still on form.


7/10

Skepta - The Garage, Glasgow. 7/10/11

After dodging the burly man fighting a weedy chav (this was Glasgow, after all), we made our way round the back of the Garage to G2, the smaller venue playing host to Skepta on his second U.K tour of the year. Attempts to purchase a Fosters proved unsuccessful, apparently we were meant to ask for a wristband while being charmingly frisked by the door staff.
These minor issues overcome, it was time to watch support act Krept and Konan, buoyed by their recent youtube remix of 'Otis' (5 million hits and counting). Their brief set was enlivened by a competition between two members of the crowd, the principle object being to recite Skepta lyrics in order to win £10. Both contestants were, somewhat predictably, atrocious, and the lesser of the two evils won the day. Krept and Konan, for their part, delivered a nervous, inexperienced performance that betrayed their novice status on the U.K Grime scene.

The preliminary acts over, it was time for the main event. Skepta kept us waiting an impressively short 15 minutes, strutting onto the stage with his ubiquitous mantra of "Fuck Skepta". His band was strikingly attired in crisp white dinner jackets, the Grime legend donning a similar outfit. Bunches of red roses adorned the stage, contributing to the strange dinner party theme. Introductions over, he launched into 'Rescue Me', the anthemic chorus serving as an appropriate opening number. For the next hour the enthusiastic crowd was treated to a myriad of hits spanning his 5 years at the forefront of the British rap scene, including 'Bad Boy', 'All Over the House' (thankfully promising there would be no stage show) and, of course, 'Too Many Man'. Memories were refreshed with a medley of older material, Skepta bouncing irrepressibly across the stage as his energy fed into the crowd. New single 'Hold On' also proved a hit. At the conclusion, the London MC sincerely thanked his audience for their support, before engaging in what can only be described as the least convincing stage walk off I have ever seen. Within 30 seconds he was back for the encore, not being heartless enough to deprive his fans of hit single 'Amnesia'. He did however, neglect to perform 'Rolex Sweep', something the group was all looking forward to having practiced the dance all week.
In summary the gig was short, sweet, and well worth the entry fee. On this evidence there is plenty more life in the Grime stalwart yet, and I'm sure Glasgow will be welcoming back in the near future.

Dropping the N-Bomb

In May 2011, Gwyneth Paltrow appeared on the Graham Norton show. In the midst of the interview, Norton touched on the fact that the actress was a fan of 90's hip hop, which was confirmed by Paltrow herself. Asked to prove it by demonstrating the lyrics, Gwyneth replied: 'There's one word I can't say' to which Graham replied, 'No, don't say that word'. Paltrow then preceded to rap the opening bars to 'Gangsta Gangsta' (not 'Straight Outta Compton' as listed on the video):


'Here's a little somethin' bout a nigga like me
never shoulda been let out the penititary
Ice Cube would like ta say
That I'm a crazy mutha fucka from around the way
Since I was a youth, I smoked weed out...'


The actress skipped over the 'nigga' in the first line, replacing it with a silence and a hand gesture. The point of this blog is to explore whether this was in fact the correct action, the motivations and influences behind her decision, and whether it will ever be acceptable for a white person to use the word 'nigga'.
Since Ice T first used the word nigga in 1991, the word has become prevalent in hip hop. There is a distinction between the older, racist epithet 'nigger', and the rap term 'nigga'. The meaning of the word varies  depending on context, used among other things to denote a friend, an enemy, a brother, a poor man, a black man, someone with undesirable qualities, someone who is 'real' etc. Despite the word being used on a vast number of hip hop songs, a white rapper has never acceptably been able to use the word, and the word has not broken through into acceptable everyday use in society, except selected black communities.
It is not just white MC's who feel they cannot use the word. In 2008, Nas planned to name his new album Nigger. This predictably caused uproar, and the label was eventually forced to censure his project. The album was finally released with no title. It is important to note that the planned title was 'Nigger' and not 'Nigga'. Albums such as 2Pac's Strictly For My N.I.G.G.A.Z have been released without too much controversy, suggesting that the distinction between the racist and hip hop terms is still important. Nas suggested that his title was an attempt to reclaim the word: 


“We’re taking power from the word. You see how white boys ain’t mad at ‘cracker’ cause it don’t have the same sting as ‘nigger?’ I want ‘nigger’ to have less meaning than ‘cracker.”


This begs the question: If there is a clear distinction between 'Nigger' and 'Nigga', why can't a white person feel comfortable using the hip hop term in the appropriate context. Gwyneth Paltrow chose to not risk offending people by leaving out the word, but there is no reason why she should have done so. The word is clearly in the lyrics, and she was asked to recite them. Would Ice Cube have left out the word if he was asked to perform 'Gangsta Gangsta'? Why would it be acceptable for him to say it and not Paltrow?
As mentioned in an earlier post, Kreayshawn and her White Girl Mob have used the word in their songs, to uproar in  the hip hop world. Mistah F.A.B has come out in support, railing against the hypocritical double standards of some in the hip hop community: 


"We grew up in the same communities, same neighborhoods. It's not the same as how people once looked at it. You want to stand up for a cause like that? You'll let somebody from your own race disrespect you all day, then soon as someone from outside your race...you want to turn into Malcolm X or Martin Luther King?"


I agree with him in this respect. You cannot use the word 'nigga' in everyday conversation, then react in horror when someone of a different race chooses to use the same word. There is no such thing as ownership of a word. Unfortunately, F.A.B then ruins his argument:


"Believe it or not, V-Nasty is mobbing harder than you niggas that's mad at her saying the word 'nigga.' V-Nasty is really mobbing. That's like little sis. She just got out of jail for a robbery, dog. That's public information, dog. She's not playing, dog. That's really what she do." 

The implication is that V Nasty, a white rapper, is allowed to use the word because she has 'street credibility'. This is wrong, and is further propagating the idea that the word is owned by some and denied to others. Does this mean that only those who have done a drive by in Compton are allowed to use 'nigga'?
What F.A.B is missing is the importance of context. Within the confines of a hip hop song the word is perfectly acceptable, similarly the recital of said song gives people of any race license to use the word. Everyday use is different. Either everybody is 'allowed' to use it, or no one is. This does not mean I am advocating that white people the world over decide to start screaming 'WHAT UP NIGGA?' in greeting to their friends, rather quite the opposite. If certain members of the black community think that it is fine for them to use the word but entirely unacceptable for a white person, then this is a backward double standard. If the sensitive status of the word is to be protected, it should only be used in clear and appropriate context i.e. when discussing/reciting/rapping along to hip hop music. If a white rapper is bold enough to use the word in their songs, with clear justification behind it, I also think this should be celebrated rather than provoking horror.

Yelawolf disagrees, suggesting that white people do not use 'nigga' in respect of black and hip hop culture. Though I agree that 'white boys' should not be using the term lightly, it is not entirely clear that the culture of hip hop has full respect for white culture. The word 'cracker' is abound in many rap songs, as well as many other derogatory terms for white people. Though the word are nowhere near as offensive or as culturally sensitive as 'nigger', respect works both ways. In addition, melanin challenged rappers such as Pitbull and Fat Joe are allowed to use 'nigga' freely without censure, as are all Latino rappers. 


In conclusion, then, I feel that Gwyneth Paltrow should have felt no compunction in using the word 'nigga' in the clear and appropriate context she found herself in. Furthermore, black/hip hop communities that find it permissible to sprinkle the word in everyday conversation, then claim 'ownership' when outsiders try to use it are being incredibly hypocritical. Either we all have access to the word or, as I would suggest, it should only be used within the boundaries of hip hop music.

J Cole - Cole World: The Sideline Story

2011 has been a year of frustrating, heavily delayed albums from hip hop's biggest stars. Game and Lil Wayne finally managed to release their respective projects over a year after the initial date was announced, while artists such as 50 Cent, Busta Rhymes and, of course, Dr Dre continue to promise albums that never materialise. Into this group can be thrown North Carolina native J Cole. Since becoming the first artist to be signed to Jay Z's Roc Nation label in 2009, Cole has been steadily releasing critically acclaimed mixtapes, particularly his hugely successful Friday Night Lights project, pitching the hip hop world into a frenzy over his oft delayed debut album. Well, that album is finally here, subject to the obligatory early leak and ludicrously titled Cole World: The Sideline Story. Can he deal with the sky high expectations, or does hip hop's saviour buckle under the pressure?

The first notable feature of the album is the lack of guest appearances. In 19 tracks there are only space for 4 other artists; the prerequisite Jay Z and Drake verses, a Trey Songz hook and a welcome, if unexpected, return from Missy Elliot. Coupled with the fact that Cole produces all but 4 tracks, the project has a unique single focus not often found in big budget rap releases. This singularity of vision, however, is both a gift and a curse. The lack of variance in the production gives the LP a consistent feel, but at the same time many tracks are barely distinguishable from one another. Tracks such as 'Dollar and a Dream III', 'Sideline Story' and 'God's Gift' have both similar themes and laid back instrumentals as Cole discusses his troubles in reaching this stage of his career. This is not to say these songs are necessarily bad, they are simply not different enough to all be included on the album ('Sideline Story' is my personal favourite of the three).

That criticism aside, some songs on the album are truly outstanding, fully justifying the hype weighing the rapper down. 'Lost Ones' is a sensitive back and forth between a newly pregnant woman and the father trying to convince her to have an abortion. The track is infused with the thoughtful substance sorely lacking in mainstream hip hop. More introspection can be found on 'Breakdown', where Cole discusses his relationship with his absent father with searing honesty, admitting that he hates him and at the same time cannot live without him.
On a lighter note, tracks such as 'Mr Nice Watch' see the rapper hold his own against his mentor, Jay Z, over an electronic influenced beat. Neither contribution is likely to set the world alight, but the track provides a nice change of pace for the album. In a similar vein, 'Who Dat' is an under appreciated bonus cut, the single failing to make an impact on the charts when released over a year ago. There are also numerous contributions for the female fan base, the single 'Work Out' finding Cole spitting over a funky Kanye West sampled beat while 'In the Morning' is a dirty slow jam featuring the usual tepid contribution from Drake.

Track by Track:
1. Intro
2. Dollar & A Dream III (6/10)
3. Can't Get Enough f/ Trey Songz (7/10)
4. Lights Please (7/10)
5. Interlude
6. Sideline Story (7/10)
7. Mr. Nice Watch f/ Jay-Z (7/10)
8. Cole World (7/10)
9. In the Morning f/ Drake (7/10)
10. Lost Ones (9/10)
11. Nobody's Perfect f/ Missy Elliott (7/10)
12. Never Told (6/10)
13. Rise & Shine (6/10)
14. God's Gift (7/10)
15. Breakdown (9/10)
16. Work Out (7/10)
17. Nothing Lasts Forever (Bonus) (6/10)
18. Who Dat (Bonus) (8/10)
19. Daddy's Little Girl (Bonus) (7/10)

The Verdict:

Not the classic that many were anticipating, but J Cole copes well with the expectation thrust upon him. As with many long albums, the track list could do with some fat trimming, but if Cole can continue to produce music to the standard of 'Lost Ones' or 'Breakdown', hip hop could yet have a new saviour.

7/10

White Noise

Since Eminem took over the world in the late 90's, there have been very few challengers to his crown of the premier white rapper in the game. After a lean spell of nearly a decade, the last few years have seen a surge of new talent. Here is my roundup of 5 of the new generation of white rappers.

5. Asher Roth

In early 2009, Roth had the world at his feet. He had a strong buzz following his DJ Drama and Don Cannon assisted mixtapes, the Philadelphia rapper taking a hold on the public with his refreshing take on hip hop. In addition, he was featured on that year's XXL Freshman List, along with noted artists B.O.B and Wale. His remix of 'A Milli' satirised the stale, tired conventions of mainstream rap, revealing a new witty, conscious voice. On April 20th his debut album Asleep in the Bread Aisle was released, fueled by the massive hit 'I Love College'. The project, however, was a disappointment from start to finish. Instead of providing the expected album filled with intelligent observation and laid back wordplay, Roth focused on rapping about weed with lazy punchlines, which was hardly an innovative concept. As a result, the album achieved respectable sales of over 150,000, but as it was on a major label the LP was considered a flop.
A slew of mixtapes followed, including a notable collaboration with Nottz on the Rawth EP. His second album has been plagued with delays and pushed back, undergoing a name change to Is This Too Orange? The release date is uncertain. Asher Roth is at a difficult stage in his career, desperately needing a hit single to revive his flagging mainstream status. A listen to his early material shows he has the potential for greatness, so it may not be time to write him off just yet.

4. Kreayshawn

On May 16th 2011, Columbia records announced they had signed an unknown young white female rapper. The deal was rumoured to be worth a million dollars, propelled by the single 'Gucci Gucci', a youtube video that received nearly 3 million hits in 3 weeks. After being propelled into the mainstream, Kreayshawn was immediately embroiled in controversy. As part of three woman team The White Girl Mob, the rapper has been forced to defend accusations of racism. V-Nasty, another member of the group is brazen about her use of 'Nigga' in her music, causing a storm of criticism in rap circles. Fellow Bay Are MC Mistah F.A.B has come out in their defence, alleging that times have changed and the black community is perhaps being a little hypocritical. Another controversial incident occurred at the VMA awards, as the respective entourages of Kreayshawn and Rick Ross were involved in an altercation. The two rappers subsequently taunted one another through news outlets and radio interviews before calling an uneasy truce. In addition, nude photos were leaked after the female MC's twitter was hacked. Currently, Kreayshawn is more widely known for her various indiscretions than actual musical output. It remains to be seen whether she is worth the hype.

3. Yelawolf

In 2011, Yelawolf was one of the 11 new MC's featured on the XXL Freshman List. The achievement capped off a stratospheric year for the Alabama MC. After being released from Columbia in 2007, Yela was picked up by Eminem's Shady Records. His first major label release came in November 2010, the retail mixtape Trunk Musik. The project achieved minor success with the youtube hit 'Pop Tha Trunk', a sinister, violent crawl through the backwaters of Alabama. In March 2011, Yelawolf received his second XXL cover, featuring with Eminem and fellow Shady Records Signees Slaughterhouse. The artists collaborated on posse cut '2.0 Boys'. Other notable appearances include 'Worldwide Choppers' on Tech N9ne's All 6's and 7's and 'You Aint No DJ' from Big Boi's critically acclaimed Lucious Leftfoot. Both allowed the MC to demonstrate his signature high pitched quick flow. With an Eminem helmed debut album set to be released in late 2011, the future looks promising for the MC.

2. Macklemore

In  2004, Macklemore released his debut album The Language of My World. After that, he disappeared, a descent into alcoholism and drug abuse to blame. After beating his demons, the Seattle MC came back hard, using his past troubles as the motivation for his new music. 'Otherside' is an emotional discussion of his issues, using the tragic death of Pimp C to hammer home his anti drug message over the Red Hot Chilli Peppers instrumental of the same name. 'Inhale Deep' is in a similar vein, discussing how his addictions almost destroyed his career over a chilled out beat. Single 'Wings' shows how his rhymes are often akin to spoken word poetry, the rapper often alternating his flow. Macklemore has a strong following in his home city, performing at the home opener of the Seattle Mariners baseball team. He also sold out 3 shows at the Seattle Showbox, in addition to headlining his own national tour. The MC is a refreshing antidote to the heavy glamourisation of alcohol and drug use in mainstream hip hop, and with major labels watching closely, he could become a huge new voice of rap.

1. Mac Miller

Miller is from Pittsburgh Pennsylvania, home to the rapidly growing hip hop scene including breakout star Wiz Khalifa, whom Miller considers a close friend. The two MC's shares a similar delivery and the influence of Wiz can be heard in the younger rappers choice of infectious beats. In August 2010, the rapper released his debut mixtape K.I.D.S, followed by his first official single 'Knock Knock' in November of the same year. The song is a mischievous irreverent take on hip hop, sampling Linda Scott's 'I've Told Every Little Star'. Miller has continued to work at a frenetic pace, with two mixtapes brought out this year along with his debut album Blue Slide Park projected to have a late 2011 release. In addition, the rapper was featured on 2011's XXL Freshman List, along with Yelawolf. The MC's biggest hit so far has been the catchy youtube sensation 'Donald Trump', amassing over 20 million hits and prompting even the man himself to comment that he was flattered on his twitter account. As it stands, Miller has a tremendous buzz, but it remains to be seen if his undoubted talent can amass the sales required to propel him into the mainstream.