No Country For Old Men?

On October 5th Xzibit released Napalm, his first album since 2006. The LP is a solid collection, featuring a laid back sound awash with West Coast swagger. The veteran rhymer returned to the formula that made him an important cog in the Loud Records wheel in the early 2000's, making Napalm a welcome addition to X's extensive catalog. It was, however, was a commercial failure, selling just over 3,000 copies in the first week of general release.

Xzibit is not alone in falling victim to the curse of a disappointing comeback. 2012 has been a year of veteran rappers returning to the mic:

Ja Rule Pain Is Love 2 3,000 sold (first week)
Prodigy H.N.I.C 3 4,000 
DMX Undisputed 17,000
Xzibit Napalm 3,000
Total: 27,000

Collectively, the four artists mentioned have sold over 50 million records over the course of their careers. If we estimate the final sales totals to be around 50,000 units, the first week sales of the new albums represent around 0.1% of the total albums the rappers have pushed in their entire careers. Part of the reason for this could be poor critical reception, as was the case with H.N.I.C 3 and Undisputed as it was generally accepted that the two rappers in question had lost a lot of ground in their separate prison bids The respective efforts of Ja Rule and Xzibit, however, were mainly seen in a positive light, resulting in mystifyingly low sales. It appears that in the extended hiatus, listeners simply forgot their former idols. There were 8 years between Ja's R.U.L.E and PIL2, while there were 6 between X's Full Circle (itself a commercial failure) and Napalm.

On the other side of the coin is Nas. The thinking man's favourite released Life is Good in July after 4 absent years, achieving 150,000 first week sales and being hailed as one of the best albums of the year by critics. This proves that there is still an appetite for old school hip hop from the late 90's golden era  (if you allow the discussed artists under those particular terms), but the numbers still reveal a worrying trend. Adding the 300,000 total sales to our 50,000 gives us a healthier looking 350,000, but putting Nas' total of 13 million units onto our 50 million hardly improves the percentages. Even the spectre of illegal downloads struggles to explain such a drastic fall. The hip hop world is in danger of losing the elder statesman that helped establish the mainstream art form.

Taking all this into account, is it any wonder that Dr Dre continually pushes back the now almost mythic Detox?

Putting those concerns aside, this week some rare good news came from the Soundscan totals. Kendrick Lamar has achieved the highest hip hop first week sales of the year with good kid, m.A.A.d city, beating off his competition with an astonishing 242,000. It is also the highest selling debut by a male artist this year. All this was attained without a smash single, instead being a response from a loyal fan base steadily attained through stellar output over the last few years and bolstered by relentless critical praise.

Dr Dre is one of the contributors on good kid. It now seems to be the veteran producer riding on the coat tails of the young gunner. Are we now seeing a power shift?

G.O.O.D. Music - Cruel Summer

Kanye Wests' G.O.O.D. Music label has been steadily gaining momentum over the past few years. Astute signings such as Kid Cudi, Big Sean and Pusha T, as well as forging close relationships with artists as diverse as Common and 2 Chainz has seen the Def Jam subsidiary appeal to a broad audience, chiefly through the 'G.O.O.D. Friday' scheme, a constant flow of new music that has effectively maintained the attention of fans. Though originally scheduled for a Spring 2012 release, West has just about managed to prevent his album title becoming redundant by releasing Cruel Summer just before the official close of the season.

Album opener 'To The World' is a bombastic, auto-tuned tour de force, R Kelly dominating the song as he screeches through a fantastically overwrought chorus, Kanye hardly needed as he offers a token verse towards the conclusion of the track. The collection kicks into gear properly on 'Clique', Jay Z dropping by to assist his protege with mature, sophisticated rhymes. Kanye strikes the characteristically confident pose that will carry him throughout the rest of the album, boldly proclaiming divine help for the second time in only two songs. The only negative is in the weak Big Sean-provided hook, his voice failing to command the beat in the same way as his two more experienced collaborators.

Perhaps unwisely, the same artist is immediately back in the fray, given the task of kicking off lead single 'Mercy'. Kanye is on top production form, the unsettling, ice cool beat overwhelming Sean as he spits some poorly thought out, corny punchlines. The track is saved by some intense work from Pusha T and finished off expertly by the charismatic 2 Chainz. The two rappers have received a similar career boost in aligning themselves with G.O.O.D. and both are utilised well in posse cut 'The Morning'. Enlisting Raekwon proves to be a masterstroke, his cinematic montage complemented with shorter, sharp vignettes from the other features, Cyhi The Prynce attempting to rectify his status as the forgotten man of the label with an entertaining appearance.

Second single 'Cold' becomes the crux on which the listener will decide how to respond to the album. West has always been known for his gargantuan ego, his meteoric career rise accompanied by an inflated sense of self worth he does little to hide. The song features a chorus jabbing at Kris Humphries:
"Want to talk about clothes I motherfuckin' embarrass you/ Want to talk about hoes I motherfuckin' embarrass you..." along with suggesting he will get "Jay to drop him from the team" (unlikely as Jay Z owns less than 1% of New York Nets). Catchy, offensive and braggadocios, the track encapsulates the best and worse of Kanye West. The listener can either accept it or deride the flamboyant eccentricities of a flawed genius.

Taking a break from West, the album then moves into smoother R&B territory. The Dream croons over relaxing production as 'Higher' slows the pace. A surprising verse from Mase captures the mood of the track perfectly, the slick, soothing rhymes becoming another entry in the incremental, steady career revival of the former Bad Boy. A triumphant, powerful hook from Marsha Ambrosius lifts 'The One' as Kanye recites his most hilarious lines on the LP:
"Everything around me got me underwhelmed/ Best way to describe my position is at the helm/ Best way to describe my new whip... NYAOOOOOW"

Kid Cudi is mystifyingly absent for much of the album, a tiny appearance on 'The Morning' and a whirling, dervish-like appearance on the 'Mercy' video being his only contributions to the project until the tenth track. His solo spot on 'Creepers', however, is worth waiting for. Evidently still in Wzrd mode, Cudi infuses catchy production with his trademark lonely, spaced out yearnings. John Legend and new signee Teyana Taylor collaborate less successfully on 'Bliss', the track seeming better suited to another collection.
'I Don't Like (Remix)' also seems out of place, a strange decision to use another's work for a figurehead usually noted for his individuality.

Track By Track:

01. Kanye West and R. Kelly - "To the World" (8/10)
02. Kanye West, Jay-Z and Big Sean - "Clique" (8/10)
03. Kanye West, Big Sean, Pusha-T and 2 Chainz - "Mercy" (8/10)
04. Kanye West, Pusha-T - "New God Flow" (8/10)
05. Raekwon, Pusha-T, Common, 2 Chainz, Cyhi the Prynce, Kid Cudi, D'Banj - "The Morning" (8/10)
06. DJ Khaled - "Cold" (8/10)
07. The-Dream, Pusha-T and Ma$e - "Higher" (8/10)
08. John Legend, Travi$ Scott, Teyana Taylor, Cyhi the Prynce and Malik Yusef - "Sin City" (7/10)
09. Kanye West, Big Sean, 2 Chainz and Marsha Ambrosius - "The One" (8/10)
10. Kid Cudi - "Creepers" (9/10)
11. John Legend and Teyana Taylor- "Bliss" (6/10)
12. Kanye West, Chief Keef, Pusha-T, Big Sean and Jadakiss - "Don't Like" (7/10)

The Verdict:

Kanye West has thrown the gaudy excesses of hip hop into sharp relief, embodying the urgent, captivating style that is missing from much of mainstream chart rap music. Much critical response to Cruel Summer will focus on personal opinion of the figure of West, but this would be to miss the point of the LP. At different times raucous, boastful, sophisticated and sultry, Cruel Summer ranks as one of the year's best albums.

8/10

DMX - Undisputed

Few musicians have had a career trajectory quite as extreme as DMX. A string of number one albums in the late 90's (including 2 in the same year) put X at the forefront of mainstream rap, a success story that stretched into the new millennium as the gruff New Yorker amassed over 20 million in sales. In addition to musical success, the rapper also branched out into acting, taking on a variety of well received roles.
Post 2003, however, everything went wrong. Frequent, well publicised legal woes were briefly staved off with 2006's disappointing Year of the Dog... Again, but the familiar personal problems seemingly overwhelmed him as the decade came to a close. Now, fresh from his latest stint in prison, DMX is at risk of being forgotten by the rap world. 6 years after his last album, Undisputed marks a return for one of hip hop's most perplexing, yet enduring figures.

Opener 'What They Don't Know' is an attempt to pick up where Year of the Dog... left off. Enlisting frequent collaborator Swizz Beatz finds the rapper in familiar guttural territory, flanked by the bombastic production Swizz is famed for. Fully embracing the 'if it 'aint broke' mantra, the track comes off sounding like a discarded effort from a previous LP. In trying to recapture the spirit of previous club bangers, however, 'I Don't Dance' is a slightly more successful effort. Obviously gunning for radio play, a surprisingly euro-pop looping beat is used to catch the ear of listeners. While some might find the syrupy backing a little offensive for an MC noted for his violent subject matter, X still manages to infuse the track with his signature menace with some darkly humorous wordplay:
"Y'all niggas whisper X is a crackhead../ Aight then, fuck it, Imma just crack heads!"
MGK is a smart guest addition, matching the veteran in the cartoonish intensity of the club friendly song.

Indeed, Undisputed is most successful when DMX brings his brash, rough edged schizophrenic flow to the fore. 'I'm Back' has infectious horns bouncing across a soulful backing, allowing X to utilise his harsh, barking delivery to its full potential. It is somewhat baffling that the track isn't used to introduce the album, both suiting the overarching theme of the LP and at the same time arguably the strongest offering to be found in the collection. In a similar vein, 'Get Your Money Up' and 'Already' effectively showcase the talents of a man who has been away from the spotlight for too long.

Trash talking and violence are not the only topics on X's mind, however. A large part of the album is devoted to introspection and recrimination over his criminal past. 'I Get Scared' finds the MC exploring a softer side to his public persona, even singing over the chorus while being assisted capably by Adreena Mills. 'Slippin Again' borrows a title from one of his classic tracks, and again features more singing. While this marks a surprising departure from what fans may be used to, the transition is a triumph, especially when combined with thoughtful, attention grabbing lines:
"You think having money is the answer?/ Money aint nothing but another form of cancer."

There are, however, a number of weak moments spread out through the album. The deeply misogynistic 'Sucka For Love' is unpleasant hip hop buffoonery of the highest order, the title misleading in the extreme as X describes his disgust for women who sleep around (presumably it is still perfectly alright for him to do the same). Some tracks, while much less offensive, struggle with either weak production or poor lyrics. While a loose, halting style has always been a hallmark of his flow, at times on the album the rapper seems to have lost confidence in his own ability. Certain songs simply become tiresome, 'Cold World', 'Have You Eva' and 'I Got Your Back' being particularly guilty of this trait.
As described earlier, some simple editing may have made Undisputed a more cohesive listen. Soulful, heartfelt tracks are followed by rambunctious, braggadocios efforts, the album then immediately switching back to another softer side of the rapper. Grouping the different tones together could have made an already confusing character that little bit easier to understand.

Track by Track:

1. Look Without Seein’ (Intro)
2. What They Don't Know (6/10)
3. Cold World (6/10)
4. I Don't Dance (7/10)
5. Sucka For Love (3/10)
6. I Get Scared (7/10)
7. Slippin' Again (8/10)
8. Prayer (Skit) 
9. I'm Back (8/10)
10. Have You Eva (6/10)
11. Get Your Money Up (7/10)
12. Head Up (6/10)
13. Frankenstein (6/10)
14. Ya'll Don't Really Know (7/10)
15. I Got Your Back (5/10)
16. No Love (6/10)
17. Already (7/10)

The Verdict:

The majority of Undisputed showcases an artist that is past his captivating best. While it is to be applauded that a seemingly more mature and focused rapper has returned to the mic, the album struggles at times to remind listeners why the world once fell in love with the Yonkers born MC. A welcome return, then, but one that needs to be built upon if DMX is to retain his spot at the hip hop table.

6/10

2 Chainz - Based On A T.R.U Story

It has been a good year for 2 Chainz. Musically active since the mid 90's, his previous 'Tity Boi' stage name proved to be a hindrance as his Playaz Circle group attained middling success through the early 2000's. A quick change of moniker and Tauheed Epps has suddenly become one of the most prolific featured artists of 2012. Mixtape acclaim has been followed by feverish anticipation for his debut solo album. It's all going so well that, if his frequent boasts are to be believed, Chainz is now charging $100,000 for each guest verse. With the backing of veteran label Def Jam, fans are now able to see for themselves whether Based On A T.R.U Story is able to maintain his stratospheric rise to the top.

Things do not get off to a great start. Album opener 'Yuck' is patchy, with an unpleasant, entirely unnecessary chorus from Lil Wayne. Thankfully, following efforts 'Crack' and 'Dope Peddler' find the Georgia resident in comfortingly familiar territory. The simplistic, bouncy rhyme schemes that have brought Chainz such success are present and correct, with bombastic production from Southside and Bangladesh respectively. 'Money Machine' and 'Wut We Doin' follow the same pattern, not exactly reinventing the wheel but sure to delight fans looking thumping, raucous beats.

Lead single 'No Lie' is next up. The Drake assisted track is well chosen, becoming easily the strongest cut on the project. It is important to note that the song belongs entirely to Drake, bringing the energy and charisma that has been sorely lacking since his mixtape days. 2 Chainz effectively becomes a featured artist on his own song, but it is no less enjoyable because of it. A second high profile guest follows immediately after, Kanye West handling production duties on 'Birthday Song' while also dropping by to spit a verse. The track is fun, if a little repetitive, the two artists failing to recreate the chemistry found on recent collaborations such as 'Mercy'. The slinky 'I'm Different' is perhaps the most ironically titled song in hip hop history, but has catchy, subversive piano keys for the MC to push forward his shit talking agenda.

To his credit, Chainz does risk breaking from the formula that has reaped so many rewards. 'Extremely Blessed' featuring The Dream is a nice change of pace, though including R&B tracks catering for females seems slightly absurd for an album that constantly extols the virtues of strippers and hoes. 'In Town' is similarly relaxing, but the Chris Brown featured 'Countdown' becomes a little turgid.

'I Luve Dem Strippers' is by far the poorest offering on the LP. Derivative to the point of inertia, the repetitive, misogynistic content is hardly enlightened by an irritating verse from Nicki Minaj. Though a more serious approach can be found on 'Ghetto Dreams', there are still some severe limitations on show.  The track is predominantly an examination of the problems facing the poor neighborhoods the rapper grew up in, but he simply cannot resist throwing in some trite rhymes:
"Used to dream about a bigger couch, woke up in a bigger house/ Commas in my bank account/ So much money, I had to let the banker count."
The refusal to take the subject seriously comes off poorly when compared to an earnest Scarface guest spot. The track demonstrates how, by pushing himself out of his comfort zone, Chainz often comes up short.

Track By Track:

01. Yuck! (feat. Lil Wayne) (6/10)
02. Crack (7/10)
03. Dope Peddler (7/10)
04. No Lie (feat. Drake) (8/10)
05. Birthday Song (feat. Kanye West) (7/10)
06. I’m Different (8/10)
07. Extremely Blessed (feat. The-Dream) (7/10)
08. I Luv Dem Strippers (feat. Nicki Minaj) (4/10)
09. Stop Me Now (feat. Dolla Boy) (610)
10. Money Machine (7/10)
11. In Town (feat. Mike Posner) (6/10)
12. Ghetto Dreams (feat. Scarface & John Legend) (6/10)
13. Wut We Doin? (feat. Cap1) (7/10)
14. Countdown (feat. Chris Brown) (5/10)

The Verdict:

2 Chainz isn't going to win any new fans with Based on a T.R.U Story. This is not necessarily a bad thing, the former Playaz Circle member providing a fun, trunk rattling album for the late summer. Though he has charisma in abundance, his limitations as an MC come to the fore a little too often for his solo debut album to be recommended to those who are yet to be convinced.

7/10

Rick Ross - God Forgives, I Don't

There are few more polarising figures in the world of hip hop than Rick Ross. Some see him as a fraudulent, pathological liar occupying a false position at the head of the hip hop table while others admire his quality output, unafraid to praise the self proclaimed 'Bawse' of the rap world. Whichever opinion the listener possesses, it is clear that God Forgives, I Don't is one of the most anticipated rap releases of the year. Delayed from the intended December release date, Ross has kept his fans waiting. Instead, his Maybach Music Group label has released several well received projects, both solo and compilation based. Now it is finally time for the label head to step out on his own, ready to further capitalise on an already successful year.

Opener 'Pirates' finds Rick Ross in subdued, relaxed mode. The topics are the same; drugs, money and women, but the execution is different to previous releases. Rather than the bombastic production favoured in the MMG umbrella releases, Ross chooses to soothe the listener as he waxes lyrical about his luxurious lifestyle. The technique places the Miami native firmly in the tradition of the Mafioso sub genre of rap, a rebuttal to the familiar criticism that Ross profits from the fantasy life imagined in his rhymes. Rozay is showing the listener that he is fully aware he is not what he says he is, rather he is a performer and entertainer first and foremost.
This theme is explored further in the conciliatory 'Ashamed', Cool and Dre providing a soulful backdrop for the MC to explain why he took to selling drugs:
"I needed some change, Momma needed a raise/ She stayed in a rage, hated minimum wage/ I'm feeling the same, all these criminals paid/ Wearing Bally's and gold, I'm selling dope shameless to say."
A critical listener may point out that a rapper that has based an entire career on glorifying drug dealing is coming in a little late apologising on his fifth album, but it is clear from the outset that God Forgives, I Don't is the account of Rick Ross the MC and entertainer, not William Roberts the man. The latest entry in the 'Maybach Music' series of track included on every studio album since Trilla is similarly a triumph, stripping the guest spots and leaving a soulful Neyo hook to lull the listener over signature J.U.S.T.I.C.E League instrumental.

Less successful, however, is the bloated, star studded '3 Kings'. Featuring a Dr Dre verse but not his production proves to be a mistake as the legendary beat maker struggles through his Jay Z ghost written rhymes. Hova himself makes an appearance, sleep walking through his bars and going back on his promise to no longer use the word 'bitch' in his songs. The album picks up on the Andre 3000 featured 'Sixteen'. Lamenting the fact 16 bars is sometimes not enough to express an idea adequately, Ross designates a full 8 minutes to explore his notion. 3000 continues his recent trend of scene stealing guest appearances with a simply astonishing virtuoso demonstration of free association rhyming.

If there is one thing about Rick Ross that is impossible to deny, it is his consistency. The Floridian reverts to type in the middle section of his album, returning to the thumping, trunk rattling beats that characterise the Dirty South. 'Hold Me Back' is catchy, if a little repetitive, while '911' is too lengthy for its threadbare subject matter. 'So Sophisticated', however, places Ross firmly in his comfort zone. Enlisting MMG stalwart Meek Mill, the track is a perfect example of why the group currently occupies such a lofty position in mainstream rap.
The LP soon moves into R&B territory, with mixed results. 'Ice Cold' is lifted above the ordinary by an impassioned hook from a rejuvenated Omarion, but the Usher assisted 'Touch 'N You' is a disaster from start to finish. Uninspired production fails to mask a lamentable chorus, in which the legendary R&B crooner is reduced to whispering "fucking you, fucking you" over and over. Firmly between the two in terms of quality is the curious 'Diced Pineapples'. Wale treats the listener to a spot of spoken word poetry about oral sex before the song begins proper. The track makes utilises the often neglected singing voice of Drake to good effect, but it is hard to find a use for the song outside of the bedroom.

Track by Track:

1. Pray For Us (Intro) 
2. Pirates 7/10
3. 3 Kings feat. Dr. Dre & Jay-Z 6/10
4. Ashamed 7/10
5. Maybach Music IV feat. Ne-Yo 8/10
6. Sixteen feat. André 3000 8/10
7. Amsterdam 6/10
8. Hold Me Back 7/10
9. 911 5/10
10. So Sophisticated feat. Meek Mill 8/10
11. Presidential feat. Elijah Blake 7/10
12. Ice Cold feat. Omarion 8/10
13. Touch ‘N You feat. Usher 4/10
14. Diced Pineapples feat. Wale & Drake 6/10
15. Ten Jesus Pieces feat. Stalley 6/10

The Verdict:

By delving deeper into the mafioso sub genre, Rick Ross has produced arguably the most solid album of his career. Tentative experimentation generally comes off well, without forgetting the foundations that have made him one of the most consistent and popular rappers in the game. Despite the negative opinions that typically colour discussions of his work, the music itself continues to defy his critics. 

7/10

Nas - Life is Good

In August 2011, Nas released 'Nasty' as the lead single for his new project Life Is Good. The track showcased a veteran rapper still hungry to demonstrate his skills; the freewheeling, hook-less virtuoso performance reminding listeners of an artist still desperate to top the classic Illmatic. Then all went quiet. Fans had to wait until the following April for a second single, the rousing, Heavy D produced 'The Don' further whetting appetites for the main event. After numerous well received track leaks, July 17th has rolled around, Life Is Good finally held up to the scrutiny of the hip hop community.

'No Introduction' opens the album, soft piano backing the Justice League produced track. Nas ranges over a variety of topics, cushioning gangsta trash talk between revolutionary plans and reminiscing about meetings with Biggie. The financially draining divorce that thematically shapes much of the LP is lightly brushed upon, revealing the motivation for the album: "I wrote this piece to get closure/ Some of you may know Kelis/ This goes to her with love, also goes to y'all to see/ The craziest things already happened to me/ Either you'll be laughing with me or be laughing at me."

Second track 'Loco-Motive' finds Nas on sparkling, vintage form. The listener is transported back to the grimy 90's, the train wheels providing the backdrop for the Queensbridge native to paint pictures of the dark New York underbelly. On a similar subject, 'A Queens Story' becomes a more personal ode to friends lost since his career blossomed.
Rick Ross drops in on 'Accident Murderers' for the only rap feature on the album. Rozay holds his own impressively against Nasty Nas, the two MC's trading bars menacingly in a musical relationship that seems to be flourishing. The album then changes tone as it moves into 'Daughters', an introspective, meditative discussion of the challenges raising his teenage daughter. The track reveals a matured father figure, a far cry from the occasional misogyny of previous releases.

The Anthony Hamilton assisted 'World's An Addiction' is arguably the best effort on an album filled with highlights. Over Hamilton's haunting hook, Nas documents a world of flagrant excess and damaging addiciton, despairing at the crumbling world he sees around him. The LP then moves into a soulful lull on 'Stay', the MC becoming conversational over the hazy, saxophone driven instrumental. Also included is 'Cherry Wine', a product of an unlikely friendship with Amy Winehouse.

Unfortunately, there is one misstep included in the track listing. 'Summer on Smash' features the schizophrenic, all or nothing approach that characterises the production of the increasingly redundant Swizz Beats. The blatant attempt at radio exposure hinders an album that is otherwise excellent.

Life Is Good ends with the emotional 'Bye Baby', in which the rapper tries to make sense of his failed marriage. Nas' rhymes neatly encompass the variety of emotions synonymous with the break down of an important relationship, bittersweet memories sprinkled over a bed of directionless anger. This provides a suitable ending for an album that features the artist cradling his wife's green wedding dress on the sleeve, the only item left by Kelis after she cleared her belongings from the martial home.

Track by Track:

01. No Introduction (Produced by J.U.S.T.I.C.E. League) 8/10
02. Loco-Motive (Feat. Large Professor) 9/10
03. A Queens Story 9/10
04. Accident Murderers (Feat. Rick Ross) 8/10
05. Daughters 8/10
06. Reach Out (Feat. Mary J. Blige) 8/10
07. World’s An Addiction (Feat. Anthony Hamilton) 9/10
08. Summer On Smash (Feat. Miguel & Swizz Beatz) 6/10
09. You Wouldn’t Understand (Feat. Victoria Monet) 7/10
10. Back When 7/10
11. The Don 8/10
12. Stay 9/10
13. Cherry Wine (Feat. Amy Winehouse) 8/10
14. Bye Baby 9/10

The Verdict:


After a run of consistent, if unspectacular projects, Nas has returned with an album of astounding quality, fully justifying the hype generated over the course of the year. With 10 solo albums under his belt, Nas appears likely to extend his astonishing longevity a little further yet.


9/10

Nas - HMV Picture House, Edinburgh 26/06/12

Stepping onto the stage, hip hop godfather Nas was greeted by the enthusiastic, sweltering crowd packed into the HMV Picture House. Wrapped in a jumper promoting yet unreleased new album Life Is Good, the rapper opened with a raucous rendition of 'Hip Hop Is Dead', the track brought to life by the live band accompanying the MC in an attention grabbing opening gambit. 
"Lets go back to where it all started," he then proclaimed, launching into a medley of tracks from classic debut album Illmatic and tipping the crowd into a frenzy. 'N.Y. State Of Mind', 'Life's a Bitch' and 'It 'Aint Hard To Tell' were all given an airing. Nas is well known and admired for his complex lyricism over a multitude of projects, so it was perhaps inevitable that the MC would fluff his lines at some point. A slippage occurred during 'The World Is Yours', the rapper briefly forgetting his words in a delivery that was otherwise technically flawless.

The song selection ranged widely over Nas' decorated career. Popular singles 'Hate Me Now', 'Get Down' and 'If I Ruled the World' were brought to life with gusto, tracks linking seamlessly in a breathless performance. Guitar and rapper were merged to strong effect on Fox News baiting 'Sly Fox', while the tempo was mercifully slowed by the bluesy 'Bridging the Gap', a collaboration with his father Olu Dara.
The aforementioned forthcoming Life Is Good featured heavily on the set list. The reflective 'Daughters' was contrasted with the freewheeling 'Nasty', in which the rapper demonstrated exactly why he is considered one of the most talented MC's to ever pic up the mic. New single 'The Don' rose the atmosphere to a crescendo, a rousing way to end the show.


75 minutes after he first appeared, the Queensbridge native left the stage. Though there was no encore, the crowd were left satisfied by a breathless, honest performance from a true hip hop legend.
With 6 million dollars worth of backdated taxes to pay, it's fair to say Nas will be doing many more tours and adding to the discography that already stretches into double figures (including collaborative projects, upcoming LP Life Is Good will be his 12th official release) for some time to come. On this evidence, he will always be welcome back.  

Waka Flocka Flame: Triple F Life

In October 2010, Waka Flocka Flame exploded into the Billboard Charts with his debut album Flockaveli. The album was heavily praised for stripping gangsta rap back to it's roots, Lex Luger's hard hitting beats complemented by Flocka's brash, violence soaked simplistic delivery. After an eventful, mixtape filled 2 years, the Riverdale representative returns with his sophomore effort Triple F Life. 


Opener 'Let Dem Guns Blam' sees Waka paired with MMG member Meek Mill. The first few lines of the track give listeners a taste of what to expect:
'I'm too drunk, I'm to high to hear that fuck shit/ Came to the club, yeah I'm on that fuck shit/ Let them things blam/ Let them things blam/ Let them things blam'.
The repetitive, menacing delivery is an example of where the rapper excels, eschewing complex lyricism to batter the listener into submission over loud, compelling instrumentals. This theme is continued with bangers such as ''Cash' and 'Lurkin', featuring Piles. The guest spot proves to be a masterstroke, the raspy Floridian sounding like he's auditioning for a late spot on Flockaveli. 
Also present is a healthy amount of experimentation, Ludacris and Bun B providing a nice change of pace on the Southern soaked 'Candy Paint and Gold Teeth'. Personal travails are revealed on 'Power Of My Pen', a welcome change of subject towards the end of the tracklist.


Unfortunately, the promising tracks are let down by a baffling array of guest stars in the early stages of the LP. Drake just about holds his own over the unusually subdued Lex Luger produced 'Round of Applause', but Waka and Trey Songz are mismatched on 'I Don't Really Care'. 'Get Low' features Nicki Minaj, Tyga and Flo Rida on a syrupy, shameless assault on the singles charts. It is not that the track is particularly unlistenable, but Flocka's legions of fans buy his material precisely to avoid this watered down, radio friendly rap. If this represents a misstep, the B.O.B assisted 'Fist Pump' is simply lamentable, the pop leaning of Bobby Ray proving to be too jarring with the style of Waka's music. It is not until the 3 bonus tracks that Triple F Life fully returns to the formula that made Flockaveli so successful, 'Inky' being the particular highlight.


Important to note is that the Georgian rapper has improved his flow measurably since his debut LP. Often employing double time, a slicker delivery is detectable throughout Triple F Life. Though this is commendable, it is conversely a drawback to the project as a whole. The new rapping style allows him to fit in more comfortably with the more mainstream oriented acts on his guest list, but this in turn reveals a transparent attempt to crossover to a wider audience. Flocka has built a career and garnered acclaim by deliberately ignoring the demands of lyricism in favour of outlandish violence over thumping beats. This heavy metal-like approach is what sets him apart from his peers, and losing this causes the album to struggle at times.      


Track by Track:


1. "Triple F Life Intro" 
2. "Let Dem Guns Blam" feat. Meek Mill (7/10)
3. "Round of Applause" feat. Drake (6/10)
4. "I Don't Really Care" feat. Trey Songz (4/10)
5. "Rooster in My Rari" (5/10)
6. "Get Low" feat. Nicki Minaj, Tyga, & Flo Rida (5/10)
7. "Fist Pump" feat. B.o.B. (4/10)
8. "Candy Paint & Gold Teeth" feat. Bun B & Ludacris (7/10)
9. "Cash" feat. Wooh Da Kid (7/10)
10. "Lurkin'" (8/10)
11. "Clap" (5/10)
12. "U Ain't Bout That Life" feat. Alley Boy & Slim Thug (6/10)
13. "Power of My Pen" (7/10)
14. "Flex" feat. Travis Porter, Slim Dunkin & D-Bo (5/10)
15. "Triple F Outro"
16. "Inky" feat. Slim Dunkin & Wooh Da Kid (7/10)
17. "Chin Up" feat. Slim Dunkin (7/10)
18. "Everything I Love" feat. Future & Trouble (6/10)

The Verdict:

In aiming for mainstream acceptance, Waka Flocka Flame has shot himself in the foot. With an admittedly small, but committed fan base, Waka is risking losing those who put him in his position by dabbling in pop rap. Though some tracks retain his trademark sound, the lukewarm filler may see some listeners lose faith.

6/10 

Homophobia In Hip Hop

Man, cats don't know what it's gonna be/

Fucking with a nigga like me, D-to-the-M-to-the-X/

Last I heard, ya'll niggas was havin sex, with the same sex/

I show no love, to homo thugs/

Empty out, reloaded and throw more slugs/

How you gonna explain fucking a man?/

Even if we squashed the beef, I ain't touching ya hand.

DMX - Where The Hood At (2003)

On May 9th 2012, President Obama confirmed his belief that same sex couples should be able to get married. Though this is seen as a risky political move, Obama has received some unlikely support from Jay Z: 

"I've always thought it as something (the ban on gay marriage) that was still holding the country back. What people do in their own homes is their business and you can choose to love whoever you love. That's their business. It's no different than discriminating against blacks. It's discrimination plain and simple." (Jay Z)

Such a bold statement from a hip hop heavyweight is at odds with a genre of music that has traditionally attacked and avoided homosexual relationships, particularly between men. Wu Tang member Raekwon described his disgust towards gay culture in a 2009 radio interview: 

"My mouth is too small to suck a d*ck," Raekwon added. "How the f*ck do you convert over to do some sh*t like that? How do motherf*ckers get into that sh*t? The males? The females, they gonna do what they do. I ain't gonna front, I can't stand f*cking h*mos. That sh*t is just f*cking disgusting. They can never holla at me. Get the f*ck away from me, immediately."  (Raekwon)

Such views, unfortunately, are prevalent within the hip hop community. The DMX lyrics quoted above were taken from 2003 album Grand Champ, a record that debuted at number one on the Billboard Hot 200, and the song itself was released as a single. Around 2004 Harlem native Cam'ron popularised the phrase 'No Homo' to justify the use of 'suspect' phrases while asserting that the speaker is a heterosexual. Though these events were nearly ten years ago, the attitudes expressed can still be found in much of the fan base of mainstream hip hop. In 2011, XXL Freshman Lil B received death threats when he announced a new LP titled I'm Gay. The record sold terribly, though that could be down to  factors such as the project being available for free for a short while and lukewarm critical response, rather than outright homophobia (Lil B is straight, though has pledged his support for GLAAD).

The picture however, could be slowly changing. Popular figures such as Kanye West have publicly spoken out about their previous homophobia, and how they now accept the gay community. N.O.R.E confirmed in 2009 that he is aware he has worked with gay rappers, and he has no real issue with this, while rappers such as Eminem, Juelz Santana, Game and Tyga have either defended the homosexual community, or apologised for homophobic slurs/musical content.

Perhaps the most heartening response, however, is from rap newcomer A$AP Rocky. Discussing his previous homophobia, he confirmed to Pitchfork that he now has a different outlook: 

"I'm going to be honest with you-- I used to be homophobic, but that's f*cked up. I had to look in the mirror and say, "All the designers I'm wearing are gay." I hear stories about all these industry motherf*ckers who are gay, and I don't know if it's true or not, but that sh*t don't matter. It's so immature." (A$AP Rocky)

A statement like this gives rise to the hope that the new generation of rappers is becoming more tolerant and accepting, something that ideally will be reflected in the new music being produced. It is elder hip hop statesmen such as Jay Z, however, that have a responsibility to lead the way in changing attitudes. His support of Obama's policy is a strong start.

Mixtape Kings

In the late 70's, the mixtape in hip hop was the only way fans could listen to recordings of their favourite artists in the absence of proper records for sale. Before hip hop became officially marketable in the early 80's, DJ's such as Afrikaa Bambaata, Grandmaster Flash and Kool Herc would make recordings of their gigs, then offer them for sale. Tapes could be tailored to individual clients, with many willing to pay premium prices for shout outs. Fast forward to the 90's and the LP had become the dominant form of money making rap recording. The mixtape became a vital medium for new artists to showcase their talent at a reduced price. The tapes often had low production values and a typically featured an extended list of shorter tracks. In addition, DJ's that were supplying the mixtapes had to find new ways to make the form a viable commercial interest to the public. This was achieved by securing exclusive remixes and freestyles over established beats at a time when hip hop was experiencing its golden era (in terms of quality, rather than money making).
The growing influence of the internet changed the distribution of music in all genres, but had a particular impact on hip hop. The distribution of new music became easier, allowing for the rise of 'ringtone rap' with artists such as Soulja Boy and D4L becoming one hit wonders through the strength of youtube views. At the same time, the physical mixtape became less popular as a  way to establish a fan base. Instead, new music was routinely uploaded to sites such as Myspace, allowing MC's to reach a large audience easily and quickly.

The mixtape, however, wasn't dead. Sites such as Datpiff.com sprung up offering regular, new collections of music from established stars and newcomers alike. Owing to the free nature of the product, the downloadable mixtape is now a phenomenally potent marketing tool. Stars such as Wiz Khalifa and Mac Miller have used this medium to build large and loyal fanbases, offering popular mixtapes 'Kush and OJ' and 'Best Day Ever' respectively. Both of these have received well over 500,000 downloads, and translated into impressive album sales (Wiz's Rolling Papers easily achieved Gold certification, while Miller's Blue Slide Park became the first independently distributed debut album since 1995 to top the Billboard 200 in its first week). This success, however, had a sting in the tale. Both albums suffered lukewarm critical reception from reviewers and fans alike, with the common criticism that neither LP's were as good as the mixtapes that preceded them. Taking this into consideration, Wz has subsequently admitted that Rolling Papers was not 'creatively his best work', and promised fans to revert back to his former weed loving persona on new mixtape Taylor Allerdice. At the time of writing the project has accrued over 1.2 million downloads in less than 2 months of availability. It would seem, then, that rappers can struggle to maintain their focus and channel their talent under the pressures of releasing a physical product to sell. This could obviously have implications for future album sales as fans come to realise that the retail release will never measure up to the free collections littering their itunes.

New artists aside, the popularity of free mixtapes has another implication for those already well established at the top of the game. After suffering two seizures in late 2011, Rick Ross postponed the December release of studio album God Forgives, I Don't, feeling he wasn't in a position to promote the LP effectively. Instead, he released Rich Forever, which quickly became one of the most downloaded mixtapes of all time. Tracks clearly intended for GFID can be picked out from Ross' frequent references to the album title in some of his rhymes. The track listing features a litany of hip hop heavyweights guesting alongside Ross, including among others Nas, Diddy, Pharrell, Drake, Kelly Rowland and almost the entire MMG roster. Production is handled in part by familiar names such as Justice League, Lex Luger and Beat Billionaire. The point of this is that by making this project available free, Ross has rewarded loyal fans, but also raised questions about the value of his upcoming studio album. It is difficult to imagine that God Forgives, I Don't won't feature various A List guest rappers assisted by MMG stalwarts, backed by lavish production with Ross waxing lyrical about his luxurious life, selling drugs and generally living out the gangsta fantasy. Which is exactly what we find on Rich Forever. If the physical retail release isn't going to expand on the free mixtape, what motivation do fans have to buy it? This perhaps explains why Rich Forever has well over a million downloads, but Ross has never had an album break 200,000 in sales in a first week performance, or had an LP break the Platinum mark of a million sales.

This is not a problem confined exclusively to Rick Ross. Game has recently brought out a mixtape with over 50 guest spots that has easily eclipsed the first week sales of his last album. Ace Hood, despite accruing more than 250,000 downloads in less than a month of his new Starvation mixtape, has never cracked 30,000 first week sales in three separate studio album releases. My point is that, in moving to free internet distribution, the mixtape is continuing to be a major influence on how hip hop music is distributed, asking profound questions about the future of retail album sales. It may be the case that rappers are being forced to move away from traditional methods of gaining financial reward for their craft, and instead will be relying more and more on live performance, merchandise and royalties.

Nicki Minaj: Pink Friday: Roman Reloaded

Pink Friday: Roman Reloaded marks the second Young Money release of the year, dwarfing the moderately successful Careless World in terms of anticipation. As part of the all-conquering hip hop triumvirate also including Lil Wayne and Drake, Nicki Minaj aims to continue the dominance of the label, capitalising on the exposure her halftime Super Bowl appearance generated in February. Minaj herself has commented that this album provided an opportunity to branch out and diversify from the safe pop formula of her debut LP, utilising the 'Roman Zolanski' alter ego found on some of her most engaging guest appearances (Kanye West's 'Monster' being a particular highlight).

The alter ego concept is used from the very first track. 'Roman Holiday' is quite frankly bizarre, lurching from the sickly sweet, bubblegum chorus to an intense, drum laden beat. This culminates in Minaj singing her own version of 'O Come All Ye Faithful' in a song so strange it just about works. 'Come On A Cone' follows as a less memorable version of its predecessor, carrying on the Zolanski theme with reckless abandon.

Despite the title of the album, after the first two tracks the alter ego is almost dropped entirely. This is not, however, necessarily a bad thing, as Rick Ross and Cam'ron drop by as the first album guests on 'I Am Your Leader'. Minaj leaps back into more settled rhyming territory, Ross providing commanding support. The somewhat surprising addition of Cam'ron turns out to be a bonus, the menacing beat fitting well with his wonderfully weird flow. Ubiquitous man of the moment 2 Chainz is the third guest appearance, lighting up 'Beez In the Trap' over the catchy instrumental.

The undeniable chemistry Nicki shares with Lil Wayne is in evidence on 'Roman Reloaded'. Trading boastful bars, Wayne spits in and out of the beat the way he used to in the golden 12 months before Tha Carter III. Unfortunately, the Young Money label head undoes all his good work by phoning in a verse for 'Sex in the Lounge', a track that is otherwise a strong, sexy R&B offering. Drake pops up on the triumphant 'Champion', along with Young Jeezy and Nas. Though it is refreshing to hear a positive message from Minaj and company, the song never really matches the sum of its parts. It goes without saying that Nas provides the best verse, but it is a chilling glimpse into the future for an MC who has been reduced to this level by his dreadful tax difficulties.

The album abruptly changes tack with new single 'Starships', a catchy dance influenced, euro pop song that is clearly aimed at success overseas, mindful of the fruitful partnership Minaj has engineered with David Guetta and his ilk (thankfully Pitbull and Flo Rida are nowhere to be seen). The next four tracks are virtually interchangeable dance efforts, the best of the bunch probably being 'Automatic'.

Familiar pop territory is returned to for the conclusion of the LP. 'Marilyn Monroe' deals with the pitfalls of fame and jealousy while 'Young Forever' explores a teenage relationship gone sour. The highlight of the section, however, is the Beenie Man assisted 'Gun Shot'. The dancehall tinged pop is complemented perfectly by Minaj doing her best rude boy impersonation, making what could be an odd pairing strangely compelling. The album is rounded off by the regrettable 'Stupid Hoe', an unnecessary Lil Kim diss that already seems outdated.

             
Track by Track:


1. Roman Holiday (7/10)
2. Come On A Cone (6/10)
3. I Am Your Leader (Feat. Cam’ron & Rick Ross) (8/10)
4. Beez In The Trap (Feat. 2 Chainz) (8/10)
5. HOV Lane (7/10)
6. Roman Reloaded (Feat. Lil’ Wayne) (7/10)
7. Champion (Feat. Nas, Drake & Young Jeezy) (6/10)
8. Right By My Side (Feat. Chris Brown) (6/10)
9. Sex In the Lounge (Feat. Lil’ Wayne & Bobby V) (7/10)
10. Starships (7/10)
11. Pound The Alarm (6/10)
12. Whip It (6/10)
13. Automatic (7/10)
14. Beautiful Sinner (7/10)
15. Marilyn Monroe (7/10)
16. Young Forever (6/10)
17. Fire Burns (5/10)
18. Gun Shot (Feat. Beenie Man) (7/10)
19. Stupid Hoe (5/10)


The Verdict:


As ever, Nicki Minaj remains entertaining and listenable. Unfortunately, the album suffers from filler and a lack of focus. At its best, Pink Friday: Roman Reloaded is a lot of fun, but Minaj needs to find a concept and stick with it if she is to avoid another mixed reception for her work.


7/10

Ja Rule: Pain Is Love 2

The original Pain Is Love was released in 2001, debuting at number one on the Billboard Chart. In addition, the album had two number one singles, and was eventually certified 3 times platinum in the US. Over ten years later, an incarcerated Ja Rule releases the sequel, Pain Is Love 2 to minimal fanfare. Having not had a charting album since 2004, it is fair to say that Rule has fallen so far off of the hip hop landscape that he is now practically invisible. Gone are the days where Muder Inc. ruled the charts, singles such as 'Always On Time', 'Between Me And You' and 'Livin' It Up' dominated airwaves both at home and abroad.


Reassessing former glories forms a central theme of the album. On 'Real Life Fantasy', Ja reminisces about his former label mates, lamenting the fact they never kept in touch and exploring his darker moods: 'None of that matters/ When the mirror shatters/ All I see are pieces of me/ Scattered'. Anita Louise provides a radio-friendly hook, representing just one of several singers on the album. 
The track listing features no additional rappers, but several unfamiliar R&B names appear. This can be taken as an indication of how far the stock of Ja Rule has fallen in the hip hop world, but it is not necessarily to the detriment of the album. The lack of rhyming support allows the listener to focus on what Rule has to offer, the relatively short 12 tracks providing a cohesive feel to the LP. The vocal talents assisting the album are admittedly not top quality, but there are some bright spots to be unearthed from the rough. Amina particularly shines on the haunting 'Spun A Web', while Leah Siegal is well suited to the rock stylings of 'Parachute' and 'Pray 4 The Day'.


The aforementioned rock influence works well throughout the album. It is clear that Ja Rule regards himself as akin to a fallen rock idol, alternating between bitterness and quiet acceptance that the musical landscape has changed. The electric guitars driving 'Parachute' suit Rule's signature gravelly voice, while 'Pray 4 The Day' finds the rapper in a reflective mood over softer strings.


For the main part it is clear that Rule understands his former glory has all but dispelled, and with that the nature of his music must adjust is he is to continue recording. A recourse to the old formula is evident, however, on 'Black Vodka'. The sultry track is sure to appease those nostalgic for the smooth R&B hooks that initially propelled the rapper to the forefront of early 2000 era hip hop. The track is a timely reminder that when he is on form, there are few who can produce the rap/R&B hybrid better. The harder edge to his music, reminiscent of the rambunctious Murder Inc. swagger can be found on 'Believe', Ja growling his way menacingly over the fast paced beat.


There are a few notable flaws that bring the quality of the album down, however. If there is an archetypal example of a rapper who shouldn't use auto tune, then it is surely Ja Rule. Unfortunately, he employs this technique liberally on 'Strange Days', the song a struggle from start to finish. A promising instrumental on 'Superstar' is ruined by a lethargic chorus, while 'Drown' has difficulty getting off the ground with a slow, ponderous beat that Ja cannot lift alone. The sagging middle section of the album brings down the quality markedly.


Track By Track

1) Intro “Fuck Fame” ( feat Leah Siegal)
2) Real Life Fantasy ( feat Anita Louise) 8/10
3) Parachute ( feat Leah Siegal) 8/10
4) Super Star 6/10
5) Black Vodka 7/10
6) Drown (feat Somong and Kenny Dark) 6/10
7) Never Had Time (feat John Doe) 6/10
8) Strange days 5/10
9) To The Top ( feat Kalina of Dirty Money) 7/10
10) Pray 4 The Day (feat Leah Siegal) 7/10
11) Believe (bonus) 8/10
12) Spun A Web ( fear Amina) 8/10

The Verdict


This album was never going to be a classic. The composition and recording process were fragmented and subject to various pressures, which shows in the final quality of the finished product. Pain Is Love 2, however, is a refreshingly authentic Ja Rule release, the listener under the impression that only he could have recorded an album such as this. Fans looking for a nostalgia trip will be somewhat satisfied, but may also find something to surprise them.


7/10

Tyga - Careless World: Rise Of The Last King

Perhaps taking advantage of the dearth of big name hip hop releases thus far in 2012, Tyga delivers Careless World as the latest member of YMCMB to go it alone. The album had suffered numerous delays, before the popularity of single 'Rack City' undoubtedly pushed the release date forward. Does Tyga forge his own identity at the helm of a full length album, or does he conform to the increasingly low standards the YMCMB camp has become synonymous with?

The listener may be forgiven for expecting the rest of Careless World to feature the simple lyricism present on 'Rack City'. The track is certainly catchy, a perfect club anthem, but the misogynistic content delivered in a repetitive drone is obviously open to various criticisms. It is surprising, however, to note that Tyga has more in his arsenal. It becomes obvious as the album progresses that Lil Wayne hasn't unearthed the new Nas, but the young rapper proves he can hold his own against more accomplished rhymers such as J Cole, Wale and even Wayne himself.

After uneven opener 'Careless World', things pick up markedly with the Pharrell assisted 'Lil Homie'. The track is a laid back affair, with the Neptunes producer crooning his way through a highly listenable hook. The standard is maintained on 'Muthafucka Up', a dark and dirty beat accentuated by a scene stealing Nicki Minaj. Inevitably, this cannot last. 'Do It All' becomes the album's first misstep, a dull trawl through Tyga's teenage heartbreak. At over 5 minutes long, the track soon becomes stale, outstaying its welcome quickly.

'For The Fame' is an obvious choice for a second single. The song is a perfect example of the pitch perfect pop the Young Money group specialise in , complete with the sticky feeling one receives when they catch themselves enjoying a Chris Brown track. In a similar vein, 'Far Away' has the syrupy chorus required to be a hit, Chris Richardson doing all the legwork to allow Tyga to drawl through his bars. 'Faded' appropriately follows 'Rack City' in the listing as another infectious, sexy track. Unfortunately, Lil Wayne continues his recent trend of spectacularly ruining songs with more lazy, uninspired rhymes.
On a more positive note, 'King and Queens' and 'Let It Show' represent an increasingly grown up approach. The former is an opportunity for Tyga to test himself against MMG flavour of the month Wale and veteran rhymer Nas. Though it seems an odd teaming on paper, the track just about comes off. The latter addresses keeping composure in the face of increasing fame, J Cole providing an accomplished verse.

At 21 tracks, the project unsurprisingly has its fair share of filler. 'Black Crowns' has lavish production, yet never seems to get off the ground. 'Potty Mouth' does not come off as the sum of its parts, Busta Rhymes deploying his rapid fire party trick to subdued effect. A strange dubstep interlude breaks into the 7 minute 'Love Game'. While the experimentation is commendable, the effort really doesn't work in the context of the rest of the album. T Pain is featured in the irrelevant 'Celebration', YMCMB inexplicably keeping the singer in work despite his lamentable recent output.

Track By Track:

1. Careless World (5/10)
2. Lil Homie Feat. Pharrell (7/10)
3. Mutha*****Up Feat. Nicki Minaj (7/10)
4. Echoes Interlude
5. Do it All (5/10)
6. I'm Gone Feat Big Sean (6/10)
7. For The Fame Feat. Chris Brown and Wynter Gordon (7/10)
8. Birdman Interlude
9. Potty Mouth Feat Busta Rhymes (6/10)
10. Faded Feat. Lil' Wayne (7/10)
11. Rack City (7/10)
12. Black Crowns (4/10)
13. Celebrations Feat. T-Pain (5/10)
14. Far Away Feat. Chris Richardson (7/10)
15. Mystic AKA Modo Kara
16. This is like Feat Robin Thicke (6/10)
17. King & Queens Feat. Wale and Nas (7/10)
18. Let it Show Feat. J. Cole (7/10)
19. Love Game (6/10)
20. Lay You Down Feat. Lil' Wayne (6/10)
21. Light Dreams Feat. Marsha Ambrosias (5/10)

The Verdict:

It is fair to say that Careless World is part of the recent movement towards bland, pop oriented hip hop. It is not wholly terrible, however, with some unexpected quality running through selected tracks. Cutting the track list down would have been beneficial, making the album sharper and more cohesive. Tyga isn't going to make a lasting stamp on the hip hop world with this LP, but with YMCMB behind him, is sure to remain popular.


6/10

Rap In Performance

Los Angeles Rapper/Producer Blu was recently confronted by a fan onstage, criticising him for not 'ripping' it right. According to onlookers, Blu seemed dazed and confused, forgetting his lines and slurring his words. Though this can probably be ascribed to alcohol/weed consumption, it is a true fact about hip hop generally that live performances can leave a lot to be desired. Having thought about the reasons for this, I have compiled a list of why rap performances in particular often suffer in comparison to other genres of music.

1. Drug consumption
Though it is true that many other genres of music are strongly intertwined with a culture of alcohol/drugs, hip hop has a particular love affair with marijuana. This has the unfortunate effect of making many rappers relax to the point of a glazed non-performance. When I saw Snoop Dogg at the O2 Academy, the man could hardly move, never mind provide a coherent performance.

2. Arrogance
Returning to the Snoop Dogg debacle, part of the reason for his debilitating drug induced state could be the fact that some rappers have too many unquestioning, adoring fans. Even if he had stood perfectly still and simply hummed some bars from Doggystyle before leaving the stage, I truly believe that 99% of the people in the room would have gone home beside themselves with joy. Adoration seems to have bred laziness in some of the genre's biggest stars.

3. Sound Quality
When a band plays live, each individual instrument contributes to the overall sound quality. A hip hop artist usually has only a DJ to provide the backing track to his rhymes. The various components making up the beat cannot be heard separately, becoming distorted when played at high volume. This means that only the best quality systems are equipped to deal with this problem, often resulting in sub standard sound quality at gigs where the best is unaffordable.

4. Performance
When a band finally reaches a stage, it will usually be the result of hours and hours spent practicing as a unit. This is not true of new MC's. Theoretically, a rapper can record a new song in a studio, have it playing on the radio and be booked to perform within a month. If this is a newcomer, they will have very little experience in terms of performance. Often the MC is onstage alone, with no instrument or prop as a recourse, meaning that even the most seasoned pros struggle to maintain the interest of an audience for the hour or so they perform. This can result in shaky, nervous early performances, leading to criticism in terms of a lack of charisma.

5. Song Length
The vast majority of hip hop tracks contain 3 verses of around 40 seconds in length, and often include a hook to link them together. The problem is that one of the three verses is often taken by a guest rapper (or sometimes more than one of the verses). This means that a rapper can have an incredibly popular record that the audience is expecting to hear, but if it features someone else the length of the song can be seriously curtailed. This was particularly notable when I watched Raekwon at the Liquid Room. Being a member of Wu-Tang, he naturally included their most popular tracks in his set. As Wu-Tang has/had 9 members, it meant the crowd was treated to what amounted to 5 minutes of Raekwon snippets.

Of course, this is not to say that every hip hop performance will be terrible or substandard. KRS One provided me with a wonderful introduction to the world of live hip hop, sustaining a ferocious intensity throughout. Similarly, Public Enemy performed for over 2 hours, the veterans showing how a love for the art can prolong a career for over 20 years. It isn't just the old timers setting the example, however. Wiz Khalifa set down the blueprint for youthful enthusiasm when I saw him in November, restoring hope that the new generation of MC's will eventually be able to perform to the maximum of their potential.