Pick of the XXLFreshman '13 Class

Thank God for the Freshman editions of XXL magazine. The last time I ventured on to Hip Hop DX, the most popular single was a new Tyga track featuring 2Pac. It was so bad that I had to clean my teeth afterwards. Lil Wayne has a new album out. The lead single is charmingly titled 'Rich as Fuck' and it is simply lamentable, as has been virtually all of Wayne's output since   Tha Carter III. Mainstream hip hop is currently in a terrible state, with an ever expanding pool of mediocrity and copy-cat content destroying all semblance of originality.
It is a desperate situation, but then the Freshman awards come and make everything bearable again. Though there are often missteps (Future?), the list always provides a decent selection of new artists to explore. Here are my top 3 picks of this year's contestants:

1. Action Bronson

A New York native of Albanian descent, Action Bronson has been steadily gaining a mixtape buzz over the last few years. His voice and flow is eerily similar to Ghostface Killah, something Bronson both acknowledges and embraces. Scratch below the surface, however, and clear differences can be found between the two artists. Influenced by the fact he is a professional chef, his rhymes frequently feature metaphors and imagery based around food, utilising soulful and melodious instrumentals to lull the eardrums. Conversely  the relaxing backdrop frequently gives way to dark and perverse imagery, a grimy contrast that creates a unique impression on the listener.

With a steady catalogue of releases behind him, it is unlikely that Action Bronson will remain a hidden gem for much longer.

Download: Action Bronson - Blue Chips

2. Angel Haze

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In a hip hop world sorely lacking female talent, Angel Haze stands out as an entirely different proposition to the pop drenched output of Nikki Minaj and her contemporaries. An abusive, extremely religious upbringing gives Haze's music an entirely different perspective, her brutally frank remix of Eminem's 'Cleanin' Out My Closet' being a case in point. Mixtape Reservation showcases a range of styles and subject matter; close introspection often giving way to an unflinching, ferocious flow.
Gracing the XXL cover as the 'People's Choice' Freshman is a timely award, giving the young MC the exposure that she clearly deserves.

Download: Angel Haze - Reservation

3. Joey Bada$$

Acclaimed mixtape 1999 has meant Joey has had a meteoric year. The project is notable for introducing both the confident rhymesmith and his Pro Era rap crew, founder member Capital Steez tragically committing suicide in December 2012. Trading complex, thought provoking bars over intricate instrumentals, 1999 is reminiscent in parts of Illmatic, heady praise for an artist finding his voice in the turbulent arena of modern hip hop. Taking listeners back to the golden era, Bada$$ has stated that his debut album is almost finished for release. With his music picking up critical and commercial attention, Joey is a decent bet to be the most successful of this year's freshmen.

Download: Joey Bada$$ - 1999

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.  

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.

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

My 10 Best Hip Hop Tracks Of 2011

I know this is a bit late but it's still relevant. In no particular order, here is my list of my favourite ten tracks last year:

1. Kendrick Lamar - Ronald Reagan Era 
The standout track of a tough field on Section. 80. Compelling production from RZA is married with razor sharp socio-political rhymes from Lamar.

2. Raekwon feat. Nas - Rich & Black
A scene stealing turn from a rejuvenated Nas places this track above the others on Shaolin vs Wu Tang. The collaboration proved false the notion that the two MC's careers are in terminal decline.

3. Common feat. John Legend - The Believer
A late entry as the album was only released at the end of December. The first track from The Dreamer, The Believer contains a stirring hook from Legend, while Common reminds listeners of the uplifting power of his music.

4. Game feat. Kendrick Lamar - The City
A reminder that when Game is on form, very few can match his intensity or honesty. The R.E.D Album cut also features a memorable cameo from Lamar, subduing the beat into silence as the crown is metaphorically passed on to the West Coast newcomer.

5. J Cole - Lost Ones
Despite Cole World: The Sideline Story being generally disappointing, the project did show glimpses of what made the LP so highly anticipated. Such evidence is found on 'Lost Ones', as Cole explores the ramifications of an unplanned pregnancy from the perspective of both partners.

6. Reks - Wonder Years
Over a haunting beat from Hi-Tek, Reks explores his adolescence and alcoholism, the title of the track becoming ironic as the ferocious rhymes batter it into submission. Rhythmatic Eternal King Supreme was criminally ignored upon it's March release.

7. Mellowhype feat. Tyler, the Creator - F666 The Police
Odd Future members Hodgy Beats and Left Brain re-released their side project BlackenedWhite in 2011. The track features the raucous, dark themes the collective is known for, with a memorable appearance from the characteristically schizophrenic Tyler.

8. Jay Rock - Code Red 
Underrated project Follow Me Home was introduced by the unmistakably West Coast 'Code Red'. Over mournful piano keys, Jay Rock provides rhymes heavily reminiscent of a young Game.

9. Jay Z & Kanye West feat. Frank Ocean - Made in America
Though Watch The Throne was highly disappointing, it did feature standout track 'Made in America'. The Frank Ocean hook complements the deep, introspective subject matter that should have pervaded the whole album.

10. Mobb Deep feat. Nas - Get It Forever
After Prodigy was released from prison, the Queensbridge duo released The Black Cocaine EP to satisfy impatient fans. Undeniable gutter chemistry was achieved on 'Get It Forever', Nas in particular rounding out the year in style.

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

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

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