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.

New Favourite Rapper: 2 Chainz

To call 2 Chainz a newcomer would be incorrect. Formerly known as Tity Boi, a member of moderately successful Disturbing Tha Peace group Playaz Circle, 2 Chainz has begun carving out a promising solo career. Visually striking with his 6'5 frame, long braids and large glasses dominating his face, the Atlanta MC made a memorable appearance on the Uncut BET Cypher.

The dropping of his ridiculous previous alias along with a stream of popular mixtapes has worked miracles on his status in the rap industry. Chainz delivered a somewhat confusing explanation of his decision in a radio interview covered by HipHopDX:

“I’ve been doing a lot of media runs up in New York lately promoting my CD T.R.U. Realigion and every single interview I do they like, ‘What’s up with the name change?’ So this is the universal answer... I go by Tity Boi, let me run this to ya’ll, I’m one half of Playaz Circle. I did a song called ‘Duffle Bag Boyz’ in ’07 with Lil Weezy. I was signed to DTP/Def Jam and all that. And so people ask me where the 2 Chainz came from I tell them I always talk about jewelry and I always been saying 2 Chainz in a lot of my songs. But lately like the last year or so I’ve been saying it in introducing my records like ‘2 Chainz!’ and kinda making it family friendly. However you wanna say it.”


Extracting some sense out of this leads us to conclude that the rapper is still contractually obliged to DTP under his Tity Boi moniker, therefore cannot fully renounce the name until he has fulfilled his obligations. He is not contracted to Def Jam as a solo artist, however, so currently remains independent under his 2 Chainz alias.


After a series of mildly popular mixtapes established Chainz as a rejuvenated voice, the rapper found his first major success with the release of T.R.U REALigion. The tape features newcomers and old faces alike, Big Sean, Meek Mill and Kreayshawn being joined by veterans such as Raekwon, T.I. and Young Jeezy. The free project has amassed over 100,000 downloads on Datpiff.com. 


As a rapper, Chainz relies on effective bass rattling Southern beat selection, similar in mould to fellow ATLiens Jeezy and Yo Gotti. Also shared with them is a penchant for the repetitive hook and simple lyricism, focused on providing something to destroy the sound system rather than deep, meaningful material. This, however, doesn't seem important when listened to in the right context. As he explains himself:


"I'm the new kid at school... The new kid come to the school, know how to dress a little bit, know how to talk a little game... I done been around, but I transferred."


Currently promoting the T.R.U mixtape, 2 Chainz knows there is a lot of work to do before he achieves mainstream success (for example, he does not yet even have his own Wikipedia page). A continued focus, however, will almost certainly guarantee him a fruitful 2012. In an industry that is currently crying out for more substance, 2 Chainz is notable for going against the grain. When the music is this fun, however, it doesn't really seem to matter.


2 Chainz feat. Kreayshawn - Murder
2 Chainz - Undastatement
2 Chainz - Kesha

2 Chainz - Spend it:

2 Chainz - T.R.U. REALigion (mixtape)

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.

Young Jeezy - TM:103 - Hustlerz Ambition

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

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

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

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

Track by Track:

1. Waiting - 7/10

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

3. OJ - 6/10

4. Nothing - 7/10

5. Way Too Gone - 6/10

6. SupaFreak - 8/10

7. All We Do - 4/10

8. Leave You Alone - 7/10

9. Everythang - 7/10

10. Trapped - 7/10

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

12. I Do - 8/10

13. Higher Learning - 5/10

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

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

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

Eminem - Detroit

Lil Wayne - New Orleans

Drake - Toronto 

Rick Ross - Miami
Kanye West - Chicago

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

Wiz Khalifa and Mac Miller - Pittsburgh

Wale - Washington

J Cole - North Carolina

Yelawolf - Alabama

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

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

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

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

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

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

Vado - Slime Flu 2

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

Is Hip Hop Dead?

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

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

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

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

Yelawolf - Radioactive

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


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


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


Track by Track:


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


The Verdict:


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


8/10