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.