Straight up, this Slaughterhouse CD is tough – forget all the poetic ways to say it.   For the moment, set aside all of the antics with Wu Tang that have plagued or helped the group the last few weeks. This debut is tough.   In the 90’s there was a widely used term called “catching wreck.” For those that don’t know, to catch wreck meant you put everything into a particular song or verse.   Joell Ortiz (New York), Crooked I (Long Beach, CA), Royce Da 5′ 9″ (Detroit) and Joe Budden (New Jersey) define catching wreck in the year 2009. As the members of Slaughterhouse, they are probably the most lyrically gifted group to rise to prominence in recent years. Although they walk in tradition, these days Slaughterhouse stands alone in the landscape of Hip-Hop. These rappers banned together to strengthen their base and likely solidified their collective survival.   The larger implications are clear, but looking at this album as a standalone work of art, the Hip-Hop aficionado can feel nothing but joy. “The One” may not be getting the push it deserves due to budget constraints at the label, but the rock-tinged song is truly a commercially viable product that should be getting more airplay. The song is fun, but the album holds far more valuable gems.   The first half of the album consists mostly of lyrical excursions like ” Lyrical Murderers,” “Microphone,” and “Slaughterhouse.” It cannot be said enough times that this albums is for Hip-Hop fans that love lyrics. They are slaying rappers. Period. Crooked I expressed their devotion to the craft on “Microphone. “Like James Brown, I’ma die on the microphone / Too many rappers need to leave this… Mic alone” DJ Khalil produced the frenetic “Cuckoo,” a song where all the group members explain why they are crazy as advertised.” Joe Budden says.   In the center of the album lies “Onslaught 2,” clearly the second single. For a group that’s been pigeonholed as one for the hyper-male demo, the quartet can write a good single. Fat Man Scoop appears on the chorus, but his showing is not irritating or overbearing.   The album darkens rapidly with “Salute Me,” a bluesy joint with a hook sung by Pharoahe Monch. The rappers tell tales wars and the subsequent scars. “I earned every stripe and you know it, now put your hand on your head and push it forward,” commands Joell Ortiz. Crooked expounds, “I been shot, I been stabbed, an imperfect part, like my Grape Street n***as, I gotta purple heart.” “Pray (It’s A Shame)” continues to delve deeper into the reality of the ‘hood with revealing tales of growing up by each emcee. “I’m a product of when my momma gives up,” Royce spews as he and the rest continue to tell depressing, yet amazingly creative stories of how the streets raise the downtrodden and disenfranchised.   Slaughterhouse’s self-titled album ends on a rugged note, “Killas.” Fortunately, Slaughterhouse isn’t quite as reckless as their last song implies. And that’s a good thing. Even though they consistently “catch wreck,” Crooked, Joell, Joe and Royce were mindful that there is an art to crafting albums and this was treated with care. Even the skits add to the ambiance of the songs, not detract as the case with a lot of breaks in the music. There are times when it would have been interesting to see the group members pair up on songs in different ways like they executed on “The One,” but those are small criticisms.   When I first listened to Slaughterhouse’s debut, I thought they held back, because Royce, Crooked, Joell and Joe are all monsters on the mic. And for these sorts of creatures, it is easy to overdo it. But they sought to do more than a bunch of hot 16’s laced together with hooks. With that said, the crew has crafted an album that is clearly intended to appeal to a variety of fans in Hip-Hop – as it should. So, while this album won’t likely appeal to the Soulja Boy crew, they probably could learn a lyrical lesson or two with Slaughterhouse. No shots.  

Tour Log: De La Soul 20th Anniversary Concert Atlanta, 8/7/09 Venue: The Masquerade The secret desire of all Hip-Hop artists is to remain forever young. In an art form centered on youth and freshness, the death knell is when you’re viewed as aged, obsolete. The chase for the fountain of youth can manifest in many ways: ranging from mature musicians conceding to making bubble gum, juvenile music, to men in their late 20s and 30s sagging their pants to their kneecaps.   This is not the dilemma for De La Soul. Rarely, an artist can craft an album that transcends time periods, and forever encapsulates the beauty and power that is music. A clear example is their influential debut 3 Feet High and Rising, which the Long Island trio is celebrating through a nationwide, 20th anniversary tour.   De La hit the stage past the 11 o’clock hour after sufficient performances from local eclectic act Psyche Origami and Little Brother’s Big Pooh (suffering from a severe sore throat). Even though the bill professed to focus on 3 Feet High and Rising, the group obliged to cover tracks from their other celebrated LPs with the full backing of the 10 piece band Rhythm Roots All-Stars.   Already melodic, up-tempo tracks like “Saturday” and “Potholes In My Lawn” became more lush and filled out courtesy of the backing bands strong bass, guitar, and horn instrumentation. This was no easy task, as De La Soul holds the distinction of using more samples that any group in history. To balance out, Maceo helmed the turntables and made sure the original album scratches and other distinct sounds were still present for long time fans.     Their mid 90’s social critiques on Stakes Is High still prove to relevant 13 years later in today’s ever-changing but cyclic Hip-Hop scene. The dangers unimaginative trend-hopping and materialism was addressed on “Itsoweezee (Hot)” and the classic single “Stakes Is High.” The latter samples Ahmad Jamal’s ethereal jazz piece “Swahililand,” and with the live instrumentation, hot crowd, and challenging lyrics, the song morphed into a defiant, blazing assault on all that is wrong with Hip-Hop culture.   When the rhythms of “Buddy” hit, the crowd exploded in instant recognition. While The Jungle Brothers and Q-Tip weren’t present to handle their guest spots, Phife and Jarobi casually appeared on stage to pick up the slack. At first, the crowd appeared dumbfounded before recognizing the extended Native Tongue royalty in front of them. The atmosphere reached an even more fevered pitch when Maceo dropped the beginning bass line for Tribe’s “Buggin’ Out,” causing a near riot.     With their set now extending past 1am, De La took time to remind the younger audience members that rocking a true live show has become a lost art in 2009.   “We didn’t come here to do four songs then bounce to the afterparty,” explained Posdnous. “We’re from the era where you rock on stage for 3 and 4 hours. I can tell some of ya’ll aren’t used to that. If you’re about 35 and older, you know what time it is.”   The DAISY originators finished up as strong as when they came on, hitting off the crowd with a perfect rendition of Run DMC’s “Rock Box,” and their biggest singles in “Ring, Ring, Ring” and “Me, Myself, and I.”   Say No Go (1989)   Next year, De La Soul will enter their 4th decade as Hip-Hop artists. They continue to build their legacy, and be living examples that Hip-Hop doesn’t end past your mid 30s. And even 20 years on from when they surprised the music world with 3 Feet High and Rising, De La Soul remain as one of the best examples of Hip-Hop done in its purest form.

Smiling from Heaven? Welcome back to ChartWatch where we count down the weeks top ten. It looks like it’s going to be another slow week for Hip Hop. Even though Fabolous’ fifth studio album Loso’s Way took the number two spot last week, it drops this week to number thirteen. The Brooklyn MC is replaced by Sugarland’s Live On The Inside. Michael Jackson continues to dominate the world of music and holds the first, third, and fourth spot with Number One’s, The Essential Michael Jackson, and Thriller. Country music group Gloriana enters the charts at number five with their self-titled debut album followed by the latest in the compilation collection, Now 31, and Kings of Leon’s Only By The Night. That brings us to a group that has been able to maintain its sales despite the slow music market. The Black Eyed Peas sell 44,000 units and claim the number eight spot. There must be something about “Boom Boom Pow” because this group has been moving up and down the top ten since their album debut a couple of months ago. Another artist that continues to stay on the charts is Maxwell. The singer moves another 43,000 copies of his latest disc, BLACKsummers’ Night, to take the number nine spot. Rounding out the top ten is American Idol alum Daughtry with his latest effort, Leave This Town. That’s a pretty dismal showing for Hip-Hop but things might be looking up for next week. Dropping This Week Things are looking up because Hip Hop supergroup Slaughterhouse is finally releasing their album. Crooked I, Joe Budden, Royce Da 5’9”, and Joel Ortiz drop their album on the heels of the Budden/Raekwon feud. Granted, at this point it is pretty ridiculous for two grown men to be fighting over a chart printed in Vibe Magazine, but hopefully all the fuss will bring attention to this album and Raekwon’s Only Built for Cuban Linx II. Hopefully it doesn’t overshadow the fact that four critically acclaimed lyricists have gotten together and put out a pretty solid album. If you get a chance pick this one up. Next up, Westcoast rapper Brotha Lynch Hung and C.O.S team up for the third time and release Suspicion Vol. 2. The independent rapper has put out a countless number of albums and mixtapes which has gotten him a pretty strong fan base. If you’re a fan of artists like Tech 9ine (who owns the label Strange Music to which Brotha Lynch Hung recently signed) then you might want to pick up this album. Well that was the amazingly short ChartWatch for this week. Hopefully some good albums will drop next week and more Hip Hop can make it on the top ten.

AllHipHop ChartWatch August 5, 2009 Welcome back to ChartWatch where we show the top ten albums of the previous week and put fans onto new releases in Hip Hop for this week. A lot of big things, some positive and some negative, are going on in Hip Hop right now. First off, Baatin of Slum Village passed away on Saturday. If you haven’t had the chance to listen to the Detroit rap group now is the time to go out and pick up an album and keep the memories of artists like Baatin and J. Dilla alive. Now all that being said there are some positive notes out there in Hip Hop music. Jay-Z and Raekwon released album covers that have people already debating the quality of the music. The debate might be a bit premature (given that we haven’t heard anything) but it does show that a lot of fans have an extreme interest in their new work. Plus, Shyne is supposed to be getting out of jail (although some fans might not think this is positive) and may/may not sign with Jay-Z. We’ll see what Puff says about that. Probably the most positive note this week is that some Hip Hop actually got onto the top 10. Michael Jackson, of course, leads the pack this week. He has three albums in the top ten starting off with Number One’s selling 112,000 copies this week. The Essential Michael Jackson and Thriller hold the third and fourth spot selling 69,000 and 61,000 copies respectively. That brings us to the newest entry to the charts. Fabolous sells an impressive 97,000 copies of his fifth studio album Loso’s Way and debuts in the top ten at number two. Hopefully the Brooklyn MC will be able to maintain sales into next week. American idol alum Daughtry holds the number five spot with his latest album Leave This Town. Slipping a couple of spots but still selling 54,000 copies, Maxwell’s BLACKsummer’snight, holds the number six spot. The comeback album has been performing strong for the last few weeks paving the way for the next two instalments in the trilogy, blackSUMMERS’night and blacksummers’NIGHT. Maxwell fans have a good couple of years ahead of them. The chronicle of pop music, Now 31, is at number seven followed by the Hip Pop group The Black Eyed Peas. The group’s fifth studio album comes in at number eight on the charts this week. I’ll give props where they are due. In a time of receding album sales The Black Eyed Peas are slowly climbing up the charts. The Kings of Leon’s, Only By The Night and The Hannah Montana 3 soundtrack round out the charts holding the ninth and tenth spots. DROPPING THIS WEEK Not too many albums coming out in the new releases section so I’ll keep it short. We’ll start off with Amanda Blank. She is a singer/rapper that is in the same vein as artists like M.I.A and Santogold. I find with artist like these fans either hate them or love them. Her album is going for $8 on itunes so you may want to go over there and check her out. Next up we have the artist responsible for “She’s Fine (Halle Berry)”, “Walk That Walk”, and “Ice Cream Paint Job”. Dallas artist Dorrough releases his latest album Dorrough Music. Some of you like him…some of you don’t. Regardless, his album comes out now so if you’re a fan go out and get it. Last but not least, Brooklyn MC Poison Pen returns with his latest studio album, The Money Shot. The new album features artists like Immortal Technique, M.O.P, Silkk The Shocker, and Gillie Da Kid. If you’re a fan of east coast Hip Hop then you may want to give this one a listen. See, what’d I tell you? Short and to the point. That’s the ChartWatch for the week. Hit a store and pick up an album.

Today’s video battle pits two newcomers against the undisputed king of Hip-Hop videos. Not that Busta Rhymes has released the most videos in the game. But his clips are consistently visually groundbreaking and captivating. So let’s see how his latest joint holds up against freshmen Big Sean and Kid Cudi.   BUSTA RHYMES – “MAKE THE WORLD GO ROUND” feat. ESTELLE   For the video to his fourth single off of Back On My B.S., Bussa Buss tapped filmmaker Jason Goldwatch, whose past video credits includes work with a variety of artists from 88-Keys to Young Jeezy. For “Make The World Go Round” the two created an interesting landscape of foreign magazine pages that provides as futuristic a look for the clip as the Jelly Roll-produced track it represents. You find Busta and Estelle dancing and having a genuinely good time across several layouts, as the song’s lyrics pop up in English and Japanese, Russian, and Portuguese alternatively. The cool aspect works so long as you don’t know what the foreign writing says. However, if you do happen to speak either of these languages, you’ll find yourself looking for errors in spelling, grammar and translation instead… and most likely find them.   video platform video management video solutions free video player   BIG SEAN – “GETCHA SOME”   Def Jam artist/Kanye protégé Big Sean brought Hype Williams fish lens out of retirement to bring this older mixtape cut back to life. The clip offers a pretty dope combination of hand-drawn animation – sorta like what Kanye brought us with the “Good Life” video – and some of the visual techniques that made Hype THE go-to Hip-Hop video guy in the late 90s. The result fits the song perfectly, especially once you get past Sean’s “this is my first video” eyes. You can almost tell the parts of the clip when the artist was most comfortable: the shopping scenes, which is very fitting, considering the song is an ode to Big Sean’s fashion addiction. Add in the Kanye West cameo and the bright 80s-inspired color scheme, balances by some more subdued tones in the animation, and you have almost exactly what you would have pictured this song to look like, if you’re one of those “seeing sounds” types.   video platform video management video solutions free video player   KID CUDI – “MAKE HER SAY” feat KANYE WEST & COMMON   We brought in a slightly older contender to challenge this battle for eclectic visual supremacy. Kid Cudi’s approach to the “Make Her Say” video is a little different then our first two contenders in that it is one of those videos that does its best not to distract the viewer from the song itself. It’s an exercise in minimalism: subdued stark lighting, dull colors, and no plot to speak of really. Cudi’s clip also stands out in that he took it out of the studio. Shot in New York and LA, the video cleverly hides the fact that he and his fellow G.O.O.D. Musicians each filmed their scenes separately. Director Nez Khammal managed to find locations in NY that would aesthetically match the L.A. poolside look he captured with Kanye to create a video that isn’t lost to the landscape of either city. With the split screen, upside down shots, and random artsy positioning of the one video chick, “Make Her Say” almost looks like a clever short-film inspired by the song.   video platform video management video solutions free video player   VOTE ON THE WINNER!   DiscussionsView Results  

Welcome back to Chartwatch where we look at the top 10 for the week and showcase a few new Hip Hop albums. Not too much is going on in the world of Hip-Hop this week. Flip through the reviews section and you’ll see that someone has actually heard Only Built for Cuban Linx II so we now have proof the album actually exist. Hopefully it will be released soon. That and the Slaughterhouse album should hold me over until Jay drops a new one. I know I said that The Game and Jay are going to have a lukewarm feud but apparently it might heat up. I like them both so it should make for a few good songs.   If you have been reading the charts for the last few weeks then you are probably familiar with Michael Jackson’s dominance in the top ten. Now, the Billboard charts do not include Jackson’s recent sales boost because for some reason there is a rule that albums older than two years don’t make the charts no matter what they sale. Well we include the actual sales here so don’t be confused if you see it different.   Jackson holds the first, fifth, and sixth spots with Number Ones, Thriller, and The Essential Michael Jackson.   All the parents can chime in on this next one. Who is Demi Lovato? She’s on Disney and has the number two album in the country, Here We Go Again. Is Disney growing these pop kids in a lab somewhere? This chick has two albums and this is the first I ever heard of her. I’ll just blame it on your kids and say, once again, they have to listen to something.   American Idol alum, Daughtry, follows the tween princess with his album Leave This Town at number three.   Maxwell grabs the number four spot with BLACKsummer’s night. His fourth studio album continues to hold on to the charts moving an impressive 75,000 copies over the week.   The Now compilation stays at the number seven with the newest installment Now 31. That is followed by the other Disney star, Hannah Montana. The Hannah Montana 3 soundtrack comes in at number eight.   I haven’t been too kind to this group over the past couple of months but despite my opinion they continue to sell. The Black Eyed Peas sell 53,000 copies of their latest studio album, The E.N.D, moving them up one spot to number nine.   Rounding out the top ten is another American Idol alum. The winner of the sixth season, Jordin Sparks, releases her second album, Battlefield, and claims the number ten spot.   That means Hip Hop is being represented in the top ten this week by The Black Eyed Peas. Well….wow. Let’s keep going until we get something else.   Eminem’s Relapse jumps up a spot to number 18 selling 25,000 copies over the week.   Twista was in “Dropping this Week” a couple of weeks ago and now holds spot 32, moving 16,000 copies of his new album Category F5.   Out of the top fifty albums in the country, 3 of them are Hip Hop. And out of those 3, one of them…is The Black Eyed Peas. Let’s move on to dropping this week.   Dropping This Week   This week we have a few “best of” albums so let’s#### them first. They are reissuing The Best of Busta Rhymes so if you don’t have a lot of his albums give this one a shot. It starts off with his Leaders of the New School days up to…Extinction Level Event (E.L.E)?!? Dudes had like five albums since then. I know it’s a reissue but come on. You know, even though this compilation cost six dollars it would probably be better to just go buy a couple of Busta albums (start with Extinction Level Event).   The next album in the reissue compilations category is by MC Lyte. The Very Best of MC Lyte has some of her greatest hits except….”Lyte As A Rock”?!? What is going on with the compilations? Granted this is not as bad as the Busta collection so if you’re a fan (or just not familiar with one of the original great female MC’s) then pick this one up.   Now the first up this week in the new releases is none other than Fabolous. The Brooklyn MC releases his studio album Loso’s Way. The album, themed after the 1993 crime drama Carlito’s Way, features Jeremih, Keri Hilson, The Dream, Lil Wayne, Ne-Yo, Trey Songz, Ryan Leslie, and Marsha Ambrosius. That’s a lot of R&B artist for a rap cd but he’s had some good songs with Ne-Yo so maybe he found his formula. There is also a deluxe version of the album that comes out the same day with an attached DVD.   Next up, Los Angeles based independent label Stones Throw Records releases another one from Dudley Perkins. His fourth album Holy Smokes drops this week and if you like the independent sound coming out of Los Angeles then it is a must have. If you haven’t heard some of Dudley Perkins earlier works then just know that he has done a lot of work with producer and labelmate, Madlib. (Plus, his new album has one of those interesting artistic covers that I like so much.).   Staying in the vein of independent westcoast MC’s the next album is from Long Beach rapper Sareem Poems. Black and Read All Over features Georgia Anne Muldrow, Pigeon John, Akil of J5, Othello, Ragen Fykes, Propaganda, Stro, and Ohmega Watts. Now, I’ll be honest and say I have no idea who most of those guests are but I heard parts of the album and it sounds pretty good. If anyone is up on Sareem then let the rest of us know.   Now it’s time to test your memory! Remember J-Kwon? Anyone? Given Hip Hop’s short term memory staying out of the game for […]

This week, Def Jam Recording Artist Fabolous held a listening session / movie premiere at an undisclosed location in Manhattan. Media, Executives, Producers and fans alike, packed into the venue to take a glimpse at his fifth studio album, “Loso’s Way”. Due to an early partial leak of the album (let’s get this corrected, please), a majority of the attendee’s sung along with the metaphorically gifted wordsmith’s technical delivery from track to track. The lead single to ‘Throw it in the Bag’ featuring The Dream, lifted a few swaying champagne glasses to the ceiling. But if you know Fabolous’ track record, the singles are just the ice breaker to the main event. Songs like ‘Lullaby’ produced by The Alchemist (with scratches by Just Blaze) had necks spinning clear off shoulders; the remix to ‘Money Goes, Honey Stay” featuring Jay-Z showed that Brooklyn was in the house in a major way; and one of Fab’s favorites ‘Pachanga’ produced by Sid V for “Duo Live” was Street Fam tested, and audience approved. Loso then gave the crowd an exclusive (remember those?). He premiered the video for his next single ‘Everything, Everyday, Everywhere’ featuring the lovely (add more adjectives here) Keri Hilson and the nerdy dude that come to find out was actually you in high school, Ryan Leslie. As for the movie premiere of “Loso’s Way”, I could give you one guess about the story’s plot. Yes, you’ve got. It’s a story about a young man and his entourage – a story about an emcee that becomes a huge star – a story about leaving the game behind, yet can’t seem to shake it off. “Loso’s Way” is about an emcee, playing the role of an emcee. I will not say that Fabolous played himself; I’ll save that for the ‘Comment Section’. For the most part, there wasn’t much to take away from the film. Styles P basically stole the show playing the role of Loso’s lyrical nemesis. The crowd laughed at DJ Clue before he opened his mouth as the radio disc jockey that documented Loso’s musical career. The movie was 20 minutes long at the most. One of the attendee’s (Alamaj) asked Fab where the rest of the movie was at. And Fab just answered if the money that is offered to him is right, he’ll complete it. Otherwise, he’ll continue the movie with his next album release. Hopefully in the sequel he becomes a doctor or an engineer. Loso’s Way Tracklisting 1. “The Way “Intro”   2. “My Time” (Feat. Jeremih) 3. “Imma Do It” (Feat. Kobe) 4. “Feel Like I’m Back 5. “Everything, Everyday, Everywhere” (Feat.Keri Hilson) 6. “Throw It in the Bag” Throw It in the Bag” (Feat. The-Dream) 7. “Money Goes, Honey Stay (When the Money Goes Remix)” (Feat. Jay-Z) 8. “Salute” (Feat. Lil Wayne) 9. “There He Go” Paul Cain, Red Cafe & Freck Billionaire) 10. “The Fabolous Life” (Feat. Ryan Leslie) 11. “Makin’ Love” (Feat. Ne-Yo) 12. “Last Time” (Feat. Trey Songz) 13. “Pachanga”   14. “Lullaby” 15. “Stay” (Feat. Marsha Ambrosius) 16. “I Miss My Love”   Will “Deshair™” Foskey is a social journalist/blogger, with New Jersey as his home state and AllHipHop.com as one of his many passions. His most recent project, HYPERLINK “http://www.TheRacetoNowhere.blogspot.com” www.TheRacetoNowhere.blogspot.com has launched to rave reviews, early Summer ’09.

“The emphasis is now on the DJ and his performance as the leader of the dance,” Tony McGuinness, contemplative Trance DJ-turned-scratchonomic-seigneur acknowledges in the chapter, “The Influence of the DJ” of On The Record. “This is an idea that goes back to prehistoric times; there’s always been a figure in society who leads a mass dance. For me now, it has become much more of a performance.”Since Hip-Hop’s birth over thirty years ago, the role of the DJ has transcended that distinction: Today’s DJ is no longer the leader of the dance, but the dance itself. If he does not play right logarithm of records—including the necessary blending, scratching, and microphone interjections to go with it—the sacred life of the party is lost.According to writers Luke Crissell and Phil White, who have shared leaf in the ultra hip mag Nylon and both boast major bylines galore, and Phil White, founder of the Scratch DJ Academy, the ability to DJ is a dexterous but teachable art. Yet, as On The Record so clearly stresses, it is an art that requires an appreciative awareness of the cultural movements that define it in addition to the actual practice of the craft. And that awareness gives DJing its holism, which today’s top DJs like Craze, Sasha, Yoda, AM, and others elaborate on through various advice, lessons, and reflections, prepping aspiring DJ’s just as much for life away from the turntables as on them.As in the book The Art of Emceeing, in which Dead Prez’s Stic.Man divulges the step-by-step mechanic of rapping, On the Record breaks down the ones and twos of disc jockeying. “There are so many different options for DJs these days—they use vinyl, Serato, Ableton, CD decks,” DJ Yoda comments on the revolutionizing of DJ equipment in the chapter “DJ 101,” “But I think that it’s important to get used to working with vinyl first. It’s crucial to have that basis, because the new technology just emulates two turntables and a mixer.” The chapter goes on to break down the art of scratching, beat matching, fading, and building a set.Sure, DJing is a skill that does not need a manual as much as it needs lived experience, but the folks at The Stratch DJ Academy remind us that there is unspeakable value in the written experience of world-renowned DJ’s. In that sense, On The Record is not an alternative way of learning to DJ, but a companion to the very process itself.

“A Toast To The Best To Ever Do It” –Lyric on final track of Only Built For Cuban Linx 2. Our friends over at the Hip-Hop Chronicle  had the pleasure of being the only blogger/journalist/anyone who has had a chance to listen to the much anticipated Only Built For Cuban Linx 2. Every since speaking with Raekwon the last time he was in town, I’ve been very excited to hear this project and honestly, it doesn’t disappoint. Below are just some of my thoughts. At this stage, I don’t have titles for the tracks but do have most of the features and production credits. Hope you enjoy it… The album starts with a skit. The beat is soulful, very smooth. A voice that begins to speak. Its Papa Wu and he’s speaking to the rapper. “Yo Rae, that you baby, heard all these things about you … we went through so many trials and tribulation, watch the people that cheat you”. Not only is Papa Wu dropping knowledge, but he reminds the listener just how far the rapper from Staten has come. Already from the sound of the track and the opening skit, it sets up a mature album without the raw, gritty sound we are familiar with on Only Built For Cuban Linx. Rae has gone through so much and hes taken it in his stride. Track 1 starts off with the classic Shaolin fighting sounds. I think to myself, this is a RZA beat. As the upbeat track is in full flow, I’m still thinking this is a RZA beat. I’m completely wrong, its actually a J-Dilla beat. Already bopping my head, Rae fires some dope rhymes and some swagger “I’ve always been an ill dude”. Ghostface then rolls through and adds some style. Method Man is also featured on this joint. This is the album version, but the single version which will drop next week will have GZA on the hook. Its called “Flying Daggers” Pete Rock produced Track 2, a street and grimey track. Its a street tale and its vintage Raekwon. He’s looking to make that paper. One line he raps “I haven’t got my money yet” Track 3 on the album features Erick Sermon. It has good chemistry. This is followed by what I’m guessing will be called “Its Cold Outside” or Track 4. It has the hook from the classic “Rainy Days’” “Its cold outside” but essentially the track is about Raekwon and everything he’s faced from his street life, his music right through to the present. It also features Ghostface. Track 6 on the album is produced by the legendary RZA with a rich sounding record. “That black Mozart s**t right here”, that’s a lyric that sums up the track. This is followed by a skit (7)with Raekwon flossing. “yo where them Levi’s at.” He picks out some Gucci. Then the album goes into some vintage Raekwon and Ghostface. The chemistry is still there, they compliment each other very well. It has an old school feel to it. This is followed by “Criminology 2.” Then the album takes a mature turn. Something we didnt hear on the first album, soulful beats. This is the first of many tracks that show the Chef reflecting. “In order to be a general, you still need to be a solider.” A skit follow this and it seems Raekwon is getting cut out of the street life. A person says to Rae “The bosses don’t want to war with you … delete the friendship.” Then comes one of my favorite joints on the album. Its another Dilla beat. It had my face all screwed up! It features Ghostface. The joint has that Wu feeling. I was expecting the great late Dilla to come with a Wu-sounding record but he comes hard! Then comes another mature sounding track. Its a RZA-produced one. Its a chilled out record, something you can zone out to. It features a German singer on the hook who is very very talented. Track 15 is one of few Dr. Dre tracks on the album. Raekwon raps “I grew up on the bad side” and later “talking that cocaine rap, that’s what we live for.” I knew right away that the track was produced by Dre. The use of the piano said it all. As that song fades out, I’m still on the sofa wondering whats going to come next! I hear the Shaolin fighting sounds, I’m expecting Method Man or Inspectah Deck, instead I hear the raspy voice of Yonkers own, Jadakiss. This is definitely a street joint. Styles also blesses the track. The legend that is Slick Rick does the hook on the next joint. He sings “we will, we will rock you.” Slick doesn’t rhyme on the record, he just does the hook. Raekwon comes through with his vintage flow. What’s amazing is that the joint was produced by GZA’s teenage son Kareem who I’m told is about 15-16 but I’m not sure. As the album comes to a close, I’m still wondering what more can I expect. In my mind, I’m thinking if I’m going to hear the Nas record, was it done? Did Esco come through?? But then my attention is taken away by Beanie Sigel who features on a joint and he KILLS it!!! Good energy and its compliments the Chef. The track is about life in jail and being trapped. Sigel came through on that joint for real! Moving forward…we are on Track 19 now, its another chilled joint with a soulful sample. Its not as grimy and funnily enough, it will appeal to the female Wu Tang fans. I say “funnily enough” because even the males gonna like this track (I think I’ll say no h### at this point lol). But seriously, a nice joint but the only difference between this and the other tracks is the content. Rae is talking more about boats, Gucci, Louis Vuitton. Its a feel-good joint and Rae asks the listener to […]

Chartwatch for July 22, 2009 Welcome back to Chartwatch where we countdown the top ten albums of the week and show new artists coming out in Hip-Hop. Last week Michael Jackson cut my article pretty short by controlling half of the top ten and it looks like this week will be the same.   So, what’s going on in Hip Hop this week? Obama wants your kids to aspire to be more than Lebron or Lil’ Wayne which is not really a bad idea. Gucci Man is/isn’t in jail. Video was released showing that Jermaine Dupri and Pacman Jones have both too much money and too much time on their hands. The Game continues his war against Jay-Z, and Jay-Z finally comments. 50 Cent is now dropping tracks against The Game as well as Young Buck. Plus, Joe Budden and Wu Tang squashed/didn’t squash their beef. I would say that rap is getting like wrestling but wrestling is no where near as dramatic right now. It might be good for the kids to aspire to be something else…like a reality TV star. B.E.T and VH1 are hiring. I figure if Chance & Real and Tiny & Toya can get TV shows…anyone can. Your kids may want to take a look at a few of the artist in “Dropping This Week” to get some different perspectives in Hip Hop.   Like I said early the charts this week are once again controlled by Michael Jackson who has five albums in the top ten. His Number Ones album falls to number two followed by the Essential Michael Jackson at number three, Thriller at the number four spot, Off The Wall at number eight, and finally Bad at number nine.   American Idol alum Daughtry takes the number one spot with his sophomore album Leave This Town.     Coming in at number five is Maxwell. His new album BLACKsummers’ night holds on to the charts with help from the singles “Pretty Wings” and “Bad Habits.”   The Hanna Montana 3 soundtrack comes in at number six.   The compilation album, Now 31, comes in at number seven. Everyone is familiar with the Now series so if you haven’t listen to any music in the last month pick up a copy and catch up.   Finally the Black Eyed Peas come in, again, at number 10 with their latest studio album The E.N.D. I don’t want to get Perez Hilton’d, but who is buying their album?   DROPPING THIS WEEK     In dropping this week show new Hip-Hop albums coming out for the week, plus we try to give artists some exposure they may not get in the mainstream. Hopefully fans will start branching our and give some new artists a chance.   Before we get started, last week we showcased the rerelease of Hip Hop legends the Beastie Boy’s 1994 album Ill Communication. Well this week it was announced on of the group members, Adam “MCA” Yauch has a cancerous tumor forcing the group to postpone their tour. Luckily it is treatable and hopefully the group will be back on the road soon. Now onto the new albums.   The first up in dropping this week is underground MC Awol. He teams up with producer Factor to create Owl Hours, the follow up to there 2007 effort Only Death Can Kill You. The album is executive produced by Xzibit and features the westcoast MC along with Aesop Rock, B-Real, and Ceschi. Those that are fans of Awol do not have to be told to pick this one up, but if you haven’t heard the Los Angeles MC now would be the time to start.   Next up Nashville, Tennessee rapper Haystak returns with his 15th album, Came A Long Way. The rapper has gained a moderate amount of regional success over the last decade with his albums The Natural, Cracks The Safe, and Car Fulla White Boys.     Flip over to the reviews page to check out our next artist, DJ Spinna. He drops his new album Sonic Smash with a few guest features including Torae, Phontae of Little Brother, and Elzhi. Really flip over and read the review and hopefully you’ll go pick up the album afterwards.   Seattle rap group Dyme Def drop their sophomore album Panic after the underground acclaim of their debut Space Music. The group was been getting some good reviews so you may want to check them out.   The next group originally known as Sixth Sense and now known as Eyedea and Abilities drops their new album By The Throat. The duo, for one, has an amazing album cover and are kind of known for incorporating art with their music. It has been five years since the duo released an album so theit fans have been waiting on this one.     Roughly a month ago we did a dropping this week which featured Guce’s new album Gucey Guce Doe Boy: I Got That Cake Mix. Besides having an incrediblely long titled the album also featured cover art of a “thugged out” Pillsbury Dough Boy (yes….gangster) taking the baking/drug metaphor to a new ridiculous level. Well Guce returns this week with his new album with J Stalin, Giants & Elephants. There’s not much more I can say about this album so I’ll stop there.   Finally Trife Diesel a.k.a Trife da God drops his debut disc Better Late Than Never. He has been featured on a few Ghostface albums and the Wu Tang MC returns the favor by appearing on the new disc along with Royce Da 5’9, Freeway, and Termanology.   We’ll see next week if any of the new albums make it onto the top 10 charts.  

AllHipHop.com attempted to get KRS-One’s Top 5 Dead or Alive. Like Scarface, KRS-One appears on the lists of several rappers of note. The challenge of getting his Top 5 proved to be more challenging than anybody imagined. Still, journalist Phalary Long managed to extract some of the Blast Master’s favorite artists and why he doesn’t include the “dead” in his Top 5. His list may seem odd, he’s got the experience and the gall to back every word he says.   KRS-One: I don’t rate dead rappers. I think that’s unfair. Actually, I think it’s a disservice when the number one rapper is a dead rapper. Like when everyone says Tupac is the best rapper. Tupac wouldn’t say he was the best rapper and he wasn’t. Biggie would never say he was the dopest emcee. We used to battle Biggie all day and all night in Brooklyn in SOB’s, in the Palladium, no. No way, no how. Biggie is an icon in the culture because of his contribution. He had his own unique style. That alone gives you points, originality.   Oh, you can win with that off bat but when you say the best, well the best are not really heard. They’re not really heard, like Supernatural. I can’t even say [my Top 5] because I’m arrogant. I think everybody is wack. But then again, I clean that up by saying, I think we all have talent, we can’t be rated. I don’t know how to rate emcees because everybody got there place. If you don’t have your place, you’re not even on the list.   So those that have their place, I could never compete with Kool Keith. If you put me and Kool Keith in a battle, we would cancel each other out. I be coming with lyrical and he would put on a Elvis wig and be Kool Keith or me and Biz, we can go on for days, Biz would not battle me with lyrics, he’s going to start doing the dance and get the crowd wild, you may lose a battle messing with Biz, doing that dance, and he never spit a lyric, but Biz come out and be like, “I’m the emizza-k…” and you did all these lyrics and the crowd is giving it to Biz.     Don’t get on the stage with Doug E. Fresh and think you’re going to battle because he’s not going to say no rhymes. He’s going to be Doug E. Fresh. Rakim don’t battle but let him step on a stage. Emcees are going to be like, “Oh God.” With KRS, I’m in my own class as well. I don’t know anybody really comparing.     THE SIDEBAR   KRS-One took a moment to challenge the youth that also strive for greatness.  KRS-One:  I will say this, I want young people, to look down on me, don’t look up to me. Too many young people praise me too much. They shouldn’t because if you keep praising KRS, the culture don’t go nowhere. I’m the old teacher. I will bust you’re a**, no doubt but I’m the standard. You’re standing on me. You’re not supposed to be looking up, I’m not the ceiling because you’ll be like, “I’ll never be KRS, I’ll never be like that. I’ll never be… no.” You’re supposed to look at me, like damn, that’s the mountain that I got to climb. Ok, I’m going to climb it. When you climb it, your skills get better and better.  

Hip-Hop is truly “sink or swim” in 2009. Gone are the days where an artist simply perfects their craft and entrusts a label to package and cultivate their brand in the marketplace. Now, artist is a synonym for A&R, street team, publicist, and tour manager. Enter DJ Spinna, who as a late 90’s artist is old enough to remember the Silver Age of Hip-Hop, but young enough for his art to not be bound or stifled by previous traditions. On his latest project, Sonic Smash (High Water Music), Spinna makes good on his promise to deliver a no frills, streamlined Hip-hop album.  The opening tracks are heavily preoccupied with addressing the perceived artistic limitations of mainstream Hip-Hop. The live spoken intro on “Elemental” immediately declares to the listener they are dealing with high art, as the emcee requests that the audience call out the elements of Hip-Hop culture (emceeing, DJing, graffiti, and breaking). From there, the five man NYC group Sputnik Brown shows reverence for pioneers like Grandmaster Flash and Jazzy Jeff while pontificating on Hip-Hop’s pure beginnings (“Relevant elements for inner city settlements/Before they starting selling it/Hip-Hop was intelligent/Strictly wild styles is what we represent”).   The commentary takes a sharper edge in the hands of the gruff and capable Torae, who wowed critics and fans earlier this year with the Marco Polo collaboration Double Barrel. For Sonic Smash, DJ Spinna supplies the Brooklynite with an appropriate thumping bassline accompanied with a sinister melody chock full of galactic, sci-fi effects. Titled “Lyrics Is Back,” Torae asserts himself as a vanguard to improve Hip-Hop, instead of simply bemoaning the culture’s past exploits (“I miss the days of Big Poppa/When Tip said ‘Hammer…Proper/Damn that was the knock y’all/I remember when cats went in to make memorable tracks/I hope you listening the lyrics is back”).  Thankfully, the early mainstream antagonism is short-lived, and the LP opens up further as DJ Spinna shows off his creative sampling. The routine rhyme performance from the Jigmastas (“New York”) was strengthened by Spinna’s savvy lifting of the ubiquitous beginning chords of Michael Jackson’s “Beat It.” Sticky Fingaz’ frantic “so, so, so” phrase from “Throw Ya Gunz” becomes the chorus backbone for “Get On Down,” which features young guns Fresh Daily , P. Cass, and Homeboy Sandman spitting rapid-fire rhymes over scratches, cymbals, and trumpet horns. The lush arrangements continue with “Call Me Senor,” the melodic vehicle for burgeoning Atlanta emcee Senor Kaos to spit self-determination rhymes celebrating his lyrical gifts.  The album doesn’t falter even when tackling the obligatory love track. Phonte’s Little Brother provides his usual perceptive life lyrics on “Guaranteed,” and Spinna crafts another unique, funky mood with a nice vocal sample of the 70s smokeout anthem “Smokin’ Cheeba Cheeba,” from the Harlem Underground Band. Vocalist Yazarah takes care of the hook duties, and her crooning provides the female element needed to round out the track. “Melody” is even more engaging, with former Rawkus standout Shabaam Sahdeeq effortlessly riding an upbeat, jazzy Spinna offering with bars on the conflicting emotions love brings (“So many times she cries say I spend no time/I was out on the town with different dimes/They was all same change/I wasn’t ready to change…”).   Rounding out Sonic Smash are several songs with pointed social and political commentary. Elzhi continues to develop his concept skills with “More Colors.” The track references the various vibrant colors that define a community, from police “blue” to the products of drug dealers (“Go from painting the town red underneath the night skies/To going to trial/Telling little white lies”). Dynas uses Spinna’s ethereal production on “More” to detail our spiritual and educational degradation as a society. In contrast, femcee Tiye Phoenix takes a more conspiratorial approach on “Still Golden,” and takes the stolen legacy approach in discussing the history of Black culture.  With most compilations, it’s difficult for the arranger to retain any type of cohesion and buck the inevitable mixtape feel the project takes on. But with Sonic Smash, DJ Spinna gives his guests just enough creative leeway to keep each offering distinct. The end result is not just an enjoyable album, but one that delivers on its beginning vow to reflect the elemental pillars of Hip-Hop.   DJ Spinna feat. Torae- “Lyrics Is Back”     DJ Spinna feat. Shabaam Sahdeeq and Erik Rico- “Melody”    

This week, we bring you the battle of street videos. If you’re unfamiliar with the genre, it’s simply the natural progression from the mixtape game. Mixtapes gave fans music that wasn’t necessarily being released by the labels. Mixtapes also gave rise to the urban DVD magazine genre. Bring the two together, and you get visuals behind the songs artists make with the sole intent of a street release. SOULJA BOY – “Work”  Let the battle begin: Soulja Boy’s “Work,” a video that represents all kinds of firsts for the young artist, vs. Jadakiss’ “Child Abuse” from his Green Lantern-assisted mixtape Kiss My Ass mixtape.   Is this the first of many attempts by Soulja Boy to transition into adulthood as an artist? We’ll have to wait and see, but from the sounds of this new joint, it would seem like it. From the beat to the subject matter, Soulja looks like he’s trying to carve a spot in the trap-rap lane popularized by artists like Young Jeezy and OJ Da Juiceman. He may have missed the mark a little with the visual though, giving us a city park background instead of the prerequisite “shot in the hood” look that usually comes along with these types of songs. We won’t make any assumptions about the colors, so he can’t get hood credit for that alone. Still, for something that he clearly shot with his own budget, and possibly his own camera, it came out much better than it could have. You might even see it on a video channel sooner rather than later.   video platform video management video solutions free video player  JADAKISS – “Child Abuse”Despite being “produced” by The Come Up DVD, which has been around almost as long as the Urban DVD Mag thing has been, Jada’s “Child Abuse” doesn’t quite stand up to the crisp look of Soulja Boy’s clip. Where experience might be obvious, however, is the concept of the clip. You see qualities in this video that you might actually see in a label-released video. Someone definitely put more thought into the treatment for this video. So put-aside Jada’s jaundiced appearance, the sometimes-shaky camera, and the uneven lighting, and you have what would have been perfect for our dearly departed Rap City.   video platform video management video solutions free video player  RICK ROSS – “Gun Play”To make things a bit more interesting, lets toss Rick Ross in this battle since he’s made more street videos than any single artist this year. This video is for “Gun Play” from Deeper Than Rap and it features a rapper named Gun Play. Can Ross play spoiler or are they just playing?   video platform video management video solutions free video player   DiscussionsView Results  

In the closing months of 2003 Kanye West, while introducing himself, reintroduced the hip-hop world to his fellow Chicagoan, a rapid-fire spitter known as Twista. Despite several break-out verses on projects from Do or Die, Puff Daddy and the Ruff Ryders, Twista had achieved limited mainstream success prior to the Kanye-featured-and-produced “Slow Jams,” and the follow up, “Overnight Celebrity.” The pair of hits lead to his fourth album Kamikaze to achieve multi-platinum status and secured Twista a place among hip-hop’s elite. However, since the release of Kamikaze, Twista has seen his stock fall due to the disappointing commercial performance of his Kanye-less follow ups The Day After and Adrenaline Rush 2007. In the midst of an ever-changing music industry now dominated by blogs and alternative hip hop, Twista attempts to reclaim his place at the top of the game with his eighth effort Category F5.   The album opens with the overly dramatic “Misunderstood,” a generic Twista introduction and a prime example of how Twista’s double-time delivery has lost its novelty. What was once a powerful weapon for Twista the rapper has become a crutch for Twista the songwriter. Even when he attempts to slow things down musically on tracks like “Talk to Me,” a clever concept record about misunderstandings turning violent, one can’t help but be distracted by his abrasive flow.   Twista is at his best on F5 when he operates outside of his comfort zone. Examples of this can be found on the Gucci and OJ featured “Walking on Ice” and the newcomers Good Will and MGI-produced “On Top.” On the later, Twista weaves in and out of the Alice Deejay-inspired production with a surgeon’s precision. “On Top” is what a Twista hit should sound like in 2009.   One interesting aspect of Category F5 is Twista’s reunion with The Legendary Traxter, the producer who introduced him to the world in 1996 via Do or Die’s “Po Pimp.” Traxter contributes six beats to the album including the seductive single “Wetter.” Unfortunately, Traxter’s other productions on F5 make up the bulk of the sleep induction tracks, including the shorty misses “Ya Body” and “Gotta Get Me One.”   It is not easy being Twista. While his delivery is certainly impressive, it does not lend itself to a diverse range of production and while it has been his key to many scene-stealing guest appearances, it becomes repetitive over the course of a full-length album. While there are a few moments of welcomed dabbling in new sounds, Category F5 upholds the sentiment, if you’ve heard one Twista album; you’ve heard them all.  

When legends put their Top 5, Scarface is on there. What does the man have an affinity for? Hip-Hop has come to mean different things to different people. It originated as an authentic form of expression, one that ‘Face has utilized to the fullest. Through powerful, reflective, and uplifting lyrics Hip-Hop defied the odds and embraced the years as it has became a widely appreciated and celebrated genre of music. Hip-Hop at its best carries our aspirations, our struggles, our bliss and our betrayals. In a perfect world we entrust our MCs to demonstrate a level of awareness of our community. Candid lyricism in conjunction with tangible real life experiences is part of the amalgamation that is Scarface. Scarface, a man who needs no introduction, is one of our living lyrical icons. In an unbridled interview, he reveals his extended edition of AllHipHop.com’s Top 5 Dead Or Alive, Top 5 Southern MCs and Top 5 of Right Now.   RAKIM   Scarface: The way that Rakim put words together is like no other.   AllHipHop.com: For the younger generation who may be unfamiliar with Rakim; which track do they really need to listen to? Do you remember what made you first gravitate towards him?   Scarface: Listen to [Eric B. & Rakim’s] “Follow The Leader.” The main said, “…A furified freestyle, lyrics of fury/ my third eye makes me shine like jewelry… [chuckles] g#####! N****s talk about chains; the man said his third eye makes him shine like jewelry!   KRS-ONE   AllHipHop.com: What about KRS makes him stand out amongst others?   Scarface: “Criminal Minded.” To me KRS-ONE had that pause—it picks back up—he had a swagger from that “Criminal Minded” album. You know, that was really our star.   KOOL G RAP   AllHipHop.com: What about Kool G Rap earned your respect?   Scarface: …He had a song called “Truly Yours”—and that’s really the best girl diss that I ever heard.   AllHipHop.com: [laughs]   Scarface: He dissed somebody and I was like, damn. [starts emceeing] “This I dedicate to the girl I hate…” [mimics the DJ Polo beat, uh uh uh uh uh uh] “This I dedicate to the girl I hate…” Man, that is a fantastic come line—   AllHipHop.com: You think it’s been timeless?   Scarface: It’s timeless. Yes, “Truly Yours”   ICE CUBE   AllHipHop.com: What made you become an Ice Cube fan?   Scarface: [starts reciting a verse from Cube’s “A Bird in the Hand”] “Fresh out of school I was a high school grad/ had to get a job because I was a high school dad…/ but there was no SC for this youngster/ I didn’t have no money /so I had to punch the clock…” That boy Cube is cold; that boy Ice Cube is sick!   AllHipHop.com: Which MC is your last pick?   Scarface: I really have to think about that last one. S***, of all time, you got to say LL Cool J, dawg.   AllHipHop.com: LL?  LL COOL J Scarface: Yep! Top five of all time, you got to put LL in that top five of all time.   AllHipHop.com: Now, if there were a top 6:   NAS   Scarface: Nas. I think Nas is a bad motherf***er.   AllHipHop.com: What do you think about his evolution as an MC? Does he still possess the same hunger he had with Illmatic? Is he more lyrically potent now or has he grown complacent as his wealth has increased?   Scarface: I like Nas as an MC. I like Nas period. It don’t matter.   AllHipHop.com: You know I have to go here; it’s interesting that you didn’t name any Southern MCs. Why didn’t any of those make the list?   Scarface: Of all time, there’s not a greatest Southern MC of all time that could be in there, in my opinion.   AllHipHop.com: I love you’re being real even though you’re from the South.   Scarface: I mean of all time— If I did one for [the] South MCs I would say— Top five of all time, it’s 3000—   ANDRE 3000   Scarface: I really like Andre 300, right now. Because his word usage, his word play.   JUVENILE   Scarface: Let’s see, Juvie said, “The District Attorney don’t give a f### about y’all/she got to run again for office again in the fall…” That boy Juvenile was a damn fool!   BUN B   Scarface: …Did I say Bun B? S**t, Bun, Juvie,  Who am I forgetting?   AllHipHop.com: It’s hard. I’m thinking. Z-RO got lyrics; but, to consider him at the top. I dunno. That’s a big distinction.   Scarface: Cee-Lo Green   AllHipHop.com: Check you out. So, we’re traveling to Georgia with that Dungeon Family. Do you like Cee-Lo with Goodie Mob or with Gnarls Barkley?   Scarface: Both.   Scarface: [snatches Cee-Lo’s voice] “You got to get up, get out/ cut that bulls*** out/ain’t you sick and tired or have to get up and get out..” That boy is cold.   DEVIN THE DUDE   AllHipHop.com: Devin, I love Devin. But why is he so slept on; what about Mr. Copeland is overlooked?   Scarface: That’s the f###### Bill Withers of Southern Hip-Hop. Devin can put a wash in a n**** from our day.   AllHipHop.com: What I love about Devin is the ease that he can go from a party song like “Don’t Get Me Wrong” with the Coughee Brothaz to crazy lyricism like on “Write & Wrong.” I absolutely love Devin as a lyricist and as a man; he’s good people.   Scarface: That m########### says, “When you’re wrong/ m############ want to talk about you/ when you’re wrong/ m############ want to criticize you…”   AllHipHop.com: Any more lists?   Scarface: My top five of Right Now (Rappers presently active, in no particular order).   JAY-Z   Scarface: I like Jay-Z right now   AllHipHop.com: Do you think that the Blueprint 3 is going to live up to the hype?   […]

The battle is back and the time for a classic class of titans is now!   If you are a fan of Hip-Hop, you are certain to have issues with the voting as it plights 2 sets of vets against each other.   In this corner is Twista, the O.G. mid-West speed spitter that hasn’t missed a step since his 90’s debut.   And over here is a group of four underground monsters – Slaughterhouse. Even though SH has been around as Joe Budden, Royce Da 5’ 9”, Crooked I and Joell Ortiz, this is their first official video. The rock-infused party is a just want the group needed. If this is their attempt at crossing over, its reminiscent of what Iverson did frequently.   Twista’s “American Gangsta” video is as hard as Adamantium nails! The video has past and present (and possibly future) images of gangsters. It is definitely a different look than his single, “Birthday Song” (which can be seen here).   Can Twista hold it down solo style against a crew such as Slaughterhouse? You decide!   The winner of the “battle” will continue into the next week where it will face a new set of contenders. The criteria are based on creativity, quality, musicianship and your own personal preference.   First up:   TWISTA – “American Gangsta”   video platform video management video solutions free video player   SLAUGHTERHOUSE – “The One”   video platform video management video solutions free video player   This just added!   JAY-Z – “D.O.A.”   To make it a true, battle Royale, we’ve added Jay-Z and his “D.O.A.,” since the BK rep is taking it back to the gutter. This video is a few weeks old, but can he be the spoiler? Is he the true “American Gangsta” and “The One?” VOTE BELOW!   video platform video management video solutions free video player   VOTE!   DiscussionsView Results  

Martha Cooper and Henry Chalfant, both world-class photographers in their own right, reclaim graffiti fame with this 25th anniversary re-release of their remarkable visual documentation of graffiti’s golden age in the late 70’s and early 80’s. The portfolio-sized book is not one of those stuffy academic releases dedicated to the history of graffiti, its commercialization, or global significance. The portraits in Subway Art only depict either one of two things: the artist and/or his work. The graffiti writers (most of them started out as young delinquents bombing trains) latched on to the idea of Cooper and Chalfant recording their lives through photos, though they did not necessarily have the foresight to realize they were being immortalized as pioneers of a major phenomenon. Even the photographers themselves were hard-pressed to predict the graffiti’s continental influence. Henry Chalfant admits, “We never thought of the book as an exhaustive survey of the entire history of the graffiti movement; rather it was an extraordinary record of a movement that we had observed from our point of view.” Surveying the freight-car long photos of iridescent pieces—most of which were done by aerosol cans in train lots at the end of the 2, 3, and 5 lines in the Bronx and Brooklyn—one can’t help but ponder the peril behind producing some of these fabled works. Among the artists who went on put on exhibitions and establish careers as graphic designers were also artists who have been in or out of jail or who have died before their time. Chalfant and Cooper, who both have worked extensively outside of graffiti in the world of photojournalism, situate these pictures of extravagant artwork within the backdrop of New York City’s crumbling financial standing in the 70’s. Within the book are pictures of graffiti set behind dilapidated buildings and vacant lots, and artists posing on dirty trains. Of course, graffiti has been both condemned by visual art puritans like one trustee at the Museum of Modern Art who suggested graffiti writers “should be lined up at dawn and shot” and lauded by a Hip-Hop generation that has embraced it and accepted it as a viable medium of expression. But this collection of photographs, very respectably, is just about the artwork itself. The transcending can take place elsewhere.video platformvideo managementvideo solutionsfree video player

  It’s been five years since his last solo effort, 1st Infantry, but on Chemical Warfare, Alchemist—Eminem’s tour DJ and Prodigy’s go-to-beatsmith—doesn’t disappoint his eager fans. As always, Al flips both exotic and noteworthy samples to accompany his signature sound—sinister melodies over thumping drums. A good selection of artists from Memphis to Brooklyn laces the album with grit. Jadakiss and Pusha T spit life-threatening bars on “Lose Your Life” over a bouncy piano-loop perfectly matching Snoop Dogg’s menacing hook.  The haunting sound continues “On Sight” featuring Tha Dogg Pound and Lady of Rage, a song that could be a theme for a drive-by. The vibe picks up as Three Six Mafia and Juvenile excel on the fast paced “That’ll Work,” while KRS-One yet again preaches and teaches on string-laced “Grand Concourse Benches.” Lest one think Al’s sound is too niche, he balances things out with guitar-riff-heavy “Therapy” and the album’s most radio-friendly track, “Smile” on which a self-assured Alchemist spits alongside Twista. Although Chicago’s tongue twister surely steals the show, the former member of the Whooliganz holds his own on many other tracks throughout the LP. On Kool G. Rap assisted “ALC Theme,” Al claims, “I ain’t a P-unk/I was raised off P-Funk, getting blazed til d-runk,” showcasing his witty wordplay. Chemical Warfare is by no means perfect—Eminem’s appearance on the title track is impressive, but its short length only comes off like a snippet. And while entertaining, the sexually explicit and synthesizer-driven “Keep The Heels On” by Prodigy gets disturbing after several listens. Nonetheless, Alchemist’s second solo effort—with chopped samples and a relentless drum machine—yet again reveals him as one of the best producer/rapper in the game.

After a brief hiatus, the Top 5 Dead or Alive Series returns in grand fashion with one of the great hopefuls of the West Coast. If you haven’t heard the music of Nipsey Hussle, they its off to the principal’s office you go for that late class. Nipsey has been slowly building up his empire one hood at a time and his Top 5 represents different eras and regions in Hip-Hop. The self-proclaimed “definition of Slauson & Crenshaw” told AllHipHop.com his favorites with authority and self-assuredness. There was no second-guessing or wishy-washiness so often seen by others. Without further delay, Nipsey Hussle’s Top 5 Dead or Alive: video platformvideo managementvideo solutionsfree video player Nipsey Hussle’s Top 5 Dead or Alive 1) Tupac 2) Jay-Z 3) Nas 4) Ice Cube 5) Scarface THE SIDEBAR Nipsey Hussle is currently working on his film debut with veteran actor Ving Rhames and Philly rapper Gillie Da Kid. His debut album is slated for a fall release and features the likes of The Game, Snoop Dogg, Sean Kingston, Lloyd and others.

Saturday June 27th, 2009, Midwest Bank Amphitheater, Chicago, IL.—let the bells ring. At Rock The Bells, it is tradition for the lineup to come with nothing but sickness. For the last 6 years, the organizers have been emphatic about providing a roster that not only reflects Hip-Hop leadership of today, but one prepared to go back 10 years, go back 20 years, even go back 30 years, if need be. They understand that younger fans might be fiending for some Talib Kweli or Slaughterhouse, but the old heads in the house grew up on EPMD and Pete Rock, and don’t consider them irrelevant in any way.For this reason, Rock The Bells maintains one of the most dedicated, loyal, and diverse fanbase in Hip-Hop concert history.As I watched, from my bird’s eye view—lawn seats (good lookin’ out Mitch Schneider Organization!)—act after act bum-rush the stage, it became increasingly clear why Rock The Bells is one of the most acclaimed concert series in the world. Any fan who got bored at the show only had him/herself to blame. There were two stages, as there are at events like this, featuring equally competent mic-rippers on both ends. Those at the smaller stage might have initially felt left out—but not for long. When KRS-One and Buckshot descended on the crowd, performing songs off their upcoming album, Survival Skills, the message was plainly delivered: “Errbody wanna rap/ Everybody wanna sing/ Errbody do they thing/ Like a muthaf**king robot/!” They couldn’t complain any longer because having M.O.P. leave the stage smoking immediately pacified all concerns. The legendary New York group performed classic hits ranging from “Cold As Ice” to “Ante Up,” as well as some exclusive tracks from their soon-to-be released comeback album, The Foundation. M.O.P.’s fans were glad to have them back, especially after the long hiatus from U.S. touring—a decision which, ostensibly, as accounted from the mouth of their DJ, occurred because they were “protesting George Bush.”Soon after, Slaughterhouse, the much-talked-about Hip-Hop boy band / “Supergroup,” consisting of Royce da 5’9,” Crooked I, Joe Budden, and Joell Ortiz established themselves as a force to reckon with, unleashing an “Onslaught.” The pure chemistry—though semi-hostile at times (word up, Joe!)—the group had on stage really gives up the secret that they are the next big thing—if a few preconditions can be registered. One gets the idea that Slaughterhouse will open up unfound avenues for themselves, if Joe Budden’s ego is kept in check. I hate to reiterate what has already been abundantly stated, but if the group has a diva, it is Joe. He is clearly the wild card—a personality that can turn off just as many people as it turns on. Before Slaughterhouse closed their set, M.O.P. reappeared on stage to perform the new collaboration single, “Woodstock.”“The Chef,” Raekwon, trailed shortly after, catering to the demands of fans who have awaited, almost hopelessly, the release of his highly anticipated sequel, Only Built 4 Cuban Linx II. Raekwon credited the long delays, largely the result of label politics, to his refusal to “suck d**k.” At this, Raekwon delved into the ever appropriate “Ice Cream,” a single from his 1995 debut, Only Built 4 Cuban Linx. Raekwon surfed through crowd favorites from his classic debut, but also dropped some exclusive bombs off the new album, including “New Wu.” As usual, the W signs went up immediately.Raekwon’s set was more a foundation for the closing act of the smaller stage—his fellow Wu, The GZA. GZA’s presence commanded a level of respect very few MCs are capable of. With fans rhyming to his every word, and conforming to his every demand, Raekwon returned on stage to celebrate The GZA as Wu-Tang’s true “leader.” “Before Raekwon became Raekwon, I was a fan of this ni**a,” he said. The GZA’s set wrapped up around 8PM, leaving those at that stage scrambling to the main stage, where The Roots had taken center stage.But before The Roots, Chali 2na, K’Naan, Reflection Eternal, and Tech N9ne had come. K’Naan’s soul-stirring performance dripped of perfection—a must, after his unusually long (to say the least) sound-check. The Somali-born MC has, within the last 3 years, surfaced as a leading force on the international scene. If K’Naan keeps up this level of tenacity, I can only imagine how great an icon he is sure to become.Reflection Eternal, whose follow-up to their 2000 debut is scheduled for a release later this year, did what they do best—entertain while educating. Talib Kweli is no joke on the mic. Everybody knows that. And DJ Hi-Tek is an ingenious producer. Very few feel differently. Kweli had a hard time, though, adjusting to the sound technician’s incompetence; but all complications immediately vanished when “The Blast” ricocheted through the building.Busta Rhymes, coming right before the final acts, took the crowd energy to unreached heights. As part of the last of a dying breed of performers, Busta felt it fit, as many had through the day, to pay homage to the late Motown legendary performer—Michael Jackson. “I dedicate this show to Michael Jackson,” he said.In the course of the day, others had, in their unique ways, touched on Jackson’s illimitable legacy. Raekwon attempted to sing a Jackson classic. That didn’t go too well. Others, like Tech N9ne, performed dance routines. Some broke up their set to explain their love and admiration for Michael Jackson, while others remixed songs to include lines dedicated to the Pop King. Talib Kweli dropped a double line memorializing both Michael Jackson and Farrah Fawcett. Regardless of what media was used to remember him, however, the messages sent were identical—his impact on Hip-Hop was, as Raekwon noted, “big.” Busta Rhymes had just wrapped up his set, and the night was still young. It was a little after 10:00 PM, when headliner Damian Marley came running out from under the stage, preceded only by a Jamaican flag which swayed left and right as the renowned singer poured out his soul on stage, ready for some “Confrontation.” Damian Marley is a rare […]