The Joker: I don’t want to kill you! What would I do without you? Go back to ripping off mob dealers? No, no, NO! No. You… you… complete me. 50 Cent has just released a new “street album” called War Angel for the downloading delight of his fans, haters and the curious bystander. All eyes are on 50 right now. It truly appears to be make it or break it time for the rap mogul, who appears to have sustained some collateral damage in the kinda-sorta battle with Miami’s Rick Ross. Based on the marketing behind War Angel, one gets the impression that 50 Cent has reloaded and is ready to shoot up the competition. “I Line N***ad,” the first song, proves 50 Cent isn’t really playing and, in fact, is working really hard to re-establish his lyrical presence. The song is standard hardcore street-hop that is appealing to aficionados. Similarly, “Talking In Codes” and “Redrum (Murder)” are short, terse songs that will satisfy advocates of samples and boom bap music. Lyrically, 50 sounds hungry and the ad libs on several songs are even equipped with animalistic growls. “You are now under my hypnosis / Summer Time grind, come out with the toasters / I return like an animal ferocious / New money breed new enemies, n***a you know this,” 50 barks on “C.R.E.A.M. 2009.” There are no production credits, but whoever helped paint the sonic backdrop had a great set of brushes. It truly feels good to hear abrasive Hip-Hop in an emerging era of colorful hipsters. There are moments when you hear 50 trying a bit too hard still it’s easy to forget this rapper is a multimillionaire that rolls tight with Bette Midler. With a street album called War Angel, this reviewer could have done without “I’ll Do Anything,” “London Girl,” and “Cocaine,” all which deviate from the theme of angst and hostility. Certainly, there is a place for such songs on a commerical album so the ladies and other proponents of smoother sounds will likely appreciate them. And for The Joker? When it comes to quality of his music, it almost seems that 50 Cent’s best work is indelibly linked to Ja Rule – his mortal enemy. The hatred 50 had for Ja, brought out the best in the G-Unit General. But, he opted to kill Ja’s career instead of letting him linger. Same with Rick Ross.  Rick Ross has continued to diss 50 Cent, but 50 never lashes back at Ross. War Angel is more than sufficient, however it falls short of picking off where Get Rich Or Die Tryin’ left off. However unfair that may be, it is what it is. With other mixtapes on the way, War Angel is a good indication that 50 Cent will be 100-percent by the time Before I Self Destruct comes out. [Download] 50 Cent – “War Angel LP”

Camp Lo Rains Luchini in Atlanta By Ismael AbduSalaam Last Friday (June 5), New York’s Camp Lo brought their unique, 70’s influenced style to the club Cenci venue in the city of Atlanta. Unbeknownst to many, Camp Lo has been making regular appearances in the A since their breakout, 1997 debut album. With Atlanta being a transplant city full of northerners, westsiders, native ATLiens, and others, the tandem has never had an issue having an audience for any booked show. The Cenci venue doubles as a restaurant/lounge on the main floor, and incorporates another full bar and stage in the basement. It was smart to hold the show downstairs, as the very dark lighting and intimate setting created the feel of the famous house party painting seen on the cover of Marvin Gaye’s I Want You, and Camp Lo’s debut. Concert-goers loosened up and danced while awaiting the headliners, and were treated to mid 90’s classics that spanned from Dr. Dre’s “Deep Cover” to Jeru’s “Come Clean.” The 70s-styled Bronx duo was quite tardy for the show, not touching down until close to 2AM. Thankfully, Atlanta standouts Binkis Recs and Senor Kaos held down the venue beforehand with energetic sets that incorporated classics like Tribe’s “Scenario,” and breaks like the Incredible Bongo Band’s “Apache.” The Lo thanked the patrons for their patience before kickstarting their set with the Smokey Robison-sampling “Lumdi,” and “Dope Boyz.” The crowd was receptive to these offerings, but the excited murmuring made it apparent that everyone was ready to rock out to selections from the group’s seminal debut, Uptown Saturday Night. Camp Lo soon obliged, receiving loud applause when the rhythms of “Krystal Karrington” hit. Unlike many 90’s acts, whose breath control and lyric memory have deteriorated in the new millennium, Camp Lo’s rhymes were as crisp and clear as their CD counterparts. Ironically, for all of Uptown Saturday Night’s acclaim amongst fans, not many could recite the pair’s dense, allusion-heavy elliptical rhyme schemes. The result was the crowd supporting Sonny Cheeba and Geechi Suede as defacto hypemen, chiming in at the recognizable words and for choruses. The group mixed in tracks from their latest offering Stone & Rob: Caught on Tape like “On Smash,” and the dancehall-tinged “89 of Crime.” However, like true veterans they continually surveyed the crowd reactions, and improvised selections as needed. After starting their sultry love ballad “Ticket 4 2,” Camp Lo cut the track short after joking there were not enough females present for the track to be appreciated. Back to Uptown Saturday Night, the duo finished strong with more up-tempo tracks like “Black Connection,” “Rockin’ It” and “Swing.” The audience’s energy became more frenetic when “Coolie High” hit, obviously knowing that there was one final classic single that was needed to cap off the evening. With various chants for “Luchini,” and even a scattered smart fan asking for the “Luchini Remix,” Geechi Suede made a simple request while the DJ held off on any music. “We going to do something special right now,” he stated. “But at the same time we want everybody from the front, to the back, to the left, to the right; I want to see every hand in the air in the name of Hip-Hop. I don’t want this to drop until everybody is with us. I’m with everybody no matter how drunk I am.” And with that, the familiar lush horns of “Luchini” boomed throughout the venue. The crowd didn’t struggle with this one, easily finishing the lines of each emcee as they spit back and forth. Camp Lo did the track justice, not fumbling once and making sure fans that had waited since 10:30PM had received their money’s worth. Although the show did not officially end until close to 3AM, Camp Lo made the delays worthwhile. And even going into yet another decade, the Lo has ensured their fanbase will continue to thrive in Atlanta.

It has been two and a half years since the release of Mos Def’s True Magic, but the rapper, born Dante Smith, returns to Hip-Hop after his lengthy sabbatical.   The return comes in the form of The Ecstatic, his fourth solo album. At this point, Mos is an acquired flavor of Hip-Hop that one hopes will pierce the trappings of traditional media and commercially tinged outlets.   The Ecstatic is highly representative of the balance so needed in Hip-Hop, but its redeeming value is so much more. From the first song, “Supermagic,” the authority of Mos Def’s distinctive, nasal voice is evident over a feverish guitar riff. He’s got that BK bluster, but offers a unique conscious and educational perspective that seems natural, nearly formless. From this moment on, there is no doubt that Mos Def is back. The rest of the album overwhelmingly demonstrates Mos Def’s natural ability to weave tales and project his ideals. One such song is “Wahid,” which is laced with Muslim musical sentiments.   Mos spits, “The old timers say we living in the final days/ Gunsmoke, young folk living any kinda way/ Gangster holiday, gritty states’ a hideaway/ Meanwhile soldiers take it straight through their armor plates.” So, even for the fan, Mos will probably make you retrain your Hip-Hop ear, because he’s one of one. His inimitable style is demonstrated on other songs like the boom bap of “Twilite Speedball,” the minimalist “Quiet Dog Bite Hard,” and the thought provoking, “Priority.”   On the latter song, Mos says, “Peace before everything thing/ God before anything/ Love before anything/ Real before everything/ Home before any place/ Truth before anything/ Style and stay radiate/ Love, power slay the hate.” At only a 1:23 song, you want more. The Ecstatic clocks in at 16 tracks strong and it gets bigger and better as it goes along. “Life In Marvelous Times” elevates. “Auditiorium” with Slick Rick is impressive enough to justify a new album from The Ruler. He knocks it out of the park with “History” with Blackstar partner Talib Kewli. There are some instances where you want more from Mos – more energy, more engagement – as it’s the case with “Pretty Danger.” More than anything, absorbed listeners will appreciate risks like “Roses” with Georgia Anne Muldrow, which clearly indicate that Mos Def is operating on a plane reserved for passengers like Andre 3000, Lauryn Hill and others. If you aren’t already a fan of Mos Def, it is unlikely that his gravitational pull on The Ecstatic will yank you into his universe, but if the casual listener does venture out, they will likely stay on this flight into the stars. Track Listing Supermagic Twilite Speedball Auditorium – Mos Def, Wahid Priority Quiet Dog Bite Hard Life in Marvelous Times Embassy No Hay Nada Mas Pistola Pretty Dancer Workers Comp Revelations Roses History Casa BeyClick here for audio samples.

M.O.P. have stomped around Hip-Hop’s battlefield for quite sometime all the while crafting some of the most frenetic, aggressive and lyrical songs ever. But, when it comes to their Top 5 Dead of Alive, the group is not necessary pulling from the same energy they create. First Family members Billy Danz, Lil Fame and long term manager Laze “Laze” Elliot chop it up frankly and realize that their Top 5 Dead or Alive is much like the title of their new album, The Foundation. The list is an ode to the rap artists that basically laid the groundwork for everything that is popular in modern Hip-Hop. AllHopHop.com: Can you name your Top 5 Dead or Alive rappers? Billy Danz: Oh yeah. Lil Fame: I can try. Billy Danz: In no order. Scarface. Rakim. [Kool] G Rap. KRS-One and Lil Fame. [Slaps table and the room erupts into laughter] AllHipHop.com: It sounds like you had that all prepared! Billy Danz: I swear to God. It just fell into order like that. Lil Fame: I’ll say Bill [Danz], Scarface. G Rap. Rakim…[pauses.] Billy Danz: Give Biggie some [credit]. You gotta give Biggie some. Lil Fame: But see that ain’t my era. Biggie’s one of the dopest n***as, but I’m talking about my era. Yeah, Biggie’s one of the dopest. Nas is one of the Dopest. AllHipHop.com: See, now you have already hit six. Billy Danz: See, thats the thing, because when you say Top 5, what are you saying. We need like a Top 10. Eminem is f***in’ incredible. Ja Rule is actually a dope f**kin’ MC. Ja Rule is nice as s**t. AllHipHop.com: His first album is classic. Billy Danz: That s### was crazy, n***a. Ja Rule is a dope f**kin’ MC. So, you cheated us on that. We can’t do a Top 5. AllHipHop.com: [To Billy] You started out so good. [laughs] Billy Danz: I was sticking to it. But, I got another Top 5. AllHipHop.com: I actually put my Top 5 on the site. Redman, DMC, I put Chuck D on there… Billy Danz: Look…Chuck is crazy. AllHipHop.com: Kool G Rap and I put Jay-Z on there. Billy Danz: OK, Jay is dope, Jay is dope. Lil Fame: Jay is one of the Top. See there ain’t no Top MC. I used to hate when people would say, “He’s the best.” AllHipHop.com: You could do that back in the day. Lil Fame: Ain’t no Top MC, son! Billy Danz: It depends on what you call Top. Does he sell the most? Is he the dopest? Lil Fame: Without the bling? Without the powermoves? Billy Danz: Who is at the top? AllHipHop.com: My personal favorite is G Rap. That’s not going to change. Billy Danz: What about the best rapper alive? AllHipHop.com: I put it as Jay. Billy Danz: Really? Lil Fame: He’s one of them. Billy Danz: We want to know who is theeeee best rapper alive. Billy Danz: You just said Jay. AllHipHop.com: Well, I say G Rap. G rap – that’s my personal favorite rapper of all time. Laze: G Rap is probably the best. Billy Danz: Rakim is my personal favorite rapper of all time. Lil Fame: See? Its out of Ra and G…and [Big Daddy] Kane! Ra, G and Kane. Billy Danz: And see Kane is lik my big brother. Kane is dope as hell, but in my opinion… Lil Fame: I’m talking without the bling and all that. I’m just talking the lyrics. It’s out of those three, son. Billy Danz: Lets agree on that. Lil Fame: Scarface. Billy Danz: Who the f**k can f**k with Scarface? I was looking though my s**t [and found] a blank disc and I threw that mother f**ker in there. That Scarface record came in there and I forgot about everything. My old lady was like, “Can you come up…?” F**k all that! Turn this up right here. Lil Fame: Face is a bad mother f**ker. Billy Danz: And Rakim, I still haven’t found a n***a that can lyrically touch him. Lil Fame: He’s smart as a mother f***er. Billy Danz: He’s [sounds] like a gangster like, “I will pull your mother f***in’ head off,” but he never said, “I will pull your mother f***in’ head off.” Lil Fame: [Laughs] Billy Danz: This mother f**ker only cursed three times in his whole career. He said b***h one time and this was recently. He said n***a, which is not really a curse and hell or f**k or something like that. And, he made you feel like, “I will saw you’re a** in half if you f**k around.” Lil Fame: G was smart too. Billy Danz: The kids can listen to Rakim. Lil Fame: G would take your head off, but in a smart way. Oh he said, “You got springs and wings on your shoes…you lose.” You’re a** is out! G is smart as s**t son. Laze: Rakim is probably the best lyricist ever. Billy Danz: He’s the best ever. Lil Fame: We can go on for days about this. Billy Danz: Rakim is the best ever. Put it on the site in graffiti: “RAKIM IS THE BEST EVER.” AllHipHop.com: We used to argue about this all day, so I’ma let y’all say that… Lil Fame and Billy Danz in unison: Who is [the best]? AllHipHop.com: G Rap! Lil Fame: Let the Slaugherhouse be Ra, G and Kane. [Editor’s note: this isn’t a disrespectful comment. In unreleased portions of this interview, M.O.P. praised Slaughterhouse for being a great Hip-Hop collective.] AllHipHop.com: Ra, G, Kane and Scarface. [Rakim, Kool G Rap and Scarface] [Editor’s note: everybody in the room collectively says, “Oh my God.”] Laze: That would be ridiculous. That’s a Slaughterhouse right there. Billy Danz: That is a Slaughterhouse. I’m going to start putting in calls. We coming to round all them n***as up and do a record together. All we want to do is the hook. THE SIDEBAR: M.O.P. is gearing up to release a new album called […]

Straight up, I like ill MC’s The rappers that I have always gravitated to were the dudes that made me think, “I wish I thought that” or “How the hell did he think of that?” When I crafted my list, that is what I had in mind, my favorite ill MC’s. Certainly there are the standard greats from every era (Biggie, Pac, Jay-Z, Nas, Rakim, Big Daddy Kane and others like Drake – kidding!), but these are the illest that I like. In no particular order: Q-Tip I think I want to start with Q-Tip. Q-Tip is a brother than is definitely underrated in terms of people appreciating his talents. But he fronted one of the best Hip-Hop groups of all times. Furthermore, I have to get him props for offering me and alternative to the normal rough neck rap. Still Tip could rap right along side a rapper such as Busta Rhymes or a newer dude like Lil Wayne. He wasn’t a battle rapper, but he held his own for years, solo and with Tribe. On top of it all, you can see his influence in rappers to this day. Ol’ Dirty Bastard I know this might get some flack, but I really do love these dudes. And not because they passed away. They were the cream of the crop and tragically were taken from us too early. But, ODB was my favorite Wu Tang Member and he’s certainly gave the Clan a different look. In fact, he gave them that national crossover look, along with Meth. But, ODB had no limits and he would say lyrics like “I keep planets in orbit” that were so ill and so outrageous. But, he was more than just a zany rapper, he was sharp and offered a great style to complement his lyrics. I still listen to both of his solo albums as well as his material with the Wu. Sticky Fingaz of Onyx Now, this brother is definitely one of the best, but went left when he probably should have gone right. But, still he’s one of the illest and that holds true to this day. Lyrically, not a lot of dudes can get with Sticky. He truly held Onyx down and I loved how he would anchor just about every song. I hate “what if” scenarios, but I have to say it. If Sticky had opted to go to Aftermath instead of his own situation with Universal, he would likely be standing next to somebody like Eminem right now. It could be said that Stick bodied Eminem on “Remember Me?” from the MMLP! His solo album was criminally overlooked and classic in the eyes of many. Eminem Time tends to wear down the mind and people tend to forget what people have accomplished in their life and that long path they have traveled. So, lets take a trip back to that Slim Shady EP. Before Dr. Dre and all the Interscope hype. Eminem was an ill White kid from the Detroit Area. Dude was spazzing at all the battles, he did work with artists over at Rawkus, the Outsidaz and he actually made his own way until he got the attention of one Andre Young. Now, through the years, Eminem has continued to represent all that is great (and probably horrible) in Hip-Hop, but he’s always done it lyrically and creatively. His Marshall Mathers LP can pretty much stand against any album in the Hip-Hop history and he’s got a pretty impressive catalog. video platformvideo managementvideo solutionsfree video player Busta Rhymes Now, Busta Rhymes is a bit of a different dude on this list. I typically gauge rappers off of their albums, but with Busta, I don’t. I look at him as the master of “showing up.” I don’t think you can name an appearance that Busta showed up to and didn’t kill it. You can put him on just about any track, from any region with any tempo and he’s going to kill it. Now, that’s what being an emcee is all about. Furthermore, it is highly likely that Busta is going to steal the show – and I mean the live show. The other part about Busta I want to mention is that he’s always been a larger than life character, from his personality to his clothing to his musical style. Furthermore, Busta has managed to stay relevant for so long that it puts him in the same world as other greats like Jay, Nas and LL Cool J. THE SIDE BAR…. Shout out to Scarface. Shout out to Big Pun. Shout out to Will Smith. Shout out to Ghostface. Shout out to Andre 3000. Shout out to Hip-Hop.

When Lupus silenced J. Dilla on February 10, 2006, Hip-Hop lost one of its most influential, yet, highly underrated producer/rappers. Often called, “Your favorite producer’s, favorite producer,” James Yancey was a product of his environment. His mother, Maureen Yancey, has recounted often how a three year old Dilla would sit at his little record player listening to James Brown over and over again. His innovation as a crate digger and affinity for making old songs new again led to Dilla’s status as one of the most gifted sample using producers in the game. His latest posthumous album, Jay Stay Paid is the brainchild of Maureen “Ma Dukes” Yancey and legendary producer and close Dilla associate, Pete Rock. Largely instrumental with unreleased tracks, the album also features sporadic songs with vocals from Lil’ Fame of MOP, Black Thought, DOOM, Havoc of Mobb Deep, Raekwon, and Detroiter’s Danny Brown, Phat Kat and Frank Nitty of Frank ‘n’ Dank. The album is set up as a radio show, which is at times, distracting. However, the saving grace of the “KJay FM” style is that it also features snippets of an actual J. Dilla radio interview. On “Blood Sport”, Lil’ Fame goes hard with lines like, “Now ante up b***h and pay Dilla,” shouting out Detroit using the city’s classic greeting, “What Up, Doe.” Despite the fact that many of the tracks on Jay Stay Paid are many years old, the album does not sound dated in any way. In fact, Dilla fans and Hip-Hop enthusiasts will enjoy guessing which years the tracks were created based on how they sound in comparison to other previously released tracks. His younger brother, Illa J, who is 12 years younger than his legendary brother boasts on “See That Boy Fly,” that “the beat stay banging and it’s 12 years older than yo’ s###.” Black Thought dumbs out on “Reality Check,” easily the best song on the album which name checks reality tv shows and the fans who watch them, “Watching “Cribs” looking at s### she never gon’ get/ “America’s Best Dance Moves” she tryin’ to do the steps/ ‘Bout to do her like Beyonce and tell her to the left/Truth be told, she ‘bout to television me to death.” The album also introduces to an international audience Detroit rapper, Danny Brown, whose first album; Hot Soup made him a local sensation. On “Dilla Bot vs. The Hybrid”, Brown uses the braggadocio lyrical prowess that Detroit rappers are known for, “F**k with Brown, dog I show you where the drama is/ Swear it might be easier to snatch Obama kids.” Raised in Conant Gardens, a historic neighborhood in Detroit, Dilla was a founding member of Slum Village and a member of the hip-hop production collective known as The Ummah, which was founded in 1995 and created classic songs for A Tribe Called Quest, The Brand New Heavies, Janet Jackson and more. Jay Stay Paid (J$P) is a heartfelt collection of remains a wealth of unreleased material and further testimony to his legacy. Since his death, innumerable parties, mixtapes and other dedications have taken place to raise awareness of J. Dilla’s music as well as to pay his medical expenses, which were estimated at a quarter of a million dollars. Further, his passing has raised awareness of Lupus, a chronic autoimmune disease that both Dilla and his mother suffer from. Three years after his death, it’s possible that more he is gaining more fans in death than he had in life. His passing left a hole in the heart of Hip-Hop and hopefully his legacy will shine on. Furthermore, hopefully this will help take care of his mother’s health since Dilla’s mother is taking care of Hip-Hop with this excellent work of art, Jay Stay Paid.

VIDEO BATTLE OF THE WEEK This week’s video battle is a serious scrap indeed – a battle royale. Don’t sleep on any of these artists, because each has something special in the world of Hip-Hop. Here are the combatants: Kanye West’s “Paranoid” VS Fabolous featuring The Dream’s “Throw It In The Bag” VS Killer Mike’s “My Chrome” VS Mully Man’s “I Go Harder” Kanye West has yet another single for his 808s & Heartbreak, but with the video for “Paranoid,” there is a tremendous twist. Fabolous has been away for too long, but he’s fully ready to step up and reclaim his spot. While T.I. is away, there are several people that can hold down Grand Hustle, but your best bet is on Killer Mike. Lastly, there is Mully Man, one of the reasons the scene is Baltimore is so vibrant and alive. “Ding-Ding” – Lets get ready to rumble! Kanye West – “Paranoid” Kanye West has been very vocal that this crystal clear version of “Paranoid” is not the official version. In fact, it was some how leaked to the internet. Nevertheless, the video presents a very artistic look aesthetically in stark contrast with your typical rap video. But, nothing about Kanye is typical and this is hardly a rap video. Still, it is Mr. West and Rihanna is the real star of “Paranoid.” video platform video management video solutions free video player Fabolous featuring The Dream – “Throw It In The Bag” “Throw It In The Bag” is a slick, well-produced video that highlights all of the things regular people cannot afford in or outside a recession. But, like most music videos, people indulge for the fantasy – not reality. So, watching Fab and The Dream stalk ladies as they shop. Somehow, the FBI enters the video, by way of the subplot. Perhaps this one isn’t as much fiction as previously thought. video platform video management video solutions free video player Killer Mike featuring Big Boi – “My Chrome” This 2005 lost gem is from Big Killa before his “fired his boss” Big Boi of Outkast. The song is interesting, because it offers a club-ish feel, yet also presents some of the coarseness many desperately want to see in danceable Hip-Hop. One the flip side, “My Chrome” definitely displays the cohesion that Big Boi and Killer Mike had to offer. This video is good reason to get back together, even for a song. video platform video management video solutions free video player Mully Man – “I Go Harder” Somebody better give Baltimore some shine or they are likely to steal it from their neighbors. Mully Man’s video exudes pure hunger and angst. The video is fast-paced and lyrically Mully Man is in his own lane, which is a good thing. What is interesting is both Grand Master Melle Mel and Bizzy Bee cameo in this video. Having a pair of pioneers co-sign him is a good look for the young Mully Man. Frenzied and fresh, peep “I Go Harder.” video platform video management video solutions free video player Time to VOTE! DiscussionsView Results

Shawnna loves Hip-Hop is ways the voyeur cannot fathom. So naturally she is concerned about pinpointing her Top 5 favorite rap artists. “So I check ya’ll out all the time. I’m like on AllHipHop like everyday. And I was just looking at that Top 5, I think ya’ll did Nicki Minaj’s Top 5. It was like so many [reader] comments about her list. It’s like, that was her opinion. Why can’t people just respect that?” she says vigorously. “What do you mean, like Top 5 lyricists? Or Top 5 rappers? Now are we talking before the bling, or are we talking after the bling?” When she talks about her favorite rappers, she goes every which way and feels remorse when she is unable to include certain artists. So, she genuinely wants to include every sector of Hip-Hop, including old School, New School, East, West, South, Mid-West, male and female. If there are others, she wants to include those too. Shawnna was assured that, while she pointed out her Top 5 Dead or Alive, we’d give props to her other favorites as well. Note: the names in bold are her absolute Top 5. This is a bit erratic, but totally fun. Shawnna just loves Hip-Hop. RAKIM Shawnna: Definitely Rakim. Definitely Rakim. AllHipHop.com: What about Rakim do you like? Shawnna: Everything. Every song that he did. “Microphone Fiend,” “Move the Crowd” – everything he did was just lyrical. Everything. I mean he never stopped and then his delivery- his delivery stays the same, he never changed no matter what. And you know two turntables and a mic- that’s the birth of it you know. And I think Rakim embodies that. KRS-ONE Shawnna: I love KRS-One because of his positivity you know. Regardless of how many new rappers or old rappers come along, we need artist like KRS-One. It shows that we do have a mind frame, that we are educated. We need artists like that. So I say Rakim, then KRS-One, and then… I have to give my middle slot to a female. I have to put a female in it. I wouldn’t be right if I didn’t. Okay, let me see who is my most influential female? I mean I go back to Monie Love you know. It hurts to not even put them in the category… AllHipHop.com: I’ll mention them for you. Shawnna: Thank You! Of my time, my most influential woman was Lauryn. LAURYN HILL Shawnna: I have to because she can sing, she was positive, she wasn’t afraid to go there, she even changed her look- she didn’t blonde her hair, she never pulled her t###### or her ass out because people felt like that’s what she had to do. She got on and off off of her lyricism and that is it. Her personality, her charisma, and I applaud her for that. For real. I look up to that so much. BLACK THOUGHT Shawnna: So then after… I have to go with Black Thought. I have to go with Black Thought because- AllHipHop.com: Nice! I have to give you props for that! Shawnna: Thank you! I have to go with Black Thought because you know he’s where I came from. When I was a shorty and I was on the Lyricist Lounge tour- The Roots was on it also, and he really pulled me to the side and was like “You really have something. What you’re doing…”. You know I can’t remember the exact words you know it was so long ago- you know Lyricist Lounge was like what ’98 ’99? But I had looked up to him. I had already been hearing him and then when he gripped the mic and the music came on it was like “Awwww.” So for him to pull me to the side and was like- I knew exactly who he was, you know he tried to talk like I didn’t know who he was. And when he said it I was like “No, I’m really going to be respected”. So yeah I have to go with Black Thought, I have to go with Black Thought. That’s Rakim, KRS-One, Lauryn, and Black Thought. Shawnna: And then for my fifth- wow. My fifth… I have to go with- Oh it’s so many! Oh it’s so many, oh it’s so many, it’s so many. Because I mean now I’m going updated. I’m going into “right now,” who’s giving it to me right now in the past five years, and right now for me it’s between like- don’t you remember Ras Kass? AllHipHop.com: Of course. Shawnna: Let’s see who’s giving it now. S### I have so many, I have so many. It’s so many that I want to give my best one to. Let me think right now. Who’s giving it to em’ right now lyrically like… You know, I f**k with Jadakiss – I’m sorry. Jada and Sheek. Like mother f***ers sleep so hard on Sheek Louch, it’s stupid. AllHipHop.com: Yeah, you’re right. Shawnna: You know they so sleep on him. People was like “What? Huh? Why?” but they sleep on him, that’s why you know. Almost…made the list! AllHipHop.com: Right, right. So Jada and Sheek? Or are you still thinking? Shawnna: Yeah I have to go with Jada- I have to. I cannot leave my man out of my list. But it’s like people are going to be like “How could you put Jada and you didn’t put Biggie and Pac” you know what I’m saying. So… AllHipHop.com: Oh, don’t worry about that. Shawnna: I’m not worried about it, but I just really want people to understand where I’m coming from. It’s like so many different categories of it, but at the end of the day, I’m a lyricist, and that’s what Jada is. He’s just not a rapper to me. Jada can go with some of the heavies and keep going. AllHipHop.com: And he has. I mean you have to look at it. He’s been down with everybody from DMX, to […]

VIDEO BATTLE OF THE WEEK: D-Block’s “Get That Paper” VS Rick Ross’ “Cigar Music” This week’s battle is between a pair of Hip-Hop Heavies: Rick Ross and D-Block aka The Lox. Rick Ross has been a lightening rod of controversy for the past year or so, but the quality of the actual music speaks volumes. Jadakiss, Styles and Sheek have been the illest of the ill in Hip-Hop and continue to be with over 10 years in the game. Rick Ross – “Cigar Music” Stylistically, Ross took the real Hip-Hop gritty route on “Cigar Music,” which isn’t even on his newest album Deeper Than Rap. Looks like the “Bawse” recorded a second video in Colombia when he shot “All I Really Want,” in Medellin. You can see the grit of the city and get a glimpse into the life of Rick Ross and his crew. The Bawse on a motorbike? Little Colobian kids? The streets? Melodic beats and hooks? It’s right here. Check out “Cigar Music.” video platform video management video solutions free video player D-Block “Get That Paper” Ain’t no party like a D-Block party, because a D-Block party don’t stop! And that’s exactly what The Lox decided to bring to the table on their new song, “Get That Paper.” D-Block take their thing to Brooklyn, where they recreate a video from the late, great Biggie Smalls. “Get That Paper”is a departure from the rugged and raw mantra that has followed D-Block for the majority of their tenor. The guys are in rare form here, lyrically and musically. Their upcoming album is called No Security, but the crew is very secure with this one. Check out “Get That Paper.” video platform video management video solutions free video player Discussions View Results

“It’s been a long time, I shouldn’t have left you, without a strong rhyme to step to.” – Rakim The art of the comeback is a time-honored tradition of Hip-Hop—a rarely perfected rite of passage for artists aspiring to attain immortality. Eminem is fresh off a four-year hiatus, a sabbatical that has included an acute drug addiction and the loss of his best friend and mentor Proof. The Detroit native has seen more highs and lows in the last 15 years than the United States economy, but now he forges his own version of the Hip-Hop comeback with his fifth album Relapse. The ominous piano on “3am” is the perfect reintroduction to Slim Shady’s twisted world. Five minutes of breathtaking word play and imagery so graphic it would make Stephen King blush should placate any doubts as to whether or not Eminem still ‘has it.’Through his trademark dark humor, Eminem’s “Insane” depicts stories of a child being sexually abused by his stepfather. And the uncomfortable laughter ensues on “Same Song & Dance” which details the artist’s “kidnapping” and “murder” of Lindsay Lohan and career Shady target, Britney Spears. The album is not without its faults, however. The Dr. Dre featured “Old Time Sake” is the kind of hokey-chorused dribble we’ve heard from the pair far too many times and “Must Be the Ganja” seems a little tame after 11 tracks of prescription drug musings. Eminem recovers with the self-aware “Déjà vu” and the tear-jerking “Beautiful.” On the latter, Em lets us inside his mind. “I don’t know how or why or when I ended up in this position I’m in I’m starting to feel distant again, so I decided just to pick this pen/ up and try to make an attempt to vent but I just can’t admit or come to grips with the fact that I may be done with rap, I need a new outlet.” It is moving stuff. And therein lies the problem with Relapse. While it’s a truly enjoyable listen from beginning to end, it’s slightly unbalanced. The exclusion of a couple of Slim Shady’s murderous flow-fests in favor of more heart-wrenching reflective gems could’ve have made Relapse the perfect album Marshall has yet to craft.The beauty of Relapse is the fusion of Eminem’s styles from his four previous albums. The evolved wordplay and borderline horrorcore imagery of the Slim Shady LP, the pop-star-bashing and pill-popping banter of the Marshall Mathers LP, the soul-bearing honesty and precise flow found on The Eminem Show, and the playful accents Em dabbled in on Encore are all encompassed. With Relapse, Eminem has reminded listeners what captivated them about him 10 years ago and what held their attention for the subsequent six years. The vibe is fresh yet nostalgic—the ideal arrangement for a successful comeback. Em’s new album is a potent product, its time we all relapse.

In Hip-Hop the battles take place on all different fronts and with the advent of the internet, technology and the barriers of entry are next to nil. So, AllHipHip.com has introduced a new regular feature to the site, one that pits two or more video against each other. The Ill Community and the readers with decide which video will be victorious. 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. This week, we’ve selected three new videos that all have very different audio and visual aesthetics. First up: PAGE – “I’m Still Fly” Page is a Toronto-based rapper that has quickly moved on the Hip-Hop radar, in part due to his collaboration with Drake. But, as a lyricist Page can stand alone and his video supports that notion. The video, directed by the famed Little X, is an aural escape from the norm as Page and Drake float high above the sky amongst the clouds. The video is prefaced with a cool, cartoon skit. Check out Page. video platform video management video solutions free video player GLASSES MALONE – “60 Million Dollar Flow” The Cali statesman Glasses Malone kidnaps Hip-Hop and brings it back over to the west with “60 Million Dollar Flow.” The song is straight off the soundtrack to the Benny Boom movie “Next Day Air.” The move is spliced between frentic shots of G. Malone’s raspy spitting. video platform video management video solutions free video player MOST DEF – “Casa Bey – The Ecstatic” Last, but certainly not least is the mighty Mos Def, a rapper than always challenges the art of Hip-Hop. This song is free and formless and so is the video. The camera shot is very closely cropped to Mos’ face as he raps and sings to the ever-changing instrumental. This is a must-see, must-hear video. video platform video management video solutions free video player TIME TO VOTE! Which rapper offered the overall best video, in your view? Discussions View Results

I haven’t done one of these in a while. Been busy with a few things here and there. But out of love for you guys, and these two album s, which both turn 15 this year, I decided to dust off the Classic Clash for a bit of spring cleaning.I also wanted to introduce someone to you who is a terrific writer, which unfortunately in the Hip-Hop space is becoming few and far between. She’s written editorials here before that you’ve either hated or loved but that’s the point of writing to a certain degree: reaction. Shelby asked me if she could take a crack at this one, and despite the control freak that I am I relented. I think she nailed it.  You know I don’t cosign crap. Hope you enjoy. Classic Clashes. Illmatic vs. Ready to Die.-ODAt the beginning of 1994, Hip Hop was immersed in the slow, rhythmic thump of G-funk. California was enjoying its status as the home of rap royalty. Dr. Dre’s synth-heavy style continued to waft across the Mississippi to the birth place of the genre, leaving tracks from coast to coast. The East found itself on mainstream hiatus. However, by spring, the focus of the Hip Hop masses was wandering. By fall, King California was forced to give up his crown.   That year’s April showers were replaced by a hailstorm of rap re-invention as a young Nasir Jones dropped the seminal Illmatic on an unsuspecting Hip Hop community.  Then in September, the grandest street buzz ever generated in the history of Hip Hop morphed into a project more than worthy of it’s hype.  Notorious BIG released the classic Ready to Die.  It’s no secret 15 years later that this pair of fledgling emcees changed the Hip Hop landscape forever with their freshman offerings, but who made the biggest impact?   Ask any Hip Hop aficionado worth his weight in rhymes about Illmatic and you will receive a thesis complete with bar graphs and footnotes in return. The album is viewed by many as the definitive Hip Hop reference, the unabridged rap encyclopedia. Author Matthew Gesteier wrote of the album, “Stylistically, if every other Hip Hop record were destroyed, the entire genre could be reconstructed from this one album.” Critics hailed Nas for his stark, evocative story telling and honest evaluation of the meaning of life through a jaded and cynical urban lens. The roster of producers was a who’s who in early 90’s beat making and its possible Illmatic holds some of Primo, Large Professor and Pete Rocks best work.  In the past decade and a half, this album has been deconstructed, reconstructed, mimicked and even used as the blueprint for lesser albums.  However, there are those who don’t believe Illmatic is the best Hip Hop album of all time.  They don’t even think it’s the best rap release of 1994.   As spring morphed into summer, BIG’s buzz was deafening.  The highly anticipated Ready to Die was moved from Uptown to an unknown Bad Boy and critics questioned BIG’s delivery in the process, suggesting he sounded paranoid and his high pitched vocals were hard on the ears. However, those question marks were erased once the album hit record store shelves in September.  The album was raw, harsh and abrasive; but in a good way.  BIG’s somewhat autobiographical story telling prowess was straightforward and his ability to paint an entire picture with just a few words was unparalleled.  The album darted in and out of mainstream traffic, making it a commercial success.  However, even with its eclectic mix of radio friendly joints and street anthems, the album held its course and delivered a clear picture of the upstarts life change from crime to rhyme. The production, handled primarily by Diddy and Easy Mo Bee with contributions from Premiere, Chucky Thompson, Poke and Lord Finesse is strong, but not overbearing.  Contending with a force like BIG made it almost impossible for any of the tracks to take the spotlight.  Reviewer Steve Juon wrote, “Biggie was the quintessential master of word play who could either scare you like Edgar Allen Poe or charm you like Cyrano de Bergerac.” To some, this is an understatement.   Both albums put realism on Front Street as the emcees tackled similar issues with a depth of thought that raised the Hip Hop bar to heights most other emcees still can’t reach.  While the thought patterns of the two young men were divergent, they both turned a spotlight on urban blight and gave their listeners perfectly crafted commentary that still rings true today.  But only one can wear the crown.  Did Nas steal California ’s scepter or was it Biggie? You be the judge. Ready To Die Illmatic Discussions View Results

Sometimes your expectations can be larger than reality. Sometimes when people project larger than life, it fizzles when you see it up close. The Roots have a reputation as the world’s greatest Hip-Hop band (with apologies to Stetsasonic), and as such when you are going to see them for the first time, in the rain, on a cooler than normal night, with the line is down the block, and the 11:30 show doesn’t even begin until 1 A.M., you can’t help but think to yourself, “these m*****s better be good.” I was in for the surprise of my Hip-Hop life.   After a spirited set by the Street Sweeper Social Club (feat. Boots Riley and Tom Morello), ?uestlove and the band finally took the stage. The show begins with the drum solo. Boom-Bap, Boom-Boom-Boom Bap.  A couple Tss Tss from the cymbals. Then ?uest is joined by a horn.  It’s a musical marriage for a few measures. Then Morello returns to the stage, guitar in tow for a threesome of rhythm.     The trio jams in a symphony of anarchy; the beautiful bump joins the force of the horn and merge with the rage of the guitar. It is at once kinetic, dynamic and devoid of Hip-Hop loop.  One way rhythm, in unison, assaulting our ears; a Radio Raheemian clash of love for noise and hate for convention. The trio became a quartet and the quartet grew into a full out jam session as the keys chime in and more guitars join in the orgy of melody. And we haven’t heard any words yet. This is not your father’s music. It’s its bastard son’s. Beautifully ugly. And then, there was Thought.   It’s clear who the star of the show is. Mr. Trotter is both a dominant presence and another blended instrument; Black Fonzy cool, silently holding court before pouncing into action. The Roots do a tremendous job of creating tension and anticipation musically and Black Thought took the stage at precisely the right moment.     Standing at 5’ 7”, Black doesn’t take up much space physically, but once he gets going he becomes the dominant instrument on stage.  Smooth and assertive in voice, and clear in projection and diction. It’s clear that he’s either performing or practicing constantly, because he weaves in and out of familiar rhymes with music behind him that is ever-changing and almost never the version we hear on the album.  That in itself is impressive, but more so is how in control of his pace and breath he is.  There is no pausing for a hype man to catch breath nor any lazily handing over of a song to the audience.  Black Thought is in possession and control of his own music.   The Roots as a band, and Black Thought in particular are masters of music, blending and beating the rhythm; ghetto romancing it, embracing and retreating.  It is raw passion. It is at once Bleek Gilliam’s wet dream and Shadow’s love affair: playing what they want and moving the crowd. Thought is as fluid as water flowing over stone, effortlessly adapting familiar standards to new interpolation.   Amanda Diva popped in for a guest appearance, as is convention for jam sessions. She went into a rhyme that was probably better than any flow I’ve heard from her previously. A solid performance, but on this night, it was little more than filler.   Then the real fun began. You would associate The Roots with groups of a similar aesthetic, so when you prepare for guests, you imagine Q-Tip, or Common or Kweli.  Not this time, Jack. Buckshot took the stage along with General Steele and Heltah Skeltah for that classic Brooklyn grit over a full band. The crowd went bonkers, and it was just the sort of surprise that takes a Hip-Hop show to that “yoooo son you missed it” level.   Following the Boot Camp beat down, Roots affiliate Dice Raw took to the stage to continue his assault with back and forth gymnastics between himself and Thought. They did a rendition of “The Lesson” from the classic Do You Want More? that totally abandoned the beat-boxed bang of the original to the point where it was almost unrecognizable.  But that was a good thing. It was a reflection of improvisation that is rarely display in these days of prewritten freestyles.   Let me say this. I have seen many Hip-Hop shows, in many venues, and I have seen many performances, but I would have to say that this was the most riveting Hip-Hop related show I have ever witnessed. It was the exact opposite of any show you have ever seen. The DJ took a back seat to the instrumentation. The MC knew all his words and you could hear them clearly, and he didn’t depend on you to fill in the gaps. No hype man and not one person on stage that didn’t have a purpose.  It’s everything that Hip-Hop should aspire to be musically.   Black Thought is MC of the highest order and he’s even better on stage than on wax. ?uestlove leads a musical ensemble cast that is devoid of ego and perfectly fused and determined to play as one.  If you get the chance, you should go see The Roots live. It will be an education in music, a great show, and you will certainly get your money’s worth.      

8/10 Hip-Hop fusion at its finest, The Grouch and Eligh, both of Living Legends, crossbreed genres while meshing together their signature lyrical fluidity on their latest album, Say G&E! (Legendary Music). From a banging beat you can’t shake from your head to a bluesy country track you’ll vibe to, The Grouch and Eligh will have you hanging on their every word. The duo kicks off spoken word style and quickly speed up the pace on the album’s anthem “Say G&E.” The Grouch and Eligh are no strangers to pushing the limit and they do exactly that on “Push On (Push Up).” The Grouch’s verbiage lures the ear while Eligh’s verbal quickness makes the head spin. “Me and my boys had a ploy to make some noise / Underground, invisible, but not unheard our words destroy.” Inevitably, the duo does get political on “Worried About The World.” Eligh’s Rap style is very similar to Andre3000, but his lyricism is beyond intelligent. “Captain America dug a burial plot / And you gonna end up in that motherf***er ready or not / If you’re standing in between his riches get out the way.” With a maturity rarely seen in Hip-Hop, the duo delves into the topic of drugs and abuse on “Denial.” “You found a path off the track and you followed that / And now you lack what you had; I can’t swallow that / You were my friend to the end and now you’re hollowed out.” Not always so serious, The Grouch and Eligh let loose on the Amp Live produced track “!BOOM!” Just as easy as it is to have fun, Grouch and Eligh smoothly transition from synthesized beats to crooning on smooth R&B tracks like “Do It Again” and “No Flowers” to rapping over classical Hip-Hop production on “Rivers Run Dry” and “Comin’ Up.” There’s not a genre of music that this duo is afraid to touch – “All In” is a successful blend of Hip-Hop’s wordplay and a country twang. Say G&E! is a fresh sound to today’s Hip-Hop as The Grouch and Eligh cross lines and dabble in experimentation, all the while with tight lyrics that complete the album’s innovative focus. Grouch & Eli “Say G&E”

Welcome to the Mike Jones edition of of AllHipHop.com’s Top 5 Dead or Alive, a reoccurring series. Mike Jones has given the world his phone number, email address and all other contact information, but he hasn’t given his Top 5 rappers. Mike wanted people to be clear that his list is just that – HIS. “Honestly, personally this is Mike Jones personal Top 5, I don’t want anyone saying, ‘Oh Mike Jones don’t know what he’s talking about,” the Houston rapper said. His sophomore album The Voice, which features the single “Swagga Right”, was recently released to stores, but like Slim Thug, he’s already platinum. Here is Top 5 Dead or Alive: Mike Jones. Notorious B.I.G. “Number one, I’m going to have to go with Biggie. The reason why I go with Biggie; I know people are going to say Pac over Biggie and all that, but that’s a debate that can forever go on. Everyone has their personal opinion of why they like each individual. I love them both; it’s a hard decision. I like Biggie because he had similar things that he went through at the bottom coming to the top like I did.” “He let people know off the gate his downfall, he let people know that he dropped out of school and people considered him a fool. Now they’re misled; now they looking at him like this. He went from Nintendo’s to not having none to whatever he wants. He went from being thirsty and now he’s popping champagne. It was a before and after, negative positive. Anybody can do it, “fat, black, ugly as ever, however; I stay Gucci down to the socks.” Like, you ain’t going to stop my swag, I don’t care if I have four bullet wounds right here; I’m still going to rock this Gucci. That’s how Biggie let it be known on “Juicy,” that was my favorite record.” Tupac Shakur “Second, it has to be Tupac because they’re right there with each other. Tupac, he just let it be known, “Dear Mama,” he just let it be known. Both of those artists had nothing to hide when it came to expressing how they felt musically. They had the type of audience core foundation, so when they said something people heard it. Like when Tupac, he’s the only person if everybody said it wasn’t cool to do “Dear Mama,” Tupac’s going to do a ‘Dear Mama’ and get a pass, he’s the only one that’s going to get that pass.” “Trend setting, I don’t just sign on people’s lyrics; I’m looking at how is he able to transition or change Hip-Hop. When people are saying it’s not cool to do it, Tupac is coming out here, same thing! Everybody else says b***h, b***h, b***h, they tripping, but then Tupac come and say ‘Wonder why they call you a b***h?’ He ain’t calling you one; he’s just letting you know the reasons why they could call you that. Then when people heard, they’re ‘Like oh okay yeah like Pac said [it]’ and roll off that. So I have to give him that!” Jay-Z “Number three, I have to go with Jay-Z. From when everything was going down to where it’s a new [era] in Hip-Hop and he still is relevant; that’s important because stuff change in and out. He’s still not only relevant but he’s still making more revenue than a person that is the main person in the game at the time, from a business point of view.” “You might have a Young Bug [fictional rap name] who might be the hottest thing smoking, but Jay-Z still pulled in $90 million in one year. How you do that and you ain’t a Young Bug? You feel what I’m saying? You would think that Young Bug would have brought that in because all of the talk is on him, but Jay pulled in more than him and he’s away from the camera sitting down. So you got to respect that, feel me, then you got a female [Beyonce] who’s bringing in the same thing as you! My hat of to you, homie!” T.I. “Number four, I ain’t going to lie; I got to go with Tip. He is like the young spokesman for d-boys-slash-you can still clean it up and make a better way for yourself. That’s the Tip-slash-T.I., he’s showing you both sides are true. It’s showing you I’m representing, I’m doing all this, I’m looking at this, he still can smooth, casual, switch it up and get a pass; that’s something that everybody can’t do neither. That’s why you’ve got to take your hat off to him.” Lil Wayne “You got to give the other one to Wayne. Wayne just came out of nowhere, I mean he’s been doing it from Hot Boys on, but he reinvented himself. Then while he was already doing his thing, it went from dreads, the guitar, he’s already putting the mastermind together. Y’all don’t really understand what he’s doing. In a minute, they’re going to understand, by the time people started understanding and catching to what he was doing, he was already out of here. He’s on a Rock album right now that people don’t really understand, but in time, people understand.” “That’s what I learned in this game, from me giving the number, to him doing something that a lot of people ain’t understanding. A lot of people are behind. If it ain’t happening right now in their eyes, it ain’t it, you feel what I‘m saying. You got to have someone that takes that step out; you know what I’m going to try. So if it don’t work, it just don’t work; you got to have people that do that because if you don’t then we all following each other. Somebody’s got to take the lead! Sometimes it pays off big and sometimes it lose, anything is a gamble. Those five people are not only who are relevant right now, but have […]

Rick Ross is pensive. “A lot of time when artists get this question asked to them, its not really fair because you have to take in 20 years of the best music and you only have a few seconds to answer a question. So a lot of times, you think…me, I just stick to my formula and the people that influenced me.” – Rick Ross The Miami rapper has risen from his early days as a rapper with Trina and Erick Sermon to one of Hip-Hop’s reigning magistrates. Still, he’s a bit apprehensive about naming his Top 5 rap artists as he sits in a huge conference room at Def Jam Records in Manhattan. Well, Ross did the same as this author: complied a list of the Hip-Hop icons that had the most influence on his life growing up in Carol City, Florida, of Miami. The list is wide and varies greatly. The self-proclaimed BAWSE even takes time to send some parting shots to his adversary 50 Cent. Luke Skywalker Rick Ross: Number 5 is Luke Skywalker. He was one of the first dudes to have his own label, have his own distribution, be independent, own his masters and he did this out the gate. Pressing his vinyl in the back of his club and I respected that. I saluted Luke. AllHipHop.com: He was very rebellious too. Rick Ross: I love people that are rebellious and call people monkeys and all that…uh…and Curly’s a monkey. Big Daddy Kane Rick Ross: Then I’ma go to Number. 4 and that’s Big Daddy Kane. That’s when I understood what fashion was. That was the first fly dude in rap, to me. I remember I cut school one day and went to the local game room, where they play videos on the monitors. And I remember this girl, she had on biker shorts. Back in the day, I was a kid…she was older. I just looked at her like, “Wow.” I always remember the facial expression she made when “The Symphony” came on and Big Daddy Kane… I looked at her and I’m looking at her in the shorts. Then, I’m looking at the video [on the TV] like “What the f**k.” And I made that connection. I started growing my flattop that day. AllHipHop.com: What about his rapid-fire flow? You can rap fast too and a lot of people don’t acknowledge that. Rick Ross: I got different flows and that’s what I love the most about these new projects, because I’m showing them something different, something that’s not common coming from the South. I’m just competing for the throne. Ice Cube Rick Ross: My number 3 emcee would be Ice Cube. I always admired Ice Cube, I always loved him. I think I loved him more when he dissed NWA. AllHipHop.com: Why? Rick Ross: Just for the sport and the game. Its like when I was sitting there listening to it, if course I didn’t think Mc Ren was going to get a gun and go kill [Ice Cube]. But just for him to drop “No Vaseline.” Just for him to feel like he wasn’t being compensated properly and say, “F**k NWA” and broke off and came to New York and recorded his whole album in New York. A lot of people don’t know that. That’s what made me admire Ice Cube and nine times out of 10 interviews I do, I say his name. That’s the legend that I always admired. Me being infused with people, I felt that was destined for me anyway. I just wanted to pick the biggest monkey. “I don’t just want half of the pizza. You ate enough slices – beat it. When I make my business movies – Ted Lucas, CEO of Slip-N-Slide Records – on a personal note, I got nothing but love for him. But on a business note, you can’t eat no more pizza. It’s all my pizza.” AllHipHop.com: Do you relate to Cube as you have broken off from Slip-N-Slide Records at all? Rick Ross: It’s kinda like that. But, I look at it like, its me growing as a boss. I want to eat more. I don’t just want half of the pizza. You ate enough slices – beat it. I want more of the pizza. And I feel like if I wasn’t raised that way, I wouldn’t be the boss or they wouldn’t have taught me properly. When I make my business movies – Ted Lucas, CEO of Slip-N-Slide Records – on a personal note, I got nothing but love for him. But on a business note, you can’t eat no more pizza. It’s all my pizza. Go make another pizza. That’s just me being an executive, me being a boss. That’s what I try to push upon my homies that I do business with. Don’t settle for less. Everyday make some s**t so hot that people gotta bring more to the table. Tied for 1 – the Notorious B.I.G. and Tupac Rick Ross: Ice Cube is number 3…coming in at Number 2 is Tupac Shakur. But, I feel like Tupac and Biggie is a tie. But, the reason why I put Pac first [in the line], because he released over 10 projects and B.I.G. did what he did with two really. I feel like they were both icons, the both pushed the envelope as far as flows. I felt like when other dudes in New York was rappin’ hard, trying hard, B.I.G. came, “Like trees to branches, cliffs to avalanches, it’s the praying mantis..deep like the mind of Farrakhan…” He just made it so simple. That’s what made him appeal so much to the South. “I’ll never disrespect B.I.G. Even though, I’m one of the first to admit my own game is to create my own vibe, but at the same time emulate the greats.” Rick Ross: If you look at Texas culture, they sip lean –the chill. In Miami, we burn green. When the music is a little […]

It is truly a White man’s world, but White artists are largely unrepresented as rappers in Hip-Hop. Sure there were acts like the Beastie Boys and 3rd Base, but that was the 80’s and early 90’s. A scrawny Detroit MC emerged in 1998 with a dirty mouth and a knack for tongue-twisting wordplay shattered the “ Vanilla Ice” stigma with his controversial bars and the chart topping albums that soon followed. Eminem changed the game; or did he? In the 11 years since Em’s entrance not one light-skinned wordsmith has achieved mainstream success. Enter Asher Roth, another scrawny White rapper with a vocal quality close to that of his multi-platinum forerunner. Despite a likeness in voice and skin tone, Asher manages to create his own lane with his debut, Asleep in the Bread Aisle. The album begins with the neck-breaking thumper “Lark On My Go-Kart.” Asher rides the break-beat and guitar-laden banger flawlessly putting naysayers on blast with his clever wordplay. “Me and Teddy Ruxpin stirring up a ruckus/ egging all the houses, smashing all the pumpkins/ Suck a d**k, butt kiss…” Regardless of the clear Slim Shady influence, the display is impressive and sets the tone for other lyrical onslaughts like the album highlight “Sour Patch Kids.” Asher wins again with the summer-ready “Be By Myself” featuring the incredibly consistent Gnarles Barkley front man and Goodie Mob veteran Cee-Lo. The song’s PG-13 feel gives it a fun rock n roll vibe prevalent in the album. It is when this mood takes a turn for the cheesy that Asher begins to slip up. Songs like the laughable “Blunt Crusin’,” the Jazze Pha check chaser “Bad Day” and the unlistenable “She Don’t Wanna Man” are amateur concepts that seem more like bullet points in the Asher Roth college marketing scheme rather than songs on a debut album. Asher regains his artistry with the surprisingly soulful “His Dream” on-which he weaves a story of a father giving up own his own aspirations so that his child can realize his. Musically, Asleep in the Bread Aisle pushes boundaries with its rock-inspired production. Lyrically, there is no question that Asher Roth can rap. While the vocal similarities to his legendary pale predecessor are blatant and at times distracting, content-wise, Asher is quite different. While far from the classic project those close to the process were touting it, Asleep in the Bread Aisle is an admirable debut from a talented young artist searching for his own voice. No pun intended.

It’s cold in the D.  Lebron and the ‘bronettes are taking the not-so-bad boys to the woodshed. GM and Chrysler are facing evolution or extinction, and the job situation is not the best. On the Hip-Hop side of things, Detroit has a no fly zone, courtesy of Trick Trick  which has foreign rappers tucking their jewels. In addition Eminem, the former sure shot 8 mile megastar, has been shooting blanks as of late.In the midst of the coldest winter ever, momma Yancy’s younger son stands to stake his claim in the Hip-Hop game. Known more for spitting than spinning. Illa J prepares to put the world on notice that Detroit is more than just a slum village. We interrupted his regularly scheduled travels to ask him his top 5 dead or alive emcees. Straight with no chaser. Biggie-One of the great things about different songwriters and writers is rhythm. Rhythm plays a big part in bringing emotion to a song and really getting people in to a song. He definitely had a really good understanding of rhythm because of how he places his lyrics in different pockets of the beat  and how he would use words and lay his words to bring that extra feeling to it and you really felt what he was saying and he really painted a picture   Common-because a lot of people even people that’s on Common now, they know Common out now but people don’t know Common been in the game for a minute and don’t get it twisted, Common will rip you on the mic. Common got mad skills. He’s super funky with it and definitely one of the top mcs.   Busta– Because he can switch it up in so many different ways. He can rap on a slow track; He can rap on a really fast track. He’s really good with switching up his styles. Just the energy. As soon as the track comes on, he has automatic presence. Like in music, some people can sing and some people can’t sing. But at the end of the day sometimes even that person that can sing, they may not be able to sing as good as the next person but they have that “it” factor. Not to bring singing into the emcee factor but Busta he got that presence as soon as he raps on a track.   J-Dilla – I know a few people will probably have problems with this but one of my favorite emcees was actually my brother, J DIlla. A lot of people always look at him first as a producer, but to me he was a really ill emcee. One of my favorite things about his emceeing was that he was so for real. He just said whatever was on his mind and he didn’t really care if people liked it or not.  Like, “this is how I do it, and that’s it.” You just gonna like it or not. That’s where I got the rawness o f my writing a little bit and how my brother would tell me you could say whatever you want to say, it’s all how you deliver it.   Eminem-Last part of my list I want to give that up to Eminem. It’s hard to explain, he’s just on a whole ‘nother planet with that emcee thing. He’s definitely one of my favorite emcees of all-time. Rhythmically, lyrically , voice-wise, presence on a record, he’s definitely on his own level in the emceeing department fa’ sho’. Side Bar:When he’s not top fiving it or working on albums, Illa J pursues other interests. “Right now I’m working on a secret project that I can’t really get into yet but I can tell you that involves me singing.”  Illa J also studies music theory and teaches himself how to play instruments (piano, bass guitar, etc) Outside of music – “I’m really into action movies. After watching them, I get inspired and head into the studio to do a track.  Bruce Lee movies are my favorite.”

The hip-hop industry has had quite a drought in estrogen as of late. Remy Martin is locked up, Foxy Brown has had her fair share of issues, Eve crossed over into acting and never came back, and Kim is busy dancin’ with the “stars.” But Southside Jamaica, Queens looks like it has a cloudy forecast, and just may be providing us with the rain to end the drought….in the form of Young Money Entertainment’s Nicki Minaj. At 23, this female emcee already holds the coveted “first lady” position on the label of one of the music industry’s biggest stars, Lil Wayne. So what’s all the hype about? Minaj has been honing her skills for years. An alumnus of the famous performing arts high school of FAME notoriety, Nicki is actually not only a skilled rapper, but trained in writing, acting and singing as well. Lending vocals to local acts in her Queens neighborhood garnered the attention of popular DVD magazine The Come Up, providing Nicki with the now infamous segment that caught Lil Wayne’s attention. He quickly courted her to be the only female representer of his Young Money imprint in 2007, and two whirl-wind years later, nearly every record company now has a bid in to this femcee. With a brand new mixtape, Beam Me Up Scotty, just released, a successful run on Wayne’s I AM Music tour under her belt, and two critically acclaimed mixtapes, Playtime is Over and Sucka Free in the bag…is it safe to say Nicki Minaj is hip-hop’s next big thing? You decide. And while you do, you can read the influences behind the raptress that has the industry buzzing. Lil Wayne “His creativity is I just think really unmatched. I think his ability to stand out in a crowd is unmatched. And I think that he’s one of the only people that still have fun. You know Wayne can say the hottest lines but he’s still having fun with those lines. He’ll make you laugh; he can make you angry wit his raps, he can make you cry. But he’s very versatile I feel. He does the singing and all that stuff and he’s the only one that’s not afraid to venture out and try new things. I think that’s dope.” Jay-Z “His swag. I don’t think anyone in the WORLD has more swag than Jay. He also is another one that I felt is really, really creative. But I think with Jay he kind of always played his role. Never tried to be someone else, never tried to do anything else but just be Jay-Z…and it works really well for him. His lyrics are incredible and you know I think he did a great job to put New York on the map.” Jadakiss “I think Jadakiss is the most consistent with punchlines. And me being an underground rapper, I feel it’s very important to kind of have everybody going ooh! You know every other line when you listen to a Jadakiss rap you’re going to be like ‘ooh did he just say that?!’ You know, he knows how smart he is with his raps and I think he’s a good indicator that rappers are very intelligent people. Just putting poetry to music and making it happen.” Lauryn Hill “I think Lauryn Hill is like a goddess. I love her. She was the first person that did the rap/singing thing and everything was so authentic. When you listen to her sing you don’t feel like this is a rapper trying to sing or when you listen to her rap you don’t feel like it’s a singer trying to rap. She just does her thing and she’s always so knowledgeable and eye opening with her lyrics that you got to give it to Lauryn.” Remy Martin, Foxy Brown and Lil Kim “Remy, Foxy and Kim are tied for the 5th slot. Remy’s just a beast, Foxy has impeccable timing and a delivery to die for, Kim is the pioneer for my generation. She’s the trend setter. She’s the Queen Bee. THE SIDEBAR Nicki explains why she should be considered for the Top 5 Dead or Alive: “Then there’s a very special newcomer who I really think has been slept on but you know what? I really think this person is about to take the game by storm. This person has the swag, they have the punchlines, they have the fun aspect. They have the dope girl sound, the dope girl feel. Women love her, dudes love her….we got to give it up to Nicki Minaj!” She talks about what sort of deal she is looking for and the bidding war around her: “In regards to me being signed, let me just say thanks to all the record companies that have approached us with record deals. Just about everybody has placed their bids. But we have to do this special. I think it’s going to be a big statement, you know, for a black woman to get a catastrophic deal right now. I think we really need to put females back on the map. Females have been settling for horrible deals for so long and it’s a lose/lose situation because when they give you a horrible deal with no marketing budget and you have no way to promote yourself…you’re going to fail. So with the Nicki Minaj project, they have to step it up. They have to come big and we’re not doing anything if it’s less than big.”

      When Pimp C passed, Hip-Hop lost a legend. In the sort of irony that is only displayed in art, it happened the same day of the year Hip-Hop celebrates the birth of another, one time collaborator Jay-Z. Speculation ran rampant on who would be the next to fill the huge shoes of the rapper. Everyone wanted UGK to continue, people we simply wondering how the group would continue.   Bun B ended the speculation by stating that there would be one more album. Apparently, Pimp C had been in the studio, and there was enough to finish it. It was said that Bun B painstakingly made sure that the creation of this album would be a real album, something that Pimp C would be proud of, and would make their fans proud. In short, UGK 4 Life (Jive) is that album, and it’s enough for anyone who is a Hip-Hop fan to be proud of.   For anyone living under a rock, it wouldn’t be apparent that this album was released posthumously. The majority of the disc still feels fresh. “Feeling You” shows the versatility that both Bun B and Pimp C have when dealing with the Hip-Hop Ballad. Pimp’s harmonizing on the hook really sells the song. ”Harry A******” pops out from the track list and doesn’t disappoint. The production is frenzied, and it supports the vocals; UGK , Boosie, and Lil Webbie drop quality verses.   The guest spots are welcomed additions. Raheem Devaughn gives them a soulful backdrop on “Still On The Grind”. E-40, B-Legit, and 8 Ball go for broke on “Used To Be”. MJG steals the spotlight from the guest spots, much like on “You’re Everything” from II Trill. Too Short and Snoop Dogg keep things going on “Steal Your Mind”. These guests aren’t different than what any fan should be expecting, and they each play their roles well.   If there were a few dents in the armor, they would come from the times this effort feels unfinished. The single, “The Game’s Been Good To Me” comes to mind. “Texas Ave” makes you wonder what could have been. However, these moments are few and far between.   It’s obvious that when crafting this, Bun B had the best interests in mind for both fans and Pimp C’s legacy. He avoided the sappy rest in peace songs, and being solemn. If he decided to do that as a send off, no one would blame him. But fans know that wouldn’t be UGK, and in keeping UGK 4 Life as it is, an album fit for an Underground King. It is the best send off it could have possibly been; long live the Pimp.     UGK “Da Game Been Good To Me”