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“My Beautiful Dark Twisted Fantasy” Album Review

December 15, 2010 By Tom Leave a Comment

When mountain climbing, don't forget to bring your $300K chain and microphone

When I was three, I took a black piece of construction paper, drew a line down the middle with a white crayon and told my teacher I was finished with my art project. Fifteen years later, I saw the same piece of art, by a different artist, for sale in a Seattle art gallery for $15,000. The artist’s early works are entirely different from his current stuff. Instead of trendy modern pieces like the white-on-black I described, his first pieces are beautiful landscapes that are much more intricate than his current fare.

Now let’s talk about Kanye West.

Just a few years ago, Kanye was new on the scene with hits like “Through the Wire” and “Jesus Walks”. He rocked pink polos. He drank Cristal. He was a rapper.

Now, he shows up at the VMA’s wearing a $300,000 chain shaped like Horus with a matching pyramid style knuckle-ring. He wears a crown of thorns on the cover of Rolling Stone. There’s an entire episode of South Park dedicated to his douche-baggery.

So, how does his latest album “My Beautiful Dark Twisted Fantasy” fit into all of this? Well, in cases like these, it usually helps to check out the first track. “Dark Fantasy” sure as hell ain’t your typical rap. Sure, Ye talks about his “Murcielago”, his “bravado”, and “Chi-town where the Nines flow” but the hook sounds like a guest contribution from Queen with its epic chanting sound. In that regard, “Dark Fantasy” does a good job of setting up the rest of the album, which on the whole is pretty epic.

It’s undeniable that West’s increased celebrity has given him tons of pull when it comes to guest appearances but unlike his debut album “The College Dropout” in which guests were limited to hip-hop artists like Ludacris and Talib Kweli, “MBDTF” showcases the talents of artists from many genres. Among the stars: John Legend and Bon Iver. The third single from the album, which Ye described – in typical big-ego fashion -as being “completely seamless and completely ghetto as f***” has contributions from Rihanna, Alicia Keys, Elton John, Fergie, John Legend, The Dream, Tony Williams, Kid Cudi, Charlie Wilson, Ryan Leslie, and La Roux’s Elly Jackson. Keep in mind, all those people are on just one track out of the album’s thirteen.

West gets the album’s singles out of the way early with “Power”, “Monster” and “All Of the Lights” coming within the first six tracks. For those searching for the Kanye of old, look no further than these three cuts. With their rap guests and catchy hooks, they typify the sound that made Kanye famous. However, the meat of the album comes from cross-genre tracks like “Runaway” and “Lost in the World” which serve to induce much head scratching as opposed to foot-tapping.

Just like that artist I encountered in Seattle, Kanye has become famous enough to do basically whatever he wants in regards to his music. “My Beautiful Dark Twisted Fantasy” is definitely a departure from what hip-hop fans have come to expect from well-known rappers but maybe that’s a good thing. As a recorder and producer, West has been known to push the envelope more than others. Let’s let him do his thing and see what he comes up with. If we don’t like it, we can always turn off the “Power”.

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Album Review: Man On The Moon II: The Legend of Mr. Rager by Kid Cudi

November 18, 2010 By Tom Leave a Comment

In contrast to a latter track title off his premiere mixtape “A Kid Named Cudi”, Kid Cudi is by no means “spazzin’” anymore. On his most recent studio album “Man On The Moon II: The Legend of Mr. Rager”, Cudi’s wild side which was so prevalent on AKNC is eclipsed by his mild side on Moon 2. Whether this is Cudi straying from the style that helped him find fame or his natural maturation is up to the listener but either way, Moon 2 stands on its own legs.

Cudi makes it clear from track one that Moon 2 is not simply a continuation of any of his previous albums except by title. Bringing on Cee-Lo Green and his trademark gospel sound, “Scott Mescudi vs. The World” pays dual tribute to Cudi’s unconventional style of rapping and a certain recent Hollywood box office failure. Subsequent tracks come straight from the Cudi mould of marching rhythms and catchy melodies that are slightly odd enough to make them stick in your head for a few minutes after you hear them.

The normalcy lasts all of three tracks before Cudi gets into some strange territory with “We Aite” that has more in common with Buddhist prayer chants than anything else. “Marijuana”, “Mojo So Dope” and “Ashin’ Kusher” all tread in the realm of stoner-raps but track by track, emerge from the hazy nether-regions of experimental rap.

It’s with “Erase Me” (featuring Kanye West) that Cudi pays the bills. Like it or not, this is the banger that’s made for the airwaves. Catchy hook? Check. Simple melody and lyrics? Check. High-profile guest appearance? Check.

“The Mood” and “Maniac” sustain Moon 2’s dark feel with sinister beats and Cudi telling tales in the lowest voice possible. An early line from “Maniac” sums it up nicely: “I am the maniac. I am the ghoul. I am the shadows in the corner of my room”. Other fun terms to mesh with the unicorns-and-rainbows theme: cloak, coffin, unruliness, darkness.

Sound like your cup of tea- erm, black coffee? If the prospect of a cross-genre rap that borders on the experimental gets you all hot and bothered, Moon 2 is worth a listen. Sound a little too strange? Don’t worry; Cudi’s just pushing the envelope.

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Album Review: Reflection Eternal- “Revolutions Per Minute”

May 26, 2010 By thekidmclu Leave a Comment

Talib Kweli and DJ Hi-Tek have reunited as Reflection Eternal.

The last time Brooklyn MC Talib Kweli and Cincinnati DJ Hi-Tek partnered under the Reflection Eternal moniker, it was back in 2000 with their critically acclaimed album, Train of Thought. It captured the essence of hip hop as Kweli and Tek sketched their lives as artists and young men. Train of Thought combined Kweli’s high-caliber rhymes and poetical intuition with Tek’s deeply layered beats to create a classic.

Kweli and Tek have done fairly well outside of their affliation as Reflection Eternal, with Kweli releasing three LPs since 2002 (Quality, The Beautiful Struggle and Eardrum) and Tek with his Hi-Teknology trilogy. However, both of them have reconnected on various projects, including Tek producing “More or Less” on Eardum and Kweli making numerous appearances on the Hi-Teknology series. It was only a matter of time before Kweli and Tek collaborated again as Reflection Eternal.

Ta-Da! Without further ado, Talib Kweli and Hi-Tek present: Revolutions Per Minute. Although Reflection Eternal became the oldest sophomores in hip-hop history with their latest release, the chemistry between Kweli and Tek has not wavered and has steadily become stronger. While Train of Thought enlisted beat production that incorporated pulsating drums and blaring horns, the beginning of “City Playgrounds” reverses that approach with a much more low-key sound, allowing Kweli to be heard loud and clear. In “Back Again” (featuring RES), the pace increases dramatically and focuses on their triumphant return to music. With “Strangers (Paranoid)” (featuring Bun B), capitalism, the health care system and government spying are issues fired upon by Kweli and former UGK member, Bun B.

There are several standout tracks on the album, such as “In This World,” “Ballad of Black Gold” and “Just Begun.” With “In This World,” Tek concocts a marching beat for Kweli, who rhymes about the effect poverty has had on black people as well as shedding light on how hard work and diligence led him to a successful career in hip-hop. In “Ballad of Black Gold,” Kweli sounds off on the oil industry and the effect it has had on the Middle East and Nigeria. Then there is “Just Begun”, a track that encompasses three incredible lyricists: Jay Electronica, J Cole and Mos Def. An intermittent generational gap is forged between Talib Kweli and Mos Def with Jay Electronica and J Cole.

Even though Revolutions Per Minute integrates more hip hop and pop together to appeal to a larger demographic more so than Train of Thought, Kweli and Tek showcase their fortitude and virtuosity by delivering another record imbued with social and political overtones.

Although the hip-hop industry has evolved immensely over the last decade, Reflection Eternal has maintained the fundamentals of hip-hop with their consistency and devoutness to musical integrity. Talib Kweli and DJ Hi-Tek have proven that even a lengthy hiatus will not deter their spirits nor infatuation with music.

In This World

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Ballad of Black Gold

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Just Begun

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A Review of B.o.B’s “B.o.B Presents: The Adventures of Bobby Ray”

May 24, 2010 By thekidmclu Leave a Comment

With great power, comes great responsibility.

The state of hip hop in 2006 was in complete disarray, especially when Nas professed that “Hip Hop Is Dead.” The phrase became a musical SOS for a new generation of emcees to arrive and make their own mark in the hip hop industry. The golden age of the late ‘80s and early to mid-‘90s was long forgotten as artists entered the new millennium with a mindset focused on wealth and materialism as opposed to lyricism and content. The artistry and creativity of those who placed their heart and soul into their craft were becoming a dime a dozen as hip hop shifted its priorities. It became quite transparent that the demand for club bangers were in vogue while everything else seemed insignificant.

Bang! Enter 2010. The industry has undergone an incredible makeover over the past four years. It started off with Lupe Fiasco, and the pool of talented yet grounded rappers have continued to alter the landscape for the betterment of hip hop. The newest emcee that has captured the recognition and adulation from the entire hip hop community is B.o.B. B.o.B. is regarded as one of the most adroit and versatile artists with an ability to perform numerous instruments such as piano, guitar and drums, along with his signature rapping and singing. He has amassed comparisons to Andre 3000 of Outkast, considered one of the most prolific rappers to ever bless the microphone.

B.o.B first gained notoriety when he was featured on T.I.’s 2008 Grammy Award-Winning album Paper Trails on the track “On Top of the World.” As a result of the success and attention that was garnered, B.o.B began releasing several mixtapes and singles, which included “I’ll Be In The Sky.” This spurred widespread anticipation for B.o.B to release his debut album with all the buzz and accolades that Kid Cudi and Asher Roth had accumulated with their respective albums.

The Adventures of Bobby Ray cannot be solely examined as a hip hop album, as B.o.B has fused together the genres of hip hop, pop and alternative. His guest appearances range from the most respected rappers in the game (Eminem, T.I. and Lupe Fiasco) to the leading men and women of alternative rock (Rivers Cuomo, lead singer of Weezer, and Hayley Williams, lead singer of Paramore). The entire album is produced by B.o.B and every track is fitted accordingly to each individual artist, with B.o.B having the proclivity to adapt to practically any style.

With “Nothin On You” (featuring Bruno Mars) bellowing from radio stations across the country and abroad, B.o.B has already established himself as a household name early in his career. The standout tracks on the album include “Airplanes, Pt. II,” “Ghost In the Machine,” and “The Kids”. In “Airplanes, Pt. II” (featuring Hayley Williams & Eminem), B.o.B and Eminem lay verses imagining what their lives would entail if they never decided to choose rap as a profession. On “Ghost In The Machine,” B.o.B harmonizes as someone lost in the crowd without any sense of direction and, in the end, embarks on a journey to escape the reality that has contributed to his inner struggles. “The Kids” (featuring Janelle Monae) is a rendition of Vampire Weekend’s “The Kids Don’t Stand A Chance,” a social commentary centered around kids falling into the cracks of society that does not evoke a feeling of preachiness.

The superhero persona that B.o.B has seemingly embraced has enabled the one-time Subway employee to reach for the stars and chase his dreams.

Airplanes, Pt. II

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Ghost In The Machine

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The Kids

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A Review of Broken Social Scene’s New Album, “Forgiveness Rock Record”

May 12, 2010 By admin Leave a Comment

By Elliott Sencan

Broken Social Scene has always been a playground for experimental ideas, a revolving door of talented musicians in the heart of the Toronto rock scene. There have been as many as 15 band members at any given moment, with members joining and leaving the band seemingly on a per track basis. However, this somewhat chaotic band organization has led to some brilliant records, with “You Forgot it In People” and their self-titled record being chock full of grand indie anthems just as suitable for the festival stage as it is for an intimate headphone listen.

Since those albums, the band had taken a five-year hiatus, as the band members splintered off to write solo albums under the banner of “Broken Social Scene Presents…” Their most recent album finds the band a trimmed and slimmed beas with only seven full time members, but, luckily, decreasing the quantity of bandmates hasn’t affected the quality of their music, as “Forgiveness Rock Record” is a fantastic, evolved BSS album from start to finish.

Anyone familiar with their past work will notice almost immediately the tighter, more focused sound on this record, yet this is still not a jarring departure from their old work. There is instantly likeable and catchy “Art House Director,” the slow building, swirling sounds of “World Sick,” the foot stomping guitar driven “Forced to Love,” the relaxed folksy “Ungrateful Father” and the beautiful and joyous sounding “Sentimental X”;   there is really something for everyone to enjoy here, and, at over an hour, quite a bit of it too.

Some of the usual suspects still show up for a guest appearance here and there, including members of Pavement, Metric, the Sea and Cake, Tortoise and Leslie Feist. Overall, it’s a solid entertaining effort from one of our favorite bands out of Canada; throw this one on your iPod and give it a listen already.

Broken Social Scene - Forgiveness Rock Record

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A Review of Nada Surf’s New Album, “If I Had a Hi-Fi”

May 2, 2010 By patrick Leave a Comment

If I Had a Hi-Fi

If I had a hi-five…

…I’d give it to Nada Surf for their newest release, If I Had A Hi-Fi. This simple, 12-track album, clocking in at just over 40 minutes, consists entirely of the band’s interpretations of some of their favorite songs by other artists. These artists include the likes of Depeche Mode, Spoon and The Go-Betweens. Generally speaking, covers are always entertaining. What is better than hearing one of your favorite songs in an entirely new way? Even if the cover is not already one of your favorite songs, hearing a rendition by a band you like can help you to find new music that you might like by artists you were unaware existed. Luckily, If I Had A Hi-Fi has all of these qualities in one awesome album.

Nada Surf takes the catchy melodies and simple lyrics of the originators, and then melds it with their distinct laid-back style of delivery to create a succinct, catchy and, most importantly, fun album. Nada Surf really wants the listener to have fun with this one. The amusing case for the CD consists of hand-written lyrics to each song in order to allow the listener to sing along. Do not go into the album expecting some grand social commentary or world-changing music. This is just a collection of songs that Nada Surf wanted to perform for themselves and you. Just follow the album’s instructions: play at full volume and sing along. As if the case was not enough, the songs are no pain in the ear either.

The album begins with some extremely enjoyable songs that get the listener pumped up for the rest of the album. A few examples are covers of Depeche Mode’s “Enjoy the Silence” and The Go-Betweens’ “Love Goes On,” which will have you singing along before you can get through the first listen, even without the lyrics at hand. The next bit slowly winds down the intensity and trades it in for some beautiful crooning from lead singer Matthew Caws. Spoon’s “Agony of Lafitte” and Moody Blues’ “Question” each calm the listener while simultaneously refusing to release the listener’s attention. The album ends with an enjoyable instrumental song entitled “I Remembered What I Was Going to Say,” originally by The Silly Pillows. While the short length and lack of lyrics seem more like an interlude than a conclusion, the tune seems to say, “Thanks. This was fun.” Simply put, it was.

“Love Goes On”

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“Question”

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Nada Surf’s Website & Myspace

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A Review of Harlem’s “Hippies”

April 14, 2010 By Sarah Pacitti 4 Comments

It is the perfect tale of when punchy met punk rock. They fell in love and lived happily ever after. Down the road, they gave birth to their first child. They called this child “Harlem.” And so it all began…

Harlem’s newest album, Hippies, released on April 6th, shows off this perfect blend of both edgy, raw, thumping garage funk and upbeat, catchy, rhythmic vibes. It is pleasing to the ear, as it is discrete enough to serve as background music, but definitely distinct enough to hold its own. The first song that starts off this musical escapade, titled, “Someday Soon,” brings you back in time to the psychedelic 1960s. Picture it. You are in a smokey underground club standing at the bar with Andy Warhol and a few of his prodigies, Edie Sedgwick and the Velvet Underground. It will kind of remind you of that. Promise.

The album shows off the wide range and variety that Harlem has to offer in their ability to provide their listeners with quite the musical experience. Yes, you can definitely hum along with several of the tracks as they are quite catchy, but you should be warned, many of the songs will work to bring out your inner screamo too. In the song “Stripper Sunset,” Harlem proclaims, “No, I don’t care what you think.” How true. They just go for it, singing and strumming their hearts out. And, particularly in this track, they do it quite well. While its overall sound does resemble that of punk, this Austin-based indie band surely experiments, takes risks and thinks outside the box. Exhibit A: The presence of the glockenspiel in some tracks on the album. Glockenspiel, you say? Yes, glockenspiel.

Harlem knows a thing or two about how to get their listeners to really reach that toe-tappin’ point (maybe even break out the air guitar), but they also understand just exactly how to spark up the inner-hippie in each and every one of us with that oh-so-rich blend of a lighter, acoustic sound. You can really tell though that at the end of the day, all Harlem is really trying to do, whether it be in a punky electric or hippie acoustic sort of way, is jam. In “Someday Soon,” Harlem sings, “Someday soon, you’ll be on fire.” Maybe that is the case, but Harlem’s already got that fire burning. Keep it up, Harlem. Keep that fire burning.

- Sarah Pacitti

“Stripper Sunset”

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“Someday Soon”

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Harlem

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Album Review: A Review of Theophilus London’s “This Charming Mixtape”

April 4, 2010 By thekidmclu Leave a Comment

Ladies and gentleman, say cheese!

The head nodding of instant approval, as well as a sense of disbelief, does not even come close in describing the sort of feeling I experienced after listening to This Charming Mixtape. Theophilus London takes advantage of his opportunity to be center stage and utilizes everything he has in his arsenal to deliver a mixtape that is both spellbinding and eclectic. The mixtape combines the elements of eletro-pop and hip hop/rap together to produce something that will knock you out of your comfort zone and introduce you to a newly formed genre. From top to bottom, this entire mixtape takes you on a journey that you will undoubtedly enjoy once the ride is over with a multitude of upbeat and colorful beats together with the rhymes protruding from the archetype of individuality and diversity.

The roots of Theophilus London stem from NYC, within the state that has been home to the most abundant and influential acts in hip hop. His decision to stray from the mainstream avenue and open himself to a different outlet has paid dividends. There are few emcees who have delved into such a scenario as this and been successful. This Charming Mixtape not only reveals that Theophilus London is beginning to craft himself as a household name, but also that he’s already more than willing to take risks.

The appeal and popularity of music that was witnessed in the ’80s seems to be returning with a vengeance. This Charming Mixtape proves that eras that have come and gone will never have a final resting place in our minds. The generation that I have grown up with would never in their wildest dreams have thought that the sights and sounds of their childhood would be generated into music, let alone be encompassed within the vastness and richness of hip hop. There were some instances when a smile would appear on my face and I begin to chuckle every time I heard something familiar, like “You’re The One,” a track reminiscent of the storied video game Super Mario.

The various samples that are adopted in the mixtape originated from music that was well-recognized in the ’80s, including “Ain’t No Sunshine” by Bill Whither. The smooth delivery of his rhymes hand in hand with such a classic has allowed the former to become more evolved and more dynamic. Although offered as a snippet on This Charming Mixtape, “Humdrum Town” is a track that is both profound and personal. It tells the tale of Theophilus London, who yearns to live in a city devoid of all the fame and glory he’s recently attained and have it be more mundane in order to appreciate what he truly loves. The growing awareness of this track has enabled it to garner much interest by listeners who’ve ventured onto the Green Label Sound website and YouTube.

What else can I say about Theophilus London? He’s an anomaly that I’ve yet to fully analyze, let alone comprehend. However, This Charming Mixtape has enabled me to expand my horizons and engage myself with artists like Theophilus London who have turned the hands of time and taken the next step in revolutionizing music.

Theophilus London

Theophilus’ MySpace

“Humdrum Town”

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Biffy Clyro Breaks Through Across the Pond

March 30, 2010 By bryce 2 Comments

Biffy Clyro's latest release, "Only Revolutions," proves that the band has potential to make it big in the States.

After two certified gold albums in the United Kingdom, the forces behind Scottish rock band Biffy Clyro have launched a new campaign to break through to a bigger audience in America. With marketing and promotions in full swing, the band’s latest album, Only Revolutions, has certainly found the praise of Internet bloggers, radio DJs and the average listener alike. In many ways, it seems that this current album will be the one that breaks Biffy Clyro through to the United States on a much wider level – for a multitude of reasons.

The overall final product of Only Revolutions is one that provides a solid mix of rock-oriented music. Some songs provide aggressive rock riffs while others, such as the band’s current single, “Many of Horror,” present simple heartfelt lyrics that transition to symphonic anthems. The songs are relatable and playful, yet filled with incredible amounts of emotion. First-time listeners will draw similarities to fellow UK band Snow Patrol, yet will undoubtedly find the distinct edge that makes Biffy Clyro unique. For their newest album, Biffy Clyro worked once again with producer Garth Richardson at the famed Ocean Way studios in Los Angeles. Many of the lyrics seem to come from guitarist Simon Neil’s perspectives on relationships.

Without a doubt, Biffy Clyro has become a band known for their high-energy live shows. As a three-piece band, the group performs without the additional support of other touring members – a remarkable feat considering the musical output of the band. A certainly unique aspect of Biffy Clyro is the fact that all three members sing on recordings. While Simon acts as the lead vocalist, brothers James Johnston and Ben Johnston provide harmonies that add to the fullness of the individual songs. The acclaimed live shows and popularity across the Atlantic have led to the band being an opener for acts such as Muse, The Red Hot Chili Peppers, The Rolling Stones and The Who. When they band headlines their own shows, they’ve booked venues as large as 10,000 people. However, when the band played in San Diego last week, they served as the opener for Manchester Orchestra at the House of Blues. This division in venue size from one side of the pond to the other is absolutely amazing.

If one is to look at musical trends throughout the history of rock music certain things can become increasingly clear – popularity in the United Kingdom can be a great predictor of the success of a band in the United States. Classic acts such as The Beatles and modern success stories such as Kings of Leon all found their initial fame across the Atlantic. With the continued push of Biffy Clyro, I’m sure that they’ll break through and achieve the same amount of success that the band has had in England.

Biffy Clyro Rocks the House of Blues

Biffy Clyro

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“Foie Gras” Lives Up to its Name – Asher Roth Mixtape Review

March 29, 2010 By patrick 1 Comment

some delicious looking foie gras, no?

For those who do not watch Top Chef, “foie gras” is a staple fancy food that is simply a fatty goose liver. That sounds like something you would never want to consume, right? Wrong. Believe it or not, foie gras is surprisingly delicious. It is a straight up party in your mouth. That’s the correlation I would like to make with Asher Roth’s new mixtape, Seared Foie Gras with Quince & Cranberry. You never really thought you would like it, but some of it is devilishly good. Unfortunately, I would have to say that the mediocre songs outnumber the good or even great songs, and it probably is something you will not indulge in frequently, just like foie gras.

The best part of this album, hands down, is the gorgeous assortment of samples that Roth uses to rap over. Samples seem to have always been the moneymaker for Roth. Whether it is the Ben Kweller sample in “Fallin’” or the Weezer sample in “I Love College,” Roth has an obscenely acute ear for great hooks. This is brilliantly exemplified in “F*ck The Money,” the standout track from the mixtape. Add rapper B.O.B. and producer Kanye West to the scene, and you have a jam. The piano and lyrics from Joni Mitchell’s “River” are so obscure that it is simply refreshing to listen to some pretty tight raps over the fresh loop.

“Hot Wangs” is another great example of a hot sample, pun intended. Produced by the ever-melodious Will.I.Am, “Hot Wangs” samples Talib Kweli and Will.I.Am’s “Hot Thang.” The guitar hook is nothing short of hypnotizing. I challenge you to listen to this song without nodding your head – good luck.

As I am sure you apt readers have noticed through my slick name-dropping skills, this mixtape has some unbelievable producers attached. It is a venerable Grammy parade. As the grand marshal of this marvelous procession of producers is Grammy-nominated Madlib with “Muddy Swim Trunks,” a decent little ditty to kick off the album. This is directly followed by the Grammy-winning hip hop genius of RZA with “Toni Braxton.” In case you are not impressed yet, let me throw a few more names on the table. How about Grammy-winning Timbaland on “Cumbaya”? Does that do anything for you? Maybe these rap producers are doing nothing for you; that’s fair. But if you are willing to forget the Grammy credibility, how about a remix of Roth’s “Sour Patch Kids” featuring Talib Kweli and Blu that is produced by – wait for it – Travis freakin’ Barker. Needless to say, this song is like a flashlight in a field of candles.

On another note, regrettably one of the best parts of this album is also one of the worst. You might notice how I’ve been calling this album a mixtape almost the whole review. The reason for that is the way that DJ Wreckineyez has mixed the album together. It is interwoven smoother than a cashmere sweater. I really appreciate the subtlety and skill involved in making several songs into one seamless track, but, unfortunately, the times of the songs are a bit off. Due to this you may have 10 seconds of another song leading in at the beginning of a song, or you may have none. It makes listening to individual tracks kind of a chore. You can get into what you hear immediately, but chances are, it has no correlation to the song you are actually about to hear. To make matters worse, this release is just not good enough to listen to the entire tape every time you want to hear some Joni Mitchell or a Travis Barker remix. If you can look past the editing, however, you absolutely have to take a look at some of these tunes. I recommend “Toni Braxton,” “F*ck The Money” and “Con-fid-ence.” Unfortunately, these tracks are too explicit to sample here, but you can find the entire album online.

Asher Roth’s Myspace

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