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Album Review: Reflection Eternal- “Revolutions Per Minute”

May 26, 2010 By 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 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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Album Review: A Review of Theophilus London’s “This Charming Mixtape”

April 4, 2010 By 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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A Review of Jay-Z’s “Blueprint 3″

September 26, 2009 By 1 Comment
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Blueprint 3 bids adieu to the Blueprint series that Jay-Z first erected back in 2001.

Considered one of the most anticipated albums of 2009, Jay-Z’s 11th studio release, Blueprint 3, fails to live up to expectations and satisfy the growing hunger for a return to the framework that made both Blueprint and Reasonable Doubt successful. For the past decade, the Blueprint brand has been Jay-Z’s trademark in dictating the agenda and direction of hip hop. However, the beloved son from Brooklyn’s Marcy Projects, whom we’ve come to admire for his journey from the New York underworld to his ascension as one of the greatest emcees of all time, seems to have reached an impasse in his career.

The first half of the LP starts off strongly, giving the indication that Jay-Z has finally returned to form, reminiscent in the first 2 Blueprint albums and is ready to assert his dominance once again over the industry. In “Thank You”, Jay-Z uses his wealth and demeanor as a means of silencing and deconstructing his emcee rivals and detractors, who have argued that he is no longer worthy of being known as hip-hop’s vanguard. “D.O.A.” is seen as a verbal diatribe against hip hop and its continued dependence of the auto-tuner. Jay-Z laments that the auto-tuner is ruining the quality of music being released and should not have a place in hip hop anymore. The crown jewel of the album belongs to “Empire State of Mind”, a wonderful and elegantl song displaying Jay-Z’s love and appreciation for the city of New York. It features vocals from renowned R & B singer, Alicia Keys, whose voice on the chorus enhances Jay-Z’s message.

In contrast, the second half of the LP seems to brandish an entirely new train of thought, a concept that seems to have backfired badly on Jay-Z. The beat production and guest appearances are the primary culprits. The previous two Blueprint albums employed cuts from Dr. Dre, Kanye West, Timbaland, and Just Blaze. Although Kanye and Timbaland reappear on Blueprint 3, Jay-Z also gives the responsibility of creating beats to Swizz Beatz and The Neptunes, who seemingly have lost their touch behind the boards. On Blueprint, the most notable guest appearance belonged to Eminem on the song, “Renegade”. Yet this time around, Jay-Z decided to feature two up and coming emcees, Drake and Kid Cudi, who are severely underused, being relegated to hook duty on “Off That” and “Already Home”, respectively.

Many artists like to expand upon their craft and delve into something that is completely different than what they are accustomed to. Nevertheless, someone who has reaped millions of dollars and has sold out at every concert he’s ever performed at, shouldn’t even need to put out an album with the sole intention of making money. Jay-Z has accomplished so much in his storied career that a Blueprint album that does not carry the same intensity and energy prevalent in the past two Blueprint albums, just simply isn’t Jay-Z’s M.O.

“Thank You”

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Back to School Special “Lyrical Mindstate” August 29th

August 29, 2009 By Leave a Comment

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“If Rap Gets Jealous” K’naan

“Go Go Gadget Flow” Lupe Fiasco

“If You Only Knew” Jurassic 5

“Doin’ My Thang” Zion I

“The E.N.D.” The Pharcyde

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With the entire week dedicated to Street Scene, I thought it’d be fitting to ease you back into school with a playlist of some tracks you’re bound to enjoy.

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“Lyrical Mindstate” August 12th by Michael Lu

August 12, 2009 By Leave a Comment

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“So Live!” The Cunninlynguists

“Heard ‘Em Say” Kanye West feat. Adam Levine

“Special” Strange Fruit Project feat. Thesis

“For Pete’s Sake” C.L. Smooth & Pete Rock

“enecS eht no kcaB” One Be Lo

“New York Strait Talk” Gang Starr

“Be Healthy” Dead Prez

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Artwork: Courtesy of fixins.com

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A Review of Kanye West’s “Late Registration”

August 11, 2009 By Leave a Comment
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Knock, knock. Who's there? Kanye. Kanye who? Kanye West. The registration table is on your right Mr. West.

Even with the aid of a dictionary, it would simply be impossible to describe Kanye West with a single word or phrase. We’ve often debated amongst ourselves whether we truly love or hate him, depending entirely if you embrace his skills and talents as a producer/emcee or if you have been overly frustrated with his child-like tantrums he has occasionally thrown at award shows. Since he’s crossed over from producer to record selling artist, Kanye has made himself into a commodity in reference to his own music and fashion sense, as seen with him being labeled as the “Louis Vuitton Don”. He has always been honest with his upbringing as a middle-class child growing up in Chicago and that part of his life has never needed to be altered just to gain street credibility.

Late Registration is another addition to the mighty staple of dominance that Kanye has had over the hip-hop industry and has become my favorite album out of College Dropout and Graduation. It not only has a surplus of  guest appearances highlighted by Jay-Z and Nas but the beats he creates are so brilliant and noteworthy. Every track Kanye lays his hands on is similar to that of Michelangelo and his work on the Sistine Chapel. Although, he would rather be known for rapping than producing, I believe that Kanye belongs in the same category as DJ Premier, Dr. Dre, Pete Rock, J Dilla, and 9th Wonder as one of the best producers of our generation. The material on every album he has released has never been stricken with boundaries and Kanye has never been afraid of speaking his mind especially about the Bush Administration and Hurricane Katrina.

My favorite tracks include: “Touch the Sky”, “Hey Mama”, and “Crack Music”. He has certainly learned how to differentiate himself from the conventional emcee and I have always appreciated the content he’s put forth into each and every one of his albums. He is a perfectionist and that mentality is seen through the passion and fire that he uses to conduct himself every time he enters the recording studio, a sure sign that he will continue making albums that will be mentioned in the same breath as Illmatic and Reasonable Doubt. Music is a craft that only a chosen group of people can really develop and make their own, an art form that Kanye has solidified and single-handedly reformed.

When I first listened to “Jesus Walks”, I was amazed to see religion being used as the forefront in any musical capacity. I never quite knew who Kanye was or what he did to gain so much attention until I listened to Jay-Z’s The Blueprint and The Black Album. I then realized that he was the mastermind behind “Izzo (H.O.V.A.)” and “Encore”. However, watching interviews of Kanye in the past few years have given me a different impression about him, especially the way he handled himself during the 2006  European MTV Awards. However, the negativity that he’s faced never seems to faze him, something I must give him much respect and admiration for.

He has definitely become a connoisseur of not only hip-hop/rap but with R & B (808s & Heartbreak) as well and will continue to dazzle critics and listeners with his charm but most importantly, his voice.

“Touch the Sky”

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A Review of The Cunninlynguists’s “Will Rap For Food”

August 5, 2009 By Leave a Comment

All you need is food and water to be content in the world.

“Knowledge be the key/To unlock your brain/And set your mindstate free.”

Before Florida MC, Mr. SOS joined the group in 2002 and departed in 2004, followed by the addition of Natti in 2004, the Cunninlynguists was composed of the tandem of Deacon the Villian and DJ Kno. Hailing from Lexington, Kentucky, they have recently started gaining nationwide attention throughout the hip hop community. They are in a long line of successful acts from the south including Outkast and the self-proclaimed king of the south, T.I. Their debut album, Will Rap for Food speaks for itself with the different inner cuts that focus on Deacon and Kno rapping in exchange for them asking people for money to purchase food.

They have fast become one of my favorite groups, even when I have been severely critical of southern hip hop music. Both the “Hyphy” movement in the Bay Area and the Crunk” movement in the south have not always sat well with me because I have always believed in the adage, “quality over quantity”. The Cunninlynguists do not have a hidden agenda and the material on this album in particular will swallow you whole. The fortune and the fame concept that many emcees and groups use as fuel for their music is not even a primary concern for Deacon and Kno who concentrate more heavily about the issues that they have faced while building up their stature and reputation as the Cunninlynguists.

My favorite tracks on the album include: “Mindstate” and “Family Ties”. Personal experiences are seen throughout this album by both artists, most notably Deacon the Villian, who raps about losing his sister and changing his ways in order to help support his family and provide an example and leadership for his younger sister. The cuts produced by Kno on this album combine the usage of hip hop, classical, jazz, and other musical genres. He has also been praised for his remix of Jay-Z’s Black Album, the White Al-bu-lum. Not only have they opened themselves up to hip hop with this album, they have also introduced newcomers who have used Will Rap For Food as an outlet to display their skills, including: Mr. SOS, Tondeff, Cashmere the Pro, Braille, Celph Titled, and etc.

Although this might seem like a stretch, I truly feel that the music that the Cunninlynguists have been releasing for the past 5 or 6 years is really reminiscent of old school Outkast, pre-2004. If you have not already heard or checked out an album by them, I heavily emphasize that you should do so immediately. Even though the south has ruled the hip hop world for quite some time now, the Cunninlynguists stand out on their own because of their continuous efforts to touch upon issues that are not one dimensional, something more artists should be more conscious of.

“Mindstate”

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A Review of Gang Starr’s “Moment of Truth”

July 14, 2009 By 1 Comment
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R.I.P. Guru

“Gang Starr has got to be the sure shot/And its like that”

What makes a group so successful and relevant through the eyes and ears of modern hip-hop listeners? Is it the combination of clever and crafty rhymes mixed with uncanny and unique beats all in one? If that is the case, then that has been the calling card of Gang Starr for almost 2 decades. The duo, consisting of MC Guru and DJ Premier, have collaborated with each other since 1989, the end of an era that featured the likes of Public Enemy and N.W.A. They broke up in 2003 over creative differences but reports have surfaced in the past few years that a return has been mentioned. Both Guru and Premier have gained notoriety as solo artists as witnessed with their continual impact on the industry but their chemistry together as a duo was nothing short of magical.

They have been considered one of the most influential East Coast hip-hop groups and were responsible for jump-starting the careers of such artists such as Afu-Ra, Jeru the Damaja, and Mobb Deep. The music that Gang Starr created was presented in a form that was very intellectual and well-versed. The subject matter found throughout the Moment of Truth is positioned at different angles and directions. Each track on the album is blatantly different from another, which is indicative of Premier’s talents on the board and Guru’s skills on the mic. The album is part of a tradition that Gang Starr has steadily upheld and the music is definitely a reflection of the reputation that Gang Starr has attained.

My favorite tracks on the album include: “What I’m Here 4″ and “Make ‘Em Pay”. My introduction to Gang Starr was prompted by my interest in listening to new artists whose songs were not being played on the radio 25 times a day on the radio. A friend of mine then told me about a group called Gang Starr and for the past 2 years, I have managed to buy every Gang Starr album ever released. A wise investment in my opinion but my parents have often gawked at how much I spend on music. However, what matters to me is music that challenges me to think in a different light and to me, Gang Starr is one of only a few artists that do that for me.

If I could sum up Gang Starr in a sentence: A dynamic duo that sacrificed the evil intentions of the hip-hop industry for the good of making music without selling out or compensating for anyone else.

“Make ‘Em Pay”

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A Review of Black Star’s “Mos Def & Talib Kweli Are Black Star”

April 24, 2009 By 1 Comment
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New York's finest! Reporting for duty.

As a fan of both Mos Def and Talib Kweli in regards to their creativity and messages they spread throughout their songs, I was more than excited when I found out they had released an album together. Both of these MC’s exude nothing but the utmost success in association to their individual careers. However, listening to them on this album gave me a greater appreciation of their ability to coexist with each another so beautifully. The lyricism of both these MC’s combined with the beats produced by DJ Hi-Tek pave the way to an album that showcases the talents of two MC’s who share a deep motivation and passion for music.

My favorite tracks from the album include “Definition” and Respiration”. Every song on the album focuses on different topics whether relating to modern-day issues, philosophical ideas, or just every day life. To be honest, I was skeptical when I had first bought this album. I did not know what to expect and the reputation of both Mos Def and Talib Kweli was what drew me into buying this album in the first place. After listening to the whole album, I realized that the $9.99 I had spent had clearly paid off. These two artists are like peanut butter and pickles. You think they will not go well together but they create a delicious sensation as soon as you put them together.

If you asked me to list the top 10 all time hip-hop/rap duos, Milli Vanilli would be #1 and Black Star would come in at a close second.

“Definition”

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