Observations From Fabolous & Jadakiss' Friday on Elm Street

Brooklyn and Yonkers based emcees Fabolous and Jadakiss have showcased a respectable history of chemistry on tracks, including Fab's famed underground Soul Tape mixtape series as well as other guest appearances dating back to 2002 (on the Blade II soundtrack, oddly enough). Seeing the two on a track always meant you were in for a lyrical onslaught of double entendre's and straight bars, and their latest offering is no exception to their collaborative efforts. Here, I'll be discussing a couple of the highlights of their album, Friday on Elm Street.


Gritty, Back And Forth Cypher-Like Verses


Just like what happens on seemingly every Fabolous and Jadakiss track, Friday On Elm Street is another example of them murdering tracks, and by no means does it get repetitive. With Fab as Freddy and Jada playing Jason, whether it a smooth soul sample ("Theme Music") or a thunderous banging anthem for the "real niggas" ("Stand Up"), Jada and Fab bring more bars and less bullshit throughout the album. "Theme Music" is a fun standout from the album, a fast-paced jazz influenced cut that shows Fab and Jada feeding off of each other's energy from verse to verse. No track is used as filler, and it's almost safe to say that no single LINE that each rapper spits is used as filler. Each line, and every bar is basically a lesson for the new school, in lyrical ability and in mindset, and the lyrics cut hard like a knife with a sledgehammer attached, whether they be to provoke emotion or just to hype you up in the club or in the car.


Sampling Done Right

(*I do not own these songs, or the rights to them*)

If there's one thing that makes me bob my head listening to a masterfully crafted instrumental such as the ones on Friday On Elm Street, it's a perfectly looped sample. The "Soul Food" instrumental is practically food for the soul mixed with a nice POUND cake that the drums and 808s top off like whipped cream. "Theme Music" is like Fab and Jada taking the Delorean back to the funky era in the 70s (imagine Fab and Jada with full on fro's and printed jumpsuits), "Talk About It" with the wonderful Teyana Taylor on the hook begins with a wavy enough sound to put you in a trance (could be a sample or a synthesizer of some sort), as well as "All About It" with French Montana on the hook. Yes Friday On Elm Street shows almost every facet musically that makes a Fabolous and Jadakiss collaboration great, from the gritty bars all the way down to the grown up samples.

All around, Friday On Elm Street has a little bit of everything for the average, party listener, to the gritty hip hop heads who tune in for bars. Fab and Jada's old school values and brand of "teaching the new school the ways" shines through in a way that teaches, but never preaches. Their back and forth throughout the album makes for loads of entertainment and "did you catch it?" types of double entendres and metaphors, and their lessons imparted on the listeners some may view as "old-headedness", but other may view as great for having some old souls that can teach the young some lessons that they need to learn. Friday On Elm Street is scary not in it's samples or it's subject matter, but more in it's viewpoints on life compared to that of younger rappers/hip hop listeners... a refreshing difference.         















      

DMX Just Dropped The Hardest Version Of "Rudolph The Rednose Reindeer" You'll Ever Hear

Well, just in case you thought you had seen everything that the world had to offer, DMX wanted to reassure you that no, no you haven't, with his latest single. X partnered with Spotify for their Spotify Singles exclusive line of songs, and X offered an amazing take on a Christmas classic.

DMX's "Rudolph The Rednose Reindeer" sounds like Christmas in the Bronx, almost as if Christmas and the cast of Juice got together for a very hood holiday. X gave us a gift, like Christmas in New York, as if Christmas was a fresh new pair of Timbs, deadass my guy. X even added his signature ad-libs in the background to make it that much more... hype?  Either way, you can get properly in the holiday spirit, and check out X's version of "Rudolph The Rednose Reindeer" below.


(*I do not own this song, or the rights to it*)    

Why Didn't Ya'll Tell Me Kehlani's "Did I" Was So Hard?!?!

I'm mad at y'all. Seriously. How could you not tell me when something dope drops?  I put my trust and faith in y'all!  Almost 2 years ago, Kehlani blessed us with a random drop, and rummaging  through a random Hip Hop & R&B playlist on Apple Music, I'm almost ashamed that, for the first time, I came across the gem from the Oakland, California singer and rapper.

Seriously though, I think my feelings are hurt. Tears almost came out of my eyes... tears of AWESOMENESS. If you haven't heard "Did I" from Kehlani, check it out below. I know it's almost 2 years old now, so why am I posting it?  Because good music gets promoted. And, because I can.


(*I do not own this song, or the rights to it*)
   

Cyhi The Prynce Taps Kanye For New Single, "Dat Side"

It's been a minute since we've heard from talented Stone Mountain, Georgia emcee Cyhi The Prynce, but tonight we got a nice refresher. Earlier tonight, Cyhi dropped a new banger featuring his G.O.O.D. Music boss Kanye West titled "Dat Side". We've been waiting on Cyhi's debut album, titled No Dope On Sundays for awhile now, and though there's still no set release date for it, "Dat Side" is rumored to be featured on the project, along with a slew of other songs Cyhi has released in the past months ("Legend", "Movin' Around" featuring Schoolboy Q, and "Nu Africa"). Cyhi has tweeted out that the album has been turned in and that fans should be hearing it shortly.

Listen to "Dat Side" in the link below.

https://itunes.apple.com/us/album/dat-side-feat-kanye-west-single/id1303655292
















      

How Do We Get The Answers To Birdman & Lil Wayne's Pending Legal Battle? These Two Right Here

On yesterday's episode of Everyday Struggle, Joe Budden and DJ Akademiks finally (somewhat) tackled the ongoing beef between Birdman and Lil Wayne over the unpaid royalties and lack of Wayne's music being released, and they had an interesting announcement to make.


(*I do not own this video, or the rights to it*)

Whoa. If this statement that Joe has made about the Birdman phone call is true, then we could finally be getting some clear perspective and information about the Wayne/Birdman legal battle, though I (and you shouldn't either) will not be getting my hopes up. If we think about the last time some hip hop personalities attempted to question Birdman about Wayne, well... we could only hope this time it goes a little smoother. Although Joe is a truly outspoken individual in his opinions, could we see him act much more respectful and quiet if Birdman comes through Everyday Struggle?  Will Akademiks be able to get his questions off without getting rattled?  Lord knows it would be amazing to finally get some clarity about Wayne's indefinitely shelved music, but it all seems to depend on how Birdman is feeling that day. Until then, we can only speculate.   









   

Are We Getting A More Mature Eminem Album? Here's 2 Signs That Say "Yes"

As I sat back and watched in awe at Eminem's scolding onslaught of Trump in his 2017 BET Hip Hop Awards cypher, I couldn't help but wonder what had brought him this far in such a storied, yet battered, bruised and beaten down career from fans, Stan's, and hip hop critics alike. The criticism for rape, assault, murder and every hot button issue dating back to Columbine that he's touched upon has been rightfully voiced, yet for some reason the idea of free speech still being a "thing" never seemed to cross the minds of MTV, VH1, or anybody covering Em for the sake of getting a news story out. No shade of course (though the forecast is looking rather Shady for the coming months), but all in all, the idea of Eminem ever "maturing" (whether it be in his mindset or in his content) never seemed to be a topic that people would ever touch upon or care enough about... it's sort of like a Family Guy or a South Park; people just started shrugging him off and chalking it up to "oh that's just who he is."  But the line in the sand might have been drawn, and I'm not talking about the line Eminem addresses in his freestyle; is Eminem bringing us more mature content on his upcoming, yet to be titled album?



With Em's much talked about (and in most people's opinion, probably TOO MUCH) BET freestyle dropping, there wasn't really any sort of speculation as to what Em was going to address in terms of topics or subject matter, but since it's arrival, people can't stop talking about it. In fact, to say that the freestyle was unexpected is an understatement. Em's track record in terms of political topics and hot button issues dates back to 2004 on his 5th studio album, Encore, on a track aimed entirely at then president Bush titled "Mosh", but that seemed to be the last of his political voice (minus a few Obama mentions in songs and cyphers that didn't hold any weight minus some ammo for a bar/rhyme).  Knowing the meticulousness of a rapper of Em's stature, there really aren't many who plan out as carefully as Em; album releases given, even albums RELEASED without a care, music videos given with no sort of warning or preparation for, and tours merely tweeted/posted out with no sort of presentation or show; Em is the furthest thing from this type of rapper. Em is unleashing a full on, Battlefield sort of presentation for an album that people, whether they want to or not... SHOULD be paying very close attention to. And if you don't believe me... give a listen to what some (one) of hip hop's veterans (not to mention, somewhat of a Shady insider) thinks about Em's new "marketing strategy."


(*I do not own these videos, or the rights to them*)
               
And if that doesn't convince you (as if the next bit of information is going to sell it), check out my Google Plus post from earlier this year, dating back to July 6th!

              









Well that settles it!  No, obviously I'm just kidding, but Joe's speculation did (in my opinion) bring a bit of validity to my statement from July. With Eminem's history of having used his platform to make political statements (though few and far in between), I do believe that 2017 is the year that Shady gets people (who normally wouldn't) talking again about the current state of the world... it's only a shame that it took Donald Trump being president to do it (yikes).  Em's inspiration usually and seemingly comes from other great hip hop albums and songs that have impacted the world in some way, but looking around at the current state of the world, it's hard not to think that Trump would have impacted his upcoming album in some way, especially considering the history the two have. Eminem growing a beard for the first time in his illustrious 18 years in the spotlight is just because... he got lazy shaving?  Casual fans may think so, but knowledgeable Em fans know better. The return of the blond hair for the Marshall Mathers LP 2 promo run in 2013 wasn't because Em was going through a midlife crisis (or maybe it was, but his hair is back to black again, so you can't tell me shit otherwise). Be on the look out, and pay VERY close attention to Em's next moves (unless it's another Pink feature, as Joe spoke about in Everyday Struggle, because that's just for business).            












 

New Music: Bishop Nehru - Roam4AHome

About 2 hours ago, Nanuet, New York wordsmith Bishop Nehru dropped some new heat on SoundCloud. Check out "Roam4AHome" below, produced by Ohbliv. No word on if the new song is off of any upcoming project from Nehru, though the description listed under the "information" on SoundCloud says the following; "Witness The Emperor. Prepare for the Reign." Is this a sign for a new project for Bishop?

Here's the link!
https://soundcloud.com/bishopnehru/roam4ahome-prod-by-ohbliv

  

Introducing Shady Records' Newest Signee! (Also, Eminem Destroys Trump, Sends A Message To His Supporters)

In case you some how missed the talk of hip hop for the past 24 hours, Eminem appeared on the 2017 BET Hip Hop Awards last night, and absolutely went IN on Trump with a standalone freestyle that ran for roughly 4 and a half minutes. Em addressed the Donald's Twitter antics, his lack of effort into helping Puerto Rico, gun reform and many other topics, but it seemed Em was not done promoting new things.

Earlier today, Shady Records announced on Twitter and on their website (Shadyrecords.com) that they had just signed up and coming Compton talent Boogie, who has been an HHU favorite since his project The Reach was released in 2015. Shady Records and Boogie even celebrated their new deal with a freestyle that is only watchable online, and which you can view in the link below.

As far as the rumors for what to expect from Eminem's upcoming album, this cypher verse might be just a small preview of what to expect; will we be getting more political bars from the Detroit legend?  The album is reportedly set for a November 17th release date, though nothing has been confirmed. You can check out Em's cypher verse below, as well as Boogie's cypher verse here.


(*I do not own these videos, or the rights to them*)









     

What I Want From Big K.R.I.T.'s 4eva Is a Mighty Long Time

It's been 3 long years since Big K.R.I.T.'s last solo LP (unless you count It's Better This Way which dropped in 2016, but I certainly don't consider it an album if I can't find it on Apple Music), and fans have been frothing at the mouth at the thought of what K.R.I.T. is going to do next. And now with the release of the upcoming album's (titled 4eva Is a Might Long Time, keeping with the "4eva" theme that K.R.I.T started in 2012 with his album/mixtape 4eva N a Day) 2 lead singles, "Confetti" and "Keep the devil Off", it's harder than ever to know what to expect from the Mississippi native. Will he keep with the funk-infused, "trunk music" narrative that we've come to know and love him for?  Or will K.R.I.T. find a new calling?  4eva Is a Mighty Long Time indeed, and I think K.R.I.T is already dropping signals to the people that they should take any past information of what they THINK they know about K.R.I.T... and throw it out the window.  Regardless of what I expect (or think we'll hear) from K.R.I.T.'s album... below I'll be listing what *I* would LIKE TO HEAR on the project.


Classic, Sub-Utilizing K.R.I.T. Production



If it ain't broke, why make an attempt at fixing it?  K.R.I.T has flourished in the trunk banging sub-genre (no pun intended) since his inception in 2010 (Krit Wuz Here), and since then K.R.I.T. has been a go-to rapper/artist for people to listen to for guaranteed, quality trunk thumpers and head bobbing.  And the most impressive part of it all?  K.R.I.T. produces every. Single. Track.  He produced every track on his major label debut LP Live From The Underground, as well as 10 out of 15 songs on his sophomore effort Cadillactica, so at this point it's probably safe to say that K.R.I.T. has solidified himself as one of the most potent and underrated producers in the game.  K.R.I.T's producer prowess and love of the "wah wah" effect is what has kept his music held to the high standard that it is, and pushed him to the tier of rapper that he is considered today.  Although K.R.I.T.'s reputation as a producer is solidified, it might be safe to say that he is leaning towards more outside help on the production side of things. With Raphael Saadiq having assisted on Cadillactica, which had it's quick hits of soul and funk-infused vibes, is 4eva Is a Mighty Long Time the album in which K.R.I.T broadens his horizons into territories much larger than just hip hop?  Only time will tell.

Hip Hop Titan Responsibilities & Actions; Calling Out The Bullshit



At this stage in K.R.I.T.'s career, as multi faceted and layered as he is, people should expect nothing less than K.R.I.T. broadening his horizons and taking a completely different lane in an attempt to escape his musical comfort zone (I'm not saying he needs to go full out Kanye, of course).  But K.R.I.T also holds responsibilities in holding hip hop to a much higher standard, not to mention a much higher standard than it has been as of the "mumble rap" era.  On his emphatic response to Kendrick's now infamous "Control" verse "Mount Olympus", Big K.R.I.T claimed the crown with a song, then made his case to snatch it up, with the release of Cadillactica shortly after that in 2014.  J. Cole did it on "Everybody Dies", Kendrick (allegedly, and sort of subliminally) did it before the release of DAMN, and now it's K.R.I.T.'s turn to talk his shit again.  As little as you see or hear his name mentioned in best "current" rapper lists, and as little as people speak of K.R.I.T in general, one thing is for sure... K.R.I.T. is never NOT taken seriously as an artist, but more importantly, as an emcee. K.R.I.T raps with the best of them, and he's proven that he can time and time again.

Those are just a few of my wishes from K.R.I.T's new album, if I had listed all of them we'd probably be here for a couple more hours.  Just off of a few listens from the singles, you'd think K.R.I.T was headed in the general direction of a K.R.I.T album; real emotion and feelings mixed with smooth funk and as the kids say, "baller ass etiquette" made to sound crisper and cooler than the crack of a Sprite on a hot summer day (just kidding, the kids don't say that, probably). To the average non-conspiracy theorist, the title 4eva Is a Mighty Long Time probably wouldn't mean anything besides keeping the narrative going with K.R.I.T's history of the "4eva" story, but I believe there's more to it.  Could the album title lead to K.R.I.T's wishes of fulfilling his past claims of wanting to make "timeless music" and ultimately push him to be one of the greats?  It's no secret that K.R.I.T's goal in music is to make music that people believe can withstand the test of time (after all, K.R.I.T is an acronym for "King Remembered In Time").  Who's to say that K.R.I.T's new album isn't a play in the complete opposite direction of the "microwave era"?

Also addressing the double album track list (which is available on Apple Music and online everywhere); the intro song of the first album is titled "Big K.R.I.T".  The intro song of the second album's title?  "Justin Scott"; K.R.I.T's real name.  Is the album a representation of who Big K.R.I.T is as a rapper, but also a representation of who Justin Scott, the person, is?  I can't answer these questions until we hear the album, which is set to arrive on October 27th.  You can enjoy both of the lead singles below, and be sure to comment and connect with me about what you think the album will bring.


                

(*I do not own these songs, videos, or the rights to them*)
                












        

Observations From Rapsody's Laila's Wisdom

Ever since Kendrick's groundbreaking 2015 (possibly) magnum opus project To Pimp A Butterfly, the name Rapsody has been ringing bells and making ears perk up around hip hop blogs and internet publishers alike. Not a lot is known about the Snow Hill, North Carolina femcee, though she has made comparisons to many of rap's elite in her intricate rhyme styles, flows and patterns (many call her the female Kendrick), and she has gained respect from the likes of hip hop giants, even signing to Jay Z's Roc Nation record label in 2013. Since breaking off from her fellow North Carolina bred rap group Kooley High (or at least, putting them on hold), Rapsody has made a name for herself as a true gatekeeper and torch bearer of the original elements of hip hop, while living by one motto; "culture is everything."  As suspect as it is to trust another random rapper that has suddenly risen from the ashes of a culture that uses memes, SoundCloud, and an overdose of the 808 drum bass to profit off of (and probably buy syrup and re-up on Xanax, for the new young ones)... putting our trust in Rapsody for the future of hip hop for empowering women and competitive lyricism (for EVERYONE, not just females)... well, I'd probably say our trust is in good hands. here's a couple of dope observations from Rapsody's Laila's Wisdom.


Rapsody Brings Back 90's Boom Bap, Refined



Very much like her friend from Compton, Rapsody holds the roots of hip hop very near and dear to her heart. A certain comfort and smoothness is heard all throughout Laila's Wisdom, like having the T.V. on for the dog while you're not home; though Laila's Wisdom is far from background noise. The production plays a huge roll in complimenting Rapsody's ability to connect to the audience with familiar love stories, cockiness meeting confidence, and a regular Joe (or maybe, regular... Joanna?)  attitude that is perfect for the drive to work, folding laundry (which is a compliment, if you've read any of my past work), or chilling and having the boo thang over for a night cap. The transition from the Anderson .Paak assisted '"Nobody", to the soulful offering from BJ The Chicago Kid, 'Black & Ugly" (Rapsody's line "black and ugly as ever, but still nobody fine as me" seems to hit home a little harder now, more than ever), all the way down to the head bobbing trip that is "A Rollercoaster Jam Called Love" and afterwards, the nostalgia is present in this one, and if we're lucky, Rapsody will continue to make the boom bap the bar (no pun intended) with her street smarts.


A Failed Love Story Turned Triumphant


(*I do not own these songs, or the rights to them*)

There's a reason that some inspiration's flames burn so bright, and in Rapsody's case, that inspiration (or part of it, anyway) seems to come from tragic, lost love stories. In "U Used 2 Love Me", a heart wrenching poem of how things used to be start off the tune, from a painful, auto-tuned out voice that transitions effortlessly into Rapsody pouring her heart out on how things used to be. The second part, however, transitions into her knocking onto a lover's door (for the aptly titled track, "Knock On My Door"), and detailing her love and affection for her neighbor in a deep and intricate manner that tells a story of a tragedy that once wasn't a tragedy. Tis better to have loved and lost than never to have loved at all, and Rapsody uses that newfound knowledge and experience to vent on reminiscent tracks like 'A Rollercoaster Jam Called Love", "U Used 2 Love Me", and "Knock On My Door". Rapsody's inspiration isn't all found in past love though, as made clear on bar-filled exercises like "OooWee", "Power" (which features another noteworthy Kendrick verse), and "You Should Know" featuring an always entertaining Busta Rhymes. Rapsody's biggest flaunt comes in her ability to showcase emotion in ways now uncommon, and actually rap pure bars filled with punchlines, and wordplay.

Whoever Laila is, she has dropped one giant nuclear bomb of knowledge on Rapsody, who by the sounds of Laila's Wisdom, is eager to share her lessons with the world. Rapsody takes it back with a retro, yet refreshing sound that breathes life and the art of rapped poetry into the current hip hop landscape, an interesting twist like Oliver. Rapsody puts her best foot forward, unafraid to shine light on her life and allow her fans to understand and grow with her, while also showcasing writing talents in metaphors, wordplay, and love letter-esque concepts that tie together a story, though still in progress, beautifully.              












                           

Big K.R.I.T. Releases New Single 'Confetti", Announces New Album With Trailer

Earlier in the week, Big K.R.I.T had the internet ablaze after posting some cryptic messages on Twitter, one each day from September 26th to the 28th. K.R.I.T. posted 3 pictures, in order from the bottom to the top, which you can see below. Then, almost 24 hours later (September 28th), K.R.I.T dropped a new song, titled "Confetti", which he made available via Apple Music. You can check out the artwork above (and the teasers below), as well as the new K.R.I.T banger, and even a new album teaser trailer (released on the 29th) at the very bottom. Who's excited for new Big K.R.I.T. music?!  It's been too long!

                                          (September 28th)

 

(September 27th)

 

September 26th

 

 

The Song

 

The Trailer (*I do not own these songs, videos, or the rights to them*)

     

50 Cent On Keeping An Aura About Yourself As An Artist

Recently (September 26th), 50 Cent was interviewed on Hot 97's Ebro In The Morning with Ebro Darden and Peter Rosenberg, and he dropped some jewels about today's artists, as well as being an artist back in his prime, and before that. Another interesting example was used on keeping an aura about yourself as an artist, and being able to "add to your legacy" in the proper manner; that example was Lil Kim.


(*I do not own this video, or the rights to it*)

"Don't think they just go home and they're not doing it anymore. They're doing it and just not releasing it as much because they want to make sure it's an appropriate presentation to the public."  -  50 Cent On Lil Kim's lack of new music

Bravo. Encore. No really... SAY IT FOR THE FOLKS IN THE BACK. 50's history as an artist on the top is well documented, and I mean VERY well documented (lawsuits, fights, jumping other artists, Twitter beef, etc.), but do you ever think that any move or public noise that 50 is making is not in lieu of some promotion for a new album/business venture?  Okay yeah 50 definitely does just like to be the bully for fun a lot, but he makes very valid points on the aura surrounding certain artists and what the people expect from them.

50 also spoke on Jay Z's critically acclaimed 4:44 album, and why it may not have connected to today's core hip hop audience (22:44 mark); "I thought it was too smart. Look... it's (the album) in my car right now. I still like the records. (But) What Jay was doing on the records, there's more maturity in the actual music. He can take that out. Because it's youth culture; hip hop is youth driven. Traditionally, it would have been a quality piece of work, what it is right now for the audience, the kids that are now actively in the culture and decide what's hot and what's not; y'all see how that went quiet quick?  It had the best marketing campaign."

50 Cent, as old as he may seem (42 years old)... knows what's hot and what's not in hip hop. He knows what's going to hit and what's going to miss the intended target in terms of fan interaction, streams, sales, etc. Jay's 4:44 has been argued as the legend's best album (with HIS catalog, that's a landmark achievement), but with the current climate and culture in "meme rap", "mumble rap" or whatever you choose to call it; 4:44 is not turning people up at the clubs or the parties, because it simply does not hit the hot audience at this time. That's not to takeaway from the significance and the quality of the record, but the people decide what works and what doesn't... and though the people decided 4:44 wasn't going to work, that doesn't mean that it didn't.

The gap between Magna Carta Holy Grail and 4:44 was a long one as well; 4 years. At least for today's standards, that's a very long time without releasing a project. 50 was discussing Lil Kim earlier; do you know when her last full length project came out?  2016, and though it was only last year, it's a far cry from releasing an album every month as some artists today do. 50 Cent's last album released over 3 years ago, 2014. All of these veterans in the game have many things in common in how they move and how they calculate each move, but the biggest thing they have in common?  A plan. Which, regardless of what you may think from observing today's hot artists, takes time.              











 

Observations From Syd's Always Never Home

When Syd's debut album Fin hit the internet in February of 2017, I must admit I was pretty sleepy, by the internet's standards. It peaked at #75 on the U.S. Billboard 200 charts, including a peak position at #32 on the Billboard R&B/Hip Hop album charts. Still not having heard a single song off of Fin (give me a break, I'm just a man! *cue crying face emoji*), I went into her newly released, brief EP Always Never Home excited about the length of the project; 3 songs.  Because who has time to sit and listen to whole albums anymore?!  15 seconds into the new EP, I was immediately regretting the long slumber that I had taken on the former Odd Future group member (who is also the sister of fellow Odd Future member Taco). Former Odd Future member?  Wait... back it up... you're telling me that R&B vocal goddess Syd was a part of a group that birthed solo albums like I Don't Like Shit, I Don't Go Outside (the album title that sums up my life) and Scum Fuck Flower Boy?  I  suppose you can never judge a book by it's cover, but you damn sure can judge a singer by his or her vocals, and  hearing Syd is like hearing Aaliyah for the first time... a voice that demands attention; a seductive queen that can kill you by rocking you to sleep with her rock-a-bye tones and melodies, yet have you not even know it until you start seeing the light; because you're so stuck on that sweet, sweet voice. Always Never Home offers a peaceful, yet knowingly unhealthy relationship with love, as if Syd is the drug, and you're trying to escape, yet she grips you and pulls you in ever so gently... and you have the chance to escape, but you can't for the life of you find a reason to leave. If Syd herself is heroine... then her newly released EP Always Never Home is the syringe.




Vocals That Make The Instrumental Sound Better, As Opposed To The Opposite




Often times in music, specifically hip hop and R&B, it's hard to picture a certain rapper or singer over a melody based on the music itself; a beat can end up sounding so good or so awful that the beat sounds better (or worse) without anybody on it than with the idea of someone turning it into a legitimate record themselves; but Syd flips that sentiment on it's ear. Syd's vocal range and ability to craft a song (as opposed to a hit record) in it's entirety are key elements of what makes Always Never Home so addicting. What Syd does with her voice in songs is what some wish they could do on full length ALBUMS, which gives her enough potential to work with artists of entirely different genres and sub-genres.  She could transition from a club banging love joint with Drake and then turn around a week later and do a soulful ballad with Kendrick, all depending the mood she's in. Longevity in music prolongs years, even decades of time for an artist when fellow collaborators know that you have more than just one specific skill set musically.  Syd is busting swagged-out love bars on the opener "Moving Mountains", a banger dedicated to what tired love sounds like; "I've been moving mountains for you, but what I got to show for it?" she almost angrily, yet subtly spits in the verse, polishing it off with high notes that give that same "tired love" sentiment hope.  In "Bad Dream/No Looking Back", Syd effortlessly transitions into a much more sensual, intimate vibe that paints a picture of having your girl sitting on your lap, grinding away and staring close into each others eyes... damn!  Sorry, I should probably chill.  Sorry fellow HHU readers, Syd just provokes that feeling in you.



Sorry for the briefness of the article (or your welcome...? Depending your stance on reading), but a 3 song EP isn't quite enough to have multiple observations of... although I don't doubt Syd's incredible ability.  In a mere 3 songs, she strangle holds your feelings from resentment/revengeful, to loving and intimate, finally to the "back to work" mode and feeling that "On The Road" instills in it's introduction... transitioning then into the "intimate club performance" feeling that could only be felt like a night at Def Poetry Jam, except with soulful, lusty singers that make you feel (somebody invite Jhene Aiko and SZA, while we're at it!).  Syd's short and to the point name does not define her artistic, emotional expression heard in her music, which offers reflection and a "cold sweat" sort of warmth that can only be felt by waking up in the middle of the night and missing your baby girl.  Always Never Home sets the precedent for what love stories should sound like in R&B, and how they should be told; with a soft and soothing voice that comforts the lonely, and a fire that burns bright enough to light the inspirational candle to fuel the newly single mindset.



Since I didn't include the best song on the EP and I cannot for the life of me stop playing it, enjoy Syd's "Bad Dream/No Looking Back" below.




       
(*I do not own these songs, or the rights to them*)

  


          











                

Snoop Returns With New Funky Single, "What Is This?" Featuring October London

Tha Doggfather has returned!  A mere 4 hours ago, Snoop posted to his SoundCloud account a new song, titled "What Is This?" featuring South Bend, Indiana singer, songwriter and producer October London, who is apparently signed to Snoop's Dogg Pound record label. The song is produced by the hit maker and multi-dimensional Nottz, and the production sounds like a vibe practically molded by Snoop himself. There are no rumors or confirmations that Snoop has been working on a new album (especially having dropped his latest album Neva Left earlier this year in July) but with such a catchy jingle just released, it wouldn't be far fetched to expect something new from Snoop soon. You can check out the new song below.


(*I do not own this song, or the rights to it*)   

Observations From Buddy's Magnolia

For rising Compton emcee Buddy, as it is most Compton artists, failure is not an option. With coming out of Compton, there also comes a few stereotypes; drive-by's on the daily, dealing drugs, guns, partying, and the every day struggle of simply trying to survive. Does this mindset give Compton citizens more of a will to live than those of a, oh I don't know, say... Dover, Delaware?  I can't vouch for the hardships of Dover, Delaware because I don't live there, but if there's one thing that can commonly be said about Compton, it's that it's history is VERY well documented. And though it's documentation is almost a priority for the city's shining young artists, Buddy finds a way to make it all sound new and refreshing, like watching a re-make of a childhood favorite movie (we'll see if LeBron or whoever butchers the follow up to Space Jam if it's ACTUALLY being made, but that's beside the point). Buddy takes us on a short, yet fulfilling trip down Magnolia, and it's a bittersweet ride; not because the project does not live up, but because the trip is just too short. Here are some key observations from Compton artist (who has received co-signs from both Pharrell and Kendrick Lamar) Buddy's Magnolia.

Effortless Instrumental Riding


Buddy's take on approaching a beat is one used with care and ambition. He cares just as much about the melody as he does making the listener jump with excitement to the instrumental, and that's evident on the absolutely flaming and flamboyant jam 'Type Of Shit" featuring Pittsburgh rapper Wiz Khalifa. Buddy uses his vocal range as a tool in a singing jingle on the hook, as well as a confident boast when he raps his 2 verses before Wiz comes in and smokes the instrumental out. If there's any song that could launch Buddy to stardom, my pick would easily be "Type Of Shit". On the intro track "4 The Record" featuring fellow Compton artist Boogie (how about that for a duo?  Boogie & Buddy?  Buddy & Boogie?), Buddy enunciates his flow a little bit slower, in a much smoother tone that almost makes you feel out the song differently than you would if Buddy were to be rapping faster on the track. Magnolia is entirely produced by duo Mike & Keys, and Buddy is using his platform to promote the talented duo. Buddy said in an interview; "I really want the listeners to get familiar with Mike & Keys. We have over a hundred songs over the course of 3 years and we picked 5 to put out to the world. Their production is completely different from Kaytranada (with whom Buddy has previously worked with on a joint project called Oceans & Montana). I also want to further demonstrate my versatility as an artist." It sounds like Buddy is dedicated to his craft, and what's better to hear from an up and coming artist than one who cares about the music?

Despite The Short Track List, There's a Song For Everybody On Magnolia

(*I do not own these songs, or the rights to them*)

From colorful bangers, to slow jams for the ladies, all the way to sobering songs discussing living the Compton lifestyle, Magnolia is a ride that is too quick to process in it's mere 17 minute run time. In Buddy's ode to the ladies (or maybe, specifically, one lady) "Last Time" featuring Swainsboro, CA artist Kent Jamz (who sounds like an eerie mix of Andersen .Paak and Chris Brown), Buddy gives Kent the spotlight to display his uniquely high, yet chameleon-like vocals to mold and transform flows and voices over a smooth, slow jam with a boom bap kick and cracking open hi-hat. On another track, "That Much", Buddy uses the "successful artist who everybody wants to eat off of" approach to discuss why he doesn't do much besides kick back and lay down tracks; "niggas actin like they know somethin, niggas asking can they hold somethin', niggas acting like I owe somethin, niggas always want somethin'."

If Buddy's Magnolia is any indication of what else is to come from the Compton artist, then I will absolutely be eagerly awaiting his next move. Buddy's swift and sneaky fusion of relatable content and hit making potential is something we haven't seen in quite awhile; a pure musician who makes music from the heart just by telling his side of a story. With giants in the game already backing him (especially artists held to such a high regard such as Pharrell and Kendrick), Buddy is most definitely going to be making waves in the game soon enough. And in my humble opinion (and I'm sure I'm not the only one who thinks so), 5 tracks just isn't enough!  Buddy clearly has an idea of a marketing strategy already planned out, and hopefully that strategy includes a full fledged LP on the horizon, and much sooner rather than later.             

               













           

Observations From Dave East's Paranoia; A True Story

With the decision to release an album's worth of material that he deems as an "EP" right off the bat, Dave East is moving with a different strategy than some would expect him to. With more appearances at social events, promoting, and East doing more interviews than average (like this one with The Breakfast Club from August 22nd), it seems East is ready to put himself out there full force, and with the backing of Queens, New York rap legend (and also head of East's label, Mass Appeal Records) Nas, it would appear that East has all the right tools to be put in a situation to win, and maybe even bring New York rap back to the forefront. East's promotion methods of dropping an EP (which feels like a full length LP) before an album is reminiscent of a pop rapper, which East is the furthest thing from, but this method poses the question; does East want his product to sell more than he wants it to represent his city, and ultimately himself?  The final product was able to give East fans the answer they were looking for. Here are a few key observations from East's gritty new project, Paranoia; A True Story.

Accessible New York Rap


When hip hop heads think of rappers having an "underground sound", it generally means that this particular rapper is probably not cut out to make radio hits, but when a rapper/artist is defined as a "mainstream artist", it would normally indicate that said artist is making the most of his/hers money on the charts; East cannot be boxed into either category. While the potential for radio hits is there, East's sole purpose in rap currently lies in bringing back a gritty sound to New York hip hop. On the heavy title track, East pairs up with South Carolina born, Atlanta bred legend Young Jeezy for a very boom bap, bombastic track that finds both emcees boasting the fruits of their labor, the growth involved in the transition between drug dealing and making music, and yet is embedded in the "paranoia" that remains in living such a dangerous street lifestyle for so long. Nas gives his young Mass Appeal protégé a proper introduction on "The Hated", which East fuses a creative story-telling premise with using his past as fuel, and a hunger to strive for more. If East showcases anything in these 2 cuts alone, it's his willingness to pay homage to past New York rap, as well as his wishes to keep the deeply rooted narrative alive.

More Inspiration, Less Saltiness


Paranoia; A True Story is filled with stories from the point of view of ignorant adolescents in the hopes of dropping knowledge on how to better yourself and properly escape a past of darkness and hopelessness. Throughout the album, East speaks of the troubles, trials, and tribulations of the streets with a gritty story-telling ability comparable to Nas (which makes the co-sign make that much more sense), and a voice comparable to the likes of Game, Jadakiss, etc. (which we'll touch on in a minute). On "Found A Way", East vents over some angelic piano chords reminiscing on the hard times in life, ("I had to sacrifice for this life, I found a way, got sick and tired of wearing the same clothes, I found a way"), reminding people that through the struggle, reward can be found, and on the "Kairi Speaks" interlude, East offers a refreshing take on how having a daughter can change your views on the world; another reward found through sacrifice.

A Genuine Voice With Nothing To Hide

(*I do not own these songs or the rights to them*)

Comparing East's voice to the very distinctive vocal talents of seasoned veterans like Game and Jadakiss I know is a stretch, but if you really listen to East, you can hear the scratchiness and grittiness that he offers on every single track (which is a help to his story-telling talents). East's vocals at first appear to be naturally standoffish, but when listening closer to tracks like his "Kairi Speaks" skit, you soon understand that that's just the way the man speaks. His voice has a tendency to make it hard to identify the differences between when East is really rapping and flexing, rapping with an edge, or pouring his heart out on tracks, but on the more open and emotional tracks on the project (specifically "Found A Way" and his voice when talking to his daughter on "Kairi Speaks"), he has a lighter way of going about speaking, and maybe even showcases some underrated singing talents, which would be interesting to hear on future Dave East projects.

As history has it (in most cases), mixtapes before albums, EP's before albums, or even "albums" before albums (much like the case here, though blogs are reporting it as an EP) are signs of a much broader goal than simply getting your music out into the public. With all of the Dave East promotion we've seen the past few months (as discussed before, social events, interviews, etc.), it's not hard to tell that East is pushing to get his name out, move units for Paranoia; A True Story, and ultimately his yet to be announced debut album (?). No stories or news has been announced on whether East is in fact dropping another album to officially call his "major label debut", so the smart money says that Paranoia; A True Story is in fact the official debut for the Harlem rapper. With that being said, East gives a solid body of work that allows him to show all of himself; vulnerabilities mixed with a gritty, grimy New York rap style round out his debut perfectly enough to not be overbearing, and allow the fans to be anxious for what he has to offer next. East's hard and rugged underground rap style plays heavily into his persona, but a future on the radio is certainly not far fetched because of his underrated ability to create melodies. If Dave East sticks with the fear and Paranoia of being just an average rapper, then it certainly wouldn't be surprising to see him come back even stronger, and harder than before.      

                                   









          

Observations From Amine's Good For You

Admittedly... I've been sleeping on new releases, BIG TIME. Albums worth checking out this year seem to have been scarce. Though Jay dropped, Kendrick dropped, and Eminem is (rumored to be) releasing right around the corner, hip hop has been a little bit dry this year in terms of the big established names dropping, but one up and comer from Portland, Oregon is attempting to change that "up and comer" title to household name fairly quickly. His album Good For You had seemingly dropped out of nowhere and suddenly grabbed blogs by the throats with fun and vigorous enjoyment (kind of ironic how that works, isn't it?). The album's lead single "Caroline" has already been certified 3 times platinum by the RIAA, peaked on Billboard's Hot 100 at number 12, and even found Amine a record deal with Republic Records. See the damage a song can do nowadays?  Oh, the age of the single. However, single success does not impress me anymore seeing as anyone and their mother can do it nowadays... So what does this mean for Anime's Good For You?  Was it indeed Good For You?  I'll be breaking down a few of the high points of the project, below.


Hip Pop - It's Okay To Have Fun!


For so long I've bashed the one-track-minded (quite literally) artists of today that all sound the same and seemed to promote the same goals; platinum singles, auto-tuned filth and enough syrup to give Aunt Jemima a heart attack WITHOUT sipping any of it. But Anime's Good For You is a gasp of fresh air, almost completely drowning in the syrup before I'm able to sneak a nostril up and above the Codeine infested waters that are today's hip hop climate. Anime puts fun in every lyric, bouncing around on beats as if he'd just invaded a rich kid's birthday party and claimed first dibs on the bouncy house ("Hero", "Yellow", "Wedding Crashers", etc.). The "Wedding Crashers"' instrumental feels like you're dancing with Elmo and Big Bird all down Sesame Street with the rest of the kids off the block, and even Oscar's grouchy ass joins in (oh yes, it's that mood-inducing). His ode to the Spice Girls ("Spice Girl") is another fun one to reminisce to 90's pop to; the pure piano keys in the bridge build up to a gleeful flute followed by some lively drums that add the extra pop needed to round out the record.


Serious Undertones Darkly Shadow A Fun Loving Amine


On the surface, Good For You is a dancing field of daisies, an album that you'd pop in while wandering through a field of flowers with no worry of tomorrow. The lightheartedness and delightful weirdness of Amine is showcased in an ultimately stress-free environment that sets it's goal from the absolute jump of the record. The pop of each musical styling Amine offers properly backs him enough for you to understand that not every song on the album offers happiness, and that's okay. On "Turf", a sobering, somber number that is Two-Face to the rest of Good For You (Harvey Dent), Amine finds himself reflecting on his past, and realizing that home isn't for him, ultimately leading to his "moving out" moment. Just listening to the atmospheric pads surround the track sound eerily like finally taking a look around an empty house that you once called home, and finally walking out for good; like the last episode of Fresh Prince Of Bel-Air. "Beach Boy" is catchy in it's upbeat piano and spacey background "Oooooo's", but deceiving in it's message, like making your final thought a good one, reflective and subtractive of regrets, most notably in the end ("I don't know when I'm gonna die, my watch can't tell the time, hopefully there's some hope in me, I won't trip if it's meant to be").


(*I do not own these videos, songs, or the rights to them*)

Overall, Good For You is indeed... Good For You! Amine brings funk, positivity, realization, fun, and uniqueness in a heavily watered down genre. Amine's musical prowess is proven more in the fact that he wishes to use vocal tones and funk instruments to provoke more of a response rather than auto-tune and drug talk. His light-hearted attitude throughout the album (minus a couple of songs) isn't enough to make you want it to stop, using strictly positivity, but in different ways, and different places, different shades, and different spaces. His sense of humor, vocal range, and cool attitude shine throughout the album, and they make Good For You a must listen. Anime gives his very own take on girls, drugs, fun, money, deep thoughts, and much, much more; all of it being very good... and Good For You.                 
















 

              






               

Joe Budden & The Everyday Struggle Of Happiness... Is No Longer A Struggle

I never thought that something so lighthearted and beautiful could hit me so heavy and ugly. This particular day, August 10th of 2017, I woke up in a much more peaceful environment mentally than I'm normally accustomed to. It could have been the great sleep I got, which is a rarity nowadays, it could have been the woman lying next to me, it could have been not waking up still drunk (for once), or it could have been the endless possibilities of what to do on a day off of work. Either way, I rubbed her stomach and kissed her cheek with a smile on my face, preparing her for her day, and ultimately preparing me for mine. I knew the moment was going to end, but I grabbed that moment by the balls like I was checking it for torsion. I felt an embarrassingly similar feeling, as she walked out to her car and gave me a kiss on the cheek as she said goodbye, to what Joe Budden feels like; every... single... morning... on Everyday Struggle. Such an ironic show title for a man who appears to have it all, or better yet, appears to have exactly the riches he needs, and making the most out of every last cent of it.

If you know Joe Budden, the rapper, you already know Joe Budden, the man. There hasn't been any single instance of separation between the two since Joe's career launched with his self-titled debut a whopping 14 years ago, in June of 2003. Joe's honesty and uncut recording of his entire life through Joe Budden TV on YouTube created a whole new subgenre in rap that many artists still use effectively today; the "every day life" video series. Whether it was fighting with his girlfriend,  arguing with old racist guys in fast food restaurants, or receiving support from old friends, Joe has laid out every delicate detail on who he hangs out with, how his brain works, and what he's done. Joe Budden the man so easily gets confused and misconstrued because Joe Budden the Twitter personality's antics do not always dictate or reflect how Joe Budden the man feels; because Joe Budden the rapper, the YouTube personality, and the man, is a (fun-loving) troll.

Too often in life (if I'm allowing Joe to be another example of a point), people take every last word that somebody says and every last action they make to heart; for too many reasons we won't get into. One person's nightmare is another person's dream, and in merely the last 6 months alone (we won't even get into his well documented past), Joe Budden has been on a very well documented highway through hell; but to whom is it considered hell?  That is a question I won't even begin to answer right now, but in short, Joe has finally done what he has been attempting to do for merely 14 years... successfully separate, and in turn come to grips, with being a media personality, yet also being completely happy in your own space at home. Being happy with who you are is a "Black Cloud" that has hovered over Budden for half of his life, and now, with the success of hip hop's favorite YouTube show, all Joe had left to do was piss off some die hard Budden Stans and stop rapping, find the love of his life (a love that people immediately doubted due to his turbulent history with women), and start a podcast that best showcases the mind of Joe Budden. Oh, and this little bit of news that hit today is probably another step in the right direction, too.

Via Joe Budden's Instagram;

 Also, a video from Joe Budden's YouTube channel.


 (*I do not own these pictures, videos, or the rights to them*)
       
What a use of one of the most prolific instrumentals --nah, fuck that-- songs I have ever heard from anybody, period (which I have previously expressed my love for here).

Happiness, as they say, is a warm gun. People take what they can from happiness, because it strikes so swiftly and quickly that not to live in the moment of it all would be an insult to memories.  I remember waking up today and trying to compare and contrast with past mornings, what was different and what was the same, what was joy and what was pain, but I didn't do any comparing at all. I found it strange, seeing as this is my most common comfort zone; being able to sit back and process it all at once. But doing so as often as possible can be dangerous. Just live. The reoccurring theme of this (I don't want to call it a diary entry) post seems to be an example being set by one of the most historically unhappy rappers ever, making the best of his relationship, his situation, and his life. So am I sitting back and telling you to track Joe Budden's every movement and conversation?  No, but you do need to understand that somebody with a past as eventful, as depression-filled, as drug riddled, and at times seemingly hopeless as Budden's... makes this news that much more satisfying to see. What I really want to try to do for others, and maybe even myself, is realize that happiness can be found in the most unexpected of places. And though you can't always plan or anticipate how to react to these things, you have every single right to enjoy every last waking moment that you have, even if you're a budding socially awkward writer who looks for inspiration in the most deep, even sometimes unhealthy of places. I woke up today --though still an anxiety filled mess who overthinks every waking moment-- with the world ahead of me, and tomorrow I'm going to do the same damn thing. Well, at least until I go back to work.

Read Budden's beautiful description to his Instagram posts below, and maybe even have a box of tissues on standby.

I Never…. I never knew we’d get here, it’s funny…
I never saw you in that light. Now
I never see light without you.
I never courted you, an if I did
I never acknowledged it.
I never had a friend in romance.
I never thought that was possible.
I never have laughed this much or hard.
I never knew you or your energy were so radiant, enigmatic even…. but
I never knew you……….
I never could’ve been more deprived.
I never felt this way before.
I never not thank God for every intricate detail that make you whole. It makes me whole.
I never imagined you would be as beautiful as you are today, it’s beautiful to be a part of.
Thank you for it all.
Thank you for not only making me stronger, but for being strong enough for us both most times.
Thank you for carrying my child.
Thank you for helping me rectify some generational issues, thank you for helping me get it right. Thank you for making that important to you as well.
Thank you for every I never
Thank you for changing my forever, forever
Thank you for hope, joy & acceptance…
Because if there’s one thing you’ve taught me is that what tomorrow holds, thank GOD, I never know.
I love you.
I love y’all.
PS – ITS FUCKING LIT!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!

               

 
        
 








     

A Dedication To Chester Bennington, One Of Music's Most Prolific Voices

When I got the text that I thought was some sort of cruel joke, I immediately replied "no fuckin way" in the hopes of getting an "I'm just kidding" or "it's a prank" in return, but the news was true. Chester Bennington had passed away, resulting from hanging, on what would have been his close friend and former Audioslave and Soundgarden singer Chris Cornell's 53rd birthday. Growing up in the early 2000s, listening to or hearing Linkin Park at some point, whether it be on the radio, or on the album of theirs you or a friend just purchased, was a given. When I was younger, I thought Linkin Park was the coolest band out, and when my sister purchased the band's debut album released in 2000, Hybrid Theory, I was in her room every day listening to it, and if she wouldn't let me in I was finding ways and making it my mission to jack it out of her room and find a radio to insert it in, and press play, regardless of risking getting beaten, screamed or scolded at.

Linkin Park was THE definitive band of the early 2000s for millennials and beyond, and our generation losing Chester Bennington is like generation x and y losing Kurt Cobain. I was worried about Linkin Park as I worry about all musical acts in a time where musicians and bands are like a revolving door of talent (and some not so much) coming and going as the days pass by, but when it came to staying true to self and never compromising sound, they were the last to worry about. Linkin Park gave us unapologetic, scream singing, in your face rap metal that sounds less like screamo music and more like bible scriptures and lyrics to live and meditate upon, only this time with hard thrashing guitars, futuristic synthesizers and the Yin and Yang voices of Mike Shinoda and Chester Bennington trading lyrical jabs and deadly potent melodies. It's almost as if depending what sound you heard going into each song dictated who dominated the song lyric and melody wise, though both Linkin Park singers co existed better than Miami Heat era LeBron James and Dwayne Wade, two heavyweights who did what they needed to when called upon.





Chester's vocal abilities were unheard of for the time, and part of Linkin Park's early success was due in part to his ability to scream his lungs out in one song, then give you a tear jerking ballad in the very next performance. In "Faint", Chester seemingly leaves it all on the microphone and in the studio, with impeccable timing and one of the premier displays of his ability to go 0-60 in a millisecond, going from the beat break at the 2:00 mark (I can't feel, the way I did before, don't turn your back on me, I won't be ignored...), into the explosion that is the famous, heart wrenching chorus of the same lyrics. On "What I've Done", the contemplative, "apocalyptic-aftermath" tones of the piano are made a reality by Bennington's sort of "survivor's guilt" mentality in his lyrics and remorseful tone. Chester's expert song writing filled every song with a purpose, a purpose that his voice carried out, almost as if it was possible to win an Emmy from vocal performances based on feeling and acting with emotion, which he did with every line, every lyric, and every word. Chester gave his every last bit of himself, as eerie as it is to say and think about, with poignant lyrics that were giving people chills while he was on top, and now will haunt the dreams of avid fans, music listeners, and fellow songwriters alike... forever.


     
Chester Bennington's vocal range will remain, and go down as one of the best and most broad voices in music history (as the kids say, don't @ me). It's terribly unfortunate and heartbreaking to hear such an amazing talent take his own life, especially after years of success, and songs that I, and millions of fans worldwide, will still be painstakingly screaming out at the top of our lungs until they're no longer able to suck in oxygen. But as history has it, millions of dollars in wealth and immense success does not bring happiness... it starts with one's self, and I pray, every single day that somebody who lives with these issues is able to speak up and seek help for themselves, and their loved ones around them. The mental health issue, though being spoken about more honest and openly over the last few years, is still a glaring elephant in the room that nobody seems to want to tame. Chester will forever live on in our hearts, in our heads, and in our headphones and speaker systems, because his legend shall never die, but the thought of what could have been will still always be there, not only as a truly painful memory, but hopefully as a reminder for those with mental health issues to speak up, and a reminder for you to tell your loved ones how much you love and appreciate them. So for yours, for mine, for your loved ones and for everybody's sake... tell them. Before we, or they see One More Light.

It's not for the faint at heart, but if you choose, check out Chester and Linkin Park's performance of their lead single of their most recent album, One More Light, on Jimmy Kimmel on July 19th (three days ago). Warning; Prepare yourselves.


          
(*I do not own these videos, or the rights to them*)

Please, for those who need to talk to someone, please call the National Suicide Prevention Hotline at 1-800-273-8255.

It's okay to speak up. It's the strongest thing you could ever do.  








                       

4:44; An Ignorant Fan's Understanding Of Jay-Z As A Top 5 Rapper (Also Observations From 4:44)

Before the internet, there was the radio.  Scrolling through your timeline and finding the most outrageously funny pictures possible was nonexistent; a meme wasn't even thought of in "the time before."  Viral videos of pre-pubescent children dancing to the most explicit of hip hop songs weren't even imagined of at the time.  We had computers, but even finding music on these monstrous, prehistoric machines was a chore.  As an innocent adolescent who's views on music were unwillingly shaped by the 2000's pop movement, I found interest in one particular emcee from Detroit who discussed topics and said things in his songs that made people uncomfortable.  At that age, the only thing you hear is what's popular on the radio, and somehow this guy forced his way onto the airwaves with Tom Green impressions; "My bum is on your lips, my bum is on your lips, and if I'm lucky you might just give it a little kiss, and that's the message that we deliver to little kids, and expect 'em not to know what a woman's clitoris is."

Ridiculous, I know, but most of hip hop was at that time.  Eminem was trying to show people the real him, Nelly was giving a course on "Country Grammar", Outkast was screaming "Hey Ya", and Petey Pablo was making you take your shirt off and swing it around your head "like a helicopter."  These were crazy times.  Whenever I think of this era, these are just a few of the quote unquote "important" songs that pop into my head when I think early 2000's hip hop hits.  Some stuck around and some didn't, and the new millennium was an especially interesting take on music because being a one hit wonder still existed; there was no way one single "hot for the moment" song would reemerge unless the radio airways were going to give it spins.  And this idea; this crazy, now unfathomable thought at one point in time (that I hate to admit and I know will get me scolded at by my loyal HHU readers)... is what I thought of Jay-Z.

Let me get these thought piece bars off before y'all get to sharpening your internet pitch forks and lighting up your torches!  Jay-Z was a hot commodity at the time, yes, but as a strictly RADIO EXPOSED adolescent, I didn't get the exposure to Hov that a self proclaimed hip hop connoisseur probably should have been getting.  Could I go back and do my Jay-Z homework and figure out just how incredible The Blueprint is?  Today, of course I could (even though other album releases today aren't attempts to be anywhere near as calculated as Jay).  But back in an era where there is no album search engine and the best way to even get a glimpse of your favorite music stars was to hope that they put out a music video that made MTV (you know, when they still showed music stuff), buying music was the only available option.

I didn't start this piece this way as a means to save face.  My exposure to Jay-Z, or any type of music today for that matter, is to nobody's fault but my own.  I've had plenty of time to go back and do my "research" if you will on past projects of his.  But there's a disconnect; I've held a spot in my heart for artists and songs that I've grown up listening to, and it's not uncommon for any person to do this; Jay just so happened to not make that list because I was unaccustomed to hearing his music growing up. And after hearing the much speculated and highly anticipated 4:44, I wonder how much of an impact he would have had on my musical tastes growing up.  With all of this being said, and to prevent any more rambling, let's get to MY very own observations on what I believe could be regarded as the best hip hop album of the year; Jay-Z's 4:44.  (Unfortunately, the only available way to stream the album at this time is on TIDAL).


A Humbling Honesty That Jay Has Never Shown Before

The transformation of one of the world's most well known hustlers into a protective, unrelenting family man is only comparable to the opposite of what happened to Walter White.  Jay Z is... Gus Fring (though Gus didn't have his family always in the limelight).  It's as if The Most Interesting man had written a tell-all book on how NOT to act when you have the sauce like that.  From accepting his mother's being gay on "Smile", to realizing what he did was wrong (also ADMITTING TO CHEATING ON BEYONCE, LIKE WHAT?!) on the coming together anthem "Family Feud" (featuring Beyoncé!), Jay makes "being a family man" music fit for a king, and only a king.  The vocal sample on "Family Feud" sounds like nothing short of the world's top family being ripped to shreds by adultery, fueled by rumors to make it worse, then the family walking out of the other side of the flames unscathed, and stronger than ever.  On the gritty and humbling title track "4:44", Jay lays it all out in the open, allowing his fans and critics to finally hear his side of the story, and the opening line makes him sound as remorseful as a straight-edged Catholic man admitting to adultery; "I apologize, off the womanize, took for my child being born, to see through a woman's eyes." The haunting sample of Hannah Williams & The Affirmations almost creates a tear-jerking reaction, painting a vivid picture, almost like imagining Beyoncé taking ol' baby Blu Ivy to stay at her mother's house for awhile.  Thank No I.D.'s genius sampling for that one (which we'll go more in depth on... right now).


Unbelievable Sampling

4:44 is entirely produced by long-time Jay collaborator No I.D., and a better producer could not have been picked for the tall task of Jay's long-awaited 13th studio album.  Jay's idea of having 1 producer for an entire album is almost a lost art nowadays (though not completely lost, thanks to Run The Jewels, Freddie Gibbs & Madlib, etc.), and you wonder why based on the chemistry you hear between the two throughout the album.  4:44 could almost be recognized as a grown man's musical; some of the jazziest vibes we've heard in hip hop since Jay Dilla (maybe that's a stretch) force you to imagine Jay performing these songs in small clubs like Frank Sinatra & The Rat Pack; this staggering amount of class on a hip hop album is something never before heard.  We've discussed the incredible sampling on the title track already, and "Smile" is the audio representation of family being full circle, and the sample comes back around just so.  The classic Stevie Wonder "Love's In Need Of Love Today" sample seems to be fitting on a track where Hov does exactly what Hov does best; talk copious amounts of stylistic shit over a soulful, warming track.  "Caught Their Eyes" is an easy listening, "so smooth your grandparents would jig to it" number that features (who doesn't at first sound like) Frank Ocean's lightweight, float-worthy vocals, and the sample on "Moonlight" sounds very eerily similar to the sample on DJ Khaled's Nas-assisted "Nas Album Done" (and it turns out it is the same sample, from The Fugees' "Fu-Gee-La"), and though it doesn't bounce as much, it flips the sample in a day-dreaming vibe that only No I.D. could, and it's made to sound as heavenly as only Jay could make it heard.

There are so many jewels and gems to pick from 4:44 that listening to it almost sounds like robbing Jay of his secrets, and ultimately, his multi millions of dollars.  Jay offers things more rare and valuable than a unicorn with his 13th studio effort; quality, and perspective.  The pain throughout the record that Shawn Carter has felt through an immense amount of scrutiny is then brought back around in a momentous and glorious comeback story that only Jay-Z could expound upon.  And not only in Shawn's darkest moments does he shine the brightest, but the significant amount of time he's taken off (with it being 4 years since his last solo effort, Magna Carta Holy Grail) has allowed Jay to plan, coordinate, and drop watermelon sized amounts of wisdom and perspective in abundances.  It's like Jay is inside Truman's Show; except this time Jay is the one who sees the world as opposed to the world seeing him, expounding upon every important topic in the most political and socially conscious music that Jay has released to date.  Jay is rapping as if his "give a fuck" button is broken, speaking with clear cut, "if I said it, I meant it" tones, causing you to rewind a countless number of lines and rhymes in a manner that hip hop (and maybe even the world) needs more than anything else right now.  In a hip hop world where albums have turned into bad sitcoms, Jay's 4:44 is like a blockbuster movie years in the making, and will probably be regarded as the best hip hop album release of 2017 when the year's over.

So what do I think of Jay-Z now?  I think the guy should take out and bring the hyphen back every year.  It's odd how a rapper can be so colossal in stature, in both music and business ventures, and some 90's babies still wouldn't be able to give you one quote from an early Jay-Z album. Admittedly, this was, scratch that, still is the case for me.  The times have changed, and when the times change, the greats adapt to the climate.  Such is the case for Jay-Z.  The flooding of music releases that hip hop has seen over the past 3 years (give or take) has shown a huge hit in it's value, both in theory and in actual price (just think of the countless albums and mixtapes you get from a streaming service for just $9.99 a month... any album, anywhere, any time), but Jay returned like Jordan, except this time wearing the 45, with the most quality hip hop release we've seen in years; fans will still be picking apart messages and lines from this album next year (hopefully they'll still be listening).  Jay set the example again, this time proving that it's okay to take time off between albums and letting the world wonder what your next move is.  As Yoh over at DJ Booth put so eloquently; "Jay Z is a quiet man. He is proof that a giant can walk without making the Earth shake. He is proof that when a giant decides to stomp, the Earth will tremble." Check out the stream of 4:44, which is still only available on TIDAL (with a subscription), but will be available on all streaming services as early as next week, so non-TIDAL subscribers, be on the look out for that.