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.                        












                





            

         













               

3 Observations From Big Boi's "Boomiverse"

Big Boi's third studio album Boomiverse certainly lived up to expectations, and if it's possible to live up to an album's title, the Atlanta, GA based emcee did that better than anybody could.  It had been a whole 5 years since Sir Lucious Left Foot's last solo LP, and people were eagerly awaiting to see what the other half of the legendary duo Outkast had in store for the people. Though Andre has always been the one talked about (often referred to as "hip hop's unicorn"), Big Boi has seemingly never received his just due for the impact he's had on Southern hip hop, and the consistent quality of music he's released throughout his career, both as half of Outkast and his solo work.  But today, it's a must we talk about (in my opinion) the best album of the year, so far.  Below, I'll be pinpointing the highlights of Big Boi's intoxicating Boomiverse album.


Feel Good, Dance Party Vibes



All through the album, Big Boi grabs a hold of your ears and facilitates the grooves throughout your entire body.  These dance grooves mixed with Big Boi's signature style and poignant lyricism mix for a well rounded, yet refreshing hip hop album.  In a time period where it's either dumbed down radio hits or raw, underground lyricism, Big Boi does an excellent job of saying just the right amount while allowing you to dance, listen, and enjoy easily. "Mic Jack" features (though barely heard), an Adam Levine feature plus some of that bombastic spectacular production from Organized Noize's own Sleepy Brown, and "Freakanomics" wouldn't even sound like an ode to the freakiest women hip hop has to offer to the average listener; because Big Boi is that good at mixing and molding hip hop with dance friendly sounds.

Dirty South Sound


The dirty south has always been a huge part of hip hop's evolution, especially into the new millennium, and Big Boi brings back the "southern drawl" with force on Boomiverse.  He updates the people on the South's doings with some unreleased Pimp C vocals and a cool Gucci verse on "In The South", which has more "Southern drawl" than UGK, Outkast, and Organized Noize sitting on the corner of Headland and Delowe with cups of the bubbly (it pretty much doesn't get more Southern than that).  "Kill Jill" featuring titan Young Jeezy and OG Atlanta rapper and frequent Big Boi collaborator over the years Killer Mike is the banger that will get all the partiers and sippers moving with their subs.  The beginning of the sample sounds like some Shaolin monk, preparing-for-a-fight-with-Bruce Lee type of shit, and if there is any song to bump in the whip and feel your true Southern pride, this is the one.


Big Boi's Identity As A Rapper/Musician Is Never Compromised

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

This may get to sound a bit preachy, but hear me out.  While it boasts many features (huge name features like Killer Mike, Jeezy, Adam Levine, and more), Big Boi's Boomiverse is unapologetically, his album.  Though the Atlanta emcee can mold his sound into any sort of instrumental, a hip hop banger or a catchy radio jingle, Big Boi does not compromise his signature otherworldly sound with what is currently popping in the hip hop world; Big Boi is still half of Aquemini living in his own Boomiverse speaking "Freakanomics" with the local, bad ATLien bitches.  Big Boi's ability to stay relevant in an ever changing hip hop climate speaks volumes to his ear for beats, and ability to make music that simply sounds dope.  The people have been in doubt about music coming out, debating on whether or not some of it is worthy of being deemed "classic", or debating whether it should be considered music at all, but Big Boi stays away from all the hoopla and just keeps doing his own thing; making great, feel good jams.          









            















     

     

Did Lebron & Kevin Durant Really Record A Hip Hop Song Together?

Right now, arguably the most entertaining thing on television (though maybe not to some, due to the results of the first 2 games, get your shit together Cleveland) to watch is the NBA Finals. A rivalry years in the making, and the first time in NBA history that 2 teams have faced off against each other in the Finals for 3 years in a row. With what seems like perfect timing (almost suspect timing), something surfaced online by way of a hip hop producer from Cleveland.

Yesterday (June 5th), somebody from Cleveland recording studio Spider Studios released a snippet of what appears to be a Lebron James & Kevin Durant song, apparently recorded during the 2011 lockout season of the NBA. With Kevin Durant (supposedly) producing the beat and both NBA superstars giving vocals to the track, Complex reached out to the owner of Spider Studios, Ben Schigel, to get more information about the track.

What do you remember about the night LeBron James and Kevin Durant recorded a rap song together?
"They came into my studio Spider Studios in Cleveland, Ohio. I have a buddy that was recording, and I guess he knows LeBron’s manager [Maverick Carter] and a few of LeBron’s buddies. When the NBA had the lockout, I think Durant was working out with LeBron, and my buddy said they wanted to record. He didn’t say Kevin Durant. He said LeBron, so I was only expecting LeBron. And then they both came in and I was like, 'Oh, this is kind of cool.'"

Was it just LeBron and KD?
"They came in with a bunch of their buddies, and we recorded from like 10 o’clock until four in the morning. We did a bunch of songs. Well, we didn’t do a bunch of songs. We did two or three."

Oh wait, so there’s more than just the one song that everybody is talking about right now?
"They did that song and then they did one other song. But the second song doesn’t have KD on it. It was just LeBron and a couple of his buddies."

Do you know if the song with LeBron and KD has an official title?
"I don’t think the song has a name."

What was the vibe like in the studio when LeBron and KD started recording?
"The vibe was cool. Those guys came—they probably had like 15 or 20 of their buddies show up with them—and they just kind of hung out and wrote as they were there. There was one moment I remember laughing because I was working on the Pro Tools rig and I looked and Kevin Durant was sitting on my floor. I was like, 'Dude, you’re worth $20 million or whatever, somebody can get you a chair.' [Laughs.] 'You shouldn’t be sitting on the floor.'"

The ESPN story about the song LeBron and KD recorded said that KD may have produced it. I’m guessing that if he was hanging out on the floor, that part of the story probably isn’t true. Did he play any role in the production?
"I can’t remember where the beat came from. I don’t think it was KD. I’ve been trying to figure that out."

Do you know why they picked that night to come to the studio to record music?
"I think it was just real spontaneous. I don’t think they really knew what was going to happen. I don’t even know if they were planning on anything happening. It’s kind of like if you were to go to the movies or something. I think they were just like, 'Let’s go into the studio and make a couple tracks because we’re bored.'"

Did it seem like they were going to do anything with the song they put together?
"I don’t know what their plans were because I never really talked to them after that day. I think they were just trying to have a good time."

After they were finished recording the song, what did you do with it?
"It just kind of lived on a hard drive in the studio. I’ve had it for six or seven years, and I’ve never really played it for anybody. I’ve kept it a secret. But when I started to hear the news about the song yesterday, I laughed because I knew I had it."

Why did you decide to put out a snippet of the song after holding onto it for all these years?
"I put it out there just to let people know it does exist. I also wouldn’t mind maybe trying to find an avenue to do something with it. With LeBron and KD's blessings of course."

Have you heard from either of their camps since releasing the snippet?
"I talked to LeBron’s manager for a little bit today. He was cool with me putting the snippet out."

So the most important question: Are you actually going to make everyone wait until you hit a million retweets to release the song, or will you put it out before then?
"We’ll see, you know? [Laughs.] It’s tough to get to a million."

You can check out a snippet of the track in the link below, via Spider Studios' twitter.

https://twitter.com/SpiderStudiosOH/status/871876840079732736

What do you guys think of the snippet?  Better or worse than everything else rap being put out right now?  Well... No, I shouldn't go there.  


















  

4 Observations From T-Wayne

Finally!  Just when I was losing hope for hip hop and feared losing it to all that is fun and down-syndrome inducing music (wow... I kind of feel like a 23 year old Joe Budden now... it's a shame), a beam of light flashed down from the Heavens and shined it's light on all that is mumble rap-y and boring; T-Pain put up an Instagram post talking about feeling really "spontaneous" and boy is the internet glad that he was not bluffing. T-Pain dropped the long awaited (like, so long awaited that new hip hop kids probably don't know the significance of the phrase "lemme buy you a drank") much anticipated T-Wayne album that has been talked about since around the times Lil Wayne was at the top and not considered some feature verse ghost (songs are rumored to have been recorded around 2009). The 8 track EP boasts tons of catchy T-Pain vocals and even more Wayne quotables, so it's time to dig in. Here's a couple cool observations from the EP.


Wayne and Pain's chemistry on records is on point


Obviously, the idea of T-Wayne had been in the heads of the fans for years, and in the heads of Wayne and T-Pain for even longer, so for them to craft a body of work - though small - without feeding off of each other's energy for each track, would be nothing short of a disappointment. T-Wayne delivers, however, from the intro track "He Rap He Sang", in which even the title suggests that the 2 will be boasting the other one throughout the song while still finding ways to let out their signature sounds, all the way down to "Heavy Chevy", where the instrumental goes all out cool-car'd classic on 'em.


T-Pain goes throwback "buy you a drank" T-Pain on "DAMN DAMN DAMN"


The title of this song is rather funny considering a couple of things... was T-Pain thinking out loud when he saw that girl in the club?  Did Kendrick Lamar know something before the rest of us?  Regardless, the coolest thing to point out about this record is T-Pain's "sexy enough to seduce a stripper" vocals on the track, very much reminiscent of "Buy You A Drank" as well with the slow dance-vibe-instrumental.


"Waist Of A Wasp" beat is already a certified classic instrumental


Though I know the statement above is definitely a stretch,"Waist Of A Wasp" sounds amazingly classic in it's instrumental, and the main reason probably being that the song was previously leaked in 2010, though the version that leaked was not the final version. Wayne glides all over this beat in classic fashion, and T-Pain vocally dances just as 2008 T-Pain would have done on the hook. Bouncy vibes, and a classic sounding beat that even the most technical of emcees could probably do something with; would it be a stretch to say "Dilla vibes"?


"Heavy Chevy" is the best song on T-Wayne


No debates on this one. Yep, I'm being ignorant Geff on this one, but I have a feeling that I won't feel so ignorant once I see some other feedback from this album. "Heavy Chevy" is such a vibe-heavy song (almost as heavy as a Chevy, dare I say?) that the instrumental is practically dripping candy paint and spilled codeine (though I do not condone any use of codeine, for the record). Wayne's "PLEASE TURN DOWN THE STEREO" line literally got me to laugh out loud, and being reminded of how creative and hilarious Wayne could be in his prime almost made me shed a thug tear. How many official remixes will come of this?  Probably not the ones we want to come, if any, but if I could choose any other rappers I wish I could hear verses from over this beat, I'd easily go Big K.R.I.T and Bun B. The Houston vibes are real with this one, young O.G.

Overall, T-Wayne delivers a hit of nostalgia that hip hop right now is lacking, and I'd go as far to say that it is in need of it. It's great to hear Wayne having fun and doing his thing over beats again, and it might be safe to say that Wayne fans have something to hold them over while the wait for The Carter V continues (probably not safe to say though, with today's music indulgence). Could this project bring attention to T-Pain long enough to revamp his career?  As you know, the inter webs are nothing that anybody could predict, so we shall see what the future brings for the auto-tune originator, and people will definitely be on the look out for what happens with Wayne and the current situation with his held-hostage album, The Carter V.                       












              

My Letter To Slaughterhouse



 

Growing up listening to Eminem and his brain twisting ways of bending words and molding messages made me think that I would never find another personality of his type in rap again. His love for the craft and his ability to channel fiery anger into productive, though not exactly "politically correct" music allowed his message to be heard and his story to be felt. But with all of the drug talk and the syrup sippin', who feels anymore right?  Fans who crave more brain stimulation.

Under Shady's wing, and with a little help from Jersey City emcee Joe Budden on a song aptly titled "Slaughterhouse", the group's chemistry fit so well that they figured the title of the song might as well be the name of the newly formed super group that included 4 emcees from different parts of the hip hop suburbs (Royce from Detroit, Budden from Jersey City, Crooked from Long Beach and Joell from Brooklyn), all willing, and more than capable to give a side of the stories from the slums of these neighborhoods that many heard and feared.  Listening to the four members' dialect whilst speaking in interviews surely would have fooled the average hip hop listener, as their witty and humorous banter about each other could warm up even the chilliest hip hop critic, and open them up to the conversations taking place.  But where are they now?  (*cue behind the music voice* "coming up, the story that broke the band apart... and a grudge... that just won't budge.")

The group's last solo record appeared on the soundtrack for the 2015 movie Southpaw, a movie in which Eminem was supposed to originally appear in the lead role instead of Jake Gyllenhaal, but didn't due to his focus on creating his new album. Though Eminem didn't take the lead role in the movie, he and the movie's director Antoine Fuqua agreed upon an ultimatum; a soundtrack for the movie that featured all new music, including what is now Slaughterhouse's last released song, "R.N.S." The delay of Slaughterhouse's (supposedly) forthcoming second major label (third overall) LP Glass House has been addressed by Royce and Crooked in interviews and on social media, though no real conclusion has been lead to about the fate of the Slaughter. But what does Eminem's manager Paul Rosenberg's tweet in the above picture mean?

          

(above pictures; When Crooked I was asked about the wait in late March of 2017, he shrugged off the question with "who knows.")

 

Paul Rosenberg's tweet (in the very first picture above) in February of 2017 leaves less to the imagination than previous answers and hints dropped about the album delay.  The answer (though the question has not been addressed publicly by any of the members or the label/parent labels Shady Records/Interscope Records) can be speculated as simply as this; label politics.  Slaughterhouse's last major label LP's opening week sales barely broke 50k (the exact number being 52k sold first week for Welcome To: OUR HOUSE), and while it seems it shouldn't matter for a record company that boasts a man who sells around 700-800k first week (hint; the man's nickname is in the label name), apparently Shady/Interscope feels that this time around, House Gang needs to deliver.  But now more than ever (the streaming age), wouldn't it be as easy as it's ever been for barely promoted artists to outsell expectations of the label?  So you'd think.

 

As for Slaughterhouse being the modern day Rage Against The Machine (which is incredibly ironic considering the title of Joe Budden's last solo album, although Budden has never been one to mince words or play nice) or Public Enemy, who says that they couldn't be?  With every headline and every think piece being put out nowadays practically being written because of mere tweets and comments, who says that 4 of the most lyrically talented emcees in the game couldn't say something that would ruffle some feathers?  Have they not heard of the "any publicity is good publicity" claim?  The saying has never held as much weight as it has today, and when you have Joe Budden going in on Lil Yatchy for destroying the culture, I'm sure the man (along with his House Gang mates) could find a way to make headlines and maintain relevancy, in an outspoken effort to push lyrics back to the top, even though the 4 humble members more often than not let their rapping do the talking (which is a rare trait nowadays, when your ACTUAL RAPPING is the reason you're considered so good).              

 

 

So here's my question to Slaughterhouse, to Shady Records, to Interscope; what do us as fans have to do to show you that we want new music?  What do we have to do to show you that we care about the group?  Slaughterhouse wasn't started to sell records, they were started to change the narrative and the overview that hip hop has succumbed to.  "Mumble rap" is killing hip hop heads' willingness to live, because when all you hear is "fun music", eventually the music stops being fun altogether. Not to mention the fact that the use of syrup/codeine, Xanax, and Molly are literally actually killing hip hop's artists AND it's fans.  Hip hop needs something relatable, something to challenge the ears and the minds of it's young fans.  Why can Slaughterhouse not be the answer to this dilemma?  The story-telling, the double-entendres, the word-play, the pure rapping ability, but most of all, the "never-serious-until-I-get-in-that-microphone-booth" attitude and mentality is a breath of fresh air that the currently drowning climate of rap needs right now.  And in your attempt to sell records, you fail to recognize the difference that this group makes, which ultimately makes you no better than the labels that are pushing the drug addict's records to sell.  I want to change the narrative; which is why I'm promoting the tweet below that could possibly be a big step in the right direction.  I will attach this tweet here and on my Twitter page, and even screenshot it for my Google+ and Facebook followers to find, and retweet in the hopes to get Slaughterhouse released from Shady Records, and back out in the music market ready to release their long awaited 3rd album, Glass House.  Please help to be a part of something important, something much bigger than rap that dumbs down it's fans; be a part of the change!       

 

#FreeSlaughterhouse

 

Angelo Mota Says "Namaste" On New Banger

New Jersey rapper Angelo Mota saw success from blogs and fans all over social media with his brutally honest and expressive album from last year House Of Diamonds, and now the rapper has returned with his new song, "Namaste."

It's almost as if the game asked Mota if he was leaving any time soon, and Mota simply replied, "nah, Imma stay." No rumor on if the track will live on any upcoming project, but I'll keep you posted if any new information is released. You can listen to the dope new track below.

https://soundcloud.com/angelomota/namaste

Observations From Drake's "More Life"

 

I guess everybody just needs a little More Life in their lives. And it's probably safe to say that Drake knew that. With all of the talks of Drake's newly dropped "playlist", the wonder on social media (mine included) was; why the fuck are you calling it a playlist?  It's all new music, none of it has been previously released, and I'm sure some Drake stans would be writing OVO some angry letters had that been the case, but it was not. Chasing a vibe seemed to be the case, which Drake, as we know, is the king of. Regardless of the transparency of the project, there's still a lot of observations to be made about More Life, and while you should know this is NOT A REVIEW, I do have a couple of points of my own to make about the project. Check them out below.

Drake & Kanye's collaboration "Glow" is probably the best song on the project

https://play.spotify.com/track/28irpKCCK9nn9DZSik2zEx

Due to all of the bullshit that streaming services still cause, I could only put a Spotify link for the song. Anyways, Drake and Kanye truly "Glow" on their collaboration off of More Life. Kanye sounds like classic, pre-insanity, pre-Kardashian, pre-Steve Jobs-genius-level-wannabe Kanye, and he sounds like he's in the moment of the music more than thinking about how he needs to innovate. The wavy production is on point, and with Drake & 'Ye going back and forth with verses and their signature brands of singing over it, "Glow" almost sounds like it could have been recorded in So Far Gone era Drake and 808s & Heartbreaks era Kanye. Now all we need is a proper collaborative title for these 2; So Far Gone Into Heartbreak?  So Far Gone In The 808s?  Eh, we'll think of something.

Drake is still brooding over J-Lo and he really actually sampled her on "Teenage Forever"

https://play.spotify.com/track/6n3HGiq4v35D6eFOSwqYuo

This is actually a pretty decent song considering the circumstances in which it was recorded (supposedly). Drake is clearly singing about his short-lived romance with J-Lo, and although it sounds like he is somewhat hurt over it's end (or he's not hurt at all and he wants to troll people), it's almost hilarious to see him get involved with another A-list celeb and see some drama over it. Even if I'm being callous, this song is another example of why Drake's honesty and ability to put his life into music has fascinated me, but more importantly, kept him on top of the game for years now.

Every song with a feature sounds like the featured artist's song

https://play.spotify.com/track/0xl1w2q4VLojeXp4JfazPL

This is another thing that has bothered me to no end over the last couple of Drake projects; when there's a vibe to be chased, Drake is Usain Bolt. His quest to stay on top looks more like panic and less like genuine craft and ability to mold his signature sound. Don't get me wrong, every project has their highpoints (on More Life they seem to be "Glow", "4422", "Can't Have Everything", and "Do Not Disturb"), but every project also seems to have that song or songs that sound like they should live on the featured artist's project; Young Thug steals Drake's glory on "Sacrifices", and "Ice Melts" practically sounds like it could have been a leftover of Jeffery. U.K. grime rapper Giggs also steals the spotlight briefly on two More Life records ("KMT" and "No Long Talk"). Is Drake trying to pull the Dr. Dre move and use his platform to bring up other artists, or is he using it to expand his brand and fan base?  No matter what the reasoning may be, Drake is certainly reaping the benefits.

Altogether, More Life is a solid addition to Drake's discography and holds a bit of replay value. While the project could be classified as predominantly dancehall and contemporary hit radio music, Drake doesn't stray away from his signature brand of reminiscing and hindsight story telling rapping (though rarely at this point) while giving the world the business over the "right" beat. There's no type of "9 A.M. In Dallas", "5 A.M. In Toronto", or hungry rapping that we normally like to see from Drake, but there are moments on the album where he reestablishes his sound. This critique is me looking for the best in an overall solid, yet underwhelming album, yes, but just because our expectations aren't met, doesn't mean that the album isn't good and doesn't hold value in other markets, or situations. More Life seems more of an attempt at Drake living and trying to give you "more" of his "life", then giving the people more life themselves. Also, is it too late to ask what the hell is up with this ridiculous amount of slang that nobody has heard of before?  Or is everybody just riding the wave and pretending like Drake has been doing this?  Just sitting back and accepting it seems much easier than trying to understand, and I think More Life, though not completely, is a representation of that statement. Now go and "Madiba Raddim" yourselves, and try not to get too "Blem."                    
   

















          

Kendrick Returns With Ether For Somebody (?) On "The Heart Part 4"

Tonight (March 23rd) Compton emcee Kendrick Lamar returned to the rap game in triumphant fashion. Kendrick first posted a cryptic Instagram picture (above) that fans could not quite crack (though one did), but then Kendrick dropped the fourth installment of his "The Heart" series, aptly titled "The Heart Part 4." Kendrick bodies the beat-switching track in true Kendrick form, and social media seems to think that Kendrick has his target set on Big Sean with some of the following lines;

"My fans can't wait for me to son ya punk ass, and crush ya whole little shit
I'll Big Pun ya punk ass you a scared little bitch"

"Tip toeing around my name, nigga you lame
And when I get at you homie don't tell me you were just playing"

While the lines are vague, rumors are that Kendrick is aiming at Big Sean. But wouldn't it make more sense to aim at Drake with the recent release of More Life?  Though Kendrick doesn't need the promotion, he's definitely going at somebody's neck on his new release. What does this mean for his new album release coming?  Oh yeah, Kendrick basically gives a release for that as well, on the last line; "Y'all got til April the 7th to get y'all shit together."

You can listen to the newly released song on Apple Music, which I unfortunately couldn't feature a link for.











  

   

Dave Chappelle Is Back, And His Return Is Giving Me Life

On Wednesday nights from 2003-2005, I remember barging into my sister's room sometimes unannounced and sometimes invited; but either way I was going to watch the coolest and funniest show on television. Though I was too young at the time to realize the impact that David Khari Webber Chappelle would have on my life, every Wednesday night at 10:30, which was well past the time I should have been awake as a budding 10-11 year old, I stayed up and watched Chappelle's Show with a piqued interest. The hip (hop) music, the brain of a scholar (though he didn't attend college), and an unmatched comedic energy kept me zoned in every week to see what crazy antics Dave and friends were up to.

Then abruptly, and viciously, it stopped.

I tuned in to 3 more Dave-less episodes (during the monologues, at least) that became known as "The Lost Episodes" and it felt like there was a void in my life. With all 3 episodes airing a week apart, after each airing, I felt the countdown to oblivion piercing my heart like a dagger. The man who subconsciously taught me about racial equality, schooled me on real hip hop, introducing me to legendary hip hop acts like Black Star, Common, DMX, Erykah Badu and COUNTLESS others, and made me think more than any television show I've seen while touching on issues of the world and making me laugh at the same time... was gone. And I didn't understand why.



Fast forward to 2014; Dave's hiatus is painfully reminded by sprinkles and samples of appearances on late night television and the occasional music festival (though it's better to have a little bit of Dave than none at all), but then it's reported that one of the most thought provoking and lyrical emcees to ever touch a mic, Nas is headlining NYC's Radio City Music Hall music festival hosted by... Dave Chappelle?!?! It was not a dream. The wishes of Dave's return were still not entirely fulfilled, but an event of this magnitude gave the people, me especially, hope.

And then it came. In late 2016 rumors hit of 3 (!) brand new comedy specials coming exclusively to Netflix towards the end of the year, and not seeing them drop before the close of 2016 almost made my heart sink. Why was he toying with our emotions?  Does he not know what he means to us, and comedy as a whole?!  Oh he definitely does.

Regardless on if he knows or not, I wanted to use this platform as a way of thanking Dave for coming back and giving me, and a very large number of other people, life again. Thank you for (partly) introducing me to this beautiful mess we call hip hop, and thank you for being the most brilliant, hilarious, and thought provoking mind I've ever seen. In a world where everything seems to be a mess and there's never an end to the negativity, you make fun of how ridiculous everyone acts and it makes me smile almost more than anything else can. Even though I've made that little message clear in writing before on here, I couldn't say it enough times. Now while I'm off to go cry laughing at Dave's Netflix specials again, you can enjoy a recent interview (March 21st) Dave had with Jimmy Kimmel below.


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










 

             

Joey Bada$$ Says He Raps Better Than Tupac, People Flip Shit As Usual

In an interview yesterday (February 28th) with Genius, Joey Bada$$ offended some more sensitive Tupac fans.

The Brooklyn rapper discussed his beliefs and influences of past political figures (mentioning names like Malcolm X, Marcus Garvey, Martin Luther King Jr., Langston Hughes and more) and how they have influenced his music, but the quote that is pushing headlines everywhere is what he said about Tupac near the last half of the video; "Like, I already know I'm a better rapper than Tupac. That's just facts. One on one battle, I'll flame Pac."  And here's my beliefs (brace yourselves, Pac fans); Joey's absolutely right.

In pure rapping and lyrical ability, Joey Bada$$ would best Tupac. But in all of the different aspects discussed in what makes the "greatest rapper of all time", I don't even think other rappers know what it takes to hold the title anymore. Sure, there's lyrical talent and abilities, but there's also influence, there's flow, there's hit making (which doesn't qualify for pure abilities, but still), and too many more aspects to count. So yes, from a lyrical standpoint, Joey Bada$$ has Pac's number. But from an influential standpoint, Joey Bada$$ - just like pretty much every other rapper on the planet, dead or alive - has a way to go to get to Tupac's level. Check out the short interview below. No release date has been given on Joey's upcoming album, AABA, only that it will release in 2017.



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


*Update*

In the 24 hours since posting, Joey has revealed the cover art, release date (set for an April 7th release), and track list for AABA, which we've learned stands for All-Amerikkkan Bad-Ass. Check out the cover art below, and check out Joey's promo video for the album here.

  

Curren$y and Big K.R.I.T Announce New Joint Album, "Lacs N Chevys"

Slow down for what?  Curren$y had dropped a whopping 12 projects in 2016, and in 2017 it seems he is looking to make even bigger power moves. With a rumored project with Freddie Gibbs on the way announced in early January, Curren$y has now taken to Instagram with Big K.R.I.T to joke and announce a new joint album, titled Lacs N Chevys.

Can you say dream collaboration?  This one definitely should have been added to the list. With Big K.R.I.T not dropping a project since his late 2015 mixtape It's Better This Way, it'll be refreshing to hear some new stuff from the Mississippi emcee/producer, and who better to collaborate with than fellow low rider aficionado Curren$y?  The title says it all!  No release date has been announced, but you can enjoy the funny clip through the link below.

https://2dopeboyz.com/2017/02/02/curreny-big-krit-joint-project-news-lacs-n-chevys/

Best Songs Of 2016

Another year blows by, and more "best of" lists are bound to happen. 2016 brought the people a lot of laughs, a lot of tears, and a lot of good music (but mostly a lot of tears, see Prince fans).  A lot of top tier rappers proved why they are top tier rappers (unless you're a Drake fan), and a lot of not-so-top-tier rappers made their case as to why they should be considered top tier.  Now if you're coming to the site thinking the list is going to include the Lil Yachty's, the D.R.A.M's and the Young Thug's, then you've come to the wrong place.  For those that know me, I'm about more than just the hot-for-the-minute artists who do it without any certain goal or message to get across.  I'm all about a good time and some hot beats (it seems I haven't had any time to acknowledge that Rae Sremmurd were practically knighted by Sir Paul McCartney himself with his Mannequin Challenge earlier this year) but this list is more than that.  Now before I get slammed for any of the songs included in my list, I'm going to start by saying this is MY list, and nobody's views but my own.  With that being said, here are my picks for the best single songs of 2016.

Big Gigantic - All Of Me (ft. Logic & Rozes)

If there is one song that I had simply played nonstop since it's release about 4 months ago, it has to be electronic production group Big Gigantic's "All Of Me" featuring Maryland spitter Logic and Philadelphia bred singer Rozes (who has collaborated with the Chainsmokers and also had an EP come out in February of 2016 by the name of Burn Wild), and appeared on Gigantic's Brighter Future album which released in late August of 2016.  The beat sounds like something you would play to get that much needed musical pump up boost right before your game (or like most kids my age, right before that final exam you need to knock out of the park). The drums thump and pound so hard that if you had anything less than subs or some beats headphones, you wouldn't be doing this song justice. In fact, if you listened to this in your Wal-Mart ass Sony knock off headphones, then shame on you. I expect better from musical connoisseurs such as yourselves. Only kidding of course to the fans out there (I only do it because I love you).

Royce Da 5'9 - Tabernacle



Another emcee that really pushed the agenda this year lyrically, visually, and of course musically was one half of Bad Meets Evil, Royce Da 5'9.  His entire Layers album (which was released in April of 2016) has made a case to be the best roll out and promo run of the year, and for good reason; it was a great album with no drama surrounding the music, or the man making it. "Tabernacle" proved to be one of the most unique and entertaining songs of the year, especially if you're a lyrical head and like the picture to be painted, such as myself.  "Tabernacle" details the most important day in Royce's life, which includes his grandmother dying, his son being born, and also meeting Eminem for the first time, in vivid detail. Truly written like a writer, and rapped like an emcee, and who better to detail such a story than Royce Da 5'9.

Bas - Methylone



Though it came out in February, Bas' Too High To Riot still holds a strong case to be the best album of the year (I posted about J. Cole's protégé shortly after the album came out here).  Lots of drug talk does not drown out the substance (HA) of the album, and a Cole feature on "Night Job" and an Ab-Soul-featured remix of "Housewives" kept this album buzzing for awhile, but "Methylone" is the song that makes Too High To Riot appealing to practically every type of hip hop fan.  The bouncy drums and catchy hook draw you in, and even if you wouldn't know the verses, you'd damn sure be reciting the hook as soon as you learned it.  "Methylone" gets my vote for most underrated party cut.

Kenneth Whalum ft. Big K.R.I.T - Might Not Be Ok



In what is undoubtedly the most powerful song of 2016, Big K.R.I.T poured his heart and soul out in a verse on Kenneth Whalum's soulful message, "Might Not Be Okay".  Shining light on police brutality and wrongful deaths that have occurred over the last couple of years, K.R.I.T turns a truly remorseful verse start into a fiery, angry protest to the point of view of a police officer.  "Mommas' been cryin' and they gone keep cryin', black folk been dyin' and they gone keep dyin', police been firin' and they gone keep firin', the government been lyin and they gone keep lyin'" is only the start to this incredibly powerful realization. This song isn't necessarily a favorite song of the year for me simply due to the circumstances of which it had been released (K.R.I.T discussed with Genius that he and Whalum had a discussion after the death of Alton Sterling), but the power of the song still holds weight and holds true, and I could never deny music with a message, or an attempt at peace.

Joe Budden - Idols



Now if you've heard the song then you know why "Idols" appears here on my list, if you get stuck on the fact that Joe Budden appears on the list, however, then you probably can't get past his Twitter antics enough to give his music a chance.  Budden put out one of the more solid projects of 2016 in Rage & The Machine with his producer counterpart (who would be The Machine) AraabMuzik, and it shows a nice maturation process of Budden (which if you know Budden then you know maturing isn't exactly number one on his to-do list).  Though it's hard to see Budden maturing, Rage & The Machine more so depicts Budden being his immature, yet reflective self as usual, and finally coming to terms with it.  Now for the song itself; "Idols" sees Budden following the "Let Nas Down" narrative that J. Cole creates on his song in the beginning with paying homage to the many emcees that have brought Budden up (he even gives props to Jay-Z for TIDAL's launch and accomplishments), but in the second half of the song, he flips that on it's ear; Budden goes from being a student of the game to the teacher.  Over spiritual "I've-found-Jesus" types of production and phenomenal sampling by AraabMuzik, Budden explains why he could never be an idol; or could he?  If Budden ever had one, this would be his swan song; something to ride out in the sunset to while people finally realize what he really meant; in his lyrics, and what he's meant to hip hop.

Now there's a butt-ton of songs that I clearly could have featured and might have forgotten, but as I said earlier, this is MY personal list and strictly my picks. With that being said, I'd love to hear what the people think!  Comment below, on my Google+ page, my Twitter, or on my Facebook page what songs you think I left out that could have made the best of the year list (I only included 5 to keep it short).  A small point to this article was to stray away from the every day droll you hear in hip hop. The difference is... the different.  Sometimes that may be trying something completely new, it could be staying with something that works, or it could be going all the way back to square 1 and starting from scratch.  As a self proclaimed hip hop enthusiast, at this point I almost would rather hear something that sounded a little nostalgic as opposed to what's being put out now.  Not because I don't like what's out now, but because sometimes taking a risk is okay. Here's to hoping 2017 brings out the big guns, and by guns I mean good, competitive rappers trying to make the best possible music.               





             
        
          










           

Kendrick Drops Gems In GQ Interview With Rick Rubin

With it being over a year and a half since Kendrick had dropped his critically acclaimed masterpiece of an album To Pimp A Butterfly, and today being another very special day in Kendrick's catalog (the 4 year anniversary of the release of Kendrick's major label debut Good Kid M.a.a.d City) producer Rick Rubin sat down to have an in depth conversation with the Compton emcee, discussing an array of things varying from his upbringing and musical influences, to his current process of making music and his inspirations. Although there are countless gems to extract from this interview, I discuss some of the highlights below.

Kendrick had the beat for "Alright" for 6 months before he wrote to it (24:18)

Wait, WHAT?!  Kendrick had the beat for "Alright" for 6 months before he even did the song?!  Apparently Kendrick had held onto the Pharrell-produced instrumental for awhile before doing anything with it; "I was sitting on that record for I think 6 months. Between my guy Sam Taylor and Pharrell, (they asked) 'when you gone do it?  when you gone do it?  when you gone do it?' They was on me. I knew it was a great record, I was just trying to find the spacing and (how) to approach it. It sounds fun, but it's something else put inside of them chords that Pharrell laid down that makes it more of a statement." This statement not only proves why Kendrick is one of the most thought provoking emcees, but also that he cares about the music that he makes and the message that he is sending.

Rick Rubin commenting on To Pimp A Butterfly and Kendrick's music making process; It sounds like the connection your talking about is your connection to it more than other people's connection to it, but I think the thing that is infectious about it is that people feel your connection to it, and it's not even necessarily their connection to it, like a lot of people who heard your last record (To Pimp A Butterfly) might not have even been into jazz, but they hear your connection to it and then it inspires them to open up themselves to new music they might not have heard." (12:02)

Hearing these 2 talk about music this intricately and intimately are just more examples as to why they are the best of the best. To explore the realms of other genres inside of your own music in your comfort zone (as Rubin does with hip hop when he is primarily known as a rock producer and Kendrick with the jazz influence on TPAB) is incredible to see and truly shows the testament of longevity that both of these guys possess. Not many have the balls to take a complete "left turn" from one project to another, let alone have it be as successful as To Pimp A Butterfly was and is. Kendrick and Rick Rubin seem to see music as exploration of self just as much as they wish to make great music, and that's amazing to see and hear in conversations like this.

Kendrick has written full songs, and then made beats around the LYRICS, as opposed to lyrics being written after the beat has been made (19:56)

"A few times I've written full songs, and had to find the actual instrumentation to match it. That's fun because it not only gives me, but the producer the freedom to build around the lyrics, and certain words that get tossed out, a sound just might crack over top of that, and you know, the cadence." Here's a question for you up and coming rappers; How talented are you really?  Can you write lyrics to your song first, then help the producer make the beat AROUND your lyrics, or even do it yourself?  If you can do that, then your probably deserve to be in that chair right where Kendrick is sitting. More intricacies of music and song making discussed by some of the best to do it. If you make music and you're reading this, take notes ladies and gentlemen.

Kendrick did not plan for "Maad City" to be one of the biggest songs off of Good Kid Maad City (21:40)

"My first album Good Kid Maad City, this is me being fresh in the game, in my head I had songs that I knew would be big records, radio single, I'm playing the game. I'm creating these songs for the radio, just ear candy for people to enjoy, and in my mind I'm thinking that these are going to be the biggest records on the album, but it turns out that a song called 'Maad City' where I'm just rapping for maybe 40 bars or 30 bars turned out the be the biggest song on that project. And that threw me for a loop, but it also gave me insight clear enough to know that sometimes it's not about what you think is gonna happen or what you feel. People connect to things in strange ways, and at the end of the day you have to go with that feeling." A personal thing about that song ("Maad City") for me; when the album first dropped in 2012 and I was dissecting it, playing it back to back to back, top to bottom, "Maad City" was a clear stand out on the album. Not only because of the energy that the instrumental provides and the infectious hook, but because of the connection I knew that Kendrick had made with Dr. Dre, I thought 100% that Dre had produced the second part of that beat (where MC Eiht comes in), even though it turned out that frequent Kendrick and TDE collaborator producer Sounwave had produced the song along with THC and (another frequent Kendrick collaborator) Terrace Martin!  Dre's sound was all over GKMC, and he didn't have 1 beat on the album, although he was executive producer.

Amazing interview with many jewels dropped, lessons learned, and light shed. Check out the whole interview below. Hip Hop Unlimited is not yet back in full swing, I just came across this amazing piece and had to give some thoughts on it. Stay tuned for the future though, because though HHU is at a slower halt, it does not mean I am stopped. More coming.


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