Observations From Eminem's Kamikaze (The Good, The Bad, And The Downright Ugly)

Criticisms of Eminem's 10th studio LP Revival rocked the internet for a solid couple months shortly after it's release in December of 2017. While the project was mildly successful sales-wise (197k physicals sold first week, 267k pure sales when including streaming), fans and critics alike again took to bashing the (at the time) latest Eminem project, with some saying that it sounded too commercial and "bubble gum pop-ish", others saying that Em doesn't know how to make a rap record anymore, and so on. While some of those sentiments are painstakingly easy to agree with, I have been an Eminem fan since the release of his 2002 opus The Eminem Show (his best album, and it's not close), and I must say being an Eminem fan at this point is overly exhausting; dodging every nook and cranny from both trolling Twitter and Facebook users, talking about how "the Marshall Mathers LP is one of the greatest hip hop records of all time", and "nobody is lyrically on Eminem's level", and how "nobody uses that anger and frustration better than the 'Rap God' himself." Can't... stop... shaking... my... head. One thing to respect about Eminem's entire career up to this point is how he's used that anger and controlled rage to pinpoint problems he sees and shine a beaming bright light upon them, like a giant Gatman signal in the sky. So with all of that dissing, all of that "Venom"-spewing, president hating, mumble rap bashing, lyrical miracle spit... wouldn't it seem like Kamikaze is the answer to that lack of fire?  So then comes the burning question; does Kamikaze hit it's target, or does it fire rapidly in any and every which way possible with no particular direction?  Read on to find out.


Chasing The Current Sound That He's Making Fun Of


So in response to all of the hate that Revival got, Eminem is back with a vengeance to essentially shit on not only his critics, but also the current state of hip hop; which in his defense... may have been the proper plan of attack; had he done it more coordinated without a care for selling albums, about 5 years ago. It's too grainy a picture to be able to pinpoint exactly how an Eminem album is supposed to sound these days, but as of the last 3 (Recovery, MMLP2, and Revival) there seems to be a certain poppy, radio friendly theme throughout the album that sounds nothing like the real Slim Shady would make (in fact, the "Real Slim Shady" would probably take a shit on the CD INSIDE OF THE STORE without even buying it), but on Kamikaze, Eminem includes a refreshing change of pace to his music. While some can be refreshing ("The Ringer"), other songs are direct and blatant parodies of the sound that Em is expressing his deep hatred for so much ("Lucky You", "Not Alike"), while others don't even sound like songs Em even wants to make ("Normal"). While "Lucky You" fits in sound wise by today's rap and hit standards, based on Eminem's past discography and, well... really everything he's ever stood for, "Lucky You" sounds more like Em trying to fit in to the rap climate than make his attempts at raising the bar like he once used to (I still VERY much would like to hear what Em's version of 4:44 sounds like), though one solid takeaway from the song is that Em is finally using his platform to put on the newer, talented and hungry artists who deserve shine (Joyner Lucas). Certainly makes you wonder what would have happened earlier on if Em may have decided to put some of his actual signed artists like Yelawolf or Slaughterhouse (R.I.P.) on his albums... All I can say is, good luck Westside Gun and Conway!

Hungry Eminem That Creates His Best Work
https://open.spotify.com/track/28FGV3ORH14MYORd7s5dlU
(*Spotify link for "Not Alike" featuring Royce Da 5'9*)

All throughout Eminem's career, he's been the rap game Rocky Balboa; constantly being chastised, ridiculed, critiqued, cast out, and had his back against the wall. And while his anger is something that people seem to see at some point during every single one of his albums (he even said in his latest Sway interview that he likes being angry), he always finds ways to use that anger to turn into inspiration for something good musically (well, maybe "good" is a strong word, but most times it's not). Kamikaze's high point lies in the entire theme of the album, which starts with the title; bombing on everybody without caring about what is said, who is hurt, or what comes of the aftermath. Kamikaze can't be compared to any of Em's past albums musically, but mindset wise, Em is at his hungriest. Em's now infamous MGK back and forth is the kind of thing the Detroit emcee froths at the mouth for, dissing people who diss him and praying they respond back, and Kamikaze is the epitome of Shady going for broke; leaving all of his cards out on the table in an attempt for one last "fuck you" before he rides out into the sunset on his own terms. The second part on "Not Alike" with long time collaborator and fellow Detroit emcee Royce Da 5'9, Eminem goes for the throat after switching the beat to some ominous, "hell-to-pay" types of foreshadowing that showcases what can come from an Eminem diss (and was given with "Killshot"). But the disses are not only on "Not Alike", but can be found sprinkled in strategic places all throughout the album. The hook on the same song is a direct shot at Migos' biggest hit "Bad & Boujee", and if you wish to see all of the disses on the album and who they're aimed at, check out this cool video from Genius. While some may view Kamikaze as an old man getting angry at the ever changing times (which I'll also discuss later), other long time Eminem listeners will know that angry Shady is Shady at his most comfortable, and most potent.

"Venom" Is Eminem At His Best... Period
https://open.spotify.com/track/2SL6oP2YAEQbqsrkOzRGO4
(*"Venom" Spotify Link*)(*I do not own these songs, or the rights to them*)

So I haven't see any production credits for Kamikaze yet, but it's probably safe to say that whoever handled the production on "Venom" should handle Eminem's entire next album. "Venom" is another shining example of what Em is capable of, yet another burning question that frustrates his fans; why aren't your albums as good as your soundtrack songs?!  An interesting facet of Em's career when you really think about it, and when you think about the last soundtrack that Em has curated and exclusively handled himself just in the last few years alone, Southpaw (which included insane songs like "Phenomenal" and bad Meets Evil's "Raw"), you really start to wonder if Em is more inspired using other people's lives as motivation to create instead of his own; because maybe in not only our minds, but it Em's mind as well, he has said everything there is to say (talks of his mother, ex-wife Kim Mathers, his daughters Hailie and Alaina, drug abuse, coming up in the slums of Detroit, etc.). Is it time for Em to create a concept album that hopefully sounds nothing like Relapse (kind of joking, I enjoyed a decent amount of songs on Relapse)?  certainly an interesting album idea for a man who has seemed to have said it all about his own life. You've said all there is to say about your own life Em, now how would you feel about creating a whole new concept about another's life (ala Good Kid Maad City)?  If there's anyone who has the ability to do it, it's Eminem; the actor, rapper and writer (see "Stan", 8 Mile or The Wash for references).

The overall message that Em is trying to get across throughout Kamikaze is appreciated from an old head's perspective like mine, but the delivery (like the album's title) is much too wild, inaccurate, poorly aimed, and executed. I (and probably along with a lot of older Eminem fans) had been waiting for an Eminem album that throws away that radio-friendly, pop music featuring the likes of  Ed Sheeran, Alicia Keys and Beyoncé, and adds more of the hungry rapping persona that we had seen so much of from Em in the early 2000s. For being such a die hard hip hop advocate the way he talks in his interviews (and even the hip hop shirts he wears), Eminem has never been the one to take hip hop straight back to it's roots (which he almost promised to do in 2013 after the release of "Berserk"), and though this album's sound is a huge refresher considering the album he had just followed up (a terrible comparison in terms of "getting better"), in the back of my mind I suppose I'll always expect more from what many may consider a top 5 rapper of all time (and I think he's the greatest in every facet, besides musically). Without Dr. Dre behind the boards of Eminem's albums anymore, it's very hard to find enjoyment in almost anything Eminem does musically. Harsh criticisms of a rap legend, I know, but to love something (or someone) you must also hate it (or them) at times. Since I'm putting all of my thoughts out into the universe, here's what I want from another Eminem album; Dr. Dre production (throughout another ENTIRE album, not just a couple songs), that same hungry and angry (yet calculated)  subject matter that we've seen from him in the past (which is one of the few things this album was good for), fitting rap features (including not only new up and coming artists, but artists that Em is supposedly FRIENDS with and has on his label, not just Royce; support your label mates for once Em...), and Em's hand at some actual grown up content (not to compare, but as I said earlier, Em needs his own version of 4:44 now). Here's to hoping Eminem can put out 1 more classic album before he finally hangs up the mic.                     
                 















                     

I Got Some Insider Information From Someone Who Attended Royce Da 5'9's Book Of Ryan Listening Session; Here's What To Expect (Interview)

Earlier yesterday, Detroit wordsmith Royce Da 5'9 held a listening session at sneaker store Burn Rubber in Detroit for his long talked about, highly anticipated next studio album, Book Of Ryan. Although it's set for a May 4th release, lucky fans got a chance to hang out with Royce, check out some dope sneakers, and listen to the album. I spoke with @Rakabash on Twitter, who is from Detroit, and got the exciting chance to attend the session, and listen to the album first hand.


How many people would you say were in attendance?

"I'd say 50-60 people were in attendance."


Can you give an account of what it was like meeting Royce/how it was when he showed up?

"I was at Burn Rubber before it opened. Royce showed up an hour and a half late. He came through the back entrance because we were anticipating him coming through the front. All of a sudden, I hear thunderous applause, and Royce is standing in front of the sales counter holding a microphone. The sales counter became a makeshift podium to address the fans. When he arrived, he was very friendly and talkative. Kino (Royce's manager) was also there. Royce wore a big ass encrusted watch that was sparkling!"

Does the album, from what you heard, hold any general theme?  Since many speculate with a title like Book Of Ryan, it will be autobiographical in a sense.

"It does have an autobiographical theme. Royce pays tribute to his father by both talking about him at his worst as a cocaine addict and praising him for committing himself to rehab to kick his addiction and address the domestic abuse he committed to Royce's mother. "Strong Friend" is the song that is most emotionally gripping. He talks about the person who you think is the most headstrong because they are the breadwinner should be checked on just as much as a person who is emotionally fragile. Royce's honesty, sometimes brutally, is reminiscent of Death Is Certain. His vulnerability on so many songs is fascinating as well. He admits to being a womanizer, an alcoholic, arrogant, etc. You understand the motivations behind his actions.

That's amazing, they say music can be therapeutic, and it sounds like Royce used this album as a crutch of sorts. So let's talk about the production; you said it was very musical, in a sense where instruments of all matter play a huge part in it, not just some synthesizers and 808s of course. Did he discuss who handled production on most/all of the album?  Was it the usual in house producers like Mr. Porter, or did he reach further out for broader sounds?

"Streetrunner did 'Summer On Lock', Key Wane produced 'Woke'. He mentioned DJ Khalil, although I don't know which songs he produced. He mentioned Mr. Porter as an executive producer, he did produce a song for Book Of Ryan, possibly more than one."

That's great about Mr. Porter, he deserves his shine.  Jay Elec didn't call him the greatest producer of all time for nothing. So you talked a little earlier about the Eminem feature, titled "Caterpillar". What should people expect from that one? The vicious one two punch of Bad Meets Evil going back and forth?  Competitive bars?  Any highlights?

"Royce has the first and second verse. Em spits a long ass verse but it sounds like the equivalent of Em having 2 verses combined. It sounds like it was recorded after Revival was released and reviews were in. The beat is straight boom bap, it's very "hip hop" to the core.

Very interesting, so in a sense, was Em attacking criticism as he was recently on the "Chloraseptic Remix", or did he have a different agenda to his verse?

"He was lyrically shitting on people disrespecting his style and wanted to show people where so many got their style from. It wasn't really aimed at Joe (Budden, who many people believed the "Chloraseptic Remix" was originally aimed at for his criticism of Revival), but at rival emcees who forgot that Em is the caterpillar- meaning he made his mark on music. I didn't get the sense that he was defensive about the flack from Revival like he was on the 'Chloraseptic Remix'".

Okay, one last question, and I'll let you get out of here. Do you believe Book Of Ryan furthers and promotes Royce's longevity as an emcee, as well as an artist, and not just in the rhyming aspect, but in terms of making great music with replay value?

"Absolutely. a lot of people might be taken aback by how much he sings on this album, however, the themes on so many songs on this album are mature and sophisticated, and go beyond the cookie cutter usually associated with rappers who sing. Because it's an independent release, it's not going to get the push that it deserves, but this is Grammy album of the year material. Much of the album owes a lot to Symbolic 1 and Denaun Porter. Book Of Ryan will make inroads towards showing people he's more than the guy who knows Eminem. He's the guy who can write a collection of songs that draws from his own demons that will be inspirational in to those who hear it."

Sounds like Royce's demons are going to need some help hiding again after we get to finally hear Book Of Ryan. You can go to Rakabash's Instagram (@Rakabash) to see Instagram live videos from the listening session, and in case you missed it, Royce released a bonus track off of Book Of Ryan featuring new Shady signee Boogie, which you can listen to below. Book Of Ryan releases officially on May 4th.


(*I do not own this audio, the image, or any rights to either*)  

     

      

 

 

   

    

    






 
















     

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).            












 

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*)









     

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

 

The "Beats & Rhymes" Tour (A Dream)

Sixteen years ago this year, Dr. Dre and Snoop Dogg brought along some friends to form arguably the most iconic hip hop tour of all time. The "Up In Smoke Tour" of 2000 went six times platinum in the U.S. (which I didn't even know tours could do), and not to mention seven times platinum in Australia and two times platinum in France. The tour also featured hip hop giants like Eminem, Ice Cube, Xzibit, and Nate Dogg, and was so widely successful that DVDs were made of the July 20th show of the tour, shot at The Centrum in Worchester, Massachusetts (which is filled with incredible bits of backstage footage along with the actual concert performances). History was made with this tour, and as amazing as it was, for a second there, there were talks of a "second coming" of the tour earlier this year. So my question is.... WHAT IN GOD'S NAME DO WE NAME IT?!

"This is one of the things that I've dreamed about doing. I want to call it 'Beats & Rhymes'. I want it to be me and Snoop. I want it to be Eminem. I want it to be Kendrick Lamar," Dre said. "Take our full stage over there and show Europe the same amount of love that they been showing me throughout my entire career. So, that's my dream. Hopefully we can make that happen." Snoop Dogg suggested an alternate tour name: Hoodstock, since the lineup "sounds like Woodstock on steroids."  (Via Pitchfork)

Obviously my first choice would have been something to do with the "smoke" theme of the tour given Dre and Snoop's history (maybe something like "The 2 High Tour", etc.), but given Eminem's sobriety and Kendrick's known "laced blunt" escapades (as detailed on Good Kid Maad City), maybe a "Detox" theme wouldn't be so far fetched (or wouldn't take 16 years to come together). Either way it'd be a dream concert experience, just imagine that concert intro!


(The intro to Dre & Snoop's set on the "Up In Smoke" tour, which if you haven't seen, is very much NSFW)

Not to mention all of the new music to catch up on (and they'd have to include the West's new king, if you don't know him he goes by the name of Kendrick Lamar Duckworth). It's been 16 long years since this legendary tour took place, and in that span Eminem has released 5 solo studio LPs, Snoop Dogg has released 9, Ice Cube 3, Xzibit 4, Dre finally put out another album in Compton: A Soundtrack, and Nate Dogg unfortunately passed, but not before putting out another 3 solo albums himself (how dope would it be to see a Nate Dogg tribute, possibly a hologram?) What better time than now to do this?!?!

This tour could be the summing up of everything. Dr. Dre's illustrious career of music and producing fused together with the massive careers of Eminem, Snoop, Kendrick Lamar, Nate Dogg and more. How does an NWA reunion sound? It could be done. Dedications to Tupac, Nate Dogg, and Eazy-E?  Why the hell not?  The possibilities lie not only in the careers of the headliners, but in the careers of who the headliners have brought with them along the way. Kendrick bringing out TDE, Eminem bringing out Slaughterhouse, Bad Meets Evil, or D12 could be an actual thing. The idea of this tour is so great, it'd be impossible to disappoint (unless Dr. Dre says the tour would only come to Europe, then of course all of these dreams get shattered like pre-burned Detox CDs). At least we can still occasionally enjoy a leaked Dre track every now and then. Well, if you have Apple Music and listen to The Pharmacy Beats 1 Radio, that is.

Enjoy the reminiscing of old clips on Dre's "I Need A Doctor" extended music video below, and if you have a creative name of your own for Dre's alleged tour, comment it below, or on any of my social media pages (my Twitter, my Facebook, or my Google+ page!).


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

       




    









 



              

The 17 Year Anniversary of The Slim Shady LP

That's right, it's been 17 long years since Eminem began terrorizing the minds of people all around the world with The Slim Shady LP. This album resulted in a lot of controversy, ranging from lawsuits with many, (from people in Eminem's life, including his infamous mother Debbie Mathers and childhood bully DeAngelo Bailey) to backlash over his shocking lyrics and wordplay. If there's one word to sum up Em's spectacular, roller coaster career (though I just gave you 3); the best word for it would be controversial. This is one of the reasons Eminem has always peaked my interest. A lot of material was made during the process of Eminem's long career, and leading up to the much anticipated release of his major label debut, Em promoted the hell out of it. Here's a few cool little known videos that were made leading up to The Slim Shady LP's release.

Eminem promotes The Slim Shady LP's release


Dre says at the 1:06 mark; "this is the result of a lot of acid." It's funny because ironically enough, during the making of The Slim Shady LP, Dre has said that they recorded most of Eminem's debut on Ecstasy. Eminem told Rolling Stone about Dre and his recording process in 1999, and Dre responded with: “He didn’t say that! It’s true, though. We get in there, get bugged out, stay in the studio for fuckin’ two days. Then you’re dead for three days. Then you wake up, pop the tape in, like, ‘Let me see what I’ve done.'”

Eminem Freestyles Words Given to Him, + Interview


Here's another cool interview that Em gave with MTV before the release of The Slim Shady LP, discussing growing up and why he raps, including the competitive aspect of it and doing it for the love. He even discussed coming up being compared to Vanilla Ice, and had some not so kind words for him.

Eminem discusses what he's been through, confusion over his lyrics, etc.

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

Here Eminem discusses some confusion over his lyrics in the song "Guilty Conscience", where a writer (Timothy White) was offended by some things Eminem said (surprise!). Eminem says in the interview; "First of all he doesn't know hip hop so he doesn't belong judging it. He doesn't even know about, so he shouldn't speak on it." Some cold words from Em (which isn't new), but something that has certainly benefitted Em's career has been his way of saying what's on his mind and his "just don't give a fuck" attitude, which seemingly hasn't changed. Anyways, this interview is for sure another interesting look at how it was around the time The Slim Shady LP was pissing off the world.

It seems Eminem will always have something to say that rubs somebody somewhere the wrong way, which ultimately, (if you think about it) is pretty funny. In America, the home of the brave and the land of the free, someone got mad because a rapper jokingly talked about rape for some shock value looks and reactions. Eminem has almost always been a secret comedian it seems; shedding light on the horrors of America (and probably the rest of the world) through comedy. But even after all of it, after all of the things he says, after all of the people he disses, he's still a top notch emcee who should be respected for his craft, and his respect towards hip hop.                   


  

        











 

Rappers Michael Jackson Should Have Collaborated With

This may be a stretch, but to me it seems hip hop has become more soulful in the 2010s. While hip hop has it's flaws, its strengths are shining through stronger than ever because of its artists that refuse to compromise. Because of this, artists are making some of the most next level music of their careers, plus simply rapping over an instrumental doesn't always do the trick anymore; people want to hear melodies, and even some singing. Which is why I dedicated a post to this topic; Michael Jackson was indeed the King of Pop. If there ever was a master entertainer, and someone to have on your song just to say you HAVE THEM ON YOUR SONG, it would have probably been Michael Jackson. I mean, the guy's added soul to pretty much any song he's been a part of. There are only a few rappers who I feel I could honestly say deserve a Michael Jackson feature, so I decided to name a few here, and (tried to) include one of their more soulful jams, so you could try to picture what it'd sound like for these rappers to collaborate with MJ. Here we go!

J. Cole - Note To Self


In terms of soul, Cole showed the most on his latest album, 2014 Forest Hills Drive. On songs like "Intro", "Apparently", and especially the outro "Note To Self", Cole showed not only a decent singing voice, but a soul that would make church goers look like sinners. Cole pours his heart out in some of these songs, and Michael Jackson would only cap off this souled out track with some angelic background vocals, or maybe even a solo (who knows, it's up to you to decide!).

Kendrick Lamar - Sing About Me, I'm Dying Of Thirst


It should come as no surprise that Kendrick made this list as a "could have been" Michael Jackson collaborator, his music drips soul and his latest album To Pimp A Butterfly is the greatest example of this statement. Michael could have thrown his two cents in on many Kendrick tracks; imagine him on "These Walls", "Kush & Corinthians" off of Section.80 instead of BJ The Chicago Kid (although BJ is amazing) or even the Good Kid Maad City extra "Now Or Never" featuring Mary J. Blige. But the ever-so-perfect collaboration would have to be Michael on Kendrick's "Sing About Me, I'm Dying Of Thirst" because come on; can't you just hear it?

50 Cent - 21 Questions


So this was a tough one, but I had to include 50 Cent simply because of the (little known) fact that Michael Jackson said that he wished to collaborate with 50 Cent before his passing (it's true, look it up). It's really so tough because all of 50's songs are so tough, most include a banging beat with some hard rapping, not something you'd normally hear Michael Jackson on, so 50's classic "21 Questions" seems to be the medium. Could you imagine Michael Jackson on the hook instead of Nate Dogg (R.I.P to the true hook king as well) though?  I guess you'd never know.

Nas - Bye Baby


Nas is practically the perfect rapper for a Michael Jackson collaboration, I mean could you think of anyone more deserving?  Nas is top 5 dead or alive (debatable, although I believe he is) and quite possibly owns the longest reign at the top, with a career spanning over 20 years. Nas has got the sound for MJ too; spanning from songs like "You Wouldn't Understand", "Reach Out", and "Cherry Wine featuring the late and great Amy Winehouse (R.I.P), and those are just on his last album, Life Is Good. Nas is perfect for a Michael Jackson feature not just because he makes soulful, heartfelt jams, but because he spits the truest and most realistic stories in his rhymes; Michael Jackson would cap off the feeling of a perfect collaboration.

The idea of Michael Jackson collaborating with a rapper might sound crazy to some, but it really shouldn't, especially in 2016. The range of collaborations we've seen over the years has really skyrocketed, even if you think about strictly award show/television show performances (Grammy's or talk shows). I mean Eminem collaborated with Elton John for a performance, wouldn't that put to rest any limitations you have on other possible collaborators?  Mixing genres is a beautiful thing not just because of the great music that can come out of it, but because it shows that different kinds of people can accept each other, no matter what their tastes may be. The power of music is infinite.     



       





                     
 




         

Is Slaughterhouse Still Together? (Crooked I Addresses With New Song)

If there's any album I have been waiting on, (besides Detox, but Dre killed that off with Compton, luckily) it's Slaughterhouse's next LP Glass House, and while he didn't a give an update, Crooked I definitely addressed rumors about the group in a new song recently.

In Crooked I's new song "Gift Rap", he dropped some pretty eye raising bars about the entire situation with Slaughterhouse; "well they, ask me did Eminem drop Slaughterhouse? did y'all break up since Joe Budden dropped Slaughtermouse? Seen you on Peter Rosenberg and Ebro, your energy was zero, see bro, is there something y'all wanna talk about?"

Crook continues on; "and if it is, don't play the nice dude, just pull a Ice Cube if it's the right move, they ain't putting your album out? damn, these niggas got an attitude, thought we'd be your niggas for life, where's the gratitude? All these questions they're pointing 'em in my direction, like the business end of a Smith & Wesson but I ain't stressing, just came home I was in Detroit visiting Marshall's session, to be in the presence of the one of the goats is still a blessing."

These lines definitely raise some questions (to keep that final rhyme scheme flowing), but no real questions were answered, nor rumors put to rest with Crooked's new song. Check it out below, and form your own opinion. What's holding up the new album?  (Supposedly Just Blaze, but he denies it)

Crooked I - "Gift Rap"
https://soundcloud.com/treacherousrecords/kxng-crooked-gift-rap





     

Billboard Listed The 10 Greatest Rappers Of All Time

Recently Billboard listed the 10 greatest rappers of all time, and while I don't necessarily agree with their list (then again who agrees with anyone else's list anymore), I do respect the fact that they laid out these 10 rappers to go along with reasons why they believe these rappers belong on this list. Check out the list below.

10. Lil Wayne
9. Kendrick Lamar
8. Ghostface Killah
7. Lauryn Hill
6. Andre 3000
5. Nas
4. Rakim
3. Eminem
2. Jay Z
1. Notorious B.I.G

 Seeing Lil Wayne being on this list is a surprise, though it's probably due to his incredible run from around 2009-2011. Every other rapper seems to properly hold a place on this list (whether it due to their lyrical abilities, their influence on today's hip hop, or another reason), but what do y'all think of the list?  Let me know what you think of the list in the comment section below or on Google+.      

Throwback Thursday: I Guess Ja Rule Was Okaaaaaay

Does anyone remember that Ja Rule actually existed?  No?  Well then this post might actually blow your mind. Ja Rule once was a successful rapper in the early 2000s (an era that I'm particularly fond of), and had a couple of really big hits with some star studded features (some big RnB singers Ja had featured on his albums were big names like Jennifer Lopez, R. Kelly, and Ashanti multiple times). Respect is due where it is earned, and it'd be wrong of me to shun Ja for some great memories Ja has created for me through his music.

(this one brings back fantastic memories, even though at the time being so young it's hard to believe now that it was Ja Rule that was making me jig)

I'm a huge Eminem fan (I believe I've stated before), so for me to even mention Ja's name is like summoning Voldemort, but I can't deny the fact that Ja had some soulful hits back in the day. It's unfortunate that Ja's career had to be shortened due to 50 Cent and Eminem's dismantling of him in the early 2000s (come on now, you know it's true, everyone on Shady AND on G Unit got involved), but when Ja made music and didn't get involved in beef with anybody, he always did pretty damn good for himself. Ja had 2 albums that topped the U.S. billboard 200 (Rule 3:36 in 2000 and Pain Is Love in 2001), he earned 4 Grammy nominations and even had six top 10 albums under  his belt.

Is a Ja Rule comeback possible?  Who knows, but what we do know is that Ja is keeping his name in headlines, even today. Earlier this year his beef with 50 Cent was reignited when the 2 started going back and forth on Twitter and Instagram over a comment Ja made when a fan asked a question about the feud on Twitter. Not only exciting beefs being reignited, but apparently in May of this year, Ja made his first known attempt at business and entrepreneurship by partnering with Billy McFarland, the CEO of Magnises, (a credit card service company) to become the "creative head and spokesman" of the company. Will it work out for Ja?  Only time will tell, but until then, we can sit back and enjoy some of his biggest hits, some being the perfect blend of RnB soul singing and a strong hip hop voice.

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








      

Dr. Dre Announces First Album in 16 Years, World Says "We'll See" (Album Cover Art + Tracklist)

Soundtracks seem to be the move nowadays don't they?  Shortly after Eminem's Southpaw soundtrack debuts, The Doctor announced that he would be dropping his first album in 16 YEARS, a soundtrack to the NWA biopic Straight Outta Compton. Crazy to think that the thing that inspired Dr. Dre to finally drop a project was a movie (NWA movie, probably not so crazy). The buzz around this project is obviously going to be INSANE, so I'm here to drop a few facts (and probably rumors) about the project.

The soundtrack is called Compton: A Soundtrack By Dr. Dre (simple name, but it's not about the name) and will feature the likes of Eminem, Kendrick Lamar, Snoop Dogg, and many more, and will be entirely produced by the man himself. Did you expect anything less?  The album cover and track list can be seen below.

pic.twitter.com/nWcUeCtVWm

1. 

   

        Eminem News by SK ‏@EminemNews_SK Aug 1

"Compton : The Soundtrack" TRACKLIST ! pic.twitter.com/fFfDw9nrym

 

So what do you expect from Dre's "grand finale" (as he calls it)?  It's too hard to predict anything at this point in terms of what the album will sound like, which can be a good or bad thing. We know the Snoop, Eminem and Kendrick tracks will be fire, but you have to wonder the approach Dre takes on the soundtrack. The grey area for soundtracks is always making music that sounds great while at the same time fitting the theme of a movie. So does Dre take it back to music he knows from his NWA days, or does he shift the culture and make music like no one has ever heard before?  Only time will tell, and we'll be finding out when the soundtrack drops on August 7th.          

 

 

Rappers That Have Ghostwritten For Dr. Dre

It's crazy how much bigger Dr. Dre has gotten (figuratively and literally, have you seen the guy lately?!  He looks like he could bench press an NBA player), the guy is a rap legend, an even more talented producer, and he's even developed an entire line of headphones and just sold them for $3 billion. But how would you react if I told you the man doesn't write his own rap verses (you know, when a pig flies by on a golden horned unicorn and Dre actually puts out some music, usually these things happen on the same day)?  You may be surprised or you may already know, but I got curious enough one day to actually look into some of Dre's verses and see who wrote them for him.

Kendrick Lamar - Compton

A little known fact about this banging Just Blaze produced masterpiece (also mixed by Dre, talk about a dynamic duo) is that this is actually the very first song that Dr. Dre ad Kendrick Lamar recorded together. What subject better to tackle for your first song together than some common ground; the city that both artists call home. Dre's first verse starts out in a familiar flow; "still I'm at it, peel the plastic off it you can feel the magic, still I'm laughing at the critics talking I can see 'em gagging, when I'm back in the back of my city, back in the 'bach with a batch of them bangin' Dre beats with me," etc. The "still I'm at it" start is in the same vane as "Still D.R.E" featuring Snoop Dogg.

Still D.R.E - Jay Z

Speaking of one of Dr. Dre's biggest tracks ever, Dre's verses on "Still D.R.E." were actually written by Jigga himself, Jay Z. Weird, right?  Someone like me might wonder how in the actual hell this ended up happening. Obviously Dre ends up in the studio with some huge rap heavyweights that you could never see coming (I actually read that Dre reached out to Drake and Lil Wayne to record a few records for Detox, but you know, it's Detox), and Jay Z is just another one of those guys I suppose. It has been said around the industry that Dre is a perfectionist, and it shows that he only reaches out to the best to work with.

The Message - Royce Da 5'9

Slaughterhouse and Bad Meets Evil member Royce Da 5'9 might have some of the sickest pen game in rap, and though sometimes it's hard to tell if a verse is ghostwritten or if the artist actually wrote it themselves, Royce disguises his writing pretty well for Dre in "The Message." As Dre discusses his now deceased brother in the song you'd think that Dre would actually want to write something himself for such a dedication, but Royce does a very nice job of making this one sound like Dre. A little known fact about Royce Da 5'9 and Dr. Dre working together is that Royce actually recorded another hook for the original version of the song "Xxplosive" that did not end up on Dre's The Chronic 2001 album.

Eminem - Forgot About Dre

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

"Oh woooow, no waaaaay, Eminem wrote for Dr. Dre?" That was me being incredibly sarcastic. OF COURSE EMINEM WROTE FOR DR. DRE, YOU'VE SEEN EVERYONE ELSE THAT DOES DON'T YOU?  WHY WOULDN'T HIS MOST FREQUENT COLLABORATOR (besides Snoop) WRITE FOR HIM?  Dre's first verse has Eminem's fingerprints all over it too, the lyricism and wordplay are signs of a verse that only Eminem could pen, I mean just listen to that first little bit of Dre's first verse; "who you think taught you to smoke trees, who you think brought you the O.G.'s, Eazy-E's, Ice Cube's and D.O.C.'s, and Snoop D-O-double G's, and the group that said mother fuck the police?" Written down this doesn't seem like much, but listen to it rapped and the syllables fall into place perfectly, something Eminem's writing is widely known for.

So yes, you can definitely still classify Dre as a legend behind the boards (or so I hope so, heard some rumors awhile back saying he didn't produce any of the songs on his or Snoop's albums, apparently it was Snoop's cousin Daz Dilinger, so who knows, at least I hope Dre produced all of the stuff he said he did), but writing isn't exactly his specialty. I got all the love and respect in the world for Dr. Dre, but to me the words being spat in a song mean so much more when they're your own. I mean how can you not write your own stuff? If all you have is a voice and no writing or instrumental talents, then you shouldn't be famous. Simply put.

The Battle For Music Streaming Supreme: Who's Your Pick?

Since TIDAL dropped ain't shit been the same... no Drake. Or better yet, no Kendrick cypher verses (sorry, trying to be clever with "punch lines" as the real heads put it, how's that working for me?). Music sales have been down for just under the past 10 years or so, because... the internet. All of the money that artists rake in now is mostly from streaming services like Spotify, Tidal, etc. Music streaming is the move nowadays it seems, more music for a better value is hard to argue, but what kind of value is each of these services giving you, you ask?  Leave that to me. I went through each streaming service (out of the 3 big ones making waves, TIDAL, Spotify and Apple Music) and laid out some details for which ones benefit YOU the consumer the most, because as they say, the music is always right (or something like that).

Spotify
Spotify is my current streaming service of choice, I had an account (non payment, so I deal with all of the advertisement bull) before all of the wars for best streaming service started with TIDAL and Apple Music, but since the latter 2 have started to threaten Spotify's reign on streaming, Spotify has upped it's game to the next level, the biggest plus being it offering 99 cents of premium service (no ads) for 3 months. If you're unfamiliar with Spotify, you can find practically any and every band, group, singer, or rapper's music on it, and they add music as the releases roll out, sometimes the day of said release. If you're unsure of what you'd like to listen to, Spotify builds playlists in the "Genres and Moods" column, if you're out partying with the squad then you can find that party playlist, or if you're at home chilling you can find that "chill out and do laundry" playlist, and everything in between. Spotify has an unlimited service which is 4.99 per month for no ads and unlimited streaming on strictly desktops and laptops, while the premium service is 9.99 per month for unlimited streaming and no ads, available for use on multiple devices (iPad, phone, computers, etc.). The only notable complaint I have as a Spotify user is the disconnecting that sometimes occurs with it, you have to disconnect and reconnect to your internet to get it to work again, but that could just be my crappy internet (middle class problems).

TIDAL
The service that started these wars was TIDAL, and it all started with that crazy commercial that included practically every notable musical artist known today (or most of them). This commercial probably grabbed your attention (as it did mine) when it mentioned something about "bringing music back to the artists" (not a direct quote, but Jay Z mentioned something of that nature). I can see a little of the "benefiting the artists" factor with a couple of upcoming bands and singers being featured with some of their music, which is a cool and different thing to do for a streaming service (it all lies on who has the best EXCLUSIVE content), but finding where this benefits the people is just a bit harder. TIDAL's premium (standard) service starts at 9.99 a month (or 8.49 with 6 months pre paid), which includes the standard music quality, but with high definition music videos. TIDAL's HiFi is a little more on the expensive side at 19.99 per month (or 16.99 with 6 months pre paid), but this includes what TIDAL describes as "lossless High Fidelity sound quality." Now with all of that being said you could make your own judgments about TIDAL, but follow their Twitter account and it shows that the subscribers feedback does not lie. Many people have come out and said that TIDAL's live streaming of concerts (these concerts included Jay Z's "B Sides" concert, another perk of being a TIDAL member I suppose) is given in crystal clear high definition, although the exact resolution was not specified. Sort of expensive to pay, but you're not just paying for the music in TIDAL, in seems, they're stressing quality as a top priority.

Apple Music
Apple Music is another streaming service that had just recently launched (as in within the past week) and was looking to make waves (not necessarily TIDAL waves, but you know.... sorry, I had to). Apple Music hasn't had the huge promo that TIDAL has, but supposedly last night it had aired an exclusive Zane Lowe interview with the one and only Eminem (which I need to find somewhere because, c'mon, Eminem). Not only this, but supposedly Drake is releasing his next album exclusively through Apple Music, and supposedly Dr. Dre is having a big part in the streaming service as well (though it's hard to tell what right now). Apple Music describes its experience as such: "To deepen the connection between artists and fans. To give you personal recommendations from people who know and love music. To reimagine radio with a 24/7 global station." Apple seems to be edging out Spotify as the best price (for right now) with a free 3 month trial, but the subscription entails over 30 million songs for 9.99 a month, or 14.99 for family (who knows what the "family" subscription means, possibly more members? No details on this yet). When you start your subscription all of your already obtained music (somehow) automatically appears in the Apple Music library, and Apple's "experts" (who knows what kind of experts, supposedly actual artists) make suggestions based on what you like. The Beats 1 radio station is "24/7 radio, including music, interviews, and culture" (so it says on the website). The connect aspect seems to be the post interesting of the features, it says fans can "see, comment on, like, and share whatever exciting material an artist chooses to post. Unreleased demo tracks, an acoustic version of the latest hit, a video shot in the studio," etc. This to me sounds like something I'd kill to see, but only for some rappers. I surely wouldn't pay to see behind the scenes material of Taylor Swift, no disrespect to Taylor, but not my cup of tea musically. Lots of dope features, just needs some tampering with just as all musical services do.

So there's a (hopefully quick and helpful) review of what these music services all entail. I included all the details I could about each one down to the prices, now it's on what your preference is. I'm personally a fan of music with no adds, so I like Spotify's premium idea (even though I don't pay, so I do deal with ads), but Apple's idea of taking behind the scenes content to a new level is truly for a die hard rap fan such as myself. The idea of exclusive concerts, interviews and album releases like TIDAL and Apple Music are doing is taking things to a whole new level. For instance, Eminem is God to me, so seeing him do an exclusive interview that I could (hypothetically) only see on Apple Music's website certainly draws me to Apple Music strictly for that factor. I live for behind the scenes content. But I need to know what you think! Let me know which streaming service you'd go with based on the details and why either on Google+ or in the comment section, I'd love to hear what you think. Music streaming is taking over, does this mean death to physical albums?  Hopefully not, but only time will tell.                                 










       

Here Are Some Awesome 2 Part Rap Songs (Beat Switch Ups)

When you hear a single for an upcoming album, there's no doubt you're bumping it the first few weeks it comes out, it almost seems like you can't get enough of it. The single leaves you to wonder what else this means for the upcoming album, like how will it sound overall, will there be a concept to the album, and will your favorite artist put on just as good as they normally do?  All of these are the unexpected twists we can prepare for; however, sometimes when you hear a song it can turn out to be the exact opposite of what you thought it would be in the first place, and this isn't always a bad thing (whether that means how good the songs sounds to you, or what you expected from the track). Here I'll be listing a couple of the coolest 2 part songs in rap (and by 2 part songs, if you don't know, of course I mean by when the beat switches up in the middle of the song).

Drake - Pound Cake/Paris Morton Music 2

Drake is someone who could appear on this list many times because of his several multiple part songs, and one of his most known is "Pound Cake/Paris Morton Music 2." Jay Z also lays down a "cakey" verse on this song as well, but the biggest highlight is the borderline angelic beat transition from "Pound Cake" into "Paris Morton Music 2." This is BEAUTIFUL music at it's finest, you could almost call it... art.

Kendrick Lamar - Sing About Me/I'm Dying Of Thirst

This song is just another brilliant example of why Kendrick Lamar's ability to put together a concept/write with real perspective in lyrics is unrivaled. It's hard to grasp what Kendrick is truly talking about when hearing this at first (I know it took me a few listens to understand it), but once you understand the subject matter, you get a point of view from the people living the struggle. How could one man give multiple perspectives by multiple people you ask?  Did I hear somebody say black Jesus?  No?  Alright, my bad.

Eminem - Bad Guy

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

Eminem's Marshall Mather's LP 2 received all types of reviews from fans and hip hop writers alike (although a Stan's point of view isn't always a rational one), and even though the album wasn't seen as so great to some, there's no denying that "Bad Guy" was one of the most well thought out and genius concept songs people had heard in awhile. The idea that Stan's little brother Mathew had grown up and sought for revenge from Em for his brother's suicide is a fantastic follow up to "Stan", and although the beat switch up at the end doesn't fully explain the story, it fully explains Eminem's mind state and his changing opinion of rap and how he sees it. Did Eminem grow up?  Probably not, but it's a cool idea to think so when you hear this.

Beat switch ups are always cool to listen to when you're hearing them for the first time, that amazing sense of wonder that music gives you when you're listening to a story being told over a beat cannot be beaten, but it's arguably even cooler to listen to going back through them and knowing what the beat switch's purpose was. Whether they be to change the point of view, change the subject matter or thought process, or even if they're just flat out for fun, listening to the music change in the same song always grabs your attention. Not just hip hop (even though hip hop certainly claims the "beat switch kings" title), but music is progressing in the ideas and concepts people are coming up with, and we'll soon see what will take over next.        

My Completely Un-Biased Review of Yelawolf's Love Story (Album Review)

Yelawolf... who is he really?  Can you say you really know him just from listening to some trunk banging tracks he's put out in the past?  His mix tape Trunk Muzik has defined him as an artist, because when people think of Yelawolf, this is the era that people think of, but is it possible for Yela to move past this and create a new identity for himself?  Yelawolf weighed in on what his newest album Love Story was supposed to tackle in terms of subject matter, plus how he felt he was "filling in the blanks" with it below (also features some hilarious Eminem tidbits). If you're reading and you're as sharp as I believe you are (which I know my readers always are, come on now), you'll have noticed that I title this "my completely unbiased album review." That's because I am reviewing this album with no previous experience listening to Yelawolf's music. Now this could be bad based on putting the music out of context, but I see it as a "more honest" way to review this album, which means if I liked it and haven't heard any Yelawolf before, you'd definitely be a fan with no past listening experience of Yelawolf. Now let's get to the reviewing. 

(This definitely doesn't sum up the album, continue reading to find out if Yela finds his sound for real.)

"Outer Space".... how to speak about this song in language that mere mortals can understand?  Definitely an interesting start to the album, as it starts with a skit of what sounds like Yelawolf rolling up somewhere in a truck (apparently somewhere out in the middle of nowhere), and being abducted by... someone. Does this mean Yelawolf is rapping about being abducted?  Could this mean that Yelawolf is otherworldly and the only ones able to keep up are legit aliens?  You could assume both of these (whatever floats your boat), but some fast-paced and funky production are backed by some sweet ending vocals from Yela on this intro. Yelawolf claims "I'm not out of place, I'm from outer space" on this one, and it's hard to argue.

Being an Alabama native was going to make for some real southern-influenced music on his second LP, and "Change" is a track that mirrors this perfectly. Losing your way and having to find it all over again is something many people are too familiar with, and "Change" is a song that puts this feeling into such relatable perspective for many people, black or white. From my point of view, listening to "Change" made Yelawolf relatable to me, and if I weren't a fan before, this track certainly peaked my interest.

"American You" is another track that spoke to me on a personal level, mostly because this one attacks the every day lives of average American citizens, aka "American You." Talks of going to church, getting tattoos and even getting married, Yelawolf sums up the American life style today so well with this track, and the hook singing "fuck you too" in such a polite way also sums up the passive aggressive lives of Americans' who couldn't really do what they wanted to with their lives. This song really makes you think about working hard, taking the chances you get and not wasting them for sure. All around great message from Yelawolf once you get past the every day negative mindset that we Americans so often perceive.

I already did a post mentioning "Til It's Gone" way back when it was featured in one of the season finales for "Sons Of Anarchy", and it certainly fits well when you think of the losses and circumstances you have to deal with being in a biker gang like the Sons. I've never seen "Sons Of Anarchy", but "Til It's Gone" even seems like it could fit the bill of "Breaking Bad" when it was still running, with all of the losses and circumstances old Heisenberg himself had to deal with, although I like the western vibe "Til It's Gone" gives you when you first hear it, definitely not a song you first think of when you think rap or hip hop, job well done pushing the boundaries by Yelawolf on that one.

Then comes "Devil In My Veins." This song is not just one that comes and goes based on popular opinion, no "Devil In My Veins" is not a song you play once and understand what Yelawolf is talking about, "Devil In My Veins" is the song that shows Yelawolf finding his very unique sound not just as a rapper, but as an artist (because this song could very easily classify as some old rock or country music). "Devil In My Veins" is that song that you hear that sounds so familiar, yet you can't quite place your finger on what it sounds like, maybe not because it sounds familiar, but because it sounds too good to not have something like it made before. It's too hard to tell whether Yela is venting about the industry or the bottle based on his deep songwriting in this song, I'll leave it to the peeps to try and understand what this one's really about. Bottom line: "Devil In My Veins" is a highlight of this album and is more than just hip hop; it's great music.

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

"Best Friend" is another highlight of the album, and not just because of the crazy Eminem feature, but because the concept behind it is an interesting way to think about what Yelawolf is talking about in the song. In his verses Yelawolf talks about church and the "father, son, and holy spirit" (which he talks about a lot of religion on the album for claiming not to be religious). Is Yelawolf venting about the struggles of the industry on this track?  My guess is yes (although I've always been a conspiracy theorist), Yelawolf's supposed only "Best Friend" at this point might be religion, or in other words, getting right with God after all the sins you supposedly commit in the music industry. It's an all around great song though, and is definitely a thought provoking track, not to mention it boasts a crazy Eminem verse.

Yelawolf's struggle with alcoholism is such a key concept in Love Story that the title of the album might as well define Yelawolf's relationship with the bottle. No I'm absolutely kidding of course, though the alcoholism does play a key part in Yelawolf's growing process. "Empty Bottles" is a great example of this, and the story told throughout almost defines an alcoholic's attitude and mood swings. From verse 1 to verse 3 (verse 3 being the angry, mood swinging version), "Empty Bottles" is definitely that thought provoking message you were looking for if you see Yelawolf as an honest rapper, and it succeeds in making you think about the devils of alcohol. In "Tennessee Love" Yela also has a key line that says it all; his "withdrawals from alcohol" line proves his concept of his drinking habits getting the best of him throughout the album, though the song is more a homage to Tennessee and the many things to do in it.

"Box Chevy V" and "Love Story" might be my 2 favorite tracks on this album. Yelawolf sounds as if he's in his most comfortable element, he practically blends into each of these tracks like a chameleon. "Love Story" has such a pump up vibe to it, with each drum hammering into your ears (because listening in your headphones is the only way to do this song justice) is a special feeling you only get from specific songs from your favorite artists. Yelawolf sounds like he's leaving from where he's at for good and never coming back (if I could place the vibe you get from this song, this is how I'd describe it). "Box Chevy V" has such an old school bumping vibe to it. I'm a fan of Big K.R.I.T, and this song sounds as if in's in the same general ballpark as a song like "Lac Lac." Yelawolf shows his ability to make bumping songs (Trunk Muzik) with "Box Chevy V" and it is awesome.

Other songs like 'Disappear" and "Have A Great Flight" have a definitive country sound that Yelawolf blends so perfectly with his rap abilities. I actually thought I was listening to a Johnny Cash song when I first heard the music to "Have A Great Flight.".  To say this listening to a rap song is not exactly the first thought you expect you'll get. The feeling you get listening to some of these Yelawolf songs is crazy, I felt like I grew up 10 more years just from listening to "Til It's Gone", "Devil In My Veins", "Love Story", and you definitely feel the growing process Yelawolf is going through in "Disappear."

So does Yelawolf's sophomore LP live up to the hype?  I would certainly say he did his thing, and his thing only, because I haven't heard any type of rap that sounds this different musically, the instrumentation and musical prowess Yelawolf shows is only comparable to B.o.B on a musical level (that is if Yelawolf actually played the instruments himself). The country vibe is something you don't even get from the absolute most southern rappers out there, the likes of Big K.R.I.T, Ludacris, or Nelly couldn't make anything like this in their primes. Yelawolf's ability to not only completely combine 3 different genres (hip hop, rock, country) of music, but to also make them sound good is a fresh breathe of air to a repetitive genre (arguably). Yelawolf's album is certainly not for everybody, though if you have an open mind of the future of hip hop, Love Story is certainly worth the listen, and this is all based off of my first real listen of a full length project from Yelawolf. So what's next for Yela?  I certainly wouldn't mind tuning in to see.