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.                        












                





            

         













               

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.

Ranking J. Cole's Albums Worst To Best

Cole World!  If you're a rap fan you've heard a Cole song, and if you're a Cole fan you've DEFINITELY heard at least a whole Cole project before, whether it be one of his fantastic albums or one of his critically acclaimed mix tapes. I find it funny that people honestly compare the two and say that his albums are better than his mix tapes, or his mix tapes are better than his albums (which is the more common argument) when in reality you're almost getting 2 completely different Coles entirely. The creative energy, hype, and hunger as an artist changes entirely when you compare your debut mix tape to your debut album, although unfortunately if your a Cole mix tape fan, you'd be disappointed when I say that we are not here to discuss his mix tapes. This post is strictly for albums: Cole has had 3 major label efforts, each one sounding more different and experimental than the next. Now if you could rank them from worst to best, how would that order go exactly?  That's what we're here to find out. Below, ranked worst to best, along with (arguably) the best song from each album, are J. Cole's 3 albums, ranked.

Cole World:  The Sideline Story

Cole World: The Sideline Story is J. Cole's confusing, yet promising burst onto the music scene. Mix tape Cole fans fell in love with an honest, lyrical, story-telling poet that showed more promise than any emcee that anyone had heard in quite awhile, yet The Sideline Story left a lot to be desired for die hard Cole fans. The Sideline Story is an album that shows every side of Cole that you love to see; the shit talking, the gritty talk of the hood and growing up and becoming a man, along with love and handling pregnancy at a young age. Cole is clearly still hyped at this time because of the recent Roc Nation signing and the bragging rights that come along with saying he's got a Jay-Z cosign, yet the industry's contribution to this album is clear with singles like the Kanye-sampled "Work Out", (which ended up disappointed Nas as Cole talks about later, but we'll get to that in time hip hop nerds).

Born Sinner

Cole's second effort Born Sinner showed a much hungrier, yet experimental Cole than anybody was used to seeing. Cole's rhymes are at the absolute top of his game with his lyrical, compacted flows and clever punch lines, though the song making ability wasn't quite there yet. You can tell that Cole is destined for greatness with this effort, if The Sideline Story didn't do it for you than Born Sinner certainly gives you a good Cole fix in terms of bars, and his respect for the greats is shown on an entire song dedicated to Nas titled "Let Nas Down". Nas even jumped on a remix to the song later to show how much respect he had for Cole and what he was doing for the game. If that's not being given the green light, than what is?  No seriously, I'll wait. Regardless of legendary features, Cole's sophomore effort was good, but you could certainly tell there was something missing, and that there was a part of Cole that fans weren't getting.

2014 Forest Hills Drive

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

Here it goes:  prepare yourselves for this one. 2014 Forest Hills Drive is the best Cole album to date. If I personally could dream up a Cole album myself with all creative control in terms of production, lyricism, flow, writing skills, song topics, etc., this would be the album I'd choose for Cole to make. This is Cole's Illmatic. I can't even believe I just said that. Now many hip hop heads will get uptight about mentioning any Cole projects with Illmatic, or any projects at all for that matter, but in all seriousness, Cole's 2014 Forest Hills Drive is the best rap album to hit since Good Kid Maad City. It is at least the most complete rap album since then. 2014 Forest Hills Drive has everything a rap fan wants, everything a Cole fan wants, and even more. The emotion emitted in tracks mixed with the controversy and thought it provokes is an absolute perfect blend and it embodies everything you envision a perfect story to be, and the music itself hasn't gotten nearly the recognition it deserves, the only reason being Cole has put out no singles for it. Cole has already been certified Gold by the RIAA, but the recognition is not in the numbers, it shows up in the appreciation for his fans and his conscience voice towards violence in America. Cole has showed up to random fans' houses to sign memorabilia and hang out with them, tweeted people about surprise concerts (and obviously showed up to venues to perform), and he even used his supposed "promo" for the album on Letterman to perform his song dedicated to the victims of Ferguson, Missouri, "Be Free."  Is Cole the new Tupac?  Actions speak louder than words, and Cole's words speak volumes, yet somehow his actions remain greater. Cole's 2014 Forest Hills Drive not only is the best rap album since Good Kid Maad City, not only was it the absolute best of 2014, but it embodies everything Cole represents as not only an artist, but as a person. 2014 Forest Hills Drive allowed me to appreciate music properly again.

Being a J. Cole fan obviously you get a mixed bag between projects (the difference being albums and mix tapes, though I don't truly believe this, I am going off of what the masses believe), but in terms of Cole's albums you truly can't ask for better progression. If the process of growing and becoming a better artist is evident in any rapper, it's J. Cole. The creative process has never been one to give Cole problems, because when you're a real person with real problems and show it through your music, you grow even more. The emotional connection Cole has gained with his fans grew times a thousand with the release of 2014 Forest Hills Drive, and that's after they already had a strong enough bond to love  everything he does. It'd be criminal to ask what Cole has planned next after a momentous release like 2014 Forest Hills Drive, but if you're a fan you can't help yourself. It's always exciting to see what Cole has in store for his fans, and if there is a peak moment in Cole's career, it is now. The fans appreciate everything he does because he gives to them, and they give back to him by showing loyalty. Once Cole gives, it is your opportunity and privilege to appreciate what he gives to you. Truly Yours.                



   











   



   

Jay Z Talks Of The Race Relations In Hip Hop

Too often in hip hop it seems that race is brought into the picture, even today. Has hip hop not advanced past a point where the love of it can be shared with people of all colors, sizes and shapes?  It's deeper than color and the people that don't realize it right now will never realize it (I feel like I've said a lot of this before, but it's a big enough point to be reiterated). The great thing about hip hop is that it starts a conversation that many people are afraid to touch, because rappers just do that stuff. Like, every day. Whether it be through song lyrics, documentaries, or just plain old interviews, nobody can really stir the pot or create a conversation like a rapper can. Which is fucking awesome because who else would have the balls?  Jay Z probably has the most credibility out of anyone to say what he chooses or how he feels about what hip hop has done, because come on now, look what it has done for him (and what he has done for it). It's like listening to Bill Gates tell you how to be a billionaire, you can't say you wouldn't at least listen to what he has to say.

Recently, multi millionaire Shawn Carter had a sit down conversation with Oprah's OWN network and discussed the 50th anniversary of the Selma to Montgomery marches led by Dr. Martin Luther King Jr., and he had quite the opinion on what hip hop and it's spokespeople have done for many different cultures of people since it's inception. Check out what he says below.

If I were to ride a unicorn over a rainbow leading to a sea of gold one day, then today would be the day I belly flopped in some gold water. I never thought I'd ever agree with Jay Z on anything at all, seeing as we have nothing in common about pretty much anything, but his views on hip hop definitely have to bring up an interest you saw in him when you first heard him (if you're an old head who loves classic Jay Z). His comparing rap and it's "creating a common bond in people of all colors" type of talk is something a hip hop head just loves to listen to, especially from someone of Jay Z's stature because he normally doesn't bring that type of attitude into interviews anymore. Can you honestly say that you think great music and hip hop culture when you think of Jay Z anymore?  He's way too focused on the Brooklyn Nets, phone company deals, and conquering the world to even give this the light of day, which is why it makes this interview ten times more awesome to listen to. You can't forget where you came from, and Jay Z definitely hasn't (at least not yet). Let me know what you think of Jay's comments on Google+ or Twitter (@SuperNovaRover).










     

Songs You Didn't Know Had Different Versions (Not Remixes)

The music industry is something a lot of people will never understand. While some constantly wonder about the dynamic behind it all, and how albums are narrowed down to which songs make the album, which songs are made the single, and how artists determine what songs fit and don't fit the concept of an album (or maybe that's just my crazy ass), the fans are usually stuck in the dark about the behind the scenes aspect of it. I've always been interested in how things come about in the making of an album or the recording of different songs, and a lot of that is the fact that there is so much evidence that some ideas don't pan out how rappers (or artists in general) originally planned them to. So to show my interest (and hopefully have you express yours as well) I put together a small list of songs that have other lesser known versions.

Royce Da 5'9 ft. Big Sean - My Own Planet (other version features Joe Budden, Royce's Success Is Certain album)

This version of Royce Da 5'9's "My Own Planet" you would know if you listened to his The Bar Exam 3 mix tape. The Success Is Certain album version of this song features Royce's fellow Slaughterhouse group member Joe Budden. It's hard to distinguish why Royce would choose to switch out Sean's verse with Joe's, or even why he would want to put the song on his album, but both are great mixes. Royce has made it known in the past that he doesn't appreciate Sean's getting big and forgetting to show other Detroit rappers love (though the new Shady XV leaks would say differently), but you wouldn't be able to tell from this jam.

Eminem ft. Royce Da 5'9 - Renegade (original is a Jay-Z song featured on Jay's The Blueprint album)

Bad Meets Evil fans are sure to love this one (if you don't know about it already). Eminem's Renegade verse is already hailed as one of the best guest verses ever (and one of the first and only cases of someone outshining Jay-Z on his own song), but did you know that Bad Meets Evil did the original version to the now Jay-Z claimed song?  Yep it's true, I couldn't tell you how I stumbled across this, but while Eminem keeps the same verses he had in the Jay-Z version, it's very interesting to hear Royce's approach to his first verse because he keeps almost the exact same rhyme scheme that Eminem used for his guest verse on Notorious B.I.G's "Dead Wrong", listen to them both and compare if you don't believe me!  Little facts and gems like this are what make me love what I do that much more, and they certainly display the conceptual talents of Royce and Eminem.

Drake ft. Bun B - Miss Me (original version features Lil Wayne and makes Drake's Thank Me Later album)

This is certainly a sweet mix if you're a Bun B fan (which you should be, check out my Bun B's influence article if you haven't yet), and it makes sense to include a Bun verse since he was already featured in the song, even in the Lil Wayne version (29 second mark). It's no surprise that Drake felt it was right to have a Bun B feature at some point, considering his being featured twice on Bun's Trill O.G. album, and especially considering Drake's praise of Houston and it's part in shaping him.

Knowing there are little known different versions of songs out there just makes you feel so special doesn't it?  I know it makes me feel good, shit I feel like I work for Interscope. Of course the label doesn't leak music, that's certainly the last thing they would want to happen, but still. Having access to these little known tracks is a pretty cool and special thing, and really puts that thought in your mind: "what other versions of songs have been made that haven't been put out?" The thought of it all is too much to process right now, but be sure to let me know if you know any more little known alternate versions of songs that didn't end up on albums/mixtapes on Google+ or Twitter (@SuperNovaRover).



 














 

What are your rap DREAM COLLABORATIONS?

I'll admit, Shady XV has got me feeling all types of dreamy and wondering what to expect from it, and admittedly some of these thoughts have expanded into bigger ones. Things like when are they releasing a track list, who's going to be featured on the album, and why are they making me wait are just a few questions I had at first about the anniversary compilation. But then I got to thinking about bigger things, outside of Shady, outside of compilations, anniversaries, or any sort of other reasonable rap theories. So the same questions I asked myself, I ask you, rap readers; what are your DREAM rap collaborations?

So obviously there have to be a few terms and conditions to what these dream collaborative tracks will consist of, and I've come up with 3 possible song types defining what type of track I personally would like to hear (although you can come up with your own, these just happen to be 3 song types I could think of at the moment): story telling tracks, lyrical onslaughts, and party songs. Now normally you would think there would be a bit more of a broad selection of types of tracks, but if you REALLY got to hear what you wanted to hear, would it really matter?  My point exactly. Now if you're still confused on the details or the ramifications of these mythical dream tracks, allow me to give a few examples of what I would like to hear on my very own "If I died and could make songs in my own personal version of afterlife" playlist.

Eminem + Nas / Storytelling Track

This song would be absolutely insane. I honestly have to ask... WHY HASNT THIS SONG BEEN MADE YET?!?!  Both of these emcees are practically the lyrical masters of what they do, and the weirdest thing to me is that Eminem & Jay-Z have been on a song together (once, as far as we know, "Renegades"), Eminem & The Notorious B.I.G have been on a song ("Dead Wrong"), and Nas has been on a song with Jay-Z ("Black Republican", "Success", also including multiple other tracks with other rappers), and hasn't been on a song with B.I.G, but apparently was in discussions with Biggie about a Tupac diss track back in the day that never happened. So it probably doesn't add up "statistically" to fans or any sort of logical way like that, but the history of each emcee is highly storied, which only makes sense for them to tell a story on this song!  But of course how can you make a Nas/Eminem collaboration without adding in their trademark lyricism and legendary flows into the picture?  You certainly can't. And that is why this collaboration needs to happen.. like... NOW!

Slaughterhouse + D12 / Lyrical Onslaught

This "dream collaboration" might have been a result of thinking about Shady XV and the possibilities of what will happen on the compilation album, but does that make it any less exciting to think of the possibilities of it?  I'd like to think not. Your attention span would have to be an extra 10 times bigger listening to this song (that's IF all of the remaining D12 members agree to get back together), but it certainly would be one for the ages. This song would be (including Eminem) a 9 person vocabulary-flexing track that you would have trouble ignoring even if you weren't a fan of Eminem, Slaughterhouse, or D12 (although you'd probably avoid it if you didn't like any one of the rappers included, in that case, I say good riddance, who needs you anyways!). The best thing about this "dream collab" is that our dreams could possibly become a reality when it's time for that Shady XV compilation album to drop. An "alleged" track list of the album leaked not too long ago, and the list included a track of not only Slaughterhouse and D12, but also Shady label mates Eminem and Yelawolf as well!  I wouldn't get too excited until an official track list is given, but the idea of this collab is certainly a possibility.

Kendrick Lamar & J. Cole / Story Telling + Lyrical Capabilities

Maybe I had to include these guys just because I'm still obsessed with the idea of this album happening (and it will, I have faith), but honestly, is there a better pairing in hip hop today than these 2?  When you have the possibility to make a perfect track, starting from lyrical capabilities (two of the best) leading to story telling abilities (again, two of the best), while also thinking about social power and speaking on issues (AGAIN, two of the BEST), and also thinking about just making good music in general (do I have to say it again?), who REALLY is better than these 2 right now?  Putting them on one song together would blow up the internet, let alone an entire album (which we've discussed before, do I really have to come back to this discussion?  Doesn't matter, I'm willing to anyways). We've seen tiny little previews of what these two can do together (production on songs from one and hooks on songs from the other), but the fans will always crave more, and I can almost say that's a fact, because I'm a contributor to the discussion!

So these are just a few of the examples of collaboration ideas that are constantly on my mind that would blow the music world up (and step up its game particularly if you ask me, another reason why I need to be an "idea man" for those guys over at Interscope, but that's a discussion for another day). Some other dream collaboration ideas I've recently come up with are Drake & Big K.R.I.T (Houston influence would play a big key with a slow, bumping track, you'd definitely need subs for that one), and even something like an ASAP Mob and TDE collaboration might not be too bad (the discussions of a TDE and Slaughterhouse battle came up in an interview with Ab-Soul recently). The ideas are certainly endless, and this is where the real fun comes into play!  I want to hear about your wildest and biggest dream collaboration tracks. Be sure to give me the type of song you believe it would be (again, no limit to the types I've listed, you can mention your own type of track), and the reason you believe your collab would be so awesome. Make sure to hit me up on twitter (@SuperNovaRover), Google+, or even just leave a comment on this post detailing your dream collab. I can't wait to see the ideas for this one!  





      













             

Put Your Money Where Your Mouth Is: What Rappers Charge The Most For A Guest Verse?

In a world where artists want to draw attention to their music, it seems it's getting harder and harder to do so these days. Whether it be a name drop on a song, a crazy beat that gets the people moving and dancing, getting a legend to feature on your song, or maybe even just getting somebody who's hot at the moment. All of these things can help, as long you get the people talking. Guest verses always seem to do the trick, is it the idea that outdoing somebody on their own song is so interesting?  Or is it that the two artists on the track have a history of making fantastic music together (a case could be made for Eminem and 50 Cent, Jay-Z and Kanye, or even collaborations of artists fairly new to each other like J. Cole and Kendrick, choose your favorites) and just work well together?  Whatever the case may be, here's a small list of rappers, and what they charge for a feature. (Quick note: all of these verse prices are rumored, not actually confirmed, although Kendrick and Jay Z's are said to be fact.)

Kendrick Lamar - $250,000 per verse (on average)

If you ask me, this is pretty fair for a Kendrick verse. Depending who you are this could be absolutely ridiculous or this could be pocket change, I suppose it depends who is asking. According to Kendrick's recent verse history (or history on verses ever, Big Sean, Eminem, Young Jeezy, etc.), this seems pretty fair, especially considering the attention your song will get just from having the NAME Kendrick Lamar on your song, and that's without people even hearing the song.

Lil Wayne - $100,000 per verse (supposedly)

This is pretty reasonable considering Lil Wayne was the biggest name in hip-hop (or almost all of music, arguably) between the years of 2008-2012, give or take a few years. You honestly couldn't go somewhere without hearing his name or music, you couldn't go to a blog without seeing a post about him, and no matter who was putting out a song during this period, it's almost as if, if your music was good enough or if anyone cared about what you did, you had a Wayne guest verse. And coming from someone who wasn't a huge Wayne fan or never really has been (me), I have to say it was kind of annoying. But I do have to respect the reception he's gotten from fans, and he does occasionally have the power to get me hooked on a song, whether it be his or someone else's. So is $100k worth it now?  I couldn't honestly tell you, but at a certain point in time (2008-2012), you wouldn't be alone if you thought it was.

2 Chainz - $100,000 per verse (confirmed, 2 Chainz said in BBC Radio interview)

Okay, now this particular price I have to say is a bit much considering what you get. I'm not normally one to knock an artist or his music, but 100 G'S FOR A 2 CHAINZ VERSE?!  If you've bought a 2 Chainz verse in the past, did you ever consider what you're actually getting when it comes down to it?  Did you think to anticipate?  I know this sounds like I'm knocking 2 Chainz and everything he stands for, but I must admit I have the upmost respect for 2 Chainz. Granted I'm not a regular listener to 2 Chainz' music, but in my opinion, with a 2 Chainz verse all you get is some energy and a hook added to your track (if Chainz were a half way decent man he'd at least write the hook for you). So depending the approach to this song, maybe 2 Chainz is the answer. That's probably not something you'll read ever again, but if your goal is to make a party banger with a catchy hook, who else to go to but the Chainz man?  Money well spent (I suppose).

Jay-Z - $1,500,000 per verse

1.5 mil. for a Jay-Z verse. Honestly, I'm not sure how to feel about this. Die hard Jay-Z fans everywhere probably say that's about right, or it's "well deserved," but compared to some verses I personally had heard off of Magna Carta Holy Grail or Watch The Throne, I can't say I think this is worth it. To be honest, compared to ANY Jay-Z I've ever heard, I don't know if this is worth it. Coming from an ignorant Jay-Z listener, don't take my opinion seriously. I know he probably does deserve this payout for a verse (or not, because you know, phone deals, owning the Nets and a sports agency now), but I haven't heard anything that personally catches my ear enough to say he deserves this payout. Then again a lot of people say Reasonable Doubt is his best work, and I haven't heard any of that either. So he probably does deserve 1.5 million a verse, I would just expect him to go all "We Made It freestyle" on it with Jay Electronica every time out just for the sake of doing it.

So there's 4 rappers who have made their verse charges public. Now the reasoning for no other rappers talking about their charges remains to be seen (although I see no real consequence to making it public, besides maybe some fan hate/debate), but it certainly is an interesting topic of discussion. I myself would love to know the cost of Eminem, or maybe the cost of an old head like Rakim, Kool G Rap, or to see if a Snoop verse is worth it (anymore at least). If you have any knowledge on what other rappers charge for a verse, let me know in the comment section, Google+, or on twitter(@SuperNovaRover), and if you think it'd be worth it. I'd love to hear any other amounts, no matter how ridiculous or how much a good investment you think they may be! 

Jay Electronica's Album Delay (Also A Brief Case For Why You Should Pay Attention, My Theory)

If there is one thing that compares to Dr. Dre's mythical Detox album (update: not considered "Detox" anymore) in the rap game today (or maybe even the entire music game, probably not but you know) it is probably Jay Electronica's debut album, Act II: The Pledge. This album has been talked about on and off since about 2010, and many Jay fans (some not even Jay fans, rap fans in general) have given up hope on the long-awaited debut. In any other case, I'd say it's hard to argue with the fans that have given up hope. But in this case, to me it's a little different, and let me explain why.

Jay Electronica might be the biggest tease on earth at this point, but it'd be smart to bear with him and see what he has to offer. I'm not saying be a Jay "Stan" and wait for every single release to drop (nobody has that kind of time anyways), but to pay attention to what he does, because when he does do something, it is more than likely a game changer and records like "Exhibit C" and "Better In Tune With Infinite" prove it. The problem is it's hard to tell when we can expect a new record from him, but I'd almost explain him as the Dos Equis man of hip hop (He has a following of fans, without releasing any music [Dos Equis guy voice]. Right? Anybody?).

And that is what I believe the twist with Jay Electronica is, it's an ear/desire to make good music mixed with a fear of releasing bad music (that and the mix of Jay's drug use holding him back, as he said recently in an interview attending the BET Hip-Hop Awards). Jay is such a "game changer" that he wants people to see the difference in him and your every day average rapper. You'd be blind or deaf to say there isn't a difference, but based on today's standards of music (especially rap today, and the mix tape era) and it's listeners, people just don't have the patience to wait. With the availability of music today, whether it be free or not, Jay is asking a lot in what he wants from his fan base. Or is he?

What makes Jay different from the rest of the rap pack?  No I didn't say ratt pack (sorry Logic fans), but if people really cared and maybe you were forced to ask me of my opinion, I'd say it's that Jay is trying to do something different, yet bring rap music back to a simpler, more enjoyable period in time. Jay is pretty old (just turned 38 a few days ago actually) to be considered the every day average XXL freshman, so for him to appreciate the old rap and mix that with his brand of music making, that probably wouldn't give him the every day average "young rapper trying to make it" persona (especially the young part). So the generational gap in not only beliefs, but style comes into play. Not to mention his rumored affiliation with Nas (rumors of his ghostwriting for Nas are insane to me, but a co sign from Nas would NEVER be a bad thing, in fact quite the opposite). And being signed by Jay Z and having your music produced by the legendary Just Blaze isn't a bad case either (has anyone ever noticed the weird "Jay connection" with Roc Nation?  I mean Jay Z, J. Cole, Jay Electronica, seriously what's the deal?).

So should you be interested in what Jay Electronica's next move is?  I say yes. My explanation would probably be a mix between "his music is great and differentiates from the pack" to "I can't describe the fascination with the aura around him." So needless to say I'll be waiting for the next release from him, but the problem is being able to tell when that release is going to be. The man has played his cards pretty close to the chest at this point, so he only draws more interest with that aura already placed around him. An example of this is how often he puts out music. All of his music seems to get a fantastic response from fans, but is that because he so seldom releases music, or because it is really that good?  The fan boy in me can't tell the difference between the 2 (a reason being I've been fascinated with the idea of Detox and it not being released since I first heard about it, I'll go as far as putting Guns N Roses' Chinese Democracy into the equation). All I can hope for for Jay fans everywhere is that you (we) get some sort of answer soon, but the fact that he is performing at the B.E.T Awards in October is certainly a good start.      


  

        
 
      



 

A Mixing of Genres: My Favorite Rock + Rap Crossovers (Songs and Performances)

With Linkin Park making a triumphant comeback onto the music scene (once again) with their live performance on Yahoo this last Friday the 15th, I have to admit I was in awe. Growing up on Linkin Park, it was a nice blast from the past to see them to just kill the entire show, and that encore... oh my. What other bands can say they have as many hits as these guys?  No really, I'll wait. Nothing?  Alright then. Anyways, the performance was too awesome, but then I got to thinking about that Jay-Z collaboration they did awhile ago. Numb/Encore was one of my all time favorites growing up. One thing led to another, then eventually I was online looking up Kid Rock songs (don't judge me). So here is a list of some of my favorite rap/rock collaborations.

Linkin Park + Jay-Z - Numb/Encore

So obviously I had to pick this one with all the buzz Linkin Park has been creating lately with their new album. Plus that song with Rakim?  It's just Linkin Park getting back to making dope music as usual. It'll be interesting to see how they collaborate with other artists like they said they're finally opening up to doing. But I picked this particular one because not only is this song amazing, it's even more amazing live.

Imagine Dragons + Kendrick Lamar - Radioactive Remix

This one is just another example of Kendrick's longevity. Not only the most recent rock + rap collaboration of awesomeness, but on top of that it is just well... nothing short of incredible. Combining the already sweet imagine dragons banger (which sort of had a hip hop feel to it to begin with), then you add in a crazy rock and roll vibe verse that Kendrick destroys via his voice alone (not to discredit Kendrick's verse itself, he does his thing as usual), the finished product is something that appeals to two completely different types of audiences. Bravo to both parties.

Kid Rock, Run DMC + Aerosmith - Bawitdaba/Kings Of Rock/Walk This Way

Okay so admittedly I had to throw this one in because I grew up listening to Kid Rock. Come on, who didn't love Joe C. spitting verses out opposite Kid Rock?  They used this gigantic performance to open up the MTV Video Music Awards in 1999. Definitely the most unorthodox performance of the time, but it seemed to work pretty well. I love the microphone tossing back and forth between Rock and Tyler, I believe I remember hearing one of the two say they almost dropped one of the microphones so they had stopped throwing them after 3 tosses. The most interesting part to me about this performance is that you have one side of it (the rock: Aerosmith), the other side of it (the rap: Run DMC), and Kid Rock falling respectfully in between both genres (at least back then, now it seems old man Rock has sold himself out to country).

DJ Z-Trip ft. Chester Bennington - The Walking Dead

This one's not so well known, but back in 2005 a DJ by the name of Z-Trip collaborated with Linkin Park's own Chester Bennington on a song called "The Walking Dead." Yes...even before all the tv hoopla about some show that shares the same name, there was a song. I remember hearing this song myself when it first came out because I hadn't heard anything like it. What is it with Chester Bennington and Linkin Park being able to gel so well with hip hop and collaborating with rappers?  I certainly wish we got more of that. In case you haven't heard of DJ Z-Trip, he's collaborated with big names like LL Cool J, Public Enemy, Talib Kweli and many more. Thinking about him now I might have to go and check out some more of his work myself.

So those are just a few of some really good rock and rap collaborations. Don't forget that rap did get its start from rock, and of course has flourished as its own genre ever since. So when you think about it, you really do have to pay homage to acts like Run DMC, the Beasty Boys, and guys like that who started it all. Can you even imagine how scary it would have been to hear the backlash and criticism from people who didn't know what it was back then?  I know I can't. Rock has been popular forever, it may have changed over the past couple of decades, but bands are finding ways to make it sound better. Same thing goes for rap (arguably). It may have changed, but now its more global and getting more recognition than its ever gotten. But every now and then it is nice to get a feel for where it all started: an experiment of new sounds. Let me know your favorite rock and rap collaborations on Google+ or twitter (@SuperNovaRover).


(*Disclaimer: I do not own these videos, or the rights to them, or any of the artists shown in them*)

  

 

  

Less is More: Why Musicians (Rappers) MAY Put Less Songs On Albums/Mixtapes (My Theory)

In a hip hop world where mix tapes seem to run the mill of the music nowadays, from a rapper's perspective, this is the last thing they could ask for. As an artist surviving solely on the sales of your music, I ask what is the point of releasing free music?  Well, as fans lets try to figure this out. Do we really even appreciate music how we're supposed to anymore?

Being the unique style of music that hip hop is, generally speaking, its hard to find another genre that puts out as much free music on a regular basis. Somehow mix tapes have found a way to not only be the rise of artists, but also the fall of them at the same time. However you may see it, or better yet, how the artists may see it, certainly changes the strategy of being a successful artist. My mindset on being a rapper, with multiple views of course, follows: "watch out for the mix tape coming soon, with the album coming at the end of the year." This strategy, if you notice the marketing, can definitely help. Giving your fans a sample or a gift for being patient and waiting, or just being nice and saying thank you are reasonable explanations for this strategy. Building hype for yourself is not a bad thing to do, unless of course, your expectations aren't met. But whose expectations?  The fans of course!

The second strategy is much more simple, less work involved and usually is the strategy used by the biggest artists in the game, or the ones who have nothing to prove to you, if you needed to be blunt about it. Nonetheless, still an effective strategy if you've proven yourself, an example of a statement here: "look out for the album coming at the end of the year." That's all it is. Simple, effective, a very easy way to make your fans mad of course, but if it's worth the wait, it's worth the wait. Only the biggest superstars can resort to this strategy successfully. The likes of Eminem, Lil Wayne, Drake, Kanye, Jay-Z and Nas are really the only immediate rappers that come to mind when you think of  rappers having no reason to release a mix tape. In a sense, they have nothing to prove, and putting out free music can only hurt their reputation as an artist, or what they stand for.

I mention artists who do and do not do mix tapes because they are almost two completely different types of artists. The ones who sell records don't normally touch the free music idea, and the ones who do mix tapes normally either just do them for fun, or build up excitement around an important project. With albums it's always been known as a completely different story, every artist has their own approach to recording and song selection. An album will most likely have a theme or a story backing it up, while a mix tape will just be a collection of random songs recorded with no specific goal or theme. But, as things stand today, many people view no single song worth being paid for when you can download any album, let alone any song you want from an album.


So why is it music listeners today are so picky?  I believe it is because we have the choice to be. We very easily and almost unnoticeably take our favorite artists' music for granted, and get bored much quicker and easier than we should. The attention span of today's class of fans is much smaller because of the easy access to any and all music. With downloading, although it seems harmless to the average fan, it can hurt an artist heavily. Money is made when they sell their music; albums, singles, no matter what it may be, hard copy or digital. Our getting free music is a blessing to us, yes, but does not define being a true music fan. Buying an album you get a story, with real artists you're buying a piece of their life or how they felt at a time, you're buying someone's feelings that lie inside their head. You're buying someone's ideas, someone's pain brought into light. Does this sound like something you'd give away for free?  We'll end this discussion with Eminem venting his frustrations with these people.

     



(*Disclaimer: I do not own this video, nor do I own the rights to it*)