Eminem's Rawkus Records Stint

If you haven't heard of Rawkus Records then you're certainly missing out on some hip hop GEMS. The hip hop label Rawkus Records was founded in 1996, and even though their hip hop domination didn't last for long, they certainly brought up big names that are still giants in the game even today, such as Mos Def, Talib Kweli and Hi-Tek, and they've also had multiple legendary names record to their production, such as Common and Pharoahe Monch, but probably the most notable rapper to make music with them is Eminem. When it comes to Eminem's career, obviously he is seen as one of the most decorated rappers ever, but not many people know about his (more so) underground stuff. Which is why I'm here to shed light on these things (being the rap nerd that I so claim to be). What contributions did Eminem give to Rawkus?  You're about to find out (*Funk Flex bomb drop noise*).

Eminem's hardcore fan base (Stans) would know more than anyone, but before Dr. Dre and Aftermath Records, before D12, and before Shady Records was even a thought, Eminem recorded some pretty bombastic rhymes for Rawkus in the mid to late 90s. This to me seems like the perfect Eminem; very hard raps while still remaining hilarious, and Em rapping over some catchy boom bap production (which has always been a question to many, Em can rap hard and sound even better over the right production).

 ("I liked the shit you did with Rawkus too, that shit was fat." = Stan's complimenting Eminem's earliest work.)

Doesn't this sound more like the hungry, battle rap-ready Eminem?  The high voice may have been more annoying to some, but Eminem is practically the rap game Joker; absolutely hysterical in his rhymes and can make you fall on the floor from laughing, but if you mess with him (diss him), he will MURDER you.

I found this track interesting and had to look into more, and when I did I was hooked. You could ask anyone who calls themselves an Eminem fan, whether that means they've been listening since Infinite or the Slim Shady EP, whether that means they love Relapse and Recovery or they don't, Eminem's work with Rawkus Records is some truly special stuff, and it surely seems like Em is still pretty salty about them not making any offers to sign him, as made evident on the Marshall Mathers LP 2 bonus track "Don't Front." All we are left to wonder is "what could have been?" Surely Rawkus is kicking themselves for not seeing the potential Em had (that is, if they still exist).

So that's the post on Eminem and his little known (again, not to Stans', because they know everything Eminem) Rawkus Records stint. It's definitely something interesting to know if you like to dig into rappers' pasts and like to know how they really got to where they are at (in other words, if you're a proud rap nerd). Plus if you're a Stan (or know about any of Eminem's diss track history), you know that Eminem does not take others' disrespect very lightly, and he actually goes at Rawkus on a track on Marshall Mathers LP 2. Check out "Don't Front" below (you hear the diss around the 2:48 mark).

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





  



  






           

Are Eminem and Lil Wayne Nearing Their Downfall?

This saddens me. There aren't many things musically that can really make me sit back and think "damn", but if there was one thing, this would be it. You could ask anybody and they'd probably have the same answer, seeing your favorite artists crumble and fade into obscurity is one of the most heart breaking things you could see (and seeing one attempt a comeback and fail miserably is even worse). I grew up when Eminem was ruling the charts and the news headlines, and all throughout my high school years all you heard anyone play on their phones or iPod's was Lil Wayne (dude practically made a remix to every rap song made from 2008-2012). But reign's come to an end for everyone unfortunately, as hard as it is to admit, even for the biggest Stan. Times are a changing as much as old heads don't want to admit it, and though some good music is still coming out today, seeing the ones you grew up with fall is never easy. This discussion is not for just 1 specific artist however, because this argument even hurts me to be a part of, let alone begin the conversation; and that's because Eminem and Lil Wayne are nearing a close on both of their careers. I'm as big a Stan as it gets, but the similarities between the current state in both Eminem's and Wayne's career are eerie.

Now when I say there are similarities between Eminem and Lil Wayne your first reaction is probably a big fat Chris Griffin "WHAAAAAAAAAAAT", but once I explain these similarities things should make more sense. The similarities between Eminem and Lil Wayne's music are few and far between, but in terms of the state of both of their careers now, it's almost uncanny (though a fan of neither rapper would admit it), and the comparisons lie mostly in both rappers' latest projects, Shady XV and Sorry For The Wait 2.

The first question I asked myself in this comparison is simply "does either rapper have the ability to come up with great concepts for songs anymore?"  Now the comparison between mix tape and album is definitely a completely different concept when it comes to the types of songs and actual concepts, but I'm only using each rappers' latest body of work seeing as they'd be the most relevant. Anyways, when it comes to Wayne's Sorry For The Wait 2, it's not hard to tell that he doesn't have anything to talk about. The concepts behind the songs are the same Wayne rhymes that we've been hearing since about 2009; lots of lean, bitches, robberies, money and choppers. You'd appreciate hearing Wayne grow a little bit in his time as a rapper (or more importantly his time in the industry), even though a lot of fans like when their favorites don't change. The biggest issue with Wayne seems to be his concepts and content have not changed a bit.

Eminem's case, though not far off from Wayne's, is different, however. In his latest release Shady XV, though a compilation album, contained 3 brand new Eminem records that showed a different side to Em that no one had ever seen before. In the song "Fine Line", Eminem discussed how he came up and the difference between that time period and what it's like for him now, and it's almost shocking to hear from the Detroit emcee. Rap listeners (even his most die hard fans) got so used to hearing Eminem being a controversial rapper that talked about "Britney Spears needing to get her clit re-pierced and I can see her tits from here" types of stuff that this new subject matter is almost scary. A threat from Eminem to retire?  Many people would celebrate the day that it finally came, but as many as there are that say they would love it, there are probably three times as many people who would wipe their eyes with their Eminem shirts while listening to "Stan" and staring at pictures of him online. Like it or not, there are still Eminem fans out there, but like Wayne, sometimes Em has a problem coming up with concepts for songs. Are they bored with what they're doing?

(Eminem at times seems to rap just to rap, which you can't hate, but at the same time you want something more. Is he really running out of things to talk about?  His song "Fine Line" is a good point that he can be conscious at times, though.)  (*I do not own these videos, songs, or the rights to any of them*)

Wayne is in the same boat when it comes to bars and being able to rap; he certainly can still rap well, but what does it mean if he's not saying anything in these raps?  Another big thing that isn't hard to point out on Wayne's Sorry For The Wait 2 is that he has seemingly auto-tuned out the fact that he can still use his actual voice to rap (see what I did there? Oh, puns). Wayne has a very distinct voice that almost anyone can recognize, yet he chooses to chop it up and robot himself into some (at times) very unclear raps (at least it seems like it's auto tune, that can't be Wayne's regular rapping voice). This can get annoying for any regular rap music listener that isn't on lean on a daily basis.

Voice is certainly something Eminem's fans have worried about for quite awhile now as well. If you listened to Eminem from 95 and on you got used to it, and when Recovery came out you probably didn't like what you heard. Slim Shady came up on the high pitched parody-type of rapping voice that everyone loved, and when he changed this around 2002 for his album The Eminem Show it was a nice change of pace, but after Recovery people got fed up with all of the yelling. Eminem toned down the yelling again with Marshall Mathers LP 2, however, and many fans were very happy with this change (though some hardcore fans always find something to hate about the music, typical). Eminem doesn't seem crazy into auto tune like Wayne seems to be lately (or ever), but like Wayne, voice isn't exactly something that Eminem had perfected on his first try.

So hopefully this post points out some similarities in Wayne and Eminem and how their careers aren't so different (we're not so different, you and I, *cue Dr. Evil voice*). You certainly hope that Eminem and Wayne's careers both aren't on the downward spiral that they seem to be, but if they are you know they'll both go out with a bang, and seeing as Eminem has mentored Slaughterhouse and Wayne has mentored Nicki and Drake into the game, you certainly wouldn't expect either of them to leave the game completely (possibly executive producing albums, Eminem's history of producing, both could be great studio presences, etc.) Nothing is for certain as of right now though, so keeping your eyes and ears open is the name of the game it seems for both, arguably 2 of the greatest to ever do it.  



  

 

 

     

   

Kendrick Lamar Says "i" Love Myself: An Explanation Of His Genius

Were you part of a few (probably) million people in the world this morning at 8 am sharp slowly twiddling your thumbs waiting what seemed like your entire life for this new Kendrick track?  In this regard (obviously) you wouldn't have been alone. It's been almost 2 full years since Kendrick's (debated) classic album Good Kid Maad City dropped and the people are more than ready to jump back on the Kendrick horse and see what he has to offer us next, although this new single might not have been what Kendrick fans had in mind.

Rumors circulated that the sample for said song would be instantly recognizable, and those rumors certainly had that part right. Producer Rahki took a page out of the Isley Brothers book and went all "Who's That Lady" on us. Now if you don't know Rahki (like me), he certainly isn't new to the rap production game, but he's new to the spotlight. He is known as being uncredited for co-production on a banger from Eminem's 2010 Recovery album, "Won't Back Down" featuring singer Pink, but he also has full credit for beat production from other stars like Game, 50 Cent, Curren$y, Ab-Soul, and has even produced for Kendrick before on GKMC.

But back to the lecture at hand. The internet is all over the place about what to think of this new Kendrick:  a lot of people are glad that he's back to releasing music again, while others were expecting a lot more from a lead single from the Compton emcee. But if you know the deal with releasing music nowadays (especially from monster artists such as Kendrick), you'd understand exactly what Kendrick is doing. He is now considered "elite" in this thing we call rap, maybe even music as a whole, and that's where this new Isley Brothers-sampled jam comes into play. Kendrick wants to release great music to be known to all music fans around the world, not just hip hop heads like you and I. This song is a nice, catchy radio-friendly change of pace that could catch anyone's ears.

The approach is explainable, though. Going back to this "elite" argument, he definitely is, and he knows it. By this statement I mean he knows exactly how to use his power. When you think of the true elites in the game and the strategies they use to release their music, for example the Eminems, Kanyes, Waynes, Drakes, etc., they all use this EXACT same strategy when starting to push for an album release. Eminem with that at-first insane sounding "Berzerk", Kanye with the questionable "Black Skinhead", and even Drake with "Started From The Bottom". Do you notice the trend?  Artists NEVER play it safe on the first single, and you should NEVER base your opinion on what you believe the album will sound like on 1 SONG.

So do I love this new Kendrick?  No. Will I play it over and over again to figure out exactly what his plan is?  Of course I will. And so will you if you listen to Kendrick's music. Although if you're planning to listen to "i" to try and figure out what the entire album is going to sound like based off of this 1 song, you're (we're) probably wasting your (our) time. Kendrick has too many things planned for this new album for us to hang our heads on the first single (rumors circulated of Kendrick working with Pete Rock on the new album, and maybe even some DR. DRE PRODUCTION?!?!). So I say sit back, relax, and enjoy the takeover, because we'll be seeing it shortly. I'll be posting a link to SoundCloud for the official audio on my twitter (@SuperNovaRover) shortly.










      



    

Unreleased Music: Importance and Intrigue

So imagine this hip hop heads...you get online to do your daily music updates. Songs are in a debatable word "ehh".  You got your soulja boy here, your kevin gates there, oh lil b just came out with his 5th mixtape in 4 months? No disrespect to loyal lil b fans of course, but, well, you see a guy like me finds no interest in that. So you scroll and scroll until you believe you've lost all hope in the day until just then; BAM!  Herpes (No I'm kidding of course, Family Guy reference, sorry). But anyways, BAM!  A new (technically old) Eminem video of him at age 25 surfaces on the web and you get more excited than Royce Da 5'9 when he touches his rifle's butt.

So what brings this excitement you ask?  Well that my friends is what we are here to discuss. I can't be the only one when I say I absolutely love unreleased music, and with respect to all genres of different sizes and shapes of artists. It seems hip-hop takes the crown when we discuss unreleased material. A big reason for this possibly being the case could be the passing of arguably the 2 biggest and best to ever do it, Tupac Shakur and the literally big in his own right Notorious B.I.G. While the work ethic of both is seen differently; for example, an interview with Dr. Dre says being in the studio with Tupac is like making a whole album in one night (at least that's how I picture it, see Dre interview below starting at 3:55). Where as something new (old) from Notorious is definitely not as expected at this point, but from other's perspective might be something way more special.

Change happens in music. Sometimes its for the better and sometimes for the worse!  But nonetheless it happens. For example, the old, insane Eminem that could give the Joker a run for his money. Many people would find this Eminem more descriptive, more lyrical, and funnier in what he says (depending upon your taste in humor). Now, when we talk about the new post-Recovery Eminem, it almost seems like a different person (not saying I'm a conspiracy theorist who believes the real slim shady died many years ago and they replaced him with a clone. No really...look it up. Isn't it crazy what people can come up with?). Recovery was a good album of course, but not what fans were expecting. The opera heavy lead single "Not Afraid" to me sounds like him walking up to a church pastor on a sunday morning, snatching the mic from him, handing the church choir lyrics sheets, and just letting it all out (cue "AMEN" from the crowd).

A breath of fresh air to an old school Eminem fan could possibly be something like stumbling across a 20 year old freestyle, or an interview, enjoying the old blonde Slim Shady we all grew to know and love. These hip hop artifacts if you will, are very key pieces to seeing the growth of an artist, the struggles they go through, and who they were before they really became "somebody" as they say. The process of becoming a name in the music industry is just that; a process.

So enjoy who your favorites artists may be now, enjoy what they're currently doing, and understand that no matter how big they may get to be, they probably do deserve their come up because they worked for it, and paid their dues. Everybody loves a throwback Thursday though, and who knows what the next big release may be, or even when it drops. So, be on the look out for new Tupac 2015!!