3 Observations From Big Boi's "Boomiverse"

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


Feel Good, Dance Party Vibes



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

Dirty South Sound


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


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

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

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









            















     

     

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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


















  

4 Observations From T-Wayne

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


Wayne and Pain's chemistry on records is on point


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


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


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


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


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


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


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

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












              

My Letter To Slaughterhouse



 

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

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

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

          

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

 

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

 

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

 

 

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

 

#FreeSlaughterhouse

 

Angelo Mota Says "Namaste" On New Banger

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

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

https://soundcloud.com/angelomota/namaste

Observations From Drake's "More Life"

 

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

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

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

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

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

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

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

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

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

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

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

















          

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

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

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

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

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

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











  

   

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

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

Then abruptly, and viciously, it stopped.

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



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

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

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


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










 

             

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

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

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

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



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


*Update*

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

  

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

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

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

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

Best Songs Of 2016

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

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

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

Royce Da 5'9 - Tabernacle



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

Bas - Methylone



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

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



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

Joe Budden - Idols



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

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





             
        
          










           

Kendrick Drops Gems In GQ Interview With Rick Rubin

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

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

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

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

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

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

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

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

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

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


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



    












   

Attention Hip Hop Unlimited Readers: A Message From Yours Truly

It's been a pretty crazy 2 years here at HHU, and it's even crazier to think that it's been that long. From album reviews to insane conspiracy theories, I like to think I'm not afraid to tackle any subject having to do with hip hop, or anything having to do with any one person or group of people involved in it. I love this here, it's what I do, and it's what I'm going to do, but sometimes to realize what needs to be done you have to take a step back and get some other things done before you can conquer the world of hip hop writing.

I can't thank my loyal readers enough for the support they've given me, through every crappy article and every decent one that I could only hope gets people conversing, you guys are my rock through everything, and know that I wouldn't be anything without you guys, literally. With every time you guys read or share something I've done, know that you've lifted me up in a very important way that not many other things I do can do for me anymore.

With all of this being said, I will be taking a short intermission from Hip Hop Unlimited, and will not be posting for an amount of time that I am unsure of at the moment. Life happens to all of us, and a couple of things have come up that I have to deal with. But not to worry, because life is just one big checklist of tackling obstacles, and this is just another obstacle that I'll conquer in time. And once time passes, I'll be back, because time waits for no man.

This is Geoffrey Guy signing out, but only for now. Don't get used to me being gone too quickly.

Born Sinner Dropped 3 Years Ago Today

"Imma drop the album same day as Kanye, just to show the boys the man now like Wanya."

Yep, that's right, Born Sinner, arguably the album that put J. Cole on America's (and probably the world's) radar as one of the most competitive emcee's out dropped 3 years ago today. When Cole announced that he'd be dropping Born Sinner the same day that elite hip hop artist Kanye West would be dropping his album Yeezus, he put the hip hop world on notice, because that kind of confidence was something hip hop was missing at the time (and though Cole is confident in his rhymes, you wouldn't get that cocky vibe just from listening to the man talk in every day conversation). Anyways, Born Sinner was a solid effort that got mixed reviews from critics after it's release, but we're not here to focus on that. Here, I'd like to focus on some highlights of the album that make it so great, and maybe even drop some jewels that you might not have known.

Villuminati


"It's way darker this time" was the perfect sentence to start off this album, and "Villuminati" was not only a perfect way to continue Cole's 'Ville influenced song series, but also the perfect song to start off the much darker Born Sinner album. On "Villuminati" Cole was coming for the game's throat, and though he didn't mention anyone in particular (in terms of dissing), he certainly showcased why he deserves to be at the top with his superior punchlines, flow, and conscience mind.

Let NaS Down

    
One of Born Sinner's most stand out tracks is the venting track "Let NaS Down", where Cole explains being let down by himself in making a song that didn't impress his idol, Nas. You can tell just by the way he talks in explaining the song in the interview above that Cole worshipped Nas as a young aspiring emcee, and he was devastated by Nas' critiquing of his first single off of his first major label debut, (Cole World: The Sideline Story) "Work Out". Cole would not give up because of this though, and went on to add "Let NaS Down" onto Born Sinner, and even eventually earned Nas' approval by getting the legendary emcee to feature on a remix of the song.


Also, here are some exclusive facts about the album that maybe you didn't know before, credit goes to @OnlyHipHopFacts on Twitter.

        

        

       










 
Happy Birthday Born Sinner!

To Buy Into The Memes, Or Not? (SchoolBoy Q's New Album Cover Says "Buy In")

Sigh. I'm not even sure what to say at this point. I think the memes have gotten the best of us, people. I mean using the crying face Jordan as a joke here and there, okay, but as a fucking album cover for your next project?  To define your next album by putting the picture above as your album cover?  It makes no sense to me.

If this is your first time seeing the above picture, then get used to seeing it, because this is the album cover for Schoolboy Q's forthcoming album Blank Face, which is due out on July 8th. Blank Face is preceded by it's first 2 singles, "Groovy Tony" and "THat Part" featuring Kanye West. I must say taking advantage of a meme that has taken over the entire internet can either be something that REALLYY hurts you, or REALLYY helps you, let's hope for Q's sake that it's the latter. Use the crying face Jordan for good Q, maybe something useful will come out of it. If only. Check out the music videos for Schoolboy's first 2 singles below.




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

*Update*

Turns out Schoolboy Q was just trolling people with the announcement of the crying Jordan cover. You can see the real cover below.