The Cellar, 12-4-10

And the beat goes on….
Last night the Fort Worth music scene received an early Christmas gift from the latest in a series of hip-hop nights sponsored by the Fort Worth Co-Op. In this third installment, talented artists were coming out of the woodwork, as the hype surrounding this event continues to rise and the audience expands each month. This night of diverse flows and flavors included sets from RLC tha R.O.D. & Africa Black, Logix, JKush & Big Cliff, J. Quest, Birds Eye Blue, the Dru B Shinin’ Trio, myself (A-Roy), Tha Cuddy Lo & Wrex Washington, and Born Knowledge & Anetix. With so many unique styles on display and such a wealth of support for good music, the heights Fort Worth hip-hop is heading for in the future seem limitless.

Songs by A-Roy
(produced by Eye Jay the Boy)

HOSTED FREE AT MYDATANEST.COM

Dru B Shinin - Dirty Money Painting

The concept of the complete album experience is a dying art in hip-hop. In today’s singles-driven market, music sales are determined by who has the hottest song or a collection of hot songs that often seem like mere duplicates of themselves-most artists seem to be looking for that guaranteed formula for success rather than just focusing on their personal artistry. With that being said, Dru B Shinin’ has once again proven that he exceeds the status quo of today’s music market with his newest release, Dirty Money Painting. As the album title indicates, Dru B Shinin’ paints colorful portraits through rhymes containing vivid imagery and clever metaphors.  Dirty Money Painting is a canvas displaying Dru B Shinin's values and struggles, his journey personally and artistically, and quite simply, his life. Beginning with the “Lid Opener Overture,” Dru B Shinin’ narrates through fourteen tracks as the listener goes on an excursion of emotions and experiences with Andrew the man. Don’t sleep on Dru’s skills as an MC, for he is no rookie at rap-to use his own rhymes, “Knew I’d make it in the game, ‘cuz my cadence is insane, my lyricism sharp…” and that’s him being modest. On songs like “Range,” he shows you just that, warning other rappers that he has earned his stripes and is not to be slept on. Songs such as “Live It Up” and “Let It Shine” show Dru expressing the joys of being alive, free and able to celebrate life with loved ones, while “Burnt Out” and “Let It Pour” reflect the unwelcome pain and turmoil that sometimes creeps up in life. The lead single, “The Promise” is Dru’s ode to being dedicated to your dream, and not letting anyone stop you from being yourself and accomplishing your goals. Dru showcases an incredible talent for storytelling as well on the songs “Heaven in the Sky” and “D.M.P. Theme (The World Is a Canvas).”

Dirty Money Painting is an astounding album from a serious artist with talent oozing from his soul. With unbelievable music production from Eye Jay the Boy, and excellent contributions from Greg Shark, Sean Martin, Andrew Skates from Telegraph Canyon, and Sandi McQuinton, Dru B Shinin’ and his team continue to set the bar high for D/FW hip-hop talent, and for hip-hop musicians worldwide. Cop Dirty Money Painting today on iTunes or Bandcamp-you won’t be disappointed. You heard it here first!

http://itunes.apple.com/album/dirty-money-painting/id405735946?v0=9988&ign-mpt=uo%3D1

http://spheremusicgroup.bandcamp.com/

Photography by Richard Georges

J.Cole - Friday Night Lights

Hip-hop is becoming competitive again.  The newest generation of rappers is bringing artistic integrity back to the music, and none with a higher level of skill and quality than J. Cole.  He released his latest mixtape, Friday Night Lights, last Friday via his website and Twitter account to an incredible amount of anticipation.  When I heard it was coming out, I wondered if FNL would be a low point in Cole’s catalogue.  I feared that he might have sunk into the trap of over-saturating the web with freestyles while restless fans are waiting for the official album, like many artists today fall victim to.  But every one of J. Cole’s projects is impressive, including FNL.  He continues with his personal formula for success: he keeps his features to a limit, enlisting only Wale, Drake and Omen (plus a bonus track with Kanye West and the G.O.O.D. Music crew), he minimizes freestyles and opts for complete songs instead, and he raps to mostly his own original beats.  There are a few songs on FNL that have been previously released on other mixtapes, but besides this minor discrepancy, trust me when I say this set of music from J. Cole is strong enough to pay money for (as if any of y’all pay for ANY of your music anymore).  With that being said, I hope that Cole’s rhymes motivate you to go get his debut album, Cole World, when it comes out: “An album’s $10, you act like it’s 10 Gs/This food for thought cost the same as two #3s,” and I would add, you’re a fool if you don’t go on and download Friday Night Lights for free.

http://www.jcolemusic.com/music/friday-night-lights-mixtape

(it says "BUY IT" but if you click the link it downloads the zip file for free)          

Music and Me Podcast, Episode 1

In my debut episode, I am introducing myself and my podcast, and presenting a sample of my eclectic taste in hip-hop music through a playlist containing a wide variety of jams.  Also I am discussing Kanye West and his new album My Dark Twisted Fantasy, as well as up and coming superstar, J. Cole.

Tangerine-Big Boi ft. T.I. & Khujo Goodie

Aston Martin Music-Rick Ross ft. Drake & Chrisette Michele

Shake This-Royce da 5’9”

Temperature’s Rising-Mobb Deep ft. Crystal Johnson

Pour Out a Little Liquor-2Pac

Ol’ English-Game ft. Dion

This Can’t Be Life-Jay-Z ft. Beanie Sigel & Scarface

Summertime Rain-Dru B Shinin’ ft. Eye Jay the Boy

Runnin’-The Pharcyde

Let’s Ride-Q-Tip

Verbal Intercourse-Raekwon ft. Nas & Ghostface Killah

1997-Dom Kennedy

Doggy Dogg World-Snoop Dogg

Looking for Trouble-Kanye West, Pusha T, Big Sean, CyHi Da Prince & J. Cole





(Click arrow to listen or title for link to a download)

N.E.R.D. - Nothing

I must admit, I was not expecting this one…  It’s a rare occasion that I latch on to music that is as deliberately unconventional as N.E.R.D. releases tend to be.  I appreciate efforts at creativity and stretching the limits of musical artistry, but I don’t enjoy it when the beauty of the sound is lost.  However, with Nothing, N.E.R.D. created a sonically pleasant blend of the weird and the wonderful.  I didn’t consider myself a fan of theirs before, but with this release I have really begun to feel their musical vibe and technique.  Nothing is the kind of album that many musicians today who are trying to push boundaries and be more creative probably wish they could make, but it’s not that easy to do.  Pharrell, Chad and Shae make it seem effortless.  Not because the quality of the music is lacking – quite the opposite actually, because this project is incredibly focused and detailed.  It sounds like a carefree college party soundtrack colliding with hippie, socially conscious smooth grooves.  There is a sixties rock n’ roll spirit that drops in at different points throughout the album, like maybe Pharrell or Chad was listening to The Beatles and The Doors while recording, but the hard-hitting beats, robust horns, and ample bass that keep the party going are all present as well.  One of Pharrell’s musical gifts is naturally incorporating unique and unanticipated chords and chord progressions, and he continues that this time around with songs like “God Bless Us All” and “I’ve Seen the Light” (my two favorites).  Pharrell also seems to take his singing a little more seriously, showing greater range and fluidity.  But you won’t be listening to these songs to enjoy his singing voice, a) because the quality of the musical production is the real gem, and b) his singing won’t matter after a while because you will be singing loudly right along with him. Intriguing, eclectic lyrics consisting of topics ranging from “Victory” to “Life as a Fish” are that final fly accessory to this fresh outfit, making Nothing my personal non-hip-hop sleeper album of 2010.  

"The Promise" 1st single from Dru B Shinin's Dirty Money Painting album, coming late November 2010

Phonte

To some of you, seeing this name on the list might be even more shocking than seeing Q-Tip was.  But if you’ve ever listened to Little Brother (shout out to Rapper Big Pooh) and/or The Foreign Exchange (shout out to Nicolay), maybe you feel me on this one.  Phonte Coleman is not so much underrated as he is underexposed.  His talent is undeniable, and I think the industry recognizes that (his fans definitely do), but he has truly chosen the path less traveled in his career.  After Little Brother’s deal with Atlantic bombed, Phonte accepted something about himself that most other artists who’ve been exposed to the major label machine never believe or re-connect with – he embraced the fact that his own intelligence, talent and work ethic were all the components he needed to continue to make a living from recording great music.  And when you make great music, the real music fans follow you.  It’s that simple.   Phonte’s choice to remain independent, his refusal to give up his creative license in any way, is a tribute to his passion for music more than a lust for money, fame or accolades.  But none of that really explains why he’s easily my favorite MC/songwriter of the past decade.  I relate to just about everything the man writes – he is like a window into the soul of the everyday, common brotha’ who is flawed but still sensitive and trying to do the right things in life.  If you aren’t familiar, hopefully these top 7 joints will give you an idea of why he is the coldest dude in hip-hop (and R&B) right now…

7. “Speed” from Little Brother’s The Listening

http://www.youtube.com/watch?v=Wx5YJK4BocY

The beginning is all about the grind.  Te’ raps about the 9-5 life and struggling to make ends meet and support his son while staying up late nights to perfect rap songs.  But even from the jump, it is evident that Little Brother is in the game for the right reasons.  The music (home) video for “Speed” definitely loses points for obviously being shot with the Sony camcorder, but it was all about getting the product out – product that brought Little Brother highest accolades from legends like Pete Rock and A Tribe Called Quest.

6. “Next Day” from Little Brother’s Getback (iTunes bonus track?)

http://www.youtube.com/watch?v=uhKDPyveHYc

This track is kinda hard to find… I’ve heard other websites say it is an iTunes bonus track from Getback, but the only bonus track I’ve seen on iTunes from that album is “The Getaway.”  Regardless, once I found the song on the ‘net I instantly searched until I found a free download.  This song is a great example of Phonte’s strong storytelling ability, as he raps about the transitions he endured during his career up until the Getback album.  Aspiring musicians, or anybody with dreams of doing what they love as their career, will be able to relate.

5. “Brave New World” from The Foreign Exchange’s Connected

http://www.youtube.com/watch?v=ZbQAhGVpQvk

Phonte is not really political or preachy when he has a message in his music, but he gives us a glimpse of his social consciousness on this track to let us know he’s paying attention to the world and how it’s growing and changing.  At the end of it all, though, he always connects global economies of scale to the plight of the everyman individual.  He always suggests that if we all do our part to step it up a little, then the world will be better and we’ll all reap the benefits.

 

4. “Hold On (Tellin’ Me)” B-side to Little Brother’s “Lovin’ It” single (vinyl)

http://www.undergroundhiphop.com/audio/detail.asp?=Little-Brother-Hold-On-Tellin-Me-ABB-Records&ID=9302

This track is very hard to find… I’ve also heard that this song is supposed to be a bonus track on the Japanese version of The Minstrel Show, but again I’ve never been able to find where I can buy that album or song (can’t even find it on YouTube, people).  It is however available for purchase on vinyl on the B-side of their first single off of The Minstrel Show, and I posted a link for the one place I’ve found it recently.  It’s a shame this song is not more accessible because Phonte kills his verse, boasting about how he is one of the illest with the craziest wordplay and metaphors to back it up!

3. “All For You” from Little Brother’s The Minstrel Show

http://www.youtube.com/watch?v=OXv2exiuGjM

This song is one of the instances where Phonte reveals his flaws and shows a deeply personal side of himself on record.  A complicated relationship between parents and children is something a lot of people can relate to, and Phonte (and Pooh as well) lays all of his insecurities out in this very touching and thoughtful song about his parental relationships as well as responsibilities.

2. “Boondock Saints” from Little Brother’s Separate But Equal

http://www.youtube.com/watch?v=uoz8JmaoD4M

This song contains the frustrated but focused Phonte that I promise no MC in the game wants to see in a beef.  He cuts down everything corporate, from shifty and shady major labels to the pride and joy of the black community, Black Embarrassment Television.  He also challenges the young generation of hip-hop consumers as well as fellow artists in the game to hold our music to higher standard.  And he does all of this with some of the most incredible punch lines and metaphors of the new millennium.

1. “Bless the Child” from Jake One’s White Van Music

http://www.youtube.com/watch?v=Ljp_b_om57Y

This is yet another slept on track unless you are familiar with Jake One, but again Phonte is the most deadly when it comes to these obscure, gotta dig in the crates to find it type of tracks, and “Bless the Child” is the best one yet.  This is my daily theme song, because he’s simply rapping about approaching every day, every goal or obstacle in life, with the “I will not lose” mentality.  He wrecks the “life’s a bitch” metaphor by extending it throughout most of the verse, and the wordplay is pure magic – hard knock life theme music at its finest, like great hip-hop is supposed to be.

**Some Honorable Mentions** (I just couldn’t keep this list to 7; if you were feeling these tracks, you should follow up with these): “Slow It Down” from Little Brother’s The Minstrel Show, “Sincere” from The Foreign Exchange’s Connected, “Can’t Win For Losing” from Little Brother’s Getback

Bun B

Too+real = Trill.  When UGK, the collective of Bun B and the late great Pimp C, began using the term “trill”, a movement launched.  Trill became a value system, a way of life, and Bun has represented those beliefs with everything he’s done in the rap game.  He has maintained a worldwide underground respect but displays talent that frequently breaks out of any one mold.  Still, Bun stays true to the southern ‘hood culture and street code of ethics that shaped him.  This list, like Andre 3000’s, was harder to do because Bun maintains consistent high quality in most of his verses.  Like with Big Boi from Outkast, I feel reservations in leaving Pimp C out because the chemistry of UGK as a group is part of what makes most of these verses so memorable.  But at the end of the day, Bun B is a go-getter on the microphone – in a 16-bar contest, I’d put my money on him against anybody from any era or region.

7. Big Pimpin’ from Jay-Z’s Vol. 3…The Life and Times of S. Carter

http://www.youtube.com/watch?v=NnoI7Be4VZk

The fact that UGK even got on this track with Jay-Z was a huge leap of faith.  Reluctantly taking that leap to the “commercial” side, however, did not prompt them to sell out.  Pimp kept it as southern (Texas) as possible (too blatantly, in my opinion) so no one could accuse him of going pop and not reppin’ right, while Bun delivered the most dexterous feature he’s ever done, leaving Jay-Z flailing in the wind. (If you’ve ever wondered why the second Jay verse is on the video version but not the album, it’s because Jay was trying to catch up and keep from being embarrassed!)

6. Pocket Full of Stones from Too Hard to Swallow

http://www.youtube.com/watch?v=MnP1XmxyqxA&feature=related

This is a southern rap anthem.  Any artist coming from the south will mention this song as being highly influential.  Pimp and Bun trade verses about slanging crack rock on the block – a dope hustler’s theme song with vivid storytelling and a gloomy, head-nodding beat.

5. “It’s Supposed to Bubble” from Super Tight

A lot of people think UGK hails from Houston, but if you’ve ever listened to their albums you should know they always show love to Port Arthur, their actual hometown.  PA is a little more than an hour’s drive from the H.  Nowhere else is that dedication to his roots shown by Bun more so than on this song.  Having spent a lot of time in Port Arthur, as well as also being from a smaller city myself that is similar in size and demographics to PA, these verses personally resonate with me, and just plain go hard.

4. “One Day” from Ridin’ Dirty

The first time I popped Ridin’ Dirty into my deck and “One Day” came on, I thought I was listening to my dad’s Isley Brothers record instead.  Using the sample of “Ain’t I Been Good To You” by the Isleys was the perfect musical symbol to open this classic album, and an appropriate musical backdrop to the stories of hardship and loss that Bun and Pimp relay on this song.  To me, there are only a handful of songs where a looped, un-chopped sample from a song of another genre really sounds great with rap over it – this is one of them.

3. “Wood Wheel” from Dirty Money

This is the “underrated” song that I have to plug at least once on each of my lists.   Simple, bass-heavy beat, with a plain but catchy hook – totally unglamorous and ineffectual at the first casual listen, although the beat is an immediate head-nodder.  But Bun stuck his foot in it lyrically with nifty wordplay and careful off-beat rhyming, making it one of the best songs that no one ever talks about.

2. “Heaven” from Underground Kingz

http://www.youtube.com/watch?v=0mJV6SiLSUg

This song sees Bun being socially conscious and critical of society’s take on the ghetto, but he keeps it relatable to his core audience.  Lines like, “We losin’ the children, we losin’ the youth, cuz you motherf#ckas won’t tell ‘em the truth,” really cut deep and show the side of Bun that can be a completely different type of MC without changing his character at all.  This is another important song from UGK that a lot of people have missed.

1. “Hi-Life” from Ridin’ Dirty

Bun B’s verse on this song is simply powerful.  It’s emotional, convicting, and addresses some of those ugly truths about life that most rappers in Bun’s position don’t want to talk about.  Bun has always talked about the poverty of the ‘hood and the common man’s burden and responsibility toward loving and helping people.  Not too many MCs can rap about the drug game, the pimp game, and the rap game and still connect to the listener on a social justice tip too.  Bun has done this for years, and that makes him one of the coldest and most versatile rappers to ever bless a mic.

Nas

He is the undisputed King of N.Y.  If you don’t agree, then you haven’t been listening closely.  Nas does not lose; not when it counts.  He’s like Kobe in that way (yea, I said it).  To those of you who are outraged and yelling at me through the computer, hear me out.  I respect Jay-Z’s hustle and flow; I think 50 Cent had a great 1^st album and is a genius; nobody does hip-hop entrepreneurship better than Diddy; and, God rest his soul, I love and respect everything the Notorious B.I.G. blessed us with musically.  But Nasir Jones holds the key to the city as far as the culture is concerned.  Nas is the people’s champion, a true global ambassador for hip-hop.  Oh, and did I mention he is a lyrical monster?  If you ain’t know, keep readin’…

“Analyze This” (3^rd verse)

Nas and Jay-Z had their war, (which Nas clearly won) but in a time long before that the two were once friendly acquaintances.  The first time Nas spanked Jigga’s a$$ is actually on this record, they were just on better terms.  I discovered this song a while back, but I believe it’s out of print because I have never found it on an album or any type of purchasable release; I think it was pressed on vinyl only.

http://www.youtube.com/watch?v=zHEcd80ZxvM

“You’re da Man” from Stillmatic

Many people say Stillmatic was the rebirth of Nas as a dangerous MC.  If there is another track besides “Ether” that definitively illustrates that fact, it’s this one.  This song is basically a career biopic, as Nas outlines his constant pushback from haters, imitators, and even his own oft-troubled soul.  “Wish I could flap wings and fly away, to where black kings in Ghana stay/ so I can get on, my flesh rot away, but that’ll be the day/ When there’s peace, when my gat don’t need to spray, when these streets are safe to play…” A king’s job never ceases.

“Verbal Intercourse” (1^st verse) from Raekwon’s Only Built 4 Cuban Linx

 Raekwon and Nas have always had a mutual respect and admiration for each other, and have adopted parts of each other’s styles over the years.  This track on the Chef’s classic solo debut has the two plus Ghostface Killah going at it.  For me it’s hard to say there was clearly a best verse, but I do feel like this beat matches Nas’ voice so his flow is butter on the track.  If he could’ve gotten more beats like this throughout his career, y’all naysayers might respect my dude more.

 “I Gave You Power” from It Was Written

This entire song is a metaphorical painting of Nas comparing himself to a gun… but in what sense?  It’s always intriguing and powerful when art can be interpreted in multiple ways (I don’t know if Nas has ever commented on it or not), because it keeps people talking and thinking.  That is a rare feat in rap, which is why this song is so unique.  I think it’s a metaphor for the conundrum of being an artist signed to a major label, dealing with the politics and what not…what do you think?

http://www.youtube.com/watch?v=PXAtUR80IOQ

“Take It In Blood” from It Was Written

This is the most underrated Nas song in my opinion; no one ever talks about it but the flow is crazy nice.  Granted, the song sounds like a freestyle in the traditional sense (not off the dome, but literally free of style and all over the place content-wise), but there are SO many dope quotables and deep metaphors.  This is one of my all-time favorites jams to just ride out to. 

“It Ain’t Hard To Tell” from Illmatic

This is the closing song to the arguably the greatest album in hip-hop history.  It’s hard enough not to put all of Illmatic on this list, but for me this song defines how raw and fresh the entire album is. 

 “Live at the Barbeque” (1^st verse) from Main Source’s Breaking Atoms

This song from Main Source contains Nas’ inaugural verse, his first appearance on the rap scene.  It was immediately labeled a classic cut, and for Nas it’s been on ever since.  Imagine this being your first verse you ever spit on wax, and then you follow up with an album like Illmatic, and you’ve got to try to continue to live up to that type of hype – that’s pressure.  But Nas has continued to excel and remain true to himself and hip-hop.

Eminem

Crazy and calculating.  Cynical but sensitive.  Passionate but private.  Staunch rebel yet fiercely loyal.  Recovering addict and loving father.  The dichotomy, or trichotomy (if that is a word, which it isn't) that is Marshall Mathers aka Slim Shady aka Eminem is what has made him one of the most intriguing figures in hip-hop since he first appeared.  We tried everything we could to put a disclaimer on this white boy's unparalleled ability as a rapper, but he proves time and time again that he deserves his page in the annals.  If he is not/ will not be the greatest, I promise he is the most-feared.

7. “Infinite” from Infinite

This is the first track from Eminem’s first album, and it drew a lot of criticism because it closely parallels Nas’ style of rhyming.  You can definitely hear Nas’ influence on Em at this stage in his career, but I'm reminded of the widely-accepted opinion about the song “Notorious Thugs” on Biggie’s Life After Death when everybody said that Biggie wrecked Bone on their own style.  I always thought that was a bit of an overstatement; in fact, I think Eminem came closer to perfecting Nas' style than B.I.G. did to mastering Bone's.  This song is pure lyrical wizardry. 

6. “My Dad’s Gone Crazy” (3^rd verse) from The Eminem Show

Eminem has a knack for making the last verse on all of his albums stick with you - I don't know if he tries to do this on purpose or not, but I wouldn't be surprised if he does.  This verse in particular has always stuck with me because of the first few bars… “My songs can make you cry, take you by surprise at the same time/ then make you dry your eyes with the same rhyme/ See what you’re seeing is a genius at work, which to me isn’t work, so it’s easy to misinterpret it at first…”  That’s tough to top as far as opening lines go…

5. “Lose Yourself” from 8 Mile Soundtrack

This song gets me crunk, hyphy, amped, whatever you wanna call it; I love it conceptually, lyrically and musically.  It’s the story of Marshall Mathers and Eminem rolled into one, similar to the entire concept of 8 Mile the movie.  Just like the character of B. Rabbit, Eminem shows his vulnerability and insecurity when describing his life before becoming famous, but ultimately his drive, killer instinct, and love for hip-hop helped transform those would-be weak points to his primary tools for successful song-writing and relating to his fan base.

4. “I’m Back” from The Marshall Mathers LP

This song includes all sides of Em’s on-the-mic personality – the cutthroat battle rapping, the grotesque and violent imagery, the candid and inappropriate teasing of other celebrities, just any and everything that his imagination can conjure.  Yet every line is carefully crafted with a high-level of lyrical skill and cleverness.

3. “Til I Collapse” from The Eminem Show

If there was ever any doubt that Eminem had the utmost respect of his peers in the rap game, I feel like it should’ve disappeared once this song was heard.  The beat has that epic feel to it, like the apocalypse is about to come, and Em plays the role of the 4th Horseman.  He lists (in order) his favorite rappers while simultaneously shooting the middle finger at any haters, whether they be rapper or critic, who choose to slander his name.

2. “Renegade” (his 1^st verse, 2^nd on the song) from Jay-Z’s album The Blueprint

Nas was the first person to say it publicly, but we were all thinking it.  Yes, Eminem clearly murdered Jigga on his own sh!t.  But it’s not surprising because the concept of the song is more suited for Slim Shady than Jay, in my opinion.  Em's best conceptual writing is done with him as the underdog, and in this song he retorts against an American society who has labeled him the bad guy rather than taking responsibility for our own lives and children.  Artistic freedom of speech at its finest (and most scathing).

1. “Stan” from The Marshall Mathers LP
These verses, this story, is one of the most compelling rap stories ever recorded.  I almost want to call it the greatest, but I won't because I don't believe in devaluing thoughtful storytelling through the imposed objectivity of rankings.  But the beauty of the story combined with Shady's unique ability to tell it so masterfully and with such ease of expression REALLY tempts me to want to say it is the best story ever told on wax.  I'll just say this: there isn't a better one.  This solidified Eminem's place in the history of not just hip-hop, but music in general.
http://www.youtube.com/watch?v=KyHwM8WP0Z4

Q-Tip

I’m certain that for anyone who’s been anticipating which MCs are going to make my top seven, Q-Tip is a surprise, but he shouldn’t be.  Kamaal The Abstract has remained loyal to authenticity and true school ethics in the rap game, and at the same time ages like fine wine.  Q-Tip is not only probably your favorite rapper’s favorite rapper, but he’s also likely your favorite producer’s favorite producer.  He is the ultimate artist, and although he may not be as lyrically wig-splitting as other rappers in his peer class, he more than makes up for his laid-back, sometimes simple delivery with creativity and effortless swagger on the mic.
                   

7. “Electric Relaxation” (from A Tribe Called Quest’s Midnight Marauders)
There are so many great quotable lines that have been recycled from this song – “Honey check it out you got me mesmerized, with your black hair and your fat a$$ thighs…” or “Shorty let me tell you ‘bout my only vice, it has to do with lots of lovin’ and it ain’t nothing nice.”  If you love hip-hop, you already love this gem of a jam, whether you're aware of it or not.
http://www.youtube.com/watch?v=ERQzl4xDpXk&feature=related

6. “Check the Rhime” (from A Tribe Called Quest’s The Low End Theory)

“Industry rule # 4,080, record company people are shaaadyyyy…”  The thing I love about this song is its simplicity in expressing a deep truth about Q-Tip, which I alluded to in the intro – being a good rapper begins with being comfortable with your own style, not imitating someone else’s.  “Rap is not pop, if you call it that then stop.”
http://www.youtube.com/watch?v=lRrM6tfOHds

5. “Move” (from The Renaissance)

From his 2008 solo release, this song is a strong example of how nice The Abstract Poetic can be when he goes all in.  He flows sick to an incredibly soulful and banging Jay Dee-produced split beat.  This joint is just vintage spittin’ over a lovely musical backdrop.

4. “Lyrics to Go”, (from A Tribe Called Quest’s Midnight Marauders)

I couldn’t decide if the first verse or second verse was more impressive on this cult classic – the down side of this cut is that his cadence is so basic and static that you can very easily miss the beautiful word play.  But focus intently and you will hear why this song is considered one of the best from their catalogue.

3. “Sucka N!gga” (from A Tribe Called Quest’s Midnight Marauders)

I love this song because of the message – I can’t front, that’s really the only reason it made this high on the list.  Q-Tip gives a brief but important lesson on the history of the n-word, explaining its evolution from hurtful racial epithet to term of endearment within the younger black generations.  Class is in session…

2. “Things U Do” (from Amplified)

This is another crazy lyrical joint, which is somewhat of a rare jewel from The Abstract.  Every now and then Q-Tip has to remind us that he is more than capable of spanking a$$ on the mic, and on his solo debut this is the track where he took off his belt.

1. “Excursions” (from A Tribe Called Quest’s The Low End Theory)

Infectious.  Mellow.  Vintage.  Raw.  Eloquent.  Unforgettable.  I can’t think of complete statements that do justice for explaining how this song makes me feel, so I just wrote the words that immediately came to mind.  Just give it a listen.  And respect the true school. 

Andre 3000

The countdown begins.  I’ll start by stating the obvious: this was not an easy task.  A lot of artists and songs that I love didn’t make the list.  At the same time, I’ve given it some careful thought, and I picked what I really consider to be the most personally compelling hip-hop music that I’ve experienced.  Do you agree?  Am I leaving your favorite out?  Let me know.

In lane #1, we have one half of Outkast, the eccentric, eclectic and exceedingly talented Andre 3000.  After the release of Stankonia from Outkast back in 2000, a rap verse from 3 Stacks has been a rare and blessed occasion, but his mantra of quality over quantity has only improved his pedigree.

7. “Babylon” (from ATLiens)

Unorthodox verses containing musings on the vices of youth – drugs, lust and love… “They call it horny because it’s devilish…” classic.

6. “Return of the ‘G’” (from Aquemini)

This is the hardest opener from any of the 'Kast albums; you could tell ‘Dre was getting tired of people talking sh!t about his life choices… he clears the air emphatically. 

5. “Int’l Players Anthem” (from UGK album Underground Kingz)

The hit song that everybody learned the lyrics to, even non-rap fans, because the metaphors were so cold and the emotions were those we all could relate to.

http://www.youtube.com/watch?v=awMIbA34MT8

4. “ATLiens” (from ATLiens)

You have to listen to both of his verses on this song, couldn’t pick just one… this song marks the first major growth spurt in his artistic evolution.  One of the best beats in the ONP catalog too, in my opinion.

3. “The Art of Storytellin’ Part 4” (from DJ Drama album Gangsta Grillz: The Album)

Another one of his great stories about a romantic encounter with a woman that leads to a moment of enlightenment, but this one is packed with crazy metaphors. 

2. “Gangsta Sh!t” (from Stankonia)

I feel very confident in saying that this is his hardest verse ever.  Lyrical, aggressive, metaphorical with a message… purely DOPE. 

1. “What a Job” (from Devin the Dude album Waiting to Inhale)

I have a feeling this is gonna be a controversy-starter because I put it in the top position.  To be fair, I will admit this is not ‘Dre’s hardest or most lyrical verse, but this is my favorite verse by him because it’s a genuine love letter to both his fans and to hip-hop.  Because of this verse, I am cool if he never puts out a solo album or another ‘Kast album – I believe he’s given us his best EVERY TIME he spits, and you can’t ask for more than that.

The Cellar, 9/24/10

“But off to better things like a hip-hop forum…”

I dropped the Q-Tip quote because it's relevant right now since hip-hop seems to be running sh!t...and that realness is in our neck of da woods, people, it’s not a fallacy… Last Friday night The Cellar on West Berry St. was live and in full effect with a DJ who was spinning right and some of the most-talented MCs from the D/FW area.  I can’t tell you how long I’ve wanted to be able to fall off in a nightspot on the weekend that is close by and just vibe out to some good hip-hop music in the comfort of a chill environment.  Throughout the past few years all of the options in Fort Worth have typically been either too club-oriented or not hip-hop enough for my tastes.  For this reason, I went to the Cellar with muted expectations – I’ve been on a good streak recently in regards to live music experiences, but I’m aware this area is still a "now you see it, now you don't" type of market.  To my delight, as I entered the Cellar I was greeted by an ample and diverse audience of people and a vintage hip-hop soundtrack of jams that I probably haven’t heard anywhere outside of my own headphones in years.  The MC line-up, including J-Kush, Big Cliff, Dru B Shinin’, RLC tha R.O.D., J. Quest and more, all kept the high-quality music coming, performing sets that included off the dome flows and songs that kept the crowd swaying and bouncing.  And did I mention there was no cover?  No cover for a package that included live music, great DJing, a sizable crowd of friendly, good-looking people to mingle with, cheap drinks, and multiple areas to sit, shoot pool, and watch Sports Center highlights.  I really couldn’t have asked for a better way to start off the weekend, and from what I’ve heard, this may become a regularly-scheduled event that will continue at the Cellar.  So for those of you who enjoy having a few drinks at a laid-back venue while hearing good music, be sure and give the Cellar a visit – I doubt you’ll be disappointed, I surely wasn’t. 

The Foreign Exchange, 9/18/10

Finally, The Foreign Exchange Came to Texas!

I honestly never thought I would see the day that The Foreign Exchange would come to Texas.  I figured it was a privilege to have Little Brother come as often as they did.  When I got the chance to see LB in ’07, I was content because I could squash the idea of having to one day make a road trip just to see Phonte and Pooh on stage.  The eventual dissolution of Little Brother gave way to Phonte’s evolution as part of The Foreign Exchange, and as their second album, Leave It All Behind, became my favorite of 2008, the thought of driving to North Carolina to see a show began to tempt me again.  Now, I needed to see The Foreign Exchange live.  I emailed, posted on Facebook, posted on the FE website message board, trying to do my part in hyping up the Lone Star State as being worthy of a visit by this great band.  Other fans did the same, but chances looked bleak as the two year mark since the album’s release approached and the closest city that the group had played was Atlanta.  Finally, toward the end of summer the announcement came – FE would play a weekend in Texas, one night in Dallas and one in Houston.  The timing was perfect, one week after my birthday, and the tickets were cheap at $20 a piece.  No matter what else happened for, on or around my birthday this year, I knew that I would be happy if I could just make it to that show.   

That long narrative intro hopefully illustrated the true excitement I felt in anticipation of this concert.  I’ve never been more amped to see a show than I was the night of September 18.  All of the fans were ready, and so was the band because FE tore it down at The Door in Deep Ellum.  I have to especially shout out my fellow music lovers who were in the audience that night – this was one of the best crowds that I’ve been amongst.  People were friendly, interactive, serious music fans, and genuinely eager to see FE.  The show was classy but unembellished – in fact, the vibe was not the posh “grown and sexy” stereotype that some may have expected.  Dress code was in effect and the age range was mostly 25-35, but the attitude was chill.  Truthfully, The Door as a venue is not all that.  This was my first time being there, and it reminded me of those scenes in 8 Mile of B. Rabbit battling at The Shelter – it’s just a wide-open space with a bar at the back, couches and tables flanking, and a stage at the front.  There is no intentional aura, no thematic decorating, visuals or color schemes, no state-of-the-art technology – it’s just a concrete building.  But the simple design limited distractions and pretensions, maintaining focus where it needed to be and uniting the audience through the music.  J-Clip warmed us up spinning classic hip-hop joints mixed with contemporary neo-soul jams.  Then, a stirring, bluesy opening performance by local crooner Soul Blackman whetted the appetite for the FE entrée.  When the band hit the stage, they wasted no time taking us higher, opening up the set with “House of Cards.”  Vocals from Phonte, Darien Brockington and Sy Smith (no YahZarah this trip) were on point, Nicolay and Zo! worked magic on the sampler and synths, while the drummer and bass player held down the beat and the bottom with effortlessness.  Their set was fluid but completely unpredictable – according to Phonte, with each show they ad-lib and go where the feeling of the music takes them, and they certainly seemed to do just that more than once during this show.  They did a reggae remix of “I Wanna Know,” a cover of the classic “Written All Over Your Face” by Gerald Levert and the Rude Boys, as well as freestyle R&B interpolations of “Turn My Swag On” and “I Invented Sex.”  (Yes, you read correctly – Solja Boy and Trey Songz.  You know Phonte had to be silly and bring back his Percy Miracles persona.)  After almost two hours of music, FE exited the stage.  The audience proceeded to raise the roof in praise, so an encore that included three more songs pushed the show until a quarter past 1am.

I left The Door feeling simultaneously exhausted and rejuvenated.  I believe it was an unforgettable experience for both the audience and FE, as Phonte told us that Houston had their work cut out for them if they were going to top the energy and the love that Dallas put forth.  Every time I start feeling that D/FW’s music scene is disappointing me, a show such as this one comes along and reminds me that good music permeates all areas – it can’t be stopped.  Phonte has said before that sometimes we have to work a little harder to find it, but the truth is if you are not listening to good music, it is your own fault.  So, if you’re reading this and feeling a musical void in your life, consider this blog an official suggestion to check out The Foreign Exchange if you haven’t. 

Competition in Hip-Hop

It Ain’t What it Used to Be…But That’s Not All Bad

A different kind of competition exists in hip-hop in 2010.  The days of historic rap battles on wax (or mp3) could possibly be gone forever.  Even fearless artists like Eminem and Game, known for their lack of restraint when it comes to on-the-record shots fired, claim they have put to rest this part of their rap personas.  After the unfortunate deaths of 2Pac and Biggie, the taste of hip-hop beef in the mouth of public opinion was nasty, as people began to feel like extra measures needed to be taken to ensure that MC wars were resolved peacefully.  Several other high-profile battles have taken place since the east coast/west coast quarrel (Jay-Z vs. Nas, 50 Cent vs. Ja Rule, 50 Cent vs. Game), but when the heat from behind the mic became too hot to handle and violence loomed on the horizon, outside parties jumped in to temper the hostility.  In today’s industry, rappers still have beef, but the recipe for destroying an MC’s career is more likely to include vlogs and other internet video productions intended to assassinate character, and subliminal lines rather than outright bar-for-bar disses. 

However, the spirit of competition is not dead.  We still debate about who is the best, and it’s obvious that the top rappers in the game still strive to claim the crown.  When Nas delivered the crushing blow to Jigga in “Ether” where he said “Eminem murdered you on your own shit,” everybody knew he was right, and from then on we began to pay closer attention to who was best in song when artists collaborate.  This level of competition is more akin to a dunk contest rather than a one-on-one game, but it still offers an opportunity to compete that both artists and fans respect.   

Another reason industry figures have become friendlier and are working together more is because the business side of hip-hop has become so globalized, and there is more profit in merging than there is in making enemies.  Assembling a strong crew with a clever marketing strategy or uniting several major artists under one label can substantially multiply profits when it’s time to promote singles and go on tour.  Don’t fool yourself into believing that Jay-Z and Nas’ decision to let bygones be bygones after their classic feud was because they squashed the beef for the right reasons – forget that; it was strictly a smart business decision that led to them eventually become amicable with one another. 

The face of rap is changing as well.  The culture has progressed and expanded, and now it’s perfectly acceptable to be cool-headed and carefree.  Hip-hop’s gradual gravitation into other perspectives of the urban experience, or the suburban experience, or the rural, helps display a wider scope of content, so the music is not always angry, not solely focused on competition and struggle.  Making hip-hop music about being in college, having a regular job and a family, hell, even being in love, is now totally acceptable.

Hip-hop heads, there is no need to fear – competition is not dead, and truthfully, I don’t know if I’m convinced that rap battles are completely out of the door either, but hip-hop culture has evolved.  Purists will still long for the days where two great MCs would go head-to-head and pull no punches, and at the end of the day there was a victor, with no gunshots, stab wounds or crew melees.  We won’t see that as much moving forward, but there will always be a place for it – after all, battling is rooted in the foundation of the culture.   

Bun B-Trill O.G.

“Reppin’ H-Town like Phi Slama Jama…”

Bun B is one of the most respected MCs in rap today, and he holds a position in my personal top five greatest ever. Bun doesn’t seem to have enemies – everyone loves him and what he stands for. He is the living definition of loyalty, as he demonstrated through his “Free Pimp C” campaign in which he single-handedly held down the legacy of his group, UGK, for almost four years while his partner was on lock. He stays true to the southern style of hip-hop and living, while maintaining a mass appeal and keeping the streets on smash. Beyond his reputation, Bun has skills that stand up to any other MC doing it. Trill O.G. is a culmination of all that makes Bun B one of the south’s brightest stars, and will be well-received by any fan of true southern rap.

Rather than being in a position where he was ready to do so, circumstances seem to be what thrust Bun B into the recording of his first two solo albums. Pimp C’s imprisonment and then later his unexpected passing both had a heavy impact on the inspiration for and development of the first two LPs from Bun. Not to say they weren’t good, because they were, but with Trill O.G., a clever title for the third chapter in the trilogy, Bun admitted that his focus was sharper. He had a goal to make a complete thematic album that represents what southern hip-hop is to him, and I believe he successfully did just that, saving the best for last in this series.

Bun B deliberately chose to create within a certain formula throughout the entire album –this may slightly disappoint some fans, while greatly pleasing others. The UGK brand has never been shy about remaining true to their core audience, but Bun himself has shown that he has enough depth and dexterity to write on a wide range of topics with a variety of flow styles. However, we don’t get that other side of Bun much on Trill O.G. The album opens with an inauguration from J. Prince, the looming voice of Pimp C from beyond the grave (“Chuuch!”) and the sound of chilling gospel organs that were a staple of Pimp’s production. Lyrically, Bun B sticks to rap braggadocio, tales of flossin’ and ballin’, and the usual reflections on the lifestyle of O.G.s and street hustlers. He’s got a couple of joints for hip-hop heads where he raises the level of his wordplay and rides the track seamlessly, namely the DJ Premier-helmed “Let Em Know,” and “Speak Easy” featuring a magnificent verse from Twista. He also resurrects two of hip-hops deceased legends on “Right Now,” a party track featuring Pimp C and 2Pac along with Trey Songz on the chorus. The big-band horns from producer Steve Below help bring life after death to these dated verses, but the song is not anything we haven’t heard before. But throughout all sixteen tracks, Bun consistently sinks his teeth into solid beats that bang in the trunk with those 808 thumps, snare drums and hi-hat cymbals that we southerners love to ride to. Add to that two cameos from hip-hop’s current boy wonder Drake, and I can say that Bun B has crafted a widely marketable yet distinctively Texas-bred third solo album with Trill O.G. Port Arthur, Texas is still in the building.

Dru B Shinin'-The Admission One EP

Real hip-hop is alive and well in Fort Worth, TX.  Those of us who live or have spent time here are aware that Cow Town is country first, but if you are a fan of hip-hop, or you’re looking to hear some original, thoughtful, high quality music, you have been missing out if you have not taken notice of my boy, Dru B Shinin’.  Sleep no more - I’m about to put you on some game. 

Anybody who knows me knows that I don’t endorse wack music.  I just can’t do it, because I love it too much.  Dru B Shinin’, as a part of Sphere Music Group, has been in the game dropping unheralded gems since 2008, but he’s been a serious MC since the first time I met him back in 2003.  A few of the homies used to get together on the yard from time to time and freestyle, and Dru always pretty much sh!t-canned any of us who thought we could rap.  Ever since those days, I’ve watched my man grow and blossom as an artist, taking seriously his talent for rapping and love of hip-hop culture, continuing to improve his flow and craft incredible songs.  I’ve watched him go from freestyle sessions with literally anybody who was willing to step up, to developing stage presence and learning how to rock a crowd.  I say all of that to throw props to his latest offering, The Admission One EP.

This EP is the prequel to his new album, Dirty Money Painting that will be dropping in November, and these 8 songs have me hyped and ready for the coming sophomore LP.  If you aren’t familiar with Dru B Shinin’, I think the quickest way to describe his style would be to use his own rhymes: “I’m like B.o.B. mixed with ODB/ alotta crazy sh!t, a little poetry.”  That’s not doing him complete justice, because he definitely has more depth to his rhymes than many artists you will hear.  On Admission One, Dru B Shinin’ rotates between stories about life’s small pleasures as well as frustrating hardships, hallucinations of wilding out on the world, and hardcore hip-hop laced with an easy-going spirit.  The music behind his rhymes is solid; primary producer EyeJay handles the beats with co-production from Greg Shark and Andrew Skates of Telegraph Canyon.  The EP mostly employs rock-tinged beat arrangements with lots of strings and melodious mid-tempos, making this musically an album that plays with different genres.  This EP gives you a sample dose of great music from some underground artists who are serious about their craft and are talented enough to do it well.

But my words are merely meant to give you a quick picture and point you in the direction of… http://spheremusicgroup.bandcamp.com.  Download Dru B Shinin’ The Admission One EP, and if you haven't been persuaded yet, listen to “The Final Lap” on my page, and then go download the EP.  If you live in Funkytown, I’ll see ya at the next show…

The Roots-How I Got Over

I’m hearing more people talk about the Roots this summer than ever before.  Their buzz right now makes it feel almost like they are the hot new band on the scene.  Despite the constant changes that the group has gone through, they have been a trendsetting and edgy fixture in hip-hop for about fifteen years, dropping a classic album or two in between consistently great efforts throughout their entire catalogue.  How I Got Over is no different, and I for one and am glad they are finally getting more of the recognition that they deserve.

When the Roots took the job as the stage band for Late Night with Jimmy Fallon about two years ago, I was concerned that their musical output, both in quantity and quality, might decline.  How I Got Over is their first full-length recording since this happened, and it was a breath of fresh air to hear that the quality is still there.  Like many others I’ve talked to or read I believe that this could actually be a serious mention as their best album yet.  Black Thought, who has long been one of the most underrated MCs in the game, has transformed from an aggressive, take-no-prisoners battle rapper to a deeply reflective and thoughtful poet.  That’s not to say he’s lost his gritty edge – make no mistake, Thought still gives it to you raw (listen to “Doin’ It Again” if you doubt), but starting with 2006’s Game Theory, we began to hear small revelations about the man behind the mic, Mr. Tariq Trotter (Thought).  In How I Got Over, he continues to display that lyrical growth, as this album is built from soul-stirring personal testimonies and everyday life experience.  The album’s mood is not dark, but mellow-smooth, sometimes somber, sometimes uplifting.  It’s a highly conceptual work, as the album’s title is indicative of the tone and theme of the story that is told from start to finish in this LP.  ?uestlove’s drumming keeps the mid-tempo flow constant, making the musicality of the narrative match the lyrical content well; it almost sound like one long song with different parts and phases rather than 14 individual ones.  How I Got Over is life theme music, Roots-style, and has a vibe that’s chill enough where you can listen to it starting your day off in the morning and chillin’ with your love partner in the evening.

There are a plethora of featured artists, including the normal Roots crew affiliates and Philly natives Dice Raw, Peedi Peedi and P.O.R.N., along with several others (I was particularly thrilled to see my favorite artist, Phonte Coleman (of Little Brother, The Foreign Exchange) featured twice, as well as up-and-coming talent Blu from LA with two cameos as well).  But even though the Roots continue to draw on a wide range of artistic contributions both within the group itself and through features, How I Got Over has coherence and synergy that really draws in the listener.  With Black Thought spitting lines like “You can’t escape the history that you was made to make/That’s why the highest victory is what I’m meant to take/You came to celebrate, I came to cerebrate/I hate losing I refuse to make the same mistakes,” it is unmistakable that the Roots feel the lack of getting their just due as a premier band in the music world is the motivation for how they got over... and they continue to blaze forward.

Big Boi-Sir Lucious Leftfoot...The Son of Chico Dusty

Dungeon Family First Generation Still Proves to be Timeless…

One of my closest homies and I have been longtime serious Outkast fans. We often take time to discuss and dissect their music, praising its greatness and pointing out the often-overlooked nuances that truly set ‘Kast apart. Sometimes I’ve had to encourage him to pay closer attention to André 3000 and not write him off, while he has made sure that I don’t ignore the lyrical presence and unique musical ear of Big Boi. At the end of the day, each of us respects and loves both sides of the Outkast coin for making arguably the dopest music released during our coming of age years. On Tuesday, July 6, I sent him a three-word text message – “Is it nice?” I didn’t have to explain it by asking whether he had yet picked up Sir Lucious Left Foot: The Son of Chico Dusty, because that would’ve been a wasted text. When he responded, “U still not respecting Big Boi enuf,” I knew, even though I hadn’t planned on it, I would be driving to Best Buy before they closed that night. And my boy was right – Big Boi aka Sir Lucious Left Foot aka Daddy Fat Sax aka Billy Ocean proved (again) that he is more than capable of carrying an album by himself. Doubters should immediately repent and feel ashamed.

Why critics and music fans continue to leave Big Boi’s name off of the list of contenders for heavyweight lyrical champ is a mystery because he’s always been impressive. His rapid-fire cadence mixed with a careful attention to detail has always set him apart from most of his contemporaries. He’s been consistent in his style and approach to the game – an intelligent playa, a pimp ‘til the end, loyal to his family, his crew, his community and the A – and all of that shines through perfectly on Sir Lucious Left Foot. Big continues to define true Southernplayalisticadillacmuzik.

While Big Boi’s image has been subject to less dispute than his partner’s as far as street credibility is concerned, musically Big has been just as if not more experimental than 3000. Outkast’s eclecticism has always worked in their favor as a group, and it continues to sound good for Big Boi as a solo act. The Dungeon Family’s Organized Noise production team continues to push the envelope while keeping it southern, handling roughly 30% of the beats. However, Big Boi reaches out to other lesser known producers who offered some gem tracks as well. “Shine Blockas” featuring Gucci Mane (which incorporates the Harold Melvin & the Blue Notes sample that brought Kanye his beat-making fame on Jigga’s “This Can’t Be Life”) is a 2010 anthem and new slang word for haters, and “Tangerine” featuring T.I. and Khujo Goodie is the booty club cut that is unspoken tradition for all ATL rap artists. It was hard to pick standout tracks because this album is so solid, but after conferring with my friend, “Hustle Blood” featuring Jamie Foxx and “Be Still” featuring Janelle Monáe are two songs that really shine - check 'em out...

The-Dream-Love King

If it ain’t broke, don’t fix it, but a tune-up is sometimes a good idea…

In R&B music, we have witnessed a period of prosperity for songwriters-turned-singers over the past decade. In this batch of artists who were formerly behind-the-scenes only are names like Ne-Yo, Ryan Leslie and Terius “The-Dream” Nash, all of whom have written and produced a slew of pop hits for other big names as well as having their own successful hits and albums. The-Dream, who has garnered a strong following of both female and male fans, seems to be the most efficient in this group, having managed to continue to write Grammy-winning songs for superstars such as Beyoncé and Rihanna while also releasing three of his own albums in less than three years. As a result, it is not hard to see (or hear in his music) that The-Dream is feeling himself quite a bit these days, but when it comes to his own releases, he is a man who is willing to concede his limitations and rely on his strengths rather than experimenting too much. Whether you like this or not is a matter of personal taste; it’s safe to say that if you already liked The-Dream’s music, chances are you will continue to do so with his new release, Love King.

Rather than name it Love King, The-Dream could’ve mixed together his last two album titles and just called this one Love – Money = Hate, because his subject matter has not changed or grown at all. He sings about his money and his ability to attract women because of it, along with his sex talents and his ability to keep women fien’in’ because of that. Oh yeah, and of course he sends shots to other dudes who claim to but ain’t really doing it like him. And his musical style hasn’t changed either – simple synth chord progressions and a catchy melody over 808s and snaps; nothing at all complicated or revolutionary. On the up-tempo track “Yamaha” we hear him continue to play with the metaphor of comparing fine women to fast vehicles. “February Love” is sonically reminiscent of “Fancy” from Love vs. Money to a fault, but the song is still infectious. In what I consider a highlight of the album, he tried to push his singing range on “Turnt Out” by singing most of the song in the falsetto register; this talent sounded a little better when he was just doing one falsetto run in the chorus on his single, "Falsetto," from his debut Love/Hate, but the song is still pretty tight.

I’m not necessarily criticizing The-Dream for what he’s doing; I like Love King for what it is – it’s more of the same, but it’s still bangin’ mood music. In fact, if ever there was an R&B male artist that men can consistently feel, it’s this guy (well, can’t forget about R. Kelly…) – in a way, his stuff is like R&B thug motivation (shout out to Jeezy…yeaaaaa). As a fan of R&B music and somebody who believes in The-Dream’s ability to craft a smooth groove, I have to admit I would like to see him stretch himself a little more and write about different aspects of love and life. I think he has a lot of room to grow both as a musician and a songwriter, but that is not to say that his current formula isn’t jamming, because it definitely is. Love King, just like Love/Hate and Love vs. Money, can be a complete banger when you’re in the mood, or a complete snooze when you’re not.