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...