Childish Gambino – Because the Internet (2013) – Review

Review: Childish Gambino is back with his second studio album Because the Internet, following up his first Camp – an album that I really liked, but overall saw very mixed reactions. In between, Gambino also released a good mixtape with a few great songs called Royalty.

Because the Internet is highly ambitious musically, again showing off Donald Glover and Ludwig Goransson’s producing ability (something that also really shined on Camp). This album explores a lot of different sounds and rhythmic schemes to great effect. In this way, it does not sound like anything else in hip hop right now (which is a good thing). It is nice to see artists pushing the boundaries of the genre.

Thematically, Glover addresses the phenomenon of the internet in today’s culture – something he seems to have a somewhat negatively skewed perspective of, in that the internet allows for anonymous negativity towards artistic output and ambition on message boards, blogs and so on as well as proper online critical sites (this probably stemming from the harsh reviews his music has received by some, like Pitchfork) – how everything is very public and exploded by clicks-driven media (let us be honest, American media has become abysmal, far beyond embarrassing, just mean spirited, ill-informed, and completely uncaring – as if people ‘in the public’ are no longer human beings afforded the same rights as the rest of us; it is shameful). The album has a dark, angry feel and in many ways feels like a companion piece to Yeezus (a talented artist just fed up with the way the system works).

As a rapper, Glover is very talented. He nimbly navigates his beats with varying tones and flow styles. His voice at times sounds disinterested, as though what he is telling the listener are truths that they should already know, and he is forced to repeat himself over again because people are just not getting it, getting him. But, this is an aesthetic choice, to match his whole persona that he has developed during the year – that of a dejected, misunderstood artist. This choice is probably going to rub some fans and critics the wrong way, but the talent is undeniable.

I have said this in many other reviews of hip hop albums, but I like and respect the fact that Glover has delivered an album that primarily revolves around his own voice. There are no guest verses, with Chance The Rapper, Jhene Aiko, and Azealia Banks featuring in more backing roles. Too often hip hop albums, both good and bad, are overcrowded.

Because the Internet does not completely jump out at the listener with very catchy tracks like Camp did (the singles are good – songs like Crawl, Worldstar, Sweatpants, and 3005 – but the deep tracks are even better). However, it is one of the most ambitious and creative hip hop albums of the year – one very much worth checking out. 4/5

Essential Tracks:

1)     Life: The Biggest Troll (Andrew Auemheimer) – Produced by Donald Glover and Ludwig Goransson

2)     No Exit – Produced by Donald Glover and Ludwig Goransson

3)     Crawl – Produced by Donald Glover and Christian Rich

Available on: Digital Download

Pusha T – My Name Is My Name (2013) – Review

Review: Pusha T, previously of the duo Clipse (everyone should listen to Hell Hath No Fury) with his brother No Malice, has garnered a ton of anticipation for his major label solo debut My Name Is My Name. Ramping up to this album, Pusha dropped the excellent mixtapes Fear of God and Wraith of Caine in addition to the EP Fear of God II: Let Us Pray, as well as some strong verses on G.O.O.D. Music’s Cruel Summer.

My Name Is My Name feels different than what fans have come to expect from most current mainstream hip hop. Much like Kanye West’s Yeezus, it is raw, angry, and biting. But unlike Yeezus, Pusha T’s flows and persona feels much more connected to the streets. He is known as the king of the coke-rap, and on My Name Is My Name Pusha spends a lot of time reflecting on his past slinging white. The album plays like testimonial – a man looking back on his past with mixed emotions. However, Pusha also announces himself as a force to be reckoned with in hip hop – and this album backs that up.

Musically, the album has a very dark, almost industrial, tone, which works very well with Pusha’s lyrics and delivery. Kanye West oversees much of the production, giving Pusha T wonderful and fresh beats – and he and the album really benefit. Pharrell Williams also supplies two tracks, one of which (Suicide) sounds like it is a throwback to Pusha’s Clipse sound.

The album is a sparse twelve tracks, but really would have been better and tighter if it were only ten. No Regrets and especially Let Me Love You are fairly weak, with the latter not even fitting the album at all. Also, My Name Is My Name is probably overcrowded with featured guests. However, unlike many recent hip hop albums, a few of the guests actual bring something to the record – namely: Kendrick Lamar, The-Dream, Future, and Rick Ross (though, it is kind of funny that on Hold On Pusha talks about rappers pretending to be hard, cut to: Ross going in on the track - a man whose whole persona is fabricated). It is surprising the Kanye West (though, he does have un-credited vocals on Hold On) and No Malice do not show up on the album with guest verses. Pusha has great chemistry with West (as heard on their multiple G.O.O.D. Music collaborations) and it just seems like a missed opportunity, given all the guests (did we really need verses from Jeezy, 2 Chainz, and/or Big Sean?).

My Name Is My Name is both fantastic and slightly disappointing (which is completely due to the two weaker tracks that could have easily been dropped). But Pusha T has certainly thrown his hat into the conversation for who are best MCs right now. This is a vital album, pulsing with coarse emotion and skill. 4/5

Essential Tracks:

1)      Nosetalgia – Produced by Kanye West and Nottz, featuring Kendrick Lamar

2)      Numbers on the Boards – Produced by Don Cannon and Kanye West

3)      King Push – Produced by Kanye West and Sebastian Sartor

Available on: Digital Download

Drake – Nothing Was the Same (2013) – Review

Review: Drake is back with his third major label release Nothing Was the Same, following up the very good album Take Care and the hit-and-miss Thank Me Later.

One thing that stands out about Nothing Was the Same immediately: Drake is not interested in sounding like every other MC out there right now. Instead, he is crafting and refining his own unique sound, and Nothing Was the Same benefits greatly as a result. Hip hop has become agonizingly sonically monotonous. A lot of it is just plain boring. Meanwhile, Aubrey Graham has developed a wonderful musical chemistry with producer and writer Noah “40” Shebib giving his albums fluidity, which is definitely the case here. The whole album feels like a cohesive project, rather than a random amalgamation of tracks. It also helps that this album primarily features Drake alone. The only other verse on the album comes from Jay-Z (and really, it was unneeded). Graham has the confidence to stand alone and not rely on a plethora of pointless/useless collaborations with other MCs.

Other producers also give Nothing Was the Same some strong musical moments as well. Mike Zombie, DJ Dahi, Nineteen85, Majid Jordan, Hudson Mohawke, Boi-1da (another frequent collaborator of Drake’s), and Key Wane (who produces the great bonus track All Me) all provide good beats, which Graham and Shebib form to fit the album’s musical aesthetic. The beats overall have a very minimalistic, muted sound.

Drake’s music succeeds, however, more so on his ability to let the listener in (something that he takes heat for as well – being too sensitive) than the album’s musicality (which is also good, but not groundbreaking or amazing). Graham is accessible with intimate and real lyrics about his relatable insecurities – in addition to the typical boasts of wealth, women, and skills. The listener, much like with Kanye West and Kendrick Lamar’s work, feels like they are being invited into Graham’s inner most thoughts, which is compelling when most hip hop is just fake.

Nothing Was the Same feels and sounds like a Drake album, which is a good thing, as he is a very talented artists who is unafraid to be himself. While it does not ascend to the same ambitious or artistic heights as Kanye West’s Yeezus, it is still one of 2013’s best hip hop releases and well worth checking out. 4/5

Essential Tracks:

1)      Started from the Bottom – Produced by Mike Zombie

2)      Hold On, We’re Going Home – Produced by Nineteen85 and Majid Jordan, featuring Majid Jordan

3)      Worst Behavior – Produced by DJ Dahi

Available on: Digital Download

Maybach Music Group – Self Made, Vol. 3 (2013) – Review

Review: Rick Ross’s Maybach Music Group (MMG) has a large lineup to feature on his third posse album, including: Wale, Meek Mill, Gunplay, Rockie Fresh, Stalley, French Montana, and Omarion.

While Self Made Vol 1 and Vol 2 highlight both the talents of MMG’s artists and the sound that the label has cultivated (through the use of their frequently collaborating producers), Vol 3 just has a very bland sound musically – leading some to wonder if the label has peaked. It is a boring album to listen to (which has become a common trend in hip hop in general, and noticeably among MMG releases, particularly Meek Mill’s Dreams & Nightmares and to an even greater extent French Montana’s terrible Excuse My French).

The album is also overstuffed. MMG already has eight artists to showcase – and to this, only Rick Ross, Wale, Meek Mill, and Rockie Fresh really stand out. There are a ton of featured guests, which while a common feature of these Self Made albums it has gotten out of hand. It is easy to just get lost among all the scattered voices, many adding nothing of interest. Only J. Cole and Lupe Fiasco really bring anything to the album (Pusha T’s verse is good too, but way too short and on a bad song). It is too bad that the guests could not have been reduced greatly, leaving room for more from Gunplay and Stalley. Plus, zero French Montana and Omarion would have been better (but that is probably asking too much, since they are on the label).

Really the only positive this album provides, other than a few decent tracks (see Essential Tracks below), is that the album introduces Rockie Fresh, a new MMG signee. He has potential.

Overall, there is really no reason to pick up this album, unless you are a big fan of MMG and their sound. Rather, just cherry pick a couple tracks. 2/5

Essential Tracks:
1) Poor Decisions – Produced by Jake One, featuring Wale, Rick Ross, and Lupe Fiasco

2) God Is Great – Produced by Boi-1da, featuring Rockie Fresh

3) Black Grammys – Produced by Tone P, featuring Wale, Meek Mill, Rockie Fresh, and J. Cole

Available on: Digital Download

Big Sean – Hall of Fame (2013) – Review

Review: Big Sean is a talented but polarizing MC due to his delivery. For his fans, he is a skilled and funny lyrist, but for others he is nothing more than a punch line rapper whose voice sounds too poppy.

With Hall of Fame, Big Sean’s second studio release, he tries to both give his fans want they want, while still making an album that is relevant in today’s hip hop market. To that end, the album succeeds. It is a stronger release than Finally Famous (but only marginally). More than the body of work here, Sean seems to have grown as an artist and lyrist. He spends a large portion of this album actually telling stories and speaking about who he is and where he comes from in a much more inviting manner. The album feels personal and not just generic punch lines and stunting.

Musically, Big Sean has good chemistry with producers No ID and Key Wane, who handle most of the album’s production. While there are not really any standout tracks that just pop, overall Hall of Fame is good sonically. The beats fit Sean’s style. In terms of featured guests, the album has an okay mix, highlighted by NaS and Kid Cudi, but really most of the guesses add nothing. Sadly, what could have been the album’s best track with wonderful guests – Control featuring Kendrick Lamar and Jay Electronic – did not make the cut due to licensing issues.

While Hall of Fame is probably not going to win Big Sean any new fans, it is a good pop hip hop album that is worth checking out for those who like the GOOD Music brand. 3/5

Essential Tracks:

1)      Guap – Produced by Key Wane and Young Chop

2)      10 2 10 – Produced by No ID

3)      First Chain – Produced by No ID and Key Wane, featuring NaS and Kid Cudi

Available on: Digital Download

Jay-Z – Magna Carta… Holy Grail (2013) – Review

Review: Magna Carta… Holy Grail is Jay-Z’s twelfth solo release and his first album since 2011’s collaboration with Kanye West Watch the Throne.

There is a lot to like about the record. Musically, it is lush and interesting – filled with first-class beats from the industry’s top producers (Timbaland and his partner Jroc handle most of the production on the album, but Pharrell, Mike Dean, Swizz Beatz, Mike Will Made It, Travi$ Scott, Hit-Boy, and Boi-1da among others also contribute). Lyrically, Shawn Carter seems somewhat engaged and still has a gifted flow. He mostly focuses on his wealth and the things it affords him (thus disconnecting him from most of his fans), but there are some more reflective moments as well (like the best track on the album Nickels and Dimes or Jay-Z Blue). Also, there are not a ton of features overpowering the album. Rick Ross is the only rapper to be given a proper guest verse, and the other featured artists all bring something to the record. All in all, it is very much a typical Jay-Z album. Not his best work, but a solid outing.

Magna Carta Holy Grail is also significant due to its unusual release. Jay-Z made an exclusive deal with Samsung who bought one million copies to give to their customers for free seventy-two hours before the album’s official release to the public. And, like West’s Yeezus, Carter did not really engage in the typical music industry marketing plan for the release. There were not any prerelease singles (though Holy Grail did sort of serve one) and there was not much build up other than one Samsung commercial and internet buzz. But, in today’s world when you are as big as West or Carter that is all you really need.

However, getting back to the music, upon further inspection Magna Carta Holy Grail is also kind of disappointing. West, hit or miss, is constantly trying to change and progress music (and specifically hip hop). He is not afraid to create raw music and bare his soul. Meanwhile, Jay-Z has basically just turned in a lazy dose of sameness. Plus, Jay-Z has ascended to such a place personally that what is important to him and what he talks about primarily on the album is superficial and meaningless to most of his audience. Essentially this is yuppie music. It is no longer hip hop for the streets (and probably has not been for a long time now), which is fine – it is just that it seems to now lack heart, ambition, and urgency.

The songs themselves also feel lacking. Personally, I like seven of the tracks. But of those, I still find issues: Holy Grail is basically great thanks in most part to Justin Timberlake (and he also adds a lot to Heaven); Tom Ford succeeds thanks to Timbaland’s fantastic beat; Crown sounds like a track left off Yeezus but is nowhere near as engaging; Beach is Better is great but its playtime is not even a minute, and thus feels incomplete and frustrating – for example. Then there are tracks like La Familia which add nothing other than to give the album as overlong bloated feel.

Overall, I like Magna Carta Holy Grail, but it just sort of feels like Jay-Z phoned it in when other artists are still trying to make amazing music (for better or worse), which leaves me let down. 3/5

Essential Tracks:

1)      Nickels and Dimes – Produced by Kyambo “Hip Hop” Joshua

2)      Holy Grail – Produced by The Dream, Timbaland and Jroc, featuring Justin Timberlake

3)      Crown – Produced by Travi$ Scott and Mike Dean

Available on: Digital Download

Wale – The Gifted (2013) – Review

Review: Wale seems to reside just on the precipice of blowing up – he has the lyrical skill and flow; he just has never had a big hit. His first two albums Attention Deficit and Ambition are both good, but do not stand out either. With his third album, The Gifted, Wale seems to have both embraced his place in hip hop and desperately grasped for a breakthrough hit with a somewhat random assembling of guest features.

The Gifted is at its best when Wale is just riffing off the beats. He has such a nimble flow and he is a layered storyteller that his raps alone are enough to sustain the listener. His lyrics give a much more nuanced and realistic view of urban culture than most other artists who still speak for the streets. Wale’s verses have substance. Musically, the album is very vibrant and often the beats have more of a live band feel, which is a nice change from the constant flow of EDM influenced hip hop songs (and just every genre really). The live drums really pop.

But for all its positives, the album is just flooded with pointless features by artistes that do not fit Wale’s sound, who seemingly are only there to increases sales and draw new listeners – like: Yo Gotti, Nicki Minaj, Juicy J, Rihanna, Wiz Khalifa, Ne-Yo, and 2 Chainz. None of them bring anything to the album. Wale’s MMG mates Meek Mill and Rick Ross also show up, but again neither stand out and their styles somewhat clash with Wale’s – though, Meek Mill and Wale do have some chemistry. The Gifted would probably be a better album without all these features (as really only Cee-Lo Green and Tiara Thomas bring something worthwhile), especially when the genre’s best recent albums (good kid, m.A.A.d city, Born Sinner, and Yeezus) have all been built around a singular voice – all these random features dilute the album’s impact.

The Gifted is sure to please fans of Wale, as it is a good hip hop album. However, it is also slightly disappointing (as it is almost a great album, held back by all the features). 3/5

Essential Tracks:

1)      Golden Salvation (Jesus Piece) – Produced by Lee Major

2)      Bad – Produced by Kelson Camp and Tiara Thomas, featuring Tiara Thomas

3)      88 – Produced by Just Blaze

Available on: Digital Download

Kanye West – Yeezus (2013) – Review

Review: Kanye West is a leader of artistic creativity in hip hop, often drastically altering the direction of the genre with each release. His sixth album, Yeezus, is no different. Following the trend of his last two lustrous records, 808s & Heartbreak and My Dark Twisted Fantasy, West again transforms his sound and tests the limits of the genre (and popular music).

Rejecting the commercial corporate process by which music is put out, West promoted the album with guerrilla video projections of his song New Slaves across the world. He did not release any singles or music videos. The album artwork is almost non-existent (see above). But, all this plays into West’s attitude on Yeezus. He is fed up with the whole structure behind corporate run popular music. He does not want to make bland generic music like everyone else. It wants to challenge everything and reach for new aesthetic heights.

Yeezus does not sound like anything else in hip hop. It is a minimalist amalgamation of punk, new wave, dance hall, electronic, and hip hop all smashed together. It feels raw, and yet still features immaculate production. West has always been a great collaborator, and here he brings in veterans like Daft Punk and (frequent producing partner) Mike Dean as well as fresh artists like Arca and TNGHT. Rick Rubin served as the co-executive producer with West to get the overall sound just right. Sonically, the album is intense, vibrant, aggressive, and utterly compelling. West maintains his position ahead of the genre while everyone else lags behind perpetually trying to catch up. Musically alone, this is a magnificent album.

Lyrically, West again plays on similar themes to his last two albums. He is self-aggrandized and seems to have a guarded mistress of women, but his boasts come from a thinly veiled frail insecure place of sadness and doubt. He turns to fleeting moments of pleasure to escape the darkness that clouds his thoughts, stemming from failed relationships and racial inequality that West sees around him. West has no desire to make a commercially accessible album, and he blatantly attacks the establishment. He wants to air out his distrust and misgivings to instigate emotion in the listener and he also lets the listener into his soul to engage them emotionally as well. That is the appeal of West. He is not afraid to put it all out there, to connect with his fans on a deeper level.

West is at a place in which he could bring in any artist for a feature, but unlike My Dark Twisted Fantasy, Yeezus is very much from a singular voice (being West’s). Frank Ocean, Justin Vernon, Kid Cudi, Tony Williams, and Charlie Wilson show up to add supporting vocals, while Chief Keef and Travi$ Scott also bring some punch to the album. But only relatively unknown Chicago MC King L has a verse outside of West. In this way, West pays tribute to his city and troubled, gang-violent South Side neighborhood by including leading local voices Chief Keef and King L (because he can). It works well because West has essentially challenged what is possible sonically in hip hop. To have a bunch of recognizable voices clouding up the album would have diminished the overall power and freshness of the album.

Like each Kanye West album, Yeezus changes the game. It is vital, raw, incredibly ambitions, and just simply a work of an aesthetically brilliant artist (who knows the perfect collaborators to bring together to find the right sound). It is safe to say that this is one of the best and important albums of 2013, a must. 5/5  

Essential Tracks:

1)      New Slaves – Produced by Kanye West

2)      Bound 2 – Produced by Kanye West

3)      Black Skinhead – Produced by Kanye West and Daft Punk

Available on: Digital Download

J. Cole – Born Sinner (2013) – Review

Review: J. Cole follows up his strong debut Cole World: The Sideline Story with an even better sophomore effort. He is among the best young artists in hip hop, an MC that fans have a lot of hope in (though, Kendrick Lamar has surpassed him as the genre’s ‘future’).

On Born Sinner, Cole’s production is more polished and lush and his lyrics are darker this time (as is the overall tone). He still maintains his great lyricism and ability as a storyteller, but seems to be following in the trend of Kanye West’s early work trying to find his place in mainstream hip hop, ruled by boasting and materialism, while also fighting against it. There is a duality to his message on many of the tracks. He wants to just be himself (a nerdy guy with thoughtful stories and great flow), but feels the pressure to create a persona that appeals to the mainstream (money, women, cars, power, and so on). This struggle is a central theme to the album. Additionally, Cole spends much of the remaining space playfully and emotionally ruminating on his relationships with women – but his lyrics feel less misogynistic than what the genre usually offers (misogyny is so mainstream in hip hop and R&B among male artists that listeners just seem to embrace it – it is not shocking or disgusting; it is just normal, and that is a sad comment on the way we view women). Cole’s faith also plays a role in the lyrics and especially in the overall sound for the album.

Musically, J. Cole’s production is fantastic and striking (and probably the most brilliant aspect of the album). While I was a fan of his beats on his mixtapes and previous LP, he has taken a big step forward with Born Sinner. Every track is musically engaging. I particularly like the darker melodic themes (songs like She Knows especially) that Cole has brought to the album. The full cohesive sound feels both aligned with hip hop in the classical sense (as Cole samples from Notorious B.I.G. and Outkast) and sounds different than everything else on the radio right now, which is a very good thing. This is hands down the most musically interesting album of 2013 so far (a title that Kanye West’s Yeezus is sure to take though, once we get to hear the full album on June 18th).

Another aspect of the album that I like and respect is that Cole is confident enough in himself to not feature any guest verses on the album. This is a personal album and would be lessened by tons of features (like every other hip hop album). However, that is not to say that there are not strong contributions from collaborators. Miguel, Amber Coffman (of Dirty Projectos), and Kendrick Lamar all show up with great choruses. Producer No I.D. also works with Cole on one of the album’s best tracks.

Born Sinner is a great hip hop album, again reminding fans that J. Cole is one of the genre’s real artists (personally, he is in my current top five with West, Lamar, Pusha T, and Drake – they just make the aesthetically most engaging music in the genre right now). 4/5

Essential Tracks:

1)      Power Trip – Produced by J. Cole, featuring Miguel

2)      Rich Niggaz – Produced by J. Cole

3)      Let Nas Down – Produced by No I.D. and J. Cole

Available on: Digital Download

Kid Cudi – Indicud (2013) – Review

Review: Indicud is Kid Cudi’s third album (unless you also count his WZRD collaboration with Dot da Genius), and the first outside his Man on the Moon Trilogy (the final chapter due next year).

While Mescudi sticks to his familiar lyrical themes – isolation, drug use, depression, yet with a sense of confidence – with Indicud he tackles all the production (though Hit-Boy does co-produce Red Eye). This is both something that works really well about the album and one of its main issues. Mescudi has always had a very specific and unique sound for his albums (like a darker version of EDM), but it is his collaboration with producers such as Emile, Dot da Genius, Ratatat, Plain Pat, Jeff Bhasker, and Kanye West that helped shape a full cohesive sound (and is really a big part of the brilliance of his first two albums). On Indicud there is a very uniform tone and feel, which comes from Kid Cudi being the sole creative force behind the beats, but this also kind of hurts the album as it drifts into a repetitive (if not boring) zone during the weaker songs. His production varies from track to track. Sometimes it is good to great: Unfuckwittable, Just What I Am, Young Lady (which has a fantastic hook), Immortal, Girls (though, I am not a big fan of Too $hort’s misogynistic-feeling verse), Red Eye, Brothers, Cold Blooded, and Afterwards. While on others, his beats just feel too bland. He is missing the collaborative spark of working with other producers.

The album has a number of strong featured guests: Kendrick Lamar, Haim, RZA, A$AP Rocky, and Michael Bolton all add something to their respective tracks. King Chip is on three tracks, but he never stands out. Michael Bolton’s feature in particular seems to come out of nowhere and feels a bit off when his voice first appears on Afterwards, but then it completely takes over the whole track and is the most memorial aspect on the song. RZA and Kendrick Lamar elevate their tracks considerably, while Haim makes for a great (if not seemingly random) collaboration.

I am torn about Indicud. I like it (that said, though, I would say it is not as strong as Man on the Moon: The End of Day or Man on the Moon II: The Legend of Mr. Rager), and more specifically I like a lot of the tracks, features, and the general vibe of the album. But, it also feels a little tedious to listen to all the way through, which stems from Kid Cudi not quite having enough good beats to fill fifteen tracks and three interludes.

Kid Cuid fans will enjoy the LP, and the good elements on the album get better with time. But again, it is just a step below his past work (but better than WZRD). 3/5

Essential Tracks:

1)      Brothers – Produced by Kid Cudi, featuring King Chip and A$AP Rocky

2)      Immortal – Produced by Kid Cudi

3)      Just What I Am – Produced by Kid Cudi, featuring King Chip

Available for download: Here

Pusha T – Wrath of Caine Mixtape (2013) – Review

Review: Pusha T is ready to drop his first solo LP My Name Is My Name, but first he though we might all enjoy a mixtape. And, he was right, as Wrath of Caine is quite good. Building off the success of his Fear of God mixtape and Fear of God II: Let Us Pray EP from 2012, Pusha T has certainly put himself among the top MCs right now, and probably Kanye West’s best artist on his G.O.O.D. Music label. My Name Is My Name is one of the most anticipated hip hop releases of 2013.

Wrath of Caine finds Pusha T lyrically doing his normal thing, rapping about slinging cocaine with his great and easily recognizable ab-libs and religious imagery. Sure, maybe it is a little tired, but his word play, flow, and lyrical dexterity are fantastic making his raps delightful and engaging regardless. He also has a number of strong features, including Rick Ross, Wale, and his Re-Up Gang mate Ab-Liva.

Musically, Wrath of Caine is solid, with a street and reggae feel. It does not have that much flair, but it is only a mixtape and one would imagine that Pusha T is saving the best stuff for his album. That said, Southside, The Renegades, Young Chop, The Neptunes, Boogz N Tapez, Jake-One, and Bink! all provide good beats.

Even though this is just a prelude to his upcoming album, Wrath of Caine is better than most hip hop LPs and well worth checking out. 3/5

Essential Tracks:

1)      Blocka – Produced by Young Chop, featuring Popcaan and Travis Scott

2)      Millions – Produced by Southside, featuring Rick Ross

3)      Only You Can Tell It – Produced by Boogz N Tapez, featuring Wale

Available on: Digital Download

A$AP Rocky – LoveLiveA$AP (2013) – Review

Review: LoveLiveA$AP is the first high profile and eagerly anticipated hip hop album of 2013, especially given the breakout success of A$AP Rocky’s first album/mixtape LiveLongA$AP and quality of the album’s singles (Goldie and Fuckin’ Problems).

The album is packed full of great featured artists (like ScHoolboy Q, Drake, Kendrick Lamar, Danny Brown, Gunplay, among others) and hot producers (like Hit-Boy, T-Minus, Clams Casino, 40, Danger Mouse, Jim Jonsin, and Skrillex), but ultimately it is very top heavy. The singles are fantastic, and among the best hip hop records released in 2012. Plus, there are a few other great tracks: Long Live A$AP, PMW (All I Really Need), LVL, Jodye, and Ghetto Symphony. However, there rest of the album is underwhelming and disappointing – given the quality of LiveLongA$AP and expectations for this (his major label debut).

Musically, the album has the modern hip hop sound that has now seemingly become rather commonplace with the success (and maybe even overuse) of producers such as Hit-Boy, T-Minus, 40, and Clam Casino. That said, the beats do fit A$AP Rocky’s flow and style well and most of the best tracks come from those producers. I guess I was just hoping his album would be more sonically innovative, because that is what I expected.

A$AP Rocky does have a great flow, and lyrically he has a few interesting things to say – but there is nothing new or profound. Really, the album is at its best when the listener just zones out and lets it play in the background – which is not really a compliment, but at the same time I think that was its goal: to be something to just chill out with.

A$AP Rocky is one of the bright young talents in hip hop and there is some terrific stuff on LongLiveA$AP; it is just not on the same level as recent releases from other artists leading hip hop’s new sound as a complete album (LPs like Kendrick Lamar’s good kid, M.A.A.D. city, ScHoolboy Q’s Habits & Contradictions, or Danny Brown’s XXX, to name but a few). 3/5

Essential Tracks:

1)      Goldie – Produced by Hit-Boy

2)      Fuckin’ Problems – Produced by 40, featuring Drake, 2 Chainz & Kendrick Lamar

3)      Long Live A$AP – Produced by Jim Jonsin and Rico Love

Available on: CD and Digital Download

Ryan Leslie – Les Is More (2012) – Review

Review: Ryan Leslie is back with his third album Les Is More (his first to be released independently), following up his first two solid 2009 releases (Ryan Leslie and Transition). After a number of delays, the album is finally out with many of the songs having video accompaniment (which can be seen at RyanLeslie.com).

Les Is More is much more a rap album for Leslie than his typical R&B/pop singing on his first two. It still has Leslie crooning on a number of tracks, but each song features rap verses as well. And, he is not a bad MC – in fact, he is good. There are no guest on the album either, letting him shine (with frequent collaborator Fabolous showing up on a bonus track Beautiful Life Remix). Lyrically, the album mostly deals with Leslie’s lavish life and beautiful women, and thus feels a bit generic in today’s hip hop landscape of boasting.

Musically, however, Leslie’s work continues to stand out, and is really the reason to seek out and listen to his work. He not only produces every song on the album, but he plays every instrument too. It also has a lot of musical range, with songs that feel fun to songs that feel intimate. His beats are generally great, and Les Is More is no different.

While I probably still like his self-titled album the best, Les Is More is another good release from Leslie, and I look forward to his future work. 3/5

Essential Tracks:

1)      5 Minute Freshen Up

2)      Beautiful Life

3)      Joan of Arc

Available on CD and Digital Download

Kendick Lamar – good kid, m.A.A.d. city (2012) – Review

Review: Compton MC Kendrick Lamar seems to be hip hop’s latest contender for the crown of best rapper alive, and with Kendrick it does not feel like such a stretch (in fact, he probably is). Technically, he is flawless. Lyrically, he is thoughtful and a wonderful storyteller. Artistically, he weaves hip hop’s present and past together magnificently. His aesthetic is one of the best in the genre. With his major label debut, good kid, m.A.A.d city, Kendrick has made 2012’s best hip hop album so far.

The anticipation for good kid, m.A.A.d city has been immense, both from fans that loved Section.80 (his first studio album, and one of the best of 2011) and those intrigued by his signing with Dr. Dre and his string of great singles released in 2012 (The Recipe, Swimming Pools [Drank] and Compton). A song potentially slated to be on the album leaked in early 2012 called Cartoons & Cereal setting the mood for what good kid, m.A.A.d city would be like – the song is brilliant, as is the finished album.

good kid, m.A.A.d city plays as an introspective story following Kendrick’s journey through adolescence growing up in Compton (with the dangers, influences and culture the city encompasses), detailing the choices he made. It is an enthralling story that draws the listener in. Kendrick is not just boasting or rapping about wealth and the things that come with it, he is telling his fans about something real, something important, something we can care about and not just frivolous. And yet, he is still able to touch on many of the typical genre topics. He talks about how he survived the streets, the allure and pitfalls of chasing women, making money (though, there seems to be a negative connotation to what the cost of ‘making it’ is). In many ways the album is a love letter to Compton and warning to the youth still struggling to get through the day in the city (maybe best stated in Sing About Me, I’m Dying of Thirst).

Musically, the album is like nothing else in hip hop. It references the West Coast sound that Kendrick grew up on (including appearances by MC Eiht and Dr. Dre), while also having the raw energy and anger of one of his main influences Tupac. But, Kendrick combines this with a very modern sound. He is very cognizant of where the genre has been and where it is going, and his place in it. His TDE/Black Hippy crew makes their mark on the album too with great production from Terrace Martin, Sounwave, and THC and a bitter (but poignant) verse from Jay Rock. Kendrick also has strong production from notable producers Pharrell, Just Blaze, T-Minus and Hit-Boy, and a guest verse from Drake.

Expectations for good kid, m.A.A.d were incredibly high, and Kendrick has delivered a classic album. It is a must for fans of hip hop. 5/5

Essential Tracks:

1)      Swimming Pools (Drank) Extended Version – Produced by T-Minus

2)      m.A.A.d city – Produced by Sounwave and THC, featuring MC Eiht

3)      Backseat Freestyle – Produced Hit-Boy

Available on CD and Digital Download

Brother Ali – Mourning in America and Dreaming in Color (2012) – Review

Review: Brother Ali is one of the great independent hip hop artists. His fifth studio album, Mourning in America and Dreaming in Color, comes on the heels of his good EP The Bite Marked Heart and the fantastic album Us.

Ali is very political in his rhymes (being an activist when he is not touring), but his lyrics come from a place of hope, speaking to what he imagines a better America could be like while being frustrated with the way things are now. He is not just negatively taking shots at easy targets. He addresses the real life that he faces every day. Ali is not making millions (probably not even hundreds of thousands) from his music career, which means when he talks about the hard life he faces he is speaking from a place of honesty, making him and his lyrics very relatable and poignant. He is among hip hops best storytellers, making light of some of the inequities he sees in his life. Again, he wants a better tomorrow which is what makes this album so powerful instead of merely just angry venting (which he does on a few tracks).

Musically, the album is produced completely by Jake One, who provides great beats for Ali. Jake One’s style compliments Ali’s well (though, I do miss his great chemistry with his normal producing partner Ant).

Brother Ali is far from a commercial artist. The content and themes of his work, his religion (Muslim) and his look (he is an albino) all work against him in terms of being relevant in popular music (radio play, TV appearances, and so on). But, he tours like crazy to get his music out. Fans of the ‘real’ hip hop sound and lyrics that actually mean something will find a great artist in Ali. This album is not flashy, but it is very good. 4/5

Essential Tracks:

1)      Only Life I Know – Produced by Jake One

2)      Letter to My Countrymen – Produced by Jake One, featuring Dr. Cornel West

3)      Won More Hit – Produced by Jake One

Available on CD and Digital Download

G.O.O.D. Music – Cruel Summer (2012) – Review

 Review: Kanye West is one of the best know hip hop/pop stars right now – we all know that. He is also one of the great auteurs of modern music, setting the standard for hip hop and determining the next direction the genre will take. Thus, anything he puts out has high expectations (only to be even more hyper-inflated with the brilliance of his recent releases My Dark Twisted Fantasy and Watch the Throne – or, really his whole discography). Posse albums are never that great. Recently, we have been treated to a forgettable YMCMB album and two decent MMG albums. Even so, we all expected that Kanye West’s G.O.O.D. Music posse album would be different and incredible. Sadly, it is not incredible, but it is still really good and miles ahead of any other posse album.

So what works? Cruel Summer is for the most part musically excellent. Kanye West’s production team: Hit-Boy, Mike Dean, Jeff Bhasker, Hudson Mohawke, Travi$ Scott, Anthony Kilhoffer, Pop Wansel, and others deliver lush and beautifully produced music, that like much of West’s work has a unique and ambitious sound. It is the best part of the album (and Hit-Boy is probably the real breakout star of the album with great beats on the tracks Clique, Cold and Higher). West himself also has a hand in the production of almost every track (and re-remastered the iTunes release again delaying its arrival). Creatively, the album showcases West’s musical talent. The G.O.O.D. Music crew (Pusha T, Big Sean, Cyhi The Prynce, KiD CuDi, Common, D’banj, John Legend, Malik Yusef, and Teyana Taylor) all have their moments to shine and all provide good work. I would have liked to have seen Q-Tip and Yasiin Bey on there too though (and Mr. Hudson). Maybe they will show up on the next one. The guests are good too (highlighted by Jay-Z, The-Dream, Ghostface Killah, R. Kelly, Raekwon, and Ma$e – 2 Chainz is also on three songs, but I do not get the hype behind him).

So what does not work as well? Lyrically, the album is good but not great, and not on par with the fantastic music. Most of it is just sort of generic pop/hip hop language (money, cars, fashion, women, and opulence). Most of the best verses come from the guests (Jay-Z, Ghostface Killah and Ma$e – though West, Pusha T and Cyhi The Prynce drop some good stuff as well). This is really more of a minor complaint though. The two biggest issues are that the album has a lame ending (with its worst song closing the album) when it should have been something grander and (like with all posse albums) the album does not have a clear voice throughout. The first issue could have been fixed. Even if you just consider Don’t Like a bonus track, Bliss is not a great ending track either (though I do like it). Creepers and Bliss are both good middle of the album type tracks, but with them at the end, it gives the album sort of an underwhelming feeling as it closes (especially with Don’t Like which probably was better left off as just a G.O.O.D. Fridays release). The second is a lot harder to address, as the point of this album is for West to showcase the artists under his label, and thus it is going to have a lot of different competing voices.

Overall, I really like the album. Musically, it is just magnificent and wins me over with each listen. In addition to my ‘Essential Tracks’ I also highly regard To the World, Clique, The Morning, Sin City, and The One. Fans of My Dark Twisted Fantasy and Watch the Throne are going to like this album. 4/5

Essential Tracks:

1)      New God Glow – Kanye West & Pusha T, featuring Ghostface Killah, produced by Kanye West, Boogz & Tapez and Anthony Kilhoffer

2)      Cold – Kanye West, produced by Hit-Boy

3)      Higher – Pusha T, featuring The-Dream, Ma$e and Cocaine 80s, produced by Hit-Boy, Kanye West and Mike Dean

Available on iTunes (best version), CD and Amazon MP3

Rick Ross – God Forgives, I Don’t (2012) – Review

Review: Rick Ross is having a great 2012. His mixtape Rich Forever is solid. His Maybach Music posse album Self Made: Vol. 2 has some good stuff on it. And, his fifth solo album, God Forgives, I Don’t, is probably his best album to date. Like Teflon Don and Deeper Than Rap, this album is packed with guest appearances. Ross has his Maybach Music crewmates Wale, Stalley, Meek Mill, Omarion, as well as pop and hip hop’s biggest talents like Drake, Usher, Ne-Yo, Andre 3000, and Dr. Dre and Jay-Z on a good track entitled 3 Kings. Unlike Teflon Don however, Ross is not overshadowed by all the features. Here, Ross has some of his best rhymes and deliveries (building off the great work he did on Rich Forever). God Forgives, I Don’t also is excellently produced and really engaging musically. Ten Jesus Pieces has one of the best musical accompaniments of 2012. For Ross fans, this is an album very much worth picking up, and for commercial hip hop fans this also certainly worth checking out as it is one of the better releases this year. 3/5

Essential Tracks:

1)      Ten Jesus Pieces – Produced by J.U.S.T.I.C.E. League, featuring Stalley

2)      Pirates – Produced by Kenoe and Got Koke

3)      Diced Pineapples – Produced by Cardiak, featuring Wale and Drake

Available on CD and Digital Download