GANGRENE: Liver For Sale

Gangrene - "Livers For Sale"
(Vodka and Ayahuasca; 2012)

Despite exploring the therapeutic potential of Vodka and Ayahuaska ad nauseum, I haven't been motivated to share a single word about it. Writing a think piece on a no-brainer is counterproductive. It's difficult to place a finger on what exactly makes Alchemist and Oh No such an enjoyable duo. Their music is wonderfully predictable, as you could pull any random thirteen tracks from Saw Blade, Gutter Water, Greneberg, or Vodka and Ayahuasca and build a cohesive album. 'Livers For Sale' features an aggressive mid-eighties echo chamber twang, deviating slightly from Gangrene's foolproof formula.

LUPE FIASCO: Double Burger With Cheese

Lupe Fiasco - "Double Burger With Cheese"
(Friend of the People; 2011)

Allow me to extend my sincerest apologies for neglecting to recognize the first undeniably great Lupe Fiasco song since 'Gold Watch' on my annual wrap-up. Although the opening bellows give the impression Lupe is preparing to don his patented spiked leather wristband (which is usually my cue to abort mission), 'Double Burger With Cheese' instead unfolds into a montage of heart-wrenching scenes from classic early 90's black cinema. It's a fascinating concept record that slyly questions the impact these films had on an impressionable generation of black males, as we were constantly force-fed premonitions of our own extinction. Hopefully this segues into a sequel encompassing the latter half of the decade, complete with references to Baller Blockin', Belly, and I'm Bout It.

RICK ROSS: King of Diamonds

Rick Ross - "King of Diamonds"
(Rich Forever; 2012)

'King of Diamonds' is the loudest rap song in recent memory. Triumphant horns, blaring sirens, and incessant chants achieve a rare feat in building momentum throughout the song's entire duration. While '9 Piece' improved upon the 'BMF' formula by introducing a more overt element of humor, Rick Ross ups the ante by infusing even further implausible imagery. It's hard to believe the audacious voice barking on about helipads, armored trucks, and credit checks needed to be tripled up on 'Maybach Music' less than four years ago.

ESCOBAR SEASON #2

The Game - "Letter To The King"
(LAX; 2008)

Martin has never been championed in rap music with the same fervor as his more aggressive contemporaries. 'Letter To The King' finds Nasir and Jayceon repenting for their initial skeptical attitudes toward Dr. King's approach to justice. It's difficult not to hate The Game when he's name dropping Rihanna in the same breath as Nelson Mandela, but his sensational Jesse Jackson slander is memorable enough to make up for any lapse in discerning taste. As expected, Nas justifies his ignorance and expresses disdain for current black leadership in a far more savvy way. Credit goes to Hi-Tek for tying it all together, as the thick stammering bassline and faint vocal samples do a great job of complimenting the heavy subject matter. This is the quintessential tune for our youngest federal holiday.

ESCOBAR SEASON #1

This will be a reoccurring piece. Hate me now.

Rick Ross - "Triple Beam Dreams"

Suggesting Nas and Rick Ross have excellent chemistry would be a whopping understatement. Their collaborations thus far haven't been particularly organic (especially compared to Esco's symbiotic history with AZ and Nature), but there's a fascinating contrast that exists between the elder statesman and reckless upstart. Nas writes from a nuance perspective—humble and remorseful about his brief hustling stint. Partly due to the long-term ramifications the drug trade had on his own community, but mostly because he wasn't very good at it. Few rappers have the ability to balance social commentary, self-reflection, and intent to distribute so effortlessly.

Amy Winehouse - "Like Smoke"

Posthumous collaborations are expected to be tasteless. Songs never intended to be released, featuring artists never intended to contribute is a recipe for disaster. But Amy's well documented infatuation with Nas should ease any skepticism one would typically have for this kind of record. Godson's approach is unconventional, delivering a cornucopia of topics via rapid-fire flow. With exceptional focus he ties the Occupy Wall Street movement to his own personal financial straits, and then continues to staple both plights to the desire for casual relationships echoed in Winehouse's verse. It's a shame this is likely the first and last effort we'll ever hear from this kindred duo.

Lil Wayne - "Outro"

The Carter IV's grand finale is ripe with failure. Lil Wayne's notable absence, Busta Rhymes' fits of dementia, Shyne's post-mouth-rape intonation, and an inappropriate flatulence metaphor squandered an otherwise impressive double-time verse from Nas. Regardless, it was a great opportunity for Esco to remind the world he still raps, as the album is currently planking on two million.

CJ Hilton - "So Fresh"
'So Fresh' officially solidified Escobar Season with Nas' second opening reference to 'Eye For An Eye' this winter. His tone is optimistic, as he illustrates the upside of escaping an unhealthy marriage. That moment of epiphany when you realize your previous situation was pretty shitty in retrospect, and finally begin to entertain the possibility of rebounding. As successful as The Carter IV was, this is the first Nas record to burrow into urban radio rotation since 'My President is Black'.

BE WORRIED.....

Happy Birthday DOOM

MF Doom - "Dead Bent"
(Dead Bent 12"; 1997)

We gather here today to celebrate the birth of Daniel Dumile. He's one of the greatest writers that ever lived. By his own admission he stands on the shoulders of Rod Serling, Charles Bukowski, and Shallah Raekwon. I was first introduced to his music by happenstance over fourteen years ago. Several music stores catered to DJ's in my hometown back then, and most were considerate enough to provide turntables so customers could preview used vinyl. My friends and I would often mistake that inch for a country mile and sampled new records as well. The moment the needle dropped on 'Dead Bent' I knew I'd stumbled on something special. Sonically, it was a phenomenal collage of fairly common elements. Issac Hayes, Jackson 5, and Boogie Down Productions coexisted so naturally I wondered why no one else had ever thought of it. Dumile's raspy flow was at once aloof, calculated, nonsensical, and witty. I hadn't yet made the KMD connection, nor was I aware of his metal faced shtick. All I knew is this record was exactly what I needed to hear during that awkward lull in Wu-Tang's discography between Forever and Supreme Clientele. This is how MF Doom's music was intended to be heard—ignorant to image and affiliation. Salute.

KURTIS BLOW: Day Dreamin'

Kurtis Blow - "Day Dreaming"
(Best of Kurtis Blow; 1982)

The revivalist nature of this genre ensures Kurtis Blow and his legendary ilk will always be relevant, even if it's unbeknownst to the current generation. Nas used his delicate dream sequence to fend off jealous detractors, which influenced Toronto's own to set fire to Common's crochet trousers over a decade later. It's the circle of rap life. Stay tuned for Kurtis' very own blasphemous interpolation of Drake's 'Practice'.