Droptops & Stacy Lattisaw Tapes

GANGRENE: Liver For Sale

2012-01-25T22:03:00.004-05:00

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

2012-01-21T18:17:00.002-05:00

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

2012-01-19T22:31:00.003-05:00

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

2012-01-16T22:57:00.006-05:00

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

2012-01-12T17:53:00.005-05:00

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

2012-01-09T22:10:00.001-05:00

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'

2012-01-08T18:05:00.003-05:00

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'.

BLU: I Am Jean

2012-01-05T23:32:00.001-05:00

Blu - "I Am Jean"
(Give Me The Flowers; 2011)

It's fitting that Blu's buzzer beating bid for album of the year was titled Give Me Flowers While I Can Still Smell Them. The latter half of his career certainly hasn't garnered much acclaim. Inheriting a fairly conservative fan base by way of releasing a vastly overrated debut will do that. Despite being entirely produced by longtime collaborator Exile, this project doesn't feel like a nostalgic effort to pander to critics and disgruntled fans. But the buoyant 'I Am Jean' encapsulates the half-everyman-half-amazing shtick that's been a mainstay in Blu's music since Below The Heavens. It's a song about "rap life" uniquely devoid of luxury, loneliness, sarcasm, and rule 4080. Obsessive hobby disorder is a universal male experience, as we've all neglected the ol' ball and chain to make headway in our insignificant passions (blogging, fantasy sports, side-chicks, etc). Jean sidesteps his woman's campaign of diversion because he truly enjoys making music. You can hear it in nearly every song he's ever recorded, regardless of quality.

OUTSOURCING: Metal Lungies

2011-12-29T15:10:00.003-05:00

I had the pleasure of contributing to the annual "Beat Drop" for Metal Lungies alongside Lebron Flocka James. Check it out here.

"...lack of impact and influence shouldn't detract from the quality of the record. Salaam provides a back-drop brimming with the type of grimace inducing low fidelity we've come to expect from southern California's resident recluses, Blu and Madlib..."

Mobb Deen Slanders the Absolute Greatest Rap Songs of 2011

2011-12-27T18:41:00.001-05:00

Written by Deen of It Was Posted

I know you're wondering why there's a picture of Silky Johnson up here. Well, so am I. Like I'm supposed to hate on such an excellent list during this most awesome time of the year. Never that. After all, the list you're about to jump into is the best you'll read this month. Or at least today. Why do I say this? Our boy HL has done the one thing that you NEED to do when attempting to compile the absolute greatest rap songs of 2011: ask yourself "what is the critical mass of rap songs that will make vagina dry up faster than Rick Rawse collapsing on a commercial flight?" You'll be glad to know that HL did just that. It's impressive.

The level of confusion I'm experiencing right now must mean that this list is excellent, because I have so many questions. I mean, who the fuck is Quelle Chris? How the fuck do Danny Brown and Willie The Kid have more than one spot each? Why does Blu get to make any list at all with his unmastered broke nigga music (unless he's working with Exile or better yet, Clams Casino - make it happen)? And don't get me started on that fat fuck Rick Rawse. He hasn't made a good SOLO song since Teflon Don - '9 Piece' was cool, but it's just BMF part 8. Fuck that. Lil' B makes two appearances and not in an ironic way. As the kids say "LOL." I think someone picked the wrong "Chef." Oh and speaking of Chefs, why is the shittiest Raekwon song since 'The Lex Diamond Story' era on this shit? Why? But outside of those questions, this list is perfect. Especially if you enjoy parched female crotches. No hate here. None at all.

DOWNLOAD: Greatest Rap Songs of 2011

Willie The Kid – "Die Free" [The Fly 2]
Quelle – "Mo Money, Less Problems" [Shogun and Sleek Rifle]
Lil B – "Grove Street Party Remix" [Sorry 4 The Wait]
Blu – "The Clean Hand" [Internet]
Prodigy – "Black Devil" [The Bumpy Johnson EP]
Nas – "Nasty" [Life Is Good]
Blu – "I Am Jean" [Give Me Flowers]
Rick Ross – "The Transporter" [Internet]
Danny Brown – "Fields" [XXX]
Rick Ross – "Even Deeper" [Ashes To Ashes]
Danny Brown – "Die Like A Rock Star" [XXX]
Gunplay – "Mask On" [Off Safety]
Danny Brown – "Monopoly" [XXX]
The Throne – "Primetime" [Watch The Throne]
Willie The Kid – "Fucking Toxic" [The Fly 2]
Mobb Deep – "Get It Forever" [Black Cocaine]
The Game – "Ricky" [The Red Album]
Roc Marciano – "Hoard 90" [Greneberg]
Blu – "What If I Was" [Jesus]
Nas – "Like Smoke" [Hidden Treasures]
Waka Flocka – "Gold & Platinum" [Lebron Flocka James 3]
Crown Nation – "Green Party Swishercrat" [Internet]
Lil B – "Bill Bellemy" [Bitch Mob]
Tigallo The Tay God – "Return of the Mack" [Internet]
Raekwon – "Footprints of Osama" [Internet]

OUTSOURCING: 100 Grand On My Wrist

2011-12-22T07:04:00.001-05:00

I was honored to write lots of words for 100 Grand On My Wrist. Check out my contribution to Thomas' annual wrap-up.

"...as a stark advocate of hi-jinks, shenanigans, and general tomfoolery, my favorite moment of the year was Lil B reverting to his trademark foolishness on Lil Wayne's 'Grove Street Party' remix..."

GUNPLAY: Walking On Water

2011-12-17T13:14:00.009-05:00

Triple C's - "Walking On Water"

(Color Cut Clarity; 2010)

'Walking On Water' was released on the heels of Rick Ross' summer of assumed pseudo-identity. For better or worse, 'BMF' and 'MC Hammer' changed the direction of gangster rap by pushing Lex Luger (and eventually his several minions) to the forefront of the sub-genre. Any responsible music critic worth their weight in cocaine would likely dismiss 'Walking On Water' as a cheap attempt to ape Rozay's genuinely innovative efforts, but they would certainly be remiss not to also recognize Gunplay's brilliant contribution. His verse strikes a unique balance. If we consider Waka's approach akin to cyclopean masonry, comprised of hunks of raw energy roughly fitted together, then Don Logan's technical prowess is the mortar reinforcing that same unwrought exuberance. This was Triple C's last stab at establishing a buzz for Color Cut Clarity prior to descending into Maybach purgatory. But the intense journalistic integrity required to suffer through this record long enough to hear an awesome Johnny Lyall reference, coupled with recent leaks from the forthcoming Bogota mixtape, begs the question: Is Gunplay better off without Ricky's executive production?

J-ZONE: Exclusive Interview

2011-12-14T08:00:00.001-05:00

Conducted by Abortatron of Light Weight Heavy Radio

J-Zone - "Exclusive Interview"
(Lattisaw Tapes; 2011)

My good friend Tronothan Livingston III had the opportunity to sit down with J-Zone and discuss the awesomeness of Suga Free, his disinterest in professional basketball, working horrible jobs, casting Kim Kardashian as a whore, and of course his new book—Root For The Villain: Rap, Bull$hit, and a Celebration of Failure—in stores now.

CROWN NATION: Archie Whitewater

2011-12-12T23:23:00.004-05:00

Written by Logan Melissa of HeightFiveSeven

Crown Nation - "The Archie Whitewater Interlude"
(Slutbag Edition; 2010)

Minor amount of ring wear on the bottom front, it says in the eBay listing for Archie Whitewater’s self-titled album from 1970, vinyl edition, original pressing. Some edge wear. No splits. $65. As of two minutes ago it's up to 19 total bids.

It’s Sunday afternoon, I’m writing this in my tiny apartment and it’s cold outside because it’s December. (I’m in LA, but it’s still December). The heater’s on, I’m lounging, drinking hot tea, football on as background noise. The mighty Lions beat the Vikings, and they could maybe still make the playoffs as a wildcard, which hasn’t happened since 1999, ages ago, the same year The Slim Shady LP went platinum times four. Anyway: LOUNGING. Lounging’s back like it never left. Lounging deserves a good soundtrack like any other human activity. A Detroit rap song for a lazy afternoon, with a slow horn break and a breezy, just-low-enough BPM count (nothing too hectic, too Flockaesque), this “Archie Whitewater Interlude” is mellow, perfect for today, with its thick, bass-y bottom.

Quelle and Vessey’s credentials go deep (maybe take a moment and scroll through some earlier posts, if you need catching up), and they keep coming up with quality, yearrrrs into it. From Crown Nation’s lovingly named Slutbag Edition album, released in ’09 but only recently discovered by me since Shotgun & Sleek Rifle took over my heart and Twitter feed, “Archie Whitewater Interlude” is named for the 9-man jazz band of the same name, none of whom are, by the way, named Archie (Bob, Travis, Sam, Peter, Jim, a few others).

Producer Y-Not picked the group’s “Cross Country” as the fun, melodic backbone for Common’s “Chapter 13,” which was an okay choice for a mock-lighthearted rap song about conspicuous consumption–Common’s always been a little preachy, even in ’94. But 15 years later, Vessey makes a smarter break choice–“Interlude” is built on top of Archie’s “Hulk,” that bass/guitar intro into double-time rhythmic stew of piano stabs and drums, looping back to the horns, and more BASS, my true love. “Hulk” just sounds like money; the tempo changes, slow to quick, unpredictable, the same pattern with which money comes/goes/comes. It’s the sound of money being made by a dude who looks really fresh. He keeps it tight and right, obviously, with regard to his appearance. No edge wear. No splits.

“I don’t do tight jeans,” Vessey says when he gets to the mocking- dudes’-unfresh-gear part in his verse (polos, ha), another giveaway that it was ’09. He wears skinnies now, Internet. I mean, who doesn’t, you know? And apart from the gear-mock, core lyrical themes in “Interlude” include the timeless dude-conversation topics of change making you wanna hustle, the passage of time (quit daydreaming; HUSTLE), gross women, beautiful women (getting married to the lovely “Lena,” who has a thick bottom I’m sure and may or may not be getting paid for her pole-work hustle—it’s still inconclusive despite several listens—but whatever. Hustle, mama), and feeling your life improving, I mean really feeling it as it’s happening—weed loud, money long, realizing suddenly ~~I’m~~ you’re able to afford as many old breaks records as I you want without worrying about the rent even though the money wasn’t sudden at all—it took yearrrrs to arrive.

That’s a lot of bad coffee, a lot of annoying phone calls, dudes flaking on verses, 31-degree days. Of course, it’s also a lot of verses finished right on time, dudes showing up when they said they would, working heaters, YouTube Likes, old breaks records. It’s cold out, so make yourself a cup of tea, give in to the Archie interlude, and “blog about it in the comments below.”

QUELLE CHRIS: Exclusive Interview

2011-12-11T13:35:00.005-05:00

Invest your measly paycheck in Quelle's discography. He's that good.

This year you've released a lot of music as a solo artist, but you're originally from a group called Crown Nation, correct?

I did a few albums prior to meeting Denmark. I started the Awesome In Outer Space shit before Crown Nation. It's kind of hard to say where I'm from originally. As far as taking it serious, it was with Wasted Youth. Big Tone, 87, and all them. I was supposed to be the new member to the group, but they never finished their second album.

Did you start producing or rapping first? Or was that something that always coexisted?

Yeah, that was kind of at the same time man. My brother brought home some music equipment. The SP-202. But I started before then. We used to use the karaoke machine. Either loop it or just play the whole song and rap over it. I started rapping first, but not by a long shot. Maybe a year. But my brother brought home some janky-ass Dr Rhythm. I pretty much just got used to doing things on my own.

I think you had the strongest production on The Hybrid and XXX. As a rapper, is it difficult to let go of something like 'Monopoly'? You wasn't tempted to hoard the dopest beat of the year for your own album?

If it ends up getting to someone else, that means I didn't rap on it already. I can rock with a wide array of shit, but I know what's not going to fit with what I'm doing. Not to call it a throw-away by any means. But if it doesn't necessarily fit into the mold that I'm already crafting at the moment, those are the ones that I begin chucking out.

What was it like working with Danny Brown? Were you actually in the studio when he recorded 'The Re-up' or 'Greatest Rapper Ever'?

87, Nick Speed, and Danny were working on a project together called Profit Jones or something like that. Shit was ice cold. They did a remake of 'Shook Ones'. I don't know how many years, but that was a while ago. They were like: "You gotta' meet this guy Danny, he kind of reminds me of you. He be listening to all types of crazy shit, but makes hard ass music just like you."

So we went over somebodies crib and they played—well this wasn't the first time I heard his music. I actually used to kick it with Danny's little brother in northern Michigan probably three or four years before I met him. But the first song they played was Mike Luke's 'Keep Um Watchin'. That's the one that sold me. But actually it was produced by Danny, which is funny. So the first shit I heard from Danny that really killed me wasn't him rapping, it was a joint him and Luke did. After that I just started sending him joints. Outside of the shit that people heard on The Hybrid, there's probably a billion joints he's released that nobody knows I did.

Do you have any plans to get those out there?

He just releases them. Those are songs you can probably find on youtube. I was in Chicago at the time getting fucked up man. For like a few years. I was acting a fool. Actually by the time I heard 'Re Up', Denmark had played me the video first. I had a rough copy of The Hybrid, but it had a whole bunch of songs that didn't end up on the album. I think the one he sent me had the original 'Black and Brown' joint on there. So when Denmark played the 'Re Up' video, I was like: "That shit is ice cold man! Who produced that!" He was like: "Man, that's a beat you made three years ago!"

Then it kind of came back to me, because I remembered talking to Magnetic from Detroit. One of my favorite engineers. Apparently Magnetic had a whole bunch of beats that I made a long time ago. Danny was recording at Magnetic's place and he was just picking through them, because I had gave him free reign. That's how I do. I hate when people send me beats and be like: "This is the one for you." Because they be wrong 99.999% of the time! Like, there's no way in fuckin' hell I'll rap over this shit.

The Hybrid and XXX garnered critical acclaim. Have you recieved a lot of requests for outside production over the last couple years?

I've gotten some, but the people you see me working with now are the people I've already worked with. I'm pretty fuckin' stubborn. I know there's tons of artists out there, and there's a few I'd wanna' fuck with. But generally I'd prefer to keep it in the family, rather than just spreading it all over the place and becoming watered down. I want it to be a concentrated sound. Action [Bronson], I've been going back and forth with him. But he's fam with some people I'm cool with, so it was bound to happen. But I don't want to whore out the sound. It has to be the right person.

Rappers come out with mixtape, mixtape, album, mixtape, album, mixtape. It's too much. Stop slutting it out and do it right. You hear these mixtapes and there's only maybe one good song. They might have a whole bunch of big songs throughout the year, but they're [spread across] billions of tapes and random collaborations and shit. I wanna be able to look back like: "Damn, my track record is flawless." I want people to look back and not be able to find some shit to hate on. That's what's valuable to me.

Speaking of collaborations, Roc Marciano contributed beats and rhymes to Shotgun and Sleek Rifle. how did that relationship come about?

House Shoes linked us, because he was really fucking with his music hard. We didn't just link up and start working on music. We kind of just kicked it for a good amount of time. As we realized that we saw eye-to-eye, our music relationship built from there.

DJ House Shoes has helped introduce a lot of artists from Detroit. Can you explain what he means to that scene? I know he helped put out one of your mixtapes, Blue Mondays.

I wouldn't even call that a mixtape. That album is about eight years old. Maybe more. I was sitting on it so long, he was like: "Dog, I just gotta' put this shit out!" I didn't really care, because to me it was just good music. It was really big among the artists everybody listens to. He was just like: "You can't just keep not putting this shit out every year."

I can't really speak on what he means to somebody else, because I like talking for myself. I'm a big fan of how I feel. I don't like speaking for whole groups of people. But I would say, personally, he does everything he can to stand by the music he believes in. People don't really like to say they like something, because if you go public it could discredit your taste. So nobody really likes to say they like something that no one else is listening to. I can't remember how exactly I met House Shoes, but I know from the first time we started kicking it he's had die-hard support. And I know he's done that for other artists in Detroit. That's the aspect I can say. Just a loyalty to the music.

'Mo Money, Less Problems' is probably my favorite song on Shotgun and Sleek Rifle. Who is that singing in the beginning of that record?

I forget her name, but it was this little girl that got to go on shows with Earth Wind and Fire. I just saw it on the internet.

So you just caught it on the internet and incorporated it into the song?

Yeah, I just thought it was adorable. I literally did that song because I thought it would be hilarious to rap over that portion of Earth Wind and Fire. It was right there, so I'm surprised nobody's rapped on it.

You saw the clip first and then decided to loop it up and rhyme on it?

I just happened to stumble on the clip. I had already recorded the song way before I saw it. I was in the car and Earth Wind and Fire came on. That last part came on and I was like: "C'mon, shut up dog!" I couldn't believe I'd heard this song a billion times and never thought of using it! It was right there under my nose, a masterpiece. Then the little girl thing just came afterwards.

The way I put together my albums I just blindfold myself, walk into a pitch black room, and things just happen to work. I don't like over-thinking it. That's a problem that a lot of artists have. You can hear when it sounds too contrived. I did that whole album in like a month or so, besides 'The Loop' and 'Mo Money, Mo Problems' which I did earlier. A lot of the time I'll find stuff like that clip in the last three days before I turn in the album. Things just kind of happen.

It worked out real well man. That intro is one of my favorite moments on that album.

That's what's up! Because after I put it on there I was laughing, but then the next day I went back and listened to it and realized it was long as hell. Like, I didn't think people would even make it to the song. I felt people were going to think I'm a goofball, especially if they hadn't heard the last few projects.

Getting back to you as a rapper, the second verse on 'Symbolic (Basquiat)' is kind of crazy. Like some next level hashtag rap. It's a lot different than everything else on the album. Do you remember what you were going for when you wrote that?

I like to go with the rhythm. A lot of times I'll follow the bass or the kick. What I usually do is kind of just ramble over it until I hear something so off it sounds perfect. So I'll either go with what's perfect for the rhythm, or I'll go with the off-beat. I wrote that verse for something else with a similar drum pattern, and it just rides that beat so well: "Why I gotta' be.. Devoe.. Smooth.." It just falls in a split second after.

I just think nowadays the formulas for everything are out there. You got all these kids that are like little A&R's when you talk to them, because they know how the business works. They feel like they know how a song is supposed to be structured. I think the one thing that they're not learning is the art of spontaneity. We know what a hip-hop song is, at its most basic. I was just looking at this magazine. Pusha T was saying the one thing he didn't like about going solo is having to come up with three good verses. What Moses of hip-hop brought these stone tablets that said you must have these thing in a song?! That's the one thing that's missing. I never like to sit and overthink it. I just dive in. Kind of like The Son EP, I just did it all in one sitting.

The Son EP features a song titled 'G.O.D. = Power', which touches on police brutality. Was there any particular event that inspired you to write that record?

This is actually funny. I wrote it because I was [in California] when the Oscar Grant shit popped off. In Oakland the cops are pieces of shit. But of course when some shit goes down police are necessary. There was these niggas marching down the street, and this bum was on the sidewalk. I wasn't marching with them, but I was just kind of walking back to the crib. And the bum was like: "If I was to rob one of you muthafuckas, who would you call!" Because they were on some no justice no peace shit.

So I saw an Oscar Grant poster and I got back to the crib and made that beat. Then it all just came to me. The ODB line came to me. I made the song, and the next day the cops shot someone else in the Bay Area. Then a few days later somebody else got shot. So I was like: "Fuck! I gotta' put it out now."

What should we expect from you in the near future?

Just look for a lot of work with the regular goons. A lot of shows. In 2012 expect a lot of work from me and Roc Marciano. I've been working with Action Bronson a lot lately. Denmark has a new album coming out. Expect a lot more Crown Nation collaborations. We're sitting on like two albums [already], but we probably won't release em'. I'm working with a lot of people but they're all essentially the same family. I kicked it with Danny not too long ago, but I haven't really talked to him about what's coming up. I know he's been working real close with Skywlkr. But there will probably be more stuff with me and Danny.

But definately a lot of projects. I'm just wrapping one up with me, Dibiase, and KnXwledge. Real dirty beats stuff. My favorite right now is the new Awesome In Outer Space album. That's about to be ice cold. That's what I'm looking forward to dropping the most. Then second would be the joint with me and Roc.

You're doing an entire album with Roc Marciano?

Yeah, we've been tossing around the idea, but he's getting his new album wrapped up and I was doing the same. We've got the canvas. Now we just have to start throwing paint on it.

Thanks a lot for taking time out to do this interview. I really appreciate it.

Anytime man. You have my number. If you need some relationship advice or something just hit me up. Try not to call me after three o'clock, because I'll probably be drunk. I might give you the worst advice in the world. So be wise with your timing. I got financial advice and all that. I spend all my time either working or reading, so I could bless you with a lot of advice in a lot of subjects. But don't call me after five o'clock.

PATRICE O'NEAL: I Hate People Touching Me

2011-12-07T23:18:00.000-05:00

Patrice O'Neal - "I Hate People Touching Me"
(The Monday Morning Podcast; 2011)

Comedian Patrice O'Neal passed away on November 29, 2011, due to complications from a diabetes-induced stroke he suffered over a month earlier. This is going to sound horribly selfish considering the void I assume his death left in the hearts of his real friends and family, but as a fan of stand-up comedy I was genuinely disappointed to hear he didn't pull through. Untimely demise often, if not always, distorts legacy. But in this rare instance, the fallen deserves any and all posthumous accolades bestowed by his peers. This week Bill Burr halted his brilliant podcast to pay homage by sharing an excerpt from Patrice's stand-up routine. 'I Hate People Touching Me' serves as a great introduction to the veracious sense of humor that so often captured the inner-deviant that lives within us all. It's depressing to think this man would still be with us had he only taken better care of himself. Unfortunately, we're one botched armed robbery removed from an official Tough Crowd With Colin Quinn curse. Nick DiPaolo better protect his neck.

THOMAS AT THE RADIO: Top 10 Current Rap Songs According to Billboard (Part 2)

2011-12-02T17:44:00.002-05:00

Written by Thomas of 100 Grand on My Wrist, Yeah Life Sucks

Oh hi! Thomas from 100 Grand on My Wrist here again. Let's talk about radio rap some more. Just to review real quick, you should listen to rap music on the radio because:

Normal human beings are aware of popular culture.
It slightly increases the chance a female will touch your penis.
No one wants to be lectured about why Prodigy is the greatest MC of all time.
Some of these songs are actually pretty good!

Since my last post just a week ago, the chart has rearranged and I don't know what to do. I just assumed Billboard would remain the same week after week for months on end because I always hear the same damn songs on the radio. Maybe this should be a recurring feature? Lattisaw Tapes is going to have to raise my salary and start flying me out first-class if that's what they want, though. (They aren't matching my 401K right now, the fuck is that about?!?) Anyways, enough about the lavish lifestyle of a rap blogger, let's talk about music on the radio:

5.) "That Way"

I feel this song could have been cool, but the ultra-effeminate voice of Jeremih in the chorus ruins it. His voice kind of grosses me out and makes me feel uncomfortable. I thought that one guy from 112 had the effeminate voice game on lock, but it looks like he has some competition now. The big band sample that opens the track and acts as the bridge to the chorus is great, would have been nice if it were integrated into the beat more prevalently. This song is about having sex with a hot woman, but you can't remember her name and you have a plane to catch (AKA the story of my life). Rick Ross' wardrobe in this video is tight, it reminds me of how my friend's Jewish grandfather dresses, who is also from Florida. So flashy!

4.) "Work Out"

Another song on the top ten list with the lyrical theme of 'I'd love to stay and have sex with you more, but I have a flight to catch'! That's pretty well covered territory in rap music at this point. To be honest, this song is boring as fuck to me. Whenever it comes on the radio I change the station with the quickness. How you gonna swagger jack Paula Abdul in such an uninteresting manner J. Cole?!? The raps aren't bad on this song, just not really my thing, you know? It's good to see that new artists are still are allowed to have hits. Similar to HL, J. Cole is from Fayetteville, so I'm glad he made it out of there and became successful because that place is a fucking dump (I used to live in North Carolina). I would still rather listen to the original Paula Abdul song, plus I thought she was pretty hot back in the day (would still get at today as well, not afraid to admit it).

3.) "She Will"

This song doesn't even have an official music video! Pretty surprising considering it's been on the radio for months now, was at one point the number one rap song in the country, and features two of the biggest names in rap music. I was hoping to make fun of Drake's sweaters in the video or something, but oh well. The beat on this song is great. The moody, distorted violin sample or whatever that is sounds dope, nice to see such a melancholy song reach the top 10. My friend told me this is the best song on Tha Carter IV and I'm going to go ahead and to take him on his word on that one. Lil Wayne's raps are a bit iffy here and if I hear another punchline about Ray Charles being blind I swear to God I'm going to...I probably won't do anything, but that shit's annoying and cliched as fuck. Good song!

2.) "N***as in Paris"

This song doesn't have an official music video either! No worries, here is a video of the duo performing the song live at the Victoria's Secret Fashion Show on a glitter runway. LOL at Kanye's gay leather pants and fruity jacket, where does he get these clothes? I like this beat a lot, it slaps pretty hard and Jay-Z's raps are on point, but Kanye West completely kills any momentum the song has when he starts rapping/singing. People keep telling me he's a musical genius, but I don't get it, all his dumb punchlines are delivered in a manner that you can almost hear him patting himself on the back when he raps. Never really been a big Jay-Z fan either, but he's talented and I respect what he's done. If this song were a Jay-Z solo track it would be incredible.

1.) "Headlines"

Don't really know how to feel about Drake at this point, it's become so cool to hate on him, I wonder if I should start liking him ironically at this point? Like, there are so many things about him to make fun of, what's the point anymore? Just trying to have a fresh view of pop culture here bros, help me out. The beat on this song is cool, the violins over an 808 drum sounds clean and Drake's raps are alright. He usually comes with a tight line here and there, such as "tuck napkin in my shirt 'cause I'm just mobbin' like that" on this song. Wish he'd rap about something besides himself every once and a while, though. Come to think of it I feel kind of bad for him, because he always seems bummed out and all up in his head. If I were getting pussy and money like Drake is right now I'd walk around with a huge shit-eating grin on my face every day and probably sleep with a huge smile on my face too, but Drake is perpetually burdened by all of his success.

So what does the future hold for commercial rap music? Well I know everyone likes to brag about discovering an artist that they claim is going to be "the next big thing," but ladies and gentlemen I think I have found the next big rapper. He is from Canada as well, just like Drake and his flow is dope, check it out:

He's going to be bringing back that "real hip-hop" in the 2012.

TO BE CONTINUED.....POSSIBLY.....

What do you think of these songs? Does Jeremih's voice make you uncomfortable? Is that J. Cole song boring to you too? Is Kanye West a musical genius? Do you feel bad for Drake? Should this become a recurring feature on Lattisaw Tapes?

Danny Brown, Willie the Kid, and the Lost Art of Storytelling Rap

2011-12-01T15:48:00.008-05:00

I'm having a hard time narrowing down which rap artist had the most laborious run in 2011. Willie The Kid was responsible for one of the strongest projects of the year. Danny Brown dropped one of the most powerful albums in the last five years. The Fly was confined to rapping circles around his immediate circle of barely serviceable weed carriers. The Hybrid rubbed elbows with everyone from El-P to Kid Sister. Grand Rapids own didn't unveil an effeminate haircut on the cover of Metro Times. Detroit's finest, unfortunately, did. By my count that places the Michiganders neck and collar. But regardless of the score, they're easily the most talented rappers I've come across on the blogosphere not named Jay Electronica. My fandom in part can be attributed to their knack for storytelling, an art form chiefly neglected by Generation Z. Luckily for us (them not so much), these guys are roughly the same age as yours truly.

Willie The Kid - "Reign Supreme"

(The Cure 2; 2011)

As much as I enjoy Sir William Buffett's sharp wit, earnest self-reflection, and dense alliteration, failure to offer even a single focused complete thought stifled the The Crates' replay value. The Cure 2 marked his return to the type of intense narratives we haven't heard since 'Barbershop Theme' and 'Stop Snitching' were released on DJ Drama's watch back in 2006. Technically, writing featured on 'The Guilt' is far more ambitious than 'Reign Supreme', but the latter is more enjoyable thanks to Beat Butcha's thick spiraling bassline. Generally, my favorite storytelling raps assign explicit details to the most mundane elements of the plot. In this instance, Willie's secondhand account of murder and betrayal is driven entirely by details. Hopefully, we don't have to wait another five years for him to exploit this skill set.

Danny Brown - "Counterfeit"
(Detroit State of Mind 4; 2010)

'Counterfeit' is just an awesome record that speaks for itself. The moment I heard it I knew Danny Brown was the future. What's most fascinating about this song is it employs the same sample as Ghostface Killah's 'The Sun'—an unreleased track intended for the criminally underrated Bulletproof Wallets. Starks has mentioned on several occasions it was excluded from the retail release solely because Rza smoked too much weed and forgot which piece of vinyl he looped. Danny Brown (or someone close to him) is clearly aware of the source, as 'Counterfeit' appears to contain sections from the original recording neglected by Rza. Perhaps Danny should start snitching, because 'The Sun' and about a dozen other Ghost tunes from that era certainly deserve an official home on the shelf, à la Bootlegs and B-Sides.

OLD SHIT: Big Ghostfase Interview

2011-11-27T09:36:00.000-05:00

So I interviewed the homie Big Ghostfase about a year ago, before he was all trendy. This was before he became internet famous for antagonizing Drake. In fact, Drizzy's name didn't come up once during our chat. Now he has 100 times more twitter followers than I do (I'm not exaggerating). I decided to throw this back up because I've acquired quite a few more subscribers since January 2011 (like four), so most of you reading probably never caught the interview. Not to mention it proves I'm a true visionary, trendsetter, and leader of men. Enjoy.

What’s good man? How you been?

Ayo whattup son! Ya know the god doin good n shit. Word bond. Cant complain. Nahmean.

On Bulletproof Wallets you classified yourself as a 'laptop nigga'. Has your blog BIG GHOSTFASE Chronicles been in the works since 2001?

Nah nah son it aint even like that nahmeans. Matter fact the god aint even start that joint namsayin. Anotha nigga who like one of the gods pupils n shit approached the god with that little blog tribute joint n shit namsayin. A nigga just humbled n shit to be havin disciples that wanna build they little temples of worship to a nigga n shit like that namsayin. A nigga feel blessed nahmeans.

Raekwon has experienced great success over the last couple of years. Some would argue he has the Wu on his back right now. Would you agree with that assessment?

Nah son. Ayo word bond yall already know the god done held that flag for the clan n shit throughout the hard times namsayin. Yall aleady know Tony got them niggas thru the storm when the monsoons came nahmeans. Word. The nigga Rae my brotha n shit but nah fuck that yo. Word bond. I love that nigga like a muthafuckin son n shit but nah. He my muthafuckin A-alike n shit but hell fuckin nah son. Aint no fuckin way son. Never that. Fuck that nigga. That nigga my brotha but nah. Thats a fucked up question my nigga. I oughta slap fireballs out some muthafuckas asses for that shit. But to answer ya question nah. Whattup Rae!

In an interview with Planet Ill, Prodigy claimed you and Reakwon introduced Mobb Deep to dust blunts. Do you feel any remorse for that?

Nah son. Ayo that shit aint no dumb nigga high n shit. That shit gives a muthafucka wings n shit. Niggas start to feel like they can fly n shit namsayin. That shit potent than a muthafucka nahmean. Ayo that shit make a nigga feel like he a dragon word bond. I fucks wit that. Not anymore tho cos that shit may had contributed to my nigga Tyrone flyin off a balcony back in Stapleton n shit.

Why should I be nice to the crackheads? What’s in it for me?

Ayo son crackheads is just normal niggas like you n me nahmeans. Word yo the only difference between a crackhead n a regular joe nigga like yaself is that a crackhead might steal a baby n try to give the muthafucka to you to settle they debts n shit. N a crackhead might offer to suck ya dick if they really need ya help n shit namsayin. Word bond. They jus kinda over the top wit they shit but other than that they jus regular normal everyday muthafuckas like us n shit nahmeans.

Do you still keep in contact with Woodro and Suzy?

Ayo son the god aint never known Suzy like that but the nigga Dro my muthafuckin heart n shit namsayin. Yeah there was a couple times when we had to stomp that nigga out in the staircase n shit. N yeah the nigga stole one of my seeds one time. We got her back n shit so thats like water under the bridge tho. The nigga broke into my crib one time n took the gods microwave n shit but he like family namsayin. Sometimes family do wild shit. But you gotta look past that shit n forgive ya family nahmeans.

I had an intense debate amongst my brethren regarding a specific line of yours. On “Theodore” you claimed to be a “love doctor in the hood, fuck bitches on their friend”. Does that mean you fuck bitches on their period? Or do you fuck one bitch while she’s physically lying on top of her homegirl on some Lexington Steele shit? Or is this some sort of double entendre?

Ayo son first off the god dont be runnin them red lights like that nahmeans. That aint how Staten niggas get down first of all namsayin. That shit just nasty. Fuck that. But yeah we be dickin hoes on top they friends n shit. Some muthafuckas be frownin upon that shit like why you be doin shit like that namsayin. But that shit just some regular shit when you in the hood nahmeans. Bitches upon bitches n shit. Niggas be bitin that shit now but yall already know that Staten Island niggas started that shit. That shit jumped off in Stapleton before it started spreadin like wildfire nahmeans.

I really appreciate your time. Any parting words for the fans?

Nah nah son we done touched on all those topics n shit. Aint nothin else need to be said. Ayo a nigga jus feel blessed n humbled that after all these years niggas is still feelin the gods music like that. Bein that the god put his blood sweat n tears into this shit it jus feel like a blessin. Word bond. A nigga feel like he cant even take credit for that shit. The fans make that shit possible. A nigga feel like the heavens done cast a rainbow over the god n shit. A nigga feel like he bein carried over a canyon by a thousand white falcons n shit. Like aint no regular mortal nigga can touch the god nahmean. The god feel like he can drink lava n shit. Aint no niggas can fuck wit the gods darts n shit. Aint no nigga wardrobe fuckin wit the gods wardrobe nahmeans.

Alright BIG GHOSTFACE, not to cut you off but I think that's more than enough homie. I'mma holler at...

I been holdin niggas down since we was still ridin dinosaurs n shit. Word bond. Fuck any nigga that wanna test a nigga nahmean. Imma slap a nigga head off his neck if he look at me funny. Ayo a nigga feel like he can eat a mountain namsayin. Fuck yall niggas that aint supportin a nigga financially too namsayin. Stop downloadin my shit! Come to the shows! Support a nigga! Ayo matter fact throw rose pedals at the god when yall ungrateful muthafuckas see a nigga nahmean. Word bond ayo Apollo Kids in stores now n available for download on ya little iTunes n Zune joints namsayin. Word bond.

Peace.

Aight Peace.

WILLIE THE KID: Top 10 Songs of 2011

2011-11-25T05:40:00.003-05:00

If a tree falls in the forest and no one is around to hear it, does it make a sound? Of course it does. The laws of physics are applicable with or without human supervision. This age-old adage reflects the innate arrogance of man, and by extension fans of modern rap music. This year Willie The Kid was underground hip-hop's proverbial descending timber. His output in 2011 was certainly prolific. The Fly 2, The Cure 2, and The Crates stand among this year's strongest releases, despite their distressingly dull impact. Let's take a look back at General Sherman's finest moments. No Analysis. No commentary. Just listen.

10.) "Master Your Fly"

(The Fly 2; 2011)

9.) "Your Encouragement"

(The Cure 2; 2011)

8.) "Live At The Ritz"

(The Fly 2; 2011)

7.) "Twilight Freestyle"

(The Cure 2; 2011)

6.) "Booth Shot Lincoln"

(The Fly 2; 2011)

5.) "Fucking Toxic"

(The Fly 2; 2011)

4.) "Moment In Time"

(The Crates; 2011)

3.) "Waste Not Want Not"

(The Cure 2; 2011)

2.) "Blades Of A Certain Edge"

(The Crates; 2011)

1.) "Die Free"

(The Fly 2; 2011)

THOMAS AT THE RADIO: Top 10 Current Rap Songs According to Billboard (Part 1)

2011-11-22T22:45:00.004-05:00

Written by Thomas of 100 Grand on My Wrist, Yeah Life Sucks

Oh hi! My name is Thomas and I run a blog by the name of 100 Grand on My Wrist, Yeah Life Sucks, which is about Bay Area rap. If you don't like Bay Area rap that's cool, to each their own, but today I'm here to talk to you about rap music on the radio. "Naw fuck that shit, it's all corny, I listen to rappers who make real music that I find out about on the internet like Freddie Gibbs and Danny Brown!" you say. That music is all well and good (I think), but you should definitely still be checking the shit that plays on the radio frequently for the following reasons:

If you go to a club or party this is the music that is probably going to be playing and you should have a general sense of how the song goes as you try to look cool for the opposite sex. Don't be that guy who doesn't dance and starts ranting about how much music on the radio sucks, no one likes that guy.
True story: Last year in a college class I saw this girl sit next to a guy with headphones on and ask him "what are you listening to?" He responded by saying Digital Underground and then when she said she'd never heard of them he went on to lecture her about why they were so important to hip-hop during their time. The girl looked bored as fuck and I swear to God I saw a thought bubble appear over her head that said, "I will never grant this loser access to my vagina." Should have said Lil Wayne bro!
When you are watching "I love the 2010's" years from now on VH1 on your future TV, you'll be able to laugh along at the jokes an old Michael Ian Black makes about the rap music that was popular during this time.
You should probably pretend to be generally into music that plays on the radio when first getting to know a female, because she would much rather listen to Chris Brown when you are giving her a ride home than Tyler the Creator (plus you probably don't want her to think you are a rapist).

I could go on forever, but the point is you should always be mildly aware of what is hot on the radio so that you can be a normal member of society by enjoying popular culture. Of course music on the radio kind of sucks; it's designed for teenage girls to sing along to while they work on their algebra homework, but there are always enjoyable elements in each song if you look hard enough. So let's take a look at the top 10 current rap songs according to Billboard so that you can be a functioning member of society and not a rap nerd virgin:

10.) "I'm On One"

Every joke about Drake has already been made, there's no point in making fun of his music at this point. I don't know about your area, but here in the Bay his music gets played to death. Like no joke I once heard KMEL play three Drake songs in a row, and this wasn't some sort of special edition Drake mix on the radio, it was just their normal rotation. The beat is pretty alright on this song and each rapper's verse is cool though. Not really sure what "on one" means in Toronto, but around here it means you are high as fuck on multiple drugs (probably ecstasy) so that's kind of funny to hear Drake sing about. Watching this video for the first time I am taken aback by how truly awkward-looking of a human being DJ Khaled is, I'm glad he's doing well for himself.

9.) "Sexy and I Know It"

LOL this isn't a rap song! Let's keep it moving...

8.) "Marvin & Chardonnay"

Not going to front, the hook on this song is dope, it's hella catchy and I like all the violins and shit in the beat, it sounds great. That sound effect in the beat during the beginning verses that sounds like someone is waxing their car is pretty annoying though, glad it leaves in the second half. Now I'm all about some misogynistic rap music, but I feel like Kanye West has some weird issues when it comes to women, like he needs to sort of talk down to them and they can't be on the same level as him? idk. He literally raps, "This the fucking anthem, get it? The fucking anthem," in this song. Are you for real bro?!?

7.) "Dance (A$$)"

Two songs in the top ten for Big Sean! Good for him, I hope he is making a lot of money and having a good time. This is my favorite song in the top 10, but probably because I haven't heard it a million times like the other tracks. This beat is tight though, definitely into all the MC Hammer samples and references. The beat sort of reminds me of Jerkin music in parts (lol does that still exist?) and the "go stupid" line brings back fond memories of the hyphy movement for me. Nicki Minaj seems like a weirdo, but she is so fucking hot. If I ever met her in real life I would instantly morph into Shy Ronnie. Great song!

6.) "Body 2 Body"

This song doesn't play around here. Have you heard this song before? According to Billboard it's the #6 rap song in the country, but I've never heard it before in my life until now. I can see how this song would be big though, rap songs about how attractive a female is and making sweet love are always hits because of radio's main demographic (teenage girls), especially when Chris Brown is involved. Not sure about what's going on with Chris Brown's style on this song, but he looks like he sells meth with that bleached hair and goatee. Ace Hood's line, "Are those your real eyes? Can't tell you're partially Asian" is kind of weird. Is that a compliment?

TO BE CONTINUED.....

What do you think of these songs? Do you listen to rap music on the radio at all? Is DJ Khaled the most awkward-looking human being you've ever laid eyes on?

MOBB DEEP: Get It Forever

2011-11-18T09:46:00.006-05:00

Mobb Deep & Nas - "Get It Forever" (produced by Alchemist)
(Black Cocaine; 2011)

If nothing else, Black Cocaine proves Mobb Deep can still deliver despite Prodigy insisting to reserve his best performances for solo endeavors. Lyrics aside, the EP appears to muster up the duo's most ominous and brazenly New York incarnation. 'Get It Forever' shares a nearly identical format with Mobb's initial reconciliation with Nas, but the production is far more lively and animated than what Alchemist provided on 'Dog Shit'. For the umpteenth time this year, Esco decisively steals the show from those kind enough to extend an invitation. One of Nas' greatest attributes is his ability to remain an adept technician without compromising "swag". He tailored his verse around the melody so impressively, I'm a little surprised his Queensbridge counterparts didn't revise their approach and follow suit. Regardless, the collaboration makes for great music.

COMMON: Sweet

2011-11-15T15:47:00.003-05:00

Written by Mobb Deen of It Was Posted

Common - "Sweet"

(The Dreamer, The Believer; 2011)

Call me a contratrian douche, but I find myself approaching less than impressed by Common's latest effort, 'Sweet.' Don't get me wrong, I appreciate the attitude, sentiments, and untagged shots Lonnie is letting off on this track, but I can't just bring myself to truly enjoy this song. And I've been trying for a while now, considering Common is one of the few artists that inspires that brand of loyalty in me. After all, this is the man responsible for making Resurrection, and he's teaming up with the producer responsible for the bulk of that album on his new project. Even more exciting is the fact that so much time has passed since the last time both men worked together (they've both grown in a musical sense, with varying results - yeah, that's a shot) and I've always yearned for a reunion over an entire project, so the fact that it looks as if it's actually going to happen is ridiculous. I'm pleased.

That being said, something isn't clicking for me so far. Yep, this is the part where I extend my criticism to the other songs Common and No I.D. have released in the past few months ('Ghetto Dreams' and 'Blue Sky'). I'm probably just being an asshole "fan," but I'm just not hearing what other folks like me (i.e., rap nerds) are hearing. It's almost as if people are excited by default because Common is working with No I.D. again, results be damned. The peanut gallery (twitter) seems to like 'Sweet' more for the fact that Common was seemingly angry at something/someone than for the quality of the music. I read zero compliments about the production or the verses. In the same vein, 'Blue Sky' received a stamp of approval because Common wasn't simping or making another "party" track. The best of the bunch is probably 'Ghetto Dreams,' because let's face it, it's almost impossible to fuck up a song with Common AND Nas produced by No I.D. - even if no one wants to admit that the production was less than imaginative and more than lazy (that scratched hook was not it, I expected so much more).

And that last sentence kinda brings me to what I've been trying to say for two bloated and unnecessarily cruel paragraphs: the beats fucking suck. There. I said it. Common's performances are perfectly acceptable, if not memorable, but the fact remains that if Papoose (the Kang of NY) hasn't ganked your shit for a crap freestyle (or anyone else for that matter), then maybe those beats are uninspiring. That's fucking tragic, because No I.D. is responsible for some of the more inventive shit we've heard this year - 'Primetime' from Watch The Throne and most of Medium Sean's album (matter of fact, No I.D. made that shit more than tolerable - I'll admit to Finally Famous being kinda good if you can stand Sean the Groper's mostly shitty rapping). So for Common to keep whiffing (again, this is my opinion, but feel free to come see me at my blog or on twitter - I love the slander) on these tracks is more than a little troubling for me. Perhaps my tastes have changed for the worse, or more likely, I'm just being a prick, but Common and No I.D. have managed to rid me of my excitement for this upcoming album.

On the bright side, there's no way The Dreamer, The Believer will be any worse than Finding Forever. That is a sonically impossible occurrence because Finding Forever is the sound AIDS made right before it took Eazy-E from us, so I'll take some minute solace in that. I'm sure you're thinking: "What about Electric Circus and UMC? Those albums sucked!" True, in a sense. In those instances, Common had an excuse for those albums not being all they could have been because he was experimenting - ambitiously I might add. What's Finding Forever's excuse? But that's not why I typed all this shit. We'll debate that some other day.

For now, I'm just praying to #BasedGawd to ensure that this new shit doesn't suck. And if that fails? Well, there's always that shit Lonnie said he was going to make with Q-Tip. There's no way that could go sideways. Right?

MADLIB: Flying High

2011-11-09T18:36:00.001-05:00

M.E.D. - Flying High (produced by Madlib)
(Classic; 2011)

It's ironic such a recluse figure provides escapism more effectively than the duo so commonly associated with ushering in the Expedia Rap movement. Madlib has escorted us from Sunyani Regional to Gandhi International and back with his Medicine Show series, but the opulent strings featured on 'Flying High' represent the journey rather than a particular destination. You can almost feel your ear drums adjusting to the change in atmospheric pressure, as ADHD's poster child continues to kick the living shit out the back of your seat. M.E.D. is essentially an afterthought on this flight, as he should be.

Notes From A Hip Hop Baby

2011-11-07T19:05:00.001-05:00

Written by Tony Grands of Reading & Writing Is For Dumb People™

I am, most certainly, a Hip Hop baby; born in 1976, right on the cusp of Disco making it's quiet transition to Hip Hop & rap music. I can't tell you much about the late 70's because I was too busy being a toddler, but my recollection of the early 80's spans back to the days when 1580 KDAY AM was literally the only radio station in Los Angeles playing rap music. & even then, the party didn't start until late at night. In those days, rap was more of a stigma than a culture. Rap wasn't even really considered music as much as it was viewed as a trend, much like the Internet before it become a cant-live-without. Obviously, those opinions have been moot for quite some time.

I'm blessed to have had the privilege of seeing Hip Hop grow & change & go through all the different stages one goes through on the journey of discovering themselves. Now, I can't say exactly what Hip Hop & rap music will be like in 10, 15 years, but I can vouch for the dozens of changes - both cosmetic & internal - that the Hip Hop culture has gone through over the last couple of decades. Apparently that makes me an "old head," but that's where the real knowledge is. (No pun intended.) Oral history is the most traditional way of passing along cultural propaganda, & for a subject like Hip Hop that's not always documented correctly, it's good to have cats around who've been around, if you smell my cologne.

There are plenty of times I'm on some random (Hip Hop) website, & I'll see commentors who have no idea about rap music pre-2001. For lack of a better term, these kids have never purchased a cassette, or asked their parent's for the Christmas day cardboard boxes to go outside & breakdance after all the toys are broken by noon. They don't know how icy Ricky Walters was, or how The Juice Crew was literally running rap music in the late 80's. These are the step kids of the Notorious B.I.G. era, some of which aren't even aware that Big Daddy Kane was running Brooklyn long before Chris Wallace or Shawn Carter. The point is, I've seen a lot more cultural adaptation than the average "rap fan," & it's quite been an interesting journey.

I've witnessed music on 8 track cartridges becoming vinyl albums, & watched vinyl turn into audio cassette & compact disc. Now, here we are in the age where we can pull music from the sky, on some modern-day witchcraft shit, a day which I never saw coming as a kid. Back then, we couldn't wait to hit the local brick & mortar stores to cop the newest releases, much like today's rap fan can't wait until the 12 midnight "release" of their favorite rapper's latest mixtape link. Sadly, the experience of opening the CD case has been lost in the process, though. The sound of crackling plastic wrapper & the smell of the linear notes booklet is something I still talk about to this day. Speaking of which, also gone are the days when a rap star needed a record label to blossom. Thanks to the 'net, fan bases & marketing brands are not only constructed at a moments notice, but transmitted worldwide as quickly as they can be uploaded. There was a time when it took months for songs & albums to be released. Imagine that.

One of the more interesting "advancements" has been the overhaul of what's considered masculine in rap music. We've come along way from those bald heads, Carhatt Jackets, & baggy outfits that defined the generic aggression & tough-guy image that every rapper housed. Now, the earrings as big as the egos they're attached to, & thanks to a Texas rapper named Dphill, lipstick has officially entered into the (rapper's) equation. On one hand, the progress & forward motion is understandable, because without it there's no progress. But on the other hand, I miss the days when men acted & dressed like men (or at least did a damn good job of hiding their secrets in imaginary closets). Where songs were once unapologetically homophobic & misogynistic, they are now unisex & politically correct (not that there's anything wrong with that). Perhaps one of the (many) reasons girl rappers lost footing in the rap rat race is because the men, themselves, started becoming inexplicably confused about orientation, but that's for another day.

If I've learned nothing else, I've concluded that rap music - & Hip Hop in general - isn't dead, it's just changing, just like everything else. Whether or not one is willing to adapt to said change is something entirely different, though.

CROWN NATION: Deal With It

2011-11-06T10:41:00.003-05:00

Crown Nation - "Deal With It" (produced by Quelle)
(Blue Mondays; 2011)

Beyond the actual music, perhaps the greatest measure of James Yancey's legacy exists in the critical success garnered by Detroit's homegrown talent in the six years since his untimely passing. Despite Dilla's looming influence, his Motown successors have been anything but content with forgery. It appears the local scene by and large truly digested the man's work and respected it enough to refrain from shameless impersonation. Detroit native Quelle Chris has quietly had a vigorous year, producing the most Hybrid-esque records ('Monopoly' and 'EWNESW') on Danny Brown's critically acclaimed sophomore effort, as well as his own solo work on The Sun EP. As unique and diverse as his 2011 output has been thus far, ironically, a flawlessly executed Dilla impersonation may be his strongest credit to date. Crown Nation's 'Deal With It' would sit quite comfortably between the ominous soundscapes on Ruff Draft, and even Quelle's cadence is distinctly Fan-Tas-Tic. The off-kilter kicks stammer like heart murmurs between horn stabs, soliciting urgency and panic in a belated response to 'Mo' Money Mo' Problems'. The duo are staunch advocates for karma, and have no empathy for it's victims. Apparently, it really is cold in the D.

A$AP ROCKY: Out Of This World

2011-10-30T09:42:00.005-04:00

Written by: Colin Small of '45 Paper Plates'

A$AP Rocky - "Out Of This World"
(LiveLoveA$AP; 2011)

Despite his position in the cool-rap blog zeitgeist, up to this point ASAP Rocky has essentially been a 2011 version of Jurassic Five. Ignoring current pop-rap models, his Houston and Harlem sing-rap tributes showed no illusions about his desire to return to a sound that we all find nostalgic. Sure, we hadn’t necessarily been nostalgic about Houston rap before, but no one would say ASAP’s sound was without precedent. However, “Out Of This World” completely abandons the warming comfort of Swishahouses-past in order to rap like Wiz Khalifa. This bold transition just showcases Rocky’s refreshingly egalitarian ear. It is what separates him from Charlie Tuna: an ability to recognize quality music as something separate from a single regional or historical style.

Lil B: I'm 2 Real

2011-10-02T14:53:00.009-04:00

Written by: Colin Small of '45 Paper Plates'

Lil B - "I'm 2 Real"

(I Forgive You; 2011)

The Based God doesn't beef, right? Ever since the release of Red Flame Devil Music Lil B has essentially become "Christ of the streets", so it's at least mildly ironic a project titled I Forgive You is anything but forgiving of Game's recent jabs on 'Martians vs. Goblins'. But we must remember that prior to being positive for the hood Brandon was violating bitches. While it's difficult not to take B's positive shtick at least a little bit seriously, he's made his way in this game to some extent by exploding the paradigm, being a parody of the art form as well as a sincere embodiment of it. This is why New Yorker think-piece style analysis is so useless on the guy. Lil B is capable of contradicting everything that has been said about him, so I would encourage you to just enjoy the simple paradoxical genius of his double entendre. When B complains that the game's too fake, cross-hairs are occupied by Compton's own as well as the rap industry. He's grown intolerant of Game's antics as well as the buffoonery that Game represents in the culture.

THE SHOW: Shitty Beer, Little Titties, and Thun Language

2011-09-25T17:57:00.017-04:00

While you degenerates were illegally streaming Mayweather vs Ortiz, I was making strides toward fulfilling my personal bucket-list at Charlotte's leg of the truncated Rock The Bells tour. After arriving fashionably late due to navigational issues my first stop was the bar, obviously. The beverage selection consisted of the shittiest of American beers (clearly beneath a true BAWSE's standards) at a whopping $9 a pop. I definitely spent more on alcohol that night than the price of admission.

When I met up with my friends at the front of the venue a Jewish fellow wearing a black and grey Freddie Kruger sweater was making his way to the turntables, looking so nonchalant the audience probably assumed he was a sound engineer. My friends and I were bugging out because we didn't even realize he was a part of the tour. He walked right by us on the way backstage. After thirty minutes or so I hear the bat signal for aggressive content: 'The Mobb Show Intro'. If you're a true Mobb Deep fan, you're already familiar with this intro from Alchemist's Cutting Room Floor even if you've never had the pleasure of attending their live show. When Alan introduced Havoc and Prodigy the crowd went into a frenzy. Despite the fact Guerrilla Union lead fans to assume the duo was performing The Infamous in it's entirety, Mobb came out to 'Drop A Gem On Em', which I had absolutely no objections to.

Crime Rhyme Houdini P seemed to be in great health. Havoc appeared worn down, perhaps from traveling the country, or possibly age is just taking it's toll. They entertained all their hit records, but some of the most well recieved songs were classic album cuts ('When You Hear That', 'It's a Craze', 'Win Or Lose', 'The Realest', etc). Halfway through the show Mobb pressured Alchemist to join them on stage. After reluctantly accepting the invitation he cued up the 'Hold You Down' instrumental, jumped down from the DJ booth, and traded bars with Prodigy resulting in one of the more memorable moments of the night.

As Havoc was introducing the G.O.P. (goons on payroll) consisting of 40 Glocc and Ferg Brim, two white girls were barging through the crowd and got comfortable right in front of us. Dancing off-beat to 'G.O.D. Pt III', the shorter one would periodically back that ass up and grind on yours truly. In typical white people fashion they took things a tad too far, distracting attention from the main event. The taller young lady, which one of my friends would later describe as a bulimic Julia Dreyfus, began flashing her titties unprovoked. Unfortunately, her knockers were non-existent and I doubt anyone else even noticed initially. Shortly after Elaine unleashed her mammary glands, her short portly friend began dancing so belligerency she stumbled and fell on her intoxicated face. My homie and some dude with dreads beside me started laughing uncontrollably and we all just stepped over her and advanced a couple rows. All this happened over the course of roughly 47 seconds.

The pioneers of thun language brought an incredible show to North Carolina. They delivered a lot of positive energy to The Filmore's largely competent audience, reminding me why they're one of my favorite groups ever. My only beef was the absence of Big Noyd, as I kept expecting him to run on stage to assist with 'Give Up The Goods'. Also, after witnessing Mobb's live show I've come to the conclusion that Havoc has never had a better verse than Prodigy on any of their collaborations. Ever. Regardless how lazy you thought Ambassador P has been in the past, there's always been a method to the madness. I'm not sure if it's the way he structures his rhymes or the graphic details within them, but that man has authored some of the most indelible verses ever written. You don't have to make an effort to memorize his raps, because with or without your consent the words will eventually make their rounds through your Atkinson-Shiffrin model. Mobb Deep is certainly forever.

EXILE: Klepto

2011-09-08T20:58:00.002-04:00

Exile - "Klepto"
(Intro To The Outro; 2011)

As I was browsing through my admittedly egomaniacal "LATTISAW TAPES PRESENTS: The Greatest Songs of 2011" folder that you'll eventually have to suffer through at the end of the year, I realized my favorite tunes thus far have been overwhelmingly serious. Perhaps that's more a reflection of my personal taste and recent experiences rather than a trend occurring across the entire genre. Regardless, I think Exile should run with the harmless asshole shtick heard on 'Klepto', because it compliments that Caucasoid inflection much better than his stiff rappity-rap incarnation that sucked all the fun out of Fashawn's 'Bo Jackson'. There's a certain charm to an artist willing to completely nerd out over immaculate instrumentals. I suppose as long as Prince Paul continues to waste studio time with Souls of Mischief, and Lord Quas plays second fiddle to the Medicine Show series, Aleksander will have to do.

LIL WAYNE: Abortion

2011-08-31T06:55:00.001-04:00

Written by: Colin Small of '45 Paper Plates'

Lil Wayne - "Abortion"

(The Carter IV; 2011)

As with any artist easing into a twilight career slump, its best to view The Carter IV through the narrowest lens available, seek out the few redeeming qualities you can enjoy, and appreciate the music for what it is. 'Abortion' is no exception, bringing back memories of eccentric self-promotional anthems like 'Sky’s the Limit'. Arrogance has been part of Weezy’s appeal since day one, so we can’t begin to fault him for it now that his ego has been substantiated with grand financial success and critical acclaim. On 'Abortion', Wayne isn't making a case for his greatness as a cultural icon by comparing himself to John Lennon, but rather referencing it as purely self-evident. This is what he does best, despite shying away from that approach shortly after receiving eight root canals early last year. The song is notable because it doesn't feel like Wayne is attempting to recapture the glory of past anthems by cloning them. He may be doing what he's always done, but at least for this one song, he's doing it as if he doesn't remember.

Observe 'Abortion' through a wider lens and it exemplifies the mysterious fog that blankets this entire album, as well as the current stage of Wayne’s career. We can’t tell whether he’s self-aware, oblivious, or just plain lazy. It's egoistic, self-parodic, and intentionally confusing. Without a framework of motivation, Wayne floats in a mid-air haze of weirdness for weirdness’s sake. It certainly takes the listener on a ride, but in the end we have absolutely nothing to show for it. Who’s getting an abortion? Who’s got their palms in their pockets? And more importantly, who is Lil Wayne?

Droptops & Game Tapes

2011-08-30T13:03:00.002-04:00

Get the tape here. Enjoy.

Why You Hate The Game
Born In The Trap
Children's Story
Compton
Da' Shit
Let Us Live
Mama Knows
No More Fun & Games
Ol' English
Out Of Towner
Put You On The Game
R.I.P. Story
Remedy
Ricky
Scream On Em'
The Good, The Bad, & The Ugly
Bang
Drama
Crack Music Remix
Wouldn't Get Far
Hustlers
Letter To The King
Dead Bodies
Bulletproof Diaries
Runnin'

THE GAME: Rickyyyyy!!!

2011-08-28T03:38:00.004-04:00

The Game - "Ricky"

(The Red Album; 2011)

Despite the fact it's nearly impossible to express satisfaction with Game's music without prefacing it with the phrase "antics aside", he's certainly had a hall of fame rap career. If you were to toss his entire retail discography into California's gyrating powerball cage, chances of pulling a good-to-great jam are higher than Tupac's bandana. How Jayceon was able to pull this off with such a shallow pool of content and negligible artistic growth remains one of the seven wonders of hip-hop. But just because his lyrics are especially hollow, doesn't necessarily mean he's incapable of rambling about Los Angeles gang culture, Andre Young, and Chevrolet Impalas in creative ways. This brings us to 'Ricky', a cinematic DJ Khalil production structured around the infamous drive-by scene from Boyz In The Hood, in which Gabrielle Union's counterpart donates his torso to South Central's department of transportation. Game effortlessly maneuvers around the film's most memorable quotes, although it's a bit disappointing they didn't bother to incorporate my personal favorite line: "This fool got more comic books than a muthafucka!"

DANNY BROWN: Abandoned Houses

2011-08-21T11:24:00.010-04:00

Danny Brown - "The Fields"
(XXX; 2011)

The final twelve minutes of XXX is the most impressive sequence of rap music released since The Coup's magnificent trilogy of 'Fat Cats, Bigga Fish', 'Pimps (Freestyling at the Fortune 500 Club)', and 'Takin These'. While Danny doesn't employ the type of seamless transitional interludes found on Genocide and Juice, each song successfully builds on the overall narrative he's attempting to illustrate. By the time the chaotic drums and wonky synths of the title track begin to trail off, the listener has established a genuine relationship with the author. The album's tail end functions as a brief autobiography, celebrating enduring struggle and abrupt triumph lodged between humble origins and an inevitable rock star departure. This journey is anchored by 'The Fields', which shifts from early nineties period piece to a poignant observation of the current incessant economic slump The Hybrid has been fortunate enough to narrowly escape. The hook is genius in its simplicity, insinuating every homeowner in his community is a single mishap away from facing foreclosure. This environment of uncertainty is what inspired Danny Brown to create the most ambitious album in recent memory.

ROACH GIGZ: Watch For The Hook

2011-08-17T23:08:00.003-04:00

Written by: Colin Small of '45 Paper Plates'

Roach Gigz - "F A Chorus"
(Bitch, I'm a Player; 2011)

Purposefully, whether explicitly or implicitly, acknowledging the lack of a chorus or hook has a long history in the annals of braggadocio. The pervasiveness of the form today likely points back to the popularity of 'A Milli', but other examples aren't nearly as compelling. To make a song with no chorus is one thing, but to take that song structure and use it as evidence of your talent is another. One might remember 'No Hook' from American Gangster, where the refrain “I don’t need no hook for this shiiiiiit” only calls attention to how much better the song would be if it had one. The “no chorus” approach serves as an opportunity to speak ego to power, but the inability to do so often yields lukewarm results.

What’s interesting about 'F A Chorus' is that Roach Gigz speaks ego to power in such a unique way. In a structural sense, it has all the calling cards: a chopped up, short-looped beat and a complicated, constantly switched up flow. He is, however, constantly trying to distract us. At one point he states, “I didn’t write this down, I’m an Adidas man, all Nike town, my eyes are brown.” What could be a boast is turned into a joke at his own expense by a series of stupid statements, seemingly off the top of his head. There’s something distinctively Bay Area about it. It makes me imagine what it would be like if the Pack were more openly self-conscious. What it comes down to is that Roach intentionally tosses his ego into the wind in order to make the track humorous and fun. By doing so he only proves to us that he’s capable of holding his own.

The video, directed by Kreayshawn, really says it all. It shows him literally in New York on his “tourist shit”, in Times Square, posing for photos with randoms, shaking hands with cab drivers, basically being as warm-heartedly obnoxious as possible. Only with this type of attitude can he profess himself as an amateur while simultaneously brushing the label off. While I’m still wary of the song’s format I can't help but enjoy it.

THE THRONE: Primetime

2011-08-14T14:44:00.005-04:00

The Throne - "Primetime"
(Watch The Throne; 2011)

'Watch The Throne' is a failure of epic proportions, hybridizing the most annoying qualities of Jay-Z's last two full-length solo efforts. The perfect storm of unimaginative concepts and dismal production. Instances where the Caten Brothers climb down from their royal recliners to offer substance come off as a forced effort to pacify critics. Much of the record is comprised of mindless rich nigga rhetoric, which would be perfectly acceptable if the music wasn't devoid of grandiose delusions, farcical humor, and just straight up great rapping.

Spike Jonze's decision to place Aziz Ansari in the 'Otis' video is emblematic of the album's shortcomings. Sure, the casting choice initially struck me as thoroughly stuntastic, until I remembered he's literally the shittiest stand-up comic of all-time (I'd have preferred to see Bill Burr chauffeuring the Rav4). Similarly, my anticipation for 'Watch The Throne' was through the asbestos until I remembered Kanye has never had particularly great vocal chemistry with Big Brother, and this current incarnation of Big Brother is barely even a serviceable rapper. I walked away from this cosmic clusterfuck with the impression Kanye should go away for a while and return when he has something to say, and perhaps Shawn should hang it up entirely.

Oddly enough the project's most impressive song isn't even on the album, but rather packaged as a bonus track. 'Primetime' is exactly what I wanted to hear out of a collaboration between two of the most successful artists in the history of the genre. Uncompromising scrunch face rap sure to have your face wrinkled like a Chinese Shar-Pei. Had there been a dozen more songs of this caliber anchored by a handful of obligatory radio jingles, I might have actually considered glancing at the throne.

Droptops & WIllie The Kid Tapes Redux

2011-08-07T03:07:00.003-04:00

I made a few alterations to the original compilation. Get the revised tape here. Enjoy.

Barbershop Theme
Adult Swim
1000 Lashes
Blades Of A Certain Edge
Booth Shot Lincoln
Champagne Flow
Conjuring The Cure
Die Free
Foreclosure
Hickory Smoke
Lord Of The Flies
Love & Loathing In Grand Rapids
Master Ya' Fly
Moment In Time
Quiet Man
Stop Snitching
Sunz Of Man Dart
The Winter Coat
Understanding
Fucking Toxic
Live From The Ritz

ROC MARCIANO: Villainy and Pogo Sticks

2011-07-31T04:16:00.005-04:00

Roc Marciano - "Hoard 90"

(Greneberg; 2011)

Pinpointing exactly what makes Roc Marciano's music so entertaining is an elusive chore. On paper he doesn't appear to be introducing anything particularly groundbreaking or innovative. Initially I assumed his ascent from Flipmode's weed courier sepulcher was a result of impeccable execution rather than outright originality, but the nuance has become increasingly apparent. 'Hoard 90' is a perfect example of why I love this guy's music. There's an interesting contrast between his deadpan demeanor and shewed sense of humor. His punchlines are transient, passing quickly in and out of existence. Akin to telling a hilarious joke without so much as cracking a smile. Roc Marciano makes music for those who instinctively root for the villain, and champion the antagonistic qualities of Bill Lumbergh, Johnny Lawrence, Duke Sigmund Igthorn, and Wile E. Coyote. But it's pretty awesome that in between ice grills he still finds time to conjure the priceless imagery of hoes riding dicks like pogo sticks.

WILLIE THE KID: The Black Chaucer

2011-07-20T02:39:00.009-04:00

Willie The Kid - "Cornucopia"
(The Crates; 2011)

Willie The Kid finally reveals a glimpse of 'The Crates', which has apparently usurped 'The Cure 2' as his imminent release. The not-so-proverbial "cornucopia of flows" barely span a quarter of the song's total length, while recurring cast member Afaliah occupies the bulk of the record. In the closing moments he affirms the forthcoming tape will pay homage to original samples used to create classic rap tunes. 'Cornucopia' covers Stereo Lab's 'Come Play In The Milky Night', which is the foundation of J Dilla's 'Show Me What You Got' instrumental. Opposed to weaving his voice around instrumentation as Ghostface Killah has in the past, he exploits the same apathetic tone that ironically helped to sell his earnest on-wax persona thus far. This effort probably won't generate Willie the prosperity symbolized in the title, but it makes for a pretty damn good listen.

DOWNLOAD: Complex Magazine's Introduction To The Great Diamond D

2011-07-16T12:54:00.001-04:00

I did you the pleasure of compiling all the records discussed during Complex's recent sit-down with Diamond D. Get the tape here. Enjoy.

Sadat X - "Wild Cowboys"
KRS-One & Busta Rhymes - "Build Ya Skillz"
Mos Def - Hip Hop (1999)
Diamond D & Busta Rhymes - "This One"
Fat Joe, Grand Puba, & Diamond D - "Watch The Sound"
D.I.T.C. - "5 Fingers of Death"
Diamond D, Lord Finesse, & Sadat X - "You Can't Front"
Diamond D, Sadat X, & Lord Jamar - "A Day In The Life"
Fat Joe - "Flow Joe"
Fat Joe & KRS-One - "Bronx Tale"
Fat Joe, Kool G Rap, & Apache - "Out Your Fuckin' Mind"
The Fugees & Diamond D - "The Score"
Diamond D - "The Hiatus"
Diamond D - "Sally Got A One Track Mind"
Diamond D - "Fuck What U Heard"
D.I.T.C. - "Day One"
Busta Rhymes - "Bus-A-Bus" (Remix)
Queen Latifah & Sisqo - "I Dont Know"
Brand Nubian - "Punks Jump Up To Get Beat Down"
Ras Kass - "Soul On Ice" (Remix)
Scientifik & Diamond D - "I Got Planz"
Freddie Foxxx & Billy Danze - "Bumpy Bring It Home"
Pharcyde - "Group Therapy"
Outkast - "Southernplayalisticadillacmuzik" (Remix)
House of Pain & Diamond D - "Word Is Bond" (Remix)
Alkaholiks & Diamond D - "The Next Level"
Too $hort, Jay-Z, & Jermaine Dupri - "Here We Go"
Showbiz & AG - "Soul Clap"
Showbiz, AG, & Diamond D - "You Want It"
Sean Price & Diamond D - "Get It Together"
Sadat X & Heltah Skeltah - "The Great Diamond D"
Sadat X & Diamond D - "X-Man"
Pharoahe Monch, Common, & Talib Kweli - "The Truth"
Pharoahe Monch - "Shine"
Xzibit, Alkaholiks, & Hurricane G - "Birds Eye View"
Lord Finesse - "Funky Technician"
Leaders Of The New School - "Classic Material" (Remix)
Organized Konfusion - "Questions"
Tribe, Brand Nubian, & Diamond D - "Show Business"
Dana Barros, Cedric Ceballos, Brand Nubian, & A.G. - "Ya' Don't Stop"

HALFTIME: Lattisaw Tape's Tentative Favorite Rap Song of 2011

2011-07-12T17:52:00.002-04:00

Written by HL of 'Droptops & Stacy Lattisaw Tapes'.

Prodigy - "Black Devil"
(The Ellesworth Bumpy Johnson EP; 2011)

Prodigy's contentious autobiography sparked outrage due to it's generally unflattering portrayal of Mobb Deep's circle of friends, foes, and associates. While sensational elements are indeed what make 'My Infamous Life' vastly more entertaining than any piece of writing published by the recent wave of rapper-turned-authors, controversial excerpts promoted across the blogosphere overshadowed it's most substantive moments. Particularly his intense appetite for information which developed in the interim between 'The Infamous' and 'Hell On Earth'. In the book Pulitzer P draws a comparison between his "awakening" and John Carpenter's 1988 film 'They Live', in which the protagonist acquires a box of sunglasses capable of revealing the world's ills. 'Black Devil' is Prodigy's latest effort to convince his audience to don their own truth wielding specs.

The premise was briefly introduced on 'Genesis' (the latter of what always felt like dual intros featured on 'HNIC') as a threat to expose covert demons guilty of duplicity. Staying true to that eleven-year-old pledge, 'Black Devil' denounces bigotry, questions the practicality of five percenter ideology, and insists the listener maintain a healthy skepticism toward familiar faces. Whether or not you choose to adopt this doctrine is inconsequential, because the validity of his message isn't half as important as the fact it sounds like the greatest rap song released in 2011. Illuminati P's conscious incarnation aligns perfectly with the apocalyptic aesthetic fathered by Havoc, cultivated by Alchemist, and in this instance outsourced to Sid Roams. If the haunting atmosphere and engaging content found on 'Black Devil' also lives on the forthcoming full-length Mobb Deep album, the future bodes well for the infamous duo.

HALFTIME: Tron's Tentative Favorite Rap Song of 2011

2011-07-10T21:08:00.003-04:00

Written by Abortatron of 'George Bush Money'.

Raekwon & Nas - "Rich and Black"
(Shaolin vs Wu-Tang; 2011)

DISCLAIMER: Trust, I'm well aware of the epic irony at work here, seeing as how I know absolutely nothing of being rich, black, or any combination thereof. Stay close...

It's no secret that Raekwon resuscitated his career after finally making good on his promise to release 2009's 'Only Built 4 Cuban Linx 2'. Most of us assumed the often delayed sequel would be a disgrace to the Wu legacy—a blatant attempt to attach the legendary Purple Tape franchise to a half-ass LP saddled with second string Wu affiliates. Fortunately, Shallah shocked the world by delivering a follow-up worthy enough to carry on the name of it's predecessor. However, there was a key ingredient the sequel failed to inherit from the original—a collaborative effort with Nas Escobar.

Fast forward to January 2011, rap-nerds far and wide rejoiced when the tracklist for 'Shaolin vs Wu-Tang' revealed Nas would contribute to 'Rich and Black'. Extra points should be awarded for not reaching for some type of "club-banger", or trying to pull off an unnecessary tribute to an era long gone. There is no formula for a "hit" at work here—no hook, no soul sample, no Alex Da Kid beat, no trend chasing, no nonsense. 'Rich and Black' is just straight up, uncut hip-hop. Despite Nas incorporating lyrics recycled from J Love's 'Desert Eagle Mouthpieces' two years prior over a nearly identical Sean C & LV instrumental, the two legends go back and forth, verse for verse, elevating their respective game each time the mic is passed.

What I really admire about this recording, pushing it to the top of my annual list, is it works for every conceivable scenario. Preparing for a long day's work? Need to get to the ol' adrenaline pumping on your way to punch someone's face in? Looking for the perfect tune to scare the old white people at the traffic light? Searching for a celebratory anthem to blast in the seven passenger minivan while shuffling a little league baseball team to Dairy Queen after a victory? You already know. 'Rich and Black' is truly a song for all seasons.

So while the reunion is indeed belated, and certainly not as essential as 'Verbal Intercourse', it's the polar opposite of what you would hear on your local "blazing hip-hop and R&B" radio station, and that's good enough for me.

HALFTIME: Evan Nabavian's Tentative Favorite Rap Song of 2011

2011-07-08T09:20:00.001-04:00

Written by Evan Nabavian of 'Metal Lungies'.

DJ Quik & BlaKKazz K.K. - "Poppin"
(The Book of David; 2011)

When I listen to 'Hard In Da Paint' and 'B.M.F.', I feel like I can topple a government with a kitchen knife. Lex Luger's bullheaded aggression can be very satisfying, but not as much as 'Poppin' by DJ Quik, which sounds like it could replace the music that plays in Kill Bill when Uma seizes up with deadly purpose. The beat sounds like holy retribution. The slightly goofy hook (“Up in the morning I keep it pop-pop-poppin'”) could suit dance floors if it had happier sounds behind it, but the foreboding drone and the heavy drums are pure malice. Quik's every move is calculated, down to the gunshots that accent every line. His targets? The game, his sister, and those who would compare him to Dr. Dre. He's cold and subdued – almost casual, giving K.K. even more impact when his roaring verse drops.

I saw Quik live last month at the Knitting Factory in Brooklyn. He bounced around his catalog a lot and did a thorough Nate Dogg tribute, but he was especially excited when 'Poppin' came on. There are a lot of angry rap songs, but few as focused and dangerous as this.

HALFTIME: The Martorialist's Tentative Favorite Rap Song of 2011

2011-07-06T04:37:00.003-04:00

Written by The Great Gats, B of 'The Martorialist'.

Husalah - "Da Mob"
(Mobbin' Through the West; 2011)

If Live Life Illegal was Husalah's attempt to channel 2002 - 2004 era Mac Dre after being initiated into the Thizz family, then his Da Mob joint from Jacka's Mobbin' Through The Hood compilation is what happens when he reaches for his Ouija board and asks the spirit of Dre circa 1989 - 1992 to rap through him on some ‘The Power of Furl Compels Me!’ type shit. It's a welcome move since Husalah is one of the more charismatic descendants of the Mac Dre school of gangsta-rap and there's only 4 EP's worth of material of the real thing from the Strictly Business Records period of Dre's career before he managed to get himself locked up back in 1992, but please don't mistake Da Mob for some bizarro Bay Area mobb musik answer to Jurassic 5 because Hus stomps his own character hard into the song while Charli 2na and whatever the names of the other rappers in J5 were* would merely tip-toe, and even Dre's then in-house production genius Khayree couldn't have envisioned bass which would knock this hard back then in the early 90s.

Whilst Jacka's current raison d'etre seems to be "I betcha I can put out even more music than Messy Marv and Lil B", Husalah is now working an angle as the Bay's answer to Jay Electronica by dropping a song here and a song there whenever it behoves him. Does he even plan on releasing a new album? Is he concentrating on the Mob Figaz reunion for now? Is he just making an artistic statement since his Harsh Reality debut long player is still unreleased a decade later, bar the odd leaked song like One Shot with Kool G. Rap? Or is he just too busy perfecting his Dru Down in the I Got 5 On It remix video hairdoo to put an album together? Bro, I still have trouble differentiating between Fed-X and Rydah J. Clyde on Mob Figaz posse-cuts so how the fuck do you expect me to answer that when even Mob connoisseurs like Thomas are baffled by Hus' unusual approach? Know this as fact, though : Luv Of My Life by DJ Quik & Gift Reynolds, Nowhere To Run by Rittz, South Wave by Max B, What's Happenin'? by Webbie, Concrete by E-40, Levi's by Treal Lee & Prince Rick, Lincoln Continental by Danny Brown and Danger Zone by DB Tha General & Kurt Diggler have all gone hard in my paint so far in 2011 but Da Mob does a certain something those suckaz can't, and that's making my laptop's speakers feel like the crispy ten inch sub-woofers that pop in Husalah's cadillac at the end of Fighting The Feds.

*If you can answer that question without the aid of Google then, please, get in touch because I want you on my rap themed pub-quiz team.

HALFTIME: Mobb Deen's Tentative Favorite Rap Song of 2011

2011-07-04T14:48:00.001-04:00

Written by Mobb Deen of 'It Was Posted' and 'George Bush Money'.

Juicy J - "Who Da Neighbors"
(Rubbaband Business 2; 2011)

One day some wise hedge fund muthafucka' will reinvest in John DeLorean's old car company and start rolling out DeLorean DMC-12s again (or maybe the HNIC can give whoever owns the rights to the company bailout funds). That day will be awesome because we'll finally be able to time travel per the scripture derived from the bestest movie ever, 'Back To The Future' (well, maybe second bestest ever after the first hour of 'Coming To America'). Don't worry about the flux capacitor - we have cell phones now.

I imagine that won't happen for at least three years, so that gives the version of me writing this shit right now time to plan my escape from the asskicking the eighteen year old version of me would inflict on himself (i.e., me) for the high crime of listening to most of the shit I bump in 2011.

That said, I'd gladly take that ass-kicking in exchange for the right to continue listening to Juicy J and Lex Luger's 'Who Da Neighbors'. The production sounds like every other Lex beat (give or take a synth line or two) and Juicy J NEVER says anything of consequence, but I'll be damned if this song hasn't wormed its way into my constitution as a human being. Frankly, it's a pretty ridiculous song, but I can't help it - it's the song I've enjoyed most in 2011. Same goes for the rest of the pair's 'Rubbaband Business 2' mixtape - it's delightfully ignorant audio carnage designed to encourage you to make terrible life choices and aspire to greater heights all at once. The weird thing is that I've acted accordingly - even though I know that smart people don't take life advice from crazy rappers.

Why?

Because I want to live on 40 acres next to Kobe Bryant someday. That's why. We trippy mane...

What's your favorite song of 2011 thus far?

2011-07-01T21:03:00.000-04:00

It brings me great pleasure to announce several of my favorite writers will be revealing their picks for 2011's most impressive rap song right here on 'Droptops & Stacy Lattisaw Tapes' next week. With that said, I'm curious as to what songs the ol' faithful readership have enjoyed the most this year. I suppose I'll look pretty silly if no one responds to this, but whatever. What say you?

Return of Nasty Reign Drops

2011-06-25T10:04:00.005-04:00

Boldy James & Mikey Rocks - 'Drops of Reign'

Boldy James is a red shirt freshman occupying an ever expanding roster of Detroit Natives equipped with the ability to successfully conflate street narratives and backpacker soundscapes. James sluggishly drags muffled words across 'Drops Of Reign'. His indifferent demeanor manages to make the most elementary lines (po' young fella') interesting and memorable. This song would serve as an impressive introduction to anyone unfamiliar with Boldy's Trappers Alley project. Even the atrocious half of The Cool Kids delivers a serviceable contribution.

J Cole - 'Return of Simba'

'Return of Simba' is one of several leaks from J Cole's forthcoming album that have surfaced in recent weeks. The consistent outpour of material has failed to generate much optimism for The Sideline Story. Fortunately, the third installment of his reoccurring Lion King themed ballads merge introspection, wit, and energy. These characteristics can be found individually on many of Cole's previous efforts, but rarely ever coexist on a single song. I suppose it doesn't hurt that this leg of the trilogy actually offers a cinematic backdrop that accentuates Jermaine's sense of urgency, opposed to the repetitive production heard on parts one and two. 'Return of Simba' is one Big Shirley reference away from being a flawlessly executed record, which begs the question: How many songs of this caliber will Roc Nation allow to live on his major label debut?

Nas - 'Nasty'

Nasir Jones is perhaps rap music's strongest catalyst for pessimism. However, the first glimpse of his fourteenth full-length release forced critics to momentarily abandon their unyielding outrage and settle for backhanded compliments. 'Nasty' features an incarnation of Nas more recently outsourced to the likes of DJ Khaled, Mobb Deep, Raekwon, and Green Lantern. Considering the arrogant tone, materialistic content, brandishing of firearms, and dense lyricism, this endeavor would have more appropriately titled 'Esco'. Salaam Remi contributes a simple break-beat furnished only with intense static, never distracting from the rapid onslaught of clever wordplay. While the verses are as indeed as nasty as Dave Chappelle suggests during the bridge, the most notable aspect is the underlying premonition of Escobar Season.

7 Reasons Why "BLOOD MONEY" Is Mobb Deep's WORST Album

2011-06-18T00:48:00.004-04:00

Also, check out GuttaBoyJihad's argument for Amerikaz Nightmare.

1. A-A-A-A-A-A-A-Alchemist
Alchemist was unfortunately limited to a single contribution on Blood Money. Not much else to see here...

2. Wrong Weed Carriers

The Mobb's legion of serviceable sidekicks have always played a role in their full length albums. Illa Ghee, Big Twins, Littles, and Un Pachino were exchanged for excessive G-Unit features, resulting in an impelled assimilation. Blood Money is the first Mobb Deep project since Juvenile Hell deprived of a Big Noyd feature.

3. Where's The Classics?!

Yeah sure, the "Outta Control" remix was mildly successful, peaking at #6 on the Billboard Hot 100, but it didn't even feel like a Mobb Deep song. Most people probably assumed it was a 50 Cent record featuring Havoc and Prodigy. Brolic street singles that influence you to do bad things are a stable of Mobb projects. "Quiet Storm", "Keep It Thoro", "Burn", and "Got It Twisted" all held true to the Thun Life aesthetic in a post-jiggy era. I can't imagine wanting to hear anything from Blood Money performed live in concert.

4. It's Worse Than Amerikaz Nightmare

While it's true that "Real Gangstaz" is the runner up worst Mobb Deep song ever recorded, the impressive pockets of Amerikaz Nightmare—including "Win Or Lose", "We Up", and "Got It Twisted"—are far more powerful than anything it's successor had to offer.

5. Tick Tock Fuckery

Regardless of the circumstances, a verse recorded by Nasir Bin Olu Dara Jones should never be deleted from any song. EVER. The old Mobb Deep had morals, and would never let something as trivial as bullet wounds or even perjurious testimony get in the way of excellent rap music. Yet somehow the classic slick-talk peppered with introspection displayed on "Tick Tock"—initially found on Alan's Insomnia mixtape—was reconfigured into an ode to the bitches featuring Mary J Blige. Egregious! What's more offensive than the exile of Godson are the subtle sprinkles, bells, and whistles unnecessarily piled atop of an already flawless instrumental.

6. Censorship

Fans deserved to hear the original version of "Pearly Gates", but I suppose 50 Cent exhausted all his political capitol denying us a Styles P album.

7. Curtis Suppressed The Natural Mobb Sound

Let's be honest, fans weren't going to accept this album, regardless of it's quality. Rap needs a bad guy, and 50 Cent is clearly the villian. His embrace of Mobb Deep is admirable to say the least. He reached out at a time when he didn't have much to gain from their affiliation, and that act of generosity should absolutely be applauded. With that said, he completely overdosed on executive production. The best thing he could have done for Havoc and Prodigy is create a situation devoid of any pressure to compromise their artistry. Instead, he chose to micro-manage a group with arguably the strongest catalog in the history of the genre. The end result was a consistently average album with few nadirs, and even fewer peaks. Despite his good intentions, there's no doubt that Curtis dropped the ball. Blood Money is indeed the worst retail album ever released by Mobb Deep.

LORD SUPERB & UN PACHINO: The Juks Pt. 2 (Ghostface Diss)

2011-06-03T07:20:00.017-04:00

If you're a devout Wu-Tang fan such as myself, chances are you're already familiar with Superb Clientele, on which Lord Superb launched a few shots at Ghostface. While I don't buy the Ghostwriting accusations, Superb is one of the few rappers I would care to hear an acapella album from.

Lord Superb & Un Pachino - The Juks Pt. 2

PLANET ASIA: Feature Creature

2011-05-26T17:23:00.001-04:00

If you've kept an eye on the aggregate hip-hop blog circuit over the last few months, you're probably already familiar with the recent string of impressive guest features Planet Asia has stitched together. For those that slept, here's a brief summary. Enjoy.

Roc Marciano & Planet Asia - "Scorched Earth Policy"

Camp Lo & Planet Asia - "One Ice"

Blu & Planet Asia - "Doowhop"

Alchemist, Oh No, & Planet Asia - "Get Into Some Gangster Shit"

Droptops & Tragedy Khadafi Tapes

2011-05-23T04:12:00.000-04:00

Tracklist after the jump. Get the tape here. Enjoy.

Twenty Five Predators
Can't Figure
Death Row
Deja Vu
Doo Wop Freestyle
First Day of Spring
Ghetto Melody
Grand Groove
Grand Groove (Bonus Mix)
Illuminati
Leviathan
Lift Ya' Glass
Love Is Love
Lyrical Calisthenics
LA LA
Neva Die Alone Pt. 2
No Equivalent
One Hand Wash the Other
Q.U. Soldier
Soledad Brothers
Stay Free
T.M. (Message to Killa Black)
The Game
The Turnaround
They Forced My Hand
Thug Paradise
Thug Paradise Pt. 2
True Confessions
You Can Find Me

Queens Got Something To Say

2011-05-17T18:07:00.008-04:00

Neek The Exotic & Large Pro - "Guess Who"

My initial thoughts on Neek's latest effort, Still On The Hustle, is it's pretty good, but not enough so to warrant repeated spins. While he's actually a serviceable rapper, the album would have benefited immensely from Large Professor stepping beyond the boards (from what I understand he produced the entire project) and contributing more vocally. Not so much because the two have such incredible chemistry, but due to the fact Neek isn't very engaging and more enjoyable in small doses. It comes as no surprise the strongest efforts are the handful that feature Neek trading bars with the Mad Scientist, most notably "Guess Who".

Prodigy - "P Against The World"

Although "P Against The World" was supposedly recorded with Sid Roams prior to Prodigy serving his prison bid, I couldn't think of a more appropriate song to surface following the release of My Infamous Life. If I didn't already know this song is at least three years old, I'd assume Ambassodor P's claim that his detractors were limited to "one minute of fame" and attempting to "censor his words" was a jab at his former colleagues that have recently expressed disapproval and questioned the motives behind his autobiography. There's a genuine arrogance and chilling demeanor displayed here that I haven't heard in quite a long time.

HOSKINS: Fantasy Basketball League Championship Acceptance Speech

2011-05-16T20:02:00.007-04:00

Congratulations to Hoskins for winning the fantasy league.

Hello there. This is Hoskins a.k.a. @WhaHos, your new Lattisaw Tapes Fantasy Basketball Champion. To quote myself: "SMH missed draft, got a shit team. I'll win with it still."

Nasty Nas, to Esco, to Escobar, now he is Nastradamus...

First, thanks to HL for putting this all together. Its a shame he never had a chance of winning. As a Londoner playing in my first Fantasy basketball league I made some mistakes, missed Dorrell Wright, dropped Hickson too early, but in the end it didn't matter. Tron Amaechi flopped, Deen disapointed like Arsenal US, NovemberEnd continues to prove NY is done, and Shooter should consider Fantasy Lacrosse in the future. JayR was giving me a run for it and was leading for most the season with five 20/10 players. But in the end...

No stamina...

Shoutout to Nowitzki for carrying my team to the chip, this may also be his best chance in years to win the real championship. I thank Ibaka for his blocks, John Wall, Andre Miller and Tymond Lawton for their assists. And finally I thank Monta Ellis, Marcus Thornton and Jordan Crawford for their ballhoggery gunning.

Until next year...

ELZHI: Detroit State of Mind

2011-04-30T23:17:00.003-04:00

Last year Fashawn's Ode To Illmatic built an incredibly solid case for those opposed to revivalism. The most memorable aspect of his tribute was the fact it temporarily deflated my anticipation for Elzhi’s similarly themed project. Fortunately, my faith was restored with the release of 'Detroit State of Mind'. In addition to encompassing a refreshingly aggressive delivery, Elzhi managed to successfully shift the focus of the original narrative. 'New York State of Mind' is absolutely a regional anthem, but the lyrics are self-absorbed and mostly concentrate on The Big Apple's influence on a teenage Nasir's style, sanity, and ambitions. Meanwhile, its mid-western counterpart employs the same vantage point, but instead documents the plight of Detroit's inhabitants rather than unraveling personal tribulations. Whether or not Elzhi's deviation from Nas' blueprint was intentional or simply a result of misinterpretation is debatable. Regardless, the nuance suggests Elmatic has the potential to serve as more than merely a declaration of inspiration.

Elzhi - Detroit State of Mind

$WONDOUGH$: Exclusive Interview

2011-04-22T19:52:00.005-04:00

You're from Miami correct?

Made in Dirty Dade. 305 all night and all day. I love M.I.A.

How would you assess Miami's current hip-hop scene? To an outsider such as myself it seems Maybach Music Group is the only movement gaining strength down there.

There is a lot of hidden talent and much of it is stuck in Miami's underground scene. I plan on exposing all the hidden talent in the 305.

Can you see yourself collaborating with any of Miami's local talent in the near future?

As long as me and my peoples remain free, I see myself collaborating with some of my homies...God Boy, Mr. Mic Rippa, AngeLust, iLLmaTTec, and Dub-P Mogly just to name a few.

What do you think of Uncle Luke running for Mayor? Would you vote for him?

Uncle Luke stood up for our rights and defended Hip-hop when they tried him on that first amendment rights fiasco back in the day. I support anybody who supports me.

I detect a heavy Ol' Dirty Bastard influence in your style. Who would you say are your influences?

I was a Naughty By Nature kid. I listened to the sounds of Deathrow before I did any bid. I listened to Wu-Tang when they said protect your neck, so I did when I was rolling with my Triple Six Mafia set. It feels like its Me Against The World, an Outkast who isn't quite Ready To Die. I am Illmatic beyond a Reasonable Doubt. Big Punisher latin pride...

It seems like you routinely transition between English and Spanish throughout your verses. Is that intentional?

Out here we be speaking broken language Spanglish, but I'm keeping the Spanish at a minimum for now because the majority of my audience only speaks English.

You're not worried the Spanglish will alienate unilingual listeners?

Thats why I keep it at a minimum, but when I target those who do speak it Imma' go crazy! No Jeezy...

Clever. Tell me about your new single "Helicopter Chopper City". What message were you trying to get across?

Helicopter Chopper City is a song that represents myself and the city. It is the anthem of my T-Shirts that I have for sale. You can find it on my website, and when you see the logo?! Nuff' said. The logo is what Miami is representing right now, but we're going to change that image to something more positive eventually.

I think one of your most engaging songs is "Worst Enemy". You attract a great deal of hate. Do you really feel you're WonDough's most dangerous adversary?

I grew up in a negative environment with alot of hatred directed towards ourselves and others, so the hate ain't really nothing to me. I actually feed off of it. If it was all love then what I'm looking for would come too easy. The man upstairs wouldn't want that for me. Nothing ever came easy to me. What did come easy, I paid for it many times over. I'm my own worst enemy and I'll be your worst enemy if you cross that line. Thats for anybody who wants to stop my progress. I'm just trying to turn all the negativity in my life into positivity. I got a story to tell, and I want to help the future misguided youth avoid the pitfalls and traps that I fell for. That's all. The future is ours.

Speaking of the future, what does WonDough have lined up? Any projects we should be looking out for?

I have many things lined up. What will be released is another story. I don't know what the future holds. I'm just going to play it by ear. I am the project, so keep looking out for me, WonDough.

The 10 Greatest Little Brother Recordings

2011-04-15T19:54:00.008-04:00

Co-written by Deen from It Was Posted and George Bush Money.

I realize many fans have developed a deep seated resentment (mostly warranted) for Little Brother, so allow me to briefly justify my unwavering support for the trio. I can relate to the group on a personal level, and my relationship with their music is undoubtedly enhanced due to the fact we share remarkably similar backgrounds. We are roughly the same age, hail from the same region, alumni of historically black college universities, and often misunderstood.

When Phonte reminisces on cruising down Greensboro's Summit Avenue, working dead end jobs with uncompromising patrons, or retreating to Cookout after an unsuccessful night of club hopping, it resonates deeply because I've literally been there and done that. Similarly, when Big Pooh reveals the unyielding chip on his shoulder, reflects on his awkward childhood encounters with the opposite sex, or expresses his penchant for personal space, he's telling my story.

With the exception of a few isolated efforts such as "Never Leave" and "The Fever", Phonte and Big Pooh rarely spoke in abstract terms or utilized clever extended metaphors. The bulk of the material they've released is based in reality and hardly ever offers escapism outside of Phonte's alter egos. While I don't feel Little Brother should be applauded for being unimaginative, their authenticity and directness has always been their bread and butter. They had a nice run, and I absolutely appreciate their contributions.

To celebrate their efforts, I've recruited Deen to assist in determining the cream of their discography. The process was definitely a compromise, as only two songs in our own personal lists overlapped. I gravitated toward songs that focused on betrayal and straight spitting. Meanwhile, Deen championed topics such as travails of everyday life, relationships, and love for their craft. After a few discussions, I scaled back multiple entries from Sleepers and we agreed to meet somewhere in the center. If you're already a-board the bandwagon, full stan ahead. If you could care less about Little Brother, I hope this provides you with an understanding of our appreciation. Enjoy.

One common and largely misguided assumption a lot of rap fans made about Little Brother was that they were stodgy rap classicists or strict revivalists. Or in more common terms, backpacking haters. This cut from their debut The Listening made it pretty clear that Little Brother intentions spanned beyond enlightening you and give you some shit to relate to—they were also interested in getting you to move those feet. 'So Fabulous' is stuffed full with all sorts of cool shit—a wonderfully danceable beat (from 9th no less), impressions of a slew of Old School MCs on the third verse, trade-off verses between Phonte and Pooh, smooth horns on the hook, beat boxing, and a contribution from someone I've always assumed to be Ladybug Mecca (from Digable Planets) in the form of an interpolation/transition into another song on this list. I'm guessing that the only reason no one has ever actually two-stepped to this song in a club is because Lil' Jon was at his ear drum impairing peak back in 2003. — DEEN

In addition to employing one of the hardest Khrysis beats I've ever heard, "Doin Me" is notable due to Phonte's complete ethering of his own mother. Sure, Killa Cam slapped the shit out of Ma' Dukes, but that was business (you just don't thrash a grown man's crack platter). Little Brother always had a knack for spicing up fairly universal themes by unveiling the details within their own personal lives. Big Pooh's vitriol is reserved for their own modest fan-base. His verse isn't quite as effective as Guru's infamous Hard To Earn Intro, but it does successfully convey his appreciation for personal space. — HL

There are many sentiments that aren't usually explored in rap songs. Or at least not explored without resorting to violence and violent fantasies. 'All For You' finds both MCs reflecting on the effects absentee fathers have had on their lives as adults. It's soul wrenching stuff, and an excellent example of Little Brother's ability to make a genuine emotional connection with the listener. Although several more songs of this nature are littered throughout their catalog, I happen to think it's the best song of that kind they've ever recorded. — DEEN

I remember people accusing Kanye West of having a massive ego even during the College Dropout era. I never really prescribed to that line of thinking until the release of 'I See Now'. How dare he fix his face to so blatantly criticize the beautifully spacious female demographic?! Whatever. That's just more for me I guess. Even if I don't agree with Kanye's taste in women, I can't deny his rant is one of the most entertaining I've ever heard on record. Especially the bit about his check engine light, considering my own dashboard was 4th of July status back in 2004. However, the real highlight of the song is the effortless exchange between Consequence and Big Pooh. — HL

HL and I are equally guilty of deemphasizing the role that humor played in Little Brother's music. Simply put, these guys are fucking hilarious. 'Cheatin' is essentially a parody of the ridiculous excuses for R&B songs that were prevalent back in the middle of last decade. Specifically that stupid 'Trapped In The Closet' shit that R. Kelly used to distract people from the fact that he was doing an early simulation of the BP oil spill on teenage faces. Phonte slips into his Percy Miracles persona (with an assist from a vocalist who sounds suspiciously like Ronald "Mr. Biggs" Isley) to deliver a hilariously obscene dismantling of a cheating spouse. I'm honest enough to admit that I don't think I'm enough of a writer to describe how great 'Cheatin' truly is. You just have to hear it. The best part is that there's plenty more of this kind of this shit all throughout their discography. — DEEN

I'm not sure how well it was received by the blogosphere or hip-hop publications, but I've always considered Big Pooh's debut album to be an underground classic. Sleepers was a collection of great songs wrapped around a series of awesome movie excerpts, and featured what I believe to be the strongest production 9th Wonder and Khrysis have ever mustered. Pooh's verse serves as a reminder that the length of black life is still treated with short worth, but what really takes the song over the top is Median's contribution. Median has always been the Big Noyd of the Justice League. He's the ultimate team player, and his collaborations with Little Brother are always welcomed. Not only does he steal the show with a barrage of memorable lines (clown ass frown ass etc), he may have pulled off the most convincing giggle in the history of rap music (sorry Wayne). — HL

The brilliant writing staff of Chappelle Show once conceived a sketch which re-imagined the night club experience in real time, opposed to the slow motion myth routinely depicted in rap videos. 'After Party' shares a similar premise. Big Pooh documents a typical night out on the town in first person, while Phonte narrates the inevitable ensuing loneliness. Little Brother is often regarded as snobbish, but self-deprecation is a fairly common theme throughout their catalog. — HL

'The Way You Do It' and 'So Fabolous' stand as tributes to the power of great sequencing on an album. Since the day I purchased my copy of The Listening, I don't think I've ever listened to this either song without its counterpart. More interestingly, the production (vocals and beats alike) on 'The Way You Do It' display hints of a really interesting musical direction that Little Brother never really explored within the confines of the group, although Phonte did continue to embrace this kind of stuff with Foreign Exchange. — DEEN

"This situation has too many layers for an outsider's input to really penetrate the train of thought. This ain't about money, women, or music...its about respect, loyalty, and ego." — BIG POOH

I might be wrong about this, but I believe I read somewhere that 'Speed' was either the first song or first video that Little Brother ever made as a group. On the off chance that I'm actually correct, this was one hell of a first salvo from the Bull City representers. As always, Phonte dominates the song with his laments about the seemingly endless amount of hustling it takes to just to get by on a daily basis and our shared desire to find a minute to provide some respite from the grind, Big Pooh follows suit, and 9th Wonder provides an instrumental with those archetype snares he's become associated with—long before they became annoying. Little Brother was a multifaceted group, so there's no single song in their catalog that reflects everything you'd ever need to know about them as artists. However, 'Speed', despite not being particularly unique or catchy, strikes me as THE quintessential Little Brother song because it stands as a portrait of what they did best: capture the minutiae of everyday life in the most clever, determined, and inspiring ways possible for their listeners. — DEEN

In Defense of Albert Johnson

2011-04-11T06:59:00.003-04:00

I wrote this for George Bush Money last week. Enjoy.

I think it’s safe to say Mobb Deep’s initial post-penitentiary efforts have been greeted with a lukewarm critical reception. It came as no surprise to witness ‘Dog Shit’ written off as underwhelming, as Nas is habitually maligned across the blogosphere. What is puzzling, however, is the cold shoulder Prodigy has received thus far considering just a few weeks ago “Free P” was certainly a ubiquitous movement.

Much of the disparagement appears to stem from his inability to rekindle the Murda Musik era vogue, but unless New York’s Mid-State Correctional Facility now provides prisoners access to wormholes and flux capacitors, there was never any reason to assume Prodigy would come home twelve years younger. Apologists have suggested he should be alloted ample time to shake the rust off, but this is a flawed argument when his recent contributions pick up right where HNIC 2 and Product of the 80′s left off. Nas’ assertion that while “locked in prison your clock stops ticking” was a spot on assessment of Prodigy’s performances on ‘Dog Shit’ and ‘Love Y’all More’.

Although revisionism has quite successfully convinced the world otherwise, Prodigy’s progression toward liberal non-rhyme schemes and the dilatory delivery present in the latter half of his career was absolutely not a result of the infamous summer jam screen ridicule. This suppositious line of thinking is problematic because it suppresses the nuances within P’s career trajectory. Proposing such a narrative is akin to assuming Ghostface Killah abruptly introduced his abstract approach on Supreme Clientele. It’s a gross oversimplification, ignoring the fact that Prodigy’s current spoken word incarnation first reared its head on Murda Musik, further transitioned on HNIC and Q.B.’s Finest, and fully manifested on Infamy.

I choose to view Prodigy’s artistic direction over the last decade as a journey of growth, rather than a series of missteps. The elements of paranoia, vulnerability, and awareness that separated Mobb Deep from their contemporaries continue to permeate his music (particularly his solo catalog). In fact, I would argue that the ominous imagery of his later works actually trumps that of his most heralded material. In defense of Albert Johnson, he’s been in rare form since the release of Return of the Mac back in 2007. I’m not so sure the same can be said for the 'discerning' ears of his fans.

AGALLAH SEASON: A Tribute To GrandGood

2011-04-09T13:04:00.006-04:00

I love reading about rap music, so I keep my eye on quite a few blogs. To my knowledge, GrandGood is the ONLY website that ever bothers to post Agallah's music. In the past I've mentioned how underrated I feel the Don Bishop truly is on the boards. Dude is distinctly New York, but I feel his sound would resonate beyond the city if he could just land some high profile placements. The Dipset reunion, for example, would benefit immensely from his involvement. For about a year or so he and A.G. have been releasing a great deal of stellar music that for the most part fell upon deaf ears. Here I've compiled all the Agallah mp3's posted on GrandGood in the last 365 days. Get the tape here. Dig a little deeper for the tracklist. Enjoy.

Living In The Past
Nova Scotia Fems
Rap Bobby Fisher
Redspecful
Smoke Away
Stand Clear
Swoopy
The Launch Off
Treez 4 Xmas
Vince Lombardi
You're All Welcome
Choppa Time
Make It Double
What You Know Bout' It
Get It Together
Give The Drummer Some
Bodies Remix

REVIEW: "The Fly 2"

2011-04-07T23:57:00.006-04:00

Many moons ago the criminally underrated high exalted Don Bishop Agallah suggested the mixtape is the album. Fast forward nearly a decade later and the industry has certainly embraced 8-Off’s approach. As we turn the corner on the first quarter, Reakwon’s Shaolin Vs.Wu-Tang is the only official full-length album that stands among the elite 2011 releases. This year’s other notable projects have been distributed exclusively through Mediafire Records. In the digital age mixtapes lacking focus and original production are likely to go in one ear, out the other, and subsequently into the recycle bin.

Willie the Kid’s latest effort matches the towering quality of Agallah’s debut solo mixtape, and raises it a beautifully executed central theme. Although extended metaphors involving high altitudes and aircrafts have admittedly been run into the ground by many of Willie’s peers, “The Fly 2″ actually lives up to its title, as the project is largely an exhibition of acute skill and craftsmanship. As one would expect the music is wrapped around several excerpts from the 1989 film of the same title, which accentuates the spooky atmosphere already present in much of the tape’s production.

In true science fiction thriller fashion, “The Fly 2″ deliberately gets off to a leisurely start. The intro is followed by the tape’s most leaden offerings—“Al B Sure Dart” and “Dragon Fly”—making for an unconventional sequencing considering fans are accustomed to artists swinging hay-makers in the first round. However, the ensuing tracks experience a sharp uptick in pace and intensity, never returning to the initial state of calm until the outro.

One of Willie’s strongest assets is his ability to convey genuine earnestness. His lyrics often reflect the thoughts of an overly analytical individual. “Die Free” is essentially a pep-talk addressed to himself, attempting to inspire ambition and justify his current direction. When Martin Brundle isn’t wrestling with his self-conscience, he’s rapping really, really well. His emphasis on alliteration rivals Rick Ross, while the delivery echoes a heavy Wu-Tang influence (especially Cappadonna) when he inserts abrupt halts mid bar, only to continue traveling in a different direction without missing a beat.

Willie’s technical prowess highlights the project’s lone misstep. While in the past he’s been outclassed by the likes of Lil Wayne, Freeway, Nas, and Scarface, most of his recent collaborators haven’t contributed anything noteworthy enough to warrant retention. Outside of Styles P and Alchemist, “The Fly 2″ would have benefited from replacing the away team with the home team.

“The Fly 2″ is a remarkably cohesive piece of work, yet it’s failed to garner the level of critical acclaim bestowed on Willie’s contemporaries. It will be interesting to see what measures The Embassy take to drum up enthusiasm from the blogosphere. From what I understand we’re suckers for tube socks and ridiculously inefficient acronyms.

ALBUM REVIEW: Everything's Berri

2011-03-30T20:54:00.004-04:00

Everything's Berri opens with a brief and soulful introduction dedicated to the birth place of hiphop culture, as well as fallen soldier Party Arty. The following track "On the Block" recalls A.G.'s experiences in the hood. He navigates effortlessly through a repetitive vocal sample and hollow drums. Opposed to glorifying his street credibility, this song serves as an unbiased resume for the DITC alumni. This sets the tone of the entire project. Throughout the course of this record, Andre never sounds like he's trying to convince the listener that he's a tough guy. This indifference is also echoed on "Infected", "Xenophobia", and "Destroy Rebuild Repeat".

"Dancin' with a Shifter" takes the album in a slightly more abstract direction. It opens with the type of obscure movie sample employed by the likes of DOOM or Jay Electronica. The hypnotic backdrop compliments A.G.'s train of thought extremely well.

Instead of collaborating in the traditional sense, Mr. Berri takes a page from Lord Finesse's sophomore release and shares the spotlight. Comrades Roc Marciano, Party Arty, 950, and Abdul Jabar help to balance the introspective tone of the album with straight spitting on seperate solo tracks.

Unlike Roc Marciano's stellar solo debut, Everything's Berri isn't a front to back boom bap extravaganza. The type of girl songs stubborn hiphop fans such as myself generally despise can be found on this record. Maybe I'm getting old, but I'm not even mad at most of these attempts. The production on "Berriville", "Tweet Heart", "Dreams", "I Wanna Chill", and "Fuck the Club" are tolerable enough. This block of the album is admittedly sappy, but as an aging, nearly wifed-up, EARLY eighties baby I can absolutely relate. However A.G. does wander into unforgivable territory with "No She Didn't", which we should all agree to never mention again.

A.G. closes the album with it's most powerful song, "YMI still here". Tupac, Biggie Smalls, Big L, Big Pun, Party Arty, Roc Raida, and Guru are all remembered over chilling flutes and organic percussion. Unlike Raekwon's touching dedication to ODB, "Ason Jones", Andre's account of the deceased isn't littered with details. Instead the focus is placed on the sudden and unexpected nature surrounding each death.

I thoroughly enjoyed this record. While the collaborative effort between A.G. and O.C. sounded predictable and uninspired, Everything's Berri showcases a rejuvenated legend. Well done Andre.

WHERE AMAZING HAPPENS: A History of Cormega's Absurdly Veracious NBA References

2011-03-21T00:46:00.001-04:00

I love this game. More quotes after the jump.

Cormega: "Rapture"

Cormega: "One Purpose"

Cormega: "Making It Clear"

Cormega & Large Professor: "The Come Up"

Cormega: "Ain't Gone Change"

Cormega: "Introspective"

Cormega: "Stay Up"

Cormega + Ghostface Killah: "Tony Montana"

Cormega + Vybes Kartel: "Dangerous"

Cormega + Dona: "Hoody"

Cormega + Dona: "The Bond"

Cormega: "Legal Hustle Intro"

Cormega & Lake: "Ghetto"

Reakwon Documents the Inception of Wu-Tang

2011-03-14T23:46:00.006-04:00

Wu-Tang Clan are truly living legends, so it's always fascinating to hear them reminisce over the good old days. Whether it's Gza's recollection of traveling the Bronx with Bobby Digital like Lone Wolf and Cub in search of worthy opponents to engage in battle, or Ghostface recalling ODB's innovative uses for plastic wrap, the accounts are almost always grandiose and theatrical.

"The Scroll"—arguably the most well written song on Raekwon's Shoalin Vs Wu-Tang album—transports the listener to the inception of the greatest music group ever assembled. Shallah's skeptical tone transitions to emphatic enthusiasm as he realizes the talent involved in the proposed collaborative effort. This is something of a silent movie, as the characters don't participate in dialogue. "The Scroll" plays out like a Shaw Brothers film. Victims of marginalization suspend petty differences to unite forces against a common enemy. More impressive than the spooky narrative itself, is the fact that Raekwon is still relevant enough to document this historic conference.

Reakwon - The Scroll