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Jay-Z

Upon the release of 2006’s Kingdom Come [click to read], something happened that not even Hov could’ve entirely expected: for the first time since he garnered near-universal (if not critical) acceptance on Vol. 2… Hard Knock Life, Jay-Z’s album was met with modest fanfare at best. Some criticisms were unfounded, and some were not. But one thing was certain: Jay wasn’t quite comfortable in his own skin on Kingdom Come, not knowing how to consistently reconcile his newfound subject matter with rhymes and production to create a well-executed album. In a rare act of self-consciousness, Jay-Z took these criticisms – and his own doubts – to heart. As a result, he allowed his subject matter to regress to street tales on the excellent American Gangster [click to read]. While Jay used the movie of the same name as an excuse, it’s clear that he wanted to re-instill both himself and his fans with confidence that a product by S. Dot was a worthwhile one.

All this is very important to consider when one realizes that The Blueprint 3 – follow-up to Jay’s 2001 classic [click to read] and its 2002 not-so-classic sequel [click to read] – is the album that Kingdom Come was meant to be. “I’m talking ‘bout life…and all I hear is ‘Oh yeah he keeps talkin’ bout crack!” Hov rhymes in the album’s intro, “What We Talkin’About,” affirming his commitment to progressing this time around.

The show continues with the somewhat-controversial “D.O.A. (Death Of Auto-Tune)” [click to view], a condemnation of not only Hip Hop’s latest and favorite crutch, but of all over-saturated trends that get run into the ground. No I.D. [click to read] is at his best here, marrying a heavy electric guitar loop with intermittent Klezmer clarinet. Blueprint 3’s Rock influences extend onto “Run This Town,” featuring Kanye West and Rihanna. Here, the multi-platinum trio claims the throne – but no one does a better job of it than Kanye’s beat. As the very best producers know, and Kanye is certainly among that group, the best production is that which tells a story before the first verse drops. The epic drums, piano keys and guitar practically evoke Jay’s famous “I will not lose” mantra. On “Empire State of Mind” [click to listen], far and away the album’s gem, Jay-Z’s expertly-told Horatio Alger story and the pure emotion evoked by Alicia Keys’ chorus over Shux’ soulful keys and drums ensure an instant classic that enters Hip Hop’s annals alongside previous Jay-Z triumphs “Hard Knock Life” and “Izzo.”

After “Real As It Gets,” which ends up being a disappointment relative to previous Jay-Z/Young Jeezy [click to read] collaborations, Swizz Beatz [click to read] provides an effective change-of-pace song in “On To The Next One.” While the track’s usefulness will be relegated solely to the clubs, it opens the door for a few futuristic, synth-laden cuts. “Off That” [click to listen], “Venus Vs. Mars” [click to listen], and “Reminder” [click to listen] all helmed by frequent collaborator Timbaland are three such examples. The first of the three features an energetic Jay spitting with Drake on the chorus in what turns out to be another one for the clubs, while the latter two are a bit darker. Although the production by itself for the cuts isn’t terrible, the tracks rate among the worst Jay-Z/Timbaland works (and rate nowhere near “Dirt Off Your Shoulder,” “Hola Hovito,” “Big Pimpin” and “Snoopy Track,” for example). And although they afford BP3 a little more range, they’re certainly not on the same level as the rest of the album. The Kanye-produced “Hate” [click to listen] is also fairly forgettable, falling in line with Timbaland’s offerings.

Not to be forgotten is “Already Home,” which vies for best cut on the album. Not only does Kid Cudi assist with a stellar chorus, but Jay comes back down to Earth to show some indignation: “And really the fact is/ We’re not in the same bracket/ Not in the same league, don’t shoot at the same baskets/ Don’t pay the same taxes, hang out with the same bitches/ So how am I in the way? What is it that I’m missing?” Jay concludes Blueprint 3 with an assist from Mr. Hudson on “Forever Young” (double-meaning, perhaps?). The song takes Jay into ethereal nostalgia territory, much like Kingdom Come’s “Beach Chair,” and he manages again to handle it without being contrived. It’s an effective closer, albeit a bold cover of the Alphaville 1984 hit. “Bye-byes are not for legends,” rhymes Hov, leaving promise of more music to come Some may criticize Jay-Z for completely buying into his own mythos with this album. But unless you’ve disliked him since he first came on the scene in ‘96, that thinking is flawed. Jay’s number one fan has always been Jay – and that’s not going to change. Whether he’s spinning street tales or casting off Hip Hop’s latest overdone trends, Jay-Z’s self-confidence is always going to be a central theme at the forefront of his music – it’s nonsensical to suddenly start holding it against him now. Blueprint 3 may not stack up to the storied first entry in the series, but it’s certainly a worthwhile contributor. And for those that want the “old” Jay-Z back: “Hov on that new shit/ Niggas like ‘how come?’/  Niggas want my old shit/ Buy my old album.”

One such classic is Raekwon’s [click to read] Only Built 4 Cuban Linx. The 1995 crime epic is so revered that even its skits are discussed to this day. Universally regarded as one of Hip Hop’s finest offerings, the original OB4CL was a blend of cinematic storytelling, fierce lyricism and unforgettable production. In the 14 years since the purple tape hit shelves, Rae’s solo releases included two disappointments in 1999’s Immobilarity and 2003’s The Lex Diamond Story [click to read]. So it’s no surprise that when Raekwon revealed he would be making a sequel to his magnum opus, fans’ reactions were a mix of excitement and skepticism. While there was no doubt Rae had the potential to deliver another work of art, his batting average left much to be desired. So it must be with a sigh of relief that Raekwon delivers us Only Built 4 Cuban Linx 2, as he manages to meet almost impossible expectations and deliver the best Wu-Tang member solo album since 2000’s Supreme Clientele.

OB4CL2 picks up right where its precursor left off with “Return of the North Star” featuring Papa Wu. Although it functions as little more than a skit, it’s a seamless transition from the original album. Most importantly, it indicates that Raekwonunderstands that OB4CL2’s worth will be dictated by whether or not it can be played immediately after the original without missing a step. Perhaps for that reason, Rae blows the door off the hinges with the classic Wu-Tang sound on “House of Flying Daggers,” with Wu brethren Inspectah Deck [click to read],Ghostface Killah [click to read] and Method Man [click to view] getting in on the posse cut. The track, complete with chanting chorus, Kung-Fu samples and frenetic violin loop sounds like it came straight from an early ’90s RZA [click to read] recording session (as do the emcees who spit over it). As such, it’ll come as a surprise to fans that the song comes courtesy of the late J Dilla.

What cannot be stressed enough about Cuban Linx 2 is the astounding thoroughness in its execution. It’s clear that every contributor to the album – producers, executive producers, featured artists – was acutely aware of how aCuban Linx album should sound. Take Pete Rock’s [click to read] work on “Sonny’s Missing” as an example. The beat is something out of a ‘40s black and white gangster flick, and provides the perfect backdrop for Rae to weave tales about the violent and seedy underworld. The Marley Marl-produced [click to read] sampler (it clocks in at under a minute) “Pyrex Vision” is another prime instance, as what appears to be an audibly high Raekwon doles out orders while he cooks up fishscale. Despite many fans’ doubts, Dr. Dre makes contributions as well. His signature keys and drums provide a Latin Mafioso flavor, and recall the excellence displayed in the previous pairing of Rae and Dre on Busta Rhymes’ [click to read] “Goldmine.” Not to be forgotten is The RZA, whose contributions include the haunting “New Wu” [click to listen].

With such a stellar production crew, it’d be a shame if the rhymes didn’t stack up. But once again, it’s apparent from every emcee’s performance that the Cuban Linxlegacy is to be upheld. Raekwon, who has in recent years preferred a laid-back, menacing flow, sounds completely alive and reawakened here, and in top form. Similarly, GZA [click to read], who sleepwalked through the Clan’s 8 Diagrams[click to read], flexes his lyrical muscle alongside Slick Rick and Masta Killa on “We Will Rob You.” Method Man, who was largely a nonfactor on his own Blackout! 2[click to read] delivers vicious verses on both “New Wu” and “House of Flying Daggers.” Beanie Sigel’s [click to read] prison tales fit perfectly on “Have Mercy” [click to listen], and Jadakiss [click to read] and Styles P [click to read] bring their signature gritty sound. But just as was the case on the first Cuban Linx, the most potent combination comes in the form of Raekwon and Ghostface Killah. Ghost’s signature storytelling is on full display on “Gihad,” where he details getting caught with his man’s (or is it his son’s?) girl: “And she pregnant, my little man got her knocked up, he popped up/ (oh shit!) I’m like a crooked cop, Richard Gere, big smirk on, getting my cock sucked/ He pulled the joint out, a bullet spun out/ But it was too late, already nutted on the side of her mouth/ Side of her face and her hair, like Something About Mary/ I can’t front, my son gun look scary/ Chill, she’s a whore!/ You knew that from the time we rain trains on her and you still went and fucked her raw/ Come on, son, gimme the gun/ You gonna kill me over this bum ass bitch that you can’t resist?”

It would be remiss to relegate all the praise for OB4CL2 solely to the production and rhyming –excellent though it may be – without also noting the album’s incredible attention to detail. Different effects are used to make the album a complete and atmospheric listening experience. On “Gihad,” the choral loop in the back becomes muffled halfway through Raekwon’s verse, then resumes right asGhostface comes in, giving it extra punch. On “Fat Lady” the beat is purposely interrupted in order to let a mini-skit play out to great storytelling effect. And just as they did in OB4CL, every skit plays an important role to setting the scene for either the song it follows or precedes. These details, while miniscule, contribute greatly to the overall listening experience of the album, and indicate that it is truly a labor of love.

All praise aside, OB4CL2 is not without its flaws, however limited. Comprised of 21 tracks, Raekwon could’ve trimmed a little fat, most of which occurs near the end of the album. Dr. Dre’s other offering, “About Me” featuring Busta Rhymes, is a somewhat generic and doesn’t contribute much. The same can be said of “Mean Streets,”  “Kiss The Ring” and “Surgical Gloves.” It’s not that these tracks are awful; in fact, they could likely be highlights on someone else’s album. It’s simply that they don’t match the standard set by the rest of the album.

Without a doubt, Only Built 4 Cuban Linx 2 is crime Rap done properly. Whereas modern examples of the sub-genre offer little or no examination of consequences, or are simply just too amateurish or dumbed down in their depictions, OB4CL2 (just like the original) is pure cinema – a near-flawless crime epic executed to near-perfection. Not only is it, as previously mentioned, far and away the best Wu-Tangalbum in years, but also probably the finest album the east coast has offered sinceJay-Z’s The Black Album [click to read]. But Cuban Linx 2’s value should not be measured solely by virtue of what it means to the Wu-Tang Clan, New York, or even to Raekwon; it’s a modern-day music masterpiece that proves, even in 2009, some albums that are labeled “classic” earn it. As in film, not every sequel will capture the essence of the original. Much like The Godfather Part II, Only Built 4 Cuban Linx 2 succeeds whether other sequels fail: by creating something that not only maintains the original’s integrity, but carries a distinct vision of its own.

1. What We Talking About (Produced by Kanye West

2. D.O.A. (Produced by No I.D.)

3. Weigh Me Down Feat. Kid Cudi (Produced by Kanye West)

4. Unforgiven (Produced by Kanye West, Additional Production: MGMT)

5. Run This Town Feat. Rihanna & Kanye West (Produced by Kanye West)

6. Empire State Of Mind Feat. Nas (Produced by Kanye West & No I.D.)

7. When It Comes To This (Produced by Timbaland)

8. Always Feat. Drake (Produced by Kanye West)

9. Scenes From The Past (Produced by No I.D., Co-produced by Kanye West)

10. Everyday A Star Is Born Feat. Mr. Hudson (Produced by Kanye West)

11. Already Home (Produced by Kanye West)

12. Forever Young Feat. Mr. Hudson (Produced by Kanye West)

13. Thank You (Produced by No I.D.)

Bonus Tracks:
14. Sound Of The 70s (Produced by Kanye West)

15. We Made History (Produced by Kanye West)

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01. Return To The North Star (Feat. Papu Wu) (Interlude)
(Prod. Bt)
02. House of Flying Daggers (Feat. Inspectah Deck, Ghostface Killah & Method Man)
(Prod. J Dilla)
03. Sonny’s Missing
(Prod. Pete Rock)
04. Pyrex Vision
(Prod. Marley Marl)
05. Cold Outside (Feat. Suga Bang & Ghostface Killah)
(Prod. Atl)
06. Godfather (Feat. Inspectah Deck)
(Prod. RZA)
07. New Wu (Feat. Method Man & Ghostface Killah)
(Prod. RZA)
08. Penitentiary (Feat. Ghostface Killah)
(Prod. Bt)
09. Criminology 09 (Feat. Ghostface Killah)
(Prod. Bt & RZA)
10. Fat Lady Sings
(Prod. RZA)
11. Canal Street
12. 10 Bricks (Feat. Cappadonna & Ghostface Killah)
(Prod. J Dilla)
13. G-hide (Feat. Ghostface Killah)
(Prod. Necro)
14. Rockstar (Feat. Inspectah Deck & Gza)
(Prod. RZA)
15. Catalina (Feat. Busta Ryhmes)
(Prod. Dr. Dre)
16. 40 Deuce (Feat. Jadakiss & Styles P)
(Prod. Scram Jones)
17. Walk Wit Me
(Prod. Scram Jones)
18. We Will Rob You (Feat. Slick Rick, Gza & Masta Killa)
(Prod. Allah Justice)
19. Have Mercy (Feat. Beanie Sigel)
20. Surgical Gloves
(Prod. The Alchemist)
21. Nigga Me
(Prod. Dr. Dre)
22. Mean Streets (Feat. Inspectah Deck)
(Prod. Allah Mathematics)
23. Kiss The Ring (Feat. Inspectah Deck & Masta Killa)
(Prod. Scram Jones)
24. Ason Jones
(Prod. J Dilla)

Whoever said battle rappers can’t make songs surely wasn’t referring to Eyedea. The emcee half of the pair may have won numerous battles with impressive freestyle performances but he’s also known for putting together intriguing song lyrics with thought provoking concepts. For instance, “Time Flies When You Have a Gun” is a gem with lines like “You can own it but mostly, it’ll own you.” Utilizing the same skill, ”The E.Y.E.” can become emotionally compelling: “Winter takes the warm away/Spring takes the cold away/Summer takes the rain away/Fall took away my friend…I’ll always remember our companionship and what it meant/And on Sunday, October the 5th/ You took your last breath/ And you will be missed.”

The lyrical output is mostly great, but the rhyme patterns aren’t as complex as they once were. Fans may also be surprised to hear Eyedea singing throughout the 11 cuts. With side projects Face Candy and Carbon Carousel under his belt, it is only unusual in his work with Abilities. Here, he sings with more emotion than vocal prowess as he goes against the Auto-Tune craze. At times his crooning is tolerable, but it is often bordering on pedestrian.

DJ Abilities is more than capable of matching Eyedea with his production and scratching. To compliment the singing and aggressive deliveries, Abilities supplies rock-inspired beats. His drums show influences frompunk rock music with heavy snare hits (“Hay Fever”), quicker paced drum patterns (“Sky Diver”), and distorted guitar riffs (“Spin Cycle”). Want more traditional rap beats? The closest you’ll get is “Burn Fetish.” Otherwise, Abilities takes chances experimenting with other genres and scratches with technical attention to detail but the fusion isn’t always impeccable. It’s almost reminiscent of fellow RSE artist P.O.S.’s Never Better, only not as seamless in its fusion. While it’s hard to deny the chemistry between emcee and DJ, the result of this experiment are only adequate and often difficult to listen to.        

E&A continue to fight against convention. With a decidedly more rock infused release, the duo isn’t catering to longtime fans, which may not always be a bad thing. Abandoning the battle raps for more singing would have been great if Eyedea’s voice was up for the challenge. Nevertheless, with Oliver Hart’s introspective, abstract and compelling lyrics and Abilities’ scratching mixed with unconventional beats, E&A does not completely fail. After all, intelligent rhymes and varied beats can’t be knocked. Risk takers and experimental artists will always have hits and misses and this album carries both. Is it better to show fans the range of what you can do, or do what you do best?  By The Throat is an album that answers that question.

from hiphopdx

La Coka Nostra represent both the heights of pop music and the glass ceiling of underground popularity. Comprised of members from platinum-selling groupHouse of Pain and independent heavyweights Non Phixion and Special Teamz, the Nostra fam are an anomaly looking to find their own niche in hip-hop. On their debut album A Brand You Can Trust, the LCN Brand is pitched as hard-hitting hip-hop with a twist or rock & roll.

Slaine and Ill Bill join House of Pain members DJ Lethal, Danny Boy, and Everlastfor an adventure in “official hardcore product.” Given the group members’ backgrounds, it’s not surprising that A Brand You Can Trust features thrashing guitar samples, eardrum-popping beats, and straight-for-the-jugular wordplay. They waste no time in sharing their manifesto, using the guitar-driven “Get By” to declare, “Hate will fill your rage, drugs will get you high/Money buys respect, love will get you by.” That theme is ever-present as practically all songs on Brand, from the lead-off “Bloody Sunday” to the closing “Fuck Tony Montana,” provide similarly-themed concrete for the ears.

La Coka Nostra is a constant blend of ferociousness and mean melodies added for good measure. DJ Lethal and The Alchemist headline the production efforts that are often active and ominous. “Gun In Your Mouth” has a soft acoustic guitar sample stacked on top of an electric guitar and a sharp vocal sample that showcases the three MC’s complementing styles. Everlast’s raspy voice is chilling, and occasionally grating; Ill Bill is matter-of-factly harsh rhyming, “We the real thing, we bring Scorsese to reality”; and Slaine is more collected at most times, but just as vicious lyrically. That same playbook is used for “Bang Bang” as Slaine rhymes,“The methods to my madness is idiotic/If violence is a disease, then everybody in my city got it.”

“Nuclear Medicinemen” and “The Stain” show that the group is not just about aimless bloodlust and drug binges. The latter is LCN in Whitey Ford mode asEverlast bleakly sings warnings to a woman surrounded by evil. The bluesy track gets a sudden burst of energy each time a rap verse is added, which helps make this one of the album’s standout songs. Later on, Q-Unique and Immortal Technique join the politically-tinged “Nuclear Medcinemen,” which follows in the energetic, distrusting legacy of Non-Phixion. Immortal Technique is expectedly scornful, but Everlast takes the most incendiary shots saying, “Run get your guns, shoot George and his sons/We’re taking fortunes from all the fortunate ones/Straight Robin Hoods screaming ‘Fuck the law’/And they planned 9-11, fuck what you saw.”

A Brand You Can Trust has its dull moments in the form of a disposable verse or an underwhelming beat, but those moments are rare. The album is a mostly solid effort and exactly what someone would expect from a supergroup of like-minded members known for high-energy music. La Coka Nostra discovered a natural blend of each member’s musical history and packaged it into a strong brand of hardcore hip-hop.

Lyrically, Poet isn’t the most audacious of emcees. His flow and wordplay is fairly simple. But what the Poet lacks in lyrical elegance, he makes in raw, energetic delivery. With his nasal war cry “Huhah!,” Blaq Poet rocks the mic with a verbal iron fist. On the hard-body “Don’t Give a Fucc,” he explodes from the barrel, saying “Blaq Poet attacks, what the fuck you think was going to happen? / I’m from the days when niggas stood on the corner clapping / Drinking 40’s in front of the police / Running around, a straight beast on the streets.” Even at his more mellow moments on the touching tribute to Screwball member and cousin K.L. “Never Goodbye,” Poet makes the listener feel without saying much. Granted, he’s not the best wordsmith to grace the game. Some of his lines do miss the mark, such as on “U Phucc’d Up” when he refers to the Pocono Mountains as “the Cokeanos.” Yet for the most part, such problems occur on an individual basis and do very little to hurt the overall quality of the album.

In terms of content, Tha Blaqprint is surprisingly deep and insightful. While the album is irrefutably hardcore in sound, Poet infuses the music with a level of honesty that perfectly captures the aura and mentality of Queensbridge. Right from the get-go, Poet hits hard, summing up his state of mind on “I-Gititin” by saying, “Ain’t nothing wrong with that kiddie shit, but this what been missing / Premo on the beats and me on the rhyme / That means it’s heat on the streets, it’s about that time.” He talks up all things hardcore: the hood (“Ain’t Nuttin’ Changed” and “Hood Crazy”), the criminal life (“U Phucc’d Up”), the police (“S.O.S.”) and guns (“Let the Guns Blow”). He even carves out some time to get back to his Hip-Hop roots on theShabeeno (of NYGz [click to read] fame) and Lil Fame-assisted “Rap Addiction.” Yet Poet’s spectrum extends beyond that. He tackles concept-oriented tracks like “Voices,” on which he speaks with 2Pac and Biggie about the sordid state of the game. On “Sichuwayshunz,” he shows his empathetic side on the latter of the two, explaining the stories of a thief, a mobster and a homeless person, saying “If you living in the mansion or the fuckin’ basement, everybody got they own situation.”

Primarily handled by the legendary DJ Premier, Tha Blaqprint’s production provides the perfect musical backing. From the jaunty single “Ain’t Nuttin’ Changed” to the paranoid “S.O.S.,” Premo does some of his best work on this album. He even explores different types of sounds with success. On the N.O.R.E.-featured [click to read] “Hate” [click to listen], Premo applies a minimalist acoustic guitar to a sample of Main Source’s [click to read] “Looking at the Front Door,” while on “Stretch Marks and Cigarette Burns,” he utilizes a fuzzed-out bass to make a perfectly sleazy stripper anthem. Joining Premier on the production are Easy Mo Bee [click to read] (“U Phucc’d Up”) and Gemcrates (“Sichuwayshunz”), and while neither producer quite matches Premier’s level of excellence on this album, their beats prove to be worthy additions to the album’s overall sound.

Tha Blaqprint is an extremely well-made and engrossing Hip Hop album. The honesty of Poet’s words more than make up for any lyrical blemishes, while DJ Premier’s production harkens back to golden years of Hip Hop. Tha Blaqprint is an endearing New York relic lost in an industry that’s incapable of grasping its significance.

from hiphopdx