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Album Review: Senioritis by Dylan Owen

January 11, 2012 By Leave a Comment

Dylan Owen's album, "Senioritis"

By Tom Roth

Senioritis
Dylan Owen
Independent/unsigned
2010

In the entertainment business, the only thing more valuable than cold, hard cash are LKP’s. Not everyone earns them and LKP’s typically expire sometime between 13 and 19 but sometimes last longer for athletes. Some entertainers are adept at making the most of their LKP’s (Shaun White) while others (McCauley Culkin) squander theirs, relieving themselves of one of the industry’s few career boosters. With LKP’s, average work is made above average and above average work is made exceptional.

If you’re still unclear what LKP’s are, they are Little Kid Points. Unique to young entertainers, LKP’s are nicely summed up by the phrase “that’s pretty good… for a kid.” Thus, surprise is a legitimate reaction to 19 year old New York rapper Dylan Owen’s debut album, Senioritis.

Having just graduated from high school at the time of Senioritis’ release, it’s easy to think that Owen would be hard-pressed to find enough relevant topics to address but he makes up for his lack of life experience with mature lyrics. “Old Armor” takes a couple of listens to fully appreciate but Owen’s words of back-home nostalgia come through, relating his familiarity with the place he grew up. Claiming “I wear my past on my sleeve and my heart like a crown” and that “I don’t need a map to know my way around”, Owen makes good use of something common to all listeners.

Arguably the most important track on the album, Owen’s opening joint “The Book Report” sets the tone for Senioritis. According to Owen, the track is “inspired by countless nights on Suicide Hill with my friends, and by the endless feeling of longing for childhood that comes with age” and Owen’s imaginative lyrics of “September, the summer-killing month” and “cigarette kisses” belie his age.

Collaborator, Nico Marchese produces the lion’s-share of Senioritis’ better tracks including “The Book Report”, “Postcards”, “Old Armor”, “Garden of the Gods”, and “Spirit Week”. On the latter, Marchese’s enticing beats redeem otherwise pedantic lyrics about Bud Lime, taking shots, flip cup, and sluts. Strangely though, “Spirit Week” fits nicely into Senioritis’ larger theme. As a school term, the album’s September track, “The Book Report” leads to mid-year’s “Spirit Week”, coming full circle with June’s “I’m Still Spinning”, which Owen claims to have first titled “The Graduation Song”. The continuity makes Senioritis digestible.

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Album Review: “Castor, the Twin” by Dessa

October 24, 2011 By Leave a Comment

Dessa's new album, Castor, the Twin

 

By Tom “Wonder Boy” Roth

Castor, the Twin
Dessa
Doometree Records
Released October 4, 2011

Margaret Wander is smart.

She graduated from the University of Minnesota at age 20, earning a bachelor’s degree in philosophy. For a while, she worked as a medical writer. Now, she teaches at the McNally Smith College of Music.

And somewhere along the line, she became a rapper.

The majority of people who’ve heard of Wander know her as Dessa. As a member of the famed Minnesota rap collective, Doomtree, Dessa cut her teeth as a hip-hop artist. Now, with the release of Castor, The Twin, she proves her versatility as a solo artist beyond the rap genre.

Castor is a collection of ten previously released, and one forthcoming Dessa track. Including recordings from her 2010 debut album, A Badly Broken Code, Castor represents a modification to Dessa’s pre-existing solo work. However, this is no simple compilation album. Maintaining the lyrics of each song, Dessa completely replaces the hip-hop instrumentals with clip-clopping marimbas, growling cellos, and sweeping cymbals. The result is a completely new perspective on previously familiar tracks. The simplification on Castor, it can be guessed, comes from her work with The Boy Sopranos, a mostly female a capella group she helped establish.

Dessa’s lyrical talents remain undisputed but with the instrumental revisions on Castor, her creative ways of supporting her words shines through. The gritty, accusatory message on “Alibi” is somehow softened when it’s only standing in front of a piano and a violin. Concluding the album, “The Beekeeper”, is a preview of Dessa’s as-yet-unnamed 2012 release. A complicated blend of keys and strings crescendos upon reaching every refrain as Dessa showcases her verbal mastery. With lyrical nods to Greek mythology, beekeeping, and biblical creation stories, it’s not hard to tell that Margaret Wonder is indeed, smart.

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Interview: Lil Debbie

October 19, 2011 By Leave a Comment

Lil Debbie Interview from USD Student Radio on Vimeo.

If you’ve been anywhere near a computer lately, let alone a Tumblr page, you know one of the hottest personalities out right now is Lil Debbie. Still not familiar? Well, you better recognize! Seen alongside Kreayshawn’s mega hit video “Gucci Gucci”, Lil Debbie has been causing quite a buzz not only for her association with the Oakland MC, but for her unique look and dynamic personality. With already 54,000 + followers on Twitter, the Bay Area born and raised stylist is on her way to the top. But dont be fooled by her petite frame, she’s packing a punch with an array of talents, everything from modeling, styling, DJing, and more.

We’re happy to bring you one of the first one-on-one interviews with her as we had a great time choppin it up and buzzing on somethings I’m sure you’re Mama wouldn’t condone.

Video shot by: Roy Hathon
Edited by: Scott Roush for Black Resume Productions
Hosted by: Alex Floro
Follow Lil Debbie on:
Twitter – @L1LD3BB13
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Album Review: “Cole World: The Sideline Story” by J. Cole

September 28, 2011 By Leave a Comment

J. Cole's debut album, "Cole World: The Sideline Story"

By Michael Lu

Cole World: The Sideline Story
J. Cole
Sony Music Entertainment
Release Date: September 27, 2011

After a four-year string of mixtapes and notable guest appearances with Reflection Eternal and Wale, J. Cole’s highly anticipated debut, Cole World: The Sideline Story, has finally arrived. Ever since becoming the first artist signed to Jay Z’s Roc Nation label back in 2009, the buzz surrounding J. Cole was filled with absolute excitement as his grit and dedication reveled critics and listeners with the standards he established as a talented emcee and budding producer. As J. Cole spent the last few years as an outsider looking from within witnessing peers, including B.o.B., Drake, and Kid Cudi carving niches and creating headlines in the industry, could he raise the bar even higher from all of the accolades he has garnered thus far? Not quite. Nevertheless, the  high school basketball player from North Carolina laces up his J’s and showcases why he believes he is deserving of a starting position.

A true testament of an artist is how one’s work truly embodies the inner-workings of their life. With the case of J. Cole, he finds his rhythm so seamlessly regarding his personal experiences or depicting realistic scenarios. “Sideline Story” and “Dollar and a Dream III” poetically describe his desire for musical success amidst constant struggle and  frustration. In “Breakdown”, an emotional deconstruction occurs as he lashes against his father for abandoning him while simultaneously yearning for his presence, and recounting his mother’s addictions all in one fell swoop. “Never Told” reminisces on the causes and effects of infidelity while “Lost Ones” discovers a young man and a mother-to-be vigorously arguing over the prospect of an abortion. J. Cole’s remarkable storytelling through stirring imagery, a passionate delivery, and daringness to expose himself serves as a reminder that hip-hop has not completely fallen off the wayside and into the depths of Hades.

Notwithstanding, the commercial success necessary for any artist to expand his or her platform and attract a larger demographic in the grand scheme of things has provided J. Cole the opportunity to diversify himself through a solid collection of radio worthy jams. “Can’t Wait” utilizes a staccato flow and a Trey Songz chorus for J.Cole to address his fixation for women while “In The Morning” depicts him and Drake cooing to women for early action. “Cole World” features an energetic yet formulaic soundbed for his bravado and a Missy Elliott hook enlivens “Nobody’s Perfect.” Even though these tracks are not as galvanizing as his soul-bearing offerings, their additions provide a sufficient balance for the album.

However, the primary critique of Cole World is perhaps the overall quality in the beat production. As accomplished and heralded as Cole is in terms of beatmaking, evident with “HiiPoWer” from Kendrick Lamar’s highly acclaimed Section 80, nonetheless, he produced 15 of the disc’s 18 tracks and played or co-produced another. Aside from the dubstep inspired “Mr. Nice Watch” featuring Jay-Z, most of the tracks sound eerily similar to each other and do not match the conviction of his rhymes. It would have been more beneficial for him as an artist if he could have used his Roc Nation connections and contacted other production heavyweights, such as 9th Wonder, Just Blaze, and Kanye West.

Even so, Cole World: The Sideline Story displays glimpses of flash and promise that undoubtedly lands him a spot on the team. The mechanics of his game need a little reworking but he will be dominating on the court faster than you can say “yahtzee.”

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Interview: The Cool Kids

August 4, 2011 By Leave a Comment

By Alex Floro

Sir Michael Rocks and Chuck Inglish are back, proving that a little time away is never a bad thing with their newest release When Fish Ride Bicycles.  Working with some of the crème de la crème of hip hop, Pharrell Williams and Ghostface Killah of the Wu Tang Clan, the new album has the minimalist style fans have grown to love as well as heavier beats, crunk influences and synths. Sometimes described as a group that brings the best of 90s hip hop back to into cultural consciousness, the Kids also provide a preview of what is, hopefully, to come in the future of  rap. For us, The Cool Kids prove that the over-styling of radio “hip pop” needs to change, and we’d love to see more groups and artists have even half the creativity these Midwest guys posses. They go hard on “Penny Hardaway” featuring Ghostface, as well as in “Gas Station” with Bun B, all beats produced mainly by the Cool Kids themselves.
We had the chance to sit down with The Cool Kids last week at their show at The New Parish in Oakland, CA.  Right in the middle of putting their set list together, we found these guys friendly without any airs about them. We discussed their beginnings, new album, flying squirrels, Airsoft wars and finally settle the age old debate: J’s or heels on a girl.

Check out the full interview below:

 

USD: So how’s your time in Cali been so far?
Sir Michael Rocks: Excellent. Top Notch man, I’ve been here in Oakland a gang of times, and it’s always a good time.
USD: What’s your favorite part about Oakland?
SMR : Aw man, the people. A lot of the fans are out here. The people are dope as fuck.
USD: Fan  of any Bay Area artists?
SMR: PFunk over there. Mac Dre, of course. Thizzing everywhere this way and that way. Too Short. All the classics.
USD: How’d you get your name?
SMR : Kindergarten. I don’t know what I was thinking, but I always wanted my name to be Mikey. I’ve always been a big fan of Michael Jordan, you know growing up in Chicago. I wanted to change my name and I started writing it all over my papers. And they told me that I couldn’t change my name and rap came along and I found a way where I could change my name.
USD: Who said you couldn’t change your name?
SMR : Teachers, my mom-
USD: But I bet your mom likes your name now, huh?
SMR: Yea definitely.
USD: I heard that you and Chuck got together through Myspace? How did that all start?
SMR: Man, we really met through a mutual friend we both had, we were both producing. He kinda linked us up because he thought we should meet. I ending up hitting him up through Myspace, messaged him through that and been making music ever since.
USD: Nice, so ever since then you two have been releasing mixtapes and albums. There’s your new album, When Fish Ride Bicyles, the Tacklebox and Gone Fishing tapes, among other. What’s this reoccurring theme with fish?
SMR: There’s gonna be more. We’re gonna save that secret for the end of our career, then ya’ll can put it together .It’ll all come to full circle.
USD: We’ll definitely be waiting for that. Speaking of albums, what was the process for When Fish Ride Bicycles?
SMR : The process was us going to our road manager Rich’s house.  Recording in the studio, we’d be going to his crib and just make hella songs. He’d come up with a beat and I would come in later after he cooked it up, then I’d come up with an idea, adding to each of the pieces.  So that’s the dynamic, all of us coming together, putting it together piece by piece. Then Green Label Sound asked us who’d we like to collaborate, we told them and it all got started. Nothing awkward, it was great, easy to create.
USD: The label you’ve been recording under is your own, C.A.K.E. What does that mean, or is that another secret we should wait for?
SMR: Nah, that’s us man. Creating Art for Kids Everywhere.
USD: In a recent interview it was said that you worked with Ghostface. How was that? I also read that Raekwon said it was like working in the 90s?
SMR: Man–
Chuck Inglish: No that interview, let me clear that up… Raekwon didn’t work with us, Ghostface did. Raekwon came and hung out with us. But you know, working with Ghostface was like sending something out to someone and seeing what they thought about it. And his verse showed us what he thought about it. It was dope.
USD: On the note of classic artists, you said you both have been inspired by the “Golden Age”  of Hip hop, Rakim & Eric B, etc…
SMR: Yea you know that’s the music we grew up with. Our parents were younger than most people’s parents and I grew up listening to rap. Instead of Otis Redding and Barry White, I had to find out about all those artists later. My parents were listening to Slick Rick and Eric B & Rakim, Nas.  That’s what I was born into.  That was my first taste in music, rap.
USD: You guys are definitnetly known for your style, what’s the craziest thing you’ve ever bought?
In the background: Shown him the Roley!
SMR: Man, that’s not even the craziest. I had an iguana tank and it was like half the size as this wall. And the iguana was small.
CI: The iguana tank was real, but who has fly squirrels?
SMR: I do man.
CI: With an all wood cage.

 

USD: What are their names?
SMR: Ralph and Lauren.
USD: So Chuck, what’s the craziest you’ve done?
CI: There’s a lot of shit. I definitely went to Walmart and dropped $400 on airsoft pistols.
USD: Did you use them that day?
CI: Yea we got video. He shot me in the face with one!
USD: Aww, how could you shoot your dude in the face!
SMR: Hey we were having an all out war! All’s fair in war.

 

USD: So who won the war?
SMR: We were having teams. I was on one team, and I was behind the tree and came out, had the pistol and squeezed the trigger and ended up shooting him between the nose. Once you get hit it leaves a cheerio on you.
USD: Haha, well next time we’ll bring some airsoft guns to join the teams. Hey so I’ve been hearing about this super group, P.O.C. (Pulled over Bu The Cops) you formed with Chip the Ripper and Freddie Gibbs?
CI: I mean it was a super group that happened, and some people form groups and never drop songs. We recorded two songs, gave it a name and those songs were dope. Unless we’re all in the same place, I don’t think we should force it. Both songs were crazy. One was Freddie’s songs and the other song was Me, Mikey, and Chip. Like we were all jamming and there was a different sound coming from all of us. So, whenever we meet up again there will be more.
USD: We had a question we came up on the way here, what do you like better on your girl, J’s or heels?
SMR: I need versatility. I can’t always have a girl that rocks the Js. I need her to get fly for me. I’m not trying to cop out on you or anything, but I genuinely prefer both, on different occasions. If we’re going to a family 4th of July party you can throw on J’s.
USD: Which ones do you prefer?
SMR: Hmm, up to number 7, wait, up to number 8.
CI: 9! 8? 11, 13!
SMR: I like them on little feet man. Small 13’s are the best.
USD: So what about you Chuck?
CI: (looks over for a bit) … I like Jordans. (smiles)

 

Photos by Christian Rabago & Karl Orotea
www.chrissofresh.net
www.fcknsrs.blogspot.com

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Interview: Slum Village

July 27, 2011 By Leave a Comment

 

http://blahblahblahscience.com/wp-content/uploads/2010/07/slum-village.jpg

Slum Village

By Alex Floro

To raise a child on hip hop, it takes more than a couple of artists. It takes a Slum Village. For most hip hop aficionados, there is no denying that this group, with their incorporation of feel Motown beats and tastings of booty techno, is must in any iTunes library. Originally formed in 1996 by childhood friends Baatin, T3 and J Dilla in Detroit, the group has managed to stay together through difficulties surrounding band members, record labels and the ever changing landscape of hip hop. If you don’t recognize them, you might be familiar with some of the beats J Dilla has made for other artists such as Common, Erykah Badu, Talib Kweli, just to name a few.

Slum proves to be one of the most resilient and persistent acts in music, with T3 continuing the legacy of the group with Dilla’s younger brother Illa J (you can start calling him John Regal from now on). We had the privilege to sit down with them at The New Parish in Oakland, CA to talk about their history, thoughts on the current climate of music, and even a little preview of things to come from the members, both collectively and individually. We got to say, they are some of the most humble and easy to get along with guys we’ve met and it was a pleasure getting to know them.

Check out our interview below, with the accompanying video:

USD: So for those who don’t know, who is Slum Village?
T3: Uhh, that’s a long question, but let’s just say that we represent Slum today. But I’m T3 and that’s Illa, or John Regal now…

USD: You changed your name, transitioning?
IllaJ: The John Regal character was already there, but IllaJ was what started it off. I’m kinda just morphing into John Regal, but I’ll always be IllaJ.

USD: So how did you get started? We know that you worked with Tribe and sort of the Native Tounges?
T3: Ehh, really it was QTip that started Slum Village’s career, you can say that. You can say he had a big part. The story is we gave our first demo to QTip, who put it on J Dilla, with The Ummah. That was J Dilla’s first foot in the door as far as production. Also, Tribe put us on tour on a college run. That was a big thing for us because nobody gave us that opportunity cause we were just guys from Detroit. Not only that, but once we did Vol. 1, QTip is the one that circulated it to everybody. That’s how we got all of those features on Vol. 2,  D’Angelo, Busta Rhymes, etc.
USD: So being from Detroit, how has the city shaped your career and what does it mean to you?
T3: Detroit is everything. We grew up in the East side of Detroit. You know it was urban, but as most urban places, Detroit has soul. Then there’s Motown, all of that. I think that it’s the reason why we gravitate to the type of hip hop we do.
USD: Yea and I read in an interview that techno is a big part in your sound too?
T3/IllaJ: Definitely, techno is a huge part of our sound.
USD: Over here in the Bay we love techno as well!
T3: Yea, our’s is more booty though. Does Oakland does Booty?
USD: You can say that, a little different but definitely there’s booty going on.
(T3 and IllaJ laugh)
So Villa Manifesto came out last year. What was the process like? And we heard that it might be your last album together, no!
T3: It was a tough process, I tried to incorporate all the members of Slum. Even the member who aren’t here. It was a task making that album. A lot of drama and controversy.
USD: So it was a labor of love? Or love and hate?
(A few more laughs)
T3: There was a lot of love and hate going on. But now we’re doing mostly solo stuff. I have my digital EP out and Illa had his EP that came out, as well as Yancey Boys a couple years back.
USD: Planning any new projects coming up?
IllaJ: Ya, got my John Regal project, finishing it up. Working with 3, on a little secret project…
USD: Oh, can you give us a little info?
T3/IllaJ: Ahh, cant tell you that, stay tuned.
USD: Haha, ok ok. So Any advice or tips for upcoming musicians or people trying to get in the game?
T3: The key for me loving an artist is that each of them must do a song that I wouldn’t have done or I wouldn’t have thought of. That makes me respect the artists. That’s in all genres in music.  Now music is so… ehh… My other advice is if you wanna be an MC, ok, it’s really simple nowadays. It’s about how much you put out, more so than the quality. If you can build yourself a fanbase than anybody can kinda be an artist. You won’t be the biggest artist, but you will be somewhat of an artist.
USD: So it’s more about networking yourself? You think talent is second to that?
T3: Talent is way second now. You have so much software now, it’s easier to make beats and sing now if you couldn’t sing.
IllaJ: It’s always changing. You’re gotta learn to take ideas from the past, yet stay futuristic, but at the same time be current. It’s like a balancing act.
USD: For sure. So anything else for our listeners?
T3: You know what, go to school. Get your knowledge up. Haha, but yeah, just please support the projects. T3, Illa J. We love ya’ll.
Peep the video below:

USD Radio Presents: Slum Village from USD Student Radio on Vimeo.

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A Review of B.o.B’s “B.o.B Presents: The Adventures of Bobby Ray”

May 24, 2010 By Leave a Comment

With great power, comes great responsibility.

The state of hip hop in 2006 was in complete disarray, especially when Nas professed that “Hip Hop Is Dead.” The phrase became a musical SOS for a new generation of emcees to arrive and make their own mark in the hip hop industry. The golden age of the late ‘80s and early to mid-‘90s was long forgotten as artists entered the new millennium with a mindset focused on wealth and materialism as opposed to lyricism and content. The artistry and creativity of those who placed their heart and soul into their craft were becoming a dime a dozen as hip hop shifted its priorities. It became quite transparent that the demand for club bangers were in vogue while everything else seemed insignificant.

Bang! Enter 2010. The industry has undergone an incredible makeover over the past four years. It started off with Lupe Fiasco, and the pool of talented yet grounded rappers have continued to alter the landscape for the betterment of hip hop. The newest emcee that has captured the recognition and adulation from the entire hip hop community is B.o.B. B.o.B. is regarded as one of the most adroit and versatile artists with an ability to perform numerous instruments such as piano, guitar and drums, along with his signature rapping and singing. He has amassed comparisons to Andre 3000 of Outkast, considered one of the most prolific rappers to ever bless the microphone.

B.o.B first gained notoriety when he was featured on T.I.’s 2008 Grammy Award-Winning album Paper Trails on the track “On Top of the World.” As a result of the success and attention that was garnered, B.o.B began releasing several mixtapes and singles, which included “I’ll Be In The Sky.” This spurred widespread anticipation for B.o.B to release his debut album with all the buzz and accolades that Kid Cudi and Asher Roth had accumulated with their respective albums.

The Adventures of Bobby Ray cannot be solely examined as a hip hop album, as B.o.B has fused together the genres of hip hop, pop and alternative. His guest appearances range from the most respected rappers in the game (Eminem, T.I. and Lupe Fiasco) to the leading men and women of alternative rock (Rivers Cuomo, lead singer of Weezer, and Hayley Williams, lead singer of Paramore). The entire album is produced by B.o.B and every track is fitted accordingly to each individual artist, with B.o.B having the proclivity to adapt to practically any style.

With “Nothin On You” (featuring Bruno Mars) bellowing from radio stations across the country and abroad, B.o.B has already established himself as a household name early in his career. The standout tracks on the album include “Airplanes, Pt. II,” “Ghost In the Machine,” and “The Kids”. In “Airplanes, Pt. II” (featuring Hayley Williams & Eminem), B.o.B and Eminem lay verses imagining what their lives would entail if they never decided to choose rap as a profession. On “Ghost In The Machine,” B.o.B harmonizes as someone lost in the crowd without any sense of direction and, in the end, embarks on a journey to escape the reality that has contributed to his inner struggles. “The Kids” (featuring Janelle Monae) is a rendition of Vampire Weekend’s “The Kids Don’t Stand A Chance,” a social commentary centered around kids falling into the cracks of society that does not evoke a feeling of preachiness.

The superhero persona that B.o.B has seemingly embraced has enabled the one-time Subway employee to reach for the stars and chase his dreams.

Airplanes, Pt. II

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Ghost In The Machine

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The Kids

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Album Review: A Review of Theophilus London’s “This Charming Mixtape”

April 4, 2010 By Leave a Comment

Ladies and gentleman, say cheese!

The head nodding of instant approval, as well as a sense of disbelief, does not even come close in describing the sort of feeling I experienced after listening to This Charming Mixtape. Theophilus London takes advantage of his opportunity to be center stage and utilizes everything he has in his arsenal to deliver a mixtape that is both spellbinding and eclectic. The mixtape combines the elements of eletro-pop and hip hop/rap together to produce something that will knock you out of your comfort zone and introduce you to a newly formed genre. From top to bottom, this entire mixtape takes you on a journey that you will undoubtedly enjoy once the ride is over with a multitude of upbeat and colorful beats together with the rhymes protruding from the archetype of individuality and diversity.

The roots of Theophilus London stem from NYC, within the state that has been home to the most abundant and influential acts in hip hop. His decision to stray from the mainstream avenue and open himself to a different outlet has paid dividends. There are few emcees who have delved into such a scenario as this and been successful. This Charming Mixtape not only reveals that Theophilus London is beginning to craft himself as a household name, but also that he’s already more than willing to take risks.

The appeal and popularity of music that was witnessed in the ’80s seems to be returning with a vengeance. This Charming Mixtape proves that eras that have come and gone will never have a final resting place in our minds. The generation that I have grown up with would never in their wildest dreams have thought that the sights and sounds of their childhood would be generated into music, let alone be encompassed within the vastness and richness of hip hop. There were some instances when a smile would appear on my face and I begin to chuckle every time I heard something familiar, like “You’re The One,” a track reminiscent of the storied video game Super Mario.

The various samples that are adopted in the mixtape originated from music that was well-recognized in the ’80s, including “Ain’t No Sunshine” by Bill Whither. The smooth delivery of his rhymes hand in hand with such a classic has allowed the former to become more evolved and more dynamic. Although offered as a snippet on This Charming Mixtape, “Humdrum Town” is a track that is both profound and personal. It tells the tale of Theophilus London, who yearns to live in a city devoid of all the fame and glory he’s recently attained and have it be more mundane in order to appreciate what he truly loves. The growing awareness of this track has enabled it to garner much interest by listeners who’ve ventured onto the Green Label Sound website and YouTube.

What else can I say about Theophilus London? He’s an anomaly that I’ve yet to fully analyze, let alone comprehend. However, This Charming Mixtape has enabled me to expand my horizons and engage myself with artists like Theophilus London who have turned the hands of time and taken the next step in revolutionizing music.

Theophilus London

Theophilus’ MySpace

“Humdrum Town”

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A Review of Jay-Z’s “Blueprint 3″

September 26, 2009 By 1 Comment
jay-z-blueprint3

Blueprint 3 bids adieu to the Blueprint series that Jay-Z first erected back in 2001.

Considered one of the most anticipated albums of 2009, Jay-Z’s 11th studio release, Blueprint 3, fails to live up to expectations and satisfy the growing hunger for a return to the framework that made both Blueprint and Reasonable Doubt successful. For the past decade, the Blueprint brand has been Jay-Z’s trademark in dictating the agenda and direction of hip hop. However, the beloved son from Brooklyn’s Marcy Projects, whom we’ve come to admire for his journey from the New York underworld to his ascension as one of the greatest emcees of all time, seems to have reached an impasse in his career.

The first half of the LP starts off strongly, giving the indication that Jay-Z has finally returned to form, reminiscent in the first 2 Blueprint albums and is ready to assert his dominance once again over the industry. In “Thank You”, Jay-Z uses his wealth and demeanor as a means of silencing and deconstructing his emcee rivals and detractors, who have argued that he is no longer worthy of being known as hip-hop’s vanguard. “D.O.A.” is seen as a verbal diatribe against hip hop and its continued dependence of the auto-tuner. Jay-Z laments that the auto-tuner is ruining the quality of music being released and should not have a place in hip hop anymore. The crown jewel of the album belongs to “Empire State of Mind”, a wonderful and elegantl song displaying Jay-Z’s love and appreciation for the city of New York. It features vocals from renowned R & B singer, Alicia Keys, whose voice on the chorus enhances Jay-Z’s message.

In contrast, the second half of the LP seems to brandish an entirely new train of thought, a concept that seems to have backfired badly on Jay-Z. The beat production and guest appearances are the primary culprits. The previous two Blueprint albums employed cuts from Dr. Dre, Kanye West, Timbaland, and Just Blaze. Although Kanye and Timbaland reappear on Blueprint 3, Jay-Z also gives the responsibility of creating beats to Swizz Beatz and The Neptunes, who seemingly have lost their touch behind the boards. On Blueprint, the most notable guest appearance belonged to Eminem on the song, “Renegade”. Yet this time around, Jay-Z decided to feature two up and coming emcees, Drake and Kid Cudi, who are severely underused, being relegated to hook duty on “Off That” and “Already Home”, respectively.

Many artists like to expand upon their craft and delve into something that is completely different than what they are accustomed to. Nevertheless, someone who has reaped millions of dollars and has sold out at every concert he’s ever performed at, shouldn’t even need to put out an album with the sole intention of making money. Jay-Z has accomplished so much in his storied career that a Blueprint album that does not carry the same intensity and energy prevalent in the past two Blueprint albums, just simply isn’t Jay-Z’s M.O.

“Thank You”

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Back to School Special “Lyrical Mindstate” August 29th

August 29, 2009 By Leave a Comment

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“If Rap Gets Jealous” K’naan

“Go Go Gadget Flow” Lupe Fiasco

“If You Only Knew” Jurassic 5

“Doin’ My Thang” Zion I

“The E.N.D.” The Pharcyde

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With the entire week dedicated to Street Scene, I thought it’d be fitting to ease you back into school with a playlist of some tracks you’re bound to enjoy.

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