'Streets Is Watching' Is Jay-Z's "Coming-of-Age" Movie/Soundtrack Turned Reality

When discussing the greatest albums in the discography of artist, business magnate, and debatable GOAT emcee; Jay-Z; the soundtrack/sorta-album 'Streets Is Watching' is almost never mentioned. Indeed, there are so many timeless moments in Hov's career - on so many other albums; that even the most self-respected fan might be caught off-guard with this soundtrack and it's correlating mini-movie/music video collection/Jay-Z street-level promo vehicle. But there are also worse efforts by the Jigga man. Personally, I would say that 'Streets Is Watching' falls in to the lower-middle level of Jay-Z's career. Here's why:

   It's a capsule of the linchpin between Jay-Z's early phase (Umlaut spelling/heavy 'ft Jaz-O' days) and his skyrocket off into stardom with 'Vol 2...Hard-Knock Life' (1996-1998) and thus, is timeless.  Even with it's mistakes. 




 Streets Is Watching was released on May 12, 1998. That's 3 months before Vol 2...Hard-Knock Life and the smash lead single of the same name that was responsible for shooting Jay-Z into the stratosphere of success and hip-hop's A-List. It was a time in Sean Carter's life where he didn't know if his music career gamble would pay-off. He had an idea of his public image, but it was still in it's raw form and needed molding. Jay was feeling his way through being a player/ladie's man, a hard-nosed drug dealer, a tounge-twisting lyrical beast, and a Top 40 artist like his soon-to-be-deceased friend, Biggie Smalls. A perfect balance of all four and more attributes as well. His tastes needed grooming. His beats needed gloss. He basically needed to find a way to combine the street-tales of Reasonable Doubt (which wasn't "Reasonable Doubt" yet, either) with the Top 40-leaning Vol 1: In My Lifetime... but with less Puffy-type gloss. Shiny suits - even the black leather edition - wasn't a good look for Jay. He wasn't jiggy. He was JIGGA. Still, the era was endearing in ways. Like how a coming-of-age film is endearing. Except musically.


 It's obviously "mid/late-90's music biz promo/filler" but has the quality of a studio EP. Like if every B-side and extra track on a 12" was used instead to create an entire work instead of just extensions on a single piece of it. 

In the pre-internet days of music (which now seem ancient, even tho we're only about a decade removed  from the music biz really transitioning 100% behind digital) the labels would try to promote their upcoming releases many way possible. In-store autograph signings and mini-shows, magazine interviews, and MTV were the obvious routes. Music-videos were still exactly THAT back in 1998 - videos. Mostly for use by television studios, radio stations, etc. and NOT the general public. Thus, labels didn't really spend much attention and/or money on making it a "sellable product". But Jay saw a new lane (which was just the beginning of this trend) and that was to create a form of music promo that was sellable to the general public. And he was going to do this by stringing together a bunch of music videos - past and to-be-filmed from his past albums, RD & Vol.1 and short cut-scenes to tell a somewhat legible story about generic hood crime ish that Jay was (and still is, and forever will be...) talkin' about in his rhymes. He'd use the "film" to promote not only his own musical act, but artists managed by Dame Dash & him and the label this was all under - Rocafella Records.

This was at the very beginning of the "hip-hop movie" trend that fellow artists like Master P and Ruff Ryders would expand upon and independent rappers would eventually come to dominate. But this was different. Yes, the budget wasn't exactly Hype Williams level. How much truth there is to Jay & Biggs funding the label initially with illegal drug sale proceeds, we might never know. But at least a few hundred thousand dollars was being spent here.


It has In My Lifetime (Remix).... even Vol. 1: In My Lifetime DOESN'T have a song called In My Lifetime!


In My Lifetime is one of Jay-Z's best songs ever (amongst many, MANY great tracks) and it's only available here. It's a superb blend of sappy piano-loopy Rap-&-B and was an obvious career jump-start attempt that would eventually succeed months later with Hard-Knock Life, and finally land Jigga the #1 spot on the Billboard Top 40 with Empire State of Mind a decade later. This song, in both it's original and remix forms, is the perfect example of Jay's transition. The original version was VERY street. Producer Ski had visions of Shaolin and army-camo-and-Timbalands when he created it, because it's VERY much like those two factions of hip-hop. RZA or Diamond D could even have been given credit and I'd have been none-the-wiser. Then Big Jaz (aka Jaz-O, aka Jay-Z's now-scorned mentor & past inner-circle member...) got ahold of In My Lifetime and straightened those braids and dreadlocks into a perm and the rest is history. No, it didn't pop-off like Hard-Knock. But it set the STAGE for 'Hard-Knock', it WAS the Jigga Man's soon-to-be recipe for success. Hard-ass rhymes over hard-ass, gritty beats - with some strings here, piano there plus some melodies snuck in every once and awhile.

Early R-O-C artists make-up more than half of the release. For better or worse. Mostly, worse. 

     Since it's an early Rocafella release (yes, they actually marketed the movie and soundtrack separately) that means that the label was doing a little soul-searching. They still hadn't found their "sound" yet - and were obviously borrowing from others. Pimp This Love (in title alone!) by early ROC artist (and soon-to-be castaway) Christion is West Coast G-Funk through-and-through. Indeed, there's nothing wrong with correlating some musical influence from places other than home. Now Jigga's relationship with Too $hort makes even more sense (besides him just being being fucking awesome in general). Crazy by Usual Suspects is just a straight-up New Jack Swing ghost. Whoever cleared this track for release should be fired. Like, literally shot. Rocafella was obvious hungry for artists in general, and Jay-Z had a mutual respect for Jermaine Durpi. This was his wannabe-Jagged Edge moment. And it failed miserably. One track that DID settle well is The Doe by Diamonds In The Rough, which ended-up being a showcase of the eventual R-O-C sound. High-pitch vocals. Fast tempo'd slow R&B samples. Gritty, street lyrics. Very-East Coast-sounding rappers in style and delivery. No, it's not anything special when matched-up against the entire Rocabella catalog. But as a stand alone cut from the Streets soundtrack, it succeeds. A young & hungry NORE shows-up for the late soundtrack dawn Thugs R Us, thanks to his work with DJ Clue. He'd recently gone solo after a splash with Capone-N-Noreaga. M.O.P. shows just how dated the album is with their joint My Nigga Hill Figga which slumps something fierce. But you can tell it's early in The ROC days - they just don't have the type of money to really sign artists and expand yet - because where's Beans? Where's Freeway? Where's The Neptunes? Timbaland? JUST BLAZE?? KANYE??? Obvs, Kanye came much later. But it's just proof that the Roc was a slow-burn, not a fast flash of brilliance.
   
Yes, the album didn't succeed itself upon release. But it DID keep Jay's name out there. Vol. 1: In My Lifetime and Streets Is Wqtching were his tent poles-in-the-ground to weather the storm that was the 2pac/Biggie beef and correlating media hype and NY-vs-LA headlines. And it lasted long enough for Jay-Z to create Vol. 2 and take-off for the A-List, never lookin' back. Ever. Streets Is Watching is like your junior-high years. Super awkward - but you look-back on the pictures in your yearbook/scrapbooks and smile. Hopefully with In My Lifetime (Remix) playing in the background.

How 'Above The Rim' Rised, Well, Above The Rest of the 90's Hip-Hop Soundtrack Pile...

                                       

   

      Whenever people debate the enduring merits of 2Pac and his many talents, the one non-hip-hop trait amongst all else that is thrown around is how amazing an actor Pac was. And how his tragic and sudden death at the tender age of 26 cut short, what could have been, an amazing filmography in the future. One of the prime examples of this acting talent, and probably the second-best Pac role (after Bishop in 'Juice', of course...aint nobody touchin' Bishop) is the film 'Above The Rim' - a Harlem, NY-based basketball drama set, surprisingly, to a predominantly West-Coast (meaning G-Funk) soundtrack curated by rap label powerhouse Death Row Records. The film itself is a tale of two brothers; Birdie, played by Pac and Shep, played by Leon Robinson; both raised in Harlem in an earlier era and now dealing with the repercussions of their past moving forward. At the same time, central character Kyle Watson is an up-and-coming high-school basketball star seemingly on his way to success at the next stage - college basketball - and hopefully playing for the nearby Georgetown Hoyas. But Kyle has a few issues that need straightening out. Those "issues" being his involvement with Birdie, the neighborhood drug-dealer / thug extraordinaire, and the "straightening out" role falling on Shep. Obviously, the brothers come to be at odds with each other.
     All of this, as I stated earlier, is played out to an exclusively hip-hop ala Death Row and hip-hop-influenced R&B ala SWV, etc. The album was notorious for being both a critical favorite, as well as a financial success; debuting SECOND in the Top 40 upon it's release in 1994 (!!!). Indeed, it was a very different era of music - an era where people still paid for their music in the physical form of compact discs. This meant having to wait for the album to actually release on a certain date, that meant a time when it was still relatively special and held with much anticipation. Certain films were an EVENT, indeed. Within the "street crime" film genre, which was itself relatively small, the hip-hop influence of course spilled over to the soundtracks and actually made THEM the event instead.
     And the film's producers guaranteed that the 'Above The Rim' soundtrack would be an event with the involvement of Death Row Records and it's HNIC, Suge Knight. That meant Dr. Dre was involved too, of course, as this was 1994. 'The Chronic' was still fresh in people's minds. That meant a sonic landscaped soaked in the sounds of "G-Funk" and the artists that dominated within that genre. Surprisingly, Dr. Dre kept his involvement to mostly just mixing and engineering purposes, leaving a large portion of the production duties to relative unknowns. Tupac, being one of, if not THE star of 'Above The Rim', was of course on several of the twenty-odd tracks (not counting loose b-sides).  One of those tracks left off the compact disc version of the soundtrack, strangely enough, is film intro and stand-out track 'Pain' ft Stretch. It begins with a Star Trek 5 dialogue sample about internal pain which grabs the listener's attention. Then the perfectly bare, RZA-like beat loops and Pac goes OFF. It's truly a classic track. So is Pac's "lost homies" track, 'Pour Out Some Liquor', which DID make the CD (several cuts were made available on the cassette tape version that didn't make the compact disc*).  This joint would be perfect at my funeral, straight up. It's Pac at his most emotional - definitely in the same lane as 'Dear Mama' and 'Brenda's Got A Baby'. There are also two other 2pac joints on the soundtrack that were left-off as B-sides and released later, "Loyal To Tha Game" ft. Preach (Naughty-By-Nature) and eventual-Pac classic "Holler If Ya Hear Me". Label mate and friend, Snoop Dogg; and moreso his co-horts, The Dogg Pound aka DPG; have several contributions and really help mold the soundtrack with cuts like "Big Pimpin" (which plays as Bridie rolls up to the Shoot-Out basketball tournament in a classic-90's Jeep complete with bae in passenger with the gold hoop earrings...). Another classic DPG track that concludes the soundtrack as well as being a storytelling jawn is "Dogg Pound For Life". It's your standard hood tale full of gangster totems that borderlines on stereotype, but Daz and Kurupt spit such vicious, silky-smooth bars dripping with style that it pushes the "politically-correct agenda"-type distractions to the background.
     Mid-90's New Jack Swing dominates all of the soundtrack joints that don't feature gangster rappers. R&B legend and curator of New Jack Swing himself, Devante Swing, is involved for at least four gems. Al B. Sure! contributes some flavor as well. Soundtrack opener SWV - 'Anything' is the perfect party jam and blends right into the scene involving Birdie displaying his club to newcomer Kyle Watson who Birdie is hoping will drink his Kool-Aid and play for his team in the Shoot-Out tournament. Even though gangster rappers are NOT included on most of the R&B joints, that doesn't mean their still not a major influence. The biggest example of this is clearly on Rhythm & Knowledge's 'You Bring The Dog Out In Me' which is exactly like it's titled - an R&B cut plastered full of canine analogies that were EXTREMELY popular during this time period. Thank Uncle Snoop for that. It doesn't mean the song isn't groovy AF tho! It's P-Funk-meets-New-Jack-Swing-meets-mid-90s-Death-Row like it's never been heard before. DJ Quik, who along with Dat Nigga Daz would become Death Row's soon-to-be primary in-house producers after the departure of Dr. Dre to his Interscope vanity label Aftermath, has two tracks on the album. The best of the two is definitely B- Rezell - 'Blowed Away', which is the album's official cannabis anthem amongst many, many references to getting' blunted. Ironic, considering the movie is 100% about basketball and being fit enough to complete at the college level, and, hopefully, beyond that. Or maybe not, as the ying to basketball's yang is Birdie and his drug/street-life ways.
        Basketball, while the focus, was really just an excuse to showcase the talents and hopefully profit off of Tupac himself. And the 'Above The Rim' soundtrack was, similarly, an excuse to showcase some of the best G-Funk and West-Coast-by-way-of-Southern-Cali joints of that time. It succeeded beyond the wildest dreams of it's producers. So much, in fact, that an online streetwear company recently advertised that this holiday season they would be releasing a special 3-way "classic rap-sports-film throwback jersey" collection including 'Above The Rim' and it's Shoot-Out Tournament jerseys (BUT IN BIRDIE'S TEAM COLORS THO COME ON Y'ALL!!!!) for sale on their website. It's expected to sell-out within hours. The mid-90's was a weird time in hip-hop, for sure. A sea-change had been bubbling for sometime for a West Coast-takeover; and it had finally happened. Where else could you see a NY-centric film w/out a single East Coast artist on the soundtrack? Or at least it's influence, sonically. But it's rap ying-and-yang blend attracted listeners bye the millions. And a classic soundtrack was made. Death Row Records might be gone. Suge Knight is hopefully locked-up for the rest of his life now (for the 'SOC' movie-set homicide back in 2014). Tupac has, unfortunately, passed on. But their legacies live, in part due to albums like the 'Above The Rim' soundtrack. They truly don't make film soundtracks like this anymore.

The Dynasty: Roc-La-Familia'...Hov's Forgotten Near-Classic

"2000 to infinity. Ghetto to ghetto. Gutter to gutter. Street corner to street corner. Project to project. And worldwide...walk with us (sic). Hoffa (?). DASH. ITS A DYNASTY (sic)"....

     From jump, a (still) young Hov demanded his just due. He'd been killing it for two summers, and his flame was bright blue (Jay-Z blue??..its a real color now...I swear) at the dawn of the new millennium. He was just beginning to take-over the rap game. An industry which was still feeling the effects in the wake of the deaths of Biggie & 2pac. The emotions were still fresh, and would prove to run deep. But SOMEONE needed to grab that hip-hop baton and lead us in a new direction. And Jay-Z was that person. And Roc-A-Fella was Jay-Z's personal label, so it was THAT label. To be fair, it succeeded as a movement and as a music label due mostly to the immense popularity of Jigga. But he wanted his friends to shine too - mostly for financial reasons. Beanie Siegel definitely had potential. Freeway was starting to shined the rest of State Property, as a unit, was entertaining for sure on their share of the ROC mixtape catalog. Memphis Bleek will always be known as the most-successful career weed-carrier of all-time, but he had some hot sixteens in his prime for sure. Dame Dash was the loud-mouthed asshole drunk on his own arrogance. And Armadale Vodka. It was a hurricane for sure. But it was beautiful. And it all came together perfectly on 'The Dynasty: Roc-La-Familia'.            

    Beans, Hov, Bleek, and Freeway get equal billing, with a cameo from Scarface on the album-stealing track 'This Can't Be Life' (best Jay-Z song ever??). Producers (and then-rap-game rookies) Kanye Wet & Just Blaze are almost featured artists off beats alone. There THAT good. Just look at the list. 'Intro'. 'Flip The Script'. 'I Just Wanna Love You'. Which is one of Hov's best pop tracks, btw. The aforementioned 'This Can't Be Life'. 'Mama Get Your Mind Right' (which is super chauvinistic and features Snoop Dogg because, of course). 'Stick To The Script'. Memphis Bleek showcase, 'Holla'. The MONSTER that is '1-900-Hustler' (those horns...swoon). The sad-but-sweet-sounding 'Soon You'll Understand'. The similarity sad, but also eerily haunting absent-dad track, 'Where Have You Been'. 

    'Where....' deserves extra attention.  Not just because it's the final track of the album. Which, of course, was intentional. It hits you straight in the heart - regardless of wether you had a father growing-up or not. I mean, if the piano and that Star Trek theremin-like sound wasn't enough, then they had to go and have some kids sing the hook. But not some happy-go-lucky AF-type kids. They sound tired. Weak. Beaten-down by life. Just like, fuck it. And then Beans and Hov go in and it's over. TKO. I mean goddamn their pops' really fucked them up. It's the sonic and lyrical punch-in-the-stomach to end this mixtape-as-a-studio-album. But for all those stellar tracks and shining moments, there's some dirt on this ROC diamond too. I suggest you skip the R.Kelly-before-Jigga-and-Kels-was-a-thing track known as 'Guilty But Proven Innocent'. It's basically Jay-Z doing a laughable job at attempting to convince the public he was innocent of that "little Un-Rivera stabbing thing" where Un was the "they" of "they keep bootlegging my shit" lyric fame and the "shit" being this very album. So yeah, shit got violent. Both for poor Un, and the viewer's ears. Luckily, they can skip on to some of the best tracks in Jay-Z and the ROC's already-stellar discography. Indeed, 'The Dynasty....' deserves some of the ROC Diamond's shine. 

Thoughts On 'Do You Want More??!!!?'

I can't really explain the feeling I get when I listen to The Roots album 'Do You Want More!??!!?"  for the first time in years. Well actually I probably can, let's not get TOO dramatic. Personally, I think it's like seeing your high-school GF/sweetheart years after you guys separated to go to different colleges. Hearing the first few seconds of that opening track - Black Thought's voice tingles the spine like the first audible words from said GF during that run-in encounter. It all floods back to you - the feelings of adolescence, where everything was fresh and the new experiences were endless (as was my energy smh). I first heard it when I was a senior in high-school and really discovering hip-hop for the first time. Yeah, I had exposure to the genre in Top 40 form from an early age - Coolio, Biggie, 2pac, DMX, Jay-Z...especially the Jigga Man. But anyways I discovered that boom-bap, NY, Preemo shit and I was GONE. And among those early albums of golden-era hip-hop exposure were several by The Roots. Their entire catalog up to that point (2003) was 100% classic material - starting with DYWM??!?! and continuing with Illadelph Half-life, Things Fall Apart, and Phrenology.

The first track I heard from the album was the single 'Distortion 2 Static' while I was tacking BART somewhere. I hit play on my dinosaur 30 GB iPod, thick as George Constanza's wallet and about as big,  I was going up the escalator, high as fuck from a blunt to the face (a bad habit I would continue for years), and the song put me in a trace. I became sedated in a world of blue colors and hues - both feeling-wise (but calm, not depressed) and in the artwork on the walls on both sides of the escalator. It was truly a sonically religious experience. I immediately copped the album later that week while I was hanging out with my good friend - another amazing day. We had grabbed some purple weed from my friendly neighborhood (and fellow college student) drug dealer - this was when purple was still new and crazy to experience first-hand. I bought it at Amoeba Records and still have that very same copy to this day years later, even after the sands off time has dwindled my possessions kept from that era close to nil. So yeah, it was a great day. And a fantastic album.

First off, if your not a fan of jazz, or more specifically jazz rap, then stop here. Time to go listen to, idk, Lil Wayne or something. Second, you have to like The Roots' "sound" which is basically Black Thought's semi-fast-but-fluid-AF flow and the live band aesthetic (ATTN: The Roots are totally one of the greatest live shows ever, of course). If that works for you - then this album will find a home close to your heart. It's pure early-90's boom-bap/jazz fusion rap in the era of Native Tounges and KRS-One, Preemo and Pete Rock. Heavy hitters were the norm - but The Roots immediately separated themnselkves from the pack with said live band atheistic. And on DYWM??!?!! they push that atheistic to new heights. Questlove has essentially recorded a live album in it's purest form - on the street. At least, that's the feeling you get from the beautifully simple album cover (both front & back) which enters your mind and never really leaves. To be sure - this is definitely a studio-recorded album. But the way that Black Thought & Malik B. - North Philly's answer to Ghost & Raekwon - play off each other and play verbal hot potato is very live concert-esque. Questlove & Co. end many tracks with quick quips and other ad-libs usually reserved for the cutting-room floor. Stand-out track 'Essaywhuman??!?" is a now-Roots' show staple and crowd can actually be heard through-out it's 5:01 length. And the track 'Dat Skat' is exactly that - skat singing ala 1930's jazz / Louie Armstrong & Co. which was a form of lyrical filler excluesevly used at - you guessed it - live shows. It also pays homage to the album's obvious jazz roots (no pun intended). If your looking for an album that track-for-track can compete with any album in any genre, in both live and studio form, then look no further than 'Do Yo Want More!!??!'. It is quintessential golden-era hip-hop, indeed, but also live album, jazz fusion album, concept album, and so many others. It plays to so many strengths. Regardless of your tastes,listen to 'Do You Want More??!!' for at one track. I pretty much guarantee it'll leave you, well, wanting more. 

Vice is '60 Minutes' for Millenials

As a child, I watched a LOT of television. Some of it was my choice, but all of it had to pass the final say of my parents. Which meant watching a LOT of "old people shows". A lot. And every Sunday (especially Sunday) meant not only a large amount of tv viewing due to it being the weekend (plus the whole "Sunday dinner" ritual paired well with after-dinner tv), but it also meant '60 Minutes' at 7pm. PST. Every Sunday. And somehow, Morley Safer & Co. made an impression on me, making their way through the thick layers of cartoons and comic books. I was mesmerized with all the exotic locals, the hard-nosed investigative reporting, the blunt language (no, I don't mean swearing, this IS CBS after all). And the reporters. Ed Bradley had the calm demeanor and the piercing gaze with that stern face that called people on their bullshit without uttering a single word. Morley Safer, as I mentioned earlier, was the old curmudgen with the heart of gold. Lesley Stahl was the lone female who held her own with the boys yet also played the "good cop" role with interviewees, winning them into honesty submission with the bubbly personality you could trust. Mike Wallace was the guy whom looked like you knew he was handsome when he was younger. The star quarterback role amongst this team of reporters. And all of them wanted to get to the heart of the matter in whatever the segment was about. They wanted to hit that main vein of truth @ the center of the story. Every time. And by and far, they succeeded. And for a long time (and still, currently) '60 Minutes' ruled the "news magazine" portion of television with an iron fist. But every reign must come to an end. Half the on-air reporters I named have, unfortunately, passed on and/or retired. Indeed, 60 Minutes continues to reign supreme @ 7pm on Sundays weekly. But there's also a new kid in town. Well, he's been here for a few years - first in online/quarterly magazine format, then rising thru the cyber ranks to become popular enough for an HBO half-hour news show. That kid's name is Vice (.com, Magazine, and News on HBO).
   If anything proves that Vice and it's various supporting companies/websites/formats are here to stay;], it was yesterday, when Disney announced that they would be investing over $200 million dollars to own a portion of the company. Yes, the house of Mikey Mouse himself and all that it represents (read: "good, wholesome fun") wants to own a part of the company responsible for an article/video short entitled "Heroin Holiday" where the video reporter spent the weekend with a group of Dutch junkies who went into the hills where opium poppies were being grown by companies for poppy-seed bagels, etc. during harvest and reap the narcotic rewards. But Vice is so much more than that. Disney obviously knows a good thing when it sees it. They see that Vice represents a new generation. It IS the 60 Minutes for the millenial crowd. For me. It takes what 60 Minutes started with having an unabashedly honest, unbiased view of the subject their reporting on and the people they interview and takes it a step further into the digital age. 15 minutes snooping around on Vice.com will prove that. So congratulations to one of my select few sites I checked on na daily basis. Usually in the morning, with coffee. And a danish on Friday sometimes. I like my daily dose of real-world problems and violence with a side of sweet breakfast pastry and caffeine like any red-blooded American (I guess).

You never have that moment where you think you've heard everything from an artist and then stumble upon some old new shit? Yeah, that just happened to me. Ok yesterday, but I'm just now getting around to it. THE LOX FTW a-HA! (Jadakiss laugh)

Thoughts on Stretch Armstrong & Bobbito

   So I'm listening to one of the latest episodes of 'Juan Epstein', lovingly known as "Juan Ep" by major fans such as myself, and the guests of honor were Stretch Armstrong and Bobbito Gracia. Lovingly known themselves as "Stretch & Bobbito" from the actually (no shots to Sway) world-famous radio show of the same name, they spent the next TWO (!) hours nerding-out with Pete Rosenberg and Cipha Sounds and talking about everything and anything related to that amazing era of hip-hop in the 1990's. They were there to promote the new documentary Bobbito directed called "Radio That Changed Lives", which I can't comment on since I still have yet to see it. (I know, I know...*shame emoji*) I purchased it last night, as my stoner ass spaced on the release date back in late October. ANYWAYS. Stretch Armstrong and Bobbito. Juan Ep. It was an amazing 2 hours. They talked about ALL the shit only dedicated hip-hop nerds would salivate over. Pure nerd glory, as most all Juan Epstein episodes are.
    It all started on Limewire. Well, Napster. THEN Limewire. That's where I, and countless thousands, if not HUNDREDS of thousands of hip-hop heads discovered 'Stretch & Bobbito'. I think the first audio from the show that I ever heard was that legendary "Jay-Z & Big L 7-Minute Freestyle" we all know and love. The piano loop is already playing in my head as I type this, with a smile forming on my face thinking about that specific track as well as those early days in general. I listened to as many episodes as I could back then - risking viruses and damaged computer memory but fuck it - that shit was audio gold as far as I was concerned. Not that I was starving for classic hip-hop radio material here in  Northern Cali - we've had The World Famous Wake-Up Show from day one. And Sway & King Tech get eternal props and endless respect for that groundbreaking show - but  they were on KMEL and had to play by their rules. If you wanted to hear raw, un-cut NY artists and underground in it's purest form - Stretch & Bobbito were the answer. They hit the airwaves on WKCR college radio - Stretch mentioned on Juan Ep that they didn't even ATTEND the college nor alumni either - which meant the freedom to do whatever the fuck. Which meant playing super backpacker material 24/7 and somewhat-talking to artists in between cuts - but more like a "just chilling" vibe and conversations instead of a straight-forward interview.  Stretch & Bob will be the first to tell you that the early days were kinda rough. Mistakes were made. And NOBODY CARED. God bless college radio for that. It was like listening to your homie's 2am-3am slot on the university airwaves - but he had all these heavy hitters coming through to launch new material and promote whatever instead.
   I still have yet to fully comprehend the spectrum of influence both men and their little radio show had on my listening tastes as well as everyone's else. Unfortunately, like most all famous radio shows, the episodes available for listening to the general public is slim. Thank GOD for Youtube - some episodes have made their way onto the site and many other have in the past (before quickly being shut-down and served papers by the label's lawyers) because at it's heart a radio show is meant to promote OTHER people's property. Indeed, the ad-libs and commentary between Stretch & Bobbito and them with the artists is their intellectual property. But most all of the tracks aren't. Hopefully, over time, I'll be able to gather together a hodgepodge of the entire run of Stretch & Bobbito. Kind of like what Questlove does with old Soul Train episodes. But for now, 'Stretch & Bobbito: Radio That Changed Lives' will have to suffice. Time to go grab some grub, roll a blunt, and throw on the documentary. Long live independent hip-hop radio!

Genuine...The Bachelor is 100% G

 

 Ginuwine is exactly that - the real article. The, ahem, gen-u-ine article. I guess "The Real McCoy" was too white-sounding for listener's ears. And he had the majority of them playing his slow-jam/hip-hop-and-R&B cuts any chance they could. But the man born Elgin Baylor Lumpkin (now you know why he changed his name) couldn't have done it alone. Yes, he has some moves. and that smooth-as-butter voice. But so does Usher. What separated Elgin was his association - early, minor you - with Timbaland aka super producer extroidenaire from mid/late-90's to now-and-forever. Timbaland, especially in the early days (ESPECIALLY in those early days), was a true force to be reckoned with. He was a sonic king-maker - and he knew it. Heavy hitters like Jay-Z (ESPECIALLY Jay-Z) would soon be adding them to their speed dial, their rolodex or beeper number list or whatever-the-fuck you used to keep your go-guys contact info on lock in the dawn of the personal cell-phone era of the mid-nineties. Timbaland was using sounds and twisting them in ways that had never been done before. In hip-hop or otherwise. Ever. His early material with (pretty much) every member/musical act in Da Bassment Crew; especially Missy, G, and Aaliyah,  went on to establish their monumental careers and laid the foundation for a body of work in hip-pop music probably only rivaled by that "other crew from Virgina", the Neptunes.
     But while the Neptunes sounded like bright hues of red and green, Timbaland sounded primarily dark. You know, black. And maybe navy blue. Some grey possibly. Dark shades of it. And that's not wrong - many of Da Bassment's visual ques matched similar color schemes - it just displays how to perceive his music, and more so how to perceive Ginuwine's first album during that early period, 'Genuine...The Bachelor'. BECAUSE IT IS A DARK, MOODY MASTERPIECE.
    Entirely produced by Timbaland - as most all collabs with Timothy Mosley ended-up being in those days - 'Ginuwine...The Bachelor' harkens back to the new jack swing days with a Virginia twist. I mean, Devante Swing mentored the ENTIRE Bassment crew. So it makes sense. The album is completely anchored by runaway hit (and now a modern classic) 'Pony', which is simply amazing. It literally IS both simple and amazing. Timbaland speaks through his personalized vocoder "Yeeeeah x5" and makes his voice sound like an actual bass riff. Kinda of like what Lil Jon would do years later with Ciara's 'Goodies', the cornerstone of 'Pony' is a stretched-out vocal sample. The rest of the album is typical of what we expect from Timbaland's production - weird audio SFX and heavy-hitting drums and bass. Lots and LOTS of hard-hitting bass. He also mixes in some EDM (in mid-90's rap/R&B too!)  and a traditional hip-hop style cut in 'Holler' (which is my personal favorite track...I could repeat it for an entire day and probably still want to hear it again), as well as a FABULOUS cover of Prince's classic 'When Doves Cry', which Timbo and Ginuwine update for the hip-hop era. It's simply a must-hear track.  There aren't many collaborators on this album - it's "100% G" as Elgin would probably say. And with the crucial sonic assist from Timbaland, of course. If your in need of a smooth and laid-back-yet-hard-hitting R&B album, you can't go wrong with 'Genuine...The Bachelor'. It's a classic debut from a classic R&B 90's singer. Yes, Elgin might not be on top of the world anymore, and The Swing Mob/Da Basement crew might be disbanded, but this album as well as many others from this era will forever live on in the iTunes libraries of R&B fanatics for decades to come. It's a true testament to the talent involved. And for the love of G, don't listen to this album during the day. It's definitely a night-time banger - kind of like what you should be DOING while listening.
                  - Casper

The 4th (or 5th?) Coming Of Pusha T

   He has the skills. We know that. Well, I know that. Since his Clipse days with brother/co-member/equally talented emcee, Malice (who has since left the industry completely to pursue a "higher calling" spiritually, and more power to him!). Pusha T, who now goes by "King Push", has done everything - on paper - that is required of becoming a popular artist with Top 40 hits and Billboard 200 albums. There's the obvious Neptunes-thru-way-of-Pharell connection - and all the classic material that was (and still!) created due to that musical team-up. Then Kanye came and saw the still-potential that Pusha T had as a solo artist. 'Ye took Pusha under his wing and guided him to a semi-successful career so far - as well as a new role as president of the G.O.O.D. music label. 'My Name Is My Name' was exactly that - semi-successful. It didn't have the album sales of stand-out success, but the Clipse/Pusha T brand name is strong for a certain breed of hip-hop fanbase; and due to that rabid fanbase, Pusha didn't brick either. He had some success on the Top 40 charts with the Chris Brown-assisted 'Sweet Serenade', which had an equally haunting music video.  'Numbers on the Boards' was also turning heads as a street single. It had a minimal beat with a throwback style reminiscent of earlier "boom-bap" style hip-hop. And the minimal sound with hard-hitting drums - and Pusha interpolating that Jigga sound bite! - suited him perfectly. 

    That doesn't seem to have changed for round 2 on the solo album train for King Push. Except this time, completely based on the new material Push's camp has released thus far, it seems the main strategy is to try to make more 'Numbers on the Boards'-type of tracks. And it makes perfect sense. Pusha T has always been known for being that "super lyrical dude who just so happens to sell crack too" and famous for all the ways and words he used to describe that chosen hustle of his. Due to the minimal sounds in the beat, everyone HAS to focus on his lyrics. Like it used to be. Well, outside the club anyways. 

   'Untouchable' is Pusha's most recently released single. As I said before, and on this song especially, the King Push camp is really attempting to create another 'Numbers on the Boards'-type track. 'Lunch Money', the other major release from this project (which is now SEPARATE from the 'King Push'-titled album that was supposed to come next originally) - was released almost a YEAR ago. All these beats are going backwards while forwards at the same time - they all use similar old-school techniques but filtered through new-school equipment - it sounds crisp and clear with futuristic-type "beeps and boots" SFX thrown over the boom-bap drums and 90's-emcee-lyric samples. 

    'My Name Is My Name' was a superb first solo album for Pusha T. And it seems that now, a couple years after it's release, it's due time for that second album. And the hype-train locomotive is just starting to heat-up - what with the GOOD Music President announcement, the recent release of 'Untouchable', and several cameos/track appearances for other artists. I like the direction their heading - but I'm a sucker for old-school, period. I'm already a self-admitted member of the Clipse/Pusha T Stan fan-club. You don't have to convince me about ANYTHING regarding Pusha T - I'm gonna check it out regardless. It's the rest of America that has me worried. Fingers crossed. KING PUSH FTW! - Casper

Remember when Jay-Z show'd up @ JD's So-So Def 20th Anniversary Party in the ATL wearing a gold chain and some cuban links worth more than the entire GDP of Kenya? ROCAFELLA Y'ALL... ‪#‎IsThereSuchAThingAsTooMuchBling‬ ‪#‎TBT‬ ‪#‎SoSoDef‬ ‪#‎JermaineDupri‬I kinda wanna just print this picture and slap it on my wall with the word "GOALS" written below it, for reals.

I'ma prob just loop this for the next....couple hours. Prob the entire album all damn day. ‪#‎TBT‬ CHEA!

Throwback Thursday (tho that's kinda everyday for me amIright)...this and 'Can I Get A...' were the first two hip-hop traROCAFcks I heard in junior high that made me fall in love with this genre. Don't laugh! Yours was probably Spice Girls smh!

HOV CAME UP WITH THE HOOK AND HIS VERSES IN LESS THAN 10 MINS (according to JD...who says he never had seen that before ESP w/out a pad & pen)... 

ROCAFELLA Y'ALL....

WHO FLIPPED THAT ISH (SAMPLE) BETTER? #1 (MOBB DEEP 'TEMPERATURE'S RISING' / HIERO (via 'The Shaman') 'EVERYDAY OF THE WEEK'

WHO FLIPPED IT BETTER? SERIES / POST #1:

    The early-mid 90's was, of course, an amazing time in hip-hop music. At the time, you had classic cuts coming from all over the country, although the South's integral contributions to the culture wouldn't be recgonized until a few years later, unfortunately. But in the early/mid-90's - the East Coast & the West Coast were co-kings. Well, NY was the reigning ruler who enjoyed a long-run on the throne - but was quickly being usurped by the West. LA got most of the shine - but the Bay Area had been paying it's hip-hop dues for a long time, as well as was enjoying basking in the success of their Southern California brethren. Segway to what this article is all about: a (hopefully) soon-to-be regular series of posts that are basically a case of answering the eternal questions in life - why are we here, is there a God, why do women take fucking FOR-ever to get ready to just go get take-out Chinese, and...WHO FLIPPED THE SAMPLE BETTER??!? For our first post, in which we try to resolve the eternal rap nerd question of which-producer-flipped-the-sample-best (I've already given you kinda of a warm-up to in the intro already - is between a track off the all-time East Coast seminal classic rap album, 'The Infamous...' by Mobb Deep, titled 'Temperature's Rising. The other contender's classic cut comes from the one-off, early-Hiero phase EP known as 'The Shaman', by a very young Pep Love and an equally-fresh-behind-the-boards-but-talented-AF young producer known as Mike G.

    The main sample from both songs is 'Where Is The Love' by Patrice Rushen, a 70's/80's singer who's biggest musical claim-to-fame is the single 'Forget Me Nots' in 1982. That song has been sampled many times itself within the hip-hop genre, and I'm sure Patrice Rushen is getting' some of those nice-ass music label royalty checks just from the Will Smith usage of her songs in some of his mega-singles from the mega-soundtracks of his mega-blockbuster films in the 90's alone. 'Where Is The Love', in it's intended form as an 80's quiet storm-style adult cxontempory and R&B release, isn;'t bad at all. That's why the sample is so great, of course. Patricia Rushen has a very relaxing yet sweet voice that carries the track well. But this is about the flip. And that flip occurs in the very first 10 seconds of the song. Those 10 seconds would become the main sample for both 'Back to School' and 'Temperature's Rising'. Except, as I stated before, this was originally intended as an 80's quet-storm track that was oh-so-hot back then. I mean, Sade was straight KILLING IT WITH 'DIAMOND LIFE' AND JUST HER GENERAL GODDESS BODY+PERSONA, YA BISH, during this time period. But I digress. Basically, both tracks' producer's were wise enough to know that they needed to speed that shit up if they were gonna to go anywhere with that sample in the form of a killer hip-hop joint. So they did. And the outcome was a seminal classic (Mobb Deep's version), and a B-side classic and Hiero side-group fanatic favorite (Pep Love/Mike G's version) that would, quite honestly, be THIS amateur crate digger's dream to find on wax as a 12" single.

CONTENDER 1: 'Temperature's Rising' was recorded and released as a single to the album 'The Infamous...' by Mobb Deep, who is a duo, Prodogy & Havoc. Havoc, was/is still the primary producer behind Mobb Deep (tho apparently, legendary ATCQ member & literal neighborhood friend, Q-Tip, did a TON of post-procution work for the 'The Infamous'...album, but basically just changing things here-and-there as the musical meat-and-potatoes of most every track on the album was Havoc (though apparently, ATCQ head-member & literal neighborhood friend, Q-Tip, did a TON of ghost-production no this album [1]). Havoc started by adding gritty, hard-hitting "Boom Bap" style drums to the graceful, smooth Patricia Rushen sample. Around-the-way, local NY singer Chrystal Johnson provided the beautiful signing voice on the track's hook. The track was written in similar form to another QB legend and personal friend, Nas, and his track 'One Love' that, of course, involved Q-Tip as well. [2] Unfortunately, the subject of this track's prison-letter-format, not just a Mobb Deep posse member but actual older blood brother of Havoc, Killa Black, ended-up committing suicide in his prison cell just a few years after the track's release, while still incarcerated, obvs. Sometimes art reflects life a little too much.

CONTENDER #2: Ahhhh, early-era Hieroglyphics. "The forgotten Hiero side-group" of The Legendary Hieroglyphics crew out of Oakland, CA, 'The Shaman', the Hiero sub-musical duo,                                                                                                                                                                 that NOBODY really remembers. Obviously, the details on this sub-group of the much larger hip-hop collective, are extremely vague...still, (as a dedicated hip-hop nerd, I obsess over these types of things like a USWeekly-reading soccer mom, lol) and it KILLS ME not to know the entire story behind this piece of Bay Area rap history. Because Pep love, or more so his producer Jay-Biz'\]]\\s sole Hiero album release is actually one of the best albums from the entire Hieroglyphics library, imo.
It's like a musical polarid snapshot of the early-Hiero era. That early phase of the Hieroglyphics crew, when every motherfucker on the damn crew had a solo contract with Jive, that '92-'98 phase of Hieroeglyphics albums pressed with the Jive Records stamp-of-approval. And what a phase it was. So innocent. So young. Everyone was either just finishing high-school, or were still IN high-school (I'm looking @ you - Soul of Mischief).

Basically while their classmates were flippin' burgers and rock cocaine on the corner, they were already putting albums on the Billboard 200. And 'Everyday of the Week' sums-up that era, perfectly. It's indie-sounding, like two friends jus recording some ish in their bedroom for fun, mixed with the major label engineering magic at the same time. No, it's not POLISHED. At all. Just, not crappy sounding either. Remember, this was 1994-1995. Fools were still buying CASSETTE SINGLES. Drug dealers had PAGERS. It was a different time, and when you think about how arcaic the tech was, it makes this joint even more impressive. Pep Love & Jay-Biz go for a more light-hearted approach in their flip of 'Where Is The Love'. Jay-Biz add's a couple jazz loops here and there, some sparkle and pop, as was Hiero's signature and the general (tho not long-lasting enough for Jazz-Rap fans such as myself, unfortunately) hip-hop style at the time.

Basically, it comes down to what kind of style are you most attracted to. Do you like gritty, 90's gamgster rap? Or were you more of a Native Tounge Posse fanatic, "peace & love / "Can't we all just get along??!?"-type dude? Did you always stay strapped...and if so, was it with a 9mm or a backpack? That right there, will honestly guide you to the answer to which is the "better" flip of this sample from Patrice Rushen. In reality, both are amazing, classic songs. Both have their benefits. But like a hip-hop Highlander - THERE CAN BE ONLY ONEl,

And that's 'Everyday of the Week' by The Shaman, for me. Too many personal memories. I can still remember the very first time I heard 'Every Day of the Week' in my friends scraper BMW, around 2004, during afternoon Bay Area gridlock traffic on the 24, and he was bumping' old, personal stereo-dubbed Stretch & Bobbito tapes (ATTN: IF YOU HAVN'T SEEN BOBBITO'S NEW DOC ON THE HISTORY OF HIS & DJ STRETCH ARMSTRONG'S LEGENDARY 90'S RADIO SHOW, 'RADIO THAT CHANGED LIVES', then DO THAT SHIT NOW SON...ITS ONLY AVAILABLE ON VIMEO AT THE MOMENT UNLESS YOUR LUCKY ENOUGH TO ATTEND ONE OF THIER IN-PERSON LIVE SCREENINGS WHICH I MISSED, SMH. WHY AM I YELLING!?! BECAUSE ITS THAT DAMN GOOD &N IMPORTANTE, FAM!!!) and 'Everyday of the Week' came on. It was love at first sight.

In summary - Mobb Deep might have won the war (the better album) but Extra Prolific definitely, without-a-doubt, won the battle with 'Back to School'. And what a battle it was.                            

Vampire Weekend x Souls of Mischief???

So this happened, apparently. Hipsters everywhere, go change your pants before that jazz you just cream in 'em dries and gets all stankonia and shit.

One Classic Wonder: 'Livin' Proof' by Group Home (Produced Entirely By DJ Premier)

It starts off like a gunshot. Those drums. Piercing your eardrums. THOSE DRUMS. Then the centerpiece sample hits. Both flow through a audio filter of grime and out the speakers with such intensity you just HAVE to stop what your doing and listen. If,you know, your into this type of thing. This music. And Preemo is the king of it. He is the creme de la creme of 90's boom bap rap music. With Guru at his side, DJ Premier dominated the rap world for a decade-plus as Gangstarr. But this song I'm describing isn't a Gangstarr track, amazingly. No, this is Group Home. 1995 was, well, the "peak" of golden-era hip-hop music. Top 40 and what now is described basically as "backpack rap" (or, lovingly by some, "boom bap") were one in the same. Puff Daddy would soon flip the script on the tastes of Top 40 hip-hop with his shiny-suit era, but in 1995 it was all about grimy, hard-hitting "boom bap" drums and really smart, dope lyrics. You had to have the skills. It wasn't diluted (that's actually a matter of opinion and open to debate which I'll leave to another discussion). And 1995 was a good year for DJ Premier. Good enough, in fact, that it allowed him the ability to focus on more than his own group, Gangstarr. This group of young dudes - all rappers or producers that Preemo knew and would work with - was known as The Gangstarr Foundation. Jeru The Damaja and his group Dirty Rotten Scoundrels were part of this collective, and were able to thus enjoy the fruits of Premier's labor on the boards. Another side group that Preemo had been working with in this time period was known as Group Home. They wouldn't go on to have nearly the type of career that Premier had hoped, but that first album they made was definitely one for the ages. Called 'Livin' Proof', the album would do just upon release. Like I said, Premier was king. But Hip-hop also didn't make up nearly as much of the music playing field as it does now. 'Supa Star' was the first and only single to hit the Billboard Hot 100, peaking at number 85. That's still a testament to Premier that it even charted. The first track off the album, 'Livin' Proof', which I started this article describing, managed to hit #26 on the Hot Rap Singles chart but quickly lost it's luster on the Billboard charts, which is a shame. Because that very song would become a hip-hop head's library staple. One of those instrumentals that always seems to make it's way into the rotation during a backyard cypher between friends (including this writer). 'Suspended In Time' was the album's 3rd single, and definitely is another album stand-out track. It contains a beautiful, mystical-sounding loop and the hard-hitting drums all filtered thru that 90's grime that is standard Premier. It follows the rare lackluster track on this album, 'Serious Rap Shit', which was a vast departure in sound for Preemo and thankfully, he didn't pursue it on any other tracks. Instead, the entire album has that grimy boom-bap feel that would stamp-date it with the year 1995 but at the same time make it timeless. Complex Magazine argued, in a fantastic piece on their website, that 'Livin' Proof' might just be the best hip-hop album ever produced. I don't necessarily agree, at least w/out some time to really think about it, but the fact that I'm EVEN considering it is a testament to it's quality. For every 'Baby Pa' snooze, there's a track like 'Up Against The Wall (Getaway Car Mix)' that just smacks you in the face with it's quality. This is some high-level shit coming outta D&D Studios (RIP). Lyrically, Lil' Dap has to rely more on his unique voice and charisma then his lyrics. Malachi the Nutcracker, the other member of the duo (with one of the worst rap names ever i don't care if he has some crazy personal story like "yo, I used to crack nuts a lot when I was a kid" I don't care that shit is WAAAAACK) is pretty much the Phife to Lil' Dap's Q-Tip, except Phife is waaaaay better (no disrespect due to Phife, he's a legend). But you can definitely see that one is better than the other. No, this album is all about the beats. And for DJ Premier fanatics like myself, one of his best.

Young Thug Made The Best Album of 2015 (And You Should Get It Right Now)

Young Thug just wants to be like Lil Wayne. The cackles, crackles, and the howls - oh yes, the howls - are all signature Wayne. Sort of. Because Thugger is purely influenced by Wayne - he's definitely not biting. And those are two totally different things. There's articles out there explaining the difference - I read a good one comparing Travis Scott's work to that of a pure biter - but I'm not going to delve into that topic here. Instead - I'm here to review Young Thug's sorta debut, sorta mixtape, known as 'Barter 6'. Yes, as in the infamous 'The Carter' series by Mr. Dwayne Carter himself. And no, Dwayne did not take kindly to that seemingly gesture of respect. Because apparently, it wasn't? Or it was? Either way feelings got hurt and names were called and shots fired and tracks recorded but not like in a real, dedicated need kinda way. Because the relationships of both artists are tied to a common thread in Birdman. Baby was either once Wayne's mentor, or still is - it all really murky with the details right now due to the ongoing legal actions on behalf of Wayne & Co against Baby for money shit and all that stuff that Cash Money is infamously known for (yet still nuckas be signing with them. why? influence? spotlight? idk. but always ends the same). Anyway - 'Barter 6'. Young Thug. There's a lotta stuff going on here. Both artistically and all the other stuff which is really white noise compared to the artistic side of this tape. It's an awesome record, to be sure. Starting with the stellar track 'Constantly Hating', featuring Mr. Birman himself, Young Thug goes IN. The beat by frequent collaborator (if not just straight-up partner IN MUSIC. No shots fired.) London On Da Track is a somewhat sleeper monster track. It's bare minimum instrumentation wrapped in hard-hitting drums. Perfect to showcase Thuggers "unique take on flow. I say that in quotes because Young Thug is definitely a polorizing rapper. You either hate him or love him. But I've realized that rap flow fanatics usually tend to love Thug. Birman spits one of his two surpisingly better-than-average 16's on this album on this track. You can tell he's a bit more excited than his usual self - probably due to the surge of energy that he's feeding off of Young Thug's meteoric rise in popularity within the rap and pop world. Another stand-out track on the album (amongst an entire album of stand-outs) is 'Can't Tell' featuring another frequent collabrator - TI - as well as Lil' Boosie, who has seen a rise in popularity since finishing his prison sentence last year. All three rappers come hard AF, but Thug manages to dodge getting killed-on-his-own-shit by providing one of his most creative displays of verbal dexterity yet. I can't even begin to truly describe the moment - you have to listen for yourself to get the full experience. But I'll just say that he starts his verse by mumble-speak-flowing (kinda like Jay-Z on lean) a few bars then picks-up the pace and returns on-beat like he snorted a line of coke and feels the need to make-up for lost time. Then he hits the pocket with a line about 2004 and Gucci Mane and Big Cat and the dust settles on his rhyme scheme and he finishes the track (somewhat) tame. Boosie Bad Azz (awesome post-prison name change btw) bats clean-up here, and his verse is trademark BOOSIE BABY, oozing with confidence and his thoughts about post-prison life and his recent successes (and shit, I would too if I just served an extended prison sentence and coming out harder and more popular than ever). 'Check' follows-up 'Can't Tell' and is one of the tape's "internet singles" as I like to call them. The video is YouTube budget-friendly and all the creatives involved are frequent collaborators aka friends aka hirable on the cheap. It's a good promo song. My boy's favorite track. My fabvorite track from the album that falls into the promo single category is 'Halftime' which is Thug's ode to excess - or his version of it. Personally, popping half of ANYTHING isn't even enough to get lit but hey, I lived that life and also it's personal preference and perspective, right? I could go on, but really you need to hear this album for yourself. Other personal favorites: 'Dream', 'Amazing', and 'Knocked Off'. 'Knocked Off' is my personal favorite track on the album. Baby comes good - definitely NOT bad - on his opening verse. Thug then meditates on his upcoming wedding, plus the usual things like drugs, cars, and the color red. Definitely the color red. But the beat is just so, idk, chill? fun? The whole album is. Young Thug has so much potential it's insane. He could also crash-and-burn at a moment's notice. I just have that feeling about him. Maybe it's the perceived street-softness via his fashion choices and such. He has that Tupac complex. That feeling of a need to go EXTRA hard - in everything. And, gang relations. The artist that keeps popping up in my head that he resembles is Charlie Parker. No, he probably won't be remembered as a genius of his music genre. But the complex, non-sequitur bebop-type flow and the tortured, gritty persona reeks of Bird. Anyway, go get 'Barter 6', now. Like, NOW. Or download it? I think it was an album-turned-free mixtape due to the beef with Wayne? Idk. But it's awesome. My pick - so-far - for best music album of 2015 that I've listened to. I'm out.

Ramblings on Ghostface Killah's Career

My first Ghost album was The Pretty Toney Album not gonna front. I was 17 and just really discovering hip-hop beyond a casual listener to like, Jay-Z and DMX (Late 90's Top 40...) in junior high. He blew me away with not just crazy AF lyrics that made no sense and made all the sense in the world at the same time, but he was just dripping charisma everywhere. There was like puddles of that shit wherever he walked. And it smelled like fresh custom-painted Clarks, Egyptian Musk cologne, and weed. And looked like if Jean-Luc Basquait was as tough AF thug from the Stapleton Projects and followed Allah, well, religiously. It was love at first sight. No, I was none of the things I just described so affectionately. I was a suburbia-raised white kid from the Bay Area who went to a private school. But soon, I would be out in the world on my own. And I had just discovered weed and good hip-hop at the same exact time, it was like the big bag theory of my personal personality's creation. That was the combo that set it all off. And the Wu-Tang Clan, especially Ghostface Killah, were there from the beginning. I started with Pretty Toney, then graduated to Ironman, and finally Supreme Clientle. Those are considered the "eternal top two" of most Ghostface Killah fans' lists. Well, I would assume anyway that it is. Not like I did the proper data-gathering and research to come to such a conclusion. But those early GhostDini albums - 'Ironman' coming during the 1st phase of Wu-Tang's hip-hop dominance in the early-to-mid 90's and 'Supreme Clientele' coming during the 2nd half/phase of Wu's hip-hop dominance - were timeless classics, it's eternally agreed upon. From there, the debate amongst Ghostface Killah (GFK, for short) hardcore fanatics begins. 'Bulletproof Wallets' is, imo, underrated and a top 5 Ghost album. 'Fish scale' lead Ghost's "second half" career burst of popularity, his "second coming" with new fans from all over the world, discovering Ghost not from jump or even a few years after, but towards the half-way point in his career. When the Wu-Tang was beginning to be an after-thought musically and more popular as an Etsy logo plastered on everything from couches, to welcome mats, and even underwear. 'Twelve Reasons To Die', both the 1st and 2nd albums, are his latest projects. Ghost collaborated with newly arthouse in-crowd'd music producer Adrian Younge, on the first album. It went over so well that he & Younge went back in the studio and cooked-up a second album which was equally good (even though the first is ALWAYS better...always). Then there's 'Big Doe Rehab', 'Ghostdini Wizard in the Land of Poetry', his recent EP with BadBadGoodGood or whatever. I'm stoned and don't wanna fact-check so bite me if I'm incorrect. I'm now 3- years-old, listening to Ghost more than a decade after I discovered him. And he still sounds fresh and amazing AF. Ghostface Killah is truly one of the greatest emcees ever, for many reasons. First, as I've brought up before, his album discography is, well, bulletproof. There's not a bomb in the bunch. And there's a LOT of albums. That's #2 - his quality albums-to-number-of-albums-created ratio. It's 12-for-12 solo albums and 5-for-5 collabo albums (yes, I looked THAT Ghostface fact up on Wikipedia, whatever). So, just for shits, i AM going to list my favorite GhostFace albums, from best to least (but ALL are dope). It goes as follows (and open to change anytime from now to infinity, word to Souls of Mischief): 1. Only Built For Cuban Linx (hey, it's pretty much a collab album and the best of BOTH emcee's catalogs, for real g, straight-up) 2. The Pretty Toney Album (You always remember your first time...) 3. Iron-Man 4. Supreme Clientle 5. Bulletproof Wallets 6. Fischscale 7. Twelve Reasons to Die / SourSoul w/ BadBadNotGood (TIE) 8. 36 Seasons 9. Apollo Kids 10. Twelve Reasons To Die 2 11. Ghostdini: Wizard of Poetry in Emerald City 12. The Big Doe Rehab 13. More Fish 14. Wu-Massacre / Wu-Block (TBH I havn't listened to these joints yet and I heard they weren't that good so I GUESS if you wanna count thee as bombs then Ghost HAS dropped some shit that stinks...whatever I don't count collabs there's too many additional creative variables involved)