Wednesday 30 November 2011

Is Hip Hop Dead?


The early 2000's were the golden years for Hip Hop in terms of albums sales. Even the most depressingly average MC's could virtually guarantee a gold plaque (500,000) with every release. Fast forward to 2007, and sales were rapidly declining. For the first time in 12 years there was no rap album in the American top ten best sellers of the year. Sales of music in general suffered due to the recession, but hip hop was hit particularly hard. The ceaseless mantra of 'bitches, money and hoes' was growing increasingly stale as the gangsta rap market became saturated with cheap imitations. Consumers were crying out for something different.
The last 2 years, however, has seen a resurgence of quality music from a litany of new MC's. First up was Wiz Khalifa, fuelled by his mega hit 'Black and Yellow' and a huge underground buzz for his mixtapes. Rolling Papers sold 197,000 in its first week of release, eventually receiving gold certification. Hot on the heels of his success were standout projects Section 80 from Kendrick Lamar and Follow Me Home by Jay Rock. Though not commercially successful, the two albums displayed the wealth of young talent lurking just below the surface of mainstream hip hop.
After numerous delays, September saw J Cole finally drop his highly anticipated Cole World. Selling over 200,000 in its first week, the figures were particularly impressive as there was no particularly popular single to promote the album on the airwaves. Similarly, Wale received a remarkable career boost by signing onto Maybach Music. Compilation album We Are Maybach Music was well received, along with fellow freshmen Pill and Meek Mill, but the sales figures for sophomore project Ambition were truly remarkable. Over 160,000 units were moved in the week of release, compared to the 28,000 sold of 2008's debut Attention Deficit. Again, Ambition had no substantial single to promote. Love him or hate him, Drake is setting the standard for the rap/r&b hybrid, Take Care awarded a gold plaque within a week.

The success story of the year so far has been Mac Miller's Blue Slide Park. Despite being released on an independent label, the album debuted at number 1 on the Billboard Chart with 144,000 sold. Without substantial promotion, the rapper relied on engaging with his large internet following to great effect.
Though these figures are unimpressive when compared to the multi-platinum albums of the first half of the last decade, or indeed against continuing superstars such as Eminem, Jay Z and Lil Wayne, placing them alongside recent work from established stars is worthwhile.

50 Cent- Before I Self Destruct 160,000 (2009)
Rick Ross - Teflon Don 176,000 (2010)
T.I - No Mercy 159,000 (2010)
Game - The R.E.D Album 98,000 (2011)

Taking these figures into account, it suggests that hip hop is certainly working on a reduced scale. This is not to say, however, that the quality of music is declining. The state of the music industry is forcing labels to go look for other ways to promote their product, the creation of twitter becoming an increasingly dominant force in the hip hop world. A 'back to basics' approach, with an increased focus on creating quality free mixtapes to build a large following has yielded excellent results for artists such as Drake, Mac Miller and Wiz Khalifa. The new generation is now in a position to stand alongside the big hitters in the rap industry, with newcomers such as A$AP Rocky, Vado and Childish Gambino hot on their heels. Particularly exciting is the wide range of styles coming through the ranks. The introspection of J Cole, for example, is a world apart from the jaunty 'backpack' rap of Mac Miller.
Taking all this into account, it is clear that hip hop isn't dead. It's just smaller.

Monday 21 November 2011

Yelawolf - Radioactive



Seeing Yelawolf supporting Wiz Khalifa earlier this month pushed my anticipation for his debut into overdrive. Now the fateful day is upon us, I have been feverishly listening to Radioactive in order to find out whether the Shady Records signee is worth the hype.


'Radioactive Introduction' kicks off proceedings, the subdued beat allowing the listener to focus on the Alabama MC's complicated rhyme patterns. 'Get Away' follows, the track settling into a standard Southern banger with a welcome guest verse from new Cash Money Records member Mystical. In general, the features on the album are a surprise. There is no appearance from any Slaughterhouse members, Yela relying mainly on newcomers such as Shawty Fatt and Rittz to assist his project. This is not necessarily a drawback of the album, the effect achieved is that of a rough and ready Southern collection of songs. Rittz in particular shines on the blaring 'Growin' Up In The Gutter', the track used as an opportunity for the two MC's to explore darker, experimental themes. That is not to say that all the guests are as obscure. Eminem (as well as Gangsta Boo) drops by on 'Throw It Up'. The catchy, piano driven beat compliments the two white MC's, though the Gangsta Boo verse and chorus seems slightly out of place. Eminem's effort doesn't rank among his best work, though as expected there are plenty of quotable lines. The best collaboration is undoubtedly with Killer Mike on 'Slumerican Shitizen'. Here Yelawolf engages with deeper subject matter, discussing the political alienation he feels from the state. Less successful, but with similar themes, is 'Made in the U.S.A'. Yela laments the materialistic nature of modern America, but his serious message is undercut by a poppy hook. A drawback of the project is that it occasionally seems tailored towards radio exposure, sometimes at the expense of musical quality. Better examples of this are the Diplo produced 'Animal' and Kid Rock assisted 'Let's Roll'. Both of these tracks would not be out of place in a club or on the radio, but neither feel like cynical cash ins.


Lead single 'Hard White' is a tribute to the heyday of crunk, with Lil Jon producing his most compelling beat in years. The best track on the album, however, is 'The Last Song'. Over a mellow instrumental, Yela laments the fact he cannot celebrate his success with his absent father. The song also contains some touching reflections on his relationship with his mother, similar in tone to J Cole's 'Breakdown'.


Track by Track:


1. Radioactive (Intro) 7/10
2. Get Away (Feat. Shawty Fatt & Mystikal) 7/10
3. Let's Roll (Feat. Kid Rock) 8/10
4. Hard White (Up In The Club) (Feat. Lil Jon) 8/10
5. Growin’ Up In The Gutter (Feat. Rittz) 8/10
6. Throw It Up (Feat. Gangsta Boo & Eminem) 7/10
7. Good Girl 7/10
8. Made In The U.S.A. 6/10
9. Animal (Feat. Fefe Dobson) 7/10
10. The Hardest Love Song In The World 7/10
11. Write Your Name 7/10
12. Everything I Love The Most 8/10
13. Radio 6/10
14. Slumerican Shitizen (Feat. Killer Mike) 8/10
15. The Last Song 9/10



The Verdict:


Despite some ill advised pop leanings, Yelawolf has created perhaps the standout debut of the year. The album showcases the enormous potential of the Alabama born MC, while also displaying a surprisingly mature approach on certain tracks. The future certainly looks bright.


8/10




Sunday 20 November 2011

Drake - Take Care



Drake has been dividing opinion since his mixtape So Far Gone took the hip hop world by storm in 2009. Some see him as a multi-talented messianic figure at the forefront of popular rap, while others regard him as a pretty boy making R&B that can barely be classed as hip hop. Whatever your opinion on the Canadian entertainer, this album is unlikely to change your mind either way. 


Album opener 'Over My Dead Body' takes over from where Thank Me Later left off, with mellow piano keys providing the backdrop for Drake to wax lyrical about his accomplishments while Chantal Kreviazuk provides a soulful hook. This sets the tone for the chilled out mood that pervades the album, up tempo tracks proving to be thin on the ground. 'Shot For Me' allows the rapper to test the limits of his actual singing voice, rather than the irritating half singing half rapping that contributed to the lukewarm reception for his last album.  The trend is followed through into 'Doing It Wrong' with great success, a welcome, more emotional side to the rapper shining through. There is a tendency in Drake's music towards moody bitterness, and this runs through both of the songs as he arrogantly dismisses the women of his past. Other examples include 'Look What You've Done' and 'Marvin's Room', Drake using the downbeat tracks to uncomfortably bare his soul. 


There are, however, more upbeat tracks on the album. 'Make Me Proud' features assistance from rumoured wife Nicki Minaj, the chemistry between the two artists becomes undeniable over a pulsing beat. Lead single 'Headlines' is a catchy, boastful toast to everything the rapper has achieved in his short career. 'HYFR', with mentor Lil Wayne, is an opportunity for Drake to showcase an improved, speedier flow, suggesting the MC has used the time since Thank Me Later wisely. Another highlight is the sensual 'Practice', Drake demonstrating why his female fan base is so widespread.

Guests on the album are largely expected, with two notable exceptions. Canadian newcomer The Weeknd shines on 'Crew Love', eclipsing his fellow countryman on his own track. More importantly, Drake is finally awarded his dream collaboration with Andre 3000. The ATLien drops by for 'The Real Her', the song also featuring Lil Wayne. Unfortunately, the track fails to match the sum of its parts, the ponderous beat hard to distinguish from the instrumentals that have proceeded it. As always, 3000 drops witty, playful rhymes, but the project does not stand up to repeat listening.


Track By Track


1. “Over My Dead Body” 7/10
2. “Shot for Me” 7/10
3. “Headlines” 8/10
4. “Crew Love” feat. The Weekend 7/10
5. “Take Care” feat. Rihanna 6/10
6. “Marvin’s Room” / “Buried Alive Interlude” 6/10
7. “Under Ground Kings” 6/10
8. “We’ll Be Fine” 6/10
9. “Make Me Proud” feat. Nicki Minaj 8/10
10. “Lord Knows” feat. Rick Ross 6/10
11. “Cameras” / “Good Ones Go Interlude” 7/10
12. “Doing It Wrong” 8/10
13. “The Real Her” feat. Lil Wayne & AndrĂ© 3000 6/10
14. “HYFR (Hell Ya Fu**in’ Right)” feat. Lil Wayne 7/10
15. “Look What You’ve Done” 6/10
16. “Practice” 8/10
17. “The Ride” 6/10



The Verdict:


Drake is unlikely to win any new fans with Take Care, his sophomore album following the pattern established by Thank Me Later. There is, however, evidence of artistic progression, making the album a definite improvement on his disappointing debut. Supporters of Drake will be delighted with this new collection, whereas his detractors will find plenty to support their opinions.


7/10 



Thursday 17 November 2011

Busta Rhymes: Comeback King?


Browsing Hip Hop DX today, I came across the first bit of news that has interested me in a while. Busta Rhymes has signed to Cash Money Records, joining Lil Wayne, Drake and Nicki Minaj on what is currently the hottest label in the rap industry. This has capped off a fantastic year for an MC whose career seemed to be nosediving after 2009's terrible Back On My B.S. This was the result of a poor 7 year run that started with 2002's It Aint Safe No More, picking up slightly with The Big Bang, but an acrimonious departure from Aftermath Records seemed to be the beginning of the end for the Brooklyn native. Back on my B.S flopped both with critics and fans, poor sales reflecting the lukewarm reception for the project. In response, Busta promised a new album, Chemo, suggesting that hip hop needed saving. The more unkind among us may suggest that hip hop needed saving from faded stars devoid of enthusiasm and happy to pick up a cheque without a shred of artistic endeavour, but Busta had other ideas.
After the project was pushed back and eventually faded as a concept, the rapper proposed a new album: Extinction Level Event 2. This is intended as a sequel to the 1998 album of the same name, but as yet has no firm release date. Instead, Busta has had an incredibly productive year in terms of guest appearances. Earlier in 2011, the rapper caught the ear with a charismatic verse on 'Crane Style' from Raekwon's Shaolin vs Wu-Tang. Wu Tang brethren Ghostface Killah also recruited the fellow New Yorker for his Apollo Kids.
Busta seemed to be reveling in his freedom after leaving a major label, dropping well received collaborations with LL Cool J on 'Killin Em', Tech N9ne on 'Worldwide Choppers' and Styles P on 'Harsh'. The standout appearance, however, was when the MC secured a verse on the Chris Brown mega-hit 'Look At Me Now', alongside Lil Wayne. Busta steals the show with his improved quickfire delivery, spitting rhymes at a breathtaking speed on the catchy track. The video has accrued 130 million hits and counting on youtube, and eventually secured the rapper a spot closing the Lil Wayne behemoth Tha Carter IV.
The increased exposure resulted in a BET cypher appearance, the veteran delivering playful battle rhymes in a memorable verse, fully cementing his position back in the rap lexicon.
Taking all this into account, it was still a surprise when Busta announced on his twitter feed that he had signed to Cash Money records. It is as yet unclear which branch of the label he will yet appear, Cash Money or subsidiary group YMCMB. Either way, the news is welcome for those of us who were saddened to see a talented MC lose his touch. A new single 'Why Stop Now' has been leaked onto youtube, again collaborating with Chris Brown. If I'm honest, it's unlikely to set the radio alight, but it is another step in the right direction for an MC about to take back his rightful hold on the rap game. WOOHAAA!!!!

Wednesday 9 November 2011

Wale - Ambition



Washington born MC Wale has had an interesting year. Removed from the Interscope roster after poor sales of debut Attention Deficit, the rapper was offered a second chance in the form of a place on Rick Ross' Maybach Music Group label. The compilation album of the same name found Wale rhyming with fellow XXL Freshmen alumni Meek Mill and Pill, as well as Ross himself. Though the LP was generally well received, Wale was criticised for seemingly changing his content and flow to fit in with his new label mates. 6 months later, the MC returns with his first MMG solo release: Ambition.


The first notable feature of the tracklist is the lack of MMG support. Meek Mill appears once, while Rick Ross guests twice. In theory, this allows Wale to stretch his wings, affording him an opportunity to experiment. The first four tracks, however, find the rapper stuck in familiar territory. 
Album opener 'Don't Hold Your Applause' finds a laid back Wale taking the MMG trademark boastful approach to his wordplay: "Tired of making money/ I'm more than making history/ Fuck how they feel I keep it realer than a documentary". 'Double M Genius' and 'Miami Nights' take on a similar theme, but it is the sombre 'Legendary' that properly kicks off the album as the MC wearily dissects the price of fame: "Fuck fame/ Fuck money/ Fuck anything anyone can take from me/ It aint hard/ To make money/ We young niggas just tryna' be legendary".


The LP has a prominent R&B streak running through the track list. The best of these are the Miguel assisted 'Lotus Flower' and 'Sabotage', featuring Lloyd. The former is an exercise in smooth seduction, while the latter is a smart examination of destructive relationship behaviours. 'White Linen', with Neyo on the hook, fares less well, the song tipping the balance of the album over to blatant attempts to expand the female fan base. The rapper starts 'Illest Bitch' by proclaiming that "I was going to write you a poem today/ But fuck it, I was feeling myself...". He should have stuck with the poem.


The stronger tracks on the album are where Wale takes himself out of his comfort zone. 'Focused' utilises the left-field  stylings of Kid Cudi to great effect over a synth heavy, spaced out beat. Similarly experimental is the Diplo produced 'Slight Work'. Sirens wail in and out of a looping drum beat as Wale and Big Sean showcase their quick time flows. Title track 'Ambition' is a subdued, poignant collaboration between MMG stalwarts Mill and Ross, the song demonstrating that there is more to the group than money, bitches and cars.


Track by Track:

1."Don't Hold Your Applause" (6/10)   

2."Double M Genius"  (7/10) 

3."Miami Nights"  (6/10) 

4."Legendary"  (7/10) 

5."Lotus Flower Bomb"  (7/10)


6."Chain Music"  (6/10)


7."Focused" (8/10) 

8."Sabotage" (7/10)


9."White Linen (Coolin')" (5/10) 

10."Slight Work" (9/10) 

11."Ambition" (7/10)

12."Illest Bitch"  (5/10) 

13."No Days Off"  (5/10) 

14."DC or Nothing" (6/10)


15."That Way" (6/10)

The Verdict:

When listening to Ambition, it is hard to shake the feeling that Wale is out of his comfort zone on his new label. The album lacks the consciousness, emotion and razor sharp wordplay found in both the mixtapes that brought him to national attention and his debut effort Attention Deficit. Signing with MMG has become both a blessing and a curse.

6/10                   


Thursday 3 November 2011

Wiz Khalifa - O2 Academy, Glasgow. 2/11/11


(Top quality image used with generous permission by Alexander Whittington.)

It was time for my second visit to the Academy within a month.Yelawolf had already started his supporting set when we entered the impressively full venue, his unmistakable quick fire nasal delivery floating to the back of the room. The Alabama MC's performative experience shone through as he whipped up the crowd in a way rarely achieved by those second on the bill. Lead album single 'Hard White (Up in the Club)' received a warm reception, as did a timely A capella rendition of his recent BET cypher appearance. Removing his vest to reveal a heavily tatooed torso (an action that was going to become somewhat of a theme as the evening progressed), Yela provided a menacing performance of personal favourite 'Pop Tha Trunk'. This was preceded by a bizarre interlude in which his DJ played a medley of The Doors, some Johnny Cash and then wrapped it up with some Eazy E. That aside, Catfish Billy left the crowd feeling strong anticipation for Radioactive (November 21st for those of you that are interested) Clocking in at nearly 45 minutes, the MC leaped from the stage for some crowd interaction for his final song. The future is looking bright for Shady Records signee.

An impressively short 20 minutes later, Khalifa took to the stage. Sharply attired in a fitted plaid shirt, Wiz launched into a selection of the weed induced mixtape material that propelled him to internet stardom. A nod to his British audience resulted in a sample of Tinie Tempah's 'Till I'm Gone', along with a performance of new track 'Young, Wild and Free'. The rapper pranced spasmodically across the stage, contorting his body playfully into an all manner of interesting shapes. The crowd was treated to a demonstration of Khalifa's karate skills, and an unnecessarily enthusiastic sensual self-rubdown of his tiny frame as the Pittsburgh native energetically clowned his way through the performance. As a result, the backing track was often employed to provide musical support, filling in the gaps when Wiz was otherwise engaged.
An uncharacteristically mundane interlude followed, Khalifa hammering home the point that we were all part of his 'Taylor Gang'. Members of his crew then flooded the stage, swathed in Taylor Gang memorabilia as a stomping performance of the song of the same name was performed. The track ended with the Wiz being 'shot down' by his light show, the rapper jerking his body in time with the gunfire.
The second half of the gig was devoted to gold selling album 'Rolling Papers'. The more chilled out pop oriented tracks required less exuberance, so Khalifa took the opportunity to use the microphone stand to showcase his vocal range. Favourites such as 'No Sleep', 'Fly Solo' and drug ode 'On My Level' were performed with aplomb, the rapper stumbling across the stage in accordance with his lyrics.
Single 'Roll Up' entered the set list as the performance wound towards the inevitable last song. The lights took on an appropriate hue as Wiz performed 'Black and Yellow', the song that propelled him to global stardom. He then ran off stage, his DJ coaxing him back for one last effort. 'Cameras' proved to be a suitable anthemic encore track, the crowd leaving the Academy with a definite buzz. In short, Wiz Khalifa showed Glasgow exactly why he is regarded as one of hip hop's most charismatic new stars.