Open Mics

Complex Magazine has compiled the 50 best hip hop radio freestyles.

While some might argue that radio is now a dying medium, it's undeniable that the AM/FM dial was the first outlet to bring hip-hop to the masses. Starting in the early 1980s, pioneering DJs like Mr. Magic, Red Alert, the Awesome Two, and Lady B gave a voiceless community the chance to be heard, and inspired future generations to pursue rapping as their full-time occupation.

Since that time, many legendary hip-hop radio shows have sprung up around the world, and during those late-night or early-morning time slots a new art form was born: the radio freestyle.

Many of hip-hop's greatest beefs were spawned live and direct over the airwaves. In the pre-MP3 era, cassette copies of these one-of-a-kind performances passed hand to hand, cementing reputations, and becoming the stuff of legend. Nowadays it's all done digitally, but the objective remains the same-total domination, no mistakes allowed.

Read more here.

I'm usually not a fan of these lists ranking artists or performances, but this one seems uniquely appropriate. During the years when I began to discover my place within hip hop culture, the music was moving through an period of creative and cultural uncertainty. We were a few years removed from the golden era, caught in the spectacle of East Coast vs. West Coast, and witnessing a surge of material emerging from southern artists like OutKast and Goodie Mob. As I explored hip hop more and more, these freestyle sessions served to maintain hip hop's artistic underpinnings; freestyles are the roots that fend off the erosion of rap music's relevance.

There are plenty of stand out performances on this list. However, for me the most impressive clip is #47, Q-Tip and Black Thought's "Dilla Dedication" freestyles. Perhaps it due to this month's featured emcee, but I was especially taken by this performance. Additionally, Black Thought freestyles are less frequent than you may think, so it's great to hear him rhyme in this forum. And on that day, Tariq went absolutely berserk!

peace.

Mother Load

Whoever thought it was a good idea for me not to know about the Red Bull Music Academy and its archive of artists' lectures had their head on straight, because now that I've discovered it, my productivity is headed in the crapper.

Here's a Questlove lecture from around five years ago.

This lecture/interview seems to have been recorded around the time The Roots were finishing up their first Def Jam project Game Theory. Quest gives us a very in-depth narrative describing the emergence of the Soulquarians, the inspiration of De La Soul on his decision to pursue making hip hop as a career, J Dilla's works and influence on his thoughts about drumming, and a number of other events and moments that have defined or shaped his music. Quest is the first to admit he is the unofficial the mouthpiece of The Legendary Roots Crew, and with this clip it seems he also serves to translate the energies of a large conglomerate of hip hop and soul artists, including folks like Jay-Z, D'angelo, Cody Chesnutt, Jill Scott, Talib Kweli, and James Poyser.

As for the Red Bull lecture archives (here's the link), the line-up is nothing short of stellar. I could sit here and drop names all night (over 270 clips) but I'll leave it to you to explore them further. I'm off to the Madlib video.

This paper is never going to get done...

peace.

Watch The Throne: Not For Beginners

I was supposed to write this review two nights ago, but I had to decompress for a couple days after watching this. Go see it and you'll understand.

I've read comments and reviews from all over the map about this album. Some praise Jay and 'Ye's chemistry, some claim there is none. Half say Jay's lyrics were better, the other half claim Kanye got the nod. The Monday-morning quarterbacking goes on and on with no real consensus as to what we actually have on our hands here. After listening to this album for pretty much an entire week, all I have left to offer is one question and one observation. Let's take them in turn.

Question: What did you expect?

Did you expect Kanye's ear for production and composition to be anything less than stellar? If you did, then I'm very sorry to disappoint you. Because the production on this album is, quite simply, some of the best I've heard since OutKast released Stankonia. Given what I've been able to gather about their respective creatives processes, I have to assume Kanye took the reigns with most of the instrumental/accompaniment aspects of the project. And yes there was input from a laundry-list of great hip hop sound men like Q-Tip, Swizz Beats, The Neptunes, 88-Keys, RZA, and Pete Rock. But ultimately, the orchestration of this album's luscious and dense sonic landscapes feels much more like a continuation of Kanye's trajectory on "...Dark Fantasy" than Jay's on "Blueprint 3". There is a clear sense of experimentation on many of the tunes on the album, but that's to be expected. What's not experimental about two powerhouses of hip hop attempting to building cohesion from substantially dichotomous individual aesthetics?

Did you expect Jay not to rhyme about being rich? Did you expect 'Ye not to rhyme about being a genius? Have you been listening at all?

Jay's been rhyming about being rich since he was broke in 1995. The name of the record label he helped begin is called Roc-A-Fella Records. Like he said on "Jockin Jay-Z":

Haters like, "Hov, why you still talkin' money sh*t?"

'Cause I like money, b*tch!

And Kanye's had a high opinion of his brilliance since the beginning, even before his career firmly began. One of the emcees at the epicenter of Kanye's birth as a full-fledged artist is Talib Kweli. Last summer, Kweli was interviewed by hardknock.tv discussing the early stages of Kanye's thrust into hip hop stardom. Have a look here. This pretty much sums it up.

Having said that, the lyrical diversity on this album is much more than I expected. With tracks like "New Day", "Murder to Excellence", and "Made in America" Jay and 'Ye are exploring parts of their thoughts and experiences that could only be revealed with exceptional attention paid to their personal ethics and journeys through life. And it's not like these are throw away tracks. They embody all the energy, commitment, and engagement heard throughout the entire record.

'Ye is rhyming like the government is about to cut off his oxygen.

Jay is rhyming like he's speaking to the United Nations.

These cats are writing as boldly and aggressively as they ever have.

Did you expect a ton of guest artists? I know I did. I'm happy their were few, and employed for specific effect. Kudos to them for not going overboard here.

Did you expect this to instantly be a classic record? Perhaps it is, perhaps it isn't. I'm not quite sure yet. While I certainly believe ...Throne to be a wonderful work, I'm still having trouble putting all the pieces together. Right now the album feels to me like a collection of two or three brilliant individual projects, like Jay and 'Ye could have released three EPs over the course of a year rather than one LP all at once. And as I mentioned earlier, this is most certainly an experimental album. However, I will say this; I expect many great things to be born from their efforts; videos, tour dates, follow up albums. The more these two work, the more refined their focus. This is certainly a good beginning.

As for my observation...

I've been walking and riding around listening to this album for almost a week now. It's been a gorgeous summer in Philadelphia, beautiful people are jogging along the river, and the general feeling of August is quite palpable. However, as I've experienced this past week with ...Throne as my soundtrack, something simply didn't feel right.

At first I couldn't put my finger on it. I mean, beautiful summer weather and good hip hop music have always seemed to fit hand in hand. But somehow, this particular album struggled to fit the pace and rhythms of the season. It was as if I was driving on the interstate all alone in perfect comfort, but with some jackass riding in my blind spot. It must have taken me four days to figure it out, but I think I finally have a fix on it.

Summertime hip hop releases are usually reserved for the party rockin', licence plate-rattlin' mega-hit singles that pulsate through the community. Fat Joe had one with "Lean Back". Sean Paul sneaked up on us with "Gimme the Light". And do you remember Lumidee? I'll bet you don't. But do you remember this? I'll bet you do.

And that's just it. Summertime hip hop has always been pleasantly youthful and, honestly, a tad bit disposable. It's supposed to be. It's designed to expire in September, making room for the more controversial and introspective releases of the fall, winter, and spring. It's the parts of the year between summers where I feel classic albums best work their magic.

To illustrate this, I randomly picked 20 albums that have all been considered some of the best music to emerge from hip hop culture. Then I looked up the release date of each album, ignoring the year. I will list them all here.

The Fugees The Score - February 13

Boogie Down Productions Criminal Minded - March 3

The Notorious B.I.G. Life After Death - March 25

Public Enemy It Takes a Nation of Millions to Hold Us Back - April 14

Nas Illmatic - April 19

Ice Cube AmeriKKKa's Most Wanted - May 16

Pete Rock and CL Smooth Mecca and the Soul Brother - June 9

Jay-Z Reasonable Doubt - June 25

Eric B and Rakim Paid in Full - July 7

N.W.A. Straight Outta Compton - August 8

Lauryn Hill The Miseducation of Lauryn Hill - August 25

Black Star Mos Def and Talib Kweli are Black Star - August 26

The Notorious B.I.G. Ready to Die - September 13

A Tribe Called Quest The Low End Theory - September 24

Common Resurrection - October 25

OutKast Stankonia - October 31

Wu-Tang Clan 36 Chambers (Enter the Wu-Tang) - November 9

Beastie Boys Licensed to Ill - November 15

Snoop Dogg Doggystyle - November 23

Dr. Dre The Chronic - December 15

Out of 20 albums, only four of them were truly released during the summer. I'm not counting Miseducation and ...Black Star due to being released so late into August. Those are really autumn albums; that's the season in which they made their greatest impact.

Of course, I felt as if this could have been a fluke. How could it be that so few of the albums hip hop considers timeless are released in the summer? Additionally, the number of summer albums on this list equals 20%. So am I just fooling myself because the year can be equally divided into four parts? Would the next count add up to 25% and debunk my finding? So I picked twenty more classic albums, but I won't bother posting the list because my findings were exactly the same. Four out of 20 were summer releases, with the other 16 heavily weighted in the late fall and early spring. And yes, they were random. You're just gonna have to trust me.

Why am I saying all of this? Well, I believe Jay and 'Ye could have done themselves a favor and waited to release this album later in the year, perhaps mid-November or so. It's just not a summer album. Their risks are too large, the orchestration too rich, and the lyrics are too well crafted for the simple-minded feeling of summer. Watch The Throne is not an album for beginners, dummies, or folks with no sense of humor. Textually and aurally, there's simply too much to digest while the sun's out. No one's really going to turn on their brains until kids go back to school and the first blast of Arctic air comes rolling in from our neighbors to the north. And I feel the disparity and conflict seen in the various responses and reviews reflects this. No one knows what to make of it because they're all just thinking about getting out to the beach (including me!).

Personally, I'm just going to put this one away for a while and come back to it after I bleed my radiator. It's too dope for me right now.

peace.

Jay and 'Ye Body Shop

I wouldn't be doing my job if I didn't post this tonight.

I was going to do a quick thought on the imaginations of hip hop fans. But as soon as I saw this, I had to throw it up here.

My two favorite things about this video are 1) Jay and 'Ye seem to be having a ton 'o fun desecrating Mercedes' ultra-upscale, ultra-luxury Maybach sedan and 2) I can only imagine how the Germans must feel that two rappers absolutely defiled their stuffy, handmade, über-exclusive work of automotive art. I think it's fantastic.

I wonder what the starting bid on the Maybach's gonna be?

I'll be back tomorrow with my full Watch The Throne review.

peace.

Watch The Throne: Re-view Preview

I'll get you primed with this:

from The Huffington Post:

I'm absolutely not a music critic. Absolutely not. I'm a film person who loves music. I've directed four music docs, two about hip hop. Still I have no real appropriate skills for what I'm about to do, which is write about an album. With that said, I'm inspired by this beautiful thing entitled Watch the Throne and I must jot something down. However amateur.

It's past 1 a.m. and I've now listened to Watch the Throne four full times, with very necessary repeats of my new personal anthem "Murder to Excellence." Actually, "listened" might not be the right word. Bumped. Bumped is a word that'll be appreciated by patrons of the new Huffington Post Black Voices, right? We can speak freely here, right?

So if I submit that this thing -- Watch the Throne -- is a Black Nationalist Masterpiece for the New Millenium. Too Much? Because that's how I feel right now. That's what I hear. I hear Black Rich Militance, in the best definition of such a term. I hear the audacity of black gazillionaires saying wonderfully black things like, "I arrived/When Fred Hampton died." Whaa-at?! You did? Okay. Damn.

Catch the rest of the article here.

Without a doubt this is the most anticipated hip hop album of the year, and for good reason. Everyone has been wondering what Jay and 'Ye cooked up in their self-imposed recording exile. Many reports put them in Hawaii and Australia for large chunks of the recording process, cutting themselves off from much of the world. That level of obsessive dedication to secrecy and isolation always leads to intrigue and speculation, especially with artists at this level of visibility.

One thing I can give you for certain: I think they should have waited until the fall to release this record. It simply doesn't work as a summertime album for me.

But I will expand on that in the full review later in the week.

peace.

A Simple Tribute

"Act Too...The Love of My Life" by The Roots feat. Common



I wonder how my musical life would have been different if I was never exposed to The Roots. Perhaps I would be much more into other genres of music, like classic soul or reggae. Maybe I wouldn't have such a unrelenting desire to see or hear live music (because live Roots shows are simply the best in the world). It's possible I would have never even become an artist, rather a veterinarian or a motorcycle mechanic. Because The Roots are, quite literally, one of the most influential groups of musicians to my personal sense of artistic aesthetic. They have been at the epicenter of just about every important moment of hip hop for the last 15 years, (the exposure and mentoring of J Dilla, the formation of The Soulquarians, accompanying Jay-Z's appearance on MTV Unplugged, performance in the concert film Dave Chappelle's Block Party, the house band gig on Late Night with Jimmy Fallon, etc.) and have proved to be one of the most consistent, thoughtful, versatile, and innovative groups in the history of music.

This is my favorite track from their 1999 release Things Fall Apart. They do Philly proud.

peace.

Story Time with DJ Premier

from Complex magazine:

Without a doubt, DJ Premier is top-five dead-or-alive, one of the greatest hip hop producers ever, and your favorite producer's producer won't tell you any different. The Houston, Texas native's sound, which consists of chopped samples looped over crisply punched drums, and accented with a signature scratch chorus, hasn't changed much, but still fits as the perfect hip hop soundtrack for New York's Timberland-boots-certified street aesthetic.

Even after 22 years in the game, reports about his production credits possibly surfacing on the upcoming albums of everyone from Drake to Immortal Technique keep fans on their toes. His continuous relevance asserts that East Coast boom-bap sound is still beloved by many, and upcoming projects like the collaboration album with Pete Rock will only maintain the flame. With that said, to the jizzing joy of those who masturbate to MPC noises, we recently went to the legendary HeadQCourterz (formerly known as D&D Studios) in Manhattan to hear the master craftsman share anecdoetes behind some of his all-time classics...

More here.

I didn't know it at the time, but DJ Premier affected my perspective of hip hop in a way that made me feel validated in listening to street stories. Between the ages of 12 and 14, I didn't want anything to do with hip hop music. I thought it was too vulgar, too arrogant, or too violent, and I couldn't identify with the words I heard. I was also quite resistant to what was considered "popular". In some ways, I suppose I still am. Nevertheless, most of my musical taste then involved jazz and r&b, not hip hop.

Then came the summer before my junior year in high school. My brother was visiting home during his time stationed at Fort Benning in Georgia. And when he brought all his stuff in the house, I noticed this grey padded case he used for carrying his CD collection. I jumped on it, and I spent an entire night picking through his music in the hopes of something interesting. Two of the albums in that case claimed me, ATLiens by OutKast and The Score by The Fugees. I commandeered them for more scrutiny, and they were heavily rotated!

So here I am, I'm 16 years old and I'm thinking to myself, "Alright. I'm not really into hip hop, but I like this two albums. I'll just listen to them." And for a long while, that's what I did. Nothing else in hip hop mattered for me except The Fugees or OutKast. I listened to those two records over and over, and practically learned every single word on both. In fact, I'm pretty sure I could crank out 60-70% of either one on the spot. Those albums are ingrained in my body for the rest of time, I can assure you.

So this is where DJ Premier came in.

The year was 1997 and Jay-z's album In My Lifetime, Vol. 1 was released a few months into my OutKast/Fugees binge. EVERYBODY had it. The first single "Who You Wit" had already been spinning on the radio for some time by then and in September we got hit with the second one, "(Always Be My) Sunshine." So Jay was everywhere, all the time; I couldn't stand it. Like I mentioned earlier, I couldn't identify with much of what artists like Jay were saying. I was much more attracted to emcees who composed with a more cosmopolitan sense of the world; emcees like Dre or Lauryn.

But then I heard "...A Million and One Questions...""

I think I first heard this at my boy Omarr's crib. My first response was that I loved it. My second was how much I hated myself for loving it so much. Jay wasn't saying anything that was relevant to my life. He was promoting such misogyny and materialism. All I can remember thinking is how regressive his lyrics would be for black society and that he wasn't doing anyone any good. And I didn't care. It made a twisted sort of sense to me. There was something about the way this track moved that felt completely organic, completely embodied. I couldn't take my ears off of it.

It took many years for me to realize why I had this response. It had nothing to do with Jay's lyrics, but everything to do with DJ Premier's production. It felt as if he had awakened in me a musical experience that had been dormant for years; it had always been there, Premio just unveiled it for me to enjoy. I was instantly intoxicated, I just didn't know to what. At that time I had no interest to know who produced the song, so my addiction had no name.

For a long while after that, I had similar responses to other Premier-produced tracks like Mos Def's "Mathematics", Nas' "Nas Is Like", and D'angelo's "Devil's Pie." (Go youtubing!) I had no idea who it was making these beats, I just knew I loved these songs. So the first time I even saw his name was when I finally decided to check out the liner notes for Common's Like Water For Chocolate album to figure out why "The 6th Sense" had become my favorite song from my favorite emcee of all time. And there is was, "...produced by DJ Premier."

There he's been all along, making some of the best hip hop records of all time.

peace.

Emcee of the Month: Asher Roth

Every so often a song will emerge from the massive boiling cauldron of hip hop music and ignite the rawest of emcee flames, setting of culture-wide cyphers that can last for weeks, or even months. Most of the time it happens during the summer; the party season. The record is almost always an unexpected hit, and each new incarnation seems more unimagined than the one before.

Such was the case a few years ago when Lil Wayne released his record "A Milli", which stood hip hop on its ear in the summer of 2008. It wasn't long after its official release when a plethora of emcees used the instrumental to record their own versions of the track. And quite frankly, how could they resist? Yes, the song is stripped-down, monotonous, and repetitive. But there is a darkness and mystery to it that is undeniably intoxicating.

The list of emcees that recorded verses on the track was extensive, including Jay-Z, The Game, Jadakiss, Papoose, Drake, and...you guessed it, Asher Roth. As always, youtube is your friend if you'd like to hear them all. But Asher's is just below, so have a listen. Oh, and listen to the original, too. It will definitely give Mr. Roth's contribution more context.

peace.

Do the Bus a Bus

I was too young and too busy tinkering with my bicycle to notice when Leaders of the New School practically broke up on camera during an episode of "Yo! MTV Raps" in 1993. But I wasn't too young to be completely spellbound and ignited with primal exuberance when I first heard "Woo Hah! Got You All in Check" on the radio in 1996. Everyone I knew was going out of their minds over this track! I don't think hip hoppers had shouted and jumped around that much since 3rd Base dropped "The Gas Face". It wasn't long after that when Busta Rhymes solidified his place in my top 10 favorite emcees.

Busta is one of the most unapologetic, relentless, aggressive, amplified, and explosive voices in hip hop. His characteristic vocal abrasion matched with his ability to rattle off lines like a roofer with a nail gun allows him to rhyme with a cannonball-like impact. He purposely throws the listener of balance; it's not supposed to be comfortable listening to him rap. It's supposed to incite a riot.

Over the years, Busta Rhymes has found more range and variety in his performance. He discovered a sense of delicacy and sophistication with his collaboration with Janet Jackson on "What's It Gonna Be?!" in 1998. On the 1997 single "Dangerous" he explored some of his more playful impulses. But throughout all of his work his edge has remains, which will always be the most enduring and dynamic element of his music.

Here's a clip of Busta's recent collaboration with Kanye West and Jay-Z called "H.A.M."

peace.