I love this track, the vocals are exquisite and the song as a whole is compelling to it’s listeners. The beat is sick, but that’s no surprise from Producer Ricky P. M. Tomlin’s vocal’s and sound singularly are exceptional, not to mention his serious set of pipes! He slows things down and sets the tone by reaching deep down within, giving his audience the ability to feel his emotions through his words. He is sure to please the ladies with his seductive swag, adding elements to this track that set it apart with the unity of both vocalists. Their voices blend together with a pure cleverness as Molly Mawlz comes in on this track beautifully. With her equally unique sound, this is a match made in heaven and Mawlz holds her own proving she’s a force to be reckoned with. She was the perfect addition to M Tomlin’s smooth R&B style on this track. “Tell me that you want me,” Mawlz’s sings, we definitely want you, we want to hear more from this trio. This was a spur of the moment inspiration at our studio with producer Ricky P, M. Tomlin and Molly Mawlz. The inspirational creativity coming from the studio has been unprecedented as of late, with songs just like this one. Check it out and let us know what you think by clicking 1-5 stars above or leave a comment below!
@TheRealRickyP @thereal_mtomlin @mollymawlz
Category Archives: Reviews
Real Deal’s Debut Album – “Fight or Flight Mode”
Born and raised in the Steel City of Pittsburgh Pennsylvania, Trevor Weller aka Real Deal, epitomizes what the town is about; hard working with an understanding that you get in what you put in. He is an emcee who has grinded in the local circuit performing alongside the likes of Immortal Technique, Wiz Khalifa, Mac Miller and countless others. Real Deal is most notably known for a battle career that has spanned over 5 years. Click this link to see Real Deal battle Spee Dolla now! Real Deal has traveled the globe going head to head with the worlds most respected battlers! More often then not he came out victorious. He started out with stage battles and the local circuit where Real earned a name for himself quickly in early 2005! Real Deal is a 4 time winner of one of the most grueling emcee competitions the city has seen “Rhyme Calisthenics.” Clearly Real is a beast in the battle world, but with this new release, he’s proved he’s also a beast with the bars…..
Real Deal just released his debut album, “Fight or Flight Mode,” this entire project from start to finish was bangin! Click this link to see “Fight or Flight Mode” album teaser video now! The “Fight or Flight Mode” song, second after the “Intro,” sets the tone for this project beautifully; Deal proclaims, “This is fight mode vs. flight mode, gotta get in the right mode,” he’s, “A monster, you dealin’ with a certified chief…Murder beats for the big Pitts burnin’ my sheets, Am I arrogant, maybe I’m that damn good!” Maybe, I don’t think so, he is definitely good. More like a, “Diamond in the ruff,” as he points out in, “Long as I’m Doin Me” featuring Sonny Bamboo, number 15. The title of the song encompasses him perfectly and is part of the reason Real Deal has so many fans and is so successful because he just keeps doing him, and everybody loves it. Luckily for his fans, “just doin’ me,” means a sick song, event and/or battle from this star on the rise. Whenever he opens his mouth something profound comes out. Musically Real combines raw lyricism with intricate song concepts and real substance. Even when he is free-styling on the spot he is witty, quick and powerful with his words. His carefully chosen rhymes, his delivery and his intensity are inspiring, he doesn’t disappoint with a single track from this album. Focusing more on his music, he’s proved his projects can be just as compelling and impact his fans just as much as his battles.
He captures the fight of the ‘game’ so eloquently, “See I’m runnin’ with wolves, but I’m ahead of the pack though….If I were you I’d wear a vest to my rap show.” His rhymes are clever, they seem to flow with a unique effortlessness that rivets the listeners. The beats are well chosen, each is distinct, allowing the project to have a different feel/sound on each track. “You know I had to elevate because of you” from track #3, “Right Where I Wanna Be,” he has stepped up his game for sure and everyone is racing to catch up! Click this link to see the music video of, “Right Where I Wanna Be.” This video/song features lines like; “Skinny jean hipsters wanna get rid of me… See ya’ll just makin me look better, I say thanks a ton, rappers so general you can never rank as one!” Real is more then comfortable in his niche, authentic, old school hip hop is all he’s trying to create and the wannabees can keep it moving. The visuals focus on Real at home, chillin with his boys having a great time. The lyrics are the star of this video and I love that they chose to focus on nothing but the bangin beat and Real’s rifts. With no regrets, Real Deal keeps spitting bar after bar, crushes battle after battle and there’s no way he’s stopping anytime soon. Lucky for us, as a fan I can’t wait to see what he releases next!
Let’s discuss arguably one of my favorite tracks, “Ignorance is Bliss” click this link to see the video now! Real Deal captures the essence of the Pittsburgh mentality to a T! As much as he/we love our city, and he REP’S PGH HARD wherever he goes, at the same time… He flows, “I love it here but, I’m so amazed, people pat you on the back, n’ stab you right between the shoulder blades.” Pittsburgh is a big city, but it’s full of small minded people. He is so right, “Bars over bullshit,” should be the new Pittsburgh motto! Real remains focused and is always on his grind leaving the people and the BS behind him. The Pittsburgh music scene is almost indescribable, but he manages to do it perfectly. Real Deal’s hook comes in, “I’m on my way to a better place, a whole new world where they never hate and everyone smiles in my face, cause ignorance is bliss….” He is clearly pointing out how fake people in this city can be, and mostly are, smiling in his face and stabbing him in the back later. Real Deal captures the mindset of his peers and fellow artists, while still showing love for his city that rarely returns it! This track is the most honest portrayal of how ruff Pittsburgh can really be on anyone coming up while always incorporating that special Real Deal kind of swag and intelligence that is what makes him so unique.
Click here to see Real Deal’s video, “Death of an Optimist” featuring the beautiful Vanessa Botti. This is another of my favorite tracks. Vanessa’s voice echo’s deeply as she sings the hook, “We seem to grow to just get by, these dreams n’ goes the way you let die. I walk the road with my head high, I’m not alone though…” Her voice is penetrating, reeling you into the song and feeling that intensity yet again. Real Deal is screaming inside “I’m sick and tired of sick and tired, tryin’ to look for a different reason to get inspired.” In this world, inspiration is few and far between, but to me, people like Real Deal are my inspiration. How does he stay so inspired? “I’m gonna grin and bear it till I break my teeth,” he will find inspiration where he must, luckily for us. Music that moves us is also few and far between, but this song grips you and his struggle can be felt through his lyrics. He poses the question; “Would my fans hate it if I was gettin paid? Would I still be your favorite if my image changed?” Yes, no doubt, because money, fame and getting ‘Paid’ would never change Real Deal! He will always put out honest, moving and hard hitting bars that inspire a generation desperate for it! “See where bein’ humble has gotten me,” he rifts, understanding his frustration, feeling it while listening to this track. Coupled with his frustration is also HOPE, this special intuition is what makes Real Deal and his music so incredibly powerful. Touching and moving people deeply, challenging them to be better is what this album accomplishes.
In conclusion, Real’s positive attitude is refreshing and for those that deserve it, he’s not shy about putting them on blast! Every single track has it’s own distinct appeal and no two tracks sound the same. I love that Real Deal always has a message, he’s not out here rapping about drugs, hoes and guns, he actually has something to say. Something of value to say, which is more important then anything else. He inspires and compels his fans and listeners to think. All his passion and hard work have certainly paid off. ”Fight or Flight Mode” is available on iTunes now and get your copy by clicking this link!! He uses an entire track to thank everyone whose helped and supported him. First and foremost, he thanks his son, “My inspiration, my REASON” and he also thanks Joanna (Myself), RepPittsburghHipHop and a host of other people. I want to thank Real Deal! Thank you for this project and for always keeping it REAL. Staying true to himself and his fans is what makes Real Deal so appealing, that and the crazy bars he drops. Please, keep them coming Real! ”Quittin’ is for suckers, I ain’t goin’ out like that..” Real isn’t going anywhere but up from here. It’s long overdue, it’s time to join the movement and support this incredibly talented young man! “I am right where I wanna be, the only question is whether you’ll be ridin’ with me,” I will ride with Real Deal to the end, good luck my friend!
Check out Real Deal’s website now: www.RealDealRaps.com
Find him on twitter: @RealDealPGH
Find him on Face Book: Realest Deal
Review: “Sorry So Long” Lay Lanskey
Lay Lanskey is a rapper’s rapper. Sorry So Long is a great collection of songs spanning various styles of hip hop and showcasing the MC’s ability to switch up his flows and bars to match whatever beat he’s attacking. While most artists stay in one lane, Lay isn’t afraid to step up and create a diverse project which will have something for everyone. Hyped up tracks, weed anthems, reflective tracks, and simplistic southern style tracks round out this very solid project.
On a great introduction, Lay proves his ability to flow and spit bars on a familiarly sampled beat. Continuing of the use of recognizable sounds, “Silence” is a solid track including a welcomed feature from Pittsburgh great “Boaz” as Lay goes in over the same beat sample used on Troy Ave’s “Peace and Love (Swish)”. Not taking any time off, next up is “365” which is a solid anthem with a pounding beat and an infectious hook. From infectious to blunted, “All I Do” is a great weed anthem and displays how Lay goes from style to style without ever losing a step. “Lip Service” is one of those tracks you’re either gonna love or it, personally I loved it as the truly unique simple beat is extremely effective and Lay flows brilliantly over it and showcases his skill at crafting humorous metaphors like “like to do it with no hands, call it bluetooh brain”. “All or Nothin’” is a throwback to Jeezy’s classic “Go Crazy” and the honesty conveyed in this track is amazing. “Gametime” is an epic stadium status anthem which boasts great guest appearances and is easily one of the highlights of the album. “Da Corner” has a jazzy feel to it and is heavy on the keys and a great bass line, with a solid feature from Phat Maxx, this is another highlight of the album, with the only complaint being that it ended too early.
One of the downfalls of the album is “Sour, Piff & 50” which is exactly what the title sounds like, an homage to “Beamer, Benz or Bentley”. It’s not bad, but honestly, after the countless remixes of that song, while this is a variation of the beat, it’s still just another song that makes you wanna listen to the original Banks/Santana instead. It seems like the only thing this album suffers from is too many songs that rely on familiar samples, and while it’s not as bad as just rhyming over other peoples’ beats, it still creates a desire to hear the track of influence rather than continue to enjoy the song that’s currently on. This also happens on “Decisions”, which is actually a really sick flip of Kanye’s “Heard Em Say”, and is perhaps the best example of recreating a familiar song with a new twist.
Lay Lanskey has crafted a complete project with Sorry So Long, whether it be southern rap, weed tracks, heady jazz tracks, or whatever else he pulls out of his bag of tracks. Lay has a variety of lyrical styles and a very mature flow, he’s confident which helps in the delivery of his bars. Although perhaps a bit too heavy on throwback samples from other artists, I have no problem with being influenced, but as I mentioned, if you can’t top the original, then it’s probably not worth relying on the familiarity of a beat. I would definitely recommend this album for fans of diversity and just overall great music, it’s not without faults but it’s certainly a solid tape that deserves a good listen.
Review: “Yellow Album” Dom Kennedy
With summer being here we all can use some good music while we’re kicking back and enjoying good food from a BBQ. Dom Kennedy is just that! Coming back from his last mixtape Love From The Westside II this was the perfect time to release a mixtape. Not too soon that us the listeners get tired of hearing his voice and he over saturates the market but yet not too late to where his name is no longer relevant. Dom Kennedy’s Yellow Album features artist such as Kendrick Lamar, Too $hort, Freddie Gibbs, and Niko G4 this is a must have for the summer of 2012.
The tape starts out with the song titled “So Elastic” this is your typical Dom Kennedy track, smooth lyrics and solid track. A great intro not too much but not too little just enough to keep you interested in what else he has to say. Forward to another dope track on the tape “We Ball” feat Kendrick Lamar. This is one of the cocky, arrogant, but yet still smooth songs on the tape. The song title is self explanatory as to what the two are talking about in this song. Here are a few lines from Dom Kennedy’s verse
“And my haters (and my haters), let em watch (let em watch)
Line em up (line em up), give em shots (give em shots)
Don’t save em (don’t save em), let em drop (let em drop)
They said I’d never make it to the top (never make it), but we ball”
Following the Dom Kennedy verse Kendrick Lamar showed out on the song as well. This is a definite banger and the Ric Flair sample at the end of the song makes the song that much better. Don’t be surprised if there isn’t a video for this song soon! Another dope, smooth, summer time jam is “Gold Alpinas” feat Rick Ross. Very laid back somewhat lazy flow but the song still keeps you interested. If you’re a Dom Kennedy fan then you’re used to the cocky shit talking attitude he brings to the table, and with the compliments from the Rick Ross feature you shouldn’t expect anything other than that.
The heart of the mixtape has two songs “5.0 Conversations” and “PG Click” where there are “bonus” tracks at the end of each song. Very clever idea its like your getting two songs in one and changes with pace of the tape. The second part to “PG Click” is good song, I wish it was a song of its own and not a “bonus” tack. Towards the end of the mixtape is the song titled “1:25.” This song his where Dom gets a little personal and lets you inside of the real world of Dom Kennedy. He speaks about getting his lady friend pregnant and also relationship issues he’s had.
Overall this is a solid mixtape. The pros to the tape is that there aren’t too many features on the tape and you actually get the chance of hearing what he has to say. One of the flaws to the tape is that some of the songs are too short and it makes you want that third verse. Great tape and like a stated before its a must have for 2012. I rate this tape a solid 9 out of 10, the only thing it lacks is a third verse on songs such as “Been Thuggin” and “Lately.” Other than that it’s a collectors item go download it now!
Review: “Booksmart Idiots” Che Flo
Who says hip hop isn’t for everyone? Who says you have to come from a certain area, from a certain upbringing, or be in a certain situation to make this type of music? Meet Che Flo, two Carnegie Mellon University students who, in between their studies, found time to pick up a mic, make some beats and bring us their debut effort, Booksmart Idiots.
Booksmart Idiots starts off at a feverish pace and barely lets up, as “The Introduction” sees the two emcees trade verses while running laps around an already bouncy instrumental. Che and Flo, while both fond of double-time rhythms, each carry their own unique style on a verse. It’s clear that these two kids have some serious energy on the mic, and they solidify that claim by delivering several feel-good, fast-moving joints back to back to back (“Top of the World,” “Playground,” and “ElectroParty”). As they consistently rap about what they know, a childhood that evolved into a college career rather than street life, listeners can’t help but believe them and appreciate the honesty as well as the lack of fabricated drug references and street tales.
Che Flo’s carefree vibe and ping-pong flows could draw comparisons to a (very) sped-up Tribe Called Quest, until one begins to wonder if they have anything else to offer. The latter half of Booksmart Idiots serves as a preview to what the duo could evolve into. ”Interlude” showcases their production ability as a 3-minute segment of pure instrumentation segues into one of the tape’s highlights: “Moment of Truth.” Pair that with the closer, “Graduation,” and you have the grounds for a complete sophomore effort.
While they have some natural talent on the mic and behind the production boards, it’s clear that Che Flo is new to rapping, as is evident in their ability, or lack thereof, to ride a slower beat. With continued effort and a refinement of their skills, Che Flo could become an uplifting and positive rap duo, as well as a permission slip for college kids worldwide to enter the booth. Booksmart Idiots carries a great, carefree feeling with it, and one can only hope it is something that Che Flo holds on to in the future.
If you can relate, enjoy the passion brought by two new emcees in Che and Flo on Booksmart Idiots.
Review: “Data Recovery” Hitt of MCM
One of the biggest, most frequent and most legitimate criticisms of hip hop is the specialization of people involved in creating the music. More often than not, if you’re a rapper, you’re only a rapper. Likewise, if you’re a producer, you’re only a producer. This creates potential for a glaring lack of artistry and musical cohesiveness between the vocals on a song and its underlying instrumental. Very rarely do individuals emerge who can successfully piece together an album from scratch entirely on their own, and when it does happen, these artists are usually hailed as greats of their time and are credited with not only being a hip hop artist, but a talented musician overall (see Kanye West, J. Cole, and Big K.R.I.T. for recent notables).
Enter Hitt of Middle Class Millionaire (MCM) and his third studio album, Data Recovery. Not only is Hitt responsible for the majority of the vocals on Data Recovery, but he also took the reigns for writing, recording, producing and engineering the entire album. A man who wears many hats (literally and figuratively), it’s clear after seeing Hitt work in the studio on other artists’ songs that he has the ear and talent to create some quality music on the spot. But can he use his gifts to bring the world a standout project of his own?
Data Recovery is unique for many reasons, most notably because it comes with a miniseries of three videos that is a must-watch in order to understand the album’s message. But Data Recovery also includes an array of different sounds and production styles that will suit just about any listener, which serves as the perfect testament to Hitt’s skill set on the production boards. Songs such as the eerie “Feeling,” Southern-influenced “I’m Straight,” dark “Bad Man” and reflective “Loud” all appeal to different ears, yet each seems well within Hitt’s creative comfort range. Additionally, each featuring artist served as a compliment to the track they appear on, the prime example of which can be found in Hubbs’ cameo on the motivational “No Turnin’ Back.”
However, Hitt’s comfort range seems to get considerably smaller once he gets behind the mic. As a writer, the majority of Hitt’s verses are tight, intricate and to-the-point, but as a rapper, he struggles when his production calls for more varied delivery. Though his hooks are catchy and simple, they also walk the dangerous line of sounding too similar and repetitive. His flow seems rigid and forced at times, a minor flaw that is unfortunately highlighted by some exceptional features, and it’s only when he rides more free-flowing tracks (“Just Chill”) that he finds his feet and can share his wisdom, such as on the highlight “Empire” where he raps: “Now everyday I take a look at what the hard work brought / I’m referring to my network, not just only things I bought.”
To evaluate Data Recovery as a rapper’s album would be doing it an injustice. On the other hand, to treat it as a producer’s album would be inflated praise. The only way to digest this project is to treat it as an entire body of work by one man, which is an impressive accomplishment in itself. Listeners can give some slack to Hitt’s vocal shortcomings due partly to the fact that they are carried by excellent features and partly to the amount of quality he put in other areas. That is not to say that listeners aren’t within their rights to expect improvements, but where Hitt falters as a rapper, he more than makes up for it as a producer, writer and engineer. Where other rappers falter as rappers, they generally don’t have that saving grace.
If you can relate, download Data Recovery and appreciate each detail within it.
Follow Hitt on Twitter (@HittofMCM).
Review “NineOne” JKJ
From the often busy WonderHitz camp comes their latest installment in the form of JKJ’s NineOne. NineOne has been self-described by JKJ as “a compilation of released / unreleased music that I had collected over a year that I held on to because it didn’t feel right for the previous projects. It was once I had really sat down and listened to all that I’ve accumulated that I felt these few songs meshed together well enough to compile a solo mixtape that I was able to really feel.” But does NineOne truly fit together well enough for JKJ to proudly stamp his name on it as a solo project? Or, like his description suggests, are the songs on the ten-track mixtape too different and disjointed to merit a release, and would they have been better left on the cutting room floor, or high on a shelf, collecting dust, where he found them?
Hosted by Palermo Stone’s DJ and drummer, DJ Spillz, NineOne gets underway with two tracks featuring the R.A.R.E. Nation artist as well as fellow WonderHitz mate, Scoot, further solidifying the chemistry that the three have found on numerous songs. Ignoring the fact that the two adjacent songs bring messages that are polar opposites of each other, and while “Cost 2 Be A Boss” is utterly forgettable, “Underdog” sets the tone for the remainder of the mixtape.
JKJ finds his feet on more emotional songs, and NineOne is full of them. ”Eyes Closed” features some particularly insightful and clever bars: “So many nights I cried / staring at the sky / asking the Lord “Why / do I even fucking try / to go the right way?” / ‘Cause I’m sick of the detours, the road to success is rocky and I’m kind of sick of climbing / I will find my way, I don’t need no navigation.” Not for the only time here, JKJ shows listeners that his simple and sometimes predictable flow can be packed with metaphors and a level of introspection not normally seen in an artist of his age. To compliment his quality verses, JKJ is no stranger to crafting a catchy hook either. Many listeners will catch themselves chanting several of the tape’s standout hooks and not even realize it, which is never a bad thing.
Playing NineOne does not give listeners a clear sense of pace, as it varies from slow to fast and back to slow with no clear direction, much like one can expect from a compilation rather than a polished album. The final tracks of the tape feature two of NineOne‘s highlights in another standout collaboration with Palermo Stone in “D.O.E. (Death of an Empire)” and an absolutely show-stealing verse from ZaE on “Back 2 School” to close out the tape. But unfortunately for JKJ, these highlights are ultimately the root cause of NineOne‘s downfall.
Understandably, an artist wants to put on his fellow label-mates and collaborators when crafting his solo projects, but here the key word “solo” seems to have been ignored. Of the ten tracks offered to us, a startling seven of them included a feature from another artist, sometimes multiple artists. At such a short length, it’s impossible to retain the majority of the spotlight while trying to share it with others, no matter how good the material is. While JKJ was never sub-par anywhere on NineOne, he was never the focal point either, which made this a forgettable contribution to his personal collection, but a quality showcase of local talent.
If you can relate, download NineOne and hope that JKJ’s upcoming album, Stewart Street, is more self-focused.
Overall Rating: 2/5
Review “Beneath the Surface EP” Lil Tone & Pablo Neruda
Music is beautiful because no matter how big or how small an artist is, no matter what kind of resources they have and no matter what kind of team they have behind their promotion, at the end of the day, the music quality is always determined by the artist’s talent and passion. Any hip hop fan is well aware that some of the worst projects get the most promotion, while some of the best ones go unnoticed. Lil Tone and Pablo Neruda have come together to create a project that fortunately and unfortunately falls into the latter category. Beneath the Surface is a 5-song (and one excellent intro) EP that flows silky smooth from start to finish, begging to be played in your car, riding with the windows down. Add that to the fact that the feel-good vibe found here makes it easy to drift away while listening, and you have the recipe for a perfect release leading up to summertime.
JayB clocks in for full production credit on every song, creating a unified and finished feel to Beneath the Surface. From the escapism on “Nowadays” to the airy and dreamy “Hustlin’”, the production on display here compliments both artists, but especially Lil Tone, to the fullest. Tone seems to have found his sound, especially on the hooks. Beneath the Surface is filled with quality hooks from him, most notably on “Hustlin’” and “Bird Up”, that are fully able to send hip hop heads nostalgically back to the days when Nate Dogg was regularly laying his signature vocals on a track.
A KRS-One sound clip starts things off, reminding fans and artists alike that “lyrics are the manifestation of your soul,” an excerpt that prepares listeners for some wonderfully inspired songwriting. Both artists shine when sharing their wisdom, as Pablo Neruda drops some knowledge amid some great wordplay on the highlight, “Bird Up”: “I’m about fed up with these phony-ass non-rapping / but happen to have the nerve to belittle my only passion / The game’s more political now than it’s ever been / It’s not about the skills, it’s about who you befriend / I’m getting too grown to smile at the bullshit / I’d put a foot in the same asses that you’ll kiss.” He gets straight to the point without missing a step while gliding over the beat.
Not to be outdone, Lil Tone has plenty of his own lyrical highlights, beginning on the great concept of “187 Avenue”: “This shit is therapeutic / that’s why a nigga pursue it / Call myself a mic junkie cause I’m addicted to this music.” The closer, “Beneath the Surface”, is also his show as he crafts one of his best verses on the project, addressing his music quality, distracted fans, paid-off bloggers, being an independent artist and not getting the recognition he deserves, all while never straying from his appealing and easy-to-digest style of rhyming.
The normal downfall of EPs is usually their length, as they generally fall short of satisfying listeners, but Beneath the Surface has such high replay value, especially during the summertime, that it doesn’t fall into this trap. Lil Tone, Pittsburgh’s 2010 Best Underground Artist nominee, continues his grind of consistently delivering quality music at a rapid-fire rate to his fans. It should be noted that he also does the production, production selection, recording, promotion and graphic design for each one of his projects (Fact: Lil Tone released one mixtape monthly, twelve total, in 2010). Why take quality over quantity when you have the talent for both? That, my friends, is a grind, not getting free beats and posting half-finished songs on Twitter every few weeks with a smile on your face. As Pablo Neruda eloquently puts it, “Rappers lack what they spittin’ / So they raps are fictitious / Only swag they get is from a Facebook status or Twitter.” This trio came with some serious inspiration and delivered one of the highlights of the summer… in March.
If you can relate, give this project the respect it deserves by downloading it and adding it to your summer, windows-down playlist.
Overall Rating: 4.5 / 5
Review “Macadelic” Mac Miller
As Macadelic opens with an eerie rendition of “Row, Row, Row Your Boat,” listeners uneasily sense that the childhood melody seems out of place over the seductive whispering of a woman pleading, “Love me as I have loved you.” Add that to the fact that the cover art for the Blue Slide Park follow-up is his most mature thus far, and one begins to wonder if this is the same carefree Mac Miller that penned hits such as “Live Free” and “Party on Fifth Ave.” With a chart-topping album under his belt,
Macadelic is by far Mac Miller’s darkest and most personal work to-date, which speaks volumes for a production team that was daring enough to tackle a different sound than anything Mac has been previously been known to do. With his elevated status evident by the quality features on the album (Lil Wayne, Kendrick Lamar, Cam’ron and more), the amount of insecurity in Mac’s lyrics on songs such as the Lil Wayne-assisted “The Question” show a growth and concern with self-reflection that we’ve yet to see from him: “I’m asking what am I supposed to do / Done so much in my short lifetime but I haven’t done shit / First I shook a million hands then I took a million pictures / But I’m a hostage in my own world… I do it to bring this dough and I’m only twenty years old.”
Repeatedly, Mac finds himself searching for validity through all the success he’s attained, as if he’s wondering if he has met some vague, undefined standard yet. As he raps on the standout “1 Threw 8″, “What does it mean to be a sensation, do you have to be sensational? / And how you know you made it, when you’re with Killa Cam watching ‘Paid In Full’?” Having seen fame and its spoils, at times he sounds almost jaded, as if his reality has failed to match his imagination’s version of success. But this isn’t the first time an artist has wrestled with the doubt and depression that creeps in after their first months spent basking in the limelight. Thankfully and impressively, Mac manages to translate these feelings into music that is neither preachy nor corny, but genuine and measured.
However, Mac’s uncertainty, while a strong point in terms of content, is also where Macadelic struggles. It lacks a clear direction, leaving listeners to feel as if they are going in circles or, worse, merely spinning their wheels without making any real progress. The majority of the tape can be compared to an extended drug-induced high, where you can’t be sure exactly how much time has passed. However, whether intentionally or purely by coincidence, the blur of music not only works but it seems oddly appropriate given Mac’s subject matter, centered around nights filled with drugs, women and monotony wondering about money, love and his place in the world.
As a rapper, Mac’s skills are quickly progressing. While sparking an impressive chemistry with every guest appearance, he also manages to go bar-for-bar on more than one occasion with some of hip hop’s elite lyricists, only being marginally out-shined by the excellent Kendrick Lamar on “Fight the Feeling.” But Mac shines when solo, too. ”Desperado” and “Fuck ‘Em All” serve as excellent bookends for Macadelic, as both songs sound drastically different but each is executed to near perfection.
Before being able to legally buy a drink, Mac Miller has led a life that most could only dream about. Going from high school student to hip hop icon with barely enough time to take a breath, Macadelic showcases a Mac Miller who is in a weird place. Fresh from the success of a series of mixtapes focused on being a kid, concluding with an album that represented trying to hold on to the simplicity of a quickly evaporating, kid-centered lifestyle, Mac is searching for the next step in his identity, purpose and path in his career. Unsure if he is still a kid, Macadelic is filled with moments of uncertainty, second guessing and self-examination. And though this mixtape is musically excellent, it hasn’t provided an answer as to who Mac Miller is now, and who we can expect him to be moving forward. He still sounds lost, ironically concluding “Clarity” with “Live your dreams / It’s so cliche but I can’t tell you what it means to me.” Mac’s identity is still in limbo.
If you can relate, remember what it felt like to try and find your path in the world as you listen to Macadelic.
Overall Rating: 4/5
Review “Grind or Get Left” Kemickal
Playing Kemickal’s latest project during work, while outside in the sun, while driving at night or even while alone in your room, each time you may notice something new about it depending on where you are when you hear it. One thing, however, remains consistent throughout. Grind or Get Left is twenty tracks of exactly what its title suggests: music for those on a mission. Though perhaps made predominantly for hustlers and the realities of the streets, the fact remains that if you aren’t on your own grind, whatever yours may be, then don’t even bother here because you won’t relate. But if you are (as we all should be), then press play and get to work.
Starting things off is “Go,” an inspiring opener with haunting vocals that introduces us to a focused Kemi throwing some veiled jabs at rappers constricted by major labels as he raps, “You got both feet in, but the ball ain’t / Headed to redemption, Shawshank / I’ma grind ’til I get it, y’all ain’t / I’ma say what I want cause y’all can’t / It’s the politics of rap making y’all wait / I’m ahead of myself, trying to better myself.” His brutally blunt delivery and no-bullshit approach to life’s dark realities is a staple on this tape, and enhances “Shit On My Mind” and “Teach You How to Rap” as he uses an ironically dumbed down hook next to some especially intricate verses on the latter to demonstrate exactly what the song’s title claims.
Kemi’s lazy flow creates the illusion that what he’s saying is simple, but listen carefully to seemingly surface-friendly, car-worthy songs like “Coastin’” and you can find several meanings layered within many of his rhymes, a welcome exercise for even the most weather-worn listeners. But Kemickal is truly at his best when he gets into discussing his grind and its metaphorical journey. The ominous “Here I Go Again” (“A slight relapse, tell them I’ma be back / On the road to success, I’ll do three laps”) and motivational “Myself” (“They know the format, so it’s fuck the format / I walked on, like doormats”), though both solid in their own right, pale in comparison to the absolutely chilling, guitar-driven “Glory.” Serving as the tape’s highlight and boasting the most intense production to be found on Grind or Get Left, it’s a tragic injustice that it appears so early on the project.
Having found the subject matter on which Grind or Get Left excels, the project falters when it strays from this arena, causing other types of songs to come across as outcasts or filler rather than inspired material. This is not to say that females, weed and the nearly catchy “Is That You” don’t have a place here, but because they aren’t executed nearly as well as their grind-centered counterparts, they stand out for the wrong reasons. Additionally, having so many songs depicting progression towards something creates its own problem: the journey here keeps building. There is a gradual climb throughout the tape, but listeners may feel devoid of a climax or victory. Though the end product here, success or fame, has yet to be realistically attained, listeners may feel like they are owed a glimpse of the light at the end of the tunnel. In his defense, hip hop artists have an obligation to honesty in their rhymes, so if Kemickal has yet to taste what he is striving for, how could he possibly be expected to depict it? And therein lies the dilemma for any artist on the rise.
Grind or Get Left is quite literally the musical embodiment of an actual grind, filled with setbacks, missteps, persistence, darkness and the not-yet-realized end that justifies the means. Kemi successfully depicts the difficulties of the struggle, and keeps it broad enough to speak to anyone on their own grind, from the streets to the classroom. He knows this world, but at the same time that familiarity takes away from the project as a whole. How will listeners know when they’ve arrived at their destination when songs that suggest something other than a never-ending grind come across as unnatural and out of place? Some more refinement is needed before one can truly believe that Kemi is ready to reach the end of his grind. And, redundantly, that progression towards improvement is, in fact, his own personal grind. But the question still remains: if Kemickal is the proverbial dog chasing the metaphorical car of success, would he know what to do with it, musically, if he finally caught it?
If you can relate, use Grind or Get Left as motivation to get on your own grind.
Overall Rating: 2/5