Tag Archives: Raekwon

It’s Gonna Be a Short (Cruel) Summer

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Most anticipated album of the year? Yeah probably. Aside from the follow up to Rick Ross’ best effort yet, the G.O.O.D. Music label’s debut compilation album has been much discussed ever since it was initially announced (as are most Kanye projects) and so now that the dust has settled and the album is out the critiques begin. In a year that’s seen multiple disappointments, from the aforementioned Rozay album (not saying it’s bad, cause it’s dope, but it’s too long with about 3-4 tracks of filler that should have been cut), to the D12….I mean Slaughterhouse album, and now with the destruction of The Weeknd’s best song for a rerelease which is apparently a reworking of his masterful trilogy, the only thing to fall back on (aside from still hoping for the Cousin Bang and Killa Season 2 movies) is Cruel Summer.

So is the album any good? I mean yeah, it’s good. The real question is, what were you expecting? It’s always best to go into any Kanye project with zero expectations. Since his debut, the man has not exactly followed protocol or adhered to standards, he’s set his own. This is the same artist who dropped a classic, I mean for real a CLASSIC, in 2004, and then followed it up the next year with a completely different sound. Oh but Late Registration was still fire right? Sure, but why stick with that formula when you can change it up again for Graduation? And of course, following what some still call his best album he went completely past left field and into the parking lot for 808s and Heartbreak. So even expecting a sound similar to My Beautiful Dark Twisted Fantasy or Watch the Throne for this album will only cause confusion and disappointment.

First off, this is not a Kanye album. This is a compilation of different artists and sounds put together by the musical genius himself, so it’s incredibly diverse and as usual, very different from whatever else is out there. I’m not one for song-by-song reviews but basically if you’re looking for an album full of “Mercy” and “Clique” it won’t happen. The bangers were released already, that’s why they’re singles, while something like “Sin City” or the beautiful “The One” are album cuts. “New God Flow” is the song of the year, with the added Ghostface verse pushing it over the top, and as hilarious as it was, removing Kanye’s call-and-response to himself was the right move. The rest you gotta check for yourself, but make sure you go in with an open mind and remember that this is the same man responsible for completely changing his style multiple times, and creating 5 classic albums in the process.

In all honesty this has been a weak year for hip hop. I personally didn’t like the second MMG effort although following a lot of great reviews I think I may have skimmed through it rather than really listened to it. I covered the Slaughterhouse mess already and I should have known that Rick Ross couldn’t follow up a truly flawless album with anything less than a semi-disappointment. And nobody wants to hear Nas in 2012 other than unemployed college students and 35 year old auto mechanics so save that Life is Good shit for someone who can tolerate 70 minutes of “back in the day I wore British Knights”. With nothing on the horizon for the end of the year aside from what could be the return of the classic rap soundtrack and an album from the most consistent member of the Wu-Tang, this G.O.O.D. Music disc might be all we got to take us into 2013, and like most Kanye albums it’s probably a good thing we have so much time to digest it as it usually takes a minute to really get everything he’s doing on an album. Genius don’t take one spin to realize.

Oh and speaking of genius, there’s no way that Ghost and Rae essentially spitting back to back on Cruel Summer is a coincidence, that’s gotta just be more of the brilliance of the greatest artist of our time.

Video: “Method Man (Johnny Blaze Pt 2)” WuLords

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Artist Name: WuLords
Song Title: Method Man (Johnny Blaze pt 2)
Production Credit: Cynik Lethal
Director Credit: B. Cook

Artist’s Twitter: @WuLords
Artist’s Facebook: WuLords
Artist’s Website URL: www.wulords.com
Additional Links: cdbaby.com/Artist/WuLords


Review “Chapter 1: Calculations and Initial Estimations” WuLords

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It should be noted that I have been sitting on this review for quite some time simply because I did not know what to say.  When I was first approached to write it, I had never heard of the WuLords and, quite frankly, I didn’t take them seriously as a group because of that.  Then, apparently out of thin air, I began to see their name everywhere.  From postings to videos in multiple places, I began to do my research on this seemingly mythical sequel to the legendary Wu-Tang Clan.  The WuLords are comprised of three members, known as the “3 Samurai,” and they’re young.  Really young (ages 11, 13 and 17).  So much so that I had to ask myself, “Are these guys serious?”  But boasting a co-sign from The Chef himself, Raekwon, as well as a blessing from the Wu-Tang Clan to adopt their name, the answer has to be a resounding, “Yes.”  Credibility now established, so can the music justify it?

According to the WuLords, their music is inspired from the writings of ancient Chinese military strategist Sun Tzu’s Art of War, a work widely considered the definitive military work of its time and still read today for its insights into strategy and planning in warfare. Though the book is thirteen chapters in length, this album only corresponds to the first chapter.  And being the first chapter of the supposed thirteen, this album must also serve to introduce us to the WuLords.  As described on the outro, “God Hour,” The WuLords’ philosophy is to bring “high-powered energy, elite lyrical ability and golden hip hop quality” back to the masses.  And by declaring war on the invigorating and impressive opener “War Bells,” the WuLords make their mission clear: purging hip hop of mainstream influence.

The first thing that becomes apparent is that each member possesses some serious talent when in the booth, especially given their ages.  The group excels when on a track together, as their chemistry conjures up memories of the Wu-Tang Clan at its finest, and when paired with a fluid concept to write about, gems such as “Samurai Swordz,” “Enemy” and “Heist” stand out on Chapter 1. Additionally, snippets of some teachings of the Art of War are included before and after most tracks, creating the feeling that you are in the middle of training just as much as you are in the middle of an album.  The WuLords are molding listeners to be their students, preparing them for the type of music and deeply layered messages that will hopefully be plentiful on the subsequent chapters in this collection.  Inevitably, almost unavoidably, the listener becomes consumed with trying to link the spoken lessons with the messages in the WuLords’ songs, a task not always simple.

The WuLords take listeners on a journey that is both intellectual and metaphorical, and for most it may be too much to digest in one sitting… or two or three sittings.  Chapter 1 seems to occasionally stray from its path, for the Art of War stresses that “the mind has won some of history’s biggest battles,” yet a lot of the lyrics come across as violent and combative rather than introspective and calculated.  Even if you chalk that up to youthful enthusiasm and this being, musically, their first of thirteen lessons, you’ll still find something a bit odd: the album, said to be modeled after an ancient Chinese document, includes numerous references to Samurai, a Japanese figure.  Add that cultural inaccuracy to the fact that “Cappa Swag” is utterly incomprehensible and you have some moments on the album that leave listeners more puzzled than enlightened.

The WuLords have undertaken a gigantic enterprise.  Not only do they have twelve more chapters of the Art of War to deliver, but they have the added pressure of doing so with a musical quality that justifies the faith that the Wu-Tang Clan placed in them.  Chapter 1 is not for the casual listener by any means, as a thorough ear is required to piece together the ancient Chinese lessons with current hip hop references.  As with executing any concept in an album, it is tough to find the balance between the metaphorical and the biographical, which is where Chapter 1 stumbles a bit.  Listeners can feel lost, wondering if they are listening to a modern hip hop group or a series of disjointed Chinese fables.  But perhaps, at this point in the series, we aren’t supposed to fully understand.

The WuLords have the ingredients to deliver on their promise of quality; they have raw talent, a wonderfully constructed back story with a link to the past that seems almost fantastical, and the support of one of the most legendary groups hip hop has ever seen.  Now it is just a matter of connecting the pieces of the puzzle.  Overall, aside from a lengthy spoken explanation of who they are (which can also be found, verbatim, on their website), Chapter 1 struggled to introduce the heirs to the Wu-Tang throne.  It is still unclear if the “3 Samurai” will bring about a new age of hip hop, or if they will struggle to break free from the elaborate web of Chinese teachings that they have so closely associated themselves with.  Even though they may know themselves, as Sun Tzu says, they may not know their enemy just yet.  Is the enemy that is today’s hip hop world ready, or even capable, of processing the complex messages that the WuLords are trying to deliver?

If you can relate, do some research on the Art of War and try to decipher the code that is Chapter 1.

Overall rating: 3/5

 

WuLords Scavenger Hunt

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The WuLords open for Raekwon this Saturday and they want to give you 5 chances to win tickets to the show!

The Rules
5 free tickets are going to be spread out across the city.
1 ticket at Timebomb in East Liberty
1 ticket at Last Call Entertainment on the southside
1 ticket at Upbeat records in Wilkinsburg
1 ticket at Ninja Entertainment Downtown
and 1 ticket at The Exchange Downtown next to Market Square

The first person to buy our CD Chapter 1: Calculations Initial Estimations at a store will get the free ticket to the concert on Feb. 11 in their CD case.

GOOD LUCK!

Timebomb Shop
200 South Highland Avenue  Pittsburgh, PA 15206-3913

Last Call Entertainment
1506 E. Carson St., Pittsburgh PA 15203

Upbeat Records
801 Penn Avenue .Wilkinsburg, Pa.  15221

Ninja Entertainment
404 Smithfield Street
Pittsburgh PA 15219

The Exchange
228 Forbes Avenue, Pittsburgh, PA 15222

Raekwon Drops a Bomb

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From day one I’ve been a fan of the Wu-Tang Clan. Ever since I heard the cassette single for “Protect Ya Neck”, with one side featuring an onslaught of MCs ripping apart a simplistic and hardcore beat, while the second side offered a verse-long song with Method Man switching up his voice and flow all throughout. The following years brought along 7 albums of pure hip hop greatness, starting with Enter the Wu-Tang and concluding with Wu-Tang Forever, with 5 brilliant solo efforts in between. Commonly referred to as the 5-year plan by RZA himself, this collection of music solidified the Wu’s stamp on the culture and made them an easy first-vote entrance to the hip hop hall of fame. So why is all of this relevant today in 2012? Because apparently Raekwon thinks the solo albums were bad for the group.

Recently the Chef was interviewed by VladTV and he let go of some information that even he admitted he had never discussed before, the fact that he thought the members of the Wu going solo ultimately was the downfall of the group itself. We’ve seen groups break up plenty of times due to the obvious implications that one member was superior to the other and would ultimately go solo (Leaders of the New School anyone?) but it always seemed like those first 5 Wu solo albums were done on purpose, as to showcase the diversity of the group, not to mention the deal the Generals made with their label was a milestone in the record industry. Also, each of those first 5 records never really seemed like a solo album, especially Only Built 4 Cuban Linx and Ironman which both announced co-stars on the front covers. So the question remains, was Raekwon talking about the second wave of solo albums, or is he truly saying that those first 5 records hurt the egos of U-God, Masta Killa and Inspectah Deck?

I can certainly understand the concern, as Deck’s and Huey’s debuts didn’t come until 1999, years after the Wu phenomenon had died down. Matter fact both those albums made a lot of fans feel like the Wu had fallen off, it wasn’t until Supreme Clientele in 2000 that people believed the Wu still had it in them. Also Rae’s second effort, sans an RZA production as well as any real Wu General features was the biggest sophomore flop since Lords of the Underground literally made the same album twice. But in the interview he came right out and said that members of the group going solo hurt the group, which I can only interpret to mean that he believes those first 5 solo albums shouldn’t have happened.

Rae went on to say that without the solo careers the clan itself may have had a bunch more albums together, and since most people write off The W and certainly Iron Flag (and most don’t even know about 8 Diagrams) it’s a challenge to wonder if maybe the Clan would have been better off just dropping group records instead of making landmark deals with different labels and dominating the industry for 4 years with those first 7 albums. That would mean no Cuban Linx, an album whose influence is still seen in hip hop today and whose immediate effect was noticeable in classic albums from AZ and Jay-Z. It would have meant no Liquid Swords, which white college kids still consider one of the greatest albums ever in the entire world (the same kids who probably can’t stand the brilliance of anything Cappadonna has ever done outside of “Winter Warz”). It also means that one of the greatest hip hop/R&B anthems wouldn’t have existed which could mean Method Man would have never made his transition to acting, no How High, no Cheese.

Whatever Raekwon meant by his comments, it was devastating as a Wu fan to hear that one of the founding Generals of the group thinks that perhaps 5 classic albums should not have blessed our ears, with knowledge, soul, and a godfather-esque cinematic journey through the life of a crack dealer. We’ll never know what could have been had the Wu-Tang Clan decided to stick together as a group and not branch off, but I still stand by the fact that those first 7 albums from the Wu camp are without a doubt some of the greatest music in the history of rap, and I still applaud RZA for his 5 year plan which definitely took the Wu worldwide and made it certain that Wu-Tang truly is forever.


The Battle of the Leaks

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Two albums leaked yesterday. One of them I wouldn’t bump even if a stripper was willing to fuck me for free for the entire duration while the other I went into with all types of bias, although it truly did live up to the hype so I got lucky there (luckier than with that stripper). Point being, for the majority of yesterday I saw people hating all over the first album while not a word was being spoke of the second. Now maybe that says more about the people I follow on Twitter than it does anything else, but it seems like people enjoy hating on garbage more than they enjoy giving props to an artist who has made yet another classic.

In these days of not only instant releases by way of leaked songs on the net (I’m talking about artist leaks, full album leaks are something I know nothing about…) not only do we get hit with new music out of nowhere but by the time we’ve downloaded it, hundreds of thousands of people who really think their opinion matters are expressing their self-proclaimed expert analysis of anything and everything, rather than actually listening to it all the way through, or at least letting it sink in for a few days (word to my labeling Shaolin vs. Wu-Tang a “classic” after 1 day).

What’s worse, is that with any release it seems, people only wanna express their opinion if it’s negative. I see way more hatred of any given artist/song/album/mixtape/video/sex tape than I do praise. It’s like if you enjoyed the release then you are just kicking back bumping it but if you didn’t like it you feel like you gotta tell everyone how terrible it was, instead of just dragging it to the recycle bin and forgetting it ever existed. What exactly is our obsession with that which we hate while ignoring what truly deserves recognition and promo?

The fact is that the Facebook generation really feels important, like everyone really wants to know what they ate for lunch or who they saw that day, it’s the reason why comment sections on every news article reach the hundreds so quickly because whether it’s furiously typing up your own tough-guy shit talking rant or responding with even more toughness at someone you’ll never actually meet, we all seem to feel the need to express hate with regard to anything we even remotely dislike. Imagine if we spent the amount of time promoting something we like that we instead spend on telling everyone how wack Lil Kim’s new mixtape is, then your favorite rapper who you always feel never gets enough support, would actually get support, because instead of someone scrolling through your clowning of a claim that Kim got over 100K purchases in an hour, that person would see you suggesting an artist or album that you may become the next fan of.

So stop wasting your time hating on some corny nerd bow-tie rap like whatever light-show bullshit leaked yesterday and instead focus on the fact that in 2011 the Wu-Tang is still winning, 18 years after their debut, something that no one else in hip hop can claim. Sure some artists are still dropping albums but #nobodycares, where as Raekwon is on joints with Justin Bieber, Kanye West and Lloyd Banks (who appears on his album too). You got Black Thought on this album, as well as 3 solid verses from Ghostface and 2 incredible verses from Method Man. Your man Nas even came back into the Wu mix to drop some bars, so get that Shaolin vs. Wu-Tang when it drops on March 8th and support good hip hop instead of hating on wack shit.

follow @classicmaterial


The Difference Between Beef Then and Beef Now

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Note: I wrote this like two weeks ago, but after yesterday’s ridiculousness it’s the perfect time to drop it.

Beef happens. That shit is inevitable, and in the past it’s ruined careers and potentially been responsible for the deaths of two now legends. But the beef these days is a lot different than it was back when depicting the person you were clowning in your music video actually had an impact, now it’s leaking a track on the internet. But is the progression of hip hop part of the reason why this once fierce lyrical competition between two straight up rivals has turned into some shit when a rapper can take your beat, diss you on it, and then you get him on a track like 2 months later? Has hip hop’s growth altered the risks of beef because when it was once about saving your career it has now become a way for artists to just make more money while they’re already rich as fuck?

We’ve seen some legendary beefs in hip hop history, from Kool Moe Dee vs. LL Cool J through the KRS-One/Shan borough competition to the east/west rivalry of Biggie and Pac.  We witnessed the fight to be King of New York and watched 50 Cent end Ja Rule’s career based on something he himself now does in every damn song. These beefs brought out strong emotions from the MCs involved and there was sometimes violence that resulted from it, but with good reason most of the time. Ice Cube had every right to be pissed at the way Jerry Heller was playing plantation owner, which we know was true cause Dre left not too shortly after for the same damn reason. Whether it was money, or pride, or the fight for the number one spot, these mafuckas battled with purpose. They were all still hungry and struggling to make a living off this hip hop, plus none of them knew it would get this big, so when someone started some shit you were gonna end it or you were done. Now, shit is a joke.

With recent revelations that the Saigon/Joe Budden beef was basically staged, and the way these fabricated beefs are created more by fans and the artists sometimes play along just to make it interesting, it makes sense that none of the beefs of recent years resulted in some serious shit. Jim Jones was right when he said “they ain’t gonna do shit” as Kanye just let him swagger-jack his beat, get Cam to diss him on it, then they both hop on “Christmas in Harlem”, but why would Kanye care? He’s living the life, he don’t wanna lose out on that money. I forget where I heard it but someone told me Jay-Z said that to 50 Cent, met him backstage and 50 asked if they was gonna get violent and Jay was basically like “what and fuck up all the money? Fuck that”. In fact this whole shit started with 50 and “How To Rob” where dissing everyone in the game was what actually made him relevant in the game. And at this point unless you a killa bee and you really do live by what you rap, why risk anyone getting hurt when yall can both make money off the appeal of a beef between two talented lyricists?

Obviously a number of factors contribute to beef in hip hop but there definitely seems to be a correlation between the amount of money artists can make because of the growth and expansion of hip hop and the fact that beefs now are just for our entertainment instead of them actually having problems. Back then it was a struggle even when you were the best MC, with the labels raping your profits and hip hop still being completely locked out of society, now a lot of these artists are probably getting bonuses from their label for a successful beef, incentive packages and shit. But hey there’s nothing better than a good diss track, so we might as well just enjoy it and be happy that bullets ain’t flying, yet.


Top 10 Albums of the Year Pt. 2

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PART 2 – It’s that time again, to look back on the last year of hip hop and pick the top 10 albums that arguably defined this year and are more proof that this culture is very much alive and better than ever. Last year it was impossible to limit the list to 10 and this year is no different, as there are a couple of “honorable mentions” that I’ve made up excuses for but really, I just couldn’t limit myself to ten. Also like last year I’ve included a couple albums that could have made the list but for varying reasons, did not. As always these are in no particular order as that becomes much more subjective and the purpose is not to argue about why #5 should be #4 but just to have an overall list of what albums really shined this year.

Nas & Damian Marley – Distant Relatives – May 18, 2010

Highly anticipated, these two linking up was an incredible fusion of two genres, with both bringing their love for Africa to create the perfect soundtrack for the sound of that continent. Right out the gate they hit you hard pause with “As We Enter” as Nas and Damian trade bars back and forth over a hype ass beat. Then they bring in the drums on “Tribes At War”. “Strong Will Continue” is one of most epic tracks of the year, with Nas flipping the FUCK out on the final verse. “Count Your Blessings” is smooth and upbeat, while “Nah Mean” is some of the hardest hitting hip hop with Damian really shining as he beasts the track. And the absolutely beautiful “Africa Must Wake Up” is the perfect ending to this project that is really a book of knowledge as well as a tribute to the still struggling continent of Africa. If there was ever a modern-day sound of Africa, this is it, as Nas and Damian Marley’s chemistry made for one of the most musical albums in hip hop this year.

Lloyd Banks – The Hunger For More 2 – released November 22, 2010

Lloyd Banks made his comeback earlier this year with “Beamer Benz or Bentley” and a few too many months later we finally got the album that solidified the Punchline King’s legacy, a sequel that really does live up to its predecessor. Then we got the epic “Start It Up” and it was clear that Banks was back on top, along with insane guest verses from Fabolous and Kanye. But Banks return was no better noticeable than on the way he beasts the opening track “Take ‘Em To War” with the obligatory Tony Yayo verse and razor-sharp production. Pusha T and Styles both stepped up for the G-Unit soldier and even Raekwon gave Banks a better verse than he gave Kanye’s album. The R&B chart toppers Akon, Ryan Leslie and Jeremih all show up at the right times as this album had it all, including a hilarious appearance from 50 Cent on the dumb-out clearly-had-Goose-in-the-studio “Payback”. It’s damn near impossible to recreate the feeling of your debut, but as Raekwon proved last year, it is doable, and Lloyd Banks pulled it off with this sequel.

Ayatollah Jaxx – Hello, Hip Hop – released March 9, 2010

Arguably the most complete hip hop album of the year, Ayatollah goes at every subject imaginable in rap, including some that aren’t normally touched upon, and comes away with a solid project start to finish. Right from the start on the title track it’s clear that Ayatollah is a student of the game and has mastered the craft. “Shoe Horn” is a scathing short track, and “Coming of Age” is an incredible biographical joint. “Ms. 416” is one of the most beautiful love songs hip hop has ever seen, “Wha Gwan” is a revolutionary anthem. He also attacks the subject of mainstream hip hop and how much of a business it’s become at this point on “This is For the Radio”. “Jobfair” is a damn good concept track, and both versions of “Street Hop” are solid, and the subjects he tackles on “Pain” are some that no MC has ever even come close to before. For the most complete all around representation of hip hop, this album is definitely a must-have in your collection as Ayatollah cements his name in the game with this solid project.

Ghostface Killah – Apollo Kids – released December 21, 2010

Granted this JUST dropped, but if there’s one thing Ghost is good at, it’s being consistent, and nine albums later he’s still one of the greatest in the game and this album is no exception. The opener “Purified Thoughts” is that classic Wu-Tang soulful shit, complete with Killah Priest qualifying for verse of the year. “Black Tequila” is more of that Wu greatness, this time with Trife really stepping up. It seems like Ghost makes other MCs better as on “Drama” the Game went IN and spit like it was 2005 again. “Handcuffin’ Them Hoes” with Jim Jones is exactly what you’d expect from that title and that guest, and when the production was questionable on this was when Ghost was at his finest, like on “Starkology”. “In Tha Park” with Black Thought was a perfect tribute to the old school, “Ghetto” was beautifully soulful, with U-God crushing the track, and the most brilliant move of the whole disc came on the last track where the two famed combos of Rae/Ghost and Redman/Method Man finally came together on one track. It ain’t too early to judge, this is definitely one of the best albums this year, Ghost did it again.

The Left – Gas Mask – released October 26, 2010

That true school, boom bap, revolutionary hip hop was alive and well this year as the combination of Apollo Brown, Journalist 103 and DJ Soko gave us this album complete with gutter bangin’ production as well as true words of wisdom and straight up rapping. The Detroit sound oozes out of this album, as Apollo Brown’s production is exactly what all the backpackers have been fiending for since Das EFX stopping making albums like 13 years ago. The guest appearance from Kool G. Rap is a reminder as to what type of hip hop you’re getting with this and Invincible proves that female rappers still got skills on “Statistics”. “Binoculars” is so soulful you almost wanna shed a tear for the beat, and “Caged Birds” screams out with a brilliant sample. This is hip hop for the enlightened, and if your eyes aren’t open yet then this will definitely open them, especially on an anthem like “Get It Where You Fit In” with its epic production. This is not your average radio friendly rap-about-nothing bullshit, this is hip hop in its purest form, beats and rhymes with a message. Even the group name and album name prove that, don’t sleep.

Honorable Mention: Madlib – Medicine Show No. 5 – History of the Loop Digga 1990-2000

While it was easily one of the most listenable and blunt-worthy collections of the year, as one of the many amazing efforts that Madlib dropped as part of his “Medicine Show” series, it’s technically a mixtape, and it’s also old material, making it tough to include it as a top 10 album for this year. But for Madlib fans, as well as any true hip hop fan, this collection of beats, interludes, and tracks featuring everyone who’s ever been on Stones Throw from Wildchild to Medaphor to, of course the always-hard-to-find Quasimoto, is further proof that Madlib is one of the hardest working and most talented producers hip hop has ever seen. While the whole Medicine Show collection is worth checking out, this is far and away the highlight, pure hip hop at its finest.

Why didn’t ___________ make it??

Diddy/Dirty Money – Last Train to Paris – good question, it’s easily one of the best albums out (right now) but this is the furthest thing you can get from hip hop while still being put in the hip hop bin, and it’s more an R&B dance album (as it’s so influenced by euro-pop) that to include it in a “hip hop” albums list would be both accurate but questionable by so many that it’s respectfully left off.

Curren$y – Pilot Talk (I or II) – simply put, if you don’t smoke weed then you probably don’t like these albums. Let’s be honest, lyrically Curren$y isn’t on anyone’s top 10 MCs list, and even though his voice flows nice over the live instrumental production (word to my hometown native Brady Watt on the bass), along with the brilliance of Ski Beatz, production can’t carry an album. Plus you gotta be moving at a slow to medium pace to really fuck with this shit, but if you are blunted, these are incredible soundtracks.

Hell Razah – Heaven Razah – only 5% of mafuckas can fuck with this, but if you part of that 5%, this was the book of knowledge for 2010.


RPHH Presents: Top 10 Albums of 2010 Pt. 1

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It’s that time again, to look back on the last year of hip hop and pick the top 10 albums that arguably defined this year and are more proof that this culture is very much alive and better than ever. Last year it was impossible to limit the list to 10 and this year is no different, as there are a couple of “honorable mentions” that I’ve made up excuses for but really, I just couldn’t limit myself to ten. Also like last year I’ve included a couple albums that could have made the list but for varying reasons, did not. As always these are in no particular order as that becomes much more subjective and the purpose is not to argue about why #5 should be #4 but just to have an overall list of what albums really shined this year.

The Roots – How I Got Over – released June 22, 2010

The Roots 9th studio release not only takes album of the year but is easily climbing its way up the list of best hip hop albums of all time. From start to finish this album is perfect. The sequencing itself is worth mentioning as the interlude provides for an almost cassette-like feel to the album, as well as the outro which sets apart the two “bonus” tracks after it. With Black Thought more focused than ever in his sharp delivery and lyrical brilliance, guests that all held their own, and music that was both beautiful as well as lively, this album defines hip hop in the truest sense of the word, so much so that it was the first album in forever that I played all the way through and then immediately played all the way through again, that alone is something that almost no record can boast these days. It’s not even right to point out specific tracks as this is one of those records where seamless transitions sometimes make it tough to even tell when one song has ended and the next has begun, it’s hip hop perfection from start to finish.

Kanye West – My Beautiful Dark Twisted Fantasy – released November 22, 2010

The other obvious choice for album of the year, this record was Kanye’s way of proving that he’s ready to take hip hop over again, as well as the fact that no matter what he does, he will never ever fall off. “Runaway” is 9 minutes long, “All of the Lights” has about 18 guests on it, and yet this album is basically flawless. Tracks that leaked were reworked so that Rick Ross delivers a nominee for verse of the year after one of the most beautiful buildups we’ve ever heard, the intro for “All of the Lights” isn’t even hip hop, yet RZA’s “Dark Fantasy” beat couldn’t be any more grimy gutter rap, but with the opera-like sound of layered vocals. “Blame Game”, with the hilarious Chris Rock skit, also has a piano line that is absolutely hypnotic. This album is a symphony, with different movements for each track, and the result is another Kanye masterpiece that transcends every genre ever created.

Rick Ross – Teflon Don – released July 20, 2010

Go ahead, hate, but this album should be on everyone’s list. The guest list alone seals the deal with Jay-Z, Kanye West, Cee-Lo, T.I., Jadakiss, Puffy, Trey Songz, Ne-Yo, Styles P, shit even Raekwon was supposed to be on there but his joint was so good they had to leave it as just a bonus track. The corrections officer may still be boasting about the lavish lifestyle he certainly didn’t get to because of cocaine, but if there was ever a Scarface of hip hop that we believed in as much as we did Al Pacino, Rick Ross is it. Everything Ross does is big, and this is no exception, whether it’s Cee-Lo belting out a chorus, or Kanye making a track so big that even he went off more than we’ve really ever heard, shit even Jay-Z came right out and spoke on the Illuminati shit, what else could you want? Club joints like “No. 1” and the street’s favorite song this year “B.M.F” as well as the newest “Maybach Music” make this album amazing as the summer truly was Rozay’s.

Big Boi – Sir Lucious Left Foot…The Son of Chico Dusty – released July 5, 2010

While his partner-in-rhyme stays dropping one verse every 4 years, Big Boi pushed the already experimental sound of Outkast even further on this soulful, crunk, funky album with expansive production, a solid guest list, and he proved that he should never have been considered the lesser-enjoyable wordsmith from one of the most eclectic groups. It’s one of those albums that just flows so smoothly, without many real stand-out tracks as it really all comes together as one big soundscape. But for real, “Shine Blockas” is one of the dopest tracks to come out in years. You can’t help but move to that shit, if you haven’t already been wylin off “Turns Me On”, “Tangerine” or the beautiful “Be Still”. It may not be traditional hip hop, but it’s as true to the culture as it gets, and with a mainstream appeal that makes this a perfect crossover, much like How I Got Over both radio and underground can love this shit.

Reflection Eternal – Revolutions Per Minute – May 18, 2010

Could the combination of Talib Kweli and Hi-Tek work 10 years after the original masterpiece? Surprisingly it did even while adapting to the change in the overall sound of hip hop 10 years later. Talib’s articulate vocals match just right over Hi-Tek’s syncopated production to create a landscape where both word and note are being absorbed by the listener, you feel the music but you hear the message. This is no better found than on the political track of the year “Ballad of the Black Gold. “Just Begun” is one everyone’s short list for posse cut of the year with up and comers J. Cole and Jay Electronica more than holding their own with the Black Star outfit, “Lifting Off” is an amazing weed anthem, and “In This World” is musically one of rap’s greatest recent achievements. And for all the hate it gets “Midnight Hour” perfectly captures the throwback sound of a 50s era swing track. Always informative, Talib Kweli once again blesses us with knowledge over Hi-Tek’s brilliant production.

Check back for Part 2 which will also include a couple of honorable mentions as well as reasons why some expected albums just didn’t quite make the cut.