Hip-hop Essays – Page 2

Thoughts on the De La Soul Kickstarter

The recent news that De La Soul have launched a Kickstarter campaign to get their new album out is part awesome, part sad.

Its awesome for obvious reasons. De La are one of the greatest hip-hop groups of all time, and have never released a bad album. No matter how it ends up making its way to us, there’s little doubt that the new album will likewise be worth it.

Its also for obvious reasons why its sad. The group has been on a noble anti-record label crusade for years, which has earned them respect for way more than just their music. But in all honesty, when a group as stellar as De La cannot get a budget for a new album, the music business has really become a fucked-up place.

It’s true that Kickstarter is one of the many new ways that music now gets to market, and its a process that is incredibly liberating and empowering for both the artist and the fan. As listeners, we get to be part of something we love, and are even rewarded for taking part.

It’s this community spirit that De La are pushing with their campaign, highlighting how this is a collaborative project between them and us fans, with some impressive items for those that pledge anything from $5 up to an eye-popping $10,000 (too late if you were thinking of splashing out that ten grand – its already gone).

For the artist, a successful campaign means getting their music out, usually in the hope of getting noticed on a wider scale, or in De La’s case, re-noticed. The sense of fan empowerment and of sticking a middle finger up at the industry only holds so much weight though, and it would be perhaps naive to think De La would likely have chosen this route had a label been willing to give them the cash.

In the campaign trailer the group looks genuinely passionate about this being a fan project, and they have certainly been the champions of new innovation and doing whatever they can to get music to us, from long legal battles, to recently giving away their entire back catalog for free download.

But despite all of the above, its hard to shake the feeling that we shouldn’t have got to this point at all.

We’ve already donated to the project, and as we write this, the funding target looks to be comfortably in sight. We encourage you to pledge money too, and support these three legends of hip-hop.

Click here to read more about the project, watch the video, check out the rewards, and pony up your cash.

UPDATE: De La Soul managed to smash the funding target in a matter of just hours. Congratulations to the group. We can’t wait to hear it, and get our copy on vinyl.

How commercials ruined the hip-hop classics

There’s no other art form that has been spoofed and lampooned as much as hip-hop. It was the butt of everyone’s jokes for decades, and even now, after years of mainstream exposure, the wider world’s lack of understanding of the music still makes us feel like we are being laughed at whenever a rapper appears on a network talk show, or in a serious debate piece.

The world of advertising has always been wise to the power of hip-hop’s popularity though, and that’s why seeing rappers get paid to sell products has been happening for years.

But while sponsorship is one thing, using an artist’s music in a commercial, on a TV show or in other marketing campaigns is a whole different thing. Flattery is nice, but for the most part, when a rap song is used in an advert, its as a pastiche, and chosen for irony.

A recent example is a price comparison company in the UK using Snoop Doggy Dogg’s What’s My Name to soundtrack a commerical of a nerdy white man riding through the hood in an imaginary low-rider full of ghetto chicks. Snoop himself makes an appearance, suggesting he was more than OK with his music being used, but lets face it, there isn’t much that Snoop won’t do for money.

Snoop isn’t alone either, and that’s where the lines get blurred. Bruce Springsteen is one of the wealthiest musician’s in the world, but still rakes in millions of dollars from long and epic world tours. He does have integrity however, and on several occasions has turned down lucrative offers to use his biggest songs in commercials because he didn’t like the ethics of the company.

But few rappers have pockets as deep as Springsteen, and are therefore less likely to turn down a huge paycheck to use one of their songs. As a result, some of the best hip-hop tracks of all time have been used and abused and taken completely out of their original context in commercials, promos, TV shows and trailers, to the point where they have lost much of their original power.

The Message by Grandmaster Flash and the Furious Five, Can I Kick It? by A Tribe Called Quest, Time 4 Sum Aksion by Redman, Sound of Da Police by KRS-ONE, and countless Run DMC tracks have all been used to death, and their legacy is now somewhat diluted.

We know you can’t stop the profit, and as long as the permission is being granted and the artist is making their money, it’s relatively acceptable. But as fans of real hip-hop, it might have been nice to keep some of these classics as ours only.

J-Zone on NW3Radio

We’ve been down with J-Zone from the very beginning, and since then, in addition to growing as a musician, he’s also become one of the most eloquent commentators of this thing we call hip-hop, delivering his message via books, Twitter, and his music. He recently appeared on the NW3Radio show, and you can listen to him drop serious knowledge below.

Why the Wu’s Once Upon A Time in Shaolin is ridiculously smug

The decline in music sales over the last 15 years has had a huge impact on record companies and artists. For us listeners though, it’s been great. We can stream whole albums and listen to millions of tracks for free, we get treated to a constant selection of new music on Soundcloud, and get to enjoy the various other new ways music is now distributed by labels and artists hoping to squeeze at least a tiny bit of sales revenue from us. None of this was available in the old world, where we still actually purchased millions of records.

And then there’s the RZA and the rest of the Wu-Tang Clan; those aging Shaolin monks, desperate to keep the lights on in that old crumbling Wu Mansion. In a perfect world, the group that made such innovative music 20 years ago would return to innovative yet again, re-forming like Voltron to save the industry.

Instead, they’ve presented us with the prospect of a one-off, million-dollar album. Nice one guys. Well done for supporting the music revolution, where the listener is always meant to be king.

The entire concept of Once Upon A Time In Shaolin might not come across as quite so smug and conceited if it was being pitched by artists who are actually relevant. The Wu haven’t made a good album since Wu-Tang Forever, and that was poor in comparison to classic debut Enter the Wu-Tang (36 Chambers).

In the midst of the hype surrounding the ‘secret’ album, the group dropped A Better Tomorrow, another lacklustre offering, which, unsurprisingly, failed to shift many units. If they can’t even put in the effort to make a commercially available album good, then why should we believe that Once Upon A Time In Shaolin will be anything other than Wu-by-the-numbers? At this point it’s probably damn near impossible for the group to make a good record. Complacency set in years ago, with even the most talented members happy to simply phone it in, probably literally (you didn’t think they record these things in the same room at the same time anymore, did you?).

Millions of dollars were offered up for the mythical album during the peak of it’s media coverage, and this week, as the album is about to go up for auction as a piece of ‘art’, news has arrived that if someone does manage to buy it, they would need to wait a quick 88 years until the copyright expires and copies can be made. Again, incredibly smug. It looked at one point as though the entire thing may have been a gimmick to promote A Better Tomorrow. But that has come and gone, while the secret album story continues to grow.

What RZA and the rest of the clan should do is liberate the album by giving it away for free. Time it nicely as a freebie in the run up to the release of a decent new Wu-Tang album, or maybe as a bonus edition. That way, the music gets to be heard, and no one has to spunk millions of dollars for it. That would be innovative.

UPDATE: For what its worth, Method Man agrees!

Here’s why Rhymesayers and Duck Down hitting 20 years is a huge deal

Making an independent record label run successfully is hard. Many have tried, and most have failed (including the editor of this very site). From old school labels like Sleeping Bag and Cold Chillin, to the late-90s indy boom labels like Fondle’em, Rawkus and Def Jux, plus a million more set up by big-name rappers to put on their crew, they usually burn bright for a short period before fading into obscurity.

That’s why Rhymesayers Entertainment and Duck Down Music each celebrating their 20th anniversary in 2015 is a way bigger achievement than many probably realize.

Both labels have taken different approaches to weathering the financial storms and making it work. Duck Down was able to keep the momentum going from instant-classic albums by artists they already managed, including Enta Da Stage from Black Moon, and Dah Shinin’ by Smif-n-Wessun. Records from other members of the extended Boot Camp Click were released in the years that followed, before the label then spread its wings to include other artists on the roster.

Initially founded as a way of putting out the music of label owners Slug and Ant, better known as the group Atmosphere, Rhymesayers has developed many of its own new artists along the way. But they have also been able to breath new life into established artists who had either seen their previous label deals fall apart, or had became jaded by the whole process, most notably Murs, MF Doom, Aesop Rock and Dilated Peoples.

Regardless of how they did it, the focus has always been on quality music, and ultimately, that is what keeps people interested and buying records, even at a time when music industry sales have been declining for years.

With the likes of Stones Throw still thriving, and labels like Fool’s Gold and Mello Music Group also keeping the spirit of those early pioneers alive, independent hip-hop seems to be in a good place right now. For us fans it means more good music, and its thanks in no small part to NYC’s Duck Down, and Minnesota’s Rhymesayers.

Salute to both. Here’s to another 20 years in the game.

Follow Rhymesayers and Duck Down on Twitter for videos, interviews and throwbacks from their two decades in the game.

Our fears for the new Cannibal Ox album

Cast your mind back to 2001. Years before Run the Jewels, El-P was already a hero of New York’s underground hip-hop scene. Four years had passed since the release of the seminal album Funcrusher Plus from his group Company Flow. But in the short years since then, the group had disbanded, and that late-90s golden era of independent hip-hop labels had started to die fast. Bobbito’s Fondle’em Records was on its very last legs, and even Rawkus, the label that had released Funcrusher Plus and so many other incredible records in such as a short space of time, was in decline.

El-P was doing everything he could to keep the spirit alive though, and by now his Definitive Jux record label had built up solid momentum as the new flag-bearer for all things quality indy rap. In the next few years, Def Jux would release a run of incredibly creative hip-hop records that would gain critical praise and cross-over appeal, and breath new life into a sub-genre that tended to get pigeon-holed rather pointlessly as ‘alternative hip-hop’.

The line-up of talent on the label was a mixed-bag of new voices and established ones, often bringing out the absolute best in artists like Murs, Mr Lif, Aesop Rock, RJD2, and El-P himself. Def Jux would eventually shut up shop less than a decade later, but the legacy it left is still felt today, especially in the spirit of modern independent hip-hop labels like Rhymesayers and Mello Music Group.

Back to 2001, where Def Jux put out their finest release of all; Cold Vein, the debut album from Cannibal Ox. A genuine game-changer, it was a record that embodied everything the label stood for, and was about as far as you could get from a commercial rap record. Fans loved it, critics loved it, and it was instantly hailed as a classic.

And then, nothing. We’ve since had a handful of impressive solo albums from both group members, Vast Aire and Vordul Mega, but no full length album post Cold Vein (we aren’t counting the live album from 2005).

We all got pretty damn excited then when it was recently announced that the group would soon be dropping Blade of the Ronin, a brand new album at last. Our hopes were crushed again however, when it became obvious there would be no input from El-P.

It’s unfair to say that El-P’s production was the best thing about Cold Vein, but it was certainly the driving force, and the most overtly refreshing and unique element of the album. There is no doubt that Vast Aire and Vordul Mega are incredibly gifted artists and writers, and the hip-hop scene has been itching to get more records from both of them. But take El-P’s soundscapes out of the equation, and it will be hard for the new album to make anywhere near the same impact as Cold Vein.

Blade of the Ronin does have some good things going for it. For starters, and as already stated, both members of the group are superior rappers. The guest list also happens to include spots from Elzhi, Artifacts and a certain MF Doom. But on the leaked credit list, there’s still not a single mention of El-P anywhere. Production duties seem to be resting on the unknown Bill Cosmia instead. And with all due respect to Bill, when we read that, our hearts sank even further.

To try and make another album like Cold Vein would of course be a mistake anyway, and even if they did get El-P, his sound has changed dramatically since 2001. But without him at all, we fear this may be one long-awaited return that might just disappear without much of a trace. We hope to be proved wrong, and that come March, you’ll be seeing us eat our words.

UPDATE: The group recently previewed the MF Doom featuring track Iron Rose. It’s pretty good, so those words we hope to be eating may be consumed sooner than we thought.

Blade of the Ronin is set for release on March 3. Pre-order now.

Why we are all just hypocrites (but with good taste)

The Music Snobs is one of our favorite podcasts, and on the latest episode, the panel of experts discuss that age old problem. In short, the issue is this; are we hypocritical for liking the music of an artist we know has either done or claimed to be doing bad shit? And are we super-hypocritical if we stop liking some artists for the bad shit they have been accused of having done, but give a pass to others, purely because they are so good (case in point: MJ).

It’s an argument that has and always will be most relevant to hip-hop, where a lot of what we like is music about negative subjects. Even the naive rap fan knows that most of what comes out of a rapper’s mouth is fiction, but many rappers would like us to believe that what they are saying is real. We also know for sure that some really have lived the life they rap about, from drug dealing to murder charges, assaults to sexual misdemeanors. Should we be supporting and helping to make wealthy a person we know has broken the law in a horrible way? Here in lies the conflict.

Ultimately, we are all more than a little hypocritical in our tastes. Personally, we pride ourselves on liking only the finest, intelligent, non-commercial hip-hop, yet we’ll confess to having many guilty pleasures, even if we know the content of the song we are listening to is down right immature and several types of wrong.

We’ll also give a pass to a work like Pinata, justifying our love of an album all about slanging dope largely because the whole thing is produced by Madlib. We find ourselves sugar-coating Royce Da 5’9″ and his frequent misogyny on the latest PRhyme album because he’s saying those words over a DJ Premier beat, just like how we’ll excuse the casual homophobia on a Tyler, The Creator or Mac Miller record. And the reason why we’ll do all of this is because we are massive hypocrites. Albeit hypocrites with impeccable taste.

It’s a debate that will rage on forever, but one that can’t be fully ignored. Most of us got into hip-hop because we were intrigued by the stories the songs told us, mostly negative. Over the years, as we have grown up with rap and matured into responsible adults, our tastes in hip-hop have matured too. Yet we’ll still regularly listen to a track like Put it in your Mouth by Akinyele or Bridgette by The Doc, or tracks from M.O.P., Kool G Rap and Biggie Smalls, where they rap about murdering people in all manner of bloody and violent ways, and hundreds of other songs about seemingly bad people doing bad things. And that’s because we are hypocrites.

Listen to the debate for yourself below, and let us know your thoughts in the comments.

Here’s why 2015 will belong to Action Bronson

It’s that time of the year when everyone looks back at the best albums from the last twelve months. It has been a stellar year for hip-hop, but we prefer to look forward, and predict that 2015 will be the year of Action Bronson. Here’s why.

Firstly, obviously, there’s the music. Bronsolino is one of the most talented rappers to break onto the scene in the last few years, finally managing to distance himself from those early Ghostface Killah comparisons to emerge as a unique and brilliant artist in his own right.

If all goes to plan, early 2015 will finally see the release of the long-awaited Mr Wonderful album. Details are still short (save for a recent tracklist announcement from the man himself), but if the epic, cinematic single Easy Rider is a sign of things to come, this could well be an instant classic.

Some would argue that Bronson’s music is too much gimmick; full of dumbass tales and stupid shit. In reality, his songs are the work of a master storyteller, weaving intricate narratives in a way matched only by the likes of MF Doom, Slick Rick and Ghostface himself. It takes a sharp delivery and advanced writing skills to do this type of hip-hop well, and Bronson has cracked the formula.

The music isn’t all craziness and shock tactics either. Bronson’s lyrics can often take us down darker and more serious streets, like on Alligator, from the incredible Saaab Stories. What starts out as casual snippet of the life and times of Bronson and his girls, then moves on to something more sinister, covering everything from abortion, cancer and death, to how baby turtles make their entrance into this troubled world.

Music aside, its Bronson’s personality that stands out as the other reason why he’s likely to be huge next year (no pun intended). Like his music, on first inspection the way the man looks is misleading. A big dude, covered in tats with a wild beard isn’t exactly a classic hip-hop look (Rick Rubin being the exception).

When he opens his mouth though, it’s clear this is a complex thinker with many layers of intelligence. He’s also savvy, knowing how to pick projects in way that will ensure they go viral, like his appearances in the hilarious Fuck, That’s Delicious culinary tour videos for Vice, and those crazy live shows where he’ll jump on top of a truck or leave the venue to go get food, all while still performing.

Action Bronson the character then is almost now more important than Action Bronson the musician. But with both feeding off each other, in perfect sync, what we have is an artist destined to step out from only being known by those in the know, and breakthrough on a whole new level very soon.

This time next year we guarantee you’ll be reading about Mr Wonderful in the top albums of the year lists. We can’t wait to sit back and watch what happens in the meantime.

Why a multi-million dollar contract probably won’t change Mac Miller

Mac Miller recently featured in an interview with Fader, talking about his signing to a major label for a rumored eye-watering $10M. It’s a decision likely to split opinion, but at the end of the day, you can’t really fault him for making the choice. And just because he’ll now have a shit load of money, it doesn’t mean his music will all of a sudden turn pop.

Miller is one of the most interesting artists to emerge in the last few years. Crazy, fucked-up, addicted to lean. He’s been all of those things, but he’s also a talented kid both on the mic and behind the boards.

Underneath the persona there’s also an ultra-smart brain with a clear idea of how the modern music industry works. Like others making a comfortable living at a time when most musicians aren’t making any money, Miller has put in work and built up a solid empire. He also has the respect of his peers, which is harder than it should be when you happen to be a young middle class white boy from Pittsburgh.

When you’ve got talent, savvy business skills and a solid idea of what your fans want, then a big contract can mean better music rather than a watered-down, overly-commercial offering.

The candor of the interview alone is telling. Whereas a chat about a contract as big as that with a mainstream artist would usually consist of them bragging about what they’ll do with the money, Miller talks of how it will allow him to have enough budget to do things musically he couldn’t before, all the while keeping laid back about it.

Time of course will tell, but can you really see the man they also call Larry Fisherman in a flashy video dancing with Chris Brown? Us neither. Here’s to hoping we are right.

Watch the video from Fader below:

Mac Miller’s latest mixtape Faces is out now.

We salute Tyler, the Creator for crying like a baby

We’ve all seen that clip of Tyler, The Creator crying at the sight of N.E.R.D. on stage (haven’t seen it? Wake the fuck up), and how star-struck he was in a recent interview with Pharrell.

Funny shit, but at least the guy clearly has some genuine passion for the music and its biggest stars.

In a music fueled by egos and trash talk, its all too rare for a young hip-hop artist to show mutual respect for their peers. Its even common now to hear modern rappers talk about how they don’t even listen to rap at all, not even hiding how they are in the game solely to get money.

Compare this to the veterans and older artists and its a completely different story. They have no trouble shining a light on others, and acknowledging the history of the music. Take Run the Jewels, currently the hottest property in the game. El-P and Mike not only have a detailed knowledge of hip-hop, but also have no issue singing the praises of the legends and other artists. Same goes for Common, Talib Kweli, Pharoahe Monch and others. As for the legends themselves, like DJ Premier, they are forever paying respect to others and the masters of genre.

Its perhaps unfair to say all young artists are ignorant to other rappers (Freddie Gibbs frequently points to Drake as being the best there currently is, as contentious as that may be), but a little acknowledgment that they at least like hip-hop and appreciate others would be nice.

Tyler himself has stated he doesnt intent to make hip-hop for much longer, but this is still a man with a deep-rooted respect for the music. And for that, despite all the other crazy and stupid shit he does, we salute him. It was his party, and he can cry if he wants to.