J-Zone on NW3Radio

Screen Shot 2015-03-14 at 12.55.50We’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

Wu-Tang

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!

Our fears for the new Cannibal Ox album

can-ox-blade-roninCast 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.

Random YouTube man puts pictures to Dilla’s classic Donuts

DillaHip-hop music videos just ain’t what they used to be, and they weren’t that great even when they were. They still have a place though, but what do you do when you want to put pictures to a work that never had videos, years after the fact?

If you are video maker Houston Loves J Dilla, you make your own video by stitching together hours of random footage. But when the music you are working with happens to be J Dilla’s Donuts, one of the most revered albums in hip-hop, you have to tread carefully. Thankfully, the boy has done good.

Coming off more like a short film, the clip illustrates the entire 43 minutes of the Donuts album, gifting us a respectful and skilful pastiche of an absolute classic. Watch below for yourself and let us know what you think.