Production – Page 27 – Grown Up Rap

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.

Dilla Day 2015

February 10, 2006. For many hip-hop heads, it was the day the music died, for it was the date that the great J Dilla passed away. His legacy lives on in all of us though, and for several years since his death, his mother, the much-loved Ma Dukes, has organized the annual Dilla Day event.

The 2015 edition is leaving Dilla’s hometown of Detroit for Miami instead, and the confirmed line-up of artists is already incredible. His old group Slum Village will be there, as will frequent Dilla collaborators Talib Kweli and Madlib, plus the legend Pete Rock. Other guests include Black Milk, whose music has been inspired by Jay Dee, alongside Joey Badas$$, Camp Lo and more. That adds up to a fine selection of talent paying their respect to one of the greatest of all time.

This year the event is also being extended to an entire weekend, from February 5-8. Tickets are available from here right now. Peep the flyer below for more.

Let’s hope 2015 is full of MF Doom goodness

DJ Premier has been busy conducting interviews over the last few days, documenting the sad demise of his beloved D&D Studios. We’ve been reading along with a few tears in our eyes, but there was also some enticing details from Primo about an extended deluxe version of the PRyhme album. That alone would be exciting enough, but when Preem added that one of the tracks will feature MF Doom, us and everybody else started losing our shit.

There’s many artists we’ve dreamed about hooking up with Metal Fingaz over the years, but Premier has always been right around the top. Catch them both at their best, which is pretty much always, and this could be incredible. It would also be the prefect way to kick off a year that, metal fingers crossed, will bring us a lot of Doom.

There’s that long-delayed and almost mythical full length album with Ghostface Killer. GFK himself recently hinted it is coming this year, and for now it has at least been confirmed that Doom will feature with Ghost on his upcoming Sour Soul album with BADBADNOTGOOD.

In a rare interview with Bonafide magazine last year, Madlib also seemed to suggest that he and MF are at the very least throwing around ideas for the next Madvillain project. That news almost trumps everything else listed above.

Who else is on that list of our dream MF Doom collabs, you ask? Well, some are from way back, like the thought of him sharing the mic with Sir Menelik (currently somewhat AWOL from the game), Company Flow era El-P, Edan, Ill Bill and Kool Keith (before you purists go nuts at us, we know Kool Keith was on Venomous Villain, and there are also tracks with El-P dotted around online, but we want a more significant set of hookups).

Current artists on the wishlist include Action Bronson, Your Old Droog, and the modern era El-P (riding shotgun with his Run The Jewels partner Killer Mike of course). A few months back, 9th Wonder also mentioned how he’d love to work with Doom, and the prospect of that is equally incredible.

If just some of these projects see the light of day, this could be another vintage year for good hip-hop music.

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.

Watch Oh No sample video games in the latest Rhythm Roulette

The new episode of Mass Appeal’s brilliant Rhythm Roulette series features one of our favorite producers, Oh No. Although sometimes lost under the huge shadow of his brother Madlib, Oh has proved himself to be one of the most consistent beat makers of the past decade, crafting incredible sounds for his own albums, and on classics by Mos Def, Guilty Simpson, Murs, Talib Kweli, MED and many others.

In a twist to the normal process, Oh No visits a video game store to make his three selections, where his hands fall upon Karate Champ, Nascar 99 and NWO/WCW Revenge, all for Nintendo 64 (remember that?).

Back in the lab, Oh No gives each game a play, and seems to have some trouble figuring the controls for the wrestling joint. He then starts working his magic, and before long we have a credible beat, sourcing a loop and various vocal stabs from the games.

Check the video below to hear the end result. All we need now is for his older brother to take up the Rhythm Roulette challenge.

Watch Raiders of the Lost Art, Part III

The latest installment of the PRhyme documentary series Raiders of the Lost Art is out now, with DJ Premier and Royce da 5’9″ inviting us further behind the scenes of their new collaborative project.

What impresses most this time is just how serious both artists are taking the social media and promotion, even going as far as personally setting up meetings with some of the most important companies in the world.

Younger artists know just how important it is to get their shit together across Twitter, Soundcloud and YouTube, but its refreshing to see a vet like Primo at the cutting edge too. Compare that to others from the classic era who seem to think its fine not to have an online presence, and it isn’t hard to figure out why they are fading fast into obscurity, while Premier is as popular as ever. We also get to see highlights from the photo shoot that gave us the dope album cover, again thanks to the perfectionism and entrepreneurial spirit of Primo.

Watch the video below, and buy the PRhyme album from December 9.

Album Review: Ghostface Killah’s 36 Seasons

While everyone else was talking about the Wu-Tang Clan reunion album, the most talented member of the group modestly announced that his latest solo record would be dropping exactly one week after A Better Tomorrow.

36 Seasons is Ghostface Killah’s eleventh album, and its another decent addition to an almost impeccable back catalog (the less said about Ghostdini: Wizard of Poetry in Emerald City the better).

Most GFK albums have some sort of loose story arc, but this one is billed as being a full-on concept album. In reality, the concept is pretty close to the same one on every other joint since his classic debut, Ironman, but this is no bad thing.

Similar to the 2013 Adrian Younge-assisted Twelve Reasons to Die, the music is something of a departure for Ghost, with different beats to what we are perhaps used to. Production is handled primarily by The Revelations, with some tracks nothing more than soulful interludes from the street drama happening in the narrative. Nice idea but hardly new, and after a while most of the beats start to sound the same. Intriguingly, Blood on the Streets is co-produced by The 45 King, marking a welcome return for one of the most iconic names in the game.

Surprisingly, and breaking tradition from other Wu solo albums, 36 Seasons doesn’t feature a single member of the Clan. Instead, AZ appears on five tracks, and veteran Kool G Rap features on three. The story behind how the album came about is unclear, but both are odd choices for this many features.

He may be one of the best to ever bless the mic, but G Rap’s heyday was a long time ago, and he’s lost the energy and flair of his many classics. AZ meanwhile has always been an underachiever at best, never quite living up to the promise of Illmatic. Both put in credible performances here, but we’ll take a Ghost and Rae collabo over AZ or G Rap all day long.

The poetry album aside, Ghostface has yet to make a bad album, but hasn’t made a truly great one since Apollo Kids. 36 Seasons won’t go down as one of his best, but an average GFK album is still miles ahead of most other artists, and its definitely a lot better than the long-awaited but lackluster new Wu joint.

36 Seasons is out everywhere, December 9.

Album Review: Royce da 5’9″ and DJ Premier’s PRhyme

DJ Premier and Royce da 5’9″ have been steady working together since 2002’s Rock City, an album that featured the certified banger Boom. There have been hits and misses since, but when they announced a few months back that a full length collabo was in the works, it got everyone’s attention. After weeks of teasers and videos, the PRhyme album is now finally here, and its dope.

What hits you straight away is the production, and how Premier has managed to adapt to rappers with a style not typical of the artists he tends to work with. He’s produced for a range of different artists before of course, from west coast groups like Compton’s Most Wanted, to southern acts like Bun B and Ludacris, but the beats for those still had that classic Primo sound. What impresses most here is how easily the music changes to suit an eclectic mix of unique artists that includes Mac Miller (on Dat Sound Good), and Killer Mike and Schoolboy Q (on Underground Kings).

In fact, the entire album is a bit of a change of pace for Premier. There are still classic bangers, like U Looz and Courtesy, but also rich compositions that you wouldn’t necessarily know were Primo beats if you heard them out of context. It’s a refreshing new direction for a producer who, while unquestionably one of the greatest of all time, does tend to get stuck in their own signature sound. This is new-era DJ Premier, holding his own amongst the modern beat makers, with a little help along the way from Adrian Younge.

As for Royce, he’s stepped his game up, with the same sense of purpose and aggression we saw glimpses of on 2011’s solo album Success is Certain, and on his Bad Meets Evil side project with Eminem.

Other standouts include the Common-featuring Wishin, and To Me, To You, where PRhyme team up with the over-hyped but always-impressive Jay Electronica.

There’s a moment on U Looz when Royce points out how stupid it would be to suggest that by joining forces with DJ Premier, he’s trying to be the new Guru. The Gang Starr days are long gone for sure, but PRhyme is shaping up to be a group that over time could well end up achieving similar levels of critical acclaim.

PRhyme is set for release December 9.

Album Review: Wu-Tang Clan’s A Better Tomorrow

Hype is one thing, but deep down we all knew that the long-awaited Wu-Tang Clan album was never going to be classic. Now that A Better Tomorrow is finally here, its even more of a disappointment than we feared.

It’s not terrible, and still better than 8 Diagrams, but hardly vintage Wu. We didn’t expect them to make the same kind of album they did 20 years ago; hip-hop has moved on since then, and with the average age of a clansman now around 45, so have they. We did expect it to be a better tomorrow than this though, especially having had to wait so long, and after so much in-fighting to get it done.

The biggest problem is a lack of enthusiasm, with none of the group member’s hearts seemingly in it. Even verses from the four best rappers in the group – Ghostface Killer, Raekwon, GZA and Inspectah Deck – sound phoned in, with lyrics that do nothing more than go through the motions.

It would be naive to think that all of the members were in the same room at the same time when they recorded, but its this lack of coherence, both emotionally and geographically, that stops A Better Tomorrow from sounding like a genuine group album. The only rapper that still sounds fresh and energized is Method Man, but its hard for one man to keep the excitement levels up when everyone else around him is flat.

Ironically, considering how passionate he seemed to be about making the album happen, the best beats are those not produced by RZA, with standouts including 40th Street Black/We Will Fight and Keep Watch (both produced by Mathematics), and the Adrian Younge produced Crushed Egos. RZA does put in some good beat work, especially on Hold the Heater, but there’s a sense of laziness and self-indulgence in sampling/riffing on Dusty Springfield’s Son of a Preacher Man on Preacher’s Daughter.

Not the return to glory we’d hoped for then, but not quite a complete trainwreck. There’s some life left in the Wu, and the likes of Ghostface will no doubt keep on making good music forever, but its difficult to predict just how much further these legends of the game can make it as a team.

A Better Tomorrow is out December 2 on Warner Bros.

Watch Raiders of the Lost Art: Part 2

The second installment of Raiders of the Lost Art is now available. This time the focus is on DJ Premier, with footage of the master at work in the studio. We don’t get to see too much though, as Preem makes it clear he doesnt like to let people know a whole lot about how he works that magic behind the boards.

Adrian Younge also makes an appearance, explaining his involvement with the PRhyme project, and how working with the duo has helped him see his own previous work in a whole new light. See below for the full clip (pun intended).

PRhyme is out next month, and available for pre-order from iTunes in some regions now.