Nasa "The Iomega Years: A Decade of Lost Beats"

So you are a producer, you know you have tons of unused beats that you've made throughout the years. You say to yourself, "Self I have all these beats that no one has heard, and some of these are damn good, what can I do to get these out so the general public can hear them." Instead of either just ignoring your inner voice as so many of us do or going the standard why of throwing your best on random "albums" and call them beat tapes you decide to do something different. What if these beats are used to tell a story? But what story, they don't really have a common theme or sound really but wait...what if it tells the story of the past decade, each beat helps shine the light on a particular year and what if each beat came from the year it talks about. Damn that's a good idea. Ladies and gentlemen that is the conversation that I imagine Nasa had when he came up with the idea of "The Iomgea Years: A Decade of Lost Beats," because that is exactly what this is; a collection of beats that tell the story of 1999-2009, year by year by focusing on one beat and one key event that year.

Typically my reviews are a track by track analysis of the album but "the iomega years" is a bit different it is a hybrid of a mix, beat tape, and album so after much deliberation on how to approach it I have decide...to fall into my usual pattern and check out each track because damn it, it is one of the things that separates my rambling reviews from all the other blogs out there, so here we go.

The album begins with "Iomega2k (1999)" with the news intro being the Dick Clark welcoming us into the year 2000. As Mr. Clark's voice fades the beat becomes audible. A very dirty crackly drum with some strings and other effects make this signature Nasa beat, rather surprised this is in the unused pile because it fits in very well with Nasa's own group "The Presence" with him and Cirrus Minor but there is always something that may or may not be right for each artist.

"Crisis of the Iomega (2000)" begins with the voice of George W. Bush discussing his apparent victory in the 2000 election it continues with what I can only describe as pissed off, angry beat looking for some revenge or at least resolution. Nasa also decided to throw in Al Gore in the middle of the track to add to the memory of the fight that went all the way to the Supreme Court on who actually won the 2000 Presidential Election.

The events of 9/11 are captured in "Iomega's Revenge (2001)" and it is a surprising uptempo beat with a good amount of hope in it with and underlying guitar that gives the appearance of danger that midway through becomes the dominant sound before the rest of the beat comes back in. "Iomega Bullets (2002)" discusses the DC Sniper attack before a haunting beat takes over and has you looking over your back for what may or may not be coming after you.

No surprise the Nasa chose the "Shock and Awe" campaign to introduce "Iomega Moves (2003)," the beat even has a underlying drum march with other instruments layered on top, and mid way though the drums drop out for just a few seconds leaving a great bass and piano duo. It works even better because Nasa brings the drums back before before dropping them and the piano for another few seconds leaving just the bass.

The aptly named "The Iomega Loser's Anthem (2004)" uses John Kerry's 2004 concession speech as the backdrop. Hard-hitting drums and a great bass line continue throughout this beat making it a grat beat to put your headphones on and just "veg out" to. What might be surprising to people who know Uncommon Records is that Nasa actually got Kanye West to appear on the track "Snap Iomega Pop (2005)" (so what if it was from "A Concert for Hurricane Relief" and his infamous "George Bush hates people" remark.) The choice of using Kanye's remarks instead of just a discussion about Katrina pays off because of the sound of the beat, especially the vocals that occur throughout the song "snap POP snap snap snap snap POP," almost has a feel of something Kanye would use in one of his more current beats.

"Iomega Injustice (2006)" uses a child talking about the Sean Bell shooting to introduce the track. It is a somber beat with a very soft almost reggae style rhythm deep in the background. The beginning of our current economic problems are detailed in"Iomega Seers (2007)." This track has a different sound than the others on the album for a good reason, Agartha Audio aka Dig Dug joins Nasa for one of the most interesting beats on "Iomega Years." The track turns out great which is impresses me considering you have two producers who were able to work together to make a fully functioning beat while not sounding like either of them but not sounding out of place either.

The track selected for 2008, "Tears of Iomega (2008)" captures the election of Barrack Obama and features a beat that is actually somewhat similar to the cadence of the president's speaking voice, or maybe that is just my imagination, but it works wonderfully. The album ends with "Paranoia San Iomega," introduced by people outraged by health care reform and that is what the beat captures: outrage. But after a short spurt of this, the track goes quiet before it begins again, it creates the appearance of a debate going on, one side speaking loudly and once they stop the other side begins and this continues throughout the beat.

Instead of making just another unreleased beat tape, Nasa decided to do something a little different, take one beat from each year to show his different sounds and styles and using one of the main stories from each year to act as a backdrop. What really impresses me about this album is how well it flows, it could easily be a single track mix and you would not be able to tell a difference. It makes me excited for more Nasa productions on future albums and maybe more albums similar to this, possibly one a year, one beat each month. But what might be the best thing about "The Iomega Years" is you can download it for free, so go here and do that now.

Datahowler "Slowdrifter"

In a time when the US seems to be ignoring the space program and basically eliminating any federal money, the fascination with the great unknown that is our universe (and those beyond) continues to grow. You disagree with me? Well, then I present to you Datahowler's debut album "Slowdrifter." What does this album have to do with the vastness of space? Very simply the sound and feel of the album, not to mention the cover art. I have listened to this album with through my headphones in the dark and I feel like I am on a wondrous journey through the cosmos, at times even through time (but that could be the Doctor Who obsession.) A few things need to be said about this album before the track by track analysis, one being that Datahowler decided to use live instruments to record this album instead of relying on samples so bravo for that. Another is this is an instrumental album that at no time needs vocals (besides in the background), in fact if any MC not named Kool Keith decided to rap over them, they would fail miserably.

The album begins with "Dazees" a slow building song that adds layer after layer until around the 1 minute mark when the full glory of the song begins to hit you, before disappating and transforming multiple times. Think of a Flaming Lips song on a rocket ship that meets with some good old funk while having chopped up vocals act as extraterrestrial activity. Or you could take the easy way out and listen to the track at the end of the review, your choice.

The journey continues with the bell and horn focused (with drums for that nice hit) "Lunarson" featuring Juno Complex. It feels as if stars are falling around you as the bell's gently ring and you fall deeper into space with each blow of the trumpet before the strings and heavenly voice stabilize you and you can just enjoy the ride. Before you can leave this magical "Lunarson" you must first revisit it (the track is "Lunarson (Revisited)" see what I did there?) in a more up tempo almost dance speed as the gravitation pull of the moon planet increases and then lands you gently on the surface.

Just as the track fades you are greeted by the hard kicks of "Moon Diamond Mining" which sounds like a group of miners hacking away at the rocks while some sort of sonic device howls all around them. Once again, Datahowler uses an enchanting voice to add to the ethereal feel of the track, but is careful to make sure it doesn't last too long because before you know it you are back the the miners and the cycle repeats itself until only the voice and a slight humming remains. Then there is success as you hear the shine of the "Crystal Unearthed." After this a lonely guitar and piano take you throughout the rest of the track.

"Atom Blues" reminds me of a great r and b song that you know but never heard before, with just the right sci-fi twist. Almost makes you feel comfortable in a far away and distant area, but there is a certain uneasiness that continues to creep into the song before totally breaking through at the end and you realize just why: you are preparing for a "Space Jump." It begins with some gentle drums before a distorted synth warps your system and throws you a bit, at least until the piano comes in to stabilize you a bit before returning to more synths, but this is what one expects while trapped in a space jump.

An early 80's Prince sound hits you when "Voltage" begins and takes you on a quick and thoroughly enjoyable trip before you end up "Lurching Forward" which surprising is not as jolting as you would expect. It as rather gentle but continuous, inching up slowly. The conga drums and Spanish guitar (with a sprinkling of synths) creates a great atmosphere and makes you not upset at all at pace of your travel.

The calming feeling continues, this time without any jerkiness, on "Of Stars" with multiple instruments creating a beat that increases in speed and tenacity without ever going too out there, then takes a slight turn as instruments drop out and reappear as you begin to navigate through various stars. Until you are traveling "From Suns" in one of the smoothest transitions you will hear from one song to another (as it should be since a sun is a star) but you can feel each instrument more as you are closer and closer to the source and have less interference from others.

"Prophet" begins with a fading and twisting haunting voice and synths as though you are encountering some otherworldly being. The sound cleans itself up as the voice dissipates leaving just some great synth work before the voice and distorting feeling returns, again and again, almost like a conversation. As "Heatstroke" starts you think you know exactly where the song is going until around the 30 second mark Datahowler adds another layer that just builds on the previous section so well it creates the sensation of you rising higher and higher before it rather abruptly ends.

"Data/Lapse" closes the album with a rather haunting intro (in sci-fi terms) before the drums kick in the the intensity increases even more. Datahowler uses multiple techniques and sounds (instruments) that are heard no where else on the record for most of the song. This helps to establish the reality that a final resolution is occurring, everything is being gathered and processed, piece by piece until eventually everything fades.

With each listen of "Slowdrifter" I debate just how much of a story it is suppose to tell and the more I pay attention the greater the details become. Obviously Datahowler meant to create a common theme and feel for the album, a sort of outer space sci-fi adventure, but I believe you are going on a journey of discovery throughout the universe. No matter if my ramblings on this are correct or not, one thing I am sure of is Datahowler created a fantastic album that will transport you from wherever you are to the outer realms of time and space to which you will want to return again and again.

Dazees by Datahowler

You can stream and download the album here

JC Poppe "Tea Party"

There are 3 things that are similiar about "Shadowlands" and "Tea Party": released January 24th, JC Poppe, and quality. Besides that the albums are very different, where "Shadowlands" is VERY personal, "Tea Party" focuses more on politics (country, personal, moral, business). In other words, this is not a double album, but two albums that just happen to be released on the same date. Ok, now that that is straightened out let's get into "Tea Party"

The purpose and concept of the album hits you right in the face in the aptly titled "Intro." Coming in at just under a minute thirty, JC Poppe fills the track with just what he is doing on this album, he is making his album, his way filled with the world as he see it and "if you want bling, blunts, bitches, booze and all that go find another album filled up with rap."

Sick of all the what he has seen in the political arena in the past few years, Poppe has noticed things aren't going to change if we sit on our hands, "RIOTS" chorus informs us "If you can't take it any more, then you need to riot, the cops are out of bounds, then you know you need to riot, declare your independence, and you better bring a riot, things will you only change, if we break them with a riot." The revolutionary spirit continues with the track that borrows its name from the "Terminator" series star "Johnny Connor" ready to lead into the new era where the emotionless robot government dissipates and humanity is brought back into the world.

The next two track are in my opinion the best on the album beginning with what is probably the most "catchy" song: "Audio." Now don't get catchy confused with pop or think it has no lyrical content including shouts outs to Landon Donovan and Eric B & Rakim (bonus points). Check it out at the bottom of the page.

The upbeat "Audio" is followed by the hard-hitting "Red White & Blue" that puts the "religious right" on blast for all the hatred (whether against race, religion, sexual orientation and more) they spew while claiming to be Christians and as Poppe says so well, "that high horse you're on, I call it blasphemy." It reminds us that just because we are Americans does not mean we can do whatever we want and that goes for everyone from the politicians to the everyday citizen, there are consequences no matter what.

JC Poppe follows these tracks with "Get It In" featuring Chaundron, Speak Easy and Raze. It's along the lines of the we know what we are doing in this rap game song but without the typical over exaggeration and makes sure to bring dope lyrics. "Middle Class Reality" displays Poppe's ability to tell a story in a song, this time about a "good middle class kid" who sells prescription drugs as a way to get money. A story we often hear about on the news but this time shows the struggle of the kid and just why did he do it.

88-Keys handles the production on "Dribble," a track that calls out those trying to enter the rap game with no talent whatever but what impresses me about this track is the sound. Poppe switches up his cadence and it really does feel and sound like "it's a new school throwback for the old Gs" The fun continues with the funk-filled "Mess Around" featuring A.P.R.I.M.E. and Raze. Dylan Thomas supplies a beat that will make you fiend for that old g-funk sound.

The album ends with JC Poppe showing love to his home city with the posse track "Milwaukee UP" featuring SPEAK Easy, Logic (of The Hollowz), DNA, Dana Coppafeel, Raze, Shemp, and A.P.R.I.M.E. It gives you a great feel for the Milwaukee sound and the talent that is coming out of the city right now.

"Tea Party" is a solid album by JC Poppe with great production as well as lyrical content, covering a range of topics and styles. But what "Tea Party" really makes me wonder is why would a record label say they "outgrew" JC Poppe, with two very good albums being released on the same day. So JC Poppe keep doing your thing whether you have a label or not because you have the skills do prosper.


JC Poppe: Audio by djjazzpants

You can stream and buy the album here or get the CD here (includes "Shadowlands")

JC Poppe "Shadowlands"

It seems every MC states how "personal" and "introspective" their new album is or will be. JC Poppe "Shadowlands" album is no different, except for one small detail, it actually IS incredibly personal and introspective. What a refreshing idea: have your album actual deliver what the press release says it will.

By this point, readers (and artists) are trying to figure out just how did JC Poppe deliver on such an oft-broken promise? The answer is both simple and complicated; he spoke from his heart.
Let's take a closer look at the tracks to get a better understanding of the depth of this album, the album opener "Last Will and Testament," gives you a quick run down of who JC Poppe is: MC from Milwakuee (had to leave his beloved city for the betterment of his family), whose label "outgrew" him, father, husband, who needs to pour out his soul on this album because "this may be my final breath, my last will and testament if my career meets its death." It is not just his words that convey this message; Poppe's delivery hits you with a sense of urgency, anger and frustration, mixed with hope and confidence.

"Amatures" brings you back to the beginnings of JC Poppe's recording career in 2004. The track details his mistakes and successes throughout his career, laced with a soulful beat that reminds us that he was an "amateur" at the time. The title track "Shadowlands" details the difficult decision of leaving his home city of Milwaukee for a better place to raise his soon to be born child.

JC Poppe offers a glimpse of the real "rap life" with both "Live My Life" and "Broke Rappin." The first verse of "Live My Life" informs the listener of two things an MC must deal with: feeling like too many people have damaged what is "hip hop" and knowing you will routinely be made to prove to others you have skills by battling random people in the streets. But these annoyances shall not deter JC Poppe "at the end of the day, I'm always going to be me: a married man and a father and a supreme MC." The track ends with what might be considered an intro to "Broke Rappin" a skit that is "a series of phone calls that may or may not have taken place between me, JC Poppe. and US Express." As you can probably guess "Broke Rappin" is JC Poppe's "starving artist" song and he does it very well and at the same time thanks his wife for supporting him and his pursuit of making the music he loves.

JC Poppe gives us an encouraging song with "Foundation of A Moment." Letting the listener know that it could be much worse, and we should be who we are and in the end we will get what we work for and don't let anyone stand in your way,"my movement is for you to embrace whatevers inside so you can just do you." The final verse shows an MC defending his craft as an art form and not a fad that is fading any time in the future.

"Shadowlands" then takes a trip to the darker side of human nature with "Concept of Reality" where we are go on a trip through the mind of someone suffering deep bouts of depression and I will not try to capture this because the picture is painted by the lyrics, tone, and beats of this song but I will gladly share the final line "then my son smiles and my love for life comes back."

The idea of recovery is tackled in the aptly named "Path to Recovery," what is JC Poppe recovering from, well I have my ideas and what not but on this one I say listen for yourself because I have a feeling it will change for different people, whether this was the intent or not, each time I listen I find something else it could be, so enjoy and decide for yourself.

For people who complain that there are no love songs in hip hop or that it is all guns and what not (very few reading my blog I'm sure but hey) check out "What I Am" where JC Poppe gives thanks and explains his love for his wife (and being a husband) and his son (and being a father) all in all, how life changes when you become a husband and father (for the better).

"You could call this fluff or say I got it wrong but then you're not the type who would ever get this song, this here is for the men that are holding down a fam and not letting society dictate to them, forget all the players, haters and deadbeats, this here is for the love and greatness of family"

I have occasionally talked about "dadbag hip hop" and this belongs right up there with Brother Ali's "Faheem" of what I mean when I talk about it.

The album concludes with what I can only call the EPIC "Wife Song" which details the events that took place shortly after the birth of JC Poppe's first song when his wife suffers a pulmonary embolism...listen to this song NOW

JC Poppe: Wife Song by djjazzpants

MCs take notes and listen to this album, this is how you make a "personal" and "introspective." With "Shadowlands," JC Poppe does what so many artist try and fail to do, create an album that is heartfelt, emotional, and remain pure to the artist and the art form; this album is certainly hip hop, whatever you feel that means.

You can stream and download the whole album from bandcamp or buy the CD here (also contains JC Poppe's album "Tea Party" which shall be reviewed tomorrow)

My Top 7 7 inch Records of 2010

By now most blogs, mags, or fans have released their best albums of 2010, but I decided to do something a little different. I want to show some love to the under appreciated 45 or 7 inch vinyl record, because well vinyl rules as do 45s. Now for me to include a 45 on the list I actually have to own the physical version of it, so I'm sure there will be some people saying what about this one or that, well I may not own it or may not think it is better than some of the ones on my list.

Here we go in alphabetical order

DJ Jazzpants's Top 7 7 inches of 2010

DJ Brace ft The Brown Bag Allstars "Every Day"

The Foreign Exchange "Maybe She'll Dream of Me (Remix)"

Jimi Hendrix "Bleeding Heart"

Hot Peas & Butta "The Smokeout"

I, Ced "Another Look @ You"

La Melodi "Chemisty"

Progress Report "The Spill Out Series Vol. 04: Wake Up"

Let me know what you think of the list and feel free to tell me what I've missed. And if you're wondering why I didn't do a write up of each selection, I got lazy, that is all.