Mallz "Service Entrance"

Too often artists try to make global statements (sometimes this works with astounding success, other times it falls flat and seems forced) more often then not what works better is write about what you know, in other words, write about yourself and then bring in the big picture. That is how you can gain fans who stand by you because they feel they actually know something about you besides just being an MC. On "Service Entrance" Mallz does just that, he writes himself, and builds from there, what he does, how he works, what he will avoid, what he loves, etc. What really comes through on this album, besides that Mallz has skills, is the passion he has for hip hop, something that is too often lacking from albums nowadays. But enough of my rambling, let me break this down a bit more for you, so here it goes.

A great horn section kicks off "Long Time Coming (Intro)," the horns remain prevalent throughout the beat provided by Nubbz. The track is exactly what the subtitle says it is: an intro to Mallz, he lets us glimpse into his talent and where he's coming from, including references to Teenage Mutant Ninja Turtles that is shortly followed by the words "vagina sex" so the listener quickly realizes you are not dealing with a one dimensional MC. However the most telling line for me is, "Rap my heart out on beats that will cripple your necks." What is so important about that line besides he likes his beat selection (I wonder how many MCs REALLY like their selection) is this is him giving his all to the audience, its not just words this is Mallz, so let us keep moving on and see what else he has to offer of his self to us.

The chorus for "Same Ol' Song" addresses an all too common sight when it comes to hip hop and rappers who "blow up" quickly "I don't wanna sing the same ol' songs, but you steady wondering what went wrong, it's just monkey see monkey do millionaires at 22 broke by the time they're 30, tell me what we're gonna do." I am fighting going on a very long rant about just who true this statement is and I think I shall pass on the rant, but do some research and you will see how often it happens. We are then of course forced to ask what makes Mallz different, why won't this happen to him, and he let's us know that "the common denominator, my rhyming nature is relative, consistent, never repetitive, medicine for those waiting for me to take it to it's next phases, I appreciate your patience, all the hating in the world can't discourage my drive, I'm like the first bumblebee with the courage to fly."

The uplifting beat for "Kiss the Sky" features a piano with some drums for rhythm; it acts as a great backdrop for Mallz to spit his words showing his hard work and dedication to the craft. "I pour my blood sweat and tears on the mic, its like the thoughts just appear when I write, still an arduous deed I leave it all in the booth," and goes into his disgust for the bastardization of the culture "everybody want to rap but no one seems to honor it, just a cash cow and everyone took a part of it, starving it, business now with no more art in it."

Mallz gives Hip Hop a voice...literally...on "What I Am" giving a rundown of what makes hip hop, hip hop. He does this not just with the lyrics (covering a multitude of classic hip hop albums, pioneers in other genres that hip hop is born from, clothing, but also goes into some of the negatives that hip hop covers including addiction and racism, in other words just about everything that makes the lifestyle what it is) but the beat by Analogic plays a major role in capturing the hip hop sound, it contains a bit of every style of music that has influenced hip hop.

Some tracks scream to me they need to be performed live, "Get Down" is one of those tracks, not just because you can feel Mallz's adrenaline in the words or because of the obvious call and response that can be set up, it is also that sort of show off feel to it that is just awesome to experience at a show. What is the gibberish I am speaking, there are a few key lines that you need to know (I shall not do the chorus because reading it will make it feel weak while the actual recording has such umph behind it)the first being "Got my head on straight, and I'm going for mine, shook off that dead weight that kept me falling behind, this is more than staying on my grind, this is fulfilling my destiny, who knew that going through hell could lead to something so heavenly." Can't you just picture the crowd rapping along with this and vibing out, and then comes the lines that would cause major reactions in a battle such as "gasping for air and you choking for breath, I'm on my second wind."

A great sample kicks off "Magic" (at first listen I assumed it would be a love song, I was wrong...kind of) as Mallz goes in about the gift of rhyming and life in general, "I was born to do this, that's what you don't understand, this rap shit's intuitive, miss me with the foolishness, life's about the harmony, got to stay in tune with it, or end up losing it." And yes there is certainly love in this song (and the album as a whole) not just for the music but for life in general.

"Stretch Me Out" begins with another great vinyl sounding soul sample that continues throughout the track. Mallz demonstrates his story telling ability (hooray for story telling) by unraveling a night with a female fan from introduction to end of the evening. This is a track you need to listen to, there are a few twists and turns throughout that are best experienced in song and not reading me describe it but I will let you know there is a GI Joe reference.

Don't mess with the funk horns on "Hands High" they are automatic headbangers unless you have no soul and of course with a beat like that and a track titled "Hands High" this is another must see at a show (I assume.) This track also offers one of the best examples of Mallz's ability to create polysyllabic rhymes, and we all know how much I love that, check out this line "Rhyme specialist, making the impossible seem effortless, eclectic perfectionist, I stay on my job." There are more syllables in that one line than in entire songs on your local hip hop station. Proving that it is ok to read a book, you can still be an MC and use "big" words.

"Homesick" is about exactly what you would expect it to be, love for Mallz home, friends and family. The chorus covers the concept perfectly "no matter how far I roam, there's only one place I call home, take it with me where ever I go, this much y'all should be known." While Mallz does detail some set backs, or at least hurdles throughout the track the last verse ends with the inspirational lines "But you can't keep the sun from shining, got a new start, baby, now I'm arriving, moved from the backseat, now I'm driving, headed back home I am all inspiring."

Imagine the music of an old glamorous Hollywood film score and you have the intro to "You" before the drums kick in and violin and piano fall back a bit. Since you are already imagining, keep on doing it, this time picture Mallz sitting down a younger version of himself or someone else he is looking after (I prefer to picture him talking to his younger self) and offering advice on life and especially the music business and letting them know in the end the only person you can really rely on to get stuff done is you, warning to watch out for your so called friends, realize you don't know everything, learn to stand up for yourself, and no matter what keep on fighting, no one is going to give it to you, you must take it.

Mallz continues to address his listeners in an attempt to motivate them to life their life with "In Your Hands," as he says, "You only have one life to live and its in your hands." While that might sound cheesy and polished if you take that line alone (however true it may be) don't think this track is all starfish and coffee, there is outright defiance as well "So when its time to face death, I'm going to stick out my chest, grab on my balls, defiant with my back to the wall." Plus he throws a reference to a classic poem or two, so keep your ears open and listen to the track, and remember that message is truly important.

The album closes with Mallz offering a "Thank You (Outro)" to the listeners, those who assisted in the project, his family and friends. I always think it is cool when an artist does this, even if you only listen to it once, it is a much cooler way to say thank you then just listing it on the album notes, and with the number of physical products decreasing, it is a way to give your thank yous in the digital age.

I said it in the beginning and I will reiterate it here, write what you know, have talent on the mic, pick quality beats and you too can create a quality album just like Mallz does on "Service Entrance." But make sure you aren't afraid to show off your vocabulary or change up your sound a bit, speak from your heart, and stay true to you, Mallz does all of these and does them all well. So once you finish reading this sentence, click on the link below, download and listen to "Service Entrance" and listen to an MC who crafted an album of high quality hip hop by being himself.



Stream and download the album here.

J. Draughon "Worth The Price of Admission"

Quality music, isn't that what we as fans are looking for? No matter what genre or subgenre, we just want music that hits us. Not all musicians get that idea (at least not from what I've seen and heard) some are looking for the next big thing or trying to become famous, or beef with people. Others want to make music for fans and hopefully have some sort of impact on them (these are the majority) and J. Draughon is one such artist. This doesn't stem from one line in one song (more on this later) but it is pretty easy to see as you listen to this album, but I have already rambled on a lot in the intro and I know I will ramble some more later so let's get into the who, what, why and were (sometimes how,) so here it goes.

Imagine Buddy Rich drumming to save his life and you have the beginning to "The Audition." It appears the drummer lives as he is able to relax and keep the beat for the horns that join in just as J. Draughon enters the track. The title perfectly describes this track, it is J. Draughon's audition for your ears and with lines like "dominate the microphone, catch me in the booth and I'm home," he does enough to keep my headphones on. He actually does something for just about every fan of hip hop on this track, whether it is rhyming multisyllabic words, talking about the work he's put in, weed, or girls all while spitting over a jazz/funk beat. That captures the attention of most fans (of course doing so with quality and not going into any graphic detail.)

"I'm just trying to tell you how it's suppose to be, supposedly, I've been on some Oh My God shit like I'm playing with a rosary," these words plus some quality piano and drums kick off "Breakdown." Then comes the chorus, and what do you get "There was going to be some kind of hook but I said fuck it" instead we get to vibe to the beat and quality sample: an A+ move in my book, any vocals over top would've sounded off and a little forced.

The funky and soul filled beat of "Don't Wanna Lose" gets your head bobbing right away. The track is filled with many OHHH lines, not punchlines but solid similes and metaphors, by far my favorite of said lines is "I'm a problem like when animals break up out of the zoo" granted it might be because of the hours open hours of "Planet Earth" I've been watching lately, but it still caused me to crack a smile, mainly because I was imagining a great white shark rip a seal to shreds in a few seconds (I know sharks and zoos don't go together but that's what popped into my head.)

Since, there was no hook or chorus on "Breakdown" (besides the sample and that might count) the track "No Hook" might seem a bit odd, but J. Draughon and Ease use it as a way to point out that they can rap for lines and lines without any sort of crutch to fall back on. Meanwhile the electronic robot beat adds to the idea, because of course a rapping robot would have no trouble spitting for days and days (someone needs to get on that STAT.)

I've always been a fan of when a producer speeds up the sample to distort a familiar voice and sound, that is exactly what happens on "Mr. Sandman." J. Draughon uses the beat to speak on his views of sex (not going to lie not a fan of these sort of songs but he does so without going in to too much detail and does come away not looking like a sleaze, mainly because he is not glorifying it just says this is what he does) and near the end of the track adds the line "I'm asking all my women friends, am I wrong for acting out, even if I am these chicks will still be smashing out, why not take advantage," he knows some people may not agree with what he is doing and accepts that but offers his reasoning.

"Go In" might be the second song I've heard that features a kazoo (I think it is a kazoo; it has happened once or twice) so automatically it catches your attention. Actually the more I listen to it I think it might be a synth ("Geek Down" stands alone.) But enough about that, the synth is joined by some quality drums and other percussion to create a bumping beat. J. Draughon does a great job over a rather irregular beat as demonstrated by the beginning of the second verse "It's a damn shame how these lames took over the game, these motherfuckers so lame, music in my vein, let's keep it simple plain, I never made it rain."

What happens if someone likes your audition, well then you would get a call back, and that is exactly the name of the next track, "The Call Back." Synths, hand claps, and choir like voice, provide a great g-funk style beat as J. Draughon begins "Homey I've been killing as of recent, won't find me at the precinct, exposing how these corny rapping cats have been indecent." Where as "The Audition" was more of a touch base for everyone track, "The Call Back" is a straight out rap track with Draughon showing what he can, in short he is saying you can't touch me on the mic and shows us why.

Trev. B jumps on the mic on "This Is Me" (kind of weird to have someone else on a track called "This Is Me" I know but ignore that.) This is one of the craziest beats on the album, a bit electronica, a bit funk, a bit outer space. The explanation of the track is best summed up by the chorus "This is what I do, this is who I am, taking off now, there's no way I'm gonna land, I'm hoping for the best, expecting nothing less."

J. Draughon uses the piano and horn heavy beat for "Don't Even Like Me" to go after wack MCs. Whether it is through lines like "I don't be playing games, son, I just be slaying lanes" or "eat these little rappers shit em out after I digest" it is clear to see Draughon goes off on this track.

In case you weren't able to check some of the more subtle changes in his flow, J. Draughon switches it up dramatically on "Check Yourself." He substancially speeds up his flow to match the very quick hitting drums and horns, just when you begin to feel comfortable, the vocals drop out and are slowed down by the sample used as the chorus. The track keeps you on your toes throughout, making sure you are jolted each time J. Draughon comes back on the mic.

The final track "On the Top" features one of the most descriptive line I've heard in a while and it is nothing fancy, "really here's the truth to it, all I make is good music." Yes it might be kind of plain or whatever, but it captures what most musicians (hopefully all) are trying to achieve. I love the fact that he doesn't say I make good hip hop or good rap, just good music, and in the end that is all us fans really want too, good quality music. And that is what J. Draughon delivers on "Worth the Price of Admission," good music, both through the beats and the lyrics and to add a little something extra he gives us an album that actually has some structure to it, nothing spectacular concepty (I made a new word, GO ME) or anything like that but there is progression and thought into song order, etc. So, I recommend you click the link below, put on some headphones and see for yourself just how J. Draughon does in his audition for your time and your ears, you won't be disappointed.

Download the album here

Short Fuze & Nasa "Toxicology Music"

It has been right around 8 months since Short Fuze & Nasa released "Lobotomy Music" one of my favorite albums of 2010 (you can check out my review here.) So how do they follow that up? Quite simply, they release an EP that is part Remix and part new tracks. But don't think this is just a rehash to grab some extra money. No this is a full fledged release, the new tracks are much more big picture than the self realization of "Lobotomy Music" and the remixes offer a different view of the tracks. But enough of my generalization I know you want the details, so here it goes.

The album begins with "Toxicology" featuring a beat that is unmistakeably Nasa's with heavy bassline, hard hitting drums, and some twisted sound muddled in the background. Short Fuze enters shortly there after and picks up right where he left off on "Lobotomy Music" in fact he might have stepped his game up, at least his "rap" game, this time around it is not Fuze pouring his life out, instead he is going after all that he sees as problems in the world, whether it be political (actually human rights might be more accurate) issues "fuck BP and FEMA," or his own critics, "it was once said I talked about God a little too much, but who do you run to in the perennial clutch." Not to be outdone Nasa's alter ego, Adam Warlock, picks up the mic to handle the second verse. While at Warlock goes off the beaten path at first, with references to Spiderman and spaceships, he ends with rather the rather straight forward gem "that's Short Fuze and Adam Warlock for those taking names, we on the subway pass the collection plate, but keep it we do this for the fame, like a bomber 1973, we Barry like Obama 1973."

"In Your Hands Now" features Fuze and Warlock over a familiar beat. In one verse Short Fuze is able to capture the Obama presidency beautifully from the total elation of his election night victory that separated most of us from reality, before "a dose of reality turned to a malice scene, toppling the balance beam, exposing the face of interracial hate" to the recession and the appearance of so many people turning on Obama. Fuze ends his verse with a line we all need to think long and hard about "So America I ask now, the balls in your hands now, how will you allow this generation to pass down?" After the scene has been set (in case you some how forgot what has happened in the past 3 years) Adam Warlock addresses two main topics: the racism that exists in this country, especially the use of racial slurs and a reminder of Dubya's legacy. For the first topic, just listen to the track he handles it masterfully as for the second part let me offer this simple line "Bush is the cure and life's the disease."

Taiyamo Denku joins the party on "Wrecking Ball" (which is the perfect way to describe the beat, imagine a wrecking ball swinging back forth from a crane and you have this beat.) Denku kicks things off with the track with "there is a few things, I'm likely annoyed, that I'd like to destroy as a wrecking ball toy" and that right there captures the concept of the song, what would you destroy in this society if you could. While Denku goes more for the detailed list, Fuze counters with what has transformed hims into the person who wants to himself of society's obstacles. Adam Warlock finishes off the track informing us of what gives him the right to be the wrecking ball and why we need to rid ourselves of certain things, "Cops can't be trusted they trough dunkin' donuts, sniff like Homer and go nuts" (as always I will quote a reference to "The Simpsons.")

We then come face to face with the first remix of the album and who is it by? None other than...Nasa. Yes that's right, Nasa offers up a reinterpretation of "Master Peace" and in doing so provides a different feeling to the track. Where the original was a rather gloom filled beat, the remix is much more hopefully mainly due to the presence of a wood flute that reminds me of a zen garden. The track still hits hard and Fuze still "acts as the master peace of the world, in other words, what you believe" but now lets us search inside ourselves a bit more without feeling as rushed.

The piercing sound of the sun's rays (and its heartbeat) puncturing the Earth are captured in the beat co-produced by Nasa and Agartha Audio for "Sun Crusher" which features the whole W.A.S.T.E.L.A.N.D.S. crew (Short Fuze, Taiyamo Denku and Augury) as well as Adam Warlock. Once the vocals start, so do the synths, creating an even more disorienting and cosmic feeling. While each MC kills their verse, Denku wins for my favorite line on the track with "impregnate my girl with hip hop because she stopped taking the pill" There is so much more that should be said about this track but I really cannot find the right words, but certainly a stand out track.

Willie Green offers his remix of "Poison Makes Me Pretty" the incredibly introspective track by Fuze. At first the beat seems very relaxed and groove filled, that is until the screaming and frantic piano comes into play just before the vocals hit. Green's beat really highlight the pain and torture of the track as Short Fuze discusses his attempted suicide, the addiction of his best friend, and other agonizing memories. Half way through the beat changes, and becomes even more haunting as the screams increase and Green uses some sounds that sound like a full blown horror movie. But at the end he offers a glimpse of hope as the beat becomes minimal for the final chorus "One Way or Another we'll all get taken out, the time that's in between is what life's about, just take the end from the start and hope for that amount so just breathe in and breathe out with no doubt" but to make sure we do not forget the struggle, another gut wrenching scream is added.

The lead single off "Lobotomy Music" is the next track to get the remix treatment, this time as Megabusive takes a break from his 365 songs in 365 days project to tackle "Don't Feed The Machine." The track still "has just about everything you could want in a song: great beats, killer lyrics, incredible scratches by DJ Shortrock, and some Johnny Cash" but with a much more machine factory sound, as if the machine is preparing for the upcoming battle, if not already marching at us. But there is some humanity remaining, the heartbeat of us all, pulsating throughout the track.

The album concludes with a remix of "Bully Rappers" on my original write up I described it as "the album's posse track, but unlike many posse tracks that sound flat and act as album filler, Eleven, Passive 65ive, Karniege, and Short Fuze each put serious thought and lyrics into their verses, while Nasa gives us one of the more spaced out beats on the album." This all remains true, except that instead of Nasa handling the production, Lou Cypher steps up and shows what a really "spaced out" beat sounds like, we are talking Gallifrey spaced out and even adds some quality scratches at the end to finish the track off.

Once again Short Fuze and Nasa put together a fully realized album, while this time it is 8 tracks long and half remixes it still captures the essence of an album, all the tracks work together and create a whole image. The duo is shaping up to be that sort of rare MC/producer team that you want more and more albums from and on each album they exceed your expectations. But until that next album comes out, they have provided us with a solid chunk of music to digest between "Lobotomy Music" and "Toxicology Music" so sit back press play and enjoy the quality hip hop. Once you are done with that, press play again and enjoy.

You can stream and download the album here

Redlist & Vibe "Cant Catch Me"

"Got Vibes on the Vibes and Redlist on the scribes." That is the simplest and most straight forward way of describing "Cant Catch Me" but if you haven't heard Vibe and/or Redlist this does nothing to help you. So that falls on me to paint a clearer picture of this album. First let me once again say thanks for creating a MC and producer album, any reader of this knows I am a huge fan because of cohesiveness and how it helps to craft an actual album (again this holds true.) Both Redlist and Vibe work well off each other and their styles mesh, in fact often they compliment each other so well it seems like the vocals are an instrument in the beat (or the beat is part of the vocals) something that is far too often not the case. But let's get down to what this album actually sounds like and of course the best way to do that is the old track by track, so here it goes.

"Intro" is a rather straight forward sample of Jack Nicholson (name the movie and you win a prize*)

Haunting keyboards, uplifting keyboards, mixed with hard hitting drum, that is how Vibe begins "Cant Catch Me" before Redlist enters on the mic weaving his words in between the notes of the keyboards. As I keep attempting to write this review (meant to have it down about 5 days ago) Redlist's line keeps playing in my head over and over, "Trying to catch my writer's block but he's like na man you can't catch me." But this track isn't about bloggers who have lost the ability to write coherent and insightful sentences (ok maybe a little "aim low, expect less, you're blessed if you make it off that internet press.") Instead it is about the life of Redlist and so many other "underground" hip hop artists, with a multitude of talents ("jack of many trades") working a 9-5 job, searching the hip hop dream (whatever that entails now, do not know) setting a perfect stage for the rest of this album.

On "Reach for the Skies" Vibe comes with a rather disorienting beat, almost as if a computer was attempting to have a conversation with you (or at least that's how I imagine such vocal exchange would sound, either that or like Hal 9000) ok maybe an underwater guitar, with drums, and synths is a better description, at this point I really do not know but it is surely one dope beat. While Redlist may "notice noone's making money of their records anymore" and knows "creating music is a love and hate relationship, but not enough hate for me to question why I'm making it." That is one of the key elements of this album (that Redlist & Vibe gave away for free) that while they both might get frustrated with the music business and the struggles, there is nothing else they would rather be doing than making quality music.

Any track entitled "The Late Shift" is a track after my own heart (as I sit writing this at 2:30am,) and the song certainly captures the feeling, especially the winding and mind altering beat by Vibe. True hip hop heads will love the lyrics by Redlist as he details the events of his late shift, some good old fashioned tagging.

Then comes "Unlimited" featuring Ordeal, the track I posted about a month ago. Ordeal and Redlist work together very well, providing different vocal sounds while both bring strong lyrics. Vibe works in a soulful beat mixed with ghost like sampled vocals, creating a dreamlike state. I am assuming you have listened to this track but if not check out my post of it here.

On "The Whole Time" Redlist becomes very introspective as he recaps his life, watching it pass by. The first verse shows him as an extrovert, running from the occasional police, where as the second verse begins "the last time I sat and watched my life pass me by, blended in to passerby, just an average citizen, I'm classified an undeveloped mastermind, botched up and bastardized and paralleled, the introverted cast aside, but gee my current state I'm patronized but working hard, my passions died on the bone yard where every last disaster lies." It shows him transforming from a mischievous youth, to the artist he is today. All of this is done over a Vibe beat that works perfectly as a flashback but with added claps to jolt the listener occasionally, making sure you are really paying attention.

Vibe kicks off "Skeptical Handshakes" with, well, some vibes, before Redlist goes in on those who he feels are "fucking with my art form." Instead of the tired, I am hip hop sort of song, Redlist goes a different direction, really focusing on the lyrical content to prove this really is an art form. For example, "where we go from here is beyond my imagination and that says a lot because I am pretty damn creative," and what is one of the deepest insults anyone could say to an artist of any sort "the fire deep inside couldn't breathe, it ran out of oxygen."

"Hourglass Blues" addresses the life of an aspiring MC ranging from dealing with rappers who are "backstabbers that act cool and after that back you, wack dudes, fighting for king of this motherfucking crap shoot, now I catch the bus they threw me under." Not to mention "kind of bittersweet how I try to squeeze in some rapping after working on the weekends, now I tell people that and they're surprised because that don't seem right." Sadly this is a story that holds true for way too many talented artists out there, but then again, it is the life of the artist, always has been and probably always will.

Rich Quick joins Redlist and Vibe on "Coin Toss" (taken from one of the best scenes from any movie in the past decade.) Redlist starts off the track with a wonderful bit of wordage "Ever since forever I set goals and endeavors, never hesitant" over Vibe's rather uplifting beat of strings, choir singing, drums and some horns mixed in because horns rule. Ok at this point I know I am rambling and I apologize, but check out this track, Redlist goes in (as does Rich Quick.)

What starts off as a soul sample played over the radio becomes something totally different as Vibe adds faded drums, horns, and keys on "Poor John." This is Redlist's best straight forward story telling track which until now had been missing from this album, but he comes correct.

"Fuck Your Couch" takes a rather straight forward funky beat by Vibe (guitar and drums) and puts Redlist and Early Adopted on the track for a solid party type of song. So don't look for any deep hidden meaning but don't think there aren't some dope lines such as Redlist's "under lying meaning in between the lines of actions leave you bleeding from your factions, I cut MCs to fractions."

"Alright I know I complain a lot but let me get this off my chest one last time though" so begins "Last" (which believe it or not is not the last track on the album.) While you assume there will be a whole lot of complaining on the song, there really is not much at all (less than most other songs being played everywhere) instead Redlist goes on about why he creates what he does and offers this helpful hint "write every song like it's the last song ever."

When I hear "Stand By" I picture Redlist walking down the street in the rain (due to the use of rain in the beat) talking to himself as he goes in on some of the people he needs to free himself. I picture the collage kid, writing in his journal pouring out his grievances, before he confronts those who have stood in his way and done him wrong.

The album ends with "Another Year" a great beat by Vibe consisting of piano and drums, it gives you that reminiscent feeling, and the first words we hear from Redlist are "Another year passes, so we're going to take a second to think about it." It does a solid job of not being overly cheerful or depressing, it has a bit of both but more than that it is about learning from the previous year (read: learn from your mistakes.) The final 30 seconds consist of a bass drum and some hi hats, letting the listener either ride out or do their own looking back over the past year (or however long you decide.)

Redlist and Vibe originally planned on just doing one track together, but as often happens a producer and MC feed off of each other and in this instance they gelled enough to create an album, I for one am very thankful for that, because just one track would have been a shame (1 album would be a shame as well.) While there are some standard topics tackled in the album, they are done in their own unique way and at no time come off as stale, instead it comes off as Redlist really opening up over Vibe's beats and getting a whole lot off his chest. So while this is by no means a concept album, there is certainly a common theme throughout, Redlist and Vibe giving their all to create meaningful songs that come together to form an album, kudos to them and here is to hoping they decide to work together again in the future.

Stream and download the album here

*prize will be nothing anyone really cares about but I felt like saying you win a prize, congrats

Turquoise Summers "Sugary Sweets"

It is that time...another new track by one of my favorite artists and someone you need to be ready for Turquoise Summers, check out the track, it is called "Sugary Sweets."

Sugary Sweets by TurquoiseSummers

Top $ Raz "The New Flesh"

Some review are tough to write for whatever reason, this was one of those reviews. It wasn't because I didn't like the album (Top $ Raz "The New Flesh" might get a 6 out of 5 if I gave stars but I don't so fuck it) and not because I didn't know what to say (at least no more than usual) it was just the fact of me not sitting down and saying write this review damn it. But something good did come out of that, the album began to sink in more and more and found myself almost lost in at times (adding to the difficulty of writing the review) that isn't a bad thing at all, it happens sometimes, especially for me when it has the "modern funk" sounding beats of this album (instrumental version please.) Each time I found something new about it that I didn't notice before, but perhaps I have rambled too much (as always) so let me tell you what I think of this album, here it goes.

Keyboards lift you up as "Mountains" begins, and that is just what the track itself does. Top $ Raz's lyrics are extremely positive (always refreshing) as the chorus demonstrates "Mountains may crumble (uh),But I know I will never break, I pick the world up it’s heavy – breathe, But my knees will never shake! New flesh armor, Yes I’m stronger, I’m blessed—that’s my karma." It is a great way to kick off an album, quality funky beat, powerful "I won't give up" type of song, showing Top $ Raz's ability to write infectious lyrics and craft overall songs. At the end of the track a beautiful piano enters as the vocals fade, leaving the listener with an incredible minute to come down from the mountains.

Then the claps come out heard on "The One" and Raz's lyrics are just as hard hitting as he begins with "Sometimes I WAKE UP! Thinking I’m Nat Turner, Like fuck a slave master , I’mm do what I wanna, Consider myself an owner." You can feel the tension inside Top $ Raz build as he rips through the track, he hits each line hard but not over the top which many MCs would do with this song.

"So Beautiful" erases the tension and sets us in a laid back mood, letting the stress of the world just roll off your shoulders. The beat consists of a solid bass line and what I can only describe as a piano that has the ability to drop coins gently from the sky. But just because it is a relaxed song (both with the beat and the flow) don't think the lyrics do not come strong, "Plants seed in concrete, I be like a botanist, I could see myself in every ghetto optic, I could never fail, uh, failure not an option."

Ciph Diggy and Alvietron join Top $ Raz on "Don't Mind," a song bordering on love song, but more about the appreciation of a woman. It is close to what an R&B get down song use to be, with suggestions of what might be happening instead of the over the top route that R&B singers take today, as Top $ says "I’m a gentleman I wont get explicit."

The synthesizer and drum driven beat set the stage for "Cold/Fresh" where Top $ Raz goes the route of Outkast "So Fresh, So Clean" in other words, you can't fuck with me because damn it man, I am too damn cool to deal with your shit, I am above that. Although Raz says it better than I can esepcially with the line "A cold villain you can call Victor Von Freeze, I’m so high from up here suckas cant breath." The chorus is what really brings this track home and embeds it in your head, the beat rides as Top $ Raz lets us know "Well I’m cold/fresh cool as a breeze, Aint none of yall little homies seeing my steeze, And you already know I’m the man, You High! Tell ‘em boys who the fuck I am!"

"I was always told! Nothing worth selling your soul, What good’s a trophy motherfucker that you cant take home." Those words kick off "The Holy Ghost" featuring Scienze, which happens to be one of the most powerful songs on the album, especially from an artist's point of view. It is the ultimate I will do me song, and not because anything like "I rep the streets, its the code" no, this is based off of a deep belief, that if you aren't true to yourself you are lying to everyone and should expect the same in return. In fact it goes so far as to say if you do not stand by your values "could see the future (future,) Devil gon’ seek ya (seek ya,),Warning through the speaker, Hope the holy ghost reach ya – GO!"

Top $ Raz comes with the incredibly laid back beat of "Jack & Coke Flow," while the flow might be chill and smooth, the lyrics are deeply introspective (as happens sometimes when you drink) as he is "Still shaking cold sweats from my last night vision I was 40 years old and never made it, And couldn’t write single song cuz my talent faded, But hold up! It’s just a dream better wake up!" A rather bold statement to make, something many musicians and writers or any "creative" person fears but rarely puts into a song. Then throws another line you do not expect to find in a hip hop song, especially one called "Jack & Coke Flow," he meets a lady and tells her, "But I cannot love you, Cuz I don’t really love me, You look surprised, I suggest you find another guy, Who can do more, Than just survive," a brutally honest thought.

"The Plague" takes a look at some of the struggles people encounter when they try and make it out of Far Rock. Top $ Raz addresses the crack epidemic (check the lyrics, if you are like me expect your skin to crawl a bit), "I seen fiends get scared, Gouge their own eyes out, But they can still smell and hear, When the pies out," as well as young women being forced into prostitution "When most girls get on their knees for our father, In exchange for drugs for their mommas, Poor daughters…where’s Karma? She been out since twelve on the corner, Push up bra high heels and red garters, Hopin’ for death Russian roulette different partners." YC the Cynic joins in addressing the racism infused into our legal system, "Petty crimes get us a trial to be taken, We aint even surprised they're playing favorites, Who's in them court cases, Caucasians, Don't dare to slip, coordination's a big part in being part of the correlation, There's a definite raise in probation, As soon as you reach a race and location."

Top $ Raz borrows from Tolstoy for the title of the next track "War & Peace" which features hard hitting pianos (yes that is possible) and drums with a few extras sprinkled in, but the pianos dominate, almost as if they are replacing the position normally held by the drums. Raz wordplay shines on this track as well, whether it is the references to classic 80's and 90's TV and movies (I counted 4 in the 1st verse) or his nerd-like line "New language, uh, All mathematical. Call me square root, cuz I’m radical," as he lets people know he is not a violent person, but if he is pushed expect to be pushed back.

Mic Blaque and Cavalier are featured on the title track "The New Flesh (Au Revior)." The track begins with extended keys, making you feel stretched out as you open your mind and ears to the music and vocals that are coming at you. It is a song about rebirth and refusing to look back, instead look forward or as the chorus says "It's Au Revoir! Peace God, I'm on to the next bar, My phones off and I'm already on Mars, I don't budge, I don't Dodge, New Flesh no room for the old scars."

If you were lulled into security or introspection by the previous track, "THE MAN" pulls you out of that very quickly as the drum and sample hits you hard, I actually move back from my computer each time it comes on, like I am surprised by it, even though I know its coming. It is a must for live shows (and found out it was one of 2 tracks he performs automatically off this album,) in fact I would say it would be a great song to kick off a set as it is almost a showoff song. As Top $ Raz begins the track "I'm Poppa Joe Jackson, I don't give a fraction, I'm what you pay to see like a paralyzed backspin, Welcome to the faction. Let me bring the facts in, You don't want drama, Cuz I bring the action-ask 'em" hitting each rhyme hard and letting you know that he is "performin' wack rapper mass genocide (HAA-HAA!)" It is easily one of the stand out tracks on the album and probably the best straight forward "rap" song (whatever that means.)

Coole High comes with an incredible instrumental (I think I count about 4 or 5 pianos, that drop in and out, plus some muffled drums) that seems a bit out of place in the typical world of hip hop (because so many MCs would struggle with the sound) but Top $ Raz has no problem spitting on "Get Mine." While the topic of the song is nothing new, (I'm going to get done what I need to and you cannot stop me) the beat and lyrics make it something totally different from what you normally hear on such a track, easily my favorite line comes early "Royal like the Tenenbaums," in my book if you reference a Wes Anderson movie, you automatically kill a track lyrically (assuming you have any skill) and Raz keeps going on the track just as ill as that line.

More pianos begin "Better Days" (the whole album uses pianos beautifully, something that isn't often the case.) Raz talks to his younger self on this track as he tells himself to keep going, that there will be better days ahead, even if he feels he has seen better days in the past. He encourages himself while debating the value of what he's done, it is a great job of showing inner dialogue without seeming fake, "so here's my wishes, go out and take it, ok I graduated, I made it, well that's to be debated."

"Golden" begins with a piano solo that would fit perfectly on an Alicia Keys album (that is a good thing if you are wondering,) then Raz swithes up his flow to match the slower softer music and offers a great glimpse into the mind of the MC "See I’m still here, so I guess I’m doing fine, I’m trynna build mountains, My intelligent design, My literary mind, Drop bombs that’ll blow, Like they literally mines. The shit is so divine, So if I ever die, Bury me with beats." I wouldn't be surprised to see this tattooed on someone in the future, possibly the best lyrics of the album.

Struggle builds character, that's what they say right? On "nothing" that is exactly what Raz proves to us, as he says in the chorus "Now I’m thinking bout the times we had nothing. Nothing!…But that’s right now, you see I live for the moment, Sound good don’t it? Don’t it? Now hands up if you want it!" While he might not have had anything it forced him to live his life in the moment, for now and let us be honest, that is how we all say we want to live but how many of us actually do that, hopefully you are one, if not do your best do that (ok I am done preaching now.)

Hey, you're still reading this...good, I'd apologize for the length but then that means I feel I didn't say relevant things about the album which damn it I did. "The New Flesh" takes you on a trip with Top $ Raz as your tour guide, as I said I routinely found myself getting wrapped up in this album and sucked in. That's what music should do, suck you in and make you pay attention to what is being said, should teach you something either about yourself, the world, or the artist. I might be sounding overly dramatic but I feel "The New Flesh" does all three of those. If you do not believe me, then maybe you should listen to the album again and pay attention, open your mind and ears and notice what is going on.

Stream and download the album here.

Jesse Abraham "The One Day EP"

What makes Jesse Abraham's "The One Day EP" different than the hundreds of thousands of hip hip albums out there? That is the question I was getting ready to answer when I sat down to listen to the album for the first time and, to be honest, on that first listen I was not that impressed (I was tired and was caught off guard by the sound...my fault). But then as I listened more closely (read: actually paid attention to the music) I noticed something; this album was very good and actually does separate itself from most hip hop out there. No, I don't mean because of Jesse Abraham being a Jewish MC that questions the concept of God or any of the stuff on the surface. It is the sound of the album, the ability to craft infectious songs with meaningful lyrics that reference a wide variety of subjects while carefully selecting what vocabulary to use. You find out rather quickly (the first track actually) that Jesse has a love for words, which becomes evident as the album goes on. In reality it is more than just his love of words, it is his love and search for knowledge that comes out in this album, but perhaps I am rambling about this. But it is a key aspect to this album...knowledge. Let me pass that knowledge on to you right now, here it goes.

"Spiderman on Vitamins" begins with what sounds like a distorted sitar before Spills adds some claps to the beat just as Jesse Abraham begins his first verse where he lets us know of his infatuation with words "I was home and ingesting,
No milk, just words." Then comes one of his incredibly catchy hooks that I guarantee will remain stuck in your head for a while

Eyes opened wide
But you can’t see me
If I was your guide
Still can’t see me
Might if you tried
No, you can’t see me
Leave your mind petrified
You can’t see me


Lyrically the hook is nothing special, it is a hook not meant to blow you a way just not leave your mind and that is what it does. It is also set up perfectly for a live show as a call and response. If I find out he doesn't perform this live I will be VERY disappointed because it is perfect for that atmosphere. He goes on to recall a grade school debate he had with his teacher about God before returning to the chorus and then adding on a minute plus of him speaking in what I can only describe as the annoying Eminem voice about what Spiderman on vitamins invented (really wish that part wasn't there but it is at the end so if need be you can skip it.)

With how effective Abraham is on creating hooks it is surprising Eric Sosa handles that area on "One Day," but the move pays off as Sosa offers more of a rock sound to the hook creating a more raw feel. While "Spiderman on Vitamins" is rather upbeat and a bit tongue in cheek humor, "One Day" is much more introspective as he tackles the balance of life and death. What stands out on the track is how Abraham switches up his speed and cadence to match the emotion he is spitting.

Speaking of spitting "I Wanna Hear Y'all" begins with Abraham saying "you know in New York, I tell people I spit they don't blink an eye, I go other places I say that, they're like you spit what." The track is Abraham's "I am a rapper" song, filled with incredible wordplay throughout, he address the stereotype he feels that he cannot be a rapper because he is white most obviously with the line "Graham was a cracker I’m more like Betty Crocker." But that is just a bit of what the track shows, it is more about answering the doubters by showing his skill and proving his point with his word choice and rhyme scheme.

The electronic piano based beat of "Connections" sets the stage for this rather uplifting song about all of us being connected to the human race, no matter how alone you may feel, remember we are all united, as Jeannette Berry sings on the hook "There may be moments when you feel alone, it's true." or as Jesse says on the bridge, "When we’re apart we’re still a part of each other." While the overall message is unity, Abraham reminds us to think for ourselves and do not be afraid to question the norm. It also features one of my favorite lines off the album which I think also captures Abraham very well "I don’t believe in a paradox, Some people imitate the same way a parrot talks, I come correct with more props than Carrot Top, I’m a triceratops, my nonsense never stops." That line shows a bit of his vocabulary, wordplay, humor, and overall idea of himself, plus any time you mention a dinosaur in a rap you get bonus points from me.

"Play On" tackles Abraham's view of love and his approach to it from the age of 10 through the present day. He does a great job of capturing just about all the emotions and stages of love, ranging from the cheerful lines of "I was Adam, she’s my rib cage" to the heartbreaking "Introduced my best friend to the love of my life, And then they started dating, and it fucked up my life For a minute became a bit of a cynic, Wasn’t in it to win it" and finally the brutally honest "An ignoramus, now I’m playin the field, I’m just playin a game, these girls playin for real, Maybe ain’t the way it should be just the way that I feel."

"Figure It Out" attempts to answer one rather big question...what is the meaning of life. Simple right? (42) In attempting to capture this song I tried to figure out just how to do it and simple quoting of the lines do not show how Abraham changes his delivery throughout the song for impact, best thing I can do is say to check this one out, easily one of the standout tracks on this EP. It is uplifting, meaningful, and will have you evaluating the way you live your life (if you actually listen to it and take the song to heart.)

After the heavy feelings of "Figure It Out," Abraham gives us "Written While Sittin' On a Hammock" which is more of a stream of conscious freestyle where each line plays off the other not really building on a common theme besides, hey I am sitting on a hammock and came up with this rhyme, check it out, a simple fun rap where Abraham can just show off his mind a bit without being too serious.

The funkiest/most club friendly track easily goes to "The Moment" produced by Trace Thomas featuring Spanish guitars, horns, drums and more, this will definitely get your head nodding. But don't think that Abraham just throws away his lyricism on this track with lines like "Flow emphatically, ecstatically, got a text from my ex i was glad to see, it ain’t a tragedy, factually we flourished, Morris less like Zachary, less is more" and the infectious hook "I be up on it, That’s how I like it, Grab the microphone and, that’s how I ride it, That’s how I write it, I write about the moment,
I’m on it, Yeeeaaahhhh"

The only competition for best club banger comes from "Ridiculous" which sounds like a Bollywood song meets an old school Dre beat. Abraham's lyrics match the club vision, but instead of the typical lets all get drunk and dance the night, he adds the repercussions of such a lifestyle:

so the next day you wake up, and the clock reads three
your reflection in the mirror makes a mockery
your face is rocking a crease
you think to yourself, “hey, yo, stop being weak”
you spent most of the night smoking broccoli, at least
humble is born, cocky’s deceased
cuffed up nights lead to gritty days
the city way of life is getting blazed
your life has become nothing more than a spoof
that’s replacing your youth with the face of a dude who is hasty and rude
now you’re burnt out
your girl’s concerned about your sperm count
drugs and beers by the dozen
hear my discussion of fearing and fussin
we are accustomed to see our disgusting actions, and we call it fashion
imagine, singin bout not being wasted
take this song, copy and paste it



The remix of "Life is A Free Throw" featuring Marquis Daniels ends this EP. Now I know I just did a long block quote before (partially because the final line is copy and paste it) but these lines are by far my favorite on this EP (references classic Greek literature, "The Simpsons," and shows off his vocabulary) so if you don't enjoy it then do not read it

You could see me writin poems at my home like I’m homer
Not Simpson, that’s a misnomer
Think I miss homework?
No sir
I’m Icarus, closer to the sun than most are
I don’t need a postmark on my letters
I don’t need a loan shark, lendin money to my creditors
Editing my editors
Sentencing the predators
Sentences and characters and references to senators
No Clay Davis
Thou shalt remain nameless
I stay gracious
Over plates I say graces
Your aim’s heinous
Shame on your playlist
Loquacious with statements I say that this



Each time I listen to "The One Day EP" I enjoy it more and more. Yes at first I wasn't a fan but then I paid attention and realized what I was missing, so please keep your ears open and pay attention to Jesse Abraham. Notice the word choice (read the lyrics if you need to,) the flow, the ability to craft solid songs and radio level infection hooks, take notice and enjoy the album.


You can stream and download the album here.