Seattle rap group Dyme Def [DXNext Spotlight] can certainly attest that strong work ethic and commitment can brew good karma. Releasing their first album, Space Music, in mid-2007, the group has since seen their debut disc sell over 10,000 copies independently through performances and word-of-mouth alone. This organic process has helped build a following on the West Coast for Brainstorm, S.E.V., and Fearce Villain, who in their early 20’s have the potential to make their mark as the defining Hip Hop act out of the emerald city, sans Sir Mix-A-Lot.
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441 views | Posted in Music Reviews
As some of you may know, N.A.S.A. (North America/South America) will be embarking on a national tour to promote their new album, Spirit of Apollo [read review]. The 12-show tour, which begins in San Diego this Thursday, will carry on throughout March as they move across America, and will end in the nation’s capital on March 14th.
We here at KevinNottingham.com always support hip hop artists that are pushing the boundaries of music, and likewise are grateful to our many readers. As a gift, the first two readers from the Seattle area to email me at edlortiz@yahoo.com will receive a free ticket to the performance in Seattle at the Nectar Lounge, March 3rd! Again, this is only for the Seattle show, and it’s the first two people.
Please include:
- your name
- phone number
- age (you must be at least 21 to attend the show)
For the rest of you, N.A.S.A.’s full tour schedule is below with city, venue, and date listed. Don’t miss out on N.A.S.A.’s live show!
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90 views | Posted in Contests, The Show
Many people may view producer 9th Wonder and duo Little Brother as the faces of North Carolina Hip Hop, yet the reasoning behind Justus League’s exponential rise to the mainstream cannot be discussed without mentioning Cesar Comanche. A co-founder of JL in 1996, Comanche spent his earlier days booking shows nationwide and overseas for his crew. He could also rock the mic. The veteran released his first album, Wooden Nickels, in 2000, and since then has gone on to put out three more albums, along with a slew of tours to spread the name. Now, in 2009, he looks to deliver the goods with Die in Your Lap.
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752 views | Posted in Music Reviews
When you think male R&B, the first names that may come to mind are Usher, Omarion, Chris Brown or (quality forbid) T-Pain. These artists prominence in the genre have created an arch-type in which to follow because their crossover appeal as entertainers have given them a supple amount of success. But wherein lies that down-to-earth feel of neo-soul, where we can just sit back and groove? Hopefully it comes to us in the form of Raheem DeVaughn.
Capturing a sound that’s reminiscent of the 90’s yet with a pinch of new-age soul, Mr. DeVaughn treats Love Behind The Melody (Jan. 15th) as his get-back to the realm of music. This being his second album released, he builds upon the concrete themes that were put forth on The Love Experience (2005).
One of them, like being a respectful man, is evident on the first track of the album entitled “Woman.” Following in the footsteps of predecessors before him (namely D’ Angelo or Musiq Soulchild), Raheem gives a shout out to the women who make this life worthwhile. It seems he is not the only one who feels this way, as the record has recently been nominated for a Grammy award.
Like an addiction that can’t be relinquished, Raheem pursues his sexual intimacy on “Love Drug.” His analogy isn’t lost when his voice rings out, “So you search for me, with the flashlight / In the daylight, cause I’m your get right / See no one serves you up girl like I can / I’m your Mr. midnight, pusher-man.” This pops out as the strongest track on the album, as well as the most potent in head-nods.
“Friday” gives Raheem DeVaughn a chance to get a little tipsy and have some fun. Playing off the sample of The Temptations “My Girl,” its bounce beat works perfectly with the energy of the record. Though it will likely never be played in the club, it certainly exhibits request material next time you visit one.
The sweet serenade of “Mo Better” creates a beautiful mixing of melodic scaling from Raheem and the harmonic undertones of the horn section on the chorus. What is even more impressive is the fragile, yet caressing amplitude his voice procures throughout this seven-minute performance. Nowhere does he falter, and he makes his best argument on this track as an R&B force to be reckoned with.
His two collaborations on the album, one with Big Boi (one-half of Outkast) and the other with Floetry, hit creative ruts. The latter, entitled “Marathon,” suffers without a climatic result depicted in a lusty bedroom. Where there could have been an explosion of raw intimacy, we are left with repetitive moans that push the track two minutes too long.
The timid Raheem DeVaughn comes out in the fluttery, upbeat “Butterflies.” His sense of a norm is fumbled when his eyes meet the beauty of his dreams. Like a story heard before, he states “I try to say hello / And the words don’t come out right / Wish I could find myself / But it’s a losing fight.” Also note the difference in sound on the record, where a splash of guitar and heavy drum kick compliment well for versatility points.
As if it was inevitable, heartbreak finds its way on the album in the form of “She’s Not You.” From the park bench to Spain, Raheem tries but still cannot release himself of a former love that stole his now-broken heart. His falsetto bridge speaks louder than tears could, where we find the solution yet to be found. Similar in fashion is the synth-pulsed “Empty.” Mixed emotions and memories flood Raheem’s mind, which in turn push his desperation to the brink.
It is safe to say Raheem DeVaughn touches on all the appropriate bases with Love Behind The Melody. This album was a great way to start off the year, and I can foresee in the future very few R&B artists will come close to this quality for 2008.
Rating: 8
Track-by-Track: 8
Overall: 8
48 views | Posted in Music Reviews
Not to sound corrosive, but it came as no surprise when the news came through that Beanie Sigel was going to the slammer after his third album release, entitled The B. Coming. His music record boasted his track record on the streets, yet it still hit as a harsh reality that he had to do time even as a recording artist with a legitimate profession.
Getting back on his rapping grind, the Broad Street Bully returns from this to reveal The Solution. He may have had something different in mind this time around, because he brings no previous producers from The B. Coming back.
The album bounces off with a Runners track featuring R&B’s infamous R. Kelly on the first single “All of the Above.” Stating that nothing has changed in the past couple years, Beanie raps “Mr. beat the case is back / Got acquitted stitch fitted in a gangster hat / Now I’m back sick wit it with this gangster rap / Let’s get it where my gangsters at.”
The gritty bass-bangin’ on “Get Low” gives weight to the melodic echo of Rock City’s hook. However, the lyrics sound close to regurgitated similes with lines like “I’m what the games been lackin’ / Like Joe no Jacksons / Like Kobe no Shaq / Like James no Magic” and “I just drop it and spin it, the water stick to it / Everyday I’m hustlin’, pushin’ harder than Rick do it / I keep a cannon like Nick do it.”
Thankfully, it is immediately followed by the strongest track of the album, “Gutted.” The catchy hook keeps Sigel stuntin’, rapping “You talking about that bread but your bread ain’t buttered / You talking ace of spades but you ballin’ on a budget,” with the stabs of “gutted” thrown at the fakers and wannabes. Jay-Z’s verse falls a bit short of exceptional, but his laid back presence gives the track a push and pull effect that works.
Hova is not the only legend Beanie grabs for the album. On “Rain (Bridge),” the listener is welcomed by the icon himself, Scarface. Beanie lends a hand to the street soldiers behind bars, which he himself has had to cope with in the past. Not soft enough to call it touching, but it is humble enough to see the Broad Street Bully’s family-giving side. Reefa also comes correct on the production giving him a perfect score on the album.
It’s almost as if Beanie Sigel was channeling his Scarface rendition in the album-ending record “Prayer.” His rugged voice turns sorrowful, and his lyrics sound more grateful and preacher-like. It’s disappointing to see his growth as a rapper finally show up this late in the album, rhyming “Never leave thee astray / Cause I know I can’t walk this alone / I’m in fear of that fork in the road / The devil there waiting to claim my soul / So I pray that you hold my hand / As I follow your footprints in the sand.” Raheem DeVaughn’s soulful chorus gives “Prayer” the extra boost in stamina to finish off The Solution, no small task to complete.
If Beanie Sigel felt he was going to reveal a startling revelation through his music with The Solution, he fell short of a plan to catapult his designs into action. We could give him credit for staying in the game amidst criminal charges. We could credit his slight consistency with four albums in seven years. Does his music justify his thug? Of course it does. But will it have listeners running to the record store after hearing the leak? I guess 3 out of 4 ain’t bad for the Roc-A-Fella team in 2007.
Rating: 6/10
Track-by-Track Rating: 7/0
Overall: 6.5
18 views | Posted in Music Reviews
When Ghostface Killah dropped Fishscale in early 2006, it was met with strong reception from fans and critics alike, where it topped numerous charts as the top Hip-Hop album of the year. To go along with that, Ghostface released another album at the end of year entitled More Fish. True, it didn’t receive as strong the praise that the former one did, but it definitely solidified Ghostface as one of the few rappers who could put out album quality material at a swift and consistent rate.
With 2007 came several projects for Ghostface. His continuing collaboration album with MF Doom, the reunited Wu-Tang album, and now his newest released album, The Big Doe Rehab.
In an intro-scenario, Ghostface gets into an altercation with a few drug connects (which ends in a gun war) while the Rhythm Root All-stars bring a Latin pulse to the whole situation.
This rides right into the first track of the album, “Toney Sigel aka The Barrel Brothers” featuring a verse from the Broad Street Bully. Ghost gets abstract on the grind, rapping “We selling cartons, pampers, similac formula / Anything it take because the paper keep callin’ ya.”
We’ve come to know and respect him for these sardonic flows throughout his career. This same flow is evident in the ruthless, descriptive record “Walk Around.” Ghostface finds himself in a predicament after a hit-and-run murder. The soulful sample and horns play as a calming cure for Ghost, who at this point becomes detached from a clear thought process.
Using a well-placed sample of Rare Earth’s feel-good record “I Just Wanna Celebrate”, LV and Sean C (of the Hitmen) give Ghostface a chance to feel some relief on “We Celebrate.” Though it isn’t necessarily on the level of an anthem banger (like Jay-Z’s “Roc Boys), you get the sense that this song goes well with popping champagne.
Getting his funk and flyness working, the Iron Man flows nonchalantly on “Supa GFK.” The beat has a 70’s groove to it that’ll get the listener bobbing their head. Playing the erotic-don card, he raps “But if you wanna play, this is what you gonna say / That I got the best D, he can hit it all day / Something like a rising star that’s on Broadway / Sex real live with an illmatic foreplay.”
On a more serious note, Ghostface puts his life on the line with “I’ll Die for You.” Speaking through the lense of Dennis (or Abdul, whichever one you prefer), he lathers down a coated rhyme filled with respect for some and a cheek-turned reaction to others. To be firmly blunt, he raps “You just can’t feed me anything like ‘yo Tone its beef’ / Expect me to go all out jump in and bust my heat / First off bro, you ain’t my peeps / Yeah I know we from the same town and shit, but we ain’t that deep.”
Though he creates a star-studded picture with “White Linen Affair,” Ghost doesn’t really get much farther into the lyrics other than spitting a list of celebrities that he entertains at the show. Plus the “joke” made by Theodore-Unit member Shawn Wigs, though not anymore different than some rhymes Ghost makes, sounds distasteful it its context.
The Big Doe Rehab comes hard, full of Ghostface Killah’s concepts and antics. In a month that features several anticipated albums from several well-rounded artists, be sure to keep Ghost at the top of the listening list.
Rating: 7.5/10
Track-by-Track Rating: 8/10
Overall: 7.75/10
41 views | Posted in Music Reviews
After the 2004 break-up of Roc-A-Fella records, artists involved have had difficulty getting a project up and running. With the exception of Kanye West and Jay-Z (who both had commercial successes regardless of label politics), no artist has released an official album for the public until now.
Free At Last (released Nov. 20th) is that album, the sophomore effort from Philly’s beard-pushin’ rapper Freeway. This comes over 4 years after his debut album Philadelphia Freeway. A hiatus to some yes, but this tenure gave Freeway a chance to rework his plan, grabbing 50 Cent and Jay-Z as co-executive producers.
The opening track called “This Can’t Be Real” puts Freeway in a position of reminiscent turmoil, the way he saw events play out during the Roc-A-Fella break-up. Featuring Marsha Ambrosius on the hook, it sounds like a record that Just Blaze (who produced 10 of 16 on Philadelphia Freeway) could have produced, or maybe even Kanye. Yet neither of them garners a production credit on this album.
Freeway makes note of this last fact with the track “It’s Over.” He states “I’m back without a Just track / tried to reach out and work but he ain’t chirp back” and later “I’m back without a track from Kanye it’s all good.” Though it’s not necessarily a shot at either of these producers, these lyrics show his animosity toward the situation that unraveled between them.
With that said, two prominent artists came back from Freeway’s debut album. One of them is producer Bink, known for his production on Jay-Z’s Blueprint album. His solid hand on “Still Got Love” fits right with Freeway’s flow. It’s a soul-clapper that’ll keep the streets singing along.
The other returner is President Carter. He joins Freeway on the paper-boasting anthem “Roc-A-Fella Billionaires.” In a back and forth delivery, the Roc brothers seamlessly exert their money expenditures to the envious listeners. Lyrically, neither of them shows off their best lines, so this record is more of playful testament to their worth rather than proof of their rapping abilities.
Another collaboration that works in Freeway’s advantage is the hard and heavy banger “Walk Wit Me,” featuring Busta Rhymes and new label mate Jadakiss. Having a New York feel, Freeway comes correct on the track rapping “I am Noah I will kick you from the damn Arc / Feed you to the fishes like spare parts don’t you dare start / Blow up your scripted flow, get stripped in your airlines / Knock you out in space without no oxygen, tell your man halt!”
There are a couple tracks that falter on Free At Last. One of them is “When They Remember.” The clutter-filled sample brings the energy down immensely, and Freeway has a hard time following the scattered drum kicks and symbol crashes, only saving the track in the last verse.
The other record that hits a slightly wrong chord is “Take It To The Top.” J.R. Rotem produced, it definitely caters to a more R&B synch-sound, even grabbing 50 Cent for a sensual hook. With a line-up like that though, you would think the track would be more rap oriented.
So yeah, Freeway had to switch it up this time around, and he explained that at times it was difficult. But you can clearly see his growth as an artist, and he still was able to put out some good work to finish off the year. It looks like The Roc is 3 for 3 in 2007.
Rating: 7.5/10
Track-by-Track Rating: 8/10
Overall: 7.75
28 views | Posted in Music Reviews
