MUST GET!
For years, André “3000” Benjamin has been valorized as OutKast’s engine, its creative heartbeat, its auteur, and its soul. But Dre is nowhere to be found these days. So his partner did what he had to do: disprove conventional wisdom. From the first moments of the intro, “Feel Me,” the whistles, wah-wah guitar, and liquefying talk box announce a uniformity of purpose—funk is the game and Antwan “Big Boi” Patton is not playing. Aided by producers Organized Noize and Mr. DJ, Sir Lucious Left Foot is a monster of an album.
This isn’t exactly a solo debut—that was the flip side of OutKast’s 2003 double LP, Speakerboxxx/The Love Below. But even more than that multiplatinum slab of funk, there is an enveloping heaviness here. You sink into the bass, as if drowning in a pulsating pool of quicksand, spiraling deeper toward the bottom end. Big Boi has always been a deceptively elegant rhymer—“I’m like a crocodile walkin’ around with alligator skin,” he purrs on “Follow Us”—and he’s in top, post-pimp form.
Handing off massive choruses to Janelle Monàe, Jamie Foxx, and B.o.B, he steals your girl, your dignity, and then your couch—in that order—and what’s more, you’re fine with it. It takes an extra special sort of swagger to pull this off. But then, Big Boi has always been the best-kept secret.
Wednesday, July 7, 2010
Spin Mag article on Jay Electronica
My main man Free met the guy... and had nothing but good things to say. Here's the Spin article
Jay Electronica lives in a third-floor walk-up around the corner from a street lined with bodegas, liquor stores, and hair salons in Crown Heights, Brooklyn, one of New York City's last neighborhoods untouched by gentrification. Barefoot, wearing a white polo T-shirt and gray sweatpants, the rapper rummages through what he calls his "bedroom-slash-studio-slash-cave," i.e. a small, nondescript office next to the living room.
He lights a cigarette, takes one drag, then leaves it to burn down in the ashtray. Tiny scars cover his fingers. "+ god –" is tattooed cryptically behind his left ear. His girlfriend, the neo-soul superstar Erykah Badu, described him thusly on his 2007 mixtape Act I: Eternal Sunshine (The Pledge): "[He's] a weird-looking cat. His ears are kind of pointy. He has a square head. He looks like he's an alien…but in a very beautiful way. Like some kind of mythical creature who would have a bow and arrow on his back and wings under that bow and arrow."
Jay eventually settles onto a futon, and I ask him to explain the lyrics of his breathtaking 2009 single "Exhibit C," which hint that his path is destined. "I used to get dizzy spells, hear a little ring / The voice of an angel telling me my name / Telling me that one day I'm-a be a great man."
"Yeah, it's funny," he says. "You write these things, but you never expect to be questioned on them." A nervous laugh is followed by a long silence. "I can't say this. This is going to be absolutely crazy if I say this. If I told you, it would have to be off the record. Matter of fact, you are going to have to sign a nondisclosure agreement and then I can tell you. This is personal personal. People will be like, 'Oh, that nigga is crazy.' "
I think he's joking. But suddenly, Jay gets up and starts poking around purposefully in the closet. Nothing but four pairs of sneakers and a charcoal-gray suit. He scans a table. Just a digital camera, candles, and a pair of dice. He moves to the living room. No agreement. Jay never finds a hard copy, so he punches it up on his iPhone. (Yes, the document actually exists.) Alas, he decides against me even reviewing it, saying that if I read it out loud, the entire interview will be off the record.
"I'm hearing that he is kind of a weird dude," says DJ Enuff of New York City's Hot 97 FM, speaking diplomatically. Enuff is credited with breaking "Exhibit C" on commercial radio. "I've met him twice. He seemed cool to me. But I hear that he's out there."
Here is why people think Jay Electronica is "out there": He goes on spiritual retreats to the Pashupatinath Hindu Temple and the Bodinath Buddhist Temple in Kathmandu, Nepal. He and Badu Tweeted during the birth of their daughter, Mars Merkaba, in February of 2009. (Sample: "I see the head, full of hair.") He is a former homeless drifter.
From Biz Markie to Kool Keith to MF Doom, extraordinarily talented eccentrics have always populated hip-hop. But none ever stood on the verge of stardom like Jay Electronica. He combines the presence and aura of early Rakim with the smoothly assaultive flow of Illmatic-era Nas, and his recent success is proof that one song can truly alter a career.
Jay Electronica went from blog curiosity to budding sensation after the release of "Exhibit C," a head-snapping banger built on a sample of Billy Stewart's "Cross My Heart," with no inkling of a hook but a profusion of deep lyricism. (The deft wordplay -- rhyming "Electronica" with "Hanukkah," "yarmulke," and "Asalaamica" -- has already been immortalized on T-shirts.) "The hairs on my arm stood up," Enuff says, of the first time he heard the song.
When the record debuted in iTunes' Top 10 and was later added to Hot 97's rotation in January, a major-label bidding war began to intensify. Since then, he's headlined a European tour with sold-out London shows and opened for N.E.R.D. But as of now, Jay Electronica remains unsigned and uncompromising.
"Labels know that they have to deal with my terms," he says, without ever specifying what those terms are. "I recognize that it's a blessing. I'm not saying it in an arrogant way. It's just, the rules do not apply."
Jay Electronica lives in a third-floor walk-up around the corner from a street lined with bodegas, liquor stores, and hair salons in Crown Heights, Brooklyn, one of New York City's last neighborhoods untouched by gentrification. Barefoot, wearing a white polo T-shirt and gray sweatpants, the rapper rummages through what he calls his "bedroom-slash-studio-slash-cave," i.e. a small, nondescript office next to the living room.
He lights a cigarette, takes one drag, then leaves it to burn down in the ashtray. Tiny scars cover his fingers. "+ god –" is tattooed cryptically behind his left ear. His girlfriend, the neo-soul superstar Erykah Badu, described him thusly on his 2007 mixtape Act I: Eternal Sunshine (The Pledge): "[He's] a weird-looking cat. His ears are kind of pointy. He has a square head. He looks like he's an alien…but in a very beautiful way. Like some kind of mythical creature who would have a bow and arrow on his back and wings under that bow and arrow."
Jay eventually settles onto a futon, and I ask him to explain the lyrics of his breathtaking 2009 single "Exhibit C," which hint that his path is destined. "I used to get dizzy spells, hear a little ring / The voice of an angel telling me my name / Telling me that one day I'm-a be a great man."
"Yeah, it's funny," he says. "You write these things, but you never expect to be questioned on them." A nervous laugh is followed by a long silence. "I can't say this. This is going to be absolutely crazy if I say this. If I told you, it would have to be off the record. Matter of fact, you are going to have to sign a nondisclosure agreement and then I can tell you. This is personal personal. People will be like, 'Oh, that nigga is crazy.' "
I think he's joking. But suddenly, Jay gets up and starts poking around purposefully in the closet. Nothing but four pairs of sneakers and a charcoal-gray suit. He scans a table. Just a digital camera, candles, and a pair of dice. He moves to the living room. No agreement. Jay never finds a hard copy, so he punches it up on his iPhone. (Yes, the document actually exists.) Alas, he decides against me even reviewing it, saying that if I read it out loud, the entire interview will be off the record.
"I'm hearing that he is kind of a weird dude," says DJ Enuff of New York City's Hot 97 FM, speaking diplomatically. Enuff is credited with breaking "Exhibit C" on commercial radio. "I've met him twice. He seemed cool to me. But I hear that he's out there."
Here is why people think Jay Electronica is "out there": He goes on spiritual retreats to the Pashupatinath Hindu Temple and the Bodinath Buddhist Temple in Kathmandu, Nepal. He and Badu Tweeted during the birth of their daughter, Mars Merkaba, in February of 2009. (Sample: "I see the head, full of hair.") He is a former homeless drifter.
From Biz Markie to Kool Keith to MF Doom, extraordinarily talented eccentrics have always populated hip-hop. But none ever stood on the verge of stardom like Jay Electronica. He combines the presence and aura of early Rakim with the smoothly assaultive flow of Illmatic-era Nas, and his recent success is proof that one song can truly alter a career.
Jay Electronica went from blog curiosity to budding sensation after the release of "Exhibit C," a head-snapping banger built on a sample of Billy Stewart's "Cross My Heart," with no inkling of a hook but a profusion of deep lyricism. (The deft wordplay -- rhyming "Electronica" with "Hanukkah," "yarmulke," and "Asalaamica" -- has already been immortalized on T-shirts.) "The hairs on my arm stood up," Enuff says, of the first time he heard the song.
When the record debuted in iTunes' Top 10 and was later added to Hot 97's rotation in January, a major-label bidding war began to intensify. Since then, he's headlined a European tour with sold-out London shows and opened for N.E.R.D. But as of now, Jay Electronica remains unsigned and uncompromising.
"Labels know that they have to deal with my terms," he says, without ever specifying what those terms are. "I recognize that it's a blessing. I'm not saying it in an arrogant way. It's just, the rules do not apply."
Thank me Later review(xxl mag)
You only get one chance to make a first impression. Err…sort of. Despite its debut status, Aubrey “Drake” Graham’s Thank Me Later is no introductory effort. Since the release of the Toronto native’s free mixtape, So Far Gone, in February 2009, Drizzy’s been able to rattle off a veritable checklist of career highlights in just over a year. The project’s success earned him a reported multimillion-dollar deal with his mentor Lil Wayne’s Young Money label, it spawned two hit singles (“Best I Ever Had” and “Successful”), and the shortened EP version went on to sell over 470,000 copies. With his newfound celebrity status, Drake’s been embraced by hip-hop’s greats, lending a hook to Jay-Z’s Blueprint 3 (“Off That”) and collaborating with Eminem on “Forever.” He’s also been party to a bevy of Cash Money–affiliated projects (Young Money’s We Are Young Money LP and Birdman’s Pricele$$), headlined awards shows, graced magazine covers and appeared in a Sprite commercial. A year makes a world of difference, and things definitely done changed for the former star of the popular teen TV series, Degrassi: The Next Generation. So now what?
When an artist delivers a critically acclaimed project—be it a mixtape or an album—they’ll always be measured against it. Such is the case here, as it’s difficult not to compare Thank Me Later with So Far Gone. Luckily, Drake largely sticks to what’s worked for him in the past—which is to say a healthy mix of singing and rapping, elaborate arrangements that find whole new songs almost tacked on to others, and deeply reflective subject matter. Perhaps the best example of this is “The Resistance,” where Drizzy laments, “What am I afraid of?/This is supposed to be what dreams are made of/But people I don’t have the time to hang with/Always look at me and say the same shit/‘You promised me you’d never change.’” He’s equally revealing on “Fireworks,” where he alludes to his brief fling with Rihanna, and “Unforgettable,” which finds him celebrating his carpe-diem ethos as he experiences his meteoric rise.
The project has a bunch of surefire hits. The Kanye West–produced “Find Your Love” is all lo-fi drums and rich piano chords, not unlike something that might have appeared on ’Ye’s 808s & Heartbreak. But with Drake, who has a better command of his voice, it’s a straight-up summertime R&B smash. Similar R&B territory is explored on the slow-jam-ish “Shut It Down,” a duet with The-Dream that finds Drake imploring, “Put those fucking heels on and work it, girl/Let that mirror show you what you’re doing.” He’s equally encouraging on the Swizz Beatz–produced “Fancy,” which, for the better part, is just a nod to beautiful women, but then veers off into an experimental, ambient mix, which Drake just raps over. Very cool. And if there’s any doubt the kid can flat out spit, there are the obligatory Young Money collabs “Up All Night” (with Nicki Minaj) and “Miss Me” (with Lil Wayne).
Perhaps the only thing that takes away from what is essentially a stellar debut LP is that, much like the fact that he both rhymes and sings, Drake sometimes sounds kind of confused about what he wants. “Light Up,” with Jay-Z, is all about not getting caught up in the Hollywood lifestyle, but then “Karaoke” finds him reflecting about a past relationship gone sour under the flashing lights. Luckily, instances of this confusion are few and far between.
Drake initially endeared himself to fans by combining lyrical skill with infectious melodies, all while maintaining an everyman’s sensibility. Just an upper-middle-class kid—yeah, perhaps a little well off, so what?—trying to make it. On Thank Me Later, he explores what it’s like to have done that—to have become successful. Turns out, it’s not exactly what he thought it would be. But it still sounds pretty damn remarkable.
When an artist delivers a critically acclaimed project—be it a mixtape or an album—they’ll always be measured against it. Such is the case here, as it’s difficult not to compare Thank Me Later with So Far Gone. Luckily, Drake largely sticks to what’s worked for him in the past—which is to say a healthy mix of singing and rapping, elaborate arrangements that find whole new songs almost tacked on to others, and deeply reflective subject matter. Perhaps the best example of this is “The Resistance,” where Drizzy laments, “What am I afraid of?/This is supposed to be what dreams are made of/But people I don’t have the time to hang with/Always look at me and say the same shit/‘You promised me you’d never change.’” He’s equally revealing on “Fireworks,” where he alludes to his brief fling with Rihanna, and “Unforgettable,” which finds him celebrating his carpe-diem ethos as he experiences his meteoric rise.
The project has a bunch of surefire hits. The Kanye West–produced “Find Your Love” is all lo-fi drums and rich piano chords, not unlike something that might have appeared on ’Ye’s 808s & Heartbreak. But with Drake, who has a better command of his voice, it’s a straight-up summertime R&B smash. Similar R&B territory is explored on the slow-jam-ish “Shut It Down,” a duet with The-Dream that finds Drake imploring, “Put those fucking heels on and work it, girl/Let that mirror show you what you’re doing.” He’s equally encouraging on the Swizz Beatz–produced “Fancy,” which, for the better part, is just a nod to beautiful women, but then veers off into an experimental, ambient mix, which Drake just raps over. Very cool. And if there’s any doubt the kid can flat out spit, there are the obligatory Young Money collabs “Up All Night” (with Nicki Minaj) and “Miss Me” (with Lil Wayne).
Perhaps the only thing that takes away from what is essentially a stellar debut LP is that, much like the fact that he both rhymes and sings, Drake sometimes sounds kind of confused about what he wants. “Light Up,” with Jay-Z, is all about not getting caught up in the Hollywood lifestyle, but then “Karaoke” finds him reflecting about a past relationship gone sour under the flashing lights. Luckily, instances of this confusion are few and far between.
Drake initially endeared himself to fans by combining lyrical skill with infectious melodies, all while maintaining an everyman’s sensibility. Just an upper-middle-class kid—yeah, perhaps a little well off, so what?—trying to make it. On Thank Me Later, he explores what it’s like to have done that—to have become successful. Turns out, it’s not exactly what he thought it would be. But it still sounds pretty damn remarkable.
Things to COME!
I know I know... we come and we go. We are sorry! 2 grown ass men, with grown ass men jobs! But... We promise to dedicate more time to this site!
Wednesday, June 16, 2010
Drake NYC concert Cancelled !
The Toronto-born hip-hopper along with boy band Hanson & DJ Ninjasonik, were scheduled to perform a free concert at the South Street Seaport Tuesday evening. But when thousands of people showed up at the "Feels Like Paper" event things got rowdy and chaotic, causing officials to cancel the show. The show was off to a late start, so fans began to throw chairs and get disorderly, witnesses told NBC NewYork. Pictures show tens of thousands of fans packed like sardines at Pier 17, where ambulance and fire trucks were parked ready for disaster
"Everybody was pushing up, trying to get to the front," said Tamika Johnson, 31, of East New York, Brooklyn. Johnson and her 6-year-old daughter were among thousands who turned out for the free show, part of a publicity blitz marking the release of the up-and-coming Canadian rapper's debut album, "Thank Me Later." "People in the front started leaving because they were getting crushed," Johnson said. "Then they started throwing bottles from the balconies." Fights broke out as rowdies tossed flower pots from the upper floors of the Seaport down onto the crowd on the street, said Jasmine Arroyo, 23, of Brooklyn. (NY Daily News)
"I am humbled by the crowd that showed up in support of my performance and the release of Thank Me Later," Drake told MTV News in a statement. "I love performing for my fans, but unfortunately, the show was canceled by the NYPD due to overcrowding, leaving me without the chance to give my fans a real show. I'm thankful for the support that the fans have been giving me ... I thank you now." (MTV)
"Everybody was pushing up, trying to get to the front," said Tamika Johnson, 31, of East New York, Brooklyn. Johnson and her 6-year-old daughter were among thousands who turned out for the free show, part of a publicity blitz marking the release of the up-and-coming Canadian rapper's debut album, "Thank Me Later." "People in the front started leaving because they were getting crushed," Johnson said. "Then they started throwing bottles from the balconies." Fights broke out as rowdies tossed flower pots from the upper floors of the Seaport down onto the crowd on the street, said Jasmine Arroyo, 23, of Brooklyn. (NY Daily News)
"I am humbled by the crowd that showed up in support of my performance and the release of Thank Me Later," Drake told MTV News in a statement. "I love performing for my fans, but unfortunately, the show was canceled by the NYPD due to overcrowding, leaving me without the chance to give my fans a real show. I'm thankful for the support that the fans have been giving me ... I thank you now." (MTV)
Drake commenting on Wayne
To him, there's a whole world moving out there that he hasn't seen for so long. He was just like, he told me something I never thought I'd hear him say, which was, 'You're the ultimate artist. You're better than me. You don't have the tattoos, you don't cause any trouble. People like you.' He was like, basically, 'Look at me and look at you.' He was like, 'Man, listen. You know what I think you're about to do? You're about to do 2 million.'You're about to do two million the first week. Whatever, man, whatever you do, do not get no tattoos never in your life. They gonna think you got it because you came around me.' He said the same thing to me [during the Rikers visit]: 'Don't change yourself, please. You got it. I've never met a young dude that has it figured out, but you got it. Don't mess it up. Just be you. Sing! Rap! Be you. Don't stop smiling.' That's what he said." (MTV)
Monday, April 5, 2010
REALLY?????
Last week, rumors swirled around the web about an apparent new track from Jay-Z and Dr. Dre. But since the story dropped close to April 1 and, last we heard, Dre's Detox LP was pushed back to 2011, we figured it was a lame hoax at best.
But according to a NESN interview with Dre and his Interscope boss Jimmy Iovine, the song exists and it's called "Under Pressure" (via You Heard That New). You can watch the chat-- which mostly involves Dre shamelessly plugging his custom Red Sox headphones-- below. (A plea: The world at large should collectively boycott those headphones until Detox actually comes out.)
No word on whether "Under Pressure" is one-off thing, tied to Dre's forever-delayed album, or even when it's supposed to come out, but at least it's not just a figment of rap bloggers' imaginations. The last time these two got together, on Jay's ill-fated Kingdom Come album, we got the woeful "30 Something" and "Lost Ones" along with underrated tracks "Trouble" and "Minority Report", so all bets are off. Also, we're not sure how Dre cozying up to the Red Sox is going to sit with Jay, who kinda likes the Yankees.
But according to a NESN interview with Dre and his Interscope boss Jimmy Iovine, the song exists and it's called "Under Pressure" (via You Heard That New). You can watch the chat-- which mostly involves Dre shamelessly plugging his custom Red Sox headphones-- below. (A plea: The world at large should collectively boycott those headphones until Detox actually comes out.)
No word on whether "Under Pressure" is one-off thing, tied to Dre's forever-delayed album, or even when it's supposed to come out, but at least it's not just a figment of rap bloggers' imaginations. The last time these two got together, on Jay's ill-fated Kingdom Come album, we got the woeful "30 Something" and "Lost Ones" along with underrated tracks "Trouble" and "Minority Report", so all bets are off. Also, we're not sure how Dre cozying up to the Red Sox is going to sit with Jay, who kinda likes the Yankees.
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