We’re living in “The Detox Era”. We want what we seemingly can’t have, when we should focus on what’s right in front of us. Sounds like my love life, but that’s a different story. The Hip-Hop culture forces upon us the notion that the next big thing is the only thing. So once this “Big Thing” arrives, we drop what we’re doing, plug in our high-end headphones and place our entire internal history of Rap music on the shoulders of a newbie.
Feels like forever since we’ve first heard about Detox. And in that time, we, as fans of the craft went from pandemonium to wanting to forget about Dre altogether. You don’t know how many times I’ve heard publicists close to his camp say, “Deshair, you can’t speak of this to no one but, Detox is dropping this fall.” That was back in 2009. After a while, I felt the album was nothing more than bait to talk about his headphones. I finally met Dr. Dre when the Diddybeats were released. Guess what we talked about…
Speaking of Diddy, around that time became a co-sign standout for the underground talent by the name of Jay Electronica. “As we proceed, to give you what you need,” screamed at the beginning of ‘Exhibit C’. Diddy’s calling card had it right. Jay Electronica was exactly what Hip-Hop needed. He embodied everything Rap enthusiasts required from a new artist:
- Cadence (full vocals which made the beat better)
- Sharp delivery
- Heartfelt storytelling
- Religious references to galvanize a larger base
Jay Electronica wasn’t new to the game. Every name dropped on that record was accurate to his story. On a mainstream Hip-Hop level, Diddy’s co-sign launched him above ground, presenting a sound reminiscent to his most successful artist. Analyze it as you may, but “Exhibit C” was “Juicy” reincarnated. Rap fans gravitated at first listen. Unauthorized remakes of “Exhibit C” flooded the market. But none of them held a candle to the original. We had the next big thing on our hands.
Jay Electronica continued on Diddy’s sunken path with ‘The Ghost of Christopher Wallace’. But we didn’t need another Biggie. And maybe that factored into Jay Electronica’s decision to sign with Jay-Z at Roc Nation (wait, nevermind). Diddy took his disappointment and failure to Twitter where Hip-Hop heads slandered the executive without prejudice. Overall, Hip-Hop was pleased with the results. Jay Electronica, a lyricist in every sense of the word, signed with one of the best to ever do it. While Diddy acquired a mild case of bronchitis. That was two years ago.
Since then, we’ve seen Jay Electronica everywhere except on the shelves. We’ve seen him in the studio, on a camel, in a Mountain Dew commercial, an alledged love triangle, everywhere except on the shelves. The tracklisting for his debut studio album, Act II: Patents of Nobility (The Turn), was released earlier this year. And the hopeful release for the album came and went. So what’s the hold up?
If you’re over the age of 28, pull up a chair for this one. Let’s be absolute here… if Jay Electronica signed to Bad Boy Entertainment, not only would he have a signature pair of headphones by now, you’d be on Twitter harassing Diddy about this. You’d swear Diddy was holding him hostage for tax purposes. But what about Jay-Z? *opens up the Book of Hovito*
Jay-Z was busy in Paris with his ‘upstanding brethren’. He came back to America and put on a successful festival. He’s campaigning for the President and recently christened the Barclays Center with gold bottles. On Tuesday, his wife, Beyonce was named the Halftime performer for the Superbowl. So yes, Shawn Carter’s plate is full. But does he owe Jay Electronica a release date before the end of the year?
Here is my Absolute Reason:
Let’s get this over with. Jay Electronica deserves a release date and Super Tuesday would do just fine. And furthermore, I’m growing tired of Strip-Hop. All day, every song sounds like ‘Peaches McGee’ is about to hit the pole. I could go for some modern, backpack influenced raps right about now. So I ask of Michael Jordan to please pass the damn ROC to “Afro” Kobe. Thanks.
Oh, before I forget. Did anybody else notice the influences “Exhibit C” had on “Otis”? Or is it just me? Again.