DJ KHALED HELD A CLOSED DOOR MEETING FOR SUMMER JAM!
He was in talks of whether or not he should go on the stage. he was visibly stressed, because he was technically Cash Money, but he kept it in solidarity with YM. He didn’t go on. T-Pain and Fat Joe were a part of Khaled’s set and therefore didn’t perform either. I heard T-Pain was extremely p##### off at the entire situation! He was walking around a lot and pacing. You know how Khaled loves to pump up the crowd. I guess, he should have gone on early like Tyga.
WALE: WHERE’S MEEK MILL?
‘
I heard yesterday, Wale was walking around very jaded and peeved. It may be that the fans at Hot 97 were very interested in seeing his MMG cohort Meek Mill! But, the problem was that he is WALE! Wale was going into the Platinum Lounge area doing a live interview and all the fans had to say was “Where’s Meek Mill, where’s Meek Mill!” Wale appeared to be very annoyed at it. Later in the artist dressing rooms Wale seemed cool. Only thing, Meek Mill was nowhere to be found backstage where all the other artists were like Busta, Fat Joe, and the gang were. Not to suggest beef, but he did join the crew on stage when they performed.
S**t was mad real, y’all.
ILLSEED’S QUICKIES
I heard Movado didn’t show up to Hot 97’s Summer Jam either. Only thing is, nobody I know cared.
I am hearing Mr. Cheeks of the Lost Boyz is working with Stephan Marley on a duet album.
Rumor has it Ma$e is trying to closes that joint venture with Bad Boy and Rick Ross’ Maybach. He performed yesterday with French Montana at Summer Jam.
I don’t believe this one, but somebody hit me up and said Nas and Kanye are working on a whole album. Maybe a joint, but an album? Nah….too much dopeness.
Rumor has it, Dr. Dre had the option to choose Eazy E over Pac and the went with Tupac.
Rick Ross brought out Method Man and Raekwon of the Wu Tang Clan in an awkward moment at Summer Jam.
Tyga may be off the hook for performing, because the phone were acting crazy with all the reception. He may not have known. Read the rumor here.
Overall, I heard there were a lot of rappers and singers and rastas walking around with nothing to do because Lil Wayne pulled the plug on Young Money.
Funk Master Flex is known to get into a beef or two. But, is he ready to get in the mix with the whole Young Money on behalf of his Hot 97 family? It seems so. I am hearing that Hot 97 is going to blast them seriously like he did yesterday. I heard that Flex said he is going to end careers TONIGHT on his show. So listen up later. Not sure if Flex and end any of those guys careers, but I’d like to see him try.
Filled with dozens of today’s hottest Hip Hop artists, lots of music, concertgoers, and plenty of controversy, Hot 97’s annual Summer Jam concert was nothing to miss this year! From the headlining act being a no-show, to surprise performances from Nas, Lauryn Hill, Mase, T.I., and others, there’s so much to cover.
Set at the Met Life Stadium in East Rutherford, New Jersey, the 10-hour event began with the Festival Village. It featured artists including Azealia Banks, Big K.R.I.T., A$AP Rocky, Fred Da Godson, and Kendrick Lamar.
Joined by his Mafia click, Maino bursted out from behind the stage and performed many of his fan favorites including “Hands in the Air”, “Million Bucks”, and “That Could Be Us”. Maino brought out A$AP Rocky, Swizz Beats, and Brownsville, Brooklyn-bred duo, M.O.P.
Shady Records’ own Slaughterhouse was met with much applause as they came on stage. As they concluded their set, group member Joe Budden said, “You’re looking at four of the best motherf*ckin’ rappers in the universe!”
Next up – Tyga. Performing songs like “Faded” and “Rack City”, the crowd was rocking to his recent hit songs. His energetic performance reminded us why Tyga is in the game – like him or not. It was during his performance that fans received the news that Nicki Minaj, his YMCMB labelmate, had pulled out on the show.
This was unbeknownst to the crowd, however, and the show went on as planned. Waka Flocka then came on stage with Brick Squad Monopoly, his imprint. Waka, of course, spent much of his time performing in the crowd, energizing up the audience and going wild. He repeatedly pushed the question: “We in New York, right?!”
No, we’re in Jersey, Waka, but we get your point.
During Waka’s performance of “No Hands”, Wale came out to a huge pop. He performs his favorites like “Sabotage” and “Lotus Flower Bomb”, the latter of which found R&B singer Miguel joining him on stage.
Cole World. J Cole’s band set up, and then we knew no games were being played. Cole started his set with “Mr. Nice Watch”, and the crowd went insane. Performing songs like “Work Out” and “In The Morning”, Cole’s greatest reaction came when he sang his fan favorite, “Can’t Get Enough” featuring Trey Songz. Of course, Trigga was in the building and joined Cole on stage.
Hot 97’s Mr. Cee took over the turntables, and in probably the best crowd reaction of the night, played some of our favorite jams from today’s favorites to ’90s classics.
Barack Obama comes up on screen. It’s the video of the POTUS explaining his love for rapper Young Jeezy. As the crowds roars in excitement and love for the snowman, he appears on stage. Not to be alone, Jeezy is joined by his CTE group, including Freddie Gibbs and Tone Trump. For what seemed like a ‘greatest hits’ set for Jeezy, performing hits like “I Luv It”, “Soul Survivor”, “Put On”, “Lose My Mind” and more. His greatest stage performance came when he took his time with “I Do”.
In LoveRance’s “Up”, Jeezy held it down, and boom out of nowhere, T.I. walks out and joins Jeezy, and in the process, The King got one of the best receptions of the night. Not to be upstaged, Ne-Yo joined the snowman on stage for” Leave You Alone”.
And, in the best move of the night, “Supafreak” dropped and 2Chainz bursted onto the stage. You’d think Mr. TRU was born and raised in New York the way the crowd screamed.
G.O.O.D. Music’s Big Sean was up next. Clearly a fan favorite, Sean opened up with “My Last”. After a string of hits, he tore up the crowd with “Marvin Gaye & Chardonnay”, complete with a robe on and a glass of the delectable white wine. The crowd proceeded to go insane for “Dance (Ass)”.
“Mercy” brought out Pusha T, and immediately the crowd responded by screaming at the top of their lungs for the performer. 2Chainz returned to the stage to finish things off. Not to be outdone on his own set, as Big Sean leaves, he sends a message to his high school teacher: “My high school teacher said I’d never make it. I just want to say ‘f*ck her,’ and I hope she sees this on the Internet later tonight!”
Then, Funk Flex – was on. He immediately began to address Nicki Minaj’s “I won’t be at Summer Jam” incident, pulled just an hour before.
His response?: “We don’t give a f*ck if you commercial and pop and you afraid to touch down in Jersey.” Flex went on to say “If you lose the street, it’s your fault!” Flex also revealed that, on this night, he was ending her career, saying: “I’m dedicated to tearing you down… Tune in to me tomorrow at 7 o’clock as I ruin a career.”
The crowd, not truly understanding what was happening between Minaj and Hot 97, didn’t respond much, but everyone who knew what was happening was on the edge of their seats!
“The Voice of New York” Angie Martinez came out and introduced a surprise guest. It was none other than Queensbridge’s own, Nas. He opened up with “Made You Look”, then went straight into “Hate Me Now”. Soon after, the beat of “Ready or Not” comes on, and the crowd begins to look around saying, “I know The Fugees aren’t performing…” We hear someone singing “Ready or not, here I come, you can’t hide…”
And out comes Lauryn Hill to the stage. The crowd goes bananas!
She performed “Lost Ones” and “If I Ruled The World” with Nas.
The show was winding down, and everyone was feeling better since they got to see L-Boogie. French Montana was up then. During his performance of “Slight Work”, Wale returned to the stage, and to everyone’s surprise, Mason Betha hits the stage for his verse! That’s right! Harlem’s own Mase was in the building.
After a series of ‘Maybach Music’ drops, Meek Mill appeared, and though the crowd had endured over five hours of Hip-Hop, they were still standing on their feet for the Philly rapper. The first up was Meek’s “I’m A Boss” – which the crowd seems to know word-for-word.
Now, the headliner. The actual bawse. Rick Ross came on stage to join Meek. Behind him – an entire mob of MMG goons. Similar to Jeezy’s set, Ross seemed to perform a ‘greatest hits’ show, hitting us with past favorites including “Hustlin” and “Push It”.
To cap off the night, “C.R.E.A.M.” came on the speakers, and out came Method Man and Raekwon. After much crowd excitement, the arena faded to black, and Summer Jam 2012 had officially closed out.
All in all, this event was well worth everyone’s time and cheese. Though the headliner, Nicki Minaj as well as DJ Khaled pulled out, the show went on without a hitch.
AllHipHop.com got a chance to speak with attendee Cynthia from Brooklyn, who admitted, “They had her face all on the posters, and she wasn’t even there,” in reference to the missing Nicki Minaj. This was the sentiment across everyone’s face as they exited Met Life Stadium and headed home, not too happy with the Rap-turned-Pop star.
Kalenna, one third of Diddy’s Dirty Money collective, partied in Atlanta last week with a select group of media and music enthusiasts who filled her private studio. She was celebrating her release party for the upcoming album, Chamber of Diaries, and celebs like Bei Major, V-103′s DJ Kash, and others enjoyed some drinks while listening to the Bad Boy star.
AllHipHop.com caught the action and sat down with an interview with Kalenna, where we spoke about working with Diddy and her new album, and also got time with Kalenna’s new artist, Steelo Steezy. Take a look at the video:
(AllHipHop News)With last week’s festival announcement including names like Nas, Slick Rick, Immortal Technique, Bone Thugs-N-Harmony, and a heap of others, Guerrilla Union and Rock the Bells have loaded this year’s roster by adding DMX, Eve, Jadakiss, Future, and Pusha T to the 2012 lineup.
According to a press release, “Four-time Platinum selling artist DMX will play a headlining role at Rock the Bells this summer, performing songs from his six Billboard chart-topping albums. Joining him will be label-mates Eve and Jadakiss, slated to perform their own sets.”
In addition to the festival’s just-added performers, Rock the Bells has rounded up Ghostface Killah, Raekwon, Sheek Louch, Styles P., and Jadakiss as mentioned before, to perform their brand new collaborative album, Wu-Block, for the first time in it’s entirety.”
Following performances at yesterday’s Hot 97 Summer Jam concert event in New Jersey, Guerrilla Union as also announced the inclusion of both Future and Pusha T to this year’s lineup, both of which will be making their first appearance at the festival as solo artists.
In other Rock the Bells news, J. Cole and 2 Chainz will join the lineup for the New Jersey festival stop while Common will be at the San Bernardino stop. Guerrilla Union founder Chang Weisberg said, “I am thrilled to announced all the great artist additions to Rock the Bells. The Variety of talent makes this lineup the most dynamic yet. There’s a nice combination of legendary and up-and-coming acts, and a majority of them are releasing new material as well. Plus, believe it or not, there is still more to be announced.”
In other Rock the Bells news, Beastie Boys’ DJ Mix Master Mike will be releasing the official Rock the Bells mixtape later this summer.
(AllHipHop News) This past weekend, it was revealed that several members of the Wu-Tang Clan are set to appear in the new ODB biopic film, Dirty White Boy.
Despite claims that all of the members of Wu-Tang would be in the new flick, the GZA who was also ODB’s cousin, has confirmed that he will not be a part of the new movie.
“I will tell you 100% he is not appearing in the ODB/Jarred Weisfeld movie. I can’t speak for the rest of the group, but definitely not true about GZA,” GZA’s representatives told Pitchfork.
Despite statements by GZA’s reps, Michael K. Williams, who played Omar from “The Wire” and who will play ODB in the upcoming movie, stated, “[We] have no desire to cast any actors as the Wu-Tang. We need all hands on deck.”
While the rest of the cast to the film is being coordinated, RZA, Ghostface Killah, Raekwon, and Method Man have confirmed their appearances in the biopic to be directed by Joaquin Baca-Asay, and produced by Lars Knudsen, Jay Van Hoy, and Tod Hagopian.
The film is shot from the perspective of Jarred Weisfeld, a manager and former VH1 intern who worked alongside the rapper prior to his passing in 2004.
GZA also made headlines this past week for living up to his nickname and reputation as “The Genius.” By enlisting scientists from MIT and Cornell to help write his lyrics, and by hiring musicians from Juliard to help compose the music, the rapper will examine the cosmos on his newest effort, Dark Matter, releasing this fall.
It’s only right that my Hip-Hoppreneur ™ column returns to the world’s most dangerous site upon my discovery of the world’s new most dangerous MC.
It all happened two weeks ago while driving from New Jersey to Washington D.C. As is my custom, each Tuesday I listen to all of the major new album releases regardless to genre. I put it all in shuffle and knock it, regardless.
God as my witness I was about to select Heroes – a new album of re-released classics and more recent collaborations by Willie Nelson – when I noticed the album cover for R.A.P. Music by Killer Mike.
I could not believe not just what I heard but what I felt – after only 4 tracks: “Big Beast”, “Untitled”, “Go!”, and “Southern Fried”, I went from being somewhere in between Zone 2 (bearable existence) to Zone3 (general happiness and well being) on the Dianetics Tone Scale.
It was the rise and fall of a psychoneurosis.
I know you are like, what the hell is Cedric talking about?
“Psychoneurosis arises when there is a conflict between a wish and its fulfillment. The more passionate the desire the more likely is its frustration to lead to psychoneurosis. This in turn may make possible the fulfillment of the wish, or act as a spur to the mental catharsis which produces a great creative work. This seems to be the basis of the relationship between psychoneurosis and creativity. In brief, a psychoneurosis represents passion thwarted, a great creative work, passion fulfilled.”
Killer Mike is a mathematician without equal on scene today working the formula few dare to calculate: Conscious Rap + Gangster Rap + Coke Rap = Community Development.
And that’s dangerous in 2012.
He’s walking a tightrope in rapping about robbing rappers (“Big Beast”), applauding the demise of a U.S. President (“Reagan”), representing the sensuality of his region (“Southern Fried”), introspecting his own manhood (“Willie Burke Sherwood”), and celebrating the best part of Black musical culture (“R.A.P. Music”).
Understanding that my own viewpoint may be biased from years of being deprived of the album I’ve yearned for – which balances street aggression and political activism – I sought my Creative Partner, Producer, and Songwriter, Martin Cameron Smith, for his sober perspective of the album, where it places Killer Mike, and the unchartered territory that remains for further growth. I asked him to test and challenge my view as much as confirm it.
Martin Cameron Smith: I’ll give you an overview of what I think of Killer Mike as an artist, who I compare him to and how this album is his best work to date. That “best album” will take recording a few others first (think Stevie Wonder 1970s leading up to “Songs In The Key of Life”).
Classic albums are like classic fights – they take a lot out of all involved and everyone walks away changed forever – for better or worse.
JoJo’s Chillin‘ – Mike as narrator over uptempo, boom bap drums with a frenetic, rushed pace. Reminiscent of Slick Rick. The story is matter of fact, not redeeming or cautionary but a glimpse into a day in the life. Shows another side of his pragmatism.
Don’t Die (Williams Street) – Mike uses his voice on songs like Don’t Die as an instrument – adjusting tone and timbre to match not only the subject matter but the track’s tempo. Mike creates mood in the way Coltrane would with a sax. This song is also one of the more melodic of the collection, which is a change for Mike.
Big Beast & Untitled – Mike is believable. He is a bull in a china shop. He matches up well against Bun B and T.I.. On paper I would think the guest would out rap Killer Mike, instead he is able to immerse himself into the track, find the perfect spaces and create cadence.
Southern Fried – Mike gets a chance to display his word play and we get to hear his braggadocio mack game. Make no mistake, Killa Mike is not a gentleman or a gentle man.
Go! – Is a lyrical excercise. Mike exhibits his lyrical dexterity, use of metaphor and how much he can add a new rhythmic dimension to any beat. He even imitates J J Fad and says he’s even saying something when he’s saying nothing.
R.A.P Music – R.A.P. Music is a brilliant idea that speaks to the evolution of Black Music speaking to the people of its time. It will evolve and morph into whatever form it needs to in order to cut through the clutter of the day. Juxtaposing rap music to every other hip form of Black Music that preceded it is an interesting idea and shows Killer Mike understands the importance of music not only in his life but that of the listener. That he did it over a track that sounded completely electronic makes it that more impressive.
Ghetto Gospel – Mike establishes how relevant his syncopated flow is to his brand of story telling. If there are any questions about how he raps this song drives the point home for the listener that Killer Mike is Hip-Hop. The syllabic style he uses is routed in the earliest masters of rap (Kool Moe Dee and Melle Mel). Whether intentional or not Mike is one of the few to keep a style and tradition alive that allows the telling of the story where it doesn’t get sacrificed for style. His rap style has its roots in The Bronx and Harlem. He reminds me of Just Ice.
****
I’ve said here at AllHipHop.com – more clearly than anywhere else – that I sadly believe the current model and pattern of conscious MC’ing, political rap, or activism in Hip-Hop now resembles a religious movement that seeks to be ‘right’ more than it desires new converts. I’ve asked, “The Decline Of The Conscious MC: Can It Be Stopped?”, and I’ve even pondered, “Souljah Boy As Saviour: Ending Rap’s Demographic Death”, and I’ve predicted “Africa, The Next Throne Of Hip-Hop”. But the crisis continues. Too many artists with knowledge and lyrical ability seem to hate the science of business and marketing and too many entities built on the science of marketing and business seem to hate people or even themselves. Those with a little of both appear scared to threaten or are too content with their own success to risk it on a bigger prize.
There are few it seems who want not just to be ‘right’ or ‘successful’ but also dangerous.
With that base laid, I can say that Killer Mike has made the most dangerous album since Death Certificate by Ice Cube – a comparison a friend of mine, Eric Canada – who co-executive produced ‘The Streets Are Political’ mixtape with me – gave to me after I asked him to listen to the album. And while doing so, he also reminds one of Public Enemy, not just It Takes A Nation of Millions To Hold Us Back but their more street-relevant debut, Yo! Bum Rush The Show, where you felt like you were about to get stomped out more than asked to read a book. It’s energy that Killer Mike channels well when he states (over Bomb Squad-like sound effects), “We the readers of the books and the leaders of the crooks.” He embodies it well by interpolating the energy of KRS-One’s “9mm Goes Bang” (‘wah dah dang…wah dah dah dah dang…).
Unlike any artist I’ve seen in 20 years, Killer Mike understands that if you are going to be relevant in 2012 to entrepreneurs, intellectuals, activists and the streets you have to marry the gangster edge of the debut album with the evolved consciousness that comes with the sophomore album. Both are classic material formula. That math is Criminal Minded + By Any Means Necessary; Yo! Bum Rush The Show + It Takes A Nation of Millions To Hold Us Back, and AmeriKKKa’s Most Wanted + Death Certificate.
Killer Mike’s album is powerful because the production, charisma and lyricism are all in alignment. It works because it’s confrontational as much as it is intellectual. It motivates because it transmits energy much more than data. The shortcoming of the street poet is that he doesn’t understand his energy is universal not local. The imperfection of the politically conscious MC is his approach elevates knowledge over application. Both types resist the kind of expansion and reach that their formula and success implies and too often they both believe that making adjustments in language – depending upon audience – is an act of compromise or weakness. I went in on that mentality in “Don’t Dumb Down, Just Speak The Language of The People.”.
The next step for Killer Mike is taking the test that every MC since KRS-One has failed – do you want to be a leader as much as an artist?
Can the insecurities that are inherent in the artist personality be balanced by the confidence that is inherent in the leader? Can the tendency to stay loyal to a core audience inherent in the artist’s mentality be expanded by the evangelical impulse that stimulates every great leader? Can the habit of romanticizing change in the past that motivates us in the present be matched by a compelling vision for the future which places the interests of the unborn and youth above our own? Can he become internationally relevant and necessary – giving deeper meaning to the “A” in R.A.P. Music on the basis of not just sound and lyrical message but also global stance?
It sounds like Killer Mike has that potential but time and circumstance will tell. Let me bring the voice of sobriety in my inner circle back for more reality and encouragement:
Martin Cameron Smith: This album was the best thing to happen to Killer Mike because it was a piece of art created by him and for him. Many of his Atlanta peers are not as relevant as he is. He has managed to outlast many who appeared to have much brighter, longer lasting careers than his. Apparently he’s doing something right, now the key is to build a reputation for putting out consistent hits during this decade. That will be his training for “The Big One”, the definitive Killer Mike album.
The studio and the street are his next proving ground.
I think it was also a misstep to not include photos and video. This generation is used to accessing those easily and dismiss artists when they don’t have updated visuals. I personally need to see a logo of some sort to represent him. WuTang’s best move was that “W.”
****
Can Killer Mike be an Icon without an Icon?
One of a seemingly endless array of questions the Atlanta MC has sparked.
If nothing else – with one album – he’s made things a lot more dangerous today than they were yesterday while providing some much needed therapy.
A 20-year psychoneurosis has come to an end, at least for me.
If there is a ‘Mike’ to be like in 2012 – it’s this one…
Smooth Jazz instrumentalist Brian Culbertson is prepping his upcoming album, Dreams, and he’s got some pretty cool features, too. On the album, he spotlights R&B voices Noel Gourdin, Vivian Green, and Stokley Williams of Mint Condition, all of whom provide a few vocals throughout.
When you press play on this record, you’re immediately required to stop what you’re doing on Earth, and transport to Brian Culbertson’s world. And – that’s the way it should be. Having produced or performed on over 25 #1 records, you’d expect nothing less.
Melodic, smooth, catchy, and honest are all words that describe Dreams. It begins with “Later Tonight”, the first cut that unapologetically grabs you and pulls you in. Combination of the bass and piano (and I’m sure lots of other instruments, too!) make this a replay track.
When Stokley Williams from Mint Condition begins to sing, you understand he’s quite different, and you like it. That’s how “No Limits” opens up, with a crooning Williams expressing the urgency to see his woman as soon as possible. He rides the beat effortlessly, not outshining it, but meshing and creating a beautiful song worthy of play during date nights by the fireplace. Of course, with a glass of Chardonnay.
While I’ll forever feel John Legend should’ve been called to lay a few vocals on this, I’ll live with the instrumental of “Your Smile”. While listening, you’ll imagine being whisked away to your lovers beach house, showered with cool breeze and lots of sand in between your toes. I assume this is why the album is called Dreams. It’s where we’d all like to be, however, since we’re not, let’s keep this on repeat.
“Still Here”, featuring Vivian Green, comes in at the perfect time on this record. Totally reminding you why you’re still here, with your lover, fighting for what’s right. The instrumental lays low, giving Vivian time to shine, and sing words that you think she herself even believes. Conviction, in the beat, and her voice, pulls you in and keeps you listening. You almost feel like she’s about to provide relationship advice, and she is, if you listen.
“Still Here” f/ Vivian Green
It starts off slow, reflective almost. After that huge event just happened in your life, you have gone into reminiscent mode, playing back in your mind all things that once mattered, and still do. That’s “In The City” for you.
Rhythm & Blues is one of the genres that will never die. Here’s why: There’s a need for soul. A need for music that resonates with your heart. “You’re My Music” featuring Noel Gourdin does just that. Gourdin croons, and at best, can’t help himself when he aggressively says, “Let’s make music!” to his lover of choice. This is one for the replay.
The title track “Dreams”, almost makes you feel like it’s the last song on the record. Celebratory in nature, “Dreams” reminds you of the good job you’ve done, and it’s okay to pat yourself on the back. Whether you’ve landed your dream job, finally approached the girl (in my case) of your dreams, or finished a semester-long research paper, this song offers smooth, clean, celebration music.
“Madelena” is a stand-out track, coming in with a purpose to make you take it serious. Gentle, yet, forceful, pulling you away from the drama of the streets, and into the dreamy world of Culbertson.
One of the most pressing tracks on the album, “Lights Off”, is all instrumental. The beauty of this is that you can add your own words, your own thoughts and use your imagination to fill in the blank. Do that.
You’ve been taken on a ride, and now it’s time for the trip home. “The Journey” is just that. Bringing things to a close, Culbertson is taking you out with a bang. Almost as if it’s waiting on you to take action. Though it’s the last song, with the album on repeat, it will effortlessly flow into the first track, and give you the perfect encore.
In the past, Brian has collaborated with artists including Musiq Soulchild, Ledisi, and even Brian McKnight. We’re glad Brian wasn’t on McKnight’s latest work, though.
Dreams is a near-perfect effort from Brian Culbertson as he smoothly presents to you the best of the best, with little room for anything less. A leading smooth jazz instrumentalist, Culbertson takes no short cuts, and even brings a few of his friends for the ride, all of which makes for a solid effort.
Dreams will be in stores and online June 12. Pre-order here.
Big K.R.I.T’s been one of the shining examples in recent history on how to go about reinventing yourself for the masses. Although several projects and mixtapes served as precursors to this point, it’s safe to say that most of his fans jumped on board after the publicity he received for the cohesiveness of Krit Wuz Here, which he maintained through Return Of 4Eva, and solidified with 4Eva N A Day. The reviews mostly praised the Mississippi native for being able to cater to both ears and hearts through his content; listeners enjoyed the Southern production throughout, and those looking for more than just beats were pleased with songs that truly made you think (“Children of the World”, “Red Eye”). K.R.I.T. established himself as a threat from almost every possible angle, and it’s been fun to watch.
With that being said, there were questions that went along with his debut. Would the quality decrease? Would it be a watered-down version of his projects? Would it sound completely different than what we expect? Although most of those questions are legit, one playthrough of Live From The Underground will assure you that it’s still jamming, and it’s still the same ol’ K.R.I.T. that made you a fan.
Taking on yet another theme, the intro to Live (“LFU300MA”) has the listener stumbling upon a pre-recording that advises you to adjust your volume and enjoy. K.R.I.T.’s said in many interviews that he wanted it to feel like an underground record “crash-landed” in the mainstream mold, and the loose theme of the project sets that up. The familiar bass-heavy melodies are back and soulful, and K.R.I.T. goes into a spoken word delivery that slowly eases you into the vibe for the following songs. Background harmonies make the verses and hooks fun to listen to as well, enhancing it with a close attention to detail that’s scarcely seen in Southern projects since the days when OutKast used to drop projects together.
A seemingly lost art in music is the gift of sequencing, and K.R.I.T. has that gift. He’s fine-tuned it with each release leading up to his debut and has it all but mastered here. The album flows together almost flawlessly, with slower tempo songs like “Money On The Floor” (with 8Ball, MJG, and 2 Chainz) and “Don’t Let Me Down” being used to hinge the different styles together. The pacing makes it that much easier for K.R.I.T. to dive into incredible songs, such as the Devin The Dude-assisted slacker anthem “Hydroplaning”, the introspective flow on “Rich Dad, Poor Dad”, and the soulful B.B. King collaboration on “Praying Man”.
Even though the album flows remarkably well, it’s still of note to notice that a few of the songs here have extremely repetitive hooks (“Yeah Dats Me”, “Pull Up”). However, even those songs have other more dominant factors that make it worth listening to; “Yeah Dats Me” is a high-energy track in spirit, and “Pull Up” has a couple of solid verses from UGK-representative Bun B and Big Sant, who’s been a staple on almost every Big K.R.I.T. project (if not all). It’s also of note to point out that a couple of the songs from 4Eva N A Day might’ve served a better purpose being here instead of there (“Temptation” comes to mind).
As it stands, Live From The Underground is a great LP with some incredible high points. It’s rare when an artist can actually have his “underground” sound translate so well to his debut project, but Big K.R.I.T. has somehow done just that. Regardless of if you think it matches up with his mixtapes or not, the music’s just good all around and is permeated with that Southern flair. If you’re a fan of K.R.I.T., you’re going to want to support this one, and if you’re not… Live From The Underground might just make you one.
Welcome to a new week rich with opportunities! Today’s Daily Word is dedicated to following your inner voice! Life is about decisions! The decision you made yesterday is the life you are living today! The decision you make today will lead to the life you will live tomorrow! In your decision making process, you will be tempted many times to follow what seems logical instead of
going with your inner voice… This is the biggest mistake you can make!! NEVER FIGHT YOUR INNER VOICE!
There are many things that life will protect you from if you just listen! You may think you know it all, but what you know is merely a reflection of what the world wants you to know! Most likely, your logic is biased and based on the views and opinions of others! Don’t limit yourself! Your gut feeling has access to everything you need to know and do in order to live an abundant life! Even if you don’t understand why your inner voice is telling you to go a certain route you must follow! Stop seeing to believe!!! Believe and YOU WILL SEE!!! Follow Your Inner Voice!!!
-Ash’Cash
“Follow your instincts. That’s where true wisdom manifests itself.” -Oprah Winfrey
“Your mind knows only some things. Your inner voice, your instinct, knows everything. If you listen to what you know instinctively, it will always lead you down the right path.” -Henry Winkler
“Good instincts usually tell you what to do long before your head has figured it out.” -Michael Burke
“When I get logical, and I don’t trust my instincts – that’s when I get in trouble.” -Angelina Jolie
“Learn to let your intuition—gut instinct—tell you when the food, the relationship, the job isn’t good for you (and conversely, when what you’re doing is just right).” -Oprah Winfrey
“Trust the instinct to the end, though you can render no reason.” -Ralph Waldo Emerson
“Ask yourself the secret of YOUR success. Listen to your answer, and practice it.” -Richard Bach
“Trust yourself. You know more than you think you do.” -Benjamin Spock
TO HEAR THE AUDIO VERSION OF THE DAILY WORD – CLICK HERE.
Ash’Cash is a Business Consultant, Motivational Speaker, Financial Expert and the author of Mind Right, Money Right: 10 Laws of Financial Freedom. For more information, please visit his website, www.IamAshCash.com.
Wayne said YM wasn’t performing but for some reason Tyga still did.
What does this mean when the biggest names like Nicki Minaj fall in line and don’t perform when Wayne says don’t? I don’t know the answers, but Tyga was clear that he was excited to perform Hot 97’s Summer Jam when he said, ““Hot 97 SummerJam.I made it #Kingshit”
One dude named BosNaud said that Tyga was about to “Young Buck himself.”
I found that interesting. Still, no comment from anybody on the Young Money side that I can see.
I see Busta also performed, but we know nobody’s going to tell Busta what he can or cannot do especially in NY.
‘
Tyga went and did it.