1. Shipwrecked Feat. The Mind
3. The Waters
4. Healer Feat. Continue reading
1. Shipwrecked Feat. The Mind
3. The Waters
4. Healer Feat. Continue reading →
The shitty tracks are:
Fuck who don’t like it! Bitch come see me!
My rating for this mixtape belies the quality and impact of the cuts. The mixing on this mixtape is awesome! I consider it an EP the quality is way better than a mixtape! Goldlink has some heat on this project. The record “Planet Paradise” alone makes this whole damn tape deserve 3-4 plays a week. It’s a bouncy Go-Go/ATQC hybrid instrumental style with smooth veteran sounding flow from Link who easily switches between double-time and screwed tempo rhyme schemes. Standout tracks include:
..Fuck-it! Every tracks rating went up as I gave it another spin! Get this ish ASAP!
Yo the Pastor’a Disasta does his thing on this tape! I am partial to that grimy, mean muggin, slap a fool with your sweaty hoop sock, richter scale bass trap music. So if you’s a simp-ass, drake-loving nigga don’t get this tape cause you will wince and cover you ears when it cuts on!
CHOP CHOP HOE
And that concludes the roundup! There are many more projects that I’m spinning that haven’t received a rating including:
As always keep it moving on that weak ish we only respect the real!
Covering hits such as “Say You’re Real” by Kanye West, “Crush On You” by B.I.G., “Elevators” by OutKast, “Till Infinity” by Souls of Mischief, “Say You’re Real” by Drake, is not an easy feat; but Travis “Trav(vy)” McRee is up to the challenge. Hailing from Ann Arbor, MI this an emcee who focuses on delivering introspective verses rather than radio friendly hooks. His beat selection is nice and flows well. Given time his rapping skills will improve, but he’s already ahead of the game when it comes to delivery and subject matter; his delivery is smooth enough to seem effortless.
While most new emcees are rapping about the money/trappings of riches they have yet to attain or their “hustle” to gain riches, Trav focuses on his life, relationships, regrets, flaws, etc. It’s refreshing and captivating to hear someone speak on topics that we all deal with on a daily basis and be so real about it. ‘Nice Going’ is Trav’s only mixtape available on his Sound Cloud but I hope that it won’t be his last.
This project by MAZ was a bit underwhelming. The “Introduction Essay” track is MAZ at his most focused and seems to set the stage for an above average project. Listening to the dude speak in the interludes gives me the impression that he is a humble, thoughtful, and driven individual. On “The Ride Inn” MAZ spits,
No doubts and no nonsense/ Can’t be somewhere alone left ponderin’/ What it was, what could have been/ or slow down for my so-called friends/ Who rather me fail, so I can be here with them/ But I know better I got grammies to win..
There are brilliant moments on the tape where MAZ showcases his talents, but there are also cuts that run true to the project title i.e. being driven by outside forces/influence. “Deeper ft. Britney Stoney & CrackKillz” has introspective lyrics that are unsupported by HiFly’s production. The droning beat makes the content sound boring and obligatory. Using less synthesized sounds, a few more natural tones (violins, bass, etc) and redoing the drums to better match the mood of the song would greatly improve the track. Reprise please? “Moving On”…too much electronic ish going on again, and the tempo/mood don’t match the content/delivery. Next!
“Band-Aid” breaks up the monotony of the last two tracks with more energy, musical shifts (fades, filters, etc) and relentlessness verses packed with metaphors and similes. The hook leaves much to be desired though. A nod goes out to Helios Hussain for lacin’ the beat. “Paradise ft. Breanna Barnes” has crisp production and good performance by Breanna overall it’s a decent track, could have been a little more subtle with the innuendo though. Nolan the mof*ckin’ Ninja goes hard on the first verse for “Word is Bond”. This is the type of music I would like to hear from an artist like MAZ. The beat is retro butter! Reminds me of a mid 90’s cypher. More tracks of this quality would be great! The next track “Liu Kang” is an attempt to do a more grimy (Wu-Tang-esque) song. However, I’m left wondering wtf just happened? The beat is cool though. Stefon Lyon DEELIVERS! The dude sounds goofy at first, but then goes Beast Mode during his Acapella on “Detroit Lyon”. I will be looking into ‘ol dudes catalogue.
“Futile Devices” is a nice change from the other material on the tape. MAZ does a good job of riding the acoustic beat and explaining his goals, inspirations, etc. It’s a well executed performance, and a welcome stretch of scenic road on a project full of familiar surface streets. “Good Morning Love ft. Breanna Barnes” makes you wish you would have crept out the spot the night before! “The Ride Out” would be better without the stabbing synths, but overall it’s a decent track. MAZ spits some dope on “#TheMotorClub”! This is another beat that suffer from too-much-synth-syndrome. These producers need to chill out with that high-pitched buzzing ish! MAZ gets it when he raps,
Inside of my crib is almost all white like an Oreo/ I wild out like the Maury show when he be like you not the dad..
That line is guaranteed to get the audience turnt-up! The guest verses are “eh” you’re not missing anything so don’t listen to hard. Overall ‘Cruise Control’ is okay. There are some tracks that could have been replaced/touched up, and the production is subpar on some key songs, but I think that MAZ has a shot to make a name for himself if he follows the no nonsense route that he has set.
Not much has been said about Chavis Chandler, hell up until March 1, 2013 I hadn’t even heard of the dude! To set the scene a little bit I was in Detroit to see Ab-Soul perform and was starting to doubt my choice in coming to the show (Soul took three hours to show up) the first few intro acts were aight, and the performer right before Chavis got booed off the stage! The concert goers were beginning to get rowdy as this was over two hours of standing and waiting for Soul Brother #2, but Chandler walked onto the stage, after the previous performer got booed off, and proceeded to woo his hometown crowd with his confidence as well as his sensitivity. Ol’ dude said, and I’m paraphrasing,
..be cool cause I’m still an artist and I’m sensitive about my shit.
It’s not often you see a rapper show vulnerability, and it was especially unexpected from one coming from the east-side of 7 mile in Detroit. However, seeing the previous man booed off the stage will humble most performers, let alone unknown ones trying to establish themselves. After his moment of honesty it was back to business, Chavis proceeded to drop bomb after megaton BOMB through his lyrical content and varied delivery. His beat selection had people bouncin’ like someone was playing popcorn with’em on the parachute in elementary phys ed! I mean, ya boi’s stage presence was so turnt-up that he took a hostile crowd and got them wildin’ like he was the show headliner! But I really have to thank Ab-Soul’s management for keeping the fans waiting for three f*cking hours! Without their bullshit I may have never had the chance to witness Chavis burn up the stage. So for that I thank you..assholes.
‘Bridge Card Raps’ is Chandler’s latest project (listen below) and it’s a great entry point for anyone who has been sleepin’ on the kid. The joint starts of f with “Yesterday” a laid-back soundscape featuring a sample hip-hop heads will recognize immediately. Chavis and the Verbal Vomit Enterprise crew do their thing on the track; intermixing braggadocio and hater dismissing stanzas while reminiscing about a time when rappers actually had meaningful substance to their lyrics. At the risk of sounding cliche, I tend to agree with the young emcee, rap was more thoughtful back in the day.
Track two, “Chavis”, find the young dude talking about his come-up and discussing the reasons he is driven to succeed in the hip-hop game. While he is no Mario Winan, the sincerity and imperfection of his voice allows his singing of the song’s hook to be enjoyable.
Track three is a flipped of the sample used in “Letter to my Unborn Child” – 2Pac, but with a completely different message proclaiming Chandler’s superiority among his “peers”. Chavis would do well not to have to much hubris (the cause of most Greek tragedies) but then again this ain’t Greece, this is the Murder Mitten, and a lack of confidence here is just a dangerous as too much. The track clocks in around 2.5 minutes with only one-verse, leading me to think that the kid has just enough humility.
Track four “Higher” is my favorite on the project! An uplifting vocal accompaniment coupled with sparse piano chords, dry snares and a shallow bass drum make this song the most minimalist on the tape. However this is where the emcee shines, dropping lines with such ferocity that one can imagine the spittle flying and the veins popping out of his neck.
The government they give us dope but they don’t want us to slang/Old folks complain about us but used to be the same/So practice what you preach/ I roll green in brown sheets to get..HIGH, HIGH, HIGH-EEEERR!
A bouncin drum beat featuring electronic phasers dominate “Ignorance”, which features Chavis displaying that exact trait and spittin’ an ignant, shit-talking flow that would make Kevin Garnett grab a pair of earmuffs. The track definitely goes hard! I recommend high volumes with the bass up!
Inserted after “Ignorance” is a toke of musical kush in the form of “Never Changed” which brings the head-knock factor back down to a reasonable level. This cut is occupied by Chavis talking about his rise from the hardship that is life in the D. Climbing the ranks without major cosigns and staying focused while deflecting the hate. The kid is who he is, come fame, fortune or adversity.
From track six the album takes a bit of a downturn. Track seven has a terrible odd tempo synthesized beat! Skip that ish or you may want to hit stop. The next song, “The Devil is a Liar”, helps to restore some of that greatness that was diminished by the preceding joint. The beat uses a similar sample as “Roc Boys” – Jay-Z, but manages to put a more soulful spin on it.
“Duck Down” is a bad mof*cka of a track! It’s probably what the apocalypse will sound like, if so I’ll be there with my headphones bangin’! With this song pumping through your ear-canals you’ll be surprised at the atrocities you’ll be able to survive without batting an eye. Although that could be a walk in the park compared to life on the east-side of Detroit..
“Lous Coney Island” equals banger! The following explains it all.
I’m clean-cut but still represent the streets/Young blaack mufucka/ With the flow that got you askin’ who is dat mufucka/Turn your favorite emcee into dat wack mufucka!
“The Way You Are” is for the ladies…deaf ladies maybe..In all seriousness though, this ish wasn’t for me. NEXT!
“Why You Mad?” Goes hard! Chavis switches flows up multiple times and the beat provides a nearly perfect backdrop to verbally snuff competitors in the faaaaace!
“OFTLOA II” would be the second best showing on the project if it wasn’t for the super low fidelity moaning. SERIOUSLY?! Remake this joint without all that shit!! A track about loss should not have all that bullshit ruining it at the end.
“Stay True” is a decent track. As an outro Chandler should have chosen something more upbeat. However I will say that it conveys a sense of finality that isn’t contained in any of the other tracks and showcases the war going on inside his head. If Chavis does indeed stay true then us supporters have nothing to worry about. The kid has great natural talent, his delivery skills are almost on par with Kendrick or Nickle Nine. The only advice I would give him would be to develop a more cohesive project and keep infusing his lyrics with meaningful substance. Chavis can do ignorant with the best of them, but the great ones make people think about the meaning behind every line. ‘Bridge Card Raps’ is a very good pencil sketch now Chandler needs to erase the unnecessary lines and fill the blank space with vivid brushwork.
Capital Steez’s ‘AmeriKKKan Korruption’ mixtape starts with a nod to an underground classic ‘Madvillainy’, an album by MF Doom & Madlib. The instrumental used is “All Caps” and while Steez doesn’t reinvent the wheel with this one he manages to not disgrace himself on a well-loved cut. Track number two, “Dead Prez”, is more in Steez’s lane, he gets some original production from his associate (Joey Bada$$) as well as a guest verse. Both emcees manage to deliver some tuff verses; Joey’s got a more confident flow but Steez improves on his second verse, not allowing himself to be eclipsed by Mr. Bada$$. The production on the mixtape is compiled from well known (and unknown) producers such as Ant, Free the Robots, Joey Bada$$, Kirk Knight, MF Doom and Madlib to name a few.
Featured artists are sparse but the verses they do deliver are nice. CJ Fly and Chuck Strangers produce some complementary bars on “Cab Fare”, while Uno Hype keeps things one hunid while riding a Jill Scott inspired instrumental on “HYPE/Beast”. “Doggybag” features a drum break most famously known for it’s use on “The Day The Niggaz Took Over” from ‘The Chronic’ by Dr. Dre. However the melody and the subject matter are both much lighter than their ‘Chronic’ counterparts. Steez does well on this flute dominated smooth jazz-like track; the young boy talks his ish and shows off his vocabulary with lines like;
ADD got me feelin so accomplished you’re novice/ I can make you one of my accomplices/ ride shotty through Gotham like Robin did/ just don’t touch the gaunlets kid
“Doggybag” – Capital Steez
You couldn’t find my logic even if you was Hubble/ I mean, J Steez been sick with this diction/I learned half these words in fifth grade detention
“Doggybag” – Capital Steez
So let me introduce you to the elements AU/I heard you shinin but I got that gold membership/I rose from the bush like valentine’s petals from an unstable family of alkali metals
“47 Elements” – Capital Steez
Given the proper production Steez is lyrically nice, and lucky for him most of the tape is filled with well-sampled original cuts and classic beats from underground veterans. The best tracks on the tape are;
At 14 tracks, 42.8 min, the project is just the right length, most tracks are less than three minutes so one can breez through this mixtape pretty quickly. I have to say that it was dope to hear a reprise of “What’s on Your Mind” by Eric B. & Rakim served up by Joey Bada$$ on “Bonified Loving”. The young boys have a healthy admiration for the ol’ school joints. I’m left with the impression that Capital Steez values substance and quality over quantity/hype. Steez plans to be a staple in hip-hop much like his influences and this tape foreshadows his ascension to the circle of greats. Listen to the mixtape in the player which has links for downloading.
I just happened to stumble upon an up and coming artist, Joey Bada$$. Dude is real dope! He’s got the rap skills of a much wiser emcee, but it’s his 90’s retro NY musical backdrop that’s got me feeling so nostalgic. While I can see that the kid still has some growing to do in terms of originality, he’s already got a good foothold on this mount Everest we call Hip-Hop. My highest rated tracks on the mixtape include;
I have to say that ‘Hardknock’ is THE greatest cut on the project! The technical rapping in the first verse reminds me of AZ on ‘Life’s a Bitch’. Stanzas such as,
Just got word from my mans on the island
He said he needed guidance
Niggas on the streets is wildin’
He look to God but can’t find him
So he demand silence from the glarin’ sirens
The sympathy symphony
Only thing playing is the banned violence
No lyin’ niggas just won’t let go the iron
They wanna burn ya molecules until you let go ions
My city be the genesis for where they think the terror is
They linkin terrorists from the Stuy
Then Lincoln Terraces
Stay on that reckless shit
They leave you left for the dead
Kids don’t play they’ll erase your head in a race for the bread
Children on the corners slingin’ some regs
Poppin’ some meds
Jakes be so deep in cover they be chasin’ the feds
I be back stage grippin’ haze breakin’ my leg
My folks was makin’ the best
When they was naked in bed, muthafucka
The last stanza of the latter verse lets you know what’s up! The most impressive part is that both verses are spit in rapid succession as if these might be the last words the Bada$$ utters. To fully appreciate the immensity of this track hit the visual.
Download ‘1999’ at http://www.sharebeast.com/ovq3g0n0lafr
I thought the ‘Return of 4eva’ was a grand entrance into the mixtape circuit, ‘4eva N a Day’ matches its creativity while seeming to avoid its pitfalls. 4NaD has more quality tracks than its predecessor, however Ro4 has better quality music. The two mixtapes have the same overall rating. Ro4 is more raw, but 4NaD was better crafted.
Anyone who isn’t a fan of King Remembered In Time (K.R.I.T) needs to be soon. His music is emotional, but confident, conveying a maturity that would be expected from a more established artist. His subject matter is a melting pot of self reflection, social commentary, and slab music. KRIT is a multi-talented producer and emcee. Be on the lookout for more of his work.
That, “young wild Vegas boiiii”, was not funkin’ around when he dropped this bombshell. If the world ended tomorrow I hope, I hope, I hope this is the backdrop to the rebuilding! The production on this mixtape is damn near impeccable! Tracks move the from the blaring intro anthem “Farewell” to the eerie “Highlight” which creeps along and makes the hairs on the back of your neck stand up. In terms of lyrical ability Sedrew is no slouch! He burns bars into your dome! Lines like,
Sin City, we get that guap here/ set up shop in the club cause the block to hot here/ I be scared then a mug, they got tupac here/ black vest, hoodies, and got to ride wit’ my swat gear
on “Effortless” are an exercise in braggadocio. They detail the brolic history of his city, while at the same time letting us know that he’s strapped on the daily. Sedrew is a fresh breath to the game. His delivery blends the vocal range of E-40, the frenetic pace of Canibus, and the punch line delivery of Fabolous. This man should NOT be slept on! His name will one day have the same status as the afore mentioned legends.