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Common - The Dreamer, The Believer (Album Review)

Jan 022012

Common - The Dreamer, The Believer

Rating: 4.5/5

Remember Universal Mind Control? Yeah, me neither. But Common comes back with a possible album-of-the-year contender with The Dreamer, The Believer.

“How can I say this, f*ck it, I’m the greatest! / I am the A-list for all these great debaters!” Common lets you know on “Sweet” that he is again back in top form. Not that he really ever left, but there has been a couple of less-than-stellar albums over his nearly 20-year, 9-album career. During this time, Common has still remained in many fans top 10 or top 5 MCs lists.

After 2008′s very ‘meh’ Universal Mind Control, The Dreamer.. may be the Common album die-hard fans have been waiting for. Here you get a little of the familiar Common on songs like “Cloth” and “Lovin’ I Lost”, both are smooth and female-friendly, but with that slick wordplay, double entendre, and poetic flow he is known for.

“..I admit I had issues like Ebony, your Essence, your pedigree, your presence It’s more than clothes can say for you When I shop I gotta spend more than a day for you..”
(-”Cloth”)

In addition to this familiar Common, you also get a surprisingly aggressive Com, rarely heard outside of the infamous “The B*tch In You” and “Hungry” and “Stolen Moments” (from One Day It’ll All Make Sense.) This un-Common(see what I did there?) gets raw on tracks like the summer street banger “Ghetto Dreams”, featuring a dream pairing with Nas. That track increased the hype level for the album, and Com did not disappoint. He also goes in pretty hard on “Raw” and the angry “Sweet”, the latter of which is causing a tiny bit of buzz lately. Not because it’s a hot track, which it is. It is the un-Common-like profanity laden tirade against soft, sweet, singing rappers (Drake, maybe?) at the end. (Common kinda, sorta confirmed Drake as a target by way of not denying it in a radio interview.) No matter how you feel about it, it’s not a great look for Common. From a distance it just looks like an “older” MC provoking a younger, platinum-selling star. Not to mention borderline hypocrisy from someone whose career has MANY soft and sweet songs. See Electric Circus for example. Not a good look, moving on…

“..Tats on her back, looking all tribal
She know shoes, like she know survival
Well put together, she weathers the storm
Seen her brother die so forever she’s strong
Hear Beyonce’s song and she gotta perform
Whether f*cking or fighting: we getting it on..”
(-”Ghetto Dreams”)

In between the edgier tracks, the album is balanced nicely with more relaxed efforts. On “Gold” Common shares an uplifting message about the staying true to yourself on the path to success. The aptly-titled “Celebrate” is another smooth, light, fun song that should serve radio well. Both “Gold” and “Celebrate” contain vocals from noted singer/songwriter James Fauntleroy, who provides either hooks or background vocals for half of the album. This helps to give the album a consistent
feel throughout.

Another HUGE key to this album’s success is the production, exclusively handled by No I.D. No I.D. and Common last worked together in 1997, after he produced Com’s first 3 albums. After 14 years, their chemistry is still as strong as ever. Simply put, No I.D. LACED him with some if his best work to date. And he provides a variety of styles to perfectly match what Com is bringing to the table, which is rare when you have such a strong lyricist. From the progressive ”Blue Sky” to the soul-sampling “Lovin’ I Lost” to the head-banging, Primo-esque “Ghetto Dreams,” it is No I.D who gives this LP the extra nudge toward 5-star territory. Many seasoned MCs have failed when attempting to go “back-to-basics” or recreate the magic of their earlier releases. Common has succeeded(or surpassed) some of his earlier classics by creating something unlike his previous 8 albums. It’s different, but still evolutionary, and I think that allowed Common (and No I.D) to come in with new energy and make something special.

Resurrection? Maybe..

charliedigital is guest contributor to MusicandModeling.com. Find his random tweets and re-tweets on hip-hop, black culture, and technology @charliedigital

Drake - "Take Care" (Album Review)

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Nov 232011

Drake - Take-Care

Rating: 4/5

Did Drake just slip us a (very good) R&B album?

Take Care is the follow-up to last year’s platinum-selling Thank Me Later, a good but admittedly rushed debut. This album represents a slight evolution of Drake as an artist and hip-hop star. A star whose penchant for singing divides the audience to those you that love his refreshing, boundary-stretching hip-hop and those that dismiss it is emo-rap-singing.

Compared to Thank Me Later, there is a lot more (actual) singing this time around. Part of Drake’s growth into his own sound includes an extraordinary ability to blend his straight-forward rap flow, his sing-song flow, and actual singing into flowing, cohesive songs. And into a flowing very cohesive album. That is the beauty of Take Care. Where many current albums try to simply provide a collection of hit singles, (more accurately, 2-3 singles and 8-9 filler tracks), Take Care aims to be a complete thematic work, and mostly succeeds.

Anyone familiar with Drake’s previous work will not be surprised at the musical direction of this album. Mostly handled (or co-handled) by Noah “40″ Shebib, Take Care has downtempo, muted beats, smart hooks and the atmospheric synths that the Drake & 40 team is known for. The only exceptions are the post-dubstep title track and the magnificent Just Blaze’d “Lord Knows” with Rick Ross. Lyrically, it would be easy to dimiss the subject matter as “women and fame and their effects on each other”, but Drake takes this a step further and focuses inward. His weaknesses, his insecurities. They still revolve around women and fame, but Drake is willing to expose much more about himself than the average rapper. Ex-girlfriends are constant theme on this LP. Drunk-dialed confessions to exes (“Marvin’s Room”), apologies to exes (throughout the album) and just straight up bitch-I-made-you stylin’ on exes (“Shot For Me”). It’s not all soft stylings on Take Care, though. The album has a subdued tone, but Drake cranks up the energy and flexes on “Headlines”, “Underground Kings”, and the choir-driven crown jewel, “Lord Knows”, with Ross. Another highlight is the slow, sub-bass groove, “Cameras”, another track where Drake’s delivery blurs lines between genres.

Starting to sound like a 5 star review? Slow down. There are some missteps. “Crew Love” is just too extra. Too much distortion, the crashing cymbals, and a really, really over-sung hook by The Weeknd. Too much. Too extra. Then there’s two Lil Wayne appearances that maybe weren’t needed, “The Real Her” (thankfully saved by rap-recluse Andre 3000) and the “HYFR” (Hell Ya F*cking Right), which is just as awful as that title sounds. Thankfully, these do not (completely) disrupt the flow of an otherwise cohesive work. Hip-hop, R&B, electronic dance, and pop are all combined to make something that is uniquely Drake but will probably be copied ad nauseam for the next year. Get ready.

charliedigital is guest contributor to MusicandModeling.com. Find his random tweets and re-tweets on hip-hop, black culture, and technology @charliedigital

Tyrese - Open Invitation (Album Review)

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Nov 022011

Tyrese - Open Invitation

Rating: 4.5/5

The chill of Fall has finally crept into the South, and along with those crackling fires, we have Open Invitation to warm us. Talk about a stellar re-introduction. With his latest, Tyrese reminds us that he is a R&B mainstay, no questions asked. While the album is a play-straight-through, there are a few favorites I’m itching to chat about.

In I’m Home, Tyrese eases us into his world—feeling his own swag but giving tribute to his fans for still believing in his music. With Stay (my favorite so far), let’s say there’s a reason it was a single. We R&B addicts are taken back to those college loves, those good ole, finger-snapping (and hip-rocking) times. There’s nothing like a man who begs you back with a good song. My favorite line: “I’ll go that extra mile to make you smile…” In relationships, no one is perfect, but top-notch apologies inch you closer.

The beautiful Best of Me catches you with this one line: “I feel like I can conquer the world with you by my side.” It’ll have your heart swooning. I see perfect wedding music with this one.

Every woman should listen to Takeover. Sometimes we can be so quick to move on to the next and not wait to heal from the first. In this song, a woman who catches Tyrese’s eye stands her ground after a recent break-up (Who cares if the new man is Tyrese, right?). The message: Exert that power, ladies. Have him wait and profess his intentions, but only if you first give him permission. The power line: “I can take control, as long as you say so.”

I Miss That Girl gives us that old-school, cruising on a Sunday feel. He misses his old girl, who’s really still there, but a bit changed by life and their rocky relationship. But he still loves her, especially with this line: “Girl, you gave the birds a new song to sing.” Another insightful message.

Angel, with its melodic intro, made me want to dive into a manly bear hug. A sweet duet that’s a lover’s tune. What woman doesn’t like to be compared to an angel? Clever words. One of the reason’s it’s in my top three.

After listening to the music, your “feel good” is capped off with a poem of gratitude from Tyrese. He shares his presumably most intimate thoughts on his plan for success, his adoration for God’s will, and respect for himself as an agent of change. Pin back your ears and sink into his words of wisdom on being who you are despite what others say. When you finally accept and honor yourself, you’ll finally be open to receiving what’s only for you. The truth: “If I make you uncomfortable with my bottom line, then don’t cross it.” Quite the way to end an awe-inspiring album.

Follow Tyrese on Twitter

TashaMack is an editor, writer, blogger, and part-time contributor to MusicandModeling.com. For more info., visit her on twitter: @iamtashamartin.

Ledisi's 'Pieces of Me' Tour - Charlotte, NC (Review)

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Oct 262011

Ledisi - Pieces of Me Tour

I have never left a concert feeling so inspired! I’m writing this review on my way from Charlotte, forty minutes down the road and I still have chills. With five wardrobe changes, stellar background singers and band, plus a feet-stomping encore, Ledisi threw a world class show that rocked me to the bones. She’s organic–as my husband would say. All natural raw talent that stands alone–but I sucked up all that energy she gave! Go to a Ledisi concert and you WILL feel her spirit. Her heart matches her talent. When watching her perform, her energy cloaks you like a warm blanket of feel-good.

She sang (and danced–really. Down and dirty with her background singers) a medley of my favorites, and surprisingly sang Bravo and Pieces of Me (my heart strings) all the way through. I had a once in a blue moon groupie moment. One my husband has never seen before.

My favorite part was her testimony, how she almost gave up on what God gave her. Her words of encouragement will stay with me, especially: “There’s a door called fear, and you must open the door to see the blessing on the other side.” You can’t help but love a women who shares her empowerment, her gift.

Real music lovers will appreciate the Pieces of a Me tour. Go now and purchase your tickets. Kill the procrastination. You’ll thank me after the concert.

[Show as slideshow]

TashaMack is an editor, writer, blogger, and part-time contributor to MusicandModeling.com. For more info., visit her on twitter: @iamtashamartin.

2011 BET Cyphers, The Best And The Worst

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Oct 152011

2011 BET Hip Hop Awards

Okay, for a moment, just for a moment, let’s imagine that we live in an alternate universe where the Shady 2.0 BET Cypher did not happen. That the Shady cypher did NOT make you look at the earlier cyphers with disdain and pity. That Em, Slaughterhouse, and Yelawolf did NOT make ninjaz wanna tuck their whole careers in and go back to working at the Verizon call center. Okay, that didn’t happen. That said, here’s my alternate-universe ranking of the top 5 Best & Worst of the 2011 BET cypher appearances.

The Best, in no order:
1) Lady of Rage: she’s gets on the list for the pure surprise where-did-she-come-from factor. And she did well!
“Robin Givens of spitting sh*t, I’m cruel to mics.” Baby D still got it.

2) Skillz: C’mon, it’s Skillz. It’s same old Skillz flow, but it’s still tight, clever, and punchy. He definitely takes the crown as the funniest of the night with lines like, “never coming in like Jay-Z’s mustache.” (Yeah, remember “alternate universe”, focus people).

3) Lecrae: Now, I had not heard of this Houston MC. And after a little research, I see why. He is labeled as a Christian rapper, which I normally do not flux with. But he did not sound like the typical Christian rapper, if there is such a thing. He sounded fresh and hungry, especially for someone that has five albums on the streets. The streets with churches on them, I guess. In fact, he had one of the night’s more memorable lines:
“ if you’re living for whips and chains, then you’re a slave!”

4) Soprano: I don’t parle the francais, but them subtitles were fire, mon ami! Seriously, I saw some good lines in there. He had great energy, and let’s face it, everything just sounds awesome in French. I could probably stomach a french Plies song. Probably not.

5) Busta Rhymes: We get a very blazed, but focused Busta here. He turns off the rapid-fire, murder-other-peoples-track flow and turns on the aggressive, mafioso flow he’s been using for the past few years. Busta’s just having fun sonning ninjas. He is absolutely comfortable and relaxed as a veteran should be. No big mind-blowing bars, but it’s the energy and body language that sells this one and makes it one of the most memorable.

The Worst

1) Reek Da Villain: Gives us gems such as, “Lyrical scientist, leaving mics with psoriasis…,” and
“Blowin so much loud, I need a hearing aid for my lungs?” Whaa? I know what he means, but I still gotta throw a flag for metaphor misuse. 10 yards.

2) Dom Kennedy: On the bright side, Dom was probably the only MC that didn’t spit a pre-written rhyme. Okay, maybe Blind Fury. But since the others came with their…ahem…best stuff, Dom looked, well, really unprepared as he relied on cliches for crutches.

3) Pill: One line, did this dude just say he was “hotter than a snotty nose”?

4) Nitty Scott, MC: She’s beautiful and skilled and everything, but you can’t just say you’re “the real life rap Halle Berry.” Violation.

5) And the grand prize goes to 2 Chainz, formerly known as Playaz Circle’s Tity Boi. Oh my, where to begin. At the beginning:
“What goes around comes around like a hula hoop…” Wow, profound.
“Call this sh!t bluetooth, cuz I don’t need a mic?” Okay…
What really gets Mr. Tity the prize is that he spits with such conviction, like he KNOWS he’s hot ****. I love it.

Honorable Mentions
1) Machine Gun Kelly, for signing with Bad Boy. And being proud of it.

2) Blind Fury’s people, for letting him rock a shirt that read “Kick Ryhmes or Kick Rocks.” If you can’t read/spell you should roll with people that can read/spell.

That’s it! Disagree with me in the comments. I’m out! 2 Chainz!!!

charliedigital is guest contributor to MusicandModeling.com. Find his random tweets and re-tweets on hip-hop, black culture, and technology @charliedigital

Jill Scott - Hear My Call (Video Review)

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Aug 282011

Jill Scott - Hear My Call

I have to admit that “Hear My Call” was never my favorite on Scott’s Light of the Sun. In fact, I don’t think I ever quit listened to the song all the way though. I’d be more apt to skip to “Womanifesto” first–and quickly. More empowering and easier to swallow, I think. Bold admission, I know. But honesty is good for the soul, right? So I’ll be honest in saying that I couldn’t get through the video either. But not because of what you’re probably thinking (negative thoughts). I just don’t think I’ve ever seen a video so revealing.

Yes, it’s a production, but I find something more behind the dramatics. Or rather Scott’s tears. Her entire album is marked and inspired by her life–the good and ugly, which forces me to look past her obvious stellar but recent acting portfolio.

When you watched it, did you feel it? Soul-wrenching. Beautiful. At one point I had to stop watching it, so I opened another window and browsed Facebook while it played in the background. Maybe that “more behind Scott’s tears” speaks more to the inkling (well, fact) that there’s “more behind” my reaction. The truth is that I love the video. Its simplicity. Jill’s directness with her audience. The audacity to brush against the current shock and awe cinematic trend. The naked bravado. Rawness. The intensity of her eyes. How could you not feel it?

In the past, maybe I wasn’t ready to hear this song, which made the video more difficult to digest. But since yesterday, I’ve listened straight through. Twice! And each time I was forced to open myself to its beauty.

However you center yourself, whether or not you pray, try finding that one medium that causes you to pause and listen to the beauty speaking to you. There’s something powerful about being still.

TashaMack is an editor, writer, blogger, and part-time contributor to MusicandModeling.com. For more info., visit her on twitter: @iamtashamartin.

Big Sean - Finally Famous (Album Review)

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Jul 052011

Big Sean - Finally Famous

Rating: 3.5/5

After a few delays, 2010 XXL Freshman and Kanye West-protégé, Big Sean releases his G.O.O.D. Music/Def Jam debut, Finally Famous. Maybe I shouldn’t call him a newcomer, Sean has been putting out some good music for the last few years on the mixtape scene. Will he follow the same hot-mixtape- to-mediocre-album path that so many others have? Will Def Jam neuter the lyricism? Well, let’s make like your mom’s hairstylist and run through the tracks.

“Intro”
Over a soft piano loop and some even softer chords, Big Sean touches on the journey that brought him to this point. A short intro, but very reflective, and poetic. A sample:

I put the city on my back
So that way if I fall
I’m crowd surfing the map
I turn mistakes into lessons
Dead ends to exits
On the journey of my life
So I’m inviting ya’ll to get in

“I Do It”
This one is really a display of the skills that got him signed. It’s full of quirky wordplay and unexpected metaphors. A simple beat with hard kicks is just enough to allow to him black out. Good stuff.

“My Last” (feat. Chris Brown)
If you own or have come hear a radio recently, I’m sure you’ve heard this one. Not usually my cup of tea, but it’s a great rap-R&B collab. With Chris Brown present, it (successfully) aims for the screaming girls on 106& Park.

“Don’t Tell Me You Love Me”
The teen-fangirl bait continues. A love song? Not really. At time it borders on Drake-level heartbreak-rap(which I like actually). His voice is straining and forceful like he’s spitting some real emotional ish, but it’s superficial and feels, well, forced. Sean doesn’t go deeper emotionally(like Drake), mostly keeping things at a physical/sex level. He’s a young artist, fans will expect more as he matures, though.

“Wait for Me” (feat. Lupe Fiasco)
Though Lupe Fiasco drops a very slick verse, this track is pretty skippable. Uninteresting production from No I.D., who handles most of the album. It’s low energy, which is good sometimes, but not this time.

“Marvin & Chardonnay” (feat Roscoe Dash and Kanye West)
Roscoe Dash on the hook (no, seriously Roscoe Dash) really brings some much needed energy to the album on ‘Marvin(Gaye) & Chardonnay’ with Kanye. No need for deep analysis, it’s a great uptempo club track that got my head moving. Yeezy steals the show here with a wild verse, but Sean is never lacking. This is scheduled be the next single and it will likely destroy the radio and the charts.

“Dance (A$$)”
Crazy bass line plus playful lyrics about a certain female body part equals PERFECT stripper music! I guarantee the next time you go visit Diamond, China, or Cristal, she will be disappointing her father to this track right here. A sampling of Hammer’s “U Can’t Touch This” just makes it all the more entertaining. It’s more objectifying than misogynistic, so that’s not so bad, right? Oh well, Essence magazine will probably have a town hall meeting over this, but I really like it. Sorry, ladies….*shrugs*

“Get It(DT)” (feat Pharrell)
Sounds like something The Neptunes had laying around since The Black Album days. However, this reviewer is a sucker for a synth-driven Neptunes track and Pharrell falsetto. Sean drops some slower flow braggadocio that matches the track well. Great track to ride to.

“Memories pt II” (feat. John Legend)
This is a remixing of a song from the Finally Famous mixtape series. Sean reflects over this soul-inspired track. Decent, but again, he just skims the surface of his emotions. He won’t take that extra step. Shame, because he possesses the talent to do it.

“High” (feat. Wiz Khalifa and Chiddy Bang)
Okay, the song is called “High”, it features Wiz Khalifa, and the EXACT length of the song is 4:20. So, you know what to expect. Whether you’re into the subject matter or not, this is a hot track, smoking, if you will. Definitely a highlight on this release and a great candidate for another single. Xaphoon Jones (of alt-hip-hop group Chiddy Bang) provides the sonics and it has a nice mid-tempo bounce for head-rocking. It’s a smoothed-out version of their usual hip-hop meets electronica sound. Khalifa helps keep things smooth with his melodic flow, but Sean sets it off with a bang. Sample:

Now I’m in the building like two planes b****
Kickin’ it with my shirt off, on some Liu Kang s***
Sleep with the sun up like I grew fangs b****
I come alive in the night, on some Bruce Wayne s***

“Live this Life” (feat. The Dream)
Wow, if you were feeling nice from the previous “high,” this definitely kills the buzz. The Dream brings a lame hook, Sean drops some the weak verses about living it up or something. Uggh. If you bought the digital version, just delete it.

“So Much More”
There are no Kanye West-produced songs on Finally Famous, but this No I.D production has the most Kanye feel to it. Using the vocal sample as part of the rhythm, it sounds reminiscent of “Let The Beat Build”. Sean really goes in and spits in a near-freestyle flow for about 3 minutes, then Sean talks to the listener about realizing his dreams (making it), like “Last Call” on College Dropout.
He closes his verse (and the album) with these few lines which really sum up where Big Sean feels is his place in hop-hop right now.

Without any preparation, I exceed these expectations
Man they wanna see me dead, but I gave ‘em dedication
And I’m yelling f*** ‘em all with a hundred exclamations
Cause I’ma be the man til my fucking expiration

Conclusion
Finally Famous is a solid debut from Big Sean. I must admit, I was pleasantly surprised by the quality of this release. This is a major label debut album, I expected a ton of guest appearances and R&B cuts like “Live This Life”, but those were kept to an acceptable minimum.This really allowed the focus to remain on the artist. The lack of any Kanye West production is little shocking. No I.D handled the bulk of the beat duties, but most of the standout tracks(“Marvin..”, “Dance”, “High”) were not produced by him. It’s not bad, but nothing(from No I.D. was) fresh or noteworthy. On the lyrics side of things, Sean is rarely lacking. His quirky rhymes may not appeal to all, but it’s hard to deny his skill. The album has a good balance radio-fare and straight fan service and is worth a listen.

Big Sean’s Official Site

charliedigital is guest contributor to MusicandModeling.com. Find his random tweets and re-tweets on hip-hop, black culture, and technology @charliedigital

Jill Scott - The Light of the Sun (Album Review)

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Jun 242011

Jill Scott - Light Of The Sun

Rating: 4.5/5

One word: Hawt.

From the opener “Blessed”, Jill Scott skillfully lures you into the compilation’s feel-good vibe with her infamous lyrical play. Finger-snappers “So In Love” with the comparable Anthony Hamilton and “Shame” featuring Eve follow suit with its house party flare.

You can’t say Jill without expecting sexy. With lines like: I imagine myself on my knees, waiting for you to come over and see…need me, songs like “Until Then (I Imagine)” offer a perfect evening’s foreplay. Add “So Gone (What My Mind Says)” with its real talk about how body betrays mind ‘cause it feels so good, and the moaning and panting background symphony of “Missing You”, you have the right backdrop to aid your hips, you know, in that perfect erotic rock.

True to Scott’s signature, you get the personal. With a snappy drum line, “Quick” recaps how quickly love (her love) can and did sour. But, she counters the boo-hooing with a few songs that speak the drudgery but triumph of moving on. “When I Wake Up” is on repeat in iPod. Every woman who’s gone through some shyt should not hear, but listen to it, hard. I’ve let you go… But when I wake up, everything I went through will be beautiful. Beautiful.

Fresh, spunky, and head-bobbing “All Cried Out Redux” featuring the legendary beat box, Doug E. Fresh, cleverly exclaims the good that happens when you move on—on the upbeat.

“Womanifesto.” I pumped my fist with this one, taken in by the first words: “Clearly, I am not a fat ass.” The rest—empowering. I am strength from the inside out. I am a grand dame beast! Enough said.

“Rolling Hills” reminds me of the flow in “A Long Walk”, speaking to our less empowered sistahs. Maybe they don’t know what’s between their thighs—the unyielding power, but Jill speaks the truth like a casual, i-know-I’m-the-ish stroll on the street.

I dig the production. With the adlib at the end of a few songs, listeners feel as though they’re peeping into the studio, watching creativity at work. Songs seem to roll together, into each other. The undertone: Have a spirit of discernment. A phrase you hear often. Be careful who you lend your heart to.

With Scott’s The Light of the Sun, I envision myself writing at my desk under a candle light’s glow, entertaining a few friends or that special someone—in that same intimate but casual or sexy glow, depending on the need. The project is versatile, just like Ms. Scott in all her rhythmic glory. As my mom would say with her head cocked to the side, “She put her foot in this one.”

Jill Scott’s Official Site

TashaMack is an editor, writer, blogger, and part-time contributor to MusicandModeling.com. For more info., visit her on twitter: @iamtashamartin.

Ledisi - Pieces of Me (Review)

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Jun 162011

Ledisi - Pieces Of Me

Rating: 4/5

On first listen, I fell in love with “Pieces of Me”, the title track from Ledisi’s latest. I smiled wide, ignoring the interested, nosey onlooker in the car next to me, just loving how she passionately proclaimed the awesomeness of women—we can be anything and everything. And yes, I agree. A few minutes along, I thought, “Uh-oh.” Where’s that signature power, the tingle on my skin when she hits that note? (You know the one.) And then I heard “Bravo”.

Love him hard, but love yourself harder is the theme of this project. With a catchiness synonymous to “Higher Than This”, Ledisi delivers a celebratory hit with “Bravo” that demands every person celebrate life, celebrate yourself. Wherever you are, you can’t help but stop, shake off that pain, and clap for yourself. Definitely one of my favorites.

“BGTY”, or Be Good to Yourself—brilliant. With a sharp 60’s vibe, Ledisi demands as only her voice can that you get it together… even when it hurts so bad. The way she sang, you have no choice but to listen. Almost like when your best friend snatches you up and slaps you with the truth.

“Shut Up” is my anthem of the week. People are always telling you what you can’t do. Ledisi cleverly tells you how to get’ em out your way. Forget all the formalities. Tell them to, well, shut up!

“Raise Up” and “Shine” are perfect for those Sunday mornings when you just can’t seem to roll out of bed… They’d definitely put that pep in your step, and have you singing at the doors of the church—or in front of the faith-tube.

Empowering, yes, but with former tracks like “In the Morning” and my all-time fave, “Going Thru Changes”, I wondered could it get any better? As I anticipated, Ledisi doesn’t disappoint. Love ballad “I Miss You Now” croons how crazy we women can get, going back on our word, forgetting that hellacious fight all in the name of getting that good loving—I mean, man—back again. My favorite line: Your mama keep calling my house, asking why you’re sleeping on her couch… Don’t you just love her lyrics?

With the sexy deep-grinding vibe “So Into You” and give it to me now “Coffee” with it’s cool word play, you have the perfect recipe for a baby-making tryst. Or a late night you-know-what-it-is rendezvous.

If you’re left with the question: What happens when it’s bad but oh-so-good?, listen hard to “Hate Me”. Fellas, we women know we can be a little bull-headed, but stop playing like you’re going to leave. Ledisi gives it to you straight: You know how it was when you met me. Tell it, Ledisi!

Easy going, empowering, and with love ballads that’ll make you feel like your dancing at a “hole in a wall” late at night, Pieces of Me is plain ole good music. I’m not wild about the production of every song, but I love the message behind each, and with Ledisi’s beautiful gift… Let’s say I can’t wait to hear POM live.

Ledisi’s Official Site

TashaMack is an editor, writer, blogger, and part-time contributor to MusicandModeling.com. For more info., visit her on twitter: @iamtashamartin.

Bad Meets Evil (Eminem + Royce Da 5'9), Hell The Sequel (Review)

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Jun 152011

Eminem Royce Da 5'9 Bad Meets Evil

4.5/5

Detroit’s Royce Da 5’9 and Eminem reconnect as Bad Meets Evil after a 13-year separation. You would think it was only 13 days judging by the chemistry displayed here.

The EP’s opener, “Welcome 2 Hell”, is backed with Havoc’s infamous, dark, atmospheric sound. Think “Nighttime Vultures” from Mobb Deep’s Hell on Earth. Eminem reintroduces himself and reintroduces a style rarely seen since The Marshall Mathers LP. It’s rapid and aggressive. No cartoony voices, no weak clown-ish lyrics. This is great sign of things to come; it is a reminder that Shady can still destroy your favorite rapper when he wants to. Though Em was always one of the strongest rhymers working (or arguably, ever), those last 3 to 4 albums were kinda ehh….

After the four minute lyrical relay-race that is “Fast Lane”, Bad and Evil slow things down for the storytelling track, “The Reunion.” Evil’s (Eminem) style here is old-school Slim Shady. He and Royce detail their respective (but then intersecting) encounters with women. The slow, dragging, industrial beat along with Em singing the chorus creates a D12 feel to the track. I was kinda hoping Bizarre would pop in with one of his highly deranged, acid-rap verses. Ironically, this is one of the few tracks NOT produced by Mr. Porter (D12′s Kon Artis). He does, however, create one of the more memorable cuts on Hell, “I’m On Everything.” It features a sample from comedian Mike Epps’ standup act. Royce and Em run down their favorite substances and their delightful effects. Besides the hook, Porter makes interesting use of the chopped Epps sample as part of the beat. This likely will be a fan favorite.

Now you would not expect to find current pop golden-boy Bruno Mars anywhere near an Eminem-Royce project, so seeing his name on the tracklisting was a bit of a shock. If you’re familiar with Mars’ recent pop successes (B.o.B’s “Nothin On You”, “Just The Way You Are”), you’ll have an idea of what to expect on “Lighters.” It has a simple, but catchy made-for-the-arena hook that is tailored for radio burn and audience participation. Hardcore fans and rap nerds will twinge a little at the hook, but it’s not really a bad song and fits into the current climate of hip-pop hybrids (“Love The Way You Lie”). Both Royce and Em come through with defiant, against-the-odds verses. It’s unexpected and a definite shift in tone from all the comedically violent imagery and heavy braggadocio, yet a decent track.

“Take from Me” continues the “y’all-doubted-me-but-I’m-still-here” theme. Bad Meets Evil gets a bit more honest and introspective. Royce reflects on the industry’s effect on his life and Eminem follows suit and adds some honest discussion on the personal effects of piracy. Eminem ends his verse in “Take From Me” and begins the next track “Loud Noises” as an introduction to new Shady members Slaughterhouse as his gift to the world. (Really? His gift to the world?) Anyway, this fast paced final track is a perfect song to introduce the beat-murdering Slaughterhouse (Royce, Crooked I, Joell Ortiz, Joe Budden) to some new fans. This track also shows that Eminem is one of the few humans that can lyrically hang with Slaughterhouse. But it is Crooked I who clearly steals the show with a head-spinning, seemingly endless (and seemingly breathless) verse. I can’t even put a sample here, it must be heard to be appreciated.

That last track really emphasizes what I believe is the point of Hell; it is one giant display of lyrical athleticism. Even when they’re not in top form, they are still so far beyond the average rap artist. And you don’t even notice it, because the two are never weak at the same time. There are really only a few standouts in terms of production(“Fast Lane”, “I’m On Everything”, “A Kiss”), though the beats never detract from the song. This is a good thing because the lyrics are usually rapid-paced, complex, but still rhythmic, so minimal production is usually preferred. The brain is too busy focusing on catching metaphors, double entendre, extended punchlines, or just keeping up with the pace. Figuratively speaking, at many points in this work the production kinda fades away into a metronome, just keeping the tempo to allow Royce and Em to go in(sane). This is a no-question “must-buy” for any fan of Eminem, Royce, Slaughterhouse, or lyric-focused rap in general.

You’ll leave this album with just two questions: 1) Will the next Eminem solo album contain this renewed battle-style?, and 2) Where is that Slaughterhouse album?

charliedigital is guest contributor to MusicandModeling.com. Find his random tweets and re-tweets on hip-hop, black culture, and technology @charliedigital