The Cold Cut

Kanye West's post-'Graduation' campaign is going well. Three great singles, some nice live performances, four Grammys, and now two good videos to his name (unfortunately, 'Stronger' wasn't up to scratch). That's right, the third single has been announced- 'Homecoming', featuring Chris Martin.

The video has some nice touches (that outline idea is pretty well executed), and the video fits the jaunty piano and weird dancing, from featuring artist Chris Martin. I guess that's one thing you can expect from a man who named his daughter 'apple'.

Some treats for you- as well as 'Homecoming', an inventive Diplo remix of what was the last single- 'Flashing Lights'.

Kanye West- Homecoming (Link 2) (Link 3)
Kanye West- Flashing Lights (Diplo Remix) (Link 2) (Link 3)

Rating: 9/10- Estelle delivers once again... only second time around, to much celebration

Estelle- In The Rain (Link 2) (Link 3)
Estelle- Pretty Please (ft. Cee-Lo) (Link 2) (Link 3)

I can only imagine how Estelle must be feeling at this moment in time. The last ten years, since her career began, have been building towards this moment: recognition. For the first time in her career, she has been pushed to the forefront of music.

'1980' was the introduction, charting at 14, and followed by 2004 debut 'The 18th Day'. It was a great album, with guest spots from Talib Kweli and John Legend, but didn't have the desired impact. Despite winning a MOBO for Best Newcomer, the album peaked at #35. Estelle kept the connections alive by featuring in Legend's 'Save Room'. He repaid her tenfold by signing her to his new label, Homeschool records. And 'Shine' is the culmination of the last 3 years.

Her career was riding on this album- she has talent, but we all know that great artists sometimes disappear without a trace. On the basis of 'Shine', Estelle is set to do the opposite. It is a brilliant collection of songs (check out other reviews here), expanding her sound but not cutting out any of the elements that made her an underground hit. Critically, 'Shine' more than satisfies the huge expectation that it had prior to release.

The album starts off well, with 'Wait A Minute (Just A Touch)', the first single which bombed in the charts. I'm not sure why, given the excellent production from will.i.am and easy mix of vocals and raps. We are then treated to 'No Substitute Love', an easy riding anthem that rips the chords from 'Faith'. Track 3 is a big one: 'American Boy'. Most people hadn't even heard of Estelle until 'American Boy' shot to the top of the charts. It's a good song, no doubt, but it's obvious that Kanye West's presence is one the factors that led Estelle to chart domination. It doesn't exactly fit with the album, but Estelle's British accent is present, and she does us proud: 'Tell em' kno wagwan blud.'

The next few tracks slip by easily, notably 'Magnificent' (produced by Mark Ronson) and 'Come Over', where Estelle exercises her ska/reggae roots to great effect. The tempo picks up a notch with the Wyclef Jean produced 'So Much Out The Way', a song that emulates Lauryn Hill ('Miseducation...' era)- a comparison Jean coined- chopping some nice vocals and verses together. Her ability to do everything is present here: writing, singing, producing and rapping. A deadly combination.

'In The Rain' is the real deal. This is a potential third single, with its catchy hook, radio friendly beats and quintissentially British lyrics. 'This reminds me of summer. I'm talking about English summer. You know, when it rains.'.

'You Are' has Estelle and Legend teaming up for a duet. John is on form, as ever, and it's a nice touch to have them celebrating her revitalised career together, on record. To be honest, she owes so much to him; he must have called in some huge favours from the big names, given the producing and featuring credits on 'Shine'.

She pulls out the stops for 'Pretty Please', featuring Cee-Lo. John suggested she sing more for 'Shine', and this move has really paid off. And finally, 'Shine', the title-track. I'm sure it must be a direct continuation of '1980's story, with similar lyrical content and that feel-good vibe: 'Yes I worry bout bills, But a change gonna come. I wanna play rapper. Rock the bells'

The track order has been worked to perfection: there are strong songs placed all the way through 'Shine', which passes by quickly, with no dips in quality. Estelle goes about her work with determination, pulling off her now balanced combination of singing and rapping with ease. The album is a lively mix of genres, taking cues from her roots, hip-hop, to widespread ska, reggae and R'n'B.

My only criticism is that I still think Estelle has a lot more to give. 'Shine' is the album that will no doubt catapult her to stardom, both in the UK and in the US. She needs that break, but once her fame is solid I think we will be seeing much more of Estelle. I, personally, cannot wait.

'Shine' is about love, not in the soppy sense, and Estelle has obviously poured her heart and soul into this album. The lesson that can be taken away from this album is undeniably that 'good things happen to good people'. It's been a slog for Estelle, but her ambition has finally paid off.

'Shine' can, and should be, bought here.

When I first heard Justice's '†', I was impressed, but not as much as the hype said I should be. Worst of all, I found the Daft Punk comparisons confusing: they're a duo, and they're French. Must be the next Homem-Christo and Bangalter, then. Never mind the fact that their music is only loosely similar.

However, the album really crept up on me- mostly due to its marketing: the videos have all been excellent (watch DVNO, NOW), and the endless stream of remixes has kept up their exposure. Everyone has had a go, and whilst some have been more successful than others, there is no doubt that '†' is remix fodder. Even Justice have contributed- "What? So you weren't happy with the original song? Oh well...". Put it this way- wikipedia has a whole page devoted to Justice remixes. Here are a few of the best:

Justice- DVNO (Justice Remix)
Justice- Phantom Pt. II (Boyz Noize Remix)
Justice- D.A.N.C.E. (Les Rhythmes Digitales Remix)

Over the last few weeks, a more interesting application of '†' has emerged: the backing for a rap. Wale did it first, with the unbelievably amazing W.A.L.E.D.A.N.C.E., which I was only alerted to a couple of days ago. He really does kill it, and its an intuitive use of a brilliant song. I await his label debut: check out some mixtapes over at DatPiff.
'Cut beats; I'm a fucking word surgeon. Scalpel... Sponge... This working. D.A.N.C.E.'

Justice/Wale- W.A.L.E.D.A.N.C.E.

Only minutes after hearing Wale's interpretation of the song, I received an email from Webbafied. Hailing from Brooklyn, New York, this up and coming hip hop artist had me hooked from the moment I opened the email. Justice's '†', re-tooled with a rapper. The whole thing. Free. With the 'Grey Album', Dangermouse took two distant albums- The Beatles 'White Album' and Jay-Z's 'The Black Album'- and created something new, but retaining the quality of the original work. Webbafied has pulled off a familiar feat with 'Webbafied Does It Justice', except rather than working as a producer (like DM), he has lent his lyrical wit to the songs.

Justice/Webbafied- Let There Be Light
Justice/Webbafied- Stress

Admittedly, its an ambitious project, and not every track has the necessary space or vocal cues that Webbafied needs to work with. There are a handful of occasions, though, when the potential of such a project is fulfilled: the new version of 'Let There Be Light' sends shivers down my spine... 'Valentine' takes on a heartful meaning: 'Everyday is February 14th. Say my prayers hoping that you won't leave. All my life I waited for the right one. You're the type I need to mother my son.' Best of all, though, is 'DVNO', a song that has felt the power of ressurection. With So-Me's video and this re-tool, it is rapidly developing into my favourite Justice release, period.

The intelligence of Webbafied is clear: his interpretation of what the original songs are actually about is generally spot on. Artists hoping to cut a path into the big-time should follow his example: coupling your skills with an album of well known songs is a sure-fire way to get noticed. In doing so, he has already jumped the first hurdle: familiarity. And with a respect for the original material, he cannot fail: whereas Wale turns the backing treble right down, Webbafied waits for the gaps to do his thing. Sometimes, this creates awkward silences, but it's the right approach to take for an album interpolation.

You should check out Webbafied's MySpace page, where 'Webbafied Does It Justice' can be downloaded for free. Also, make sure you have a listen to his extensive back-catalogue.

Update: A behind the scenes look at the making of 'Webbafied Does It Justice'...

Madonna- 4 Minutes (ft. Justin Timberlake)

Madonna. 'Material Girl' and the 'Queen Of Pop'. 200 million album sales. And many more to come, if her latest single- '4 Minutes'- is any indication.

Her 11th studio album, 'Hard Candy', will signal the end of an era. It is her last (studio) album with Warner Bros. Records, after which she will move to her new 10 year contract with Live Nation. There are a few main reasons as to why Madonna has lasted this long. Effectively, she is a musical chameleon, transforming her looks, music and general brand image whenever she begins to lose popularity. Her latest album is no different.

'4 Minutes' is a lesson for the pretenders. This is how you stage a reinvention. Her last album, 'Confessions On A Dance Floor', was built from an endless mix of dance samples. Whilst not totally dissimilar, this single tends more towards heavier beats and giant brass than pure dance backing. Roping in Justin Timberlake and Timbaland (do these guys travel as a unit now?) is a genius move, but Timb/aland/erlake have a tendency to take over the tracks they feature in. The track is a little busy, but the hip-hop feel works well. Basically, this is shit hot, and will no doubt take over the radio/charts, just as 'Hung Up' did.

'Hard Candy' is out on 28th April... Pre-order it here

Discuss: Like the new direction? Is this Madonna's track? Sounds like JT and Timba to me... Oh, and isn't the cover terrible?

Lil' Wayne- Lollipop (ft. Static Major)

In a post a couple of months ago, I stated that 'Showtime' would be the first single off of Lil' Wayne's upcoming album, 'Tha Carter III'. Thankfully, this isn't the case. Instead, a new cut, entitled 'Lollipop', is being put forward as the lead track. It's not instant by any stretch of the imagination, but the track is a definite improvement...

He is certainly clearing the floor for his new sound. Lil' Wayne has been experimenting with the use of effects and filters for 'Tha Carter III'. Just as with the fairly mediocre 'Showtime', Wayne employs the use of a vocoder, to greater effect. Not an original move, but the track- as a whole- is. The sound is chopped and layered, until a dense, 'cold' sound is achieved. Its a nice move, and this song has 'club' written all over it- the spins will no doubt rack up.

Tha Carter III is out on May 13th.

Lupe Fiasco- Superstar (ft. Young Jeezy & T.I.)

I love Lupe Fiasco. Simply put, he's is the best thing about rap music at the moment, with a lyrical repertoire far beyond many of his peers and the kind of musical talent that doesn't surface often. The second of his concept album trio, 'The Cool' was a critical hit, and was further proof that Fiasco is an undervalued talent.

A remix that is superior to the original song is a rarity, and these should be cherished. I never thought Lupe would lend himself well to being re-tooled, as his blend of book-smart verses and unusual production are fairly distinctive in the first place. The latest remix, however, of 'Superstar', his lead single, is a song that made me change my mind. 'Superstar' was a song that should have been left alone, but the instigators should be rewarded. This is sick.

Young Jeezy is just there as filler, but he raps respectably. The light relief at the beginning of the trick, he then gets blown away by Lupe's new verse:
"Like a senior citizen having a baby shower
Haters want to budget but my fans still love it
So you can ask them exactly ‘Who I Are’
Nine weeks at number one I’m a ‘Superstar’ "

To finish things off, T.I. shows that his recent seclusion has had a positive effect on his flow. All in all, its a great song, and is another triumph for Lupe. Download it!

Over the last few weeks a few big-name hip-hop/rap artists have broken camp, releasing/leaking new material. I'm a little bit short of time today, as a huge pile of work is building up on my bed, waiting for me to dig into it, so excuse any emissions or problems (but regardless, comment!).

Missy Elliott- Ching-A-Ling
Missy Elliot's new single, 'Ching-A-Ling', would appear equal parts good and bad. For the former, it has Swizz Beatz producing (who does a great job), and a nice sample and beat combo. For the latter, its attached to 'Step Up 2', a film which I guarantee will be mediocre at best. Then we have Missy's rhymes, which are sub-par: "I'll just drop down like Michael Jackson's socks!"... as my friend Tom (of Reel Sounds- check it out!) put it "you listen to Missy for her production, not her lyrics". Ching-A-Ling is confirmed to be appearing on her seventh album (currently untitled), and is a nice song to refresh our memories, as the first new Misdemeanor song since 'The Cookbook'.

N.E.R.D.- Everybody Nose
Pharrell is a pretty cool guy. He's got the style, the production skills, the business smarts, N.E.R.D./solo career, and apparently has it all worked out. The first single from new N.E.R.D . album N.3.R.D., 'Everybody Nose', does a lot to disprove my last point. The beat/sample, is good, but something isn't quite right with Pharrell himself. He sounds tired, uninterested even, and these facts support his 2005 claim that things in the N.E.R.D camp weren't going so good. They've also blatantly ripped off a popular Panamanian tune (thanks, Fader) called 'At Chu (Estoy Cansada'). This really isn't lead single material, and is completely disappointing given the last thing Pharrell released ('Us Placers', with CRS) was quality. I guess Lupe and Kanye kept his tangential stuff to a minimum. Chad and Shay obviously didn't have the same success.

Lil' Wayne- Showtime
Lil' Wayne isn't having a great time. Okay, so by his own arrogant admission, he's slowly becoming the best rapper around, but other than that, things aren't so peachy. The whole first version of his new album 'The Carter III', was leaked mid-2007, which prompted Wayne to release the leaked tracks, plus a few new ones, as a mid-range album, entitled 'The Leak'. Yet to be officially physically released, 'The Leak' was designed to tie people over until he could record another album of material, not content with releasing leaked material. It wasn't met with the best reviews, and early looks at his new album haven't been wholly positive. Showtime isn't a variation on this theme- its overblown, generic, and Wayne doesn't really showcase the lyrical skill he keeps bragging about. The 'drugs, sex and alcohol' which he normally uses as instruments have suddenly become the focus of the song:
"See my sex is greater cause my dick is bigger"- hmmm, very intelligent Wayne!
On other occasions, you've impressed me, but is this really the best you have to offer? A vocoder, some big brass and overblown vocals...

---

All in all, not a particularly successful month for hip hop... And I was getting hopeful, after Lupe, Kanye and a few other artists rewrote the rulebook last year. Hopefully these few songs don't set the tone for the rest of 2008.

Rating: Red Hot

Don't ask me how I know this, but Lupe Fiasco's sophomore album, 'The Cool', is killer, meeting my 'sky's the limit' expectations following his brilliant debut, 'Food And Liquor'. Not content producing a bog-standard rap album, Lupe has tread into dangerous territory by recording a concept album (yes, a rap concept album!). Thankfully, he emerges untouched on the other side, and even with a few more strings to his bow. Not only does Lupe outclass his peers on their ground- in terms of beats- he repeatedly demonstrates that he possesses a keen eye for a good rhyme, producing unbelievably brilliant metaphors from his bag of tricks. We, the fans, can only hope that Lupe receives the credit he deserves second time around, and finally becomes recognized as the modern savior of hip hop/rap.

When rap started off, the focus lay on the lyrics, and yet over the years personality has been slowly sucked out of this genre, and what we are left with is a group of bland,(mostly) untalented people who drop "rhymes" about their money, girls and cars. Thankfully, these are exactly the things Lupe attacks on 'Dumb It Down', establishing himself as a variation on this theme. This album is a breath of fresh air in a genre dominated by glamour and money, both of which Lupe is privy to, despite not having sold his soul by producing identikit rap. This album is almost a statement of war: both against the majority of other artists in this genre and bootleggers. If I remember correctly, 'Food And Liquor' leaked a full 6 months before it was released in September 2006. Second time around, Lupe has been more careful, but he still hasn't completely stamped out leaks; tracks from 'The Cool' have been around for a couple of months now.

Lupe album's are different in that they challenge you, just as music should. And that's just what is missing in rap nowadays. Out of the current rappers, most of the ones I rate have been around for a while: Nas, Common, Wu-Tang Clan and Talib Kweli, who focus on the lyrical content of a song, and let the beats come as a bonus. It doesn't take a genius to work out what Fiddy is talking about when he says:
"She know's just how to move to seduce you
She gone do the right thing and touch the right spot
Dance in you're lap till you're ready to pop"
A world away from this, on the other hand, lies Lupe, who crafts songs that unfold after each listening. Every time I hear the album I decipher a new rhyme, and there are many that I still don't understand... 'The Cool' is chock full of pop culture and rap references, almost like a puzzle that is waiting to be solved. It actually hurts to think about how he comes up with some of the stuff on this album, and after two intelligently executed albums there can be no doubting that Fiasco is a pretty smart guy.

In his sophomore effort, Lupe adopts a darker tone than 'Food And Liquor", and Fiasco has obviously vented his emotions over a tough few months directly into this album:
Complex Magazine- "So would you say that this album is darker than your first?"
Lupe Fiasco- "Oh yeah, it's much darker just on the strength of the situation that I'm in, in life right now is kind of a happy period. It's a lot of success but it came with a lot of sacrifice and having my pops pass away and just recently having an aunty pass away and then having a friend pass away, Stack Bundles, a rapper in New York who got murdered out here and then to also have my partner get locked up, to get 44 years, all that stuff came along with the situation. It made the setting for me a more darker because I'm a little bit sad."


'The Cool' gets of to a relatively slow start with 'Baba Says Cool For Thought'. We are welcomed to Lupe's world by the familiar voice of Iesha Jaco, who replicates the 'Intro' on 'Food And Liquor', a cool theme which Lupe has stuck with, finishing with impact:
"Freeze- cause the problem is we think its cool too.
Check your ingredients, before you overdose on The Cool."

'Free Chilly (ft. Sarah Green & Gemstones)' doesn't have a lot of good things to its name: at this point I found myself waiting for the album to kick off, and we are deprived of Lupe for this one minute song. I'm not quite sure I understand the point of an interlude before the album has started. But hey, its got some great soulful singing by Sarah Green and Gemstones... unfortunately, they aren't who I paid to hear.

'Go Go Gadget Flow', despite possessing a popular sample (from Go Go Gadget) and a repetitive hook, kicks off the album on Lupe's terms. He switches up the flow: I'd never heard him rap this fast, and its a refreshing change. The beat is solid, Lupe is on point, and whilst its not the intro I was expecting, this song still kills most of competition. Lupe's rhymes are ridiculous, and he almost out-Twista's Twista...

After track three, things start to get interesting, and you are hit by a barrage of truly brilliant songs.

'The Coolest' is where the concept comes into the equation. Lupe fans will remember 'The Cool' off 'Food And Liquor', which told the story of The Game, The Cool and The Streets. This is a direct continuation of that story, with parts of the dark tale coming to a close over this album (see here for a full explanation). I absolutely love this song (42 plays on iTunes and counting): my fave rap/hip hop song of the year.

'Superstar (ft. Matthew Santos)'- We've all heard this one by now, and its really growing on me. Relative unknown Matthew Santos should replace Chris Martin as rap's male vocal go-to-guy (after the horrendous 'Beach Chair' with Jay-Z and the passable 'Homecoming' with Kanye). Boldly, Lupe has obviously chosen him to sing all male vocals on this album, which is a good move IMO. The combination works well...

'Paris/Tokyo' is textbook Lupe, with a catchy beat, brilliant chorus, great flow on Lupe's part and solid production by Soundtrakk. This is a potential second single, which I could see doing well on the charts due to its crossover potential. Ace.

'Hi-Definition (ft. Snoop Dogg & Pooh Bear)'- I've heard a lot about this one, but I really wasn't blown away by it. There is almost too much packed into 4 minutes: Lupe, Snoop Dogg, Pooh Bear, samples from Common, synths and heavy beats. Snoop Dogg slots in an amazing verse, but there's something grating about the overall sound of this song. And as good as Snoop is, Lupe still walks all over him. A possible mis-step, but disaster is averted through the sheer awesomeness of Lupe and Snoop's rhymes.

'Gold Watch'- Dominated by a sample which threatens to drown out everything. Has enough bass and instrumental to save the day once again. The subject matter is sensitive, concerning the effect of fame. A little less volume on the sample, and this would have been brilliant- how could something so easily altered get past post-production? This and Hi-Definition are the two weakest tracks on 'The Cool'- from here on it's plain sailing.

'Hip Hop Saved My Life (ft. Nikki Jean)'- The story of Michael Young History, a rapper from Houston, Texas. A strong vocal contribution by Nikki Jean (a Fergie sound-a-like) and the most commendable piano instrumental (it turns up quite a lot on 'The Cool'). Lupe is dependable as ever, telling Michael Young History's (=My Cool Young History) story:
"Reps north side so he rocks them braids,
1100 friends on his MySpace page,
stack that cheese got 700 plays,
producer made him take it down, said he had to pay"

'Intruder Alert (ft. Sarah Green)'- A really ominous song about the outcasts of society, and those with some serious issues. Someone give Sarah Green a solo album already.

'Streets On Fire'- I can't do this one justice: you have got to listen to it to understand how Lupe owns this song. Get over to MTV now to listen!

'Little Weapon (ft. Nikki Jean)'- Produced by Fall Out Boy's Patrick Stump, this was a very pleasant surprise. To start with, a slow-mo voice over, with some gothic chanting, had me worried that Stump had gone all emo on Lupe. What comes next, then, completely blew me away. The beat on this track is unbelievably new and unfamiliar, with a catchy snare and vocal hook. The originality of this rock-influenced track is a blessing, and its one of my favourite tracks on 'The Cool'.

'Gotta Eat'- A song from the perspective of a cheeseburger. Again, intriguingly fresh, this song works due to its creativity, a general theme on 'The Cool'.

'Dumb It Down'- This song is the most complete display of Lupe's lyrical abilities thus far. He absolutely trashes it:
"'I'm flying on Pegasus you're flying on the pheasant
Writer of the white powder
Picker of the fire flowers
Spit hot fire like Dylon on Chapelle's skit"
Check out a more complete review of this song here

'Hello/Goodbye (Uncool)'- Another rock-rap song, produced by UNKLE, who does a great job with the instrumental. This is a really gritty song, and is one of the darker on this album. A tune in the mold of 'Little Weapon'.

'The Die'- Gemstones really compliments this track with his Twista-esque rapping. A continuation of the story, with a little interlude ending. Listen carefully to the radio, and you will hear 'The Cool' from Food And Liquor' playing in the background. The song ends with gunshots. On a Lupe record? Thats a new one, but its a concept album after all, and from here on the album tends towards the darker end of the musical spectrum.

'Put You On Game'- Sinister is the name, a classic track is the game. Lupe invades 90's rap tradition on this song, harking back to the old Wu Tang albums, and emulating their grimy sound. Its a valiant effort, and he pulls off the new (or should I say old?) sound.

'Fighters (ft. Matthew Santos)'- The end is in sight, and things begin to slow down, aided by Santos' melancholy vocals (which just get better and better, by the way). Lupe reveals a devoted fan's blog address at the end of the song: check it out- http://www.lupethefiasco.blogspot.com/

'Go Baby'- A bit cheesy, but a jubilant ending it most definitely is. Lupe signs off with a cheer, and we are left astounded by the greatness of this album. Hip Hop/Rap album of the year, hands down (pipping 'American Gangster' to the post).

There are two occasions when the brilliance of this album is almost shattered: 'Hi-Definition' and 'Gold Watch'. Catastrophe is averted, however, and this is mainly down to Lupe himself. Convincingly pulling of a concept album is unbelievably difficult, but Lupe has succeeded in this endeavor and rewarded with a brilliantly fresh rap album, with some unassuming rap songs and interesting stories to boot.

You can listen to 'The Cool' in full here: what do you think? A good follow up? Or has Lupe dropped the ball second time around? Oh yeah- don't let history repeat itself... buy this record when it comes out and support Lupe. Get him on top of the Billboard chart. No tracks, as I don't want to spoil Lupe's chances this time around. Here's an old gem though, to keep you ticking over until you buy 'The Cool'.

Lupe Fiasco- Cold Blooded

Lupe Fiasco is a talent to watch- at the age of 25 he already possesses far more lyrical prowess than most of the other members of this genre. He is unique, bucking the trend at each and every turn. On 'The Cool', he really has something to say, and delivers on the promise of 'Food And Liquor'. It's a shame that he's retiring after his next album, LupEND; hopefully he'll pull a Jay-Z on us. This album is a masterclass in lyrical skills, and Lupe's peers could do worse than take a leaf out of his book, and write about something meaningful. Somehow, coming this late in the year, 'The Cool' has already found its way into my top 10, even before its release. There is an unprecedented amount of variety on this album, and everyone is bound to find many things that they like. 'The Cool' is a masterpiece, and I hope you all buy it when it hits on the 18th.

Nas made the claim that 'Hip Hop Is Dead'. Well, it may have been, but Lupe has most definitely brought it back to life.
.

After a bit of a wait I've finally got hold of the fifth Wu Tang Clan Album, '8 Diagrams', and on first impression, I'm pleasantly surprised. The most obvious difference lies in the production, and the Clan have won a small victory in refining their sound without ending up like the million other generic rappers flooding the genre (see here for my full rant). It's refreshing that most of their grimy sound remains, a full 6 years since their previous attempt 'Iron Flag', a mediocre album which lost a lot of the Clan's distinctive grit.

Well, the six years since 'Iron Flag' have been interesting ones: most noticeably, Wu Tang Clan return minus one of their members, Ol' Dirty Bastard, who collapsed and passed away in 2004, at the age of 36 (the cause of death: accidental overdose on cocaine and Tramadol). The gap left in his absence is a hard one to fill, but album opener 'Campfire' is textbook Wu Tang Clan, with a great sample, solid rhymes and a sinister air; at this point I was very hopeful, and I wasn't wholly disappointed by the rest of the album in this respect. Somehow, despite numerous stories of these 8 MC's have re-created their chemistry, a difficult feat considering their highly different styles.

Out of the eight remaining MC's, RZA, Method Man and Ghostface Killah pretty much carry this album, from start to finish. RZA is clearly still the creative leader of this group, although it has always been tradition that this isn't spelled out in full. His production skills are still sharp, and '8 Diagrams' is a tribute to his reliable ability with samples. Method Man impresses, spitting the first, and best verse, of the whole album, bringing us right back to the Clan's glory days. For the last few years, Ghostface Killah has been busy becoming the most accomplished MC in the world, and returns triumphant (after creating a successful solo career, including brilliant latest album "Fishscale"); although his contributions towards '8 Diagrams' are limited, each and every one is brilliant. I'm sad to say that other than these three stalwarts, the remaining contributors are unreliable. Whilst in some songs Inspectah Deck spouts brilliant verses, he drops a stinker on 'Unpredictable, an otherwise brilliant song, claiming that "Wu-Tang keep it fresh like tupperware". Inspectah Deck's variations on a theme almost sums up this whole album: its probably one of the most uneven I've ever heard: one of the benefits, and issues, of having 8 MC's is that you never know what you're going to get with each song. There are some truly brilliant moments: take 'Wolves' or Ol' Dirty Bastard' tribute '16th Chamber O.D.B. special', their last recorded song containing his eclectic rapping skills. And whilst these aren't outnumbered by the low points, there are a few songs on "8 Diagrams" which bomb. Check the suitably named 'Weak Point' for proof, where further editing was obviously needed.

If I have one problem with this album it is the presence of guest artists. If possible, some of the songs on '8 Diagrams' hold too much variety, and at times it can be difficult to keep up: when there are 8 MC's on a song and a host of guest artists, things get a bit hectic. Surprisingly, there are moments when this formula works...

Anyone who knows their way around Hype Machine or Elbows will have heard first single "The Heart Gently Weeps" by now. My brother pointed it out to me a long while back, but on first listen it didn't blow me away. Using a Beatles riff isn't hugely ghetto, but don't let the twinkly piano fool you. Whilst most of the gems on this album are dark, brooding songs, this is one of the few lighter songs which works. Featuring Dhani Harrison (yes, late George's son) on acoustic and Red Hot Chilli Pepper's John Frusciante on lead, this is a cool song. Yes, cool... not ghetto- never an adjective one would associate with the Wu. Hardcore fans will immediately question the presence of guitars on a rap record. Yes, they are there, and they work. Nothing is removed or altered by their inclusion, and this song is a testament to WTC's decision to include them on '8 Diagrams'.

If you, like myself, struggle with the majority of "rap" music that is released nowadays, this album is for you. '8 Diagrams' is a steady reminder of what rap (now hip-hop) used to be, and whilst it may not be Wu Tang Clan's best offering, it retains their characteristically grimy sound. Those of you expecting classic Wu Tang Clan will find some of what you are looking for, but as I suggested this album is highly inconsistent, with moments of brilliance and a handful of painful songs. For hardcore fans, this is a must, but you will already have it by now. What do you think? For the uninitiated you would do better starting with their classic album, "Enter The Wu-Tang (36 Diagrams)", and then moving on to this. It's a difficult album, but you might take a shine to it after repeat listenings. Persevere, and you will be rewarded...

Wu Tang Clan- The Heart Gently Weeps (ft. Erkyah Badu, Dhani Harrison & John Frusciante
Wu Tang Clan- Wolves (ft. George Clinton)
Wu Tang Clan- Campfire
Wu Tang Clan- Unpredictable (ft. Dexter Wiggle)
Wu Tang Clan- 16th Chamber O.D.B. Special

Another late night, another great track that I can't not write about. Lupe Fiasco's latest 'The Cool' is leaking like nobodies business, and I've only heard the results this afternoon. 'Dumb It Down', the last track to break camp, is a brilliant verbal tirade of abuse against the rap industry. And lets be honest: it deserves it.
"pour champaign on a bitch
(dumb it down)...
you'll sell more records if you
(dumb it down)..."
Go on, admit it. The rap industry is rapidly deteriorating, and individuality is a rarity nowadays. There are three or four topics which conclusively find their way into rap and hip hop songs, and you don't need me to list them. So 50 Cent makes shed-loads of cash from a song called "I Get Money", with abysmal rhymes and a great beat? Who the hell buys this shit? I could make you a better beat on a drum machine or Garage Band... Why would you want to listen to someone telling you how rich they are, when there are numerous alternative rappers who have more talent, and actually deserve the cash? Well, at least we have one young guy going against the current; Lupe probably doesn't even know the meaning of the word stereotype.

Food And Liquor, Lupe's first album, can be bought here.

The Cool (December 18th) can be pre-ordered here

Lupe Fiasco- Dumb It Down (ft. Gemstones & Graham Burris)
Lupe Fiasco- Superstar (ft. Matthew Santos)
Lupe Fiasco- The Coolest

A few of the best 'ft.' tracks on rotation in my iTunes:
Richard Ashcroft ft. Coldplay- Bittersweet Symphony
Kanye West ft. Dwele- Flashing Lights
Talib Kweli ft. Kanye West, Mos Def & Jay-Z- Get By (Remix)
Sway ft. Pyrelli- Up Your Speed
Nas ft. will.i.am- Hip Hop Is Dead

In the age of Timbalands, Chris Browns and Kanye Wests, songs are no longer a demonstration of an artist's respective talent, rather a closely fought game of who can get the best names to 'feature' on their track. I challenge you: take a look at your iTunes library and count how many 'ft.'s are present. I wouldn't be surprised if a good 10 to 15 percent of your library was made up of songs with the 'ft.' suffix attached to them.

As weird as this trend is, it hasn't always been this way... whereas in past days guest artists might appear on 1 of the 10+ tracks on a album, now they dominate, with almost half of every hip-hop/RnB album devoted to guest artists and producers. Take a look at Kanye West's 'Graduation' for example, where 5 of the tracks feature guest artists. And, further to this, Kanye has the audacity to leave some contributors unmentioned, such as Daft Punk on the hit-single 'Stronger'. It seems stupid for West to claim that he wrote the 'Harder Better Faster Stronger' sample, don't you think? So in actuality a large proportion of 'Graduation' includes some significant contribution from an outside party.

What are the advantages and disadvantages of this? On the positive side, you could argue that more variety is never a bad thing, and this is evident in a few of the current crop of 'ft.' songs, such as 'Umbrella' and 'Stronger'. However, for the most part, the implications of this new tendency are negative. Just to name a few of the major disadvantages to this developing bias: as the saying goes, 'having too much of something stops it being special'. Well, unsurprisingly, the same thing applies to music: where once guest artists were special, they are now becoming the norm. The success of songs and albums now depends on name-dropping/connections, and some artists are noticeably on autopilot (Chris Brown, for example), relying on the strength of their guest artist/producer to ferry them through each track. And don't even mention Timbaland... 'Shock Value', his latest offering -whilst mostly good- is 17 tracks long, and Timba is only alone for the opening song.


I wasn't too aware of this until albums like 'Shock Value' started cropping up all over the place. It saddens me to say that nowadays when you buy a hip-hop album you rarely get to hear the artist by themselves. Hopefully the genre can obtain a more reasonable balance before albums like 'Shock Value' become commonplace.

I am, however, only one person in a world of billions. So what do you think? Are you aware of this, or do you just take the music for what it is?

Chris Brown- Kiss Kiss (Remix)
Chris Brown (ft. T-Pain)- Kiss Kiss
Chris Brown (ft. Kanye West)- Down
Chris Brown (ft. Big Boi)- Hold Up
Chris Brown- With You

The world really needs to lay off Chris Brown. Sure, he's talented, confident (which some misconstrue as arrogance) and has a few flaws to his name but he didn't look out of place performing 'Thriller' at last years World Music Awards, and acted his co-stars off the screen for his 15 minutes in Stomp The Yard. His self-titled debut sold more than 3 million copies, and who can forget 'Run It', a song that perpetually played on MTV for weeks on end? In Chris Brown, we have a potential Michael Jackson for this generation. Brown's debut did well, but with Exclusive, he's really sealed the deal as a big player in the genre which is mostly dominated by Justin Timberlake, Usher and the like.

His second album proper is a interesting mix, and is far more honest than anything he's recorded thus far: the songs are a really clear representation of where Chris Brown is going but- on the flipside- not fully what he is capable of. The album leans more towards the R'n'B ballad side of the sound spectrum, and it's a welcome break after the beat-heavy crunk which made up the bulk of his debut (which, die-hard fans, still remain). The real standouts are the songs featuring guest artists, including 'Kiss Kiss', 'Picture Perfect' and the epic finisher 'Down'. It's no mistake that 'Kiss Kiss' currently has a strong hold over the charts, sitting comfortably at number 1, and the producer's have done themselves proud on this album. T-Pain puts in a solid performance, Will.i.am exceeds expectations (after his mediocre solo offering, Songs About Girls) and Kanye West produces and raps on 'Down', a jubilant finish which wraps up the album in a characteristically stylish fashion. The real clincher, though, is 'With You' a song which Rolling Stone correctly highlighted as Irreplaceable volume 2. It's a blatant copy, but Brown and producer Stargate pull it off purely by force of charm. Ironically (given the songs obvious influences) this is the song that really won me over, but as is common with hip-hop albums, few of the remaining songs meet the high standards set by these great songs.

As much as I feel sorry for Chris, being under attack from the press, some of their (many) criticisms aren't untrue. A noticeable portion of this album obviously needed a few more months in the mixer, due to the generic sounding beats and uninteresting lyrics. Next time round, Chris, edit brutally: Exclusive is overlong at 16 tracks long, and you wouldn't lose anything by cutting out the filler. Even worse, in some cases (see 'Help Me') Chris seems to be on autopilot, a bad position to be in when you're trying to prove a point and silence your critics.

Maybe Brown should take a leaf out of Britney's book- after her dreadful VMA's performance, you can forgive the collective public for doubting her ability to produce a great album. Despite this, Blackout has been receiving rave reviews across the board, a luxury which I don't believe Exclusive will be privy to... I guess what I'm trying to say is that this album offers a solid collection of songs, but I don't think it demonstrates any huge progression on Chris' part. It WILL be a big seller, whatever any critic says, and I'm sure you'll be hearing more of Chris over the next few months, but I have a feeling that we can expect more from this talented young guy: Exclusive is more evolutionary than revolutionary. Heck, album proper number 3 might even be his 'Thriller'.

Exclusive is released tomorrow (6th November) and can be bought here.
.

I wonder how Mr. Curtis Jackson (aka 50 Cent) must be feeling at the moment. My bet is hysterical: how else would you be feeling when the most stupid promise of your life was looming over you? Let me elaborate: At the VMA's and on SOHH.com last week 50 Cent stated that he would retire if Kanye West's new album Graduation outsold 50's latest offering Curtis. And guess what? Well, Graduation outsold Curtis, and not by any small amount- in the week since both were released Graduation has sold 250,000 more copies than Curtis, and thus 50 is presented with a bit of a problem.

I don't have anything against Fiddy- I've listened to Get Rich Or Die Tryin' and The Massacre a great deal (haven't we all?) and lets just say I'm not averse to it. And even though Kanye has a tendency to act like a prick at times (VMA's anyone?), I love his music, and also the fact that he's a unique spin on the word rapper. For proof, how many other 'rappers' write songs like Family Business and Mama- both odes to the family life and all thats great about it-? Not many is the answer: most other rappers- 50 included- write about the textbook stuff, you know, guns, sex etc and so on.

My standing (after hearing most of both albums) is that Kanye comes out of this all as the superior rapper: Graduation is a brilliant album, full of life and raps about it (See Good Life in particular), and the production is solid, with a good selection of guest artists -barring Chris Martin on Homecoming, my least favourite song and the Mos Def featuring Drunk And Hot Girls)- to back West. 50 Cent, on the other hand, comes off much worse, with Curtis sounding completely flat and dead throughout. The raps are mediocre, and horrendous songs like AYO Technology shouldn't really be committed to record, at least not at this stage in his career.

But lets take 'me' out of the equation: 50 Cent made a promise, and I hope he keeps it, and in the process becomes one of the first rappers to actually retire, rather than just hanging around in the background like Jay-Z and Eminem. Either way it will be interesting to see how he responds to the fact that he has lost.

My advice is to pick a side- once the internet gets sorted out at school I'll post a few tracks to help you decide...

I'm not exactly sure of the reason behind it, but lately loads of rappers and hip hop artists have been reigning in singer-songwriters to guest on their record: the latest to join their ranks is Kanye West, who has roped in Chris Martin of Coldplay to sing on Homecoming, one of the leaked tracks off Graduation, out 10th September. As much as I love Kanye and Coldplay, this song is a dud from start to finish- there's nothing distinguishing about it- and I found myself slightly bored about a minute in, something which rarely happens without reason. It's a bit of an anti-climax to release/leak this after the brilliance of Stronger (my favourite hip-hop track this year, hands down)...

Another worrying thing I've noticed about Kanye is he can't seem to sustain a record by himself anymore- at least 5 or 6 tracks on each of his albums have the dreaded featuring stamp. Keep this up Kanye, and you could find yourself becoming the new Timbaland: On his new album Shock Value, Timba is only on his own for one of the 19 tracks... I appreciate that having a variety of different artists looks great from a business perspective, but sometimes, we (the paying customers) just want to hear the artist by themselves rather than with a plethora of random "hip-hop legends/singers".

Well, that's the rant over- Homecoming is included at the bottom of this post, and now I'm going to go and give it a few more listens before I decide is total rubbish. Just to put my conscience at rest, what do you guys/girls think? Am I right/wrong? Please let me know... This hasn't deflated my expectations for Graduation- I still think it's going to be a great album, only worse than it could have been... Follow the link below to download the track:

Kanye West ft. Chris Martin- Homecoming

Graduation can be pre-ordered here

Derek Andrew Safo, also known as Sway (DeSafo), is a multi-talented 25 year old who is destined for big things. A Muslim hip hop rapper who was born in London from Ghanian descent, even at the age of 25 Sway has still had huge amounts of success in the music industry; Initially a producer, Sway started his career by writing beats for up and coming rappers, but then set about becoming one himself by entering rap battles on the London MC circuit. In 2005, Sway won the MOBO for Best Hip-Hop Act even before he had released his first album, beating critically acclaimed people such as 50 Cent and The Game to the title, before going on to release 'This Is My Demo', his first album- an underground success in its own right.

Another remarkable trait that Sway possesses (other than the obvious ability to rap/freestyle) is his ambition. Whilst writing his first album, Sway set up his own record label, recording at his home using his own equipment and a computer. His first set of mixtapes, such as 'This Is My Promo', are excellent, and received play on the UK's pirate radio stations, as Sway had no record label to market him- It's really great that someone can succeed without the aid of a record company: last year Sway was nominated for the Mercury Award- he lost out to the Arctic Monkeys- but I thought that he had a fair chance of winning. His music is so good purely because of the raps on it; sure, the production is good, but it wouldn't mean anything if you couldn't understand and connect with what Sway was saying.

I have included a couple of Sway's best tracks off of 'This Is My Demo': if you like them, be sure to let me know, as I think Sway is a huge talent which is relatively undiscovered...

Sway- Download.mp3
Sway- Sick World.mp3

You can buy Sway's excellent first album over at Play.com