Monster?...

So, since I'm trying to get back in my groove of writing, I thought I'd take the opportunity and speak out and sound off on something.

A few weeks ago, after returning to VA to continue my pursuit of my Masters in Professional Counseling, me and m'lady's family gathered to eat together at a local buffet spot. General chillness and fatty fat groans were heard and enjoyed all around. As we finished, we stepped outside and chit-chatted a little. We sang some songs, I performed a piece, and then...we started to talk about music.

More specifically, we started to talk about hip-hop. The lightening rod?

Everyone's favorite, Mr. Kanye West.

His single, "Power" had just released an accompanied music video.



After seeing it, I was rather disturbed. And I'm pretty sure that none of the adults there had seen the video. Either way, the parents had an interesting scope on Mr. West. My dad was less than amused about Kanye's antics that had everyone's attention for a while. We spoke for a good bit about what he may have been going through, the direction that his music has been going, from "The College Dropout" to "Graduation" (I'm purposely excluding "808s and Heartbreak" because it doesn't count as a Kanye album to me...imo). I tried to present the perspective of his emotional state after losing his mom, the end of his relationship, etc. We ended speaking more about the need for today's artists to exercise a healthy dose of professional accountability. They may be human, no more privy to the mayhem and emotions of life than you or I, but they are in an amazing place of influence and should hold that responsibility with reverence.

That brings me to the purpose of this post.

I just heard the new song, "Monster".

Has anyone seen Jay-Z's music video for "On To Next One"? If you have, can remember the eerie feeling you felt when you saw all those questionable, random images pop-up? Well, that's kinda how I felt with this song.

(First of all, is this even Kanye's song? In my opinion, once again, Nicki Minaj KILT this song in such a way, I seriously think that this is her song. I mean, seriously. Rick Ross was random, Jay sounded dark and evul as all getout, 'Ye was *meh*, but Nicki? I don't even like her like that.)

I'm all for artistic expression. But some things need to have some for of accountability, some sort of responsibility, some kind of "Hey, maybe this isn't such a great idea. This might do more damage than good."

Seriously. I've heard enough metaphors about being a beast, martian, extra-terrestrial, sick-wit-it, et cetera. But an entire song dedicated to every metaphorical aspect of a monstrosity? How much until it stops being art?

I thought to myself:

1. What will the music video look like? "Power" was creepy enough.
2. Music is supposed to uplift isn't it? Even through the muck of the worst of what you may be feeling, shouldn't some part of it encourage, inspire, speak life? Let us not forget the root of the word...
3. What is Kanye going through? Me and Spoken.Word were talking about Kanye's lyrical content and the changes its gone through. We agreed that it hasn't necessarily grown, just...changed. Like Snoop Dogg's face over the years. (Seriously. How does he look 50 years older in the span of 15 years, but Stacey Dash looks as young as me?)
4. What in the firey heck is up with Minaj's voice/multiple personality disorder?

The response will probably be something like, "It's just music." Please. Saying it's just music is like saying SARS was/is just a case of the sniffles.

The song is straight up and down creepy.

And I wish that the bars were crap. I wish they were wack, not creative, dry and healthy (you know, opposite of sick?). But they weren't that bad. The production was tight. Roster was tight. And even though Nicki bested everyone else on the track, the lyrics were (questionable, but) dope.

I guess I'm coming from the angle that one weak-willed kid who knows no better. I'm wondering how much work is being done to actually add life and beauty to the airwaves. Songs like this, after they earn acclaim, don't help. There will be rallies about this song (I'm calling it now.) and anti-hip-hop speeches all over. Talks about demonic advocacy and "Satan's Music". It makes me sad to see my music set itself up like this.

What say ye? Is this track just another exhibit in fierce and imaginative lyricism? Or is it something to worry about? Is it both? Neither?

My Review of Little Brother's LeftBack

So, me and Little Brother have a relatively new relationship. I wish I knew about them when they first came out. Unfortunately, those days, I was more into Will Smith and N'Sync (DJM...)

But, since I first got on the LB train, I've been riding and enjoying the trip. Little Brother has come to represent what is right in Hip-Hop these days. In the days of "All The Way Turnt Up", LB shines bright like a prism. It seems, however, that this is the last stop. Time for me to gather my travel pillow and continue exploring. LeftBack is Little Brother's last album, and as bittersweet as that is, I'm going to try and conduct my first album review.

(I won't say how I managed to be able to listen to this. All I'll say is...times is hard.)

1. Curtain Call - The first released single for this album, I hopped on it with the quickness. For me, this song defines bittersweet. 'Te and Pooh both briefly summarize their LB journey on a track produced by Khrysis. 'Te spits with his signature 'real talk', while I thought that Pooh was in rare form. He usually gets overshadowed by Phonte's lyrical prowess, but I think Pooh really cleared his throat on this jam. Definitely a fave.



2. Table for Two - A relationship song, I personally enjoyed Yahzarah's hook. Jozeemo's verse was a nice surprise, kinda like the non-trap star's Jeezy. This song was the album's "Baby-I-don't-wanna-fight-no-mo'" jam. Not that bad - I'd like to see a video for this one. The concept should be BET/MTV friendly enough to be fleshed out. As usual, 'Te's sense of humor comes through for realz. "Ya'll take a check?"

3. Tigallo for Dolo - I'm totally feeling the bass on this one. I wanna ride around town with the windows down, etc. Incredibly honest, Phonte comes through by himself, sounding off on a couple of issues. And when I say honest, I mean, that I have rarely heard emcees render themselves so bare with such artistic self-disclosure. This isn't a confessional, just a real individual, spitting real talk. Nuff said.

4. Revenge - Honestly speaking, with a title like Revenge, I was expecting either 'Te to completely spaz out on this. Pooh did pretty good, but *Kayneshrug*. Maybe this beat should've been given to Meth and Red or someone with that gritty feel. It's not a bad song...but I was expecting more. The set-up was there...Ah! This song feels like it should've been on a mixtape. The two featured verses? Not really necessary for this album.

5. So Cold - HOJ-mate Chaundon comes through for a visit on this track, and I actually like his flow. He's rocked with LB before, so he's no stranger. The beat had me feeling real chill-like, which isn't a bad thing. This'll sound bad, but...I liked Chaundon's verse the most. "Bring it to ya chest/Now you all Lil' Weezy..."

6. Second Chances - Off the first beat, I liked this song. When Bilal started singing...my expectations changed. Not really for the worst. Another relationship song, I don't totally dislike it...I just really wish Bilal wasn't on it. D-Brock saved it, in my opinion.

7. Go Off Go On - Pooh goes in! OMG, I feel so happy to hear this man do WORK, compared to other, more recent LB songs. Phonte, meanwhile, seems to be coasting. He didn't do bad, but I've heard him dish considerable heat on other joints. This is, however, another one of those songs that seems to have been more suited for a mixtape than an album release.

8. What We Are - Ooh. This is the "side-jawn" track. Pooh really comes through on this track. Like...I imagine it to be that moment when your son comes home with an A+...you knew he could do it! The only awkwardness is that I can't 100% relate to it...but I feel it, all the same.

9. After the Party (rmx) - I personally am not a fan of folk re-releasing songs from previous albums on completely new albums. I figure, if you're dropping a whole new album, why not complete it with some brand new jams? I heart this song from GetBack...and I'm feeling the new production. But the original will always be the original...try listening to Akon's Wanna Be Starting Something. No go.

10. Two Step Blues (rmx) - See Above.

11. Get Enough Pt. 2 - It was this song that made me realize that the Little Brother of yore was gone. Farewell to "The Listening", because this sound was vastly different. In any event, hearing Khrysis on the mic was an interesting listen. That's about all I can say about this one.

12. Before the Night is Over - A smooth joint, I'm really feeling this one. Probably one of the few that make sense to be on this album. This actually feels like it belongs. The sound is more Foreign Exchange than Little Brother...

13. 24 - The beat KNOCKS...this dude Torae does work. As does 'Te. As does Pooh. A thorough track, this one is a keeper.

14. Star - The Haymaker, this track wasn't even supposed to see the light of day. So I'm not going to talk about it. I won't even supply a link. I will say that this is the last time that 9th Wonder was with Pooh and Phontigga...maybe forever.

All in all...LB fans will bump it, regardless if it sucked or not. Fortunately, it doesn't suck. But...I found myself hoping for a "The Black Album"-esque bow out. Some songs didn't seem to fit at all...it ended up feeling like a collection of unreleased tracks and Saturday night freestyles. I was hoping and wishing for something like another "The Minstrel Show". The thing is...this is not it, and they are not the old Little Brother we first heard. Phonte is working with The Foreign Exchange and more endeavors of grown folk music; Pooh is working his solo dolo muscle. As far as this album...I would get it, simply because...this is it.

Standout Tracks:
Curtain Call
Tigallo for Dolo
Go Off Go On
24
Star

Foreign Exchange in DC!

>My feet hurt.

I have never been the type of guy to ever consider having a pedicure, but as of right now, I’m thinking that it may be a good idea.

I’ve been on my feet, using my feet, almost non-stop, for the past 24 hours. Doing what?

Attending The Foreign Exchange concert at the Black Cat in DC!

First off, let me state that this is my first secular concert. I attend one of America’s premier Christian university, and it being a college, there are a maelstrom of Contemporary Christian concerts. I’ve seen TobyMac, Switchfoot, Thousand Foot Krutch, Family Force 5, Flame, Lecrae, Tedashii, Rush of Fools, KJ-52 and more, all live. And these were pretty good concerts. As a fan of the previous mentioned artists, I’m an advocate for loud music. Especially when talent is involved (whoda thunk that TobyMac can *kinda* breakdance?).

But this past Sunday was particularly special for me. For a number of reasons.

A. In Lynchburg, the nightlife is seriously lacking. I’m from the Northeast sector of the country, so I’m rather accustomed to a more active PM lifestyle. And I’m not even a real huge party hopper; I’m just not used to a citywide unofficial 10pm curfew.

B. The parties that I’ve been going to lately have SUCKED. Maybe that’s how folk get down in the Burg. Maybe that’s how college folk compensate for the severe deficit of dusk-themed activities. But I have learned that I am not a house party kinda dude. At least not these house parties. (Wack Music+Lame Dancing+Beer Pong as Prime Entertainment <>

C. I am personally trying to get more comfortable as a 20something. I’m not a teenager any more, and I feel that I’ve got to pursue more on my weekends than the issues in Bullet A & B.

D. A few months ago, I bid farewell to one of my favorite Hip-Hop groups, 4^th Avenue Jones. I needed something to balance out that missing weight.

Come heaven or Afghanistan, I was going to that concert.

As we arrived in the Black Cat, my excitement level was humming at an 8. Then Big Pooh got on stage.

I will say this. Pooh catches a lot of heat, oft getting called the weakest link in the duo of Little Brother. I don’t necessarily agree, but I think that he was on point last night. Him being on his own grind, I feel, has given him the space to dig deeper into his craft.

I was hoping that there would’ve been a bit more LB tracks, but like I said, the man is on HIS grind, getting his name out there.

The DJ spun for a little bit, attempting to prep the crowd for what was about to go down. At times, he was lacking, but he eventually got it right. I personally would’ve preferred more Michael Jackson cuts. But I’m biased.

Then Nicolay stepped out. (That ‘bama is tall.)

Crowd recognizes him and goes nuts. He is followed by Carlitta Durand (who is a fine looking woman, by the way. If she is reading this, CAWL ME.) who starts off the set with “Lose Your Way” off of Nicolay’s “City Lights 2” album. Beautiful song.

Then the rest of the band comes out.

Yazarah, with her fine self, Darien Brockington and Phonte Coleman.

I’m not going to go on and on about how magnificent this night was. The web has enough of FE concert reviews. Instead, I’ll just make a few points.

· D –Brock can sang. That boy went to CHUCH. No, not church. CHUCH.

· Yazarah is like a modern day Tina Turner.

· Phonte is HIGH-larious. And a very talented individual.

· It says volumes about what you do as a performer when the audience can tell that you love what you do.

· The world needs another FE/LB album.

· “Good beats. Dope rhymes. This Hip-Hop thing isn’t really that hard.”

· LB stands strong, with or without 9^th Wonder.

· Eff Bad Boy. We need more HOJ.

· …we need to support good music, not just Hip-Hop.

Ya’ll need some FE in your life. Find your way to a show ASAP. Rob somebody, stab somebody, just do eet.

**Oh, if someone knows what the song “Purple Flip” or “Something About You” is, lemme know? I’m trying to make a playlist on my iTunes, and I have no clue where those songs came from.

The Thriller

I was sleeping.

While working at camp, I did a brief stint as a night watchman. My hours were from 8:30pm to 5:00am, so as soon as the minute hand made its 60th checkpoint at the hour mark, I was on my way back down to my cabin, in which I quickly went to sleep. During the day, I had no obligation to anything, so this particular realm of sleep was beyond delightful.

Around 6:30pm, on June 25th, I got a three consecutive texts from some friends.
• Text 1: “Nick! Did u hear about michael jackson?”
• Text 2: “Michael Jackson Is dead! Like, really…”
• Text 3: “Michael Jackson died today.”

…And I honestly froze, in motion and in thought.

I was not ready to hear this.

Allow me to back up a bit.

Way back when, in the wonder years of my youth, I was raised around a rather firm cul-de-sac of musical standards. Raised in a Caribbean household, my mom was a huge CeCe Winans fan. My dad was a devout listener to a popular jazz radio station, only alternating between that and the local Christian music station.

In the early nineties, hip-hop and rap music was picking up attention. Lest I remind you, with names like Tupac and 2 Live Crew running the scene, it wasn’t exactly inviting to youthful ears, especially under watchful eyes like my parents. The list of allowed artists was short.

Around this same time, some guy named Michael Jackson released an album called “Dangerous”. The first song off of this album that I had heard was entitled “Black or White”. And I can’t remember exactly how or the circumstances surrounding it, but I found myself in possession of this particular cassette.

Believe me when I say, I have never. Ever. Ever. Ever replayed or listened to one solitary album as much (before or since) Michael’s “Dangerous” album. More than 4th Avenue Jones “No Plan B pt. 2”. More than Mars Ill “ProPain”. More than J Period’s “The Best of Lauryn Hill” Mixtape. On cassette, my sister ruined it (she was at that playful stage where destruction is amusing). Once I got it on disc, I played it so much, the disc went bad. The second disc broke. Third is currently is heavy rotation in my car, and it’s starting to go bad now, only from a long life of overplay.
I’m not even going to speak about the first time I saw Michael dance. Everyone can echo emphatic adoration about The Moonwalk. We’ve seen Usher do/attempt it countless times.

But. I want to focus on a facet of Michael’s performing style that truly impacted me.

His energy.

I have never seen someone sing or dance or perform with such raw…energy. The first MJ music video I had ever seen was “Jam”, and I was blown away. It wasn’t even his best or my favorite. But in watching him move…you know how the story goes.

I had to try it.

And believe me when I say, I began to mimic what I saw. I had the moonwalk down pat in minutes. His patented side-step? I still do it. That complicated foot shuffle? It’s a part of my club scene repertoire. But that’s not really saying much. Aside from that, I can’t dance for crap, in my opinion. And I am but one in a legion of MJ aficionados who clamor for the “Beat It” dance number.

The main thing that stuck with me throughout the years? The energy.

It’s one thing to kick up your foot and squeal “Hee hee!”.

But I feel that a huge part of what made Michael so magical was how he almost existed on stage as a musical exclamation point. The simplest movements were sharp and on point. He felt it. He felt it, in every blood vessel, every sensory nerve, every bone in his body.

And he made me believe it.

When speaking about music, I frown whenever I hear someone say that it’s “just music.” I believe that that is one of the most sadly misinformed and ignorant statements someone can make. In the same vein, I can not listen to a good song and not…feel it.

I do more than bob my head. Many a time, I have gotten awkward stare and concerned glances from random passer-bys. Maybe they thought I had Turrets’ or something. Whatever. Doesn’t matter to me. Never has.

I can’t shake my borderline obsession with (good) music. And when I feel it, I can’t silence it or mute it. My iPod volume level stays on high. I would break out into a sad imitation of a breakdance if a particular Busta Rhymes track comes on. If Lecrae is spitting some hard truth, best believe I’m mouthing the words out, as if I was on stage with him. Timbo’s on the beat? Nick is on the street, frantically trying to match that…energy. (Don’t stop ‘til you get enough, I guess…)

And it all started with Michael.

The passion that I have for music, live instrumentals and raw delight was birthed with the first cassette tape I have ever owned.

And I know that this was a bit late. The world is moving on. People have already flooded Wal-Mart to cop Michael’s “Number Ones” album. Underground DJ’s have released tribute mixes, and have moved on to anticipate upcoming releases. The media will continue to feast on his stature. The world will continue to spin.

As will I. I’m looking forward to The Blueprint 3. Grad school classes start in less than four days. My siblings will continue to need my help more than they will ever know or admit. My parents will forever watch over me, as if I were still the baby boy they birthed 22 years ago. My friends and I will continue to ride out our growth.

But…that passion is a part of me. And God willing, I shall use it as he sees fit.

In saying that, I write this in urgency. To all who are reading this (my fellow Christians in particular), I implore you to grip onto something firmly and GO HARD BODY. Not for Michael Jackson. Not for your pastor. But for the Glory of Jesus, our Christ. While my introduction to this emotion came from a largely secular source, it would be amiss of me to not apply it in accordance to His Will.

Peace.

The HipRockSoul Project (Intro)

HipRockSoul: 1997-2006

All my life, I've been into music. Not many people know this, and I guess in someways, I've kept it as a secret, but I have some history in playing the piano. Since I was younger, there has failed to be any instance in my life where I wasn't involved with music in someway. From the church's youth choir to a brief stint as the church pianist to my High School's choir, music was an integral part of my life.

Somewhere along the way, I discovered this thing that we know as Hip-Hop. When I first heard about it, it was taboo.

See, my parents? They were one of those parents. If it wasn't Gospel or Distinctively Christian, it was questionable, at best. And these were the early nineties, when 'Pac and Biggie were running the radio. To answer Sid Shaw's eternal question, I remember when I first fell in love with Hip-Hop, or at least when I first developed a crush on her.

I was at my grandmother's house. I forget exactly why I was there, but I remember that my cousin was there too, probably skipping one of his many jobs. He had a boombox, the root of many an envious eye, and it was blasting this gem:

Armed and dangerous, ain't too many can bang with us
Straight up weed no angel dust, label us Notorious
Thug ass niggaz that love to bust, it's strange to us
Y'all niggaz be scramblin, gamblin
Up in restaraunts with mandolins, and violins
We just sittin here tryin to win, tryin not to sin
High off weed and lots of gin
So much smoke need oxygen, steadily countin them Benjamins
Nigga you should too, if you knew
What this game'll do to you
Been in this shit since ninety-two
Look at all the bullshit I been through


I was done for. I didn't know what it was. It didn't register that he was talking about less-than-Christian activity. I liked it. I was mesmerized, hooked and attached. It was dangerous and attractive, gritty and beautiful. From that point on, I actively pursued anything else that could make me feel that way...usually, this pursuit went against the desire of my parents.

So, logically, if they didn't like it, I was on the right track.

Years went by, and my chase for The Beat went the various phases. I partied with pop-rap for a while (Big Will f.k.a. Fresh Prince) and meditated with Christian rap/hip-hop (Corey Red, Cross Movement, KJ-52 etc.) and experimented with rock-rap (Limp Bizkit, Linkin Park, etc.).

Then...
it happened.

Once again, the details are fuzzy, but I recieved/puchased/discovered a mixtape: DJ Maj Presents The Ringleader. Track 4 re-introduced my ears to a simply astounding sound by the name of 4th Avenue Jones. The track was called "What You Want" which was exactly that.

turn up your radio dial this now the jam zone
i’m making tracks homie serving their lacks until the amps blown
with the kind of flows you can’t clone
my tight poems sewing the game up putting the clamps on
never fake made for tv
real and i’m coming with skills fans camping out 3 days to see me
my whole click tighter than a beanie
removing our foes ready to prove it to those who don’t believe me
when I was young thinking of a way to ball
i came with a rap style that’ll fade them all
stayed true when I did it never had to switch
now my crew done came up from a rag to rich
rock sold out shows for a piece of mayo
got my own record company and beats for sale
excel when I get on it sound tight now don’t it
i see the look in your eyes you know you want it
you know you want it


And once again,
I was hooked.

All I wanted was some more of the 4th Ave Crew. I went on their website, which was the now-dead HipRockSoul.com and systematically bought three of their released albums. At the time, the newest album was called "HipRockSoul" and it was already sold out. So, I quenched my thirst with their albums, "No Plan B", "Respect", and "No Plan B Pt. 2".

I was in hip-hop heaven. They had rhymes with content, beats with strength and AWWW YEAH!!! all in it. Not only did their lyrics possess actual thought, but they were just unashamedly Christian. They openly claim the name of Jesus Christ, and don't really shove it down your throat. 4th Avenue also encouraged me to look for more in music. Actually, because of 4AJ, I've gotten into:

Pharoahe Monch
Mars iLL
Common
Somobe
Lupe Fiasco
Mos Def
De La Soul
Black Eyed Peas
Andre 3000
and a host of other fabulous artists.

But...with all good things, it had to come to an end.

Since I entered college, I've been almost literally holding my breath for a chance to see 4th Avenue Jones perform live. Unfortunately, Ahmad of 4AJ said on his myspace page that 4th Ave had their final live show in 2006, before he retired, then started working on his solo album.


Maybe I'm looking into it too much. Maybe my attention is ill focused. But I feel like this is the passing of an era in my life, like high school. I entered it, not knowing what to expect, but after a few years, while I am more equipped to handle certain things, I will miss the experience. And like I am doing with my memory of high school, I will look for ways to re-create the feeling.

*lifts up imaginary glass of champagne*

This toast is to 4th Avenue Jones. May I continue to search for Heart, Mind, Spirit and Soul Music, Rocking Hips and Souls with HipRockSoul.

4th Avenue Jones is:
Ahmad Jones - Vocals
Tena Jones - Vocals
Tim Stewart - Lead Guitar
Gailybird - Violin
Albert Parker - Bass
Derrick Calloway - Percussion

Look Familiar?

I know we all joke on Michael Jackson. But look at the next two videos, and YOU tell me if the man has created his own freakin' genre.

My Top Ten Emcees: Top Three

Hokay. Top three emcees on my list. I know for a fact that two of these emcees are incredibly lesser known, but for the sake of hittin' ya'll up with a little sumfin' new...take a taste o' dis.

3. Pharoahe Monch
- I look forward to hearing Mr. Monch speak every time he's on a track. In my opinion, in 2006, "Desire" was the best album of the year. It just came with everything for me. But even before this, I heard Pharoahe Monch on Linkin Park's remix album "Reanimation". The track was called "High Voltage", and it was dope. I loved it. From first listen. Why? There are a number of reasons. I had never anyone flow like that before. And it made sense. I mean, I knew what he was talking about. It took a few listens, but ...seriously. A few things stood out to me, aside from his trademark quick-lipped witty lyricism:
1) His command of the English Language
2)His...sense of humor?
I don't know what it is, really. I mean, I feel like I'd be repeating myself. I'll just let you kids figure it out.



2. ManChild of Mars iLL
- Honestly, the battle for number one is a toughy. ManChild is something else. Seriously, this man is a mess. He is the root of all my lyrical envy. I mean, when you say something like "married to Hip-Hop, call me Jazz's son in law/even on the cloudiest day, buddy, i'm sonnin' ya'll"...you get respect from me. Nuff respect. Paired with Dj Dust, Mars iLL is like the new Gang Starr.

And that's not even the only reason why I love me some Mars iLL. Believe it or not, this is a Christian Hip-Hop Group. And it is truly a beautiful thing to hear a flow that has no negativity. I can't really describe how nice it is to hear something that is blessed, without the unnecessary language, gunshot references, excessive punchlines and lack of energy or passion. This negro is real. Well...he ain't no negro. Well...you know what I mean.

And it'd be kinda wrong of me to just pick one quotable. There is no way I could just pick one. He is chock full of them, and each one means something terribly beautiful.



I'll put it like this.
Artists take classes about daVinci...
Writers take classes about Poe and Frost...
Emcees should take classes on ManChild. Period.

And the spot for NUMBER ONE EMCEE ON MY LIST is...

1. Ahmad Jones of 4th Avenue Jones -

Ya'll done gone and forgot about Ahmad.

I know ya'll all saw "The Wood". And you can all sing along with this eternal piece of hip-hop history. "Back in the day, when I was young, I'm not a kid anymore, but some days, I sit and wish I was a kid again...".



Yeah. You sang along, didn't you?

Well, fear not. Ahmad is alive and well. Actually, he's doing great. He and his band 4th Avenue Jones have been stirring things up for a minute. And Ahmad, as one-half of the vocals for this band (the other half is his wife, Tena Jones), is still as sick as ever. Sick meaning ill. Meaning nice. Meaning really really really good. Meaning that Hip-Hop might have a new favorite band.

I wish there was a way that I could buy his album for EVERY MUSIC FAN ALIVE. And I mean that. Everyone should be exposed to the 4th Avenue Jones crew. I mean, they should recycle their "Plies" nonsense and open their ears up to some HipRockSoul.

Ahmad's flow is nothing short of lyrical. He's not over the top or hard to listen to. When he grabs the microphone, you know this man has something to say...with a little more. He, like ManChild, are just utterly and completely real. No fronting or profiling. No faking the funk or talking junk. Just. Real.

And the HipRockSoul philosophy? Yeah. If you doubt it, you should check it out. Imagine Black Eyed Peas, BlackStar and...a pinch of Linkin Park. If you don't like, you should question whether you've been listening to music all along.

Hear me when I say, picking a number one spot was hard. But luckily enough, they knew that I would have a problem in picking between the two, so they went ahead and made a track with BOTH OF THEM ON IT, almost like it was made just for me.

So. I leave you with an earful of some o' dis' niceness right chere.

The Roots' newest offering: "Rising Down"

As a lover of hip-hop, when I saw this news story, you have to understand what happened to me:

I. WAS. WYLIN'. OUT.

And ya'll know what means. If I must define it, 'to wyle' or 'wile out' means to become a mixture of ecstatic, nervous, jumpy and a complete epileptic mess all at the same time.

And I'm still a little new to the goodness that is The Legendary Roots Crew. I knew about ?uestlove always popping up somewhere. But for the past two years or so, I've been wylin'. Because they are some illness. Black Thought has a spot on the "Top 10 Emcees" on my list. For example:



That was the first piece of the Roots crew that I had. I mean, yeah, I knew about "You Got Me", but on a non-commercial level? This was it. This was where my interested became something more than an MTV spin. Or, even for those who don't know, here's another one:



So yeah. I was wylin'. But enough with the shenanigans. This is the article written by By Simon Vozick-Levinson, copied and pasted from here.

On April 29, the Roots will unveil Rising Down — the latest step in the six-member Philadelphia hip-hop band's 15-year evolution on record. The darkly funky, politically charged project is now almost done after more than a year of recording, though it is currently missing contributions from planned guest artists Common, Lupe Fiasco, and Q-Tip.

Earlier this week, EW stopped by the Manhattan studio where rapper Tariq ''Black Thought'' Trotter, 35, and drummer/producer Ahmir ''?uestlove'' Thompson, 37, are working on some final touches, and scored an early listen to the still unsequenced 12-track set.

''RISING DOWN'' (possible alternate title: ''Humdrum'') Guest rappers Mos Def and Styles P join Trotter in unleashing a slew of dystopian imagery over heavy, atmospheric synths. ''It's not an intro, but more an introduction to the topical theme of the album,'' Trotter says. ''Mos kicks it off from one perspective. My verse is about global warming and how the world is all haywire. And Styles P is rapping about prescription-drug campaigns, the stuff they advertise on TV, all the crazy side effects. We're all dealing with different aspects of the state of the world.''

''GET BUSY'' It's a Philly celebration, with verses from longtime protégé Dice Raw (''kinda like W.E.B. DuBois/Meets Heavy D and the Boys'') and more recent associate Peedi Peedi as well as scratches from DJ Jazzy Jeff. The beat's driven by an aggressive, grinding bassline. ''That's the return of the boom-bap,'' says Trotter. ''We're revisiting golden-era East Coast hip-hop, but the synthesizers make it modern.'' Adds an oracular Thompson: ''What was 20 years ago is also tomorrow.''

''BLACK'S RECONSTRUCTION'' Trotter raps for 75 bars straight on this lyrical exercise, spitting effortless game (''Smooth like the dude Sean Connery was playing'') over a dirty drumbeat and foghorn-like tuba moans. ''It was a first take,'' notes Trotter. (Show-off!) ''That's a song in the tradition of 'Web' and 'Thought @ Work'. It's become something that die-hard fans check for, that extended freestyle, minimal chorus, hard-hitting lyrical joint.''

''APOLOGIZE'' Thompson calls this rhythmic, brass-laced cut (also featuring Dice Raw) a tribute to late Afrobeat legend Fela Kuti. Trotter's lyrics examine the challenges of today's music industry: ''Look into my daughter's eyes/Wonder, how can I provide?'' ''It's about not apologizing for what you are,'' Thompson elaborates. ''Dice Raw's verse does his commentary on how the new minstrel image of black people is in vogue now — how that's the image that's being sold to you. It's really hard to hold on to your dignity and not resort to shucking and jiving to sell records.''

''CRIMINAL'' (possible alternate title: ''Pay the Bills'') A simmering meditation on street life, still awaiting a guest verse from Saigon. ''It's about being persecuted and having no other alternative,'' Trotter says. ''You could also see it from the angle of the Rockefeller laws,'' adds Thompson, ''certain groups of people get persecuted and others get away with it.'' Chuckling sardonically, Trotter concludes: ''That [song] is a light-hearted one! It's a happy album...''

''I CAN'T HELP IT'' Trotter says this harrowing tale of addiction, bustling with keyboard burbles and ethereal background vocals, is about ''giving in or not giving in to your urges.'' ''I can't help it/Maybe I'm selfish,'' he raps. ''The way I'm running is becoming a health risk/I might have a heart attack, I'm taking more pills than Elvis.''

''SINGER MAN'' Two little-known guest rappers chime in on this unsettling multipart suite, which segues from a spare bass drone to a backmasked, drumless ambient section. ''That's three different first-person accounts of people that felt justifiable violence,'' says Thompson. Trotter raps in the voice of ''an African child soldier fighting for Charles Taylor in Sierra Leone''; Truck North takes on the role of a suicide bomber; and the very unfortunately named emcee Porn explores the perspective of a school shooter.

''UP THERE'' ''It was a cold night/Not cold like the winter, but I can feel an energy in the air that I don't like'': Another claustrophobic narrative, backed by melting synths and an eerie vocal loop. Trotter compares its steady crescendo to 1996's ''Panic''. ''It's a dream sequence. Some person is driving me through this place where I see my life, like a drive-in movie. Then the guy disappears, and I'm being carjacked. It's one of those things like the 'You Got Me' video, where [the plot is] left wide open — it's in the eye of the beholder.''

''LOST DESIRE'' Urgent verses from Talib Kweli (who shouts out his new project Idle Warship) and former Roots member Malik B anchor another look at contemporary social ills: ''No one cares what the truth is/It's a fortress built on lies,'' goes the hook. ''Malik and I are always the yin and yang of Philadelphia,'' says Trotter. ''He represents the street, that accurate commentary, and I'm kind of the polar opposite of that. So we balance each other out on the song, and Kweli's in the middle, talking about what goes on in Brooklyn.''

''THE SHOW MUST GO ON'' Cascading drums and a serrated synth texture set off the song that Common is expected to appear on. (''He promised his left arm if he doesn't get us his verse!'' kids Thompson.) ''It's about where we are at this point in our career, why we do it — a more introspective, personal type of joint,'' says Trotter. ''I'm saying some fly s--- on that song. I like those verses, boy!''

''RISING UP'' The title track's counterpart has a far lighter tone, courtesy of two fresh-faced guests: soulful songbird Chrisette Michele and much-buzzed-about Washington, D.C., rapper Wale. ''Where 'Rising Down' is one of the darker moments of the album, 'Rising Up' is the beacon of hope,'' says Trotter, who boasts on the song's hook that he's ''getting paper like John Travolta.'' The track's beat calls to mind the polyrhythmic pulse of Washington's go-go scene — an unexpectedly touchy subject, it turns out. ''It's more percussive than your average Roots song,'' Trotter continues with a grin. ''But Wale, who's a die-hard 23-year-old D.C. native, just refuses to accept that as go-go in any way, shape or form: 'What?! Oh, that ain't no go-go jam!' So it's our attempt at something quasi go-go-esque.''

''BIRTHDAY GIRL'' Summery guitar chords and an ultra-catchy hook sung by Fall Out Boy's Patrick Stump have made this the leading contender for Rising Down's first single. It's a pleasant breeze of a song — at least until you notice the vaguely creepy lyrics, in which Stump and Trotter fondly address an adoring female fan on the occasion of her 18th birthday. ''It's based on experiences that we all go through today, as musicians and as parents,'' Trotter says. ''It deals with what our daughters are exposed to, the effects of My Super Sweet 16, reality TV, all this crazy s---.'' Thompson, however, laughs off the song as a hip-hop Lolita: ''It's the most beautiful statutory rape song ever!''

I know that Nas said that Hip-Hop was dead...

I think it may be coming back...slowly, but surely. And oh so frikkin sweetly.

I Heart HipRockSoulPt.4

From their forgotten "HipRockSoul" album, released in 2004, 4th Avenue Jones' has this gem that now has another fan. Unfortunately, this album is no longer available. Anywhere.
I snatched these lyrics from here, but I'm reposting here. Maybe for an easier route for me to get to them, but also for someone else to see. I also think I have this song on the imeem playlist up above. Just listen and enjoy this song. Because I know you will.

PIGEON JOHN:
Let me show you how a real ___ do it / how I roll a road block roll right through it / In effect like '88 with fake Polo / the great state of Cali band we roll solo / numero uno / dos tres the Don Dada / got the club followin' Pigeon John's persona / there's none hotta' / not even old man in a sauna / not even a club in the 80's bumpin' Banana Rama / Six Tray'? No! / got a Civic with four doors / not even mine, my girls so I gotta dip low / West Coast/ comin' down like the Holy Ghost / I set trends they bite them and I don't boast / no I really do / can't lie I think I'm so fly / man without a crew Pigeon John he don't know what to do / guess I'll just rap/ to all the sad souls in the back / and hope that they get the hope that I wrote / kickin' it in Barnes -n- Nobles / reading magazines and drinkin' homemade cocoa / checkin' out the scene and you know I'm a local / watching for the schemes and looking out for bozos / so I can bulldoze

CHORUS:
I'm rockin' with the 4th / A.V.E.N.U.E / this is Pigeon John original Cali M.C. / rockin' for the nerds / I'm rockin' for the G's / hands up / plan is to only give you what you need / Rockin' with the 4th / J.O.N.E's / this is Pigeon John original Cali M.C. / I do it for the nerds / do it for the G's / hands up / plan is to only give you what you need

TENA JONES:
Tena Jones flowin' if you know me it's just Tena / from the south side part of Little Rock to pushin' BMer's / this critic said we copied obvious she'd never seen us / others said we'd never shine and now we headlining arenas / just rhymin' and climbin' makin' this music for your mind and / every deal that I'm signin' keep my momma in some diamonds / and I promised my little sister to push and excel / I'ma pay all of her tuition when she get into Yale / I got a fetish for lettuce me and my Avenue team / makin' so much money even when I'm bummy I'm clean / Mod you remember I was workin' up in GTE? / now everywhere we go we in the V.I.P. / didn't have no money then we use to rock it for free / now Puerto Rican fans pay to be aqui con mi / so I'll see you haters later laughin' at you cause' you comical / Phenomenal / What are we? / Phenomenal

CHORUS:
You rockin' with the 4th / A.V.E.N.U.E / Avenue the crew it's Tena J. and M.O.D / Reppin' all the hoods over here and overseas / hands up/ plan is to only give you what you need/ You rockin' with the 4th / J.O.N.E's / Avenue the crew it's Tena J. and M.O.D / reppin' all the hoods over here and overseas / hands up/ plan is to only give you what you need

AKIL:
Los Angeles Unified Skill District / ghetto manuscripts, California lyricists / ready to flip and spit the live direct hits / ready for whatever holmes, don't even trip / yo I uplift and shift my gift / God blessed me with / all praises due to my Lord for my accomplishments / my testament I represent is evident / that I'm a full-blooded man check my fingerprints / I'm definitely, absolutely, positively, ain't a chicken like George / but know my Roots like I was Kizzie / the Mandingo lingo live and die born single / make way for my arrival / make your spine tingle / ain't just to hear another verse thrust / head rush the Cold Crush / verbal nunchack's/ what/ feel my detector / missile launch ejector / North American government wrecker yo!

AHMAD JONES: They call me M-O-D. / ain't never sold a key / you just a microwave rapper / I'm a dope M.C. / don't say I'm hatin' cause you fakin' and we takin' it ''B'' / I'm O.G./ puttin' Cali on the M-A-P / Avenue teach clear as Evian / reach so we stay beyond / each crew get served like kishke or filet mignon / peace to D.J's and the streets that they play me on / crazy long lines/ out they seats like we Savion / y'all said I was a one hit wonder / world is a jungle fools wanna take me under / but I won't stop/ just rock/ like when a glock pops / hip hop was our culture long before it hit the pop charts / so you cannot box me in / locked is what I got blocks / I do this like Pac and Big Poppa fo' they got shot / fake and you hate but I'ma make you give me my props / and blow up so big you'll be mistaking us for sasquatch

CHORUS:
You rockin' with the 4th / A.V.E.N.U.E / Avenue the crew it's Tena J. and M.O.D /
reppin' every hood over here and overseas / hands up/ plan is to only give you what you need/ You rockin' with the 4th / J.O.N.E's / Avenue the crew it's Tena J. and M.O.D / reppin' every ghetto over here and over seas / hands up/ plan is to only give you what you need

I Heart HipRockSoul pt. 3

Here's the thing.

I have found myself in a tussle of emotions lately. I just want to freakin' dance. In a club, at a party, in the bathroom, ANYWHERE. I just want to move, let the music I'm listening to become a part of me.

Sounds cooky, doesn't it? Sounds like I've been puffing without passing, eh? Well, I dare you to try it. Find a song so ill, so nice, so sick, you are unable to contain yourself. Find a song that makes you want to move in any capacity. I bet it'd brighten up your day.

Me, I don't care. If I could dance...I just WISH I could dance like this...



...or even there for this.



I find it necessary to mention that I love my iPod. Seriously, it's like a part of my setup every morning.

- Shower
- Brush Teeth
- Put on Clothes
- Eat Breakfast (optional)
- Grab iPod.
- Grab keys.
- Leave.

And so far, every morning, I spin the clicky wheel and go to my 4th Avenue Jones playlist.

I probably look like the biggest schizo on the Metro at 8:30am. And I don't care. I'm telling you, everyone needs to go find them a song to make them say, "I DON'T CARE WHO WATCHES, I'M FIDNA DANCE."

I mean, really? The world would probably look like that new Extra commercial.

Come to think of it..


Yep. That's me, minus the gum. I'm more of a Trident person anyways.

I Heart HipRockSoul pt.2

As I've stated before, 4th Avenue Jones is my favorite Hip-Hop group; sadly, almost NO ONE knows about them. I honestly believe that they are to Hip-Hop what Michael Jackson was to Pop.

In music today, there is a formula that didn't exist before. Which makes sense. Back then, in the days of Frank Sinatra and Ella Fitzgerald, there really wasn't a whole lot to the music scene. I'm not saying that it was easily accomplished, but whatever was found was chock full of talent, which is why we know their names today.

Duke Ellington. Michael Jackson. The Beatles. Louis Armstrong. James Brown. Stevie Wonder. Ray Charles. Classics.

These people, and so much more, have accomplished what wasn't there before them, at least not in that form. They took what they had around them, and built on it. They created a new style, a new sound, or they at very least contributed to eternal sound.

How I wish I could say that for today's music.

In order to me to recall and truly enjoy any kind of music that comes out today, I need to run everything through a finetooth comb. I can't just turn on the radio. As a matter of fact, I am in a strike against the radio.

I can't explain it easily. I just can't listen to this stuff as I used to. And I've come up with a theory why.

Music today? A formula. That's all it is to me. It's a formula. Not even a formula, but a compound of "what's cool" and "what's hip". Take the popular slang, throw in a hook from a forgotten 1980s pop tune, add a few music videos and a guest appearance by someone who's already established and you have a hit album that sells like mad for a few weeks. I'm not saying that there will be no references to the successes of old, but instead of building on the foundation of the greats, Today's Music is just...mimicking it, not really adding anything new. I feel like I'm hearing the same thing, over and over and over and over. What was cool 10 years ago is being cloned into what's hot right now. I could name names, but there's no need for that. Maybe in my next rant.

I see no innovation. I see no...creativity. Oh, there's some cool quotes and such, but will "M.O.B." stand the test of time?

This is just a rant. But I celebrate experimentalism, if that is even a word. I love the unheard stuff that will never be popular, because it's not what's cool right now. I really wish that this season of insta-gratification would die off and go away. I wish the Soulja Boy's would really become some sort of soldier. I wish hip-hop would snap out of it. I wish R&B was exactly that: Rhythm & Blues.

I wish music would come back.
I hope Somobe blows up something terrible.
I want 4th Avenue Jones to become something bigger than "a legend, small, but on the map."

----------------
Now playing: 4th Avenue Jones' - Pick Up The Phone
via FoxyTunes

I Heart HipRockSoul

One of the saddest facts about the music business, in my humble opinion, is the fact that a lot of the talents that exist in the world will never be well known. Here in America, we can't get enough of the crap rappers, voiceless vixens and tuneless models. There are too many truly gifted souls out there that are unknown. Instead of giving the people something that will truly uplift them, record executive continue to pump out these "perfect formulas for superstardom". And we allow the cycle to continue.

But. This is not the direction I wanted to take this entry.

I make it a point to choose my music carefully. Yes, some things will fall through the cracks, but any one who knows me knows that I am not one to follow the trend of listening to and loving whatever is on the Top 40.

For the past few years, my favorite Hip-Hop band is 4th Avenue Jones.

Practically unknown among basic hip-hop circles, this band a gem in a field of pebbles. I first heard them on DJ Maj's The Ringleader Mixtape, and I was hooked ever since. It turns out that their story is almost literally a rags-to-riches story, even though they are still coming up.

The Jones' crew have a few albums under their belt:

2000: No Plan B
2002: Respect
2003: No Plan B, Pt. II
2003: Gumbo
2004: HipRockSoul
2005: Stereo: The Evolution of HipRockSoul

Like a madman, I went out and purchased each album I could get my hands on. First, I bought Stereo which was being released at the time. After that first purchase, I started at the top and bought No Plan B, Respect and No Plan B, PT. II. However, to my chagrin, Gumbo and HipRockSoul were sold out. I maintained my cool, because I honestly believed that there would be more in stock in a matter of weeks.

This was not the case.

Those two albums have evaded me for the past three years. I have looked high and low. I've searched the limits of Amazon.com, ebay.com and I may be wrong, but I don't think any one person has googled as much as I have for those two albums.

However. A silver lining appeared out of nowhere. Thanks to the kindness of a complete stranger's heart, I have receive my two rogue albums. I don't think I've felt such joy.

I urge all to go after 4th Avenue Jones and support music. Maybe they aren't your particular cup of tea. Whatever. Real music needs to survive nowadays.

I was going somewhere with this blog. I lost it. I blame this 4thAve I have bumping in my headphones.

Jealous? You should be.



----------------
Now playing: 4th Avenue Jones' - Don't Talk No More (f. Mystic & NeNe White)
via FoxyTunes

Dichotomy

I'm a Christian. And I'm a Hip-Hop kid.

I'm a Hip-Hop kid. And I'm a Christian.

These two statements are not the same. Yet I am the same. I am a Christian Hip-Hop kid. I am a Hip-Hop Christian kid.

I'm from the house that KRS-One built, on the foundation of King Solomon. I stand in my B-boy stance, in an effort to dance like David danced. A few minutes ago, I tried to familiarize myself with this new thingy called "The Wu-Tang" while calling out "Ballliiinn'...". If I could, I'd marry Lauryn Hill, but I don't even know if she's a Proverbs 31 Woman. Chingy makes me mad and Rapper's Delight makes me smile. I'd spit a 16 with Mos Def if at all possible, but I couldn't do it in the name of Allah.

Since I first heard Biggie's "Let's Ride", I've been taking Distance Learning classes at the Temple of Hip-Hop. But before then, I've called myself a believer. Singing along with Ron Kenoly and Kirk Franklin in the kitchen with my little sister, it was all I knew. A few years later, and my tastes include Kanye West and Tye Tribbett. All I believe has been sculpted from a lifetime of following Christ. Yet, connecting myself with the art of Spoken Word, I take my pencil and scribble a line between a statement and a rant.

And the line tends to blur, because even if I draw it at foolishness like low-hanging chains and Ms. New Booty, who's being fooled? Am I that mature that I am not influenced? Does the world have such a grip on me that I can't see what's being done?

I'm a Hip-Hop Kid. I'm a Christian.

I am a Christian. I am a Hip-Hop head.

God requires all of me. Hip-Hop desires more of me. God wants me to be distinct, set myself apart. Hip-Hop says the same thing, but everyone else tries to look the part. And I'd stop listening to it if I could/knew how to, because scripture says that God pretty much despises anything lukewarm. (And who does?)
What does this say about me? For all the lyrical prowess that Talib Kweli possesses, it is still an undeniable fact that our faiths are two different things. Where do I draw the line? Do constantly pacify myself by saying something like, "This is between God and I"? And if so, what about all the souls who see me dancing to Black Eyed Peas? How are they to know that I am saved when I'm busy, shaking "My Humps"?

And that goes for so many other things.

Rated R Movies (Not counting "The Passion").

Chapelle's Show.

Def Poetry Jam.

Friends who live a different lifestyle than my faith prescribes.

What a Dichotomy am I when my lifestyle does not support my faithstyle.