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J Cole '2014 Forest Hills Drive' Review

   

     The kid from the 'Ville comes back home.  After two successful albums (2011's  Cole World: The Sideline Story, and 2013's Born Sinner), and a three peat of acclaimed mixtapes preceding his signing to Jay-Z's Roc Nation, J Cole returns to his hometown of Fayetteville, NC for this third offering. This album is as much about returning to your roots as it is about gaining a perspective of who you are. Rather than boast about what he has or promoting the dance floor, J Cole uses a message to invoke an emotion or two throughout the album. It creates for his most cohesive record to date.
     In a singles driven era, 2014 Forest Hills Drive has no obvious single cuts on the album. Perhaps that is why Cole decided to release it without radio assistance with an online announcement three weeks before it arrived. This is not a bad thing, as it is rare to listen to a whole album all the way through these days, and the albums that can make this are few and far between (you have to count Kendrick Lamar's Good kid, m.A.A.d. city though). That being said, much like Kendrick, J Cole has created a timeless piece that might be in the conversation of album lists in the next few decades.
     2014 Forest Hills Drive is about a kid, who left his hometown of Fayetteville, to move to New York City for St. John University. In the process, his childhood home was foreclosed by the bank. After graduating Magna Cum Laude, making a mixtape, chasing Jay-Z for a record deal, to releasing two gold selling albums and a record label of his own, Cole has bought that same home again, depicted on the album cover. Take into consideration his recent support of Ferguson protests, and post fame after that 'Control' verse, J Cole is now that guy.
     The album tracklist itself reads like an autobiography from start to finish. Beginning with the piano driven "Intro" Cole asks "Do You Wanna Be Happy/ Do You Wanna Be Free?" His summer protest song "Be Free" is in fact more urgent than this, but it is considered  the precursor to his album intro. The song wants you to strip away everything but happiness and freedom. Without these two elements what is the purpose of living. Next up is "January 28th" Cole's born date, bringing you back sonically to his The Warm Up days. Drum heavy, Cole takes his time on the first verse to tell an eye lens view of his perspective of the surroundings of his teen years, before taking a notebook to write his rhymes, while the second verse plays on the wittiness of wordplay describing his surroundings in current times. On the third verse, Cole makes mention of Drake and Kendrick Lamar, two of his greatest peers, to point out that the only rap gods were born on January 28th. (J. Cole and Rakim!).
     "Wet Dreamz" has a nostalgic boom-gap sound that many hip-hop head will reminisce on. Also sounding similar to the sounds on his first two mixtapes. Telling a story about his first time with a girl, and giving clever melodic rhymes to reminisce on his crush. Listening to it can take you back production-wise to Kanye West's  College Dropout era. "'03 Adolescence" takes place where "Wet Dreamz" leaves off. No longer innocent, Cole is now a high school graduate heading to college heading to New York. The most telling part of the song is Cole's honesty. It is here that he admits to being insecure and shy during this period of time in his life, also not sure of what will happen to his future "in a city where too many niggaz die". The vulnerability in the track is something that is missing in today's music. Peep the story told in the third verse about his willing to sell drugs with his older friend, only to be brought back to reality by the friend telling him that he's a fool to live a life he is not built for.
     "A Tale of Two Citiez" is based on the differences of living in Fayetteville and New York. Being a small town kid moving to the big apple is nothing short of a culture shock. The song is produced by Vinylz instead of Cole, much like the next song following "Fire Squad". Sounding a hungry as ever, Cole pulls no punches lyrically, pronouncing himself as the greatest, and the "new Spike Lee", as well as "'02 Lil' Wayne". It's the third verse though that sets in, addressing black appropriation by white artists. Think what you want the track isn't so much a diss, than it is a call to arms to stop trying to be a "bitch" and even "the king" when in essence we are all kings.
     Melodic wise Cole showcases his skills here more so than any other album he has had. "St. Tropez" reflects the riches Cole has gained since his quest for hip-hop fame. Much different in sound than "Fire Squad", the song references and samples "That's All Right By Me" by Esther Phillips. The most fun track on the album has to be "G OMD", and eve this song has a message. Almost a parody of  past Lil' Jon hits, "Hollywood Cole" talks about  his hometown, before heading back to his new found rap fame, and getting lost in its materialistic glory. Contemplating going back home, Cole switches up the flow a few times to makes you hit the club to say 'fuck it'.
     "No Role Modelz" is a reflection of his past once more, but this time realizing that he has no one to look up to to guide him growing up. Produced by Phonix Beats, who uses a George W. Bush audio sample midway, still carries out the album's cohesive sound. "Hello" also takes on a narrative of seeing an old girlfriend, who now has kids and has moved on with her life. Here, Cole depresses himself by looking back on what would've been.) "Apparently" provides Cole with his own canvas for expression towards his mother's pain after their home was foreclosed. The song is an ode to his mom, while expressing the flaws within himself while she watched  him grow up.
     "Love Yourz" is kind of the counter part to Kendrick Lamar's "i". The song tells that "there's no such thing a life that's better than yours". Addressing the fact that there will always be people to compare yourself to, as well as the materialistic dreams that comes with it. But there is only one life. As a fitting send off is "Note To Self" is more a 14 minute shout out than a song, but the soulful sound bed throughout keeps you listening.
     Calling an album a masterpiece is premature by any standard (it's only been out 14 hours as of now), but we can say that it its cohesive and above all else good. That's what music is supposed to be right? The album's message carries on for 64 minutes: You can't run from home.

From Music to Ferguson: 'Fire Squad'

     2014 has been and urgent year socially. One could argue that with current technological advancements, a decreasing crime rate nationwide, even a African-American President, that things are getting better. While in fact there are improvements being made in certain aspects, there are still issues that need to be addressed and acted upon. This blog is not going to change that fact or even make things better in the slightest bit, but whomever reads it should at least think about it. As a young black man writing this, I have to address situations that are impacting me first before talking about issues that are irrelevant to the progress of people. This article in fact is a reflection into the recent issues going from Gaza, to Michael Brown and Eric Garner among others, but is one that is overdue because the problems that have manifested over the news are nothing more than open wounds from a harsh history that we are part of. This reflection is potent in the music of today, a once thriving art form that is now suffering from the imitation of reality.
     If music is the paradigm for self expression, then Hip-Hop is (or was?) the most influential in representing the people. To be a representation in sound of not only your peers but the environment of a misrepresented class there is a lot of pressure, but one that our culture flawlessly exceeded within. Grandmaster Flash and The Furious Five couldn't have represented the early 80's any better with "The Message". NYC in particular was on the verge of the crack epidemic, and the public school system at the time was on a decline. By the time Public Enemy came out with the It Takes A Nation of Millions To Hold Us Back in April 1988 (two months before I was born), A declining economy, astronomical crime rate, and crack-cocaine was in full swing. Chuck D was the visual spokesman for the time with "Night of the living Baseheads".
     All of this while a culture named hip-hop was becoming a cornerstone in expression for the underclass. This was result of policies that went as far back as post World War II: The passing of the G.I. Bill, of the migration of African-Americans in the South to the industrial peaking North for jobs, the Civil Rights and Women's movements of the '60's, Vietnam War and resulting peacetime of the 70's and so on. By the 1990's times had changed, and music did as well. In a sense music represented the times no matter what was good or bad was within the world. In the past decade however, there has been a shift in what the purpose of the music is for, namely hip-hop.
     
     "You can't have music be one-dimensional. It's got to be able to grow and take on all different aspects of life. Social change is something people shouldn't be afraid to touch upon..." 
                                                                                 - excerpt from Chuck D (Paste Magazine, 2004)
     While there are protests throughout the world regarding injustice, flaws within the Voting Rights Act, there are also common personal issues we all are facing. Socially there is still an imbalance, we are divided economically as much as we are racially, so hip-hop is reflecting this right? Wrong.
     Not to blame radio or commercialization totally for this, even if you search through the internet foe independent artists, more artists are chasing lust and materialism than the ones that are not. There is not anything wrong with today's subject matter in hip-hop, life is life, and reality is reality, the problem is that there is no balance, and a focus to the issues that are really important. Here lies where an artist of J Cole's stature stands out. Not only has he recently made music to represent his reality, but also social era in modern time. Who knew that his unnannounced visit to Ferguson this past summer in support of Michael Brown, an unarmed teen fatally shot by an officer named Darren Wilson, would spark a change in his music so soon? J Cole had nothing to gain by his visit commercially, but he did it rather for himself and his people, our people.
     Not surprisingly most artists that are more powerful than himself have decided to not push the Ferguson issue, which is the sad part. Nevertheless it is not a surprise that Cole's newest release 2014 Forest Hills Drive is a call to arms in every aspect possible. No...it is not Nation of Millions, nor What's Going On. It is J cole's truth and an awareness to the issues reflecting young black men. This is about a kid who lost his childhood home due to foreclosure after going to college, who later chased materialistic things, only to realize that it was never worth it, and to return home with a better perspective. And then "Fire Squad" comes in.
     The first song to leak from the album a week before it's release has grabbed the most headlines. Not because it's catchy and sugar coated, but rather dark, grimy, truthful, and sounds good. The third verse is the most important, calling out Justin Timberlake, Eminem, Macklemore, and Iggy Azalea for white appropriation within black music. The song is not so much a diss as it is an awareness to what has been going on for decades.
     What hits the most is J Cole's "wiping away at the crown" dialogue at the end. Instead of respond to 'Control' (Kendrick Lamar's calling out of rappers, including Cole himself), he calls for unification. After visiting Ferguson, and dealing with his own self-awareness, Cole knows the reality of his situation, our situation, it's lack of unity. Without unity everything disintegrates.

Big K.R.I.T. Cadillactica Review

Big K.R.I.T. - Cadillactica Review

     28 year old Meridian, Miss. native and Def Jam signee Big K.R.I.T. is in an interesting position in his career. After a string of critically acclaimed mix tapes (2010's K.R.I.T. Wuz Here, 2011's Return of 4eva, and 2012's 4eva N a Day) his 2012 debut Live From The Underground while also acclaimed (anyone who has an ear should check out "Praying Man" a collaboration with blues legend B.B. King), performed to underwhelming sales. Despite the LP being released with little to no promotion it was enough to keep K.R.I.T.'s musical integrity intact. Fast forward a year later and K.R.I.T. became a named recipient to Kendrick Lamar's wrath on "Control". While others felt threatened with the verse (Drake anyone?) K.R.I.T. got much needed exposure that put him back into the "new generation" conversation, and then responded with "Mt. Olympus" displaying his gift of gab on the microphone. Now in 2014 K.R.I.T. is releasing is sophomore offering Cadillactica to maintain critical success, gain commercial exposure, represent the south with dignity, and carve his own lain in hip hop . . .whew!

     The album title is a reflection of a made up abstract planet held within K.R.I.T.'s own mind. 

It also serves as a prelude backstory to the cadillac that is shown on the cover to Live From The Underground. Starting off with the intro "Kreation" K.R.I.T. is in a conversation with singer (and real life girlfriend) Mara Hruby. She whispers "Let's Create" then K.R.I.T. goes into spoken word about being perfect and taking your time. As the baseline hits, you feel the soulful background reminiscent of early Outkast albums. This along with the Zapp inspired synthesizers in the midst of the record makes for a smooth intro, leading into "Life" the second track produced by K.R.I.T. himself. The drum and base heavy song finds K.R.I.T. finding who he is lyrically as an artist starting off with a somber then more forceful rhyming tone as the song progresses.

     "My Sub Pt. 3 (Bang Bang)" is similar to the previous songs in the trilogy of the same title: 808 heavy, and meant for stunting in your ...well cadillac. While not navy in substance it is trunk rattling music at its best. The same can be said for the albums' title track. Unlike the previous records, DJ Dahi handles the boards on this one and you  can feel the difference. K.R.I.T.'s delivery is more polished due to not having to pull double duty, producing and rapping. 

     If you want storytelling and substance, this album is for you just for the purpose of "Soul Food" a collaboration with Raphael Saadiq whom also produces the tune. Using soul food as a metaphor for nostalgic memories in life, K.R.I.T. hits home with the lines "What happened to the stay togethers/ Yeah I'm Witcha and that means forever/Grandparents had that kinda bond/But now we on some other shit/Naw we ain't got no rubbers here/I know she creeping so it ain't my son/Apples fall off of trees and roll down hills/We can't play games no more 'cause we got bills/Back in the day the yard was oh so filled/Now we can't come around here". Displaying Saadiq's voice for the chorus gives the sentimental song a big feel. So does "Pay Attention" which features Rico Love lamenting about paying more attention to his lady, while K.R.I.T. raps about a stripper nonetheless that he wants to pay attention to. Jim Jonsin produces this, and gives the song that commerce spice that K.R.I.T. has been in need of while still keeping in tune with the soulful sound of the album, and K.R.I.T.'s fan base satisfied alike.

     "King of the South" is another 808 heavy record, showcasing K.R.I.T.'s confidence as an MC (no shots to T.I. don't worry), and braggadocio force on the mic. Steering course however K.R.I.T. does a duet with Mara Hruby, slowing down the speed of the album into a jazz and blues song, where K.R.I.T. sings with Hruby's jazzy  vocals crooning "Do You Love Me For Real". The shocking part is that K.R.I.T. actually sounds good on this ( I mean Andre 3000 singing good). The song has single potential, and can be sped up with a remix if anyone tries it. Tracks like "Third Eye" and "Angels" contribute to the crooning, but brings in a nice mic of gangsta and soul, fusing a concoction of country sweet tea for the ears.

     Collaborations on the album are not of abundance and in fact makes since, like the smooth "Mo Better Cool, which features Devin the Dude, Bun B, and label mate Big Sant. Also "Mind Control" is good on the ears, even though E-40 and Wiz Khalifa aren't necessarily needed.

     The record that will bring K.R.I.T. to stadium status however is the blues/rock inspired "Saturdays=Celebration" with Blues/Rock musician Jamie N Commons. Sounding urgent in tone, K.R.I.T. raps about being strong and fighting resilience to doubters that may come in life. Tribal Drums in the choir filled background will get the listeners marching, a sound needed in times today filled with issues such as the Ferguson crisis. Ending the album is the clever wordplay between Big K.R.I.T. and Lupe Fiasco with "Lost Generation". In fact Lupe's sarcasm bars is enough to check the song out.

     If Big K.R.I.T. wanted to silence doubters after the performance of his debut and that"Control" verse: he does. If commercial success is a worry: the alum has enough singles for the radio to play. If K.R.I.T. die hard fans want true hip-hop: The album is that. Don't sleep on planet Cadillactica.

Teyana Taylor 'VII' Review

   

If the title of your album is VII it would seem like this is your seventh LP being released doesn't it? In the case of Harlem born Teyana Taylor, it represents the years spent in the music industry prior to her now released debut VII (G.O.O.D./Def Jam). While this may seem like a long time to release a project, the patience shows throughout, as Teyana Taylor has perfected her voice in a way that shows promise in the future.
     The album opens up to a jazzy interlude "Outta My League", as Taylor finds a man that she feels she doesn't deserve. "Just Different" takes on a different approach in subject matter, but still keeps the jazz feel. Matter of a fact, the song even brings to mind early Mary J Blige in mood. "Still love in my heart/It's not the same/It's just different" sung as a woman who is tired of a relationship that once blossomed. The next track"Request" is seductive at best, as Taylor wants that special someone to request the role she should play in bed. Once again her vocal tone is so smooth that it's convincing as autobiographical (maybe it is?)
     The highlights of the album takes shape with "Do Not Disturb" a duet with Chris Brown. The drums along with the accompanying melody screams sex, and is sure to be a quiet storm favorite in the current playlist of radio rotation. As often as R&B artists try to submit to hip-hop beats, this is rather refreshing. The same can be said of "Broken Hearted Girl" which features fellow Def Jam artist Fabolous.
     "Put Your ove On" takes a backseat to the albums smooth feel, to bring in reggae influenced vibes that can give Rihanna a run for her money. Even as the 808's make you bounce to the groove, Teyana Taylor keeps her smooth vocals in tact with the previous album. This leads into the lead single "Maybe" (which should be a bigger hit) merging seduction and melody perfectly.
     Perhaps the biggest flaw of the album is its length. The project is only over a half hour long, and certain songs are cut short. In fact the previously mentioned "Just Different" and another "It Could Just Be Love" serve as interludes, whereas the full songs appear on the deluxe edition of the album. Who knows what the point of that is, but ridiculous comes to mind. Elsewhere the song "Dreams" adds to the album cohesiveness, but one cannot help to prefer the leaked altered version that was released last month online "Dreams of F*****g An R&B Chick".
     Give credit to Kanye West who oversaw VII for the cohesive effort, and while not a perfect album, Taylor shows promise as a singer, and will be a mainstay if the emotion that she poured into this LP is only the beginning of her artistry.

Theophilus London 'Vibes' Album Review

     There is something to be said about the 27 year old Trinidadian born artist Theophilus London. He has put out an album Vibes (Warner Bros.) that is both innovative and party-worthy, captured the attention of one of the greatest artists of the current generation Kanye West, as well as fashion icons such as Karl Lagerfeld, and is still very underrated.
     Vibes may put an end to that and bring in more eyes (and ears) to London's artistry. Appropriately titled, the album forces the listener into various feelings and rhythms to get you moving across the dance floor. More importantly it brings about a feeling of emotion that goes along to your rhythm while listening to the project. Then again, that is what vibrations is isn't it? Defined as a continuous shaking movement, vibrations is just what Theophilus London was hoping for.
     Essentially considered a rapper, London croons the introduction track "Water Me", the synthesizers and keyboards in the background lead into the smooth drums while London sings "Water me, and I will grow". Helping with the vocals and keys is none other than legendary artist and keyboardist Leon Ware (Marvin Gaye's I Want You). If this is the type of artist you start an album off with, you're in for some jamming.
     Tracks such as the "Neu Law" and "Take and Look" follow the same pattern of London's crooning throughout, but via more percussion heavy sound beds , especially on the latter song. "Take and Look" gives on an eerie feeling reminiscent of a blaxploitation horror film with a soundtrack that forces you to boogie. London's rapping doesn't start until "Can't Stop", his collaboration with Kanye West. West starts off the record rhyming braggadocio lines that take you back to his College Dropout days. London goes into the second verse with a much smoother flow that compliments the track, talking about his lady and there definition of a chill time.
     As a woman whisper's the word vibes in a man's ear (i guess?), "Get Me Right" starts along with a heavy bass that flows a groove that allows London to flex his skills at rhyme, while still getting u to "vibe in the groove" as he says in the song. "Heartbreaker" is anything but, mixing ddm, with Prince inspired vocals that that will drive an old man to breakdance.
     Storytelling trumps the feeling on "Do Girls" about a girl who only "do girls" but makes the exception with a "player like" London. The girl even confides in a friend about the issue in a phone convo (in the middle of the song).
     The album closes with "Figure It Out" a much slower feel to a mostly upbeat album. The song takes you back to 80's slow jams (it should, I mean Force M.D.'s are singing on it). If vibrations brings about a movement, then this will slow things down...in a good way.
     Vibes will surely be a staple in upscale clubs and fashion shows throughout the next year, and if any music listener wants to listen to an album that they can vibe to, Theophilus London has one for you.

 New Music: Elle Varner-Cold Case 

Posted by Justin Jones

Elle Varner has been on the scene for a few years now. The NYU graduate, and RCA recording artist dropped her debut album Perfectly Imperfect after the grammy nominated song "Refill" hit airwaves. Now gearing up for her upcoming sophomore release tentatively titled "Four Letter Word", Elle gives us "Cold Case Love". The song begins like a fairy tale that turns sinister. Let's just say Hell Hath No Fury like a woman scorned.