The first release from a recent run of collaborative sessions between MC Smoke DZA and producer King Thelonious, “Ghost of Dipset” also acts as a tribute and valediction for 10 years of Diplomatic Immunity. We know Killa Cam reads the site (and hopefully Smoke DZA does too), so glasses tipped in both y’all direction as we toast to 10 more years.
La Musica de Harry Fraud. Fraud cooks up that classic sound on Marvelous, the second single from BK emcee Eddie B’s forthcoming “Horsepower” project. Selecting for a gloomy ’70’s A.M. soul sample, Harry Fraud adeptly picks up Eddie B and assist man on the track Action Bronsonlini who could probably body a beat like this in his sleep.
We love Terrace Martin. The L.A.-based Producer/MC/saxophonist can seemingly do it all. Here Mr. Martin puts a Quiet Storm shine on K. Lamar’s current “Poetic Justice” hit layering with a generous smattering of dope sax leads. CC this one to yr shawty.
Bammers endin’ up on a milk box. MD rapper Nike Nando lets loose the T-Mos produced “Double Dragon” from his upcoming SPRDLV mixtape. Our man from Maryland goes in well enough but the big points are won here by fellow DMV-er Tabi Bonney (where’s this fool been?), who’s feature on verse two is very good (very very good). Props, too, T-Mos for an A+ harp-driven instrumental. We are into it.
Finesse Supafly is a part of Mont Brown’s Philly collective Astronauts Really Fly. The braggadocio of “Get to Steppin” is evident. Finesse and Jay Dempsey ride the soulful beat with nothing but cockiness. It’s just some fun, youthful energy as made clear by the witty lines and track artwork. While Mont has the Pop feel, tunes like this are perfect for Internet success. ARF is really tackling all angles of rap. This that type of music that you bump with your car windows open, like your cool. And, Spring is right around the corner.. By Teddy Pendergrass
G.O.O.D. Music affiliate Ryan McDermott gets the inside bounce pass from label teammate Hit-Boy and WHAM! with the right hand (word to Joe Tait) the two connect for the nicely tipped R&B-flavored pop track. It’s “Joy”.
Big K.R.I.T. superior skill as a producer shows out on new single “Shine On”. Sampled here from his upcoming King Remembered In Time LP, the Mississippi producer/MC selects on the track for a Curtis Mayfield “Pusherman”-esque ride out and gets a serviceable sixteen bars-assist from Uncle Bun B.
Big K.R.I.T. – Shine On feat. Bun B (Prod. By Big K.R.I.T.)
Hip Hop was born on innovation. People hadn’t heard anything like it before and so they flocked to it. They couldn’t help but enjoy originality. Not only was Hip Hop different, lots of skill was involved. Fans respected Hip Hop artists for doing things that they couldn’t, and they were enlightened with a new, refreshing culture.
Most of these pioneers have run their course. New generations seem to rarely relate to the sweat and blood these human beings initially put into this style of music. Seldom will todays generation notice that legendary rappers were going against all odds. Today flashiness and personality make Hip Hop look easy with many artists boasting about the things that fans would love. These are the same individuals that frequently “make it” via the highly accessible Internet… and the over-saturation ensues.
In opinion, the Hip Hop industry needs to revert back to a time when every song had to be a hit, a new sound, more lyrical, more passionate, etc. What’s special about a Hip Hop artist that follows trends and only makes one type of harmony? These artists won’t be remembered beyond ten years if their albums cannot generate the need to press repeat. Yes, we’re talking the whole album from start to finish.
As a child, I believed the mainstream was my only road to great rap music. I pondered, ‘if this rapper isn’t famous, then it’s because he is not good.’ However, wisdom comes with age and today I see talented underground emcees doing things right, the way that our Hip Hop fathers did. That is, fighting against the brick walls and working hard to develop something with lasting appeal. They’re generating projects that may be overlooked at first in today’s bombardment of new media and flash based Hip Hop. But talent can only be ignored for so long.
Growing up in Philadelphia, I saw that the city’s musicians (as a whole) were commonly neglected by radio/TV. I remember people saying things like “Just a battle rapper” about my favorites. Yesterday’s Philly rapper may have been that. But, today’s hates that and has dedicated their life to proving that statement wrong. Mont Brown is clearly one of the best in the game and he’s been making music in Philly for years. He is surely debunking said stereotype, along with his go-to beat smith Pace-O Beats. Check out these examples:
The track “Hi Top Fade” screams emcees that know their roots. Mont and Pace most likely said “Let me show some love to the greats and blow out some speakers with big bass.” And, also “Let me be original enough to let listeners understand that it’s not a gimmick.”
“Fantastic” is Pop music for sure. Mont and Pace don’t want to just make street anthems. They want to go platinum. So, they created a soothing beat as a backdrop to feel good lyrics, without sacrificing the quality of the song. That’s something that is so rare these days. “Let’s have a good time, I’m on cloud 9.”
“Rent” proves Mont and Pace didn’t forget about the strippers. They can use auto-tune just as effectively as your favorite rapper and indeed make them asses clap, while doing so.
“All I Had” is Mont and Pace letting out the pain and suffering. There is meaning here. And you can’t compare the beat to anything you’ve heard before. It’s distinct, something that is lacking far too much in rap. These guys came from the bottom and still are at the bottom. What’s crazy is, as you can see, they’ve had plenty of hits before this one.
Finally, “All Tied Up” is Mont and Pace recognizing that songs for the ladies can’t always be strip club bangers or pop-tunes. You have to make some baby making tracks too. They once again showcase you can make music for the masses without watering down anything.
You don’t have to keep downloading one or two songs from everyone’s albums, when you have someone that never releases bad music. Mont Brown and Pace-O Beats did all of this independent. I’m interested to see what they do with the proper recognition.
Stay tuned for my take on more of the best underground Hip Hop for your speakers.
Tanya Morgan go and release some new heat. Would you expect B3 wouldn’t be there? NO WAY. Cinci/BK rap crew Tanya Morgan take a decidedly “slow jams”/late 90’s nu soul turn with “For Real”. TM, B3, and Anthony Hamilton, and Michelle Obama, we usually rock around 92 BPM.
You may remember Elliot Ness from MTV’s Making The Band. He was the Philly battle rapper always getting into fights. What you probably don’t know is that he has some really good music. “Rest ya neck” is 55 bars of punch line after punch line. He reminds me of a flashier Sean Price. They both put forth complex rapping but E. Ness expresses style and the new school, while Sean typically rambles over steadily less effective, golden-era instrumentals. Notice the multisyllabic/compound rhymes Ness spits effortlessly on top of the engaging, bouncy bass and spellbinding, spooky whistle. The track is from 2008 and still resonates. It sucks Diddy didn’t hone his skills for mainstream success. By Teddy Pendergrass
Mello Music Group artists The Black Opera connect with the King of 2010’s Blue-Eyed Soul Mr. Mayer Hawthorne on “Queen of Hearts”. The minor-keyed paean to both love idealized and love unrealized features many head noddin’ moments, not the least of which is the neat juxtaposition of Mayer’s gloomy hook and the instrumental’s harp arpeggios. Ace of Diamonds.
The Black Opera – Queen Of Hearts (feat. Mayer Hawthorne)