Since the turn of the New Year, the “major” hip-hop releases have left somethin’ to be desired. I mean it’s gotten so bad, I’ve been bumpin’ old Mic Geronimo and Doobie Brother’s records. Anywho, thank the Lord for the underground–peep the goodness:

Domination Recording artist and Chi-town representative, Cosmo Galactus serves up the “Appetizer” ; a mix-tape prelude (if you will) to his upcoming Domination Recording LP Hunger Strike. Sounds like dude has thing for digestive themes(???)

The Wise(n) Rhymer: 

Not to be outdone–yet another Domination Recording artist hands out a few freebees, as Praverb the Wyse (gotta luv the spelling, right!) makes his latest mix-tape “The Gospel Is Free” available for download. (And what do you know its free!!) Mix features Praverb’s take/lyrics over contemporary hits and features fellow mic-mashers Billybo, JC Rymez and Change. Check for Praverb’s official debut Center Of Attention coming soon.

The One Man Army returns!

If One Be Lo’s ‘next-up’ effort, The R.E.B.I.R.T.H is anything like his last (the relatively slept-on classic from a few years back S.O.N.O.G.R.A.M) then the hip-hop sonic drought should be over! Check out: “Gray” and judge for yourself!

And one to grow on…

Queens, N.Y. emcee and graphic artist Bisc 1 will be taking the plunge into the sound game with his ‘official freshmen’ release, When Electric Nights Fall. (Sounds like a title for a great poem!) Not necessarily a newjack in the game, as Bisc has held down on the art direction tip for a number of well-known indie’s (Aesop Rock, Murs, C-Rayz-Walz), and like every other rapper in this world his 07′ mix-tape, The Stay Up Project has made its rounds…

But even with all of that, the folks over at indie hip-hop label, Embedded Music are givin’  Bisc 1 the industry co-sign! And if that’s not enough to peak yuur interest then perhaps the first single, “Turbulence” will?

P.S. I Love You!

Nah, not really..and that had to be the lamest Hillary Swank movie ever. (???) But, ya know..a man’s gotta do what a man’s gotta do–especially when the better half is pickin’ the movie. But, I digress–one mo’ freebee to keep y’all amped: Clan Destined feat. Laws “Older and Wiser.”

One Be Lo - S.O.N.O.G.R.A.M. (Retro-Hop)

http://www.fatbeats.com/ - $$$$(1/2)

As a prominent fixture within hip-hop’s underground, One.Be.Lo has always left listeners wanting more. Recording under the assumed name One Man Army, along with longtime collaborator, Senim Silla, the two formed the critically acclaimed group Binary Star. Hailing from the Detroit/Pontiac area of Michigan, Binary Star reached its pinnacle rocking shows with the likes of Slum Village and Eminem. After years of sharing stage time with such accomplished acts, it wasn’t until late-2000 with the debut of their full-length album Waterworld, that Binary Star finally realized ‘the props’ that every emcee salivates over. Waterworld, went on to receive regional and ‘underground’ praise but its success never quite matriculated onto a mainstream level. The group’s subsequent split further delayed One.Be.Lo’s plans of becoming a more established fixture within hip-hop music.

Having to tweak his vision from burgeoning group to up-and-coming solo artist, in-between time One.Be.Lo has supplied a solid, however infrequent body of work. Finally catching the ‘ears’ of one of independent hip-hop’s most talked-about labels–Fat Beats Records, he sets out to get even more ‘props’ with S.O.N.O.G.R.A.M.

S.O.N.O.G.R.A.M.’s blueprint is flawlessly executed. With Fat Beats ‘purist’ stamp of approval and production handled by Decompoze, sonically the listener is treated to a plate of “jazz meets hip-hop” styled beats. Categorically, his music is a bit bohemian in nature, but the essence is old-school inspired. As for lyrics, its One.Be.Lo’s clever rhyme schemes and witty punchlines on tracks like, ‘Back On The Scene’ that stimulates on an intellectual level.  Provided with a certain bombastic bounce, One.Be.Lo takes it back to 88′ with a battle inspired flow on, ‘Follow My Lead’ .  Everyday man themes of emotions and addictions are discussed as ‘True Love’ speaks on matters concerning the heart, as well as things we “think” we love as ‘Can’t Get Enough’ tackles the trials of materialism.

He’s definitely an emcee that isn’t afraid to make a statement or take stance. Nor is he apprehensive on showing his more personal/vulnerable side as he does on ‘The Future.’ Letting invigorating subject matter be the driving force behind the album, very candidly he addresses the problems within the Black community on cuts like ‘Axis,’ a position he again very starkly explores on ‘The Ghetto’. Still, making S.O.N.O.G.R.A.M. somewhat of a soapbox affair, the very up-beat ‘Sleepwalking’ and the pitfall story of the dope game on ‘Decepticons’ further distinguish him from the normal standard-fare rappers of today.

As complimentary as it may be to plainly dismiss S.O.N.O.G.R.A.M. as a collection of jazz-inspired tunes that hearken the early 1990s rap music’s renaissance, truly limits what One.Be.Lo has accomplished with this release. Giving full credit (or ‘props’) where it’s due, S.O.N.O.G.R.A.M. could easily be intermingled and debated upon amongst the classics of that era. From a present day purist perspective, very few rappers–even in the underground–put more emotion into a record. Aside from his personal perspective, conceptually One.Be.Lo does not cover any new territory. However, one would be hard pressed to find such a dynamic and diverse amount of material on one album. The themes of love, hate, fear, joy, anger, life, death, politics, religion and time all play a part into making the record a worthy listen. Multidimensional in his delivery and possessing an equally expansive subject matter that hits on multiple levels, One.Be.Lo gives an outstanding performance.

IT - Low Income Housing - Review by Nin Chan (Retro-Hop)

http://www.dominationrec.com/ - $$(1/2)

While it appears destined to remain overlooked in favor of more glamorous locales like New Orleans, Atlanta and Houston, Memphis, Tennessee remains one of the richest, most fertile areas in the Dirty South for rap talent. Home to juggernauts Eightball & MJG and the seminal horror-core institution Hypnotize Mindz, Memphis continues to spawn scores of young upstarts who tirelessly preserve their state’s rich musical pedigree (Yo Gotti being a favorite of mine). Yet, talent from the Big Easy have always tended to emulate the same Memphis template of bleak, bass-heavy gangsta rap, largely replicating the revolutionary blueprint established by the earliest Three Six Mafia recordings. It comes as a pleasant surprise, then, that this album, recorded in the sludgy swamps of Memphis, doesn’t reek of the bayou like much Tennessee rap, being a rootsy affair that is slathered in the same sticky soul as People Under The Stairs and the Justus League.

Perhaps I’m the wrong person to approach with a record like this, but I can’t help but feel like this particular sound has been done to death. Native Tongues revivalism has been flogged to death lately, with Foreign Exchange, the Procussions and the Soundproviders all treading similar ground as of late. In all honesty, it doesn’t appear that Infinito & Thaione are offering something that exceeds the grasp of more accomplished contemporaries like Lone Catalysts and the Molemen. That’s not to say that Thaione isn’t a gifted beatmaker- the understated synths and elegant harmonica of “Acknowledge After” are breathtaking, “Some Wise Water” crackles with the analog static of old soul and jazz records, the echoing guitar plucks of “You Are Not” make for compelling results when allied to a thumping bass drum. It’s all just been done before, and done better by guys like Soul Supreme and J. Rawls.

It doesn’t really help, then, that Infinito has neither the charisma nor the technical competence to elevate the tired musical content beyond mediocrity. Bizarrely, he shows flashes of brilliance, showing a willingness to delve into stream-of-consciousness Illogic/I Self Divine type structures on “Samuel L Jackson vs Dolomite,” but too often he sounds bland and unimaginative. His flow on “Acknowledge The After” is haphazard and sloppy, sounding disjointed and awkward atop the beat. Elsewhere, he sounds far too elementary to do justice to his ambitious socially conscious, hold-no-punches approach- “You think everything’s fair- ’cause you’re not black”. One of the primary vexations I have with Infinito is the fact that he has all the randomness of Slug or I Self Divine, without the poetic profundity. His subject matter embarks on various meandering tangents, often within the same verse, but his hyperactive imagination is bound and gagged by his limited lexicon and often unimaginative flow structures.

As a music reviewer, I feel like my purpose is to inform you, with absolute earnest, whether something is deserving of your sweaty dollar bills. While there are certainly facets of this record that would titillate all those who worship at the altar of the Molemen and Reflection Eternal, there is nothing here that really justifies a second spin from a jaded bastard like myself, particularly since there are either a) better traditionally minded outfits I can dedicate my time to or b) there are much more progressive records I could be listening to (Insight, the new Mos Def, etc.). While well-intentioned, there isn’t enough on offer here to justify a purchase. I’ll be checking for Thaione in the future, though.

With soooo much music currently flooding the market, I tell ya it’s just like Christmas! Oh wait..it is Christmas! Well, without further delay, here’s some Holiday MP3 goodies from ya boi Capt. Westside:

Big Noyd - “Things Done Changed” ft. Kira Off the Noyd’s latest project titled, Illustrations. Executived produced by noneother than Lil Fame of M.O.P.! (Fiyahh!!) Well all be damned, Lil Fame gettin’ his muscial mogul on! Watchout Puff..

Amy Winehouse - Has been all up in the news this year–I mean that gal seemingly channeled negative energy in 2007. But, unlike tabloid media, the Lyrical Lounge does not make a habit of gettin’ into folks ‘biddness’ like that. With us its all about the music and the pure entertainment value that it can potentially bring. Blah, blah, yeah I know, get to the point - Remix guru’s and jazzy appreciators Truth and Soul took a minute to mash things up a bit on A Dubs latestest single, “Love Is A Losing Game”  Straight vintage yo!

Guilty Simpson - Ahhh man! Can an emcee have a better name! I mean its clever, tip-toes the boundaries of good/bad taste and prolly pisses a few people the hell off! Oh, and the dude can rhyme! Checkout the grimy: “Getting Riches” off the Ode To Ghetto album..

Junk Science - A truly odd couple–(I mean they gotta record titled Gran Dad’s Nerve Tonic for goodness sake) are back at it again, this time around they raise the spirit of Tom Cruise (minus the coach jumping) and drop an ode to those who are fed up with their 9 to 5’s on “Jerry McGuire.” Funny stuff..

Musab - Hiero affiliate (Westssside!) trumps everybody on the freebie tip!! As he delivers not one, not two, but three MP3’s off his album Slick Box. And the dude got more sides than a value meal at KFC. Muslam, father, pimp! Thats gotta be the rap-personae triumvirate. Guess it ain’t called the season of giving for nothing, peep: “Baang”; “Hat and Shoes”; and “Kool Aid (Gettoe Juice)”   Thanks Mo!

Mr. J. Medeiros (of the Procussions) talks to your favorite Lyrical Lounge interview queen about “hurt(ing) this pride, murder(ing) this ego”. Here’s a look inside the mind of a (Super)man who ain’t too proud to eat humble pie, just hold the milk - Angelica LeMinh

ALM: Rappelles-moi ton histoire avec la langue francaise….
Mr J: I am still learning French. I know just enough to keep the show going and some extra phrases to get around town. France was the first place I toured (with The Procussions) outside of the U.S. and that was 4 years ago. We go twice almost every year, in fact, I’m here now, about to finish about a 7 week tour…of France.

(more…)

Not too many rappers are Nikki Giovanni approved! Seriously. And when he’s not crushin’ his own mic (ya know feedin’ his hip-hop habit), you just might find Dumi Right contemplating the significance (and utter brilliance) of the handful of Tribe Called Quest albums out there. See, Dumi can spit verses from both the Low End Theory and Midnight Marauders albums forward and backwards–and he won’t forget a bar, I swear–but just don’t ask him to chose which one is better! - JB

What’s good? Its been a minute since we last spoke? (Circa the first PH Music compilation release) What have you been up to?

Staying busy. Since then I went on to release the O.U.O album, of unknown origin through pH MUSIC/Domination Recordings and through a coincidental conversation I had with DJ Fisher, I connected with some cats that were interested in putting out unreleased Zimbabwe Legit material in the form of the album Brothers from the Mother that never saw light of day when things fell apart back when we were still with Hollywood Complex. After putting out those 2 albums I’ve been working on this new project, The House of Stone and putting in some work with guest appearances on records by Cadence, The Good People and The Saint and a few overseas compilations.

How do you leverage your time between the fam and your music?

I mean its like there are really not enough hours in the day. I have a full time day job, then I have a family so want to make sure that is the main priority. Then there is this business of music. Basically I just have to prioritize, some social stuff that isn’t business related has to get deaded. I mean if some heads want to get together and just kick it I might have to pass so I can spend time with the fam and then jump out when I have a session, show or some business stuff happening. I also have to try to be ultra organized so I can maximize my available time. I have to make sure I stay sharp in all the arenas of my life but also remember that family is most important.

(more…)

Angelica LeMinh goes into the locker room with one of the only 3-time Shotgun Reviews’ champion interviewees, Eternia (Miz Green Eyes), who still holds one of the best assist-to-turnover ratios to date. Following the NBA’s groundbreaking lead, The Lyrical Lounge has annointed a Canadian MVP.

ALM: So, you’re DJing with Prince Paul and shit. What’s your libation of choice on and off the decks?

MIZ E: Aww man, everyone who knows me knows it’s Bacardi Gold rum and coke, though recently I been switching to Grey Goose. Not because I like Grey Goose more, because I don’t, but Jean Grae once told me personally that “dark liquor is a no no”. I agree, but then again, maybe all liquor is a no no.

ALM: I love that you haven’t forgotten your home (sweet Screwface) on your whole Underground From Canada journey. Did it take moving away to really feel it?

MIZ E: Yes. Anybody that claims that Canada doesn’t have an identity, that “Canadians” cannot be typified, is dead wrong. Or they just haven’t moved away. We most definitely have our own identity and it is uniquely ours. I miss Canada, especially Toronto, too much to fully express on any track.

(more…)

Rapper Eve on topic..

So supposedly Ms. Jefferie’s album was set to drop on Oct. 16th? However, if you go to any fine record/CD retailer you will find no new album on file. Sigh. Eve’s one of the favorites–yeah, she’s got the throw-away hip-pop music in her catalog (”Who’s That Girl”), but in the same breath Eve’s got the poignant track that every woman can relate to and be proud of (”Love Is Blind”). Not as trashy or as risque as the Lil Kim’s of the world, but with her homegirl appeal and two strikingly placed ‘paw-print’ tattoos, she definitely knows how to get ‘all eyez on her’ and that’s word to Pac!

As of press time the album has been pushed back with no new release date on schedule. Apparently, her and the good Doctor can’t get on the same page. But even with the indefinite delay, she still has found time to crank out two singles : “Tambourine” and “Give It To You” feat. Sean Paul.

In other hip-hop related happenings..

It doesn’t get anymore ignorant than Project Pat! His rap sheet speaks for itself(”Chickenhead”/”Sippin’ On Some Syrup”).  And because hip-hop/rap has seemingly become a celebration of repetitive ignorance–Project Pat unveils his latest single, “Don’t Call Me No Mo” of the Walkin’ Bank Roll album. This record is being heralded as the ‘ringtone anthem!’ And to quote KRS-1..”we now have ringtone rappers?” WTF!!

Ending on a high note -

Check out the slept-on musical stylings of Clan Destined. (Very cerebral music we got here!) We did an album review some time ago, check that out here: Abracadamn! But, givin’ this record a second listen, me thinks we might have errored in its overall rating? Peep: “Never All Ways” and judge for yourself..

Sev Statik (a former Lyrical Lounge interviewee) and DJ Dust (of Mars Ill) have been “in-the-lab” (to borrow a phrase from The R) tinkering, plotting, creating, brewing and scheming their next musical move! And with the fruits of their labor finally coming to fruition (that’s ripe of the uninitiated) on October 9th, they are primed (and proud) to release the collaborative album titled “Back To Dust.”

The album is gettin’ a crazy amount love on the distribution tip with an official digital co-sign by Rawkus Records (thru the Rawkus 50 platform) and a partnership with indie rap label - Hiphop IS Music.

But, what would a collaborative effort be if it didn’t have any quality collabs on it!! (Well, glad you asked!) Guest vocals come in the form of fellow indie heavy-weights  Supastion, LMNO, Manchild, Theory Hazit and Playdough. Album is definitely on a free flowin’ positive strength vibe! Check out the snippets here: www.myspace.com/sumoraps

In other hip-hop related happenings..

Tired of that blasted ‘Superman’ song by Soldier Boy yet? I know the hell I am! (What can I say, I’m just not 10 years old anymore, yo!) Anyways, indie tastemaker and “label-of choice” to the underground, Stone Throws provides us with yet another alternative to the ‘noise’ played on the radio. Listen to: See by Malib and Karriem Riggins from the B-Ball Zombie War compilation. (Yeah, Stone’s is that cool…mixing Basketball and Zombies!)

Domination Recording artist and Demigodz affiliate Majik Most, “is back to bombard and blitz the music community once again”- (And thats a direct quote from the press release people sooo it must be true*) - with his newest musical misadventure ‘You Got Jokes’!Expect to hear from some of the usual suspects Majik getz down with - Celph Titled, Apathy and Dutchmassive - but on this ride M and M also chops it up with fellow Domination fam Tzarizm, Laws and PFM. But hey don’t take my word for it - check out the album sampler here : Got Jokes

Last but certainly not least - DJ extraordinaire, Hip-Hop producer, Prophetix group member, former Lyrical Lounge interviewee and all-around good guy DJ Jon Doe in-conjunction with UK’s Itch FM 105.1, Mr. Lawson and “The Show With No Name” dropped a “free-bee” to the downloading masses some time ago - And because we know everyone likes FREE stuff - (who doesn’t have a hook-up in McDonald’s drive-thru, ya feel me?), consider this your extra Hot Apple Pie on the side: DJ Jon Doe                                                                                                             

Mix features tracks from Skyzoo, Ghostface, Jedi Mind Tricks, The Roots, Hi-Tek, Evidence and LLoyd Banks

MTV won’t air it, but we sure will! Enjoy the latest ‘media event’ from Puffy and Bad Boy Records! (Hi, Suge)

It’s hard not to be noticed when you drop a video like “Y’all Should All Get Lynched”, but NYOIL is pleasantly humble and effervescently funny when he meets the little Lyrical Lounge Interview Queen that could, Angelica LeMinh, as she travels across international borders and domestic waters to chat with him on his side of the Staten Island ferry.    

ALM: Is NYOIL an acronym?

NYOIL: It used to stand for “New York’s Original International Lover” but I had to retire that because it became too ridiculous (laughs). Now it’s NY Oil, oil is black gold, we’ve been at war for oil, the youth has been dying for oil. I think the youth is black gold, and that’s what I’m going to war for, the youth, this hip hop.

(more…)

www.babygrande.com - $$$$

Honestly, some time we (those who dare call themselves the hip-hop generation) over think the music that’s currently being released to the masses. Either, we live amongst the naysayers with a proverbial grumble that “hip-hop” is dead - banishing the thought of purchasing any and all music from the genre (even from the indie circuit), or we ride the radio waves of POPularity, happily content “snapping” and poppin’ right along with our local blinged-out disc jockey.

Now, regardless of what side of the argument– left or right that you fall upon, (or even those in the middle, ‘doin’ their own thang’) what is often missed in this unsurrendering debate; is the fact that not every album from the lauded Golden-era of hip-hop is an A and B-side front to back, thought-out with no-debate unanimous classic. Sure today’s hip-hop and rap music has great opportunities around lyrical content and song structure, but the real tragedy I see on a daily basis is that we as a Hip-Hop Nation allow past spoils and the present sonic dictatorship of our ears command what we are willing (and wanting) to listen to.

We are a nation divided, and without pointing fingers in too many directions, we’ll just say that the powers-that-be have clearly crafted a glass ceiling that could most certainly use a sledgehammer taken to it. And with their collective sabbatical now over, The Polyrhythmic Addicts set out to do just that with Break Glass…

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www.bluescholars.com - $$$(1/2)

Review by - Nin

In an industry typified by attention-deficiency, what was de rigueur yesterday is invariably outmoded today. Politics and hip-hop, once virtually inextricable from one another, now make awkward bedfellows in the popular consciousness, devoured by the maw of atomistic individualism that defines capitalistic ideology. Hip-hop, as a mirror of prevalent socio-economic currents, is perhaps more earnest and transparent than any other form of sonic art, a ductile, amorphous mass that absorbs and reflects economic truths of its age. Now firmly in the grasp of the status quo, the incandescent indignation of its earliest practitioners has been dulled and sterilized, and its polyglot diversity has been rendered subject to the voice of the marketplace. Money is the lingua franca, consumption is the ideology, art is the canvas. A Marxist nightmare, in short.

It takes a group like Blue Scholars to repair the communitarian threads that cutthroat corporate, materialist culture has unravelled, to reaffirm the fact that hip-hop is beyond a means of individual expression, it is also a legitimate community, a firmament upon which revolt can be coordinated. This is not to say that I am a communist, far from it, but I am not averse to the concepts of solidarity, fraternity and consciousness that Blue Scholars espouse. While Geologic’s loquacious, meticulously constructed verses can prove to be somewhat trying on extended exposure (his deliberate elocution comes off somewhat monochromatic in spots), his rapid-fire effusiveness conveys elegantly-expressed tracts on social upheaval, unity and integrity in the face of widespread serialization/alienation/indifference, plagues of the urban experience that hip-hop is an appendage of. The message is one of luminescent hope in the midst of urban blight, a clarion call for communal spirit amongst a progressively diffuse audience.

Accenting these eloquent manifestos are some of the finest beats to grace a rap record this year, suffused with fearsome, leviathan bass, piquant rhythms and a pensive yet rousing sense of tunefulness. Anchored by a gargantuan low-end, Sabzi’s exquisitely thoughtful sonic potpourris are ceaselessly entrancing, saturated with a sense of melody that is undoubtedly schooled by a genuine understanding of music’s ineffable, intangible dimensions. This is a very strong record, and while it might (much like this review) seem redolent with the selfsame “self-righteousness” that is at odds with popular sentiment in this day and age, it effortlessly walks the trapeze between overtly didactic diatribe and pointed, informed commentary.

www.kochrecords.com - $$$

Review by - Nin

Call him what you want, but Prodigy is nothing if not canny- the vicissitudes of the rap game have often forced the diminutive don to make some difficult decisions in an effort to maintain visibility in an age characterized by tempestuous caprice. While I believe we are all unanimous in our evaluation of Mobb Deep’s latterday output and suspect career decisions, the shrewdness of these manoeuvres have allowed the group to embalm a career that seemed desiccated a few years ago. True, the dramatic detour from the original Mobb Deep template has been much for devotees to endure, but one can’t help but feel that the consequences of such choices loom larger on Hav and P- they have effectively sundered the group from a halcyon, irretrievable past and a dubious future. Mobb Deep are adrift in the merciless present, desperately groping for some means to preserve legitimacy in an avaricious, indifferent industry.

This anguish and exasperation is writ large across this succinct statement of intent, another convincing exemplar of P’s trademark po-faced fatalism. Bitterness and uncompromising despondency crystallize into keen shards of frigid rhetoric, delivered with the graven solemnity that Prodigy has made his hallmark. Atop organic, swaggering, streetwise Alchemist production, Prodigy paints (with broad swathes of nickel black and plasma, crimson red) impressionistic images of New York as Capharnaum, a shell-riddled dystopia that smothers (with ill-will and fusillades of bullets) bourgeois notions of idealism and humanism. New York is a vicious rite of passage that concludes only in death, and P’s solution to this existential barrenness with vigour worthy of Albert Camus- revelling in the Bacchanalian pleasures afforded by wilful brutality, emotional detachment and unfettered capitalism. Acutely sensitive to the absurdity of it all, P’s meditations on impending death are bedecked with visions of material opulence, juxtaposed with a grim acceptance of his own demise. This is hell on earth, and P’s unflinching reluctance to offer any glimpses of redemption has made him one of the most bleakly austere lyricists of our generation.

It helps that Alchemist’s production is up to task- “7th Heaven” evokes vivid recollections of Scarface, all resonant digital snares and looped, consciously kitschy synth loops, while “Down & Out In New York City” is morose and ominous, a pastiche of strings and hi-hats as spare as P’s lean narrative. One would have thought that Alchemist’s imagination would have been exhausted by now, but it is laudable that the man has managed to wring a formidable career out of a somewhat limited template. Vitality and imagination bleed from every sonic pore here, and while Alchemist beats are always a somewhat predictable proposition, he has managed to infuse aesthetically similar beats with enough variety to warrant parallels to the like-minded Premo.

A worthwhile purchase then, if only to arouse some optimism for the upcoming HNIC 2 LP. This time around, P’s distinctively laconic, lackadaisical flow is untainted with the lyrical lassitude that has typified much of his recent material, and I, for one, am thankful for it. Recommended.