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Wiz Khalifa – ‘O.N.I.F.C.’ [ALBUM REVIEW] (Pt. 2)

So Left Field — Wed, 05 Dec 2012 15:45:51 +0000

***PART 2 of the ‘O.N.I.F.C.’ Review***
(READ PART 1 HERE)

7). “Got Everything” featuring Courtney Noelle (Prod. by Sledgren & I.D. Labs)

Wiz switches focus to the ladies. On what is basically this album’s “Roll Up” (off ‘Rolling Papers’), fans will immediately hear Khalifa giving listeners a “B.A.R.” flow. The hook is pretty catchy and will undoubtedly be in your head long after you’re done listening. I can see this being a single.

8). “Fall Asleep” (Prod. by I.D. Labs)

“Fall Asleep” is appropriately titled. On the dream-like, lullaby-ish record, Wiz discusses his lavish life. One of the weaker tracks on the project; seems like a filler-joint.

9). “Time” (Prod. by I.D. Labs)

On “Time”, Khalifa keeps things mellow and uses this moment to reflect on his thoughts. This joint is sort of reminiscent of his “California“ record (off ‘Taylor Allerdice’). This might be the most introspective you’re going to get from Wiz on ‘O.N.I.F.C.’, so enjoy it.

10). “It’s Nothin” featuring 2 Chainz (Prod. by Drumma Boy)

The record “It’s Nothin” is braggadocio at its finest. Wiz & 2 Chainz (“2 Chainzzzzz!!!”) take turns discussing the effortlessness involved in plush living, as if they were in first-class. This line from Tity Two Necklace pretty much sums up the entire record: “It’s something to you, but it’s nothin’ to me”.

11). “Rise Above” featuring Pharrell, Tuki Carter & Amber Rose (Prod. by Pharrell Williams)

Wiz Khalifa feat. Pharrell, Tuki Carter & Amber Rose by HoodCelebritys

When I saw this song in the tracklisting, I grew super excited. Not only because it features my favorite producer, Pharrell, but also because it featured Taylor-gang raptoo artist, Tuki Carter; he is a dope MC. Now about the record…

“Rise Above” is an inspirational record of resiliency and perseverance. I love the super-chill, groovy Pharrell-produced track. Pharrell nor Tuki disappointed on their respective verses. I like the song, but I’d be lying if I said I didn’t expected more. Chalk it up to the precedents these artists have set. But as I mentioned, I do like the record.

*P.S. Curren$y would have been perfect for this.*

12). “Initiation” featuring Lola Monroe (Prod. by Sledgren & Andrew “Pop” Wansel)

Here we have Wiz’s patented ode to his crew and fans, The Taylors a.k.a. Taylor Gang. “Initiation” could also serve as Part II to “Taylor Gang“ (off ‘Cabin Fever’). This record features Taylor Gang’s First Lady, Lola Monroe, who does not necessarily offer the greatest performance, but she’s sexy, so that’s good enough for me. TGOD.

13). “Up in It” (Prod. by Jim Jonsin, Rico Love, Earl & E)

Preceded by a lovely Amber Rose voicemail, Wiz Khalifa slows things down for the ladies, specifically Mrs. Khalifa, for the record “Up in It”. I won’t go into details about the record’s subject matter, but I will say that this is a pretty sexy record; something you can add to a slow jams mix. This joint has an early 90′s R&B feel, it kind of reminds of Keith Sweat’s “Right and A Wrong Way“. I can see this being a single as well. A successful one at that.

14). “No Limit” (Prod. by Nice Rec, will.i.am, & I.D. Labs)

“No Limit” may possibly be the most notable record on ‘O.N.I.F.C.’. Wiz sort of steps out of his usual realm and experiments on one of the more different sounding joints on the project. It reminds me a lot of Ab-Soul’s “A Rebellion” (off ‘Control System) or Kid Cudi’s “50 Ways To Make A Record” (off ‘A Kid named Cudi’). The nearly 9-minute record, sounds like it could be the score to a movie. The record in it’s entirety is dope, but the transition and the second half of the record shines the brightest. “No Limit” is a very positive and uplifting record in which Wiz provides words of encouragement to listeners, including: “Don’t look down, keep your head up”. I really like this track; it’s refreshing to see Wiz in this light.

15). “The Plan” featuring Juicy J (Prod. by I.D. Labs)

“The Plan” finds Wiz reflecting on where he came from and where he is at. Imagine all the hardships you’ve been through and the backlash you’ve receive to reach new heights and achieve your goals and you finally make it, this is what would play. “The Plan” is like the ultimate “F**k You” record. This is one of those records where the DJ would cut the record and the crowd would recite it acapella. And by the way, Wiz’s 2nd verse was one of immaculance (yes, I know that is not a work). Dope record. You know who I could honestly hear on this record? Trinidad James.

16). “Remember You” featuring The Weeknd (Prod. by Illangelo, DPAT)

Wiz enlists Canadian R&B crooner, Abel Tesfaye, a.k.a. The Weeknd, for the record “Remember You”, the second single from ‘O.N.I.F.C.’. Actually, it seems more like The Weeknd featuring Wiz Khalifa than vice versa. It sort seems like a bonus record rather than being apart of the actual. Still a decent record overall.

17). “Medicated” featuring Chevy Woods & Juicy J (Prod. by Danja)

‘O.N.I.F.C.’ appropriately ends on a high note (no pun) with the joint (no pun) “Medicated”, which features his fellow Taylor Gang comrades Chevy Woods & Juicy J, who both held it down. Wiz should’ve just went on and threw Lola, Tuki, Quay Meanz & Berner on here as well and closed it out like that. Regardless, this was still pretty solid way to cap off the project.

CONCLUSION

I have been seeing mixed reviews about this project. Some felt that the quantity of reefer references and wealth bragging used throughout the project were a bit overdone, but then again, this album is named “Only Ni**a in First Class”, so why wouldn’t he commentate on that lifestyle? After listening to ‘O.N.I.F.C.’ myself, I did not feel shortchanged at all. Although it does get a little bland towards the middle, overall, it is a very good project and definitely has replay value. The project’s duration did not seem too lengthy, the production was dope, the songs were solid. As I mentioned in the introduction, Wiz is Wiz, therefore he is usually going to discuss the things he usually discusses. However, from the cover art to his music, one can definitely see the growth in Khalifa. ‘O.N.I.F.C.’ > ‘Rolling Papers’. ***I give this an 8.2 out of a 10 overall.*** I especially think Wiz’s older fans will enjoy this project.

Standout Tracks: “Bluffin”, “Let It Go”, “Up In It”, “The Plan”

-So Left Field (@YesIamHim)

-’O.N.I.F.C.’ (“Only Ni**a in First Class”) is out now! Purchase it HERE

-Visit Wiz Khalifa’s website HERE

How do you feel about this project? Feel free to leave any comments below & also hit up ATLANTA GOT SOLE on Twitter HERE

Wiz Khalifa – ‘O.N.I.F.C.’ [ALBUM REVIEW] (Pt. 1)

So Left Field — Wed, 05 Dec 2012 15:30:23 +0000

Label: Atlantic/Rostrum
Release Date: December 4, 2012

Fresh off of a year of being nominated for 2 Grammys (Best Rap Song ["Black & Yellow"], Best Rap Performance ["Black & Yellow"]), being listed on Forbes’ Hip-Hop Cash Kings List AGAIN (this year at No. 12 with $9 million earned), landing a leading role in a full length film (‘Mac & Devin Go to High School’) and becoming engaged to one of the baddest chicks in the game (Amber Rose, who is with child), Pittsburgh, Pennsylvania native Wiz Khalifa has definitely risen to stardom’s plateau. The inked-up superstar, who is known for his affection for marijuana, his charismatic personality, and, of course, his tatted up frame, boasts quite the résumé for one of the bigger, yet younger, artists presently out. To add to that hefty résumé, Young Khalifa is set to release the follow-up to his major-label debut album (‘Rolling Papers’), with the release of ‘O.N.I.F.C.’ (An acronym for “Only Ni**a in First Class”).

The album’s title, ‘O.N.I.F.C.’, which was inspired by Prodigy of Mobb Deep’s album ‘H.N.I.C.’, pretty much explains Wiz’s present-day status: a ni**a who came up against the odds and is now reaping the benefits that accompany that success. Not sure what expectations people may have in terms of this project or Wiz as an artist at this point, but realize, Wiz is going to be Wiz. No big emphasis on dynamic lyricism or discussions of very deep or political topics; for the most part, Wiz is still the fun-loving stoner who likes to smoke the cannabis (he reportedly spends/smokes about $10K worth of weed a month), brag about his riches (see the Forbes’ List reference earlier) and make music about it. The Taylor Gang frontman has a history of making good music on a consistent basis, let’s see if he continues in that positive manner or suffer the dreaded sophomore-slump with his second major-label album, ‘O.N.I.F.C.’

1). “Intro” (Prod. by Cardo & Sledgren)

‘O.N.I.F.C.’ opens up with a short, bass heavy instrumental that I am sure someone, if not some thousands, will be looping and doing a “freestyle” over within the coming weeks. If you didn’t think of that, well there you go.

2). “Paperbond” (Prod. by I.D. Labs)

“Paperbond” gives me the same feeling as “Mezmorized“* (off ‘Kush & Orange Juice’). It has a similar vibe/sound and is also structured the same, with the s**t talking along with the nearly 1-minute intro, but I digress. “Paperbond” is a good way to start things off.

*NOTE: When I make to comparisons or references to other records, it is certainly not to “throw salt” or “hate” or whatever, it is simply to provide you all with a sound
description.*

3). “Bluffin” featuring Berner (Prod. by Drumma Boy)

“Bluffin” is a major “I-have-more-money-than-you-so-I-am-gonna-flex-on-you” anthem. The track that provides the backdrop for Wiz to stunt was produced by Drumma Boy (“Yeaaa boi). I am actually a little surprised to know that this is solely Drumma Boy on the production comprised of ambient synths and congos. Not saying that he is wack or anything, because wack he is not, it’s just a little different than the usual Drumma Boy; I’m betting that this joint was tailored (pun-intended) specifically for Wiz. Dope record.

4). “Let It Go” featuring Akon (Prod. by JO A)

Wiz Khalifa – Let It Go (Feat. Akon) by Kid Ergo

This is one of, if not my favorite records on”O.N.I.F.C.’. “Let It Go” has this victorious feel to it; it makes me feel like a champion. It is sort of reminiscent of G.O.O.D. Music’s “The One” (off ‘Cruel Summer’). Add Akon on the hook and you have the recipe for a potentially huge record. This is something that is bound to be featured on sport highlight reels or something along the lines. French producer JO A did his thing on the production.

5). “The Bluff” featuring Cam’ron (Prod. by I.D. Labs)

This record is rumored to be the 3rd official single from ‘O.N.I.F.C.’. I can hear this on one of those Grand Theft Auto radio stations, but that’s neither here nor there. For “The Bluff”, Wiz enlists one of his biggest influences in Cam’ron for a Cameron-to-Cameron connection (both artists’ governments are Cameron) to discuss the abundance in their plentiful lives. This joint is pretty chill; it puts you in mind of Wiz’s record “The Race” (off ‘Rolling Papers’), probably because it also produced by I.D. Labs. Although the record overall is dope, the highlight of this record is definitely the feature from Cam’ron, who kills it with the vintage Killa Cam flow. The simple fact that he appears on this record makes me like it even more.

6). “Work Hard, Play Hard” (Prod. by Benny Blanco & Stargate)

“Work Hard, Play Hard”, of course, is the lead single for ‘O.N.I.F.C.’. The radio-friendly, motivational track possesses an infectious energy. It is basically this album’s “Black & Yellow” (off ‘Rolling Papers’). Solid track nevertheless.

***READ THE REST OF THE REVIEW HERE***

Kendrick Lamar – ‘good kid, m.A.A.d city’ [ALBUM REVIEW] (Pt. 2)

So Left Field — Tue, 23 Oct 2012 16:30:25 +0000

***’good kid, m.A.A.d city’ Review Part 2*** (Read Pt. 1 HERE)
(cont…)

7. “good kid” (Prod. by Pharrell Williams)

This sort of begins the second half of the album. Kendrick goes from mode of unconscious action to a mode of self-awareness. “good kid” is pretty sums up what it means to be a Compton offspring, which includes violence, gang-culture & law enforcement harassment. A good way to describe Kendrick is that of Tre (Cuba Gooding) in the movie ‘Boyz n The Hood’ (Kendrick makes the reference later in the project). Pharrell (@Pharrell) provides the production along with the vocals on the hook on this record. “good kid” sounds like a movie score or something. This leads into the new song, “m.A.A.d city”..

8. “m.A.A.d city” featuring MC Eiht (Prod. by Sounwave, THC [@PRODUCEDBYTHC] & Terrace Martin [@TerraceMartin])

While the last record, “good kid”, speaks on the individuals who comprise his “m.A.A.d city”, the record “m.A.A.d city” speaks more on the city as a whole. This is the record where Kendrick discuss the second definition of “m.A.A.d.”, my.Angel’s.on.Angel.dust. On the second part of this record, K. Dot feature the “Streiht up Menace” MC Eiht (@eiht0eiht) (of Compton’s Most Wanted) to further discuss the city. This track in particular reminds me of Game’s debut project, ‘The Documentary’, which was a dynamic project in itself. Personally, I like the second half of this track better, but it’s still dope overall. Again, this track ends with an interlude continuing the narrative and setting up the next record.

9. “Swimming Pools (Drank)” (Extended Version) (Prod. by T-Minus [@ProducerTMinus])

This, of course, is the lead single of GKMC. Kendrick reflects on the pros & cons of alcohol consumption. However, in this extended version, listeners hear the subsequent events that occur as a result what happened in the story involving Sherane. This could be considered as the narrative’s climax.

10. “Sing About Me / I’m Dying of Thirst” (“Sing About Me” is prod. by Skhye Hutch [@Skhyehutch] + Sounwave. “I’m Dying of Thirst” is prod by Like of Pac Div [@LikePacDiv])

Kendrick Lamar – Sing About Me, I’m Dying of Thirst by Interscope Records

The way this record is set up is sort of reminiscent to that of Kanye West & Jay-Z’s “Murder to Excellence”, not only in sound, but how it’s broken up into two parts. The first half of this song, “Sing About Me”, is about people K. Dot knew who have passed on but wanted to have their stories portrayed through his music. Speaking from multiple perspectives, Kendrick is certainly the Michelangelo of flow, painting pictures with poems. Also, the way he ends each verse is genius. In addition to the hook, the lines:

“And you’re right, your brother was a brother to me,
And your sister’s situation was the one that put me,
In a direction to speak of something that’s realer than the TV screen…”

help explain Kendrick’s goal as an artist. And that is to strive to be something of importance rather than popular.

The second half of the song speaks on Kendrick’s lust to sin, and how he deals with it. Basically, he, and others like him, are dying of thirst and are in need of holy water. Maya Angelou appears on the interlude to continue the story into the next track.

11. “Real” featuring Anna Wise (Prod. by Terrace Martin)

In what is the last song, in terms of the narrative, Kendrick speaks on self-love and what’s real in this world. We love so many things that we probably should not because we are trying to fill the void of us not loving ourselves. What’s real? I think Kendrick’s father sums it nicely: “Realness is responsibility, realness is taking care of your MF family, realness is god, nigga”. I also feel the song’s bridge sums up Kendrick’s purpose and that is make music to give back to his community as well as his generation by using his influence and providing some enlightenment, which is explained by his mother in the interlude in the track’s closing.

12. “Compton” featuring Dr. Dre (Prod. by Just Blaze)

Kendrick Lamar – Compton (ft. Dr. Dre) by Interscope Records

If this album/movie had a trailer, this would be its score. Just Blaze (@JustBlaze) laces Kendrick with some fire production for Kendrick to make an ode to his city of “Compton”. Dr. Dre appears on the last “official” record of the project to sort of give his approval and pass the torch. Dre spits a hard, K. Dot written verse as well. The reminds me of Game’s “Church For Thugs“, which is also produced by Just Blaze, from his first album, ‘The Documentary’. As a matter of fact, a Game feature would have been perfect for this record. But oh well. The record ends with the narrative told throughout the project starting from the beginning with Kendrick borrowing his mother’s van.

***BONUS TRACKS***
(This would be where the credits began rolling)

13. “The Recipe” featuring Dr. Dre (Prod. by Scoop DeVille)

“The Recipe” is the first release from GKMC. It showcases the glamorous side of what his city has to offer and that’s: “Women, Weed & Weather”. It features Dr. Dre and is a pretty chill record.

14. “Black Boy Fly” (Prod. by Rahki [@Rahki] & Dawaun Parker [@DawaunParker])

On “Black Boy Fly”, Kendrick is simply congratulating fellow Compton peers who “made it”, namely Arron Affalo, who is currently with the Orlando Magic, and Jayceon Taylor, better known as Game. This very inspirational record has sort of an Eminem “Mockingbird” feel to it. Great record.

15. “Now or Never” featuring Mary J. Blige (Prod. by Jack Splash [@SirJackSplash])

On the third and final bonus track, Kendrick enlists Mary J. Blige for a feel good record reflecting on his come-up and consequential success. For some reason, this record makes me happy inside.

[End Credits]

CONCLUSION

I will not lie, my expectations for this was very high, I actually wasn’t sure if Kendrick would actually meet them. ‘good kid, m.A.A.d city’ is a very well put together project. The best way to describe it is an audiomovie. Kendrick’s ability to tell a story using vivid imagery to actually make listeners see what he is discussing is superb. If I am not mistaken, the entire “story” being told on the project takes place within a 24-hour span, but it explains so much more. He makes catchy hooks and he has excellent production. And although he does come to deliver a message, he never comes across as preachy. I am surprised that there is no song actually produced by Dr. Dre. Also, I am a little surprised that there was no ScHoolboy Q or Ab-Soul appearance. Anyhow, ***I give this a 9.4 out of a 10 overall.***

Standout Tracks: “m.A.A.d city”, “Swimming Pools (Drank)”, “Sing About Me / I’m Dying of Thirst”, “Black Boy Fly”

This album certainly meets up to expectations and is ABSOLUTELY worth your money. I am VERY curious to see if he will sell or not. By that I mean anywhere from 400K-500k. Should he? Definitely. Will it? I am sad to say, that my money is on No. Unfortunately, Kendrick might be a bit TOO lyrical and TOO positive; however they did say the same thing about ‘Ye’s debut. Hopefully, I will stand corrected by looking absolutely, positively wrong as rain.

One thing’s for sure, two things for certain is that he will have at least one unit moved, because I copped this project. This project deserves 5 mics, 5 records, XXL…all of that. Dare I say, album of the year?

-So Left Field (@YesIamHim)

*P.S. – Until this very day, the ‘Kendrick Lamar LP’ is still in regular rotation & “Wanna Be Heard” is still one of my favorite records.*

‘good kid, m.A.A.d city’ is out NOW! I encourage you to purchase this project & help keep hip-hop alive.

Purchase ‘good kid, m.A.A.d city’ from iTunes HERE
Purchase ‘good kid, m.A.A.d city’ from Amazon HERE

How do you feel about this project? Feel free to leave any comments below & also hit up ATLANTA GOT SOLE on Twitter HERE

Kendrick Lamar – ‘good kid, m.A.A.d city’ [ALBUM REVIEW] (Pt. 1)

So Left Field — Tue, 23 Oct 2012 16:15:54 +0000

Top Dawg/Aftermath/Interscope
Release Date: October 22, 2012

*This is the Regular Version’s album cover*

I remember my first time hearing this guy Kendrick Lamar (@KendrickLamar) back in ’09-’10. I was watching some interview, but in the background I heard the instrumental to Black Milk’s “Popular Demand” being rapped over by some artist yearning to be heard (the name of the record was “Wanna Be Heard“) & ironically I did. So after a little research, I found out who the artist was, Kendrick Lamar (formerly K.Dot), and where to get the record, on his self-titled EP, the ‘Kendrick Lamar EP’. That night, I listened to entire project, became an instantaneous fan & added his music to the ole library. Long story short, fast forward 2 projects & several attended concerts later, here we are and yes, I am still a fan. As I saw back then, this moment was inevitable. October 23, 2012 marks the day that is the release of the Comptonite’s major label debut album, ‘good kid, m.A.A.d city.’

*
This is the Deluxe Version’s album cover*

*FYI: “m.A.A.d” stands for: 1. “my.Angry.Adolescence.divided” & 2. “my.Angel’s.on.Angel.dust”. The former explains Kendrick’s experience of growing up in Compton, California and the latter explains his experience of smoking a laced blunt the first time he smoked (which is actually spoken upon on Track #8 “m.A.A.d. city”).* Here’s a video of Kendrick Lamar breaking down the album title’s meaning in his own words in an interview with the L.A. Leakers:

‘good kid, m.A.A.d city’ is definitely a pivotal project. Not only for the west, him being the “New King of the West Coast” and all (crowned by Snoop Dogg, Dr. Dre & Game [see video below]), but for hip-hop in general.

Vibe recently did an article on if this project is the most important debut since Nas’s ‘Illimatic’ in 1994. You can read that HERE. To what extent this album’s importance is is debatable, but one cannot deny it’s important for the current state of hip-hop. Kendrick Lamar is one of the frontmen of this sort of “new generation of hip-hop”. He does an excellent job at balancing the many sides of this generation’s issues and kind of bridges the gap between gangsta rap & conscious hip-hop…reminiscent to that of, dare I say, another West Coast representative, the late great Tupac Shakur. In what has been deemed as the “best album done in 20 Years” by Kendrick Lamar, which would be since Dr. Dre’s ‘The Chronic’ in 1992, let’s see what the Good Kid from the m.a.A.d. City does with this moment.

*Note: I will try my best to not give away the story*

1. “Sherane a.k.a. Master Splinter’s Daughter” (Prod. by Tha Bizness)

GKMC opens with a prayer, followed by the oh so familiar west coast bass line introducing the album’s first record. Kendrick provides us with some vivid storytelling of when he and a young lady he met a party during the summer back when he was 17. The suspenseful track done by Tha Bizness (@ThaBizness) leaves listeners’ ears attentive as he tells his tale of the pursuit of the almighty P; however, things turn sour quick. The song title pretty much explains things. The track closes out with a rather funny, yet sobering, phone call & subsequential voicemail left by his mother.

2. “Bitch, Don’t Kill My Vibe” (Prod. by Sounwave [@SounwaveTDE])

This is really where the narrative done throughout the project begins. Kendrick gets introspective and reflects on success and what accompanies it. Like the last track’s title, this record’s title says it all: Do not be a Buzz Killington. This is an anthem, with a cool vibe, that will undoubtedly be spun by DJs at shows & parties. And case you were wondering, yes, Rockie Fresh did use the same sample on his record “Twenties“. The track ends with an interlude continuing the narrative and setting up the next record.

3. “Backseat Freestyle” (Prod. by Hit-Boy)

Imagine Kendrick chilling in the backseat of the homie’s whip and them putting on an instrumental for him to spit on. That’s exactly what this track is. K. Dot, who seems to channel his inner Pac, spit on an absolute BANGER provided by fellow left coast native, Hit-Boy (@Hit_Boy). This joint made get the screw-face. Although K. Dot was no slouch, the Hit-Boy production outshined Kendrick. I could hear Wayne on this…

4. “The Art of Peer Pressure” (prod. by Tabu)

Continuing the narrative, Kendrick, who is with the homies, provides more verbal imagery and Tabu (@Tabu_Beats) laces him with the canvas. “The Art of Peer Pressure” speaks on what happens when individuals clique up. We tend to go against our better judgment and fall victim to peer pressure. In this case, Kendrick, and crew, are “hungry for anything unhealthy”, which includes violence and drugs. This joint has an Outkast-feel to it. The track ends with an interlude continuing the narrative and setting up the next record.

5. “Money Trees” featuring Jay Rock (Prod. by DJ Dahi [@DjDahi])

The GKMC narrative continues as Kendrick discusses the events that occurred in the last record/skit. Here we get the first appearance from a TDE/Black Hippy member. Jay Rock (@JayRock), born and raised in Watts, joins Kendrick to discuss the benefits of having money and why they choose to commit certain acts; we are shaded from many things, or see they think. “Halle Berry or hallelujah”, which route would you pursue? I must say that Jay Rock completely destroys his verse. Great feature…ya bish! Like the others, this joint ends with an interlude continuing the narrative and setting up the next record.

6. “Poetic Justice” featuring Drake (Prod. by Scoop DeVille)

This record is one of the ones that leaked from GKMC. This track brings us back to track #1, the one where Kendrick is pursing the almighty P. Kendrick enlists crooner Drake (@Drake) to reflect on his thoughts during that pursuit as well as speak on relationships and karma in general. Scoop DeVille (@SCOOPDEVILLE), “Poetic Justice’s” producer, samples “Any Time, Any Place” by Janet Jackson, who, of course, starred in the film of the same name along with Tupac. This is a joint the ladies will love. The Ethiopian, Eritrean, Somalian & other East African females are especially going to love Drake’s verse. “Poetic Justice” sort of reminds me of J. Cole’s “In The Morning“, would’ve been dope to feature him too. Regardless, this is a solid record that is also single-worthy. The interlude at this record’s end continues from where the first track ends and sets up the next record.

(to be continued…)

***READ PART 2 HERE***

Frank Ocean – ‘channel ORANGE’ [ALBUM REVIEW] (Pt. 2)

So Left Field — Sat, 21 Jul 2012 13:01:55 +0000

***’CHANNEL ORANGE REVIEW PART 2 (READ PART 1 HERE)***

(cont…)

11. “Lost”

“Lost” is probably my favorite record on ‘Channel Orange’. It reminds me a lot of Nelly Furtato’s “Say It Right“. On one of the lighter-sounding songs of the project, Frank seems to speak to the female caught in “the life” (i.e. the “Miami, Amsterdam, Tokyo, Spain, Los Angeles, India, etc.” life). Although Frank does make drug references, it is more than likely metaphorical for “the life”, which ultimately leads her to become “lost in the thrill of it all”, resulting in “love lost”. This record should probably be a single. Check it:

12. “White” featuring John Mayer

This interlude is continuation of the “White” record from the ‘OF Tape Vol. 2′ (Get it HERE) that dropped earlier this year. This version, however, subtracts Ocean from the vocals and adds the infamous John Mayer on the axe (guitar). A relaxing transition nonetheless.

13. “Monks”

“Monks” finds Frank discussing love stumbled upon while on tour. Frank, who likens his fans to monks in a mosh pit and himself to the Dalai Lama, a stage-diving Dalai Lama that is, reveals a tale of an “African girl who speaks in an English accent”, among other things, as well as a tale of an “Indian girl who sleeps above the temple”. Although not credited, it sounds
like Pharrell may have had his hand on this one.

14. ”Bad Religion”

Here is the record that set off the explosion that is the questioning of Frank’s sexuality. “Bad Religion” finds Frank taking a cab ride, asking the driver to “leave the meter running” and “be his shrink”. Allegedly, Frank is discussing his relationship with another man. I, on the other hand, believe it is more-so a discussion of his relationship with God and that since he did love a man, he possibly feels he could not be loved by God, but I digress. “Bad Religion” is a solid record and Frank bares his soul this one, singing-wise and subject-wise. *(The video of Frank performing the record is above in the review’s introduction)*

15. “Pink Matter” featuring André 3000

Without being too explicit, “Pink Matter” is a record that seems to illustrate the warfare between the flesh and the spirit. If you’ve seen the tracklisting, then you know this track features the one and only 3 Stacks, who actually speaks more on “gray matter”. As a matter of fact (no pun), much of the record’s buzz seems to belongs to Mr. Benjamin, even though Frank is no slouch. With each and every André feature, fans are left with the desire for a project from 3K, who, of course, will be playing Jimi Hendrix in a upcoming biopic. “Pink Matter” is certainly a record worth check out, not to mention, we even get a Dragonball Z reference from Frank in “Majin Buu“.

16. “Forrest Gump”

“Forrest Gump”, which is the final song on the iTunes version of ‘Channel Orange’, is one of the project’s more lighter records. On this one, Frank seems to be speaking from Jenny’s point of view. Jenny is Forrest Gump’s (Tom Hanks) love interest in the film ‘Forrest Gump’. Although he takes Jenny’s perspective on “Forrest Gump”, who’s been “running on his mind”, I have an inkling that this is a metaphor of his own experiences. The record itself is not the best, but also not the worst.

17. “End”

Based on the track’s title, obviously this is the album’s last hurrah. As his record “Voodoo“ plays in the background, Frank utilizes T.I.’s & Nu-Nu’s car dialogue from the movie ‘ATL’ to express himself on this outro. However, after the female reveals her feelings, Frank, unresponsive, leaves the whip and goes into the sunset (his house). ***BONUS CONTENT*** Those of you, like myself, who purchased the digital version of ‘Channel Orange’ did not receive the track attached to the ”End” outro on physical release. So, here is a FREE download of the record “Golden Girl” featuring Tyler, The Creator. Download HERE

CONCLUSION

As I mentioned before, I jumped aboard the bandwagon during the ‘Nostalgia, Ultra’ buzz (I know, I’m a hypebeast). Although, as of now, I like that project better than this project, I do think ‘Channel Orange’ is a more rounded and refined than ‘Nostalgia, Ultra’. This project is more R&B-ish than the pop-ish sound of his previous music; it’s has more a dark/depressed feel. I might be mistaken, but after hearing this project, it reminds of The-Dream’s ‘Love.Hate’ project, but then again, I might be just be tripping.

Frank Ocean demands, and deserves, the attention his music gets. Regardless of if a large part of it stems from the curiosity of his sexuality, Ocean is talented enough to keep spectators’ interest. I feel Frank Ocean’s best assets are his songwriting and his voice, and, as a result, I sometimes feel they outshadow the project’s production. However, I feel that there aren’t any “bad” records on the project either. In this “prisoner of the moment” period, in which the latest is the greatest, I am going to be in the minority when I say this project is not the greatest project ever, although very solid. In fact, it’s solid enough to make me wonder if he will be nominated for a Grammy for Best New Artist. But overall, I gave ‘Channel Orange’ an overall score of: 8.49 out of 10 overall.

Standout Tracks: “Thinkin Bout You”, “Super Rich Kids”, “Pyramids”, “Lost”

***As of 7/17/2012, Frank Ocean’s debut LP, ‘Channel Orange’, has sold 130,000 copies. Although he debuted at #2 (*ATLANTA’S OWN* Zac Brown Band’s ‘Uncaged’ [country music] debuted at #1 with 234,000), Frank did measure up to recent R&B first-week releases from Usher (‘Looking 4 Myself’, 128,000) and Chris Brown (‘Fortune’, 135,000) [courtesy of Entertainment Weekly]. Pretty impressive numbers for an artist who does not really have commercial exposure (YET). Congrats!***

-Purchase ‘Channel Orange’ from iTunes HERE
-Visit Frank Ocean’s website HERE
-Follow Frank Ocean on Twitter HERE

I’d love to hear your thoughts/opinions on the review, the project, or Frank Ocean in general, feel free to leave comments below or hit me up on Twitter HERE. Also, If you’re interested in learning more about Frank Ocean, the New York Times did an article entitled ”Creating His Own Gravity” which discusses his background as well as ‘Channel Orange’. Read it HERE

-So Left Field

Follow ATLANTA GOT SOLE on Twitter HERE

Frank Ocean – ‘channel ORANGE’ [ALBUM REVIEW] (Pt. 1)

So Left Field — Sat, 21 Jul 2012 13:00:53 +0000

Def Jam/The Island Def Jam Music Group
Release Date: July 10, 2012

Let me start off this post as such…

I usually do hip-hop/rap reviews, however, I’ve receive multiple requests to review this project (‘Channel Orange’), so this project I will review. For those of you whose first time this is reading one of my reviews, welcome. For those of you who’ve read one of my reviews, welcome back. Thanks for you all’s time & attention; you could’ve been reading any review in the world, but you’re here reading mine, and again, I thank you.

Many are familiar with Frank Ocean due to his appearance on Jay-Z’s & Kanye West’s ‘Watch The Throne’ project, in which the crooner features on “No Church in the Wild” & “Made In America“. I, myself, became aware of the Nawlins (“New Orleans”) native by way of ‘Nostalgia, Ultra’, which is a superb project might I add (Download HERE), along with the buzz surrounding it. After a few brief moments of listening, I, too, had been caught up in the enigmatic talent wave that is Christopher Francis Ocean a.k.a. Frank Ocean (Get it? Wave? Frank Ocean?). And after the project’s conclusion, I had fallen in love (with his music) and had become a fan.

But before I even get into the review, I am going to go ahead and address the pink elephant in the room, if you will. On this year’s Independence Day, of all days, the Mr. Ocean took to his Tumblr to liberate himself by revealing his experience of love at age 19 with another male, who did not return the favor. If you’d like, you can read that passage HERE. In fitting form, Frank Ocean made his television debut, or coming out, so to speak, on ‘Late Night with Jimmy Fallon’, similar to his OFWGTKA collagues, Tyler, The Creator & Hodgy Beats. On Jimmy Fallon, Ocean performed “Bad Religion”, the record that sparked, or re-sparked, this entire conversation in our community. Check out the performance below:

Now, I live by the mantra of “Just Do You”, in addition to Nike’s “Just Do It”. Take a look at this segment of a ‘Seinfeld’ episode HERE, I think it sort of explains my stance (go to 2:56 if you do not want watch the entire snippet). Hopefully you got a little humor out of that. Anyhow, while Ocean’s “coming out” is a big step, one may not be as shocked of a R&B singer coming out than, say, a rapper. I’m still curious to know if there will ever be an OPEN gay RAPPER of RELEVANCE (Key words: “open”, “rapper” & “relevance”). But that’s in another forum, the purpose of this posting is to review Frank Ocean’s debut LP, ‘Channel Orange’. However, for more on his “coming out”, Helena Andrews discusses the ripple-effect caused by Frank Ocean’s revelation’s HERE.

I will say, that even before this event, it seems as if the world, or at least my world, had been waiting for this album, hence my Twitter T/L explosing at my usual dwelling hours of 3 A.M. and understandably so. As I’ve previously mentioned, Ocean is an exceptional talent. So now we have what the world’s been waiting for in ‘Channel Orange’: a complete LP from Mr. Ocean. In regards to the album title, Ocean stated via Twitter:

“Orange is a color of liberation, from the pains of hurtful love and inner insecurities. To ‘channel orange’ is to truly be free, to be you…”

And that statement is certaintly a way to describe Frank Ocean’s music, liberated. On the musical journey that is ‘Channel Orange’, the 24-year old visits subjects beyond the usual R&B-singer topics of love and relationships. Ocean roams into themes such as drug addiction, injustice, class & sexuality, amongst others, and uses the gift of his songwriting to relay his messages. Frank writes songs in a such a way that listeners are seemingly baffled as to what he is expressing. “What does it mean?”…”is it literal?”…”is it figuartive?” In songwriting, many of the stories songwriters may use are actually not autobiographic; they are usually fictional tales utilized to simply relay a general message. But that’s the beautiful thing about music. Music is art and art is open for interpretation by the beholder. No one truly knows the meaning of the said art unless you’re the work’s artist.

Aside from wanting to post the first-week’s sales numbers (see Conclusion), this review was intentionally posted a week later to allow you to develop your own take. And I, like you, have my take and here it is…

*The majority of ‘Channel Orange’ was done by Frank Ocean, Malay & Om’Mas Keith (of Sa’Ra)*

1. “Start”

Frank, who is sleeping, is awakened by a text (he apparently has an iPhone). From there, he starts up his Playstation 1 and begins to play ‘Street Fighter 2′ (I know, I’m such a nerd). And thus begins the project that is ‘Channel Orange’. A video game could be symbolic for life, of which you have control, but do not make the rules.

2. “Thinkin Bout You” (Produced by Shea Taylor)

Ocean gets things started with the familiar, year-old sultry single “Thinkin Bout You”. Although the Shea Taylor-produced record has more of a ‘Nostalgia, Ultra’ feel, I think it was an intelligent choice to lead with this to accompany listeners in making a smooth transition in his musical evolution. On “Thinkin Bout You”, Ocean, who likens to a Maxwell sound-wise, daydreams of his significant other and wonders if the feelings are reciprocated. This record serves as a recital (anthem?) of rejection. Great record

3. “Fertilizer”

Not sure how familiar you are with Frank’s work, but he uses these off-the-wall, yet appropriate, interludes to tie the songs of a project together, and on ‘Channel Orange’, it’s no different. The funky (no pun) interlude of “Fertilizer”, sampling the James Fauntleroy record, seems to say that he willing to put up with this person’s BS, or “fertilizer”, if that’s all he can get. Next record…

4. “Sierra Leone”

“Sierra Leone” is a tale of teenage “love” and, consequently, parenthood in the ironic land of blood diamonds. I say ironic because the diamonds themselves are beautiful, but the means it takes to get the ends are horrific. I feel “Sierra Leone” is a record to illustrate both ends of the spectrum of love.

5. “Sweet Life” (Co-Produced by Pharrell Williams)

On the quite groovy Pharrell co-produced/co-penned record, Ocean, who channels his inner-Stevie [Wonder], seems to speak on horizon expansion as well as the “Ignorance is Bliss” cliché, hence the rhetorical question: “Why see the world, when you got the beach?”

6. “Not Just Money”

On this interlude, a lady explains the signifiance on money, which transitions to…

7. “Super Rich Kids” featuring Earl Sweatshirt

This record is a continuation of the previous track’s subject matter. “SRK”, which is set in Ladera Heights (the “Black Beverly Hills”), discusses the idleness of being a “rich kid” and the rebellion that occurs as a result of the Devil’s playpen. Ocean, who does inserts a little rendition Mary J.’s “Real Love”, confesses to be “searching for a real love”, which can mean searching something different, or something new. Also, fellow OFWGKTA member, Earl Sweatshirt, who has been compared to the legend Nas, makes a guest appearance on record and serves as the flipside to Frank approach; sort of reminds you of Charles Hamilton. Check it out for yourself:

8. “Pilot Jones”

On the smooth record that is “Pilot Jones”, Frank seems to be telling a tale of his “love jones” with a woman who is strung- out (on his love maybe?), and he hers. Short, but sweet.

9. “Crack Rock”

“Crack Rock” is one of the more surprising records on the project. Reason being, Frank gets a little political on this one. This record comments on issues such as drugs, and the “war” on them, as well as broken homes and law enforcement corruption. It’s a solid record.

10. “Pyramids”

This record is arguably the most popular record on ‘Channel Orange’, making it a pretty smart choice for the project’s next single. As a matter of fact, the nearly 10-minute upbeat record is maybe the biggest record on the album. Time aside, listeners stay entertained throughout the duration. The first half of the song has a techno/dance feel and it makes me want to take shots, fist pump, and dance like MJ. The second half makes me want to pull my cap down and ride through the city with my windows down and the music up. I will try to break this down…

“Pyramids” seems to be a tale of a regular, unemployed joe losing his queen (“Cleopatra”) from their home (“Ancient Egypt”) to a pimp (“Samson”) to pursue a life of whoredom by working at the Pyramid (Vegas?). The first verse seems to be from the male’s POV, the 2nd verse from the pimp’s (“Samson”), and the final verse from the male’s POV again. The only this is that I’m not sure if he’s referring to an actually women or maybe just a general love, such as music. Definitely a superb record. Take a listen:

***READ PART 2 HERE***

Wale – Ambition [ALBUM REVIEW]

So Left Field — Wed, 09 Nov 2011 20:05:14 +0000

Maybach Music Group/Warner Bros.
Release Date: November 1, 2011

When it comes to Wale, it is pretty much a mixed response to him as an artist overall. Some find him extremely talented, others find him a complete bore. Whatever one’s case may be, Mr. Folarin is one of the forerunners of the new generation of artist amongst the Drakes, Big Seans & J. Coles. After signing with Rick Ross’s (Bawse!) Maybach Music Group (Maybach Music *Girl Voice*) back in February 2011, Wale’s mainstream presence has increased considerably since the “mixtape fame”. Although Folarin did release an album in Attention Deficit nearly 2 years ago, it did not receive the response that some may have expected given his history and situation. And even though Attention Deficit was positively reviewed, it has yet to eclipse the 100K mark to date.

Fast forward 2 years, and the DC-native is releasing his sophomore album in #Ambition. Wale has expressed how he had to come back from the first album flop, hence the name of this project, #Ambition. After crashing file sharing site Hulkshare (Wale is the first mainstream artist to officially do so) in the first 4 seconds of posting the link to his mixtape, The Eleven One Eleven Theory (Download HERE), signs show that #Ambition is highly anticipated. Wale, who “put his heart and soul into this album”, is excited that he can make music on his terms in this situation with MMG/Warner Bros. With this favorable situation, let’s see how The Foampositer (I birthed this word) fares on his latest release, #Ambition.

1. “Don’t Hold Your Applause” (Produced by Tone P)

First off, “Don’t Hold Your Applause” is an excellent way to start off a project. This is a triumphant track of victory. Feel wise, it kind of reminds me of “Mama Told Me” (from Attention Deficit). On “Don’t Hold Your Applause”, Wale is simply stating that he says he deserves the applause, the praise, the admiration…all as a result of his hardwork, or better yet, his #Ambition. If one knows the story behind the whole Roc Nation/Attention Deficit release & the ish Wale went through to get to this point, then one will recognize that this record is very fitting. As Folarin says, “it took Hades to see”. Superb introductory track.

2. “Double M Genius” (Produced by Mark Henry)

From the title of the track, “Double M Genius”, one can only assume that this is not a modest record. Wale uses this jazz-laced track to talk his ish. For example, the line: “They say I need some guidance, but I think they need a stylist”. Even at the record’s beginning, Wale states that he feels that he is one of the best of this class. Agree? “Double M Genius” is Braggadocio at its finest.

3. “Miami Nights” (Produced by Mark Henry)

“Miami Nights” is not only the name of the LeBrons in which Wale sports, but also the name of a record created as a result of his time with The Bawse in Miami and the somewhat “lifestyle shock” Wale experienced. It was all a dream; first class errthing. Producer Mark Henry provides Wale with a headbanger, sort of reminicent of “Roc Boys” (Jay-Z), with the tempo and live instruments or whatnot. If you’ve ever been to Miami (specifically Ocean Drive in South Beach) at night or have even seen it, this record feels like that. I can definitely see a video for this one.

4. “Legendary” (Produced by DJ Toomp)

This record is a direct indication of the Wale’s apirations. “Legendary” discusses the keys to becoming legendary as well as the baggage that comes along with it. While not a standout track, Wale does drop some gems on this one. Also, the scratching is a nice touch to send the record out. “F–k fame, F–k money”, Wale is just trying to be legendary.

5. “Lotus Flower Bomb” featuring Miguel (Produced by Jerrin Howard)

The first official single from #Ambition enlists songster Miguel to serenade the ladies in a proper fashion on a smooth, laid-back ode to the female’s “lotus flower”. “Lotus Flower Bomb” is simply a grown & sexy record. I’m talking jazz club, NBA dress code, martini drinking, J puffing on this one. You might gotta go get you some Scooby Doo’s. Jerrin Howard also provides a nice beat to combine with the other elements to make a solid record.

6. “Chain Music” (Produced by Tone P)

Nice beat + heavy bass + catchy hook = One not being able to help but rock to this joint. Whether intentional or not, you will be nodding your head. “Chain Music” is definitely a great club/riding record. “Chain so big can’t pop my collar!”

7. “Focused” featuring Kid Cudi (Produced by Kore)

On #Ambition’s second single, Kid Cudi & Wale have reconciled their differences to team up to make an absolutely magnificent record in “Focused”. While keeping the overall theme of ambition, or having that drive, “Focused” has great crossover potential. It’s sort of like a pop “Go Hard” (Kanye & T-Pain). As you can tell by the voice in your head, I absolutely love this joint. The video should be dope.

8. “Sabotage” featuring Lloyd (Produced by Cloudeater)

On this track, Wale enlists Lloyd, who is somewhat of a poor man’s Michael Jackson, to join him on this groovy, cognac-smooth love record. The production provided by Atlanta band Cloudeater gives it kind of an Earth Wind & Fire feel, with the combination of live guitars, horns & drums or whatnot. Although not a bad record overall, I unapologetically state that the production is definitely the standout portion of this joint; hands down, Cloudeater did their thing.

9. “White Linen (Coolin’)” featuring Ne-Yo (Produced by Deputy)

When I heard the record, I immediately got an all white affair feel, and ironically, this joint entitled “White Linen (Coolin’)” and appropriately so. “White Linen (Coolin’)” gives me a feel of a more upbeat “Ashton Martin Music” (Rick Ross). Add Ne-Yo to the hook and we have a nice little joint. Oh yeah, and I love the bassline on this record.

10. “Slight Work” featuring Big Sean (Produced by Diplo)

On one of the more uptempo joints of #Ambition, “Slight Work” makes for a boastful dance joint produced by Philadelphia DJ and producer, Diplo. G.O.O.D. Music flagship artist Big Sean (“Boi”), who makes a fantastic feature, shines on this track as he usually does on these type of joints. Nicki [Minaj] would have probably been a good look on this one too.

11. “Ambition” featuring Meek Mill and Rick Ross (Produced by T-Minus)

This was one of the few records Wale played at the #Ambition listening party about a month ago. If you can recall from the event review (which you can read HERE), I wrote that I knew immediately that it was a banger. This record gives me what I call “screw face” or “ugly face”, which basically means I am enjoying the record. The grimey, yet dreamlike, ambient sound of the record, courtesy of T-Minus, evokes emotion as track’s participants speak upon their respective come-ups as well the ambition behind overcoming the obstacles along the way. Meek Mill went in (you would’ve thought he had a curfew), Rawse (“Ungh”) bawsed the track around & Wale stood strong in his Foamposites. The production of the project’s title track and third single is sort of remiscient of a more somber “She Will” (Lil Wayne), which was also produced by T-Minus. To sum it all up, #Ambition is a simply dope record.

Wale Feat Meek Mill x Rick Ross – Ambition by Overflowradio

12. “Illest B—h” (Prodcued by Tha Bizness)

Contrary to the use of the word “b—h”, “Illest B—h” is actually an uplifting record for the females. This is a solid, encouraging track. Towards the record’s ending, Wale kills ‘em with some poetry and then lets the brilliant beat, provided by Tha Bizness, ride. Nice.

13. “No Days Off” (Produced by DJ Toomp)

High cymbals, the hard hitting snare, low-synth chords…this joint has Toomp written all over it; however, this particular Toomp track and Wale combination did not really mesh well. The hook was ehh and the track just seemed to drag on. I mean, it’s an okay record, but #Ambition probably could have done without it. Maybe he should’ve gotten The Bawse on it. But I digress…

14. “DC or Nothing” featuring Sam Dew of Cloudeater (Produced by Tone P)

Although it is not technically the last track, I do consider this joint #Ambition’s finale (“That Way” is actually the last record). In this ode to his city, Washington, DC, Wale gets the deepest on this record as he has on the entire project. From politics to urban renewal to drugs in the hood to betrayal to aids to friend loss, Wale expresses his thoughts on them all. “DC or Nothing” feels like a movie’s ending credits score. Definitely a great way to close out the project.

15. “That Way” featuring Rick Ross and Jeremih (Produced by Lex Luger)

“That Way”, which also appeared Maybach Music Group’s Self Made Vol. 1, is a very solid record and it only made sense to place it on this project as well. Although on “That Way” does appears on #Ambition, it functions more-so as a bonus track, which is why I stated that the prior record, “DC or Nothing”, is #Ambition’s finale). Many people did not even know “That Way” existed until it was released as a single, because they did not hear the MMG project, therefore many assumed this was from Wale’s new project anyhow. As I stated on my review of Self Made Vol. 1 (which you can read HERE), I was VERY surprised upon disovering that Lex Luger produced the record, because this is a completely different sound from the Lex Luger that we are used to; it is very refreshing to hear Lex’s versatility.

16. “Bait” (Produced by Tone P) [BONUS]

This is a “DC record” as Wale states in the opening line. While not necessarily a rememberable record, seeing that it is a bonus track, I won’t really give it too much merit; a decent record nonetheless.

CONCLUSION

I was a little skeptical and confused at Wale’s signing to Maybach Music at first. I was also kind of tough on Wale in my review of Self-Made; it just seemed like an odd fit for the poet on the street heavy label. However, after seeing the movement and hearing this project, I see that MMG was a good fit. The move has made him more rounded thus giving him a wider appeal. Not sure if it was the situation he was in before label-wise or if he has grown as an artist (probably some of both), but I will confidently go on the record and state that #Ambition is better than Attention Deficit, which was a decent project in itself. Wale, whose wordplay is definitely his best asset, has shown improvement in other areas they he may have considerably “lacked” in. On #Ambition, Folarin offers a great balance of subject matters and “vibes” throughout the project. There is also an overall positive theme of perseverance throughout #Ambition, which I dig. I gave #Ambition a score of 8.56 out of 10 overall. Although I would not consider myself the biggest Wale fan by any means, I am thoroughly satsified that I invested my money and time in this album; I encourage you all to do the same.

Standout Tracks: “Don’t Hold Your Applause”, “Miami Nights”, “Chain Music”, “Focused”, “Ambition”, “That Way”

*Note: According to Hip-Hop DX, Wale sold just under 164K units in the first week. Congrats!*

Peep Wale’s #Ambition concert at the Highline Ballroom in NYC. Special appearances by Rick Ross & the entire Maybach Msuic Group, Ne-Yo, French Montana, Trey Songz, Gunplay, Torch, Funkmaster Flex, Miss Info, and many more.

Wale is currently on his #Ambition Tour. You can view the schedule HERE. The tour date for Atlanta is December 8, 2011 (Thursday) at The Tabernacle at 8:00 PM. Tickets are $20, which you can purchase HERE.

Also, check out this article over on Business Insider entitled ”A CAUTIONARY RAP TALE: How Wale Went From Mixtape Darling To Commercial Dud” by Kevin Lincoln who goes in pretty tough on Wale. Although, I feel it was tad bit much, it is a pretty good read. Read HERE

Purchase #Ambition from iTunes HERE
Purchase #Ambition from Amazon HERE
Visit Wale’s website HERE
Follow Wale on Twitter HERE

I’d love to hear your thoughts/opinions on the review, the project, or Wale in general, feel free to leave comments below or hit me up on Twitter HERE

-So Left Field

Jay-Z & Kanye West – Watch The Throne [Album Review] + Extras

So Left Field — Wed, 28 Sep 2011 19:21:52 +0000

Roc-A-Fella/Roc Nation/Def Jam
Release Date: August 8, 2011

First and foremost, my apologies for the delay. However, the delay was deliberate. I wanted to give time to allow everyone soak in what has occurred within the past month or so before placing my biases upon you. If I were a betting fellow (and I am), I would bet that you have already heard Jay-Z and Kanye West’s Watch The Throne. If you are reading this, I take it that you’d like to hear my take on this occurrence. So let’s go…

From our early remembrances of Jay & Ye together on “This Can’t Be Life”, which was, of course, produced by Ye, as well as bearing the brunt of the production on what I think is Jay’s best project, The Blueprint, this pairing has proved to work together like peanut butter & jelly, Zelda & Nintendo, Cheech & Chong, chicken fingers & french fries, songs & dance, and so & so on. So when I caught wind that Mr. Carter and Mr. West were planning to release another collaborative effort, I was definitely interested as well as excited.

Once details came out, I figured this a move of monumental measures from these two’s part. Just the creation and release of this project is of epic proportion within the music industry. Honestly, just in terms of relevance musically, I believe Jay needed this collaborative output more so than Ye. These two titans team up not only to release a full-length, collaborative effort, but they do so without the conventional album marketing and promotion methods. Not to mention, this project did NOT, I repeat, did NOT leak, which is next to impossible in this day and age. Regardless of the quality of the actual output, Jay-Z & Kanye has provided the blueprint to one of the major problems facing the industry. Word is, retailers were pissed at the fact that Jay & Ye had this much power. This is, again, EPIC.

A record of such proportions likens itself to the teaming up of Lebron and D-Wade, which Jay & Ye ironically state on “Gotta Have It”. Using that merger as an example, it is safe to say that the opinions will both be numerous and strong. Many people are purists to a particular standpoint, and may not like this merger, be it initially or infinitely. 9th Wonder said “Watch The Throne was not for him”, Cyhi The Prynce said “Watch The Throne is a masterpiece”. Tastes will vary and Arnold & Willis Jackson will tell you “different strokes for different folks”. To-MAY-to or to-MAH-to? Regardless of one’s opinion of the project’s material, well all must agree that this is a big project for music period, especially hip-hop.

There is tons and tons of hype around this project, and yet, with Royce Da 5’9″ & Eminem’s recent release, Bad Meets Evil, and Wayne & Drake’s yet to be released, untitled project, Watch The Throne may arguably not even be the best collaborative output of two individuals in recent times. As of this current moment, I’ve deemed this occurrence as classic; however, I am not screaming classic on the actual music just yet.

So exactly what does the phrase “Watch The Throne” mean? Well according to Jay (provided in an interivew via SOHH):

“It’s just protecting the music and the culture, like, it’s people that’s in the forefront of the music,” Jay told radio host Lorenzo Thomas. “It’s like, ‘Watch the throne,’ protect it. You just watch how popular music shift and how hip-hop has basically replaced rock n’ roll as the youth music. The same thing could happen to hip-hop. It could be replaced by other forms of music. So it’s just like making sure we’re putting that effort in making the best product, so we can contend with all these other music. With all dance music that’s dominating the charts right now, indie music that’s dominating the festivals and still holding off rock n roll. Just to hold our place and make sure — the hip-hop culture is still the most dominant form of music around the world.” (99 Jamz)

With that said, let’s get into this review…

The album’s cover and booklet artwork is nice. I’m not particularly sure what it is or means, but whatever. I won’t really get into the breakdown of the lyrics too much, it is nearly impossible to know exactly what an artist’s lines may mean. Is it literal or figurative? There’s just so much ambiguity to have a proper interpretation. But isn’t that the beauty of art? Leaving the interpretation and reaction in hands of the beholder (in this case, the listener)? But do know this, Yeezy and Hov are very intricate with their selection of words.

I will say that this is a collaborative album in every sense. By this I mean, some records sound like one artist is featured on the other’s, and other records sound like they’re a duo, like The Clipse. However, I think that that structure is a good look because it’s keep things balanced. Kanye even collabed with several other producers on WTT’s records. Although they do get insightful and political on this project, most of Watch The Throne is rich ni**a rap. Now, one’s opinion of that may differ. Is it them rubbing their riches in our faces? Or is it them celebrating their success while emerging from many of the same humble abodes we are in or have come from?

These are certain premises that I possess when it comes to WTT:

Whether consciously or subconsciously,

1. Jay-Z fans are expecting to hear more “Jay-Z-like” music and vice-versa.

2. Each song is a competition (i.e. Who murdered whom?). And whoever is a bigger fan of whichever artist will probably biasedly choose that artist overall.

Seeing that I am in that number of who is throne watching, is my expectations of this project elevated? Perhaps. Am I listening and critiquing this with a finer toothed comb than I normally would? Possibly. Nevertheless, enough of mindless chatter, I present to you my review of Jay-Z and West’s Watch The Throne…

*Note: If you do somehow make through this review, I have some goodies waiting for you at this reviews finish line.

1. “No Church In The Wild” featuring Frank Ocean & The Dream (Produced by 88-Keys, Kanye West & Mike Dean)

The dynamic duo use this track to take the opportunity to speak on things in which you may or may not be able to relate to, but have probably imagined. Jigga discusses the irony and hypocrisy involved with society’s prestigious things as well as speaking on philosophical beliefs, while Ye speaks on his lifestyle and the rules that come along with it, hence the “religion”, “sin”, and “felony” references. This may or may not “right”, but it certainly goes against society’s popular beliefs. The hook, effectively delivered by Odd Future’s Frank Ocean, illustrates the circle of life in a sense and how one trumps the other:

“Human being in a mob?
What’s a mob to a king?
What’s a king to a god?
What’s a god to a non-believer?”

Not sure which of the hook Jay & Ye consider themselves, but “No Church In The Wild” is about Drugs, Sex & Hip-Hop and pretty much sets the tone and prepares listeners for the rest of the project. This is a great introductory record to the set the foundation for the rest of Watch The Throne.

*Here is an unofficial video done by High5Collective (who also did the official Frank Ocean “Thinking About You” video)*

2. “Lift Off” featuring Beyonce (Produced by Kanye West, Mike Dean, Q-Tip, Pharrell & Don Jazzy)

WTT’s third single is simply about taking to the top. “Lift Off” is about their travels on the tough road of blood, sweat and tears encountered on the way to the top. With Beyonce on the hook, this is definitely a big, triumphant record; sounds like it something that should be on Rocky. Hell, even Seal is on this record. I also love the ending of the record and the way it switches up. Ye makes this record, especially seeing how Jay-Z only provides 4 bars. “Lift Off” is just feels like one of those stadium status songs that’s supposed to be performed in front of one of those festival crowds of 100,000+ people.

3. “Ni**as In Paris” (Produced by Hit-Boy, Kanye West, Mike Dean & Anthony Kilhoffer)

Jay & Ye use WTT’s fourth single to simply celebrate and talk their ish. The explosive drums used on a dope beat along with the duo’s verbal overlay provides for a nice club, swag record. The Blades of Glory movie scene used to soundtrack the record is a nice touch as well. “That ish cray!”

4. “Otis” featuring Otis Redding (Produced by Kanye West)

This record is fittingly WTT’s first official single (2nd single if you count “H-A-M”). I honestly feel that Jay and Ye utilize this record to ish on and belittle the haters and naysayers. Namely, I think “Otis” was used to go at Wayne, Drake, and others (Why do I think that? Read THIS). I love the back and forth rhyme pattern used reminiscent of Styles & Jada or Pun & Fat Joe. Although Cee-Lo wasn’t really feeling this joint, I enjoyed it myself. “Sounds so soulful, don’t you agree?” Indeed, I do agree.

5. “Gotta Have It” (Produced by The Neptunes & Kanye West)

On this record, my theory of Kanye & Jay-Z being the DWade & LeBron is confirmed on this record with these lyrics:

“[Jay-Z:] Ain’t that where the Heat play? Ni**as hate ballas these days [Kanye:] Ain’t that like LeBron James? [Jay-Z:] Ain’t that just like D. Wade?”

Just like the previous record (“Otis”), this record has the back and forth interaction that I am so very fond of. I love this record, and although brief, “Gotta Have It” provides for a great track.

6. “New Day” (Produced by Kanye West, RZA, Mike Dean & Ken Lewis)

Jay-Z & Kanye West – New Day[Prod. RZA, Mike Dean & Kanye West] by DJRADIO718

“New Day” is one of the best as well as one of my favorite records on Watch The Throne. Jay & Ye both get introspective and reflect on mistakes they’ve made in life. Although they are addressing their unborn, they are basically talking to their younger selves. Philosophically speaking, when you have a child, it’s like you are getting a do-over in a sense. Of course, they’re their own person, but you can still school them based on the life you have lived. We all know the thought of “if I knew then, what I know now.”

Jay & Ye’s confessions of lessons learned is also knowledge that the audience can consider and soak up. Ye speaks on the things he’s done and saying he doesn’t want that for his offspring so that things would be easier and he’d be likable. This is actually clever because Kanye actually simultaneously takes shots at certain individuals (including Amber Rose). After these expressions, they then let the record Ye & The RZA connected on ride out. Seeing that Jay has knocked up Beyonce, looks like his soon to be born child will get to hear this record. Do you think she was knocked up when he birthed this verse?

7. “That’s My B*tch” featuring Justin Vernon (of Bon Iver) & Elly Jackson (of La Roux) (Produced by Kanye West, Q-Tip & Jeff Bhasker)

On the project’s most pop track, Jay & Ye’s provide an ode to their chicks. Jay’s, of course, being Beyonce and Ye’s being, well, that’s for him to know. “That’s My B*tch” sort of reminds me of a NERD record. I’m not sure if anyone else thought this, but I thought it was Charlie Wilson on this record, but it is actually Justin Vernon of Bon Iver. Elly Jackson (of La Roux) appears on the record as well. This is a cool, groovy joint.

8. ”Welcome To The Jungle” (Produced by Swizz Beatz)

This record is all Jay. Hov speaks on his experiences, both good and bad (more bad than good), that has provided for pained and a tortured soul. The jungle (and possibly the wild) is regards to the hood. BIG, 2Pac, Pimp C, Michael Jackson, Kanye’s mother, Jay-Z’s nephew, uncle and dad are all amongst subjects used to assist in expressing his mind state. They use a track that is vintage Swizz Beatz (I was waiting for Cassidy to come in) to let distress off their chest. Although short, this is an effectively real record.

9. “Who Gon Stop Me” (Prodcued Shama “Sak Pase” Joseph, Kanye West & Mike Dean)

Jay & Ye enlist the homie Shama “Sak Pase” Joseph to provide them with the dub-step influenced production of “Who Gon Stop Me”. Sak Pase sampled the Flux Pavillion record of the same name. Dub-step is definitely one of the next big things in urban music (i.e. Hip-Hop), so shout-out to Fki, Chiddy Bang, Mickey Factz & Heroes X Villians for being amongst the forerunners who are utilizing this sound. As a matter of fact, Chiddy Bang & Fki, respectively, have actually used the Flux Pavilion record as well. On ”Who Gon Stop Me”, Jay & Ye speak on persevering through several of life’s roadblocks. They deliver this message through troubling, yet real, truthfulness:

“This is something like a holocaust / Millions of our people lost”

As well as using the continual overtone of stunting to deliver the message:

“Yall weed purple, my money purple, y’all Steve Urkel, I’m Oprah circle, I wrote the verse, that I hope will hurt you.”

And there you have both sides of the coin. Make sure to peep Kanye’s use of Pig-Latin to tell basically tell haters to get off his jock. “Who Gon Stop Me” is a decent record, however, I do feel that the track could have been somewhat better. Especially in regards to the change in the beat towards the end, I think it changes for the worst although Jay does deliver lyrically. But hey, who gon stop them huh?!

10. “Murder To Excellence” (Produced by Swizz Beatz ["Murder"] & S1 (["Excellence"])

This record is actually two records on one track. “Murder To Excellence”, which was produced Swizz Beatz, is a rags-to-riches, bricks-to-billboards, hood-to-penthouse illustration of both sides (Murder & Excellence). This is one of Watch The Throne’s realest and most popular records. The political “Murder To Excellence” speaks on the on-going war, and even genocide, that’s happening domestically. And although the “Excellence” portion of the record, produced by S1, takes it from the daunting tales of sorrow to celebratory flows of happiness, it still speaks upon the lack of blacks the higher one moves in class; and this is from the perspective of individuals actually in the position in which many are striving for. Kanye shined on the “Murder” portion of the record and Jay on the “Excellence” portion.

11. “Made In America” featuring Frank Ocean (Produced by Shama “Sake Pase” Joseph)

“Made In America” is a tribute to those who paved the way for Jay & Ye to travel the road to success and make it in America. It speaks on their come-up in their respective manners, from Jay and his drug-dealing to Ye and his production-pushing, as well as the shared struggles of young black males with hopes of getting mail. Jay & Ye go on to narrate their tales from the past through the come-up, right up to recent history. They call on Frank Ocean again to serenade the track, and again, he delivers. Personally, I feel he ”made” this record (figuratively speaking). As Jay states, “this is the star spangled banner”, well at least, our modern day Star Spangled Banner. Shout-out to the homie Shama “Sak Pase” Joseph for providing the production for a superb record. “Sweet baby Jesus!”

12. “Why I Love You” featuring Mr. Hudson (Produced by Mike Dean, Kanye West & Anthony Kilhoffer)

“Why I Love You” is WTT’s fifth-single. This is one of those records where it is one of them featuring the other’s record. In this case, it’s Ye featuring on a Jay’s record on this tale of betrayal and love loss. On a record that reminds of one of the classic Dipset/Heatmakers joints, Jay, who quotes Waka Flocka, seems to be “bussin at” or “going at” certain individuals although no names were named. Who could it be? Beans? Dame? The Game? Cam? And could this also be speaking for Ye and be going at Consequence? I’m just speculating. Jay, who was superb on this track, discusses being loyal to a fault, which is something I definitely can attest to. People will certainly take your kindness for blindness and meekness for weakness. So this is an ode to the haters, and especially the frenemies.

BONUS TRACKS

13. “Illest Motherf**ker Alive” (Produced by Southside, Kanye West & Mike Dean) (Bonus)

Illest MFs Alive by So Left Field

On a Ross “BMF-like” club record, Jay & Ye use it as their toilet (in a good way). Although the record was not done by Lex Luger, it was done by fellow Brick Squad member Southside. Only the Illest MFs alive can start a track with 3+ mins of silence before bringing the record in and we actually wait with patience. Although this the first of four bonus tracks, I think it’s one of the best records in the 16. Jay talks his ish and Ye rocks the track with a few shots at Amber and Wiz (Eh?), but I disgress. This record is definitely a banger though. As Hov states: “This is what the ending of Scarface SHOULD feel like” and “this is where DeNiro would be if he ain’t turn back” (see Heat). I think they should actually shoot a slow motion video for this right now, and Hype Williams shooting.

14. “H-A-M” (Produced by Lex Luger, Kanye West & Mike Dean) (Bonus)

“H-A-M”, which in case stands for “Hard as a MF”, was the project’s first-single and was released in January of this year. Word is that they received mixed reactions overall, so they sort of fell back and went back to the drawing board. Jay & Ye enlist Lex Luger, who did his thing on the beat with a nice combination of heavy hitting drums and opera singers. They weren’t as effective as a Rick Ross or Young Jeezy, but nevertheless, this is still a decent record.

15. “Primetime” (Produced by NO I.D.) (Bonus)

According to Webster’s Dictionary, primetime is defined as:

1. The time period when the television or radio audience is the largest; also : television shows shown in prime time.

2. The choicest or busiest time.

3. Deion Sanders. (<—I added this one)

So, of course, this record is about the high time of their lives, or better yet, the “primetime” of their lives. And with them being them, the whole world is watching…the throne. With the night being young and the possibilities endless, Jay & Ye ponder what’s on the agenda (as says the hook). Make sure to keep up with Jay as he takes you on a numerical narrative of ages, times, weaponry, book titles, sneakers, verses, jersey numbers, autmobiles, years, and drink orders (it’ll make sense once you listen). “Primetime” is a decent record, although not one of my favorites. SIDENOTE: The record was produced by No I.D. aka Dion (which is No I.D. spelled backwards), hence the name “Primetime”.

16. “The Joy” featuring Curtis Mayfield, Charlie Wilson, Kid Cudi & Pete Rock (Produced by Pete Rock, Kanye West, Mike Dean & Jeff Bhasker) (Bonus)

With Pete Rock on the beat letting the needle drop, “The Joy” delivers the most Hip-Hop record of the project. Ironically, on the record “The Joy”, Ye speaks on some of the real curses of life’s upbringing as well as life itself. As Curtis Mayfield sings, “these are the makings of you”, the duo also rhyme about just what that is. In addition to Curtis Mayfield, Kid Cudi, Charlie Wilson & Pete Rock assist on the vocals as well. Definitely a dope record.

CONCLUSION

My score will be based on the Deluxe edition of Watch The Throne (i.e. 12 tracks + 4 bonus tracks). Jay’s & Ye’s combination of solid production selection, great lyricism and the ability to make overall appealing records makes for WTT to be a well-constructed project. Overall (bonus tracks included), I give Watch The Throne a score of 8.1 out of 10 overall.

Standout Records: “No Church In The Wild”, ”New Day”, ”Made In America”, ”Illest Motherf**ker Alive”

I know it’s what some may call blasphemous to give this project that score, but please don’t stone me. Honestly, this is no Blueprint or Graduation. And realistically, this would have never exceeded the expectations of the world, but it is still magical and imperitvely historic nonetheless. The very fact that I am being able to review such a project is legendary.

One thing I noticed about was that there were no other MCs on Watch The Throne. I wonder if any were worthy enough to be considered and if so, who they were. But I guess it’s their throne, so that’s probably why there were not any rapper features. Another thing that I wonder about is an album’s “throwaway tracks”. I wonder which Watch The Throne’s “throwaway tracks” will be either leaked in the future as unreleased records, go on future projects, or will never see the light of day. But anywho, that is my take on this historic event of Watch The Throne.

-Get your digital copy of Watch The Throne from iTunes HERE

-Get your hardcopy of Watch The Throne HERE

Now, for the goodies I promised if you were able to labor through the review:

1. Jay-Z & Kanye will be coming to a city near you for their Watch The Throne Tour, which ironically kicks off in Atlanta in late October. See the tour dates and purchase your tickets HERE

2. Not sure how long this will stay up, but here is some footage that was alledgedly leaked from a supposed Watch The Throne Documentary.

If that goes down, you can either view it HERE or HERE

3. I am positive that you have had discussions in your circles in regards to this whole occurence. Around WTT’s release, we opened a brief discussion about WTT, which you can read and chime in on yourself HERE

4. Here is a great roundtable discussion of Watch The Throne via the good folks over at Jump Off TV below:

So now that I have brainwashed you with my opinions, I implore you to consider these things and go back and listen to Watch The Throne. If you would like to discuss things with me, I would love to hear from you, feel free to post comments below or either contact me HERE

-So Left Field

Gist The Essence – Summer Madness Pt. 2 (Hosted by DJ Envy & DJ Whutevva) [Mixtape Review]

So Left Field — Mon, 15 Aug 2011 17:45:53 +0000

I enjoy finding out about new music and new artists, especially when they are good. In today’s time where current trend of “doing music” is running rampant, finding new music and artists is not very hard. However, finding GOOD new music and new artists may be a tad bit more difficult. So when the homie Lisa introduced me to Queens-native Gist The Essence’s music, initially, I was little skeptical prior to even hearing his music.

However, as I mentioned before, I do enjoy finding out about new music and new artists, and his was a new artist to me, and with Lisa’s co-sign, I was a little more motivated to take a listen. The project I would be listening to was entitled Summer Madness Pt. 2, which is the sequel to Gist The Essence’s Summer Madness Pt. 1 (Download HERE).

1. “Hot Summer Intro Pt. 2″ featuring DJ Envy & DJ Whutevva

Summertime Madness Pt. 2 begins with DJ Envy & DJ Whutevva speaking and bringing in the project. The use of Will Smith’s & DJ Jazzy Jeff’s “Summertime”, which derives from Kool & The Gang’s “Summer Madness”, of course, is a smart song selection to prep listeners for a project aptly entitled Summertime Madness Pt. 2.

2. “Diamonds & Pearls” feauring Corte Ellis (Produced by L&X Music)

“Diamonds & Pearls” is one of the singles from #SM2. On this record, Gist speaks upon perservering in spite of love lost with a female given the world on Gist’s behalf when they were an item. The combination of nice production (courtesy of L&X Music), a great hook (courtesy of Corte Ellis) and commercial appeal makes “Diamonds & Pearls” an excellent choice for a single. Very good record.

3. “Right Now” featuring K-Men (Produced by J. Ethe)

“Right Now” is the platform for Gist to discuss the streets and the usual politics involved with them. K-Men effectively laces “Right Now” with a reggae hook to top off a solid track.

4. “Xxplosive”

On this one, Gist spits over Dr. Dre’s “Xxplosive”. He rides the beat adequately with a nice flow and slick talk.

5. “Back To The Basics” featuring Young Rook

“Back To The Basics” borrows Kendrick Lamar’s “Hiii Power”, which was produced by J. Cole. This is definitely a track that you’ve gotta come correct on. Gist was pretty decent on here, but the bright spot of this record is LA-native Young Rook, who provides for a solid feature.

6. “Tell Me What You Want” (Produced by Rick Hertz)

“Tell Me What You Want” is a song of confidence encouraging females to confide in him. This record sort of has a feel of a Fabolous record. Rick Hertz provides Gist with a dope boom-bap beat to do his thing. Definitely a headnodder.

7. “Scottie Pippens (Remix)”

Gist provides listeners with a brief freestyle over Curren$y’s “Scottie Pippens”, which was produced by the almighty Alchemist. “No Scottie Pippens, n—a I’m Miked (MIC-ed) up, and got ‘em lookin like a bunch of Harold Minors”.

8. “In The Morning (Remix)” featuring Cocoa Sarai (Remixed by L&X Music)

Gist utilizes J. Cole’s “In The Morning” to discuss the extracurricular activites of the bedroom. The track was subtly, yet solidly remixed by L&X Music. Also, the addition of Cocoa Sarai on the hook, as well as her verse, was a very, very nice touch. They really did the record justice and gave the original a run for its money.

9. “The Good Life” featuring Shalone (Produced by J. Ethe)

Gist The Essence – The Good Life feat. Shalone (Produced By J. Ethe) by So Left Field

This may possibly be Summer Madness Pt. 2′s best track. “The Good Life” describes the fact that Gist and his team are living the good life as a result of grinding and grinding hard. Add Shalone on the hook and J. Ethe on the prodcution, and this equates to a great uplifting and victorious record.

10. “I’m On One (Remix)” featuring Cocoa Sarai

Gist uses DJ Khaled’s smash-record “I’m On One” to showcase his skills as an MC. I ain’t een gon lie, Gist is definitely spitting on this one. Although Cocoa Sarai is a hell of a singer, I thought the hook on this one was ehhh. Good track overall though.

11. “Fly With Me” (Produced by Rick Hertz)

“Fly With Me” entices listeners to come along with him as he lives his dream while on cloud 9. Dope beat, dope hook, dope verses, dope song…I like this record.

12. “Motivations” (Produced by D-Major)

Gist The Essence – Motivations (Produced by D-Major) by So Left Field

If not “The Good Life” (see track 9), then perhaps “Motivations” just might be #SM2′s best track. Gist uses this platform to give his history and expound on the reasoning behind him & his people’s actions. What is that reason? Simply to be successful. In life, whether college or the streets, “graduation is the key right”? Gist also pleads and expresses to listeners ”don’t be me, be better”. Great record.

13. “Liquor Talkin’ featuring Corte Ellis (Produced by L&X Music)

“Liquor Talkin” is a nice club joint; definitely something to get your 2-step on with. This is a single-worthy record. L&X Music blesses Gist with another banger and Corte Ellis blesses him with another solid feature on the hook. I can hear this in the clubs/on the radio.

14. “Before You Say I Do” featuring Diz & Brix

On this track, Gist uses Kanye West’s “Devil In A Blue Dress” to deliver a comical, yet real record. He enlists Diz & Brix to assist that message’s delivery. On one of #SM2′s more light-hearted records, they advise the fellas to be sure of the type of female she is BEFORE wifing her. “Don’t confuse lust for loving”.

15. “Here We Go Again”

“Here We Go Again” uplifts listeners to spread their wings (figurately speaking) and fly with no wings on. Add some solid production and “Here We Go Again” provides for a decent record.

16. “7/18″ (Produced by J. Ethe)

“7/18″ is not only the title of final track of Summer Madness Pt.2, but also doubles as Gist The Essence’s bornday. Gist encourages as well as warns listeners to “learn the name before the fame”.

CONCLUSION

After to listening to Gist The Essense without having any knowledge beforehand, I must say that I was very satisfied with the use of my time. Gist is a refreshing artist with refreshing hip-hop music. Summer Madness Pt. 2 was a pretty solid project. It wasn’t too long in duration, it contained nice production, and was consistently enjoyable. Also, after listening I was able to “get the gist” of Gist and am motivated to hear Summer Madness Pt. 1, as well as his other music. Overall, I give Gist The Essence’s Summer Madness 2 a score of 7.93 out ouf 10. He is definitely an MC worth checking out.

Standout Tracks: “Diamonds & Pearls”, “In The Morning (Remix)”, “The Good Life”, “Motivations”

-So Left Field

Visit Gist The Essence’s Website HERE

Follow Gist The Essence on Twitter HERE

Download Gist The Essence’s Summer Madness Pt. 2 HERE

Follow Me (So Left Field) on Twitter HERE

AGS Inside: Wiz Khalifa X Big Sean Rolling Papers Tour (SHOW REVIEW)

So Left Field — Tue, 26 Jul 2011 17:22:18 +0000

July 13, 2011

Within the past year or so, Mr. Wiz Khalifa has taken the game by storm. Emerging as one of the leaders of this next generation of urban artists, Wiz Khalifa, like the general public tends to think about “new artists”, is not an overnight success. Wiz Khalifa has been grinding strong for a longtime for such a young man. Personally, I’ve knew of him since 2007, which obviously means he’s been grinding longer than that. Anyhow, within this span, I’ve had the chance of seeing him perform 3 times, although I think he may have performed in Atlanta at least 5 or more times. My 3rd time was his recent stop in Atlanta on his Rolling Papers Tour.

The show was held at famous The Masquerade show venue. Contrary to his last Masquerade performance, Wiz performed in the larger part of venue, which is in the outside area on the outside stage. I attended Day 2 (7/13/2011) of the Atlanta leg of the tour (they actually had to add a 2nd show to meet the high demand). The tour brought a pretty vast and fairly diverse crowd age-wise, style-wise, and race-wise. The weather was nice, although it was almost close to 90 degrees.

Taylor gang member, Chevy Woods (formerly known as Kev Da Hustla), was the opening act. I, however, arrived post his performance and thus did not get a chance to catch it. Word is that his set was pretty energetic and pretty good overall as he performed records from his Red Cup Music project (Download HERE).

I arrived in time to see the next act in Big Sean (“Boi!”). This was actually my second time seeing the D-Town Westisder live. On this particular night, Sean performed in a pair of Vans. On the prior night, Sean chose to wear Grape V’s. Now for the actual performance. When you listen to Big Sean’s music, you are aware of the fact that likes to have fun and his show mimics that. Sean seems to enjoy himself on stage and has fun while he is up there. He performed several of his mixtape tracks, including “Supa Dupa Lemonade” & “Hometown”, as well as his “All Of The Light (Remix)” verse. I like how Sean sets up the next song in his set with these brief statements or these sort of short stories. Sean also performed tracks from his recent release, Finally Famous: The Album (Read my review HERE). These tracks included: “Memories Pt. II”, “My Last” (minus Chris Breezy), and “Marvin Gaye & Chardonnay”, for which he brought out ATLien Roscoe Dash. Aside from Roscoe, Big Sean brought out another ATLien in labelmate Cyhi The Prynce to perform his “So Appalled” verse. Also, I think Sean may have brought out Travis Porter on the prior day’s show. Big Sean performed about a 45 minute set and his portion of the show was pretty enjoyable overall.

The next and final act on the concert was the headliner Wiz Khalifa. The Taylors were amped as hell to see Wiz perform. When “When I’m Gone” began to play, they starting going crazy and once Wiz and Chevy Woods actually hit the stage, they erupted. Wiz, who had on black chucks, of course, came on with great energy that would continue throughout the duration of his show. With the exception of “Ink My Whole Body” (off Star Power), Wiz did not perform anything pre-How Fly (i.e. Flight School, Prince Of the City, Show & Prove, etc.). But he did do music from:

-Burn After Rolling (“Burn After Rolling”, “The Thrill”)

-Kush & Orange Juice (“Mezmorized”, “In The Cut”, “Never Been”)

-Cabin Fever (“Gang Bang”, “Taylor Gang”)

-Rollin Papers (“When I’m Gone”, “On My Level”, “Black & Yellow”, “Roll Up”, “Wake Up”, “Star of The Show”, “The Race”, “Fly Solo”)

I do think (and wished) he should have done “Say Yeah” and “This Plane”, just because they were pretty big records, but it is the ROLLING PAPERS tour, therefore it makes sense to showcase that particular project. Plus, in my experience of attending different shows, I’ve noticed that many concert attendees are recent fans, so they might not care to hear those records anyhow. With that said, Wiz Khalifa has a live live show. He has exceptional stage presence; it seems that he feels free and just lets loose while he’s up there, although many may deem him “crazy”. Wiz also has great and infectious energy as well as superb crowd interaction that should be applauded. He even had his people throw out bottles of water on this sweltering day in the A. Another thing that he did was cleverly play a set of songs containing the word “roll” (i.e. Big Tymers “Get Your Roll On”, 69 Boyz “Tootsie Roll”, etc.) to set-up “Roll Up”. Wiz had his fair share of guest appearances on his set as well, including Big Sean (to perform “Gang Bang”), DJ Drama, Drumma Boy & Roscoe Dash (to perform the “Oh My” joint ), and Wale (to perform “No Hands” with Roscoe). But the highlight of my night was when he brought his wifey, Amber Rose, on stage, and proceeded to lick her from toe to head. I noticed her standing off to side earlier during the show, but I was just glad he brought her on stage into the stage lights! Please forgive me for my covetousness! Anyway, Wiz closed the show out with “Black & Yellow”, accompanied by a black and yellow championship-like confetti show, and then put the exclamation point on an hour-plus set with the finale of “Ink My Whole Body”.

Honestly, this was a great experience overall and money well spent. Aside from the sweltering heat of HOTlanta and the usual overpriced concessions of an event of such, the vibe was pretty chill. It was also kinda cool that they permitted the smoking of the cannabis at a Wiz Khalifa show. I also saw several individuals equipped with some nice footwear, including someone in the Year of The Rabbits, another in the Yeezys, Pill in the USA Air Jordan 5′s, Wale in the White/Red/Black Air Jordan II’s, and our very own, Mr. Atlanta Got Sole, Sean Luc in the Stealth Air Jordan III’s. Bottom line is: Yes, I WOULD PAY TO SEE BOTH BIG SEAN AND WIZ KHALIFA PERFORM AGAIN. Very, very good show. Check out the picture recap below courtesy of the homie Patrick Fagan. “Taylor Gang or Die!” “Boi!”