Opinion: Jack Harlow isn’t for me…

Kentucky’s own Jack Harlow might break someone’s heart, but I don’t care for his style or his music. By all means, good that his hitting up them charts and becoming a staple in the music industry. However, after listening to “nail tech” and saw the huge hype surrounding it. I knew that this guy, act or rapper wasn’t for me.

Jack Harlow fan-base is maybe female dominated and that wouldn’t be shocking. Nevertheless, if he showed some emotions and heartache. Both genders would listen to the tracks. If he had solid beats and rhymes to back it up. We wouldn’t mind the softer side like LL Cool J did in the past. He catered to all parties on his LPs.

However, what I have heard from Jack Harlow haven’t been it. I just don’t care. The singles and the videos isn’t even inspiring to listen to the newest full length album of him. I couldn’t care less that he has been in the past signed to Don Canon and DJ Drama. They surely must have picked up the bag and earned a fortune on the act. Because, he has blown up.

Come Home the Kids Miss You” was maybe supposed to cement his status in the public eye. Maybe get new fans and show his levels of popularity. That’s why he has tried to snag and create headlines while simping for famous woman. Even doing that with a song to Dua Lipa on the LP as well. When we know that his been around the way and it’s not shocking.

That people compares him to Macklemore and Mac Miller is to be expected, but his not even close to any of them. Just by listening to “Nail Tech” and “First Class” his subpar and mid at best. His not a lyricists or a man of bars. No, his just mediocre and not that interesting. He has a style and been able to cater to someone, but not to the likes of me. I am not alone, as Shawn Cee and Cufboys on Youtube makes similar statements as mine.

Jack Harlow has potential and could become an inspiring fella, but at this very moment. His just mediocre and boring. The singles are not banging and that’s why I don’t even care to pick up the LP. There is no reason or incentive to do so.

I am just not the demographic his trying to hit or trying to convince. That’s why his hitting up the red-carpet trying to snatch Saweetie and other famous acts. Because, that’s how he becomes more interesting. Well, he cannot drop bars or be funny about it. He has little to no visible charisma or swagger. That’s why it’s astonishing to see him get this big. Unless, the fan-base wants a water-downed and less flavourful Post Malone minus autotune. That sort of thing makes sense.

When Spotify writes this about him: “Flaunting sleek flows, nimble wordplay, unpredictable rhyme patterns and vast ambition, Jack Harlow raps with old school dedication and raw individuality”. I wonder if these guys actually did listen to the same dude I did, because even Shawty Lo or Maino has more inspiring flows than Jack Harlow.

Jack Harlow can have all the success or platinum plaques he wants. Be my guest, but I won’t be part of the parade. No, his a water-downed Drake and has no sort of story-telling abilities worth a damn. Neither does he has the personality or the lyrics to bring me up to speed. There is no story, no beat or no vibe that catches me of guard. It is just “hot-air” and catered to radio. That’s maybe enough for some…

But for me… well… Jack… I will not come back. Peace.

Opinion: Will Snoop Dogg be able to revive the Death Row?

Calvin Cordozar Broadus Jr. aka Snoop Dogg aka Uncle Snoop has acquired the legendary Hip Hop record label Death Row for an undisclosed amount. For a hot minute the Toy Company Hasbro owned it before selling to the Blackstone Group, which today is revealed has sold to the Hip Hop Legend, entrepreneur and actor Snoop Dogg, which is a unique day for anyone who follows or has interests in this.

Snoop has bought the label, which made him prominent and gave him a career in the first. The record label where he dropped albums, features and part-took in the G-Funk and Gangsta Rap era of the 1990s, which was dominated by Death Row. That’s because of its rooster of skilled MCs, Producers and genius marketing, which made the LPs, Singles and everything was selling.

The whole Death Row was smoking fire. All artists at some point became wealthy and could get good royalties. It was the place to be and to prosper. However, the whole premise of the gangster and thug life was also it’s downfall. As the co-founders split, court-cases, shady-business practices and the early demise and unresolved killing of Tupac Shakur has always followed the label. Therefore, it is special that Snoop buys it and possibly revives it.

As Daz Dillinger sued the label to get his ends. Dr. Dre left the label and started Aftermath. Crooked I was left behind and Kurupt had to return. There been so many stories and backstabbing, as the label lost relevance and others took it’s place in hip hop. However, the era and the classic albums lives on. The discography and the catalogue of the Record Label must be one of the unique assets and recordings, which will stand the test of time.

However, Snoop has big shoes to fill and have to market the label in new era. Which the labels and the record companies are fighting for revenue in new aspects, as the streaming and short-sighted fandoms quickly moves. The quickly produced and released tracks to stay relevant, as well as the social media push is more vital than ever. It is like another world since the first inception of Death Row.

Snoop has connections and is a beloved character now. Who can sell and be used in any sort of product. That’s why he has voiced over GPS Systems to be recently selling BIC Lighters. Therefore, you know his good at branding and selling his character at this point.

However, the Death Row to be revived… it need both the spirit of the past and also new breed of acts to be viable. That will be a refreshing thing. As the West-Coast needs a star on the horizon. Yes, Kendrick Lamar is the biggest name, but his not in the realm of Death Row. K.Dot is more in is his own lane and closer to J. Cole’s of the world. Nothing wrong with that, but that is the reality here. The Top Dawg Entertainment (TDE) brought similarities to it, but not as successful as Death Row. However, who could think of getting into those levels of success and respectability…

Death Row doesn’t have to be big, but the ones remembering it. It was everywhere and the artists was everything. They were inspirational and was it. Not just some random blokes, but the rappers and MCs who inspired you to write and imagine their world.

Let’s hope Snoop Dogg will bring some of it back with the purchase of Death Row. He is seemingly the one and his team can bring the best out of it. There is a need for it.

Now am just waiting for THA ROW to return and hear new tales of that THUG LIFE. Peace.

2021: The albums I have enjoyed this year

Last year I was able to make to lists and separate the ones who was Hip Hop and the ones who was Pop & Afrobeat. However, this year I will make a joint session. Since well, music haven’t been as prevalent for me. Neither has the music been as vital or been as close as before. The lockdowns and quarantine has stopped a lot of time listening time for me. Usually, I listen to the most music in transit or watch music videos at home. Therefore, I lost a lot of space and opportunities to it by default by being home during lockdowns this year.

That’s why I will have one simple list and all genres will be represented here. The albums I did appreciate and can see myself bumping in the future… and the ones that was lost on me… the famous dishonourable mentions, if you may.

Well… here we go.

Mr. P – “The Prodigal” was a fun afrobeat album from the P-Square alumni. He really showed swag and wished more people had talked about it. There is nice joints on here and it’s underwhelming how little that has been pushed about this album.

HRSMN (Canibus, Kurupt, Killah Priest & Rass Kass) – “Last Ride” was a dope hip-hop album made by old-school heroes. It was really fun and not with tracks fit for modern radio. This was the finesse and funny bars from a collective of wordsmiths. All of these gentlemen have proven their skills in the past and this was just a gem to listen too.

B-Real & Scott Storch – “Tell You Something” was a shocker of a release. Not that I have anticipated or awaited anything produced by Scott Storch in a decade or so. Storch fell off and seemed to be lost .B-Real has been on joint LPs with Xzibit and Derrick of late, which has been super awesome to listen too. So, his just following up on that and is having a great time on the beats of Storch. FYI: “Never Go Home” has a terrible beat and it should have been forgotten on whatever Nintendo Gameboy Game he sampled it from. That’s the only downer on this one and is an instant skip.

Rudeboy – “Rudykillus” is the other P-Square alumni album of the year. Where he starts of the album reminiscing and reminding everyone of his past hits. His swagger is cool and all. This is an album worth listening too and tracks like “Focus” shows his star-power and talent.

Talib Kweli and Diamond D – “Gotham” is another wordsmith and hip-hop album, which I felt has gone under the radar. Not shocking, as it been years since Talib was a main-stay and relevant for a broader audience. Still, he deserves credit and can produce nice of bodies of work to this day.

Joell Ortiz – “Autograph” is the A-Typical project of the Slaughterhouse MC at this point. He can tell stories and paint pictures with his words. The beats are refreshing and vibrant. It’s an absolute gem of a LP. These are the sorts that should be higher on rankings and get acknowledged, but the game is rigged. That’s why it’s not there…

Fashawn & Sir Veterano – ‘All Hail The King”. The F is finally returning and off Nas’s Mass Appeal. He shows why his a cool dude and an artist. Here his just brazen and direct, as there is steady and funky beats by Sir Veterano on the production. This is a real underground, but he should get credit. As he has continued to push out his craft and with this LP his showing that he is a force to be reckon with.

Dax – “Pain Paints Paintings” was an album which grow on me. Dax hasn’t changed or anything. Listen to him thanks to YouTube and the videos there in quarantine. He dropped a few EPs before and it was evident there was skills there. Now with a full project it was fun to listen too. Not it is revolutionary or has any sort of traditional hip-hop over it …. NO. But, it is a fun joint and easy-listening, as Dax never goes to deep.

Saigon – “Pain, Peace & Prosperity” is the album of a man I have followed since the Yardfather mixtape series in the early 2000s. It is nice seeing him shining on this one. It is clear that Just Blaze isn’t as involved or have production on here. Though, it is refreshing to see Saigon deliver a full project and get support from all across the board.

Remedy – “Remedy Meets Wu-Tang” is the most out of left-field album of the year for my part. It was just so amazing to see the Wu-Tang Collective shine on a album in 2021. This was like the golden age returning and nothing had changed. The beats, the bars and the whole setting was made for this. Remedy, which I haven’t heard of and maybe I lost the memo. Was showing his skills, but there was plenty of times where the Wu-Tang MCs out-shined him, but who cares? It’s an awesome project!

Lloyd Banks – “The Curse of the inevitable” with the return of the G-Unit wonderkid. Well, Banks isn’t a kid anymore and been a long time coming for his return. The G-Unit rapper dropped an album which fits into the Griselda era and could easily been dropped on that imprint. This wasn’t sounding like any of his previous LPs or even having the production of a G-Unit album. However, his word-play and bars was obvious on this one. That was what made this one unique. Not like he was pressured by Interscope or G-Unit to make a radio-friendly jam to be played on Hot 97.

Tiwa Savage – “Water and Garri EP” was a fun instalment, a very short one, but a worthwhile one. This is what you expect and as always, Tiwa does deliver. There is no skips and just a jolly atmosphere until the project is over. Nas even featured on the first track and he phoned it in sadly, but at least he wasn’t speaking of “crypto-currency” on this one. Tiwa had deserved a more fitting rapper on the track, but she maybe wanted someone who is celebrated and gets recognized world-wide.

This here is my list and it’s subjective. There was several of albums that I still enjoyed, but didn’t play like did this. Others that I have in my “tape-deck” but haven’t gotten into. Which would be another list. Albums I tried to listen too, but never caught on or had the rush to bump again. There is a few of those. However, I don’t feel the need to drop those… Peace.

Opinion: Don’t sleep on Fashawn

The Fresno’s own King has dropped another album called “All Hail the King” fully produced by Sir Veterano. This a new project and it sort of came out of nowhere. I picked this one up in the same manner, I picked up “Boy Meets World”. Ironically, both was distributed through The Orchard/Sony Music and released independently.

Now, Fashawn is on the Fresh Yard Records. He has gone away from the record label of Nas Mass Appeal. That was a short stint and “The Ecology” was really the only real project dropped on there and “Manna” if it was released there. It didn’t really matter in the grand schemes of things.

Fashawn did more with the collaboration with Murs “This Generation” than with the last project. It is positive that his dropping independently and on a Cali label. His going home and it’s looking fresh for him.

It is the fun boom-bap with a bang. There isn’t a moment of silence or hectic mess. The new album got 9 bangers and they are hard hitting. It is like the return and we all should just salute the King. This is what Fashawn needed and his proven his skills over the years.

It is hard to know why the “Boy Meets World” and “The Ecology” didn’t hit up the charts. The rapper should have gotten more than tokens of respect. Fashawn, the F should be put higher. I felt he was the underdog and Kendrick Lamar got all the glory. The dropped the same time and he got under the radar.

Fashawn should get credit. He got the skills and the ability to poetically craft a song. On this album he has the steady beats and the production behind him too. I wish he had a bigger label and a more solid distribution. He should have been a major force and not for the ones who knows about him already.

Fashawn is a King in his own right. He deserves the throne and has the bag of work too. It is not like his some son-of-gun with no skills or finesse. No, this man has the capabilities and should be recognized. I am just sad that the deals and record industry isn’t giving him his dues. It is good that the Fresh Yard Records has signed him.

Santiago should be crowned, but not by like me. He should be in the main act at the Madison Square Garden and such. Tours with him as the act to see and the ones who gets internationally known. His name should shine and now his back to where he was years ago.

Fresno’s F deserves so much more. This album, which was released recently should be blasted. Songs played on radio and put on playlists on Spotify/Tidal etc. Fashawn is slept on and it’s about time that changes. Peace.

Opinion: Kanye don’t Deluxe this

This Sunday Kanye Omari West aka Ye aka Yeezy dropped his newest project “Donda”. This is following up the 2019 “Jesus is King”. The 2021 Kanye is no difference from this. I have listed to Kanye since the College Dropout, which dropped in 2004. So, at some points of time I couldn’t wait for his releases. However, with time that has ceased with time.

Not like the “Jesus is King” which was totally a holy and Christian project. This one is a mixed blend of both Christian and Secular music. However, as a Christian, I can only all call the music and texts used in the Christian songs as superficial. It is like a staged faith based project.

So, many of the songs is a continuation of the “Jesus is King”. It is artificial Christianity and this shouldn’t be awarded on the Dove Awards. However, they did this with the previous one and could easily do it again. Still, for a guy like me… I don’t get it, but the amount of units and headlines. He makes the awards more relevant, I suppose.

What is striking is that the secular songs are filled to the brim with features. There is a lack of Kanye on them. That is really showing and the album is so long as well. So many songs and plenty of filler tracks. It is filled with the “Life of Pablo” rejects. A bath of autotune and the features are stealing the show like Roddy Ricch, Jay-Z and The Weekend. These artists outshine Kanye on his own project.

I have a feeling Kanye misses the writing credits of Consequence. Because, the bars isn’t as hitting and there is very few to mention, if any. This isn’t an album made for bars and neither is it filled with sampling. Only one song I could taste the sample and felt an old Kanye vibe for a second. However, that was a short-lived enterprise.

I am used to on a hip hop album that the intro or the first track is savage. That the artist shows all parts of his or hers craft. Where all the flows, metaphors and proves to the world why we should listen to this project at all. Here, it’s singer Syleena Johnson saying “Donda” what feels like an eternity and a bad idea. However, the self-proclaimed “genius” thought this was a profound exercise.

Well, I am shocked that he did that, but it is just as his repetition like he did on that Lil Pump track a few years ago. It feels like the “Good Ass Job” album came back in to rotation. That’s what we are listening to now.

It is either splendid or grandeur, but a mixed fortune of artists, styles and modernity with a fashionable blend of Christianity. It is making Christian Dior into Jesus Christ. There is no deep or profound messages. Neither, is it taken anything from ancient psalms or biblical scriptures. Just posturing, which is degrading it really. The same was the thing with “Jesus is King” and “Donda” is a 2.0.

That’s why this sort of music isn’t for me. I know Kanye can make wonderful music and have done so in the past. He has made albums and records I listen too till this day. That being the fist three LPs and “My Beautiful Dark Twisted Fantasy”. Since then there haven’t been a project from me. This is not changing with project either.

Donda is also way to long and I couldn’t wait for it too end. That’s not the feeling I want. I want to look forward to return. In these times its tradition from the music industry to Deluxe every project. Therefore, expect that possibly here… he shouldn’t but he might be forced to do so.

Kanye is Kanye… and forever will be. That’s why this wasn’t for me. Peace.

2020: The Hip-Hop albums I enjoyed

I used to be a Hip-Hop blogger and write about music a decade ago. That is how it all started for me. To write and speak about a topic I knew. However through college and studies. I turned more political and so did my content. That is why the few who knows ASAP08.Wordpress.com used to be my page and my blog for years.

This is why I am going to my roots now. Just writing my 2 cents about music and hip hop. As that is the genre I’m not only familiar with, but enjoys for the most part. The music scene is different. The auto-tune, the mumble-rap and other sub-genres is more prevalent than in the past. Even though T-Pain and Lil Wayne used the auto-tune like crazy back-in-the-day too. So, it’s not like its breaking news.

Well, 2020 have been a weird year. In a sense, the lockdowns and home quarantines have ensured that I actually listen to less music. As I listen the most on the road home back and from the office. I am old-school so I download the album on my phone. If I am digging it. It stays and if it sucks. I’ll delete it and check out a new project to download later. Like Datpiff and other pages have served me well over the years.

The big surprise release was Jay Electronica with “A Written Testimony”. Though it shouldn’t have been released as a solo joint, but a joint effort with Jay-Z. It seems like Jay Elect wouldn’t have gotten this out if it was for Carters persistent push and dropping bars for him in the studio. It would seem like he never would have released it. No matter what Jay Elect would deliver. It would never master expectations of the build-up. The endless singles and snippets. The brilliant 16 bars as a feature and then nothing. Jay Elect bummed me out. It is decent, but when your waiting this long. It should be a Chronic or a College Dropout sort of statement. Not just another Spotify filler tracks.

One that came with a banger and an album with no fillers for me was Royce Da 5’9” “The Allegory” is my favourite of this year. The Detroit native is proving not only his skills behind the mic, but also his own production. The album is so consistent and such a project. That I will listen to this for years to come. His roll of good projects is continuing from the Phryme era and the “Book of Ryan”. Royce is again and again proving why his viable and a MC to look out for.

For instance this year Griselda artists became a main stay for me. This being Benny the Butcher with his “Burden of Proof” and Conway the Machine with “From King to a God”. Both of these projects is heavily played on my phone. This is the sort of jams I appreciate.

I have enjoyed the Crooked I & Joell Ortiz “H.A.R.D” project. That was a dope project and proved their standing. The Slaughterhouse MCs are still banging and together they are perfect blend of both coasts.

I preferred Jadakiss’s “Ignatius” over the long overdue project “Living Off Experience” from the LOX. Though that DMX 16 bars on one of their singles are worthy of 90s vibe. Jadakiss was the most personal in years and his tone was inspired through the album. This is why I can recommend this one too.

Another New Yorker and the late rapper Pop Smoke can with his posthumous release “Shoot for the Stars, Aim for the Moon”. Compared to the “Dior” and other previous tracks I heard from him. This was less gritty sounding and more poppy. Surely the 50 Cent production and executive producing is the reason for that. However, we can only imagine where he could go and that his voice will be missed in the years to come. Pop Smoke was special and was on the rise to become someone to reckon with.

Black Thought of the Roots returned with his series “Streams of Thought Volume 3.” it was a continuation and shows his relevance on the mic. These sort of projects doesn’t get the credit it deserves and seems like he isn’t either aiming for charts or the accolades. Only having fun and showing his bars. Which is fun for the listener, but he deserves some acknowledgement. Both this one and the second in the series is projects I listen to on the regular.

I am a fan of both T.I. and Young Jeezy. However, their projects this year haven’t been that inspiring. Neither “The L.I.B.R.A” or “Recession 2” have gotten replayed. I am considering giving it more time. As these are artists that I am listening to their older albums, but these aren’t sparking the same interest and maybe their ways of trying to fit in isn’t that sort of vibe I need. They are sort of coping with the trends, instead of setting it themselves.

A moment of nostalgia for me this year. Was listening to the Paul Wall and Lil Keke project “Slab Talk”. It is nothing deep for the veteran rappers of Houston. Their topics and their production is nothing unique. Just fun to feel their return and having the jams on. Reminded me of listening to Slim Thug and UGK. Music that is fun and not so serious.

Papoose also returned with “Endangered Species” proving why he was sought after and was someone to look out for back-in-the-day. The man can still write and show his fierce wordplay. However, the lack of single and push from a major record label. Is the reason why his lingering in the underground and isn’t pushed higher.

Big Sean’s “Detroit 2” was good and shows his growth as an artist. I can take him seriously now. However, I am not sure how much longer I will listen to it though. It’s not a masterpiece, but a great piece of work. Not just a “Culture” or for the radio with “ASS”. His becoming his own man and can be proud of his work.

One that was a downer compared to previous released projects was Tech N9NE “ENTERFEAR” album wasn’t so banging as in the past. I don’t know, but it didn’t have what I sought out for. Maybe, the same sort of style gets old. I really don’t know. Always looked out for more Tech Nina, but here he didn’t bring it for me…

Joyner Lucas dropped “ADHD” the longest album run with nearly every song dropped as singles and it did fall flat. The repetition and lack of various material made it a sombre listen. Joyner have some fun jams, but he overplayed it and didn’t do more of the Timbaland produces fun joints. If he had mixed it up. It might have gotten more traction for me.

He dropped later in the “Evolution” which is a much better album. If your listening to Joyner. Listen to Evolution where he also have “Thugs Needs Love Song” with Ashanti and his “Snitch” single too. Like his trying to compete with Obie Trice.

R,A. The Rugged Man returned after years without an album. This year he dropped the “All My Heroes Are Dead”. The bom-bap and fun sort of stuff. R.A. proves his skilled and has bars. That he doesn’t care about being trendy in the now. “Legendary Loser” is one of the most fun tracks of the year. “Golden Oldies” sounds like a Macklemore knock-off, but R.A. is himself and has dropped a good piece of work.

Mozzy the new “Scarface” of this generation have dropped the “Beyond Bulletproof” and is worthy of a listen. If you are into the gritty nitty and not the ones for the radio. Mozzy is himself and his worth a listen.

Megan Thee Stallion dropped two projects this year. That being “Suga” which I got tired of really quick. “Good News” came out lately and is more interesting, but she is missing a little touch and showing more skills. Megan have it if she wants too. However, ad-libs gets old and there is just so much flex a man can listen too.

Denzel Curry’s “Unlocked” is a fun EP or album. Not like its a move forward from TA1300. Denzel can be both brilliant and funny on the mic. He has shown that before and therefore, I always look forward to her something from the man. However, here there was some joints, but not bangers.

These are just a few. There was a lot more projects, but these are the ones I remember and that I have listen too. I have listen to other things too and I maybe drop that in a separate piece. As that is more Afro-Beat and more pop based music too.

This was my quick review of Hip Hop in 2020. I know there is a lot more to say and state. Nevertheless, I am not the one to listen to Lil Baby and DaBaby, even though others do. Peace.

My brief take on Torey Lanez…

Well, the Canadian artist and musician, Torey Lanez aka Daystar Shemuel Shua Peterson. Dropped the project ‘DayStar’ this week after months and weeks of speculations. As there is an alleged case against him. In the concern of his affairs and his usage of a gun in question to the shooting of Megan Thee Stallion’s foot in July this year.

We are now seeing that his addressing in his music. He has not gone through the social media, dropping a video on Instagram or anything. Neither, has used the platform of “Quarantine Radio” to say anything either. Megan Thee Stallion came out with her part of the story and basically, the album he dropped now is calling her a liar for it.

Torey Lanez and his team has already gone after Megan. They have tried to dismiss her on social media, using emails and other means to dismiss, downplay and disregard her tale. Which isn’t a good move. The whole thing is shady from the get-go.

That someone would even touch Megan is outrageous in itself. No one should. That is just that. Neither, should anyone do anything violent against Torey either. However, here is a the pickle. As long as there are no pending case. No jurisdiction and no play with law-enforcement. As long as there are no direct investigation. There will be hearsay.

As there is no release of a tape of the incident and the witnesses to the ordeal is either playing their part or being silent. Both of the people in question got careers to think off and a future of possible rising stars.

Megan Thee Stallion is the next in line for the top female act in Hip Hop. She knows this and it would be weird to jeopardize that. It would be unfortunate to loose that chance and have the biggest LP out since Nicki Minaj and Lauryn Hill.

Alas, here we are. Not knowing everything. Seen the bloody pictures from July. Understood the reasons for the silence, but doubting the intentions of Torey. As he has used his means to downplay Megan. Which by all definition is suspect. While he is now capitalizing on it again with newly released LP. That is not word to wise, but neither was it carry guns in America either.

Therefore, the man is questionable. We don’t know if the ego got the best of him. If he was hurt or had a bad hair-day. Who knows, if Megan triggered him, even if she did. There shouldn’t be a reason to shoot someone. There should also be consequences to do so. Not find ways to monetize it and make a generous buck on it.

Torey should know better, but apparently he doesn’t. This should play out and if Megan can. She should get the case pending. As she was the victim, she was shot and the one aiming at her. Should face the law. There is no soft middle-ground here. Only bullet(s) flying for no apparent reason.

Torey Lanez cannot escape this. He cannot run away from it either. Until this is resolved and a verdict have been issued. Until then, its a uncharted territory, a lot of hearsay and unanswered tales spinning around. A lot of he-say, she-say. Still, the bullet(s) and the blood should be accounted for.

Torey knows this and so does Megan. That is just a fact. I’m not promoting ‘Daystar’, but something gotta give. Because, it cannot be like this. No one deserves this and the humiliation of the victim isn’t right. That he uses his talent, his platform to do this. That isn’t right, but then again. That is what people do, apparently these days. Peace.

Opinion: No one cares about French Montana

Well, this is not one of my usual one. Its been while since I discussed music. However, I need this in the midst of a pandemic. In the middle of quarantine and home-office. This week there been an influx of Youtube clips discussing French Montana after he challenged Kendrick Lamar. Which is a at best a hot-garbage. Why?

Well, first and foremost, who really deep in their hearts cares for French Montana’s music? A very limited scope of people. His the leach on other people’s tracks and without features he wouldn’t be listened too. His the knock-off Pitbull and Flo-Rida. To be that in 2020 and call out Kendrick is just obnoxious.

Frenchie French should chill. Take the Bad Boy Records Royalties, pray to the almighty lord over the blessings of P. Diddy aka Diddy or Puff Daddy’s connections so that he can public music and get royalties. Because French Montana doesn’t have the ability nor the skills to even compose a memorable song. He needs a feature to pull it off and save the day.

There is so little to say about French Montana. His is irrelevant if it wasn’t for Drake, Sway Lee and whoever letting him jump on tracks. The only reason I have ever listen to him is because his a feature on Pusha T records back-in-the-day and so on. Not because I wanted to listen to French Montana, because who wants to do that?

Unless, your mind is out of whack or high as a kite. There is very little grasp. No wordplay, lot’s of gimmicks and very little flair. Even Waka Flacka Flame has more of stage presence and finesse on a track like a modern day DMX without his ability to rhyme. Still, you remember Waka and you would even remember Lil Jon. However, remember French on something? Would be rare and I cannot even say one song I can remember him as a sole artist.

The only song I remember him on as the hook artist on a Pusha T joint and that says a lot. To be frank MIMS who had one single had more finesse on the one single his known for, than French has his whole career. So, that a guy like French are having the audacity to put himself on the pedestal and above Kendrick is just insulting. Not only to Kendrick, but to the culture.

French is lucky, if he will be remembered at all in the scheme of things. He will be the forgotten feature artist in few years time. The lingering sound-vomit that got lost. The one sort of loosing relevancy like Pitbull and Flo-Rida. Because, they got very little personality and very little versatile. Not like they have a unique character or way of rhyming that stands out. Not like their flows or their choices of beats are special either. They are following trends like sheep and hoping the biggest artists let them on the remix or have a song with them.

French Montana, better pray to the almighty Gods, ask for more favours from P. Diddy and also be graceful. His not a wordsmith, neither a great producer and not a musical genius. His the weird side-kick that needs a bunch of famous friends to hit the charts. It is fine and dandy, but not like he could serve a burning hot lava of bars. Not like French could pull of a banger without someone else being on it. He cannot carry song and ensure it hits the charts. That’s not happening. He needs it and he should know it.

However, self-awareness is a bit much to ask in this case. He has such big words for himself, that he rather drown the words, than trying to salvage something. Kendrick can just spit a feature verse and he can blow up a bad record. While French will nearly tarnish a good record by jumping on it. That also the other difference between these two.

French better chill, take a drink and buzz off. You got nothing and you shouldn’t challenge a King, Take a Snapple and rest. Peace.

Review of Kanye West’s “Jesus is King” …

When I thought the Book of Job was a job”Kanye West on ‘On God’ 2019

Let it be said, I am a hip-hop head, but this album seems forced out quickly, short-sighted production and lack of clarity in the lyrics. It seems like Kanye West have a new way of dropping music. But it is neither spectacular nor unique. The NF of the world, the Christian rappers has done this for decades. There is nothing shape-shifting.

Other than getting Kanye from dropping bars with curses, sex, drugs and shallow wealth, which has done most of his career. That is why Kanye West should have had more Christian rappers like No Malice, the one part of Clipse. Who totally changed his style and his musical aspiration from what he did in secular Clipse with his brother Pusha T.

There wasn’t any redeeming factor in this album for me. The beats and singing felt weird. The tone of the album. It was even a bit scary and creepy. That’s not the sort of feeling I want when listening to music.

Kanye West might mean well and trying to figure out his own life on this album. But the music isn’t for me. That is after one listen on youtube. I am not a fan. This is not for me. I rather listen to Kirk Franklin or a Mario Winans, if I want something spiritual, because this isn’t it. Jerusalem or something even.

Kanye is Kanye, that you feel on the album. But its not the old Kanye and not the obnoxious new Kanye either. It is just the weird Kanye. That doesn’t stick to me. I don’t feel it or grasp it.

I haven’t really listen that much of Kanye since ‘Life of Pablo’ since his music has gone a bit down over the years. Less and less time for production, good samples and ghostwriters like Consequence and so-on. Which is lacking and shows. It isn’t the greatness nor the beats to support the craft.

This was a big downer. What might save him? Well, if he put in the work. Actually collaborate with more Christian acts and actually tries dig deep into the scriptures or gospels. Because, this could have been made by a new Christian rapper with no discography in the basement in New England before released world-wide.

This wasn’t it. A bad album. A really bad album. We all need redemption and need salvation, but there is nothing saving him here. Peace.

Dropping some side-notes on the 15 Years Anniversary of T.I.’s Trap Muzik!

Listen pops

Want to know a little more about rap?

First rule if it’s real

It ain’t just a record deal

It’s a trap” – T.I. – Trap Muzik (2003),

Today, its 15 years ago since the T.I. or Clifford Harris second album was released. That was on the date of 19th August 2003. This was the first album I heard from the rapper and lyricist. Before this, he had dropped an album on Arista, “I’m Serious” but that hadn’t been successful. This was the launch of his career and also, where people got to now of the Trap and the Grand Hustle. That was after he had a series of Mixtapes, which gave way to this album.

This was the album that really opened my eyes for him as an artist. I will take some of the notable lyrics from the album. As there was some bars, that if you haven’t heard is worth to remember. As the statement it made when it was released.

It’s a war going on and they killing for nothing

We were in denial all awhile they where flicking the buttons

I’d rather be dying for something instead of living for nothing

End of discussion” – T.I. – No More Talk (2003).

If that isn’t social commentary and worthy of a shout out nothing is. This is a proof, that the 22 year old rapper, even back then wrote social commentary and about the struggles of the community. Not just slanging dope over banging beats.

And the cars been parked but the rims keep moving

Sign pictures, buy an onion of good and throw the deuces

Cause I ain’t Hollywood, I come from the hood, I’m used to it” – T.I. – 24’s (2003).

If you ever heard a banging video game song for a car game. This song, the 24’s was made for that. The first car riding song. An it was a hit. This one really introduced to plenty a rims and the spinners. Not all of us knew about that cultural aspect from the Southern part of the United States.

“But why the rubber band?”

It representing the struggle man!” – T.I. – Rubberband Man (2003).

This single was the one that first got played on the music TV channels that I picked up. You really felt the beat and at the same time. I got to know David Banner. Therefore, this track alone. Has shown both of them to me. This was really the jam from the album.

I’m the king cause I said it and I mean that shit” – T.I. – Kingofdasouth (2003).

This song and the title of calling himself the King of the South. Which created lots of beef, one that spawn off with Lil Flip. Someone will remember that, someone will not. This was before the mixtape of Down with the King and the “Welcome Back” one. But that one is whole another story.

Now, I have taken my favorite bars and also briefly commented on this album from one of my favorite artists. T.I. or T.I.P. who is still relevant. It is strange to think that its already 15 years since this was released. Peace.

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