NASIR – Nas

“Escobar season begins.” After waiting for what felt like ages last Friday for this album to drop, Nas finally blessed us with Nasir, his eleventh studio album. This is yet another mini project Kanye West has helped produce and release over the past few weeks. Politically charged is an understatement for this album, but we don’t often see the Queensbridge native do otherwise. Nas is a legend in the rap game, and while its no Illmatic or Hip Hop Is Dead, it is a good album through and through.

The Vocals:

Solid. That is the best way to describe the vocal aspects of this project. The Queens legend is a lyricist and it shows. On every verse throughout, he truly kills it. He develops this story of a world that he had to grow up in, a world that forced him to sin which he doesn’t want for his kids. We also get yet another appearance from the ever-mysterious 070 Shake on the opening track “Not For Radio”. This makes her third feature on one of Kanye’s mini albums after coming out of the woodworks. We also hear from the main producer himself later, as he comes on “Cops Shot The Kid” and “everything”. On the latter, Kanye is featured with a singing part on the chorus. With that combo of Kanye and Nas, “everything” may be long but is a track worth the listen.

The Beats:

Solid. Once again, the best word to describe another aspect of the album. The G.O.O.D. Music team did a great job creating beats that just fit Nas’s style. Nothing was too out there, however at no point did they feel boring. They even for the second time (of Kanye’s mini albums) sampled Slick Rick’s “Children Story” with the line “Cops shot the kid” on the track with the same name. I found it actually quite unique how the producers utilize looping samples on “White Label” and “Cops Shot The Kid” to create a sort of beat. While it is repetitive, you don’t get that feeling since it is mixed in with hi-hats and snares.

The Production:

Solid. I keep using this word for a reason. It represents all aspects of the album. Kanye clearly had a heavy hand in the overall production of the album and he put his artistry to work with it. In a tweet from Mr. West, we can gather that the theory behind the project was the idea of the “7 Deadly Sins.” Each song represents a different sin, that being greed, gluttony, lust, envy, sloth, wraith, and pride. To create a theme like this is no easy task, as it has to be woven into the lyrics and beats. However, I felt the production crew and Nas did a great job with this. This theory most notably shines through on the song “Adam and Eve”, which was meant to represent sloth or laziness. They sampled “Gol-e Yakh” from the Iranian singer Kourosh Yaghmaei. The literal translation of the title of the 1978 song means “to sloth”.

The Essentials:

“Not For Radio”, “Bonjour”, and “everything”

The Rating:

As I said with each aspect of the project, it was a solid piece. It wasn’t Nas’s best but certainly not his worst. His lyrics were solid and the beats were strong. Of all the Kanye projects released over the past few weeks, this was by far my favorite and the best one. Nas holds onto that legend status with every verse he spits. Nasir gets a:

8.5

Politically charged with a deeper meaning. I’m going to say it again. Solid.

-Heff

RIP XXXTentacion

I’d like to take a moment to say some words on the death of Jahseh Onfroy or as he was commonly known, XXXTentacion. While he was a controversial rapper with often harsh lyrics and a rough past, he was an extremely creative mind and a rising talent. Anyone who followed hip-hop knew that. No one should die at 20. Thoughts and prayers are with his family, friends, and fans in their time of mourning. Rest in peace XXXTentacion.

 

Lost & Found – Jorja Smith

So I think I have fallen in love with Jorja Smith. No, I am serious. If you listen to this album you will too. This young woman out of Walsall, England has a voice. She might be one of the best R&B singers I have heard in a while. With her first studio album Lost & Found, Jorja talks about love and life through both song and rap. People are always talking about who is the next biggest thing in music. She this. Trust me. She is.

The Vocals:

Jorja gets a perfect score on her ability to sing. On “Lost & Found”, “February 3rd”, and “Don’t Watch Me Cry”, she shows off this level of vulnerability in her voice that just drags you right in. To be honest, it is not easier to pick out certain songs on this album to critique for the reason that it’s all so well done. Jorja proves that she can not only sing but also rap. “Blue Lights” and “Lifeboats (Freestyle)” demonstrate the influence grime has had on her, especially with her quick verses. You almost get this feeling you are listening to the British Lauryn Hill. However, Hill is not the only famous artist you can make an easy comparison too. Jorja at times sounds very similar to Alicia Keys and Adele, especially on the hit song “Teenage Fantasy”.

The Beats:

Each song on the album is very well done. With Jorja Smith coming out of England, a country known for its poor weather, each beat brings that near gloomy sound. Paired with her voice, they compliment each other perfectly to develop such a soulful sound that plays perfectly throughout. However, the strongest part of the entire albums is the drums. Between using hi-hats, bass kicks, snares, and even an orchestral, the production team created this wide variety of drum sounds. “On Your Own” and “Tomorrow” are the best examples of this creativity.

The Production:

The transitions on Lost & Found are so incredibly smooth. Each song flows into another. Every piece felt like it was in the exact right spot. Jorja’s crew went for a certain vibe and hit it perfectly. I can’t find a single aspect of the production of this album that I can complain about.

The Essentials:

You really should listen to the whole album but if you only have time for a couple tracks, listen to “Teenage Fantasy”, “Where I Did Go?”, “Wandering Romance”, and “Blue Lights”.

The Rating:

This album is perfection. Jorja Smith just makes you fall in love with her voice and the story she unravels. There is no track that you can skip nor will you even want to consider it. The young British singer kills it and Lost & Found gets a:

10

Look, I was not anticipating giving two 10s out this early, especially to two R&B albums. However, one can’t ignore perfection. This is another album that you just have to listen to actually understand why Jorja Smith is the next biggest thing.

-Heff

The Mountain – Dierks Bentley

We’re mixing it up a bit today on this lovely Saturday night with a little country. Dierks Bentley has been around the country scene for a while now, and with this latest studio album, he proves he is here to stay. The Mountain was recorded out in Telluride, CO and you are able to feel that influence throughout. With songs of love, inspiration, and overcoming, the Arizonan does a solid job pulling you in.

The Vocals:

Bentley has a beautifully alto voice that applies perfectly to his style of music. In every song on the album, his vocal talent emanates throughout. “Goodbye In Telluride” demonstrates just how well he can sing. Paired with solid instrumentals, Bentley hits every right note while singing about breaking up with a mysterious girl. However, his voice sounds best when paired with female background vocals. On the tracks, “Travelin’ Light” and “You Can’t Bring Me Down”, we get this beautiful complimenting sound that fits perfectly with the words being sung and the guitars, drums, piano, and banjo being played.

The Instrumentals:

While creating this album, Bentley and his crew moved to a ranch in the mountains of Colorado. The one thing that is so perfect about the instrumentals is the sound it gives off. One can nearly hear the project as a backdrop to the cold, crisp air of Colorado. However, while they used great bits of guitars and banjos, especially on “Living” and “How I’m Going Out”, I often felt like they pushed too far with a classic rock sound. There is nothing wrong with a country album that has a hint of rock and roll. Although, I feel it either has to have that sound on every track, or none at all. At times they included guitar rips that fit perfectly and then others that felt off-genre.

The Production:

This aspect of the album is on point. Bentley and his team do a fantastic job creating a fluid set of songs. No where did it feel off beat or had changed sounds completely. Every track flowed well and stayed with that Colorado influence they were after.

The Essentials:

“Woman, Amen”, “Burning Man”, and “Goodbye In Telluride”

The Rating:

This was a solid album and if you are looking to expand your horizons a bit into country, this is where I would start. It’s not too hillbilly and not too “girls, tractors, and beer”. Dierks Bentley creates a solid track list that is perfect for any cookout or beach party this summer. The Mountain gets a:

7.7

All in all, this is seriously a good album…so to those who hate on country – maybe you just have listened only to bad albums. You can trust me on this one. It’s good.

-Heff

Testing – A$AP Rocky

A$AP Rocky doesn’t fit in a box. In fact, he is so outside the box that it becomes something special. His latest project Testing is the perfect example of this. In a sort of avant-garde style, he utilizes features, beats, and samples in ways that very few rappers have done yet. The young rapper from Harlem is in a sense coloring all over the page while the rest of the industry is still in the lines. Let’s dive into this album!

The Vocals:

Any time that Rocky puts out an album or single, you can almost guarantee that he will step up to the plate. He did just that with Testing. The vocals are extremely well done. Rocky is a lyricist and that shows when it comes to his rhyming capability. “Gunz N Butter” has some of the most politically charged verses and yet also includes rapidly fired off rhymic sentences. The best example being:

“The President a a-hole (f@#k off) / Prayin’ for a JFK, all we got was KKK / AKA AK that you target not from Target but from Walmart / Then it’s a-ok”

Rocky also utilizes features in ways that we haven’t seen yet from the rest of the industry. On “OG Beeper”, he brings on BlocBoy JB solely for the purpose of ad-libs. With “CALLDROPS”, Rocky also includes a verse from Kodak Black that was recorded from a call to him while he is serving his prison sentence (Free Kodak).

The Beats:

This was the aspect of the album that was somewhat weak for me. Not going to lie – the beats on “Praise Da Lord”, “Tony Tone”, “Buckshots”, and “Kids Turned Out Fine” were fantastic. The assortment of producers who developed those beats seriously killed it. But for the rest of the album, many of them just felt a little boring and unspecial. However, the one beat that I felt was most unique was “OG Beeper”, with its funky electric, almost video game-like sound.

The Production:

Rocky set the tone for the project the second “Distorted Records” starts. With its scratchy static sound, he immediately makes clear that this will not be your average rap album. He creates a set of songs that are unique and different, each in their own way. With a combination of bouts of singing and rap verses, Rocky establishes this pattern of back-and-forth between tracks filled with hard verses and others consisting mainly of soft vocals. Rocky and his team of producers wanted something outside of the box. I am not even sure if it’s even near the box.

The Essentials:

“Kids Turned Out Fine”, “Black Tux, White Collar”, “OG Beeper”, and “CALLDROPS” plus that combo of Skepta and Rocky on “Praise Da Lord” is just too damn good.

The Rating:

The album isn’t perfect, but the uniqueness is. It is different and extremely well produced. A$AP Rocky demonstrates his pure talent throughout and shows how he is not like any other rapper out there. In my mind Testing is a:

7.8

Now go watch some World Cup soccer and always “Create, explore, expand, conquer”.

-Heff

1999 – Joey Bada$$

Finally! Finally, finally, finally! Hip-hop heads have been waiting for this day since 2012. Fair warning – this rating may be high due to the nostalgia aspect. 1999 was Joey Bada$$’s debut mixtape, in which he features many members of his group Pro Era. This mixtape quickly became an instant classic. The project hints at the “golden age” of hip-hop back in the 90s with ’99 being the capstone year of it all. Joey B uses his talents and vibey beats to give it that old school flow.

The Vocals:

Mr. Bada$$ (aka Jo-Vaughn Scott) is one hell of a lyricist. He is a young rapper with an old soul. You almost get that more chill Q-Tip sound. Joey B’s talents show especially on songs like “Survival Tactics” and “Funky Ho’$”. He develops these rhyming patterns on verses that hit with every bass kick or hi-hat. Sometimes he spaces them out or from time to time he will hit you with three rhyming words in a row. Not only are his vocals great, but the features he utilizes make it all the better. Being all members of Pro Era, Capital Steez, Chuck Strangers, CJ Fly, T’Nah Apex, and Kirk Knight bring that same high level of standards to the table. No one wants to outshine the main artist, nor look like an idiot. They all bring the perfect amount of character to their verses that amplify the vibe of the mixtape.

The Beats:

Alright. Anytime you bring an all-star cast of producers together, they will create. Period. Joey B’s group was literally the Avengers of producers with guys like MF Doom, Freddie Joachim, and J Dilla just to name a few. The instrumentals for “Waves” was so fantastic that even J. Cole couldn’t ignore it and used it on his recent single “Prophets”. MF Doom’s production of “World Domination” was so uniquely different. Starting with a sample pulled off the 90s cartoon show Pinky and the Brain, he creates this funky, almost carnival-like sound that Joey B flows perfectly over. It brings in this different sound that I think is unique to albums from that “golden age” – always trying to include that one funky song on their project.

The Production:

This was originally a mixtape and I wish Joey B had taken the time to remaster it. While it is a great album, the overall production isn’t perfect. It has got its flaws, which is okay, but if we are looking at it all together, we have to consider them. Transitions aren’t fluid and sometimes you get this almost garage-like sound on the beats. One thing I do have to give major props for is the use of scratching. This is a DJ trick from that “golden age” that rarely gets used these days but fits in perfectly on this project.

The Essentials:

“Hardknock” and “Snakes” are two great underrated tracks. “Third Eye Sh*t” (or “Suspect”) is hands down the best song on the mixtape and is worth the eleven minutes. Trust me. That Joey Bada$$ verse at the end is killer.

The Rating:

Personally, this is one of my favorite mixtapes. Joey B has such a great old school flow that works so well with the vibe. Sure there are flaws but any underground project will have those. Joey B and all of his features’ verses are just too good. Too plain good. 1999 gets a rating of:

8

If you only started listening to Joey Bada$$ after All-Amerikkkan Bada$$, then please go back and listen to this mixtape and you will thank me. After all that talk of Joey B, I will leave you with one of CJ Fly’s verses. Don’t @ me!

“I’m in Marty McFly mode, so tell ’em that the future’s back.”

-Heff

 

KIDS SEE GHOSTS – KIDS SEE GHOSTS

So after dropping Ye only a week before, Kanye West released yet another mini album, this time with Kid Cudi. The joint project feels somewhat connected while somewhat separate from its predecessor. KIDS SEE GHOSTS is not the first we have seen this idea of a collaboration between two rappers to produce an album, with Huncho Jack (aka Travis Scott and Quavo) dropping Huncho Jack, Jack Huncho late last year. KIDS SEE GHOSTS was definitely not a normal rap album…no question about that.

The Vocals:

This was the most lackluster part of the entire album for me. I felt Cudi and Kanye just didn’t put enough into this aspect of the equation. On every track, I had this feeling that something was missing. “Freeee (Ghost Town Pt. 2)” was the only song that was artistically done well in my opinion. Both Cudi and Kanye have these almost god-like sounds whenever that note on the word “free” hits. Mixed over rock samples and supported by a chorus of background vocals, they get this otherworldly vibe out of the song. However, with this track along with much of the others, I just felt they became extremely repetitive. At the end of “Reborn”, I seriously thought I was gonna lose it if I heard Cudi say “Keep moving forward” one more time. It loses that lyrical and vocal aspect when you say the same line 100 times in a row.

The Beats:

KIDS SEE GHOSTS once again proves that Kanye is a genius when it comes to producing beats. Who knew that you could sample a 1930s Christmas tune on a rap song? “4th Dimension” seriously demonstrates Kanye’s ability to create a beat that is unlike any other. With its strange sample, solid bass, the combination of snares and subdued hi-hats, plus that eery laugh sample right in the middle, it develops this overarching theme throughout the album; that ghostly vibe that I feel Kanye was aiming for. He mixes so many elements to create a sort of rock sound on many songs. “Cudi Montage” even includes a sample from Kurt Cobain. Hands down, the beats are the strongest aspect of the entire project.

The Production:

Any Kanye album always gets a 10 on production value and this is no different. Like many of his albums, Kanye goes for a certain sound to be a theme. This particular project has that spooky factor. Something in each track just sounds otherworldly. Just look at the title track “Kids See Ghosts”. The beat and vocals from Cudi just make you feel uncomfortable. Nothing about it feels natural – and in a good way.  Yet, it all blends so perfectly that it draws you right in, almost like a horror movie. You want to look away but you can’t because you want to see (or in this case hear) what happens next.

The Essentials:

“4th Dimension” and “Feel The Love”

The Rating:

This album was just so strange. The whole listen just felt weirdly empty. The beats were fantastic and the production was on point but something felt missing. Especially coming off of Ye which had great vocals. In my opinion, KIDS SEE GHOSTS was a:

6.5

This album is has been debated left and right so you are open to telling me what you think in the comments below or on Twitter. But for now, I’m freeeeeeeeeeeee…

-Heff

From The Fires – Greta Van Fleet

The pure talent of this band is special. Something is uniquely similar about them however so different that it is helping their sudden explosion into the rock scene. Lead singer Josh Kiszka, at the ripe age of 22, is already being compared to the legendary Robert Plant of Led Zeppelin. From The Fires, released in November as a double EP, is bringing that classic rock sound back…and in the right kind of way.

The Vocals:

Already, Josh Kiszka gets flak for “copying” Plant’s style and voice. However, when you can sing like a rock legend, then why don’t you. Kiszka can belt out notes like no other. I feel this is most obvious in their hit song “Highway Tune”. Within seconds of the start of the song, you are met with one of those pure high pitched yells that are so distinct from the 70s rock era. If you have even an appreciation for any music from that era, you will fall in love with the way this dude can sing. His parts on “Talk On The Street” may be the best demonstration of his talent.

The Beats:

It’s hard to even think of them beats because they aren’t really. Four guys jamming out are going to create music more than anything and that’s exactly what they accomplished. What stands out the most to me is their track “Flower Power”. Greta Van Fleet creates that Woodstock 70s vibe perfectly, with bouncy, flowy drum fills and a folk-sounding guitar piece. The outro to the song includes an organ which brings that 70s vibe all the more to the forefront. If only the organ was used in more music today, you could create some serious tracks. “Edge of Darkness” also seems to carry a heavy focus on the instrumental pieces more than the singing. The drum fills allow for solid transitions and the guitar solo on the song might be the best of the whole project.

The Production:

The album just oozes that classic rock groove from the start to the end. “Safari Song” and “Highway Tune” are just so well done that at points you forget these kids (yeah..kids) are only in their 20s and from Michigan. Their renditions of Sam Cooke’s “A Change Is Gonna Come” and Freeport Convention’s “Meet On The Ledge” are good but it is definitely hard to top classics. Greta Van Fleet’s producer Marlon Young does a phenomenal job recognizing the flow of the different tracks and laying them out in an order that you can rock to.

The Essentials:

I know many of my readers are often more rap and hip-hop heads than rock people. However, if there is just one song to listen to off of this album, it is “Highway Tune”. My personal favorites were “Flower Power” and “Black Smoke Rising”.

The Rating:

Hands down a fantastic album through and through. These guys are young and super talented. I have high hopes for where their careers will go. Any young artist who can bring back the sounds of Jimmy Page, Robert Plant, John Paul Jones, and John Bonham will hopefully succeed. Unfortunately, though, this double EP only leaves me wanting more. Due to that, I give From The Fires:

9

Hopefully, we will get blessed with a full album soon. Once we do, I know these guys will blow up. Because…”Everyone knows that there’s talking on the streets.”

-Heff

 

Normal – Garren

With any given Sunday being the perfect day to listen to Soul and R&B, usually, I will drop a review for that genre. However, yesterday was a recovery day from the weekend so “Soulful Sunday” is “Soulful Monday” this week and we are starting it off with a hidden gem. Normal is an EP that is truly a work of art from the Compton based rapper and singer Garren. Beautiful vocals, strong beats, and phenomenal verses all combine to create a strong debut project. Garren truly kills it with this release and it still isn’t getting enough publicity for my likings.

The Vocals:

Throughout the EP, Garren keeps a high standard for his beautiful voice. The young man has quite an ability that can be especially seen in “Conversation”, “Normal”, and “Energy”. He truly pours his heart and soul into each note and it shows. However, one of the biggest takeaways from Garren’s work is the similarity in his sound to that of Chris Brown. With the mix of his rapping ability and emotional vocal talent, combined over some high tempo beats, you can’t help but notice the likeness in songs such as “The Code” and “Misunderstood”.

The Beats:

To be honest, I searched everywhere for who was the producer for Garren’s beats and couldn’t find anyone. I am not sure if they are “type beats” or were made for the EP, however, they all fit perfectly. If we go back to “Misunderstood”, not only do we get that great vocal talent, but the beat forces you to bob your head. You won’t even be able to help it. The repeating piano piece in the back pairs well with the overlays of uptempo hi-hats bass kicks. “Energy” may have the best beat of the whole project though, with its haunting electronic samples combined with a piano and bass. Plus, when that hi-hat comes on during the chorus, god damn!

The Production:

So, without knowing the producer, I can’t give him or her any props. Yet, the production is on point. All the transitions are smooth and the vibe of the album is fluid. If Garren had anything to do with the production, hats off to him because it is a job well done.

The Essentials:

Instant favorites from the project are “Energy”, “Misunderstood”, and “The Code”. I think I have listened to each of these at least once a week since I found the EP in early March.

The Rating:

Garren bodies it on this EP. Was there anything wrong know? No. Can an album or EP be perfect? Normally, I would say no – but Normal is just too good not to consider it a masterpiece. In other words (or numbers if we are being technical), I give Garren’s Normal:

10

When you listen, you will understand why…just trust me on this one. This needs to be in your rotation.

-Heff

Ye – Kanye West

Before I start, I have to say that I am a huge Kanye West fan; am I a deep tracks guy…eh. Not on all the albums, but I do love his stuff. With everything happening to him lately, I am not going to dive too deeply into his political leanings or his mental state. Let’s just focus on the music at hand and jump in.

Kanye’s entrance to Ye is just weird, plain and simple. “I Thought About Killing You” is just an odd song, from his dark soliloquy to dreary beat in the background. However, there is this sudden switch in the middle to a more regular Kanye rap. I can’t say I know much on bipolar disorder, although this sudden shift may be Kanye’s artistic impression of bipolarity. Throughout the song, you get a very Life of Pablo-esque and it continues right into “Yikes”.

Easily one of the more popular songs off the album, the beat starts in a very similar way to “Wolves” from Pablo. And similar to that song, its really good. The beat is just so strong and quite the head banger. In a sense, it is his true entrance to the album. He is here, his “disorder is a superpower”, and he, as always, loves himself.

“All Mine” loses it for me though. The production is not bad at all but the lyrics just kill me. Kanye is such a genius and this is just corny. It just isn’t anything special, however, those low key shots thrown at Tristian Thompson is hilarious.

And then, just when I think the album (really an EP, let’s be honest) is lost after that song, Kanye absolutely kills the beat on “Wouldn’t Leave”. To be honest, it’s actually a really beautiful piece about finding that one girl who is loyal no matter what. He also explains his side of the story on all his publicity over the last few months very well. Plus those background vocals are what make that song, no questions asked.

Using Slick Rick as a sample I feel is risky. If you use one of the godfather’s of rap vocals in a song, its got to be close to perfect. To be honest, Kanye does really well living up to that expectation, with great rhythm in his verses on “No Mistakes”. This is probably the closest sounding piece he has on the album to that old school Kanye vibe. However, he follows it up with a absolute banger in “Ghost Town”. It is the best song on Ye by far and its truly made by the faetures he used. Kid Cudi absolutely and the 070 Shake comes in with beautiful vocals that make you just want to sing-a-long. Plus the samples of electronics and guitars mixed in just add to the perfection. Don’t forget that:

“Nothing hurts anymore I feel kinda freeeeeeeee”

Kanye wraps up the album with a beautiful piece about his daughter. Writen by Nicki Minaj, “Violent Crimes” is an amazing song from start to finish. You don’t often here about a rapper talking to his kids in songs, especially in today’s rap. The closest we got recently was J. Cole’s 4 Your Eyez Only but that wasn’t even about his own child. I am not a huge Nicki fan but she seriously did a great job with this song.

Overall:

I am not gonna lie. Ye has grown on me over time. I am truly impressed by the production and vocals on it. The only thing that brings it down for me are the corny lyrics on some of his songs. He is such a genius when it comes to production and lyrics and those verses just don’t sound like him. All in all, I was impressed with Ye and give it:

Solid 8

Stay tuned for my review of Kanye’s part two of this album. Hopefully going to drop it in a few hours.

-Heff