Hopefully Not the Last from ‘Kiss

The Spin: Jadakiss – The Last Kiss
Released April 7, 2009
The Island Def Jam Music Group 2009
[rate 4]

If you’ve followed Jadakiss’ career at all, it’s easy to see that he’s consistently put out some of the most solid work in the genre since as far back as The Lox. Although every album has its fair share of what would be deemed commercial songs (and they’re just as good as anything else you would hear on the radio), he hasn’t managed to reach the type of mega-stardom as Lil Wayne or 50 Cent or even gained the type of mainstream notariety as someone like Mims or Chingy. I think plenty would argue that Jadakiss’ lyricism would have him fare well in a battle with any of these guys and the beats that pervade his albums are definitely good, if not equal to his rapping.

“The Last Kiss” finds itself again without a huge hit, but has managed to garner plenty of praise and respectable sales. But also like most of his albums, it’s sort of a mixed bag and lacks continuity. There are a couple of Neptunes beats that stick out, there are beats that sound just five minutes too dated, and then there are southern-style club bangers in the middle of it. Content-wise, Kiss is equally sporadic.

In “Who’s Real,” we hear Swizz Beats’ familiar voice and horn arrangements. For whatever reason, Swizz Beats has certainly mastered his particular brand of simple drum patterns and synth arrangements (which he’s claimed to accomplish in fifteen minutes or less), although he does add in samples, from time to time. His lyrics definitely have not received the same amount of attention for good reason. However, Swizz Beats, in collaboration with other artists, provides a recipe for very effective rap tunes. Thankfully, Jadakiss does a good job of complimenting the track. OJ Da Juiceman provides fairly weak guest lyrics.

Anyone who’s heard a Jadakiss album knows that he’s fairly obsessed with guns. “Smoking Gun” serves as a manifestation of that, but with a sort of twist. This song is a sort of Bonnie & Clyde tale, but more socially conscious and more vengeful. Yeah, actually, it’s more like one of those highly entertaining albeit cheesy revenge flicks from the seventies. At any rate, the content of the song is really interesting and the beat’s pretty nice. I don’t want to give away more than that because it’s such a cool song. Instead, I’d encourage anyone to check it out.

“Respect My Conglomerate” is a Busta Rhymes song that is included on the Itunes version of Kiss’ album. The female vocals sound like they’re sampled, but they’re not. The hook is really cool. The beat’s fairly poppy and simplistic, but effective. Busta Rhymes delivers as always and Jada doesn’t disappoint, either. “Grind Hard” and “Something Else” serve as Jadakiss’ attempt to get in good with the south, even including a verse from Young Jeezy on the latter. “Grind Hard” features a hook by Mary J. Blige and is appropriately catchy.

If I had to describe Jadakiss’ career to someone, I’d say something like, “Jadakiss is a five-star lyricist who consistently makes four-star albums.” It’s hard to not feel like if he just had an album with two or three really big hits that he could be on the same eschelon as someone like Jay-z or Nas.
I think it’s unfortunate that this isn’t the case, but I certainly keep hoping for it, and considering that he’s one of the only good hip-hop artists still doing big things in New York, his time may be yet to come. Predictably, I give this album four out of five stars.

O Eight Rewind

Preface: I was asked to write this article on 2008′s top three albums, from my perspective (as I’ve covered mostly hip-hop, I narrowed it to hip-hop albums). However, my third spot ended up a tie, so you’re getting a little more for your money. On we go…

2008 saw its share of trends and transition in hip-hop. We heard rappers singing into vocoders, raps over techno beats, a resurgence in electro, and the hipster trend became ever more prominent. While there was definitely a sense that the pendulum is swinging back toward digital, some of the year’s best mimicked the Golden Age’s live sound samples. And as I saw it, the year’s very best, didn’t even make it on to the radio.

Elzhi – The Preface
Released August 12, 2008
2008 Elzhi / Zhifi Music

Elzhi is responsible for one of the most ambitious albums of the year, as many of the tracks’ content is extremely left field. Black Milk is commissioned for the production of most of the tracks. Truthfully, Elzhi’s the only impressive lyricist to ever have been part of Slum Village. Musically, this album couldn’t be much more representative of Detroit if J Dilla oversaw every aspect from beginning to end. As good as that might feel to so many of us, like more than one album on this list, it may be that this album is a little too far behind the current trends of hip-hop to be commercially viable. And Elzhi’s representing for Detroit better than anyone in recent memory. With tracks like “Colors” and “Guessing Game,” he may come off as pretentious, but lyrically he’s not only showing off a higher caliber than we’re used to, but he’s taking risks and showing creativity that is not often approached in hip-hop anymore. Interestingly, fellow Slum Village member T3 produced standout track “Save Ya.” It’s not hard to figure that T3 learned a few tricks from the late, great Jay Dee. Other standout tracks include, “Motown 25,” “Brag Swag,” “D.E.M.O.N.S.,” and “Talking In My Sleep,” among others (Really. No, REALLY. AMONG OTHERS. EVERY SONG ON THIS ALBUM IS AT LEAST PRETTY DECENT. Peep it.).

GZA/Genius – Pro Tools
Released August 19, 2008
2008 Dcide Records

“Pro Tools” seems like a fairly appropriate title for any GZA album, for those who are familiar with this particular emcee’s body of work. GZA’s latest album came on the heels of a Liquid Swords tour that was impressive, even so many years later. His beef with 50 Cent was responsible for probably the most recognized track from the album, “Paper Plate.” In an interview, he basically described how paper plates are disposable, temporary. In comparing 50 with GZA, it’s probably a pretty apt comparison, to this point. GZA’s ability to bring unexpected rhymes and rhyme schemes, combined with his ability to play with words and stretch words and phrases as he chooses, all while doing it in a way that isn’t difficult to understand and keeps his audience captivated is unparalleled. While the album is mostly missing RZA beats (save for “Paper Plate”), he manages to reach back and utilize very traditional Wu-Tang sounds. The overall sound is updated, but probably drags a little behind what most of hip-hop is doing. Overall, a very impressive album, just as we’d all expect from one of hip-hop’s most respected emcees. Besides “Paper Plate,” “Alphabets” and “Columbian Ties” stand out.

Murs – Murs For President
Released September 30, 2008
2008 Warner Bros. Records Inc. for the U.S. and WEA International Inc. for the world outside the U.S.

I wonder if Murs ever expected to be in the position he’s in. After years of flourishing on the underground backpack scene, he’s gone major without compromising much. While major dollars and major marketing didn’t lead to major radio play, the album was lauded by critics. In fact, the album tanked. Still, Murs joins a trend of a rise of prominence of conscious hip-hop and if he can earn endorsements from hip-hop stars (perfectly conceivable), there’s no reason this album can’t set the stage for a much greater impact in the near future. Unfortunately, while all the beats are catchy and enough of them are plenty interesting, there’s no real musical commitment to any particular style, and perhaps that musical purgatory is what sent this album to commercial hell. Murs is a talented emcee with a positive message, a breath of fresh air into hip-hop. Standout tracks include “I’m Innocent,” “Can It Be (Half A Million Dollars And 18 Months Later),” and “Sooo Comfortable.”

The Roots – Rising Down
Released April 29, 2009
2008 The Island Def Jam Music Group

The Roots have acheived a status in hip-hop that is without precedent. As a group that has never acquiesced to any particular mainstream trend, they create their own lane on a regular basis. No… that’s an understatement. Every album they put out is something completely different from anything they’ve done, and completely different from anything anyone else has done. That isn’t to say that they have a whole lot of hip-hop acts following in their footsteps, but their audience is vast, international, and dedicated. Rising Down represents a darker form of hip-hop than past takes. Over time, it becomes more and more apparent that hip-hop’s most famous drummer (and most famous afro), Ahmir ?uestlove Thompson is very much the backbone of hip-hop’s premiere band. He takes on a good deal of production duties for this album, and increasingly appears as a producer and/or performer on other artists’ tracks. This is possibly the most political and easily one of the most abstract albums by the Mighty Roots Crew. If you’re ready, the standout tracks, as I see them, are, the title track, “Rising Down,” “I Will Not Apologize,” “Singing Man,” and “The Show.”

Honorable Mention:
9th Wonder and Buckshot – The Formula
Black Milk – Tronic
Devin The Dude – Landing Gear
The Game – LAX
Ice Cube – Raw Footage
Madvillain – Madvillainy 2

Here’s to hoping for a little better in ’09.