The Spin: Javs – Passports
Released n/a
2009 n/a
[rate 4.5]

Javs is a little-known up-and-coming producer/rapper based out of Southern California and Australia. It’s like he can’t make up his mind about anything. But we thank him for that, as, for some reason or another, it all results in rather dope musical recordings. In a time that sees hip-hop transitioning seemingly toward more electro sounds and party lyrics, Javs provides well-arranged soul samples and lethal drum patterns as his backdrop for socially conscious content.

The album begins with an intro laced with sped-up vocal samples, a more prominent production style on the east coast, but effective here, nonetheless. His vocals chime in, as he tells us of the struggles it took to get him to where he’s at now.

Javs’ voice cuts through the track on “Storm Riders,” thanks to the caliber of delivery that one expects to find when listening to classic hip-hop artists. Routinely on this record, he manages to captivate so much more than the guest artists here. Risky as taking such a classic sample as “Riders on the Storm,” Javs manages more than just doing the sample justice.

“Break It Loose” ticks up the tempo and the energy. While it’s nothing like the hyphy music going on north of Javs’ territory, there’s certainly something here for everyone. Javs shows off some pan-Pacific swag, like, “Doubters just became believers/ Forgive me if these tracks cause fatal seizures/ I’m on the ball, yall watch from the bleachers.”

Javs brings out his inner Blueprint-Kanye for “The World,” while providing his own sensibility. While the beat will certainly leave other producers with 808′s and heartbreak, Kanye’s lyrics pale in comparison. Javs’ ability to change up his flow throughout every verse is impressive, and it’s exemplified here.

Overall, the album has its moments where the lack of professional mastering is noticeable, but the same is true of a great segment of the mixtapes put out by major artists, so considering that this album was done almost entirely by Javs, it’s extremely impressive. It hardly even seems necessary to point out that this album is quite a lot better than many a mixtape, some of which I’ve reviewed right here. I give the album four and a quarter stars out of five.

A couple of my friends did this on Facebook, so I’m gonna put a twist and explain why they changed my life, and put them in chronologically, in terms of when they changed my life. Of course, I’m not claiming that these are my favorite albums, only that because of where I was in my life when I discovered (or re-discovered, in one case) them, they each had a profound effect on me.

1. Bad by Michael Jackson 1987 Michael Jackson was my first hero, and this was the first album that came out where I was old enough to be aware of its impact, and know all the lyrics (and dance moves).

2. The Miseducation of Lauryn Hill by Lauryn Hill 1998 This album was one of the earliest albums that I bought, mostly because I never had money before this time, and my parents wouldn’t let me get the music I wanted to get. This album was, and still is, in my opinion, genius. Lyrically and vocally, Lauryn Hill’s absence from anything more than intermittent recording still leaves a hole, such that at every rumor of her reemergence, I get excitedly hopeful.

3. Music of My Mind by Stevie Wonder 1976 Stevie Wonder broke the ice for so much great R&B music in the 1970′s. So much of his work sounds as fresh today as it did back then, and he continues to be a great influence in music. When I was in college, after hearing some of my parents’ old Stevie Wonder tracks, I became interested in hearing more of his stuff. This was the first album of his that I bought, and the beginning of his classic period.

4. Black on Both Sides by Mos Def 1999 This album was the first album that made me interested in hip-hop lyrics. If you’ve not heard it, Mos’ blend of witty lyricism, confident but extremely humanistic delivery, and populist message over diverse musical textures is an instant classic.

5. Electric Circus by Common 2002 I bought this album as soon as it came out, off the strength of Like Water For Chocolate and the recommendation of a good friend. While I liked the album back then, I didn’t appreciate all the musical genius that the album is until several years later. The album is chock full of amazingly creative musical styling from all the various Soulquarians that made neo-soul so great in its short popularity. Where Black on Both Sides may be my favorite album, lyrically, this album inspires me, musically. Note: This is possibly Common’s least-popular album of all time, but I think it’s really, really, really musically genius.

Anyone else wanna play? What were the five albums that changed your life and why?

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

Image courtesy of http://profile.myspace.com/index.cfm?fuseaction=user.viewProfile&friendID=5149226

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

Image courtesy of http://www.myspace.com/gza

“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.

Image courtesy of http://www.mursmusic.com/

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

Image courtesy of http://www.theroots.com/

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.

The Spin: Platinum Pied Pipers – Abundance
Released January 20, 2009
2009 Ubiquity Records
[rate 4]

Platinum Pied Pipers‘ mixtape followup, called Abundance, to the critically-acclaimed Triple P is a collection mostly of remixes of earlier work, many coming from that same Triple P album. PPP incorporate guest appearances from an array of mostly underground hip-hop and R&B/Soul artists for the majority of their work. Considering earlier work, this album represents a fairly healthy departure.

Image courtesy of www.myspace.com/platinumpiedpipers

As hip-hop has gradually made a move back toward electro, PPP have managed to segue with relative ease, a true testament to their versatility and musical abilities. In an era of hip-hop that sees the mainstream managing to dumb down even farther, both lyrically and musically, Waajeed and Saadiq manage to make sophisticated hip-hop that’s very danceable and accessible.

The album starts with an interesting instrumental intro that prepares us well for the type of electric sounds we might not be expecting after hearing the vintage Detroit soulful hip-hop sounds The Pipers’ followers may have become accustomed to. The album’s third track, “Shotgun” features none other than J Dilla, whose notariety as a vocalist was attained through Slum Village, the very same group that Waajeed produced for after Dilla’s departure from the group. The composition of the track creates such a synnergystic relationship to Deezy’s vocals that it’s easy to become submersed into the music to the point of outright forgiveness for somewhat lackluster lyrics. It’s interesting to note the unorthodox drum patterning here as a clap comes on the downbeats, accented by offbeat kicks.

Image courtesy of www.myspace.com/platinumpiedpipers

The Sa-Ra Creative Partners are the sort of wildly ambitious and truly left field creative force that producers and only the most devout followers love to follow. It doesn’t take two guesses to take a stab (forgive the play on words) at the content of “Deep Inside.” Sa-Ra’s vocals are accompanied by the lovely voice of Irisna Gayle. The lyrics are the type of suggestive lyrics that are adult enough to be captivating without being so over-the-top that they lack sophistication and maturity. In true midwestern style, and following the pervasive trend of today’s hip-hop, the track features a House drum arrangement, only to be accompanied by vintage soul chords to keep it more authentic Great Lakes’ State fare.

I have two major criticisms of the album would in an at-times grating tendency toward half-bar drum loops and the puzzling fact that after track seven, the “Long Red” by Mountain break seems to appear in almost every track. That same seventh track manages to overcome both these obstacles, mostly thanks to excellent vocals and a super-catchy melody, incorporated by Zeno. I can’t honestly say whether Waajeed or Saadiq are assisting in the writing of melodies, but for whatever reason (Perhaps the beats are that inspiring?), so many of these tracks seem so hyper-catchy despite lacking lyrical integrity that after a few listens, you’ll find yourself stuck with several songs stuck in your head, seemingly at once.

“Stand For Something” follows suit. Coultrain and Jamila Raegan give impressive vocal performance, and the subtly synocpated keyboard combine incredibly well with the bass, drums, and string pad for a very interesting and infectious track. Paul Simon’s “50 Ways To Leave Your Lover,” one of the more-sampled songs in hip-hop, gets re-made here with a Brazilian twist. The outcome is really interesting, especially considering that one of the great attractions to the original is the march-style snare part, which some might recognize from Tupac’s and Eminem’s respective hits that borrowed from it.

Image courtesy of www.myspace.com/platinumpiedpipers

Overall, this album’s very good. While there’s certainly the potential for a more fulfilling album, in terms of concept and cohesion, it’s hard to argue the musical result these two have accomplished. Also, in the future, if Waajeed could stay away from using the same break over and over and incorporating half-bar drumloops, that’d probably be appreciated as well. Still, the innovation in the drums, keys and otherwise is commendable.

While Chicago’s Barack Obama may bring hope in a more practical sense for every regular and not so regular American out there, it may behoove hip-hop’s followers to look next door to Detroit for change in the hip-hop game, and Platinum Pied Pipers appear poised to bring it in abundance. I give the mixtape four stars out of five.

The Spin: Q-Tip – The Renaissance
Release: October 29, 2008
2008 Motown Records, a Division of UMG Recording, Inc.
[rate 4]

Q-Tip’s The Renaissance came out on election day, offering a chance at redemption after Amplified was panned by critics and Kamaal The Abstract was controversially shelved (he compares the sound of it to that of Outkast‘s Stankonia, which went on to immense critical and commercial success). This after Q-Tip was often regarded as the better lyricist and an integral part of the production team behind the very successful and revolutionizing A Tribe Called Quest. The album title bears relevance as Q-Tip provides the production on all but one track (a very good J Dilla track), provides all the verses, and even contributes quite a bit of singing.

Q-tip does not take his opportunity at redemption lightly, immediately taking a cue from Barack Obama when he exclaims, “It’s up to me to bring back the hope.” Seconds later in the first song, Q-tip reminds us how much hip-hop has missed him positing, “What good is an ear without a Q-Tip in it?” Q-tip sets the lyrical tone within seconds of the album’s beginning. By the time the first chorus is reached, there’s an eerie familiarity to the voice singing. There is a quality to the vocal recording, coupled with the guitar accompaniment, that is reminiscent of Lenny Kravitz, but upon closer listen, it actually is Kamaal himself. His tenor singing is delightfully effective.

All that being said, with as good a musician as Q-Tip has proven to be, and with as lauded as the production by Tribe was, Q-Tip’s production on this provides an all-too-stale brand of repetitive and predictable patterns of very recognizable sounds.

The album’s first single, “Gettin Up” is a realistic and light-hearted song about a romantic relationship. The chunky drums and funky bass line provide a clean foundation for the catchy piano sample, strings, and well-orchestrated Q-Tip harmonies. Of course, with lines like “We can start a clan just like the Kennedys,” the track is well-rounded. Still this track, as many throughout the album, sounds dated.

“You” provides an interesting departure from the loopy jazz hip-hop offerings of the majority of the album, albeit perhaps only because it’s less funky and less loopy than most of the album. Q-Tip does himself a favor by rapping with a little more fervor on this track than we’re accustomed to. He expresses a jaded, skeptical, even cynical view of a relationship. Q-tip seems to wander into paranoia, but musically manages to keep a cool head, although vulnerable, pseudo-arrogant and insecure lines like, “We’ll make amends if you admit it” indicate a very human, indeed erring and self-absorbed side to Q-Tip. The minimalism of the backing track creates a sort of ebb and flow, with the constant hi-hat providing little chops to divide the beats, facilitating greater expression through his distinctive vocal tone. Further, the super-repetitive hook eventually has you walking around the house uncontrollably saying, “Ishyou, and at the end of it all…” etc.

“We fight/We love” is a funky track about people’s struggles that reminds us how good Raphael Saadiq‘s vocals are.

“Move/The Renaissance” is really two background beats with similar verses on each. “Move” is the most club-friendly track on the album. The recently-released second single, the only track not produced by Q-Tip, was produced by the late great J Dilla. Dilla’s ability to pattern drums, interestingly use effects, and chop up and re-arrange samples provides another of his many classic infectious tracks. Q-Tip, as in several tracks on the album, reminds of his hip-hop legacy, stating, “Your dubious style might rock for right now, but in the long run, you really lost one.” This is, far and away, the most interesting track on the album, and it inspires some of Q-Tip’s best rhymes. Interestingly, the second-most interesting backing track is at the end of this song as the music changes to a beat based on a sample of whistling and guitar.

“Move” music video link.

The album finishes out with a trio of forgettable tracks sporting solid lyrical output. Norah Jones and D’Angelo make it onto two of those tracks to help distinguish them, but to little avail.

Overall The Renaissance is a good, but not great album. It’s an album that’s enjoyable and the more you listen, the more you appreciate Q-Tip’s brand of lyrical wizardry. However, the simple rhythms throughout with overly-looped jazz and soul-influenced instrumentation provide nothing new for the listener. If this album had been cut ten years earlier, it might’ve had more pop, but in today’s hip-hop climate, many of the sounds simply aren’t as fresh as they once were. In fact, it’s so reminiscent of the type of production from early Q-Tip works that it’s easy to imagine people listening to it and assuming that Q-Tip’s producing skills have made little progress. We’ll leave the jury out on that one, but for now, Q-Tip’s long-anticipated album gets four out of five stars, mostly because he’s Q-Tip and we still recognize that he’s great at what he does. Realistically, though, this is a Michael Buble for hip-hop album, just not as far back-reaching. Nostalgic, yes, but somehow, I don’t think that’s exactly what this renaissance man was going for.