Ruhi's Ranting

Concert Coverage - Volume 7: John Mayer

noreply@blogger.com (Adrian Ruhi) — Fri, 10 Aug 2007 23:35:00 +0000

(As seen on MTV's You R Here)

John Mayer feels understood. And he rather be understood than sell a boatload of records, he told the crowd of thousands at the Sound Advice Amphitheatre Wednesday.

Mayer had the entire Florida audience hanging by every fret of his guitar, for a two-hour show heavy on his debut Room For Squares and his recent Continuum. The refreshingly older crowd sat for much of the show, but never hesitated to show appreciation for his chops on the ax.

The stage, designed to look like a grimey music bar set in an abandoned warehouse (think Michael Jackson’s “Smooth Criminal” video), evolved with the mood of the song being played: the show-opener, the political “Belief,” had a dull, mellow stage appearance, while fan-favorite “Neon” transformed the stage into a colorful palette of rapid movement.

On this last show of the Continuum tour, Mayer almost completely neglected 2003’s Heavier Things (only performing “Bigger Than My Body” from that album) and didn’t play some of his biggest hits (“Your Body Is A Wonderland” and “Daughters”), but his virtuosity shined on the newer bluesy material like “Gravity” and “I Don’t Trust Myself,” with his seven-piece band often extending the songs into jam-session-like solos.

But in the end, Mayer was the highlight of his show, even crashing opener Ben Folds’ set-closing performance of “Rocking The Suburbs.” Mayer (dressed like Folds, in a tight t-shirt and thick, nerdy glasses), along with some of his band members, played a game of musical chairs with Folds’ band, which started with Mayer on piano and Folds on bass, and ended with Folds on percussion and Mayer ripping a guitar solo behind his back, a la Hendrix.

Concert Coverage - Volume 6: Rock The Bells (Miami)

noreply@blogger.com (Adrian Ruhi) — Sun, 05 Aug 2007 20:06:00 +0000

(As seen on MTV's You R Here)

On a night when Nas and Wu-Tang Clan headlined the biggest hip-hop event Miami had ever seen, it was mid-carders Mos Def and Talib Kweli, along with their special surprise guest Common, that stole the show and received the most ruckus (no pun intended) reaction from the crowd.

Talib Kweli entered the stage at Bayfront Park just as the scorching Miami sun began setting behind Dowtown’s high-rise-condominium-laden skyline. After performing his bigger solo hits “Move Something” and “The Blast,” along with songs from his upcoming Ear Drum like “Listen!!!” and “Hot Thing,” he was finally joined on stage by his partner-in-rhyme Mos Def for the fan favorite “Get By.”

With the energy already at a fever pitch, the duo launched into their Black Star collaborations “Definition” and “Supreme Supreme,” before Common ran out on stage. With the hip-hop-show-deprived Miami crowd of several thousand whipped into a frenzy, the trio jumped into “Respiration,” followed by Common’s new single, “The People.”

Unfortunately, when Kweli and Common left Mos Def onstage alone, the show quickly spiraled into a low point. Although Mos eventually tackled classics like “Mathematics,” “Ms. Fat Booty” and “Umi Says,” the anxious crowd was subjected to almost 40 minutes of what essentially was Mos Def’s iPod playlist of favorite songs, as he danced around and told us why he loved hip-hop. Many of the same people who excitedly sung along to every Black Star song just minutes before, began filing out for the concessions as Mos wasted away his set time.

Headliners Wu-Tang Clan closed the show with an hour-long set focused heavily on pre-1998 classics. Masta Killah was absent, but nobody seemed to mind as Gza and Ghostfacce filled in for him on the set-closing “Triumph.” Method Man, who was vocally displeased with last week’s New York Rock The Bells crowd several times, said Miami was the most energetic crowd on the tour thus far, and rewarded the crowd with a pseudo-encore performance of “Gravel Pit.”

The most touching moment of the set came when Ol’ Dirty Bastard’s son joined the Clan for a dedication performance of “Shimmy Shimmy Ya.”

Nas gave a crowd-satisfying performance that touched all facets of his career. What he lacks in stage presence and breath-control, he makes up for with his deep catalogue of classic songs. He performed everything from smash singles (“If I Ruled The World,” “Made You Look”), to album cuts (“Shoot ‘Em Up,” “Black Republicans”), to songs that only die-hard fans would know (“Doo Rags,” “No Idea’s Original). It was a bit jarring to hear most of Illmatic, and “Oochie Walley” performed in the same set, but Nas rewarded his varying fan base handsomely.

Pharoahe Monch, along with half of his backing band (his guitarist and keyboardist were mysteriously absent) and his backup singers, provided an entertaining performance of newer songs like “Desire” and “Free,” along with his more well known “Oh No” and “My Life.” The set-closing “Simon Says” was the closest a hip-hop show could get to a mosh pit.

Immortal Technique, never one to shy away from his highly-political opinions, shied away from most of his usual Republican-bashing (maybe since Miami is a very Republican city), but chose to address social and racial issues that plague Hispanic people living in the United States. Joined on stage by Diabolic, his most energetic performance came with “Peruvian Cocaine.”

Philadelphian collective Jedi Mind Tricks received a surprisingly rousing response, with a set focusing heavily on their 2000 release Violent By Design.
Miami acts Fresh Air Fund, and ¡Mayday!, of mtvU “Groundhog Day” fame, opened. Scheduled performers David Banner and UGK both no-showed.

Concert Coverage - Volume 5: Rock The Bells (New York, Day 1)

noreply@blogger.com (Adrian Ruhi) — Mon, 30 Jul 2007 20:01:00 +0000

(As seen on MTV and Okayplayer)

Under a full moon on a hazy, starless New York Saturday night, one giant red Zapatista star shined for tens of thousands of people as Rage Against The Machine played their second show since disbanding almost seven years ago.

With a simple “we’re Rage Against The Machine from Los Angeles, California,” frontman Zach De La Rocha launched into the final, fiery set of Rock The Bells’ first night in Randall’s Island, and second night of the tour.

De La Rocha and company barreled through songs like “Testify,” “Bulls On Parade,” and “Vietnow” without missing a note. The band played tight and cohesively, with Tom Morello pulling out all the stops and reminding us why he is one of music’s best guitarists, as his Che Guevara-clad amplifier stared back ominously.

On a day filled with strong political statements, it was De La Rocha’s choice words at the end of “Wake Up” that truly hit the hardest.

“[President Bush] should be brought to trial as a war criminal and should be hung and shot,” De La Rocha said in response to a Rage Against The Machine criticism in April by “those fascist motherfuckers at the Fox News Network.”

De La Rocha further criticized what he believes is the United States’ dependency on starting wars with helpless countries in order to remain a world superpower, and encouraged the audience to resist the American occupation of Iraq like the Iraqi youth have. The band ended its set with “Killing In The Name,” changing the second verse’s lyrics to “some of those that burn crosses are the same that hold office,” as the massive crowd morphed into a chaotic mosh pit.

Earlier in the evening, the eight living members of the Wu-Tang Clan united under a giant black and white Shaolin Temple banner to breeze through a concise hour-long set, consisting mostly of pre-1999 classics. The group paid tribute to the deceased Ol’ Dirty Bastard with energetic renditions of “Shame On A Nigga” and “Shimmy Shimmy Ya.” The sea of thousands in attendance held their hands up in a “W” that blocked the stage for most, while everyone gladly sang along.

Method Man gave the wildest performance, often encouraging the audience to bring more energy, as he dove from the stage several times. Redman made a surprise appearance to assist Meth on “Da Rockwilder.”

After plowing through “C.R.E.A.M.,” “Protect Ya Neck,” and “Reunited,” the Clan left the stage with a full performance of the epic “Triumph,” reminding the fans that its new album, 8 Diagrams, will be out soon.

Cypress Hill entertained the crowd with hits like “How I Could Just Kill A Man,” “Latin Thugs” and “Insane In The Brain,” before closing out with “Rock Superstar.” At one point, during “I Wanna Get High,” a giant inflatable Buddha appeared onstage, as rapper B-Real lit up a joint and percussionist Bobo took a hit from a yard-long bong.

The Roots, joined onstage by Philadelphia-quartet Brass Heaven, delivered a tight set high on songs, and low on their typical covers and extended solos. Unfortunately, the crowd reception was lukewarm even to hits like “Next Movement” and “The Seed 2.0.” On the hottest day in New York since Spike Lee’s Do The Right Thing, most were impatiently anxious to see Rage Against The Machine and Wu-Tang.

Public Enemy, flanked by its band and S1W security team, began their highly political set with crowd-pleasers like “Bring the Noise” (with Scott Ian of Anthrax on guitar), “Welcome To The Terrordome” and “He Got Game,” with Chuck D often inserting his opinions about the Bush administration. Sadly, the set was derailed when Flavor Flav decided to steal the spotlight. With Chuck D and Professor Griff visibly upset, Flav hogged the microphone for the last 20 minutes, insisting on thanking the audience for his VH1 success, introducing his three children, and showing off a new drum beat.

Talib Kweli showed his reinvigorated stage prowess with “I Try,” “Too Late,” and “Move Something.” When Mos Def appeared for Black Star staples “Definition” and “Respiration,” their set peaked. From there, Mos Def spiraled downward with a disjointed and unorganized collection of freestyles and subpar recent material like “Ghetto Rock.” The crowd, already drained from heat exhaustion and dehydration, stopped caring. Only last-minute renditions of “Brown Skin Lady, “Ms. Fat Booty” and “Get By” were able to save Black Star’s set from the audience’s apathy.

The on-again, off-again duo EPMD, 19 years into their career, delivered a brief and uninspired performance of their early singles. But with 1992’s “Headbanger” being the newest song performed, the young audience responded with tepidity.

Pharoahe Monch, along with his new band, performed mostly newer material, including “Push,” and “Let’s Go.” Once again, the crowd was indifferent until he played his biggest singles, “My Life” and “Simon Says,” which seemingly awoke the dead as many jumped up and down.

Peruvian MC Immortal Technique, joined onstage by Poisen Pen, Pumpkinhead, Diabolic and PackFM, rushed through “Peruvian Cocaine” and “Industrial Revolution,” often voicing his leftist political beliefs regarding President Bush, and the effect the American government has on Central and South American countries. He concluded the set with his controversial song “Bin Laden.”

Jedi Mind Tricks, the first act to perform, received an atypically excited reaction from the eager, early-arriving crowd. Scheduled opener David Banner was a no-show.

Rapper Supernatural and beatboxer Rahzel were the between-set entertainment, and appropriately kicked the entire show off with an improvised performance of LLCoolJ’s “Rock The Bells.”

Concert Coverage - Volume 4: Fall Out Boy

noreply@blogger.com (Adrian Ruhi) — Sun, 17 Jun 2007 05:34:00 +0000

Fall Out Boy was unafraid Saturday in West Palm Beach to address a recent scuffle bassist Pete Wentz had with a fan. In fact, the group responded with a humorous cover of “Don’t Matter,” the recent single by Akon, who’s had his fair share of recent concert drama.

But besides an energetic and vivid cover of Michael Jackson’s “Beat It,” which helped show the true vocal talent of underrated lead singer Patrick Stump, Fall Out Boy sound like a poor cover band of themselves. The already basic melodies found on their studio recordings are further dumbed down for the live performance, even though the thousands in attendance at the Sound Advice Amphitheatre didn’t seem to mind.

Focusing mostly on its recent album, Infinity On High, the band had total control of the crowd throughout their regular set, with songs like “Thriller,” “Sugar, We’re Going Down,” “This Ain’t A Scene, It’s An Arms Race,” and “Golden,” which was performed solo by Patrick Stump on keyboard. The extended encore drew even more excitement, with “Thnks Fr Th Mmrs” and “Dance, Dance” bringing the crowd to a feverish pitch. Unfortunately, “One & Only,” an album cut from Timbaland’s recent Shock Value, went completely unrecognized by the majority in attendance.

The opening acts for the Honda Civic Tour included +44, which did a rousing rendition of Blink 182’s “Rock Show, Fall Out Boy labelmates The Academy Is and Cobra Starship, and misplaced Houston rapper Paul Wall.

Concert Coverage - Volume 3: Stephen and Damian Marley

noreply@blogger.com (Adrian Ruhi) — Wed, 30 May 2007 23:45:00 +0000

Marley Fest passed in Miami in March, but it was essentially repeated Tuesday night at Studio A downtown.

As part of its Secret Show program, MySpace.com presented Stephen Marley and his half-brother Damian “Jr. Gong” Marley in a rousing two-hour performance backed by their six-piece band, two back-up singers, a bearer of the Ethiopian flag, and Stephen’s toddler son brandishing his own diminutive flag.

The set served primarily to promote Stephen’s new album, Mind Control, but also featured several cuts from Damian’s Welcome To Jamrock, in addition to a handful of Bob Marley covers, including “No Woman, No Cry” and “Buffalo Soldier.”

Damian’s energetic raps on “Pimpa’s Paradise,” “All Night” and “Traffic Jam” were the perfect balance to Stephen’s mellow singing, which has an uncanny resemblance to his father’s. Meanwhile, former Lost Boyz frontman Mr. Cheeks jumped on stage for a performance of “Iron Bars” that captivated the small club’s crowd of about 600.

Nothing, though, would compare to the crowd’s deafening response as Damian and Stephen ran through “Welcome To Jamrock,” immediately followed by brother Ziggy Marley joining them onstage to cover their father’s “Could You Be Loved” to close the set.

The encore failed to live up to the set’s previous climax, but it featured Stephen’s hypnotizing percussion playing and singing on “Inna Di Red,” and a show-ending performance of Bob Marley’s “Exodus” blended with Damian’s “Move.”

The Marleys put on a hell of a show, one that lives up to their father’s legendary performances.

Concert Coverage - Volume 2: Bloc Party

noreply@blogger.com (Adrian Ruhi) — Tue, 29 May 2007 03:32:00 +0000

It’s not very often when one sees converse-wearing, hoodie-clad indie kids with Tony Montana accents, but that’s the type of crowd Bloc Party draws in South Florida.

The British rockers played to a crowd of about 3,000 at the Pompano Beach Amphitheatre Sunday, performing a fair blend of material from their two albums, Silent Alarm and A Weekend In The City.

The material from their debut album, which is more energetic and danceable, translated better in the live environments, with the definite highlights being lead singer Kele Okereke’s crowd visit during “Like Eating Glass,” the melancholy performance of “So Here We Are,” and the collective crowd bounce of “This Modern Love.”

Their current single “I Still Remember” was played very early in the set, while bassist Gordon Moakes played a xylophone for a handful of songs, including “Waiting For The 7.18.”

After a relatively short set of less than an hour, the band left the stage as rain began pouring on the audience, while stagehands quickly assembled a mirror image drum-kit on the drum riser (including the text “YTRAP COLB” on the kick-drum). But after a three song encore, it quickly became apparent that the second drum kit wouldn’t be used for an intricate drum solo or impressive display of backwards-playing. Instead, it was just a victim of Russell Lissack’s projectile guitar at show’s end.

And thus concluded a satisfactory show, but one that failed to truly impress.

Concert Coverage - Volume 1: TV on the Radio

noreply@blogger.com (Adrian Ruhi) — Thu, 12 Apr 2007 23:06:00 +0000

[Note: This is part one of a summer-long series in which I cover shows in words and photos. Stay tuned for upcoming pieces on Bloc Party, Fall Out Boy, K-OS, Rage Against The Machine, Wu-Tang Clan, The Roots, John Mayer, and many more.]

TV on the Radio defies genre convention. With their highly nuanced sound and busy arrangements, they touch upon everything from free jazz and doo wop to electronica and punk. For this reason, I was highly skeptical about their live show. How can five mortals recreate the clusterfuck of sound heard on their albums?

Forgive me for pre-judging.

The cramped Rion Ballroom at the University of Florida was filled to the brim with the most diverse cast of characters I’ve seen on campus, or any show in general: hip-hop heads in fitted caps and hoodies, emo kids in extra-medium t-shirts and skinny jeans, indie girls in skull-and-crossbones, and frat guys in loafers and collar-popped-polos.

With the first highly distorted guitar notes played by guitarists Kyp Malone (the afroed one) and Dave Sitek (the one with the wind chime), the crowd began a hypnotizing and rhythmic swaying that remained for much of the show, with the exception of the near-mosh-pits caused by “Wolf Like Me.”

Lead singer Tunde Adebimpe has a commanding presence that could convince his eager crowd to jump off a bridge, if need be. Which is why the band’s between-song banter was so uncanny. They seem like such an enigma on stage, that it takes Adebimpe’s declaration that “your state is really hot, you know” and other random jokes to really humanize him.

From the lush tandem harmonies of Adebimpe and Malone on “Province,” to the eerie detailed musical layers of “Dreams” and “Dirty Whirl,” the crowd thought they had seen it all during the band’s regular set, but nothing could prepare us for the encore.

After a brief hiatus, the band returned to the stage with opening act The Noisettes and with random percussion instruments in tow. The resulting performance of “A Method” was powerful, to say the very least. The minimalist interpretation found Adebimpe smacking a cymbal and Sitek releasing his anger on a floor tom, with the crowd eagerly clapping along in unison as bassist Gerard Smith pounded away at the Moog organ.

The show concluded with a rousing rendition of “Let The Devil In” delivered through a megaphone, and their first moderately successful single, “Staring At The Sun.” After one and a half hours, I was left convinced that TV on the Radio was, indeed, capable of living up to their studio sound. But there’s no way in hell they’re mortal.

Duke vs. Common (sense)

noreply@blogger.com (Adrian Ruhi) — Wed, 14 Feb 2007 22:19:00 +0000

Less than a week after the Duke Chronicle reported Common as the opening act for the school’s “Last Day Of Classes” concert to be held April 25, students and organizers are reconsidering Common’s involvement.

Despite an already questionable “opening act” position for Common (he has won Grammys and has six albums under his belt, compared to headliner Jason Mraz’s limited catalogue) and an apparent ignorance to Common’s music or message amongst the Duke community, many are now calling for his head because of comments he made almost a year ago at an Emory show. The Duke Chronicle story says his freestyle, a staple of his performance that is tailor-made to each city he is performing in, criticized the Duke Lacrosse team, a side popular in April 2006 when the case was still new and many, both in Duke and around the country, falsely assumed the team was guilty of raping a stripper.

What is most troubling though, are comments left on the Duke Chronicle’s web site. It seems many, completely ignorant of Common’s music, are suggesting (and even outright declaring) that he is a racist and sexist based on an obscure freestyle, and irrelevant lyrics from his little-heard 1992 debut, Can I Borrow A Dollar?

It’s sad that some of the Duke community is acting in such an uninformed light and trashing Common and his music without knowing much about it. Common has spent more than a decade as one of the positive driving forces in a continually degrading hip-hop scene. He continuously touches on topics of social, racial, sexual, religious and cultural issues, and matches it with innovative songwriting and musical backing. He also publicly backs causes such as AIDS education and animal rights.

Hopefully the Duke community smartens up and realizes they are just as guilty as Common. Common made some uninformed comments, but the Duke community is doing the same by judging and bashing (with very little basis) a talented artist, actor and activist.

Top 15 (Hip-Hop) Albums of 2006

noreply@blogger.com (Adrian Ruhi) — Thu, 04 Jan 2007 06:51:00 +0000

My favorite hip-hop albums of 2006. Some choices were likely expected, others may surprise you. Without further ado:

15. Kidz In The Hall - School Was My Hustle
Naledge and Double O deliver the dopeness for a second generation of Rawkus.
Best Songs: “Cruise Control” and “Hypocrite”

14. Gym Class Heroes - As Cruel As School Children
Despite their affiliation to punk label Fueled By Ramen, the band delivers honest
Best Songs: “New Friend Request” and “Shoot Down The Stars”

13. The Game - Doctor's Advocate
Disappointing compared to The Documentary, but Game still lands big-time producers to help keep the left coast alive.
My Review
Best Songs: “Compton” and “Why You Hate The Game”

12. Busta Rhymes - The Big Bang
Busta’s best album since 2000 brought grittiness and respect back to New York hip-hop in early 2006.
My Review
Best Songs: “Been Through The Storm” and “You Can’t Hold A Torch”

11. ¡Mayday! - ¡Mayday!
Miami duo Plex Luthor and Bernbiz are refreshing in a city dominated by coke-and-party artists.
My Review
Best Songs: “Groundhog Day” and “Watchin’ Me”

10. Diddy - Press Play
The fact that he doesn’t actually produce or write any of his music doesn’t stop Sean Combs from making a very good album.
My Review
Best Songs: “Everything I Love” and “Hold Up”

9. Clipse - Hell Hath No Fury
Every hipster’s favorite rap duo continue to give grimy and comical coke raps with help from Pharrell.
My Review
Best Songs: “Momma I’m Sorry” and “Nightmares”

8. Ghostface Killah - Fischscale
The Wu’s most consistent soloist furthers his impressive catalogue. Not a lot of replay value, but still a damn good album.
My Review
Best Songs: “Be Easy” and “9 Milli Bros.”

7. Rhymefest - Blue Collar
Chicagoan’s debut was criminally underrated and proved he doesn’t need to latch on to Kanye to create an excellent album.
My Review
Best Songs: “Bullet” and “Devil’s Pie”

6. Jay-Z - Kingdom Come
Hov’s best album? Of course not. But even Jay’s worst albums are usually amongst the best of whatever year they drop, and 2006 was no different.
My Review
Best Songs: “Beach Chair” and “Do U Wanna Ride”

5. Nas - Hip-Hop Is Dead
Nasir’s concept wasn’t fully developed, but the album title alone sparked enough controversy to gain interest.
Best Songs: “Still Dreaming” and “Black Republican”

4. Panacea - Ink Is My Drink
The heirs to the Rawkus throne blindsided the hip-hop world with this brilliant release. Moody and melodic soundscapes and smart lyrics abound.
My Review
Best Songs: “Invisible Seas” and “Steel Kites”

3. T.I. - King
He may not be the south’s best MC, but he made the south’s best album (and his personal best) in 2006.
My Review
Best Songs: “King Back” and “What You Know”

2. Lupe Fiasco - Lupe Fiasco's Food & Liquor
The whole package. Songwriting, passion, gorgeous production. The best debut in years.
My Review
Best Songs: “Daydreamin’” and “Sunshine”

1. The Roots - Game Theory
The most underrated album (any genre) of the year. Intricate musicianship and poignant political and social commentary that is especially relevant to our current times.
Best Songs: “Long Time,” “Clock With No Hands,” “Game Theory” and “Don’t Feel Right”

Top 15 (Non-Hip-Hop) Albums of 2006

noreply@blogger.com (Adrian Ruhi) — Tue, 26 Dec 2006 02:15:00 +0000

These were my favorite (not necessarily best) non-hip-hop albums of 2006. Let me know how you feel about my choices. Top 15 Hip-Hop albums of 2006 will come later this week.

15. My Chemical Romance - The Black Parade
The New Jersey emocore outfit goes Queen, complete with haunting pianos and epic arena-rock vocals. I like!
My Review
Best Songs: “Teenagers” and “Cancer”

14. Mana - Amar Es Combatir
The definitive Latin rock group continues to influence a generation of younger Latin acts, but none compare.
My Review
Best Songs: “Somos Mar y Arena” and “Labios Compartidos”

13. Christina Aguilera - Back To Basics
Christina’s modern ode to vintage jazz and soul, with the help of Linda Perry and DJ Premier of Gang Starr.
My Review
Best Songs: “Still Dirrty” and “Save Me From Myself”

12. Sergio Mendes - Timeless
The Brazillian samba legend teams with will.i.am of the Black Eyed Peas to bring new life to old classics, with help from John Legend, Black Thought, Justin Timberlake and Erykah Badu.
Best Songs: “Yes, Yes Y’all” and “Please Baby Don’t”

11. TV On The Radio - Return To Cookie Mountain
Crazy-ass avant-garde indie-rockers continue to innovate and pioneer the new sound of rock music.
Best Songs: “Province” and “Wolf Like Me”

10. Matisyahu - Youth
The best Hasidic reggae artist in the universe lives up to expectations with his full-length studio debut.
My Review
Best Songs: “Time of Your Song” and “Jerusalem”

9. Gnarls Barkley - St. Elsewhere
The equally ubiquitous and mysterious duo of Cee-Lo and Danger Mouse make it big for the first time, despite both having decade-plus-long careers.
My Review
Best Songs: “Gone Daddy Gone” and “Crazy”

8. Justin Timberlake - FutureSex/LoveSounds
The current king of pop shines in a big way, mostly due to producer Timbaland’s gorgeous and epic dance grooves.
My Review
Best Songs: “LoveStoned” and “What Goes Around”

7. The Beatles - LOVE
Sir George Martin (aka The Fifth Beatle) revists and reinterprets the classics for the new Cirque du Soleil show of the same title. The new versions may be shocking at first, but they add new life to decades-old classics.
Best Songs: “Strawberry Fields Forever” and “While My Guitar Gently Weeps”

6. The Hush Sound - Like Vines
Piano-powered-pop-punk. Guilty pleasure? Sure. But it’s catchy and original.
Best Songs: “We Intertwined” and “Don’t Wake Me Up”

5. John Legend - Once Again
Less Kanye and more soul equals a more mature, serious album from John Stephens. Not quite as hip-hop, but the older folks should enjoy it more.
My Review
Best Songs: “Show Me” and “Where Did My Baby Go”

4. Incubus - Light Grenades
Incubus slows it down a bit with one of its more mellow albums, with a heavy emphasis on love and relationships.
My Review
Best Songs: “Dig” and “Oil and Water”

3. Nelly Furtado - Loose
People heard “Promiscuous” and freaked out, thinking Nelly went Stefani on us. Not to fear, Timbaland helps balance dance pop and slow ballads to help make Furtado’s best album yet.
My Review
Best Songs: “All Good Things” and “Te Busque”

2. John Mayer - Continuum
John Mayer is the best blues artist at the moment, and Continuum is all the proof needed.
My Review
Best Songs: “Slow Dancing In A Burning Room” and “Waiting On The World To Change”

1. Red Hot Chili Peppers - Stadium Arcadium
Stadium Arcadium is a career-capping album, even though we all know RHCP still have a lot of steam left in the them. Equal parts BloodSugar funk and By The Way soul, this double LP has no filler.
My Review
Best Songs: “Snow (Hey Oh),” “Hump De Bump,” “Tell Me Baby” and “Hard To Concentrate”

UGK back to reclaim throne.

noreply@blogger.com (Adrian Ruhi) — Mon, 27 Nov 2006 23:05:00 +0000

Some say southern rappers are killing hip-hop, but the Houston-bred veteran duo UGK strongly disagrees on its first album in five years, Underground Kingz.

With member Pimp C incarcerated until late 2005, Bun B became one of the most prominent figures in hip-hop, working with artists ranging from Lil’ Jon to Beyonce . UGK hopes to ride that wave of fame into the release of its new record on Dec. 19.

Underground Kingz is set to feature production from Pimp C, in addition to Lil’ Jon, Scarface, Sleepy Brown, Jazzy Pha and Swizz Beatz. The album will also feature an eclectic mix of guest artists, including southern staples Three 6 Mafia, Slim Thug and Rick Ross, conscious New Yorker Talib Kweli, and British grime artist Dizzee Rascal.

UGK’s Web page features several new songs available for streaming, including “The Game Belongs to Me” and “Quit Hatin’ The South.” Additionally, XXL Magazine posted audio of “Up Next,” which features hip-hop veterans Big Daddy Kane and Kool G. Rap and production by the legendary Marley Marl.

More Jay-Z tidbits.

noreply@blogger.com (Adrian Ruhi) — Mon, 20 Nov 2006 23:35:00 +0000

It seems every other blog post involves Jay-Z, but he’s a difficult subject to avoid when talking about hip-hop and its current state.

Jay-Z was on MTV’s Total Request Live today to discuss and promote his return from retirement, Kingdom Come, which will be released Tuesday. He also discussed the Hangar Tour he was part of Saturday, which involved performing seven concerts in seven major U.S. cities in 26 hours. Video clips of the concerts, plus a career retrospective featuring 10 years of music videos and performance footage, can be found at MTV’s Jay-Z Video Vault.

One of the most newsworthy items Jay-Z discussed on TRL was a Def Jam tour he plans to launch in spring 2007. He said he hoped to get most major Roc-A-Fella and Def Jam artists on the bill, and he named Nas, Ludacris, Young Jeezy, Rick Ross, Ghostface Killah and The Roots as possible performers. Jay-Z would presumably headline the tour.

If this tour occurs, it would be great for hip-hop. There hasn’t been such a large bill on a hip-hop tour since Jay’s own Hard Knock Live tour in the late 1990s, and by having a variety of east coast and southern rappers on the bill, the show would appeal to a broad audience.

Nas and Jay-Z collaboration arrives.

noreply@blogger.com (Adrian Ruhi) — Thu, 16 Nov 2006 22:26:00 +0000

One of the most highly anticipated songs in hip-hop history has found its way to the Internet, a month before its official release.

The long-awaited collaboration between Nas and Jay-Z, called “Black Republican,” has made its way around various hip-hop sites and mixtapes. The song will be featured on Nas’s Dec. 19 release, Hip-Hop Is Dead.

The song samples an orchestral arrangement from the score of The Godfather II. Nas and Jay-Z rap one verse each, and the chorus compares two characters, the black republican and the black militant.

Nas and Jay-Z were bitter enemies for years, culminating in 2001 with Jay-Z’s “Takeover” and the Nas song “Ether.” In 2005 they reconciled, and in 2006 Nas signed to the Jay-Z-helmed Def Jam records.

XXL Magazine offers audio of “Black Republican,” although DJs Big Mike and Statik Selektah are speaking over parts of the song.

Kanye delays Graduation, continues working hard.

noreply@blogger.com (Adrian Ruhi) — Tue, 14 Nov 2006 00:52:00 +0000

Kanye West, the ubiquitous rapper and producer, won’t be graduating until late 2007, according to MTV News’ Mixtape Monday report.

His third album, Graduation, has been pushed back for months, and now it seems like he will spend time perfecting the album he has been uncharacteristically quiet about. He did say, though, that a song titled “The Glory,” which was originally going to be the new Common single, should be released by year’s end.

For those not patient enough to wait for Graduation, West has been working hard producing for other artists. Besides working on upcoming albums from Common, Consequence, Mos Def and Nas, he has a plethora of production on several current releases:

- John Legend’s new single, “Heaven,” from the album Once Again, which can be heard on his MySpace page.
- Diddy’s “Everything I Love,” which features Nas and Cee-Lo, from the album Press Play.
- The Game’s “Wouldn’t Get Far,” from the album Doctor’s Advocate.
- Jay-Z’s “Do U Wanna Ride,” which features John Legend, from the upcoming Kingdom Come.
- Talib Kweli’s “In The Mood,” from the upcoming Ear Drum.

Gym Class Heroes: Punk vs. Hip-Hop

noreply@blogger.com (Adrian Ruhi) — Thu, 09 Nov 2006 21:12:00 +0000

Gym Class Heroes is one of the best new hip-hop acts, but most hip-hop fans probably have no idea.

That’s because this Geneva, NY-based band is signed to Fueled By Ramen, a punk music label home to such big acts as Fall Out Boy and Panic! At The Disco.

Gym Class Heroes features rapper Travis McCoy and a backing-band, which is rare in hip-hop outside of The Roots. McCoy raps about everyday life occurrences like love and partying, with a heavy focus on the high school and college years.

What’s surprising though is the band’s warm embrace from the punk scene (mostly due to their affiliations with their labelmates) and general ignorance from the hip-hop scene. This is probably due to Fueled By Raman having no experience marketing to the hip-hop crowd, but it also seems like Gym Class Heroes has made it a point to not associate with hip-hop culture, which is appalling.

They have spent most of their major touring with punk bands (they are touring with All-American Rejects now), and their music is played on rock radio stations but not on hip-hop stations. This is what initially turned me off from them, but I eventually warmed up to their music. It still bothers me that they are ignoring the hip-hop scene, though.

Several of their songs can be heard on their MySpace page, including their current single, “The Queen and I.”

noreply@blogger.com (Adrian Ruhi) — Mon, 06 Nov 2006 22:01:00 +0000

Timbaland started humbly with small-time R&B production work, but the rapper grown into the biggest producer of any genre of music at the moment.

He started early on producing for artists like Ginuwine, Missy Elliott and the late Aaliyah before taking up the microphone with his friend Magoo. Timbaland and Magoo were only moderately successful, but Timbaland became huge through his production work.

By the 2000s, he was one of hip-hop’s premier beatmakers, working with everyone from Jay-Z and Ludacris to Snoop Dogg and LLCoolJ. But little by little, he began dabbling into work in the pop world.

He is responsible for the majority of the music for two of the biggest album pop albums of 2006, Justin Timberlake’s FutureSex/LoveSounds and Nelly Furtado’s Loose. Every song available on Timberlake’s MySpace page and Furtado’s MySpace page page are produced by Timbaland.

As for the future, Timbaland is said to be working with Bjork and Duran Duran on their new albums.

Mayday refreshing to Miami drought.

noreply@blogger.com (Adrian Ruhi) — Thu, 02 Nov 2006 22:07:00 +0000

Miami has always had a questionable hip-hop scene, but Mayday is here to change that.

The duo of rapper Bernbiz and producer/keyboardist Plex Luthor first hit it big when their debut video “Groundhog Day,” which features Cee-Lo of Gnarls Barkley fame, was watched more than one million times its first day on YouTube.

On their self-titled debut album, Bernbiz raps about everyday life while Luthor provides keyboard-heavy hip-hop backdrops with funk and rock elements. This brings a refreshing new sound to Miami hip-hop, which has usually been associated with the bass music of Luke and 2 Live Crew, the drugs-and-thugs of Trick Daddy and Rick Ross, and the latin club music of Pitbull.

As a Miami native, I can finally be proud of a local hip-hop group. The lyrics and music are both challenging and progressive and help lift the stereotype that Miami is only a city of scantily-clad women and drug trade.

Mayday are currently featured artists on mtvU, MTV’s college channel. Audio samples can be heard on their MySpace page.

Nas set to critique hip-hop.

noreply@blogger.com (Adrian Ruhi) — Mon, 30 Oct 2006 23:14:00 +0000

Def Jam Records has just announced details about Nas’ eighth album, his first for the label.

Hip-Hop Is Dead will be released Dec. 19 and looks to be a poignant commentary on the state of hip-hop music. XXL Magazine has an audio snippet of the title track, produced by will.i.am of the Black Eyed Peas.

Strangely, the song features the very same sample used in Nas’ 2004 single, “Thief’s Theme.” It finds Nas at his best, rapping about the decreased quality of hip-hop music and placing much of the blame on radio DJs.

The album has confirmed guest appearances from Damian Marley, Snoop Dogg and The Game, and production from Kanye West, will.i.am and Dr. Dre. It is rumored that Hip-Hop Is Dead will also feature producers DJ Premier and Just Blaze, as well as the long-awaited collaboration song between Jay-Z and Nas, who once feuded but are now friends and labelmates.

Snoop Dogg arrested... again.

noreply@blogger.com (Adrian Ruhi) — Fri, 27 Oct 2006 13:56:00 +0000

Snoop Dogg was arrested for gun and marijuana possession Thursday, a month after being arrested for trying to board a plane with a police baton, according to an MTV article.

Both instances occurred at California airports. He was arrested Thursday in his car while at the Bob Hope Airport in Burbank and was released on $35,000 bond by 7:50 p.m.

Maybe it’s a broad generalization, but why do many rapper’s repeatedly find themselves in these legal tangles? Fabolous was recently shot in the leg while exiting a club. While he and his posse fled to the hospital, they were pulled over for speeding and arrested for gun possession. 50 Cent was also recently arrested in a large public scene, where police arrested him near Times Square with a large gathering of spectators.

But many rappers, Snoop especially, have a long history of arrests. One would think that after a few, you’d learn your mistake. But maybe some rappers tend to get slaps on the wrist when arrested because of their stature, so they continue to do as they please despite the consequences.

Def Jam lacking?

noreply@blogger.com (Adrian Ruhi) — Mon, 23 Oct 2006 23:58:00 +0000

Def Jam Records announced a slew of late-2006 albums on their Web site, amid controversy about the marketing and promotion of their recent releases.

Atlanta rapper Young Jeezy and singer Bobby Valentino will release new records on Dec. 12, while Fabolous and hip-hop veterans Ghostface Killah and Nas will bow new albums on Dec. 19. This will be Fabolous and Nas’ first material released on Def Jam.

Def Jam, the legendary hip-hop label that brought the world hip-hop greats like the Beastie Boys, LLCoolJ and Jay-Z, was always known for the great promotion its artists received, promotion they likely wouldn’t receive on the bigger, non-hip-hop-oriented labels. But recently they’ve come under criticism.

Recent albums by LLCoolJ and Method Man, both of whom have been on the label for more than a decade, received little promotion, with neither album having songs in major radio play and Method Man not even getting a music video. The Roots, who fled to Def Jam after dealing with a years-long battle with Geffen Records, also received little promotion and radio play for their outstanding Game Theory. LLCoolJ, Method Man and Black Thought of The Roots have all been vocal about their displeasure with Def Jam.

Now, Def Jam is cramming five albums into two release dates. The label, which once spaced their releases months apart in order to maximize sales, is now dumping big releases together in a short span of time, which may have a negative effect on sales because fans may not have money to buy them all. Not to mention that Def Jam president Jay-Z’s comeback album, Kingdom Come, which is sure to be one of the best-selling albums of 2006, will be released on Nov. 21, less than a month before.

Tupac to release another posthumous album.

noreply@blogger.com (Adrian Ruhi) — Fri, 20 Oct 2006 00:38:00 +0000

Yet another “new” Tupac Shakur album will be released on Nov. 21, more than ten years since the his death, according to this story by Billboard.

The eighth posthumous Tupac release is entitled Pac’s Life, and will feature collaborations with Snoop Dogg, Ludacris and T.I.

When will the madness cease? Tupac may be the only artist to have released more material after he died than when he was living. And the sad thing is that these releases are not being released the way he intended.

Most of the albums released since his death feature vocals from unreleased and rare songs, paired with production and guest artists that Tupac never shared a studio with. Even worse, many of these “collaborations” are with artists he never got along with or who were not even making music at the time of his death.

The last Tupac release, Loyal To The Game, was a mash-up of both unreleased and highly-recognizable Tupac verses matched with production by Eminem and guest appearances by G-Unit. These mash-ups with current hip-hop artists is unethical in my eyes and presents a distorted view of Tupac’s material and legacy.

Diddy: Artist?

noreply@blogger.com (Adrian Ruhi) — Mon, 16 Oct 2006 21:49:00 +0000

There is a thin line between artistry and integrity and Diddy walks it.

The artist formerly known as Puff Daddy and head of Bad Boy Records has always been a better businessman than performer, but does he even deserve credit as an artist? He’s never denied that other producers have done much of his work and that other rappers have ghostwritten his songs, but it has never been as blatant as it is on his new album, Press Play. Several songs from this album can be heard on his MySpace page.

It had been rumored that artists like Common, Talib Kweli and Black Thought of The Roots would be ghostwriting songs for Diddy, but those have yet to be confirmed. Yet, a peek into Press Play’s liner notes reveals some of the album’s ghostwriters.

Underground rapper Pharoahe Monch (visit his MySpace page) wrote “The Future” and “Hold Up,” and Diddy does little to hide this fact by rapping in Monch’s VERY distinctive flow. Diddy similarly steals the rapping style of ghostwriters Nas and T.I., on “Everything I Love” and “Wanna Move,” respectively.

But how much credit does Diddy deserve for this album, when he neither wrote nor produced any song on his album? True, Diddy made a relatively strong album with Press Play, but is that so difficult to do when you have the best producers and writers in hip-hop music doing almost all of your work?

The Game set to release new album

noreply@blogger.com (Adrian Ruhi) — Fri, 13 Oct 2006 02:43:00 +0000

The Game is making some bold statements about himself and his new music.

The Compton, Calif. rapper is set to release his sophomore album, The Doctor’s Advocate, on Nov. 14. In a recent MTV article, he likens himself to a one-man version of the seminal West Coast hip-hop group N.W.A.

Dr. Dre, a former member of N.W.A., is the doctor referenced on The Game’s album title, yet he will have no contributions to the album. Dr. Dre produced several songs on The Game’s debut, The Documentary, which was co-released by 50 Cent’s G-Unit Records and Dr. Dre’s Aftermath Records. Since its release, The Game’s contract was shifted to Geffen Records (another subdivision of Interscope, like G-Unit and Aftermath) due to his feud with 50 Cent.

One must wonder, though, why would an album would reference another artist if that artist is nowhere to be found? When The Game found out Dr. Dre would not be contributing, he should have retitled his album. Instead, he is stuck with references to Dr. Dre on his lead single, “It’s Okay” (which can be heard on his MySpace page), that have little to do with the content of the album.

So far, it has been confirmed that The Doctor’s Advocate will feature production from will.i.am of the Black Eyed Peas, Just Blaze, Scott Storch and Kanye West.

New Jay-Z single leaks.

noreply@blogger.com (Adrian Ruhi) — Mon, 09 Oct 2006 21:17:00 +0000

Less than a month after it was announced that Jay-Z would come out of retirement, his new single has found its way to the Internet and radio.

“Show Me What You Got,” the first single from Jay-Z’s ninth solo studio album, Kingdom Come, was supposed to be released by Def Jam Records on Oct. 11, but was readily available online Friday afternoon. Shortly after, radio stations across the country began playing the song. According to a story on All Hip Hop, Def Jam was investigating the leak.

The song is produced by frequent Jay-Z collaborator Just Blaze, and can be heard on his MySpace page. Blaze sampled vocals and horn melodies from songs by Johnny Pate, The Lafayette Afro Rock Band and Public Enemy, and paired it with live instrumentation to create the beat for “Show Me What You Got,” according to a story from XXL Magazine.

The song, like many of Jay-Z’s first singles, isn’t very notable in the lyrics department. Jay-Z doesn’t make any poignant political or social commentary on the song, but he usually saves that for album tracks. But the beat will surely satisfy both hip-hop connoisseurs and partygoers alike.

The return of Rawkus.

noreply@blogger.com (Adrian Ruhi) — Fri, 06 Oct 2006 05:43:00 +0000

The razorblade insignia of Rawkus Records was a stamp for great hip-hop in the late ‘90s. After disappearing in the early 2000s, Rawkus is back with a brand new roster, as it tries to duplicate its previous success.

Although it was a small independent label, Rawkus managed to create stars out of artists like Mos Def, Talib Kweli, Hi-Tek and Pharoahe Monch. Now with a fresh start, the label has the task of selling up-and-coming acts like The Procussions and Panacea to a hip-hop market progressively less interested in artistic integrity and musical substance.

The Procussions, a Colorado-based trio, were the first of Rawkus’ new generation to release an album, 5 Sparrows For 2 Cents. They recently completed the 2K Sports Bounce Tour, opening for A Tribe Called Quest. To listen to The Procussions’ music, visit their MySpace page.

Meanwhile, Panacea released their debut full-length album, Ink Is My Drink, Tuesday. Mixing lush vintage hip-hop beats with vivid storytelling, the album is one of the most refreshing hip-hop releases in recent memory. Samples of their music are available on their MySpace page.

For more information on Rawkus Records, its roster and music, make sure to check out its home page.