Best In The Mix

VIDEO: Loaded Lux - Rite Remix ft. Redman and Method Man

2013-05-21T14:13:00.002-04:00

Loaded Lux dropped his highly anticipated video for the track Rite featuring the How High duo Redman and Method Man. Of course I could break down the verses from the vets Red and Meth (and yes..they def bodied the track..so good to see lyrical longevity still alive) but this article is about Mr. Lux.
I'm not gonna front like I've been following the career of the Preacher from day one, I actually first stumbled on a Loaded Lux battle last year vs Calicoe (in his comeback battle after retiring). It was probably one of the most memorable battles in recent memory (from Lux in his trademark suit, to the casket he brought to the stage, to Lux forgetting his lines at the end of round 1 only to go Super Saiyan the rest of the rounds). It is good to see him put tracks together in addition to his legendary freestyles. The track is new take on an old school Harlem street vibe. Along with the video and features..looks like Lux got an early summer anthem on his hands.

Peep a few of his battles:

VIDEO: Kendrick Lamar - Bitch Don't Kill My Vibe

2013-05-15T00:19:00.000-04:00

The video for the song which has indirectly become the anthem for catty women worldwide finally hits the net. As if Kendrick wasn't already dominating 2013 enough, this video (which looks to either be a subliminal diss to the euphoric drug MDMA (Molly), or a shot at Trinidad James who has more than popularized the use of the drug and has seen a meteoric rise to fame off of a mediocre record) will surely solidify Kendrick's spot in the game. What makes me believe this may be a shot at James is because Kendrick briefly takes a light jab at him on the remix to BDKMV. It is also widely known that James undiservingly graced the XXL Freshmen 2013 cover alongside KDot's Black Hippy brethren, and the type of music James represents is exactly what Kendrick attempts to destroy with the line "I'm tryna keep it alive and not compromise the feeling we love / you're tryna keep it deprived and only cosign what radio does."

Other than that, the video plays it safe for the most part. On the surface it's exactly what you would expect, given the title; a group of people turning a seemingly depressing situation into somewhat of a party.

What do you guys think of the subliminals tossed into this video? What do you feel is the significance of the "Death to Molly" line at the end?

Hit up the BITM crew on twitter and let us know what you think

@BestInTheMix

@TwonJonson

RANDOM: 90s Mix

2013-05-09T01:30:00.001-04:00

I was sitting in my house today and got the strangest feeling…I really started to miss 90s era hip-hop. I mean, I’m *always* wanting that old thing back, but it really hit me hard today. And so I went on the hunt for some mixes. First stop, YouTube. There are many to be found, but this one had the most complete list for what I needed to satisfy my palate…at least for now. From Mobb Deep to M.O.P. to Luniz, this mix is worthy of peepage! #NiftyApproved

REVIEW: Prisoner of Conscience

2013-05-08T11:12:00.003-04:00

Honestly I had some trepidation when I heard Talib Kweli was dropping an LP, mostly because of his single Upper Echelon. The lyrics were OK, but the beat was very distracting. The paring of the “club banger” instrumental with the socially conscience emcee for was a bit off for me. That being said, I know why it was done. This 90s vet knows that a radio track is the best form of pub for the rest of the album. What a relief to find out that he didn't water down his lyrics or features to cater to the new generation of hip-pop listeners. His production selection is on point, from vets like RZA to new super producers like J Cole to monsters like Oh No. His features are also minimal, but carefully selected. And yes, the “less is more” mantra is true in many art forms, hip-hop is no exception.

His “intro” track Human Mic is a masterful juxtaposition of rapid lyrics with a soulful instrumental full of violins. The Blacksmith shows us yet again why he is the epitome of consistent: “Throw it back cognac, I’m the best, you know that/ You can have your own opinion, but not your own facts/ On track as the most prolific ever, the most consistently/ Vicious, New York can rip you, be ripping it like the Shredder.” Talib Kweli asserts his lyrical prowess throughout most of the track, relentlessly attacking the mic: “When it comes to this rhyming, I’m a legend like Tutankhamun/ or the Chupacabra, the way I weave it together and tie the knot up.”

Turnt Up was another surprise track. No features from Wacka Flocka, Soulja Boy or 2 Chainz here, just another old school lamping type instrumental. The beat starts off with a Paid in Full sample, so Talib gives the shout out “You know what’s up with me man, I’m trying to get paid in full.” He continues the homage with his first bars: “Thinking of a master plan, where there’s nothing but cash inside my hand.” While he does spend a few bars talking about cars, cribs and jewels, the lyrics do not suffer from the subject matter. “It’s hard not consuming all the bullshit they feed us/ Intravenous like a cord to the womb from the fetus/ Been hard since I started reading, alliteration is literally littered trough my DNA swimming on through my semen.”

Just in case you were comatose through the first part of the LP, The Blacksmith drops the hardest verse on the 7^th track Hold It Now. Starting off with the metaphor “Got a buzz like I’m Georgia Tech,” he continues by letting other emcees know that “My rep established, I’m rapping just for the sport of it/ Been nice for a whole career, you just barely grasping the thought of it.” He ends the verse with some of the toughest bars I've heard from him in a while: “My rhyme is satisfying your quest for fire like Ray Don/ Chun when I’m forming like Voltron, I’m young Raekwon/ Mix in a bit of KRS-One and Q-Tip/ Rakim, some of that Ice Cube, now who’s this?/ No one as gifted as this, so magnificent/ Classically consistent, I’m nasty as black licorice/ Coldest but I get the room hotter than Bikram Yoga/ Seen the show, you know I make the people move like an eviction notice/ I’m focused, I’m like Moses when the mic is on/ That’s why these rapper scatter like roaches when the light is on.” What more can I say? Fuego.

You know what you are going to get with a Talib release. Lyrically, he is sharper than ever. His poetic catalog is an onslaught of metaphors, alliterations, personifications and rhyme. He can be introspective one minute, and still deliver the braggadocios bars that are commonly associated with hip-hop. None of his albums stay on one subject matter and this is true for Prisoner of Conscience. He has tracks that examine his relationship with a strong female counterpart (Delicate Flowers) as well as a story about a female struggling with a dependent mentality with Hamster Wheel. The track Push Thru is one of his heavier featured songs. Curren$y delivers the first verse which is followed by Talib Kweli and Kendrick Lamar takes the last leg of the song. I am not the biggest Curren$y fan but I do follow this career more than other 2^nd tier (or whatever you want to categorize him as) emcees. That being said his verse is solid. And K Dot delivers another strong verse to add under his belt of features (this verse is apparently an old verse, way before most people were on Kendrick like that). Talib has always been known to tackle large social issues within the hip-hop community and beyond. With Prisoner of Conscience he seems to be trying to tackle more intimate themes like the before mentioned tracks Delicate Flower and Hamster Wheel. We still get his upper echelon lyrics and perspective, so I would say that this is a successful attempt to relate to his existing fan base as well as new listeners. Once again quality is delivered (come on BLACKSTAR! hip-hop needs you!).

4 tapes.
Peep album below.

Former Kris Kross member found dead in ATL

2013-05-02T00:07:00.002-04:00

Chris Kelly, also known as Mac Daddy, one half of the 90s super duo Kriss Kross (he was the brown skinned one), passed away Wednesday afternoon. He was found unresponsive in his Atlanta home and died at a local hospital.

Kriss Kross shot to fame in the early nineties after being discovered by Jermaine Dupri in an Atlanta mall. Their first album, "Totally Krossed Out," went multiplatinum in 1992, propelled by the smash single "Jump," which spent eight weeks on the charts, and "Warm It Up," the follow-up single. Their rap style, considered very mature for their age, was seen as skilled and keen, bringing just enough edge to the young rappers without appearing overly gangster. They developed a huge following, partially because of their signature style of dress, in which they wore their clothes, tops and jeans, completely backwards.

Subsequent albums during the latter portion of the nineties failed to be as successful as their debut. They faded into obscurity, going on to other projects and ventures. They did reunite earlier this year for a 20th anniversary party for Jermaine Dupri and So So Def, their former manager, ghostwriter and label.

Chris' cause of death is pending an autopsy, but Atlanta police are stating that personal sources and items found in Chris' home lead to a belief that his death was caused by a drug overdose. A dedication article will be forthcoming in the following days. Rhyme in peace, Chris. I know...you're about to.

RANTS: Snoop Lion vs Snoop Dogg vs...Uncle Ruckus?

2013-04-29T19:21:00.001-04:00

We here at BITM generally like to keep thangs music related, especially when an artist has recently released a new project, but that's kinda hard to do when an album is ass. As we all know, Snoop is going through a mid-life identity-crisis, and at first everyone seemed to be fine with this (myself included). Enter "Reincarnated," the debut album from Snoop "Lion." As cliche as this comparison may sound, imagine a regular black dude tryna sound Jamaican and failing miserably; this pretty much sums up all eleven shit-tacular tracks on the album. He claims to be channeling the spirit of Bob Marley, and it's evident that's what he was going for, but the job should have been left to an actual Jamaican in my humble opinion.

So instead of wasting my time writing a review about an album no one cares about, I decided to post a 14 minute video of the infamous Uncle Ruckus from The Boondocks crashing Snoop's "Double G News Network" (GGN) to further confuse the culturally challenged Snoop Lion on his own show. These 14 minutes are easily more entertaining than any portion of "Reincarnated," and me being a lover of all things music, I feel like this is a huge disappointment.

Snoop's "GGN" brainchild has been in existence for a couple years now, and the majority of the shows are actually pretty good. I would even go so far as to say the YouTube show is better than Snoop's last three albums combined. Has he reached a point in his career where he can simply do whatever he wants and everyone just accepts it (ala Shaq)? Is it even worth critiquing a 20+ year veteran in the game about anything he releases?

These questions wouldn't even be an issue if the album was better. He should have taken notes from Heavy D's reggae album "VIBES" (RIP) and realized it's an impossible feat to pull off successfully as a rapper without actually being from the West Indies (note: Heavy D is Jamaican, and his reggae album is a classic).

Share your thoughts with the BITM crew here, or hit us up on Twitter.

@BestInTheMix

@TwonJonson

In Case You Missed It: Dom Kennedy - Yellow Album

2013-04-25T14:06:00.002-04:00

Alright Ladies and gentlemen, there are no games to be played here; this is probably my favorite project that dropped of 2012. I honestly don’t know why I didn’t write a review for this when it dropped last June but I wasn’t in my right mind. Dom Kennedy is an artist in my catalog that I feel needs no introduction. Dom has dropped 5 mixtapes and one commercial album prior to the release of his “Yellow Album.” The “Yellow Album” was originally intended to be an album but he decided to just release it as a mixtape. I have referred a lot of friends and hip-hop lovers to Dom Kennedy and this piece of work. The feedback that I received from it was ALL positive. Everyone that started off with this mixtape automatically went to older Dom K songs and fell in love with his lazy California player style music. Songs like “Platinum Chanel,” “Grindin’,’” “Designer Sh*t,” “1997,” and “Nigga 4 Life” ranked among the top favorite Dom Kennedy songs by new listeners. New ears also were appreciative of the OpM All Stars mixtape “Young Nation” which I previously wrote a review on that dropped in October of 2012. The whole West Coast is seriously potent for good music like my bredren Twon Johnson stated in his "How The West Was 'One'" article.

As far as the word fresh goes, Dom’s music and style takes it further. The tracks that Dom goes over, which are mainly produced by Drew Byrd, are not typical in any part of the music business. As stated in a previous Dom Kennedy interview and concert I attended, “I would rather have really dope sounds and instrumentals than to put out a large quantity of music. I like to put effort into the music that I make. It’s great to have a large choice of music as an artist, but I would rather take my time and perfect my craft so people will know I make consistent quality music.”

The first track on today’s agenda is “We Ball” featuring Kendrick Lamar. This track is a celebration. The production was led by Chase N Cashe who outdid his self on this one. The tone is nicely set and Dom rides the track with ease. Now what Kendrick does on his verse is what gets you in trouble with the law. I’ve done 105 mph+ in a family member’s car listening to Kendrick’s verse just because he said he was doing the same. To ice the cake on the song the instrumental keeps going but the beat stops and Ric Flair’s “Real men Stay up” speech is played. The speech personifies the Dom Kennedy’s take on his style; he’s not about the hype.

“My type of party” was a summer jam last year. Leave it to Dom Kennedy to grab another excerpt from a famous celebrity. At the beginning of the song the late Don Cornelius is speaking from one of his soul train shows saying “I wish I had an explanation for the popularity of the man I’m about to introduce but a gift such as his apparently cannot be explained, but it can be felt and enjoyed…” then the beat drops. A few people who doubted him and shunned him for the song but they grew into liking him by respecting the lane he made for himself. I’ve said it before and Dom isn’t like Rakim, musically he descends from Too $hort and Snoop Dogg. If you have listened to Dom K before you know he has a lazy apathetic approach to how he raps. This track seems like it was a fun track to make because I know I had fun partying to it. I know the video had to have been fun to make so I posted it below as a bonus for readers to get a sample of Kennedy’s music.

The next two tracks are personal favorites of mine and people who I have gotten to listen to Dom Kennedy. The first jawn is “Gold Alpinas” featuring Rick Ross. I honestly think Rick Ross didn’t need to be on the track but it seems like he was the perfect person to do the feature. Gold Alpinas is a style of rim that is being envisioned a BMW, and given that Dom raps about player sh*t you can imagine what this song will be about. The song starts and continues till the end with an Aaliyah sample of one word with four different pitches. It is a very laid back song that is tailor made for a lazy flow. “1:25”is an up tempo beat that everyone who has heard it loved it. Dom is talking about real life things and stuff he went through. The main point of the song is hard work and how he has grown in his success. DrewByrd produced both of these songs and perfected them both. If you are not familiar with Mr. Kennedy I highly suggest you begin with these songs.

The Yellow Album was by no means a mixtape in my book. I feel as if this was given away, it was definitely an album that STILL rocks tough. With features from Kendrick Lamar, Too $hort, Rick Ross, Niko G4 and Freddie Gibbs makes this project even better. There honestly has not been one person that I introduced to Dom Kennedy that has turned him down. Hopefully I retain this record among new listeners. Dom also has a new album dropping in the summer titled “Get Home Safely,” so be on the lookout for that and a review on it!

Hit me at @_KJTheGreat, @BestInTheMix or kjohnsonk14@gmail.com

Things Fall Apart

2013-04-25T11:17:00.001-04:00

First let me start off by congratulating The Roots on the coveted platinum status for their classic Things Fall Apart album. That is not my issue. My issue is with the severe disconnect with what the "platinum" accolade actually means. Does it mean that now, a dozen years later, that The Roots can finally say they are one of the best hip-hop groups (and really, it took 12 years for this to happen?!)? Most of the time when the "who is the greatest" debate comes up, I see people turn to album sales. I've been in these arguments first hand (uall know who you are). As well as seeing this argument come up on every single time on hip-hop threads throughout the internet.

A classic example was the whole Nas/Jay-Z beef. I was a freshman in college when this drama was at its pinnacle. EVERYONE chose a side. All the radio stations and blogs where blowing up with people voicing their opinions. I sided with The God Son so I would hear this argument all the time: But who sold more albums though?! Of course there was no gray area, Hov sold more in 5 years than Nas did in 10. Lyrically I felt Nas was a better emcee (and still do) even though Jay had more commercial success. But then there was Ether. Yes, Jay-Z's Takeover addressed Nas, but he really only went in on one verse. And of course his "freestyle" Super Ugly track was a big meh. But Mr.Carter is a grown ass man. No one told him to pen such a mediocre retort. So head to head, mano y mano, commercial success means nada. All you get is one mic. But even now people don't feel this battle is settled. This debate continues and probably will continue to do so. It all depends on who you ask. There might not be a wrong answer (but I think you wrong if you pick not-Nas) but I feel emcees need to be pinned lyrics to lyrics. Not "hottest track" or "most radio plays". And definitely not an "MTV/BET list".

Back to The Roots. They are unquestionably the greatest hip-hop band. Some would even put Black Thought in their top 10 emcees list (TwonJonson!). But commercial success was never the goal. In the Hip-Hop on Trial debate ?uestlove said that The Roots are viewed as the "standard..of what's correct about hip-hop". They are not commercial or mainstream. And they choose not to be. While Nas has had platinum albums, he is never going to be grouped in with the success list of the Lil Waynes, Eminems or Jay-Zs. Like Nas, The Roots fall back on what they feel is a successful career. Staying true to the core values of hip-hop: the emcee and the dj. If album sales were the only thing that mattered then our "greatest of all time" list would need the addition of: MC Hammer, Will Smith (not Fresh Prince Will, but Big Willie Style Will), Nelly, Puff Daddy (even if it was Diddy, still wouldn't matter) and of course Vanilla Ice.

SINGLE: Ab-Soul ft. Mac Miller - The End Is Near

2013-04-24T21:55:00.001-04:00

As Kendrick Lamar basks in the limelight, his TDE brethren have been sharpening their lyrical blades in the background waiting for the perfect opportunity to make their presence felt. Jay Rock claims to be re-discovering his sound, while ScHoolboy Q and Ab-Soul continue to put in work on their latest projects.

To quell the demand from his ever-growing fanbase, Ab-Soul released a track earlier today featuring Mac Miller called "The End Is Near." I have never been a huge fan of Mac, but he holds his own. The song could very well have done without a feature though, because the beat sounds like what we've come to expect from a Soulo record. It's unknown whether or not this song will appear on Ab's new project, but personally I hope it doesn't. Nothing wrong with tossing out a few tracks every now and then to keep fans happy.

Peep the link below and let us know what yall think! Is Mac Miller as annoying to yall as he is to me? I mean he is lyrical, but his words are lost behind his pre-pubescent vocals.

Ab-Soul ft. Mac Miller - The End Is Near

Hit up the BITM crew on twitter @BestInTheMix and @TwonJonson

VIDEO: J Cole - Power Trip ft Miguel

2013-04-10T11:03:00.001-04:00

In the rap game we are used to having album release dates pushed back for one reason or another. But if we go by the all reliable Twitter, we now know J Cole's highly anticipated sophomore studio album Born Sinner will drop June 25th. But even if we ignore his critically acclaimed mixtapes and just focus on his debut, Cole World: The Sideline Story, one could make the case for Jermaine as being one of the "best up and coming emcees" in the game (or whatever title you want to give them).

His second single Power Trip features Miguel on the hook (as well as J Cole himself) which is essentially Dreams (off of The Warm Up) part 2. In Dreams J Cole fantasizes about a girl who already has a man, a la LL COOL J's Hey Lover. But his day dreaming turns into a nightmare as he plots to kill the boyfriend.

Power Trip is a bit more subtle but still evokes the same strong raw emotion. He even eludes to the previous track with the line: "I even wrote the song Dreams for you". We assume he is still talking about the same girl and even though he is now a celebrity, he still fantasizes about being with her. While this song is not as direct as Dreams, the video really makes the connection between the two tracks. So peep, and let us know what you think.

DISCUSSION: "I Hit It First" - Ray J

2013-04-09T14:15:00.002-04:00

*sigh*

I honestly don't know where to start. I mean, I'm used to celebs sticking their theoretical feet in their mouths and thinking they're eating chocolate cake, but sometimes someone does something so stupid that it makes it hard to look over and forget. Kanye West is usually the recipient of the You Big Dummy award. He's involved again, but this time, he isn't on the receiving end.

William Ray Norwood, Jr aka Brandy's brother aka The Dick That Spawned Kim Kardashian's career bka Ray-J has really stepped in it. Last week he dropped a track that was seemingly dedicated to his ex-jumpoff and the 2007 Golddigger of the Year award winner, Kim Kardashian and Mr. Golddigger Anthem himself, Kanye West. The song title, in case you haven't heard, is "I Hit It First." Yes, you read that correctly.

In the song, Ray-J goes on to lambast the numerous fellatious acts committed by some unnamed groupie after he got done giving her the goods, stating that despite the fact she has moved on to rappers and ballplayers, she need always remember...he hit it first. Twon Jonson and I chopped it up briefly the other day. The convo follows.

Twon Jonson: For real, this famous-for-no-reason ass nigga prolly just pulled the greatest stunt in his nonexistent career; try to lure Kanye into responding, hence giving Mr. Norwood the steam he needs to drop a new album, which I'm almost positive is waiting in the wings. It's a genius move on Ray J's part if Kanye responds. I think this is Ray J's identity now and we all just kinda have to accept his clown ways or continue to ignore them. He knows what will get the public's attention. Anything less than absolutely ridiculous means that a nobody like him doesn't even appear on our radar...but the song is kinda catchy though...and I hate myself for feeling that way.

The Niftian: Crazy thing is that Ray-J has built his career on being under someone else's shadow, most notably his sister. I mean, the dude has like ZERO talent in any arena. Hell, even Lil Kim shot him a side-eye diss on that one song, "Wait a minute, isn't that Brandy's brother?" That's all he's know for. Enter sex tape. He fucks some random, big booty white (?) girl on cam and the world is like "OMG! Look at his dick and this non dick sucking bitch!" Whoop-de-doo...I make better sex tapes in my sleep. Hateration aside, Kim went on to become that years Golddigger of the Year, setting the stage for the likes of Amber Rose and every chick on Love and Hip-Hop.

It was all funny when Ray-J let this all go unanswered, just chilling in the wings, knowing that he spawned the career of an entire family (save Rob Kardashian, famous in his own right). I've seen countless memes and posters joking the Kardashian clan and how much they owe to Ray-J's dick for their success. It's true. It was also funny, mostly because Ray-J kept quiet. This song is an affront to the code and frankly, makes Ray-J look bitter, something that I honestly thought he was not.

Who cares if you hit it first? We KNOW you hit it first! You just look like a sap announcing it. So then the question begs, why'd he feel the need to make a song about it, and after all this time? I think you hit it on the head, Twon (no pun intended). Also, I don't think the song is a direct diss to Kanye...at least I didn't until I saw the pixelated cover art, which reminds me an awful lot of the edited cover version for My Beautiful Dark Twisted Fantasy. So scratch my previous thought and *insert Kanye diss here.* The best thing for K. West to do would be to ignore all this, that's a surefire win, because no one takes Mr. One Wish seriously, not even his sister and mother. Of course, Ray-J knows that if there is one thing Kanye can not avoid, it's controversy.

TJ: Yea agree wit everything u said homie, it'll be interesting to see where it all goes from here. Almost wish there was a USTREAM of what Kanye's doin right now cuz u know that nigga chompin at the bit to respond. Even though Jim Jones isnt quite the ass clown that Ray J is, Jim definitely won by luring Jigga into that trap. Prolly the hottest dude ever been his whole career was off that beef.

TN: According to a very recent interview, Ray-J claims it's "just music" and the song isn't about Kimye at all.

*coughs* BULLSHIT! *cough*

I hate when rappers/celebs do that shit. If you gonna pop off shit, then stand behind your words!

TJ: I mean, lying to the media is a part of survival as a "celebrity." Your defense walls crumble when u give yourself up like that. So regardless of what the truth is, him saying it isnt about Kimye Breast means that no one can "factually" hold it against him or try to accuse him of defamation or anything else that could come from him owning upto it.

TN: I just fucking hate it. "Naw, that song 'Hey Kanye, I Fucked Your Baby Momma' isn't about you and YOUR baby momma. It's this OTHER dude I know name Kanye..." #FuckOuttaHere with that bullshit!

Y'know, you don't have to take our word for this foolishness...check it out yourself. Oh, and if you're so inclined, this circus act of a song dropped on iTunes today.

http://soundcloud.com/vanessa-moralesx3/sets/ray-j-i-hit-it-first

LOCAL MUSIC: Nightmerica's 6th Flow

2013-04-07T07:18:00.002-04:00

Well folks, this is a diamond in the ruff in my perception. The song 6th Flow from FYN, D.A.V.E., and JYN who go by the name of Nightmerica is a true taste of talent from the Metro Detroit area. The video debuted on March 31, 2013 and already they hit 1,000+ hits. Best In The Mix readers, this is local music that is in hip hop's essence and shows you where hard work can land you. I was introduced to this song/video on April 6, 2013 (yesterday) and I couldn't tell you how many times I've listened to this. This track is one of the many that will be on Nightmerica's mixtape "The Waiting Room." As for the video itself, it is very creative and has a melancholy tone. To me it's a representation of what the area has become, a wasteland. From the samurai sword to the graffiti in the background to the pretty girls embodies DOPENESS; JOE HENDO did his thing directing. Be ready for the Nightmerica's mixtape release! Twitter info is also included at the end of the video to follow and support these artists.

Twitter: @_KJTheGreat, @BestInTheMix

Email: Kjohnsonk14@gmail.com

REVIEW: Tyler, The Creator - Wolf

2013-04-02T18:27:00.000-04:00

GOLFWANG, FLOGGNAW, WOLFGANG

"Wolf," the finale in the trilogy from rapper/producer and chief of Odd Future, Tyler, The Creator has been a long time coming. He had been talking the album up for the past three years, and after suffering countless delays Tyler releases the most cohesive solo album in his young career. From the hilarious, yet somber intro, you can hear a marked improvement on the production side of things. And as you witness this trend continue through songs like "Answer," the Pharrell-assisted "Ifhy," and the triple-threat-in-one "PartyIsntOver / Campfire / Bimmer," you notice a significant amount of growth.

The Eminem-esque content and impressive lyricism that he has come to be known for is apparent in spades, but one song in particular is almost a direct "Stan" ripoff. The song "Colossus" illustrates an encounter Tyler has with a crazed fan with mild homosexual tendecies. It's more comedic than depressing, which I think was good choice on his part. Despite all of the comparisons to the dark tone of Eminem's music, Tyler always finds a way to keep the mood light with off the wall lines and ad-libs that will have you cracking up.

But this album isn't about flexing any lyrical muscle, nor is it anywhere near as dark and loner-friendly as his previous efforts. The real star on "Wolf" is the near-masterful production (by Tyler, himself) throughout most of the album. He crafted several smooth Frank Ocean inspired beats that should be enough to at least catch the ear of skeptics. He had similar songs sprinkled across "Bastard," but these marijuana-induced tracks take center stage on "Wolf." No longer do we have to trudge through over an hour of ear-wrenching music about chopping bodies up. It's evident Tyler realizes people respect his talent now. What better opportunity for him to put his versatility on full display?

His previous two albums weren't easy listening for those who weren't prepared for the onslaught of verses about murder, drugs, and rape, but if you were to dig deeper and simply pay attention to the way he strung words together and delivered them, you would have seen glimpses of the artist that is (almost) in full bloom on "Wolf." Tyler is a misunderstood genius, and while many simply can't force themselves to give his music an honest shot, a true music lover should be able to at least appreciate the calculated risks the young boy takes. He was definitely reaching much further on "Goblin," and even more so on "Bastard," but as a rapper/producer in your late teens/early 20s, it's difficult to have your voice heard amidst the endless sea of watered-down nonsense in hip-hop. The man works his ass off and his brand of music has spawned an entirely new sub-genre. When it's all said and done, he will be credited as one of the few for pioneering an entire genre-shift and movement that looks to have some longevity without giving in to label norms. If "Bastard" and "Goblin" seemed like demonic cries for attention, then "Wolf," by comparison, is his humble display of gratitude to those who finally give him the respect he deserves as an artist.

Twitter: @BestInTheMix @TwonJonson

REVIEW: Young Roddy - Good Sense II

2013-04-01T21:07:00.000-04:00

Happy Anniversary! To Young Roddy that is, his “Good Sense” mixtape dropped on April 1, 2012 and here he comes with “Good Sense II” exactly a year later. I wrote a review on his first mixtape as a debut review for me on Best In The Mix! Young Roddy if you do not know is from the Jet Life camp consists of the Captain Curren$y, Trademark The Skydiver, Smoke Dza and Fiend. The Jets crew has been more so recognized among the weed smoking community, not saying you have to be high to enjoy their music haha. Young Roddy adds the street and struggle to his team, though most, if not all of the JETS members are from the hood, Roddy was a heavy dope dealer and continuously stated he had it hard growing up as a kid.

The Jet Life production team joined forces and created a mixtape that sums up most of the instrumentals as, soulful elevator music. Track wise, GSII is pretty much a sequel to GS. For some listeners this might be a tad bit repetitive, however this sound is completely mastered by Young Roddy. Not all tracks have this soulful sound to them. Songs like “You know” featuring Trademark have an eerie space extraterrestrial experience to them. Other songs like “3 The Hardway” featuring Styles P & Smoke Dza, have a dark dungeon type of style.

While I think the lyrics were better on the first "Good Sense," Roddy’s flow does not disappoint on this tape. Roddy isn’t your supreme storyteller/ lyricist like Nas or Immortal Technique, he raps & flows and I can appreciate that as an artist. The dude has skill, he’s not the best but he has talent. The main thing I dislike on this tape as with other projects released this year, is the length. I understand the certain issues and conflicts but I just hate short projects. This a 13 track mixtape and the jawn is only 37 minutes. I just would have liked to see at least another 8-10 minutes on to this joint.

"Good Sense 2" was a nice listen for me. I loved all the instrumentals to the songs. Soulful elevator music does it for me. Features from Curren$y, Styles P, Smoke Dza, trademark The Skydiver, and 3d Natee, made the mixtape even more enjoyable. However, I do not think this tape was better than its predecessor. This wasn’t a bad mixtape at all, it just can’t compare to the original.

XXL Freshman Class 2013

2013-03-27T22:15:00.001-04:00

We were beginning to wonder when they new XXL Freshman Class list for this year would be released, but it's finally here. Gracing the cover this time around are ScHoolboy Q, Trinidad Jame$, Joey Badda$$, Ab-Soul, Logic, Action Bronson, Kirko Bangz, Travi$ Scott, Dizzy Wright, and Angel Haze. I must admit, at the time of posting this article, I'm only familiar with half of the artists on this list, which isn't necessarily a bad thing. When you think about it, a list of newcomers should for the most part be just that; newcomers.

Which leads me to my next issue. Who/what determines who makes the Freshman List each year? How much of an artist's music is judged and for how long before they are able to make the cut? Of the artists that I'm aware of, I would say Joey Bada$$, Trinidad Jame$, and Action Bronson are welcome additions as their body of work to date is fairly limited, but Ab-Soul and ScHoolboy Q have been around since 2009. Granted, they are both on the heels of releasing their major label solo debut albums, so it makes sense from that perspective, but I doubt that is something that has been consistent over the years with other artists who have made the Freshman Class list.

How do you feel about this list? Do you feel like the Black Hippy members have surpassed "Freshman" status? Do you feel like Trinidad James doesn't even deserve to be on this list? Let us know!

Twitter: @TwonJonson

Facebook: Twon Jonson

EDITORIAL: "The Secret Meeting that Changed Rap Music and Destroyed a Generation"

2013-03-18T15:57:00.000-04:00

Poster’s note: an associate of mine shared this with me on Facebook and I just had to share with y'all. Although I have no way to prove the accuracy of this article or the legitimacy of the author, many points made in this article ring true through the hip-hop community. So please, read and share your thoughts. This culture is one that is young, and one that must be protected.

Hello, After more than 20 years, I've finally decided to tell the world what I witnessed in 1991, which I believe was one of the biggest turning point in popular music, and ultimately American society. I have struggled for a long time weighing the pros and cons of making this story public as I was reluctant to implicate the individuals who were present that day. So I've simply decided to leave out names and all the details that may risk my personal well being and that of those who were, like me, dragged into something they weren't ready for.

Between the late 80's and early 90’s, I was what you may call a “decision maker” with one of the more established company in the music industry. I came from Europe in the early 80’s and quickly established myself in the business. The industry was different back then. Since technology and media weren’t accessible to people like they are today, the industry had more control over the public and had the means to influence them anyway it wanted. This may explain why in early 1991, I was invited to attend a closed door meeting with a small group of music business insiders to discuss rap music’s new direction. Little did I know that we would be asked to participate in one of the most unethical and destructive business practice I’ve ever seen.

The meeting was held at a private residence on the outskirts of Los Angeles. I remember about 25 to 30 people being there, most of them familiar faces. Speaking to those I knew, we joked about the theme of the meeting as many of us did not care for rap music and failed to see the purpose of being invited to a private gathering to discuss its future. Among the attendees was a small group of unfamiliar faces who stayed to themselves and made no attempt to socialize beyond their circle. Based on their behavior and formal appearances, they didn't seem to be in our industry. Our casual chatter was interrupted when we were asked to sign a confidentiality agreement preventing us from publicly discussing the information presented during the meeting. Needless to say, this intrigued and in some cases disturbed many of us. The agreement was only a page long but very clear on the matter and consequences which stated that violating the terms would result in job termination. We asked several people what this meeting was about and the reason for such secrecy but couldn't find anyone who had answers for us. A few people refused to sign and walked out. No one stopped them. I was tempted to follow but curiosity got the best of me. A man who was part of the “unfamiliar” group collected the agreements from us.

Quickly after the meeting began, one of my industry colleagues (who shall remain nameless like everyone else) thanked us for attending. He then gave the floor to a man who only introduced himself by first name and gave no further details about his personal background. I think he was the owner of the residence but it was never confirmed. He briefly praised all of us for the success we had achieved in our industry and congratulated us for being selected as part of this small group of “decision makers”. At this point I begin to feel slightly uncomfortable at the strangeness of this gathering. The subject quickly changed as the speaker went on to tell us that the respective companies we represented had invested in a very profitable industry which could become even more rewarding with our active involvement. He explained that the companies we work for had invested millions into the building of privately owned prisons and that our positions of influence in the music industry would actually impact the profitability of these investments. I remember many of us in the group immediately looking at each other in confusion. At the time, I didn’t know what a private prison was but I wasn't the only one. Sure enough, someone asked what these prisons were and what any of this had to do with us. We were told that these prisons were built by privately owned companies who received funding from the government based on the number of inmates. The more inmates, the more money the government would pay these prisons. It was also made clear to us that since these prisons are privately owned, as they become publicly traded, we’d be able to buy shares. Most of us were taken back by this. Again, a couple of people asked what this had to do with us. At this point, my industry colleague who had first opened the meeting took the floor again and answered our questions. He told us that since our employers had become silent investors in this prison business, it was now in their interest to make sure that these prisons remained filled. Our job would be to help make this happen by marketing music which promotes criminal behavior, rap being the music of choice. He assured us that this would be a great situation for us because rap music was becoming an increasingly profitable market for our companies, and as employee, we’d also be able to buy personal stocks in these prisons. Immediately, silence came over the room. You could have heard a pin drop. I remember looking around to make sure I wasn't dreaming and saw half of the people with dropped jaws. My daze was interrupted when someone shouted, “Is this a f****** joke?” At this point things became chaotic. Two of the men who were part of the “unfamiliar” group grabbed the man who shouted out and attempted to remove him from the house. A few of us, myself included, tried to intervene. One of them pulled out a gun and we all backed off. They separated us from the crowd and all four of us were escorted outside. My industry colleague who had opened the meeting earlier hurried out to meet us and reminded us that we had signed agreement and would suffer the consequences of speaking about this publicly or even with those who attended the meeting. I asked him why he was involved with something this corrupt and he replied that it was bigger than the music business and nothing we’d want to challenge without risking consequences. We all protested and as he walked back into the house I remember word for word the last thing he said, “It’s out of my hands now. Remember you signed an agreement.” He then closed the door behind him. The men rushed us to our cars and actually watched until we drove off.

A million things were going through my mind as I drove away and I eventually decided to pull over and park on a side street in order to collect my thoughts. I replayed everything in my mind repeatedly and it all seemed very surreal to me. I was angry with myself for not having taken a more active role in questioning what had been presented to us. I'd like to believe the shock of it all is what suspended my better nature. After what seemed like an eternity, I was able to calm myself enough to make it home. I didn't talk or call anyone that night. The next day back at the office, I was visibly out of it but blamed it on being under the weather. No one else in my department had been invited to the meeting and I felt a sense of guilt for not being able to share what I had witnessed. I thought about contacting the 3 others who wear kicked out of the house but I didn't remember their names and thought that tracking them down would probably bring unwanted attention. I considered speaking out publicly at the risk of losing my job but I realized I’d probably be jeopardizing more than my job and I wasn't willing to risk anything happening to my family. I thought about those men with guns and wondered who they were? I had been told that this was bigger than the music business and all I could do was let my imagination run free. There were no answers and no one to talk to. I tried to do a little bit of research on private prisons but didn’t uncover anything about the music business’ involvement. However, the information I did find confirmed how dangerous this prison business really was. Days turned into weeks and weeks into months. Eventually, it was as if the meeting had never taken place. It all seemed surreal. I became more reclusive and stopped going to any industry events unless professionally obligated to do so. On two occasions, I found myself attending the same function as my former colleague. Both times, our eyes met but nothing more was exchanged.

As the months passed, rap music had definitely changed direction. I was never a fan of it but even I could tell the difference. Rap acts that talked about politics or harmless fun were quickly fading away as gangster rap started dominating the airwaves. Only a few months had passed since the meeting but I suspect that the ideas presented that day had been successfully implemented. It was as if the order has been given to all major label executives. The music was climbing the charts and most companies when more than happy to capitalize on it. Each one was churning out their very own gangster rap acts on an assembly line. Everyone bought into it, consumers included. Violence and drug use became a central theme in most rap music. I spoke to a few of my peers in the industry to get their opinions on the new trend but was told repeatedly that it was all about supply and demand. Sadly many of them even expressed that the music reinforced their prejudice of minorities.

I officially quit the music business in 1993 but my heart had already left months before. I broke ties with the majority of my peers and removed myself from this thing I had once loved. I took some time off, returned to Europe for a few years, settled out of state, and lived a “quiet” life away from the world of entertainment. As the years passed, I managed to keep my secret, fearful of sharing it with the wrong person but also a little ashamed of not having had the balls to blow the whistle. But as rap got worse, my guilt grew. Fortunately, in the late 90’s, having the internet as a resource which wasn't at my disposal in the early days made it easier for me to investigate what is now labeled the prison industrial complex. Now that I have a greater understanding of how private prisons operate, things make much more sense than they ever have. I see how the criminalization of rap music played a big part in promoting racial stereotypes and misguided so many impressionable young minds into adopting these glorified criminal behaviors which often lead to incarceration. Twenty years of guilt is a heavy load to carry but the least I can do now is to share my story, hoping that fans of rap music realize how they’ve been used for the past 2 decades. Although I plan on remaining anonymous for obvious reasons, my goal now is to get this information out to as many people as possible. Please help me spread the word. Hopefully, others who attended the meeting back in 1991 will be inspired by this and tell their own stories. Most importantly, if only one life has been touched by my story, I pray it makes the weight of my guilt a little more tolerable.

Thank you

Posted by Ivan: @hiphopisread.com

http://www.hiphopisread.com/2012/04/secret-meeting-that-changed-rap-music.html

VIDEO: T.I. - Addresses

2013-03-15T14:37:00.001-04:00

If you keep up with BITM you know that Tip's eight studio album got a solid 4 tapes from us. Even though he has been a bit inconsistent with his recent LPs (complacency? too much jail maybe?), it is safe to say that the KING is back to reclaim his crown. But how do you follow the cinematic short film Trap Back Jumpin? Simple, make Addresses another visual masterpiece that keeps us eager for the next epic installment. Mr.Harris has confirmed that this is a diss record but has kept quiet on who it's about.

"It was direct. Now the thing about who it was directed too, It benefits them more than it benefits me, for me to put it out there. So I made it directly in a way only they will know. Therefore they can not get any shine off of it."

Regardless if you are able to decipher who the intended target is is irrelevant. With this video TIP wants to take us on another journey through the world that he lives in. The sensational nature of his story telling is never meant to be hyperbole, but rather a genuine glance into events in his life that have made him the man that is today. So sit back, grab a snack and enjoy.

REVIEW: Justin Timberlake - The 20/20 Experience

2013-03-14T20:13:00.000-04:00

One of the most struggling genres in music today, Rhythm & Blues, suffers from a similar plague that has become widespread; everyone striving to sound the same for a common goal. The "Rhythm" has become far more upbeat and predictable, while the "Blues" has been replaced with euphoric fist-pumping. Even though there is nothing wrong with an artist branching away from traditional norms, there is a problem when that tradition is abandoned for modern norms, killing the concept of being original.

One thing that has never been a problem for Justin Timberlake is existing within his own identity as an artist. Whether you classify his music as Pop, or R&B, the one thing that cannot be denied outside of his mass appeal is his ever-consistent originality. Since becoming a solo artist he has found his own voice, and with the help of The Neptunes on his first album, and Timbaland for the second go-round, has established a sound unlike anything seen in music today.

JT enlists Mr. Mosley again to help keep this streak alive with his third solo effort, "The 20/20 Experience." The results bear a striking resemblance to the overall sound heard on FutureSex/Lovesounds, which is in no way a bad thing. 20/20 is a bit more smoothed out than his previous effort, but it still has that same Timbo/Timberlake magic. Try to remember the first time you heard "My Love" on Futuresex. That's how I feel when I listen to "Don't Hold The Wall" off 20/20. I can't think of any other way to describe this record other than to say it's a straight BANGER. Timbo drops hard 808s over an ethereal middle-eastern sounding beat full of what we've come to expect from him, while Justin effortlessly coasts over the track with a melodic staccato flow.

The second half of this song, as is the case with several other songs over the course of the album, sounds drastically different than the beginning. People might be immediately turned off by the fact this album only consists of ten tracks, but once they delve into the heart of the project, they come to find that there are no shortage of songs in the 7-8 minute range. In fact, 70% of the songs on this album come in two flavors which tend to switch up at the halfway point. It makes for an interesting dynamic, mainly because it feels like you are getting two songs in one. The entire album still clocks in at over an hour in length, so there's no reason to feel short changed. Nearly every song is quality.

The album starts off incredibly strong and is consistent with upbeat songs and smooth ballads throughout, but the biggest misstep lies with a song that was actually released as a single recently. "Mirrors" is a very ho-hum pop record that is reminiscent of that "other" Justin. It simply is not an accurate representation of the calibur of music heard throughout the rest of the album. But being an 8+ minute song, it gets the Jekyll & Hyde treatment as well, with the second half being superior, but still not good enough to be a single. It's hands down the worst song on the album.

When you put "The 20/20 Experience" up against albums from other artists that compare to JT, the most noticeable difference is the lack of a slew of techno-infused fist-pumping anthems that have become commonplace on most "R&B" albums. Even if you are quick to write Justin Timberlake off as a worthless pop artist, there is something to be said for staying true to your own sound. Even artists like Usher can't say this anymore, and many hold Usher in a higher regard. I personally feel like JT surpassed Ursh with the Futuresex album. And after hearing Usher's most recent trash, Justin may have solidified his spot at the top of the roost. There are plenty of hits on this album that could and should supplant "Mirrors," but only time will tell.

I always classified Justin's music as soul with mass appeal. Neo-Soul purists would scoff at that comment, and your average radio head lacks the musical ear to comprehend what soul music even is, but that's how I feel about this album and his music in general. It's a welcome change of pace to what's out there right now from those who would be considered competition.

And to that other guy out there who just so happens to bear the same name, the "real" Justin is definitely back.

Justin Timberlake - The 20/20 Experience drops on Tuesday, March 19th.

Hit me up at:

Twitter: @TwonJonson or @BestInTheMix
Facebook: Twon Jonson

LOCAL MUSIC: Jose Lanston "King of the ILL" Mixtape

2013-03-12T23:30:00.000-04:00

After months of waiting and all the eagerness from his local fans, Jose Langston

finally released his highly anticipated, “King of the Ill” mixtape executively produced by Chill Will.

Jose Langston is an upcoming artist in the Metro Detroit area, specifically the Inkster area.

He has gotten a lot of support over the past few years from when before he was in the studio. A lot of people loved his freestyles and he has only gotten better with punch lines. Jose Langston is reppin’ Fresh Pressure Music group who is going

to be putting out of a lot projects in the future.

This project is a solid starter mixtape. It is a 9 track tape with more of a freestyle approach to it. Jose Langston’s punch lines and flows are what I favor most about him. He really exploits his abilities on the tracks “Adorn,” “Jackin 4 Beats,” and “Can't take my eyes off of you.” “Can't take my eyes off of you” to me is the best track on here I will continuously listen to it on any given day, I can’t just listen once. The track is sampled by Lauryn Hill’s “Can’t take my eyes off of you” which suits Jose very well in my opinion.

Every artist had to start somewhere and I see potential in this artist. This only a beginning for Jose Langston and he can only get better. I really appreciated the flows, punch lines, and experimentation on this joint. Jose went off a few tracks by well-known mainstream artists such as, Slick Rick, Snoop Dogg(at that time), Tyga, Wale, Busta Rhymes and others. Support our local artists!

Contacts

Twitter: @JoseLangston, @_Chill__Will_

https://soundcloud.com/will-brown-22

http://www.youtube.com/TheJoseLangston

http://www.mixtapefactory.com/KING-OF-THE-ILL.html

NEW MUSIC: Dizzy Wright x Joey Bada$$ - Maintain

2013-03-12T22:55:00.001-04:00

By now if you haven't heard the name Joey Bada$$ you must be living in a cave. This kid has been setting any track he breaths upon ablaze no matter what it is i.e. freestyles, features, and his own tracks of course. His Pro Era crew is a force to be reckoned with, and you can listen to “PEEP: The aPROcalypse” if you don’t believe me (also reviewed by me in a previous article). Aside from the young scorcher, Dizzy Wright, an artist that hasn’t been discussed on Best In The Mix released a track with Bada$$ last night and the joint is HOT! The track is a soulful beat that both artists come equipped to amaze the listener. No more talking, here it is!

VIDEO: Big K.R.I.T. - R.E.M.

2013-03-12T07:52:00.003-04:00

Waiting for that K.ing R.emembered I.n T.ime?
This should hold you down.

VIDEO: Rapsody - In The Town ft Nomsa Mazawi

2013-03-11T14:31:00.002-04:00

Just a great video, for a great song, off a great album, from a great emcee.

XXL Freshmen Class 2009: Then & Now

2013-03-06T22:32:00.001-05:00

We don't claim to be the definitive source of information here at BITM when it comes to news within the urban community, but at the same time, we won't hesitate to speak from the soul when giving our opinions on a subject. With that said, let's move on to the XXL Freshman Class of 2009.

It's true that this was not XXL's first issue in their Freshman Class series, but it was the first that introduced a wave of relatively unknown young talent to the world at the time. How many of us really knew who Asher Roth was in 2008? In fact, at the time, I only recognized 3 out of the 10 artists who graced the three covers; Cory Gunz, Blu, and Wale. The one thing that impressed me the most back then was the noteable absence of typical radio type artists on the cover of a well known hip-hop magazine (I knew nothing about Ace Hood back then). Of course I wasn't able to predict what type of careers these artists would carve out for themselves, but I was just glad to see the next wave of young talent that would help bring in the new decade.

XXL has had their own "Where are they now" series for each Freshman class for some time now, but theirs usually come only two years after the release of the issue. The rap game moves fast though, so I get it. But I always like to give artists around five years to see just how much the game changes them, or to see if they are among the minority who are actually able to change the game themselves.

Wale - His first album under MMG was surprisingly better than his debut album Attention Deficit released a few years prior. He has also been featured on countless singles throughout the MMG camp and beyond. At first it was odd to see someone whom I considered to be somewhat of a lyricist joining forces with MMG, but to be honest, Rick Ross probably saved this man's career. Personally I wouldn't have minded if he stuck with mixtapes, but at the end of the day I understand the man wants to get paid.

B.o.B. - He has probably seen the most success out of the bunch. After grinding solo since 2006, he is now nestled comfortably under the umbrella of Grand Hustle. Bobby Ray's wildly successful young career has actually kept the Grand Hustle label afloat amidst T.I.'s "vacations." I'm still not sure which direction Tip is headed with the "Hustle Gang," but B.o.B. will clearly play a huge role in the future of the label. His music doesn't particularly appeal to me for the most part, but I can definitely rock with a few of his joints here and there.

Charles Hamilton - Bum Sauce. I don't really want to spend a ton of time on this clown because all of his missteps have been highly publicized. His downfall was self-induced, which is sad because from a true hip-hop perspective I feel like he gets it. I think he understands the essence of what's real. I just can't wrap my head around how someone would allow their career to crash and burn so violently after having a decent deal damn near gift-wrapped for them. The Pink Lavalamp tape still gets spins in the whip every now and then, mainly due to the production, but I don't think many Charles Hamilton fans exist anymore.

Asher Roth - He is starting to gain the reputation as a baby shit soft rapper, which is something that I can't understand. Rappers are always poppin off about being real and staying in your lane, but when Asher does exactly that, all of a sudden he's soft? He stays true to the life he knows, and never ventures outside of those walls even for a second, which is more than I can say for several artists today. Would it be better if Asher started trying to sound black on his songs? I think people lose sight of what's really important in hip-hop, and instead focus on irrelavent issues to try to tear down an artist who might not necessarily fit the norms set by radio stations. Keeping all that in mind, his album "Asleep In The Bread Aisle" to me was an amazing debut that hit all the right notes. Since then though, Asher has only released a couple of obscure mixtapes that haven't even come close to living up to his LP. Which is rare...because it's supposed to be the other way around...right?

BLU - Hands down the biggest disappointment out of the entire 2009 Freshman class. It's almost as if he poured every ounce of his heart and soul into the timeless classic "Below the Heavens," and has been running on an empty tank ever since. He has thrown out countless under-produced un-mastered mixtapes, re-released those same tapes years later as albums, and done a couple of album collabs with other artists / producers, none of which even come close to reaching the bar set by Blu & Exile's Below the Heavens. Blu even teamed up with Exile again for "Give Me My Flowers While I Can Still Smell Them," but the album is the embodiment of this comfort zone Blu has reached. It's almost as if he refuses to challenge himself to be better. Don't get me wrong, I am far from a Blu hater. My frustration stems from the fact that I know what the man is capable of, and he keeps failing to deliver with each project he releases. Hopefully "NoYork!" will be a return to form when it drops on March 26th.

Cory Gunz - I have been loosely following Cory Gunz since the early-mid '00s, but never really expected him to establish a presence beyond his enormous mixtape collection. Even after inking a deal with the label that makes it damn near impossible to flop (YMCMB), my expectations for the young gun are proving themselves to be reality. It's all good though, the kid is only 25, he has plenty of time to shine.

Mickey Factz - I'll be honest, I don't really know much about this guy other than the song he had on the Fight Night Round 4 soundtrack, "Rocker," which...rocked. I can only hope the rest of his music follows the same mold. He has apparently amassed a healthy mixtape collection since 2006, but I have yet to sample a single one. He hasn't released a studio album, and hasn't made any serious noise since appearing on the cover of XXL.

Ace Hood - Most artists spend years on the underground circuit. For some, it may take 5-10 years before they experience any sort of consistent monetary success on a grand scale. Then there are artists like Ace Hood, who follow the cookie-cut mold to acheieve instant overnight mainstream success just from being in the right place at the right time. After Ace handed his demo tape to DJ Khaled, his future was sealed. Even though I consider his style and what he stands for to be an example of everything that is wrong with the rap game, I do respect some of his cadences when he raps. Outside of that, the man doesn't exist to me. And making the type of music he makes at age 24, I don't even think he truly understands what hip-hop is. The club goers love him though, but their ears aren't trained to pay attention to lyricism, of which he has none.

Curren$y - This one is the wild card. I've been known to destroy Spitta in a few of my hip-hop circles from hatin on his boring delivery to sayin he raps like he got a d**k lodged in his mouth, but over the years I have grown to like his style. I can't relate to any of the shit he talks about in his music, but I still find myself coppin every album he drops. He has found a lane that works for him and consistently releases albums at a steady pace. I really got nothin bad to say about dude, I respect what he's doin.

Kid Cudi - Easily the most eccentric artist of the bunch, Scott Mescudi's music is a mixed bag that isn't necessarily embraced by everyone. The closed-minded crowd feels like his sound is too weird, but those who love art are able to respect the divergent approach Cudi takes with his music. Cudi was one of the first artists in 2008 who made me realize this new decade of music was going to be littered with artists taking risks and not being afraid to be themselves. Nowadays it's easy to notice that hip-hop has branched off into several sub-genres, and while Kid Cudi clearly was not the first person to come with a new sound, he has definitely been one of many who have managed to inspire a new generation to not be afraid to challenge the status quo. In my humble opinion, Cudi is the definition of a game changer. Regardless of whether or not you actually like his music, you would be a fool to not recognize the impact he's had on hip-hop.

Ja Rule To Be Released From Prison In July

2013-03-01T22:58:00.000-05:00

We still don’t care.

VIDEO: Pac Div - Savages

2013-02-27T04:23:00.000-05:00

We on BITM been supporting a lot of West Coast artists lately and they do not disappoint. The Hip-Hop trio Pacific Division better known as "Pac Div" is back at it and released a visual to their track "Savages." The track is supposed to be apart of their sophomore Album titled "GMB," (Gabe, Mike, Bryan. Which are the government names of the members of Pac Div) The lyrics, track, and visuals are all FIRE! It's a dark track and the video meshes well with it. The scenery is an abandoned neighborhood with graffiti everywhere. Even though Like didn't drop a verse, Mibbs and Be Young still brought enough to the table to make the track hot.