Recently in Rap/Hip-Hop Category

Radio: Urban Hits

20111129-urban-hits-560x225.jpg These days, urban music can encompass dance pop, quiet-storm soul, and hardcore hip-hop, from Rihanna to Charlie Wilson, from Jill Scott to Lil Wayne in "How to Love" mode. This would all be confusing, except for one thing: You know an R&B track when you hear it. That's why our Urban Hits station mixes tracks from genre queens Beyoncé and Mary J Blige with adult-contemporary goddess Adele and rap heroine Nicki Minaj. All of them contribute to our current understanding of R&B as less of a fixed genre (or a fixed race) than an aesthetic. It's a style of music with deep roots in soul and an appreciation of pop music's boundless creativity. Most importantly, it retains the ability to speak to a wide international audience. So don't be surprised if you hear Rick Ross' "Aston Martin Music" after Trey Songz "Bottoms Up." This is the sound of R&B in 2011.

Listen Now: Urban Hits


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Album of the Day Creating a sequel to a classic album is always a tricky proposition. There's going to be anticipation, but there are also expectations. While Raekwon fails to match the intensity of his 1995 solo debut, this is a valiant effort. Rae's flow has weathered a bit over the years—he has the gristle of a middle-aged man—but his knack for wordplay and imagery remains. Lyrically, this is his best work in a decade. And though nothing here matches "Criminology" or "Incarcerated Scarfaces" from the original, "House of the Flying Daggers" is a great late-period Wu classic. [Sam Chennault]

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Clipse, Hell Hath No Fury

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Album of the Day The Clipse are back with a jittery collage of wealth porn and crack synonyms. Emcees Pusha T and Malice set out to rescue rap from those "dunce cappin' and kazooin'." You know, the "penny Annie n*gg*z" and "Jo-Jo dancers" who line up round the block as our boys shuffle "snow" and "diet coke." Throughout Hell Hath No Fury, the mundane is made obscene, and words are twisted to meet the group's glistening white worldview. As they repeatedly remind us: "Keys open doors." Think about that while you "getcha nostrils clear." [Sam Chennault]

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Drake Takes Over

20111115-DRAKE-SG-main-560x225.jpg Drake is the man of the hour. This week the Toronto rapper/singer/sensitive lothario finally unveils Take Care, his second album, capping a meteoric rise that began in earnest with 2009's So Far Gone mixtape; continued with last year's major-label debut, Thank Me Later ("Shut It Down" is still incredible, BTW); and surged further this year thanks to high-profile guest spots, most notably on DJ Khaled's summer anthem "I'm on One." So here's how we're celebrating: an in-depth look at the delicious ambience but uneasy sexual politics of Take Care itself, a playlist of the singles and deep cuts Drake had a hand in this year, a celebration of his Young Money crewmates Nicki Minaj and Lil Wayne, and more. Enjoy.


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Take Care Review: Exploring one of the year's biggest rap albums   20111115-DRAKE-SG-catching-up-with-drake-150x150.jpg


Drake Playlist: Guest spots and deep cuts from an outlandishly prolific year
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Young Money Millionaires: Drake, Nicki Minaj and Lil Wayne take over
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Hip-Hop Hits Radio: Hear Wayne, Drake, Jay, Kanye and more



Catching Up with Drake

20111115-DRAKE-SG-catching-up-with-drake-560x225.jpg Every rap season has that one rapper whose mere voice ensures radio airplay and paid downloads. Over the past 12 months, that artist has been Drake. He turned DJ Khaled's "I'm on One" into what was arguably the summer hip-hop anthem, and then did the same for Lil Wayne's "She Will" this fall. His only rivals for the 2011 Busta Rhymes Hot 16 Award (named for the man who virtually invented breakout guest appearances back in the early '90s) are his Young Money compatriots Weezy and Nicki Minaj.

That makes this playlist of Drake's many guest appearances and pre-Take Care singles almost unnecessary. But there are a few tracks that haven't reached critical mass (yet). There's J Cole's "In the Morning," which was originally recorded for Cole's Friday Night Lights mixtape and was subsequently included on Cole World: The Sideline Story. (It's a nice tune — I wouldn't be surprised if it became a single.) Then there's The Game's "Good Girls Gone Bad," T.I.'s "Poppin' Bottles," Bun B's "It's Been a Pleasure" and Pimp C's "What Up." All told, every retail track on which Drake has appeared since Thank Me Later is included here. You can thank me now.

Listen now: Catching Up With Drake

20111115-DRAKE-SG-ext-review-560x225.jpg On the cover of his second album, Take Care, Drake holds a chalice. He's dressed in a black shirt with the top buttons undone, revealing his chest, and he wears a few gold chains around his neck. ("Bracelets and rings/ All the little accents that make me a king," he says on "Lord Knows," before adding that his only role models are Hugh Hefner, Michael Jordan and his Young Money/Cash Money Billionaires bosses Lil Wayne and Baby the Birdman.) His eyes stare soulfully at the table in front of him, as if he were deep in thought. It's as if he wants to tell us that he, too, has dark moments of the soul.

Take Care is a thematic follow-up to 2010's Thank Me Later, but it's much closer to the pop zeitgeist. It caps a year when a host of artists echoed the ambient blend of R&B and hip-hop Drake introduced last year, including Frank Ocean and The Weeknd (who appear on several Take Care tracks). Big Sean and J Cole embraced the clean-cut, proudly middle-class, fame-for-fame's-sake ethos that Drake trumpeted. He didn't invent it (that honor goes to Kanye West), but his success has come to personify it. Much of the hardcore rap audience views these suburban braggarts suspiciously, taunting them as being too "soft," lobbing homophobic slurs and claiming that they're pop sellouts. Smartly, Drake doesn't bother answering these trolls. He's too focused on extending the cultural moment that began with Thank Me Later and exploring a vague melancholy that emerges in his relationships with women.

Flying Lotus, Cosmogramma

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Album of the Day The follow-up to Flying Lotus' breakout album, Los Angeles, finds the L.A. producer making serious headway with his inimitable style. Running the Brainfeeder label and signing to Warp have made him an ambassador for the "beat music" scene, but barring his obvious ties to hip-hop and left-field club music, no one else sounds like him. Splattered with astral jazz and electro-funk, FlyLo's mostly instrumental tracks harness an array of crusty breakbeats and luminous timbres into music at once psychedelic and profoundly grounded: no-nonsense funk united with truly experimental sonics. [Philip Sherburne]

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Heavy D, 1967-2011

20111108-heavy-d-560x225.jpg Dwight "Heavy D" Myers, who passed away November 8 from a heart attack at the age of 44, was part of hip-hop's original "New School," a wave of artists that brought the genre its first real critical attention. Previously, most music fans casually dismissed rappers as singles-driven electro artists and black-music novelties. Rakim, Big Daddy Kane, N.W.A., Public Enemy and others forced the world to accept them on their terms instead of the rockist criteria used to judge Run-DMC, LL Cool J and Grandmaster Flash & the Furious Five. With the New School's emergence, hip-hop grew from a fad to a generational force to be reckoned with.

However, radio programmers were reluctant to program "hardcore hip-hop," as it was called back then, for fear of upsetting older listeners. Heavy D & the Boyz were one of the few among this pioneering group to cross the generational divide and land hit singles. Beginning in 1987 with Big Tyme, the Mount Vernon, Queens crew—Heavy D, underrated producer Eddie "Eddie F" Ferrell, and backup dancers Troy "Trouble T-Roy" Dixon and Glen "G-Whiz" Parrish—dominated video shows like BET's Video Vibrations and Video Soul with funky New Jack beats and plenty of dancing. These were the kind of joints that taught you new moves to practice before the party and the latest fashions to cop at the mall. During the next several years, Heavy D & the Boyz recorded some of the best songs of the New Jack era, including "We Got Our Own Thang," "Mr. Big Stuff," and "Gyrlz, They Love Me."

When older folks reminisce about how hip-hop used to be fun, they're referring to artists like Heavy D, Salt-N-Pepa, Kool Moe Dee, Kid-N-Play and others. These artists didn't use profanity—Heavy D. & the Boyz made a track called "Don't Curse" for their 1991 album Peaceful Journey—and no one expected them to. Sadly, those days are over, and we demand that clean-cut teeny-bop acts like Soulja Boy Tell'em and New Boyz talk sh*t in order to earn their hip-hop badge. Twenty years ago, those credentials came at a higher price than potty talk: artistic creativity.

Ghostface Killah, Fishscale

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Album of the Day Crackling samples, loose soul loops and doo-wop harmonies waft through the mix as Ghost pleads, coos and threatens on vignettes "Beauty Jackson," "Crackspot" and "Big Girl." The LP is bathed in shadows and dread, and populated with characters held hostage by cruelty and obsession, making Fishscale the equivalent of postmodern urban noir. Another classic from Ghost. [Sam Chennault]

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N.E.R.D., In Search Of…

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Album of the Day Super-producers with the platinum touch, The Neptunes have mastered the art of hit making. On their first proper album, they team up with such cohorts as Kelis and Shay, crafting a diverse record that's equal parts soul, hip-hop and rock. Backed by the band Spymob, their unique sonic stylings sound fresher than ever.

Hear It Now!


cheat_sheet_top_header_560x62.jpg 20111101-UK-hip-hop-560x225.jpg There was once a time when Americans treated the idea of British rappers as a joke. How could the English, with their funny accents and halting rhymes, approach the dexterity and rhythm of quality hip-hop music? Those days ended with the classic 1997 compilation Black Whole Styles, and Roots Manuva's groundbreaking 1999 debut Brand New Second Hand. Since then, we've been aware that the U.K. has a strong hip-hop movement that rivals our own.

However, our knowledge of it remains incomplete. It's not our fault — most U.K. rap never makes it across the pond. Last week, Professor Green — who is both hailed and criticized as the U.K. Eminem — released his second album, At Your Inconvenience. It's expected to debut near the top of the British charts, yet it's not scheduled for release in the States. The same goes for Chipmunk (Transition) and Wretch 32 (Black and White).

Ironically, the stuff we hear tends to be via indie labels, like Ninja Tune and its Big Dada subsidiary (Roots Manuva, Wiley and Dels). It's often experimental, with obvious appeal to adventurous listeners — electronic and indie fans in particular. Meanwhile, traditional U.K. rap gets ignored, perhaps because American hip-hop fans are assumed to be more conservative in their tastes. But even a reputation as critic favorites didn't help Dizzee Rascal, whose 2009 U.K. hit Tongue N' Cheek was never released here; nor The Streets, whose final album, Computers & Blues, didn't get a proper retail release (although it's available digitally).

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Album of the Day Collecting 12-inches released by the London dubstep label Skull Disco from 2005-'07, this compilation displays some of that genre's darkest and most eccentric sounds, seemingly born of ambient Arabia and not of the U.K. grime that actually spawned it. Producers Shackleton and Applebim create an uncompromising swirl of dub echoes, spare drums, bassbin blasts and spoken-word samples made more for morose headspaces than bumpin' headnods, the exception being Ricardo Villalobos' mix of Shackleton's "Blood on My Hands," which transports the dread into a techno club and teaches it to dance down apocalypse. [Piotr Orlov]

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Wu-Tang Clan, Wu-Tang Forever

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Album of the Day The Wu's quadruple-LP follow-up Forever is decidedly less raw than their debut, though it's still pretty amazing. Their lyrics have evolved, with many songs addressing society's various ills. Some fans thought the Wu were getting too ambitious, while the group accused critics of wanting easily digestible "baby food." Features "Triumph," "Reunited," and "The M.G.M."

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Drake, Thank Me Later

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Album of the Day "How did I end up here with you?" asks Drake on "Show Me a Good Time." Thank Me Later answers the question, weaving between a melodic croon delivered over muted and balladic sounds and lyrical allusions to nascent superstardom. "I avoided the Coke game and went with Sprite instead," he raps on "The Resistance," acknowledging his marketability and clean-cut image. Predictably, famous well wishers like Jay-Z and Alicia Keys appear. But this is Drake's hour, and his introspective musings, deployed on standouts like "Fireworks," make this an engaging and occasionally spectacular debut. [Mosi Reeves]

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Album of the Day Before he ascended to Hollywood superstardom, Will Smith was a Philly rapper who, along with his partner DJ Jazzy Jeff, helped push hip-hop into the mainstream. Their second (and arguably best) album is an undeniable classic, with crucial hits like "Parents Just Don't Understand" and "A Nightmare On My Street." —Brolin Winning

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20110726-hip-hop-RU-560x225.jpg Independent hip-hop is no longer split between "backpack" and "street." In 2011, the underground defies categorization, and artists like Jay Rock and Kendrick Lamar (both from the Black Hippy crew) or Mellowhype (from Odd Future Wolf Gang Kill Them All) balance an unapologetic street ethos with a taste for complex sounds and themes. Even Sole, who helped create the modern indie-rap landscape with early '00s albums like Bottle of Humans, is collaborating with idiosyncratic swag thugs like Lil B and Isaiah Toothtaker.

It's in this spirit that we play catch up with some of this season's more notable independent releases. While reading, be sure to check out my accompanying playlist: mix_play_18x14.gifJuly 2011 Rap Albums Sampler

senior_year-banner-560x60.jpg 20110719-black-radio-560x225.jpg The year 1983 must have been a crazy time to be a black teenager. Michael Jackson was blowing up big time, whether it was rocking that ultra-fresh red zipper jacket in the "Beat It" video or slaying millions of Americans with his "Billie Jean" performance on the Motown 25 broadcast. Prince was creepin' up, too, thanks to his coyly suggestive "Little Red Corvette" and 1999. Lionel Richie got love, too, even if "All Night Long (All Night)" was kinda corny. Luther Vandross was still making post-disco hits with a fury, from his own "I'll Let You Slide" to producing Aretha Franklin's "Get It Right." The funk was still strong, whether it was George Clinton's massive "Atomic Dog" or The Gap Band's nonstop "Party Train."

In retrospect, the year seems so exhilarating and confusing. Yes, the synthesizer ruled the charts, leading critics like Nelson George to declare it "the death of rhythm and blues." But what about electro stars like Afrika Bambaataa and the Jonzun Crew? Hell, what about David Bowie's "Let's Dance," The Human League's "(Keep Feeling) Fascination" and Madonna's "Holiday"? Incredibly, all this stuff found a home on Billboard's Black Singles chart (which wasn't retitled R&B/Hip-Hop Singles until years later). There was even space for the odd novelty jam like Sexual Harrassment's "I Need a Freak."

20110712-tupac-560x225.jpg Click here to listen to mix_play_18x14.gif2Pac's Early Years playlist

Tupac Shakur would've turned 40 on June 16 this year. His birthday did not go unnoticed. Members of the Shakur family, event promoters and fans held honorary parties across the country that day; meanwhile, Meek Mill's "Tupac Back," the lead single from Rick Ross' Maybach Music Group compilation Self-Made, briefly lit up the Internet. And a day before 2Pac's birthday, a man serving life in prison named Dexter Isaac told allhiphop.com that he was paid by former record executive Jimmy "The Henchman" Rosemond to rob the rapper during what became the infamous 1994 Quad Studios shooting. Taken together, it all amounted to the most 2Pac discussion in years.

Perhaps the birthday is what prompted Universal Music Group to digitally re-release 2Pac's early Interscope recordings in June. There isn't much left to say about a mythological figure who has generated conspiracy theories, academic books and a cottage industry of bootlegs since his 1996 death. But his first three albums, along with the Thug Life compilation and the post-mortem collection R U Still Down? (Remember Me), deserve new scrutiny. This era is often summarized as 2Pac's "conscious" period, before he "signed a deal with the devil" at Death Row (as his mother, Afeni Shakur, once put it). But the records themselves aren't as straightforward.

banner_HTC_white.jpg 20110705-radar-cualdron-no-logo-560x225.jpg Welcome to the final installment of Rhapsody Radar, our month-long tribute to 24 up-and-coming artists who thrill us. Below you'll find our last six honorees: a couple melancholy but inspiring country upstarts, some muscular boogie-rock enthusiasts, a little experimental hip-hop, and a killer Canadian metal band with song titles like "Chained Up in Chains." Let's start with those guys, actually — read (and hear) below.

Cauldron: The Metalheads Bringing Catchiness Back

"We are youuuuung … and hungry!" Jason Decay proclaimed in the first song on Cauldron's 2009 debut album, and this metal trio has spent the two years since proving their case. They're a throwback to the pre-thrash early '80s — a time when metal bands were allowed to be super-fast, catchy, heavy and hilarious, all at once. Sometimes they even sound like Def Leppard crossed with Metallica, if both had quit after their own debut LPs: speed metal before the rock 'n' roll got purged from its system. Their album covers, too, are absurdly over-the-top in ways rarely seen since 1983 — girls on fire and in chains, both of which happen to be favorite song-title themes. Their Flying V-brandishing guitarist calls himself Ian Chains.

20110621-pitbull.jpg Pitbull's anticipated new album, Planet Pit,hits stores this week. Its first two singles, "Hey Baby (Drop It to the Floor)" and "Give Me Everything," have dominated pop-radio playlists for months, with the latter charting at No. 1 in several countries.

The Miami rapper is yet another example of how the worlds of dance-pop and hip-hop are intersecting. Pitbull has dabbled in both genres for years, as have Flo Rida, Lil Jon, Kid Cudi, Gorilla Zoe and many others. But while rappers increasingly rhyme (and sing) over progressive house and trance-inspired beats, more critics and fans are complaining that it's all just bad pop music made by cynical record labels for an undiscerning audience.

20110524-tyler-the-creator-560x225.jpg Perhaps the best thing about Tyler, the Creator's Goblin is that he has mastered the art of intimacy. Throughout this nearly hour-and-a-half-long therapy session, the leader of L.A. hip-hop collective Odd Future sounds as if he is speaking directly to you. However, therapy sessions usually only last an hour. By stretching the listener's patience to its breaking point and offering only modest emotional returns, he impresses with his self-absorption instead of his catharsis.

Tyler's breakthrough arrives in the final track, "Golden," when he announces, "I'm not crazy." As Goblin begins, he subtly broadcasts that he's capable of change in spite of the worrisome obscenities that will follow: "I'm not a f*cking rapist, or a serial killer/ I lied," he says to his "therapist," which is actually his own voice modulated to a low growl. But he doesn't spend much time bidding for the audience's sympathy, because no one wants a pity party. He knows that what we really want to hear are the vicarious thrills of someone calling someone "n*gga," "b*tch" and "f*ggot"; fantasizing about raping and cannibalizing women; and entertaining an interest in Nazism (though that last point is less pronounced here than on his debut solo album, 2010's "freelease" Bastard).

20110524-odd-future-560x225.jpg Odd Future leader Tyler, the Creator's Goblin may be the most controversial album of 2011 so far. Hundreds of professional writers, amateur bloggers, tastemaker publications and fellow musicians have weighed in on the 20-year-old Los Angeles rapper/producer's psychoanalytic exploration of his id. They have picked apart Goblin's lyrics, weighed its racial and cultural implications, and argued whether the album is a provocative stunt or a brilliant work. The commentary has reached such meta levels that many Goblin reviews just focus on the hype surrounding Odd Future — from a swelling of industry buzz to myth-making cover stories in Billboard and The Fader to an online backlash, all within six months or so — and disregard the actual work.

With so many writers penning their PhD theses (some of which are very good), I've culled excerpts from a few significant ones, if only to avoid repeating the same ideas (which may be impossible). But I'm not abdicating my responsibility to cover the album: I've also written a separate, extended review. (I already penned a capsule review upon the record's May 10 release.) Goblin may be far from a masterpiece, but it has certainly made for a memorable hip-hop experience.

Rap Skits and Snaps

20110510-comedy-rap-560x225.jpg Before we begin, please note that this isn't a collection of comedic rap songs, so you won't find any material from some of the genre's greatest humorists, such as E-40, Biz Markie, Redman and Slick Rick. Instead, we're focusing on rap skits (only the intentionally funny ones) and rap songs featuring samples from comedians. That narrows the field quite a bit, as the rap skit is turning into a lost art, and today's producers tend to sample old records for drums and melodies rather than weave crazy-quilt masterpieces like De La Soul's 3 Feet High and Risin'. Also note that this list doesn't include any joints from Big Boi's Sir Lucious Left Foot, and the Wu-Tang Clan has made too many great skits to use them all. Despite all the necessary omissions, though, "Rap Skits and Snaps" has plenty of ignorance, from Dr. Dre's silly "The $20 Sack Pyramid" to Ghostface Killah's perverse "Heart Street Directions" to Wu-Tang's "Who stole my killa tape?" interlude. It's got chicken heads and base heads, and Redd Foxx, Dolemite and Richard Pryor rise from the dead. It's even got Aqua Teen Hunger Force and Scooby-Doo for the kiddies. Break!

Click here to listen to the entire playlist: Rap Skits and Snaps


Too Short, Life Is... Too Short

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Short's second album on Jive, Life Is..., builds on the foundation of Born To Mack, with colorful pimp rhymes set to heavy bass and chunky beats. The release also features the debut of Bay Area emcee Rappin 4-Tay. Check for "Rhymes," "City Of Dope," "Cusswords," and the Electro-infused hometown anthem "Oakland." —Rhapsody

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20110503-beastie-boys-560x225.jpg A blog post about the lyrical evolution of the Beastie Boys seems counterintuitive. Back in 1999, when the group capped an amazing decade with the Sounds of Science collection, their party-rocking rhymes seemed beside the point. Then at the height of their influence, Mike D, King Ad-Rock and MCA were famed for, in short order, virtually inventing rapcore, taking sampladelica to the outer limits, and wedding Jimmy Smith organ funk with massive Led Zep drums. Their vocals were just part of the sound's noisy static, and a familiar entry point for a frat-boy base raised on debut Licensed to Ill, one of the most sampled hip-hop albums ever, a status mostly earned for the group's crazy vocal tones, from Ad-Rock's whiny Brooklynese ("Umm ... drop!!") to MCA's phlegmatic rasp ("Pump it up, homeboy!").

20110419-canadian-rap-560x225.jpg Let's face it: Aubrey Drake Graham is the first Canadian rapper that got much love from Americans. I would guess that Drake's fans never knew there was a vital northern hip-hop scene, and they're more likely to compare him to Justin Bieber than K-OS, one of his major influences and a genuine Canadian star, albeit only a cult figure in the U.S.

However, Canadian rap has trickled across the border for decades, from the late '80s and Maestro Fresh Wes to the early '90s, when Dream Warriors drew acclaim for And Now, the Legacy Begins and the Main Source impacted the New York rap world with "Looking at the Front Door." It has since developed a regional flavor distinct from that of the U.S. Canadian artists tend to value old-school rap ideals about social awareness and everyday life struggles over current American obsessions with sex in the club and hardcore gangster-ism. As Classified put it on his 2010 hit album Handshakes and Middle Fingers, which is getting an American release this month via Decon Records: "Still doing rap like the 1990s/ But that's how we like it, off-time and grimy."

Senior Year, 1995: Lowriders Club

senior_year-banner-560x60.jpg 20110329-SY-1995-low-rider-club-560x225.jpg Talk about "Hands on a Hard Body": for a certain species of auto-shop student, back in 1995, tricked-out rides were raised to the level of an art form. And while all kinds of hip-hop fueled their subwoofers, surely the most potent strain was G-funk, with its slinky leads and suggestive bounce, rolling and purring like an El Dorado.

Coming largely out of Los Angeles' Death Row camp, G-funk turned away from sampled breakbeats in favor of live and synthesized funk vamping, with laid-back drum-machine thump dragging tempos back while portamento synth leads slid mercurially over the top. It was perfectly calibrated to prove that gangstas could be lovers too — even if their rides were the true objects of their affections.

The sound first broke with Dr. Dre's 1992 album The Chronic and had some of its greatest moments with Warren G and Nate Dogg's 1994 song "Regulate" and Tha Dogg Pound's 1995 album Tha Doggfather. We've created our Senior Year Playlist around that year, but by all means, don't forget 1998's G-Funk Classics, Vol. 1 & 2 by Nate Dogg, who passed away on March 15 at just 41 years old.



20110329-chris-brown-kanye-560x225.jpg What is the cost of forgiveness? Chris Brown might be finding out. In recent months he has tweaked his image from a cherubic teen pop star broken by scandal to a blond and heavily-tattooed player flipping the "Deuces" to ex-girlfriends and haters alike. He released some of his best songs to date, including the aforementioned "Deuces," "Look at Me Now" and "Yeah 3x." Improbably, and despite recalcitrant pop radio support for those singles, he landed his first No. 1 album with his comeback album, F.A.M.E. But no matter what he does, many will never forgive him for assaulting Rihanna on the eve of the 2010 Grammy Awards.

Brown can take solace in the plight of Kanye West, who has also struggled to rehabilitate himself after a disastrous (and silly) national scandal. Instead of trying to woo back fans with a teary apology à la Brown's "Man in the Mirror" performance at last year's BET Awards, West focused attention on the one thing in his control: his music. The result, My Beautiful Dark Twisted Fantasy, made us remember that West is an incredible musician, regardless of his personal failings. (And yes, I am aware that he does not play analog instruments, did not create most of the beats for Fantasy and, as Quincy Jones retorted to comparisons between himself and West, does not write classical and jazz arrangements for orchestras. George Clinton didn't play an instrument, either. West's talents include vocals and production, and synthesizing disparate elements into a greater whole.)

cheat_sheet_top_header_560x62.jpg 20110322-dirty-south-CS-560x225.jpg Just as the East Coast hip-hop industry experienced its renaissance in the mid-'90s, so did the South's. The latter wasn't a musical revolution, at least in terms of beats. Southern artists still took their cues from the West Coast and producers like Dr. Dre, Ant Banks and DJ Pooh. A new breed of musicians, including Organized Noize, Jazze Pha and Pimp C, re-interpreted the G-funk sound into lush, bluesy soul, from Outkast's "Players Ball" to 8Ball and MJG's "Space Age Pimpin'."

The Dirty South era lasted roughly from 1994, when Outkast's seminal Southernplayalisticadillacmuzik was released, to 1996. This was when some of the region's greatest voices outgrew its reliance on the bloody gangster tales pioneered by the Geto Boys, looked past the silly booty bass novelty of Luke's 2 Live Crew, and emerged as a reputable area of hip-hop expression. And that's not a dis against booty bass, a subgenre that must be saved for a future article. Actually, it was the evolution of booty bass into New Orleans bounce, as heard on Master P's Ghetto D and B.G.'s Chopper City, as well as crunk and DJ Screw's "screwed and chopped" sound, that effectively ended the Dirty South era. Everywhere, hip-hop shifted its focus from the streets to the clubs — although, then and now, the urban experience remained the genre's backbone.

Hip-hop fans often celebrate the East Coast and, to a lesser extent, West Coast classics of the mid-'90s, but we sometimes overlook the South's contribution, save for undisputed legends Outkast, Scarface and Goodie Mob, whose "Dirty South" single gave the era its name. This cheat sheet doesn't cover every classic album from those years, but it may help you dig deeper.


20110316-nate-dogg-560x225.jpg Nathaniel Dwayne "Nate Dogg" Hale, who tragically passed away at the age of 41 on the night of March 15, was hip-hop's ghetto troubadour. There were other hip-hop singers that came before him, from the vocally-inclined Cold Crush Brothers and Fantastic Five to Biz Markie's right-hand man TJ Swann. But Nate Dogg was the first to fully complement the MCs he performed with, and not just serve as an out-of-tune foil. He was akin to a great character actor who effortlessly stole scenes from the headliners. His deep baritone and unapologetically gangsta persona defined the G-funk era just as inimitably as Dr. Dre and Snoop Dogg. Ice Cube put it best on Westside Connection's "Gangsta Nation": "It must be a single with Nate Dogg singin' on it."

Though Nate Dogg is inextricably connected with West Coast hip-hop, his deep catalog of side appearances and three solo albums (most notably 2001's Music and Me) ranges from Mos Def's and Pharoahe Monch's "Oh No" to Ludacris' "Area Codes." When "Oh No" was released in 2000, those two stalwarts of independent hip-hop came under heavy criticism from their fans for allegedly selling out. In hindsight, it's clear that "Oh No" was more than just a commercial ploy; Nate Dogg enjoyed widespread respect in the rap industry, even among those who considered themselves opposed to the mainstream. It didn't hurt that Nate Dogg helped Mos Def and Pharoahe Monch achieve their only top 40 hit to date. He tended to do that. Even 50 Cent scored one of his biggest hits when Nate Dogg sang the chorus on "21 Questions."

Other Nate Dogg jewels include his smooth-yet-rough refrain on Dr. Dre's "Deeez Nuuuts" ("I can't be faded, I'm a n*gg* from the muthaf*ck*n street") and his deliciously obscene verse on Snoop Dogg's "Ain't No Fun (If The Homies Can't Have None)" (" 'Cause I never met a girl/ That I loved in the whole wide world"). My personal favorite was on Shade Sheist's "Where I Wanna Be." It personifies how Nate Dogg could completely overtake a song, leaving you to believe that the song is his alone. I can't remember Shade Sheist's verse and can barely recall Kurupt's, but Nate Dogg's evocative chorus rings in my head: "Where I wanna be/ Right here with my loved ones." Cruising with the homies as the sun sets on a West Coast day - that was the essence of Nate Dogg.

For further listening, check out Rhapsody's Tribute to Nate Dogg playlist.
20110315-rap-rock-560x225.jpgRap rock hasn't changed much since Run-DMC recruited the reluctant Joe Perry and Steven Tyler to appear on a remake of "Walk This Way" 25 years ago, and not only landed the first hip-hop Top 10 smash, but also helped revitalize Aerosmith's career. Then as now, the formula appears the same: loud guitars, loud drums, loud keyboards, and everything mixed really loud, while an emcee or three raps about how hard the beat is and adopts their most annoying "everybody get out their seats right now!" concert voice.

senior_year-banner-560x60.jpg 20110301-SY-after-school-rap-vids-560x225.jpg Rap videos were mad fun in 1988. Remember all the crazy cameos in Public Enemy’s “Night of the Living Baseheads,” from DJ Red Alert as a news producer and MC Lyte as an reporter busting Wall Street coke fiends to comedian Chris Thomas cracking jokes about a family of baseheads? Or how about Kid ’N Play’s “Rollin' with Kid ‘N Play,” when the duo launched a food fight with Salt-n-Pepa and Herbie the Love Bug? If you were a homeboy looking fresh in a Starter jacket or a fly girl styling in a bootleg Mickey and Minnie Mouse T-shirt (the one with the “Yobabyyobabyyo” phrase on it) with matching dookie earrings, then chances are you spent plenty of afternoons watching videos, whether it was Yo! MTV Raps with Fab Five Freddy, Video Soul with Donnie Simpson and Video Vibrations with the Unseen VJ on rival network BET, or even regional programs like New York’s Video Music Box with Ralph McDaniels. We can’t show you those videos, but we can relive the memories with this selection of classics from the golden age of hip-hop. Pump it, homeboy!

Click here to listen to the entire playlist: Senior Year, 1988: After-School Rap Videos


20110201-overlooked-hip-hop-RU-560x225.jpg The world of rap music can be expansive and reductive at once. We tend to talk about the same handful of artists and albums, swapping out names according to their buzz at the moment. But the fact is that hundreds of rap albums get released during a calendar year. Some deserve to get ignored, but many undeservedly fall through the cracks.

This is a good time to collect last year's overlooked albums before 2011 kicks into high gear. Even this post is missing a few titles due to space considerations, including Fabolous' There Is No Competition 2: The Grieving Music Mixtape, Rakaa's Crown of Thorns, and Celph Titled and Buckwild's Nineteen Ninety Now. While it's unlikely we'll get another shot at 2010 — this year has already delivered Talib Kweli's Gutter Rainbows and will bring new albums from Beans, Rye Rye and others in the next few weeks — this roundup proves that rap music has plenty of undocumented territory worth exploring.


David Banner & 9th Wonder
Death of a Popstar

David Banner has always straddled the line between delivering social criticism from a Dirty South perspective and indulging in country decadence. The difference with Death of a Popstar is that he jettisons the pimp talk, and when he talks about women on the lush single "Be With You," it's with sincerity and respect. On tracks like "Strange" and "Something Is Wrong," Banner sounds concerned, as if the state of black people moved him to deliver insistently political rhymes, pop markets be damned. Meanwhile, 9th Wonder lends his typical blend of deeply soulful beats, and even spits a nice rhyme for "Silly."


Gucci Mane
Burrrprint 2 [HD]

Burrrprint 2 opened with "Intro Live from Fulton County Jail," with Gucci Mane rapping over the phone while serving one of his many prison sentences. On this retail mixtape, he reaffirms his ghetto celebrity, while Nicki Minaj, Rick Ross, Yo Gotti and others lend support. Some will claim that Burrrprint 2 is the "real Gucci Mane," while studio albums like The Appeal, released later in 2010, are just his fitful attempts to launch a mainstream career. And indeed, Gucci seems comfortable amidst the "Coca Coca" talk and hard Dirty South beats. However, a few Burrrprint 2 moments, such as Ludacris rapping about guns on "Atlanta Zoo," sound wildly implausible.


Hip-Hop Roundup

20101206-hip-hop-RU-560x225.jpg With 2010 defined by the emcee and his crossover ambitions, from B.o.B's multidisciplinary The Adventures of Bobby Ray to urban radio paeans from Young Money, Bun B and Rick Ross, it's only appropriate that Kanye West, the era's most influential hitmaker, gave a master class on achieving those dreams. My Beautiful Dark Twisted Fantasy may set a new benchmark for musical excellence, but it's not the only new album of note this season. Offerings from Kid Cudi, Nicki Minaj and even an incarcerated T.I. help bolster claims that this has been one of the best years for the genre in some time. Meanwhile, Curren$y, Yelawolf and N.E.R.D. subtly expanded the hip-hop vocabulary with standout material.


Curren$y
Pilot Talk II
For anyone who thrilled to Curren$y's excellent major-label debut, Pilot Talk II, released a mere five months after Pilot Talk, offers more of the same. This sequel may sound overly familiar since the New Orleans rapper, Trademark Da Skydiver and Smoke DZA predictably riff on "good weed and broads, spaceships and stars." However, rewind material abounds, from the zoned-out grooves of "Michael Knight" to the languid guitar strolls on "A Gee." "Ain't nothing changed but the weather," he says on "Famous," and his ability to elucidate his bourgeois ambitions with sharp lyricism is all that matters.


cheat_sheet_top_header_560x62.jpg 20101026-political-albums-560x225.jpg There's something in the air these days. Could it be the changing leaves of fall? The excitement of October baseball? No wait, we've got it -- widespread global freakout! With the election around the corner and international markets in the dumps, change is coming whether we're ready or not. Music has always had something to say about times like these, so we figured we'd round up 20 classic political albums in the hopes of stimulating debate. Because it's not like you've got anything else to worry about, right?


Play!While reading the list below you should listen to Rhapsody's classic political albums playlist.


Hip-Hop Roundup

20101026-rap-roundup560x225.jpg The end of summer and beginning of fall could be described as "waiting for Kanye." His heavily promoted My Beautiful Dark Twisted Fantasy got pushed back to November, while Nicki Minaj, Young Jeezy and Kid Cudi scheduled their albums for the same month, ensuring that 2010 will end with a bang. However, quite a few strong albums made it to market, from Gucci Mane's The Appeal: Georgia's Most Wanted to surprises like Atmosphere's To All My Friends, Blood Makes the Blade Holy and Skyzoo and Illmind's Live from the Tape Deck.

Here's a roundup of a few of the most noteworthy. Rest in peace, Michael "Eyedea" Larsen.

Atmosphere
To All My Friends, Blood Makes the Blade Holy

Slug may never get recognized as one of hip-hop's greatest storytellers, but he deserves to be. The Minneapolis rapper excels at the confessional, rhyming first-person narratives that are so vivid you think they were ripped straight from his diary. On To All My Friends, Blood Makes The Blade Holy, a pair of EPs packaged into a mini-album, Slug raps about vehicular homicide ("Scalp"), young love ("The Number None"), and drug-dealing homeboys ("The Major Leagues") as a backing band plays extended riffs and beery blues. It's not Lil Wayne, but it will more than do.


20101019-hip-hop-singles-560x225.jpg Here are a few impressions of the latest hip-hop hits.

Kanye West: "Runaway"
Charms: When West premiered "Runaway" during his closing performance at the 2010 MTV VMAs, he immediately lodged its chorus into audiences' memories: "Let's have a toast for the douchebags!" It sounds like a continuation of 808s & Heartbreak, with West appealing to our sympathy by exposing his frailties. Meanwhile, Pusha T from Clipse sums up the Jersey Shore generation with the line, "I'm just young, rich and tasteless."
Turnoffs: "Runaway" is so visceral that it's sloppy. However, the choppy MPC improvisations from West's VMA performance aren't on this version. Instead, we get heavy keyboard tones that are meant to signify emotion, yet come off as overwrought.
Verdict: With "Runaway," Kanye West proves yet again that he may be the most beguiling and infuriating figure in popular music.
cheat_sheet_top_header_560x62.jpg 20101012-rap-supergroups--560x225.jpg The mythical emcee is usually an egoist, often claiming credit for constructing a song himself (even though "ghostwriters" and others contribute lyrics more often than the public realizes) and relegating the producer to the background (even though producers not only create the beat, but sometimes the arrangements and even the hooks) and engineers to the liner notes (even though engineers often play a crucial role in the sound and vibe of an album). It's no surprise that, as hip-hop has become big business, classic groups of the '80s and '90s like Run-DMC and A Tribe Called Quest have fallen by the wayside, allowing the solo rapper to claim all the glory for himself, and maybe share a little bit with his crew.

This may be why "supergroups" have become essential to encouraging cultural unity. After all, it's easier to knock out a one-off album rather than try and sustain a functioning and disciplined group. These one-off collaborations weren't unheard-of in the '80s, but it was in the '90s via acclaimed projects like the Gravediggaz' 6 Feet Deep that they really caught on. The Gravediggaz and Method Man & Redman are classic examples of one-off projects that evolved into actual groups; meanwhile, other meetings of minds -- like Black Star and Deep Puddle Dynamics -- seem like rare comets never to be repeated in our lifetime (save for concert appearances and tours). This list compiles a few of the best.
20100907-hip-hop-singles-560x225.jpg As the fall season rapidly approaches, the Internet and radio stations alike are swelling with new singles by the record labels' biggest priorities. However, summer proved unexpectedly bounteous, yielding platinum albums from Drake and Eminem as well as critically acclaimed hits from the Roots and Drake. Kanye West, Soulja Boy Tell' Em and, uh, New Boyz have much to live up to.

Here are my first impressions on the genre's contenders of the moment. It may be too early to tell if they're hits, hip-hop classics, or just over-promoted junk. But as Common once rapped on "The 6th Sense," "If I don't like it, I don't like it. That don't mean that I'm hating."
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Blog rap's second wave epitomizes hip-hop's scales of artistic justice. Just as complaints over the new rap generation's increasingly pop output have reached a fever pitch, a new crop rises that embraces the familiar codes of street life. What makes them different from the usual parade of thugs is their youth — descriptions of a hipster thug lifestyle abound — openness to new sounds and varied collaborators, and linguistic dexterity, an unexpected benefit of Lil Wayne's memorable 2007 mixtape run and its underlying theme that any fledging rapper, no matter how lame, can transform himself into a great emcee with hard work.

This isn't a definitive list, but just a small sample of a few artists burning the Internet. All of them have material on Rhapsody; other promising voices such as Atlanta rapper Pill (1140: The Overdose) and DaVinci (The Day the Turf Stood Still) were left out because they don't. Interestingly, nearly all of them are survivors of the major-label system, having signed development deals a few years ago and then summarily been dropped, only to attract renewed interest after converting Internet hustle into industry buzz. Only Shabazz Palaces doesn't fit among this group, but their excellent recordings were impossible to omit.


Genre Roundup: Hip-Hop

20100803-roundup-hip-hop-560x225.jpg Editor's Note: Listen to a selection of the songs mentioned here on a playlist at the end of this post, or click through to listen to all of the artists listed here on Rhapsody. If you're not a member, click here and listen to all of your favorite music as much as you want — whenever and wherever you want!

Rap music has dominated the airwaves and the blogs this summer. If it's not Eminem and Drake topping the charts, it's Big Boi earning plaudits for his solo debut, Sir Lucious Left Foot ... Son of Chico Dusty. Dig deeper into this season's crop and you'll find more jewels, from Guilty Simpson's latest collaboration with Madlib to French beat producer Onra's instrumental gem. (And sorry, Eminem Stans, but Recovery didn't make the list.)

Big Boi: Sir Lucious Left Foot ... The Son of Chico Dusty
It's a wonder Big Boi's Sir Lucious Left Foot made it to stores. Four years of untangling industry red tape has taken its toll, and the album is missing several early singles, including key tracks with his OutKast partner Andre 3000. What's left of this long-delayed solo debut is very hit-or-miss. The 15-track, hour-plus album teems with guests — from Jamie Foxx and George Clinton to Janelle Monae and YelaWolf — but generates precious little synergy. However, it has enough highlights — including the futuristic funk of "Shutterbugg," "Night Night" with B.o.B., and "Shine Blockas" with Gucci Mane — to make the wait seem worthwhile.
20100706-dungeon-family-575x225.jpg You're forgiven for believing that Big Boi's debut album, Sir Lucious Left Foot ... The Son of Chico Dusty, would never be released. Since Big Boi announced the project in late 2006, it has endured numerous recording sessions, several failed teaser singles, and even a label switch, from Jive (onetime home of Outkast) to Def Jam. In retrospect, four years doesn't seem like a long wait, especially when judged against a graveyard of shelved, infinitely delayed and/or simply lost rap epics, from Dr. Dre's decade-in-the-making Detox to Black Star's rumored second album.

Sir Lucious Left Foot is symptomatic of the Dungeon Family these days: embattled, perhaps a far cry from its glory years, yet resolute. The famed collective — once centered on groundbreaking music from Outkast, Goodie Mob and production crew Organized Noize — no longer exists as a functioning unit, at least in not any real sense, beyond one-off reunions and retrospective magazine articles. Its legacy endures, however, from the triumphant debut of Janelle Monae's The ArchAndroid to Andre 3000's fanciful remake of The Beatles' "All Together Now" for a Nike commercial that aired frequently during the 2010 NBA Playoffs.


On the Record is a video series where rock stars gush about their favorite records -- in exactly 45 seconds. Click above to watch Big V of Nappy Roots talk about his favorite album of all time.

Rhapsody subscribers can listen to The Pursuit of Nappyness and millions of other albums whenever and however they want. Click here to sign up for a free Rhapsody trial subscription and see what we're all about.


ARTIST:
Nappy Roots

RECORD:
Bad


More videos you might like:.



Jay Z
On the Record

8 Ball
On the Record

Black Milk
On the Record

Sean Price
On the Record
20100629_hip-hop-and-r&b_575x225.jpg "Black music is black music, and it's all good," Common once rapped on "I Used to Love H.E.R." I didn't forget that when I wrote about the thriving marriage between hip-hop and R&B in my column two weeks ago. However, due to space and time constraints, I mostly ignored the "romance" and focused on the "cultural tension" in that relationship, and how it related to Drake's Thank Me Later.

But though De La Soul referred to the Rap & B crossover as "rap and b*llsh*t," they've also used singers on all of their albums, from Vinia Mojica on De La Soul is Dead's "A Roller Skating Jam Named Saturdays" to Zhan on Stakes Is High's "4 More." Nearly every artist of note has woven a modern soul sensibility into their music, whether it's Wu-Tang Clan's extended fam like Blue Raspberry (Raekwon's "Heaven Or Hell") or Jay-Z's collaborations with R&B superstars such as Mary J. Blige ("Can't Knock the Hustle") and Alicia Keys ("Empire State of Mind"). Even Madvillain, whose Madvillainy is one of the purest hip-hop albums of the past decade, drops a plaintive vocal by rapper/singer Stacy Epps ("Eye") in the middle of the proceedings. Rap & B has inspired not only a fair amount of "b*llsh*t" but also classic sounds that remarkably transcend both genres. What follows is an extremely random list.


20100622_rap-is-not-pop_575x225.jpg We've reached the midway point of 2010, and all seems right in the hip-hop world. After much worrying, we finally have a legitimate candidate for rap album of the year (Drake, please stand up) as well as a few potential runners-up (Nas & Damian Marley, The Roots: take a bow). And with albums due later this summer from Black Milk, M.I.A., Big Boi, and T.I., it appears that the genre is alive and well.

However, there are precious few singles worthy of classic status. Sure, Eminem's "Not Afraid" topped the charts, and the Young Money clique and Plies continue to dazzle at urban radio. But only B.o.B's "Nothin' on You" has been a flash point, dividing fans and animating discussion with its brazen appropriation of arena pop hooks. Then again, rap anthems are usually made, not born, and our memories decide which songs last through time. Who knows what we'll think of Drake's "Over" and Roscoe Dash's "All The Way Turnt Up" in the future?
20100615_drake_R&B_hip_hop_575x225.jpg Hip-hop and R&B share a history fraught with musical romance and cultural tension. Though there have been successful marriages — Faith Evans and 112's massive "I'll Be Missing You" tribute to the late Notorious B.I.G. comes to mind — the two cultures remain suspicious of one another. R&B fans often claim that rappers are just entitled industry thugs that perpetuate noxious ghetto stereotypes about people of color. And hip-hoppers claim that R&B singers are just bougie careerists whose baby-maker blandishments are far removed from the halcyon days of sweet, socially relevant soul.

Drake's new album, Thank Me Later, revisits those fault lines. Merging introspective lyrics and emotive (and, yes, occasionally Auto-Tuned) vocals, he has become something of an overnight superstar. But it has also led to accusations of being an industry product cynically designed for radio hits. Some rap fans complain that he’s more concerned with wooing teenage girls with lovey-dovey vocal hooks than spitting deft rhymes for the hardcore faithful. Or, to paraphrase De La Soul, it’s whether his mix of rap and R&B simply translates into “rap and b*llsh*t.”
20100615_drake_playlist_575x225.jpg It's only been a year and some change since Drake soared to stardom with "Best I Ever Had." With an ensuing Grammy nomination, near constant airplay on urban radio stations, and several guest spots from Jay-Z and Timbaland to Alicia Keys, it seems like the former Toronto actor has been in the game forever. That's what happens when a new rap hero emerges -- it's like love at first sight, and everyone wants to get down. Or, as Drake put it on "Over," "I know way too many people here right now that I didn't know last year/ Who the f*ck are y'all?"

With Drake's long-awaited debut, Thank Me Later, just arriving in stores, this playlist documents a very busy period for October's Very Own.


Nicki Minaj

For women who aspire to rap stardom, there seem to be only two accepted industry paths. They can follow Lauryn Hill, the iconic ex-Fugees emcee that emphasized achingly soulful vocals and an earthy persona on 1998's The Miseducation of Lauryn Hill. Or they can follow Lil' Kim. The "first lady" of Diddy's Bad Boy camp and the Notorious B.I.G.'s Junior M.A.F.I.A. crew, her 1996 album Hard Core established her as a thug mistress that performed acrobatic tricks in the bedroom. A big personality of Pamela Anderson proportions, Lil' Kim's raw sexuality casts a shadow over any woman who strives for acceptance as a hip-hop artist.

One woman trying to establish her own identity is Nicki Minaj. She hails from Jamaica Queens, New York, and that fact alone makes her remarkable. New York hasn't produced a rap artist with gold and platinum appeal since 2003, when 50 Cent smashed the game with Get Rich or Die Tryin'. The current track record for female emcees is worse, a veritable trail of tears that begins after Eve, the last woman to achieve legitimate rap stardom (via her 1999 debut Let There Be Eve: Ruff Ryders' First Lady). (Did you say M.I.A.? Sure, OK.) Add her association with Lil Wayne, and there are plenty of reasons why Nicki Minaj stands out. She has landed on numerous magazine covers, been recruited by Christina Aguilera and Usher for guest spots, and regularly appears on urban gossip websites — all before she has even scored a hit single.

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The rap artists mentioned here are yours to rock out to whenever and however you want with your Rhapsody subscription. If you don't have one, click here to sign up for a free trial and see what we’re all about.

We’ve waited years for the much-blogged-about new school to emerge. It appears that moment has finally arrived. The music charts are teeming with hits by Drake, from 2009's inescapable "Best I Ever Had" to the new "Over." Kid Cudi continues to show up in the strangest places, whether it’s on dance-club tracks with Dan Black ("Symphonies") and Sharam from Deep Dish ("She Came Along") or on Vitamin Water’s new "Pursuit of Happiness" ad campaign. Asher Roth is courting MTV attention with Asleep in the Bread Aisle while maneuvering between frat-rap expectations and online haterade. And B.o.B is currently sitting at the summit of the pop charts with “Nothin’ on You,” his shaggy-dog ballad with Bruno Mars of the Smeezingtons; his soon-to-be hit debut, The Adventures of Bobby Ray, is now landing at online and brick-and-mortar vendors.

Meanwhile, Cool Kids, Pac Div, Blu, Chiddy Bang, Jay Electronica, Theophilus London and others wait in the wings. For those of us who suffered through nearly 20 years of gangster-ism and thug-ism as all-conquering ideologies, it feels like the clouds have lifted. No one is going to start wearing black medallions and claiming “word to the Mother” again — those days are over. And urban streets remain hip-hop’s cultural nexus, now and (hopefully) forever. But more goes on there than just drug dealing, pimping hoes, random acts of violence and being confronted by law-enforcement overseers. The new generation of rap nerds hanging out, spitting rhymes, chasing girls, playing with genre and dreaming of stardom isn't brushing over society’s ills in favor of a suburban wonderland. It's expanding the narratives.

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Keith "Guru" Elam passed away last night, April 19, at the age of 43 from cancer-related illnesses. Many of his fans, including myself, hoped he would recover after surviving a coma scare in February. Alas, it was not to be.

Guru -- an acronym for Gifted Unlimited Rhymes Universal -- was one of the best MCs to emerge from the late 80s hip-hop renaissance, a period when the fledgling genre found its form and voice. First known as Keithy E from Boston, he debuted with Gang Starr's 1987 12-inch single, "The Lesson." Though merely a tentative first step, it revealed what would become Guru's lifelong goal: bringing black intellectualism and philosophy back to the streets. Two years later, after Keithy E became Guru, broke with founding Gang Starr producer DJ Mike "1 2 B Down" Dee and brought in Chris "DJ Premier" Martin, his mission to spread "knowledge of self" to B-boys everywhere yielded his first classic: "Words I Manifest."

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The music of all the artists mentioned here is yours whenever and however you want — inside or outside the club — with your Rhapsody subscription. If you don't have one, click here to sign up for a free trial and see what we’re all about.

Few locales are as closely interwoven with urban culture as The Club. It is a place where fortunes are spent, romances bloom and action takes place. The yawning breadth of class structures is on display here, whether it's the broke-ass fools spending dollars on domestic beers, the ladies in the corner cracking jokes about everyone's outfits, the suburban weekend warriors locking down a nook inside the VIP area, the D-boys flashing their muscles and ice grills, or the celebrities perched at the VIP booths at the head of the room.

In a year that, stunningly, has not yielded any legitimate contenders for the title of "hip-hop classic" yet (here's hoping B.o.B.'s The Adventures of Bobby Ray isn't a bunch of alternative/crossover gimmicks), much of the current rap material is aimed at radio and nightclub consumption, from getting hyped for the party to driving home (hopefully, with a paramour in the passenger seat). It's also the setting for this month's roundup of new rap singles.

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Boot Camp Clik and every other artist mentioned here are yours to rock out to whenever and however you want with your Rhapsody subscription. If you don't have one, click here to sign up for a free trial and see what we’re all about.

Duck Down Records, which celebrates its 15th anniversary this year, may be the last of the great New York throwbacks. Its flagship group, Boot Camp Clik, came of age during the "Stakes Is High" era of hip-hop, those years before The Notorious B.I.G.'s Life After Death and Diddy's No Way Out introduced a set of conspicuously materialistic values that changed the culture forever. (Some grumpy old heads would argue that they "killed" hip-hop.) Shortly after came the underground scene's rise and fall; a shift in the universe from the Rotten Apple to the Dirty South; and a current split between D-boy/street values and alternative/pop dreams.
 
Every independent rap label has struggled in recent years, and few from that halcyon '90s period have survived. (Stones Throw is a notable exception; more on them later.) For Boot Camp Clik, the course has been particularly torturous. Being known for street rap classics such as Black Moon's Enta Da Stage and Smif-N-Wessun's Dah Shinin can serve as a unique kind of weight; it’s what fans love and expect from them, even if that era of bleedy-eyed rhymes and casual lyrical violence has passed. But Duck Down has managed to satiate its hardcore following and look forward to the future.
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"It never really mattered too much to me/ That I was just too damn old to emcee/ All that really mattered was if your rhymes was ill/ Girl, that's all that really mattered to me." — DOOM from Madvillain, "Great Day"

How old is too old for hip-hop? Ten years ago, when a rapper reached 35 or 40 he was winding down his career, content to make albums for dubious indie startups and get the occasional "Know Your History" shout-out in The Source. But these days, thirtysomething MCs rule the charts. It's gotten so bad that fans hunger for a legitimate youth movement to sweep the old-timers away, just like New Wave and Punk did to corporate rockers in the early 80s.

But that's another topic. Let's take a look at some of the major categories in which our senior artists fit.

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Tupac, T.I. and every other artist mentioned here are yours to rock out to whenever and however you want with your Rhapsody subscription. Click here to sign up for a free trial and see what we’re all about.

Death seems like an inescapable part of hip-hop culture. The specter of past legends — many of whom died in a hail of bullets — looms over the culture's present and, most likely, its future. Phrases like "ready to die," "ride or die," and "only God can judge me" are part of the lexicon. Artists from other genres such as heavy metal and goth/darkwave explore the vagaries of life, but few do it with such morbidity.

There have been dozens, if not hundreds, of rap memorials to unnamed emcees as well as heroes like Tupac and the Notorious B.I.G.; former enemies and close family members; and known and nameless soldiers in the street life. The songs range from Ice Cube's 1991 rap hit "Dead Homiez" to T.I.'s 2009 pop smash "Dead and Gone." This list compiles 10 of the better-known tributes, with a focus on songs that honor fallen hip-hop stars.

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In Weezy-ology, there is good Lil Wayne and bad Lil Wayne.

Good Lil Wayne is the dastardly New Orleans weed head, the sizzurp-drinking gangster that sires children with beautiful actresses, gets locked up on gun and drug charges and records hours and hours of songs — a fountain of countless punchlines so funny he personifies comedy, and the self-proclaimed "best rapper alive."

Bad Lil Wayne is the Auto-Tuned fool, the guy who straps on a guitar at shows even though he can barely play it, the "son" who used to kiss his "daddy" Birdman on the lips, the would-be artiste who sang too much on Tha Carter III, maker of the pillow-humping ode "Lollipop," and the lovable ragamuffin whom teenage girls and middle-aged ladies from The View treat like a dreadlocked kewpie doll.

We tend to treat these sides of Dwayne Carter as binary objects, deifying the former and cracking jokes about the latter. Still, they are one and the same man, and the Young Money clique is the summation of Lil Wayne's true ambition.

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Ludacris, Nas and every other artist mentioned here are yours to rock out to whenever and however you want with your Rhapsody subscription. Click here to sign up for a free trial and see what we’re all about.

This year has started slowly. It's well into March, spring's almost here, and we're only beginning to see major new albums from the likes of Ludacris (Battle of the Sexes) and, later this month, Wu-Tang all-stars Method Man, Ghostface Killah and Raekwon (Wu-Massacre).

I've already discussed Meth, Ghost and Rae's lead single, "Our Dreams," on the new Rhapsody Hip-Hop Blog with managing editor Sam Chennault. All I can say is: search around the Web for the official leak of "Criminology 2.5," and hope that Wu-Massacre isn't an Iron Flag-sized disappointment.

The rest of this month's offerings are a hodgepodge of fresh picks and old stuff from 2009 that's still bubbling.

Hip-Hop Goes to Prison

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Slick Rick, Dr. Dre and every other artist mentioned here are yours to rock out to whenever and however you want with your Rhapsody subscription. Click here to sign up for a free trial and see what we’re all about.

On Tuesday, March 2, Lil Wayne was scheduled to begin serving a yearlong sentence for a gun charge. However, a bizarre fire in the basement at the New York Criminal Court where he was to be sentenced helped postpone the affair until March 8. Go figure. Nevertheless, Weezy's impending prison stint — barring any other freakish incidents — continues a sad trend of hip-hop's biggest stars heading to prison at the apex of their careers. And like so many hip-hop tragedies, it's become a cliché that easily lends itself to parody, even as many of the root causes — aggressive police tactics, America's fascination with guns, et cetera — go unaddressed.

But let's face it: most rap felons aren't as noble as Chuck D.'s fictional draft dodger in "Black Steel in the Hour of Chaos." So in commemoration of Lil Wayne's entry into this not-so-exclusive club, here's a look at 10 notable emcees whose misadventures landed them in the big house. 

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Owl City, Postal Service, Brokencyde and every other band listed in this article are yours to rock out to whenever and however you want with your Rhapsody subscription. Take a free trial and see what we’re all about.



Owl City’s Adam Young may be only 23 years old, but he’s already beginning to look old-fashioned. The Billboard-topping artist, who was still living in his parents’ basement when he began recording music, established the foundations of his fan base via MySpace. (Remember MySpace?) Modeled on the sparkly electro-pop of the Postal Service, Owl City might even be considered a kind of retro undertaking. OK, it’s a stretch, but just think: the Postal Service’s lone album came out in 2003. That’s eons ago, in Internet years. In any case, Owl City’s blend of electronic production, emo songwriting and Web 2.0 community-building signaled a major aesthetic shift for the American underage set, reuniting punks with synths and bringing together the whole Hot Topic Nation under a cheerfully post-everything umbrella.

Now, nipping at Young’s heels comes a slew of musicians raised on the diversified diet that substitutes for monoculture these days: dance pop, emo, crunk, trance. Some of them, like Owl City, stick mainly to a twinkly sort of shtick you might call “tweemo”; others take pages from Lil Jon and Insane Clown Posse. But no matter whether they come across as shrinking violets or smirking violent offenders, they love their synths and their Auto-Tune. Whether you call it emotronica, crunk-punk or crabcore, it’s a crazy new world of American synth-pop, one that even Suicide surely never imagined. Check out a playlist, and read on for a who’s who in the bleeps ‘n’ bangs scene.




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single-phile: The latest singles, dissected and discussed

A savvy businessman, an industry player with an ear for up-and-coming talent, and, of course, one of the most quick-witted, silver-tongued emcees in the game, Jay-Z is many things -- and most of them are synonymous with hip-hop credibility (no matter how many times he "retires"). But Beyonce's (alleged) hubby is also one of the music industry's best and brightest pop stars, a label that has not so often been synonymous with hip-hop credibility. Which brings us to another of Hova's claims to fame: perhaps more than any other contemporary emcee (with the exception of Kanye, who helped orchestrate many of Jay's hits), he has managed to strike an impressive balance between chart-topping pop viability and hip-hop respectability, to prove over and over again that the twain shall meet (and that they weren't really all that disparate to begin with). This is a man who knows his way around a hook -- and isn't afraid to use it to reel you into his flow. On this week's single-phile, we take a listen to some of Jay-Z's biggest pop songs, including several high-profile guest shots and his latest, "Run This Town," off his upcoming The Blueprint 3.




Dancing Like It's 1999

Ah, 1999, we hardly knew ye: we were so caught up in preparing for the looming millennial ball drop that we dropped the ball on savoring the waning days of a thousand-year stretch that began with the founding of Norway and ended, as usual, with Dick Clark holding court in Times Square, as I'm pretty sure he'd done every year since around the time of the Norman Conquest. (The big difference at 1999's New Year's Eve parties was that people seemed to be listening to a lot more Prince, for whatever reason.)

Blame the Y2K bug for our inattention. But at least we danced. Oh, how we danced. Basement Jaxx, Underworld, the Chemical Brothers, Moby and other relics of the rave era were enjoying proper pop credibility. Dr. Dre was "Still D.R.E.," while Britney was, well, still Britney, but without the "b*tch." Le Tigre proved that riot grrrls were down with the disco. And the underground was teeming with activity, from U.K. garage to minimal techno. Relive it all with our five-hour playlist of the best dance tracks that 1999 had to offer. Don't you deserve a break from the "oughts"? Thought so. Check a sampling below, and get the whole thing here at Playlist Central.

Q&A: 3OH!3

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From left: Nathaniel Motte, Sean Foreman

Colorado krunk superstars 3OH!3 have been on a collision course for success since an unforgettable performance on the Denver stop of 2007’s Vans Warped Tour inked them a spot playing every date of the tour in 2008. The same year, they signed to Photo Finish Records and released their debut album, Want. In the past two months, they’ve headlined the entire Warped Tour, and most recently, their debut single, "Don’t Trust Me," has gone platinum, becoming the No. 1 single in the U.S. Behind the aggression of heavy bass drops and Lil’ John-influenced beats, 3OH!3 bring humor to the rap game with line after line of infectious, tongue-in-cheek rhymes that have people hooked from coast to coast. The band took a break from the chaos that is Warped Tour and sat down with Rhapsody to discuss rumors about touring with Barack Obama and what it is like to have a No. 1 single.

Ten Essential Warp Artists

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Jamie Lidell

What do hypersoul crooner Jamie Lidell, futuristic beatsmith Flying Lotus and psychedelic math-rockers Battles have in common? Aside from their shared penchant for turning traditional forms inside out, and the ability of all three artists to combine experimental-music rigor with refreshing good cheer, they all make their homes on Warp, the iconic U.K. label that turns 20 this year. Despite a roster heavy on electronic agents provocateur like Aphex Twin and Autechre, no single sound dominates Warp's catalog, which ranges from bleepy electronica to mind-bending hip-hop to smart, snappy rock 'n' roll. Here are 10 Warp artists you need to hear now.


smoking_gun_575x200.jpg Once upon a time, shotguns were not regularly considered a musical instrument. That's changed somewhat in the two decades, since gangsta rap took hold -- in fact, one of last year's biggest pop hits (M.I.A's "Paper Planes") used a gunshot for one of its most memorable hooks. So while there's plenty of violent hip-hop below, that's not all there is -- a few of these songs date back to the '50s and '60s, some task drummers for the gun sounds, and the playlist starts and ends in the Wild West. In all cases, standing out of the line of fire is strictly advised.
 

LOL @ LMFAO (NSFW)

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Is it just us, or is LMFAO's "I'm in Miami B*tch" a whole lot like the Lonely Island's "I'm on a Boat" -- except not as funny and not, frankly, as funky? But the QWERTY-loving gag-rap duo and their new album, Party Rock, got us thinking about other occasions where funk has been put into the service of humor, unwittingly or no. Featuring tracks from the likes of Blowfly, Too Short, Eddie Murphy, DJ Assault and, uh, Leonard Nimoy, this playlist takes in filthy banter, faux-gangsta boasting, good-natured absurdism and (just for good measure) everyone's favorite dancing-banana meme. Oh, and it's totally NSFW, as though you hadn't figured that out already. Listen to selected tracks below, and get the whole playlist here.

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Irony Doesn't Kill People, Curmudgeons Do
Being allergic to most things ironic, I half-expected to get some kind of rash from rubbing up too close to Guns Don't Kill People, Lazers Do, Diplo and Switch's kinda-sorta concept album about a one-armed commando from Jamaica named Major Lazer. (It's all very Gorillaz meets, oh, I don't know, Dr. Alimantado or something, or Rex the Dog meets rockers uptown.) But the record's actually kind of awesome. The first track alone features surf guitar; horse whinneys and clip-clopping hooves; Nokia ringtones; cash-register bells; a hyperactive Santigold loop; and gruff, absurdist chat from Mr. Lex. The album's first half offers a solid stretch of dancehall bangers and earnest lovers' rock; Major Lazer achieve genius with "Baby," a 67-second sketch featuring the roly-poly-voiced Prince Zimboo waxing philosophical to a newborn. (The baby has "built-in Auto-Tune," wouldn't you know.) For all the goofiness, Diplo and Switch flex considerable muscle with tracks like the supercolliding "Anything Goes" and the martial, minimalist "Pon De Floor." To make the latter beat, one imagines the producers having rigged up a Whac-a-Mole game with those toy cans that moo when turned upside down. As The Hudsucker Proxy's Norville Barnes would say, "You know, for kids."


Believe it or not, the year hits the six-months-gone mark this week. And while there's no point in claiming these are the absolute best singles of the first half of 2009 (left "Boom Boom Pow" and "Poker Face" off, for instance, figuring you already know what they sound like), they're still 25 really good ones. Lots of rap, lots of country, lots of soul. Not a ton of "rock", though -- maybe because most of the non-rock rocks just fine.
tomandboots.jpgAs individuals, Tom Morello (Rage Against the Machine, Audioslave, The Nightwatchman) and Boots Riley (The Coup) have caused quite a commotion. Together, as Street Sweeper Social Club, they're a revolution unto themselves, mixing Riley's sociopolitical jibes, sardonic quips ("poverty has just gone platinum") and fist-pumping commands with Morello's hyper-twitchy, pitch-shifting guitar rallies. We've chronicled the duo's journey from Rage and the Coup to this latest collaboration with loads of revolution-ready riffs and rhymes, exclusive video interviews and the band's debut album. Raise your fist and enjoy.

LISTEN: Play the debut album from Street Sweeper Social Club.

RADIO: Get inspired through speech and song with Rhapsody's Revolution Radio
Radio








WATCH: See Tom Morello talk about his favorite album with Rhapsody's On the Record.
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LOOK: See Boots Riley talk about his favorite album with Rhapsody's On the Record.
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Radio RAGE: Rock out to Rage Against the Machine's entire catalog.
REBEL: Feel the rhythm with all of The Coup's revolutionary music.
quik_kurupt_cover1_phixr.jpgIt’s not entirely accurate to say that DJ Quik is underrated. Ask any hip-hop head who are the best producers off the West Coast, and Quik usually occupies the second slot (behind the good Doctor, of course). But the Compton producer had the misfortune of emerging before the era of the superstar producer, and thus he’s not exactly a household name outside hip-hop circles, though he's not without his commercial accomplishments. He produced for Pac, Snoop, Dre and Jay-Z. And his own '91 debut, Quik Is the Name, is a seminal G-funk album and went platinum.
FF1sm.jpg When Baltimore's Rye Rye guested on Blaqstarr's "Shake It to the Ground," it wasn't what she sang but how she sang it that grabbed people's attention. High-pitched invocations to "Shake it to the ground/ Move it, move it, move it, move it" bobbed in the air like helium balloons weighted by lead ballast, imbued with the curious energy of the Chipmunks sucking on sizzurp. (It didn't hurt that Blaqstarr's woozy production served the weirdest aspects of the adolescent rapper's gangsta hiccup.) Rye Rye's distinctive delivery found its match on "Bang," a match-up with M.I.A. in which Blaqstarr's samba-school breaks spread like a nest around the singers' nasal birdcalls, and now Buraka Som Sistema and DJ Sega have remixed the track to sound even loonier. The "Buraka Carnival Remix" offers an explosive mix of soca-inspired drums, carnival whistles and gleefully cheesy rave stabs, while their "WTF I Asked for a Kuduro Remix" is a rave-y slab of breakbeat hardcore mayhem. Sega, meanwhile, strips back the backing track to nothing but rough-cut snares, the better to isolate Rye Rye and M.I.A.'s a cappella face-off.

Bloc Party's Intimacy Remixed shows how hard it is to give an entire album the remix treatment. For a band whose albums hew to the classic longplayer format, the piecemeal approach to different sounds — melancholy IDM, adrenaline-heavy electro, tech-y drum 'n' bass — is too disjointed. Face it: in the age of playlists, no one is going to listen to this thing all the way through.

Franz Ferdinand (pictured above) take a different approach with Blood: rather than recruiting a dozen buzz names to sex up Tonight, the band invited album producer Dan Carey to give selected tracks the dub treatment. If the resulting kaleidoscope of free-floating guitars, vocal fragments and echo-chamber drums recalls Mad Professor's elegantly convoluted rework of Massive Attack's Protection, No Protection, that's not entirely coincidence: Carey apprenticed with the respected dub figurehead. Eschewing teenage kicks, Blood invites a less frenetic engagement with the music, extending even to cryptic titles offering little hint as to the versions' respective sources. From the opening squalls to the final, fading echo, it's a surprisingly immersing listen, even (or especially?) for those who aren't necessarily fans of the Glaswegan dandies' jagged guitar sound.

Mark Templeton's Inland similarly gathers its full head of steam from the combustion of rock instrumentation meeting bewildering studio treatments. Electric and acoustic guitars and keening vocal harmonies turn to a fine mist when poured through the Canadian producer's software sieve; it's easy to hear references to Fennesz and Grizzly Bear in the songs' psychedelic high-tide lines, marked by a foamy trail of droning harmonies and glitched artifacts. It's just the latest in a line of excellent releases from New York's Anticipate label, which is responsible for albums from Nicola Ratti, Morgan Packard, Klimek and Ezekiel Honig. From this kind of digitally degraded freak folk to explorations of the Rhodes keyboard at its most liquid, all those releases are well worth your time.




bep.jpg"Boom Boom Pow" by the Black Eyed Peas has now been the most popular song in the country for nine weeks and counting with no end in sight, making it the weirdest and most outlandish song to work up that kind of batting streak since ... what? "Hey Ya!" (nine weeks, 2003-2004)? "Macarena" (14 weeks, 1996)?? "Bette Davis Eyes" (nine weeks, 1981)??? Mighty impressive, either way, and what cannot be denied is that it is also the most shamelessly ridiculous and unabashedly catchy confection to hit the radio this year (only competition: "Poker Face"), and it's inescapable for primarily that reason.

So you know what? If you're not among the millions (if not billions) of human beings who've already surrendered to the song, you might as well. Otherwise, you'll certainly regret it 99 years from now (2108!), when you hear it on the intergalactic oldies station wired into the computer chip in your brain and it reminds you how life felt in the summer of 2009 the way no other song possibly could. And if that's not enough of a reason to embrace "Boom Boom Pow," here are 10 more.


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The official start of BBQ season cries out for just the right soundtrack, and Concentric Pleasures abides. From the hits of '89 to hipster-friendly disco, let these playlists put the fun in your social function.

Dance Hits: 1989. Properly applied, nostalgia is to social functions as lighter fluid is to a fat stack of charcoal. (Caution: in both cases, a little goes a long way.) So kick things off with a trip 20 years back in time. In 1989, disco balls spun fast and loose, beaming with positive vibes. In the U.K., rave's "Second Summer of Love" was in full swing. New York tricksters like the Jungle Brothers spoke in native tongues. Chicago's electric acid test was bubbling hot, and for a brief moment hip-house looked ready to take over the world. From Soul II Soul and Neneh Cherry to Lil Louis and Ralphi Rosario, 1989 was a shining moment for dance music at its most fun -- and most inclusive. Even the hatingest hater can't be mad at these feel-good grooves, up to and including "Batdance."


Dance Hits: 1989

Norwegian Disco Bliss. Of course, if your backyard is full of beards, you can play it cool -- or play at cool -- with a little Scandinavian oonce-oonce. For some inscrutable reason, the best disco is coming out of Norway these days. (Maybe it has something to do with dancing under the midnight sun.) Artists like Lindstrom, Prins Thomas and Todd Terje turn boompty beats otherworldly and put a curious, psychedelic twist on acts like Bebel Gilberto, Franz Ferdinand and Jose Gonzalez. If you dig the DFA, you'll flip for these starry-eyed soul providers.


Norwegian Disco Bliss

Tosca: Hassle-Free Beats. Finally, when the grill's burned down and the intimacy is heating up, cozy up with Vienna's Tosca. The duo of Rupert Huber and Richard Dorfmeister (of Kruder & Dorfmeister) don't break any sound barriers on new album No Hassle, but that's precisely the point. They've retained cruising speed for 14 years now, across the hills and dells of dubby downtempo, and No Hassle opens up an even wider vista, with live instrumentation misted with a subtle electronic haze. Along with selections from the album, our overview of the band's back catalog surveys 44 tracks from these mood-music mainstays, including remixes by Faze Action, Beanfield and Lindstrom & Prins Thomas.


Tosca: Hassle-Free Beats
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How appropriate is it that Eminem's new Relapse arrives midway between Mother's Day and Father's Day? Has the world of music ever seen a songwriter, in any genre, so obsessed with the day-to-day details of parenting -- both as a parent himself, and as somebody who was once parented? And Relapse -- featuring back-to-back numbers called "My Mom," about Marshall Mathers' mom, and "Insane," about Marshall Mathers' dad -- demonstrates that he's not yet ready to bury the theme in the back of his already-cluttered closet. In recognition of his preoccupation, then, here is a rundown of Eminem's more memorable koans on the topic -- many of which can serve as helpful advice for moms and dads everywhere!


Pal Joey Loops D' Loop

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May is early -- pace Janet Maslin -- but never too early to be looking for the year's summer anthem. Jamie Jones' "Summertime" (Crosstown Rebels) seems to be the growing consensus pick on deep-house dancefloors, but allow me to offer a suggestion from two decades ago.

A few days back, I stumbled across a YouTube clip of Pal Joey's "Party Time." I'd never heard it before -- had never, in fact, heard much of anything by the legendary New York house producer, despite my best intentions -- but I found myself instantly transported to a rooftop party in midsummer, where colored lights and paper lanterns dapple an elegantly wasted crowd that bounces in slo-mo to a viscous, underwater groove. If that sounds suspiciously like a beer commercial, blame my own imagination's failure in the face of a song this perfect. You want a summer anthem so radiant it makes you a little woozy? This is it.

Joey's music of the late '80s and early '90s reflects a moment in the city when genres were particularly fluid, and "Party Time," released around 1990, is no exception. The eponymous vocal sample comes from the disco cut "Sixty Nine," by Began Cekic's Brooklyn Express; the swirling chords and brittle drum programming root a style that has since been adopted in turn by everyone from Mood II Swing to Lawrence, Pepe Bradock to DJ Koze. And Joey's hip-hop roots, making pause tapes before graduating to razor and reel-to-reel, are evident in the track's rough-hewn feel; the voice leaps out of the mix like a spark jumping off a power-pole that's got a street-corner sound system jacked into it.

"Party Time" comes off the second EP in Joey's Loop D' Loop series, and we've got the whole lot for your listening pleasure. Launched somewhere around 1990 -- Discogs doesn't say, and neither does the artist's own discography -- the label ranges from minimalist drum-machine workouts and disco edits to deep-hued garage, flush with organs and saxophone. Reflecting Joey's professional work in hip-hop and soul, producing and remixing artists like Boogie Down Productions and Sade, midperiod releases veer in a similar direction, with the occasional spoken phrase punctuating slowed-down boom-bap breaks and looped soul samples that recall DJ Premier or old Mo' Wax. For the final half-dozen releases, Joey returns to a kind of tribally deep house that will sound familiar to fans of contemporary house music: "Santeria Samba Groove," from #17, sounds not unlike recent Ricardo Villalobos slowed to -8, while the dreamy, uptempo skip of "Computer Love" sounds a whole lot like what labels like Buzzin' Fly are going after these days.

House is big on "DJ tools" these days, and in many ways, that's just what these laid-back, pared-back constructions are. But there's a wealth of ideas jumping out of these loops. If the voice of KRS-One takes you back, the immediacy of the whole thing zaps you forward; it's precisely the tracks' off-kilter futurism that makes them so classic. Check a selection of tracks below, and listen to the whole series in this massive playlist.

Blunted on the Blog: Donuts

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In the last Blunted on the Blog entry, I talked about the new generation of multicultural beat CDs that have grown in popularity in the second half of this decade and have, for the most part, overtaken the sprawling hip-hop epics (think Endtroducing ..... and all its successors) that have traditionally defined the instrumental hip-hop genre. Specifically, I focused on French producer Onra and his 2008 release, Chinoiseries. But, looking back on it, I probably got a bit ahead of myself and should retrace the history of how these type of beat tapes became en vogue.

As with most trends in underground hip-hop for the past five or so years, the phenomenon began indirectly with J Dilla and his 2006 release, Donuts. Dilla has always been one of the most stylistically adventurous producers in hip-hop, flipping between the warm, jazzy boom bap of his earlier years to the colder, more forceful electro of his middle period. But Donuts -- in its fractured, ADD glory -- presented the producer at his most naked. Culled from a series of beat CDs that had been circulating for some time, most of the songs on Donuts are little more than sketches. No song touches the two-minute mark, and a few barely even progress beyond simple loops. Though fragments, they collectively offer an intensely personal meditation on the soul music that dominated Dilla’s childhood in Detroit.

When I interviewed Dilla's mother, Ma Dukes, for a 2006 feature we did on the life of her son, she told me that as a child, he rarely slept. At night, the only way a young Dilla would go under was if his father hummed basslines to popular soul songs. I know that this is projecting my own narrative, but I can’t help but feel that Donuts, which was literally recorded on Dilla’s deathbed, added a certain symmetry to his life.

But really, I digress. I didn’t want to talk about Dilla as much as his influence: Donuts shifted the direction of instrumental hip-hop. It demonstrated that a beat tape can be a proper release; after Donuts, the new generation of instrumental hip-hop CDs seemed more naturalistic and less affected. His influence not only can be felt in the music of Onra, but it also allowed his Stones Throw labelmates Madlib and Oh No to pursue their own visions. You can especially hear his influence in Flying Lotus, whose 2008 CD Los Angeles was -- structurally at least -- a throwback to the more tightly structured instrumental hip-hop CDs.

Next time we'll try to get around to some of Oh No's releases.

Peep out all the Blunted on the Blog entries.



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SoundTreks: A regular feature on the music the other 97 percent of the globe is listening to.


When you think of "world music" (debates about whether that term is a misnomer aside), Canada probably isn't the first place that jumps to mind. We Americans tend to think of Canada as this, uh, less interesting version of us, whereas we like to think of world music as coming from someplace both geographically and artistically remote (again, saving the politics of that debate for another time). (Not to mention that when we put the word "Canada" next to the word "music," an image of Celine Dion inevitably springs to mind.)

But our friendly neighbor to the north is host to more than enough good sounds to (almost) purge the memory of "My Heart Will Go On" forever from your ears. This week's SoundTreks is the first in a short intermittent series of posts about Canadian world and traditional music, a topic that will dance across Cape Breton fiddling, Acadian dance jams, Vancouver global fusion, and First Nations hip-hop, among others.


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(Hip-Hop's 100 Non-Essential Tracks is a regular feature highlighting the genre's greatest overlooked and/or forgotten tracks. Click here for all entries.)

The toilet. In Duchamp’s hands, it transformed the art world, forever muddling the relationship between sign and signifier. The King of Rock 'n' Roll found it a suitable final resting place, a gateway between Graceland and the pearly gates. But for perpetually stoned H-Town rapper Devin the Dude, the bathroom represents a small, smelly fortress of solitude, an escape from the daily drudgery of life: the expectations of chatter-happy baby mamas, the high volume of straining masculinity and the half-baked plots of felonious friends. As Devin’s sluggish flow relaxes over the slow, spidery Southern soul like a cat in sunlight, he informs a too-cluttered world, “When you finish crowing, or whatever the f*ck it is you’re doing, holla at me, I’ll be in the bathroom -- boo boo'n.”

Play "Boo Boo'n'"

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Night 'n' Day 'n' Night

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Kid Cudi's "Day 'n' Nite" is new to the charts, but not exactly new.

Conventional wisdom says that pop culture is speeding up, with cycles of buzz and hype churning ever faster. In some ways, it's probably true -- I haven't heard much about Black Kids lately, to name just one act for whom the spotlight seemed to burn too bright and too fast.

But what if the opposite were also true? This week, Idolator's Chris Molanphy posted an analysis of Lady GaGa's rise through the charts, and it's interesting reading even for those who don't much care for the pants-less, poker-faced princess of electro-pop. Molanphy writes: "Poker Face" reaches No. 1 on the big chart [Billboard's Hot 100] in its 15th week. That's the longest it's taken any song to reach the top in the past 18 months, with the exception of just one song. That would be "Just Dance," GaGa's first hit, which was in its 22nd week when it topped the chart three months ago. […] When "Dance" reached No. 1 at that unusually poky pace, it was the longest climb to No. 1 by any song since 2000, when Creed's "With Arms Wide Open" took 27 weeks to ring the bell. (The all-time slowpoke is Los Del Rio's "Macarena," which took 33 weeks total over a two-part chart run spanning 1995 and 1996.)"

Analyzing the average time taken for songs to rise to the number one position across different decades, Molanphy concludes that "the Hot 100's metabolism has both sped up massively on the front end and slowed down considerably on the back end -- meaning, songs now tend to rise faster and fall slower than they did a decade or two ago." He attributes GaGa's ability to buck the trend to her "brand of blippy electro-dance with minimal R&B overtones," which he sees as heralding the possible return of Eurodance crossover with American chart pop.

But GaGa might not be the only one bucking trends. Kid Cudi's "Day 'n' Nite" made a massive leap in the Rhapsody charts this week, climbing 75 spots to number 16. (On the Hot 100, Cudi's currently sitting at number 11, climbing seven places from last week.) Universal Motown released "Day 'n' Night" just this week, so you can expect that it has some time left to acclimate to those heights. But anyone who has heard the quickly-becoming-inescapable song can tell you that while the release may be "new," the song ain't: Italian house duo Crookers' fidget-fueled remix has been making the rounds for months now -- on blogs and YouTube, on websites like the Fader.com, and of course right here on Rhapsody -- and it's safe to say that it's been a major contributor to its word-of-mouth spread.

Listen All Y'all

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Since forming in 1979, the Beastie Boys have gone from hardcore punk upstarts to smart-ass rappers to de facto arbiters of cool to the veteran rocks stars they are today. Initially dismissed by critics when Licensed to Ill came out in 1986, emcees Mike D, MCA and Ad-Rock shut everybody up with Paul's Boutique in 1989. To put things in perspective, when Paul's Boutique appeared, people simply didn't make jokes about '70s TV shows or refer to underground films the way the Beastie Boys did. From Check Your Head's Cheap Trick-sampling opener to the video for "Sabotage," these guys pretty much invented the kind of pop nostalgia that's such a pervasive part of our culture these days, whether it's Pineapple Express or the way your little brother dresses like he's auditioning for Diff'rent Strokes. And as if inventing an entire paradigm weren't enough, the Beastie Boys also had their own record label, their own magazine, their own clothing line -- they even had their very own Nathanial Hornblower, and we still don't even know what that is.

To celebrate their long-awaited arrival onto the digital shelves of Rhapsody -- meaning you can go stream all of their records right now -- we put together the following quiz. See just how much you know about the Beasties' long, proudly annoying, prone-to-genius career.


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Old Dirty Bastard upon his release from prison in 2003.

(Hip-Hop's 100 Non-Essential Tracks is a regular feature highlighting the genre's greatest overlooked and/or forgotten tracks. Click here for all entries. )


Have you ever found yourself in a public place, say a supermarket, and suddenly you're struck with the urge to shriek out something completely, unforgivably repulsive, but rather than blurt some non sequitur about midgets and water balloons you take a deep breath, put the carrots in the cart and keep it moving? For most ordinary people, ignoring these urges is essential. But Ol' Dirty Bastard isn't ordinary. The Wu Tang Clan emcee made a career out of channeling his inner-crazy, and listening to the Wu-Tang's finest is like playing a game of Russian roulette: you never know when he's going to pop off and lose it. This is true of almost any of his songs, but "I Can't Wait" is perhaps the point where the signal-to-crazy ratio really tips the scales. In the first 30 seconds, he christens himself "Big Baby Jesus" and threatens to bring on Armageddon while mysteriously alluding to the "ThighMaster." Later, he chides fellow emcees for using the word "napkin," launches into a screed about healthcare and asks an unidentified female to take off her shoes. He ends the song with an extended shout out to, among others, the "Eskimos," the "munchkins," Suge Knight and "the army, air force, navy and marines/ know what I'm saying?" Not really, Dirt, but we'll always love you.

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M.I.A.

I spend part of my work week crafting thematic playlists -- artist overviews, label profiles, irreverent flights of fancy -- many of which turn up here on the blog. (You can see all of them on my page at Playlist Central.) Usually the topic is up to me, but occasionally I'm given an assignment like last week's, which asked editors across all genres (mine is electronic music) to come up with a decade-specific list. 

Obviously, that poses a challenge for a genre already so closely identified with just a couple of decades. Electronic music wasn't born yesterday, to be sure: the Theremin was invented nearly a century ago, and synthesizers and tape-splicing were in use by the 1950s, leading to an explosion of activity, from Stockhausen to sci-fi soundtracks (to the Chipmunks). By the '70s, disco, electro-funk and hip-hop were all recasting popular music in a purely electronic form, paving the way for the synth-pop, industrial and house music of the '80s. And I don't think I really need to remind anyone of the way all manner of electronic music exploded in the '90s.

By this point, '80s and '90s recaps are bound to cover familiar terrain (although I must say that I am eager to see a reappraisal of the minimalist and ambient electronica of the early '90s -- Seefeel, Sun Electric and the like -- as more of it becomes available online). I thought it might be more interesting to focus on an aspect of the present decade -- and a development, moreover, that's really only emerged since the turn of the '80s. From where I'm sitting -- in Berlin, to be specific, after years-long stints in Barcelona and San Francisco -- the obvious candidate is electronic music's growing global consciousness.

Electronic dance music has always been an especially mobile form, thanks in part to the diminished role that vocals (and hence languages) play. But as house, techno, hip-hop and other electronic forms have continued to spread worldwide, they've sprouted up in new, unusual forms just about everywhere they've touched down. It's only fitting that a music whose roots dig into the soil of at least three continents should produce further mutations in Argentina, Brazil, South Africa and Angola, to name just a few points on an increasingly crowded map.

M.I.A.'s "Paper Planes" was just the tip of the iceberg (or perhaps that should read, "nose of the jetliner"?). Her international smash shares DNA with kuduro, kwaito, cumbia, funk carioca and every other proudly mongrel style that has come from local kids getting their hands on samplers and rewriting the rules to suit their own purposes.

My decade playlist, "Global Beats for the '00s," salutes those circuit-benders and margin-walkers -- along with their allies from America and Europe -- helping to spread the global gospel. It includes 29 tracks from the likes of Buraka Som Sistema, Ghislain Poirier, DJ Mujava, Radioclit, DJ Rupture, Filastine, Mexican Institute of Sound and more, with detours via Cesaria Evora (as remixed by Carl Craig), Juana Molina and everyone's favorite Chilean-German DJ, Ricardo Villalobos. Click here to eavesdrop on these beatmakers' global game of "telephone."

DOOM Returns

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With its apocalyptic overtures and hints of 3 A.M., dead-drunk dread, “Dinosauria, We” (the spoken-word bit that opens up MF DOOM’s “Cellz”) is prototypical Charles Bukowski. “Radiated robot men” roam the streets where the “sun is masked.” “Mrs. Death laughs” and “the chosen watch from space platforms.” Rivers vanish. Bodies rot. The rain stops. And, somewhere, the poet’s lines dissolve into spurts of syllables: “Castrated/ Debauched/ Disinherited/ Because of this/ Fooled by this/ Used by this/ Pissed on by this/ Made crazy and sick by this/ Made violent/ Made inhuman.”

It’s prophecy mired in hallucinogenic pop-culture references -- dime-store, sci-fi nihilism doubled over by bare-knuckle linguistic stunts. It’s pure Bukowski, but it's also pure DOOM. “Revelations in Braille” reveal realms of “smelly gel fume.” Nations fail, and blazing swords praise the lord as our masked supervillain can be found “Sittin' in the kitchen/ Pissin'/ Twitchin'/ Kissin' steel lead.” DOOM has always positioned his low-cult kitsch as dramatic divination, despite his hemorrhage of stray images that warps meaning for sound. But somehow, a message emerges: DOOM is back. Hide the women and children. 

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Play "Cellz"

slideshow_everything_florida_560x224.jpg Over the past two years, Flo Rida rose from obscurity and quickly established himself as one of hip-hop's most commercially viable artists. If you've been to a club in the past 16 months, you've probably danced to one of his songs. Mr. Rida has owned the digital music realm as well. "Low," his hit collaboration with T-Pain, sold upwards of 500,000 MP3s in a single week, more than any song in the history of pop music. Earlier this year, he broke his own record when "Right Round" was downloaded 636,000 times. His success is a testament to his talent. With an ever-pliable flow, the Florida emcee traverses his tracks' ever-shifting rhythms, while using his knack for melody to ensure a primal, immediate dancefloor decadence. It's both sinister and sexy, and it makes for irresistible pop music. In celebration of Rhapsody's premiere of his sophomore album, R.O.O.T.S., we're offering a one-stop Flo Rida guide. Listen to his new songs, check out a photo gallery featuring some of hip-hop's most muscular leading men, and read about his thoughts in an exclusive interview.

LISTEN: Hear Flo Rida's new album, R.O.O.T.S., exclusively on Rhapsody.
TOUCH ME
BROWSE: Check out our exclusive Q&A with Flo Rida.
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EXPLORE: Check out Rhapsody's Essential Florida Hip-Hop Albums.

ROCK THE RADIO: Hear Flo Rida and other anthems on our station of hits, In Da Club.
In Da Club







LOOK: Check out Flo and other hulking heartthrobs our Muscle Men of Hip Hop gallery.
LISTEN: Turn it up and play the definitive playlist of Top 100 Hip-Hop Club Tracks.
Top 100 Hip-Hop Club Tracks







Best Of 2008: Jim Jones

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We asked some of our favorite musicians to tell us about some of their favorite artists, songs and moments from 2008. Here's what New York champagne-popper Jim Jones had to say about the year in music.

Big Events of 2008 That You Address On Your New Album
I’ve been finished with my album so I didn’t get a chance to mention anything about a black president and all that type of sh*t there. But my albums always talk about the recession. We been in a recession. It’s called poverty. That’s what my album reflects. All my n*gg*s in the hood that’s coming up hopeless and trying to struggle to make a dollar. It ain’t easy because they ain’t giving no jobs so we hustle to get ours.

Best Of 2008: Common

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We asked some of our favorite musicians to tell us about some of their favorite artists, songs and moments from 2008. Here's what Chicago MC/actor Common had to say about the year in music.

Big Events of 2008 That You Address On Your New Album
I wrote about Obama. It was more in a way of talking about the change that I see happening in the world when people were started to get inspired by what Obama was doing. The hope that everybody had in their eyes and all the unity and energy that we got out there going right now. I have a song called “Changes” that’s really is symbolic to that and it really could be Barack Obama’s inaugural song because it is something that really deals the positive changes and seeing a better day for the youth and the future. So that’s one song that I could say that revolves around a big event that happened.  You know, to be honest, a lot of the rest of the songs on the album is more just about having fun and enjoying life. There was so much trouble and people were going through so much that I wanted this music to be a release. To be something for them to let go, take their minds off of it, feel some type of inspiration, and just think about fun, smiling, and kicking it. I wanted that to create that energy because I knew people were going through so much.

Best of 2008: DJ Khaled

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We asked some of our favorite musicians to tell us about some of their favorite artists, songs and moments from 2008. Here's what Miami DJ/hitmaker DJ Khaled had to say about the year in music.

Big events of 2008 that you address on your new album
I try to just express the grind, the hustle, and showing people you got to go hard

Angela Bruno: So, here it is, Chris. It's time for the big dance. The senior prom of all blog posts! Except that I've blocked out almost all the details of all proms I've attended. Especially that year when I was everyone's back up date … . But these songs, no, I'll never forget em. Especially with the way you played these breakfast, lunch and afternoon-snacktime at the office. Ah, the memories …

Ne –Yo, "Closer"
AB: Not gonna lie. I pretty much despised Ne-Yo before this song. Then he started wearing really nice suits. And when this song came out – March? – it sounded like dancing-under-palm-trees. Which is just so me.

CR

Kanye West, "Love Lockdown"
AB: Favorite memory: rubbernecking to watch this LIVE on the Paramount lot at the VMAs. Only topped by watching Ellen's reaction to its video premiere on her show. Only matched by my reaction to it premiering on Ellen .

The Academy Is …, "About a Girl"
AB: That dude must be on the Rachel Zoe workout plan. Not only does he look like a chick with an eating disorder – but he is clearly embattled by inflated male ego/insecurity. That's right, bah humbug, I feel sooo bad for you.

John Legend, "Green Light"
AB: I thought I was so over Legend's lothario-hidden-under-the-guise-of-classy-cabaret-esque-piano-man shtick. 'Cause, when you break it down, this song is really only about the urgency of his … boner. Sorry, can I say boner here? But, like I said, nice suits. And Andre's on it. Best line: "I heard you when you told your girl when, oooh he can get it/admit it/ you did it."

Webbie, "Independent"
AB: According to this song, if I work hard, I'm a "bad broad." And according to this squad of romeo-geniuses, a "bad broad" -- by definition (if you don't know, now you know) -- "She cook, she clean, neva smell like onion rings." (Phew, got all three! Thought I'd never make the cut.) This is where you spell everything out …

Mariah, "Touch My Body"
AB:
Oh Mariah, back on the crazy train. How you infuriated me this year. That "wedding" to Nick Cannon. That other wedding to Nick Cannon. The rumors about you two procreating. Please god no.The ill-explained allusion to physics. Oh yeah, and put some CLOTHES on. As me and my girlfriends have hypothesized, she probably got married in a mohair thong bikini. And you, Chris, force-feeding me gossip about her all year long. You fueled the flames!

T.I., "Live Your Life"
AB:
Just the absolute JAM. Played on cue by you on all those ice-coffee-and-chair-dancing-fueled summer afternoons. Hold up, I'm getting misty eyed.

Katy Perry, "Hold N Cold"
AB:
Katy Perry, I salute you. And I'll even forget "Kissed a Girl" while I'm at it too. Serious karaoke potential. But you wouldn't know anything about that …

Paramore, "That's What You Get"
AB:
I love Paramore/Hayley. Loved 'em/her from the get. Don't know why, just do. Plus, you know it's a good song when all the women shoppers at H&M are singing along to it. That is a bond you can't break.

Young Jeezy, "Put On"
AB:
Wasn't that into "Put On" … until I watched an a cappella troupe sing it. Total Street Cred Points Earned : -763!!! And while apparently it's not okay to smell like onion rings, it's apparently okay "her weave look like curly fries." Copy paste other lyrics about – fish sticks, tartar sauce, pockets full of celery, asparagus, they know he got that broccoli ….

Jim Jones, "Pop Champagne"
AB:
Champagne gives me an immediate hangover. And Jim Jones makes me immediately projectile vomit. But for all his misogyny, megalomania, arrogance and douchebaggery, this song serves its party-purpose. Darn it.

Jesse McCartney, "Leavin'"
 AB: I credit the success of this song to ... you playing it incessantly, grown men singing along to it (aka all of my coworkers), my (literally) escapist tendencies, the paltry success rate of my romantic endeavors, his boyish good looks .... total summer jam.

Danity Kane, "Damaged"
 AB: I credit the success of this song to ... my playing it incessantly, grown women (aka all of my friends) singing along to it, my (literally) escapist tendencies, the paltry success rate of my romantic endeavors, their boyish good looks .... that breakdown at the end is simply delicious.

Usher, "Love in this Club"
AB: Maybe Jeezy is just hungry: "it's going down on aisle 3, I bag you like some grocercies." Plus, listening to any other songs on Usher's album is like moving mountains [cue the laugh track]. Real talk: I was beyond obsessed with this song – and could not for the months of march-may start my day without listening to this at least twice every morning.
CR: Jeezy also delved into produce metaphors on "Put On" (asparagus, broccoli, etc.)

Leona Lewis, "Bleeding Love"
AB: How could you not get swept away in the Leona Lewis zeitgeist that was the first half of '08? How could you not expect it to fizzle out soon thereafter?

Lil Wayne, "A Milli"
AB:
So much has been said that there's not much left to say. I've had conversations I never thought I would have about Weezy with people I'd never thought I'd have them with. Total Street Cred Points Earned: 375! The only thing I regret about my year with Weezy is not getting wise to him post-Hot Boys, pre-T3. Total Street Cred Points Earned: -19.

Yung La, "Ain't I"
AB: I'm forfeiting this round. I can't pretend like I've actually heard this song before. Total Street Cred Points Earned: -27.

T-Pain, "I Can't Believe It"
 AB: I can't believe how nonplussed I am. Total Street Cred Points Earned: 444!

Jonas Brothers, "Burning Up"
 AB: Camilla who?
CR: U mad.
AB: Holler at me Joe Jonas, I'll make the pain go away – that was too much eyebrow for one relationship anyway. Plus, I went to Catholic school grades K-12. [Wink.]
CR: Christ on crutches, the boy wears promise rings.
AB: Oh, sorry, I got distracted. This song totally caught me by surprise – in a good way.

Taylor Swift, "Love Story"
AB: I give her props for calling out Joe Jonas [loyalty is not my best quality]. But the thing I love most about this is your completely unironic love for Taylor Swift. ALL you.

Man alive, these dudes know how to sell some sneakers. I don't care if you're wearing last summer's gladiator sandals with some Thinsulate socks or some Chuck Taylors you bought off some crustifarian hanging out outside of Gilman Street, whatever, whatever: you must respect the architects. Nobody merges sound, vision and commerce like Nike. The above commercial was directed by Mark Romanek, famed music vid auteur, responsible for clips such as Jay-Z's "99 Problems." The Lebron ad features appearances by Lil' Wayne and basketball G.O.A.T. Oscar Robertson. The song you hear in the clip is "Candyman," by Cornershop.



I know how it is, my fellow patients. Teeth hurt, sciatica acting up, whooping cough, etc. It's hard to keep a handle on the various maladies of modern life. But when's the last time you had your Taste Barometer tuned? What's that? You haven't looked under that hood in ages? Well, let Dr. Q-Tip, M.D. help you with that.

Q&A: Ludacris

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Six albums in, Ludacris wants to be considered one of hip-hop's best lyricists. Which seems a little odd since the Atlanta native has already racked up five platinum albums, sold almost 13 million records, and won the Best Rap Album Grammy for 2007’s Release Therapy. Then again, maybe some people think Luda’s gone Hollywood, having landed roles in Crash, Hustle & Flow and Max Payne. Ready to prove that he still lives and breathes rap, Cris is back with Theater of the Mind, which aims to be a sonic blockbuster, and features Jay-Z, Nas, Chris Brown, T-Pain, T.I., Rick Ross, Chris Rock and Spike Lee. Rhapsody recently got Ludacris on the phone to discuss recording with DJ Premier, dropping Theater ...  on the same day as Kanye West and the Killers released their new albums, and collaborating with his one-time adversary T.I.

Dig This! Curumin

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DIG THIS FREE MP3 DOWNLOAD: Curumin, "Compacto"

Curumin is the Quannum artist who shouldn't be. On a Bay Area label of underground rappers, the young man born Luciano Nakata Albuquerque is a Brazilian multi-instrumentalist who doesn't rap and is, in many ways, an old-fashioned songwriter. But when Quannum co-founders Blackalicious toured Brazil in 2004, Curumin's manager slipped his first album, Achados e Perdidos, into their hands, and the group listened. What they heard seriously impressed them: a young man who had Stevie Wonder on the brain, James Brown in the beats and Jorge Ben in the melodies. Shortly after, they signed him.

Two things drive Curumin: a powerful nostalgia for the simplicity of childhood and a voracious appetite for new sounds. JapanPopShow, his second album, is a vintage-era masterpiece. But, for all its diverse influences -- Brazilian pop, soul, funk and reggae  -- it's also a complete musical universe. There are no loose threads. And given how beautifully textured the album is, perhaps it's not surprising he's a Quannum artist -- any hip-hop producer would want to sample these songs. (In fact, several rappers guest on the album.) We caught up with Rhapsody's Dig This! artist in early November, and asked him about all the usual stuff -- the album's name, his inspirations -- but we got a lot more: meditations on youth, our modern world, and what tradition means in the age of globalization.

[Click the "Continue Reading..." link to listen to a playlist featuring the music discussed in this post.]

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Welcome to the November 2008 version of Dig This! Every month, Rhapsody’s editorial staff will introduce you to a few artists you may not know, give you a chance to check out their music, and present them in their own words -- watch this space for upcoming features on the individual artists. Oh, and we’ll throw you some free downloads from them, too.

This month in Dig This!:
Curumin, a Brazilian of Spanish-Japanese descent who fell in love with American hip-hop and Jorge Ben at the same time.

San Quinn, an underground rap legend in the Bay Area, prolific and celebrated locally, but only now starting to break out on the national stage.

School of Seven Bells, a Brooklyn trio that combines gorgeous harmonies, a world of rhythms and some ecstatic studio sense to create beautiful psychedelic pop jams.

[Click the "Continue Reading..." link to listen to a playlist featuring the music discussed in this post.]

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