Showing posts with label rap. Show all posts
Showing posts with label rap. Show all posts
Posted by Ben on 7/29/2009 02:41:00 PM


It was the end of June when I noticed that The Great Hangover Tour, headlined by Kanye West protege, Kid Cudi, and for lack of a better description, the college-loving Asher Roth, would make a stop at the House of Blues on the Sunset Strip in Los Angeles. Later on, after I had eased my way into summer and completed the items on my mental to-do list, which primarily consisted of swimming, I bought my tickets (funny story: on Ticketmaster I was told that the event was sold out. After I had a small panic attack, I called up the venue and was told there were still tickets and they posted them online - thank you, Morse, for creating phones). It wasn't too long before Sunday, July 26th arrived.

Before heading out to the venue, I discovered that the opening acts were actually other rappers, contrary to my prior belief that a DJ would hype up the crowd. The first to come on was a local rap group of three singers, Pacific Division or Pac Div for short. While my cousin and I made fun of the group's name, our expectations were probably too low as the profane trio spit their lyrics. My favorite song by the group, "Mayor", which reminded me of Kidz In the Hall's "Drivin Down the Block", included a a few sports references as well: "Joe Frazier, second round knockout...Pullin’ h*es since Bo Jackson was a Raider...your boy hustle hard like Rambis for the Lakers." Even though they weren't the most extraordinary rappers on the planet - cursing every other word hardly qualifies as music - these boys didn't disappoint and for that, I give them a good rap.

Next up was B.o.B. (a.k.a. Bobby Ray) who was not only a humorous performer, but a very talented musician, indeed. I hadn't heard any of his tracks, or any of Pac Div's for that matter, and I was extremely impressed by the quality of his music and the potential that the man has. Once he had sang several tunes, the only special guest of the night, Playboy Tre, a well-rounded rapper with a high voice, joined in for a few jams. Among the better duets was "Voltage", with a catchy chorus and a classy beat. His set was amazing, but if I could go back in time to one song it would undoubtedly be "I'll Be In the Sky", which was very well-produced and got the crowd loose.

When B.o.B.'s time to shine came to a close, the headliner, the one-and-only Kid Cudi stole the show. The Ohio native opened with "Dat New New", the perfect song to adjust the crowd's ear from the discography of previous acts. Although there were no special guests (where's Wale?), Kanye and Common weren't necessary to get the crowd's hands up for "Make Her Say." As promised, Cudi mixed up the set list with songs from his upcoming album, Man on the Moon, as well as spicing things up with his mixtape work. He surely didn't disappoint me when he played my favorite song off of "A Kid Named Cudi" mixtape, "Embrace the Martian", which, despite the fact that it seemed short, energized the audience. I believe he followed that up with "Is There Any Love?" and had the crowd lyricing for the duration of the song.



Of course, Cudi made sure to pace the night out with the Ratatat-influenced "Heaven at Nite," completely changing the mood from somewhat hyphy to chill. Nevertheless, the fans in the building were soon uplifted by the N.E.R.D.-sampled, "Cudi Spazzin", easing the spectators out of a relaxed euphoria. The climax of the night approached when Cudi's hit single, "Day N Nite", was played three times - remixed, of course. At that point, everyone in the House of Blues either had their hands up, was dancing, drunk, or some combination of the above. Honestly, I don't think Kid Cudi could've played a better set.

Whether it was Pac Div making a Lakers reference, B.o.B. with his back-up singers, or Cudi asking the crowd to "make some noise for the water stain on my shirt", it was definitely a sick show and a must-see for any fan of rap.

Quick shout-out to JTPesos and Jon for the ride and fun walk to and from the venue.

Revision: I forgot to mention Cudi signing his future hit and title track of his upcoming album "Man on the Moon." It was probably the peak of relaxation, with lullaby-like singing from Cudi. To quote the song, the atmosphere felt a little "hazy, hazy, hazy".

Posted by Ben on 6/08/2009 11:06:00 PM

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The rap game has been trashed for awhile now. Nas foreshadowed hip-hop's future struggles when he released "Hip Hop Is Dead" at the end of '06. There have been a few explanations about the demoralization of the genre, including a unique post here and there. And we've listened to many emerging artists who, in reality, probably don't have a decent voice - but they get airplay because they have used autotune. Autotune is now associated with the latest stage of rap. It has helped elevate rap artists to the same throne electronic artists and DJs around the world are occupying. Giving a song a more robotic feel, or for naturalists, a more chipmunk sound, it has helped producers to give their clients a high-pitch stability - as oppose to screwing up on their own, which is very likely. But in this Age of Corruption, it's time to move past autotune and recognize that good music isn't made automatically.

Finally, a track by a monarch of the modern age attacking his fellow subjects who have undermined the grandness of the melodic kingdom with imposterity (better known as the use of autotune). It's about time a member of rap's elite stood up and confronted the miserable productions that are relucatantly receiving airplay; after hearing some very pointless rap songs lately, it's great that Jay-Z is chastising his peers. Autotune can only sugarcoat a horrible song so much - as proven in "Birthday Sex" and other very stupid tracks. Plus, where the substance? Where's the quality that made the fast spit of words tolerable? Have you heard any of Asher Roth's songs besides "I Love College"? I have respect for the man, but when you're making songs called "Lion's Roar" with no real message you're disgracing what we call "rap."

And what better way to show youngsters real music, than by producing it. Instead of some oddball percussion and dull vocals, Jay-Z spices things up with some bold horns and a melodic tune to his lyrics. Personally, I've gotten tired of hearing rappers rhyme words like "nuthin" and "hustlin." There's plenty of creative poetry and no "T-Pain'in", taking a jab at the funny singer who brought autotune into his albums, on this record. But in the following verse he asks artists to get back to rap, in which he expresses dismay for the flock to R&B. We've seen various artists make the switch including Akon on his latest album, Freedom, and more obviously Kanye West on 808s & Heartbreak. I particularly enjoy an element of repitition in D.O.A. - "Na, na, na, na. Hey, hey, hey. Goodbye." Maybe it's just me, but Z is showing some class by using a line from a Goodie but Oldie tune.

I also became cognizant of Jay-Z's awareness of history when he claims that he's the "only rapper to rewrite history without a pen." He shows his respect for previous idols by mentioning "Sinatra at the opera." From a historian/economist's standpoint, Z doesn't forget to mention the lowlight of the 30's when he accuses his colleagues "I know we facin' a recession, but the music y'all makin' gonna make it the Great Depression." Throughout the song, he notes that he has an instrumental role in shaping culture when he says "I might bring back Versace shades." (I'm probably over-analyzing this, but Jay may be making a statement against Kanye's shutter shades in that verse.)

The murder of autotune lets us all know about his principles during the duration of the track, as well. The whole song is a testament to how seriously Jay approaches music and the qualities that distinguish music from sounds. This time he's not bragging about his money, at least not entirely, when he sings: "Ah, I'm a multi-millionaire/So how is it that I'm still the hardest n***a here?" And the man makes a good point: How come these young, over-night music stars are getting so much critical acclaim and enlargening their egos when their work has been detrimental to the progress of an entire category of music? Jay also attacks fellow rappers with lines about the projects and how it makes no sense to brag about street life - even though this man is heavily connected with Brooklyn.

In short, Jay-Z has sent an important message through D.O.A.: Let's stay focused and get back to producing quality music, so that we can't be accused of lazy abusers.

By the way, Lakers fans, y'all need to check out this track by Jay Rock.