I write about music and stuff...

Showing posts with label music. Show all posts
Showing posts with label music. Show all posts

Sunday, 1 February 2015

D'Angelo on Saturday Night Live


The dropping of Black Messiah, reminded us of what we have missed from music. And no, I'm not just talking about D'angelo's soul caressing vocals laid over hypnotic beats (that can be product of nothing other than delicate craft). I'm talking about the questions conjured, the issues outlined and the message so wrapped within the music, it still penetrates the trance his voice puts you into. The political statements could not be missed in The Charade; "All we wanted was a chance to talk, 'stead we only got outlined in Chalk" - a reference to Mike Brown, Eric Garner and the horrible injustices in America that are evermore apparent right now. In, what I believe is, his first live performance since dropping the album, D'Angelo performed the track last night on SNL, along with Really Love.

It's stripped back, it's simple but there is real detail in the performance, which is probably why it's so enticing. It's funny because, the making of the album was a collaborative effort from D'angelo and his band, The Vanguard, so the live versions of both tracks sound pretty much identical to the album versions. It's just something about seeing it all being executed to perfection live that's so intriguing. I literally found myself fixated on my screen (but that's probably also because I was trying imagine D'angelo serenading me with Really Love because boy those vocals are tighttttttttt). I feel like the choice of songs; one about love and one about fighting against social injustice, sent out 2 things we really need in the world right now. Less subtle, was the message he relayed with the chalk outline on stage, the band's "I Can't Breathe" shirts and the hoodie he wore (which I'm guessing is related to the tragic story of Trayvon Martin). The perfect use of music, the perfect use of performance and the perfect use of platform. 

I love live bands, smooth ass vocals and music doing more than just entertaining - but sending out a message. So yes, I loved this performance. And yes, I need someone to come with me and watch him and Raheem - Razzaaaaaa - Bakhare when he comes to London town pls.

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Wednesday, 28 January 2015

Shakka & Frisco - Walking With The Elephants Remix


You're most probably familiar, in fact overly familiar, with Ten Walls' track, Walking With The Elephants, as it circulated the radio waves and club scene last year. Just as you thought you'd thought that crazy central horn section of the song just wasn't as exciting as it used to be, Mr 2 K's, with help from Mr Frisco/Frisc-FLOW has revitalised its beautiful grunginess in his latest remix. If I were to sum up my feelings upon first hearing the track, I'd have to describe it as one of those songs that remind you why you love music so god damn much.
Shakka's voice pretty much just induces dopamine release in my body. This is probably down to the fact that I can be 100% certain, if it's got Shakka's name on it, it will be a CHOON. His voice, creativity and overall approach to music is so so so so so so so so so refreshing. Personally, the gas levels of this tune were significantly enhanced by getting Frisco on it, being that he is one of my favourite MC's. To be fair, Like Frisco said in the video below, Shakka came up on the track like an MC himself. So, personally, having an MC jumping on the track was really not necessary. But, Big Fris' cool, calm and suave, yet gritty, flavours worked to my approval for sure. I definitely think they can be much better appreciated in their live performance below (which by the way makes me want to cry many salty tears over the fact that I was not there to witness this in the flesh).


If you also want to experience it in all it's bassy glory, which I suggest you do, then click here innit... 

And, if your soul feels it needs to soak up some more of Shakka's wonderfully infectious energy then this is a must (if you haven't seen it already). Beautiful, creative and innovative. If the glorious vibes he radiates weren't enough, he further enhanced his live performance and artisty by using his own live recorded vocals to accompany the live band in providing the backing music. It's hard to explain, but it's proper cool so just watch it.




And whilst we're in SBTV land you might as well check out Frisco's latest freestyle. Back with slick bars on a sick grime beat courtesy of Rude Kid, he shows us what we already know, Frisco is gulllllllllllllllly 2 da core. He also talks about a new, monthly, grime event he is launching (which the footage of himself and Shakka's performance above is from). I would love to go at one point in my life seeing as I actually live in London now, so, yes, the vacancy for an accomplice to grime raves for a small brown girl is still very much wide open :)

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Monday, 12 May 2014

P Money and Big H - LOTM Trash Talk

I have to rate Big H's confidence. So much so, that sitting and watching every interview he has done since dropping Fire and Smoke is becoming a hobby of mine. There are certain things artists may feel but don't say, and if they actually do say them, then they drop the fake "I'm only joking hahahha" afterwards. Big H on the other hand, says these things with pure seriousness, then sits with a straight face waiting for the next question, with an arrogance that is confusingly not as obnoxious as it should be. This confidence is witness-able in this latest clip of P-Money and H trash talking ahead of their hugely anticipated LOTM clash, that I am half convinced Big H stands a good chance of actually surprising us in and giving P Money that heaaaaaaat.

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Saturday, 10 May 2014

Usher - Good Kisser


I knew you wouldn't leave us drowning in all that fist pumping, dance poop.

The song oozes those hot, provocative flavours. Everything on this track is so so simple and so so clean. Simple beat. Simple lyrics. Clean vocals. Yes. Yes. Yes. It wasn't hard to make a good comeback and top his most recent offerings prior to this new release but thank god he came back  a reformed man. It was just last week I was sat wishing Usher would return to something resembling his "Confessions" phase, not only for the good of his musical credibility but just because my ears missed it. The video for the track is just as clean and simple as the song, starring the Usher we know and love: dancing, smiling cheekily and topless every so often. Good on ya' Ush, it's best to get this all in before you become too old for it to be appropriate - just don't overplay it and be too much of a Trey Songz. Seriously though, the fact this new release is David Guetta free (talented but tainted the R&B scene which is not an easily forgiveable offence) is such good news for my ears.

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Thursday, 8 May 2014

BASHY WENT FRENCH THOUGH (Bashy: Fire In The Booth)


Truth be told, and I am ashamed to say it, I've never really gone out my way to listen to Bashy. The only time I've not seen him in a non-commercial light is on LOTM and on features which, I was always impressed by, but for some reason I still never acted on it. Consequently, before I had a gander at his Fire In The Booth, the image of Bashy in my head was just "commercial Bashy". While I liked the concept of his recent single, 'These Are The Songs', there wasn't much more for me to get realllllly excited about...

...then he spoke French.

He starts with all that political ishhhhhh which was a straight big green tick from me. You could say addressing real issues is something Bashy has done from the start, for example, with 'Black Boys'. But that was years ago, and who want's to be a millionaire etc were hardly the same calibre. Then, came the Arctic Monkey's instrumental and Bashy started talking about big boy stuff. Like, actual, proper grown stuff. None of that pretending he is something he isn't and stunting for image. What's better is that, yes, this realness radiated maturity, but it still left enough room for Bashy to have fun and do fun things i.e. throw shots at Dappy :D

The fire started after all of this though. Flows upon flows to spout a whole loada truth, from how to break the system to how you should reflect on your reflection in the mirror if it's showing you a man in a skirt. This Fire In The Booth was basically just full of ridiculously quotable stuff and yet the most un-quotable part was the ne plus ultra and yes, I know I went Latin, but that's only because BASHY WENT FRENCHHHHHHHHHHHHHHHHHHHHHHHHHH!

Yes.

A verse of fire in French. Lord help me if I knew what he was actually saying jheeezeeeeeeeeeee. Prior to the FITB, the image of Bashy in my head was "Commercial Bashy" in his video pushing a trolley of sacks with the pound sign on them in Arial Black  font. By the end, it had transformed into Ashley-Bashley Thomas sitting in a Jean Paul Gaultier suit eating a croissant (because French innit).
If I never rated him before, I deffo rated him now.


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Thursday, 6 February 2014

#ThrowbackThursday - Donaeo Speechless Live Lounge

I have a habit of dropping these #ThrowbackThursdays (well the 2 that I have actually done) at the very end of Thursday but oh well.

Today I bring to you a Live Lounge I rediscovered during my long long long journey to and around London yesterday within which I had ample opportunity to rinse my iPod's battery to the core. On rammed tubes that I only got on as a result of full exploitation of my small frame, which enabled me to fill the tiniest pockets of space on the carriages, there was no room to breath, let alone manoeuvre my arm so it could reach into my pocket and change the track on my iPod. But on letting it do it's own thing, it dug up a few forgotten gems buried under playlists upon playlists. One of these was Breakage ft. Donaeo - Speechless which technically I can't really call a gem because I don't really like the song that much but I loved Donaeo's solo cover of it.

Donaeo/DON-AAAAAAAAAAAAY-OH, is the creator of some of the biggest tunes that you hear on a night out and so like most, that's all I really knew him for - a wicked producer who occasionally dropped a couple of random vocals in the form or "party-ty-ty-ty-ty-ty-ty haaaaaaaaard zum zum zum" or "I'm fly, I'm fly-y-y-y ta na na na na ni ni ni ta na na na na na ni ni ni ni". I never actually knew he could sing or did anything more than produce mean beats that made my waist wiggle. It turns out Mr Zephron has a voice that I wish he used so much more. It's not exactly a husky, raspy voice (which I'm a sucker for) but there is something about that tone and very slight, subtle coarseness that I want more of.

So Mr Donaeo, please sing more for those soul destroying cold, rainy Mondays when I need therapy (but please also carry on making riddimsssssss too for Friday nights).

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Friday, 3 January 2014

Don't Waste My Time UK Remix - Krept, Konan, Chip, French Montana,Wretch 32, Chinx Drugz and Fekky


2nd of January, everyone awoke from their slumbers, rubbed out the eye bogeys and sat in their beds at 11:30am scrolling through twitter forgetting about the words of "wisdom" they were blabbering the other day across all thier social networks about productivity, pumping up the work rate and positivity. Amongst the "WE BE ALL NIGHT LOOOOOOOOOOOVE"//It's not everyday...//Real men shouldn't this and should that tweets as they scrolled they would have come across snippets of drama (which was very much over hyped by twitter land) surrounding the two Don't Waste My Time remixes dropped today. Now although I'm here to talk about the track, not the industry politics and the misunderstanding surrounding it, I must quickly address one thing...

Due to all the hoo-har on twitter, the one real issue in all of this was overlooked: the lack of respect French (along with pretty much the rest of the US scene) showed for the UK. He used a UK song for his mixtape. Okay, that's cool, thanks. But could he not have even credited Krept and Konan on the track listing? Is this twitter - there are no character limits. And did he really have to take the UK artists off the song to put it on his mixtape? Last time I checked, Lana Del Ray wasn't part of Coke Boys but she's still featured so it cant be that  he took off Chip, Fekky and Wretch's verses because it's a purely just a Coke Boys project. They executed strong verses - it would not sacrifice the Coke Boys' rep or quality of mixtape to keep them on there. He's not obliged to do anything but if the UK scene was rated let alone respected then just a simple gesture to support our scene would not harm himself, his career and would take him minimal effort. I guess it's that American artist "superior" attitude thinking that remixing one UK track is one too many favours for us.

That's just my thoughts but anyway...

The original version of 'Don't Waste My Time' is a straight greezy, raw, gas-material track. It doesn't carry the substance Krept and Konan's more concious stuff does, and although I love me some music with a message, from time to time you have to switch it up and give credit to the bangers that, when blasted, have you nodding your head like you're the don dadaaaaaaaaa. This is exactly why I was clinging onto the edge of my seat for the remix to drop. It's these types of tunes that get the artists on their toes making sure they go H'IIIIIIIINNNNN competing for the hardest verse whether they get put on the remix or do their own cover. And that's the real beauty...it gets the whole scene going!

You don't even need to get past the first verse for proof of this - Chip wins! He said it was a "killer verse" and he tells no lies. It's not technically  the best in terms of lyricism blah blah but for the type of track it is, the verse is perfect. For me, French got a bit lazy on this. Although they're decent bars - they're recycled and given that he always raps about the same old stuff anyway it's nothing more than a poor effort from him especially for something he is putting out on his mix tape where it's usually nice to deviate and experiment in the safety of the non-mainstream waters. Moving on...Wretch has never been the "greezy" type of rapper and if you were to match a track to him, this wouldn't be it - it's way darker, far too trappy and hence a lot more Americanised than his usual stuff. However, he manages to sound more than comfortable on this track controlling his verse and letting it build momentum as it progresses, leaving on a good, solid ending;"kabooooooooooom". Surprisingly, it's not his lyricism that stands out for me in this, but it was his delivery that took the spotlight - it was strong and was what gave his verse fire. Another piece of evidence proving he is one of our most skilled and versatile rappers right now. Chinx Drugz verse was decent. I'm not gunna lie, I haven't really made effort to listen to his other stuff so I can't really comment against his other work but judging from this he is iteeeee. If I wasn't the eager beaver I am, after hearing this I probably wouldn't have much motivation to listen to anything else of his. Fekky was good. Not at his best for me but he was decent and definitely continued the theme of Team UK > Team US which echoes through the track. It goes without saying that Krept and Konan's original verses were hard and even with the new additions they still remained strong (if I had to choose between the two though it would be Krept).  

The team US link up (although slightly messed up with the way French dropped his remix first) is a great move for Krept and Konan but the US efforts on this are lazy. A straight UK link up with a few more of our homegrown artists could have this looking like the new 'Game Over' and definitely worth my time. I'm just excited for the next few days where everyone is going to be dropping their own verses over this. Round 2 commence *DING DING*

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Tuesday, 24 December 2013

Mr Bigz - My Funked Up Soul *Mixtape*

It's been about a year since we last heard from Bigz, one of the UK's finest HipHop veterans who we've seen steadily working up the ranks since Channel U days, but a couple of weeks back (yes I know - I'm a bit late) under his new more grown alias of Mr Bigz, he brought us a slice of the equally matured sounds of 80s soul flavoured with 90's HipHop flows and wit.

Skilfully produced completely by Turkish Dycypha, the mixtape is far from secreting the stench of "trying too hard" to imitate the sounds of the big hair and parachute pants days. Instead, it radiates the redolence of the reminiscent vibes that would have been floating about the studio, conjuring memories of the times when it was all simple and easy. Vibes which have seeped into the songs and given us 16 tracks of perfect Sunday morning easy listening material. It seems Mr Bigz's recent, and might I add: APPLAUDABLE, grind in the gym has not only helped him drop a few stone but also bad vibes as they're non existent amongst the witty wordplay, fun flows and hints of humour that you'll find in every track. It's seriously refreshing to have a whole EP of laid back, yet quality, tracks that do nothing but make me want to walk down the road in a Soul Train esque manner as I make my way to college.

Although I am not oblivious to music before my time (it would be rude not to be), as someone who is too young to have lived to remember anything even near times that these type of sounds originate from, I really enjoyed the authentic samples. Amongst the familiar ones used such as Mary Jane Girls' "All Night Long" which I recognised from LL Cool J's old school shenanigans, the not so familiar samples gave me an excuse to geek out, get my research orrrrrrn and expand my musical horizons so fist bumps all round for that Mr Bigzyyyyy and Turkish Dycypha.

My only qualms with this mixtape is the line in 'Trouble Man': "We only see shadows in the dark"  because you need light to produce shadows and the line lead me to getting into such a deep mental debate over this fact on the bus that I got so caught up in it and almost missed my stop. But apart from that rather picky criticism, Mr Bigz has beautifully united the funkaaaaaay sounds of soul and hard flows and lyricism of real Hip Hop into an EP strong enough to make it into my favourites of 2013. I'll probably be still pumping this as we make our way to 2014 because, and I can't stress this enough, it's so so effortless and eaaaaaaaaaaaaasy to listen to! It's also nice to hear something different coming from the UK scene - the absence of collaborations perhaps prove this; in that there wasn't anyone quite riding the same wave as Bigz and therefore worthy of being featured. I'm glad he has kept 'making good music' at the heart of the project and didn't sacrifice a feature of an artist that didn't quite get 'it' in order to reach out to their fanbases for a bit more buzz. Instead, he has poured a '100% pure with bits' glass of himself into the project ensuring the vibe he was feeling was channelled into a great mixtape.

If you haven't already then get downloading/streaming at www.mrbigz.co.uk 

PS. Merry Christmas innit :D
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Monday, 23 December 2013

Music Video Monday: ICEY - Skepta

Skeppy has let his creative juices spill over every inch of this project. Not only did he produce the song with Jason and Hooks, he also directed, with the help of Kritikal, the intriguing visual (albeit not as..."intriguing" as the 'All Over The House' video) which kills two birds with one stone with it being a platform to promote his new song and new clothing range. As a result of this efficiency, what we find before us on our screens is what is probably the hoodest catwalk ever.

In the spirit of being ICEY, the video was FRESHLY dropped into our laps less than 24 after Skepta and Kritikal had spent 26-odd hours creating it. It basically consists of Joseph Junior and co. walking up and down, rocking his golden-JME-pendant inspired (think back to: "She said she's in love with my Jesus piece. I told her to look a bit closer, it's not Jesus baby it's JAY EM EE") jumpers/t-shirts. It's not the most outrageous thing you'll ever see yet you'll find your eyes unexpectedly glued to the screen. It may have something to do with the visual being tailored so it wasn't solely an advert for the clothing range but still held relevance to the song and this was achieved just by adding in the little details like Yardy walking up the catwalk with the belt every time the track plays "still trying to get the championship belt of Yardy" - seesimple.

In regards to the song: it's okay. It grows on me the more I listen to it. It's not his hardest but it's enough for it to resemble what you'd imagine the backing track for 'Super Mario Bros: Tuggggg Edition' would be. It's not clear if the song is going to be a single or an album track but if it's just a song to go along with the promo for his clothes then it more than does it's job.

Check out the video below.
If you want to get your hands on the clothing then hit up: attackthezombies.com/
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Saturday, 14 December 2013

Beyonce - BEYONCE Album

Recently my posts have been dropped here and there because, well, I've been busy. Atleast that is what I thought I was until Beyonce dropped an album of 14 songs and 17 visuals all whilst she was rehearsing for/performing a world tour, being one of the biggest international stars of our generation, a wife oh and a mother too. I then thought maybe I could spare a chunk of my now-not-so-busy schedule to write a word or two on "BEYONCE" - the album.


If you've watched Beyonce's biographical movie "Life Is But A Dream" you will be aware of the pure blood, sweat, tears and time from her years that she puts into a single performance. Multiply this by the amount of songs on her set list and then multiply this again by the one-hundred-odd shows she is doing around the world and you'll find yourself on a cloud of confusion floating around the question of how the hell did she even find time to (co)write an album, get into the studio to lay down the vocals and play about with them to fix them into an actual song, and then film 17 visuals to accompany all of this. God knows how she did it, but she has done didded it anyway. Perhaps she invested into new cutting edge scientific research around how to stop time, or maybe she has cloned herself, or maybe we are taking too much credit away from her work ethic, which seems to be even crazier than we first thought. It is this very work ethic that has got her to such a point that her marketing team can kick back for a bit and watch as she crashes iTunes with an album she dropped just like that with no promo. It is this very work ethic that drives her to pull such stunts to make sure that no one will be catching up to her any time soon as she, not only reaches but, surpasses the top of the game.

Before I even got to the visuals, I listened first. This was because I was intrigued to see if the focus on the visuals and the fact she has been so busy doing pretty much everything else, was going to take away from the quality of music. (I assure you my reluctance to not watch the visuals first did not stem from the fact I had to get to college and I didn't have time to let the videos sync on my iPod before I left the house). The album begins with "Pretty Hurts" - a song about society's pressures on the average human being to be perfect. Now if I'm going to be honest, a message about it's what is inside that counts and that "the soul needs the surgery" is all well and good and I'm ALL about self worth and stuff, but when it comes from one of the most visually appealing women in the world, who doesn't really exaggerate her natural beauty, the message is a tad bitter-sweet. Then again, I remembered that she is human and even she will feel self concious from time to time and she is under 10000 times more scrutiny than your average Susan Smith and maybe I should cut her some slack. Soz B. Anyway, as you get deeper into the album all that socially concious, deep stuff (as much as I do love a good uplifting message) fades into the background as in the second song she tells us she is "sold not for sale, probably won't make no money of this but oh well" implying that this album is more than just her doing her job as a musician and stacking a few bills from it, but it is in fact a statement of art. It seems interesting then that what's to follow on in the song and for the next few tracks is basically Beyonce's freaky side as she takes us through the more hot and sweaty parts of her life. For instance "Can you lick my skittles, that's the sweetest in the middle, pink that's the flavour, solve the riddle" is definitely not about coming home from work on a Tuesday night and stabbing up the plastic film on a microwave meal for one. Recently I have been reliving the sounds of my favourite Beyonce album, B'Day, and these songs have very much reflected the energy she channelled back then - from the bouncy, fun instrumentals to the kinky-er, "Kitty Kat" esque lyrics.

By the time we get to track 7, the tone changes as she begins to question her relationship with Jay-Z, sings about jealous suspicions and in "Mine", a track shared with Drake, she talks of the strains of a long distance relationship. By "XO" we can be reassured that Jigga and Beyonce are fine though *phew* and are still deeply in love."***Flawless", the following track, shows that in light of this, she's back on top of the world again and instructs us to "BOW DOWN B*TCHES B*TCHES". Rather than this being just an extremely un-modest declaration of her superiority, it also doubles up as a feminist statement of female suppression by males (although I think Queen B can be a bit of a hypocrite when it comes to her "independent woman" empowerment malarkey). Her next track features Mr Frank Ocean and continues to tell us the love story of her and Jay-Z. At this point I realised that since reaching the midway point of the album, her sound has become much more grown and serious and it increasingly resembles her last 2 albums. If I hadn't realised by then, I would have definitely been hit by this change in her penultimate track where she tells the heart breaking story of the loss of her unborn child. The final track titled "Blue", which is about, yep you guessed it, Blue Ivy, brings the whole album to an end but signifies the beginning of a new chapter in her life: Motherhood.

Upon reaching the end, I thought back to her statement in her second track with it's implications of this self titled compilation being art and it all made sense. The album is a biographical experience that lets us into her 2 most important jobs: being a wife and being a mother. It begins with "Pretty Hurts" which explains her coming to terms and adjustment to media's challenges as she rocketed to fame. This is the only track that directly discusses her career because the bulk of her life really revolves around her other half, and this is why this love story is what dominates the content of the album. The channelling of those "B'Day" album vibes is a symbol of reminiscence over her and Jay-Z's relationship when it was in the young, fun, honeymoon period. Bang on in the middle of the album the sound matures as we move into the next chapter of her life and we get a peek into the stresses and strains of keeping a relationship strong but we also see the rewards of making it work. Only the 2 final tracks are dedicated to motherhood, because this is the part of her journey she has only just begun.

I am glad I did listen before I watched because I feel I would have missed out on so much had I just watched the visuals...mainly because they pretty much all consist of Beyonce half naked and I'd probably get distracted by all the twisted moral - yeah I said it! Considering that a lot inspiration can be drawn from this project in terms of work ethic etc. it worries me that Beyonce, mother, wife and idol to many girls, chose to leave a little less to the imagination in these videos. It makes me wonder why we condemn Rihanna for doing the things Beyonce does despite Rihanna being in a more justifiable place (even though it still isn't justified) to do it (i.e. being less of a household name, international sweetheart, not a mother or a wife). To be honest all of Beyonce's videos seem to go along the theme of her behind a camera doing a dance routine or something, but I felt with this album she had a chance to get artistic and paint a more vivid story with the visuals. The videos dissapointed me because yet again I'm getting mixed moral messages from B and I feel sorry for the many people that have missed out on the real story running through the music because they went straight to the videos and were hypnotised by her jiggiling gluteus maximus.

Aside from the videos which I felt let her down and in my eyes stripped a little credibility from the album, the rest is GOOD quality. The production of the songs, the vocals and the actual story - it's nice to finally have a true album that is honest from Beyoncé. The only thing that could have made this more epic for me is, as you may have guessed, BETTER visuals and perhaps an ending video with a 5 second shot of Jay-Z sitting in a chair, smugly puffing on a cuban cigar and then all you hear is the *Jigga Laugh*.
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Thursday, 28 November 2013

Throwback Thursday: Akala - 'Dat Boy' and Thieves Banquet Tour

So yesterday I went to see King Akalalalalalalalalalalalalalalalalalala (aka Akala) and his support act and newly dreaded up Sir Josh Oshoshoshoshoshoshoshoshoshoshoshosho (aka Josh Osho) at Nottingham's Rock Citytytytytytytytytytytytyty (yeah, I'll stop now) as part of Akala's Thieves Banquet Tour.

In the humble setting of one of the smaller halls of Rock City, Josh took the stage on a oSHO ting...okay, maybe not quite in such a fashion but I didn't want to waste a good punchline so yeah...
He actually made his way on to the stage by squeezing between me and my friend (who I had dragged along) at the front of the crowd (obviously I, Miss eager beaver, was right at the front), turning to say sorry (like a proper cute little gentleman) as he pulled his guitar past us. With what was probably a smaller crowd then the other venues of the tour, he handled it like a true professional and managed to win over the somewhat, rowdier less engaged members of the crowd, using just the sultry sounds from his lips, symphonies constructed by just the six strings on his guitar and a dose or two of satire. I actually do think this is as a credit to Osho's skills as an artisst and performer considering he: 
    1. was the support act
    2. was an act that who's vibe was much more calmer than the one much of the crowd came to see (which isn't a bad thing for me but perhaps is for others) 
    3. sang songs that were pretty much unknown to those that aren't big Osho fans (sadly there was no 'Redemption Days') which you'd think would make it harder as a crowd member to connect but the pure conviction and soul he saaaaaaaaaaangs with in his performance took care of that.
Now, I must say I am convinced that Akala morphed into a fly earlier that day and followed me around to eavesdrop on the tunes that had been pumping through my headphones and then put them all on the setlist (which he changes for every night of the tour) because it consisted of 90% of my top Akala songs. Although even if the set list wasn't full of many of my favourites I would have left the gig on the exact same vibe: empowered. 

If you already rate Akala, seeing him live is a whole new level. Sitting in front of YouTube watching his Fire In The Booths and being blown away by the outstanding flow, character and most significantly content, is a feeling magnified 100 times when the man himself is right in front of you and a crowd revved up with passion for his words surrounds you. It definitely brings an additional impact to what you get when you listen through your headphones as you journey over to your friends house. Speaking of such journeys, during some of my own, I sometimes used question why Akala uses the instrumentals he does. Why did I question them? Because I always felt they were slightly more rock-like than you'd expect from a Hip-Hop artist (although Hip Hop is really about the words) and could be a bit more epic and add energy to what he was saying. I put the reasoning down to the fact that the choice of instrumentals was probably a method to enable his message to spread to a wider audience, ensure you focus on the words more rather than an overpowering instrumental and helped portray his frustration and insubordination through a more angry rocky beat. Upon seeing him live, I identified another reason: the percussion provided plenty more power. The nature of Akala's music is really meant to be performed live - as a teacher, his lessons have even more capacity when given to you in person. Live music always multiplies the vibe, but in Akala's music the vibe explodes and it's residue sinks into you and I think the thrashy, energetic instrumentals (performed with the help of Cassell The Beatmaker) played a considerably decent part in this. 

I couldn't pin down my favourite performance but the most fun were definitely 'Pompous Pete' and 'The Thieves Banquet' where the enertainment factor was contributed to on multiple levels including Akala's acting skills. Now I thought I'd present you with a video of the night but sadly upon re-watching it my dodgy filming skills and the fact cameras couldn't capture the energy bouncing around the room that night. But oh well, in honour of Throwback Thrusday I bring you 'Dat Boy Akala' from the 'A Little Deeper' mixtape he release with sister Ms Dynamitee-hee which was one of his earlier pieces that evidenced his high level MC-ing capabilities as well as his concious lyricism.

Even if this video doesn't quite put across the levels of energy that I have tried to explain in this post, please please please get down to an Akala show in the near future because it is definitely worth it.




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Sunday, 24 November 2013

Wretch 32 - Daily Duppy

It's Sunday. A day of reflection. So let us recall one event of the week in particular. Wednesday. The day of the storm. The storm that ripped up the UK rap scene. Wretch 32's Daily Duppy. 



There is a reason I have always loved Wretch. He has been my favourite UK Rapper since "End Scene" days where his story telling skills first captured me. On a lyrical front Wretch the Wordsmith has always been untouchable and it's the very reason I feel he is underrated by so many - because his lines simply go over too many people's heads. It's such a shame because there is nothing like sitting on the bus and getting that gas mark 100000000 feeling after uncovering the double (sometimes even triple) meanings hidden amongst the bars - and I can assure you there is not one artist that has got me pausing, rewinding, looping the track as much as Wretch has so I can bask in that very feeling. That's probably why I still haven't got over his Daily Duppy. Until Wednesday I didn't actually think it was possible for him to elevate any higher on the lyrical front. The wordplay was unmissable (quite literally as good ol' GRM daily illustrated it all for us) and if BBM didn't flop then I could predict with 99.9999% confidence that my recent updates would be full of lines taken from this very masterpiece (amongst the odd 'pop up I'm bored'). After taking a few deep breaths and getting over the content, you can then begin to appreciate that full power in the punch does not finish in his words, but lives on in the charisma that leaks out of his delivery and that strong flow - both of which have always been present in his work (if you need proof listen to his Woo Riddim Freestyle), but have also been upgraded, continuing with this theme of growth which we can clearly witness.

I forget in which interview, but I remember when talking on the topic of his achievements, him saying: "it's less celebrating and more elevating". He is improving with success. He reversed the formulae. Charts have changed him - but for the better. He's not sitting around getting too comfortable and allowing himself to slack. That's the kind of mindset that will get him the attention of the US scene. The attention and recognition he definitely deserves because if he was from the USA, this Daily Duppy would have the world going mad.

NOW CAN I GET AN AHHHHHHHHHHHH YEAH


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Friday, 8 November 2013

Mercston - Back To 95

So it seems 'The Movement' (that's Wretch, Ghetts, Scorcher and Mercston by the way) are all back to...well making musical movements really. There was talk a couple of years ago about a reunion mixtape from them, but evidently that wasn't followed through and the members continued to work on individual projects. Then along came this summer and they hooked up to give us a 'Fire in the Booth', a 'Car Check', but still no confirmation of any big plans to produce a musical something-something to get us all nostalgic. But it seems Mercston has got it covered and has thrown us back even further than the Movement Days by bringing us 10 Garage infused tracks on his new release.

Now before you do, don't expect classics like "Bring You Flowers" or "Please Don't Turn Me On". It would be silly to even expect that from:
  1. Grime artist 
  2. Any artist in 2013 -  the genre isn't as significant anymore so that level of vibe just can't replicated right now.
But what Mercston has managed to produce are brand spanking new tracks that have the authenticity to pass as actual tracks that would have been floating around all those years ago have you time travelling back to a decade or so. Therefore, its safe to say it is clear that he has successfully replicated the sound and vibe of the good old days and he has done what he set out to do - take us "Back to '95".

There is a great deal of risk surrounding the mixtape which has so wonderfully paid off. For one, there was a risk of mocking the genre in effort to replicate it's sound - it is like doing a cover of a classic song. Thankfully he captured the right energy. There is also risk of not recieving a good reaction to bringing something so new to the table - especially when "new" comes not in the form of diverse beats or multiple flows, but in the form of, well, the old. It did help that he managed to do do the 'old' properly but no matter what the quality, with anything slightly different there is always the risk of a hostile reception. Personally, I like different. Especially when it's good different. So mercy Mr Mercy-Mercston for the fresh dose of old skool and letting the vibes get H'IIIIIIINSSSSSSIDEEEE my body!
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Sunday, 20 October 2013

MOBO Awards 2013 - 18 Years Old

The past few years I found myself slightly... unsatisfied...with the nominations and winners of some of the categories in the MOBO awards - that being said, it's hard to complain when it is one of the biggest supporters fighting in the "urban" corner of the music scene. This year however, restored some faith into me I must say. I shall explain how and why in my MOBOs 18th birthday analysis which I know you didn't ask for but you might as well just read because you're here now...

Now, I'm abusing the powers of juxtaposition to make sure this post is positive, so I'll get my negative out of the way. Note that I said "negative". Singular. Which is progress from last years negatives.

The night kicked off with Tinie Tempah. He is a great performer, he did his thing and yeah... Quite frankly though, I thought that was all the stage time he really should have got. It sounds harsh, I know. I can't argue that he has done so much for the scene, I've hailed him on this very blog before, but when he returned to the stage to accept the award for Best Hip Hop/Grime Act I can't say I was pleased. I like Tinie. He's humble despite his success. Trampoline was a tune (even if it is slightly Americanised). However, winning the award over nominees such as Akala and Wretch 32 who fit the category much more appropriately made me feel like the MOBOs missed the spot once again. I know the vote is public, but he shouldn't have really been a nominee. You can hardly class Tinie's music as Hip Hop or Grime anymore - that's not a bad thing at all...he's got to do what he has got to do and he is still very much supporting the scene he came from. My problem here lies more in the hands of the MOBOs who seem to have slipped him in as a nominee not based on the music he is supplying but the hype he's surrounded by. With the power the MOBOs have, they shouldn't be filling the nominations with artists that will get the show the most views but supporting the artists who may be underground yet are simultaneously worthy contenders of the category. 

Anyway lets be happy now...

WILEEEEEEEEEES FINALLY GOT A MOBO! Joy and jubilation! For someone who created one of the most prominent genres in the UK urban music scene it's shocking that this is his FIRST ever MOBO award. It's so refreshing - and I mean cold glass of water after running a marathon in a heatwave (lol) refreshing - to see his years of graft paying off. Along side his plaques for his number one singles he can now put a nice, shiny MOBO on his mantlepiece. In true Wiley-styley there was no sign of him at awards but lets give credit where it is due...he did leave a video message and I'll give him 10 bonus points for putting Angel aka my babes on my screen to represent and pick up the award for him. Maybe in the near future he'll get the chance to accept his own award for the success of an album full of, dare I say it, Grime tunes? No, this isn't me getting caught up in the excitement of him finally winning a MOBO. Mr Cowie, dedicated to the genre he fathered, is apparently leaving behind the formula to success he's been using since Summer 2012 and is bringing it back to the days we saw in the Lights On video. It's not a crazy Wiley-styley stunt. Now that he's in a stronger position than ever and has a better experience of the industry, it's an educated move to become successful and in his eyes this means making music he wants to make. Who knows? It could be possible. Maybe he will bring real Eski to the charts. Either way....congratulations and a big fat GWAAN WILEY!

Krept and Konan winning Best Newcomer was not only responsible for another burst of joy but was also responsible for best reaction of the night, coming from Krept's evidently proud Dad. It makes me proud to see such humble and nice guys (I've met them so I can actually back these claims up) tearing the scene up. They're so unstoppable right now its unbelievable to think this is all being achieved independently. They held a top 20 position in the Official Album Charts for A MIXTAPE and then win Best Newcomer at the MOBOs with no backing of a major label. They had tough competition from fellow nominees (who were ALL worthy so well done MOBOs) Jacob Banks, Shakka, Daley and Etta Bond but the award belonged to Krept and Kones and their victorious past few months. It feels like their recent success is the brewing before the storm rather than the climax of it. That makes me really really excited because they're adding strength and direction to the UK rap scene, which seems like it's lagging at times. They have a real potential to impact.


Other stars of the show include Naughty Boy who won two awards (the second win was accompanied by a wonderfully entertaining drunken speech) with Sam Smith (who looked adorably shy on that stage...and much taller than I had expected) for Best Song and Best Video with their, not even catchy but, contagious song La La La La (dun know the Indian musical flavours seasoning that track!). Also getting the double was Laura Mvula who's soul cleansing sound  helped her cop Best Female and Best R&B and Soul Act

After playing a flashback of past MOBO performances - such as LL Cool J, Jigga, Destiny's Child and Mary J Blige - the performers this year had their parade slightly rained on. Nevertheless, the stage held the likes of Iggy Azalea whose cake is way out of Mr Kipling's leauge, FUUUUUUUUUUUUUUUUUUUUUUSE ODG and Rudimental with a capital MENTAL. Now, if we are giving out prizes for the performance of the night then it goes to none other than So Solid Crew who closed the show with the same song they opened the show with 12 years ago: 21 SECONDS T-T-T 21 SECONDS T-T-T. They created a legacy so strong they were able to come back years later and still kill the stage using just their history and energy. It makes me wish I went to that comeback show. Maybe then I could have blagged my way backstage and asked Lisa Mafia how she still looks fiyaaaaaaaaaaa.
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Sunday, 11 August 2013

BBC Urban Proms 2013

Today a sample of  6 of our finest urban artists took the genre to a whole new level and switched up the BBC Proms 1 Xtra styley. Urban Classics live back in 2012 was an event but this was an occasion. The Proms have been celebrating classical music for 119 years, and tonight it invited one of the UK's least appreciated genres and let it's ambassadors show the world how we do. It really felt like UK urban music got that seal of approval and was welcomed with open arms - forget the top 40, we roll with the BBC Proms now yo!

I was most excited to see what Lady Leshurr and Wretch 32 would do. As much as I love my Mr Wretchy Wretch (who may I add looked SUAVE as hell) my favourite of the night was Miss Lesh because she came out and just did her, herself, she and she only. She's already a female grime artist from *Lady Leshurr Voice* "BRUM BRUM BRUM BRUM" excelling in world whose A* students often come in the package of a London based male artist, yet still, even in the illustrious venue of Royal Albert Hall, she looked as comfortable as she would be spread across the sofa at home watching Eastenders. In her element, sporting her self branded "Lady Lesh" attire, bringing her feist to the front line, she tore up the stage. She was a perfect portrayal of the well blended union of two opposing genres without having to compromise (except one or two swear words).

It was great to also see that this fusion wasn't something that can only be achieved by some of our most talented urban musicians, but also obtainable for amateurs. Fazer managed to gather up a group of fine young artists and set them the challenge of firstly merging their own individual styles and then incorporating the BBC Symphony Orchestra. They pulled it off and the consequence was not only a great piece of music but more evidence supporting the argument that all elements of urban music - be it rap, soul singing, beatboxing - could walk hand in hand in harmony with classical music.

People often see that all that lies under the urban music bracket, infact lies on the other end of the universe from classical music. However music is a universal language and so in the presence of the coalition of two expressions of art, there was no translation required in sending out this very message. The going ons inside the Albert Hall on the evening of the 10th of August proved stereotypes of the like of "rap not being real music" wrong. If it wasn't real music it wouldn't sound so damn good on top of dirty bass or the double bass.



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Friday, 26 July 2013

BGV - Etta Bond and Raf Riley

This post will mean I have 2 Odd Child related posts in a row now. Don't blame me for the lack of variety. The music world hasn't been doing much worth blogging about except Magna Carta but I was too busy at the time and now the moment has passed to write about it. Plus you should know by now Odd Child tend to be a reoccurring theme in this blog because they're doing something that music desperately needs so obviously I'm going to be celebrating that. So yeah, lemme just force down another slice of them down your throat :D

There is a good chance you might have seen the #BVG hashtag bouncing around on Insta and Twitter recently. Attached to it you will see pictures upon pictures of beautiful human beings, rightly so, celebrating the skin they're in. This was all at the hands of the amazing Miss Etta Bond - my favourite oxymoron (yeah I said it again and I'll keep on saying it! Refer to previous Odd Child posts to find out what the hell I'm on about). 

Everything surrounding Raf and Etta's new track, Big Girls Vouge, promotes self worth which makes the track double exciting for me because I have a (slightly ambitious - but that's not a bad thing) vision that self worth can change the world. I'd go on but we'd be here for hours so back to the track...
They've switched up the sound a bit, but at the same time that makes no sense in the context of Etta and Raf because they don't really have a "sound". They're "sound" is anything and everything because on whatever they put out, it's their fresh and edgy energy that they flavour the tracks with which make it identifiable as their works of art. They don't need a single "sound" because they don't run with labels and they definitely aren't confined in any boxes - they do whatever they want, but most importantly they do it really really really really really well. 

 It's a track that makes you wanna dance like no one is watching and sing along like no one is listening. It is so fierce but so fun at the same time. It's not rebellious because rebellion would mean that it's breaking the rules - there are no rules when it comes to beauty. But it's fierce in that it's belly bouncing (no abs just rolls) all of societies norms out the arena and filling it with a new attitude of loving you for you and ripping up that "thinspiration" picture stuck to your fridge. What's even better is that the message doesn't come as cheesy - #NoCheddarJustRafAndEtta - which is a sigh of relief because a lot of songs have shared this theme but the message in the bottle came at us washed up from a sea of cottage cheese. The song is great, but the message is greater and that's what takes centre stage with this release.

The video, directed by Jeremy Cole, contributed to the entertainment factor bringing a fun and funky visual to the screen. Every element has been balanced just right with this creation. The real art to this song is that it's not just a song, it's a statement.

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Friday, 12 July 2013

London and Lunch With Labrinth

I don't usually post about my life on this, seeing as it's a music blog and my life is not interesting. But seeing as Tuesday was linked to music and actually quite interesting and there are loads of people that have asked me what went down, I thought I'd blog about it.

In case you haven't noticed I'm still gassed.


Sorry this post comes so late - Wednesday and Thursday I was chucked back down to earth and busy doing real-life-rhea type things which I assure you are not quite as fun as being part of the Odd Child crew for a few hours. It didn't help that Nottingham had the gloomiest day on Wednesday - just to make that smack down to earth sting a little more -_-


But anyway back to Tuesday. Literally getting on our 7:10 coach (yeah you don't wanna know what time I had to set my alarm for) at 7:09:58, we sat at the only seats left at the back of the coach, which I niavely thought were the best seats until I realised they were right next to the toilet with the door that didn't even lock. (You don't wanna know about this experience either)

3 hours later we got off at Marble Arch and from there walked round most of Central London and gave James, the London Virgin, the full tourist experience. Oxford street was naturally the first stop and we (the girls + James' ear) decided to get photoshoot phreshhhhhh in the Topshop photobooth (don't watch me in the top right).

Later the crew split ways when I dragged Sophie along with me to Woodgreen to hit MOSAICA, Labrinth's qwerky?/querky? (basically I mean cool) little restaurant, and sat munching on the nicest bread ever while we waited for Etta, Raf, Labrinth and the rest of the Odd Child team.

I managed not to cry or make myself look like too much of a weirdo which comes as a surprise as you all know I love me some Odd Children (I realise that sounds slightly dodgy after a proof read but you know what I mean so shush innit). All I do is hail my favourite personified oxymoron Etta - the beauty with the purest voice but ratchet lyrics - and her partner in crime Mr Riley - who is hot but, as discovered at the lunch, has a hairy chest which could have potentially lost him a couple of cool points, however I will let him off because:
  1. he doesn't give a FFFFFFF-alafel about my opinion so it makes no difference
  2.  he provides us with that god damn goodness when he lets loose on what he calls "gangsta beats" and evidently are.

(If you wanna know more about 2 of my favourite ARTists check out my previous posts on 'Inside My Head' and 'Resolve').



So basically yeah it was friggin fandabydosy. The whole team is just as cool as they seem. They made us feel like part of the crew and were just as normal as *enter something normal here because I couldn't think of an effective similie*.
It was an afternoon of nice food in plates bigger than me, crushing Labrinth's hype when I told him the whole Nottingham-Robin-Hood thing just "isn't that deep", laughs, laughing and more laughter, Marc interrogating me about future plans in life, me getting more gassed when Etta said she loved the bracelet I made and wanted one herself and then getting even, more gassed when Etta and Raf took us up to the studio and we got to hear some exclusives from their upcoming EP following from Emergency Room (which you should already be hyped about but I can now confirm you definitely should be!). 

The day was an inspiration - these people were living/working towards their dream and the good energy was present all over the house - #NoSkeptaJustOddChild - and that alone left me a lot to think about. 
I'm really thankful for the experience, not just as a fan, but as someone who has been left in awe of them all. A real and seriously nice guy (Mr Marc Williams who just oozes that big-daddy-gentle-father-figure persona) leading a team of  real and seriously nice people (the artists and the assistants all of which are genuinely lovely and talented individuals).
With even just my slight insight into the type of people they all are, there is no wonder as to why this team already do have, and are going to have even more, success and I'm really happy I can say I have met them and have been a supporter from day one!

After we said our goodbyes, we met up back up with the rest of the guys in Camden and rolled round the markets, had some cwaaarrfee (that's supposed to be Coffee in a NY accent btw) by the canal, got attacked by a pigeon in Victoria Coach Station and hated myself for not being rich enough to avoid the pigeon attack and afford a train home and then loving my life again as I near enough wet myself on the funniest coach ride back with my bubbas.

I'd elaborate on the coach ride back, but I think it's best it's left between us so seeing as there isn't really much else to say here, I'll just leave you a picture of us looking peng :D


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Friday, 5 July 2013

Cleo Sol - Borderline

After 'Never The Right Time' Cleo Sol has been on a lot of people's radar, but it seems she has been pretty much undetectable since her August dropping of 'Code To Crack' with Scrufizzer and Toddla T. Well, she is back now, and to compensate for her brief absence on the sound waves, she has given us a 3-in-1 treat with new track Boderline where she has combined Kendrick Lamar's "The Recipie", Aaliyah's "More Than A Woman" and The Fugees "Ready Or Not" then seasoning it by laying down her own flavours.

Her vocals delicately grace 3 classic tracks from 3 generations and she has managed to add some of her classic SOuL to your time travelling experience making it a smooth ride. Her vocals are a spa session to my ears - soft, sultry and strong enough to stay significant in the presence of 3 ionic tracks while doing them justice.

Oh and you can download it..for free. Sounds even better.
 
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Wednesday, 3 July 2013

Trampoline - Tinie Tempah

It has been just shy of 3 and a half years since Tinie Tempah Disturbed London. He's never been a stranger to big tunes - throw yourself back to 'Tears' and 'Wifey' - but what was originally just a demo, Pass Out, had an unexpectedly HUGE impact. It dropped back in the first months of 2010 and ever since then Tinie has been riding that shockwave of success to a double platinum album, touring in any country Virgin Airlines could take him and all the while sitting comfortably in charts all over the world. There is no doubt that he has broken boundaries, one of which was the barrier between our underground urban scene and the Top 40. Recently the UK music scene has transformed and Tinie's disturbance is partly responsible.

With such effects, it's only natural he's had a considerable amount of weight on his shoulders over the past 2 years. The Demonstration has been pushed back further than Jamie Foxx's hairline (Sorry Jamie) and, unlike the hair near Jamie's forehead (Soz again), the anticipation has grown and grown. His silence since his debut album was tapped at with his 'HAPPY BIRTHDAY EP' and collab on Calvin Harris' 'Drinking From The Bottle'. But it was only after yesterday's Monday-Evening-Lull was shaken when he uploaded the final installment of his teasers, that the silence was shattered on Mista Jam's show tonight as 'Trampoline' met our ears and violated every cell in our bodies...

Now, I'll give you 3 words: TURNNN IT UPPPPP!

And I'll give you 3 more: REALOAD IT YOOOOO!

The same cheeky personal plastered over the track. The same crazy energy invading your body from the speakers. But this time over a ridiculous instrumental, courtesy of Diplo. And to help tame the beast, a rapper - who lets face it, is used to featuring on a banger or two - 2 CHAINZZZZZZZZ (if you didn't read that in the proper voice then please re-read and try again).

The sound is interesting. It's hot and fresh. It didn't come as a total shock to me, but that didn't stop it from hitting me and making me reload it so it could hit me again. I would say it dropped at the perfect time as summer has now started, but whatever the weather, whatever you are doing and wherever you are if the volume is up loud, you can be stiffer than Wiley and still be moving as fluid as the petrol igniting the fiyaaaaa that is 'Trampoline'.  It's lively. It's strong. It's proof that Tinie hasn't lost the ability to switch it UP and make you get DOWN.












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Saturday, 22 June 2013

Let Nas Down - Made Nas Proud Remix

Hip Hop is beautiful.

"Let Nas Down" was the story of Cole's hurt when he found out that his first hit didn't impress his idol, Nas.
Rapping about his own struggle, Nas jumped straight onto a remix and explains that he was only trying to pass on what he had learnt: "While you was writing down rhymes, I was just tryna show you/That if you say what's on your mind, you can stand the test of time" and finishes by saying, with Born Sinner, J Cole has achieved just that.

Something special just happened. The true power behind HipHop was unleashed as it nurtured the growth of a man. The growth which inspired their inspiration.

A moment that proves HipHop is in fact not dead at all.

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