Album Review: For Motivational Use Only - @Malc___

P2 hasn't been out no longer than eight months and we have new listening material. For Motivational Use Only is his latest offering. Not going to waste your time so let's get right to it. It's only a seven track, 23 minute listen. Things begin with Daily Repetitions. As I said before it's a dope way to kick off a tape. I also enjoy he calls in Kärma and SoULFULL for the assist. Nothing but net here. If you were looking for a 16 from SoULFULL you'll have to go back and listen to No Hesitation because he really just comes through on the pre-chorus as a singer.

"F*ck being good cuz that ain't good enough."

Make it Out shares the same sample as Wale's The Success, Psalm 121. Thus Far in his discography Malc really shows his eclectic taste as a music listener and what he raps over. I'm always impressed with his production. Malc raps like a man 30 years older than he is. It's clear he's seen some things in his life as a twenty-something. The themes of his music get pretty dark in the midst of his inspirational quotes.

"death don't usually phase me since my pops died

can't tell you last time i cried

but hearing bout my nigga death

that shit brought tears to my eyes"

I think that bar hits different when you've lost someone. Mirrors with Kärma is pretty dope. The flip of So Into You gives it the nostalgia 90's feel we all enjoy. The song takes us the rollercoaster that is a relationship. He's not too proud to explain where he messed up and apologize. Karma leaves the syrup harmonies at the end. I'm digging this here. Alone isn't as melancholy as I expected it to be musically. The hook takes on an interpolation of the classic Geto Boys, Mind Playin Tricks On Me. Instead of staring at candles contemplating murder, he's listening to samples looping.

Hold On/Gina's Interlude comes next. I'm usually a fan of when producers sample the subtle parts of classic songs. Here it's not so subtle and they put the melody in the front with a similar tempo and percussion to Angie Stone's Holding Back the Years. If you don't recognize it Love & Basketball is on Netflix now. The B-Side of the track is a voicemail from Mom Dukes. It's a nice touch. It really keeps the continuity of the track sequence and feel of the project. The next track is a sequel to Odds from his last project. In fact the track starts with the hook coming through a low pass filter before part II fades in. I must have listened to this 30 times on my way home from work one day. It's a reminder to keep working after that 9-5 grind. If you don't consider that a cosign listen to his manager Russ in the beginning of the last track, the title track. It really reels this whole thing in and doesn't leave you in a bad mood. Let me explain. For Motivational Use Only feels like a weather week in New Jersey. I swear this is the only place you could get 4 seasons in 7 days. For Motivational Use Only gives us rain, snow, hurricanes, and a 82 degree day on Christmas. I need you to feel this. Press play below.

Album Review: SilkySZN - @MarcusAriah (words by @RamseySaidWHAT)

I've never been this out of shape in my life. Last time I was home, I caught my father trying on blazers in my old closet. I obviously asked him what he was doing. Since he retired he has more time to workout and lost about 30 pounds in the last year. He smiled and replied "I've never been able to wear slim fit and we about the same size now huh?" At that point I immediately knew it was time to get back to it.

These days my gym sessions have been to one project and you might have guessed by now which one. SilkySZN by Marcus Ariah is finally out. We got into detail during out interview on A-Side B-Side Podcast. Look out for that coming next week but for now, let's get to this album.

Get in the car before you press play. This album was made for it. When I talked to the Brick City spitter, he explained that the vibe they were going for was a long conversation in the whip with the squad. We'll get into that later. The first voice you hear is DJ 1up. He sets the tone and to be honest is a fire hype man as the beat fades in. Stars of the Roof kicks things off on a high note. If you're in the car you're speeding, if you're at the gym you're definitely going to go harder. That's just what this song does. Just like his last LP, Making A Man, we can expect his signature mix of bangers, vulnerability, soul, and street vibes.

I may have over thought it but track two, Feminine teeter-totters the line between the sexes and being sensitivity. Men aren't supposed to operate the same. That's what society says right? The best part is the response from the ladies in the skit at the end. I have no words you just have to listen yourself. To keep the ladies off his back he follows this song up with Find Peace. Melodically, Marcus is in his bag here. I like the mix too. It begins with a dope a capella harmony and the beat comes in. Find Peace is kind of a love song. He explains his experience in his relationship and how he wants to move proper because of the gem his girl is. This is incredibly vulnerable. It's important that he sang it himself rather than put a singer on the hook. Some messages just come better from the source.

Outstanding with Smoove Papito follows up. I really admire how many bars Marcus gets out before having to breathe. The flow is effortless and he still delivers a melody rather than a more monotonous tone. The same could be said for Smoove Papito. No hook and a fire feature. I have to hear this at a function soon. The backseat skit after the track really makes sense when it comes to the album. The Goodfellas crew talk about how versatile of an artist he is and how many different types of songs he makes in one body of work. They're right, there really is something for everybody.

Let's move forward a couple of tracks to the most important track of this album, Ghetto Love Song. It's a story we've heard before but not quite like this. This is the Paid in Full analogy. A lot of bars with no hook is the best kind of rap there is in my opinion.

"Man I get tired of hearing everyone passing

I love the hood but this ain't everlasting

I love the hood but this sh*t hate when you captain

I know I'm good but this aint for the caption

And if I leave the game ace would they still love me

F*ck it I'll just relax

I wish Mitch had that mentality faster"

This is the best pocket of the album. I really enjoyed Growing Pains which features Elcyna. The sample of Find Time by SWV is slick. Marcus is really introspective when it comes to relationships and the women in his life. This song he talks about his girl, his mother, and even their mutually relationship. Rap and R&B were born to be together. This is a song I could have imagined to hear on 98.7 Kiss FM growing up. It's nice to hear Elcyna back in the fold. I hope we get more from her soon but this will hold me over.

One Car is probably the culmination of the entire album. If you listened to this one by itself (you're not going to do this) you'd have the synopsis of the album. Idontquit is another song that had me going extra hard in the gym and on the track recently. With the exception of Popout; Rndd, Confessions and even the lead single Goat Talk it's more depth and introduction to Marcus as a man and as an artist. It's a great way to close out an album.

I was once critical about how some of his songs repeat similar melodies as each other. That's not as much a bad thing as I previously thought. It's not that the hook and verses sound the same as each other. Most songs don't have a hook so it's not a annoying catchy feeling while listening. You can listen to the real shit while having a bop to dance to. It's the perfect blend of lyrics and entertainment. What can I say, he bathes in milk and dresses in silk. Get SilkySZN everywhere you listen to music. You can also listen to the album below via Apple Music. Look out for our interview coming very soon.

Editorial: JESUS IS KING IS NOT A GOSPEL ALBUM (written by @RamseySaidWHAT)

Growing up, my father always told me to be careful who you hear the word from because not everyone preaching the word is spiritually correct. It doesn't matter if they are a pastor, deacon, or even my parents themselves. My father wanted me to know the word for myself. He made more of an emphasis on spirituality than religion because religion is just politics and man-made. The old folks say no one knows the word more than the devil. He is God's fallen angel and heavenly choir director after all. I'm not calling Kanye West Lucifer. He loves Jesus, but "he don' learned a lot from Satan."

The only way to effectively break down this project is to take a page out of Kanye's book and talk about myself. Perhaps a little less arrogant but to truly understand this take, you must understand my perspective. I didn't want to write a thought piece on Kanye, but someone told me because of my background I'd be the perfect person for it.

JESUS IS KING by Kanye West was released on my 28th birthday. I am a lifelong God-fearer and a Millennial Christian man. A liberal Christian man who just so happens to be in love with hip-hop culture. When initially asked if I would listen to this project I replied no. Considering he's been probably the biggest influence on my adolescent and now adult life it's safe to say Ye has left a bad taste in my mouth in the past few years.

Just finished Kanye West’s new album.

What does Christianity mean if you support a man who locks kids in cages, grabs women by the pussy, calls racists “very fine people,” lies about a black man’s birth certificate and won’t apologize to the wrongly accused Central Park Five?

— Keith Boykin (@keithboykin) October 25, 2019

All my life I've been a churchgoer who loves music, gospel, and R&B as well. Being a heterosexual black man, I've been almost every kind of man who attends church. I've been the church drummer and sang solos in the youth choir. I've ushered, been an acolyte, ministered sermonettes as served as a mentor to the youth in my community. I've even entertained the idea of seminary and the ministry. Black men in church are unicorns, we garner a lot of attention because there aren't many of us. Because there is such a gap in ages between one generation in church to another, for me, the church was the place I learned responsibility to the next generation. A responsibility that Kanye feels free from exercising.

This piece is a warning to those who are more easily influenced and less informed than I. This is for the people whose first exposure to the church outside of grandma's funeral was Sister Act 2. Now that you have a gist of who I am, let's begin. I haven't listened to a new Kanye project since The Life of Pablo. In my review, I said something that three years later I still stand by:

"Listening to Kanye makes me feel like a kid in the choir back when we used to get in trouble for singing secular music during rehearsal."

That's what JESUS IS KING is. I hate to burst Kanye's bubble, but this is not a gospel album. If you go into this project with the expectation of it being gospel you'll leave just as misinformed as he. Just because music has gospel elements and features from my favorite Gospel act ever in Fred Hammond, does not make it gospel. Freudian by Daniel Caesar had gospel elements but it was an R&B project. 

Another issue is he doesn't credit some of the classic gospel songs he remixes to the public. Songs by LWSC choir, Hezekiah Walker, and more go unnoticed and ripped to those who don't traditionally listen to gospel. Ye knows what he's doing. His ear is matched by few. Who else samples Steeley Dan and Daft Punk and makes it hip-hop?

This album is entertaining and takes choral elements and messaging about Jesus. When you listen to Kanye speak you can tell he has ignorance of what being a Christian really is. Ignorance is not bad in this case. In the good book, Jesus says to "Suffer little children to come unto me, and forbid them not: for of such is the kingdom of God. Verily I say unto you, Whosoever shall not receive the kingdom of God as a little child shall in no wise enter therein." Yeezus is a new believer in Christ, a child. In his interview with Beats One's Zane Lowe he explains his experience as a new born again believer. There is absolutely nothing wrong with not knowing something so long as you seek the truth. That has been my issue with Kanye for the past few years. He considers himself an authority on things he doesn't fully understand. Whether it's his own narcissism or laziness, he hasn't taken time to self reflect when someone corrects him. He doesn't feel the need to fully explain his opinions he claims to be factual. For context, check out his interview on David Letterman's Netflix series, "My Next Guest Needs No Introduction."

There was a moment in the Apple Music interview that stuck out to me. He's competitive and takes everything as a challenge. The challenge this time was defending his idea of church because at the time he didn't have a pastor. He explained why his daughter, North West wants to "Do church to dance with her friends." He said that church wasn't the most positive memory of an adult's childhood was church the way it is for his daughter.

"Tell me someone that you know that's in our age group, that their most positive memory of their childhood, one of them equally was going to church. Where people are like, I want to go to church."(Kanye West on Beats One)

He blames sitting in those physical pews and traditional church settings versus his circular, outdoor Sunday Service. I don't think his statement is necessarily false, but simply his own experience. Growing up, church was a place where I learned tradition and that those four walls of the Lord's house are sacred; however, the reason church WAS the most positive memory of my childhood is because church left the actual building. The people that grew up in that environment with me would say the same. We had church at 1001 Springwood Avenue in Asbury Park, but we also had church at the bowling alley, the roller rink, Six Flags, or a barbeque in Shark River Park. We worshipped and fellowshipped everywhere we went, and do to this day for that very reason.

More than anything, it seems Kanye wants to feel like he's profound in his deep thought rather than actually taking the time to seek wisdom. JESUS IS KING isn't a gospel album, it's hip-hop. That isn't an insult. That's the nature of hip-hop music. In a book I'm working on, I explain that when you bend genre's with rap, it's still hip-hop. My favorite examples are Walk this Way by Run DMC and Aerosmith or Cool Like That by Digable Planets. Sure, there is a rock guitar playing or big band jazz bassist strumming, but it's still hip-hop. A choir singing about the glory of the Lord over Kanye raps is still hip-hop. Kanye isn't by himself. That's how I feel about Lecrae, Andy Mineo, and Trip Lee as well. They just rap about how Jesus set them free, which is their own testimony over trap percussion.

JESUS IS KING is just an ode to the Great Commission. It's the idea that spreading the Christian faith has to leave the four walls of the sanctuary and go out and meet the people where they're at. See Mathew 28:16 for context. That's the same way I look at Sunday Service. A place where he profits and tiptoes the line of a cult. The problem is Sunday Service isn't church as it is a gathering is for the rich, famous, and elitists. Per Kris Jenner, her California Community Church is invite-only and has a $1,000 a month membership fee after signing a Non-Disclosure Agreement at pre-worship brunch. Church is supposed to be in Jesus' name, but Sunday Service is if you're invited. Granted the word says if two or more gather the Lord is also there. That is what I wish for Kanye. His influence reaches further than most ministers and gospel artists. I just pray he's responsible with his voice in a way he hasn't been yet. He's not that far removed from getting bleach on his T-Shirt after all. He still swearing, "On God." I'm hesitant in listening to the messaging because it's draped in 808s and sex chakra percussion. He explains that with Letterman on a section about light healing and how sonic frequencies work. With that knowledge, he still takes a page out of South Park character Eric Cartman's book by changing sex lyrics to Jesus over Genuwine's Pony. It's as contradictory as religion versus spirituality.

Jesus is King is trending on Twitter except no one is talking about Jesus of Nazareth, the savior of the world & son of the living God who created heaven and earth.

They're talking about the self-proclaimed god Kanye West who is a mere man.

— Aaron (@Aaronofthewild) September 27, 2019

Kanye is capable of becoming a new man, but excuse me if I pump fake on listening to a man with diagnosed and unaddressed issues. I don't think that just because I know more about the Lord than Ye, doesn't mean I can't still learn from him. I'm a firm believer in change. People are not required to be the same person forever. After all, I've been influenced by him since Polos and backpacks too. Lauryn Hill's heart wasn't in rhyming so it was Ye that I listened to. I just recognize ignorance much faster because of the emphasis my father taught me to seek the truth. Although it's difficult, it's not impossible to love the Lord and Kanye West. I just hope Ye loves Jesus more than Ye loves Ye.

Album Review: Voice of Reason - @_tnah_ (words by @RamseySaidWHAT)

July 27th 2019 11:57 AM

I'm sitting in the ridiculous line that was Curlfest 2019. My girlfriend was already inside with her homegirl Katelynne who shares a 3C hairtype. Between getting off the free shuttle to Randall's Island (with this hilarious bus driver shooting his shot with the natural shorties) and dodging this rabid raccoon in line; I was trying to save my phone battery until it rang. I was expecting a "Where are you?" from my lady, but I was pleasantly surprised with what became the inspiration behind this here article.

Yeah, T'NAH's back! Formerly the first lady of Pro Era is back and making music again with her brand new project, Voice of Reason. This is actually her debut project as a solo artist. She's done countless features on projects from Joey Bada$$, CJ Fly, Kirk Knight, Chelsea Reject and of course the Pro Era posse cuts, cyphers, and tapes. Aside from her own singles and loosies this is her first full album. She's been through a lot of changes in her time away from the spotlight. She's even done two name changes running with Kris and now dropping the Apex. One of our writers broke this down a few years back. My hope is this review is the beginning of the answer to the question people have been asking for nearly a half a decade: WHAT EVER HAPPENED TO T'NAH APEX?  After a few conversations with the Brooklyn spitter and songstress, we'll get the story from her mouth in an exclusive A-Side B-Side Podcast Interview coming soon. In the meantime let's get to the music.

I promise I won't make anymore Lauryn Hill comparisons because that would be too easy. Besides, I hear way more jazz influence when T'NAH sings. Track one, Tension, proves just that. She almost scats her cadence of singing, but they are written lyrics. I'm always amazed how she goes back and forth from singing to spitting back to singing so flawlessly in the same 16. If you don't really pay attention it almost sounds like she abandons prose and is just speaking into the mic; however even that's on beat even if it's nonchalant. We've seen that since first hearing her on her classic hook from Snakes and verse on Suspect on Bada$$'s unofficial debut 1999.

Just Like That serves as a interlude as it's less than a minute. I can see this song on a Pink Panther episode. She reaches deep into her tenor range and it's fluid, almost effortless for her. Act Rite is the first nitty-gritty Brooklyn bar spitting that we'd expect from T'NAH. She still flips bars and riffs on cue, "floating like a butterfly."

"Without growth what a waste,

You just a sack of trillions of sales

Won't be havin' my soul extracted for sale

You can stay in hell or you can lift the veil"

I think the words are self explanatory and speak for themselves. This seems to be a theme throughout. Let's move forward to track five. Man Dun featuring Kumbaya and Zamy Maa is the magnum opus of this here listen. This is the only song that has a feature and no one that we've heard from before. Kumbaya and Zamy Maa adopt a singing-rapping jive style that complements T'NAH very well. The things I like about this trio is how the mix the end of each bar where they all sing three part harmony individually over a particular scat holding the last note to the end of the measure.

Love Myself is interesting. I kind of have a lyric video in my head to the song as it is. I can see a young lady sitting on her couch reading a book sipping on coffee or red wine (nothing else just those two beverages) with a cat walking around brushing it's tail on her for attention. Then suddenly it takes on a beat change featuring a tribal flute and percussion accompaniment. I'd love to hear T'NAH drop a couple bars over it. Before I could finish the though Lyft You Up plays and tells another tale of affection. Only this time to a lover, then fade out.

What I enjoy about this tape is you can just let it run without looking at whatever device you're listening on. The feel is almost one very long song. I don't know if it's because of how well it's mixed, track sequencing, or both. It's like running a vinyl on Side-B. It's smooth like that. I've always thought T'NAH had the most upside from her peers. She's super talented and can find a lane or pocket that may be unorthodox to the ordinary spitter. I feel like if Jill Scott and Stevie Wonder were rappers they'd try to sound like T'NAH. Eight tracks and less than a half hour of your time suffices well for a debut. It's enough to keep your attention and a little to make you want more. If you're as impatient as me for the interview you can catch her September 7th at the first stop of the Fruits Of The Gods Tour at Remy Rouge Culture Center in Brooklyn. The tour also features Kumbaya and Zamy Maa respectively. Grab your ticket by clicking here. Check out Voice of Reason on your favorite streaming platform and look out for our interview coming soon. I need you to feel this.

Editorial: Not "Country" Enough (an Op-Ed by @RamseySaidWHAT)

April 6, 2019 Old Town Road would have peaked at number one on Billboard Hop Country Songs charts if it had not been removed. It was history in the making for new Country Trap star, Lil Nas X. To this point, no song in history has ever simultaneously chart on Billboard's Hot 100, Hip-Hop/R&B, and Hot Country Songs. When asked if its removal from the charts had racial undertones they responded "It doesn't embrace enough elements of today's country music." Obviously, this is problematic, but I'll spare you a podcast and use my pen.

"I believe whenever you're trying something new, it's always going to get some kind of bad reception." Lil Nas X

Since the dawn of the millennia, every new genre is unacceptable and left with a bad stigma until popularity from the masses say otherwise. Especially the music created by black people. Rock & Roll, Jazz, and Hip-Hop have all been considered the music of neanderthals, lacking structure and will not stand the test of time because it breaks the rules that don't even exist. The very word Jazz originated as a derogatory slang term meaning race records and sexual immorality. I touched base on this in an old Op-Ed, Black Music: Emulated and Underappreciated.

Between the platforms and award shows, I think everyone confused about what genre is what and which is deemed acceptable crossover. Really think about this. There is a award for Urban Contemporary Record of the Year for the Recording Academy. Year by year the winner will range in genre from Justin Timberlake, Beyoncé, Bruno Mars, The Weeknd, and more. These artists range in genres of music. Urban means from the city and there's no way listeners from rural areas aren't exposed to these stars. Besides the point. When you don't know how to categorize things it's best to leave them alone and that is half of the issue here.

At WTM, we talk all the time about musical sub-genres in contemporary times, but frankly it's always been around forever. Yes, forever. I know my fellow music theory classmates are cringing but I'm sure Romantic composers were shunned by those that enjoyed classical or Baroque compositions too. Today, Billboard and country as a genre say there's no racial undertone but I think it's foolish to not hold this particular case under a microscope. I think we are allowed to be authorities on this subject because history has seen this before. An example we could flashback to is Ray Charles and his start as a songwriter creating reference tracks for country artists to perform themselves under their own moniker. Aside from jazz, he didn't see any country success of his own until his classic, Georgia on My Mind. Rock and Roll's theft of Chuck Berry saw his hit Sweet Little Sixteen hijacked by The Beach Boys' famous Surfin' USA and Fun, Fun, Fun. The Beach Boys aren't alone as The Rolling Stones and The Beatles have songs that sound similar if not identical to Chuck Berry hits.

Honestly we don't have to look that far back. Only three years ago, Queen Bey herself battled the country genre when they said her 2016 Lemonade hit, Daddy Lessons wasn't "Country" enough. At least until The Dixie Chicks came through on the remix. Imagine that, Beyoncé, a woman from Houston, Texas wasn't "Country" enough. That raises my eyebrows but I digress. We're watching it all happen again in real time with Billy Ray Cyrus on the remix to Lil Nas X's new record. He's cited Young Thug, Lil Tracy, and Lil Uzi Vert as influences and pioneers to the trap country game. I mean, Like a Farmer remix was a bop right? My questions to those of you still reading: Why does it take the Great White Hope to receive acknowledgement? Why do we value validation from the powers that be that history has shown us to shun us time and time again? When do we draw the line and protect ourselves from those that monetize on our culture?

These are just questions. I'm not telling you to deny Justin Timberlake collabs with Pharell and Timbaland. I'm not telling you to stop listening to Eminem and make the Elvis comparisons. I'm just curious if Billy Ray has the same intentions as his daughter when infiltrating our culture. Is it a money grab and run back to home cleansing themselves of a culture that made them "dirty" money or is it a love of crossover music? Okay, Juicy J probably sounds weird on Dark Horse with Katy Perry but I'm sure he's benefited from her fanbase as she has hip-hop listeners right? After all, she does have the biggest twitter following ever. I'm still scratching my head on Wrecking Ball with Hanna Montana but it is what it is. Let's just pay more attention. We're not the sheep here, we're the shepherds.

About Last Night EP Review - @_TheRealKarma (words by @RamseySaidWHAT)

I have a ritual in the days leading one of my favorite artist's release. I listen to their discography from start to finish before pressing play on the new project for the first time. I think that's the best way to see the journey in its entirety. Terry Pratchett, an old fantasy novelist once said: "If you do not know where you come from, then you don't know where you are, and if you don't know where you are, then you don't know where you're going." Let's do Kärma some justice by paying attention to the whole story.

Today's tale takes us on a journey from Bandcamp, to Soundcloud, and now to modern streaming services with Life After Love, Sunny Side Up, and now About Last Night. I think that's a testament to how seasoned Kärma is. After listening it'd be a disrespect to go into this project expecting to hear something specifically. She's too complex to be characterized without listening for sonics, prose, and cadence. You just have to hear for yourself. Let's dive in.

The EP is a little over 15 minutes so it's important you don't miss anything. It begins with Easy which got blessed with a visual treatment courtesy, HoMEMADE Films. Macc McCray even makes a cameo playing the love interest at the record store. It's cute, and reassuring words coming from a lover. The music is allegro and her voice is bright. It makes for a great opener to the project.

We played Depend on Me in the last episode of A-Side B-Side Podcast. This is probably the most traditional sounding R&B she's dropped in the last two projects. I'll explain that later. If you go back and listen to our interview with the Jersey City songstress, she explains her creative process as not just a singer but engineer as well. When you record yourself it comes with it's good and bad. She knows her own voice probably better than most acts which makes the mixing process a little more difficult. I didn't even know Kärma could even reach into tenor so low. I'm impressed by the range of her lower register. She shines at the end of this track with the three part harmony. She describes them as syrup harmonies. It's very intricate and we hear the same in the next song, Promise. Where the first two tracks are optimistic songwriting this acoustic ballad is much more somber.

The project closes out with Speak Up. Sonically, I feel like it could have been a leftover song from her last EP, Sunny Side Up. It just has that feel where it's a little unorthodox and falls in line with a subgenre of R&B instead of the structured sound our ears are accustomed to. This isn't a bad thing. It just proves more and more that Kärma knows herself and her sound. Make Me Say didn't make the cut which doesn't surprise me. She isn't a fan of singles so to see it make the project would be unlike her. Besides it didn't fit the theme. About Last Night is further proof that she is making the crossover from novice to veteran in more ways than one. If I could change anything about this EP I'd make it longer because I love it. She sure knows how to make us miss her. In the meantime let's run it up while it's still fresh. Check out About Last Night after the break. The soundcloud version has the bonus tracks too. I need you to feel this.

4 Reasons @MsLaurynHill needs to Release a Sequel of The Miseducation by: @RamseySaidWHAT

What's the Movement main goal is to platform artists of all kinds in New Jersey and then outward. Occasionally we'll pull some opinions on the mainstream and outside of the area bringing you the dope music you may have never heard yet. This piece kind of gets to be a loophole. I mean Lauryn Hill is from New Jersey right? Right. I previously did write a piece on the Miseducation of Lauryn Hill as a tribute and Throwback Thursday deal a few years back. I have mentioned this idea a couple of times and never put it to pen so this is it. Remember I said it first because I'm sure another music journalist/blogger/A&R or even artist themselves are going to take credit for this. You've seen it on WTM by Ramsey first. Here are four reasons a new Lauryn Hill album needs to happen.

The Re-Education of Lauryn Hill...nice ring to it right? Let's face it, The Miseducation is probably one of my generation's greatest complete projects of any genre. Whether you want to admit it or not it's not a big reach to say that. Still questioning my judgment, how about you question the recording academy and the five Grammy's they awarded her in 1999. The project is eight times platinum. Well in this country at least. These numbers are long before the streaming era my friend.

Pre-Y2K was probably the renaissance of neo-soul as a genre and Miseducation was right at the forefront of it. The way R&B has grown and the collection of subgenres that have been birthed from it, it'd be awesome to see how the production evolves. Lauryn Hill is a hell of a musician. Combined with synths and modern percussion I think she could really flourish in today's age. Let's be honest, the same hi-hat, kick, and snare combination is a little redundant. Maybe it's rude but really go back and listen to the percussion of Everything is Everything, Can't Take My Eyes off You, and Doo Wop (That Thing). Sounds the same. All Classics but repetitive.

Another reason she needs to drop a sequel is the monetary benefits. I could see it now. Imagine how Lauryn Hill would do on the charts. The Miseducation was timeless. The music branched across the world through many generations. This would do crazy numbers on billboard and all the streaming platforms. If her tax situation is how it suggests an album and tour would do wonders for her career and reputation of missing shows.

Unplugged is to Lauryn Hill as Blonde is to Frank Ocean. Both of these artists follow ups to classics seemed to be a collection of good songs but far from a great albums in comparison to their latter projects. They both are hermits when it comes to their time away from limelight and to focus on their craft.

"The challenge is aligning my energy with the time. I am at my best when I am open, rested, sensitive and liberated to express myself as truthfully as possible." Lauryn Hill

If this is as true as her letter expressed the time away from the industry limelight should have been more than enough to muster up another classic. No easy feat sure, but she's the only one who's capable and the people believe in her. The Re-Education needs to happen for real. The Miseducation explores a 24 year old Lauryn and her experience with love thusfar. She's 42 now, how has love changed and grown with age for her? I think we'd all love to hear. Does it still feel good when it hurts so bad in 2018? I talked about how the original rang across the generations but is there something she'd like to tell her 20 something year old self?  The project dropped when I was 8 years old. I didn't really analyze it until I was in high school. The world is much different now. My world is too. I'm 26 and the way I look at love is different than when I was 24 let alone in 1999 you know? Imagine her contrast at 42. My friend Taye says this generation needs a project like that, and Ms. Hill is the only one who could deliver.

"There's a difference between loving someone and being in love with somebody."

I hope the kids from The Miseducation of Lauryn Hill found love.

— Nana Kwame (@NK_Adjei) March 13, 2018

It's not just her perspective we want to hear though. The skits and intro that featured the children in class talking about love. I'd love to hear them go back and grab those same kids and see how their perspectives changed. They aren't the same little girls and boys that said they weren't too young to be in love. Their grown up skits would be wonderful in the sequel (I came up with this first remember. I should patent this or A&R this thing). 

On Saturday, the Miseducation will be 20 years old. I've talked about how time and production could change the sound of this imaginary project. I wonder who she could collaborate with. D'Angelo and Mary J. Blige were wonderful on the original. I'd love to see a new version which would feature the likes of Andre 3000, Frank Ocean, Sabrina Claudio, Syd, John Legend, or even fellow Jersey songstress SZA. The ideas are endless. There's more pros than cons Ms. Hill. I don't want to sound like another angsty fan about missing out on a Afropunk set. We know how experimental her sounds are live. I think I speak for the entire world when I say we would love to hear it on wax. 

What are your thoughts? Think I'm crazy? I might be, tell us in the comment section below.

Editorial: Rap Don't Pay the Bills by: @RamseySaidWHAT

A friend of mine runs a Facebook group called Hot Topics with Regine. I normally interject every so often but I stay out unless it's a lane I think I can drive in. Awhile ago a question was proposed in this chat group. It's answers to the forthcoming question intrigued and inspired this article. At what age should one stop pursuing a Rap Career?

I graduated last May with a 63 year old man. He and his son, whom was graduating as well, sat in front of me taking their senior yearbook photos. Wide eyed with the world laid out on a table in front of me I was inspired by their story. I had made up my mind that there is always time to continue pursuing your dreams. The members in this facebook group felt differently than a newly inspired Jonathan. At the same time I understand that my views may be a bit cupcakes and bubble gum for some so I decided to ask my timeline on when was an appropriate time to "Get Real."

At what age should people stop pursuing a rap career? Vote then RT.

— JC (@RamseySaidWHAT) November 27, 2017

Upon further evaluation and some serious music listening I've come to a realization. They say rap is a junior's sport but it's crazy that at 26 I relate more to a man who's 40 plus than a comtemporary or peer. An example could be about Shawn Carter's critically acclaimed 4:44. In that album he raps about generational wealth, infidelity, a system that's prejudice towards colored people, keeping money in the family and starting my own business. I can feel that more than a 23 year old singing "Push me to the edge, all of my friends are dead." Why is it that a man almost double my age speaks to me in a way a peer of mine does not? Sure the obvious reason is wisdom over age but my point is: There is a pocket for an elderstatemen to operate in rap. Why should we quit trying to make it at any particular age?

I don't know what it is about the baby boomers but they seem to blame everything on millennials and what we value (considering they pretty much ruined the world and if we are lazy it is subject to how we were raised by that generation but I digress). I just always found it weird that they coupled all millennials together. Frankly we couldn't be more apart.

I've found the kids that grew up before social media was in our lives are different than the ones who grew up on Xbox and Facebook. There's a divide and our parents sent us outside to play rather than sit on our rear end trying to catch a Kangaskhan at Safari Zone. Some of us grew up in Toyz R Us, the rest played on tablets. Not that there's anything wrong with them it's just different. That's the difference between the Lil's and Ab-Soul's. Not that there isn't room for each to operate but social cues are missed and values are different with the whippa-snappas. I'm trying not to sound like a hip-hop purist or an old head that ONLY listens to Milkbone, Cypress Hill and Scarface (because I don't, I like Future too). I wasn't always on board with this thought process. I figure some of you guys just don't have the skills or formula to succeed in this thing. That is, until I read what the first commenter on the status had to say.

"You're never too old to reach the masses?" Shayla Simone

Although I disagreed Shayla was on to something. For so long the genre has been Misunderstood and Misconstrued (the title of my senior thesis I refer back to often). It's put in a negative light that other genres don't have to combat. I'll explain that later, but here's the other side of the debate. Let's face it, music isn't completely about talent. It hasn't been for a long time. If that were the case I wouldn't have created a platform like this for those who haven't been heard yet. If music were about talent a lot of these *insert meme celebrity turned rapper here* wouldn't exist. I won't namedrop, you already have a bunch of names in your head. Another thing is promotion (I wrote a whole piece about this). If you're twenty something still making music and it's dope, does it matter if no one heard it? How long are you supposed to keep at it rather than just sticking to your day job? Being a starving artist is cool for aesthetic and all but are you really going t.o be that 35 year old dude at the open mics performing hood classics a decade old? No shade, I mean that guy can be one re-brand away from stardom. Don't believe me, ask Titty Boi aka 2 Chainz

Looking back on that facebook post it was only I and the aforementioned Shyla who said to never stop rapping. All great ideas are met with resistance and in this case: a plethora of comments of people telling me I sound like a hurt rapper who hasn't popped yet. In which I responded like so...

Moving on I thought, Why do they put an age limit on rap and no other genre of music?  I once read something Grandmaster Flash said about hip hop and how we need to change the status quo:

"In rock and jazz, they go into the archives. I consider myself an expert in most music, but I can still look at a jazz historical program and say, 'Wow, I didn't  know that.' I watched a concert with the Rolling Stones, and 70 percent of the audience was kids! Somebody must've told them that these people were incredible before they were even born, and they went to go look. We need to do that for hip hop."

The pioneer is right. I get it rap doesn't pay the bills for most of us common folk but why should we continue to limit ourselves. Hip-hop has been an outlet for people 16, 26, and maybe one day a 60 year old can flourish from. Would people put Kiss, Bruce Springsteen, or even Prince (God rest his soul) in that box? If Mick Jagger as old as he is can parade around in tighter pants than your girlfriend and monetize why should rap be confined to being a young man's game? Why should rap do that too? What do you think? Is the dream too much? Is rap too over saturated? Should soundcloud rappers just quit and keep their job at Target? Leave your input in the comment section below.

Editorial Review: Making A Man - @MarcusAriah

Not going to waste time on a lengthy intro let's just get to it. We already know how Marcus Ariah's story starts with Black Man, Walk featuring Neiel Israel. I briefly explained how it starts with a monologue from the Newark emcee. This is only the beginning because he does it throughout and it sets the tone for many of the songs in this project. The Neiel Israel spoken word, When A Black Man Walks serves as a hook instead of music. Although this life as a black man is met with resistance this track is kind of inspiring to go on. I think I'll listen to this personally for the rest of my life and that's real.

Sunoco paints more of a picture of his immediate reality, the setting of this story in a way. If you aren't from Essex County or know nothing of it I think this track will clarify. No hook here either. I tell people all the time that rap songs without hooks are the best. It's all bars and they don't work to put a catchy tune in your head just to sell it. These songs tend to be the most personal. Listen to this until the end.

Track three is Calm Down. It's the first time we got a hook and even it's personal. The grand piano and kick snare production is surperb. It adds an 808 but just to accompany the kick and bassline. It's minimalist but by far my favorite produced track on Making A Man. Calm Down is where Marcus Ariah even takes on some singing into his own hands. He has a nice voice and sings better than most emcees do. The verses breaks down the relationship on why he works so hard for his mother, sister, and his girl. As someone who hasn't personally met Marcus yet, I think this song is a good introduction to his character.

It's not all deep stuff, the project is a fun listen. Sheisty comes next and for sure turns up. It's funny how you could take the a capella to Sheisty and put it on any other beat on this project and you'll think the subject matter is as essential to the full scheme. It is, but what's crazy is this beat is definitely for the function. It's too tough.

"Where we from it's a lot of cities with a lot of struggles. A lot of poverty, violence and we become a product. So whenever I go out to a nice neighborhood and leave a conversation saying 'stay safe' they look at me like I got four eyes. That's normal out here cuz we mean that sh*t. Anything can happen out here."

Be Safe Tho has one of the only two features on the project. Steel Sev joins Marcus with the message in the aforementioned narration. All I Ever Had follows up and reiterates the point. I think any kid from the hood could relate. Shoot I think any kid that's ever been broke can, that includes you college kids stretching a $20 for a month. Reload has the other feature on Making A Man. Battle Rap legend Shotgun Suge comes in with the assist. The Newark duo float on this beat. People are sometimes hesitant listening to battle spitters on actual music and I think it's time to dead that rhetoric. This is pregame music. Play this one in the whip or on some speakers. It's too good for headphones. I feel the same way about Famous two spins later.



The last stretch of this project is climactic. If you didn't think it could get even deeper he does. Musically it's so grandioso, but lyrically it's so immersed in personality. Big Man, Little Man is a message from father to son and vice versa. Although their relationship is strained Marcus explains how it's helped him grow. Perhaps he hadn't always been there for him and his family he's explaining how he's mature enough to understand his father's perspective. Ladies In My Life is the same concept but directed towards his mother, sister and lover. I could break it down further but I'd rather it be heard from Marcus himself. You really need to listen to this track. The title track is on the B-Side of Pioneers and I wish it were separate because of how dope it was. Either way must listen and a great introspective culmination of the album.

Although I haven't written about Marcus that much I can tell you this: After listening to Making A Man, Marcus Ariah can flat out make good music. He describes this project as a mix of bangers, vulnerability, soul, street, and good vibes. After listening I think that's spot on. The project takes us so in depth in his own personal life as well as entertains the various music listeners. What makes this project especially interesting is you get so much from it. Turn up kids and old surly purists can play a couple songs made just for them. This project sounds like a curated playlist on Apple and it's all from one artist. That's how well the transitions are. Between songs Marcus takes us on his personal journey through manhood by use of these monologues. I think it's a nice touch and adds character to the concept. I enjoy it so much so that I think he should take all of the monologues separately and drop it as an audiobook. I apologize if I gave you more work to do but WHEN it monetizes no sweat I don't need anything haha. If I have any qualm with the project it's that a couple of the songs are presented the same. It's not the same emotional depth in lyric but musically sometimes the song structure does the same thing. What I mean by this is some songs feature a verse, hook, and bridge that have the same melody. The cadence on Calm Down, Sheisty, and Famous are repetitive throughout. I need listeners to realize tackling an LP as an unsigned act is not easy. I have the utmost respect for an artist who can who can pull off listening to the same person's voice for over a half hour. Marcus Ariah does it and does with flair. Song structure comes effortlessly for Marcus. The highs outweigh the lows and there aren't many. Marcus's upside is crazy and his beat selection is even better. Making A Man is fire, no skips. Like I said earlier it's out everywhere. Just for you, I embedded it below. I need yall to feel this.

Abolish the Femcee by @RamseySaidWHAT

Happy Women's History month! Awhile back, I scrolled through my twitter TL and saw a couple gems in my likes. Among the gems was a particular set of viral tweets by famous people. Let's just say it stirred my creative stew and this article was conceived.

In 5 Reasons Your Local Rapper's Album Flopped, I briefly talked about burning bridges while you still need people. It's true, there's no need to create enemies. There's one thing guaranteed to accompany success, hate. Since there's always going to be people rooting for your demise you don't need to add to the list, especially when the aforementioned hate is shortly on the way.

Okay, let's get to the meat of this article. Abolish the Femcee. The week of September 25th, 2017 was a special one in hip hop. It was the first time in years a rapper of the female gender topped the Billboard Charts.

Thank you!! This means sooo much coming from you!! ❤️ https://t.co/vPGwFiBAiQ

— iamcardib (@iamcardib) September 25, 2017

Cardi B's Bodak Yellow was on top. Whether that's your mug of earl grey tea or Hennessy in a red cup, the song was what it was: a banger (it still is). That was the first time since Lauryn Hill that this feat was accomplished by a lady. In that same week, Rapsody had also dropped her second full length, Laila's Wisdom. If Crown was excellent, the second album was magnificent. I remember sitting in a Barnes and Noble trying to pay attention to a new book sipping a tall maple pecan frappe. I imagine I startled the elderly couple staring at me because I kept grunting making ugly faces because of the sixteens dished by the Snow Hill native. It's safe to say I didn't get far into the novel I was reading because I was hooked on that project. I mean really, she's a superb emcee that doesn't need to sell sex (sidebar, she is one of the most humble artists I've ever met and she told me she liked my fedora once). I decided to see if the streets were talking about Rapsody too. Scrolling along I saw a tweet 9th Wonder reposted to his timeline.

Rapsody’s album is fire and we’ve all been sleep cuz we’ve been conditioned to pay attention to one female rapper at a time. That is all

— 🍒 (@ciarrarp) September 26, 2017

You know what all the aforementioned artists have in common? I'll give you a hint: it's not their ovaries, but they are all Grammy Nominated Musicians. That is the words that should come before their surname, not female rapper. The moral of this story is there is plenty of room at the table for everyone to eat. No crabs in a barrel metaphor here, let's do the right thing. Thus I hate the word femcee or female rapper. Sure I'm an equity feminist or whatever but we time and time again say "(insert rapper here) is just as good as all the men in the game." If the men are compared to other men and the need to establish their gender wasn't necessary why should we split the genders. That week I remember with the exception of crazy a** Azealia Banks, the ladies of hip hop really embraced Cardi B's success. From Nicki Minaj to Missy Elliot, they all shared genuine joy. Even Taylor Swift had a nice gesture (not that that really matters). As seclusive as he is J. Cole even logged some tweets of advice to the NY upstart. Long story short they all did it because we have to in this culture. We shun and segregate each other on a daily.

Imagine we lived in a less patriarchal society. One were the genre wasn't as deeply rooted in the fallacies as well. Let's face it rap has been degrading women from jump street and that was long before the Tip Drill video. I'll stop there because that's an entire 5 page chapter in my senior thesis. I'm sorry this seems like an essay from my Women's Studies classes. I probably should have left this to one of the female authors of WTM to write, but here's my male perspective: Over and over as men we have this narrative of, "We gotta do better." I'm sure the ladies are tired of hearing it. Let's stop talking about it. Let's just do it. Instead of conditioning ourselves to only support lady rappers one at a time listen to them all. Abolish the Femcee isn't to separate them but for acknowledgement. So from yesterday on, they aren't female rappers. They are just rappers, and in most cases, waaaaay better than your favorite (your fave could never, right?).

Review: Reason - @NylesXNature (words by @RamseySaidWHAT)

Reason is probably the best project I missed out on last year. I said what I said. This is one of the best told stories I've heard in a long time. Not all albums are stories but collections of songs but for Hardaway, this is a coming of age tale. I don't want to waste much time so, let's get to it.

Right Place serves as the intro. It doesn't have lyrics as Hardaway doesn't appear to the next track. That's a recurring theme throughout Reason. I'll explain why later. Baby Boy takes us on the trip any parent must got through in the nine months until their first child is born. For those like me that don't have kids, really think about it. Imagine the maturation you have to make in less than a year as your life changes forever.. This song takes us on that journey. It doesn't really have a hook but I think his cadence is dope. In each line he shares a thought as it's followed up with the title of the track.

"This sh*t is crazy I'm finna have a BABY! Sh*t been changin' lately she boutta have my BABY!"

The song fades out to Hardaway singing a lullaby to his first born and a classic Lawrence Fishbourne scene in Boyz In The Hood. Searching for the Reason begins. Pay attention here. This one is a roller coaster of emotions about the world around him. The beat even changes to that classic Daylight sample by Ramp.  You might know the sample better from Bonita Applebum by A Tribe called Quest. The beat fades out and he vents on the rest of the track. The Price of Life follows up. They looped the Bow Wow hook from Hood Star with Omarion. The beat slows takes  us on a low fi mood. This is music to ride up and down route one on a summer day. To be honest aside from the storyline this is how I feel about his entire project. It's the second verse on this song you really need to pay attention to. His voice serves as a DJ scratch and the instrumentals combined equals beautiful music. No really, his voice and tonality is magic throughout this entire joint. Watching God and Ghetto Messiah are a package deal. I think this is kind of the climactic point in the album.

D.R.E.A.M. is what it looks like. Punchlines on punchlines lace this track until the hook comes. Death rules everything around me. This tale isn't for the faint of heart. Let's be frank the whole project isn't. He explains it himself in the description: An album about change & purpose. A drug dealer coming to terms with the speed of life and the understanding of being alive. As the project closes out Purest Feeling and Rahway (Just Like You) take things to a retrospective point of view. After all that's happened in his life the things that are important and really matters now hold more meaning, for instance his son.

I like to think I have an eclectic ear. Reason is one of the most pure hip hop albums I've listened to in a long time. This was a super super easy listen for the purist and trap listener alike. The skits and movie monologues were a nice touch in addition to the interludes. I said earlier some of the tracks didn't have any lyrics. Sometimes there aren't words for what you're feeling so the music spoke loud enough. Macc McCray strikes again. This was mixed and mastered super well. McCray and Hardaway really did their thing. The samples and beat selection blended well as did the sequence and order of songs. This project is industry ready and takes us on a helluva ride. You ever hear Ab-Soul's outro? Kendrick said something in there that reminds me of this project. "You wonder how I could talk about money, hoes, clothes God and history all in the same sentence?" He hits a lot of themes and I hate comparisons but if you like music like section .80 you'll love Hardaway. I even played this one for my pops and it got the Mr. Ramsey cosign. If this project came out in 1996 I don't think anyone would have noticed. Also no features. I don't want to be like every J. Cole stan out there but I'll say this. Entertaining someone for 45 minutes plus is a feat. Think about a stand up comedian. We just give them a microphone a chair and some water and say entertain us. I'm that impressed when a musician does it too. Reason is a must listen and the East Orange Native floated on this. I feel like I just watched a full length film. I'd love to see visuals for this. In fact just listen for yourself below. Well done.

5 Reasons Your Local Rapper's Album Flopped by @RamseySaidWHAT

This topic has been on my mind for a bit now. Often times people ask me for my opinion on their music, I'm still trying to figure out why. Anyways I get mixed reviews of my review. I've found people are sensitive, it's okay I'm an artist too when it comes to this What's the Movement stuff. With that being said I made a pledge that WTM will always remain honest and positive. I don't sugar coat, I don't do favors. If your music is subpar there is no room for you here. WTM only features what's dope, period. Like every mom everywhere says "If you don't have anything nice to say, don't say anything at all." To make this easy this will be the only ounce of negative mention I'll make here. I'll explain as simply as I can on why your music didn't meet your expectations and flat out flopped.

1. Promotion - or lack thereof. This is half the battle. Let's take it back to freshman philosophy:If a tree falls in a forest and no one is around to hear it, does it make a sound? You could drop Good Kid Maad City or Illmatic quality work but if you're the only one who heard it...welp you guessed it, it doesn't matter. WTM Staff Issah says it best, "Snapchat or it didn't happen." Or more simply put:

Limiting yourself to local shit is how you remain in the local mix. You really have to branch out and level yourself up.

— Yan Snead (@YANBLAZE) November 29, 2017

Get from behind that laptop. Actually go out to shows and meet people in real life. When you do, don't just leave after you (or your favorite artist) set is over. You never know what you'll hear or who's there. You might need that link or email from someone. Get their business card, ask for a feature. Everyone knows someone you don't know. Oh and buying followers is trash. Those fake follows and robot plays on your soundcloud don't mean nothing if no one knows the words to your songs at a show. Just saying.

2. Your album was too long. - Since starting Pass The Aux Radio with my friend Bre from ThaGreyMatter.com this was a recurring theme. I've heard really really good sounding albums but twenty tracks is a lot to sift through. I know you really like that one song that was a two parter on a Timbaland type feel, but do you really need a 7 minute track? Can you hold the audience attention for an entire hour plus. While you're still breaking out consider EPs over LPs. Save the LP when you're signed. Concepts are great when you get the point across and entertain quickly. We are a microwave generation unfortunately. If you got it like that, ignore this rule, do you but reconsider.

3. The project wasn't visually appealing. - Like I just said, we are a microwave gen. We want things fast in a hurry and visually appealing. My friend Brian taught me something the other day. The most effective method of learning is by absorbing information in multiple senses. That means seeing, hearing, and saying aloud. Now all of those college lectures and PowerPoint presentations are making sense. That means you have to put some vision behind your audio. Music Videos, Photos shoots are more necessary than an accessory. Plus some behind the scenes stuff is always dope. "The Making of..." videos are a guilty pleasure of mine and it's a great means of promotion (<--- hint hint, reason 1).

4. You sound just like everyone else. - No one wants to hear the next Drake. He copies everyone anyway (oops). We get it. You're inspired by Meek Mill. Your music spirit animal is Lil Yatchy. That's dope (if you're into that). You wanna know the real reason we don't care? If I want to listen to Future's sound I'll listen to Future, not Earl from down the block. I'm all for supporting local artists but if you can't find your own lane to drive in I gotta merge or we're going to get in an accident. Besides, it's not just you that sounds like Future. It's everyone in your graduating class too.



5. You're a jerk. - Let's face it, you're hard to work with. You won't make it in this industry with this take and not give attitude. Sure this advice might come from an angsty place but it's an honest one. You won't make it in any industry without allies. If you are an artist of any facet you will face hate. "He's a hater, she's a hater." Sure point the finger because it may or may not be true but self reflect just a little bit. You can't please everyone regardless but you definitely do not need to create enemies for no reason. They don't want to see you win. You can up and buy a helicopter and there will still be people on four wheels saying: "You didn't get that new chopper though." They don't matter. The people that celebrate your accomplishments are the ones you keep on your side. Don't burn bridges without reason. You'll always need someone. Everyone wants to eat. You want a slice of the pie so bad but you missed out on the person willing to give you the recipe. Don't be twitter fingers either, no one respects that guy that doesn't exist in real life. Go back to rule one.

I made it to the end without telling anyone their music is garbage. You should be proud of me. It's hard. I have some gems in the vault and most times I don't reveal them. I mean there are two rules to success: 1. Never reveal everything you know...... This is my service to all the guys recording in their bedrooms using the foam from their mattress as a pop filter. I wanna see you win. I can't guarantee if you avoid  these mistakes you'll pop. This music industry stuff changes all the time but you'll make it just a little bit further than you are right now, I promise. If you have any questions or flat out don't agree with me, tell me in the comment section below. It's time we all had the conversation.

If You're Reading this I Just Listened to @SZA (A Letter to My Younger Self)

Dear 22 year old Jonathan,

I listened to SZA's Ctrl today. Like really listened to her for more than just a review or for sonic pleasure. I got a tip that the themes and messages were worth ingesting. With that being said, I learned something and decided I was going to write you in a failed attempt in teaching you something that only experience can. I want to say I have no regrets except that I hadn't gotten this letter to you sooner. Let me explain. I swear, SZA has got to be pissed that her entire album didn't get the respect it deserved for such clarity, concise thoughts and concepts put into audible form. Ctrl takes us on the emotional roller-coaster that is a twenty something. You my friend are about to embark on that as we speak. The project got an unfair stigma and side chick vibe just because of one song. The song is a bop though and who knows one day maybe you'll get lucky here or there because of it hehe. It's called The Weekend. It explores some Jezebel tendencies that most of us have experienced on either end whether we want to speak on it aloud or hide in the facades that are our social lives. In other songs she explains being under appreciated in a misogynistic and patriarchal world. Doves In The Wind with Kendrick Lamar touches base on how entitled men feel. I mean really think about it, some of us really think we deserve some action just off strength of being a "Real N*gga." Really dude?

You're probably sitting here now wondering how in just under four years time you grew up to be such a pussy. I'm not I promise. I guess this project hit close and I wasn't prepared to get knowledge from a different woman from Maplewood than the one I planned for. SZA isn't just the girl you'd be proud to take home to your mom. She is a woman who'll make you question yourself. No matter if you treat them with respect or like a trophy, women like this make you think "Am I really willing to risk losing her forever over my nonsense? Do I really want to see what happens when you hurt someone so transparent and understanding?" Jonathan you'll ruin her if you do and yes I will give you that much credit you manipulative punk. You're capable if she loves you enough. Not only could you bring her to moms but she's not ever going to be someone you need to brag about. Spend five minutes with her and her magic and allure is infectious. She will demand the room's attention the moment she opens her mouth. As much as I'd like to say it though, SZA isn't one in a million. There are plenty of wonderful transparent women like her. We as a society have just become so accustomed to replacing each other at any sign of conflict. If we continue that thought and keep hurting each other there will be less and less SZA's out there thus continuing a endless cycle of pain we all bring each other and pass to the next generation. Okay maybe you did grow up to be a little fake deep so what? You'll watch this show called Insecure by Issa Rae and completely get it in a few years.

Like my letter to you, SZA's Ctrl is a letter to the young ladies like her. She's saying don't give it all up because someone has things going for them however don't be afraid to give altogether. Just be cautious that it's not only to one deserving but appreciates you in addition to that impressive resume. SZA ends the project with a song, Twenty Something. She with all the advice in the world doesn't claim to be an authority and have all the answers. She just gives you a piece of her and a few stories and experiences. Like her, I unfortunately do not know anything either. It's okay I've seen some things in this little bit of time and you can look forward to not being an idiot forever. As much as you'll beat yourself up for how things ended with AJ, it's okay. I can tell you that you've learned at least enough that you guys won't be damaged goods forever. It was just a rainy season. Learn grow and don't compare her to any other woman you may meet. You'll live longer and they will too if you just continue to do the right thing as difficult as that is. Besides you're autobiography would have been bland if you didn't have any conflict on your way to the top. This story does end with a happily ever after. Be sure to be the catalyst and not the product of your environment. This story will end with a happily ever after, I promise.

One twenty something to another,
25 y/o Jonathan C. Ramsey

P.S. Just have fun writing this story. We'll all be watching.

Editorial Review: #HERVol2 - @HERMusicx (written by @RamseySaidWHAT)

I have a friend who raps, who doesn't right? He once had this idea for a concept project. It was going to be called, Fame While Anonymous. That album never happened but this concept screams H.E.R. She's an up and coming RCA artist who's gotten co-signs from the likes of Alicia Keys, Wyclef, and Bryson Tiller. H.E.R. is a music blogger's wet dream. Anonymity meets R&B. I think she's one of the purest R&B acts in years. In a genre that is dominated by artists that use subgenre, pitch correction, and different crossover sounds she stands out for those that go back to the true roots of rhythm and blues. It's refreshing to hear someone that's only concerned with the quality of the music vs being a diva. Let's get to it.

Her songwriting prowess is top notch without going over the top. She's clearly someone that's seen some things and been some places that love has taken her. I think anyone that's ever wanted someone so bad it hurts could relate. I wasn't particularly blown away by the lead singles Every Kind of Way and Say it Again. Either way they are sexy as hell. In volume one she did have some joints for the sex set with Focus and Wait For It. You can add these new singles to the bunch. She's never been super vulgar with her lyrics but definitely in your face about what she's going to do and how she's going to do it.

"I wanna love you in every kind of way, I wanna please you no matter how long it takes." (Every Kind of Way)

From track three to track seven is the meat on this project. The rest is potatoes, no need for gravy this project it is seasoned well enough. The middle of the project takes us on a roller coaster of emotions from happiness to melancholy and remorse for failed love. The thing I like about H.E.R. is how vulnerable she is. She attacks the relationship and lets us in no matter what. I think most singers only show one side at a time whether it be happiness or sadness. We see it all. I'd love to interview her one day. I'm curious how much she lets the audience in and how her exes would feel about their most intimate moments being exposed.

Avenue and Gone Away are the standouts on this project content-wise. Avenue seemed like an extension of her remix to Drake's Jungle from the previous project. She mentioned she sometimes borrow her friends car and pull up on her man undercover. Avenue is about her confronting her man.  Gone away is one of those songs that hit the very soul of a lover. She addresses the relationship for what is was. She felt it was one sided and her man wouldn't fight for them. He only wanted to be around for just the good times, and wouldn't apologize for his part in it.

"We were much happier when it was always happy endings." (Gone Away)

The project ends with Lights On. Yes this is another one for the good ole "Get The Drawers" playlist we've all been building for years. I do enjoy that H.E.R retains her mystery and isn't ridiculously nasty. You don't have to wear headphones while listening to this. At the same time it's clear as day what she's talking about. This song is fire, period.

I think you would enjoy Vol 2 more if you listen to it directly after listening to Vol 1 (which I am already certifying as a classic). My only quarrel with Vol. 2 is it isn't as cohesive as the first. It's weird but with Vol 1 you can put the entire thing on shuffle and it sounds the same as if you started with track one. Vol. 2 is cohesive in it's own right but has to be played in order or it just won't work. If you want to like the sequel, you can't compare it to the former, respect it as it's own body of work. Her production is top notch and I love how her music is mixed. I can't really tell if she sings her own background reaching into tenor range or if she has a male vocalist. She's an alto who can falsetto into soprano and riff down the ledger lines into tenor. She doesn't do the most and trust me, a lot of artists do. I'm really only worried about one thing with her. She has released two projects now and both of them are EPs. The first was seven songs and 22 minutes, and the second was eight songs lasting 27 minutes. She held my attention for less than a half hour twice with great success. How well could she last on an LP? Would the overflow of emotion be overwhelming and boring or would she thrive with more time and possible skits? Could we expect visuals one day? Either way, I'm super intrigued by uncovering the mystery of H.E.R. I want to know if she's really this Gabi Wilson like the rumors suggest or if she's someone completely different. Ironic because H.E.R stands for Having Everything Revealed as she told the LA Times. H.E.R. isn't the first anonymous act out. The Weeknd, Sia, and even Goldlink have all adopted less visible monikers before they came out to the public. I wonder if this new tour with Tiller and Metro Boomin will lead to her walk to the spotlight. Only time will tell. H.E.R. Vol 2. gets 3.9 of 5 stars on the Ramsey Rating Scale. Listen to it in it's entirety after the break and leave your thoughts in the comment section below.