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?).

Watch: @Rapsody on NPR's Tiny Desk Concert; A Niles P. Joint

If you know her work, then predicting that Rapsody will wind up as 2016’s undisputed best emcee isn’t farfetched. For those living under a rock that missed her numerous solo projects or star making appearance on Kendrick Lamar’s Complexion (A Zulu Love,) you have another chance to get familiar.  North Carolina’s premier emcee made an appearance on NPR’s Tiny Desk Concert Series.  Flanked by her band The Stormtroopers and her producer/Jamla label head 9th Wonder, Rapsody performed Godzilla, The Man, and Hard To Choose for an intimate crowd of NPR staffers.  Clearly she’s got the ability to connect with a small audience, now watch her blow up and rock stadiums and festivals sooner than later.  You heard it here first: Rapsody is taking all of the belts in hip hop this year.  Check the video after the break.

Review: Better Daze - @MURS & @9thwonder; A Niles P. Joint.

Streaming services have been instrumental in bringing back many a cancelled/ended series back from the dead. This not only pleases loyal fans but also brings a whole new audience into the fold. You might think I’m talking about a Netflix series but (bait and switch!) I actually mean SoundCloud. Hip hop luminaries Murs & 9th Wonder teamed up three years after releasing their 5th collaborative album, tellingly titled The Final Adventure. They revived their series at noon on New Year’s Eve with Brighter Daze, releasing it on SoundCloud so their fans could stream it for free. I’m a 9th Wonder fan but for some reason I never checked out his collabo albums with Murs, whom I’ve enjoyed on guest appearances. Thus, I fall into the category of the new audience when it comes to this series reboot.

The Battle is as good of an intro as any, with Murs rapping for two minutes straight over a horn-laden beat that could serve as a perfect backdrop for eating tacos at an authentic Mexican restaurant in Cali outdoors. The horns return on God Black/Black God which as you could guess has pro-Black themes throughout. In the last third of the song, the beat switches and 9th flips a sample of Sound & Color by the Alabama Shakes. It’s sonically genius as the North Carolinian beatsmith usually samples vintage soul but here he found a gem in a song that came out in the same year.  Murs gets to show off his storytelling chops on How To Rob with Rob which tells the story about his aborted brush with crime.  At this point, I’m befuddled as to why it took me so long to get into Murs.  Dude’s got the goods lyrically.

The next two tracks, Lover Murs and Get Naked, get sexual but still don't lose Murs’ wry wit.  9th does a good job at slowing things down instrumentally to set the mood while Problem lends a verse on the latter. The Shutters, by contrast, is much more solemn in tone and more traditional in structure.  Reuben Vincent takes the second verse but Bad Lucc really steals the show. Wait…Back It Up shifts the ambiance entirely with what is the most fun/singable hook on the whole album. The flute steals the show instrumentally. The subject of breakups/divorce comes up in If This Should End. Murs displays a great ability for making himself vulnerable with a sensitive subject without being whiny or sappy. He explores the intricacies of a topic that isn’t covered much in hip hop in a poignant & approachable manner.

Speaking of tough topics, Walk Like a God takes on religious themes. The host and Propaganda have good bookended verses but Rapsody continues her ascent to the top with an honest and thoughtful take on religion that also manages not to be preachy and dry. Otha Fish revisits failed romance but in a different way than the earlier track.  It’s pretty impressive that he could make two songs using similar material but have both be unique and listenable. We get the obligatory posse cut in No Shots which has Mac Miller and a bunch of friends show up. The beat is minimalistic and Miller actually provides a decent yet short hook. At the end of the day it’s Murs’ house and he outshines everyone with his bars. It’s a little bloated but it works well enough as a penultimate song.  Murs SuperStar is a great finale. 9th creates a beat around a distorted piano loop that you’ll swear you heard in a dream. Murs complements the track with reflective lyrics that also manage to triumphantly look towards a bright future, hence the album title.

The only issue I have with this album is the timing. It was released both too early AND late for Album of the Year consideration as it came out with 12 hours to spare in 2015. No matter, it’s an excellent project that runs the gamut of emotions and life experiences. Everybody could relate to something that Murs talks about on here. Most interesting is that while he has a rap style that some may consider emo, he is still very much West Coast at heart and in the references in his lyrics. 9th Wonder once said that “Soul is universal, dude” and that is proven correct as his beats fit perfectly.  South and West collide in a way that most might not think possible. But it works exceptionally well.  Like any rebooted series, part of me wishes I was a fan of the Murs/9th Wonder collaboration from rip. This just means that I can go back and listen to their last five albums to play catch up. Better Daze will turn new listeners into fans while surely pleasing the core audience. 

Rating: 4.9 out of 5.

Review: #Indie500 - @TalibKweli & @9thwonder written by: @Maryyy_UK

Are you tired of mainstream rap music with absolutely no meaning? Are you tired of the unjust violence happening everyday in America? Well so is Talib Kweli, and he doesn’t hide it. 

While  Kweli is known for going against the grain and creating music that makes his listeners think, he out does himself on Indie 500. With the Help of 9^th Wonder and many other featured artists and producers from Jamla Records, Javotti Media, and elsewhere, he creates an album that is dripping with raw emotion and talent.

Which Side Are You On (feat. Tef Poe & Kendra Ross; prod. Nottz)-  This is a cry to action to action to everyone. The gospel vocals by Kendra Ross play the background and chorus.  All of the listeners and rappers who are not supporting the victims of police injustice. At the end of the track Kweli lists the names of all in the black community who have died last year

In Every Ghetto (feat. Rapsody; prod. Hi-Tek) - The fast-paced Pentecostal church clap rhythm of the music matches the content of the lyrics. Rapsody talks about children “double dutching and ducking shots” at the same time.

 Pay Ya Dues (featuring Problem & Bad Lucc; prod. Eric G) – This is one of the shortest tracks on the album. The soulful background vocals on repeat and simple percussion on the beat help the artists featured shine even more.

Lo-Fi (feat. NIKO IS; prod. Khrysis) - While the song name means "a sound recording that contains technical flaws," I believe this is more of a comment on how the sound is perceived by mainstream media.  The slow bluesy/R&B beat with a sexy guitar and the subtle sound of running water in the background is an interesting mix. It juxtaposes with the aggressive bars given by NIKO IS and Kweli. 

Prego (feat. Pharoahe Monch & Slug from Atmosphere) - Yes, they’re talking about the sauce. The title is just as comical as the song. This is one of the more relaxed songs one the album. It’s a fun track with a funk mix; the type of song you put on at a 90’s house party.

Life Ahead of Me (Feat. Rapsody) - This is my second favorite track. Rapsody talks about how she struggles with being a female rapper because there are few female artists for her to identify with saying “pray we don’t lose any more icons.”

Great Day in the Mourning (feat. Add-2) -  While this song is a tribute to all the in the rap game who have died, the upbeat rhythm identifies with the celebration of the lives that they lived. At the same time he calls out artists who have not used they fame for the good of the community.

Don’t Be Afraid (feat Rapsody, Problem, Bad Lucc) – This composition has the most aggressive beat but there’s also an eerie vibe to it. Rapsody starts off rippin’ it acapella. If you learn anything from this song it's that “Fear stands for Fuck Everything And Run.”

These Waters (Feat K’ Valentine, Chris Rob, NIKO IS, Jessica Care; prod. Nottz) - This is my personal favorite. K’ Valentine opens and unleashed her frustration about the lack of power poverty stricken people have. However she leaves us hopeful in saying that this pressure formed a diamond. The soft piano and clashing cymbals and percussion create a contrast, and Chris Rob’s smooth vocals are the icing on the cake. Jessica Care rips the end of the track with her spoken word monologue.

King Shit (feat NIKO IS & GQ; prod. E. Jones) – NIKO IS comes in strong in the beginning. He calls himself a king of rap while challenging the rappers who surround him to be a better “royal court.” GQ proves his worthiness in the next verse.

Bangers (feat. MK Asante & Halo; prod. Nottz) – It starts with a recording of a speech by MK Asante about how music used to be the force behind the revolution.  Kweli says that we are still in  a war with “tanks in the hood” referring to the Baltimore Riots. Halo follows in the next verse with words on the lack of leadership we have in music now, telling these (barely) musicians to “get of Twitter” because they are an embarrassment to rap. Ouch. But in all honesty, it needed to be said.

Technicolor Easels (Feat. NIKO IS; prod. Khrysis) – “A real revolutionary fights for the people” is the first line of the song. Kweli doesn’t make an appearance on this track. NIKO continues his verse comparing himself to other respected world leaders.

Understand (Feat. Brother Ali & Planet Asia; prod. Khrysis) – Kweli wraps up his message while a gospel driven rhythm, similar to the end of a sermon.  Brother Ali partly sings his verse, and Planet Asia follows with straight bars. He ends with this question: “You understand what I’m saying?” which I believe acts as a question and a command.

People listening to this album may think, “Wow he’s angry” and they’d be right. But I can understand why. The tone of the music is representative of the times were living in, especially as a Black man or woman in America. Yeah they’re pretty aggressive, and they have a right to be. What type of music would you produce if your people are continually being harassed, murdered and disenfranchised with no one standing up for them, not even some of your own people? It would probably sound a bit like this. It may not be for everyone, and there’s not a lot of club beats here. However there is a message: We may be beaten, but we will never be silenced.

Rating: 4.5 out of 5

This is usually the part where we'd leave an album stream for you but this time we'd prefer if took the time out and purchased it on iTunes here. It's that good. I promise.

Listen: Guillotine Flow - @BIGKRIT & @rapsody (prod by @9thwonder)

Two of the best in the game colloborated to murder a beat done by 9th Wonder.

Last week Big K.R.I.T. grabs Rapsody kill a brand new track Guillotine Flow. The title is fitting. Two weeks back the King of the South impressed us with a surprise mixtape It's Better This Way that Zuri reviewed here. Not sure if this didn't make the cut or if it's just a loosie. Either way it's a blessing for the people. Opinionated but once again Rapsody does more than hold her own but outshines her peers on another feature. You can judge that yourself. Listen to Guillotine Flow after the break.