Review: Entitled - @Torae; A Niles P. Joint

Recently, some emcees have taken to crowdsourcing websites to help fund the completion of their albums. Coney Island emcee Torae joined those ranks this past fall when he set up a Kickstarter to fund his sophomore solo album Entitled to the tune of ten stacks.  I knew of him from his Barrel Brothers collaboration album with Skyzoo and his Sirius XM show The Tor Guide. Since I’m cheap and hadn't funded an album before I was hesitant. But in the end I had to practice what I preached, as I tell my fellow WTM staffers and anyone else around me to “invest in hip hop.” The culture doesn’t continue without dollars behind it. Torae hit his goal and the album was funded and delivered to me late last week. Since production is key on this album, I’m going track by track with producer credits.

Introview - In a clever skit/album intro, Torae is on a job interview with a random company during which all he can think about is rapping.  Instead of becoming a corporate drone, he opts to be an emcee.

Imperial Sound (feat. Saul Williams; prod Praise) - The horns are incredibly triumphant and upbeat, which makes for a great first song.  Tor is sharp as he sets it off with gusto.  Saul Williams delivers some profound words towards the end as only he can.

Get Down (prod. Pete Rock) - This is the first single, which I covered upon its release in November.  It retains replay value and works as a more subdued companion to the previous song.

Clap Shit Up (feat. Phonte; prod. Nottz) - Torae spits the toughest bars on the album on this track.  When you get laced by Nottz and have Phontigallo as a guest, you're pretty much mandated to go hard.

Let ‘Em Know (prod. Jahlil Beats) - To be completely honest I thought this would be the weak point of the album as Jahlil Beats has never impressed me.  But it fits within the framework of the album and might be the most car stereo worthy of the 16 tracks.

Override (ft. Jarell Perry & Roni Marsalis; prod. E. Jones) - After a short skit where he lightly chastises his friend for street harassment, Tor gets into his “95 LL” flow and makes an airy romantic type song for the ladies.  It’s cool but it runs long with both a spoken word piece and guitar solo at the end.  

Crown (feat. 3D Na’tee; prod. Mr. Porter) - At first I thought this was about simple rap bravado but it gains depth as it’s more on the Black power tip.  Na’tee proves one to watch with her bars about innocent Black folks turned hashtags.

R.E.A.L. (prod. Praise) - Realness is the topic here as Tor discusses the perils of the rap game, amongst other things.  The sample laden beat, strings and all, is reminiscent of mid-2000s New York rap, which was a fun time for the genre.

Coney Island’s Finest (prod. Apollo Brown) - Anybody who talks glory days of their hometown (me and Ramsey do this with Neptune) can appreciate this song.  Torae talks about his own rise in the rap game and frames it with the success of Coney Island’s best basketball players, especially the Marbury clan.  Apollo Brown continues his hot streak behind the boards.

Troubled Times (feat. Mack Wilds; prod. !llmind) - First things first, I love the drums here.  The title is telling as this is about the darker side of life.  Mack Wilds is one of the most talented/underrated artists in all of R&B and proves immensely talented on the hook.

Together (feat. Kil Ripkin & Shaquawna Shanté; prod. Praise) - This isn’t a bad song but it covers the same ground sonically as track 8, only this time with guests.  Both are equally as good, although this has more musical depth.

Entitled (feat. Teedra Moses; prod. Eric G.) - The title track is the third song in a row featuring a singer on the hook and fourth overall.  None are bad at all they're just all of the same ilk, which seems vaguely redundant.  In my opinion it’s the best of the bunch as Eric G. crafts a superior beat which is complemented by Teedra Moses.  

The eNd (prod. MarcNfinit) - Let me be clear as I say that this song is fine as far as the instrumental and overall flow go.  The subject matter can be divisive.  Torae laments the use of “the N word” in everyday vernacular.  If you agree with him, you’ll enjoy it.  If you disagree, it will be a hard listen, no matter how well done it is.  

Shoutro (prod. Khrysis) - As a cool concept, Torae has his album notes as a track.  I kind of wish this beat was used elsewhere as Khrysis once again does a stupendous job, but it works for what Tor is trying to do.

Saturday Night (prod. DJ Premier) - The first of two “bonus tracks” features the legendary Preem creating an Asian type of instrumental for Torae’s story about a food delivery gone wrong (no spoilers!)  It’s excellently made, as Torae shows his creative range.

What’s Love (feat. Pharoahe Monch; prod. Praise) - This may be the best song on the album.  Praise flips the same sample from The Dynamic Superiors that Kanye used for Beanie Sigel years ago, but in a new and innovative way.  Torae does well but Monch steals the show with a loose yet thorough lyrical exercise in alliteration using the letters from the word love.

I’m glad I invested in this album as Torae spent every penny he received on getting top notch producers and guests.  There isn’t a bad beat anywhere on this album.  My only gripe, which I mentioned before, is that some of the tracks become repetitive as the sonic themes were used more that once.  Also having both of the strongest tracks on the album as bonus tracks was an odd choice.  It’s like in baseball where you have a good roster but the batting order is off kilter.  Regardless, this is a solid album to start off 2016.  Any future emcees looking to make an album via crowdfunding could learn from Torae as he got the most bang for his buck with Entitled.

Rating: 4.4 out of 5

#AOTY Staff Picks 5-1 A Niles P. Joint

And I’m back. I gave you the criteria and revealed albums 10-6 of my list here. That half was much murkier inasmuch as some of those albums could be interchangeable depending on your palette on any given day. The top 5 has been solidified for over a month. Let’s get down to it, here’s my top 5 albums of 2015.

5.) Grandeur by Apollo Brown - While he’s been active for a few years now, 2015 was the year that was his magnum opus (for this year, at least.)  Whether he was crafting songs for legends like M.O.P. and Masta Ace or assisting up and coming artists like Dynasty and Westside Gunn, this album had replay value that will last for awhile.  The tempo was pretty even keel throughout but it just means that pretty much ever song was a banger.  If you were wondering what (Apollo) Brown can do for you, Grandeur was the answer. Detroit beatsmith Apollo Brown cemented himself as one of the top producers in hip hop. He also raised the profile of his label, Mello Music Group considerably. Grandeur

4.) LOA by Bobby Sessions - Talk about coming out of left field, or in this case, Dallas, TX.  Everyone else on this list I had heard of before and some of these albums I was expecting.  But Bobby Sessions came through with a debut album that was too good to ignore.  To have that much versatility to be able to have a fun jam like Peyton Manning on the same album as social commentary like Black America is astounding.  I usually temper my expectations for rookies but every once in awhile you find one good enough to make the All-Pro team.  That’s what Sessions did.  I gave it an honest listen and realized I had no real qualms with this album.  Stakes is high for the young
southwestern spitter from here on in, but I have a feeling he can deliver.

3.) B4DA$$ by Joey Bada$$ - Technically this was Joey’s debut album but he had gained an audience already via the mixtape circuit so I was already acquainted.  And he had three singles with videos come out before a release date was even announced.  When the album dropped in January, it not only exceeded expectations but also held up throughout the course of the year.  Previously heard songs like Big Dusty meshed well with newer ones such as Save the Children.  Joey also experimented with different sounds and guests, such as helping introduce Raury on Escape 120 and making a danceable poppy song with Kiesza on Teach Me. He made the transition from mixtapes to studio albums, now the trick is figuring it out where to go next.

2.) Lucky 7 by Statik Selektah - This was also the year we saw super producer Statik Selektah completely master part of his craft.  Dude made his seventh and final producer/compilation album in the span of three months.  In tradition with last year, let me just list the people he could get on short notice: Rapsody, Action Bronson, Joey Bada$$, Your Old Droog, Styles P, Royce Da 5’9”, Big KRIT, Mick Jenkins, Smiff & Wessun, Young MA, Dave East, Illa Ghee, Sean Price, Fame, Bun B, Ab-Soul, Talib Kweli, CJ Fly, & Cane.  That’s unbelievable clout.  He continued his tradition of bringing in live horns to play over his sampled beats and also  had a couple joints that were completely made by him (In the Wind being a stellar example). I’m vaguely sad that Statik won’t make any more albums of this ilk, but I know he has some things up his sleeve for years to come.

1.) To Pimp a Butterfly by Kendrick Lamar - This may be one of the most anticlimactic AOTY lists King Kunta was a funk-infused dance hit. How Much A Dollar Cost was a great storytelling track and Obama’s favorite song of the year. Alright became the new Black National Anthem and was played everywhere from music festivals to protests. The album’s staying power was incredible and I feel like its impact and themes will be discussed and dissected for years to come. Even more astounding is the fact that Kendrick’s debut album was arguably an instant classic and he more than exceeded expectations on this one. If his eventual third album is even half as good, he’ll be able to sit at the table of the genre’s royalty. But as it stands he’s the best rapper in the game and the king of the West Coast. Since its premature/accidental midnight release on iTunes, I knew TPAB was special.  And now, it’s my 2015 Album of the Year.
in the history of the culture.  But Kendrick Lamar created an undisputed masterpiece.  While there was a ton of great music released this year, nothing encapsulated the social climate while still sounding great. And it was still eclectic and fun. 

2015 Best of the Rest; A Niles P. Joint

 

As What’s The Movement gets closer and closer to our Album of the Year extravaganza, I have the arduous yet fun task of looking back at all of the dope ass music that came out in 2015.  Since my own personal criteria for AOTY dictates that only hip hop LPs can be included, that leaves a few EPs, official mixtapes, and other projects on the outside looking in.  So I decided to make a list before the AOTY list.  I wanna be clear and say that THIS IS NOT AN HONORABLE MENTIONS LIST.  While there was a ton of quality hip hip to be heard, not everyone can realistically get a trophy.  But instead, I can write about the stuff that didn’t fit my top 10 criteria but was still a great listen.  Projects are listed in no particular order.

iSweatergawd by Jean Grae - I’m not sure if she’s in the twilight of her rap career or nah, but either way Jean’s musical stylings age like a fine wine.  Produced by Quelle Chris, the EP is only six tracks long but tackles everything from love to loss.  Of course Jeannie has her trademark humor and even has a posse cut feat. Tanya Morgan

The Nehruvian EP by Bishop Nehru - Fresh off of a joint album with DOOM, Bishy Bish drops an EP which functions as a starter set for anyone who was curious about his music.  Dude can’t even legally drink but raps/produces excellently.  No wonder Nas signed him for his Mass Appeal label.

GEMS from the Cubicle by Lyric Jones - Jones comes through with her second EP in as many years, only with a little more of an edge.  Dirty Diggs laces her with sample-laden beats on a project that has an Office Space theme, dialogue clips and all.

More Than A Game by SoulFULL - This is a project that I was lowkey mad I couldn't review since Rams beat me to it.  Franklin, NJ’s finest waxes nostalgic and spits over some dope beats from yesteryear.  This was a quickie joint of sorts but was still wildly entertaining.

CMPLX by Chelsea Reject - This falls into official mixtape territory as we get what some have labeled “holistic raps” from one of the new young Brooklyn elite.  Earthy yet accessible, Reject gets a Duck Down co-sign and proves she’s ready to move from AAA ball to the big leagues.

Solace by Earl Sweatshirt - Technically this is one 10 minute long track but it’s like multiple tracks rolled into one, alternating between instrumental and three separate verses.  The Odd Future alum basically makes an avant garde project on wax that perfectly captures the haze of depression.

Griselda Ghost by Westside Gunn & Conway - Elegant NYC grime is back on this project that has been produced by internet persona Big Ghost.  This shit is the musical epitome of taking the razorblade out from under your tongue so you can eat a filet mignon.  Championship combination.

Eight Million Stories by Maffew Ragazino - Speaking of the Big Apple, the Brownsville native crafts a retro-sounding EP that reads like a love letter to the greatest city on earth.  I feel like this one was way too slept on when it came out, so I recommend rectifying that by giving it a listen now.

Surf by Donnie Trumpet & The Social Experiment - OK so technically this is a full album by Chance The Rapper & friends (and by friends I mean a ton of guests in addition to his group.)  I put it here because it’s not strictly rap but it’s just so fun, whether giving 80’s pop vibes or instrumentals.  Replay value is crazy on this one.

Words Paint Pictures by Rapper Big Pooh - The former Little Brother emcee does the impossible and captures the Black American experience in seven tracks and two remixes.  Apollo Brown provides soulful instrumentals that are incredibly fitting for such a timely project.

P.O.M.E. by MostDope - On the local scene, Asbury Park native son MostDope put out a great debut mixtape and managed to become the best emcee in his city immediately.  Whether it’s original beats or already established ones, dude can rhyme over anything.  He’s just scratching the surface of his potential.

Sailing Gear Series by Benny Francs - This dude put out a loosie every other week as a part of a series inspired by 90s sportswear (think Tommy/Nautica.)  Collected in one place, they form like Voltron and make a smooth debut project.  Francs will go the traditional route next and release one cohesive mixtape at once but this was a novel idea for an intro to the game.

Songs in the Key of Price by Sean Price - We lost a titan in the game when Sean Price passed away on August 8th.  At the time he was preparing for the release of his official mixtape.  The 8 track version is dope but the 30 track version plays like an old school mixtape.  PF Cuttin does an excellent job blending all of the tracks together into one seamless medley.  This would be excellent as a career outro but P was always working and has some things in the vault.  Thanks to a good relationship between Duck Down and his widow Bernadette (rap unfortunately has been littered with stories of posthumous power struggles and thankfully this isn’t the case here) we’ll get more Sean Price material in the future.  R.I.P. Ruck.

  Now this list is incredible as far as music goes.  Think of it as one of those appetizer platters at a restaurant where you get a little of everything before the main course.  It also should be noted that Cin and Keys Era had projects that are scheduled to drop after this article is published that could possibly be worthy of spots on this list.  While not in time for that, expect articles on both of those projects individually.  I hope you check out everything on this list if you haven’t already.  Be on the lookout for my AOTY list soon.

#InCaseYouMissedItMonday: Music For My Friends - @Skyzoo; A Niles P. Joint

I slept on Skyzoo for way too long, even when I had every reason not to.  Dude had an appearance on Sean Price’s second album, put out countless critically acclaimed albums and mixtapes, dropped a dope ass song I discovered on SoundCloud (Spike Lee Was My Hero featuring Talib Kweli,) and formed the Barrel Brothers with Torae and put out a great album last year.  Every time I got put on to any of the aforementioned, I always told myself “This Skyzoo cat is type nice, I gotta check out more of his stuff.”  And every time due to my own procrastinating ways, I stupidly put him on the back burner.  I almost did the same this summer when he dropped Music for My Friends.  But I stopped screwing around and finally give the Brooklyn emcee a good listen.  My intuition was rewarded because he dropped something quite remarkable.

This album is a concept record of sorts inasmuch as it shows how Skyzoo viewed the world in his younger years when he was coming up with his friends, hence the title.  There are interludes given by his childhood pals between songs that really add to the ambiance.  Instead of going as a straight up storytelling project, it instead aspires to capture moods and feelings of the time.  Suicide Doors sets the tone as Sky spits complex raps over crashing percussion and a jazz trumpet.  Jazz is a common stylistic theme as Sky is a jazz aficionado and uses live instrumentation in his songs.  Everything’s For Sale effectively uses a Jay-Z interpolation in the chorus to create the framework for a song about youthful aspirations.  These turn into slightly dark considerations on See a Key (Ki’) by way of thoughts of the drug game.  A guest verse by Jadakiss is well-placed.  

Money Makes Us Happy is my favorite song on the album.  It’s impossibly swanky yet doesn’t skimp on substance as he ponders the prevalence of money and it’s correlation to happiness.  Bilal provides a smooth ass hook and Black Thought slays yet another guest appearance without overshadowing the host.  Asking Bodie for a Package features Skarr Akbar and takes its theme from a vocal sample from The Wire without making it into a novelty song.  Things I Should've Told My Friends is more somber fare than anything else on here but it’s necessary for the climax of the album.  Apollo Brown laces the beat as Skyzoo gets introspective on the state of his friendships.  As a finale, Falling out the Sky is a triumph.  It sounds like it was recorded with a live band and I can picture it being performed as such.  It ends the album on a positive note without straying from the theme and is one of the best feel-good songs of the year easily.

Born in Crown Heights and raised in Bed Stuy, Skyzoo portrays the everyman around the way.  He’s not overly sappy yet doesn’t try to go a hardcore route.  He portrays himself as a regular neighborhood guy which makes his music very accessible.  His wordplay requires a few listens and rewinds but the theme of youthful dreams and aspirations is something everyone can relate to.  While the previously listed songs are only the standout tracks after a dozen listens, they could be interchangeable as the album maintains an even keel thematically and musically.  There are no bad songs on this project.  Having mostly all of the beats slathered in jazz gives each track a very home-y feeling when you listen.  There’s a warmth here you don’t get with many releases this year.  Overall I’m glad Music For My Friends was my first introduction to a full Skyzoo project.  The quality and tone ensures that I won’t sleep on his music again.  You’ll feel the same way once you listen.

Review: Grandeur - @ApolloBrown; A Niles P. Joint

Think of producers in Hip Hop as offensive coordinators in football. You have to run an offense that scores as much as possible. In doing so, do you stick with what you're comfortable with and what works? Or do you employ a new trendy scheme for the sake of keeping up with the joneses? These questions arise for all producers, including Apollo Brown. He’s put out a lot of quality music in a short period of time and is back with Grandeur. A litany of underground emcees make guest appearances, jumping at the chance to drop bars over Apollo Brown beats. As per usual with a producer album, you the reader will be treated to a track by track review.

Finally - The title to this intro makes sense to me, as I finally get to hear an album I’ve been waiting on.  You literally hear the needle drop and a round of applause.

Neva Eva (feat. Barrel Brothers) - Skyzoo a& Torae get things started.  They build well around a vocal sample on a head nodding track.  Pay attention, as this becomes a theme on the album.  

What You Were Lookin’ For (feat. Oddisee) - This song floats from the speakers into your ears by way of some lovely strings.  Oddisee was a rapper that i wasn’t familiar with before now but he shows and proves.

Detonate (feat. M.O.P.) - The lead single is still as fresh and sinister as it was when I first heard it in August.  Might be the toughest song on the album.

Brass Tracks (feat. Chino XL & Finale) - Chino XL was one of my favorite rappers when I was a kid so it’s cool hearing his witty and nasally bars again.  Finale provides the thunder to XL’s lightning (who takes shots at modern rap culture on the hook) over violins and snapping percussion.

There’s Always Radio (feat. Evidence) - I’ve admittedly never been a fan of the Dilated Peoples’ frontman’s brand of monotone.  All that aside, he’s spitting over a beat that has similar violins and percussion as the last one.  The former is better than the latter, as this is one of the few missteps on the album.  The beat switch during the outro is cool though.

Still Standin’ (feat. Rasheed Campbell) - Violins appear again here but they're more fully layered.  Rasheed Campbell introduces himself well and gives a lyrical backstory.  He bares vocal resemblance to Q-Tip but is different enough that he will be one to watch for.

The Hard Way (feat. Saga & Ty Farris) - Two emcees who I honestly hadn’t heard of prove their mettle and make an attempt to school the young fuckin’ jerks of the world.  It can be a futile attempt but these guys sound damn good trying.  The trumpets on the hook are almost announcing their arrival to your musical conscious.

Gettin’ By (feat. Rapper Big Pooh & Dynasty) - Brown does an amazing job in chopping samples and it shows here, although I wish I knew the origin of the lovely one used here.  Pooh’s aggressiveness is counterbalanced by Dynasty baring her soul.  This is a dream collaboration between an old and new emcees whose work I love.  Appropriately enough the beat gives off a ethereal aura.

Enemies With Benefits (feat. Ras Kass) - More evidence of Apollo Brown’s production genius can be found here as he takes a Lenny Williams sample that’s been used before (Twista’s Overnight Celebrity by Kanye West amongst others) and freaks it an entirely new way.  He manages to give it a West Coast flavor for regional legend Ras Kass, who’s another childhood favorite of mine that is fresh off a 2014 collaboration album with Brown.  The magic continues.

Walk With Me (feat. Vinnie Paz & Blacastan) - Brown somehow makes a song about relationship adversity (prime material for tenderness) into a head nodding joint.   Vinnie Paz and Blacastan take a gruff approach to what would be a sensitive subject for others.  Everyone involved makes it work.

Not That Guy (feat. Your Old Droog) - This is a somber change of pace song that serves as a cautionary tale.  The snapping snares are still present but the beat’s framework is more melancholy and suitable for the subject.  Droog still has undertones of Nas in his voice and flow but he does a great job speaking on the perils of drugs.

Money (feat. Masta Ace & Wordsworth) - Money is the root of all evil but here it’s the topic of this excellent song which stands out the more I hear it.  The crashing piano keys provide a marvelous playground for the lyrics of the veterans of Juice Crew & Lyricist Lounge respectively.

Who’s That (feat. Maffew Ragazino & Freddie Gibbs) - Brownsville and Gary (Indiana) collide on a malicious track that sounds like it should be played in a dive bar in a dark alley most would be afraid to walk down.  The vocal sample in the chorus ties it all together although take note of the piano as well.  Apollo Brown makes keys the focus of two consecutive tracks but is able to use them two completely different ways.  That’s talent.

In The Moment (feat. O.C.) - This song reunites Brown with O.C. three years after they collaborated on the sublime joint LP Trophies.  They pick up where they left off, as O.C. drops more jewels over a harpsichord-laden beat.  The chemistry is still there and will make you pine for a sequel LP.

Triple Beams (feat. Westside Gunn & Planet Asia) - Apollo Brown takes a popular Wendy Rene sample (previously used by Alicia Keys, Dynasty, and most famously Wu Tang Clan) and chops and flips it into a gritty playing field for this New York and California musical alliance.  He shows a real knack for repurposing samples in order to create gems.

Each Other (feat. Eternia) - We had an article about relationship issues, this one is about straight up breakup.  Eternia tries to answer the question “Why Did He Leave Me?” posed in the sample within the hook.  She looks to provide an excellent alternative to a certain Australian that’s been in the public eye.

Yesman Shit (feat. Sean Price & REKS) - DAMN.  Those blaring horns are some of the hardest I’ve heard in awhile.  They’re perfect for the late great Sean Price, who completes the trilogy of Brownsville guest appearances and spits with his usual tenacity.  He’ll be missed.  REKS holds his own rhyming opposite a legend and will have you open and wanting to hear more from him.  The track overall is a banger and one of the best on a great project.

Checkered Flag (feat. Ugly Heroes) - This is another continuation of sorts, only this time with the indie supergroup Brown is a part of along with Verbal Kent and Red Pill.  Even with a self titled LP and EP this makes you want more.  Mellow yet head nod inducing.  Great way to end the album.

Getting back to the football offensive coordinator metaphor, you see how Apollo Brown gets down.  He sticks with his offensive system no matter what is going on around him.  But the thing is you can’t chastise him for being too stuck in his ways because it works extremely well.  Musically many of these songs are sample heavy seem to be in the same tempo.  But he can take this concept and to it umpteen different ways, and with a plethora of different emcees to boot.  His use of this scheme makes him a kingmaker because he can make anyone shine when they're on his production.  Even better, he makes you want to hear more from a rapper that may have been unknown to you previously because they sounded so good under his beats.  He put me on to a bunch of people that just might be featured on this blog in the coming months.  The only real misstep on this album was the 5th and 6th tracks sounding inordinately similar, which is a tough sell when they're back to back.  But this isn't uncommon on producer albums for whatever reason and therefore can’t be too much of a deterrent.  Grandeur wedges itself into the conversation for best album of the year and further cements Apollo Brown’s status as one of the most exceptional beatsmiths in Hip Hop.

Rating: 4.8 out of 5.

Listen: Detonate (feat. M.O.P.) - @ApolloBrown; A Niles P. Joint

Detroit producer Apollo Brown has worked with a ton of artists in his somewhat short career. As a resident producer for Mello Music Group he’s made his own instrumental albums, group albums, and collaboration albums with the likes of Ghostface Killah, O.C., Guilty Simpson, Boog Brown, Rapper Big Pooh, Ras Kass, and Planet Asia to name a few. Now he’s back with his first producer album (he makes the beats that are rapped over by guest emcees) in five years. Grandeur drops September 25th and the first single from the upcoming album is Detonate. He summons hip hop legends M.O.P. for the track, which is dope to me because for the most part I see Fame guest star on tracks. It’s good to see him paired with Billy Danze to have the complete duo featured on one song once again. Apollo Brown gives the Brownsville vets a hell of a beat to work with, rife with the most ominous organs you’ve heard in awhile. The vocal sample and dirty drums make the cypher complete. The tracklisting for Grandeur is chock full of some of the best underground emcees out and with the sublime production that Apollo Brown is known for, this has potential to be one of the best releases of 2015. Preorder the album via Brown’s Bandcamp and you’ll get Detonate now. Once again, Grandeur comes out on September 25th and you can expect my review soon after.