Watch: The Sickness - @OfficialJDilla1 feat. @Nas (prod. @madlib); A Niles P. Joint

When doing a posthumous music video, a record label has to get creative.  Past efforts have seen the use of cartoons, child actors, claymation, and of course stock footage.  J Dilla’s camp used the latter, but flipped it in a totally ingenious way that would make the late producer proud.  The video for The Sickness features clips of the Detroit legend against a psychedelic landscape with more changing colors and shapes than a kaleidoscope.  If you told me the song and video came out while Dilla was still alive, I just might believe you.  The electronic-like beat via his frequent collaborator Madlib matches the, sounding like one of their old collaborations.  Nas has a guest verse and hasn’t lost a step lyrically, using his 16 bars to let us know he’s still the man.  

Watch The Sickness after the break, and click here to buy The Diary.  It’s Dilla’s last vocal album and it’s out now via Mass Appeal Records.  

#InCaseYouMissedItMonday: Self Titled (Illa J) - @IllaJ; A Niles P. Joint

It’s never easy following in the footsteps of a successful family member. When your late older brother is one of the most beloved and revered producers in Hip Hop history, the challenge seems nearly insurmountable. This is a common theme in the story of Illa J.  

Being the younger brother of J Dilla had some perks. He became a member of his brother’s group Slum Village and his debut album was filled with posthumous Dilla beats. However he soon yearned to outgrow his brother’s shadow. He wound up moving from Detroit to Montreal and had his self-titled sophomore album produced by Canadian production duo Potatohead People with a couple of co-producers. With these new pieces in place, Illa J is ready to set off on his own musically.

As cool as the album is, it actually starts on a seemingly sad note with She Burned My Art which is a breakup song with a hopeful monologue at the end. It sets a sonic tone at least as the beat is entrancingly smooth.  It also features Canadian spitter Moka Only, who shows up on four of the album’s eleven tracks. Universe is appropriately titled as it is a bouncy space-funk joint that is two step worthy. Aside from rapping, Illa J gets to display his singing ability on the song. Kaytranda continues a hot streak and co-produces Strippers, a hypnotic ode to the exotic dancers of the world. Conversely, Sunflower is a duet with Allie that profiles as more of a love song. While being entirely sung by both parties, the guitar work is astounding. It’s a sweet song that is also danceable. 

Of all the sports in the world, I’m not sure I’ve heard too many songs about bowling. Perfect Game changes that with lyrics chock full of bowling termanology that Illa J uses to describe how dope he is. The entrancing keyboards that Potatohead People have mastered are stippled with the sound of a ball knocking down some pins. The closer is one of the more heartfelt joints you'll hear in 2015. Never Left pays tribute to J Dilla. The title says it all, Illa J feels that his big brother is always with him. At the same time, he speaks about people that try to profit off of Dilla’s legacy. It’s a very honest song that shows two sides of a story that most don’t cover. There are many tribute songs to deceased loved ones on wax but there can sometimes be a seedy factor when it comes to dealing with posthumous material and other affairs. I commend Illa J for addressing it while also expressing love and reminiscing over his big brother.  

Illa J is possibly the most chill album of the year. It seems like every single track was purposely designed for you to groove to with your drink of choice, creating a very even wave for the album’s duration. Now musically and thematically Illa J utilizes some of the same trademarks that Dilla had perfected. But by switching labels (from Delicious to Bastard Jazz) and going with Potatohead People in lieu of beats from the vault, Illa manages to make an enjoyable album on his own terms while still keeping with family tradition musically. Potatohead Peoples deserve recognition as far as the beats go; not only do they stay consistent with quality, they also don’t use any samples at all. They might seem like minor footnotes but they are both easier said than done and hold pivotal indications for the future. Illa J is a homecoming of sorts, as Illa J himself successfully forges his own place in the game and lays the foundation for a bountiful solo career. Listen to Illa J below.

Editorial: #B4DaMoney by @joeybadass Album Review by @RamseySaidWHAT

One month later and a few re-listens, here we are. A review of the debut album of Joey Bada$$.

It feels funny saying debut because of how long Jozif has been in the game. It's been awhile since we heard the 16-year old spitter from Flatbush on 1999. He's now 20 and definitely next up to make noise (figuratively and literally) in the hip-hop game.

Lets get into B4Da$$ and the music. The story begins with Save the Children. It's pretty self explanatory, he just goes back and forth between issues in the black community and the issues in hip-hop itself. I really liked the skits and interludes on this album. They fit well into the story themselves. In the Greenbax Introlude they took a clip from the movie Gummo. After the clip you hear Kirk Knight chant his hunger for success. In my opinion the album really began with track three, Paper Trail$. It kinda plays off the interlude with subject matter. This was produced by the legendary DJ Premier while sampling their last collab Unorthodox. As the song fades out Joey reaches out to a homie locked up to play him a song he dedicated to him. To give his friend Piece of Mind, he tells him what's been going on with his new found life of fame. When the song fades out he's back on the phone. His friend is impressed and can't wait to see the Pro Era crew. He also tells Joey he heard his other track that was on Rosenberg's morning show, Big Dusty. Perfect transitioning. Big Dusty was also the first single for the album. Wasn't my favorite track but still carries that East Coast classic hip-hop flavor for ya ear. I thought it was clever the way he promoted it on his instagram (peep 28 weeks ago).  Dusty ends with an interview on wPRO Brooklyn (get it?). He talks about his parents and how he sticks to his West Indian Roots, queuing the next track Hazeus View. Boom Bap percussion meets Jamaica on this jam. This track really shows how versatile Joey Baddy really is and how is sound has grown since first arriving on the scene.

The next song is one of my two favorites on B4Da$$. Like Me features BJ the Chicago Kid. If I were a rapper BJ is the most ideal feature I'd have on my album. He's an amazing singer, probably very cost effective, leaves impact on a track but doesn't upstage your own artistry. I'd put him in a perfect class of feature singers like James Fauntleroy, Frank Ocean, and Elijah Blake that won't do too much but still enough on your track. It's catchy to the ear and spits a nice life story. Like Me was produced by the legendary J. Dilla, nuff said. Belly of the Beast featuring Chronixx is another hip-hop and dancehall crossover.

We heard No 99 before the album dropped. You can peep the video here. Track ten is the other of my two favorites, Christ Conscious. It's another single we already heard, but impossible to listen to just once. I literally don't understand you if you don't get hype when the beat drops and he hits us with ill flow plus dope lyrics.

That was a tough track to follow but On and On did it, and well I might add. This is the climactic turning point of the album. Slightly slower and clearly closer to Joey's heart.

"Mama I just booked a first class ticket to my destiny by the way."

UK crooner, Maverick Sabre sings something similar to the Christian funeral song in "I'll Fly Away" while Pro Era teammate Dymeond Lewis and Joey both talk about their life and what comes after. Of course Joey mentions his fallen brother Capitol STEEZ, but at the same time Joey doesn't want people to mourn after his demise.

"Don't mourn me when I'm gone, celebrate my travels. Whenever you need me just take a plane to the astral zone. I'm headed home, been hurtin too long, Time don't stand still so you gotta move on."

This track is especially emotional. It's almost like providing closure. I think anyone who's ever lost someone could relate. Honestly, Joey could have ended the album right here and it would have been perfect. Afterwards I lost a little bit of interest in the album at this point. They weren't bad songs but personally could have been without. Maybe he could have put the remaining tracks on a deluxe edition. Still they served their purpose telling the story. Still, I think On and On would be a perfect outro to B4Da$$.

Escape 120 is another nice song and the message is self explanatory featuring Raury. Curry Chicken is fun but we heard the single before the album dropped. O.C.B (Only Child Blues) serves it's purpose at the end of the album. Black Beatles goes fairly unnoticed for me. Run Up On Ya is another jam many might overlook but you should go back and listen. The track features the beautiful and talented Elle Varner and Ghostface's clone in Action Bronson. Teach Me is a bonus for the deluxe version purchasers and serves it's purpose as (another) outro to the album.

All in all I was very impressed by Joey Bada$$ in his "debut." Do not mistake my critiques as hate, thus far this is my favorite album released this year. Production was surperb throughout with work from the usual Statik Selektah, Kirk Knight, J Dilla, Chuck Strangers, amoungst others. I hope he can stand well to make it to 2015 AOTY competition. I think Joey could have it out with any hip-hopper in the game today and honestly yesterday as well (yesterday is a metaphor for history). Although it was pushed back, B4Da$$ did what I and everyone wanted for him. It has commercial success while at the same time he didn't sell his soul to the industry. He gave it to us in the music. It was well worth the wait. Bada$$ is the epitome of real and his wisdom reaches far beyond his age. B4Da$$ will get 4.7 of 5 stars on the Ramsey Rating Scale.

Common - "Nobody's Smiling" album review by Niles Cavanaugh

Chicago has been in the public conscious heavy in the last few years. The murder rate has been the subject of many a think piece and news reports. On the hip-hop front, Kanye West has been Kanye but Drill Music has emerged as a sub genre. Slurring violent lyrics over dark synths and an ever prevalent snare roll, MCs such as Chief Keef, King Louie, Katie Got Bandz, and like eighty million kids with the prefix "Lil" has prospered, albeit by bring the "Chiraq" lifestyle national. Throughout all of this, Chi-Town could use a savior and finds one in its native son and best MC. Common's tenth LP Nobody's Smiling is the guidance that his city needs from an OG. Originally a concept album, it serves as a "State of the Chi" if you will. It's jarring, informative, and dark; however it avoids being preachy. Additionally, it sees Common working with longtime collaborator No I.D. who produced the entire album.

The first track The Neighborhood features Cocaine 80s (James Fauntleroy in particular) and Lil Herb. Using a Curtis Mayfield sample, Common hits the track running and paints a picture of back-in-his-day Chicago. Herb, who is usually brash and full of misguided bravado like his peers, comes through with a quality verse under the tutelage of his elder statesmen. Fauntleroy keeps his contribution brief (more on this later). It's a quality introduction and the momentum carries through the next song. No Fear sees Common interpolate a Biggie line into a song about misplaced youthful bravado. This is how you start an album.

Unfortunately, the next three don't ride the same wave of quality. Diamonds features a wonderfully crafted beat and good lyricism but also includes Big Sean, who to me is as out of place as the weird kid that wandered into a party he wasn't invited to. Likewise, Black Majik suffers the same pitfall of an ill advised guest appearance in one trick pony of the Jhene Aiko. Both of these songs had potential but got ruined by that extra unncessary guest appearance. On Speak My Piece, Common seems to completely step away from the album's theme thusfar. He raps over a distorted Biggie vocal sample. It seems like it's supposed to be the prototypical rap braggadocio single but Com sounded bored to me.

Order is restored on Hustle Harder where Common and newcomers Snoh Aalegra and Dreezy paint a picture of a hardrock chick living around the way. It's an excellent song and story of women around the way; this is a tale that is usually under-reported. Nobody's Smiling utilizes a minimalist beat and shows Chicago as the modern daydystopia that it has seemingly become in recent years. Spoken word artist Malik Yusef makes an appearance and adds to the proceeding with a poetical touch. The Self-title is potentially the best song on the album and captures the theme wonderfully, even if it's darker than a Christopher Nolan Batman film.

Real breaks the storm of urban nihilism and includes a more soulful sound that Common usually uses. It's much more upbeat and crooner Elijah Blake lends his voice on the hook. Kingdom is the first single from the album and still holds up after repeated listens. Both a choir and Vince Staples assist in this sprawling track. This song bridges the gap between soulful Common and the dark sounds showcased on this album. Rewind That closes the regular version of the album as Common first tells a story about his early career with No I.D. and their subsequent falling out and reunion. The second verse is an incredibly moving piece about late producer J Dilla's introduction to Common and battle with Lupus. This song is a tour de force.

Since it's 2014, no album would be complete without a deluxe version with a handful of bonus tracks. Out on Bond once again features Vince Staples and tells a story of being out of jail on bond. 7 Deadly Sins mixes soul with street and talks about the seven deadly sins and how they relate to the streets. Young Hearts Run Free is assisted by Cocaine 80s/James Fauntleroy. Lyrically it's a decent performance but the beat is boring and James is only good in small voices. Dude's voice fit like an audio version of an Instagram filter. I think the album could have ended after 7 Deadly Sins and it would have been fine.

If you're looking for the heavily soulful Common heard on previous albums, this isn't him. Nobody's Smiling is easily his darkest album, but it needs to be. He's telling the story of a deeply troubled Chi City that once created him and is now in a crisis of sorts. Thus, it's necessary to match the tone of the current events in order to be relevant and relatable. He proves to be an elder statesmen for Chicago, both in hip-hop and otherwisse. the album is solid through and through. The only criticisms I have are some of the unneeded guest appearances, along with the sequencing of the album. The three weakest tracks come in a row. Also, I would have liked to see previously released songs War or Made in Black America with Ab-Soul as bonus tracks on the deluxe version. If you're going to release a gaggle of songs before the release, that would be the best place for them. Still Nobody's Smiling is social commentary at its finest. Common's career longevity proves you can make it out of Chicago and have a long career so long as you grow as an artist and a person. Chiraq Chi-Town's new breed of MCs have been put on notice by their franchise player and living legend.

Rating 4.5 of 5.