The Ransom Report: Scorpion - @Drake (words by: Charles Ransom Polk)

Good evening (Even if it’s not evening where you are, I still bid you good evening), I’m Mr. Ransom, and welcome to “The Ransom Report: Drake’s Scorpion.” Thank you for reading. You have my gratitude. Before we get into it, I just want to take a moment and thank my brother Ramsey for giving me a shot to review the biggest, most highly anticipated album of the year. We have some big things ahead for the world, and this is just the jumpoff. I also would be remiss if I didn’t give the absolute biggest shoutout to the man with the cocaine biceps himself, Tony Starks aka Ghostface Killa. He provided me with the inspiration behind the format, prose, and vernacular in this review. You haven’t done one of your famous album reviews in a couple of years Starks, we need you to come back. I hope you approve of this. Peace to the Gods, bong-bong. Ok, that’s that, now let’s get to the proceedings.

Drake’s album and point in his career have reminded me of the movie Rocky III. If you’ve never seen it, I’ll sum it up: After Rocky started from the bottom (no pun intended) and grinded all the way to the top, he became champ. He was confident, comfortable in his position as top dog and in turn he got watered down. Basically he let the success blind him to the fact he wasn’t hungry anymore, and he wasn’t the same man who once drank 17 raw eggs and crushed up glass milkshakes a day and did 372 one-armed pushups every workout session. He lost the Eye of the Tiger. So Mr. T. comes along with his gold chains and feather earrings, hungry as a motherf****r. He was so hungry he was eating broken dreams for breakfast, anger for lunch and hate for dinner (with hostility for dessert). HUNGRY. Focused. Lang challenges Rocky and he takes the fight. Rock gets his a** handed to him and has to get the eye of the tiger back. He needs to dig deep, get focused to get his manhood and championship back. He does all of this, he gets his swagger back, he fights Mr. T. again and beats him. The moral of the story is, everyone takes a loss in life, you get knocked on your a**, the point is how you come back.

So in case you haven’t been paying attention in class, Drake is Rocky and Pusha T is Mr. T. The Story of Addidon is basically the first half of Rocky III, a clean knockout. Time for Drizzy take the loss, pick himself up off the canvas, embrace the situation, refocus and come back tougher than ever. Did drake do that? ABSOLUTELY NOT. Why? Because the problem is, success can be more dangerous than any drug. He’s high off success (don’t get me wrong, he completely earned his spot at the top: From So far Gone to IYRTITL, he put together a run of excellence that no one else in the music game can claim), and that can make you feel invincible. Well, NO ONE is invincible, NO ONE is untouchable, not even Drake. He took the first Loss of his career (Sorry Meek. Your mistake was you started a battle and weren’t fully prepared. You still had the hardest album of 2017 to me). Aubrey’s album is here. In light of the recent revelation that he’s kept a secret child hidden since last year, this is probably the most anticipated album of his career. For the first time in his musical life, the questions can’t just be minimized, whisked away, or shrugged off. Pusha showed that even the 6 God can bleed. The charming, affable crossover star isn’t so squeaky clean anymore. With that being said and the chips on the table, Drake gives us Scorpion; a double album to boot! But will it live up to the Herculaean hype?

DISCLAIMER: The opinions and thoughts expressed in this interview are my own, and don’t necessarily reflect WTM and their contributors. And for the record: I’ve always been a big Drake FAN, not a Drake STAN. You will see the difference demonstrated here. All you stan fans get ready to take your medicine. Consider the doctor officially IN. First things first, you’re not slick Drake with that bulls**t you wrote for you album description “oh Drake is this Drake is that” that shit worked for Eminem in 8 Mile trying to say all the negative s**t about yourself to minimize it, nice try buddy, all that stuff you wrote is all true. Oh and BTW Nelly was the first rapper to make the double album with one being more rap one being more smooth so you’re not doing anything new. F**k outta here. Ok let’s get this going.

Side A

Survival: If it’s one thing the Toronto artist does well, it’s a Drake intro. Real epic. Off the top he’s talking that cash s**t, that good old king s**t. Drake you’re cookies and creme stop it man. Not that you’re going to stop but sheesh man. Shocker: he’s still real narcissistic.

“My Mount Rushmore is just me with 4 different expressions”

Welp, he’s setting the stupid delusional bulls**t bar nice and high right away. Kudos to Drake for that. That being said, I wouldn’t have minded if it was longer, but it was stil good. Sounds like a sample: he’s always gotta have 40 do the intro. This time with No I.D., I’m liking the collaboration. “I had scuffles with bad boys that wasn’t pretending.” So I guess Puff really snuffed him huh? At least he's fessing up to it. The thing is Drake spent your whole career trying to be vulnerable then you turn around and make songs like this like he's untouchable. Make up your got damn mind. I like the song though. Not his best intro but not his worse, if that makes any sense.

Nonstop: This is the n***a that makes Blocboy JB’s beats. Would’ve been better if he used it and gave Drake the Look Alive beat. Oh well. I kept waiting for the beat to kick up a notch, but it never does. Not my favorite song. Drake talking out of both sides of his mouth as usual, he’s calling himself “king slime Drizzy”? Oh boy. And you “Hardly ever take offense” to shit? Oh word? That’s a bunch of peanut butter and jelly bulls**t and we all know it. Stop it. You have some of the thinnest skin in the galaxy and you’re the Prime Minister of Petty. BRUH did my ears deceive me? Did I just hear him say “Yea I’m light skinned, but I’m still a dark n***a/I’m a wig splitter” Homie WHOS WIG HAVE YOU EVER SPLIT?? I NEED ANSWERS. I WANT DATES AND TIMES AND WITNESSES. Of course you’re “dark,” we all saw the “Story of Addidon” Photos.“ He’s being Memphis Drake on this unsuccessfully. Does he claim Memphis yet? If he doesn’t guess it’s about to be added to the list. I like this s**t even though the beat sounds like the producer was making it and forgot to finish it and forgot about it and they called him the day it was due and he was like “Oh s**t it’s not done, eff it I’ll just send it” It wasn’t terrible to me.

Elevate: I like this beat. That buttersoft singing next to humble-brag rap will never not be a little awkward to me. If it’s one thing I can’t knock Mr. Aubrey for it’s the fact he took his whole crew with him and put them all on. Kinda like Lebron, they’re alike: both narcissistic sensitive passive aggressive superstars that took their crew with them. The difference is Lebron has more swag, where Drake's got the better head of hair. And then this happened.

So both he and Lebron are liabilities from 3. But yeah, I was kinda feeling the beat but not the song too much. Not his best but a not half-bad song. “Thank God for working harder than Satan” Amen Drake. God is good, all the time. Word life. Emotionless: I’m not gonna say much about this confession, if you even wanna call it that. But the very fact that he decided to name a track about something EXTREMELY emotional, Emotionless should tell you how out of touch Drake is. Digging the beat, who made it (*checks album credits*)? Ah No ID and 40 again, I like the Mariah Carey flip. He’s got a great ear for beats for the most part. Gotta admit. Drake loves these airy vocal samples with the hard kick and snares, It’s always worked for him (Pound Cake, The Ride, etc) there’s WAY too many stand-out lines on here to single out, but that “hiding the world from my kid” line has already been taken up as the official credo for deadbeat dads and f***boy fathers everywhere. So give yourself yet another pat on the back Drizzy. Also this s**t sounds real rushed, real topical. Like he literally recorded it dead last for the album. Not a good look. You had plenty of time to flesh this song out. This more than any other one on the whole album. This is a big deal, he needed to take more time on it instead of barely scratching the surface. Oh well. Guess we should all count ourselves lucky Lord Aubrey graced us with a song about the track at all huh? Smfh.

God’s Plan: I liked this song for about the first 11 times hearing it, then I was over it. Radio ran this s**t into the ground. As usual. All I'm going to say is don’t make videos helping other people like you’re a saint when you’ve seen your seed once since he was born. Also, don't try that “his mom won’t let me see him we’re beefing” you’re DRAKE dog. All you talk about all the live long day is how powerful and rich you are. There’s not a reason under God’s beautiful blue Heaven that would make me belive that you can’t see him. Get the f**k outta here with that bulls**t. Tell that to the Stans and d**k riders who will just blindly belive whatever s**t you’re shoveling. Not a bad beat and song though. I’m not even gonna front. In the video when that one kid’s mom was crying and then the kid was crying and then Drake was crying, that was some real sh*t. All jokes aside, I like that you did that for those people dog. Mixed mafia stand up. Now get the f**k outta here and go see your kid.

I’m Upset: I hated this song at first, but now I don’t mind it for some reason. Drake is on his tough mon ting here, but I have a question: you’re talking all that tough guy Teflon s**t one minute, and on this song you’re talking ‘bout you “got a lot of blood and it’s cold” but the song is called “I’m upset”? The f**k you upset about? That the world isn’t feeling the fact you handled the whole secret kid by an ex-porn star terribly? That people don’t buy your tough guy mafia don shtick? Golly the contradictory song titles are running rampant on this album so far. This is one of the worst songs he’s ever made but it’s catch to me for some reason, and he’s coming with the bars full of f*****y. “I can’t go 50/50 with no ho” but didn’t you......you know what? I’ll leave it alone. On to the next song.

8 Out of 10: This ain’t bad at all. This reminds me of some Thank Me Later era s**t. The bars aren’t too cotton candy soft s**t either. The outro was mad unnecessary bro but whatever. Here we go ”As luck would have it I’ve settled into my role as the good guy/I guess luck is on your side” Ayo my man, since when did the public view you as the bad guy?? Seriously you’ve been trying to paint the picture of yourself as the reluctant paranoid super villain/king since the Take Care era (which was your best work by the way). The problem is, the vision never did fit accurately. All in all a good song and verses though I’d replay this.

Mob Ties: I can't put my finger on what this beat reminds me of. It's like some late 90’s early 00’s keyboard beats. I like it though. This s**t doesn’t bother me, he’s on his mob boss: “I’ll get people to take you out” nonsense. You say you “hired some help to get rid of these n****s” does that mean you hired some ghostwriters to write some bars? I’m asking for a friend. “I’m not with that ra-ra I am a da-da.” That was suuuuuuuper basura. Like c'mon man. I still kinda like this song though. But the bulls**t piles up so fast on a Drake album you need wings to stay above it.

Can’t Take a Joke: This s**t is kinda whack. So far the production hasn’t been bad at all for the most part. A lot of these songs are short, almost like they’re not fully fleshed out songs. Some of these have gaps on the hooks. I wonder, did he throw this all together in a week like Kanye? The only artist to make a classic in 7 days was the Don Killumintati himself Tupac Shakur. Facts. But this song was good, I was kinda feeling it. But it was too short and felt like a random song that shouldn’t have made the cut. If it was on anyone else’s album that would be the consensus, but since it’s Drake people will revere it. Oh well (*shrugs shoulders*). Matter of fact I really like this song or maybe I’m trying to really like this song maybe it’s just a glitch in the got damn Matrix who knows.

Sandra’s Rose: I LOVE THIS BEAT. This the s**t I can feel. Who made this? Preemo? Ah mannn I’m not surprised. Hats off to DJ Premier man, one of the greatest producers of all time. This Reminds me of Weston Road Flows. Totally different beat, but the same real soulful feel. Drake is putting his all into the song for a change. A lot of the songs on here he sounds real lazy. That’s what success will do to some people. Success can be just as dangerous as any drug, to the wrong person it can rob you of your hunger. Got it, “Sandra’s rose” aka his mothers son, aka the rose that grew from concrete. Gottttttt it. Clever song title, awesome beat, Preemo is a savage and gold bars from drizzy the Drake cake man, nothing really bad to say about the song, Drake was talking some silly dilly s**t a couple of times but ima let it slide on the strength of this song being so hot.

Talk Up (Featuring JAY Z): AHHHHHHHH S**T now this s**t right here (*Katt Willams voice*)???? is THAT S**T. About damn time. This motherf****r is a banger. Now who in tarnation made this beat? (*checks album notes*) DJ PAUL???? You ugly sonofab***h, you MURKED this s**t. This makes me want to go see that little Asian gentleman down in Houston that makes the grills, what’s his name? Johnny something I think? Whatever the f**k his name is, or Paul Wall baby! I'll get an iced out grill, buy an old school Chevy that cost 5 grand, get rims that cost 25 grand and a giant subwoofer that cost 15 stacks and takes up the entire backseat and trunk. Then I'll go down south and become a promethazine/codeine conisour. DJ Paul with one arm made a hotter beat than other tracks on here with multiple producers and like 8 different sets of arms, for real for real. Big Shouts to DJ Paul, you did the diggity damn thing on this s**t. Matter of fact, while I’m on the subject of Three 6 Mafia, shout out to Crunchy Black, top 5 dancer in the music game all time. You don’t know who I’m talking about? go on YouTube and check the 3 6 Mafia Videos and you’ll see the man’s footwork on display.

Sidebar: Top 5 dancers all time 1)MJ, 2)James brown, 3)Usher, 4)Chris Brown and 5)Crunchy Black. Word. If you disagree your opinion is worthless and irrelevant.

Anyway, this beat is hard as all hell. Drake is talking that talk on this, and you know what? I’m not even mad at it. And here’s Mr. Beyonce Knowles-Carter on the track. Even though they had their pseudo-beef for years but I guess it got squashed. (*Shrugs*) I’m not gonna lie Hov sounds kinda sleepy as f**k on this track. Was he getting into character and had DJ Paul pass him the sizzurp before he got into the booth? His verse is good though by his late career standards. The line about Xxxtentacion and George Zimmerman is the truth though, I don't care what you say. If you disagree you gotta rethink that. Hot a*s song man. Not mad at it in the least. Play this song on some good speakers for maximum enjoyment.

Is There More?: I like this song. I like Drake’s lyrics on this. Nice to see his lyrics and content match the song title. “They say take the good with the bad I’ll take it without” here’s out of touch Drake again. Like dog, you’re not Jesus, Lazarus or John the Baptist, you’re a NORMAL PERSON for f***s sake. Everyone takes good and bad, stop it. Again, too much success, not staying grounded and having too many yes men around you will blind you and make you unrealistic. “As soon as the album drops I’m out of the deal” ........ somewhere Birdman's hands stopped rubbing together. Good song and lyrics. Can’t really hate. That much.

Side B


Peak: AH MAN, I LIKE THIS S**T SON. This sounds like something that would’ve been on So Far Gone/Thank Me Later. This is like some Shut it Down part 2 type s**t. Which is a HIGH compliment. This s**t is SUPER HOT. B side is off to a REAL solid start. Even the washed out reverb guitar at the end is real vintage Drake. Whoever made this beat got jiggy on this s**t. Question is, Who made this s**t? Did 40 make this s**t? Tell me 40 made this s**t. (*checks album notes*) OF COURSE 40 made this s**t. 40 you did your thug thizzle on it. you’re the man. This song is a certified PD. If you’re a guy reading this and you don’t know what a PD is, you’re a disgrace. But yea, this kinda reminds me of Cece’s Interlude. It’s got that vibe, need I say more? Straight fire.

Summer Games: Aaaaand just like that here comes the garbage truck backing up. This s**t is bad. I literally only listened to this song all the way through because I’m on the job doing this review, but that’s it. This beat sounds like they used one of the basic arpeggio sounds off Fruity Loops demo version and put some drums on it. That’s not to say you can’t make bangers off FL studio. 9th Wonder made Threats off FL studio, and that’s one of of the hottest Jay beats of all time to this day. So it can be done, but this isn’t one of those cases. I agree that as an artist you gotta experiment and progress, but not all experiments are successful ones. This sounds like Drake is trying to have a song played at Electric Daisy Carnival this year. Fail for this. That “breaking my heart” chopped part is painful to listen to. This didn’t have to make this album. Drake Stans will obviously rock this song but not I. Skip button with the quickness.

Jaded: Hot a** song, should’ve cut the last song and cut right to this. The Ty Dolla $ign vocals in the back work really well. Can’t really find much wrong with it. I f***s with it. Drake stays trying to hit up his exes in songs man, you’re a messy a** beige bastard, you know that Aubrey? Well who am I kidding? of course you know you are, you knocked up a chick you met twice who just happens to be an ex porn star/gold digger and you had a baby with her. You’re the Messiest muaf***a of all time. Another thing, BIGGEST shouts to Max B, the original wave master. Drake used the word “wavy” on this album a couple of times. So he should be cutting Biggavel a check. Shouts to Charlie Rambo, hold your head (pause) you’re coming home soon I hear. When Max touches back down it’s literally going to be a national holiday. Anyhoo good song overall, definitely high replay value if it wasn’t for that abomination right before It I would’ve said from Talk Up to Jaded the Toronto tearjerker would’ve been on a little winning streak for this stretch of the album. Ohhh well.

Nice For What: The other big Drake single. I love the Lauryn Hill sample, but I never loved the beat. Once again never feels like it never really drops. I felt like more could’ve been done with it. My sister lived in New Orleans for a few years and loves the city soo much. She told me it’s a real New Orleans bounce sounding beat and that’s how it supposed to sound, so ima leave it alone. Believe me, it’s f*****g FULL of quotables that you’ll see ratchet or wannabe ratchet chicks quoting on social media till the cows come home. If you like the song I’m not mad at you, it’s just not for me that’s all. To each their own.

Finesse: Another song that sounds like it’s a throwback, which is a really good thing. This is a real vibe out song. this is what you listen to when you drink, smoke, Knit a sweater or whatever you do to relax unwind and zone out . “I want my baby to have your eyes” well sir, does Adonis have Sophie’s eyes? Release the pics and let the world know! Another song chocked full of female quotables. I’m not mad at the song. People are saying there’s lines about the Hadid sister on here, but we’ll never know because drake is the Mike of subliminals. Jordan Jackson Tyson pick one. I like the song a lot though, it’s kinda short but that seems to be a trend here.

Ratchet Happy Birthday: This song is corny as f**k. Ok, if it’s one thing I can’t be mad at Drake at all for, it’s that he knows his audience. What did Funkmaster Flex say? “70 percent of your audience wears high heels”? I don't know if it’s that high, but it’s up there. He makes songs for women to apply to their life. He’s a genius in that regard. This song title will be the caption on scores of chicks’ social media posts on their birthdays for eons to come. He’s a smart guy. No one ever got rich being dumb. I like the sample but not the song, I’d even go as far as to say this is the weakest song on the album. Skip.


That’s How You Feel: Eh, not that great. Another short a** song that sounds like it’s not fully finished. A couple of the songs on this B side could’ve been cut. I don’t hate the song but I wouldn’t have been mad if it didn’t make it. The Nicki vocal sample is ok, but she said one of her rules is she f**k her man’s friends if he’s acting up. Nicki, that means you’re a thot where I come from, but whatevs. Different strokes for different folks. Song is ehhhhhh not really anything to go crazy about though. Lukewarm a** Drake song.


Blue Tint: The beat is cool, and I like the Future vocals, but he definitely should’ve had a verse on here. That would’ve made this song way hotter. He even said “What a time to be alive” on the track. You all remember that project right? That Future album with some mediocre a** Drake features right? I figured you all did. Anyways, so why didn’t Future get a verse? The song has a nice bounce on it, but I was 50/50 on it. Is it just me or do a lot of these songs sound unnecessary? I don’t think it’s just me.

In My Feelings: Kind of an ok song. I’m ashamed to say kinda grew on me. I didn’t want to like it. Anyway, it's another song with the New Orleans bounce and flavor. I guess Drake is gonna add the crescent city to the list of places he reps. This song is super ehh. Weezy got some ad libs and vocals on it. Sounds like Mannie Fresh made the beat. Especially the part at the end, sounds like some vintage Guerrilla warfare Hot Boyz s**t, and you all know I’m all for that s**t. A bunch of these B side songs are not great and short, which is concerning because quality control on albums has always been one of Drake’s strong suits. Ever since Views it’s been slipping. My question is directed at 40. You’re the executive producer extraordinaire, you should’ve cut some of these joints man. I expect you to be the man to save Drake from himself. I blame you for this f*****g mess 40. I don't know what’s with the female ratchet dynamic duo on the song either, super random. That being said I’m kinda feeling this track.

It Don’t Matter to Me: So the night before the album dropped, the track list released and I immediately saw this. Now anyone who knows me knows I’m a HUGE MJ fan, and a historian of his career. That being said, I don’t hate the song. I’ve talked to come other MJ enthusiasts I respect, and the opinions have varied. No surprise 40 and Nineteen85 handle production on this. As usual, Drake is pulling all the resources from the OVO sweatshop on this (PartyNextDoor, Majid Jordan, DVSN). I wouldn’t have been mad to see Jordan Ulman handle production on this. Majid Jordan is the truth. Anyway I’m loving the 80’s vibe 40’s got going here. The percussion in the background kinda sounds like the percussion on Africa by Toto. If you don’t know that song, take a long walk off a short cliff. Your musical knowledge is a joke. Drake was careful not to curse or talk too greasy on this track. He respected the late, great GOAT. I really like how 40 made the beat around MJ’s vocals and didn’t speed up or slow down his vocals. How did they did they clear MJ vocals?? Paris Jackson is probably a fan. That’s another thing I can’t take away From Drake, his clout in the industry is longer than Trump’s ties. Mike’s vocals are so stunning and flawless, he doesn’t ride the beat, his voice glides over it. To be completely real his vocals turn this from an otherwise generic Drake ballad into a great song. I really liked it. Once again RIP to the greatest artist of all time. You already know this is getting replayed mad times.

After Dark (featuring Static Major & Ty Dolla $): This s**t sounds like It should’ve been on Tha Carter 3 or around then. That being said, I would’ve liked it more if Weezy F baby (please say the baby) had done this song back in the day. Doesn’t really work for Drake. I’m loving the Ty $ part, Matter of fact, if this was a Ty song I would’ve like it way more as well. Basically, I would’ve like this song more if it was ANYONE besides Drake. Also Static Major is on here, I’m not mad at that either. RIP Static Major but tbh this is another ehh song off the b side but I’m not too mad at it. Drake’s on his creep s**t here, you should’ve chilled with that creeping after dark s**t. Man, that’s how you got into this mess in the first place.

Final Fantasy: When I was first listening to this song I was about to skip this s**t then the bass kicked in and I was like HOLD up, this s**t is hard. I got all the way into it this. It's is hot as hell, but then it cuts short into a whole different song. More of a singing Drake song, which I’m not mad at, but the overall trend yet again is that these songs are short or sound half don.e This one in particular he just combines two songs to make them one. I’m sure disciples of the church of latter day Drake’s will say this is the bridge or reprise of breakdown but na man, can’t get that. This isn’t the 20/20 experience, you can’t fool me. Don’t get me wrong the second part is super hot too, but it needed to be a song on its own. Just like the first part both songs would’ve been wayyyy better as full songs in their own right. He should’ve cut that summer games trash or ratchet birthday s**t or a couple of others on here and put two full songs on there. But hey it’s Drake’s world and we’re just living it right? Riiiiiiight.

March 11: Drake Intros and outros have always been real strongpoints of his albums. The baby was born in October, so maybe this is the date he got the paternity results. Just guessing. Alright so here it is. For all the tough love I’ve given Drake on this, I’m honestly loving this song. The fact that he handled the whole situation horrendously doesn’t change the fact that he’s a human being. He’s imperfect. He makes mistakes. From all his lyrics he would have you believe otherwise, but it’s the facts of life. It’s his child, and it was his choice how to handle the whole situation. Regardless of if it was a good or bad choice, it was HIS choice. It’s so easy to judge for the outside looking in. It took him 25 tracks but he’s finally opening up. This is the essence of what made Drake so marketable in the first place. That's his ability to bare his soul and feelings. He’s become more and more out of touch with that as time has gone on, but that can happen. People change, and not always for the better. However it’s rough to judge him being in such a high position financially and otherwise. Under such scrutiny and being in the public eye every second. The sad thing is as a fellow mixed kid who grew up with an African American father and a Caucasian mother who divorced, I kinda feel for him at times. It’s tough to find your way in the world that’s black or white and you’re both. Regardless of the s**t I’ve talked about you Drake it’s always mixed mafia for life. I was really feeling this song, and the lyrics. And the concept. And the beat. My only gripe (and this is nit picking) is that it was only one verse. It should’ve been longer, but maybe that’s all he needed to get s**t off his chest to his satisfaction. That faux gospel 90s singing breakdown at the end I could’ve done without for sure. You’re singing about you’re all alone? That’s by your own design buddy, and you’re changing from a boy to a man? You’re 30+ you’re changing NOW? Jeez man you really know how to f**k up a good thing. I was singing your praises finally and you go and do this f*****g s**t. Oh well, but again short but great song. Another worthy addition to his stellar intro/outro catalog he started on So Far Gone. This song just overtook Look What You’ve Done as the most personal he’s ever made. He closed the show on a good track. Short, but good.

And there you have it. 25 tracks from wheelchair Jimmy, it was a long one. A marathon of a listen, not a sprint. So what did I think: It was very well produced, the production sounded expensive on this one. Very immersive, very lush, expansive. He’s always had a golden ear for beats, but that I attribute more to 40 than to Aubrey. So 40, Another well executive produced album. Please make more beats on the next one. Your lack of production on here was noticeable. The overall sound of the album was really good, so high marks there. As far as writing goes, Drake has always had a habit for delivering some head shaking bars and cringe-worthy punchlines, and there are certainly no shortage of both on this album. The few times when he drops that nonsense Teflon don persona and actually acts “human” (Sandra’s Rose, March 14th, Is There More-sorry but Emotionless sounds rushed and saccharine) is when he shows his true talents as a songwriter. The problem is this: this album could’ve been a magnum opus, a Take Care 2, a follow-up to the REAL magnum opus of his career to this point. He could’ve broken new ground, taken his music to yet another level. He could’ve used this moment post-Pusha T loss to really refocus and turn in his best work. This was the perfect opportunity to really, REALLY open up to the world, more then he ever has in his discography. But instead, for most of this album, he pretty much sticks to the script he’s been on most of his career. He fails to even go into any real detail about his son, save one single verse on March 14th, and a couple of random half-hearted lines on Emotionless and scattered elsewhere.

Presented with a golden to opportunity to truly bear his soul, he opts to wow us with expensive production and all-too familiar subject matter. It would seem the more successful he’s become, the more isolated and insulated from reality he gets. The one burning question now is, how many times can you say the same things differently? I believe Drake has finally reached a plateau. When there are no more genres to conquer, no more records to break, no more peaks left to climb, what do you do? This is the crossroads Drake finds himself at currently. Only time will tell how he handles this, and what road he decides to take. The sound and style that made Drake arguably the biggest name in the music world is finally beginning to wear thin. Nothing lasts forever, and Nothing Was the Same. Still, despite the lows there were still the highs that remind you when Drake is hitting on all cylinders, he’s without equal in the rap game. Now that he’s a father, I’m hoping the monumental change in his life this will cause his music to change and evolve as well. I suppose the next chapter in his career can be summed up with one of his song titles. Is there more? Time will reveal.

Album Grade: 6.7/10

Review: EVERYTHING IS LOVE - The Carters (words by @RamseySaidWHAT)

A few months back I almost dropped a piece covering Beyoncé's spectacular Coachella set. I still may release that in a different format someday. To take an excerpt from that piece, I'll make an analogy. Beyoncé is to Lebron as MJ is to MJ. I'll explain that later. For now we have a review to do. It's funny I've never reviewed anything by Beyoncé. Partially fear of the hive, partially because I didn't want to compete with every other site EVER and their reviews. THE CARTERS presents EVERYTHING IS LOVE, let's get to it.

The project opens up with SUMMER. I want you to imagine you're at the beach listening to this. Close your eyes. Let Bey serenade in your headphones. This is their love song to each other. Jay pulls up smoothly with a story of a summer night with his family. Don't stay in this fantasy too long because APES**T sounds dramatically different. I recently listened to the Migos demo of this. I've said it before and time and time again I always remind people: "Adaptation is the key to longevity." Their ability to adapt to today's trap sound will always keep them in conversation. Not my favorite in the world but this will ring in car speakers all summer. It is what it is. Besides Jay has been doing well on trap beats for awhile now (example: La Familia, I Got the Keys with Future). Also, these guys really rented out the Louvre to shoot this video.

The tenor melodies and harmonies are fire on BOSS. This track is what I call real music. Beyoncé floats here. They start with the chorus, then add a brass section, then add piano. Then take a section away bar by bar. This is excellent. This is when the real shit talking begins. Subliminals enter the playing field here. Get used to it too, it's gonna happen throughout.

"Till them invoices separate the men from the boys. over here we measure success by how many people successful next to you."

Afterward Beyoncé follows up with some black excellence of her own. whips for everyone, generations full of brown Forbes listers, you know the usual.

NICE is a Neptunes beat if I ever heard one. Before the first lyric is sung this production screams Pharell. If you're wondering why Lemonade isn't anywhere but tidal this should clear things up for you. Not for nothing Pharell is the only person in the music industry that can't sing and it's okay for him to falsetto over anything he wants. He's the only pass. Just think of his voice as another instrument. It's also nice to have this feature without it being listed. Makes for a nice surprise. 713 is very obviously an ode to Houston without googling the area code. In fact we get the low down on how the power couple really got to meet, how he almost lost her, and how he went full Melo mode to get her back (more on that later).

I think FRIENDS is the best track on the project. It had the most subliminals and lines to be read through. I think the only way to get a friend is by being one. This song reinforces that lesson. This beat and 808 kick is too tough. Queen B's autotune makes this car speaker certified. This has to sound crazy live.

The kardashians too. “Put niggas on a t shirt.” “Ain’t going to nobodies nothing if me and the wife beefing” regarding the wedding pic.twitter.com/8pXk8Sc1CH

— JC (@RamseySaidWHAT) June 19, 2018

Only Beyoncé and Jay Z can find a way to flex on a song clearing the air on some things. HEARD ABOUT US has instagram captions for days. So famous I don't wear a suit to court. Cuba and Aruba in the winter. I can't lie I'm pretty jealous of those kind of problems.

BLACK EFFECT begins with words of wisdom from an older woman before an R&B sample blends through. Then a punchy kick drum rings your headphones. This is my favorite hook on the project. If Black Excellence was a song this is it. The project closes out with LOVEHAPPY. It's flat out beautiful. This is the most hip hop beat here. "I had to move the whole family west but its whatever. in a glass house still throwing stones, Hova Beyzus, watch the throne." I seen a bunch of Kanye to Kim "get the nudes" memes probably stemmed from this line. Their chemistry to turn the first verse into a conversation where they upstage each other was clever. Hov even took a bar from the Common classic H.E.R "Y'all know how I met her, we broke up and got back together." Great mood to close out a project. Sometimes you can tell when Bey is really into what she's singing and she gets into this growling voice. I love it.

To be frank The Carters were talking greasy throughout the project. Beyoncé the emcee made an appearance with the singer and autotune crooner. I think these guys are the only ones who could do well with a surprise release. I had a complaint about them doing another tour without new material since their therapeutic revisit of darker times in 4:44 and Lemonade respectively. In fact they made some references, double and triple entendres the way only Hov and Bey can. You can tell this project was put together fairly recently regarding subject matter and such. I was pleased to see Jersey based Nija Charles had writing credits on a few songs on this project. try not to compare this to Twenty88 or any other collabs to this point. Short albums is the new trend that I foresaw on 5 Reasons Your Album Flopped. I enjoyed it thoroughly and I think it'll be in rotation all summer. It doesn't sound like what we would have thought a Jay-Z and Beyoncé album would ten years ago. Still this is an amazing piece. I wish they would have kept Shining on tuck this whole time because that would have been a wonderful lead single for this, but DJ Khaled. Anyways, EVERYTHING IS LOVE is everywhere now and by now I'm sure you've listened. Let's see how it stands the test of time.

A Side B Side Podcast Episode 001 #AOTY2017

The piece that brought you all here is back. Album of the Year: The 2017 Edition.

Some years fall short, some blossom. This year was the latter and outstanding for music. Instead of writing a long drawn out piece counting down the top five I enlisted some help for this one. Charles Polk, Kyle Gill and myself give you our pilot episode of A Side/B Side Podcast presented to you by What's The Movement. In this episode we break down the top five hip-hop albums this past year. Same deal as always: Flow, Lyrics, Production, Impact, and uniqueness is how we rate our top five. I won't spill too much. The music in this episode is F*ck 12 by Khalil Jibran. I just need you to feel this. Press play below.

Are You Even Listening? (Why Kingdom Come isn't Jay-Z's Worst) words by: Kyle Gill

The project was Grammy nominated for best rap album in 2008, and still outsells more than half his discography to date. Dr. Dre produced four tracks and mixed it in it's entirety. It reached 680,000 sold his first week, and peaking number one on Top 200 billboards. This album was an actual success. In fact, Mr. Carter hadn’t dropped an album in three years and was able to accomplish so much. If you ever listened to this album I’m pretty sure you can relate it to so much while nodding your head to jazzy instruments with a mix of current and new vibrations. So, with all this success surrounding this musical publication, why do people plague this in-depth description of Jay-Z’s mental with the inscription of being the King of Hip-Hop’s worst album? If you really listened to this album I think you can understand why I’m here to telling you the truth. It’s not.

Here's our first argument: The platinum success of Jay-Z’s The Black Album had been three years removed from his return. When someone steps down there is always a shift in what should be and what shouldn’t. With that things tend to change. The sound had gone in a different direction. Around this time the main airwaves were being controlled more by Rock, Pop, and R&B. At a time where High School Musical, and American Idol were thriving and a panic of written sins not tragedies mixed with a chemical romance that had everyone talking about a black parade (did you catch that?) what was hip-hop doing? 

Looking back to 2006 Jigga Man battled other hip-hop successes such as T.I.’s King, P. Diddy’s Press Play Ludacris’s Release Therapy AND still achieved platinum status. Not to mention the airwaves were controlled by Timbaland Productions including Justin Timberlake and Nelly Furtado both selling over 8 million copies each. We have said all of this without mentioning Lil’ Wayne at the helm of it all with a mixture of hip-hop but more of a pop sound. While Tip coming into his own, S.Carter decides he’s going to drop an album. Unlike everyone else he took it in a different route and changed the setting with soulful instruments and heartfelt lyrics of his mental state. 

No one cared. People bought the album sure, I mean it's Jay-Z but…did you hear the album? 

I mean the format was perfect. This was the hip-hop era of dance, dumbed down music and it was consistent. Jay responds, Hmm...maybe I’ll bring something honest and legit to the table and push the culture this way. I'll drop real music with lyrics that show me in a vulnerable state. The music you don’t hear every day and will leave a mark on hip-hop. No, That’s not going to work? Grammy nomination and platinum displays later it’s still the worst album out of his discography really? It’s a dud? No one will remember anything other than Bleacher Report due to relevance?

Right, that’s why exactly ten years later hip-hop is in the same state. Mumble rap is the new pop with a lack of creativity, and J.Cole can do exactly the same thing as Jay-Z (yeah I said it!). Cole uses the same sound and drops an album in the middle of the musical chaos, and now he can be legendary. He’s one of the best ever right? This shows that Kingdom Come the album wasn’t his worst album of his catalog it really was just before its time.

So I got daughters on the way

If the prophecy's correct

Then the child should have to pay

For the sins of a father (Beach Chair)

And if my children knew, I don't even know what I would do

If they ain't look at me the same

I would prob'ly die with all the shame

"You did what with who?"

"You risked that for Blue?" (4:44)

Blue Ivy was born in 2012. Jay-Z is no fortune teller. With our sound today, if he dropped the ninth studio album it would flourish. It'd probably double its success and I think people argue that it is one of his best. He let you inside a place where no one knows how or what Sean Carter really feels. This album is a rarity. In fact, he’s done this a complete three times: Where he’s from Reasonable Doubt, where he is going which is Kingdom Come, and where he is at his most recent 4:44. Each one of those albums were down played except the latter. Everyone says his first was legendary and arguably his best. Shawn Carter was vulnerable long before this year, and I think most of us just missed it because we weren't clever enough to catch it. It doesn't make sense to name Kingdom Come his worst. Go back and listen. When you do you'll see 4:44 is a clone of Kingdom Come. The only difference is topic and setting but, essentially it is the same. Would you say 4:44 is his worst album?

If Kingdom Come isn't his worst then what is? I would have to argue In My Lifetime Vol. 1 easily. There are only five songs of 14 that are worth it. Honestly, it was definitely lacking after his debut album but Kingdom Come is definitely top five. If you made it this far go back and check it out for yourself. There is a lot you missed on that album and you will see what I’m talking about. When you’re done after the numbers and arguments about if it is or is not the worst album he put out, I just have one question….Are you even listening?

4:44 Review - by @jephtoda

In four years so much can change. Presidential terms end, entertainers come and go, fashion changes, TV shows get canceled. However with all that being said one thing seems to stay the same. Everyone and everything will stop and listen when Jay-Z drops an album. 

4:44 is Hov’s 13th solo studio album and at the age of 47 we were all waiting to hear what he would sound like and if it would connect. At this day and age less and less rappers are actually rapping and many wondered if Jay would follow suit Even more importantly, how it would translate? I'm happy to report that Hov is still Hov and everything he raps is still gold. 

4:44 starts with the self deprecating and shot filled song Kill Jay Z. Although throughout majority of the three minute track he speaks on his own flaws, what sticks out the most is the “shot” that he takes at Kanye. Longtime friends, Jay finally opens up about the frustrations he has with Mr. West and digs into the root of some of their issues. It's safe to say hopes for a Watch the Throne II are dwindling. 

art by Jeff Rose King

"you got hurt because you did cool by 'Ye

You gave him 20 million without blinkin'

He gave you 20 minutes on stage,

But if everybody's crazy, you're the one that's insane"(Kill Jay-Z)

Kanye isn't the only rapper he jabs at on track one. The triple entendre king plays on words also mentioning Future and his dealings with Ciarra, Russell Wilson and their son. Bye Jay-Z he ends. It's almost as if Jay-Z has been an alter-ego this entire time and Sean Carter emerges for the first time in forever. From there he quickly switches gears and kicks some much needed game in The Story of OJ. Hearing an artist dive into how to work your money instead of spend it is refreshing. Hearing it come from a guy who was once notoriously known for balling and being super extravagant is a new feat. The Story of OJ is a message on how to keep it for generations and make your money stretch. The video takes a minstrel show approach, oh the irony.



Jay has a history of a braggadocio flow and talks about expensive wine, classic art, and the finer things in life. Sean Carter is that uncle at the cookout dropping knowledge. For $9.99 he put us all on game about themes of gentrification and generational wealth (okay we know you got that free trial just for this album, we did too). This father like approach of trying to teach us through his mistakes is riddled throughout this whole album.

Alright my friends. Jay Z has spoken. We are diversifying our assets, investing in our communities, and creating generational wealth. pic.twitter.com/U2FeUW3k9U

— michael (@michaelilynch) June 30, 2017

In some of the songs Hov abandoned prose and rhyme to just tell the truth. Not that he hadn't been honest before but I've never heard The Jigga Man be so vulnerable since maybe Song Cry. Whether it be infidelity on the title track 4:44 , unity on Family Feud, or independence with Moonlight, the album hits home on so many values and topics that are generally not touched. Without a doubt one of the most personal and helpful Jay albums, 4:44 feels more like a letter that he’s leaving us or even more a will (ironically enough Blue asks “Daddy what’s a will?” on the final track Legacy). After all these years of stunting on everyone it seems like “the greatest rapper ever” wants to part wisdom on us all and help us grow, a fourth blueprint if you will. Well as a fan and admirer I’d like to say thank you Mr. Carter thank you, you’re far too kind.

#TBT: A unique perspective on the 20th anniversary of @S_C_'s Reasonable Doubt {Written by: @Natural_Nation}

Twenty years and five days ago, Jay-Z released his debut album Reasonable Doubt on June 25th. 1996. At the time, I do not think the world foresaw his rise to become one of the most, if not arguably THE most successful hip-hop artists to ever live. As a man of music he is respected across the globe and from one business minded individual to another I can not help but admire him. Jay-Z is the perfect example of someone who knows how to transfer success and build longevity. He managed to continuously put himself in a position where he as able to catapult into other areas of business. Jay-Z set himself up so well that he could have stopped making albums years ago and he would have still been making millions. That is what so many artists in all facets of the entertainment world fail to do. Jay was able to take a high risk career like music and get an exponentially greater return on his investment and for that alone he's the O.G.

With the 20th anniversary of Reasonable Doubt upon us it was no surprise that the album, once again, became a topic of interest. The album featured a number of impressive special guests including (my love) Foxy Brown, Mary J. Blige, Memphis Bleek, and The Notorious B.I.G. It was a conversation that I could not seem to escape from for the past week. It was only inevitable that I eventually talk to one of the biggest Jay-Z fans that I know. So, on a muggy summer evening my friend and I sat out in the grass in my front yard and as most Jay fans are, he was eager to let me know about the genius and the beauty behind all things HOV.

Watch: I Got the Keys - @DJKhaled (feat. @S_C_ & @1Future)

Major Key Alert!

I saw a photo of just about every rap mogul hit the web a couple weeks ago. Something had to be up. A couple days back, DJ Khaled let his new track out the bag. Of course it's titled, I Got The Keys. It features the talents of Jay-Z & Future. At first this was a Tidal exclusive track and video but I did some digging and you can check out all the greatness below.

DJ Khaled, Jay Z, Future - I Got The Keys https://t.co/HMkmkPrPUt

— Tribe Called God (@tribecalledgod) June 27, 2016

Editorial Review: Views - @Drake - (by @RamseySaidWHAT)

Never have I ever seen so many opinions of a single project within hours of it's release. That's just the kind of hype our northern neighbor Drake brings.

I was especially hesitant to write this review. First and foremost I am a Drizzy fan. I'm sure a few of you are gonna close out your window upon reading that last sentence.  If You're Reading This was recorded on the tour-bus, in a hotel, or wherever. It was a collection of songs. Drake returned home for the entire recording of this album. Take Care was the last result of what was recorded at home. It's something about going home and visiting the places that molded you. You backtrack and think about the people around you. Views is just a little more together than that. There are gaps where it doesn't make sense but sonically it's all together better than the former. The project kind of goes in chapters. Question is, he hasn't yet, but can Drake miss? Let's get to it.

Chapter One: Reflection

I'm a wine snob so I like to crack open a nice red and a bottle of water to ensure my listening experience. The mood in the beginning of the project was made for the wine drinkers out there. Keep the Family Close starts things off. Drake intros have been fairly weak in my opinion since his first Fireworks with Alicia Keys. The trend continues. The ongoing debate has been "Does Drake sing too much?" since 2009. The first few tracks he trades spitting and singing throughout these tracks. 9 just doesn't do it for me. It could for you possibly but the beat wasn't entertaining enough for the verses to be so dull. The content and reflection was good but he kind of just rapped on one, two, and three and let the song play beat for then the next few bars for Drake to return in the following bar. We on the radio call this dead air.

The next song, U With Me? starts with a DMX sample of and boom-bap percussion. Synths get the tone in the classic 40 tone as expected. Kanye, Faith Evans, DJ Dahi & more also have production and songwriting credits on this jawn. This is the first track Drake sets the tone with his rap verses rather than singing. The second half of the song serves as a ballad of all the things he rapped about, his relationships. Feel No Ways heads back to singing but this time upbeat and bouncy. He's still reflecting on his exes and how they act towards him. Frankly, the 6 God feels no way like the song says, why should he.

Chapter Two: Don't You Know Who I Am?

Hype is as hype says. Drake is really in his bag. Let's think about it. Dude put his country on his back, put the label on his back, goes plat without effort, and is the new ambassador for the Raptors. Shoot he won a major beef and probably didn't write any of the words to the diss track (lol). Seriously, Hype is dope, this is the head knocker you guys were looking for. Weston Road Flows is probably one of my favorites on Views. Time and time again I say Drake's best songs are the ones he just raps on without a hook or any kind of song structure. He does well when he's just trying to spill all which brings me right back to my 30 for 30 argument a few months back. The sample is dope using Mary J. Blige's Joint record. I only knew this song because I always mixed it with I'm So Into You by SWV in my 90's sets. Redemption takes a page out of chapter one but still provides to braggadocios flow Drake gave us in the past few songs. Short mentions of women in his past life and how they eat their hearts out knowing Drizzy is one of the hottest things out. If you listen close enough you can hear Ray J's beginning of One Wish. This song is the perfect link to the next chapter or mood of this project.

Chapter Three: Climax

With You has the first feature on Views from the 6. Who better than PARTYNEXTDOOR? It's bouncy and doesn't have those dark undertones that we are used to hearing from either of them, to be honest. It's fun. Faithful serves as my absolute favorite on the project. It features a posthumous verse from Pimp C which was actually a quick 8 from the Tom Ford remix. Faithful kind of sounds like two different tracks when dvsn comes in and steals the show. I always enjoy being put on to new music and a good friend put me on with the Toronto singer/producer duo a few weeks ago. I actually just found out they are the newest signees to OVO Sound. Faithful is flat-out excellent all around. dvsn has this mysterious undertone much like the other artists discovered by Drizzy. Unfortunately, Still Here is another one of those songs that didn't keep my attention. This song may be the first actual skip. I think what makes artists like Drake and Jay-Z great is their ability to adapt to the times and the trends while adding their own flavor to a song. Drake succumbs to the trendy druggy, swag flow here and I'm not impressed.

Chapter Four: The Dancehall

I was just saying the other day to my friends that I wanted to go to a reggae party even if it's in the grimiest part of Queens. I did make my way to a bar last weekend and Controlla coupled with the next track were in heavy rotation. Controlla was my favorite track he gave up as a loosie before the album dropped. I was hurt when he took Popcaan off the album version. He did change the sound and production by Boi-1da is a little different than the single version. It's a nice change. He could have dropped an entire reggae album and it would have been A-OK with me.

One Dance follows up. You guys have heard this one kill radio waves and those basement parties where every girl is trying to listen to Drake. This is the singing Drake the thugs will compromise with their girls for. Wizkid and Kyla compliment and add to the song perfectly. I just wish I had like four more songs like these. I'll get one, but we'll talk about that later.

Chapter Five: Changing Flows

Grammys features Future. This very well could have been a track that didn't make What A Time To Be Alive. It's just another song that shows the versatility of Drake. From singing to the dancehall to gritty rapping. I guess all of his songs sound like Drake featuring Drake after all. Child's Play is kinda cool. This track flips from a house feel to a beat breakdown at the beginning of the second hook. Can't put my ears to where the sample without hitting up who sampled. It's an old New Orleans bounce track by Ha-Sizzle. Pop Style originally had The Throne involved. Jay didn't really rap but said two lines in the beginning and Kanye finished the other 14 to complete a 16. When he took them off it was almost unnoticeable. Too Good featuring Rihanna could have been placed in the Dancehall chapter earlier on. I really like this track between the West Indian percussion style to verses by Drake and RiRi. The duo have always flat-out made good music. If my math is right this makes their forth collaboration.

Chapter Six - Concluding the Six

Summers Over Interlude is pretty cool. It's retrospective like we'd expect. I wish it were a full song and will make the playlist I have of really good interludes that needed to be full-length with Girl With the Tattoo, 101, Lady in the Glass Dress and more. Majid Al Maskati from Majid Jordan sings throughout this Maneesh-produced track. Fire and Desire samples my baby Moesha, I mean Brandy's I Dedicate. Drake lets the slow interlude dictate the pace. I'd really like my hands on an instrumental of this one. The self-titled, Views samples one of my favorite Gospel songs by the Winans Brothers. The clip reminds me of my dad blasting gospel music to wake me up for church then the music changed to gritty rap like how I was when I put my headphones on playing Breathe by Fabolous while brushing my teeth. Views goes back to his hookless rapping. Drake's emcee skills aren't as good as I think they are and aren't as bad as you think they are. He just doesn't do it enough point-blank. Hotline Bling finishes up the project (Just click the link).

This album was long. It's twenty tracks and has a few songs we've heard beforehand. In some instances, they wouldn't have been missed. He did change at least one thing to all of the songs we've previously heard which gave us a different flavor. I was surprised Summer Sixteen didn't make the cut. I would have loved that over Hotline Bling. Summers Over was the only interlude and even that was almost two minutes. I only listened to this project all the way through once. I thought it lacked cohesion but I was wrong. It was meant to be listened to in pieces, thus the review was done in six chapters for the six God. Views is the first full-length Drake review I've ever written before AOTY time. My analysis: Views from the Six is 40's masterpiece and definitely his best work. I wouldn't call this album Drake's best but it's his best-produced project. Since people like Jay comparisons this is his Magna Carta Holy Grail. It's super-produced but not his best work as far as content. Not terrible, but not the best. I say this with love, Drizzy has enough life experience to give us more of him. That's what the true goal of an artist is right? Views from the Six gets a 4.17 of 5 Stars on the Ramsey Rating Scale.

Editor's Picks Week of 1-31-16

Hard to believe we are already into February. I can already tell this year is going to be swift, maybe even faster than last year. Anyways it's Black History month and I've been in that kind of mood thusfar this week. Salute to Carter G Woodson by the way. Here's my picks.

Album of the Week: WTT - Kanye West & Jay-Z

In anticipation of the next Kanye West album I spent a lot of my time listening to his old stuff. You can't ever go wrong with listening to Mr. West's catalog (well you can if we talkin' Yeezus). Otherwise I went back to The Throne's Murder to Excellence. Jigga is the one who ate this one "I arrived on the day Fred Hampton Died real n*ggas they multiply." There's a reason this was AOTY 2011. Anyways listen below.


Throwback Jawn: Fight the Power - Public Enemy

In honor of the month celebrating our own people there's no way I could even begin this list without listening to this track a few times. Public Enemy completely killed Fear of a Black Planet and this one really stood out word to Radio Raheem. I was surprised Kafele didn't put this in his Pain & Perseverance mix a few months back. Feel this.


Song on Repeat: Get Your Link On - Goldlink

Goldlink really has a thing for Missy Elliot and her feel good party music. Thus the sample in Get Your Link on from his Fuck the Internet EP. Goldlink collabs with Royal this time instead of Louie Lastic. No missteps. Awesome song.


Underground: Bodega - SheReal

I was blessed to meet this young new spitter from Harlem a couple days ago at a show in Newark. Lefty opened up by saying she was rated "One of the best female emcees in the world." That's one hell of a quote. She grabbed the microphone and proved him right. You'll be hearing more from her very soon but until then listen to SheReal below.

AOTY 2013 Revisited - Magna Carta Holy Grail - Jay-Z

It's July 4th 2013. Jay-Z's brand new album is platinum via a distribution deal with Samsung. Magna Carta Holy Grail did not release until the 8th. How's that for some numbers?

Almost three years later it's safe to say this was a little bit of a flop. 2013 might not have been the best year for rap but picking the best album of the year is often difficult given our (ENTIRE) criteria. It's safe to say this was a very pop, radio heavy album. If Jay is your favorite rapper you'll understand. Jay-Z is at a level it doesn't matter what he releases it WILL go platinum. He's just at that stage of his career. When you're that good you only compare your music to your music. This is near the bottom of the Jay-Z discography stack which says a lot about how good his is. I'm not saying this was complete and utter garbage because otherwise it could not have trumped Nothing Was the Same, Long Live A$AP, Born Sinner and more that released in 2013. It also helps when you have super producers like Timberland, Pharell, No ID and Swizz Beats in your back pocket. Funny enough it was the production of WondaGurl & Travis Scott that produced my favorite jam on there Crowns.

As I said earlier the singles were surperb and good enough to get the nod. After much debate in the studio with Queen, Niles, Issah, and others there was no denying this was the album of 2013. Features from Frank Ocean, Rick Ross, Justin Timberlake, and Mrs. Carter herself put this one out of reach that year. Great album at the time, but really lacking in replay value. Perhaps this is opinionated but really think to yourself, when was the last time you listened to F*ckWithMeYouKnowIGotIt on your own time? Read the original review here.

AOTY 2011 Revisited - Watch The Throne

In a world were everyone is making collaborative projects, Watch the Throne most definitely is the blueprint. 2011's Album of the Year by Jay-Z & Kanye West is still probably one of the best pieces of both of their careers. That's saying a lot.

I remember hearing No Church in the Wild with Frank Ocean & co-written by The-Dream kicking off as the opening credits. Lift Off featuring First Lady Beyoncè followed up. Jay didn't have much of an appearance in this song but Bey did an amazing job on the hook. Kanye really murdered the production with help from Q-Tip. I really enjoy the bridge that's looped on the end which Cole used on his song The Cure. It's time to get into the meat of the album, Niggas in Paris and Otis. Both songs were gigantic. I swear five years later they both are on the radio in regular rotation. I can't think of too many other artists that have done that in recent years. Otis was one of my favorites at the time. "Sophisticated Ignorance, Write My Curses in Cursive," was probably my Facebook status once a week for the entire summer. A lot of people complained about the duo's braggadocios rap style. Sure, they talked their shit but it wasn't all vanity. In the original review I mentioned that Made in America paid homage to those who paved the way. What I didn't mention is Murder to Excellence. This is probably the deepest track on the album. Swizz Beats and S1 did an amazing job producing this one. While they laced the record Jigga and Kanye combat important topics like Black on Black murder and systematic racism. Lyrically they went in: "Niggas watchin the throne very happy to be you. power to the people when you see me see you." "If you put crabs in a barrel to ensure your survival you're gonna end up pulling down niggas who look just like you." This song might have been years before it's time and stays prevalent in today's times too.

Through and through it's clear that this was a Kanye influenced album. What I mean is Kanye really put his heART in it and Jay let him. It's almost and Kanye featuring Jay-Z album. Production, lyrics, and feel really leaned in a Yeezy direction. This was the beginning of Kanye's prime in my opinion. Some people say the beginning of his career and the Late Registration through Graduation series was his best. I say the artsy Yeezy was better. Even down to the album covers from here MBDTF & Cruel Summer made me feel like I were in a gallery in Europe. This is no diss to Jay he delivered and took the spotlight when necessary. I'm impressed he didn't let an ego take over. The partnership sold well and could not have been done any better. The world really needs a Watch the Throne 2. Read the original review here.

Pain & Perseverance: a mix by @FEELZ_

Pain & Perseverance.

I always love any chance I get to write a thought piece. I'm just glad I get to link that with my first love, music. Kafele came to me a few months back asking was I attending the Million Man March. I wasn't sure but he proposed we used our talents to curate a mix for the people. So with this platform and his skills behind the wheels of steel I couldn't refuse. With this mix we'll revisit old jams to contemporary songs that represent our struggle and what it means to be black and in America. So we empty into our nation's capital for the 20th anniversary of the Million Man March enjoy these tunes. Our cries over time have been reprised in protest and also in music. Join us in a trip from Jay-Z and Lupe Fiasco to The Roots and Mos Def. This was an amazing way to combine the two, and as always, Justice or Else! Below is the mix and a track listing containing a synopsis of its relevance to the mix written by Kafele Thomas.


Room 306 - Mickey Factz

"You know we are kings and queens/mistaken for the enemy/You know we will overcome/We won't stop 'til the race is won"

The story of Pain & Perseverance begins with the assassination of Dr. Martin Luther King Jr. Many people point to this event as the beginning of the dissolution of the Civil Rights Movement. After the assassination of many prominent African American leaders, the movement dissipated due to a lack of centralized leaders.

Minority Report – Jay-Z ft. Ne-Yo

“Then it wasn’t on the nightly news no more/Suddenly, it doesn’t matter to you no more"

Hurricane Katrina was a tragedy for America as a whole, but especially devastating for the black citizens of New Orleans. Due to decades of redlining and discriminatory housing practices, blacks in New Orleans were forced to live in the lowest lying neighborhoods such as the 9th Ward. When Katrina hit, those neighborhoods were the hardest hit and unfortunately the least cared for. Media coverage was specifically naming African American citizens as “looters” and “refugees”, when they were simply people trying to survive after their countrymen abandoned them. This built up to Kanye West’s penultimate moment and one of the most important events in TV history “George Bush doesn’t care about Black people.” Even though we can all agree “Kingdom Come” was a dud, I think this is low-key one of Jay’s best tracks. You can hear his pain and disgust. Hov has never been a rapper who shows his emotion through his rhymes so the rawness of the track really pops out at you.

Don’t Feel Right – The Roots

“When the fridgerator’s nekkid and the cupboard’s is bare/People gotta strip nekkid and stick’ em up in the air”

Black Thought has always been an MC who always is in tune with current events and uses his music as a social tool. Don’t Feel Right describes one of the biggest issues affecting the black community – the lack of opportunity. Institutional racism keeps African-Americans segregated in communities with low property value, a small amount of jobs, poor schools, and crumbling infrastructure. The old saying “If I can’t work to make it, I’ll rob to take it” is one of the unfortunate laws of life in the inner city, which is the story of the next track…

A Tale of Two Citiez – J. Cole

“I look around like ‘Do you wanna be another nigga who ain’t ever have things? Guess not/ Last night, we pulled up on a nigga at the light like../ ‘Nice watch.. Run it."

Cole’s story shows how “If I can’t work to make it, I’ll rob to take it” sucks all people forced into these communities to play the game, whether willing participants or not. Cole tells the story of being broke in the hood and realizing that dire situations bring out the worst in people. Cole’s boy got jacked for his watch in the first verse, but by the end of the song Cole and his boys are the ones pulling the stick up moves, due to a lack of opportunities to get out of the hood the legal way. The rules of street life are messy and bloody, which in turns creates the biggest media farce of our time “Black on Black Crime”

Blacker the Berry – Kendrick Lamar

“You sabotaged my community making a killing/ You made me a killer/ The emancipation of a real nigga”

K. Dot’s track is raw anger. He lashes out at America for putting the African-American community in the lose-lose game that it’s in and also his fellow brothers for perpetuating violence. In the track Kendrick refers to himself as a hypocrite for being mad at white America at large when black men and women kill each other every day. “Black on black crime” is a nonsense term that permeates through society as an excuse for why black people haven’t received our inalienable rights provided to us by the Constitution. Throughout history, violent crime often occurs in poor communities and crimes are committed by those who live in close proximity. Since most black people have been institutionalized into ghettos via the government and banks via predatory loans, most violent crime in the inner city is committed by those of the same racial background. “Black on Black crime” is the same as “White on White crime”, or “Asian on Asian crime”, but unfortunately, only one ethnic group gets that tag from the media.

Freedom Ain’t Free – Lupe Fiasco

“Say that we should protest just to get arrested/ That goes against all my hustlin’ ethics/ A bunch of jail niggas say that’s highly ineffective/ Depart from Martin/ Connect on Malcolm X tip.”

Lupe’s track that samples the classic Pete Rock jam T.R.O.Y shows how the “American Dream” sold to us is fool’s gold. Not only does it leave behind many Americans behind, but America is built on resources from poor countries full of black and brown people via globalization. The realization that to fund the pockets of the 1%, billions of people are being shut out of prosperity to keep the machine running is disheartening. This track came out right after the Occupy Wall Street Movement and showed the violent response by the police to protesters and the trampling of our rights to assemble. The cold hard evidence that the powers that be aren’t interested in improve the lives of many is the root of this track’s feeling of futility and hopelessness.

The Pessimist – Wale ft. J. Cole

“Got a pocket full of lint again, but it make no difference to me/ Fallin’ out with my friends again, but it makes no difference to me/ Goddamn, I’m hopeless/ Oh man, I’m hopeless”

The Pessimist is the build-up of all these issues. The feeling of hopelessness and despair is soul-crushing. Wale points to how so many different things are holding him back and not knowing how to find the silver lining. Life as a black man in America often feels like everyone is aiming at you and trying to kill you and your success. Your own community might throw shade at you for being one of the few to make it out of the hood, while you are facing institutional racism and a lack of acceptance by mainstream America unless you agree to fully assimilate into their culture. Cole’s line in the hook “still I pray” speaks to the church as a sanctuary for blacks throughout our history. The ability to pray for a better day shows our perseverance through all this pain we endure.

Don’t – Juicy J

“They talk about peace/but how that’s gon’ be/ when police leaving young niggas dead in the street”

Juicy J’s track Don’t is short, but powerful, especially coming from a supposed Commercial artist like him. The track speaks to the overflow of anger at police brutality and how as Martin Luther King Jr. stated “Riot is the language of the unheard”. In Baltimore, Ferguson, New York, Charleston, Los Angeles, and countless other cities and towns throughout America, black people are often looked at as menaces and terrors for how we dress, act, and talk. We’re always followed in stores, stopped unnecessarily by the police, stared at when we’re somewhere we’re “not supposed to be”. Our mothers warn us about interactions with the police every day when we leave the house as children not knowing whether we’ll make it back in safely. America’s innate fear of the black body causes tension and hostility that builds up and boils over during these senseless killings.

Animals – Dr. Dre ft. Anderson.Paak

“Please don’t come around these parts/ And tell us we’re a bunch of animals/ The only time they wanna turn the cameras on/ Is when we’re fucking shit up”

During the protests this summer, media coverage and social media was filled with people from outside the African-American community judging us for our anger. A lot of these people forget that America was founded off of violent protest (Boston Tea Party, anyone?). The issues that go on in the inner city aren’t spoken about and addressed by the mainstream media, but when the riots occurred that was where all of the media focus was. This only serves to perpetuate the stereotype of violent scary nature and that an angry black populous is something for White America to be very afraid of. Most of the media and talking heads, don’t care about the systemic issues plaguing our community, but are only interested in the reaction for TV ratings. It speaks to America’s obsession with addressing the symptoms of the disease of racism, rather than focus on a cure to eradicate it.

Mr. Nigga – Mos Def

“They say they want you successful/ but then they make it stressful/ You start keeping pace/ and they start changing up the tempo”

Mos Def in his classic, witty way describes how even when a black man manages to use his abilities to be one of the few to escape the perils of the ‘hood, he is faced with a world who doesn’t accept him. If one doesn’t conform to mainstream America, he is combated with multiple micro-aggressions every single day. From media persecution, not being able to sit in first class, eat at fancy restaurants, or drive luxury vehicles without being stared at like you don’t belong, even with the “American Dream” achieved, we aren’t accepted.

Foreclosures – Rick Ross

“The white man call us stupid niggers/ We spend it all, nothing for our children”

“Foreclosures” by Rozay is the other side of the tale “Mr. Nigga” told. In the black community, we have a culture of materialism. Because we’ve never been able to achieve proper wealth, we spend our money flossing. We take pride in jewelry, cars, and, clothes more than stocks, bonds, and real estate. Financial education is severely lacking in our community, so that when we finally do hit our payday and get money, there’s a good chance that it will disappear just as quickly due to poor decisions. We’ve all seen the statistics on athletes and musicians blowing their fortunes. This stops us from building generational wealth that can further advance our communities.

Murder to Excellence – Jay-Z & Kanye West

“Only a few blacks, higher I go/ What’s up to Will/ Shoutout to O/ That ain’t enough/ We gon’ need a million more”

Jay and Ye dropped a gem speaking of learning to love ourselves and achieve our greatness. Very few blacks have been able to hit the heights of Jay and Ye and Hov laments that the more success he achieves, the fewer of his people he sees at that stature. It really speaks to the exceptionalism that one has to reach to attain that level of success from one of our communities. Unfortunately, the cards are stacked against many of us. Many black children are told as kids that we need to work twice as hard to get half as much, due to the circumstance of the world we live in. Belief in one’s self and trusting your ability to succeed and persevere to rise to excellence should be commended.

Alright – Kendrick Lamar

“And we hate po-po/ Wanna kill us dead in the street fo’ sho’, nigga/ I’m at the preacher’s door/ My knees getting weak and my gun might blow, but we gon’ be alright”

K. Dot’s track speaks to the ability to look at the darkness of life, stare it in the face, and walk boldly ahead. Through all the adversity and pain, we’ve still managed to accomplish so much. There is a lot to take pride in from our community. Our culture has persevered through out countless assaults and is a living, breathing testament to our ability to withstand and remain firm. I left in Kendrick’s poem because although it’s a personal story, I feel it relates to all of us in our search for understanding and a place to belong in this world.

Hood Now (Outro) – Lupe Fiasco

“What do you do when it’s so unequal/ Wear Michael Jordan’s with your tuxedo’s/ It’s hood now/ It’s hood now/ Yeah, yeah it’s hood now”

 Lupe’s track is fitting to close with. We’ve left an undeniable mark on not only pop culture, but America as a whole. Our ability to make lemonade out of the sourest lemons ever created is to be celebrated. Although fought a long, exhausting fight.. a fight where we’ve been knocked down repeatedly, we’ve never been knocked out. We’ve taken haymakers, got back up, and kept on swinging. Chipping away at the roadblock of racism in our way with jabs and hooks. Every generation before us has weakened it and left our mark on this world and it’s our duty to continue the fight.