Watch: Devastated - @Joeybadass

A couple days ago, Joey Bada$$ dropped visuals for Devastated.

Initially I wasn't sure how I felt about his transition to a sound change but it grew on me and has done really nice numbers as well. Joey sings and raps through the BK with the team on his back. I think this broader reach will do well for Badmon in the long run. If I had a good analogy I'd compare this song to J. Cole's Apparently. Maybe I was a little wrong in my initial criticism. Anyways, if I didn't know any better I'd say Pro Era's leader is gearing for another project. Check out the video after the break.

Listen: Devastated - @joeybadass

I've had a real love hate with Joey Bada$$'s newest offering, Devastated.

The core hip-hop fan in me was devastated himself. I think every Joey Baddy fan is just a listener who loves flat out bars. Our greatest fear as a listener is to see that underground rapper go commercial. When he and Pro Era made the national scene they didn't and it was a breath of fresh air. Awhile back, I remember a twitter rant about him gearing his sound to broader audiences. Maybe not for the money but for a bigger reach. Devastated very well could be the beginning of it. I think hip-hop is transcending from a one sound, regional thing. Hip-hop is becoming about rappers turning into artists, Devastated is a track that is completely vocals from Joey. No bars, straight singing and honestly it's be executed wonderfully. If Drake, Chance and anyone else could do it, Joey might do it better. Well, we only have song to judge by. Make the decision yourself after the break.

Listen: Just Rhymin' - @YourOldDroog feat @Joeybadass @therealstylesp

Just Rhymin' seems like the perfect title for a song like this.

WTM favorite, Your Old Droog teams up with Styles P & Joey Bada$$ for his latest offering. The New York Trio drop bars on bars on this Black Milk produced track. This is a nice loosie that doesn't do too much from a production standpoint. It's nice to just hear lyrics instead of a super produced beat in today's industry. Listen to them rhyme after the break.

Listen: Brooklyn's Own - @joeyBADASS (prod. @statikselekt); A Niles P. Joint

Just when I thought I was done writing for the week, Joey Bada$$ pulled me back in.  The Pro Era leader linked up with Statik Selektah, who is basically his offensive coordinator at this point, for their latest masterpiece.  Brooklyn’s Own was released on March 9th in remembrance of the anniversary of The Notorious B.I.G.’s passing.  Biggie was Brooklyn’s all time best emcee and Joey is Kings County’s finest for the foreseeable future.  So it’s only right he pays homage to the veteran and their shared borough.  The instrumental is cool, calm, collected & arrives just in time for warmer weather.  I’ve been bumping this the last two days straight as New Jersey finally thawed out and I could take walks around the block again in short sleeves.  This song is built for breezy nights outdoors.  Hell, I wanna see Joey perform this with a live band, as the guitar Statik used on the beat is glorious.  Listen to Brooklyn’s Own after the break.  

Listen: Ready - @JoeyBadass (Prod by @StatikSelekt)

Joey Bada$$ recently released a new joint Ready Prod. by Statik Selekteh. Joey lays a lot down on the track. Letting it be known that just because he is knowledgeable doesn’t mean that he is not ready to fight. Reminding people of his up bringing, that he hustled for everything he got. Making waves with his sound, and not falling off like some other cats. He plans on being around for a long time making hits. Joey even throws shots at Troy Ave for his weak album sales. “60k first week for the Badass 200k to this day I know you niggas mad with the 80 20 split my nigga do the math my nigga Kirk just out sold Troy Ave.” Joey goes off and is telling everyone he doesn’t fear anyone, cause he is ready. Who are we to tell him any different?

WTM Presents The 5th Annual Hip-Hop Album of the Year 2015 Edition

I could talk about how amazing 2015 was for hip-hop all day. For the most part the staff picks summed that up on it's own.

Spoiler Alert: Fetty Wap didn't Make @WatsTheMovement #AOTY2015 List. I count him as R&B since he sings waaaay better than he raps.

— JC (@RamseySaidWHAT) January 8, 2016

Lots of debuts of new artists. Lots of genre bending music. If you're wondering why your favorite artist isn't on this list remember we rate this list on lyrics, production, flow, popularity, sales and uniqueness. Your favorite didn't do all of those (or it was a mixtape) as well as these did. There's no denying everyone on this list encompasses all aspects of the criteria. . All in all these lists are opinionated at the end of the day. I still did my best to remove self from the equation. I preach all the time there is a difference between the best and your favorite. Either way it's subjective. I hope this sparks conversation (not controversy) but I present to you, What's The Movement's 5th Annual, Hip-Hop Album of the Year: The 2015 Edition.

Number Five: The Incredible True Story - Logic

Picking a number five is probably the hardest thing ever. To deny so many great albums like The Documentary 2 from The Game, Summertime '06 from Vince Staples, Dark Sky Paradise from Big Sean, and more from this list pains me. It really does. However my pick last year got a nomination and rounds out our top five. Logic's sequel to Under Pressure is the album to really open ears everywhere. His first got everyone's attention and now everyone is listening. Chronologically the album paints a great tale of Tom, Kai, and their AI, Thalia (from the last album) and their journey to Paradise. The skits are funny but have their deep moments. Although his debut got a higher rank, musically this album was much better. That really says a lot about how much better 2015 was than 2014. The singles Like Whoa and Young Jesus featuring Big Lenbo are still in rotation. I also really like City of Stars. He combats being a kid that looks white but is really mulatto and how that effects him, the people around him, and the industry itself. I guess we could call it a response to J. Cole's Fire Squad verse. "I didn't talk about my race on the whole first album. But black vs white bullsh*t was the still the outcome." Deep stuff, deep album. Read my original review here.

Number Four: B4DA$$ - Joey Bada$$

The official debut album of Joey Bada$$ makes our list at number four. Lots and lots of growth since we first heard from the 20 year-old from Brooklyn. I enjoyed this album a lot. Probably the best way to kick off a new year. To still make it on this list from January to December is no small feat. This is the oldest album on the list so to remain relevant this long is impressive. I enjoyed Paper Trail$ which is a rework of his collab with DJ Premier, Unorthodox. Like Me is my favorite song on the album. Everything was perfect. It was produced by the legendary J. Dilla, and features the talents of BJ the Chicago Kid on the hook. I also enjoyed Teach Me featuring Kiesza. It takes a spin from the normal sound we are used to hearing from Joey. I still listen to Christ Conscious in the gym too. Song is too gritty and the beat and delivery is fire. Read the original review here.

Number Three: The Album About Nothing - Wale

I could go on and on about this album. This was probably my favorite album to listen to this year. It was refreshing having the old Wale back and for good. The continuation of the About Nothing series brought joy to the heart of his core fans. I'm sure it was a lot of pressure eased after he released it. Lots of people could say he fell off (including myself) post-MMG. I'd say I was wrong. All and all I enjoy the direction he is headed. TAAN served as a new debut to what Wale could (and probably should/want to) be. Lyrically he showed how clever he was, and the use of Jerry Seinfeld on the skits was golden. The singles were great especially The Matrimony featuring the talents of Usher on the hook. Beautiful song I think our generation may even dance to at our weddings. Other songs that stood out were The Need to Know featuring SZA and The Bloom featuring Stokley Williams. You can check out what I had to say in my original review earlier this year.

Number Two: Surf - Chance the Rapper, Donnie Trumpet & the Social Experiment

In May I knew this was definitely going to be in the conversation of Album of The Year. It was dropped as a surprise. No singles and Free99 on iTunes. Surf was like a feel good version of The Roots as Queen and I say. Chance serves as the Black Thought to Donnie T and the Sox. I said my words on it in July and they stand true today. Replay value is still important and I can still listen to every song on here. Every song is a surprise, you never know who could feature on here next. J. Cole, Erykah Badu, Jeremih, Busta Rhymes, Quavo, Big Sean and many many more make appearances. Some people played Chocolate Factory at their cookouts this summer, I played Surf. Read the original review here.

Number One: To Pimp a Butterfly - Kendrick Lamar

Since Good Kid m.A.A.d city dropped the world has been saying one name as far as hip-hop goes, Kendrick Lamar. In my opinion the general public handed him the game on a silver platter as if the way was paved for him. Frankly that train of thought was wrong. Countless features on hit songs, dropping an instant classic in GKMC, and the verse heard round the world in Control has garnered the public's respect. Overrated? Possibly, but it wasn't a question if TPAB was the best album of the year. The question was finding an album that was better. When all was said and done there wasn't.

To Pimp a Butterfly was our unanimous pick this year. It was so complex Issah AND Niles both wrote reviews. It contained elements of Jazz and Funk to compliment his music. We saw that in his work with George Clinton and frequent collaborators Thundercat, Bilal, and Anna Wise. Kendrick also kept true to his west side roots and made G-Funk songs like Institutionalized that include the talents of Snoop Dogg while still preaching the good fight. I was surprised no one from the TDE stable made an appearance on this album. The singles were cool. His lead single I was dope because he changed it to sound like a live performance on the album version. He always has a twist to his radio edit and his album version like he did on Swimming Pools from the previous project. He also dropped videos for King Kunta, These Walls, and more. u was super super deep to my heart. I understood what it was like to self evaluate and climb from a state of depression so that hit home for me. Climbing out of the funk was important and Alright was just the song to do it. Song order was perfect here. It's no question in my mind that Alright was the best song this year, don't argue with me. "If I got you and if you got me and if God got us then we gone be alllllriiight!" You can't help but be excited listening to that at any venue whether it's your dorm, the club, shoot even at church. Kendrick wrapped up the album in the most amazing way with a posthumous interview with his predecessor, Tupac Shakur. The song was titled Mortal Man and featured James Fauntleroy.

I didn't think this was going to be a sequel to GKMC. Beforehand I figured the album was going to touch on where he's grown as a man. Kendrick has an amazing ability to spark the minds of his listeners to think. Not necessarily relate and agree but to formulate thoughts of our own. Like Cole before him he performed a song in tribute to those lost from Police Brutality before the album on Colbert Report. You can see that in our preview. I think the album was very timely. Really important in the stage we are and where this country is headed. I used to wonder how he could talk about money, cars, clothes, hoes, God, and history in the same sentence. It makes sense now. . TPAB gets 4.77 of 5 stars on the Ramsey Rating Scale. With that being said King Kendrick has successfully won repeat AOTY's on What's The Movement. What's to come this 2016? It doesn't matter as long as the music continues to get better. Keep listening my friends.

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

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

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

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

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

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

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

#ICYMIMonday: @PRhyme_Official Deluxe Version (@REALDJPREMIER & @Royceda59); A Niles P. Joint

The whole point of In Case You Missed It Monday (which is now known as #ICYMIMonday) is to explore albums that I either didn’t get to hear or heard but didn’t get to write about when they initially came out.  With that being said, I’m glad we got PRhyme Deluxe as it gives me a chance to right one of my wrongs since I’ve been with WTM.  I mean really, Royce Da 5’9” and DJ Premier form a group (PRhyme) and release an album and I don’t cover it immediately?  Adrian Younge is involved too?  What the hell was I thinking?  I’m ashamed of myself for letting it slip.  Fortunately a deluxe version gives me a reason to not only revisit it but also check out some

of the new tracks the duo cooked up for the occasion.  Being that there are a plethora of guests, it’s only right that I comb through it track by track.

PRhyme - It’s triple inception as the song title matches both the album and the group.  Royce, using a flow that alternates between hushed and blaring, talks about his recovery from alcoholism (which comes up a few times on the album) and warns against losing focus on your craft due to chasing women.  Good way to start.

Dat Sound Good (feat. Ab-Soul & Mac Miller) - The instrumental gives me a Cali vibe which makes sense with Soulo’s presence.  I’ve never been a Mac Miller fan and still aren’t but he doesn’t ruin the song.

U Looz - This is one of my favorite songs on the album despite being merely a minute and a half long.  Royce comes with his usual hard hitting bars and Preem is in his glory cutting and scratching.  Wish this was longer.

You Should Know (feat. Dwele) - This is possibly the best on the album.  The guitar is simple yet oh so relaxing.  Co-collaborator Adrian Younge’s fingerprints are omnipresent on this one.  Dwele gives just enough on the chorus in the midst of cut and scratched samples.  

Courtesy - Mary wrote about this video not too long ago.  The song still holds up and the organ is delightfully murderous.  

Wishin’ (feat. Common) - The beat is amongst the most intriguing as it starts slow, speeds up, then slows down again.  Common proves that he’s still the king of the Chi with his guest verse.

To Me, To You feat. Jay Electronica - This instrumental sounds like a comic book villain’s lair.  While he’s sharp on the entire album, Royce may be at his best lyrically here.  Jay Electronica makes an appearance that apparently wasn’t engineered as well (it sounds hollow) but is still strong as far as bars go.

Underground Kings (feat. ScHoolboy Q & Killer Mike) - This is actually the second time Royce rapped over a beat that used the Run DMC sample.  This time it’s more uptempo and he has assistance from Q, who has never sounded better and Killer Mike who strengthens his resumé as Atlanta’s finest.  

Microphone Preem feat. Slaughterhouse - You knew that Slaughterhouse would show up at some point and they make for a great posse cut over some sharp ass drums.  On the original version that came last year, this was the final track and worked great in that capacity.  All tracks after this one were made for the deluxe version this year.

Golden Era feat. Joey Bada$$ - It almost seems too perfect/tongue-in-cheek that Primo, Adrian, Royce and Joey would make a song called golden era.  As fate would have it, they do an excellent job making a new track that has old school aesthetics in both words and music.

Wishin’ II feat. Black Thought - It’s explained on the intro that Black Thought was supposed to be on the original version but dropped out after The Roots’ manager Richard Nichols died.  He makes up for lost time and beats the shit out of the beat, continuing an undefeated streak of slaying guest appearances.  

Highs and Lows feat. MF DOOM & Phonte - I covered this song when it came out last month.  It’s still a banger and more importantly fits into the grand scheme of this deluxe version.

Mode II feat. Logic - Both of these dudes truly go beast mode in a track that spans seven minutes of pure lyricism.  Royce never lets his foot off of the gas and Logic finally impresses me as he uses his own flow and holds his own.  This is a great way to end an album.

For years, Royce seemed like he was on the cusp of success and DJ Premier showed a knack for bringing the best out of emcees that might get overlooked otherwise.  It’s fitting that they found each other as Royce delivers on every ounce of his vast potential on every single track.  Preem gets the chance to lace the finest rappers from New York, Philly, DC, Atlanta, Cali, Chicago, NOLA, Jersey, & North Carolina with his world famous production acumen.  Having Adrian Younge assist with the beats makes the cipher complete.  This deluxe version doesn't feel like a money grab, instead functioning as an addendum to an already great work.  The new bonus tracks fit right in with the year-old ones in a harmonious way.  Christmas came early for the culture.  If you haven’t done so already, treat yourself to PRhyme Deluxe, whether it’s your first time or you're coming back around.

Review: @CreedMovie Soundtrack

The motion Picture Creed, starring Michael B. Jordan and Sylvester Stallone, came out on November 25^th. Jordan plays Apollo Creed’s illegitimate son that wants to make a name for himself as a boxer in Philadelphia and Rocky Balboa (Stallone) helps him do that. Even though we get the same setting as the original Rocky movies, it's a new era that comes with a new sound. I saw the movie and I was not only impressed by the performance, but also by the music in the movie. I was pleasantly surprised to see how hip-hop culture highly influenced the production of it.

Last Breath (Future)- Future raps over the original Rocky theme music that has been remixed. Even though you can tell it was made for the movie, the song sounds like it could have been on his last album.

Check (Meek Mill) - A Philly movie needs to have a Philly rapper. This is one of Meek's most popular songs. It has a speedy rhythm with lyrics that reflect the city it came from.

Intolerant (White Dave) - The beat has elements of pop and hip-hop. Its upbeat tempo makes me think it could be a club banger if it was more popular. But the content is actually deep. Dave references Socrates and says that he needs to finish school. Not so dumbed down after all.

The Fire- (The Roots ft. John Legend)- Of course you have to have the Roots on this soundtrack as well. The Philadelphia native band gives us a chill sound, but with lyrics that say, “Something in my eyes that say I’m so close to having the prize.”  You can see why it's a boxing movie.

Grip (Tessa Thompson) This is one of my favorites. Thompson isn’t only on the soundtrack she is also in the movie. The song is not so much hip hop, as much as it is electric R&B. But it definitely has a enticing sound.

Lord Knows (Meek Mill ft. Tory Lanez) - One of many potential workout songs on here. Combining the classical echoes in the background with heavy trap beat, it may sound weird but you will be motivated to do that extra mile on the treadmill.

Don’t Waste My Time (Krept & Konan) - The same artists that made the song Freak of the Week appear on this album. With angry lyrics and heavy bass, this British rap duo represent for the London hip hop scene.

Let you Know (White Dave ft Clif Soulo and Legendvry) – This track has a funk infused hip hop sound. It’s fun and it’s something you can groove too.

Breathe (Tessa Thompson)- There is a lot of discord in the beginning. The chorus goes “I almost lost my mind.” The conflict in the sound is a reflection of that. Not my favorite, but I can see the artistic reasoning behind it.

Wake Up Everybody (Harold Melvin & The Blue Notes)-  This is a classic! Everyone can probably agree that this is one of the most happy and uplifting songs in American music. It’s a nice change from the new millennial pieces on here.

Bridging the Gap (Nas ft. Olu Dara) – That is what this track does: it “bridges the gap between Blues, Jazz, and Hip-hop” by combining all of them.  Nas pays tribute to all of these older genres of music that have inspired the work that he creates today with help from his father.

Waiting for My Moment (Donald Glover, Jhene Aiko, Vince Staples, Ludwig Goransson)-  Swedish composer Goransson has worked with Glover before on his albums,and also made the score for Fruitvale Station, so he is familiar with Michael B. Jordan and director Ryan Coogler as well. This composition is another workout song and my favorite one. The regal anthem is similar to original rocky theme music with a twist. Jhene Aiko and Donald Glover, harmonize beautifully, while Vince Staples knocks everyone out with vengeful bars and a heavy drum beat. I guess the lead single floats like a butterfly and stings like a bee.

Hail Mary (Tupac)- No they are not mixing sports terms, its 2Pac so it’s obviously deeper than that. Hail Mary is more about faith than sport. Pac tries to ask God, and mother Mary for guidance so he doesn’t get lost in the game; instead he wants to change it. But even if they don’t change, he will die trying.

In the Kitchen (White Dave ft.  Young T, K.E.L.L.S  ) – White Dave echoes Tupac’s opening verse of Hail Mary saying “I ain’t a killer, but don’t push me”. Someone is a fan. But it shares the same sentiment, trying to be an individual artist in an industry that wants you to conform.

Shed You (Tessa Thompson) - This is the last time Thompson is featured on the album. The tempo of the verses and the chorus are starkly different. The versus are slow and sultry, but it leads to a fast paced tempo for the chorus.

Curry Chicken (Joey Bada$$) – The songs starts off with a skits with a bluesy tune in the background, then goes straight into old school D.J. scratches. The song is about his journey to stardom, but he doesn’t forget where he came from referencing his mother and father and how he just wants a curry chicken dinner with them. Ending it all with a pray.

Work Ya Muscle (Earz) - I’m not gonna lie, this song didn't appeal to me. It’s a trap club banger that will get people hype though. So if you’re looking for something to play at a party, you can use this one.

Lord Knows/ Fighting Stronger (Meek Mill ft. Jhene Aiko Ludwig Goransson) - This is the last track and it’s a great way rap up the album too. It is a mash-up of two songs on the album. Jhene Aiko returns with angelic vocals on the war like anthem accompanied by Meek Mill's verse from Lord Knows, all remastered by Goransson.

 There has been talk that the song ‘Fighting Stronger’ will do the same thing for Creed, that Eye of the Tiger did for Rocky 3. I think the movie will do a lot for the artists featured in the soundtrack. It is a good compilation of old and new talent, and they all interlock in some way, weather it is in sound or theme. There are some questionable songs on here, but there is a lot of potential and talent as well. Overall it’s a pretty empowering album.

Rating: 3.6 out of 5. 

Watch: Teach Me - @joeyBADASS featuring @Kiesza

With AOTY coming around the corner I was curious if Joey Bada$$ was going to make any last minute push or promo for B4Da$$.

The top of the year belonged to the Brooklyn spitter but he's remained fairly quiet since then. At least until yesterday when he dropped new visuals for Teach Me featuring Kiesza. Besides a little Beats Pill product placement this was a pretty dope video. I never took Joey Bada$$ as a club rat but he didn't seem to struggle having fun in the Soul Train line and running around the streets around the way. Statik Selektah even made a cameo to bust stupid dope moves. Let Joey and Kiesza teach you how to dance below.

Review: Late Knight Special - @KirkKnight; A Niles P. Joint

Over the past few years, Hip Hop has seen a resurgence of young dual threat emcees/producers. I have been watching three in particular, and since I’ve already covered Bishop Nehru and Raz Fresco, it’s time to analyze the final section of this three headed monster. Kirk Knight cut his teeth with a membership in Brooklyn collective Pro Era, specifically producing for Joey Bada$$’ major label debut. His production style fit Pro Era’s signature Beast Coast grime and he showed skills as a budding rapper. Somewhat surprisingly, Knight decided to forego the mixtape route and dropped Late Knight Special as his debut album. My boy Ramsey previewed it earlier and now I’m here to bat cleanup and check it out in depth.

Since Knight’s body of work isn't as long as peers’ as of yet, this serves as his long-form introduction to the world on the solo tip. He starts out with a celestial sound on both Start Running and Heaven Is For Real. The former makes good use of a vocal sample about teleportation music through harps, with a standout bassline and great drums. Speaking of great drums, the snare is excellent on the latter. I think there’s also an uncredited by Kris (formerly T’Nah Apex.) Both show a great scope of his beatmaking talent. Kirk gets straight hype/gutter on Brokeland which was the first single released some time ago. It’s very ODB/Wu Tang inspired, or so it seems. The hardcore aesthetic continues on 5 Minutes which features team captain Joey Bada$$. The horror movie piano works as it creates a soundscape that is somber yet has replay value. Joey complements the song without overshadowing his boy. Thus far, the songs have stylistically come in pairs.
   
Here’s where things go off the rails though. Knight Time is a turn up type track. It has the dreaded machine gun drums that I hate and is a 180 degree turn in approach. One Knight (Kirk really likes wedging his name into song titles) has very good guitar work but the beat is too busy and is the obligatory smooth single. This would be forgivable but he goes down the same route THREE SONGS IN A ROW with Scorpio and Down. They’re almost interchangeable and mostly forgettable. At this point the album feels more like a collection of songs than anything truly cohesive. More on this later.


Mick Jenkins shows up on I Know which is decent but suffers from drums that use too many modern motifs. The hi-hats are just distracting, which is a shame because the rest of the song is dope. Chicago is in the house again along with L.A. in the form of guest spots from Noname Gypsy and Thundercat on Dead Friends. It’s just what it says it is, a sentimental reflection on dead friends. Noname continues to slay every guest appearance she sees and Thundercat lays down some glorious guitar riffs. The Future features this guy called The Mind who is apparently some sort of genetic hybrid between Kid Cudi and Chance The Rapper vocally. Despite the guest’s style biting, Kirk lays down some solid reflective bars. The album closes with All for Nothing. It’s probably the best song on the album and gives the best indication of Kirk Knight’s potential talent on the mic and behind the boards. It’s a very intricate song both instrumentally and flow-wise as he switches it up within the song without it sounding gimmicky at all.
   
I mentioned before that this album was kind of all over the place It seems like Kirk Knight was torn between pleasing the older fans who liked his crew’s classic style and the younger ones in his age bracket who enjoy trap/drill music to get them hype. It’s good that Knight strives to be versatile but at the same time you can’t help but notice that the album is almost broken up into thirds, with each one sounding different than the others. Editing and song sequencing plays a big part in this gaffe; the album as a whole doesn’t have one consistent vibe. This is compounded because he went for broke and released a studio album before wading into the treacherous waters of the rap game with a mixtape or EP first. Even his crew mates have treaded lightly instead of immediately diving in.
   
At the same time, you have to remember that Late Knight Special is still his first solo project. While ultimately disjointed, it does have some gems that show what he’s capable of both as an emcee and producer. This album is ambitious if nothing else. The wetness behind his ears will go away and the ride will be smoother the next time around. It’s a testament to the adventure of youth when the world was infinitely possible and you could try everything once before settling down. While it didn’t always work, Kirk Knight has more than enough musical prowess to hammer out an enduring berth in Hip Hop.

Rating: 3 out of 5.

@KirkKnight Late Knight Special Preview

For a long time I felt as if Kirk Knight was overlooked in comparison to his labelmates and colleagues. When hearing the announcement of an entire project, I knew that wasn't the case.

If any of you are Pro Era fans, like myself I know you couldn't wait to hear this Kirk Knight offering. For a long time we knew him as a producer as he's laid beats for his labelmates and others including Joey Bada$$, CJ Fly, and even Chelsea Reject. Not only is he a producer but he's talented as a rapper and does well providing guest verses for the aforementioned artists and many more. Since hearing his verse on Amethyst Rockstar from Joey's Summer Knights mixtape and his spot on the Pro Era Cypher I knew this cat was ready for stardom.

According to the Pro Era site "This fall Kirk Knight will deliver his debut project, Late Knight Special via Pro Era/Cinematic on October 30th. The project features, Joey Bada$$, Mick Jenkins, Thundercat, & more and is fully produced by Kirk Knight himself with coproduction by Thempeople." It's safe to say we have a lot to look forward to. It's safe to say his last name's play on words is a recurring theme we can expect from the Brooklyn spitter. He's actually released a few singles that you can listen to after the break. It's also safe to say you can expect a review of the project in it's entirety soon after. You can pre-order Late Knight Special on iTunes now!

Listen: Don't Need It Remix - @Rapsody feat. @JoeyBadass& @MernaKilledAyah; A Niles P. Joint

Rapsody performing at The Come Up Radio showcase

Collaborations in hip hop can be tricky.

Every fan usually creates ideal scenarios in their mind in which their favorite artists pair up over an instrumental styled to their choosing in order to make an unforgettable song. Being that we’re in the age of social media, rappers are inundated with requests from fans in the vein of “Yo, make a song with _____, that would be sweet!” For any number of reasons these dream matches don’t usually happen, leaving many fan collabo dreams deferred. Amazingly, one of my collaboration dreams came true recently.

Snow Hill, North Carolina met Flatbush, Brooklyn. Jamla met Pro Era, South met East. If you don’t know by now, Rapsody finally made a song with Joey Bada$$. Rapsody released the remix to Don’t Need It from her deluxe version of Beauty and the Beast. Songstress Merna is along for the ride and adds her illustrious singing talents to an already elegant production. The production comes from studio legend Young Guru and sounds like the musical version of Parisian architecture. Rapsody continues her ascension to the upper echelon of everyone’s list of best/favorite rappers and Joey shows his lyrical ability can be used on to complement any feature he’s on. I’m not sure if this is a prelude or a loosy but either way bump this as often as possible and appreciate that two of the brightest rising stars (and possible saviors) in hip hop linked up. Here’s to hoping for more from them.

Review: Lucky 7 - Statik Selektah (@StatikSelekt); A Niles P. Joint

Statik Selektah has been putting in work for years whether you know it or not. He’s produced countless songs for a plethora of artists, DJ’d on eight radio stations, put out three EPs, 16 collaboration albums, and now is releasing his third and final (more on that later) studio album. Lucky 7. This is specifically his third album in three years, yet the Boston beatsmith hasn’t become the least bit stagnant or stale musically. This is remarkable because he doesn’t deviate too much from his signature production style and has many of the same familiar faces spit bars over his beats. Statik Selektah’s music still remains fresh in spite of his symphonic idiosyncrasies. On an album full of features it makes sense to go track by track, so get excited.

Intro (feat. Hannibal Buress) - Since the album is called Lucky 7, we have a monologue pondering what it means to be lucky by comedian Hannibal Buress. It instills the casino type of theme and adds levity to the proceedings.
The piano keys on here are perfect for a monologue.

Another Level (feat. Rapsody) - Rapsody is the Keith Thurman of the rap game: she’s an intelligent and exciting contender not only in her division but for the pound for pound crown. This triumphant beat is a perfect showcase for Rap’s lyrical acrobatics and punchlines. Take note of Statik’s use of horns, they’re a trademark that will return. Expect Rapsody to take home a few championship belts soon.

Beautiful Life (feat. Action Bronson & Joey Bada$$) - I spoke about this song here. It still holds up and will wind up being one of the best songs of the summer.  

Hood Boogers (feat. Your Old Droog & Chauncy Sherod) - The percussion on this track is wonderful and the bassline is underrated. Droog still warrants Nas comparisons but is starting to come into his own. Sherod brings the funk on his portion of the song.

The Locker Room (feat. Dave East) - Speaking of Nas, his latest signee to his Mass Appeal imprint Dave East shows his ever improving lyrical chops on this track.  He’s good enough to star on his own track after being relegated to posse cuts on the previous Statik album.

In The Wind (feat. Joey Bada$$, Big K.R.I.T., and Chauncy Sherod) - Joey and Sherod make their second appearance on the album while southern heir K.R.I.T. lends a hand. This song has a breezy vibe with positive & inspiring lyrics. The guitar riff is understated but still steals the show. It should also be noted that this entire beat was created in the lab with no sample.

Crystal Clear (feat. Royce Da 5’9”) - This may be my favorite beat on the album. It’s reminiscent of a 1940’s film noir soundtrack. Royce brings his usual bravado while opening up about his past struggles with alcoholism. His flow is essentially a crescendo and picks up as the song goes on.  Very impressive song overall.

How You Feel (feat. Mick Jenkins) - The combination of idyllic strings and keys is crisp like fresh linen. Mick Jenkins solidifies his spot as one of Chicago’s best and brightest in their alternative rap hemisphere. I wish this was longer but they get the job done here.

Murder Game (feat. Smiff N Wessun, Young M.A, & Buckshot) - As much as I love the Duck Down veterans, this song sticks out like a sore thumb and doesn’t fit with the rest of the album. Young M.A is from the new school of Chiraq style rap despite being from BK. It’s like the veterans altered their style to fit the new jack and it doesn’t fit the flow of the album. The trumpet is a nice touch to the only mediocre and cookie cutter beat on the album.  

Gentlemen (feat Illa Ghee, Sean Price, and Fame) - This track more than makes up for the last and has become one of my favorites.  The Brownsville rap veterans take turns dropping their trademark gritty bars over a minimalistic beat. No flash, just a grimy aura that is perfect for all involved.  

Bodega! (feat. Bodega Bamz) - I always was intrigued by the potential of Bodega Bamz but wished he would select better beats.  This is exactly the type of instrumental I had in mind.  The Tchaikovsky-like violins fit his expressive flow like a glove.  Here’s hoping he works with Statik Selektah a lot more in the future.

The Trophy Room (feat. Skyzoo, Ea$y Money, Domo Genesis, & Masspike Miles) - A posse cut featuring some of the most underrated in the game over a swanky beat is always welcome. It’s a chore to pick who got off the best, but if forced to choose I’d have to go with OFWGKTA alumnus Domo. Either way, it’s a quality song from top to bottom.

Sucker Free (feat. JFK) - I loved the first half of the track as JFK makes good use over a marvelous beat featuring the most graceful saxophone you ever heard.  Then the beat switches to a bass-heavy tale about going to the can.  It’s humorous but gross, works as an interlude I guess.

Wallflowers (feat. Your Old Droog, Termanology, & Lord Sear) - Droog continues to come out of his shell and bodies this track.  Any comparisons (referenced on here) will soon go away as people appreciate Droog for Droog. Don’t sleep on Termanology either.

Top Tier (feat. Sean Price, Bun B, & Styles P) - The opening of this song sounds like a retro video game soundtrack, which is appropriate enough because this feels like the ultimate boss battle. Statik has the ability to seamlessly integrate two NYC legends with the de facto mayor of Houston and make it work, even without a hook. This is a timeless track.

Silver Lining (feat. A$AP Twelvyy, Kirk Knight, and Chauncy Sherod) - I’ve admittedly never been a fan of A$AP anything but Twelvyy isn’t bad at all on here. Kirk Knight is going to blow soon, as he’s the latest in a line of young emcees/producers to rise up. The song feels like something that would play during the climax of a great movie.

Cold (feat. Wais P & Jared Evan) - The thing is this song gives the exact same vibe as the previous one. It’s not a bad song, but it just sounds almost identical to the last one. If you played this album in the car as background music you wouldn’t notice the song changed. I prefer the former, but it’s a coin flip since they’re so similar.

All You Need (feat. Action Bronson, Ab-Soul, and Elle Varner) - Bronsolino and Soulo speak on the intricacies of love on a track that’s light enough to give AM radio vibes without being lame at all.  Bronson talks about settling down while Ab-Soul talks about letting go. Elle Varner lends her hazy vocals, which put the finishing touches on this easygoing song.

Scratch Off (feat. CJ Fly, Talib Kweli, & Cane) - This song wonderfully builds on the underlying luck/gambling theme of the album. CJ Fly continues his upward trajectory and even shows his crooning abilities on the hook. Kweli is still one of the game’s most consistent emcees. Cane more than holds his own despite being not as well known as the Brooklyn upstart and OG.  

Alone (feat. Joey Bada$$) - Statik Selektah is great at getting the best out of mostly everyone he works with. This is the case here as Joey finds a laser-sharp focus in his own solitude. He’s at his best when he’s contemplative and deep. The drums on here are magnificent while being nuanced.  

Harley’s Blues - This is an instrumental track named for Statik’s upcoming daughter. It flows nicely from the previous song. The saxophone solo towards the end is one of the best things I’ve heard all year.  

As I alluded to before, this is Statik Selektah’s final solo/compilation album. Seeing as Lucky 7 is his third album in as many years and was created in less than two months, it’s safe to say that he’s mastered this format. Aside from the one song I wasn’t a fan of and the odd sequencing of two songs (both minor qualms,) this album is damn near perfect. There’s something here for everyone. Additionally, Statik Selektah has established himself as arguably the best producer in hip hop. It threw a wrench into the Joey/Kendrick/Bronson stranglehold on the Album of the Year debate because it’s that excellent. Since it’s his last album I’m surprised a couple of the regulars didn’t make it (Freddie Gibbs, Nore, and especially Black Thought) but for an album that came together in less than a couple of months there’s still an incredible and diverse abundance of talent. I have a hard time picking a handful of favorite songs because they're almost uniformly excellent. This was the album I anticipated more than any other all year and Lucky 7 did not disappoint.  Lucky 7 by Statik Selektah is available on iTunes but after the break.

Rating: 4.85 out of 5.