2010 Fall Music Preview

As Summer comes to a close we have one sure thing to look forward to, new music. The releases that are scheduled so far are featured in our sneak peek below.

September 14, 2010

Trey Songz - Passion, Pain & Pleasure (Songbook/Atlantic)
Virginia's native son Trey Songz is one of the first Fall releases out of the gate, soon to be heard in the clubs and in the bedrooms through out the world.

Black Milk - Album of the Year (Fat Beats)
Detroit artist and producer Black Milk not only knows how to craft unique beats but he incorporates actual instrumentation, will be delivering the hip hop goods with his much anticipated release.

Linkin Park – A Thousand Suns (Warner Bros./Machine Shop Recordings)
Embracing new technology while touching on aspects of hip hop, but remaining mostly a Rawk group are Linkin Park with their latest. They are the recording and touring juggernauts most happening in the music world today.

Rah Digga - Classics (Raw Koncept Records)
Former Flipmode Queen Rah Digga shows us how the real lady of hip hop does it, with style and lyrical flair, completely produced by Nottz.

September 21, 2010

John Legend & The Roots - Wake Up! (Columbia/G.O.O.D. Music)
Expect 'Wake Up Sessions' to be the critical darling in the year end music polls and potentially grabbing up some Grammys in February 2011, as well.

Ski Beatz - 24 Hour Karate School (DD172/Island/Def Jam)
With producers coming out to the forefront, be sure to add Ski Beatz to the top of the list. A major pillar in establishing Dame Dash's new music empire, Ski provides a much needed dose of hip hop that we all fell in love with from the beginning.

September 28, 2010

Ice Cube - I Am The West (Lynch Mob/EMI)
Bringing back that West Coast sh*t, nuff said!

Young Jeezy - TM 103 (Island/Def Jam/CTE)
Thug Motivation legacy continues, with the BMF stamp of approval of course.

Gucci Mane - The Appeal: Georgia's Most Wanted (1017/Asylum)
Part 2 of his 3 part trilogy. Part 3 The Final Verdict, assumingly comes out next year. His jeweled Bart Simpson chain thanks you for listening.

Mark Ronson - Record Collection (Columbia/AlliDo)
DJ Mark Ronson teams up with a wide variety of artists for one of the more eclectic records released this Fall. From the 'too cool for school' indie rock set to hip hop's established players like Ghostface Killah and Q-Tip, it all can be heard on one album.

Lil Boosie - Incarcerated (Trill Entertainment/Asylum)
The title says it all. Will there be a 'Free Boosie' track?, it remains to be seen.

Joe Budden - The Great Escape (E1)
Joe Budden upped his anty as a member of super group Slaughterhouse. Count on Mr. Budden's solo album to be on par.

October 5, 2010

Pimp C - The Naked Soul of Sweet Jones (Rap-A-Lot)
With Pimp C's death in 2007, left a huge void in the southern hip hop community. Thankfully with today's technology we can bring back his spirit and the distinct voice from the UGK team to live yet again in music.

Cassidy – C.A.S.H. (Cass A Straight Hustla) (Larsiny Family/Krossover/E1)
Striking the independent waters, Cassidy lyrically and vocally is sure to slug one out of the park with his upcoming album.

Bruno Mars - Doo-Wops & Hooligans (Elektra)
The ever durable hook man Bruno Mars steps out from the shadows of B.o.B and Travie McCoy to deliver a top notch album for the airwaves and your iPods.

Skyzoo & Illmind - Live From The Tape Deck (Jamla/Duck Down)
Skyzoo, the Crown Heights based MC made an impression last year with his 'Salvation' release, teams up with producer Illmind to harken back to the sounds that made hip hop what it once was from the tape deck.

Waka Flocka Flame - Flockaveli (1017/Asylum)
Waka hits back with a retail ready mixtape Flockaveli, a prelude to his debut studio album.

Ninja Tune XX Box Set (Ninja Tune)
The Canadian hip hop label celebrates 20 years with an illustrious, jam packed, limited edition box set.

October 12, 2010

Cali Swag - The Kickback (Checkmate Music Group/EMI/Capitol)
The group that taught your 11 year old niece or nephew how to 'Dougie.' Now it's time for Cali Swag to unleash their debut album to prove to the world that they aren't just a fad.

Nottz - You Need This Music (Raw Koncept Records)
Any Nottz productions are always true hell bent hip hop classics, for sure. Never one to repeat himself, Nottz takes matters into his own hands and produces his very own piece of wax, on his very own label, with his name printed right on the cover.

GLC - Love, Life & Loyalty (EMI)
Love, Life & Loyalty finally sees the light of day. GLC gets Sir Mix Alot on his record and a sample clearance usage from the Boss himself, Bruce Springsteen, whew. All in a days work for GLC.

Far East Movement - Free Wired (CherryTree/Interscope)
Moving beyond race and ethnicity are L.A. based Far East Movement. Expect these boys to pack a music punch, the kind you didn't see coming, that will knock you off your feet.

7L & Esoteric - 1212 (Fly Casual Records)
These 2 underground hip hop heroes' team up yet again for their most adventurous and mysterious album to date '1212.'

October 19, 2010

Von Pea - Pea's Gotta Have It (Interdependent Media)
1/3 team member of the underground super group Tanya Morgan, Von Pea brings the best of both worlds producing (along side Aeon, Brizzo, Brick Beats and Jamie Cooley), but mostly MCing on his debut album.

Shawn Chrystopher - You & Only You (Elitaste)
Earlier this year, Shawn made some noise with his 'The Audition' mixtape. Expect that and more when he releases his debut album.

Ne-Yo - Libra Scale (Island/Def Jam/Compound)
Ne-Yo has explained that his latest upcoming music offering is a 'concept album.' Regardless, this hugely popular artist and song crafter is guaranteed to make an impact on the charts and on the publics' ears.

October 26, 2010

Termanology & Statik Selektah - 1982 (Showoff/St. Records)
Already hitting us with 100 Proof: The Hangover earlier this year, Statik now takes fellow statesman Termanology under his DJ/producing wing to make a poignant album that represents the Boston based area, demonstrated throughout with honor and pride.

Pharoahe Monch – W.A.R. We Are Renegades (Duck Down)
With an extensive recording career, Pharoahe finds himself as a independent man ready to finally call his own shots.

Rye Rye - Go! Pop! Bang! (Interscope/N.E.E.T. Recordings)
M.I.A.'s American music sister Rye Rye gets her feet wet with her debut album. Diplo and other producers are said to be involved on this dance/hip hop extravaganza.

Twista - The Perfect Storm (Get Money Gang/EMI)
On board with his Get Money Gang crew is Twista. Chicago hometowners' No ID and Traxster are some of the producers that Twista is working with on the album.

Mikkey Halsted – The Dark Room (iHiphop)
Yet another Chi-town native coming to the table with new music is Mikkey Halsted. 'The Dark Room' is the album before his upcoming 'The Photo Album.' Listening wise, both are sure to go hand in hand as modern day hip hop classics.

Gorilla Zoe - King Kong (Block Entertainment/Atlantic/E1)
2010 saw Block Entertainment go through some changes, artist roster wise and business wise. These changes though haven't stopped Gorilla Zoe from making music and continuing to put ATL on the map.

Jim Jones - Capo (E1)
The Diplomats' figure head Jim Jones holds down the crew with his self monikered release, until the Dips hit us next year with their rumored Interscope group effort album.

Joe Budden - Mood Muzik 4 (E1)
Joe Budden continues his popular mixtape series with Mood Muzik 4.

Doc-ish - Doc Ish Presents: The First Treatment (Universal)
All it takes is producing a hit record with Dr. Dre and Eminem and wham you're in with a record deal. But there is more to music producer Doc-Ish and will see that proof come October 26th.

November 2, 2010

Mariah Carey - Merry Christmas II You (Island/Def Jam)
Mariah goes back to her tried and true formula that worked while she was at the house that Tommy Mottola built at Columbia Records - a Christmas album. Expect this release to light up the holiday sales this year.

Roscoe Dash - Ready Set Go! (Interscope)
Something is to be said about Roscoe Dash. After recording one verse with ATL group Travis Porter, Roscoe walked away with a recording contract from Interscope and is now poised to take on the world.

Soulja Boy - The DeAndre Way (ColliPark/Interscope)
He's come a long way from his Fruity Loops, DC comic book super hero dance hit. At ripe age of 20, Soulja Boy is ready to unveil his 3rd album.

Rihanna - TBA (Island/Def Jam)
Aligning with Enimen for their hit “Love the Way You Lie” and embarking on a highly successful world tour has raised Rihanna's profile. Can she keep up the momentum with her new release?

November 9, 2010

Yelawolf - Trunk Muzik 0 To 60 (Interscope/Ghet-O-Vision Entertainment)
SXSW 2010 music conference bidding war champion, the most talked about artist of the year, Yelawolf roars to life with his much anticipated release.

Gangrene (Alchemist & Oh No) - Gutter Water (Decon)
The artist / producer collaborations continue, this time it's Alchemist & Oh No - the duo's outfit know as Gangrene. Gutter Water is sure to make quite a stir with core hip hop listeners out there, who crave this stuff.

David Banner & 9th Wonder - Death Of A Pop Star (Big Face)
North Carolina and Mississippi state parallel producer duo will pour their magic potion of hip hop over us with this album.

Smif N Wessun & Pete Rock - Monumental (Duck Down)
As the title implies, the Smif N Wessun and Pete Rock team up will be monumental.

Webbie - TBA (Asylum/Trill Entertainement)
Boosie's partner in crime Webbie will be snaring listeners this Fall with his new release.

Kid Cudi - Man On The Moon 2: The Legend Of Mr. Rager (Universal/Motown)
Lately Kid Cudi has been a victim of street date bumps. Street date bumps can be a bad thing, but for Cudi it's a good thing. Out to get the best street date, where his latest single can catch fire by the time of release and to get to the front of the line of this year's holiday releases isn't a bad thing at all folks, not bad at all.

November 16, 2010

Nelly - Nelly 5.0 (Derrty/Motown/Universal)
Over the past few years, Nelly has probably made more money outside of music with Apple Bottom Jeans, his fragrance line, etc. Will Nelly the music artist prove that he has staying power? We shall see.

Kanye West - Dark Twisted Fantasy (Island/Def Jam/G.O.O.D.)
After all the tantrums and publictiy stunts, Kanye went back to his paradise bunker in Hawaii to work with some of the best and brightest in hip hop doing the thing he loves doing - making great music. Emerging as a new man with a new plan, Kanye has been unpeeling his newly recorded gems in the form of G.O.O.D. Music Friday, while taking advantage of the latest in social media platforms to deliver his message to the people. Come November, it'll be a G.O.O.D. A** Job.

November 23, 2010

Nicki Minaj – Pink Friday (Young Money/Cash Money/Universal)
Men want her and women want to be her or at least her seemingly life of luxury. Proof of Nicki's rapping and musical skills will be in the pink pudding, as they say and the hype leading up to this release will be absolutely deafening.

Tron Legacy - Soundtrack (Walt Disney Records)
Some time after turkey day, all of us will be at the theaters checking out Disney's up to date remake. French duo Daft Punk provide the soundtrack.

Lloyd Banks - H.F.M. 2 (Hunger for More 2) (EMI/G-Unit/Thisis50.com)
This year's 'Beamer, Benz, or Bentley' became an international smash hit that broke Mr. Banks wide open once again. The G-Unit boys now take their much earned poker chips to EMI Label Services as their new marketing and recording home.

December 7, 2010

Cee-Lo Green - The Lady Killer (Elektra)
As a member of Goodie Mob and Gnarls Barkley, Cee-lo Green comes with his 3rd solo outing. Cee-Lo's 'The Lady Killer' may turn out to be 3rd time is the charm, especially with the phenomenal success of the "F*ck You" track and the heighten media presence of his soon to be airing weekly TV series "Lay It Down" premiering this Fall on FUSE.

December 14, 2010

Drake - Thank Me Later (Dlx Ed) (Young Money/Cash Money/Universal)
Coming back to hit us up again is Drake with his deluxe version of 'Thank Me Later.' It's unclear what the deluxe bonus material will be, but fans will line up yet again for this one.

(as seen of HHU)

Big Boi 'Sir Luscious Left Foot: Son Of Chico Dusty' Full Album Streaming Now

Big Boi Sir Lucious Left Foot: The Son of Chico Dusty on Island/Def Jam arrives July 6.

Listen to the full album stream on Big Boi's MySpace before it comes out:
Big Boi's MySpace

01. Feel Me (Intro)
02. Daddy Fat Sax
03. Turns Me On ft. Joi & Sleepy Brown
04. Follow Us ft. Vonnegutt
05. Shutterbugg ft. Cutty
06. General Patton
07. Tangerine ft. Khujo Goodie & T.I.
08. You Ain’t No DJ ft. Yelawolf
09. Hustle Blood ft. Jamie Foxx
10. Be Still ft. Janelle Monáe
11. For Yo Sorrows ft. Sam Chris, Too $hort & George Clinton
12. Night Night ft. B.o.B & Joi
13. Shine Blocks ft. Gucci Mane
14. The Train, Part II (Sir Luscious Left Foot Saves The Day) ft. Sam Chris
15. Back Up Plan

Fat Joe 'The Darkside: Vol.1' Album Preview

Fat Joe The Darkside: Vol.1 on Terror Squad/E1 arrives July 27.

At last night's, Fat Joe The Darkside: Vol.1 listening session at Skyline Studios, NYC.

Tracks previewed are:
"If It Ain’t About Money ft. Trey Songz (prod. Cool & Dre)
“Intro - Welcome to the Darkside” (prod. Scram Jones )
“Valley Of Death” (prod. Cool & Dre )
“I Am Crack” (prod. Just Blaze )
“Kilo” ft. The Clipse and Cam’ron (prod. DJ Infamous)
“You Don’t Want No Problems” (prod. Scoop DeVille)
“How Did We Get Here” ft. R. Kelly (prod. Raw Uncut)
“Heavenly Father” ft. Lil Wayne (prod. Streetrunner)
“I’m Gone” (prod. DJ Premier)

Track details via Planet Ill
“Welcome to the Darkside” (Scram Jones production) features a few clever lines and hard production. Ends with “We gone throw the biggest party when Curtis die.” Draw your own conclusion.

Cool & Dre keep that flame hot on “Valley Of Death”. Very low bottoms, guitars, and loud ambient noise. Scorching hot.

Just Blaze gave Joe an immense, bottomless beat for “I Am Crack” and Joe delivers one of the all time gully songs speaking as the drug itself. “It’s Crack, baby minus the incubator.” Sick.

The “Kilo is 1000 grams” sample first flipped by Ghost is somersaulted by DJ Infamous on “Kilo” which features The Clipse and Cam’ron. Very, very ugly. Infamous bodies “Rappers Are In Danger” as well.

Scoop DeVille wrecks a Flash Gordon sample like his momma is in a basement with Bin Laden on the titanic “You Don’t Want No Problems”. You have to hear it to believe it. “Weezy On the Island where a Day feel Like A Milli”. More sickness.

R. Kelly drops by on “How Did We Get Here” returning to his more soulful delivery.

“Heavenly Father” feat Lil Wayne gets on Pun’s widow and deads any notion that he owes her anything.

DJ Premier-produced “I’m Gone” closes the album. It was produced the day Guru died and is triumphantly somber with punctuating piano but an immensely chunky string and hard drum create the perfect storm of malevolent sorrow.

Read the full listening session account here:
Planet Ill - Fat Joe The Darkside: Vol.1

also The Source Magazine was in the building as well. Read their account:
The Source - Fat Joe The Darkside: Vol.1

Talib Kweli & Hi-Tek: Reflection Eternal 'Revolutions Per Minute' Full Album Stream

Click below for the stream via Entertainment Weekly:
Reflection Eternal - Revolutions Per Minute

'Revolutions Per Minute' tracklisting:

01. RPM's
02. Back Again ft. Res
03. City Playgrounds
04. Strangers ft. Bun B
05. In This World
06. Got Work (Fame)
07. Midnight Hour ft. Estelle
08. In the Red
09. Lift'in Off
10. Black Gold Intro (The Black Gold Countdown)
11. Ballad of the Black Gold
12. Just Begun ft. Jay Electronica, J. Cole and Mos Def
13. Long Hot Summer
14. Get Loose ft. Chester French
15. So Good
16. Ends ft. Bilal
17. Outro

Reflection Eternal: Talib Kweli & Hi-Tek Revolutions Per Minute on Blacksmith/Warner Bros. arrives May 18.

Kelis 'Flesh Tone' Album Preview

Track by track preview via Showing Out

Intro
With ominous electronic wretches, the album intro casually begins with groggy synths that kick into a mid-tempo groove. Kelis soon enters the fold with her icy coos, singing about a lover who’s stolen her heart. “You draw me in / Every time I think I’m free you win / Just like a sin / When I know it’s wrong, but still begin,” she crows over pattering drum beats. “It’s you / I can’t run, I can’t run to you / It’s true / I give up, I give up on you.” The intro plays for a solid three-and-a-half minutes before Kelis’ digitized voice disaffectedly states, “We control the dance floor,” segueing into the next track.

22nd Century (prod. by Freeschool)
One of the few songs that leaked from the project ahead of its intended release, “22nd Century” is a future-disco track based on hypnotic repetition, driven by subtle harmonic flourishes and a buzzing drone that shadows Kelis’ alto voice. “Welcome to the 22nd century / Everybody’s dancing / ‘Cause we are the stars,” she sings, lost in the electronic whirl. Just after the track culminates with a synthetic climax, “22nd Century” flips into an ’80s-esque denouement complete with throbbing percussion and tinny piano chords, melding into the subsequent track.

4th of July (Fireworks) (prod. by DJ Ammo)
The piano chords are chopped into a cut-and-paste mosaic driven by a steady club rhythm, with Kelis singing to a lover about how, in spite of thinking she was better off alone, she actually can’t get enough of her man. The track is a little more musically aggressive than the rest of the tracks on the album, tailored more towards the dance floor than most other cuts. Like the rest of the tracks on Flesh Tone, “4th of July” boasts another segue at its tail end, melting into “Home” with a strobe-like mosaic of synthesizers.

Home
“Your love is blinding / I’m already home / The lights are shining / I’m already home,” Kelis sings at the beginning of this aurally appetizing number. Again, she sings about being intoxicated by a romantic interest while mingling with the thumping, trance-inspired track. “I can be a mess / I’m reckless and it shows / But with you I close my eyes and let you take control.” Pitch-correction never sounded so good. “Home” turns into something more sinister at its completion before fading with the sound of a thwacking gong.



Acapella (prod. by David Guetta)
The album’s lead single. If you haven’t yet heard it and don’t know what you’re in for on this release, head over to watch the video here and get acquainted with this blistery dance track.

Scream (prod. by David Guetta)
This one is guaranteed to cut up the club. Beginning with a relatively bare (at least by the album’s standards) melody, “Scream” starts with Kelis singing, “Been running in place for such a long time / Stuck in a race in the wrong line / When it all came down on me,” adding, “And I haven’t had faith in such a long time” before the track bursts into a glitterbomb of whistling synths. Soon, one of the album’s high points arrives, with Kelis doing her best impersonation of “Vogue” as she disconnectedly chants:
“You’ll ne-ver know / If you don’t let it out / You have enough / They’ll call your bluff / You can’t back down, lost in a crowd / You’ve won the right to scream and shout / They’ll talk about you’ve lost your cool / There is no point, who makes the rules? / So let’s get to it / Now you’ll do it / Break out / Scream and shout.”
The track continues with a few more singing moments and another “Vogue”-like patch before giving way to “Emancipate” with the sonic bending of an atonal siren.

Emancipate
Naked piano chords ring in “Emanicpate” before Kelis states, “Let me tell you what love is / It’s when you meet each other halfway” over jabbing synthesizers. A little on the repetitive side, “Emancipate” is a feel-good anthem, with Kelis encouraging listeners to let life’s woes roll off their shoulders. “Look in your own mirror and know who you are / Live your life accordingly, the troubles on your arm / And it’s good baby / You’ve done good baby,” she sings, chanting on the chorus, “Emancipate yourself!” The track ends with a mechanical, punching assortment of discordant drums and buzzes that finish off with a ringing melody line.

Brave
A shiny bassline set the tone for “Brave,” where Kelis sings in a digitized tone about what could easily be interpreted as a reference to her marriage to Nas. “I’m not ashamed of winning / But it wasn’t that way in the beginning / It was this way, it was kiss me / Come kick me, and diss me / I had to give it up / Now it’s away, a different a feeling / You took my soul, I had to steal it back,” she sings on this electroclash number, which plays like a rain-streaked version of a Ratatat composition. This is her perseverance anthem, singing at the end, “Now I’m super strong!”

Song for the Baby
Undoubtedly the brightest song on the album, “Song for the Baby” is dedicated to none other than her newborn baby Knight, who can be seen clinging to her back at the end of the video for “Acapella.” Trumpet blares punctuate a muffled piano line before launching into a sprightly club banger, with Kelis singing, “So I’m writing this letter to you baby / Just like my mother told me / She always said say yes before you say no and say maybe / See, I’ll never sugarcoat any life lessons for you / ‘Cause I want to make you equipped for the best.” “I’ll love you more than you’ll ever know,” she warmly coos on the chorus. “With you, love never dies.” Endearing and optimistic, “Song for the Baby” is unabashedly honest and heartwarming.

Carefree American (Bonus)
Powered by acoustic guitars and 808 handclaps, Kelis gets sardonically patriotic on this bonus track, on which she sings, “Ahh / I’m just a carefree American / Big house, big cars.” Kind of a crowded track, “Carefree American” thrives off of twinkling sound effects, popping snares and a burning bass, with Kelis encouraging listeners to “Take a load off / Watch some TV / Enjoy cable / I think it’s for free / She wants to have everything.” Cheeky lyrics aside, the song is a perfect candidate for a summertime anthem.

Nas And Damian Marley 'Distant Relatives' Album Preview

Track by track preview via Rap-Up

1. “As We Enter”
Produced by Damian “Jr. Gong” Marley

Damian and Nas enter with a bang over a quick hip-hop tempo. Drums, keys, and percussion carry the banner. The two kings rule with an iron fist over the jumping beat, threatening death to all crimes after dropping a little bit of Swahili on the gentry: “Habari gani?/ Mzuri sana (How are you?/ Very well).”

2. “Deadly Equation (Tribal War)” featuring K’Naan
Produced by Damian “Jr. Gong” Marley

The duo explains that scattering natives from the motherland has broken people up into warring sectors. The song has a jungle-like, Lion King feel to it, which features a tribe of hollow drums. While Nas describes the separation anxiety from the “real” home, K’Naan breaks down how brothers end up fighting against brothers, and Damian ties it in by describing the battles over land and gang colors, not with old-fashioned “knuckle” or “kung fu” fighting, but by drive-bys, missles, and shuttles.

3. “Strong Will Continue”
Produced by Damian “Jr. Gong” Marley

Damian shines in the beginning of this song about survival of the fittest and creating your own destiny, but Nas has a trick up his sleeve. Electric guitar, bass, and cello support Damian’s strong warning: “Now you’re starring in your own movie/ Playing by the role you choose.” After a long interlude, Nas jumps in with a surprise verse, explaining his candid thoughts about his ex-wife Kelis. This track will give fans of the Queensbridge MC some answers they’ve been waiting to hear.

4. “Leaders” featuring Stephen Marley
Produced by Stephen Marley

This song is one of the more laggard on the album, synthesized to be a non-danceable slow jam. Nas vaguely describes the characteristics of who he believes is a leader: “Jake hate him/ Snakes could not violate him/ Pimps memorize his lines verbatim/ He reps NY, yo/ Gives C-notes to winos.” Jr. Gong says he wants to be like his leader who he treats “as a father,” and wants to grow up to be just like him.

5. “Friends”
Produced by Damian “Jr. Gong” Marley

“Good friend better than pocket money” is an old Jamaican proverb, and it does well to describe this tune’s sense of camaraderie. Over a slow, tribal beat, Nas iterates how male friends have a sense of understanding, with “No question/ No jealousies…no female tendencies,” while Damian values loyalty: “Your real friends are there for all the wins and losses!”

6. “Count Your Blessings”
Produced by Damian “Jr. Gong” Marley

All that’s needed is a full band and a soul, electric-funk guitar to build upon a newfound Marvin Gaye spirit, but Bob Marley’s values are channeled through Damian’s tears of joy: “I got love and assurance/ I’ve got new health insurance/ I’ve got strength and endurance/ So I count my blessings!” Nas shouts out his blessings—the birth of his first son on 7/21/09—and calms all troubled spirits that aspire to be him, but don’t have the means: “There can only be one Nas, yo!” is his shrugging retort.

7. “Dispear”
Produced by Damian “Jr. Gong” Marley

Sounding like a warrior version of “Stand by Me,” this tune plays on the words “despair” and “this spear” in war. While Damian breaks down its use on the battlefield (“This spear nah make friends”), Nas gets back to survival tactics: “Must survive anyhow you have to/ Despair, desperation/ But I have no fear/ When I hold this spear.” The sound effect of a spear hitting its target can be heard throughout the song.

8. “Land of Promise” featuring Dennis Brown
Produced by Damian “Jr. Gong” Marley

A mid-tempo groove combined with a heavy reggae bass guitar are the underlying components to Damian and Nas’ take on what the promised land would be if it were in Africa. The two imply that Africa would surely be a first-world country had they not been robbed of their people and goods. “Imagine Ghana like California with Sunset Boulevard… Somalia like New York,” Jr. Gong ponders on the track.

9. “In His Own Words” featuring Stephen Marley
Produced by Stephen Marley

Keyboards and a strong guitar support this track in which Nas claims allegiance to whatever God it is that has helped him through the rough days of being a G, and Damian keeps Jah on the forefront because “Jah nah raffle dream.”

10. “Nah Mean”
Produced by Damian “Jr. Gong” Marley

More contemporary reggae holds together a lighter track, which features heavy patois wordplay. Damian boasts that he is more gangster than the Gambino family and that his pockets are “green like Spirulene,” while Nas wishes all the violence would stop: “Don’t want to see another soldier drop.”

11. “Wisdom”
Produced by Stephen Marley

This song is of a slow tempo, and takes a sample from Mali duo Amadou & Mariam called “Sabali.” Damian pillages over the injustices of the world, like having the ability to fly to the moon and still not being able to “feed starving tummies.” Nas breaks free from the injustice, saying people can try to hold him back, but he has “a real big spirit.”

12. “My Generation” featuring Lil Wayne
Produced by Damian “Jr. Gong” Marley

This is arguably the “We Are the World” of the album. The young choirs of L.A.’s Sunny Brae Elementary School and Oakwood School provide the background vocals as Damian, Nas, and Lil Wayne lift up the youth with their verses. Damian praises his generation for staying the course, rhyming, “Because we rising up despite of the economy/ And then we a star the show like the astronomy/ And how we keep on breaking through is an anomaly.” Nas proves that we can break generational curses, while Lil Wayne rhymes that “change starts with the man in the mirror.” Multiple versions of the song will be released, including one with Joss Stone.

13. “Africa Must Wake Up” featuring K’Naan
Produced by Damian “Jr. Gong” Marley

Strings over a reggae beat parlay an ode to Africa as Damian portrays, “Yesterday we were kings/ Can you tell the young ones who we are today?” The cry for help is strengthened by Nas, who pleads for disease and AIDS to fade, and K’Naan sings in Somali: “Oo daacad niinki damcay/ Waadinka dooxee (When one attempts to tell the truth, aren’t you the ones to cut him down? The ancestors will surely be stirred).”

14. “Ancient People” featuring Junior Reid (Bonus Track)
Produced by Damian “Jr. Gong” Marley

Janelle Monae 'The ArchAndroid' Spin Magazine Sneak Preview NYC Listening Session

Atlanta's R&B star Janelle Monae debuted her May 18 release, The ArchAndroid, with an exclusive listening party in New York Thursday night (March 4), and like her music, the event was loads of tripped-out fun -- Diddy even patched in via webcam from his Paris hotel suite to join the party.

On the strength of a solid '09 -- "Many Moons," the single off her EP Metropolis Suite I of IV: The Chase, landed a Grammy nod for Best Urban Performance -- Monae signed with Diddy's Bad Boy Records, and if anyone knows how to throw a party tailored to every nuance of his 25-year-old singer's oddball taste, it's Diddy.

Actors dressed in black undertaker cloaks and white beaked masks circled an open bar where SNL's Kenan Thompson and members of the Roots drank; attendees were escorted two at a time into a small basement theatre, where popcorn was served; and special programs describing "The ArchAndroid Experience" were distributed, complete with this instruction: "After you've heard The ArchAndroid, please don't tell your friends its shocking secrets."

"Janelle is my most artistic signing yet," Diddy said, his image projected on the theatre's screen. "She's not afraid to dream. I'm known for my hype, but her music speaks for itself." His accolades were then interrupted by a knock at his door. "Oh, sorry. It's room service!" Sigh.

"I want dancing," Monae then instructed. "Get up, act a fool!"

The deep beats of "Suite II Overture" then blasted to a film accompiment -- videos of pyramids, boxing matches, trains, and taxis, plus acid-drenched pics of Monae, the clip's co-director -- and in seconds the place was jumpin'.

Members of Monae's Wondaland Arts Society crew flailed, shook, mash-potatoed, and straight freaked in the aisles. And for good reason: The ArchAndroid is out-of-this-world funky, from the turbocharged R&B single "Tightrope" to the free-floating jazz guitar and psych bass grooves of "Mushrooms and Roses."

Kenan Thompson, standing outside the venue after the event, wearing sunglasses in the dark, was impressed. "I loved it," he said. "It's high energy… it's wild. (source)

Also, read Suite 903 blogsite's rendition of Janelle Monae's listening session:
Suite 903 - Preview: Janelle Monae’s New Album

Gorillaz 'Plastic Beach' Album Preview

courtesy of NPR



01. Orchestral Intro
02. Welcome To The World Of The Plastic Beach ft. Snoop Dogg and Hypnotic Brass Ensemble
03. White Flag ft. Kano & Bashy
04. Rhinestone Eyes
05. Stylo ft. Bobby Womack and Mos Def
06. Superfast Jellyfish ft. Gruff Rhys and De La Soul
07. Empire Ants ft. Little Dragon
08. Glitter Freeze ft. Mark E Smith
09. Some Kind Of Nature ft. Lou Reed
10. On Melancholy Hill
11. Broken
12. Sweepstakes ft. Mos Def & Hypnotic Brass Ensemble
13. Plastic Beach ft. Mick Jones & Paul Simonon
14. To Binge ft. Little Dragon
15. Cloud Of Unknowing ft. Bobby Womack
16. Pirate Jet

Gorillaz - 'Plastic Beach' on Virgin Records in-stores and online March 9.

Ludacris 'Battle Of The Sexes' Album Preview

Ludacris - 'Battle Of The Sexes' on DTP/Island/Def Jam in-stores March 9.

via Rap-Up

1. “Hey Ho” featuring Lil’ Kim

The title raised some eyebrows when it was first announced, but Luda explained the concept of how it tackles the double standard of men sleeping around and being called players and pimps, but when women do the same thing, they’re called hos. “If men sleep around, we some players/ But for women, they be saying, ‘Hey ho,’” he raps on what he calls the sequel to 2000’s controversial “Ho” from his debut album. Luda said he got the “old Lil’ Kim” rapping again. “Ya’ll don’t f**k us, ni**as we f**k you,” spits the Queen Bee.

2. “Tell Me a Secret” featuring Ne-Yo

“You would never think that Swizz [Beatz] produced this song,” he said of the R&B-flavored jam. This one is on some “‘Lovers and Friends’ reminiscent type sh*t.”

3. “My Chick Bad” featuring Nicki Minaj

“She’s an animated female and I’m an animated rapper myself,” remarked Luda of his pairing with It girl Nicki Minaj. The chorus is bound to get stuck in your head: “My chick bad, my chick ’hood, my chick do stuff that your chick wish she could.” He even drops a reference to Tiger Woods’ wife. “That’s one of the records that we gonna put out there,” he told the audience of the potential single.

4. “Got a Man” featuring Flo Rida

Luda called this his “radio smash” featuring “radio controller” Flo Rida. It won’t be the second single, but may be the third or fourth. The Infinity production is the album’s most pop-sounding record with a catchy hook that recalls Positive K’s “I Got a Man”: “I know you got a man, man, man, but tell me what your man, man, man gotta do with me?” a male voice sings, while the female responds, “I know you got a girl, girl, girl, but tell me what your girl, girl, girl gotta do with me?”

5. “Can’t Live With You, Can’t Live Without You” featuring Monica

“Anybody who’s ever been in a relationship has definitely thought in their head that they can’t live with the person and they can’t live without them at the same damn time,” Ludacris said of this number that’s sure to appeal to his female fans. His “cousin” Monica sings the hook.

6. “How Low (Remix)”

There will be three or four official remixes to Luda’s chart-topping hit. One features Rick Ross and Twista, the other has Ciara and Pitbull, and Fabolous appears on a third. Ciara sings part of the hook on her remix and adds her own verse, as do all the rappers.

7. “Sex Room” featuring Trey Songz

Another song the hip-hop star likens to Lil Jon’s “Lovers and Friends.” “It’s exactly what you would expect if Ludacris and Trey Songz were to do a f**king record together,” he laughed about the X-rated material. Trey seduces while Luda talks dirty: “You can be my firecracker, my tongue gonna spark you up.”

When asked what the follow-up to “How Low” would be, Ludacris said it has yet to be chosen. He is selecting from three songs that are not complete and were not played at the listening (session).

Sade 'Soldier Of Love' Los Angeles Listening Session

Tonight's Sade 'Soldier of Love' listening event, brought out local press, radio, retail and key tastemakers in the L.A. area, me included.

Upon arrival at the super swanky Montage Hotel in Beverly Hills, I was greeted by a very generous staff. They took care of every need, whether it was filling your wine glass, offering up hors d'oeuvres or any directions to get around the hotel - it was service with a smile, all the way.

The actual listening session took place on the 9th floor of the hotel over looking Beverly and the Hollywood Hills. With a large flat panel TV, square center in the room playing Sade's 'Soldier of Love' video and with a posh couch/lounge area, I then met up with some Sony people attending the event. It work out well as we had the couch that was dead center with the AV system. We weren't about to miss a beat of one of the most anticipated records of 2010.

They first played the sizzle reel, a promo video piece showing Sade's complete body of work throughout her entire career. It's staggering to think of Sade's longevity in the business.

Then a short reel with the 'Soldier of Love' single used as the music bed for the TV show 'Lost'. I'm not too crazy about art meeting commerce, but this TV/Music marriage works well, or was it the wine kicking in?

I've posted up both Sade NYC listening session reports from Vibe and Showing Out on the site, but this was the first one out West.

And no, Sade was not at the event, but we wish she would've been there.

Keep in mind, there were at least 150 invited guest in the room talking through out the event while the music was playing. Although we heard the music well, at times our ears had to concentrate a little more than usual.

So on with the show...my track by track critique.

The Moon and The Sky

A great way to start off the record. A smooth track with an augmented nylon string & slide guitar present throughout. Sade's signature vocals are in there right off the bat.

Soldier of Love

They skipped this one in the sequence of the album, as they had already played the video for the track.

Morning Bird

What's noticeable about this track is the piano and the arrangement of the music, gentle yet haunting. Sade creates the wholeness that is the icing on the cake. Rich and creamy, this track is.

Babyfather

The groove on this track is irresistible. It almost feels that it has a reggae beat to it, but without sounding too reggae. The song is upbeat.

Long Hard Road

This track harkens back to the Sade from the 80's, but updated to today's sound. Jazzy flavor, with a beat that is subdued enough where Sade can bend and stir her vocal showcasing around.

Be That Easy

Where 'Long Hard Road' had a somber feel to it, 'Be That Easy' has an optimistic edge to it. In this part of the album, Sade starts to stretch out and become more free with her vocals, doing nice harmonies while keeping the melody in place. The guitars are sharp and the bass bobs along to the beat.

Bring Me Home

A beat loop is present on this track as it sets the tempo for the song, somewhat hot and acid like. This one got steady head nods from the group. The guitar and bass were stretched out, right in the pocket.

In Another Time

This for me is one of the more distinct tracks on the album. It closely resembles a Stax/Hi-Records Memphis sound without the horns. The shuffle was deep in place. Sade inter plays with the laid back sax & guitar grooves as the song winds up and down.

Skin

As we know, Sade's music embodies hope, fear, pain and longing for true heart felt love. At this point in the album, the lyrics come to a head. As the title suggests, Sade is in her most vulnerable state. Tender yet evoking.

The Safest Place

The last track is the most simplest in form and presentation. An acoustic guitar, an isolated beat and cello strings. Sade beckons that the heart is really the most safest place to be.


To recap, Sade's 'Soldier of Love' measures up to all expectations. It wouldn't fair to pick one song as the best. 'Soldier of Love' needs to be heard front to back, like a good album should be heard.

I would also like to say, hearing the record in its entirety before the public is not necessarily fair to you the readers.These advance listening sessions can be deceiving, as we can get hyped out too quickly, too fast. But rest assured, on February 9th you can safely buy Sade's 'Soldier of Love' and be confident of the choice you've made. It's that good of a record and definitely worth the wait.

Sade 'Soldier Of Love' Album Preview

Sade - 'Soldier Of Love' on Epic Records arrives February 9.

courtesy of Showing Out

The Moon and The Sky

The album kicks off with a thick, syrupy groove, playing almost like a classic mid-’90s R&B jam as theremin quivers and rich drum hits glide along. “You always know the reason why this love / We couldn’t have the moon and the sky / You always know the reason why / Reason why this love ain’t gon’ let,” Sade sings on the chorus before the song snaps into a breakdown where the rhythm flows into double-time speed. Classic Sade, and a lovely way to kick off the album.

Soldier of Love

The eponymous lead single, “Soldier of Love” fits snugly in context with the rest of the album here, spread out over a bold six minutes. With its militaristic snares and electrified guitar flares, the track sees the group stretching their sound across an epic sonic landscape, moving from quiet moments of Western solace to inspirational bursts of ebullience. Lush and bountiful, “Soldier of Love” is everything and more that the world has come to expect from the band.

Morning Bird

After the drums die out and order is reestablished, “Morning Bird” begins with its gentle strings and haunting piano melody, with the strings disappearing and leaving the keys on their lonesome. That is, of course, until a kick drum and tambourine whir into rhythm. “How could you?” Sade moans on the chorus. “You are the river / Out of this life / How could you? / You are the morning bird who sang me into life / Fly away.” Soon, she kicks her vocal melody up an octave, but it doesn’t last long - the song wraps up quicker than most on Soldier of Love.

Babyfather

Arguably one of the best songs on the album, “Babyfather” is much sunnier and optimistic than its companions. With spindly guitars, chalky hip-hop drums and layers of bright vocals, the song coasts on a sandy electric guitar melody that leads into a warm, fleshy chorus. “Your daddy knows you’re a fling,” Sade repeats before a chorus of Jamaican-inflected vox echo her words. Simply luscious.

Long Hard Road

The band adds a little shade to the mix on the dusky “Long Hard Road,” with ominous acoustic guitar strums setting off this deliberate tune. “There’s a long hard road ahead / But the voices heard me said / Said there’s something more that you need to know / It’s gonna be alright,” Sade sings over swelling strings, complete with an epic, voluptuous chorus accented by delicate strings. The minor arpeggios plucked on the guitar add a nice tone to the tune.

Be That Easy

Sade brightens the mood once more on the country-inflected “Be That Easy,” with slide guitars, crisp acoustic guitar and a soft, feathery ride cymbal coalescing as dual vocal lines float over the instrumental confection. “Full of it / Sun on my face, wind in my hair / Falling down / Flying as low as I can / I’m not trying to reach land,” she sings after the song peaks with a musical epiphany.

Bring Me Home

The group slips into an acid house drum rhythm on “Bring Me Home” where mournful undertones give way to a bolder full-bodied jam. “So bring me home,” Sade sings as voices spookily howl in succession. “So let the tide take me / I won’t fight / I’ve cried the tears,” she adds before a bridge of hollow, barren instrumentation takes over. Heavy stuff.

In Another Time

This one played like more of a coaxed groove, adopting conventions of ’50s pop and vaguely resembling a prom ballad. As hollow rim shots and a silky chord progression carry the tune, Sade’s seductive vocals complement the billowing, pulsating groove, accented by a juicy saxophone that echoes the triage of vocal lines that top the mix. “You’re so tired of waiting / For something to change / They don’t know what to do / With something so good / You wouldn’t hurt them / Hurt them if you could,” Sade howls as her voice meets the saxophone in an explosion of sound.

Skin

This sensual, corporeal groove lives up to its name, playing as the lounge-friendliest of the bunch. “Now as I begin to wash you off my skin / I want to peel you away / ‘Cause you’re not right within,” Sade sings, scorning a rejected lover. “I love you so / Sometimes love has to let go,” she adds, sounding unsurprisingly vulnerable for a song where she’s literally shedding her skin.

The Safest Place

The album ends with the drum-less “The Safest Place,” kicking off with feedback that gives way to soft acoustic guitar plucks and swelling strings. “In your heart / Your heart has found / The safest hiding place,” she sings. “My heart has been a lonely warrior,” she adds as a cello creeps into the underbrush of the track. “Inside is a stream / Around is a wall / No one from hell could break / In there will shine / Heaven’s light,” she finally crows in her hushed alto, ending the album on a subtle yet powerful note.

Gift Of Gab: London's Independent Newspaper Reviews 'Escape 2 Mars' Album

As reviewed by Andy Gill at London's The Independent

Gift of Gab - Escape 2 Mars (Cornerstone/R.A.S.) released November 3, 2009

"Escape to Mars, it's not too far," advises rapper Gift Of Gab, continuing the theme of 2004's 4th Dimensional Rocketships Going Up, an ongoing extension of the space-jazz schtick of such as Sun Ra and Parliament which offered a metaphor for the astronomical extent a black man needs to search to find enlightened, non-racist attitudes in the solar system.

A Sun Ra quote even heralds "Dreamin'," on which Del The Funky Homosapien and Brother Ali help Gab pursue his out-of-this-world quest – which turns out to be more out-of-body experience when at the end of his journey, he wakes up to find "it was all in my mind". He's more successful attempting "a little getaway from all the drama/so I can get some space/clean up my mental haze/and clean my karma" – but since the trip is only "In Las Vegas", he just ends up with a swollen liver and a shrunken wallet. He's fine when dealing this light-heartedly with aspirations, but Gab's footing becomes less firm when he tries to be serious: okay, so he avoids paying lip-service to hip-hop's bling culture, but if the alternative is the simplistic oppositional analysis of "Richman, Poorman", what's the point? And as for the readiness to believe conspiracy theories about the supposed suppression of holistic cures for cancer, aids and diabetes in "Electric Waterfalls", that's not so much out-of-body as out-of-mind.

Erykah Badu NYC Listening Session Album Preview

Album preview/review courtesy of Vibe

The ambiance at Manhattan's legendary Chung King Studios Wednesday night (Dec. 9) was vintage Erykah Badu: black floor pillows, scented candles, dark lighting that induced a trippy, laidback mood. It was an intriguing setting for the 38-year-old Dallas, Texas native who was in a light-hearted and at times candid mood during a listening session for her upcoming release New Amerykah, Part II (Return of the Ankh), due out Feb. 23, 2010.

As the album title suggests, Badu has taken inspiration from her classic 1997 debut Baduizm, a time when the head-wrapped, incense-waving vocalist was first critically hailed as the queen of neo soul, the burgeoning jazz-influenced, stripped-to-the-bone R&B genre that included D'Angelo, Maxwell and Jill Scott among its star headliners. But while subsequent projects found the singer distancing herself from what she saw as the musical constraints of neo soul (From the funked-out jam session vibe of 2000's Mama's Gun to 2008's politically-charged avant garde New Amerykah, Pt. 1: 4th World War), the occasionally organic live feel of New Amerykah Part II finds Badu giving an introspective nod to her past.

"I feel how I felt when I released Baduizm," said the always-eccentric performer, wearing a Flashdance-era gray sweatshirt, yellow jogging pants, blue leggings and silver slippers. Over a mix of live piano, jazz guitars, dusty soul samples, driving acoustic bass, live drums, and J-Dilla-esque hip-hop sound-clashes, Badu delivers an album that offers the emotional highs, lows and maddening complexities of being involved in a romantic relationship. The project, which features contributions from The Roots drummer ?uestlove, producers Madlib and Sa-Ra, keyboardist James Poyser, 9th Wonder and late influential hip hop producer J Dilla, may be as musically accessible as Erykah Badu can get.

"This is my therapy,' she continues of the album's more personal tone. "New Amerykah Pt. 1 [had a more] digital feel. This time I wanted to have more live instruments. I like how my voice sounds when I'm singing with a piano. I'm glad I don't have to use Auto-Tune. My voice is my gift." Badu then muses, "But if I had to use [Auto-Tune], I would."

Highlights on New Amerykah, Part II (Return of the Ankh) include:

"20 Feet Tall" (prod. by 9th Wonder)
Features Badu's stark vocals over a floating keyboard riff that can be described as a jazzier nod to Radiohead's "Everything in it's Right Place" (2000).

"Window Seat" (prod. by Erykah Badu & James Poyser)
"I need your attention...I need you to miss me," she pleads to a lover on the throwback soul groove that's driven by a live jazz bassline (a theme throughout New Amerykah Pt. II) that could have been plucked straight off Baduizm.

"Get Money" (prod. by Erykah Badu, James Poyser, Karriem Riggins & Thundercat)
Samples the Notorious B.I.G.-led Junior Mafia classic "Get Money." A playful Badu takes on the role of a female player who is all about the green, delivering real talk lines like, "I look like a model...I want your money."

"Fall In Love" (prod. by Karriem Riggins)
A heartfelt, mid tempo slow jam that uses a chilling J Dilla-blessed Eddie Kendricks sample. Has single potential.

"Incense" (prod. by Madlib)
Breathtaking instrumental that sounds like it was produced under water. Yes, that's a harp you are hearing. "It felt like a hug," Badu says of the stunning track.

"Out My Mind Just in Time (Part 1) (Undercover Over-Lover)
(prod. by James Poyser)
Out My Mind Just in Time (Part 2)"
(prod. by Georgia Anne Muldrow)
Badu calls this her second three-song suite ("You'll have to wait to hear [Part 3] when the album comes out," she says), much in the same conceptual vein featured on Mama's Gun. "Part 1" finds Badu accompanied by a stirring torch song piano pleading, "I'll lie for you, cry for you...yes I'm a fool for you..." "Part 2" is the sound of madness following heartbreak. Over a disjointed jazz-tinged groove Badu gives a haunting, schizophrenic performance.

"Jump In The Air And Stay There" ft. Lil Wayne
One of 10 versions of a leaked track that will feature 10 MC's (the cut will not be featured on New Amerykah Pt. II). While the hard-charging beat is somewhat aggressive, the message of keeping an optimistic attitude in life is bolstered by the much-rumored (and lively) performance of Lil' Wayne. "There are a few surprise MC's that you will hear," Badu says. "I don't want to give it away just yet."

other tracks include:
Agitation (prod. by Shafiq Husayn)
Don’t Be Long (prod. by Ta’Raach)
Love (prod. by Dilla)
Umm Hmm (prod. by Madlib)

Related:
Erykah Badu 'New Amerykah Part 2: Return of Ankh' Set For Feb. 23, 2010

Lady Gaga 'The Fame Monster' Album Preview

via Showing Out

Bad Romance
(prod. by RedOne; written by RedOne and Lady Gaga)

The world has already been treated to this gibberish-fueled jam, which bops along with a sprightly kick, searing ‘80s synths and stinging metal snares. If you haven’t yet seen the absurdly sensational video for this track yet, click here and watch immediately. Then, watch the behind the scenes clip from the video. Watched them? Proceed.

Alejandro
(prod. by RedOne; written by RedOne and Lady Gaga)

This Spanish-tinged electro jam plays like a pseudo mashup between Ace of Base’s early ‘90s hits and a flamenco stomp. Over burning synths and bloopy keyboard flourishes, Gaga sings, “Don’t call my name, don’t call my name / Alejandro / I want you babe, I want you babe / Fernando / Don’t want to kiss, don’t want to touch / Just smoke my cigarette and hug / Don’t call my name, don’t call my name / Roberto” before repeating “Ale-Ale-jandro.” Spicy.

Monster
(prod. by RedOne; written by RedOne, Space Cowboy and Lady Gaga)

“Don’t call me Gaga,” she says at the beginning of this power-pop gem. “I’ve never seen one like that before. Don’t look at me like that. You amaze me.” Soon, the beat kicks in, with Gaga singing, “He ate my heart out” in full-out autotune mode. The song transforms into an angular, futuristic club smoker, with a beat that recalls that of “Just Dance,” only a shade darker.

Speechless
(prod. by Ron Fair; written by Lady Gaga)

This track takes the album in a completely different direction. Synths are nowhere to be found on “Speechless,” which sees Gaga channeling the spirit of John Lennon as she coos over a Beatles-esque piano arrangement. She sings, “I can’t believe you looked at me / With your James Dean glossy eyes / With your tight jeans, with your long hair / And your cigarette-stained lies” before launching into the emotionally-wrought chorus, “Oh boy, you’ve left me speechless / You’ve left me speechless / So speechless.” But the later in the song, the clouds part and sunshine peeks through as the melody brightens, taking on an optimistic tone that contrast her heartbroken lyrics. This is the track that will silence anyone that thinks she’s nothing more than a dance-pop princess.

Dance in the Dark
(prod. by Fernando Garibay; written by Lady Gaga and Fernando Garibay)

Gaga slips back into her icy pop persona for this ’80s-inspired tune, which rides on foggy synthesizers, a neck-snapping beat and fuzzy electronic vocal filters. “Some girls won’t dance to the beat of the track / She won’t walk away but she won’t look back / She looks good but her boyfriend says she’s a mess, she’s a mess, she’s a mess,” Gaga coos before launching into the chorus, “Baby doesn’t dance in the dark / ‘Cause when he’s lookin’, she falls apart.” Another dance floor-friendly glitter jam.

Telephone ft. Beyonce
(prod. by Rodney “Darkchild” Jerkins; written by Lady Gaga, R. Jerkins, Lashawn Daniels, Lazonate Franklin and Beyonce)

This track is the standout from the bunch, not because it’s an infectious tune with Billboard written all over it, but because it sees two of the world’s biggest pop stars going head-to-head on their debut collaboration. “Telephone” is a kiss-off to the persistent boyfriend that won’t stop calling your phone, with Gaga and Bey taking turns chewing out their man that won’t stop blowing up their cellulars. The song begins with a spidery keyboard line that gives way to a blinding pop backbeat, with Gaga taking first verse duties, singing, “Just a second it’s my favorite song they’re gonna play / And I cannot text you if I’m drinkin’ more Henny.” Soon, the power chorus kicks in: “Out in the club when I’m sippin’ that bub / No, you’re not gonna reach my telephone,” repeating a few times before Beyonce sasses her way onto the track and breaks it down. “By the way you blowin’ up my phone / Make me leave no faster / Put my coat on faster / Leave my girls go faster / I should have left my phone at home / Cause this is a disaster.” After Bey finishes tearing up her bug-a-boo, the track gives way the bridge where Gaga and Beyonce take a few bars together, with Beyonce singing, “Sometimes I feel like I live in Grand Central Station / Tonight I’m not takin’ no calls / ‘Cause I’ll be dancing” before the track rolls out into free-for-all duet between the two. Mark our words: this will be a hit.

So Happy I Could Die
(prod. by RedOne, Lady Gaga and Space Cowboy; written by RedOne, Lady Gaga and Space Cowboy)

Only Gaga could get away with this one, which boasts lyrics about her lesbian attraction to that “lavender blonde” and how, through all the tears and all the lies, she “touches [herself] to feel alright.” The dreamy pop confection floats on airy, brooding synths, with Gaga singing on the hook, “Happy in the club with a bottle of red wine / Smiles in our eyes ’cause we’re having a good time / Eh, eh / So happy I could die / Be your best friend, yeah, I’ll love you forever / Up in the clouds, and we’re higher than ever.” The track vacillates between the doe-eyed chorus and snapping verses, and while many might peg this as an ode to masturbation, it’s suggestive just enough to evade any criticism.

Teeth
(prod. by Teddy Riley; written by Taja Riley and Lady Gaga)

Gaga encroaches on gypsy-pop territory on this vamping tune, which chugs along with stomping drums, a sleigh bell jingle and blaring trumpets. Throughout the song, Gaga wails as she sings, “I need a man that’ll show me your fangs / Tell me something that’ll save me / I need a man that makes me alright (a man that makes me alright) / Tell me something that’ll change me / I’m gonna love you with my hands tied / Just show me your teeth.” This one closes out the album on a bold note, a sharp conclusion to a tightly woven collection of tracks.
(source)

Rakim 'The Seventh Seal' Album Preview

Click below for the stream:
The Seventh Seal album by Rakim

Rakim 'The Seventh Seal' Tracklist:

01. How To Emcee
02. Walk These Streets ft. Maino & Tracey Horton
03. Documentary Of A Gangsta ft. I.Q.
04. Man Above
05. You And I ft. Samuel Christian
06. Won’t Be Long ft. Tracey Horton
07. Holy Are U
08. Satisfaction Guaranteed
09. Working For You
10. Message In The Song ft. Destiny Griffin
11. Put It All To Music
12. Psychic Love
13. Still In Love
14. Dedicated

Rakim - 'The Seventh Seal' on SMC Recordings/Ra Records/Tuscan Villa Entertainment in-stores November 17.

Lil Scrappy 'Tha Grustle' Album Listening Session

At last night's (Tuesday, November 10) Lil Scrappy listening session for 'Tha Grustle' held at Fight Club NYC.

Lil Scrappy - 'Tha Grustle' on Island/Def Jam/Disturbing Tha Peace/G's Up arrives in-stores December 15.

Rihanna: MTV 'Rated R' Album Preview

MTV News previewed the album on Tuesday (November 10) and Rihanna's description is certainly accurate.

After the intro, Rated R kick starts with "Wait Your Turn" and the Young Jeezy-assisted "Hard." The material matches the artwork that's been released for the project so far, with Rihanna posturing as the bad chick.

"Tougher than a lion/ Ain't no need in trying/ I live where the sky ends, yup, you know this," Rihanna sings in a near-rap flow on "Hard." "Never lying, truth telling/ That Rihanna reign just won't let up/ The hottest bitch in heels right here."

In what will probably be referred to by fans as the "Chris Brown song," Rihanna reveals a softer side of herself on the ballad "Stupid In Love."

"I still love you, but I can't do this/ I may be dumb but I'm not stupid," she sings on the Ne-Yo-penned record.

"Stupid In Love" recounts a story of distrust over lies, raging emotions, and lamenting a lost love.

"The dunce cap is off/ You don't realize what you lost 'til I'm gone/ I was the one," Rihanna croons.

The pulsating "Russian Roulette" follows, but it's the next series of selections — "Rock Star," "Firebomb," and "Rude Boy" — that fit the Rihanna archetype of big, bombastic tracks that flaunt her sex appeal.

"Rock Star" features former Guns N' Roses guitarist Slash. With its mix of drum kicks and guitar licks, Rihanna revels in her rebellion. "I got my middle finger up/ I don't really give a f---."

"G4L" is another posture record (the acronym is short for "gangster for life"), while "Te Amo" is the Barbados singer's paean to her international audience.

The album once again turns somber, with the Will.i.am-assisted "Photographs," where Rihanna laments over a lost relationship.

"It shoulda been me and you/ now all I got is these photographs," she sings.

"The Last Song" is just that, after the Justin Timberlake-helmed "Cold Case Love."

"Love" begins with a sparse melody and gradually builds through each verse before it crescendos with a full production flourish.
(source)

Track list for Rated R:

01. "Mad House"
02. "Wait Your Turn"
03. "Hard" ft. Young Jeezy
04. "Stupid In Love"
05. "Russian Roulette"
06. "Rock Star" ft. Slash
07. "Firebomb"
08. "Rude Boy"
09. "Photographs" ft. Will.i.am
10. "G4L"
11. "Te Amo"
12. "Cold Case Love"
13. "The Last Song"

Rick Ross Triple C's 'Custom Cars & Cycles' NYC Listening Session Album Preview

Rick Ross Triple C's 'Custom Cars & Cycles' listening session took place at the legendary Chung King Studios in SoHo NYC Monday, October 19. Here's the full report.

Album preview/review courtesy of Nick Haycock at Showing Out

Last night, a bevy of hip-hop tastemakers and industry insiders packed into Chung King studios in Soho to catch an advance listen of Miami-based Triple C’s debut album 'Custom Cars and Cycles.' The quartet, consisting of Rick Ross, Young Breed, Gunplay and Torch, have been around for most of the decade, but 'Custom Cars and Cycles' marks their studio debut, with Rawse and the rest of the Triple C’s celebrating their album’s October 27th release by playing eight of its 15 tracks. “First and foremost, it’s the motherf***ing boss Rick Ross,” boomed the group’s gargantuan frontman before hitting the play button. As the tracks played, the Triple C’s exuberantly lip-synced from the studio’s control room as guests on the other side of the glass enjoyed a soul food buffet. The album is a high octane blast of glossy production, un-ironic materialism and Mafioso storytelling, atoning for its repetitive subject matter with catchy hooks and well-placed guest appearances. Showing Out was there to bring you an exclusive track-by-track preview, so hit the jump to get an advance look at the album before it hits retail in a few weeks.

Custom Cars & Clips

As a bass-heavy track with booming horns and gunshots blasts in the background, each member of Triple C’s offers a variation on the theme “What I do this for.” “I’m focused on the fame, fortune, extortion, my portion get Porsches,” elucidates Ross. It’s a catchy track - not groundbreaking, but far from disappointing. As the track unfurled, Ross and company rapped along with the verses, and under the studio lights, a large diamond bracelet shimmered on Ross’s arm.

White Sand

Rawse rips a page out of his journal on “White Sand,” an unabashed tribute to using cocaine, selling cocaine and buying things. “I’ve got that white stuff / You know that white stuff/ I’m in my white truck,” Ross informs listeners. The track is an entertaining romp, exactly what you would expect from Triple C’s.

Break It Down feat. Bun B

“Break it Down” is a step-by-step instruction manual for aspiring hustlers, boasting a beat that pounds with lurching synths and heavy drums. Gunplay kicks off the track with a nursery rhyme verse, cautioning, “Don’t go to jail /Don’t got no bail/ Won’t get no mail / That’s living hell.” Contributions by Ross and the rest of the gang are unmemorable, but the track’s saving grace is the guest appearance by the authoritative Bun B.

Trickn Off feat. Gucci Mane

“Trickn Off” features a descending, frantic theremin-like synth riff with 808 drums courtesy of Drumma Boy. The track is dominated by Gucci Mane’s chorus and hook, and while Gucci isn’t the most lyrical rapper, his charisma on the mic completely blows away Triple C’s. “Blue and white rag top I call it Papa Smurf/ Nigga steal a nigga’s work? / Call that a lot of nerve,” quips Gucci. Triple C’s verses aren’t necessarily terrible on this track (or any other track), but they lack highlights. There aren’t really any punchlines that stand out, just a lot of retreading of the same themes: guns, clothes, money, cars, drugs and women. Here, because of Gucci’s catchy hook, it works.

Erryday feat. Young Jeezy & JW

“That’s really how I approach this shit,” Ross told the room, making reference to his work ethic before playing the Young Jeezy-assisted track. “ Strip clubs, throwing money, popping champagne / To the bartender, tell her keep the damn change” goes the hook over a stabbing horn line. “Erryday all black tees and we wear them bitches erryday,” adds Ross. The track is catchy enough to be blasted in the whip.

Gangsta Shit feat. The Game

“This is a Gangsta Service announcement” kicks off the track featuring a chopped-and-screwed chorus and a guest appearance from The Game. On the chorus, Cali’s own derisively mentions “Radio rappers on R&B tracks,” making an ironic (and likely unintended) juxtaposition with the silky smoothness of Masspike Miles’ singing on “Finer Things.” Production-wise, “Gangsta Shit” is ominous and aggressive with a deep wicka-wah guitar line, eerie synths and a sparse drum beat.

Finer Things feat. Masspike Miles

Before debuting “Finer Things,” Ross explained the track was about the group’s struggles before achieving commercial success, and the bonds forged between members by shared experiences. “You ain’t a friend of mine if you ain’t a friend of Rick / So many red flags thought we was confederate,” raps Gunplay on the track. Masspike Miles contributes an overly-polished R&B hook, and the track has an over-produced feel. Triple C’s may be emotional about their humble beginnings, but that doesn’t necessarily translate into a track that sounds heartfelt. “Half the lights blinking / looking at my pinky / I’m so Mafioso/ You can still smell the linguine,” Ross raps.

Diamonds & Maybachs Pt. 2 feat. Suede Royale

A beat built around a wordless female voice cooing in the background and a slick R&B hook by crooner Suede Royale who extols the benefits of possessing - well, you guessed it. “My diamonds conversate the hoes / Car say get in/ Crib what you waitin’ for?” explains Torch. The track clocks in at a decadent 7 minutes and 17 seconds, and is the most skippable of the 8 that the group played.

(video courtesy of in the box tv & stayfly744)