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Buss da GEMS

you know it’s a quality interview when Westwood isn’t asking questions and lets a guy such as Bussa Buss drop insights, knowledge, stories all from his own personal experience & observation.

i’m glad that Busta touched on the gap between the beginning of hip-hop and where it’s gotten to now; its current juncture. it’s important that guys like Buss are around “to remind,” like he said and spoke of Q-Tip and the other “gatekeepers” of the culture.

P.S. Busta Rhymes i.m.o, is definitely one of the greatest rappers in hip-hop to touch it. nothing but respect for an OG such as him, 25 years in; with it being such a blessing to have him still relevant and willing to contribute to what’s going on; feeling discontent with what he’s done for the ting thus far. and if his next album is really what he’s cracking it up to be, then i’m supe-r-eady to hear what he threw in the cauldron.

what was going on with Westwood’s hand, though?

S o u l l e s s C a l i b u r r r r r

talk about how the caliber has lowered… in modern day “hip-hop” — if that’s what you wanna call it, the demand for has stooped to an all-time low… and I just saw an all-time great show. NaS, you were right… “Hip-hop IS Dead.”

“I’M. SO. APPALLED.”

Last night I attended the Method Man & Redman show at the O2 Institute (Birmingham) and witnessed the art of true emceeing. I now have a top 5 list of top live acts/performers — and I think it’ll be clear who’s #1 after you read this.

I love the odd photo/video here and there, right. so, imagine the only bad thing about the whole night was a good thing. despite struggling to get my phone out, I got to feel the craziest energy I’ve ever set foot in; and quite frankly, I’m glad I couldn’t get my phone out. that bounce going on was disgusting; heads everywhere just rocking. after that, I don’t eeeeuuver wanna hear somebody say that older folks are “too old to party,” because they shut it. Only two cuts into the set and the room was up in some next inferno. so, why I wore my Nike ACG Gore-Tex Performance shell jacket and a Nike Tech Fleece hoodie underneath that? Pshhh, slap me silly. I done told Jake that it was going to take The Throne’s (Jay Z & Kanye West) place on my Top 5. I knew I was in for a treat fortunate to receive.

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THE ENEEERGYYYY

Meth & Reggie are both in their forties and STILL rocked a stage like that. even danced, too — and in immaculate sync. I don’t know if they’re “yin & yang,” “yin & yin,” or “yang & yang” — but whatever it is they are, they’re a duo that’s one of a kind and one that I personally feel the world will never get again, though years time may beg to differ. the fact Meth was apparently ill for four days and gave it his all ANYWAY, which, honestly I couldn’t tell you that I could tell — most that was different and evident was the extra rasp (and even that made it sound better). this might have been the first time I’ve been to a concert where rappers turned up on time. they just didn’t play around. they gave “110” from start to finish; all energy — money’s worth was gotten. they even interacted heavily with and touched the fans. then you got Redman sold his CDs like it was bootleg, haha. they stuck around though and thought nothing of it. real and truly humble human beings, yet on stage they seemed like superheroes (Method Man doing the HHH water spit at the start was the best). Method Man even bussed couple line of patois, “rudebwoy come to di front ah di stage,” “wha gwan!?”

Hip-Hop & Comedy duo genius delivered from the two. PLUS… I got to see some of my favourite cuts: “Ice Cream,” “Method Man,” “Do You Really (Thang Thang),” Shimmy Shimmy Ya,” “Wu-Tang Clan Ain’t Nuthin’ To Fuck Wit,” “C.R.E.A.M.,” and of course, “Da Rockwilder.”

… and people love to say there’s no such thing as a “10/10…?” HAAAA! LA, LA, LA, LA, LA-LA, LA, LAAAAAAAGH! You missed out. You done ufffed up.

but what’s to now say that the culture is dead nowadays? man, I don’t know — not to focus on the negative — but you got fat motherfuckers like Rick Ross who can’t even end a show courteously.

a thing such as the above reminds me and makes me again reflect on the mentalities of people today in comparison to the OGs. the work ethic and respect definitely isn’t the same. suuuure… you might take a glance at Meth & Red and think they’re some grungy guys — but they still got morals and came to give the people what we turned up for. the craft was shown; the level of showmanship was there to see crystal clear. there’s a reason why these guys can still kick a show like that at their age and why they’re so respected. but, albethat… I don’t think a lot people really know, though — hence their asses ain’t attend, mehn… perhaps they didn’t ever watch Backstage, like I did back in early 2014.

the art of hip-hop is long gone… and I see now exactly why “old ‘heads” get mad, because it’s a lack of respect that’s in the air, and people would rather bow down and kneel to pure crapness. the most amazing part is, a show like what I witnessed gives you so much to respect that you can’t not. it’s so easy for anybody to come in the game now and “shoot two videos; spit two lyrics,” like Skepta said. and it’s because of that I believe is why these rappers don’t care. there’s no pure work put in. basketball, football, rap and wrestling are three things that just aren’t the same now. sure, shit evolved — but without the same quality? keep it. I don’t want it. there’s no hating involved or to be spoken of, and I probably sound like that Uncle who talks about “back in my day,” but… it’s just that it’s clear the caliber we’ve seen in the past is no mo. put some RESPEK on the game. thank you artists of all age, who care about and cater your best efforts to your supporters.

shiiihd.

 

The Musical Just ICE

On a whim, I’m writing this, still buzzed off the Bassy vibes. My goodness. Some artists just can’t miss. This 11 – 13-track album trend just works for Dreamville. Since 2014, the “96 [Chicago] Bulls” been at it, getting the net poppin’, even if the net [worth] is being repeatedly put on a back-burner – which in this case is doing musical favours and justice.

The formula might not have changed the game yet, or let alone reached it, [but still] what’s being pushed, though, is the idea of quality over quantity — both amount of tracks on album and sales — and I can only pray that’s a sign of more than good things to come for hip-hop music.

The radio hits just aren’t important anymore. I’ve gone back to listen to albums from 2011 onwards, and can honestly only name, to me, a few that have eclipsed “time.” Found out last night that Fetty Wap just went platinum with his debut, self-titled album. More power to him. Well-deserved with the hits he was able to put out in 2015 that still got nightclubs going crazy. It’s all phases, though. I’m tired of hearing 10 albums the same – hence why so selective these days with what I choose to listen to.

For the past how many years now, these newly-released albums have been almost too predictable, because it’s common knowledge and cat-out-the-bag that for an artist to sell, they gotta follow the sound of the radio. What’s failed in the mean time, though, is album sales. It’s being proven nowadays that the return of quality is the old-new way that’s back.

The audience have been fooled for far too long, but no longer now. It’s getting to the point where, music more people are just growing tired [of the same old shit]. Tolerance is seeing a decline, and the past 5 years have been primarily nothing but a drone, in my opinion. Independence & innovation have taken over. While RIAA have changed the boundaries for the numbers needed for an album to a Platinum, it’s becoming all the more clear and prominent that the music matters more when you strip everything away.

Regardless of 1K or 1M first week, the artists really winning are the ones making the music channeling emotions that these other artists following the generic base/template can’t do. The vibrations; the influence; the feelings given off through the music are what just can’t be compared to. And so, in the long run, the music that lasts overcomes all. Better for something to {OUT}grow than to have a quick burst and stay where it’s at. Which is why you’ll find that something good can sell anytime, as its value isn’t determined by the now, but the whenever, instead. That’s why you see some albums that started off slow, but paced to higher heights without rapid progress. When it’s [its] time, it’s time. “Nothing is ever done until the time.” And, due to the artist putting the music over all, the alternative reward for that as sub for the commercial success [for them and the listener] is satisfaction within.

Independence & innovation are the triumphant components. If your shit isn’t selling, it gotta have something to fall back on, or it will burn, and not as an eternal flame but from ashes to ashes; only to be swept away and forgotten. Make your shit… and make it last. If not found now, maybe in a hundred years time somebody will find the book, read it and recognise it as the coined “100.” Real treasure ain’t be coated in gold –it’ll just be gold at core.

Been meaning to write about the current state of music for a while now, but big thanks to Too High To Riot, Bas’ album, just released today. Hiiiighly record-mended. Bas, you’re a human VIBE, my brother.

‘Cuz it’s Friday, you might have a job – but this ah get you high.

LSNCLR

When Nap[zzzz] turn to Sleep[ZZZZ]

No coochie, No start to the last season of Friday Night Lights, forgot to wrap my hair up. [That happened all] since my ass decided to SLEEP through my Friday night at 7-ish last night and not two-hour nap, I’m just now writing this (which was meant to just be the sharing of one song). But of course, as mentioned, that ship sailed, though, due to my body demanding rest. Fortunately, meant that this morning I woke up with an idea to do a new series every Friday, called #FourForFridayNight; just a small initiative to share the music I like and that I feel deserves the praise. So rather than look at it as ‘Friday night plans wrecked,’ I’ll call it ‘Saturday morning so glorious’… for once.

Anyway, straight into the music first.

BJ — though I wish he’d change the name sometimes — is like one of the modern R&B’s Donell Jones’, the way I see it; and I think is an artist who I’d put in the same realm as Big K.R.I.T, as they share the same synonym; meaning somebody who I believe puts out some of the greatest music right now, but won’t go to that next [commercial] level – I’m saying though, they don’t need to… Yafeee’me? Maybe that’s just me being a little selfish because I only care for the wonderful music that I find much pleasure in hearing. I mean, sure, I wouldn’t imagine there be many of these artists who have a goal and be like, ‘Well, I only want my art to reach minimal amount of people.’ which, right there, I could be wrong. What if maybe they just want to make the art and put it out for whoever to see; and for it to hit whoever it needs to connect with at given time? I’d imagine that, at this stage in somebody like KRIT’s career, not that he doesn’t care about the success… but he’d have reached some higher tier of it by now with the such music he’s creating; not to say that he can’t and won’t in the future, but in this age of the music industry where art comes last in formula for that “commercial success,” bar the likes of J. Cole, Kendrick Lamar, Kanye West, Rihanna (more recently) it seems unlikely, but that’s ok when music is all that matters. Like, ‘What are the numbers really anyway,’ one of my favourite notions as of the past month or so. I could suggest the hell out of BJ’s music, but honestly… in your own time. You either heard me, or you didn’t. I can shake you, but you’ll wake when you feel like it. Don’t blame me if you’re late for “work, work, work, work, work, work.” For all Hip-Hop/R&B ‘heads out there, I must say… Even [at least one of] your favourite artists probably wants a feature from him. Do you like Busta Rhymes’, Donnie Trumpet & The Social Experiment’s, Dr. Dre’s, Jill Scott’s, Joey Bada$$’, Kehlani’s, Omarion’s, ScHoolboy Q’s and/or Slum Village’s music? Well, they seem to like BJ’s, having that they got verses and hooks fresh from him. The likes of Ab-Soul, Big K.R.I.T, Casey Veggies, Daz Dillinger, Jay Rock, Kanye West, Kendrick Lamar, Rapsody, Vic Mensa, and Warren G had him on their shit from early (if you wanna call it that). So, “C’mon, son.” *GFK voice.* I’m ’bout to listen to his new album, In My Mind, this weekend, Q’s well as getting round to all his older material in the futurary.

Onto BAS! Bassy Badass. FIENDS. This guy is just on another high right now, and it’s super to see his growth from me hearing him first on his song, “The Season” back in 2012, I believe to now, as it’s nearing towards his second studio album, Too High To Riot. I can state the obvious and talk about how Bas has been so consistent between the first mixtape, Quarter Raised Me Vol. I, and Last Winter, if talking in regards to the projects, and of course the features as he hopped on songs with his fellow Dreamville ‘mates and brought constant vibes – but let me just speak on his sound. The VIBE on the track I posted above – please, just let it sink in… and *Khaled voice* you tell me right now – who else!? Who else got a sound like Bas, along with the flow? I mean, kick me if I don’t get around enough on Soundcloud (if this was “lazy” 2011-2013 me, I’d have known enough to call it… I ain’t got that credibility as much now haha). That’s all I’ll shout for now. I’m THTR. If you ever get the chance to, though, go see Bas live. He could honestly just perform ‘tape cuts and you’d “feel the buzz.”

MAJID fucking JORDAN. Man, they’ve blessed us with some jiggyliggy dance music on this new self-titled album. Not to undersell them and say they’re not exceptional, since I do hear the sonic resemblance to music from Disclosure and AlunaGeorge (again, Soundcloud users, don’t come at me for not knowing enough about underground future / ‘new wave’ beats – I can only speak what I know and continue to keep educating myself | though I’d believe if these sounds are only just now being achieved then we’re witnessing something special in music of today, as it’s rare to find the/that pure, untouched, un-hopped on originality on mainstream surface, i.e. the “bandwagoners” and “cultchvultches”). Hopefully it doesn’t become a case where they blow up and Drake rides their wave, being the leader of OVO Sound (what sound without 40, though? sorry Drizzy, my word doesn’t make a difference anyways, lmao).

Last guy, I honestly know pluto about. But, 3Mo [you] put me onto a potential R&B gem (DROPPETH, DROPPETH!); one who, if proven to keep showing & proving, can join my list of the baddest current R&B artists – not much has changed, but right now, it’s Anderson .Paak, Alessia Cara, Ariana Grande (when she pronounces her words clearly – double entendre; if you know you know) August Alsina, BJ (of course), Bryson Tiller (if he can continue to prove), Chrisette Michele, Eric Bellinger (please, don’t fall for the generic sound, dawg – you’re too good for that) James Fauntleroy, Janelle Monae, Jeremih, Jhené Aiko, Jidenna, JoJo, Justin Bieber (yes, even R&B-infused Pop music counts to me!) Leon Bridges, Mack Wilds, Miguel, Paloma Faith, Selah Sue, The Internet, Tinashe, Tori Kelly, Tory Lanez (stepped it up), Ty Dolla $ign, Victoria Monet. ELLE VEEZY, ELIJAH BLAKE, JESSIE WARE, MELANIEN FIONA, where art thou!? [The likes of] Anthony Hamilton and John Legend can both still come through on features when they want, of course – but that’s legends I’m speaking of right there, now. And then you’ve got D’Angelo, Jazmine Sullivan, etc. still somewhat active and going, not to write them out as “old and dusty” as some may regard or refer to them. Artists are artists, and if they’re good you gotta give it up to them. R&B, as I said it, is still well. Please don’t dare say it’s dead when you’ve got BJ out here like it’s the 2016-90s, then Miguel like it’s the 2016-80s. Stop fooling the place.

Enjoy the music!

Enjoy your weekend!

LSNCLR