Earl by Earl Sweatshirt

Self-proclaimed hip-hop heads love to complain about how rappers “don’t talk about anything nowadays” or how they have no substance. To which I would ask—what the hell does that even mean? Everyone is obviously talking about something; whether or not you relate to or find appeal in the content is another story altogether. Earl Sweatshirt of the mainly-rap collective, Odd Future, has been widely hailed by critics for his debut album Earl. Perhaps it’s his witty delivery and his effortless flow that make hip-hop critics suddenly not realize that under the criteria of “real hip-hop”, Earl doesn’t really talk about anything. There’s nothing political, or conscious, or significantly deep about Earl. Sweatshirt brags about how skillful and underestimated he is, he jokes about controversial topics such as rape (particularly in “epaR”), and raps about some chick who didn’t like him back. Odd Future’s leading man, Tyler the Creator (who has a few appearances on Earl) has had a lot to say, in interviews and in songs, about how inconsequential this idea of “real hip-hop” is to him. Similar to Earl, Odd Future as a collective has garnered respect and adoration by a lot of hip-hop heads who compare them to the legendary Wu-Tang Clan (who, by the way, typically talked about how skillful they were and how bad they were going to hurt their opponent—is the Wu-Tang Clan not “real hip-hop” either?). So forget this idea of what is and isn’t real hip-hop and just listen to the music, the worst that can happen is that you won’t enjoy it.

            However, I truly enjoy Earl, which is packed with charisma and showcases Earl Sweatshirt’s signature melodic flow and lyrical ability. Keep in mind that this album dropped when Earl was only 16, and much of it was written even earlier than that. Also, keep in mind that, like Tyler the Creator and many other members of Odd Future, Earl is intentionally and obnoxiously weird and controversial. On the album, Earl calls himself the “reincarnation of ’98 Eminem”—which is pretty accurate.  So if you’re completely against blasphemy or jokes about homophobia and rape (which is a totally legitimate reason to avoid an artist, by the way), don’t waste your time with Earl.

            What you can expect from Earl Sweatshirt on his debut album is lyrical ability, good beat selection (mostly produced by Tyler the Creator), and a rebellious immaturity that makes listening to him a lot of fun. There are only 10 tracks on the album, and 2 of those are just skits; but that’s not bad for an album that was released as a free digital download. The skits do a good job of introducing Earl, from his relationship to the rest of Odd Future to his relationship with his mother (who sent him away to Samoa shortly after the release of Earl due to his bad behavior). There really aren’t any songs that feel out of place or are not any good, but the real standout tracks from Earl are “Earl”, “Couch” ft. Tyler the Creator, and “Luper”. “Earl” is standout mostly for just the show of lyrical ability and “Couch” for the dynamic between Earl and Tyler that makes it a fun song. “Luper” is the closest Earl gets to being deep. It’s a song about a girl that he really likes but she doesn’t like him back. It’s still not an entirely serious song, but it does feel like it was truly from the heart. The song “epaR” features a beat from Left Brain and it’s pretty memorable, but highly offensive and violent. That’s definitely the one to skip if you don’t take joking about murder and rape lightly. “Moonlight” is one of my personal favorites but it’s mellower and not particularly memorable, in comparison to some of the others. He has another song featuring Tyler, “Pigions”, which is also good but not as good as “Couch”. The album ends with “Stapleton” which was produced by BeatBoy and serves as a nice closer to a short, but sweet album.

            Earl Sweatshirt, along with Tyler and some other members of Odd Future, have a style that you either love or hate. You can’t deny his lyrical ability and marvel at how good he was at such a young age, but you may just hate what he raps about. Or if you’re like me, maybe you like their rebellious nature, and the fact that they don’t take themselves seriously. Hip-hop needs to have a little bit of everything. There’s nothing wrong with just listening to something because the beat is nice, the rapper’s flow is impeccable, and the song is fun. It’s not teaching you anything but it’s also not corrupting your brain either—it’s just a good time. 

1999- Joey Bada$$

           One of the biggest complaints about hip-hop in recent years has been about the lack of attention on the East Coast, specifically on NYC (the birthplace of hip-hop). Other than Jay-Z, Fabolous, and a select few others, there wasn’t really anyone in the mainstream representing New York and there was certainly a dearth of fresh new faces. But the East Coast (or the “Beast Coast”) is back with a vengeance with young, vibrant acts such as A$AP Rocky from Harlem, Mac Miller from Pittsburgh, Flatbush Zombies (from Brooklyn, obviously), and many more. However, there is one artist who has aroused the most attention and has truly represented a return to the grittiness of early 90s New York hip-hop. Ironically, this is a kid who wasn’t even born in the early 90s. I’m talking of course about Joey Bada$$, a Brooklynite who stepped onto the scene with the critically-acclaimed mixtape 1999 when he was just 17 years old. What does a kid who uses dollar signs in place of ‘S’s a bit too liberally and who was only 4 years old in the year 1999 have to bring to the plate? Joey may be young but he’s well-versed in hip-hop and clearly respects his predecessors. Along with his Progressive Era crew (better known as Pro Era), Joey Bada$$ is making a name for himself out of turning the old into something new.

            Before getting into it, it’s crucial to keep in mind that 1999 is just an independently produced mixtape and not an album. Joey Bada$$ is said to be currently working on his debut album which is set to drop sometime in the later part of this year. So how does a barely adult rapper with no official album out have such a huge buzz? Tons of rappers are co-signing him, he got a spot on the song “1 Train” along with A$AP Rocky, Kendrick Lamar, Big KRIT, and others, and there had been rumors of Jay-Z trying to sign him—which Joey himself confirmed. Obviously, 1999 has made quite a splash in the current hip-hop scene.

            No matter which song you pick to listen to first out of Joey’s catalogue, you’ll find it difficult to deny the man’s raw talent. The kid knows how to put words together. His style is reminiscent of a young Nas in his prime while his flow mirrors that of Method Man. The mixtape begins with the short but sweet “Summer Knights” which sets the tone for the rest of the album. It’s important that the first bars we actually hear Joey spit, after  a little over half a minute of instrumental and chatter in the background, is “It’s been a minute/Since they heard a style with no gimmicks/”. This is exactly what Joey Bada$$ is about, while other new rappers talk about weird things or dress in eccentric ways, Joey just offers his lyrical skill and that’s enough to have people talking.

            Another aspect that has made 1999 a standout mixtape out of so many others is its use of samples and jazzy production. In conjunction with his lyrics and style, Joey’s choice of funkier beats and Golden-era sounds makes you wonder why this mixtape wasn’t entitled 1990 or something like that. The standout track “Survival Tactics” (featuring the recently deceased Capitol STEEZ) is an in-your-face introduction to Joey and the Pro Era collective which spawned a gritty video resembling something Wu-Tang, or Lords of the Underground, or even The Lost Boyz would have did in their day. Compared to “Survival Tactics”, most of the mixtape sounds a lot more laid back and mellow. In that way, it is to 1999 what “NY State of Mind” was to Illmatic.

            Other standout tracks off the mixtape include “Waves”, “Hardknock”, “Daily Routine” and “Righteous Minds”. The second song in chronological order, “Waves” just continues the mellow feeling of “Summer Knights”. The song has a nostalgic element to it and continues Joey’s introduction to the world as a young kid from the ghetto just trying to make it as a rapper. “Hardknock” has that same content but with a much more somber tone. It has possibly the best hook in the whole mixtape because the repeating line “I just can’t live my life like this” really hits hard every time he says it. Another interesting hook is on the song “Daily Routine” which speaks on the ins and outs of daily life in his hometown. Other than “Survival Tactics”, “Righteous Minds” is my favorite beat in the mixtape and it’s a fairly decent song. Joey Bada$$ finishes off the album by introducing his whole Pro Era squad on the last song, “Suspect”.

            1999 does a great job of showcasing Joey’s lyrical ability and his great ear for beat selection, but overall it’s not entirely cohesive and is a bit repetitive in terms of content. However, again it is important to remember that this is a mixtape which doesn’t have as much work put into it as an album. Also, Joey is still young and with age he may get even better and definitely more experienced. Hip-hop awaits his official debut album with open arms and salutes his involvement in the return to the basics.

watch the throne

Kristopher Smith

Capsule 2

"Watch the Throne" is a compilation album from hip-hop legends Kanye West and Jay-Z. The album is diverse in a sense that it sounds different than a typical rap album. Between the two artists creativity, the beats are abstract and expensive sampling everything from techno songs, to jazz, to classic hip hop songs. The lyrics and entendres give for a second or third listen before the clever, witty lines are understood. Although there are minor flaws in some songs and some other songs that seem rushed and amateur like, overall the album is a great listen. As well, the only feature is pop singer Frank Ocean. With little features on the album Kanye and Jay really want the rap throne to them and no one else. 

1. No Church in the Wild ( ft Frank Ocean):  The intro of the album and the most popular song known off of it. From heavy radio play to being featured in numerous movie soundtracks, it is safe to say that the interesting title, snares in the beat, Frank Oceans soothing melodies and Kanye West and Jay-Z's verses makes it appropriate to say that thing song was properly and cleverly placed as the intro. 

2. Lift Off (ft Beyonce):  You would think that these 2 rap legends with the queen of RnB would produce such an epic record; but unfortunately this is not the case. The song seems rushed due to the verses by both artists. Kanye's sounds freestyled (which he isn't good at) as well as him mumbling something which makes nonsense during the conclusion of his verse. Jay-Z's verse was super short and simple;  a verse that someone who doesn't even rap could have done. Beyonce did sing her heart out on the chorus but that was short as well. The only decent thing about it all was the creative beat. This album could have prospered without this song but it was probably only added because of the Beyonce feature. 

3. Ni**as in Paris:  Most hip-hop heads would say that they like an ignorant track here or there in their albums and this is the perfect one. Being the first radio single (and eventually hitting number one on the charts) made people excited to listen to the rest of the album since the song is upbeat that one can't help but dance and/or rap along too. As well, this seems like it can be the only "club banger" on the album which is has proven by dj's. The sample taken from the movie "Blades of Glory" is hilarious since it comes out of nowhere. Plus, who doesn't find Will Ferrel hilarious?

4. Gotta Have It: There is nothing bad that I can say about this song. Instead of single verses, the two artists went back and forth between lines somewhat challenging each other, finishing each other’s statements and answering the other's questions. If you really listened, the beat sounds simple but it still sounds complex due to the random Indian sounding voice harmonizing in the background complimenting the hard-hitting base.

5. New Day: Easily my favorite song on the album. This is simply because it shows a mature side of both rappers. Jay-Z speaks about how his father was absent in his life and how he would be a better dad than his was, "my dad left me; I promised to never repeat em'". Kanye West ESPECIALLY shocks listeners in this song by admitting that he isn't a fan of his arrogant and obnoxious ways and that he wishes his unborn son will be the opposite of him; someone that everyone loves and doesn't think is a bully. He mentions his "George Bush doesn't like black people" rant and states how Kanye himself was seen as a racist: “and I might even make him a republican, so everybody know he love white people". The mellow mood of the song leaves listeners no notice but to sit and emphasize with the two rappers who speak on their personal lives and flaws. 

6. That's my B*tch: You would think by the title that the song will be ignorant and message- less. Well, if you guessed this you would be somewhat correct. Kanye babbles about how his women only want the expensive material things in life but he doesn't blame them because so does he. Jay-Z sheds some knowledge in his verse when he states that how come there aren't any black figures in history that represent sexy such as ladies like Marilyn Monroe. The beat and voice over in the chorus to me is annoying. The song doesn't make or break the album so keeping t or trashing it would have had the same effect of me always skipping over it. 

7. Welcome to the Jungle (ft Swizz Beatz): Squabbly, mnemonic guitar forms the backdrop here. Great twist on an already worn theme: Jay-Z's "Rest in peace to the leader of the Jackson 5."

8. Otis: A song that samples jazz legend Otis Redding. The song is fun and leaves you no choice but to bob your head and maybe even follow the obnoxious that powerful scream at the end of the song. Good idea of whoever decided to sample Otis Redding. 

9. Who Gon Stop Me?: This song....wow where do I start. First, this song samples a dub-step hit by Flux Pavilion. It samples the beat with a twist of a hard hitting beat when the music stops

10.  Prime Time: Throwback time! The scratched-in "ba-bada-you" from Public Enemy's Brothers Gonna Work It Out, the Incredible Bongo Band's Apache conga break, and a chorus that is late-80s like. Well of course it is since it’s sampled from La Roux.

11. Made it in America (ft Frank Ocean) : Soft, soothing song. The chorus, sang by Frank Ocean mentions unimportant black figures in history and ends its by repeating "we made it an America". Kanye’s verse sums up how he became a famous music producer after he struggled for years and how people make fun of his clothes then eventually follow his trends and wear the same things. Jay's verse focuses on how he used to cook drugs in his oblivious grandmothers kitchen until he got his record deal. Then, correlates the drug business to the music business. Nonetheless, great song besides the repetitive piano in the background. 

12. Why I Love You: No this record has nothing to do with a female. Instead, with little interruption from Kanye, Jay takes over the song by stating that he doesn't owe anything to any of his rivals who used to be best friends. Instead, in an obnoxious, sarcastic but clever way apologizes for being such a great friend in the past and in fact he is owed something. The song abruptly ends and reaches the conclusion of the album. 

Above is the original version of "Watch the Throne." The deluxe version has about 4 more songs which some may actually be better than some of the tracks on the original. Overall, I would give the album a 4/5 only because I expected much more from the two superstars during the first listen. The album didn't grow on me until about the 3rd go-round. After then it is the only thing I listened to for a whole summer.