NYS Music 202​0

Category: Hip Hop/Rap

  • Wu Tang Wednesday: GZA and Killah Priest teach about the B.I.B.L.E

    While recent racial tensions surrounding police-brutality have garnered the general public’s attention, another divisive issue has picked up steam as of late. Public figures such as, Ice Cube, former NBA player Stephen Jackson and Philadelphia Eagles wide receiver DeSean Jackson have posted social media doctrines acknowledging that the first of the Jewish people were indeed Black, and those we recognize as Hispanic and Native Americans, are actually decedents of the Black Hebrew Israelites. This sparked backlash with some labeling DeSean Jackson and Ice Cube as anti-Semitic and accusing them of spreading misinformation. While present-day celebrities take the brunt of the repercussions, these claims have been uttered by influential figures in the past. 

    liquid swords

    On November 7, 1995, GZA of the Wu Tang Clan released his second studio album, Liquid Swords. With no made-for-radio records, the project still debuted at number 9 on the Billboard charts and has since been certified platinum. A critically-acclaimed album, Liquid Swords is multi-faceted and backed by complex lyrics, it explores themes such as crime, philosophy and chess. And although GZA is recognized as the most lyrically potent of the Clan, the most compelling of the 13 tracks – and the album’s outro — came from protégé Killah Priest. Aptly titled “B.I.B.L.E” (Basic Instructions Before Leaving Earth), the 4th disciple produced record explores the religious fallacies that have been instilled within the Black community, as well as the hypocrisies within organized religion that many children are forced to accept.  

    In an interview with Righteous Disorder Tv, Killah Priest divulges how his record made the cut,  “it was a process, I just kicked a rhyme for GZA one day before it was even a song and GZA always loved that verse,” and soon after, it was turned into a full song. With the album’s producer — and Wu Tang Clan leader — RZA not sure of its placement within the project, it was turned into a bonus track.

    The song begins with Killah Priest repeating the acronym four times before transitioning into the hook 

    “Life is a test, many quest the Universe and through my research I felt joy and hurt, the first shall be last and the last shall be first. Basic instructions before leaving earth.” 

    With two lines, he sets the stage for the record’s theme. Acknowledging the joy in finding out the truth about his race and the feelings of sadness that come with the truth. The hook ends with “the first shall be last and the last will be first.” A reference to Genesis chapter 25, verse 23, “Two nations are in your womb, and two peoples from within you will be separated; one people will be stronger than the other, and the older will serve the younger.’”

    killah priest

    Priest begins the first verse discussing his interest in the bible and why it is so important to him,

    Explored my history that was untold and watched mysteries unfold and drop a jewel on them like Solomon, but never follow men cause if you do your brain hollower than space oblivia or the abyss.

    He is ignoring the teachings of the church and doing his own research on the bible and what it means, as well as, who it is meant for. As he learns more, he uncovers new mysteries that he was never taught, and he begins to teach others what he has learned. “Never follow men,” speaks to the ideology that God should be the only entity leading one to salvation. 

    He carries on,

    I speak on Jacob, it might take some time up, and too much knowledge, it might break up the rhyme. I did it anyway, just to wake up the mind of those who kiss stones or prays on carpet. Those who sit home or sell books by the market need to chill and give their mind revived for years religion has done nothing but divide.

    The first line serves as a double entendre, as “Jacob” is a known biblical reference, while Jacob Arabo is known popularly within hip hop circles as “Jacob the Jeweler,” for his unique designs of Jewelry — specifically watches — The last two lines throw stones at those who pray and profit off of selling the bible yet, know little of their true history. 

    On the second verse he advances with his earlier rhetoric on religion and how it has been used to confuse him and his people, while also speaking on the true origins of the White race.

    I even learnt that Caucasians were the tribe of Edom the white image of Christ is really Cesare Borgia. And uhh, the second son of Pope Alexander the sixth of Rome and once the picture was shown that’s how the devil tricked my dome.

    He alleges that Caucasian people are the decedents of Esau (the first son of Isaac and the first White person in history, according to The Old Testament) and his tribe Edom, a stance recently reiterated by Ice Cube and Desean Jackson. 

    On the last verse he says, 

    I prophesized to save man, but no one gives a damn for my nation, the seed of Abraham blessed with the tongue of Hebrew now we strung on needles and some plunging evils. So, study and be wise in these days of darkness, peace to my nephew Marcus.

    With a desolate first bar, Killah Priest gives insight into the thoughts of a man who is trying to warn yet, the more he tells people the true history the more they don’t care or take what he says seriously, leaving him frustrated. On the second line, he says that his people are descendants of the biblical figure —Abraham, ascribing to the chosen seed that God prophesized he would be blessed with. At one point his people were blessed in their history and knowledge of Hebrew. Now, they are strung on needles — referencing the many drugs that have been pipelined to Black inner cities — and committing other evil acts. Finishing off by encouraging them to take their knowledge into their own hands.

    While Black entertainers continue to receive backlash for their thoughts on Judaism, the authenticity of their claims must be acknowledged. With this record being a quarter-century old, how many more people have already accepted Killah Priest’s claims as their truth? It’s easy to accept the status quo as the truth, challenging accepted ideologies is the only way we can grow as people, and that begins with exploring the possibilities of different origins to every religion, as none belong to any one race.

    With contributions from Alain Clerine.

  • Wu Tang Wednesday: Nas, Raekwon and Ghostface deliver “Verbal Intercourse”

    Being part of a team is great; when you’re part of a successful one – like Wu Tang Clan – even better. Yet, there may always be that inkling of wonder of what could be accomplished by oneself. For musical acts whose contributions to the world are dissected and compared to one another, that one little thought may be enough to isolate said artist from the group, not to mention the monetary differences between a solo artist and being part of a group.

    Ego has played a part in the demise of many great factions — the likes of New Edition, NWA, The Fugees – they’ve all fallen victim to the individualistic desires of man. Yet, when tamed, this possibly destructive force can be channeled into producing some of the greatest albums in history. Bobby Brown’s Don’t Be Cruel fits in that mold, so does Ice Cube’s Amerikkas Most Wanted. This was also the case for one of the greatest Hip Hop albums ever. Raekwon’s Only Built 4 Cuban Lynx set the tone for a genre of mafioso themed albums that took the 90’s by storm.  

    Failing to distinguish himself from some of the other charismatic members of the Wu Tang Clan, the man known as “The Chef” was motivated to go out and make himself a classic body of work. And on August 1, 1995, Only Built 4 Cuban Lynx set a new standard for rap. The album received a 4.5 mic rating from The Source magazine (at the time, hip hop’s Bible). While the Method Man and Ghostface Killah assisted “Ice Cream,” was the LP’s most successful record, album cuts like “Verbal Intercourse” are what set the tone for the project. The twelfth track features a young Nas on the heels of his own soon-to-be classic, Illmatic, as well as Wu Tang mate Ghostface Killah – who plays a supporting role in the mafia movie themed album. Considered one of Nas’ best verses (which is saying something), it also stands as one of the greatest opening verses in history. 

    Wu Tang Wednesday: Nas, Raekwon
    Wu Tang Clan – a tough act to follow

    Nas sets the tone for the record early, rapping:

    Through the lights cameras and action, glamour glitters and gold I unfold the scroll, plant seeds to stampede the globe.

    When I’m deceased, by then the beast arise like yeast to conquer peace leaving savages to roam the streets.

    With his newfound fame and fortune from his individual success, his principles haven’t changed, as he still plans to take over the world. And after he has long passed, he hopes to have planted enough seeds in the minds of the youth to bring about a revolution. A Queensbridge legend long before platinum albums, Nas’ lyrical aptitude was as shocking as his youth, as he was barely 21 at the time of this recording.

    With ‘God’s Son’ written across his stomach, Nas looks to accomplish everything he prophesized.

    On the second verse, Raekwon deliver’s a high-quality opening bar of his own.

    Perhaps bullets bust, n**** discuss mad money true lies and white guys, we can see it through the eyes. Catch the most on tape, kilos disintegrate Pyrex pots, we break, fiends licking plates.

    While Nas’ verse pertained to his yearning for a mental uprising, Raekwon keeps with the album’s theme. Describing the dangers that come with operating on the wrong side of the law.

    On the song’s last verse, Ghostface Killah – maybe the most charismatic of the three – adds to the story, Further detailing the greed, jealousy, envy that comes with monetary success, with hopes of a light at the end of the tunnel.

    With the green leathers, hundred-pound snakes and cakes. Fiends found in lakes, jealously jakes we shake. What I strive for is what I live for. Infatuated by material things in this wild life of war like somewhere over the rainbow, I see a big pot of gold.

    “Verbal Intercourse” is defined as “conversation between more than one person.” But in this case, you could say they went a step further and f***ed the beat. The album featured every rapper in the Wu Tang Clan besides ODB, so Raekwon didn’t completely deviate from the already winning formula. Still, as the creative mastermind behind the LP, it helped Raekwon continue to establish himself as his own entity, outside of his groupmates. Debuting at number four on the Billboard charts, Only Built 4 Cuban Lynx sold 130,000 copies its first week, and while not a single, “Verbal Intercourse” saw each respective rapper plant seeds towards their now legendary status.

    with Maxwell Amankwah contributing

  • “Congratulations” to Post Malone on his birthday

    Austin Richard Post, known professionally as Post Malone, is celebrating his birthday today, July 4th. Born outside of Syracuse in 1995 and known for his combination of pop-trap and rock balladry, Malone has been one of the quickest rising stars of the past five years since his 2015 single “White Iversion” went viral after gaining recognition on SoundCloud.

    Voted “most likely to succeed” by his high school graduating class, Post got an early start in music learning guitar at the age of nine. Before making his first beats in the audio workstation FL Studios, Malone spent time in various heavy metal and screamo scene bands- a background that has helped fortify and define his style.

    Known for combining the music he grew up on, such as grunge and indie rock with trap-beat instrumentals and pop-rock song structures, Post Malone has earned numerous spots on the Billboard 100 and several Grammy Nominations. The cloud rap anthem, “Congratulations” featuring Quavo, off Posty’s 2016 Stoney album led the pop singer to nab his first Grammy nomination at the 61st edition of the Awards. Although passed up for the win, “Congratulations,” has garnered the Upstate native worldwide recognition.

    In Septemberr of 2019, Post Malone released his most recent album Hollywood’s Bleeding which included hit songs such as “Circles” and “Sunflower” featuring Swae Lee which was also part of the soundtrack for the recent Spider-man: Into The Spider-verse Marvel animated movie soundtrack.

    Most recently, Post Malone has been performing livestream performances including his full band nirvana cover set which featured Travis Barker of Blink 182 on drums.

    Have a great birthday Post Malone!

  • 6ix9ine and Nicki Minaj’s “TROLLZ” plummets down the Billboard Hot 100

    After debuting atop the Billboard Hot 100 chart last week with new song “TROLLZ,” New York rappers 6ix9ine and Nicki Minaj have broken the all-time record for biggest fall from number one. Dropping to #34, the duo doubles the previous record-holder, The Weeknd’s “Heartless,” which fell to #17.

    “TROLLZ”  marked 6ix9ine’s first number-one single, and Minaj’s second. Earlier this year, she hopped onto a remix of Doja Cat’s viral hit “Say So” for her first. The success of “TROLLZ” has been historic in many ways: after spending the late 2010s mired in controversy and overshadowed by new talent, Nicki became the first female rapper to debut at #1 since Lauryn Hill’s 1998 “Doo Wop (That Thing),” and 6ix9ine beat the odds despite being blacklisted from radio as well as playlists curated by Spotify and Apple Music.

    The accompanying music video, filmed at 6ix9ine’s home while under house arrest for racketeering, drug trafficking, and firearms offenses, has almost 160 million YouTube views and counting, and the single has sold 116,000 downloads, the highest figure since Taylor Swift’s “ME!” Both rappers took to Twitter to gloat about the successful debut:

    Without industry support, “TROLLZ”’s number-one debut was almost entirely a fan-driven operation. This is admittedly impressive, but on second thought it bodes bleak for the future of chart-toppers. While never an indication of a song’s quality or cultural impact, going number-one once meant having the most popular song in the nation for a week or more.

    Now, a devoted fanbase could theoretically get their idol’s song to the top of the chart without anyone else beyond their ranks actually listening to it, only to nosedive into oblivion the next week without having made its mark on popular culture and the general public. While claiming the coveted crest of the Hot 100 has historically been a prestigious accomplishment, this arguably causes the feat to lose its luster.

    Discounts, merchandise bundles, and multiple versions are increasingly popular methods of boosting sales, and fan practices such as employing bots and VPNs to manipulate a song’s performance have potentially made the Hot 100 less representative of the masses’ tastes than ever before. While the latter has only been rumored in this instance, 6ix9ine and Minaj employed all of the former tactics: “TROLLZ” was discounted to 69 cents, sold alongside CDs, vinyls, and hoodies, and released with explicit, alternate, and clean versions.

    Although 2020 is only halfway through, the year has already seen five Hot 100 number-one debuts, some of which proved to be similarly frontloaded: Travis Scott and Kid Cudi’s “The Scotts” fell to #12 the following week, and Ariana Grande and Justin Bieber’s “Stuck With U” plunged to #13. Since Billboard is constantly amending its rules amid the ever-evolving musical landscape, none of these artists or fanbases are technically ‘cheating’ by pulling out all the stops to ensure a number-one.

    They still obtained the necessary sales, streams, and radio play (provided they aren’t blacklisted) required to top the chart. Unlike payola, the practice of record companies paying radio stations to play a song without disclosing the agreement, it’s perfectly legal for artists to go to 6ix9ine and Minaj’s lengths to top the Hot 100. But will those songs be remembered a year from now? Next week, even?

  • Shepard Fairey Praises Chuck D with new “Fight The Power” OBEY Print

    Flushings, Queens native and Public Enemy co-founder, Chuck D, and Shepard Fairey, the artist behind OBEY, have come together bringing us a cross-sectional introduction of street art and hip hop. The artists, each citing the other as an influence, have announced the “Fight The Power: Chuck D” print, which memorializes the 1989 Public Enemy politically centered rap song, “Fight The Power.”

    Fairey has cited Public Enemy to be one of the many influences behind his socially and politically charged propaganda-like art style which was tagged throughout the streets of cities on the East Coast in the late ’90s.

    Along with announcing the release of the “Fight The Power” print, Fairey has urged his audience to listen to Public Enemy’s music, giving attention to the groups latest single, “State of The Union (STFU),” released last week.

    “Chuck D has long been a hero of mine as founder and leader of Public Enemy. He’s an outspoken social and political voice, and activist. Chuck’s lyrics always spoke truth to power.”

    Shepard Fairey

    After receiving the invitation to participate in Chuck D’s art show, “The Terrordome,” Fairey decided to create his first portrait of the Public Enemy MC. Presented in a dulled orange and blue colorway, the “Fight The Power” print will be available at the OBEY online store Tuesday, June 30th.

    Limited to 500, each print will be delivered signed by Shepard Fairey and Chuck D with all proceeds going to Black Lives Matter Greater NYC.

  • Grandmaster Flash’s “The Message” Still Provides Accurate Social Commentary 38 Years Later

    At some point in our lives, we have all heard the classic hip hop refrain from Grandmaster Flash and the Furious Five, “Don’t push me ‘cause I’m close to the edge.” However, despite the funky bass line and infectious hook, “The Message” was written to give insight on the life of a young Grandmaster Melle Mel, who grew up in the Bronx during the ’60s and ‘70s, following the wake of the Civil Rights movement, an incredibly trying time for the impoverished black community. “The Message” has a place in history that is more than a reminder of the true roots of hip-hop, but rather a landmark of socially conscious rap. “The Message” was one of the first commercially successful rap songs providing heavy social commentary. At the time of its release, it stood out among other party tracks that were the hip-hop market at the time.

    The intro delivered by Duke Bootee sets the scene, “It’s like a jungle sometimes it makes me wonder how I keep from going under.” Comparing life in the inner city Bronx to life in a literal jungle reiterates the hardships faced by the black community, struggling for survival and contemplating the will and self-determination that urge for survival takes. Then, on the verse is Melle Mel depicting the struggles of a poor black man who is on his last ounce of hope after repeating a cycle of despair desperate to escape.

    Mel continues on the hook, “Don’t push me cause I’m close to the edge, I’m trying not to lose my head,” which encompasses the song’s central message: life in the inner city is hard and the stresses constantly build up. The hook almost sings as a warning to people unaware of the realities of street life, pleading people to not “push” you off the edge in a means to preserve your own mental sanity. Melle Mel’s verses continue to cover topics of poverty and homelessness due to mental illness with bars creating images of a “Crazy lady, livin’ in a bag eatin’ outta garbage pails” makes clear that Melle Mel was on the front lines of poverty in the 1970s. Mel also comments on the broken education system saying he “Got a bum education” and is under financial stress due to “double-digit inflation” which all feed into the power of the refrain.

    Grandmaster Flash

    Despite its release nearly 40 years ago, the song remains highly relevant in 2020’s social and political climate. The struggles detailed by Melle Mel are still issues faced by thousands who are stuck in the cycle of poverty perpetuated by systematic racism, un-equitable access, and crime. Many of the topics Mel rhymes about throughout “The Message” are the same themes present day artists such as Kendrick Lamar (AKA Cornrow Kenny) are bringing back to the focal point in the conscious hip hop movement.

    There is an almost predictable reemergence of these themes of depression and poverty expressed by the black community brought to light by artists generationally. The consistency of lyrical themes present in the late 1970s mirroring those of present day billboard topping singles reiterates the notion that not much has changed. Black America is still trying to survive in the metaphorical jungle Bootee sang about. 

    Over the past ten years, we have seen artists such as Kendrick Lamar, as mentioned earlier, releasing songs in a similar vein to “The Message.” Most notably, his 2012 critically acclaimed, Good Kid M.A.A.D. City, concept album which followed the life of a young Kendrick throughout his upbringing in Compton, CA. Throughout the album’s track list, Kendrick raps about several similar themes such as his struggles with poverty, crime, and depression. Whether cited as an influence or not, Grandmaster Flash and the Furious Five’s “The Message” certainly paved the way for projects making social commentary accessible for the hip hop audience of today.  

    The next time you find yourself nodding your head to the beat of “The Message,” or saying “Don’t push me,” keep in mind the original focus of Grandmaster Flash and consider the blessing that music has the power to carry these messages through sound from generation to generation. 

  • Juneteenth: Sorrow turned Conviction

    While the public celebrates Juneteenth in what is now the halfway point of a roller coaster year, it is important to note the true history behind why we celebrate. The day’s significance isn’t to recognize the end of slavery. Rather, June 19, 1865 is the day that federal orders for the emancipation of enslaved Africans were announced. Only, the declaration had been made official nearly two-and-a-half years prior.

    Juneteenth

    With the holiday gaining traction throughout the country, and now a Federal holiday, in 2020 New York City mayor Bill DeBlasio announcing an executive order that recognizes “Juneteenth” as an official city and school holiday. People of African ancestry celebrate our forefathers, yet we remember their pain, endurance and suffering and do not take it for granted.

    In the same vein, Hip Hop has served as a diary for Black struggle.  With a 400-year head start to make up for, many rappers have recognized the need for unity, as well as establishing our own financial footprint in the United States (the same way other races have been allowed to). 

    So, here is a playlist of songs that motivates us to become the proprietors of our own destiny.

  • The Roots Picnic Goes Virtual

    The 13th annual “Roots Picnic” will be joining , like many other concerts this summer, the virtual experience platform as an attempt to keep everyone as safe as possible while still connecting during COVID-19. The event will take place on June 27 at 8PM EST and will stream on The Roots’ youtube channel. The event will have musical acts along with speakers including Michelle Obama. 

    The Roots Picnic is partnered with Obama’s nonprofit, “When We All Vote” and will be helping people sign up to vote by texting viewers through a platform that targets unregistered voter. This event won’t replace the usual festival, which is still postponed, but will be additional content. Organizers of the festival urge people to, “Please stay tuned for more updates on the 2020 festival.” 

    The musical acts include H.E.R, Lil Baby, Roddy Ricch, SZA, Kirk Franklin, Snoh Aalegra, D-Nice, Polo G, G Herbo, Musiq Soulchild, and Earth Gang. The Speakers include Michelle Obama, Janelle Monáe, Tracee Ellis Ross, Kerry Washington, Tom Hanks, Liza Koshy, Chris Paul, Elaine Welteroth, Lin-Manual Miranda, Deon Cole, Coach K, Wallo267, and Ghetto Gastro. 

    RSVP to the event and for more information in the event visit the Roots Picnic website.

  • Run the Jewels 4 Review: Killer Mike and El-P deliver more gems

    Kendrick Lamar once said, “Critics want to mention that they miss when hip-hop was rappin’/ Motherf*****, if you did, then Killer Mike would be platinum.” As great of a line as that was, let’s make one thing clear; all forms of hip-hop are respectable. Lyricists, mumble rappers, crooners, they all have their place within the genre. Moreover, while we often look for messages in our art, understand that you won’t find it in what I like to call “easy listening rap.” Artists who view hip-hop as a competitive sport tend to challenge themselves. They think of more elaborate rhyme schemes, pick more challenging beats to rap on and (some) interpolate different subject matters in their music. Easy listening rappers find a formula and stick to it, no matter how redundant their sound. However, their inability (or unwillingness) to change does not invalidate them. We need fun-party music, but we need the former as well. Hip hop duo Killer Mike and El-P probably won’t go platinum with this latest effort – much to Kendrick Lamar’s chagrin – yet, their latest project — RTJ4– is undeniable. 

    Give up the information.

    Originally scheduled to be released June 5, the album was pushed up, releasing two days early, with an accompanying note: “F*** it, why wait. The world is infested with bullsh** so here’s something raw to listen to while you deal with it all. We hope it brings you some joy. Stay safe and hopeful out there and thank you for giving 2 friends the chance to be heard and do what they love. With sincere love and gratitude, Jaime + Mike.” 

    The fourth installment of the Run the Jewels series covers similar themes as its predecessors: racism, capitalism, socioeconomic issues. Basically, you know what you’re going to get. Even so, their ability to pinpoint America’s discriminatory ways – and Killer Mike doing an excellent job of reversing the black community’s ethos from victimhood to one of power – have resulted in 39 minutes of thought-provoking content, which is not a given in today’s hip hop climate. On “walking in the snow” Killer Mike exposes the corrupt ways in which black people are targeted, while attacking the black community themselves for their acceptance of their role as casualties.

     “The way I see it you’re probably freest from the ages one to four / Around the age of five you’re shipped away for your body to be stored / They promise education, but really they give you tests and scores / And they predictin’ prison population by who scoring the lowest / And usually the lowest scores the poorest and they look like me / And every day on evening news they feed you fear for free / And you so numb you watch the cops choke out a man like me / And ’til my voice goes from a shriek to whisper, “I can’t breathe” / And you sit there in the house on couch and watch it on TV / The most you give’s a Twitter rant and call it a tragedy / But truly the travesty, you’ve been robbed of your empathy / Replaced it with apathy, I wish I could magically / Fast forward the future so then you can face it / And see how f***** up it’ll be / I promise I’m honest, they coming for you / The day after they comin’ for me.”

    “I’m robbing you.” “What for?”
    “Whatever you got.”

    Throughout the project, Killer Mike shares several cathartic moments with the audience while veteran emcee El-P plays the role of ally, addressing the nation’s corruption. On the album’s intro “yankee and the brave (ep.4)” he raps,

    “it’s scammer bliss when you puttin’ villains in charge of shit / All of us targeted, all we doin’ is arguin’ / Pardon them as they work until every pocket’s been picked and soul been harvested / I’m ready to mob on these f***** Charlatans.”

    On the same track, Killer Mike takes the term “Black Power” to a whole new level by doubling down on his refusal to be martyred. “I got one round left, a hunnid cops outside / I could shoot at them or put one between my eyes / Chose the latter, it don’t matter, it ain’t suicide / And if the news say it was, that’s a goddamn lie / I can’t let the pigs kill me, I got too much pride / And I meant it when I said it, never take me alive.”

    It is noteworthy to mention that he also did this, but his words are powerful nonetheless. 

    He maintains his stance of power throughout the project, only relenting on the albums outro “a few words from the firing squad (radiation),” where he grapples with his role as a famous entertainer, his potential to make a difference within the Black community, its sometimes deadly consequences and the divisiveness it can cause within Black families. 

    “It’d be a lie if I told you that I ever disdained the fortune and fame / But the presence of the pleasure never abstained me from any of the pain / When my mother transitioned to another plane I was sitting on a plane / Tellin’ her to hold on and she tried hard but she just couldn’t hang / Been two years, truth is I’ll probably never be the same / Dead serious, it’s a chore not to let myself go insane / It’s crippling, make you want lean on a cup of Promethazine / But my queen say she need a king / Not another junkie, flunky rapper fiend / Friends tell her he could be another Malcolm, he could be another Martin / She told her partner I need a husband more than the world need another martyr.” 

    Even with excellent lyricism, there are supplementary elements that make this album noteworthy. While the duo’s cohesiveness is seen through their mutual world views, the beat selection, however, is raw and unfiltered. Heavily rock influenced, RTJ4’s production is not always sonically pleasing – possible to deter the masses who are only trying to hear “good vibes.” Instead, they are purposeful. Loud guitar riffs, drums and alarms are heard throughout as they amplify the messages. Almost as if they picked beats that would not allow the audience to drift away (sometimes a catchy beat or chorus can hinder the record’s message).

    Run the Jewels 4 is meaningful. Not only because of the subject matter, but the delivery itself. In our current climate, it’s rare to find conscious rap that doesn’t portray Black people as victims. El-P and Killer Mike take the opposite approach, challenging the oppressed to defend themselves, let’s hope they take heed. 

  • Wavy Cunningham drops new original “All We Need is Love”

    The latest from Albany’s Wavy Cunningham is a track for the times. “All We Need is Love” captures the raw emotion from recent protests over the police killings of George Floyd in Minneapolis and Breonna Taylor in Louisville. Cunningham brought his emotion to the studio to channel his thoughts:

    I’ve been struggling to come up with the words to express my emotions during this time. I felt like the best route was education.”

    Produced by Phil Dreisin, “All We Need is Love” precedes the upcoming release of Cunningham’s next album, Club Wavy.

    https://soundcloud.com/phil_dreisin/all-we-need-is-love-wavy-cunningham
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