Had to bring this back after Shxtcloud (soundcloud) deleted it. Brooklyn’s Finest from Do or Die! Never forgotten, and that’s The Brooklyn Word!
So yea, its not as weird as it sounds. Lemme explain…
Caught an article saying that the album was >Kanye “The Life of Pablo”< on Pornhub. Jokes aside, I’m thinking dope let me check it while cleaning and shit. I been wanting to check it since it dropped but it would always slip my mind. (listen before it’s a bust… pun intended).
The album is only streaming on Tidal, but I haven’t had time (would take me maybe 30 secs. to locate somewhere online). The PornHub link was perfect timing, anywayz!
Last week, I was vibing with DProsper (respected manager/emcee, industry manager mover and shaker) and thought, yea I gotta check it to see where he’s at these days. The last CD (never purchased digitally) I had by Ye was College DropOut. The main reason I got it was that he was rocking the Lo (Polo) Teddy on it. The Lo-Head in me had to support, but it was actually super dope!
Regardless, that brings me to today and “The Life Of Pablo“. The side moving advertisements from PornHub are hilariously moving to the music. It’s that serendipitous moment where it all works and in beat too, pun intended. And nah, i’m not over here wacking off, the music is playing in the background.
Now I’m gonna get a bit serious keeping the shxt 100, the music tastemaker is talking now. Anything else would be uncivilized and against my character. Aight let’s go….
My final analysis is that “The Life Of Pablo” is a juxtapose of genres that reflect Kanye West’s many artistic personalities. I get this as a fellow Gemini, I mean, Gems minds are everywhere… yet in that moment.
There are times where I’m like WTF is this, I can’t rock wit it but I see how it can be artistically freaked on stage. The visuals and performance aspect is in my opinion why Ye went there. Other joint’s in that same vain were creatively intriguing, but it didn’t grab me like yo I wanna rock that.
“No More Parties In LA” is my favorite on the release and makes the most sense to my hip hop spirit. More of these type tracks would have created a resurgence and interest from legit hip hop heads across the world. The flip is, urban hip hop heads are not necessarily paying customers, so an album like that is different when performed compared to his creative sounds which are more visual. I don’t think Ye’s heart is there at this time, which why only
one two (30 Hours) track mimics his loved “College Dropout” album.
Quick rundown of the album’s arrangement:
- Ultralight Beam – is pretty dope and soulful. I liked this as the introduction, it captivated the listener immediately drawing expectations of something great.
- Father Stretch My Hands Pt. 1 – is more commercial and it where the direction changes to a more modern sound. Not my favorite but it still works with todays standard sound.
- Father Stretch My Hands Pt. 2 – is the continued energy of pt. 1, but I like that better as the arrangement has an underground 90’s feel to it.
- Famous – not my vibe, but it’s catchy and can get the head nodding. It’s more braggy than lyrically induced, plus the efforts are rudimentary. The hook (Swizz Beatz) is catchy and flows well.
- Feedback – sounds like Puffy West, he kinda bit his flow which is an oxymoron since Puffy doesn’t write his material (but the delivery is always all puff, nobody can duplicate that). He was tweaking on this joint, real shxt. The young kids will prob enjoy dancing to it, that type of rhythm is there.
- Low Lights – This was a good interlude, i like the shxt that’s really saying something. It reminds that Ye still got the soulful ear.
- Highlights – is cool and commercial. I can see stripping bitches sliding down a dirty pole into a split, real slowly to this. My type of shxt when twisted and on my hood shxt.
- Freestyle 4 – is weird AF. It’s the Jekyll and Hyde side coming out, not feeling it.
- I Love Kanye – is fun, very narcissistic… guess it “o-so-Kanye”.
- Waves – rippled right past me, next!
- FML – is mad different, but i Like that type of different. Reminds me of Portishead, I fux wit it. He’s such a weird ass creative genius. (clarification, creative genius because of his intense passion and eccentric approach that stands out from his peers good/bad debatable, nonetheless, his spirit feels tormented hence the many levels of expression on the album. Hey, i’m energy sensitive!)
- Real Friends – is cool and more of the hip hop structure that I was expecting. The beat is a 6.5, but the message is a 9. I like when he get’s personal and puts more effort in his writing.
- Wolves – is so so, but I feel his artistic approach. Kanye is mad coded with his shit and translate through art as imagined by him. I appreciate his openness and ability to express his self alternatively.
- Silver Surfer – Max B interlude… he had to do this after the Waves drama, so it’s more “as a result of” than “intended from the get go”.
- 30 Hours – the energy is kicking in, this is the old Kanye. I want more of this flow, but that’s wishful thinking. Chill head nod shxt.
- No More Parties In LA – is fuxking hot!!! I love this track, Kendrick ripped it. That’s what I’m talking about in regards to Ye’s genius. His mind is convoluted with so much shxt it’s impossible to be focused on one sound, i get it. But this shit is dope!
- Facts – skipped it after 3 secs
- Fade – Ok, this is where many are like that shxt is wack and weird. I don’t and know I have a higher respect for Ye’s creatively. This is paying homage to house music, after all Kanye is Chicago bred. The intro lyrics sound off, no wait, the vocal mixing is off, it’s too much and needs to be lowered/flatened a bit with less treble. The classic sound is very recognizable to househeads, it’s dope to hear him incorporate it into his album and end it. I’m going to remix this joint, straight up!
So that concludes my review, no I didn’t review for errors. No body got time for that, my mind goes at a 100 miles an hour. I actually typed this straight through, if I stop and think about what I’m writing, will take me 20 time longer at least.
Rewinding back to “No More Parties In LA”! – written by Gibril Kuyateh Instagram
Happy Belated Birthday Phonte from The Brooklyn Word. Tigallo has been in my top 5’s for quite sometime now. He’s a beast with the wordplay, clever and quick wit it and can do his own background singing in between. Fuxk outta here telling me any different…
A couple of years ago, I pitched a collaborative social media concept to Fusicology and OkayPlayer for the purpose of gaining interest for Foreign Exchange 2013 Brooklyn stop of the tour. It included contest and email signups and yada yada yada.
For whatever reason, Okay Player fell through so I kicked it off with Fusicology + my long standing collaborative partners at Brooklyn Radio. The idea was to create a show around an interview.
Personally, I enjoy hearing interviews because I learn various sides to the business, performing, producing and such. The hard part is that I also have to be the bad guy and cut out sounds that don’t work or don’t work as well. Only way it would work is if I built the show and the conversation and thats what I did. I didn’t want to cut out shxt, after all, they are one of my favorite groups to listen to.
So there it is, hit Phonte up on the gram or twitter and salute the brother!
And thats the Brooklyn Word!
Photos by G. Kuyateh
TASTE THIS MUSIC COOKIES: Free download
The Wiz Live is finally airing on NBC and honestly, it will be interesting to see the direction the writers took compared with the original “The Wiz” (which starred Diana Ross, Michael Jackson and so many other talented artist).
One thing that I’ll miss is Dorothy and the crew strolling past areas of Brooklyn and NYC recreated as Oz. I’m known to be like, yooo… “thats down the sreet from me” or “I know where that’s at”.
This one looks to be closer to the original “The Wizard of Oz” in regards to the set designs… but honestly, I purposely stayed away from seeing to many trailers and spoilers. Preferring to experience this talented Black cast and their contribution to one of my favorite movies.
Stephanie Mills looks incredible as Auntie Em as does the rest of the cast. For those that remembered, she was Dorothy Gale in The Wiz on Broadway. I’ll follow up after watching and hope you do to…
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The past Sunday at Milk River (coincidentally in my hood) the much talked about battle between FREDRO STARR & KEITH MURRAY went down.
I been hearing about this joint for a minute but thought it was just talk. You know, get people hyped for nothing. Off the strength, I figured Keith would win if he stuck to his style. I peeped a few recent sounds to see what the flow was sounding like.
Though it was different from what it used to be, with the battle as a focus and studio time to practice, his lyrical content and dexterity was bound to win right???
Don’t get me wrong, I always liked Onyx and Fredro’s grit. He wasn’t lyrically gifted in terms of spitting shit that made you think “he got bars”, you fucked with Fredro and crew because they got you hyped and ready for war.
But it’s been a minute and I haven’t heard much on the underground scene that popped like that, so who know’s.
Let’s get to this battle.
Round 1 goes to Fredro:
Keith started off shaky taking the mic instead of allowing a coin toss, if i had cake on this I’d be mad. He was showing signs of recklessness. Was he drinking, smoking, something deeper. Shit I don’t, but he wasn’t at his ‘Most Beautifullest’. The delivery, mess ups, repeats… I felt bad for him.
He seemed like he needed help, the awkward transition of him putting on a deadlock wig and rhyming like KRS was difficult to watch. I pressed pause for a minute to think, do I want to finish and diminish my childhood memories of one of the flyest sounding emcee’s…
I continued and it didn’t get better… sad day for hip hop fans.
Fredro on the other hand, came out with the energy that he’s known for easily and instantly creating the first crucial blows of the evening. His bars were ok but not on the level of most average battle rappers. I get that they do that everyday, practice/battle so I’m not holding it against him, just pointing out the obvious.
If Keith was on point or at least somewhat sober, he could have easily won that round. Another awkward moment was the adding a beat to the match. Thats cool if it just flows according to the DJ’s discretion, but it was starting and stopping. The first beat was mad wack and that didn’t help one bit. Regardless, Fredro caught that body in the first round.
Round 2 goes to Fredro:
Things got lightly heated, some pushing, a few refs getting caught in the action. Keith, went back at Fredro with a little too much passion which didn’t translate well over the mic. The rhymes were not well thought out and rudimentary. He had a few light jabs but that was it.
Fredro pretty much won this pretty clean, getting on him being a dust head. Damn, is that what’s going on? Shit, I don’t know but damn… Keith could have had a new career if he was on point. Even if he loss, but that’s not what happened.
Keith’s lyrics is sounding a little clearer though, a little bit more decipherable. It’s like he’s slowly realizing that he’s being bodied and has to start fighting. He takes the mic from Fredro and the ref’s have to ease things down a bit.
Fredro points out that Keith Murray is lying when he said he beat Tupac’s ass (and I thought it was a closeted truth). https://www.youtube.com/watch?v=0DdR2UBYnFY But now that I think about it, that slur filled interview did seem a little suspect hmmm. More crackhead jabs drop from Mr Starr followed by Keith forgetting lyrics or something even Fredro trying to tell him to come on, say some shit but in a helpful way.
This is the point where you never want to be. I know it took some of the steam out of Fredro, cause you want to hate the person your battling. But when they don’t seem all there, you feel bad which weakens ya shit quite a bit, in regards to the intensity.
Round 3 goes to Fredro:
Keith at this point is sounding at his best for the night. This is how he should have started, well sorta. The old flow was sorta there, but the bars was out dated and sloppily delivered.
Fredro returned with a well delivered flow upper cutting Keith for the knockout when he had the but silenced. This is exactly what should have happened since the beginning, no beat battle. Keith returned with a follow up that was even more like his older style. Not having a beat allowed him to get the verses out at his pace, though it was to late….
Congratulations for both artist for actually doing it. It wasn’t some overhyped celebrity match, it was mad hoodie and organic. I wish the best for both and congrats to Fredro.
We are the THE BROOKLYN WORD… unfiltered authentic realness, if we not connected to it, then we speak it!
UPDATE: Of course after it all went down, the hip hop community expressed their opinions on the battle. They pretty much didn’t hold back, pretty much calling Keith ‘washed up’. Now, if you read my recap I kept that shxt 100 and true to the core.
I personally thought Keith was on drugs and just didn’t care enough to handle the battle seriously. When I think of Keith Murray, I think of one of the flyest emcees on the mic that was a real spitter. I never heard him do wrong for the most part, so I was mad disappointed when having to witness Keith (an emcee that I thought would demolish most of these new artist and battle rappers) actually appearing sub par. It was a mind fuxk and tough to come to grips with.
Vladtv did a few pieces following up with Keith Murray and Murder Mook. Check for yourself and share your thoughts. I appreciated Keith for standing up and owning his fault. He said it was prescription drugs/medicine plus alcohol that contributed to his loss. Who knows what happened, I was just glad to see him more level headed and he expressed his self well. That gave me hope that maybe there will be a come back, it sounds like it. Team Murray all the way, but trust mad respect to Fredro and his accomplishments which are admirable, good dude right there.
Earlier this year, Chicago’s MC Tree blessed me with a spoken word exclusive. I wrote all about it so not gonna get to deep, but it was dope. The acapella tale was a gritty picturesque example of Tree’s versatility and connection to the street.
So I did what any inspired “lover of dope shxt” would do, got creative and designed textured sound around the life of it. 75% was actual sounds recorded in Chicago (ex. weather, traffic, city noise…) in order to keep the authenticity intact.
I didn’t quite understand Trap till I heard him and then viewed it as more than a sound of youth, but rather a sound of expression. It’s the modern blues, todays generation’s way of dealing with the daily shit. Tree, an O.G. in the scene, delivery and flow is perfectly relatable to not only to the youth but all ages. It resonates with how we all feel and see the world at times.
On one end it it can be viewed as reckless, carefree and unabashed. No different from when rap first hit the streets, rather a little after. The sound began, it evolved and various cities interpreted it in their own way, expressing raw feelings that were the same.
No history lesson right now, but its all to say it’s come full circle to the ever popular commercial sound that is played 24/7 on radio, TV and ever other media form.
Now how is Tree tied into all this, well he one of the few that nurtured the Trap culture in Chicago. Do ya homework and get the real scoop. All the best secrets tend to come to light.
Click the pic link above to read more and peep the show we did this past spring.
All right night owls, you know how this goes.
Get ya head right, turn the equipment on and fire up that computer.
The Brooklyn Word (TBW) invited Gibril, one of BK’s hardest working African’s reppin’ Ghana, to the Crown Heights dojo (yes his name is Gibril as well).
A few weeks prior he asked if I wanted to do a remix for his M1 featured track “What You See”. I said it sounded like a dope idea and that I’d check it out which I did. We’ve been talking about linking for years, but things were aligned with both our schedules.
After listening and thinking about it, an idea do something fun sparked in my head. Partly because it creates creative/artistic competition and expression. Not to mention that I’m a very fair warrior who doesn’t mind being in the “sound pit” with all of you dope ass producers that’s catching this contest.
So I told him, “lets open it up to everyone, but i’m still gonna submit” and proceeded to unveil the mini multi-media/brand concept that you now see. I kept it 100, saying I want to be apart of it but I’m completely cool if another producer wins. He got amped, like thats what’s up boom, TBW filmed him a week later.
We discussed his latest project “Gibril & BRC present The Foreigner – JJC (deluxe)” and the plans to expand the remix contest.
GIBRILVILLE & BRC are having a remix contest to the single “WHAT YOU SEE ft M1”.
- Click downward arrow on Soundcloud player to Download the vocal stem/layer here
- Listen to the original track:
- Please Upload your remix to soundcloud/social media with the #whatyouseeremix + #thebrooklynword hashtag.
- Follow Gibrilville on Twitter + Instagram & don’t forget to add us!
The winner will be selected based on talent and production quality.
The winner’s remix will also be featured in the Music video.
DEADLINE: Sunday August 16, 2015 12:00AM EST
- Basically he wants you to go in and flip the track into a dance/club/disco sound banger! Take that advice and roll with it.
Have fun and make sure ya hashtag is correct, rock it out! – The Brooklyn Word